ＫＹＯＴＯＡＲＥＡＳＴＵＤＩＥＳＯＮＡＳＩＡ

ＣＥＮＴＥＲＦｏRSouTHEAsTAsIANSTuDIEs,KYoToUNIvERsITY
VoLuME4Ｇｅ"α〃α城M1o伽加'ｙ
庇岬ec"yes力omAsjαα"〃r〃e c抗ｃ

Editedby
HAYAMIY10ko
TANABEAkio
ToKrlA‑TANABEYtImiko

KyotoUniversityPress

ThisbookispublishedasapartoftheresultsoftheCentelrofExcellencePrQjectentitled"The
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Genderaｎｄｍｏｄｅｍｉｔｙ：perｓｐｅｃｔｉｖｅｓｆｒｏｍＡｓｉａａｎｄｔｈｅＰａｃｉｆｉｃ・
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ＩＳＢＮ４８７６９８４５１４．

１．Genderidentity‑Asia、２．Ｇｅｎｄｅｒidentity‐Pacific
Ａｒｅａ、３．Ａｓｉａ−Ｓｏｃｉａｌｃｏｎｄｉｔｉｏｎｓ、４．ＰａｃｉｆｉｃＡｒｅａ−

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ｍ・Tokita‑Tanabe,Yumiko.（Series：Kyotoareastudies
onAsia)．
３０５．３０９５

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ListofPhotographs

Ｖ１１

ListofFigures

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ｎｚｋａｋｏＩﾉｚｏ〃ｅIntroduction

VisualrocklbecameveryprominentintheJapanesepopularmusicscene
duringthel990s・Thepurposeofthisarticleistoexplainthisphenomenon，
withparticularfocusonitsgenderstrategies、Thestudyofpopularmusic
andgendeｒｉｎＪａｐａｎｈａｓｂｅｅｎ，ｔｏdate，largelyneglectedbyacademic
researchers・Thegenderaspectsofmusiconlybegantobestudiedseriously
inthelatｅｌ９９０ｓ（Inouel997，1999,2001；Kitagawal999).ＩｎｔｈｅＵＳ，
however,thissubjecthasbeendiscussedinarticlesandbookssincethe
earlyl990s・

BeforeanalyzingvisualrockinJapan，Iwilloutlinesomeofthegeneralarｇｕｍｅｎｔｓａｂｏｕｔｒｏｃｋ，ｇｅｎｄｅｒ，ａｎｄｍｏｄｅｍｉｔｙｄｅｖｅｌｏｐｅｄｉｎｐｒｅｖｉｏｕｓ
Studies，ｍａｉｎｌｙｂｙｓｃｈｏｌａｒｓｉｎｔｈｅＵＳ・Iwillthenproceedtoanalyzethe
growmgpopularityandspecificfeaturesofvisualrock，ｕｓｉｎｇｔｈｅｂａｎｄＸ，
recognizedasafounderofvisualrock，ａｓｍｙｐｒｉｍａｒｙｅｘａｍｐｌｅ，Finally,Ｉｗｉｌｌａｎａｌｙｚｅｆａｎｓｗｈｏａｌｓｏｓｔｒａｔｅｇｉｃａｌｌｙｃｈａｌｌｅｎｇｅｇｅｎｄｅｒｃａｔｅｇｏｒles，
Ｔｈｒｏｕｇｈｔｈｅｓｅａｎａｌｙｓｅｓｌｗｉｌｌｅｘｐｌｏｒｅｈｏｗｖｉｓｕａｌｒｏｃｋｃｏｕｌｄｂｒｅａｋｔｈｅ
ｃｏnventionalmasculineaestheticsthroughappropriatingmodesofbodily
repreｓｅｎｔａｔｉｏｎｗｈｉｃｈ，ｉｎｒｅｃｅｎｔｔｒａｄｉｔｉｏｎ，ｈａｖｅｂｅｅｎｒｅｓｔｒｉｃｔｅｄｔｏｔｈｅ

ｗｏｍｅｎ，ｓｓｐｈｅｒｅ，Ａｖｉｓｕａｌｒｏｃｋｂａｎｄｃａｎｂｅｒｅｇａｒｄｅｄａｓａｔｙｐｅｏｆｈｏｍｏ−ｓｏｃｉａｌｃｏｍｍｕｎｉｔｙｃｏｎstructedbysharinganewlyextendedmaleaesthetics
whichprimarilyiｎｃｌｕｄｅｓｔｈｅｅｘｃｌｕｓｉｏｎｏｆｗｏｍｅｎｆｒｏｍｔｈｅｂａｎｄ／community・Wewillseethatalthoughitsappal･ent deviation，ｓｅｅｍｓｔｏｂｅ

1８９

ＣＨＡＰＴＥＲ８

1９０

againstthepatriarchalsociety，visualrockrearticulatesexistinｇｇｅｎｄｅｒｄｉｃｈｏｔｏｍｉｅｓ．

Ｒｏｃｋ，ｇｅｎｄｅｒａ皿ｄｍｃｄｅｒｎｉｔｙ：Ｇｅｎｅｒａｌａｒｇｕｍｅｎｔｓ
Ｇｅ〃〃

腕ａｓ加

ck

Rockmusic，particularlyhardrockandheavymetal，isprimarilymachomusicforrebelsoroutlaws，notonlyinJapanbutworldwide・Femalerock
musiciansaregenerallｙｓｔｉｌｌｖｅｒｙｆｅｗｉｎｎｕｍｂｅｒ、Ｔｈｅｍｕｓｉｃｃａｎｂｅｃｈａｒａｃｔｅｒｉｚｅｄａｓａｇgresslveandpowerful，ｐｌａｙｅｄａｔｆｕｌｌｖｏｌｕｍｅａｎｄ
ｅｘａｇｇｅｒａｔｅｄｂｙｔｈｅｄｏｕｂｌｉｎｇ−ｕｐｏｆｍｕｓｉｃａｌｉｎｓｔｒｕｍｅｎｔｓａｎｄｅｑｕｉｐｍｅｎｔ
ｓｕｃｈａｓｔｗｉnguitars，doublebass‑drums，etc・Ｒｏｃｋｂａｎｄｓｔｙｐｉｃａｌｌｙｅｍｐｌｏｙ
ａｌｏｔｏｆMarshallspeakers，ｆａｍｏｕｓｆｏｒｔｈｅｉｒｐｏｗｅｒｆｕｌｓｏｕｎｄ、Live
performancelsveryimportantforrockbands、Usuallyexcludingwomen
fromthestage，typicalmetalmusicianshaveeitherlonghairorskinheads，
wearmotor‑biker‑stylefashion,ablackleatherjacketorTshirtandｂｏｏｔｓ
ｗｉｔｈｍｅｔａｌｓｍｄｓａｎｄｃｈａｉｎｓ、Theyexcitetheiraudiencebyaggressive
shoutingandroughbehaviorincludinghighenergyjumpingandruｎｎｍｇ
ａｂｏｕｔｏｎｓｔａｇｅ・Ｔｈｕｓ，characteristicstypicalofconventionalmasculinityareem‑
phasizedinrockperformances，ＪｕｄａｓＰｒｉｅｓｔａｎｄＡＣ/ＤＣａｒｅｐｒｌｍｅｅｘａｍｐｌｅｓ
ｏｆｔｈｉｓｔｙｐｅｏｆrockgroup・Thetitlesoftheirsongsandalbumsalsosuggest
thesecharacteristics,forexample:腫"加ｇＭａｃﾙＩ加ｅ（1978),Ｓｃﾉ｡eα"z加呂/brV12ﾉzgea7zce（1982）ａｎｄＰα加kj"gγ（1990）byJudasPriest,ｏｒ〃rb〃WIz"ir
Bjood（1978),Hjg/ｚｗａｙｒｏＨｅ〃（1979)ａｎｄＴﾉheRaZors皿gｅ（1990)ｂｙＡＣ／
ＤＣＯｔｈｅｒｅｖｉｄｅｎｃｅｃａｎｂｅｆｏｕｎｄｉｎｔｈｅpersonalbehaviorofparticular
bandmembers；ｆｏｒexample，DavidLeeRoth，theex‑vocalistofVanHalen

waspｅｒｃｅｉｖｅｄｔｏｂｅｓｏｆｅｍｉｎｉｎｅｉｎｈｉｓｌｏｏksandperformancethathetook
upbodybuildinginanefforttocreateamoremasculinebody・Ｔｈｅｍｉｓｏｇｙｎｙａｎｄｓｅｘｉｓｍｏｆｔｈｅｒｏｃｋｓｃｅｎｅｈａｖｅｂｅｅｎｉｎcreasingly
discussedinthel990s・Femalescholarshaveoftencriticizedtherockscene

foritsmisogyny（GaarandOnol992,Ｏ，Brienl996,Ｏ，Dairl997),while
manyfemalemusicianshavespokenininterviewsoftheirstrugglewith
sexisminthesocietyandcomplainedabouttheexclusionofwomenfrom
therockbusiness（JunoandValel996，PostandWilliamsl997)．In
r
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anｄｔｒｉｅｄｔｏｆｉｎｄａｎｏｔｈｅｒａｐｐｒｏａｃｈ，ｏｆｔｅｎｂｅｇｉｎｎｉｎｇｂｙｒｅｔｈｉｎｋｉｎｇｔｈｅ
ｑｕｅｓｔｉｏｎｏｆｗｈｙｍｅｎｗａｎｔｔｏｆｏｒｇｅｔｈｅｉrmasculineidentitythroughrock
music（Walserl993，ReynoldsandPressl995)．Ｂｏｔｈｆｅｍａｌｅａｎｄｍａｌｅ

CoNsTRucTINGMALEAEsTHETIcsINRocKANDMAKEuP

1９１

scholars，however,ultimatelysharetheperceptionthatrockmusicisdeeply

connectedwithmasculinity・Icompletelyagreewiththeirperceptlons，ａｎｄｒｏｃｋｉｎＪａｐａｎｉｓｎｏｔａｎｅｘｃｅｐｔｉｏｎ・Ｔｈｅｆｏｌｌｏｗｉｎｇａｎａｌｙｓｉｓｉｓｃｏｎｄｕｃｔｅdfromthisperspective．

ROC応rec OZOgy,α ｍｏ"e"z"yRockmusicisoneofthetypicalproductionsofmodernity､Ｔｈｅｒｅｉｓｎｏｒｏｃｋｗｉｔｈｏｕｔｍｏｄｅｍｉｚａｔｉｏｎ，First，ｔｈｅｓｏｕｎｄｐｒｏｄｕｃｔｉｏｎｉｔｓｅｌｆｉｓｔｏｔａllydependentonelectricamplifieｒｓｗｈｏｓｅｖｏｌｕｍｅｅｓｃａｌａｔｅｓｗｉｔｈｔｅch‑
nologicaldevelopment･Second，rockisproducedbyrecordi、ｇｉｎｄｕｓｔｒｉｅｓ
ａｎｄｃｏｎｓｕｍｅｄａｓａｃｏｍｍｏｄｉｔｙｉｎｔｈｅｃａｐｉｔａｌｉｓｔｍａｒｋｅｔｅｃｏｎｏｍｙ・Ｔｈｅ
ｇｌｏｂａｌｒｏｃｋｍａｒｋｅｔｈａｓｂｅｅｎｃｌｅａｒｌｙｌｅｄｂｙｔｈｅＵＳ，whichhasalsobeen
regardedasaleadingpromoterofmodemvalues,Ｒｏｃｋｗａｓｂｏｍａｎｄｒａｉｓｅｄ
ｉｎｔｈｅＵＫａｎｄｔｈｅＵＳ，whichstillremainthedominantcentersofproduction
intheglobalrockbusiness・ＡｌｔｈｏｕｇｈＪａｐａｎｒｅｍａｉｎｓａｇｏｏｄｃｏｎｓｕｍｅｒｏｆ
ＵＫａｎｄＵＳｂａｎｄｓ，Japaneserockbandshaveneverhadsuccessthere、Technologicaldevelopmentcouldhａｖｅｂｒｏｋｅｎｔｈｅｂｏｒｄｅｒｓｆｏｒｗｏｍｅｎ
ｂｙnegatingtheirphysicaldisadvantage、Ｐｏｗｅｒｆｕｌｒｏｃｋｓｏｕｎｄｄｏｅｓｎｏｔ
ｄｅｐｅｎｄｏｎｔｈｅｐｈｙｓｉｃａｌｐｏｗｅｒｏｆｐｅｒｆｏｒｍｅｒｓｂｕｔｏｎｔｈｅｐｅｒｆｏｒｍａｎｃｅｏｆ
ａｍｐｌｉfiers，ｈｅｎｃｅｉｔｉｓｅａｓｙｆｏｒｗｏｍｅｎｔｏｇｅｔｐｏｗｅrfulsounds・Nevertheless
womenhavebeendiscouragedfromaccessingtechnology，ｗｈｉｌｅｍｅｎｈａｖｅ
ｂｅｅｎｅｎｃｏｕｒａｇｅｄｔｏｄｏｓｏ,２ａｓａｒｅｓｕｌｔ，technologyhasbeenregardedas
themalesphere・Ｇｅｎｄｅｒｂｉａｓｃａｎｂｅｆｏｕｎｄｉｎｔｈｅｖａｒｉｏuｓｐａｒｔｓｏｆａｂａｎｄ；
mencanbeguitarists，bassistsanddrummers，ｗｈｉｌｅｏｎｌｙｖｏｃａｌａｎｄｋｅｙｂｏａｒｄｐａｒｔｓａｒｅｗｉｄｅｌｙａｌｌｏｗｅｄｆｏｒｗｏｍｅｎ､３Thistypeofperception
remindsushowdeeplyrockandmasculinityarerelatedtoeachother・Ｂｕｔ
ｗｅｓｈｏｕｌｄｎｏｔｆｏｒｇｅｔｔｈａｔｍａｓｃｕｌｉｎｉｔｙｒｅｉｎｆｏｒｃｅｄｂｙｐｒｏｄｕｃｉｎｇｐｏｗｅrｆｕｌ
ｓｏｕｎdisarbitrarilyconstructed，Ｒｏｃｋmusicianshaveoftenappropriated anti‑modernist，discourses
inboththeirlyricsandperformances，despitetheirdeepdependenceon
moｄｅｍｔｅｃｈｎｏｌｏｇｙ・Ｔｈｉｓａｎｔｉ−ｍｏｄｅｒｎｉｓｍｃａｎｂｅｒｅｇａｒｄｅｄａｓｔｈｅｒｅ−

ｐｏｓｓｅｓｓｉｏｎｏｆｔｈｅｂｏｄｙａｎdemotion,whichhavebeensubjugateｄｂｙ
Ｗｅｓｔｅｒｎｃｏｎｃｅｐｔｌｏｎｓｏｆｒｅａｓｏｎａｎｄｒｅｌｅｇａｔｅｄｔｏｔｈｅｗｏｍｅｎ，ｓｓｐｈｅｒｅｉｎ
ｔｈｅｄｏｍｉｎａｎｔｄｉｓｃｏｕｒｓｅｓｏｆｍｏｄｅｍｉｔｙ，Ｔｙｐｉｃａｌｅｘａｍｐｌｅｓｏｆａｎｔｉ−
ｍｏｄｅｒｎｉｓｍｃａｎｂｅｆｏｕｎｄｉｎｓｏｃａｌｌｅｄ gothculture，：gothic/death/ｄｏｏｍ

ｍｅｔａｌｏｒｐｏｓｉｔｉｖｅｐｕｎｋ・Theirmusic，lyrics，ａｎｄｆａｓｈｉｏｎａｒｅｉｎｓｐｉｒｅｄｂｙ
ｓｔｏｒｉｅｓｌｉｋｅＤｒａｃｕｌａａｎｄＦｒａｎｋｅｎｓｔｅｉｎｔｈａｔｗｅｒｅｐｏｐｕｌａｒｉｎＮｉｎｅｔｅｅｎｔｈＣｅｎｔｕｒｙＬｏｎｄｏｎ・Theirmusicischaracterizedbydarｋｌｙｒｉｃｓｉｎｆｌｕｅｎｃｅｄ
ｂｙｈｏｒｒｏｒStories，superstitions，ormedievallegends，ａｎｄｂｙｈｅａｖｙａｎｄ
ｃｒｅｅｐｙｓｏｕｎｄｓｏｖｅｒｌaidwithscreaming・Ｔｈｅｉｒｂｏｄｉｌｙｒｅｐｒｅｓｅｎｔａｔｌｏｎｓａｒｅ

