Gil Asakawa's Nikkei View | pop culture
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February 7, 2011

Within minutes of this commercial airing during last night's Super Bowl game, emails, tweets, updates and blog posts began zipping across the Interwebs decrying the insensititvity of Groupon using the plight of Tibetans, who've been suppressed by the Chinese government for decades, with the Dalai Lama ruling in exile. The spot starts out sounding like a call to help...

February 4, 2011

It stands to reason that the country that invented karaoke is one that takes karaoke very, very seriously. It takes singing to backing tracks so seriously that in Japan, Kohaku Uta Gassen, the annual singing showdown that airs live on New Year's Eve, has been like the Super Bowl of the country's broadcasting industry, drawing huge numbers of viewers year after year. And Colorado's Japanese-speaking community has brought the tradition to Denver by hosting its own Kohaku Uta Gassen every January for 36 years. Since 1951, the year Japan and the US signed the San Francisco Peace Treaty and Gen. Douglas MacArthur -- the "Gaijin Shogun" who ruled Japan as the Commander-in-Chief during the US occupation of post-war Japan -- was fired by President Dwight Eisenhower, the annual karaoke singing contest has been one of the highlights of the country's cultural calendar. Kohaku Uta Gassen (literally translated as "Red and White Singing Battle") has pitted women (the Red Team) against men (the White Team) in a competition to see who has the best singers. That first Kohau Uta Gassen was broadcast on NHK radio on January 4, 1951. When television broadcasting began in 1953, the show moved onto the small screen, and to New Year's Eve. Along with sports shows such as wrestling (there was a huge fad of Western-style, not sumo, wrestling in the 1950s) and baseball, Uta Gassen helped boost sales of television sets because no one wanted to miss the shows. Over the decades it became so popular, featuring the country's best performers in evolving styles from traditional "enka" (Japan's version of blues or country music, mostly about heartbreak) to the current Jpop and rock sounds, that it's become an institution. Denver's Uta Gassen has also become an institution, with some performers singing every year. This year's contest, held at the Denver Buddhist Temple's auditorium in Sakura Square, was filled as usual with about 300 audience members, including the singers and their families and friends. It's always an all-Japanese affair -- the one year I served as a judge, I understood about 30% of the jokes and even less of lyrics but was able to vote on the merits of the performances. It's extreme karaoke, spending an afternoon hearing 32 singers belting out songs in Japanese to nothing but backing tracks. At least they don't need to refer to a TV screen with the lyrics scrolling by -- they've been rehearsing their songs for weeks.
January 20, 2011

From Huffington Post: Rush Limbaugh took the opportunity of Hu Jintao's state visit to the U.S. to show off his "ching-chong" impression of the Chinese language. How mature... it's so juvenile to make fun of a foreign language and foreign people by mocking how you think they sound. That's third-grade stuff. Many Asian Americans have heard "ching chong" aimed at them growing up, and it was always by schoolyard bullies -- ignorant schoolyard bullies who pull the stunt to make themselves feel superior. I've felt the sting of this taunt, followed by crap like "Ah-so! Harro! Go home, chink/Jap! Ching-chong ching-chong!" The bullies always pulled back their eyes into slits and bared their lips to show buck teeth while they spat out their hatred. It's one thing for ignorant children to use racist taunts to put down others. It's another thing entirely for an adult to do it, and especially shameful for someone with the public reach and potential impact of Limbaugh. He's showing his ignorance for all the world to hear.
January 13, 2011

