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COVER STORY • 7 The Rise of -Pop in and Its Impact

By Ng Wai-ming

APANESE pop is commonly music, but also their images. They are bases to make Asian editions of J-pop Jreferred to as “J-pop,” a term coined mostly handsome young boys and cute for the Asian market. by Komuro Tetsuya, the “father of J- and pretty who know how to Compared to Japanese editions, Asian pop,” in the early 1990s. The meaning sing, , talk, act and dress. Many J- editions are more user-friendly and of J-pop has never been clear. It was pop fans in Asia enjoy music videos affordable. They usually come with the first limited to Euro-beat, the kind of (MVs) as much as CDs. Due to physical Chinese translation of the . These that Komuro produced. and cultural proximities, Asian youths Asian editions are much cheaper (about However, it was later also applied to feel close to Japanese . Unlike 50% less) than the Japanese originals many other kinds of in Western idols who are too out of this and are only permitted to circulate in the Japanese music chart, , world to Asians, J-pop idols adopt a Asia outside of . They have a wide including -pop, and down-to-earth approach and present circulation in Asia. For , in (R&B), folk, , and themselves like the people next door. 2000, the Asian edition of Kiroro’s sometimes even . This article Asian youths think that they will never produced by Music Street sold uses a broader definition of J-pop. look like Western idols but can some- more than two million copies in Asia. J-pop has been one of the fastest- how copy Japanese idols. For example, Pirated editions made in , growing and influential music forces in the hairdos of Sakai Noriko and Kimura Mainland and Malaysia are Asia since the 1990s, warmly embraced Takuya as well as the make-up of omnipresent and cheap but are inferior by young people in Taiwan, Hong Amuro Namie and Hamasaki Ayumi in sound quality and packaging. Since Kong, Mainland China, South , were once very popular in Asia. the concept and legislation of copyrights , and Malaysia. Top Third, the popularization of Japanese have not been firmly established in Asia, J-pop artists such as Hamasaki Ayumi, dramas and the in pirated editions continue to flourish. In SMAP, Speed, , V6, Kinki Asia promote J-pop. Many J-pop addition, the recent trend of download- Kids and -inds. have become common singers (in particular artists managed by ing music illegally to computers or MP3 idols among Asian youths. Their Johnny & Associates) participate in players popularizes J-pop at the expense records and merchandise sell like hot Japanese dramas or sing the of the Japanese . cakes and they serve as models for Asian theme . Japanese dramas have music companies to train and promote jump-started the J-pop craze in Asia. The Making of a J-Pop Craze in their own singers. Many Asians listen to J-pop for the first Asia through Japanese dramas. Reasons for the Rise of J-Pop in of Japanese dramas sell Japanese has a relatively Asia extremely well in the Asian market. In long history in Asia that can be traced addition, Japanese is now a very popular back to II. In 1963, J-pop has become an integral part of language in Asia and thousands of peo- Sukiyaki (Ue o muite arukou [ will walk Asian music. Why are Asian youths so ple are taking Japanese lessons in major with up]) by Sakamoto Kyu crazy about J-pop, an alien music sung Asian cities. Learning Japanese through was a smash hit in Asia introduced indi- in an alien language? First, the musical listening to J-pop is a very popular rectly from the . During form of J-pop itself is appealing to method adopted in Japanese classes in the 1960s and 1970s, Japanese Asians. J-pop is a hybrid music which Asia. (nostalgic and sentimental ballads) had fuses different foreign music traditions Fourth, the Asian edition and pirated had a very strong impact on Taiwanese with the Japanese . J-pop provides edition play an important role in mak- pop songs in which about half of a viable alternative for Asians who are ing J-pop affordable and accessible to Mandarin songs were cover versions of looking for something different and Asians. Japanese music CDs are made Japanese enka. From the onward, refreshing. J-pop is quite for the Japanese market and thus they Japanese pop music has been introduced and easy listening. Asians have been contain only Japanese lyrics, and they to different parts of Asia directly from familiar with Japanese tunes, thanks to are very expensive. Without Asian and Japan. There were two golden eras of the popularity of cover versions since the pirated editions, J-pop would never have Japanese pop music in Asia. The first 1970s. Sometimes, Asians listen to the been so popular in Asia. Some Japanese boom was in the early 1980s when cover versions first and then turn to companies such as Music singers such as Kondo original Japanese versions. Inc. (SME) and Avex “Matchy” Masahiko, Nakamori Akina, Second, J-pop singers sell not only Trax use and Taiwan as Matsuda Seiko, Shonentai and Saijo

