TOSHIYA TSUNODA AND THE SOUNDS OF DARK ECOLOGY

There is now so much discussion about how the relationship between humans and the rest of nature have deteriorated that terms like 'anthropocene extinction' have been coined to describe the extent of the impact of human activity on the environment. The idea is that human activity is not only evidenced by the amount of pollution being produced and the impact of global warming on rising sea levels but also the impact of human activity on  earth events like the earthquakes in Oklahoma. 

Music and the arts have always explored the relationship between humans and the rest of nature. In As You Like It Shakespeare refers to 'Sermons in Stones' which could be the subtitle given to Richard Skelton's book set in the Lake District Beyond the Fell Wall. Now, as human activity is said to have become the prime driver of earth system function, there is a new sense of urgency. Human activity is the crucial element in our understanding of the environment.

This has led to a shift in how the environment is portrayed and depicted in the arts. Instead of putting Nature on a pedestal and removing all traces of human activity, it is through human activity that Nature is now being portrayed. One example of this is in the area of music and the musical exploration of the impact of human activity on the environment. Japanese sound recordist Toshiya Tsunoda has produced his 'solid vibration' recordings with an unusual approach. He uses his microphones to capture the sounds of human made infrastructure. In doing so he captures:

"in microscopic sonic detail their tightly-bound relationships with their surrounding environment - anchors, buoys, piers, road surface asphalt, all in quiet dialogue with the rock the wind, the waves and deep ocean currents." (http://thequietus.com/articles/19373-ecology-climate-change-music-art-field-recordings

This approach allows the listener to hear the impact of human activity on the world around them. They say that seeing is believing but in this case it is sound that is being used to provide a greater understanding of the impact of human activity on the environment. More detailed and informed reviews of Tsunoda's work can be read on:

Brian Olewick's blog at: http://olewnick.blogspot.com.au/2013_03_01_archive.html 

D.B. Harps blog at: http://twicezonked.blogspot.com.au/2009_04_01_archive.html

MADE IN JAPAN: SOME HIGHLIGHTS OF THE JAPANESE MUSIC SCENE

The Japanese love of music is undeniable. The stars of the music industry from overseas as well as their own industry appear everywhere. The market is such that acts like Deep Purple and Eric Clapton are still venerated today. At his peak, David Bowie appeared in ads in Japan for the Suntory whisky company. It would be hard to imagine him having done this at the time in the U.K. or else America. Those markets didn't work that way. Commercial instincts were suppressed in favour of notions such as 'not selling out'. The Japanese had no such qualms. Everything an artist does is commercial so there were no value judgements made about an artist's integrity in this sense. As Western musical trends emerged Japanese artists reworked them to reflect their own context. And the Japanese people did the same. So in the 60s, women started wearing their skirts shorter as men started wearing their hair longer. (Japanese women were not, however, given access to the pill for several more decades showing that not all aspects of a culture are equally malleable.) 

Some significant Japanese music releases since the 70s include: 

• Japanese Girl by Yano Akiko (1976) was produced by her husband Yano Makoto. The 'American' side of the LP featured Lowell George and the other members of Little Feat whilst the 'Japanese' side featured Y.M.O. member Hosono Haruomi with other Japanese musicians. Yano Akiko has had an enduring career.
• Southern All Stars, another enduring act, released Atsui Munasawagi in 1977. 
• Friction released Atsureki in 1978. Notably, this album was produced by Sakamoto Ryuichi. It is a punk album far removed from the electronica of Y.M.O..
• Yellow Magic Orchestra's Solid State Survivor was released in 1978. For many, this group, featuring the amazing Sakamoto Ryuichi on keyboards is the greatest group to emerge from Japan.
• Rock band RC Succession's live album Rhapsody was released in 1980. The band's label Toshiba E.M.I. refused to release a mid-80s album because of lyrics by Imawano Kyoshiro that criticised the nuclear power industry to which Toshiba E.M.I. had commercial links.
• In 1980 Japanese wildman jazz pianist Itabashi Fmio released Watarase. In the early 1990s he played at Dr Jazz in Lygon Street, Melbourne with Dr Umezu on sax in his trio. He collapsed in the lift during the interval but came back with a swagger for the encore. 
• In 1989 funk band Kome Kome Club released 5 1/2. This band is still very popular in Japan.   
• The whimsical acoustic outfit Tama released their debut album Sandaru in 1990. They later wrote the ending theme song used for some episodes in the popular anime Chibi Maruko.
• In 1992 Japanese jazz fusion band Casiopeia recorded a live show at the Forum Theatre in Melbourne, Australia. It was released on blue ray disc under the title We Want More.
• With their origins in the alternative music scene Soul Flower Union released their first album Kamuy Ipirma in 1993 A side unit named Soul Flower Monoko Summit has produced three albums but Sony refused to publish their third album Deracine Ching Dong due to lyrics by lead singer Nakagawa Takashi that criticised the Japanese government response to an earthquake.
• Cornelius is a name that many music fans around the world are familiar with. The first album to appear under this name was First Question Award in 1994.
• In 1995, Shinohara Tomoe released the single 'Chaimu'. This attack on the senses was too much for many people!!! At the time she was overshadowed by bigger acts like Puffy and Amuro Namie not to mention the girl groups such as Morning Musume and later AKB 48. In recent times Kary Pamyu Pamyu has taken the visual aspect of Japanese girl pop that Shninohara explored to w whole new level.  
• Buffalo Daughter is a psychedelic band that has toured frequently overseas. They released Captain Vapour Athletes in 1996.
• In 1996 all girl band Shonen Knife released the album Happy Hour featuring cover art by Yoshitomo Nara. They had already been championed by Kurt Cobain leading to significant recognition overseas.
• Rock band Mr Children is a huge act in Japan and in 1996 they released Shinkai. Despite its influences from Western rock music such as Pink Floyd their success has been confined to Japan.
• Spiritual Unity an album released by Noborikawa Seijin in 2001 is an example of traditional Okinawan music that featured in the film Nabie no Koi. It is co-produced by Soul Flower Union's Nakagawa Taksahi.
• Teenage Mojo Workout was released by The 5,6,7,8's in 2001. These young women gave garage band music a sassy workover that drew the attention of Quentin Tarantino who used them on the soundtrack of Kill Bill.
• In 2001 Japanese instrumental band Mono released Under the Pipal Tree. These guys like to write epics. More than a nod to prog rock...
• In 2008 artist and singer Hara Masumi released a collection of singles  recorded between 1982 and 2000. A regular illustrator of Yoshimoto Banana's books he has a unique voice which she has often written about in her essays. 
• Internet sensation Kyary Pamyu Pamyu released her debut album Moshi Moshi Harajuku in 2011. It's all about the spectacle and Harajuku fashion...

