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justicerikai · 2 years ago

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Charisma House - The Seven Charisma‘s “One Week Charisma“ lyrics translation (english)

Charismatic from the moment of birth

Lyrics translation of “One Week Charisma” ( カリスマ1週間 , karisuma isshuukan)!

TL notes:

“Fantasista“ means “A comedian or actor that is quick witted with their speech, and is skilled with improvisation.” or “A soccer player of outstanding skill, rich in creativity, and has a talent for showing off unexpected performances.” (definition roughly translated from kotobank)

善悪 (zenaku) means “good or evil”, while 正邪 (seija) means “right or wrong”. However, Charisma House officially translates 正邪 as “good or evil” which is why I decided to switch around the meaning for 善悪 and 正邪 in Fumiya’s lyrics.

Edit: Few corrections have been made due there being a more credible transcription of the lyrics available online.

Now let’s charimastically spend our week!

Amahiko: This week’s also ECSTASYYY~!

Terra: The weekend’s only for myself

Sarukawa: What I do is my choice!

Iori: Today too free service and aid!

Rikai: Today’s burnable garbage day

Ohse: The week is starting over again

Fumiya: These macarons are tasty

(Amahiko’s verse)

You’re Sooo Sexy Heaven being called forth on

MONDAY Early next week

The world sexy ambassador who is I

Shall hereby hold a “Direct Sexual Meeting” (An independently hosted event)

What, you’re saying you want to arrive together??

Certainly Everyone join my hand in writhing

And why don’t we go liberate sex~!

We’re charismatically charismatic~

(Rikai’s verse)

Everything I speak of is correct

The House’s Discipline Committee Member Rikai-oniisan

Now then Tuesday’s for throwing out trash The day of flammable garbage

Who did it…!

You know properly seperating is the law of society!

Flammable Incombustibility Oversized

At any rate it’s a heap of trash….

Anything that throws order in disarray must be swept clean

By annihilation!

We’re charismatically charismatic~

(Iori’s verse)

Hey, hey Treat me as your slave

Please work me as much as you’d like to

Give me an overwhelming amount of burden~

Wednesdays I’m on duty for meals Cooking Time!

And tomorrow and the day after and next week and next month

On duty for cooking on every day of the year~

Aah… This is truly happiness

Thank you for this burden of finest quality

I’ll diligently work as your manservant

We’re charismatically charismatic~

Genuine fantasista’s

Charismatic from the moment we were born

Genuine fantasista’s

Charismatic from the moment we were born

C・ H・ A・ R・ I・ S・ M・ A

DNA no one could copy

Charismatic tomorrow too and the day after~

We are charisma~

Next week and the week after

Fall for us More more more

Attention here! Gather here!

Revel in that charisma (charisma)

(Fumiya’s verse)

Eyy taking things calmly Ito Fumiya here

Thursday came back around this week

Well on the other hand it’s not as if anything changes

Guess I’ll go eat some of my favourite sweets again

Mm… doesn’t matter what day you spoil yourself, does it?

Today’s crepes, parfaits, macarons, a brief moment of supreme bliss

The judgement of right or wrong isn’t an issue Charisma of Good and Evil

We’re charismatically charismatic~

(Terra’s verse)

Aah lovely~ How glorious~

Beautiful once again today~ My face is

Ah right today’s friday!

Tomorrow’s the weekend for getting dressed up to go out

Beauty salon… shopping… what to do

Terra-kun’s will become lovely as ever again~

My own self is already a trend

We’re charismatically charismatic~

Genuine fantasista’s

Charismatic from the moment of birth

Genuine fantasista’s

Charismatic from the moment of birth

C・ H・ A・ R・ I・ S・ M・ A

DNA no one could copy

Charismatic tomorrow too and the day after~

We are charisma~

Next week and the week after

Fall for us More more more

Attention here! Gather here!

Revel in that charisma (charisma)

(Sarukawa’s verse)

I’m Sarukawa Kei Working together? Who the hell cares

I only do what I want

I’ll crush those rules and manners!

Weekend, saturday? Going out with everyone?

Hah? I ain’t going Don’t decide for me!

If you guys say YES I’ll say NO

Ain’t gonna answer to your demands!

What to do is for me to decide

I’ll break it down Today’s also destruction mode!

We’re charismatically charismatic~

(Ohse’s verse)

It’s here… sunday…

Tomorrow monday will come again

Such a sore loser somehow got through the entire week

I’m absolutely a nuisance to everyone…

To begin with spending time with such a guy everyday must be definitely detestable…

Yeah…

I’m a being not worthy of living It’s out of the question

I hope no one will have to see it tommorrow

I’ll kill myself today…. I apologize… Uuuguh…

We’re charismatically charismatic~

Everyone do you see it now?

Our daily charisma charge!

Look, look! Here come the charismatics!

C・ H・ A・ R・ I・ S・ M・ A

DNA no one could copy

Charismatic tomorrow too and the day after~

We are charisma~

Next week and the week after

Fall for us More more more

Attention here! Gather here!

