Make Believe Mailer Vol. 33: The Long View Of The Short Version
Earlier this week, internet-embraced idol / dab lord Sally Amaki shared a tweet from someone complaining about how difficult it is to get Japanese pop music in the year 2018. "#StopWithTheShortVerOfMVs" Amaki wrote right after. And a decent amount of people online agreed. The tweets in question got over a thousand likes, and got an AsianJunkie write-up.
This complaint isn't new. Dig into message boards around the time YouTube (or Nico Nico Douga) started gaining prominence and you'll certainly see plenty of annoyed posts about short versions of music videos and region-blocked content. It probably goes even further back then that -- I'm sure you can dig up a BBS of people frustrated at the difficulties of watching a Namie Amuro video. The difficulty in accessing Japanese music, especially J-pop, in the digital age is practically one of the industry's defining characteristics.
The drawbacks to this approach seem so obvious that devoting time to them just feels like fluffing everything out, but a few include: the fact most people globally consumer music from online platforms, that sites like YouTube are a great way to connect with consumers at a time where visual appearance is just as vital (if not more) than sound , that fans overseas generally want to actually access the music they like. It's not a new complaint, but I think a tweet like the one Amaki echoed connects with so many because the opposite path has worked oh so well for K-pop***, currently enjoying a wave of BTS-powered shine in English-language media. Korea's music industry chose to just let everything go up online, and that decision above all else has paid off globally (well, that and the fact the Korean government pumps money into it...another thing that could help Japan, but that's a different email).
But I think there are benefits to what Japan's music industry does. I'm not trying to play devil's advocate (well, maybe a little), but rather do believe the slow come-around to digital distribution platforms such as YouTube and streaming has resulted in some positives (and, important to note, I'm talking globally -- YouTube and streaming are evolving way more rapidly domestically!). Let's get to looking at things half-full.
First, let's start basic. A continued focus on physical media means brick-and-mortar music stores still exist in Japan, and a lot of them are just really fun to visit. Like, Tower Records Shibuya or Shinjuku are just multi-floor celebrations of music, and just window shopping feels fantastic. Sure it's corporate -- then again, what's Spotify -- but these spaces aren't just places to buy plastic. They also hold live shows, special exhibits and way more that place far more value on the idea of music.
Speaking of, it's kind of nice to see music treated as a valuable creation in 2018. Look, some of this is going to lean into Grandpa Simpson territory, but a shift towards digital has resulted in the financial value of most music falling. There are benefits to this -- I was struck by one response to Amaki's tweet noting how broke everyone is, so nothing wrong with fans getting the music -- but it's important to remember how much effort from so many people goes into making all of this work. That should be rewarded monetarily...even if the asking price for a CD is a little too high.
When people get riled up about short versions and region blocks, I'm always a little itchy about just what artists they are pining for. Because a lot of notable performers' videos can be seen, even internationally. And while I'm sure there are plenty of people who want to watch Sakanaction videos in Australia, I always kinda just think people are talking about Johnny's groups. Which...personally, I'm pretty glad is tucked away here. Sure, easy access helped make K-pop*** an international success, but the music is pretty solid too. That's not the word I'd use to describe Sexy Zone. Just watch w-inds instead!
The less goofy fandom garbage cropping up in J-pop, the better.
K-pop in 2018 is a story of extremes. You have massive groups at the top capable of international moves (whether they be continental, like Twice, or more), and young outfits at the bottom. But the middle has fallen out, evidenced by the rise of talent survival shows like Produce 101 which use artists in this center as fodder to maybe create a group capable of getting to the one percent. It looks a lot like Western pop music, and digital platforms only exacerbate this. It's a myth that streaming and YouTube in 2018 opens up listeners to new artists. It mostly just helps established major-label acts. Sure you can access almost anything, but Post Malone gets most of that attention. Same for K-pop, though shout-out Momoland all the same.
J-pop's stubbornness has allowed a healthy middle class to develop in Japan. Big-name acts still get priority, but by (accidentally) balancing physical and digital so that generating a single consensus about what is popular has become near impossible. So you get a lot of variety in Japanese pop music that trickles into the mainstream. Suiyoubi No Campanella and CHAI perform on Music Station, while DAOKO can somehow score the biggest song of 2017 sorta kinda out of nowhere. It's a happy, unexpected development.What Korean artists this year had the biggest stage possible to reach international listeners unfamiliar with their music?
