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.

 

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. 

Welcome to the Real World hr672

 

In the mid-80’s, flashy, rhythmic songs were dominant throughout the Japanese pop music scene. It may have had to do with the Japanese bubble economy which sent the nation frivolous and on a spree. The kind of songs that influenced me by touching and reaching my heart had been no longer the mainstream.

My partner and I moved to Tokyo to be professional singer-songwriters just in those days. While we continued to search for the band members, we were aggressively sending out our demo tapes to the major record companies. In addition, my partner was visiting the companies in person to hand out the demos. Since we didn’t have any connections or acquaintances there, my partner would sneak through the reception, get into the elevator to the production department floor by mingling with other employees, circle around the desks of the staff with saying, “Please listen to my demo tape.” Most office workers made a face and refused, but there was rarely someone among them who showed him a person he had better turn to, or actually listened to the tape. My partner had routinely visited the production department in all the major record companies in Tokyo in that way and consequently acquired some connections with producers.

One day, a producer introduced to him the in-house competition for a debut song of the company’s contracted idol singer. He allowed my partner to join other contracted songwriters and enter the competition with a song written for the singer. We would get a contract if the song was selected. Until then, we had written songs exclusively for ourselves and had never even imagined writing for other singers. While I had no interest in it at all, my partner gave it a try to use this opportunity as a footing for our possible record deal. He wrote quite a few songs for the idol singer and submitted the best one to the competition. Several weeks later, the producer called him for a meeting where he was told that his song wasn’t selected. The producer let him listen to the selected one. He couldn’t accept the result because the selected song was a disaster. When he asked the producer to point out at least one thing that was superior to his own song, he couldn’t answer.

That was a too familiar instance of what we had experienced about our songs. Whenever we got some advice or opinions from music producers, they sounded irrelevant and off-base. They made us fail the audition or told us our songs were not good, and gave us unconvincing reasons that were out of the point. To sum up, so-called ‘music producers’ of the major Japanese record companies were simply office workers who graduated from the renowned university and happened to like music as a hobby. We, on the other hand, had bet our life on music, had thought about nothing other than music all day and had striven to create better music every day for almost a decade. It was natural we didn’t click with each other as the depth of passion for music was too far different. The more I got involved with the Japanese music business, the more I learned how important aspects of looks, impact, and trends were, much more than quality and creativity.

In fact, it happened so many times that when we got a call from a producer who listened to our songs and liked them, he instantly lost interest the moment he saw our looks at the first meeting. We often brought our own marketing ideas about how we should be produced and promoted, which also made them turn us away. It seemed that they wanted musicians to be beautiful puppets with no brains.

I was naive enough to believe that making better songs would open the door to a contract with a record company. However, that wasn’t true to reality. In reality, the Japanese music industry had become trashy and petty. The question was, if I would give up being a professional singer-songwriter then. Since singing and writing songs was the only thing that I was good at, I couldn’t afford to quit trying. Besides, I still believed that there must have been people who wanted to listen to the songs that could save them by touching their hearts and changing their life, just as those songs did to me once. Now that the Japanese music scene had deteriorated in the real world, sending out that kind of songs was necessary all the more. Although I knew there must have been a way to do so, I couldn’t figure out how to find it. And so it went, the struggle stuck, clutched, and pursued my partner and me all along in those early days of my career.

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.

The Happiest Place in Tokyo hr664

 

It was 1983 when the theme park which host is the mouse opened in Japan for the first time outside the U.S. Two years after it opened, I left my hometown and began to live by myself in Tokyo to pursue my career as a musician. My partner was the one that I had a meeting with to join my first band and I had worked with ever since. He also moved to Tokyo and settled in an extremely shabby small 50-year-old wooden apartment. We were going to find  band members in Tokyo together and to start our new band. However, things didn’t go as smoothly as we had planned and we had fretted ourselves. For a change of a glum mood, we decided to visit the theme park for the first time.

In those days, the concept of a theme park hadn’t been pervasive in Japan and amusement parks were just big fairs with common rides for kids. I had no idea what a theme park meant either when I first visited there. Although I hadn’t even dreamed of that, the visit came to have changed my life significantly.

As I stepped in the park without any particular knowledge nor expectation, I was instantly shocked. What spread in front of my eyes was a world that was totally different from the Japanese one outside. All the buildings were pretty and cool as if they had been popped out of picture books or foreign movies. One of the areas duplicated a street of an American remote town which looked so attractive. Other than numerous authentic quality attractions, amazingly professional shows were played everywhere with great dancing and singing from the cast. The true entertainment was there. Also, not a single piece of litter was spotted on the ground. The moment someone dropped one popcorn, a cleaning worker appeared from somewhere and swept it in a flash. Each and every worker was kind and smiling. Even when a small child vomited, they didn’t make a wry face but cleaned with considerate treatment. The park’s number of visitors were not big because it had been only two years since the theme park opened and it hadn’t gotten so popular yet. That made it perfect with no crowd and I imagined that the intended concept of the person who came up with this park’s idea almost truly got materialized. Furthermore, Japanese signature courtesy and earnestness was added to that. The staff were standing straight in front of the attractions without slacking, waving at the passing guests with a smile and a bow. At the restaurant, they served with excellent attitude and speed though there was no custom for a tip. It seemed this was the very place that the world should be and a utopia that wasn’t believed to exist in the real world.

There was one more huge aspect that captured my heart. Since I was a child, I have had difficulty with being with people. Because I didn’t have a friend when I was little, talking to stuffed animals was my habit to relieve loneliness. To my surprise, in this park, man-sized stuffed animals appeared one after another all around and lived there as the residents, waving at the guests or looking at merchandise at the shop or teasing the staff. From up on the stage of the revue, they were singing toward the guests that dreams would come true. The world I had dreamed of did exist there and I became a captive to this magical park.