Revel in that charisma (charisma)

#charisma house #charismahouse #ito fumiya #minato ohse #tendou amahiko #motohashi iori #kusanagi rikai #terra #sarukawa kei

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regarding-stories · 2 years ago

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Union versus Identity, Mind versus Soul: "Bottom-Tier Character Tomozaki"

So, I've finished the latest installment of Bottom-Tier Character Tomozaki available in English. Today is Monday. I read installments 4-9 since Friday, finishing up this morning. And what a ride it is! To sum it up: Volumes 8 and 9 deepen the series considerably. As the series goes on, it takes on a rather mature quality.

This even tracks through the cast - more adults show up. I don't believe this is an accident - this is convenience. As the series starts to tackle the nature of relationships and growing as a person more seriously, it really needed some characters that could say the words that the protagonist needed to hear to "get it." (And so that we do, too.)

But the beauty of this series is that in the end our focus characters also transcend what others told them and discover their own truths.

(Spoilers.)

A true third main character

A surprising development took place. I already liked the character Kikuchi-san, but the way she was introduced had a notion of pulp to it. In pulp fiction, you go the easy route of letting you know about a character. You tell us what a character is. This typically happens with "smart characters" - we're told how fiendishly clever, how perfectly cunning they are. Never mind that anything they do in the story is either stupid, or terribly contrived and for plot convenience. There's always a glaring contradiction visible between what we are told and what actually unfolds.

Kikuchi-san did not start as a character. She was a field of feelings, an invitation to union, a safe space. And given the nature of teenager infatuation, that was alright. You don't really know the person that you fall in love with when you do. And when you are a teenager, you probably project the hardest all your hopes and dreams on them. That doesn't mean Kikuchi-san couldn't exhibit these qualities. But she hadn't owned them yet, either. She was too perfect.

The early series focused on group dynamics, how popularity works, and how to make some basic move in life. This is, in a sense, also true for the author - finding his own legs to stand on. It's in fact surprising how long the series took until ventured into the territory of teenage love. As it did so in volumes 6 and 7, it began to rapidly change. Both love interests - Mimimi and Kikuchi-san - took on more life, became more real. Especially Mimimi's actions took on a sense of urgency as she tried to prevent failing in her own quest for romance, and yet all of it is satisfying and beautifully done.

But as always, falling in love is only the starting line. This is why The Quintessential Quintuplets movie was so anemic. Idolizing the idea of a magical moment can only take you so far. There was no meat on those bones. And you can't add the meat after you let the main story finish, either.

Kikuchi-san, however, comes into full view during volumes 8 and 9 and there's plenty of conflict because of what we learn about our three main characters, about Fumiya Tomozaki, Aoi Hinami, and last but no longer least, Fuuta Kikuchi. But in order to lay that out, I have to step into a different perspective for a moment.

Identity and Union

This perspective isn't uniquely mine - at all. I'm borrowing it because it is very helpful for framing the developments of these books I'm talking about.

Union is the desire to be one with another, to be of service to them, to dissolve boundaries, to experience oneness, to share, to blend into each other, but it can also be about giving in, losing yourself. You could call it Yin, or say it's accepting, depending on how you see the world also female, but it's not limited to that.

But as you get closer, you encounter something that is not its opposite, but its complement: Identity. In a sense it's what makes you you, as a separate person. But it's a tricky thing. Because some part of it may be the core of your personality, and some part of it may be things you've taken on from your environment, like a hedgehog romping through a pile of leaves. Identity is then a combination of self and environment.

You could call this Yang, maybe even male, if you want. But that's not the point. Identity plays a big role in why a self and self conception exists. But it's also what makes you feel lonely. Somehow you need to balance Union and Identity to be together with someone without giving up on your self. It's about striking a balance, and a lot of people find that hard to do.

If you let Volume 9 fully impact you, you will see that Union and Identity are concepts woven into it, deeply and meaningfully.

Take Kikuchi. From Volume 7 onward she takes on more Identity after initially being portrayed as an ideal safe space, a Union transcending what is possible for humans. Tomozaki's angel comes down to Earth, revealing her own motivations and drives, like wanting to live in a world with ideals guiding her. But she also shows she can become anxious, threatened, lonely - showing both her Identity and the weaknesses in it. She's afraid. She becomes erratic. Her balance between Union and Identity is off. She gets hurt and recoils.

Sometimes it's better to look at an extreme to understand a concept. And this extreme is Hinami. Hinami is only Identity, to an insane degree. In fact, this view is confirmed in the book itself:

"What we sensed there was nothing other than madness."

Ashigaru-san and Fumiya take a real look at Hinami, they convey the author's verdict. If Identity completely takes you over, you lose something that is fundamental to being human. Identity of the extreme degree starts to crowd everything else out in the name of overly focused, one could even say one-pointed, reason.

Her extreme driven-ness, her needing a reason for everything, crowds out any impulses she could get from intuition or the heart and supplants them with her abstract goals. More about that in a moment.

And finally on to Fumiya. He has a strong Identity, but pay close attention to the concept of what he "truly wants." As he confronts his fear of being lonely because of his very individualistic nature, he struggles both with his Identity but also his desire for Union. He can be alone. That's not the point - he's off track. But his desire to live life fully participating in it will require for him to balance this Identity with Union. And he's been committed to it since, let's say, Volume 3. Because what he truly wants takes him away from Hinami's control.

