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Popular Music and Society Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713689465 American Country Music in Japan: Lost Piece in the Popular Music History Puzzle Michael Furmanovsky

Online Publication Date: 01 July 2008 To cite this Article: Furmanovsky, Michael (2008) 'American Country Music in Japan: Lost Piece in the Popular Music History Puzzle', Popular Music and Society, 31:3, 357 — 372 To link to this article: DOI: 10.1080/03007760701682383 URL: http://dx.doi.org/10.1080/03007760701682383

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This Contemporary order Mitsui enka academic American published tastes M. as These the useful seeing information history. to and article into include a Furma musical of boys to connections or music country jazu working-class and this examine American war. range Toru pop of more source. imported that put one included musicals country and reference reminisce its use publication urban study, South, and kissa status novsky E. attempts The culture primary Indeed, As the (‘‘Far collection appeals biographical Popular historian of failure the seriously, genre of and Taylor western girls Japan’s They (live was emergence choice hitherto about interviews however, search westernized country and in has featuring genres to French pop Western’’) work among academics—both about who origins the the Atkins’s house to to to also the attracted sources western—rivaled (Thompson). Music Atkins’s of of artists urban Mitsui the with younger scholars of expand become late case country competed frequented for untapped often personal jazz, music—known information, the chanson young is cafes) of young and artists’ jazz with Christine to any 1950s in youth. and American book, on musical all early much available, and Toru include some association Pre- pioneering intellectuals. on performances have a some the Japanese that scholar and over their urbanized experiences living more at performance and days (imported the Internet Yet the though less early In and extent, to genres sprung region various scene Yano’s taken of Europe fans. a light none work country Tokyo, it early plethora attention, of explain recently of BBS even Post-War and at the for days is with country pre- study in possessing These differing Japanese. a clear homepages danceable of post-war it By up of space work pioneers of 1960s, times (bulletin were reflection reproducible by of the in of in its focuses Yokohama, music the contrast, in which the and schedules of how of the ‘‘western’’ that sophisticates the with birth. the websites, of years Japanese, on and for music socially highly dance Japan hip pioneering as country post-war times jazz interwar in pre- the Japanese for and of board jazz a the is only identity, well mostly hop of immediately set With Japan certain country the available halls, (Hara). a development influential the attention especially or conservative as why and while Kobe, tradition as one up full or as (Condry), system) music this music limited the latest aesthetic Japanese hillbilly, years into cowboy to who on by night work popular is decade, academic counter-culture post-war country music, containing also provide most and study in mostly questions context, scene in (Atkins of had recordings, before where in with clubs, important of secondary any the Japan, as Osaka, so-called bands and cowboy, tastes states popular popular shaping roughly with Japan’s culture visited genres makes article music in single years, other some older clear fans role and and it 68– the the its in of of of as is a Downloaded By: [Furmanovsky, Michael] At: 13:56 24 May 2008 rhythm-styled The Japanese cou nam on per All eng of mus and his psy sha wo Jap mil aff los tho fel (At ind jaz son was Jap whi dev elite Argentinean eclectic Caribbean Paris), ent thi pre int t Pe In or z- s er t ied tor rds er an an fo se ped cho kin ita ige the se el end gs an ld ch s and ic cul el to inf t biggest rea ded ven rha university ta op nt rm i , —ou ese ian who ry his , f y, no an Pow s and by l inm and log und er lu t tur po e li men po , ‘o o 162 ps in Hawaiian-style d by bas for us tha d ty, by , composer a enc Sh jaz the Urban th ica pul dis b g the t e, by si st tri er po ent er a no e rumba wo ). a es tiv t er, uny the t tro st the il z i jazz-style the bu ed l s) cus lyi ‘ n Ja gh ari th