[Media Studies] Identity Tourism

Yung Lean's Music and Nakamura's Cybertyping Concepts

"I'm from Stockholm in Sweden, and I don't think it has any effect on my music". Johnathan Hastad's viral sensation, "Kyoto," released in 2013, offers a rich array of examples that delve into the concept of cybertyping. Lisa Nakamura, a respected scholar in media and cinema studies and the author of "Cybertypes," a book that delves into online identity, becomes a central figure in this discourse. The analysis of "Kyoto," along with another of Hastad's tracks, align with the themes introduced in Nakamura's chapter titled "Cybertyping and the Work of Race in the Age of Digital Reproduction." The creative process of "Kyoto" involves contributions from Carl-Mikael Göran "Micke" Berlander (Yung Gud), co-written by Berlander and Johnathan Hastad (Yung Lean), and its visual direction guided by Rigel Kilston. Its production, lyrics, and visuals collectively interweave elements from East Asian, Black American, and European cultures. Numerous parallels can be drawn between Hastad's artistic content and the concepts expounded in Nakamura's analysis. These parallels encompass the concept of blending music genres for a conveniently exotic experience, as well as the notions of identity tourism and instances of cybertyping evident in Hastad's music and videos.

The idea of identity tourism, as introduced by Nakamura, forms a central premise. Within the pages of "Cybertyping and the Work of Race in the Age of Digital Reproduction," Nakamura coins the term "identity tourism" to describe a phenomenon observed within Internet chat communities. She notes the creation of afterimages of identity through the adoption of personas, which often reinforce gender and racial stereotypes. Relating this to Hastad's work, many of his lyrics could be regarded as instances of cybertyping. For instance, he mentions in one song, "Me and my boys stacking Benjamins, we be stacking Benjamins." The term "stacking benjamins" translates to amassing wealth and originates from African American Vernacular English. Notably, Hastad had not performed the United States before releasing this song, making the reference to U.S. dollars somewhat incongruous. While his work is not directly published on internet chat boards as defined in Nakamura’s definition of cybertyping, its online publication through platforms like SoundCloud and YouTube aligns with Nakamura's concept of identity tourism. This alignment is reinforced by Hastad's adoption of a Black American persona, as evident in his lyrics, combined with his video's presence on media platforms.

An additional instance of identity tourism is discernible in Hastad's "Kyoto" music video. The video portrays Hastad within an East Asian shop in Amsterdam's Chinatown, handling items reminiscent of the culture. He stands near an aisle displaying imported groceries with labels in Chinese, Japanese, and Korean characters. Moreover, his music group members are seen donning conical hats, a visual stereotype as described by Adriana Hill in The Fashion and Race Database. The inclusion of these stereotypes within the "Kyoto" video aligns with Nakamura's concepts of identity tourism, as Hastad temporarily adopts cultural symbols. It is notable, although perhaps tangential, that Hastad's hometown, Stockholm, lacks a Chinatown, making his travels to Amsterdam to record and acquire these cultural elements for Kyoto’s video more fitting of Nakamura's definition of identity tourism. The video's online presence, coupled with a video game reference in its opening verse, elevates the inclusion of these objects from mere stereotypes to cybertypes, echoing Nakamura's exploration.

Although Nakamura consistently characterizes cybertyping as disconcerting, it remains a matter of debate whether this phenomenon is wholly negative. On one hand, as Ledsham elaborates, Hastad adeptly melds distinct cultures to craft something uniquely captivating and enthralling to listeners. Furthermore, his innovative production style has allowed him to transcend cultural, physical, and linguistic barriers, gaining admiration from music critics. Curiously, this phenomenon echoes the experiences of German music acts like Klaus Schulze, Kraftwerk, Tangerine Dream, Can, and Faust, who, decades earlier, demonstrated the ability of captivating electronic music to surmount language barriers, as noted by Holmes. This raises the prospect that Hastad might enhance his compositions by further diversifying his influences, blending ideas that might otherwise remain segregated. However, on the flip side, his reliance on stereotypes raises concerns about potential harm. An intriguing inquiry pertains to the rationale behind Hastad, Berlander, and Ryan Kilston (creators of "Kyoto") infusing the song and video with numerous instances of cybertyping, especially when compared to their other works from the same period. Nonetheless, undeniable parallels exist between Hastad's lyrics, videos, and Nakamura's themes elucidated in "Cybertyping

Finally, musical elements from East Asian, Black American, and European cultures featured in "Kyoto" are visually translated into the music video. It is vital to illustrate how these elements appear within the video. The video references East Asia, as previously discussed. Additionally, the video's setting is the European city of Amsterdam, capturing Hastad and his group navigating its iconic canals—a hallmark of many European cities. Whether Hastad intentionally selected Amsterdam and its cityscape backdrops to imbue his video with a European essence remains uncertain. Nonetheless, his inclusion of deliberate European references is intriguing. Moreover, discerning instances of Hastad adopting a European persona within the video might be more evident to those well-acquainted with European culture or knowledgeable about the distinctions between his hometown, Stockholm, and Amsterdam. Notably, Hastad is depicted standing through the glass roof of a Maybach sedan, a car model that signifies a Black American rap identity, according to Vanity Fair. This intricate fusion of cultural elements, musically and visually, reiterates the themes of cybertyping and cultural blending as presented by Nakamura. This complex amalgamation of East Asian, European, and Black American rap culture can be observed both in the auditory and visual dimensions of Hastad's work. Thus, a parallel can be drawn between Nakamura's depiction of tech workers' cultural immersion from their office spaces and the experience of rap enthusiasts who encounter elements of East Asian and European music within their preferred genre.

From the perspective of listeners, Hastad's music touches upon a concept introduced by Nakamura in "Cybertyping and the Work of Race in the Age of Digital Reproduction." Nakamura highlights how individuals can savor the exotic elements of different cultures without leaving their offices, akin to how listeners can revel in the sounds and production styles that diverge from conventional U.S. rap without straying from the genre. Before delving further, it is crucial to establish the three distinct cultural elements present in "Kyoto." First, the song incorporates an oriental sample, described as such by Scott Hickeb, a media studies undergraduate. Next, "Kyoto" constitutes a rap song, a genre with its roots in the South Bronx and deeply tied to Black American culture. Lastly, Hastad's music embraces electronic elements, as highlighted by High Clouds writer Ed Ledsham. European in origin, electronic music also boasts German influences like Klaus Schulze, Kraftwerk, Tangerine Dream, Can, and Faust, establishing it as a major contributor to subsequent electronic rock. Hastad's ability to unite these cultures and potentially more within one song allows listeners to experience sounds and production styles uncommon within their usual musical sphere. In conclusion, this parallels Nakamura's depiction of tech workers enjoying diverse cultural elements from their office environments.

Claremont - November 5, 2021