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toku-explained · 5 months ago

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Dogengers Human Cast

Yuki-chan is Tanaka's childhood friend, who he aimed to reunite with on returning to Fukuoka. she is kind and gentle, managing to charm the others heroes as well as Tanaka. Tanaka always regretted not asking her to wait for him when he moved away. She's only made cameos in Nice Buddy's first episode and High School's finale after the firs season

Oyasan is the Yahata Construction boss, leading the crew in their work, able to handle Karamis with his men, and a good mentor to El Brave.

Shichimi Ryoko is Mako's best friend, enthusiastic and kind, but struggling to keep up with both her academics and her kendo practice. The MentaiPizza was her idea.

Yoshiwara Daisuke is another of Mako's classmate, who she transparently has a crush on, him being to only one not to know. Kind but not yet courageous enough to stand up for himself. He becomes very interested in the new hero that appeared.

Fushimi Akine is the student president at Taihaku Gakuen, who has had an antagonistic relationship with Mako their whole time at school, ultimately a product of her dissatisfaction with her only making it into such a low level school, as well as jealousy of how supportive Mako's mother is.

Yamada Miko is Mako's mother. She allows Kireko to stay with them with no arguments, and accepts her daughter's being a hero. She manages to use the power of Kireko on one occasion to become MAMA.

Osogawa Toru is Yamada's homeroom teacher. Strict about time keeping, and against students messing about. Ultimately his efforts stem from his desire to see his students make the best of their academic achievements, and he learns to loosen up from Ohga-Man

Tetsu is a delinquent who harasses Daisuke twice for money, before encounters with heroes leave him with no aims, until his encounter with Kage and the Yahata Construction crew.

Due to Bincho Fire' speaking in electronic noises, an interpreter translates his speech for customers at the restaurant or at stands.

This police officer was a delinquent student to Osogawa, but thanks to Osogawa trying to get him to straighten out he turned his life around, becoming a police officer who worked with Yoriki.

Yoriki Masayoshi is Shiraishi's superior officer, and is assigend with him to the Taihaku Police Station, authorising paperwork. He used to help everyone with things, but became overwhelmed by all the things he's been left to, and lost his passion until he had a breakthrough.

Sakurada Shoko is a representative of Sakurada Corporation, the Police's secret development centre. She assigns Shiraishi and Yoriki to Taihaku Police Station, and gives the Master Key to Akuta. She seems to enjoy taunting Akuta.

Hasama Yuito is the National Police Commisioner, annoyed by the heroes involvement in crime and the position of Chief for a Day (Renewed Daily), and seeks to stop them from battling, with the plan being for Hyakutoban to take this role.

The Oshikawa Family is lead by Boss Akufumi, and his sister Nao. The arrange for Yuz-Yuz to be created, only for this to lead to their arrest and the gang's dissolution.

Kosaka Shun is a genius scientist working for the police, and his brother Kosaka Jun works for the Oshikawa Family. Despite their respective brilliance, they have a ling standing rivalry, both aiming to demonstrate their superiority with their creations.

Takashima Soichiro is the real life mayor of Fukuoka, who approves last-minute changes to the Hero restriction act in response to petition from Ohga-Man, recognising one man cannot be expected to stand against all of AHK alone.

#dogengers

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redfreesias03 · 4 years ago

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SOME BOYS! TOUCH

youtube

“The scent fills the air, our fire reaches its peak. Save the talking for later.”

OR: Possibly Gomaki’s most innuendo-laden song while with H!P.

namida nuredasu hitomi yasashiku TOUCH CATCH TOUCH CATCH COME ON TOGETHER yubi ni KISU shite mimi ni yasashiku TOUCH CATCH TOUCH CATCH COME ON TOGETHER

Eyes that start becoming wet with tears, tenderly TOUCH CATCH TOUCH CATCH COME ON TOGETHER Kiss my fingers, ear, tenderly TOUCH CATCH TOUCH CATCH COME ON TOGETHER

ushiromuki nara kao mienu DESIRE yokubari na no watashi tte

If I turn my back, you won’t see my face, DESIRE I’m greedy, I am

aisatsu desho KISU kurai wa jouzu ni dekiru desho? moeru you ni ESUCOOTO shite yo koibito ni wa hayai kedo daiji ni shite ageru SABO tte naide ai wo sasayaite SOME BOYS

Hey, it’s a way of saying hello, you can at least handle Kissing well, can’t you? Take the lead and guide me into it so I can burn with passion¹ It’s too soon to be lovers, but I’ll cherish you Don’t slack off, whisper love to me SOME BOYS

chibusa yuredasu kodou hageshiku TOUCH CATCH TOUCH CATCH COME ON TOGETHER mabuta KISU shite kami ni hageshiku TOUCH CATCH TOUCH CATCH COME ON TOGETHER

