Wednesday, March 31, 1 971 THE MICHIGAN DAILY Pa Wednesday, March 31, 1971 THE MICHIGAN DAILY Ame b 0 0l k S Daniel Okimoto, AMERICAN IN DISGUISE, Walker/Weath- erhill, $6.95. By TOM SEYMOUR The place: the Santa Anita racetrack alien assembly center in California. The time: Aug- ust 14, 1942. The event: birth of Daniel Okimoto, an American unwise enough to have selected Japanese parepts at a time when the U.S. Government had decided to separate them from their Constitutional rights and throw them into concentration camps. For the next three years, Daniel paid the price for his foolishness by imprisonment in an "internment" camp in the Arizona desert. The boy's mother and father had come to America in 1937 to escape the oppressive militar- ism of pre-war Japan only to end up later in our own deten- tion camps. Though the family survived, their hardships did not end with their release. There were the jeers and insults, the poverty and discrimination - the readjustment into a society which had rejected them. For Dan Okimoto and many others who reached adolescence and young manhood during the post- War period, growing up in- volved a severe identity crisis. Sounds of the Charlie Gillett, THE SOUND OF THE CITY: THE RISE OF R 0 C K AND ROLL, Outer- bridge & Dienstfrey, $2.95, paper. By STEVE SCHWARTZ God knows, a serious critical discussion of American popular music has long been needed. However, what has appeared in its place has been either offen- sively commercial (Everybody's Favorite Lerner and Loewe) or merely inept (Ewan's book on Rodgers, for instance). Further- more, very little has been writ- ten on the music itself. Instead, we are treated to 'narratives of composers' careers, essentially biographical studies. Rock in particular has had a rough time of it. First, there is the book. I have long prided myself (for no real reason) on my familiarity with the work of BobbyBland, but Gillett adds a bit on Billy Bland as well. You would expect something on Al- bert and B. B. King in any de- cent treatment. Gillett outdoes himself with sections on Ben E., Carole, Earl, Freddy, and Sid (of Sid King and the Five Strings - you remember "Sag, Drag and Fall?"). If you look hard, you can also find out what happened to Hugo and Luigi. Gillett has immersed himself in what must be tons of material- if you count the records he's listened to - including almost unobtainable British and French blues journals: There is no ques- tion of his sincerity in wanting to write a book of real quality. But we must ask to what result. rican i Who am I? Am I Japanese? No, but am I an American? Yes, but then how could I have been de- prived of my Americanness sole- ly because of my "slanted" eyes and ancestry? They why . .? Who am I? There was and is no e a s y answer to these questions of course - perhaps no answer at all. But in his book American in Disguise, Mr. Okimoto (a grad- uate student at the University of Michigan in Political Science) describes the long and tortuous journey to the acceptance and appreciation of the ambivalence of his life. American is Disguise is not, however, solely an introspective or psychological examination of the conflicts involved in the author's coming to accept him- self. It is more an examination of what constituted the con- flicts. This not only involves a close look at the Japanese- American community but also a trip back to Japan in search of the social and familial r o o t s from which so many of Mr. Oki- moto's values spring. The read- er is thus doubly rewarded, for the book provides sensitive and+ perceptive insight into a little1 known American minority group while giving some valuable in- terpretation of society in Japan itself. 'Golden about attitudes of rock consum- ers (the "rock - as - rebellion - against-the-establishment" va- riety). In short, we are given no new information in an area important, indeed central, to the subject. If it fails, then, as sociology, is it redeemed as a history? Again, I have to sa no. There is an appalling want- of thesis in this book, so much so that we have almost no idea where rock comes from, what distinguishes it from earlier forms of popular music, and what develops from what. In- stead we are given categories under which musician after mu- sician is listed, but among which little attempt has been made to .establish connections. Finally, as the title adver- tises, this is, or ought to be, a music history. The writer ought to have, therefore, some knowl- edge of music. Gillett's incom- petence is dizzying, and it is probably this fault more than any other which is responsible for most of the book's misfor- tunes. For example, in an at- tempt to distinguish rock from previous forms of popular mu- sic, Gillett proposes a three-part categorization for all popular music before rock-medodrama- tic ballad / sentimental ballad / and novelty-trivial. With very little effort it can be seen that not only does this apply to rock as well, but also to German Lieder, French chanson, Baro- que oratorio, and Elizabethan song to name only a few. In the end, the distinction becomes a meaningless one. Emphasis in the book is capricious, probably due to his lack of musical knowledge. Ricky a Nelson's career is discussed at length, while Frank Zappa rates only one mention. Indeed, Gil- lett's treatment of West Coast rock is even shallower than his treatment of anything else, This is particularly true in his discussion of the Beatles. the Beatles [with the re- lease of Sgt. Pepperi had be- come fine entertainers, polish- ed, witty, resourceful, ingen- ious. But they had earlier ceased to be rock and roll singers when they stopped caring about what they sang. People seemed to have de- veloped a deep need for rec- ords by the Beatles, so the group obliged by churning them out. But they no longer had anything to say, and