If you were a regular reader, and not necessarily for the events, you can e-mail me for my other blog address. It isn't the Super-Secret Blog I keep talking about here, but rather a new not-nearly-as-impressively-secret blog that's also open to my Tokyo acquaintances. It'll be my main weblog from now on. And the Super-Secret Blog will just be used for when I want to talk shit about you guys. Just kidding.
Or am I? Pfft.
Wednesday, April 21, 2004
Tuesday, March 23, 2004
Image Forum Festival 2004
"Fancy plans...and pants to match."
I keep meaning to abandon this weblog because no one really uses it. Except me. But let's face it: I'd do just as well writing all this information on the back of old receipts as I would posting it here. And at least it'd be portable.
So if this is my last post, let it match my first. The Image Forum Festival is coming back. There isn't much info there right now, but I was excited to see that James Benning (mentioned here before) will be one of the judges. I'd like to attach myself to his leg and absorb some understanding of his vision through osmosis because I can't afford the tuition at Cal Arts.
The festival will be at Park Tower Hall in Shinjuku from 27 April to 5 May. And if it's anything like last year, the audience will be sparse, the seats will be plentiful, the tickets will be cheap, the films will be (mostly) good, and I still won't be able to convince anyone to come with me.
Fine. More for me.
In the meantime, I need a different excuse to write...
I keep meaning to abandon this weblog because no one really uses it. Except me. But let's face it: I'd do just as well writing all this information on the back of old receipts as I would posting it here. And at least it'd be portable.
So if this is my last post, let it match my first. The Image Forum Festival is coming back. There isn't much info there right now, but I was excited to see that James Benning (mentioned here before) will be one of the judges. I'd like to attach myself to his leg and absorb some understanding of his vision through osmosis because I can't afford the tuition at Cal Arts.
The festival will be at Park Tower Hall in Shinjuku from 27 April to 5 May. And if it's anything like last year, the audience will be sparse, the seats will be plentiful, the tickets will be cheap, the films will be (mostly) good, and I still won't be able to convince anyone to come with me.
Fine. More for me.
In the meantime, I need a different excuse to write...
Wednesday, March 17, 2004
Elephant Man
film
Freak show. The Curse of the Elephant Man will be screened at Uplink Factory [map] on the 22nd and 23rd of next week. I have to see it because it reminds me of my brother. Then again everything reminds me of my brother; his interests are wide and varied. But in this case, I remember a book he had (and I coveted) on freaks. We'd flip through the pages, gasp at the pictures, guffaw at the stories and be a little too amused by the abnormalities. That "I am not an animal" line took a long time to penetrate, I suppose.
These days, my conscience has been getting the better of me, so I shall go to Uplink Factory under the guise of scientific interest. The film brings together an international team of scientists to analyze Joseph Merrick's DNA and that of his living relatives for the first time ever, in an effort to put an end to the mystery of his severe deformities. Says the press release, "The programme draws upon the disciplines of forensic archeology, genetics, genealogy, radiology and surgery. It's a powerful human story, reliving Joseph Merrick's tormented life, and a ground-breaking medical mystery."
Since they're going to force me to be a grown-up about this, I thought I'd put on my "serious" glasses and read up on Merrick's medical condition through the Discovery site, but I found myself distracted by the Freaks Quiz. And you know what? I scored six out of seven. Kick ass.
Freak show. The Curse of the Elephant Man will be screened at Uplink Factory [map] on the 22nd and 23rd of next week. I have to see it because it reminds me of my brother. Then again everything reminds me of my brother; his interests are wide and varied. But in this case, I remember a book he had (and I coveted) on freaks. We'd flip through the pages, gasp at the pictures, guffaw at the stories and be a little too amused by the abnormalities. That "I am not an animal" line took a long time to penetrate, I suppose.
These days, my conscience has been getting the better of me, so I shall go to Uplink Factory under the guise of scientific interest. The film brings together an international team of scientists to analyze Joseph Merrick's DNA and that of his living relatives for the first time ever, in an effort to put an end to the mystery of his severe deformities. Says the press release, "The programme draws upon the disciplines of forensic archeology, genetics, genealogy, radiology and surgery. It's a powerful human story, reliving Joseph Merrick's tormented life, and a ground-breaking medical mystery."
Since they're going to force me to be a grown-up about this, I thought I'd put on my "serious" glasses and read up on Merrick's medical condition through the Discovery site, but I found myself distracted by the Freaks Quiz. And you know what? I scored six out of seven. Kick ass.
Tuesday, March 16, 2004
2004 Coachella Valley Music Festival
nothing
No news today because I've spent all day staring at the Coachella Music Festival site and cursing them for this killer line-up. I don't think it's safe to have all that talent in one place. An earthquake could swallow that particular part of California some time around the 1st or 2nd of May, and then where would we be? We'd have to look to second-rate musicians for inspiration. Avril Lavigne would be the edgiest thing going. (Don't argue with me. I'm being deliberately obtuse.)
Anyway, shout out to Yoshi for his extra Death Cab ticket last night. Andrzej and I had fun...except for that part where I got irritated with everyone because I've been in a bad mood for the past two months.
A note to bands: if you're going to do an encore, don't stay backstage for five minutes, milking the applause. The houselights haven't been turned on; we know you're coming back out, so come back out already. And don't act like we forced you to play another song when you do. And if you really don't want to do an encore, fine. Just turn the lights on so we can get out of there.
Ahem...and thus concludes my bad mood.
By the way, Yoshi doesn't read this site, so I can't quite explain the shout out. Think of it as an excuse to mention his band. I saw them back in October and thought they were fab, so I periodically check his site for upcoming gigs. His BBS is helpful too. Yoshi's got wicked good taste in music.
No news today because I've spent all day staring at the Coachella Music Festival site and cursing them for this killer line-up. I don't think it's safe to have all that talent in one place. An earthquake could swallow that particular part of California some time around the 1st or 2nd of May, and then where would we be? We'd have to look to second-rate musicians for inspiration. Avril Lavigne would be the edgiest thing going. (Don't argue with me. I'm being deliberately obtuse.)
Anyway, shout out to Yoshi for his extra Death Cab ticket last night. Andrzej and I had fun...except for that part where I got irritated with everyone because I've been in a bad mood for the past two months.
A note to bands: if you're going to do an encore, don't stay backstage for five minutes, milking the applause. The houselights haven't been turned on; we know you're coming back out, so come back out already. And don't act like we forced you to play another song when you do. And if you really don't want to do an encore, fine. Just turn the lights on so we can get out of there.
Ahem...and thus concludes my bad mood.
By the way, Yoshi doesn't read this site, so I can't quite explain the shout out. Think of it as an excuse to mention his band. I saw them back in October and thought they were fab, so I periodically check his site for upcoming gigs. His BBS is helpful too. Yoshi's got wicked good taste in music.
Friday, March 12, 2004
SKIP CITY International D-Cinema Festival
film
The good news: From the 20th to the 28th of this month, a digital film festival will be screening seven features and eleven shorts by independent filmmakers from around the world.
The bad news: The festival is all the way in Dasaitama and the weekday schedules were made for people who don't have day jobs.
The SKIP CITY International D-Cinema Festival will cater its language requirements to Japanese and English speakers for the features and shorts programs. But you're on your own at the Kawaguchi Special Screening. (Still, they're just short films. How bad could your Japanese possibly be?)
Films from the Feature Length Category:
Devcatko/Girlie by Benjamin Tucek of the Czech Republic
Eddie by Piotr Trzaskalski of Poland
Etegami/Pictorial Letter Nobuteru Uchida of Japan
Toji/The Coldest Day Xie Dong of China
Salt by Bradley Rust Gray of Iceland
Wilbur Begar Selvmord/Wilbur Wants to Kill Himself by Lone Scherfig of Denmark
They're also showing Makoto Shinozaki's Inu to Arukeba... but I can't find anymore information on that specific film. Shinozaki gained acclaim with the understated and earnest Okaeri in 1995, so you'd think more attention would be paid to this latest one. But I guess it's still too newish.
As for the rest of the festival, it's not all fun and games. D-Contents Market takes place from the 25th to the 27th, "establishing presentation booths for young creators and production companies. We hope it will give an opportunity for them to meet lots of people and develop new business opportunities." This? Could get ugly. But if you're a DV filmmaker and you're not opposed to schmoozing, start practicing your fake smiles now.
Schedule, ticket info and map are available at the festival's bilingual site.
The good news: From the 20th to the 28th of this month, a digital film festival will be screening seven features and eleven shorts by independent filmmakers from around the world.
The bad news: The festival is all the way in Dasaitama and the weekday schedules were made for people who don't have day jobs.
The SKIP CITY International D-Cinema Festival will cater its language requirements to Japanese and English speakers for the features and shorts programs. But you're on your own at the Kawaguchi Special Screening. (Still, they're just short films. How bad could your Japanese possibly be?)
Films from the Feature Length Category:
Devcatko/Girlie by Benjamin Tucek of the Czech Republic
Eddie by Piotr Trzaskalski of Poland
Etegami/Pictorial Letter Nobuteru Uchida of Japan
Toji/The Coldest Day Xie Dong of China
Salt by Bradley Rust Gray of Iceland
Wilbur Begar Selvmord/Wilbur Wants to Kill Himself by Lone Scherfig of Denmark
They're also showing Makoto Shinozaki's Inu to Arukeba... but I can't find anymore information on that specific film. Shinozaki gained acclaim with the understated and earnest Okaeri in 1995, so you'd think more attention would be paid to this latest one. But I guess it's still too newish.
As for the rest of the festival, it's not all fun and games. D-Contents Market takes place from the 25th to the 27th, "establishing presentation booths for young creators and production companies. We hope it will give an opportunity for them to meet lots of people and develop new business opportunities." This? Could get ugly. But if you're a DV filmmaker and you're not opposed to schmoozing, start practicing your fake smiles now.
Schedule, ticket info and map are available at the festival's bilingual site.
Thursday, March 11, 2004
BookCrossing
books
This is neato mosquito. BookCrossing is a project that tracks the adventures of books around the world. Participants register books from their personal library, strategically leave them somewhere (on a train going out of town, on a park bench, etc.) and cross their fingers for the book to find a new appreciative reader. Hopefully, the new reader will see the BookCrossing ID, visit the site and let you know that they found it.
You can also have a little fun with it. Leave a copy of Dubliners somewhere in the vicinity of that St. Patrick's Day Parade, or a copy of Coin Locker Babies in a coin locker.
The site also provides a way for you to hunt for books in your own city. So far, only a couple of people are releasing books around Tokyo, and they're not me. But if you check back later, I promise to start after this weekend. And I promise not to release a bunch of crap. Think of this as a very ambitious international book exchange.
