Are you over 18 and want to see adult content?
More Annotations
A complete backup of slavevoyages.org
Are you over 18 and want to see adult content?
A complete backup of eu-energystar.org
Are you over 18 and want to see adult content?
A complete backup of rusakov-club.com
Are you over 18 and want to see adult content?
A complete backup of book-by-its-cover.com
Are you over 18 and want to see adult content?
Favourite Annotations
A complete backup of canadian-pharmacyyhzg.com
Are you over 18 and want to see adult content?
A complete backup of businessrater.com
Are you over 18 and want to see adult content?
A complete backup of thecarconnection.com
Are you over 18 and want to see adult content?
Text
pressure to stop
COLORLESS TAZAKI TSUKURU AND HIS YEARS OF PILGRIMAGE Published in April, Colorless Tazaki Tsukuru and His Years ofPilgrimage (
『色彩を持たない多崎つくると、彼の巡礼の年』) was an instant best seller, quickly selling out and moving a million copies in just a week. Unlike the massive tomes that have come to characterize his writing in the years since Norwegian Wood (1988’s THE DAY THE JOURNALISTS RAN:: NÉOJAPONISME » BLOG ARCHIVE The Day the Journalists Ran. Following the one-two-three punch of the Tohoku earthquake, tsunami, and nuclear crisis in Fukushima, much ink and many pixels have been spilled over foreign media outlets’ treatment of the disasters. In particular, many foreign residents (including myself and other members of this web journal) have accusedthe
MIX: THE BEST OF SHIBUYA-KEI, VOLUME ONE:: NÉOJAPONISME The time has been right for a new mix that showcases, celebrates, and reintroduces the best tracks from Shibuya-kei’s peak years. So here we are: The Best of Shibuya-kei, Volume One. While many would identify 1993-1995 as Shibuya-kei’s shining moment in the sun — an era where Pizzicato Five’s “Sweet Soul Revue” and Kahimi Karie’s PIZZICATO FIVE DISCOGRAPHY: CANON AND POSTHUMOUS 1998 Pizzicato Five Discography: Canon and Posthumous 1998-2006. W. David Marx listened to every single major release from legendary Shibuya-kei band, Pizzicato Five, so you don’t have to. This is part five of a five-part series, covering the band’s final years and post-breakup releases. Happy End of You (February 1998) A remix album that never META NO TAME » BLOG ARCHIVE » SAAYA IRIE ON COVER OF Saaya Irie on Cover of Weekly Playboy. Okay, let me just come out and say it: lately I have been totally wrong on this “junior idol” boom. (For those that just tuned in, the “ junior idol ” thing is a new Japanese sub-market of the semi-porn industry that puts girls aged 9-17 in very revealing bikinis.) A week or so ago, I wasted WHAT KIND OF OTAKU ARE YOU?:: NÉOJAPONISME » BLOG ARCHIVE While neither long, in-depth, nor politically correct, the following 1983 article by essayist Nakamori Akio represents a watershed moment in subcultural journalism: the official debut of the word “otaku” as the definition of a then-new social demographic. Prior to its introduction, this anime- and manga-obsessed group was known under a variety of names, including mania (“maniacs THE LEGACY OF SHIBUYA-KEI PART ONE:: NÉOJAPONISME » BLOG The Legacy of Shibuya-Kei Part One. On February 20, 2004, I found myself at tiny club Bar Drop in Kichijoji with dozens of other twee kids in border shirts, celebrating the release of a tribute album to the band Flipper’s Guitar — the second album in four months. The first tribute had been a B-list major label effort ( TRIBUTE TOFLIPPER
:: NÉOJAPONISMESUBCULTUREDEVELOPMENT AND CONSTRUCTIONDISPATCHESFASHIONBOOK REVIEWSPODCASTS This is an excerpt from our first print issue, NJP#1: Shōwa Tokyo. We started Néojaponisme in 2007 — a year that carried all the promise of the Internet as a hallowed bastion for reasonable, intelligent people who liked to exchange reasonable, intelligent comments underneath long-form essays about serious topics. Little did we know at the time, 2007 was the last year someone could harbor WHY JAPAN NEEDED PROSTITUTION:: NÉOJAPONISME » BLOG ARCHIVE Why Japan Needed Prostitution. In the early 1930s, the prostitution abolition movement — led by women’s, Christian, and socialist groups — strongly petitioned the Home Ministry to abandon the “license system” that essentially legalized the world’s oldest profession in Japan. After mounting domestic and internationalpressure to stop
COLORLESS TAZAKI TSUKURU AND HIS YEARS OF PILGRIMAGE Published in April, Colorless Tazaki Tsukuru and His Years ofPilgrimage (
『色彩を持たない多崎つくると、彼の巡礼の年』) was an instant best seller, quickly selling out and moving a million copies in just a week. Unlike the massive tomes that have come to characterize his writing in the years since Norwegian Wood (1988’s THE DAY THE JOURNALISTS RAN:: NÉOJAPONISME » BLOG ARCHIVE The Day the Journalists Ran. Following the one-two-three punch of the Tohoku earthquake, tsunami, and nuclear crisis in Fukushima, much ink and many pixels have been spilled over foreign media outlets’ treatment of the disasters. In particular, many foreign residents (including myself and other members of this web journal) have accusedthe
MIX: THE BEST OF SHIBUYA-KEI, VOLUME ONE:: NÉOJAPONISME The time has been right for a new mix that showcases, celebrates, and reintroduces the best tracks from Shibuya-kei’s peak years. So here we are: The Best of Shibuya-kei, Volume One. While many would identify 1993-1995 as Shibuya-kei’s shining moment in the sun — an era where Pizzicato Five’s “Sweet Soul Revue” and Kahimi Karie’s PIZZICATO FIVE DISCOGRAPHY: CANON AND POSTHUMOUS 1998 Pizzicato Five Discography: Canon and Posthumous 1998-2006. W. David Marx listened to every single major release from legendary Shibuya-kei band, Pizzicato Five, so you don’t have to. This is part five of a five-part series, covering the band’s final years and post-breakup releases. Happy End of You (February 1998) A remix album that never META NO TAME » BLOG ARCHIVE » SAAYA IRIE ON COVER OF Saaya Irie on Cover of Weekly Playboy. Okay, let me just come out and say it: lately I have been totally wrong on this “junior idol” boom. (For those that just tuned in, the “ junior idol ” thing is a new Japanese sub-market of the semi-porn industry that puts girls aged 9-17 in very revealing bikinis.) A week or so ago, I wasted WHAT KIND OF OTAKU ARE YOU?:: NÉOJAPONISME » BLOG ARCHIVE While neither long, in-depth, nor politically correct, the following 1983 article by essayist Nakamori Akio represents a watershed moment in subcultural journalism: the official debut of the word “otaku” as the definition of a then-new social demographic. Prior to its introduction, this anime- and manga-obsessed group was known under a variety of names, including mania (“maniacs THE LEGACY OF SHIBUYA-KEI PART ONE:: NÉOJAPONISME » BLOG The Legacy of Shibuya-Kei Part One. On February 20, 2004, I found myself at tiny club Bar Drop in Kichijoji with dozens of other twee kids in border shirts, celebrating the release of a tribute album to the band Flipper’s Guitar — the second album in four months. The first tribute had been a B-list major label effort ( TRIBUTE TOFLIPPER
THE LEGACY OF SHIBUYA-KEI PART ONE:: NÉOJAPONISME » BLOG The Legacy of Shibuya-Kei Part One. On February 20, 2004, I found myself at tiny club Bar Drop in Kichijoji with dozens of other twee kids in border shirts, celebrating the release of a tribute album to the band Flipper’s Guitar — the second album in four months. The first tribute had been a B-list major label effort ( TRIBUTE TOFLIPPER
ORTHOPRAXY AND WEB ADDRESSES:: NÉOJAPONISME » BLOG ARCHIVE Back in the Néomarxisme days, I described Japan as an “orthopraxical” society. In other words, the metaphysical underpinning to Japanese daily life draws influence from the Confucian ideal of “correct practice” (rather than the Protestant Christian emphasis on “correct belief.”) THE PIZZICATO FIVE DISCOGRAPHY: CANON 1991-1993 The Pizzicato Five Discography: Canon 1991-1993. W. David Marx listened to every single major release from legendary Shibuya-kei band, Pizzicato Five, so you don’t have to. This is part three of a five-part series, covering the band’s first releases with singer Nomiya Maki. This Year’s Model e.p. (June 1991) “The Third” andnear-final
THE PIZZICATO FIVE DISCOGRAPHY: PRE-CANON 1985-1991 The Pizzicato Five Discography: Pre-Canon 1985-1991. W. David Marx listened to every single major release from legendary Shibuya-kei band, Pizzicato Five, so you don’t have to. This is part two of a five-part series, covering the band’s first eight releases. Pizzicato V debuted as one of many “YMO children” on the NonSTANDARD label.
