Monday, December 7, 2015

1789: -バスティーユの恋人たち- and a little introduction to Takarazuka Theater Company




(1789 goods from the official shop.)


(The Takarazuka Theater complex in Takarazuka, Hongo, Japan.)




(The view at intermission. The woman sitting next to me took me under her wing and made sure I knew when I needed to take a picture.)





One of the first stereotypes to fall away after I started watching Japanese television dramas was that of the television drama heroine. Sure, the long-suffering “Cinderella” heroine remains popular but she’s not the only heroine to be found. There is a class of actress with no equivalent anywhere else in the world. Tall, broad shouldered, and very charismatic, they play policewomen, doctors, detectives, and even regular moms. But there’s something different about them even when they play traditional female roles. Their bodies take up physical space as if they were entitled to it, like men. That Japan with its alleged submissive schoolgirl obsession also had these all these tall handsome women on screen? My mind was blown.


As I slowly started to learn more about Japanese show business, it dawned on me that these tall, charismatic actresses didn’t just spring into existence like Athena from the head of Zeus. Amami Yuki, Maya Miki, and others, they were former stars of the all-female Takarazuka theater company (宝塚歌劇団). Takarazuka productions are known for glitz, glamor, romance, incredible costuming, a final number danced upon a giant staircase, and for the 男役 (otokoyaku, lit. male-role), the actresses in the company that play the male roles in their productions.

And for years that was the extent of my Takarazuka knowledge. I’d always enjoy seeing the actresses pop up on dramas and game shows but because there was (and is) a paucity of real information on Takarazuka in English, the learning curve seemed too high. Without context or knowledge, the video clips I saw were just a jumble of sequins, feathers, and heavy eye make-up. Fabulous but ultimately confusing.


But I was still very much drawn to the idea of Takarazuka. So this spring when I realized my travel itinerary was going to take me directly through the town where the company is based, I bought a single ticket to the show that happened to be playing that day, 1789, which I assumed from the title was going to be about the French Revolution. I wasn’t sure I’d understand anything that was going on but if you think Filmi Girl would pass up a chance to see handsome women in high heeled boots bounding across stage, clearly you haven’t been paying attention. I figured at the very least I’d have a good story to tell about my adventures with sequins, feathers, and heavy eye make-up.


There’s always an element of chance in any love story and this one is no different. Maybe if it hadn’t been this show, with these actresses, I wouldn’t have fallen as hard for Takarazuka as I did. Maybe with another show, I would have walked out of the theater content simply to have had the experience. Maybe with another show, my eyes wouldn’t have grown bright with tears as the actresses descended that staircase in the finale; my heart wouldn’t have fluttered as the air in the theater resonated with the force of the chorus' voices; I wouldn’t have felt that ache of pleasure wash over my skin during the villain’s item song... But I did.

When the show was over rather than exit the theater, I joined the crowd of ladies moving out of the main hall and directly into the gift shop to purchase glossy photos of our favorite stars. Because by the end of the finale I had a favorite star. Over the course of the production I’d become a Takarazuka fan.


Since I've come home, I’ve tried to give myself a crash course in Takarazuka. I watched at least twenty or so productions on DVD. I’ve watched interviews with the actresses. And luckily my language skills had progressed to the point where I was even able to read an introductory book for Takarazuka fans in Japanese. Now, six months later, I’m finally able to make some sort of sense of what it is I saw. I know now what it meant to see the 101st class make their debut, how special it was to see the first Japanese production of the French musical 1789 , how lucky I was to see Seijou Kaito’s final role before she transferred to Senka, and to witness Miya Rurika’s breakout performance in the flesh. Some of my initial impressions have deepened but others have fallen away as I learned what it was I was watching. I will try to convey a little of both to you.