(link from Tavie)
UPDATE (12 Mar): I've registered 10 books this morning. If you're interested in any of them and want to do a trade before I set them free, please send me a private message. Thanks.
This is neato mosquito. BookCrossing is a project that tracks the adventures of books around the world. Participants register books from their personal library, strategically leave them somewhere (on a train going out of town, on a park bench, etc.) and cross their fingers for the book to find a new appreciative reader. Hopefully, the new reader will see the BookCrossing ID, visit the site and let you know that they found it.
You can also have a little fun with it. Leave a copy of Dubliners somewhere in the vicinity of that St. Patrick's Day Parade, or a copy of Coin Locker Babies in a coin locker.
The site also provides a way for you to hunt for books in your own city. So far, only a couple of people are releasing books around Tokyo, and they're not me. But if you check back later, I promise to start after this weekend. And I promise not to release a bunch of crap. Think of this as a very ambitious international book exchange.
(link from Tavie)
UPDATE (12 Mar): I've registered 10 books this morning. If you're interested in any of them and want to do a trade before I set them free, please send me a private message. Thanks.
Wednesday, March 10, 2004
Landscape Suicide
film
Feeling restless. Just the facts because I'm sick of myself (unlike most days, har).
You know what would make me feel better right about now? A film about murderers.
It's rare to come across a James Benning film; his work has never been made available on VHS or DVD. But on 11 April, Landscape Suicide will be screened through Image Forum's Cinematheque. The piece examines the psychological motivations of two killers, Ed Gein (a multiple murderer in Wisconsin) and Bernadette Prott (a California teen who stabbed a friend to death over an insult), presenting their stories as a slice of Americana. As far as I know, this is the only film in which Benning uses actors on screen. He's not strictly a documentarian, however, and he does tend to blur the line between non-fiction and fiction, especially with his earlier work.
Schedule, price, etc. here.
Feeling restless. Just the facts because I'm sick of myself (unlike most days, har).
You know what would make me feel better right about now? A film about murderers.
It's rare to come across a James Benning film; his work has never been made available on VHS or DVD. But on 11 April, Landscape Suicide will be screened through Image Forum's Cinematheque. The piece examines the psychological motivations of two killers, Ed Gein (a multiple murderer in Wisconsin) and Bernadette Prott (a California teen who stabbed a friend to death over an insult), presenting their stories as a slice of Americana. As far as I know, this is the only film in which Benning uses actors on screen. He's not strictly a documentarian, however, and he does tend to blur the line between non-fiction and fiction, especially with his earlier work.
Schedule, price, etc. here.
Tuesday, March 09, 2004
St. Patrick's Day
event
I feel myself getting stupider and stupider, just like in Flowers for Algernon except minus that part about becoming super-smart first and having an impressive peak from which to fall. I had to look up St. Patrick's Day because I forgot when it was.
Anyway. Did you know that I'm part Irish? It's true. But just barely. My mom's mom's dad was Irish and my mom's mom's mom was Chinese. They never married and my mom's mom's mom died in childbirth, so my mom's mom was one of them thar ill-ur-jih-tuh-muts and was raised by her aunt and got all screwed up by religion and, well, it's a long story that's reminiscent of Carrie without the telekinetic powers. Where was I? Oh yeah. The Ireland Festival 2004.
Since we're in the middle of this festival, your weekend can be saturated with Irishness. There's, of course, the Emerald Ball on Friday night, Irish Sports Day on Saturday (is Tug of War really an Irish sport?) and the St. Patrick's Day Parade in Harajuku on Sunday, "the biggest Irish event held in Japan." According to the site, this year's sub-theme is Irish literature, and the event will include a project featuring the works of Yakumo Koizumi (who doesn't sound too Irish to me, until you remind me that he used to be Lafcadio Hearn), some guy named James Joyce, and a certain troublemaker named Oscar Fingal O'Flahertie Wills Wilde. A literature-themed parade doesn't strike me as any kind of rip-roaring event, but it's okay since I can' go anyway. Ha! You're going to have to join the literati and tell me how it was.
Please?
I feel myself getting stupider and stupider, just like in Flowers for Algernon except minus that part about becoming super-smart first and having an impressive peak from which to fall. I had to look up St. Patrick's Day because I forgot when it was.
Anyway. Did you know that I'm part Irish? It's true. But just barely. My mom's mom's dad was Irish and my mom's mom's mom was Chinese. They never married and my mom's mom's mom died in childbirth, so my mom's mom was one of them thar ill-ur-jih-tuh-muts and was raised by her aunt and got all screwed up by religion and, well, it's a long story that's reminiscent of Carrie without the telekinetic powers. Where was I? Oh yeah. The Ireland Festival 2004.
Since we're in the middle of this festival, your weekend can be saturated with Irishness. There's, of course, the Emerald Ball on Friday night, Irish Sports Day on Saturday (is Tug of War really an Irish sport?) and the St. Patrick's Day Parade in Harajuku on Sunday, "the biggest Irish event held in Japan." According to the site, this year's sub-theme is Irish literature, and the event will include a project featuring the works of Yakumo Koizumi (who doesn't sound too Irish to me, until you remind me that he used to be Lafcadio Hearn), some guy named James Joyce, and a certain troublemaker named Oscar Fingal O'Flahertie Wills Wilde. A literature-themed parade doesn't strike me as any kind of rip-roaring event, but it's okay since I can' go anyway. Ha! You're going to have to join the literati and tell me how it was.
Please?
Monday, March 08, 2004
Candide
stage
Get ready for another geek-out:
Da-da-daaaa DA! Da-da da-da da-daah!
Quick! Guess what song that is.
Quitter. It's the beginning of the Overture from Candide, composed by the lovely and talented Leonard Bernstein. I love that operetta. Love. It. I'm not talking about the dialogue. It's crap. The original script, written by Lillian Hellman, was met with pans and was replaced years later by Hugh Wheeler's version, which was met with shrugs. (And to be fair to Hellman, who penned some great plays in her time, I've only seen the Wheeler version.) However, the score? Fantabulous. The music manages to be equal parts lush, elaborate, playful and stimulating, while Bernstein gathered a group of talented lyricists to attempt to do justice to Voltaire's wit. Namely Stephen Sondheim, John La Touche, Dorothy Parker and Richard Wilbur (one of the better translators of Moliere's plays).
Bernstein and Hellman began collaborating on Candide when McCarthyism was wreaking havoc in the United States, and Hellman and many of their acquaintances were being threatened with blacklisting. The result of their efforts is this "satire of the parochialism of America in the 1950s," which, come to think of it, is not that foreign a concept today.
The production that's coming to the Tokyo International Forum in April will be the same one translated by Kunihiko Hashimoto for the 2001 production. I think. Maybe. Don't take my word for it. I didn't see any information about the translator on the official site, which makes a point of mentioning the original lyricists, but I saw Hashimoto's name on other sites. It's also worth mentioning that Hashimoto translated Into the Woods, which will be at New National Theatre Tokyo this summer, directed by the same guy as Candide, Amon "He's-Kinda-Famous" Miyamoto. Although Miyamoto also brought us the first Japanese version of the operetta in 2001, don't expect the same ol' same old this time around. The Forum's site promises "there are some refurnishes of being even more musical and entertaining." Right on.
Candide is running from 26 April to 11 May at the Tokyo International Forum's Hall C. Tickets range from 6300 yen to 12,600 yen. And you might want to check the schedule if you care who plays Cunegonde. While Avery Fisher Hall in New York will be getting an enviable cast with Kristin Chenowith in the role (and Sir Thomas Allen as Pangloss—I'm going to faint), we get to choose between up-and-coming coloraturas Eri Unoki and Hiroko Koda. Koda is the slightly more established of the two, having tackled the technically challenging roles of Olympia and Zerbinetta in Tokyo. But Cunegonde's showy aria, "Glitter and Be Gay," has been part of Unoki's repertoire for years.
Ahem. Yeah, anyway. I'm sure I'm the only one who cares about this.
Get ready for another geek-out:
Da-da-daaaa DA! Da-da da-da da-daah!
Quick! Guess what song that is.
Quitter. It's the beginning of the Overture from Candide, composed by the lovely and talented Leonard Bernstein. I love that operetta. Love. It. I'm not talking about the dialogue. It's crap. The original script, written by Lillian Hellman, was met with pans and was replaced years later by Hugh Wheeler's version, which was met with shrugs. (And to be fair to Hellman, who penned some great plays in her time, I've only seen the Wheeler version.) However, the score? Fantabulous. The music manages to be equal parts lush, elaborate, playful and stimulating, while Bernstein gathered a group of talented lyricists to attempt to do justice to Voltaire's wit. Namely Stephen Sondheim, John La Touche, Dorothy Parker and Richard Wilbur (one of the better translators of Moliere's plays).
Bernstein and Hellman began collaborating on Candide when McCarthyism was wreaking havoc in the United States, and Hellman and many of their acquaintances were being threatened with blacklisting. The result of their efforts is this "satire of the parochialism of America in the 1950s," which, come to think of it, is not that foreign a concept today.
The production that's coming to the Tokyo International Forum in April will be the same one translated by Kunihiko Hashimoto for the 2001 production. I think. Maybe. Don't take my word for it. I didn't see any information about the translator on the official site, which makes a point of mentioning the original lyricists, but I saw Hashimoto's name on other sites. It's also worth mentioning that Hashimoto translated Into the Woods, which will be at New National Theatre Tokyo this summer, directed by the same guy as Candide, Amon "He's-Kinda-Famous" Miyamoto. Although Miyamoto also brought us the first Japanese version of the operetta in 2001, don't expect the same ol' same old this time around. The Forum's site promises "there are some refurnishes of being even more musical and entertaining." Right on.
Candide is running from 26 April to 11 May at the Tokyo International Forum's Hall C. Tickets range from 6300 yen to 12,600 yen. And you might want to check the schedule if you care who plays Cunegonde. While Avery Fisher Hall in New York will be getting an enviable cast with Kristin Chenowith in the role (and Sir Thomas Allen as Pangloss—I'm going to faint), we get to choose between up-and-coming coloraturas Eri Unoki and Hiroko Koda. Koda is the slightly more established of the two, having tackled the technically challenging roles of Olympia and Zerbinetta in Tokyo. But Cunegonde's showy aria, "Glitter and Be Gay," has been part of Unoki's repertoire for years.
Ahem. Yeah, anyway. I'm sure I'm the only one who cares about this.
Friday, March 05, 2004
Moses, Jesus and the Dandy
dandy and moses
I've been swamped with work all week, so I've got nothing but babble for you. Sorry.
