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#artist enka
goatondaroad · 1 year
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Chi-chi week 06: Idol AU/Dress (With an alt!)
So the alt was actually the first one I made cause there were enough dresses already from other artists but it turns out it was because of the prompt :^) had to re-do the challenge but I'm thankful she can pull both of those off flawlessly
@celebratingchichi
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helloprojectarchive · 2 years
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中澤裕子- 上海の風 2000年
nakazawa yuko singing “shanghai no kaze” year 2000
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blackdayoff · 2 years
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Prototype Enka!
A character from a current WIP.
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ladyloveandjustice · 3 months
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why are y'all giving this poor kid a thirty question interview let him sit down.
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okay so I had to google to see why that's a funny answer, and came across a full metal panic tumblr that answers this very question! See it here. According to askfullmetalpanic:
In TV media you have to be more careful about product naming than in novels, so they changed it to made-up artists. If you want to look up the real people it’s Hiroshi Itsuki (an enka singer/composer) and SMAP (I think many people have heard of them, they’re a boy band).
It’s not that it’s a ‘stupid’ answer, but wildly unexpected, not to mention a bizarre combination. In the anime, the boy band SMAP was replaced with a girl pop group more similar to something like Morning Musume. And then you have Hiroshi Itsuki, a much older artist who uses the more traditional style of song.
It’s like saying you like the Backstreet Boys (or Spice Girls, if you use the anime change to a girl group) and Frank Sinatra lol
Sousuke is now a man of diverse tastes.
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zenigatakeibu · 5 months
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What does Zeni like to listen to on his walkman?
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// zeni's favorite genres are enka and japanese jazz fusion!! a few of his top artists are yuji ohno, masayoshi takanaka, kiyohiko ozaki, jiro inagaki, and yosui inoue. most (if not all) of his music is from the 70s and 80s, he very much sticks to what he already knows he likes. if u wanna give his mix a try, i've made a playlist here!!
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osharenippon · 1 year
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70s Japan Trends Through the Music Charts (Part 2)
During the 1970s, the Japanese music industry was in the process of forming its identity. In addition to mirroring the musical preferences of the nation, the charts also served as a reflection of the prevailing societal trends and ambitions of that era. In this series, we chronicle the most significant musical trends of the decade.
70s Japan Trend Through the Music Charts (Part 1)
Trend #4: The Impact of Discover Japan
In 1970, Osaka hosted the World Expo, marking a significant milestone for post-war Japan following the 1964 Tokyo Olympics. To accommodate the influx of visitors, the government expanded the rail network, enabling over 60 million people—half of the nation's population—to journey to the World's Fair. However, as the Expo drew to a close after six months, concerns arose about the railways becoming obsolete. So, with the help of the ad agency Dentsu, they devised a campaign to stimulate domestic tourism by rail. The result was "DISCOVER JAPAN," one of the most iconic campaigns of the decade (which, curiously, was partially inspired by Ivy Fashion brand VAN).
"DISCOVER JAPAN" profoundly impacted Japanese society by popularizing solo travel and igniting domestic tourism, particularly among young women who ventured out on their own. This trend was further fueled by the launch of the first female fashion magazines, AnAn and Non-no, both of which extensively covered visits to charming cities across the country. Cities known as "Little Kyoto," which retained their Edo Period architecture and charm, were particularly attractive to these travelers.
Influenced by fashion magazines, these trend-conscious women journeyed to small cities throughout Japan, earning them the moniker "AnNon" (a fusion of AnAn and Non-no). Their impact during the 1970s was significant enough to be mentioned in a song by Sada Masashi, one of the decade's prominent folk singers.
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"DISCOVER JAPAN," the print and TV campaign devised by Dentsu, is one of Japan's most successful and era-defining marketing campaigns.
Sada Masashi rose to fame in the early 1970s as part of the folk duo Grape before launching a successful solo career. In 1977, his song "Ehagakizaka," which paid tribute to his hometown of Nagasaki, mentioned identically dressed stylish young girls in denim, clutching AnAn and Non-no magazines while photographing their surroundings. This song vividly captured the aspirational girl culture of the 1970s, characterized by "healing" domestic trips in pursuit of tranquility and small pleasures, hippie and boho-inspired fashion, and folk music as the soundtrack.
Masashi Sada's song and the AnNon-zoku tribe aside, "DISCOVER JAPAN," had an immense impact on different layers of Japanese society. And that included the music charts. In 1971, the two best-selling singles, "Watashi no joka-machi" by Rumiko Koyanagi and "Shiretoko ryojou" by Tokiko Kato, surpassed 1 million copies sold. Both perfectly embodied the campaign's spirit in highlighting the hidden beauties of Japan.
"Watashi no jokamachi," or "My Castle Town," marked Koyanagi's explosive debut, selling over 1.3 million copies. This enka-infused kayokyoku ballad paid homage to cities with Edo-like architecture, often centered around a feudal lord's castle, evoking a peaceful, melancholic atmosphere in its lyrics. Rumiko continued to sing about regional Japan's charms the following year with another hit, "Seto no Hanayome" (The Bride of Seto). Meanwhile, the folk-inspired "Shiretoko ryoujou" (Shiretoko Journey) celebrated the unique beauty and culture of the Shiretoko peninsula on Hokkaido Island.
