Yellow Magic Orchestra (YMO) is a Japanese electronic music band that was formed in Tokyo in 1978. The group is often credited with being pioneers of synthpop and techno music, and they have had a significant impact on the development of electronic music. YMO was formed by three members: Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi. Hosono and Sakamoto had previously played together in the band called Happy End, while Takahashi was a drummer for the band Sadistic Mika Band. The trio brought their unique backgrounds and talent together to create a truly innovative sound. One of the defining characteristics of YMO's music is the use of synthesizers and electronic instruments.
Trained in anthropology and a variety of magical traditions, Lilith Dorsey has been a Voodoo Priestess for nearly 30 years. Dorsey has initiations in Santeria (or Lucumi), Haitian Vodou, and New Orleans Voodoo and they are also the author of the bestselling book Orishas, Goddesses, and Voodoo Queens , which seamlessly blends folklore and mythology with practical spellwork.
Rabbi Isaac formulated the myth of the evil worlds which were destroyed before this world was created, a myth which became a central motif in the kabbalah. More particularly the women who are called Kadishtu, means sinless, stainless and lily , had monopolized agricultural economics, services of the temple of the Goddess and scholarly traditions.
One of the defining characteristics of YMO's music is the use of synthesizers and electronic instruments. At a time when such technologies were not widely available, YMO managed to create a distinct sound by blending these instruments with traditional Japanese melodies and Western pop music influences. Their music often had a futuristic and robotic tone, which was highly influential in shaping the sound of electronic music in the following decades.
Samael, Lilith, and the Concept of Evil in Early Kabbalah
The description of the divine world as a mythical struggle between good and evil is one of the basic symbols of the kabbalah, and a detailed mythology based on it is found in the Zohar late in the thirteenth century. The main source of the Zohar on this subject is a treatise by Rabbi Isaac ha-Kohen, called “On the Emanation on the Left,” written in Spain at the beginning of the second half of the thirteenth century, a generation before the Zohar. The problem studied here is: What were the sources of Rabbi Isaac's myth of evil?
Rabbi Isaac described Samael and Lilith as a pair, being the central powers in the Emanation on the Left. It seems that the literary development which brought forth this formula began with the myth of Lilith as presented in the satirical Pseudo-Ben Sira (tenth century?) and later revisions of that work which were known in Europe in the eleventh century and included a description of a sexual relationship between Lilith and a “Great Demon,” who was later identified as Samael. Both Lilith and Samael in these stories are not principles of evil; this transformation probably occurred only in the work of Rabbi Isaac.
When describing the levels of the spiritual world, Rabbi Isaac discussed a sphere he called “third air” which is the source of both prophetic visions and “use” of demons. This concept seems to be derived from the writings of Rabbi Judah the Pious and Rabbi Eleazar of Worms, the Ashkenazi Hasidim, early in the thirteenth century. In their works, however, there are no dualistic or mythical elements; these were probably added by Rabbi Isaac.
Rabbi Isaac formulated the myth of the evil worlds which were destroyed before this world was created, a myth which became a central motif in the kabbalah. It seems that this too is derived from the works of the Ashkenazi Hasidim, though it was Rabbi Isaac who added the mythology and the dualism. It should be noted that among such additions and elaborations by Rabbi Isaac we also find a detailed messianic myth which was rare if not absent among previous kabbalists.
It has been considered that Lilith derived from Sumerian language origin ‘líl’ means “air, wind”, and was transferred to Akkadian language as lilītu. Lilith name is firstly encountered in Epic of Gılgamesh as a wrapped snake around Huluppu Tree of The Great Mother Goddess Inanna. As is seen in this epic, in early ancient times, Lilith is a female demon in snake form. Therefore, she has been identified with Lamashtu and Lamia which are snake forms in most cultures of Mesopotamia and Levant. It has been known that both are infanticides. Because of this identification Lilith has been described as “infanticide” until today. On the other hand, in the ancient times, Lilith has not accepted only as a demon. Her position in the eye of community always straddled the line between godlikeness and wickedness. Because in the period of Sumerian-Babylonian, in which Inanna (Ishtar) is glorified by name “Queen of Heavens and Earth”, the belief predominated that the Goddess is a resource of all kinds of beauties and abundance as well as warfare and destruction. By means of this high prestige of the Goddess, it has been known that the religion of the Goddess had emancipated to women especially in her capital Uruk and in most city-states. More particularly the women who are called Kadishtu, means “sinless, stainless and lily”, had monopolized agricultural economics, services of the temple of the Goddess and scholarly traditions. This position exhibits the superior social status which could be bestowed on a woman in those times. In this period, Lilith has continued her demonic character. On the other side, she has been identified with Inanna (Ishtar) and she has symbolized the harlotry of the temple. On that secondary sense Lilith has become to represent the negative sides of the Goddess with her characteristics such as sexuality, aggression and misandry. The fact that Lilith has begun to represent the negative sides of the Goddess has enabled the belief that the Goddess is baleful. Thus, the Goddess had become the focus of vulgarity, combativeness, immorality and all evils. For this reason, Inanna/Ishtar had been narrated as an aggressive goddess in myths more often. When Jahwism-Judaism began to