The Yellow Magic Orchestra, also known as YMO, was a popular Japanese electronic music band that gained international recognition in the late 1970s and 1980s. They were pioneers of the electronic music genre and heavily influenced the development of techno, hip hop, and other contemporary music styles. One of the ways in which YMO released their music was through vinyl LPs, which were a common format for music distribution at the time. Vinyl LPs, short for Long Playing records, were large discs made of vinyl that played at 33 1/3 revolutions per minute (RPM). They offered a superior sound quality to previous formats, such as shellac records, and had a longer playing time. The Yellow Magic Orchestra released several vinyl LPs throughout their career, including their self-titled debut album in 1978, which featured iconic tracks such as "Firecracker" and "Tong Poo.
For many people, and for children in particular, the moral alignment of a witch is clearly and invariably inscribed on her face. Old hags are evil, proffering poisoned apples or luring abandoned youngsters into deceptively delicious gingerbread houses. Good witches are bright, fairy-like creatures, with clear skin and resplendent gowns. The most famous good witch in popular culture, Glinda of Oz, tells a bewildered Dorothy that “Only bad witches are ugly”, thereby solidifying an aesthetic/moral binary that defined popular culture for much of the twentieth century.
The most famous good witch in popular culture, Glinda of Oz, tells a bewildered Dorothy that Only bad witches are ugly , thereby solidifying an aesthetic moral binary that defined popular culture for much of the twentieth century. Although accumulating a veritable cornucopia of origin myths and pre-Christian antecedents, La Befana is as much a feature of modern Italy as she is an emblem of its past.
The Yellow Magic Orchestra released several vinyl LPs throughout their career, including their self-titled debut album in 1978, which featured iconic tracks such as "Firecracker" and "Tong Poo." This album introduced their unique blend of electronic sounds with catchy melodies and became a huge success in Japan and abroad. Another notable YMO vinyl LP is "Solid State Survivor," released in 1979.
When Good Witches are Ugly: La Befana; or, the Italian Christmas Witch
For many people, and for children in particular, the moral alignment of a witch is clearly and invariably inscribed on her face. Old hags are evil, proffering poisoned apples or luring abandoned youngsters into deceptively delicious gingerbread houses. Good witches are bright, fairy-like creatures, with clear skin and resplendent gowns. The most famous good witch in popular culture, Glinda of Oz, tells a bewildered Dorothy that “Only bad witches are ugly”, thereby solidifying an aesthetic/moral binary that defined popular culture for much of the twentieth century.
In Italy, however, the good witch is a wizened hag. Her bent shoulders, broken shoes and tattered rags conceal a kind and generous heart. While the nation’s children may await the arrival of Santa Claus on Christmas Eve, two weeks later, on the Eve of the Epiphany (January 5 th ), they climb into bed dreaming of the treats they will receive from the beloved La Befana.
Traditional representation of La Befana
Traditionally depicted as an old woman, clad in ragged garments and sitting astride a broomstick, La Befana embodies the popular conception of the hideous crone; yet, her ugliness is not a signifier of evil. A truly benevolent figure, La Befana is adored by Italian children, and she is widely believed to bring sweets and small treasures to those who have been good. According to a popular Italian song,
The Befana comes by night
With her shoes all broken
With a dress in Roman style
Up, up with the Befana !!
(La Befana vien di notte
con le scarpe tutte rotte
col vestito alla “romana”
viva viva la Befana!!)
The name “Befana” is generally assumed to be a linguistic corruption of Epiphany (Epifania in Italian), the Christian festival that commemorates the arrival of the Magi, or Three Wise Men, at the infant Christ’s Bethlehem manger. On the night before the Epiphany, La Befana is believed to fly across the countryside on her broomstick. Entering homes through chimneys or keyholes, the kind old witch brings sweets to good children and coal to bad ones. Many parents, keen to keep up the illusion of La Befana’s annual visits, will not only leave treats for their children, but will even try to trick them by including some fragments “coal”, which is generally made from sugar, in their Christmas stockings.
Sugar “coal” – it’s veeeeeeeeery sweet
In most representations, La Befana is hunchbacked and red-nosed. While she is most popularly depicted riding a broomstick, she can occasionally be seen on a donkey. Presumably, this is an iconographic connection to the Holy Family, who themselves travelled to Bethlehem on a donkey.
Despite these Catholic trappings, La Befana is a truly dynamic example of cultural and religious syncretism. The name “Befana” finds its first literary articulation in a 1549 poem by Agnolo Firenzuola. During the Middle Ages and the early modern period, she was the subject of a popular legend that saw her interact directly with Biblical figures. In one version of the story, the Three Wise Men, following the star to Bethlem, pause to ask directions to the Christ Child’s manger. The old woman provides the Magi with guidance but declines their invitation to join them on their journey, being too busy sweeping her house; she is, after all, a diligent housekeeper. Later, she regrets her decision and sets off alone in to find the Baby Jesus, searching for him to this day. In other permutations of the tale La Befana is an older woman whose son has died. She donates her deceased child’s belongings to the infant Jesus. She is rewarded for kindness by being empowered to act as a kind of “witchy godmother” to all of the children in Italy.
