Across the source region of the 2004 Mid-Niigata Prefecture earthquake, wideband magnetotelluric (MT) survey was performed just after the onset of the mainshock. Owing to the temporal stop of the DC powered railways around the area together with intense geomagnetic activity, we obtain MT records with excellent quality for both short and long period data, as long as 10,000 s. Two dimensional regional strike is evaluated with the aid of the Groom-Bailey tensor decomposition together with induction vector analysis. As a result, N15 • W is determined for the strike. This strike is oblique to the local geological trend and also to the strike of the main shock source fault together with aftershock distribution of N35 • E. Two dimensional resistivity structure is determined with the aid of an ABIC inversion code, where static shift is considered and estimated. Characteristics of the structure are as follows. (1) About 10 km thick sedimentary layer exists on the top. (2) A conductive body exists in the lower crust beneath the source region. The mainshock occurred at the boundary of the conductive sedimentary layer and a resistive basement beneath it and aftershocks occurred in the sedimentary layer. From geological studies, it is reported that the sedimentary layer was formed in the extensional rift-structure from Miocene to Pleistocene and has been thickened by compressional tectonic regime in the late Quaternary. Interstitial fluids or clay minerals, which reduce the sedimentary layer resistivity, control the reactivation of the normal fault as the mainshock thrust fault and aftershock activity. The second conductive body probably indicates existence of fluids in the depths as well. Such a conductive layer in the lower crust was also revealed by previous MT experiments along the Niigata-Kobe Tectonic Zone and probably plays a main role in concentration of strain rate along the zone.
Participating in the Women's March in New York in 2017, this author was struck by how quiet the march seemed, relative to Japanese protests. This essay considers the ways in which policing shapes the sound of protests. In Japan, heavy policing renders protests less visible, compelling Japanese protesters to use sound to make their claims known; chanting, recognized as important in building solidarity, is often led and planned. The Women's March in New York was privileged by light policing; it didn't need sound to be seen. The leaderless atmosphere of the Women's Marches led to a high rate of innovation in chanting. Drawing from ethnography and videos of thirty protests, the essay analyzes the chants of the first six months of the Resistance. Using a combination of humor, references to recent events, interaction with popular music, and intertextuality with historical protest culture, these chants and songs engage protesters and issues in memorable fashion. Aiding the construction of these new chants is their tendency to follow the familiar musical forms of sentences or periods, and their frequent use of preexisting text patterns. The essay ends with a critique of the decline in intersectionality seen in the 2018 Women's March in New York and a call for agonistic democracy.
The lead singer on Supercell’s eponymous first album is Hatsune Miku—a Vocaloid character created by Crypton Future Media with voice synthesizers. A virtual superstar, over 100,000 songs, uploaded mostly by fans, are attributed to her. Supercell is a Japanese creator music group with the composer Ryo leading ten artists, who design album illustrations and make music videos. These videos are uploaded onto Niconico and other video-sharing sites. By the time Supercell was released in March 2009, the group’s Vocaloid works were already well-known to Niconico users and fans. This book explores the Vocaloid and DTM (desktop music) phenomena through the lenses of media and fan studies, looking closely at online social media platforms, the new technology for composing, avid fans of the Vocaloid character, and these fans’ performative practices. It provides a sense of how interactive new media and an empowered fan base combine to engage in the creation processes and enhance the circulation of DTM works. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-basedbooks and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.
This article examines the songs that Japanese schoolchildren learned during World War II and their impact on children’s lives. These songs were filled with propaganda such as Japan’s superiority over other nations, the glory of dying for the country, and the joys of working in weapons factories. The study addresses questions such as: what values were these songs reinforcing? What behaviors were being encouraged? What legacy did they leave in the minds of the children who sang them, after the war had ended? Personal stories were obtained from individuals who attended elementary school during World War II. It is shown that the children who grew up during the war internalized the values promoted by these wartime songs and acted upon them as adults; they also passed it on to their own children.
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