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"Ett" and "Ichi"
Anno IVxiii
Tower Records,
Do what thou wilt shall be the whole of the law Time to do something foolish and wise.
Perhaps not what these guys (see below) are doing, though
http://www.flickr.com
What a great surprise to hear from my good friend, Sakai.
I left the house a few minutes before 18:00
I left the house a few minutes before 18:00. I had hurriedly filled the bath tub
nearly halfway, boiled a pan full of Harney and Sons 'Holiday Tea', hung the third
and last load of laundry on the line despite the sinking sun and relatively cooling
temperatures of the onset of evening (A cool evening hanging out is certainly better
than a muggy night twisted in the damp washing machine tub), brought in the previous
two loads of laundry (to the indoor hanging pole at least) and dressed during the previous
forty-five minutes. On the way to the station I tried to call Ms. Umehara who had
called me to participate in a drinking party to commemorate her visit back to Nagoya
from her, now, adopted home of Dusseldorf, Germany. I was eager to go, but on the night
of the eighteenth, three days after the drinking party, I remembered I was to go.
Watching my father's old 8mm films that had been transferred to VHS tape and then recently,
by my own hand, transferred to DVD-R finally put the thought of Dusseldorf back into my mind.
Ms. Umehara didn't answer after many rings. I gave up, for by now I was upon the 'Geo'
video rental shop. Miraculously I remembered to bring
'Beautiful Dreamer, Urusei Yatsura II' with me as I left the house
http://www.animeacademy.com
At last I reached the wicket of the subway and turned to my right to purchase my fare from the machines outside the, seemingly perpetually bored, station attendant's office. It's funny how some of those guys will use their microphone just to thank every passenger as they pass through the wicket when they get really bored. Some guys will even come out into the lobby to bow and greet each passenger. Those guys are really bored. Opening my wallet I saw that I had only 2000 yen. That's not much for a Friday night in the center of Nagoya city nightlife. I bought a 'Yurika' pass for 1000 yen. That gives me a 1100 yen pass. I stood on the chilly platform with an Eritrean scarf wrapped loosely around my neck and the collar of my black knit Geoffrey Bean shirt, hanging loose about my waist, collar standing up. The shirt somehow managed to retain its black color despite being soft as a rag from years of wear. It may have faded and begun to look worn, but somehow it was still black. Blacker than a lot of T-shirts I have. Blacker than some of the polyester blend Geoffry Bean shirts I have. Those ones are thinner, but don't breathe as well, so the knit ones are actually cooler in the summer. The polyester ones also turn purple after a while. There I stood with my shirt sleeves rolled up below my elbows. My toes were sticking out from under the baggy green slacks with the hem pulling out and and cuffs raveling that covered the Velcro sport sandals that were my summer mainstay last year and were weathering this summer as well, the Eritrean scarf was still pulled around my neck. I leaned against the strange bluish green divider at the opening from the passage to the Meijo line and the in-station convenient store. I pulled out my traveling book, Joseph Campbell's 'Myths To Live By'. I've been finding Tolkien's 'Lord Of The Rings' nearly as compelling as Gollum to the ring itself, but the one volume edition was not made for traveling. The new Harper-Collins editions are beautiful, especially for a paperback, but they charge as much for each individual volume as this one 'all-in-one' edition. Campbell's position at times seems a bit dated more than thirty years after his lectures, but for the most part his argument is compelling and the subway seems a perfect place to fully digest his theory. It sits staring across the aisle from you as you read, or in this case it sits staring at its own feet or feigning sleep to avoid relinquishing its seat for the pregnant woman carrying a two-year-old in her arms as she wields a stroller. I've already revealed Campbell's influence on me in preceding paragraphs. His analogy of 'the mask' is something that I've taken to heart, as it has been a part of my own analytical vocabulary for some time. Campbell seems to support my own hypothesis. Today's brief passage could not have been better hand-picked by Carl Jung himself. 'To become- in Jung's terms- individuated, to live as a related individual, one has to know how and when to put on and to put off the masks of one's various live roles. "When in Rome, do as the Romans do," and when at home, do not keep on the mask of the role you play in the Senate chamber. But this, finally, is not easy, since some of the masks cut deep.' 