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| 歌謡曲 Kayoukyoku | |||||||||||||||
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| 和製ポップス (Wa-sei-pops) is a technical term for distinguishing Japanese domestic pop music due to popularization of music from the West after the war. Especially from the late 1950s to the early 1960s, cover songs of Western pop songs sung by Japanese singers in Japan became popular. It is like distinguishing music other than the German-speaking region by Schlager. 和製ポップス (Wa-sei-pops) is one of the history of 歌謡曲 (Kayoukyoku) as popular music. However 和製ポップス (Wa-sei-pops) has nothing to do with J-pop. 歌謡曲 (Kayoukyoku) must be Japanese professional songwriting, composing and Japanese singer singing. Most notably, however, after this movement, professional Japanese writers began writing songs that quoted the pop and catchy phrases of Western hit songs. Quoted also guitar riff. There are songs like quotations or rip-offs. This is also noticeable in the structure of J-pop songs. For example, モーニング娘 Morning Musume "Love Machine" is a rip-off of the phrase from Jackson Sisters "I Believe In Miracles". 和製ポップス (Wa-sei-pops) were popular at the time by young people. Talents who later became Kayoukyoku singer also activated the movement. Of particular note is 漣健児 Kenji Sazanami, who translated those Western music with his own unique sense. https://www.discogs.com/ja/artist/673137-Kenji-Sazanami When there was the cover song movement of Western music in Japan in the middle of 1960, there was the special market for flexi vinyls only. This is also 和製ポップス (Wa-sei-pops), However, these songs are not 歌謡曲 (Kayoukyoku) because they are Western cover songs. The definition of 歌謡曲 (Kayoukyoku) is a song written by professional Japanese writers. The early Japanese jazzmen plays world hit songs. The normal circulation is not done by this record whether they considered the trouble with major companies with copyright. A product of an era when the portrait rights were not strictly controlled. Monthly magazine with flexi vinyl discs intended to present the world popular music and movies of that time to the Japanese. It's a photo book in the style of magazine that presents the fashion trends of the world. These were published before the spread of the stereo record players. The members of the popular music group in Japan in the early 1960s were mostly jazz musicians because jazz was popular at the time. Later, Japanese young musicians formed the electric guitar band by The Ventures movement. They played Western hit songs in their unique arrangement. Trend magazine with flexi vinyls. Most were in this format. 21cm x 19.5cm 16pages Book / 33rpm 7inch red flexi disc x 4 Featuring these pictures on book Sylvie Vartan as european star and fashion trend. 007, Alain Delon, Audrey Hepburn such like movie stars. Beatles, Rolling Stones, Elvis Presley etc etc |
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| For example Asahi Sonorama Japanese publisher. They had trademark rights of Sono-sheet (Flexi vinyl disc) and released. On September 9, 1959, they founded 朝日ソノプレス社 (Asahi Sonopress Company / Asahi Sonopresse), an affiliated company of 朝日新聞社 (The Asahi Shimbun Company). They recorded tapes, music, etc. that recorded the interview, various topics including news articles, fashionable movies and music as Sono-sheet (Flexi vinyl disc), and issued magazine called "月刊朝日ソノラマ" (Monthly Asahi Sonorama) It was announced "Sound magazine" did. Likewise, they were also publishing magazines, manga books, and library. 朝日ソノラマ / Asahi Sonorama https://www.discogs.com/ja/label/458404-Asahi-Sonorama There were other unique labels like below. Sono Records https://www.discogs.com/ja/label/1744859-Sono-Records-4 勁文社 / Keibunsha 現代芸術社 / Gendai Geijutsu-Sha https://www.discogs.com/ja/label/943206- コダマプレス / Kodama Press https://www.discogs.com/ja/label/414940-Kodama-Press ミュージック・グラフ / Music Graph https://www.discogs.com/ja/label/1197921-Music-Graph アーサー・フォノブック / Arthur Phonobook https://www.discogs.com/ja/label/1374195-Arthur-Phonobook ビクターミュージック ブック / Victor Music Book |
