In the introduction to Idols and Celebrity in Japanese Media Culture, Patrick W. Galbraith and Jason G. Karlin outline the vast media intertextuality that makes audiences outside Japan find it difficult to understand the country’s pop culture. “The idol, as a multimedia performer, is always operating within a system of meanings and codes that are referencing other texts” (19). This occurs in four ways: (1) the way that idols perform across genres and platforms (appearing in dramas, sports events, and on game shows, releasing singles, appearing in commercials, etc.), (2) idols’ appearance in fictional and nonfictional contexts that reference both their real and onscreen lives, (3) the multi-platform appearances that link media forms for the purpose of promoting and selling other media, and (4) the way that intertextuality encourages nostalgia based on a shared cultural framework of texts (10-12). It’s that last point that will be most important here, and is summed up so succinctly:
“Without the intertextual knowledge that comes from a shared understanding of the cultural codes that circulate across media forms within Japan, the idol is reduced merely to his/her ability as a singer, dancer, or actor, which is limited. As a result, Japanese popular culture does not translate well cross-culturally, since its forms are overdetermined by the self-referential structures of the domestic media landscape.” (12)
That’s a rather large batch of quotes and summaries, but makes sense when you think of how often you see bewildered expressions or LOLJapan memes that circulate when readers or viewers are provided information on Japanese idols, bands, or fads without any of the relevant context. And bereft of context, we often get disdain, fear, or general apathy.
A great example of this intertextuality is Negicco’s latest single “IDOL Bakari Kikanaide.” Released this May, the single provides more than the usual number of references. Let’s break it down as coherently as possible:
(1) Japanese idols are heavily promoted media personalities that combine singing, dancing, acting, modeling, and advertising into careers that may last as little as a couple of years to decades. They’re generally attractive, particularly cute, and are usually considered pure or innocent, an image that will be consistently torn down by scandals or tabloids. The whole point of modern Japanese idols that separates them from other equivalents is that they are generally more valuable based on their potential. That is, an idol is valued if he or she starts out with moderate talents and abilities, but is shown through his or her career to develop and grow, a process fans are eager to participate in by supporting their chosen idols. Idols generally began appearing in the early 1970s, reached a peak in the 1980s, were replaced by more ambitious artists like Namie Amuro, Hikaru Utada, and Ayumi Hamasaki in the 1990s and early 00s, and have slowly begun an ascent once again.
(2) Shibuya-kei is a genre of music made popular in the 1990s. As Simon Reynolds puts it in Retromania: Pop Culture’s Addiction to Its Own Past, “The term came from the Shibuya area of Tokyo, in which were clustered record stores like Tower and HMV that stocked a lot of imports, along with ultra-hip record boutiques. The upper middle-class, privately educated kids who frequented these stores bought loads of import records from the UK and esoteric reissues of all kinds, then created music that was a portrait of themselves as exquisitely discerning consumers.” In other words, Shibuya-kei was a nod to forgotten, hip genres as varied as French ye ye, bossa nova, jazz, disco, and other pop styles, with the look and feel of 1960’s retro-futurism. Popular artists included Pizzicato Five, Flipper’s Guitar, Cornelius, and Karie Kahimi.
(3) One of the groups that epitomized the Shibuya-kei aesthetic, as mentioned, was Pizzicato Five, a group most popular with its incarnation of members Maki Nomiya and mastermind Yasuharu Konishi. It wouldn’t be erroneous to call Konishi the man with the vision: a look at P5’s discography puts you at the center stage of ironic, 1960’s retro-futurist musical genres, fashion, and general pastiche. Some would even go so far as to call Konishi’s music downright plagiarism. Suffice to say, Konishi understood this. His gigantic collection of vintage records that he relentlessly sampled wasn’t too far from what hip-hop had been doing for years. Regardless, Shibuya-kei did eventually reach a boiling point, most likely when books and manuals were published detailing all the minute references that took the pioneers forever to uncover, spelled out for even the simplest passing musical tourist to grasp. Suddenly, with a gigantic reference library of knowledge and specialist shops dedicated to the genre, crate digging for hours wasn’t as much fun, unique discoveries were impossible to make, and a new generation was onto something else. Or, to put it less lightly, “Through the mass media, the awareness of a particular celebrity or idol permeates national consciousness until it collapses under the weight of its own self-referential reproduction. […] As a result, the desire for novelty becomes engrained in Japanese media culture, guaranteeing stability and routinizing consumption” (Galbraith & Karlin, 17). Pizzicato Five released their last album, Ca et la du Japon, in 2001, symbolically ending their reign of the decade.
(4) Yasuharu Konishi continues to produce and remix things here and there. His latest work is for Negicco’s new single “IDOL Bakari Kikakanaide.” Besides the fact that this is a classic Konishi hyper-violin, go-go groove, we’ve also got a reference that turns in on itself back to the source: a song idols are singing to encourage a boyfriend to stop listening to idols so much (“I don’t care how much you love idols / But no matter how much you shake her hand / You can’t date that girl / Too bad!”). Clever, right?