amused themselves by seeing how many different ways they could say nothing. How Gillett could possibly know whether or not the Beatles still ,.cared" is beyond me. His ob- servation is probably beside the point. A rather doubtful cri- terion of sincerity seems to be1 operating here. No great amount of perception is needed I to see that sincerity can pro- duce particularly f r i g h t f u1 music. Disguise: A , When the issei (first genera- tion Japanese - gave up their homeland ,they brought with them many values which coin- cided with American values: a strong family tradition, frugal- ity and desire to work hard and advance through education. The agricultural background and the legal barriers to Oriental pro- perty ownership in pre-war America prevented these immi- grants from achieving g r e a t material success. After the in- ternment, they and their se- cond generation (nisei) offspring were forced back into urban areas because they had been stripped of their farmlands and traditional mode of livelihood. In this area, the qualities of hard work, perseverance and re- spect for education served the Japanese-Americans well. Their education level is higher than that of the whites while the per- centage of their members in the professions is about the same. They have so thoroughly accept- ed the white, middle-class trap- pings of success that they are often used as a yardstick with which to measure the progess of other minority groups, t h e blacks in particular. This com- parison is not valid, of course, because the two cultures are so vastly different and because the Japanese did not experience an Oldies' it is widespread a m o n g non- musicians. The fact is that. more often than not, composers make great songs from inferior texts and that great poetry is often unsuitable for setting. J. G. Seidl's Die Taubenpost is bad poetry but becomes one of Schu- bert's best songs. One might also compare the number of times Shakespeare's "It -was a lover and his lass" has been suc- cessfully set to that of his Son- net 129. A corollary to this miscon- ception is that there is a hier- archy of themes and that theme gives v a I u e independent of treatment. To talk about the eternal verities, such as "the sounds of silence" is better than talking about a Jabberwocky. To quote somebody, "Guernica is great not because it's political, but because it's Picasso." It seems ridiculous to me as I write this that these notions are be- lieved and that I should waste my time talking about them; but they are and I do. Finally, Gillett's judgment of the Beatles is, to be kind, ob- viously controversial. Therefore, it demands a proof which Gil- lett never gives and seems in- capable of giving-a proof by musical analysis. If music fails, after all, it fails not on the grounds of sincerity, but in its own terms. I must say that the intentions of the book are admirable. and that it attempts to fulfill a genuine n e e d. Unfortunately, the need still exists. Gillett's industry and devotion are com- mendable, but finally they are not enough. emasculating period of slavery. Also, the situation for 500,000 Japanese-Americans cannot be transposed to 25 million blacks. What price, though, did these "hyphenated" Americans pay for their success? In terms of the loss of their ethnicity in so un- questioningly accepting w h i t e America's mores, Mr. Okimoto thinks it was very high. Along with their middle-class, mater- ialistic goal orientation, they have also adopted the intoler- ance and conservatism which does not allow for compassion and sympathy toward those in other, less fortunate, minorities. In fact, the author feels that the Japanese - American corn- munity is one of the dullest in America.'Except for a few young who are beginning to speak out, most of its members have shown a remarkable tendency to re- main screamingly silent in the face of injustices. The greatest example of this was their return to society after the concentra- tion camps with barely a word of protest. The reasons lie deep in tie Japanese culture. Individualism has never been an important value in Japanese society where loyalty to a group-family, ;om- pany, school, state-have pre- dominated. Emphasis on one's proper position in the group and respect for those above have been assiduously fostered throughout Japanese history. this, in con- junction with a mild fatalism, made the acceptance of the gov- ernment's edict in 1942 a bitter necessity. It is important to note here that the author does not view this st- uation from afar but as a par- ticipant. As a boy, he achieved and achieved and achieved in school and elsewhere in order to beat white society at its own 4tudent game. By kindly, but determined. parents, who to a large extent lived their lives through their children, he was pressured to ever greater heights of academic success. He denied the Japanese side of himself to become accept- about the Japanese culture and think. Much of what he found was alien to him-not .in a na- tionalistic sense but in a spiritual and emotional sense. Although politically democratic (at least in theory) Japan seemed repressive socially: The web of personal and group obligations which hold the everyday work- ings of society together were stif- ling. The intricate and carefully prescribed etiquette whicn are part of most social activity in Japan was a denial of his-and everyone else's-individuality in favor of the group. The maother- dominated f a. m i l y. structure which serves as the stereotype ,for group, that is to say, all re- lations, results in a need for se- curity which cannot be self-satis- fied. Through greater understanding of the social forces which bind a Japanese to his society, the au- thor gained a respect and ap- preciation for his parents' cour- ageous decision to give up all they knew to come to