NABIE NO KOI: TAIRA TOMI AND NOBORIKAWA SEIJIN

The Okinawan actress Taira Tomi is dead. A great comic actress, she played the title role in the 1999 comedy Nabbie no Koi directed by Nakae Yuji. This film was an off-the-wall look at an undying love. It looks at how Nabi, happily married to Keitatsu, is reunited with a man she fell in love with 60 years ago. They were forced to separate at that time because of opposition from Nabi's family. After their separation Sanra went to live in Brazil but each year Nabi wrote him a letter. At the end of the film, Nabi leaves the island together with Sanra. The film was a great hit in Japan and led to an an increased interest in the slower pace of life offered in Okinawa. There is lots of blue sky and white clouds, not to mention music and dancing. It has been noted in a number of reviews that the history of Okinawa during World War Two has been completely erased from the film. It is a film which attempts to assert the power of love and nature and the freedom of the individual over society and war. Apart from Taira Tomi, the other significant presence in the film is that of the great Okinawan sanshin player, Noborikawa Seijin, He was considered the greatest living singer of traditional Okinawan songs until his death in 2013. He also appeared in the film Hotel Hibiscus. In 2001, an album of his music was released called Spiritual Unity, which was produced by Soul Flower Union main-man Nakagawa Takeshi.

SENSORON AND JAPANESE VIEWS ON WAR AND MASCULINITY

Japanese masculinity is polarised in popular culture in a variety of ways. In particular, there are the archetypal old school yakuza hardmen played by actors like Sugawara Bunta and Takakura Ken and then there is the wistful vagabond Tora san played by Atsumi Kiyoshi in the movie series Otoko wa Tsurai Yo which obsessed a nation from 1969 - 1995. (For those looking for alternatives to these traditional forms of masculinity there is a rich tradition to be found in the androgynous male characters in 'Boys Love' manga as well as the novels of contemporary writers like Yoshimoto Banana. The looks of British musicians like David Bowie and David Sylvian and movies like Another Country all resonated strongly with younger Japanese women in the 1980s. Then there are the evergreen worlds of female cross dressing featured in the Kansai-based Takarazuka revue and camp celebrities such as the enka star, Mikawa Kenichi).

The first kind of traditional masculinity peaked during World War Two but was buried again in the aftermath of defeat. In its place, an army of salary-men emerged to continue the drive to modernise and win glory for Japan. In this way, whilst the cult of masculinity celebrated by the military was ditched, traditional Japanese masculinity itself was rebooted. Reference to the war was limited to prayers for the victims of Hiroshima and Nagasaki and, to the frustration of neighbouring countries like China and Korea, Japanese right wing nationalists managed to circumvent any mention of Japanese war crimes in favour of discussion about Japan being the first victim of the Atomic Age.

In more recent times, however, it appears that young Japanese men are being encouraged to throw off the yoke of victim-hood and instead flex their muscles dressed in battle fatigues. In the manga series Senso ron they are encouraged to see their grandfather's generation as having been betrayed by the politicians. Their grandfathers, they are being told, were noble soldiers just doing their duty. And young men today are being told that they have the right to honour the memories of their grandfathers. It is a development that will fuel anti-Japanese sentiment. The re-emergence of the Japanese military as a guide to masculinity will bring back bitter memories of the war and Japanese atrocities. Denial in Japanese school textbooks is one thing, a change to the constitution and a manga series that glorifies the war is another.

Interestingly, the idea that the soldiers of World War Two were betrayed by the politicians maybe is just another version of the Japan-as-Victim story. Except foot soldiers are now the main focus rather then the nation. It is interesting that in the aftermath of the Vietnam War, movies like Apocalypse Now, Full Metal Jacket and The Deer Hunter depicted the plight of the grunts. Sensoron serves a similar function. Kobayashi Yoshinori, the creator of Sensoron, has a much bigger agenda. he denounces the brainwashing of Japanese children at Peace Museums and clearly wants young Japanese to feel proud about wearing the uniform.

When it was first published Senso Ron posed the question, "Will you go to war, or will you stop being Japanese?" on the front cover. Whilst a manga, it features a lot of text addressing issues such as the 'comfort women', the Tokyo War Crimes Tribunal, A-bombs and the Nanjing massacre. Kobayashi is a patriot. And the lens through which he views the war is one in which Japan fought a war of justice, aiming to liberate Asia from Western imperialism. He argues that the Japanese people who challenge this viewpoint today have been brainwashed by the Americans. Senso Ron is such a success that Rumi Sakamoto argues that it challenges the mainstream interpretation of history, It is, however, Sakamoto argues, focussed solely on a Japanese perspective and therefore is "closed off" and "simply unacceptable".

