Yoshiko Yamaguchi’s Vocal Mirrors, For A River, Unfold!

The Natural Intimacies Between Moonlight and Rivers, And the Teachings Of Quiet Love, In the Song, "Moonlight On The River," By One Of The "'Seven Great Singing Stars," and Japanese Singer and Actress-YOSHIKO YAMAGUCHI!

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Before, it was mentioned how moons and flowers go hand-in-hand. Now, we speak of the flow and direction of rivers, and their way of illuminating tranquility. The manner in which rivers flow, stimulates the nurture, and aesthetics, of love and well-being. Water has its own context of dances. Depending on the time, moment, and spatial arrangements, water has a way of performing and expressing itself within the realm of magical-fiction, and fiction’s reality. There are particular observations, and guides, related to such. Nevertheless, the beauty of water is its grace. There is a graceful and flowing element to its very nature. When grace is implemented within the very creative arts, one observes a painting unfolding, within our very midst. Its intrinsic-a source of personal reflection, and it is delightful to say the very least. And yet, we must get specific about the manner of different bodies of water, and how they are re-structured. For the most part, there is a form of wellness pertaining to the shaping of rivers and why they are granted the opportunity to showcase how easily lines can transform into curves, and curves into lines; all the while re-aligning themselves back into the circular motion of, the Circular effect. On a higher plane, there is the greater attribute in restoring and re-nourish what has traditionally been viewed as, hardened!

So, now we return back to the realm of music. It is that safe space, that magical place, where those Heavenly and aesthetic wonders, are allowed to make their presence known. Of course, there are other entities of the creative arts. Nevertheless, music has that power to spread those arts, throughout the land, making it very clear how powerful, and creative it is, in the performance of Universal richness. Songbirds and those vocal greats have that legendary power of illuminating what is hidden in the context of Mother Earth, and its connection to Divine power. Through their voices, alone, paintings become revealed. Through the majesty of their vocal artistry, they present to the masses of people, the natural beauty, which has been hidden, all along. Once such revelations are allowed to take place, and to be performed, we can showcase just how precious and miraculous the very arts, truly are!

We are back on Chinese landscapes! However, for this time around, we are presented with a different twist. Her presence within the mainstream, Chinese entertainment industry was a foreign one. In fact, when examining the his/herstory between Chinese and Japanese relations, one would know that such was even a hostile approach. Nevertheless, such is the power of music. The arts are Universal! Creativity is Universal, and it has the power to bring people together, in ways, that were never thought possible. Heaven has that wonder, surrounding this place of comfort and bliss! Should we grant ourselves permission to understand this, we will come to navigating ourselves through the very mysteries of creativity, and what it is able to produce. Not only what creativity can manifest, but its power and magnitude, as healer! There is simply no other way around expressing this level of wonder and glory!

She was known as a singer and actress. Not only did she navigate the landscapes, and film visuals, of Chinese and Japanese platforms, but she also made appearance in the United States Of America. Let’s also not forget that she was born in China, to a Japanese family. An intriguing complexity, indeed! Later, within her career, she navigated herself into the world of politics. She was a member of the Japanese Parliament since the 1970’s. During her position, she served within this governmental structure for 18 years. Afterwards, she became the Vice President of the Asian Women’s Fund. Just one of the myriad examples concerning how art has the ability to interweave itself within politics; while also navigating the politics of art. All of it is a masterpiece within its very own right!

Our delightful, talented, and mysterious Japanese dame is considered to be one of the “Seven Great Singing Stars” of Chinese gardens, during the 1940’s era. Moving into Japanese landscapes, at one point she was labeled as the, “Judy Garland” of Japan. For the purposes of this article, and the illumination of healing between two nations, we draw our attention to the late, and great. . .

Yoshiko Yamaguchi

https://archive.noguchi.org/Detail/archival/35082; Edits By Lauren Kaye Clark

Kindly note how she used different names to identify the state of, her Being. In the beginning of her career, she used the name Li Hsiang-Ian, as a strategy to conceal her Japanese identity; while passing off as a Chinese actress. This name even granted her access into depicted herself as a Chinese woman, within Japanese films. Of course, once she entered into the US film industry, she referred to herself as, “ShirleyYamaguchi; eventually, acting in the Japanese, film industry , she took on the name, Yoshiko Yamaguchi! What a way to engage in linguistic navigation. Its a method of suiting the times, while having the privilege and purpose of interlinking within different worlds. Nevertheless, she was able to maneuver, fluidly. The song, “Moonlight On the River,” is a love tale to the poetry of water’s movement. In fact, the very name, alone, has a level of enchantment! The terms, “Moonlight” and “River” articulates the very magic of water. One can almost experience the presence of love coming afloat. It arises! And, it graces our presence when knowing just how beautiful and fantastical, it can truly be. In personal experiences, reading the very perfumes of these words provides testimony into how water utilizes elegance to convey the very mysteries and depths of art’s tranquility.

