#in a parallel world he is a famous olympic gold medalist

[accio-victuuri]

hello to this really wholesome tag on hot search right now. 👋🏼👋🏼👋🏼

it’s about the captain of the Chinese synchronized swimming team, Feng Yu, who will serve as flag bearer for the Chinese sports delegation at the opening ceremony of the Paris Olympics. people found that she has posted about yibo a couple of times. for example praising hidden blade movie and his contemporary dance.

WYB is no stranger to athletes being fans of him — from Li Mengwen, Yang Min, Luo Tiantian and others + Su Yiming who he seems to be friends with. He really attracts that kind of energy and they recognize his persistence in being excellent at what he does. A true role model! The meaning of what it is to be an “idol” is truly seen in Bobo. He is also really effortless at this because it’s his default — he will always give his audience the best performance. 🙌🏼

[tadakixd-blog]

Keiichi Yano’s World of Figure Skating Music

Long time no translate XP This is an article about Keiichi Yano, a well known sound designer amongst Japanese skaters. This article is part 1 of a two(?) part series published in Victory Sports News.

After that the email discussions continued. Things like "Here I would like another 5 seconds" and "At the end, I want to raise the tempo so slightly that you hardly notice it and finish it within the time limit". As his practice progressed on, with things like "At the end I would like to have Taiko drums" and "I want to add a 'space' here", in total Yano made 33 versions of SEIMEI.

In which we learn how Yano became the go to sound designer, and also the difficulties with music copyrights. 

Full translation under the cut. (and spot the many links I’ve included XD)

(Courtesy of Victory Sports News)

The world of "Figure Skating Music" that sound designer Keiichi Yano has spun (Part 1)

There is a person in the world of Japan's figure skating, and that is Keiichi Yano. Be it competitions or ice shows, his work involves every aspect of the sounds that play at the venue, and that's not all. He has done sound editing for top skaters like Yuzuru Hanyu and Shoma Uno, and in some cases has created a song from scratch. He stands right by the skaters, and through "sound", he supports their performances. This article takes a close look at his work and philosphy.

---- Text by Yamane Itou

From Sounds to Music Editing

(Courtesy of Getty Images)

Mr Keiichi Yano; At most, his main job is being the venue's "Sound (PA)" (t/n: sound engineer). Having more than 30 years experience in the business with figure skating, during world competitions he can have more than 300 pieces of program music in 100 groups under his management. Those involved in the event, especially the skaters and their coaches have placed in him their absolute trust when it comes to adjustments prior to the event and the rehearsals just before the competitions, as well as the minute details of the actual performance.

He first became directly involved in program music when he worked with Midori Ito, the silver medalist of the Albertville Olympics. Then he was working as an engineer affliated with Yamaha, in charge of recording and mastering original music. It was a huge undertaking where he would re-record what Yamaha music students would compose on the Electone into full orchestral music. (t/n: Midori Ito had skated to at least 10 songs that were composed by these students, see wiki article above)

After that, although his work with figure skating continued, he was troubled by the music that played at the venues. The sound quality, volume, the way the music was cut, he found it all poorly done. Just as he thought "isn't there anything that can be done about this?", he received word from the skater Shizuka Arakawa. She wanted to increase the volume of the beginning of her song in the long program.

During the Torino Olympics too, Yano had a hand in her chosen piece "Turandot". It goes without saying that he was overjoyed with Arakawa's gold medal. Having been stretched for time while editing the music, it was a moment where (he felt) his efforts paid off. (t/n: Shizuka originally used Turandot as her SP before switching it to her LP mid-season, hence he did not have much time to re-cut the music)

"Recently I have been making more songs from scratch. Where jumps should be placed, where spins should be placed - those discussions come afterward. It seems that without creating a complete piece of music, the choreography cannot be determined."

He starts off from the so-called "drawing block" but following that, through discussions with the choreographers and skaters, he comes up with the finalised piece of program music. His job comprises all of that. In figure skating competions, the winner is determined by the combined score from the Short Program (SP) and the Long Program (LP). The SP is 2mins50secs, and the LP is 4mins30secs for men and 4mins for ladies. Within these time limits, he has to design a complete, original piece. 

There is an unending list of skaters and coaches who rely on Yano's music editing. Occasionally skaters even visit his personal editing studio. Kozuka Takahiko's "Respeto y orgullo (Farruca)" too, was finished in his study.

"It's actually easier for me if they come over, because then I can create a piece that that individual person is most satisfied with on the spot."

Combining 7 songs, Hanyu Yuzuru's SEIMEI

(Courtesy of Getty Images)

That Yano cut the music to Hanyu's program SEIMEI from the soundtrack of the movie Onmyouji is a well known fact amongst figure skating fans. It is said he was sent a proposed demo track from Hanyu beforehand.

