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kimonobeat · 6 years ago

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aiko bon “Profile Interview” Chapter 6 (3/3)

ーWhat songs did you contribute to the CD, aiko?

aiko: 3 songs: “Ano Ko e (For Her)”, “more&more”, and “AB-Gata no Futari (Us Two Type AB People)”. “Ano Ko e” ended up being one of the B-sides to “Rosie” later on. “more&more” is also a B-side on “Sakura no Toki”, but I sang it with a completely different sort of bossa nova vibe. Then there’s “AB-Gata no Futari”, which I haven’t included on anything yet. The key of that song is super duper high for me to sing, now. “Once a week I call him out of love~ Even though I’ve never said the words ‘I like you’ out loud~ I call him~” I used falsetto to sing that entire part.

ーYou were just fine singing in that key at the time, though?

aiko: No, it was still pretty high for me even then. (smiles wryly) But singing songs in a high key gave me so much status back then. All I did was write songs in super high keys because it made me so happy to hear people go, “Wow, that’s so high! Amazing!” For example, “Aitsu wo Mukaseru Houhou” starts off with me singing on the CD, but the old version actually started with me libbing some high notesーyou know, “Yeah yeah yeah~”, that sort of thing. It was super high-pitched. I tried to sing it again for real and was like, “Huh!?” (laughs) “AB-Gata no Futari” has this nice jazzy sound to it. It’s a song about how these two people whose blood types are both AB fall in love. It only takes them 3 hours to fall in love, but half a year to express their feelings to each other. I’d love to sing this song again.

ーHow did you arrange those 3 songs? Did you form a band for it?

aiko: They were all really simple, I sang accompanied only by a piano. Like, one of my friends from music school played the piano for me, and I sang.

ーAnd then after that was your very first indies release, “astral box”, which was your first solo work.

aiko: Yes, that’s right. We recorded it in this studio in Machida named Dutch Mama. It was called Dutch Mama because it was in Machida. Get it? Dutch Mama, Machida, Dutch Mama… I-I’m sorry, that was rude. (laughs) That mini-album had 5 songs on it, including “DO YOU THINK ABOUT ME?”, “Hikari no Sasu Ashimoto (Where the Light Hits Your Feet)”, and “HOW TO LOVE”, all of which have yet to make it onto any of my major label CDs. I’ve released the other two, “Power of Love” and “Kiss de Okoshite (Wake Me with a Kiss)”. The director, Mr. Chiba, said I absolutely just had to release “DO YOU THINK ABOUT ME?” right this moment. That said, he’s said that about a lot of songs by now. It’s like, “So Chiba, when is ‘this moment’ exactly?” (laughs)

ーBut since you were writing songs constantly after your talent agency president told you to, I’m guessing it wasn’t that much of a struggle to come up with songs when he asked you to make an album?

aiko: Uhhh, I think I had about 15 at that point. I was painfully slow at writing songs back then compared to the pace I go at now, so I think that was about how many I had in stock. Of those, we chose a few and then Shimayan (Shimada Masanori) recorded the arrangement digitally on a keyboard. I think I might’ve been a little bit nasty to him when I first met him. I mean, that was pretty much the first time I ever had anyone arrange my songs, and it really surprised me when he added all of these different sounds to songs I’d based around a piano. When he asked me what I thought about the arrangement, I didn’t give him very many positive replies. “How come this sounds Chinese?” I’d say. “I don’t get what that sound’s for there.” At the time, I pretty much hated everything about it.

ーWasn’t that the height of MIDI music, though?

aiko: Yeah, but I wasn’t a huge fan of the way it sounds. I was also sick and tired of it because everything under the sun had a MIDI arrangement back then, so I was like, “Wait, MY songs are all gonna have a MIDI arrangement too!?” I had a pretty strong reaction to it. But even though I thought I hated all things MIDI, when we worked on my 2nd indies release there were other times when I thought, “Wow, I had no idea it could sound like that… Cool!” My hate for MIDI arrangements totally vanished right then and there. I still feel like I caused Shimayan a lot of trouble because I just couldn’t accept it the first time. (laughs)

