art
I hope everyone's holidays are going well. Last post of the year.
I was serious about wanting to go to that Pervenche gig on the 28th, so I'm bringing it up again. Check my calendar for details and/or call me.
When I return from vacation mode, I'd like to go to this. "Out the Window - Spaces of Distraction" is an exhibition of multimedia art with fifty-seven artists from Japan, China and South Korea; it's being held at the Japan Foundation Forum in Akasaka starting 10 January. "Many of the selected participants are budding artists whose work will be shown in Japan for the first time and who offer a glimpse of the ever-changing East Asian art scene through their latest creations." In connection to this exhibition, there will be an "Artist's Talk Marathon" from 1 p.m. to 6 p.m. on the 10th, and two events at Super Deluxe on the evenings of the 9th and 10th (Performance Night and Sound Session Night respectively, both featuring artists and musicians connected to the exhibition). And if I keep telling myself that Super Deluxe is in Nishi Azabu instead of Roppongi, I might even convince myself to go.
Hold my hand, will you?
Friday, December 26, 2003
Friday, December 19, 2003
Something
crap
Oh hell no. You want to see a picture of the Dandy? A very very bad picture?
Here. Scroll down to the second item. I'm the one who looks heavily sedated (long, black hair). Yeah. Remember that audition notice I posted about "Proof"? I auditioned my own self and got cast as Catherine. I didn't even have to sleep with anyone. I was sort of conflicted about the whole thing: on the one hand, I think acting can be silly and stupid; on the other hand, it's also challenging and a lot of fun. I'm talking cast parties, people. (I also have to admit that the story seemed real to me because I can honestly relate to people who've had close family members go "bughouse" on them.)
Anyway, I'll tell you more when we get closer to the run. In the meantime, please resist the temptation to Photoshop my head onto other people's bodies. Danke, darlings.
Oh hell no. You want to see a picture of the Dandy? A very very bad picture?
Here. Scroll down to the second item. I'm the one who looks heavily sedated (long, black hair). Yeah. Remember that audition notice I posted about "Proof"? I auditioned my own self and got cast as Catherine. I didn't even have to sleep with anyone. I was sort of conflicted about the whole thing: on the one hand, I think acting can be silly and stupid; on the other hand, it's also challenging and a lot of fun. I'm talking cast parties, people. (I also have to admit that the story seemed real to me because I can honestly relate to people who've had close family members go "bughouse" on them.)
Anyway, I'll tell you more when we get closer to the run. In the meantime, please resist the temptation to Photoshop my head onto other people's bodies. Danke, darlings.
Thursday, December 18, 2003
Ark of the Covenant
dandy
I'd say I've been a slacker for not updating, but that's not really true. I've been swamped since...well, September, but really really swamped for the past month or so. I've gained this weird twitch in my right eye because I've been getting little-to-no-sleep lately. I'm a freak! And because of my crazy schedule, I've had no free time to do other stuff and hence no motivation to look for stuff-to-do.
So no Dandy for you.
(All this may sound like whining, but I'm having a ball! I really am.)
I just came back to document one thing. Do you remember how I mentioned here that some people claimed that the Ark of the Covenant was hidden in Shikoku? Here's more information on that. Via Fark.
Because I feel guilty and want to give you something to read, I'm cutting and pasting a story I told people about this scary baby I kept seeing around Tokyo. (You may have read it already.) Keep an eye out for this little freak of nature. Okay, here:
You know, there's this baby I've seen around the city TWICE now and it is damn fucking creepy. You know those pictures of Mary and Jesus where Jesus is a weird, tiny size and supposed to be a baby but is not painted with baby proportions so he ends up looking like a pygmy with a crown? The baby looks like that. The first time I saw it, it was across the crosswalk from me with its mother. And I remember saying out loud, "What the fuck is that?" And then it started pointing directly at me—I swear!—and saying something to it's mother. And the mother started saying something to it, and they were going back and forth like that for over two minutes. (The light was taking a long time.) And it didn't look like the kind of conversation one has with a baby. They looked like they were speaking complete, long and diabolic sentences. I imagined the baby speaking with a British accent (like on "Family Guy") and telling the mother how it wants to kill me. And I can imagine the mother trying to talk it out of killing me, pleading for my life even though she doesn't know me. Anyway, then the light turned green and I tried to walk diagonally so as to avoid them. The next time I saw them (in a completely different part of town!), we were across the crosswalk from each other again and, as I passed them, I kept saying to myself, "Don't look up. Don't make eye contact." So it didn't notice I was there.
Anyway, sorry for that long story. I just thought you should know, just in case they fish my body out of Tokyo Bay and find tiny bite marks on my ankles.
I'd say I've been a slacker for not updating, but that's not really true. I've been swamped since...well, September, but really really swamped for the past month or so. I've gained this weird twitch in my right eye because I've been getting little-to-no-sleep lately. I'm a freak! And because of my crazy schedule, I've had no free time to do other stuff and hence no motivation to look for stuff-to-do.
So no Dandy for you.
(All this may sound like whining, but I'm having a ball! I really am.)
I just came back to document one thing. Do you remember how I mentioned here that some people claimed that the Ark of the Covenant was hidden in Shikoku? Here's more information on that. Via Fark.
Because I feel guilty and want to give you something to read, I'm cutting and pasting a story I told people about this scary baby I kept seeing around Tokyo. (You may have read it already.) Keep an eye out for this little freak of nature. Okay, here:
You know, there's this baby I've seen around the city TWICE now and it is damn fucking creepy. You know those pictures of Mary and Jesus where Jesus is a weird, tiny size and supposed to be a baby but is not painted with baby proportions so he ends up looking like a pygmy with a crown? The baby looks like that. The first time I saw it, it was across the crosswalk from me with its mother. And I remember saying out loud, "What the fuck is that?" And then it started pointing directly at me—I swear!—and saying something to it's mother. And the mother started saying something to it, and they were going back and forth like that for over two minutes. (The light was taking a long time.) And it didn't look like the kind of conversation one has with a baby. They looked like they were speaking complete, long and diabolic sentences. I imagined the baby speaking with a British accent (like on "Family Guy") and telling the mother how it wants to kill me. And I can imagine the mother trying to talk it out of killing me, pleading for my life even though she doesn't know me. Anyway, then the light turned green and I tried to walk diagonally so as to avoid them. The next time I saw them (in a completely different part of town!), we were across the crosswalk from each other again and, as I passed them, I kept saying to myself, "Don't look up. Don't make eye contact." So it didn't notice I was there.
Anyway, sorry for that long story. I just thought you should know, just in case they fish my body out of Tokyo Bay and find tiny bite marks on my ankles.
Monday, December 08, 2003
Southeast Asian Film Festival
film
Note that the Avicon post has been updated.
Also, there's this: the Southeast Asian Film Festival. It started on the 5th and will continue until the 14th at the Japan Foundation Forum, Akasaka Twin Tower. The linked sites are in Japanese, but an English description of the event can currently be found here.
Tonight's the only night I can go, but they're showing An Army of Peace, a documentary about a peace march by Buddhist monks through former Khmer Rouge territory in Cambodia, and The Red Lotus, described as a simple love story that also captures different aspects of Laotian life and culture. The film was made for only 5000 U.S. dollars...which makes me wonder how my brother managed to squander the financial backing I gave him for his 20-minute senior thesis... Feh.
Here's the schedule for the rest of the festival. Films marked with a star will have both Japanese and English subtitles. Tickets are 1000 yen at the door.
Note that the Avicon post has been updated.
Also, there's this: the Southeast Asian Film Festival. It started on the 5th and will continue until the 14th at the Japan Foundation Forum, Akasaka Twin Tower. The linked sites are in Japanese, but an English description of the event can currently be found here.
Tonight's the only night I can go, but they're showing An Army of Peace, a documentary about a peace march by Buddhist monks through former Khmer Rouge territory in Cambodia, and The Red Lotus, described as a simple love story that also captures different aspects of Laotian life and culture. The film was made for only 5000 U.S. dollars...which makes me wonder how my brother managed to squander the financial backing I gave him for his 20-minute senior thesis... Feh.
Here's the schedule for the rest of the festival. Films marked with a star will have both Japanese and English subtitles. Tickets are 1000 yen at the door.
Friday, December 05, 2003
Japan Times?
event
Because of other plans, I don't know if I'm really going to this; I was just wondering if anyone knew anything about it.
If you got the Japan Times today, there was a little "bulletin board" message on the bottom of the second page announcing "Bush's alleged Afghan war crimes face wrath of 'tribunal.'" According to a past article, Akira Maeda, a professor at Tokyo Zokei University "proposed the idea of a civic tribunal in February," a la Bertrand Russell, because he decided that "unless war crimes and relevant legal concerns are properly addressed, the arguments [against the war] will remain unconvincing." The article later mentions that the organizers "also believe Japan is responsible," but due to time constraints, they'll be focusing their arguments on Bush's actions. Okee dokee.
The International Criminal Tribunal for Afghanistan, scheduled for the 13th and 14th of December, is linked with the International Action Center, an organization that works "against U.S. imperialism, for people's needs" and that was formed by former U.S. Attorney General Ramsey Clark. (You can read more about their work on their website.) The Tribunal has been holding public hearings all over Japan (and even in Manila) since December of last year. For this month's trial, families of both Afghanistan and the September 11 attacks will be on the witness stand, testifying that "Bush's war was not what they wanted."
I have to say that this sounds almost surreal. Especially this part: "Amicus Curiae will be debating on behalf of U.S. President George W. Bush and his attorneys." Yeah. I mean, what Bush supporter in his or her right mind would even go to something like this? Maeda might get all Jerry Springer on their ass. (I'd pay to see that, actually.) But would this Amicus Curiae put up much of a fight? Would they be better or worse than an interested party at defending the president? You see the concern here? This whole thing will probably be preaching to the converted and may not provide much of a debate, but it's possible that you could learn a little bit about international law in the process. And won't that be relevant to your major when you go back to school? Yes. Yes, it will.
The trial will be held at Kudan Kaikan (near Kudanshita stn, [map]), admission is 2000 yen for one day or 3000 for both, and doors open at 10 a.m. An English translation will be available.
As always: Punch and pie. (Heh. Shut up. It never gets old.)
Because of other plans, I don't know if I'm really going to this; I was just wondering if anyone knew anything about it.
If you got the Japan Times today, there was a little "bulletin board" message on the bottom of the second page announcing "Bush's alleged Afghan war crimes face wrath of 'tribunal.'" According to a past article, Akira Maeda, a professor at Tokyo Zokei University "proposed the idea of a civic tribunal in February," a la Bertrand Russell, because he decided that "unless war crimes and relevant legal concerns are properly addressed, the arguments [against the war] will remain unconvincing." The article later mentions that the organizers "also believe Japan is responsible," but due to time constraints, they'll be focusing their arguments on Bush's actions. Okee dokee.
The International Criminal Tribunal for Afghanistan, scheduled for the 13th and 14th of December, is linked with the International Action Center, an organization that works "against U.S. imperialism, for people's needs" and that was formed by former U.S. Attorney General Ramsey Clark. (You can read more about their work on their website.) The Tribunal has been holding public hearings all over Japan (and even in Manila) since December of last year. For this month's trial, families of both Afghanistan and the September 11 attacks will be on the witness stand, testifying that "Bush's war was not what they wanted."
I have to say that this sounds almost surreal. Especially this part: "Amicus Curiae will be debating on behalf of U.S. President George W. Bush and his attorneys." Yeah. I mean, what Bush supporter in his or her right mind would even go to something like this? Maeda might get all Jerry Springer on their ass. (I'd pay to see that, actually.) But would this Amicus Curiae put up much of a fight? Would they be better or worse than an interested party at defending the president? You see the concern here? This whole thing will probably be preaching to the converted and may not provide much of a debate, but it's possible that you could learn a little bit about international law in the process. And won't that be relevant to your major when you go back to school? Yes. Yes, it will.
The trial will be held at Kudan Kaikan (near Kudanshita stn, [map]), admission is 2000 yen for one day or 3000 for both, and doors open at 10 a.m. An English translation will be available.
As always: Punch and pie. (Heh. Shut up. It never gets old.)
Watarium
art
It's been a while since I've been to Watarium for anything other than the downstairs shop.
But they've got three exhibits running right now that I'd like to see, not the least of which is "I Love Art: part 7," displaying works by Keith Haring, Nam June Paik and Fabrice Hybert. Frankly, I don't know what the connection is, but ain't it grand? My fascination with both video art and weirdo robots draws me to Nam June Paik in particular, all Fluxus-representin' in Asia. Meanwhile, this review of Fabrice Hybert's Watarium exhibit two years ago has piqued my interest in his "prototype d'objet en fonctionnement." It almost sounds like a euphemism. For what? Don't know. As for Keith Haring? Well, er, he's famous...eh? And, um...we dig his condoms.
The other two exhibits are of the product designs of Russian artist Alexander Rodchenko, who is also well-known as a Constructivist painter and photographer (it'd be better to see his photographs, but I'll take what I can get), and the drawings of Japanese artist Kaoru Arima, whose work leans toward twisted eccentricity, but not without a sense of humor.
All of these exhibits end in mid-April of next year, so we can take our time. As always, it's 1000 yen to get in, including repeat visits for as long as the exhibit is running.
It's been a while since I've been to Watarium for anything other than the downstairs shop.
But they've got three exhibits running right now that I'd like to see, not the least of which is "I Love Art: part 7," displaying works by Keith Haring, Nam June Paik and Fabrice Hybert. Frankly, I don't know what the connection is, but ain't it grand? My fascination with both video art and weirdo robots draws me to Nam June Paik in particular, all Fluxus-representin' in Asia. Meanwhile, this review of Fabrice Hybert's Watarium exhibit two years ago has piqued my interest in his "prototype d'objet en fonctionnement." It almost sounds like a euphemism. For what? Don't know. As for Keith Haring? Well, er, he's famous...eh? And, um...we dig his condoms.
The other two exhibits are of the product designs of Russian artist Alexander Rodchenko, who is also well-known as a Constructivist painter and photographer (it'd be better to see his photographs, but I'll take what I can get), and the drawings of Japanese artist Kaoru Arima, whose work leans toward twisted eccentricity, but not without a sense of humor.
All of these exhibits end in mid-April of next year, so we can take our time. As always, it's 1000 yen to get in, including repeat visits for as long as the exhibit is running.
Thursday, December 04, 2003
British Embassy Choir
music
First thing's first. Yo La Tengo have still got it. (Er...that wasn't meant to be a pun...) They were great last night, with a stamina rivaling that of Jon Brion. They have one more performance tonight, so go if you can...even though they're sold out. Mind you, the Dandy does not condone buying from scalpers. However, the Dandy does condone sneaking in through the back, risking embarrassment and possibly even arrest. Do it. You'll be popular.
Okay, so I may as well remind myself that the British Embassy Choir is performing their Christmas Concerts at three different locations this month: the Candian Embassy Theatre (on the 12th), Meiji Gakuin University Chapel (the 14th) and St. Ignatius Church (the 16th). More information (including maps) can be found on the choir's brand-spankin' new website. Note that admission is free, but as always, they'll be taking a collection for charity (The Terry Fox Cancer Foundation, Habitat for Humanity, and UNIFEM).
I'd like to go to the first one since a friend of mine will be singing and my voice teacher will be a soloist. (Yay!) It's also another friend's last night in Tokyo, and we look forward to the mayhem that tends to accompany such a night. So, yeah, if you decide to go to that one, say hi.
First thing's first. Yo La Tengo have still got it. (Er...that wasn't meant to be a pun...) They were great last night, with a stamina rivaling that of Jon Brion. They have one more performance tonight, so go if you can...even though they're sold out. Mind you, the Dandy does not condone buying from scalpers. However, the Dandy does condone sneaking in through the back, risking embarrassment and possibly even arrest. Do it. You'll be popular.