I found out that, if you go to Google, type in "pictures of Jesus's tomb" (sans quotes) and hit "I'm feeling lucky," you get swept on a magic carpet ride to me. How weird is that? Well, not that weird, considering. Now that I've brought it up, I should note that you can get information about the Mahikari cult...er, organization at their website. They're the ones who believe(d) that the Takeuchi documents were genuine. But you might be better off at Mahikari Exposed, a site maintained by former members, which gives details of the organization's connection to the Jesus and Moses stories.
Anyway. I just realized that, while I wrote a summary of my Moses trip for my Super Secret Blog, I never shared it on this public one. So here it is: Moses and me. I didn't really get into the spaceship museum or the Oldest Rice-ball in Japan. Another time.
____________________________________
So you remember how that Time article said, after visiting Moses Park, "In town you can buy Moses pomegranate wine and Moses pomegranate jam"? Well, I have news for you: there is no fucking "in town." None! I walked for hours—days—and I couldn't find a single store.
Well, no, that's an exaggeration. Close to the (unmanned) train station, I did see a couple of store-like places, but all they sold were gravestones and logs. That's it. Just gravestones and logs. I don't know how people survive in that area. They must have to churn their own butter, even.
So, yes, I did fulfill part of my Grand Religious Tour of Japan this past weekend. I stayed at a ryokan in Kanazawa and took the train up the Noto peninsula on Sunday to visit Moses, the spaceship museum and the Oldest Rice-ball in Japan (nothing to do with religion, I just thought it was cool). When I got to Hodatsu, the closest station to Moses Park, it was still before noon, and I was feeling fresh and energetic from a big breakfast and lazy morning. I walked in the general direction of the park, not really knowing exactly where it was, but having a vague idea from one of the maps I saw a few weeks ago.
I wouldn't say that the area was populous, but I encountered about a dozen people doing various late morning activities on my way. After crossing a major road (major for that area anyway), I spotted a little green sign that read something like "Moses Park hike" in Japanese. It had an arrow pointing right, so I followed it, still giddy from the prospect of seeing the burial site. (I felt kind of like Kevin McDonald in that Headcrusher skit with the "Girls, Girls, Girls" signs, following arrow to arrow.) All the people I saw thus far were either farming or gardening—there wasn't a great variety of things to do—and they kept looking at me. I knew they knew I was going to see Moses. Some smiled, others just stared.
When I got to the park, it was a lot bigger than I thought. Think Griffith Park without the horses. Lots of green. Lots of hills. And absofuckinglutely no people. I was the only one there— the only one in the entire park. I could have been murdered by Jason, and nobody would have been the wiser. At the same time, it was pretty damn neat! Very clean, very peaceful. I checked out the map and made a note of where the burial site was supposed to be. It looked like this:
I guess that's supposed to be him. The site itself looks nothing like a burial mound. There's just a big plaque that tells you the legend in both Japanese and English, and there are benches around it, like in the little cartoon above, so that you can sit there and stare at the plaque as you mutter to yourself, "that's all?" Just behind it is a small trail that leads you up to two steep mounds. If you climb to the right, you'll see a small circle of trees and a view of everything below (more trees). The mound on the left had the grave of Romulus, whom the legend claims to be Moses's son. Heh. There was just a long wooden stake marking the grave with the Star of David and some Japanese writing (in Magic Marker or something). At the base were a few empty flower pots and stones, and I stopped to take pictures. That's when the bugs started to attack. Mosquitoes mostly. It's probably highly unlikely, but I thought I was going to get encephalitis, so I escaped them by climbing down the other side of the hill.
When I got back to a gravel path, I saw those green signs again, the ones with the arrows. "Lucky me," I thought. "Maybe they'll lead me to the Moses wine." Once again, I faithfully followed one arrow to the next, thinking myself adventurous and daring because I am an idiot. This must have lasted about half an hour before I started to wish I'd reach the end already. I was expecting to see a final sign that read, "And thus concludes our tour of Moses Park." But you know what? Nothing. The last sign I saw pointed left, so I walked and walked and walked without seeing another arrow, eventually walking my way into the middle of a huge rice field. I looked in all directions for another green sign, but didn't see one. Nor did I see anymore people or cars. Just rice fields and a desolate road. Oh, and crows. Lots of crows. Symbolic of death in most movies.
"I'm a survivor, damn it. Follow your instincts!" I told myself. Sadly, my only instinct was to hail a cab, but there weren't any around.
Just then, ever so faintly, I heard bells. Not death tolls, mind you. They were the kind of bells you hear when a train is crossing a street and the gates are coming down. I walked briskly toward that sound and ended up at the train tracks. Standing on them, I looked in one direction and then the other. No station within eyesight. Following the tracks (in the wrong direction, I later discovered), I finally ended up at a train station (one past Hodatsu) almost two hours later. Had I walked in the opposite direction, I would have reached Hodatsu station within thirty minutes. It's moments like these that my parents should be glad I'm an atheist. Otherwise, I would have been cursing god for that; instead, I'm forced to blame myself.
So I sat at that wrong station for another two hours, watching the paint peel off of the walls, and spiders go in for the kill. It was just like a nature documentary, except totally boring. The place reeked of neglect. But I had to take a few pictures because, despite my bug bites, tired feet and possible melanoma, I thought the entire situation was hilarious. I snapped and giggled, snapped and giggled, checking my watch to make sure I could still make it to the UFOs before closing time.
I've been swamped with work all week, so I've got nothing but babble for you. Sorry.
I found out that, if you go to Google, type in "pictures of Jesus's tomb" (sans quotes) and hit "I'm feeling lucky," you get swept on a magic carpet ride to me. How weird is that? Well, not that weird, considering. Now that I've brought it up, I should note that you can get information about the Mahikari cult...er, organization at their website. They're the ones who believe(d) that the Takeuchi documents were genuine. But you might be better off at Mahikari Exposed, a site maintained by former members, which gives details of the organization's connection to the Jesus and Moses stories.
Anyway. I just realized that, while I wrote a summary of my Moses trip for my Super Secret Blog, I never shared it on this public one. So here it is: Moses and me. I didn't really get into the spaceship museum or the Oldest Rice-ball in Japan. Another time.
____________________________________
So you remember how that Time article said, after visiting Moses Park, "In town you can buy Moses pomegranate wine and Moses pomegranate jam"? Well, I have news for you: there is no fucking "in town." None! I walked for hours—days—and I couldn't find a single store.
Well, no, that's an exaggeration. Close to the (unmanned) train station, I did see a couple of store-like places, but all they sold were gravestones and logs. That's it. Just gravestones and logs. I don't know how people survive in that area. They must have to churn their own butter, even.
So, yes, I did fulfill part of my Grand Religious Tour of Japan this past weekend. I stayed at a ryokan in Kanazawa and took the train up the Noto peninsula on Sunday to visit Moses, the spaceship museum and the Oldest Rice-ball in Japan (nothing to do with religion, I just thought it was cool). When I got to Hodatsu, the closest station to Moses Park, it was still before noon, and I was feeling fresh and energetic from a big breakfast and lazy morning. I walked in the general direction of the park, not really knowing exactly where it was, but having a vague idea from one of the maps I saw a few weeks ago.
I wouldn't say that the area was populous, but I encountered about a dozen people doing various late morning activities on my way. After crossing a major road (major for that area anyway), I spotted a little green sign that read something like "Moses Park hike" in Japanese. It had an arrow pointing right, so I followed it, still giddy from the prospect of seeing the burial site. (I felt kind of like Kevin McDonald in that Headcrusher skit with the "Girls, Girls, Girls" signs, following arrow to arrow.) All the people I saw thus far were either farming or gardening—there wasn't a great variety of things to do—and they kept looking at me. I knew they knew I was going to see Moses. Some smiled, others just stared.
When I got to the park, it was a lot bigger than I thought. Think Griffith Park without the horses. Lots of green. Lots of hills. And absofuckinglutely no people. I was the only one there— the only one in the entire park. I could have been murdered by Jason, and nobody would have been the wiser. At the same time, it was pretty damn neat! Very clean, very peaceful. I checked out the map and made a note of where the burial site was supposed to be. It looked like this:
I guess that's supposed to be him. The site itself looks nothing like a burial mound. There's just a big plaque that tells you the legend in both Japanese and English, and there are benches around it, like in the little cartoon above, so that you can sit there and stare at the plaque as you mutter to yourself, "that's all?" Just behind it is a small trail that leads you up to two steep mounds. If you climb to the right, you'll see a small circle of trees and a view of everything below (more trees). The mound on the left had the grave of Romulus, whom the legend claims to be Moses's son. Heh. There was just a long wooden stake marking the grave with the Star of David and some Japanese writing (in Magic Marker or something). At the base were a few empty flower pots and stones, and I stopped to take pictures. That's when the bugs started to attack. Mosquitoes mostly. It's probably highly unlikely, but I thought I was going to get encephalitis, so I escaped them by climbing down the other side of the hill.
When I got back to a gravel path, I saw those green signs again, the ones with the arrows. "Lucky me," I thought. "Maybe they'll lead me to the Moses wine." Once again, I faithfully followed one arrow to the next, thinking myself adventurous and daring because I am an idiot. This must have lasted about half an hour before I started to wish I'd reach the end already. I was expecting to see a final sign that read, "And thus concludes our tour of Moses Park." But you know what? Nothing. The last sign I saw pointed left, so I walked and walked and walked without seeing another arrow, eventually walking my way into the middle of a huge rice field. I looked in all directions for another green sign, but didn't see one. Nor did I see anymore people or cars. Just rice fields and a desolate road. Oh, and crows. Lots of crows. Symbolic of death in most movies.
"I'm a survivor, damn it. Follow your instincts!" I told myself. Sadly, my only instinct was to hail a cab, but there weren't any around.
Just then, ever so faintly, I heard bells. Not death tolls, mind you. They were the kind of bells you hear when a train is crossing a street and the gates are coming down. I walked briskly toward that sound and ended up at the train tracks. Standing on them, I looked in one direction and then the other. No station within eyesight. Following the tracks (in the wrong direction, I later discovered), I finally ended up at a train station (one past Hodatsu) almost two hours later. Had I walked in the opposite direction, I would have reached Hodatsu station within thirty minutes. It's moments like these that my parents should be glad I'm an atheist. Otherwise, I would have been cursing god for that; instead, I'm forced to blame myself.
So I sat at that wrong station for another two hours, watching the paint peel off of the walls, and spiders go in for the kill. It was just like a nature documentary, except totally boring. The place reeked of neglect. But I had to take a few pictures because, despite my bug bites, tired feet and possible melanoma, I thought the entire situation was hilarious. I snapped and giggled, snapped and giggled, checking my watch to make sure I could still make it to the UFOs before closing time.
Friday, February 27, 2004
International Women's Day
music
When you see the words "International Women's Day," what comes to mind? What do you do? Do you roll your eyes? Guffaw? Giggle nervously? Shrug? Spend more than five minutes trying to figure out whether it's "an international day for women" or "a day for international women"?
