The Nonsense thread

[Tavaruawon]

[cheifwiggums]

[Poesia [ ] T]

[where]

[TheoHuxtable..]

[bitefight]

arizona tea is fucking good

[TheoHuxtable..]

[where]

[cheifwiggums]

^hahaha at that chick

[|O__________o|-robojones]

Norwegian Black metal is an institution, a solidified genre within a genre. Norwegian Black Metal began its conception as a radical entity of revolutionary attributes that has melted into a conservative mainstream genre.

The pure genius of the music still lives on, but the effective ethos the scene once harnessed has long dispersed.

 

In the Beginning

 

With a stagnant Death Metal scene lumbering into the nineties, the emergence of Nordic Black Metal expanded upon its Deathly roots, regurgitating the creative elements of Celtic Frost and Bathory elements that were lacking in the more bland Death Metal formula.

 

To disentangle the history of Norwegian Black Metal is a task in itself, to place the bands in some order of notoriety is at first obvious, and then less so when faced with the wealth of material available. Bands that came and went in the blink of an eye become more tangible at second glance. Music that is buried becomes ever more significant. The aforementioned words be can likened to any genre and any scene of worth that is being dissected.

 

If we pinpoint the rise of Black Metal from the initial Mayhem/Burzum creative spark, in 1990-92, then we would be making a fatal error. In Norway during 1990, Death Metal influenced acts like Old Funeral, Cadaver, Thou Shalt Suffer, and Embryonic [to name a few] were tilting on the edge of something unknown in a stagnant metal world awaiting a spark to reinvigorate it. That spark was to be the well documented murder of Mayhem bassist, Euronymous, in 1993.

Prior to this spark, the Black metal underground to which Mayhem and Burzum belonged reached far out of their Norwegian seclusion. There was a whole network of bands from across the globe awaiting ride the blood blenched wave of Black Metals rise to infamy. In 1990 Mayhems infamous Live in Leipzig was recorded, and this can be cited as one of the genuinely True Black Metal recordings of the imminent scenes awakening.

At this time, the dark mutterings of Beherit [Fin], Samael, Tiamat [swe], Profanatica [u.S.A], Blasphemy [Can], Mortuary Drape [it], and Root [Czech], to name a few, had demos circulating the underground, if not albums proper.

In 1991, the likes of Marduk [swe], Rotting Christ [it], Masters Hammer [Czech], Mystifier, and Acheron [u.S.A], were releasing albums. Here we find bands from across the globe, all displaying a dark Satanic/Anti-Christian musical ethos, that made the Black Metal phenomenon in the early nineties what it was. It was just, the Norwegians gave the whole movement its ignition, its impetus to become a formidable force in the extreme metal firmament.

 

There are certain main players, bit part players and the outer edge players. The enigmatic luminaries, Hellhammer [Jan Axel Blomberg], and Samoth [Thomas Thormodsaeter Haugen], for example, have contributed their talents no less than thirty Norwegian Black Metal bands since the scenes conception. Bands seem inter-related and all are tied together by one member or another. This brotherly strength has maintained the scenes longevity, creating a kinship unrivalled in other extreme genres.

 

The actual sound to the music is also at first obvious, then as the ripples of evolving styles spread out, less apparent.

There are the icy drones of Darkthrone that manifest a primitive and raw monochrome sound. The symphonic beauty of early Emperor that signifies orchestral keyboards. The experimental surges of Ulver and Arcturus, that evokes electronica and a modern twist to the basic sound. Amongst these collective styles are Pagan/Viking inspired acts, orthodox thrash devotees, and more Deathly aspired outfits. All have one factor in common; they all adhere to/evolved from, a Black Metal nucleus that is the Norwegian Black Metal scene as a whole.

 

The History of the scene is well documented, with Mayhem being a pivotal force, paving the way and igniting the whole movement. The suicide of vocalist 'Dead', on April 8th 1991 served as a ripple compared to the forthcoming wave of hysteria generated by the media, when Burzum main man Varg Vikerenes murdered Mayhem guitarist, Euronymous in the stairwell of his apartment building on August 10th 1993. Hence, the movement was truly born.

To put these events into perspective, we must be aware that none of the criminal acts were designed for public scrutiny; no premeditated media hype was constructed. The young teenagers responsible for the hysteria were indebted to a personal agenda that eventually became swallowed up in the media attention that ultimately followed.

 

Prior to this major spark, the only real bands of note were Burzum, Immortal, Dark Throne and the demo awakenings of, Thorns, Emperor, Enslaved and Carpathian Forest. The scene was as at that time an unknown entity and the music an exclusive underground movement. With the Death of Euronymous, the whole scene was dragged under a blaze of publicity securing the second wave to bolster the scenes already strong position. Gehenna, Kampfar, Ulver, Satyricon, Dimmu Borgir and the rest soon cemented the Norwegian genre as a scene incarnate.

 

One must not forget the original concept of the term ‘True Norwegian Black Metal’, A phrase etched onto the Darkthrone Transylvanian Hunger cd as Norsk Ǻrisk Black Metal. The very real connotations with Nordic pride, Aryanism, anti-Christian/Jewish themes and even Neo-Nazi affiliations cannot be ignored, although the quick back tracking by most of the bands when fame reared its persuasive head stifled these not so mainstream ideologies.

I have old letters/photos from both Shagrath and Mortis before they became artists of note. Mortis is scribing a swastika into a tree trunk and Shagrath signs his letter with a swastika. This is more teenage ignorance than blatant fascist idealism, but all the same it is a very real glimpse into the minds of the early band members, and their one dimensional ethos of Norse pride merging with Anti-Christian hatred. That, coupled with the pagan religion of the Vikings all go towards underpinning the Black Metal phenomena.