1９２

CHAPTER8

characterizedbyblackcostumesanｄｇｒｏｔｅｓｑｕｅｍａｋｅｕｐ，ｐｒｏｐｓｔｈｒｏｕｇｈｗｈｉｃｈｔｈｅｍｕｓｉｃｉａｎｓｃonstructaferoclousappearance,４Theyalsoapproprlatesciencefiction,Swhichisapparentlyintendedas
ｓｏｍｅｔｈｉｎｇｌｉｋｅａｒｅｐｒｅｓｅｎｔａｔｉｏｎｏｆmodernsclence、Butitismerelya
fantasyinspiredbymodemscienＣｅ，ｎｏｔｂａｓｅｄｏｎｉｔ，andgenerallydepicts
somethingsuｒｐａｓｓｌｎｇｏｒｃｏｎｔｒａｄｉｃｔｉｎｇａｎｙｇｅｎｕinescientificbasis､６Hence，ｔｈｅｉｍａｇｅｓｏｆｓｃｉｅｎｃｅｆｉｃｔｉｏｎａｒｅｅｍｐｌｏｙｅｄｔｏｄｅｍｏｎｓｔｒａｔｅｔｈｅ
ｌｉｍｉｔａｔｉｏｎｓｏｆＷｅｓｔｅｍｒｅａｓｏｎ，whichregardsscienceandtechnoloｇｙａｓ
ｂｅｌｏｎｇｉｎｇｔｏｔｈｅｍａｌｅｄｏｍａｉｎ、Ｉｎｏｔｈｅｒｗｏｒｄｓ，ｔｈesesci‑fidepictions
representthelimitationsandself=ｃｏｎｔｒａｄｉｃｔｉｏｎｓｏｆｔｈｅｍａｌｅｓｐｈｅｒｅａＳ
ｃonstructedbythedominantdiscoul･sesofmodernity、
Ｏｔｈｅｒｔｙｐｉｃａｌｆｅａｔｕｒｅｓｏｆｒｏｃｋｉｎｃｌｕｄｅｔｈｅｅｘｐｒｅｓｓｅｄｄｅｓｉｒｅｓｆｏｒ
ｐｈｙｓｉｃａｌａｎｄｓｅｘｕａｌｖｉｏｌｅｎｃｅ，whichhavebeencontrolledbyWesternreason、ＲｏｃｋｗａｓｂａｓｉｃａｌｌｙｂｏｍｏｕｔｏｆｔｈｅｅｎｃｏｕｎｔｅｒbetweenWestern
harmony‑consideredtobearationalsystem(Weberl967)一andAfrican
rhythm‑consideredtｏｂｅａｎｅｘｐｒｅｓｓｉｏｎｏｆｂｏｄｉｌｙｒｈｙｔｈｍｓ，Ｔｈｕｓｉｔｉｓ
ｐｏｓｓｉｂｌｅｔｏｓａｙｔｈａｔｒｏｃｋｉｓｔｈｅＷｅｓｔｅｍ，ｍａｓｃｕｌｉｎｅ，andmodern
representationofanti‑modernisminitsownmodemistproject,chall‐ｅｎｇｉｎｇｔｈｅｍｏｄｅｍｄｉｃｈｏｔｏｍｉｅｓｍｉｌｌｄ:ｂｏｄｙａｎｄｒｅａｓｏｎ:ｅｍｏｔｉｏｎｂｙ
ｅｍｐｈａｓｉｚｉｎｇｔｈｅｍａｓｃｕｌｉｎｅｂｏｄｙ・Ｈｅｎｃｅｔｈｅｓｔｒａｔｅｇｙｏｆｒｏｃｋａｐｐｅａｒｓｔo
subvertsomemodemdichotomies，butnotthegenderdichotomy,Ｉｎｆａｃｔ，
rockreproducesconventionalgenderdifferences．

T〃ｅ cep〃0〃cヅダ･OCA加ノヒZpa7z
ThereceptionofrockinJapanmightbereadasahistoricalstrugｇｌｅｔｏ
ｋｅｅｐｕｐ,ｗｉｔｈｔｈｅＵＳ，ｗｈｉｃｈｈａｓｂｅｅｎｌ･ｅｇａｒｄｅｄａｓａｔｒｅｎｄｓｅｔｔｅｒｉｎｔｈｅ
ｃｏｎｔinuousproductionofnewvalues･TheJapaneseonlybegantoaccept
rockwheneconomlcmodemizationhadproducedwidespreadaffluence・Ｒｏｃｋａｓｔｈｅｓｙｍｂｏｌｏｆａｎｅｗｃｏｕｎｔｅｒculture，ａｎｅｗｖａｌｕｅｉｍｐｏｒｔｅｄｆｒｏｍ
ｔｈｅＵＳ，attractedagenerationofyoungJapａｎｅｓｅｗｈｏｃａｍｅｔｏｓｅｅｒｏｃｋａｓ
cool，ａｎｄ trendy，．AlmostallJapaneserockmusiciansbegantheirmusicalcareer coverｉｎｇ,hitnumbel･ｓｆｒｏｍｔｈｅＵＫａｎｄｔｈｅＵＳｃｈａｒｔｓ・Theoriginal
musiｃｉａｎｓｂｅｃａｍｅｔｅｅｎ−ｉｄｏｌｓａｌｏｎｇｓｉｄｅｍａｌｅＪａｐａｎｅｓｅｐｏｐｓｔａｒｓ・The
recordingindustrydidnottaketheJapaneserocksceneseriouslyuｎｔｉｌｔｈｅ
ｂａｎｄｂｏｏｍｏｆｔｈｅｌａｔｅｌ９８０ｓ､７Eventoday,Japaneserockbandsdreamof
recordingatstudiosinLondon，NewYorkorLosAngeleswithWesternmusicians，ａｎｄenteringtheglobalrockmarket・ＡｌｔｈｏｕｇｈｒｏｃｋｉｎｔｈｅＷｅｓｔ

ｌｓａｍｏｄｅｍｒepresentationofanti‑modemity,inJapanrockwasunderstood
tobepaｒｔｏｆｔｈｅｐｒｏＪｅｃｔｏｆｍｏｄｅｒｎｉｔｙ，reflectinganunequaldichotomy：

CoNsTRucTINGMALEAEsTHETIcsINRocKANDMAKEuP

1９３

ｒｏｃｋａｓａｓｙｍｂｏｌｏｆｔｈｅ smart，WestandJapanesesongassymbolicoｆｔｈｅ
c
l
u
m
s
y
,
E
a
s
t
・

TWotypicalcasesreflectadilemmaofthemodemistprojectinJapaneserock、First，ｉｎｔｈｅｅａｒｌｙｌ９７０ｓｔｈｅｒｅｗａｓａｄｅｂａｔｅaboutthelanguageused
inthelyricｓｏｆｒｏｃｋｓｏｎｇｓ，Somemusiciansarguedthatrockshouｌｄｂｅｓｕｎg
inJapanese，ｉｎsistingthatthemeaningofasongshouldbeunderstoodby
theaudience、OthersarguedthatrockshouldbesunginEnglish，insisting

thatJapaneseaccentswerenotsuitableforrockbeats､８Butthisdebate
soonflickeredoutwhentherockstyleJapanesepop（kayoﾉﾋyok"）createdbytheadvocatesofJapaneselanguagegainedpopularitywithmainstream
audiences.，Consequentlythelatterremainedunderground・Second，themorenaturalitbecameformusicianstoadopttheJapanesepopstyle，themoremultifacetedtheaudience，sperceptionofrockbecame､Japaneserock
hadneverhadabighitｕｎｔｉｌｔｈｅｂａｎｄｂｏｏｍｉｎｔｈｅｌａｔｅｌ９８０ｓ.'OJapaneserecordingindustriesbelievedthatitwassimplyimpossibleforJapanese
rockbandstoachieｖｅｇｏｏｄｓａｌｅｓ，becausewhileWestemerscouldplay
authentic，ｒｏｃｋ，theJapanesecouldonlyimitateit,Ｔｈｅｂａｎｄｂｏｏｍ，Ｃａｕｓｅｄ
ｂｙａｍａｔｅｕｒｂａｎｄｓｗｈｉｃｈｓｔａｒｔｅｄｃｒｅａｔｉｎｇｍｕｓｉｃｗｉｔｈｏｕｔｓｔｉｃｋｉｎｇｔｏ
ｃｏｎｖｅｎｔｉｏｎａｌ authenticity,，ｅｘｐｌｏｄｅｄｔｈｉｓｐｅｒｃｅｐｔｉｏｎ･Developing

popularityundergroundhassubsequentlybecomeacommonｇａｔｅｗａｙｆｏｒ
ａｍａｔｅｕｒｂａｎｄｓｔｏｂｅｃｏｍｅprofessional・Ｖｉｓｕａｌｒｏｃｋ，ｔｈｅｎ，ｃｒｅａｔｅｄａｎｅｗ

ｐｏｐｕｌａｒｍｕｓｉｃｓｃｅｎｅａｎｄａｍａｔｅｕｒｂａｎｄｓｂｅｇａｎｃｏｐｙｉｎｇＪａｐａｎｅｓｅｂａｎｄｓ；
foreignrockmusiciansarenolongerbeingidolized・
Ｔｈｅｓｅｃａｓｅｓｓｕｇｇｅｓｔｔｈａｔｗｉｔｈｍｏｄｅｒnizationperceivedascoincident
withWesternizationtheproJectofmｏｄｅｒｎｉｔｙｉｎＪａｐａｎｌｎｃｏｒｐｏｒａｔｅｄｔｈｅanti‑modemvaluesofWesternrockmusic、ＩｔｗａｓｎｏｔｕｎｔilJapanachieved

thestatusandlifestyleofahigh‑consumptlonsocieｔｙｉｎｔｈｅｌ９８０ｓｔｈａｔ
ｔｈｅＷｅｓｔｃｅａｓｅｄｔｏｂｅｔｈｅｍｏｄｅｌｔｏａｓｐｉｒｅｔｏｗａｒｄｓ、Ｏｎｌｙｔｈｅｎｄｉｄｔｈｅ

Ｊａｐａｎｅｓｅｂｅｇｉｎｔｏｆacetheproblemsoftheirownmodernity・Thehigh‑consumptionsocletyconstructsthe self，inaccordancewithwhatthe self，ｃｏｎｓｕｍｅｓ，ａｎｄ individuality，ｉｓｒｅｇａｒｄｅｄａｓａｃｒｕｃｉａｌｃｏｎｃｅｒｎ・Trivial
superficialdifferencespｒｏｄｕｃｅｄｂｙｃｏｎｓｕｍｅｒｉｓｍｔｅｎｄｔｏｄｅｆｉｎｅｈｏｗ
individuality,shouldbeperformed・Theprocessofconstructingthe self，
ｂｙｐｅｒｆｏｒｍｉｎｇ individuality，ｉｓｅｍｂｅｄｄｅｄｉｎｔｈｅｅｘｉｓｔｉｎｇｓｏｃｉａｌｓｙｓｔｅｍ
ｗｈｅｒｅtheflip‑sideofthisindividualisｍａｓｍｅｒｅｃｏｎｓｕｍｅｒｒｅｖｅａｌｓｔｈｅ
ｍｏｄｅｒｎｓｅｌｆｔｏｂｅｍａｎｉｐｕｌａｔｅｄａＩ１ｄｃｏｎｔｒｏｌｌｅｄｂｙｔｈｅｍａｒｋｅｔｅｃｏｎｏｍｙ、Consequently，ｔｈｅｙｏｕｔｈｎｏｌｏｎｇｅｒｉｄｅｎｔｉｆｙｔｈｅｍｓｅlveswiththevaluesof
existingｃｏｍｍｕｎｉｔｉｅｓ，ｖａｌｕｅｓｓｔｉｌｌｗｏｖｅｎｌｎｔｏｔｈｅｆａｂｒｉｃｏｆｓｃｈｏｏｌｓ，
familiesandotherregionalcommunitiesinstitutionalizｅｄｂｙｔｈｅｓｔａｔｅ．Ｎoｒ

1９４

CHAPTER8

dotheygetsatisfactionfromreadymadeconsumable individuality，、With
novalueframeworkstoidentifythemselves，identitycrisesarise･ＴｈｕｓｗｈｅｎｔｈｅＪａｐａｎｅｓｅｂｅｇａｎｔｏｃｏｎｃernthemselveswiththeirownprojectofmodemity,visualrockbandsappearinginthemainstream
offeredtheyouthanalternatlvetotheestablishedvaluesystem､Itbecame

somethinglikeanembodimentofnewvaluesinoppositionto‑orjust
differentto‑theexistingcommunities，、Ｔｈｕｓｖｌｓｕａｌｒｏｃｋｂａｎｄｓｗｅｒｅ
ｗｅｌｃｏｍｅｄｆｏｒｂｅｉｎｇｏｕｔｓｉｄｅｏｆｔｈｅｒｅａｄｙｍａｄｅｃｏｍｍｕｎｉｔｉｅｓ，forrepresentingasortofself‑choosingorself‑constructingcommlmitywhere
peoplecouldreflexivelyreconstructthe self,．

Visualrockandwearingmakeup：CreatinganewmaIeaesthetic

ＲＯＣﾉｔα犯αｗｅα7.ｍｇ加αﾉte
Ｔｈｅｔｅｒｍ ｖｉｓｕａｌｒｏｃｋ，ｏｒ visual‑kei，lloriginatedinthecatchphraseofa
famousrockbandX:'２ P s･ycﾉz e"ｃｖｉｏｊｅ"Ｃｅ/Crj"ｚｅＱｆＷ皿α/sﾉhock，､Xand
itsfollowersareusuallycharacterizedbythemakeupandcostumesthey
wear,butwemustalsoconsidertheirpowerfulrocksoundandmale‑ollly
bandmembershiptypicalof authentic,（Western）ｈａｒｄrock/heavymetal

bands､l3TheJapanesepopularmuslcscenehasundergonedramaticchangessinceXenteredthemainstreaminl989､Visualrockbandsbecame
aregularpｒｅｓｅｎｃｅｉｎｔｈｅｈｉｔｃｈａｒｔｓｍｔｈｅｌ９９０ｓ，Ｔｏｄａｙｔｈｅｔｅｒｍ visual‑kei，hasgeneralacceptanceandisbeingusedinanextendedsense,ranging
fromthenarrowsenseofrockbandswearingmakeuptoabroadersense
thatreferstomenwithgoodlookshighlightingthembytrimmingtheireyebrowsordyeingtheirhair,IthereforepreferthetermGvisualｒｏｃｋ，todenoteamorerestrictedusagereferringspecificallytorockbandsａｎｄthe
associatedculture･

AsthewordGvisual，suggests，themostlmportantaspectofvisualｒｏｃｋ
ｉｓｔｈｅｍｕｓｉｃｉａｎｓ，visualimage，specifically，thebodilyrepresentation
construｃｔｅｄｐｒｉｍａｒｉｌｙｂｙｍａｋｅｕｐａｎｄｃｏｓｔｕmes・Itisverydifficultto
characterizethemusic，whichrangesfromhardrockandheavymetalto
softorpoprock･Thuswearingmakeupisthemostimportantcharacteristic
fortheanalysisofvisualrock，
Ｓｏｍｅｍａｙｑｕｅｓｔｌｏｎｗｈｙｒｏｃｋｍｕｓｉｃｉａｎｓｗｈｏａｒｅｓｕｐｐｏｓｅｄｌｙｆｏｒｇｉｎｇ
ｍａｓｃｕｌｉｎｉｔｙｗｅａｒｍａｋｅｕｐｌ４Ｂｕｔｔｈｉｓｐｒｏｂｌｅｍａｔｉｃｉｔｓｅｌｆｍｕｓｔｂｅ
ｑｕｅｓｔｉｏｎｅｄ，Ｔｈｅｃｏｕｎｔｅｒｑｕｅｓｔｌｏｎｓｈｏｕｌｄｂｅ：ｗｈｙｉｓｗｅａｒｉｎgmakeup
regardedasonlyawoman，sprerogative？（Walserl993)．Ｉｔｉｓｗｏｒｔｈ
ｐｏｉｎｔｉｎｇｏｕｔｔｈａｔｄｕｒｉｎｇｔｈｅＢａｒｏｑｕｅａｎｄＲｏｃｏｃｏＡｇｅｓｉｎＥｕｒｏｐｅｕｐｐｅｒ−

CoNsTRucTINGMALEAEsTHETIcsINRocＫＡＮＤＭＡＫＥｕＰ

１９５

ｃｌａｓｓｍｅｎｃｏｍｍｏｎｌｙｗｏｒｅｍａｋｅｕｐ・Ｏｎｔｈｉｓｉｓｓｕｅ，ｓｕｆｆｉｃｅｔｏｓａｙｔｈａｔ
ｗｈｉｌｅｔｈｅｒｉｇｉｄｆrameworkofthepatriarchalsocletywasgraduallybeing
constructed，ｍａｌｅｃｏｓｔｕｍｅｓｂｅｃａｍｅｓｉｍｐｌｅｒａｎｄｍｅnstoppedwearing
makeup・Itisalsoworthnotingthatwearingmakeupisalsoverycommon

forperformingartists，ｂｏｔｈｍｅｎａｎｄｗｏｍｅｎ，ｆｒｏｍＯｐｅｒａｔｏＫａｂｕｋｉ，Ｉｎ
ＯｐｅｒａａｎｄＫａｂｕｋｉ，performersusLlallyperforｍｔｈｅｒｏｌｅｏｆｓｏｍｅｏｎｅ
ｄｉｆｆｅｒｅｎｔｆｒｏｍthemselves，ｏｒｔｈｅｒｏｌｅｓｐｅｒｆｏｒｍｅｄｂｙｔｈｅｍａｒｅｎｏtexactly
themselves、Rockmusicians，mcontrast，usuallyexpressthemselves，ｏｒrather，theiralternatlveself，，throughtheirperformance､'５
Ifrockcanberegardedasaself‑expression，theuseofmakeupshouldreflectsomethingdeepwithinthemusicians,ｏｗｎidentity、Ｆｏｒexample，
ｔｈｅｆｅｍｉｎｉｚｅｄｍａｋｅｕｐｗｏｍｂｙＤａｖｉｄＢｏｗｉｅａｎｄｏｔｈｅｒｇｌａｍ/glitterrock
musicianswhoexpressｅｄｔｈｅｍｓｅｌｖｅｓｔｈｒｏｕｇｈｔｒａｎｓ−ｇｅｎｄｅredperform‑

anceshavebeeninterpretedascoincidingwiththeirsexuality,ｌ６Ｂｕｔｒｏｃｋ
ｍｕｓｉｃｉａｎｓｄｏｎｏｔａｌｗａｙｓｗearmakeuptorepresenttheirownsexuality・

