music
I don't know if he'll mind my mentioning this, but my friend Andrzej's playing a short set at Night-in-gales tonight from 9pm. It's sort of a last minute thing and he probably doesn't want to make a big "to do" about it. I just thought that, if I haven't seen you in a while, this would be a good excuse before I get good-and-busy preparing for the next play. I really like what I've heard of his music so far; it shouldn't have come as a surprise when I recently found out that we listen to a lot of the same artists. And he's got an amazing singing voice. Ask anyone who has ever heard him so much as hum two notes.
So. There it is. Let's get drunk at Golden Gai and repeatedly yell at Andrzej to "Play 'Freebird'!" until he kicks us out.
I also wanted to send out the reminder that tickets have already gone on sale for British Sea Power and The Delays, who will be playing together at Shibuya Club Quattro [map] on 18 December. It's a Rough Trade night! Whee. I guess this fits in with my secret plan to see every weirdo indie-label band to hit Tokyo. From British Sea Power's Rough Trade bio:
Though courteous and hygienic when licking stamps and ordering general provisions, once placed upon the concert stage they are remarkable in their actions: quick of foot and unafraid in their movements.
Their live shows are legendary, with band members often dressed in costumes and giving as much fire and energy to you as their tiny little English bodies can handle. They cover the stage with plastic animals and plants—bringing together the worlds of rock'n'roll and fake wildlife—and their shows often end in a "visceral chaos akin more to performance art than rock music."
It's not all gimmicks and stage antics, however. As put by Pitchfork Media, "BSP have the song-power to back up their bullshit." Listen closely, and you'll find a group of true musicians...just, you know, "true musicians" who like to have fun. Nothing wrong with that.
Tuesday, October 28, 2003
Monday, October 27, 2003
Grad Schools
event
I'm still in mourning, but I'm in mourning while trying to be a productive person.
I've just about had it with this extended vacation I've been calling "living in Tokyo" and I'm a-fixin' to go to grad school. I've been considering U.K. universities because most programs only take a year of full-time studying, but my co-worker has also planted the idea of Australian universities in my head...even though big bugs live there. (While I haven't been entirely convinced by his argument "We could hang out!" the cost of living isn't as daunting as that of the U.K.)
My point? Oh, right. Next week there'll be an international education fair in Tokyo for people considering postgraduate studies. It'll take place on 7 November at the Four Seasons Hotel Tokyo [map] from 5pm to 9pm. You can register here and a partial list of participating schools can be found here.
Who's with me? Let's blow this popsicle stand.
I'm still in mourning, but I'm in mourning while trying to be a productive person.
I've just about had it with this extended vacation I've been calling "living in Tokyo" and I'm a-fixin' to go to grad school. I've been considering U.K. universities because most programs only take a year of full-time studying, but my co-worker has also planted the idea of Australian universities in my head...even though big bugs live there. (While I haven't been entirely convinced by his argument "We could hang out!" the cost of living isn't as daunting as that of the U.K.)
My point? Oh, right. Next week there'll be an international education fair in Tokyo for people considering postgraduate studies. It'll take place on 7 November at the Four Seasons Hotel Tokyo [map] from 5pm to 9pm. You can register here and a partial list of participating schools can be found here.
Who's with me? Let's blow this popsicle stand.
Thursday, October 23, 2003
Tuesday, October 14, 2003
Pole Pole
film
Remember how I whinged about how BOX Higashi-Nakano shut down just when we were getting to know each other? It was mostly for naught because Theater Pole Pole is still taking it upon themselves to fill our lives with indie film goodness at the exact same location.
For most of this month, the late shows are "Rock Films," which are mostly concert films and documentaries featuring—what else?—rocks. Or, uh, something. The first three in this program (The Filth and the Fury, Stop Making Sense and Year of the Horse) came and went while I wasn't looking, but I'm hoping to find time for the next two: Jimi Hendrix (playing from today to the 17th) and Message to Love: The Isle of Wight Festival (playing from the 18th to the 20th and considered a turning point in rock history).
