Maynard Plant, second from left: “I really do think it is important to learn more than one language. Not only for the obvious convenience of communication, but for the enrichment of understanding of other cultures as well. Language really is the only gateway into understanding another person’s psyche and culture.” (Courtesy of Edward Entertainment Group)
By Preston Hatfield (Yamanashi-ken, 2009-10) for JQ magazine. Preston moved from San Francisco to New York City in January 2012 and is now accepting submissions from people who want to be his friend. Abduct him from his house in the middle of the night, or find him on Facebook and ask about his JET blog in which he details his exploits and misadventures in that crazy Land of the Rising Sun we all love.
Multinational pop rockers Monkey Majik are teaming up with shamisen heroes the Yoshida Brothers, the duo known for their traditional sound and pluck, for a three-date North American tour that kicks off Nov. 14 at Manhattan’s Marlin Room at Webster Hall, followed by the Mod Club in Toronto Nov. 18 and the National Arts Centre in Ottawa Nov. 20.
Monkey Majik was founded by Maynard Plant (Aomori-ken, 1997-2000), a native of Ottawa, Canada, while he was teaching English in Sendai on the JET Program. Known for a having a fun and versatile style of music, the band first earned mainstream attention in 2006 for their singles “Fly” and “Around the World,” and have since collaborated with other Japanese groups like SEAMO, m-flo, Bennie K, and the Yoshida Brothers.
In this exclusive JQ interview, the versatile vocalist and guitarist discusses the band’s origins, his own relationship with music, and his sense of home and community in Sendai, which is still recovering from the devastation caused by the 3/11 earthquake and tsunami.
Which came first: the love of music or Japanese culture, and how has the one influenced and supported the other since you came to Japan?
I probably first took interest in Japan when I was about 10 years old or so when I visited Expo 86 in Vancouver, Canada. My interest in music also started at an early age. Most of my family is musical, so it always came natural. Certainly since arriving in Japan about 15 years ago, my musical interests have changed. The Japanese music scene is incredibly diverse and different from the Western scene. The sound is very unique and [it] has had a deep effect on our music.
It’s funny, many ALTs in Japan feel like rock stars, but you actually became a rock star. What was it like going from small time notoriety and fame at your school, to becoming famous on a national level for your musicianship?
It didn’t happen overnight, so I suppose I never took notice. It’s a lot like learning Japanese—you don’t just wake up fluent one day. Success is born out of hard work and commitment. Regardless of where you live, the same elements come into play.
How did the current band members come together? Were you friends before you started collaborating professionally? How have each of you influenced Monkey Majik’s sound, style, and group dynamic?
I put the current band together after most of the original members quit in 2000. I first called my younger brother Blaise, and within a couple of months we found Tax (Kikuchi Takuya). It was around 2005 that our original bassist Misao Urushizaka quit. We then recruited Dick (Hideki Mori). It’s difficult to say if the friendship came before membership, but one thing is certain now: we wouldn’t be doing this if we hadn’t become best friends. We have a lot of respect for each other and all [band] decisions are made together.
Roland Kelts Praises the Who’s Pete Townshend in ‘The New Yorker’
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Roland Kelts, left: “When I published my first book, Japanamerica, about the odd synchronicity between two societies, Japanese and American, at once at great odds and suddenly allies, my publisher asked me to send the book to Pete Townshend. He had asked for it, why not give it to him?”
Courtesy of JETAA Northern California’s Mark Frey (Kumamoto-ken, 2002-06):
In a new article by JET alum Roland Kelts (Osaka-shi, 1998-99) on Pete Townshend in The New Yorker, Kelts references his book Japanamerica—of which Townshend said “I love that book!” to JQ magazine editor Justin Tedaldi at an NYC signing yesterday for his new memoir Who I Am—at the end of the article and offers some thoughts contrasting the experience of artists in the U.K. and Japan after World War II.