Ｆｏｒexample，ｔｈｅｄｅｍｏｎｉａｃａｌｍａｋｅｕｐｗｏｍｂｙＫｉｓｓａｎｄＡＩｉｃｅＣｏｏｐｅｒ
ｓｅｅｍｓｔｏｂｅｒａｔｈｅｒｓｉｍilartoOperaandKabukiperformers，ｗｈｉｃｈｈａｓ
ｎｏｔｈｉｎｇｔｏｄｏｗｉｔｈｔｈｅｉｒｏｗｎｓｅｘｕａｌｉｄｅｎｔｉｔｙ．Ｔｈｅｙｓｅｅｍｔｏｐｅｒｆｏｒｍ
ｕｎｕｓｕａｌｃｈａｒａｃtersthroughtherepresentatlonof、on‑humanorsuper‑naturalbeings・Poison，M6tleyCrUeandsomeotherLAmetal/glammetal
musiciansseemtoappropriatetheoppositegenderrepresentations：ｅ､９．，wearingprostltute‑likemakeupwiｔｈｂｒｉｇｈｔｒｅｄｌｉｐｓａｎｄｈｅａｖｙｂｌａｃｋ
ｅｙｅｌｉｎｅｒｓｗｈｉｌｅｐｒｏｄｕｃｉｎｇａｔｙｐｉｃａｌｈｅａｖｙｍｅｔａｌｓｏｕｎｄ、Ｔｈｅｍａｋｅｕｐ
ｗｏｍｂｙｒｏｃｋｍｕｓｉｃｉａｎｓｌｓｎｏｔａｌｗａｙｓｆｅｍｉｎｉｎｅｂｕｔｖａｒｉｅｓａｃｃｏｒｄｉｎｇｔｏ
ｔｈｅｉｒｉｎｔｅｎｔｉｏｎｏｆｈｏｗｔｈｅｙｗａｎｔｔｏｅｘｐｒｅｓｓｔｈｅｍｓｅｌｖｅｓ・Ｔｈｕｓｔｈｉｓ

ｐｅｒｆｏｒｍａｎｃｅｓｅｅｍｓｔｏｂｅａｒathereffectiveexpressionof deviation，ｆｒｏｍｃｏｍｍｏｎｍａｓｃｕｌｉｎｅｎｏｒｍｓ・Japaneserockmusicianswerewearingmakeupbeforevisualrockmade
itextremelypopular,ＴｈｅｍａｋｅｕｐｗｏｍｂｙｒｏｃｋｍｕｓｉｃｉａｎｓｉｎＪapancan
generallybedividedintotwodifferenttypes：Oni‑meiku（demoniacal
makeup）andBikei‑meiku（beautifulmakeup)．Oni‑meikuincludesthe
makeupwornｂｙＫｉｓｓａｎｄｏｔｈｅｒｓｉｍｉｌａｒｂａｎｄｓ・ＳｅｉｋｉｍａｔｓｕａｎｄＫａｂｕｋｉ
ＲｏｃｋｓａｒｅｔｙｐicalexamplesinJapan、Ｂｉｋｅｉ−ｍｅｉｋｕｒｅｆｅｒｓｔｏｔｈｅｔｙｐｅｏｆ
ｍａｋｅｕｐｗｏｍｂｙｇｌａｍ/glitterrock，ｎｅｗｒｏｍａｎｔｉｃｓａｎｄＬＡｍｅｔａｌ/glam
metalmusicians、ThisstylewasusedbyJapanesemusiciansasearlyasthe
laｔｅｌ９７０ｓ−ｅａｒｌｙｌ９８０ｓ，ｗｈｅｎｎｅｗｗａｖｅ/ｔｅｃｈｎｏｐｏｐｆｌｏｕｒｉｓｈｅｄ・Ｔｈｅ
ｍａｋｅｕｐｗｏｍｂｙｖｉｓｕａｌｒｏｃｋｂａｎｄｓｉsalsousuallycategorizedlmderBikei‑
meiku・However，ｍｏｓｔＪａｐａｎｅｓｅｒｏｃｋｂａｎｄｓｉｎｔｈｅｖｉｓｕalrockscenehave
beenmoredirectlyinfluencedbyLAmetal/glammetal/thrashmetalthan
byglam/glitterrock，ｆｒｏｍｌｉｓｔｃｎｍｇｔｏｔｈｅｌ９８０ｓＵＳｒｏｃｋ・Ｉｎｆａｃｔ，ｔｈｅ1９６

CHAPTER8

memberｓｏｆＸｌｉｓｔｅｄｒｏｃｋｂａｎｄｓｓｕｃｈａｓＫｉｓｓａ､dMetallicaastheirfavorite
bands・

Thevisualrockscene，however,seemstobequitedifferentfromtheＵＫ
ｏｒｔｈｅＵＳｓｃｅｎｅ，whereglam/glitterrockandnewromanticswereｐｏｐｕｌａｒ
ｏｎｌｙｆｏｒａｓｈｏｒｔｔｉｍｅａｎｄｔｈｅUSmetalscenewassoonsubdivided、Ｍｏｓｔ

ｍｅｔａｌｂａｎｄｓｓｔｏｐｐｅｄｗｅａｒｉｎｇｍａｋｅｕｐａｓｓｏｏｎａｓＬＡｍｅｔａｌ/glammetal

declined・However，ｄｅｍｏｎｉａｃａｌｍａｋｅｕｐｉｓｃｏｎｔｉｎｕｏｕｓｌｙwombygothic／
doommetalbands，which，withfewexceptions，remainedunderground･ｌ７
ＩｎＪａｐａｎ，ｔｈｅｍｅｎ，smakeupindustl･ｙｂｏｏｍｅｄｗｈｅｎｖｉｓｕａｌｒｏｃｋｓｗｅｐｔ
ｏｖｅｒtheJapanesepopularmusicscene．Thisstronglyinfluencedboys
cultureitself;ｂｏｙｓｗｈｏｗｅｒｅｎｏｔｍｅｍｂｅｒｓｏｆｒｏｃｋｂａｎdsbegantrimming
theireyebrows，dyeingtheirhair，andpurchasingcosmetics、Ｍａｇａｚｍｅｓ
ａｉｍｅｄａｔｂｏｙｓａｎｄｄｅｖｏｔｌｎｇｐａｇｅｓｔｏｈｏｗｔｏｂｅｂｅａｕｔｉｆｕｌｓｐｒａｎｇｕｐｔｈｅｎ

ａｎｄｃｏｎｔｉｎｕｅｓｔｉｌＬｌ８ＡｆｅｗＪａpanesescholarshavetriedtoexplainwhy
wearingmakeupattainedsuchpopularityinJapan、Ｓｏｍｅｐｏｉｎｔｅｄｔｏｔｈｅ
ｉｎｆｌｕｅｎｃｅｓｏｆＫａbukitraditionandgirls comicswherefeminizedmale
charactersareessential（Igarashil998)．Otherssaythatvisualrock
symbolizesthecollapseofmaledominance（Inamasul998)．BothexplanatlonsaretoosimpleanｄｆａｉｌｔｏａｃｃｏＩｍｔｐｒｏｐｅｒｌｙｆｏｒｔｈｅｓｃｅｎｅａｓａ
ｗｈｏｌｅ：ｔｈｅｆｏｒｍｅｒｉｇｎｏｒｅｓｔｈａｔｍｅｎｃａｌｌｂｅｓeenwearingmakeupinthe
West，andthelatterforgetsthatfemalerockmusiciansarestillveryfewin
number．

Ｘ：姉eZegeyzaaFy αＺ7.0ｃｊｔ６邸犯f
Xisgenerallyregardedasafounderofvisualrock；ashavingchangedthe
Japaneserockmarket；ａｓａｃｈａｒｉｓｍａｔｉｃｂａｎｄｏｆｔｈｅｌ９９０ｓ；andfinally,tohavebecomealegendafterthedeaｔｈｏｆＨｉｄｅ，ｏｎｅｏｆＸ，stwoguitarists，ｏｎ
２Ｍａｙ１９９８．Xisthereforeanappropriategroupｔｏｆｏｃｕｓｏｎｆｏｒａｄｅｔａｉｌｅｄ
ｓｔｕｄｙｔｏexplainhowvisualrockgainedpopularity・Rockbandswearingmakeupwereappearingundergroundinthel980s，
evenbeforeXbecamepopular・Musicjournalists,recordingindustriesandseniormusicianswereintiallyquitecriticalofthem・Ｔｈｅｙｗｅｒｅｃａｌｌｅｄ
Okesho‑band，（Makeup‑band)， Kamitate‑kei，（Groupsofstandinghair)，
Kurofuku‑kei，（Groupsofblacksuits)，ｏｒ Iromono，（Variety‑show‐
likeness).Theirmakeupimmediatelyremindedpeopleofglam/glitterrock，
whosemusiciansnotonlyworemakeupbutwereoftenopenlyhomosexualorbisexual・Thetrans‑genderedimageofvisualｒｏｃｋｃｒｅａｔｅｄｂｙｔｈｅｕｓｅｏｆ
ｍａｋｅｕｐｉｓ，however，、otanexpressionoftheirsexuality，incontrastto，
say,thesub‑cultuｒｅｏｆＯｋａｍａ，Ｍｒ,Lady,ｏｒＮｅｗｈａｌｆ:allofwhichdenote
Japanesedragqueensorgays‑cum‑transvestites・Somejournalistsmaintain

CoNsTRucTINGMALEAEsTHETIcsINRocKANDMAKEuP

1９７

ｔｈｅｏｐｉｎｉｏｎｔｈａｔｔｈｅｒｏｏｔｓｏｆｖｉｓｕａｌｒｏｃｋａｒｅｔｏｂｅｆｏｕｎｄｉｎｇｌａｍ/glitterrock，butasmentionedabove，Ｘａｎｄｉｔｓｆｏｌｌｏｗｅｒｓ−ｔｈｅｍａｌｎａｃｔｏrsinthe

visualrockscene‑wereprimarilyinfluencedbyl980sLAmetalandthrashmetal・ＲｏｃｋｂａｎｄｓｓｕｃｈａｓＢｕｃｋ−ＴｉｃｋａｎｄＴｈｅＹｅｌｌｏｗＭｏｎｋｅｙａｒｅｎｏｔ

ｅｘｐｒｅｓｓｉｎｇｔheirsexualitythroughtheuseofmakeup，althoughtheirmuslc
andperformanｃｅｓｄｏｓｅｅｍｔｏｂｅｉｎｆｌｕｅｎｃｅｄｂｙｇｌａｍ/glitterrock、

Xwascertainlynotanexceptiontothiscriticism､Neitherjournalists
norfellowrockmusicianssupportedtheirbehaviｏｒｗｈｅｎＸｗａｓｕｎｄｅｒ‐
ground，ＭｅｍｂｅｒｓｏｆＸｗｅｒｅｆａｍｏｕｓｎｏｔｏｎｌｙｆorextremelyexaggerated
makeupandcostumes，butalsofortheirmdeness：blowingfireonthestage，
breakingtheirowninstruments，ｔｅｌｅｐｈｏｎｅｂｏｘｅｓ，ｔｈｅｅｑｕｌｐｍｅｎｔｏｆｌｉｖｅ
ｍｕｓｉｃｖｅｎｕｅｓａndthefumitureintavems・Itbecamecommonplacetoread，
Ｘｎｏｔｏｏｔｔａａｔｏｎｌｗａｐｅｎｐｅｎｇｕｓａｍｏｎｏkoranai，（Eventheshepherd，spursedoesnotremainafterXpassesthrough)J9Moreover,theirfrequentappearanceonTVprogramsprovokedfellowmusicians，antipathywhen
mostrockmusiciansstillrejectedTVappearances,asthecommercialism
TVsymbolizedwasarguablycountertothe authenticrockspirit,､２０But，
thenumberoffansgraduallyincreaseduntiltherecordingindustrycould
nolongerlgnorethisextremelycollspicuousrockband・Afewrockcritics
andproducersbegａｎｔｏｒｅｃｏｇｎｉｚｅｔｈａｔｔｈｅｒｏｃｋｓｏｌｍｄｐroducedbyXwas
highlyartistic，ｓｕｐｐｏｒｔｅｄｂｙｒｅｌｉａｂｌｅｐｌａｙｉｎｇｔｅｃｈｎｉｑｕｅｓａｎｄｄｅｅｐ
ｋｎowledgeofmusicaltheory、

Ybshiki，ｔｈｅｌｅａｄｅｒｏｆＸ，repeatedlyannouncedthat Xwillchangethe
major，evenbeforetheband，smajorbreakthrough･Refusingtocom‐
ｐｒｏｍｉｓｅｏｎｈｉｓｍｕｓｉｃａｌｐｒｏｄｕｃｔｉｏｎｗｉｔｈｔｈｅｃｏｍｍｅｒｃｉａｌｉｓｍｏｆｔｈｅ
ｒｅｃｏｌ･ｄｉｎｇｃｏｍｐａｎｉｅｓ，Ｙｏｓｈｉｋｉｄａｒｅｄｔｏｅｓｔａｂｌｉｓｈａｎｉｎｄｅｐｅｎｄｅｎｔｌａｂｅｌ
ｃａｌｌｅｄＥｘｔａｓｙＲｅｃｏｒｄｓａｎｄｒｅｌｅａｓｅｄｔｈｅｂａｎｄ，ｓｆｉｒｓｔａｌｂｕｍｔｉｔｌｅｄ

ｌ/２ｍ/s/z加gVIsjo〃ｉｎ１９８８．Thisalbumimmediatelywenttofirsｔｐｌａｃｅｌｎ

ｔｈｅｉｎｄｅｐｅｎｄｅｎｔｃｈａｒｔ・ＸｔｈｅｎｓｉｇｎｅｄａｃｏｎｔｒａｃｔｗｉｔｈＳｏｎｙＲｅcordsand
releasedtheirmajordebuｔａｌｂｕｍＢＩ"eBjooCfinl989,whichｓｅｎｔＸｔｏ
ｔｈｅｔｏｐｏｆｔｈｅｒｏｃｋｂａｎｄｓ・Ｙｏｓｈｉｋｉｓｏｏｎｂｅｇａｎｔｏｐｒｏｍｏｔｅｏｔｈｅｒａｍａｔｅｕｒ
ｂａｎｄｓｔｈｒｏｕｇｈＥｘｔａｓｙＲｅｃｏｒｄｓ，ｇｉｖｉｎｇｔｈｅｍｔｈｅｃｈａｎｃｅｔｏｍａｋｅｔｈｅｉｒmajordebutrecordings・ThusXanditsfollowerswerecalledExtasy‐
gundan（troop),atermwhichstillreferstomajorrockbandsintoday，sscene，ｓｕｃｈａｓＧｌａｙａｎｄＬｕｎａＳｅａ,2l
Havingbrokenintothemainstream,Xcontinueditstypicalundergroundbehavior，ｂｒｅａｋｉｎｇａｌｌｏｆｔｈｅｃｏｍｍｏｎｓｅｎｓｅｃｏｎventlonsoftheJapaneserockindustry、ＸｂｅｃａｍｅａｒｅｇｕｌａｒｉｎｔｈｅＴｏｐｌＯ，mademillionsellingalbums，andreceivedseveralmusicawards、Itwasepoch‑makingwhenX
participａｔｅｄｉｎＫｏ/zak紗 αg Ｓｃ〃（asongcontestonthenational

1９８

CHAPTER8

理ZL.:‑‑‑.
毒窪g

』狐仙１

蓋晶＝…n句,毎露 凸 睦 ■ ■酉 ≠ 紅 一理
ＳＨＩ
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竺島諺号紳…ー罫画
画 戸 e、
ＹｎＳＨ１１ｔ
ｌ

ー

ー

建界言竜･
９輯Ｂ
Ｉ１ＩＤＥ

霊亀＝占蜘心一Ⅸ
巳陰一一U剣Photo8‑I：Ｆｒｏｍleft;Pata,TaijiToshi,YoshikiandHide（Ｂ/ Ｂ/ＣＯα，１９８９)．

broadcastingｓｔａｔｉｏｎＮＨＫｂｅｔｗｅｅｎｔｗｏｇｒｏｕｐｓ，theredteamforfemale
singersandthewhiteteamformalesingers）broadcastliveonthelastday
oftheyear,ａｎｄconsideredtobeanationalevent,EversinceXsuccessfUlly
heldathrｅｅ−ｄａｙｌｉｖｅｃｏｎｃｅｒｔｉｎｔｈｅＴｏｋｙｏＤｏｍｅ，ａｓｔｈｅｆｉｒｓｔａｍｏｎｇ
Ｊａｐａｎｅｓｅｒｏｃｋｂａｎｄｓ，large‑scalerockconcertshavebecｏｍｅｖｅｒｙ