'It is a common thing to be overly impressed by and attached to masks, either some mask of one's own or the mana-masks of others. The work of individuation, however, demands that one should not be compulsively affected in this way. The aim of individuation requires that one should find and then learn to live out of one's own center, in control of one's for and against. And this cannot be achieved by enacting and responding to any general masquerade of fixed roles.' '"But every carrier is charged with an individual destiny and destination, and the realization of this alone makes sense of life.*"' 'Which is precisely the opposite to the ideal enforced upon everyone -even the greatest of saints and sages- in the great East, where the only thought is that one should become identified absolutely with the assigned mask or role of one's social place, and then, when all assigned tasks shall have been perfectly fulfilled, erase oneself absolutely, slipping (as one famous image has it) like a dewdrop into the sea.' 'Education is indoctrination, or, as described today, the brainwash. The Brahmin is to be the Brahmin; the shoemaker, a shoemaker; the warrior, a warrior; the wife a wife; nothing other, nothing less, and nothing more.'
'Under such a dispensation the individual never comes to the knowledge
of himself as anything but the more or less competent actor
of a perfectly standard part.'
Joseph Campbell, "Myths To Live By" (New York, Toronto, London, Sydney, Auckland, Bantam Books, 1973/1988) ISBN 0-553-27088-5 p.68 http://www.jcf.org/works.php?id=33 * C.G.Jung, "Psychology and Alchemy, Collected Works", Vol. 12 (Princeton: Princeton University Press, second ed., 1968), p. 222. http://ks.resnet.pl/k4886 I have to wonder if I do not find myself in a 'Mount Analogue' situation,
http://www.overlookpress.com
http://www.theosophical.org
http://sangre-de-cristo.com
by living in the shelter of my apartment (the cave-world of shadows)
I have shocked my consciousness
by suddenly immersing myself in the heart of all that is youth and
extravagance in Nagoya (the world of light).
This ongoing typing of words, transcribing of events and
others' thoughts has carried me into the dark of the night
where even the full moon no longer brightens the sky and one
is forced to ask, 'is it morning? or night?'
Perhaps the sharing of Mr.Sakai's scant natural resources
has created a shining light of kindness in my mind.
Scant is certainly the operative word.
Sayuri has always had a lovely voice, but Ett's touring and recording schedule have only improved upon her natural talent. She now sings almost effortlessly, if not a bit more affected than in the past. Kei's guitar playing was faultless as usual. Such that one almost takes his talent for granted. It seems that he can do anything, so that it no longer surprises or impresses when he does anything. Nonetheless, his guitar skills are strong and under ease of control. A perfect accompanist, only rarely taking any kind of spotlight, but doing so with the most delicate and gentle playing to take the listener not by storm but by heart and lead more gently than the hands of a baby. Ichi followed with a multi-textured look into Eichan's world. It was not surprising to see children grinning ear to ear with delight at Eichi's super-high-tone gibberish singing to the accompaniment of chirping birds, French language study tapes, rhythm box and four mallet wooden xylophone playing. It seemed as though one were watching a child in full innocence playing a game of 'one man band' alone in their room. The elaborately constructed arrangement of instruments, tapes, noisemakers and even a trumpet was a sight to behold in itself. Eichi moved about the semi-circle like a child who had seen a brief glimpse of Rick Wakeman at his keyboards in the mid-70's and managed not to be scarred for life by the sequin costumes but retained a strong image of the musician surrounded by the tools of his craft. Eichi saved the trumpet until the end, but treated the crowd to an extended solo starting with a more brash marching band timber and then moved into a very emotive and moving mute section which became the longer of the two sections, but never became repetitious or tiring. Perhaps Eichi was subliminally inspired by the video of Miles Davis which appeared on store video monitors behind Eichi to promote a new documentary of Miles' landmark 'Bitches Brew' album. Eichi cooked up quite a brew of sounds himself. All by himself, in fact. Between sets I had a peek at the 'Alternagoya' cd and was surprised to find it priced at only 1000 yen. Well, with just about that much left in my wallet, I headed for the checkout counter. On my way back to the performance area a most unusual sight crept into my left eye's peripheral vision. It was a painting of Yokoo Tadanori. On a box that seemed to be the size of an lp. This stopped me in my tracks. I took a step back for a closer inspection. What could it be, but an opera by Toshi Ichiyanagi, of whom I am totally unfamiliar with, based on works by Tadanori Yokoo (Bridge-028/031). The four cd set tagged in at 9800 yen. That was about 9800 more than I had on me, or that set would have been mine. I found it on-line as well, but significantly more expensive.