It's an honest question. While I consider myself a feminist, my reaction ranges from a mental cringe to a curious smile. But I don't think I've ever responded with a "hell yeah!" And I guess it's because I think things that are considered "women's issues," like inequality and family planning, should be considered "human issues," and they deserve more than just one day for us to think about them.
That said, I'm looking forward to Int'l Women's Day this year. (It's on 13 March, in case you were wondering.) That's when a bunch o' chicks will gather at Mejiro Culture Building [map] to rock out with their—um, to just rock out. After my lukewarm review of P-Heavy last October, I will be giving them another chance. They were indeed fun and I might be more in the mood for them this time. Besides, Yayoi Ikeda (Catch That Beat, CoolGrrrls) says they're her favorite band. The diva has spoken. Also playing are N-16 (a pop trio from Kyoto who've played with the likes of The Cannanes, The Lucksmiths and Scout Niblett) and The Bits (of whom I can find nothing in my half-assed internet search).
The event starts at 12:30 p.m. and lasts until 5 p.m. But before that, a self-defense workshop will be held from 10:20 a.m. to 12:30 p.m. And you would need to reserve a space through e-mail (deluxegrrrl[at]hotmail.com).
More information (in Japanese) on this Very Special Reminder That Japanese Women Can Kick Your Ass is here.
Oh, and: Hell yeah!
When you see the words "International Women's Day," what comes to mind? What do you do? Do you roll your eyes? Guffaw? Giggle nervously? Shrug? Spend more than five minutes trying to figure out whether it's "an international day for women" or "a day for international women"?
It's an honest question. While I consider myself a feminist, my reaction ranges from a mental cringe to a curious smile. But I don't think I've ever responded with a "hell yeah!" And I guess it's because I think things that are considered "women's issues," like inequality and family planning, should be considered "human issues," and they deserve more than just one day for us to think about them.
That said, I'm looking forward to Int'l Women's Day this year. (It's on 13 March, in case you were wondering.) That's when a bunch o' chicks will gather at Mejiro Culture Building [map] to rock out with their—um, to just rock out. After my lukewarm review of P-Heavy last October, I will be giving them another chance. They were indeed fun and I might be more in the mood for them this time. Besides, Yayoi Ikeda (Catch That Beat, CoolGrrrls) says they're her favorite band. The diva has spoken. Also playing are N-16 (a pop trio from Kyoto who've played with the likes of The Cannanes, The Lucksmiths and Scout Niblett) and The Bits (of whom I can find nothing in my half-assed internet search).
The event starts at 12:30 p.m. and lasts until 5 p.m. But before that, a self-defense workshop will be held from 10:20 a.m. to 12:30 p.m. And you would need to reserve a space through e-mail (deluxegrrrl[at]hotmail.com).
More information (in Japanese) on this Very Special Reminder That Japanese Women Can Kick Your Ass is here.
Oh, and: Hell yeah!
Thursday, February 26, 2004
Le monde arabe
film
In March and April, L'Institut franco-japonais de Tokyo hopes to give the public a glimpse into Arab culture with their film programs Regard sur le Monde arabe and Vidéo-Documentaires sur le Monde arabe.
Among those in the first program is Les Yeux Secs (a.k.a. Cry No More), a Moroccan film by Narjiss Nejjar shown as part of the Directors' Fortnight at Cannes last year. It's the story of an old woman who is released from prison after 25 years and returns home, to a village inhabited by a community of prostitutes. According to the director, this village really exists and it was her original intention to make a documentary. However, as Nejjar says, "I felt a certain reticence on the part of the village women and quickly understood what would become the subject-matter of my film: the look of the other." Thus, we end up with a fact-based film that can also be seen as something of an allegory on sexual politics.
Les Yeux Secs will be screened at 6:30 p.m. on the 5th of March at the Institute's Espace Images. Admission is 1000 yen and the film will be in Arab with English subtitles.
For the video documentaries, the only description containing any information about language is that for Algériennes, Trente Ans Après (French version with English subtitles). The films will be screened in pairs. Admission is free for members and 500 yen for non-members.
In March and April, L'Institut franco-japonais de Tokyo hopes to give the public a glimpse into Arab culture with their film programs Regard sur le Monde arabe and Vidéo-Documentaires sur le Monde arabe.
Among those in the first program is Les Yeux Secs (a.k.a. Cry No More), a Moroccan film by Narjiss Nejjar shown as part of the Directors' Fortnight at Cannes last year. It's the story of an old woman who is released from prison after 25 years and returns home, to a village inhabited by a community of prostitutes. According to the director, this village really exists and it was her original intention to make a documentary. However, as Nejjar says, "I felt a certain reticence on the part of the village women and quickly understood what would become the subject-matter of my film: the look of the other." Thus, we end up with a fact-based film that can also be seen as something of an allegory on sexual politics.
Les Yeux Secs will be screened at 6:30 p.m. on the 5th of March at the Institute's Espace Images. Admission is 1000 yen and the film will be in Arab with English subtitles.
For the video documentaries, the only description containing any information about language is that for Algériennes, Trente Ans Après (French version with English subtitles). The films will be screened in pairs. Admission is free for members and 500 yen for non-members.
Monday, February 23, 2004
World Peace Now
demonstration
On an old e-zine (that I recently found out is no longer online...bastards), I once joked, "If we had world peace, what would happen to the film industry?" It made sense at the time. And even now, I wouldn't so much say that I am for world peace as I am anti senseless violence and irresponsible world domination.
So anyway, I got this link from Sakka who left a comment for the last post. (Cheers!)
March 20, the one-year anniversary of the U.S. invasion of Iraq, is the Global Day of Action for protesters around the world. Information for the Tokyo peace rally can be found at World Peace Now. Same bat time, same bat channel as a previous demonstration. (Hibiya Park at 1 p.m.)
And if you want to look kawaii while expressing your vehement opposition to the war, you can revive Greenpeace's "No War - Color-me Peace Placard" and make sure it doesn't clash with your outfit. Other items are available as part of their year-old Action Kit to Stop the War, including tips for first-time demonstrators (e.g. "Watch out for cars!").
On an old e-zine (that I recently found out is no longer online...bastards), I once joked, "If we had world peace, what would happen to the film industry?" It made sense at the time. And even now, I wouldn't so much say that I am for world peace as I am anti senseless violence and irresponsible world domination.
So anyway, I got this link from Sakka who left a comment for the last post. (Cheers!)
March 20, the one-year anniversary of the U.S. invasion of Iraq, is the Global Day of Action for protesters around the world. Information for the Tokyo peace rally can be found at World Peace Now. Same bat time, same bat channel as a previous demonstration. (Hibiya Park at 1 p.m.)
And if you want to look kawaii while expressing your vehement opposition to the war, you can revive Greenpeace's "No War - Color-me Peace Placard" and make sure it doesn't clash with your outfit. Other items are available as part of their year-old Action Kit to Stop the War, including tips for first-time demonstrators (e.g. "Watch out for cars!").
Thursday, February 19, 2004
Dean
else
Nothing to do with a Happy Funtime Show, but I'm just noting that I finally removed the Dean links from the right column upon his announcement that he's giving up the race. It's about freaking time, I know. He's been an easy target for the media and his opponents for months. But he was the closest I ever came to trusting a U.S. presidential candidate from one of the two major parties. And I do appreciate how he seemed to change the tone for dialogue among Democratic hopefuls, having spoken out against post-9/11 Bush policies since before it was even semi-OK to do so. Hopefully, the voters he managed to energize will continue to fight the good fight.
I had a little hissy-fit over at On Gaien Higashi Dori a few weeks ago over this election period and Setsunai's statement, "If the US people re-elect Bush, which looks very likely, then we have to say Americans deserve their international reputation as ignorant fools. The people and the government they elect cannot be separated while still believing in democracy."
I didn't do too great a job defending myself because, let's face it, I really don't have a very high opinion of any voter's decision to go with Bush. I see it as being short-sighted and possibly misinformed. (You can yell at me in comments or e-mail if you want. That'll take the edge off, but it may not change my mind. Just know that "misinformed" is a lot better than "incapable of caring about other people.") But I also don't want to take the rap for a decision I didn't make. Why should Americans be the only ones held responsible for their government's stupid decisions when other governments around the world make stupid decisions too, thus enabling America to make even more stupid decisions? Setsunai says it's because we claim to uphold democracy. And if we're so high on it, the losers among us should accept the choices being made by the majority. See, but it's not the majority. It has never been the majority. And I, personally, hate democracy sometimes, like when we get Arnold Schwarzenegger for governor. Furthermore, I dig the plight of the malcontent.
For now, I'm of the opinion that democracy can work, but more people have to pay attention and participate. Watch, read and listen. Here's a good place to start. And, come November, if it still doesn't work, we didn't try hard enough.
Nothing to do with a Happy Funtime Show, but I'm just noting that I finally removed the Dean links from the right column upon his announcement that he's giving up the race. It's about freaking time, I know. He's been an easy target for the media and his opponents for months. But he was the closest I ever came to trusting a U.S. presidential candidate from one of the two major parties. And I do appreciate how he seemed to change the tone for dialogue among Democratic hopefuls, having spoken out against post-9/11 Bush policies since before it was even semi-OK to do so. Hopefully, the voters he managed to energize will continue to fight the good fight.
I had a little hissy-fit over at On Gaien Higashi Dori a few weeks ago over this election period and Setsunai's statement, "If the US people re-elect Bush, which looks very likely, then we have to say Americans deserve their international reputation as ignorant fools. The people and the government they elect cannot be separated while still believing in democracy."
I didn't do too great a job defending myself because, let's face it, I really don't have a very high opinion of any voter's decision to go with Bush. I see it as being short-sighted and possibly misinformed. (You can yell at me in comments or e-mail if you want. That'll take the edge off, but it may not change my mind. Just know that "misinformed" is a lot better than "incapable of caring about other people.") But I also don't want to take the rap for a decision I didn't make. Why should Americans be the only ones held responsible for their government's stupid decisions when other governments around the world make stupid decisions too, thus enabling America to make even more stupid decisions? Setsunai says it's because we claim to uphold democracy. And if we're so high on it, the losers among us should accept the choices being made by the majority. See, but it's not the majority. It has never been the majority. And I, personally, hate democracy sometimes, like when we get Arnold Schwarzenegger for governor. Furthermore, I dig the plight of the malcontent.
For now, I'm of the opinion that democracy can work, but more people have to pay attention and participate. Watch, read and listen. Here's a good place to start. And, come November, if it still doesn't work, we didn't try hard enough.
Wednesday, February 18, 2004
Othello
theatre
The next RSC show to hit Tokyo will be Othello in April. And check this out: no black-face.