ーDid recording the vocals go smoothly?

aiko: I sang them all so seriously. We recorded 3 songs a day, or something like that. Now that I think about it, it’s pretty incredible that we were able to record so many! We went at a pace of 3 songs a day, choruses and all. I sang the same song over and over and OVER again because I didn’t know I didn’t have to, like, sing the song all the way through. I was so serious about all of themー”I sang a lot today and got it recorded.” (laughs) When I listen to it now, I can’t help but be bothered by the fact that I can hear the pitch wobble here and there, and that I’m not keeping the rhythm well. I’m able to keep a rhythm and sing on pitch now, but not I wonder if I’d be able to sing so animatedly now. It’s so complicated. I feel like I’m asking for too much, you know?

ーSo how was recording as a whole?

aiko: It was fun, but definitely exhausting. You see, I was commuting from Osaka. I still had my radio jobs in Osaka so I came and went in-between. Seeing a CD come together bit by bit made me so happy, though. You know how you get a sample of the cover and such before the CD is complete? I remember putting it in a color CD case. I put the back cover in the case and was like, “Wow, so that’s what it’s gonna look like!” That made me so happy. We did talk about that cover looking like it had blood all over it though. (smiles wryly) I also didn’t know anything about the ‘eye’ in ‘eye make-up’ at the time, so my eyebrows were bushy, I’d never worn mascara before, and I absolutely hated curling my eyelashes with an eyelash curler. ...Man am I being super harsh. (laughs)

ーYou the followed that up by releasing your 1st indies single “Hachimitsu (Honey)” roughly 5 months later, and then your 2nd indies mini-album “GIRLIE”.

aiko: Right. It all happened so fast after I released “astral box”. And I was really exhausted because I was still commuting from Osaka to Tokyo like always. Of the 5 songs on “GIRLIE”, I’ve released “Ijiwaru na Tenshi yo Sekai wo Warae! (Mean Angel, Laugh at the World!)” and “Rosie” after signing to a major label, as well as “Hachimitsu”. I still haven’t released the 2 songs “Inu ni Naru (I’ll Be a Dog)” and “Sasenaide (Don’t Make Me)” since going major, though. But man oh man, the cover for “GIRLIE”... just yikes. (laughs)

ーI don’t think it’s that bad.

aiko: I haaate it. For real, I do. It’s almost kinda funnyーlike, who is that even? My face is so chubby. (laughs) I made the pants I’m wearing in that picture myself; I cut my hair all by myself too. A friend came over to my house and gave me that bushy perm. We didn’t even use rods to curl my hair, we used pencils. That picture is just SO embarrassing…

ーDid you get the offer to debut under a major label with the movie theme song “Ashita (Tomorrow)” around the time you were working on “GIRLIE”?

aiko: I think so. We talked about it sometime in April, and then I debuted in July. I thought I would just be participating as the vocalist at first, though. I was really shocked to find out that I’d be releasing as a CD under the name ‘aiko’. For real, I was like, “...Wait, what!?” It wasn’t my songーwell, I wrote the lyrics myself, but they had a lot of requests. They said things like, “Kids are going to be listening to this” and “Don’t use difficult words, please”, which I whined about. That was the first time I’d ever listened to a composition and written lyrics for it too, since I tend to write songs starting with the lyrics first. Because of all that, I wasn’t really sure how to feel about it. In the end, I sort of just did it because the president of my talent agency said I didn’t have anything to lose by doing it. I didn’t care much either way. To be really honest, I didn’t have a clue. I honestly had no clue whether to OK it or not…

ーSounds like you were having a hard time making a decision. It wasn’t even a song you’d composed.

aiko: Yeah, exactly. And when I went to record it, there were people chit-chatting in English to each other, talking about the equipment, and I didn’t get their Tokyo sense of humor at all. It felt like I was in a foreign country. I slept in the corner of the studio with a knitted hat pulled all the way down past my nose. (laughs) They were very painstakingly detailed about choosing which take to use for like, the chorus, so I had to sing the same parts multiple times. It left me so beat that I almost had to hold onto the music stand to stand. Part of it was because I wasn’t used to being in the studio yet, I think, but that was also a pretty demanding recording.