ISHII SOGO AND EINSTURZENDE NEUBAUTEN

In 1994 Japanese film director Ishii Sogo (now Ishii Gakuryu) made the film Angel Dust. Set in a futuristic Tokyo, it is the demented story of serial killing and religious cults. Wind back the clock to 1984 and there is the satirical film The Crazy Family in which an outwardly normal, stereotypical middle-class family are pushed to the edge and consumed by a plethora of neuroses buried just below the surface of the veneer of what passes for family life. In 1985, Ishii Sogo filmed the German industrial band Einsturzende Neubauten while they were on tour in Japan. In particular, he shot the band performing live in an industrial building that is easily accessed on youtube. Their recent performance in Melbourne show the incredible staying power of a band that, in 1985, seemed to have come from another planet. Nick Cave in his book King Ink writes that when he first saw Blixa Bargeld performing live on the television all the notions of music that he had held so precious "were obliterated". Watching this video it is easy to see why. Cave went on to describe Bargeld as "the most beautiful man in the world. He stood there in a black leotard and black rubber pants, black rubber boots. Around his neck hung a thoroughly fucked guitar. His skin cleared to the bones, his skull was an utter disaster, scabbed and hacked, and his eyes bulged out of their orbits like a blind man's..." It is easy to see why Ishii Sogo would have been attracted to this project. 

GEORGE OHSAWA: A HOPELESS IDEALIST

Nihonjinron theories of Japanese uniqueness found expression in a favourite book of mine Jack and Mitie in the West by George Ohsawa. First published in French in 1956 by the Ohsawa Foundation in Paris it was published in English by the George Ohsawa Macrobiotic Foundation in California in 1981. This book looks at the disease of the West and offers solutions that are to be found in the Orient. In this book Ohsawa casts two primitives, Jack and Mitie, whom find themselves in the jungle of civilisation. Here Jack ponders the civilised mentality and its inability to conceive of the infinite whilst Mitie is shocked by the naked cadaver on the cross that is worshiped in the Christian churches. Having taken it upon himself to enlighten the West, Jack is of the view that theory without practice is useless and practice without theory is dangerous. Throughout the book Oriental wisdom is privileged at the expense of Western science. The grandeur of the infinite and eternal universe in the East is compared to the world of the West which is enclosed by walls of lead called time and space. What is hard to believe is Ohsawa's persistence in characterising the Japanese tradition as being one that is peaceful and at harmony with the world. The battle of Sekigahara alone is testimony to the bloodletting nature of Japanese history. In more recent times there are, of course, the war crimes committed by the Japanese during World War two. Murakami Haruki has written powerfully about this in The Windup Bird Chronicle. And, presently, there is the push by the Abe government to change the constitution to rearm Japan whilst allowing the American military to override the wishes of local residents to relocate the Futenma air base in Okinawa. George Ohsawa was an eccentric with interesting views about macrobiotics but a hopeless idealist when it came to writing about the history and culture of Japan.

PUSSY, CUNT, CLIT, VAGINA: A HOMAGE TO ARAKI NOBUYOSHI

Nurse Meryl had turned and fallen in love with another woman. Her world had been turned upside down by the pudenda of another woman. Being a school nurse she had a very impressive bag of tricks. As well as packs of condoms she also had a variety of different coloured dildos for the students to use when they practiced putting on the condoms. The students loved them and it was rare for the classes to be unresponsive. With her bag of tricks Meryl was the life of any party. At the pub she was just as likely to display her wares on the table in full view of the bar staff (and other patrons) whilst laughing raucously over a joke that most likely she had told. With nurse Meryl there was no holding back. She held life by the scruff of the neck and she wasn't letting go.

Nurse Meryl would have loved the Japanese photographer Araki Nobuyoshi who has devoted a lifetime to photographing genitalia both male but, especially, female. As well as genitalia he has also photographed plastic dinosaurs, stains on the bitumen, stains on the bed, flowers, old buildings in the back-streets of Tokyo, women eating bananas or sometimes women sucking penises, There women are sometimes by themselves, in pairs or sometimes with men. Many of his photographs are of his wife whom he photographed right up until she was in her coffin after her tragic death from cancer. Because of the explicit nature of the photographs the women are never, however, on their own. Their relationship with the camera is an intimate and shared one. They dare the viewer to see what they want them to see. This relationship between subject and object is essentially theatrical, and, to quote the novelist Patrick White, "theatrical gestures only convince when you can share them with an audience."

Being Japanese, Araki often chooses to photograph his subjects dressed up in kimonos and tied up with ropes in various poses with their their genitalia exposed. In one photograph a woman has her legs spread wide and held in place with thick heavy ropes whilst being suspended from the ceiling. Because she is facing the camera, her kimono is wide open and falls behind her to the floor. In this way the genitalia is accentuated because her legs are not beneath her but stretched out wide. This is a very carefully constructed image. And the face of this woman, like all the others, is looking directly into the camera. This is an act of self-expression. Whilst Araki experiments with various combinations of ropes and kimonos and locations such as local parks with their children's playground equipment, it is the women who are in control. Desire is referred to rather than deferred to. Whimsical little man that he is, Araki's photographs allow the women to express themselves and to call the shots. These are powerful images of powerful women even though they are tied up. Nurse Meryl would surely approve (and have a laugh at the melted wax, the ropes and the bare feet!)

Words like accusations are dissociated from their objects,

They hang suspended like the bodies of the women so artfully trussed and undressed -

The eyes demanding you connect their owners with the body on display.