1789: -バスティーユの恋人たち- (1789: Bastille no Koibito-tachi, 1789: the lovers of the Bastille), as the title implies, is a musical set during the French Revolution. It's loosely based on the 2012 French musical 1789: Les Amants de la Bastille


((l-r) Harune Aki as Solène, Arise Sou as Papa Mazurier, and Ryu Masaki as Ronan)


(Ronan crossing the "Silver Bridge" en route to Paris)


(Tamaki Ryou as Robespierre (l) and Nagina Ruumi as Desmoulins (r))

Young country boy Ronan Mazurier (Ryu Masaki) runs off to Paris after his father is unjustly executed by the Count de Peyrol (Seijou Kaito). There he meets revolutionaries Georges Danton (Saou Kurama), Camille Desmoulins (Nagina Ruumi), and Maximilien de Robespierre (Tamaki Ryou), who get him a job at an illegal, muckraking printing press.


(Manaki Reika as Marie Antoinette)


(The dress!)


(Miya Rurika as the sleazy Count de Artois)

Meanwhile, in Versailles, they're partying. Marie Antoinette (Manaki Reika) rises from below stage in a massive layer cake dress. She is leading a seemingly carefree life, only concerned with concealing her affair with Axel von Fersen (Akatsuki Chisei) from the king’s younger brother, the Count de Artois (Miya Rurika) and his stooges in the secret police. The King (Mishiro Ren) is sweet but stupid and blissfully unaware of the real danger they're in.   


Marie Antoinette enlists the help of the governess Olympe (Saotome Wakaba) in her affair. 


(Sao Kurama as Danton)


(The lyrics here are 世の中さえ変わったら幸せになれるいつか If the world changes, I can become happy... When?

Ronan enjoys Paris with the famously party-friendly Danton, after which the two go to meet some “ladies of the night” only to discover that Ronan’s sister Solène (Harune Aki) is among them! 



(Saijou Kaito as the whip-cracking Count de Peyrol)


Still drunk, Ronan gets hauled off to the Bastille on bogus charges thanks to a run-in with Olympe. At the Bastille he is brought face-to-face once again with the Count of Peyrol, who sings a wonderful jailhouse number at him accompanied by much gratuitous whip cracking. Is this the end for Ronan?? 

Olympe feels guilty and stages a rescue, smuggling Ronan out of jail with the help of her father, a soldier posted to the Bastille. Maybe he’s still intoxicated or--at the least--punch drunk from one too many whippings but Ronan falls head over heels for Olympe during their escape. Olympe allows herself to be swept off her feet and into a stage kiss which the woman sitting beside me made sure to watch through her opera glasses, like a pro. (I have so much to learn still!)


(The Count de Peyrol informing the rioting citizens that the King has denied all their requests. Ronan looks on from the "Silver Bridge".)



(Ronan giving the assembled citizenry some courage as the King's soldiers march out of the palace.)


Back in Versailles, the King, has been listening to terrible advice from his backstabbing little brother and seems set to continue on the path that will lead to Revolution. The first act ends with a massive chorus number to that effect.




(Robespierre's blood is boiling.)


The second act opens with the cast marching on stage through the audience to reach the stage where a couple of nobles are playing tennis. The events of the Tennis Court Oath. After a rousing rock number by Robespierre detailing how pissed off he is, he leads the assembled chorus--the common people of the Third Estate--perform a rhythmic, stomping dance, unaccompanied by any music.


(The smirking Count de Artois with a frightened Saotome Wakaba as Olympe and Shimon Yuriya as the head of the Secret Police)

And the romantic drama continues as Marie Antoinette sends Olympe with a letter for Axel von Fersen but lying in wait is the Count of Artois, who sings a showstopping villain number. Luckily for Olympe, Ronan has been tipped off to the meeting as well and shows up to save her from the Count’s evil grasp. 



But Revolution doesn’t pause for love and events pick up with a song from Desmoulins, as he plucks a twig from a tree, singing, “武器を持って” (Pick up your weapons).



(Manaki Reika, as the sorrowful Marie Antoinette)

A bare-headed Marie Antoinette, in a surprisingly touching scene, is given a chance to escape to Austria with Axel von Fersen but she decides to stay beside the king. Her loyalty is rewarded with the guillotine.








