Here’s this week’s Media Mix, about the recent Supreme Court decision on separate names and its potential effect on the legalization of same-sex marriages. In the column I pointed out that the majority of the judges on the court ruled that requiring married couples to have the same name did not violate the Constitution, but I did not say that the three female judges all held the minority opinion. I also didn’t mention that constitutional scholar Sota Kimura repeatedly mentioned in his commentaries on the case that he found the media’s focus on this aspect condescending toward those three judges. Reporters and other commentators repeatedly said that the three judges decided that the same name law was unconstitutional “because they were women.” While it’s true that the bessei (separate names) issue has mainly been framed as a women’s issue, reducing the three judges’ decision to a matter of gender loyalty shortchanges their capabilities as jurists and implies a personal agenda. This sort of prejudice is part of the reason why bessei has never been discussed for what it is, which is a right, not an obligation or an intrusion. Conservative elements that want to preserve the Civil Code mandate on same names for family units as defined by the koseki (family register) have always maintained the upper hand by making it seem as if the supporters of separate names would somehow make them mandatory, and the media has never challenged these conservative elements on this misunderstanding. The question should be framed, “Do you think married people should have the right to use separate names?”, but invariably surveys frame it as, “Do you think married couples should use separate names?”, which makes it sound like an obligation. The three female judges see the matter as a civil right, and making it seem as if they are pushing their own interests misrepresents their intentions. Continue reading
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In a word, this was a great year for hip-hop, as evidenced by the worldwide acclaim for To Pimp a Butterfly, a record I listened to a lot, and the only reason it didn’t land on this list was probably because in the last few months so many other albums pushed it out of my consciousness. That doesn’t detract from its value, but it does make it less of a presence in my world, which is what these lists are all about. It’s impossible to be objective about music, though it’s nice if you have the time to be able to try to be objective, but of all the albums on this list only the Future joint didn’t immediately grab me the first time I listened. In contrast, there were a few country albums I liked right off the bat–Alan Jackson, Maddie & Tae, Ashley Monroe, Jason Isbell–but they didn’t sustain themselves for as long as it took to make it to the end of the year, which isn’t to suggest I’ll never listen to them again. I didn’t really like the Kacey Musgraves album much when I first heard it and I still think the themes are too conventional, but her craft eventually got to me, just not enough to make me forget Brian Henneman’s. And, yes, I did splurge for the Dylan opus, but not the 18-CD version. What do you take me for?
I don’t know if I saw fewer movies this year than last or more, and I don’t feel like counting to find out. For sure, there were a few I wanted to see that I didn’t, like Phoenix, which made quite a few critics’ lists, but as for Hollywood and bigger budget entertainments, I found that if I did miss press screenings I could usually count on them being shown at my local multiplex, which is ten minutes from my house by bicycle. They have late shows for only ¥1,300, and Thursday is “Men’s Day.” Tomorrow, I’ll turn 60, which means…well, no need to get anal about it. It’s been so long since I’ve regularly seen movies in a theater rather than in a screening room that the occasions when I do have become special. What’s weird is that whenever I go to the multiplex, I’m usually the only person in the theater, which makes me wonder how they can possibly stay in business. Of the movies on the following list, only one was watched in a movie theater. I almost included Mad Max: Fury Road, another movie I saw in a theater, but since I never wrote about it I hadn’t really considered why I enjoyed it. In a sense, its appeal was centered on how resistant it was to analysis. I get the stuff about female power and George Miller’s talent for comic violence, but those points seem tangential to the movie’s effect, which is purely visceral. It would be like saying, I loved the movie because I got to see it on a huge screen with kickass sound in a theater I had to myself. It has nothing to do with the movie and everything to do with “the movies.”
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