Ada Wong, befor and after "The Biggest Loser" We weren't regular viewers of "The Biggest Loser" until last fall's Season 10, because of Ada Wong. I read an interview with her in the Pacific Citizen and some blogs, and Erin tuned in to the show. She got me to watch On-Demand and we were hooked. So we're honored to be able to host Ada Wong as our next guest on visualizAsian.com. She made it to the finals of "The Biggest Loser," and along the way lost 99 pounds and regained her relationship with her hard-ass Asian parents. She's an incredible inspiration for Asian Americans. Our one-hour live conversation with Ada will be on on Tuesday, Feb. 1 at 7 pm PT (10 pm ET) -- just register for the call and you'll receive the call-in information for our conference line, and the URL for the Webcast. As always, you can submit questions for Ada before and during the show via our Webcast page. UPDATE: Sorry, you've missed the live Feb. 1 conversation with Ada Wong. But you can still register for the next 30 days to listen to the archived MP3 recording of the show! If you've tuned in to a visualizAsian show before, you don't need to register -- you'll receive the login info in an email reminder. If you're new to visualizAsian, welcome to our 2011 season! We interview Asian American Pacific Islander leaders and newsmakers on a telephone conference call (long distance charges may apply) and Webcast (always free). Our goal is to inspire all AAPIs to find your voice and follow in or guests' footsteps. Ada was truly an inspiration during "The Biggest Loser." Alone among the contestants, she didn't have the support of her family. Several episodes of the series focused on her relationship with her immigrant parents, who were very critical of her growing up, and unlike every other contestant, refused to send in a video greeting urging her on. They criticized her weight and even blamed her for her brother's drowning death when she was just a child. Despite of these challenges, Ada excelled in the show, and worked hard to lose weight.
January 6, 2011

Charmaine Clamor, Queen of JazzipinoThe music is straight ahead jazz -- the classic, swingy stuff with lots of space between instruments and a smoky, sultry voice caressing the lyrics. It's jazz, the classic American artform. But the words... aren't... English. The words to the lovely "Dahil Sa Yo (Because of You)" are sung in Tagalog, the native language of the Philippines. It's a jazz standard nonetheless, written for a Filipino movie in 1938 and better known for an English-Tagalog version recorded in 1964 that made the charts in the US. The singer is Charmaine Clamor, the self-described "Queen of Jazzipino," who sings with a lovely voice in both English and Tagalog, a range of songs from traditional jazz to a fine jazzy version of the U2 rock hit "With or Without You," to traditional folksongs of the Philippines in her jazzipino style. Clamor's built a loyal following of Filipinos worldwide by bringing her jazz chops to songs in Tagalog, updating her cultural heritage with a modern sheen. She was born in the Philippines and started singing when she was just 3, entertaining bus riders. She later learned to play the piano and accompanied her mother, who sang Filipino torch songs called "kundiman." Her family moved stateside when she was 16 and she retained her cultural ties to the Philippines. She's released four albums, including the wonderful, low-key "My Harana: A Filipino Serenade" that's almost entirely in Tagalog, and mostly sparingly accompanied with just a guitar or percussion. For fans of Brazilian jazz and samba sung in Portuguese, sitting back with Clamor's Tagalog songs has the same lilting, lulling effect. Clamor kicks off her 2007 album "Flippin' Out" with a wonderful take on "My Funny Valentine," "My Funny Brown Pinay," a powerful affirmation of her ethnic identity that starts out with a spoken poem backed by piano, bass and drums before she breaks into the melody:
January 6, 2011

Banana 2 is scheduled for Feb. 26 in LA The Banana 2 conference of Asian American Pacific Islander bloggers is now officially set for Saturday, February 26 at CBS Studios in Studio City, Calif. If you haven't heard of Banana, you can check out my blog post and photos from the first Banana gathering, which was an informal affair in late 2009. It was mostly one very large panel on the USC campus in LA, with most of us meeting up for dinner afterwards near Little Tokyo. This year's Banana will be an all-day conference with a handful of panels and breakout sessions, as well as a reception afterwards with entertainment (more details to come). And it'll be held at CBS Studios in Studio City, with (I think) the reception planned for a New York street set for "CSI:New York." Cool, huh? I'm organizing a panel titled "Bananas, Twinkies, Coconuts & more: The rainbow of the AAPI blogosphere." Here's a draft description: The Asian American blogosphere (as represented in the richness of Banana's panels) covers a lot of ground, from the political to the whimsical, from foodies to Asian pop fanatics to bloggers that focus on specific communities. AAPI blogs can be about the Asian experience or exclusively about the Asian American experience.There are even blogs by Asian Americans that have nothing to do with Asian American culture, values or identity. What does it mean to be an Asian American blogger? Other panels include:
December 31, 2010