The day filled with emotion and excitement came to an end and the park’s closing time arrived. I didn’t want to leave. I strongly wished I could stay in this place. With tears in my eyes, I went through the park’s gate into the city of Tokyo where I now got to live and grungy anxiety and frustration engulfed me every day. I took the bus from the park remembering what my mother once told me when I couldn’t sleep. She said that if I waited patiently in my futon, a bus would eventually come to pick me up and take me to the dream world of stuffed animals. I finally understood she had unknowingly meant this bus and this park. Tokyo used to be the dream place for me who was born and raised in a rural part of Japan. But when I got there, Tokyo turned into mere somber reality. Now that I saw an earthly paradise like this theme park, I began to fancy myself living there or in some place that at least looked alike.

Ten years later, I was living in California, speaking English instead of Japanese. I hadn’t even dreamed of that kind of my future on that day when I first visited the theme park.

Living by Myself in Tokyo hr663

 

When I left my hometown for Tokyo and started living by myself there in the mid 80’s, quite a few second-run theaters for movies still remained. Those theaters showed two or three films at the price of one new film. The best experience of mine was when I saw ‘Top Gun’, ‘Taps’ and ‘Back to the Future’ as an all-night triple feature program at a second-run theater in a suburb of Tokyo. Those films were already a bit old by then and the show time was the middle of the night, so that the price was incredibly low accordingly. I left my apartment at night, ate out for dinner, got hamburgers to have inside the theater and was immersed into the movie world until dawn. The main attraction for me had been ‘Top Gun’ that turned out to be so-so. Instead, I was deeply moved by ‘Back to the Future’ although I had thought it would be a silly 50’s comedy judging from its trailer. The film became my best one and had held that position for many years to come.

 Back then, I had just moved to Tokyo to become a musician in spite of all the opposition from my family and friends. I had been feeling unsettled constantly because of anxiety and loneliness, which stemmed from uncertainty of my future. I had been clueless about whether I would be successful as a musician and how my life would unfold itself. I saw ‘Back to the Future’ in that state of mind and the story and the ending of the film encouraged me immensely.

When I lived in my hometown with my family, many rules bound me. To begin with, that all-night movie experience was a dream within a dream since my curfew was as early as 9 p.m. Other rules were abundant. Singing while eating was forbidden, a gap between the body and the edge of the table must not exist during the meal, whistling or playing the piano after dark was prohibited, some ways of talking to my grandparents were banned, walking with audible steps inside the house wasn’t allowed, chewing something in the mouth in public was regarded as an act of barbarity, and so on and on. But once I began to live by myself, I was freed from all the family rules and everything was left to my discretion. I ate what I wanted, when I wanted. I woke up when I felt like it, since I didn’t work at an office. I slept until evening at times, and rarely cleaned or did the dishes. The bathroom got moldy. While I appreciated freedom, I realized how slack I really was. My music career didn’t go well either. I had expected I could find my band members easily as Tokyo was the biggest city in Japan where so many aspiring musician gathered from all parts of Japan. The reality was Tokyo simply had too many bad unmotivated musicians. It was extremely hard to find a member whom I desired and my band just kept breaking up. That was far from what I had planned as life in Tokyo. I sometimes got tempted to doubt if my decision to come here was the right one even though I hadn’t had any other choice.

When I finished to see the movies all night and left the theater, it was early morning in the real world. I headed back for my apartment. The train had started running and many commuters were walking hurriedly and gloomily toward the station already. They used the train bound for downtown that was an opposite direction to where I was going. I was waiting on the empty platform for my train while watching them waiting on the nearly overflowing platform. When their train came, they pushed and crammed themselves into the cars. The station workers additionally pushed their backs from outside to squeeze as many passengers as possible in and the train doors barely closed. Minutes after it departed, the platform got filled with commuters quickly again. I stepped in the empty opposite train and yawned in the seat, remembering ‘Back to the Future’. When I decided to live by myself in Tokyo that was a far and unknown big city, I was afraid and trembled for what my life was going to be like. I gave up my right to an inheritance by leaving my family, and a possible steady income by quitting college. I was alone by parting from my family and my friends who disagreed and didn’t support me mentally. I threw away everything which wasn’t easy for me. But as Marty’s father dared, I had dared in my own way and left for Tokyo. I hoped that action of mine changed my future. In a good way, I wished.

Tokyo hr659

 

The tiny close community of a small village used to be the whole world for me who was born to a farming family living in a rural area of Japan. The sole window to the outside world was TV through which I had encountered what I had never seen in my daily life.

Back in those days, Japanese TV dramas were made and shot in the capital city of Japan, Tokyo. The city view and the people's way of living in Tokyo looked so cool. Everything from fashion to lifestyle was completely different from things in Kyoto where I lived. On TV, Tokyo seemed like a future world decades ahead to me. I was hooked by one particular weekly crime drama which was shot on location all around Tokyo. Every location looked as if it had been in a Western country and the detectives in the drama were extremely stylish. I was absorbed in seeing that exotic world every week and had spent the other six days of the week waiting for the drama. As soon as I finished watching that show, I would rush into my room and write out the entire show in the notebook. I reproduced all the lines of characters and all the settings by depending on my memory. Since there was no way to record a TV program as a video cassette recorder was yet to come, I read my notebook over and over again to watch it inside my head until the next show was on air. In hindsight, the world of TV dramas was fictional which didn't exist even in Tokyo, but I was too young to realize that.

Years went by and I became a musician. By the time two years have passed since I joined my first band, the band not only had played gigs around Kyoto but also had made guest appearances and had our songs played on local radio shows from time to time. We had made some connections with music producers who came down to the western part of Japan from Tokyo as judges for some live contests. However, our progress was limited because all the major music labels of Japan were based in Tokyo. My partner and I began to consider moving our base to Tokyo as we were geographically too far off to make a career in music.

