Posted 7.19.07

9 Questions with Josephine Yun
Josephine Yun grew up watching Japanese historical dramas and listening to rock music. She received a writing degree from Johns Hopkins University and has covered theater, classical music, and Japanese pop for Baltimore City Paper since 2002. In 2004, she was commissioned by Tofu Records to write the official English biography of X Japan. jrock, ink. is her first book, a concise report on 40 of the biggest rock acts in Japan.

1. Mainstream radio and television in the United States have always, with very few exceptions, shunned music that is not in the English language. The publication of your book definitely illustrates the fact that Japanese music has gained an audience in the U.S., albeit an underground one. Can you comment on this audience at all as far as ages or other interests go? Can you provide any insight as to why the U.S. fails to embrace music in foreign languages?

It’s primarily a very loyal audience, a younger one whose interests range from anime to videogames to manga. But I also think that there are some older listeners who have known about the genre for quite a long time, as far back as the late ‘80s and early ‘90s with the Blue Hearts, Shonen Knife, and Loudness. The book is meant to re-engage these early listeners, for whom jrock might have just been a casual thing, as well as introduce older and lesser-known artists such as Unicorn, Princess Princess, and SHEENA & THE ROKKETS to current fans.

I think the United States is generally accustomed to four things: instant gratification, racism, prejudice, and material comfort. These are reasons why it fails to embrace music in foreign languages: it’s so used to things being in English (instant understanding), and it is content that way. It doesn’t feel the need to bother (and finds it difficult to fathom, even) expanding its musical tastes, even if that entails artistic or non-material fulfillment. It wants things right away-- in its own language-- and if that’s not readily accessible, either visually or linguistically, the U.S. disregards it and moves on to something easy to understand.

Instead of asking questions, most people in the U.S. tend to prejudge and form their own preconceptions, and that’s why music in other languages isn’t given a chance. They are more comfortable with what they already know and aren’t interested in learning more, taking risks, or trying new things.

2. How did you go about choosing the 40 artists that are included in "jrock, ink."? Was there certain criteria involved?

I actually didn’t choose them! It’s a long story, but I began with a list of over a hundred artists that was cut down eventually due to a number of reasons, the main one being lack of CDs. Instead of being comprehensive, the result is the book being a slice representative of the scene in general, with artists who exemplify some aspect of, or accomplished something for, Japanese rock in both the U.S. and Japan.

3. Have you had any readers inquire about why you left out or included certain artists? Is there anything you can say to the nit-pickers that will appease them?

Yes, they have asked. I don’t think there is anything I can say that would appease some of them, because they feel so strongly about the artists. I don’t know if they understand that it is never up to you. There is a story behind each artist entry (or absence) in the book. Some did not wish to be included, and I had to respect that.

At the same time, I don’t blame them. (The nit-pickers.) I can understand everyone wanting to see their artist done well.

4. What artists that are included in the book are among your personal favorites? Did you include any artists that you care little for?

Well, they’re all professional favorites (sorry!). I really admire Kuroyume, Cocco, B’z, hide, Sheena Ringo, BUCK-TICK, and Penicillin. And Princess Princess. But all of the artists should be recognized for pursuing not just careers in music, but careers in rock music in Japan, where the odds are so steep.

Musically, I wasn’t as moved by Duel Jewel or Due le Quartz, but I wanted to include at least one example of a visual band that introduced the genre to the U.S., as well as one of a classic indie visual band. I wasn’t impressed by Psycho le Cemu, either, but I have since listened to Beautiful World. My apologies to the PLC fans, as my opinions on and what I wrote about the band are outdated (Beautiful World was much better than Kronos).

5. Were you involved in the decision to have the book read from right-to-left? Why was this decision made?

Yes. That decision was made because the book, instead of being about jrock, was meant to become part of jrock. As in, you could hand the book to someone in lieu of 40 CDs. Jrock is Japanese, so we (the designer Yelena and I) decided to have the book read from right to left, in the Japanese style.

6. Please tell us about the book's illustrator and how you first encountered her.

Yelena met Yana, the illustrator, while working at the largest design studio in Russia. As it turned out, Yana is a huge jrock fan. When it became clear that we would have photographs for only some (not all) of the artists in the book, Yelena asked Yana if she would be interested in creating illustrations for each artist. It was a very lucky coincidence. I have never actually met Yana, but I hope to some day.

7. Are there any Japanese acts that you're a big fan of that weren't included in the book? Are you a fan of any underground/independent artists that aren't included in the book?

I do like some jpop musicians such as T.M. Revolution, Bonnie Pink, Nakashima Mika, and aiko. I also enjoy TUBE and Chemistry, and Arashi is fun to watch!

I would really like to learn more about Mongol800 and HY (and the indie scene out of Okinawa in general), as well as Japanese indie bands that have already performed in the U.S. numerous times such as Melt-Banana and Guitar Wolf.

8. What are some of your favorite live acts that you've had the opportunity to see?

Radiohead at Liberty State Park, NJ. Madonna at Madison Square Garden. T.M. Revolution at the Tokyo Kokusai Forum.

9. What artists do you enjoy that do not originate from Japan?

The Kinks. The Scorpions. Thin Lizzy. Kraftwerk. Pink Floyd. Talking Heads. Cream. Led Zeppelin. The Rolling Stones. Radiohead. Portishead. Pat Metheny. Nine Inch Nails. Tool. Blue Oyster Cult. Brahms. Beethoven. Mozart. J.S. Bach. Faure. Shostakovich. Steve Reich. Rachmaninoff.

Purchase jrock, ink. on Amazon.com.