In the same year, other artists also succeeded by spotlighting provincial Japan. Enka superstar Shinichi Mori delved into this theme with "Boukyou" (Nostalgia). At the same time, Yuuko Nagisa found success with a Japanese rendition of The Ventures' "Kyoto Doll," titled "Kyoto no Koi" (Love in Kyoto). She would go on to have another top-selling single with her version of another Ventures song, "Reflection in Palace Lake," transformed into "Kyoto Bojo" (Kyoto Longing).
Trend #5: The Legend of Momoe Yamaguchi
"Aidoru" or "idols" are cute girl/boy-next-door types who sing, dance, act, host TV shows, and star in countless commercials. They stand as one of the cornerstones of the thriving multi-billion yen Japanese entertainment industry. The 70s was an essential era for consolidating this type of star. And one idol, in particular, shone the brightest: Momoe Yamaguchi.
Momoe is a legendary star and an example of an "aidoru" who excelled at everything, exuding sophistication, talent, and sex appeal. The fact she retired from public life at the height of her fame cemented her mythical status.
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Momoe Yamaguchi in her prime, the idol industry's gold standard.
In 1972, at the tender age of 13, Yamaguchi auditioned for the talent search TV show "Star Tanjou!" (A Star is Born). Her crisp singing voice and mature beauty immediately captured the industry's attention. Hori Production, the entertainment agency, and Sony CBS label swiftly recognized her potential and signed her. In May 1973, five months after her televised audition, she made her official debut with the single "Toshigoro" (Adolescence). Although Sony had a history of immediate success with newcomers, Momoe's first single received a tepid response, so her label decided to court a bit of controversy for her sophomore outing. "Aoi kajitsu" (Ripe Fruit) had the innocent-looking 14-year-old girl singing, "you can do whatever you want to me, even if they say I'm a bad girl." The racy lyrics worked, and the single was a success. 
A few months later, Yamaguchi's backers repeated this formula with "Hito natsu no keiken" (One Summer Experience). The song began with a suggestive promise: "I'll give you the most precious thing a girl has." The lyrics were laden with double entendres, describing a "sweet trap of temptation" that can only be experienced once. She sang, "if the person I love is pleased, then I'm happy. I don't mind if you break it," which could be understood as a reference to a girl's hert or hymen.
The single was an explosive hit, propelling 15-year-old Yamaguchi into the A-list. For the remainder of her career, she was frequently asked about the "most precious thing a girl has," to which she'd always offer a stern-looking reply: "her devotion."
The young, mature-looking girl singing thinly veiled songs about sexual awakening with a dark, serious-looking image set her apart from the prevalent happy-go-lucky idol aesthetic. However, it wasn't merely reliance on gimmicks that transformed her into a legend. In 1976, after firmly establishing herself as a star, she parted ways with her frequent collaborators, lyricist Kazuya Senke and composer Shunichi Tokura. Beginning with the single "Yokosuka Story," she partnered with the husband-and-wife duo Yoko Aki and Ryudo Uzaki.
Ryudo Uzaki, the frontman of the popular enka rock band DOWNTOWN BOOGIE WOOGIE BAND, infused her kayokyoku tunes with a rock edge. Through her lyrics, Yoko Aki redefined Momoe's image as a confident, clear-eyed girl transitioning into womanhood. Initially, Sony opposed Momoe's desire to collaborate with Aki and Uzaki, but the partnership ultimately helped her reach her commercial peak.
"Yokosuka Story" was Momoe's first single to reach the number 1 spot on the weekly charts. The Aki-Uzaki duo penned several other hits for her, including "Playback Part 2" and "Sayonara no mukougawa" (The Other Side of Goodbye), and opened doors for her to collaborate with other luminaries of Japanese music. Two of her most memorable hits, "Cosmos" and "Ii hi tabidaichi" (Beautiful Day Departure), both released in 1978, were penned by folk superstars Masashi Sada and Shinji Tanimura of Arisu, respectively. The latter became the theme song for the iconic DISCOVER JAPAN TV commercials.
Speaking of commercials, idols worth their salt can't limit themselves to music. Momoe earned millions being the face for Toyota cars, Fujifilm photographic films, Casio watches, and Glico confectionary products, among others. She also starred in highly-rated TV dramas and ventured into the world of film.
Starting in 1974, she appeared in two romantic films per year, always paired with Tomokaza Miura as her co-star. While Momoe pursued various ventures, Miura's acting career primarily revolved around being her on-screen romantic partner. Their undeniable chemistry and the box-office success of their films led to them being known as the "golden combination."
