The New Generation and Power of Hope hr678

 

What occupation did you want to have when you were a child? As for me, I wanted to be a singer. My father got a cassette tape recorder that was a new gadget of novelty on the market back then, and he used to record my a cappella singing of popular songs of those days over and over. I also remember as one of my earliest memories that I won an amateur singing contest in a local festival by singing a children’s song a cappella. I thought I had a talent for singing, but now I suspect that I won not because I sang best there but because I was such a small child among all adult participants.

I heard a topic in a news show that the occupation which Japanese schoolboys of today want most is neither a baseball player nor a professional gamer but an office worker. To me, it seems like a work style rather than an occupation because the point is what kind of business they want to work at an office for. I guess that wanting to be an office worker in whatever business means there is nothing they want to do in the future other than making money.

Every time I see young people of the new generation, I find many of them are kind, gentle and have good manners. Until a few decades ago, Japan had had a male-dominated society where a woman steps aside to let a man walk straight in a narrow street. I have defied those unspoken rules all my life so that I have often almost bumped into a man before he flipped aside at the last moment. I used to see that occasion as a face-off with Japanese society. Nowadays however, even in an old rural town where I live, I have seen more young men let me go first, step aside or hold a door for me. On the other hand, they seem too benign and content. I don’t feel strong ambitions from them such as achieving something no matter what or aiming to live in a gorgeous mansion someday. They look satisfied enough by sharing their photos of new sweets at the cafe on SNS. Is a person like me, who list all the things of this and that I want to do, and literally rush about in a sweat everyday to complete everything on the list, an unsightly antediluvian? Should I instead take my time to gaze at artwork on the foam in my cafe latte cup, take a photo and put it up on SNS?

When I straightened up my room the other day, I found my old portable CD player that I hadn’t used for a long time. Inside, it held a CD of Pebbles who made a hit about 30 years ago. I used to listen to it whenever I walked to a gym because the songs’ arrangement was so superb that I could learn a lot for my music. I connected its tattered power cord and turned it on. To my surprise, the player was still alive and began to play the first track of Pebbles’s album. The moment I heard the sound, my past self returned all of a sudden.

In those days, I was an avid fan of Formula One World Champion, Ayrton Senna. I loved him so much that he had become the only motivation for me to be successful as a singer-songwriter. I made my songs and tried to get a deal with a major record company with all my effort because I had believed that would eventually lead to Senna. I blindly felt certain that I would meet him and marry him. Since I was possessed with the notion, it wasn’t about whether the day would come but when. For the day that should arrive, I made every preparation I could think of. That was why I was walking, swimming at the gym, and applying skin-care cosmetics. Since those preparation days for Senna were always accompanied by Pebbles’s songs, listening to them brought back my feelings of the past vividly.

My plan was abruptly smashed when Senna was killed by an accident during the race several years later. I remember debris of his crash looked like pieces of my dream on TV. I haven’t been able to watch any documentaries or movies about Senna to this date because it’s still too hard. Yet, my goal remained while my motivation died. I had to ask myself why I would keep going. The answer was simple; it was what I wanted to do. And now, although I don’t make a lot of money, I have become a singer-songwriter. From my experience, I can tell it’s possible to have the occupation that you want if you cling to hope. I think you will be able to spare yourself despair if you want nothing in the first place. But in exchange, you can’t get hope either. While disappointment may knock you down, the rapture you feel when even a small piece of your wish comes true, and sense of fullness you have when you strive for your goal, is wonderful beyond description.

Tears were running down my cheeks while I was listening to Pebbles’s album. It recalled to me how much hope my past self had. That hope was completely unfounded and groundless without any reasons, but I had doubtlessly believed it would be fulfilled somehow. I had forgotten about that kind of my young past self once existed and I realized I didn’t appreciate how happy I was then. I knew I had so much hope for my age, but not that amount and certainty. I couldn’t help feeling envious of my past self filled with unrealistic hope who surely looked stupid. Thinking how privileged I was when I was young, I couldn’t stop crying.

