#The PARADE goes on

[an-insignificant-flower]

雷神 風神 レゾナンス

"Raijin Fūjin RESONANCE"

Raijin and Fūjin are two Shinto gods, often depicted as a pair. Raijin is the god of storms and thunder, while Fūjin is the god of wind. Both are some of the oldest gods in the Japanese pantheon, sons of the first goddess of all creation.

Notably, Raijin and Fūjin are escapees from the Land of the Dead...

Imai's signature on this song is about as obvious as it gets even in the title. Fūjin and Raijin have been references for him for a while, and even just a couple of years ago, he had released a long sleeve T-shirt showcasing the pair in a collaboration with LHP for Buck-Tick's 35th anniversary.

Verse 1 (Imai)

上昇気流　雷神　風神　レゾナンス joushoukiryuu　Raijin　Fuujin　RESONANCE FLY HIGH！！　昇天 　　　　　　　 shouten Rising！！　Higher than the sun

(On) the updraft, Raijin, Fūjin, (and) resonance Fly high!! Ascension (to Heaven) Rising!! Higher than the sun

Right off the bat it feels like we're talking about Acchan, with "higher than the sun" posing a challenge to the "aim for the sun and burn" story of Ikaros.

Likewise those of us who have referred to Acchan as a personal Jesus (as he has used the iconography several times) are vindicated with the same term used for the Ascension of Christ.

The term "resonance" in this katakana form means everything you might expect of the same word in English, although one dictionary adds another definition that I find resonates well (yeah, yeah, see what I did there) with the chorus when we get there:

awakening, or arousal (of emotions, etc.)

Also worth a note that the Japanese pronunciation of "rising," at least as it can be heard in the song, is a homophone to "Raijin."

Pre-chorus 1

この地上で生き��くことだ kono chijou de ikinu koto da

it's how to get by on this earth

Verse 2 (Hoshino)

共振共鳴　雷神　風神　レゾナンス kyoushin kyoumei　Raijin　Fuujin　RESONANCE FLY HIGH！！　昇天 (shouten) Rising！！　Higher than the sun

vibration-oscilation, Raijin, Fūjin, (and) resonance

I'm bending a bit here to make it make sense as lyrics, were they English. The first words here, kyoushin and kyoumei, are both direct synonyms for "resonance" and translate as "resonance" in most dictionaries. However, the former refers to physical vibrations, while the latter refers to sonority (sound).

Pre-chorus 2

雨に撃たれ生き抜くことだ ame ni utare ikinuku koto da

it's how we get by while pelted by rain

Chorus (Imai & Hoshino)

Boys don't cry　ハートに火をつけろ Girls fall in love　ハートに火をつけろ Boys don't cry　ハートに火をつけろ Girls fall in love　ハートに火をつけろ 　　　　　　　 hāto no hi wo tsukero

boys don't cry, set your heart on fire girls fall in love, set your heart on fire

At last we come to the chorus, a call directly to the audience, and the feature of the 15-second spot preview of the last few weeks. I'll talk more about this in my summary below.

Verse 3

FLY HIGH！！　昇天 (shouten) Rising！！　Higher than the sun

Pre-chorus 3

この世界で生き抜くことだ kono sekai de ikinuhu koto da

it's how we get by in this world

Chorus

Boys don't cry　ハートに火をつけろ Girls fall in love　ハートに火をつけろ Boys don't cry　ハートに火をつけろ Girls fall in love　ハートに火をつけろ 　　　　　　　 hāto no hi wo tsukero

　 Summary (and a bit of projection, if you'll indulge me)

As Raijin is the god of thunder, it's he who makes the sounds that people most often hear (and fear) in a storm. Yet the song invokes both gods as a pair and attributes the "resonance" to both. You may not "hear" Fūjin, but as far as Raijin is concerned, the resonance does not exist for only one of them.

As the boys have said now in several interviews, they strongly feel that Sakurai is still very much with them.

I'll stick to lyrics here and leave music theory to someone else, but I will share a thought on the costuming. The dress for the single's cover and for the current banner page of the official website has them in black rags, and, as others have remarked, they literally look as if they've gone to Hell and back.

However, in the music video itself, they sparkle, particularly with silver and sequins. I feel as though the clothes themselves show that they're worn, they mourn, but still they shine.

This song is not here to rival past Buck-Tick songs, so any comment that the sound isn't the same is a non sequitur. And, while I'm sure the management would prefer chart-toppers, the audience is not the masses, but the fans.

This song's message is for you.

Acchan lives. Gods live. And you. You live.

So live, and live well.

Vibrate. Oscillate. Reverberate. Resonate. Let your heart beat. Let your voice cry out. Put one foot in front of the other until your footsteps become clear, until you fall into a march, until you find your parade again.