One point that is often overlooked is that the Norway is a rich county, a clean country and although cold, extremely sparse in its population per sq mile. There are no immigration problems; the political climate is stable, and the standard of living high. So, unlike the fucked up rappers from downtown Brooklyn who can lay claim to gun violence as an impetus for their unruly behaviour, and foul mouthed lyrical content, or the high unemployment of the early punk scene in England that fuelled the whole punk movement, the Norwegian Black Metal scenes rise to infamy is based on a sequence of events that could well have happened in Finland or Germany given the same circumstances.

There is no doubt in my mind, had the early Finnish scene succumbed to murder, desecration and bizarre homosexual murders, the quality of bands already simmering under the surface would have had the same impetus to create a scene of equal strengths and ingenuity. As it happens, Norway is where it all happened, and no streetwise, hard done by, drug fuelled kids were to underline the events that would shape things to come.

These kids, where breathing clean air, living in good homes and were well educated. Indeed, the teenagers who frequented the Helvete shop in 1991 were reasonably well behaved, well spoken and generally normal bored teenagers.

 

So 1993 was the year Norwegian Black Metal was truly born with the death of its founder so to speak. Church burnings [the first occurring in 1992], suicide, and murder all a contributing factor to the genre as a whole living entity. Norwegian Black Metal has become a byword for ‘True Black Metal’, a phrase much attributed to Mayhem and Darkthrone. The erosive atmosphere and basic recording quality of the early movement re-defined the very soul of what one perceived as Black metal and ignited the genre incarnate.

 

The fact that Norway has a climate reflective of darkness and evil, also helped to create the impetus for the scenes violent image elsewhere. One cannot envisage the same darkly solitude emanating from the southern hemisphere.

The stark beauty of its landscapes, its brutal past and timeless visage has become synonymous with the Black metal born from its surface.

 

Top 100 Norwegian Black Metal Bands - http://www.norsksvartmetall.com/top1.htm

The following list is based more on musical quality than individual notoriety. The album sleeve that appears will denote the bands most influential, if not their solitary noteworthy release. The list is a result of one person’s study and will no doubt differ from another’s perspective.

 

Acts outside the list

The following Norwegian acts that follow a definitive path outside the core of the genre are not included. [Even though they may share a common unity/distant connection with Black Metal]

Thrash retro acts - Inferno, Susperia and Aura Noir, Audiopain, etc

Viking Metal acts - Einherjer, Vanaheim, Asmegin, Thundra, Arvinger etc

Death acts - Zyklon, Fester, Bloodthorn, Blood Red Throne. Chton, Embraced, Twin Obcenity, Myrskog. etc

Doom acts – Fallen, Lamented Souls, Funeral, Black Lodge, Paradigma, etc

Christian Black Metal : Frosthardr, Antestor, Drottnar, etc

Gothic/Dark Metal acts : Apostasy, Madder Mortem, Atrox, Naervaer, etc

 

There are the mother bands who’s members have forged solo project and lesser bands to channel their own personal musical perspectives.

Satyr [satyricon] released the ambient ‘Wongraven’

Fenris [Darkthrone] crafted the blackened folk of Isengard and Storm.

Ihsahn [Emperor] formed the loosely Black Metal based Peccatum and more recently a self titled project.

Mayhems Blasphemer appeared in the industrial tinged Mezzerschmitt, whilst, Necrobutcher dabbled in the old school thrash band Kvikksolvguttene.

 

All these acts are linked to the central artery of Norwegian Black Metal, although existing in the outer sub-genres and musical climates to where they were designed to function.

[Crocodile Tears]

 

 

 

 

NICE CAR.

[|O__________o|-robojones]

http://www.youtube.com/watch?v=AjrEC0Ti0PU

 

 

TI understand you are basically finished recording your new album tentatively titled “The Cult is Alive” which seems pretty straightforward for an album title from you guys. Can you tell us a little about it and how it compares to the rest of your albums? Also what are some of the song titles?

 

Yeah, you’re right, we’re almost finished. 2 songs left to record. The title will of the album will tell you lots more once you’ve heard the album. The album was supposed to have 11 tracks, but that is now reduced to 10. The 11th song will appear exclusively for our single alongside a coversong (won’t tell you the name of the band yet). Those two tracks are only for the single, but it will also contain one song from the album, only slightly different. Fenriz also does some vocals for the album and single, and, guitar solos are also the new agenda. Things are for sure happening. Oh, did I mention a music video? We’ll make a LOW BUDGET video, no fancy glitter and glamour here. We must make sure the necro and cold music parade through an otherwise fancy and plastic scene. All this single and video stuff is only meant for this time only. We must set our mark. Some titles for the album: “Too Old Too Cold”, “Graveyard Slut” and….hmmm “The Cult of Goliath”.

 

I know you guys are increasingly hailing the influence that Punk rock has had on your music and its roots have been evident in your recent musical output. Will we see more punk rock showing through on this album? And since you hail some great punk bands I was wondering what you thought of the Accused which I feel is the punk version of Autopsy and would seem to be right up your alley.

 

It’s right up my alley, and in fact punk rock is closest to my heart….I can feel it all the time. Black metal done the right way (just my personal opinion), has very much in common with punk, really. Hehe, I remember I saw Rich Kids On LSD in Oslo in 89. Great! Napalm Death were also visiting Oslo at that time. And yes, you will definitely see our punk rock elements strong on this album. Fenriz just said “I would be extremely bitter if I died before this album is out.” Funny guy. But it shows how much we appreciate this album.

 

I have heard you guys bought a new version of Necrohell. How did the recording go there and what sort of influence did having your own studio to work with have on the recording process? What kind of time were you able to spend on the actual recording? Is it still located in Fenriz’s house?