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| Japanese listeners were divided into two. Those who accept the American pop song. Those who refused to American pop songs to lovers of pure Japanese music only. At that time Japan distinctive musical style was growth rapid with reject the influence of Western music. Do you know the Schlager music of Germany? https://en.wikipedia.org/wiki/Schlager_music The background that Schlager music has been born is similar to Japanese popular songs. The bright and enjoyable music culture that came to Japan from the winning nations of the United States and Britain after the war. Germany and Japan are defeated nations trying to avoid them and protect their original culture. You can see the unique background of the defeated country. Fortunately or unfortunately, Japan is an island country, so it may be that Japanese record companies have different cultural defenses than Germany on the European continent. The Japanese record company controlled the Japanese market by clearly promoting and releasing the recording of foreign songs and the recording of Japanese songs. Whether it was the cause or the result of their emphasis on Japanese, Showa Kayokyoku became like a creature that continued its own evolution on Galapagos Island. This has led to the recognition that Showa Kayou’s greatest value is its musical style that rejects the style of Western culture. This may be the instinct of mammals trying to preserve pure blood despite the influence of different cultures, or it may be purism in the arts. |
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| Even the Japanese Constitution drafted by Japanese politicians was quarantined
by GHQ, and the Japanese Constitution was enacted by a law authorized by the US military. Supreme Commander for the Allied Powers https://en.wikipedia.org/wiki/Supreme_Commander_for_the_Allied_Powers In other words, the Japanese constitution is the same as the one made by the United States. As Japan's post-war culture matured, people noticed some parts of the world that were forcing values. Naturally, it has also had a significant impact on the growth of Japanese music. It can be divided into music styles that are influenced by Western values and music styles that are not. Showa Kayou formed its own style due to such conflicts of consciousness. At this point you have to notice the cultural differences between the winning and losing nations. The country where my parents were born and the country where I was born are different. My parents were born in the Empire of Japan. But I was born in Japan. The post-war identity of the Japanese people was in conflict. The winning nation inherited culture from before the war. The change in their values has been the evolution of lifestyle. The culture of the defeated country was destroyed by the winning country. The defeated people lost confidence. People struggled as the defeated country's culture matured after the war. Is our culture right? And when people talk about it, their unique culture changes depending on whether they embrace Western values. My German friend said. Germany also had the same problems as Japan on cultural heritage. |
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| The 1964 Tokyo Olympics saw more Showa songs sung by the lyrics of Tokyo Hymn for some time ago. But then Showa Kayou became lyrics to sing sorrow. It is like "Saudade" by the cultural revolution of Brazil. Even Enka had a movement of this dark lyric at that time as well. It was similar to the criticism of capitalism as in the lyrics of Jewish American singers such as Bob Dylan and PF Sloan, but in particular during the Japanese student movement period (late 1960's) due to the Japan-US Security Treaty and the Vietnam War, Showa Kayou dark lyrics became popular in Showa songs. Showa Kayou is characterized by having lyrics rooted in Japanese life. Values rooted in the bottom of life of agricultural indigenous peoples. From the lyrics of Showa Kayou you can see the composition of nomadic tribe (Nomad / Hunter-gatherer : continental country which forces their values) vs agricultural indigenous peoples (Oriental island country refusing it). Koji Tsuruta's "傷だらけの人生" Keiko Fuji's "圭子の夢は夜ひらく" Sakura To Ichirou “昭和枯れすすき” (Dead pampass grass in Showa) The lyrics that sang Japanese feelings suffering from being unable to accept the western value as in. J-pop is modern dance music that does not have lyrics criticizing such Western value. To disseminate the technical term J-pop, that meant a departure from the Showa era. |