It's probably a faux pas to admit that I'm not a huge Jimi Hendrix fan. But I am a sucker for biographical documentaries, especially if they're all bitchy-like a la those VH1 dealies. And speaking of bitchy-like, I live for the IMDB user comments. One described Message to Love as:
A very entertaining look at naive hippiedom. The glimpses and interviews with the not-so-well-groomed attendees are often hilarious (unintentionally) and sometimes heartbreaking. (A man admits to regularly giving his 3 year old son acid and marijuana.) The hippyspeak is also very enjoyable. The word "money" is never used—it's always "bread, man." The hippies feel that they have an entitlement to free music, (It was only £3 to get in. Boy, hippies were cheap), while the promoters claim that they are just trying to break even.
Only 50,000 of the 600,000 attendees paid to get in, turning the festival into a financial disaster, so we get to watch the slow disintegration of promoter/MC Rikki Farr. After dealing with gate-crashers, greedy managers and mostly mediocre performances, Farr has a breakdown on stage and releases a diatribe on the crowd, calling them "pigs" and compounding the animosity between promoters and audience. So, despite performances by The Who, The Doors (months before Morrison's death), Joni Mitchell, Joan Baez, Miles Davis, Leonard Cohen and a drugged-out Jimi Hendrix (weeks before his death), the real draw here is in how the film documents "the decline of '60s idealism in the face of cutthroat capitalism." Forget Woodstock.
Also, I've already seen the last film in the Rock Film program, Martin Scorsese's The Last Waltz. But I thought I'd mention it in case someone's interested.
Admission to Theater Pole Pole is 1500 yen, and all of the films mentioned here start at 9:10 in the evening.
Remember how I whinged about how BOX Higashi-Nakano shut down just when we were getting to know each other? It was mostly for naught because Theater Pole Pole is still taking it upon themselves to fill our lives with indie film goodness at the exact same location.
For most of this month, the late shows are "Rock Films," which are mostly concert films and documentaries featuring—what else?—rocks. Or, uh, something. The first three in this program (The Filth and the Fury, Stop Making Sense and Year of the Horse) came and went while I wasn't looking, but I'm hoping to find time for the next two: Jimi Hendrix (playing from today to the 17th) and Message to Love: The Isle of Wight Festival (playing from the 18th to the 20th and considered a turning point in rock history).
It's probably a faux pas to admit that I'm not a huge Jimi Hendrix fan. But I am a sucker for biographical documentaries, especially if they're all bitchy-like a la those VH1 dealies. And speaking of bitchy-like, I live for the IMDB user comments. One described Message to Love as:
A very entertaining look at naive hippiedom. The glimpses and interviews with the not-so-well-groomed attendees are often hilarious (unintentionally) and sometimes heartbreaking. (A man admits to regularly giving his 3 year old son acid and marijuana.) The hippyspeak is also very enjoyable. The word "money" is never used—it's always "bread, man." The hippies feel that they have an entitlement to free music, (It was only £3 to get in. Boy, hippies were cheap), while the promoters claim that they are just trying to break even.
Only 50,000 of the 600,000 attendees paid to get in, turning the festival into a financial disaster, so we get to watch the slow disintegration of promoter/MC Rikki Farr. After dealing with gate-crashers, greedy managers and mostly mediocre performances, Farr has a breakdown on stage and releases a diatribe on the crowd, calling them "pigs" and compounding the animosity between promoters and audience. So, despite performances by The Who, The Doors (months before Morrison's death), Joni Mitchell, Joan Baez, Miles Davis, Leonard Cohen and a drugged-out Jimi Hendrix (weeks before his death), the real draw here is in how the film documents "the decline of '60s idealism in the face of cutthroat capitalism." Forget Woodstock.
Also, I've already seen the last film in the Rock Film program, Martin Scorsese's The Last Waltz. But I thought I'd mention it in case someone's interested.
Admission to Theater Pole Pole is 1500 yen, and all of the films mentioned here start at 9:10 in the evening.
Monday, October 06, 2003
Super Furry Animals
music
My sister thinks I'm weird.
