Gil Asakawa's Nikkei View | music
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August 31, 2009

The poster for the original Woodstock Music and Arts Fair in 1969I'm a big fan of Ang Lee, the Taiwan-born director of such terrific films as "The Wedding Banquet," "Eat Drink Man Woman," "Sense and Sensibility," "The Ice Storm," "Crouching Tiger, Hidden Dragon" and "Brokeback Mountain." He glides effortlessly between cultures, putting Chinese values to celluloid in one movie and reflecting America in the next. He also switches genres easily, from comedy to period pieces to drama to action. He's had one certifiable dud in my opinion: his take on "The Hulk." Now, I think there are two. Erin and I were sadly disappointed when we went to see "Taking Woodstock," Lee's take on the 1969 music festival that stands today as an iconic milestone of the rock era and baby boom generation. It's a nostalgic look back at Woodstock, the rock festival held between Aug. 15-17, 1969 in upstate New York. It's become iconic of the era because of the 1970 hit documentary film "Woodstock" and Joni Mitchell's song of the same name (which was a #11 hit for Crosby, Stills, Nash and Young, and a lesser hit version by Mathews Southern Comfort). The song enshrined the number of people who flocked to the three-day concert: "half a million strong," probably taken from early news reports, but the turnout was probably closer to 300,000. Still an impressive number of attendees for what came to define the rock generation's tribalist instincts. Michael Lang from the original Woodstock festival Michael Lang riding his motorcycle around the original festival, captured in the "Woodstock" DVD. Mamie Gummer as Tisha, Jonathan Groff as Michael Lang and Demetri Martin as Elliott Teichberg in director Ang Lee Jonathan Groff playing Michael Lang in Ang Lee's fictionalized Woodstock weekend, along with Mamie Gummer as Tisha and Demetri Martin as Elliott Teichberg. In Lee's misty-eyed look back at 40 years ago, all the surfaces are polished just right. In an early scene, the black-and-white TV in young Elliott Teichberg's parents' rundown motel in White Lake, a hamlet in the town of Bethel, New York, shows the July 20, 1969 Apollo moon landing, just a few weeks before the big rock show. The characters have the right hair, the right clothes, even the right hats (check out the mysterious and pointless character Tisha, and the woman who's captured in Woodstock documentary footage with the real Michael Lang). The cars, of course, are spot-on from that model year and before, right down to the hippie-decorated VW vans. Lee even includes several signature shots from the Woodstock doc, with his fictionalized spin. As Jake rides with a motorcycle cop through the traffic jam to get to the concert site, they pass a group of nuns who are being filmed by "Woodstock" director Michael Wadleigh's crew and one nun flashes a peace sign. Later, Elliott walks past a row of porta-potties where a film crew is interviewing the guy who's cleaning them out. He also spends some time sliding in the mud, another re-creation of a classic scene from the concert. These touchstone scenes from the original movie are fun to catch in the context of Lee's movie. What's completely missing from "Taking Woodstock" is an understanding of and appreciation for -- hell, even baldfaced nostalgia for -- the music that drew the hundreds of thousands to the festival in the first place.
June 26, 2009

Here's a video that was coincidentally uploaded to YouTube by singer-songwriter David Choi, whose stuff I like very much, on June 23, just two days before Michael Jackson, the "King of Pop" suddenly and shockingly died. (It's the third-listed link on You Tube when you search for "Michael Jackson.") "Ben" is an unusual choice for a Michael Jackson cover -- a moody, plodding story-song that makes sense as a story only if you know it as the title song from a 1972 horror B-movie about a boy (not the young MJ) who befriends a pet rat named "Ben" who leads a pack of vicious killer rats. It was the sequel to the equally cheesy (no pun intended, honest) 1971 movie, "Willard." Choi posted his thoughts on Jackson's death on his blog, and like many others, he admits he sees Jackson's influence more clearly now that the man is gone.
May 28, 2009