 

Yes, we bought Necrohell 2. And it has A LOT to say for our recording process. We’re all more relaxed, and it shows especially on Fenriz’ drumming…the man is such a natural talent, and he never stops amazing me. He’s just the perfect musician for me to work with. Everything goes smooth, and we record at our very remote rehearsing place, that is several hours north of Oslo.

 

It seems that with each new album you guys are releasing the expectations are increasing. I think this has several reasons which include the increased focus and artistic strength of your recent albums setting the bar higher and higher. What do you think about this observation?

 

Well, we actually feel some of that as well. I remember after the recording of “Sardonic Wrath”, we thought “how the hell are we going to top this one?”, and we usually don’t think like that, but fuck yeah, we topped it big time (only our opinion). So now the big question is raised, “will we top this one?” My answer is a resounding yes, ‘cause we have lots more to offer, and we will be even better.

 

In an interview with Zero Tolerance ‘zine you told of a Video project you were working on. How is that coming? I have also heard a rumour that there might be some sort of tie in with the new album and the medium of video. Is this true?

 

Yes and no, my film project is not a Darkthrone product, though Darkthrone appears a lot in it. It will just be a strange moody film about inspirations, blackmetal, Darkthrone and strange people and Norwegian culture (the non Christian culture that is). The film will be finished next summer. I film and edit myself, so this is not a professional film, but an insight in different things regarding music and culture.

 

For the new album I have heard so many rumours about who will be doing the artwork. I have heard Kim Solve, Banks Violette, and even Eric Masicotte(THESYRE) will have a hand in it. Can you straighten this out a little bit?

 

Ok, we had to cancel the Banks Violette part of it, due to communication failure, but both we and him want to make something together in the near future I guess. And yes, Kim Solve will be doing the overall design on this album, and Eric Masicotte has contributed with such a masterpiece of a singlecover. It totally rules.

 

You recently made a trip to Japan for the Norwegian Black metal exhibition by photographer Peter Beste. How did this go? What was your impression of Japan and Peter Beste? His popularity seems to have grown quite a bit.

 

That was a hell of a cool trip. I’m just fascinated by Japan, the people, the mad modern culture combined with ancient culture and behaviour. Peter is a very good photographer, and I have known him for quite a while now. Guess I’ll meet up with him later, maybe in Poland.

 

Also to go along with the Norwegian Black metal exhibition you also released the Under Beskyt’telse av Morke Boxed set limited to 666 copies(which is one of the best boxed sets I have ever seen). How did this come about? I know Makoto said he designed it. Can you tell us a little more about what it contains and the rehearsal session that is featured in it?

 

Well, it’s 3 rehearsal songs from Under A Funeral Moon, some postcards and a little figure with Darkthrone logo on it. Mad stuff, but I really have not seen much of it. I don’t even own a boxset myself. Makoto was bragging about sending me two sets when I got home….yeah right. I heard from Satoshi, but when I was to return my answer, the address did not work. Great guys, Satoshi looked completely mad with scooter and crash-helmet.

 

Your last two albums were stolen and put out on the internet ahead of the albums actual release. Are you taking extra measures this time around to ensure this does not happen again? What do you think about the actions of the people who placed your last albums out there for downloading?

 

You really cannot stop science. It was our mastering guy that was careless about copies I guess. Fuck that, we’ll definitely want to go somewhere professional this time around, and yes, we’re definitely taking measures big time now. People who physically put that on the net knew it was not allowed by us, and therefore probably feel they have some form of power, and maybe they got a small tiny adrenaline rush, poor, poor, sad motherfucker. I don’t care. For a band like Darkthrone, it won’t matter that much.

 

How has the transition been from Moonfog back to Peaceville? I take it they will release your new album. Why did you leave Moonfog? I personally was not a huge fan of the direction it seemed they were going in.

 

The reasons are many. The transition is great for us, we have had ups and downs in our relationship with Peaceville, but the downs was only present in 93-94, after that it has been great, so this is just a natural thing to do. They and we (Tyrant Syndicate Prod) will release the new album, yes.

 

Is the live show you performed with Satyricon at Wacken ever going to be released in some sort of format? I thought Hordes of Nebulah was a strange choice to perform live despite it being my favourite song from Panzerfaust. What made you choose that song?

 

The pace, the feeling I get from screaming it I guess. Don’t really know if it’s gonna be released or not yet.

 

How is Tyrant Syndicate going? What will be your next release/signing? Also do you have any words regarding Agressor’s(Aura Noir) injury? I was thinking you guys should try and steal Audiopain away from Vendlus records. They seem like a perfect fit.

 

The syndicate is going fine indeed. We have just signed OLD from Germany, and you’ll definitely gonna be in awe after they release their debut early next year. They know what they want, they don’t mess around trying to be great, but they are a fantastic band which we are really looking forward to release. Abscess is also in talks with us, and it’s no denying we’re huge fans. And that band has a great story, ever since Reifert drummed his way through “Scream Bloody Gore”, the first Death album. We’re not able to sign much more for now, lots of work to be done, and since Aura Noir also is up to something these days, it’ll be enough for now. Aggressor is doing really fine, and we are all very optimistic for him. He’s a fighter. I’ve visit as often as I can, and he seems to recover each time I “pop” by.

 

It seems every time I interview you the world just gets more and more violent with the bombings in London and Egypt as well as the war in Iraq happening since I last talked with you. What do you think about this grinding of religious fanatics against each other? To me it shows more evidence of the dangers of believing in fairy tales.

 

Yes, exactly, fuck religion of any sort. The human race is on the surface strong and mighty, but we are also the weakest. We are on full force ahead to the total extermination of ourselves. Why doesn’t someone just bomb the Vatican and Mecca altogether? Beats me, but it tells us that humans are too weak. We have to take care of all individuals in the world, even if the society and planet don’t need them, we protect all kind of criminals here in the west. Fuck religion!!!

