Ever wondered what the Kyary Pamyu Pamyu & Yasutaka Nakata’s PonPonPon lyrics are all about? I did too. So I’ve done translated the song into English. While I was at it I did a thorough research into the background of Kyary Pamyu Pamyu, Yasutaka Nakata, and the history of the song.
First of all here’s my translation, then you’ll find all the background info below.
ぽんぽんぽん歌詞
Ponponpon Japanese Lyrics
あの交差点で みんながもしスキップをして
もしあの町の真ん中で 手をつないで空を見上げたら
もしもあの町のどこかで チャーンスが掴みたいのなら
まだ泣くのには早いよね ただ前に進むしかないは イヤ イヤ
ポンポン出して しまえばいいの
全然しないの つまらないでしょ？
ヘッドフォーンかけて リズムに乗せて
ウェイウェイ明けて 私の道を
ポンポン進む 色々のこと
どんどん聞いてる あなたの気持ち
ポイポイ捨てる 悪い子はだれ？
そうそういい子 アアＹＯＵ ＭＡＫＥ ＭＥ ＨＡＰＰＹ！
ＥＶＥＲＹＤＡＹ ポン！
ＥＶＥＲＹ ＴＩＭＥ ＩＳ ポN！
ＭＥＲＲＹーＧＯーＲＯＵＮＤ乗りたいの！
ＥＶＥＲＹＤＡＹ ポン！
ＥＶＥＲＹ ＴＩＭＥ ＩＳ ポN！
多分、そんなんじゃ だめでしょ・・・
ポンポン出して しまえばいいの
全然しないの つまらないでしょ？
ヘッドフォーンかけて リズムに乗せて
ウェイウェイ明けて 私の道を
ポン・ポン・ウェイ・ウェイ・ウェい
ポン・ポン・ウェイ・ポン・ウェイ・ポン・ポン
ウェイ・ウェい・ポン・ポン・ポン
ウェイ・ウェイ・ポン・ウェイ・ポン・ウェイ・ウェイ
ぽんぽんぽん英訳
Ponponpon English Lyrics
Tell me what it would be like
If everyone just started skipping round at the street lights
And won’t you tell me
Would it just be alright
If we all held hands and looked up at the sky
Right here in the middle of the busy city
Maybe there’s a chance right here for you and me
And don’t you think that maybe it’s too soon to cry
All we really can do is keep moving, you and I
Go go, oh my love, let it out, let it out
Don’t don’t keep it in, sing it loud, sing it loud
Put on those headphones and let the rhythm carry you
Clear clear the way, we’re coming through, we’re coming through
Keep, keep going on, whatever it is you want
Hear hear, hear that song, feel it coming on so strong
Throw throw it all away, if you’re the bad guy who’s to say?
The whole damn world is sad maybe
But you make me happy
Every day you’re gone
Every time you’re gone
riding on that merry go round
Every day I’m gone
Every time I’m gone
But listen out, can you hear that sound?
Keep, keep going on, whatever it is you want
Hear hear, hear that song, feel it coming on so strong
Ponponpon was on album Pamyupamyu Revolution
The Story of PonPonPon
Kyary Pamyu Pamyu, PonPonPon and The Simpsons
Recently, I’ve come to use the Simpsons as a tool to measure fame. I needed to find a way of measuring notoriety when my son reached the age of 11 and became suddenly obsessed with wanting to know exactly how famous each musician he heard was. Let’s call it a “streaming media generation problem”.
Concert attendance, youtube plays, Spotify monthly streams, there are a lot of ways you could measure something like that. But, I’ve found it’s simplest to use the metric of “They’re famous, but are they appear-on-The-Simpsons-famous”.
Though it is obviously a western-culture centric measure, one artist that qualifies as “appear on The Simpsons famous” is Japan’s Kyary Pamyu Pamyu. Indeed, she was famous enough to soundtrack a love-montage scene of the character of comic book store owner geek Jeff, in a Simpsons episode from 2014.
Now let’s contextualise this by saying Japanese musicians don’t have a strong history of crossing over to America. It has been more than half a century since a Japanese song has been number one on an American music chart. You have to go back to 1963’s ue wo muite aruko (bizarrely released under the title of Sukiyaki in the States) by Sakamoto Kyu.