I can't tell you how disturbing that is to me. We grew up together; she's supposed to think I'm normal. In fact, when you're feeling like a bit of an outsider and holding back so as not to scare off other people, shouldn't you at least be able to find acceptance from those with whom you spent your childhood? Besides, my quirks aren't that weird. I mumble to myself, speak in gibberish and write sonnets about my knee. Big deal. Who doesn't?
You want weird? I'll give you weird. How about Super Furry Animals? They're playing at Shinjuku's Liquid Room next month to a sold out show on the 17th and soon-to-be-sold out thingamajigger on the 18th. At this point, I am so overwhelmed by the wackiness that I'm going to have to rely on someone else to explain it to you. From PopMatters:
The Welsh band's 2001 opus Rings Around the World was one of the only sparkling musical moments in what was an incredibly crappy, depressing year. You had robotic Marvin Gaye tributes, Beach Boys harmonies, a blatant ELO imitation, wild moments of techno noise, and the ultimate piece de resistance, the sound of Paul McCartney rhythmically chewing carrots and celery. It was a psychotic masterpiece of an album, proof that there was at least one band on this planet willing to do anything they could in an effort to put out the greatest rock record ever made.
I don't see any reason for you not to be won over by now.
While it's true that with Phantom Power they go mellower, eccentricities still abound and their music continues to be great fun. I've never seen them live. Though they played in L.A. while I was there, I didn't feel I could ask any more of my sister than I already had. So I'm happy to get the chance in November. Their concerts are said to be multimedia extravaganzas with social/political commentary, incredible sounds and sometimes even yetis.
If you aren't acquainted with the craziness of the Super Furry Animals, they have people dress up as yetis and come onstage and play the instruments, especially the drums and the bongos. Everyone loves the yetis, they make us laugh like nothing else, and there's always some stoned kid who is a virgin to Furries gigs and is looking at the yetis and then looking at everyone else, as if to say "Is it just me who sees that?" no mate, it isn't, and the yetis as usual bang out a bossy, funky and extremely dancey track which everyone loves. It's my dream to be a yeti. A bass-playing yeti. There's also a man in an inflatable space suit onstage at one point.
I do believe I'm in love.
Again, Super Furry Animals will be playing two shows at the Liquid Room in Shinjuku (on 17 and 18 November) and one in Osaka (on the 20th) before moving on to their tour of Australia and New Zealand. Advanced tickets are 6000 yen and all Japan shows start at 7pm.
My sister thinks I'm weird.
I can't tell you how disturbing that is to me. We grew up together; she's supposed to think I'm normal. In fact, when you're feeling like a bit of an outsider and holding back so as not to scare off other people, shouldn't you at least be able to find acceptance from those with whom you spent your childhood? Besides, my quirks aren't that weird. I mumble to myself, speak in gibberish and write sonnets about my knee. Big deal. Who doesn't?
You want weird? I'll give you weird. How about Super Furry Animals? They're playing at Shinjuku's Liquid Room next month to a sold out show on the 17th and soon-to-be-sold out thingamajigger on the 18th. At this point, I am so overwhelmed by the wackiness that I'm going to have to rely on someone else to explain it to you. From PopMatters:
The Welsh band's 2001 opus Rings Around the World was one of the only sparkling musical moments in what was an incredibly crappy, depressing year. You had robotic Marvin Gaye tributes, Beach Boys harmonies, a blatant ELO imitation, wild moments of techno noise, and the ultimate piece de resistance, the sound of Paul McCartney rhythmically chewing carrots and celery. It was a psychotic masterpiece of an album, proof that there was at least one band on this planet willing to do anything they could in an effort to put out the greatest rock record ever made.
I don't see any reason for you not to be won over by now.
While it's true that with Phantom Power they go mellower, eccentricities still abound and their music continues to be great fun. I've never seen them live. Though they played in L.A. while I was there, I didn't feel I could ask any more of my sister than I already had. So I'm happy to get the chance in November. Their concerts are said to be multimedia extravaganzas with social/political commentary, incredible sounds and sometimes even yetis.
