#Tsukitei Hosei

[tinsin]

"They would find each other in any universe" but it's whatever Chono and Hosei have.

[outofcontextowarai]

Absolutely Tasty - Mochi

[notanerrandboy]

Favourite episodes of 2023 part 1/?

Endô kissing Hamada's, Tanaka's and (almost) Matsumoto's cheeks without Hôsei noticing it in episode 回1641

[nakamorijuan]

月亭方正 - ヤマザキ一番! Hosei Tsukitei - YAMAZAKI Ichiban! Gakkyuu Ou YAMAZAKI - 2nd(?) Opening Theme

[scum-belina]

hose yamazaki

[supersadist64]

i miss his pink theme 6/12/20

[peaches-seed]

I had a dream this morning where I was about 3 or 4 years old and I was on a Japanese TV show being taken care of by comedians Downtown, Cocorico and Tsukitei Hosei. The point of the show was for them to take care of a foreign child. So, they were teaching me how to bow and I somehow managed to slam my head into a VCR player. They all just STOOD there discussing what to do as I slowly laid myself on the ground to nurse my sore head. Then I woke up..

[shozos]

here are the finished gaki pixels!! man i haven’t drawn for ages + I forgot how fun pixelling is.. feel free to use them for whatever as long as you credit

bonus alternate matsumoto:

[miramizar]

Here it is~ I drew it in 2014, but I filled in the lines once again and it came out pretty okay, so I hope you like it! (*ﾉ∀`*)

[wznt]

[tinsin]

Drawing specific men to practice drawing people in a different style.

[outofcontextowarai]

Absolutely Tasty - Tapioca

[notanerrandboy]

🎊🐯 Happy birthday Hôsei! 🐯🎊

[zenin-outo]

[outofcontextgaki]

Yamasaki tries to act down with the kids

[argumentl]

The Freedom of Expression, Radio version - Ep 17, Jan 2016.

Kaoru starts by saying that the date of airing for this episode is the 23rd of Jan, but its weird for them because at the time of recording, it is still only the very start of the month.

He invites listners to contact the show, then gets on with his first topic. He refers back to the topic mentioned on a previous episode about how the sound from a real amp differs from a computerized amp simulator. This time he brought with him two sound clips which each contain the same set riff from the song Soshaku. The difference is that one is the sound produced by a simulator, and the other is a real amp. He plays the simulator produced sound clip first, and then the real amp clip. Kaoru says its partly down to preference, but even though the simulated sound seems pretty good, it gets easily lost amonst all the other parts in the song. Wheras, the sound produced by the real amp is easy to find, and gives the drum/bass/guitar combo much more power. With a real amp he is not making a sound to showcase a guitar only, but a sound that will allow the guitar to contribute to the balance of the song as a whole. It may not sound like a big difference when you hear the isolated clips, but it makes a big difference to the power of the song. Kaoru feels slightly saddened that so many young people these days are buying amp simulators, instead of the real thing. Joe asks Kaoru if Dir en grey have always used real amps, not simulators. Kaoru replies that of course they have always used real amps. He's not saying you can't make a good sound with a simulator, you probably can. But things like the atmosphere, or the sense of reverb don't shine through. He realises that such things can also be created with technology, e.g. with an ambient mode setting etc, but if Dir en grey  used such devices in their studio, anyone could go there afterwards and use the same settings on their own stuff. They then both comment on how using this kind of tech can take away the unpredictablity of being in a band. Usually, when you start making music you never know how its gonna end up after the whole band have worked together on it. But if you rely on this kind of computer technology too much, you more or less know how its gonna sound from the start, which takes away a lot of the fun. Kaoru says he uses a computer to do the very first stage of song writing, but after that its a much more exploratory process of using real, live sound to figure out the direction of the song. This does sometimes stress him out a bit, but Joe says that this is where creativity comes from. It becomes too technical otherwise. Musicians are not technicians, they are more creative. Kaoru says he talks a lot with the engineers in the studio about how to get the sound right, which is really helpful. He laments slightly that younger engineers these days are more focused on getting everything done as quickly as possible, rather than discussing ideas with the artist, but he also realises that times change, it can't be helped.

