UlasanAnime.com – A recent article from Japan Times, titled “Without a canon, Japanese pop won’t blast off,” raises a pertinent question about the global reach of Japanese music. The piece, accessible through a link provided by “j1muzak,” delves into the concept of a musical canon and its absence within the international perception of Japanese pop music.
The core argument presented is that the lack of a widely recognized canon outside of Japan hinders the genre’s ability to gain significant traction on a global scale. While the author of the original article acknowledges the point being made, they also express a nuanced perspective on the matter.
Without a canon, Japanese pop won’t blast off
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The question posed, “Really? I mean, really?”, suggests a degree of skepticism or perhaps a desire for deeper exploration of the premise. The author of this piece agrees that the article makes a valid point about the scarcity of a visible canon for Japanese music beyond its home country.
However, the author posits that the presence or absence of a canon might not be the primary determinant of J-music’s global success. Instead, they suggest that a significant factor is the lack of support from record labels and even artists themselves in promoting their music internationally. This situation is described as a “Galapagos syndrome,” implying a self-contained development without much external influence or adaptation.
Consequently, the argument is that Japanese pop music might not “blast off” internationally, with or without a canon, simply because the industry’s focus and investment do not extend significantly to this side of the Pacific. The industry, in this view, “just doesn’t really care about this side of the Pacific.”
The concept of a canon, as the author understands it, is something that fans, press, and critics can engage in debates about. The current state of J-music fandom outside Japan is not yet at a point where such discussions are widespread, partly due to the fragmented nature of J-music discovery. This fragmentation is seen as a direct consequence of the historical lack of direct support for international promotion.
Therefore, the complaint about the lack of context is perceived as “putting the cart in front of the horse.” The author believes that the problem of how someone begins to explore Japanese music is a significant one, but it’s a challenge that most people would tackle organically, much like exploring any other music scene.
The typical approach, as suggested, is to start with popular tracks and then branch out to explore further. In the current digital age, access to music is better than ever, even if some of it involves navigating illegal downloads. The idea that people in contemporary times rely on books and magazines for music discovery is considered “ludicrous.”
The author speculates that a Japanese teenager in Japan might face similar challenges in finding a “canon” within their own country’s music scene as a teenager in the USA might face in discovering English-language music. This line of thought leads to a musing about why idol music is particularly popular in Japan, perhaps as a way to provide a more accessible and structured entry point into the music landscape.
Nevertheless, the author emphasizes the value of context, which they personally enjoy studying and find to be a powerful enabler for deeper appreciation. They understand why the absence of context can be a significant issue for newcomers. However, they also acknowledge that everyone has to start somewhere, and the journey of discovery is an inherent part of engaging with any new cultural product.
J-pop, with its perceived “shallow enough and sufficiently per se enjoyable” nature, is seen as a viable product for attracting the “average, newly cultured middle class of East Asia.” Similarly, anime has become a common selling point overseas precisely because it provides context. This leads to the conclusion that a canon might not be essential for initial engagement.
The author agrees with the original article’s sentiment that it is only upon obtaining this context that a deeper emotional connection, or “the feels,” can truly emerge. The article concludes by encouraging readers to explore a list provided by “j1,” acknowledging that such lists are inherently debatable but likely to overlap with personal recommendations due to the author’s own comparatively “minuscule” collection.
