The night bar in Tokyo
Black, adventurous and cold bar culture
In Junichi Watanabe's book "Men" (with Chinese translation), he tells the true side of men, that is, the look of scrambling when watching striptease, that is, leaning out and exclaiming "Oh" together. If a man wants to hone himself sexually, or he distorts himself because he doesn't want to suppress his impulse, then there is a choice worthy of his consideration, that is, spending money on sexual services. This is somewhat similar to the fact that women flock to sale hypermarkets. Watanabe's idea shows that Japanese people basically have no concept of whoring. The police also don't punish whorers. Japanese police sometimes rush to pornographic shops, but as men's whorers, they can dress and pants unhurriedly and leave in front of the police.
In addition to the tea ceremony, flower ceremony, sword ceremony, and calligraphy, there is also a Japanese culture called Geodo (極道).極道通(黑帮),也叫( Yakuza/yakuza),因而極道也是日本( Yakuza) aesthetic,在極道中扮演重要角色的就是酒吧,酒吧女,媽桑. The tangle and entanglement between them and their boss, writing about the black, adventurous and cold bar culture of Japan.
Many years ago, the representative work "The City that Never Sleeps" by the Japanese novelist Chi Xingshu was the result of thinking about this kokudo culture. "Shinjuku Kabukicho on Saturday. It was drizzling. From the district service station Tongli to the job safety Tongli. The narrow sidewalks are occupied by women and pimps wearing miniskirts and stretching out attractive legs." The novel starts from here and concludes that the world is divided into two types of people: those who cheat and those who are deceived. In a dark world where people eat people, people do whatever they want to do just to survive. Then, there was a muffled sound. Natsumi (Xiao Lian)'s body gradually cools down in Kenichi's arms. Perhaps at that moment, the ripples in his heart that had been touched by Natsumi died forever. The novel is about Natsumi, who was originally a bar girl, and can treat any man at any time.
Either become a sacrifice or become evil itself
Here, if lies and betrayals are part of the bar femininity, then, in the opposition of spying and being spying, taboo and being banned, blasphemy and being plagued, they belong to the object of being spying and being banned and being plagued. Though everything cannot be absolute, are there only two ways out of beauty: either to be a sacrifice or to become evil itself? Because beauty is always forgotten by God.
Therefore, the bar girls who appear in our field of vision are basically full of lies.
Their names are fake, their age is fake, their education is fake, and their place of origin is fake. Only their gender is real, but sometimes their breasts are fake. It's not all their fault. Men who deal with different needs every day can only pretend to be real. But the problem is that big customers don't come often, and there are not many high-ranking presidents. Therefore, the competition between bar women and each other makes the small bar full of charm. The good and evil of human nature are killed here. The wisdom of women is contested here. Shocking conspiracies are born here. Most Japanese TV dramas are based on murders, and most of them are beautiful women killing beasts. This is because thousands of bars interpret and refine the story.
Listen to the "quack" of the ice cubes in the cup
In Tokyo, whether it’s pool, upfield, involving valley, or six benches,赤坂, eye dark, at night, a lingering little bar doesn’t get into the dark, filled with the light of the rainbow light.
The bar after entering was also dark. The woman's soft laughter turned into music. Smoke lingered from every finger, and the whiskey cup in her hand shifted from her right hand to her left hand. The "quack" sound of ice cubes in the cup sounded pleasant to the ears. The strange men and women around me were like the shadows of prisoners, swaying in the shadow. With their experiences and stories, they clearly recounted in their voices some desperate event, some passionate event, or some event that should be cursed for life. Flowers from the four seasons are everywhere they should be placed. Although there is a scenery of "the city is full of spring palace walls and willows", it also gives people the feeling of desolation that "the rain sends flowers at dusk and it is easy to fall."
People seem to have different nerves during the day and at night. The nerves of the day make you rigorous, and the nerves of the night make you sink. In this sense, Tokyo's bars of all sizes are like museums of all sizes, which contain the slaps and weak voices of violence, eroticism, idealism, decadence, realism, and romanticism.
Nevertheless, the bar is helping us to escape time, escape responsibility, escape morality, and even history. The bar becomes a place and space for good. Here, inner anxiety and chaos will disappear in the bright red of a moving dish; here, a man's passion for women, restraint or indulgence, will also make the ultimate microband drunken choice after swallowing into the bitter and tasty cup; here, the wise and the fool will face an endless annoying question with the most outspoken soul, the most genuine spirit, the most intuitive consciousness: Man, why?
People, why should they despise each other?
In this world, you can't live by kindness alone. But if you are not kind, you will lose the meaning of living.
In the world of this bar, it is hard to survive a day, but if it is not easy to survive in the world of this bar, it is difficult to survive in the world of this bar. This is why after the guests go, the bar girls want to get drunk, the mother sing to sleep with sleeping pills.
The snow country, whose protagonist is a bar girl, appears to be her shape, living a light red wine and green life, the guests have "behavioral prostitute appearance." But after drinking out, she shouted "headache, headache, trouble, trouble." The inhuman life, tortured her almost troubled, but not completely troubled. Only the guests, then troubled, then troubled themselves. The broken soul is crying. In 2006, in its autobiography "My sixteen year old help memoir" wrote: in Tokyo, I opened the spectacular red running car, lived in a luxurious house. Open the door, the spacious soft bed, rolled in the sandwich. Now there is no trace, only a reminder, and the quiet air flooded in the air.
Is appearance a reliable reflection of reality? Kant encountered such a question in his Critique of Pure Reason. Apart from the appearance of things, what else can we know about them? Kant's famous conclusion is "No." It is impossible for us to recognize things beyond their appearance. Here, our curiosity is that Kant, who only lived in the 19th century for four days, did not encounter the scene of some sexy-clad women coming down from the elevator in the dark of the alley and hugging customers who had drunk too much and sending them out of the store door. So, how did he come to the conclusion that the appearance and inner quality of a bar girl were not the same thing?
Jiang Jianqiang