A Super Drummer Appears! hr676

 

There used to be numerous kinds of music magazines at book stores in the mid-80’s when my partner and I moved to Tokyo to become professional musicians. Those magazines had classified ads on the last few pages to recruit band members. Among them, a magazine called ‘Player’ spared almost more than half the entire contents for the classified ads. In fact, my partner and I ran across each other through one of the ads in that magazine when I still lived in Kyoto.

One of the reasons why we came to Tokyo was that we had thought many good musicians would be found in Tokyo, which would enable us to form a band with professional quality in no time. Finding a good player had been extremely difficult when we played around the kyoto area. We recruited one after another who had never met our standard. In the end, we used a rhythm machine and sequencers in place of human members. It was the time when those gadgets had been just put on the market so that the technology was lamentably primitive. Machine troubles had been our norm in the gigs and we had bitterly learned the limitations of machine members.

Once we moved to Tokyo, we put as many classified ads as possible in the music magazines and met so many musicians. While we repeated test sessions with each candidate in the studio, we couldn’t find good enough members who matched our quest for the ones with high skill and a strong motivation to become professional. We gradually began to think that we had overestimated Tokyo.

On one of those days, we found Mr. Maejima. He was a highly motivated drummer of a bag of bones, who was refined and courteous, a dropout of college from passion for music as I was. In the studio session, he played accurately and delicately, who was the best drummer we had ever come across. He joined us as a band member instantly. We got along so well. We shared not only eagerness for success in music but also even hobbies, which made us closer. He invited us to his home where he lived with his parents. He gave me his old, first drum set that he had gotten by working part time so strenuously when he was a student, and came to my apartment with it to set it up for me. He also gave me a lot of gaming software that he had finished playing. The legendary film ‘Back to the Future’ was first known to us as his best picture. Together we ate out and even went to that famous theme park of the mouse, where I introduced him to the mouse as my band’s drummer. We were on good terms, that was quite rare for my partner and I who had no friends.

As for other members however, we continuously had no luck. We couldn’t find a bassist and a guitarist, and had to compromise with the temporary members to play for gigs and auditions. Those members played awfully in the studio for rehearsal and in the actual gigs. What irritated us most was they would make a big mistake at the important contest of all things and ruin our chance. On top of that, we were caught in a fight with the promoter of the gig who turned out to be a fraud. We were besieged with bad luck and our band had been in hot water for months.

Then at last, Mr. Maejima told us that he wanted to quit the band. My partner and I understood his feeling since a long predicament of the band added to our part time jobs for living had exhausted us as well. We were too dispirited to persuade him to stay. Nevertheless, it was so hard to see an unfailing partner leaving. A leaden heart by his leaving drove us to switch to recording our songs with synthesizers from playing them in a gig. In hindsight, it was a good decision that would work for us well.

A few years later, I received a letter from Mr. Maejima unexpectedly. It said that he had joined a new religious group and worked as a drummer of the group’s band. He suggested that I join it. While I should have felt happy for him, I felt sad instead. The fact that the mainstream of the music scene had no place for such a talented, motivated musician like Mr. Maejima. The reality that a would-be artist with good looks and no talent sold well and was adored. I knew that the world was unfair, but his letter made me realize it anew.

Decades have passed since then, and I have moved around several times. Still, I have a drum set that Mr. Maejima gave me. It’s on active service, only disassembled to components. They are used as containers in my apartment, holding my stuff including passion. 

A Picture of the World After Death hr673

 

There was a local temple one block away from my home in my hometown. The temple wasn't a grand splendid kind that often appeared in sightseeing brochures, but a small somber one that seemed more like a meeting place of a hamlet. People in my hamlet regularly used it for various kinds of assembly, such as a parishioners' meeting, a sutra reading practice of elders, and funeral prayers. It had the cemetery in the yard where stone statues of a guardian deity of children lined up. My mother used to take my sister and me there to pray at the statues. In the old days, those local temples in Japan served as family history keepers for the residents of the area. People would use a temple to examine the other family when their daughters or sons were getting married. For so many purposes, the local temple was deeply integrated with the residents' daily lives when I was a child.

