City pop

From Wikipedia, the free encyclopedia
Jump to navigation Jump to search

City pop (シティーポップ, shitī poppu) is a loosely defined subset of pop music that originated in Japan during the 1970s. It was originally termed as an offshoot of Japan's Western-influenced "new music", but came to include a wide range of styles associated with the country's nascent economic boom, such as AOR,[2] boogie, disco, R&B, funk, soft rock, Hawaiian and Okinawan music,[5] and was influenced by emerging technologies such as the Walkman, car stereos, cassette decks and electronic musical instruments.[3] The genre reached the peak of its popularity in the 1980s before losing mainstream appeal by the 1990s.[1] Since the 2010s, city pop has gained an international online following as well as becoming a touchstone for the sample-based microgenres known as vaporwave and future funk.

Definitions[edit]

Definitions of "city pop" have varied and many of the artists tagged with the genre have played in styles that are significantly different from each other.[1] Jon Blistein of Rolling Stone describes city pop as "less a strict genre term than a broad vibe classification." According to Blistein: "An opulent amalgamation of pop, disco, funk, R&B, boogie, jazz fusion, Latin, Caribbean and Polynesian music, the genre was inextricably tied to a tech-fueled economic bubble and the wealthy new leisure class it created." According to Japan Archival Series supervisor Yosuke Kitazawa, there "were no restrictions on style or a specific genre that we wanted to convey with these songs" but that it "was music made by city people, for city people." Kitazawa identified two distinct styles that exemplified city pop: "the former a lush, tropical romp, the latter a thumping rug-cutter".[3]

According to Ryotaro Aoki of The Japan Times: "The term was originally used to describe an offshoot of the emerging Western-influenced “new music” of the 1970s and ’80s. “City pop” referred to the likes of Sugar Babe and Eiichi Ohtaki, artists who scrubbed out the Japanese influences of their predecessors and introduced the sounds of jazz and R&B — genres said to have an “urban” feel — to their music. ... The term has drifted in and out of the musical lexicon ever since. ... With a term as vague and broad as city pop, it’s natural that no one seems to be agreeing on what the label actually means anymore."[1]

According to Ed Motta: "City Pop is really AOR and soft rock but with some funk and boogie too. Because when you hear funkier City Pop tunes, you hear not only the influence, but in some parts they steal from groups like Skyy, BB&Q Band, and those kinda American boogie and funk groups."[2] An Electronic Beats writer characterized city pop as Japan's "answer to synth pop and disco".[4]

History[edit]

1970s: Origins[edit]

Tatsuro Yamashita, known for his work as a member of Sugar Babe and as a solo artist, is sometimes called the "king" of city pop[2]

Writing for Wax Poetics, Ed Motta traces the genre to the mid-1970s with the work of Haruomi Hosono and Tatsuro Yamashita.[2] Vice contributor Rob Arcand similarly credited Hosono as a "key influence" on city pop.[6] In the mid-1970s, Hosono founded the band Tin Pan Alley, which fused southern R&B, northern soul and jazz fusion with Hawaiian and Okinawan tropical flourishes. In the view of Fact Mag's Mikey I.Q. Jones, this led to the style of music that would be dubbed "city pop".[5]

1980s: Popularity[edit]

The genre became closely tied to the tech boom in Japan during the 1970s and 1980s. Some of the Japanese technologies which influenced city pop included the Walkman, cars with built-in cassette decks and FM stereos, and various electronic musical instruments such as the Casio CZ-101 and Yamaha CS-80 synthesizers and Roland TR-808 drum machine. According to Blistein, electronic instruments and gadgets "allowed musicians to actualise the sounds in their heads" and cassette decks "allowed fans to dub copies of albums".[3]

According to Blistein: "the genre was inextricably tied to a tech-fueled economic bubble and the wealthy new leisure class it created."[3] City pop became a distinct regional genre that peaked in popularity during the 1980s.[4]

1990s: Decline[edit]

Its popularity declined when the Japanese asset price bubble burst in 1990. Its musical characteristics (except its "cultural background") were inherited by 1990s Shibuya-kei musicians such as Pizzicato Five and Flipper's Guitar.[7]

2010s: Resurgence[edit]

Since the 2010s, city pop has experienced a resurgence, with veteran artists such as Yamashita and Mariya Takeuchi gaining an international online following, as well as becoming a touchstone for the sample-based microgenres known as vaporwave and future funk.[8]

List of artists[edit]

References[edit]

  1. ^ a b c d e Aoki, Ryotaro (5 July 2015). "City pop revival is literally a trend in name only". The Japan Times.
  2. ^ a b c d e f g h i j k l m n o p q r "Ed Motta drops exclusive City Pop Vol. 2 mixtape of smooth and funky Japanese AOR - Wax Poetics". Wax Poetics. April 28, 2016.
  3. ^ a b c d e f g h i Blistein, Jon (2 May 2019). "City Pop: Why Does the Soundtrack to Tokyo's Tech Boom Still Resonate?". Rolling Stone. Retrieved 9 May 2019.
  4. ^ a b c d e f g h i j k "City Pop: A Guide To Japan's Overlooked '80s Disco In 10 Tracks". Electronic Beats. November 1, 2016.
  5. ^ a b c d e Jones, Mikey I.Q. (January 22, 2015). "The Essential... Yellow Magic Orchestra". FACT Magazine.
  6. ^ Arcand, Rob (October 10, 2018). "Haruomi Hosono Is the Japanese Experimenter Who Changed Pop Music Forever". Noisey.
  7. ^ 第14回 ─ シティー・ポップ [No. 14 ─ City Pop] (in Japanese). bounce.com. 2003-05-29. Archived from the original on 2007-08-24. Retrieved 2008-11-17.[better source needed]
  8. ^ a b Markowitz, Douglas (October 10, 2018). "5 Vaporwave and Future Funk Tracks to Get You Ready for YUNG BAE". Phoenix New Times.

External links[edit]