“Music saved my life.” It’s been said so many times that it almost seems trite these days. Is it a statement of truth, or just a soundbite that looks good in a press release? We live in skeptical times, so when a musician utters those four oft-spoken words, the usual reaction is one that accompanies a shrug of the shoulders or a quizzical air.
But “music saved my life” doesn’t have to ring true in the absolute literal sense, as in “music stopped me from killing myself,” or “music got me off the streets and stopped me from catching a bullet.” No, sometimes music saves lives by making those lives everything they were supposed to be, taking them out of whatever mire they may have been damned to wallow in, and pulling them toward a much different destiny.
That is how music saved the life of beatboxer and “Humanelectro” artist Ryo Fujimoto. The Kobe, Japan native endured the tragedy of losing a parent at a very young age, and it was a chance encounter, if there really is such a thing, with the medium of expression that would become his life that helped ease him from his unimaginable grief.
Photo Courtesy of Rina Kim
“When I was 14 years old, I watched some beatboxing with a cappella music on a TV program after my father died,” he says of his first exposure to the art of making music with nothing more than man-made sounds. “Music saved my life. So, I start beatboxing since then.”
Since he began delving into self-made sounds over a decade ago, Fujimoto has evolved into a beatboxer of an entirely different breed, incorporating electronic elements into his live and and recorded performances. His is a sound born of pure experimentation undertaken anytime, anywhere, regardless of his surroundings. The passion, it’s safe to say, was and is all-consuming.
“I searched [for] sounds for a whole day,” says Fujimoto of his early daily attempts to find his signature style. “I opened my mouth and practiced it all the time, everywhere. On a street, in a bedroom, in a restroom.”
Most beatboxers keep things traditional in the sense that they simply use their mouth and speech organs to create your basic hip hop beats. It’s an amazing feat as it is, but Fujimoto takes things several steps further, something he has done ever since his childhood days.
“I’ve liked adding different tastes to normal things since I was child. I beatboxed with a harmonica, folk instruments, a didgeridoo, a zampona, a paper cup. This is a very natural thing for me.”
Of course he didn’t stop there. Over time, Fujimoto’s sonic fusion has leaped from the analog to the digital realm to the point where he has even developed his own custom-made electronic hardware which he incorporates into his live performances. That hardware is essentially comprised of various sensors attached to his body via nodes, and even a MIDI glove of his own design. Utilizing Leap Motion technology, the sensors track Fujimoto’s natural electric signals, such as his heart rate and the movements of his muscles and digits. Those signals are then converted into both audio and visuals that pulsate along with the man-made and electronic music. The design of the MIDI glove and the subsequent Sigma Project in which it made its debut came about astonishingly quickly, Fujimoto says.
“Since I was successful in the expansion of the beatboxing, I next tried to extend the physicality and the human body with electronics. When I published a live Leap Motion performance on YouTube, Eddie Lee, who is an official developer of Leap Motion, contacted me. After that I called Takuma Nakata and Tsubasa Nakata, a hardware designer and a director. We created this work in a week.”
Given his predilection to rapid change and advancement, it’s no surprise that Fujimoto decided to switch up his surroundings in 2011, relocating to Berlin in search of more fertile creative ground. The year previous, he spent just a few days in the city, performing at a festival there. That was enough, however, to convince him that Berlin was where he needed to be.
“After I stayed a week in Berlin, I decided to emigrate. That’s my intuition. I came back to Japan and got a flight ticket and visa immediately because I could feel good positive power in this city. I still live in Berlin and have many special experiences and meet good people. But my most important thing here, I could focus on creating.”
Now Fujimoto is in the midst of a tour of Asia that will take him back to his homeland, and also to Taiwan for a series of shows in Taipei, Greater Taichung and Greater Kaohsiung. The visual spectacle alone, the chance to watch a man create music that really is a product of innovation in the truest sense of the word, is worth the price of admission alone. The obvious question he leaves behind is, what is he going to do next?
“My new project is working underwater,” he says as as though the answer is standard musician boilerplate. After music has already saved your life, maybe you owe it a trip to some strange new places.
■ Ryo Fujimoto performs tonight at Revolver, 1-2, Roosevelt Road, Sec 1, Taipei City (台北市羅斯福路一段1-2號). Tickets are NT$400 at the door. Doors open at 7:30pm and the show begins at 8pm.
The problem with Marx’s famous remark that history repeats itself, first as tragedy, the second time as farce, is that the first time is usually farce as well. This week Chinese Nationalist Party (KMT) Chair Cheng Li-wun (鄭麗文) made a pilgrimage to the People’s Republic of China (PRC) “to confer, converse and otherwise hob-nob” with Chinese Communist Party (CCP) officials. The visit was an instant international media hit, with major media reporting almost entirely shorn of context. “Taiwan’s main opposition leader landed in China Tuesday for a rare visit aimed at cross-strait ‘peace’”, crowed Agence-France Presse (AFP) from Shanghai. Rare!
What is the importance within the Chinese Nationalist Party (KMT) of the meeting between Xi Jinping (習近平), the leader Chinese Communist Party (CCP), and Cheng Li-wun (鄭麗文), the leader of the KMT? Local media is an excellent guide to determine how important — or unimportant — a news event is to the public. Taiwan has a vast online media ecosystem, and if a news item is gaining traction among readers, editors shift resources in near real time to boost coverage to meet the demand and drive up traffic. Cheng’s China trip is among the top headlines, but by no means
A recent report from the Environmental Management Administration of the Ministry of Environment highlights a perennial problem: illegal dumping of construction waste. In Taoyuan’s Yangmei District (楊梅) and Hsinchu’s Longtan District (龍潭) criminals leased 10,000 square meters of farmland, saying they were going to engage in horticulture. They then accepted between 40,000 and 50,000 cubic meters of construction waste from sites in northern Taiwan, charging less than the going rate for disposal, and dumped the waste concrete, tile, metal and glass onto the leased land. Taoyuan District prosecutors charged 33 individuals from seven companies with numerous violations of the law. This
Sunflower movement superstar Lin Fei-fan (林飛帆) once quipped that the Democratic Progressive Party (DPP) could nominate a watermelon to run for Tainan mayor and win. Conversely, the DPP could run a living saint for mayor in Taipei and still lose. In 2022, the DPP ran with the closest thing to a living saint they could find: former Minister of Health and Welfare Chen Shih-chung (陳時中). During the pandemic, his polling was astronomically high, with the approval of his performance reaching as high as 91 percent in one TVBS poll. He was such a phenomenon that people printed out pop-up cartoon
RSS