http://www.japanimprov.com/
http://www.blrrecords.com
After the show Sakai and our friend (yet another 'Alternagoya'
participant) So-ichi, who also had been at the performance, were looking
for a convenient store that sold beer. One was easily found. This is Japan,
after all. I bought bottled water and a bag of raisin dinner rolls, Soichi,
two cans of 'chuhi' (pronounced /choo-high/)
-a Japanese liquer (shochu) based highball- and a tiny bag of nuts,
Mr. Sakai left the store with a 500ml can of fake beer called,
'happoshu' (/hap-poh-shoo/). I didn't note which of the honorable
Japanese beverage corporations' product it was.
The fake beer is a carbonated alcoholic beverage having the appearance
and slight resemblance in flavor to beer,
though being of a totally different class of alcoholic beverage,
is usually referred to as simply 'beer'. I can't abide by the stuff, but
on a hot summer evening, sometimes it can hit the spot. Mr. Sakai,
admitted to giving up his beverage of choice, O-sake for reasons that
remained untold. For my part, I hadn't had more than a sip of alcohol
in several months. Soichi claimed to have given up alcohol for three days
after having pains in his right abdomen just below his ribs...
We took our seats on an empty park bench in Yaba Park. It was dark.
We sat across from a polished stainless steel public monument.
A monument to what it was entirely uncertain.
It appeared to be the skeleton hull of a small sailing vessel perched upon a UFO
that had been thoroughly covered in ivy and other assorted shrubbery.
The prow of the vessel pointed slightly upward and we discussed
the absence of the green laser which at times shoots from a conical
pyramid at the end of the long, narrow park, from stern to stem of the
stainless craft and finally stopping on the side of the Nagoya TV tower.
The TV tower was the first thing built in Nagoya after the city had been
completely leveled by US bombing during World War II. Until the construction
of the 'Twin Towers' shopping and hotel complex atop Nagoya train station,
The TV tower had been the popular symbol of Nagoya, though traditio0nally
the golden 'sachi' (killer whales) atop the concrete and steel constructed
Nagoya Castle, complete with an electric elevator, were the 'official'
symbol of Nagoya. It is curious that the laser is in operation at times, but
at other times it is not. There is no obvious method for its operation and
stoppage. 'Perhaps the electricity is too expensive,' mused Mr. Sakai as we
looked at 10 meter tall neon signs peaking over and through
the thin line of trees that masqueraded as an urban park.
The park was quiet and dark, though, and there were no restrictions on its
entry. It serves as a crosswalk between the northbound and southbound lanes
of 100 Meter Street. This street received its name not for its length, but
for its width. It seems that some people in the city like to include the park
in the width of the street so that visitors to the city hearing of this
wonder of engineering ask for and seek out the 100 meter street, only to find
that 80 meters of that is a paved and tiled park.