The very same production that is currently selling out every night at the Swan Theatre in Stratford-upon-Avon stars Sello Maake ka Ncube as Othello and Sir Anthony Sher as Iago. Both South African actors are more than familiar with the concept of racism-fueled hatred, and both claim that that aspect of Shakespeare's play could still be sadly applicable today. Says Sher, "I think Othello is as relevant now in a multi-racial society as it was then in a segregated one...You could set it now in the new South Africa where a black man has this position of power and is resented for it by white people who still believe in the old system." While Sello has said, "With Othello, we're dealing with a person surrounded by an ocean of whiteness. Somehow he has to keep abreast. You know, when one is caught in an environment that is not friendly, you try to be extraordinary...For me, I'm still in the same struggle. I'm still fighting to project myself as I know myself."
In my old age, I find myself more emotionally vulnerable to watching tragedy unfold, and I can just imagine becoming increasingly anxious as the story progresses. But if you don't mind sitting next to a basket-case, I reckon a Saturday matinee would be dandy. That way, I can have the rest of the weekend to get over it. Othello is playing at Le Theatre Ginza [map] from 15 to 29 April. Dates, times and prices can be found on Ticket Pia [p-code: 351-318] and on the official site (Japanese).
The next RSC show to hit Tokyo will be Othello in April. And check this out: no black-face.
The very same production that is currently selling out every night at the Swan Theatre in Stratford-upon-Avon stars Sello Maake ka Ncube as Othello and Sir Anthony Sher as Iago. Both South African actors are more than familiar with the concept of racism-fueled hatred, and both claim that that aspect of Shakespeare's play could still be sadly applicable today. Says Sher, "I think Othello is as relevant now in a multi-racial society as it was then in a segregated one...You could set it now in the new South Africa where a black man has this position of power and is resented for it by white people who still believe in the old system." While Sello has said, "With Othello, we're dealing with a person surrounded by an ocean of whiteness. Somehow he has to keep abreast. You know, when one is caught in an environment that is not friendly, you try to be extraordinary...For me, I'm still in the same struggle. I'm still fighting to project myself as I know myself."
In my old age, I find myself more emotionally vulnerable to watching tragedy unfold, and I can just imagine becoming increasingly anxious as the story progresses. But if you don't mind sitting next to a basket-case, I reckon a Saturday matinee would be dandy. That way, I can have the rest of the weekend to get over it. Othello is playing at Le Theatre Ginza [map] from 15 to 29 April. Dates, times and prices can be found on Ticket Pia [p-code: 351-318] and on the official site (Japanese).
Friday, February 13, 2004
Korean Independent Cinema 2004
film
Early next month, the Image Forum will be holding the trilingual festival Korean Independent Cinema 2004 at their theatre in Shibuya.
Among the films being shown are two from twin brothers Kim Gok and Kim Sun, "possibly the most interesting and adventurous `experimental` film-makers currently working in East Asia." Information on Anti-Dialectic and Time Consciousness can be found here. They're under Program D on the screening schedule.
I'm also looking forward to If You Were Me (Program C), an anthology of shorts "made to support the National Human Rights Commission," and thus addresses a wide range of social issues. According to the site, Korean film-makers are drawn to social and political radicalism, so all of the films in this program are meant to be provocative. "The two stand-outs are Im Soon-Rye on prejudices against fat women [er...sic] and Park Jin-Pyo on middle-class kids forced to undergo surgery to their tongues, supposedly to improve their English-speaking abilities." Short descriptions of each episode in If You Were Me are provided here.
There will also be a panel discussion on 6 March at 4:30 p.m. on "Reinventing Korean Cinema." Guests will be four directors who have films showing, two of whom I've already mentioned (Kim Sun and Im Soon-Rye).
They haven't gotten around to finishing the English version of the website yet. And if they don't get to it by the end of this month, I'll get into more detail on this weblog. But that still might not be necessary because a trilingual catalogue will be provided at the event. The screenings run from 6 to 12 March. All films are subtitled in both Japanese and English and admission prices are as follows.
Same day tickets (single screening) 1,000 yen
Same day tickets (three screenings) 2,700 yen
Advance tickets (single screening) 800 yen
Advance tickets (three screenings) 2,100 yen
Free Pass to all screening 4,500 yen
Early next month, the Image Forum will be holding the trilingual festival Korean Independent Cinema 2004 at their theatre in Shibuya.
Among the films being shown are two from twin brothers Kim Gok and Kim Sun, "possibly the most interesting and adventurous `experimental` film-makers currently working in East Asia." Information on Anti-Dialectic and Time Consciousness can be found here. They're under Program D on the screening schedule.
I'm also looking forward to If You Were Me (Program C), an anthology of shorts "made to support the National Human Rights Commission," and thus addresses a wide range of social issues. According to the site, Korean film-makers are drawn to social and political radicalism, so all of the films in this program are meant to be provocative. "The two stand-outs are Im Soon-Rye on prejudices against fat women [er...sic] and Park Jin-Pyo on middle-class kids forced to undergo surgery to their tongues, supposedly to improve their English-speaking abilities." Short descriptions of each episode in If You Were Me are provided here.
There will also be a panel discussion on 6 March at 4:30 p.m. on "Reinventing Korean Cinema." Guests will be four directors who have films showing, two of whom I've already mentioned (Kim Sun and Im Soon-Rye).
They haven't gotten around to finishing the English version of the website yet. And if they don't get to it by the end of this month, I'll get into more detail on this weblog. But that still might not be necessary because a trilingual catalogue will be provided at the event. The screenings run from 6 to 12 March. All films are subtitled in both Japanese and English and admission prices are as follows.
Same day tickets (single screening) 1,000 yen
Same day tickets (three screenings) 2,700 yen
Advance tickets (single screening) 800 yen
Advance tickets (three screenings) 2,100 yen
Free Pass to all screening 4,500 yen
Friday, February 06, 2004
Aiha Higurashi, Shonen Knife
music
Clearly I lack the ability to concentrate on work today.
Two reminders to myself:
1) Aiha Higurashi will be playing at Shibuya Club Quattro on the 18th of this month; and
2) Shonen Knife will be playing at Club Que in Shimokitazawa on the 21st.
The more I think about leaving this fine city of ours, the more I say things to myself like, "I really should see Shonen Knife live while I'm here." Granted, this is no longer their heyday and they aren't the shining beacons of rock that they once were. But I know I'll kick myself later if I don't at least make an effort. Besides: detroit7 is playing with them! Roll! The Club Que show starts at 7 p.m. Admission is 2500 yen plus one drink, and tickets can be purchased in advance through Pia (161-610), Lawson, and e+.
If you know Seagull Screaming Kiss Her Kiss Her, then you know their frontwoman (and National freaking Treasure) Aiha Higurashi. After launching her solo career last year with the release of the single "New Life," Higurashi started off this year on the right foot with the release of a full album, "Born Beautiful." Her Club Quattro show starts at 7:30 p.m. Tickets are 3300 yen in advance or 3800 yen at the door (including one drink), and they're not even close to selling out yet. You can buy in advance through the usual suspects mentioned above. [p-code: 157-435]
Clearly I lack the ability to concentrate on work today.
Two reminders to myself:
1) Aiha Higurashi will be playing at Shibuya Club Quattro on the 18th of this month; and
2) Shonen Knife will be playing at Club Que in Shimokitazawa on the 21st.
The more I think about leaving this fine city of ours, the more I say things to myself like, "I really should see Shonen Knife live while I'm here." Granted, this is no longer their heyday and they aren't the shining beacons of rock that they once were. But I know I'll kick myself later if I don't at least make an effort. Besides: detroit7 is playing with them! Roll! The Club Que show starts at 7 p.m. Admission is 2500 yen plus one drink, and tickets can be purchased in advance through Pia (161-610), Lawson, and e+.
If you know Seagull Screaming Kiss Her Kiss Her, then you know their frontwoman (and National freaking Treasure) Aiha Higurashi. After launching her solo career last year with the release of the single "New Life," Higurashi started off this year on the right foot with the release of a full album, "Born Beautiful." Her Club Quattro show starts at 7:30 p.m. Tickets are 3300 yen in advance or 3800 yen at the door (including one drink), and they're not even close to selling out yet. You can buy in advance through the usual suspects mentioned above. [p-code: 157-435]
Film Marmalade
film
I've never been to one of these things before, but he has.
Film Marmalade will be screening independent short films at the Pink Cow this weekend. Ellie clued me in since I haven't been paying attention to anything outside of my own space bubble recently. Hell, I haven't even been to the Pink Cow since before they relocated. But I do have a thing for independent and amateur film-making, even when they're done badly. In fact, especially when they're done badly. That in mind, I can't exactly guarantee the bad quality of these Film Marmalade shorts. Jean Snow claimed to have actually liked some of the films at the screening he attended. But fuck it, I'm still feeling hopeful!
The "film jam" will be on Sunday, 8 February, beginning at 8 p.m. Cover charge is a mere 500 yen. The directors will be present to answer questions and listen to (hopefully constructive) criticism. I will be in the back, cradling a vodka bottle and snapping at everyone in a drunken slur.
I've never been to one of these things before, but he has.
Film Marmalade will be screening independent short films at the Pink Cow this weekend. Ellie clued me in since I haven't been paying attention to anything outside of my own space bubble recently. Hell, I haven't even been to the Pink Cow since before they relocated. But I do have a thing for independent and amateur film-making, even when they're done badly. In fact, especially when they're done badly. That in mind, I can't exactly guarantee the bad quality of these Film Marmalade shorts. Jean Snow claimed to have actually liked some of the films at the screening he attended. But fuck it, I'm still feeling hopeful!
The "film jam" will be on Sunday, 8 February, beginning at 8 p.m. Cover charge is a mere 500 yen. The directors will be present to answer questions and listen to (hopefully constructive) criticism. I will be in the back, cradling a vodka bottle and snapping at everyone in a drunken slur.
Thursday, February 05, 2004
Lunkhead
music
I am showing my support for Niihama by going to see Lunkhead at Shinjuku Loft on the 12th. Wanna come?
I spent New Year's vacation in Niihama two years in a row because I have friends who grew up there, one of whom is the boyfriend of Sara, my closest friend in Japan. It's a quiet little town, so we never did much beyond watch TV and check out the local Jusco. One year, we made sock puppets of ourselves using crap we bought at a 100 yen store. We also spent a lot of time drawing "honest" self-portraits. It all proved to be a dismal lesson in our own body-image problems. (Though I have to say that Toshimitsu drawing himself naked and adding a six-pack was pretty funny.)
I have fond (albeit boring to everyone else) memories of Niihama, making it something like my second "hometown" in Japan. Tokuyama's my first. So I'm excited about the idea of seeing a Niihama band causing a little stir in the Tokyo music scene...even though Sara says they almost sound like they're ripping off Asian Kung-Fu Generation. But they went to the same high school as Toshimitsu! Woo!