In a concert at the end of 1979, Momoe stunned her audience by revealing that her on-screen partner, Miura, was her real-life boyfriend. In a subsequent press conference in March of the following year, she confirmed her intention to marry him and retire officially. In September, she released her autobiography, which sold over 1 million copies in a month. In October, she bid farewell through a series of TV specials and a concert at Nippon Budokan. Her farewell concert reportedly earned Hori Productions over 20 million dollars, according to figures provided by the agency to Billboard magazine at the time. Momoe's success allowed HoriPro to become one of the best-established entertainment agencies in Japan, a position it still holds today. Her final performance took place at HoriPro's 20th-anniversary event, where she sang "Ii hi tabidaichi." In November, she married Miura and disappeared from the media.
The Japanese public obsession with her never waned. Paparazzi tried to capture her at her son's kindergarten graduation ceremony and doing classes at a local driving school. Many speculated she'd eventually come out of retirement. She never did, which only helped feed the obsession around her.
During the 1970s, Yamaguchi enjoyed immense success, but she was one of many popular female idols. The narrative created by her retirement elevated her to the status of a larger-than-life legend. She became the gifted, beautiful young woman who succeeded as a singer, a TV actress, and a movie star before choosing the ultimate happy ending: marriage. By choosing love, Momoe Yamaguchi, the legendary idol, transformed into an ordinary woman—a real-life fairy tale that resonated deeply with Japanese society.
Her decision was driven by profound motivations. Momoe revealed in her autobiography that she was raised by a single mother, the product of an extramarital affair. Her challenging upbringing and her father's late appearance to capitalize on her fame instilled a deep desire for a traditional, happy family life. She also grew weary of the relentless demands of stardom and the repetitiveness of performing the same songs. Thus, she made a heartfelt choice to relinquish fame and public life to give her husband the most important thing a girl has: her devotion.
Trend #6: Idols' Rise
The term "idol" in the Japanese entertainment industry finds its origins in the French film "Cherchez l'idole" (1963), which enjoyed immense popularity in Japan. Initially, "Aidoru" was used to describe the film's star, Sylvie Vartan, before it evolved into a general term to describe youthful-looking triple-threat domestic stars.
Before the coining of the term, "idol-like" stars had already existed. In the 1930s, Machiko Ashita attracted crowds to the Moulin Rouge Shinjuku and served as the face of several brands. In the 1950s, rockabilly stars enjoyed massive popularity among the youth, and the 1960s saw the rise of manufactured "group sound" bands and the female duo The Peanuts, comprised of twin sisters. Legendary stars such as Hibari Misora, Sayuri Yoshinaga, Teruhiko Saigo, Yukio Hashi, and Kazuo Funaki thrived as both movie stars and successful singers.
However, the 70s marked the consolidation of the "idol" aesthetic and career path, paving the way for the "golden era of idols" in the next decade. Essential for it to happen was the widespread adoption of the medium where idols shine the brightest: television.
TV allowed entertainment agencies to aggressively push their young, fresh-faced talents in front of a broad audience. They populated music and variety shows, commercials, and dramas. They were immaculate, life-sized stars ready to play the part of the nation's sweethearts.
Although history has crowned Momoe Yamaguchi as the ultimate 70s idol, she was just one among many during most of that decade. A closer examination of the numbers reveals that Mari Amachi, a female idol, had the most significant short-term impact during that time.
Amachi was first introduced on the popular TBS TV drama "Jikan desu yo" (It's Time) in 1971, playing "Tonari no Mari-chan" (Next Door Mari-chan). She played the minor role of a cute girl who lived close to the show's primary setting, a family-run public bathhouse, and often appeared by her window, playing guitar and singing. By October, with the backing of the biggest entertainment agency of the era, Watanabe Production, and Sony CBS, 19-year-old Mari Amachi officially debuted with the single "Mizuiro no Koi" (Light Blue Love). It was a hit—the first of many. Mari would be 1972's best-selling act, achieving high sales with four albums and five singles.
Mari's image, characterized by an innocent aura, a happy-go-lucky personality, and frilly dresses as stage outfits, became the prototype for female idols. Her short hair and chiseled smile earned her the nickname "Sony's Snow White," evoking the image of a fairytale princess. Unsurprisingly, she was particularly popular with children, leading Watanabe Pro to license her likeness for various goods, including the coveted "Do-Re-Mi Mari-chan" Bridgestone Cycle bicycle, highly sought after by young girls in the early 70s.
Despite her rapid rise to fame, Mari's time at the top was short-lived. By 1974, another Watanabe Pro idol, Agnes Chan, was already surpassing her in sales. In 1977, Mari's health deteriorated, and she took a lengthy hiatus, officially attributed to thyroid issues but later revealed to be depression triggered by her waning popularity. In 1979, she attempted a comeback, even bagging an endorsement deal for an ultrasonic facial device, one of the year's hit items for women. But her time had passed and she didn't find much success. Eventually, Mari's career took unconventional turns, including involvement in a softcore porn movie, the release of nude photobooks, and a transition to becoming a "fat" talento (TV personality), followed by a weight-loss book.
In 2015, in her last public interview, she revealed that, at 63, she was living in a retirement home in the Tokyo suburbs. Her fan club covered her expenses, while her daughter provided a modest weekly allowance. This marked a stark contrast to her glamorous peak years and serves as a reminder of the challenges idols face in the Japanese entertainment industry, particularly women, and how easily discardable idols can be. It also shows how wise Momoe Yamaguchi was, bowing out gracefully at the right time.
