{"id":644612,"date":"2024-11-18T21:01:32","date_gmt":"2024-11-18T18:01:32","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/haruomi-hosonos-endless-experiment\/"},"modified":"2024-11-18T21:01:32","modified_gmt":"2024-11-18T18:01:32","slug":"haruomi-hosonos-endless-experiment","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/haruomi-hosonos-endless-experiment\/","title":{"rendered":"#Haruomi Hosono\u2019s endless experiment"},"content":{"rendered":"<div class=\"content_blocks\">\n<style>\n<\/style>\n<style>\n<p> article.custom .custom-title, article.custom .custom-media .caption {\n   color: ;\n }<\/p>\n<p> article.custom .custom-attribution, article.custom .custom-attribution a {\n   color: ;\n }<\/p>\n<\/style>\n<div id=\"content_block-265554\" class=\"content_block flush title center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"custom-title\">\n      Haruomi Hosono\u2019s endless experiment\n    <\/div>\n<div class=\"custom-description\">\n      With a new tribute album celebrating the legacy of his solo debut, <i>Hosono House<\/i>, the Japanese legend\u2019s radical creative energy continues to ripple across borders and generations.\n    <\/div>\n<div class=\"custom-attribution\">\n<div class=\"author\">\n    <span><br \/>\n      By <span class=\"credit_name\">Alex Robert Ross<\/span><br \/>\n  <\/span><\/div>\n<\/p><\/div>\n<div class=\"custom-media\">\n<div class=\"triple_gutter_left triple_gutter_right image center_align\">\n<p>  <img decoding=\"async\" src=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_1440,c_limit,f_auto,q_auto:best\/Haruomi_Hosono_1976_credit_Korigawa_Shoji_gdrzdf\/haruomi-hosono-endless-experiment-hosono-house-revisited-sam-gendel.jpg\" srcset=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_220,c_limit,f_auto,q_auto:best\/Haruomi_Hosono_1976_credit_Korigawa_Shoji_gdrzdf\/haruomi-hosono-endless-experiment-hosono-house-revisited-sam-gendel.jpg 220w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_300,c_limit,f_auto,q_auto:best\/Haruomi_Hosono_1976_credit_Korigawa_Shoji_gdrzdf\/haruomi-hosono-endless-experiment-hosono-house-revisited-sam-gendel.jpg 300w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_400,c_limit,f_auto,q_auto:best\/Haruomi_Hosono_1976_credit_Korigawa_Shoji_gdrzdf\/haruomi-hosono-endless-experiment-hosono-house-revisited-sam-gendel.jpg 400w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_600,c_limit,f_auto,q_auto:best\/Haruomi_Hosono_1976_credit_Korigawa_Shoji_gdrzdf\/haruomi-hosono-endless-experiment-hosono-house-revisited-sam-gendel.jpg 600w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_750,c_limit,f_auto,q_auto:best\/Haruomi_Hosono_1976_credit_Korigawa_Shoji_gdrzdf\/haruomi-hosono-endless-experiment-hosono-house-revisited-sam-gendel.jpg 750w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_840,c_limit,f_auto,q_auto:best\/Haruomi_Hosono_1976_credit_Korigawa_Shoji_gdrzdf\/haruomi-hosono-endless-experiment-hosono-house-revisited-sam-gendel.jpg 840w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_960,c_limit,f_auto,q_auto:best\/Haruomi_Hosono_1976_credit_Korigawa_Shoji_gdrzdf\/haruomi-hosono-endless-experiment-hosono-house-revisited-sam-gendel.jpg 960w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1260,c_limit,f_auto,q_auto:best\/Haruomi_Hosono_1976_credit_Korigawa_Shoji_gdrzdf\/haruomi-hosono-endless-experiment-hosono-house-revisited-sam-gendel.jpg 1260w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1800,c_limit,f_auto,q_auto:best\/Haruomi_Hosono_1976_credit_Korigawa_Shoji_gdrzdf\/haruomi-hosono-endless-experiment-hosono-house-revisited-sam-gendel.jpg 1800w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_2400,c_limit,f_auto,q_auto:best\/Haruomi_Hosono_1976_credit_Korigawa_Shoji_gdrzdf\/haruomi-hosono-endless-experiment-hosono-house-revisited-sam-gendel.jpg 2400w,\" sizes=\"100vw\" alt=\"Haruomi Hosono\u2019s endless experiment\"><\/p>\n<p><span class=\"img_caption\"><\/p>\n<p>  <span class=\"credit\"><\/p>\n<p>      Korigawa Shoji<br \/>\n        \/<\/p>\n<p>      Press<br \/>\n  <\/span><\/p>\n<p><\/span><\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<div class=\"custom_share_buttons_top \" style=\"\">\n<div id=\"new_socials_bottom\" class=\"new_socials_footer  \">\n<p>      <img loading=\"lazy\" decoding=\"async\" class=\"\" width=\"40\" height=\"40\" src=\"https:\/\/www.thefader.com\/assets\/FDR_SocialSharing_Facebook-747312c39722d47504a80f02500b8d4ad2e36acf922bad1c83799db1bc77f605.png\"><br \/>\n      <!