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Dexter THOMAS Dissertation Niggers and Japs Right Wing Hip-Hop and The Niggers and Japs Right-wing hip-hop and the black model minority in Japan A Dissertation Presented to the Faculty of the Graduate School of Cornel University in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy by Dexter Lee Thomas, Jr May 2020 © 2020 Dexter Lee Thomas, Jr. Abstract NIGGERS AND JAPS: RIGHT-WING HIP-HOP AND THE BLACK MODEL MINORITY IN JAPAN Dexter Lee Thomas Jr , Ph.D. Cornell University 2020 Right-wing, nationalist hip-hop shouldn’t exist, but it does in Japan. This is the starting point – but this dissertation ends up ends up expanding into several forms of pop culture. By examining what “blackness” means in Japan, I work to challenge assumptions about what “black” music means everywhere. I begin in 2015, in a Tokyo street, as an underground rap artist performs an anthem at a rally for a far-right wing mayoral candidate. Through a review of a handful of minor and major artists, I show that it is precisely because the Japanese hip-hop scene “respects” black people and is interested in black politics that it has become compatible with nationalism and the right wing. I then step back two decades to 1995, to examine a hip- hop comic book written by a woman who simultaneously achieved two things: accidentally exposed an early Japanese hip-hop scene struggling with being labeled “black wannabes” by mainstream society (while their counterparts who performed “white” music were able to express themselves freely), and also helped the scene out, by launching the first successful Japanese hip-hop radio show. I then move back another two decades to 1975, to examine the funk/disco scene. I focus on two comics: a “Black is Beautiful” feature that served as a catalyst for bringing the legendary Soul Train to Japan, as well as Golgo 13, a long-running mass market comic that interpolated James Bond into a sort of “Japanese Savior” that depicted Japanese as friends and protectors of black freedom fighters, from Nelson Mandela to activists in the American Deep South. Finally, I look at GO, a landmark work of Zainichi (ethnic Korean in Japan) literature in the 2000s, to show that the anxiety over legitimating political art is also present in the left, and among Japanese minorities. I invert the concept of the “model minority,” arguing that black people serve a specific purpose in the Japanese popular and political imagination, whether left or right – with a reading of my own experience of being targeted by Japanese police as a potential criminal and targeted by a leftist group as a political spokesmodel, in the same week. Biographical Sketch Dexter Thomas was born in 1984 and raised in San Bernardino, CA. He attended Cajon High School, then University of California at Riverside, where he worked as a radio DJ at KUCR 88.3FM. He graduated with a major in English in 2006. After a short time in China, and a year teaching in high schools in Riverside, he received a Monbukagakusho scholarship as a research student. He was based at Waseda University in Tokyo from 2008-2010, immediately after which he entered the East Asian Studies program at Cornell University in Ithaca, NY. Dexter left Ithaca to work for the Los Angeles Times in 2015. That same year, he was part of the Pulitzer-winning team that covered a mass shooting in his hometown. In 2016, he left to work at VICE News as an on-camera journalist, where he has produced news documentary segments for VICE TV, HBO, and Showtime. As a journalist, he has also been nominated for a News Emmy and a Los Angeles Press Club Award. He has established the world’s largest publicly accessible collection of Japanese hip-hop related materials at his alma mater of UC Riverside. He currently lives in Los Angeles. i Dedication To us. ii Acknowledgements My parents, my family. My friends. Jerry Tivey, the first teacher that took my writing seriously and pushed me to work at it. Geoff Cohen, who got me to read Moby Dick. John Kim, who truly set me on this path, and showed me how to do things my way. Annmaria Shimabuku, who showed me how to navigate. Gavin Walker, who told me that if I was going to do the knowledge, I might as well do it at Cornell. 