24 JAPAN SPOTLIGHT • March / April 2004 COVER STORY • 7

Photo: Johnny’s Entertainment Inc.

Hideki became the hottest idols in Hong woman in 2001, hun- Kong, Taiwan and Singapore. They dreds of letters sent by came to Asia for and their tapes fans of SMAP from (many were pirated) and LPs sold well. Taiwan, Hong Kong, Many Asian TV stations broadcast the Singapore and China Japanese “Red and White flooded into Johnny & Contest” (Kohaku Utagassen). “Matchy Associates to ask for cut” was once the trendiest hairstyle for lenient treatment. At men and the cute style of Matsuda Seiko 2003 Christmas, fans of also made an impact on Asian . w-inds. in Hong Kong The cross-dressing and outrageous make- sent 10,000 letters to up of Sawada Kenji also influenced some their icons. Asian singers (such as ). Singapore is the major Young men and women groups modeled market for J-pop in after Shonentai and Shojotai mush- . J-pop roomed in Taiwan and Hong Kong. albums have entered second peak appeared in the late top 10 of the Singapore 1990s when Speed, SMAP, Amuro music chart since March Namie, Sakai Noriko, Utada Hikaru 1999. In 1999 and 2000, and Kinki Kids became Asian superstars. 19 Japanese artists had In different Asian nations, J-pop albums albums the top 10 in the entered the local music charts, and con- Singapore music chart certs by J-pop artists were often quickly and at least nine Japanese A Kinki Kids’ in Hong Kong in 2001 sold out. albums topped the chart. Taiwan and Hong Kong were the two J-pop albums also sell well in Malaysia, down in the early . The decline of consumption and distribution centers of Thailand and Mainland China, although J-pop in Asia after 2000 has been affect- J-pop in Asia outside Japan. In the late piracy remains a serious problem. Even ed by a number of factors such as the 1990s, the circulation of J-pop could young people in are also slump of the music industry in Japan match its local and Western counter- under the spell of the J-pop craze in Asia. and Asia, the rise of Korean pop music, parts and a J-pop album by top artists J-pop was an underground the end of the Japanese drama boom in could usually sell more than a hundred in South Korea before the South Korean Asia and the problem of piracy. thousand copies in Taiwan and Hong government partially lifted its ban on Regardless of its decline, J-pop has Kong. For example, Utada’s First Japanese songs in 1998. Licensed become an integral part of pop music in album (1999) sold more than 500,000 Japanese CDs and MVs were circulated in different Asian nations and it is going to copies in Taiwan. J-pop artists have big the South Korean market. In June 2000, stay and make a comeback in the future. concerts in Taiwan and Hong Kong Japanese singers were allowed to sing in every year. J-pop fans in Taiwan and Japanese in their concerts in South The Impact of J-Pop in Asia Hong Kong have founded clubs, Korea. The World Cup Soccer 2002 both official (like Johnny’s fan club in concert was a breakthrough because for J-pop is now one of the most influen- Taiwan and the Sakai Noriko fan club in South Korea since tial music forces in Asia and it is no exag- in Hong Kong) and unofficial, for their World War II, Japanese songs (sung by geration to say that Asian music has been J-pop singers. Johnny’s Fan club in Chemistry and ) were telecast somehow Japanized. The Japanization Taiwan has recruited 30,000 members. nationwide. Mainland China is the mar- of Asian music can be seen from the fol- J-pop fans in Asia are very faithful to ket that the Japanese want to penetrate. lowing five aspects: 1) the popularization their idols. Some follow their idols to After 2000, increasing number of top of Asian cover versions of J-pop songs, 2) Japan and other parts of Asia just to lis- singers (including Hamasaki Ayumi, V6, the introduction of the Japanese idol- ten to their concerts. When Inagaki and Rip Slyme) have held concerts making system, 3) the adoption of Goro was sidelined by Johnny & or performed there. Japanese methods, 4) the use of Japanese Associates for trying to escape an illegal- The J-pop craze in Asia reached its words in lyrics or as aliases and 5) the parking ticket and hitting a - peak in the late 1990s and began to cool collaborations with the Japanese.