Moving to Tokyo was a big deal to me. While I seldom attended, it meant I would quit college once and for all. As a much more serious matter, an old Japanese custom didn't allow a successor of the family, that was me, to leave home. For me, leaving home meant abandoning my family and all the privileges. Although it seemed crazy to throw away everything when I had no idea how to live on as a musician in Tokyo, I felt living there would be better than staying in my family's home for the rest of my life. I preferred eating hamburgers and french fries from McDonald's to eating home-grown vegetables from my family's fields every single day. I knew it wouldn't be healthy, but at least I would be able to eat what I chose, when I wanted. To sum up, moving to Tokyo was all about freedom. I was more than willing to jump into the free world where I would make all choices by myself instead of the old fixed rules and customs. 

Oddly enough, things went unexpectedly smoothly once I made up my mind to move to Tokyo. Various kinds of obstructions that had been seemingly difficult to be cleared resolved themselves almost magically. The moving day arrived sooner than I had imagined.

I was waiting for the bullet train bound for Tokyo on the platform in Kyoto Station. A friend of mine came to see me off. She was surprised that she was the only one for me there. "Even your parents don't see you off?" she sounded bewildered. I wondered what awaited me in the outside world of my window. I was both looking forward to it and afraid. 

My Robot Band hr657

Year of 1984 was one of the bitterest years of my life and also a major turning point. After I was able to join the band of a locally acclaimed young man, the band had been striving to become professional in Osaka, which is the biggest city in the western Japan. While I had unwavering confidence in the songs we wrote, we constantly had difficulty in finding desirable members. Except for him and me, other members had come and gone, and we couldn’t materialize our ideal sound with any of them. Even a gig was almost impossible with just two of us being permanent members.

My partner and I couldn’t waste any more time searching for apt band members who shared similar passion as ours and played exactly how we wanted. As the solution, we came up with the idea to use a rhythm machine and a sequencer in place of human members. Those gadgets were the cutting edge of music instruments at the time and had just appeared on the market. We thought they would be perfect band members who realized our sound as we requested because we were the ones that put data into them. We weren’t sure about the passion side of machines, but at least they would commit and wouldn’t quit like humans did. Because personal computers were still in the floppy disk era and not strong enough for music, we connected a rhythm machine, a sequencer and synthesizers with cables to play a gig. Added to the machines, I was on the keyboard and vocals, and my partner was on the guitar and vocals. There formed my robot band.

Although it had seemed perfect, we faced quite a few obstacles to play in the band with machines. Let alone it cost heftily and carrying them around by two of us without a car was a daunting physical challenge each time, it took enormous time to enter the whole data of our songs into them. As thumb drives or hard disk drives were yet to come, we needed to record special signals sounding like ‘beeeeep, bip, beep, bip, beep’ into a cassette tape to save the data. The data consumed one cassette tape per song, not at one go although the signals were long. I once inadvertently tripped on one of the cables which erased the whole data that I had spent all night inputting. The worse troubles awaited us at the gig. The innumerable necessary cables and cords made setting and preparation for my band far more complicated and time-consuming than other bands. One single wrong connection would break synchronization. On one occasion, the machines didn’t start and we couldn’t play but stood still on stage because one of the stage staff pulled out one cable by mistake. On another occasion, one of the machines suddenly uttered “Pi!” and went silent in the middle of playing. Furthermore, I needed to put a specific setting for each song on the several keyboards during every interval between our songs. Because the stage usually went dark between songs, it wasn’t easy to see the correct buttons and switches on my keyboards. A stage staff person once came up on the stage to help me with the setting by lighting over my keyboards with his lighter. The venue strictly banned any use of fire and he was harshly reprimanded for that afterwards because of me. Through those unpredictable chilling experiences, I basically feared every time if songs would start without hitches instead of enjoying gigs whenever I was on stage.

Still, harder trials existed. Other bands mostly consisted of college students who played as a hobby not for a career. Their attitude toward music was incredibly easygoing and they were just having fun on stage. Their songs were frivolous likewise. Yet, they were able to draw a large audience since they had friends on the campus so that their gig was usually a big hit with a livened up crowd. On the other hand, my band was just two people standing surrounded by numerous instruments and machines, and singing serious lyrical songs. Because we didn’t have friends to gather, the audience were strangers who had no interest in our playing and just waited for our gig to end.

That was also the case when we took part in a live contest. To make matters worse, a contest was sometimes fixed where the winner had already been decided. As I didn’t know that the contest was only held to give that winner the credential before the label signed a contract with the prearranged winner, I was appalled when we lost to a really bad but pretty singer.

I had gotten to loathe live performance by those experiences. Not just loathe it, but I had gotten to break out in a cold sweat on gigs. Since then, we have performed live less and less and have done none these days. I guess that shows how much I learned the hard way. To this day, the nightmares I have most are that I am playing on stage. However, my robot band has been transformed since it got off stage. The machines turned into a personal computer with software who has been my important partner to create my music. Thanks to it, I have been able to embody exactly what sounded in my head. A long period of time later, my robot band eventually made my dream come true.

 

Passion hr656

 

What I had been doing before I decided to become a musician was studying to enter one of Japanese first-rate universities, which was ostensibly believed so. That was when I was a high school student in the early 80’s.

To tell you the truth, I had in fact, not been studying in those days, which I had never told anyone. I just had been pretending to study every day. While I had acted in front of my family and friends as if I had been preparing for fiercely competitive entrance examinations and studying desperately to succeed in them, I hadn’t been able to find any sort of motivation to study once I sat at my desk in my room. To stimulate myself, I would listen to the records of my favorite band, but then gaze blankly at empty space or take a nap instead of being stimulated. I had tried to study in the middle of the night, which was supposed to be quieter and easier to concentrate, but I would listen to late night radio shows at which I would laugh until dawn.

