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ASAN 464 "J-Pop, J-Rock &Idols: Japanese, Popular Music & Society". Summer 2012, Session I Moore 423 MTWRF 12:00PM – 1:15PM

Instructor: Dr. Jayson Makoto Chun and Professor Patrick Patterson Office: Moore 412 (We both have a mailbox there) Email: [email protected], [email protected] Office Hrs: After class or by appointment

Course Description

This course will investigate the changes in modern Japanese society through a historical investigation of popular music in modern Japan. We will look at the beginnings of modern Japanese music as “ryūkōka” in the Taishō period, and what its use of modern recording technology says about Japan. We will also look at the interplay between jazz and military music in the lead up to Japan’s participation in the Pacific War. Then, we will examine postwar Japanese urban popular musics, from the chart-topping idols, to “traditional” enka music, the GS sounds, to the alternative music. Last of all, we will look at Japanese music and two-way globalization: the Korean boom in Japan along with Japanese music entering other nations. We will examine various genres of popular music and their relationship with Japanese society, and the historical currents of the time. A portion of each class will be devoted to examining the lyrics, visual imagery, and music itself as reflections of the continued modernization process in Japan.

This course is thus conceived as highly interdisciplinary, intended for students interested in a wide range of topics including Japanese cultural history and music, East Asian studies, popular music and culture, and music as modern text.

Knowledge of Japanese is not necessary, nor is formal training in music.

Course objectives

You the student (well, at least some of you), most likely know more about Japanese popular music than the instructors. So this course is not a place for J-pop fan discussions – remember, not all of the class will be Japanese pop music, AKB48, or Arashi experts. And there are so many key artists and songs that we are unable to cover all key works in detail. So, you will learn the following: 2

th ● The basics of 20 century Japanese popular music. It’s really fascinating stuff!

● An introduction to cultural studies – how the producer and audiences work together to create meaning in popular culture products.

● How media culture is a source of values for society, and how it functions to legitimate or challenge the social structure.

● The link between media culture and issues of gender, national identity, and race.

Unless you get asked during your job interview, “What is the difference between Arashi versus Big Bang?” We are not that concerned about you memorizing all the details of the class. Rather, focus on the overall picture of Japanese popular culture, in other words, the big picture. We’re more interested in how you analyze, not how you summarize.

Readings

● Sayonara Amerika, Sayonara Nippon: A Geopolitical Prehistory of J-Pop. Michael Bourdaghs

● Online readings and songs, handouts

Important note about music: One of the great aspects of the digital revolution is that many of the songs for Japanese music are now available online through Youtube. Therefore, you are to listen to these songs online before class as part of your assignment. Most of the songs will be available through youtube. As detailed in the TEACH Act, we can put some of my personal copies of Japanese music online, so long as it is for the class only and for a reasonable time period. Please do not make copies of this music, and realize that doing so is a violation of American copyright law.

2nd IMPORTANT NOTE: some readings and take home quizzes can be accessed on laulima.hawaii.edu

Course Requirements This is an upper-division course that will require heavy reading and class participation. We’ve kept the readings short but it is easy to fall behind in this class if one misses the readings. If you want to just hide in the corner of the room and be quiet the entire class, do not take this course.

All papers and presentations must be done in order to pass the class.

The course requirements are: 3

Requirement Percentage of overall grade

First paper (cover page + 6 full pages + works cited) 20%

Second paper (cover page + 6 full pages + works cited) 20%

Short paper on fan culture (3 pages) 10%

Quizzes (take home, mix of short answer and multiple choice. 25% Short answers are half the quiz grade)

