Happy birthday Macross 7

Today is the 26th anniversary of the first broadcast of Macross 7.

I first watched it a decade later, in late 2003 or early 2004, when If irst got bandwidth and downloaded dubious sourced avi files or worse and burned video cds from them to play on my first dvd player, not having a dvd burner yet. (I only finished the series in 2016, having found much better sources since.) Every time I hear that opening, I get an overwhelming feeling of nostalgia, remembering that first time watching it and the sense of wonder it exhuded.

I really need to rewatch it.

Maesetsu! — not meant to be funny — First Impressions

Opening the first episode of your series with your protagonists doing an air band version of your opening song at the cultural festival is one thing. Following that up with the main protagonist doing a painfully impression of one anime character imitating another anime character imitating the automatic closing doors of the Tokyo Metro is quite another.

And then the rest of the episode is mostly spent chewing over this failure of a standup routine. The sheer audacity of Maesetsu! had me breathless. None of this was funny by the way, but then I don’t think it was meant to be. Maesetsu! — apparantly the Japanese name for warm up comedians at television shows and such — is about the lives of a group of friends trying to become standup comedians, but that doesn’t mean this is a comedy. Nevertheless, the comedic timing of this scene, if not the skit is impeccable. It’s clear that if this series wants to do comedy, it can. It just choses not to for now.

Deep diving into a joke that will never be more than chuckle worthy at best is a strange way to start a series. Almost as strange as starting it with a five minute digression in how to eat a chocolate cornet. There’s something very Lucky Starish about Maesetsu! indeed. Not only is the manga version drawn by Yoshimizu Kagami, Lucky Star‘s creator, but you may have also recognised the voice of the teacher at the end of the video. Yes, that’s Hirano Aya, Konata’s voice actress listening to a bad imitation of her character doing a bad imitation of another anime character doing an imitation of the automatic closing doors of the Tokyo Metro. Brilliant.

Another thing I liked about this first episode was that I felt like we were dropping in on an established group of friends. There weren’t the usual first episode scenes of characters introducing themselves to each other even though they’d been friends for years. As in the scene above, you get to know them through how they interact with each other. Again, not unlike how Lucky Star did back in the day. Red haired Mafuyu is the ideas woman; blue haired Fubuki tries to implement them. Here they are refining their routine. Mafuyu suggests Fubuki should pause momentarily before responding to her gag. Cue five long seconds of Fubuki doing exactly that. Still not funny, but again not meant to be.

Judging from the first episode this will be a talky series. The character designs are neat, slightly softer and rounder than we’ve gotten used to. But that’s about it for visual appeal. It’s mostly people talking to each other. If you need something to happen on the screen at the same time, this probably isn’t a series for you.

Judith Butler says trans rights

Alona Ferber’s interview with Judith Butler in the New Statesman is a thing of beauty. You can feel the frustration of Ferber here, trying to get Judith Butler to agree with her transphobia and failing miserably:

AF: One example of mainstream public discourse on this issue in the UK is the argument about allowing people to self-identify in terms of their gender. In an open letter she published in June, JK Rowling articulated the concern that this would “throw open the doors of bathrooms and changing rooms to any man who believes or feels he’s a woman”, potentially putting women at risk of violence.

JB: If we look closely at the example that you characterise as “mainstream” we can see that a domain of fantasy is at work, one which reflects more about the feminist who has such a fear than any actually existing situation in trans life. The feminist who holds such a view presumes that the penis does define the person, and that anyone with a penis would identify as a woman for the purposes of entering such changing rooms and posing a threat to the women inside. It assumes that the penis is the threat, or that any person who has a penis who identifies as a woman is engaging in a base, deceitful, and harmful form of disguise. This is a rich fantasy, and one that comes from powerful fears, but it does not describe a social reality. Trans women are often discriminated against in men’s bathrooms, and their modes of self-identification are ways of describing a lived reality, one that cannot be captured or regulated by the fantasies brought to bear upon them. The fact that such fantasies pass as public argument is itself cause for worry.

AF: I want to challenge you on the term “terf”, or trans-exclusionary radical feminist, which some people see as a slur.

JB: I am not aware that terf is used as a slur. I wonder what name self-declared feminists who wish to exclude trans women from women’s spaces would be called? If they do favour exclusion, why not call them exclusionary? If they understand themselves as belonging to that strain of radical feminism that opposes gender reassignment, why not call them radical feminists? My only regret is that there was a movement of radical sexual freedom that once travelled under the name of radical feminism, but it has sadly morphed into a campaign to pathologise trans and gender non-conforming peoples. My sense is that we have to renew the feminist commitment to gender equality and gender freedom in order to affirm the complexity of gendered lives as they are currently being lived.

It shows the lack of intellectual depth in the socalled “gender critical” movement and how much of it is just a mask for transphobia as well as old fashioned homophobia. The resulting outbursts of terfy anger on Twitter after this was published only confirmed this. What was supposedly an intellectual hero of these people was quickly subjected to the Two Minute Hate. It’s rare to see terfs self own so spectacularly.

“I don’t want to have to constantly prove and re-prove myself”

It’s not surprising that the always up with the trends Barbie latest incarnation would be as a vlogger, but to see her use her platform to address racism? In a way that’s a lot better than most of the companies that paid lip service to BLM earlier this year?

You could argue that all this is a bit simplistic or question the motives of the company and people behind Barbie doing this, but to have a generation of kids watch and absorb this would be a good thing regardless.

Eddie van Halen — Rocking Ramona

With the news today that Eddie van Halen has passed away and it apparantly being news that he was Asian-American by way of his mother, I was reminded of the 1991 Rockin’ Ramona documentary. As you know Bob, Indonesia used to be a Dutch colony until 1948 and marriages between Dutch and Indonesian people were not uncommon. After independence a lot of these people came to the Netherlands, where they were usually called “Indo”, both used as a slur and a name some people of mixed Dutch/Indonesian background adopted for themselves. The post-war Netherlands was fairly …whitebread until long into the sixties and when rock ‘n roll hit in the mid-fifties it was mostly second generation Indo people who started the first generation of Dutch rock bands. Eddie van Halen’s rockstar career fits right in, though he was slightly more successful than most. Slightly.

Hans Heijnen’s documentary is sadly only available in Dutch, but if you speak the language it’s a great overview of that first generation of Indo rock bands, who popularised the music both in the Netherlands as abroad, especially West-Germany. As is often the case with people of colour, they were mostly ignored once white bands took over and never quite got the success or critical acclaim they deserved. But with Eddie and Alex van Halen finding worldwide success in their own band on a scale any regular Dutch band can only dream about, some justice has been served…