After I had spent months in those routines while arrogantly declaring to people around me that I would get in the leading university, I came to my senses and began to wonder how I could succeed without studying. Now I had trembled every day with a fear that I would have failed the entrance examination of all first-rate universities. Even though I was grasped with the fear, I still couldn’t feel like studying. And in the end, that fear did materialize.

Am I a born sluggard? Am I a loser? In the depths of despair, I made up my mind to be a musician. Then in an instant my attitude changed completely. I earnestly searched for and joined a professional-oriented band, spent all the savings I had on a synthesizer, and practiced every day at the far-off rental studio to which I took a train and brought the synthesizer weighing fifty pounds and carried by me who is merely five feet. I would sweat all over even in winter just carrying it from and to the platform at the train station.

On one occasion at the station, as though he couldn’t stand to watch me struggling with the synthesizer any more, a man approached me silently and lifted it on his shoulder. He went down the stairs from the platform carrying it for me. While he staggered along the way and slowed down  probably because it was heavier than he had thought, he brought it to the bottom of the stairs and disappeared without a word. I felt like a hero came to rescue me.

But a villain also appeared as well. On another occasion, I was walking over the bridge carrying it in addition to other instruments. Because it was impossible for me to walk continuously with all that heavy stuff, I posed and put down all the instruments every few yards. And a vulgar man yelled at me from behind, “Get out of my way, you slow-walking ugly!” I snapped at the word ‘ugly’, put down the instruments, and stopped him by saying, “What did you say?” Then I seized him by the neck, squeezed it and pushed him to the bridge-rail. I was wringing his neck seriously and intended to push him down to the river. The man gasped for air and screamed “Call the police! Please, someone!” By that time, passersby had gathered, and a woman untangled my hands on his neck and broke us up. It seemed I turned into a villain there.

When I wasn’t in the studio, I had practiced playing the keyboard at home and worked at a part-time job to pay for the rental studio. Although my new routine had totally exhausted me, I was willing to take the ordeal. I never lost my passion as if I were possessed by something. And I haven’t lost it to this day after decades have passed.

To keep going can lead to many setbacks. Sometimes there are those nights when I want to give up and throw everything away. Still, when it dawns, I get motivated again gradually. Not vanity nor prosperity but passion keeps me alive. I don’t want to quit staying alive just yet.

The Money Pit hr650

 I made up my mind to become a professional musician when I was eighteen living in Japan. I had imagined that the hardest thing to be one was to keep up better works by strengthening talent, which proved wrong. The hardest thing is money. Scraping up funds for activities as a musician without losing time and energy for music is most difficult. It’s equally the case for either an artist who has made a smash hit or the one who has been unsuccessful like me. And it has remained to be the case today after decades passed.
At the very beginning of my music career, I regularly rehearsed in a studio as a member of the band that strongly intended to become professional. It was the first serious band I had joined. I somehow managed to play well enough compared to other skillful members and didn’t get fired at the first session as I had feared. The band was based in Osaka that is a 45-minute ride by train from Kyoto where I lived. The studios the band used were all in Osaka, which meant I needed to pay the studio rental fee and the train fare each time. I was a college student back then, but barely went to class. Instead, I worked at the restaurant as a cashier and spent everything on the band. My time was dedicated to music and I came home just to sleep.
The studio was equipped with a synthesizer but I didn’t have my own although I constantly appealed my passion to become professional. It had gradually seemed odd that I used a rental synthesizer in every session while I tried to motivate other members to be professional as soon as possible. A thought that other members questioned my seriousness began to cross my mind as I continued to play with temporary sounds. Since we played our original songs, original sounds were necessary. On top of that, when I practiced back at home, I used the piano for a synthesizer that was quite ineffective as practice. I finally decided to get my own synthesizer. I chose the latest model at that time called Yamaha DX7 that was featured in almost all the pop songs and albums in the music business of 80s. It cost about 2500 dollars.
Before I joined the band, I had saved money out of my years’ allowances and was going to use that money to study English in England. The amount of my savings was about the same as the price of a DX7. I had put it in time deposit at the credit union bank for higher interest and for my friend just a few months before. That friend of mine had worked at the bank by giving up going to college because she needed to support her handicapped mother and two younger siblings when her father suddenly abandoned them. I wanted to help her in some way and set a time deposit through her with hope that it might raise her performance evaluation at the bank. Sadly, my rare good deed couldn’t last any longer. I went to the bank, apologized her a million times, and cancelled a time deposit. While she kept telling me with a smile “Don’t worry, don’t bother,” I was bathed in guilt, and yet I withdrew my savings and went on to get a DX7. I chose a DX7 over staying in England and being her friend.
After all, it was just the beginning of the long way that I have walked on until today. Since I decided to become a professional musician, I had lost my friends and my family not to mention a college degree as a dropout. What I gained instead are thousands of sleepless nights for worry about money. Even while I stay awake in the night yet again, I still believe that the happiest thing for a human is to fulfill one’s calling.

