Author: Rich Pascual

The Song That Asked a Generation Not to Disappear

Empty school hallway with colorful lockers and large sunset-lit windows
~ Rich Pascual ~ Leave a comment

I used to think “Don’t You (Forget About Me)” was just the song that played while Judd Nelson raised his fist. A very 1985 sentence. Probably the sort of sentence that should come with a denim jacket.

But listen again. The song is doing something more interesting than decorating the final shot of The Breakfast Club. It is asking a group of people who have been reduced to labels to remember one another as whole human beings.

The song was written for the movie by producer Keith Forsey and guitarist Steve Schiff. Simple Minds initially declined to record it because the band wanted to make its own material. Then Forsey came to meet them, and the story took a turn familiar to anyone who has ever been persuaded by a conversation over a drink: the Scots went to the pub with him, liked him, and reconsidered. The Guardian’s account of how the song was made captures that lovely bit of creative resistance giving way to human connection.

The result became Simple Minds’ biggest North American hit, reaching No. 1 in the United States and Canada. In Britain, it reached No. 7, according to Official Charts. Numbers are useful here, not because a chart position tells us whether a song is good, but because it shows how widely this particular plea traveled.

And the plea matters because the film understood something about formation. The five students in detention are introduced as types: the brain, the athlete, the basket case, the princess, and the criminal. Then the locked room gets uncomfortable. They confess things. They listen badly, then better. The categories do not vanish, exactly. They become too small.

That is why the Library of Congress added The Breakfast Club to the National Film Registry in 2016, naming it among films of cultural, historic, or aesthetic importance. The announcement called it a seminal coming-of-age drama. “Seminal” can sound like a museum label, but the point is simple: a movie about teenagers in a Saturday detention room kept giving later generations a vocabulary for feeling mis-seen.

Formation often begins when someone refuses the label that has been handed to him. Not with a grand reinvention. With the smaller courage of saying, “That is part of me, but it is not all of me.”

What happened? A film song became an anthem. What did it mean? A generation heard its private ache turned into a public chorus. What can I carry forward? When I am tempted to summarize someone quickly — difficult, lazy, successful, dramatic — I can leave room for the locked-room conversation I have not heard yet.

And maybe, before the day ends, I can ask one person a better question than “How’s it going?” Maybe: “What part of you have I forgotten to notice?”

The Tender Little Heart Inside a One-Hit Wonder

Microphone on a studio stage surrounded by vinyl records and instruments
~ Rich Pascual ~ Leave a comment

I have a theory about 1980s one-hit wonders: they are where the decade’s hairspray occasionally lost an argument with the human heart.

You know the songs. The synth starts. The drum machine puts on its shoulder pads. Somebody in the room says, “Oh, I remember this,” and suddenly we are all back in a car we no longer own, wearing a jacket we should not have bought.

The joke is that these songs were disposable. One big single, then the cultural trapdoor. But listen again and a surprising amount of sincerity is still down there, humming beneath the gated reverb.

Take Nena’s “99 Luftballons.” It arrived as bright, bouncy new wave, the sort of tune that could make geopolitical dread sound almost danceable. Yet Deutsche Welle’s history of the song explains the grim little engine underneath: balloons appear on radar as possible enemy objects, both sides assume the worst, and fear escalates toward nuclear war. The song reached No. 2 on the U.S. Billboard chart. That is an astonishing amount of public attention for a warning about how quickly panic can dress itself up as patriotism.

Or “The Safety Dance,” which I once assumed was about safe sex, because the 1980s gave us many mysteries and very few instruction manuals. Ivan Doroschuk told Time Out that the song came from being kicked out of clubs for pogoing. The message was simpler and sweeter: you can dance if you want to. You do not have to borrow the crowd’s rhythm to prove you belong.

Then there is ’Til Tuesday’s “Voices Carry,” a song that could have been reduced to a stylish new-wave chorus and an excellent haircut. Instead, it carried a painful story. Stereogum’s interview with Aimee Mann describes it as a harrowing account of a woman trapped in an abusive relationship. The song was a top-10 hit, but its real staying power comes from the way the polished surface lets a frightened voice remain audible.

