City pop (シティ・ポップ, ♥♥♥♥♥ poppu) is a loosely defined form of Japanese pop music that emerged in the late 1970s and peaked in the 1980s, however the term "City Pop" would first be used in the 90s. 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. 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.

There is no unified consensus among scholars regarding the definition of city pop.[2] In Japan, the tag simply referred to music that projected an "urban" feel and whose target demographic was urbanites. Many of the artists did not embrace the Japanese influences of their predecessors. Some examples may also feature tropical flourishes or elements taken from disco, jazz fusion, Okinawan, Latin and Caribbean music. Singer-songwriter Tatsuro Yamashita, who was among the genre's pioneers and most successful artists, is sometimes called the "king" of city pop.[3]

City pop lost mainstream appeal after the 1980s and was derided by younger generations of Japanese.[7] In the early 2010s, partly through the instigation of music-sharing blogs and Japanese reissues, city pop gained an international online following as well as becoming a touchstone for the sample-based microgenres known as vaporwave and future funk.

城市流行（英语：City pop；日语：シティーポップ ♥♥♥♥♥♥♥♥♥♥），是属于日本流行音乐（J-pop）的分支，起源于1970年代后期的日本。它是日本国内受西方文化影响衍伸出来的音乐风格，以贝斯、电吉他搭配鲜明的节奏、轻松愉悦的旋律为人所知。它在日本经济泡沫时期（1980年代）达到顶峰[1] ，多以都市夜生活、男女间的爱慕、夏日海滩度假、夜间下雨场景、日落场景为创作主题。自2010年代以来，城市流行音乐透过网络媒介重新引发流行，并在国际上获得广泛注意，并在近年衍伸出如蒸气波（vaporwave）等具有关联性质的创新音乐类别。



Mariya Takeuchi – Plastic Love
Junko Ohashi – Phone Number
Tomoko Aran – I’m In Love
Junko Ohashi – I Love You So
Miki Matsubara – Stay With Me
Miki Matsubara – Wash