Media Mix, Jan. 10, 2016

plt1512170005-p1Here’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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Best albums of 2015

homepage_large.5ba6f1c6In 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? Continue reading

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Best movies of 2015

FURY ROADI 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.”

After the jump is my list of the best movies released theatrically in Japan in 2015. Continue reading

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January 2016 albums

Here are the album reviews I wrote for the January issue of EL Magazine, which was distributed in Tokyo on Christmas Day.

SOPHIE-ART-1years&yearsProduct
-Sophie (Numbers/Beat)
Communion
-Years & Years (Interscope/Universal)
Pop music continues to evolve despite isolated gripes about how it’s all the same forms only rejiggered from a technological aspect. If you compare what’s different between chart hits that came before the turn of the century and after you do notice a marked change in vocal styles and sonic textures, and both definitely have something to do with technology but only in that new equipment and software make them possible. Someone still had to have the idea to use them to these ends. Sophie, the pop music art project of British producer Samuel Long, substantializes this theory. The title of Long’s first mini-album, a collection of singles already released, refers frankly to one obvious use of pop music, and, reportedly, he’s already sold some of these tracks to companies like McDonald’s, which may or may not support the idea that this is “future” pop music but definitely indicates that it has a place in commerce. What’s typical about Long’s music is its circumscribed qualities. As with most electro-pop nowadays, percussion is merely suggested, and while there are occasionally vocal-led melodies for the most part the pleasure these tracks evoke is abstract. Long purposely makes his textures as electronic-sounding as possible, and even the singing, often delivered via a highly processed female avatar made to sound very juvenile, smacks of artificiality. This remains the old-fashioned view of the future, but even if Sophie sounds extreme as pop it carries with it feelings that are recognizable. What it mainly lacks is the potential for something more. Even the closing track, “Just Like We Never Said Goodbye,” clearly the most memorable pop song on the album, feels constrained by its idea. You know it will never break out of its delineated set of sounds. Who would have thought that the future of pop would be to collapse in on itself? Years & Years, a more conventional post-millennial electro-pop group, trades in the same constricted sonics, which are produced by two guys, Mark Ralph and Two-Inch Punch. The singing, however, is done by actor Olly Alexander, who copies the high melisma of fellow Brits like Sam Smith, a style that owes a lot to Jeff Buckley except that Jeff Buckley would have never allowed his vocals to be tweaked this much. Communion, the trio’s debut album, opens with a slow number, as if to establish Alexander’s seriousness as an artist, and only later offers up dance tracks that nevertheless only go so far as club bangers. This is pop music with a mission to tease your brain, though the melodies lack that visceral appeal we want from pop, and therein may lie the difference. Y&Y understands that the most basic quality of pop is repetition, which is necessary to create earworms, and electro-pop succeeds or fails on the strength of its hooks. Pop music without hooks sounds like a contradiction in terms. Welcome to the new world. Continue reading

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January 2016 movies

Here are the movie reviews I wrote for the January issue of EL Magazine, which was distributed in Tokyo on Christmas Day.

aboutrayAbout Ray
Gaby Dellal’s bittersweet comedy assumes so many edgy POVs that it feels drained of meaning, with the resulting vacuum filled by a rush of barbed jokes and conventional domestic drama. The titular adolescent (Elle Fanning) is hoping to transition from a girl to a boy but needs both parents’ permission. Her put-upon single mom (Naomi Watts) is hard pressed to locate, much less contact, Ray’s father (Tate Donavan), who is cosily ensconced in the suburbs with a new family, so the kid’s impatience turns into the usual caustic teenage truculence, exacerbated by her and her mother’s material situation. They live with Ray’s grandmoter (Susan Sarandon) and the grandmother’s female lover (Linda Emond) in a stylish Manhattan town house. This purposely challenging clash of social dynamics becomes almost too much, and while the dialogue is often rich and Watts transcends her thankless role as enabler-in-charge with a portrait of desperation that’s much more effective than Fanning’s, the viewer never really empathizes with anyone’s situation because there’s nothing much to identify with. I mean, where do they get their money? (photo: Big Beach LLC) Continue reading

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Media Mix, Dec. 6, 2015

139072220751240364227Here’s this week’s Media Mix about the Broadcasting Ethics and Program Improvement Organization’s complaint against the government for censuring NHK over some staged content on one of its news shows. In the column I imply that NHK tends to toe the government line anyway, but my editor clarified in the first sentence that NHK is a “national broadcaster,” which slipped by me during the proof-reading phase. NHK is more properly described as a “public” broadcaster, though it’s perfectly understandable if people think it belongs to the government. In fact, a lot of people believe just that.