If you aren't acquainted with the craziness of the Super Furry Animals, they have people dress up as yetis and come onstage and play the instruments, especially the drums and the bongos. Everyone loves the yetis, they make us laugh like nothing else, and there's always some stoned kid who is a virgin to Furries gigs and is looking at the yetis and then looking at everyone else, as if to say "Is it just me who sees that?" no mate, it isn't, and the yetis as usual bang out a bossy, funky and extremely dancey track which everyone loves. It's my dream to be a yeti. A bass-playing yeti. There's also a man in an inflatable space suit onstage at one point.
I do believe I'm in love.
Again, Super Furry Animals will be playing two shows at the Liquid Room in Shinjuku (on 17 and 18 November) and one in Osaka (on the 20th) before moving on to their tour of Australia and New Zealand. Advanced tickets are 6000 yen and all Japan shows start at 7pm.
Friday, October 03, 2003
Mako Idemitsu
video art
How's your Japanese?
On the 19th of this month Phaidros Cafe will be showing three works by Mako Idemitsu, a pioneer in the fields of experimental film and video art in Japan. Once upon a time I wasn't sure feminism even existed in this country, but of course I now see that Idemitsu's is just one of the many voices that provide evidence to the contrary.
Don't let the description of the first video, "What a Woman Made" (1973), scare you off. "While this video show the beautiful tampons which after used the story tell you about how girls become a wamen." Heh. Good times.
It's just one of Idemitsu's earlier pieces. At Phaidros, we would get to see how her work evolved from that with her videos "Yoji, What's Wrong with You?" (1987) and her most recent work "Kae, Act Like a Girl!" (1996). In the former, she presents an Oedipal narrative in which a mother, who has failed to create an identity of her own, clings to her son and comes to destroy his life. The identity of housewives and the roles of mothers and children in Japanese society are recurring themes in Idemitsu's works, showing up most notably in "Another Day of a Housewife" and the Great Mother series.
With "Kae, Act Like a Girl!" Idemitsu admits to have been inspired by Simone de Beauvoir's claim in The Second Sex that "One is not born a woman; one becomes one." It's a strange narrative of a woman artist who internalizes those external voices of doubt telling her, for example, that she should give up being an artist or that women can be creative by having babies instead. Idemitsu plays on her signature technique, "'Mako style,' where a person's inner world is projected onto a small monitor installed on a larger screen." But, here, those monitors show abstract images and colors, while Kae's "inner world" is expanded to other surfaces, "the large canvas Kae is working on or the dishes she is washing in the kitchen sink." And by using highly artificial sets, strange lighting, awkward sounds and unusual movement, Idemitsu is not merely presenting the viewer with familiar realities, but placing them "at a distance where they can be considered more objectively."
Again, these videos will be presented by independent curator Kumiko Sejima at Phaidros Cafe on 19 October starting at 8pm. Admission is 1200 yen and includes one drink. They also serve food, but (if I remember correctly) only after the screenings. I know you know I can't go to this (I'll be sitting in a dark, cramped space in Akasaka), but I would if I could. So please let me live vicariously.
How's your Japanese?
On the 19th of this month Phaidros Cafe will be showing three works by Mako Idemitsu, a pioneer in the fields of experimental film and video art in Japan. Once upon a time I wasn't sure feminism even existed in this country, but of course I now see that Idemitsu's is just one of the many voices that provide evidence to the contrary.
Don't let the description of the first video, "What a Woman Made" (1973), scare you off. "While this video show the beautiful tampons which after used the story tell you about how girls become a wamen." Heh. Good times.
It's just one of Idemitsu's earlier pieces. At Phaidros, we would get to see how her work evolved from that with her videos "Yoji, What's Wrong with You?" (1987) and her most recent work "Kae, Act Like a Girl!" (1996). In the former, she presents an Oedipal narrative in which a mother, who has failed to create an identity of her own, clings to her son and comes to destroy his life. The identity of housewives and the roles of mothers and children in Japanese society are recurring themes in Idemitsu's works, showing up most notably in "Another Day of a Housewife" and the Great Mother series.