I first met Pete Townshend fifteen years ago in a modest London hotel suite. I was there with my friend Larry David Smith to interview Townshend for Smith’s book, “The Minstrel’s Dilemma.” We were already seated inside when I looked out the first-floor window and saw Townshend pulling into the parking lot.
He arrived alone, sans entourage or fanfare, driving himself in a gray Mercedes station wagon. Minutes later, the knob on the suite door rattled and shook. I stood, thinking that it might be a member of the hotel staff and wondering if I should turn the knob from our side. There was a pause, then more rattling, then the door swung open and Townshend burst through, eyes wide with exertion. He had apparently been trying to pull when he should have pushed.
We were scheduled to meet for two hours, but Townshend was unstoppable, regaling us not with stories of rock debauchery, but a stream of complex, sometimes half-formed ideas about popular culture, history, and human psychology. We were told not to ask him about his failing marriage; he immediately addressed it, confessing to a jolt of sadness while shaving that morning. “Don’t mention Keith Moon,” wrote his personal assistant via fax. “I never properly mourned for Keith,” he soon said, unprompted, and through tears.
For the complete story, click here.
Justin’s Japan: NYC Gives B’z an A at Best Buy Theater
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Koshi Inaba, left, and Tak Matsumoto of B’z played a sold out show at New York’s Best Buy Theater Sept. 30, 2012. (Justin Tedaldi)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his Japanese culture page here for related stories.
“You’re not going to stand there the whole time, are you?” a thirtysomething asks me in Japanese from behind the photo pit barrier.
I tell her that I wouldn’t be much of a rock photographer if I stood still the whole time.
“Good,” she says, her face all business. “Because we lined up for this from yesterday morning. So please try to keep your head down, because it’s in my way.”
Welcome to the Best Buy Theater in Manhattan, which drew a sold out Sunday crowd of over 2,000 on Sept. 30 for the New York concert debut of B’z, Japan’s all-time biggest band. Since 1988, Tak Matsumoto and Koshi Inaba have sold over 80 million records, and hold an untouchable record for consecutive number one singles in their native land (46 and counting). A colossal achievement in music, to be sure, but how would the rockers be received on this, their first-ever coast to coast North American tour?
For the complete story, click here.
For Justin’s September 2012 interview with Tak and Koshi, click here.
Justin’s Japan: Interview with Tak Matsumoto and Koshi Inaba of B’z on the Live-Gym 2012 Tour
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Tak Matsumoto, left: “This tour is going to be the fourth tour in the U.S. for B’z. I always love to play in the U.S., and I felt we should release English songs for the American audiences. The show will be a mix of both Japanese and English.” (Vermillion)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his Japanese culture page here for related stories.
The most successful group in Japanese history, B’z have sold 80 million records since their 1988 debut, and also have released a staggering 46 consecutive number one singles. Comprised of Grammy-winning guitarist Tak Matsumoto and ace vocalist Koshi Inaba, the rock duo has flirted with American success in the past, launching three of their Live-Gym West Coast tours in the last decade.
Now, B’z is ready for a full-scale American invasion, launching their first-ever national tour beginning in San Francisco Sept. 17 and hitting New York’s Best Buy Theater Sept. 30. At the same time, the band is promoting its debut English-language digital EP entitled B’z, which features five of the stadium act’s biggest hits made for a whole new audience.
In this exclusive interview, I caught up with Tak and Koshi on why the band waited until now to do a coast-to-coast tour, their experience working with other rock luminaries like Aerosmith and Linkin Park, and the plans in motion for the band’s 25th anniversary next year.
Let’s start with the basics. How did the band get its name?
Tak: I don’t remember exactly. We probably thought we needed to have a simple name that was easy to memorize.
Koshi: We wanted a short name—like a code. At first, it was AZ, which came from an A to Z kind of meaning, but we didn’t like how it was pronounced. Then we changed it to B to Z, and liked how it sounded.
Why has B’z decided to finally play New York now?
Tak: I don’t know exactly why it took so long, but I’ve been waiting to perform there. I’m really looking forward to it.