However, Momoe Yamaguchi and Mari Amachi represent two extremes within the realm of idols. While Mari achieved record profits for two years before facing decline and eventual obscurity, Momoe maintained relevance for nearly a decade before choosing to marry her on-screen partner, retire, and become a living legend. Most other 70s idols did not experience such remarkable destinies.
In 1971, two other young idols, Rumiko Koyanagi and Saori Minami, made their debut alongside Mari Amachi. The trio was collectively known as the "shin sannin musume," or the "three new girls." Their joint concert at the Budokan on Christmas of 1972 solidified their shared nickname.
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The Shin San-nin Musume. Clockwise: Rumiko Koyanagi, Mari Amachi, and Saori Minami.
Rumiko Koyanagi had her skills honed at the Takarazuka Music School. Takarazuka is a very traditional, all-female theater group, and their training academy is known to be highly rigorous and selective. Koyanagi graduated top of her class but wanted something other than a musical theater career. Instead, her goal was to debut as a solo singer. So she left the Takarazuka Revue and signed with Watanabe Pro and Warner Pioneer label to fulfill her dream. Her first song, "Watashi no joka-machi" (My Castle Town), buoyed by the "Discover Japan" boom, surpassed 1 million copies sold, becoming the best-selling single of 1971.
Rumiko's repertoire predominantly featured enka-influenced kayokyoku. Her classical sound may not have been as appealing to the youth as some of her peers' slightly more modern tunes, but it ensured her stable sales throughout the decade. In her sixties, Rumiko has reinvented herself as a passionate soccer fan and a glamorous senior lady, sharing lifestyle tips and her love for Chanel and Lionel Messi on Instagram. She also conducts dinner shows, a lucrative type of intimate concert usually held at luxury hotels, where fans pay hefty prices to enjoy a multi-course dinner while listening to nostalgic hits.
The third "shin sanin musume" is Saori Minami. Minami didn't have a million-selling debut like Rumiko, nor did she become an instant sales behemoth like Mari. That didn't mean she was less impactful. Quite the opposite. Hailing from Okinawa, still under US occupation during her debut, Saori impressed Japan with her exotic beauty. In 1971 and 1972, she outsold every other female idol in bromide sales. Bromide is the local terminology for photographic portraits of celebrities, and historically, its sales are the best way to gauge how popular an idol is.
Her first single, "17-sai" (17 years old), became a classic and enjoyed enduring popularity, with several artists covering it over the decades. After retiring in 1978 upon her marriage to legendary photographer Kishin Shinoyama, Saori made a comeback in 1991 but has made only sporadic public appearances since then.
Two years after the emergence of the "shin sannin musume," a new trio of newcomers known as the "Hana no Chuusan Trio" or the "Chuusan's Flower Trio" (a reference to the fact all of them were in Chuusan, the third year of middle school) came into the spotlight. Masako Mori, Junko Sakurada, and Momoe Yamaguchi were all revealed in the talent search TV show "Star Tanjou" (A Star is Born). In 1975, by the time they were in their second year of high school (kou 2), they co-starred in the successful film "Hana no Kou 2 Trio."
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The Hana no Chuushan Trio: Momoe Yamaguchi, Junko Sakurada and Masako Mori.
At 13 years old, Masako Mori secured her place as the inaugural "Star Tanjo" grand champion in 1971. The following year, she debuted under Hori Production and swiftly soared to success. Mori's music was deeply influenced by enka, and by the close of the decade, she had solidified her status as a fully-fledged enka star. In 1986, she tied the knot with enka superstar Shinichi Mori, leading her to retire from the entertainment scene. However, in 2005, following her divorce, the former idol made a comeback, embarking on tours and participating in TV dramas for a few years before ultimately deciding to bid farewell to her career once more on her 60th birthday in 2019. Notably, she shares three children with Shinichi Mori, including TAKA, the lead vocalist of the popular rock band ONE OK ROCK.
Junko Sakurada clinched victory at "Star Tanjo" in 1972 at 14. Subsequently, she signed with Sun Music agency and Victor Music, marking her official debut in February 1973 with the release of "Tenshi mo yumemiru" (Angels Also Have Dreams). Given their similar age, niche, and close debut dates, the industry and some fans pitted her against Momoe Yamaguchi despite their behind-the-scenes friendship. Both idols enjoyed substantial popularity, with Yamaguchi usually holding an edge in sales. The exception was in 1975 when Junpei, as fans affectionately knew her, dominated as the best-selling female idol in music and bromide sales.
In addition to her music career, Junko excelled as an actress. In 1983, she opted to conclude her singing career to dedicate herself solely to acting. A decade later, in 1993, the former idol shocked Japan by announcing her participation in a mass wedding ceremony organized by the controversial South Korean Unification Church at the Olympic Stadium in Seoul. Her husband had been chosen for her by the church.