ｃｏｍｍｏｎ,２２Ｔｈｕｓｎｏ−ｏｎｅｃａｎｄｅｎｙＸｉｓａｎｌｍｐｏｒｔａｎtfigureintheJapanese
popularmusicscene、

Ｘｗａｓｒｅｇａｒｄｅｄａｓａ cho（ultra）ｍｙｐａｃｅｂａｎｄ，，ｓｉｎｃｅＸｗａｓｎｏｔ
ｃｏｎｓｔａｎｔｌｙａｃｔｉｖｅａｎｄｏｆｔｅｎｓｕｓｐｅｎｄｅｄｓｃｈｅｄｕｌｅｓ，ｍａｉｎｌｙｂｅｃａｕｓｅｏｆ

Ｙｏｓｈｉｋｉ，shealthproblems､２３Ｔｈｅｙａｌｓｏｔｏｏｋａｖｅｒｙｌｏｎｇｔｉｍｅｔｏｒｅｃｏｒｄ
ｅａｃｈｎｅｗａｌｂｕｍ、Ｔｈｅｙｒｅｌｅａｓｅｄｔｗｏｓｉｎｇｌｅｓａｎｄｏｎｅａｌｂｕｍｆｒｏｍ
ｉｎｄｅｐｅｎｄｅｎｔｌａｂｅｌｓ，l4singles，２ｍａｘｉｓｉｎｇｌｅｓ，ｔｈｒｅｅａｌｂｕｍｓ，ｏｎｅmini
album,ａｎｄｓｏｍｅｂｅｓｔ−ｏｆｏｒｌｉｖｅａｌｂｕｍｓｆｒｏｍmajorlabelsbeforethey
disbanded､２４Ｔｈｉｓｉｓｅｘｔｒｅｍｅｌｙｆｅｗｉｎｎｕｍｂｅｒ,ｂｕｔｆａｎｓｈａｖｅｓｕｐｐｏｒｔｅｄＸ
ｍｏｒｅａｎｄｍｏreenthusiastically、Ｘｄｉｓｂａｎｄｅｄｉｎｌ９９７ｆｏｌｌｏｗｉｎｇｔｈｅ
ｗｉthdrawalofToshi，avocalist、FinallythedeathofHidecreatedama]oｌ
ｓｅｎｓａｔｉｏｎｗｉｔｈｓｅｖｅｒａｌｔｈｏｕｓａｎｄｆａｎｓａｔｔｅｎｄｉｎｇｈｉｓｆuneral･Bythen
YOshikihadcompletelylosttheintentlontore‑group・Thereafter，Ｘｈａｓ
ｂｅｅｎｒｅｇａｒｄｅｄａｓ ｔｈｅｌｅｇｅｎｄａｒｙｖｉｓｕａｌｒｏｃｋｂａｎｄﾂ．Ｎｏｗａｄａｙｓ，manyJapaneserockbandsmoreorlesｓｆｏｌｌｏｗｔｈｅｅｘａｍｐｌｅｃｒｅａｔｅｄｂｙＸ．

AyzewcategoZycヅ αZeaes雌eがWhetheritforgesnewmodesofmasculinityornot，ａｒｏｃｋｂａｎｄｉｓａｋｉｎｄｏｆ
ｍａｌｅｈｏｍｏ−ｓｏｃｉａｌｃｏｍｍｕｎｉｔｙｆｏｒｍｅｄｉｎｏｒｄｅｒｔｏｒｅａlizemaleaesthetics．

CoNsTRucTINGMALEAEsTHETIcs1NRocＫＡＮＤＭＡＫＥｕＰ

1９９

TheaestheticsexpressedbyYOshikithroughXhavebeencharacterizedａｓ

Shunkannobigaku，（theaestheticsofthemoment)ｏｒ Hametsunobigaku，
(
t
h
e
a
e
s
t
h
e
t
i
c
s
o
f
d
e
s
t
r
u
c
t
i
o
n
)
.
2
５
１natypicalmodernfamilycomprisingafatherwhoisasalariedworker，
amotherwhoisafull‑timehousewifeシａｎｄchildren，thefatherisdevoted

tohis化αｉｓ〃α(company)anddoesnothingathome,whilethemotherfinds
herself‑worthinbringingupherchildren・Whenboysrejectidentifying
themselvesｗｉｔｈｔｈｅｃｏｒｐｏｒａｔｅｗｏｒｌｄｔｈａｔｔｈｅｉｒｆａｔｈｅｒｓｂｅｌｏｎｇｔｏ，and
struggletoescapefromtheirmothers，domesticworld；ｗｈｅｎｂｏｙｓｃａｎｎｏｔ
ｆｉｎｄａｐｌａｃｅｉｎｔｈｅｅxistingsocletyofdomesticatedmeｎａｎｄｗｏｍｅｎ，ｔｈｅｙｍａｙｆｉｎｄｏｒｆｏｒｍａｒｏｃｋｂａｎｄａｓａｓelf‑chosen/self‑constructedcommunity
wheretheycanconstructanidentityforthemselves、Otherwisetheymay
sufferanidentitycrisis、Arockbandisanalternativemalehomo‑social
communityforrealizingmaleaesthetics、ＩｔｉｓｄｉｆｆｅｒｅｎｔｆｒｏｍａｋａｊｓﾉZa

communityandwomenarenotallowedtojoin・Xappearedasarolemodel
forboyswhoarenotsatisfiedwithidentifyingthemselveswithexistingsocialvalues；Xcouldsucceedtoconstructtheideal self，ａｓａｂａｎｄｗｉｔｈ

ａｎｅｘｔｒｅｍｅｌｙｓｔｒｏｎｇwill･ＴｈａｔｉｓｗｈｙＸｗａｓａｃｃｅｐｔｅｄｆｉｒｓｔａｍｏｎｇｂｏｙｓ(MiyataietaL1993).Girlsandolderfannumbershaveincreasedsincethe

balladscomposedbyXwererecognizedasespeciallybeautifullymned
popsongsdespitetheirconspicuousvisualimage・
ＴｈｅｍａｍｒｅａｓｏｎｗｈｙｗｅａｒｌｎｇｍａｋｅｕｐｂｅｃａｍｅｍｕｃｈｍｏｒｅｐｏｐｕｌａｒａｍｏｎｇＪａｐａｎｅserockmusiciansthaninothercountriesis，needlesstosay，
becauseXcreatedthevisualrockboom，ＴｈａｎｋｓｔｏＸ，Japaneserockbands
gotthechancetorecordmajorhits,thenumberofamateurbandsincreased
tremendously，andwearingmakeupbecamepopularnｏｔｏｎｌｙａｍｏｎｇｒｏｃｋｂａｎｄｓｂｕｔａｌｓｏａｍｏngordinaryboys･Severalｍｅｎ，smagazinesdevotedto
fashion，ｈａirstyle，ｃｏｓｍｅｔｉｃｓｅｔｃ、ｃｏｍｍｅ、cedpublicationinrapid
successio､，ａｎｄmen，saesthetic（beauty）salonshaveopened･Inotherwords，ｂｏｙｓｃａｎｎｏｗｈａｖｅｂｏｔｈｔｈｅｐｏｗｅｒｆｕｌｒocksoundconventionallyassociatedwithmasculinityandthebeautyindustry,whichwaspreviously
regardedasbeｌｏｎｇｉｎｇｓｏｌｅｌｙｔｏｔｈｅｗｏｍｅｎ，ｓｓｐｈｅｒｅ・Ｔｈｕｓｔｈｅｇｅｎｄｅｒｃａｔｅｇｏｒｉｅｓｈａｖｅｃｈａｎｇｅｄ；ｎｏｗｔｈｅｓｙｍｂｏｌｓｏｆｔｈｅｂｅａｕｔｙｉｎｄｕｓｔｌ−ｙｈａｖｅ
ｂｅｃｏｍｅｓｙｍｂｏｌｉｃｏｆａ beautifulｍａｎ，inanappropriatedtrans‑genderedlmage，thuscreatinganewlyextendedmaleaesthetics・Inotherwords，thisnewmaleaestheticscreatedbyvisualrockwasachievedthroughthere‑
possessionofmodesofbodilyrepresentationthathadlongbeenconfined
tothewomen ｓｓｐｈｅｒｅｃｏｍｂｉｎｅｄｗｉｔｈａｍａｃｈｏｂｏｄｙｗithphysicalpower，Henceavisualrockbandcanberegardedasamalehomo‑socialcommunlty
forrealizinganewcategoryofmaleaestheticsbasedontheappropriation

２００

ＣＨＡＰＴＥＲ８

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Photo8‑2:Yoshiki（Kobayashil993)．

CoNsTRucTINGMALEAEsTHETIcsINRocKANDMAKEuP

２０］

oftrans‑genderedimagesevenwhilstproducingthemusicoftheexistingmasculineaesthetics・

ThouｇｈｂｏｙｓｃａｎｆｏｒｍｖｌｓｕａｌｒｏｃｋｂａｎｄｓａｎdcansharetheI1ewmale

aesthetics，girlsremainmerelyfansandareexcludedfromthemusicians,
ｃｏｍｍｕｎｉｔｉｅｓｃａｌｌｅｄ ｒｏｃｋｂａｎｄｓ,ａｎｄｔｈｅｉｒｎｅｔｗｏｒｋｓ・Ｔｈｕｓｔｈｅｔｒａ、s‑genderedimageofvisualrockdoesnotbreakthroughthedichotomyme､'ssphere:ｗｏｍｅｎ,ssphereintheexistingsociety,ｂｕｔｒｅｐｒｏｄｕｃｅｓｉｔｂｙｃｒｅａｔｍｇ
ａｎｅｗｍａleaestheticsasoneofthecharacteristicsofall‑malerockbands・

Inthisaltemativemalecommunlty,ｔｈｅonlyacceptableroleforwomenis
tｏｆａｌｌｉｎｌｏｖｅｗｉｔｈｔｈｅｍｅｎｗｈｏｅｍｂｒａｃethenewaesthetics，

Thenewmaleaestheticscreatedbyvisualrockhasbroadenedthemale

doｍａｉｎ，inpartbyappropriatingthepractlｃｅｓａｎｄｖａｌｕｅｓｏｆｗｅａｒｉｎｇ
ｍａｋｅｕｐｔｈａｔｈａｄｂｅｅｎｄｅｎｉｅｄｔｏｍｅｎｆｏｒｓｏｌｏｎｇ・Ｔｈｕｓｗｅｃａｎｓａｙｔｈａｔｔｈｅ
ｌｍｐａｃｔｏｆｖｉｓｕａｌｒｏｃｋｈａｓｂｅｅｎｍｕｃｈｍｏｒｅadvantageousformenthanfor
women､Ｉｎｆａｃｔ,ａｓｗｅｗｉｌｌｓｅｅｗｈｅｎｗｅｃｏｎｓｉｄｅｒｉｔｓｉｍpactonfans，ｗｅｃａｎ
ｓａｆｅｌｙｓａｙｔｈａｔｔｈｅｖｉｓｕａｌｒｏｃkboomhasre‑articulatedtheman:ｗｏｍａｎ

ｄ
ｉ
ｃ
ｈ
ｏ
ｔ
ｏ
ｍ
ｙ
､
2
６

Perf⑪rmance：artic皿latingmasc血linitywithfeⅡｎｉｎｉｎｅｓｙｌｎｂＯｌｓｇ"αjte α ｃ"，

ＸＡｌｔｈｏｕｇｈｎｏｗｏｍｅｎａｒｅａｌｌｏｗｅｄｏｎｓｔageandthemasculinityarticulated
by authentic，rockmusiciansisreproducedinaconventionalperformanceofvisualｒｏｃｋ，visualrockappropriatesfeminmesｙｍｂｏｌｓ・Ｃｏｎｔｉｎｕｉｎｇ
ｗｉｔｈＸａｓｏｕｒｃａｓｅｓｔｕｄｙ,ＩｗｉｌｌnowanalyzetheirperformanceiｎｄｅｔａｉＬ
ＴｈｅｍｅｍｂｅｒｓｏｆＸａｒｅ：Yoshiki，ｔｈｅleaderanddrummer‑cum‑pianist；
Toshi,thevocalist;HideandPata,theguitarists;ａｎｄＴａｉｊｉ（untilJanuaryl992）thenHeathonbass・Intheirundergrounddays，theirmakeupandcostumewerenotveryfeminine；ｔｈｅｙｗｅｒｅｍｏｒｅｓｉｍｉｌａｒｔｏＫｉｓｓａｎｄｏｔherOni‑meikubands，Theyfashionedthemselvesonthemechanｉｃａｌｈｕｍａｎ−
ｏｉｄｓａｐｐｅａｒｉｎｇｉｎｂｏｙｓ,animations，wearingblackleatherwithmetallic
ornaments，ｈｅａｖｙｍａｋｅｕｐａｎｄｓｔａｎｄｉｎｇｂｌｏｎｄｈａｉｒ，Ａｌｔｈｏｕｇｈｗｅａｒｍｇ
ｍａｋｅｕｐａｎｄｌｏｎｇｄｙｅｄｈａｉｒｃａｎａｌｒｅａｄｙｂｅｒｅｇａｒｄｅｄａｓｆｅｍininebehavior，

theyonlybegantoapproprlateacmalfemininesymbolsaftertheirmajoｒ
ｄｅｂｕｔ・

Toshicontinuedtoexpresshismasculinitybywearingsharpeyeliners，standinghair,ablackleatherjacketandpantswithmetalstuds,following
typicalOni‑meikufashion,andshouting Temeerakiaiirero1，(maleslang，

2０２

CHAPTER8

meaning Ｈｅｙyou，showfightingspirit'）whilerunningandjumpingabout
onstage・Yoshiki，ｗｅａｒｉｎｇｆｅｍｉｎｉｎｅｍａｋｅｕｐａｎｄｗａｖｙｂｌｏｎｄｈａｉｒ，
performedmasculinity,femininityandandrogynyinturn，Ｗｈｅｎｈｅｐｌａｙｅｄ
ｔｈｅｄｒｕｍｓ（consideredamoremasculineinstrumentbecauseofthephysicalpowernecessary）onpowerfulheavymetalrock,ｈｅｗｏｕｌｄｓｔｒｉｐｔｏｔｈｅ
ｗａｉｓｔ,fUriouslyplayingthedrumsatfull‑speedandbanghishead，finallydestroyingthedrum‑set､Whenheplayedthepiano（consideredamore
feminineinstrumentbecauseofthedelicatefingerwork）onballads,hewouldwearagorgeousdresswithfｌｏｗｅｒｓｏｒｌａｃｅｗｏｒｋａｓｉｆｈｅｗａｓｓｏｍｅ

ｎoblepianistfromaEuropeanpalace・Hidewasthemostconsciousofhis
viｓｕａｌｉｍａｇｅ，ｃｈａｎｇｉｎｇｈｉｓｄｒｅｓｓｅｓｆｒｅｑｕｅｎｔｌｙ，ｒａｎｇｉｎｇｆｒｏｍｔｈｅｅｔｈｎｉｃ(sareeandbindi）ｔｏｔｈｅｗｉｔｃｈ(blackhatandcoat)，andwearingmakeup
withheavyeye‐shadowscontmuouslytillhisdeath・PatahadaMohicanhaircutinitially,thenchangedtoamoreorthodoxrockfashionwithablack

Pshirtorjacketandpants,longwavyhairandlittlemakeup・Taijiwore
notonlyredlipstick,acolorfillfeathershawlandmanyaccessoriessimilar
toglamfashion，butalsotattoos，ａｎｄｌｏｖｅｄｔｏｒｉｄｅｈｉｓｂｉｋｅ・Heath，who

joinedXcomparativelylate,wasalsoqulteorthodox,wearingblackleatherswithlonghairandlittlemakeup・Ｂｕｔｈｅｈａｄｑｕｉｔｅｎｏｂｌｅｌｏｏｋｓ
ｅｖｅｎｗｉｔhoutmakeup・Theirvisualimage，ｏｆcourse，ｃｈａｎｇｅｄｆｒｏｍｔｉｍｅｔｏｔｉｍｅ，sothisdescriptionmustbetreatedasaportrayaloftheir typicalmakeupandcostume･
Ａｓｗｅｃａｎｓｅｅｔｈｅｎ，ｎｏｔｅｖｅｒｙｍｅｍｂｅｒｏｆＸａｐｐｒｏｐｒｉａｔｅｄｆeminine
symbols・Yoshikiwastheprimaryapproprlatｏｒｏｆｔｈｅｆｅｍｉｎｉｎｅ/androgy‑
nousvisualimage，withHidealsosomewhatinvolved・Thesetwowere

actuallyｌｅａｄｉｎｇｔｈｅｂａｎｄ，bothmusicallyandvisually，ａｎｄｈａｄｍｏｒｅ
ｐｅｒｓｏｎａｌｆａｎｓｔｈａｎｔｈｅｏthermembers，Ｔｈｕｓ，theirvisualcreatlonswerestrongenoughtodefinetheband，ｓｉｍａｇｅ・Afterabouttwoyearsofsuccess，
aboutthetimeofthealbumJeaZozJsｙ（1991)，Yoshikiescalatedhis

androgynousimage･Ｆｏｒexample，ｈｅｐｌａｙｅｄｔｈｅｒｏｌｅｏｆＣｉｎｄｅｒｅｌｌａｉｎｔｈｅ
ｖｉｄｅｏｃｌｉｐｏｆｔｈｅｉｒｓｏｎｇ℃elebration，，ｄｉｓｐｌａｙｅｄｈｉｓｎｕｄｅｂｏｄｙｏｎｔｈｅ