Don't suffer. Be open to the possibility of feeling joy again. That possibility is in you, because you're human, and it's how humans get by...

...from this world to the next...

...it's how we learn to live again.

We set our hearts on fire ❤️‍🔥

[putschki1969]

『30th Anniversary Yuki Kajiura LIVE vol.#18 ～The PARADE goes on～』 Live Report

Lisani posted a lengthy and in-depth live report of the Tokyo performance of 『30th Anniversary Yuki Kajiura LIVE vol.#18 ～The PARADE goes on～』! Be sure to check it out! There are also some lovely images included! I am in LOVE with their outfits! So happy there's a touch of pink. I hope they announce a streaming broadcast soon. There were cameras at the final Osaka performance after all so I'm sure they have some plans for the footage. They might actually release a DVD/BD? Who knows... Link: https://www.lisani.jp/0000238496/?show_more=1

Appearance at NHK WORLD-JAPAN MUSIC FESTIVAL

It was announced today that Yuki Kajiura will be taking part in the upcoming grand-scale event "NHK WORLD-JAPAN MUSIC FESTIVAL"! (Source)

Date and time: October 28, 2023 Doors open: 5:30pm Start: 6:30pm Scheduled to end: 9:50 pm. Venue: NHK Hall Performing artists: Aina The End, ASCA, imase, Yuki Kajiura, CHAMELEON LIME WHOOPIEPIE, Kanjani Eight, Unity Band (Vo. Ikumi Hasegawa), Sakurazaka46, Queen Bee, Masayuki Suzuki, Yoko Takahashi, BAND-MAID, BE:FIRST, Yuka, Green-Yellow Society, ReoNa Hosts: Shingo Murakami, Co-Host: Chiaki Horan

[skipar00]

fuck it I was persuaded to post

New Orleans Miku

[kacievvbbbb]

I don’t know why, maybe because I’ve been on a Garp kick lately.

But I do really think that Garp kind of became like a surrogate Uncle to the Roger boys and by extension Mihawk. Like I can just imagine Roger telling them that if they were ever separated from the crew or if something ever happened to him or Ray and they needed help they should go to Garp (I mean he entrusted his own baby to him it makes sense he’d also entrust his boys)

(for whatever reason Mihawk got this talk too despite him already traveling by himself and not being officially part of Rogers crew. But since Ray adopted him he’s Roger’s brat as well)

All this to say that Garp takes his uncle duties very seriously and what is an uncle if not an inconvenience and an embarrassment?

So Ofcourse he pulls up to Kuriagina during the timeskip (Hawain shirt and all) to visit his new grand babies (read Perona and Zoro) that he’s heard so much about. (read shanks immediately gossiped with him abou mt after stumbling upon them last time he came to visit Mihawk)

And because Garp is essentially the one piece equivalent of Florida man, this goes well for absolutely nobody

Except Zoro who is nothing if not a troll. And game must recognize game.

The monkeys love him tho, he communicates with them on a wavelength nobody can quite understand least of all Garp.

[pianokantzart]

!!! I FORGOT HE GOT TO BE A GRAND MARSHALL FOR AN END CREDITS PARADE IN THIS GAME LIKE HE DID IN SUPER MARIO RPG!!!

[earlycuntsets]

house of wolves hovefestivalen tromøya arendal norway 06/30/2007

lol the video actually blacked out there

[commodorez]

Testing out @virescent-phosphor 's exhibit at VCF West XVIII by speed running Putt-Putt Joins the Parade on 3DO

Get on my level

[ratatatastic]

the things ekky has done or said that i cant stop thinking about. the 4 minute cut.

[girlboyburger]

with my move around the corner and life feeling sort of real again, i'm having Regular Thoughts about hobbies i've been meaning to revisit...

[theyhitthepentagon]

WENDY: im a lesbian im going to the gravity falls pride parade later [CAMERA FOCUSES ON BACKGROUND WHERE DIPPER IS PEEKING THROUGH THE DOORWAY INTO THE GIFTSHOP] DIPPER TO MABEL: mabel mabel did you hear that? wendy said shes a "lesbian"! maybe if i become a lesbian ill have a chance with wendy! i might be able to find something about this in the journal MABEL: Dipper come on you dont have a chance with wendy and also i dont think you know what a lesbian is. (slaps progress pride flag sticker on Waddles's face and he oinks) DIPPER: shut up jesser i found something! the author talks about a secret boon found in an ancient witches cottage turned him into the beautiful "butch lesbian" he always wanted to be. all i need to do to get with wendy is find this boon! mabel lets go!

