This is how John F. Kennedy won an election. THE POWER OF MASS MEDIA AND GOOD HAIR.

Hi, Nihongogo.com

I’m actually not as angry as I seem in the videos. Really I’m not.

More AKB soon. And I’ll try to work on my pronunciation.

Oh that, I'm going to bed. Don't break my shit.

I’ve written a new piece for Dolorous Haze, a piece that was inspired mainly by my recent poring over the works of Greil Marcus and Lester Bangs, two men who have always struck me as music lovers first and critics second, but whose works only recently have begun to turn the cogs in my own music-critic brain. I have a lot of free time to read at work, you see. Well, during our slow season. I’ve muddled through Psychotic Reactions and Carburetor Dung (Bangs) and the brilliant In the Fascist Bathroom (Marcus), two books I previously enjoyed in my early twenties, now with highlighter in hand and a Post-It pad at the ready. Jotting down notes to connect my J-Pop world to those esteemed men and their Western musical world, many times I drew unexpected parallels.

The feature I’ve written for Dolorous Haze is my first attempt at compartmentalizing my idol theory pieces, focusing on a very specific topic for a very specific reason. I’m getting meta here, I know, but I hope at least some of you would like to understand that I’m often ashamed of the jumble of mashed-up gobbledy-gook I sometimes spout out when I sit in front of this keyboard. I want to believe this article is a baby step in the right direction.

Without further ado:

Ayumi at the Crossroads: “A Song for XX” and Its Perpetual Resonance” at Dolorous Haze

But there’s something else I’d like to touch upon in this post, which could easily be a linky-linky and a bye-bye:

Since Ray Mescallado first stumbled upon my post lambasting his “intellectualizing of pedophilia” in early 2007, I’ve had a symbiotic and wonderful professional relationship with the guy. We still disagree on many things (though I’m now more guilty than ever – and unashamed about it – of being a pedobear myself). From International Wota to Pleasure Principled and now to Dolorous Haze, I’ve been offered more kicks in the ass to write quality idol theory than I’ve sometimes known what to do with…all thanks to Ray.

He celebrated a birthday recently, and I’m compelled to do a little public something to pay tribute to the man who has given me so many opportunities in the blogging community. Though we do live relatively close, I don’t think a cake would survive the drive, nor would I be able to get the day off work, nor would I probably be able to leave after sampling the no-doubt delicious food I’d be eating. So there’s this:

Shinoda Mariko says Happy Late Birthday, Ray.

…pending confirmation, that is.

Oricon released the official list of “invited” teams for the 60th Annual Kouhaku Utagassen, to be broadcast on New Year’s Eve 2009. Among seminal favorites such as Every Little Thing, Kaela Kimura, and Ayaka, the Red Team looks like it has a few surprises in store for us. Idol fans especially will be delighted with the inclusion of AKB48, Perfume, and…that’s right, folks, MORNING MUSUME. Maybe they really did manage to make that “comeback” impact they wanted to make after a shitty 2007 and 2008. Good for them. Also of note to me is the late performance of Ayumi Hamasaki…she records her Countdown Live concert special on the same night, and as such has traditionally performed within the first few artists on Kouhaku. But, this being the 60th Anniversary Special and all, no doubt some consideration was given. (note: the list is in alphabetical order, as I was humiliated to find out…heh…surprise, I don’t know the Japanese alphabet even after lessons I’ve given up on :P I JUST GOT EXCITED. So…yeah, that will probably change) All-in-all, the Red Team is just chock full of goodness. Namie Amuro, Koda Kumi, Ai Otsuka, Shiina Ringo (SHIINA RINGO), Angela Aki, Ikimonogakari…wow. What a night.

Moving over the the White Team, things look a little more traditional (for Kouhaku, at least): w-inds., SMAP, TOKIO…but wait. We also have delicious Tohoshinki action, and for some goddamned reason AAA (what the HELL, I thought you had to be popular to perform on Kouhaku. People in Japan still know AAA are alive?) Also, Hirai Ken, which promises sexy, sexy fun.