[EDIT:] After re-reading the ending of Volume 9 and Fumiya's thoughts about Hinami and Kukuchi-san, I want to add that while Kukuchi-san and Tomozaki have some balance in their Union-Identity setup compared to Hinami, both are lopsided. Fumiya makes this apparent by how he speaks about Kukuchi-san: He thinks she could, if he let her, break down the line (and barriers) between them. This means, he clearly assigns her the role of being Union-biased. He assigns himself the role of being lonely, separate, different, and behind barriers - he indirectly identifies himself as Identity-biased. Such biases are quite common.

Truly balanced people that have the right amount of core identity are rare. They can have strong personalities that still invite people to come closer to them. And by what Fumiya spells out for us it's clear that neither of them is such a personality. What he only partially gets is that love is the propellant that coaxes every human being towards this balance - and usually people draw opposites to themselves to balance things out. Very often this can show as co-dependence, but even in healthier relationships people are often called to change to reach a common ground together. If they fail to do this on too many counts, the relationship dissolves or deteriorates. But to be fair - even our overly smart Tomozaki is too young to know this.

This is played out very well in Volume 8. Kikuchi-san is jealous and insecure because her Identity is underdeveloped. And thankfully she does not simply succumb to the temptation of jealousy by erecting a wall around herself and her beloved just to avoid getting her weakness irritated by the outside world. Fumiya in turn has an overdeveloped Identity, so he is used to be a free-roaming particle with no responsibilities. He has yet to learn about togetherness and further stages of growing a relationship. This is what makes the final chapters of Volume 9 so satisfying. What these two do there is actually way too deep for a simple teenage romance, for a first love. They transcend into a higher level of relationship before they ever exchange their first kiss. A bit much, but that's how the series rolls. I like it.

Who holds the controller?

There's no parity between the three characters, but the cause is not what Kikuchi-san thinks. All of them are human, but only one of them is deeply flawed. And that is Hinami.

The end of Volume 9 drives this home bluntly and hard when Fumiya confronts Aoi. He wants to participate in life instead of watching from the outside - he wants to not only hold a controller and control his life like somebody else's experience, he wants to be in the game of life. It was left unclear for nine books why Minami was guiding him, and the revelation is very fitting and yet also very stunning.

Hinami only cares about being correct. She tries to overcome her inner lack of self-validation by proving to the world in every possible way that she's correct, that her approach to life is best, optimal, correct, validates by cold, hard facts. Correctness becomes her mad replacement for things like being content, happy, lost in the moment - the things that make life enjoyable. She didn't want to give Tomozaki a better life. She wanted to show him that if she took control of his life, if she held the controller, applying her methods, she could validate them as objectively correct. But the only thing that would do is serve her extreme concept of how to deal with a lack of self love.

She doesn't care if that hurts people. She dismissed earlier her own attempt to mess up Tomozaki's relationship by giving horrible advice, and Fumiya told her that he had to limit their contact before he would end up hating her. And when Fumiya lays bare her cold, rational approach devoid of any notion of care for him, the game ends, basically it means he unplugs the controller she used to steer him.

This is the struggle between the ego and the soul, the mind and the higher self. Tomozaki (the soul) takes the reins back because Hinami (the thinking mind) cannot be entrusted with them. His approach to life is too soulful. He acts on hunches, what he truly wants, on impulses from inside, he cares. His desire to participate in life instead of just manipulating himself like a character in a game makes him what he is, a person with a degree of intuition and somebody who truly connects with people. He doesn't figure them out like Minami. People love him because he actually cares inside. And it shows.

This is why you are wrong

Tomozaki thinks it was Hinami who added color to his world. I don't think he could be further from the truth. She is not the cause. Her prodding is a trigger - which is not the same as cause and effect. As soon as Fumiya engaged with the world it took on color. But this is not her doing. You can chill, Kikuchi-san. Both of y'all, Fumiya too. Fundamentally engaging with life is what makes a person grow and become beautiful to others, give them a soulful shine others can see.

Yes, Fumiya was indeed faking it for a while until he was making it. But the people in his life all saw through the fake and found the person behind. He did the work to clear the minimum threshold, but nobody likes him because of a cultivated mask or persona. That's why Mizusawa reminds him to be real, to not go for formalities. He recognizes to some degree that Tomozaki has the potential to be truly himself, and if you pay close attention, Mizusawa is already taking that as an example for leading his own life. Their relationship has changed balance.

But being wrong is what makes for interesting conflicts. Towards the end of the book it seems like we steer towards the inevitable conclusion that Kikuchi and Tomozaki will break up because their beliefs do not align. She wants to be ideal, she wants to be special, she values those things over emotion. Tomozaki, however, seems incapable of giving that.

What follows next goes way beyond teenage romance. Here we see two people fundamentally growing up. Fumiya learns that there are things he can't cut out of his life. Like Mimimi and the bonds of friendship. He's a social animal at heart, he just never realized it. He treasures his friendships. And yet he was daring to be so wrong about it that he would change that to make someone else happy.