:: NÉOJAPONISMESUBCULTUREDEVELOPMENT AND CONSTRUCTIONDISPATCHESFASHIONBOOK REVIEWSPODCASTS This is an excerpt from our first print issue, NJP#1: Shōwa Tokyo. We started Néojaponisme in 2007 — a year that carried all the promise of the Internet as a hallowed bastion for reasonable, intelligent people who liked to exchange reasonable, intelligent comments underneath long-form essays about serious topics. Little did we know at the time, 2007 was the last year someone could harbor MIX: THE BEST OF SHIBUYA-KEI, VOLUME ONE:: NÉOJAPONISME The time has been right for a new mix that showcases, celebrates, and reintroduces the best tracks from Shibuya-kei’s peak years. So here we are: The Best of Shibuya-kei, Volume One. While many would identify 1993-1995 as Shibuya-kei’s shining moment in the sun — an era where Pizzicato Five’s “Sweet Soul Revue” and Kahimi Karie’s PIZZICATO FIVE DISCOGRAPHY: CANON AND POSTHUMOUS 1998 Pizzicato Five Discography: Canon and Posthumous 1998-2006. W. David Marx listened to every single major release from legendary Shibuya-kei band, Pizzicato Five, so you don’t have to. This is part five of a five-part series, covering the band’s final years and post-breakup releases. Happy End of You (February 1998) A remix album that never THE LEGACY OF SHIBUYA-KEI PART TWO:: NÉOJAPONISME » BLOG The story goes that Flipper’s manager at Polystar realized that the two charming boys fronting the band were a marketable power team and the other three members were just dead-weight. They were promptly kicked out of the band. (The alternate theory is that Ozawa was so difficult to work with, the other three quit.) THE ORIGIN OF ZOKU:: NÉOJAPONISME » BLOG ARCHIVE The Origin of Zoku. Anyone interested in the history of Japanese youth culture is already familiar with the word zoku (族). Essentially meaning “tribe,” the word has been used to mark off a certain subculture from the mainstream and other youth groups. The 1970s working-class motorcycle gangs that terrorized rural neighborhoods inkamizake
THE JIMUSHO SYSTEM: PART ONE:: NÉOJAPONISME » BLOG ARCHIVE The main role of the jimusho is essentially to “manage” the careers and schedules of artists, entertainers, athletes, and celebrities. They, however, claim a much deeper hold on the industry than simple management. The jimusho create stars much more than they just help maintain their fame. THE LEGACY OF SHIBUYA-KEI PART ONE:: NÉOJAPONISME » BLOG The Legacy of Shibuya-Kei Part One. On February 20, 2004, I found myself at tiny club Bar Drop in Kichijoji with dozens of other twee kids in border shirts, celebrating the release of a tribute album to the band Flipper’s Guitar — the second album in four months. The first tribute had been a B-list major label effort ( TRIBUTE TOFLIPPER
COLORLESS TAZAKI TSUKURU AND HIS YEARS OF PILGRIMAGE Published in April, Colorless Tazaki Tsukuru and His Years ofPilgrimage (
『色彩を持たない多崎つくると、彼の巡礼の年』) was an instant best seller, quickly selling out and moving a million copies in just a week. Unlike the massive tomes that have come to characterize his writing in the years since Norwegian Wood (1988’sMETA NO TAME
Telephone: 03-5412-3131. Fee: ¥3,500 (Advance) ¥4,500 (Door) Includes presentation, light buffet dinner, drink, limited edition publication and limited edition print. Language: English with Japanese Interpretation. RSVP NECESSARY. Email info@nonaca.net before Friday, Sept 10. 6pm. Advance payment can be made here: META NO TAME » BLOG ARCHIVE » JAPANESE IDOLS ARE PROSTITUTES? There are two classic taboo rumors about the Japanese entertainment industry. The first is that organized crime runs the artist management business. There is a lot of evidence to back this up — convicted tax-evading jimusho bosses claiming the need for “underground financing” in the courtroom, bullets fired into management companywindows
:: NÉOJAPONISMESUBCULTUREDEVELOPMENT AND CONSTRUCTIONDISPATCHESFASHIONBOOK REVIEWSPODCASTS This is an excerpt from our first print issue, NJP#1: Shōwa Tokyo. We started Néojaponisme in 2007 — a year that carried all the promise of the Internet as a hallowed bastion for reasonable, intelligent people who liked to exchange reasonable, intelligent comments underneath long-form essays about serious topics. Little did we know at the time, 2007 was the last year someone could harbor MIX: THE BEST OF SHIBUYA-KEI, VOLUME ONE:: NÉOJAPONISME The time has been right for a new mix that showcases, celebrates, and reintroduces the best tracks from Shibuya-kei’s peak years. So here we are: The Best of Shibuya-kei, Volume One. While many would identify 1993-1995 as Shibuya-kei’s shining moment in the sun — an era where Pizzicato Five’s “Sweet Soul Revue” and Kahimi Karie’s PIZZICATO FIVE DISCOGRAPHY: CANON AND POSTHUMOUS 1998 Pizzicato Five Discography: Canon and Posthumous 1998-2006. W. David Marx listened to every single major release from legendary Shibuya-kei band, Pizzicato Five, so you don’t have to. This is part five of a five-part series, covering the band’s final years and post-breakup releases. Happy End of You (February 1998) A remix album that never THE LEGACY OF SHIBUYA-KEI PART TWO:: NÉOJAPONISME » BLOG The story goes that Flipper’s manager at Polystar realized that the two charming boys fronting the band were a marketable power team and the other three members were just dead-weight. They were promptly kicked out of the band. (The alternate theory is that Ozawa was so difficult to work with, the other three quit.) THE ORIGIN OF ZOKU:: NÉOJAPONISME » BLOG ARCHIVE The Origin of Zoku. Anyone interested in the history of Japanese youth culture is already familiar with the word zoku (族). Essentially meaning “tribe,” the word has been used to mark off a certain subculture from the mainstream and other youth groups. The 1970s working-class motorcycle gangs that terrorized rural neighborhoods inkamizake
THE JIMUSHO SYSTEM: PART ONE:: NÉOJAPONISME » BLOG ARCHIVE The main role of the jimusho is essentially to “manage” the careers and schedules of artists, entertainers, athletes, and celebrities. They, however, claim a much deeper hold on the industry than simple management. The jimusho create stars much more than they just help maintain their fame. THE LEGACY OF SHIBUYA-KEI PART ONE:: NÉOJAPONISME » BLOG The Legacy of Shibuya-Kei Part One. On February 20, 2004, I found myself at tiny club Bar Drop in Kichijoji with dozens of other twee kids in border shirts, celebrating the release of a tribute album to the band Flipper’s Guitar — the second album in four months. The first tribute had been a B-list major label effort ( TRIBUTE TOFLIPPER
COLORLESS TAZAKI TSUKURU AND HIS YEARS OF PILGRIMAGE Published in April, Colorless Tazaki Tsukuru and His Years ofPilgrimage (
『色彩を持たない多崎つくると、彼の巡礼の年』) was an instant best seller, quickly selling out and moving a million copies in just a week. Unlike the massive tomes that have come to characterize his writing in the years since Norwegian Wood (1988’sMETA NO TAME
Telephone: 03-5412-3131. Fee: ¥3,500 (Advance) ¥4,500 (Door) Includes presentation, light buffet dinner, drink, limited edition publication and limited edition print. Language: English with Japanese Interpretation. RSVP NECESSARY. Email info@nonaca.net before Friday, Sept 10. 6pm. Advance payment can be made here: META NO TAME » BLOG ARCHIVE » JAPANESE IDOLS ARE PROSTITUTES? There are two classic taboo rumors about the Japanese entertainment industry. The first is that organized crime runs the artist management business. There is a lot of evidence to back this up — convicted tax-evading jimusho bosses claiming the need for “underground financing” in the courtroom, bullets fired into management companywindows