All-in-all, I tend to get bored easily during Kouhaku broadcasts (at least since 2005 omg Wada Akiko omg OG Musume), but this one seems to be setting us up for something special, maybe a bit more of a nod toward modern themes and trends. And Ayumi’s late performance date indicates a lot, in my eyes. Especially the fact that she is AGAIN aligned against TOKIO (some of you may remember her 7-year romance with TOKIO man Tomoyo which ended in 2007…) (ETA: Again, the whole performance order =/= this list comes into question, but I wouldn’t doubt that she’ll be placed against TOKIO again. More interesting would be to see Ayumi squared off with Tohoshinki, whom she has been relentlessly fangirling and pimping this year).

Now, Red Team has been historically weak on Kouhaku in recent years, owing no doubt to the huge popularity of Johnny’s acts amongst the audience. But I think they’re onto something with the eclectic and electrifying line-up on the Red Team. Could we be looking at the first Red Team victory since 2004? I know I’ll be “watching” even if I can’t vote, even if it’s hours later.

For the record, this year will tie Ayumi Hamasaki and Morning Musume at 11 Kouhaku performances each. I think that’s somehow fitting.

Below the cut is a translated list of the Red and White Teams:

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Before I even begin this edition I want to put forth yet another unpopular opinion of mine (it seems I have a lot of those where Ayumi is concerned): I did not hate all the videos from NEXT LEVEL. After ‘Mirrorcle World’ (trust me…that’s a part of this series, look for future editions), I was full ready to not like anything Kazuyoshi Shimomura did to follow it up, I must admit. But I don’t blame him, particularly, for everything that goes wrong. He is a great photographer of places and scenes, simply not of people. We’ll get more to that later. Conversely, though, I think Luiz Hernandez is gold at directing people, but his other directorial bits and pieces need tweaking. One unifying theme hurts most of the NEXT LEVEL videos: editing. Nevertheless, I liked most of them to some extent. Some fans hated everything about them (and, no doubt, everything about the album). That’s fine, because arguments can definitely be made against aspects of each PV, both aesthetically and from a marketing standpoint. When ranking the PV’s, here, I’ll try to play an even hand at it, okay?

RANKING THE VIDEOS OF NEXT LEVEL, FROM BEST TO WORST:

#1 – Days (Dir. Takahide Ishii) Takahide Ishii isn’t all that bad, and this video is definitely the best of the bunch. A solid story with some great stylist work, simple and effective editing, with an actual visual SCOPE added, even though it could have gotten away without it, possibly. It’s a heart-tugging treat, and Ayumi’s acting is subtly beautiful for once in years.

#2 – GREEN (Dir. Kazuyoshi Shimomura) The only KazuShimo video I can get behind. I love the dancing, the Shanghai feeling, the real effort to infuse the period influence into every bit of the visual experience. I even liked the white feathered chicken suit, mostly because it was true to period. The dancers are all on point, and there are some stunning visual moments (Ayumi emerging for the “lift” at the chorus break being #1, undoubtedly). The gender-bending love story between Midoring and Ayumi is lovely. BUT. The big problem here is that Kaz can’t direct Ayu for shit. She stumbles through the streets of Shanghai during the first verse, looking mostly drunk, over-enunciating every lyric when she doesn’t need to. I can barely take looking at it, for that. But…despite all that, it gets more crap than it deserves.

#3 - NEXT LEVEL (Dir. Stanley Izumi Kim and Luis Hernandez) Okay, fine, it’s “just Ayumi driving a car”, but it’s gorgeous, well-shot, and it fits the song. Ayumi looks natural and happy, and the landscapes are breathtaking. It’s a matter of opinion, this one, and just happens to be vry polarizing because of that.

#4 – Curtain Call (Dir. Stanley Izumi Kim and Luis Hernandez) I have only two qualms with this triumph of direction and production (long tracking shots are awesome, okay?) 1 – Ayumi looks way too unnatural in that getup. Hair pulled back violently into a too-tight bun, ill-fitting maxi-skirt tight dress? Ugh. Something more casual, more flowy, both in hair and costume, would have been better. 2 – That fucking ballet walking. I have first-hand respect for ballet walking – it takes poise. But if you want me to believe your heartfelt love song, Ayu, look less like a rod is up your ass. So, no problems with the concept and direction (fucking phenomenal), but NO BUYS on the stylist.