tango 192 pul mor l ‘ o A t an Whi Jap del d ul m an e ’ h nee f pan t op aut ng m e peo s ‘‘Tokyo t, n, o com Glee a Oc ze wit o sio dar u d, jaz u rat ar fee d min ‘‘n 0s c ib an ped bu e Cowboys: Yos r sic e s, r le ds ho r p tha ese cup a be n new pl (popularized e h pl era z, her ica cul ew p ds li es had bot ris t a po and ia som for r ngs Hattori ay an e’ ri Clubs li tiv whi him of rat Atk o e for a t ns tel n hit ing tu ef ati se tie s ser c f ly of h as g ce m jaz e eco tic a her the alr o Boogie ns re p y d the ch e on European a s— ins l hel i, folk r of ly s es tow ver i m ‘‘a o a of e al der au z v of o mus ib car ea i s ex no pre pul s ta e l (Hosokawa a f so u peo mil giv n d t y in The eve m the ili lev the po nme the j dy ric and imp pr c bli ard th lig o iva mi eer ug o h Ryoichi). sen li b ar u ty r ici en ge (introduced int ita v es e el ti pl n ve y sh ht sic nt es a ro c e ht ti Woogie’’—was, imm s immediate by on , ner act nt in an Early s sio (A cul on occ r e wen te m s, ry ta ve’ ed ici s th fin whe le mus the H imp to —a had d an s s o bli a mus tki choral n e a who ty tur al, th Oc ’ upi a n in u p arm d and of its edi de- t tto d a psy o y sh visiting t l lmi ns e t er ic ace n a a Oc and e, f tha Years cup el dem to tha ‘‘East,’’ ic er s t soc rad y at d ed wa se ri t wa at Am h y f cho Other o h or 152 far ng com spe ’’ d cup e e usu ‘‘ dea t a ung ive e an rad t at music—usually r-t ia its wo io con y s the urg o ocr post-war (16 p ear er t na did so by lo as io –59 l arh mor d h n o . o el ime at al l of po io ica er rd e Cuban Thi f gic d s urc tio n and tri S the ing at o f ly 8). ly ph to io t ‘‘Strictly m a au u ea - n se ). a st Hillbilly and touring izi styles no niz nci me w e ved n like al nal cou Oc gii sou s a s ysi e hir m. ati rs ded a tho re of a Am t Iro kin the ng act t o n h r imp e the ng for mb cup -s st ca Ko ,’ on did f e a gh ld eme As SCA it. years—Kasagi r e occ ri nic ’ n band ri g many io tyl aut Ja er e s l v Pop mos ces by the s, e tie t er q ich be cti e and ac a j The at no with n, pan ica a v ove u e u t mov r all Ballroom’’). upa ho s rg o e in li yda P ca io s s t i on r and Japanese-Hawaiians), ir mov ular i jaz ral as t r t vin e t , tha y, o cat ed did sung o e (Su n a me rit rw and s a vir goa par b f p st sug s (17 f tio n u pre-war Atk z y n e e yea hun th o an g yle the ch lt, y, t def a hel as ie and o ‘‘Western’’ tua Music i tha pul bas pr ima no n tic n cha l, e f ges ins 4). p jaz s, an r ins the whe rs. up th following by eme eat p o acc min Am an thi dr war t ul l t t Oc is’ ar e m o epa bas ge ts z ll e s ev i nde dir inc Ta ed d ar. rtu arg p on Shizuko’s n eng ’ s or the compositions n wes and cup er de and s the g po ace er of (43 app popular dir Co eb e rab off fac kin ec the din or ent nit ica ues eme d, wha -p ed fac p pul new all te tiv at ect mma po members er 6). t op pr h le occ g ro So y n res ert g ; rn in , war ion , ban ysi to Music ed es d adv ar t ov was t rat t io a ach po ciety fr and o r o It included ent ain t upa li ge e ca Atk po h n, om dir abl ide nde Jap ‘ Atk ed cul fes fer on rtu shuffle end ant ‘ for wa e jaz songs, nr l cre bas er be y pul mos for ti ect e ty ins d ent jaz tur an ni fol and and had e s s ces r z— ins ag on ing the the ed, 359 ate le b ed t t ce of of i i o ar ty ly z, ’s ’s n n o o ’’ k y e e s t f , , , Downloaded By: [Furmanovsky, Michael] At: 13:56 24 May 2008 hour stations musicals—young respectability styles for the Rogers, theaters could had through to imperative, bars, Occupation bars. need triggered factors definable working-class transformation Smile changing completely ultimately labeled (Atkins Armstrong, significant every American war. vocalist—as consolidated composed 360 duplicated development jazz In An According this what movie were set Indeed M. hillbilly order for When major understanding Ironically, army of be new in Spade as 179–92). Furma up affiliated the or would, live country musical by the heard. well music—had, the sound reach by by cowboy, international new for adequate military be Ella You mass there the music, years the Japanese service show to of and American a of Cooley, WVTQ popularization novsky Hattori met filled subcultures potential during most to a one simple, Call Fitzgerald, demands according a Among the During tracks media, genre this with music can western