Both Mimimi and Fuuta stay his hand. And Kikuchi gets off the high horse of ideals and makes choices for herself, stops being so passive, puts a stop to Fumiya having to enact her values. She choses to honor the emotions that they have for each other even if they are imperfect, she risks being even more vulnerable, she risks everything. She defuses a conflict that seems inevitable by making a true choice concerning her own priorities, the beliefs beneath them, by committing to what's in her heart.

For a long time the story focused on the lower emotions. What you often resort to when you are lonely, hurt, feel weak, exposed, unsure of yourself and the other. Jealousy, fear, running away. But these are not the only emotions that exist. There are lower and higher emotions. We often place the heart below the mind just as in our bodies, but love transcends. Love breaks down barriers. And this is how Kikuchi grows as a person and their relationship with each other deepens.

But let me add another thing. Teen-centric stories often focus on misunderstandings as the driver of conflict, and when they are resolved, the conflict resolves. This makes sense as poor communication drives a lot of human conflict and teenagers have yet to learn the art of relating to others, but Bottom-Tier Character Tomozaki takes it to another level. Kikuchi and Tomozaki are still in conflict after having resolved most of their misunderstandings. They have arrived at a certain understanding of themselves and each other. And yet there is conflict. And that is the conflict Kikuchi's choices resolve.

At the end of Volume 9, their relationship has become real. They commit to each other and their feelings, they are vulnerable and trusting. They have navigated a struggle with the carnal underpinnings that accompany love but also exist outside of that. At the end of Volume 9, Fuuta Kikuchi is a character that is also a person, capable of holding contradictions within herself.

Her humanity eclipses that of Hinami, at least in the sense of becoming and being a healthy human. (After all, being flawed is also very human.) There's a real reason why she stands by Tomozaki's side and he by her side, for all their differences. The story has fully embraced the struggles to balance Union and Identity, mind and soul. It rejects the notion of things being fated or a special initial moment being what defines a relationship.

Love is shared experience.

The symbolism makes this very clear as both Fuuta and Fumiya talk about the meaning of those old, notched school badges that they were given. Others imbued them with a legend that being given those gives you a lasting relationship. But what they both realize is that the experience of having been there while these notches and scratches were made, together, is what forges something that lasts. They redefine what is special - and maybe they also let go of the notion of "special" to an extent.

And now I have to wait 6 weeks for another installment. At least that means I can sleep better now instead of holding my breath for what happens next...

#bottom tier character tomozaki #light novels #fuuta kikuchi #kikuchi-san #kikuchi fuuta #union vs identity #mind vs soul

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blfanfest · 2 years ago

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Jack o' Frost

📢 EPISODE LINKS | Jack o' Frost 🇯🇵 New episodes every Friday via GagaOOLala #ジャックフロスト #JackOFrost

Details Title: ジャックフロスト Also known as: Jakku Furosuto, Jack Frost # of episodes: 6 Air dates: Feb. 17 – Mar. 24, 2023 Genres: Romance Director: Yasukawa Yuka, Takahashi Natsuki Adapted from: – Country: Japan Watch via: GagaOOLala Summary This follows the story of illustrator Okusawa Ritsu and salesman Ikegami Fumiya. They met at an old coffee shop and eventually fell in love and lived…

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#2023 BL Series #Amnesia #GagaOOLala #Jack o&039; Frost #Japanese BL #Ongoing #Second Chance #Unrequited Love

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project-sekai-updates · 2 months ago

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9月27日（金）19:30より『プロセカ放送局出張版 in 4th Anniversary 感謝祭』を生配信📺

礒部花凜さん、鷲見友美ジェナさん、今井文也さん、廣瀬大介さんが出演✨ぜひご覧ください🌈

YouTube Live：https://youtube.com/live/0f2gpuwvS1g ニコ生：https://live.nicovideo.jp/watch/lv345786796

[Google Translated Vers.]

Friday, September 27th, from 19:30

Live broadcast of "ProSeka Broadcasting Station 4th Anniversary Thanksgiving" 📺

Karin Isobe, Tomomi Jenna Sumi, Fumiya Imai, and Daisuke Hirose will be appearing ✨ Please check it out 🌈

YouTube Live: https://youtube.com/live/0f2gpuwvS1g

Nico Live: https://live.nicovideo.jp/watch/lv345786796

#mod minori #official #project sekai #jp sekai #source: twitter

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geidaicomposition · 3 years ago

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Campus Concert 2021 - Department of Composition -

Dates: Tuesday, November 16 & Friday, November 19, 2021 14:00 -

Venue: Sogakudo Concert Hall (Admission Free)

Program:

1. Terumasa Sugiura: Kryptos in the VAPE for Special String Quartet

Vn. Kentaro Shimizu E.Gt. Yudai Sugita Shami. Sayo Komada E.Ba. Asuka Kitajima Cond. Minami Suda PA Kohei Iseki