#5 – Rule (Dir. Takahide Ishii) It’s not bad, but it really, really, really could have been better. I rarely watch the video, mostly because of her hideous costume. Despite the great “dogpile on the dancers” sequence, some great choreography, and a nice set, it sort of meanders and never seems to cohese. What was the point? This isn’t a problem when no point IS the point (I’ll be getting to that in my proposal for ‘Sparkle’), but ‘Rule’ seemed to start off with a storyline. I was intrigued. Then…nothing happened. There was no ninja battle. Sorry to have wasted your four minutes.

#6 – Sparkle (Dir. Kazuyoshi Shimomura) ……I have to stop playing an even hand. This one was a complete pile of shit.

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Sherry Lea Kidd was born September 11, 1948 to loving parents in Covington, Kentucky, USA. She married Thomas Hoffman in the year of 1969 and they had their first daughter, Wendy Lynn, the next year. In 1981 Sherry gave birth to daughter Veronica Jo. All her life, she explored her love of music, art, and decor (especially art deco and Eastern Asian). She lived every day with determination and drive, and was a truly kind, patient soul. She strove to keep a spotless house and put her best face forward for everyone, regardless of her personal feelings. She was truly an idol to behold. She worked with people all her life, from her first waitressing jobs in the 60’s to her managerial positions later in life. On the day of her funeral in 2008, her place of employment (an establishment that remained open 365 days a year) closed its doors to allow its patrons and staff to attend the service. Sherry loved with all her heart.

Though her life may have ended far too soon, she lived every day with love, hope, and happiness.

Remarkably, there is actually a very real connection between J-Pop and the passing of my mother, a topic I will be further covering in a long-form book, but which I’d like to touch upon here.

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As J-Pop fan dancers go, I have my favorites. No need to splatter them all over my front page, but I know you all have heard of Cuca, the adorable adorable ADORABLE H!P member in training, and possibly you’ve also heard of kyaaakya and Cricket. But they all have a definite plus in their endeavors: they’re girls.

Have you yet heard of hontowa???

Your face. Prepare for it to be melted. This 19 year old guy from Mexico has absolutely won me over, to the point where a new video from him causes me great joy. The care he puts into his dances is evident, and his talent for it is undeniable. Enough of me, though. This is about hontowa. Take it away, mi amigo!

(YOU MAY WANT TO WATCH THESE ON YOUTUBE IN HQ…IT ADDS A LOT)

And what I believe is his crowning glory (SO FAR…)

I’ll let the videos speak for themselves. This guy can MOVE, is super-dedicated to entertaining, and is a genuinely nice guy to boot. Also, his kitty is cute! XD

So, subscribe to his channel and show him some love!

Even if you’re not into the concept, you have to admit his talent. And also: HOW FUN WOULD IT BE TO GO TO AN H!P CONCERT WITH THIS GUY!?!? :D :D :D

Check out the newly released CM for ‘Sunrise/Sunset ~LOVE IS ALL~’:

I’m intrigued. I have yet to be let down by one of Ayumi’s summer ballads (in this case it would be ‘Sunset’), but in the past I’ve found it hard to warm up to the summer singles at first. However, ‘Sunrise’ is a different matter. There’s a really great, upbeat vibe to this song, and I’ve been repeating it a lot since first downloading the full leak.

The video clip, however, does make me think of one things:

“HURRICAAAAANE RIRIIIII~~~ oh, BOSUTAN MARIIIII~~~~”

What with all the flying towels and such.

There’s talk of HΛL being the arranger of this song, which would not surprise me. He’s done many, many of my favorite Ayumi songs, mostly older ones. I guess we’ll know in less than two weeks, right?

P.S. I still hate the covers.

My consumer relationship with Shiina Ringo borders on neurotic. This is not because I am an obsessive fan; no, quite the opposite. I am a fan in every sense of the world, and I respect her greatly, but so help me, I cannot bring myself to be more than passingly interested. She fascinates me. Everything from her strange physical features, to her fashion sense, to her absolute command of a stage and audience is undeniable. So why do I declare her among my top role models if I can’t even claim to be a huge fan? Because I admire her, I think she is one of the few truly gifted artists who has “made it” in the Japanese music industry, and so help me I am crazy about her early albums. I’ve decided to review my favorite of those, which happens to be her first. ‘Muzai Moratorium’ was released in 2000, and the media and public reaction is well-chronicled on other blogs (better blogs). I just want to review the music. Let’s do that.