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| I added a tag of "Kayoukyoku" to Discogs by my suggestion. That is to correct the user misusing J-pop. English Wikipedia is not accurate. This is a rough description. https://en.wikipedia.org/wiki/Kay%C5%8Dkyoku If you are familiar with Japanese language and Japanese culture there are many useful sources of information. Unfortunately those sources do not have English service. There is a website of Chinese enthusiastic 昭和歌謡 Showa Kayou collector. He also posted many images of rarities he bought from me. I can recommend that this is very useful for Westerners. Http://www.showapops.com/wiki/index.php?title=Showapops:About 昭和歌謡 Showa Kayou style was the most active in Mid 60s to Mid 70s. Major record companies has established the style of the "Showa Kayou" in mid 60s. The terminology of "Showa Kayou" was spread widely in the 1980s Japan. It was in order to clearly classify the western style dance tune and Japanese original Showa Kayou. |
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| 昭和歌謡 Showa Kayou (Kayoukyoku) must be a song that professional songwriter wrote for the Japanese singer. Song which Singer songwriter wrote for himself does not become Kayoukyoku. So Singer Song Writer, such as Yuming is not “Kayoukyoku". Keisuke Kuwata of group members and songwriter for Southern All Stars. Southern All Stars also not “Kayoukyoku". If the song is written in the Pentatonic scale and when the singer sang with the Kobushi vibrates, The song will be Enka. However even Enka singer didn't sang without Pentatonic scale and the Kobushi vibrates, The song will be Kayoukyoku. English Wikipedia is not accurate. This is a rough description. https://en.wikipedia.org/wiki/Kay%C5%8Dkyoku The evolution of sound style is closely related to the diversification of media and the act of seeking the net profit of record companies. After the global oil crisis, Japanese record companies created a new genre called "New Music", and Japanese singer-songwriters made "New Music" popular with non-folk music pop songs. However, with the advent of art rock at the same time, listeners who accepted the latest music were divided into pop music and rock music. However, as described in the definition of "Kayoukyoku" above, the pop song "New Music" is not a song written by professional writers. Singer-songwriters sang Pop sound after breaking away from the singer-songwriter trend of folk music. The background is the post-war economic recovery, and the lyrics sung was sophisticated. Art Rock was the Western cover song because it was difficult to sing in Japanese. |
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| During that time, Japanese professional writers invited idol singers to sing their songs and further inspired Kayoukyoku into pop music. The Disco movement reached its peak. Since the Disco movement spread around 1978, strictly speaking, from 1965 to around 1978, it can be said that Showa Kayoukyoku was the most prosperous period. You may not have a strong awareness. However, Japan is a country that was defeated in World War II. Music style and economic situation of the country are closely related. The music style and messages must obtain the approval of the people because. Japanese 60s were very dark because we experienced a riot era. Psychedelic movement in such a dark time has appeared. Of course the Showa Kayou of the time is very dark. But you guys have experienced the Psychedelic movement in the course of evolution of Rock music. Japanese words hardly fit the Rock rhythm. As You can hear Speed, Glue & Shinki, English song become Rock music easily in Japan. I and my friend group had discovered the Psychedelic sound on Showa Kayou which not a Rock music. Even if there is no Guitar hard play, Psychedelic sound is can have representation. |
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| By Kill Bill, Showa Kayou styles with Japanese woman's dark emotions (feelings, grudges, etc.) to have spread to western listeners. Especially in the Showa Kayou from the late 1960s to the early 1970s, which is considered important, Dark Feeling and Hip sound coexist under the influence of the Japanese social situation at the time. From these songs you will feel coolness. Of course, we can share those values with fans around the world. Used Japanese record dealers subdivided the dark Showa Kayou at that time. As you know, the psychedelic movement became active around the world in the late 1960s and early 1970s. The dark Showa Kayou that we subdivide is a song made under the psychedelic and hippie movement. It was a time when it was still difficult to make Japanese Rock. The singing method that emphasizes Vibrato, which was popular in Japanese pop songs at the time, creates a Psychedelic atmosphere by increasing the narcissism of the singers. By the end of the oil shock, this crazy style will