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| Oricon Style | |
|---|---|
| Title | Oricon Style |
| Frequency | Weekly |
| Category | Music magazine |
| Company | Oricon |
| Firstdate | 1999 |
| Finaldate | 2011 |
| Country | Japan |
| Language | Japanese |
Oricon Style was a Japanese music industry magazine and chart publication produced by Oricon Inc., known for compiling music sales data and publishing weekly charts. It served as a nexus between record labels such as Sony Music Entertainment Japan, Avex Group, Universal Music Japan, Victor Entertainment, and artists ranging from Ayumi Hamasaki to Arashi, while intersecting with media outlets including NHK, Fuji Television, TBS (Japan), Nippon Television, and TV Asahi. The magazine influenced reporting around releases by artists like Utada Hikaru, B'z, AKB48, EXILE (Japanese band), and Namie Amuro and became a resource for entertainment businesses such as Johnny & Associates, Yoshimoto Kogyo, and venues like Budokan.
Oricon Style launched in 1999 as part of Oricon Inc.'s expansion from chart service into consumer publishing, following Oricon's origins tied to companies such as Ginza-based record retailers and market research networks that collaborated with labels including King Records (Japan), Pony Canyon, Warner Music Japan, and Teichiku Records. The period saw contemporaneous cultural moments involving festivals and events like Fuji Rock Festival, Summer Sonic, Kōhaku Uta Gassen, and the consolidation of media conglomerates such as Dentsu and Hakuhodo. Over its run, Oricon Style covered phenomena associated with idol groups like Morning Musume and visual kei acts like X Japan, while reacting to shifts caused by digital platforms operated by corporations similar to Rakuten and services shaped by policy from entities such as Ministry of Internal Affairs and Communications (Japan). The print edition ceased regular publication in 2011 amid industry changes paralleled by streaming adoption influenced by global players like Apple Inc. and Google.
Oricon Style combined charts, feature articles, interviews, and photo spreads focusing on artists such as Shiina Ringo, Yui (singer), Koda Kumi, Gackt, and L'Arc~en~Ciel. Regular sections reflected interactions with institutions including RIAJ and trade events like Japan Record Awards, along with coverage of cross-media projects tied to anime studios such as Studio Ghibli, Production I.G, and broadcasters like NHK Educational TV. The magazine ran profiles and Q&A with producers and executives from labels including Avex Trax and management companies such as Axis (talent agency), and featured reporting on live tours at venues like Tokyo Dome and Saitama Super Arena. Photographers and designers often collaborated with fashion magazines and retailers like Vogue Japan and Uniqlo during promotional cycles.
Oricon Style published the weekly Oricon Singles Chart and Oricon Albums Chart, reflecting transactions derived from retail partners including chains like Tower Records (Japan), HMV (Japan), TSUTAYA, and online stores affiliated with companies such as Amazon (company). The charts became central to campaigns by management agencies such as Amuse, Inc. and Stardust Promotion, and were cited in coverage by newspapers like Asahi Shimbun, Yomiuri Shimbun, Mainichi Shimbun, and magazines such as Shūkan Bunshun. High chart positions often correlated with television appearances on programs like Music Station (TV program), HEY! HEY!HEY!, and MUSIC FAIR (TV program), and with promotion via radio networks including J-Wave and NHK-FM. The methodology and chart impact were compared with certification systems managed by Recording Industry Association of Japan.
Oricon Style was influential among industry stakeholders including artists like Kenshi Yonezu, producers such as Yasutaka Nakata, and executives from companies like Being Inc. and Space Shower Network. Critics in publications like CDJournal and broadcasters at NHK World debated its role amid shifting consumption patterns driven by platforms like YouTube and distribution changes tied to corporations such as Line Corporation. Academic commentary from institutions such as University of Tokyo and Waseda University examined chart culture alongside popular phenomena including idol culture and movements exemplified by groups like Babymetal. Some stakeholders criticized chart methodologies during periods of promotional bundling used by agencies including LDH (company).
Writers, editors, and chart analysts associated with Oricon Style interacted with photographers and journalists who also worked with outlets including Oricon News, Natalie (company), BARKS, and Billboard Japan. Interviews often featured collaborations with artists such as Ringo Sheena, bands like Southern All Stars, and international acts promoted in Japan by labels such as EMI Music Japan and Island Records (Japan). Editorial leadership engaged with market research partners and retailers including Rekordbox-related distributors and event organizers like Avex Group Holdings.
Printed weekly, Oricon Style reached bookstores and kiosks operated by chains like Kinokuniya, Maruzen, and convenience retailers affiliated with corporations such as Seven & I Holdings. Distribution networks linked to publishers and logistics firms active in Japan worked alongside digital content portals and sister properties including Oricon News and media services resembling those of Nico Nico Douga. The magazine's circulation trends mirrored broader shifts in print media documented alongside titles such as Weekly Shōnen Jump and Bungeishunjū.
After the magazine's print reduction, Oricon's chart data continued to shape discourse across platforms such as Billboard Japan and influenced programming on networks like Space Shower TV and streaming services provided by companies such as Spotify. The brand's archival charts are referenced in retrospectives about artists including Namie Amuro, Ayaka (singer), Mr. Children, Southern All Stars, and events like Tokyo International Film Festival where music tie-ins are common. Oricon Style's model informed other chart publications and research by institutions such as RIETI and media studies departments at universities including Keio University.
Category:Japanese magazines Category:Music magazines