Okay, so I may as well remind myself that the British Embassy Choir is performing their Christmas Concerts at three different locations this month: the Candian Embassy Theatre (on the 12th), Meiji Gakuin University Chapel (the 14th) and St. Ignatius Church (the 16th). More information (including maps) can be found on the choir's brand-spankin' new website. Note that admission is free, but as always, they'll be taking a collection for charity (The Terry Fox Cancer Foundation, Habitat for Humanity, and UNIFEM).
I'd like to go to the first one since a friend of mine will be singing and my voice teacher will be a soloist. (Yay!) It's also another friend's last night in Tokyo, and we look forward to the mayhem that tends to accompany such a night. So, yeah, if you decide to go to that one, say hi.
Friday, November 28, 2003
AVICON
videoart
Next month, Videoart Center Tokyo will be presenting Avicon 2003, an Asian Videoart Conference.
I don't know about you, but videoart makes me laugh. It makes me giggle uncomfortably and squirm in my seat. Sometimes it makes me guffaw. Other times? Just smirk. But when it's good, really good, it makes me think. As you can tell from this web log, I'm very wordy, so I can appreciate when an artist possesses the ability to effectively communicate through image-manipulation rather than pure babble. I'm also particularly interested in analyzing how the symbolism used by certain artists relates to their culture. But, since it's been a medium largely dominated by "westerners" for so long, our overused cultural symbols seem to me to have turned the medium a little stale. Fresh perspectives by Asian artists could be one remedy. Barring all that, if they turn out to be pretty bad, I can just sit there feeling all superior and shit.
The conference will take place from 13 to 23 December at Pola Museum Gallery. Polar? Paula? No idea. (I hate Katakana.) It's in Ginza, anyway. Here's a map. Tickets are 800 yen for one program or 4000 yen for a free pass. Hopefully, they'll get their act together and launch the promised English version of the site, but you can find a Japanese schedule here. Notice that they have some Telepidemic programs planned.
There'll also be a four-day English workshop held at out-lounge under the subject "Urbanism as Media." You can read more about the call for participants here (both artists and auditors).
Update 12/8: English version of the site. Also, it's being held at the Pola Museum Annex. The site for the main Pola Museum is here. (When in doubt, check Pole Pole.)
Next month, Videoart Center Tokyo will be presenting Avicon 2003, an Asian Videoart Conference.
I don't know about you, but videoart makes me laugh. It makes me giggle uncomfortably and squirm in my seat. Sometimes it makes me guffaw. Other times? Just smirk. But when it's good, really good, it makes me think. As you can tell from this web log, I'm very wordy, so I can appreciate when an artist possesses the ability to effectively communicate through image-manipulation rather than pure babble. I'm also particularly interested in analyzing how the symbolism used by certain artists relates to their culture. But, since it's been a medium largely dominated by "westerners" for so long, our overused cultural symbols seem to me to have turned the medium a little stale. Fresh perspectives by Asian artists could be one remedy. Barring all that, if they turn out to be pretty bad, I can just sit there feeling all superior and shit.
The conference will take place from 13 to 23 December at Pola Museum Gallery. Polar? Paula? No idea. (I hate Katakana.) It's in Ginza, anyway. Here's a map. Tickets are 800 yen for one program or 4000 yen for a free pass. Hopefully, they'll get their act together and launch the promised English version of the site, but you can find a Japanese schedule here. Notice that they have some Telepidemic programs planned.
There'll also be a four-day English workshop held at out-lounge under the subject "Urbanism as Media." You can read more about the call for participants here (both artists and auditors).
Update 12/8: English version of the site. Also, it's being held at the Pola Museum Annex. The site for the main Pola Museum is here. (When in doubt, check Pole Pole.)
Wednesday, November 26, 2003
Lenne's Homeless Benefit
event
So, you know Lenne Hardt? She's organizing a homeless benefit for tomorrow night at Bar Isn't It?...in that place I avoid like the plague, Roppongi. Anything for charity, right?
Instead of the regular Tokyo Comedy Store show this week, Lenne, TCS comedians and other Tokyo-based performers (including Guy Perryman, Hakoita Bossa Nova Duo and Akaoni Daiko) will be taking the stage to raise money for Food Bank Japan.
Doors open at 6:30 p.m., the show starts at 7 p.m. and admission is 2000 yen (including one drink). Attendees are encouraged to donate more, if they can. They'll also be collecting toothbrushes, toothpaste, toilet paper and other useful items to be distributed through Food Bank.
If you can't make it, but would still like to help, contact information (including account info for financial donations) can be found here.
So, you know Lenne Hardt? She's organizing a homeless benefit for tomorrow night at Bar Isn't It?...in that place I avoid like the plague, Roppongi. Anything for charity, right?
Instead of the regular Tokyo Comedy Store show this week, Lenne, TCS comedians and other Tokyo-based performers (including Guy Perryman, Hakoita Bossa Nova Duo and Akaoni Daiko) will be taking the stage to raise money for Food Bank Japan.
Doors open at 6:30 p.m., the show starts at 7 p.m. and admission is 2000 yen (including one drink). Attendees are encouraged to donate more, if they can. They'll also be collecting toothbrushes, toothpaste, toilet paper and other useful items to be distributed through Food Bank.
If you can't make it, but would still like to help, contact information (including account info for financial donations) can be found here.
Friday, November 21, 2003
Dining Room
Audition
Help. I'm drowning in a sea of actors. And strange actor-type people.
I just got this e-mail, and if you've been toying with the idea of trying out for a play, pay attention.
The auditions for TIP's production of A.R. Gurney's "The Dining Room" are coming up in January. And the reason they're giving such an advanced notice is that the director is requesting two monologues for your audition. Don't freak out, though. They're not required, but they'd help. One of the guys in the next show, "Proof," told me that he auditioned for that with something from Colin's Movie Monologue Page. (It was his first audition ever.) And while you probably shouldn't do that for professional gigs, there's really no room for snobbery in community theater. (Still, if you can't shake the doubts, you can go here for links to monologue sites or buy a ridiculously over-priced monologue book from Kinokuniya.)
Here's the skinny:
Sunday, January 11th, 2:00 p.m. to 5:00 p.m.
Monday, January 12th, 7:00 p.m. to 9:30 p.m.
Tuesday, January 13th, 7:00 p.m. to 9:30 p.m.
All auditions are on the 4th floor of Tokyo American Club.
Please prepare two contrasting monologues of no more than 2 minutes each.
Performance dates are March 12th, 13th, and 14th. (Plan to also be available on the 10th and 11th.)
For more information, contact David Neale at [Um...I don't want personal phone numbers on this site, so I deleted it. Contact him through TIP.]
We did "The Dining Room" at my high school. It really sucked. But as I mentioned before, this is the director who managed to make me like "Godspell," a musical that, for years, made me want to spit upon the very mention of it. If that isn't saying something...
Edited 11/25: adding that monologues are requested rather than required and changing the audition location from TAC's 5th floor (which doesn't exist) to it's 4th.
Help. I'm drowning in a sea of actors. And strange actor-type people.
I just got this e-mail, and if you've been toying with the idea of trying out for a play, pay attention.
The auditions for TIP's production of A.R. Gurney's "The Dining Room" are coming up in January. And the reason they're giving such an advanced notice is that the director is requesting two monologues for your audition. Don't freak out, though. They're not required, but they'd help. One of the guys in the next show, "Proof," told me that he auditioned for that with something from Colin's Movie Monologue Page. (It was his first audition ever.) And while you probably shouldn't do that for professional gigs, there's really no room for snobbery in community theater. (Still, if you can't shake the doubts, you can go here for links to monologue sites or buy a ridiculously over-priced monologue book from Kinokuniya.)
Here's the skinny:
Sunday, January 11th, 2:00 p.m. to 5:00 p.m.
Monday, January 12th, 7:00 p.m. to 9:30 p.m.
Tuesday, January 13th, 7:00 p.m. to 9:30 p.m.
All auditions are on the 4th floor of Tokyo American Club.
Please prepare two contrasting monologues of no more than 2 minutes each.
Performance dates are March 12th, 13th, and 14th. (Plan to also be available on the 10th and 11th.)
For more information, contact David Neale at [Um...I don't want personal phone numbers on this site, so I deleted it. Contact him through TIP.]
We did "The Dining Room" at my high school. It really sucked. But as I mentioned before, this is the director who managed to make me like "Godspell," a musical that, for years, made me want to spit upon the very mention of it. If that isn't saying something...
Edited 11/25: adding that monologues are requested rather than required and changing the audition location from TAC's 5th floor (which doesn't exist) to it's 4th.
Wednesday, November 19, 2003
My Pal Foot Foot, Pervenche, Night Teller
music
At Super Furries last night, Andrzej reminded me that I don't update much anymore. So here's me, rolling out of bed to post.
Remember how I stalked the Lucksmiths? It was a good idea, and you're not going to get me to admit otherwise. For one thing, it got me out of the house. And for another, I was exposed to the music of Pervenche and My Pal Foot Foot. The latter brings fun Japan pop that's not annoying (whoo hoo) and the former brings skillful experimentation that's just as accessible as it is innovative. Both will be playing at Koenji's Penguin House on 7 December. The music starts at 7:30 p.m., admission is 1500 yen plus one drink.
Also playing are Night Teller, who played with the Lucksmiths as well as with The Cannanes and Scout Niblett at their Kyoto shows, and Place Called Space, whom, honestly, I've never seen, but whose music you can listen to here.
Here's a tip for you. (And by "you" I mean me.) Stalk Pervenche instead. They always seem to show up at all the good gigs, and their role at Clover Records certainly doesn't hurt. For example, coming up for them at the end of December is a Showboat gig on the 28th with Melbourne musicians Love of Diagrams and Baseball (a.k.a. Cameron Potts). Also featured will be the very very weird eepiL eepiL, banging away at kitchen appliances and such. They make me nervous. But nervous in a good way.
At Super Furries last night, Andrzej reminded me that I don't update much anymore. So here's me, rolling out of bed to post.
Remember how I stalked the Lucksmiths? It was a good idea, and you're not going to get me to admit otherwise. For one thing, it got me out of the house. And for another, I was exposed to the music of Pervenche and My Pal Foot Foot. The latter brings fun Japan pop that's not annoying (whoo hoo) and the former brings skillful experimentation that's just as accessible as it is innovative. Both will be playing at Koenji's Penguin House on 7 December. The music starts at 7:30 p.m., admission is 1500 yen plus one drink.
Also playing are Night Teller, who played with the Lucksmiths as well as with The Cannanes and Scout Niblett at their Kyoto shows, and Place Called Space, whom, honestly, I've never seen, but whose music you can listen to here.
Here's a tip for you. (And by "you" I mean me.) Stalk Pervenche instead. They always seem to show up at all the good gigs, and their role at Clover Records certainly doesn't hurt. For example, coming up for them at the end of December is a Showboat gig on the 28th with Melbourne musicians Love of Diagrams and Baseball (a.k.a. Cameron Potts). Also featured will be the very very weird eepiL eepiL, banging away at kitchen appliances and such. They make me nervous. But nervous in a good way.
Friday, November 14, 2003
Stray Dog
film
Because of a friend's recommendation that I see more French films, I was just browsing the list of events at L'Institut Franco-Japonais Tokyo's site to see what was coming up. I didn't find any French films I'd like to see, but I did find a good piece of Japanese film noir.
Akira Kurosawa's Nora Inu (or, as the French say, [exaggerated French accent] Un Chien Enragé [/exaggerated French accent]) will be screened on 13 and 14 December at the institute's l'Espace-Images as part of the Simenon Program. (The program celebrates the 100th anniversary of the birth of writer Georges Simenon, who is most remembered for his detective novels featuring Inspector Maigret.) Unlike the other films in the program, Nora Inu is not a film adaptation of one of the writer's stories. Rather, Kurosawa wrote the script, basing it on real-life incidents. (A police detective loses his gun to a pickpocket and tries to get it back.) However, he was influenced by Simenon's work, and the character of Detective Sato (played by Takashi Shimura, who later played the head of The Seven Samurai and the man who made me bawl like a baby for two and a half hours in Ikiru) is pretty much Inspector Maigret in Japanese.
According to a lot of descriptions I've read, the thing that people seem to find the most fascinating about his film is how Kurosawa portrays Japan in the years before the nation's strong economic recovery of the 1950s. Forget the sleek and glossy Tokyo you see today; Nora Inu shows you an occupied Tokyo where impoverished individuals are just barely surviving amid the sleaze. With the contrast of a main character (played by Toshiro Mifune) imbued with a moral imperative and clashing with the demands of social context, one might read a bit into all this and take it as a sort of struggle toward national recontruction. But I'm jumping ahead of myself; I haven't even seen it yet.
Come with me and we can clear our heads at the brasserie. Nora Inu, which will be shown in Japanese with English subtitles, starts at 2:30 pm on both days. Admission is 1000 yen.
Because of a friend's recommendation that I see more French films, I was just browsing the list of events at L'Institut Franco-Japonais Tokyo's site to see what was coming up. I didn't find any French films I'd like to see, but I did find a good piece of Japanese film noir.
Akira Kurosawa's Nora Inu (or, as the French say, [exaggerated French accent] Un Chien Enragé [/exaggerated French accent]) will be screened on 13 and 14 December at the institute's l'Espace-Images as part of the Simenon Program. (The program celebrates the 100th anniversary of the birth of writer Georges Simenon, who is most remembered for his detective novels featuring Inspector Maigret.) Unlike the other films in the program, Nora Inu is not a film adaptation of one of the writer's stories. Rather, Kurosawa wrote the script, basing it on real-life incidents. (A police detective loses his gun to a pickpocket and tries to get it back.) However, he was influenced by Simenon's work, and the character of Detective Sato (played by Takashi Shimura, who later played the head of The Seven Samurai and the man who made me bawl like a baby for two and a half hours in Ikiru) is pretty much Inspector Maigret in Japanese.
According to a lot of descriptions I've read, the thing that people seem to find the most fascinating about his film is how Kurosawa portrays Japan in the years before the nation's strong economic recovery of the 1950s. Forget the sleek and glossy Tokyo you see today; Nora Inu shows you an occupied Tokyo where impoverished individuals are just barely surviving amid the sleaze. With the contrast of a main character (played by Toshiro Mifune) imbued with a moral imperative and clashing with the demands of social context, one might read a bit into all this and take it as a sort of struggle toward national recontruction. But I'm jumping ahead of myself; I haven't even seen it yet.
Come with me and we can clear our heads at the brasserie. Nora Inu, which will be shown in Japanese with English subtitles, starts at 2:30 pm on both days. Admission is 1000 yen.
Friday, November 07, 2003
Anhedonia
Anhedonia...
rears its flat, apathetic head. I'm busy, bored and completely numb all at the same time, so I can't work up any excitement over dandy things for this weblog. Yet for some inexplicable reason, I feel guilty for not really updating. Therefore, I've decided to post an excerpt from an old e-mail to my sister from August 2001 (titled "It's Martyrlicious!"), after I visited Christon Cafe for the first time. It's kind-of-sort-of an outing suggestion, right? Still relevant to Mint Dandy?
Well, here goes nothing. Really. Just nothing.
Sara and Toshi visited me last week and I took a few days off of work to show them around town. On the last night, we went to a Christ-themed restaurant called "Christon Cafe." It was so fucking weird, but not as weird as I would have liked. I mean, it was possibly the most ill-conceived restaurant ever. It was designed like a gothic church and there were Jesus adornments everywhere. But it was dark, so we couldn't really read the menus or see the food. And the interior was spacious and made of concrete, so it was loud because the sounds were bouncing all over the place. Plus, it was all about The Jesus. Some of the menu items were Jesus-related, but still not that interesting—a dessert called "Angel eggs," a cocktail called "Brainwashing." But the waiters weren't even dressed in costumes, the bathrooms were kind of plain and they didn't rename the house wine "Blood of Christ." I was a tad disappointed.