The Turning Point hr648

 I was nervously looking at a passing view of houses and factories from the window of the express train that ran between Kyoto and Osaka in Japan. On that day, I headed for Osaka to meet for the first time the person who had posted a recruitment ad for the band in a music magazine. I was tense not only because I wasn’t good at meeting people, but also because my demo tape to be exchanged at the meeting had sounded terrible. When I recorded it, I couldn’t manage to make it as I hoped it to be. In the end, I was so frustrated that I aborted recording in the middle of one of my songs. And I was carrying that tape as the finished product for the first meeting. I was easily able to imagine the dumbfounded expression of the person who would have listened to this tape.
It had been three months since I started college life that had turned out to be a waste of time and I began to look for a band. Although I had determined to pursue music as my lifelong career, my band searching hadn’t been going well. I had felt I was at a deadlock. If I had failed to form a band again with this meeting, futile days would have gone on. I couldn’t stand it any longer. The train arrived at Osaka and I came to the meeting place 10 minutes late.
The young man was standing where the railway track ended as Osaka was the terminus. When I passed him by on purpose, he called me to stop though he didn’t know my face. We greeted and entered the cafe. He introduced himself along with his music career so far. Although he was younger than I was and still a high school student, he had a wealth of experience in music under his belt. He had formed several bands with which he had won quite a few competitions and awards. I wondered why he hadn’t mentioned them in his recruitment ad on the magazine. He of course had written much more songs than I had. Compared to his experience, a few gigs and my own songs were nothing. Inevitably however, he asked about me and my turn to talk about myself came.
After I heard about his glorious career, I didn’t feel like telling him mine. I just gave him snippets of information such as I started to play the piano when I was four years old since I had applied to his ad as a keyboardist/singer. And instead of my experience, I ranted and raved about my passion. I didn’t have anything else for self-promotion but showing how committed I was to make a career as a musician. I did so also because I had my poor demo tape waiting to appear. As I remembered the last line of his ad was ‘A band member with passion wanted’, I thought my passion was the best defense as well as selling point. I even told him how hurriedly I had pedaled my bicycle when I went to get a double postcard to contact him prior to this meeting. After he listened to me half amusedly, he told me that his band would start with me as the keyboardist.
As it turned out, we exchanged demo tapes not to listen there but just to make sure later. All he needed to find out at the meeting was passion for music. Through his rich experience in forming a band, he had been sick of Japanese musicians’ common attitudes that they wanted to be professional only if they were lucky. They would play in a band until they got a steady job at the office and quit. No matter how skillful they were, they would decisively lack intention to become a professional musician whatever it took. I happened to have that kind of intention more than anybody and got to show him. I joined a band and the meeting was over. When we were about to leave the cafe, I said to him “Don’t bother about my coffee,” because it was still a common practice back then in Japan that a man should pay for a woman. He answered, “I wouldn’t do such a thing.” He was a rare progressive person for a Japanese of those days. Along with the cool cafe in the big city and the new band, I felt like I opened the door to the future at the meeting.
I was relieved to have found the band and have broken a deadlock finally when I headed home. I took the train back to Kyoto again, which was running toward the future this time. In the train, I listened to his demo tape on my Walkman. On the tape were three songs he wrote and sang with his own guitar playing. I was astounded. His songs, singing, playing were all excellent. Even the recording quality sounded as if it were of a professional musician. I couldn’t believe what I had just found. I was convinced I had hit the jackpot. With this talent, the band would become professional and be a big hit in no time. Success was assured. For the first time in my life, I felt hope enormous enough to tremble. All at once, everything I saw looked different. The same somber houses and factories that I had seen out of the train window the way there were beautiful now. The regular train was gorgeous and all the passengers seemed happy. Among those happy passengers, a shaft of sunlight beamed only on me and shone me. I saw my wretched life with too many failures ending at last. A successful life that I should have was about to start instead.
I listened to the tape repeatedly on my way home feeling literally over the moon. The thing I couldn’t see was that this was the entrance to my adult life filled with sufferings and miseries that I would have endured as a musician to this day.

 

No Other Choice hr647

 I chose music as my lifelong carrier when I was a college student. The first thing I got down to was to form a band. After I realized I couldn’t find band members at nearby universities because students played music just for fun, I expanded my search to the general public. Until then, the whole world I had been familiar with was the small hamlet where I was born and grew up and the schools I went to. I was about to tread on to the unknown, new world.
It was early 80’s when neither the Internet nor SNS had existed yet. The common way to find band members back then was recruitment columns on dozens of pages in a monthly music magazine. When you found someone appealing to you, you would contact him or her by a double postcard to receive a reply. I narrowed down to two postings for a candidate band. As I couldn’t figure out which one was better, I asked my mother out of curiosity. She glanced at each posting and without much attention picked one which address indicated a good residential district. Neither she nor I ever imagined that casual pick would have changed the course of life of mine, my parents’ and of the one who posted the recruitment message. From that point, inexplicable passion moved me in fast forward mode. I jumped on my bike, rushed to the post office to get a double postcard on which I scribbled enthusiastic self promotion on the spot, and mailed it.
A few days later I received the reply card with the phone number on it. We talked over the phone and set up the meeting in Osaka where he lived. Osaka is the big city located next to Kyoto where I lived. It took me about a 15-minute bike ride to the train station plus s 45-minute ride on the express train, which was quite a travel for me who was a farmer’s daughter in the small village of Kyoto. Adding to that going to the big city alone was so nervous in itself, the one whom I was going to meet was a boy. I had hardly talked to boys of my generation since I went to girls’ school from junior high to college. That all felt like a start of my adult life.
Before I set out for Osaka though, there was a problem. I needed to make s demo tape of my songs for the meeting where we were to exchange demos. When he talked over the phone about the exchange of demo tapes, I said “Exchanging demos? Sure, it’s a matter of course!,” which I found myself in a cold sweat to be honest. I had only one song on a tape that I had made for an audition. All other songs of mine were on paper as it was before the era of hard disc recording by a computer. The gadgets for a demo I had were a radio cassette tape recorder, the piano and the guitar. I didn’t have a microphone or a mixer, which meant I had to record by singing to my own accompaniment in front of the tape recorder. Although I had done that before and even done a few gigs too, the demo I finished this time sounded so lame that I thought he would turn me down as his band member at the meeting.
To me, my demo tape sounded as if it made me a laughingstock since I had confidently declared myself to become a professional musician over the phone. He would either laugh at me or get angry for wasting his time when he listened to it. Rather, I may have had excessive self-esteem to think about becoming a musician with those poor songs in the first place. It seemed more and more like the recurrence of my mistake in which I failed the entrance examination of most universities after I had declared to everyone around me that I would go to the most prestigious university in Japan.
I felt hesitant to go to Osaka for the meeting. On the other hand, my sudden loss of confidence showed how much I committed this time. At that point of my life, joining a band was so important. An audition or a gig as a high school student was nothing compared to that. I didn’t have my purpose for living anywhere else. It was the only way left for me to go on. I had no other choice but to be heading for the meeting with my demo tape held in my hand.