'RYUZO AND HIS SEVEN HENCHMEN': THE MELBOURNE INTERNATIONAL FILM FESTIVAL 2015

Ryuzo and his Seven Henchmen (Ryuzo no Shichinin no Kobuntachi) is the story of an ageing group of yakuza who come out of retirement to reclaim their turf from a younger group of extortionists with no time for the old ways. Written, directed and produced by Kitano Takeshi it is It is easy to see why the yakuza embrace Kitano the film-maker whereas they clashed violently with Itami Juzo. Whilst Itami mocked and ridiculed them in his satirical comedies, Kitano is more respectful and is careful to laugh with them not at them. And this film is no exception. Ryuzo is played by Fuji Tatsuya who, whilst acting in gangster films earlier in his screen, is best known for his performance in Oshima Nagisa's erotic Ai no Korida. An attempt to extort money from Ryuzo fails when the young man sent by the gang is taken aback by the old-school antics of Ryuzo and one of his henchmen. Ryuzo threatens to cut off one of his fingers to make amends for the alleged loss of company money by his son. Word gets back to the gang's leader and so starts a turf war that brings Ryuzo's old buddies out of retirement (and nursing homes) in order to teach the young men some respect. The world, however, is a very different place and when Ryuzo visits a nightclub and goes home with the madam all of the street walkers they pass who are 'Lady Boys'. To Ryuzo's chagrin (and the audience's delight), Ryuzo has to hide on the bathroom and then walk home in her dress after his rival turns up with some of his henchmen! Comedy abounds in this film as age provides a reality check for the old men. Mac, who has an obsession with Steve McQueen, can no longer hold his gun still so he shoots off target. But they prove more than a match for the young gangsters led by Yasuda Ken, the Keihin Rengo boss. Overseeing all of the action as the turf war escalates is a detective played by Beat Takeshi. At first, he takes a hard line against Ryuzo and his henchmen but this changes as the young gang becomes increasingly desperate and resort to violence in order to protect their extortion racket. When Mokichi, the former boss, storms into the offices of the racketeers he is quickly overpowered and beaten to death with a baseball bat. Stealing the hearse Ryuzo and his henchmen plan a revenge attack which includes an assault by air. The pilot, however, changes course and lands on an American aircraft carrier in Tokyo Bay instead driven by an unrealised fantasies to be a kamikaze pilot. Ryuzo goes ahead with the attack anyway and he and his henchmen are forced to hide behind the dead Mokichi, whose corpse they use to use to shield themselves from attack. Yielding the battlefield to Ryuzo and his henchmen, the Keihin Rengo gang members make their escape only to be pursued through the backstreets of Tokyo by Ryuzo and his henchmen in a bus they have commandeered. Finally, they are all surrounded in a car park by the police and, as they are led away, the retired gangsters tally up their latest  crimes in order to see who has the most points and will be the next boss. Young or old, no-one beats the system!

THE KRAIT: A NATIONAL TREASURE

The attack on the Japanese in Singapore Harbour by members of Z Special Unit under the cover of darkness in 1943 has been shrouded in secrecy as were the subsequent beheadings of seven of their members in a second raid designed to build on the success of the first raid. Today the Krait is on show at the Maritime Museum in Darling Harbour, Sydney, but there are hopes to build a new space for it in the museum and take it out of the water so that it can be preserved forever.

Originally called the Kofuku Maru, the Krait was built by the Japanese as a fishing boat and had been confiscated by the British during World War Two. During Operation Jaywick it was used by to get commandoes into position for the attack on Singapore Harbour on the night of 26th September, 1943. The commandoes managed to sink two ships and damage another five. The Japanese were totally mystified by what had happened never suspecting the attack to be the work of enemy soldiers. They interrogated and tortured locals for many months, instead, in an attempt to discover the identity of the perpetrators. Survivor Douglas Herps has been leading the charge to have the boat preserved as a war memorial in memory of the 'bravery and loyalty shown by all Special Operations men, not just those who served on Operation Jaywick'.

MACH PELICAN AND THE MEANIES SUPPORTING C.J.RAMONE AT THE BENDIGO HOTEL

It was hot and sweaty on the street let alone in the Bendigo Hotel. The hotel with its impressive collection of skulls and voodoo sticks in the front bar was the perfect venue for what was to be a high energy crusty punk extravaganza. The Meanies took to the stage and a rapturous crowd were out in force... The woman with the Sherlock Holmes hat and fan, the man with the huge Mohawk, the bearded men out to do some serious stage diving and the women with their tattoos on show.

"Sorry but I'm going to let the guts out" Link Meanie informed the crowd as he took off his t-shirt. "It's fucking hot up here." Apart from the crowd favourites there was also some material from a new album that would be out soon.

"What the fuck were you doing?" asked Link of Wally the bass player after one song. "You changed the lyrics."

"Freshening it up for the fucking cunts" Wally replied.

"One more time" Link asked.

"Freshening it up for the fucking cunts" Wally obliged, singing the new words to the song. The grinding onslaught continued and Link was suddenly borne on high above the crowd before thrashing his way through then mosh pit. Cameras were pointing in every direction trying to keep up with him.

After a short break it was on with the show and before Mach Pelican could play a note the crowd were already in full voice complete with whistles and a bicycle horn:

"Let's go Mach Pelican

Let's go Mach Pelican

Walking along

Singing a song..."

They played one song after another without break... The crowd surged forwards and backwards from the stage in time to the music. 'Don't Leave Me Alone' and  'You Suck' were two of the songs they played. Halfway through they set they stopped to tune up and the crowd were at it again with their chants, whistles and bicycle horns: 

"Let's go Mach Pelican

Let's go Mach Pelican

Walking along

Singing a song..." 

K Rock had his microphone set low so that he could look right into the eyes of the audience as he sang. The guy with the huge Mohawk stood right in front of him lapping it up. The end came almost as suddenly as it was quick. Mach Pelican finished with a short, sharp rendition of the Ramones' classic 'Rock and Roll High School' and then they were done for the night and unlikely to be back on stage for the foreseeable future. Atsu and the boys were back into retirement. Grimshaw and Sally made their way out to the front bar for a beer and then went back inside for C.J.Ramone. It is hard to say, however, whether the legacy of the Ramones is in good hands with C.J.. He and the band played the songs and the crowd sang along but compared to the Meanies and Mach Pelican the energy levels in the room had fallen dramatically away. The Meanies and Mach Pelican had owned the stage.