SEARCH RESULTS » SHINTARŌ:: NÉOJAPONISME The idea of youth-gone-wild in Season of the Sun is clearly what made the novel so exciting to other members of Ishihara’s generation. Ironically, student leftists at the time proclaimed the novel as an anti-establishment manifesto, passing Season of the Sun around during the long waiting periods at the 1956 Sunagawa protests against the extension of a U.S. Air Force base. THE PIZZICATO FIVE DISCOGRAPHY: INTRODUCTION Canon and Posthumous 1998-2006. Cheat Sheet: Pizzicato Five’s Best Five Albums. Bossa Nova 2001 (1993) Happy End of the World (1998) This Year’s Girl (1991) Overdose (1994) Playboy Playgirl (1999) W. David Marx (Marxy) — Tokyo-based writer and musician — is the founder and chief editor of Néojaponisme.META NO TAME
In a rare and intimate one-night event, apparel/book/font designer, publisher, and manufacturer of design objects, Andy Cruz of House Industries will speak about his work and House’s most recent collaboration with the estate of Charles and Ray Eames.. As a partner in the cutting edge design phenomenon House Industries, Andy has helped steer the course of visual culture over the past KAWABATA, MISHIMA & THE NOBEL PRIZE:: NÉOJAPONISME Kawabata, Mishima & the Nobel Prize. In Mr. Kawabata’s works, delicacy joins with resilience, elegance with an awareness of the depths of human nature they are modern yet directly inspired by the solitary philosophy of the monks of medieval Japan. . For many writers in modern Japan, the claims of tradition and the desire to establish a THE DAY THE JOURNALISTS RAN:: NÉOJAPONISME » BLOG ARCHIVE The Day the Journalists Ran. Following the one-two-three punch of the Tohoku earthquake, tsunami, and nuclear crisis in Fukushima, much ink and many pixels have been spilled over foreign media outlets’ treatment of the disasters. In particular, many foreign residents (including myself and other members of this web journal) have accusedthe
ASK AN ARCHITECT: INSULATION:: NÉOJAPONISME » BLOG ARCHIVE Ask an Architect: Insulation. From December to February, Tokyo apartments are often colder inside than outside. After braving another winter in sub-igloo comfort, we decided to ask someone in the know where exactly the insulation’s at. The following queries were floated to Néojaponisme’s resident architectural adviser AshizawaKeiji, who
WHY JAPAN NEEDED PROSTITUTION:: NÉOJAPONISME » BLOG ARCHIVE Why Japan Needed Prostitution. In the early 1930s, the prostitution abolition movement — led by women’s, Christian, and socialist groups — strongly petitioned the Home Ministry to abandon the “license system” that essentially legalized the world’s oldest profession in Japan. After mounting domestic and internationalpressure to stop
SEARCH RESULTS » GANGURO:: NÉOJAPONISME The Extreme Turn to Ganguro: 1999-2003. By 1998, Tokyo’s Shibuya neighborhood overflowed with thousands and thousands of high-school girls adhering to kogyaru -inspired trends, who shopped at Shibuya 109, read the magazine egg, worked increasingly with marketers from large companies, and dominated the sexual fantasies of men’smagazines.
META NO TAME » BLOG ARCHIVE » JAPANESE IDOLS ARE PROSTITUTES? There are two classic taboo rumors about the Japanese entertainment industry. The first is that organized crime runs the artist management business. There is a lot of evidence to back this up — convicted tax-evading jimusho bosses claiming the need for “underground financing” in the courtroom, bullets fired into management companywindows
NEOJAPONISME PODCASTS Over the course of 49 minutes, hosts Marxy and U.T. (Kiiiiiii) bring you twenty-five energetic musical selections: obscure pico pico Japanese electro-pop, digital beats, analog blurts, vintage electro-rock, and a "mashup" of (Lil') Bow Wow and Architecture inHelsinki.
:: NÉOJAPONISMESUBCULTUREDEVELOPMENT AND CONSTRUCTIONDISPATCHESFASHIONBOOK REVIEWSPODCASTS This is an excerpt from our first print issue, NJP#1: Shōwa Tokyo. We started Néojaponisme in 2007 — a year that carried all the promise of the Internet as a hallowed bastion for reasonable, intelligent people who liked to exchange reasonable, intelligent comments underneath long-form essays about serious topics. Little did we know at the time, 2007 was the last year someone could harbor WHY JAPAN NEEDED PROSTITUTION:: NÉOJAPONISME » BLOG ARCHIVE Why Japan Needed Prostitution. In the early 1930s, the prostitution abolition movement — led by women’s, Christian, and socialist groups — strongly petitioned the Home Ministry to abandon the “license system” that essentially legalized the world’s oldest profession in Japan. After mounting domestic and internationalpressure to stop
COLORLESS TAZAKI TSUKURU AND HIS YEARS OF PILGRIMAGE Published in April, Colorless Tazaki Tsukuru and His Years ofPilgrimage (
『色彩を持たない多崎つくると、彼の巡礼の年』) was an instant best seller, quickly selling out and moving a million copies in just a week. Unlike the massive tomes that have come to characterize his writing in the years since Norwegian Wood (1988’s THE DAY THE JOURNALISTS RAN:: NÉOJAPONISME » BLOG ARCHIVE The Day the Journalists Ran. Following the one-two-three punch of the Tohoku earthquake, tsunami, and nuclear crisis in Fukushima, much ink and many pixels have been spilled over foreign media outlets’ treatment of the disasters. In particular, many foreign residents (including myself and other members of this web journal) have accusedthe
PIZZICATO FIVE DISCOGRAPHY: CANON AND POSTHUMOUS 1998 Pizzicato Five Discography: Canon and Posthumous 1998-2006. W. David Marx listened to every single major release from legendary Shibuya-kei band, Pizzicato Five, so you don’t have to. This is part five of a five-part series, covering the band’s final years and post-breakup releases. Happy End of You (February 1998) A remix album that never MIX: THE BEST OF SHIBUYA-KEI, VOLUME ONE:: NÉOJAPONISME The time has been right for a new mix that showcases, celebrates, and reintroduces the best tracks from Shibuya-kei’s peak years. So here we are: The Best of Shibuya-kei, Volume One. While many would identify 1993-1995 as Shibuya-kei’s shining moment in the sun — an era where Pizzicato Five’s “Sweet Soul Revue” and Kahimi Karie’s THE LEGACY OF SHIBUYA-KEI PART ONE:: NÉOJAPONISME » BLOG The Legacy of Shibuya-Kei Part One. On February 20, 2004, I found myself at tiny club Bar Drop in Kichijoji with dozens of other twee kids in border shirts, celebrating the release of a tribute album to the band Flipper’s Guitar — the second album in four months. The first tribute had been a B-list major label effort ( TRIBUTE TOFLIPPER
:: NÉOJAPONISMESUBCULTUREDEVELOPMENT AND CONSTRUCTIONDISPATCHESFASHIONBOOK REVIEWSPODCASTS This is an excerpt from our first print issue, NJP#1: Shōwa Tokyo. We started Néojaponisme in 2007 — a year that carried all the promise of the Internet as a hallowed bastion for reasonable, intelligent people who liked to exchange reasonable, intelligent comments underneath long-form essays about serious topics. Little did we know at the time, 2007 was the last year someone could harbor WHY JAPAN NEEDED PROSTITUTION:: NÉOJAPONISME » BLOG ARCHIVE Why Japan Needed Prostitution. In the early 1930s, the prostitution abolition movement — led by women’s, Christian, and socialist groups — strongly petitioned the Home Ministry to abandon the “license system” that essentially legalized the world’s oldest profession in Japan. After mounting domestic and internationalpressure to stop
