In case it hasn’t been obvious, I’ve become a little bit of a BiSH skeptic over the past year or so — even my original support for the last single waned in retrospect. It grieves me, actually; my all-time idol top 10, regardless of whether it’s song-album-video-person-whatever, has BiSH all over it, and I remain an ardent supporter of the idea of BiSH and the incredible barrier-breaking potential that I think they have. This is why, even almost two years into a long run of mostly being disappointed by them, I get the giddies when they spin off new stuff, especially new stuff that appeals directly to my own biases!
That is the lukewarmest of takes, amigos, and it’s just about all the GAF that I can muster; and speaking of muster, when the most exorcised about “HiDE the BLUE” that I could get for the Weekender was to acknowledge that, yes, they’re just making “Orchestra” on loop until people make them stop, you know that I’m pretty much out of GAF.
Also case in point: This happened yesterday, and seeing it filled me with zero urgency.
Well that’s nice. It is! It’s a very nice, easy ballad, with a heartwarming MV. It’s also disappointing and — sadly, I know this because I tried to get through it plural times to convince myself that this was worth the time, and gave up in the middle of the second attempt — boring! Continue reading →
I sometimes wonder about what really goes on in Watanabe’s head. The person he portrays is a callous, free-wheeling imp who functions largely through a Hegelian series of resolutions of superego and id, but I think it’s pretty clear that the Watanabe who traps girls on islands and makes people go on morning fun runs just to prove their mettle, who forces idol icons to sleep in a car and eat nothing but rice, is in many ways an idol himself; Watanabe (just like Homicidol Maniac!) is a persona more than a person, and so the very essence of what he puts on is not in fact the rotten-egg target posing as manager of BiS and BiSH and EMPiRE and GANG PARADE, but at the very least a calculating, deliberate mind*. Anybody who’s ever read or seen Hamlet knows that playing the fool frees one to expose so many more truths, after all.
Now, I don’t think that Watanabe is quite up to Shakespearean standards, but he is a performance artist in his own right, with human emotion and maybe even an entire industry** as his media. The thing about artists, though, is that they still need to get paid, and getting paid can get complicated, so you wind up with situations like BiSH’s song to promote something called KIRIN LEMON:
There of course can be discussion around whether the SCRAMBLES sound, or the WACK approach in general, has in fact entered freely into the mainstream, and how it obviates the very notion of the “alt” edifice that they largely created, but that’s not this moment. No, right now it’s about the various things that BiSH in particular is doing to make some lucre. Continue reading →
“Yes it is” said the mirror back to me when I, a-readying for slumber, saw the Thing Happening Then warning tweet and asked aloud, “It’s another dang MV, isn’t it?” not even to myself, but really just the universe, which apparently does not like me very much.
How very prescient of you, Mirror Maniac!
Note: I really wanted to be cute and meme-tastic and just write “Pour Lui didn’t die for this” and walk away, but I didn’t, mostly because that would’ve been a pointlessly hot and misguided and vapid take! Continue reading →
By now, friends, I’m sure that you’ve seen (or at least know that you need to see) the MV for BiSH’s new single “PAiNT IT BLACK”, so yes, while you can in fact look at it right down there before these words, I got all Maniac about it after the jump. Depending on how much you like or hate column inches being sacrificed to the gods of the Hot Take, you may or may not want to take that jump!
First, song and MV. I’ve still been holding out hope that this song was going to be a cover of the Rolling Stones classic (or at least throw it a bone), maybe do some visual callbacks like staging the MV at a funeral, etc., but it’s not to be the case:
I didn’t watch the WACK Expo. After the thing had been announced, and the overall shape of the auditions made, it was pretty obvious how the whole shebang would be conducted and concluded, so ¯\_(ツ)_/¯. I allowed myself to selectively enjoy the auditions from extra-afar, taking it all in via Twitter and the occasional side conversation; once my girl Trivago was finally, mercifully euthanized, I didn’t care enough to even do that.
When I woke up today, the event was all in the past. Things had been done, reactions had, tears shed, etc. Was Twitter buzzing? It sure was! Were the takes flying? They sure were!
And all according to plan. Like any good wota, this is our moment to MIX, to respond to the ainote, to play our part in the interactive ritual that is being an idol fan. We happily separate ourselves from our money to experience closely controlled environments of put-on cruelty and manicured triumphs. We call out the things that are bad or stupid, and hand over cash, attention and appearances of generalized support in exchange. We are all incredibly easy marks.
I’m sorry, what? Oh, right. Yeah, no, I know, you’ve probably seen it by now. Maybe less stunned than doing that creepy-eager Jack Nicholson nod-gif thing.
And now that I’m sure that everybody’s enjoyed that arguably NSFW piece of work, you may feel free to carry on. Aina very well may be; this Try Aina Doing Different Things approach to what I can only imagine is a series of trial runs for a solo career seems to have found a much happier home than where she’s been before. Continue reading →