Saturday, June 20, 2015

The future of streaming music in Japan, for The Japan Times




Last week, Line Corp.’s, the operators of Japan’s most popular messaging app, launched an in-app music streaming service called Line Music. Japan is the second-largest music market in the world after the United States, but its consumers have so far been global outliers, clinging to physical products like CDs and DVDs, which comprise 80 percent of all sales, when everyone else switched to digital. Line Music joins the only other active streaming service in Japan, AWA, established late last month by Avex and Cyber Agent. Apple Music, Spotify and Google are said to be studying the market but have yet to make moves.

Some see Line Music and AWA as harbingers of Japan’s music business future, aligning it with the rest of the world. Veteran Tokyo-based producer and songwriter Jeff Miyahara, however, is doubtful. The novelty of streaming will wear thin fast in Japan, he tells me, because it’s a culture that prizes physical products, packaging and the kind of product-focus that is lost when all-in-one streaming services offer millions of songs — with little guidance or categorical control.

Tuesday, June 16, 2015

"The Fifth Flavor," for Guernica magazine


The Fifth Flavor

By Roland Kelts

Umami gives identity and intricacy to mother’s milk, a bowl of ramen, a writer poised between Japan and America.

“Be always beginning,” Rilke wrote. You begin again because you have no choice. When I was six, my Japanese mother took me to her hometown to live with my grandparents. In Morioka, a northern capital city, I attended the neighborhood kindergarten. My memories of those days are uniformly positive: hunting cicadas in the backyard with a store-bought child’s-net-and-terrarium set (cicada-catching is standard summer fare for Japanese kids); watching Ultraman monster shows, animation, and sumo wrestling on TV, seated beside my grandfather, both of us barefoot on the ribbed tatami mats; and bathing nightly in my grandparents’ stainless-steel tub, encased in dark wood-paneled walls.

But my mother tells me I was miserable, especially at school. I cried so hard and often that the principal called home in the middle of the day and asked her to please pick me up. I struggled with the language, the differences in cultural assumptions and attitudes, my alien looks and their alien food. I learned Japanese songs and chants and games that I can recite and play to this day, but I could not learn how to be Japanese.

Sunday, June 07, 2015

Monday, June 01, 2015

On Tokyo's coffee craze, for The Journal (ACCJ)



Indie brews ride “third wave” with quality beans and creative cafés

By Roland Kelts

James Freeman, the founder of California-based Blue Bottle Coffee Inc., was baffled.

His first overseas roastery and café in Kiyosumi, Tokyo, did more business on its opening Friday than any of the company’s 17 US outlets do in a week. His order of branded coffee mugs shipped in from the US was supposed to last a month; they sold out in a few days.

Two women, who stood in line for five hours in front of the Kiyosumi store, told him they had taken the bus from Osaka to Tokyo—almost four hours away—to be there. The next month, when Blue Bottle opened its second Tokyo outlet, a café in the Aoyama neighborhood of Tokyo, the same pair turned up again.

“They seemed like lovely suburban ladies,” Freeman says. “And they were thrilled.”

Thank you, Richmond, VA!



Monday, May 18, 2015

Thank you, Chicago & Anime Central, for The Japan Times



By Roland Kelts

The 18th annual Anime Central (ACen), North America’s third largest anime convention, was held May 15 - 17 in Rosemont, near Chicago. Last year’s event drew a record 29,000 unique attendees, tallying 81,000 in total over its three full days. Organizers breached those figures again in 2015, hosting over 31,000.

ACen is something of an oasis for anime fans in Middle America. While official celebrations of Japanese popular culture take place across the United States nearly every weekend of the year, many of them are modest affairs, geared toward less populated regions and local fans, sometimes hosted by municipal libraries and schools. The larger conventions and expos, with their bus-loads of cosplayers and A-list Japanese guests, tend to be coastal events, hosted in urban centers such as Los Angeles, Seattle, Boston and New York.

ACen is held in the heart of the American Midwest. Chicago hugs the shores of Lake Michigan but is otherwise landlocked, a city surrounded by forest and farmland with a reputation for plain-speaking, hard work and killer blues.

Wednesday, May 13, 2015

After the Monkey Tour, it's Chicago's ANIME CENTRAL

After a stellar tour of the Midwest and New York City with Monkey Business magazine, I am back in Chicago, honored to be appearing with Japanamerica from May 15 - 17 at Anime Central, the region's largest celebration of Japanese art and culture. 