With "Kae, Act Like a Girl!" Idemitsu admits to have been inspired by Simone de Beauvoir's claim in The Second Sex that "One is not born a woman; one becomes one." It's a strange narrative of a woman artist who internalizes those external voices of doubt telling her, for example, that she should give up being an artist or that women can be creative by having babies instead. Idemitsu plays on her signature technique, "'Mako style,' where a person's inner world is projected onto a small monitor installed on a larger screen." But, here, those monitors show abstract images and colors, while Kae's "inner world" is expanded to other surfaces, "the large canvas Kae is working on or the dishes she is washing in the kitchen sink." And by using highly artificial sets, strange lighting, awkward sounds and unusual movement, Idemitsu is not merely presenting the viewer with familiar realities, but placing them "at a distance where they can be considered more objectively."
Again, these videos will be presented by independent curator Kumiko Sejima at Phaidros Cafe on 19 October starting at 8pm. Admission is 1200 yen and includes one drink. They also serve food, but (if I remember correctly) only after the screenings. I know you know I can't go to this (I'll be sitting in a dark, cramped space in Akasaka), but I would if I could. So please let me live vicariously.
Wednesday, October 01, 2003
Blithe Spirit and True West
theatre
You know what I hate? I hate when entertainment writers use Shakespeare quotes to make dorky headlines. Like "All the World's a Stage!" or "The Play's the Thing!"
But, um, yeah. The...uh...Play's the...um. Thing.
This month, anyway. There are two English-language plays being performed in Tokyo in October. The first is TIP's production of Noel Coward's Blithe Spirit, playing from the 9th to the 11th at their regular venue, Tokyo American Club [map]. It's being directed by John Owens, who directed last season's Amadeus. And Owens must have a talent for casting because, once again, the ensemble is all kinds of fabulous. While I'm looking forward to the performance of the entire cast, I have to admit that I'm especially excited to see Rachel Walzer as Elvira since I thought she was so hilarious in What the Butler Saw. Every second spent watching her is a second that you learn something new about the character. Damn funny, that broad. I can only go to the Thursday show, so if that sounds good to you, let me know.
The other play is Sam Shepard's True West, which is being presented by Sometimes Y Theatre and White Monkey Productions. I'm assuming people don't know that this here is just a simple, private weblog being run by one (lazy) person, and that that's why people keep sending me press releases. It's okay; it makes me feel important. But anyway, yeah, they sent me two press releases for this play. I'm about to out myself right now and admit that I'm doing props for them. (Yeah. Hi. It's me.) So you guys don't need to send me anymore stuff, okay? I totally know already.
True West will star Robert Tsonos (who directed TIP's production of Dial 'M' for Murder last season) and Matt Lagan (who starred in aforementioned production and was reportedly brilliant...not that I know or anything because I wasn't even here for that), and is being directed by one of my favorite people, David Neale. David directed TIP's Godspell a couple of years ago. I'm not a fan of that musical and I expected it to be totally stupid before I saw it. But you know what? It turned out to be amazingly good. I didn't even feel alienated by all that Jesus-love. It was really fucking cool. For a musical, that is.
True West will be performed from the 15th to the 19th (7:30 pm every night, with weekend matinees at 2 pm) at Studio Akasaka Playbox, where Intrigue Theatre has been performing a lot lately. So you can find access information on their site. Tickets are 4000 yen, but for the Sunday matinee, it's "pay what you can." And you can call 090-9130-5305 or e-mail true.west@encorekk.com for tickets. Make sure to say "hi" to the props mistress.
You know what I hate? I hate when entertainment writers use Shakespeare quotes to make dorky headlines. Like "All the World's a Stage!" or "The Play's the Thing!"
But, um, yeah. The...uh...Play's the...um. Thing.
This month, anyway. There are two English-language plays being performed in Tokyo in October. The first is TIP's production of Noel Coward's Blithe Spirit, playing from the 9th to the 11th at their regular venue, Tokyo American Club [map]. It's being directed by John Owens, who directed last season's Amadeus. And Owens must have a talent for casting because, once again, the ensemble is all kinds of fabulous. While I'm looking forward to the performance of the entire cast, I have to admit that I'm especially excited to see Rachel Walzer as Elvira since I thought she was so hilarious in What the Butler Saw. Every second spent watching her is a second that you learn something new about the character. Damn funny, that broad. I can only go to the Thursday show, so if that sounds good to you, let me know.