In fact, this interpretation was reinforced last Thursday at the regular NHK press conference, when the company’s president, Natsuto Momii, addressed reporters’ questions about the censures–both the Liberal Democratic Party’s of NHK, and the BPO’s of the LDP. Momii downplayed the matter, saying it was no big deal. He said that NHK went to the relevant government committee a while ago to deliver a report on the incident and the committee expressed its concern over the staged interview. Momii said NHK accepted the opinion of the LDP, “but that doesn’t mean we received pressure from them.”

As far as the Broadcast Law goes, while Momii didn’t mention it by name, he reiterated that “we always strive for impartiality,” and that when any organization requires an “explanation” of their broadcast practices, NHK is happy to go and talk to them, and not just the LDP. “That doesn’t mean we do what they tell us to do,” he stressed, making sure the reporters understood that while NHK listened to complaints, it followed its own conscience. On the other hand, he declined to comment on the BPO’s opinion.

The BPO’s complaint toward the LDP, however, was meant to expand on concern for all broadcasters, not just NHK, even if NHK was the object of the LDP’s scolding. In a sense, Momii’s waving off the controversy just goes to show that NHK and the LDP have a nice relationship. In other words, they have an understanding, and you can take that to mean whatever you want.

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December 2015 albums

Here are the album reviews I wrote for the December issue of EL Magazine, which was distributed in Tokyo on Nov. 25.

bieber-purpose1Direction15Purpose
-Justin Bieber (Def Jam/Universal)
Made in the A.M.
-One Direction (Sony)
Whatever your opinion of Justin Bieber, his career arc has been instructive for anyone interested in post-millennial commercial pop culture. His 2013 fall from grace, which was both self-inflicted and historically inevitable, was marked creatively by a collection of ballads that even his handlers didn’t take seriously and which prompted a year-long sabbatical that ended when Bieber himself gave hot dance music producer-DJs Skrillex and Diplo a piano ballad that they promptly turned into a banger, thus attracting attention to Bieber from a theretofore unexpected quarter: critics and dance music mavens. What’s most intriguing about Purpose is that this song, “Where Are U Now,” which became a hit, is not the centerpiece of the album, and, for that matter, neither are “What Do You Mean?” nor “Sorry,” two other subsequent Top Ten singles. The point is that not only is Bieber connecting to his audience as an artist rather than as a manufactured idol, but that he’s doing so with work that is of a piece artistically. Though it would be too much to say he’s responsible for the overall tone and thrust of the record, he definitely sounds engaged in ways he didn’t before. And he isn’t just leading with the upbeat numbers. Much of the material is still the kind of thing that made him a teen heartthrob in the first place: ballads, but ballads that make him sound as if he really cares, and now more people may actually believe it. Partly that’s because he owns up to the mistakes he’s made in the recent past, not directly, mind you, but even if they’re metaphors, you get the point. The nature of pop stardom being fleeting, it’s hardly a guarantee that this newfound maturity will be enough to keep even his hardcore fans “beliebing,” but it’s a halfway enjoyable album and not a novelty. British boy band One Direction hasn’t had as hard a time as Bieber did, but they did recently lose one member to stardom burnout attrition, and Made in the A.M. is their first record since the departure of Zayn Malik. Unsurprisingly, the album makes no concessions to anything and gets by with the formula that turned One Direction into the world’s top-grossing pop act. There’s the handful of radio-ready hits, the complement of towering power ballads, and some mid-tempo ear candy to fill time in between. What has tended to make One Direction more tolerable than their like-minded predecessors is their preference for rock. They’re not afraid to mimic Def Leppard or Fleetwood Mac when a song presents those kinds of references, and they’re talented enough to get away with it. Consequently, when they’re having fun they really sound as if they’re having fun, probably because they wrote these songs and thus have more of an emotional investment in them. Boy bands will be boy bands, but if you let them take charge they might be something more. Continue reading