Olympe spurns a final attempt at wooing from the Count de Artois and runs off to join the revolutionaries as the pace of the battle picks up and we’re treated to a series of different musical scenes of confrontations with the military that end with the storming of the Bastille and the death of Ronan, who is shot in the back while protecting Olympe and her father.

The play ends with a dramatic reading of the Declaration of the Rights of Man from the main revolutionaries, after which Ronan rises from under the stage, like a phoenix reborn, dressed now in white. The entire cast sings a powerful number about the story moving on.



(Miya crossing the "Silver Bridge")

Once the curtains close, Miya Rurika appears without her character's wig, dressed in a powder blue waistcoast and breeches. She sings a reprise of one of the songs from the production. Her appearance signals the beginning of the Finale, a mini-revue following the main production and a staple of Takarazuka shows. Miya crosses the stage on the 銀橋 (ginkyou/silver bridge), a walkway that stretches around in front of the orchestra pit, as she sings. When she reaches the far side the main curtain rises again and a chorus of line of the most junior members of the company appears.



(I've never heard anything quite like the click of all those heels in unison!)

The girls are decked out in feathered headdresses, stockings, and short frilly dresses in the colors of the French tricolor: Red, White, and Blue. They begin a high-energy cancan dance. Legs kicking high in unison, the girls radiate fresh-faced charm. As it turns out, this run of 1789 was the debut production, the 初舞台 (Hatsubutai) of the 101st Takarazuka class and the first “line dance”, as it’s called, is a rite of passage. The girls rehearse for endless hours, attempting to match the timing and height of their kicks to those of the girls on either side of them. The result is astonishing, the chorus line moving as one multilegged organism, the sound of their heels on the stage a thundering percussion.


(Lovely Touka Yurino singing the etoile)

Feathers bobbing, the girls file off, revealing the famous Takarazuka staircase. Ryu Masaki, the Top Star and the other actresses who played male roles perform a fun, up-tempo number that leads into a dance duet between Ryu Masaki and Manaki Reika, the troupe's Top Female Star. And then it’s into the final stretch as soprano Touka Yurino, holding her shan-shan, ribbon-decorated bouquets specially made for each production, descends the staircase and launches into the etoile, the song that leads into the parade, the very final portion of the show. During the parade, the cast, um, parades down the giant staircase, shan-shans in hand, pausing at the front of the stage to take a bow.



(There is nothing like seeing the Top Star decked out in all her feathers.)

The Top Star, Ryu Masaki, in a white suit and the massive feathers that mark her status, is last to come down the stairs. She pauses to soak in the audience’s thunderous applause. Back straight. No hint of false modesty. Acting as a focal point for the audience’s emotional high. Experiencing this live was incredible. I may not have known what was happening during the Finale but I understood what it meant to rise to my feet in a standing ovation for Ryu Masaki in her white suit and feathers. To see a confident, powerful 30-something woman--power in the true meanings of the words, not the co-opted Sex and the City meaning--simply standing and accepting the audience’s affection as something she was due. My eyes watered with emotion. Just a little.


After experiencing something like this live, I had to learn more about Takarazuka. I started with the English material but the problem I ran into is that Takarazuka, because it features women playing both male and female roles, has become a magnet for Western gender studies and queer studies academics who insist on reading the theater company as subversive, whether “lesbian” or “genderqueer” or through some other narrow prism. Not only is this unhelpful in understanding Takarazuka as an art form, it’s also, quite frankly, a severe misreading of the Takarazuka tradition itself. 

This one hundred year old theater company is an integral part of mainstream Japanese entertainment and is one of a handful of odd corners of Japanese entertainment that exist exclusively for women’s enjoyment. What makes Takarazuka really special is that it gives women and girls the chance to enjoy seeing themselves in the leading role, out in the real world. Most women-centric works in any culture tend to focus on family and relationships and the woman’s own body. Takarazuka works bring women out of the household to take the swashbuckling lead role in The Scarlet Pimpernel, the melancholy spectre of Death in Elisabeth, even as slick Danny Ocean in Ocean’s 11 (the 2011 version starring legendary Yuzuki Reon is a must see).