Friday, April 24, 2015

Monkey tour complet, 4/26 - 5/8 2015


MONKEY BUSINESS US MIDWEST AND NEW YORK 2015 SPRING TOUR  

MIDWEST
With:
Aoko Matsuda
Satoshi Kitamura
Susan Harris (4/28)

April 27 (Mon.) – Chicago, IL: Columbia College-Chicago, 1:00 – 5:00 pm

April 28 (Tue.) – Chicago, IL: University of Chicago, 4:30 – 8:00 pm

April 29 (Wed.) – Kalamazoo, MI: Western Michigan University (Kalamazoo), 4:30pm~

April 30 (Thur.) – Madison, WI: The University of Wisconsin (Madison), 5:00 – 7:00pm

NEW YORK
With:
Aoko Matsuda
Satoshi Kitamura
Ben Katchor (5/3 – 5/6)
Kelly Link (5/4 & 5/6)
Jay Rubin (5/7)

May 3 (Sun.) – Brooklyn, NY: BookCourt, 4:00pm~

May 4 (Mon.) – New York, NY: Asia Society, 6:30pm~

May 6 (Wed.) – New York, NY: McNally Jackson, 8:00pm~

May 7 (Thur.) – New York, NY: Japan Society, 6:30pm~

Wednesday, April 22, 2015

Meet us in Michigan, 4/29

From Timbuktu to Kalamazoo -- Monkey Business at Western Michigan University, April 29th.


Monday, April 20, 2015

Japan's anime biz screams for streaming, for The Japan Times

At last, Japan gets it


by Roland Kelts

The Japanese entertainment industry is finally growing up, says Shin Unozawa, and he should know. Unozawa joined Bandai Entertainment back in 1981, and serves as chair of the Computer Entertainment Supplier’s Association (CESA), co-hosts of the Tokyo Game Show.

Now he is CEO of the recently formed Anime Consortium Japan (ACJ) — a multipartner corporation launched last November, with the goal of localizing and consolidating the digital streaming of official Japanese content.

The ACJ’s lineup is top shelf: Production and advertising giants Toei, Sunrise, TMS, Aniplex, Asatsu-DK, Nihon Ad Systems and Dentsu have teamed up with major shareholders Bandai Namco Holdings and the government-sponsored Cool Japan Fund. Their primary aim is to tackle piracy and develop the first Japan-centered streaming entertainment and e-commerce platform called Daisuki. It’s as impressive as it is long overdue.

Thursday, April 16, 2015

What the West can learn from Japan, for New Statesman

What the west can learn from Japan’s “lost decades”


Roland Kelts wonders whether Japan-style stagnation would really be so bad in the west.

by Roland Kelts

I travel back and forth between Japan and the United States, mostly Tokyo and New York and a few other American cities, several times a year. The contrast is jarring. Arriving in the US can feel like rolling back a decade or more, returning to a time when information was scarce, infrastructure was creaky and basic services such as ground transportation were chaotic and unreliable.

I steel myself before landing, my mind tallying variables and unknowns: will my luggage land with me and emerge on the dingy carousel? Will the taxi that I booked online arrive on time, at the right terminal, or at all? Will traffic impede me on my journey?

And then there’s the view. Whether it’s the outskirts of Queens on the way from New York’s JFK International Airport or the fringes of the Los Angeles highway off-ramps by LAX, everything seems a bit run down and decrepit.

Landing in Tokyo, though, is a breeze.  All the travelators and escalators glide silently; the wall-mounted clocks, digital and analogue, tell the right time. When I reach the baggage carousel, my suitcase is already circling. Trains and buses depart punctually. I don’t have to pre-book because they’re scheduled minutes apart. I don’t have to think of anything beyond the last book I was reading during touchdown, fishing out my passport at immigration and what I might order for dinner that evening once I reach my apartment. Everything seems to be taken care of and nothing is broken. As I ease into town, usually on the limousine bus service, the streets outside are teeming with well-dressed urbanites heading home from work or out to restaurants, everyone in motion with purpose and meaning.

The MONKEY meets MURKAMI at The Japan Society New York, 5/7

The Magical Art of Translation: From Haruki Murakami to Japan's Latest Storytellers


Thursday, May 7, 6:30 PM
Buy Tickets
Jay Rubin, Ted Goossen, Aoko Matsuda, Satoshi Kitamura, Motoyuki Shibata, Roland Kelts.