Maybe that is the unexpected sincerity. These songs were not always “deep” in the way a professor with elbow patches means deep. They were simply specific. A balloon. A bouncer. A person being told to hush. Small details, carrying larger fears and hopes.

That is how formation often works, too. Not through a grand speech, but through repeated little signals: the song we keep playing, the boundary we finally name, the joke that stops being funny because we have started hearing the hurt inside it. Culture forms us by giving feelings a shape we can recognize.

What happened? A glossy decade made room for strange, earnest songs. What did it mean? Sincerity can hide inside bright packaging without becoming less sincere. What can I carry forward? Before dismissing the old song, the old story, or the old version of myself as cheesy, listen one more time. There may be a small human voice in there, still asking to be heard.

When MTV Taught a Generation to See

Retro collage of vinyl records, cassette tapes, radio dials, and dancing silhouettes
~ Rich Pascual ~ Leave a comment

At 12:01 a.m. on August 1, 1981, a new cable channel introduced itself with a sentence that sounded half like a concert emcee and half like a dare: “Ladies and gentlemen, rock and roll.” Then came the Buggles’ “Video Killed the Radio Star.” Britannica records the moment as MTV’s debut, and the first music video ever broadcast on the channel.

The opening sequence had an almost comic amount of ambition: space imagery, a moon, an MTV flag. The little network wanted to make music feel like an event. It did not yet have the reach to match the drama. The initial broadcast was available only to a small number of cable households in New Jersey, and distribution was hard to come by. NPR’s account of the first 100 videos notes that plenty of music-industry people expected the idea to fail.

That is part of the charm of the first year. MTV was not yet a monument. It was a strange little experiment that asked a strange little question: what if a song did not merely sound like something, but looked like something?

Radio had already taught us to carry music around in our heads. MTV added faces, clothes, rooms, gestures, choreography, and story. The five original video jockeys—Martha Quinn, Nina Blackwood, Alan Hunter, J.J. Jackson, and Mark Goodman—did not just introduce songs. They helped make the channel feel like a place you could visit. The screen became a kind of hallway where music, fashion, and personality kept bumping into one another.

The effect was bigger than a new way to promote records. A Newcastle University history of MTV describes how heavy rotation made visual image central to mainstream pop. A hit single now arrived with a look: the lighting, the jacket, the dance, the fantasy of the artist’s life. A song could become a short film, a commercial, and a little piece of mythology at the same time.

That formed people. Not in the grand, sermon-on-the-mount sense. More like a daily drip. We learned what confidence looked like before we had language for it. We learned that reinvention might involve a haircut, a hallway, a leather jacket, or simply the nerve to appear on camera as someone new. Some of us also learned to confuse a polished image with a whole person. Formation is rarely pure; it is usually a bundle of gifts and distortions.

And MTV’s early visual imagination had real blind spots. The Smithsonian’s history notes that the channel’s rock-oriented programming featured very few Black artists in its early years, a limitation challenged publicly by David Bowie and others. A truthful nostalgia keeps the wonder and the omission in the same frame.

So, what happened? A tiny cable experiment made sight part of the song. What did it mean? For a generation, music became a visual language for identity, aspiration, and belonging. What can we carry forward? Notice what is teaching you to see—and remember that every image, however thrilling, is still only one angle on a human life.

Take On Me and the Courage to Leave the Panel

Woman beside comic motorcycle race labeled STARDUST RACING 77
~ Rich Pascual ~ Leave a comment

There is a moment in a-ha’s “Take On Me” when the girl looks up from her coffee and realizes the comic-book hero is looking back. It is a wonderfully 1985 idea: romance as a portal, pencil lines as a doorway, and a chorus that sounds like somebody asking for one brave chance.

Then the video does something more interesting. It refuses to let the two worlds stay separate.

If you have somehow missed it, the video moves between live action and a black-and-white comic drawn in loose pencil. The technique is rotoscoping: filming movement, then drawing over the frames. The BBC’s account of the video’s making says animator Michael Patterson spent 16 weeks sketching roughly 3,000 drawings. That is not a weekend project. That is a small mountain of patient marks.

