Monday, March 8, 2010

Too much chatter means too little thought, Oe says

From The Daily Yomiuri, March 15, 2004

Kevin Wood / Daily Yomiuri Staff Writer

While Japanese cultural exports in the form of pop music, manga and anime may be gaining ground abroad, novelist and Nobel laureate Kenzaburo Oe says Japan's cultural power is waning as true critical thought drowns in a sea of polite conversation.

Oe argued in a March 5 speech in English at the Foreign Correspondents' Club of Japan in Yurakucho, Tokyo, that the relentless growth in the publication of interviews, panel discussions and collections of speeches threatens to supplant written intellectual discourse and is leading to the cultural impoverishment of Japan.

A prolific novelist and noted activist, Oe won the Nobel Prize for Literature in 1994 and is widely considered to be one of the leading intellectual figures in the nation.

In his speech, Oe referred to the work of U.S. scholars Edward Said and Masao Miyoshi in the early 1990s, when the two theorized that while bubble-era Japan was a dominant economic power, the nation's contemporary verbal culture was "austere, even impoverished, dominated by talk shows, comic books and relentless conferences and panel discussions."

Oe commented that while Japan's economic fortunes had since ebbed, Said and Miyoshi's comments on the state of the nation's culture were an accurate reflection on the present situation. He added that the current recession is casting a further shadow as companies cut back spending on cultural activities.

Japan, more than other nations, faces a crisis of written culture due to the relentless publication of ideas presented in a conversational mode. This conversational style of communication, which seeks compromise, conformity and consensus, is replacing real intellectual critical discourse, Oe said. He pointed out that there are no longer any national magazines catering to an intellectual audience, and that the remaining outlet for criticism--the newspaper book review--has become shorter and seems to include less and less analysis of theme, methodology and style.

"Japanese writing style has been undergoing a radical change lately, and whether the change is a cause or an effect, conversationalism is the dominant mode," Oe said. Where once writers felt the need to back up their assertions with facts and logical argument, he said, conversational writing assumes certain level of persuasive consensus. When confronted with disagreement in a conversation, one can apologize or ignore it, said Oe.

The superficiality and celebrity culture engendered by this conversationalism in publishing is beginning to infect other areas of culture and even politics, Oe contended, citing the "frantic support" enjoyed by Prime Minister Junichiro Koizumi when he first took office on the basis of structural reform slogans that offered little substance.

The result of the "washing away" of Japan's intellectuals by this flood of conversation is that Japanese no longer give serious thought to how the world should be or to the creation of ideas. The kind of serious discourse that dominated Japanese intellectual life in the immediate postwar period has disappeared, Oe said, and it may never return.

Japan today is dependent on the West for cultural input, soaking up Western culture, but exerting little influence in return, he said. Japanese pop culture may be a leading export commodity, but Pokemon and Hikaru Utada are unlikely to change the way people around the world think, in the way Oe said critics such as Said and Noam Chomsky have.

Oe said the nation must nurture an intellectual leadership and an audience that will not circumvent the logicality of written discourse, if the current situation is to be rectified.


Copyright 2004 The Yomiuri Shimbun

In Your Ear - Norah Jones, Brad Mehldau Trio

Music review column from The Daily Yomiuri, March 11, 2004

IN YOUR EAR

Kevin Wood / Daily Yomiuri Staff Writer

Norah Jones
Feels Like Home
Toshiba EMI, 2,427 yen


How do you follow up a debut album that wins eight Grammy awards and sells 5.1 million copies? Do you try to catch lightning in a bottle a second time or move in a different direction to avoid comparisons with the previous platinum standard?

With her sophomore effort, Feels Like Home, Norah Jones has done a bit of both.

All the things that made Come Away With Me a massive hit are here: The same simple, sparse, mid-tempo arrangements, warm jazz-inflected vocals, and relaxed, romantic atmosphere inform every track. While her debut album leaned heavily toward light jazz while giving a nod to folk and country with songs like "Lonestar" and Hank Williams' "Cold Cold Heart," Feels Like Home plants a foot firmly in the country while still demonstrating jazzy roots.

It's debatable whether an album that includes guest appearances by Dolly Parton and The Band's Levon Helm and Garth Hudson can really be called jazz, but what else can you call a cover of Duke Ellington's "Melancholia" (with lyrics added by Jones to become the 2 a.m. heartache torch song "Don't Miss You At All")?

If we reject such artificial pigeonholing in favor of Louis Armstrong's maxim that there are only two kinds of music: good and bad, Feels Like Home must unequivocally be considered good.

Top-notch guitar work by Adam Levy and Kevin Breit give a rootsy feel to tunes like "Toes" and "In the Morning," with Jones' piano spotlighted on "Carnival Town." Jones and her bandmates have clearly grown more confident as songwriters--of the 14 tracks on the album she had a hand in five and six were written by members of her band. Their compositions hold their own against the aforementioned Ellington adaptation, a catchy cover of Tom Waits' "The Long Way Home," and a country-blues version of Townes Van Zandt's "Be Here To Love Me."

This is truly adult contemporary music--not the tuneless schlock usually associated with the term. It has none of the tawdry, tacky, MTV-driven, image-making fluff and in-your-face attitude normally associated with the latest in pop music. It is tasteful, timeless, modern and mature music by and for grown-ups.

Brad Mehldau Trio
Anything Goes
Warner Music Japan, 2,520 yen


Anything Goes, a collection of straight-ahead instrumental jazz covers by the Brad Mehldau Trio--pianist Brad Mehldau, bassist Larry Grenadier and drummer Jorge Rossy--offers few surprises and breaks little new ground, but delivers 10 tracks of virtuoso playing by a trio so tightly coordinated they must be reading each others minds.

Mehldau is an outstanding technical player with a fast, fluid Charlie Parker-like ability to play twice as many notes as anyone else while never sounding busy.

The songs are mostly standards like the Cole Porter title track with a few curveballs --Radiohead's "Everything in Its Right Place" and a wonderfully nostalgic version of Paul Simon's "Still Crazy After All These Years"--thrown in for variety.

Slower ballads such as Hoagy Carmichael's "The Nearness of You" counterbalance the barely contained exuberance of Thelonius Monk's "Skippy." The angular, outside, bop arrangement of Harold Arlen's "Get Happy" still manages to swing and the Charlie Chaplin chestnut "Smile" is rescued from sentimentality with Grenadier taking the melody line on bass while Mehldau holds down the bottom end with his left hand

In Your Ear - Ani DiFranco, The Asylum Street Spankers

Music review column from the Daily Yomiuri, Feb 26, 2004

In Your Ear 

Kevin Wood / Daily Yomiuri Staff Writer

ANI DIFRANCO
Educated Guess
Victor, 2,400 yen

The Little Punk Folkie That Did is back. After a decade of making albums with a backing band and producer, Ani DiFranco holed up alone in a New Orleans shotgun shack with an eight-track recorder and emerged with Educated Guess, a 14-track one-woman effort for which she did everything but personally stuff liner notes into CD cases.

Educated Guess marks a return to DiFranco's roots as a solo performer armed only with her acoustic guitar, her taut, airy, potent voice and lots of attitude, but also shows far a greater degree of musical and social sophistication and maturity than early albums.

The anger, militant feminism and strident liberalism of the early years is still there, but the bull in the china shop has become a matador, cloaking the sharpest lyrical steel in a velvet cape. She's still in your face, but you can never be sure whether it's to plant a kiss or an uppercut until the lyrical jolt has been delivered. Songs such as "Origami" and "Animal" demonstrate that DiFranco has not mellowed with age, she's just gotten craftier.