change to a style like "あばずれ歌謡"(Abazure Kayou - Real bitch song) or "やさぐれ歌謡" (Yasagure Kayou) on pinky violence movies. "やさぐれ歌謡" Commentary from my eBay list Miki Sugimoto - Onna Bancho Nagaremono / Shinjuku Karumen (Carmen) (Japan Victor CAM-8 Stereo) 1972 From the X-rated Porn film "Girl Boss Guerilla" (Sukeban Gerira) Miki Sugimoto VS Reiko Ike. One of the greatest pinky violence actresses ever! Cat fight with tits action / Japanese delinquent queen. Killer Yasagure Funk Alltime Masterpiece with Sukeban Jingi (Girl Boss’ greeting speeches before their fight) Other examples 情念歌謡 Jounen Kayou A Woman's Deepest Feelings what made as the Man dumped her. Or the woman who demanded his love self-centeredly and went mad. It makes her Murderous intention and Grudge, Hate, and Sadness. She has intense jealousy by Crazy or Strange emotion. This is one of the strange expressions of Women's Lib or Crazy Feminism at that time. Jounen Kayou is the deepest style of Female Kayou. 悶絶歌謡 Monzetsu Kayou. It's a singer becomes emotional too much with Higher Key or Deepest Feelings, and thrilled with ecstasy in agony, and becomes self-absorption. It's Abnormal High Tension. It sings by an intense vibrato. Japan has many Monzetsu Kayou collectors. They are playing only Monzetsu Kayou. And they sing together and are thrilled with ecstasy in agony. I and my group made the big demand. フェロモン歌謡 Pheromone Kayou B-movie Style Pheromone Kayou, Sounds like a Pinky Violence Movie "Pheromone Kayou" is Sexy Female Feminine Kayou with Her Ecstasy. Many lyrics are described about Sex. Or sex is imagined by her sexy voice. |
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| Just as Western music charts were fragmented, the Japanese music scene was fragmented. "Enka" and "Kayou with Enka-like atmosphere" are different genres. It was clarified. But the crossover progressed as professional Enka writers provided songs to the Kayoukyoku field. This is similar to the business relationship between American Country music and MOR. However, in Japan, the song was dark because it was the period of Japanese riots. The sung theme is also severe and dark. Since the roots of Enka songs are protest songs, they often have dark ballads because they have elements that comfort minorities who cannot adapt to the social system. And the songs at that time, especially those that curse life inequality before and after the 1964 Tokyo Olympics, went dark. The peak was the US-Japan unequal security treaty. The Japanese people once again felt despair as a citizen of the defeated nation. In the United States, the violence of the Vietnam War has made listeners demand country sound as safe content. Rock field producers and writers, who understood the structure of the Country music, went for a crossover. Gary Usher was a producer in Columbia Records in the 60's. He produced The Byrds - Sweetheart of the Rodeo, which established a subgenre called Country Rock. The popularity of the album later allowed The Eagles to create great demand. I talked deeply about this in an interview with my best friend Gary Usher Jr. http://www.coolhand-records.com/GaryUsher-interview.html In other words, music of each genre after the early 70's had to crossover, but fans of the original sound felt uncomfortable with them. But diversification of music creates many obscure sounds. Kayoukyoku became a monster that swallowed Enka. Because that is the fate of popular music. |
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| Psychedelic is not only in Rock. For Psychedelic movement era you can check Psychedelic on a lot of music styles, Pop, Folk, Folk Rock, Kayoukyoku, Jazz and more. In Japan there is a music style called Acid Folk (Now it's called "Edge Folk" in the western market). Japanese are the Yamato race which is classified as an agricultural people or a maritime people, as they live in an island country. That is the unique Earthy feel of agricultural indigenous peoples makes sound like intense disappointment feeling, floating feeling, lost feel etc. Most of these reasons are the reaction of Japanese people who repel from compulsion from the West. The Japanese media called 怨歌 (Enka = Grudge song, Not "演歌") for this album. This is like a word game. Do you know Real People, Higher Key that Jargon in the Psychedelic music market. These Jargon mean the psychedelic sound that the singer put the emotion too much to make abnormal tension. Japanese Beatniks supported the lyrics Kan Mikami version "夢は夜ひらく" A man with no academic background is fighting with the values of society affected by poverty and Western influence. His anger and resentment are making strong emotions. It is going to psychedelic term Real People or Higher Key. 