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Chiyo Okumura

Delivered in 1947, Chiyo Okumura was to be among the leading pop superstars and style symbols of past due-’60s Japan, and a significant figure in the introduction of the “kayoukyoku” music design that helped to supply the Japanese response to modern American pop music in those days. Okumura’s first performing break emerged after transferring an audition and executing the theme tune to get a TV commercial, using a agreement with a significant talent company, and a Toshiba Information deal followed immediately after. Her 1965 debut solitary, “Anata ga Inakutemo,” using its B-side, “Watashi wo Aishite,” a cover of Sylvie Vartan’s “Car Tu T’en Vas,” initiated evaluations using the French vocalist that would turn into a determining feature of her picture, and “Gomen ne… Jiro” offered her with her 1st hit later on that same 12 months. 1967’s “Hokkaido no Aoi Sora” (a cover from the Endeavors’ “Hokkaido Sky”) cemented her placement as a respected light of the brand new, even more Westernized Japanese pop era. However, it had been not really until 1969 that Okumura reached the most remarkable amount of her profession, using the million-selling solitary “Koi no Dorei” heading to become her best-known track, initiating a trilogy of tunes linked through the term “koi” (“like”) in the name (along with follow-up solitary “Koi Dorobou” and the next year’s “Koi Kurui”) . In acknowledgement of her large achievement, Okumura performed at Japanese nationwide broadcaster NHK’s annual New 12 months music display Kouhaku Uta Gassen, although just on the problem that she not really perform “Koi no Dorei,” because of its sultry, submisive, and sexually violent lyrics breaking the strait-laced Television station’s broadcasting rules. In 1971, Okumura experienced another huge strike with “Shuchaku Eki,” made up by Okumura’s husband to be Keisuke Hama, which noticed a shift from the sex kitten picture of her past due-’60s period. Her relationship in 1974 noticed her enter a hiatus, although she re-emerged in the ’80s and continuing to perform positively. The 1993 re-release of “Koi no Dorei” rode a ’60s/’70s revivalist increase as young Japanese listeners begun to rediscover the music of their parents’ era.

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