The layered, ringing guitar on Educated Guess shows off some impressive technique and compositional chops. DiFranco may not be the fastest or fanciest on the fretboard, but she is certainly one of the most original.

On first listening, the high-pitched chirps, wails and echoes of the backing vocals DiFranco has laid down seem superfluous, distracting and at times even grating, but repeated listenings show them to be the key to the deeper inner funkiness of "Bliss Like This" and an appropriate accent to the minor key mournfulness of "Bodily" and "You Each Time."

Three tracks are poetry recitations with accompanying soundscapes, ranging from the short personal "Platforms" to the longer sly broadside of "Grand Canyon."

DiFranco's all-too-brief tour of Japan--one show each in Tokyo and Osaka early next month--is not to be missed.


The Asylum Street Spankers
Mercurial
Buffalo Records, 2,099 yen

Hot on the heels of the release of their concert DVD Sideshow Fez late last year, the acoustic daredevils of The Asylum Street Spankers are back with Mercurial, a studio album of covers that have been a staple of their unbelievable live performances.

The band that has audiences on three continents asking "What the hell was that?" serves up smooth old jazz (Ivory Joe Hunter's "Since I Met You Baby") and smoking traditional blues ("Got My Mojo Working") straight up, with a chaser of hard-to-believe covers of The Beastie Boys, The B-52s, Black Flag and Jazz Butcher. Gangsta rap meets the Grand Ole Opry on "Hick Hop" and kitsch meets cool on "Shine on Harvest Moon."

The Spankers are far more than a simple though deeply weird comedy or novelty act. Veteran jazzman Stanley Smith's cool clarinet accents and Nevada Newman's slide guitar solos alone more than establish the Spankers' music credibility. Singer Christina Marrs could make the pope kick a hole in a stained-glass window with her frankly erotic version of Bessie Smith's "Sugar in My Bowl," while the antic efforts of violinist and dobro player Korey Simone and singer, harmonica player and general ringmaster Wammo are best described as acid burlesque.

In the unlikely event that this album alone isn't enough to make you smile, during March, Buffalo Records is giving away copies of a 17-track CD label sampler (including tracks by the Spankers, Hot Club of Cowtown, Ryan Adams and String Cheese Incident among others) with the purchase of any of the roots label's CDs--while supplies last.

Vietnam War hero's platform lacks depth

Book review from The Daily Yomiuri, Feb. 24, 2004


Kevin Wood / Daily Yomiuri Staff Writer

A Call to Service: My Vision for a Better America

By John Kerry

Viking, 202 pp, 24.95 dollars


Written as a campaign book by the four-term senator from Massachusetts, A Call to Service is unlikely to win any awards for the quality of its prose. Simply put, this book is a short but dull read that seems to be compiled from fleshed-out campaign speeches. Imagine a 200-page campaign leaflet without any gaudy photos or distracting colors.

While it might be naive to assume that John Kerry's incessant mentions of his Vietnam service have nothing to do with comparing his impressive record (four years of combat duty, one of them commanding a 50-foot river patrol boat, a Silver Star, a Bronze Star with combat V and three Purple Hearts) to the somewhat dubious wartime record of his Republican rival, it is clear from reading A Call to Service that Kerry's war service and subsequent time as a leader in the antiwar movement were the defining experiences of his life.

Those hoping to read the nitty-gritty details of Kerry's Vietnam exploits will be disappointed as the author only alludes, albeit often, to his adventures there. Policy wonks seeking a chance to examine the senator's proposals on education, health care, environmental protection, energy, defense and the economy also will come away virtually empty-handed. The second most frequently used phrase in the book--after "When I was in the Navy in Vietnam"--seems to be "While the proposal is too detailed to explain, let me give you the basics."

This is paraphrasing of course, but Kerry seems to start every explanation of his presidential platform by telling the reader that the proposal is very detailed and has been carefully worked out, but that we don't really need to know the details, just what the result will be.

On the surface, the proposals contained in A Call to Service seem reasonably progressive: increased funding for education while ensuring schools remain accountable, a return to legislation and budgeting to provide for the general welfare of the nation as opposed to aiding special interests, tying international trade treaties to human rights and environmental protection, and making the U.S. federal government's employee health insurance system accessible to uninsured citizens. The lack of nuts and bolts details provided is a little frustrating and makes it harder for Kerry to prove such policies are viable.

As mentioned earlier, Kerry constantly alludes to his service in Vietnam, but rarely dwells on it and never attempts to make it the basis for his credibility. It is simply that his service seems to be the crystal through which he views his life since then. Kerry says "when I was in Vietnam" much the way a newly arrived expatriate is apt to start sentences with a phrase like "back home" or a recent graduate might say "when I was in college."

An interesting aspect of the book is the number of times he stresses his personal friendship and good working relationship with former Republican presidential candidate and fellow Vietnam veteran, Arizona Sen. John McCain. The introduction to the book is such a ringing endorsement of McCain that it seems to belong at the front of McCain's Faith of Our Fathers instead of Kerry's campaign manifesto.

Such a lack of real substance is sadly typical of most campaign books, which seek to present an attractive picture of the candidate without providing too much detailed policy for opponents to attack. In this regard the book, like the candidate, is standard Washington issue.

Copyright 2004 The Yomiuri Shimbun

The Great Rock & Roll Swindle

Book review from The Daily Yomiuri,  Feb. 4, 2004


Kevin Wood / Daily Yomiuri Staff Writer

Never Mind the Pollacks

By Neal Pollack

Harper Collins,

259 pp, 23.95 dollars


Fresh from the satirical triumph of his first book The Neal Pollack Anthology of American Literature, "America's Greatest Living Writer" Neal Pollack has set his sights on rock 'n' roll and the molehills-into-mountains pretentiousness of rock journalism.

As in Anthology, the author put himself at the center of the action. As a character, Neal Pollack is the bastard son of rock critic Lester Bangs and Forrest Gump and God's gift to music journalism.

He towers above the kingdom of rock criticism, which is clearly more important than the mere music itself, like an Ozzy-mandias. Women lust after him, men want to be him and there is no cough syrup so narcotic-laden that he won't quaff it with abandon.

Pollack's rock 'n' roll novel opens with august rock journalist Paul St. Pierre receiving the news of Pollack's death.

"He was, in many ways, the living, breathing essence of America's music, its dark Baudelaire Rimbaud genius, its Celine, its Brecht, the long crawl from the swamps of Louisiana to the halls of Dadaism and back again, writing with prejudice, but without mercy. At least I hadn't heard it first from Kurt Loder."

In a metafictive effort to chronicle Pollack the critic's life, St. Pierre traces the history of rock 'n' roll and Pollack's effect on it.

Not surprisingly St. Pierre discovers Elvis Presley, Bob Dylan, Lou Reed, Iggy Pop, Bruce Springsteen, the Sex Pistols, and Kurt Cobain owe their careers to the influential and highly intoxicated critic, who in turn owes his staggering insight into popular music to his mentor, the shadowy bluesman and inventor of funk and hip-hop Clambone Jefferson.

The young Norbert Pollackovitz first hears Jefferson singing the blues on the streets of Chicago and again after moving to Memphis, Tenn., where he writes a song for next door neighbor Elvis Presley's first recording session at Sun Studios.

A few months after running over and killing young Norbert's authoritarian anti-music father, Elvis renames him Neal Pollack while performing at the young boy critic's 1954 bar mitzvah.