本当に行くというのなら この包丁で母さんを 刺してから行け行くのなら そんな日もあった It is a psychedelic world view that also leads to The Doors' Jim Morrison. 七に二をたしゃ九になるが 九になりゃまだまだいい方で 四に四をたしても苦になって 夢は夜ひらく "Word play with Kanji readings and Kun readings" If I add seven to two, I get nine (Nine = Ku = Suffer). Nine is better still. However, even if I add four (Four = Shi = Death) to four (Four = Shi = Death) , I get nine (Nine = Ku = Suffer). Dream Opens At Night サルトル マルクス並べても あしたの天気はわからねえ ヤクザ映画の看板に 夢は夜ひらく Even if Sartre and Marx are lined up I don't know the weather tomorrow Dreams open at night on Yakuza movie signs 風呂屋に続く暗い道 40円の栄光は 明日のジョーにもなれないで 夢は夜ひらく Dark road leading to the bathhouse My pleasure in getting 40 yen for the bath price, but it is not glorious. I can't be "Tomorrow's Joe" (Famous boxing manga at that time) Dream Opens At Night 八百屋の裏で泣いていた 子供背負った泥棒よ キャベツひとつ盗むのに 涙はいらないぜ A thief carrying a child who was crying behind a grocery store You don't need tears to steal a cabbage 四畳半のアパートで それでも毎日やるものは ヌード写真に飛び散った カルピスふくことよ What I still do every day in a small room in a ragged apartment that wipe my sperm splattered on nude photos 赤提燈に人生論 やけに悲しくつり合うが コップひとつの幸せを なんで飲み終る Life theory talking while drinking at a cheap bar I was sad, but I felt happy to drink a glass of sake. But why do I finish drinking 生まれ故郷の小泊じゃ 今日もシケだといっている 現金書留きたといい 走る妹よ Our hometown Kodomari (small fishing port in the north) says that it is no catch today My sister runs when she hears that the registered mail has arrived 本当に行くというのなら この包丁で母さんを 刺してから行け行くのなら そんな日もあった My mother said, "If you really want to go, stab me with this knife before you go." There was such a day 夢は夜ひらく唄っても ひらく夢あるじゃなし まして夜などくるじゃなし 夢は夜ひらく Even if I sing "Dream is open at night" My dreams do not come, nor do nights. Dreams open at night Dangerous lyrics reminiscent of drugs. It's make a bad trip atmosphere. This guy is suffering from poor living. This is this guy's grudge. He tried to leave home to escape poverty, but his mother stopped it. "If you run away from poverty, kill me with a knife and go out," says his mother. There is no job in the small fishing village in the northern part of his hometown. And depopulation is progressing. Nevertheless, this guy repeats masturbation while looking at pictures of pin-up girls, longing for urban life. This is the lyrics Kan Mikami version ”夢は夜ひらく” |
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| Do you know Acid Folk? (Now it's called "Edge Folk" in the western
market). アシッド・フォーク (Acid Folk) is Psychedelic music. https://ja.wikipedia.org/wiki/%E4%B8%89%E4%B8%8A%E5%AF%9B 三上寛 Genre アシッド・フォーク (Acid Folk) So Kan Mikami is Acid Folk singer (Psychedelic Folk Singer) in Japan. Do you know Real People, Higher Key? that Jargon in the Psychedelic music market. These Jargon mean the psychedelic sound that the singer put the emotion too much to make abnormal tension. Regarding Kan Mikami, it was not the record company's initiative but the result he wanted, but he did not yearn for a folk singer, 小林旭 Akira Kobayashi was his roots. (Akira Kobayashi married Hibari Misora in 1962 but divorced in 1964) Mikami advocates 怨歌 (Enka, Grudge song). However, the word play in Japanese, such as "艶歌 Enka, Sexy song" "怨歌 Enka, Grudge song" and "援歌 Enka, Cheer song" Are different from the term "演歌 Enka" we discussed. Kan Mikami later became an 演歌 Enka singer, but he was an 怨歌grudge song singer when he debuted. His heavy vibrato vocal makes it easy for western users to mistake him for 演歌 Enka singer. I can tell you the roots of Enka kobushi vibrato. Tuvan throat singing, Khoomei, Hooliin Chor (in Mongolian, ‘throat harmony’), or Mongolian throat singing is one particular variant of overtone singing practiced by people in Mongolia, Inner Mongolia, Tuva and Siberia. https://en.wikipedia.org/wiki/Tuvan_throat_singing The kobushi vibrato of Japanese home Enka and Min'yo songs shake the throat, and convey the gentle lyricism of the native township far away. This is a traditional way for Asians to express their voices to distant people with emotion. Throat singing, which is said to have originated in the mountainous region of the northwestern part of Mongolia, uses its unique vocalization method to make a roaring sound that is said to be an amazing singing method, and to roar in the grassland. Khoomei is a singing method that is deeply tied to pre-Lama Mongolian traditional shamanism. Originally it was not intended to be heard by the audience, but as a praise of the natural spirits that live in mountains, rocks, lakes and deserts. When Khoomei's voice echoes in the mountains, Mongolian spirits turn into vehicles like swans. Khoomei can be played even higher, entrusting the swan with the desire to coordinate the upper and lower worlds. |
