Ryuichi Sakamoto, RIP: Watch Him Create Groundbreaking Electronic Music in 1984
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Ryuichi Sakamoto was born and raised in Japan. He rose to prominence as a member of Yellow Magic Orchestra , the most influential Japanese band in pop-music history. Last week, he died in Japan. But he also claimed not to consider himself Japanese. That reflects the dedication of his lifeâs work as a composer and performer to cross-cultural inspiration, collaboration, and synthesis. How fitting that the announcement of his death this past weekend should elicit an outpouring of tributes from fans and colleagues around the world, sharing his work from a variety of different stylistic and technological periods in a variety of different languages.
Fitting, as well, that the first documentary made about Sakamoto as a solo artist should have been directed by a Frenchwoman, the photographer Elizabeth Lennard. Shot in 1984, Tokyo melody: un film sur Ryuichi Sakamoto captures not only Sakamoto himself on the rise as an international cultural figure, but also a Japan that had recently become the red-hot center â at least in the global imagination â of wealth, technology, and even forward-looking imagination. It was in the Japanese capital that Sakamoto recorded Ongaku Zukan , or Illustrated Musical Encyclopedia , the album that showed the listening public, in Japan and elsewhere, what it really sounded like to make music not just in but of the late twentieth century.
Or perhaps it was music for the End of History. âJapan has become the leading capitalist country,â Sakamoto says in Tokyo Melody . âI donât know if itâs good or bad. The season of politics is over. People donât think of rebelling. On the other hand they have a real hunger for culture.â Then comes the footage of wax model food and obsessively ersatz nineteen-fifties-style greasers: cliched representations of urban Japan at the time, yes, but also genuine reflections of the somehow refined mix-and-match retro-kitsch sensibility that had come to prevail there. âMainstream culture has lost its authority,â Sakamoto adds. âThere is a floating notion of values. Technology is progressing by itself. The gears move more and more efficiently. We feel possibilities appearing that exceed our imagination and our horizons.â
For nearly forty years therafter, Sakamoto would continue to explore this range of possibilities â sublime, bizarre, or even threatening â through his music, whether on his own releases, his projects with other artists, or his many film soundtracks for a range of auteurs including Nagisa Oshima (for whom he also acted, alongside David Bowie, in Merry Christmas, Mr. Lawrence ), Brian De Palma, Bernardo Bertolucci, and Alejandro Inarritu. In Tokyo Melody he reveals one secret of his success: âWhen I work with Japanese, I become Japanese. When I work with Westerners, I try to be like them.â Hence the way, no matter the artistic or cultural context, Sakamotoâs music was never identifiable as either Japanese or Western, but always identifiable as his own.
Related Content:
Watch Classic Performances by Yellow Magic Orchestra, the Japanese Band That Became One of the Most Innovative Electronic Music Acts of All Time
Infinite Escher : A High-Tech Tribute to M.C. Escher, Featuring Sean Lennon, Nam June Paik & Ryuichi Sakamoto (1990)
Hear the Greatest Hits of Isao Tomita (RIP), the Father of Japanese Electronic Music
The Roland TR-808, the Drum Machine That Changed Music Forever, Is Back! And Itâs Now Affordable & Compact
Brian Eno on Creating Music and Art As Imaginary Landscapes (1989)
Discover the Ambient Music of Hiroshi Yoshimura, the Pioneering Japanese Composer
Based in Seoul, Colin M arshall  writes and broadcas ts on cities, language, and culture. His projects include the Substack newsletter  Books on Cities ,  the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema . Follow him on Twitter at @colinma rshall  or on Facebook .
