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Gender and Authenticity in Japanese Popular Music: 1980–2000

2005; Taylor & Francis; Volume: 29; Issue: 1 Linguagem: Inglês

10.1080/03007760500167313

1740-1712

Brian Cogan, Gina Cogan,

Media, Gender, and Advertising

Abstract This article examines the role of visual presentation in the work of two Japanese bands, Shonen Knife and Puffy, with particular reference to issues of gender and authenticity both in their self‐representations as well as in perceptions of these bands in Japan and the United States. The authors contrast the ways in which the women of Shonen Knife are perceived, based on their punk vision, to the ways in which the women of Puffy are characterized, based on their grounding in J‐pop. Yet, they conclude that both bands subvert traditional notions of gender in Japan as well as transnational criteria of pop and punk authenticity, through their manipulations of the visual aspect of their band's identities. Further, this aspect of authenticity in Japanese women's pop music is missed because it is viewed as feminine, and is correspondingly devalued. Notes 1. A note on romanization and conventions of Japanese names is appropriate here. We will use circumflexes to indicate long vowels and put Japanese names in Japanese order, family name first, personal name last unless the person uses Western order. In the case of Ohnuki Ami, we will use this, as it is the form she uses. 2. See www.oricon.co.jp for record sales. This site gives the highest chart positions for thirteen Puffy albums. Their first album amiyumi went to number 3 on 22 July 1996 and stayed in the charts for 36 weeks. Their most recent album, the mini‐album 59, released 31 March 2004, reached a high of number 62 and was on the chart for three weeks. In contrast, a search for Shonen Knife, or their albums and singles, revealed no hits recorded on the Oricon charts, the standard mainstream charting system for Japan. However, Shonen Knife has had success on American charts. The CitationShonen Knife fan site, Music Square (www.geocities.co.jp/musicStar‐Keyboard/6845/engknifetop.htm), reports that, in 1991, their song “712” appeared in the CMJ charts in the United States. Another fan site, (http://www.universal‐music.co.jp/universal/artist/shonen_knife/index.html) reported that, on 28 November 1993, the Shonen Knife single “Brown Mushrooms” debuted at number one on both the CMJ “Adventure Picks” and “Radio Breakthroughs” lists. 3. This will be discussed in greater depth later in this article. See CitationGrossberg (101). 4. This can perhaps be associated with the Japanese idea of women as associated with the private domain (uchi) and men with the public (soto). See Martinez for a more in‐depth discussion of this issue. 5. In fact, as of July 2004, there were plans to produce a series on the Cartoon Network in the United States starring Ohnuki and Yoshimura. See www.puffyamiyumi.com. 6. Including the work of Frith, Grossberg and Hebdige, which in particular is relevant in any discussion of this subject. See CitationFrith (“Music for Pleasure” 56), CitationGrossberg (101) and CitationHebdige (86). 7. The recent anthology edited by CitationSabin, Punk Rock: So What? The Cultural Legacy of Punk , continues this argument, ignoring the American construction of punk rock as well as punk as a global phenomenon. 8. This is relevant to not only pop but also to punk and other forms of music such as jazz and hip‐hop. See CitationAtkins (“This is Our Music”) and CitationCondry. 9. At least those familiar with bands such as Apples in Stereo and Pavement and Japanese‐American fusions such as Cibo Matto. 10. CitationGreil Marcus traced the genealogy of punk back to the situationists in his book Lipstick Traces. Although others, including Frith, have disputed this genealogy, it is safe to say that many of the early punk bands in New York, such as Television and the Talking Heads, were more musically ambitious than punks are usually given credit for. 11. CitationOsgerby (156). See also CitationHebdige, CitationHeylin, and McNeill and CitationMcCain. 12. The relationship of women and punk rock in relation to power is only now receiving its share of scholarly efforts, including Steward and Garratt. This is especially essential in the light of the riot grrrrl movement of the 1990s and its successors including bands such as Sleater Kinney, among others. 13. For a more in‐depth discussion of the implications of karaoke, see or Mitsui Tôru and Hosokawa Shûhei. 14. This show ended in 2002. 15. This is not unique to Puffy, or to female idols; a male idol of the 1980s was commonly referred to as Mokkun, and other male idols have affectionate nicknames, like Kimutaku of SMAP, whose real name is Kimura Takuya. See CitationSchilling (“SMAP” 233). 16. See Brasor and Tsubuku and articles appearing on various web sites: Sheila B; Anthony; Page Puffy; CitationAmith; CitationHarp. 17. It is significant that it was not the producer of the group, Frank Farian, who was the object of ridicule but Fab Morvan and Rob Pilatus, the two lip‐synchers. 18. An investigation of whether idols see themselves as commodities would be an interesting subject for future research. 19. One important way Ohnuki and Yoshimura do this is through their appearance in many commercials. This is a primary site of the creation of the apparatus; insofar as the Puffy lifestyle is expressed through commodities and consumerism, the commercial is the ideal way to do this, and their commercial success can explain their commercial success. 20. For example, Puffy was initially named by Andy Sturmer of the American band Jellyfish and members of Velvet Crush, a Boston‐based band, wrote and performed some songs on Yoshimura's solo CD. These groups can both be included in the avant‐garde of pop that developed in the wake of Big Star and Brian Wilson. Co‐author of some Puffy songs, and sometime collaborator with Okuda, Inoue Yôsui was one of the biggest figures of the New Music scene of the 1970s, and one of the founders of Japan's first independent record label, a leader of the singer‐songwriter movement that is considered to be authentic popular music in Japan. Puffy's association with these diverse artists lends it authenticity in Japan as well, and, in the case of Inoue, emphasizes multi‐generational links in Japanese pop. This is not unique to Puffy. As mentioned above, another giant of New Music, Yoshida Takurô is the co‐host of the Kinki Kids' variety show. This idol band, managed by Kitagawa, broadens both its appeal and its legitimacy through its association with Yoshida. It is suggestive of the need for authenticity in the visual apparatus production arena that Yoshida was brought in to help on the television show. See Brasor and CitationTsubuku. 21. These are the two most frequently recognizable elements of the music, although there is at least one Black Sabbath‐influenced song and one very reminiscent of E.L.O. 22. Further research is necessary on the links between gender and Japaneseness with regard to authenticity, plus the colonizing touristic discourse of “Ajia no junshin,” especially its connections to the tourism of OLs (office ladies) and gender. In addition to recording the above song, Puffy recorded a Chinese version of one of their other hit songs, an indication of their popularity in Taiwan and Hong Kong. See CitationIvy, also CitationBourdaghs.