The other play is Sam Shepard's True West, which is being presented by Sometimes Y Theatre and White Monkey Productions. I'm assuming people don't know that this here is just a simple, private weblog being run by one (lazy) person, and that that's why people keep sending me press releases. It's okay; it makes me feel important. But anyway, yeah, they sent me two press releases for this play. I'm about to out myself right now and admit that I'm doing props for them. (Yeah. Hi. It's me.) So you guys don't need to send me anymore stuff, okay? I totally know already.
True West will star Robert Tsonos (who directed TIP's production of Dial 'M' for Murder last season) and Matt Lagan (who starred in aforementioned production and was reportedly brilliant...not that I know or anything because I wasn't even here for that), and is being directed by one of my favorite people, David Neale. David directed TIP's Godspell a couple of years ago. I'm not a fan of that musical and I expected it to be totally stupid before I saw it. But you know what? It turned out to be amazingly good. I didn't even feel alienated by all that Jesus-love. It was really fucking cool. For a musical, that is.
True West will be performed from the 15th to the 19th (7:30 pm every night, with weekend matinees at 2 pm) at Studio Akasaka Playbox, where Intrigue Theatre has been performing a lot lately. So you can find access information on their site. Tickets are 4000 yen, but for the Sunday matinee, it's "pay what you can." And you can call 090-9130-5305 or e-mail true.west@encorekk.com for tickets. Make sure to say "hi" to the props mistress.
Monday, September 29, 2003
Wha-?
how high the dandy
I am back and highly medicated, so I don't have anything for you today. After that long vacation, I was about to abandon this blog altogether because it seriously eats into the time at work that I like to reserve for daydreaming. But we seem to be over-staffed right now, so I guess I can do both.
Thanks to my sister for driving me around L.A. (even though she made us leave the Clientele and Jon Brion shows early—ack!) and thanks to my brother for pretending to understand my stupid made-up language. He's the only one who'll put up with my nonsense, and I miss him already.
In a couple of days, I'll post some stuff that you probably already know, so I'm sure you're not looking forward to it. I just need people to go with, even though I've mostly been going to these things alone, you lazy, no-money-spending bizzatches. (Note to self: do not post while on drugs.)
I have to ask, which one of you crazy bastards sent me this question?
I am back and highly medicated, so I don't have anything for you today. After that long vacation, I was about to abandon this blog altogether because it seriously eats into the time at work that I like to reserve for daydreaming. But we seem to be over-staffed right now, so I guess I can do both.
Thanks to my sister for driving me around L.A. (even though she made us leave the Clientele and Jon Brion shows early—ack!) and thanks to my brother for pretending to understand my stupid made-up language. He's the only one who'll put up with my nonsense, and I miss him already.
In a couple of days, I'll post some stuff that you probably already know, so I'm sure you're not looking forward to it. I just need people to go with, even though I've mostly been going to these things alone, you lazy, no-money-spending bizzatches. (Note to self: do not post while on drugs.)
I have to ask, which one of you crazy bastards sent me this question?
Monday, September 01, 2003
YIDFF
film
Those Athénée people made a liar out of me. Okay, this is the last post I'm writing before October. Athénée Français Cultural Center's contribution to the Yamagata International Documentary Film Festival does indeed have a schedule. I'm none too sharp, so I don't know if I overlooked it or if they put it up recently, but here's the English version. Match the numbers to the ones on this Japanese schedule to figure out what's playing when.
International Competition:
1. Once There Were Seven Simeons (YIDFF 1991 Runner-up Prize), Herz Frank / 1989 / 89 min
2. Hoop Dreams, Steve James / 1994 / 169 min
3. Father, Son and Holy War (YIDFF 1995 Special Prize), Anand Patwardhan / 1994 / 120 min
4. Chen Tsai-gen and His Neighbors, Wu Yii-feng / 1996 / 90 min
5. Alpine Ballad, Erich Langjahr / 1996 / 100 min
6. Return to the Tribes, Howie Severino / 1999 / 45 min
7. Please Give Me a Job, Yang Ming-hui / 1997 / 35 min
(May also be known as Songs of the Wanderer.)
