Originating in Mid-70s Japan, the music genre named 'City Pop' came along with an art genre of its own, named hence. The movement was led by Hiroshi Nagai, who illustrated for the music industry in a vast collection of works, all falling under 'City Pop'. The genre is characterized by sunny, urban landscapes featuring vibrant colors drawn in a minimalist manner.​

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Hiroshi, initially rejected by Tokyo's art schools, decided to launch himself as a set director, alongside his other work as an artist. Quickly afterward, however, he took to specializing in illustrations for record sleeves of popular Japanese Music. 

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While illustrating for Japan's biggest music labels, Hiroshi especially worked with 'City Pop', aligning his style with such. During this period, Hiroshi drew his inspiration from David Hockney, René Magritte, and Salvador Dalí, also mentioning the influence of American pop art and surrealism in his work. He depicted colorful urban scenes that reflect the upbeat, "big-city" nature of the music. Using this style, he illustrated Issei Okamoto's "Moonlight Mystery", Eiichi Ohtaki's "A Long Vacation", and AAA's "No Way Back".

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Numerous artists followed suit, painting the same sunny, glorious landscapes Hiroshi had made so famous. Of them, Yoko Honda and Eizin Suzuki stand out. Yoko Honda further emphasizes the summery feel of Hiroshi's artwork, showcasing bright colors, beaches, and palm trees across her work. Eizin Suzuki, contrarily, focuses more heavily on the cityscapes Hiroshi painted, communicating a distinct semi-urban feel in his work.

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While 'City Pop' may seem like a movement long passed, it's kept alive through its admirers. Hiroshi and Eizin still create noteworthy artworks, sharing them on their websites and social media pages. Yoko, on the other hand, is still early in her career, and is gaining traction across media platforms. Alongside them, other artists such as Seizo Watase have long boasted impressive audiences to which they consistently present masterpieces.