2. Yuna Kadowaki: Mingling with memories

Vn. Mai Ohtani Vc. Sakumi Ohmori 17 string koto Aoi Uyama

3. Ayane Nakase: Invisible Lights for Bass Flute and Bass Clarinet

B.Fl. Jun Nakamura B.Cl. Chiaki Saito

4. Hiroki Tanaka: Duo for Shakuhachi and Doublebass

Shakuhachi Fumiya Shono Db. Asuka Kitajima

5. Kaho Matsuoka: Water surface

Perc.1 Yuta Yanagisawa Perc.2 Yuya Homma Perc.3 Tatsuya Homma Perc.4 Mei Murase Cond. Ayano Yoshizaki

6. Megumi Mori: A little prayer - UNARI -

Org. Keiko Kato Tp.Ⅰ Saya Moriya Tp.Ⅱ Rinka Sunose Perc.Ⅰ Kimiya Kobayashi Perc.Ⅱ Kana Narita Cond. Minami Suda

7. Takumi Uchida: Katamuita Yozora no Shita de for Mixed Chorus and Piano

Sop. Yuuka Yasue & Yumeno Ishiyama & Yuki Senju Alt. Naori Tomita & Kotomi Ariyoshi & Kaori Shimizu Ten. Haruki Kawamura & Hironobu Yoshida & Kaito Fujita Bas. Takumi Wada & Naoyuki Hiramatsu & Jun Sahashi Pf. Yoshia Hirano Cond. Takumi Uchida

Friday, November 19 − Day 2 −

1. Toshihiro Nakamura: The Little Match Girl ii (or about the immortal child) for keyboard player and electronics

Pf. Toshihiro Nakamura

2. Ryuta Higashi: asura for Piano

Pf. Masato Watanabe

3. Hiroki Karatsu: Trio for Flute, Violoncello and Piano

Fl. Kaoru Miyagi Vc. Koichi Fujimori Pf. Hiroki Karatsu

4. Motonobu Goto: Sketching the Furthest for marimba solo

Mar. Yota Iida

5. Mayo Kurihara: The track 〜Calligraphy〜

B.Trb. Kazunari Ooseki

6. Chisaki Shimazu: Sedna for string quartet

Vn.1 Reika Shimizu Vn.2 Fuyo Fukuyama Vla. Riko Eto Vc. Soshi Hara

#2021english #concertenglish #educationalenglish #recentenglish

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t-u-i-t-c · 6 months ago

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help, people don't know fumiya friday is about fumiya hoshikawa from chikyuu sentai fiveman

#you don't know fumiya? my beloved fumiya?#linguistics genius and youngest of the hoshikawa siblings?#the bicon? the style icon who spends all his money frivolously?#you don't know fumiya? sad #umbrella.reflection #umbrella.other

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sexy-sexy-boy · 6 years ago

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Fumiya Tanaka - AB/CD my friday . #fumiyatanaka #techno #minimaltechno #techhouse #minimalhouse #microhouse #dj #japanese #clubmusic #electronicmusic #vinyl #records #ep #12inchvinyl https://www.instagram.com/p/Boi1NKxnOdCj1OvHVh47BYB5npf4VpWgnq-myo0/?utm_source=ig_tumblr_share&igshid=whonp1df740d

#fumiyatanaka #techno #minimaltechno #techhouse #minimalhouse #microhouse #dj #japanese #clubmusic #electronicmusic #vinyl #records #ep #12inchvinyl

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recentanimenews · 4 years ago

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Cute Critters Hang Out in Anime Kapibarasan Teaser Trailer

A very mellow new teaser trailer has been published for Anime Kapibarasan, an upcoming short form TV anime that celebrates the 15th anniversary of the popular mascot character created by BANDAI SPIRITS. The trailer (below) is narrated by Fumiya Takahashi and Yūichirō Umehara, who are also the main narrators of the show.

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Anime Kapibarasan follows the daily adventures of Kapibarasan and his animal friends as they chill out among the Midorino Grasslands. The series is directed by Tomohiro Tsukimisato and features animation production by Shin-Ei Animation / Lesprit. Anime Kapibarasan will broadcast on TV Tokyo and other stations as part of the Kinder TV programming block on Fridays during the 7:30 time slot beginning on October 09, 2020.

Source: MoCa

---

Paul Chapman is the host of The Greatest Movie EVER! Podcast and GME! Anime Fun Time.

By: [email protected]

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

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ithiroki · 5 years ago

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PUNPEE　DJプレミアを語る

PUNPEEさんがJ-WAVE『SOFA KING FRIDAY』の中でDJプレミアについて特集。プレミアのビートの特徴やおすすめの楽曲について話していました。

（PUNPEE）お送りしたのはナズで『Nas Is Like』、プロデュースはDJプレミアでした。もう何回かけているのかわからない感じのこの曲ですけども、かけさせていただきました。

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メッセージです。今年の5月に来たメッセージなんですけども、学生の方。「Pさん、こんばんは。僕はいまレコード屋でバイトをしているんですが、素人なのでレコードの知識が一切ありません。ヒップホップのおすすめレコードなどありましたら教えてください。PS.　Pさんの普段かけてるメガネのブランドも教えていただけると嬉しいよ」。フフフ、「嬉しいよ」っていきなりのタメ語っていう（笑）。ありがとうございます。なんすかね？　たぶん普通にいろんなところにあるALOOKっていうメガネ屋さんで似たようなやつを買ってます。