ａｌｂｕｍjacket,woresexydressesandwasphotographedinahomo‑sexualentanglementwithanothermalemusicianwearingmilitarysuits(Rock加o〃Ｊ α〃Nov・ＶＯＬ５４１９９１).Inthosedays,Toshioftensaid， YOshikiis
beautifulenoughthatitｉｓｎｏｔｎｅｃｅｓｓａｒｙｔｏｌｏｏｋａｔｗｏｍｅｎ.,
Usually，ｔｈｅｍｏｒｅｐｏｐｕｌａｒｖｉｓｕａｌｒｏｃｋｂａｎｄｓｂecome，thethinnerand
lightertheirmakeupbecomes・Thistendencyisalsoapparentamonｇｓｔｔｈｅ
ｍｅｍｂｅｒｓｏｆＸｅｘｃｅｐｔｆｏｒＨｉｄｅｗhｏｄｙｅｄｈｉｓｈａｉｒｐｉｎｋａｓａｓｔａｔｅｍｅｎｔｉｎｈｉｓ
ｌａｔｅｒｄａｙｓａｎｄｃｏｎｔｉｎｕｅdwearingmakeupuntilhisdeath・Toshistopped
standinghishairupiｎｌ９９３ａｎｄｃｕｔｉｔｓｏｏｎａｆｔｅｒ,YOshikialsocuthishair

CoNsTRucTINGMALEAEsTHETIcsINRocＫＡＮＤＭＡＫＥｕＰ

2０３

.回一

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Photo8‑3＄Yoshiki（ＲＯＣ肋z,ｏＪｚＪａｐａﾉz，ｌ９９１Ｎｏｖ､Vol，５４)．

2０４

CHAPTER8

beforethealbumDα〃jａ（1996）ｗａｓreleased・Yoshikisaidinhis

undergrounddays， Whatevergoodmusicweplay，ｔｈｅｒｅｉｓｎｏｓｅｎｓｅｉｆ
ｎｏｂｏｄｙｌｉｓｔｅｎｓｔoourmusic、Ｓｏｗｅｓｈｏｕｌｄｄｏｏｕｒｂｅｓｔｔｏｍａｋｅｓｏｍｅｂody
listen、Ifthesizeoftheaudiencelncreaseｓｔｏｓｏｍｅｅｘｔｅｎｔｂｙｓｕｒｐｒｉｓｉｎｇｔｈｅｍｗｉｔｈｃｏｎｓｐｉｃｕｏｕｓｆａｓｈｉｏｎａｎｄｂｅｈａｖｉｏｒｏｎｔｈｅｓｔage，ｗｅｗｉｌｌｄｏ
ｗｈａｔｅｖｅｒｉｔｔａｋｅｓ.，Ｉｎｏｔｈｅｒｗｏｒｄｓ，theyworemakeuptodifferentiatethemselvesfromothersandtoarticulatetheirindividualidentityinthe
existingconformistsocietyinsｕｃｈａｗａｙａｓｔｏａｔｔｒａｃｔｔｈｅｐｕｂｌｉｃ，sattention；ｉｎshort,theyworemakeupasastrategytoattractattention･Ｂｕｔ
ｔｈｅｍｅｍｂｅｒｓｏｆＸｄｉｄｎｏｔａｌｗａｙｓｃｒｅatetrans‑genderedimageswhen
wearingmakeup，and，ａｓｗｅｈａｖｅｓｅｅｎ，theirmakeupdifferedfromeachothers，、ＡｓｔｈｅｉｍａｇｅｏｆＹｏｓｈｉｋｉ，acharismaticleader，becamemore
distinguished，ｔｈｅｔｏｔａｌｉｍａｇｅｏｆＸｃｏｕｌｄｂｅｇｅｎｅｒａｌlycharacterizedasa
combinationofmasculinityandfemininity，ｏｐｐｏｓｅｄｄｉｓｃｏｕｒｓｅｓｉｎｔｈｅ
ｅｘｔｒｅｍｅ・Becauseoftheimportanceofvisualimages，promotionalvideoclips
cametoplaｙａｍａＪｏｒｒｏｌｅｆｏｒｐｕｒｓｕｉｎｇｔｈｉｓｓｔｒａtegy3whichwasalreadystandardpｒａｃｔｉｃｅｉｎｔｈｅＵＳｂｙｔｈｅｔｉｍｅｔｈａｔＭＴＶｗａｓｌａｕｎｃｈｅｄｉｎｔｈｅ
ｅａｒｌｙｌ９８０ｓ・XproducedCDsandvideostitledVIs"αｊＳﾉZocたＳﾉhjge〃／(Stimulus)．Inadditiontorecordingliveperformances，elaborately
plannedpromotionalvideoclipswereproduced､２７Sincethen,producing
ａｖｉｄｅｏｃｌｉｐｔｏａｃｃｏｍｐａｎｙｔｈｅｒｅｌｅａｓｅｏｆａｎｅｗｎｕｍｂｅｒｈａｓｂｅｃｏｍｅ
ｅｓｔａｂｌｉｓｈｅｄａｓｏｎｅｏｆｔｈｅｐｒｉｎｃｉｐｌｅｍｅａｎｓｏｆｐromotingrockbandsand
popsmgers・Itisalsoimportanttomentionthatinthesecondhalfoftheｌ９９０ｓｍａｎｙ
ｏｆｔｈｅｖｉｓｕａｌｒｏｃｋｂａｎｄｓｔｈａｔｈａｖｅｃｏｍｅｔｏｐｒｏｍｌｎｅｎｃｅｉｎｔｈｅｗａｋｅｏｆＸ
ｈａｖｅ〃ｏｒｔｒａｄｅｄｏｎａｃｏｎｓｐｌｃｕｏｕｓｖｉｓｕａｌｉｍage、Ｔｈｅｓｅｂａｎｄｓｃａｎｂｅ
ｄｉｖｉｄｅｄｉｎｔｏｔｗｏｔypes：bandsthoroughlydevotedtocreatingtheirvisual
image‑called theatrical，andincludingMaliceMizｅｒａｎｄＤｉｒｅｎｇｒｅｙ−
ａｎｄｂａｎｄｓｗｈｏｗｅａｒｏｎｌｙｌｉｇｈｔ stage，ｍａｋｅｕｐｓｕｃｈａｓＧｌａｙａｎｄＬｕｎａＳｅａ．

肱"sｊｃａ Iy

cヅX

Bothmasculineandfemininediscourseswereadoptedfortunesandlyrｉｃｓ
ｂｙＸ､Inotherwords，wecanobserveseveraldichotomouscharacteristics
fromthemusicalandliterarypointofview，Ｉｎｃｏｎｔｒａｓｔｔｏｔｈｅｇｅｎｅｒａｌｐｒｏｄｕｃｔｉｏｎｏｆｐｏｐｕｌａｒｍｕｓｉｃ，wheretheperformer，ｃｏｍｐｏｓｅｒ，lyricist，
producerandmanagerarealldifferentpeople，Xself‑producedandself‑
managed，asdoesanyundergroundband・ThisexplainswhyXalwaystook
alonｇｔｉｍｅｔｏｒｅｌｅａｓｅａｌｂｕｍｓａｎｄｈａｄｍａｎｙfollowerswhoneverregarded
Xasbeingcorruptedbycommercialism，ｅｖｅｌｌａｆｔｅｒｔｈｅｂａｎｄｂｅｃａｍｅ

CoNsTRucTINGMALEAEsTHETIcsINRoｃＫＡＮＤＭＡＫＥｕＰ

2０５

popularlysuccessftllandfrequentlyappearedonTVSincethetlmes，ｌｙｒｉｃｓ
ａｎｄｓｏｕｎｄａｒｅｔｏｔａｌｌｙｏｆｉｔｓｏｗｎｍａｋｉｎｇ，ｗｅｃａｎａｎａｌｙｚｅｔｈｅｍａｓ
ｒｅｐｒｅｓｅｎｔａｔｌｖｅｏｆｔｈｅｂａｎｄ，ｓｉｎｔｅｎｔｉｏｎｓ，
Eachalbumwasglvenaconceptualtitlearoundwhichitsentireimage
wascreated，Thearrangementofmusicaltrackso、ａｎａｌｂｕｍｆｏｌｌｏｗｓｔｈｅ
ｓｔｒｕｃｔｕｒｅｏｆａｕｓｕalliveperformance・Ｔｈａｔｉｓシitbeginswithsoundeffects，
proceedstothetitletrackwhich,setsthescene,，ｔｈｅｎａｆｅｗｒｏｃｋｎｕｍｂｅｒｓ
ｉｎｆａｓｔｔｅｍｐｏ，followedbyaballad‑experlmentａｌｏｒｓｏｌｏ−ａｆｅｗｍｏｒｅ
ｒｏｃｋｎｕｍｂｅｒｓ，ａｎｄｃｏｎｃｌｕｄｅｓｗｉｔｈａｎｏｔｈｅｒｂａｌｌａｄ、Ｔｈｅｒｅｌｅａｓｅｏｆｅach

albumwaspromotedbyalivetourｏｆｔｈｅｓａｍｅｎａｍｅ、
ＭｏｓｔｏｆｔｈｅｍｕｓｉｃａｎｄｌｙｒｉｃｓｗｅｒｅｃｏｍｐｏｓｅｄｂｙＹＯｓｈｉｋｉｗｈｏｓｅｍｕｓｉｃ
ｃａｎｂｅｒoughlydividedintotwotypes：heavymetalandballad・Ｈｉｓｈｅａｖｙ
ｍｅｔａｌｃａｎａｌｓｏｂｅｒｏｕｇｈｌｙｄｉｖｉｄｅｄｉｎｔｏｔｗｏｔｙｐｅｓ，ｌｏｎｇｎｕｍｂｅｒｓｄｒａｗｉｎｇ

ｏｎｔｈｅｃｏｍｐｌｅｘmusicalformsoftheWestemclassicaltraditionandshorter
tracｋｓｔｈａｔｄｉｓｐｌａｙｈｉｓｖｉｒｔｕｏｓｏｄｒｕｍｔｅchnique・Thealbums，titletracks
usuallybelongtotheformercategory(e､9., VanishingLove，， BlueBlood，，SilentJealousy，ａｎｄ Dahlia，).Mostoftheiralbumsincludeatleastone
trackbelongingtothelattercategory（e,9., I，llKillYbu，， Orgasm，， StabMelnTheBack，),andafewballads（e,9., EndlessRain，， SayAnything，，
Tears，).Onthehardrock/heavymetalnumbers,Ybshikiplaysthedrums・
Ontheballads，though，ｈｅｐｌａｙｓｔｈｅｐｉａｎｏ､Asalreadydiscussed，ｔｈｅｄｒｕｍｓ
ａｒｅｇｅｎｅｒａｌｌｙｃｏｎｓｉｄｅｒｅｄｔｏｓｙｍｂｏｌｉｚｅｍａｓｃｕｌｉｎｉｔｙ，ｗｈｉｌｅｔｈｅｐｉａｎｏ
ｓｙｍｂｏｌｉｚｅｓｆｅｍｉｎｉｎity,２８ＸｉｓｆａｍｏｕｓｎｏｔｏｎｌｙｆｏｒａｐｏｗｅｒｆｔＩＩｈｅａｖｙｍｅｔａｌｓｏｕｎｄａｎｄＹＯｓｈｉｋｉ，ｓｄrumtechnique，butalsoforthebeautifulballadsso
belovedbyfansthatthebandreleaｓｅｄａ best‑of，albumentitledBα〃αｄＣｏ〃gcrio〃・Ａｓｍｅｎｔｉｏｎｅｄ，ｈｉｓｍｕｓｉｃｉｓａｌｓｏｃｈａｒａｃｔｅｒｉｚｅｄｂｙＷestemclassicalinfluences､Hesometlmesarrangestunesbyorchestration（e､9.,Amethyst，ａｎｄ ForeverLove，),andsamplesfamousclassicalcompositions
ontheheavymetalbase(e９．， RoseofPain，ａｎｄ Alive，).Thiseffectively
forgesafantasticfUsionofthecultureofEuropeanaristocratsandthedark

GothicAgeoｆｔｅｎｆｏｕｎｄｉｎｈｏｒｒｏｒｍｏｖｉｅｓ，ｗｈｉｃｈｗｏｒｋｓｏｎａｎｏｔｈｅｒｄｉｃｈｏｔｏｍｙ：eleganceandcruelty，Ｎｏｗｗｅｗｉｌｌｅｘａｍｍｅｔｈｅｃｈａｒａｃｔｅｒｉｓｔｉｃｓofthreedifferenttracks

composedbyYbshikifromthemajordebutalbｕｍＢｊ ＩｅＢＩｏｏＪ.29Thefirst，
BlueBlood，，ｉｓｔｈｅｔｉｔｌｅｔｒａｃｋ；ｔｈｅsecond， EndlessRain，，ｉｓａｂａｌｌａｄ；andthethird， ＲｏｓｅｏｆＰａｉｎ， featuresWesternclassicalmusic、Ｔｈｅｆｏｌｌｏｗｉｎｇ
ａｎａｌｙｓｉｓｓｈｏｗｓｈｏｗｔｈeirmusicalstructureisdifferentｆｒｏｍａｎｄｍｏｒｅ
ｃｏｍｐｌｅｘｔｈａｎＪ−ｐｏｐ，whichisusuallyproducedusingstrophicpattems．
ＢｌｕｅＢｌｏｏｄ，isheavymetal，ｄistortedsoundwithshoutedvocals･The
vocalmelodyisroughlystructuｒｅｄｉｎｔｏＡ−Ａ−ＢＣ−ＢＣ−Ｃｏｄａ，ｗｉｔｈａｎｉｎｔｒｏ

2０６

CHAPTER8

andinterludesbetweeneachdivision・Itincludesashoutingchorusanda
guitarsolo・Ｔｈｅｋｅｙａｎｄｔｈｅｍｏｄｅｏｆｅａｃｈｍｅｌｏｄｙｃｈangeoften，withthe