My breasts start shaking, my heart beats violently TOUCH CATCH TOUCH CATCH COME ON TOGETHER  Kiss my eyelids, my hair intensely  TOUCH CATCH TOUCH CATCH COME ON TOGETHER

kaori ga suru wa noboritsumeru FIRE kaiwa suru nara ato de ii

The scent fills the air Our fire reaches its peak Save the talking for later

joushiki da wa SORE kurai wa torekechau kurai ni odoru you ni ESUKOOTO shite yo chotto yasashiku toki ni GYUtto kowasanaide ageru tsuyogatte koboshichau　SOME BOYS SOME BOYS

This much should be basic common sense Take the lead and guide me as if we were dancing Until I melt. A little tenderly, sometimes forcefully– I won’t break you I act tough and my feelings slip through, SOME BOYS SOME BOYS

joushiki da wa SORE kurai wa torekechau kurai ni odoru you ni ESUKOOTO shite yo chotto yasashiku toki ni GYUtto kowasanaide ageru tsuyogatte koboshichau　SOME BOYS SOME BOYS

This much should be basic common sense Take the lead and guide me as if we were dancing Until I melt A little tenderly, sometimes forcefully– I won’t break you I act tough and my feelings slip through, SOME BOYS SOME BOYS

---

¹ It’s literally “escort me as if dancing” but escorting as a verb sounded so awkward that I figured I’d translate the nuances of it instead.

This is also one of those songs that gets its shares of Hello!Project covers, but my absolute favorite is still Takahashi Ai’s.

#SOME BOYS! TOUCH #Goto Maki #single: SOME BOYS! TOUCH #lyrics #translation #Lyricist: Tsunku #Composer: Tsunku #Arrangement: Tanaka Nao #00s aidoru #aidoru soloist #release date: 10/11/2006

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imasallstars · 3 years ago

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The cover art for THE IDOLM@STER CINDERELLA MASTER EVERLASTING album has been released and the album is set to be released on the 24th of November 2021. Alongside the title song, it will also feature respective solo versions.

Tracklist:

Tr.01　EVERLASTING (M@STER VERSION) 　Lyrics: Yuriko Mori 　Music&Arrange: Hidekazu Tanaka (MONACA), Shunsuke Takizawa (TRYTONELABO), Mutsuki Shuhei 　Singer(s): Mio Honda, Akari Tsujino, Anzu Futaba, Natsuki Kimura, Anastasia, Natalia, Arisu Tachibana, Sachiko Koshimizu, Yoshino Yorita, Mizuki Kawashima Tr.02　EVERLASTING (off vocal)

BONUS TRACK Tr.03　EVERLASTING (M@STER VERSION) ～Mio Honda Solo Remix～　Singer(s): Mio Honda (cv. Sayuri Hara) Tr.04　EVERLASTING (M@STER VERSION) ～Akari Tsujino Solo Remix～　Singer(s): Akari Tsujino (cv. Megu Umezawa) Tr.05　EVERLASTING (M@STER VERSION) ～Anzu Futaba Solo Remix～　Singer(s): Anzu Futaba (cv. Hiromi Igarashi) Tr.06　EVERLASTING (M@STER VERSION) ～Natsuki Kimura Solo Remix～　Singer(s): Natsuki Kimura (cv. Kiyono Yasuno) Tr.07　EVERLASTING (M@STER VERSION) ～Anastasia Solo Remix～　Singer(s): Anastasia (cv. Sumire Uesaka) Tr.08　EVERLASTING (M@STER VERSION) ～Natsuki Kimura Solo Remix～　Singer(s): Natalia (cv. Teru Ikuta) Tr.09　EVERLASTING (M@STER VERSION) ～Arisu Tachibana Solo Remix～　Singer(s): Arisu Tachibana (cv. Amina Sato) Tr.10　EVERLASTING (M@STER VERSION) ～Sachiko Koshimizu Solo Remix～　Singer(s): Sachiko Koshimizu (cv. Ayana Taketatsu) Tr.11　EVERLASTING (M@STER VERSION) ～Yoshino Yorita Solo Remix～　Singer(s): Yoshino Yorita (cv. Yuuki Takada) Tr.12　EVERLASTING (M@STER VERSION) ～Mizuki Kawashima Solo Remix～　Singer(s): Mizuki Kawashima (cv. Nao Touyama)

#album

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chanoyu-to-wa · 4 years ago

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Nampō Roku, Book 5 (62): Concerning the Formality of the Daisu¹; and, the Appropriate Dress for the Person Who is Performing at the Daisu².

62) Because the daisu is a splendid expression of grandeur, nothing [connected with it] should ever be crude³. As this is the most extremely formal state of chanoyu, it is the basis of all of the rules⁴.