As the novel whizzes along we see Pollack stealing Joan Baez from the arms of Bob Dylan; Pollack introducing Lou Reed to heroin and Andy Warhol; Pollack turning suburban teenager James Osterberg into the force of nature that is Iggy Pop; Pollack seducing Patti Smith; Pollack working as an amnesiac roadie for Bruce Springsteen; Pollack as Smoky, the fifth Ramone; Pollack starting the Sex Pistols; Pollack educating the Minutemen; Pollack adopting a teenaged Kurt Cobain and introducing him to an unnamed-for-legal reasons soon to be widowed future wife; and especially Pollack stealing no fewer than three of St. Pierre's wives.

The history of U.S. rock music is all about Pollack and what he learns from the occasionally surfacing Clambone Jefferson.

While Pollack's constantly self-referential fantasy life can be a bit wearing at times, the writing is smart, funny and sharp edged as he punctures the high-falutin' pompous pseudointellectual pronouncements of rock writers.

The highlight of Never Mind the Pollacks has to be the Rutles-like song-genre parodies that Pollack manages to work in. The Velvet Underground's "Sweet Jane" becomes "My Vein." Bob Dylan's "Ballad of Hollis Brown" and "The Lonesome Death of Hattie Carol" get mixed together into "The Ballad of Emmett O'Donnell."

Pollack's Bruce Springsteen pastiche "Jenny in the Car, 1972" manages to work blue jeans, America, closed factories, New Jersey, highways, sex, the Bible and highways into a three verse song.

His punk/funk send up of the Minutemen ("How can you have a girl when there's a war in Nicaragua? Who's your president, Ronald Reagan or Che Guevara?) could almost pass for the real thing.

Some would argue that Pollack is a one-trick pony, only able to do self-aggrandizing satirical hatchet jobs on the careers of his betters.

That remains to be seen, but by his flamethrower barbecuing of sacred cows, he raises the vital question of whether such people should be considered anyone's betters.

Rock critics such as Robert Christgau and Greil Marcus who seek to elevate rock music to some sort of philosophical, metaphysical analysis of Western culture should beware.

After all, it's only rock 'n' roll and Neal Pollack likes it

Dark horse candidate offers prayer for peace

Book review from The Daily Yomiuri,  Jan. 18, 2004


By Kevin Wood / Daily Yomiuri Staff Writer


A Prayer for America
By Dennis Kucinich
Thunder's Mouth Press/Nation Books
141 pp, 11.95 dollars


Among the recent crop of books written by, for or about candidates in this November's U.S. presidential election. Dennis Kucinich's A Prayer for America stands out for many of the same reasons that distinguish the dark horse Democratic candidate from his rivals.  
Campaign books are usually penned to illuminate the political platform or personal background of a declared candidate, but in Kucinich's case the speech from which the book takes its name came first, and it provided the impetus for his campaign.  
A Prayer for America is the title of a speech Kucinich, a U.S. congressman from Ohio, delivered to the Southern California chapter of Americans for Democratic Action in February 2002. His remarks electrified not only his partisan audience, but the American left in general, prompting writer Studs Terkel to urge him to run for the White House in a magazine article.  
Born into a large and impoverished blue-collar family, Kucinich is a lifelong labor and social justice activist. He became mayor of his hometown of Cleveland, Ohio, in 1977 at the age of 31 following an election fought largely on the issue of privatization of a city-owned utility. While his refusal to sell the taxpayer owned MUNY Light nearly bankrupted the city government and got him turned out of office, a dozen years later the municipal council lauded him for his "courage and foresight" in refusing to sell.  
Perhaps fittingly, the diminutive Kucinich's 141-page book is much shorter than most of the other campaign books.  
It is not a biography, a policy paper or a campaign polemic, but a collection of speeches given mainly in 2002 and 2003, including the aforementioned speech that prompted his bid for the presidency. Unlike numerous other campaign books it is not ghostwritten or informed by a group of political advisers. Like most of his campaign appearances and past political activity, A Prayer for America is pure, unvarnished Kucinich. As with most political speeches of recent vintage, it is long on stirring rhetorical statements, applause lines and pie in the sky, but very short on nuts-and-bolts policy or practicality.  
"I tell you there is another America out there. It is ready to be called forward. It is the America of the flag full of stars. It is the America which is in our hearts and we can make it the heart of the world," says Kucinich. Doubtless it makes stirring oratory, but on the printed page such lofty passages fall flat.  
This reliance on abstract rhetoric and feel-good New Age mumbo jumbo ("Spirit merges with matter to sanctify the universe. Matter transcends, to return to spirit.") robs the title speech's more worldly rebuttal to the present U.S. regime of much of its power.  
A more reasoned, analytical approach to explaining some of Kucinich's progressive proposals--such as his idea for a cabinet-level peace department and his opposition to the war in Iraq--would have better served both the candidate and readers

'Meet me at Hachiko'

Full page feature, The DailyYomiuri, Saturday, June 18 2005


Legend of loyal dog grows with 2 English books
Kevin Wood / Daily Yomiuri Staff Writer


Let's meet at Hachiko"--is there a Tokyoite who hasn't heard or uttered that phrase at least once? The life-size statue of the world's most famous Akita dog is also the capital's most famous meeting place.

On my first day in Tokyo, I met my landlord there, and years later arranged to meet my wife there on our first date.

The location of the statue in front of one of the busiest train stations in the world may have something to do with the popularity of the spot as a rendezvous, but the touching story of canine loyalty that inspired the bronze figure has achieved iconic status both at home and abroad.
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Foreign friends
The tale of Hachiko has spawned countless books in Japan and even inspired the hit 1987 film Hachiko Monogatari scripted by Kaneto Shindo and directed by Seijiro Koyama. The publication of two children's books last year in the United States has spread the legend of the faithful canine overseas.

Hachiko, The True Story of a Loyal Dog (Houghton Mifflin), a picture book aimed at young children, was written by Pamela S. Turner and lavishly illustrated by Yan Nascimbene. The award-winning book is told from the point of view of an old man relating his boyhood memories of Hachiko to his grandchildren.

"It's a really touching story and it would be really easy to go over the top and make it really schmaltzy, so using an older narrator made the restraint logical," the author told The Daily Yomiuri between presentations to students at the American School in Japan during a visit to Tokyo this spring.

Turner, who lived in Tokyo from 1990 to 1996, was looking for a writing project after her return to the United States and was surprised and delighted to find that at the time no one else had tackled the story in English. Authenticity was important to Turner and many of Nascimbene's watercolor illustrations are based on photos taken from an old book about Hachiko given to Turner by an official at Shibuya Station.

A Japanese translation of the book was released in the spring.

Coincidentally, another Hachiko book was released last autumn. Hachiko Waits (Henry Holt and Co.) written by Leslea Newman and illustrated by Tokyo native Machiyo Kodaira, is aimed at slightly older readers, but uses the same literary device of a young boy who befriends Hachiko.
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Immortalized in bronze
The current 91-centimeter bronze statue and its 127-centimeter stone plinth is the second monument to mark the spot the faithful canine maintained his daily vigil. The first, a much larger 162-centimeter statue on a 180-centimeter stone base, was created by celebrated sculptor Teru Ando.

According to the artist's eldest son, Takeshi Ando, 82, his father became interested in sculpting a typical Japanese dog sometime around 1930. An acquaintance suggested Hachiko, by then well known in the neighborhood (see sidebar). The dog was repeatedly brought to Ando's Yoyogi studio to model. When the dog's story hit the newspapers, Ando's efforts to sculpt him were mentioned, making him an obvious choice when the movement to honor Hachiko with a statue gained momentum. Ando also presented a replica of the work to Emperor Showa.

The statue was sacrificed to a wartime scrap metal drive in 1944 and Ando was killed in a massive U.S. bombing raid on May 25, 1945.