Walking through the back streets of Collingwood to Fitzroy, they left behind the pounding of live music from the Tote and the Bendigo Hotel on Johnston Street. The streets were quiet and there were the odd spots of rain in a sky heavy with moisture after the heat of the day. Most of the restaurants were now closed except for the Turkish kebab shop up on the corner of Smith and Gertrude Streets. A group of women slumped to the pavement outside Trippy Tacos, presumably waiting for a taxi.

SHONEN KNIFE LIVE AT DING DONG LOUNGE

The Ding Dong lounge was nearly full and the first support band was almost done... A couple of guys from Spain with keyboards and a drum kit. The crowd seemed to really love their unorthodox approach to their music. The second support band were a straight up grunge band with lots of fuzz and plenty of punchy bass lines. The photographers were having a field day. They were there in numbers at the front of the stage moving around to get in position for the best shot possible of the singer adjusting her pedals... of the singer belting out some power chords on her guitar... and the singer singing songs. Shonen Knife were next on the bill and, like the support bands, they came to the stage and set up their own gear and then left so that they could make a proper entrance. This they did holding their Shonen Knife scarves up high. The crowd gave a big cheer, and then they settled down for the opening number 'Konnichiwa'. The band played a number of old songs including, 'Twist barbie', 'Banana Chips' and 'Pop Tune' before singer Naoko announced that they would play some material off their new CD Overdrive which was inspired by 70s British hard rock. The crowd cheered and the photographers started snapping shots of the band as they posed with their instruments.

 

"Japanese pedals are very bad" said Naoko at one point as she had some trouble with her equipment. One of the roadies came on stage and gaffer taped the electrical board. Emi the drummer sang the next song which was about green tea. "'Green Tea' she said afterwards, "I like green tea... I like Australian wine" she added. She waved her drum sticks high in the air.

 

The crowd cheered.

 

"We will be playing again tomorrow night at 3 JJJs hottest one hundred" Naoko announced. "Please come and see us again. It is free."

 

The crowd cheered again. Naoko had a lot of fun playing her one note solos on the guitar and fiddling with her pedals as the crowd danced and sang along. "We like Melbourne. We like the Melbourne restaurants" she said. "Now our bass player Ritsuko will sing a song about her favourite food called ramen. This song is called 'Ramen Rock'."

 

The crowd cheered and then the band followed up with some heavy riffing on 'Antonio Baka Guy'. There were some girls dancing in front of the stage and singing along to the words of 'Like a Cat' so the bass player came over and played along with them. The photographers had left the front of the stage area to presumable go and photograph some other bands somewhere else. To wind up the show after 'E.S.P. 'there was a one song encore.

 

"Are there any requests?" asked Naoko.

 

Standing in front of the stage a punter called out for 'Tortoise Brown'. She put her ear towards him and he said, "'Tortoise Brown' ."

 

She turned to the audience and asked, "Are there any more requests?"

 

"'Deer Biscuits'" the guy behind him called out

 

The crowd were asked to vote for their favourite song but then the band decided to play the old Carpenters song 'On Top of the World' anyway. After the song they held up their scarves again and announced that they would be signing autographs over by the mixing desk afterwards. There was quite a crowd gathered around the mixing desk. Out in the front bar more punters were gathering for the dance party that would go until dawn. Shonen Knife would continue on their merry way, all part of the elaborate joke that Kurt Cobain had enjoyed so much!!!

 

 



ASIA CUP 2015: THE ALOOF HONDA SAN COMES TO MELBOURNE'S RECTANGULAR STADIUM...:

The Melbourne Rectangular Stadium for this match. It was a warm and balmy night and the sky was black by the end of the match. Pre-match there was some entertainment from the Wadaiko Rindo Japanese drumming group in the park. Entering the stadium itself proved a challenge as there was a large section on the southern side that was fenced off. Once inside there were people streaming in looking for their  seats. Among them a number of Jordan fans banging on Arabic drums.  Lo and behold, they were seated in the same area. In fact, they were seated directly in front of the Jordanian drumming squad and for the next two hours were treated to a display of drumming that did not convince everybody of its musicality. A young boy was encouraged by family and friends to maintain the beat throughout the whole match. When the players came out Honda was in his usual position at the back of the team. The crowd stood up for the anthems and it was game time. The hoardings around the ground bearing the names of the various sponsors mostly bore the names of big Japanese companies. Likewise most of the media contingent wore fluorescent jackets with the name NIKON emblazoned on the back. In the first half, which like the second half was dominated by Japan, the Jordanian goalkeeper encouraged the fans to keep up the drumming as they took a free kick at the other end. It didn't help. At the end of the first half it was Japan 1 to Jordan 0 courtesy of Honda. The Japanese had been denied a second goal by an off-side ruling.

 

The second half was tighter but essentially the Japanese maintained control of the game through clever passing and an ability to thread the ball through a fairly packed defence. They scored a second goal but were again ruled off-side for what would have been a second gaol for Honda. There was quite a lot of frustration on the pitch and a number of yellow cards were given out for pushing, tripping and jumper pulling. At one point Honda received the ball for a free kick disputed by the Jordanians but he stood his ground moving the ball around with his feet as two Jordanian players tried to take it off him. When the referee blew the whistle for play he calmly passed it off and trotted into position. Likewise, when play stopped for another foul he again stood his ground and watched as his team mates gathered elsewhere on the filed waiting for play to resume.