In the case of the arrangements, there are the three degrees of shin [眞], sō [草], and gyō [行]⁵.

〇 Even when we are just going to practice [performing a temae with the daisu], ordinary people should wear [the] formal dress [of a samurai]⁶.

Those [pursuing chanoyu as a way of Buddhist] training, should wear something like a kesa-goromo [袈裟衣] and a jittoku [十德], so it has been said⁷.

But [when performing a temae with the daisu] in front of other people, all the more, one should never perform with the daisu wearing ordinary house-dress or something of that sort⁸.

With respect to the clothing of a nobleman or person of rank, [such people] should wear the various garments appropriate to their station when entertaining; though an ordinary kamishimo is less formal than wearing a trailing hakama⁹.

When the Higashiyama-dono was going to entertain [his guests] by [preparing tea with] his own hands, he generally called for a hunting robe [in which to attire himself during the temae], so it is said.

This was a truly admirable thing¹⁰.

_________________________

◎ The complete text of this entry reads:

〇 daisu ha eiga kekkō no shiki nareba, yorozu so-ryaku aru-majiku sōrō, kore chanoyu no gokushin ni te, hōshiki no konpon nari, kazari no shin・sō・gyō san-dan ari, keiko-tari to mo zoku ha kamishimo, hottai ha kesa-goromo・jittoku nado ni te tori-atsakai mō-subeku-sōrō, hito mae ni te nao-sara, daisu no shosa haku-i nado no hataraki yume-yume aru-majiku sōrō, kijin kō-i ha ishō shōzoku ・ suō nado ni te asobasare-sōrō, naga-bakama tsune no kamishimo sa [h]e ryaku-gi no koto, Higashiyama-dono ha o-tezukara asobasare-sōrō ni ha ōkata kari-ginu wo nasare-mesu to iu-iu, makoto shusho no onkoto nari

[臺子ハ榮華結構ノ式ナレハ、萬疎畧アルマシク候、是茶湯ノ極眞ニテ、法式ノ根本也、飾ニ眞・草・行三段アリ、稽古タリトモ俗ハ上下、法躰ハケサ衣・十德等ニテ取アツカヒ可申候、人前ニテ猶更、臺子ノ所作白衣ナトノハタラキ努〻アルマシク候、貴人高位ハ衣裳裝束・素袍ナトニテ被遊候、長袴常ノ上下サヘ畧義ノコト、東山殿ハ御手ツカラ被遊候ニハ大カタカリキヌヲ被爲召ト云〻、誠殊��ノ御事也].

The language, and content, is consistent with the known writings and idiosyncrasies of Jōō, so these admonitions were probably appended by him in an effort to reinforce various important details appertaining to the collection of arrangements that were illustrated heretofore -- much like his Hundred Poems discuss the details of the more wabi practices. (We must remember that most of the kaki-ire [書入] that are found on the sketches themselves were added by other people, including Tachibana Jitsuzan and the Enkaku-ji scholars; this accounts for certain repetitions that will be encountered in this block of text entries.)

In this last set of text posts, I will group the points together following the way that this was done by Shibayama Fugen, in the interests of keeping the remaining number of posts in Book Five to a minimum. Tanaka Senshō, on the other hand, deals with each statement as a separate entry -- and so is probably closer to the original, in this respect.

¹Neither this, nor any of the other text entries that follow, is provided with a formal title. I will add titles based on the contents of each entry.

²It is not clear why two completely unrelated topics were combined together here -- though it is clear that they were also included in a single entry in the original Shū-un-an material from which Tachibana Jitsuzan took his copy. (This is why I have not assigned the second topic its own number.)

³Daisu ha eiga kekkō-no-shiki nareba, yorozu so-ryaku aru-majiku sōrō [臺子ハ榮華結構ノ式ナレハ、萬疎畧アルマシク候].

Eiga [榮華] means glory, in the sense of splendor, material prosperity, luxury.

Kekkō-no-shiki [結構ノ式]: kekkō [結構] means splendid, excellent; shiki [式], here, means something like a system. That is, “the daisu is an excellent system for expressing (or demonstrating) the glory of ones situation.”

Yorozu [萬], literally “ten thousand,” means many, an uncountably great number, and so “everything.”

So-ryaku [疎略] means reduced to crudity, coarseness, roughness; it also means simplified to the point of being negligent. Both of these meanings are applicable here: the elegance of the daisu allows nothing that is insufficient or shabby, nor actions that are neglectful or lacking in elegance.

⁴Kore chanoyu no goku-shin ni te, hōshiki no konpon nari [是茶湯ノ極眞ニテ、法式ノ根本也].

Goku-shin [極眞] here is used to mean “extremely shin,” the epitome of what is most formal.