Final assessment 10%

Participation and attendance 15%

Total = 100%

Assignment Descriptions First Paper – Narrative of Music History – This paper will be a discussion of the relationship of a period in modern Japanese history to the popular music of that period. ● It must be a minimum of six full pages in length (2 line spacing, in 12 pt. Times New Roman Font) not including the title and works cited pages. So it will be cover page + six full pages + works cited. Anything less will be penalized or even forced to redo. ● You must bring up how the genre reflects the society of the time. ● What images or symbols are typical for this genre? Use a semiotic analysis. ● Give some representative groups of this genre, and how they typify or deviate from the genre standards. ● Explain the ideological aims of the genre, and speculate on ways of “listening otherwise.” In other words, how do consumers use (and often repurpose music, giving it a different meaning)? ● If you use a genre found in Bourdagh’s book (such as GS sounds), do more research and add more from what you find. ● Learn to use bulletin boards to find people who can translate portions of your song lyrics. The instructors will review your choice of paper topic and the writing rubric. The process of writing this paper will also involve an in­class writing workshop. Instructors will be available to give assistance during office hours. We will also provide extensive written feedback on drafts and the final paper.

Here is a table of possible genres you could explore:

Shoka (School prewar jazz Kayokyoku gunka Continental Asian songs like “Light music 4

of the Fireflies”)

Rockabilly GS sounds Folk Wasei Pop (The Idol music Peanuts)

New Music J­rock Visual Kei Hip Hop Dance Music (1990s and onward)

Hawaiian Music Okinawan pop K­pop in Japan Idol megagroups Genre of your (Hello Project, choice Johnny’s, AKB franchise)

You will be allowed to redo your first paper (turn in redo by the last day of class) for up to +7 points, for a maximum of a “90”. 5

Second Paper – Analysis of an artist (or simimar grouping of artists) in postwar Japanese popular music. This paper requires that you choose an artist or grouping of artists (“Hawaii singers”) in the poswar period and research the development or career (for a paper on an artist) in the context of the relevant developments in Japanese society. ● It must be a minimum of six full pages in length (2 line spacing, in 12 pt. Times New Roman Font) not including the title and works cited pages. So it will be cover page + six full pages + works cited. Anything less will be penalized or even forced to redo. ● You must bring up how the artist reflects the society of the time. ● What images or symbols are typical for this artist? Use a semiotic analysis. ● Give some representative songs for this artist, and how these songs reflect the vision of the artist. ● Explain the ideological aims of the genre, and speculate on ways of “listening otherwise.” In other words, how do consumers use (and often repurpose music, giving it a different meaning)? ● If you use a genre found in Bourdagh’s book (such as GS sounds), do more research and add more from what you find. ● Learn to use bulletin boards to find people who can translate portions of your song lyrics. It must be a minimum of six pages in length (2 line spacing, in 12 pt. Times New Roman Font) not including the title and works cited pages. The instructors will review your choice of paper topic and the writing rubric. The process of writing this paper will also involve an in­class writing workshop. Instructors will be available to give assistance during office hours. We will also provide extensive written feedback on drafts and the final paper.

Here are some good artists for those of you who know nothing about J­pop

AKB48 or SMAP or Arashi Exile, Greeen Kobukuro, Sheena Ringo Morning Yuzu, or other Musume neo­folk artists

Hamasaki Utada Hikaru Matsuda Seiko Southern All Ozaki Yutaka Ayumi Stars

Zeebra, Rip Amuro Namie Hawaii singers Hatsune Miku Kyami Slyme, Angela Aki, Ito Panyupanyu Ketsumeishi, Yuna, Orange Range, or other hip hop artists

JERO Enka singers KARA or SNSD Rockers like Eighties singers like Kitajima (Shojo Jidai) or B’z, X Japan, like Princess Saburo, DBSK L’arc en Ciel Princess, Ishikawa Sayuri (Tohoshinki) Nakamori Akina 6

Fan Culture Paper – This paper will be assigned after our class on interpreting fan culture, including fan documents and activities through using BBS. Post a question on a BBS or Twitter asking fans a question about the artist (i.e: What does SNSD mean to you? Why do you like them?) Analyze their responses. It must be a minimum of three pages in length (2 line spacing, in 12 pt. Times New Roman Font) not including the title and works cited pages. Students will present their papers to the class for critique before turning in the final draft. Instructors will be available to give assistance during office hours. We will also provide extensive written feedback on drafts and the final paper.