独学の極意を教えてくれた勝元さん. Research support came from the Monbukagakusho Scholarship from 2008-10, and the Fulbright-Hays Doctoral Dissertation Research Abroad in 2014, for which I am grateful. Naoyuki Umemori, who took me in and put me into his political science seminar with the expectation that I’d figure things out, and the kind guidance to make sure I did. Everyone in the 梅森ゼミ. Naoki Sakai, who helped me to expand my theoretical framework, but also encouraged me to explore beyond the traditional academic norms. Brett de Bary, who has consistently expected more out of me than I’d thought possible, which in turn has expect more of myself in all areas. Steven Pond, who taught me a lot about teaching and thinking through problems in music and “authenticity.” Aki Marceau, a fellow traveler who taught me more over the course of one conversation than I could have ever thought. ありがとう. Everyone at KUCR. Louis Vandenberg, for providing a cultural education I couldn’t have gotten anywhere else. Elliot Fong. Michael Collett. Mamiko Inoue. Anyone who ever listened to my radio show at KUCR. Anybody who listened to my podcast back in the day. You didn’t know it, but you were making it possible for me to do all this. iii Chavez Carter. BGPSA. Anyone who ever came to a Justice League party. If you were there, you know. All the police over the years, in Japan and especially in the US, who have ever followed, harassed, or threatened me. Thank you for reminding me of who I am and who we are, lest I ever forget. Bill Marotti, for welcoming me into JAG conferences, before I’d ever even written a paper. Everyone at JAG retreats in 2018-19 for reading through my last two chapters. Lindsay Morrison, who I was lucky enough to “grow up” with in Tokyo. 恩師でもあり MCでもある3000 WorldsのMORI（アルバム出せ）, the entire TKB crew、まっちゃ ん, whose scholarship and friendship parallels this dissertation（アルバム出せ）出村太 （アルバム出せ）, 渋家（修理代どうしよう）. Se Young Au, for showing me the stars. Dina Elshinnawi, for the office hours. Lana Larkin: 谢谢. All the artists who formed the soundtrack to my time in Japan: Seeda, Buddha Brand, Rhymester, Kimidori, Zeebra, YMO, はっぴいえんど, INU. Emori Ai, Ian Condry, Yoshioka Masaharu, Yutsuko Chusonji, David Z Morris, Noma Yasumichi. Everyone quoted or mentioned in this thing: whether I agree or disagree with your work – my work would not exist without your willingness to share your perspective. Thank you. Will Bridges and Nina Cornyetz for giving me a shot. Mitra Kalita for doing the same. Everybody who’s asked me about this project, everyone I’ve ever talked about it with, everyone I’ve worked with or made art with. Things are only gonna get weirder from here. Let’s get it. iv Table of Contents Biographical Sketch: i Dedication: ii Acknowledgements: iii 1 Chapter 0 2000: “Japs and niggers…big fuckin’ deal.” 39 Chapter 1 2015: The Formula for Right-Wing Rap 85 Chapter 2 1995: Can the Japanese Rap? 124 Chapter 3 1975: Disco, Japanese Savior Manga, and Imported Racism 199 Chapter 4 2000: How to be a Model in Japan 250 Conclusion 2020: Hindsight? Works Cited: 253 v Chapter 0: 2000: “Japs and Niggers…big fuckin’ deal.” There’s a famous scene in Takeshi “Beat” Kitano’s 2000 film Brother that seems like a good place to start this conversation.1 Kitano plays the role of Yamamoto, a disgraced mid-level yakuza member who has fled to America to avoid being killed by order of a rival group. He lands in Los Angeles in search of his younger half-brother Ken. He finds that Ken has also become something of a criminal leader himself, but instead of an esteemed organized crime family, he is hanging out with a (largely black but otherwise) mixed-race band of street thugs, and is being pushed around and beaten up by a local Mexican drug boss. Yamamoto decides to whip Ken’s group into shape. He speaks no English, and relies on Ken to translate for him. At first, the other members of Ken’s gang are wary of Yamamoto, but when he kills the drug boss that was pushing the other gang members around, he earns their respect. The gang, now led by Yamamoto, begins expanding their operations, even successfully taking over other groups’ territories. After a while, a larger mob group takes notice of Yamamoto’s group, and the two rival bosses call a meeting in an office building. Of course, neither side has any true intention of a peaceful resolution to this conflict. It is made very clear to the viewer that somebody is going to die. The question is: who will it be? Yamamoto and Ken arrive at the building, clearly outnumbered by the mob bosses. They are patted down to check for weapons by the mob underlings – but they do not know that beforehand, Yamamoto had ordered Ken to hide guns in the bathroom of the office building (this, by the way, is a clear homage to a scene in The Godfather, another 1 Brother (Shochiku Co., Ltd., 2000). 1 tale of oppressed immigrants trying to make it in an America that hates them). Yamamoto and Ken are escorted into a boardroom, where they sit across from four mob bosses, who run the territory upon which Yamamoto’s ragtag group has been encroaching.
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