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July 27, 2020

Dedicated to Kansai Yamamoto・Modern Jazz Opera • Momotaro・モダン・ジャズ・オペラ 桃太郎・(with kind regards to @theMarcJacobs, through whose news of his passing rendered it necessarily done)

• Modern Jazz Opera •

This update and repost is dedicated to Kansai Yamamoto.

with kind regards to Marc Jacobs, whose news of his passing this morning rendered it necessarily done. 


 
Originally published by me on this site
See Ya at What Gets Me Hot

Wild Japanese Jazz Opera
Music by

Miles Davis, John Coltrane and Charlie Parker


•
Peach Boy arrives at the Island of Ogres - they've been stealing from the villagers.

 

Chief Ogre is painted red from head to toe, wears glasses and vocalizes the Bebop tune Donna Lee.

 

In the end, Peach Boy defeats the Ogres and returns home with a load of treasure.

 
In Japan, THE STORY is well-known.

Modern Jazz Opera


FEATURING:
Charlie Parker, Kenny  Dorham, Miles  Davis, Thelonious  Monk, Horace  Silver, Bill  Evans, Art  Blakey and The Jazz  Messengers, Sonny  Rollins, Benny  Golson, Bud  Powell, Herbie  Hancock, Clifford  Brown, Charles  Mingus, John  Coltrane
 
-----------------
"Lotus Blossm" Milestones Misterioso "Blue Monk" "Sister Sadie" "Waltz For Debby" "Blues March" Doxy "Five Spots" "After Dark" "Cleopatra's Dream" "Comin' Home" Baby "Donna Lee" Cherokee "Fables of Faubus" "'Round Midnight" "Moment's Notice" "St.Thomas"
 

• Momotaro •



 






 今夜は最高！
 危険な関係のブルース
 処女航海

RESEARCHED, compiled, AND all videos finally found in 2011 (These 3 videos from 3 YouTube Users, including me,  have stayed put for over 10 years.

The original radio interview which this transcript is taken from has been taken down from its site, and is extant only here in this form.

I would like to thank the sitemaster at Chilled Air whose original post with a link to the radio interview MP3 and one video from YouTube propelled me on a collision course with the most exciting clash of West meets East  musical miracles in history. 



 

 

The standard view of Japanese popular culture, at least here in the United States, is that it’s wacky, chaotic and impossible to fathom. That’s the first reaction you might get from a video doing the rounds online.

It features actors dressed up as traditional Japanese peasants performing some sort of story to the accompaniment of American jazz standards. Which they sing. With Japanese lyrics.

    At first glance it’s just funny. But The World’s Alex Gallafent digs a little deeper.

So a colleague sent me a link to a video. It had been forwarded to him by another friend: you know how it goes.

    The video is titled: “Japanese Jazz Opera”.

    And here’s how it begins. Yep, that’s ‘Now’s The Time’, by Charlie Parker. Only in the video it’s sung by an old peasant couple, with Japanese lyrics.

    The setting is a kind of studio version of an olden-days Japanese village. They seem to be actors in some kind of elaborate comedy skit.

    But before you have a chance to consider what might be going on, they move on to Miles Davis. Superficially the video, which runs to about ten minutes, is just spectacularly odd.

    But still, what IS it?

    I turned for help to Roland Kelts. He’s the author of Japan America – and splits his time between Tokyo and the US. It didn’t take Kelts long to recognize the actor playing the part of the old peasant woman — a middle-aged man in sunglasses.

    KELTS: “In Japan, this guy Tamori, the comedian behind this video, this show, is everywhere, he’s ubiquitous.”

    OK, progress: so we know it’s a skit starring one of Japan’s biggest celebrities.

    KELTS: “If you can imagine someone… posters… beer… that you see on TV every night in Japan.”

    And this video clip, Kelts says, comes from Tamori’s nightly variety show, an edition from March 1986. It was called ‘What a Great Night’.

Kelts recognizes the subject of the skit too.