Quizzes – All quizzes will be completed outside of class. They will assess your understanding of Japanese history and culture and popular music terminology and relevant theories. Students will present their answers to these analytical questions about the relationship of popular music to culture and history in­class for instructor feedback. The instructors will provide verbal and written feedback on writing and content.

Participation Attendance will be taken for this class. Those with three or more absences without official permission or a doctor’s note will have their final grade marked down. We understand that sometimes you have work or family responsibilities, and cannot attend a class. If so, send us an email and we can work things out. If you miss a class, you are responsible for getting class notes and assignments. Don’t expect us to keep handouts for you.

Now if you have perfect, or near perfect attendance, and work hard at class participation, then you will get a “break” if your grade is on the borderline between two grades.

We will not accept electronic copies of papers. You are responsible for printing them out and handing us a paper copy on time! Keep all copies of the papers you write on file. Late papers will be accepted, but at a penalty for each day it is late. We will not accept late papers more than a week late unless there are some extreme circumstances.

Styles As this is an upper-division history course, you are expected to use proper citation styles. Either footnotes or endnotes are fine. Whether it is MLA, Chicago, etc is up to you, but be consistent.

Plagiarism 7

“Plagiarism includes, but is not limited to, submitting, to satisfy an academic requirement, any document that has been copied in whole or in part from another individual’s work without identifying that individual; neglecting to identify as a quotation a documented idea that has not been assimilated into the student’s language and style; paraphrasing a passage so closely that the reader is misled as to the source; submitting the same written or oral material in more than one course without obtaining authorization from the instructors involved; and “dry-labbing,” which includes obtaining and using experimental data from other students without the express consent of the instructor, utilizing experimental data and laboratory write-ups from other sections of the course or from previous terms, and fabricating data to fit the expected results.” http://www.catalog.hawaii.edu/about-uh/campus-policies1.htm

● In other words, do not “cut and paste” from the Internet without citing your sources.

● Students have often mistaken our friendliness for leniency. We have our methods, and have caught and flunked several students who tried to pass off other people’s work as their own.

● You may receive an automatic “F” for this class and reported to the university if caught cheating.

Other We also reserve the right to change syllabus readings. We will notify the class if wedo so.

If you have disabilities or other conditions that affect you participation in this course, please contact us privately to discuss your needs. We will make reasonable efforts to accommodate you.

Here are some commonsense classroom rules.

1. Avoid eating in class (discreetly drinking coffee is okay). 2. Avoid talking, texting or disruptive behavior while class is in progress. 3. Avoid doing homework for other courses while in lectures. 4. Turn off your cell phones or at least put them in silent mode. 5. Please tell me if you need to leave class early. 6. Be in your seats the minute class starts. weunderstand that you may have to be late some times, but do not make a habit of this. 7. If you do come in late, come in quietly, discreetly and quietly. 8. No laptops allowed in class without instructor permission. 9. Since music appreciation has subjective elements, please respect the musical tastes of your 8

fellow students during discussions. 10. You don’t have to be best friends, but have the courtesy to at least say “Hi” or “good afternoon,” and “see you later” to each other in class.

If you have heavy work/family responsibilities that affect your participation in this course, please meet with one of us privately to discuss your needs. We will make reasonable efforts to accommodate you. But do remember that you are expected to do upper-division semester work. 9

Last of all, a request from the instructor

As previously mentioned, this is one of the few classes in the nation devoted to Japanese anime and manga. But this course will only be as good as YOU the student, decide to make it. In our experiences, sometimes the class was quiet and all students wanted to do was take notes and get out of class. Other years, each class was intellectually stimulating, and high energy. Some years, the students talked to each other in class but that was about it. Other years, the students became close friends, and judging from Facebook posts, still keep in touch with each other.