COLORLESS TAZAKI TSUKURU AND HIS YEARS OF PILGRIMAGE Published in April, Colorless Tazaki Tsukuru and His Years ofPilgrimage (
『色彩を持たない多崎つくると、彼の巡礼の年』) was an instant best seller, quickly selling out and moving a million copies in just a week. Unlike the massive tomes that have come to characterize his writing in the years since Norwegian Wood (1988’s THE DAY THE JOURNALISTS RAN:: NÉOJAPONISME » BLOG ARCHIVE The Day the Journalists Ran. Following the one-two-three punch of the Tohoku earthquake, tsunami, and nuclear crisis in Fukushima, much ink and many pixels have been spilled over foreign media outlets’ treatment of the disasters. In particular, many foreign residents (including myself and other members of this web journal) have accusedthe
PIZZICATO FIVE DISCOGRAPHY: CANON AND POSTHUMOUS 1998 Pizzicato Five Discography: Canon and Posthumous 1998-2006. W. David Marx listened to every single major release from legendary Shibuya-kei band, Pizzicato Five, so you don’t have to. This is part five of a five-part series, covering the band’s final years and post-breakup releases. Happy End of You (February 1998) A remix album that never MIX: THE BEST OF SHIBUYA-KEI, VOLUME ONE:: NÉOJAPONISME The time has been right for a new mix that showcases, celebrates, and reintroduces the best tracks from Shibuya-kei’s peak years. So here we are: The Best of Shibuya-kei, Volume One. While many would identify 1993-1995 as Shibuya-kei’s shining moment in the sun — an era where Pizzicato Five’s “Sweet Soul Revue” and Kahimi Karie’s THE LEGACY OF SHIBUYA-KEI PART ONE:: NÉOJAPONISME » BLOG The Legacy of Shibuya-Kei Part One. On February 20, 2004, I found myself at tiny club Bar Drop in Kichijoji with dozens of other twee kids in border shirts, celebrating the release of a tribute album to the band Flipper’s Guitar — the second album in four months. The first tribute had been a B-list major label effort ( TRIBUTE TOFLIPPER
THE HISTORY OF THE GYARU The History of the Gyaru - Part One. A three-part series on the famed Japanese female subculture and its the evolution from a summery look of rich delinquent high-schoolers to an extreme set of working classstyles.
THE PLASTICS AND COPY ANXIETY:: NÉOJAPONISME » BLOG ARCHIVE The 25-year-old graphic designer Hajime Tachibana, on guitar, had the face of a 1960s matinee idol, and the female vocalist Chica Satō brought an outré flare with styles plundered from her job at a fashion boutique. They recruited a bassist and drummer, and Satō gavethe
HISTORY OF THE REGENT:: NÉOJAPONISME » BLOG ARCHIVE History of the Regent. The “regent” pompadour has been the go-to hairstyle for Japanese delinquents for more than eight decades. W. David Marx looks at how the infamous coiffure got its pseudo-English name and morphed from slick imitation of British royalty to fluffy blond biker parody. In Japanese, the riizento (リーゼント 100 GREATEST JAPANESE ROCK ALBUMS:: NÉOJAPONISME » BLOG In the September 2007 issue of Rolling Stone Japan, contributing editor and Beikoku Ongaku founder Kawasaki Daisuke offered something brand new for Japan: a list of the 100 Greatest Japanese Rock Albums of All Time.While these master rankings are part and parcel for RS in the United States, Japanese magazines have intentionally avoided compiling such a useful service for those MEDIA:: NÉOJAPONISME Daniel MORALES lives in Chicago and blogs at howtojaponese.com.. W. David Marx (Marxy) — Tokyo-based writer and musician — is the founder and chief editor of Néojaponisme. DEVELOPMENT AND CONSTRUCTION:: NÉOJAPONISME Ian Lynam is a graphic designer living in Tokyo and the art director of Neojaponisme. His website is located at ianlynam.com.His new book,Parallel Strokes,
FICTION AND LITERATURE:: NÉOJAPONISME Matt Treyvaud is a writer and translator living near Kamakura. He is Néojaponisme's Literature/Language editor and the proprietor ofNo-sword.
DESIGN:: NÉOJAPONISME Ian Lynam is a graphic designer living in Tokyo and the art director of Neojaponisme. His website is located at ianlynam.com.His new book,Parallel Strokes,
THE LEGACY OF SHIBUYA-KEI PART ONE:: NÉOJAPONISME » BLOG The Legacy of Shibuya-Kei Part One. On February 20, 2004, I found myself at tiny club Bar Drop in Kichijoji with dozens of other twee kids in border shirts, celebrating the release of a tribute album to the band Flipper’s Guitar — the second album in four months. The first tribute had been a B-list major label effort ( TRIBUTE TOFLIPPER
GROSS NATIONAL COOL:: NÉOJAPONISME W. David Marx (Marxy) — Tokyo-based writer and musician — is the founder and chief editor of Néojaponisme. :: NÉOJAPONISMESUBCULTUREDEVELOPMENT AND CONSTRUCTIONDISPATCHESFASHIONBOOK REVIEWSPODCASTS This is an excerpt from our first print issue, NJP#1: Shōwa Tokyo. We started Néojaponisme in 2007 — a year that carried all the promise of the Internet as a hallowed bastion for reasonable, intelligent people who liked to exchange reasonable, intelligent comments underneath long-form essays about serious topics. Little did we know at the time, 2007 was the last year someone could harbor THE LEGACY OF SHIBUYA-KEI PART ONE:: NÉOJAPONISME » BLOG The Legacy of Shibuya-Kei Part One. On February 20, 2004, I found myself at tiny club Bar Drop in Kichijoji with dozens of other twee kids in border shirts, celebrating the release of a tribute album to the band Flipper’s Guitar — the second album in four months. The first tribute had been a B-list major label effort ( TRIBUTE TOFLIPPER
COLORLESS TAZAKI TSUKURU AND HIS YEARS OF PILGRIMAGE Published in April, Colorless Tazaki Tsukuru and His Years ofPilgrimage (
『色彩を持たない多崎つくると、彼の巡礼の年』) was an instant best seller, quickly selling out and moving a million copies in just a week. Unlike the massive tomes that have come to characterize his writing in the years since Norwegian Wood (1988’s PIZZICATO FIVE DISCOGRAPHY: CANON AND POSTHUMOUS 1998 Pizzicato Five Discography: Canon and Posthumous 1998-2006. W. David Marx listened to every single major release from legendary Shibuya-kei band, Pizzicato Five, so you don’t have to. This is part five of a five-part series, covering the band’s final years and post-breakup releases. Happy End of You (February 1998) A remix album that never MIX: THE BEST OF SHIBUYA-KEI, VOLUME ONE:: NÉOJAPONISME The time has been right for a new mix that showcases, celebrates, and reintroduces the best tracks from Shibuya-kei’s peak years. So here we are: The Best of Shibuya-kei, Volume One. While many would identify 1993-1995 as Shibuya-kei’s shining moment in the sun — an era where Pizzicato Five’s “Sweet Soul Revue” and Kahimi Karie’s THE LEGACY OF SHIBUYA-KEI PART TWO:: NÉOJAPONISME » BLOG The story goes that Flipper’s manager at Polystar realized that the two charming boys fronting the band were a marketable power team and the other three members were just dead-weight. They were promptly kicked out of the band. (The alternate theory is that Ozawa was so difficult to work with, the other three quit.) NEOJAPONISME PODCASTS Over the course of 49 minutes, hosts Marxy and U.T. (Kiiiiiii) bring you twenty-five energetic musical selections: obscure pico pico Japanese electro-pop, digital beats, analog blurts, vintage electro-rock, and a "mashup" of (Lil') Bow Wow and Architecture inHelsinki.