Befana and stocking I received this year
Like many folkloric traditions, however, La Befana is generally understood to have her origins in pre-Christian beliefs and practices. Her origins are, therefore, rather tangled, interwoven with a wide range of obscure rites and mythologies. One potential origin for La Befana frames the old witch as intimately connected to the Roman pagan festival, Saturnalia. A two-week long winter celebration, Saturnalia honoured the fertility God, and often end with Romans travelling to the Temple of Juno on the Capitoline Hill where an elderly woman would consult with the gods and interpret their will. Carlo Ginzburg, one of Italy’s pre-eminent witchcraft scholars, claimed that La Befana was a manifestation of an Alpine goddess Perchta (the Bright One). A pagan deity known by a thousand different names, Perchta traditionally took two forms: a beautiful woman with skin as white as snow, or more commonly, a withered hag. The beloved Christmas witch also displays numerous parallels with a Roman goddess called Strenua, who was believed was believed to represent the new year and its attendant promise of purification. She has also been connected to an obscure rite practised by the Celtic peoples who inhabited Pianura Padana and parts of the Alps, which entitled the immolation of wicker puppets in honour of the gods. La Befana has also been associated with a practice, widespread in many European countries, of burning a puppet decorated like an old woman to symbolise the death of the old year and the beginning of the new one. Alongside her multitudinous and often obscure connections to Italy’s pagan past, La Befana also possess a number of international equivalents. In particular, we find a mirror image of La Befana in the Russian story of Babushka, an old woman who also refuses the Wise Men’s offer to travel with them.
Although accumulating a veritable cornucopia of origin myths and pre-Christian antecedents, La Befana is as much a feature of modern Italy as she is an emblem of its past. The festive hag is widely adored by small children, and every year parents fill stockings with sweets (caramelle), chocolates and sugar “coal” to convince their little ones that La Befana has paid them a visit. Although, it’s interesting to note that, as Stefano Zocchi points out in an article for Folklore Thursday, the introduction of the Christmas stocking is a fairly recent innovation in Italy and most likely seems to be an American import. In the days before January 6 th , shops windows across Italy are decorated with effigies of pointy-nosed, wrinkled hags. For the unsuspecting tourist, it’s almost like stumbling across a second Halloween nestled amidst the dark days of January and waiting to brighten the tedium of the long post-Christmas nights.
"I became interested in carving when I was a child and wondered how a wooden elephant was made."
This album further solidified their reputation as innovators in electronic music and featured popular songs like "Technopolis" and "Rydeen." It showcased their ability to combine traditional Japanese music elements with futuristic electronic sounds. YMO's vinyl LPs were not only appreciated for their groundbreaking music but also for their album artwork. The covers often featured vibrant and futuristic designs, which reflected the band's image and musical style. In recent years, the popularity of vinyl records has experienced a resurgence, with many music enthusiasts appreciating the warm sound quality and tangible experience of owning physical copies. Collectors and fans of YMO in particular have sought out their vinyl LPs, with some albums becoming sought-after and valuable items. The Yellow Magic Orchestra vinyl LPs have become iconic representations of their music and influence on the electronic music genre. They showcase the band's innovative sound and creative vision and continue to be highly regarded by fans and music lovers around the world..
Reviews for "Studio Secrets: The Production Techniques Behind Yellow Magic Orchestra's Vinyl LPs"
1. John Doe - 1 star
I was really disappointed with the "Yellow Magic Orchestra" vinyl LP. The sound quality was terrible, with crackling and popping throughout the entire record. It was almost unlistenable. Additionally, I felt that the album lacked cohesion and flow, with each song feeling disconnected from the next. Overall, I would not recommend this to anyone looking for a high-quality vinyl listening experience.
2. Jane Smith - 2 stars
I had high expectations for the "Yellow Magic Orchestra" vinyl LP, but I was left feeling underwhelmed. The album seemed overproduced and synthesized, making it difficult to connect with the music on a deeper level. The songs also lacked memorable hooks or melodies, making them forgettable and unremarkable. While I appreciate the influence of this band on electronic music, I can't say that this LP was enjoyable for me.
3. Mike Johnson - 3 stars
I have mixed feelings about the "Yellow Magic Orchestra" vinyl LP. While I appreciate their experimental approach to music and their influence on the electronic music scene, I found this album to be too repetitive and monotonous. The songs often blended together, making it hard to distinguish one track from the next. Additionally, the album lacked variety in terms of musical styles and themes. Overall, I can see why this album has its fans, but it just didn't resonate with me personally.
4. Sarah Thompson - 2 stars
I really wanted to like the "Yellow Magic Orchestra" vinyl LP, but it just didn't click with me. The songs felt dated and didn't hold up well over time. The production also felt lackluster, with the instrumentation sounding flat and uninspiring. While I appreciate the band's pioneering efforts in electronic music, I felt that their execution and songwriting on this album fell short. It's not an album I would recommend to anyone looking for an enjoyable and engaging vinyl listening experience.