So the Simpsons nod to Kyary Pamyu Pamyu is significant.
So how did Kyary make her way to the animated streets of Springfield from the anime saturated streets of Tokyo?
Early Years of Kyary Pamyu Pamyu
In many ways, Kyary is one of those “plucked from the streets and catapulted to fame” stories we love to fetishise. Through the naughties, magazines featuring photos of people snapped on the streets, especially around the Harajuku district in Tokyo, were huge. The shots captured the outlandish outfits of the socially hoi paloi but fashionably ooh la la types. These glossies are testament to the explosion of color, creativity and kawaii cutesiness that spilt out like rainbow coloured acrylics across Japan at the time.
Harajuku Cuteness
Cuteness has been a thing in Japan for a long long while, but in the naughties it was as if someone took all the pink, all the pouting, all the high pitch and cranked it, in the immortal words of Spinal Tap, up to 11.
But it wasn’t just straight-out cuteness. It was cuteness put through a sausage grinder, twisted, manipulated, mixed with the grotesque, the aesthetic of the street, the plain ridiculous. It was pretty cute, but the cute wasn’t always pretty.
In some ways, there are even parallels with the Flower Power hippy movement of the 60s, which has sadly come to be thought of in retrospect as somewhat vacuous, naive, even facile, but which at the time was counter-cultural, courageous and deeply confronting.
Though kawaii and Japanese decora is not as overtly political or heart-on-your sleeve let’s-change-the-world as the summer of love, there is something about a massively oversized glowing polka dot bow ribbon matched with, say a torn skull themed top and a riot of colour too-too below, which issues an aesthetic challenge all of its own. Cuteness was elevated to an artform.
Akamoji-kei 赤文字系 and Aomoji-Kei 青文字系 Japanese fashion
Kyaray Pamyu Pamyu is considered representative of the fashion style of Aomoji-kei.
Emoji-kei means “red letter style”. It refers to the magazines that are popular with female office workers that often had red lettering on their covers. Titles have included “JJ”, “CanCam”, “Vivi”, “Ray” and “JJ”. They are characterised by fashions that are more “aware of the male gaze” and more traditionally “feminine or cute in the eyes of men”.
To differentiate the fashion styles that were happening in Harajuku, the term “Aomoji-kei”, “blue letter style”, started to be used to refer to fashions that were less overly playing up to this male concept of female beauty. These fashions often introduced more boyish elements, such as street wear or trousers. They were less afraid to be “off-the-wall”, and brazenly colorful.
It is ironic that Kyary, who in many ways is the poster child of “cuteness”, is also the poster child of a fashion movement that is actually associated with being less feminine or “cute”. Although Kyaray is undeniably interested in the idea of cuteness, it is not the sort of pure, male centric, cuteness that is characterised by Akamoji-kei.
Kyary Pamyu "Street Snaps"
The first key moment for Kyary Pamyu Pamyu personally was when she had her photo taken on the streets of Shinjuku in 2009 by the magazine Kera. From there, she would go on to appear regularly in street photos, in increasingly adventurous clothing, and later in more staged pics in magazines such as Zipper and HR. Her Cinderella story from street to weirdoid bubblegum idol, to full blown music-fashion monster had begun.
But in other ways, the street Cinderella narrative isn’t quite right. From the start, Kyary was also an auteur, a net based omni creator with a blog and a suite of social media channels. She was an influencer before that was even a thing. In 2010, while still in high school, her blog on the popular Ameblog platform had 2 million hits a day. This is the equivalent of your niece appearing at the academy awards every day after coming home from school.
When Kyary Pamyu Pamyu talked about, say, a certain lotion, or beauty cream, the manufacturers would notice a rise in sales. In 2012, her twitter account was ranked the number one celebrity account in Japan. She had her own online channel to publish her self produced videos. She even wrote a manifesto outlining her world view. She may have been a Cinderella with a glass shoe, but she was also a Cinderella with a self made online production apparatus.
Kyary Pamyu Pamyu meets Yasutaka Nakata
The 2nd key moment for Kyary came at a nightclub in 2010. She was still in her final year of high school but had already started DJing at clubs. It was there that she had a chance meeting with Yasutaka Nakata.