After the war, Shibuya was a bustling commercial area and a chaotic hub of wheeling and dealing black marketeers. Takeshi Ando told The Daily Yomiuri in a recent telephone interview that local merchants and Shibuya residents wanted something beautiful and moral to provide them with inspiration in the difficult years immediately after the war. A committee was formed in 1947 and Ando's eldest son was commissioned to re-create his father's work.

"I could have made the same sculpture with my eyes closed," he said. While his father had striven to create a statue of an ordinary Akita, Takeshi said he wanted the dog's faithfulness andloyalty to be evident in its eyes and bearing.

"I wanted to create something beautiful to help the country rise from the ashes," the war veteran-turned-artist said.

His creation was unveiled on Aug. 15, 1948. The statue is now nominally owned by the Shibuya Ward government, which took over ownership from Hachiko Dozo Iji-kai (Hachiko Statue Preservation Association) in 2002. The association, made up of local business owners and companies with offices in the neighborhood, is funded by donations from its members and contributes to the maintainence of the symbolic statue.

One of the current corporate members of the association, Tokyu Department Store Co., went into business the same year the current statue was erected. It has operated a small Hachiko-themed souvenir shop near Shibuya Station since 1992.

According to shop employee Hiromi Sugimoto, the store serves between 100 and 200 customers a day, with stuffed plush toy replicas of Hachiko and paw print-patterned hand towels being the biggest sellers. She says that visitors from out of town looking for a souvenir of Shibuya, especially children on school trips, are the main buyers of Hachiko goods.

By far the most common Hachiko souvenir is a photograph taken next to the statue. Spend any time at all around the statue and you can't help but notice the steady stream of people posing for snapshots in front of Shibuya's most famous denizen.

A similar statue erected in front of JR Odate Station in Akita Prefecture in 1935 was also sacrificed for the war effort, but was replaced by two statues. One is of a group of Akita pups called 'Young Hachiko and His Friends" erected in 1965, and the other is one similar to the Shibuya statue that was installed in 1987.

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History of the breed
Genetic research performed at Tokyo University indicates that the Akita dog, along with the chow chow and Hokkaido breeds, came to Japan from the Asian continent before the archipelago was separated from the mainland by the Sea of Japan. Other common Japanese breeds such as the Shiba were brought later by settlers from China and Korea to the Hiroshima area.
Akitas were used as hunting dogs, especially in northern Japan, with mated pairs used to track large game such as deer and wild boar. The dogs were trained to hold the quarry at bay until hunters arrived. Later in the Edo period (1603-1868), the dogs were often pitted against each other in organized fights.

The lord of Odate Castle in what is now northern Akita Prefecture is known to have been a devotee of dog fighting and the demand for larger and more powerful dogs increased in the 1890s, leading to crossbreeding of Akitas with the bigger Tosa breed.
Concerned that the purity of the Akita breed was being lost, Odate Mayor Shigeie Izumi formed the Akita-Inu Preservation Society in 1927 and the Akita was officially recognized as a national monument in 1931.

Rabies epidemics in 1899 and 1924 nearly resulted in the extinction of the breed as many dogs were destroyed.

During World War II, the government confiscated most dogs to use their fur for military garments. Massive food shortages led to many dogs being killed for food or left to starve as anyone seen feeding a dog was considered a traitor. Barely a dozen Akitas survived the war and they were often crossbred with German shepherds in the late 1940s, when they became a popular pet for U.S. soldiers to take home.

The first Akitas to be introduced in North America belonged to blind and deaf American lecturer and activist Helen Keller, who requested and was given an Akita named Kamikaze-go after learning of Hachiko's story when she visited Japan in 1937.

The dog succumbed to distemper less than a year later and was replaced by Kenzan-go, one of Kamikaze-go's older brothers bred in Odate that became Keller's constant companion. She praised the breed for its contribution to peace when she visited Japan again in 1947.


Traditional canine values

Moving stories of loyal dogs abound, from the true story of Edinburgh's Greyfriars Bobby, the famous Skye terrier who stood by his master's grave for 14 years, to fictional canine heroes such as Old Yeller from Fred Gipson's novel of the same name, immortalized in the 1957 Disney film, and Buck from Jack London's The Call of the Wild.

While cynics may speculate that it was the regular handouts from yakitori vendors that kept Hachiko coming back--a number of wooden skewers were found in the dog's stomach after he died--it is the element of unyielding loyalty that has earned Hachiko his place in the nation's cultural pantheon.

"The story of Hachiko is particularly appealing to the Japanese because of the high value Japanese culture traditionally places on fealty to the group, boss or master--even if the master is absent in death," said Jesse Glass, a professor in the Foreign Language Department at Meikai University in Urayasu, Chiba Prefecture.

History bears out Glass' analysis. In 1936, the story was included in moral education textbooks for primary schools as an illustration of loyalty to one's master, intended to encourage patriotic fealty to Emperor Showa.

Turner agrees. "I think the story of Hachiko strikes a chord with Japanese because of the value Japanese culture puts on the faithful retainer. The most famous story in Japan is the story of the 47 ronin, who are celebrated not for winning a battle or for their bravery, but for being faithful to their master, even after his death and even when it meant their lives...Hachiko embodies these great traditional Japanese values of loyalty and faithfulness," she said.

Ando denies the statues were ever conceived as symbols of loyalty to the Emperor or embodiments of fealty, but says they were meant as iconic representations of the universally appealing values of unconditional love and devotion.

Yasuo Maruyama, deputy stationmaster at JR Shibuya Station, explains Hachiko's appeal this way: "The story tells of a sense of duty and for people today, that kind of morality is being lost. That's why the story inspires people."

He said the busier people become and the more they miss this sort of loyalty and sense of duty in their daily lives, the more the story of Hachiko means to them.

A dog's life

The male Akita later named Hachiko was born in Odate in northern Akita Prefecture in November 1923 and given to Hidesaburo Ueno, a professor at the School of Agriculture at Tokyo Imperial University (now Tokyo University) by a former student who knew of the professor's affection for the big, strong dogs traditionally bred in the town.

Hachi, so named because he was the eighth dog Ueno had owned, would accompany his master from home to nearby Shibuya Station each morning and then come back each afternoon to await his master's return on the 3 p.m. train. On May 21, 1925, Ueno suffered a fatal stroke at work. Despite a few initial efforts to send the dog to be adopted by new owners, Hachiko continued to go to the station every day to wait for Ueno and would spend his nights sleeping on the porch of the late professor's house in Shibuya.

Cared for by Ueno's gardener Nenokichi Takahashi and the stationmaster, the big cream-colored dog became a fixture at the station, often begging food from the numerous street vendors in the neighborhood.

Despite becoming nearly lame from arthritis in his last years, Hachiko continued to show up at the station like clockwork just before 3 p.m. each day, waiting until dark to return home.
His fame spread beyond the district in 1932, when he was the focus of a series of newspaper articles. Contributions poured in from across the country and even from overseas, and a statue was unveiled at the faithful dog's regular waiting spot on April 21, 1934, bearing the words "Chuken Hachiko" (Loyal Dog Hachiko), using an affectionate diminutive form of the name Hachi.

On the evening of March 7 the following year, the dog was found collapsed at his post in front of the station and died early the next morning.

