Sing A Song Of Sex
Four sexually hungry high school students preparing for their university entrance exams meet up with an inebriated teacher singing bawdy drinking songs. This encounter sets them on a less than academic path.
Sing a Song of Sex
Nihilism as alternative to vacuity. A generation maturing with fraught political apathy. The expanse they wander through is an obtuse dystopian render of the present, latent iconography dissolving into the reflection of waterbeds, their presence an afterthought for an ethos that witnessed Americana as something existing during youth, not as something made to exist. American flags lay lifeless, dirtied and forgotten, but a musical of western colonialism takes its place - the joyous renditions of This Land is Your Land fluidly moving through Japanese folk songs in a playlist that repeats and repeats, as to ensure the past always remains.
Thoughts, desire, violence. Bawdry songs reveal an inherent history of violence. Much like Japanese Double Suicide, a dissafected youth suicide run, even more affecting for remain mostly suggested more than realized.
School pranks at exam time quickly descend into drunken songs and lascivious talk of the things these young men desire. Wanton minds in need of direction and clarity in their lives instead spiral down, down, down.
A disturbing film for sure, Nagisa Ōshima's Sing a Song of Sex uses its title as a smart connecting device between scenes, and as the verses of the song tumble, so does the morality of these lost and broken men.
Nagisa Oshima uses pop singer Ichiro Araki to depict the "obscenity" of underclass desire. Four male and three female students from a provincial city accompany their teacher to Tokyo to take university entrance exams. The teacher dies and one of the boys may be the culprit. But the film is less a narrative than a collage of scenes about power imbalance: between city and country, young and old, rich and poor, Japan and Korea. Taking a hint from Twilight Saloon, Oshima uses song to mark out different social positions, from wartime naval trainees and university radicals to ethnic minorities and resentful adolescents. The question is who gets to sing, and what. 1967, 103 min., 35mm, color. In Japanese with English subtitles. Directed by Nagisa Oshima. With Ichiro Araki, Akiko Koyama, Kazuyoshi Kushida, Hiroshi Sato, Kazuko Tajima.
In Oshima's enigmatic tale, four sexually hungry high school students preparing for their university entrance exams meet up with an inebriated teacher singing bawdy drinking songs. This encounter sets them on a less than academic path. Oshima's hypnotic, free-form depiction of generational political apathy features stunning color cinematography.
In Oshima's enigmatic tale, four sexually hungry high school students preparing for their university entrance exams meet up with an inebriated teacher singing bawdy drinking songs. This encounter sets them on a less than academic path. Oshima's hypnotic, ...
"I thought it was about a guy that wanted to break up with a girl but she was a good dancer and that was 'making it hard' for him to leave her. I was mortified when I heard that song as an adult and realized it was about a boner."
"The song talks about 'loving herself' and I genuinely thought she actually loved herself and her body/personality. Little did I know she was actually being very sexual. One day it just kinda clicked in my brain when I was blaring it in my room?"
"When this came out, I was nine years old singing at the top of my lungs 'I need some love like I never needed love before' and '... tonight is the night when 2 become 1'. Only realised what the song was about like five years ago. Childhood ruined."
Nice review! I just posted a review of Oshima's THE PLEASURES OF THE FLESH and have finished the Criterion Eclipse set. Glad to see Oshima getting released on DVD but we need BOY, NIGHT AND FOG, and DEATH BY HANGING...though I love that Criterion is releasing MERRY CHRISTMAS, MR. LAWRENCE on blu-ray later this month!
Some songs are truly a tribute to the act of forming the two-backed beast, a paean to the pleasures of _____, a glorification of gettin' some. You know them when you hear them. A sexual song isn't just a song about sex, although it might be. It's not just a song to have sex to, although it can be that, too. No: A sexual song is a sonic composition so unmistakably written in the key of F that the connection between the music and the act is impossible to miss.
Every song on this list prompts the question of how the hell anyone got away with playing it on the radio (in some cases, they didn't). Here's to the power of music in making people want to get down:
Rapping about sexual prowess, a flawless body, and unmatched skills in bed, there is a sexy nature to this track. Beyoncé and Nicki Minaj pair each other with incredible singing voices and an unstoppable flow lyrically.