Dengue Fever, an Asian American band featuring a Cambodian American singer and European American musicians. I loved watching Dengue Fever's new documentary, "Sleepwalking through the Mekong," and listening to the great music by the band as well as some of its antecedents collected on the soundtrack. I've written about Dengue Fever before, but didn't get a chance to see the show when they played Denver on a tour. So I'm glad this documentary has been released. The film follows the band on a 2006 visit to Cambodia, where singer Chhom Nimol was born. She moved to the U.S. where she was discovered singing in a karaoke bar in Long Beach, south of LA, by the Holtzman brother, Zac and Ethan. The Holtzmans had fallen in love with old recordings of Cambodian pop and rock music during a trip to Southeast Asia and had decided to perform that music in America. Since they -- and the rest of the band -- are white, they went in search of someone who could sing in the Cambodian language, Khmer, and came across Nimol, who's an enchanting singer with a strong voice and an undeniable beauty that practically glows whenever the camera focuses on her. Together, over four albums, two EPs and now this documentary film, the group has recorded a body of work that's consistently interesting, compelling and challenging, with its dreamy mix of psychedelia, folk-rock, surf music and Cambodian melodies. The end result, for me, is a perfect expression of that tired cliche, "East meets West," or better yet, a reflection of one aspect of Asian America.
April 2, 2009

Musical interlude: I saw on Facebook that Kinna Grannis had posted a video of herself with David Choi, sittin' on a couch and humming and strumming the pop standard, "What a Wonderful World." It's a very sweet version, and the two harmonize beautifully together. I blogged about Grannis a few months ago when I stumbled across her version of "Sukiyaki."...

December 31, 2008

Jero, the first African American Enka singer in Japan, learned the musical style from his Japanese grandmother.Enka music is often referred to as "Japanese blues." The comparison is apt for a couple of reasons: the music is almost always about heartbreak and inconsolable loss. You can hear it in the singing. And, enka singing relies a lot on vocal inflections that are also common to American blues and gospel music: vibrato and melisma (the bending of notes to show emotion). But fans of Enka in Japan probably never expected to see and hear an African American from Pittsburgh, PA make a name for himself as a rising star in the genre. (UPDATED: See bottom of this post for a video of Jero's historic New Year's Eve performance) Jerome Charles White, Jr. (coincidentally a name that would sound cool for a blues musician), who goes by the stage name Jero, is unique among Japanese pop stars, in that he's young (27), gifted, mixed-race black and American. He sings (and speaks) in perfect Japanese, and more important -- and more unusual -- he sings a style of Japanese pop music that many consider to be "old-fashioned." Enka music isn't quite blues -- aside from some of the vocal inflections and the sad subject matter, it's not a rhythmic style. It has roots in folk music like blues, but it's always presented in slick, orchestrated (stagey and theatrical) arrangements. Young Japanese have drfited away from this style and seem to prefer more modern genres like R&B, rock, disco and rap.
December 8, 2008

Sierra Club decalThe folk-rock group I play with, Mallworthy, was asked to perform at a holiday party and awards ceremony for the Sierra Club in Boulder last night. The event was held in the cafeteria of a Unitarian church, and there was a constant clatter with a couple-hundred people standing in line for the array of potluck food and then sitting and eating the food, while they talked and laughed. We could barely hear ourselves play our brilliantly rehearsed setlist, never mind anyone in the "audience" paying any attention. One woman who stood about four feet in front of me while she waited in the food line leaned over and said she could barely hear our instruments but not our voices at all. So when a well-heeled middle-aged woman in all black began banging her wine glass with a fork -- during one of our songs -- so the crowd could quiet down and listen to her announcements and several pages of "Bushisms" that she's collected, I had had enough. It was a reflection of how invisible and unnecessary we were to the festivities at hand. Almost half an hour later, while the merry members held their raffle giveaway, we decided we should just pack up and go home. We couldn't even consider this a rehearsal since we couldn't hear each others' parts. It was nice to just get out of there. But I had a cloud nagging at me all night, long after I'd gone home and started watching TV to distract my brain. Even before the presumptuous woman interrupted our playing, I had looked out over the room and noted a disturbing fact: Besides myself, there were two Asian faces (women, who appeared to be there with Caucasian partners) and one African American woman. I wasn't sure if anyone in the room was Hispanic. But it was clear that overwhelmingly, the room was filled with eager, erstwhile, Earth-loving white people.
December 6, 2008