The fantasy in Takarazuka isn’t in becoming a man or in having sex with a woman. The fantasy is escaping daily life and societal pressures for a world where you can be a swashbuckling nobleman or be rescued by one. It’s not a mistake that so many Takarazuka productions are set in Europe and other far flung locales. The distance from Japan increases the fantasy and the unreality of the production for the audience. 

My sense is that the Takarazuka hero is much like the Indian masala hero. The masala hero defeats evil corporate goons on screen only to send his fans back out into a world where they are completely at the mercy of evil corporate goons. The Takarazuka hero gives women a chance to blow off some steam before sending the back out in the real world where men still get the leading roles in life. 

Sure, in the real world, we’re still second class citizens, constantly afraid of overstepping invisible boundaries of acceptable behavior, but standing on stage, wearing the massive feathers befitting a top star, basking in the glow of the audience’s affection. The memory of the show makes that harsh reality a little easier to bear.

Before officially entering the company, girls must first complete two years of training at the Takarazuka Music School. The entrance exam is extremely competitive and aspiring Takarasiennes (who must be between 15-18 years old) compete in singing, dance, and comportment. The students who finish their training are then guaranteed a position in the Takarazuka theater company. What they are not guaranteed is success. It can take ten or more years for a Takarasienne to work her way up to become a top star. Many women drop out before that for various reasons, most notably marriage, since Takaraiennes are forbidden from marriage or public dating in order to preserve the image of a self-contained fantasy world. 

Top Stars are generally in their 30s and reign for 3 or so years. When a top star steps down she may retire from the company and enter mainstream show business--becoming the women like Amami Yuki who I noticed all those years ago--or they may quietly transfer to the Senka division, which houses the experienced, elder members of the company.

The Takarazuka theater company is composed of five different troupes-- Star Troupe, Moon Troupe, Cosmos Troupe, Flower Troupe, and Snow Troupe--each troupe has their own identity and their own top star. For example, Moon Troupe, the troupe I saw, is known for their ability in drama. The entering class of Takarasiennes are assigned to different troupes after the run of their hastubutai is completed. That doesn’t mean girls stay with their first troupe forever and Takarasiennes are often traded between troupes depending on need. If one troupe has a surplus of potential stars who are gaining in popularity, some of those potential stars may get sent to rival troupes in order to restore balance. Which, as it turns out, is exactly the situation the Moon Troupe had recently found itself in and how they ended up with the exact cast of 1789.

There isn’t just one type of top star and it takes more than an ability to sing and dance to pull it off. The top star isn’t necessarily the most talented member of the troupe, although talent helps, and she’s not necessarily the most charismatic, although that helps too. The top star is a focal point, a totem. I've watched quite a few different top stars in action over the last six months while I was cramming Takarazuka into my brain. To my eye, the best top stars are ones who don’t just shine but who raise the level of their co-stars in the process. The deservedly legendary Yuzuki Reon was like this. And, I was quite pleased to discover, for all her faults, so is Ryu Masaki.

I'd initially been rather lukewarm on Ryu Masaki. In 1789 she didn’t seem to have the charisma or talent of her co-stars. Her dancing seemed lethargic and overly reliant on big movements. And her dialogue delivery was somewhat flat. It wasn’t until I’d seen more shows, as well as rewatching 1789 on DVD many times over, that I began to understand why she was the top star and why the Moon Troupe wouldn’t be the same without her. 

For one thing, once I was more familiar with the vocal style of Takarazuka, I was able to recognize and appreciate Ryu’s steady pitch and clear enunciation. No matter the line, no matter how difficult the phrase, Ryu hits it every time, like a boss. And her lines always come across so cleanly that even the people in the back of the highest balcony would be able to understand her perfectly. 