If it were my restaurant, I'd have sections named after virtues or the apostles. I'd have a guy dressed as Jesus going from table to table, blessing people. I'd start every meal with the breaking of the bread. I'd have a little wading pool with a guy dressed as John the Baptist baptizing people for 100 yen a pop. I'd have a lady walking around, offering to wash people's feet with her hair. I'd have entertainers, singing and dancing to sweet Jesus songs or Mel Brooks' "The Inquisition." There was only one room that had a Last Supper table, but the wall "frescoes" were just pictures of Jesus. I would have made it look like the background of Da Vinci's painting. And not only would my dishes have cute Jesus names, I'd make all the dish descriptions look like they came out of the King James Bible and each would end with "Bless you, my child." I have big dreams, I tell you! Big dreams!
rears its flat, apathetic head. I'm busy, bored and completely numb all at the same time, so I can't work up any excitement over dandy things for this weblog. Yet for some inexplicable reason, I feel guilty for not really updating. Therefore, I've decided to post an excerpt from an old e-mail to my sister from August 2001 (titled "It's Martyrlicious!"), after I visited Christon Cafe for the first time. It's kind-of-sort-of an outing suggestion, right? Still relevant to Mint Dandy?
Well, here goes nothing. Really. Just nothing.
Sara and Toshi visited me last week and I took a few days off of work to show them around town. On the last night, we went to a Christ-themed restaurant called "Christon Cafe." It was so fucking weird, but not as weird as I would have liked. I mean, it was possibly the most ill-conceived restaurant ever. It was designed like a gothic church and there were Jesus adornments everywhere. But it was dark, so we couldn't really read the menus or see the food. And the interior was spacious and made of concrete, so it was loud because the sounds were bouncing all over the place. Plus, it was all about The Jesus. Some of the menu items were Jesus-related, but still not that interesting—a dessert called "Angel eggs," a cocktail called "Brainwashing." But the waiters weren't even dressed in costumes, the bathrooms were kind of plain and they didn't rename the house wine "Blood of Christ." I was a tad disappointed.
If it were my restaurant, I'd have sections named after virtues or the apostles. I'd have a guy dressed as Jesus going from table to table, blessing people. I'd start every meal with the breaking of the bread. I'd have a little wading pool with a guy dressed as John the Baptist baptizing people for 100 yen a pop. I'd have a lady walking around, offering to wash people's feet with her hair. I'd have entertainers, singing and dancing to sweet Jesus songs or Mel Brooks' "The Inquisition." There was only one room that had a Last Supper table, but the wall "frescoes" were just pictures of Jesus. I would have made it look like the background of Da Vinci's painting. And not only would my dishes have cute Jesus names, I'd make all the dish descriptions look like they came out of the King James Bible and each would end with "Bless you, my child." I have big dreams, I tell you! Big dreams!
Tuesday, November 04, 2003
35 Degrees
dandy
Just a small shout out to Kim of 35 Degrees and Matt of opinios.
We met by pure chance last week (we have a non-blogging friend in common) and I wanted to tell Kim I knew who she was, but I didn't want to creep her out or anything. They're both really cool, fun people, and I hope to see them again before they leave. (I seem to have made a habit of meeting "cool, fun people" just before they leave Japan. Or maybe I drive them away. Whichever.) At the very least, I hope to hear Kim sing, since Dave has built up my expectations to Sheena Ringo-like proportions.
No pressure, though, Kim.
Just a small shout out to Kim of 35 Degrees and Matt of opinios.
We met by pure chance last week (we have a non-blogging friend in common) and I wanted to tell Kim I knew who she was, but I didn't want to creep her out or anything. They're both really cool, fun people, and I hope to see them again before they leave. (I seem to have made a habit of meeting "cool, fun people" just before they leave Japan. Or maybe I drive them away. Whichever.) At the very least, I hope to hear Kim sing, since Dave has built up my expectations to Sheena Ringo-like proportions.
No pressure, though, Kim.
TIP Directors
audition
Okay, well, this isn't really an audition, per se. But then again it kind of is.
Tokyo International Players is looking for directors for next season (2004-2005). So if you have an idea for a play or musical that you'd like to direct, please go here for details. You can submit as many shows as your little heart desires; just make sure to do it before the interview dates specified on the site. Don't hesitate if you've never worked with TIP before. They're eager to welcome new volunteers all the time.
Just...you know...no plastic pants.
Okay, well, this isn't really an audition, per se. But then again it kind of is.
Tokyo International Players is looking for directors for next season (2004-2005). So if you have an idea for a play or musical that you'd like to direct, please go here for details. You can submit as many shows as your little heart desires; just make sure to do it before the interview dates specified on the site. Don't hesitate if you've never worked with TIP before. They're eager to welcome new volunteers all the time.
Just...you know...no plastic pants.
Rent
theatre
I'll tell you a secret if you promise not to laugh. Okay? You have to promise because it's kind of embarrassing and I don't know if I want this to get around. So, okay? You ready? Here it goes.
I like showtunes.
Shut up. I do. I like them a lot. The cheesier, the better. The floppier, the more awesome. In fact, if the show just barely made it past previews despite a whole lot of hype, then chances are that I have a live bootleg recording of it sitting somewhere in my parents' garage. I like Carrie: The Musical, based on the Stephen King novel. (Sample lyrics: "God has seen your sinning/ Just beginning/ Pray for your salvation/From damnation!") I like Merlin, starring magic-freak-boy Doug Henning (ahem, rest in peace) and Chita Rivera singing a song called "Satan Rules" ("Satan rules/ We both know it/You're a fool/And I'll show it.") And any musical with the word "zombie" in the title automatically makes it onto my list of must-haves.
I haven't been able to feed this obsession very much since coming to Japan because, as funny as Japanese musicals probably are, I only ever get any real joy out of laughing at the lyrics. But fortunately for me (and probably not for anyone else), the only English-language musicals that come to town are usually serious cheese-fests, written with a stick of mozzarella on a sheet of brie. Disagree with me if you must, but I think Rent could fit that description quite nicely. It was not a flop by any stretch of the imagination, having won numerous Tonys and a Pulitzer Prize in 1996. But any musical that pleads for "no plastic pants" in its audition notices is fine by me. (I really wonder how many people came to audition in plastic pants for that to become a problem.) More over, the opera on which it was based, La Boheme, isn't exactly high art itself (though it does have its moments); so expect weepy love songs, struggling artistes and a manipulative death scene. (New Year's Resolution #34: Try not to be so cynical all the time.)
I've already tricked one person into coming to see the show with me, so don't worry your pretty little head about keeping me company (not that you ever do). Rent, which (I gather from here) will be sung in English with Japanese supertitles, runs from 12-18 February at Tokyo Kouseinenkin Kaikan in Shinjuku, and the weekend tickets are already selling out pretty quickly. "Breakthrough Seats" can be purchased for 6000 yen (normally priced between 8000 and 11,000 yen) on the day of the shows, depending on seat availability.
I'll tell you a secret if you promise not to laugh. Okay? You have to promise because it's kind of embarrassing and I don't know if I want this to get around. So, okay? You ready? Here it goes.
I like showtunes.
Shut up. I do. I like them a lot. The cheesier, the better. The floppier, the more awesome. In fact, if the show just barely made it past previews despite a whole lot of hype, then chances are that I have a live bootleg recording of it sitting somewhere in my parents' garage. I like Carrie: The Musical, based on the Stephen King novel. (Sample lyrics: "God has seen your sinning/ Just beginning/ Pray for your salvation/From damnation!") I like Merlin, starring magic-freak-boy Doug Henning (ahem, rest in peace) and Chita Rivera singing a song called "Satan Rules" ("Satan rules/ We both know it/You're a fool/And I'll show it.") And any musical with the word "zombie" in the title automatically makes it onto my list of must-haves.
I haven't been able to feed this obsession very much since coming to Japan because, as funny as Japanese musicals probably are, I only ever get any real joy out of laughing at the lyrics. But fortunately for me (and probably not for anyone else), the only English-language musicals that come to town are usually serious cheese-fests, written with a stick of mozzarella on a sheet of brie. Disagree with me if you must, but I think Rent could fit that description quite nicely. It was not a flop by any stretch of the imagination, having won numerous Tonys and a Pulitzer Prize in 1996. But any musical that pleads for "no plastic pants" in its audition notices is fine by me. (I really wonder how many people came to audition in plastic pants for that to become a problem.) More over, the opera on which it was based, La Boheme, isn't exactly high art itself (though it does have its moments); so expect weepy love songs, struggling artistes and a manipulative death scene. (New Year's Resolution #34: Try not to be so cynical all the time.)
I've already tricked one person into coming to see the show with me, so don't worry your pretty little head about keeping me company (not that you ever do). Rent, which (I gather from here) will be sung in English with Japanese supertitles, runs from 12-18 February at Tokyo Kouseinenkin Kaikan in Shinjuku, and the weekend tickets are already selling out pretty quickly. "Breakthrough Seats" can be purchased for 6000 yen (normally priced between 8000 and 11,000 yen) on the day of the shows, depending on seat availability.
Friday, October 31, 2003
Jamaican Cheek et al
music
It seems like I don't pay that much attention to Japanese music, doesn't it? I guess that's mostly true. Can't develop enough patience for J-Pop. But I do wander into live houses every now and again to see what the kids are doing with their time.
Last Sunday it was KIASMA vol. 8 at Basement Bar in Shimokitazawa, and despite the heavy smoke that stuck to my skin and attacked my eyeballs, I'm really glad I went. Although The Lonesome Port was headlining, it seemed like most people were there to see a girl band called P-Heavy. They were...uh...okay. No worse than a few of the other bands that night.
Before I go any further, let me make clear that I know fuck-all about making music. My aspirations to become a rock star ended with the harsh realization that all I know how to do is sing. Opera. I suck. That said, some bands just aren't...good. And even if they know their instruments and can display impressive skills, there's no changing the fact that the music they create lacks depth and/or intelligence.
P-Heavy was fun. They had glittery guitars and matching outfits. What's more, they were cute. Who doesn't want to watch cute girls with guitars? Anyone? No? That's what I thought. Thing is, I couldn't get over the feeling that they were little more than a novelty act. It pains me to write that. Having never quite recovered from seeing Not Bad for a Girl several years ago, I've so desperately wanted to see more female musicians prove themselves. And if P-Heavy stood on their own, I might have been a tad more optimistic on their behalf. But that wasn't about to happen when they were being followed by a band with real talent and a stronger sound, Jamaican Cheek.
Despite their rather unfortunate name, Jamaican Cheek rocked my world for about half an hour. Their music was certainly calmer, and maybe that's one of the reasons I liked them; I'm getting old. They didn't need to kick and scream for attention, nor use bright colors and shiny effects. They just played. It was layered, complex and innovative while still managing to be playful and memorable. I don't know what more I need to say to let you know that I really liked them. Really. I did. I liked Lonesome Port too, but not nearly as much as Jamaican Cheek. They were brilliant.
Or maybe I was just completely sloshed by then.
Well, we could find out soon because they're playing again at MANDA-LA2 in Kichijoji on the 6th. Also playing that night are Hacca and Zettaimu (you can hear some of their music here). The music starts at 7:30 and admission is 1800 yen plus one drink. Feel free to tell me if you think I've lost my mind.
It seems like I don't pay that much attention to Japanese music, doesn't it? I guess that's mostly true. Can't develop enough patience for J-Pop. But I do wander into live houses every now and again to see what the kids are doing with their time.
Last Sunday it was KIASMA vol. 8 at Basement Bar in Shimokitazawa, and despite the heavy smoke that stuck to my skin and attacked my eyeballs, I'm really glad I went. Although The Lonesome Port was headlining, it seemed like most people were there to see a girl band called P-Heavy. They were...uh...okay. No worse than a few of the other bands that night.
Before I go any further, let me make clear that I know fuck-all about making music. My aspirations to become a rock star ended with the harsh realization that all I know how to do is sing. Opera. I suck. That said, some bands just aren't...good. And even if they know their instruments and can display impressive skills, there's no changing the fact that the music they create lacks depth and/or intelligence.
P-Heavy was fun. They had glittery guitars and matching outfits. What's more, they were cute. Who doesn't want to watch cute girls with guitars? Anyone? No? That's what I thought. Thing is, I couldn't get over the feeling that they were little more than a novelty act. It pains me to write that. Having never quite recovered from seeing Not Bad for a Girl several years ago, I've so desperately wanted to see more female musicians prove themselves. And if P-Heavy stood on their own, I might have been a tad more optimistic on their behalf. But that wasn't about to happen when they were being followed by a band with real talent and a stronger sound, Jamaican Cheek.
Despite their rather unfortunate name, Jamaican Cheek rocked my world for about half an hour. Their music was certainly calmer, and maybe that's one of the reasons I liked them; I'm getting old. They didn't need to kick and scream for attention, nor use bright colors and shiny effects. They just played. It was layered, complex and innovative while still managing to be playful and memorable. I don't know what more I need to say to let you know that I really liked them. Really. I did. I liked Lonesome Port too, but not nearly as much as Jamaican Cheek. They were brilliant.
Or maybe I was just completely sloshed by then.
Well, we could find out soon because they're playing again at MANDA-LA2 in Kichijoji on the 6th. Also playing that night are Hacca and Zettaimu (you can hear some of their music here). The music starts at 7:30 and admission is 1800 yen plus one drink. Feel free to tell me if you think I've lost my mind.
Moses Stone
travel update
You know that Ten Commandments stone I mentioned way back in June as part of the Grand Religious Tour of Japan? Apparently, they only wheel that sucker out once a year during their shrine's big autumnal festival.
Fortunately, that festival is coming up this weekend! Unfortunately, I just found out that "only special members" are allowed to see the stone and the shrine's other "treasures." A friend of mine called them up for me and talked to a woman who works there, and she claims that the woman was sort of mean and guarded. "She must get a lot of calls from people who want to laugh at them," I was told.
Okay, guilty.
But you know what? It's not like I would have laughed at them to their faces or anything. I think part of me could have taken this seriously, like any other religion. Believe it or not, I'm still capable of showing respect to people of faith. Ah, well.
If anyone is still interested, the shrine's website can tell you more. And if you do go, you can still see the shrine itself, the festival (on Monday), and you can buy your very own copy of the Takeuchi book, which (as I mentioned before) is the one with claims about Jesus and other teachers coming to study in Japan.
You know that Ten Commandments stone I mentioned way back in June as part of the Grand Religious Tour of Japan? Apparently, they only wheel that sucker out once a year during their shrine's big autumnal festival.
Fortunately, that festival is coming up this weekend! Unfortunately, I just found out that "only special members" are allowed to see the stone and the shrine's other "treasures." A friend of mine called them up for me and talked to a woman who works there, and she claims that the woman was sort of mean and guarded. "She must get a lot of calls from people who want to laugh at them," I was told.
Okay, guilty.
But you know what? It's not like I would have laughed at them to their faces or anything. I think part of me could have taken this seriously, like any other religion. Believe it or not, I'm still capable of showing respect to people of faith. Ah, well.
If anyone is still interested, the shrine's website can tell you more. And if you do go, you can still see the shrine itself, the festival (on Monday), and you can buy your very own copy of the Takeuchi book, which (as I mentioned before) is the one with claims about Jesus and other teachers coming to study in Japan.