[SUBPLOT]

SOOS: (wandering into a crowded part of town) woah where am i theres so many acceptably-clothed-but-nearly-naked people here BACKGROUND FEMME LESBIAN: (emerges from crowd) wowie a hot butch! come here handsome! SOOS: woah ladies, one at a time! [HARDCUT TO FACE] hark! my optimized aura is irresistible to women. (holding up carabiner with a shti ton of keys hooked on it) maybe spending my paycheck on this fancy carabiner was a good idea! (he is dogpiled by hot scantily clad dykes)

[dooblez]

YOU CANNOT PETITION THE LORD WITH PRAYER

[iridescentmirrorsgenshin]

The parallels between Kaveh and his mother and what this implies for Kaveh and Alhaitham

(This is an excerpt taken from my Haikaveh essay! If you're interested you can check it out here or as a pdf <3)

When discussing Kaveh’s mother, Faranak, with her old teacher Zaha Hadi in order to discover the password that will unlock Faranak’s journal, “companionship” is given as the password over “understanding”. This is due to Faranak placing more value in the companionship of Kaveh’s father over him understanding her artistry, as despite his lack of understanding, he stayed at her side regardless in order to “support” her. Zaha Hadi states that Kaveh’s father’s support was likely the reason that Faranak chose him over her “many admirers”, which Kaveh then equates to “companionship”:

A romantic connotation is created by the association of “companionship” with the relationship between Kaveh’s mother and father. Although companionship is also assigned to a platonic connection, pictured in Faranak’s journal of the gathering consisting of Tighnari’s parents, Alhaitham’s parents, and Cyno’s adoptive father. Her advice to Kaveh of pursuing companionship, too, falls in the platonic category, as she states for him to: “seek a friend” in order to gain support. Companionship, then, becomes dually used for romantic and platonic connections.

It is interesting then, that Faranak herself can be used as an allusion to Kaveh. This is emanated in how the two share many similarities, not only in physical attributes, their studying in Kshahrewar, and their shared profession as an architect, but also in their mannerisms and their method of working.

Just as Faranak keeps a diary, Kaveh writes in an ‘Old Sketchbook’. Faranak is described as a “perfectionist” who insisted on redesigning drafts, just as Kaveh designs six drafts for a singular client.

She is also described to have a “sensitive and vulnerable heart”, just as Kaveh is described to be “sensitive” due to his empathetic nature.

Just like Kaveh, she is said to have gotten into a “heated argument” with a friend, presumably over conflicting viewpoints on art. As an artist, her woes are that of Kaveh’s, stemming from being misunderstood by others.

As she is directly compared with Kaveh and as their similarities are listed, it can be inferred that the two are to be paralleled due to their resemblance. It is relevant then to look to her view of her relationship with Kaveh’s father as it provides a perspective of an ideal companion for a struggling artist:

This is interesting in regard to the relationship presented here to that which exists between Kaveh and Alhaitham.

Kaveh and Alhaitham have a mutually deep understanding of each other, which creates a sense of intimacy that they share with no other character. Additionally, Kaveh has the similar struggle of being eclipsed by a “dream” in his heart, as in, his ideals conflicting with his own self-interest. Kaveh’s father, rather than understanding Kaveh's mother's ideals in relation to himself, seeks to support her, “listen[ing] to her joys and share[ing] in her sorrows”. This is a similar statement to Alhaitham’s “listen[ing] intently” to Kaveh’s troubles when meeting in a tavern, calling to question Kaveh’s pursuit of his ideals: “How has realising your ideals gone for you?”

Where Faranak writes of meeting her future husband for the first time, Kaveh’s meeting Alhaitham is recorded in a similar instance:

When comparing Faranak’s first impression of her future husband with that of Kaveh’s impression upon first meeting Alhaitham, the two are dissimilar. Kaveh notes that it is rare to meet someone of his intellect, and therefore appears to treasure the bond, whereas Faranak is seemingly indifferent to Kaveh’s father, but he appears to grow on her. In regard to Kaveh and Alhaitham’s relationship history as a whole, however, similarities can be noted.

Where Kaveh and Alhaitham fell out due to differing viewpoints and their inability to effectively communicate, Kaveh can be seen to not “think much” of Alhaitham’s perspective. When the two meet again in the future, this perception of Kaveh’s has the potential to become applicable only to a “younger [Kaveh]”, as Alhaitham is the only person whom he has formed an “intimate bond” with. Although Alhaitham will not be able to understand him in terms of empathy, Alhaitham can provide companionship, just as Kaveh’s father did for Faranak, which in turn, caused their relationship to develop into that of an “intimate bond”.

A parallel can be drawn between the bond Kaveh’s mother and father had, and the bond between Kaveh and Alhaitham. As although Alhaitham cannot understand Kaveh’s artistic struggles and his personal struggles of empathy, he supports Kaveh in trying to alleviate Kaveh’s suffering and his willingness to listen.