So it’s all up to you. We can only do so much and how the class turns out will depend on YOUR effort. We’ll do our best to keep this class intellectually stimulating and fun. As for you, please be respectful towards others and their views. If you are fan of Japanese pop, then realize that some people are beginners and please help them learn the music basics. If you are a beginner, don't worry, by the end of the course should have a working knowledge of the topic. Let’s work on having fun and learning a lot in this class. And about grades – the key to success is regular attendance, daily study, and intellectual curiosity. If you come to every class, participate enthusiastically and do every assignment, we GUARANTEE you will do well in this course (and enjoy it too!) 10

WEEK ONE

Modernity and early Prewar Music(1870 – 1920)

Theme: Introduction to Japanese pop: Early pre­war music.

Date In Class Due Today

May 27 Holiday: Memorial Day Mon No Class

May 28 Class Introduction Introduce instructors Tues Introduce self, go over course goals

May 29 Lecture 01: Pop music: Producer, Bordaughs, intro Wed Audience, sociohistorical context

Chun Quiz 01: Laulima quiz on Bordaughs

May 30 Lecture 02: Beginnings of Japanese In class: Listen to Haabu no Minato. Thurs pop music and early enka Lyrics are on Laulima. What are the cultural signs in this song? Patterson ● What do the signs denote? (the obvious surface meaning. This is the “preferred reading”) ● What do you think the signs connote (what it indirectly suggests for viewers)? This is the political or cultural meaning (“oppositional reading”) of the song.

May 31 Fri Lecture 03: Prewar jazz E. Taylor Atkins “Can Japanese sing the blues? 'Japanese jazz' and the problem Chun of authenticity”, Japan Pop!, pp. 27 – 59.

Quiz 02: Laulima quiz on Atkins 11

WEEK TWO

Jazz and gunka in the wartime and transwar years (1937 – 1955)

Date In Class Due Today

June 3 Lecture 04: Wartime Japan, In class: Mon. gunka and continental music Listen to Doki no sakura. What are the messages the song has on the surface. What Patterson imagery does it use to show the oppositional reading?

Listen to Continental Asian Music – Shina no yoru. What are the messages the song has on the surface. What imagery does it use to show the oppositional reading?

June 4 Lecture 05: Occupied Japan Bordaughs, chap 1, pp. 11 ­ 35 Tues. and jazz (and James Araki) Quiz 03: Laulima quiz on Bordaughs Chun http://youtu.be/325u1TbKvKw

June 5 Kurosawa’s view of freedom In Class: Watch clips from Drunken Angel Wed. and music (explained in your book). What are the cultural signs in this song? Patterson ● What do the signs denote? (“preferred reading”) ● What do you think the signs connote (“oppositional reading”).

● Intro to nightclub scene http://youtu.be/Iq63IsGv_TA ● Kasagi singing Jungle Boogie http://www.youtube.com/watch?v=NEw Zlo8eBoo ● Stray Dog

June 6 Lecture 06: 1950s Enka & In class: Go over some of the enka “kata” in Thurs. “kata” songs like “Sake yo”

Patterson

June 7 Hibari as a “Japanese” icon. Bourdaughs, chap 2, pp. 49 – 72 Fri. Quiz 04: Laulima quiz on Bourdaughs Chun In class: Go over Ringo Oiwake and “translation” of Kawa no nagare no yo ni 12

WEEK THREE

POP MUSIC FOR THE NEW JAPAN: ROCKABILLY AND KAYŌKYOKU (1950s – 1960s)

Date In Class Due Today

June 10 Lecture 07: 1950s rockabilly & Bordaughs, chap 3, pp. 97 ­ 112 Mon. Wasei­pop In class: Listen to Sakamoto Kyu’s GI Chun Blues and Sukiyaki

Quiz 05: Laulima quiz on Bourdaughs

June 11 Holiday: Kamehameha Day Tues. No Class

June 12 Lecture 08: High speed growth, Read Furmanovsky article on the Peanuts Wed. the consumer society and the Peanuts In class: Look at mainstream music from the 1960s such as the Peanuts Chun

June 13 Lecture 08: 1960s protest Bordaughs, chap 4, pp. 113 ­ 132 Thurs. against High­speed growth In class: Listen to the Tigers. And then Patterson listen to Vodka Collins.