Koshi: When we started performing in the U.S., most of our dates were on the West Coast. We weren’t familiar enough with New York to have a show there.
Tell us about the other musicians you’re performing with on this tour.
Tak: Takanobu Masuda is on keyboards. He’s my old friend, and has been performing with B’z for 20 years. Shane Gaalaas is on drums. He’s played with Michael Schenker, Yngwie Malmsteen and many others. He also has his own band, Cosmosquad. Barry Sparks is on bass. He also played with Michael and Yngwie, along with Ted Nugent, UFO and the Scorpions as well. Yoshinobu Ohga is on guitar. He was on our last tour of the U.S. I’m supported by his perfect harmony.
Koshi: Ohga joined last year. Everyone else has been touring with B’z for a long time, and they’re all great.
What can we look forward to at these shows?
Tak: We are going to the East Coast for the first time, but this tour is going to be the fourth tour in the U.S. for B’z. I always love to play in the U.S., and I felt we should release English songs for the American audiences. The show will be a mix of both Japanese and English.
Koshi: We’re looking forward to the U.S. audience hearing our new English songs. You might sweat a lot at our show, but you’ll enjoy it!
Is this new EP part of a plan to release a full English-language album in the future?
Tak: I hope so.
For the complete interview, click here.
Justin’s Japan: Nippon in New York — B’z, Books, Sake Tastings and Michael Jackson in Yokohama
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B’z, the biggest-selling musicians in Japanese history, will make their New York debut at Best Buy Theater Sept. 30. (Courtesy of Best Buy Theater)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his Japanese culture page here for related stories.
After you’ve rested up from Labor Day weekend, enjoy the sights, sounds and tastes of Japan with a whole month’s worth of events, activities and products from musicians to authors to restaurants. It’s all happening here as we welcome another autumn in New York.
Tuesday, Sept. 4, 6:00 p.m.-8:00 p.m.
Oze no Yukidoke from Ryujin Shuzo Sake tasting
Sakaya
324 East 9th Street
Hailing from Gunma prefecture, Oze-no-Yukidoke is a well-refined sake that is widely considered to be one of the finest sakes available. Join Mr. Hideki Horikoshi, the head sake brewer of Ryujin Shuzo, for his his handmade signature sake, Oze no Yukidoke Junmai Daiginjo, as well as Ohkarakuchi Junmai. Purchasers will receive a lacquered sake cup as a free gift!
Sunday, Sept. 9, 1:00 p.m.
Cultural Resource – Contemporay Music by Japanese Composers/Musicians
Scandinavia House
58 Park Avenue
“The influences of ethnicity on the musical idioms of contemporary composers” is the research subject of Akiko Asai, Visiting Scholar at New York University. This concert is held as a part of her research project and a wrap-up of her research term at NYU and features Japanese composers and their works. The audience will be able to not only meet these artists’ creativities but also listen to the result of their research through the identical sound of accordion. Tomomi Ota, who will play their pieces, is a one of the promising performers who can show the audience different perspectives vividly.
For the complete story, click here.
WIT Life #204: Enka Sensation Jero
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WIT Life is a periodic series written by professional Writer/Interpreter/Translator Stacy Smith (Kumamoto-ken CIR, 2000-03). She starts her day by watching Fujisankei’s newscast in Japanese, and here she shares some of the interesting tidbits and trends together with her own observations.
I never thought I would say this, but last night I was captivated by the strains of enka. However this was not your typical enka, it was this style of Japanese music performed by none other than Pittsburgh-born singer Jero. This 30-year old celebrity in Japan learned enka thanks to his maternal Japanese grandmother. As early as five he began singing ballads to entertain her, and from this young age he had a dream of becoming an enka singer. He has achieved this success in spades, debuting with his hit single 「海雪」 (Umiyuki, or Ocean Snow) four years ago. He went on to create numerous other hits, including an original one dedicated to his mother who raised him on her own.