During those days, an assembly for children living in the hamlet was held annually in the temple every summer. Grandmothers would take their grandchildren to the temple where the monk preached and handed a bag of candies and snacks. A hall of the temple had a large wall picture that depicted the world after death with an ancient eerie fearful touch. The dead cross a river that separates this world and the next. They meet one by one a humongous fiend with a horrifying face who judges them according to their deeds in their lifetime. A dead person who lies to the fiend is to get their tongue pulled out. Some of the dead climb above clouds where heaven is, and some are kicked off down to a pit where hell is. In hell, the dead are boiled in a caldron or burned by lurid fire. Grown-ups told the children that they would end up there if they did evil. I suppose the picture would be regarded as inappropriate for children if it were now, for the reason of giving them a traumatic memory.

There is a proverb in Japan that is 'Hell and heaven exists in this life.' As it says, innocent people get killed every day and less fortunate people endure scarce suffering days that make them feel as if they are being boiled in a caldron. Looking back, I also had some experiences in which I felt as if I had been in hell. Especially when my parents deceived me and destroyed my music business, I writhed in agony with anger and grief. I duly agree from my own experiences that hell exists in this life, but then, where in this life does heaven exist?

I have some possible instances that I can think of. When I completed one of my songs after almost ten years with my aimed quality and no compromise, I burst into laughter with tears rolling down on my cheeks, feeling like I was floating toward the sky with extreme happiness. Also, whenever I acknowledge someone purchased, downloaded and read my book somewhere, my heart gets warm and is shined with a sense of happiness even though it pays me a dollar or so. I think people can be in heaven in this life when what they are engrossed in by doing their best is rewarded somewhat, even a little, after they go through many kinds of hardships.

We don't have to wait for the end of this life since we can be either in heaven or hell today. At least we can decide which place to walk toward today. Even if hope and despair always coexist and fall on us as a set whenever we strive for what we want, I would rather keep trying and head for heaven. An image of hell that was shown in the picture of the temple remains in my brain and still scares me. I just don't want to be in a place like that. 

The Unhappy at the Happiest Place hr671

 

Looking back, the bottom of my life was several years in the mid-80’s when I left my hometown and came to live in Tokyo where I was struggling for success as a musician. While I was working part-time for a living, I was making songs, looking for band members, doing gigs and selling our demos to the record companies. Those days were so energy-consuming without any luck that my mind and body had been both tuckered out. I began to drink and smoke.

It happened at the theme park in the Tokyo area which host was the mouse. I had been working part-time as an attraction cast member at the park that was newly opened only a few years back. Because it was in the midst of the Japanese holiday week, the park was quite crowded. The attraction where I worked had a full house all day and a long waiting line continued. When I was introducing the attraction over the PA system at the holding area inside, I saw a group of three peevishly-looking men in their late twenties eating popcorn. After I put down the microphone, I approached them and gently with a smile asked not to eat inside, which was strictly instructed as a working procedure. Then I noticed they were sitting on a swung chain in front of the mural painting. I went to them and again asked not to because the chain was easily detached from the poles thus dangerous, which was also what the cast member was strictly told to do. The whole thing originated with these two trivial incidents.

Next to the holding area was the preshow area where the short movie was shown. In the middle of the movie, I saw some people open the door and enter the next theater, which was prohibited. I followed them into the theater where the main attraction was. They were the same men who had infringed the attraction rules at the holding area. I politely asked them to return to the preshow or go out as they weren’t allowed to skip the process. One of them said to me angrily, “You have kept telling me not to do this and that all the way! Stop that already!” They refused what I asked and tried to stay in the main theater. I explained the preshow would end merely in about a few minutes and asked them to go back. Then he yelled at me, “Shut up, ugly!”

The word ‘ugly’ had been a cue for me since I was a child. I battered a boy who uttered the word to me at elementary school. Even in my adult life, I once tried to strangle a middle-aged hoodlum and push him over the bridge-rail down to the river. In that case, I was carrying all the musical instruments and walking slowly when the man yelled at me from behind, “Walk fast!” I turned around and explained why I couldn’t do so with a heavy burden, and he said, “Don’t bar the way, ugly!” Probably because of my complex, I easily lost control whenever somebody told me ‘ugly’.