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| So why was the popular song and Kayoukyoku of the time, irrespective of only Mikami, they singing grudge songs? This is the result of the strategic coercion of the United States having a great influence on the social structure of Japan. As a result, the gap between rich and poor has increased. The Japanese at that time were very dissatisfied with rich and poor, winners and losers, capitalism, educational background, political corruption, etc. Akira Kobayashi's 1959 Nagashi's movie "ギターを持った渡り鳥" seemed to be a cool lifestyle for young people at the time. A tough guy played by Kobayashi. Mikami have admired Kobayashi for a new style of anti-social position. It's called “Nagashi", which has a connection with society while singing message songs without belonging to the system. The true intention of the people in the red-light district is that with the end of 植木等とクレージーキャッツera (A representative group of comedy films based on office workers during the period of high economic growth in Japan), These Nagashi singers are often featured on television programs from the late 60's to the early 70's, as the media wanted to portray the distressed youth. 三上寛 Kan Mikami sings with a guitar in the Nagashi style It's not Acoustic guitar = Folk music. Structurally it's 歌謡曲 and it's singing using Kobushi vibrato, It is only easy to be mistaken for Enka. Many of the roles in the movie that Kan Mikami appeared at that time was "Nagashi singer" "流し Nagashi" is a profession that existed before karaoke became popular. Nagashi sings songs for customers in streets and bars. At that time, there were many orders for dark songs. Nagashi does not necessarily need to be Enka, but they sing in response to customer requests at a dark spot and bar. At the time it was demand that only dark and sad songs reflect Japanese society. 三上寛 Kan Mikami sang it. Saburo Kitajima was an aspiring 歌謡曲 singer from Hokkaido and played Nagashi for his life in Tokyo when his early days. Keiko Fuji was working Nagashi with her mother, who was born in Iwate Prefecture and was a 浪曲師 for their life. "ギターを持った渡り鳥" is a movie of "Nagashi" played by Akira Kobayashi Even Kan Mikami, who had that root, was a poor young guy from Aomori. A common life background is group employment. Collective employment is from the northern villages that were actively performed during Japan's high economic growth period. A large-scale employment movement by northern young people in urban areas, immediately after graduating from northern junior high school, These young people were go to Tokyo and they were called "Golden eggs" at the time. Japan achieved rapid economic growth around the 1964 Tokyo Olympics, but only in Tokyo and the major cities. People from Hokkaido and the northern part of Tohoku, who cannot live by agriculture alone, went to Tokyo, where there were not enough workers. Young people who have only graduated from compulsory education. There was a situation of sending out young people who just graduated from junior high school. In particular, until around 1970 (昭和45年), many households could not afford to go to high school, etc. because their income was not so high. For this reason, both parents and schools have thought that they would actively seek employment in urban areas, hoping that children would become financially independent by finding employment in urban companies. This made a disparity society by educational background. It was a disparity society between Tokyo and local. Young people from the northern part became a social gear in Tokyo, and men and women from middle and high school graduates had lower salaries than university graduates, and there was a large difference in welfare such as company housing. This is also noted in the note "Tears of Ignorance" by Norio Nagayama, the culprit of the consecutive shootings from 1968 to 1969. https://en.wikipedia.org/wiki/Norio_Nagayama Keiko Fuji and Kan Mikami's songs were heavily influenced by Nagayama's murder. Because it has the same background and sadness of young people living in the north. But it is a theme that has nothing to do