The story headlined newspapers across the country and a day of mourning was declared.
Hachiko was stuffed and mounted and can still be seen at the National Science Museum near Ueno Station in Tokyo, but his bones are interred with those of his master in Aoyama cemetery.
Copyright 2005 The Yomiuri Shimbun

Tuesday, February 23, 2010

The Adventures of Tom Sawyer

Audiobook review, The Daily Yomiuri, December 21, 2003

The Adventures of Tom Sawyer
By Mark Twain
Read by Patrick Fraley
Audio Partners
6 CDs, 7.5 hours

The unabridged audiobook of The Adventures of Tom Sawyer recently released by Audio Partners Publishing Corp. does exactly what a good audio book should do: It brings the text to life.
Admittedly, it would be tough to make as entertaining a writer as Mark Twain seem dull without doing a complete hatchet job, but voice actor Patrick Fraley makes the classic tale of 19th-century American boyhood gleam like the gem it is.
While Tom Sawyer is the poorer literary predecessor to Twain's masterpiece, The Adventures of Huckleberry Finn, it is still more than worthwhile reading and listening. Using tales of Tom's comic mischief and imagination to illustrate the human foibles of conformity, pride, superstition, greed, jealousy and prejudice, the author offers his own ironic comments in a wry manner well captured by the reader.
Fraley, who has put his talents to use in numerous audiobooks, radio programs and cartoons, has clearly studied actor Hal Holbrook's practiced interpretation in cultivating his own. Fraley evokes Twain's Missouri drawl ably, though his take on the various character voices edges on the cartoonish at times, leaving the adult listener wondering if he has picked up something from the juvenile section.
While Tom Sawyer is suitable for children, Twain wrote it more with adults in mind. Fraley manages to capture the dry sarcasm of Twain's observations on human nature without milking it, and his leisurely pacing makes the entire 7-1/2-hour package a relaxing experience eminently recommendable as commuter listening.

Concert for George, Let It Be...Naked, Lennon Legend, Beatles on Ed Sullivan

The Daily Yomiuri, December 21, 2003

In Your Ear


By Kevin Wood
Daily Yomiuri Staff Writer

VARIOUS ARTISTS Concert for George
Warner, 3,400 yen (CD)

Whether you view them as long-lost musical gems, heartfelt tributes or crass attempts to turn leftovers into cash, CDs and DVDs hitting the store shelves for Christmas this year prove that phony or not, Beatlemania has not yet bitten the dust.
Of the three items here, Concert for George is the only one to provide anything that approaches new music. A live two CD recording of a tribute concert held on the first anniversary of George Harrison's death, the album provides a better musical look at the concert than the film of the same event, which cuts back and forth between rehearsals and performances by concert organizer Eric Clapton, former bandmates Paul McCartney and Ringo Starr, Tom Petty, Jeff Lynne and others.
The first disc features Anoushka Shankar, daughter of Ravi Shankar, performing and conducting mesmerizing yet impressively energetic Indian music.
The second disc is more conventional rock written by the Quiet Beatle and performed by those who knew and loved him. While it suffers from some of the usual excesses of live tribute concerts, such as Billy Preston's overlong "My Sweet Lord," Concert For George provides a showcase for a terrific songwriter who was too often overshadowed by the Lennon-McCartney hit factory.

THE BEATLES
Let It Be...Naked
Toshiba-EMI, 2,667 yen (CD)

Let It Be...Naked is, in essence, something of a correction. The original album was recorded in 1969, before the lushly layered Abbey Road. The original intention was to rehearse a number of new songs with an eye to performing a live concert and to film the whole process with the concert providing the film's climax. The four lads from Liverpool were unable to settle on where and when the concert would take place, finally compromising on an impromptu gig on the roof of the recording studio.
The film was made and the tapes handed over to hit-making producer Phil "Wall of Sound" Spector, who added strings and choirs to the live recording and even slowed down the tape on "Across the Universe" to turn out a chart-topper.
The 2003 version is stripped of Spector's dross and uses different takes for some songs. Six of the 11 tracks are virtually unchanged, though the sound quality has been drastically improved. There are two good reasons to buy this release: to hear what "The Long and Winding Road" really sounds like now that it has been excavated from the mound of saccharin it was buried under for 30 years; and the inclusion of "Don't Let Me Down" not previously on the album.
The bad news is that the bits of studio chatter and telltale Beatles humor have also been stripped away. In Japan at least, an effort has been made to make up for this with a second disc of between-takes banter. "Fly on the Wall" really is only for the truly obsessive, but it does give a brief first look at a few songs that ended up on later solo albums.

JOHN LENNON
Lennon Legend
EMI Records, 3,890 yen (DVD) The latest attempt to stripmine the collective memory of John Lennon for cash, the Lennon Legend DVD, is surprisingly good. A number of previously unseen film clips, such as Lennon's last live performance in 1975, and bits and pieces from the family archives are included along with 20 song videos.
The gut-wrenching video that accompanies "Happy Xmas (War Is Over)" will allow you to reclaim the song in all its idealistic glory.
Collectors should also note that a two-DVD set Ed Sullivan Presents The Beatles is also available.

Panorama of history, science and comedy

Book review from The Daily Yomiuri, December 14, 2003

By Kevin Wood
Daily Yomiuri Staff Writer
Quicksilver
By Neal Stephenson
William Morrow, 926 pp, 27.95 dollars

Reading Neal Stephenson's latest tome, the 926-page Quicksilver, is like lugging a heavy cooler of beer to the beach on a scorching hot day. The container is heavy and awkward to carry, and getting through the entire contents is a daunting task, but in the end it is delightfully frothy, refreshingly cool and leaves us thirsty for more when it's finished.
Quicksilver is billed as volume one of The Baroque Cycle and will be followed in April by The Confusion and in October by The System of the World. Because of Stephenson's earlier success as a science fiction writer (through the excellent novels Snow Crash, The Diamond Age and Zodiac), this book is viewed by some as belonging to that genre. In truth, it is historical fiction about science.
Quicksilver is a sprawling story about the germination of the seeds of the modern world in the 17th and 18th centuries, focusing on the beginnings of modern science, economics, politics and even language. But in Stephenson's mansion there are many rooms: Quicksilver is also a rip-roaring adventure yarn, a biting satire, a biography of several notable historic figures, a political and military history of the latter part of the baroque period in Europe, the story of the founding and early years of the Royal Society of London--and if you whack a potato hard enough with it, it probably even makes julienne French fries. It is smart, funny, erudite and an addictive page turner. The book's length, however initially daunting, is meaningless. Certainly it is the only 900-page novel that leaves the reader impatient for a pair of sequels.
Obviously, this single volume is several books packed into one. The author breaks it into thirds, each focusing on a key character.
The first opens with a mysterious traveling salesman of alchemical supplies arriving in Boston in 1713 to seek out the founder of the Massachusetts Bay Colony Institute of Technologickal (sic) Arts, Daniel Waterhouse. A small boy named Ben Franklin guides him to the door of the Puritan scientist, whose father had been a close associate of Oliver Cromwell during the English Civil War. Dr. Waterhouse is needed back in London to settle a dispute between his Cambridge University roommate Sir Isaac Newton and his longtime friend, the noted German polymath Baron Gottfried Wilhelm von Liebniz, over which one of them was the first to invent calculus. On his voyage back to London, Waterhouse's ship is pursued by the pirate fleet of Edward "Blackbeard" Teach. Flashbacks from Waterhouse's younger days feature the great plague year of 1665, the great fire of London and the founding of the Royal Society--and that is just in the first 150 pages.
The second section, "King of the Vagabonds," concerns the adventures of Half-Cocked Jack Shaftoe, who goes from a childhood in which he and brother earn their keep by swinging from the legs of men on the gallows in the London suburb of Tyburn to hasten their demise, to stealing an ostrich and a harem girl from the Turkish camp at the breaking of the siege of Vienna. Nicknamed for the results of an unfortunate accident with a cauterizing iron suffered while being treated for syphilis, Shaftoe is slowing going mad. One of the weirdest and most entertaining scenes in the book--which has a pretty high overall standard for entertaining weirdness--is his hallucination of dancing nuns, singing galley slaves and lascivious fishwives performing a movie-musical production number in the streets of Paris that would turn Busby Berkeley green with shock and envy.
The third section is largely devoted to the adventures of the aforementioned harem girl, Eliza, who wanders Europe with Jack, settling in Amsterdam for a time and becoming moderately well-to-do as an early stock trader before becoming William of Orange's spy at the court of the Sun King, Louis XIV of France. Much of this part is told through coded letters between Eliza and Liebniz, which are intercepted and read by agents of both kings.
As packed with plot threads as the book is, Quicksilver is also a learned discourse on the evolution of alchemy and astrology into modern science and mathematics, and the birth of banking, stock markets and modern capitalism.
One of the most entertaining devices Stephenson uses is his scattering of anachronisms throughout the story. At one point Eliza writes from Venice about the phenomenon of "canal rage" among gondoliers and Waterhouse is warned not to get on Isaac Newton's "s--- list."
Hindsight makes for a certain amount of amusement as well, with a minor character sampling the first tea brought back to England by a traveling scholar and pronouncing it "inoffensive enough, but I don't think Englishmen will ever take to anything so outlandish."
Trimmed of its numerous frills, which include a handful of short plays, digressions into scientific and historical in-jokes and some astonishingly detailed descriptions, Quicksilver could have been half as long and still been a great swashbuckling historical adventure. But such economy is not always desirable; Hamlet is four hours long, and trimmed of its frills it becomes a soap opera about a mopey, rich Danish mama's boy. The devil may be in the details, but so are the delights of Quicksilver