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Online Courses. Certificates. Degrees & Mini-Degrees. Audio Books. Movies. Podcasts. K-12. eBooks. Languages. Donate. in Music | April 3rd, 2023 Leave a Comment. Facebook. Twitter. Reddit. Subscribe. Google. Whatsapp. Pinterest. Digg. Linkedin. Stumbleupon. Vk. Print. Delicious. Buffer. Pocket. Xing. Tumblr. Mail. Yummly. Telegram. Flipboard. Ryuichi Sakamoto was born and raised in Japan. He rose to prominence as a member of Yellow Magic Orchestra , the most influential Japanese band in pop-music history. Last week, he died in Japan. But he also claimed not to consider himself Japanese. That reflects the dedication of his lifeâs work as a composer and performer to cross-cultural inspiration, collaboration, and synthesis. How fitting that the announcement of his death this past weekend should elicit an outpouring of tributes from fans and colleagues around the world, sharing his work from a variety of different stylistic and technological periods in a variety of different languages. Fitting, as well, that the first documentary made about Sakamoto as a solo artist should have been directed by a Frenchwoman, the photographer Elizabeth Lennard. Shot in 1984, Tokyo melody: un film sur Ryuichi Sakamoto captures not only Sakamoto himself on the rise as an international cultural figure, but also a Japan that had recently become the red-hot center â at least in the global imagination â of wealth, technology, and even forward-looking imagination. It was in the Japanese capital that Sakamoto recorded Ongaku Zukan , or Illustrated Musical Encyclopedia , the album that showed the listening public, in Japan and elsewhere, what it really sounded like to make music not just in but of the late twentieth century. Or perhaps it was music for the End of History. âJapan has become the leading capitalist country,â Sakamoto says in Tokyo Melody . âI donât know if itâs good or bad. The season of politics is over. People donât think of rebelling. On the other hand they have a real hunger for culture.â Then comes the footage of wax model food and obsessively ersatz nineteen-fifties-style greasers: cliched representations of urban Japan at the time, yes, but also genuine reflections of the somehow refined mix-and-match retro-kitsch sensibility that had come to prevail there. âMainstream culture has lost its authority,â Sakamoto adds. âThere is a floating notion of values. Technology is progressing by itself. The gears move more and more efficiently. We feel possibilities appearing that exceed our imagination and our horizons.â For nearly forty years therafter, Sakamoto would continue to explore this range of possibilities â sublime, bizarre, or even threatening â through his music, whether on his own releases, his projects with other artists, or his many film soundtracks for a range of auteurs including Nagisa Oshima (for whom he also acted, alongside David Bowie, in Merry Christmas, Mr. Lawrence ), Brian De Palma, Bernardo Bertolucci, and Alejandro Inarritu. In Tokyo Melody he reveals one secret of his success: âWhen I work with Japanese, I become Japanese. When I work with Westerners, I try to be like them.â Hence the way, no matter the artistic or cultural context, Sakamotoâs music was never identifiable as either Japanese or Western, but always identifiable as his own. Related Content: Watch Classic Performances by Yellow Magic Orchestra, the Japanese Band That Became One of the Most Innovative Electronic Music Acts of All Time. Infinite Escher : A High-Tech Tribute to M.C. Escher, Featuring Sean Lennon, Nam June Paik & Ryuichi Sakamoto (1990) Hear the Greatest Hits of Isao Tomita (RIP), the Father of Japanese Electronic Music. The Roland TR-808, the Drum Machine That Changed Music Forever, Is Back! And Itâs Now Affordable & Compact. Brian Eno on Creating Music and Art As Imaginary Landscapes (1989) Discover the Ambient Music of Hiroshi Yoshimura, the Pioneering Japanese Composer. Based in Seoul, Colin M arshall  writes and broadcas ts on cities, language, and culture. His projects include the Substack newsletter  Books on Cities ,  the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema . Follow him on Twitter at @colinma rshall  or on Facebook . Facebook. Twitter. Reddit. Subscribe. Google. Whatsapp. Pinterest. Digg. Linkedin. Stumbleupon. Vk. Print. Delicious. Buffer. Pocket. Xing. Tumblr. Mail. Yummly. Telegram. Flipboard. by Colin Marshall | Permalink | Comments (0) |. Support Open Culture. Weâre hoping to rely on our loyal readers rather than erratic ads. To support Open Cultureâs educational mission, please consider making a donation . We accept PayPal, Venmo (@openculture), Patreon and Crypto! Please find all options here . We thank you!
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Great Lectures Michel Foucault Sun Ra at UC Berkeley Richard Feynman Joseph Campbell Carl Sagan Margaret Atwood Jorge Luis Borges Leonard Bernstein Richard Dawkins Buckminster Fuller Walter Kaufmann on Existentialism Jacques Lacan Roland Barthes Nobel Lectures by Writers Toni Morrison Bertrand Russell Oxford Philosophy Lectures. About Us Open Culture scours the web for the best educational media. We find the free courses and audio books you need, the language lessons & educational videos you want, and plenty of enlightenment in between. Advertise With Us. Great Recordings T.S. Eliot Reads Waste Land Sylvia Plath - Ariel Joyce Reads Ulysses Joyce - Finnegans Wake Patti Smith Reads Virginia Woolf Albert Einstein Charles Bukowski Bill Murray Hemingway Fitzgerald Reads Shakespeare William Faulkner Flannery O'Connor Tolkien - The Hobbit Allen Ginsberg - Howl W.B Yeats Ezra Pound Dylan Thomas Anne Sexton John Cheever David Foster Wallace. 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