They'll be playing with Nananine, an alt-pop band from Fukuoka whose sound has been likened to those of Fountains of Wayne and Weezer, and GRiP, who (it must be said) excite me significantly less. But that's okay, GRiP, I'm still here for you.
Admission is 2300 yen and tickets can be bought in advance through Pia [p-code: 162-187] or Lawson [L-code: 38962]. Show starts at 7 p.m.
I am showing my support for Niihama by going to see Lunkhead at Shinjuku Loft on the 12th. Wanna come?
I spent New Year's vacation in Niihama two years in a row because I have friends who grew up there, one of whom is the boyfriend of Sara, my closest friend in Japan. It's a quiet little town, so we never did much beyond watch TV and check out the local Jusco. One year, we made sock puppets of ourselves using crap we bought at a 100 yen store. We also spent a lot of time drawing "honest" self-portraits. It all proved to be a dismal lesson in our own body-image problems. (Though I have to say that Toshimitsu drawing himself naked and adding a six-pack was pretty funny.)
I have fond (albeit boring to everyone else) memories of Niihama, making it something like my second "hometown" in Japan. Tokuyama's my first. So I'm excited about the idea of seeing a Niihama band causing a little stir in the Tokyo music scene...even though Sara says they almost sound like they're ripping off Asian Kung-Fu Generation. But they went to the same high school as Toshimitsu! Woo!
They'll be playing with Nananine, an alt-pop band from Fukuoka whose sound has been likened to those of Fountains of Wayne and Weezer, and GRiP, who (it must be said) excite me significantly less. But that's okay, GRiP, I'm still here for you.
Admission is 2300 yen and tickets can be bought in advance through Pia [p-code: 162-187] or Lawson [L-code: 38962]. Show starts at 7 p.m.
Thursday, January 29, 2004
Death Cab for Cutie
music
Nervousness has suddenly hit me and I'm about to pass out. I'm going to have to do this weird acting thing this weekend, and as I was just telling a friend, I'm afraid of falling off the stage or completely blanking out or accidentally coming out naked. Any number of mishaps could happen! Think about it! The fun starts tomorrow. If you decide last minute that you want to witness the humiliation and you haven't reserved a ticket yet, you could still just show up and pay at the door.
To get my mind off of it, I'm looking at music. Seattle's very own Death Cab for Cutie is coming back to Japan. They were only just here in September, weren't they? I admit I'm not a huge fan, but they're a great distraction and I feel a need to make up for all the gigs I missed on account of Proof rehearsals. And maybe they'll do some of their earlier stuff! That would make you feel warm and fuzzy, wouldn't it?
They'll be at Shibuya Club Quattro [map] on 15 March. Doors open at 6 p.m., show starts at 7 p.m. and tickets are 5500 yen, including one drink. They sold out really quickly last time, so you might want to take note that tickets for this concert go on sale starting 14 February. [p-code: 165-383] (Unless, of course, you don't care, in which case forget I said anything.)
Nervousness has suddenly hit me and I'm about to pass out. I'm going to have to do this weird acting thing this weekend, and as I was just telling a friend, I'm afraid of falling off the stage or completely blanking out or accidentally coming out naked. Any number of mishaps could happen! Think about it! The fun starts tomorrow. If you decide last minute that you want to witness the humiliation and you haven't reserved a ticket yet, you could still just show up and pay at the door.
To get my mind off of it, I'm looking at music. Seattle's very own Death Cab for Cutie is coming back to Japan. They were only just here in September, weren't they? I admit I'm not a huge fan, but they're a great distraction and I feel a need to make up for all the gigs I missed on account of Proof rehearsals. And maybe they'll do some of their earlier stuff! That would make you feel warm and fuzzy, wouldn't it?
They'll be at Shibuya Club Quattro [map] on 15 March. Doors open at 6 p.m., show starts at 7 p.m. and tickets are 5500 yen, including one drink. They sold out really quickly last time, so you might want to take note that tickets for this concert go on sale starting 14 February. [p-code: 165-383] (Unless, of course, you don't care, in which case forget I said anything.)
Friday, January 23, 2004
Uplink Documentaries 2
film
A continuation of those Uplink Gallery films from the previous post.
Program B
(February 4, 6, 8, 10)
From the Journals of Jean Seberg
Obviously I haven't seen this one yet, but the fact that someone is playing the role of the subject of this documentary...gives me pause. Then again, what gullible soul would assume that all documentaries are purely non-fiction? Mark Rappaport gives us his interpretation of the life of actress Jean Seberg (star of Jean Luc Godard's "Breathless") as "explained through the films she's in, which, he suggests, is inextricably linked to the men she loved, which is inextricably linked to the times she was living in, the political role she chose to play, and the other actresses whose careers ran parallel to hers." It's much the same thing he did with his film "Rock Hudson's Home Movies": showing the audience film images and presenting his own interpretations. Roger Ebert points out, "Rappaport [is] doing to Seberg what the other boys did, photographing a girl and turning it to his own purposes. But at least he's on her side."
Time: 12:15-1:55 p.m.
Jean Seberg: American Actress
That same year, Donatello and Fosco Dubini came out with this more traditional biography in Germany, using film clips, private interviews, press photos and phone conversations. The Lorcano Official Catalogue calls it "the tragedy of a woman who, caught in the cogwheels of the motion picture industry, could no longer tell fiction and reality apart," leaving me to think that the previous film is more clever than I originally gave it credit for.
Time: 2:10-3:25 p.m.
Erotica: A Journey Into Female Sexuality
In Maya Gallus's film "women talk about what turns them on, and it's not just 'cuddling,' despite all those letters to the advice columnists" (SF Chronicle). Gallus scores interviews with Dominique Aury (aka Pauline Reage), the author of The Story of O, Jeanne De Berg, a 60 year-old author and dominatrix, Alina Reyes, an erotica novelist, and Bettina Rheims, the photographer of a book of nudes of "average women," among eleven interviewees in all. "The female response is the way society evolves. There is a response to feminism, to the sexual revolution, to expressive elements in society that still exist," Gallus says of female sexuality in art. "It is important that it is not the definitive film of women and erotica. I see it as opening the door to discussion."
Time: 3:60-5:10 p.m. (and 7-8:20 p.m. on and after the 6th)
Modulations
It's all about techno. I'm...not big on techno. But The New York Times calls this film "an invaluable primer that begins to make sense of a rapidly changing sonic world that in many people's minds is only a grating, intimidating jumble of unwelcome noise." So I guess that, if ever there were a time for me to get into "a grating, intimidating jumble of unwelcome noise" this would be it.
Time: 5:25-6:40 p.m.
A continuation of those Uplink Gallery films from the previous post.
Program B
(February 4, 6, 8, 10)
From the Journals of Jean Seberg
Obviously I haven't seen this one yet, but the fact that someone is playing the role of the subject of this documentary...gives me pause. Then again, what gullible soul would assume that all documentaries are purely non-fiction? Mark Rappaport gives us his interpretation of the life of actress Jean Seberg (star of Jean Luc Godard's "Breathless") as "explained through the films she's in, which, he suggests, is inextricably linked to the men she loved, which is inextricably linked to the times she was living in, the political role she chose to play, and the other actresses whose careers ran parallel to hers." It's much the same thing he did with his film "Rock Hudson's Home Movies": showing the audience film images and presenting his own interpretations. Roger Ebert points out, "Rappaport [is] doing to Seberg what the other boys did, photographing a girl and turning it to his own purposes. But at least he's on her side."
Time: 12:15-1:55 p.m.
Jean Seberg: American Actress
That same year, Donatello and Fosco Dubini came out with this more traditional biography in Germany, using film clips, private interviews, press photos and phone conversations. The Lorcano Official Catalogue calls it "the tragedy of a woman who, caught in the cogwheels of the motion picture industry, could no longer tell fiction and reality apart," leaving me to think that the previous film is more clever than I originally gave it credit for.
Time: 2:10-3:25 p.m.
Erotica: A Journey Into Female Sexuality
In Maya Gallus's film "women talk about what turns them on, and it's not just 'cuddling,' despite all those letters to the advice columnists" (SF Chronicle). Gallus scores interviews with Dominique Aury (aka Pauline Reage), the author of The Story of O, Jeanne De Berg, a 60 year-old author and dominatrix, Alina Reyes, an erotica novelist, and Bettina Rheims, the photographer of a book of nudes of "average women," among eleven interviewees in all. "The female response is the way society evolves. There is a response to feminism, to the sexual revolution, to expressive elements in society that still exist," Gallus says of female sexuality in art. "It is important that it is not the definitive film of women and erotica. I see it as opening the door to discussion."
Time: 3:60-5:10 p.m. (and 7-8:20 p.m. on and after the 6th)
Modulations
It's all about techno. I'm...not big on techno. But The New York Times calls this film "an invaluable primer that begins to make sense of a rapidly changing sonic world that in many people's minds is only a grating, intimidating jumble of unwelcome noise." So I guess that, if ever there were a time for me to get into "a grating, intimidating jumble of unwelcome noise" this would be it.
Time: 5:25-6:40 p.m.
Wednesday, January 21, 2004
Uplink Documentaries
film
From the 3rd to the 11th of February, Uplink Gallery in Waseda Tsurumakicho [map] will be featuring eight documentaries to screen (at scheduled times) or to view via iBOOK and headphones at any time during the gallery's open hours (one or two viewers at a time, excluding the Joe Coleman film). And all for the price of at least one drink from their cafe.
Films are as follows.
Program A
(February 3, 5, 7, 9, 11)
Let It Come Down: The Life of Paul Bowles
A film by Canadian filmmaker Jennifer Baichwal about the writer of Sheltering Sky. "Highlights of the film include exclusive footage of the last meeting of Bowles, William Burroughs and Allen Ginsberg in New York; footage of Bowles translating Moroccan storyteller Mohammed Mrabet; the first and only film appearance of his wife Jane Bowles' lover, Cherifa, who is rumored to have poisoned Jane to death; detailed treatment of Bowles' work as a composer; and readings of Bowles' magnificent and poetic work."
Time: 12:15-1:30 p.m. (and 7-8:15 p.m. on and after the 7th)
A Tickle in the Heart
"Shot in beautiful black and white, A Tickle in the Heart is a stunning, cinematic documentary that depicts the semi-retired lives of The Epstein Brothers, the 'Kings of Klezmer Music.'" Filmmaker Stefan Schwietert follows the brothers from "America's retirement paradise" in Florida to renewed international success and an invitation to play in Berlin. "...a uniquely American story that has the elegant, polished feel of a European art film. It honors the incredible Epsteins with the kind of wide-eyed admiration they deserve." [SFJFF]
Time: 1:45-3:10 p.m.