-- <span>Share<\/span> --><\/p>\n<p>  <a rel=\"nofollow\" target=\"_blank\" target='\"new\"' href=\"https:\/\/twitter.com\/intent\/tweet?url=https%3A%2F%2Fwww.thefader.com%2F2024%2F11%2F18%2Fharuomi-hosono-endless-experiment-hosono-house-revisited-sam-gendel%3Futm_source%3Df%26utm_medium%3Dtw%26utm_campaign%3Dshare&amp;text=Haruomi%20Hosono%E2%80%99s%20endless%20experiment&amp;via=thefader\" class=\"new_social_footer_button twitter new_social_share_button\" data-ga-event-category=\"Social Share\" data-ga-event-label=\"Twitter\" data-ga-on=\"click\" data-ga-event-action=\"cilck\"><\/p>\n<p>    <img loading=\"lazy\" decoding=\"async\" class=\"\" width=\"40\" height=\"40\" src=\"https:\/\/www.thefader.com\/assets\/FDR_SocialSharing_Twitter-8d78f695280aa3f8a4461702c68e9fcbfd6042af1600c62d49fdec4b735fb57a.png\"><br \/>\n    <!-- <span>Tweet<\/span> --><br \/>\n  <\/a><\/p>\n<p>        <img loading=\"lazy\" decoding=\"async\" class=\"\" width=\"20\" height=\"20\" src=\"https:\/\/www.thefader.com\/assets\/logo-snapchat-5f1563935ac089d0cf1773f642ddbfb6cdb16e8c4ac14fec95a3c11b6f963389.svg\"><br \/>\n        <!-- <span>Snap<\/span> --><\/p>\n<\/div><\/div>\n<style>\n<\/style>\n<div id=\"content_block-265552\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>\n            <span class=\"lead-text\">When he was a little kid in Tokyo,<\/span> Haruomi Hosono lived next door to his maternal grandfather, Takao Nakatani, whose house was full of brittle shellac records of wartime pop, Hollywood soundtracks, jazz, and Japanese-language comic storytelling. He fell in love with boogie-woogie and bounced around ecstatically to Gene Krupa\u2019s band with a girl from the neighborhood. After TV arrived in 1953, he was entranced by Clyde McCoy\u2019s muted trumpet on a washing machine commercial starring Norihei Miki, and Les Paul\u2019s \u201cCaravan,\u201d which ran behind an advert for Yashima\u2019s Bonbons. The test patterns on Nippon Television, soundtracked by songs like Cole Porter\u2019s \u201cYou Do Something To Me,\u201d were portals into another universe. In his teens, he listened to the Far East Network beaming out pop, soul, country, and rock \u2018n\u2019 roll from the United States. When the psychedelic movement began in the \u201860s, he idolized Moby Grape and Buffalo Springfield, read Japanese poems and novels from the Taish\u014d era, and yearned for a California he\u2019d never seen.\n          <\/p>\n<p>\n            <i>Hosono House<\/i>, Hosono\u2019s 1973 solo debut, was written and recorded in an American-style home in an American-style town called Amerikamura, Sayama, Saitama Prefecture, about an hour outside Tokyo. Nearby Iruma Airbase became an American outpost from 1945, and the surrounding streets reflected its new inhabitants. \u201cWe couldn&#8217;t do it in Tokyo,\u201d he wrote years later in A Hundred Views of Hosono. \u201cAfter all, music is closely connected to its scenery and atmosphere. If we couldn&#8217;t go to the American West, the closest environment was Sayama.\u201d\n          <\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-265577\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-265559\" class=\"content_block paragraph embed triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"media_wrapper\">\n<div class=\"\">\n    <iframe style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/4NU1Wi1CUd416Al7wUucJy?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n<\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-265560\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>\n            Hosono was self-consciously trying to expand on the feel of The Band\u2019s 1969 debut <i>Music From Big Pink<\/i>, written together in a house half the members shared. Engineer Kenji Yoshino brought a 16-track recorder, and Hosono set about turning the house itself into an instrument, its acoustics adding a warmth and looseness that any high-end studio would have flattened.