A Young Voice in the Breeze of the Showa Era: Hashi Yukio and the Showa Song Industry in the 1960s

A Young Voice in the Breeze of the Showa Era: Hashi Yukio and the Showa Song Industry in the 1960s
When Yukio Hashi made his debut in 1960 (Showa 35), Japan was on the threshold of rapid economic growth, the streets were filled with the lights of television, and people's hearts were filled with the songs that played on the radio. As the postwar turmoil subsided and the entire country was energized for the Tokyo Olympics (1964), Hashi created a stir with the old-fashioned genre of "crotchety enka" songs.
His debut with "Ushiorikasa" was composed by Minoru Endo, with lyrics by Takao Saeki and a recommendation by Tadashi Yoshida, a powerful lineup that brought a breath of fresh air to the enka and song genre. The song evoked nostalgia for the Japanese of the time, and for those who had moved from rural areas to the cities, it was a reminder of their hometowns.
Hashi's soft voice and fresh appearance softened the "muddiness" of enka, and the song was popular among younger generations and female fans. In 1962, "Dokodemo Yume wo Yume" (Always Dreaming), sung with Sayuri Yoshinaga, became a national hit, coinciding with the hopeful atmosphere in the days leading up to the Tokyo Olympics. The song won the 4th Japan Record Award, and a tie-up with a movie cemented the popularity of Hashi and Yoshinaga.
The NHK Kohaku Uta Gassen (Red and White Singing Contest), a symbol of the high growth of Japan, saw its ratings rise, and Hashi continued to appear in the contest as one of the young hopefuls. Hashi's clean image was recognized as having brought hope and healing to the rough postwar period.
The "Kurokatabi Monogatari" (Tales from a Crotch Trip), which was at the center of his activities, depicted the world of chivalry and humanity in the Edo period and was in line with the postwar era's demand for morality and a sense of justice. He played similar roles in movies, establishing his position as a "crotchety singer.
Thus, Yukio Hashi's success is closely tied to the social changes, urbanization, and media development of the late 1950s. His voice delivered nostalgic sentiments and hope for the future at the same time to Japanese people who were buoyed by the rapid economic growth.