What is J-pop? Well first off Japan has a rich and varied music history. This history includes music such as Enka (Traditional folk songs), folk music from Okinawa (a chain of islands part of Japan) and of course Japanese popular music. Japan also has its�f share of classical instruments including Taiko (drums which range in size from small to giant), Shamisen (a kind of simple guitar, but with a long handle), the Shakuhachi (a big wooden flute) and more. Japan has a long history and therefore so does its�f music, but how about J-pop? Where does it fit in? To answer that question we need to go to back to post-war Japan. After the war, aspects of western culture started to become popular again. Groups like the Beach Boys, The Ventures, and the Beatles gained iconic status in Japan. Consequently young groups came about and took on the style that involved simple writing and catchy melodies as their own. This can be heard in Kyu Sakamoto�fs �gUe o Muite Aruko�h which most western people know as �gSukiyaki�h(*). This song about a love lost and remembered gained international acclaim and an English version that has been remade countless times. As music in the west changed so did Japan. In the 70�fs there was an emphasis on Rock and many a rock band was born, some of which are still going strong today (i.e Southern All Stars, The Alfee, etc.). However the most influential period may have come during the 80�fs. The era of big hair, shoulder pads, loafers, and multi-colored jackets was not lost in Japan. On the contrary it was embraced and developed into something entirely its�f own. Groups popular during that time include Wink, Princess Princess, Kome Kome Club and the Hikaru Genji. (A group of four or five young good-looking teens that rode around on roller skates while they sang. Take that image and do with it what you will). There are a few reasons why the 80�fs were BIG. First, many western musicians were quite popular in Japan at that time. Secondly, music in Japan has a strong melodic base. This can be heard even in the most traditional songs. Lastly, the Karaoke business was also a big factor. While Karaoke may be a novelty in some western countries, its serious business in Asia, especially Japan. Karaoke parlors and bars pay licensing fees for the songs they have. Songs that are sung are tracked and popular song lists are made. This makes Karaoke a major part of the music business. How �gsingable�h a song is can determine its�f popularity and how much money it may make over time. All in all, due to these factors the 80�fs literally put the pop in J-Pop. Interestingly, the 80�fs style of music continued on in Japan into the mid-90�fs, while countries like America were getting more into alternative and hip-hop music. There were Japanese musicians who tried these styles but were never really able to make a big breakthrough. The reason for this is unclear especially since foreign musicians for these styles were quite popular. Possible reasons may be that major labels simply went with what was still working. Radio stations not admitting unproven Japanese musicians in their rotation. Or it simply may have been a cultural issue. There was a major backlash against Pop in America during the early 90�fs. Music labels had saturated the market with similar sounding music and young people lost interest in it. This kind of backlash never really happened on that big a scale in Japan due to its�f healthy respect for things that came before. Back in the US there was also a lot of discontent for young people at the time. Hip-Hop and Alternative music became an outlet for that discontent. While the same thing, to a certain extent, exists in Japan. It is often not expressed in song (at least not songs released by major labels). Harmony is a very important part of Japanese culture and many labels and artists may choose not to rock the boat and focus on the music. However, by the mid-90s the tides of change had finally come. It started with an explosion in popularity for Hip-hop (see here). Hip-hop and R&B had had a following in Japan going back to the 80�fs, but Japanese artists were never quite able to make it into the mainstream. Until a string of hits by artists like Misia, Utada Hikaru, and Dragon Ash came about between 1998 and 99. Soon after hits by other artists came quickly and it seemed like the major labels were struggling to keep up. This of course opened doors for other styles done by Japanese musicians. The advent of the internet, indie labels and other media helped as well. Cable channels like MTV Japan and SpaceShower seem to have been especially helpful in this regard by showcasing artists who normally don�ft get radio airplay. The result of all this is that the format of J-Pop which was galvanized in the 80�fs has essentially modernized itself by incorporating hip-hop, R&B, reggae, and alternative styles into the genre. This has helped to create a diverse selection of artists of which to choose from in the market. Although J-Pop has become widely recognized in other countries including America, in Japan foreign music will always have the edge since most popular CDs from overseas (US, The UK, Australia) are sold at half the price of domestic CDs. However, Japanese musicians continue to catch up to their foreign brothers and sisters and history continues to unfold. Notes If you want a more detailed look back into Japan�fs music history check out this website *Sukiyaki is a Japanese dish made with beef, tofu, and clear noodles. It really has nothing to do with the song. Ue o muite Aruko translated means "looking up as I walk." |
| J-Pop: An Overview |
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