And so, we are listening to the comforts and pleasures of one Japanese maiden, who performed holistic wellness, and healthy auras of Japan. Her performance throughout Chinese landscapes, while representing her identity, as a Japanese woman, was a form of healing! Even during her career, she served as an activist (and was one of the key figures) to holding Japan accountable for the heinous crimes committed against Chinese people, during World War II. She also advocated that her nation of Japan pay reparations to Korean women, who were “forced into sex slavery” (i.e “comfort women”), during the occupation of the Japanese military on China. Just examine the healing power of woman. Observe how women have the power to instill healing among each other; and restore what has been stolen or exploited. Even when listening to the song, “Moonlight On the River,” there is a sense of restoration and the fluidity of healing, when she sings.

https://www.google.com/amp/s/amp.scmp.com/comment/insight-opinion/article/1594901/yoshiko-yamaguchi-songstress-who-bridged-divide; Edits By Lauren Kaye Clark
http://www.mutanteggplant.com/vitro-nasu/2007/09/25/yoshiko-yamaguchi-the-manchurian-candidate/; Edits By Lauren Kaye Clark

In the song, “Moonlight On the River,” there is a particular artistry, where the listener feels that the voice of Yoshiko Yamaguchi is coloring the tempo of time! The slight vibrato used within the song, illuminates a richer treasure of passion. Of course, the energy has a gentle texture to its very nature. One can gain a sense of imagination, concerning how the painting is able to unfold. What does the vocal painting reveal in the style and texture of Yoshiko Yamaguchi’s voice? For some reason, I gain there being the swaying of a chandelier the subtle clicking of champagne glasses; and the beauties of emeralds, being melted, in order that they may paint the words, timber, and eloquence of the very song. One’s imagination is led to the arising of precious jewels from the river. They had been hidden for quite some time. Nevertheless, they have been able to rise from the very depths of the river’s bottom, and they have come to show us just how magical and artistic they truly are. Furthermore, it is an even greater lesson; which illuminates to Earth’s natural jewels having the power to clean the Earth, when they are properly used.

The song is about the Moon, and its miraculous intimacy with the River. There is a crystal-like essence, in Yamaguchi’s crafting of the song. A slightly operatic tone takes place in her voice. Furthermore, certain features are brought into the light. One of those pertains to those precious reflections of the Moon in the River’s mirrors. It is clear that the River blesses rewards the Moon with traces of herself. She is magnificent in receiving this reward. Therefore, the Moon shines even brighter; permitting the River to have a keener glimpse into this painting, unfolding. It is also safe to notate just how nourishing and glitter-like a full Moon’s nighttime, truly is. The River and Moon are two natural jewels, who have shown one union and interplay between Heaven and Earth. On a quiet and calm night, when the Moon shows face, there is the opportunity to experience that level of interplay, again.

What makes this song such a dashing presence is that the singer is Japanese. It means that she, having been born in China, has found peace with the dynamics, natural scents, and culture of Chinese lands. It is one of the highest forms of honor and praise. Of course, it is a form of cultural (and Maidenal) ambassadorship. The honoring of land, and the use of the arts in doing so, is one of the forms that the feminine comes to appreciate the diversity, surrounding her Being. A great span of her career included the serenading of Chinese gardens. Though it is unclear, if this song was recorded in China (as part of her time entertaining populations, there), what can be stated is how her presence has created a window of peace and healing, between Chinese and Japanese women. Thereby, it brings healing between the two nations. Of course, that’s for another story. Nevertheless, a little highlight in the current one, doesn’t hurt. And again, just remember the memories, and underlying teachings, of this song. Water is fluid. The timing of the Moon is fluid. Neither can stay stagnant, or in a rigid structure of immobility. Even when “still” there is still movement, which is occurring. So, let it be clear, that through the presence, and deep contact, within these two Beings, there is always a level of mediation and harmony, once they meet each other’s trace.

