
The globalization of rap music began in fits and starts. They dropped an EP in '92. but was Zimbabwe Legit legit? The London Posse pioneered the way back in 1988, but there weren't many successful UK artists until The Streets and Dizzee Rascal more than a dozen years later (Rascal was only three years old when LP's "How's Life in London" briefly charted). Japan, a reliable funhouse mirror for all things American pop culture, gave us the pioneering "Scha Dara Parr" back in 1988, but again it was several years before anything one could call a J-Rap "scene" emerged, and as usual it was a mad scramble of elements -- including several "burapan" groups who performed in blackface makeup. One might think that African popular music, which had already attained regional and global successes, would be a logical seedbed for Hip-hop, but it wasn't until later in the 1990's that such artists emerged, many of them from Sénégalese communities in France such as MC Solaar and Daara J. Solaar's combination of spahetti western themes and smart, sharp beats -- see "Nouveau Western" for one great example -- gave him an early edge, and he's been one of the few non-US artists to have chart success stateside.
The past decade has seen Hip-hop claim a foothold in some of the seemingly unlikeliest places -- Canada, for instance, which has given us the Rascalz, Kardinal Offishal, and K'naan (as well as Francophone artists such as Dubmatique and Roi Heenok) - and even Greenland's own Nuuk Posse, a band of west Greenland Inuit whose work has attracted the interest of figures such as DJ Spooky, who intermixed their music with a talk by Antonin Artaud on one of his CD's.
Where next? Hopefully, it's impossible to predict. One thing is for certain, though: the next wave of innovation in Hip-hop may very well come from outside North American shores.