The album opens with a bang of a song, backed by the distorted, feedback-heavy rock that defines the album. Tadashii Machi is hardly the powerhouse of the album, but that alone says volumes about how powerful the album is. The rhythm is erratic and never boring, and despite the flinging-about it makes complete sense. Ringo’s vocals and a steady, drum beat keep everything in check. And here is her strength, as a songwriter and arranger: she knows how to write a melody to command a song, rather than get lost in it. Too often we see pop artists strive to be rock, in the process creating overblown musical setpieces that drown the beauty of what could be a very simple melody. But Shiina Ringo seems to be a rock artist striving to be pop, or perhaps wallowing in the unfortunate ghetto where so many legitimately high-minded artists find themselves upon realizing that they have that blessing/curse known as Pop Sensibility.

(a clip of a ‘Tadashii Machi’ performance from Ringo Expo 08 – much more polished after almost ten years. Still, you get a great idea, it’s a practically note-for-note arrangement)

Tadashii Machi toes the line but does not quite achieve what other songs on this album do in expressing an eeriely beautiful pop sensibility. Kabuki-chou no Jo-ou starts up with a more traditionally pop-rock guitar and drum beat, but a few flourishes in the background make it meander playfully as Ringo slurs through the song. Her voice has certainly improved since these days, technically, but I have a fondness for her nasally, sometimes straining, always powerful voice as it is recorded on Muzai Moratorium. Ringo’s penchant for whistling comes into this song, which is lacking a traditional chorus but manages to fit a generous share of lyrics into a tiny little ditty that eventually builds to a fun arrangement of claps, tambourine, and twangy guitar before breaking down to a protracted, nearly a capella finish.

Marunouchi Sadistic is where we can hear the first indication of the artist in Shena Ringo. This song turns the album on its nose with a strong , major key piano accompaniment (blues scale – very swingin’) and a beautiful jazz sound. The harmonica flows so perfectly into the melody that you hardly notice it’s there – this is quite an accomplishment for harmonica. The song is 3:55 but it feels like it is much shorter, something any Shena Ringo fan learns to appreciate. This song has a cadence that reminds me of most of her “jazz quartet” interpretations of her other songs. She seems to come back to this tempo again and again. I’m not cool enough to know how to determine the tempo.

(The album rip of ‘Marunochi Sadistic’. Swing, baby)

Now the album starts to get amazing. Kôfukuron [Etsuraku hen] opens with a feedback trail and a scorching guitar riff that splits the record wide open. You aren’t even sure what’s going on when Ringo comes in with her damped-out vocals (beautifully realized in concert using a megaphone). This musical shot of adrenaline hits hard, yes, but Ringo’s pronounced recovery breath into the microphone at the :46 mark is what starts to make it the best single cut that sounds nothing like the original single cut. Yeah, this is the same Kofukuron that was released as her first single – you know, the one with the video that featured the dead angel schoolgirl? There was no wild screaming into the microphone, damped vocals, distortion, or punk-rock influence on that version, but Ringo insisted on re-arranging the track for the album. And we win. By the middle of the track, she howls interminably in harmony with the guitar’s feedback as the song bloats to a blistering climax worthy of Sonic Youth, but thanks to the minor key held over from the original it all still sounds very upbeat. The melody crashes and burns beautifully while Ringo chants “ichi ni san shi ichi ni san shi” in a synchopated rhythm. The final scream is just the expected eruption. Fuck, this track is beautiful.

THE SINGLE VERSION:

COMPARE AND CONTRAST WITH A LIVE PERFORMANCE OF THE ALBUM VERSION:

After all that, Akane-sasu Kiro Terasaredo… is not what anyone would expect to hear. It’s slow, it’s a ballad, it’s minor key, it’s like a palate cleanser. Ringo’s vocals are clear and beautiful, and by the time the strings kick in near the second chorus you’re just chillin’. An interesting effect is the stereo vocal layering, with a deep whisper in the L channel and a girlish whisper in the R. Odd and effective, but something I’d expect to hear more in a horror movie (ask me later about how Ringo was the first artist to legitimately scare me with music, before Trent Reznor ever managed it). The final verse is in English, and even though she doesn’t have the best pronunciation in the world it is head and shoulders above most J-Pop artists.