https://www.whatsonweibo.com/lixianglan/; Edits By Lauren Kaye Clark

Throughout the very performance of this song, Yoshiko Yamaguchi continues to keep those glittery-type imaginations, in constant rotation. Every texture and timber of her voice ensures to bring those particular illuminations, within the course of this very recording. The tone is not boisterous, nor is it stifled. What is happening is her vocal ability to push through any barriers, which may separate (or give the illusion of separation) the Moon and the River. In a sense, the nature of Yamaguchi’s musicianship within this song, is that she is weaving together the distance between the Moon and the River. It is an invisible bridge, which can only be seen in the imagination. Through this musical bridge, Moon and River come to a meeting point. They are able to experience each other-near and afar. This imaginary painting, that Yamaguchi is creating soon becomes to take on a 3-dimensional effect. Two versions are crafted, within this song. There is the painting, and then there is the sculpture. The latter is a reflection of that invisible journey for both entities to see each other. Let that be made known, at this very moment!

Moving further into even more sacred depths of the song, and therefore deeper parts of the River, there are more secrets continuing to be revealed. Yet, what are they? Of course, keep in mind such interpretations (and analysis) are based on the rhythm, texture, beat, and instrumentation of the song. Translation of the language will come again for another time. Yet, for the moment, we can meditate on the song, and its connection with the musical intimacy of the piece. Yoshiko Yamaguchi serves as the painter, and sculptor, for the song, on a vocal level. Remember how there appears to be an opera-like touch, in her vocal timber. If feels as if she is painting the melted jewels, which have been retrieved from, the River. She uses their liquid-state to paint the intimacy, of the Moon and River’s courtship of love. Strokes of a gentle touch are created, and additional highlights are performed, to keep that glitter effect, which gives us the picture of those visible, and invisible, stars.

https://www.google.com/amp/s/amp.ft.com/content/fb107f72-3f37-11e4-a861-00144feabdc0; Edits By Lauren Kaye Clark
https://www.google.com/amp/s/amp.smh.com.au/national/film-stars-life-mirrored-japans-ambiguities-20141019-3iemf.html; Edits By Lauren Kaye Clark

The tenderness of the Moon and River’s love story continues to unfold through the song. It does not extinguish. It does not unfold. It does not permit the illumination of light (and the stars) to dim their lights. No. On the contrary, what is happening is the prolonging of that ongoing love. Keep in mind that the full Moon does not happen every day. In fact, they come on a particular day, and cycle. What does this mean? Well, it means that the love between the River and Moon is sacred. Nature only permits them to see each other, during a certain time. Therefore, both parties must be prepared, presenting their best glow and appreciation of each other, when that timing is right. That is precisely what such means. Furthermore, one must also come into an agreement, as it relates to the purpose of that love. Why do they meet? Is it to solely feel the pleasures of each other’s attraction? Or is it for another reason? A reason, that is deeper and more in aligned with making one’s love so radiant, that it shares it with humanity, and those who have yet to experience such a wonder! Hmm. . . Now, that’s a love story worth, exploring.

The performance of Yoshiko Yamaguchi is one that celebrates the nourishment of musical love! That love, of course, navigates itself into natural spacing, and plants itself within the mystery of time. Again, it is the right time, when such greatness will be felt. Preparation is a must, if one is to experience the full effect. Yamaguchi’s own life experience has created a particular lens into this song. For she used her Japanese ethnicity, and Chinese-born identity, to maneuver through the beauties and precious-jeweled nature, in exploring what is made to bring healing between two lands. Music and film were her tools, and she would use them effectively, gracefully, and with the calming natures they deserved. Like the Moon and River, an unusual love story would reveal itself, between two countries, with a painful her/history. Yet, an intertwining would take place, and the fluidity of water’s grace would seal the artistry, between the two; healing a legacy between, the two!

She was considered the “Judy Garland” of Japanese gardens. Of course, there is a reason for it being so. Like her famed American counterpart, there were complications to her presence and movement through the entertainment scene. However, in the way of the song, “Moonlight On The River,” natural jewels and reason can remain, hidden. Like famed, legend, Judy Garland, there was an unusual story, needing to be heard. Yoshiko Yamaguchi was considered one of the “Seven Great Singing Stars,” of the Chinese, film industry. Sometimes the healing potion of stars, remains, hidden. Yet, it is at the right timing, and the right cycle, where the love’s reasoning, and seasoning, comes into light! And, when it does, just watch the watery traces, in how authentic love, really unfolds!

https://www.pinterest.dk/pin/517280707200800429/; Edits By Lauren Kaye Clark

To listen to the work of YOSHOKO YAMAGUCHI, you can click on the links, below:


TIDAL: https://tidal.com/browse/artist/9255256

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