Paper Mache Grapes

🌰🐦🌳 mood diary and journaling my sometimes creative and sometimes healing and sometimes spiraling thoughts

[USSR Pictures @PicturesUssr]

"Don't abandon your baby. Demand child support money from the father", Soviet poster, 1920s

[naiive @naiivememe]

eggs watching the rest of the fridge from their private balcony

[No Context Brits @NoContextBrits]

Tag an Italian to ruin their day.

[赤夏 @akasasimi]

中華圏のこの、
スイカを売る時に絶対にミニトマトを飾り付ける強いこだわりは何か理由があるのでしょうか

[Lost Internet @LostMemeArchive]

Brother, May I Have Some Oats (2016)

[Simon Kuestenmacher @simongerman600]

Map shows the surname "Smith" in different European languages. It's one of the most common surnames across the continent.

[LeoDaVinciWave @LeoDaVinciWave]

An extraordinary German reliquary shaped like a three-legged fish, created circa 900–1350 CE.

[대한미소녀협회Korea Bishoujo @nagaai_sakana]

한국에서는 이미 숭배받고 있는데, 늦다 일본인들아

[Historic Vids @historyinmemes]

Japanese television programs often include a disclaimer saying, “The staff ate it afterward,” reassuring viewers that the food featured on screen wasn’t thrown away or wasted.

The phrase 「このあとスタッフがおいしくいただきました」 (“The staff enjoyed it afterward”) became a familiar sight on Japanese television during the 1990s and early 2000s as concerns about food waste grew among viewers.

Rooted in the Japanese concept of mottainai—which emphasizes avoiding waste and appreciating valuable resources—many cooking and variety shows began displaying the disclaimer to reassure audiences that the food featured on screen had been eaten by the production staff instead of being thrown away. While the message is not legally required and doesn’t appear on every program, it has become an iconic part of Japanese TV culture, reflecting the country’s strong emphasis on reducing waste.

[大阪七絃琴館 @windson0707]

龍舞も獅子舞も見たことあるけど、伊勢海老舞いとアサリ舞いは初めて見た……🦞🦪

[Paper Mache Grapes @papermachegrape]

10/10

[Carlibu⚾ @enlqblue]

Is it because we don't buy enough? Don't listen enough? Don't subscribe enough? Is that really what you think, Japanese???

How could you possibly know that international fans aren't buying enough when we literally have to use shipping proxies just to send items to a warehouse inside Japan—simply because you don't even offer worldwide shipping? Or sometimes, we even have to pay people living in Japan to buy things for us because our foreign credit cards get rejected. So, how on earth are you collecting data to claim that we aren't doing enough?

Sometimes, sending an artist abroad is an investment and a risk that the agency just has to take. When you haven't done any marketing or promotion for your artists overseas whatsoever, what kind of results are you expecting? Are you hoping their songs will magically market themselves without the company doing a single thing? That their online shows will just go viral on their own?

Excuse me?? but we are still being region-locked out of accessing those media outlets most of the time. We can barely buy concert tickets to see them in Japan because we don't have a Japanese phone number or address. Even buying a CD—which shouldn't be hard because the people buying them are the ones who genuinely care about the artist's music—can still result in our credit cards being rejected just because they are from overseas.

So, how can you expect an artist to become popular enough abroad to justify the investment of sending them there? You aren't lacking anything, Japanese. Your artists are incredible, they always work so hard. What is truly lacking is the vision of the people working behind the scenes. This habit of being afraid of everything before even trying is a mindset that will never let you move forward. Making cautious decisions is a good thing, but that should only happen after you have fully done your duty as their agency first.

[Paper Mache Grapes @papermachegrape]

@PoohChaiKonNun สนับสนุนคุณเต็มที่ค่ะ ความจริงทั้งนั้นทำไมรับไม่ได้หรือแค่ฟังแล้วไม่แคร์ก็แค่นั้น

[Paper Mache Grapes @papermachegrape]

@shinjukuhaze @Professor_Fries Spot on. no notes

[Paper Mache Grapes @papermachegrape]

And reaction videos, and ultimately that’s what organic marketing means. And Japan was too worried about copyright laws by the book to allow even a magazine cover to appear on twitter. 20 years too late if you ask me.

[Paper Mache Grapes @papermachegrape]

The Japanese artists not reaching international success conundrum has such an obvious answer but Japanese music industry higher ups refuse to reform or do anything about it because it will meiwaku too many people and stir up system that doesnt benefit their next month’s paycheck

[Paper Mache Grapes @papermachegrape]

So this disdain towards Japanese music industry regulation is well deserved. If you dont make enough an effort to adapt to the world, your artists are just gonna fall behind in popularity. Especially J-idols vs K-Idols. Kpop industry turned blind eyes to fanmade subs and edits.

[Paper Mache Grapes @papermachegrape]

It probably goes like this:
A “hey we should really just post full PVs on youtube”
B “Oh but what about the sales of physical cds? CD publisher X-san will be concerned about this”
C “And our contract with music channel Y will fall in a grey area!”
A “Ah such a pity, yamemasu”

[Paper Mache Grapes @papermachegrape]

And I know for a fact how scared the Japanese are afraid to voice out their suggestions the second time after being rejected the first time. And trust me they were rejected based on how many people the proposal will meiwaku.