The man’s cue at the theme park made me thrust him with my both hands. He fired up as well and shouted, “Violence! Violence here!” Next moment, I found myself punching him. He looked surprised and terrified, then repeated like a child, “Violence! I was hit by an employee!” Other cast members came running toward us. Without a word, I left the attraction for the break area where I smoked a Camel.

Nobody came to me and I returned to work after I pulled myself together half an hour or so later. Neither the supervisor nor my colleagues mentioned the incident. They acted perfectly as if nothing had happened. They behaved similarly the next day, too, except for a distant attitude. Since it was in those times when companies’ awareness of compliance was low and social media where people upload their video clips was yet to come, the incident didn’t raise a fuss. Even so, I didn’t feel relieved not to be fired. I just felt sorry for the mouse who was the host of the park, that I did violence at my favorite place. I noticed how low I had gotten as a person. The sense I needed to clean up my act and change led me to quit the job soon after the incident.

I am so ashamed of my past self. I couldn’t, and still can’t, forgive my behavior. Just because I was unhappy, I shouldn’t have taken it out to others. I realized I was a foolish punk myself, and bitterly hated myself for that. The decision to quit the job was the new cue to try to become a better person. What I didn’t see was that the cue consequently turned my life for the better. I thought I was completely cornered and resigned to live at the bottom, not knowing I had gotten out of the worst already.

Nothing But Leaves My Carrot Gives hr643

 When I was nine years old, I suffered from a kidney disease called nephritis. I skipped school and stayed in bed at home for a week as I felt sick and had a fever every day. It had gotten so worse that I vomited blood one night and passed out. My mother found it next morning and called in a neighbor who worked as a nurse. She urged my mother to take me to the local clinic which doctor in turn urged her to get me examined at the hospital. As a result, I was hospitalized for nephritis.
As it was when I lived in a small village of Kyoto, Japan, no one in my family knew what nephritis was. My mother rummaged out a supplement of a homemaking magazine that featured medical issues. It had charts of disease that showed a result according to symptoms by following the arrows to correspond applicable symptoms. I chose the arrows of my symptoms and ended up the result of ‘death’. No matter how many times and how many different patterns I tried, the bottom of the chart concluded with a word ‘death’. “Does it mean I’ll die of this disease in any case?” My mother and I asked the same question to each other and closed the booklet.
My hospitalized days in a shared room of six patients at the children’s ward began. As a nephritis patient, I didn’t have freedom of flushing the toilet. Urine had to be kept in a glass jar each time to be examined. Its amount and color told a condition of a patient. Other patients’ jars were put on the shelves along with mine. Compared to others’, mine was less and darker. I was afraid if my condition was so bad. Because I didn’t want to admit it and didn’t want doctors and nurses to find it either, I tried to cheat. Into a one-time jar, I urinated twice so that at least my amount seemed normal. It had escalated gradually and I urinated the whole day into one jar. Ironically, the abnormally large amount of urine drew an alarming attention of a nurse who thought my illness had taken an inexplicable turn for the worse. It worked directly opposite to what I had intended and I confessed my cheating helter-skelter.
My six-patient room wasn’t usually lonesome as we were kids and some of their parents were allowed to stay with them on the couches next to their beds. But some got permission to go home for the night provisionally, some got well and left the hospital, some got worse and moved to a single room, all of which coincided at the same time and the room was almost empty one night. A girl whose bed was on the opposite side of mine and I were only patients in the room. After the lights-out time, she asked in the darkness if I was still awake. As I answered yes, she started telling me a story that she made. I thought she felt lonely and couldn’t sleep because the room was too quiet that night with just two of us. Her story was about two rabbits. They seeded, watered and grew carrots at each section in the field. The night before the harvest, one of the two rabbits sneaked in the field and pulled out all the carrots from the other rabbit’s section. He ate them all and put leaves back on each hole to cover it. Next morning, two rabbits came up to the field and started to harvest their carrots on their each section. The other rabbit, who knew nothing about the night before, was excited to reap his carrots since he had been looking forward to this day for long. But every time he pulled out his carrot, there was nothing beyond the leaves. He was puzzled and sang, “Nothing but leaves my carrot gives!” While his friend rabbit was pulling out a ripe carrot one after another next to his section, he pulled out only leaves out of a hole repeatedly and sang each time, “Nothing but leaves my carrot gives!” I dozed off and woke up by the girl’s voice of “Hidemi, are you listening?” a few times during the story. Unfortunately, my patience didn’t last until the end. I had been completely asleep at that part of the story and didn’t get the ending. With hindsight, her story may not be her original but something she read or heard since it ‘s too good for a story that a small child makes. Either way, I still remember the story for some reason. When my song didn’t sell at all although I had spent many years to complete it, I heard “Nothing but leaves my carrot gives!” from somewhere.
One day, we had a new comer in the six-patient room. Although she was a junior high school student and wasn’t supposed to be in the children’s ward, she was sent here because the women’s ward was full. She was unhappy to be confined with kids and complained to her mother and the nurses. She looked a grown-up to me and I liked her instantly. I went to her bed to talk to her and tried to console her. I had been stuck to her bedside every day since. She often told me not to make her laugh because her wound from an appendix operation hurt. She laughed at my talks anyway. When she left the hospital, she gave me a gift. It was a small porcelain doll who was wearing a white bouffant skirt beneath which was a bell. On the skirt, there was a printed inscription saying, “I wish for your happiness.” I had put her on the shelves in my room long after I left the hospital, until I grew up and left home.
I think those hospital days have influenced me immensely. I had been constantly aware of death in those days. I got well after all but I had never felt death so close to me in my life. As it’s said that people don’t live life unless they understand death, that experience has driven me to think things based on the idea that I eventually die, and therefore to do what I want for my life. Even if my carrot gives nothing but leaves.