hapa singer-songwriter kina grannis Surfing YouTube videos can be like the early days of surfing the Internet. Following links to random Web pages is a leap of faith, a trust in kismet, that what you're about to see is both somehow related to what you were seeking in the first place, and hopefully entertaining. In the midst of one of my YouTube forays, following related videos then backing up and taking another path to other videos, I came across one of my favorite songs of all time, "Ue O Muite Arukou" by Kyu Sakamoto, the Japanese pop star who had a worldwide #1 hit with the song in 1963. You probably know the song better by the name put on it by its American label, "Sukiyaki." It's been covered in English by a number of artists, most notably Taste of Honey in the '80s and the Viet pop singer Trish Thuy Trang more recently. She sings both English and Japanese in her version. (See Sakamoto's, Taste of Honey's and Tran's video versions below. They're all available on YouTube.) From there, I clicked to a cover version of the song by a hapa musician named Kina Grannis and was pleasantly surprised by the sweet, cool, understated quality of her version of the song -- which she sings in the original Japanese -- as well as the scope and depth of her talent on other videos. Here's the video: Grannis is from Southern California, and won a songwriting contest sponsored by Doritos with the catchy song, "Message from Your Heart," which was aired during the Super Bowl in February. The contest led to a deal with Interscope Records.
December 2, 2008

Meiko, a one-quarter Japanese American, or "quapa," from Georgia by way of Los Angeles, is at the vanguard of the new folk music. At least, that's the category where you'll find her on iTunes. She strums and picks an acoustic guitar, so she fits the folksinger/troubadour image. But her music isn't based on the traditional "folk" music of the 1960s folk boom. Meiko's the latest in a long line of singer-songwriters who came out of that earlier folk boom. Starting with the likes of Bob Dylan, and peers and disciples from Tom Rush and Eric Andersen to Leonard Cohen, Joni Mitchell and Jackson Browne, singer-songwriters have skirted the edges of the rock-pop mainstream, playing their own music instead of traditional songs, with acoustic instruments as their foundation. Their subject matter is mostly introspective and personal (hence, anti-pop by design) but when it clicks commercially, singer-songwriter music, like alternative rock, can hit the sweet spot and rise up the pop charts. It's a style of music that in recent years has become quieter and quieter, almost a whisper instead of the declamatory protest music of, say, early Phil Ochs, or Peter, Paul and Mary, in the '60s, or the folk and country-rock of the '70s. The new folk music can be mopey (then again, weren't Jackson Browne's songs mopey too?). And, it's become a signature style of television soundtracks. Although many shows now, from "Bones" to the "CSI" franchise, feature this type of music, I think of "Gray's Anatomy" first and foremost when I hear the new folk. The genre fits perfectly with the introspective spoken narration that closes each episode of "Gray's." "Boys with Girlfriends," one of the best songs from Meiko's first full-length recording, "Meiko," was featured on "Gray's Anatomy on November 20. Once you know the song, you'll chuckle at how perfect it is for the romantic tensions that are at the heart of the series: "I know better not to be friends with boys with girlfriends," Meiko sings. Boys With Girlfriends - Music Video
Meiko has a handful of equally terrific songs, the kind that get in your head and bounce around like a superball, keeping you humming for days. She's perfected the new folk sound, a dreamy, world-weary singing style that's colored with just a hint of a husky rasp. But it's her way of fitting words and phrases into cadences that stretch and contract to conform to her lilting sense of melody that stay with you.