America. It also led him to a surer accept- ance of his Americanness. Living in Japan made me conscious, as nothing else couil have, of being very much an American in my personal at- titudes and tastes. Yet, at the s Daniel Okimoto able. Much of the cause, he sees now, lay in a racist America, which (-uld not tolerate anyone different except on its own terms -if at all. It was only when he began taking courses in Japanese his- tory and language at Prlinceton that this inner conflict came to a head. And soon after, at Har- vard, he decided to discontinue his studies toward a Ph.D., and left for Japan to study at the prestigious Tokyo University. The student strike which closed down that university just a. he arrived allowed him time to tra- vel, study informally, learn more 4, trip home TONIGHT meet and organize the SPRING, ANTI=WAR OFFENSIVE * April Actions * May Actions' (in Washington) 8:00 P. M.-Assembly Room in the Michigan Union Basement If the government doesn't stop the war, it's time to stop the government same time, it liberate from distasteful notions pounded by ignorance, th been associated with and my ethnic past. American in Disguise is portant book. Not the leas qualities is that it is wri popular consumption. T not to say that the book bian, for, in its very r way; it conveys some v phisticated ideas. Still, daring book. Mr. O makes revealing comment the Japanese - America munity and about Japan will arouse sharp contr He has not shied awa making statements which, to him correct. If conside what they are-educated and not necessarily gospi -they will provide r viewpoints from which th er can make his own judg But as a social commen the plight of minority a tion into American ; American in Disguise ria greatest contribution. In ing us that denial of eth cultural differences is t a price to pay for ace Mr. Okimoto illustrates willingness to pay the p indignity. ge F ~d mi ,coT Lat ha Japa San in bt Gi tten f i hi l is p cadab ery s it is )kimo s abm n co 1 whi rover, y fro seem red f opinij el tru 'eleve. e rea mnents tary ssimil society ales war nic a oo hi, ptanc his u rice Junior Year in New York Washington Square College of Arts and Science of New York University sponsors a Junior Year in New York. The College, located in the heart of the city, is an integral part of the exciting metropolitan community of New York City-the business, cultural, artistic, and financial center of the nation. The city's extraordinary resources greatly enrich both the academic program and the experience of living at New York University with the most cosmopolitan student body in the world. This program is open to students recommended by the deans of the colleges to which they will return for their degrees. There are strong and varied offerings in many areas, such as fine arts, urban studies, languages including non-European, mathematics in the College and at the Courant Institute, psychology, and others. A qualified student may register for courses in all other schools of the University, including the specializations in Commerce and Education. The University sponsors programs in Spain and France. Write for brochurse to Director, Junior Year in New York New York University New York, N.Y. 10003 ive P - d 1- its or is le- o0- a to ut y. a= ed or th nt D- s IIm- nid l,. of -/ LAST 3 an awful lot of money to be made on such peripheral things as The Illustrated Beatles (a marvellous. compendium of 20th Century graphics, but hardly a revealing analysis), and second, there is a peculiar aesthetic prevalent among rock critics. For example, Richard Goldstein has a strong aversion to the an- alysis of Jimi Hendrix's music and prefers instead to discuss his own psychological state as he watches Hendrix perform. The music is not as important to Goldstein as his reaction to the music. On the other hand, Ellen Willis of the New Yorker will ignore Peter Townshend's music in order to talk about the social conditions that produced it. Nothing is wrong with these approaches per se, but one must keep in mind that rock is not what's being discussed. So with almost nothing to guide him, Charlie Gillett has attempted to write quite an ambitious book - nothing less than rock and roll in all its various manifestations, from its beginnings to 1969. The amount *of research alone is staggering. He is probably the only person living who has read all the issues of Billboard from cover to cover. If you have a favorite, long- lst nne-record rock and roll Unfortunately, the book is an incredible botch practically from the beginning. Reading the ac- knowledgements, I find that the book was originally a masters' thesis in sociology at Columbia. Furthermore, most of the books listed in the bibliography are things like Ellison's Invisible Man, Faulkner's Light in Aug- ust, and LeRoi Jones's Blues People. It is fairly clear that the book is not about rock, but about certain social manifesta- tions related to rock. A bit dis- appointed, I forge ahead. After all, a sociological study done well is valuable. However, I am never able to recover from my initial disappointment. Black culture is discussed in- frequently, and then in the most trite terms. We are not given anything about the conditions the musicians emerged from, that may have influenced them as artists. The most we get are certain cliches, never supported, DAYS 'BOOKSTORE 549 EAST UNIVERSITY ANN ARBOR, MICHIGAN ! Tyt r STORE SOLD TO THREE FORMER EMPLOYEES ERNEST BUNDY - HOWARD BAKER - MILTON MOORE COME IN AND GET ACQUAINTED Furthermore, Gillett judge a song on the cance" (whatever that of the-lyrics. To me strange attitude, but I seems to "signifi- may be) this is a find that $300,000 Get Acquainted Sale oI~tl I _. I' INVOLVING EVERY ARTICLE IN OUR STORE-ON BOTH FLOORS-EXCEPT TEXTBOOKS & CUSTOM FRAMING SAV J'i 20c to 50Q t I GREAT SALE m 1