The Positive Generated by the Negative hr625

When I was in kindergarten, I was always pushed away and ignored by my fellow kindergartners.
I played the bells wearing a headpiece of a dove on stage alongside other kindergartners at an annual presentation before the parents. I was told to stand at the edge of the stage close to the wings. As we were playing, the kids next to me continued to thrust me into the wings. I tried to fight the way back onto the stage as it had looked more and more that I didn’t participate the performance. No matter how hard I tried, they kept pushing me aside and the best I could do was to poke half of my face out of the wings.
It was the time of an Apollo-frenzy and the kindergarten held an exhibit of miniature rockets made by the children for the parents. The rockets were to be made out of empty soft drink bottles. Since the plan of the exhibit was introduced, I had diligently collected empty bottles. By the time the miniature rocket began to be built, I collected and brought the highest number of bottles to the class. But once we started making, the kids wouldn’t use my bottles. Although all of us brought similar bottles in the same shape and size, they were carefully excluding the ones I brought as their materials. Every time I glued one of mine to the rocket, some kid removed it. I glued, they removed. The rocket had gotten bigger only with other kids’ bottles as we repeated the glue-remove maneuver persistently. Finally other kids’ patience to keep removing my bottle ran out and they started throwing it away out of the window. I went outside to pick it up and as soon as I came back, another bottle of mine was thrown out. Now a new routine had been established. They threw out, I picked in. The rocket completed without one single bottle of mine. I brought home all the bottles intact and told my parents that those were surplus. My mother came to the exhibit and saw the rocket that I didn’t participate to make, but with my name among the builder’s list.
Come to think of it, those kindergarten days precisely represent my whole life. As a singer-songwriter, I have been pushed away and ignored in music circles. Nobody has noticed nor recognized me as if I were an invisible person. I had dreamed that my songs would be in the charts and I would become a celebrity. I would be on ‘Tonight Show’ as a guest and talk with the host. I would be loved by people and be on the top of the world. I had prepared for that day for a long time. I had been dieting and exercising. I had been nice to people and talking to them to improve social skills. I had fervently craved fame. Meanwhile though, the songs that I completed with all my effort and strength by sacrificing everything else had never been appreciated. I think it’s time to accept the reality. It’s about time to abandon confidence and expectation for this world and to admit that I had overestimated the world.
Since the end of the last year, strange things have happened to me as if some messages had been being sent. I had vaguely received and interpreted them. Then I came across one movie that defined the message and made me wide awake. I hadn’t been able to shake off the idea that I had been locked up in a prison or an institution since I was little. And I was right. I realized this world’s true self. Now I have, at long last, found the way to get out of it.
I can’t wake up in the morning. I can’t get along with others. I can’t do what I don’t like. I can’t notice transparent glass so that I bang into it. I can’t get a driver’s license. I can’t perceive people’s feelings. But everything is all right from now on. I am happy to be pushed away from the world because I am no longer part of it. By willingly stopping being part of it, I got out of this world and attained freedom. It’s so funny I had desperately tried all my life to belong to this society that I had known is crazy since my childhood. I will live as myself without conforming to the craziness. I will not care about this society’s value now that I’m out of it. Instead, I evaluate solely by my own value. I judge what is good. I decide what is successful. I’ve never felt free this much in my entire life. All of a sudden, everything reversed and people look locked up while I was released. Outside, my life itself is art because it exists to create music. My songs are supreme pieces and that means I’m totally successful. I’ve become a true artist standing center stage in a spotlight.