:: NÉOJAPONISMESUBCULTUREDEVELOPMENT AND CONSTRUCTIONDISPATCHESFASHIONBOOK REVIEWSPODCASTS This is an excerpt from our first print issue, NJP#1: Shōwa Tokyo. We started Néojaponisme in 2007 — a year that carried all the promise of the Internet as a hallowed bastion for reasonable, intelligent people who liked to exchange reasonable, intelligent comments underneath long-form essays about serious topics. Little did we know at the time, 2007 was the last year someone could harbor THE LEGACY OF SHIBUYA-KEI PART ONE:: NÉOJAPONISME » BLOG The Legacy of Shibuya-Kei Part One. On February 20, 2004, I found myself at tiny club Bar Drop in Kichijoji with dozens of other twee kids in border shirts, celebrating the release of a tribute album to the band Flipper’s Guitar — the second album in four months. The first tribute had been a B-list major label effort ( TRIBUTE TOFLIPPER
COLORLESS TAZAKI TSUKURU AND HIS YEARS OF PILGRIMAGE Published in April, Colorless Tazaki Tsukuru and His Years ofPilgrimage (
『色彩を持たない多崎つくると、彼の巡礼の年』) was an instant best seller, quickly selling out and moving a million copies in just a week. Unlike the massive tomes that have come to characterize his writing in the years since Norwegian Wood (1988’s PIZZICATO FIVE DISCOGRAPHY: CANON AND POSTHUMOUS 1998 Pizzicato Five Discography: Canon and Posthumous 1998-2006. W. David Marx listened to every single major release from legendary Shibuya-kei band, Pizzicato Five, so you don’t have to. This is part five of a five-part series, covering the band’s final years and post-breakup releases. Happy End of You (February 1998) A remix album that never MIX: THE BEST OF SHIBUYA-KEI, VOLUME ONE:: NÉOJAPONISME The time has been right for a new mix that showcases, celebrates, and reintroduces the best tracks from Shibuya-kei’s peak years. So here we are: The Best of Shibuya-kei, Volume One. While many would identify 1993-1995 as Shibuya-kei’s shining moment in the sun — an era where Pizzicato Five’s “Sweet Soul Revue” and Kahimi Karie’s THE LEGACY OF SHIBUYA-KEI PART TWO:: NÉOJAPONISME » BLOG The story goes that Flipper’s manager at Polystar realized that the two charming boys fronting the band were a marketable power team and the other three members were just dead-weight. They were promptly kicked out of the band. (The alternate theory is that Ozawa was so difficult to work with, the other three quit.) NEOJAPONISME PODCASTS Over the course of 49 minutes, hosts Marxy and U.T. (Kiiiiiii) bring you twenty-five energetic musical selections: obscure pico pico Japanese electro-pop, digital beats, analog blurts, vintage electro-rock, and a "mashup" of (Lil') Bow Wow and Architecture inHelsinki.
WHY JAPAN NEEDED PROSTITUTION:: NÉOJAPONISME » BLOG ARCHIVE Why Japan Needed Prostitution. In the early 1930s, the prostitution abolition movement — led by women’s, Christian, and socialist groups — strongly petitioned the Home Ministry to abandon the “license system” that essentially legalized the world’s oldest profession in Japan. After mounting domestic and internationalpressure to stop
THE LEGACY OF SHIBUYA-KEI PART TWO:: NÉOJAPONISME » BLOG Last time, we left our protagonists Oyamada Keigo and Ozawa Kenji of Flipper’s Guitar on the verge of their first record release.. The Primordial Flipper. On August 25, 1989, the five-piece Flipper’s Guitar released their first album Three Cheers for Our Side 海へ行くつもりじゃなかった (named after the Orange Juice song of the same name) on major-indie label Polystar. NEOJAPONISME PODCASTS Over the course of 49 minutes, hosts Marxy and U.T. (Kiiiiiii) bring you twenty-five energetic musical selections: obscure pico pico Japanese electro-pop, digital beats, analog blurts, vintage electro-rock, and a "mashup" of (Lil') Bow Wow and Architecture inHelsinki.
THE PIZZICATO FIVE DISCOGRAPHY: CANON 1991-1993 The Pizzicato Five Discography: Canon 1991-1993. W. David Marx listened to every single major release from legendary Shibuya-kei band, Pizzicato Five, so you don’t have to. This is part three of a five-part series, covering the band’s first releases with singer Nomiya Maki. This Year’s Model e.p. (June 1991) “The Third” andnear-final
THE PIZZICATO FIVE DISCOGRAPHY: INTRODUCTION Canon and Posthumous 1998-2006. Cheat Sheet: Pizzicato Five’s Best Five Albums. Bossa Nova 2001 (1993) Happy End of the World (1998) This Year’s Girl (1991) Overdose (1994) Playboy Playgirl (1999) W. David Marx (Marxy) — Tokyo-based writer and musician — is the founder and chief editor of Néojaponisme. THE PIZZICATO FIVE DISCOGRAPHY: CANON 1994-1997 The Pizzicato Five Discography: Canon 1994-1997. W. David Marx listened to every single major release from legendary Shibuya-kei band, Pizzicato Five, so you don’t have to. This is part four of a five-part series, covering the band’s peak years with singer Nomiya Maki. By early 1994, Pizzicato Five was a hit band, so the onlyobvious thing
Néojaponisme a web journal on Japan and elsewhere Néojaponisme* Manifesto
* Staff
* Contact
CATEGORIES
* Architecture
* Book Reviews
* Conceptions of Japan* Design
* Development and Construction* Dispatches
* Economy, Business, and Employment* Fashion
* Features
* Fiction and Literature* Film
* History
* Humor
* Internet and Games* Interviews
* Language
* Law
* Love, Sex, and Gender * Markets and Consumers* Media
* Music
* Photography
* Poetry
* Politics
* Popular Culture
* Subculture
* Visual Art
* Youth Culture
PROJECTS
* Podcasts
* Videocasts
* Neomarxisme ArchiveFOLLOW
* RSS
* Comments RSS
* Google +
* YouTube
ALLIES
* AltJapan
* Ian Lynam
* Jeansnow.net
* Néomarxisme
* No-Sword
* OPEN skateboards
* Patrick Macias
* Too Much Magazine
* TV 15
2020 Neojaponisme
THE SECOND MANIFESTO OF NÉOJAPONISME _This is an excerpt from our first print issue, NJP#1: Shōwa Tokyo._
We started
Néojaponisme in 2007 — a year that carried all the promise of the Internet as a hallowed bastion for reasonable, intelligent people who liked to exchange reasonable, intelligent comments underneath long-form essays about serious topics. Little did we know at the time, 2007 was the last year someone could harbor such misconceptions about the nature of the Internet. More than a decade later, the Internet is a very different place, and at some point this affected how we thought about Néojaponisme as a website. The Internet is now for everyone — _which is great! no really, it’s great!_ — but us weird folk with extreme curiosity and unusual interests are no longer left alone to mumble quietly amongst ourselves. Any webpage on the Internet will end up with angry partisans drifting in from rival taste worlds, doomed to miss the point. Meanwhile, websites are no longer destinations and clubhouses since people find their news on social media and discuss it there. Where an article is hosted feels increasingly irrelevant. And then there is Japan, our initial focus of interest. Japan has changed as well in the last decade, opening up to the world in new ways. Japan of the 2010s was less of a misunderstood other and more of an internationalized tourist hub for vacation delights. Japan’s shift inside the global community from hard economic power to soft culture fun zone has quieted much of the online debate we felt a needto engage in.