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December 2015 movies

Here are the movie reviews I wrote for the December issue of EL Magazine, which was distributed in Tokyo on November 25.

art&craftArt and Craft
Certain documentaries are premised on stories or personalities so unusual that they practically direct themselves. The art forger Mark Landis has been covered extensively by the media in both his native U.S. and by the European press, but directors Sam Cullman and Jennifer Grausman (with help from Mark Becker) have painstakingly accessed these source materials and then augmented them with commentary from the subject himself, as well as the people he’s affected through his actions, thus giving us a kind of meta view of a story that doesn’t appear to be finished. Landis’s eccentricities go beyond his compulsion to forge artworks. He lives in a messy house in Mississippi that he inherited from his mother along with her money. Here he chain smokes, drinks, and does his paintings, drawings, and collages. His peculiar speech patterns and defeated posture indicate a mind and body that work differently from the norm, and he receives counseling for what might be a mental illness or autism (he spent time in a psychiatric institution as a teenager), but what he gets away with also indicates a sharp understanding of human nature and a ripe sense of humor. Landis gives his forgeries away to museums, convincing them they’re the real thing, and he’s done it so many times and for so long that he’s become famous. Since he receives no money for the works, he is committing no crime, but that doesn’t mean a lot to the people he’s fooled, and they are hard pressed to think of him as being innocent. One of them, in fact, a former gallery curator for the University of Cincinnati named Matthew Leininger, has made it his life’s work to expose Landis to the world, and he has become so obsessed with this work that he can’t hold down a job. Leininger’s frustration is palpable and best characterized by his young daughter’s complete knowledge of Landis’s sins. The problem is that it doesn’t seem to make any difference. Despite Leininger’s PR gambits and features about Landis in some of the biggest newspapers in the world, Landis continues to distribute his paintings to museums, usually in the guise of a priest whose church has somehow come into possession of these works, most of which are religious in nature. That Landis can produce such faithful reproductions in so many styles and media is impressive enough, but the subterfuge is so rich that Cullman and Grausman could have shot a supplemental doc just about the meaning of art in our world and made something just as entertaining. Because at the heart of Landis’s story is our own obsession with “authenticity.” It’s only when the museums find out these works are fake that they get upset, but what is the difference between the fake and the original as long as the original’s author is still considered the author? In his own sly, crooked way, Landis is a genius. (photo: Purple Parrot Films) Continue reading

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Media Mix, Nov. 22, 2015

SDF soldiers making roads in South Sudan

SDF soldiers making roads in South Sudan

Here’s this week’s Media Mix, about divisions within the nominal Japanese left wing regarding whether or not to revise the Constitution with regard to Article 9, which currently prevents Japan from taking up arms. As everyone knows, Japan has taken up arms, and, if Prime Minister Shinzo Abe and the conservative Nippon Kaigi have their way, will take up more in the future, so the purposes of what might be called the more “realistic” members of the left wing, which is to acknowledge and clarify the role of the Self-Defense Forces in the national charter, could either make Abe’s mission more difficult by setting legal limits to the SDF’s activities, or help him out, since it would at least establish the SDF’s legitimacy to exist. In a sense, these matters are mostly academic, as columnist Minako Saito points out, because the Japanese establishment has never been very conscientious in its adherence to constitutional limits. The security bills that allow the SDF to engage in collective self-defense overseas is a glaring example, but so are a lot of everyday judicial decisions that clearly violate individual rights outlined in the Constitution.