Her association with the cult brought her career to an abrupt halt. With her image becoming closely linked to the church, TV networks and advertisers distanced themselves from her. Consequently, Junko relocated from Tokyo, devoting herself entirely to her faith and family. Since then, she has made a few comebacks. In 2006, she published a highly-publicized essay book, and in 2013, she celebrated the 40th anniversary of her debut with a special concert. In 2017 and 2018, she returned to the stage, coinciding with her musical comeback and the release of a new album, "My Ideology."
After this project, Junko has remained out of the spotlight, with an official return unlikely unless she completely renounces her ties with the United Church. The cult's controversial image became even more repellent following the murder of former Prime Minister Shinzo Abe in July, committed by a young man who attributed his family's financial and psychological turmoil to the church. Consequently, the cult's unethical financial practices and ties to the ruling Liberal Democratic Party have become widely discussed topics in the country. For Junko Sakurada, her affiliation with the cult has overshadowed her otherwise successful decades-long career.
Completing the trio alongside Junko and Masako was Momoe Yamaguchi. Although Yamaguchi's career has eclipsed that of almost every other idol of the 1970s, she initially experienced the least success among the three young girls. Unlike her peers, both of whom had claimed grand champion titles at "Star Tanjou!," Momoe secured second place at her final showcase. Moreover, her debut single was the poorest-selling among the trio. However, she would ultimately emerge as the definitive idol, and her retirement would serve as the perfect conclusion to an epoch-making career.
While Momoe, Junko, Masako, Mari, Agnes, Rumiko, and Saori, among others, collectively set an impressive precedent for future female idols, male idols also played a significant role in the era. In terms of profitability, male idols reigned supreme, thanks to the unwavering loyalty of their female fanbase. Johnny Kitagawa, the late founder of Johnny's Jimusho, would eventually become the most influential figure in the entertainment industry by monopolizing this niche for decades with his boybands.
However, during the 1970s, Kitagawa was just one among many. Although his agency achieved considerable success with the boyband Four Leaves, it was soloist Hiromi Go who briefly held the nation under his sway between 1973 and 1974. Unfortunately for Kitagawa, this period of dominance proved fleeting, as Go departed for another agency in 1976, signaling that Johnny Kitagawa still had much to accomplish to solidify his authority.
With Johnny's domination still on the horizon, Hideki Saijo emerged as the most influential male idol of the 1970s. Saijo enjoyed success with several hit singles, including the ballad "Chigireta Ai," released in 1973, and 1979's "Young Man," a cover of Village People's "Y.M.C.A." Demonstrating the power of devoted fangirls, Saijo became the first domestic solo artist to perform a concert at Nippon Budokan. His popularity quickly transcended the Budokan, propelling him to the status of a stadium headliner and solidifying his position as the decade's top concert ticket seller.
The loyalty of fangirls meant that male idols consistently outperformed any act in ticket sales. In the 1960s, The Tigers, considered one of the pioneers of the "group sound" movement and regarded by many as Japan's first idol group, became the first domestic act to hold a stadium concert. By the following decade, the "group sound" era had ended, but some former band members successfully transitioned into solo careers.
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Kenji Sawada and Hideki Saijo, the two stadium-selling male idol superstars from the 80s.
Kenji Sawada, the former lead vocalist of The Tigers, remained a constant presence on the charts throughout the 1970s. Under the guidance of the influential Watanabe Pro agency, Sawada succeeded as a singer and actor. He brought a rockstar aura to his performances, incorporating impactful and extravagant visual elements and pioneering the use of makeup, drawing inspiration from David Bowie and glam rockers. In doing so, Sawada laid the groundwork for visual kei, a movement that would revolutionize Japanese rock in the late 1980s and early 1990s. Nicknamed "Julie" since his early days in the 1960s due to his admiration for Julie Andrews, Sawada continues to thrive as a prominent music figure in Japan, one of the few stars from that era still capable of selling out stadiums.
While girls' adoration often paves the way for male idols to enjoy lengthy careers, there are exceptions to this rule. In 1974, Finger 5 became one of the best-selling idol groups in the country. Comprising five young brothers from Okinawa, they were marketed as Japan's response to the Jackson 5 and consistently churned out hit singles. However, just two years later, their popularity took a nosedive. Several factors contributed to this decline, notably their heavy reliance on the two youngest members, aged only 10 and 12. These youngsters not only grappled with exhaustion from relentless work schedules but also faced the challenges of puberty, causing their voices to change and preventing them from hitting the right notes in their songs. Consequently, Finger 5 lost its appeal.
Finger 5's brief career underscores a crucial aspect of the idol industry: the importance of youthfulness. In Japan's gender-biased society, some male idols from the 1970s were granted the opportunity to age gracefully, evidenced by a few who maintained success well into their 60s and 70s. In contrast, female idols invariably confronted the pressures and inevitable decline associated with aging.
This brings us back to the quintessential idol of that era, Momoe Yamaguchi. By choosing to retire and steadfastly resisting any temptation to reenter the public eye, Yamaguchi effectively became frozen in time at 21 years old, her age at the moment she bid farewell to both showbiz and the public. This solidified her status as a legendary and unattainable icon—an idol who never aged.