As Kaveh’s mother specifically highlights that it is not understanding which will help Kaveh, it is companionship, which draws strong links to the identified message in A Parade of Providence. As Alhaitham states that he knows that Kaveh will never understand Alhaitham’s way of thinking in regard to his own ideals, but that their relationship is not based upon who is right or wrong. A more in-depth analysis regarding this can be found here.

Alhaitham and Kaveh cannot understand each other in the sense that they can properly empathise and relate with each other’s way of thinking, but they can support one another in the progression of self, and ultimately be a constant source of support for the other. This is demonstrated in the elaboration of the bond between Kaveh’s mother and father, and the parallels drawn between Kaveh and his mother. Companionship is a solution for Kaveh’s mother just as it is for Kaveh.

This can be seen in Faranak’s drawing of a gathering and the picture obtained at Kaveh’s Hangout ending, ‘Leisurely Gathering’. The player is prompted to draw parallels between the people in the picture and the characters the player has met:

The photo shown parallels the ‘Leisurely Gathering’ ending route picture, as Kaveh is positioned where his father sat, and Tighnari, Alhaitham, and Cyno placed in accordance to where their fathers are placed. Rather than being turned away from Alhaitham, like Kaveh’s father is to Alhaitham’s father in the drawing, Kaveh and Alhaitham are centre frame, and their focus is on each other. Companionship then, whilst being this particular group of friends, particularly refers to that of the bond between Kaveh and Alhaitham. The dual meaning assigned to “companionship” means that both a romantic and platonic interpretation has been generated to apply here - another example of methods used to queercode Kaveh and Alhaitham's relationship.

[putschki1969]

Overseas ticket sales for “Yuki Kajiura LIVE vol.#18 ～The PARADE goes on～”

Overseas travelers’ tickets for【Live】30th Anniversary Yuki Kajiura LIVE vol.#18 ～The PARADE goes on～ will go on sale starting at noon (Japan Standard Time) on April 8th (Saturday).

30th Anniversary Yuki Kajiura LIVE vol.#18 〜The PARADE goes on〜 [Tour Dates]

July 22 Saitama, at Omiya Sonic City 5:00 PM / 6:00 PM August 15 Tokyo, at LINE CUBE SHIBUYA 5:30 PM / 6:30 PM August 16 Tokyo, at LINE CUBE SHIBUYA 5:30 PM / 6:30 PM August 19 Osaka, at NHK Osaka Hall 5:00 PM / 6:00 PM August 20 Osaka, at NHK Osaka Hall 3:00 PM / 4:00 PM

Performing: Yuki Kajiura (Piano/Chorus) Vocals: KAORI, KEIKO, YURIKO KAIDA, Joelle, rito, and LINO LEIA Musicians: FRONT BAND MEMBERS (Koichi Korenaga on guitar, Kyoichi Sato on drums, Tomoharu “Jr.” Takahashi on bass, Hitoshi Konno on violin, Rie Akagi on flute, Obawo Nakajima on percussions, and Yoshio Ohira as the manipulator)

Pricing: All tickets are with assigned seating: ¥8,800 (including tax)

【Overseas travelers’ ticket sales】 ☆Tickets available from April 8th (Saturday) at noon to April 23rd (Sunday) at 11:59 PM (Japan Standard Time) ☆Direct link to purchase:  https://ib.eplus.jp/yukikajiura-30th

*Quantity limits: One person can buy up to four tickets per concert. (Possible to purchase tickets for multiple concerts) *Please refer to the ticket sales website for further information on purchasing, and any additional precautions. *Tickets are sold on a first-come-first-served basis. Please make sure to purchase during the specified timeframe. *The purchased tickets would need to be picked up at the venues’ box office, on the day of the concert.

Note: Wow, I cannot believe it. This must be the first time in history they are actually offering overseas tickets for an onsite concert in Japan (at least when it comes to YK and Kalafina). What a breakthrough! No complicated registration required. Foreign payment methods accepted. And you just pick up the ticket at the venue. It couldn’t be more convenient! Hopefully this will become a regular thing for future lives. But I guess it depends on how many people are actually making use of this opportunity. Their timing sucks if I am being honest. I mean, they took their sweet time making this announcement. I am sure most overseas fans who are determined to attend one of the lives have already jumped through numerous hoops to get their hands on a Japanese ticket.

I am still debating whether I should go or not...it kills me that they haven’t announced additional performances yet. I mean, I am convinced that the Osaka lives will not be the final performances. Those are almost always in Tokyo. YK’s tours typically go out with a bang so there must be something else in store for us.But how am I supposed to make plans without knowing any details? At this point it looks like Hikaru might not even be involved in any of these lives. The focus is definitely more on the new artists (rito, LINO LEIA) and the ones that YK collaborated with (Aimer, LiSA etc).

[columboscreens]

[pinkrose05]

Seeing a resurgence in surface-level takes about my favorite Kitchen Knife for some reason these days.

[shootingstarrfish]

oh no its you again