\n          <\/p>\n<p>\n            Listing the influences Hosono channeled on the album \u2014 The Band, James Taylor, Little Feat \u2014 will only get you an <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">app<\/a>roximation of the sound. \u201cI discovered a lot of music that I liked, and what started out as dots started to form a line,\u201d he would write later. \u201cI didn&#8217;t just enjoy it, I looked for the roots. That&#8217;s thanks to the deep study I did. I started making my own music, and tried to go somewhere other than imitation. There may be some music in Hosono House that is similar to others, but I don&#8217;t think there&#8217;s just that.\u201d\n          <\/p>\n<p>\n            Across his career, Hosono followed the dots that formed a line, turning them into shapes that tested the limits of modern popular music. In the late \u201860s and early \u201870s, he and his bandmates in Happy End rewired the Americana they grew up with, connecting it to Japanese language and culture. Years later, Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi electrified modern pop music as Yellow Magic Orchestra, growing into a behemoth in Japan and inspiring other innovators the world over, from discotheques in Paris to warehouses in Chicago.\n          <\/p>\n<p>\n            Hosono\u2019s own later experiments with ambient and electronic music were and still are hugely influential, and he flung himself into exotica and left-field music with complete abandon. The artist behind <i>Hosono House<\/i> does not sound like the same person who made the soundtrack to a Bollywood film that does not exist on 1978\u2019s <i>Cochin Moon<\/i>, the frictionless and fascinating electro-pop of 1982\u2019s <i>Philharmony<\/i>, or the disorienting pseudo-ambient music of 1995\u2019s <i>Naga<\/i>. \n          <\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-265562\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>\n            <iframe style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/4ev1jnaai6e8LXrdYOgjwP?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n          <\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-265578\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<div class=\"\" style=\"padding-bottom: 20px; margin-top: 20px; text-align: left;\">\n<\/div><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-265561\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>\n            <br \/>But <i>Hosono House<\/i> was the moment that Hosono began to make music that was unmistakably his own. At once snug-sounding and panoramic, it approaches Americana holistically, rifling through genres like a kid spinning single-play records on his grandfather\u2019s electric gramophone. He toys with country, folk, rock, soft funk, and even calypso sounds, but its magic lies in how porous the lines between those genres feel. Hosono\u2019s bass \u2014 the instrument he was best known for \u2014 is playful and laid-back, and his voice has the welcoming charm of an artist tracking a demo with some friends in their bedroom. Sung entirely in Japanese, it has a slightly uncanny feel.\n          <\/p>\n<p>\n            It is more popular now than it has been at any point since its release in 1974. It has been re-released, re-recorded (backwards, as Hochono House) by Hosono himself, and held up as an all-time classic by artists on both sides of the Pacific. Harry Styles heard the album on a <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/trip-and-travel\/\" data-internallinksmanager029f6b8e52c=\"10\" title=\"Trip &amp; Travel\" target=\"_blank\" rel=\"noopener\">trip<\/a> to Japan and loved it so much that he named his third album <i>Harry\u2019s House<\/i> as a tribute.\n          <\/p>\n<p>\n            Now it has been reimagined again, as <i>Hosono House Revisited<\/i>, this time by many of the musicians whose art Hosono has inspired. <i>Revisited<\/i> features a diverse range of artists that reflects the breadth of Hosono House\u2019s influence, including his contemporary and collaborator Akiko Yano, lead cheerleader in North America Mac DeMarco, Flipper\u2019s Guitar co-founder Keigo Oyamada a.k.a. Cornelius, and jazz-funk artist John Carrol Kirby. It is a fittingly kaleidoscopic tribute.