1923 Great Kantō earthquake divine punishment to admonish the Japanese people for their self-centered, immoral, and extravagant lifestyles. In the long run, the response to the disaster was a strong sense that Japan had been given an unparalleled opportunity to rebuild the city, and to rebuild Japanese values. In reconstructing the city, the nation, and the Japanese people, the earthquake fostered a culture of catastrophe and reconstruction that amplified discourses of moral degeneracy and national renovation in interwar Japan. After the earthquake, Gotō Shinpei organized a reconstruction plan of Tokyo with modern networks of roads, trains, and public services. Parks were placed all over
Kanto (music) exist records produced in studios. While the lyrics began to include satirical takes on contemporary cultural trends and fashion. The songs were recorded with the 78 rpm phonograph. Columbia was the leading record label that commissioned kanto from Kaptanzade Ali Rıza Bey, Refik Fersan, Dramalı Hasan, Sadettin Kaynak, Cümbüş Mehmet and Mildan Niyazi Bey. The makams were the same but the instrumentation had changed. Kanto were now accompanied by cümbüş (a fretlees banjo-like instrument) the ud (a fretless lute), and calpara (castanets). Foxtrot, charleston, and rumba rhythms were fusioned with the typical kanto forms. Female soloists from this period include: