Yellow Magic Orchestra (YMO) is a pioneering electronic music band from Japan that became popular in the late 1970s and early 1980s. Formed in 1978, YMO consisted of Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi. Together, they created a unique blend of techno-pop, funk, and synth-rock, which would later influence numerous musicians and shape the future of electronic music. One of their most popular albums, "Yellow Magic Orchestra" released in 1978, showcased their innovative sound and laid the groundwork for what would become known as the "techno-pop" genre. The album featured songs like "Computer Game," "Cosmic Surfin," and "Mad Pierrot," which combined catchy melodies and electronic beats to create a futuristic and otherworldly sound. "Cosmic Surfin" is a standout track on the album, showcasing YMO's ability to create playful and imaginative soundscapes.
Following AFI, Kayla began her journey as an Assistant Editor and worked for some of the most highly respected Film Editors around, including Dody Dorn, ACE on Casey Affleck's critically acclaimed film I'm Still Here starring Joaquin Phoenix. She then worked with another top Film Editor, John Axelrad, ACE, on Warner Bros' romantic comedy Something Borrowed starring Kate Hudson and Ginnifer Goodwin. With the help of Axelrad's vision and support, Emter earned her first Addt'l-Editing credit, on the Summit Entertainment thriller Gone. This was followed by a Co-Editing credit on James Gray's The Immigrant which was in competition at the 2013 Cannes Film Festival. And most recently, the two collaborated on Don Cheadle's Miles Davis biopic, Miles Ahead.
Together with bandmates Dhani Harrison and Paul Hicks they wrote and produced their sophomore record Thefearofmissingout and EP002, which features Regina Spektor, The RZA and Ben Harper. Lucy worked with Topher Grace and Anna Faris in Universal Pictures YOUNG AMERICANS and starred in the musical dramedy, UNTITLED alongside Adam Goldberg and Marley Shelton.
"Cosmic Surfin" is a standout track on the album, showcasing YMO's ability to create playful and imaginative soundscapes. The song features a pulsating electronic rhythm, layered synths, and catchy melodies that transport listeners to a cosmic journey through space and time. The use of futuristic and robotic vocals also adds to the overall atmosphere of the track.
Sexual Awakening
Sex: The center of every teenager’s life. Steven Sater and Duncan Sheik’s rock-musical interpretation of Frank Wedekind’s controversial 1892 play portrays the very true personal journeys of a group of teenagers as they grow into their sexuality and discover their “awakening.” The Melodramatics Theatre Company premiered Spring Awakening on Thursday and it will run through April 14. The musical takes on a slew of hot topics of adolescent life, from sex in general to homosexuality, masturbation, pregnancy, abortion, abuse and suicide. Although exploring such serious themes, the musical’s delicacy in transitioning from comedic, lighthearted dialogue to moments of deep reflection keeps the audience engaged and attuned to the plight of each character. It runs the gamut of emotions and situations a teenager faces with the emergence of identity. And to think that the characters’ trials and tribulations set in 1890s Germany are still applicable to teens today, makes the subject matter of the play all the more haunting.Director Amina Omari says that “90 percent of a director’s job is casting.” Well then she at least gets an A- right off the bat. The cast is comprised of students from Ithaca College and Cornell as well as adult players from the area at large. Although each performer has their own unique voice that they flaunt at different intervals of the show, they manage the difficult task of coalescing as one powerful unit. Songs like “My Junk” and “Left Behind” really accentuate this, as individuals shine while the chorus carries the whole. This holds true for the acting. Ithaca College senior, Eric Hagreen, plays the nervous Moritz Stiefel intertwining moments of sincerity and comedy with a consistent, genuine grace. And IC freshmen Coleman Hemsath and Starr Jasmine Leavitt, who play Melchior and Wendla, respectively, are also forces to be reckoned with, tackling their characters’ plot lines head-on with no hesitation. The rest of the cast cannot be overlooked; each delivers other memorable scenes that make for a true ensemble, where no one is left behind.Omari and the rest of the crew play off the rock edge in the music and apply it to other aesthetics such as costume and lighting. As the singers’ notes echoed throughout the theater, the punk influence could not only be heard but also seen. The original Broadway show only hinted at this punk style through subtle nods, like the unorthodox male hairstyles for instance. In Omari’s re-imagining, all characters receive a makeover. The males sport interesting hairstyles and bright, neon shoelaces that clash with the traditional late 19th century wardrobe. The girls wear bright leggings, strong makeup and hard braids, no longer innocent bystanders to the punk undertones of the play. Lighting is also key to reaching a more rocking vibe. The use of more vibrant colors and different techniques made the show as visually rock-infused as the music and subject matter.Overall, the Melodramatics Theatre Company displays excellent showmanship and vision to Spring Awakening, making the most of Risley Theater and the talent of each individual. But hopefully the show transcends simple entertainment. The fact that the show’s many plots remain relevant for young adults in general is a cause of concern. Sexuality is a core truth of any individual and should not remain a taboo but an accepted reality. The show urges for proper sex education for young people, so they make better decisions instead of succumbing to foolish misunderstandings and unnecessary accidents. So that when one reaches their “spring awakening,” he or she is not blinded by ignorance and fear, but guided and armed with the proper tools. It should be a policy that all parents and educators should adopt so that we evolve from our ancient rhetoric on sexuality that stumps our societal growth. Hopefully, this musical will seem anachronistic one day instead of hitting so close to home. And if nothing else, at least there are still catchy tunes to enjoy.
