Ready to let ikigai rock your world?
In this episode of the Ikigai Podcast, Nick speaks with Sunplaza Nakano Kun to explore how his music captures the spirit of ikigai and inspires listeners.
Podcast Highlights
- Having a distinctive name. With a name as unique as his, Nakano shares the story behind its origin.
- How the band came together. Nakano shares the story of how their band, BAKUFU-SLUMP, was formed.
- Aspiration to become a singer. Nakano shares his desire to become a singer since early childhood.
- BAFUKU-SLUMP’s band members. Nakano talks about the members of his band.
- Facing difficulties as a band. Nakano shares an instance when the band's relationship became strained.
- Ōkina Tamanegi no Shita de. Nakano discusses another one of the band's hit songs.
- Creating music centered on the theme of ikigai. Nakano explains the inspiration behind their song Ikigai.
- Ikigai’s popularity in the West. Nick and Nakano discuss how ikigai has been gaining global attention.
Sunplaza Nakano Kun
Sunplaza Nakano Kun is a Japanese musician, writer, and singer for the band BAKUFU- SLUMP (爆風スランプ). Beyond his music career, he has also worked as a radio personality and author—a man of many talents.
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Having a distinctive name
While attending Waseda University in 1980, Nakano formed the band SUPER SLUMP and performed at the Yamaha East West competition held at Nakano Sun Plaza. After the event, a woman suggested he adopt the venue's name in reverse as his stage name—Sunplaza Nakano—because it sounded catchy.
How the band came together
When Nakano was a first-year university student, he played in a band called SUPER SLUMP. They entered the Yamaha East West music competition, where they met another participating group, BOP GUN—the eventual winners. Following the competition, the two bands merged and formed BAKUFU-SLUMP in the early 1980s.
The name 爆風 (bakufu) means ‘blast of wind’ or ‘explosive wind,’ reflecting the band’s powerful and energetic performances. “スランプ” (slump) came from their original name and added a bit of humor—suggesting that even in a slump, they could bring explosive energy.The name stood out and perfectly captured the band’s spirit: wild, funny, and unpredictable—but musically skilled and emotionally resonant when it mattered.
Aspiration to become a singer
As a child, Nakano dreamed of becoming a singer. One of his favorite songs from age six was Kaettekita Yopparai by The Folk Crusaders—a 1967 novelty hit known for its quirky sound effects and social satire. During his teens, he gravitated toward Japanese folk music, preferring it over Western pop. In his 20s, he embraced Punk and New Wave, idolizing Freddie Mercury and Kiyoshiro Imawano, 'Japan's King of Rock.’ He admired them so deeply that he placed their photos on his household altar and greeted them with gratitude each morning.
BAFUKU-SLUMP’s band members
The other three members of BAKUFU-SLUMP each adopted playful and unique stage names that reflected their personalities and styles:
Papala Kawai (Guitar), born Kawai Masahiro, chose his name based on a recording company suggestion. ‘Papala’ mimics a silly or chaotic fanfare sound, adding a comic and whimsical touch to his image.
Funky Sueyoshi (Drums), born Sueyoshi Satoru, took on the name ‘Funky’ to reflect his love for groove-heavy music and his energetic, theatrical drumming style.
Barbe-Q Wasada (Bass), born Wasada Tatsuhiko, selected his name as a humorous nod to exaggerated Western stage names and American culture. Although Nakano jokingly suggested ‘Tacos Wasada,’ he settled on ‘Barbe-Q’ for its quirky charm.
Facing difficulties as a band
After their initial success, the band faced stress and internal tension, which deeply affected Nakano's mental health. However, their song Runner unexpectedly gained widespread popularity, becoming a staple at school sports events across Japan.
It resonated with not just one generation, but also with children, teenagers, and even their parents. Runner became one of Japan’s most well-known rock songs in the late 1980s, selling around 600,000 copies. Nakano never imagined such a response and felt incredibly happy and grateful for its success.
Ōkina Tamanegi no Shita de
Another hit song by the band, Ōkina Tamanegi no Shita de (Under the Big Onion), was released in 1989 and is one of their most beloved and emotionally resonant tracks. Known for its nostalgic tone, the ballad marked a departure from their usual humorous style, revealing a softer, more sentimental side. Set at the iconic Nippon Budokan—famous for its onion-shaped dome—the song tells the story of a young man who writes a letter to a girl he invited to a concert, only to be stood up. It captures themes of youthful longing, quiet heartbreak, and the bittersweet nature of growing up.
The Budokan itself is a symbol of achievement for musicians and adds emotional depth to the narrative. The song became especially popular with students and young adults in the late ’80s and early ’90s, resonating with those who had experienced first love or unfulfilled hopes. Nakano later reflected that the song marked a turning point for the band, moving beyond comedy to genuine emotional expression. Over time, he came to deeply appreciate its lasting impact and the strong connection it fostered with fans.
Creating music centered on the theme of ikigai
Interested in health, Nakano was inspired by a Netflix documentary about Blue Zones—places known for long-lived, healthy people, including Okinawa. The elderly there attribute their longevity to having ikigai, a sense of purpose. Nakano noticed that many Japanese people today seem to have forgotten this concept and focus mainly on money.
Wanting to inspire middle-aged people in particular to rediscover ikigai, Nakano wrote a song about it. Initially, he created a reggae-style version, but the band’s drummer suggested turning it into a funk-rap.
Ikigai’s popularity in the West
Nakano realized how popular the concept of ikigai had become worldwide when his bandmate sent him a photo of a café named ‘Ikigai’ in England, and a friend shared another from India. These moments showed him that the once distinctly Japanese concept had gained global recognition.
He is open to the Western interpretation that ikigai can involve earning money, especially for people after retirement. Nakano believed that generating income from something enjoyable—like a small business or music—can bring satisfaction and be part of one’s ikigai. He embraced the idea that ikigai is flexible, as long as it brings joy, purpose, and meaning.
Conclusion
Music can be a powerful source of ikigai. It transcends language and borders—something that can be felt, shared, and interpreted in countless ways around the world. The music of Sunplaza Nakano Kun and his band is a perfect example: even listeners from different countries can connect with it deeply through the emotions it evokes.