with enka, and their songs at that time have no enka skills or composition. But their strong grudges are like kobushi vibrato and the songs are so dark that western users will think they are enka singers. This may be a tragedy made by the educated and disparity society. Therefore, since Saburo Kitajima, Keiko Fuji and Kan Mikami have the same backbone, the sorrows they sing are based on the sadness and regret shared by those from the north at that time. It is not just a theme of enka, and the sorrows of the indigenous agricultural people living away from home may not be understood by Western nomads or hunter-gatherers. However, it may be similar to the common theme of immigrants who suffer discrimination, the hardship of living from poverty. |
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| At that time, cheap cannabis and marijuana were flowing to the west due to the eastern strategy due to the deterioration of the Vietnam War. In Japan, thinner, morphine, bond, cemedine and other popular games are also spread, and in the scene where Kan Mikami and 浅川マキ Maki Asakawa appeared, there was a light down of the club. There has stoned young people. The social criticism to the West and the United States, but it is make a laugh if Westerners are give praise to Kan Mikami without knowing it. In this situation, I think that Japanese songs should be categorized under the initiative of those who understand the history of Japan and the development of Japanese music. Abuse and widespread misunderstanding that this problem must be addressed here will persecute traditional Japanese music culture. Such cultural protection work is performed in every country. The fact that the people of the west of the victorious country do not understand surprisingly the relationship between the losing country's cultural protection and the governing nation, the United States and Japan. It is important that Japan be a monoethnic (ethnically homogeneous nation state) and a small island nation.Japanese are indigenous agricultural people. We share standards while confirming each other's consciousness based on lifestyle. So Japanese can share these feelings and nuances without explanation. Asian ethnicities do not like breeding (including cultural invasion), such as western nomads and hunter-gatherers. I know what Japan has a culture that likes vague and ambiguous expressions. Many obsucure things on Japanese music products by that. We know that everything can not be separated by Yes or No. However, such practices are effective only in single ethnic countries. In order to explain it for other people, we must explain with essential and cultural backgrounds. It is different from sharing consciousness among Japanese people by unique nuance. They can not understand the word play of Kanji that only Japanese can understand. |
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| They really do not understand. Even if these record has credited as "民謡" they can not read it, so they select Enka tag without choosing the Min'yo tag. They were deified Enka by Kill Bill. They recognize Enka as a newly appearing genre like "a dark and moody Japanese downer song". Westerners using Enka tag for even Hako Yamasaki and Doji Morita. Eikichi Yazawa, His vocal is heavy vibrato, For just that reason Westerners make Eikichi Yazawa a category of Enka. Likewise They also make Mikami Kan a category of Enka. That was making LOL of Japanese users. I am a script writer, supplier etc for oldies radio program called "Sunday songbook". I have been involved in many types of Japanese record guide books and CD reissue. I'm also writing liner notes for reissue products. I have been involved in classifying music genres for many years. Reissue Producer on this product 田口史人 (円盤), 高護 (ULTRA-VYBE / Solid Records) They are my customers. They often buying rare records from me. Especially 高護, I know him from when he was managing the Cools fan club. They are engaged in work that spreads Japanese subculture music globally like me. However If Japanese do not properly understand and control Japanese-specific music, Westerners will break Japanese culture by their expansive interpretation. Western people who do not know the Japanese culture and Japanese history of music development have chosen the wrong category for Japanese music. Thereby it might be persecuted until the public image of Japanese musicians and singers. Cultural protection on music has been made anywhere in the world. |
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