ーBe honest, how did you feel when “Ashita” was released?

aiko: It didn’t really sink in. It didn’t feel like I’d ‘debuted’ at all. It didn’t even feel like it was ‘my’ song. I thought it was just going to be a one-shot thing. A little after I’d made my debut, people at [Pony] Canyon were telling me all the time that they honestly didn’t know who I was. (laughs) I was still living in Osaka, and the only information they had on me was this tiny A4-size flyer. Apparently they weren’t aware I existed even after I’d debuted. The Canyon people in Tokyo of all places were saying, “aiko? What’s that? Oh, she’s debuted? Who is she?”, which meant the locals definitely didn’t know who I was. We did a campaign to help with that, but even then we only went to Okayama and Matsuyama. I went with someone from Canyon since it didn’t cost me anything, did our campaign, ate some food. And then on the way home that person said, “I need to go to another campaign event. You think you can make it home on your own?” I said yes and took a plane home by myself. (laughs)

ーThat sounds like a pretty sad story.

aiko: But then FM OSAKA worked really hard and put “Ashita” on power rotation. There was also this guy over at FM Toyama named Kawakado. He was close to someone named Komorita who promoted my song a lot, so it was played heavily there too. It sold some copies thanks to those 2 stations. It sold maybe 20k or 30k copies in Osaka and Toyama, which got the Canyon people in Tokyo to go, “Hm? What’s this all about? Who’s this aiko girl?” And then it wasn’t a one-shot thing anymore. We started talking about signing a contract. I really feel like FM OSAKA and FM Toyama putting the song on power rotation was huge for me. FM OSAKA in particular really supported me.

ーWere you still the DJ for “Count Down Kansai Top 40” at FM OSAKA when you debuted?

aiko: I was. I even said “I made my debut!” while I was on air. (laughs) The time frame was changed to Saturdays late at night from 2 AM until 5 AMーa promotion! (laughs) The show had to be put on hold every now and then to check the broadcast equipment, but since I was generating some numbers, they decided to give me a live broadcast from 2 to 5 AM on Saturdays. I started getting more and more faxes and emails.

ーSince you’d just debuted at the time, right?

aiko: Right. The radio station was really supportive. I wouldn’t be where I am today without the radio station. That’s how much they all supported me. It felt like I had a bunch of moms and dadsーit still feels that way.

ーIt still feels like you have so many people supporting you, from the radio, to your fans, and all the various members of the staff, you mean?

aiko: Mm-hm. So many people have shown me so much support.　I’m able to continue releasing CDs by… by selling a few copies here and there. I see that now.

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#aiko #aiko yanai #yanai aiko #aiko bon #translation #chiisana marui koujitsu

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angrycollectordaze-me-blog · 5 years ago

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Paper代写：Analysis of female image in Alita battle angel

本篇paper代写- Analysis of female image in Alita battle angel讨论了《阿丽塔·战斗天使》中的女性形象。在电影《阿丽塔·战斗天使》中的女主人公阿丽塔作为女性的性征被削弱，更为中性化。类似于机器人的身体结构使得阿丽塔作为女性的柔美感被取代，变得更加刚强坚毅。阿丽塔在电影中与早期超级英雄电影中的不堪一击女性形象截然不同的勇敢和超凡的能力，��女的外形和超强的战斗力形成鲜明反差，令不少观众眼前一亮，印象深刻。本篇paper代写由51due代写平台整理，供大家参考阅读。

In the movie "Alita battle angel", the heroine Alita has a short black hair, big eyes and a small and neat figure. No long sexy big waves and no graceful and charming front and back upturned appearance make Alita less feminine and more androgyny. From the perspective of physical structure, Alita lost as a human flesh sense, she was "father" from the abandoned field to pick up back for transformation, put on the original belongs to his daughter by steel machine armor, no pain. Such a robot-like body structure replaces the feminine sense of Alita as a woman and makes her more firm and resolute. Such physical features make it impossible for audiences to "pry" Alita as a traditional woman and reduce the pleasing sense to men.