Japanese New Year Unlike other Asian cultures, the Japanese don't celebrate Lunar New Year. Instead, they celebrate the Western calendar New Year, January 1, and some of the special traditions for the holiday, called "Oshogatsu," have been handed down to Japanese Americans over the past century. Japanese New Year's traditions are different from Western (or at least, American) ones: First of all, New Year's Eve isn't the big holiday, and the focus isn't on partying and waiting until midnight on Dec. 31 to watch the Times Square ball slide down, or to see fireworks or make hearty toasts. A lot of us do, because we go to parties to celebrate with friends -- after all, we are Japanese American. In Japan, New Year's Eve and the days leading up to it are all about cleaning house, cleaning yourself and your soul, putting your business in order to prepare for the new year. It doesn't sound like much fun. And traditionally, people spend New Year's Eve quietly at home with family or friends. There are events, such as the release of thousands of balloons at Tokyo's Zojoji temple to pray for world peace -- pretty different from Times Square, huh? My mom's hometown of Nemuro is at the easternmost tip of the northern island of Hokkaido, and thousands of people gather on Cape Nosappu outside of town past midnight on January 1, to see the first sunrise of the new year in Japan. Buddhist temples ring their bell at midnight to mark the start of the new year, a very spiritual sound. There are other festive events throughout Japan too, with live music and fireworks just like in the US -- it's not all traditional. By the time the clock ticks over into the new year, Japanese have spruced up their house with traditional decorations made of pine, bamboo and plum trees to bring good luck. On New Year's Eve, families settle in with special toshikoshi soba noodles to bring long life, and watch Kohaku Utagassen, a men versus women singing contest that's like karaoke on serious steroids featuring the country's biggest enka (a traditional style of pop music) and J-pop stars. This show has been aired on New Year's Eve since the end of World War II, and for decades it was Japan's equivalent of the Super Bowl in popularity. Denver's Japanese community has held a Kohaku Utagassen competition for many years too. The main event in Japan isn't New Year's Eve and the midnight celebrations. It's New Year's Day, or Oshogatsu, and not because of college sports contests. The first days of January represent the start of a clean slate for everyone, and a time to celebrate family and friends by visiting people and wish everyone well. January 1 is also the day for a family feast that can put American Thanksgiving to shame.
December 30, 2010

Slam poet Kelly Zen-Yie Tsai I met spoken word artist Kelly Zen-Yie Tsai when she performed in Denver during the 2008 Democratic National Convention (you remember, the cool one where Obama was nominated) for an APIA Votes gala for Asian Americans. She rocked the room with a too-short set, and I bought her first album of slam poetry from 2007, "Infinity Breaks," that night. She released her second album, "Further She Wrote," in early December and it's available online via Bandcamp. Through January, you can name your price for the album (I suggest a minimum of $15 -- we gotta support our peeps), to download the tracks to your computer. The CD version will be available in January. Tsai's a Chinese Taiwanese American born and raised in Chicago and now living in New York City. New York is a palpable presence in some of her poems, especially her sharply observed ode to her neighborhood, "he Ballad of a Maybe Gentrifier" in which she bemoans how the Bedford-Stuyvesant neighborhood is changing as new diverse residents move in and the established black population gets pushed father into the margins. She notes the irony that she's part of the new guard that's changing the tenor of the Bedford-Stuyvesant area of Brooklyn. I know the hood, since it's where I went to college in the '70s, at Pratt Institute. It was a mean-ass place then and it's way different now. Sometimes changes -- even "gentrification" is a good thing. She also draws a terrific picture of her hood in "Betp, Bed-Stuy Sketch #1."