Singing about nearly losing control, Springsteen implores the object of his desire to let him take her. Insisting that he can do a better job than the man that currently has her heart, he sings on soaked sheets and freight trains in an innuendo-filled romp through the streets.
The early 1950s was a pivotal era for music, with 1952 being a prime year. In 1952, iconic artists released songs that have gone down in musical history. Most music lovers will recognize the biggest hits of this year. Read on to learn interesting facts about good songs from 1952.
The custom could be invoked without the wife's consent: the husband's actions were protected by law. Concubines would co-exist in the family along with wives and children. A man might choose a courtesan to be his concubine. Many of these courtesans would sing songs to attract potential husbands, hoping to become secondary wives.
Western observers in China during the nineteenth century witnessed these women singing but had no idea what to call them since they were not classified as prostitutes. Thus the term "Sing-Song Girls" came about.
There is another theory of the source of the term. According to the 1892 fictional masterpiece by Han Bangqing called Sing-Song Girls of Shanghai (later adapted into the 1998 film Flowers of Shanghai), people in Shanghai called the women who performed in sing-song houses 先生 (pinyin: xiānshēng) in the Wu language. The term was pronounced like "sing-song" in English and the young women always sang to entertain the customers; thus Westerners called them Sing-Song girls. The word sian sang in this case is a polite term used to refer to an entertainer.
Sing-song girls were trained from childhood to entertain wealthy male clients through companionship, singing and dancing in special sing-song houses. Not all performed sexual services, but many did. They generally saw themselves as lovers and not prostitutes. Sing-song girls did not have distinctive costumes or make-up. Often they wore Shanghai cheongsam as upper-class Chinese women did. Sing-song girls often performed amateur versions of Chinese opera for clients and often wore the traditional Chinese opera costume for small group performance. The girls had one or several male sponsors who might or might not be married and relied on these sponsors to pay off family or personal debts or to sustain their high standard of living. Many sing-song girls married their sponsors to start a free life.
Among sing-song girls were actually several subclasses of performers divided by the quality of skill. Over time, these would evolve, beginning with one class, developing into four, and consolidating down to two before becoming obsolete during the Cultural Revolution.
Below these, fell those whose services were purely sexual. Where some sing-song girls worked as such by choice, the women serving in the lowest tiers of the sex trade were often there as a result of being sold, mortgaged, kidnapped, or otherwise forced into the industry. (These do not address the women in other industries, such as masseuses and taxi dancers, who part-time sold sexual services.)
In Shanghai, Sing-song girls became a unique part of the city's culture, one which, in turn, affected the culture of other parts of China. As Shanghai was divided into different concessions loosely governed by multiple parties, there was greater freedom there for sing-song girls to come into the public eye without legal repercussions. This opened the door, allowing for the entertainment culture of the sing-song girls to impact the more traditional Chinese culture.
While even the highest class Changsan could not escape the ignominy of the sex trade, in some ways, that liberated her to flaunt a provocative culture which conservative Chinese tradition would not allow. Traditional views held that once married, a woman had no need to impress anyone. In conjunction with Confucian ideals of the virtues of modesty, this led to a standard of dress aimed to hide the form of the body within. However, sing-song girls, being unburdened such virtues, unmarried and perpetually courting were free not only to explore high fashion, but also to adapt it to be more. An example of this can be seen in the cheongsam which not only became more form fitting, but also became sleeveless with a long slit running up each side.
In general, the fact that sing-song girls were solely focused on entertainment meant that they were able to push the envelope of culture and style. For instance, they often decorated their parlors with expensive decor and modern amenities, making them culturally progressive to the point where there are documented cases of women sneaking into the entertainment houses to catch a glimpse of what the latest decorations and fashions were. Additionally, the fact that the sing-song girls were often courted by prominent individuals in society gave them further attention, even notoriety. For instance, it was not uncommon for famous sing-song girls to be invited to publicly accompany their courters allowing for them to further flaunt their fashion. 041b061a72