    Turns out it’s a take on Momotaro, or the Peach Boy – one of the all-time classic Japanese fairy tales.

    KELTS: “It follows the narrative very closely, it hews quite close to the narrative, but everything is done tongue-in-cheek.”

    The first part of the story goes like this. There’s a poor old couple. They can’t have kids. One day, a giant peach floats down the river to their village. The old couple take the peach home and try to eat it. But when they cut it open, they find a boy inside.

In Tamori’s version, this is where they sing Thelonius Monk’s Misterioso.

    So now we’ve got a Japanese TV variety show from the 1980s doing a tongue-in-cheek version of a classic fairy tale.

 But why the jazz?

    It starts to make a bit more sense, says Roland Kelts, when you know that Tamori – the comedian – was born in August 1945.

    That makes him the archetypal post-war boomer.

    Kelts: “That generation grew up idolizing America pop culture. They read American novels, they listened to America jazz, they watched Am TV. So knowing those specific numbers and who created them, who composed them would be a point of pride.”

    And Kelts thinks that back in the 80s, that self-aware sophistication — knowing relatively obscure jazz tunes like this one, Bill Evans’ Waltz for Debby — fit into a broader sense of Japan’s place in the world.

    Tamori’s TV show took full advantage.

    Kelts: “That was a time when Japan’s economy was expanding… show that was perceived to be how far Japan had come… can poke fun…. at ourselves… best known fairytale in Japan.”

    In Japan, but not here in the States. Here’s how it ends. The peach boy grows up. And, along with some animal friends, he travels across the ocean – um, to the Herbie Hancock tune, Maiden Voyage.

    The peach boy arrives at the island of the ogres — they’ve been stealing from the villagers. In Tamori’s skit, the chief ogre is painted red from head to toe, wears glasses and sings the bebop tune Donna Lee. In the end, the peach boy defeats the ogres and returns home with a load of treasure. In Japan it’s about as well-known a story as you can get.

    But Roland Kelts says that for younger Japanese today, the only thing they’d understand would be the story.

    Today their focus is domestic not international — in music and in other things.

    Kelts: “It’s a symbol or a sign of how pessimistic younger Japanese feel. Tamori’s generation, they were looking to a Japan that continued to grow and the growth seemed endless. Your real estate holding would grow in value, forever. Some people said back then we’d all work for a Japanese company. It seems absurd now.”

    So did the video when I first watched it. But it turns out to be much more than anonymous Japanese TV comedians singing jazz tunes in peasant costumes. It’s really a historical document of a Japanese attitude — one that’s slipping away.

    And maybe the United States can relate to that feeling… a feeling that something’s been lost: that carefree sense of being on top of the world.

 
Dedicated to Kansai Yamamoto・Modern Jazz Opera • Momotaro・モダン・ジャズ・オペラ 桃太郎・(with kind regards to @theMarcJacobs, through whose news of his passing rendered it necessarily done)
STOLEN by Marc Campbell at DangerousMinds.net 3.1.2011
Poached on Dangerous Minds 3.1.2011
dangerousminds.net


link and first video
--
at

July 26, 2020

96 Sentences on Anthony Bourdain




  1. BOURDAIN REFLECTION

  2. I’d eaten countless times at Les Halles on Park Avenue South before I quit my career in fashion and luxury goods PR, and applied to culinary school.

  3. I had no idea who was behind the burners, or what went on in the life of those who inhabited the kitchen down below the vibrant dining room, where I periodically indulged in frisée a lardons, steak tartare, and cassoulet.

  4. The place was local-ish and it scratched an itch when I had a hankering for classic French bistro fare.

  5. It wasn’t until years later, after I’d graduated from culinary school at Peter Kump’s (now called the Institute of Culinary Education) and was already working the line at San Domenico NY, on Central Park South, that my parents gifted me Anthony Bourdain’s breakthrough book, Kitchen Confidential.