 

Any last words for the fans from the band that has risen to truly reign from on that dark throne? Next time you are in London drop me a line and I will try and help you avoid the train bombers. Heh heh.

 

Words….well I do really hope we can all enjoy our new album, and the lyrics of Fenriz keep growing, he’s the fucken master of lyrics, hail.

[Poesia [ ] T]

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You know you had a good workout when you can barely walk up the stairs! Maybe it has to do with the fact my teacher is an ex military dude! He told me Ibuprofen will be my best friend! Lol!

 

about an hour ago via Facebook for iPhone · Comment · LikeUnlike

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[TheoHuxtable..]

I'm gonna build an igloo.

 

I'm gonna build a house.

 

I'm gonna build an igloo.

 

I'm gonna build a house.

 

 

 

 

Shittin in the 1940's, shittin in the 1940's.

[TheoHuxtable..]

[|O__________o|-robojones]

[ImChristeezy]

how the fuck do people do screen shots? stll dont know... i got a pos dell.

[|O__________o|-robojones]

 

then

 

+

into the photo editing program of choice..

 

dunno how to do it on a mac though

[ImChristeezy]

it worked.. gracias

[Tavaruawon]

NO !!!

 

[Guest JohnLester#31]

[Bad Medicine]

[asthma al]

[Bad Medicine]

[stresssack]

[Bad Medicine]

[ImChristeezy]

[|O__________o|-robojones]

Ryūkōka

From Wikipedia, the free encyclopedia

Ryūkōka

Stylistic origins Traditional pop • Western classical music • Vocal music • Dodoitsu • Min'yō • Jazz • Blues

Cultural origins Late 1920s Japan

Typical instruments Vocal • Classical guitar • Mandolin • Violin

Mainstream popularity Mainstream in Japan during 1930s and 1940s; dissolved in 1960s

Derivative forms Enka • Kayōkyoku • J-pop

Ryūkōka (流行歌 literally "Popular Song"?) is a Japanese music genre. The term originally means "popular music" in Japanese. Therefore, "Imayō", supported by Emperor Go-Shirakawa in the Heian period, was a kind of ryūkōka.[1] As a specific musical genre, however, ryūkōka is regarded as Japanese popular music genre between late 1920s and early 1960s.[2] Ryūkōka adopted the style of Western classical music.[3] Ryūkōka ultimately split into two genres enka and poppusu.[4] Unlike enka, archetypal ryūkōka songs did not use the kobushi method of singing.[5] Ryūkōka used legato; the founders of kobushi are regarded as Bin Uehara and Yoshio Tabata.[6]

Singer Ichiro Fujiyama and composers Masao Koga and Ryoichi Hattori were later received the People's Honour Award. Although enka became a notable genre in Japan, in the 1981 interview, female singer Noriko Awaya said "When I hear enka, I escape from the music because I feel like vomiting."[7][fn 1]

Contents [hide]

1 History

1.1 1914–1927: Orgin

1.2 1928–1930: Beginning of popularity

1.3 1931–1937: Rising popularity

1.4 1937–1945: Influences of war

1.5 1945–1954: Postwar popularity

1.6 1955–1963: Transformation of music

1.7 1963–1966: Enka's independence and collapse

2 Legacy

3 Notable ryūkōka singers

4 Footnotes

5 References

[edit]History

 

 

 

Singer Sumako Matsui and composer Shinpei Nakayama

[edit]1914–1927: Orgin

See also: Min'yō

In 1914, Sumako Matsui's song "Katyusha's song", composed by Shinpei Nakayama, was used as a theme of the rendition "Resurrection" in Japan. The record of the song sold 20,000 copies.[8] One theory holds that this was the first ryūkōka song, which was made by Hogetsu Shimamura's order: "the tune between Japanese popular folk music and Western music".[9][fn 2] However, street performers called "enka-shi" (演歌師?) had been popular until record labels such as the Victor Company of Japan began to produce songs in the early Shōwa period.[10]

Although Matsui committed suicide after Shimamura's death, Nakayama continued to develop his music. During his career, he composed about 3,000 songs such as the 1921 song "Teru teru bozu".[11] Japanese traditional music didn't adopt equal temperament, but Nakayama transferred Japanese traditional music to staff-style by main force. His 1921 song "Sendō Kouta" (船頭小唄?) was later covered by various singers, but was at first best known for being covered by violin enka-shi Shunyo Tottori (鳥取春陽 Tottori Shun'yō?, 1900–1932) featuring Orchestra. The pentatonic scale used in this song was "Minor scale without forth and seventh degree". However, the scale ignored Japanese traditional chord.[12]

Nakayama's songs were based on Japanese folk music called min'yō, but also adopted Western musical style. Therefore, his music was called "Shin Min'yō" (新民謡 lit. "New Folk Song"?).[12]

[edit]1928–1930: Beginning of popularity

 

Yoshie Fujiwara and Chiyako Sato

In the early Showa period, the microphone was introduced into the popular music of Japan. Teiichi Futamura released his cover version of "Sing me A Song of Araby" (アラビヤの唄 Arabiya no Uta?) in 1928. The song was originally composed by Fred Fisher. Chiyako Sato's 1928 song "Habu no Minato" (波浮の港 lit. "Port of Habu"?)[fn 3], composed by Nakayama, sold 100,000 copies.[10] The song was also sung by singer Yoshie Fujiwara.[10] Chiyako Sato's 1929 song "Tokyo March" sold more than 300,000 copies.[13]

[edit]1931–1937: Rising popularity

 

People's Honour Award winning singer Ichiro Fujiyama

 

