We Three Dissident Musicians" - 1971: The Era of Song, Drunkenness, and Satire

We Three Dissident Musicians" - 1971: The Era of Song, Drunkenness, and Satire

In 1971, when the aftermath of the student movement was fading from the streets, the era of direct confrontation with anger and ideals was coming to an end, and instead, small voices began to echo from bars and street corners. Wataru Takada said, "Lyrics are incantations," wrapping his sharp social criticism in a humorous narrative. The power of song lies in its ability to "evoke images," and instead of yelling, murmurs carry the truth. Kenichi Nagira laughed and said, "This is culture in its own way." He accepted his fights with drunken customers and troubles on his regional tours as part of his singing. For him, art was an extension of everyday life. And Kiyoshi Hasegawa spoke of the aesthetics of improvisation and resonance with a sensitivity honed by his lack of sight. Sound and space were his stage, and "invisibility" was the gateway to freedom. What all three have in common is an attitude of "taking no position. Although they are anti-establishment, they do not belong t
o any organization or cause, and can only relate to society by singing. Their narratives conveyed the upheaval and silence of the times at the same time, interweaving laughter and sorrow as they searched for a sincere way of being human. Their words, which transcended the framework of folk music and stood at the intersection of cities, politics, and life, still waver and seep deep into our hearts.