In her own words, “I working as a DJ at the TAKENOKO, a club event for minors, and the organizers got Nakata Yasutaka to handle the production. I talked to him a number of times and in no time he started to handle my production. I first met him at the “Harajuku Style Collection”, and at that time he had black hair for some reason, so I didn’t recognize him. He often keeps me up to date with gourmet news. He is very knowledgeable and always has an answer for my questions. He is like a fun big brother to talk to. “
Yasutaka is perhaps the ultimate Faceless Man hitmaker of the Japanese music world. There are obvious parallels with a figure like Phil Spector in the sixties guiding a revolving door of mostly female singers to stardom, backed by signature walls of sound that tended to dwarf the sculpted pretty young things toplining the tunes out front.
If anything, Nakata is more of a one-man-show than was Spector. Nakata generally does absolutely everything involved in the creation of a piece of music, he writes the song, he writes the words, and then does all the engineering and production.
Where Spector worked with the songwriting factory of the Brill building of New York, Yasutaka’s 1619 Broadway is in his own small personal studio consisting of a computer, a keyboard, and an embarrassingly small vocal booth around the size of a broom closet. Considering the sounds that come out of there, it is the musical equivalent of a Tardis. And rather than a revolving door, it’s probably more accurate to say that camp Nakata is more like an ever growing tent with a flap in a constant state of unzipping.
Many artists never leave the tent. His relationship working with the trio Perfume has seen him steer the group to hits across two decades. His production relationship with Kyary Pamyu Pamyu has lasted several olympic game cycles. To mash up metaphors, Nakata’s tent is a tardis, and the Tardis is a Hotel California from which you can check out but never leave.
This is also testament to the fact that, in contrast to Spector, Yasutaka understands the first fundamental rule of showbiz, don’t shoot the talent.
About PonPonPon Lyrics
The song that we’re looking particularly at today, Pon Pon Pon, is a Nakata masterpiece. Or perhaps an abomination, depending on which way you look at. But that’s probably true of most things that make a bold statement. Visually, the video clip and aesthetic that Kyary Pamyu Pamyu brings is equally masterful.
The first thing that personally struck me when I heard the song was the nonsensical refrain. Awopbopaloobop Alopbamboom may be one kind of genius, but it takes another kind altogether to craft pop gold out of two monosyllables, pon and wei. Though neither of these sounds strictly has any meaning, they are both rich in association. The sound “pon” in Japan is often used as an onomatopoeic word to describe something that is bursting or being struck and is actually similar enough in both sound and meaning to be something of a distant cousin of our own English word “pop”, separated as it is by a single alphabetic flick of the fingers. I smell a linguistic conspiracy.
The other sound, “wei”, is related to the English word way, but is also close to the exclamatory sound “yay”, which has been incorporated into the Japanese vernacular sounding more like “iei” .This lends the wei a care-free fun vibe.
The song lyrics themselves are a somewhat garbled take on the need for a person to find their own “way” in life. If only Frank Sinatra had lived long enough to put a version of this song into his set as a medley with “I did it my way”. Surely, there’s a mash up waiting to happen.
The lyrics certainly can’t be described as deep, but they can’t be written off as shallow either. Yes, the main protagonist in the song wants to skip through the streets, and ride on the merry-go-round, and get lost in whatever rhythms are drumming out of the headphones. But she is doing so to keep from crying, as a way of moving on. It is a song of radical defiance, a refusal of depression and a challenge to the listener to find a way to live with meaning in a meaningless world. A wei-pon wei-pon way.
In crafting my translation, I’ve reimagined the words somewhat in places, while trying to remain as true in spirit as I could.
There were some sections I just couldn’t bring myself not to mess with a little. Namely the somewhat ridiculous snippets of cultural appropriation that are the English sections , sections that you so often get in Japanese pop music. Probably the main offender is:
“Everyday is pon, every time is pon, I want to ride a Merry-go-round”.
These I’ve changed to more of a love related motif with,
“every day you’re gone, every time you’re gone, riding on that merry-go-round”.
In this context the merry-go-round becomes more of a metaphor for the hurl and burl of life.