Hideko Takamine and Taro Shoji

 

Noriko Awaya, the "Queen of Blues" in Japan

See also: Dodoitsu and Geisha

Some of the country's first major stars were singer Ichiro Fujiyama and composer Masao Koga. Koga attempted to initiate fusion of Western jazz and Japanese dodoitsu.[14] Fujiyama's 1931 song "Sake wa Namida ka Tameiki ka" (酒は涙か溜息か lit. "Is Sake Tears or Sighs?"?), composed by Koga, became a major hit in Japan. This song created a fusion of Fujiyama's crooning and Koga's guitar play.[14] Using the vocal technic Mezza Voce with a microphone, Fujiyama sang the song by the deep voice of not Opera's G minor but D minor.[14] Fujiyama's song "Oka o Koete" (丘を越えて lit. "Beyond the Hill"?) sold 600,000 copies.[15] However, Fujiyama was an elite student, who specialized Western classical music in the Tokyo Music School. Ryūkōka songs often dealt with eroticism and grotesque things.[16] Since his school regarded ryūkōka as bad form at that time, Fujiyama was once suspended from the school.[14]

This period also saw the popularity of geisha singers such as Ichimaru and Katsutaro Kouta. Katsutaro became famous when Fujiyama was turned out of ryūkōka. Her song "Shima no Musume" (島の娘 lit. "Island Girl"?) sold 600,000 copies.[17] Katsutaro and Issei Mishima recorded duet song "Tokyo Ondo". The song was composed by Shinpei Nakayama and was released in 1933. The single "Tokyo Ondo" sold 1,200,000 copies.[18]

When Fujiyama sang Western classic lied songs, those songs were called "kayōkyoku", but the term "kayōkyoku" went on to be used as another name of ryūkōka in NHK.[19] At first, Koga was a good co-worker for Fujiyama but they moved apart from each other because Koga sought "Japanese" music.[20] On the other hand, Yoshie Fujiwara drew a clear line between him and ryūkōka and established "Fujiwara Opera Troupe" in 1934, launching the establishment of Japanese Opera.[10] Baritone singer Taro Shoji's 1934 song "Akagi no Komoriuta" (赤城の子守唄 lit. "Berceuse of Akagi"?) also became popular, though he did not know Kunisada Chūji, the theme of the song.[21]

Soprano singer Noriko Awaya also sang ryūkōka, but the Toyo Music School once annulled her graduation.[7] However, her song "Wakare no Blues" (別れのブルース lit. "Farewell Blues"?) became a hit in 1937.[7] The song was composed by jazz composer Ryoichi Hattori.[22] She was called "Queen of Blues", though term "blues" was just a song title.[7]

[edit]1937–1945: Influences of war

 

 

The lyric sheet of "Patriotic March"

See also: Gunka and Rōkyoku

In 1936, NHK started radio program "Kokumin Kayō" (国民歌謡 lit. "National Kayō"?) to compete with ryūkōka, but it soon began to air war songs around July 1937.[16] The program was renamed to "Warera no Uta" (われらのうた lit. "Our Songs"?) in 1941 and then "Kokumin Gasshō" (国民合唱 lit. "National Group Singing"?) in 1942.[16] The songs during the war were called "Senji Kayō" (戦時歌謡?). During the war, many musicians were forced to write war songs. Yuji Koseki composed many war songs and was later criticised as a war collaborator, though he seemed to be touched with remorse.[23] Koseki composed "Roei no Uta" (露営の歌 lit. "The Song of the Camp"?) released in 1937. Although the song was a B-side song, it sold 600,000 copies.[24] The 1937 song "Aikoku Kōshinkyoku" (愛国行進曲 lit. "Patriotic March"?) sold 1,000,000 copies.[25] However, Japanese jazz musicians such as Ryoichi Hattori seemed to be vigorless to compose war songs.[26] His son Katsuhisa Hattori claimed that he was not an antinationalist and he technically were hardly not able to compose war songs even if they wanted to make those because Japanese war songs were musically enka.[26]

 

 

Recital of "The Song of Taisei Yokusan" in 1940

On the other hand, former enka-shi Haruo Oka's debut song "Kokkyō no Haru" (国境の春 lit. "Spring at the Border"?) was released in 1939. Yoshio Tabata also mede his debut with song "Shima no Funauta" (島の舟唄 lit. "Island Ship Song"?) in 1939. Rōkyoku (naniwa-bushi) was used for enhancing the national prestige.[27]

 

 

Akiko Futaba, who sang "Kōgen no Tsuki"

Although many war songs were made after the beginning of the Pacific War, "Kōgen no Tsuki" (高原の月 lit. "Tableland Moon"?), sung by Noboru Kirishima and Akiko Futaba, became popular as a lyrical song.[28] When the war was nearing an end, the theme included frightful spectacles such as the Battle of Attu, Guadalcanal Campaign and Marshall Islands Campaign.[26] Oka went to Ambon Island, but fell ill and soon returned to Japan. Bin Uehara, who used kobushi of naniwa-bushi for singing, was killed in the New Guinea campaign and Fujiyama was taken prisoner in Indonesia.[29]

 

 

Isao Hayashi, the composer for military song "Shussei Heishi o Okuru Uta"

After the war, the songs during the war have been regarded as a taboo even in Japan despite those historical importance.[16] One of war songs, "Shussei Heishi o Okuru Uta" (出征兵士を送る歌 literally "Song for giving warriors a send-off"?), composed by Isao Hayashi, went on to become a theme of Japanese right-wing groups called uyoku dantai.[26] Li Xianglan's "Suzhou Nocturne", composed by Hattori, has remained controversial in China, though it was a non-propaganda song.[30] After the war, Taro Shoji, who heard the Gyokuon-hōsō in Nagano Prefecture, was once banned from singing many of his songs because those were regarded as nationalistic.[29] Rōkyoku faded into the wallpaper with the spread of television in the postwar period.[27] In 1946, NHK revived their music program as "Radio Kayō" and it was later reformed as "Minna no Uta", but NHK was disinclined to mention its former history.[16]