8. 6 Easy Pieces (YIDFF 2001 Runner-up Prize), Jon Jost / 2000 / 68 min
9. The Land of the Wandering Souls (YIDFF 2001 The Robert and Frances Flaherty Prize), Rithy Panh / 2000 / 100 min
New Asian Currents:
10. Mysterious Object at Noon (YIDFF 2001 Runner-up Prize), Apichatpong Weerasethakul / 2000 / 83 min
11. A Season Outside, Amar Kanwar / 1997 / 30 min
12. King of Dreams, Amar Kanwar / 2001 / 30 min
13. Out of Phoenix Bridge (YIDFF 1997 Ogawa Shinsuke Prize), Li Hong / 1997 / 110 min
14. State of Dogs, Peter Brosens, Dorjkhandyn Turmunkh / 1998 / 88 min
15. Swimming on the Highway (YIDFF 1999 Ogawa Shinsuke Prize), Wu Yao-tung / 1998 / 49 min
16. More than One Is Unhappy (YIDFF 2001 Asia Award of Excellence), Wang Fen / 2000 / 45 min
17. Along the Railway (YIDFF 2001 Asia Special Prize), Du Haibin / 2000 / 125 min
A Newsreel Retrospective Primer:
18. Plain Talk & Common Sense (Uncommon Senses), Jon Jost / 1987 / 117 min
19. Route One/USA (YIDFF 1989 Mayor's Prize), Robert Kramer / 1989 / 255 min
20. Accelerated Development, Travis Wilkerson / 1999 / 56 min
A Special Invitation Films Primer:
21. Domestic Violence, Frederick Wiseman / 2001 / 195 min
Also, on the 9th, there'll be a discussion with Amir Muhammad, director of The Big Durian (showing at the festival in Yamagata) and Fujioka Asako, the Festival Coordinator.
Okay, that's it. No, really. I mean it this time.
Those Athénée people made a liar out of me. Okay, this is the last post I'm writing before October. Athénée Français Cultural Center's contribution to the Yamagata International Documentary Film Festival does indeed have a schedule. I'm none too sharp, so I don't know if I overlooked it or if they put it up recently, but here's the English version. Match the numbers to the ones on this Japanese schedule to figure out what's playing when.
International Competition:
1. Once There Were Seven Simeons (YIDFF 1991 Runner-up Prize), Herz Frank / 1989 / 89 min
2. Hoop Dreams, Steve James / 1994 / 169 min
3. Father, Son and Holy War (YIDFF 1995 Special Prize), Anand Patwardhan / 1994 / 120 min
4. Chen Tsai-gen and His Neighbors, Wu Yii-feng / 1996 / 90 min
5. Alpine Ballad, Erich Langjahr / 1996 / 100 min
6. Return to the Tribes, Howie Severino / 1999 / 45 min
7. Please Give Me a Job, Yang Ming-hui / 1997 / 35 min
(May also be known as Songs of the Wanderer.)