で、今週は特に話すこともなく……話したいけど話せないこともあったりするんで。今週は「ヒップホップのレコードの知識」っていうことをこの方も言ってくれているので、自分とかほぼ同世代のヒップホップを始めた人だったり、聞き始めた人だったらだいたい影響を受けているDJプレミアについて話そうと思います。最初にかけたナズの曲もプロデュースしていて。言ったら後ろのトラックですね。ヒップホップの場合、だいたい後ろのトラックを作っていると「Beats By」とか。主には「Produced By」ってクレジットに書いてあったりするんですけども、そのビートを作っている人でDJプレミアっていう人です。

ONE & ONLY-MIXTAPE

posted with amazlet at 19.09.21

DJ PREMIER & DJ SMOK JWS (2018-12-07) 売り上げランキング: 149,350

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自分が結構いわゆる「ドープ」っていう風に言われているものにいちばん最初にやられたのってこの『Nas Is Like』っていうナズの曲で。1998年か99年ぐらいに出たやつだと思うんですけども。その前にもビースティ・ボーイズとかサイプレス・ヒル……サイプレス・ヒルもドープなんですけども。ちょっとオルタナティブな流れから来たヒップホップを聞いていたんですけども。そのどす黒い、本当にザ・ストリートっていう感じのヒップホップでいちばん最初にハマったのってこれだったような気がしていて。

といっても、その時もパフ・ダディとやっていたりして、さらに固い人からはいろいろと言われていたりもしたんですけども。DJプレミアは別名が「プリモ」だったりとか。たまに日本では「ポメー」って言われていたりとかして。「プレミア」って言っているサンプルをボタンを連打していると「ポポポポ……ポメー」みたいな感じになって。たまに本人がサウンドエフェクトをサンプラーで押していたりもした気がするんですけども。

もともとグールーっていうラッパーとギャングスターっていうグループで後ろのDJをやっていて。グールーは最初は違う人とグループ組んでいたんですけども。そのテープを聞いて、その2人でグループをやるようになったという。「DJ」っていうけど、その後ろのバックDJもやってますが……もちろんDJもやるんですよ。自分のプロデュースした曲で。ターンテーブルを2台置いて。普通はターンテーブルを2台並べたその間にミキサーを置くのが主流なんですけども。プレミアは右にターンテーブル2台を置いていちばん左にミキサーだった気がする。しかも縦置きじゃなくて横置き。

そういう人なんですけど。でも、自分の世代の人たちからすると「またプレミアの話？」みたいな感じがすると思うんですけど、いま自分のラジオにメッセージくれている人ってたとえばいままではあんまりヒップホップを聞いたことがない人だったり。あとはハタチとか、これからビートを作り始めますみたいな人が1周か何周かして増えてきていて。たとえばいま、ハタチとか22歳ぐらいの人って生まれたのが1997年とかだから。リアルタイムでプレミアとかDJプレミアがプロデュースしたグループホームとかギャングスターとか通っているはずがなくて。

自分はだいたい99年、2000年ぐらいに知ってそこから掘り始めた、ディグし始めた感じなんですけども。なんかたまーにそういうのに詳しい人を呼んだり、OMSBとかもすごいプレミア詳しいし。いろんなプロデューサーの人について、影響を受けた人についてたまに1回分の枠を使って。ファレルやバックワイルド、ピート・ロックとか、サラーム・レミとか。いろんな、プロデューサーっていうヒップホップで後ろのバックトラックを作る人って大事だったりもするので。そういうのも今後、たまに話せたらなとか思って。今日はプレミアっていう感じで話していこうかなっていうか。後世に……そんなに詳しくはないですけども、概要とか、こんなところにやられましたっていう個人的な思いだったりを話していこうかな、みたいな感じで思っております。

で、そのDJプレミアって自分が思うに何個かにスタイルが分かれているような感じがして。いちばん最初は割とサンプル、サンプリングのネタ。昔のジャズとかソウル、ファンクのネタをループさせてトラックを作るっていう手法もあるんですけども。サンプリングのネタを結構そのまま使う感じの手法。それでグールーの男の一本の、まったく重ねないラップがかっこいいギャングスター（Gang Starr）。そういうグループがあったんですけども。

自分はその頃のプレミアで好きなのは『Just To Get A Rep』っていう曲で。昔、なんかスケボーのプレステのゲームで使われていたりした気がする。ファットボーイ・スリムとかも同じネタを使ったりしているっすね。これです。

Gang Starr『Just To Get A Rep』

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この頃は割と結構そのサンプリングソースをまんま使ってドラムを乗せて……っていう感じだったと思うんですけども。その後、1994年に出たジェルー・ザ・ダマジャっていう。この人もDJプレミアの周りのギャングスターファンデーションっていうクルーに所属をしていたラッパー。日本の漫画、アニメ好きのおっちゃんなんですけども。いま考えたら、いまのUSのラッパーの人とかってみんな日本のアニメとか漫画が好きって言っているっすけど、その元祖かもしれないっすね（笑）。当時は「えっ、ジェルーはそんなの好きなの？」なんて。ボトムズが好きだったりとか、結構言っていましたけども。いま考えたらそのパイオニアなのかもしれない。うん。