Wednesday, October 29, 2003
Dems Abroad
event
This'll be quick. And if you're neither a U.S. voter nor interested in U.S. politics, don't bother. (But if you're a U.S. voter who still isn't interested, pay attention for once, Billy Bob.)
Before my state's last gubernatorial election, I quite possibly gave the voters more credit than they deserved. "They're smarter than that," I told my Japanese friends. "There's no way in hell they'd think Schwarzamacallit was a good idea." But as Beth once put it, some people are too stupid for democracy.
That's how I feel now. Frustrated and seriously disheartened that the majority of eligible voters don't care enough to take this shit seriously. Hopefully, everyone will wise up by the time the next presidential election comes around. And guess what? Tomorrow night is one of many chances you have from this side of the Pacific.
At Pink Cow, Democrats Abroad will be holding a fundraiser called "Vote America Out of the Bushes." They'll be viewing the Democrat candidate debate from October 9th, hoping to inspire voters to find a man or woman to represent them against Karl Rove's puppet in 2004. And just because a lot of people are saying "Anyone would be better than Bush," that still doesn't mean we can slack off from giving it some real thought.
If you're registered as a Democrat, this'll give you a good opportunity to meet like-minded folks and get involved in campaigning to the ten or eleven other Americans in Japan. (Obviously, I pulled that number out of my ass. I have no idea how many there really are.) If you're registered under another party but aren't a stickler for party lines, you're still very welcome to attend. And if you're not registered at all, they can hook you up.
And if encouragement doesn't do it, how about fear? Four more years?
This'll be quick. And if you're neither a U.S. voter nor interested in U.S. politics, don't bother. (But if you're a U.S. voter who still isn't interested, pay attention for once, Billy Bob.)
Before my state's last gubernatorial election, I quite possibly gave the voters more credit than they deserved. "They're smarter than that," I told my Japanese friends. "There's no way in hell they'd think Schwarzamacallit was a good idea." But as Beth once put it, some people are too stupid for democracy.
That's how I feel now. Frustrated and seriously disheartened that the majority of eligible voters don't care enough to take this shit seriously. Hopefully, everyone will wise up by the time the next presidential election comes around. And guess what? Tomorrow night is one of many chances you have from this side of the Pacific.
At Pink Cow, Democrats Abroad will be holding a fundraiser called "Vote America Out of the Bushes." They'll be viewing the Democrat candidate debate from October 9th, hoping to inspire voters to find a man or woman to represent them against Karl Rove's puppet in 2004. And just because a lot of people are saying "Anyone would be better than Bush," that still doesn't mean we can slack off from giving it some real thought.
If you're registered as a Democrat, this'll give you a good opportunity to meet like-minded folks and get involved in campaigning to the ten or eleven other Americans in Japan. (Obviously, I pulled that number out of my ass. I have no idea how many there really are.) If you're registered under another party but aren't a stickler for party lines, you're still very welcome to attend. And if you're not registered at all, they can hook you up.
And if encouragement doesn't do it, how about fear? Four more years?
Belle and Sebastian
music
Holy shit. Belle and Sebastian are coming back.
I can't tell you how excited I am about that. I've been re-discovering them this past year and practically devoured "Dear Catastrophe Waitress" when it came out last month. (Er...it's possible to devour things with your ears, right? Never mind.) I just missed their California concerts and the scavenger hunts that preceded them by about a week and almost cried. So I...oh crap. Crap! I'm going to be busy on both nights! CRAP!
Someone please remind me to never ever ever be in another play again. I'll be shedding tears those nights and they just might be real. Frickin'-frackin' play...
Okay, so for you lucky bastards (crap!), they'll be playing at Shibuya AX on 28 January and at Koukaido on 29 January. You can pre-order tickets between the 10th and 12th of November, but they officially go on sale starting on the 15th.
I hate you. I hate you all.
Holy shit. Belle and Sebastian are coming back.
I can't tell you how excited I am about that. I've been re-discovering them this past year and practically devoured "Dear Catastrophe Waitress" when it came out last month. (Er...it's possible to devour things with your ears, right? Never mind.) I just missed their California concerts and the scavenger hunts that preceded them by about a week and almost cried. So I...oh crap. Crap! I'm going to be busy on both nights! CRAP!
Someone please remind me to never ever ever be in another play again. I'll be shedding tears those nights and they just might be real. Frickin'-frackin' play...
Okay, so for you lucky bastards (crap!), they'll be playing at Shibuya AX on 28 January and at Koukaido on 29 January. You can pre-order tickets between the 10th and 12th of November, but they officially go on sale starting on the 15th.
I hate you. I hate you all.
Tuesday, October 28, 2003
Andrzej and Rough Trade
music
I don't know if he'll mind my mentioning this, but my friend Andrzej's playing a short set at Night-in-gales tonight from 9pm. It's sort of a last minute thing and he probably doesn't want to make a big "to do" about it. I just thought that, if I haven't seen you in a while, this would be a good excuse before I get good-and-busy preparing for the next play. I really like what I've heard of his music so far; it shouldn't have come as a surprise when I recently found out that we listen to a lot of the same artists. And he's got an amazing singing voice. Ask anyone who has ever heard him so much as hum two notes.
So. There it is. Let's get drunk at Golden Gai and repeatedly yell at Andrzej to "Play 'Freebird'!" until he kicks us out.
I also wanted to send out the reminder that tickets have already gone on sale for British Sea Power and The Delays, who will be playing together at Shibuya Club Quattro [map] on 18 December. It's a Rough Trade night! Whee. I guess this fits in with my secret plan to see every weirdo indie-label band to hit Tokyo. From British Sea Power's Rough Trade bio:
Though courteous and hygienic when licking stamps and ordering general provisions, once placed upon the concert stage they are remarkable in their actions: quick of foot and unafraid in their movements.
Their live shows are legendary, with band members often dressed in costumes and giving as much fire and energy to you as their tiny little English bodies can handle. They cover the stage with plastic animals and plants—bringing together the worlds of rock'n'roll and fake wildlife—and their shows often end in a "visceral chaos akin more to performance art than rock music."
It's not all gimmicks and stage antics, however. As put by Pitchfork Media, "BSP have the song-power to back up their bullshit." Listen closely, and you'll find a group of true musicians...just, you know, "true musicians" who like to have fun. Nothing wrong with that.
I don't know if he'll mind my mentioning this, but my friend Andrzej's playing a short set at Night-in-gales tonight from 9pm. It's sort of a last minute thing and he probably doesn't want to make a big "to do" about it. I just thought that, if I haven't seen you in a while, this would be a good excuse before I get good-and-busy preparing for the next play. I really like what I've heard of his music so far; it shouldn't have come as a surprise when I recently found out that we listen to a lot of the same artists. And he's got an amazing singing voice. Ask anyone who has ever heard him so much as hum two notes.
So. There it is. Let's get drunk at Golden Gai and repeatedly yell at Andrzej to "Play 'Freebird'!" until he kicks us out.
I also wanted to send out the reminder that tickets have already gone on sale for British Sea Power and The Delays, who will be playing together at Shibuya Club Quattro [map] on 18 December. It's a Rough Trade night! Whee. I guess this fits in with my secret plan to see every weirdo indie-label band to hit Tokyo. From British Sea Power's Rough Trade bio:
Though courteous and hygienic when licking stamps and ordering general provisions, once placed upon the concert stage they are remarkable in their actions: quick of foot and unafraid in their movements.
Their live shows are legendary, with band members often dressed in costumes and giving as much fire and energy to you as their tiny little English bodies can handle. They cover the stage with plastic animals and plants—bringing together the worlds of rock'n'roll and fake wildlife—and their shows often end in a "visceral chaos akin more to performance art than rock music."
It's not all gimmicks and stage antics, however. As put by Pitchfork Media, "BSP have the song-power to back up their bullshit." Listen closely, and you'll find a group of true musicians...just, you know, "true musicians" who like to have fun. Nothing wrong with that.
Monday, October 27, 2003
Grad Schools
event
I'm still in mourning, but I'm in mourning while trying to be a productive person.
I've just about had it with this extended vacation I've been calling "living in Tokyo" and I'm a-fixin' to go to grad school. I've been considering U.K. universities because most programs only take a year of full-time studying, but my co-worker has also planted the idea of Australian universities in my head...even though big bugs live there. (While I haven't been entirely convinced by his argument "We could hang out!" the cost of living isn't as daunting as that of the U.K.)
My point? Oh, right. Next week there'll be an international education fair in Tokyo for people considering postgraduate studies. It'll take place on 7 November at the Four Seasons Hotel Tokyo [map] from 5pm to 9pm. You can register here and a partial list of participating schools can be found here.
Who's with me? Let's blow this popsicle stand.
I'm still in mourning, but I'm in mourning while trying to be a productive person.
I've just about had it with this extended vacation I've been calling "living in Tokyo" and I'm a-fixin' to go to grad school. I've been considering U.K. universities because most programs only take a year of full-time studying, but my co-worker has also planted the idea of Australian universities in my head...even though big bugs live there. (While I haven't been entirely convinced by his argument "We could hang out!" the cost of living isn't as daunting as that of the U.K.)
My point? Oh, right. Next week there'll be an international education fair in Tokyo for people considering postgraduate studies. It'll take place on 7 November at the Four Seasons Hotel Tokyo [map] from 5pm to 9pm. You can register here and a partial list of participating schools can be found here.
Who's with me? Let's blow this popsicle stand.
Thursday, October 23, 2003
Tuesday, October 14, 2003
Pole Pole
film
Remember how I whinged about how BOX Higashi-Nakano shut down just when we were getting to know each other? It was mostly for naught because Theater Pole Pole is still taking it upon themselves to fill our lives with indie film goodness at the exact same location.
For most of this month, the late shows are "Rock Films," which are mostly concert films and documentaries featuring—what else?—rocks. Or, uh, something. The first three in this program (The Filth and the Fury, Stop Making Sense and Year of the Horse) came and went while I wasn't looking, but I'm hoping to find time for the next two: Jimi Hendrix (playing from today to the 17th) and Message to Love: The Isle of Wight Festival (playing from the 18th to the 20th and considered a turning point in rock history).
It's probably a faux pas to admit that I'm not a huge Jimi Hendrix fan. But I am a sucker for biographical documentaries, especially if they're all bitchy-like a la those VH1 dealies. And speaking of bitchy-like, I live for the IMDB user comments. One described Message to Love as:
A very entertaining look at naive hippiedom. The glimpses and interviews with the not-so-well-groomed attendees are often hilarious (unintentionally) and sometimes heartbreaking. (A man admits to regularly giving his 3 year old son acid and marijuana.) The hippyspeak is also very enjoyable. The word "money" is never used—it's always "bread, man." The hippies feel that they have an entitlement to free music, (It was only £3 to get in. Boy, hippies were cheap), while the promoters claim that they are just trying to break even.
Only 50,000 of the 600,000 attendees paid to get in, turning the festival into a financial disaster, so we get to watch the slow disintegration of promoter/MC Rikki Farr. After dealing with gate-crashers, greedy managers and mostly mediocre performances, Farr has a breakdown on stage and releases a diatribe on the crowd, calling them "pigs" and compounding the animosity between promoters and audience. So, despite performances by The Who, The Doors (months before Morrison's death), Joni Mitchell, Joan Baez, Miles Davis, Leonard Cohen and a drugged-out Jimi Hendrix (weeks before his death), the real draw here is in how the film documents "the decline of '60s idealism in the face of cutthroat capitalism." Forget Woodstock.
Also, I've already seen the last film in the Rock Film program, Martin Scorsese's The Last Waltz. But I thought I'd mention it in case someone's interested.
Admission to Theater Pole Pole is 1500 yen, and all of the films mentioned here start at 9:10 in the evening.
Remember how I whinged about how BOX Higashi-Nakano shut down just when we were getting to know each other? It was mostly for naught because Theater Pole Pole is still taking it upon themselves to fill our lives with indie film goodness at the exact same location.
For most of this month, the late shows are "Rock Films," which are mostly concert films and documentaries featuring—what else?—rocks. Or, uh, something. The first three in this program (The Filth and the Fury, Stop Making Sense and Year of the Horse) came and went while I wasn't looking, but I'm hoping to find time for the next two: Jimi Hendrix (playing from today to the 17th) and Message to Love: The Isle of Wight Festival (playing from the 18th to the 20th and considered a turning point in rock history).
It's probably a faux pas to admit that I'm not a huge Jimi Hendrix fan. But I am a sucker for biographical documentaries, especially if they're all bitchy-like a la those VH1 dealies. And speaking of bitchy-like, I live for the IMDB user comments. One described Message to Love as:
A very entertaining look at naive hippiedom. The glimpses and interviews with the not-so-well-groomed attendees are often hilarious (unintentionally) and sometimes heartbreaking. (A man admits to regularly giving his 3 year old son acid and marijuana.) The hippyspeak is also very enjoyable. The word "money" is never used—it's always "bread, man." The hippies feel that they have an entitlement to free music, (It was only £3 to get in. Boy, hippies were cheap), while the promoters claim that they are just trying to break even.
Only 50,000 of the 600,000 attendees paid to get in, turning the festival into a financial disaster, so we get to watch the slow disintegration of promoter/MC Rikki Farr. After dealing with gate-crashers, greedy managers and mostly mediocre performances, Farr has a breakdown on stage and releases a diatribe on the crowd, calling them "pigs" and compounding the animosity between promoters and audience. So, despite performances by The Who, The Doors (months before Morrison's death), Joni Mitchell, Joan Baez, Miles Davis, Leonard Cohen and a drugged-out Jimi Hendrix (weeks before his death), the real draw here is in how the film documents "the decline of '60s idealism in the face of cutthroat capitalism." Forget Woodstock.
Also, I've already seen the last film in the Rock Film program, Martin Scorsese's The Last Waltz. But I thought I'd mention it in case someone's interested.
Admission to Theater Pole Pole is 1500 yen, and all of the films mentioned here start at 9:10 in the evening.
Monday, October 06, 2003
Super Furry Animals
music
My sister thinks I'm weird.
I can't tell you how disturbing that is to me. We grew up together; she's supposed to think I'm normal. In fact, when you're feeling like a bit of an outsider and holding back so as not to scare off other people, shouldn't you at least be able to find acceptance from those with whom you spent your childhood? Besides, my quirks aren't that weird. I mumble to myself, speak in gibberish and write sonnets about my knee. Big deal. Who doesn't?
You want weird? I'll give you weird. How about Super Furry Animals? They're playing at Shinjuku's Liquid Room next month to a sold out show on the 17th and soon-to-be-sold out thingamajigger on the 18th. At this point, I am so overwhelmed by the wackiness that I'm going to have to rely on someone else to explain it to you. From PopMatters:
The Welsh band's 2001 opus Rings Around the World was one of the only sparkling musical moments in what was an incredibly crappy, depressing year. You had robotic Marvin Gaye tributes, Beach Boys harmonies, a blatant ELO imitation, wild moments of techno noise, and the ultimate piece de resistance, the sound of Paul McCartney rhythmically chewing carrots and celery. It was a psychotic masterpiece of an album, proof that there was at least one band on this planet willing to do anything they could in an effort to put out the greatest rock record ever made.
I don't see any reason for you not to be won over by now.
While it's true that with Phantom Power they go mellower, eccentricities still abound and their music continues to be great fun. I've never seen them live. Though they played in L.A. while I was there, I didn't feel I could ask any more of my sister than I already had. So I'm happy to get the chance in November. Their concerts are said to be multimedia extravaganzas with social/political commentary, incredible sounds and sometimes even yetis.