This literal usage is a little different from the term designating the earliest form of chanoyu to be practiced in Japan (even though the kanji are the same).

⁵Kazari no shin・sō・gyō san-dan ari [飾ニ眞・草・行三段アリ].

This structure -- shin・sō・gyō (formal, informal, semi-formal) -- is typical of Jōō's writing style.

⁶Keiko-tari to mo zoku ha kamishimo [稽古タリトモ俗ハ上下].

Keiko [稽古]* means to practice (something like a temae), in preparation for being able to do so in front of ones guests. The word is often translated “lessons,” but actually keiko is still practicing, albeit in front of ones teacher (who is then able to criticize and correct any mistakes in real time).

Zoku [俗], as used in the Buddhist lexicon, means a member of the laity. Someone who is still living “in the world” of human affairs†.

Kamishimo [上下] can probably be taken as a hentai-gana rendering of the kanji kamishimo [裃], which means the formal dress effected by members of the samurai class.

In other words, lay people should wear their more formal clothes. __________ *Keiko-taru [稽古たる] means that one is intending to practice -- that is, one is expecting to perform ones actions privately, without auditors. As a result, many people would feel that it would be pointless to wear ones best clothes at such a time.

†This is a little different from the usual use of the kanji, which means “commonly,” “generally;” and so refers to customs, manners, and things of that sort. The present derivation is the result of applying this idea to society as a whole, and so meaning people who are immersed in this sort of society.

⁷Hottai ha kesa-goromo・jittoku nado ni te tori-atsakai mō-subeku-sōrō [法躰ハケサ衣・十德等ニテ取アツカヒ可申候].

Hottai [法躰] refers to people who are following a monastic lifestyle -- a monk or Buddhist priest (or a novice). Such people might be practicing chanoyu as a way of training, as a form of motion-meditation.

Kesa-goromo [袈裟衣] is the name of a monk's long-sleeved outer robe.

Jittoku [十德] is a sheer black-silk over-robe, worn over the kesa-goromo on formal occasions.

The point is that, when approaching the daisu, whether to practice, or to serve tea, one must still attire oneself as formally as proper, according to ones station.

⁸Hito-mae ni te nao-sara, daisu no shosa haku-i nado no hataraki yume-yume aru-majiku sōrō [人前ニテ猶更、臺子ノ所作白衣ナトノハタラキ努〻アルマシク候].

Haku-i [白衣] -- literally “‘white’ clothes” -- means that one has dispensed with a hakama (and any of the other outer garments that were typically worn when people from outside of the household were present), and is wearing nothing but an ordinary indoor kimono with short sleeves, with a juban [襦袢] (under-robe), or some other sort of underclothing, underneath. This was the way loutish people adorned themselves in the privacy of their living quarters; but it is highly inappropriate when approaching the daisu to perform a temae (even if one is in fact practicing in the privacy of ones inner rooms, where no one else is present to see what one is doing).

⁹Kijin kō-i ha ishō shōzoku ・ suō nado ni te asobasare-sōrō, naga-bakama tsune no kamishimo sae ryaku-gi no koto [貴人高位ハ衣裳裝束・素袍ナトニテ被遊候、長袴常ノ上下サヘ畧義ノコト].

This sentence gives a list of the different sorts of clothing that might be worn by persons whom would be considered members of the highest class:

◦ ishō [衣裳] refers to garments covering the upper and lower halves of the body (the latter often extending backwards as a sort of train), usually worn at court (these would be similar to the sort of garments seen in depictions of Heian court clothing);

◦ shōzoku [装束] refers to a ceremonial outer robe that was associated with ones position or status, and included accoutrements such as lacquered caps and the like -- these garments were usually color-coded to ones court rank as well;

◦ suō [素袍] refers to a Muromachi period garment that was derived from the hitatare [直垂], and was similar to it -- though marked with the wearer's crests on the back and sleeves: it was worn by someone who was attending on a person of higher rank.

These terms refer to the different sets of clothing worn by general members of the nobility, members of the imperial court (who sported robes of a style and cut associated with their ranks and titles), and their attendants. Tanaka Senshō and Shibayama Fugen devote the bulk of their commentaries to a description of the details of each of these different sets of clothing, but it is really irrelevant -- and would be more so here, since it is unlikely that the reader will have anything to do with any of these, in any capacity.

¹⁰Higashiyama-dono ha o-tezukara asobasare-sōrō ni ha ōkata kari-ginu wo nasare-mesu to iu-iu, makoto shushō no on-koto nari [東山殿ハ御手ツカラ被遊候ニハ大カタカリキヌヲ被爲召ト云〻、誠殊勝ノ御事也].

Tezukara [手ら] means “to do something with ones own hands;” (to do something) personally. O-tezukara [御手ら] is the honorific form, since it refers to the actions of the shōgun Yoshimasa.

