Japanese Entertainment Farce: It’s all an Act—Thanks for your Purchase!$$
Recently I have been listening to more and more Japanese music. Next to the
This competition, in part, derives from the myriad of album sales and new releases here in
Yet beyond touring and paper pushing the best way to advertise your new song is to throw it on a commercial. Most desirably mobile/cell phone ads or car commercials, since these are the most viewed (or should I say paid attention to?) by television viewers. Thelma Aoyama is one such lucky girl, whose hit single played on NTT Docomos series of commercials for March and April, having accumulated in her single going triple platinum. Not bad for a first release for an unheard of artist. But it’s not just the advertising either, Aoyama’s song is so catchy and moving that it can’t but compel you to support her by rushing out and picking up her single. Her freshman album released earlier this month is far above your average J-Pop, and is oozes R&B soul hip-pop. Gladly, every track on her album is just as good as her break out hit single.
Granted, it’s all part of the overarching marketing technique, consumers buy what excites them. Most notably, what in
Even so, you won’t hear me complaining –I enjoy their sex appeal as much as the next guy; and since these Idol-Icons are also the dolled up mannequins of the fashion world as well, women hang upon their every clothing decision and emulate it to high heaven. The various Idol-icons are plastered over every fashion magazine cover, and the only thing you can be sure of is, there’s no escaping their pouty glossed up lips and sultry gazes.
Ayumi Hamazaki is somewhat of a fascination for me. Not in the fan-boy obsessed with her sense, but in the “I’m absolutely terrified of her” sense. Even though I enjoy (immensely) her hard edged rock/punk/techno/pop sound, a sound fused with harsh base chords, apocalyptic sounding guitar riffs, and mechanical sounds all put to a techno beat, I find her televised persona is so sharp edged that her personality seems dangerously near intolerable to me. I don’t mean this as an insult, because I love her music and think she is very beautiful and talented woman. Yet if you’ve ever watched her ‘making of’ featurettes on her music DVDs, I think you will find a cunning corporate business woman who doesn’t take no for an answer lurking under all those frilly dresses.
Ayumi Hamazaki quite literally is the queen of her own little world –and for this reason, I don’t see myself ever being in the same room with her. Not so much because of my healthy Ayu-phobia as much as my pathological desire to smack her upside the head. Again, I don’t have anything against her, per say, however, I just can’t stand the whole diva act. Yet like her American alter ego, Madonna, Ayu seems to be able to pull it off well enough. While she’s annoying one moment the next she’s so delightful that you can’t help but be taken with her—an enduring trait for sure. While I’m sure that in real life her personality is quite different from her made up corporate sponsored persona, truthfully I’d be too afraid to find out. Even so, I still find myself oddly drawn to her piquant personality.
Lately there seems to be an endless supply of Ayu doppelgangers who not only capitalize on recreating Ayu’s aesthetic Pop-Diva look but also shamelessly lift her sound. Koda Kumi is the most blatant offender, emblazoning herself with the “Ayu essence” but even as she seeks to be Ayu’s shadow this infringement hasn’t slowed Ayumi Hamazaki’s record sales down any. In fact, the competition of the two has spurred on a friendly rivalry, and both of their last studio albums (Ayu’s Guilty and Koda Kumi’s Kingdom respectably) came out within a week of each other, thus spurring on massive record sales for both. While I think Koda Kumi’s recent appeal is due to her emulation of classic Hamazaki, I’m glad Ayu is venturing off into darker territory. Koda Kumi will certainly stay in the realm of bubbly pop ballads and Ayu will continue to delve into the fringe where grunge, pop, and rock all come together.
Currently Ayumi Hamazaki has the chart topping single in
There is currently a trend on Japanese variety television to host a slew of under-educated (because nobody in
Their list of non-skills includes everything from reading to comprehension to answering simple trivia questions. Not only this, but they are quite absurd in some of the answers they do give, which causes me to question how dumb they actually are and how much of it is an act. Regardless of them hamming it up on talk shows, they do lack the basic kanji skills required to read normally, some even struggle with katakana, while others mutter the wrong phonetic syllables in attempting to read English sentences. During the game shows the various celebrity contestants must attempt to guess the meaning of what the idiots are getting at. If anyone can decipher the nonsensical from the stuttering baffled dunces, then the person who buzzes in with the correct answer gets points for their respective team.
