Alison Shawver
Thedrummerthrashesabout,piercingsholdingthestagelightslikeheartbeats.Theguitariststrums wildly,tornskirtandpinkpigtailsbouncingtotheheavybeat.Theleadsinger’ssmokyeyes,entombedbyinordinateamountsoeyeshadow,pullachinghandstowardsademonicgrowl.Butsomethingseparatesthisgroupromtypicalgirlrockers:they’remen.Whenitcomesto Japaneserockbands,anythinggoes.It’sbecomealmostimperativeor J-rockmusicianstodressinthe whimsicalcombinationodrag,cybergothandVictorianashionsknownas“visualkei.”WiththeirlaxattitudetowardwhatmostintheU.S. wouldseeasbizarre,disciplesothe J-rocksceneareadierentbreedohuman.Otherthantheactthat J-rockersdon’tbataneyeatdrag,theeral,obsessivemannerismsoansalsoaddtoJ-rock’sstrangeness.Anyonewhoconsidershimselanadventure-seekerwoulddowelltoattendaJ-rockconcert.AtanyJ-rockshow,you’reboundtoseesomequirkycharacters.ThereareHarajukuemulators(notGwenSteani’smangledHarajuku),adornedincomplexcostumesandswelteringLolitadresses;theanimecosplayers,suitedupascharacterslikeVampireKnight’sZero;andtheusualpacksoignorablehipsters.Theeccentricityotheseans,however,goesbeyondtheirappearance.SomecouldbeconsideredworshipersotheirchosenJ-rockmusician,clawingoranychancetogetclosetothem,honoredtobrushahandorevenbespaton.Theirscreamingisincessant,butitaddsaninvigoratingvibetothealready-chaoticscene.Themusiciansthemselvesarevariednotonlyintheirdress,butintheirexperimentationwithAmericanstyleslike
Land of the LostSouls:
newwaveandblues.Staging,nomatterhowsmalltheset,isalwaysaseerieand vividasthecostumes,andsingersbeltoutvocalswithemotionsthattranscendanylanguagebarrier.Anyskepticismotheseo-the- wallartistsisboundtoadeonceyoulistentoaewtracks.Direngrey’s“Kodou,”orexample,isperectorthosewholikepowerul,piercing vocalsthatshitromquivering whisperstothroat-rupturingscreams. J-rockidolMiyavi,whoseshowsareamplewithsensualtheatrics,appealstothosewithatasteorthewildanduninhibited;oneohisbestalbumsisMiyaviuta,whichperectlycaptureshisuniqueblendometalandblues.DuoLM.C’smusicissel-describedas“NewCenturyElectrock,”andthoughthey’relesser-knownthanJ-rockgiantMiyavi,buttheyputonanexhilaratingshow,completewithleadsingerMayaspewingwateronhisadmirers.IthewhimsyoJ-rockhascaught yourinterest,thebestsourcesorJ-rockinormationarejrockrevolution.comandjrockeventsusa.com.J-rockRevolutionhaseverythingrominterviewstoconventionlistings,while J-rockEventsalwayshasthescooponupcomingshows.Sinceeventhemostwell-knownJ-rockerstouringtheU.S.havearelativelysmallanbase,concertticketscanbeacquiredoraslowas$10to$30.Atthisprice,there’snoreasonnottotakeachanceandindulgeinsomethingnew,andwhetheryoulovetheshoworhateit,you’llneverorgethowchillingitwas.
A Different Breedof Human
A look into the bizarreworld of Japanese rock
Norealnames.Fiveboroughs.Countlesssleepingspots.ThisisthelieCadillacManhasbeenlivingorsixmonths—atimeopain,loss,heartacheandacoupleogoodriends.And yetattheendo268pages,thereaderdoesn’tpityhim.Notatypicalcommentaryonthehomeless,CadillacManportrayshislieverysimply.FromseverebeatingstomultiplesuicideattemptstohisprostitutebestriendsAmber,SweetheartandChocolateMilk,CadillacManletsusseeeverything,leavingthereaderreetointerprettheincidents.Thenovelopenswithano-holdsbarredpreaceinwhichhetellsreadershislackogrammaticalskillsisduetotheactthatheishomeless,“notaRhodesscholar.”Thebeautyohislanguage,however,isinitssimplicity.Hisrawcolloquiallanguagegivescolortohisstory,showingthebeautyandcultureoNewYorkCitylie.Still,thelanguageholdsapoweroitsown,creatingpowerulimagery.CadillacMan’swordsmakethehomelesspeoplewehaveseen,andperhapsdisregarded,justthat—people.CadillacMan’sintendedaudiencecomesromarelativeplaceoprivilegeandheassumes(whether
Priya Chakrabarti
Cadillac Man’s life on the streets
An autobiographical look into the lives o New York’s homeless
11
a&e
heassumescorrectlyisuptoyourdiscretion)thereaderhasnevertrulytakenthetimetothinkothehomelessasmenand womenwithlivesandstories.Thatmightexplainthereasonheinsultsthereaderateveryopportunity(“you[are]spoiled[expletive]rotten”).Ajournalosorts,thespeakeristhesameastheauthor–CadillacMan.Heisullyawarethisbookisbeingreadbysomeone,resultinginanunconventionalstyleowritingthatincludesinsultsdirectedatthereader.Somewouldarguehehaseveryrighttobeangryat“therestous”whodon’tsuerthesameatehedoes.Thewayhechosetoleadhislie,however,wasaconsciousdecision.Aewchaptersintothebook,CadillacManexplainsthataterlosingthreejobsinarow,heandhiswiestartedfghting.Realizinghisshallowwieonlywantedahusbandshecouldbragabout,hejuststoppedcominghome.Hegaveupandwenttothestreets,hopingtodie.Consequently,thereaderdoesnotpityCadillacMan.Manyothesituationsheportraysaretrulytragic—instances wherehe’sseverely,andunnecessarily,beaten,orwherea
Miyavi, a revered idol in the J-rock world, boasts a distinctive style that combines blues and metal. He, like many otherJ-rock musicians, takes it upon himsel to be as eccentric and exciting as possible.
riendgetsmurderedbyanotherhomelessmanwhowantshiscoat.Thoseexperiencesareveryreal,andotenverypainul.Hisnonchalantdepictions,however,don’tnecessarilyleavereaderswithaeelingotragedy,butawarenessoapeople whowanttobeloved,tobesavedromtheLandoLostoSouls.
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