Re: [OT} Why is Japanese radio so unbelievably bad?




"muchan" <muchan@xxxxxxxxxxx> wrote in message news:GPOtg.4288$oj5.1475234@xxxxxxxxxxxxxxxx
Ben Bullock wrote:

And this is all day, every day, on channels like J-Wave and Tokyo Bay FM.

Today I listened to not just one programme but four different Japanese
FM radio stations, which I listened for about as long as I could stand,
and I've heard this stuff many times in the past. The barber I go to,
who I hope I haven't offended by calling a tokoya, plays the J-Wave all
the time. I really can't understand how Japanese people manage to
tolerate this endless verbal diarrhea.

Fortunately on the way back I got Eagle 810 again which is why I'm still
feeling relatively sane, even after spending four hours in Chiba traffic
jams and three hours in Ikea, which plays even worse music than J-Wave.


80年代後半だったか、J−Waveがまだスポンサーなしの試験放送だった頃は
ワールドミュージックとかすごくいい内容だったんですよ。当時のJ−Waveが
取り上げた曲を集めたCDを一つもってるけど、今聞いてもいいもんです。

スポンサーがついて、リクエストを中心に編集するようになってから、
視聴者のレベルに(迎合するように)なったんでしょう。


Actually a lot of the music they play is quite good, although they also tend to insert dud stuff and then claim it is the latest hot thing from New York or somewhere, when it obviously isn't really. What bothers me is that they talk too much. It's not uncommon for them to talk throughout the whole track, from the beginning to the end, so the music is being used as a kind of background music for the DJ's talking. Even worse when the DJ just talks about the music or musicians whose music he is talking over.

日本語で:

いい曲も多いですがDJが売れないような海外音楽をごまかしてこれがニューヨークの超はやりサウンドなどという嘘をついて曲を流すことも多いです。でも私が嫌に思うのは音楽の質ではなくて、DJの話しすぎです。曲の最初から最後までしゃべりっぱなしも珍しくありません。その音楽がDJのサウンドトラックのようになってしまいます。音楽よりも自分の声のほうがいいと思い込んだ独りよがりのDJが嫌いです。さらに嫌なのはそのDJが音楽だけを聞かせないで、音楽よりも自分の声を大きくして、皮肉なことに音楽を流しながらその音楽やその音楽を作った人の説明をいうことです。私は音楽を自分で判断できます。余計な説明はいりません。

あと、DJの外国語でのおしゃべりや非常にくだらない日常生活のはなしをするDJは納得ができません。くだらないDJが無職にならないことは日本人の我慢強いことの証拠でしょうかね。自分のペットの話、自分の服の話、自分の食事の話をいうDJは極めて面白くありません。黙って音楽でも流してください。

--
sci.lang.japan FAQ: http://www.sljfaq.org/afaq/afaq.html

.



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