[edit]1945–1954: Postwar popularity

 

 

Haruo Oka, who sang "Akogare no Hawaii kōro"

See also: Japanese jazz

Michiko Namiki's song "Ringo no Uta" (リンゴの唄 lit. "Song of Apple"?), airing in 1945 movie "Soyokaze", became popular. Haruo Oka also released hit songs such as his 1946 song "Tokyo no Hanauri Musume" (東京の花売り娘 lit. "Tokyo Flower Girl"?) and his 1948 song "Akogare no Hawaii kōro" (憧れのハワイ航路 lit. "Coveted Fairway to Hawaii"?). Ichiro Fujiyama, who was falsely reported to have been killed in battle, returned to Japan in 1946.[31]

 

 

Jazz singer Shizuko Kasagi and actress Hideko Takamine

Ryoichi Hattori, who moved to Shanghai in 1944, contributed to advancing Japanese poppusu music after the war.[22] Shizuko Kasagi's 1947 song "Tokyo Boogie-Woogie", composed by Hattori, became popular. Hattori also composed Ichimaru's 1949 song "Shamisen Boogie-Woogie". Around that time, Hibari Misora became known as an impersonator of Kasagi.[32] She made her debut with song "Kappa Boogie-Woogie" in 1949. Hattori's composed song "Aoi Sanmyaku" (青い山脈 lit. "Blue Mountains"?), which was sung by Fujiyama, became a major hit in the early post-war years in Japan.[22]

Yuji Koseki composed "Nagasaki no Kane" (長崎の鐘 lit. "The Bells of Nagasaki"?) and "Himeyuri no Tō" (ひめゆりの塔 lit. "Himeyuri Lily Tower"?).[33] "Nagasaki no Kane", based on Takashi Nagai's book, was sung by Fujiyama in 1949. Fujiyama became the final singer of all singers at the 1st Kōhaku Uta Gassen with "Nagasaki no Kane" in 1951. Chiemi Eri debuted in 1952 and Izumi Yukimura debuted in 1953. Fujiyama moved to NHK in 1954 and returned to his original style―classical music. He went on to become a conductor for "Hotaru no Hikari" at the Kōhaku Uta Gassen.[34]

[edit]1955–1963: Transformation of music

 

 

Hibari Misora, known as a star singer of post-war years

Main article: Kayōkyoku

New singers such as Hibari Misora, Hachiro Kasuga, Michiya Mihashi and Chiyoko Shimakura became popular when old singers became unpopular.[6] The period between around 1955 and 1964 saw the popularity of "kayōkyoku".[35] Around that time, Japanese composers went on to establish their own genres such as Toru Funamura and Minoru Endo's "Enka", Tadashi Yoshida's "Mood Kayō", and Hachidai Nakamura and Hiroshi Miyagawa's "Jazz".[3] Masao Koga renounced his pre-war musical style, approaching Hibari Misora.[6]

The song "Otomisan" was made for being sung by Haruo Oka, but was eventually sung by Hachiro Kasuga and became a major hit in Japan in 1954. The single sold over one million copies.[36] The song was composed by Masanobu Tokuchi, who came from the Ryukyu Islands. Kasuga's 1955 song "Wakare no Ipponsugi", composed by Funamura, also became a hit song. Funamura also composed Michiya Mihashi's 1955 song "Anoko Ga Naiteru Hatoba". Ryōkyōku singers such as Haruo Minami and Hideo Murata joined Japanese popular music. Hachiro Kasuga, Michiya Mihashi and Hideo Murata went on to form their genre later called enka.[36]

 

 

Kyu Sakamoto and his school band

Frank Nagai's 1957 song "Yūrakuchō de Aimashō", composed by Yoshida, also became popular. Around that time, however, Japanese rock and roll movement began and the Nichigeki Western Carnival was opened in 1958. The concerts were taken part in by future popular singers such as Mickey Curtis and Kyu Sakamoto. Against Japanese rock and roll movement, Yukio Hashi shocked Japanese popular music as a young enka singer because singers of the genre were elderly singers such as Hachiro Kasuga and Michiya Mihashi.[6]

Japanese singers such as Kyu Sakamoto, The Peanuts and Mieko Hirota covered American songs at first, but they began to sing their own song.[37] Sakamoto's 1961 single "Ue o muite arukō", composed by Nakamura, became a major hit in Japan. On the other hand, Hideo Murata's 1961 single "Ōsho" (王将 lit. "King General"?), composed by Toru Funamura, sold over one million copies in Japan. On June 5, 1962, Saburō Kitajima made his debut with the single "Bungacha Bushi." Funamura composed Kitajima's 1962 hit song "Namida Bune" (なみだ船 lit. "Boat of Tears"?). Hiroshi Miyagawa composed The Peanuts' 1962 song "Furimukanaide." The Peanuts also sang "Mothra's Song". The song was composed by Yuji Koseki.[33]

In 1963, the era of former popular singers such as Hibari Misora, Chiemi Eri, Izumi Yukimura, Hachiro Kasuga, Michiya Mihashi and Frank Nagai seemed to end and Sakamoto released a Japanese hit song titled "Miagete Goran Yoru no Hoshi o".[38] In June 1963, Sakamoto's "Ue o muite arukō" reached the number-one position in the U.S. Billboard Hot 100 under its alternative title "Sukiyaki". In 1963, Kitajima's song "Guitar Jingi" (ギター仁義 lit. "Guitar Benevolence and Righteousness"?) and Kazuo Funaki's song "Koko San Nen Sei" (高校三年生 lit. "High School Seniors"?) also became popular. Both songs were composed by Minoru Endo. Hashi and Funaki became singers for youth music, making a new genre called "Seishun Kayō" (青春歌謡 lit. "Youthful Kayō"?).[6]