Original Author: Natalia Fallas
Summer 2008 had McKean originate Tracy Letts' play 'Superior Donuts" at Chicago's famed Steppenwolf Theatre which went on to Broadway the following year. Michael starred in the Barrow Street Theatre production of Our Town, King Lear at The Public, and the Randy Newman musical Harps And Angels at LA's Mark Taper and Yes, Prime Minister at The Geffen Playhouse. McKean was back on Broadway in Gore Vidal's The Best Man along with Angela Lansbury, James Earl Jones; and most recently appeared in All The Way starring Bryan Cranston.
YMO's unique approach to music production and their use of electronic instruments and synthesizers set them apart from their contemporaries. Their innovative sound and experimental approach to music-making helped popularize electronic music not only in Japan but also around the world. YMO's influence can be heard in the works of artists such as Kraftwerk, Daft Punk, and Aphex Twin, who have all cited YMO as an inspiration. In conclusion, Yellow Magic Orchestra's "Cosmic Surfin" is a testament to their groundbreaking sound and innovative approach to music-making. It remains a timeless track that exemplifies the band's ability to create imaginative and futuristic soundscapes. YMO's influence on the world of electronic music cannot be overstated, and their legacy continues to resonate with musicians and fans alike..
Reviews for "The Cosmic Surfin' Legacy of Yellow Magic Orchestra"
1. Sarah - 2 stars - I was really disappointed with "Yellow Magic Orchesfra Cosmic Surfin". The album starts off with a promising track, but quickly descends into a cacophony of disjointed and uninspiring sounds. I found it difficult to connect with any of the songs, as they lacked a coherent structure and seemed to be more focused on experimental sound effects rather than melody or rhythm. Overall, I found the album to be boring and lacking in substance.
2. Mike - 1 star - I don't understand the appeal of "Yellow Magic Orchesfra Cosmic Surfin". The songs are repetitive and unoriginal, and the album as a whole feels like a jumbled mess. The electronic elements are overused and become grating after a while. I was hoping for some catchy melodies or interesting compositions, but instead, I was left feeling underwhelmed and frustrated. I would not recommend this album to anyone looking for a satisfying musical experience.
3. Emily - 2 stars - "Yellow Magic Orchesfra Cosmic Surfin" tries to be avant-garde and experimental, but it comes off as pretentious and inaccessible. The album lacks any real substance or depth, and the songs blend into one another without leaving any lasting impression. The repetitive nature of the tracks quickly becomes tiresome and uninteresting. Overall, I found this album to be a disappointing and forgettable experience.
4. Jason - 2 stars - I had high hopes for "Yellow Magic Orchesfra Cosmic Surfin", but unfortunately, it fell flat for me. The songs lack a clear direction and feel disjointed, making it difficult to engage with the music. The experimental sound effects and synthesizers are interesting at first, but they quickly become repetitive and monotonous. I was hoping for a more cohesive and compelling listening experience, but I was left feeling bored and unimpressed.
5. Michelle - 2 stars - "Yellow Magic Orchesfra Cosmic Surfin" struggles to find its identity. The album jumps between different styles and genres in a way that feels disjointed and unfocused. While the experimentation is commendable, it ultimately fails to create a cohesive musical experience. The lack of memorable melodies or hooks makes it hard to connect with the songs, and I found myself losing interest after just a few tracks. Overall, I was disappointed with this album and would not recommend it to others.