Soshoku danshi — "grass-eating men" — "a heterosexual man for whom relationships and sex are unimportant."

"The phenomenon emerged a few years ago with the airing of a Japanese manga-turned-TV show. The lead character in Otomen ('Girly Men') was a tall martial arts champion, the king of tough-guy cool. Secretly, he loved baking cakes, collecting 'pink sparkly things' and knitting clothes for his stuffed animals. To the tooth-sucking horror of Japan's corporate elders, the show struck a powerful chord with the generation they spawned."

This comes from the article "Why have young people in Japan stopped having sex?," which I linked to earlier today for some different purposes. I wanted to break this out separately. I may not be understanding the Japanese phenomenon accurately, but I'm interested in the way a television show can begin with a character who is supposed to be laughed at but who ends up inspiring some viewers, who legitimates and activates feelings that they have about themselves, and shows them new ways to behave, openly and without shame.

The example that occurs to me in American culture is Maynard G. Krebs, the best friend of the main character on the old Dobie Gillis show (which was on from 1959 to 1963). It was assumed that viewers would identify with Dobie. That's why he was the main character. He dressed and acted like a conventional teenaged boy of that time. He wanted girlfriends, and he had struggles with his parents and teachers, but he mostly tried to satisfy them even as he pursued his overarching goal: relationships with females.

The Maynard character wasn't supposed to call American teenagers into another way of living. Maynard (played by Bob Denver) was less good-looking, dressed grubbily, wore a goatee, was dumb about or uninterested in a lot of typical teenager things. He wasn't interested in girls. He rejected work and other conventions of middle class American life. His only interest was jazz, and he was — we were expected to understand — a beatnik. But we didn't fulfill the expectation that we would read this character as a clown. We got the idea: We could live in a new way.

Blah blah blah... we became hippies.

Did "Free to Be You & Me" imply getting a lot of work done to one's once perky face?

When did you first encounter Marlo Thomas? Did she look like this?



That is indeed her, in 1960, on an episode of "The Many Loves of Dobie Gillis," but you're more likely to know her from the late-60s show, which was infectiously popular when I was in high school, "That Girl":




(Look at the image on the kite at 0:38 and you'll see what got me onto this topic: the question, raised in the previous post, of what the Lululemon logo looks like. Sidenote: those opening credits were totally ripped off by Mary Tyler Moore, who kind of also stole Marlo's whole concept of the modern woman.)

Obviously, she needed to get some work done to look like "That Girl" and not that girl that was on "Dobie Gillis." Look at her father:



I grew up watching his show, "Make Room for Daddy." Anyway, Marlo went on to that "Free to Be You & Me" project, which began in 1972, when I was 21 and not interested in that sort of thing, and not just because it was for children and parents, but because it was square and middle class. I don't think I have ever listened to a single track on that record, but I know it had a huge impact on younger people. (I wonder if Obama's mother played it for him. I'll bet she thought it was too square, too middle class.)

Here's an example of a blogger — Melissa at On the Rag Mag — who idolized Marlo Thomas:

I grew up worshiping her because of her involvement with Free to Be You & Me. OH MY! How I loved that album and the show. To say that I was obsessed with it would be an understatement. To tell you that pretty much anyone associated with the project brings tears to my eyes, warmth to my heart, and a tingle to my nether regions would not be a lie.

For someone who loves Marlo not because of "That Girl" (or "Dobie") but because of "Free to Be," it's stressful to look at what she's done to herself:



Melissa says:

Marlo Thomas is a woman of her generation, and the way she chooses to age is up to her. I was really sad to see her stretched and snipped beyond recognition, but that is her choice. No one can stay young forever, and we all deal with the aging process in different ways. It’s a mind fuck no matter how you go at it, and it’s her face so who am I to say anything?

Oh, bullshit! You did say something. Quit pretending you didn't. It may be "up to" Marlo to decide what to do, but she did it precisely to affect what we see. She did it to us as well as to herself. We can complain. We can try to influence others not to make the same awful mistake. And there's just so much hypocrisy, or at least that's what I would say if I had any familiarity at all with the songs on "Free to Be You & Me."

As to whether "the aging process" is "a mind fuck no matter how you go at it," if that's the level of wisdom you've reached, that doesn't speak well for the foundation you acquired from "Free to Be You & Me." One more reason why I will continue to refrain from ever hearing "Free to Be" and to believe that it's drivel.