The official credits at Patterson and Reckinger’s site name Michael Patterson and Candace Reckinger as the animation directors. Their work gives the video its strange double vision: the comic feels more alive than the café, while the café feels safer than the comic. One world is exciting but dangerous. The other is ordinary but solid.

That tension is the whole song’s emotional engine. “Take On Me” is not just asking, “Do you like me?” It is asking, “Will you come with me, even though the place I’m inviting you into is unfinished?” The comic hero is literally sketched in. He has no polished edges. He is a possibility with a motorcycle.

And then comes the escape. The girl returns to the ordinary world, but the ordinary world has been altered. The strange thing has followed her home. Or perhaps she has learned to see the room differently. That is what longing often does. It does not simply make us dissatisfied with the present. It gives the present a second outline.

My favorite part is that the video does not treat reinvention as a clean makeover. There is no triumphant “new you” montage with suspiciously good lighting. The transition is messy. It involves fear, a torn page, and a person who has to decide whether the familiar world is still enough.

The song’s public life followed a similar path. Official Charts records a 19-week UK chart run, while the video became a defining example of how an ambitious visual could change a pop song’s reach. The band did not merely release a track; they built a doorway around it.

So what happened? A Norwegian band made a pop song and paired it with an unusually labor-intensive animated film. What did it mean? Millions of listeners were invited to believe that longing could be both frightening and creative. What can we carry forward? Maybe this: reinvention rarely begins with a finished plan. It begins with a line, then another, then the willingness to step through the panel before you know how the story ends.

What is one unfinished possibility you keep treating as if it needs to be polished before you can enter it?

Ukiyo-e and the Courage to Notice What Won’t Stay

Two visitors examining framed artworks and artifacts in a museum gallery
~ Rich Pascual ~ Leave a comment

A prompt landed on my desk about ukiyo-e woodblock prints and the art of fleeting things. Which is a fine way to spend a morning, especially if your alternative is reorganizing the sock drawer for the third time. Ukiyo-e does not merely show a passing world. It trains the eye to receive one.

The word ukiyo-e is often translated as “pictures of the floating world,” or, with a slightly heavier sigh, “pictures of the sorrowful world.” The Library of Congress’s overview places the tradition in Japan’s seventeenth- through nineteenth-century print culture, where artists pictured actors, courtesans, landscapes, stories, and the pleasures of ordinary urban life. This was not art kept at a safe distance from daily life. It was made to circulate.

That circulation required a small orchestra of patience. A publisher organized the project. An artist supplied the design. A carver cut the image into wood. A printer pressed pigment onto paper, lining up each impression with care. As The Metropolitan Museum of Art explains, polychrome prints used a separate carved block for each color—sometimes as many as twenty. The bright final image was therefore a visible record of invisible repetition.

Then there is mono no aware, a phrase that resists being flattened into “everything is temporary.” The Stanford Encyclopedia of Philosophy describes it as the pathos of things, a feeling arising from their transience. The point is not to scold us for loving what changes. It is to notice that the change is part of what makes the thing dear.

Hokusai’s Under the Wave off Kanagawa makes this almost comically clear. A wave rises like a blue claw. Three boats work their way beneath it. Mount Fuji sits in the distance, small and composed. Smarthistory’s account of the print notes how the image turns a split second of danger into something that can be looked at again and again. The wave still falls. The print does not pretend otherwise.

That may be the formation lesson. We often confuse attention with control. We photograph the birthday because we cannot keep the child that age. We save the message because the conversation will move on. We make a plan, then discover that life has its own carving tools. Ukiyo-e offers a gentler practice: receive the impression while it is here.

What happened? A team of makers built images of a world always in motion. What did it mean? Beauty and loss are not always enemies; sometimes they arrive holding hands. What can I carry forward? Today, notice one ordinary thing before rushing past it—the steam from a mug, a joke you have heard before, the last light on the wall. You do not have to make it permanent. Just be there for the impression.

The Shinkansen’s Formation Lesson: Punctuality Is Built, Not Born

Bullet train crossing rural rice fields with Mount Fuji in background
~ Rich Pascual ~ Leave a comment

I have a confession: I am the sort of person who considers a train arriving “only” four minutes late a minor weather event. Somewhere between the platform and the coffee machine, I have already rewritten the morning.

