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    How Japanese Engineering Transformed Pop Music

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    On the morning of Monday, Aug. 18, 1969, during the last set of the Woodstock festival, Jimi Hendrix wielded a white Stratocaster to play “The Star-Spangled Banner.” His guitar solo was one psychedelic peak in a long heritage of experimentation. Almost as soon as guitars were first amplified in the 1930s, musicians began messing with their equipment to create brash tones — from poking holes in speaker cones to increase distortion to plugging into a Leslie speaker, which had horns rotating in a hefty refrigerator-size wooden enclosure, the resulting Doppler effect making the guitar sound rich and otherworldly. More

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      in Movies

      How Ozu Created His Own Cinematic Language

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      The greatest filmmaker of postwar Japan found a new way to show life onscreen.MONO NO AWARE, a phrase that translates to “the pathos of things,” or something like “the beauty of transience,” has been a key aesthetic principle of Japanese art and philosophy for centuries. In the films of Yasujiro Ozu, the most famous of which are quiet domestic dramas set in Tokyo after World War II, that feeling is often manifested in what critics have come to call pillow shots: Every so often, the camera cuts away from the main action to a nearby object — a tree stirred by wind, a vase near a moonlit window, a passing train. It isn’t usually the case that a character in the movie is meant to be seeing that object at that moment, as another director might imply. Rather it’s the filmmaker who’s gently guiding our perspective away from the action, reminding us of the material world that persists outside of the story’s concerns. Ozu once spoke in an interview about deliberately leaving “empty spaces” in his movies as a means of revealing “the hidden undercurrents, the ever-changing uncertainties of life.” More

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      in Television

      Monsters Plague Japan. But What Do They Mean?

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      How ancient history and modern calamities have cultivated a national obsession with menacing creatures.HIROSHIMAON A BLUSTERY afternoon last November, I stood on the esplanade of Hiroshima Peace Memorial Park listening to the solemn gong of the Peace Bell as English and American tourists rang it again and again. A traditional Japanese bell made of oxidized metal, it has a pendular log that strikes at the atomic symbol engraved on its side as if to banish that evil from the earth. A few feet away, a group of Japanese schoolboys stood laughing and gamboling, hanging on each other as schoolboys do everywhere. More

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      in Music

      How Japanese Superfans Redefined What It Means to Be Obsessed

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      Otaku, people for whom hero worship is a way of life, have changed everyone’s relationship to the culture.ON ANY GIVEN night, the neon-lit streets of Akihabara, an entertainment district in central Tokyo, are packed with visitors. Inside windowless shopping malls, they flock to stalls selling used Hello Kitty or Astro Boy figurines, Pokémon trading cards and vintage video game consoles. At the idol bars and theaters — venues dedicated to musical acts like AKB48, which was named after the area — they wave glow sticks in colors that correspond to their favorite performers. And at the maid cafes, they pay to take pictures with young waitresses in petticoats and pinafores, many of whom hope to become stars themselves one day. Since the Japanese anime boom of the past few decades, Akihabara has been a refuge for the otaku — someone who would “go beyond the lengths of any normal person to pursue their interests,” according to the 2004 documentary film “Otaku Unite!” Kaede, 29, a member of F5ve, a girl group based on the 1990s manga series “Sailor Moon,” calls the neighborhood their “holy land.” More

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      in Television

      The Darker Side of Japan’s Love of Cuteness

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      From Hello Kitty to Pikachu, the country changed what the world considers adorable. But do these characters represent joy — or rage?To accompany this essay, three Japanese artists created (and named) seven mascots exclusively for T, all inspired by or representing The New York Times in some way.HELLO KITTY STANDS on the balcony like Eva Perón, framed by two great stone pillars and a blue-green dome. At least theoretically she is standing: Save for the round, claw-free paws on the balustrade, she is all giant head, white as a lit-up lamp with sun ray whiskers and the slash of a red ribbon at her left ear, mouthless, her eyes wholly pupils. This little girl — she is not a cat, although not not a cat either (more on this in a bit) — presides over an exhibition at the Hyokeikan, part of the Tokyo National Museum complex in the city’s Ueno Park, celebrating her 50 years of existence and global domination. More