Now, of course, we want to stand brave in the face of this upheaval. And we want Néojaponisme to continue to exist. We have a distinct (read: niche) point of view on a distinct (read: niche) set of topics that other outlets are unlikely to serve. But in this new media environment, maybe websites are not the answer. In the old age of our second decade (website years are like dog years), print may be a better match. A print Néojaponisme — NJP — is our latest destination: something to buy, read, enjoy, save, pull off the shelf once in a while as a reference. And by virtue of being a physical object with limited distribution, print manages to deliver our writing to the suitably sized, highly targeted audience we aimed for at the beginning. A final bonus: Print means we can collect our “occasional publishing” into bursts rather than letting you down with the false promise of regular updates. Okay, here is one more reason for print: All of us love books and magazines, and a paper-based issue lets us explore our specific aesthetic vision in more depth, giving Ian LYNAM, our designer, a canvas for his graphic design and space for excellent illustrators to show off their work. So, enjoy this first issue of NJP on Shōwa Tokyo, an exploration of modern culture in Tokyo from the prewar to the late 1980s.W. David MARX
April 16, 2020
W. DAVID MARX (Marxy) — Tokyo-based writer and musician — is the founder and chief editor of Néojaponisme. MIX: THE BEST OF SHIBUYA-KEI, VOLUME ONE _A new DJ mix to capture the best of a vintage Nineties Japanese dance music sound. Think of it as retromania for retromania._ Thanks to the international success of Pizzicato Five, Cornelius, and Towa Tei, the loosely-defined, decade-spanning Nineties indie music movement known as SHIBUYA-KEI has been one of Japan’s most influential cultural exports. The last fifteen years, however, have been unkind to the genre, as the movement’s originators abandoned its signature sound and pleaded for distance from the terminology. No one ever liked being pigeonholed under the dated term “Shibuya-kei” in the first place, but once the trend was over and its cachet depleted, artists wanted a chance to be themselves without all the SK-related baggage. But here we are nearly 25 years after Shibuya-kei’s birth, and its eclecticism once again stands out on a global stage, this time as an antidote to the globalized factory-made pop monotony of the Twenty-Tens. Yet the musicians’ œuvres are partially buried under the sands of time, and knowledge of the genre’s hidden gems are locked in the heads of obsessive former young people (and in the bargain bins of provincial used record store dumps with pages on Yahoo! Auction). The time has been right for a new mix that showcases, celebrates, and reintroduces the best tracks from Shibuya-kei’s peak years. So here we are: THE BEST OF SHIBUYA-KEI, VOLUME ONE. While many would identify 1993-1995 as Shibuya-kei’s shining moment in the sun — an era where Pizzicato Five’s “Sweet Soul Revue” and Kahimi Karie’s “Good Morning World” were pop chart hits — the genre crystallized as a _dance_ music movement much later in the decade. “The Best of Shibuya-kei, Volume One” prioritizes beats over melodies, and the best beats popped up around 1998-2001 with the emergence of Readymade Records (Pizzicato Five, Fantastic Plastic Machine, Mansfield) and Escalator Records (Cubismo Grafico, Losfeld) as well as later followers in the 21st century such as Halfby. As a nod to deep connections to a wider international movement, the mix also includes a few key foreign artists who were either directly linked to the Shibuya-kei movement (Dimitri from Paris) or otherwise took heavy influence (Ursula 1000). Most dance music genres hover around a specific BPM range, but Shibuya-kei’s ravenous consumption of global rhythms stretches the tracks across the scale, from hip-hop to house to breakbeats all the way up to speedy bossa nova, samba, and drum’n’bass. The mix, like Shibuya-kei itself, is designed to seamlessly flow through what otherwise would be disparate and discordant sounds. There are symphonic strings, jazz riffs, groovy bass lines, yé-yé rips, Hammond solos, digitally-degraded funk samples, vocoders, saxophones, MiniMoogs, turntable scratches, old-school rap toasts, bongos, acoustic guitar strums, a surprising amount of mambo, Lollapalooza melodies, dinky electro synths, jazz scat, schoolyard chants, whisper raps, Twilight Zone tones, Amen breaks, 909 hats, lyrical references to Jeremy Scott, and samples spanning from Scritti Politti, _Sesso Matto_, Bobby Valentín, and Buddy Rich, to _Hair Goes Latin_. With so much freedom, maybe the better question is, what _isn’t_ Shibuya-kei? The groups employed a punk D.I.Y. attitude but do not sound like “rock.” The electronic elements would never be confused with techno. Shibuya-kei is often “dumb” like Brighton big beat but too subtle and feminine to have been part of that boys club. The genre shares with trip-hop a love of rare samples but is bright and chipper in spirit. Artists dipped their toes into disco, Latin house, and downtempo but never fully subsumed the seriousness. The songs are too cartoonish and hyper to play in boutique hotel lobbies. One clear thread is RETRO AESTHETICS — a love for the sounds of the past. Shibuya-kei was a hyperextension of sampling culture into the pop realm, whether actual stolen loops or simply perfect pastiche layered on top of elements alien to the original songs. The artists mostly looked to the 1960s but stole nearly anything from the past canon of independent music. Pizzicato Five always kept the horns and space-age bachelor pad sweeps but over time moved from house beats todrum’n’bass.
Another trait is the OBSESSION WITH OBSCURITY. Shibuya-kei artists seemed motivated to make music in order to further distinguish themselves from other music snobs. They worshipped the deepest cratedigging that never sampled or referenced sogs that could be heard accidentally as standard-issue background music. They listened to the _Mondo Music_ catalog cover to cover. Compare them to inferior sub-Shibuya-kei groups in 1990s J-Pop like My Little Lover who took the production techniques but just sampled things we’ve all heard — Michael Jackson, Electric Light Orchestra, the Beatles. Shibuya-kei, at its best, took all of its phrases from “musicians’ musicians” and LPs that would have otherwise been forgotten to theages.