R.I.P., Rest in Pieces: A Portrait of Joe Coleman
"...documents the life and passion of Joe Coleman, a nice, idealistic Catholic boy who survived a surreal, twisted upbringing surrounded by love and violence, and eventually settled on becoming an artist after abandoning early dreams of mass murder....The film follows Joe through deserted New York City streets, an autopsy room in Budapest and live performances where he blows himself up with dynamite. Director Robert Pejo pieces together a portrait of his subject through interviews with Joe, his therapist, ex-lovers, his publisher and the filmmaker Jim Jarmusch. Pejo delves into the intimate folds of Coleman's bizarre personal life, taking his camera into the artist's home to film his family—photographer wife Whitney Ward and the couple's adopted son 'Junior,' a deformed baby preserved inside a jar of formaldehyde." Huh.
Time: 3:25-5 p.m.
Der Weg nach Eden
Another one by Pejo. "It's an intimate look at the life and work of a certain Janus Keseru...a mortician and pathologist working in a hospital in Budapest where elderly, terminally ill patients spend their last few weeks...Keseru saws, drills and chops, peels back skin and looks under eyelids, in his bid to work out why any given body stopped functioning. Once he has finished pulling a corpse apart, he puts it together again so it can be displayed during the funeral." Two things. One: Ewwwww. And two: Neat! Morbid curiosity might pull me to this one.
Time: 5:10-6:45 p.m.
I'll continue with Program B tomorrow. (The time-sucker is trying to figure out the original names under which these films were released.) In the meantime, you can read all about it in Japanese.
From the 3rd to the 11th of February, Uplink Gallery in Waseda Tsurumakicho [map] will be featuring eight documentaries to screen (at scheduled times) or to view via iBOOK and headphones at any time during the gallery's open hours (one or two viewers at a time, excluding the Joe Coleman film). And all for the price of at least one drink from their cafe.
Films are as follows.
Program A
(February 3, 5, 7, 9, 11)
Let It Come Down: The Life of Paul Bowles
A film by Canadian filmmaker Jennifer Baichwal about the writer of Sheltering Sky. "Highlights of the film include exclusive footage of the last meeting of Bowles, William Burroughs and Allen Ginsberg in New York; footage of Bowles translating Moroccan storyteller Mohammed Mrabet; the first and only film appearance of his wife Jane Bowles' lover, Cherifa, who is rumored to have poisoned Jane to death; detailed treatment of Bowles' work as a composer; and readings of Bowles' magnificent and poetic work."
Time: 12:15-1:30 p.m. (and 7-8:15 p.m. on and after the 7th)
A Tickle in the Heart
"Shot in beautiful black and white, A Tickle in the Heart is a stunning, cinematic documentary that depicts the semi-retired lives of The Epstein Brothers, the 'Kings of Klezmer Music.'" Filmmaker Stefan Schwietert follows the brothers from "America's retirement paradise" in Florida to renewed international success and an invitation to play in Berlin. "...a uniquely American story that has the elegant, polished feel of a European art film. It honors the incredible Epsteins with the kind of wide-eyed admiration they deserve." [SFJFF]
Time: 1:45-3:10 p.m.
R.I.P., Rest in Pieces: A Portrait of Joe Coleman
"...documents the life and passion of Joe Coleman, a nice, idealistic Catholic boy who survived a surreal, twisted upbringing surrounded by love and violence, and eventually settled on becoming an artist after abandoning early dreams of mass murder....The film follows Joe through deserted New York City streets, an autopsy room in Budapest and live performances where he blows himself up with dynamite. Director Robert Pejo pieces together a portrait of his subject through interviews with Joe, his therapist, ex-lovers, his publisher and the filmmaker Jim Jarmusch. Pejo delves into the intimate folds of Coleman's bizarre personal life, taking his camera into the artist's home to film his family—photographer wife Whitney Ward and the couple's adopted son 'Junior,' a deformed baby preserved inside a jar of formaldehyde." Huh.
Time: 3:25-5 p.m.
Der Weg nach Eden
Another one by Pejo. "It's an intimate look at the life and work of a certain Janus Keseru...a mortician and pathologist working in a hospital in Budapest where elderly, terminally ill patients spend their last few weeks...Keseru saws, drills and chops, peels back skin and looks under eyelids, in his bid to work out why any given body stopped functioning. Once he has finished pulling a corpse apart, he puts it together again so it can be displayed during the funeral." Two things. One: Ewwwww. And two: Neat! Morbid curiosity might pull me to this one.
Time: 5:10-6:45 p.m.
I'll continue with Program B tomorrow. (The time-sucker is trying to figure out the original names under which these films were released.) In the meantime, you can read all about it in Japanese.
Monday, January 19, 2004
Proof
theatre
I may as well come out with it now: Proof.
The winner of the Pulitzer Prize and numerous Tony Awards in 2001 (even beating out Tom Stoppard's The Invention of Love for best play), Proof received raves from the New York rags and some mixed reviews from London. At best, it's been called masterly, compelling and brilliant. At worst? Patronizing and derivative. Yet I can't help but wonder if the pans were a sort of backlash from all the hype of an American play with a Hollywood star invading the London stage. I'd say it's just a good show in the same way that "Blair Witch Project" was a good movie to anyone who saw it before all those reviews came out and made people feel dirty for liking it.
It quickly became known as "the math play," but there's no real math in it. It doesn't make you "feel smart" like Copenhagen or "in the know" like Wit. At its heart, it's just a family drama about intelligent people (intelligent people who misuse words like "mutual"—one of my peeves—but intelligent nonetheless). And, let's face it, it's not often that Tokyo International Players will take a chance on a play like this. It's small, a bit obscure to the masses, and we say "fuck" a lot. There are worries that it won't draw enough of a crowd. So if you've ever complained that TIP has gone too mainstream with shows that have been done-to-death, you might want to take an interest in Proof. I should remind you, though, that instead of Mary Louise Parker, Jennifer Jason Leigh or even Gwyneth Paltrow, you'll be getting me. Sad, eh?
I? Am not luminous.
You may think I'm biased because I'm in it. But I'm feeling less and less that I have a say in what goes on. I can't even pick my costumes, ferchrissake. The headshot of me in the lobby? Even worse than most. You can laugh at my hair if you'd like. And some of the music makes me want to spit. (I complained that Evanescence might send me into a boredom-induced coma, only to be ignored.) So I'm not biased. It has nothing to do with me. In fact, I'd rather people not look at me while I'm onstage.
There will only be four performances of Proof, from 30 January to 1 February (with two shows on the 31st), and tickets can be purchased at the door or reserved through TIP (recommended). If you know me, even only a little bit, you can also buy tickets from me before the 25th. Just send me an e-mail to arrange payment.
Also, there was a recent profile of the director Robert Tsonos in The Japan Times. He looks like a fifteen-year-old boy. In real life too. It's just sick.
I may as well come out with it now: Proof.
The winner of the Pulitzer Prize and numerous Tony Awards in 2001 (even beating out Tom Stoppard's The Invention of Love for best play), Proof received raves from the New York rags and some mixed reviews from London. At best, it's been called masterly, compelling and brilliant. At worst? Patronizing and derivative. Yet I can't help but wonder if the pans were a sort of backlash from all the hype of an American play with a Hollywood star invading the London stage. I'd say it's just a good show in the same way that "Blair Witch Project" was a good movie to anyone who saw it before all those reviews came out and made people feel dirty for liking it.
It quickly became known as "the math play," but there's no real math in it. It doesn't make you "feel smart" like Copenhagen or "in the know" like Wit. At its heart, it's just a family drama about intelligent people (intelligent people who misuse words like "mutual"—one of my peeves—but intelligent nonetheless). And, let's face it, it's not often that Tokyo International Players will take a chance on a play like this. It's small, a bit obscure to the masses, and we say "fuck" a lot. There are worries that it won't draw enough of a crowd. So if you've ever complained that TIP has gone too mainstream with shows that have been done-to-death, you might want to take an interest in Proof. I should remind you, though, that instead of Mary Louise Parker, Jennifer Jason Leigh or even Gwyneth Paltrow, you'll be getting me. Sad, eh?
I? Am not luminous.
You may think I'm biased because I'm in it. But I'm feeling less and less that I have a say in what goes on. I can't even pick my costumes, ferchrissake. The headshot of me in the lobby? Even worse than most. You can laugh at my hair if you'd like. And some of the music makes me want to spit. (I complained that Evanescence might send me into a boredom-induced coma, only to be ignored.) So I'm not biased. It has nothing to do with me. In fact, I'd rather people not look at me while I'm onstage.
There will only be four performances of Proof, from 30 January to 1 February (with two shows on the 31st), and tickets can be purchased at the door or reserved through TIP (recommended). If you know me, even only a little bit, you can also buy tickets from me before the 25th. Just send me an e-mail to arrange payment.
Also, there was a recent profile of the director Robert Tsonos in The Japan Times. He looks like a fifteen-year-old boy. In real life too. It's just sick.
Thursday, January 15, 2004
Salome
opera
Tickets have already gone on sale for the New National Theatre's production of Richard Strauss's Salome. I'm sure you know it.
Due to its scandalous subject matter, Salome shocked Europe when it was first performed in Dresden, in 1905. The scene of Salome kissing the freshly severed head and extraordinarily tense music were so new and sensuous that the opera was prohibited from being performed in various cities, making the name of Richard Strauss known to the world with a peculiar ring.
But in this age of war and gore, can Salome still shock? Well, it can at least make people very very uncomfortable. I saw one production in Shibuya not too long ago that was really fucking raunchy. Here's a mini-review from my super-secret blog.
I always expect the Dance of the Seven Veils to suck because opera singers just can't dance, but this show presented a new low. Quite often, a professional dancer is switched in (the music is so intense that a few half-assed twirls and jazz-hands wouldn't look right), but in this production, the soprano did her own dancing; and she was clumsy, awkward and just bad, bad, bad. The very opposite of seductive, as a matter of fact. Besides which, they only used one veil. Meh.
The singer who played Salome was this tall blond in silver stilettos. I felt sorry for her for having to take her clothes off and do all that crap with the head of Iokanaan. So check this out. You know how, after he's beheaded, she goes on and on with "Let me kiss your lips, Iokanaan! Let me kiss your lips"? Well, she did more than kiss his lips. She stuck the severed head of the prophet between her legs and moved back and forth on it, spasming every once in a while for effect. The head was giving her head. I guess they were trying to make it shocking for our time, and they certainly succeeded. I kept looking around nervously at all the little old ladies in the room, as if they were my grandmothers and they were disapproving. But no one winced. Well, just me.