keysmovingthroughE,Ａ，Ｄ，Ｃ，BandF‑sharp，whilethemodeschange
fromPhrygia､,Aeorian,MinorandMajor,Thedrumpattemsareeitherbeat
orbackbeat，ｓｈｏｗ‐casingYbshiki，svirtuosity，ｅｓｐｅｃｉａｌｌｙｗｈｅｎｔｈｅｔｗｏ
ｂａｓｓｄｒｕｍｓａreheardintheintroandinterludes・Althoughfuriousdrums，distortedsoundandshoutingcharacterizethemusic，thevocalsareclear
andmelodious,VOcalmelodiesA,ＢａｎｄＣａｒｅｄｏｍｉｎａｔｅｄｂｙｔｈｅＭｉｎｏｒ３ｒｄ，bｕｔｔｈｅｔｕｎｅｉｔｓｅｌｆｉｓｄｏｍｉｎａｔｅｄｂｙｍａＪｏｒｃｈｏｒｄｓ・Ｔｈｅｆｉｎａｌｃｈｏｒｄｉｓｔｈｅ
ｉｍｐｒｅｓｓｉｖｅＦ−sharpMajoLThesongisastoryoftragiclovedescribingself‐
inflictedphysicalviolencesuchas，Ｔｌｌｓｌｉｃｅｍｙｆａｃｅｃｏｖｅｒｅｄｗｉｔｈｂｌｕｅ
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Ｔｈｅｂａｌｌａｄ ＥｎｄｌｅｓｓＲａｉｎ，ｗａｓｒｅｌｅａｓｅｄａｓａｓｉｎｇｌｅａｎｄｂｅｃａｍｅＸ，ｓｓｅｃｏｎｄｂｉｇｈｉｔａｓｔｈｅｙｇａｉｎｅｄｇｅｎｅｒａｌｐｏｐｕｌarity，ItfeaturesYoshiki
playingalyricalpiano・ItisroughlystructureｄＡＡＢ−ＡＡＢ−Ｃ−ＡＢｗｉｔｈｉｎｔｒｏ
ａｎｄｉｎｔｅｒludesbetweeneachdivision，andillcludesanarratlonandguitaｒ
ｓｏｌｏｗｈｉｃｈａｒｅｎｏｔａｓｃｏｍｐｌｅｘａｓｔｈｅprevlousexample，ＴｈｅｂａｓｉｃｍｏｄｅａｎｄｋｅｙｉｓＣＭａｊｏｒ,ａｎdthedescendingbaselineC‑B‑A‑G‑F‑E‑D‑atypicalprogressloninBaroquemusic‑isusedformelodyB，ｗｈｅｒｅｖｏｃａｌ
ｍｅｌｏｄｙｉｓａｓｃｅｎｄｉｎｇ･ＭｅｌｏｄｙＣｉｓｃｏｍｐｏｓｅｄｏｎａｎｏｔｈｅｒｋｅｙシE‑flat，
constmctingaveryimpressivehook・Ｔｈｅｖｏｃａｌｓａｒｅｂｙ'Ibshi，whosevocal
rangelsoveroneandhalfoctaves，reachingupperE‑flat､Thisisnoteasy
forordinaryJ‑popslngers． EndlessRain，ｉｓａｓｏｎｇａｂｏｕｔａｌｏｓｔｌｏｖｅ､The
narratorisdepressedafterbeiｎｇｈｕｒｔｂｙｈｉｓｌｏｖｅｒ；hebroodsoverhislost
love，singingシ 1t，ｓａｄｒｅａｍ,Ｉ，ｍｉｎｌｏｖｅｗｉｔｈｙｏｕ−Ｉａｗａｋｅｆｒｏｍｍｙdream，
Ｉcan，ｔｆｉｎｄｍｙｗａｙｗｉｔｈｏｕｔｙｏｕ.,
ＲｏｓｅｏｆＰａｉｎツｉｓａｌｏｎｇｃompositionthatsamplesJ．Ｓ・Bach，ｓ Fuguem
GMinor，、ThetunebeginswithaBaroquelntrowithanorgan‑likesound，
proceedingtotheFuguesampleonthegultar・Itisroughlystructuredinto
threepartsindifferenttemposandrhythms：ｔｈｅｆｉｒｓｔｐａｒｔｌｓａｓｌｏｗｂａｌｌａｄｉｎ
ａｓｅｘｔｕｐｌｅｔａｒｐｅｇｇｉｏｏｎｔｈｅｇｕｉｔａr；ｔｈｅｓｅｃｏｎｄｉｓａｐｒｏｆｏｕｎｄｓｅｘｔｕｐｌｅｔｐlayedbyall；ａｎｄｔｈｅｔｈｉｒｄｉｓｈｉｇｈｓｐｅｅｄｈｅａｖｙｍｅｔａｌｆｏｌｌｏｗｅｄｂｙＣｏｄａ･
Ｅａｃｈｐａｒｔｉｎｃｌｕｄｅｓｃｏｍｐｌｅｘｉｎｔｅｒｌｕｄｅｓｗｉｔｈｇｕｉｔａｒｓｏｌｏｓａｎｄｏｒｃｈｅｓｔｒａ
sounds，pianosolointheinterludebetweenthesecondandthirdparts，andnarrativesinthethirdpart，ｗｉｔｈｔｈｅＢａｃｈｓａｍｐｌｅｓｏｍｅｔｉｍｅｓｒｅｐｅａｔｅｄ，
ＴｈｏｕｇｈｔｈｅｂａｓｉｃｋｅｙｉｓｅｉｔｈｅｒＡｏｒＥａndthemodeiseitherAeorlanor

Minor,ｏｔｈｅｒｋｅｙｓｓｕｃｈａｓＧ,ＢａｎｄＤ，ａｎｄｍｏｄｅｓｓｕｃｈａｓＭａｊｏｒａｎｄＰｈｒｙｇｌａｎａｒｅａｌｓｏｕｓｅｄ・ＴｈｉｓｓｔｒｕｃｔｕｒｅｒｅｓｅｍｂｌｅｓａＳｏｎａｔａｉnthreemovements・Ｔｈｅｓｏｎｇｉｓａｂｏｕｔａｃｌ･uelepisodeinthemedievalperiod：ａｍａｄｌａｄｙｓｅｅｋｓｈerbeautybykillingnumerousvil･gｉｎｇｉｒｌｓｓｏｔｈａｔｓｈｅｃａｎ

CoNsTRucTINGMALEAEsTHETIcsINRocＫＡＮＤＭＡＫＥｕＰ

2０７

drinkandbatheintheirblood､３０Thenarratoristheeyewimessofthiscruelsceneinthecastle,Inthefirstpart,ｈｅａｓｋｓｏｎｅｏｆｔｈｅｖｉｃｔｉｍｓ（ therose
withitspetalsofblood，)， Whyareyouscared？Whathaveyouseen?，and
answershimselfwith， Ｂｕｔｔｈｅｒｏｓｅｏｆｂｌｏｏｄｃａｎ,ｔａｎｓｗｅｒｍｅｔｉｌｌｔｈｅｅｎｄ.，

Ｉｎｔｈｅｓｅｃｏｎｄｐａｒｔ，ｈｅｄｅｓｃｒｉｂｅｓｔｈｅｍａｄｌａｄｙ： Ａｊｏ〃αﾉt 肺rakokoro，
sα皿"澱〃〃ｏｙｏ/℃kobj〃j〃zoeﾉ･〃(Herheartdeprivedofloveisbumingwith
thepleasureofmassacre).ShewillkilltomakeherselfmorebeautifuL,Inthethirdpart,hedescribeshowshekillsroses(virgingirls）singin９， Slicethem1Slicethemtillthey，ｒｅｒｕｎｎｉｎｇｉｎｂｌｏｏｄ，Ｔｅａｒｕｐ１Ｔｅａｒｕｐｔｉｌｌｔｈｅｉｒ
ｒｅｄｂｌｏｏｄｍｎｓｄｒｙ.，FinallyinCoda，hestateshisimpresslonandsays， In
etemalmadnesswelive・Evenifitwasjustadream,ｎｏｗｐａｍ,nothingbut
PAIN1，Ｔｈｉｓｓｔａｔｅｍｅｎｔｓｅｅｍｓｔｏｂｅｎｏｔｏｎｌｙｃａｌｍａｎｄｃｏｏｌｂｕｔａｌｓｏ
ｐｈｉｌｏｓｏｐｈｉｃａｌorevenspiritual，

TheEnglishandJapaneselanguagesａｒｅｂｏｔｈｕｓｅｄｉｎｔｈｅｌｙｒｉｃｓ・ＳｏｍｅsongsarewrittenonlyinEnglish（e､9., Alive，， ＳｔａｂＭｅｌｎＴｈｅＢａｃｋ，)，
andothersarewrltteninbothlanguages（e､ｇ､， BlueBlood，， EndlessRain，)．ＮｏｓｏｎｇｉｓｗｒｉｔｔｅｎｓｏｌｅｌｙｉｎJapanese，althoughJapanesels
dominantinsoｍｅ（e､9., ＷｅｅｋEnd，， RustyNail，).InJ‑pop,Englishis
conventionallyusedforhooks，firstlinesandotherdistinguishedplacｅｓ
ａｎｄｔｈｅｓｔｒｏｐｈｉｃｒｕｌｅｉｓｋｅｐｔ：ｔｈｅＥｎｇｌｉｓｈｗｏｒｄｓｉｎｔｈｅｆｉｒｓｔｓｔｒｏｐheare
repeatedmthesecondstrophe・EnglishusedinJ‑popcanbeanalyzedasa

mamstreamapproachtomodemitｙｉｎＪａｐａｎ,whereadoptingEngliｓｈｗｏｒｄｓ
ｓｙｍｂｏｌｉｚｅｓｓｏｍｅｔｈｉｎｇｃｏｏＬ3 Ｗｈｉｌｅｉｔｉｓｄｉｆｆｉｃｕｌｔｔｏｆｉｎｄａｎｙｒｕｌｅｉｎｔｈｅ
ｗａｙｈｅｃｈｏｏｓｅｓＥｎｇｌｉｓｈｏｒJapanese，ｗｈｉｃｈｖａｒｉｅｓｆｒｏｍｌｉｎｅｔｏｌｉｎｅａｎｄｆｒｏｍｓｏｎｇｔｏｓｏｎｇ，heseemstochoosethelanguageaccoｒｄｉｎｇｔｏｔｈｅｔｕｎｅ・
AsthereareusuallyfewersyllablesinanEnglishwordthaninJapanese，
tunesofJ‑popareoftendividedintoseveralshortnotes・Ｗｈｅｎｔｈｅｒｅａｒｅｎｏｔｅｎｏｕｇｈｎｏｔｅｓｉｎｔｈｅｔｕｎｅ，ｈｅｍａｙｃｈｏｏｓｅＥｎｇｌｉｓｈｓｏｔｈａｔｈｅｃａｎｓａｙ
ｍｏｒｅｗｉｔｈｆｅｗｅｒｎｏｔｅｓａｎｄｔｈｅｒｅｂｙａｖｏｉｄｄｅｓｔｒｏｙｉｎｇｔｈｅｔｕｎｅｂｙｄｉｖｉｄｉｎｇ

ａｌｏｎｇｎｏｔｅｉｎｔｏｆｒａｇｍｅｎｔｓ、
Yoshiki，ｓａｔｔｉｔｕｄｅｔｏｗａｒｄｓｌｏｖｅｉｓａｍｂｉｖａlent：sometimesvulnerable

andfragile，sometlmesmadandmacabre・Compare Ｌｅｔｍｅｓｔａｙｅｖｅｒｍｏｒｅ
ｉｎｙｏｕｒｈｅａｒｔ，Ｌｅｔｍｙｈｅａｒｔｔａｋｅｉｎｙｏｕｒｔｅａｒｓ，ｔａｋｅｉｎｙｏｕｒｍｅｍｏｒｙ,( EndlessRain，),ｔｏ Ｇｉｖｅｍｅｓｏｍｅｍｏｒｅｐａｍ,Givemethethroesofdeath，( BlueBlood，)．Heseemstofindsatisfactionfrombothsadisticand
masochisticｄｅｓｉｒｅシｔｈｅｔｗｏｅｘｔｒｅｍｅｓ・Ｈｅｃａｌｍｌｙｗｉｔｎｅｓｓｅｓｔｈｅｃｒｕｅｌｅｐｉｓｏｄｅｉｎ ＲｏｓｅｏｆＰａｉｎ,，describingthemassacrewith： Ｔｈｅｃａｓｔｌｅｂｅｃａｍｅ
ａｖｉｏｌｅｎｔｓｅａｏｆｂｌｏｏｄ・Ｔｈｅｂｌｏｏｄｃｏｖｅｒｓｔｈｅｆｌｏｗｅｒ，ｄｙｅｉｎｇｉｔｄｅｅｐｒｅｄ.，ＷＯｒｄｓｓｕｃｈａｓ rose'， tears，ａｎｄ dream，appearfrequently,ａｎｄothers，ｓｕｃｈａｓ kill，， ｂｌｏｏｄ，ａｎｄ ｐａｉｎ，ｏｆｔｅｎａｐｐｅａｒｉｎｔｈｅｓａｍｅｓｏｎｇ・Ｄｉｃｈｏｔｏｍｏｕｓ

2０８

CHAPTER8

characteristicsarealsofoundinhislyrics・Ｈｉｓｓｏｎｇｓｎｅｖｅｒｈａｖｅａｈａｐｐｙ
ｅｎｄｉｎｇ、Eitherhe，ｈｉｓｌｏｖｅｒｏｒｓｏｍｅｏｎｅｅｌｓｅｉｓｈｕｒｔ，bothphysicallyand
emotlonally・Ｔｈｕｓ，ｈｉｓｌｙｒｉｃｓｃｏｎｓｉｓｔｅｎｔｌｙｒｕｎａｇａｉｎｓｔｔｈｅｃｏｎｖｅｎｔｉｏｎａｌｒｏｍａｎｔｉｃｌｏｖｅｏｆtheheteronormativesystem・Ybshikicreateshisaestheticsbysynthesizingdichotomousdiscourses
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romantic‑intoone、Ｔｈｉｓｃａｎｏｎｌｙｗｏｒｋｂｙｔｈｅｅｘｃｌｕｓｉｏｎｏfwomenfrom
thebandlnotherwords，hisaestheticsareonlyeffectiveiｎｓｉｄｅａｍａｌｅｈｏｍｏ−ｓｏｃｉａｌｃｏｍｍｕｎｉｔｙ・Ａｌｔｈｏｕｇｈｈｉｓａｅstheticsapparentlyrepresent
deviations，fromtheestablishedsocialsystem，ｉｔｄｏｅｓｎｏｔｅｘｐｌｏｄｅｔｈｅ
ｕｎｅｑｕａｌｓｔａｔｕｓｂｅｔｗｅｅｎｍｅｎａｎｄｗｏｍｅｎ，butratherre‑articulatesitby
demonstratingthatamalehomo‑socialcommunitycanhllfillthepraxisｏｆ
ｂｏｔｈｔｈｅｍｅｎ，ｓａｎｄｔｈｅｗｏｍｅｎ,ｓｄｏｍａｍｓ．

Ａｎｅｗｆａｎｄｏｍ： ＣＯＳ璽ｐｌａｙ,ａｎｄ６Ｂａｎ韓ｙａｒｏ，ａｓｗａｎｎａｂｅｓ
ＣｏｓｐＪａｙα〃αＢａ"y oManynewvisualrockfanmagazlnessprangupafterXenteredthemalnStream・Ｔｈｅｉｒｎｕｍｂｅｒｓａｒｅｓｔｉｌｌｇｒｏｗｍｇａｎｄｔheyhavebecomemore
diverseastheybecomemorespecificallytargetedｔｏｔｈｅｆａｎｓ concems･
Thereareseveraltypesoffans,ｆｏｒexample:membersoffanclubs,thosewho
collectanartist，sgoods，ｔｈｏｓｅｗｈｏｗａｎｔｔｏｋｎｏｗａｌｌｏｆｔｈｅｄｅｔａilsoftheirfavoritemusician，slife，etc、Ｔｈｅｆａｎｓｍｉｇｈｔｂｅｒｏｕｇｈｌｙｄｉｖｉｄｅｄｉｎtofour
differenttypes､Ｆｉｒｓｔｉｓｔｈｅｏｒｄｉｎａｒｙｆａｎｗｈｏｍａｙｂｅａｍｅｍｂｅｒｏｆａｆａｎｃｌｕｂ，
ｂｕｔｏｔｈｅｒｗｉｓｅｉｓａｃｔｉｖｅｏｎｌｙｉｎｃｏｎｓｕｍｉｎｇａｎａｒｔｉｓｔ，ｓｇｏｏｄｓａｎｄｍｕｓｉｃ，
attendingconcerts，ａｎｄｓｏｏｎ・Secondisafanaddictedtoquasi‑romantic
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Thirdisa6wannabe，whosatisfieshim/herselfbyimitatingtheirfavorite
musician（Schwichtenbergl994;Fiskel994).Thefinaltypeisakindof
OrakLJ(addictorfanatic)ｗｈｏｉｓｎｏｔａｂｌｅｔｏｏｒｄａｒｅｓｎｏｔｔｏｂｅａｗannabe,but

hasadesiretoknoweverythingaboutafavoritemusicianincludingtheirprlvatelife，secretinformation，etc,Thesetypesareofcoursenotmutually
exclusive；thefansdescribedbythesecond，thirdandfourthtypesarealso
describedbythefirstcategory，buttheygofurtherwiththeil･fanaticism、Ｔｈｅｒｅａｒｅｔｗｏｔｙｐｅｓｏｆｃｏｒｅｆａｎｃｕｌｔｕresofvisualrockthatarestriking
andspecial：Cos‑play，（costumeplay）ｆｏｒｇｉｒｌｓａｎｄBan‑yaro，（let，splay
theband)forboys､Cos‑playfirstbecamepopularintheComicMarket(anexhibitionandsaleofcomicmagazines）intheearlyl980s,whereｂｏｙｓ

CoNsTRucTINGMALEAEsTI･IETIcsINRocKANDMAKEuP2０９

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Photo８雪4：Cos‑playersofMaliceMizer（V‑visage，１９９９)．