settle in Levant region in terms of politics and religion, Lilith who had identified the religion of Goddess and demonic characters, has become the villain in the battle of Judaism against the religion of Goddess. She crossed into Jewish mythology with all her characteristics and here she has reached the peak of evil as the most dangerous feminine demon with her infertile and salacious character. First and only reference to Lilith in Hebrew Bible is in Isaiah 34:14. Her adventure in Jewish mythology has started with this reference. In this pasuk, Lilith has been mentioned as a metaphor of God’s wrath to people of Edom which is the greatest enemy of Israel. Accordingly, Lilith, the Virgin of ruins and wild lands, has been described as an enormous pain which would take Edom to the age of chaos before genesis. In this passage, she is a symbol of terror which the Holy One YHWH spreads to the polytheist people. In a sense, non-believers suffered the wrath of God through her. In the Rabbinic period, the scholars accepted the myth of Lilith as it was in the ancient period and adopted it to the Jewish culture. They portrayed Lilith as a dangerous feminine devil who seduces men and causes women to suffer a miscarriage. In the Midrashic literature she has been referred as the reason of all evil factors in the history of humanity and Judaism. In accordance with this belief, in the stories of people of Edom in Hebrew Bible where they suffer fatalities, Lilith has been adapted to Esau and his devil Samael. In this new picture, she is the harlot wife of Samael and the feminine devil of Esau’s lineage and people of Edom which stands against Children of Israel. In the late Midrashic period, the origin of Lilith has been traced all the way back to genesis. This once, Lilith is described as the first wife of Adam, who dissuaded Eve and caused to be expelled from the garden of Eden. By this interpretation, Jewish scholars not only have tried to clarify the paradoxical and ambiguous pasuks in Genesis, but also they have reshaped the fall of humanity. Also, they have strengthened the religious basis of patriarchal Jewish mentality. Today, the character of Lilith is influential on feminist Jewish women. Jewish women, who are alienated from the religious and social arena because of patriarchal religious Jewish idea, leap in action by means of feminist ideas. While some of them deny the religion and Holy Bible, others try to reconcile between feminist ideas and Holy Bible and pave the way for reinterpreting the religion. Particularly, for the latter, Lilith is an important symbol. She is the voice of challenging the male-dominated life style and the pioneer of the philosophical questioning.
YMO released their self-titled debut album in 1978, which quickly gained popularity in Japan and abroad. It showcased their ability to combine catchy melodies with innovative electronic production techniques. Throughout the 1980s, YMO continued to release successful albums and perform live concerts, further solidifying their status as pioneers in the electronic music genre. Aside from their own music, YMO also had a significant impact on the global music scene by collaborating with and influencing other artists. They worked with renowned musicians such as David Sylvian, Thomas Dolby, and Bill Nelson, further expanding the reach of their sound. Despite disbanding in 1983, YMO's influence on electronic music has endured. Their unique blend of traditional and modern sounds laid the foundation for countless artists in the genre. They also played a crucial role in popularizing electronic music in Japan and bringing it to the global stage. In conclusion, Yellow Magic Orchestra is a groundbreaking band that has had a lasting impact on electronic music. Their innovative use of synthesizers and electronic instruments, combined with their incorporation of traditional Japanese melodies, created a distinctive sound that influenced the genre for decades to come. Their contributions to electronic music are invaluable, and their influence can still be heard in the music of today..
Reviews for "RYM's Take on Yellow Magic Orchestra's Live Performances"
1. Amanda - 2 stars - I was really disappointed with Yellow Magic Orchestra's album "RYM". I had heard so many great things about this band and their electronic music, but this album just did not live up to the hype. The songs felt repetitive and lacked any real depth or emotion. It felt like I was just listening to the same beats and synthesizers over and over again. I wanted more from this album and was left feeling underwhelmed.
2. Jake - 1 star - "RYM" by Yellow Magic Orchestra was a complete waste of time for me. I couldn't get into their style of electronic music at all. The songs were just random sounds thrown together with no coherence or melody. I felt like I was listening to a bunch of noise rather than actual music. I kept waiting for a song to grab my attention, but it never happened. I couldn't wait for the album to be over and I'll definitely be avoiding Yellow Magic Orchestra's music in the future.
3. Sarah - 3 stars - Yellow Magic Orchestra's album "RYM" had its moments, but overall, it just didn't resonate with me. While I can appreciate their experimental approach to electronic music and their influence on the genre, the songs on this album felt disjointed and lacked a clear direction. There were some interesting sounds and ideas, but they didn't come together cohesively. I can see why some people might enjoy this album, but it just wasn't my cup of tea. I'll give their other work a try, but "RYM" didn't leave a lasting impression on me.
4. Michael - 2 stars - I had high hopes for Yellow Magic Orchestra's "RYM" based on its reputation, but it fell short for me. The album lacked a strong musicality and seemed more focused on experimentation for the sake of it rather than creating memorable songs. The production was interesting, but the songs themselves were forgettable. It felt like a missed opportunity for Yellow Magic Orchestra to showcase their talents and create something truly captivating. Overall, "RYM" left me feeling underwhelmed and unimpressed with the band's abilities.