After playing the first record, Kaoru says that he's received a very strange email, reading as follows: “I want to speak through an amp simulator at Abbey Road Studios - Kami”. Kaoru says Kami had better focus on recovering from his cold first, before thinking about anything else.

Next they welcome Tasai for the Tokyo Sports corner. Tasai brings up the topic of the annual Coming of Age ceremony for twenty yr olds (a traditional day to celebrate becoming an adult in Japan, where 20yr olds dress up in kimonos etc). This event sometimes has the image of being quite wild, but Tasai specifically wants to talk about Coming of Age in the city of Kita-Kyushyu, which is even more extreme than usual. E.g, the men wear glittering, flashy hakama, which make them look like total bad guys, the women dress up like '花魁/oiran' (high-ranking court prostitutes) . The whole affair is very extravagant, and often plauged with 'incidents'. Bloodshed even occured at the last one. The police arrived and put a stop to it, but Tasai wonders what the best way to deal with this kind of trouble is. He says his Coming of Age ceremony was actually quite boring, and asks the others what they felt about their own Coming of Age ceremony. Both Joe and Kaoru say they didn't attend theirs. Joe says he didn't go to his because he thought it would be boring, and he doesn't like ceremonies in general. Kaoru says he already had long hair when he was 20, and with the style he had at the time, he didn't feel like joining that kind of event at all. Tasai thinks that one reason the event has developed a wild kind of image is because young people feel resentment at being forced to do it by their elders, so they go wild in retaliation. Joe then says there's no need to hold a Coming of Age ceremony at all. All it does is consume tax. Kaoru says he can't see any meaning to the whole thing. If the event disappeared, it would only be sad for the people who wanna party. Joe mentions that this kind of event doesn't happen in America etc. It is unique to Japan. Teenagers in the US can get a driver's license earlier than in Japan, and gain independence at a younger age. Kaoru mentions that teenagers in Japan are still seen as kids in comparison. They all argree that graduating from high school at age 18 might as well be 'coming of age', because from the year in question (2016), the Japanese voting age was due to be lowered to age 18 anyway. Joe says that at most, some people might want to meet up at age 20 with their high school friends who they hadn't seen since graduation, to which Kaoru states that he has never been invited to any school reunion events. Neither has Joe, and they both wonder why??! Tasai suggests it might be because they are both famous.

Tasai's next topic links back to the theme from last week, tv shows. The tv show in question this time is the popular variety show  "Downtown no gaki no tsukai ya arahende!". There are comedy scenes in the show of pro-wrestler Masahiro Chono slapping the shoe's host Hosei Tsukitei for laughs. The interesting thing about this is that outside of this show, Chono usually has a 'no-slapping' policy, including in the ring. This is because a slap can do a lot of damage to someone not used to it. The reason he does it with Tsukitei is because he has a deep amount of trust in him, and knows the boundries of what is too much, or too little. It shows what a professional relationship they have. Tasai then asks Kaoru about his experience of trusting someone on a professional level. Kaoru says the band's staff have been working with them for many years, and they have a relationship whereby they can speak out to each other very freely. It can often be the case that as time goes on people get complacent and get stuck in bad routines, so Dir need, and do have staff that can break such habbits when they occur, and get back on track. He thinks they have a good relationship, and considers them trusted friends. He says that even if the staff suggest absurd sounding ideas, he will at least consider them now, whereas years ago he might have complained. A good example is this very radio show. When it was first suggested to him he was unsure, but after trying it he has discovered a lot of new things about himself.

He finishes with a quick mention of his Budokan shows, and then asks Joe how long he thinks this radio show will continue for. Joe says that shows are commissioned every three months, so they will be on air till at least March. After that the show's continuation will be down to the amount of support the show receives from listeners. Kaoru says he will do his best!

Songs - Dir en grey/Soshaku, Perfect Circle/Imagine.