Asobasare-sōrō [被遊候] means to play at, or do something pleasurable; or for the pleasure of doing it. That is, the shōgun enjoyed, or took pleasure in, serving tea with his own hands.

Kari-ginu [狩衣] means a hunting robe. That is, a robe with fairly short sleeves, the over-mantle of which was tied at the waste with a belt, worn with ankle-length trousers. It was the costume affected by court nobles when going hunting (on horseback). The belt and over-mantle kept the robe from opening up at the neck when involved in vigorous actions (such as drawing a bow, or galloping on a horse).

In fact, this was a rather elegant sort of costume, which nevertheless allowed one freedom of action (necessary when performing a temae) -- facilitated by the shorter sleeves and ankle-length legs of the trousers (which did not get in the way when moving forward or backward, or dip into the koboshi during the temae).

In other words, when Yoshimasa deigned to serve tea with his own hands, he called out for a hunting-robe; and, after changing into it (with the help of his body-attendants), proceeded to officiate at the daisu (or, later, at the naka-ita).

This costume was considered to be admirable*, because it was perfectly fitting for what Yoshimasa was intending to do, yet formal enough that he did not appear improperly dressed (whether the guests were important men, or his own attendants). __________ *Shushō [殊勝] means admirable, laudable, commendable.

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fykatomiliyah · 4 years ago

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[!] "COVERS -WOMAN & MAN-"

Released on November 25, 2020 DISC 1: 1. Honnou (本能) / The original song by Ringo Shiina (椎名林檎) / Produced by ALI 2. Can You Keep A Secret? /The original song by Utada Hikaru (宇多田ヒカル) / Arranged by SUNNY BOY 3. Don't wanna cry / The original song by Namie Amuro (安室奈美恵) / Arranged by 理貴 4. Soba ni iru ne (そばにいるね) / The original song by Aoyama Thelma (青山テルマ) feat.SoulJa / Arranged by Carlos K. 5. STARS / The original song by Nakashima Mika (中島美嘉) / Arranged by Shingo.S 6. TAKE BACK / The original song by Koda Kumi (倖田來未) / Arranged by Matt Cab 7. Tsuyoku hakanai monotachi (強く儚い者たち) / The original song by Cocco　/Arranged by トオミヨウ

DISC2: 1. Teenager Forever / The original song by King Gnu / Produced by 常田俊太郎 2. Hanataba no Kawari ni Melody wo (花束のかわりにメロディーを) / The original song by Shimizu Shota (清水翔太) / Arranged by 清塚信也 3. Yasashisa (優しさ) / The original song by Fujii Kaze (藤井風) / Arranged by Nao Tanaka 4. me me she / The original song by RADWIMPS / Arranged by トオミヨウ 5. BABY BABY / The original song by銀杏BOYZ / Arranged by 長岡亮介 6. Ikareta Baby (いかれたBaby) / The original song by Fishmans / Arranged by Reggae Disco Rockers (RDR) 7. Yuri No Saku Basho De (百合の咲く場所で) / The original song by Dragon Ash / Arranged by TSUTCHIE (SHAKKAZOMBIE) 8. OH MY LITTLE GIRL / The original song by Yutaka Ozaki (尾崎豊) / Produced by Chaki zulu (Husky Studio/YENTOWN) ■ Regular edition (2CD) SRCL-11595~6 3,182 yen (excluding tax) / 3,500 yen (tax included) ■ First Press Limited Edition (2CD + DVD) SRCL-11592~4 4,545 yen (excluding tax) / 5,000 yen (tax included) ・ LIVE DVD/加藤ミリヤ presents Special Acoustic Session -歌の会 2020- 2020-

#t:news #Miliyah #p:official #加藤ミリヤ #COVERS #WOMAN & MAN

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yukirena88 · 4 years ago

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HKT48 Sakamoto Erena Encount Article Part 1

2020.07.16

HKT48 Sakamoto Erena’s encounter with “Kikuchi P” changed her destiny. Her talents bloomed when he endorsed the lyrics she wrote and sent to him “the earliest”

Interviewer: Satoshi Oda

【Interview part 1】 A "Dance Girl" when she was a kid, she was awed by Hamasaki Ayumi and dreamt of becoming a singer 　HKT48, the idol group based in Fukuoka started their first-ever Stream-Only Live performance from their dance lesson room on July 5th. Maintaining adequate social distance to prevent the spread of COVID-19, they limited the performing members to just 10, and 3rd gen Sakamoto Erena, 2nd gen Tashima Meru, 3rd gen Tanaka Miku, as well as other regular Senbatsu members, took to the stage to deliver a compassionate message the people in the regions of Kumamoto and Kagoshima hit by the heavy rainfall and flood disaster. In this article, I will trace the footsteps of Sakamoto who is striving to realize her dream to become a singer while overcoming various obstacles.