This love of discovery is perhaps the most attractive element of Shibuya-kei at the moment, when so many young creators — bored with the over-information of the Internet Age — no longer find allure in re-serving lost treasures from the past. So many artists are complacent to go again and again to the same soft-synth preset patches that sound exactly like the year in which we live (and somehow not that different from a decade ago). The specific sounds of 1990s Shibuya-kei can be thrown away but the genre possesses a potentially timeless methodology. There is magic born in a ruthless pursuit of rule-breaking beat-swapping, maniacal one-upsmanship. And this mix, _The Best of Shibuya-kei, Volume One_ attempts to capture that sound. NOTE FOR TRAINSPOTTERS: I cut up and re-edited most of these tracks, some would say with great violence. For the song selection, there is a bit of overlap with some of the era’s best mixes (e.g. _Spinout_) but I prioritized lining up the most representative and highest quality songs rather than worrying that we’ve heard too much of Montparnasse’s “Hugo.” (Maybe we have, but there is a reason that song is on so many mixes.) _For more on the topic, read our six-part series, The Legacy ofShibuya-kei
._
porno
indian porn videos
سكس
xnxx
youporn
porno tumblr
porn hub
youporn
porno mature
filme porno
tube8
filme porno
redtube
youjiz.es
W. David MARX
February 1, 2017
W. DAVID MARX (Marxy) — Tokyo-based writer and musician — is the founder and chief editor of Néojaponisme. 2016: DON'T LOOK BACK _We are not doing an annual look back piece this year, because nothing really happened in Japan. But maybe that is what makes Japan so greatright now._
There is much truth to the already clichéd global meme that 2016 was an awful year. But as the time came to put together our annual look-back piece, we came to the question, could the same thing be said about 2016 in Japan? And more generally, could anything be said aboutJapan at all?
Really, did anything that happened in Japan compare in scope to the Rise of Trumpistan, Brexit, unabated climate change, the non-stop deaths of musical pioneers and celebrities, terror attacks, and police shootings? SMAP breaking up was perhaps the “biggest story”
and barely qualifies as news. “PPAP” is basically “Bottom Biting Bug” for a more net-savvy generation. So many things on the political side — the potential abdication of Emperor Akihito, Abenomics, South China Sea tensions — seem to be far from any point of resolution that would engender useful writing. There are optimistic movements towards women achieving greater participation in society and a larger role in the workforce, but it is too early to proclaim anykind of victory.
In the end, Japan had another flat year of slow incremental change (some in the right direction, some in the wrong), but compared to the rest of the planet, these events make for a very boring year-end roundup from a semi-defunct website. Yet for the same reasons, living in Japan continues to be fantastic. Life is predictable. All the change is slow. In this year of tumultuousness, Japan was a sanctuary for continuity. And people have noticed. Giant numbers are flocking to Japan, mostly as tourists, but if you read between the lines, Japan is quietly making it much, much easier to immigrate. In Tokyo, there are growing populations of non-Japanese people, and out in the countryside, the factory workers are increasingly non-Japanese. There are still significant barriers to true comfort for immigrants, especially from Asia, but Japan is internationalizing to a conspicuous degree. So the thing that makes Japan more and more livable is making Japan less interesting for writing year-end roundups. Of course, the other problem is that we barely write on this site at all. We started Néojaponisme in 2007, a year when starting a site like this was obvious because the Internet was the bastion of reasonable, intelligent people who wrote reasonable, intelligent comments underneath long-form essays about serious topics. Néojaponisme rode on that early web utopian hope to collect together all the scattered people around the world interested in the depths of our particular niche. And then websites stopped being destinations, RSS fizzled out, and intelligent comment culture died. The irony is that I’ve never felt more happy to live in Tokyo, and I remain excited to write about Japan. But all the pressures of life and work are moving us away from a “website” being the primary medium for our work. The truth is that I wrote 11,000 words this year specifically for Néojaponisme — but not for the web. We are working on something else, but I don’t want to reveal more about the project until we can guarantee it will happen. So here comes 2017, a year where, for us and for many, web silence does not equate to truesilence.
adult-movies.cc
filme porno
film porno gay
filmatipornogay.eu
W. David MARX
December 31, 2016
W. DAVID MARX (Marxy) — Tokyo-based writer and musician — is the founder and chief editor of Néojaponisme. PIZZICATO FIVE DISCOGRAPHY: CANON AND POSTHUMOUS 1998-2006 _W. David Marx listened to every single major release from legendary Shibuya-kei band, Pizzicato Five, so you don’t have to. This is part five of a five-part series, covering
the band’s final years and post-breakup releases._HAPPY END OF YOU
(February 1998)
A remix album that never came out in Japan, which perhaps explains the selection of foreign producers. This is mostly a time capsule of late 1990s IDM/electronica, but a few things hold up, namely The Automator and Saint Etienne’s respective remixes of “Love’s Theme” and some of the drum’n’bass. Dimitri from Paris’ “Contact” old school house is fun, but out of place. The rest is, in most cases, literally just noise. (Cswee) — Taking the loungecore out of loungecorePLAYBOY PLAYGIRL
(October 1998)
Here we begin the final, mature years of Pizzicato Five, a period in which the band finds a unique, yet timeless sound rooted in 1960s analog with the speed of late 1990s electronic music. The album starts with the excellent “La Dépression” — a cheery joke about Japan’s own economic despair. And then we get to Konishi’s great weakness in sequencing his own albums, forcing the least exciting song into the prime #2 spot; in this case, the boring “Rolls Royce” goes on for eight full minutes. The band recovers with “A New Song,” P5’s best use of the moog synthesizer in a bright and shiny Hugo Montenegro pastiche. Other interesting sound experiments include the mega-blown out mixes of “Weekend” and “The Great Invitations,” the Austin Powers trend convergence of “Playboy Playgirl,” and minimal stutter snare of “Such a Beautiful Girl Like You.” If you remove the skits, this is one of the more consistently good efforts and a sound for the ages. (A) — The groovy, moogy Pizzicato Five we should all remember DARLIN′ OF DISCOTHEQUE E.P.(April 1999)
Is there a more fitting symbol of Konishian excess than an eleven minute version of “Darlin’ of Discotheque”? Except, what if those eleven minutes were incredible? The sampled drum breaks, the foreboding strings, and a strong melody building slowly to justify the time spent? Other songs on this also pay off: “Barbie Dolls” is a classic, and “Tout Tout Ma Cherie” is the Michel Polnareff cover P5 was always poised to tackle. (A-) — The hits keep coming all the way to the finish line NONSTOP TO TOKYO E.P.(July 1999)
A few months later, another EP. “Non-Stop to Tokyo” itself is one of the band’s weaker singles, and “Room Service” sounds too much like an early demo of “20th Century Girl.” The real treasure is “Bossa Nova 3003,” which like “Lesson 3003 (Part 1),” are canon-wide mashups where P5 took the Double Dee and Steinski model and applied it to themselves (a fitting act for a meta-band like Pizzicato Five.) “Mademoiselle” oddly sounds like _Sweet Pizzicato Five_ erahouse act.
(B) — Interesting moments in otherwise excessPIZZICATO FIVE
(November 1999)
This most certainly should have been the band’s swan song: P5 at its most mature, most adult. Konishi removed almost all explicit synth/dance music references for a relaxed, organic sound based on a treasure box of 1960s jazz and Yé-Yé samples. The result is as if Konishi took revenge upon _Couples_… and won! (There is even a superior Nomiya “cover” of “Serial Stories.”) “20th Century Girl” is a keeper, and I wish that “Goodbye Baby & Amen” would have been the band’s final musical moments. The American-release “Fifth Release from Matador” (note all the overflowing enthusiasm in that album title) is basically identical with some original versions of songs replacing Konishi’s oddremixes.