Robert Randolph and the Family Band - Unclassified


By Kevin Wood
Daily Yomiuri Staff Writer

Unclassified
Robert Randolph and the Family Band
(JapanTour -- Dec. 9 - 12)

The cat is out of the bag on one of the best kept secrets in music.
The aptly titled Unclassified is the first major label release by Robert Randolph and the Family Band.

The group's roots rock R&B sound is slightly different from the standard guitardriven instrumentation, eschewing a second rhythm guitar for John Ginty's funky Hammond organ and piano. The key difference though is that the band is built around Robert Randolph's pedal steel guitar instead of the usual six-string electric sound.


While slide guitar is a rock and blues staple, the more fluid sound of the pedal steel guitar is generally associated with the slippery, weeping sound of Nashville's country crooners. The 10, 13 or 20 stringed pedal steel guitar is played seated at a desk-like platform, plucked with a pick, fretted with a slide and foot pedals are used to modify the sound. They may not look as cool as a low-slung Stratocaster, but they sound like a blues dobro on steroids in the hands of an expert like Randolph.


New Jersey native Randolph, 25, came to the instrument through the "sacred steel" tradition of the House of God Church. Congregations unable to afford expensive organs began substituting the pedal steel guitar to accompany choirs in the 1930's and an African-American tradition grew up apart from the instrument's country and western roots. Randolph's father was deacon in the church and his mother a minister and Randolph began playing pedal steel in church as a teenager, after his parents divorced. His father remarried with the daughter of sacred steel legend Ted Beard, who taught Randolph the basics and encouraged him to play in church.



Joined by cousins Danyel Morgan and Marcus Randolph on bass and drums respectively, the Family Band was born.


Randolph's sound is reminiscent of slide guitar great Duane Allman, Canadian rock and blues slide player Jeff Healy and Lenny Kravitz filtered through Stevie Wonder, with a dash of Stevie Ray Vaughn's blues fire thrown in for good measure.

Anchored by the Morgan's funked-up bass, Unclassified is energetic, soulful and driving, with Randolph's extended seat-of the pants soloing broken by occasional keyboard wails and screams and impassioned vocals from both Randolph and Morgan, whose clean falsetto gets a work out on the funky Stevie Wonderesque rave-up "I Need More Love" and the more mellow, minorkey "Problems."

Randolph may be the star attraction, but Morgan is the band's not-so-secret weapon with his complex slap and twang playing style giving the Family Band a driving funk-soul feel.
Randolph's gospel roots show through despite the secular songs, giving tunes like "Going in the Right Direction" a decidedly spiritual flavor in a Sly and the Family Stone kind of way.
The ballad "Smile" is a true family affair that features Randolph on acoustic guitar and shining guest vocals from Robert's sister Lenesha Randolph and cousin Ricky Fowler.
Playing to the frontman's true strengths, four of the 11 tracks on Unclassified are instrumentals. "Squeeze" has a southern rock jam feel to it, with the combination of pedal steel and Hammond organ evoking the best of the Allman Brothers Band The album's closing track, the instrumental "Run For Your Life" is so scorching it ought to come with a warning to keep it away from flammable liquids.
The level of talent, soul and great grooves found here ensure that more will be heard from Robert Randolph and the Family Band and their December tour of Japan should be one of the year's hottest tickets.

Baker praises Japan's Iraq efforts

News story from the Daily Yomiuri, December 5, 2003

By Kevin Wood 
Daily Yomiuri Staff Writer

U.S. Ambassador to Japan Howard Baker said Thursday the relationship between his country and Japan is "the best it has ever been."
In a luncheon speech at the Foreign Correspondents Club of Japan, the 78-year-old Baker encouraged Japan to take its "rightful place as a great nation," but warned that with such a role come great responsibilities and implied that a willingness to project a nation's power overseas, including through the dispatch of military personnel, was part of fulfilling those responsibilities.
Beginning his remarks by offering condolences for the deaths of two Japanese diplomats in Iraq, Baker said, "We share the grief of the families and the Japanese people on the loss of these two brave public servants."
He praised the steps the government has taken thus far in support of the U.S.-led campaign against terrorism and reconstruction effort in Iraq, and enumerated the U.S. successes in the rebuilding of Iraq.
He also addressed Japan's bid for a permanent seat on the United Nations Security Council, calling Japan "a great superpower" and reaffirming U.S. support for the effort and his personal belief that the prime minister was "up to the challenge" of leading the nation to a major role on the world stage.
Responding to questions about the possibility of terrorist attacks in Tokyo, Baker said, "Terrorism knows no boundaries." He said no nation was safe, but ultimately the best defense was strength and the best course for Japan was to join with other nations to show terrorists their attacks would not go unanswered.
The key political significance of Japan's dispatch of Self-Defense Forces to Iraq, regardless of the number, was that it symbolized the "unity of free peoples to face down terror." He said such a dispatch would demonstrate Japan's sense of responsibility as great nation and would be an expression of national determination for the country to "participate fully and freely in the cause of peace and stability."
The U.S. ambassador and former White House chief of staff under U.S. President Ronald Reagan said the global realignment of U.S. military forces currently being considered could lead to a reduction in U.S. troops in Japan. Whether any changes in the deployment of U.S. forces in Asia would involve reducing the number of personnel stationed in Okinawa prefecture or relocating them elsewhere in Japan was not yet know, he said.
The one thing Baker said he could be sure of was that, "nothing we do will diminish our commitment to the security of Japan. "
Baker reiterated the U.S. contention that evidence prior to the invasion of Iraq strongly indicated the presence of weapons of mass destruction, saying that the failure of the United States to find any WMD was an indication of the skill of former Iraqi President Saddam Hussien's regime at concealing such weapons, not proof the weapons did not exist.
Asked if the United States intended to take any action on WMD possessed by Israel in its efforts to eliminate WMD in the Middle East, Baker said Israel's possession of nuclear weapons was considered an accomplished fact and that his greatest worry was the threat posed by nuclear weapons in the hands of the "politically unstable regime" in North Korea.
"An accident is one thing, but an accident with a pocketful of nuclear bombs is something else," he said. Such an accident could take many forms from an error in orders by a junior officer in the demilitarized zone to a deteriorating political situation prompting a preemptive strike.