　Due to the COVID-19 pandemic, theater performances and handshake events have all been postponed. Unable to communicate directly with fans who support them, it is difficult to deliver messages of comfort to those hit by heavy rainfall and floods. That is why Sakamoto wants to put her soul into songs which she believes "delivers a message stronger than words" and cheer people up. She passed HKT48's 3rd gen audition in 2013, 7 years ago. Since then, she has paved the way to her very own idol career.

　While Sakamoto, born in Fukuoka prefecture, was slightly shy as a child, she was also a very "active girl" who would play outside the whole time during recess time. It may have been a natural calling for an active girl like her to immerse herself in rock and hip hop dance classes for all 6 years when she was in grade school.

　Invited by a friend, she went to watch an "HKT48" stage performance and was charmed by 1st gen Kumazawa Serina's sharp dance moves and decided to audition for the group, but when was the first time Sakamoto thought "I want to become a singer"? Going back, she says she had a role model when she was younger even before she started taking dance lessons.

"When I look at my nursery school and kindergarten album, I wrote 'To become a singer' as my future dream. I drew pictures of myself basking in the spotlight and singing, so I had wanted to sing in front of an audience ever since I was young. Thank to my mother's influence, I really liked Hamasaki Ayumi, and she was the starting point of my dream to become a singer"

However, she had never taken a singing lesson before joining HKT48, and when she first started her career as an idol, "Myself included, everyone around me did not see me as a singer". Coincidentally, something she was told during her Trainee days became her guiding compass.

"I was better at dancing then, and did not have confidence in singing. But during a sound recording, a staff praised me saying, 'You have a nice voice' and that made me really happy and made me think 'I'll put in effort in singing', 'This is what I should work on improving'. I'm really grateful for those words.

Her "Solo A Capella Video" Led To Her First Senbatsu, while Her Encounter With "Kikuchi P" Changed Her Destiny After being promoted to a Team Member from Trainee in 2016, Sakamoto performed in the "6th AKB48 Kohaku Utagassen" held in December for the first time. She was chosen to represent HKT48 as a member of Team Vocal, along with Minegishi Minami & Oda Erina (AKB48), Yamauchi Suzuran & Furuhata Nao (SKE48), and Shiroma Miru (NMB48), the members from each of the 48G who are well known for their singing abilities, and together sang "Mata Anata No Koto wo Kangaeteta" a capella.

This prompted her to start recording her "Solo A Capella Video" which she posted on "Google+" for the first time in March 2017, which later became a video series. In the same year, she was chosen as senbatsu for the first time for HKT48's 10th Single "Kiss wa Matsu Shikanai Deshoka?", released in August of that year.

"I was thinking of ways to express my love for singing. While looking for a way, I saw videos of people singing in harmony, and went 'This is it!' When I started arranging a capella version of songs, I got really good reactions and it encouraged me to continue singing a capella and in harmony. I believe I was chosen as senbatsu for the first time thanks to my 'Solo A Capella Videos', so it was definitely a turning point in my idol career"

Sakamoto is a competitive person at heart, recalling how "When I lost at the trump game 7 rows, I would cry out of frustration." After becoming aware of her own strengths, devoted herself to the path set out in front of her. She was presented with another opportunity, again at the "AKB48 Kouhaku Utagassen." Kikuchi Shin (AKA "Kikuchi P", who has produced various music shows on Fuji TV), the Producer for the event suggested to her, "Why don't you write a song?"

"When I performed at the (7th) AKB48 Kouhaku in 2017, Mr. Kikuchi P praised my singing. I realized it was a great opportunity and spent 3 weeks thinking of a lyric, and while I wasn't sure if it was good enough... I sent it to him while questioning myself, and 1 week after that, he brought the music for the song all the way to the venue of our handshake event. He said, 'you're going to sing this at ZEPP TOKYO (for the music talk show Kikuchi Kara GIRLS' FACTORY NEXT) in summer 2018' and I froze, going 'Huh?' (lol). It all happened so quickly and I was really surprised"

She was never given a guarantee that it would become a song. Kikuchi Producer also talked to other members about it, but the one who "sent it to him the earliest" was Sakamoto, and that enthusiasm gave birth to her original song "Motto, Kitto".

"I'm glad I sent it early (lol). Kikuchi P has made a huge difference in my life. Thanks to his arrangement, I teamed up with idols from other group to form the idol unit 'Gachinko☆(Star)' and was able to gain a lot of experience in singing. My song has not been put on a CD yet, so I will do my best to publish it as a CD"

Sakamoto, who snatched this chance with her own hands and cleared a path to a new stage in her career, would experience a tumultuous time ahead.