２１０

ＣＨＡＰＴＥＲ８

andgirlsgathereddressedascharactershomcomicbooksandanimatioｎ．

AIthoughfansgoingtoconcertsweaｒｉｎｇｔｈｅｓａｍｅｄｒｅｓｓａｎｄｍａｋｅｕｐａｓｔｈｅ
musiciansappearedevenearlier,theenthusiasmofcostumewearingXfans，
particularlythegirls，madeCos‑playanestablishedpartofvisualrockfan
culture､TodayCos‑playgirlscanbeseenateveryvisualrockconcertandthephotopagesdevotedtoCos‑playgirlshavebecomeanimportantpartoffanmagazines､３２Ban‑yaro,socalledafte]rＢａ IfzmZe，amagazineforamateurbandsthat
waｓｆｉｒｓｔｐｕｂｌｉｓｈｅｄｉｎｌ９８８，hasbeenpopularsince肌α皿６α"dreJzgojt〃(theheavenofnicebands,Ikateninshort),anamateurbandcontestonTV
froml9891mtill991,Membo,（shortforMemberBoshu:memberswanted）
isthemostcharacteristicpartofthismagazine･Manyamateurbandswere
formedthroｕｇｈＭｅｍｂｏ，andthenenteredlkaten，dreamingoftheirbig
break･Reportedly，thereｗｅｒｅａｂｏｕｔ８００ａｍａｔｅｕｒｂａｎｄｓｗｈｏｔｏokpartin
lkatenoverthistwoyearperiod(ShowbizResearchCIubl991).BeforeX，amateurbandsgenerallystartedofｆｂｙｃｏｐｙｉｎｇｈｉｔｎｕｍｂｅｒｓｂｙＵＫａｎｄＵＳ
ｒockgroupsシｂｕｔｔｏｄａｙｔｈｅｙｍｏｒｅｏｆｔｅｎｂｅｇｉｎｂｙｃｏveringthevisualrockofXanditsfollowers、Ｔｈｕｓｔｈｅｍｕｓｉｃａｌｓｃｏｒｅｓｏｆｖｉｓｕａｌｒｏckhitshave

becomeanimportantpartofmagazinesthattargetamateurbands、

ＢｏｔｈＣｏｓ−ｐｌａｙａｎｄＢａｎ−ｙａｒｏｆａｎｓｃａｎｂｅｒｅｇａｒｄｅｄａｓｗannabes・They
trytoidentifythemselveswithfavorltemembersofvisualrockbands：

girlsmainlythroughthevisualdiscourseofcostumeandmakeup，andboysbyemulatingthelmIsic・Itisnotablethatthestrategiesofgirlsand
boysaretotallydifferent・Althoughvisualrockusesbothofthegendereddiscourses，ｆｅｍａｌｅｆａｎｓｐｒｉｍａｒｉｌｙｅｍｕｌａｔｅｔｈｅｆｅｍｉｎｉｎｅｄｉｓｃｏｕｒｓｅ−
ｗｅａｒｉｎｇｍａｋｅｕｐａｎｄｃｏｓｔｕｍｅ−ｗｈｉｌｅｍａｌｅｓｇｅｎｅｒallyadoptthemasculinediscourse‑producinghardrock/heavymetalmusic，Inotherwords，wannabefansneitherperformanytrans‑genderedidentitiesnor
forgemasculinityusmgfemininesymbols，ｂｕｔｉｎｓｔｅａｄｃｈｏｏｓｅｔｈｅｉｒｏｗｎｇｅｎｄｅｒcharacteristicsasarticulatedbyｖｉｓｕａｌｒｏｃｋｇｒｏｕｐｓｔｏｉｄｅｎｔｉｆｙ
ｔｈｅｍselvesinsidethefancommunltywithparticularmusicians，However，
whilewannabefansrarelystruggleｗｉｔｈｔｈｅｍａｎ:womandichotomy，theircommunityformatlonsappeartobearejectionoftheestablishedvalues
ofsociety、Bycreatingadifferentcommunlty，theyarereconstructing
theirow、ｉｄｅｎｔｉｔｙ・Ｉｎｔｈｉｓｓｅｎｓｅ，ｔｈｅｙａｒｅｒｅｂｅｌｓｐｒａｃｔｉｃｉｎｇｄｅｖｉａｎｔ
behavior・Ｂｕｔａｌｔｈｏｕｇｈｔｈｅｉｒａｐｐａｒｅｎｔｌｙａｎｔｉ−ｅｓｔａｂｌｉｓｈｍｅｎｔｂｅｈａｖｉｏｒ
ｍｉｇｈｔｈａｖｅｉｎｉtiallybeendisdainedbymainstreaｍｍｅｎａｎｄｗｏｍｅｎ，
ｔｈｅｉｒｐｒａｘｉｓｓｏｏｎｍｅｒｇｅｄｉｎｔｏｔｈｅｍａlnstreamasatypicalyouthculture，
Ｔｈｅｉｒｓｔｒａｔｅｇｉｅｓａｒｅｄｅｅｐｌｙｇｅｎｄｅｒｅｄａｎｄｒｅ−ａｒｔｉｃｕｌａｔｅｔｈｅｅｘｉｓｔｉｎｇ
ｍａｎ:ｗｏｍａｎｄｉｃｈｏｔｏｍｙ．

CoNsTRucTINGMALEAEsTHETIcsINRocKANDMAKEuP

２１１

ＢｏｔｈＣｏｓ−ｐｌａｙｇｉｒｌｓａｎｄＢａｎ−ｙａｒｏｂｏｙｓｆｏｒｍｓｍａｌｌｃｏｔｅｒｉｅｓｏｒｆａｎ
ｃｏｍｍｕｎitiesbyimitatingaparticularbanｄｏｒａｂａｎｄｓ，netｗｏｒｋｒｅ−
ｓｅｍｂｌｉｎｇＥｘｔａｃｙ−ｇｌｍｄａｎ、Ｔｈｅｙｔｒｙｔｏａｔｔｒａｃｔｏｔｈｅｒｆａｎｓ，ａｔｔｅｎｔｉｏｎｔｏ
ｃｏｎｆｉｒｍｅａｃｈｏｔｈｅｒａｓａｍｅｍｂｅｒｏｆａｐａｒｔｉｃｕｌａｒｆａｎｃｏｍｍｕｎｌｔｙａｎｄ
ｃｏｍｐｅｔｅｗｉｔｈｓｉｍｉｌａｒｆａｎcommunitiesbydifferentiatingthiscommunlty
fromothers，、Ａｔｔｈｅｓａｍｅｔｌｍｅ，theidentityofaparticularfancomｍｕｎｉｔｙ
ｍａｙｍｅｒｇｅｉｎｔｏａｃｏｌｌｅｃｔｌｖｅｆanidentltythatdifferentiatesfaｎｓｆｒｏｍ
ｅｖｅｒｙｏｎｅｅｌｓｅ、Acollectivefanidentitythatemergesfromtheexistingsocietyprecoｎｄｉｔｉｏｎｅｄｂｙｃｏｎｓｕｍｅｒｉｓｍｍａｙｑｕｉｃｋｌｙｂｅｃｏｍｅａｇｏｏｄｔａｒｇｅｔｆｏｒｔｈｅｍａｒｋeteconomy､Thus，eventhoughbeingwannabesseems
tobeperformingaself‑chosen individuality'，ｉｔａｇａｉｎｒｅｍａｌｎｓｉｎｔｈｅ
ｃｕｒｌｏｕｓｙｏｕｔｈｃｕｌｔｕｒｅｈａｒｍｌｅｓｓｔｏｔｈｅｅｘｉｓｔｉｎｇｓocialsystem．

Ｂａ"ｙａｒＯｗα施肥ａ６ｅｓ
ＡｄｅｔａｉｌｅｄａｎａｌｙｓｉｓｏｆａｓａｍｐｌｅｏｆｆａｎｍａｇａｚｉｎｅｓｗｉｌｌｓｈｏｗｈｏｗＢａｎ−ｙarowannabesarticulateandendorsegenderdifferences，ＩｎｔｈｅｍａｇａｚｉｎｅＢα"
XzmZe,BandKokuchi‑ban(BandNoticeBoard)orFanbo(Fanboshu:Ｆａｎwanted)andMemboaretheimportantpagesfbrBan‑yarowannabes,Ｉｈａｖe
analyzedthesepagesbydrawingcoｍｐａｒｉｓｏｎｓｂｅｔｗｅｅｎｌ９９４ａｎｄｌ９９９(i､e､,bothbeforeandafterthewords visualrock，ｂｅｃａｍｅestablished）
basedonthesenders,ｓｅｘ，membersandwantedmembers，thenamesof

senders，favoritebands，whetherthebandwearsmakeup，andwhetherthey
usetheword visual，､3３

１ｎｔｈｅＭａｙｌ９９４ｉｓｓｕｅシonethirdofthebandsappearinginFａｎｂｏｗｅａｒ
ｍａｋｅｕｐａｎｄｔｈｅｍｏｓｔｆｒｅｑｕｅｎｔｌｙｍｅｎｔｉｏｎｅｄｂａｎｄｓｉｎＭｅｍｂｏａｒｅ
ｃａtegorizedasvisualrock(LunaSea,Ｘ,Buck‑Tick,DerangeandZiggy）
buttheword visual，hasnotyetbecomepopular（1.1％).Ｉｎｌ９９９ｔｈｅｗｏｒｄ
visual，isalreadywellestablishedandusedquiteoften（22.1％)．But
evenwhenthewordisnotused,withoneexception（JudyandMary34)，
themostfrequentlymentionedbandsareallcategorizedasvisualrock・
Furthermore，ｔｗｏｆｉｆｔｈｓｏｆｂａｎｄｓａｐｐｅａｒｉｎｇｉｎＢａｎｄＫｏｋｕｃｈｉ−ｂａｎｗｅａｒ
ｍａｋｅｕｐ・Ｔｈｕｓｉｔｉｓａｐｐａｒｅｎｔｈｏｗｗｉｄｅｌｙａｃｃｅｐｔｅｄｖｉｓｕａｌｒｏｃｋｈａｓ
ｂｅｃｏｍｅ，Thesexofsenders，membersandwantedmembersisdominａｔｅｄｂｙｍｅｎ
ｉｎｌ９９４ａｎｄｉｎｌ９９９，Ｈｏｗｅver,ｍｏｒｅｔｈａｎｏｎｅｔｈｉｒｄｏｆｓｅｎｄｅｒｓｉｎＭｅｍbol994arefemale,ｂｕｔｌｅｓｓｔｈａｎｏｎｅｆｏｕｒｔｈｉｎｌ９９９、Ｔｈｕｓｔｈｅｓｈａｒｅｏｆｆｅｍａｌｅ

ｓｅｎｄｅｒｓｈａｓdecreased・Ｆｅｍａｌｅｓｅｎｄｅｒｓａｌｗａｙｓｒｅｆｅｒｔｏｔｈｅｓexofwanted

members，ｍｏｓｔｌｙｔｏｓａｙｔｈａｔｔｈｅｙｄｏｎ'ｔｍｉｎｄｔｈｅｓｅｘｕａｌｃｏｍｐｏｓｉｔｉｏｎｏｆａ
ｂａ､．（about７０％ｉｎｌ９９４ａｎｄｉｎｃｒｅａｓｉｎｇｔｏ９０％ｉｎｌ９９９ｄｉｄｎ，tmind，
exceptforthepartlyspecifiedcases35).Incontrast,malesendersareeither

２１２

CHAPTER8

overlysexconsclousorelseapparentlyignorantaboutthesexcomposiｔｉｏｎ

ｌｎｂｏｔｈｌ９９４ａｎｄｌ９９９，abouthalfofwantedmembersarenotsexspecified
bymalesenders・Ｔｈｅｓｈａｒｅｏｆｍａｌｅｏｎlybandsmentlonedincreasesfrom
l２．４％ｉｎｌ９９４ｔｏ１９．８％ｉｎ１９９９，ｗｈｉｌｅｔｈｅshareofbothsexesdecreases

from43.5％ｉｎｌ９９４ｔｏ３０．５％ｉｎｌ９９９ａｎｄｅｘｃｅｐｔｆｏｒｔｈｅｐａｒｔｌｙｓｐｅcified
cases，radicallydecreasesfrom27､7％ｉｎｌ９９４ｔｏ１２．１％ｉｎ１９９９．１，short，
ｍｏｓｔｇｉｒｌｓｄｏｎｏｔｍｉｎｄｔｈｅｓｅｘｕａｌｃｏｍpositionofaband，whilemoreboys
reJectgirlsasbandmembers・Ｗｈｅｎｍａｌｅｓｅｎｄｅｒｓｄｏｎｏｔｒｅｆｅｒｔｏｔｈｅsexof

wantedmembers，ｉｔｉｓｓａｆｅｔｏａｓｓｕｍethatgirlsneednotapply,orcanexpect
arefUsaLAIthoughthenumberoffemalesendersisincreasing，ｉｔａｐｐｅａｒｓ
ｔｈａｔｂｏｙｓａｒｅｎｏｔｒｅａｄｙｔｏacceptthem・ThisanalysisshowsthattheincreaSingｐｏｐｕｌａｒｉｔｙｏｆｖｉｓｕａｌｒｏｃｋｎｏｔ
ｏｎｌｙｄoesnotbreakthegellderdichotomy,butreproducesandreinforces
theviewthatrockbelongstothemen,ssphere､3６

COs‑pIaywα za6es
AlthoughCos‑playcultureaｍｏｎｇｆａｎｓｏｆｇａｍｅｓ，ａｎｌｍａｔｉｏｎｓａｎｄｃｏｍｌｃｓ
ｉｓｃｏｍｍｏｎａｍｏngstbothboysandgirls，itisalmostexclusivelygirlsthat
enjoyvisualrockCos‑play､AtJingubashi,HarajukuonSundays,oneof
thecentersofyouthculture,ｏｎｅwillencountermanyvisualrockCos‑playwannabes､TheygettogetherjusttoenjoyCos‑play,doingnothingelse・
EachCos‑playwannabehasherownCos‑playnameandoftenformsaCos‑

pｌａｙｔｅａｍｏｒｇｒｏｕｐｗｈｏｓｅｍｅｍｂｅｒｓｐｌａｙtherolesoftheirrespectlve
favoritebandmembers，OccasionallyataCos‑playparty，ｔｈｅｔｅａｍｓ
ｃｏｍｐｅｔｅｗｉｔｈｅａｃｈｏthertodecidewhichteambestresemblestheoriginalband，

Ｃｏｓ−ｐｌａｙｃｏｓｔｕｍｅｓｃａｎｂｅｐｕｒｃｈａｓｅｄｉｎｓｏｍｅｓｐｅｃｉａｌｔｙｓｔｏｒｅｓ，but
handmadecostumesarebothcheaperthanstore‑boughtandarepreferred・MagazinesandbooksarerifewithphotopagesofCos‑playwalmabesas
weｌｌａｓｐａｇｅｓｏｎｈｏｗｔｏｗｅａｒｍａｋｅｕｐ，ｗｈｅｒｅｔｏｂｕｙｍａｔｅｒｉａｌｓａｎｄｈｏｗｔｏ
ｍａｋｅｃｏｓｔｕｍｅｓ、Ｃｏｓ−ｐｌａｙｗａｎｎａｂｅｓｏｆｔｅｎｈａｖｅｐｅｒｓonalinternet
homepages，ｗｈｅｒｅｔｈｅｙｐｏｓｔｐｉｃｔｕｒｅｓｔａｋｅｎｏｆｔｈｅｍｓｅｌｖｅｓａｔＣｏｓ−ｐｌａｙｐａｒｔｉｅｓａｎｄliveconcerts・TherearemanyphotographerswhoarenotCos‑
playersthemselves，whosehobbyistakingpicturesofgaｍｅ，animation
andcomicCos‑playersatvariouseventsandgatheringsandpostｉｎｇｔｈｅ
ｐｈｏｔｏｓｏｎｔｈｅｉｎｔｅｍｅｔ・Incontrast，ｖｉｓｕａｌｒｏｃｋＣｏｓ−ｐｌａｙｅｒｓｔｅｎｄｔｏｏｐｅn
theirownhomepagesasunofficialfansites､３７ThebandsimitatedbyCos‑playwannabestendtodifferslightlyfrom
thosecopiedbyBan‑yarowaImabes．Thelattergenerallypreferthemore
mamstreambandswhowearonlylightmakeupThemorepopularbands

CoNsTRucTINGMALEAEsTI‑IETIcsINＲｏｃＫＡＮＤＭＡＫＥｕＰ

２１３

ａｍｏｎｇtheCos‑playersareMaliceMizer，Ｄｉｒｅｎｇｒｅｙ，Ｌａ，Mule，Ｌａｒｉｅｎｅ
ａｎｄｓｏｏｎ・Thesebandsaregenerallycategoriｚｅｄａｓｔｈｅａｔｒｉｃａｌａｓｔｈｅｉｒ

ｍａｋｅｕｐａｎdcostumesaremoreexaggeratedthanthemainstreambands・
Ｔｈｉｓｒｅａｄｉｎｇｉｓｓｕｐｐｏｒｔｅｄｂｙｍｙａｎａｌｙｓｉｓｏｆｔｈｅｍｉｎｏｒｍａｇａｚｉｎｅ，

Ｂａ ×Ａノガ師ｓｄｅｖｏｔｅｄｔｏｔｈｅｆｅｍalecollectorsandCos‑playwannabes､３８Ｔｈｅｒａｎｋｉｎｇｏｆｔｈｅｉｒｆａｖｏｒｉｔｅｂａｎｄｓｉｎｃｌｕｄｅｓｎｏｔｏｎｌｙｔｈｅｍａｉｎｓｔｒｅａｍ
ｂａｎｄｓｆｒｅｑｕｅｎｔｌｙｐｒｅｆｅｒｒｅｄｂｙＢａｎ−ｙａｒｏｗａｎｎａｂｅｓｂｕｔａｌｓｏｔｈｅｍｉｎｏｒ
ｔｈｅａｔｒｉｃａｌｂａｎｄｓｔｈａｔａｒｅｎｏｔｖｅｒｙｗｅｌｌｒｅｃｅｉｖｅｄｉｎＢα ｙｍ−ｏＺｅ、Ｉｔｉｓ
ｔｈｅｒｅｆｏｒｅｓａｆｅｔｏｓａｙｔｈａｔｔｈｅｕndergroundtheatricalbａｎｄｓａｒｅｍａｉｎｌｙ
ｓｕｐｐｏｒｔｅｄｂｙＣｏｓ−ｐｌａｙｗａｎｎａｂｅｓ・Ｅｖｅｒｙｌｓｓｕｅｏｆａｍａｇａｚｍｅｓｕｃｈａｓ
Ｓﾉｚｏｘｘｉｎｃｌｕｄｅｓａｌｏｔｏｆｃｏｌｏｒｐｈｏｔｏｓａｎｄａｂｉｇｐｏｓｔｅｒｏｆａｖｌｓｕａｌｒｏｃｋ
ｂａｎｄ３９ｉｎｓｐｉｒｉｎｇＣｏｓ−ｐｌａｙｗａｎｎａｂｅｓｂｙprovidingthemwithmakeupandcostumeideasfortheirfavoritebands、MaliceMizer，shomepagesarethe
mostpopularamongCos‑playwalmabes・Ｔｈｅｒｅｓｕｌｔｓｏｆｍｙａｎａｌｙｓｉｓｓｈｏｗ
ｔｈａｔCos‑playwannabesonlyconsiderbandswithelaboratemakeupandcostuｍｅｓｔｏｂｅｗｏｒｔｈｙｏｆｉｍｉｔａｔｉｏｎ，Ｓｉｎｃｅｔｈｅｍａｋｅｕｐａｎｄｃｏｓｔｕｍｅｓｏｆ
ｔｈｅatricalbandsarefartoocomplexanddifficulttocreatealone，thesefansitesfunctiontoexcｈａｎｇｅideaｓａｎｄｉｎｆｏｒｍａｔｌｏｎａｂｏｕｔＣｏｓ−ｐｌａｙ．

