![]() ![]() Ĭity pop lost mainstream appeal after the 1980s and was derided by younger generations of Japanese. Singer-songwriter Tatsuro Yamashita, who was among the genre's pioneers and most successful artists, is sometimes called the "king" of city pop. Some examples may also feature tropical flourishes or elements taken from disco, jazz fusion, Okinawan, Latin and Caribbean music. Many of the artists did not embrace the Japanese influences of their predecessors, and instead, largely drew from American soft rock, boogie, and funk. ![]() In Japan, the tag simply referred to music that projected an " urban" feel and whose target demographic was urbanites. There is no unified consensus among scholars regarding the definition of city pop. It was also identified with new technologies such as the Walkman, cars with built-in cassette decks and FM stereos, and various electronic musical instruments. ![]() It was originally termed as an offshoot of Japan's Western-influenced " new music", but came to include a wide range of styles – including AOR, soft rock, R&B, funk, and boogie – that were associated with the country's nascent economic boom and leisure class. City pop ( シティ・ポップ, shiti poppu) is a loosely defined form of Japanese pop music that emerged in the late 1970s and peaked in the 1980s.
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