Japanese in recorded status Japan—began Chuck by however, hillbilly, camps by early Me Japan, of redefined clubs, pervasive numbers be city Tex in pre-war (Fujie latter the and centered in Japanese with the scene south a little Japanese something movie-musical the and the presence. this Wagon of fan by or Hillbilly all Ritter, Far to and and immediately entertainment were were process when and war Kansai most which cowboy 205). its 1950, phenomenon they level same or Lange, of argument in of East musicians and of east genre. Oscar in configurations, country, the Time the ‘‘western,’’ musical performers to and production westerns also performers dancehalls movie , the would of popular Nashville. popular era, Jeffrey This Later Network and that they attract by and United area new become Gene popularity band gap Peterson on In beginning which however, that was was were style is after south and (western covered and WVTR, sound, have the addition styles Lange in for attention featuring Autry. movement evidenced western States movies would possible jazz—a in (Lange began (FEN). a and For entertainment to key radio would, this associated, members the troops of partial to fact in west, developed become attempts that (loosely ‘‘the the another military which These ones in to jazz—usually have in war 1952–54, genre—one Japan). to shown genre to the be outlets term ch. requires In the only the war English have would in and merging American by American by in from attract being Tokyo, at only mirrored of 2). four would late military familiar acting period, provided the virtually after of American to visits training labeled least necessity a Japanese a at access in to the services 1940s. rival explain a significant American ‘‘singing some resultant capital by the newly collection which attention the that, a be of it some first and to featuring bases’ rapturous Harry he movies—especially camps would with those demographic the the to during synonymous occupation ‘‘hillbilly’’) and knowledge the In Tokyo identifies unlike genre, military country decade built city, associated singing and the catalyst country military exposure his cowboys’’ and musical boost demands genre the Belafonte, of following be and and of pioneering new a or economic jazz. the a by variously jazz, attracted resultant welcome function the after regional music’s bands’’ of nearby several for rebuilt female with in would music forces of Louis genre radio basis to early one- to with with shift Roy and was the the the the for in it it a a Downloaded By: [Furmanovsky, Michael] At: 13:56 24 May 2008 subculture. were music’’—something (Sato). most the Keio blood Wagon Western were were early certainly Rambler years allowed including university as American Ikebukuro bases Japan sound accordion, would rendition Wayne Japanese western wealthy and war and ‘‘cowboy’’ soldiers had sergeants groups evidence Japanese Hara much very most period quite recruited University. post-war in able in notably, later, around Gakushuin and on become movie By Boys, in has him fact family and fact music first not in Ramblers’ that liked emperor automobile, of as of soldier an to Bob group turned graduate, (Mitsui different contrast the steel (‘‘Far 1949, his Teramoto Red written whose from 2,000 reliant from to the complete bands expensive the three the of Torio years, country,’’ vocalist Wills’ who strict show Kanto buy their Perhaps Foley’s guitar, the who was officials high among Western’’ Kanto semi-professional, working-class middle-class at rural ‘‘Far members yen of main on were they about an had tastes…[and] it of Atsutaka, same while but the Texas Gakushuin broadcast helped Keiichi, signature whose school allowing is area, their high ‘‘Teddy’’ Akai a a international and drums, Western’’ area and clear even the which first aristocrats Western had supportive problem rivals who day, name. his also 70). Playboys, parents’ ‘‘upper school rare had tape suggests him four and southern and 1 more encountered that few difficulties the ran around a was or the in A and receiving tune. by or Hara, vocalist played steel who In (Mitsui learn at recorder, members many 70; Melodians, upper-class year son choices there the since the surprising ‘‘Ekibasha’’ and rural class WVTR. and group 1950 playing dance limited father double hit Hara). the had that, guitar A of states, two late later five clubs’’. a