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Ongaku Magazine is a teen-run music magazine, an independent collective of writers, critics, musicians, and producers under twenty. Explore below to find our original teen-written content, curated-playlists, charts, resonate with various topics surrounding the music industry.

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Ongaku Magazine publishes two curated ranking charts: a Top 25 Songs chart and a Top 20 Artists chart. Unlike sales-driven lists, our charts prioritize artistry — the compositional craft, emotional depth, innovation, and lasting resonance of a track or artist — over immediate commercial performance. We hold that true artistry shouldn’t be reduced to first-week streaming numbers or chart-topping ad buys; the most meaningful music often proves its value over time.

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kokoro ni ongaku.

Cultural Commentary Brendan Gieseke Cultural Commentary Brendan Gieseke

Analyzing City Pop in Japan, and How It's Been Glamorized in Today's Social Media

The most prevalent songs within the City Pop discography all contemplate the feelings of transition between past and present and express the imagery of fleeting time in a very specific way. “Remember Summer Days”, for example, says this very literally: “Remember Summer Days | 夏が消えていくわ (The summer is starting to fade).”

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Cultural Commentary, News, Opinion Brendan Gieseke Cultural Commentary, News, Opinion Brendan Gieseke

The Revival of Cigarettes in Gen-Z Music Brands

From selfies on Dua Lipa’s Instagram, to being the main attraction in Charli xcx’s visual brand, having features on Malcolm Todd’s bedside, a grand contributor to Lana Del Rey’s “cool girl” aesthetic, cigarettes have been making a comeback in the pop culture scene and it’s raising some eyebrows. Why is it resurfacing now? How did it come about? 

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Cultural Commentary Emilia Scannell-Siga Cultural Commentary Emilia Scannell-Siga

Joni Mitchell, Phoebe Bridgers, and the evolution of the confessional songwriter

The idea of the singer-songwriter as we know it today–someone who writes, performs, and produces profoundly personal music–didn’t always exist in its current form. For much of popular music history, songwriting and performance were separate jobs. Songs were written to be performed by others, and the commercial identity of the writer wasn’t essential to how the music was received. 

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