At the end of the match, the Japanese team made their way to where the large media contingent were standing behind the goal bowing to both the fans and the media. Some of the Japanese fans in the stands bowed back. Filing out of the stadium was easy enough until the aisles all joined up in one clogged corridor leading to the exit towards the M.C.G.. The crowd streamed out into the night and there were joyous scenes as Japanese fans in the team uniform with the names of players present and past on their backs such as Nakata, Honda, Endo and Ono, embraced each other. The lights were still on at the tennis. God knows what they had made of all the drumming, not to mention the trumpet playing!

TATAMI GALAXY

How to describe the 2010 anime Tatami Galaxy directed by Masaaki Yuasa and featuring the art-work of Nakamura Yusuke... I have never struggled so hard to keep up with the dialogue like in this anime because of the speed with which its delivered. Which is a shame because the animation needs time to be appreciated. And time is what the viewer doesn't have. Tatami Galaxy depicts the life of a Kyoto University student plagued by indecision about his love life and an over inflated sense of his own worth. He pursues his dream of enjoying a rose-coloured campus life at Kyoto University but he is unable to choose between three women: Keiko, to whom he is writing letters; Kaori, the elegantly dressed love-doll that belongs to Jogasaki senpai and Hanuki, the oral hygiene assistant who is being pursued by a perverted dentist. Each episode shows him go so far before he makes a hasty retreat only to start all over again in a new direction in the next episode. But, of course, each episode is connected. Like the 4.5 tatami mats in his room and like the blocks of colour in a Mondrian painting the dialogue is a rapid review and retracing of previous episodes before new directions and new information is presented. By the time the final episode arrives, the narrator is trapped in a boarding house full of the 4.5 tatami mats rooms which represent the lives he would have lived if he had taken that particular direction. The animation is put together in a combination of styles in a way that subverts a conventional narrative structure. Apart from the integration of photographs with animation, colour with black and white cells and the reworking of previous scenes into new scenes without treating them as conventional flashbacks, ultimately, the characters are shown to be working to a script that comes  from the narrator's own head. These are scenes that he wrote whilst he was a member of the film circle. Ultimately, however, he has the missing charm that Akashi san lost and which he found at the laundry-mat when he was washing his underwear at the start of the program. And it is this charm that dangles before him in the credits at the start of each episode that will presumably lead him to return the charm and win her love.

He is, however, his own worst enemy. When Hanuki, the dental hygiene nurse, finally invites him out for a drink and begins licking his face when she gets drunk he is aroused but locks himself in the toilet so as not to lose his purity. His libido, personified by the cowboy Johnny, is raring to go and can't believe that he is going to let this opportunity go. He returns home to spend time with Kaori and decides to elope with her but she is taken away by Jogasaki senpai. He is relieved that he has been saved from his own lecherous thoughts. Finally, it turns out that the letters he has been receiving from 'Keiko' have really been written as a joke by Akashi san. As the un-named narrator is thus frustrated at each and every turn, a mischievous imp named Ozu  manages to ingratiate himself to all and sundry ensuring that all their plans go astray whilst he is busy planning to steal a rocket to go on a date with the daughter of the owner of the Honwaka health foods company.

Needless to say, all of these threads are connected and there is a fortune teller who charges 1,000 yen more for each piece of advice from whom he can't get any clear answers. And did I mention the pop-up ramen stand known as the nekko ramenya? This is rumoured to use cat meat in its broth but provides a sanctuary for our hero to take a break from his troubles. And so in each episode, at break-neck speed, our un-named protagonist lurches forward only to find himself back at the start on the board game of love.

BANANA YOSHIMOTO'S: 'MOSHI MOSHI SHIMO-KITAZAWA'

Bu Su is a 1987 film made by Jun Ichikawa starring Tomita Yasuko. In 1990 he made Goodbye Tsugumi, the novel written by Yoshimoto Banana, into a film. And in 2004 he made Tony Takitani, the short story by Murakami Haruki, into a film. This is one of the few films Murakami has allowed to be made from his books. Of significance to Yoshimoto is the film Zawa Zawa Shimo-Kitazawa which she references at the beginning of her novel Moshi Moshi Shimo-Kitazawa. Clearly when you look at his films there is an affinity in his subject matter and that which Yoshimoto has made her own over the last 25 years. 

 

Moshi Moshi Shimo-Kitazawa was first published serially on a monthly basis in the Mainichi Shimbun during 2009 - 2010. Typically for Yoshimoto Banana's fiction it starts with a death. The narrator's father, a musician, has been seduced by a woman whose pale complexion reminds them of that of a fox or a snake. She and her mother believe that her father was bewitched before both of them were killed in a love suicide. In shock and despair the narrator watches the Ichikawa Jun film and is inspired by the pianist Fujiko Hemming to move to Shimo-Kitazawa. Yocchan finds a room there after a friend marries and moves to England. The rent is cheap and whilst there is a café on the ground floor, at night the building is empty. She is enjoying her independence when her mother decides to move in. She can no longer bear living in the house in Meguro. Not only are memories too painful but she has also seen the ghost of her dead husband. Yocchan is reluctant at first but agrees because it makes sense financially. Her mother will come into money if and when the family house in Hokkaido is sold. What is most apparent to Yocchan, however, is a change in her mother who is usually so careful and so considered, unlike her father who was often on tour playing keyboards or else recording.

That summer is particularly hot and neither of them has an appetite for eating but they go to a little  café in Shimo Kita and eat a delicious kaki kori ice and salad. The sincerity with which Michiyo san prepares her meals refreshed their bodies even though Yocchan's mother says that her heart still feels dead inside. At this time Yocchan is constantly reliving memories of the last time that she saw her father. He wanted her to come with him to a live gig in Ginza but she had another appointment. He promised to take her to an expensive French restaurant when he comes back so she can do some research but this is the last time that she saw him alive. Food is important and she is upset that he father will never be able to eat the food that she is now able to make. His only memory was of the food she had prepared when she was younger and less skilled.