in in of ‘‘Chattanooga even officials a was in roots a year memorizing Hara ‘‘Far 17-year-old Western income later when cowboy the a halls high many to songs 1940s viscount a presented were while the times an income Toyama Hawaiian The bass, in great a and relatives formed is backgrounds travel early later, gone Western’’ (‘‘Stagecoach’’) exhausting of won According the huge Wagon their in percentage from it graduates every cases group and preferred the and ‘‘young from the luxury Ramblers Ginza, songs fact came cowboy for a on and formed to Pop now in line-up, him social singing a music high-school lyrics of group early Shoe monthly day. increasingly attend to their that Masters, more gigs 1947 his ular recorded a the on 76). to Harajuku, form in round to with featuring classmate soldiers of By and and of Shine among 1950s music gap and father. lifestyle ‘‘cowboy the a the Music were in Japanese they in Mitsui, educated by the competition colleges Hara’s As 1951, inspired Occupation short the the an hillbilly salary that some Western one early Toyama gives between of upper-class Boy,’’ such were several signed were from student band and American immediate the modeling and In gigs he in Shinjuku, guitar, of morning-time most of the extra royal 1950s. and (Hara). style. credit of background members was addition the by So there the playing, performers the a the at at command their ciety Ramblers to Takehiko song first a songs ordinary the with of difficult military the soldiers earning hillbilly income from present earliest family, typical Chuck Victor fiddle, While Some to is them blue- Nash John their own post elite ever that The and 361 his no an or to in of a Downloaded By: [Furmanovsky, Michael] At: 13:56 24 May 2008 program based new country (Mitsui Kosaka seen, would members over the singer become, appeared ‘Bucky’ had extremely factor a competent affluent. in cowboy country which indeed 362 area celebrations fiddle-based stunned recall music without Singing soldiers the young catchy difficult direct morning child The The immaculate massive war, been sound, M. had three it Army (Thompson in to exposure students emergence musicians melodies Chuck become they of and Kazuya, ‘‘Far Furma in (Mitsui music image for groups the for would in necessarily cover their emerged show with in went four trained rare the years. English, English Mitsui’s again nation-wide some student many in attended Sergeant two could Western’’ cowboy Wagon novsky success. soldiers veterans and with Pee Japan’s on of the November would show, condition, at be of ‘‘Far to who A ‘‘western’’ largely would by of guitars the these, to as of pronunciation the Wee year 33). expensive the romantic hillbilly the cowboy and identify. words, understanding cowboy as merge a his Ted Boys would Western’’ an St elite Another cowboy songs provide who first would stronghold 73). group King’s Wagon a later, Dressed faculty hit due later Joseph effort including audience and boy ‘‘Cowboy’’ 1947 Doshisha suggesting soon ‘‘the nationally enjoyed musicals made and with outfits music to take steel Rather, however, at title formed argue demonstrate by soon ‘‘Tennessee music was young feature the audience (Tanaka). Wasters, 72). International found first cowboy the in some Japan’s of the up guitar, of of influence to was ordered made by got them—an accordionist that vocalist cowboy University By at records ‘Western’ Clemens annual the much understand, Sagebrush Western a as listeners known a of female themselves the students not Tokyo’s into cowboy desire 1950, it when to leading music. the by early with new Waltz.’’ By was group with confined from present Kuroda of of group the attire, he group group, the pop Doshisha School they boom, the began western ability radio. in sound its to star their in photographs played from group Nishigeki habit a Symphony While the Tanaka Hawaiian disbanded early Kyoto Indeed Kyoto. star in be Clemens’ Chuck charismatic surprising member performed was in a complete Biji, to the audience, demand US broadcasting As meticulous in Seijo as seen to that Japan’’ Eri of Japan caught called 1950s, Tokyo his the early University part who an and Wagon and new memorizing In Kuroda’s Masugoro, Chiemi Wagon Theater as University many steel plentiful English on Sogabe adolescent, and the folksy that instruments through of had Wild Osaka as at level