(A-) — What should have been P5’s final, grand statementREMIXES 2000
(March 2000)
As far as remix albums go, this one may be the strongest, with a gaggle of producers from Konishi’s own lineage: Mansfield, Cubismo Grafico, Comoestas, and Sunaga Tatsuo. There is no weird electronic violence, just Shibuya-kei on Shibuya-kei. Even Iwamura Manabu’s meta-jazz works on “Roma” better than his own work. (B) — The sound of the Shibuya-kei dance pop peakVOYAGE À TOKYO EP
(September 2000)
And so begins the end. Here we get You the Rock rapping over Pizzicato Five and a weird mashup on “Les Grandes Vacances.” This is not an important EP but at least holds up compared to the dreckthat follows.
(B-) — The gruel gets thinner, with a hip-hop influence _Çà Et Là Du Japon_(January 2001)
This record is really, really, really, really terrible. Just complete dreck. I could maybe extract some good quotes from the lyrics of “Fashion People” (Nigo!) for a nonfiction book, and I am partial to the mambo-beats of 1960s cover “In America” but the rest is beyond cheesy — like a “JAPAN COOL” poster hanging in a provincial gift shop selling salty green tea. By taking Japan as a theme, Konishi produces a recursive error, like the scene where John Malkovich goes into his own head. Pizzicato Five throw all taste and class out the window and just go “Kimono” and “Sukiyaki Song” until you want to burn every album in their entire catalog. The only non-arguable bright side is the extension of Happy End’s throwaway “AIEUO” hiragana syllabary ditty into a fully fledged Disney symphonic song for the ages. An ignoble ending for the band, and probably not a coincidence that Nomiya Maki barely appears on thesongs.
(D) — An Orientalist failure for masters of _mukokuseki_Internationalism
PIZZICATO FIVE IN THE MIX(December 2001)
A DJ mix… claimed to be a “live” mix by Sunaga Tatsuo, but sounds computer-edited, and also, doesn’t really sound like a “live DJ mix.” The beginning hits on the house-y, club side of the band, but by the middle we’re on to the remarkably non-danceable “Triste” and a acoustic version of “The Night is Still Young.” For a band in constant need of editing, mixes can be a nice way to enjoy the catalog, but this one is overall unfocused and has no compelling narrative. (C+) — Some random P5 songs in a random order. PIZZICATO FIVE I LOVE YOU(March 2006)
A DJ mix… of Pizzicato Five’s most mellow songs hand-picked by Konishi? Okay, I admit, I didn’t listen to this album. I confused it with the one below. But looking at the track list, this is a very strange selection from the catalog: drowsy songs that a very tired Konishi perhaps looked back fondly upon in his old age. (C+) — Some random mellow P5 songs that Konishi happens to like PIZZICATO FIVE WE LOVE YOU(March 2006)
A DJ mix… of Pizzicato Five’s most poppy songs? On first listen, I thought this was a waste of time. But as a Greatest Pop Hits — removing all of the band’s more experimental and dance oriented works — the songs shine through. The selection cuts out all the filler and reveals the band to have been masters of songcraft over afull decade.
(B+) — Nothing new, but a helpful distillation of the P5 popsense
PIZZICATO FIVE WE DIG YOU(May 2006)
A DJ mix… of Japan’s DJs and producers mashing up the best of Pizzicato Five into a non-stop mega-mix in the vein of 2 Many DJs? Yes, please, that would be excellent. But that is not what this is. This is an hour of listening to your favorite three-second fragments of P5 songs linked up stochastically with very few moments of clever blending or recontextualization. Handsomeboy Technique schools everyone at the very end by making a song you actually want to listen to more than zero times. (D) — The best Pizzicato songs mashed into formless oblivionsexfilme
vrporno
natursekt pornos
gay wichsen
haarige pornos
transen sexfilme
W. David MARX
December 2, 2016
W. DAVID MARX (Marxy) — Tokyo-based writer and musician — is the founder and chief editor of Néojaponisme. THE PIZZICATO FIVE DISCOGRAPHY: CANON 1994-1997 _W. David Marx listened to every single major release from legendary Shibuya-kei band, Pizzicato Five, so you don’t have to. This is part four of a five-part series, covering
the band’s peak years with singer Nomiya Maki._ A TELEVISION’S WORK SHOP E.P.(February 1994)
By early 1994, Pizzicato Five was a hit band, so the only obvious thing to do was release an EP of Nomiya Maki learning pseudo-French and gathering up off-key children to sing their songs. (Bonus waste of time: Nomiya playing word games with said children for five-plus minutes.) The single asset on this otherwise skippable release is another chance to bathe in the peak Pizzicato Five sound and a decent alternative version of “The Night is Still Young.” The weird self-Orientalism of “Me, Japanese Boy” works better in English. (C+) — Exclusively for completists with a high tolerance ofchildren
FIVE BY FIVE
(August 1994)
This was America’s official introduction to the hit Japanese band, Pizzicato Five. It is worth remembering that, at the time, the U.S. was solidly in the throws of post-Nirvana Alternative Nation and the only contemporary Japanese musicians known were Shonen Knife, The Boredoms, and perhaps, some noise acts if you hung out at Thurston Moore’s apartment. So from Pavement’s label Matador here comes a fashion runway, house-music obsessed lounge band with pixie vocals and a love of breakbeats. Most of the album is repeated on the full-length _Made in USA_ but the weird self-Orientalism of “Me, Japanese Boy” is better in English. (B) — An appropriate introduction, certainly strange for its timeOVERDOSE
(October 1994)
Hot off the mega-hit “Sweet Soul Revue,” Konishi and co. stick to their successful formula — tight pop songs with a nod to the 1960s. The pakuri melodic and production thievery, however, becomes more pronounced, with explicit Donovan references in the high-energy “Airplane” and the harpsichord pizazz of “Shopping Bag.” And “Hippie Day” could not exist without the direct horn lift from “Soulful Strut.” Club beats show up on “If I were a Groupie” and an overly-long version of “The Night is Still Young,” and they go full hip-hop with some rap verses. While not as consistent as _Bossa Nova 2001_, the album still has many of the greats, such as “Happy Sad.” And yet, “On the Sunny Side of the Street” ended up being the most boring single of their entire career. (A-) — Perfect 1960s pastiche but off in partsMADE IN USA
(October 1994)
By all means, the American P5 releases should be non-canonical, but for an overly prolific band in need of editing, _Made in the USA_ works to boil down Pizzicato Five to their essentials. Matador was also smart to leave a lot of the songs in Japanese, even though Nomiya handles the English well. (Their lyrics are equally simplistic in both tongues, if you’re wondering.) They made a mistake, however, in including the Japanese interview on “This Year’s Girl #2” (very misogynistic questions in hindsight.) “Catchy” is still boring, “Peace Music” is still amazing. (A-) — The best of Pizzicato Five’s peak yearsROMANTIQUE 96
(September 1995)
_Bossa Nova 2001_, _Overdose_, and _Romantique 96_ work as a trilogy: song-oriented club pop with an emphasis on big melodies and 1960s references. The obsession moves over time slightly from New York and London towards Paris, but by this third installment, Konishi (no longer with K-Taro Takanami by his side) had run out of ideas. “Circus” is overly dependent upon a reference to “Sweet Soul Revue,” and there are many boring moments for a band who is rarely boring. On the other hand, there are many crucial tracks: the blend of 1960s strings and hip-hop on “Ice Cream Meltin’ Mellow,” the Platonic ideal of French bossa nova in “Nata DiMarzio,” the Kraftwerkian “Contact,” and the mature melancholy of “Triste.” The most famous song may be the cover of the Plastics’ “Good,” from which they remove the passive-aggressive tone of the original and turn it into a “Twiggy Twiggy”-esque groove track. (B+) — The killer is killer, the filler is filler.THE SOUND OF MUSIC
Details
Copyright © 2024 ArchiveBay.com. All rights reserved. Terms of Use | Privacy Policy | DMCA | 2021 | Feedback | Advertising | RSS 2.0