[edit]1963–1966: Enka's independence and collapse

Main articles: Enka, Group Sounds, and J-pop

On September 6, 1963, record label Nippon Crown became independent from the Nippon Columbia. Saburō Kitajima was its member. Hibari Misora presented a song titled "Kanto Harusame Kasa" when the record label was established.[39] Kitajima took part in the Kōhaku Uta Gassen for the first time on December 31, 1963. The audience share of the 14th Kōhaku Uta Gassen reached 81.4% in 1963.[38] In 1964, Haruo Minami released his cover version of song "Tokyo Gorin Ondo" (東京五輪音頭 lit. "Ondo for the Tokyo Olympics"?), composed by Masao Koga. In 1965, Kitajima released a string of hits such as "Kyōdai Jingi" (兄弟仁義 lit. "Brother Benevolence And Righteousness"?), "Kaerokana" (帰ろかな lit. "Maybe I Will Return to My Home"?) and "Hakodate no Onna" (函館の女 lit. "Woman in Hakodate"?). "Kaerokana" was composed by Hachidai Nakamura. Koga composed Hibari's song "Yawara", which won the grand prix award at the Japan Record Award in 1965.[40] Koga was also an original composer of Hibari's 1966 cover song "Kanashii Sake" (悲しい酒 lit. "Sad Sake"?). His music, called "Koga melody", became a base of modern enka and he became known as "the father of modern enka".[41]

On the other hand, Hachidai Nakamura also composed the Johnnys' 1964 debut single "Wakai Namida." Japanese guitarist Yūzō Kayama also produced his 1965 hit song "Kimi to Itsumademo" as a singer. British rock band The Beatles visited Japan and had a concert at the Nippon Budokan in 1966. With the aim of breaking the traditional style, Group Sounds band The Blue Comets' 1966 song "Aoi Hitomi" (青い瞳 lit. "Blue Eye"?), originally released as an English song, was released as a Japanese song.[42] In 1966, folk singer Ryoko Moriyama, a daughter of jazz musician Hisashi Moriyama, also released hit song "Kyō no Hi wa Sayōnara" (今日の日はさようなら lit. "Good-bye, Today"?). The Blue Comets' song "Blue Chateau" won the grand prix award at the Japan Record Award in 1967. The Folk Crusaders' 1967 song "I Only Live Twice" also had a big impact on Japanese popular music. New musical movement called "Kayō Pops" (歌謡ポップス?) also a string of hits such as Ayumi Ishida's 1968 song "Blue Light Yokohama", composed by Kyohei Tsutsumi.[43]

Group Sounds became unpopular in the late 1960s in Japan. Then, Group Sounds was displaced by "New Rock" in Japanese underground rock music around 1970. Japanese-language rock band Happy End became one of prototypes of modern J-pop.[44] Mickey Curtis formed rock band "Samurai" in 1969 in U.K. and later scouted the Japanese band "Carol" in which leader was Eikichi Yazawa.[45]

[edit]Legacy

 

 

 

Taro Shoji's statue

A part of Ryoichi Hattori's Western-style music during that period remained in Western-style classical music of Japan and was transvalued in 2000s.[46] His tribute album was released on October 17, 2007.[47] Various musicians such as Hideaki Tokunaga (for "Wakare no Blues"), Kazumasa Oda (for "Suzhou Nocturne"), Masaharu Fukuyama (for "Tokyo Boogie-woogie") and Tokyo Ska Paradise Orchestra (for "Aoi Sanmyaku") took part in the album. The tribute album debuted at the number-ten position on the Japanese Oricon weekly album charts.[48]

[edit]Notable ryūkōka singers

 

Chiyako Sato

Ichiro Fujiyama

Noriko Awaya

Taro Shoji

Katsutaro Kouta

Ichimaru

Isao Hayashi

Bin Uehara

Akiko Futaba

Haruo Oka

[edit]Footnotes

 

^ Original text: "演歌を聴くと胸がムカムカするから、あれが聴こえてくると逃げ回るんです。"

^ Original text: "日本の俗謡と西洋歌曲の中間のような旋律"

^ Habu is a port in Izu Ōshima.[10]

[edit]References

 

^ (Japanese) "Imayō". Kyoto. Retrieved 2009-03-06.

^ Ewbank, Alison J. and Papageorgiou, Fouli T. Whose Master's Voice?: The Development of Popular Music in Thirteen Cultures. Google Books. via Greenwood Publishing Group. 1997. 160. ISBN 9780313277726

^ a b (Japanese) "ジャズの香り―無国籍歌謡の人生・宮川泰". JANJAN. 2006-04-13. Retrieved 2009-02-19.

^ Roberson, James E. and Suzuki, Nobue. Men and Masculinities in Contemporary Japan. Google Books. via Routledge. 2003. 78. ISBN 9780415244466

^ (Japanese) "小沢昭一的流行歌・昭和のこころ". Sakuhosha. Retrieved 2009-02-28.

^ a b c d e (Japanese) "Special 2. Japanese popular music (4)". Toshiba. November 2006. Retrieved 2009-04-10.

^ a b c d (Japanese) "Tragic News: Noriko Awaya". Nikkan Sports. 1999. Retrieved 2009-01-17.

^ (Japanese) "March 26". FM Aichi. Retrieved 2009-02-19.

^ (Japanese) "Lyricist Sōma Gyofū's notable songs". Itoigawa, Niigata. Retrieved 2009-02-18.