Plenty of blood and food for thought In the Miso Soup

Book review from The Daily Yomiuri, Nov. 11, 2003

In the Miso Soup
By Ryu Murakami
Translated by Ralph McCarthy
Published by Kodansha International
180 pages

By Kevin Wood
Daily Yomiuri Staff Writer

In his more than 40 books, author Ryu Murakami (69, Coin Locker Babies) has strived to shock Japanese readers into a reaction, to wake them from their complacency and ennui and convince them to recognize and act upon their individual nature. The most recent of his works translated into English, In the Miso Soup, continues in that vein
Winner of the Yomiuri Literary Award in 1998, In the Miso Soup, with its jarring portrayal of horrific violence, caused a stir when it was serialized in 1997 The Yomiuri Shimbun around the time a 14-year-old boy decapitated a child in Kobe.
The novel revolves around Kenji, a 20-year-old independent, unlicensed nightlife tour guide who specializes in showing foreign tourists around the seamier side of Kabukicho’s red light district, and Frank a middle aged American with a murky past, a wallet full of 10,000 yen notes who appears to specialize in hypnosis and murder. A few days before the end of the year, Frank answers Kenji’s advertisement in the Tokyo Pink Guide and hires the young man to guide him through “the massage parlors and S&M bars and “soaplands” and what have you” for three nights, the third night being Dec. 31, which Kenji has promised to spend with his 16-year-old girlfriend Jun.
However, the wrath of a jilted high-school age sweetheart is the least of Kenji’s worries. He is first contacted by Frank while reading a newspaper report of schoolgirl’s dismembered body being found in Kabukicho and from the first time he meets the American, he senses there is something not quite right about him. By the end of their first night on the town, spent reading a Japanese-English glossary of sex terms aloud to giggling hostesses at a lingerie pub and taking a few swings at a batting cage, Kenji suspects Frank is the killer.
Midway through their second night together his suspicions are confirmed when Frank slaughters everyone in a matchmaking pub with a sashimi knife in one of the most grisly scenes you are likely to read outside of an old Tales from the Crypt comic.
The most stunning thing about the murders aside from their grotesque brutality is Kenji’s reaction both during and after the killing. He is stunned into utter submission, even when Frank leaves him alone in front of a police box after suggesting he go to the authorities, Kenji cannot summon up the courage to turn the psychopath in and ends up returning with the killer to the abandoned building Frank has been living in and listening to him tell his life story.
On New Year’s eve, the third and final night together Frank wants to hear the 108 chimes of the temple bells, promising to release Kenji afterwards.
The novel touches on a number of subjects and themes common in Murakami’s work: the symbiotic love/hate relationship between Japan and the United States, teenage prostitution, the generation gap in Japan and the moral vacuum of modern society.
Murakami was born in Nagasaki Prefecture in 1952 and spent the first 18 years of his life living in the shadow of the U.S. Navy base at Sasebo. He was kicked out of school for his part in protesting the U.S. military presence. His debut 1976 novel Almost Transparent Blue about young people turning to sex, drugs and rock ‘n roll in response to the absence of protest against the U.S. military domination of Japan won the Gunzo Prize for New Talent and the Akutagawa Prize while the young author was still an art school student.
In that novel, African American soldiers abuse Japanese prostitutes who refuse to resist their ill treatment. In similar fashion, Kenji cannot seem to even criticize Frank to his face, much less act to halt his murderous rampage. The only time he refuses Frank’s commands to take part in the circus of the macabre, it simply means Kenji gets to sit out that particularly gruesome dance while still being spattered in his front row seat. Murakami, who has previously described himself as “a child corrupted by America” seems to be pointing out that Japan is still in thrall to the violent, magnetic and often schizophrenic culture of U.S. dominance.
He also explores the cracks in the Japanese system at length, speculating that high school girls engaged in enjo kosai are “selling it” not simply because they can, but for the cold comfort being desired brings to a lonely life and for the reinforcement of the their individuality being chosen by men gives them. He is critical of the hypocrisy of those who live only for financial gain while criticizing others for the same lifestyle.
In the Miso Soup has plenty to say about Japanese and American culture, provide one can get past the salty depictions of horrific violence. Ralph McCarthy’s able translation captures the rough argot of street life without distracting from the story and preserves both the brutality and finesse of Murakami’s original work.

The Thorns, Masked and Anonymous

Music review column from The Daily Yomiuri, August 21, 2003
IN YOUR EAR

By Kevin Wood
Daily Yomiuri Staff Writer

THE THORNS
The Thorns
Sony Music Japan Int'l, 2,400 yen

Grab your 12-string guitar, California folk-rock has returned.
The tasty three-part harmonies of singer-songwriters Pete Droge, Shawn Mullins and Matthew Sweet instantly evoke the The Byrds, the early work of The Eagles and especially Crosby, Stills and Nash, with an occasional hint of Tom Petty, the Beach Boys and the Mamas and Papas.
All three are accomplished solo artists and producers. Despite being accustomed to working alone, they were keen to try a more interactive project.
After things clicked during a brief demo session in the spring of 2002, the three spent a couple of weeks writing songs on a ranch in California's Santa Ynez Valley and in a suite in the Montrose Hotel in Los Angeles. That autumn, they were joined in the studio in Atlanta by producer Brendan O'Brien (Bruce Springsteen, Pearl Jam, Train), ace session drummer Jim Keltner and E Street Band pianist Roy Bittan.
The result is 13 tracks (plus two extras just for Japan) that hark back to the best of the aforementioned bands while creating a new melodic, harmony-driven power-folk for the new century that owes more to 1970s pop singer-songwriters like Jackson Browne than traditional folk roots. No faux-soul boy band nasal whinging tweaked in the studio here, these guys are the real full-throated deal.
The lead track "Runaway Feeling" has a steering-wheel tapping feel and simple catchy progression that could fool the listener into thinking they've stumbled onto a lost track from Tom Petty's Full Moon Fever, and the melancholic "Dragonfly" could have been the lead single from a Vietnam-era Crosby, Stills and Nash album. "Long, Sweet Summer Night" is the kind of short, sweet pop tune that Brian Wilson wishes he could still write.
The production and arrangements are polished and bright, but the rougher original demo of "Brambles" featured as a bonus track for Japanese release indicates that The Thorns might benefit from a looser, more acoustic-based approach that lets a darkness into their California sunshine.


VARIOUS ARTISTS
Masked and Anonymous
Sony Music Japan Int'l, 2,400 yen


While film soundtracks rarely feature enough new material to merit critical attention, an exception must be made for Bob Dylan's latest cinematic effort, Masked and Anonymous. By all reports, the movie, directed by Larry Charles, is surreal, and the soundtrack certainly reflects that with four new performances by Dylan and 10 by other artists covering his compositions, often in other languages.
The Magokoro Brothers' "My Back Pages" with its Japanese lyrics might provide a good entry point for Japanese interested in seeing what all the fuss is about. Los Lobos add a little Latin spice to the semi-cajun "On a Night Like This" and the album even includes an Italian rap version of "Like a Rolling Stone." One of the most interesting interpretations is Sertab Erener's Arabian-flavored "One More Cup of Coffee."
America's greatest living songwriter tackles the traditional bluegrass number "Diamond Joe" and the Confederate anthem "Dixie" with equal aplomb and his scorching reworking of "Cold Irons Bound" from his 1997 Grammy-winning album Time Out Of Mind is the high point of the album.
A must-have for serious Dylan aficionados, but for the casual fan there are better collections of covers available.

