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DESCRIPTION:Moynihan Institute of Global Affairs&nbsp\;East Asia Program pr
 esentsThe Audacity of Radio: Democracy\, Censorship\, and the Political\nS
 atire of Miki Toriro in Occupied JapanThis talk examines the politics of m
 edia stardom in occupied\nJapan by reviewing the early career of Miki Tori
 ro (1914-94)\, the most popular\nradio star in the immediate post-WWII yea
 rs.\n\nThe Allies believed that radio was one of the most effective\nmeans
  to spread democracy among the Japanese people. In 1947\, the Civic\nInfor
 mation and Education Division of GHQ/SCAP helped NHK\, Japan's national an
 d\nonly radio broadcasting company at the time\, to produce a new program\
 , “Sunday\nEntertainment Edition.” The star of this show\, Miki Toriro\, w
 hose stage name\nmeans something along the lines of "Mickey Mouse Chicken 
 Man\," became\nfamous for his caustically funny songs that took aim at the
  corruption and\nincompetence of the Japanese government under U.S. occupa
 tion.&nbsp\;However\, the exercise of this right (rite?) of democracy\nonl
 y went so far\, because GHQ/SCAP censorship banned songs that showed even 
 the\nslightest note of anti-Allied sentiment. This talk examines how Miki 
 strategically\nused music to create entertaining songs while negotiating t
 he various\nconstraints imposed on him by the Japanese government and GHQ/
 SCAP.Kyoko Omori\n\nAssociate Professor of Japanese\n\nEast Asian Language
 s and Literatures Department\n\nHamilton CollegeKyoko Omori is Associate P
 rofessor of Japanese at Hamilton\nCollege in NY. Her research focuses on 2
 0th-century popular culture\,\nemphasizing interwar film and magazines\, a
 s well as post-WWII Occupation Period\nradio shows. Omori’s publications i
 nclude “Inter-Mediating Global Modernity:\nBenshi Film Narrators\, Multise
 nsory Performance\, and Fan Culture” (in Eng) and\n“The Soundscape of Mode
 rnity: Edogawa Rampo and Voice (in Japanese).” She has a\ndigital project\
 , “Benshi: A Silent Film Narrators in Japan.” (https://www.hamilton.edu/ac
 ademics/centers/digital-humanities-initiative/projects/Benshi-Silent-Film-
 Narrators-in-Japan)For more information or to request accommodation arrang
 ements\, please contact Havva Karakas-Keles\, hkarakas@syr.edu.
DTEND:20211119T190000Z
DTSTAMP:20260312T140505Z
DTSTART:20211119T173000Z
LOCATION:
SEQUENCE:0
SUMMARY:The Audacity of Radio: Democracy\, Censorship\, and the Political S
 atire of Miki Toriro in Occupied Japan
UID:RFCALITEM639089067052731908
X-ALT-DESC;FMTTYPE=text/html:<p>Moynihan Institute of Global Affairs&nbsp\;
 </p><p>East Asia Program presents</p><p><br></p><p><b>The Audacity of Radi
 o: Democracy\, Censorship\, and the Political\nSatire of Miki Toriro in Oc
 cupied Japan</b></p>This talk examines the politics of media stardom in oc
 cupied\nJapan by reviewing the early career of Miki Toriro (1914-94)\, the
  most popular\nradio star in the immediate post-WWII years.<p>\n\n</p><p>T
 he Allies believed that radio was one of the most effective\nmeans to spre
 ad democracy among the Japanese people. In 1947\, the Civic\nInformation a
 nd Education Division of GHQ/SCAP helped NHK\, Japan's national and\nonly 
 radio broadcasting company at the time\, to produce a new program\, “Sunda
 y\nEntertainment Edition.” The star of this show\, Miki Toriro\, whose sta
 ge name\nmeans something along the lines of "Mickey Mouse Chicken Man\," b
 ecame\nfamous for his caustically funny songs that took aim at the corrupt
 ion and\nincompetence of the Japanese government under U.S. occupation.&nb
 sp\;However\, the exercise of this right (rite?) of democracy\nonly went s
 o far\, because GHQ/SCAP censorship banned songs that showed even the\nsli
 ghtest note of anti-Allied sentiment. This talk examines how Miki strategi
 cally\nused music to create entertaining songs while negotiating the vario
 us\nconstraints imposed on him by the Japanese government and GHQ/SCAP.</p
 ><p><br></p><strong>Kyoko Omori</strong><p>\n\n</p>Associate Professor of 
 Japanese<p>\n\n</p>East Asian Languages and Literatures Department<p>\n\n<
 /p><p>Hamilton College</p><p><br></p><p>Kyoko Omori is Associate Professor
  of Japanese at Hamilton\nCollege in NY. Her research focuses on 20th-cent
 ury popular culture\,\nemphasizing interwar film and magazines\, as well a
 s post-WWII Occupation Period\nradio shows. Omori’s publications include “
 Inter-Mediating Global Modernity:\nBenshi Film Narrators\, Multisensory Pe
 rformance\, and Fan Culture” (in Eng) and\n“The Soundscape of Modernity: E
 dogawa Rampo and Voice (in Japanese).” She has a\ndigital project\, “Bensh
 i: A Silent Film Narrators in Japan.” (<a href="https://www.hamilton.edu/a
 cademics/centers/digital-humanities-initiative/projects/Benshi-Silent-Film
 -Narrators-in-Japan">https://www.hamilton.edu/academics/centers/digital-hu
 manities-initiative/projects/Benshi-Silent-Film-Narrators-in-Japan</a>)</p
 ><p><br></p><p>For more information or to request accommodation arrangemen
 ts\, please contact Havva Karakas-Keles\, hkarakas@syr.edu.</p>
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