Early 80s – The Beginning of My Music Career hr641

 I started to think about becoming a singer-songwriter in the beginning of 1980’s when I still lived in my hometown of Japan where I was born and grew up. By the end of the first month as a college student, I had lost interest in a college life since I didn’t care about getting a degree or being hired by a renowned company after graduation. A college had turned into an unnecessary place for me because of music. Only I tried to follow the footsteps of a Japanese band that I had admired most. Before they became professional, they started their careers by forming bands at universities and colleges where they were enrolled. I tried to do the same. As I had easily known, I found nobody in my college all of which students were women and most of which students attended as preparations for homemaking and marrying a doctor. I searched other universities for band members, for which I used my otherwise wasteful college life.
At that time, PCs or smartphones were yet to come. Even CDs didn’t exist. To listen to music, you needed to buy a record, put it on a turn table of a stereo carefully and gingerly not to scar the record surface, put down a record needle softly onto the start groove, and wait for music to begin while watching the record turning fast. The moment music started, the space shifted in a flash from where you had been. That was the essence I used to feel with a record. The sound of an analog record is different from the digitalized CD’s one. I feel the former round and deep that vibrates and seeps into the heart. Both Western and Japanese rock music I had listened to back then conveyed something to inspire like a struggle for life or for freedom. I’ve seen quite a few people whose life was actually changed by music.
A record has been given way to a CD, and then to download and streaming. On the making side, recording on a tape by physical instruments has turned more and more into entering data on a computer by software. The sound has become mechanical with copying and pasting. Having an impact is valued more than being dramatic. I hadn’t the slightest idea this kind of music scene would arrive in the future when I lived the beginning of 80’s. I simply had believed that music could change the world and save someone by healing a sore heart just as it did to me. While the music scene did change, my belief remains unchanged. I’ve been striving to make music by taking advantage of the digital side into inspiring songs.
Back in the eighties, I was trying to form a band to have my songs heard as soon as I started a college. I came across a bulletin board of a band circle at one university that was recruiting new members. I went to the meeting where many freshmen gathered. The circle leaders were matching a new member to an existent band according to which part the new comer played and which part the band needed. Because I intended to join a professional-aiming, high-grade band, I pitched earnestly my skills of writing songs, singing, playing the keyboard and the guitar, and most especially, my passion for music. The person who interviewed me said outright that there was no available band for me to join. While I was preparing to leave, I noticed that other freshmen got assigned to a band one after another. They all said they had no skills or had never played an instrument, except that they all were cute and had a flirty smile. Again, my passionate, serious attitude backfired there too, as if it foretold my subsequent music career. I learned that bands at Japanese universities and colleges in 80’s were for those who just wanted to enjoy a campus life not for those who sought a music career.
I was excluded from campus musicians and couldn’t use my college life for member hunting. As a college has become useless to me more than ever, I was sent outside the campus to look for a member in the real world.

The Last Letter from My Mother hr608

My parents sold our farms, house, land that had been inherited from generation to generation and lost everything after they had failed their business. They moved out their hometown and started their new life in a small apartment in a strange city. It was a huge blow to them because my father had given up everything that he had wanted in order to inherit them, and my mother had married my father whom she didn’t love in order to get his family fortune. Although they had planned the similar life as theirs for me, I refused to inherit my family by sacrificing what I wanted to do. I chose a musician as my career and left home. That drove them to be eaten up with enmity against me and they had done everything they could think of to make me give up and come home. While I kept defying their attacks for a long period of time, they lost all the family fortune and had nothing left for me to inherit. Their battle against me was automatically terminated. Oddly, since they moved in their new apartment, they have become gentle to me as if they had been different persons. Their dramatic change of attitude toward me had often perplexed me. I had tried to explain that they became old, felt weak and had learned a little from their failure, which was why they mended their ways to treat me. As I hadn’t had a good relationship with them for decades, I slightly wished we were having a new starting point to build a better one. That was just about when I received an unexpected letter from my mother that crushed my wish so easily. To my great surprise, all that the letter contained was blame and reproach to me. She just kept on criticizing me at length, complaining how much I disappointed her, how much she bore a grudge against me, how much she felt chagrin at me being a musician, what a bad person I was. Although she had done innumerable cruel, heartless, thoughtless things to me over the years, she had the audacity not to mention one word about those. At the end of all slander, she concluded her letter by writing, “This is the last letter from me to you.” To summarize her long letter, what she wanted to tell me was that she didn’t want to see my face ever again and didn’t want me to send her birthday presents or Mother’s Day gifts ever again. She asked me not to stay in contact with her anymore. I had been treated unfairly by her for so many times but this letter exceeded all the spite that she had shot at me. The letter was out of blue and shocking enough for me to wonder if she was having some kind of brain disorder. Since I was little, she has had a strong tendency to tell an every sort of lie from grave to transparent, and to forget about anything inconvenient to her. For a person like her, it’s not so unpredicted that her old brain got murky. In any case, I was deeply shocked. I shouldn’t forget that things like sending this letter is the norm for her and I’ve gotten used to it already. She only did what she usually does again and I was the one who was fooled by her recent nice gestures. But I asked myself repeatedly if it’s impossible for human nature to be changed after all. My mother is a scorpion which ultimate goal is to make others unhappy regardless of its own profit. The fact that I have the same DNA in me horrifies me. A good thing is that I was mostly raised by my late grandparents. I may have grown up to be a decent person not to be like my mother. I will, and should, prove it by myself with the way I live...