If you aren't acquainted with the craziness of the Super Furry Animals, they have people dress up as yetis and come onstage and play the instruments, especially the drums and the bongos. Everyone loves the yetis, they make us laugh like nothing else, and there's always some stoned kid who is a virgin to Furries gigs and is looking at the yetis and then looking at everyone else, as if to say "Is it just me who sees that?" no mate, it isn't, and the yetis as usual bang out a bossy, funky and extremely dancey track which everyone loves. It's my dream to be a yeti. A bass-playing yeti. There's also a man in an inflatable space suit onstage at one point.
I do believe I'm in love.
Again, Super Furry Animals will be playing two shows at the Liquid Room in Shinjuku (on 17 and 18 November) and one in Osaka (on the 20th) before moving on to their tour of Australia and New Zealand. Advanced tickets are 6000 yen and all Japan shows start at 7pm.
My sister thinks I'm weird.
I can't tell you how disturbing that is to me. We grew up together; she's supposed to think I'm normal. In fact, when you're feeling like a bit of an outsider and holding back so as not to scare off other people, shouldn't you at least be able to find acceptance from those with whom you spent your childhood? Besides, my quirks aren't that weird. I mumble to myself, speak in gibberish and write sonnets about my knee. Big deal. Who doesn't?
You want weird? I'll give you weird. How about Super Furry Animals? They're playing at Shinjuku's Liquid Room next month to a sold out show on the 17th and soon-to-be-sold out thingamajigger on the 18th. At this point, I am so overwhelmed by the wackiness that I'm going to have to rely on someone else to explain it to you. From PopMatters:
The Welsh band's 2001 opus Rings Around the World was one of the only sparkling musical moments in what was an incredibly crappy, depressing year. You had robotic Marvin Gaye tributes, Beach Boys harmonies, a blatant ELO imitation, wild moments of techno noise, and the ultimate piece de resistance, the sound of Paul McCartney rhythmically chewing carrots and celery. It was a psychotic masterpiece of an album, proof that there was at least one band on this planet willing to do anything they could in an effort to put out the greatest rock record ever made.
I don't see any reason for you not to be won over by now.
While it's true that with Phantom Power they go mellower, eccentricities still abound and their music continues to be great fun. I've never seen them live. Though they played in L.A. while I was there, I didn't feel I could ask any more of my sister than I already had. So I'm happy to get the chance in November. Their concerts are said to be multimedia extravaganzas with social/political commentary, incredible sounds and sometimes even yetis.
If you aren't acquainted with the craziness of the Super Furry Animals, they have people dress up as yetis and come onstage and play the instruments, especially the drums and the bongos. Everyone loves the yetis, they make us laugh like nothing else, and there's always some stoned kid who is a virgin to Furries gigs and is looking at the yetis and then looking at everyone else, as if to say "Is it just me who sees that?" no mate, it isn't, and the yetis as usual bang out a bossy, funky and extremely dancey track which everyone loves. It's my dream to be a yeti. A bass-playing yeti. There's also a man in an inflatable space suit onstage at one point.
I do believe I'm in love.
Again, Super Furry Animals will be playing two shows at the Liquid Room in Shinjuku (on 17 and 18 November) and one in Osaka (on the 20th) before moving on to their tour of Australia and New Zealand. Advanced tickets are 6000 yen and all Japan shows start at 7pm.
Friday, October 03, 2003
Mako Idemitsu
video art
How's your Japanese?
On the 19th of this month Phaidros Cafe will be showing three works by Mako Idemitsu, a pioneer in the fields of experimental film and video art in Japan. Once upon a time I wasn't sure feminism even existed in this country, but of course I now see that Idemitsu's is just one of the many voices that provide evidence to the contrary.
Don't let the description of the first video, "What a Woman Made" (1973), scare you off. "While this video show the beautiful tampons which after used the story tell you about how girls become a wamen." Heh. Good times.
It's just one of Idemitsu's earlier pieces. At Phaidros, we would get to see how her work evolved from that with her videos "Yoji, What's Wrong with You?" (1987) and her most recent work "Kae, Act Like a Girl!" (1996). In the former, she presents an Oedipal narrative in which a mother, who has failed to create an identity of her own, clings to her son and comes to destroy his life. The identity of housewives and the roles of mothers and children in Japanese society are recurring themes in Idemitsu's works, showing up most notably in "Another Day of a Housewife" and the Great Mother series.
With "Kae, Act Like a Girl!" Idemitsu admits to have been inspired by Simone de Beauvoir's claim in The Second Sex that "One is not born a woman; one becomes one." It's a strange narrative of a woman artist who internalizes those external voices of doubt telling her, for example, that she should give up being an artist or that women can be creative by having babies instead. Idemitsu plays on her signature technique, "'Mako style,' where a person's inner world is projected onto a small monitor installed on a larger screen." But, here, those monitors show abstract images and colors, while Kae's "inner world" is expanded to other surfaces, "the large canvas Kae is working on or the dishes she is washing in the kitchen sink." And by using highly artificial sets, strange lighting, awkward sounds and unusual movement, Idemitsu is not merely presenting the viewer with familiar realities, but placing them "at a distance where they can be considered more objectively."
Again, these videos will be presented by independent curator Kumiko Sejima at Phaidros Cafe on 19 October starting at 8pm. Admission is 1200 yen and includes one drink. They also serve food, but (if I remember correctly) only after the screenings. I know you know I can't go to this (I'll be sitting in a dark, cramped space in Akasaka), but I would if I could. So please let me live vicariously.
How's your Japanese?
On the 19th of this month Phaidros Cafe will be showing three works by Mako Idemitsu, a pioneer in the fields of experimental film and video art in Japan. Once upon a time I wasn't sure feminism even existed in this country, but of course I now see that Idemitsu's is just one of the many voices that provide evidence to the contrary.
Don't let the description of the first video, "What a Woman Made" (1973), scare you off. "While this video show the beautiful tampons which after used the story tell you about how girls become a wamen." Heh. Good times.
It's just one of Idemitsu's earlier pieces. At Phaidros, we would get to see how her work evolved from that with her videos "Yoji, What's Wrong with You?" (1987) and her most recent work "Kae, Act Like a Girl!" (1996). In the former, she presents an Oedipal narrative in which a mother, who has failed to create an identity of her own, clings to her son and comes to destroy his life. The identity of housewives and the roles of mothers and children in Japanese society are recurring themes in Idemitsu's works, showing up most notably in "Another Day of a Housewife" and the Great Mother series.
With "Kae, Act Like a Girl!" Idemitsu admits to have been inspired by Simone de Beauvoir's claim in The Second Sex that "One is not born a woman; one becomes one." It's a strange narrative of a woman artist who internalizes those external voices of doubt telling her, for example, that she should give up being an artist or that women can be creative by having babies instead. Idemitsu plays on her signature technique, "'Mako style,' where a person's inner world is projected onto a small monitor installed on a larger screen." But, here, those monitors show abstract images and colors, while Kae's "inner world" is expanded to other surfaces, "the large canvas Kae is working on or the dishes she is washing in the kitchen sink." And by using highly artificial sets, strange lighting, awkward sounds and unusual movement, Idemitsu is not merely presenting the viewer with familiar realities, but placing them "at a distance where they can be considered more objectively."
Again, these videos will be presented by independent curator Kumiko Sejima at Phaidros Cafe on 19 October starting at 8pm. Admission is 1200 yen and includes one drink. They also serve food, but (if I remember correctly) only after the screenings. I know you know I can't go to this (I'll be sitting in a dark, cramped space in Akasaka), but I would if I could. So please let me live vicariously.
Wednesday, October 01, 2003
Blithe Spirit and True West
theatre
You know what I hate? I hate when entertainment writers use Shakespeare quotes to make dorky headlines. Like "All the World's a Stage!" or "The Play's the Thing!"
But, um, yeah. The...uh...Play's the...um. Thing.
This month, anyway. There are two English-language plays being performed in Tokyo in October. The first is TIP's production of Noel Coward's Blithe Spirit, playing from the 9th to the 11th at their regular venue, Tokyo American Club [map]. It's being directed by John Owens, who directed last season's Amadeus. And Owens must have a talent for casting because, once again, the ensemble is all kinds of fabulous. While I'm looking forward to the performance of the entire cast, I have to admit that I'm especially excited to see Rachel Walzer as Elvira since I thought she was so hilarious in What the Butler Saw. Every second spent watching her is a second that you learn something new about the character. Damn funny, that broad. I can only go to the Thursday show, so if that sounds good to you, let me know.
The other play is Sam Shepard's True West, which is being presented by Sometimes Y Theatre and White Monkey Productions. I'm assuming people don't know that this here is just a simple, private weblog being run by one (lazy) person, and that that's why people keep sending me press releases. It's okay; it makes me feel important. But anyway, yeah, they sent me two press releases for this play. I'm about to out myself right now and admit that I'm doing props for them. (Yeah. Hi. It's me.) So you guys don't need to send me anymore stuff, okay? I totally know already.
True West will star Robert Tsonos (who directed TIP's production of Dial 'M' for Murder last season) and Matt Lagan (who starred in aforementioned production and was reportedly brilliant...not that I know or anything because I wasn't even here for that), and is being directed by one of my favorite people, David Neale. David directed TIP's Godspell a couple of years ago. I'm not a fan of that musical and I expected it to be totally stupid before I saw it. But you know what? It turned out to be amazingly good. I didn't even feel alienated by all that Jesus-love. It was really fucking cool. For a musical, that is.
True West will be performed from the 15th to the 19th (7:30 pm every night, with weekend matinees at 2 pm) at Studio Akasaka Playbox, where Intrigue Theatre has been performing a lot lately. So you can find access information on their site. Tickets are 4000 yen, but for the Sunday matinee, it's "pay what you can." And you can call 090-9130-5305 or e-mail true.west@encorekk.com for tickets. Make sure to say "hi" to the props mistress.
You know what I hate? I hate when entertainment writers use Shakespeare quotes to make dorky headlines. Like "All the World's a Stage!" or "The Play's the Thing!"
But, um, yeah. The...uh...Play's the...um. Thing.
This month, anyway. There are two English-language plays being performed in Tokyo in October. The first is TIP's production of Noel Coward's Blithe Spirit, playing from the 9th to the 11th at their regular venue, Tokyo American Club [map]. It's being directed by John Owens, who directed last season's Amadeus. And Owens must have a talent for casting because, once again, the ensemble is all kinds of fabulous. While I'm looking forward to the performance of the entire cast, I have to admit that I'm especially excited to see Rachel Walzer as Elvira since I thought she was so hilarious in What the Butler Saw. Every second spent watching her is a second that you learn something new about the character. Damn funny, that broad. I can only go to the Thursday show, so if that sounds good to you, let me know.
The other play is Sam Shepard's True West, which is being presented by Sometimes Y Theatre and White Monkey Productions. I'm assuming people don't know that this here is just a simple, private weblog being run by one (lazy) person, and that that's why people keep sending me press releases. It's okay; it makes me feel important. But anyway, yeah, they sent me two press releases for this play. I'm about to out myself right now and admit that I'm doing props for them. (Yeah. Hi. It's me.) So you guys don't need to send me anymore stuff, okay? I totally know already.
True West will star Robert Tsonos (who directed TIP's production of Dial 'M' for Murder last season) and Matt Lagan (who starred in aforementioned production and was reportedly brilliant...not that I know or anything because I wasn't even here for that), and is being directed by one of my favorite people, David Neale. David directed TIP's Godspell a couple of years ago. I'm not a fan of that musical and I expected it to be totally stupid before I saw it. But you know what? It turned out to be amazingly good. I didn't even feel alienated by all that Jesus-love. It was really fucking cool. For a musical, that is.
True West will be performed from the 15th to the 19th (7:30 pm every night, with weekend matinees at 2 pm) at Studio Akasaka Playbox, where Intrigue Theatre has been performing a lot lately. So you can find access information on their site. Tickets are 4000 yen, but for the Sunday matinee, it's "pay what you can." And you can call 090-9130-5305 or e-mail true.west@encorekk.com for tickets. Make sure to say "hi" to the props mistress.
Monday, September 29, 2003
Wha-?
how high the dandy
I am back and highly medicated, so I don't have anything for you today. After that long vacation, I was about to abandon this blog altogether because it seriously eats into the time at work that I like to reserve for daydreaming. But we seem to be over-staffed right now, so I guess I can do both.
Thanks to my sister for driving me around L.A. (even though she made us leave the Clientele and Jon Brion shows early—ack!) and thanks to my brother for pretending to understand my stupid made-up language. He's the only one who'll put up with my nonsense, and I miss him already.
In a couple of days, I'll post some stuff that you probably already know, so I'm sure you're not looking forward to it. I just need people to go with, even though I've mostly been going to these things alone, you lazy, no-money-spending bizzatches. (Note to self: do not post while on drugs.)
I have to ask, which one of you crazy bastards sent me this question?
I am back and highly medicated, so I don't have anything for you today. After that long vacation, I was about to abandon this blog altogether because it seriously eats into the time at work that I like to reserve for daydreaming. But we seem to be over-staffed right now, so I guess I can do both.
Thanks to my sister for driving me around L.A. (even though she made us leave the Clientele and Jon Brion shows early—ack!) and thanks to my brother for pretending to understand my stupid made-up language. He's the only one who'll put up with my nonsense, and I miss him already.
In a couple of days, I'll post some stuff that you probably already know, so I'm sure you're not looking forward to it. I just need people to go with, even though I've mostly been going to these things alone, you lazy, no-money-spending bizzatches. (Note to self: do not post while on drugs.)
I have to ask, which one of you crazy bastards sent me this question?
Monday, September 01, 2003
YIDFF
film
Those Athénée people made a liar out of me. Okay, this is the last post I'm writing before October. Athénée Français Cultural Center's contribution to the Yamagata International Documentary Film Festival does indeed have a schedule. I'm none too sharp, so I don't know if I overlooked it or if they put it up recently, but here's the English version. Match the numbers to the ones on this Japanese schedule to figure out what's playing when.
International Competition:
1. Once There Were Seven Simeons (YIDFF 1991 Runner-up Prize), Herz Frank / 1989 / 89 min
2. Hoop Dreams, Steve James / 1994 / 169 min
3. Father, Son and Holy War (YIDFF 1995 Special Prize), Anand Patwardhan / 1994 / 120 min
4. Chen Tsai-gen and His Neighbors, Wu Yii-feng / 1996 / 90 min
5. Alpine Ballad, Erich Langjahr / 1996 / 100 min
6. Return to the Tribes, Howie Severino / 1999 / 45 min
7. Please Give Me a Job, Yang Ming-hui / 1997 / 35 min
(May also be known as Songs of the Wanderer.)
8. 6 Easy Pieces (YIDFF 2001 Runner-up Prize), Jon Jost / 2000 / 68 min
9. The Land of the Wandering Souls (YIDFF 2001 The Robert and Frances Flaherty Prize), Rithy Panh / 2000 / 100 min
New Asian Currents:
10. Mysterious Object at Noon (YIDFF 2001 Runner-up Prize), Apichatpong Weerasethakul / 2000 / 83 min
11. A Season Outside, Amar Kanwar / 1997 / 30 min
12. King of Dreams, Amar Kanwar / 2001 / 30 min
13. Out of Phoenix Bridge (YIDFF 1997 Ogawa Shinsuke Prize), Li Hong / 1997 / 110 min
14. State of Dogs, Peter Brosens, Dorjkhandyn Turmunkh / 1998 / 88 min
15. Swimming on the Highway (YIDFF 1999 Ogawa Shinsuke Prize), Wu Yao-tung / 1998 / 49 min
16. More than One Is Unhappy (YIDFF 2001 Asia Award of Excellence), Wang Fen / 2000 / 45 min
17. Along the Railway (YIDFF 2001 Asia Special Prize), Du Haibin / 2000 / 125 min
A Newsreel Retrospective Primer:
18. Plain Talk & Common Sense (Uncommon Senses), Jon Jost / 1987 / 117 min
19. Route One/USA (YIDFF 1989 Mayor's Prize), Robert Kramer / 1989 / 255 min
20. Accelerated Development, Travis Wilkerson / 1999 / 56 min
A Special Invitation Films Primer:
21. Domestic Violence, Frederick Wiseman / 2001 / 195 min
Also, on the 9th, there'll be a discussion with Amir Muhammad, director of The Big Durian (showing at the festival in Yamagata) and Fujioka Asako, the Festival Coordinator.