Quiz 06: Laulima quiz on Bourdaughs.

June 14 Paper 1 workshop. Everyone be Bring three page draft (cover + three full Fri. prepared to discuss their paper in pages + work cited) of paper to class. class for five minutes. Powerpoint Failure to do so will lead to ­5 to the paper is optional. grade. 13

WEEK FOUR

Jpop: homegrown idols and rockers and authenticity (1960s – 2000s)

Date In Class Due Today

June 17 Lecture 09: Japan Inc (1973 ­ 1989) and PAPER 1 due in beginning of class Mon. the problem of authenticity (Six pages + citations page) due:

Chun

June 18 Yuming and YMO: how to be authentic in Bordaughs, chap 5, 159 – 163; 178 ­ Tues. an age of inauthenticity 194

Patterson In class: Listen to Yuming Listen to Firecracker, and Day Tripper

Quiz 07: Laulima quiz on Bordaughs

June 19 Lecture 10: Yankii, Ozaki, and misfits Work on fan paper Wed. Patterson In Class: Examine the lyrics of one of these songs: ● 15­sai no yoru ● Oh My Little Girl ● I love You

What is the seeming message about? What is the oppositional reading? What images are used to help craft this image?

June 20 Lecture 11: Post­bubble Japan, the Work on fan paper Thurs. gender crisis and the new women singers (Amuro, Hamasaki, Utada).

Chun

June 21 Fan paper discussions Due today, fan paper Fri. 14

WEEK FIVE

Mainstream and alternative music (1980s – 2000s)

Date In Class Due Today

June 24 101st Proposal and Chage and Aska “Say Bordaughs, chap 06 and coda, pp. Yes” 206­ 228

Patterson In class: watch scenes from 101st Proposal, analyze lyrics and song for Say Yes.

Quiz 08: Laulima quiz on Bourdaughs and music

June 25 Lecture 12: Afro­Japan: Class, Race, Read: Ch. 1 from Hip Hop Japan Global Flows and New Japanese Genres In class: Analyze lyrics to hip­hop Patterson songs

June 26 Lecture 13: The Girl Groups: Onyanko Marx, The Onyanko Club, Club and AKB48 Neojapanisime (2005) http://neojaponisme.com/2005/03/ Chun 16/the­onyanko­club/

AKB48 readings

POST on laulima: look up an AKB48 video, or the translated lyrics to one of the songs. “Preferred reading”? “Oppositional reading”? What symbols or imagery are used? What do you think accounts for their popularity?

June 27 Lecture 14: The Jimusho system and Marx, The Jimusho System parts Johnny’s I, II, III and IV

Patterson Quiz 09: Laulima quiz on Hip Hop Japan, AKB48 readings, Jimusho system readings

June 28 Lecture 15: Manufactured Cool ­ Visual Kei TBA

Chun 15

WEEK SIX

Global Japan: the kanryu boom and the hidden mainstream

Date In Class Due Today

July 1 Lecture 16: Ghosts of a relationship past: The TBA Kanryu boom

Chun

July 2 Lecture 17: The Hidden Mainstream and fan Work on paper clubs Read: B’z to Tour America; Tak Matsumoto Talks about Patterson B’z First English Language Album Quiz 10: Laulima quiz on Visual Kei, Kanryu, and hidden mainstream readings

July 3 Paper 2 workshop. Everyone be prepared to Bring three page draft discuss their paper in class for five minutes. (cover + three full pages + Powerpoint is optional. work cited) of paper to class. Failure to do so will lead to ­5 to the paper grade.

July 4 Holiday: Independence Day No Class

July 5 Final Assessment PAPER 2 due in beginning of class (Six pages + citations page)