The clouds were low in the sky and there was talk of the nature of
rain and snow clouds. We talked of exploits of previous live performances
and possibilities and concerns of future performances. We drank our drinks,
smoked and ate our snacks. Soichi had been plagued by bright flashing light
in his room as he slept. Mr. Sakai, always the realist, immediately suggested
that it had been lighting, which seemed like the right idea to me as well.
There had been an unusually high occurrence of lightning over the past weeks.
Soichi would have nothing of it and was only satisfied when I offered
that perhaps his pupils were just suddenly dilating as he lay in his futon.
This explanation he liked. He was equally receptive to, but somewhat less
enthusiastic about my second hypothesis that perhaps the mechanism in his
brain that interpreted signals from his eyes was malfunctioning.
Mr. Sakai added that maybe Soichi's brain was short-circuiting. Soichi
had little more to say about the flashing lights in his sleep. Sakai took
the reins of the conversation at this point introducing the movie,
'The Powers of Ten', in which a couple having a picnic in the park are
used as the focal point of an exercise of depth where the camera zooms in
until all that is visible is an atom in the man's hand and then pulls
back into the cosmos all by multiples of 10. I had seen this movie as well and
chimed in my vision of the solar system being but an atom in a much larger
organism. http://www.powersof10.com/
Soichi was quick to follow with a story that I had trouble following,
but seemed to end up with the earth flip flopping north and south poles
suddenly in a day and the only word being left in all the languages being,
'yes'. To me the only sense I could make of his train of thought was in
reference to the animated 'Yellow Submarine'
http://www.mgm.com
As Soichi stared out into unknown places seemingly into a world that none of us could percieve, eyes slightly diverging, mouth open, Soichi closed his mouth, turned to me and asked if I'd heard of Joseph Campbell. It was Soichi who was the zero all along, not Mr. Sakai.
Last modified: Fri Aug 26 13:50:37 JST 2005
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「申し訳ないズールブ・ドンバ」
ＩＶｘｉｉｉ 年
クラブＢＬ、名古屋
あなたの意志をしなさい。それは法律の全体です。 突然にライブになった。ギター・デュオで公演した。ガイさん： エレキ・ギター、Ｍｒ．Ｓ：エレキ・ギター。 客席は敢然に無視された。２人、三人以外。トータル・ステージは１７分ぐらい。 ライブのハイポイントは「イントロ」って言う曲後にガイさんはＭｒ．Ｓに「ボーカルしないの？」って聞いた。もうバレバレ１００％ノープランだった。ギターの音か客席の声かどちが大きいかよく分らない。ライブ突然終って、帰っちゃった。 Ｇ＠ＭＥもジェレミーも全然見ってあげなかった。 申し訳なかった、ガイさんは眠かった。
「イントロ」
愛は法律です。愛意志 「エット」と「イチ」
IVxiii 年
名古屋パルコ東館のタワー・レコード
申し訳ございません 日本語レポートはまだ作り中です。 あなたの意志をしなさい。それは法律の全体です。
これはちょっと面白い。
http://www.flickr.com
とりあえず
コウ言うのは好きけど俺だったら自分の顏を映らない。