COncl皿ｄｍｇｒｅｍａｒｋｓ：Vis血ａｌｒｏｃｋｂＯＯｍａｎｄｔｈｅａｆｔｅⅡ.ｍａｔｈ
Theidentificatorystrateglestakenbyvisualrockmusiciansandfansｄｏ
ｎｏｔｒｅｖｏｌｕｔｉｏｎｉｚｅｅｓｔａｂｌｉｓｈｅｄｇｅｎｄｅｒｒｏｌｅｓｅｖｅｎｉｆｔｈｅｙｄｏｒｅＪｅｃｔｔｈe
existingpatriarchalsociety，Undoubtedly，ｉｔｉｓｂｏｔｈｅａｓｙａｎｄｎａｔｕｒａｌｔｏ
ａｐｐｒｏｐriatenegativegendercategories（e9.,Outlaws,prostitutes,bitches，dragqueens，etc.）asstrategiesforrebellion・Throughthesenegative
categories， deviation，fromthepatriarchalsocletycanbedisplayed・Ｉｆ
ｔｈｅｓｅｓｉｇｎｓｄｏｎｏｔｓｉｇｎｉｆｙｎｅｇａｔｌｖｅｍｅａｎｍｇｓ，ｔｈｅｒｅlsnosenseln

appropriatingthem､Similarly,pre‑modernslgnｓ（e､9.,themedievallegend，superstitions,horrorstorles,etc.）andthoseofexcessivemodemity（e,9.,

spacetravel,cyborgs,aliens,etc.）readilyrepresentthecontradictiｏｎｓａｎｄ
ｍａｒｇｉｎｓｏｆｍｏｄｅｒｎｉｔｙ・
Thusmusiciansandfansbothstrategicallyusevarlousslgnstoexpress
theirrejectionofalldrebellionagainstthemoderllpatriarchalorder･Ｂｕｔ
ａｓｗｅｈａｖｅｓｅｅｎｔｈｅｅｘｔｅｎｄｅｄａｅｓｔｈｅｔｉｃｓｃreatedbygender‑category

violatiｏｎｓｄｏｎｏｔｃｈａｌｌｅｎｇｅａｎｄｉｎｆａｃｔ，reinforce，ｔｈｅｅｘｉｓｔｉｎｇｕｎｅｑｕａｌ
ｄｉｃｈｏｔｏｍｙｍａｎ:ｗｏｍａｎａｓｔｈｅｙａｒｅｐｒａｃｔｉｃｅｄｉｎｔｈｅｍａｌｅｈｏｍｏ−ｓｏｃｉａｌ
ｃｏｍｍｌｍｉｔｙｏｆａｖｉｓｕａｌｒｏｃｋｂａｎｄ・Ｉｔｓｅｅｍｓａｓｔｈｏｕｇｈｖｉｓｕａｌｒｏｃｋａｅｓｔｈｅｔｉｃｓ
ｉｎｖｏｌｖｅｍｅｎｉｎｔｈｅｐｒａｘｉｓｏｆｂｏｔｈｔｈｅｔｒａｄｉｔｉｏｎａｌｍｅｎ，ｓａｎｄｗｏｍｅ１１，ｓ２１４

ＣＨＡＰＴＥＲ８

spheres、Thusthevisualrockboomismoreadvantageousformenthanfor
women・Intheheteronormativesexualorder,visualrockonlyofferswomen
theopportunitytohave abeautiftIlman，ａｓｈｅｒｌｏｖｅｒ､Thereproductionof
existinggenderinequalitiesisevidencedbythefactthatboyfanscontinue
totakerockbands,traditionalmasculinity,astheirwannabeobjects,while
girlfansfocusonthefemininｅｖｉｓｕａＬＴｈｅｂｏｙａｎｄｇｉｒｌｗａｎｎａｂｅｓａｌmost
nevergettogetherbut，instead，separatelyformeithermaleorfemaｌｅ

ｃｏｍｍｕｎｉｔｉｅｓａｎｄｔｈｅｉｒｎｅｔｗｏｒｋｓ，therebysharplyarticulatinggenderdifferences、

Thel990ssawincreasingdemandsfoｒｗｏｍｅｎ,sempowermentinJapan，
ｗｈｉｃｈｈａｓｂｅｇｕｎｔｏｂｅｐｒｏｍｏｔｅｄｍｏｒｅｗidelyandofficially,Thevisualrock

boommightbeseen,atleastinpart,asaresponsetothismovement,aresponse
drivenbythefearofwomengraduallyencroachingintothemaledomainof
establishedsociety，Inotherwords，visualrock,sappropriationoffemale
symbolsmightbeinterpretedasa reverseforay，ｂｙｍｅｎｉｎｔｏｔｈｅｗｏｍｅｎ's
sphereagainstthisnewsocialforＣｅ･But,infactandonthecontrary,ｉｎｒｅｃｅｎｔ
ｔｉｍｅｓｌｔｓｅｅｍｓｔｈａｔｍｅｎｈａｖebeenmorecriticalofvisualrockthanwomen、Forexample,Ｌ，Arc‑en‑ciel,whichofTiciallyrejectedclaimsthatitisa
visualrockband，ｇｏｔａｎｇｒｙｗｉｔｈｔｈｅｍａｓｔｅｒｏｆｃｅｒｅｍｏｍｅｓｏｎｔｈｅＮＨＫＴＶ
ｐｒｏｇｒａｍＰｏｐＪｔｚ７７ｚ加ｌ９９９ｗｈｅｎｈｅｉｎｔｒｏｄｕｃｅｄｔｈｅｂａｎｄａｓ visual‑kei，、Theyperformedonlyonesongandleftthestage，despitehavingagreedinadvancetoperformtwoson9s、Ｉｎｍｙｏｗｎｅｘｐｅｒｉｅｎｃｅｍｅｎａｐｐｅａｒｔｏｂｅfar
morecritical・Ｆｏｒexample，whenlgavealectureonvisualrock，Iasked
studentstowritedowntheiropinionsaboutvisualrock､４０Ｔｈｅｒｅｓｕｌｔｓｗｅｒｅ
ｔｈａｔｍａｌｅｓｔｕｄｅｎｔｓcriticizeditmorebitterlythanfeｍａｌｅｓｔｕｄｅｎｔｓ，
generallysayingthatmusicwasmorelmportantthanvisualeffectsthoughtheymightneverhavecriticizedfemalesingers makeup､Whenlgaveoralpresentatlonsollvｉｓｕａｌｒｏｃｋａｎｄｇｅｎｄｅｒｉｎａｆｅｗａｃａｄｅｍicmeetings，
withoutcloselyexaminingthemeriｔｓｏｆｍｙａｒｇｕｍｅｎｔｓｏｍｅｍａｌｅｓｃｈｏｌａｒｓ
seemedupsetbymyclaimthatvisualrockofferedfarmoｒｅａｄｖａｎｔａｇｅｓｔｏ
ｍｅｎｔｈａｎｔｏｗｏｍｅｎｂｅcauseitextendedthemen，ssphere､4Ｖｉｓｕａｌｒｏｃｋｍｕｓｉｃｉａｎｓａｎｄｆａｎｓｆｒｏｍｔｈｅｌｏｗｅｒｓｔｒａｔａｏｆｓｏｃｉｅｔｙ
ｃｈａｌｌｅｎｇｅｄａｎｄｃｈａｎｇｅｄｔｈｅｅｓｔａｂｌｉｓｈｅｄｍａｓｃｕｌｉｎｅｖａｌｕｅｔｈａｔｄｅｃｒｅｅｄ
realmendon，twearmakeup，(Walsenl993：128).Appropriatingmodes
ofbodilyl･ep‑resentatlonpreviouslyrestriｃｔｅｄｔｏｔｈｅｗｏｍｅｎ，ssphere
extendedmasculineaesthetics、Trimmingeyebrowsanddyeinghair，ｓｏｃｏｍｍｏｎａｍｏｎｇｓｔｙｏｕｎｇｂｏｙｓｎｏｗｂｕｔｎｏｔｓｅｅｎｉｎｔｈｅｌ９８０ｓ，ｃａｎｂｅ
ｐｒｉｍａｒｉｌｙａｔｔｒｉｂｕｔｅｄｔｏｔｈｅｖｉｓｕａｌｒｏｃｋｂｏｏｍ・

Nevertheless，ｗｅｍｕｓｔａｓｋ：ｗｈｙａｒｅｍｅｎｓｏｒｅｌｕｃｔａｎｔｔｏｓｕｐｐｏｒｔｖｉsualrock？Isthisanobstinatedefenseofconventionalmasculinity？Ａｒｅｍｅｎ

２１５

CoNsTRucTINGMALEAEsTHETIcsINRocKANDMAKEuP

afraidthatthosewhoconstructednewmaleaestheticsthreatenestablishedmasculinity？Domenbelievethatthosewhoingratiatedthemselveswith
womenconstructedvisualrock？Ｄｏｍｅｎｐｒｅｆｅｒｔｏｐｒｅｔｅｎｄｔｏｂｅｌｏｓｅｒｓina
socletyofincreasingwomen，ｓｐｏｗｅｒ？Ａｒｅｍｅｎｒｅｍｉｎｄｅｄｏｆｇａｙｃｕｌｔｕｒｅ
ｗｈｅｎｔｈｅｙｗａｔｃｈｖｉｓｕａｌｒｏｃｋａｎｄｈａｔｅｉｔｂｅｃａｕｓｅｏｆａｎｌｍｃｏｎｓｃｌｏｕｓ

ｈｏｍｏｐｈｏｂｉａ？Ｄｏｍｅｎｗａｎｔｔｏｋｅｅｐａｗａｙｆｒｏｍａｎｙｔｈｉｎｇｃｏｎｓｉｄｅｒｅｄｔｏ
ｂｅｌｏｎｇｔｏｔｈｅｗｏｍｅｎ，sspherebecauseoftheirunconscioｕｓｍｉｓｏｇｙｎｙ？Or
areallhumanbeingsbittertowarｄｓｔｈｏｓｅｏｆｔｈｅｓａｍｅｓｅｘ？Ａｔａｎｙｒａｔｅ，１t
makesusreaffirmhowdeeplyrockisconnectedwithmasculinity．

AppendiX1
Ban‑yarowanx1abes(Ｂａ" 恥 Zg,Takarajima国sha）*Totalsamples°Ｍａｙｌ９９４:Fanbo（pp､146‑148）３４;Ｍｅｍｂｏ（pp,115‑145）１１３６．Ｍａｙｌ９９９：BandNoticeBoard（ppl50‑162）１５０；Ｍｅｍｂｏ（ppl63‑205）１９５０*Figuresinpercentages．
*Ｍ：Male，Ｆ：Female,ＢＢｏｔｈｍａｌｅａｎｄｆｅｍａｌｅ,Ｕ：Unidentified,Ｎ：Ｎｏｔ
ｍｅｎｔｉｏｎｅｄ．

*４unidentifiedsendersinMembo，Ｍａｙ1９９９．

Ｔａｂｌｅ８−ｌ
Ｓｅｘｅｔｃ．

FANBo(BANDNoTIcEBoARD）

Wml

MAKEuPSENTFRoM(MEMBERS）

ＭＥＭＢｏ(MEMBERswANTED）
ＷＩＴＨｍＥSENTFRoM

ＷＯＲＤ

WANTEDMEMBERs

VIsuAL(Ｖｏ,ｏＲＫＥＹ：FEMALEoNLY）
Ｍ Ｂ Ｎ Ｆ Ｂ

Ｍ Ｆ Ｂ Ｕ

ISSUE

F 一

ｌ９９４

、 Ｆ 一 一 − − ，ＦｒｏＩｎＭｚＦ１･ｏｍＦ：

Ｍａｙ
3２．４

９４．０３．０３．０

1
．
１

(
９
１
．
０
）

５６．３３４．７

１２．４４３．５４４．１１４．５８５．５（15.8）（15.1）−ゴー＝、一一全．−、
ＦｒｏｍＭ：ＦｒｏｍＦ：

Ｍａｙ
ｌ９９９

3８．０８１．３５．３６．７６．７２２．１

７５．６２４．２
１９．８３０．５４９．８７．７９２．３（18.4）（2.5）

２１６

CHAPTER8

Theeightmostfrequentlyreferredｔｏｂａｎｄｓ：。１９９４：Ｌ１ｍａＳｅａ,Boowy,Ｘ，Buck‑Tick,Lindberg，Derange，Ｂａｋｕ
Ｚ
ｉ
ｇ
ｇ
ｙ
．

。１９９９：Ｌ，Arc‑en‑ciel，Glay,Ｌ１ｍａＳｅａ，ＸＪａｐａｎ，JudyAndMary，Hide，Kuroyume，Pierrot．

Ａｐｐｅｍｄｉｘ２
Ｃｏｓ宮playwannabes(Ｂａ ×Ａ 誠,1999,VOHo1,VClo4）
PartbetsuRanking(Popularityvoteforeachpart）（Ｎｏ．１：５points‑No､５：lpointforeachpartrankedbytotalpoints）
１．Ｌ，arc‑en‑ciel：

３０points
２９points
１６ｐｏｉｎｔｓ
１０points
s
ｐ
ｏ
ｉ
ｎ
ｔ
ｓ

２．XJapan：
３．Ｇｌａｙ：４．Ｌ，acrymaChristi：
５．PeI1icillin：

６．ＭａｌｉｃｅＭｉｚｅｒａｎｄＤｉｒｅｎｇｒｅｙ：４points

Ａｐｐｅｎｄｉｘ３
Ｏｐｉ皿iＯｍｓｆｍｍＳｍｄｅｎｔｓ(Basedonreportssubmittedbystudents（age：18‑22）aftermylectureon
visualrockheldｏｎｌＤｅｃ，l999atTokyoKeizaiDaigaku.）
Q:Doyouthinkvisualrockisjustablossomofthel990sthatbearsno
fruit？

TotalAnswer:５０（male:29,female:２１）

(24％）

(
2
6
％
）
（８％）

１

５３３

１１

Ｏｔｈｅｒ

FEMALE

２３４

Yｅｓ

Ｎｏ

ＭALE

(１０％）
(26％）
（6％）

ＲｅａｓｏｎｓｏＹｅｓ：

一Substantialmusicismorelmportanｔｔｈａｎｖｌｓｕａｌｉｍａｇｅ．

CoNsTRucTINGMALEAEsTHETIcsINRocKANDMAKEuP

２１７−Visualimagemakesaudiencesuspendtheproperjudgmentof
substantialmusic・

一Theyarevictimsofcommercialism．
−Visualimageisdeceptive・
ｏＮｏ：

一Freedomanddiversityofexpressionshouldbesupported‑Everymusicianeveninpunkrockstickstohis/ｈｅｒｏｗｎｌｏｏｋｓ．
−Ｆａｎｓｏｆｖｉｓｕａｌｒｏｃｋ：Ｉｆｗｅｌｏｖｅｔｈｅｍ，ｗｈｙｓｈｏｕｌｄｗｅｆｅｅｌ
ａｓｈａｍｅｄ？

−Ｓｏｍｅｏｆｔｈｅｍｈａｖｅｂｏｔｈｖｉｓｕａｌｉｍａｇｅａndgoodmusic．
。Other：

一Someofthemwilldisappearbecauseoftheirvisualimageonly．
−ＷｈｅｎＸｗａｓｏｎｔｈｅｓｃｅｎｅ，ｔｈｅｑｕａｌｉｔｙｏｆｖｉｓｕａｌｂａｎｄｓｗａｓｈｉｇｈ．
−Ａｆｔｅｒｔｈｅｂｏｏｍｉｓｏｖｅｒ,theirrealtalentwillbesoughtfor，
ｏＣｏｍｍｅｎｔｓ：

一Ｘｉｓｈｉｇｈｌｙevaluate。．

−Ｉｎｃｒｅａｓｍｇｔｈｅｎｕｍｂｅｒｏｆｂａｎｄｓｈａｓｍａｄｅｔｈｅｍｕｓｉｃａｌｑｕａｌｉｔｙ
ｌｏｗｅｒｓｉｎｃｅｔｈｅｌａｔｅｌ９９０ｓ．