\n          <\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-265563\" class=\"content_block paragraph embed triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"media_wrapper\">\n<div class=\"\">\n    <iframe style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/0YbvbjeWwBhgeGfaiuEbAj?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n<\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-265564\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>\n            Particularly striking, however, is one of the two songs re-recorded in English. Sam Gendel\u2019s spare acoustic cover of \u201cKoi wa Momoiro,\u201d is totally enthralling. Translated fully into English and renamed \u201cMy Love Is Peach-Colored,\u201d it is, Hosono wrote in a brief email to The FADER, the first song he heard from the project. He described it as \u201csurprising\u201d and \u201crefreshing,\u201d and, up next to the original, it is an immensely creative reinterpretation, its melancholy derived as much from its subtle discordance as from Gendel\u2019s whisper-quiet voice. For those who, like me, don\u2019t speak a word of Japanese, Gendel\u2019s translation reveals the song\u2019s gentle, cloud-covered existentialism for the first time: \u201cThis is the road I set foot on before \/ A road by the river \/ Taking a peek through the gap among clouds \/ I saw a vaguely familiar town.\u201d\n          <\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-265565\" class=\"content_block paragraph embed triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"media_wrapper\">\n<div class=\"\">\n    <iframe loading=\"lazy\" title=\"My Love is Peach-Colored\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/-MKd9nyqDXQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-265566\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>\n            Translating Hosono\u2019s work is in itself a weighty undertaking. Much has been made of Hosono\u2019s previous band, Happy End, singing in Japanese rather than English. And though they weren\u2019t the first band to lay Japanese lyrics over Western rock sounds, they were the most prominent and, often, controversial. Precisely why they became such lightning rods in the \u201crock-in-Japanese\u201d debate in the early \u201870s is a knotty and complex topic, one that takes in notions of Japanese post-war and post-colonial identity, and ideas about authenticity that we in the West, a half-century on, don\u2019t instinctively grasp. But it\u2019s clear that what Hosono admired more than just the sounds and structures of American music: he admired, maybe even envied, their connection to their own America. \u201cThe key to their music was that they brought the essence of American roots music into their sound,\u201d <a rel=\"nofollow\" target=\"_blank\" target=\"_new\" href=\"https:\/\/www.redbullmusicacademy.com\/lectures\/haruomi-hosono\">he told Red Bull Music Academy in 2014<\/a>. \u201cThat led to their originality. We realized that, and we thought about what our own roots were. We were disconnected from our own roots.\u201d\n          <\/p>\n<p>\n            In the context of Japan in the 1970s, that\u2019s a bold idea. Michael K. Bourdaghs writes in <i>Sayonara Amerika, Sayonara Nippon: A Geopolitical Prehistory of J-Pop<\/i> that Happy End (and their primary lyricist, Takashi Matsumoto), weren\u2019t \u201ctrying to lay claim to an authentic tradition: the band explicitly denied that any authentic tradition was available to them. Rather they chose to sing in a form that no reference to the past could authenticate, precisely so as to create a new authenticity in the present.\u201d He quotes from an essay Matsumoto wrote in 1971 (itself, obviously, translated into English): \u201cThere is a wind blowing that transcends history[&#8230;] It\u2019s time to take a trip. To find Japan.\u201d Lifting American sounds and singing in Japanese was its own sort of radicalism, an attempt to make it new, to begin traditions rather than gazing longingly at old ones.