その人に提供した『Come Clean』ていう曲、当時の人は「何だ、これ!?」ってなったらしいんですよね。言ったら「水滴の音をサンプリングしているんじゃないか？」って。「ポーン、ポーン、ポロン……��」みたいな。

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後々、これはたしか木琴かなんかだったんじゃないかな？っていう話になったんですけども。いま思うと、そんな気もしたんですが。「なんだ、これ？」っていう衝撃がそこで……それが次の転換期というか、そういう感じのような気もしていて。で、だいたいいままでに続くその後の伝統的なもう1個の形を作るんですけど。それは、厳密に言うとこの時点でその前からやっていた人もいるかもしれないですけど。「チョップ」と「フリップ」っていう方法をそのヒップホップの中にブワーッと広げた人がプレミアなんですよね。

言ったら、最初はたぶん昔の曲のネタをサンプリングをする時って著作権料を払わずにやっていたり。それで訴えられたりっていうようなことが90年代によく発生していて。もともとアンダーグラウンドのカルチャーだったからみんな無断でやっていたと思うんですよね。いちばん最初の方って。レコード屋もそのレコード、お客さんが尋ねないと店頭に出さない、みたいなことをやってた時期もあったらしいし。なんかそういうブート盤とか、結構グレーなところでやっていて。

でも、そのネタを超細かく刻んで分かんないようにフリップ……順番を変えたりしたら大丈夫なんじゃないか？っていうところから、たぶん生まれたんじゃないかっていうのが一説で。なんかすごい黒人の方っぽい発想っていうか。「楽器がないからレコードプレイヤーを楽器にしてDJが始まった」なんていうのに近いのかな？　なんて気もするんですが。それで、そのチョップっていうのは本当に元のネタが持っている良さとは全く違うかっこよさ……無機質な感じのものに変えたというか、そういうような手法を割と大きく広くひろめたのがプレミアっていう認識で。

そこからはいまに至るまでバンドをやったりとか、いろんなやり方も変わっていってると思うんですけども。そういう人です。で、自分がビートを組みはじめた時に結構衝撃を受けたのが、ギャングスターの『Moment of Truth』っていう5枚目のアルバムがあって。そのアルバムが割とチョップ＆フリップの初期の到達地点みたいな感じで自分は思っていて。そこに入っている『You Know My Steez』っていう曲があるんですけども。それの元ネタってこんな感じなんですよね。

チョップ＆フリップの手法を広める

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これをこの部分だけ使って組み替えるとこんな感じになるっていう。

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もともとはメロディーがあったり、メロウなものなんですけども。それを無機質なかっこいい、なんか怪しいものに変えてしまうっていうのが結構衝撃的だった気がする。で、これ、「何回も聞いたよ、この曲！」って。自分たち世代からすると耳タコぐらいの感じだと思うんですけども。その後にギャングスターの出したベストに入っている『Full Clip』っていう曲も割ともともとメロディーのあるこういうサンプリングネタを……。

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それを切り刻んでこんな感じにしているんです。

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で、もともとこの前にもグループホームの『Supa Star』っていう曲だったり、もっとチョップしている曲もあるんですけども。

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音質とかスクラッチの感じ、ミックスの感じとかも自分はここで1個、到達しているんじゃないかな？っていうアルバムが『Moment of Truth』です。で、『Moment of Truth』を経て、自分の好きな曲。Royce Da 5’9”っていう人……エミネムともともと同じ出身のラッパーの人がいるんですけども。その人、『Hip Hop』っていう曲があって。その曲ももちろん好きなんですけども。やっぱりいちばんヒットした『Boom』っていう曲があるんですよね。これもチョップを使っていて。元ネタはこんな感じ。

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それを「ああ、ここを切る？」みたいなところをループさせてかっこいいビートにしているっていうのがこの『Boom』という2000年ぐらいに出た曲です。というわけで、聞いていただきましょう。Royce Da 5’9”、プロデュースはDJプレミアです。『Boom』。

Royce Da 5’9”『Boom』

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（中略）

（PUNPEE）お送りしたのはギャングスターで『Ex Girl to Next Girl』でした。たぶんそのアナログバージョンになります。

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今回はDJプレミアのことを話していて。特にいま、プレミアになにかがあったとか、そういうことではないんですけども。たまーに自分の好きなプロデューサーの人とかを1回まるごと話したり、それに詳しい人を呼んで話たりするのも面白いかなと思って、プレミアを選んでみたりしました。

なんでいまの曲をかけたか？っていうと、これは割とチョップとかの前の時代のプ��モだと思うんですけども。スクラッチですね。プレミアのひとつのシグニチャーとしてスクラッチ……ハメる系の、決して「チャカチャカチャカチャカ……」みたいな速いとかテクニック系のスクラッチじゃないんですけども。なんかハメていくんですよね。で、それが毎回センスっていう感じを感じていて。

