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  • Japanese Millennials

    A big open-air rock festival is held annually every summer in the small town where I live that is enclosed by mountains. More than ten times as many people as the town’s population visit during the few days of the festival. People all over the country and even from overseas fill up the train station that is usually inactive and quiet. In front of it, an endlessly long line is formed in the heat for the shuttle bus to the concert venue.
    The attendance trend has changed in recent years. While a young attendance has been down, more and more men in their fifties and sixties come by their own. The reason mirrors characteristics of today’s Japanese youth. They have been getting poorer than the generation before and the tickets and the transportation for the festival cost too much for them.
    Also, they don’t like being dirty. It’s not appealing to them to watch concerts in the rain soaking wet and getting muddy in the open air. That attributes a less crowd on Japanese beaches, too. They opt for a pool where they don’t get covered with sand.
    I’ve seen young people’s behavior change everywhere. In restaurants, chairs and booths are disappearing and replaced by a Japanese-style space with tatami mats. They prefer sit directly on a tatami floor at a low table by taking off their shoes and folding their legs. In a restaurant that has a Western style without any tatami space, I sometimes see shameful people who take off their shoes and sit folding their legs on a chair as if a chair was a floor. Knives and forks are less available because they like to use chopsticks and suck pasta by making slithering noises.
    In a movie complex, less and less American movies are showing and Japanese movies are abundant instead. To make things worse, the majority of that small number of American movies is dubbed into Japanese, which spoils original actors’ performances completely. Up until a decade or so ago, almost all the foreign movies were subtitled. Since I exclusively see American movies with subtitles, which by the way I prefer without them but have no choice at a theater in Japan, the selection for the movie is excruciatingly limited nowadays.
    I sometimes see trailers of Japanese movies before the one I came to see and even a glimpse of it disgusts me. A main character is always a female high-school student or a child or an animal. Most are animated and a story is lukewarm and saccharine without any contention. I don’t understand what is the point to spend time and money to watch those.
    It seems that American movies, in which things are destroyed, people are killing each other, lives are at stake, emotions are exploding, are too intensive and strong for Japanese gentle millennials.
    Their taste for fashion is gentle, too. They choose somber, obscure colors with no patterns or accessories so that they look lowly. They seem peculiar to me especially because my taste is fancy and colorful. I like wearing clothes with bright colors and patterns and confusingly complex accessories. Although I’m not rich, I tend to have a glass of sparkling wine at a Western-style restaurant in a hotel.
    As my favorite restaurants and shops aren’t popular anymore and have been closed or remodeled into a cheap Japanese-style one by one, Japan has been getting an uncomfortable country to live in for me. Well, come to think of it, it has never been comfortable to me since my childhood. I had thought it would have been better by the time I became a grown-up, but it just didn’t happen. It was an illusion of a child and Japan has treated me the same way with different people…

    Episode from

    Japanese Millennials: Singer, Songwriter and Author from Kyoto, Japan by Hidemi Woods

  • The Gap between the Music Industry and Me hr683

    I used to go to music school and present my songs on the live stage there in the early ’90s. The presentation event was held once a month where the students sang their own songs in front of the renowned music producers and the top artists of the time, who gave their suggestions or impressions of the songs. I tried to seize the opportunity for a break and made a new song every month for the event by writing, arranging and recording the accompaniment until dawn with cutting down on my sleep. Though I was picked as the best of the class and the producers and the artists were impressed at my song on every stage, nothing further ever happened. I had imagined that people in the music business were looking for songs of good quality so that I could sign a contract only if I provided them, which wasn’t how it worked as it turned out.

    In those days, my partner with whom I created music together worked part-time as an attraction cast at the theme park which host is the famous mouse. Since our music career hadn’t been going as we had expected, he constantly brooded over his future as a musician. He couldn’t get rid of anxiety out of his mind and felt at a deadlock. One day, too much distress caused him a panic attack during work at the theme park and he suddenly pushed the stop switch without thinking. His operational error made the entire attraction aborted and the guests had to leave the attraction. Fortunately the matter was settled by submitting a letter of apology and he was spared from being fired.

    Nevertheless, he thought he couldn’t go on with such a mental state of his and quit voluntarily. To recuperate mentally, he was walking for a couple of hours every day and rented a movie at a rental video shop that existed at the time to watch one film per day. Now that he had gotten time to spare, he looked up music producers of Japanese record companies, copied my songs that I presented at the music school on cassette tapes, and sent them out to the producers.

    While he had been sending to thirty or forty producers each time I completed a song, some of them contacted us and we had a meeting. In those cases, we were nervous but extremely excited at the same time to picture that this could be a break. We visited the high-rise shining building where the major record company resided and met quite a few producers there. The best meeting for me was with the one who worked for the very band whose songs had been the decisive reason why I became a musician. He told me that the artist of the band of whom I was an avid fan had actually listened to my song and admired it. In another case, a producer even promised to prepare a studio for us to rehearse the recording. After that meeting, my partner and I opened a bottle of champagne at home. The thing was, they would stop contacting us after the meeting without exception. Although all the meetings seemingly went so well, everything stopped right there and no further progress occurred. They never called us again. No matter how excited the producer sounded when we received a call from him, his passion dispersed once we met face to face. It seemed that their sweet offers were only to avoid conflict and end the meeting peacefully. When we called them day after day persistently to ask how things they had promised were going, they were always out. They apparently dodged us. Then I finally learned that it was our looks and uncompromising music business model. What they were looking for was good-looking musicians who would give in to any demand from the producer. On the contrary, we had determined what our working style as musicians should be and expressed we had no intention to change that, while my partner wasn’t handsome and I wasn’t pretty. No matter how good our music was, they regarded us as useless the minute they saw we weren’t beautiful puppets whom they needed. I was circling in a tormenting loop where I completed the best song in my life, sent it to producers, had meetings with them, and lost contact.

    During those unrewarded years, I had searched for a way to fill the gap between what the music industry wanted and what I wanted. Although I couldn’t find the way, it was a shame to give up because I was confident of my songs’ quality. An unbreakable heavy wall appeared in front of me who had simply thought that making good music would lead to a contract with a major record company. Back then, I was a young musician who had believed making a big hit meant success. Sadly and foolishly, it was decades later that I finally understood the notion like that was all wrong and what success truly meant.

  • High Stakes: Talking and Reading from Japan by Hidemi Woods

    This podcast is narration works of short stories from the books Hidemi Woods wrote. And her talking about them.
    Hidemi Woods was born and raised in Kyoto, Japan. A singer-songwriter and an author.
    Her stories and talking are about life in Japan, music, family, childhood, and embarrassing everyday-experiences.

    Episode from
    ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠An Old Tree in Kyoto: How a Japanese girl got freedom

    ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Audiobook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: The Family in Kyoto: One Japanese Girl Got Freedom by Hidemi Woods ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠On Sale at online stores or apps.
    ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Books,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Google Play, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Audible ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠43 available distributors in total.
    Audiobook :⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Japanese Dream by Hidemi Woods⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ On Sale at online stores or apps.
    ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Books⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Audible⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Google Play⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Nook Audiobooks⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, 43 available distributors in total.