(Continued in Part 2)

　□Sakamoto Erena was born on September 12, 2000, in Fukuoka prefecture. In 2013, she entered HKT48 as a 3rd gen trainee and was promoted to Team TII in March 2016. Apart from the dance skills she learned in grade school, she also immerses the audience into her world with her gentle singing voice and is one of the aspiring Divas in AKB48 Group. During her "Stay Home" time, she worked out using the popular fitness program "Billy's Boot Camp". Her favorite phrase is "Everybody Is Unique and Special in Their Own Way"

#HKT48 #Sakamoto Erena #坂本愛玲菜

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recentanimenews · 4 years ago

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Voice Actress Nao Toyama Spends Her "Off" Day Gracefully in New MV

The official YouTube channel for voice actress Nao Toyama (Chitoge Kirisaki in Nisekoi, Rin Shima in Laid-Back Camp) has started streaming a two-minute music video for the title track from her forthcoming new mini-album "off."

The cute pop tune is provided by Koushi Miura (the leader of the three-member unit □□□ / Kuchiroro), who is known for his collaboration works for voice actress/singer Megumi Nakajima and King Records' multimedia project Hypnosis Mic: Division Rap Battle, using Toyama's own everyday sounds of her life. The music video shows how she spends her "off" day gracefully, and the everyday sounds are recreated with visuals at its beginning.

"off" short MV:

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The "rest and healing"-themed album is set to be released on May 12, 2021, and its bonus Blu-ray features Toyama's two-day and one-night trip to Hakone, where you can see the real face of her, which you can't usually see. A trailer for the bonus footage is also streamed now.

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All-song preview:

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First press limited "Ofuton" edition CD jacket:

Standard edition:

Song list:

1. "off" - Lyrics, Music, Arrangement：Koushi Miura

Theme： "off, healed by the sounds of everyday life"

2. "Prologue" - Lyrics, Music, Arrangement by Zenko Mitsuya

Theme: "off to be excited by love"

3. "Goo" - Lyrics, Music, Arrangement by Kairiki Bear

　Theme: "Turn off your reason by releasing stress"

4. "Shampoo Rinse" - Lyrics and Music by Satomi Kawasaki / Arrangement by Kazuki Watanabe

　Theme: "Take a bath and turn off the fatigue of the day"

5. "Rhythm Loop" - Lyrics by Koyomi / Music and arrangement by Nobumasa Tanaka

　Theme: "Off, Immersed in Sentimentality"

6. "Ashita Aetara" (If We can Meet Tomorrow) - Lyrics and Music by Nao Toyama / Arrangement by Kento Ohgiya

　Theme: "Turn off your mind with your futon"

Announcement PV:

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Source: Nao Toyama official YouTube channel / "off" special website

By: Mikikazu Komatsu

#Anime #News #Latest in Anime News by Crunchyroll!

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wolfsand9 · 6 years ago

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Makura no Danshi Genre: Harem, otome, romance Anime television series Episodes: 12 Studio: Assez Finaud Fabric, feel. Year: 2015 Score: (8,5/10)

Makura no Danshi is short anime about different boy who will listen to the audience and hold them when they need it.

Merry is a gentle brown-haired boy-pillow boy;

Sousuke Tanaka is a mature working man-Senpai boy. He is 32 years old;

Kanade Hanamine is a high school student who acts tough, but is frightened …-Music boy. He is 18 years old;

Eiji Kijinami who looks like a punk, but has a tender heart-dialect boy. He is a 14 years old;

Ryuushi Theodore Emori loves stargazing and he is shy-Astronomy boy. He is a 20-year-old;

Yuu Maiki is a freshman with delusions of grandeur-Chūni boy. He is a 15-year-old;

Haruto Enokawa is an energetic 5-year-old who refuses to sleep without a bedtime story-Cherub boy;

Nao Sasayama is a hip college student that is addicted to his smartphone-Riajū boy. He is 21 years old;

Shirusu Mochizuki is a librarian that treasures both books and book lovers-Librarian boy. He is a 28 years old;

Yonaga and Yayoi Chigiri are siblings who are learning flower arrangement-Flowers arrangement boys and they like playing games only with another person. They are 17-year old;

Yuuichirou Iida is a humorous old man who runs an oden stall-Yatai boy. He is a 41-year-old.

This anime is for fan in all age (main women or grils) because we can watch all peresonalities or few of men or boys. Makura no Danshi use style of otome games. Episodes are short they could make more longer episodes. This anime is more better than Room mate.

—Makura no Danshi— Makura no Danshi Genre: Harem, otome, romance Anime television series Episodes: 12 Studio: Assez Finaud Fabric, feel.