Then there is the Shinkansen.

The Tokaido Shinkansen opened on October 1, 1964, linking Tokyo and Osaka just before the Tokyo Olympics. It cut the trip from six and a half hours to four; after a sensible bedding-in period, the 1965 timetable brought it down to three hours and ten minutes, according to the Japan Railway & Transport Review. A national project arrived not merely fast, but with a new relationship to time.

Today, JR Central reports an average delay of 1.6 minutes per train on the Tokaido line in fiscal year 2023, including delays caused by natural disasters. That is not a claim that Japan has defeated weather, earthquakes, or the occasional disgruntled pigeon. It is a reminder that reliability is measured across the real world, not a laboratory. The figure comes from JR Central’s own Shinkansen overview.

But punctuality is not a national personality trait that descends from the clouds and taps everyone on the shoulder. It is formed.

Dedicated tracks keep the trains away from many outside disturbances. Control systems, maintenance crews, detailed timetables, and operations-room staff all do their quiet work before a passenger ever hears the familiar chime. One account of the system describes drivers who can reach a destination within five seconds of schedule and stop within a centimeter of the prescribed position—precision made possible by an entire supporting organization, not heroic willpower alone. Read the wider story in Japan Policy Forum’s account of the high-speed rail network.

Even passengers were part of the formation. In 1925, Japan National Railways posted rules explaining that people getting off should go first, followed by those boarding. Shorter station stops meant more capacity without immediately buying more trains. In other words, the system taught people how to make the system work. Manners became infrastructure.

That line stays with me. We often imagine character as something stored inside us, like a coin in a pocket. The Shinkansen suggests another picture: character is also the arrangement of the track, the timetable, the checklist, the well-rehearsed response when something goes wrong. We become dependable partly by practicing, and partly by building surroundings that make the dependable choice easier.

So, a small evening examen. What happened? A train became a symbol of national modernity, then a daily exercise in coordination. What did it mean? Quiet excellence is rarely quiet because nothing is happening; it is quiet because thousands of small acts are happening on purpose. What can I carry forward? Perhaps one timetable for tomorrow, one five-minute reset, one place where I stop relying on last-minute inspiration.

Not every life needs to run on bullet-train precision. Mine certainly does not. But maybe the next faithful step is less about becoming a more disciplined person and more about laying a little better track.

What a Japanese Konbini Teaches About Quiet Excellence

Illuminated corner shop with an OPEN sign on a rainy city street
~ Rich Pascual ~ Leave a comment

I have a weakness for Japanese convenience stores. Give me ten minutes in a konbini and I will emerge with an onigiri, a coffee, and the vague conviction that I have briefly become a more organized person.

The joke works because the store feels so un-dramatic. No grand entrance. No luxury branding. Just bright shelves, a polite greeting, and the quiet sense that somebody has thought through the next five minutes of your life.

“Konbini” is short for convenience store, but that English phrase undersells the institution. A scholarly essay on Japanese food culture describes the konbini as one of contemporary Japan’s “peculiar institutions,” alongside the vending machine, and places it inside a larger story about modernity, speed, and convenience. The point is not that every Japanese shop is perfect. It is that these stores have become woven into ordinary life. The essay is worth reading for both the convenience and its discontents.

The scale is substantial. Japan’s Ministry of Economy, Trade and Industry reported convenience-store sales of ¥12.8887 trillion in 2024, counting goods and services together. The METI review is a useful reminder that “convenience” is not merely a feeling; it is a serious retail system. The Japan Franchise Association also publishes monthly and annual data on store sales and store numbers, which you can see in its statistical archive.

And then there are the small acts of infrastructure. At Seven-Eleven, the multifunction copy machine can print photos, send faxes, order tickets, and—in some municipalities—produce official documents such as residence certificates and tax statements, including on weekends and holidays. The company’s service guide reads less like an advertisement than a list of ways a neighborhood store quietly absorbs friction.

That, to me, is the formation story. Excellence here is not a heroic burst. It is a chain of modest decisions: the right item in the right place, a delivery arriving on time, a package accepted without fuss, a counter kept clean. One recent account of the Japanese model highlights the combination of franchise organization, data and technology, and a reconstructed distribution system. The system is designed, not accidental.