JAPAN SPOTLIGHT • March / April 2004 25 COVER STORY • 7

Photo: YAMAHA MUSIC FOUNDATION

quarters and branches in sing and dance by Inoks under the major Asian cities. One Japanese system and recording in of their main objectives is Mandarin, English and Japanese, Mirai to scout, train and pro- targets the entire Asian market. Komuro mote Asian pop singers in Tetsuya hand-picked new singers in the Japanese fashion for Taiwan, Hong Kong and Mainland the Asian market. For China to join his “Komuro Family.” example, SME has been His family members went to Japan for holding auditions called training. Horipro holds auditions in “Voices of Asia” in eight Mainland China, Taiwan and Asian nations to choose to look for new singers. promising new talents. Music companies and talent agencies In Mainland China, SME in Asia also learn from their Japanese signed four young counterparts in creating idol singers. For females to form the example, the Emperor Entertainment Performance Group (EEG, Hong Kong) and the Doll, a dancing and Comic Ritz Productions (Taiwan) are Collections of Asian Covers of Nakajima Miyuki’s Songs (This CD singing group modeled managed in a Japanese fashion. Like is only available in Japan) after the Perfor- Johnny & Associates and other Japanese mance Doll. They were talent agencies, these Asian companies Making cover versions of J-pop songs sent to receive training in Japan and sign long-term contracts (usually 5-10 is a common practice in Asia. It is their Mandarin songs were produced years) with good-looking people in their cheaper, faster and safer to make cover and written by the Japanese. In the late teens and train them to sing, dance, act versions of J-pop than to write original 1990s, the Singaporean Dick and talk. The companies arrange differ- songs. Smash J-pop hits usually have Lee, who worked for SME (Asia), signed ent kinds of jobs such as music record- multiple Asian cover versions. For more than 10 singers from Southeast ing, TV dramas, TV commercials, con- example, Chage & Aska, Nakajima Asia. Inoks chose three young women certs and movies for them, and acquire a Miyuki, and Anzen from Singapore from 3,000 participants very high commission (usually 30-50%). Chitai, each have more than 20 songs in auditions in Southeast Asia to form The singers under these Asian companies made in different Asian cover versions. Mirai (“future” in Japanese). Trained to have a strong Japanese feel. For example, Ruju (lipstick) by Nakajima has more than 10 different Asian cover versions Photo: Searchina & CNSPHOTO (including Mandarin, , English [in Singapore and Thailand], Thai, Vietnamese, Indonesian and Burmese). Taiwan and Hong Kong have produced a large number of Mandarin and Cantonese cover versions. It is said that 20-35% of Cantonese pop songs made in Hong Kong in the early 1990s were cover versions of Japanese songs. Sometimes, cover versions can be more popular than the original songs in Asia. Examples include the Cantonese version of Manatsu no Kajitsu (by Southern All Stars), the Mandarin ver- sion of Otoko to Onna (by Chage & Aska) and the Mandarin version of Nagai Aida (by Kiroro). The Japanese idol-making system has been introduced to Asia. Japanese music companies (such as SME and ) and talent agencies (such as Horipro Inc. and Inoks) have set up regional head- Comic Boyz (Comic Ritz Production)