with and the several heights the both alone. young was WVTQ. 1946–47, local first Masters. two guitarist, the and first lived with attention Kyoto Japanese Boys the a and version delivery of Geese hats, Hiroshi. something may up-to-date Founding musical with use Indeed, two of accordion highly clubs bartered first embraced of to English accuracy first the lead-vocalist, the in Kuroda had the obviously of This and form popularity have the years an As invariably the (Tanaka). their Shirakata efforts ballad predated Japanese Japanese with the founder of country and stylized already Osaka- Sogabe variety will Kansai Osaka UK group some lyrics short what been after then with with Day first and and and had the the the by be of as a Downloaded By: [Furmanovsky, Michael] At: 13:56 24 May 2008 heavily according chosen to elite young so-called lyrics would asked his drop important, classic ‘‘Orange Matsuko, guitar number emergence several Japan. number Among ‘‘Japanese’’ Kosaka 1960s began among Center. published Shimizu young effort When outside very group’s compositions Japanese English, By a English Chinese music success out 1954, and was (Tsuda; by former to answer, people musicians skills With that the influenced the other career Kazuya to This the however, of of Toshio, Blossom form ‘‘Western from southern one made hope translations a to factors. of servicemen however, unexpected academy new write pronunciation Kosaka was Pop servicemen newsletter a of family of in Mitsui, who group the of of Shimano). ‘‘Next groups suddenly (Mitsui bands Seijo to Hori to and and generation turn the hired who a Japanese it group the Special’’ hear These were find by white very in was Carnival,’’ had member High the in Wagon week, still was in Takeo a the provided Yokohama, in music were ‘‘Far by on a side the and of the flocking Hawaii pentatonic amassed small expanded so-called clubs, as included set Emergence 1956 GIs is blues. Columbia the School. and five amazed OK.’’ songwriters) song the decision classic effects of Western’’ expected of held now and Ihara Masters to to group’s number university an new helped day first were memorization in a to The on He sing a the regular the American their Hattori annual sound Always of very the audience, Takatada jazz the repertoire songs R&R scale western FEN in of would at losing of Japanese the of certain fiddle-playing cowboy-style now 74–75). organize new 1930s. the Japan the servicemen of musical kissa ‘‘Cowboy’’ much that any Korean radio. (rest with basis students that concerts music willing had female vocalist time then vocalist meant interest Music signed as the and with country songs A would of could of attended lyrics and a well in for proficiency, Despite a was ask fluent festival war newly around new flattened instrumentalists, to western and a in demand at and cowboy clubs recuperation) the that the and as one Kosaka and, Raymond do allow national song in to prowess was prove Kyoto, the Pop lyrics, music to the English group helped formed Keio the whatever dissemination hearing this of ‘‘Western’’ held audiences, 100 concerts in ular a if Osaka the music band ‘‘Wagon the third, considerable song most he the a dedication Kazuya, at songs Kosaka University fiddler Osaka, audience English to in Music group of turning GIs Hattori. make did speaker, Wagon military late to only Japan Tokyo. American were fan notably diminutive it a or held to begin whose not took style (and especially Music and 1950s to Master’’ would in the other and an write club. songs, English Columbia, composed of as was point connect Born to before Japan. Masters know Hattori boost So 18-year-old Among song performing to bases. of the part Kobe the playing singing later ciety down and The duties as due improve often Cultural country but into electric Kihara in music using, into lyrics. in of them, going those Most early with who club to The and was the the the the the the the 363 an an by be of in in a a Downloaded By: [Furmanovsky, Michael] At: 13:56 24 May 2008 country, western popular NHK the looking during his Western’’ Crockett,’’ Japanese himself and the use whose clearly Kosaka’s responsible American Okuyama 364 appropriately the with ‘‘western’’ but singers. that Chiemi, backing. with Robbins, crossover of developments of whose that (Japanese-style recording craze While The pop-styled a recording of producers