Okay, that's it. No, really. I mean it this time.
Those Athénée people made a liar out of me. Okay, this is the last post I'm writing before October. Athénée Français Cultural Center's contribution to the Yamagata International Documentary Film Festival does indeed have a schedule. I'm none too sharp, so I don't know if I overlooked it or if they put it up recently, but here's the English version. Match the numbers to the ones on this Japanese schedule to figure out what's playing when.
International Competition:
1. Once There Were Seven Simeons (YIDFF 1991 Runner-up Prize), Herz Frank / 1989 / 89 min
2. Hoop Dreams, Steve James / 1994 / 169 min
3. Father, Son and Holy War (YIDFF 1995 Special Prize), Anand Patwardhan / 1994 / 120 min
4. Chen Tsai-gen and His Neighbors, Wu Yii-feng / 1996 / 90 min
5. Alpine Ballad, Erich Langjahr / 1996 / 100 min
6. Return to the Tribes, Howie Severino / 1999 / 45 min
7. Please Give Me a Job, Yang Ming-hui / 1997 / 35 min
(May also be known as Songs of the Wanderer.)
8. 6 Easy Pieces (YIDFF 2001 Runner-up Prize), Jon Jost / 2000 / 68 min
9. The Land of the Wandering Souls (YIDFF 2001 The Robert and Frances Flaherty Prize), Rithy Panh / 2000 / 100 min
New Asian Currents:
10. Mysterious Object at Noon (YIDFF 2001 Runner-up Prize), Apichatpong Weerasethakul / 2000 / 83 min
11. A Season Outside, Amar Kanwar / 1997 / 30 min
12. King of Dreams, Amar Kanwar / 2001 / 30 min
13. Out of Phoenix Bridge (YIDFF 1997 Ogawa Shinsuke Prize), Li Hong / 1997 / 110 min
14. State of Dogs, Peter Brosens, Dorjkhandyn Turmunkh / 1998 / 88 min
15. Swimming on the Highway (YIDFF 1999 Ogawa Shinsuke Prize), Wu Yao-tung / 1998 / 49 min
16. More than One Is Unhappy (YIDFF 2001 Asia Award of Excellence), Wang Fen / 2000 / 45 min
17. Along the Railway (YIDFF 2001 Asia Special Prize), Du Haibin / 2000 / 125 min
A Newsreel Retrospective Primer:
18. Plain Talk & Common Sense (Uncommon Senses), Jon Jost / 1987 / 117 min
19. Route One/USA (YIDFF 1989 Mayor's Prize), Robert Kramer / 1989 / 255 min
20. Accelerated Development, Travis Wilkerson / 1999 / 56 min
A Special Invitation Films Primer:
21. Domestic Violence, Frederick Wiseman / 2001 / 195 min
Also, on the 9th, there'll be a discussion with Amir Muhammad, director of The Big Durian (showing at the festival in Yamagata) and Fujioka Asako, the Festival Coordinator.
Okay, that's it. No, really. I mean it this time.
Yo La Tengo
music
Three things.
1) I updated my FAQs. Sort of. It's still thoroughly dull though, and I have only myself to blame.
2) This'll be the last post I write before I throw myself into the fire-y abyss, or as people who aren't drama queens like to say, "before I go to L.A." Please do not break into my apartment while I'm away. (The roaches will attack.) And if my plane crashes, please do not read my diary. Thank you.
3) Yo La Tengo's coming back to Japan! Yay! I can't tell you how much I love them...because frankly it's perverse. And, yes, I realize that a love like this doesn't come around very often, so I really should do something about it. I'm just afraid they won't reciprocate.
I know that the Tokyo concerts are in December and I know that that's a long time from now, but after the speed at which Death Cab for Cutie's concert sold out—and I don't even really like them all that much—I'm worried about the fact that YLT's tickets will be going on sale on the 13th of September, while I'm away. So I guess I'm going to have to beg some reliable person to please-oh-please get mine for me. Please? I'll give you candy.
To be exact, Yo La Tengo will be playing at Shibuya Club Quattro on 3 and 4 December. Doors open at 6pm, show starts at 7. Tickets are 5500 yen (with one drink), and all the information you could ever need on how to purchase them can be found via this page on Smash.
That's it. You won't hear from me again until October...unless you write me. And you know what? You really should write me. (As much as I love my parents, there's not a whole lot to do around their house. I'll be starved for e-mail and I promise to be exceedingly, desperately, almost frighteningly nice to you.)
Can I tempt you with beer and chocolate?
Three things.
1) I updated my FAQs. Sort of. It's still thoroughly dull though, and I have only myself to blame.
2) This'll be the last post I write before I throw myself into the fire-y abyss, or as people who aren't drama queens like to say, "before I go to L.A." Please do not break into my apartment while I'm away. (The roaches will attack.) And if my plane crashes, please do not read my diary. Thank you.
3) Yo La Tengo's coming back to Japan! Yay! I can't tell you how much I love them...because frankly it's perverse. And, yes, I realize that a love like this doesn't come around very often, so I really should do something about it. I'm just afraid they won't reciprocate.
I know that the Tokyo concerts are in December and I know that that's a long time from now, but after the speed at which Death Cab for Cutie's concert sold out—and I don't even really like them all that much—I'm worried about the fact that YLT's tickets will be going on sale on the 13th of September, while I'm away. So I guess I'm going to have to beg some reliable person to please-oh-please get mine for me. Please? I'll give you candy.
To be exact, Yo La Tengo will be playing at Shibuya Club Quattro on 3 and 4 December. Doors open at 6pm, show starts at 7. Tickets are 5500 yen (with one drink), and all the information you could ever need on how to purchase them can be found via this page on Smash.
That's it. You won't hear from me again until October...unless you write me. And you know what? You really should write me. (As much as I love my parents, there's not a whole lot to do around their house. I'll be starved for e-mail and I promise to be exceedingly, desperately, almost frighteningly nice to you.)
Can I tempt you with beer and chocolate?
Wednesday, August 27, 2003
Yamagata International Documentary Film Festival
film
I admit it. This has very little to do with Tokyo. Then again so did that Jesus and Moses thing, yet people still found it helpful. So just skip toward the end if you only want the Tokyo part.
I want to go to the Yamagata International Documentary Film Festival except that it's just a wee bit outside of town (read: freakishly far). The first of its kind in Asia, the YIDFF started in 1989 and has been held every two years since then, providing an opportunity for film-type people to schmooze and feign support for one another. (Just kidding. It all sounds very friendly.)
This year's International Competition includes "Stevie" by Steve James ("Hoop Dreams"), which catches up with the very depressing life of a boy whom James met through the Big Brother program, and "S21, the Khmer Rouge Killing Machine" by Rithy Panh, which follows the reunion of former concentration camp prisoners in Cambodia. On a—well—weirder note, they'll also be showing "Flashback" by Herz Frank. Having questioned whether documentary filmmakers have the right to expose other people's lives, Frank takes a look at his own, even going so far as to show us his own heart surgery. Yum.
Descriptions of the festival's other programs can be found here. Among them: New Asian Currents, featuring the works of filmmakers from all over Asia, and New Docs Japan, featuring works from Japan specifically. Their extremely reasonably priced tickets can be purchased through JTB or Pia ([p code: 678-047] for individual tickets or [p-code: 678-048] for a pass). The event takes place October 10-16.
OKAY! HERE IT IS! Stop. This is the part that's Tokyo-related. As one of YIDFF's many fantabulous preliminary events (a list of which can be found on their main page), the Athénée Français YIDFF Selection in particular will be shown in our very own backyard during September 4-6 and 9-13. This includes the aforementioned "Hoop Dreams" plus 20 other works screened in YIDFF's past. While YIDFF lists the films, neither they nor Athénée Français Cultural Center could be arsed to provide a schedule. But while we're all waiting patiently for them to update their site, let me just tell you that admission for this program is 1000 yen per film or 2500 yen for three films. Also, the films screened at YIDFF post-1999 should have English subtitles (if they aren't already in English).
And despite this last bit, I still have my heart set on Yamagata. Studying the trends of contemporary Asian and international documentaries sounds like a lot of fun. Who's with me?
Oh. Okay, fine.
I admit it. This has very little to do with Tokyo. Then again so did that Jesus and Moses thing, yet people still found it helpful. So just skip toward the end if you only want the Tokyo part.
I want to go to the Yamagata International Documentary Film Festival except that it's just a wee bit outside of town (read: freakishly far). The first of its kind in Asia, the YIDFF started in 1989 and has been held every two years since then, providing an opportunity for film-type people to schmooze and feign support for one another. (Just kidding. It all sounds very friendly.)
This year's International Competition includes "Stevie" by Steve James ("Hoop Dreams"), which catches up with the very depressing life of a boy whom James met through the Big Brother program, and "S21, the Khmer Rouge Killing Machine" by Rithy Panh, which follows the reunion of former concentration camp prisoners in Cambodia. On a—well—weirder note, they'll also be showing "Flashback" by Herz Frank. Having questioned whether documentary filmmakers have the right to expose other people's lives, Frank takes a look at his own, even going so far as to show us his own heart surgery. Yum.
Descriptions of the festival's other programs can be found here. Among them: New Asian Currents, featuring the works of filmmakers from all over Asia, and New Docs Japan, featuring works from Japan specifically. Their extremely reasonably priced tickets can be purchased through JTB or Pia ([p code: 678-047] for individual tickets or [p-code: 678-048] for a pass). The event takes place October 10-16.
OKAY! HERE IT IS! Stop. This is the part that's Tokyo-related. As one of YIDFF's many fantabulous preliminary events (a list of which can be found on their main page), the Athénée Français YIDFF Selection in particular will be shown in our very own backyard during September 4-6 and 9-13. This includes the aforementioned "Hoop Dreams" plus 20 other works screened in YIDFF's past. While YIDFF lists the films, neither they nor Athénée Français Cultural Center could be arsed to provide a schedule. But while we're all waiting patiently for them to update their site, let me just tell you that admission for this program is 1000 yen per film or 2500 yen for three films. Also, the films screened at YIDFF post-1999 should have English subtitles (if they aren't already in English).
And despite this last bit, I still have my heart set on Yamagata. Studying the trends of contemporary Asian and international documentaries sounds like a lot of fun. Who's with me?
Oh. Okay, fine.
Tuesday, August 26, 2003
TIP
audition
The audition notices just came out for TIP's next two shows (after Blithe Spirit).
The first is for a Children's Christmas Show to be performed at Tokyo American Club. The fact that TAC seems like some sort of hoity-toity expat cult might be enough to turn some people off. But I have to confess that I worked on the Christmas show the last two years (on crew), and despite my 1) fear of children, 2) avowed atheism and 3) aversion to wealthy Americans, I have to admit that I had a pretty good time. The cast usually gets to work with the script as a mere guideline, running around the stage, doing silly things and singing songs for a bunch of kids hopped up on candy canes and egg nog.
Auditions for the Christmas Show will be held at Tokyo American Club at the following times:
September 2nd from 7:30pm to 9:30pm
September 6th from 4pm to 7pm
No appointment is required. You just show up to do a cold reading and perhaps sing a simple song. You don't have to be an excellent singer. But if you are, it'd be nice to know. In fact, if you have any other special talents, they might be able to work it into the show. ("Special talents" being juggling or acrobatics. Not blowing ping-pong balls out of your body orifices. I can't stress this enough.) The performance will take place over a three-day run at the end of November (or early December?).
The second audition is for the Pulitzer Prize-winning play Proof by David Auburn and will be directed by Robert Tsonos, who also directed last season's Dial "M" for Murder. Try reading a few reviews to get an idea of the story. The roles are as follows.
Robert, American man, 50-60 years old
Catherine, American woman, 25-30 years old
Hal, American man, 25-30 years old
Claire, American woman, 30-35 years old
Auditions will take place at these times (location TBA):
Sat. September 20th 1:00-4:00
Mon. September 22nd 7:00-10:00
Tsonos asks that auditionees prepare one monologue. If you want to book an audition, please contact me for the director's info (I don't really want to post it here).
The audition notices just came out for TIP's next two shows (after Blithe Spirit).
The first is for a Children's Christmas Show to be performed at Tokyo American Club. The fact that TAC seems like some sort of hoity-toity expat cult might be enough to turn some people off. But I have to confess that I worked on the Christmas show the last two years (on crew), and despite my 1) fear of children, 2) avowed atheism and 3) aversion to wealthy Americans, I have to admit that I had a pretty good time. The cast usually gets to work with the script as a mere guideline, running around the stage, doing silly things and singing songs for a bunch of kids hopped up on candy canes and egg nog.
Auditions for the Christmas Show will be held at Tokyo American Club at the following times:
September 2nd from 7:30pm to 9:30pm
September 6th from 4pm to 7pm
No appointment is required. You just show up to do a cold reading and perhaps sing a simple song. You don't have to be an excellent singer. But if you are, it'd be nice to know. In fact, if you have any other special talents, they might be able to work it into the show. ("Special talents" being juggling or acrobatics. Not blowing ping-pong balls out of your body orifices. I can't stress this enough.) The performance will take place over a three-day run at the end of November (or early December?).
The second audition is for the Pulitzer Prize-winning play Proof by David Auburn and will be directed by Robert Tsonos, who also directed last season's Dial "M" for Murder. Try reading a few reviews to get an idea of the story. The roles are as follows.
Robert, American man, 50-60 years old
Catherine, American woman, 25-30 years old
Hal, American man, 25-30 years old
Claire, American woman, 30-35 years old
Auditions will take place at these times (location TBA):
Sat. September 20th 1:00-4:00
Mon. September 22nd 7:00-10:00
Tsonos asks that auditionees prepare one monologue. If you want to book an audition, please contact me for the director's info (I don't really want to post it here).
Thursday, August 21, 2003
Power and Terror
film
I won't be in Tokyo on September 11th. But if you're feeling the need to commemorate that infamous anniversary with anti-war activists (you dirty, dirty hippy), there'll be a screening at Nakano Sun Plaza Hall [map] of Power and Terror: Noam Chomsky in Our Times plus a recent interview with Chomsky. These will then be followed by a discussion with director John Junkerman, author and activist Chinatsu Nakayama and folk singer/songwriter Hitoshi Komuro.
I've seen Power and Terror at Uplink Factory earlier this year. And while it's true that it's largely a talking-head documentary that anyone already familiar with Chomsky would have heard/read dozens of times before, the discussion should add a perspective more specific to those of us living in Japan (within North Korea's firing range, no less). And this is, of course, all provided that your Japanese is at least as good as John Junkerman's. (The film is in English with Japanese subtitles, but the discussion will be in Japanese.)
The event starts at 6:30pm, with doors opening at 5:30 and the lobby opening at 3 (!). General advanced tickets can be purchased for 2000 yen through Ticket Pia [p-code: 500-109]. If you miss out on that, it's 2500 yen at the door.
Punch and pie.
I won't be in Tokyo on September 11th. But if you're feeling the need to commemorate that infamous anniversary with anti-war activists (you dirty, dirty hippy), there'll be a screening at Nakano Sun Plaza Hall [map] of Power and Terror: Noam Chomsky in Our Times plus a recent interview with Chomsky. These will then be followed by a discussion with director John Junkerman, author and activist Chinatsu Nakayama and folk singer/songwriter Hitoshi Komuro.