  6. (The dedication is here, with a final “Congrats on your cooking” — the simplicity and earnestness of which I love).

  7. I remember devouring the book very quickly.

  8. And though I had my doubts then, and still do, about the veracity of some of the anecdotes within those pages, I quickly decided that this guy was speaking on my behalf, and on behalf of those in my line of work.

  9. He spoke for those of us who loved cooking professionally and making people happy, but also those of us who reveled in the hours working when others were playing, playing when those others were sleeping, and sleeping when those others were in their office cubicles, restrained in suits and lucky to get a glimpse of the sunshine during their too-brief lunch hour.

  10. This was new to me, having gone from the necessarily image-obsessed offices of fashion and entertainment PR to the back of house, among the uniformed (a.k.a. dressed-down) ranks of the brigade-style upscale restaurant kitchen.

  11. This kitchen was a place quite often more brutal than a classic office environment: the pressure is intense, the competition among the cooks is fierce, the level of artistry high, while an atmosphere of militaristic menace and command-obsessed precision reign.

  12. So, that part Bourdain nailed.

  13. And he’d worked mostly at lobster shacks and mid-range restaurants slinging brunch, so his experience involved less artistry, more delinquency.

  14. The industry as a whole is indeed full of misfits and ne’er-do-wells (I had to throw that term in there) whose resumés did not look like mine when I entered through the kitchen doors.

  15. But their drive to make delicious food, with swagger, was intoxicating.

  16. And I was enthralled.

  17. I never looked back.

  18. And never did I long to sit in a cubicle over the hottest and messiest of kitchens.

  19. Fast-forward to my years living and cooking in Rome.

  20. I almost never watched Italian television because, frankly, with a few rare exceptions, it’s awful.

  21. It was the aughts, and my expat friends and I had developed an elaborate network of DVD swapping and TV show (illegal) downloading so that we could participate in the English language zeitgeist that required working knowledge of series like “The Sopranos” and “Sex and the City” and “Lost”.

  22. Once I’d learned to master downloading onto my laptop and viewing the shows through my computer attached to my television, with surround sound coming through my speaker system…well, when I wasn’t working or running around enjoying the food and nightlife of the Eternal City, I watched as many shows as I could fit into an evening at home with my Roman kitty cat.

  23. And having seen some of Bourdain’s shows in the late ’90s back in New York, I knew to download all of “A Cook’s Tour” and “No Reservations” (as they aired) and again devoured Bourdain’s work.

  24. I even downloaded the single season of the TV adaptation of “Kitchen Confidential” starring Bradley Cooper (!) as Bourdain’s character in this chef-driven drama (a series on Fox isn’t a terribly relevant adaptation of the book, but Cooper is always magnetic and some of it was actually pretty funny).

  25. I ADORED these shows.

  26. In his travel shows, Tony’s snarky-but-open-minded commentary on locales both exotic (Vietnam, various African countries) and familiar (U.S. cities and most of Western Europe) struck a chord with me.

  27. He was hilarious.

  28. Insightful.

  29. Worldly.

  30. Sweet.

  31. Sardonic.

  32. He was from Jersey.

  33. He smoked on camera and got drunk and ate anything and everything.

  34. He was my kind of chef.

  35. Oh, how I wanted to take him around Rome and show him my second home, the city that I love.

  36. Oh, did I want to drink with Bourdain.

  37. But most of all, I was grateful for what he gave me (and so many others, as it turns out): a window onto the world, an invite into the global kitchen, a glimpse at cultures we may never experience for ourselves.

  38. It was the ultimate armchair traveler’s experience, and more specifically, it catered to the food-obsessed — chefs like myself chief among them.

  39. I loved all of Bourdain’s shows but to me, despite his award-winning later work at CNN, I loved his “No Reservations” series most of all.

  40. He was still relatively curious without an overabundance of cynicism (though of course, that New Yorker cynicism is part of what makes him Bourdain).

