On Tonkatsu DJ's Imagined Communities

On Tonkatsu DJ’s Imagined Communities

Originally published May 2017

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I am incredibly paranoid on the formal and cultural distinctions between Hip-Hop/DJ and DJ and EDM/DJ and DJ, but the literature used them fairly interchangeably and everyone I emailed told me that there's so much interplay that differentiating them is kind of a shit-show waiting to happen
None of my Stray Notes are gonna make sense because I'm writing this summary hungry and tired
This is a really large and chaotic field, so I think it's really challenging to tackle this sort of idea
There's an interesting manga titled 'Good Father' that has a father who's a DJ and makes his daughter's boyfriend learn the ropes of being a DJ to become 'suitable' for his daughter. It's not the most exciting, but it is pretty funny how it draws on some similiar sentiments of 'how to be'
Overall it was a really fun short, had a lot of good comedic moments, had a blast watching it
The manga reveals a lot more characters, but they fall into the same 'meaning trap' that I mentioned, that this component so beautifully fits in with that sense of 'Japaneseness'
Is Tonkatsu DJ Agetarou nationalist? I strongly doubt it. However, like I emphasized, it's an interesting look at how it *can* easily lead to it
Liyoon has the worst Twitter account, he just self-promotes and gets into fights on Twitter
Wanted to talk about Chill Out, the iyasu, and that whole muzak scene, but it ended up being way too unwieldly for that

"Ambushed by Ninja!: Kamisama Kiss Director Akitaro Daichi and Detective Conan Voice Actor Naoko Matsui at AnimeNEXT 2016." Ani-Gamers, http://www.anigamers.com/interviews/akitaro-daichi-naoko-matsui-animenext-2016. Accessed March 02 2017.
Condry, Ian. Hip-Hop Japan: Rap and The Paths of Cultural Globalization. Duke University Press, 2006.
Manabe, Noriko. "Representing Japan: 'national' style among Japanese hip-hop DJs." Popular Music, vol. 31, no. 1, 2013, pp. 35-50.
Manabe, Noriko. "Music in Japanese Antinuclear Demonstrations: The Evolution of a Contentious Performance Model." The Asia-Pacific Journal: Japan Focus, http://apjif.org/-Noriko-Manabe/4014/article.html. Accessed February 07, 2017.
Morris, David Z. "Half-Japanese." signal to Noise, vol. 48, 2007, pp. 39-43.
Morris, David Z. "The Sakura of Madness: Japan's Nationalist Hip hop and the Parallax of Globalized Identity Politics." Communication, Culture & Critique, vol. 6, 2013, pp. 459-480.
"No 43 [Pop culture] A Recipe for success." Zoom Japan, 22 August 2016, http://www.zoomjapan.info/2016/08/23/no-43-pop-culture-a-recipe-for-success/. Accessed 25 February 2017.
Schloss, Joseph. Making Beats: The Art of Sample-Based Hip-Hop. Wesleyan University Press, 2014.
Yasuda, Masahiro. "Whose United Future? how Japanese DJs cut across Market Boundaries." Perfect Beat, vol. 4, no. 4, 2000, pp. 45-60.

Daisuke Fujiwara's "CHECK THE BACK UP"
DJ. Krush and CL Smooth's "Only the Strong Survive"
Drake Stafford's "Split Even"
Otis McDonald's "Erykah"
Tonkatsu DJ Agetarou OST, "Rainy Lenny"
Talky Beat by Twin Musicom is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/)
- Source: http://www.twinmusicom.org/song/265/talky-beat
- Artist: http://www.twinmusicom.org