Yocchan is curious after a while what her mother does while she is at work each day. Her mother feels more comfortable in Shimo Kita than in Meguro because no-one knows her and she is free to be herself. She starts to dress differently and no longer dresses like a 'madam'. She describes all of the shops that she visits and it turns out she even visits the restaurant where Yocchan works during her breaks. Yocchan is embarrassed  by this but says to her mother that it is good for the shop to have customers. They reminisce about a family trip to Paris. It was very enjoyable like all of their other memories except for the last one. Yocchan imagines her father at home in Meguro alone playing the piano and eating cup noodles whilst wearing odd coloured socks. She thinks that if he had rally loved the other woman his ghost wouldn't have come back to the family home. That night Yocchan sees her father in a dream. He had come home to look for his mobile phone so he could call her mother. Yocchan wants to help him but she can't say anything. While she is looking at his back she wakes up and sees her mother sleeping. Looking at her mother's spine she feels reassured and falls asleep.

One day a new customer comes to the restaurant (named Re-Riyan). Both Yocchan and Michiyo san are impressed by his table manners. Yocchan is taken aback at how much he reminds her of her father. When she goes to buy coffee in her break they meet in the street and it turns out that he knew her father. He used to watch him play at the live house in Shinjuku. Whilst Yocchan's father played mature English style rock Shintani kun, however, prefers Japanese Indie bands... Shintani kun also knows Yamazaki san, her father's best friend. He meets her in the street one day and she agrees to meet him after work. He asks her about her father and says that Yamazaki san had told him about the woman. Yocchan is disturbed decides to contact with Yamazaki san. At first Yamazaki san is reluctant to talk about the woman but he informs Yocchan that not only was it a love suicide but she had tried it once before with another man but failed. Prior to this she had had borrowed money until there was no more money left. Yamazaki san said that even though her father had had plans go build his own studio he had no money in his account when he died. It turns out that the woman was his niece. Yocchan realises that what she had seen in her dream was true. But Yamazaki reassures her of the strong feelings that 'Imo', her father, had for his family and she feels reassured.

Yocchan has a bad dream in which she calls home and her father answers. She can feels his love and starts to cry but the connection is bad and the she can't hear anything. She then hears a woman's voice and takes the phone away from her ear. She is scared and her mother wakes her up telling her that she was calling out for her father. Her mother apologises for only thinking about herself. After work Yocchan has a drink in the underground in a bar that is full of old men and women that looks like something out of the Showa period. She tells Shintani kun about her dream and about how her mother saw her father's ghost in Meguro and he says that he believes her. Working in a live house, he sees the effects of alcohol and drugs on musicians and groupies who die young and while he is not sure if he believes in ghosts, he knows that strange things happen. He suggests she visits her father's grave to see how she feels. She remembers the awful trip she and her mother made to Ibaraki when he father died. He offers to go with her. She is not so sure. He tells her that she has to take her time to get over the loss of her father. She asks him how he knows so much about these things even though he is young. He tells her that it is because of the demons that he has seen people struggling with at the live house over the years.

Yocchan is working at the restaurant one day when she has a visitor from Ibaraki. Nakanishi san introduces herself by saying that her first husband nearly became a victim of the strange woman. She blames herself for what happened to Yocchan's father and wants to know where his grave is so that she can light some incense and offer some prayers for his repose. Yocchan is confused and afraid at first but she is convinced by the woman's apparent sincerity and tells her. She has to tell someone but she can't decide who to tell. Her mother has started working as a waitress so she doesn't want to upset her and she doesn't want to tell Shintani kun so she decides to call Yamazaki instead. He listens to her story and eases her fears by telling her that she has done nothing wrong. He decides that he will go with her and they will visit he forest where her father died with the strange woman and they will take the band with them so that afterwards they can play her father's songs. They will turn the trip into a celebration. Yocchan is overjoyed.

At this point Yocchan gets some bad news... The restaurant where she works has to close because of rising superannuation costs. Michiyo san plans to close the restaurant and go to France for six months before she comes back to Shimo Kitazawa to open a smaller shop. She offers Yocchan a job in the new restaurant but on a lower salary. Not only does Yocchan want to work in the new shop she also wants to go to France with Michiyo san. Michiyo san agrees to take her saying that they can stay with a friend and then travel in the provinces to try various foods and to make plans for the menu for the new shop. Yocchan doesn't want to leave Shimo Kitazawa, it feels like her home town. You can take your time there unlike in many other places in Tokyo. This is one of the reasons why she likes Shintani kun... As her feelings for him grow there is no pressure on her to take relationship any further. She thinks about she and her mother have created healthy lives in Shimo Kitazawa and thinks that they could have done it together as a family if her father was still alive. This thought saddens her...

Shintani kun invites Yocchan to his apartment and to her surprise his stereo is smaller than she thought but the kitchen is well used and the floor is shining. He kisses her but refuses to take things further because she is not yet ready. He assures her that he is a 'beast' but he wants to give her time. Yocchan visits the family home in Meguro for the last time with her mother and even though there is an oppressive atmosphere they do some cleaning. They decide to eat curry on the way home at a favourite local restaurant and then at the last minute as they are locking the doors they both decide at the same time to get Yocchan's father's photograph from the piano. They have family photographs at the apartment in Shimo Kitazawa but this is the only photograph they have of him on his own. They burn some incense and light some candles to go with the photograph and in this way feel they have brought his spirit home to live with them..

