AMETORA MINI-STORIES #3 🧵
Why Japanese Teenage Delinquents are Called Yankii
In Japanese, the word used for working-class teenage delinquents is "yankii" (ヤンキー), which seems to derive from Yankee.
But stereotypical yankii style doesn't look very American... so why yankii?
The yankii fit the common pattern of working-class subcultures (like Japanese Teddy Boys). They're a major part of post-war youth culture, especially as part of bōsōzoku biker gangs, and show up a lot in manga, films, and TV, such as Be-Bop High-School or baseball film Rookies.
Typical yankii style is a fluffy permed pompadour slicked back with pomade (called a "regent"), a thin mustache, shaved eyebrows, angular sunglasses. They wear modified school uniforms with baggy pants, or, if bikers, jumpsuits often with Japanese imperialist slogans.
The rock'n'roll band Yokohama Ginbae (L) was a 1980s parody of yankii style, and the pop group Kishidan (R) was a 2000s parody.
The etymology of "yankii" has long been debated.
In Tokyo they were called "tsuppari" (defiance), whereas "yankii" was used in Western Japan. In Osaka dialect, the accent is on the "ii," and many believed it came from local teens' ending sentences with the Kansai-ben "yan ké."
In the post-war period, the word "yankee" was used for Americans, especially in the context of 1960s anti-military sentiment (e.g. "Yankee, Go Home").
So how are "yankee" and "yankii" connected?
During research for my book Ametora, I found the rosetta stone of yankii etymology
In the mid-'60s, there was a working-class delinquent subculture in Yokosuka called "sukaman" (Yokosuka Mambo). They dressed like U.S. soldiers: slick pompadours and sukajan ("Yokosuka jumpers") — rayon souvenir jackets with eagles, tigers, and dragons on the back.
In 1966, Yasuhiko Kobayashi went to Yokosuka to do illustrated reportage of Yokosuka Mambo for Heibon Punch Deluxe. In the article, he used a very specific term to describe their look: “Yankee style,” because they looked like American enlisted soldiers.
When the working-class band Carol appeared in the early 1970s, wearing leather jackets, pompadours, and riding huge motorcycles, their style was also called "yankee."
Carol was an enormous influence on working-class teens across Japan, especially biker gangs.
Then a similar Fifties-fashion look became popular with rich Tokyo kids, and this made bikers' leather "yankee" style look less threatening.
To stay scary, bikers switched to tokkōfuku (kamikaze clothing) — cleaning uniforms in imitation of ultra-nationalist paramilitary gear.
With Nameneko cats in the early 1980s, tsuppari style became a pop culture trend. But its later decline made the word "tsuppari" also sound dated.
In Western Japan, the teens were called "yankii" — which meant "pompadour" in barber shops — and this became the new national term.
So... working-class delinquents imitated Americans in the '60s and became known as "yankii" from Yankee. Once the word described the teens, not the look, everyone still called the teens "yankii" even if they wore non-American styles like nationalist jumpsuits and school uniforms
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My new book Status and Culture (on sale 8/30) synthesizes what we know about status and social behavior to explain taste, fashion, art, and other common cultural phenomenon.
I thought it would be helpful to list out the classic books for understanding how culture works (1/n):
1. Thorstein Veblen - The Theory of the Leisure Class
Foundational text for understanding taste as an economic process: namely, the inevitability of New Money engaging in conspicuous consumption. Slightly tongue-in-cheek, but his arguments are more nuanced than often portrayed.
2. Pierre Bourdieu - Distinction
Very long, with famously convoluted prose, but crucial for understanding the intersection of class and aesthetic preferences, taste and cultural capital. It's a critique of "Kantian aesthetics," so first read up on Kant's theory of taste.
To describe Japanese newspapers and TV as a cartel sounds like conspiracy-thinking, but obviously they're all aware that the "specific group" Abe's assassin felt animosity toward was the Unification Church. They're just coordinating to withhold that information: i.e. a cartel
So what you get in Japan is a "gray market" of information, where the truth goes out to tabloids for informed readers but there's still plausible deniability because they're only "tabloids."
"Tabloid" Shukan Gendai reported the Unification Church angle
The Internet confuses this old system because Yahoo! news page is one of the most well-read news sites. What's the point of the cartel if readers see the official reports right besides the tabloids?
Withholding available information just reveals the existence of the cartel
In yesterday's tweet thread about YMO's exotica origins, I skimmed over the electronic sound experimentation that was already brewing in Japan before 1978.
Here is a summary of pre-YMO Japanese electronic sounds. 🧵
In Feb 1974 (months before Kraftwerk's "Autobahn"), Isao Tomita released the Debussy Moog album "Snowflakes Are Dancing," which was a huge hit in the United States.
In 1977 Tomita's programmer Hideki Matsutake helped add electronic elements to Akiko Yano's second album "Irohanikonpeitō," which has perhaps the greatest album cover of all time.
How A Single Bad Drug Trip Led to Japanese Technopop 🧵
In the early 1970s, bassist Haruomi Hosono of the band Happy End was jamming with his friends at a Tokyo studio, when someone passed around a joint. Hosono thought it would be very cool to take a double-sized hit.
The joint was laced or tainted, and Hosono went into a serious panic attack. He thought he was going to die and begged his friends to call an ambulance. They told him to chill out.
Hosono managed to get home the next day, but the panic attacks started again and wouldn't go away.
To heal himself, Hosono read New Age tome "The Human Miracle: Transcendent Psychology" and listened exclusively to birdsong and other tranquil music. In particular he relied on exotica musician Martin Denny's "jungle sound" records, which he knew from post-war AM radio.
AMETORA MINI-STORIES #2
Why Japanese Fashion Magazines Look Like Catalogs
One of the most distinctive features of Japanese magazines is their similarity to catalogs: lots and lots of products laid out along with prices and retailers.
The origin is, oddly, the US counterculture.
This Japanese design style began in the mid-1970s, directly inspired by the Whole Earth Catalog — @stewartbrand's hyper-saturated guide to the tools necessary for self-sustainable communities, published from 1968-1972. (Steve Jobs called WEC “Google in paperback form.")
Illustrator Yasuhiko Kobayashi (L) and editor Jirō Ishikawa (R) were in New York in '69 to report on youth culture, when they came upon the Whole Earth Catalog inside the Doubleday bookstore. Kobayashi couldn't figure out what the WEC *was*, but he brought a copy back to Japan.
Japanese rock-and-roller Yuya Uchida 内田裕也 (1939-2019) has died. He was arguably more famous for his album cover art and bombastic personality than for any of his actual music.
Yuya's legacy is interesting as a sort of alternative history. In the late 1960s, there was a big debate between Yuya and the band Happy End about the proper direction of Japanese rock.
Yuya said the lyrics had to be in English, with the idea that the Japanese would have to sing the language of Western rock to appeal to the West.
Happy End called for Japanese lyrics that spoke to a Japanese experience.