ｉｓ ｗａｔｃｈｉｎｇ ｙｏｕ− >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> この日の１５時すぎにサカイさんから電話があた。 今日の秘儀は弟零：道化だ。最近カメラ付き携帯が入ったから個人的な趣味みたいなパフォーマンスを始まり出した。毎日秘儀を読む。そしてだれかから着信入るとその人のアドレス・ページにその日の秘儀のイメージを付ける。まだ前の携帯からアドレスブックをやり直してないから人から着信入るしか番号を入れてない。これもパフォーマンス。「フラックサス」アート部関係者のアラン・カプローみたいな作品。
http://www.ufer.co.jp/
http://www.jiten.com/
書き方分ったからいっぱいみつける。ヨカッター。
http://www.dnp.co.jp/
地下鉄移動中にだいたい本を読んでいる。最近の本は「ジョセフ・キャンベル」の「神話」についてレクチャーだ・シリーズ。以下のリンクは別の本だけど似ているな話。
http://www.isis.ne.jp/
気に居た所にキャンベルはＣ．Ｇ．ユングの本を参考にする。
http://www.d4.dion.ne.jp/
http://www.jimbunshoin.co.jp/
http://www.nanzan-u.ac.jp/
http://www.ne.jp/
そして錬金術の話しがでる。
http://www1.atwiki.jp/
サカイさん、あのバカバカしい日本ダブ・バンド「脳振頭」のベーシストがライブへ誘われた。 ｉｃｈｉとＥＴＴはタワーでインストアー・ライブだった。ｉｃｈｉは脳振頭のもう１人のメンバーのソロ・ユニットだ。すごい久し振りに近状から出ってないから行きたかった。「７５８６： アルタナゴヤ」て言うオームにバスＣＤの新発売と両方ともｉｃｈｉもＥＴＴも自分のＣＤを発売するためのライブだった。「脳振頭」も「７５８６： アルタナゴヤ」に一曲で参加した この日に色んな出会いがあった。 パルコ東館入った瞬間で反対入口からボンアイドルタクヤ来た。 タワー・レコードのジャズ・コーナーに入ったばかりで元カノーヴァンと原罪ＫＤ・ハポン関係者、モモジて言う男に会った。それよりモモジは「スティーブ・ジャクソン」のベーシスト。「スティーブ・ジャクソン」も「７５８６」に出っている。このライブも、とにかく、サウンド・マン。 モモジと話している間にＥＴＴが出で来た。青柳さん（ａｋａ。ＫＥＩ）はガット・ギター、楽譜、チューナー、足掛 まで手に持っていた。 デュオのもう１人、サユリちゃんは手ぶらで来た。 サユリちゃんの声は６年前に初めて聞いた。その時でもとても奇麗な声だっと思った。ＥＴＴの忙しいツアとスタジオ予定の陰で元より大分良くなった。いつものままな美さが残っているけど前よりパワーがある。息がある、意気もある。びくりした。久し振りにＥＴＴの演奏を聞いてないから。 Ｋｅｉさんはいつも道理な完璧ギターを見せった。Ｋｅｉのギターは良すぎて、時々演奏を注意しない。何か「ｋｅｉのギターが良かった」はあんまり話ならない。当たり前。良くなかったら話がある。でも、今日俺の目って言う耳に入った。耳を擽られた。このユニットの中にｋｅｉのギターは殆歌を伴走する仕事。でも所所でこのギターの優しさと静かさは目立つ、逆に。 ｉｃｈｉの学期は子供の音楽遊びみたいなセットアップ。使っている学期はもちろん玩具じゃない。。。マッ、殆玩具じゃない。マリンバ、２書類とスチールドラムもあった。メチャ奇麗な。キラキラな銀色って。あと、リズム・マシーンとサンプラーと住宅用なカラオケ・システム。
愛は法律です。愛意志。 「ＤＪエサ」 （ａｋａ Ｍｒ．Ｓ）
ＩＶｘｉｉｉ年、
名古屋の「ＭＯＶＥ」って言う所
４０分セット：
「スタート・ミー・アップ」, ローリング・ストーンズ
「ロング・リヴ・ロック」, ザ・フー
「悪魔のハイウェイ」, ヴァン・ヘイレン
「すべるバー」, ゆらゆら帝國
「夕立」, 井上陽水
「Ｓｏ Ｈｅａｖｙ」, ストリート・スライダーズ
「ラッキー・マン」, 矢沢栄吉
「キャンディ・ストア・ロック」, レッド・ツェッペフィン
「ガール・ゴーン・バッド」, ヴァン・ヘイレン
「ジェイルブレイク」, ＡＣ／ＤＣ
「学生実験室」カルテット http://homepage3.nifty.com/gsj~
ＩＶｘｉｉｉ年、
名古屋の「得三」って言う所
申し訳ございません 日本語レポートはまだ作り中です。 「Gakusei Jikkenshitsu」quartet /ga-koo-say jee-ken-shee-tsu/ http://homepage3.nifty.com/gsj~
Anno IVxiii
at Tokuzo, Nagoya
This was a pretty good performance for GSJ. The opening medley was noisy, but tight in an unorganized fitful GSJ kind of way. Compared with the relaxed and playful rehearsals the live performace showed a sense of urgency that was probably inspired by the twenty-five minute time limit imposed on the opening band. With Hiroki, guitarist and defacto GSJ leader, playing in strange contortions to steal a glance at his watch it could hardly have been called a casual atmosphere. Hiroki was playing in strange contortions even when he wasn't straining to read his watchface, though, so who knows? The new Tokuzo sound man, Jovai Lopez eased any ill-comfort in having Tokuzo's legendary knob-twittler, Yasuhiro Usui, off for the night. Jovai, despite his near complete lack of Japanese language skills, made rehearsal smooth and gave all of the groups a nice big sound, but didn't blow the modest audience out of the room.