I've seen Power and Terror at Uplink Factory earlier this year. And while it's true that it's largely a talking-head documentary that anyone already familiar with Chomsky would have heard/read dozens of times before, the discussion should add a perspective more specific to those of us living in Japan (within North Korea's firing range, no less). And this is, of course, all provided that your Japanese is at least as good as John Junkerman's. (The film is in English with Japanese subtitles, but the discussion will be in Japanese.)
The event starts at 6:30pm, with doors opening at 5:30 and the lobby opening at 3 (!). General advanced tickets can be purchased for 2000 yen through Ticket Pia [p-code: 500-109]. If you miss out on that, it's 2500 yen at the door.
Punch and pie.
Monday, August 18, 2003
Ken Park
film
Art porn? Art? Porn?
There's been a lot of controversy surrounding Larry Clark's film Ken Park ever since its debut at the Telluride Film Festival last year. On the one hand, Clark, who also wrote and directed Kids, claims to be telling (or showing) it like it is—teens are sexually active, penises get erect and jism happens. While the film industry doesn't hesitate to show graphic violence in mainstream films, they get extremely tense about graphic sex, even to the point of telling other adults what they can and can't watch. On the other hand, there's a lot to be said for leaving things to the imagination. It's part of the art of storytelling, after all. And if Clark's trying to push the envelope, this attempt could very well be self-defeating since there's no way this film will be commercially released as-is in countries where the envelope needs to be pushed.
From Variety:
"Beautifully crafted but emotionally dispiriting and alienating in its insistence on spotlighting only the negative aspects of life, this Euro-financed contribution to contempo Americana resembles certain recent French films in its unblinking depiction of raw sex."
From D/Blog:
"...in many ways [Clark]'s continuing his life's work: showing teens fucking."
Sounds like it's right up Japan's alley.
You can solve this "art porn" dilemma for yourself when Ken Park runs at the Image Forum Theatre in Shibuya from 27 September well into October. I don't know if they actually card at these things, but just so you know, it's rated R-18.
(I could see my search engine referrals going to pot after this post.)
Art porn? Art? Porn?
There's been a lot of controversy surrounding Larry Clark's film Ken Park ever since its debut at the Telluride Film Festival last year. On the one hand, Clark, who also wrote and directed Kids, claims to be telling (or showing) it like it is—teens are sexually active, penises get erect and jism happens. While the film industry doesn't hesitate to show graphic violence in mainstream films, they get extremely tense about graphic sex, even to the point of telling other adults what they can and can't watch. On the other hand, there's a lot to be said for leaving things to the imagination. It's part of the art of storytelling, after all. And if Clark's trying to push the envelope, this attempt could very well be self-defeating since there's no way this film will be commercially released as-is in countries where the envelope needs to be pushed.
From Variety:
"Beautifully crafted but emotionally dispiriting and alienating in its insistence on spotlighting only the negative aspects of life, this Euro-financed contribution to contempo Americana resembles certain recent French films in its unblinking depiction of raw sex."
From D/Blog:
"...in many ways [Clark]'s continuing his life's work: showing teens fucking."
Sounds like it's right up Japan's alley.
You can solve this "art porn" dilemma for yourself when Ken Park runs at the Image Forum Theatre in Shibuya from 27 September well into October. I don't know if they actually card at these things, but just so you know, it's rated R-18.
(I could see my search engine referrals going to pot after this post.)
Art of Fighting
music
I'm fully aware that three of my last four posts are Australia-related. Purely coincidental, I assure you.
Instead of seeing the Lucksmiths on the 16th and 18th, as I thought I would, I decided to just go on the 15th and leave it at that. I'm a busy girl. I can't very well go around seeing the same band more than once in a single week just for the hell of it, can I?
Can I?
Thing is, I liked them so much on the 15th that I ended up going on the 16th anyway. They were that good. Precious little balls of energy they were. And collectively so cute as a freaking button that I just wanted to pinch their cheeks and read them a bedtime story. After Saturday's show, I thought, "Okay, so I saw them twice instead of just once. That's where I'll leave it."
And then I had this exchange (from my forbidden weblog of mystery):
The guitarist asked me if I was going to the Monday show (tonight). I said I wasn't planning on it...but then he said that the band they're playing with, Art of Fighting, was brilliant and "probably my favorite Australian band." At that point, I threw a tantrum and said "Okay, fine! I'll go, goddamn it!" I hope he didn't take offense. I meant that in the most enthusiastic way possible.
So there you have it. I'm officially stalking the Lucksmiths during their Japan tour. Fear me.
I suppose that, when they leave, I could always move on to Art of Fighting. Of their last album, Pitchfork Media said:
"With their soft, calm sound and assuringly warm vocals, Art of Fighting are determined to help you get your mellow on. This Melbourne-based band helped show Stephen Malkmus around when supporting one of his Australian tours, and now, with the American release of Wires, they're doing the same for us. Their full-length debut introduces them as a spare, dreamy slowcore band: The album is heavily reverbed but too guitar-based and concrete to be ethereal, and it's recorded with the flawless cool of a glass sculpture."
After tonight's "Australian Show Case" at Shibuya Nest, they'll be playing there again tomorrow night with Tokyo band Miaou (who are releasing their first album), before moving on to shows in Osaka and Nagoya.
I'm fully aware that three of my last four posts are Australia-related. Purely coincidental, I assure you.
Instead of seeing the Lucksmiths on the 16th and 18th, as I thought I would, I decided to just go on the 15th and leave it at that. I'm a busy girl. I can't very well go around seeing the same band more than once in a single week just for the hell of it, can I?
Can I?
Thing is, I liked them so much on the 15th that I ended up going on the 16th anyway. They were that good. Precious little balls of energy they were. And collectively so cute as a freaking button that I just wanted to pinch their cheeks and read them a bedtime story. After Saturday's show, I thought, "Okay, so I saw them twice instead of just once. That's where I'll leave it."
And then I had this exchange (from my forbidden weblog of mystery):
The guitarist asked me if I was going to the Monday show (tonight). I said I wasn't planning on it...but then he said that the band they're playing with, Art of Fighting, was brilliant and "probably my favorite Australian band." At that point, I threw a tantrum and said "Okay, fine! I'll go, goddamn it!" I hope he didn't take offense. I meant that in the most enthusiastic way possible.
So there you have it. I'm officially stalking the Lucksmiths during their Japan tour. Fear me.
I suppose that, when they leave, I could always move on to Art of Fighting. Of their last album, Pitchfork Media said:
"With their soft, calm sound and assuringly warm vocals, Art of Fighting are determined to help you get your mellow on. This Melbourne-based band helped show Stephen Malkmus around when supporting one of his Australian tours, and now, with the American release of Wires, they're doing the same for us. Their full-length debut introduces them as a spare, dreamy slowcore band: The album is heavily reverbed but too guitar-based and concrete to be ethereal, and it's recorded with the flawless cool of a glass sculpture."
After tonight's "Australian Show Case" at Shibuya Nest, they'll be playing there again tomorrow night with Tokyo band Miaou (who are releasing their first album), before moving on to shows in Osaka and Nagoya.
Friday, August 15, 2003
Tiger Party
event
As I walk around Tokyo, I often stop and say to myself, "Dandy, I would like to be surrounded by even more people. Is that possible?" or "Where in the city can I go to be pushed around by an even denser crowd of strange sweaty bodies on all sides and feel that same frustration that I must have felt in the womb lo those many years ago?" Often, the answer is as simple as a free outdoor party.
On 23 August (a Saturday), a bunch of people will be throwing a rabble-rousing event with music, dancing (or "dancing," as I like to think of it) and young hipsters donning knitted hats/inappropriate afros. (Pictures of last year's party can be found here.) It starts at 7pm, so you can stop by after breaking out of the Azabu-juban Noryo Womb. Er, Festival. I've never been to Harumi Futo Koen before, but apparently that's where it is. Luckily, Google is my friend, and I've come across information on how to get there via a tourism site. (The map will show you the closest stations; click on the "Harumi Port Park" bar under "travel route" to find out more.)
There doesn't seem to be any real specifics, so contact Oxygen Funk and/or BYO party favo(u)rs.
As I walk around Tokyo, I often stop and say to myself, "Dandy, I would like to be surrounded by even more people. Is that possible?" or "Where in the city can I go to be pushed around by an even denser crowd of strange sweaty bodies on all sides and feel that same frustration that I must have felt in the womb lo those many years ago?" Often, the answer is as simple as a free outdoor party.
On 23 August (a Saturday), a bunch of people will be throwing a rabble-rousing event with music, dancing (or "dancing," as I like to think of it) and young hipsters donning knitted hats/inappropriate afros. (Pictures of last year's party can be found here.) It starts at 7pm, so you can stop by after breaking out of the Azabu-juban Noryo Womb. Er, Festival. I've never been to Harumi Futo Koen before, but apparently that's where it is. Luckily, Google is my friend, and I've come across information on how to get there via a tourism site. (The map will show you the closest stations; click on the "Harumi Port Park" bar under "travel route" to find out more.)
There doesn't seem to be any real specifics, so contact Oxygen Funk and/or BYO party favo(u)rs.
Wednesday, August 13, 2003
Spirit Country
art
I heard that there are really big bugs in Australia. Is that true? A while ago, I noted that I had never met an Australian who was afraid of roaches. Faulty logic then led me to believe that the entire country was just crawling with them. Big black and red roaches. That probably fly. But then a Japanese friend who used to live there offered that they probably weren't afraid of roaches because they had other big insects to worry about. Spiders and such. And because I am in fact a pathetic wuss, the chances of my ever visiting Australia have now gone from slim, past "none" and well into the negatives. What does that mean? It means that I demand that bits and pieces of the country be brought to me so that I don't have to go there and be caught screaming like a little girl, desperately snapping a hankie at a gi-mungous spider in the corner.
What was my point? Oh yeah. Australian Arts Festival Japan [via MJ] is bringing aforementioned bits and pieces of Australian culture to us from July to December this year. Of the current events listed, the only one that really caught my eye was Spirit Country, an exhibition of contemporary Aboriginal art, because I loves me some indigenous peoples. Now in Niigata, the exhibition will come to Tokyo in early October. I know that's a while from now, but give me a break; I'm running out of things to get excited about and it's almost vacation time.
Spirit Country will be at Hillside Terrace in Daikanyama from the 1st to the 11th of October before it moves on to Kushiro Museum in Hokkaido. I heard that there are fewer roaches in Hokkaido. Is that true? Should I move?
I heard that there are really big bugs in Australia. Is that true? A while ago, I noted that I had never met an Australian who was afraid of roaches. Faulty logic then led me to believe that the entire country was just crawling with them. Big black and red roaches. That probably fly. But then a Japanese friend who used to live there offered that they probably weren't afraid of roaches because they had other big insects to worry about. Spiders and such. And because I am in fact a pathetic wuss, the chances of my ever visiting Australia have now gone from slim, past "none" and well into the negatives. What does that mean? It means that I demand that bits and pieces of the country be brought to me so that I don't have to go there and be caught screaming like a little girl, desperately snapping a hankie at a gi-mungous spider in the corner.
What was my point? Oh yeah. Australian Arts Festival Japan [via MJ] is bringing aforementioned bits and pieces of Australian culture to us from July to December this year. Of the current events listed, the only one that really caught my eye was Spirit Country, an exhibition of contemporary Aboriginal art, because I loves me some indigenous peoples. Now in Niigata, the exhibition will come to Tokyo in early October. I know that's a while from now, but give me a break; I'm running out of things to get excited about and it's almost vacation time.
Spirit Country will be at Hillside Terrace in Daikanyama from the 1st to the 11th of October before it moves on to Kushiro Museum in Hokkaido. I heard that there are fewer roaches in Hokkaido. Is that true? Should I move?
Monday, August 11, 2003
Lucksmiths
music
I'm completely obsessed with Elliott Smith and that is why I'm going to see the Lucksmiths on Saturday. That makes no sense, I know. Bear with me. I was shirking my work duties and perusing Sweet Adeline on company time (recently designated as Smith's "official site"), when I noticed a post on the discussion board about the Lucksmiths. I don't know who the kids listen to these days, but the name rang a bell because I was planning to see a morning show at Penguin House. And who was taking the stage later that night? You guessed it.
Seeing as how I haven't stepped foot in Melbourne in...well, ever, I know nothing about this band save for what's on their site. (For example, they've been playing together for about a decade and the one who's a vegan got electrocuted to near death on stage.) But they seem like decent lads and I like a lot of their musical influences. So yeah. Why the hell not? We're supposed to be the Happy Funtime Show. I know we shouldn't place too much stock on reviews, but here's what Oz Music Project said about their last CD, "Naturaliste":
"It does not get any better than this in pop music....The opening song 'Camera Shy' is identifiably The Lucksmiths—the jangle of the guitar, the tight rhythm section, and the deftly crafted lyrics: 'In the foreground are my friends/ grinning madly at the lens/ they look heliolithic.' The next song, 'The Sandringham Line' meanders through the Melbourne suburbs with the hypnotic train-like rhythm of White's drumming and Monnone's bass. Eva Sommerfeld (from Melbourne band, The Foots) shares the vocals with White on this track...The Lucksmiths have the knack for putting together the perfect pop song and unfortunately or fortunately—it is incredibly hard to pick a stand-out track. Any of the songs on 'Naturaliste' could be taken as the stand-out track...My only complaint is that the recording just does not capture what The Lucksmiths are like live. Having heard the songs a couple of times in a live setting, 'Naturaliste' in comparison is a tad subdued. The remedy? Go and see them play before they head off for yet another overseas tour mid-year."
On top of all that they just seem so...so nice. I have this overwhelming need to bake them cookies. I'll have three chances at it since they're playing three Tokyo dates this month: Grapefruit Moon on the 15th, Penguin House on the 16th and Shibuya Nest on the 18th. Cover is 2000 yen at the first two venues and 3500 yen at Nest.
I'm completely obsessed with Elliott Smith and that is why I'm going to see the Lucksmiths on Saturday. That makes no sense, I know. Bear with me. I was shirking my work duties and perusing Sweet Adeline on company time (recently designated as Smith's "official site"), when I noticed a post on the discussion board about the Lucksmiths. I don't know who the kids listen to these days, but the name rang a bell because I was planning to see a morning show at Penguin House. And who was taking the stage later that night? You guessed it.
Seeing as how I haven't stepped foot in Melbourne in...well, ever, I know nothing about this band save for what's on their site. (For example, they've been playing together for about a decade and the one who's a vegan got electrocuted to near death on stage.) But they seem like decent lads and I like a lot of their musical influences. So yeah. Why the hell not? We're supposed to be the Happy Funtime Show. I know we shouldn't place too much stock on reviews, but here's what Oz Music Project said about their last CD, "Naturaliste":
"It does not get any better than this in pop music....The opening song 'Camera Shy' is identifiably The Lucksmiths—the jangle of the guitar, the tight rhythm section, and the deftly crafted lyrics: 'In the foreground are my friends/ grinning madly at the lens/ they look heliolithic.' The next song, 'The Sandringham Line' meanders through the Melbourne suburbs with the hypnotic train-like rhythm of White's drumming and Monnone's bass. Eva Sommerfeld (from Melbourne band, The Foots) shares the vocals with White on this track...The Lucksmiths have the knack for putting together the perfect pop song and unfortunately or fortunately—it is incredibly hard to pick a stand-out track. Any of the songs on 'Naturaliste' could be taken as the stand-out track...My only complaint is that the recording just does not capture what The Lucksmiths are like live. Having heard the songs a couple of times in a live setting, 'Naturaliste' in comparison is a tad subdued. The remedy? Go and see them play before they head off for yet another overseas tour mid-year."