The New Song Completed, Again hr598

After a one-year-long struggle with mastering, I completed my new song and got to open Moet Chandon. I took a long summer vacation for the first time since I became a musician. Then I got down to post production, starting with mastering the instrumental track of the new song. The instrumental track isn’t important, it’s a kind of an incidental that is prepared just in case. I was going to take it easy and get it over quickly. That approach of mine led casual settings for the effects and their readings. I tried an experimental setting that I had never applied on the master track since I knew it would go overboard. While it was easy to imagine that the resultant track would be bad, I just did it for some sort of fun. The most difficult part of mastering is to boost volume. To get the song to its adequate volume, I spent an unbelievable amount of time sending the master track into the effects repeatedly by which the volume got bigger little by little. But as for this instrumental track, the volume got magically big on the first try of my experimental setting. I couldn’t believe my eyes when I saw the track’s fat audio wave. In a case like this, I knew too well that its sound would be crushed and terrible. I listened to the track and I couldn’t believe my ears either. The new instrumental track sounded better than the finished master track. I tried to grasp what was going on. The only explanation I could find was that this was the instrumental track without main vocals. The track with main vocals can be another matter altogether because vocals tend to complicate effects’ settings. The settings that work for the instrumental track don’t necessarily work for the one with vocals. The problem here was though, that I was assaulted by an urge to try these settings on the master track. I battled with the urge by asking to myself: Haven’t I declared the song’s completion? Am I redoing all over again? What if I bog down into that notorious endless mastering loop again? Am I really willing to repeat that struggle? Do I prolong this project even more? Although I did my best and tried the limits of my abilities for the new song, I couldn’t deny that there were some aspects I had to give in. It sounded slightly different from what I really wanted, but I couldn’t find the way no matter how many times I tried. What if these new settings were the solution? If I wanted the song to be perfect, wouldn’t it be worth a try? The urge prevailed. I redid the mastering with the settings that happened to be found for the instrumental track. It worked. On one try, the song turned into exactly what I had been searching for. I had no other way than replacing the version I had completed with a one-year-long struggle with this new version completed in a few minutes. I felt rather chilled than happy. I experienced the inexplicable. The very thing I had struggled to get over one year was found totally accidentally, ridiculously easily. It was as if the date for the song’s completion had been fixed long since. The song has been completed surely this time, but I had already finished Moet and had nothing to celebrate with. I was too embarrassed to tell my partner who works as the producer this course of events. I didn’t have the nerve to tell someone who had waited for the song with enormous patience during the one-year-long mastering that I changed the master track to the one I just finished in a matter of minutes. I hesitated but eventually confessed. Sometimes, taking time doesn’t mean the best result. I still feel that someone else was mastering the song in place of me while I was taking a summer vacation as a reward for having done my best for one year. Music can be after all what is given, not what one makes…