There is a temptation to turn this into a postcard about Japanese perfection. Let’s resist that. Systems have costs. Convenience can mean long hours, demanding work, packaging, and pressure that customers do not see. Respect begins by noticing the people and resources underneath the smooth surface.

Still, the konbini offers a lovely question for the rest of us: where could a little less drama and a little more preparation make someone else’s day easier? In a household, that might be a basket by the door for keys. In a budget, an automatic transfer before the month gets noisy. In faith, five quiet minutes before the day starts making demands.

What happened? A corner shop became part grocery, part post office, part civic counter, part dependable neighbor. What did it mean? Small repeated acts can become a form of care. What can we carry forward? Pick one useful thing, make it easier to repeat, and let the excellence stay quiet.

Ikigai, Translated Honestly: It Is Not Your Perfect Job

Moss-covered stepping-stone path beside a pond in a Japanese garden
~ Rich Pascual ~ Leave a comment

I first met ikigai on a corporate wellness poster. Four circles leaned into one another: what you love, what you are good at, what the world needs, and what you can be paid for. In the middle sat a small, confident promise. Find this intersection and your life will click. Even the diagram looked well-rested.

The trouble is that this is not quite what ikigai means in Japanese. The word is often translated as “a reason for being,” but that translation can sound grander and more career-shaped than the thing itself. The Government of Japan describes it as something that brings value and joy to life. It can be a person—your child, a friend—or an activity, such as work or a hobby. It is less a job title than a felt sense that living is worthwhile.

That wider meaning matters. A word like “purpose” can make us imagine a mission statement, complete with a logo. Ikigai may be much more ordinary: tending a garden, making lunch for people you love, showing up for a club, learning a craft badly for three years before getting slightly less bad. The point is not that these activities are secretly monetizable. The point is that they can make a life feel inhabited.

The academic picture is appropriately humbling. A University of Pennsylvania review of psychological research notes that scholars still lack one consistent definition. Its useful threads are personally valued experiences, authentic relationships, and a sense of direction. That sounds less like a personality quiz and more like a life slowly teaching us what gives it weight.

Which brings us back to the famous four-circle graphic. It is a handy worksheet for thinking about work. It is not an ancient Japanese map. Marc Winn’s own account says that in 2014 he joined the word ikigai to Andrés Zuzunaga’s existing purpose diagram. That is a perfectly legitimate creative mash-up. It just should not be presented as a literal translation of a Japanese tradition. A foreign word can add mystery to a framework; it cannot make the framework native.

There is real reason to take the concept seriously, without turning it into a productivity hack. In a large Japanese cohort study of 73,272 adults, researchers found that people who reported having ikigai had lower all-cause mortality during follow-up. The authors described an association with longevity, not proof that a cheerful hobby causes a longer life. The PubMed record is a useful antidote to both cynicism and hype.

So, what happened? A modest Japanese word traveled into the English-speaking self-help world, picked up a four-circle diagram, and became a career brand. What did it mean? The word itself remained more spacious than the brand: value and joy can arrive through people, practices, and small loyalties, not only through a vocation. What can we carry forward? Instead of asking, “What is my one perfect purpose?” try asking, “What made life feel quietly worth living this week?” Then notice the answer before turning it into a business plan.

Kintsugi and the Next Careful Repair

Kintsugi-repaired ceramic mug beside broken pottery pieces on wooden table
~ Rich Pascual ~ Leave a comment

I broke a favorite mug last month. Not dramatically—no cinematic slow motion, just an elbow, a tile floor, and the small domestic silence that follows. I swept up the pieces and wondered whether the mug had become trash or a project.

Kintsugi, the Japanese craft of repairing broken ceramics with lacquer and powdered metal, offers a third category: not new, not ruined. Re-made. Japan’s National Crafts Museum describes it as a technique for repairing cracks and chips with lacquer and gold powder, rooted in preserving objects and passing them down. That is a sturdier idea than “everything happens for a reason.” Sometimes things simply break.