Sid to Hakuchumu is my personal favorite from the album. In four minutes she manages to put me on a musical rollercoaster, knocking me out of a leisurely stroll through a bass-laden ballad and into a screechy chorus that, despite it all, still manages to sound beautiful. A clap track is barely audible but suggests the live power of this song, which cannot be denied. Look up some performances on YouTube and try to doubt Ringo’s intensity after that shit. She looks almost POSSESSED. Also of note is the Sid Vicious reference in the lyrics. She’s a big fan. Sometimes it shows. Hopefully it won’t show too much. You know what I mean. No stabbity-stabbity.

(if you only watch one video on this post, let it be the above…AMAZING)

The expanse of style continues into Tsumiki Asobi, a traditionally-influenced rock song with a strange rhythm that always seems to be trying to catch up to itself. Lovin’ it. The vocal composition of this song is perfectly suited to her – deep, with just the right amount of intensity. It’s not that I dislike Ringo when she’s too shrill, it’s just that sometimes it takes away from the distinct bass lines that inhabit her songs. This song would be simply cool if it weren’t for the koto-infused interludes produced in stereo for maximum ethereal impact – that just makes it fuck-awesome (YES THAT’S A WORD. SHINA RINGO INVENTED IT, OR I DID ABOUT HER SHUT UP).

(kickass PV for Tsumiki Asobi)

I was just starting to dig Shiina Ringo a few years back, but hadn’t yet bitten the apple, as it were. Until the day I heard Koko de KISS shite, while I was driving home on the beautiful stretch of Highway 98 between Carabelle and Mexico Beach. It was Spring, and the sudden burst of energy and passion from her vocals really worked with the verdant scenery and the feeling in the air. So, from then on, I’ve been a fan, and I’ve associated Koko de KISS shite with Spring. For a standard song about love and kissin’, it’s very emotionally delivered, which is what I like. The bridge that begins at 3:16 and builds to the song’s (English) climax at 3:40 would actually benefit from a bit more guitar feedback or a sour chord at the “explosion”, which I always insert on my own. The finale makes up for that – perfect. And somehow, I am a big fan of how she pronounces
“anarchy”.

(performing ‘Koko de KISS Shite’ with her band, Tokyo Jihen) (it’s actually unfair to call Tokyo Jihen HER band…while they are, technically, it’s not a “this is my back-up band” thing – Tokyo Jihen is a legitimate act unto itself)

Onaji Yoru is a European-sounding, acoustic-guitar-with-violin ballad. As the penultimate track on the album, it really works, but honestly I could hear this coming off of any album. There’s no real evolution to the song, and it’s obvious by the two minute mark that this is just a palate-cleanser before the big finish.

And fucking how. Did Keikoku just punch you in the face? Yeah, Keikoku just punched you in the face, and you liked it. More great vocals despite a little screeching from Ringo, more great bass work (seriously that is some funky-ass bass, it makes me groove like a villain), the composition is very funk-inspired beneath the percussion (which could be toned down a bit and the song wouldn’t suffer a bit) and even employs a motherfucking Hammond organ during the verses. The guitar solo is wicked, which is something I rarely have to say while listening to a J-Pop album. And let’s mention the stereo-phasing of Ringo’s heavy breathing over the bridge. Please, let’s talk about that. Or at least think about how it makes me all tickly.

(just a black screen rip of ‘Keikoku’)

With Keikoku over, there just remains Morphine. Funny thing about Morphine is that it is probably my favorite Shiina Ringo song of all, but in the context of the album I still like Sid to Hakuchumu the best. Weird. Morphine relies on by-the-book pop sensibility, and damn if it doesn’t work like a charm. A very gather-round sort of pop-rock song. Comforting. Strangely sexy. Uplifting. Probably the most inspired vocal melody on the album (which would explain my love for it). The instruments are taking backseat to Ringo, here, and the percussion and showboating from the band is minimal. The feedback slide before the chorus is the sort that I love to underscore a vocal shift. And that whistling!!! Morphine has a mischievous sound to it that is built completely around the vocals…it’s simple, it’s awesome. Give it a listen. It’s still too rocky to play in the background at Starbucks, perhaps (mostly due to the chorus), but it’s round, firm, and tightly-packed nonetheless. I don’t even mind the fade-out, and I am a long-standing opponent of fade-outs.

I would definitely post up a video of Morphine, but it doesn’t seem to exist on YouTube (or even niconicodouga). This makes me VERY VERY VERY sad.

And that’s it, that’s my review! \o/