8. 6 Easy Pieces (YIDFF 2001 Runner-up Prize), Jon Jost / 2000 / 68 min
9. The Land of the Wandering Souls (YIDFF 2001 The Robert and Frances Flaherty Prize), Rithy Panh / 2000 / 100 min
New Asian Currents:
10. Mysterious Object at Noon (YIDFF 2001 Runner-up Prize), Apichatpong Weerasethakul / 2000 / 83 min
11. A Season Outside, Amar Kanwar / 1997 / 30 min
12. King of Dreams, Amar Kanwar / 2001 / 30 min
13. Out of Phoenix Bridge (YIDFF 1997 Ogawa Shinsuke Prize), Li Hong / 1997 / 110 min
14. State of Dogs, Peter Brosens, Dorjkhandyn Turmunkh / 1998 / 88 min
15. Swimming on the Highway (YIDFF 1999 Ogawa Shinsuke Prize), Wu Yao-tung / 1998 / 49 min
16. More than One Is Unhappy (YIDFF 2001 Asia Award of Excellence), Wang Fen / 2000 / 45 min
17. Along the Railway (YIDFF 2001 Asia Special Prize), Du Haibin / 2000 / 125 min
A Newsreel Retrospective Primer:
18. Plain Talk & Common Sense (Uncommon Senses), Jon Jost / 1987 / 117 min
19. Route One/USA (YIDFF 1989 Mayor's Prize), Robert Kramer / 1989 / 255 min
20. Accelerated Development, Travis Wilkerson / 1999 / 56 min
A Special Invitation Films Primer:
21. Domestic Violence, Frederick Wiseman / 2001 / 195 min
Also, on the 9th, there'll be a discussion with Amir Muhammad, director of The Big Durian (showing at the festival in Yamagata) and Fujioka Asako, the Festival Coordinator.
Okay, that's it. No, really. I mean it this time.
Yo La Tengo
music
Three things.
1) I updated my FAQs. Sort of. It's still thoroughly dull though, and I have only myself to blame.
2) This'll be the last post I write before I throw myself into the fire-y abyss, or as people who aren't drama queens like to say, "before I go to L.A." Please do not break into my apartment while I'm away. (The roaches will attack.) And if my plane crashes, please do not read my diary. Thank you.
3) Yo La Tengo's coming back to Japan! Yay! I can't tell you how much I love them...because frankly it's perverse. And, yes, I realize that a love like this doesn't come around very often, so I really should do something about it. I'm just afraid they won't reciprocate.
I know that the Tokyo concerts are in December and I know that that's a long time from now, but after the speed at which Death Cab for Cutie's concert sold out—and I don't even really like them all that much—I'm worried about the fact that YLT's tickets will be going on sale on the 13th of September, while I'm away. So I guess I'm going to have to beg some reliable person to please-oh-please get mine for me. Please? I'll give you candy.
To be exact, Yo La Tengo will be playing at Shibuya Club Quattro on 3 and 4 December. Doors open at 6pm, show starts at 7. Tickets are 5500 yen (with one drink), and all the information you could ever need on how to purchase them can be found via this page on Smash.
That's it. You won't hear from me again until October...unless you write me. And you know what? You really should write me. (As much as I love my parents, there's not a whole lot to do around their house. I'll be starved for e-mail and I promise to be exceedingly, desperately, almost frighteningly nice to you.)
Can I tempt you with beer and chocolate?
Three things.
1) I updated my FAQs. Sort of. It's still thoroughly dull though, and I have only myself to blame.
2) This'll be the last post I write before I throw myself into the fire-y abyss, or as people who aren't drama queens like to say, "before I go to L.A." Please do not break into my apartment while I'm away. (The roaches will attack.) And if my plane crashes, please do not read my diary. Thank you.
3) Yo La Tengo's coming back to Japan! Yay! I can't tell you how much I love them...because frankly it's perverse. And, yes, I realize that a love like this doesn't come around very often, so I really should do something about it. I'm just afraid they won't reciprocate.
I know that the Tokyo concerts are in December and I know that that's a long time from now, but after the speed at which Death Cab for Cutie's concert sold out—and I don't even really like them all that much—I'm worried about the fact that YLT's tickets will be going on sale on the 13th of September, while I'm away. So I guess I'm going to have to beg some reliable person to please-oh-please get mine for me. Please? I'll give you candy.
To be exact, Yo La Tengo will be playing at Shibuya Club Quattro on 3 and 4 December. Doors open at 6pm, show starts at 7. Tickets are 5500 yen (with one drink), and all the information you could ever need on how to purchase them can be found via this page on Smash.
That's it. You won't hear from me again until October...unless you write me. And you know what? You really should write me. (As much as I love my parents, there's not a whole lot to do around their house. I'll be starved for e-mail and I promise to be exceedingly, desperately, almost frighteningly nice to you.)
Can I tempt you with beer and chocolate?
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