A Long Journey hr600

I have been estranged from my friends for a long time. There are only three people with whom I keep in touch by a Christmas card once a year. They are my kindergarten teacher and two high school teachers. I feel a lifelong obligation to those three for each reason. I came across one of the two high school teachers when I was a senior. She had just graduated from a university and started teaching at my school as a new teacher. She taught Japanese classics and I was one of her first students. The Japanese classics class consisted of a mere dozen students who selected the subject to prepare for the entrance examination of a university or a college. As the class was unusually small and the new teacher was young and friendly, it soon became like a big family. It was as if we had a weekly family gathering that happened to have a specific topic of Japanese classics, rather than a school class. In my dismal and miserable high school life, the class was a chink of light. It was the only place at school where I could breathe and came to life. I took the initiative in having fun. Mostly my target was the new teacher. I pulled various pranks on her at every class, such as all students hid in the cupboards and she walked in the empty classroom, perplexed. On a perfect sunny day, I suggested having the class outside and she taught us in the schoolyard like a picnic. I tried what hadn’t been done at my school before and she just cracked up every time. It seemed I was really good at making her laugh. The whole class eventually laughed all the time, and the old strict teacher who had her class next room often came in to tell us to shut up. She sometimes called my teacher out to the hallway and reprimanded her. Nevertheless, my teacher never hushed us, and continued laughing at my jokes and having fun together. She helped me with those bright hours in my dark last year of high school and I’m thankful for that forever. She quit and moved to the other school when I graduated. We have exchanged New Year cards or Christmas cards ever since. While I write simple season’s greetings on them, she somehow knows and writes what I want to hear most. For instance, toward the end of the year in which I’d had a hard time and felt discouraged, her Christmas card said ‘Hang in there! Things are turning better!’ and made me wonder how she could ever know. We somewhat have a lot in common with the way of living, too. In those years, most Japanese women got married and quit working when they did. While I work and stay single, she also continued teaching at school and didn’t change her last name to her husband’s when she got married as the Japanese tradition goes. Without seeing her in decades, I’ve felt strange bond with her. Last year, my parents moved and their new address startled me. By pure coincidence, it’s weirdly close to the teacher’s. I mentioned about it on the Christmas card to her and then things developed quickly. During my latest trip for a visit to my parents’, we had a chance to meet each other for the first time since I was a teenager. The hotel I stayed in on the trip was located in Osaka because I flew in this time instead of using a train. From Osaka to the station we would meet though, it was a two-hour train ride with several transfers. It would be a long trip but we would bridge a decades’ gap in two hours. I thought of the gap, and suddenly came to myself. Shouldn’t a reunion with one’s former teacher be an opportunity to show some achievement for gratitude? I had forgotten about it because the process to this meeting had strangely gone smoothly as if it had been happening automatically out of my will. I had tried and worked hard all those years, but achieved nothing, no money, no fame. I recalled I had said to her that I would become a musician when I last spoke to her. During the course of life, I did. But that’s it. I haven’t gotten anything to show to her. I wondered if our reunion might be an embarrassment where a teacher would see her student’s unfruitful result of many years…

Challenge and Disappointment hr599

A lottery promotion is occasionally held at 7-Eleven stores in Japan. A customer draws a card from a box by every six dollars purchase. If a winning card is drawn, the customer can get merchandise that the card shows for free. The prize merchandise varies in what is sold at about one dollar, such as an ice cream, a snack, and a soft drink. In my experience, one in every three cards is a winning card, which is a low-risk-low-returns lottery. As a greedy person, though, I face heavy pressure to draw despite the cheap prize. When the cashier holds out the draw box in front of me at the counter, I take a deep breath, close my eyes, concentrate and pray for a wining card just to get a one-dollar prize. I push my hand in through a hole of the box and my hand rummages and searches for the right card by touch in the box until the cashier gives me a dubious look. Right before the cashier decides to ask me what is going on, I pull my hand out of the box with a card. If I win, I repress hard an urge to jump and scream, and instead put a weird grin that stretches across my face. If I lose, I desperately bear not to drop to my knees, and instead simply droop over the counter. I know the cashier is wondering what is a big deal, but I can’t afford to keep my composure. For the rest of the day, I’m tortured by disappointment and remorse. I ponder about why I drew a blank and the meaning of that. Was it because I had done something wrong before I drew the lottery, or was it a sign telling me something hereafter? Since the matter is too trivial, the answer usually can’t be found. A small lottery causes such a commotion in me, regardless. Although I really hate this pitiful struggle, I’m willing to wage a fight at 7-Eleven whenever it carries the lottery promotion. At the store, I put goods into the basket doing a sum in my head to get the total amounted to six dollars that qualifies for the drawing. To challenge the lottery, I even get something I don’t need and play into the hands of 7-Eleven. This unwise challenge of mine somewhat resembles my career as a musician. It is the source of my trials and tribulations, and yet I can’t stop. The difference between the two is that I’ve won several times at 7-Eleven while I’ve never won as a musician. But my challenge continues all the same…