Beyond her technical skills as a vocalist, Ryu’s charm as a top star lies in her own impish, sunny personality. This is captured most fully in the title of role of the fairy sprite Puck in 2014’s Puck. With pointy ears, a mop of golden curls, and a playful pair of overalls, Ryu is all boyish charm, taking pleasure in all the absurdities life has to throw at her. And it’s because Ryu Masaki’s raw talent isn’t overwhelming and because her personality is so open, that it gives her co-stars, actresses like quick-witted adlib expert Seijou Kaito, room to showcase their own strengths, making the production and the troupe stronger as a whole.


(Ryu Masaki (l) and Asumi Rio (r) as Oscar and Andre in The Rose of Versailles, 2013) 


What seems to have happened is that before Ryu Masaki became top star of Moon Troupe, she and another young Takarasienne otokoyaku named Asumi Rio were battling it out for the number two slot. Asumi Rio, now the top star of the Flower Troupe, is a white hot supernova of talent but she’s not very giving on stage. She sucks up attention and energy rather than sharing it. When Ryu Masaki was promoted to top star, she didn’t have the stage presence to keep Asumi Rio under control. The balance was off. 

There is an incredible 2013 production of ベルサイユのばら -オスカルとアンドレ編- (The Rose of Versailles: Oscar and Andre) in which Ryu and Asumi played an odd sort of double lead as brothers-in-arms Oscar and Andre, swapping roles every other show. 

Following the double lead of Oscar and Andre, Asumi Rio was transferred to the Flower Troupe under a sturdier top star, the legendary Ranju Tomu. But Asumi’s departure left a big gap in the Moon Troupe’s lineup. Seijou Kaito, quick-witted, very masculine, and with a marvelous contralto, was clearly sticking around and the young, rambunctious Tamaki Ryo had a promising stage presence but with Asumi’s departure, a wave of retirements, and greenhorns too green to take leading roles, there was still a big gap. Enter Miya Rurika from Star Troupe, Nagina Ruumi from Cosmos Troupe, and Sao Kurama from Snow Troupe--three very talented and rather odd looking Takarasiennes whose skills had not been fully utilized in their original troupes. Welcome to Moon Troupe.

Miya Rurika is all pointy chin and big eyes. She has a developed a flair for the darkly attractive villain roles, the Alan Rickman of Moon Troupe, if you will. Nagina Ruumi, who took her stage name from Rumi the poet, has a round, earnest face matched with a goofy sense of humor and gawky limbs. Sao Kurama is an incredible ham. Her talents in singing, acting, and dancing counterbalanced with the desire to go broad to get a good laugh. When it came time to divide up roles for 1789, it was almost too perfect-- Miya as the sleazy nobleman, Nagina taking the earnest lawyer, Sao as the jocular Danton, with Seijou as the whip-cracking sadist and hot blooded Tamaki as Robespierre.

Although the French Revolution may seem like an odd fit for a Japanese ladies theater company, the story has been a popular one in Takarazuka since the late 1970s when the first adaptation of popular manga ベルサイユのばら (The Rose of Versailles) was staged. The play, which centers on a young French woman who has been raised as a man in order to join the royal guard to protect the queen, Marie Antoinette, has become a Takarazuka staple with new productions every few years. So the typical Takarazuka audience would be very familiar with the basic events of the Revolution, as well as the romantic story of Marie Antoinette and Axel von Fersen. But, by the same token, because the Takarazuka audience is so familiar with the story of Marie Antoinette, a Takarazuka adaptation of 1789 needed to be significantly revised from the original French production.

From what I have seen and read about the original production, it was a campy, double-entendre filled, and very broad play. That is not what the women who make up the Takarazuka audience want to see. The Takarazuka adaptation has taken the story of the lovers and the music and some of the comedy but they wisely ditched the penis puns and overly broad camp humor. The king isn’t a cuckold and the queen isn’t a bitch. As woman-centered entertainment, Takarazuka heroines have dignity and agency. Marie Antoinette is given a fully rounded personality, every element played beautifully by Manaki Reika. She’s spoiled, yes, but very sympathetic.

