![]() It could still be considered J-pop by the broader definition, but it would be incorrect to say that it is a true example of this genre. If a song does not have any of these characteristics, then it is not a J-pop song by the strict definition. ![]() Japanese subject matter: The lyrics are about things that are only found in Japan or things that are particularly Japanese (e.g., cherry blossoms).Ī J-pop song will exhibit most if not all of these characteristics. The use of traditional Japanese instruments or styles: Some songs are influenced by traditional Japanese instruments or styles (e.g., shamisen music). ![]() In other words, it is not just a copy of an existing Western genre. Japanese musical influence: J-pop is influenced by Japanese music. Japanese lyrics: The majority of songs are sung in Japanese rather than English or some other language (there are a few exceptions, like Pizzicato Five’s “Twiggy Twiggy”). Another example would be the group Pink Lady, who had several hits during the late 1970s and early 1980s that were not considered to be at all like typical J-pop songs.īasically, what I am trying to say is that in order to understand what J-pop really is, we should create a list of characteristics that most or all J-pop songs possess: This type of music was called “Disco J-pop”, but very little if any of it would be considered J-pop by the strict definition stated above. For example, there was a period in the 1970s when disco influenced pop was extremely popular in Japan. This is not completely accurate since there have been many popular Japanese songs that don’t fit into the standard definition of J-pop. The term “J-pop” also has been used to describe all popular Japanese music, regardless of genre. Of course, this is a gross over-simplification but it at least is a good starting point for understanding J-pop. J-pop is generally thought of as being a combination of Western rock music and the traditional Japanese arts. Japanese pop music is not simply popular music from Japan but rather represents a genre of rock music that is influenced by Japanese culture. This decade saw what many consider to be Japan’s greatest songwriter emerge (Yoshihiro Kai), its first superstar solo singer (Takuro Yoshida) and its greatest producer (Tak Matsumoto).īefore going any further, it is important to understand that the very term J-pop has a specific meaning. This decade of music began in 1980 with the release of Yellow Magic Orchestra’s single “Tong Poo” and ended in 1989 with Kome Kome Club’s “Dokkoi! Dokkoi! Stand Up!!” The bulk of J-pop’s most important hits were recorded during this period, but a few notable songs did precede and follow it. In this essay I intend to examine the fascinating and important body of music known as “Japanese pop” or, as it was called in Japan, “J-pop”. A single decade in Japanese music history is so replete with the idiosyncratic, the unique and even the bizarre, that it warrants a serious reexamination.
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