プレミアのハメる系スクラッチ

Dilated Peoplesっていう西海岸のすごいかっこいいグループがいるんですけども。もちろんプレミアよりも後輩の世代で一緒に曲を作るってなった時にそこのDJに人が「プレミアはスクラッチ部分で何をハメるのかを決めるのに1日かかった」っていう風に言っていて。

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結構、そのプレミアがプロデュースした曲のサビって、もちろん盛り上がる感じで歌っていくフック、サビもあるんですけども。スクラッチがフックの曲っていうのも結構あって。スクラッチがサビっていうか。バースが終わってラップをし終わったら、サビがスクラッチ。いまはあんまりないかもしれないですけど、この時代というか昔はよくそういうのがあって。そこでどんだけかっこいいスクラッチを昔のネタから持ってこれるのか？っていうのは結構あった気がするので、かけさせていただきました。

この曲、『Ex Girl to Next Girl』のスクラッチはRIPSLYMEのDJ FUMIYAさんがFRONTかBLASTという雑誌で「このスクラッチ、俺は全部コピーしてこすれる」みたいに言っていたのが結構印象的で。「おお、ヤベえ！」みたいな感じで自分も真似をした記憶がありました。

で、もちろんプレミア氏はヒップホップ中心でBumpy Knucklesっていうのでフレディ・フォックスと一緒に作ったり。もちろんグールーともギャングスターで作ったり。……もうグールーさんは亡くなってしまったんですけども、ギャングスターファンデーション、自分の周りのクルーと作る時が多いんですけども。やっぱりいろんな……もう職人技だから。いろんな界隈の人からすごいリスペクトされていて。

クリスティーナ・アギレラのアルバムで割と4、5曲ぐらいやっていたんですよね。2003年ぐらいかな？　それは結構衝撃的で。「えっ、クリスティーナ・アギレラのアルバムでDJプレミアがやるの？　うおお、聞いてみてえ！」って。どうなる��すごい楽しみで聞いたら、めちゃめちゃかっこよくて。自分もよく、シングルで切られた曲を『SOFA KING』のBGM、インストで使ったりもしているんですけども。その切られた方じゃない、『Thank You』っていう曲があって。それが個人的にすごい好きで。

言ったら、それまでのヒップホップのプレミアの手法みたいにクリスティーナ・アギレラの昔の曲のアカペラをイントロでこすっているんですよね。『Genie In A Bottle』のフレーズとかでこすっていて。「うおお、かっけー！」って。なんかこう、歌が上手い人とちゃんとヒップホップの伝統的なのをやっている人が合わさってもちゃんとかっこよくなるんだなっていう衝撃をこの曲を聞いて受けた気がする。なので、クリスティーナ・アギレラの『Thank You』。これもDJプレミアプロデュースです。聞いてください、どうぞ。

Christina Aguilera『Thank You』

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はい。聞いていただいたのはクリスティーナ・アギレラで『Thank You』でした。結構1回の30分で全部を話すのは不可能なぐらいの感じだと思うんですけども。やっぱりこの太いドラムの感じと、低音だけじゃなくて実はスネアだったり、ネタの高いところの部分がすごい気持ちよく出ているんですよね。で、他の人に提供したプレミアの作品を聞くとだいたいかっこいいんですけど、たまに全然音質というか、全盛期のプレミアっぽくないとかがあって。それはそれですごいかっこいいんですけども。やっぱりエンジニアをやっていた人の力も結構でかかったのかな？って思って。エディ・サンチョっていう人がやったりしているんですけど。

その人のミキシングの技術もすごいでかかったのかな？って思ったりしました。そんな感じのプレミアをひたすら話す回だったんですけども。たぶん自分なんて全然ペーペーで。もっとフリークの人が日本中にいっぱいいると思うので。なんか「お前、これを忘れているよ！」みたいなのがあったら全然言ってください。教えてもらえたらと思います。

いろんな自分のプリモの好きな曲って、もちろんさっきかけた『Moment Of Truth』とかいっぱいあるんですけども。たとえば、ZEEBRA氏とかとも一緒にやったりしていて。『THE UNTOUCHABLE』っていう曲……弟5lackがラジオに来てくれた時にかけたりしているんですけども。世界中のいろんな人とやったりしているし。

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でも1個に絞れって言われたら確実に無理だと思うんですけども……なんだろう？　レディ・オブ・レイジの『Unfuckwitable』っていうやつで。スヌープ・ドッグのコンピレーションに入っているやつで。これ、あんまりそんなの「好き」っていう人を聞いたことないですけども。このビートが結構好きで。それを最後にかけて終わろうと思います。他にもビギーの、結構前にかけた『Unbelievable』とか『Kick in The Door』とか。あとはAZの『The Format』とかも好きなんですけども。

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あと、ナズの『N.Y. State of Mind』とかもすごい好きなんですけども。謎にこれをかけて終わろうと思います。というわけであなたの親愛なる隣人の凡人、板橋区のダメ兄貴ことPUNPEEがお送りした『SOFA KING FRIDAY』、今回もこんな感じ。では次回。さよなら、さよなら、さよなら……。

Lady Of Rage『Unfucwitable』

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＜書き起こしおわり＞

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