Yocchan has another dream in which she goes back to the Meguro home but all of the furniture has been taken away for a new family to move in. The phone rings and when she picks it up it is her father. She asks him if he loves them but there is no reply. She tells him that they have taken his photograph. She realizes that he wanted to call them when he died. She wakes up and sees her mother sleeping. She has the feeling that they managed to get the photograph just in time. Yocchan then gets another visit from Nakanishi san. Yocchan thanks her for visiting he father's grave but she says she has been busy. Instead she has brought a gift. It is a purse with some salt in it which a friend who is knowledgeable about the spirit world has given her. She tells Yocchan to take it with her when she goes to visit the forest where her father died and when she goes to visit his grave. No doubt this is the last time that she will see her Yocchan thinks when she leaves.

Yocchan goes to a 70s bar with Shintani kun that looks like it has been designed by some drunken Gaudi. There is no change in their relationship. They meet Yocchan's mother   who goes home early so that they can enjoy their date together. Her mother goes to Meguro and brings her giant TV set to Shim Kita. Inside herself Yocchan feel si something that is waiting and she is not sure what it is. It might be a miniature of what killed her father. When she gets home her mother is in front of the giant TV. She is watching a movie starring Matsuda Yusaku... Yocchan feels there is some kind of hint there. It was a favourite movie of her mother's and her father took her to see it when she was young.

Michiyo san gets a fever and Moriyama san comes to help out at the restaurant. Yocchan realises that she is not ready yet to fill Michiyo san's shoes. She can barely cope with the demands of the job. Shintani kun reassures her. He tells her that he can't wait any longer and asks her to come home with him They have sex as soon as they get there and then he makes her tea.  She goes home in a taxi but can't stop crying. She fears that it won't last and that it isn't real love. She tells him they can't go out together for a while and that she needs time. She asks her mother about her relationship with Shintani kun and she says they just look like friends who have slept together... They do not look like people who would marry each other. Yocchan tells her mother about the woman from Ibaraki and about her plan to visit the forest where her father died so she can say some prayers. Her mother refuses to go with her. She won't prayer for the other woman. Her mother has also been seeing dreams...

Yocchan has lots to do to get ready to go to France but just can't get motivated. She decides to visit Ibaraki that day as the weather is fine. At the station, however, she feels like she has forgotten something. She thinks of calling Shintani kun but calls Yamazaki san instead. She is crying on the phone and he as he is by coincidence already at Tokyo station he agrees to drive to Ibaraki and meet her there. She feels good again and realises that she likes Yamazaki more than Shintani kun. But Yamazaki is 45 years old and he is married. When they get to Ibaraki the weather is fine and Yamazaki san feels that Imo (his nickname for Yocchan's father) will enter Nirvana. They go to the suicide spot in the forest in Yamazaki san's Mini Cooper. It is a deserted area with a dirt road and only a few houses. The ride is very bumpy... The bodies were found by a book illustrator and Yocchan and her mother were grateful for their kindness at the time.

The branches on the road make visibility difficult. When they come to the spot, they decide to bury the charm they have brought in the ground. Yocchan is amazed that Yamazaki san has a shovel in his boot. She also buries her father's mobile phone which is in pieces after her mother stamped on it. Yamazaki san recognizes it and asks what happened to it. She explains about her mother's anger... It turns out that Yamazaki san was divorced two years earlier. His wife left him for a younger man. She wanted to have a baby. Yocchan is happy to hear this news but feels that he has probably already met someone else. Yamazaki san's life has changed a lot in the last two years with the death of his best friend and his divorce. He tells Yocchan how different she is to her parents always thinking of others before herself. She feels grateful for his kind words. Yocchan tells him that she likes him but he warns her against having feelings for him because she is still grieving. They debate about whether to go to the aquarium that he father loved but decided to go another time. Yocchan realises that she probably won't see Shintani kun for a long time. It wasn't a mistake but she wants to begin a new life. She says goodbye to the Re Riyan-Shintani period of her life.

Back in Tokyo, Yamazaki san treats Yocchan to soba at a very expensive restaurant. He asks her if she has spoken about him to her mother? She says yes. She talks about not going home and he warns her again. She realises that he has known her since she was a child and that that is probably still how he sees her.  He tells her that her father had stomach cancer but refused to go to the hospital. She is shocked but thinks that her father probably told her mother. Yamazaki san asks her why she likes him and why she wants to sleep with him. She explains and he accepts. It is different to being with Shintani kun. Shintani kun was more practiced in the ways of sex whereas Yamazaki had just had sex with the same woman. Yocchan feels better having sex with Yamazaki san because he sees the 'real her'.  She takes a taxi back home and they agree not to meet until she comes back from France. The only thing that she asks is that he doesn't start living with someone else. he can have sex with them but she would like to see how they feel when she gets back. She gets out of the taxi near the Shimo Kita station and walks home looking at the shops and reflecting on the life that she has made there and the people that she has met. She feels that this is her home town. She is sad that the sakura tree will be cut down for the new building but she will carry the memory of it inside her like she carries inside her her father's DNA.

TEN DOLLAR TWENTIETH ANNIVERSARY

Tradition abounds in Japan and television is no different. The TV show Shinkonsan featuring newly married couples is now in its 45th year with the same compere Katsura Sanshi. Japanese comedy also has a long history full of bizarre comedy acts such Beat Takeshi, Tunnels and Downtown. Manzai Combi duo Ten Dollar are an act that have been around for twenty years and have recently enjoyed some success in the United States where they performed in a show in English in Los Angeles to celebrate their twentieth anniversary. On Japanese television to start the New Year in 2015, they enacted a skit which focussed on the handing over of the sash between runners in the annual ekiden marathon. Unusually for manzai there was more focus on physical comedy rather than spoken word. The runner alternately put the sash over both runners, took too many drinks and got drunk, went to the toilet and used the sash to wipe his bum etc...  Both Hamamoto Hiroaki and Shirokawa Hitomi are from Osaka and the combi is part of the Yoshimoto Kogyo company.