The New Song Completed hr597

At long last, my new song is finally complete. It took about five years to finish it, which seemed too long, but my previous song took more. That previous song of mine was my everything. I had always craved just one song that I could think I was born to write, that represented myself, my life. The song was exactly what I had been after. Since I put everything I had into the song, I was almost going to retire when I finished it. I said all things I had wanted to say to the world and summoned up all skills I had to the maximum in the song. I thought I had nothing left in me. But once I tried to retire, I found myself at a loss. Nothing except for music interested me. I also realized I couldn’t do anything well other than music. I decided to continue writing songs and singing, by way of retirement. I set about my new song with an easy mindset intending to make light work of it because I considered my chief song done. However, it didn’t go that way. As I went on, I couldn’t help working seriously. My easy attitude toward the new song quickly vanished. The more I worked on the song, the deeper I was in it. The concept of retirement was simply pushed away. I even revised the words and the song became profound. I was as focused and eagerly desired perfection as for the previous song. As a result, it took five years while at first I had meant to finish it in a week. I put everything I had again in the end, and I was filled with rapture that I didn’t feel in my everyday life when the new song was completed. The feeling lingered for several days and I didn’t feel like doing anything. It was like all energy was drained out of me and I was absent-minded all the time. It seemed I lost my concentration as a whole. I knocked off a glass and wasted my drink that I never do, though I’m clumsy and a regular dropper. Even my bowels were loose. The completion of a song doesn’t necessarily mean all the work is over. I need to make a backup of all data, store them, convert to several different formats, release publicly, arrange distribution, and so on. Although those mountainous tasks of post production await me, I still have a thick head and haven’t gotten down to it for a few weeks now. I noticed that I was less anxious to release and promote my new song than before. I used to get down to post production right after a new song was completed so as to make it public quickly. But I don’t have zest for it as I did before. It’s probably because I don’t expect the world so much any more and my trust in human beings has decreased over the years. I’ve learned that songs in which I do my best and with which I’m satisfied completely don’t have to do with the market. My previous song proved it. The song was fruition in which I got a real sense of fulfillment. Yet, it was totally disregarded by this world. I get used to seeing my songs ignored and my expectations failed. Big sales or admiration are no longer such a big deal to me. I just wish my new song would reach someone and help her or him in some way when it’s released a few months later. I hope my songs are heard by those who need them, and play an important role in their lives. I believe it will happen, somehow…

Huge Absence hr581

I went to the Tulip concert the other day. Tulip is my lifelong favorite band and the reason why I became a musician. They are making a national tour commemorating their 45th anniversary. Since I was a teenager, I’ve been to several concerts every time they were on tour. They used to tour every six months, which made the number of my attendance soar. Most part of my monthly allowance was spent on the ticket. Among the five members, I was an avid fan of the lead guitarist of the band, Toshiyuki Abe. I was always enchanted tremendously by the sensuous sound from his red guitar in my youth. After I grew up and the band broke up, they reunite every five years to make an anniversary tour. I had been to several venues each time by spending costly transportation fees and staying at a hotel when the venue was too far to be in time for the last train back home. That had been my usual pattern concerning Tulip until their 40th anniversary tour was wrapped up. Although I had waited anxiously for their 45th, the wait ended abruptly two years ago even before the tour started. Mr. Abe, who I believe is the best guitarist in the world, suddenly passed away. Tulip’s 45th anniversary tour turned out to be a memorial to him, which I’d never, ever pictured happening. I wasn’t going to go to their concert this time. I didn’t want to see the band without him who had been my idol for such a long time. It would be too sad. Whenever something related to Mr. Abe popped into my mind in my daily life, my eyes easily swim with tears automatically. I couldn’t imagine how sad it would be that I actually saw Mr. Abe missing in the band and realized again he was gone. On the one hand, I thought I’d better not go, but on the other hand I was curious how the band would play without him. They announced Tulip would become a four-man band without having a new guitarist. Who would play the guitar part then? Would they change the arrangement and have the keyboard cover the part? Or, would one of the members switch to a lead guitarist? Or, would a robot stand with a guitar? I had thought of possible alternatives every day and couldn’t stop thinking about it eventually. To solve mounting questions, I decided to face the sadness and go to the concert. After I got the ticket, though, I still felt hesitant to go. I couldn’t believe I was holding a ticket of Tulip in which Mr. Abe didn’t exist. I had asked to myself what I was doing for three months. But about ten days before the concert, I began to feel excited and my heart leapt up. I was headed for the concert hall on that day with odd rapture. The minute the concert started, all my questions were answered in an unexpected yet totally reasonable way. In the back of Tulip, there were three supporting players. A supporting guitarist was understandable, but there were a drummer and a keyboardist that made up the band of twin-drums and twin-keyboards. The sound was different accordingly and for some reason, wasn’t good as it used to be. They also lost edge on vocals with no reason. The loss of Mr. Abe has had effect on the band much greater than I thought. It reduced the quality of Tulip. It didn’t sound or look like Tulip. I was disappointed and felt so sad. I witnessed the band suffered a massive vacuum. Mr. Abe’s trademark red guitar that I’d watched and listened since I was a teenager was placed on the stage and made me cry instead of exult this time. His song was played while his pictures were shown and I bitterly missed him. As the concert went on, I realized how hard the members was trying to fill in the big hole that they knew couldn’t possibly be filled in. With their desperate attempts, they tried to carry on at all costs. Their strong intention to sustain the loss and to survive as Tulip was conveyed from the stage. I was deeply moved by their effort to continue. Before I knew, I was jumping and sang myself hoarse along to their songs with other audience as I had always done at their concert. Looking back, I became a singer-song writer to be like Tulip. Now I will do anything I can to keep on until I die like Tulip is doing. Just one thing I will not follow them is to accept that the quality of my music gets poor. I wouldn’t, I hope…

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…