The GSJ set opened with a bang and fell into a new number that has been known within the band by such names as 'Sequencer', 'Sakura' and 'Uchiai'. This number finds Hiroki Ono and Mr.S deulling, calling, responding and competing for the lead. At the same time GSJ stalwart, Ryoko Ono, locks into counterpoint on alto sax with bassist Mr.H in a hypnotic stunted trance. The song seems to fade away as Hiroki and S run out of ammunition. This is where the second half of the medley overtakes Mr.H's repetative phrase with Ornette Coleman's 'Lonely Woman' from the album, "The Shape of Jazz to Come" (Atlantic SD 1317).
(see http://www.findarticles.com/p/
http://www.audioscrobbler.com/music/
http://www.mp3.com/albums/104552
http://members.aol.com/mrrain002
Hiroki announced that the last song would be a jam session, though members of the group later revealed that the song was a rearranged version of the GSJ number, 'Kekkonshiki'. It seemed like an exploded version of 'Kekkonshiki'. This one number carried the band through the rest of their set, rambling, spacing, rocking, squaking and screaming all the way to the end when only the rhythm section of Mr.S and Mr.H remained scratching out a few last notes before band leader, Hiroki, returned to give a dramatic fine sign. GSJ ran over their allotted time by about five minutes and their colleagues seemed not the least amused. The crowd as well seemed less than enthused. The opening was dramatic and on fire, but Mr. S was quoted as saying of the final extended jam session, "I just didn't get that 'hot stuff' rush after the performance. It was just over." Regardless, talk of making a release on Shitsu Records of this concert was beginning to stir even before the groups had moved on to the after-party - which is usually where such kinds of baseless chatter takes place. We'll have to wait and see. For sure, the Gakusei Jikkenshitsu team want to make a new release on their own label rather than BS Entertainment. Either way this concert marked the return of a full rhythm section to the GSJ line-up and should be duly documented. 「DJ S」 /D-J-esa/
Anno IVxiii
at Rock and Soul bar "Move", Nagoya
40 minute Setlist:
"Start Me Up", The Rolling Stones
"Rock Is Dead", The Who
"Runnin With The Devil", Van Halen
"Suberu Baa", Yura Yura Teikoku
"Yudachi", Inoue Yosui
"So Heavy", The Street Sliders
"Lucky Man", Yazawa Eikichi
"Candy Store Rock", Led Zeppelin
"Girl Gone Bad", Van Halen
"Jailbreak", AC/DC
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(B#B#S%l%]!<%H$N5-O?=q (B (B!] (B BS Report Archives
Mr. Busaichedelic San
busaichedelic@yahoo.com Last modified: Fri Jan 13 20:31:49 JST 2006