Gibson now just 15 minutes into the future

Book review from The Daily Yomiuri, August 10, 2003

By Kevin Wood
Daily Yomiuri Staff Writer


Pattern Recognition
By William Gibson
Putnam, 368 pp, 25.95 dollars

William Gibson is a study in contradictions. The author of seven science fiction novels, he often denies being a science fiction author. He wrote his first novel, 1985's award-winning Neuromancer--which led to him being credited with launching the cyberpunk genre and coining the term cyberspace--on a manual typewriter.
While his previous works have been set in a dystopian near future, his latest, Pattern Recognition, is ostensibly set in the present, though some of the technology and practices described are so cutting-edge as to give the novel a sense of being set in the almost-future of next week or next month.
Though Pattern Recognition dispenses with the techno-wizardry and orbital communities posited in Gibson's earlier work, his recurring themes of the authenticity of art and the nature of creativity are still present. In terms of plot, Pattern Recognition echoes Neuromancer, centered as they both are on a search for the elusive creator of mysterious works of art.
Cayce Pollard is an intuitive marketing consultant, a "coolhunter" who can tell at a glance whether a design will catch on or flop. She is also obsessed with "the footage" a mysterious series of compelling video clips of unknown origin that keep appearing on the Internet, spawning a dedicated subculture. When the eccentric head of a London advertising agency persuades her to seek out the creator of the footage, Cayce bounces from London to Tokyo to Russia with danger, betrayal and intrigue stalking her every step of the way.
Perhaps as a bit of self-satire of his earlier writing, which was sometimes criticized for using brand names in place of adjectives, or perhaps as the kryptonite to her coolhunting superpowers, Gibson saddles Cayce with a bizarre allergy to certain trademarks and logos, with Bibendum the Michelen Man causing nausea and too much Tommy Hilfiger leading to panic attacks. Cayce even has to have the Levi logo ground off the buttons of her jeans.
Cayce is also in mourning for her father, a former government "security expert" and probable CIA man who may or may not have been at the World Trade Center when he disappeared in New York on the morning of Sept. 11, 2001. Cayce has inherited a touch of her father's professional paranoia and his legacy looms large in the story.
Gibson has an impressive ability to create with a few deft phrases original characters like Cayce who, while seeming impossible, are eminently believable: Hubertus Bigend, the too-handsome and ultra-persuasive cutting-edge advertising whiz that his former lover, a friend of Cayce's, describes as a "real Lombard--loads of money, but a real dickhead"; Boone Chu, a Chinese-American "white hat hacker," security consultant and failed dot.commer from Oklahoma; Hobbs-Baranov, an abrasive, alcoholic retired mathematician and code-breaker obsessed with an early mechanical computer/calculator created in a concentration camp.
As in most of his books, the characters are not always as fleshed out as they might be and sometimes more attention is paid to their clothing than to their motivations. Nor is sparkling dialogue Gibson's strong suit, with conversations existing more to move the plot along than to develop characters.
However, when it comes to creating an atmosphere or capturing a specific feeling, few modern writers can touch him.
Evocative descriptions of places, from the "cyclopean Stalin-era buildings in burnt orange brick" of Moscow to the "manically animated forest of signs" of Shinjuku, Tokyo, fill the book. Where other writers these days are prone to throwing around postmodern references to television programs, movies or pop music, Gibson is more likely to reference architecture and design, graphic art and obscure subcultures such as Japan's "Otaku covens."
As the man who described cyberspace before there was an Internet, Gibson is especially adept at capturing the feel of bulletin board conversations, the paranoid fear of having one's personal Internet history and e-mail laid bare, the closeness of an e-mail relationship, the eeriness of hearing an e-mail friend's voice for the first time and the shock of a first in-the-flesh meeting between old e-friends.
While Gibson's best science fiction efforts have been set in a near-future that seems so real it could be last week, Pattern Recognition is set in a near past that feels like next week. This is by far his most complex work. By stripping away the action-movie violence and Buck Rogers (by way of William Burroughs) gadgetry that, while entertaining, often obscured the more serious themes of his earlier works, Gibson has managed a mature novel of considerable depth and perception that is rife with insight into the nature of electronic relationships, mass culture and the commodification of creativity.

Not much white marble in George Pelecanos' gritty Washington

Book review from The Daily Yomiuri, July 27, 2003
By Kevin Wood
Daily Yomiuri Staff Writer

Soul Circus
By George P. Pelecanos
Little, Brown; 352 pp; 24.95 dollars

When most of us think of Washington, the first images that come to mind are of the U.S. Capitol building and the White House, of prosperous middle-aged white men in suits and ties going about the business of running the most powerful nation on earth.
Those familiar with the work of crime writer George P. Pelecanos may have a very different vision of the city. In Soul Circus, his 11th novel set in the roughest neighborhoods of Washington, Pelecanos gives the reader a close look at the world of gangs, guns, poverty and drugs that dominates much of the U.S. capital.
Pelecanos' Washington is a dark, dirty and dangerous place where even ex-cop private eyes like Derek Strange and Terry Quinn walk softly down some streets.
Soul Circus follows directly on the heels of Pelecanos' 2002 bestseller Hell to Pay and the 2001 novel that introduced Strange and Quinn, Right as Rain. Strange, a rock-steady pillar of the African-American community in his mid-fifties, has taken on the younger, hot-headed Irish-American Quinn as a partner in Strange Investigations.
Following up on the events of Hell to Pay, we find the two working for lawyers defending drug kingpin Granville Oliver. Strange has been retained to find the former girlfriend of Oliver's right-hand man, whose testimony can keep him off death row, while Quinn is involved in trying to find the ex-girlfriend of the loser brother of a local street gang leader.
As in his previous work, notably the three novels featuring hard-drinking investigator Nick Stefanos, even the heroes have flaws. The quick-tempered Quinn is unable to back away from the smallest affront and Strange has more than one skeleton in his own closet. While both act heroically on occasion and do their best to do the right thing, their very human weaknesses are what ultimately make the two protagonists sympathetic, realistic characters.
That gift for creating believable, detailed characters extends even to the most minor players in Soul Circus, with characters who pop up in only a few scenes expertly drawn with a minimum of exposition.
Where other authors might supply a quick stereotype or faceless cardboard cutout, even the counterman in the diner and the parents of the kids on the peewee football team Strange coaches have unique identities and distinct faces. Pelecanos has mastered the art of showing us a character through minimal but vivid description, realistic dialogue and believable action rather than long paragraphs of back story and explanation.
While mastering all the conventions of the hardboiled genre, Pelecanos is not a slave to them and manages to make political and philosophical points about race relations, gun control, feminism, masculinity and honesty without it interfering with the readers enjoyment of the story.
Pelecanos clearly argues that the easy availability of firearms is one of the greatest contributing factors to violent crime, even using Nick Stefanos, the hero of three of his earlier books, in a cameo role to drive the point home.
While offering a bleak view of life in the ghettos of Washington, Pelecanos also shows how small acts of decency can make a difference in the world and refuses to fall into the usual trap of having one tough good guy solve all the world's problems with his fists and a gun. Hollywood-style violence without consequences does not exist in the real world and Pelecanos shows how the death of anyone diminishes us all without preaching.
With Soul Circus, Pelecanos should garner the fame he richly deserves and take his place in the pantheon of noir greats alongside Raymond Chandler, Jim Thompson, Elmore Leonard and James Ellroy.