Samuragochi Falls on Deaf Ear

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Things have turned bizarre on a scandal that already sounded like it was taken from a cartoon show.

Last week, The New York Times reported that composer, Mamoru Samuragochi (50), had a ghostwriter pen down compositions in Samuragochi’s name. It has been said that Samuragochi had lost his hearing in the late 1990s, and at some point in the following decade brought fellow composer Takashi Niigaki on board to carry on the ruse that a deaf composer could create some of the most renowned classical music from Japan. Well, they were right! It certainly fooled just about everyone, seeing as how no one looked into the remarkable talent Samuragochi claimed to have possessed. Really, after all the concerts and television specials, not even a simple query to the man, like, “Dude, that’s pretty cool. So, how’d you this all by yourself?” Everyone just kind of took his word for it. Hindsight, 20/20, I know. You would just think something would be tipped off, though. Right?

In fact, it took the ghostwriter himself to finally put an end to the charade. It seems having your own music being played during the Olympics being credited to someone else was just too much to bear. One has to wonder, if that was enough to end a long game of pretend, what does your own music really mean to you? Then again, we can only speculate what really went down. Just a few days ago, Samuragochi came out with a statement saying he isn’t deaf anymore. Apparently, he gained some of his hearing back about three years ago.  For the record, he was certified as being hearing impaired, but Mr. Niigaki claims to have had regular conversations with Samuragochi this whole time, and that the deaf thing was just “an act.” So, then, why go through with any of this from either of the two composers? Very curious.

Perhaps more details will surface, but it’s almost certain that neither party will make a full recovery. Record labels have already recalled Samuragochi’s CDs and cancelled future concerts featuring pieces that bared his name, and it’s difficult to see how an institution will take any heat in keeping a part time lecturer who co-conspired as a ghostwriter for a discredited composer. Only the future can tell.

What I want someone to tell me, though, is WHICH OF THESE TWO DORKS COMPOSED THIS BULLSHIT?:

IT SOUNDS LIKE A ROOM FULL OF CLOWNS FARTING AT ME.

Source: The New York Times, Polygon