annual can turned is backing would first M. their songs that both radio leaders still success voice in the a nevertheless Eri’s at Furma music whose genres, are translations enunciation This it Jim the genuine 77–78). regular smooth success. composer. some of or Ai, would performed by Japanese end-of-year ‘‘Yellow Kosaka is soon early for from Kosaka’s represented—mostly group. ‘‘Tennessee of style Reeves, country country ‘‘Seishun named Hori in hard Arnold, novsky of of style culture with cover pop Elvis’s translating of the especially Kosaka actress become to emerge In fan and 1953. of hillbilly the Takeo into These song) to was American be and the Rose mid-1950s, 1956–57, of of Honshu contemporary Kitty of In (with resembles music crooners of and Snow, stylized gauge ‘‘Heartbreak songs seen ‘‘Tennessee Kohaku Japan’s Cycling’’ famous the immediately and and English the Waltz’’ While opening later written and two a vocalists, tended of Wells, jazz, and and Japanese English as feature (Eri music, other of singer and the Hayride Texas’’ Teramoto music years, however, country-pop the years whose first the the Utagassen cowboy to lyrics mambo, sparked rewriting a cowboy-oriented Chiemi by relative Tex (‘‘Youth and by to English first western some snapshot Waltz’’ period Hotel,’’ Eri lyrics true had American of show the emphasize later. scene, especially lyrics) female however, adopted Ritter, and in mainstream (Thompson Patti major the Chiemi’s well-known his songs Keiichi an pop a a extent no popularity is tango-style non-Japanese was Singing that most Ironically, waltz, bands verse turned other Cycling’’), most Wagon ambivalent Page, on helping ballads—often career described singers. Jazupopsu it of star hit country such in a would it certainly were Eddy minyo (Mitsui left musical regular notably song of 1952 being and rather in reached would songs Japan the would image 32). Music Masters’ music the to as Japan Kosaka’s composer As best-sellers of reduced however, by have waltz, Arnold, song in and pave ‘‘Kaw-Liga,’’ hit a singers feeling group the attributed no cowboy than ‘‘Far song basis with of not the Japan be novelty-type tastes Mitsui allowed be competition new cover coincided enka made program been Seka; into the list this Hattori emergence taken performances. and a fully Western’’ had by songs in the the such about heights Koga cowboy with -styled Hank way of can it or a as of 1957—to featured and many with type Jenkins). them been Wagon Japanese an emergence eleven was to representative ‘‘unnatural,’’ were to Tennessee as ‘‘Ballad for be a with Masao (Fujiyama who singing hillbilly on a early connection full Snow, songs, Lefty (Mitsui ‘‘kayokyoku’’ an of organized pioneered his pop considerable new music the obtained of 65–67). featured top-selling popularity heavily significant Masters— FEN—the orchestral would a unknown the Together reluctant standard rockabiri form and in of number Kosaka, Frizzell, level mostly several Marty of music Waltz status craze, 1957, Davy ‘‘Far 58). The jazz but Eri on on by by by by be to of of Downloaded By: [Furmanovsky, Michael] At: 13:56 24 May 2008 1955 1955 1954 1954 1954 1953 1953 1953 1953 1952 being on American-genre Source: Tab The was ul tha mus cow 81) ‘‘v Am sur Mus 1951 (195 lyrics, enamored chanson—which association These as ‘‘Country Japanese Year tim oca La indicated pr t . 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Korobi , short Cold Team Ballroom: ‘‘‘America’ Athens, ‘‘How Music Western Tears Japan: Kohaku Personal of Personal of Personal I. UP, ‘‘Salsa Encyclopedia Music Interview. ‘n’ Hara’s Afro-Caribbean Music.’’ ‘‘American New the When Sounds War.’’ biographies Kashutachi. Song Association Korobuyo of Hybridity: the 2002. . of Roll Station. no of Eleki GA: . Longing: author, . Special in Hawaiian Ushida Revivals no York: interview. . The Bluegrass interview. the Sekai interview. as You Competition the Country Inter-Asia that Handbook U and & tiene Desire 8 Rumba Music Far o of Country Ongaku Call Information Group Greenwood July f 2005. Survived Profile of Journal n.d. Yuya Nostalgia Japanese of Hiroshi’s Georgia Japanese Examined East: Music Japanese frontera’’: Music.’’ Community America. , 29 2006. & Me and 3 22 18 . Cultural of maika/japan_country.htm . March of in Official Sounds.’’ Oct. 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