70s Japan Trends Through the Music Charts (Part 3)
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swiftcola · 6 months
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posting this here bc i don’t know any other crowd it would appeal to but if you’re into blues or enka at all, mina aoe is an absolutely stellar artist. the production of the music is just fucking exquisite and her voice is extraordinary. so deep and husky and just so perfect. her music’s on spotify, literally just listen to any of it, it’s all great
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Do you have any headcanons about how deep cut met? 👀
Ooo i had to think about this one a little bit, im really curious as to how they met in canon because i think there's a LOT of ways the three of them could have come together
This will contain spoilers for splatoon 3's story mode so read no further if you haven't played yet!
Big Man has a love of music and creating beats, he has been working on producing his own music for years but was really just an obscure indie artist nobody besides his 1000 monthly splatify listeners knew about
Shiver is a shark tamer and Frye an eel tamer, so I think they could have met when they were young and learning the art of how to tame these sea creatures
Shiver and Frye could have been rivals perhaps? as children they might have been jealous over the other person's skill and always wanted to beat each other until they realized that both of them are good in their own way -w-
I think Shiver comes from a royal or wealthy family who live secluded from most of octarian society and avoided things like the draft and mind control
Frye also definitely comes from a family of wealth or power as her whole family has been eel tamers for generations
Basically Frye and Shiver both come from wealthy and/or powerful families that are unique in their heritage and generational knowledge being passed down again and again, and thus i believe their ancestors formed an allyship during the Great Turf War (or before) and vowed to protect each others families and their arts
(What about big man?? i hear you asking, im getting there)
Frye is skilled in traditional dance as it is a large part of how she is able to control her eels as seen in her boss fight, i think she enjoyed dancing even when it wasn't for training the eels and practiced to shiver singing 🥺
Shiver is an Enka singer! a type of traditional japanese singer where their technique involves the pitch of their voice changing unexpectedly, you can clearly hear this method in deep cut's "Now or Never" when shiver sings that "laaa la lala la laaaa"
Maybe it was just random happenstance that brought Big Man's music to their attention, like a spotify discover playlist was on and one of his songs played and shiver and frye were like "dang whos this guy"
Maybe big man was DJ-ing at a party they were at or something idk!
Essentially Shiver does some freestyling over one of his songs and big man hears and is like "wow whoever is singing is so good i wish they'd sing on my tracks all the time" and then they met and were like omg lets start a band??!?!
Also frye is good at singing too obvs and big man so they all use their different vocal talents to bring the songs together <3
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Karate Master (one generation of karate fools) (sung by: Masato Shimon, music: Masaaki Hirao, lyrics: Ikki Kajiwara) Enka
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An animation work modeled after a real martial artist. Masutatsu Oyama, not satisfied with the rules of karate that do not strike the opponent, established his own ``Kyokushinkai'' and spread it to the world. When I was young, I groaned at the story of how he secluded himself on Mt. Kiyosumi in Chiba Prefecture and cut off his eyebrows so that he would not be able to meet people until he became strong. You're going to get stronger.
However, Ikki Kajiwara, the original author, tends to exaggerate the story, and it must be discounted that many lies are written in "Karate Baka Ichidai".
空手マスター(空手バカ一代)(歌:子門真人 曲:平尾昌晃 詞:梶原一騎) 演歌
実在の武道家がモデルのアニメーション作品。相手に打撃を加えない空手のルールに飽き足らず、独自の「極真会」を設立し、世界に広めた大山増達。若いころ、千葉県の清澄山に籠って修行し、強くなるまでは人に会えなくなるように眉毛を切り落とすというエピソードには唸った。強くなるわけだ。
ただし、原作者の梶原一騎は、話を誇張する傾向があり、「空手バカ一代」にも、多く嘘が書かれていることは、割り引かなければならない。
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liainettofficial · 1 year
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For those who read the Prologue comic
Decided to make a mini-episode about Enka Oryza’s and Phillip Whitsuna’s first meeting.
Quick info about featuring characters:
Enka Oryza (green eye-colored and purple haired girl) - a popular Sunset School student, partialy opera singer.
Phillip Whitsuna (brunette with green eyes) - school volunteer, limited librarian.
Rui Pewuine (blue eye-colored and light-brown haired boy) - Lilith’s classmate, horny IT specialist and Dawn’s best friend
Dawn Huego (red eye-colored and orange-yellow haired boy) - Lilith’s classmate, digital and traditional artist and Rui’s best friend.
Christina “Chris” Nightberry (yellow eye-colored and red haired girl) - typical country researcher, Sunset School student and Enka’s best friend.
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5 (the end!)
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putschki1969 · 1 year
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Hi Puts! Okay so I have been having these conversations with my brother about how we both feel that Keiko's voice would be perfect for the world of Kimetsu no Yaiba. This was before we both heard her renditions of the main theme of KnY for YK lives.
After hearing it, we're completely sold on it. I've been wondering why Keiko's not being recruited to sing the KnY themes (as a lead vocalist) or one of the OP/ED or probably even collab with LiSA/Aimer on that.
We both feel such a deeply rich voice as Keiko shines in these music renditions. Now with her take on enka, I think it would be a good addition to the KnY music.