  41. He represented the best of what travel does for humankind.

  42. And for each of us on a personal level.

  43. I felt he was there for me, especially when I was living 5,000 miles from home and felt detached, felt distant from my family, felt somehow traitorous living so far from my beloved NYC after 9/11.

  44. Bourdain made me feel like my wanderlust, my culinary curiosity, my love of exploring the world — it wasn’t a negative, it wasn’t a liability, it wasn’t even un-American.

  45. It was the greatest gift I possessed.

  46. It was to be nurtured, not extinguished.

  47. I was, of course, traveling when the news broke that Bourdain had taken his own life while filming an episode of “Parts Unknown” in France (his first international travel destination as a kid, where his journey began, and probably no coincidence, where it ended).

  48. I was in the Florida Keys with my family, and my husband woke me up in the early morning with cries of “no, no no!” He had been reading the news on his phone while I slept, and he shook me awake and said, “hon, oh noooo, you’ll never believe it!” The news hit me like a ton of bricks just a few weeks after Kate Spade had taken her own life.

  49. First it was an icon of fashion, my former industry, and now an icon of the food world, and of New York — my current career and hometown — had taken his life too.

  50. That he would leave his best friend chef Eric Ripert to find his body seems uncharacteristically cruel of him.

  51. I’ve always admired Ripert since the day he taught us lobster butchery and cooking in culinary school.

  52. My heart has gone out to Ripert in dealing with all of this, and losing his best friend in such a terrible manner.

  53. But the question still lingers: why? While we’ll never actually know, my immediate thought was that it was romantic heartbreak.

  54. You can get over the former but you can rarely shake it, least not completely.

  55. It seems like it’s always the loveliest of souls who never stick around for the long haul.

  56. Back in Manhattan, the now-shuttered Les Halles (the last place of Bourdain’s cooking employ) was covered with notes of remembrance, photos, love letters on post-it notes and an outpouring of sympathy and sadness, the sidewalk covered in flowers the length of the storefront.

  57. Tony was most certainly loved.

  58. While there’s a huge hole in my heart that Bourdain used to fill with his acerbic wit, his mellifluous and spot-on prose, and his gorgeously-filmed and insightful and funny television programs, at least we have all of that which he left us.

  59. It’s down in writing, on film.

  60. And his interviews are a thing of beauty, whether podcast or radio show or television interviews.

  61. To read the things he’s written and said is to mine pull quote gold.

  62. And so, below, I give you a few of my favorites.

  63. He was not “just a chef” — a phrase I hate.

  64. We are all multi-hyphenates, as humans — some of us much more than others, and Bourdain was one of those.

  65. He knew music and cinema and literature as well as any professor of any of those subjects.

  66. It makes his thoughts on culture and politics relevant.

  67. Personally, I will always look to someone who is well-traveled, who has really lived, to give his or her opinion on things over an “expert” quote-unquote, any day of the week.

  68. It breaks my heart to have to write this reflection in memorium, on what is Bourdain’s birthday, and what Ripert and José Andres have dubbed “BOURDAIN DAY.” We miss you, Tony.

  69. We always will.

  70. “As you move through this life and this world, you change things slightly; you leave marks behind, however small.

  71. And in return, life — and travel — leaves marks on you.

  72. Most of the time, those marks — on your body or on your heart — are beautiful.

  73. “If I am an advocate for anything, it is to move.

  74. As far as you can, as much as you can.

  75. Across the ocean, or simply across the river.

  76. Walk in someone else’s shoes or at least eat their food.

  77. “Basic cooking skills are a virtue… the ability to feed yourself and a few others with proficiency should be taught to every young man and woman as a fundamental skill.

  78. “My hometown New York also has a big heart.

  79. “Maybe that’s enlightenment enough: to know that there is no final resting place of the mind; no moment of smug clarity.