Illusions of Completion hr592

My work for the new song is drawing to a close and it’s in the mastering process now. I usually make the master track and leave it for a few days before the final check. The interval is essential for me because it gets me out of the zone, calms me down and gives me ears to listen objectively. Since this particular new song of mine required difficult mastering, I had trouble with finding the solution. It took much longer than I had expected to make the master track. I finally got to make one and tried to forget all about it for a few days. After the interval, I got so tense and excited that couldn’t sleep the night before the final check. What made me sleepless was the thought that on the very next day, I would finally end this painfully prolonged mastering and could see the song completed. I knew I needed a good night’s sleep for a good physical condition to make good judgement, but that pressure for all good kept me awake all the more. I listened to the master track the next day carefully and objectively, and found one slight flaw. I was disappointed that it wasn’t the day. I had to correct it and hold the completion over. I repeated the process of mastering, taking an interval, having difficulty sleeping, and making the final check. Then on the day I believed this would be the day of completion, I noticed one minor kink. I redid the process all over again. At the moment, I’m in this loop and can’t get out of it. I’m literally stuck in the mud of mastering. I make it a custom to open champagne when a song is completed, which doesn’t happen often because I’m a slow worker. Completing a song is so infrequent that I celebrate with Moet Chandon. It’s my favorite but too expensive for me to drink except for New Year’s Eve. This time, I put it in the fridge months ago when I thought this song was completed at any moment. And it’s been there unopened for months, as I’m deeply caught in the mastering mire. Every time I open the fridge, I see Moet chilled so long and almost frozen up, blaming my prolonged work. I keep declaring to my partner that today is the last day for this song, and retracting it at the end of the day. He doesn’t say anything but I feel his disappointment and anxiousness. As I’ve taken back my words of the completion so many times, I fear that he might see me as a useless liar who is just lingering slow work. I can take as much time as I like in theory since the deadline doesn’t exist for the song. Even so, I’ve already spent five years working just on this song and it’s too long for a slow worker like me. That notion puts a lot of pressure on me to complete fast. It seems to me as if both Moet’s and my partner’s patience is running out. Workdays have dragged on and on, and it has begun to eat me mentally. These days, when I finish my day’s work and tell my partner that the song hasn’t been completed again, I sense that he throws me a cold glance implying, “I thought so.” The other night, I had a dream in which I cried for joy because the song’s mastering went perfectly and it sounded flawless. The other day, when I failed to finish the song for umpteenth time, I was so irritated that I took it out on my partner and had a nasty dinnertime. In this anguish, winter ended and spring has come. I’ve been correcting small parts that I’m not satisfied with, which hinders completion. The thing is, those parts are too small to be called flaws or even kinks. I’m certain nobody would notice when he or she listens to it. Then what am I doing? What am I chasing? I may have lost a definition for completion. What is completion, after all? I’ve asked basic questions to myself and the answer is the same. I just want what I’m entirely satisfied with. If I called anything other than that completion, it would be a lie. I would actually become a useless liar and be done for. I would rather be bogged down in this mud of searching for my perfection than that. So I go on, starting another loop yet again, while I keep crying completion to my partner, to myself, and to Moet Chandon…