#anime

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arbitrarygreay · 3 years ago

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lmao lmao lmao lmao Ookubo just can't stop aping other producers if Tsumetai Kataomoi was his take on Taylor Swift's Style, Chu Chu Chu is him doing NCT's Sticker My man. Ookubo. Sticker works because it goes even harder on the crackpipe than Yumyum/Menmen. You needed to be even more dissonant that Kimi Sae, and have a greater variety of genre-hopping than invisible manners' work on Momoclo's Diamond Four. The thing about Ookubo's EDM that has always annoyed me also rears its head: he loves the white noise in the treble range, and it always just comes off like unnecessary fuzz to me. This has been made extra apparent when put up against Tanaka Nao's excellent mastering in Hade ni Yacchai na creating the illusion of empty space. The aforementioned Sticker and Diamond Four also have a clarity to their arrangements, only using noise in short moments drawing attention to their disruptive nature, and not as a primary arrangement ingredient. (And finally, tangentially, every time I see the title in Japanese I just think "Oh, of course for Morito's grad they're going to cover a Country Musume song," before remembering that Bye Bye Saigo no Yoru only does the Chus in the lyrics, not in the title.)

#morning musume #ookubo kaoru #category: music

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arbitrarygreay · 3 years ago

Video

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Tanaka Nao like "Yeah, I'm doing arrangements for H!P again, and I'M SMOKING THE GOOD STUFF" Is there anything about this instrumental that I do not adore intensely? Well, the brass synths. But even that is tempered by the Tanaka mostly using them as punctuation, and even better, throwing distortion filters on them, so they just sound rad. I must listen to his Tsubaki Factory track IMMEDIATELY

#angerme #tanaka nao #yamazaki aoi #flipping back and forth between CRUNCHY mode and Bouba mode and I love it #all set against that boppin' rhythmic composition #category: music

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imasallstars · 4 years ago

Photo

The cover art for「THE IDOLM@STER CINDERELLA GIRLS STARLIGHT MASTER GOLD RUSH! 01 Go Just Go!」album has been released and the album is set to be released on the 16th of September 2020. Alongside the title song, it will also feature respective solo versions, and the cut from the Animated PV version.

Tracklist:

Tr.01　Go Just Go!（M@STER VERSION）　Lyrics: Yuta Yashiro　Music: Hidekazu Tanaka (MONACA) 　Arrange: TAKU INOUE 　Singer(s)：Riamu Yumemi, Yui Ohtsuki, Karen Hojo, Shiki Ichinose, Kako Takafuji, Atsumi Munakata, Mizuki Kawashima, Kyoko Igarashi Tr.02　Go Just Go!（M@STER VERSION）～Riamu Yumemi Solo Remix～　Singer(s)： Riamu Yumemi (CV: Seena Hoshiki) Tr.03　Go Just Go!（M@STER VERSION）～Yui Ohtsuki Solo Remix～　Singer(s)：Yui Ohtsuki (CV: Nanami Yamashita) Tr.04　Go Just Go!（M@STER VERSION）～Karen Hojo Solo Remix～　Singer(s)：Karen Hojo (CV: Mai Fuchigami) Tr.05　Go Just Go!（M@STER VERSION）～Shin Sato Solo Remix～　Singer(s)：Shin Sato (CV: Yumiri Hanamori) Tr.06　Go Just Go!（M@STER VERSION）～Shiki Ichinose Solo Remix～　Singer(s)：Shiki Ichinose (CV: Kotomi Aihara) Tr.07　Go Just Go!（M@STER VERSION）～Kako Takafuji Solo Remix～　Singer(s)：Kako Takafuji (CV: Rana Morishita) Tr.08　Go Just Go!（M@STER VERSION）～Atsumi Munakata Solo Remix～　Singer(s)：Atsumi Munakata (CV: Ayaka Fujimoto) Tr.09　Go Just Go!（M@STER VERSION）～Mizuki Kawashima Solo Remix～　Singer(s)：Mizuki Kawashima (CV: Nao Touyama) Tr.10　Go Just Go!（M@STER VERSION）～Kyoko Igarashi Solo Remix～　Singer(s)：Kyoko Igarashi (CV: Atsumi Tanezaki) Tr.11　Go Just Go!（M@STER VERSION） (off vocal)

BONUS TRACK Tr.12　Go Just Go!（GAME VERSION）　Singer(s)：Riamu Yumemi, Yui Ohtsuki, Karen Hojo, Shiki Ichinose, Kako Takafuji, Atsumi Munakata, Mizuki Kawashima, Kyoko Igarashi Tr.13　Go Just Go!（ANIMATION VERSION）　Singer(s)：Riamu Yumemi, Yui Ohtsuki, Karen Hojo, Shiki Ichinose, Kako Takafuji, Atsumi Munakata, Mizuki Kawashima, Kyoko Igarashi

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