  80. So, did you vote? Yes.

  81. No fan of the Clintons am I, by a long shot.

  82. But I’m a New Yorker, Donald Trump is a New Yorker.

  83. And the New Yorkers I know, we’ve lived with this guy for 30 years.

  84. I’ve seen Donald Trump say things one day, and then I saw what he did the next.

  85. I’ve seen up close how he does business.

  86. Just like if you lived in a small town, you’d get to know the sheriff, the guy who runs the hardware store, the guy who runs the filling station — Trump comes from that era of guys you followed, guys you knew about every day: Trump, Giuliani, Al Sharpton, Curtis Sliwa.

  87. I’d see him at Studio 54, for fuck’s sake.

  88. I’m not saying I know the guy personally, not like I’d hug him, but I’m saying that as a New Yorker, we pretty much are neighbors.

  89. And my many years of living in his orbit have not left me with a favorable impression, let’s put it that way.

  90. There’s so many reasons to find the guy troubling.

  91. When Scott Baio’s the only guy you can find to show up at your convention, you’re in trouble… …And Trump — the man eats his steak well done! I don’t think he’s a good person.

  92. I remember the Central Park Five, and what he said.

  93. I’ve seen how he’s treated employees.

  94. I saw what he did to Atlantic City.

  95. I saw what he did to the west side of this town.

  96. It’s fuckin’ ugly.

at

July 25, 2020

Yeezy Kanye “YZY” Fight Fragrance July 22, 2020 - By TFL In June 2018, YZY[1]