The technical detail matters. Traditional repairs use urushi, a tree-based lacquer that acts as an adhesive; the gold is not the glue, but the visible finish. The Smithsonian’s Folklife program notes that a traditional project can take up to three months, and that wet urushi can irritate skin even though it is harmless once dry. In other words, the pretty line on the finished bowl is the last chapter of a long, careful process. Gold gets the photograph. Patience does the work.

That is where the metaphor becomes useful—and where I want to handle it gently. A scholarly study of kintsugi warns us not to reduce the practice to the slogan that damage automatically makes an object more beautiful. The break still names a catastrophe. The repair names an amelioration. Both remain visible. Kintsugi is not pretending the crack was secretly good news.

This has obvious applications to money. A failed business, a layoff, a foolish purchase, or a season of debt can leave a seam in the household story. We do not need to gild the mistake or turn it into a personality. We can name what happened, repair what is repairable, and let the new habits show where the work was done: a smaller fixed expense, an honest conversation, an emergency fund built one transfer at a time.

It also has a spiritual edge, though not a shortcut. The repaired bowl is not valuable because it suffered. It is valuable because someone stayed with it. Someone cleaned the edges, fitted the pieces, waited for the lacquer to cure, and refused the easy conclusion that broken means finished. That feels close to the quiet work of formation: not self-invention, but faithful return.

So, what happened? A vessel broke. What did it mean? The break became part of its history, but not the whole of it. What can we carry forward? This week, choose one damaged place—financial, relational, or inward—and ask a less heroic question: what is the next careful repair?

The Meiji Restoration: How a Nation Was Formed Under Pressure

Steam locomotive passing traditional Japanese buildings in a mountain town
~ Rich Pascual ~ Leave a comment

I used to think national character was something a country simply possessed, like a flag or a favorite snack. History is less tidy. Sometimes a nation is formed in public, under pressure, while everyone is arguing about what must be saved and what must change.

Japan’s Meiji Restoration is one of the clearest examples. In 1853, Commodore Matthew Perry arrived in Edo Bay with American warships. The Tokugawa shogunate, which had governed Japan for more than 250 years, was forced to open the country and sign unequal treaties. The shock was not only military. It was psychological: an old political order suddenly looked unable to protect the country’s independence. Encyclopaedia Britannica’s account describes the resulting pressure from foreign powers, famine, peasant unrest, and samurai debt.

What followed was not a neat handoff. On January 3, 1868, reform-minded samurai and court allies seized control in Kyoto and announced the restoration of imperial rule. The Boshin War continued into 1869. As historian Chushichi Tsuzuki notes in Oxford Academic, calling the whole process a “restoration” can hide the fact that a small group of leaders was building a new state while speaking in the language of old authority.

That tension makes the story useful for thinking about formation. The new government did not merely ask, “What do we believe?” It asked, “What practices will make those beliefs durable?” Domains were replaced by prefectures. A national army and conscription followed. Schools, railways, telegraphs, tax systems, and new industries tied distant places to a central government. Within five years, the reformers had dismantled much of the Tokugawa structure and begun assembling the machinery of a modern nation. The Ohio State University’s Origins essay calls this the “spirit of 1868”: the event mattered, but the habits and institutions that followed mattered more.

Then there was the Charter Oath. Its five articles called for public discussion, cooperation across classes, freedom to pursue one’s calling, a break with harmful customs, and the search for knowledge throughout the world. Britannica’s translation of the oath sounds surprisingly fresh: learn widely, consult others, and do not confuse inherited practice with permanent wisdom.

But formation is never the same as perfection. The modernization story also carried coercion, exclusion, industrial disease, and the colonization of Ainu lands. The reforms created new possibilities while imposing new burdens. A country can become more capable without becoming uniformly just. That is not a footnote; it is part of the history.

So, what happened? Japan faced external danger and internal strain, then rebuilt its political and social machinery at remarkable speed. What did it mean? National identity is not only inherited; it is practiced through institutions, education, infrastructure, and the stories leaders tell about change. What can we carry forward? Under pressure, we may need to learn quickly without pretending every “new” thing is good—or every old thing is disposable.

Perhaps the small examen is this: when life asks us to change, which parts of our formation are sturdy enough to keep, and which parts have simply been waiting for a crisis to be questioned?