\n          <\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-265567\" class=\"content_block diptych triple_gutter_right triple_gutter_left\">\n<div class=\"media_wrapper half_gutter_right gutter_btm\">\n<p>  <img decoding=\"async\" src=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_760,c_limit,f_auto,q_auto:eco\/image001_lnnd9f\/hosono-and-mac-demarco.jpg\" srcset=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_220,c_limit,f_auto,q_auto:eco\/image001_lnnd9f\/hosono-and-mac-demarco.jpg 220w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_300,c_limit,f_auto,q_auto:eco\/image001_lnnd9f\/hosono-and-mac-demarco.jpg 300w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_400,c_limit,f_auto,q_auto:eco\/image001_lnnd9f\/hosono-and-mac-demarco.jpg 400w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_600,c_limit,f_auto,q_auto:eco\/image001_lnnd9f\/hosono-and-mac-demarco.jpg 600w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_750,c_limit,f_auto,q_auto:eco\/image001_lnnd9f\/hosono-and-mac-demarco.jpg 750w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_840,c_limit,f_auto,q_auto:eco\/image001_lnnd9f\/hosono-and-mac-demarco.jpg 840w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_960,c_limit,f_auto,q_auto:eco\/image001_lnnd9f\/hosono-and-mac-demarco.jpg 960w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1260,c_limit,f_auto,q_auto:eco\/image001_lnnd9f\/hosono-and-mac-demarco.jpg 1260w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1800,c_limit,f_auto,q_auto:eco\/image001_lnnd9f\/hosono-and-mac-demarco.jpg 1800w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_2400,c_limit,f_auto,q_auto:eco\/image001_lnnd9f\/hosono-and-mac-demarco.jpg 2400w,\" sizes=\"(max-width: 768px) 100vw, 50vw\" alt=\"Haruomi Hosono\u2019s endless experiment\"><\/p>\n<p><span class=\"img_caption\"><\/p>\n<p>    <span class=\"caption\"><br \/>\n      Hosono and Mac DeMarco<br \/>\n    <\/span><\/p>\n<p>  <span class=\"credit\"><br \/>\n      \u00a0<\/p>\n<p>      Press<\/p>\n<p>  <\/span><\/p>\n<p><\/span><\/p><\/div>\n<div class=\"media_wrapper half_gutter_left\" style=\"\">\n<p>  <img decoding=\"async\" src=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_760,c_limit,f_auto,q_auto:eco\/John_Carroll_Kirby_Haruomi_Hosono_rnfjai\/hosono-and-mac-demarco.jpg\" srcset=\"https:\/\/thefader-res.cloudinary.com\/private_images\/w_220,c_limit,f_auto,q_auto:eco\/John_Carroll_Kirby_Haruomi_Hosono_rnfjai\/hosono-and-mac-demarco.jpg 220w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_300,c_limit,f_auto,q_auto:eco\/John_Carroll_Kirby_Haruomi_Hosono_rnfjai\/hosono-and-mac-demarco.jpg 300w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_400,c_limit,f_auto,q_auto:eco\/John_Carroll_Kirby_Haruomi_Hosono_rnfjai\/hosono-and-mac-demarco.jpg 400w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_600,c_limit,f_auto,q_auto:eco\/John_Carroll_Kirby_Haruomi_Hosono_rnfjai\/hosono-and-mac-demarco.jpg 600w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_750,c_limit,f_auto,q_auto:eco\/John_Carroll_Kirby_Haruomi_Hosono_rnfjai\/hosono-and-mac-demarco.jpg 750w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_840,c_limit,f_auto,q_auto:eco\/John_Carroll_Kirby_Haruomi_Hosono_rnfjai\/hosono-and-mac-demarco.jpg 840w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_960,c_limit,f_auto,q_auto:eco\/John_Carroll_Kirby_Haruomi_Hosono_rnfjai\/hosono-and-mac-demarco.jpg 960w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1260,c_limit,f_auto,q_auto:eco\/John_Carroll_Kirby_Haruomi_Hosono_rnfjai\/hosono-and-mac-demarco.jpg 1260w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_1800,c_limit,f_auto,q_auto:eco\/John_Carroll_Kirby_Haruomi_Hosono_rnfjai\/hosono-and-mac-demarco.jpg 1800w,https:\/\/thefader-res.cloudinary.com\/private_images\/w_2400,c_limit,f_auto,q_auto:eco\/John_Carroll_Kirby_Haruomi_Hosono_rnfjai\/hosono-and-mac-demarco.jpg 2400w,\" sizes=\"(max-width: 768px) 100vw, 50vw\" alt=\"Haruomi Hosono\u2019s endless experiment\"><\/p>\n<p><span class=\"img_caption\"><\/p>\n<p>    <span class=\"caption\"><br \/>\n      Hosono and John Carroll Kirby<br \/>\n    <\/span><\/p>\n<p>  <span class=\"credit\"><br \/>\n      \u00a0<\/p>\n<p>      Press<br \/>\n  <\/span><\/p>\n<p><\/span><\/p><\/div>\n<\/div>\n<style>\n<\/style>\n<div id=\"content_block-265568\" class=\"content_block paragraph text triple_gutter_right triple_gutter_left center_align\">\n<div class=\"content_inner_wrapper\">\n<div class=\"paragraph_wrapper center_align\">\n<p>\n            The truth is that the wind has not stopped blowing. History is always there to be transcended. The lines between rock and country, calypso and Taish\u014d-era poetry, this country and that one, are fuzzier and flimsier than cultural demagogues \u2014 more numerous and powerful every week \u2014 would have us believe. Hosono has spent the better part of a lifetime proving it through his music, and Gendel\u2019s \u201cMy Love Is Peach-Colored\u201d is of the same spirit. It does to Hosono\u2019s \u201cKoi wa Momoiro\u201d what Hosono House did to Americana: it is a warped reflection of a warped reflection, beaming back a new image.