The event I attended took place at Japan Society and was entitled “Let’s Enka! with Jero.” It began with an interview where Jero shared how his childhood dream had became a reality, including how at one point he contemplated Read More
JQ Magazine: DVD Review — ‘Documentary of AKB48 to Be Continued’
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“It’s genius, really. This documentary takes some of the more popular girls and puts them under the lens and attempts to find out what they really want out of this and, please, could you prance around in a short skirt while we ask?” (NEW PEOPLE ENTERTAINMENT)
The Challenger Akihabara Deep—going where no otaku has gone before: The AKB48 Trench
By Rick Ambrosio (Ibaraki-ken, 2006-08) for JQ magazine. Rick manages the JET Alumni Association of New York (JETAANY)’s Twitter page and is the creator of the JETwit column Tadaima!
So, Documentary of AKB48 to Be Continued.
Starting out, I knew very little about this group. (In fact, I am writing this first paragraph before I watch this documentary.) So what do I know? I know it’s a troupe of pretty girls singing in unison to the joy of fans all over Japan. I know there are a lot of them. And they have songs. That’s…well, that’s really it. In the universe of girl groups, the only others that really come to mind are the Spice Girls and Girls’ Generation, and I only know the latter because my girlfriend really liked the jeans they wore in a video.
Before we start, you should know that getting a DVD like this is rare. The only place to pick this up is at http://store.newpeopleworld.com. No Amazon, no Right Stuf. So when handed a review copy of this disc, I knew this was something special, but I also knew I had it wrong. A hard-to-find documentary? My hopes where over the moon. I was curious what the director and his team would discover about this group. Who secretly hates whom? Which one has substance abuse problems? Surely some scandal would come to light.
For starters, this documentary assumes you know a little bit about the group beforehand. This really is set up as more of a “behind the scenes, get to know the girls” film than it is a structured presentation of their work. It allows you to get closer to the idols as people (or at least what is deemed appropriate, sadly) and see who these dancers are as they attempt to garner attention from an audience that ultimately decides their fate. The product here is really American Idol meets Japanese Pop Star, with the same emotional performances, reactions and judging of the American show mixed with the contemporary idol mania that has swept over Tokyo, Akihabara to be specific. It’s genius, really. This documentary takes some of the more popular girls and puts them under the lens and attempts to find out what they really want out of this and, please, could you prance around in a short skirt while we ask?
JETAA Ottawa Fundraising Concert to aid Smile Kids Japan and the Tohoku Kids Project
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Via jetaaottawa.ca
JETAA Ottawa will be hosting a charity concert at the Black Sheep Inn on May 24th, 2012 to help raise money for Smile Kids Japan, and the Tohoku Kids Project.
JET Alumnus Jordan Patrick (Aichi-ken, 2009-11) will open the show with his mix of indie and modern folk music. Headlining the event will be the Hornettes who will keep the energy peaked and revive classic Motown, soul and funk sounds that will leave you sweaty and satisfied. The Hornettes formed in Ottawa in 2010, and since then have developed a loyal following of music lovers drawn to their ability to keep the dance floor moving. The band consists of two female front women, Anna and Irina, backed by a hot horn section and the classic trio of guitar, drums and bass.
A shuttle bus will be provided from the corner of York Street and Dalhousie Street at 6:30 p.m. to the Black Sheep Inn, and will return once the concert ends.
Tickets for the show and space on shuttle service are limited!
RSVP: events[at]jetaaottawa[dot]ca
Event: Smile Kids Japan Charity Concert
Date: Thursday, May 24th, 2012
Time: starting at 7:30pm (doors open at 7:00pm)
Location: Black Sheep Inn, 753 Riverside Drive, Wakefield, Quebec
Admission: $15.00 minimum donation (cash or pre-paid donations through JETAA Ottawa or Global Giving only) *bring a printed receipt of all pre-paid donations
Shuttle: $5.00 (cash/pre-purchased tickets only) – leaving at 6:30pm from the corner of York/Dalhousie St.
Hope to see you there!