The issue, however, may become less academic with the rise of terrorist groups that disregard borders. It seems obvious that the group known as the Islamic State carries out terrorist attacks to provoke revenge and get Western countries more involved in their fight, since such involvement drives more Muslims and dispossessed people in the Middle East and Asia into their arms. In the eyes of the IS, Japan effectively belongs to the decadent West, which is why they murdered two Japanese last spring. If Japan sends the SDF overseas to help the U.S. or other Western countries in this struggle, and allows Japanese troops to use their weapons, Japan will be drawn into this apocalyptic struggle, which means it will become a target. Some are saying that Japan is already target, but in any case once Japanese troops start shooting they will belong to this struggle, as will the people of Japan, whether they like it or not. The SDF is in South Sudan as part of the UN peacekeeping mission, but when the ceasefire was broken, peacekeepers from other countries were freed to use their weapons to defend themselves. Japan’s cannot because of Article 9. Something similar happened when the SDF went to Iraq to build roads and other infrastructure. Though it wasn’t reported widely in Japan, the Japanese troops were often the target of local militias, and a few times were actually attacked. Luckily, none of these incidents led to casualties, but since the SDF was not allowed to fight back they were in a very difficult situation that apparently placed immense psychological stress on its members.

Then there’s the Japan-U.S. alliance. If North Korea ever decided to use that military of theirs, it would have to attack American capabilities in the region, and one of first targets would be Okinawa. At the height of the Vietnam War, Okinawa was the base for the B-29s that were bombing the country, so by the rules of war Okinawa could have been targeted if Vietnam had the capability to attack overseas, which they didn’t. So the security alliance also violates the Constitution. The LDP and Nippon Kaigi want to normalize the Japanese military, and these are the kinds of things that Japan will have to accept in the future–threats from enemies of the countries Japan allies itself with, and an increasing potential to become part of the so-called global war between civilizations. It’s not an academic debate any more.

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November 2015 albums

Here are the album reviews I wrote for the November issue of EL Magazine, which was distributed in Tokyo on Oct. 25.

neworder15lanadelrey15Music Complete
-New Order (Mute/Traffic)
Honeymoon
-Lana Del Rey (Interscope/Universal)
Though Peter Hook was a founding member of New Order and a valuable holdover when the group changed its name from Joy Division along with its style, bass players need to do a lot in order to maintain as much of a license on a group’s sound as vocalists or soloists do. Hook’s long-anticipated departure from the group worried some of their fans, but the new album, New Order’s first set of all original songs since 2005, may actually be their strongest in more than two decades, and while those strengths mostly mimic what made the band popular in the first place—danceable rhythms in the service of songs that still retained the fetching dark melodies of JD—they don’t sound warmed over. For one thing, Bernard Sumner, never a great singer, is big enough to request assistance from like-minded artists such as Brandon Flowers, La Roux’s Elly Jackson, and Iggy Pop, but generally what makes Music Complete compelling is the return of that dynamic swoon that made their early material thrilling. It shows up within the first minute of the lead single, “Restless,” which, while constructed around a dull lyric, soars on the wings of returned keyboardist Gillian Gilbert’s sparkling synth lines. And when New Order actually endeavors to make a dedicated dance track, like the irresistible “Plastic,” they don’t skimp. For seven minutes you understand how Sumner felt after the death of Ian Curtis when the band seemed doomed: it’s time to get up and get down. You won’t miss the guitars at all, though you may miss them on Lana Del Rey’s new album. In fact, you may miss most of the trappings of modern-day pop music since there are few. By far the young singer’s most creatively ambitious record, Honeymoon exaggerates Del Rey’s torchier proclivities with full-on string arrangements and murky keyboards. It’s also, on average, much slower than her previous two records, thus focusing the listener’s attention on her narcotized vocal style, which reaches—sometimes over-reaches—for full dramatic intensity. When she says “I like you a lot” during the creepy-funny “Music To Watch Boys To” she makes it sound like the most painful admission in the world, especially as she follows it with the line, “so I do what you want.” Thematically, the songs are all about love—sex is implied, more bitterly this time—but they’re also simultaneously, though not necessarily concurrently, about Los Angeles; not the physical city, but that mythical place of eternal sun and celluloid dreams, and if you need a pop culture signifier, think David Lynch’s romantic longing spiked with Billy Wilder’s cynicism. The one cover, “Don’t Let Me Be Understood,” is Nina Simone’s version, not the Animals’. To say this is not for everyone implies that her first two albums were popular, but they were more talked about than listened to. This seems purposely challenging and rewards close attention, though you may want to take a shower afterwards. Continue reading

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