\n          <\/p>\n<p>\n            A few years ago, Hosono played a handful of shows in the U.K. and the U.S. I was lucky enough to see him at the Barbican in London, where Sakamoto and Takahashi joined him for an impromptu rendition of \u201cRydeen.\u201d It would be their last performance together. A year later, he played two shows in the United States, one in Los Angeles and one in New York. At the latter, I sat down with him for a brief interview. He was unflinchingly polite, and, though he spoke through a translator, he clearly understood my questions in English. I asked how he felt about his newfound fame in the West, particularly among musicians. \u201cVery surprised,\u201d he said. \u201cI wasn\u2019t really creating music for people. I was creating music that I wanted to listen to. It was recorded before the internet, so it was in a closed world. I didn\u2019t think that it would get to this point where it has spread. I\u2019m very happy, but I don\u2019t really understand the situation.\u201d\n          <\/p>\n<p>\n            It\u2019s easy to imagine Gene Krupa being similarly bemused by a little kid in Japan bouncing around to his single-player records, or Les Paul being taken aback by the fact that his guitar lick on a confectionery advert inspired a young musician on the other side of the planet. The world gets smaller as sound travels faster, and, while there will always be imitators, there will always be those making their own music, transcending history, borrowing from elsewhere, and building something entirely new. Here, a Californian jazz musician borrows from Hosono and creates something new, just as Hosono himself once did with the jazz musicians and Californian bands that inspired him. There could hardly be a more fitting tribute.\n          <\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/div>\n<p><\/p>\n<div class=\"author\">\n    <span><br \/>\n      By <span class=\"credit_name\">Alex Robert Ross<\/span><br \/>\n  <\/span><\/div>\n<p><script async src=\"https:\/\/platform.twitter.com\/widgets.js\" charset=\"utf-8\"><\/script><\/p>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMN63nwsw68G3Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/social-mediaa\/\" target=\"_blank\" >Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/www.thefader.com\/2024\/11\/18\/haruomi-hosono-endless-experiment-hosono-house-revisited-sam-gendel\" target=\"_blank\" >Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Haruomi Hosono\u2019s endless experiment With a new tribute album celebrating the legacy of his solo debut, Hosono House, the Japanese legend\u2019s radical creative energy continues to ripple across borders and generations. By Alex Robert Ross Korigawa Shoji \/ Press When he was a little kid in Tokyo, Haruomi Hosono lived next door to his maternal&#8230;<\/p>\n","protected":false},"author":1,"featured_media":644613,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/thefader-res.cloudinary.com\/private_images\/c_limit,w_1024\/c_crop,h_512,w_983,x_0,y_0,f_auto,q_auto:eco\/Untitled_design_qxl3k4\/Untitled_design_qxl3k4.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[87515,79893,73886],"class_list":["post-644612","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-experimental","tag-haruomi-hosono","tag-sam-gendel"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/644612","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=644612"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/644612\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/644613"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=644612"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=644612"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=644612"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}