Generally though, I’ve tried to keep things pretty close, whilst allowing for a singable, rhyming translation.
My Arrangement of PonPonPon
Musical arrangement-wise, I’ve aimed at a shadow image opposite of the original. Mine is dark. It’s acoustic. I tried to resist using anything electronic as much as I could, but I did allow myself the liberty of a little electric guitar. Creation process wise-it’s not dissimilar to Nakata’s original, in that it’s just me tinkering away from wo to go. Although, in a little suburban tin shed in albion, rather than in a high rise apartment in Tokyo.
I guess you could say I was trying to find my own way to wei pon wei.
Kyary Pamyu Pamyu Music
Kyary Pamyu Pamyu & Fashion Books
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Arts and PhotographyKYARY PAMYU PAMYU ARTWORKS 2011-2016 (SEIBENDO SHINKO)
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Arts and PhotographyThe Tokyo Look Book: Stylish To Spectacular, Goth To Gyaru, Sidewalk To Catwalk
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Kyary inspired fashion
Yasutaka Nakata Music
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Range Life 和訳・歌詞解説
ペイヴメントのRange Lifeは９０年代の二つのオルタナティヴバンドの２０年間に渡る諍いのきっかけになった曲です。 歌詞の中に「スマッシングパンプキンズ」が出てきますが、スマッシングパンプキンズのビリー・コーガンはこの曲を聞いてとても怒りました。 ビリー・コーガンは1994年のロラパルーザに出演の際、もしペイヴメントが出るならスマッシングパンプキンズは出ないと主張し、ペイヴメントが出演出来なくなったということがありました。 問題になった歌詞を後ほど紹介します。 Range Life 和訳 After the glow, the scene, the stage 白熱、シーン、舞台の後 The sad talk becomes slow 悲しい話は遅くなる But there’s one
Losing my religion和訳・解説
“Losing my religion”を直訳すれば「宗教・信仰心を失いかけている」ですので、 当然この歌を聞けば「宗教についての歌だろう」と思いがちですね。 でも実際は違うようです。 本人曰く、宗教・信仰とは関係ないそうです。 Losing my religion和訳 Oh life is bigger 生きることは偉大だ It’s bigger than you 君より偉大だ And you are not me 君は僕じゃない
パール・ジャム「アライブ」歌詞和訳の意味
パール・ジャムの「アライブ」はグランジを代表する大変盛り上がる曲です。しかしあまり知られていないのですが、この盛り上がりとは裏腹に実は非常に暗い内容が詰まっています。ライブでは多くのファンは「I’m alive!」「俺は生きている！」と勢いよく叫びます。 それはそれでいいのですが、この歌詞を書いたエディ・ヴェダー本人が言うにはこのサビの一行は「呪い」のようなものだそうです。 アライブ歌詞和訳 Son she said 息子よと彼女が言った Have I got a little story for you あなたにちょっと話があるの What you thought was your daddy あなたが父さんだと思っていた人は、 Was
ミセス・ロビンソン歌詞の意味