Alita as a fighting angel, fighting to fill her heart. When she go with Hugo for mobile games will show her strong combat capability and inherent competitive, later she found a truly belong to her reinforced armor, fighting capacity, to join a bounty hunter in underground bars can destroy an enemy regiment, particularly in motor ball game china-arab rita through their own ability and to fight before terminating each with a deadly weapon "tiger" to the roller compaction, shows the rita does not lose in the men's ability. Alita not only has extraordinary fighting ability and a cavity of justice, in the face of evil greuishka and the nova big boss behind him, Alita shoulder their own mission not afraid of might, have the courage to fight with evil forces, in the face of threats and temptation also do not forget the original intention. In the film, Alita is quite different from the vulnerable female images in the early superhero films. Her bravery and extraordinary ability, girl's appearance and super fighting power form a sharp contrast, which makes many audiences stand out and deeply impressed.

In the film Alita in addition to the main line of revenge road, also extended a love line. As a mechanical girl, Alita has a human heart and brain, that is, her own emotions. A rita met Hugo in iron and steel city, young men and girls in getting along with the center of god love, when that boyfriend Hugo do everything in order to be able to go to iron and steel city's upper class society to do efforts not hesitate to take out his heart to Hugo, such sincere heart shows a rita treat love sincere and pay. At the same time, Alita's subliminal protection and teasing of the roadside dogs also shaped her kindness and innocence. In the film, Alita combines both firmness and softness, including resourceful fighting talent and innocent and lovely girly feelings. The director does not make Alita too firm in order to create a neutral role, but keeps the female tenderness while making her image more full and rich.

In recent years, in addition to rita o "angels" to fight, dominated by women superhero movie has many, DC production "wonder woman" and the captain marvel of diffuse power, including the upcoming "black widow", the producers can be found more and more attention to the group of women for super hero type of movie. Physically, these superheroines are no longer scantily clad to appeal to male audiences through their sexy and graceful bodies, and no longer in the position of being seen. In contrast to earlier hero movies, female heroes have become increasingly androgynous in dress and appearance, with captain marvel even appearing as a tomboy in avengers iv. The liberation of female heroes from the aesthetics of others is closely related to the improvement of women's social status and the awakening of self-consciousness. As a producer, such a change is not only to expand the audience group of hero movies, but also to conform to the inevitable trend of benign cultural output of The Times.

In addition to the changes in appearance, female superheroes have also significantly changed from traditional female heroes in terms of function and personality. Can be seen from the above analysis, the traditional female images in the super heroes or heroines are mostly not leading role, both in ability and character has a great gap with the male role or defect, its main function is to highlight the male hero tall wham or attract the eyes of the male audience to increase sales. However, in the past year or two, female superheroes have been able to become the leading role of superhero movies, and fight with the ultimate boss in a second. Character is a weak, become resolute, brave and kind.

From the narration of female characters, we find that female superheroes in the past two years show their confrontation with the male-dominated world through the development of the plot, which is lacking in the female characters in the early superhero films. The author will be "Alita battle angel" this film on the relevant interpretation. The film Alita's resistance to the patriarchal world mainly reflects the resistance and doubt to the patriarchy and the power of the husband. Alita is the body of her daughter retrieved from the abandoned field by Ed, who has always played the role of father. When Alita shows its fighting instinct, Ed shows strong opposition to even take extreme measures to limit freedom to produce fierce conflict, Ed wants Alita to be a good girl. But instead of conforming to her father's idea, Alita kept contradicting and explaining to him and finally made him compromise.

The image of female superheroes comes from nothing, from thin to plump, from foil to protagonist, which is closely related to the awakening of female self-consciousness and the promotion of female rights and interests. Superhero films have always been regarded as the output of American society and culture. Hollywood and other film production companies not only conform to the development of The Times, but also for film production, the appearance of female superheroes expands the type of superhero films and brings new experience to the audience. However, it should be noted that the rise of feminism does not mean that men should be blindly weakened. Female superhero movies should advocate the balanced development of gender relations and avoid the uglification and dwarfing of male characters.

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