Additionally the production needed to get the audience to pivot from focusing on the nobility to focusing on the plight of the common people. I think it works quite well, thanks to all the rousing call-to-arms numbers from the leaders of the Revolution. As well as the horrible villainy of Counts Artois and Peyrol. There's even a number from the workers of the printing press as they demand to be taken as equals with the wealthy lawyers.

This is not a pleasant production of courtly life and gorgeous gowns. This is revolution.

But the world of Takarazuka is vast and even if I was to study for ten years I’d never be able to learn everything. That doesn’t mean I’m not going to try. The next DVD release from the Moon Troupe is 舞音-MANON- / GOLDEN JAZZ, in February and then hopefully I will be able to see them live over the summer next year during my annual Japan trip.

I hope you enjoyed this overview of 1789 and Takarazuka. I built up a little collection of DVDs and other material over the last six months. I might be tempted to write more. I might not be. As I mentioned before, there is very little access to anything related to Takarazuka in English so if you want to get into the fandom… good luck? I’m happy to offer what little help I can.

Wednesday, August 26, 2015

今日も超ハッピー、みんなバリハピ!

To quote the football chant we were singing last night as DC United crushed the opposition 3-0, "Na na na na... na na na na... hey, hey, hey, GOOD-BYE!"

That's right! GOOD BYE, ONE DIRECTION! Don't let the door hit you in the ass on the way out of town. Or better yet, let it hit you in the ass and be done with you.

I've been (slowly) working on another mini e-book that will be an introduction to Japanese idol pop and one of the things that annoys me the most about One Direction is their utter lack of respect for the "boy band" as an art form. As their video for the song, "Best Song Ever" makes clear, they think dancing is gay, bright costumes are gay, being pleasing to female audiences is gay... with gay as code for bad, obviously.

This attitude infuriates me. As a person who adores dancing, bright costumes, and entertainers who respect me as a female audience member... 1D have been tarnishing the "boy band" tag with their shit attitudes for far too long!

I'll never forget the time they appeared on the live Japanese music show ミュージックステーション (Music Station) and had the gall to mock one of the other groups that was on!!! Okay, so maybe Sexy Zone is a silly sounding name in English but the boys in Sexy Zone at the time were all very sweet faced, very earnest teenagers dressed in dapper white suits with wintery white feathered collars, performing a medley of all their singles so far (to include the uber peppy "Lady Diamond" and their charming theme song, the self-titled "Sexy Zone") to a horde of adoring fangirls. Basically, performing Sexy Zone were performing ALL THE KEY RESPONSIBILITIES OF A BOY BAND while 1D was dressed in schlubby outfits and spent zero time being charming and all their time mocking Sexy Zone, the host of the show, and making asshole faces to camera.

SHOW SOME FUCKING RESPECT!

One of the many things I've found so appealing in the world of Japanese idol pop is this dedication to pleasing the audience. A level of trust is built between the boy (and girl) groups and their audiences. We know they are going to deliver us the goods and by-and-large they do. That trust is why the Japanese idol groups are able to take risks and lead us down weird artistic rabbit holes. We follow, even if wary, because that relationship is there, built up over years. Yes, years.

While 1D seems to think 5 years is a "long" time for a boy band to carry on, Japanese boy band SMAP has been working steadily since 1991. That's right, 1991. 1991. 1991. AND THEY ARE STILL AMAZINGLY POPULAR with one of the best rated shows on television and a steady stream of number one singles. You've probably already seen SMAP members in movies like 13 Assassins and Sukiyaki Western Django and just didn't realize they were super popular singing-dancing-silly costume wearing idols.

There is so much that I love about the boy band as a art form. I've written about it here, here, and here... I won't bore you anymore with it today.