(5): Handshake events are quite popular in Japan. Often access is obtained by purchasing singles or albums. It’s exactly what is sounds like: fans get a chance to meet and shake the hands of idols.
Yasuharu’s interest in the long-running idol group started back in February, when he supposedly “begged” their producer connie to write a single for them.
(6): It isn’t uncommon for professional and budding musical composers to write songs and submit them to idol agencies in the hope they get produced. It’s a little different than your standard single-producer complete-control regimen, but it certainly takes fan interaction to a whole new level.
Says Yasuharu: “I’ve played this monumental song close to a 100 times at home already. I always dreamt of writing a song for an idol from when I was a high school student. I want to take this song and make him (myself in high school) listen to it. It was like, ‘the Kyohei Tsutsumi inside me’ burst out of me.”
(7): Kyohei Tsutsumi is another popular record producer who penned Ayumi Ishida’s ridiculously popular song “Blue Light Yokohama” in 1968 and has since gone on to become one of Japan’s most prolific music composers. Humble, Konishi is not.
Says connie: “The first time I heard about the idea for the title, ‘IDOL Bakari Kikanaide’, was on our first meeting. When I heard that title, I liked it so much that I said, ‘Please go with that!’. Just imagining Negicco singing a song called, ‘IDOL Bakari Kikanaide’ (meaning, ‘don’t just listen to idol songs’), it’s such a great idea! It gave me goose bumps when I listened to the demo when it arrived a few days later. It was authentic Konishi melody, and Konish [sic] lyrics. I was moved by just that.” In true retro fashion, this single was also released on limited edition 7″ vinyl.
(8): Negicco isn’t the only group with a retro-idol vibe to be affiliated with Pizzicato Five. To name another, kawaii duo Vanilla Beans have covered Pizzicato Five songs such as “Baby Portable Rock” and “Tokyo wa Yoru no Shichiji” and have invited ex-P5 vocalist Maki Nomiya to compete with them for the 4th edition taiban project.
(9) By the way, the title of the song is also a reference to France Gall’s “N’ecoute pas les idoles.” Because Konishi.
(10) The promotional video might seem a little stiff and awkward. Speculation: the idol group is most likely influenced by seminal idol duo Wink, a style that lives on in many Wink-style performances. From the blog Kayo Kyoku Plus: “You might call Wink the anti-Pink Lady: emotion-drained faces, robotic moves utilizing mostly their upper bodies, and Lolitaesque dresses. They looked just like porcelain dolls given life.” Wink took bubbly 80’s dance-pop and turned it into a cool, robotic business of hand waves and blank expressions that lives on in idols today.
The song can certainly be enjoyed without peeling back all of the layers and finding the references within references, but it does reveal the intertextual layers one has to sift through to truly understand and contextualize Japanese pop culture. Rather than assume everything from Japan is wacky or strange, sometimes it takes some research and an open mind to figure out what’s happening. Really, (at least in terms of a “shared cultural framework of texts”) it’s no different than movies or sitcoms that rely on pop culture references for humor, or the links posted here or anywhere that lead you down the rabbit-hole that build on other links: more difficult than Wikipedia, but easier and less hypertext-y than Nabakov’s Pale Fire, which a sadistic professor may have forced you to read in an undergrad pomo Lit class. As such, it can be difficult to write about Japanese pop culture without assuming the reader knows the basics or grasps certain aspects that would take at least five or six steps backward to comprehend.
As per past discussion, Korean pop doesn’t necessarily follow this formula: Korean idols are created to be less specific, with references that mostly stem to the universal and the shared, or skewed towards those of the Western world. Again, Japan doesn’t really seem to care too much about exporting their idol talent, or easing up on the subsequent colossal advertising tie-ins and cross-media promotions. With the revenue they generate within their own country, whatever they’re doing seems to be working for them, even if they have to bribe fans to buy CDs to vote in media-promoted idol elections. Wait, back-up. Should we break that down?
Ah, you read that book by Jason G Karlin. A good read and can be considered a pseudo sequel to Island of Eight Million Smiles.
I like to point out that idol can sing almost anything as long they tick the boxes of what is required of an idol.
And on that thing about trying to understand Japanese idols with context. Please remember that the Japanese music scene was clued into global music scene and universal values unlike today. That time was call the golden age of Jpop for a reason.
There’s a reason that Dentsu brought Perfume to perform at Cannes…
Great book! I’ve read the whole thing. It was the source I used the most in a research paper I recently wrote on female and male fans of female idol groups. The book has an extensive amount to say with an excellent collection of essays, some of which I had found otherwise in my research, some of which were exclusive to the book. I highly recommend it to anyone interested in further understanding idol culture!
A really good post! I enjoyed reading this. 🙂
absolutely fascinating. I found your blog by accident (been on a hiatus from j-pop culture for about a decade), and I’d never heard of this song but I was a huge P5 fan back in the day (although not living in japan at the time I wasn’t privy to all the layers you’ve discussed here).
to add one more layer, perhaps, I think (if I recall correctly?) nomiya maki had a short-lived career as an idol quite awhile before P5 (one solo album, “pinku no kokoro”)