Since 1989, Jay Rubin has translated many of Haruki Murakami's most successful and prize-winning novels, including The Wind-Up Bird Chronicle, Norwegian Wood and 1Q84. In this program, he is joined by Ted Goossen, translator of Murakami's most recent U.S. publications, The Strange Library (Knopf, December 2014) and Wind/Pinball: Two Early Novels (Knopf, August 2015), and co-editor of Monkey Business literary magazine, which showcases the best of contemporary Japanese literature for an international audience. They will discuss the unique challenges of translating modern Japanese literary works into American English, and vice versa. Rubin will also talk about his transition from translator to novelist vis-à-vis his debut novel The Sun Gods.

Joining the discussion from Tokyo will be authors Aoko Matsuda and Satoshi Kitamura, and Motoyuki Shibata, friend and translating partner of Murakami, former University of Tokyo professor, and the Japanese translator of such American literary luminaries as Paul Auster and Thomas Pynchon. Author Roland Kelts, co-editor of Monkey Business, moderates the discussion. Followed by a reception.

Tickets: $12/$8 Japan Society members, students & seniors

This program is funded, in part, by a generous grant from The Japan Foundation, New York.

Tuesday, April 14, 2015

Meet me in Madison, 4/30

With Satoshi Kitamura, Aoko Matsuda, Motoyuki Shibata, Adam L. Kern and Glynne Walley. Hosted by the University of Wisconsin-Madison.


Thursday, April 09, 2015

On the road again: Chicago appearance, 4/28

With Satoshi Kitamura, Aoko Matsuda, Motoyuki Shibata, Susan Harris and Michael Bourdaghs. Hosted by the University of Chicago. Specs here.


Tuesday, March 31, 2015

We Love Japan, for The Happy Reader

My short subjective and selective history of the West's infatuation with "Japan." For Penguin UK's The Happy Reader.


Taking pictures of taking pictures

"We're not here to capture an image, we're here to maintain one."
Don DeLillo, White Noise.


Friday, March 27, 2015

On AnimeJapan 2015 & Comiket's "Otaku Summit," for The Japan Times

AnimeJapan 2015 sees the big picture


by Roland Kelts

For most in Japan, April marks the beginning of the new working year. But for the anime and manga biz, it all starts in March.

Last weekend, the second annual AnimeJapan trade fair overtook Tokyo Big Sight, with more than 120,000 total attendees (a spike of 10,000 over last year’s tally), 2,500 of whom were business representatives from Japan and overseas. This weekend, March 28 and 29, will see the first-ever “Otaku Summit,” a special edition of the biannual Comics Market (Comiket), featuring manga-fan artists from 18 countries and held at Chiba’s Makuhari Messe.

AnimeJapan is the union of two events, the former Tokyo Anime Festival (TAF) and The Anime Contents Expo (ACE), whose initial split was caused by a rift over ex-Tokyo governor Shintaro Ishihara’s controversial censorship drive in 2010. The first TAF I attended in 2005 targeted industry insiders — domestic studios, networks and media. But AnimeJapan has evolved into a hybrid that is part overseas-style fan convention, part trade fair, and far more globally conscious.

“Yes, we are really trying to transform AnimeJapan into the world’s best anime event,” says general producer Yuji Hirooka of Bandai Visual. “We are actively inviting more foreign visitors. We are also trying to make it more enjoyable for different kinds of visitors, like fans, businesspeople and even families. We want to meet their different needs.”

[photo Rob Pereyda]

Tuesday, March 24, 2015

Turning Japanese, for The Long + Short

Turning Japanese
Coping with stasis: how the supposed 'sick man of Asia' might be a model for us all



By Roland Kelts

I travel back and forth between Japan and the United States, mostly Tokyo and New York and a few other American cities, several times a year. The contrast is jarring. Arriving in the US can feel like rolling back a decade or more, returning to a time when information was scarce, infrastructure creaky, and basic services like ground transportation chaotic and unreliable.

I steel myself before landing, my mind tallying variables and unknowns: will my luggage land with me and emerge on the dingy carousel? Will the taxi service I booked online arrive on time, at the right terminal, or at all? Will traffic be an impediment to my destination?

And then there’s the view. Whether it’s the outskirts of Queens from New York’s JFK airport, or the fringes of Los Angeles highway off-ramps from LAX, everything seems a bit run down and decrepit.

Landing in Tokyo, though, is a breeze. All the travelators and escalators glide silently; the wall-mounted clocks, digital and analogue, tell the right time. When I reach the baggage carousel, my suitcase is already circling. Trains and buses depart punctually. I don’t have to pre-book because they’re scheduled merely minutes apart. I don’t have to think of anything beyond a book, the last one I was reading upon touchdown, fishing out my passport at immigration, and what I might order for dinner that evening once I reach my apartment. Everything seems to be taken care of, and nothing is broken.