Whenever I think about this, I wonder what it would've been if Kalafina was still together and how the songs would've gone. If they would be singing the now popular OPs and EDs, if the the songs would even be popular considering how niche their style is. And then I have to stop myself because I'll be too sad T^T
Anyway, what are your thoughts Puts? Thank you for your hard work and reading this ask!
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Hello there!
Sorry for the super late reply! This was in my drafts way too long,
100% agreed. Keiko’s rendition of the KnY theme is absolutely mesmerising, I simply cannot get enough of it. I had the privilege of experiencing it live back in 2019 during the YKL#15 tour. Mind-blowing to say the least. I personally prefer the older version because it sounds a bit more like Keiko I guess? I briefly mention it in my report for the YKL#17 broadcast but I feel like Keiko is trying a little too hard to sound like Chiaki Ishikawa in this latest version but still, she knocks it out of the park. A simply epic performance. 
I am afraid that Keiko isn’t established enough as a solo artist to get a gig for a big anime theme song like that. Plus, the creators of KnY clearly prefer a more generic sound for their OPs/EDs so having Keiko in charge of those songs would literally be a waste of her talent. But it’s a shame Yuki isn’t using her for the OST pieces. I mean, she has free rein to use whoever she wants for those tracks and Keiko would undoubtedly add a lot of spice to the music. A FictionJunction collab (similar to what they did with Sokyu No Fanfare) is a possibility for sure but I don’t know if that’s something Keiko would want. Also, I don’t think her vocals go particularly well with LiSA or Aimer.
Ah yes, I sometimes find myself dreaming of such scenarios as well...However, just like you, I kinda doubt that Kalafina’s niche style would have been deemed fit to represent such a popular and mainstream anime. As mentioned earlier, it seems like the creators prefer more generic vocals. Having said that, I think they would have absolutely rocked Akeboshi! 
*sighs* Entertaining the idea of Kalafina having such a huge breakthrough is certainly bittersweet. Just imagine all the possibilities...the entire world would know them! Maybe they would have gotten their own Netflix documentary just like LiSA? Or they could have gone on a proper world tour? But who knows if this is something they would have wanted at this point in their career... 
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clockworkspider · 1 year
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Hi!!!
I know you're into enka music and im sorta curious about getting into it as well...are there any artists in particular you'd recommend?
Honestly I think spotify actually have some pretty good Enka playlists. So if you use that you can start there. This one has quite a bit of range.
I'm not actually that picky in terms of artists. Cause I don't know it well enough to pick apart qualities of singing. I just like the way it sounds in general.
ANYWAY I'm not Japanese or an expert on music so I feel like anything I say here sounds bullshit even tho I just like to listen to lilting sounds and Enka uses some common singing techniques with classical Chinese music so al;skdf a;sdf...
I mean I can ask if you have certain taste. Like would you like intense moody ones, or gentle soothing love songs? There's also some faster tempo contemporary ones with a bit more rock influence.
In terms of voices there's some pretty distinct voice profiles. Like... here's a very smooth jazzy male voice. (And the above female voices are all the smoother side.) But there's also the... deliberately hoarse emotive voice, for both male and female, that sounds really passionate. I really like that.
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wanou-dorm · 1 year
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Dumb Hourglass Station Academy Event  idea
Hourglass Station Academy - @fumikomiyasaki So The Event is about “ Pokemon Killers “ Games or Franchises that Were said to To be Able to rival Pokemon or take its Place. So Evolunation Gang maybe We can Add @tsukikoayanosuke Melodiva go to Fuujin City For a Sort of Idol festival / Competition Upon here that Some Famous Idols mainly Peko are coming . Various Idols and Band not just From Evolunation are Finding important things Sabotaged costumes ripped upn, Music , Equipment,Make up artist and Hairstylists coming late . So They have to find Whose Doing this before something more Drastic happens.
Characters Exclusive to this Event(names Subject to Change )
Whistera (Real name Whisp Wimper ) - Twisted from Whisper from Yokai Watch . A Surprisingly Knowledgeable idol , She Specalized in Enka Singing giving her a unique voice , she dose have a higher than thou Attuide if you Boost Her Ego too much but a Rather nice Person baring that. She Forms a Group With Anya and among other yokai watch inspired characters
NyanNyan (Real name Anya ) - Twisted from Jibanyan from Yokai Watch , a Hyperactive Idol and A Huge Fan Of Evolunation’s Idol but especially Emma, She even Asked for her Autography . Anya’s high Engery and Loud Personailty tend to Put normal People off , Whisp’s is the only who contain her Engery , Anya and Whisp joined after thier Costume designer Yukine was Robbed and injured destroying the Costumes they had the making .
