
Nensha, bitches.
It’s a term I tangentially referred to in an earlier post this month, and a theory I’m frankly fascinated with.
Its essence is this: the human mind with all its untapped power has the ability to psychically impress or burn an image into our physical reality, and thus alter it irrevocably. Post-War Japanese researchers devoted much effort into proving its existence — it would later serve as the basis for the nation’s much-praised film Ringu and its equally effective American remake The Ring — but the doctrine was for decades deemed merely a The Men Who Stare At Goats-type of new age hokum. A flight of fantasy. A failure.
All that changed in 1999 when Nensha was revealed to be a wholly factual (and utterly terrifying) phenomenon brought about not to revolutionize telecommunications or create a super soldier, but from sheer corporate music industry greed and folly.
An affront to Nature of the highest order.
By the dawn of the New Millennium, the trend of hyper-manufactured Boy Bands had neared its saturation point. The record executives at Sony Records in Toronto were desperate to wring one last hit machine from a barren teat; they had already mined and co-opted black musical culture to the core, female pop star thrushes were going to seed as they aged in dog years, and every teenage boy in Orlando was already signed to a label. Thus, they turned to illegal biological research in order to genetically engineer a new breed of jazz-handed douchebag — one who could function without sleep, food, and love as it rose to musical superstardom.
By summer of that year, Sony had succeeded, and the pop trio B4-4 was unleashed upon the world.
Most presume the act’s moniker to be a clumsy pun of some sort, but in truth it was a covert reference to the cryptically-numbered lab located within a secure Berlin facility wherein the three young members had been bioengineered through the cross-breeding of gay Oompa Loompas with Jersey Shore Guido dickbags for maximum slickness and vivid orangeness.
The troika matured to pubescence at a meta-accelarted rate within a matter of three months, and newly-christened as Paul-Mitchell, Smooth T, and Juicebox — the latter two originating coincidentally-if-serendipitously from the same zygote — released their Autotuned, self-titled debut album in 2000. (more…)