On top of all that they just seem so...so nice. I have this overwhelming need to bake them cookies. I'll have three chances at it since they're playing three Tokyo dates this month: Grapefruit Moon on the 15th, Penguin House on the 16th and Shibuya Nest on the 18th. Cover is 2000 yen at the first two venues and 3500 yen at Nest.
Friday, August 08, 2003
Ebisu Summer Cinema
film
I can't believe I forgot all about Yebisu Garden Place's annual Summer Night Cinema (formerly "Star Light Cinema"). From 19 July to 31 August, they've been showing movies free of charge under the stars in the middle of the...er...place (you know, on that slopey thing—long week), but it's been raining, so I don't know how many of these screenings were cancelled.
In any case, we still have about three weeks left of films both questionable (Charlie's Angels on the 31st) and worthwhile (Cinema Paradiso on the 22nd). And even if you end up seeing the extended bowel movement that is Gladiator (the 11th), you can still feel good about yourself for not having given any money to The Man (despite the fact that The Man still managed to steal two hours of your life that you'll never get back).
The website has a schedule, but I've also included one below for ease. Films start at 7 pm, but note that the place will fill up with old ladies saving entire benches for their friends. So either lay a coat down early to save your spot or bring a pillow to sit on. And a blanket. It could get chilly at night.
08/8: Wings of the Dove
09/8: The Tailor of Panama
10/8: Malèna
11/8: Gladiator
12/8: O Brother, Where Art Thou?
13/8: Sweet and Lowdown
14/8: Reisei to jonetsu no aida
15/8: The Road Home (Mandarin)
16/8: Cast Away
17/8: Snow Falling on Cedars
22/8: Nuovo Cinema Paradiso
23/8: Easy Rider
24/8: The Legend of 1900
29/8: Notting Hill
30/8: Lilo and Stitch
31/8: Charlie's Angels
I can't believe I forgot all about Yebisu Garden Place's annual Summer Night Cinema (formerly "Star Light Cinema"). From 19 July to 31 August, they've been showing movies free of charge under the stars in the middle of the...er...place (you know, on that slopey thing—long week), but it's been raining, so I don't know how many of these screenings were cancelled.
In any case, we still have about three weeks left of films both questionable (Charlie's Angels on the 31st) and worthwhile (Cinema Paradiso on the 22nd). And even if you end up seeing the extended bowel movement that is Gladiator (the 11th), you can still feel good about yourself for not having given any money to The Man (despite the fact that The Man still managed to steal two hours of your life that you'll never get back).
The website has a schedule, but I've also included one below for ease. Films start at 7 pm, but note that the place will fill up with old ladies saving entire benches for their friends. So either lay a coat down early to save your spot or bring a pillow to sit on. And a blanket. It could get chilly at night.
08/8: Wings of the Dove
09/8: The Tailor of Panama
10/8: Malèna
11/8: Gladiator
12/8: O Brother, Where Art Thou?
13/8: Sweet and Lowdown
14/8: Reisei to jonetsu no aida
15/8: The Road Home (Mandarin)
16/8: Cast Away
17/8: Snow Falling on Cedars
22/8: Nuovo Cinema Paradiso
23/8: Easy Rider
24/8: The Legend of 1900
29/8: Notting Hill
30/8: Lilo and Stitch
31/8: Charlie's Angels
Wednesday, August 06, 2003
Ice Cream City
food
It pays to check out those tourist websites every once in a while because that's how I found out about Ice Cream City.
Let me repeat myself. Ice Cream Motherfucking City. After the lovefest that is Gyoza Motherfucking Stadium, it's almost enough to make me want to kiss this consumerist society with my foul mouth.
Ice Cream City recently opened at Namco Nanjatown [map]as an urban haven from this god-awful heat. I don't think it's such a big deal that they have "ice cream from all over the world" so much as it is that they have ice cream from all over the country. You'll finally get to see (and taste, if you're bold enough) that sea urchin ice cream from Hokkaido that you've read so much about in forwarded e-mails from your friends, asking you if Japan really is that wacky. Moreover, you'll actually have a reason to step foot in Ikebukuro.
Ticket and access info are on the Yes!Tokyo site. Just look at the pictures and try not to mind the crazy copy.
It pays to check out those tourist websites every once in a while because that's how I found out about Ice Cream City.
Let me repeat myself. Ice Cream Motherfucking City. After the lovefest that is Gyoza Motherfucking Stadium, it's almost enough to make me want to kiss this consumerist society with my foul mouth.
Ice Cream City recently opened at Namco Nanjatown [map]as an urban haven from this god-awful heat. I don't think it's such a big deal that they have "ice cream from all over the world" so much as it is that they have ice cream from all over the country. You'll finally get to see (and taste, if you're bold enough) that sea urchin ice cream from Hokkaido that you've read so much about in forwarded e-mails from your friends, asking you if Japan really is that wacky. Moreover, you'll actually have a reason to step foot in Ikebukuro.
Ticket and access info are on the Yes!Tokyo site. Just look at the pictures and try not to mind the crazy copy.
Friday, August 01, 2003
Fantastic Plastic Machine
club
I had decided that I hated going to clubs. At least in Tokyo anyway. On top of being really smokey, they're too crowded for dancing and too loud for making fun of the people trying to dance. Furthermore, I'm just not twenty-two anymore (and haven't been for a long time). The kids these days, they can stay up all night and shake their boyish hips where their "groove thang" is supposed to be. But me? I need more sleep and less alcohol.
I strongly felt this way until about five minutes ago when I saw this month's issue of Juice, featuring an interview with Fantastic Plastic Machine. It reminded me of something: the music. Sometimes? It's not half-bad. And FPM is always fun.
So tonight, if my guest from out-of-town is up for it, I might want to check out Mr. Machine, er, Tanaka, Mr. Tanaka at Space Lab Yellow. I'm none too crazy about the club, but he's a resident DJ there. FPM will be joined tonight by French DJs Gilb'r and I:Cube, making up Chateau Flight. Their distinct interests are combined to create a mixed sound of ambient techno and funky, jazzy breakbeat and house. (Not that I know or anything. I totally looked them up just now.) And as if my world didn't seem tiny enough, they've also joined the list of DJs to remix Femi Kuti's controversial song Beng Beng Beng. Huzzah.
Doors open at 10 pm and you'll be allowed to walk through them if you hand over 3500 yen (includes one drink). I call this extortion, but others call it Tokyo.
I had decided that I hated going to clubs. At least in Tokyo anyway. On top of being really smokey, they're too crowded for dancing and too loud for making fun of the people trying to dance. Furthermore, I'm just not twenty-two anymore (and haven't been for a long time). The kids these days, they can stay up all night and shake their boyish hips where their "groove thang" is supposed to be. But me? I need more sleep and less alcohol.
I strongly felt this way until about five minutes ago when I saw this month's issue of Juice, featuring an interview with Fantastic Plastic Machine. It reminded me of something: the music. Sometimes? It's not half-bad. And FPM is always fun.
So tonight, if my guest from out-of-town is up for it, I might want to check out Mr. Machine, er, Tanaka, Mr. Tanaka at Space Lab Yellow. I'm none too crazy about the club, but he's a resident DJ there. FPM will be joined tonight by French DJs Gilb'r and I:Cube, making up Chateau Flight. Their distinct interests are combined to create a mixed sound of ambient techno and funky, jazzy breakbeat and house. (Not that I know or anything. I totally looked them up just now.) And as if my world didn't seem tiny enough, they've also joined the list of DJs to remix Femi Kuti's controversial song Beng Beng Beng. Huzzah.
Doors open at 10 pm and you'll be allowed to walk through them if you hand over 3500 yen (includes one drink). I call this extortion, but others call it Tokyo.
Thursday, July 31, 2003
Hartmut Bitomsky
film
From the 12th to the 20th of August Centre Culturel de L'Athenée Français [map] will be holding a series of seminars on works by German non-fiction filmmaker (and CalArts film professor...or is that dean?) Hartmut Bitomsky. Five of the seven films will be shown with English subtitles (the other two will have Japanese subtitles), and are as follows.
DEUTSCHLANDBILDER (PICTURES OF GERMANY) (35 min)
12 August, 6 pm (discussion from 7 pm)
"In this insightful work, Bitomsky and Mühlenbrock examine more than thirty 'Kulturfilme': Nazi documentary shorts made between 1933 and 1945 that were regularly shown in commercial movie theaters before the feature films. With titles like 'We Have No Problems' and 'Holiday Fun,' these portraits of leisure-time activities and work portray a self-confident Germany populated by nature lovers, craftsmen, and people devoted to both progress and tradition. Pictures of Germany shows how these skillful films created a reverse plebiscite—suggesting the regime's support through the depiction of a population of devoted participants." [link]
DAS KINO UND DER TOD (DEATH AND THE CINEMA) (46 min)
14 August, 6 pm (discussion from 7 pm)
"A video documentary made like a film—shot by shot, with light that was designed and set up for one shot, and from cut to cut. The filmmaker works against the live character that video simply brings with it and which his monologue conveys by means of the basically artificial code of the production. These two discourses are supposed to cross—the discourse of photographs that deal with killing and dying, and the discourse that is heard coming out of the filmmaker. Special Award from the Minister of Education and Culture of North Rhine-Westphalia." [link]
DER VW-KOMPLEX (91 min)
15 August, 5 pm (discussion from 7 pm)
"This documentary retraces the history of Volkswagen, from its beginnings 50 years ago, to the progressive dehumanization that lurks today in any such company, where machines are little by little replacing human workers. Another Volkswagen creation is also brought to light: Wolfsburg, a town completely planned and run by the company, thus controlling not only the efficiency, but also the private lives of its workers. " [link]
HIGHWAY 40 WEST-VOYAGE IN AMERICA (180 min)
16 August, 1:30 pm (discussion from 7 pm)
Can't find an English description of this one. But the nearest I can figure is that it's a four-part documentary following Highway 40 from Atlantic City to San Francisco over a two-month period. This road flick investigates American history and culture, following the direction in which America expanded—covering the life, work, music, entertainment, loves and desires of the people who live along the path...circa 1980.
DAS KINO UND DER WIND UND DIE PHOTOGRAPHIE
(THE CINEMA AND THE WIND AND PHOTOGRAPHY) (56 min)
19 August, 6 pm (discussion from 7 pm)
"A film about other films—the reality of films and about theories concerning this. The situation of creating the adaptation and working on the project is integrated into the film. It is a look inside a workshop in which work is at this moment being done. There is no commentary, only a discussion of films that involves dealing with ideas and quotations, and in doing so there is a direct and unmediated confrontation with the film clips on the part of those discussing. The cinema is examined using its own instruments." [link]
Also showing:
B-52 (112 min)
(in English and German with only Japanese subtitles)
20 August, 5 pm (discussion from 7 pm)
"For his most recent experimental documentary, Bitomsky explores one of the most vaunted weapons in American military history—the B-52 bomber—as an instrument of strategic and tactical warfare and a parable for American contemporary culture. He chronicles the aircraft from its design and construction in 1947 as the 'Stratofortress' through the heyday of its tenure as the Cold War purveyor of nuclear weapons and its present day deconstruction on an airbase in the Arizona desert. Out of this story comes a critical portrait of a culture of immense power and wealth, technological sophistication, and intelligence that invests all of its economic surplus into military machinery of dubious legitimacy." [link]
The seminars are being held in co-operation with Waseda University's School of Art and Architecture (Bitomsky himself is scheduled to lecture at their workshop in addition to these seminars), and seems to be directed specifically at those interested in studying documentary filmmaking. But the public is welcome to attend as well. Advanced tickets can be purchased from Pia [p-code: 678-027] for 1800 yen per event or 8000 yen for all seven seminars. At the door, tickets are 2000 yen or 10,000 yen, respectively.
From the 12th to the 20th of August Centre Culturel de L'Athenée Français [map] will be holding a series of seminars on works by German non-fiction filmmaker (and CalArts film professor...or is that dean?) Hartmut Bitomsky. Five of the seven films will be shown with English subtitles (the other two will have Japanese subtitles), and are as follows.
DEUTSCHLANDBILDER (PICTURES OF GERMANY) (35 min)
12 August, 6 pm (discussion from 7 pm)
"In this insightful work, Bitomsky and Mühlenbrock examine more than thirty 'Kulturfilme': Nazi documentary shorts made between 1933 and 1945 that were regularly shown in commercial movie theaters before the feature films. With titles like 'We Have No Problems' and 'Holiday Fun,' these portraits of leisure-time activities and work portray a self-confident Germany populated by nature lovers, craftsmen, and people devoted to both progress and tradition. Pictures of Germany shows how these skillful films created a reverse plebiscite—suggesting the regime's support through the depiction of a population of devoted participants." [link]
DAS KINO UND DER TOD (DEATH AND THE CINEMA) (46 min)
14 August, 6 pm (discussion from 7 pm)
"A video documentary made like a film—shot by shot, with light that was designed and set up for one shot, and from cut to cut. The filmmaker works against the live character that video simply brings with it and which his monologue conveys by means of the basically artificial code of the production. These two discourses are supposed to cross—the discourse of photographs that deal with killing and dying, and the discourse that is heard coming out of the filmmaker. Special Award from the Minister of Education and Culture of North Rhine-Westphalia." [link]
DER VW-KOMPLEX (91 min)
15 August, 5 pm (discussion from 7 pm)
"This documentary retraces the history of Volkswagen, from its beginnings 50 years ago, to the progressive dehumanization that lurks today in any such company, where machines are little by little replacing human workers. Another Volkswagen creation is also brought to light: Wolfsburg, a town completely planned and run by the company, thus controlling not only the efficiency, but also the private lives of its workers. " [link]
HIGHWAY 40 WEST-VOYAGE IN AMERICA (180 min)
16 August, 1:30 pm (discussion from 7 pm)
Can't find an English description of this one. But the nearest I can figure is that it's a four-part documentary following Highway 40 from Atlantic City to San Francisco over a two-month period. This road flick investigates American history and culture, following the direction in which America expanded—covering the life, work, music, entertainment, loves and desires of the people who live along the path...circa 1980.
DAS KINO UND DER WIND UND DIE PHOTOGRAPHIE
(THE CINEMA AND THE WIND AND PHOTOGRAPHY) (56 min)
19 August, 6 pm (discussion from 7 pm)
"A film about other films—the reality of films and about theories concerning this. The situation of creating the adaptation and working on the project is integrated into the film. It is a look inside a workshop in which work is at this moment being done. There is no commentary, only a discussion of films that involves dealing with ideas and quotations, and in doing so there is a direct and unmediated confrontation with the film clips on the part of those discussing. The cinema is examined using its own instruments." [link]
Also showing:
B-52 (112 min)
(in English and German with only Japanese subtitles)
20 August, 5 pm (discussion from 7 pm)
"For his most recent experimental documentary, Bitomsky explores one of the most vaunted weapons in American military history—the B-52 bomber—as an instrument of strategic and tactical warfare and a parable for American contemporary culture. He chronicles the aircraft from its design and construction in 1947 as the 'Stratofortress' through the heyday of its tenure as the Cold War purveyor of nuclear weapons and its present day deconstruction on an airbase in the Arizona desert. Out of this story comes a critical portrait of a culture of immense power and wealth, technological sophistication, and intelligence that invests all of its economic surplus into military machinery of dubious legitimacy." [link]
The seminars are being held in co-operation with Waseda University's School of Art and Architecture (Bitomsky himself is scheduled to lecture at their workshop in addition to these seminars), and seems to be directed specifically at those interested in studying documentary filmmaking. But the public is welcome to attend as well. Advanced tickets can be purchased from Pia [p-code: 678-027] for 1800 yen per event or 8000 yen for all seven seminars. At the door, tickets are 2000 yen or 10,000 yen, respectively.
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