^ a b c d e (Japanese) Kiyomaro Kikuchi (2006-03-23). "昭和流行歌の幕開け《波浮の港》". JANJAN. Retrieved 2009-01-23.

^ (Japanese) "Shinpei Nakayama's Profile". Nakano City. Retrieved 2009-05-15.

^ a b (Japanese) "Special 2. Japanese popular music (1)". Toshiba. October 2006. Retrieved 2009-02-22.

^ Atkins, Taylor E. Blue Nippon: Authenticating Jazz in Japan. Google Books. via Duke University Press. 2001. 66. ISBN 9780822327219

^ a b c d (Japanese) Kiyomaro Kikuchi (2006-04-20). "酒は涙か溜息か―藤山一郎音楽学校停学事件". JANJAN. Retrieved 2009-01-16.

^ (Japanese) "April 8: Birthdate of Ichiro Fujiyama". Yamaha. Retrieved 2009-02-20.

^ a b c d e (Japanese) "NHK Kokumin Kayō: Singing Radio Kayō". Yumi Aikawa Official Website. Retrieved 2009-01-27.

^ (Japanese) "新潟市議会請願第2号文書表". Niigata City. 2003. Retrieved 2009-02-19.

^ (Japanese) "踊り踊って東京音頭　昭和８年". NHK. Retrieved 2009-02-20.

^ (Japanese) "Special 2. Japanese popular music (2)". Toshiba. November 2006. Retrieved 2009-02-18.

^ (Japanese) Kiyomaro Kikuchi (2006-04-20). "太平洋戦争直前の歌謡曲". JANJAN. Retrieved 2009-02-08.

^ (Japanese) "不動の魂・東海林太郎そのデビュー". JANJAN. 2006-06-15. Retrieved 2009-05-10.

^ a b c (Japanese) "服部良一生誕100周年記念コンサート". Fuji Television. 2006. Retrieved 2009-01-24.

^ (Japanese) "Yuji Koseki". Columbia Music Entertainment. Retrieved 2009-02-08.

^ Craig, Timothy J. and King, Richard Global Goes Local: Popular Culture in Asia. Google Books. via Hong Kong University Press. 2002. 235. ISBN 9789622095915

^ (Japanese) "September 25". FM Aichi. Retrieved 2009-02-20.

^ a b c d (Japanese) "Song and War: No. 14". Tomio Sakuramoto. 2003-08-22. Retrieved 2009-01-21.

^ a b (Japanese) "第６部・演歌巡礼＜８＞初代桃中軒雲右衛門　受け継がれゆく浪花節". Nishinippon Shimbun. 2006-12-20. Retrieved 2009-02-02.

^ (Japanese) "太平洋戦争中の歌謡曲". JANJAN. 2006-09-28. Retrieved 2009-05-09.

^ a b (Japanese) "名歌手たち、それぞれの終戦". JANJAN. 2006-10-05. Retrieved 2009-02-07.

^ "China's wartime history still haunts popular theme song". BNET. via Asian Economic News. 1999-08-16. Retrieved 2009-01-27.

^ (Japanese) "戦後歌謡の復活・戦前派歌手の活躍". JANJAN. 2006-11-02. Retrieved 2009-02-12.

^ (Japanese) "「東京ブギウギ」大ヒット". Mainichi Shimbun. Retrieved 2009-04-12.

^ a b (Japanese) "古関裕而歌曲集/長崎の鐘~新しき朝の". Amazon.co.jp. Retrieved 2009-02-07.

^ (Japanese) "紅白「蛍の光」3代目指揮に平尾昌晃さん". Oricon. 2006-12-26. Retrieved 2009-02-08.

^ (Japanese) "雑感・戦後日本の世相と流行歌（29）". Asahi Broadcasting Corporation. Retrieved 2009-01-27.

^ a b (Japanese) "The day that enka singer Hachiro Kasuga died". Nippon Television. 2008-10-22. Retrieved 2009-04-22.

^ (Japanese) "ジャパンポップスの黄金時代 (Japan poppusu's golden age)". Columbia Music Entertainment. 2005-04-28. Retrieved 2009-01-29.

^ a b (Japanese) "雑感・戦後日本の世相と流行歌（20）". Asahi Broadcasting Corporation. Retrieved 2009-01-28.

^ (Japanese) "1963". Crown Music. Retrieved 2009-01-28.

^ (Japanese) "Koga Masao Profile". Koga Masao Memorial Hall. Retrieved 2009-02-03.

^ Christine Reiko Yano. Tears of Longing: Nostalgia and the Nation in Japanese Popular Song. Google Books. via Harvard Univ Asia Center. 2003. 36. ISBN 9780674012769

^ (Japanese) "The Blue Comets' Discography". Columbia Music Entertainment. Retrieved 2009-04-22.

^ (Japanese) "雑感・戦後日本の世相と流行歌（25）". Asahi Broadcasting Corporation. Retrieved 2009-04-30.

^ (Japanese) "究極のビートルズ来日賞味法！ ビートルズが日本に与えたもの". Oricon. 2006-06-21. Retrieved 2009-01-29.

^ (Japanese) "古希目前ミッキー・カーチス33歳差婚". Sponichi. 2008-02-18. Retrieved 2009-03-09.

^ "Japanese classical composers gaining popularity". The Japan Times. 2002-03-19. Retrieved 2009-02-08.

^ "Ryoichi Hattori - Tanjo 100 Shunen Kinen Tribute Album (Japan Version)". YesAsia. Retrieved 2009-02-07.

^ (Japanese) "服部良一、生誕100周年記念作で作家史上初の快挙！". Oricon. 2007-10-23. Retrieved 2009-10-02.

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