Until the end of Japan’s bubble economy in 1991, many Japanese people enjoyed living in an affluent economy. One of the popular pastimes many people, especially young urbanites, partook in was dancing at discotheques that frequently played foreign Disco music. In the meantime, Italian dance producers of the 1980s developed and distributed their own type of localized version of electronic Disco music known as Italo-Disco. By the mid-1980s, some Italian producers began exporting their Italo-Disco, often infused with a similar genre known as Hi-NRG, specifically towards the Japanese music market. Overtime, the Eurobeat sound emerged as a result of the transnational music trade between Italian and Japanese companies. However, in this thesis I argue that Eurobeat finally evolved into a proper music genre only after 1990 when the Japanese company Avex, a newcomer to the Eurobeat business, managed to gain exclusivity rights with multiple Eurobeat labels to distribute their music in Japan directly from them. The result of Avex’s collaboration with the Italian labels allowed for Eurobeat to reliably sustain itself in the Japanese market through Avex’s connection, and along the way distinguish itself as a proper genre accepted locally by Japanese consumers.