最初から最後まで歌詞を全部解説するビデオはこのメンバービデオで見れます： Mrs Robinson「ロビンソン婦人」は１９６８年に、Billboard Hot 100で第1位を獲得しグラミー賞も受賞した有名な曲ですね。 でももともとはMrs Robinson「ロビンソン婦人」じゃなくて全然違う名前の曲でした。別の意外な有名人についての歌でした。だれだかもうちょっと後で書きます。 ミセス・ロビンソンと「卒業」 皆さんご存知かもしれませんがまずこの曲は「卒業」という映画の挿入歌として使われた曲です。その映画はある若い男の人が年上の結婚している女性、ロビンソン婦人、に誘惑されて恋愛関係を持つという当時割りと衝撃的な内容映画です。 歌詞のミセス・ロビンソンに対しての見方 でもこの歌の歌詞は、意外なことに、僕が好きなところとして、その「ロビンソン婦人」を批判しているどころか、どっちかというと彼女を褒め称える歌です。まあ、「褒め称える」という言い方はちょっと言い過ぎかもしれません。寛容な目で見ているといった方がいいかもしれません。「同情」している感じですね。 サビを見て行きましょう。 ミセス・ロビンソンのサビ And here’s to you, Mrs. Robinson さあ、聞いてください、ロビンソン婦人 Jesus loves you more than
ザ・バンド／ザ・ウエイト意味と歌詞和訳
音楽は魔法です。現実に存在する魔法だと僕は思っています。 一つの究極な例としてはThe BandのThe Weightを挙げれると思います。 これほど神秘的で不思議な力がある曲はあるでしょうか。 今日はその謎に満ちた歌の歌詞の意味について話したいと思います。 The Weightの概要 まずこの歌の軸になっている、核心的意味を言い切るのはすごく困難だと思います。 大雑把に言えば「自分の重荷を捨てて楽にしましょう」という意味だと思います。 「The Weight」「その重み」というタイトルもその真意を案じているでしょう。 その「重み」というのはどういうものか後で考えて行きたいと思います。 The Weightの固有名詞 この歌で何が印象的かと言うと、固有名詞がやたら多いということです。 名前、地名などなどどんどん出てきます。 しかもその名前、地名は聖書に因んだものがほとんどです。 聖書との関わり ナザレ まず第一行に出てくるナザレです。 世界中でイエスキリストが生まれたとして知られている町の名前ですね。 「この歌の主人公がイエスかよ」と思わせるような歌詞の出だし。 でも実はアメリカにもナザレという街があります。 Pennsylvania州にある６０００人余りが住むような小さな街です。
ホテル・カリフォルニアはこんな意味だったの？！Hotel California和訳、意味、解釈
ホテル・カリフォルニアは短編映画のような歌です。いろんな情景をものすごい細かさで描写する。砂漠でかく汗の匂い、髪の毛に絡む涼しい風、どこか遠くの方でまたたいている光。 よく何かを書くとき「show don’t tell」「描きなさい。伝えない。」 たとえば、「砂漠が熱かった」ではなく「高速道路で汗をかいていた」といった方が身近に感じられて、迫力が出る。ホテルカリフォルニアは見事にこういう風に「言葉」で伝えずに、「五感」で表す歌です。 ホテル・カリフォルニアの解釈 はっきりと「こんな事がありましたよ」と言わないおかげで素晴らしい描写になりますが、そのせいでいろんな解釈されます。 そのいろんな解釈を話していきたいと思いますが、歌詞を書いたDon Henley本人がいうには基本的な意味は”A journey from innocense to experience”「「無邪気」から「経験」への旅」だと言っています。 当時イーグルズはものすごく売れているバンドだったから本人たちは「その時俺たちは何でも出来ていた（許されていました）から何でも試してた」と言っていました。ようするに 世の中を知らない青年からいろんな経験を積んだ大人に変わりつつありました。 「経験」にはいろんな事が含まれていると思います。 ホテルカリフォルニアはよく「麻薬」「中毒」についての歌だと主張する人がいますが、この曲はいろんな「経験」についての歌だと思います。もちろん「麻薬・中毒」ありますが「愛」「性」「成功」「強欲」「欲望」「うぬぼれ」などの「経験」も一杯包まれています。 ホテル・カリフォルニアというホテルは実際存在したか 舞台はロサンゼルスになっています。ホテルカリフォルニアというホテルは実際に存在しません。アルバムジャケットに写っているのは「Beverley Hills Hotel」です。御存知の通り、Beverley Hillsはハリウッドの近くにある有名人、芸能人が一杯群がる地域であります。だから、その辺の人の「快楽主義」を描き、社会的な意味合いもあります。 イーグルズも当時「ホテルの部屋をぶっ壊してめちゃくちゃにしてしまうバンド」として有名です。 だから、「快楽主義」の象徴である「ホテル」を歌ににしたのはなんとなく相応しいかもしれません。
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Who is behind this site?
I’m Peter Joseph Head. I lived in Japan for four years as a student at Kyoto City University of the Arts and on working holiday. I have toured the country six times playing music and speak Japanese (JLPT N1).
ピータージョセフヘッドです。３年間京都市立芸大の大学院として、一年間ワーキングホリデーとして日本に住み、６回日本で音楽ツアーをし、日本語能力試験で１級を取得しました。要するに日本好きです。
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