It was EXO and CL, at the closing ceremony of this year's Winter Olympics. That generated about a day's worth of "K-pop, look how cool it is!" content online, but certainly didn't linger.
Catch all those *** sprinkled above? That's because K-pop hasn't "broken through" in the West, at least not in the way Western media presents it. They actually just mean BTS. And again, digital platforms tend to favor those already at the top -- BTS's fanbase always delivers plenty of eyeballs and clicks, so BTS keep getting a push. It's well-earned on their part, but I'd argue it has hurt K-pop as a whole in the West because...well, how are other artists supposed to equal what BTS does (or, it should be noted, how K-pop is usually held up as some hellscape BTS rise above...which doesn't do K-pop any favors in general)? Shout out all the writers who have been covering the K-pop beat for years doing good work, but now all the big BTS features go to generic profile writers. Have you heard this podcast? It's audio dystopia, a country guy investigating "K-pop" (BTS) with assists from people who I never want to hear talk about K-pop -- finally, Tim McGraw can offer some insight on Rap Monster I was missing!
I love that Japanese music hasn't had this happen. While certain artists like Kyary Pamyu Pamyu and Babymetal certainly dominated international discussion of J-pop this decade, the fact one hasn't monopolized the platforms that spread music abroad and thus dominate media attention about what J-pop is has resulted in a lot of diverse music getting attention. This has always been the case (and yeah, other Korean artists can get attention abroad...but the one at the center gets the most), but it isn't a bad thing. To speak from personal experience, it's really tough to sell editors on Japanese artists...but, at Pitchfork for example, I've written about Especia, tofubeats and Namie Amuro among others. I've pitched K-pop albums too, really good ones featuring the best pop song of 2018 so far, but it's BTS getting the spotlight. Because of course they should...think of the views, coming from fans who aren't calling for heads over a 7.1! But it's eclipsing a lot of other great stuff.
J-pop should open up more and be less skittish about digital platforms -- and, to be fair, that is happening, just slowly. But it's also nice to appreciate the quirks that have arisen from Japan's choices. Though, seriously, unlock those vids, Sakanaction.
News And Views
And now, to poke holes in the thousand words above -- big news today is that Shiina Ringo made her discography available on streaming services across the country (don't know about internationally though). So now we've got Ringo, Utada, Mr. Children...a lot of the old guard are starting to approach this new terrain, which is a huge step forward for streaming advocates.
Not the most upbeat week for idol news. The suicide of Ehime local idol Honoka Oomoto got a lot of attention online this week after a report in Shukan Bunshun revealed that her mother thinks the idol life contributed to her death. Meanwhile, a member of Kamen Joshi is currently paralyzed from the waist down after an accident where a sign fell on her. She's being optimistic about it, and said she wants to be an idol again if possible.
Finally, in Produce 48 news that is a little old but going to be a constant throughout this show -- netizens in Korea think AKB48 is right wing. While the defense of AKB on AsianJunkie is nice (though...man, using song lyrics as some kind of look into ideology...who would ever do that?!), it is worth remembering...this is a group that worked closely with Shinzo Abe to promote the military. So they are pretty right wing!
Oricon Trail For The Week Of May 14, 2018 To May 20, 2018
Twice with another number one in the single column. To riff on everything at the top of this newsletter, it's also worth remembering that K-pop plays by J-pop's rules in Japan, much to their advantage. People buy multiple copies of Twice CDs in the same way they gobble up AKB48 singles. It's a strategy that works.
Perfume's GAME (33 1/3)
My entry in the 33 1/3 Japan series is out now! Get a copy at Bloomsbury or Amazon. Or at Kinokuniya bookstores in the US. This week, a fun fact about the writing process -- a large chunk of my 33 1/3 entry was written in a Family Mart near my then-apartment. It had one of those eat-in corners, and somehow I could write a lot while surrounded by blockheaded high school boys and old men cracking open an Asahi at 2:30 in the afternoon on a Wednesday.
Look At Me!
A week late, but ranked the Produce 48 intro videos.
Wrote about Shogun World for The Japan Times.
Blog highlights: Girls Tape Store, Feather Shuttles Forever, Seiho.
Written by Patrick St. Michel (patrickstmichel@gmail.com)
Make Believe Melodies / Twitter / Facebook