Agu (Agumi Kai) - (Twisted from Agumon ) -A seemingly Fiery and Hot headed idol on Stage off It She’s Kinda Shy and Skittish . Agumi is also rather Gluttonus . She doesn’t Exactly like being the Tomboyish one or princely and would like to Wear stuff like here friend Gabuko wears but her mangers says it would break thier Sterotypical Fire and Ice dynamics. Together Agu and Gabu from the Idol Group Omni
Gabu( Gabuko Yamato ) - (twisted from Gabumon )- A cold Ice Queen up on Stage , Gabuko is Actually More Tomboyish than Meets the Eye. She’s rather outspoken and has expressed the opinion wanting to look more Princely instead of Princess . She also says She’s doing this for her Brother who she’s often separated from due to thier Parents Divorce . Agu and Gabu join the investigation after thier Friends Hikaru(Gatomon ) and VV(Veemon) were injured by a Stage light almost falling on them during practice .
Omega (Real name - Luka Omnibus)- Twisted from Omnicron from Nexomon - Omega and Alpha Were the first two intial Suspect, do to how Bad thier Attuides were towards Evolunation and the others . Luka is Just Grumpy not necessarily mean, His Family was Poor and This could be his Shot to Get enough money to get his the rest Brothers and sister out the orphanage and living with him why wouldn’t he Try and Sabotage the competition . That is until He Tackled Greg out the Way of a falling set of Stage lights during a Performance and Luka was kind of Annoyed at the Allegation as why would he risk ruining his Chances to Gaining enough Recognition to get his Siblings out the orphanage By almost killing someone?!
Alpha -( Valor ) - Twisted from Vados from Nexomon extinction- Alpha is the Colder and more logical of the Two , Being the Keyboardist of Luka’s Band .After His Keyboard Malfunctioned , Alpha nand Omega suspected Emma or Peko Was the one Sabotaging things and framing it as an investigation as they were both near it before they went to practice. . but after Greg almost dying they concluded that Emma or Peko couldn’t be Responsible for the Sabotage.. cause You know I doubt they’d want to Kill Greg you know
I did want to Include Coromon and Temtem but they don’t spefic Mascots and have Played them. , I was Very Tempted to Throw Show by Rock in there , Yugi oh Im making a School for them so n
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blackdayoff · 1 year
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xhemilbeharaj · 2 years
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Rita Ora me ritmet shqiptare ngre peshë publikun e Tiranës
Rita Ora me ritmet shqiptare ngre peshë publikun e Tiranës
Ylli botëror i muzikës me origjinë shqiptare ka ndezur mbrëmjen e djeshme skenën së në Sheshin Skënderbej së bashku me trupën e baletit, duke performuar hitet e saj më të bukura ndër vite. Ajo ka zbritur në skenë pak përpara orës 22:00 dhe për më tepër se 45 minuta elektrizoi sheshin e mbushur nga qytetarët që kishin ardhur enkas për koncertin e artistes shqiptare, koncert i cili ishte falas dhe…
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welcometomy20s · 2 years
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August 20, 2022
VOCALOID LEGENDS - 2021 Part 7
#663 - Limelight (Hachiya Nanashi) [Hatsune Miku, GUMI]
Achievement Date: 21-10-03, Upload Date: 17-11-12
Another underrated producer enters the list just as he is about to leave. Now this is a word salad all emoting what the artist is feeling, the sorrow and euphoria of creating art. A janky mix of art and a bass drop break for some reason? Okay, guy…
#664 - Shama (Niru Kajitsu) [flower]
Achievement Date: 21-10-09, Upload Date: 18-10-08
A counterpart we have Niru Kajitsu’s rise to fame. We have a prisoner lesbian escape story, which was the thing in late 2010’s because you know it’s always a thing. But the real hook comes from that driving beat and consistent progression.
#665 - Starduster (JimmysumP) [Hatsune Miku]
Achievement Date: 21-10-10, Upload Date: 09-10-17
Don’t even know why this song took so long to get here. It’s a beautiful song, as with all JimmySumP songs, but I think the heavy synth brings a new appreciation to his work, like oh yes his long melody and the progression really works in this format…
#666 - RUN (KEI) [GUMI]
Achievement Date: 21-10-13, Upload Date: 12-07-06
KEI also got a later-than-deserved entry with this classic song. A song long allegory of life as a race, which might feel cliched, but it is really well done, as KEI does. And the production is fantastic, if a bit loud. But the drums and guitar are just… so great.
#667 - FLOWER TAIL (yuukiss) [KAITO]
Achievement Date: 21-10-18, Upload Date: 11-03-24
Yuukiss might be known for his MEIKO songs, but he also writes mean KAITO songs too. This brings an odd but widely used mix of enka and latin to great effect. A great song to sing, which is rare for KAITO, and I think production does its job.
#668 - Aikyuu Okuu (balloon) [flower, Hatsune Miku]
Achievement Date: 21-10-23, Upload Date: 15-05-04
About a couple fighting… apparently balloon’s happiest song… and I can see that, there is definitely playfulness in the fighting here, although I guess you can interpret this more literally. It’s surprising this is before his rise to fame, it’s really well made.
#669 - Cinema (Ayase) [Hatsune Miku]
Achievement Date: 21-10-27, Upload Date: 21-05-28
Proseca song. Vivid BAD SQUAD got the early hits and this one is nice. Another cinematic parallel and a 8bit movie to reflect the more mechanical tuning for Ayase. Well, I guess it was similar in Cynical Night Plan but it feels more here… oh well.
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