Justin’s Japan: April in New York Attracts Japan-Centric Music, Performing Arts
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Ximena Garnica performs in ‘Floating Point Waves’ at New York's HERE April 6-14. (Shige Moriya)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02). Visit his Examiner.com page here for related stories.
As the sakura (cherry trees) blossom in the Big Apple, so does the sheer amount of Japanese talent in music and performing arts coming to Manhattan this month. Here are some highlights guaranteed to appeal to audiophiles of all stripes.
April 6-14, 8:30 p.m.
‘Floating Point Waves’
A performance experience of dance, real-time video, live electronic music, kinetic sculptures and meditative stillness, Floating Point Waves unveils the relationship between the human body and natural elements. This HERE Artist Residency Program (HARP) production plays for 8 performances
Conceived and designed by Ximena Garnica (a Colombia-born graduate of the Akira Kasai Tenshikan Dance Institute in Tokyo) and Shige Moriya (a Japanese-born video and installation artist) in collaboration with Jeremy D. Slater and Solomon Weisbard, Floating Point Waves stars Garnica in a place where movement, water, and light respond to one another as an organic causal chain unfolds, echoing that of our own natural world. Startling performance and exquisite design reverberate through the space, framing a landscape where beauty coexists with darkness.
April 10, 8:00 and 10:30 p.m.
Hiromi
Nearly a decade after her Telarc debut album Another Mind (which won the Recording Industry Association of Japan’s Jazz Album of the Year Award), global superstar pianist Hiromi Uehara has been enchanting New York audiences ever since, with high profile appearances at the Blue Note Jazz Club, Highline Ballroom and Carnegie Hall. At 33 and with nearly a decade of tremendous accolades to her name, the Hamamatsu native stands at the threshold of limitless possibility.
JQ Magazine: Concert Review – L’Arc~en~Ciel Take Madison Square Garden by Storm
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L'Arc~en~Ciel frontman hyde at the band's historic Madison Square Garden show, March 25, 2012. (Courtesy of BAM! Marketing, Publicity & Promotions)
By Sam Frank, an ALT who taught English in Hiraizumi-Cho, Iwate-ken, from 2002-04 and worked in Shirahama-cho, Wakayama-ken as a JET from 2004-06, for JQ magazine. He currently manages the New York division of UnRated magazine and works as a project manager/Web producer at Arrow Root Media.
A few years ago I went to the MTV Video Music Awards in Japan, and noticed something interesting. Whenever categories came up where American artists went against Japanese artists, nine out of ten times, the American would win, and not even be in attendance to accept the award. It seemed so unfair to compare American artists to their Japanese counterparts when you think about how many American bands have sold out stadiums in Tokyo while most Japanese bands that tour America have a hard time filling up mid-size venues such as Roseland Ballroom and Irving Plaza in Manhattan. That comparison doesn’t seem quite so unfair after watching L’Arc~en~Ciel (French for rainbow), a band formed in Osaka, cement its name in rock history as the first Japanese band to perform at New York City’s famed Madison Square Garden on March 25.
In celebration of the band’s 20th anniversary making music together, hyde (lead vocals), tetsuya (bass), ken (guitar), and yukihiro (drums) have taken their dynamic visual spectacle around the globe to thank fans in true rock star fashion. The show got underway with an epic opening video displaying the band members’ names carved in platinum scrolling across the screen before showing a beautiful butterfly landing in Hyde’s glove-clad palm.
As the excited crowd eagerly waved their florescent glow sticks in anticipation, L’Arc~en~Ciel stormed the stage backed by the enchanting piano intro to “Ibara no Namida” (いばらの涙). The instant the spotlight dropped on hyde, the Garden erupted into a surge of screams and cheers for the international superstar. Juxtaposing band members with various computer generated ethereal images, songs like “Good Luck My Way,” the theme song to 2011′s FullMetal Alchemist The Movie: The Sacred Star of Milos, “My Heart Draws a Dream,” and “Honey” all came to life in a fresh and exciting way. The visual narratives added another level of interactivity to each song, which is why concertgoers who might not be familiar with songs like 1999′s “Driver’s High” will remember it as the song that opened with a revving engine sound, pyrotechnics, and images of white smoke spreading across the three gigantic LED screens.