Yeezy Kanye “YZY” Fight Fragrance July 22, 2020 - By TFL In June 2018, YZY[1] filed a trademark application with the U.S. Patent and Trademark Office (“USPTO[2]”). The company – a Miami-based fragrance and cosmetics wholesaler – sought to register a stylized version of its name for use on “fragrances and hair care preparations,”[3] among other related products, only to be shot down by the national trademark body[4]. In a handful of formal responses to Y.Z.Y., Inc.[5]’s application, the USPTO determined that the company’s trademark was too similar to an existing mark[6], one that had been registered a year prior by a company affiliated with Kanye West[7]. In the first of several Office Actions that Y.Z.Y., Inc. received from the USPTO, an examining attorney pointed to a trademark registration for “YZY” for use on footwear that Kanye West’s intellectual property holding company Mascotte Holdings, Inc.[8] was awarded in 2017. According to the USPTO examiner’s August 2018 letter, registration for Y.Z.Y., Inc.’s “applied-for mark is [preliminarily] refused because of a likelihood of confusion” with West’s mark. [9] The parties are in the business of making and selling different types of products (at least for now), as indicated by their respective marks – footwear for Kanye and fragrances of Y.Z.Y., Inc.[10] And their marks, themselves, differ in terms of their scope/appearance – West’s mark consists of a wordmark for the letters “YZY,”[11] while Y.Z.Y., Inc.’s mark encompasses “shaded stylized letters ‘YZY’ [with] shaded circles and curved lines form a flower above the letters[12] and ornamentation above, below and between the letters.” Nonetheless, the USPTO examiner found that the marks are so similar that “it is likely that a consumer would be confused, [13]mistaken, or deceived as to the source of the goods” of the two unrelated companies. This is largely because “the literal elements of [the two] marks are identical in appearance, sound, and meaning[14],” and as a result, “are likely to engender the same connotation and overall commercial impression.” Following a couple of unsuccessful attempts by Y.Z.Y., Inc. to convince the USPTO otherwise, including by arguing that “there is no evidence of record that [West] sells any goods other than footwear,” and that his brand does not sell fragrance products, the fragrance company took its fight elsewhere: to the USPTO’s Trademark Trial and Appeal Board[15] (“TTAB”), where it sought – and is still in the midst of a quest – to cancel the existing registration[16] of West’s “YEEZY ” mark. In its August 2019 Petition for Cancellation, Y.Z.Y., Inc. claimed that it “is and will continue to be damaged by the registration of the ‘YZY’ mark,” which West first began using on footwear (according to the registration) on February 14, 2015, the day that his Yeezy 750 Boost adidas sneaker[17] was first made available to the public. The problem with that, according to Y.Z.Y., Inc., is that West first used the “YZY” name on sneakers years after it had adopted the YZY name. West’s “YEEZY” mark [18](left) & Y.Z.Y., Inc.’s stylized mark [19](right) Y.Z.Y., Inc. argued that it started using – and thus, started amassing trademark rights in – a stylized “YZY” mark in connection with its “business of manufacturing, promoting, advertising, distributing, and selling high quality hair care, skin care and fragrance goods … throughout the U.S.” since “at least as early as August 2011,” and has consistently used the mark since then. These dates are significant, as in the U.S., trademark rights are amassed by the first party to actually use a mark on specific goods/services in commerce, and not the first to merely file an application for it. Despite the fact that its use predates Kanye’s, Y.Z.Y., Inc. claims that when it decided to file an application for registration for its stylized “YZY” mark in 2018, the USPTO refused to register the mark on the basis of West’s already-existing registration. As a result, Y.Z.Y., Inc. is seeking to cancel Mascotte Holdings’ registration, arguing that “in the event there is any conflict between Y.Z.Y., Inc.’s right to use [the stylized ‘YZY’ mark] and/or ‘YZY’ [as a word mark], and [West’s] right to use YZY as registered, Y.Z.Y., Inc. clearly has priority over [West]” due to its prior usage of the mark. In other words, in requesting that the TTAB formally invalidate West’s mark, Y.Z.Y., Inc.is essentially trying to get the trademark body to clear the way for its mark to proceed in the registration process with the USPTO. (Its “YZY” application was temporarily suspended by the USPTO for the duration of the cancellation proceedings). Just a month after counsel for West’s Mascotte Holdings filed its answer in October 2019 (in which it denied the majority of Y.Z.Y., Inc.’s assertions or claimed that it was “without sufficient knowledge” to either affirm or deny them, and also set forth a couple of defenses, including “the equitable doctrines of waiver, estoppel, laches, acquiescence and/or unclean hands”), it alerted the TTAB that the parties were “actively engaged in settlement negotiations.” The matter has been suspended for much of the time since then in order to enable the parties to engage in such discussions, which have not resulted in a formal settlement to date. The latest update came via a filing by Y.Z.Y., Inc. this month, in which it requested to extend disclosure, discovery, and trial dates. All the while, the matter has taken on something of a new significance in light of the recently-announced partnership between Gap and Kanye West[20], which will bring West’s neutral-hued ready-to-wear to malls across the United States [21]as part of a decade-long tie-up. Entitled, Yeezy Gap[22], the impending new collaboration between the ailing American mall retailer and the oft-controversial rapper[23]-slash-creative director, which is expected to debut in the first half of 2021, was revealed late last month and comes complete with its newly-unveiled “YZY” [24]logo, a play on the “Yeezy” name the longstanding blue-square Gap logo[25]. While the enduring Y.Z.Y., Inc. and Mascotte’s fight is largely limited to the former’s stylized “YZY” mark and West’s “YZY” registration for use on footwear, the Gap collab stands to see the new “YZY” logo splashed on a wider range of goods, namely, apparel, and will likely see counsel for Gap seek legal protections for it, which could serve to up the ante in this fight, should Y.Z.Y., Inc. face further pushback from the USPTO – or initiate additional challenges of its own – as a result[26].


________________



at

July 21, 2020

Because the world is round

 
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6.21.2020

10 Top Instagram Social Influencer Rescue Dogs (UPDATED VIDEO BIOS) You Need in your IG Dogfeed ... Whose Heeling is Next to Following! featuring Most Influential 'Popeye the Foodie Dog' (Yorkporn Shiranian Terrier) PLUS Hip Rap Book Hop

 Heeling is Next to Following!

featuring Most Influential

'Popeye the Foodie Dog' (Yorkporn Shiranian Terrier) 

PLUS

What Gets Me Hot. Picture Window theme

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