But I will (hopefully) delight your ears with one boy band song that I've been obsessed with for a couple of weeks now: the aptly titled 「バリ ハピ」!!! Which means, literally, bari hapi! Say it out loud! VERY HAPPY!

「バリ ハピ」 is an insanely catchy ditty ripped directly from a Bavarian beer tent and performed with great gusto by the group Johnny's West. The lyrics are essentially saying, "I know we all have our troubles and woes but sing along with us anyways!" The super happy accompanying dance echoes the German line-dance feel, the guys all kicking their legs out in time with the blustery accordion riffs. You can't hear in the video but on the recording there is a fairly loud shouted chorus, too. Explicitly encouraging a sing along. It's a song meant to be sung at great volume, with all your friends, in a crowded karaoke booth. As are all of Johnny's West's songs, actually.

In short, it's a genre of pop song we here in the West, have almost completely forgotten* how to make here in the West. Pop music not meant for the clubs or the gym. Pop music meant to cheer on the listener. Pop music meant to be shared. Pop music meant to be sung together, at full volume.

And I love it. 今日も超ハッピー、みんなバリハピ! "Today we're super happy, everybody's very happy!"

* With the huge exception of Pharrell's "Happy" obviously. But that song is an outlier in a way that Johnny's West catalog is not.

Thursday, April 23, 2015

魔法★男子チェリーズ Magical Boy Cherry's--Japan's Virgin Crime Fighting Super Hero Boy Band!


(From left to right: Tsukada Ryoichi, Kawai Fumito, Hashimoto Ryousuke, Totsuka Shota, and Goseki Koichi)



The concept of the low budget, late night, Japanese mini-series Magical★Boy Cherry’s (魔法★男子チェリーズ) sounds utterly ridiculous: a real life boy band, A.B.C-Z, playing a team of crime fighting, superhero virgins with superpowers taking down bad guy virgins with superpowers through the power of dance?! I went in expecting the broad wink to camera of The Ambiguously Gay Duo but, to my great surprise, the show I was watching turned out to be very Buffy-esque: a supernatural romp (with lots of character-driven humor) about just how hard it is to grow up and find your own place in life.

Wednesday, January 21, 2015

A tl;dr on music. Don't mind me. Just venting a little.

NEW BELLE & SEBASTIAN ALBUM!! You have no idea how happy this makes me. I don't know if I've recounted my full history with Belle & Sebastian but I feel in love with them way back in 1998 when If You're Feeling Sinister landed on my college radio station playlist. I've seen them many times in concert and will see them twice more this year.

The thing is… a new Belle & Sebastian album also makes me kind of sad because I remember the days when I used to get excited about new albums from new bands landing in my inbox at the radio station. I realized that I don't have a single outlet that I trust to find me music that I might like from America or the UK or basically anywhere not in Asia.


Sunday, January 4, 2015

Ramblings on "The Birth of Korean Cool."

While I was out at the book store looking for children's books for a friend's kids, I picked up something for myself: "The Birth of Korean Cool: How One Nation Is Conquering the World Through Pop Culture" By Euny Hong. I can't exactly recommend it, though I did find parts of it interesting. The book is about 1/2 cultural observation and memoir and 1/2 mediocre NYTimes magazine piece-style filler. The cultural observation and memoir sections were good but not good enough to outweigh the mediocrity of the surrounding filler sections. What do I mean, hmm?

Well, in short, I thought Ms. Hong did a fine job of exploring why and how Korea has pushed it cultural output to places like… Manipur. But she falls very short in evaluating the content that it's pushing. The problem is that Ms. Hong was born and raised in the US and retains a Western standard of what makes "good" product. In one particularly (pardon the pun) tone deaf section, she pulls out the same old post-Woodstock Generation talking points about "bands" and "authenticity." Because the Korean music getting exported is not made by "organically formed, self-contained bands" (her words, p.120) ergo it's worthless, except as product.


 
.article .article-content { word-break: normal !important; }