For the complete story, click here.
WIT Life #194: L’Arc en Ciel MSG Debut!
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WIT Life is a periodic series written by professional Writer/Interpreter/Translator Stacy Smith (Kumamoto-ken CIR, 2000-03). She starts her day by watching Fujisankei’s newscast in Japanese, and here she shares some of the interesting tidbits and trends together with her own observations.
Last night I had fun rocking out at the concert of L’Arc en Ciel, one of Japan’s most popular bands. They were the first Japanese group to perform at Madison Square Garden, and they put on an amazing show! For me it was largely natsukashii, as I discovered L’Arc (or ラルク) as an exchange student in Kyoto my first time in Japan. During the weekly karaoke outings that I used to work on my kanji, ラルク soon became a regular part of my repertoire and for a while their song Honey was my #18 (specialty or favorite).
So I was super excited when I heard ラルク front man Hyde belt out the first 「ずっと」 that begins the song, and was happy to find that I still remembered most of the lyrics. I enjoyed other old favorites like Read More
Justin’s Japan: Interview with Jin Akanishi on ‘Japonicana’ and His American Tour
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"The word ‘Japonicana’ comes from Japan, America and Spain. The ‘a’ sound is for the females, so my album is a girl. There’s more than one genre—dance, pop, hip-hop, and R&B. It’s like my baby, because I created it from scratch." (Courtesy of PLAN C Agency)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02). Visit his Examiner.com page here for related stories.
In his native Japan, Jin Akanishi is a superstar. Since his early teens, he’s achieved fame as a pop idol, singer-songwriter (with the groups KAT-TUN and LANDS), actor, and radio host. After launching a successful American tour in 2010 to sold out (and screaming) crowds, Jin is back in the U.S. supporting his hotly anticipated English-language debut album, Japonicana. Released earlier this month, the disc features production by Grammy Award-nominated trio the Stereotypes (Far East Movement, Ne-Yo) and platinum hit maker Static Revenger (Madonna, Shakira).
Jin takes Manhattan at New York’s Best Buy Theater tonight (March 15) and hits San Francisco’s Regency Ballroom on March 17. In this exclusive interview, I spoke with the 27-year-old about the tour, the making of the album, his love for hip-hop, and hanging out with Justin Bieber.
How would you describe the new album?
The word “Japonicana” comes from Japan, America and Spain. The “a” sound is for the females, so my album is a girl. There’s more than one genre—dance, pop, hip-hop, and R&B. It’s like my baby, because I created it from scratch.
How has the tour been going?
It’s really great. The crowds are great, good energy, dancers, and a lot of drinks (laughs).
What can fans expect at the shows this time? What’s different?
It’s a totally different concert. Everything’s different.
Is there a highlight you can tell us about?
Crazy lights and dancing. All the songs are from Japonicana.
You mentioned that the title represents all the places that influence you—Japan, America and Spain. How have they influenced you?
I’m Japanese, obviously. And America, my mom loves American music and used to listen to it when I was little. I kind of grew up with it. My best friend’s mom is Spanish, and she taught me a lot about the culture. So that’s how I got influenced.
For the complete story, click here.
Justin’s Japan: New York Marches Into Spring with Gagaku, Kabuki Masters
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Nishizaki Emino, left, and Bando Kotoji, right, perform at Japan Society's Kabuki Dance March 29-31. (Toshio Kiyofuji)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02). Visit his Japanese culture page on Examiner.com here for related stories.
As winter gives way to spring, New York will host special performances of the traditional Japanese performing arts of gagaku and kabuki for a modern audience.