26 JAPAN SPOTLIGHT • March / April 2004 COVER STORY • 7

Photo: Searchina & CNSPHOTO

Twins under EEG is modeled after Puffy and Comic Boyz under the Comic Ritz Production are the Taiwanese version of V6. Likewise, Sky under Go East (Hong Kong) is the Hong Kong version of SMAP. These five young Hong Kong men even sing a number of Cantonese cover editions of SMAP’s songs. EO2 (Star East Hong Kong) and Energy (Universal Taiwan) remind us of in music and dance. Cookies under EMI Hong Kong is regarded as the Hong Kong version of . Similar copied groups can also be found in other parts of Asia. Asian companies and artists are learn- ing from Japan about different aspects of music production and marketing, such as music composition, MV, stage design, sound effect, costumes, make-up, dance, Twins (EEG) promotion, jacket design and skills. In Asia, Japan is playing in the lyrics such as “aishiteru” (I love Slyme in concerts in Japan and Taiwan. the role of “recycling” Western music. you), “suki” (I like you), “sayonara” In 2003, Glay performed as guests for Euro-beat, R&B and Hip hop have large- (), “” (cute) and Mayday. , the leader of Glay, ly been introduced from Japan rather “ichiban” (the best). The lyrics also con- made music with Yundi Li, Vanessa than directly from Europe and the tain many hot spots or famous symbols Mae and Sakamoto Ryuichi. Kawamura United States. How do Asians learn in Tokyo such as the “Yamanote” Ryuichi and () wrote from Japan? Usually the Asians study region, “,” “Shibuya” and songs for Kelly Chan and Nicolas Tse and apply these Japanese methods by “Harajuku.” Even titles can be in respectively. Chage & Aska wrote a themselves. Sometimes they ask the Japanese (such as Sammi Cheng’s song for the Chinese Naying, and Japanese to transfer know-how. Arigato [a of Kokia’s Yuming (Matsutoya Yumi) wrote a song Taiwanese and Hong Kong talent agen- Arigato], ’s Aishiteru and for the Hong Kong singer Dior Wong cies send their hottest or most promising ’s Futari mae. Some who studied under her in Japan. Sakai singers to Japan to receive special train- Asian singers (in particular females) use Noriko and Yamaguchi Yuko were guest ing in music, dance and stage perfor- Japanese names (such as Yoko, Miki, singers on Hong Kong albums. These mance. For example, EEG sent Nicolas Yumiko, Sakura, Junko, Yuki and Taro) kinds of transnational music exchange Tse to study and music composi- as aliases. will generate new artistic ideas and busi- tion as well as Joey Yung to improve The collaborations between Japanese ness opportunities and are likely to dancing in Japan under Sam (Maruyama and Asian have increased increase in the future. Masaharu), the ex-husband of Amuro tremendously in various forms such as Namie and a dancer of TRF. In late music production, composition, 2003, Twins received a three-day inten- , recording, singing, playing Ng Wai-ming is an associate professor of sive dancing lesson from Yamato music and co-organizing concerts. For Japanese studies at the Chinese University of Fumiko, the dance teacher of SMAP. example, Black Biscuits (disbanded) and Hong Kong. He has been researching the EMI and Universal in Hong Kong also Core of Soul are groups combining impact of Japanese in Hong send their singers to receive music and Japanese and Chinese artists. The gui- Kong and Singapore, and has published dance training in Japan. tarist from Luna Sea and the drummer articles on Japanese comics, animated The Japanization of Asian pop music of Shiina Ringo played the music for and programs, video games, popular music, can also be seen from the use of Japanese Nicolas Tse on one of Tse’s Cantonese TV dramas, sushi and Kitty in academic in lyrics and aliases. Taiwanese singers album. Nicolas Tse and Mayday (a journals. His current research on Japan’s use Japanese words and phrases in lyrics Taiwanese ) were guest performers influence on the Hong Kong entertainment very often, sometimes even the entire in one of Glay’s concerts in 2001. In industry is supported by a grant from the section is in Japanese. Hong Kong 2002, LMF (a disbanded Hong Kong Research Grant Council of the Hong Kong singers also like to insert some Japanese hip hop band) performed with Rip Special Administrative Region.

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