I'm really selling it, aren't I? Different staging, I'm sure. If it means anything to you, the libretto is really a German translation of Oscar Wilde's play. That's something, eh? And Nordic opera superstar Eva Johansson will be playing Salome as Friedrich Haider conducts.
Salome will be at the New National Theatre Tokyo's Opera House from 27 February to 7 March. Advanced tickets can be purchased by phone (+81-3-5352-9999) or through Pia [p-code: 145-129]. It'll be sung in German with Japanese subtitles, so I recommend you read up on the story first.
Tickets have already gone on sale for the New National Theatre's production of Richard Strauss's Salome. I'm sure you know it.
Due to its scandalous subject matter, Salome shocked Europe when it was first performed in Dresden, in 1905. The scene of Salome kissing the freshly severed head and extraordinarily tense music were so new and sensuous that the opera was prohibited from being performed in various cities, making the name of Richard Strauss known to the world with a peculiar ring.
But in this age of war and gore, can Salome still shock? Well, it can at least make people very very uncomfortable. I saw one production in Shibuya not too long ago that was really fucking raunchy. Here's a mini-review from my super-secret blog.
I always expect the Dance of the Seven Veils to suck because opera singers just can't dance, but this show presented a new low. Quite often, a professional dancer is switched in (the music is so intense that a few half-assed twirls and jazz-hands wouldn't look right), but in this production, the soprano did her own dancing; and she was clumsy, awkward and just bad, bad, bad. The very opposite of seductive, as a matter of fact. Besides which, they only used one veil. Meh.
The singer who played Salome was this tall blond in silver stilettos. I felt sorry for her for having to take her clothes off and do all that crap with the head of Iokanaan. So check this out. You know how, after he's beheaded, she goes on and on with "Let me kiss your lips, Iokanaan! Let me kiss your lips"? Well, she did more than kiss his lips. She stuck the severed head of the prophet between her legs and moved back and forth on it, spasming every once in a while for effect. The head was giving her head. I guess they were trying to make it shocking for our time, and they certainly succeeded. I kept looking around nervously at all the little old ladies in the room, as if they were my grandmothers and they were disapproving. But no one winced. Well, just me.
I'm really selling it, aren't I? Different staging, I'm sure. If it means anything to you, the libretto is really a German translation of Oscar Wilde's play. That's something, eh? And Nordic opera superstar Eva Johansson will be playing Salome as Friedrich Haider conducts.
Salome will be at the New National Theatre Tokyo's Opera House from 27 February to 7 March. Advanced tickets can be purchased by phone (+81-3-5352-9999) or through Pia [p-code: 145-129]. It'll be sung in German with Japanese subtitles, so I recommend you read up on the story first.
Friday, January 09, 2004
Tokyo International Arts Festival - The Eurasia Festival
event
Guestblogged something yesterday at On Gaien Higashi Dori.
Oh, and check this out: the Tokyo International Arts Festival - The Eurasia Festival. From 12 February to 28 March, TIF will be presenting performances by theatre groups and dance troupes from Europe and Asia. This year, there'll be three shows from Middle Eastern theatre companies. And even if you can't understand the Arabic or read the Japanese subtitles, you know "Hamlet," right?
The "Al-Hamlet Summit" takes the familiar characters of Shakespeare's Hamlet and places them inside a conference room in an unnamed Arab State today. This new play is a rewriting of Shakespeare's original that takes an incisive and poetic look at the politics surrounding Arab-West relationships and the continuing cycle of violence in the Middle East.
Neat. ("Neat" is the only word I can think of right now. But I'm sure it's better than neat.)
For English speakers/readers, there will be "Ie-niwa Takai Ki-ga Atta," an acclaimed family drama by Hirosaki Theatre Company of Aomori, and "adrenalin...heart," a thought-provoking romance by The Bush Theatre of the U.K. Also check out their multilingual lectures and presentations for international visitors. I know you're not exactly a "visitor." Just pretend, okay?
Guestblogged something yesterday at On Gaien Higashi Dori.
Oh, and check this out: the Tokyo International Arts Festival - The Eurasia Festival. From 12 February to 28 March, TIF will be presenting performances by theatre groups and dance troupes from Europe and Asia. This year, there'll be three shows from Middle Eastern theatre companies. And even if you can't understand the Arabic or read the Japanese subtitles, you know "Hamlet," right?
The "Al-Hamlet Summit" takes the familiar characters of Shakespeare's Hamlet and places them inside a conference room in an unnamed Arab State today. This new play is a rewriting of Shakespeare's original that takes an incisive and poetic look at the politics surrounding Arab-West relationships and the continuing cycle of violence in the Middle East.
Neat. ("Neat" is the only word I can think of right now. But I'm sure it's better than neat.)
For English speakers/readers, there will be "Ie-niwa Takai Ki-ga Atta," an acclaimed family drama by Hirosaki Theatre Company of Aomori, and "adrenalin...heart," a thought-provoking romance by The Bush Theatre of the U.K. Also check out their multilingual lectures and presentations for international visitors. I know you're not exactly a "visitor." Just pretend, okay?
Monday, January 05, 2004
Casting Call
audition
Happy McNew Year, my pretties. I can't quite recall how I spent New Year's Eve, but it had something to do with smoke, lights and mediocre music. Drinking champagne out of the bottle. Firecrackers. Cab rides. A dark room. Lots of waiting around. First meal of the year? Breakfast at McDonald's. I know. I'm ashamed of myself for supporting The Corporation. Let's hope none of this is portentous of the rest of the year. In the morning, I decided that the idea of New Year's Eve was stupid. Every year people run around trying to make sure they're doing something memorable for the countdown. It's just one moment. What about the rest of my life?
Okay, enough.
I have neither the time nor inclination to think today. Thank goodness for Kristen who sent me the following casting notice just so's Ah kin have somethin' here on my first day of work this year.
Casting Call
Saturday January 10, 2004
Info: casting[at]mediatinker.com
New serial drama seeks Japanese and foreign actors. The auditions will consist of two cold readings; you do not need to prepare a monologue. Headshots and resumes are appreciated, but not necessary.
In addition to the roles listed below, we need people of all backgrounds and ages for smaller parts and as extras.
Production is planned for weekends from March through April. Not all characters will be required for all shooting days.
Actress "Yoko"
Age: 20s-30s
Nationality: Japanese
Language: Bilingual E/J
"Yoko" is a stunningly beautiful actress with lots of talent, however, she's also a kind, sincere, humble person. Although she knows she is beautiful and is confident in her acting ability, she is very shy off-camera, and a bit insecure and awkward when interacting in the "real world." She is genuinely a kind-hearted person who is torn between following her acting career and pleasing her parents.
Actress "Tomoko"
Age: 20s-30s
Nationality: Japanese
Language: Bilingual E/J
"Tomoko" is a beautiful and feisty actress who hasn't achieved the success she wants. She's known as a busybody who knows everyone's business and gossips behind everyone's back—therefore, she's a troublemaker.
Actress "Junko"
Age: 20s-30s
Nationality: Japanese
Language: Japanese or bilingual
"Junko" is a quiet, insecure, and introverted young woman who works behind the scenes. She is sort of plain and the outgoing actors and actresses forget to invite her along to social events. Junko speaks but she has emotional depth. She's quick to try to please, but her eyes reveal sadness.
Actress "Miki"
Age: 20s-30s
Nationality: Japanese
Language: Japanese or bilingual
"Miki" is a young actress who is always late for rehearsals and meetings. Although she is a fine actress, she is a prima dona who reacts badly to criticism.
Actress "Anna"
Age: 20s-30s
Nationality: European or British
Language: English or bilingual
"Anna" is a photographer who has been in Japan for just a few months. She has an outgoing personality and is trying hard to make friends and get her career going.
Actor "Sean"
Age: 20s-30s
Nationality: UK, Australian, or NZ
Language: English or bilingual
"Sean" is a comic artist and English teacher. He is the comic relief in the show, (a la Kramer), offering wisdom in a friendly manner.
Happy McNew Year, my pretties. I can't quite recall how I spent New Year's Eve, but it had something to do with smoke, lights and mediocre music. Drinking champagne out of the bottle. Firecrackers. Cab rides. A dark room. Lots of waiting around. First meal of the year? Breakfast at McDonald's. I know. I'm ashamed of myself for supporting The Corporation. Let's hope none of this is portentous of the rest of the year. In the morning, I decided that the idea of New Year's Eve was stupid. Every year people run around trying to make sure they're doing something memorable for the countdown. It's just one moment. What about the rest of my life?
Okay, enough.
I have neither the time nor inclination to think today. Thank goodness for Kristen who sent me the following casting notice just so's Ah kin have somethin' here on my first day of work this year.
Casting Call
Saturday January 10, 2004
Info: casting[at]mediatinker.com
New serial drama seeks Japanese and foreign actors. The auditions will consist of two cold readings; you do not need to prepare a monologue. Headshots and resumes are appreciated, but not necessary.
In addition to the roles listed below, we need people of all backgrounds and ages for smaller parts and as extras.
Production is planned for weekends from March through April. Not all characters will be required for all shooting days.
Actress "Yoko"
Age: 20s-30s
Nationality: Japanese
Language: Bilingual E/J
"Yoko" is a stunningly beautiful actress with lots of talent, however, she's also a kind, sincere, humble person. Although she knows she is beautiful and is confident in her acting ability, she is very shy off-camera, and a bit insecure and awkward when interacting in the "real world." She is genuinely a kind-hearted person who is torn between following her acting career and pleasing her parents.
Actress "Tomoko"
Age: 20s-30s
Nationality: Japanese
Language: Bilingual E/J
"Tomoko" is a beautiful and feisty actress who hasn't achieved the success she wants. She's known as a busybody who knows everyone's business and gossips behind everyone's back—therefore, she's a troublemaker.
Actress "Junko"
Age: 20s-30s
Nationality: Japanese
Language: Japanese or bilingual
"Junko" is a quiet, insecure, and introverted young woman who works behind the scenes. She is sort of plain and the outgoing actors and actresses forget to invite her along to social events. Junko speaks but she has emotional depth. She's quick to try to please, but her eyes reveal sadness.
Actress "Miki"
Age: 20s-30s
Nationality: Japanese
Language: Japanese or bilingual
"Miki" is a young actress who is always late for rehearsals and meetings. Although she is a fine actress, she is a prima dona who reacts badly to criticism.
Actress "Anna"
Age: 20s-30s
Nationality: European or British
Language: English or bilingual
"Anna" is a photographer who has been in Japan for just a few months. She has an outgoing personality and is trying hard to make friends and get her career going.
Actor "Sean"
Age: 20s-30s
Nationality: UK, Australian, or NZ
Language: English or bilingual
"Sean" is a comic artist and English teacher. He is the comic relief in the show, (a la Kramer), offering wisdom in a friendly manner.
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