At Highline Ballroom on March 28 is Hideki Togi with Iwao Furusawa. Known as the flame keeper of gagaku (ancient Japanese court music), Togi embodies a proud 1,400-year legacy. Furusawa is a multi-award-winning violinist who has collaborated with Togi for over 15 years, drawing 20,000 people every year in their joint annual national tour. The music drawn from different streams of tradition—Togi from the East and Furusawa from the West—transcends the boundaries of music and art.
As part of its Sakura — Spring Renews, Beauty Blooms festivities (which mark the 100th anniversary of the gift of cherry trees from the Land of the Rising Sun to New York and Washington), Japan Society will host three nights of Kabuki Dance from March 29-31. Led by master dancer Bando Kotoji and a dozen other performers to the accompaniment of live music, visitors will be treated to the elegant and refined art form of nihon buyo, centuries-old Japanese dance.
Using traditional kabuki dance techniques while incorporating the individual expression associated with Western “high-art,” nihon buyo performers have built a repertoire that now consists of popular sections from famous kabuki plays as well as pieces inspired by classical noh plays and old folk tales. They have also integrated musical elements from kabuki and bunraku such as shamisen and storytelling chanters.
Justin’s Japan: Interview with DJ Krush on His 20th Anniversary Tour
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"Everyone’s using computers these days, but when I was young analog was king. Today everyone’s using the same software, so it can sound a bit dull. On the other hand, there’s plenty of surprising music you can create, so that’s what I’m aiming to do." (Justin Tedaldi)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his Japanese culture page here for related stories.
Born Hideaki Ishi in Tokyo, DJ Krush is one of the world’s most acclaimed electronic music artists and producers. He first made his name in hip-hop in the 1980s as the founder of Krush Posse, and his style now transcends category much like his idol Miles Davis, who dropped the “jazz” label for “music” in the late 1960s.
Continuing his world tour, DJ Krush plays at The MID in Chicago tonight (Feb 21). In this exclusive interview conducted Sunday backstage at the Music Hall of Williamsburg in Brooklyn (his first New York City gig in four years), I spoke with the artist during sound check about his two decades as a solo artist, his shocking yakuza past, and this thoughts on the future of music.
Last year you celebrated your 20th anniversary as a solo artist. What did it mean to you?
It’s endless—I didn’t expect it would last this long, so when I realized that it was now 20 years I was surprised. My history as a DJ is 25 years, but I’ve been a solo artist for 20 years.
Before you began your career you became involved with the yakuza. Did having this reputation make it difficult to enter or be successful in the music business at first?
I didn’t want to mimic American style hip-hop; I wanted to create a style unique from everyone else. At first, I didn’t have a good reputation and they wanted to attack me, so it was really tough.
What are the central differences between Japanese and American hip-hop?
The style is the same, but the culture, lifestyle and background is different. It’s tricky to explain, but the differences are there.
For the complete story, click here.
Justin’s Japan: L’Arc~en~Ciel Rocks Madison Square Garden March 25
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Courtesy of BAM!
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02). Visit his Japanese culture page on Examiner.com here for related stories.
After 20 years, 13 million albums and 16 million singles sold, famed rock group L’Arc~en~Ciel is gearing up for a historic performance as the very first Japanese act to headline New York¹s legendary Madison Square Garden.
Formed in Osaka in 1991, L’Arc~en~Ciel (the name means “rainbow” in French) gained acclaim for their glam-influenced stage fashions, frenetic live shows, and punk/new wave inspired music. The group has achieved legendary status at home and abroad, and its new album BUTTERFLY will be released on iTunes in much of the world outside of Japan in March.
The album also includes the hit song “Good Luck My Way” as featured in the movie version of the iconic and highly popular anime full-length feature film, Fullmetal Alchemist: The Star of Milos. This band¹s hit single “Ready Steady Go” was used in the soundtrack of the original Fullmetal Alchemist television series featured on Cartoon Network’s Adult Swim.
L¹Arc-en-Ciel¹s lead singer and occasional guitarist hyde has called BUTTERFLY “a monumental album, it’s great that we can release the album just at the right time.”
For more details and tickets, click the banner image or visit www.larc-en-ciel.com.