A Picture-Card Show hr586

I was absorbed in one kind of play when I was about seven years old. It was paper play called ‘kamishibai’ in Japan. It’s a picture-card show in which a performer tells a story while showing a picture that corresponds to it. A performer impersonates the characters to say their lines and flips a picture to the next one when the scene changes. It’s a sort of street performance that is hardly seen these days. But when I was little, an old picture-card showman came to the small park near my house every two weeks or so. He would walk around my neighborhood while ringing a bell to let children know the show was coming. When I heard the bell, I would spring toward the park clenching small change in my hand. The show was free, but the performer sold cheap snacks and candies before the show. His theater was his bicycle. On the back of the bicycle, a big wooden box was fixed that contained both the pictures and candies. Once the show started, the box transformed into the picture holder. By tacit agreement, children who had bought candies stood in the front and those who hadn’t stood on their toes in the back to get a view. Although the story itself didn’t interest me so much, I loved the experience that I saw a live performance while eating delicious snacks. It was a luxury to me. Probably because I liked it too much, I asked my parents and got a picture-card show play set. The play set was available at a bookstore and came with a sono-sheet. A sono-sheet was a very thin flexible vinyl record on which the story, the lines of the characters and the sound effects all that corresponded to the picture cards were recorded. The instruction for the timing to flip the pictures was also recorded. The story and the pictures were from a popular TV animation program for kids. Unlike the picture-card show at the park, with this play set, I was a performer. Since there was a vinyl to be played along with it, I could sit in front of the picture holder and watch it as a lone audience while listening to the record. Only, I wasn’t interested in being the audience. I’d rather stood behind the picture holder and flipped the pictures according to the instruction played on the record. The characters’ lines were printed on the back of each picture and I read them along with the record. The number of the picture cards were over twenty and I practiced flipping each one of them in the perfect timing and reading the lines with emotions by imitating the voice actors on the record. That was my favorite play of my childhood and I spent a lot of time and energy every day. The funny part was, I didn’t need any audience. I practiced intently not to show the play but to perform perfectly. And I performed exclusively for myself. This play couldn’t be accomplished without the record player that sat in the guestroom of my house. I would sneak in there to play with the set because I couldn’t concentrate on my performance if someone heard or saw it. In case my younger sister asked me to play it to her, I drove her away. Not to be bothered by anyone, I didn’t even turn on the light of the room. I would play the show along with the record alone in the dark, and relish satisfaction and joy when I thought the performance went perfectly. Recalling my favorite childhood play now, it awfully looks similar to the way I engage in my work of music. I guess I make my songs strenuously for perfection not for audience’s reception. I always thought I pursued people’s attention and stardom, but it wasn’t true as long as I remembered how I felt happy in my childhood. That explains why my songs don’t ever sell. I perform to no audience. It seems that’s the way I liked, and the way I’m destined for…

Reward hr569

My parents didn’t get married for love. Their marriage was part of a deal to inherit the family’s fortune and they took it for money. Another part of the deal was to carry on the family and they had me as a successor. It had gone according to their plan until I decided to do what I wanted for my life and left home. Since then, they attempted every evil way to pull me back in the family. They tried all possible means to make me give up my carrier as a musician. They said I had no talent, I was a failure, and how bad I was as a human being, over and over at every opportunity. They conned me once big time. Out of the blue they offered money to set up my own record label, and after I rented an office and hired the staff, they suddenly withdrew their money, crushed my label and bankrupted me. I defied any kind of attack, threat, temptation and begging from them because I was determined to be a musician. When they realized I wouldn’t succeed the family, they told me not to even visit them because they didn’t want to see me any more. On their repeated requests not to come see them in their house, I understood they didn’t need their child who wasn’t a successor. From that experience, I have a doubt about a concept of unconditional love. I spent about 10 years to complete my last song. The new song I’ve been currently working on hasn’t been completed yet after four years. It was not because I was loitering over my work on purpose. Making music is the only thing I do seriously without compromise. I don’t want to let time interfere with my music. It’s completed when I’m satisfactorily convinced it’s finished. And I dream of my future in which my song will be such a big hit that it will make me a celebrity and take me to Monaco. The other day, I noticed an unfavorable fact. While I dedicate my life for my songs that I spend all my effort, time and passion on, I unconsciously expect reward from them. Although I already have so much fun and feel indescribable happiness during work, I believe that my songs should bring me money and fame someday. That sounds awfully like my parents’ attitude toward me. They raised me while they expected reward when I grew up. Do I also nurture my songs for reward when they are completed? If so, I will end up exploding my anger if my songs don’t reward me with money and fame. Am I the same as my parents after all or can I give unconditional love to my songs? I get enough reward in the process of completing songs. My reward is done when songs are done. From then on, all I should care is to make my songs happy, which means to support them all my life by doing whatever I possibly can to make them be heard by a lot of people. Can I love my songs that way and be satisfied with my life until the day I die? I must try. Because even if I don’t have any money or fame at all, I think I’ve already received reward called life with freedom and happiness…