Other shows showcase these buffoons and buffonettes as they take them on outings to various restaurants and historical locations, and Japanese audiences delight in the constant comedic commentary which can only be described as brain numbingly illiterate. Plato wasn’t wrong when he surmised that we would one day digress into a mob of brainless apes who gape at our own shadows flickering on the wall. With the advent of Plasma screen televisions (an obvious paradox when one considers the raw required brain power to invent such a technology), sadly, many of us have become just that –brainless and staring endlessly at the flickering version of ourselves we see on the wall. There is no better case of this syndrome than in
Again, unique to
What then, in the world, does this phenomena of trend setting TV talents have to do with poor Ayumi Hamazaki’s maintaining the number one music single in the country? Well, recently the top three jesters of the mundane-intelligencia-doom-brigade (to coin a term for brainless idols) have banned together to form the band “Shuchishin” and cut a hit single (a Network decision I’m sure). The song, “Don-Mai” –which is a Japanese abbreviation for “Don’t Mind” which in turn is a misusage of the English phrase “Never mind”—have produced an up-beat melody with comical lyrics which has risen the pop-charts in concession with their continuing rise in popular culture fame.
Trend setters would be too honorable of a term to use here, but at the risk of implying that the majority of Japanese society consists of dupes who willfully cave into whatever new wave trend is being shamelessly advertised by the mega corporations seeking profit, I shall only say that at the risk of sounding negative, there is a lot of superficiality going on in the Japanese entertainment industry.
As an outsider it is obvious that the majority of this “trend setting,” from the set up to the eventual (hopefully) consumerist satisfaction, is completely manufactured and manipulated. I’m constantly surprised at how many Japanese people think that these fads are just the sign of the times. They’re not. They are 100% fabrication. More than we’ll ever know.
As such, real singers such as Ayu, who’s now enjoying her 10th anniversary as a Pop-icon and also proudly promoting her record breaking 10 years of *consecutive number one singles,[i] she must insistently contend with these constant upstart talents who seek to dethrone the Pop Queen of her miraculous record for consecutive top singles. But that’s showbiz baby.
Yet Ayu is as cunning as ever, and just like her precursor, the ever controversial Madonna, Ayu isn’t afraid to use everything in her command to combat would be talents; including showing a little extra skin. Her new CD single “Mirrorcle World” album cover is a very nicely photo-shopped image of Ayu cradling her cleavage and looking meekly seductive. Giant butterflies of an opaque plastic nature adorn her flowing strands of platinum bleached hair. Her golden locks, oversized Bambi eyes, and abnormally white skin give her an unsettling artificial look, like that of a toy doll. She is a pristine ornament to be idolized, even consumed, as we are teased relentlessly with her overtly sexual prowess. As an artist she sings her seductive rhythms hoping to entice us like an ancient Greek Siren, but more than this, she hopes to entice us to take out our wallets and ensnare our dollars.
Meanwhile, the new boys in town may be your regular variety of handsome but dumb prince charming(s), but Ayu is still the Queen, and in her genre she reigns supreme. Unable to break free of her spell, like zombie consumers we are bewitched by Ayu’s melodic singing. So profound are her little accomplishments that we can’t help but shout out a, “Hail to the queen,” even as her tower is stormed by a marauding lot of nincompoops.
It is as if the Three Stooges, in their bumbling antics, have miraculously amassed a hit single which could dethrone Elvis or even the Beetles. The concept is completely ridiculous, but it is a common practice in
According to Wikipedia:
[i] In addition, the release of Hamasaki's 2008 single, "Mirrorcle World," made Hamasaki the only Japanese female artist to have a number-one single every year for ten consecutive years. She is also the first Japanese artist to have her first original eight studio albums top the Oricon charts, as well as the Japanese female artist with the most number-one singles, most Top 10 singles, highest singles sales, and most million-seller singles (this record for most million-seller singles is shared with band Pink Lady and fellow J-pop singers Namie Amuro and Hikaru Utada.)