From Hanyu came the simple request of 

"I definitely want to use music made from the Ryuuteki with the main theme of Onmyouji. Beyond that, I leave it up to you." 

From there Yano picked songs from 2 albums that seemed to go well with skating and cut them into one. Whilst imagining Hanyu's skating style, he combined 7 unique songs.

"In his case, he is very particular about music. He said "For now I will use this as the base" and went to his main training ground in Canada to begin creating the choreography for the full-scale program with his choreographer".

After that the email discussions continued. Things like "Here I would like another 5 seconds" and "At the end, I want to raise the tempo so slightly that you hardly notice it and finish it within the time limit". As his practice progressed on, with things like "At the end I would like to have Taiko drums" and "I want to add a 'space' here", in total Yano made 33 versions of SEIMEI. Remembering that time, Yano laughed.

"The requests kept piling up. But, I am also a professional and I won't say I can't do it."

In the middle of the program, there was a point that became a topic of discussion amongst fans. It was the part where 2 pieces of music from different albums were joined and cut together into 1 piece. It was a suggestion from the choreographer Shae-lynn Bourne. The piano and ryuuteki were playing the same melody, but the pitch and the tempo were completely different, and it was certainly not an easy task to combine them together. Yano had to work extremely hard to put up that beautiful part of the piece.

Not an original music but as "one creation"

(Courtesy of Keiichi Yano)

In program music there are original pieces of music, and thus there are composers involved too. When it's Chopin or Puccini, there is no real need to take special measures. The problem arises when the composers involved are still active in the field. By the way, "Onmyouji" is Shigeru Umebayashi's work. I tried to explore the above point a little further.

-- Have you spoken to the composers of the original piece of music?

"I don't particularly speak to them. If I arranged the music weirdly then they might complain about it, but if it's executed well then it doesn't really become much of a problem. I would be grateful if they could understand it as "one creation of figure skating".

Up until now, between the two responses, there have been more people in favour (of Yano's work) than not. For example, when Daisuke Takahashi used the accordionist COBA's song too, a large part of it had been edited.

"I wondered if it would turn him off but the download numbers of the original piece increased and instead he was grateful for it. After that, there was a dialogue event between Takahashi and COBA and they even planned a combined performance during a show. They developed a very good relationship with each other".

"Hope and Legacy", Courtesy of Hisaishi Jou

(Courtesy of Getty Images)

When Hanyu brought Hisaishi Jou's song to me, everyone around me became flustered. Hisaishi is the composer who represents Japan, and he's famous for his works for Studio Ghibli's animations.

"I can make it but I told those around Hanyu who assist him 'Please get permission alright?'. The editing ran in parallel with that process."

There was a reason why Yano said that. Prior to this, Takahiko Kozuka himself had edited a piece of Ghibli's music without obtaining permission to use it, and had to go through a series of events to re-record it for use in his program. (t/n: Kozuka skated to Fantasia for Nausicaa for his 2011-2012 skate, and it took a while for Ghibli to approve it. Hisaishi Jou apparently helped give advice on the editing though) Therefore, Yano paid careful attention to Hanyu's request. Of note, at the point in time when he was told about this request from the people involved with Hanyu, permission had not been granted.

The biggest problem was using 2 different songs and joining them together. The process of composing the songs and the concept of the songs were completely different and combining them together went against the composer's intentions. If either one of the songs were to be edited and used, then it was not like they couldn't just close one eye. But from the view point of one who cherishes the musical composition of each song, joining them up proved to be something difficult to give permission for.

This explanation that was readily acceptable by anyone involved in music. Even so, Yano looked for a way to get (the composer's) understanding. This time, with mediation from television representatives, Yano and a few of the skating representatives went to Hisaishi Jou's company to make a new request.

"(Hisaishi) himself was not around but I was able to play the actual piece I had edited for the program to the company representatives. And there (we explained) that figure skating was not for commercial purposes, but purely a form of sport. We wanted to use Hisaishi's music in one of the competition programs, and we wanted to obtain his permission to edit it in accordance to the competition time limits and performance. We told them we wanted to, once again, make this request of him, and that it seemed as if Hanyu had already formed an image (of his performance to this music) inside of him, so if somehow (the company) could convey our request to Hisaishi, (it would be appreciated)."

After that, they received permission from Hisaishi. However, this was a special exception that was only for that time and made possible through the courtesy of Hisaishi. The program song Hope and Legacy was created by interposing the beautiful piano piece of View of Silence with the exotic Asian Dream Song. This one and only gem of a program piece became Yuzuru Hanyu's representative work of art.

Soon after, those involved in Hope and Legacy were invited to a consert in Tokyo. Then, Yano was able to meet Hisaishi himself for the first time.

(The 2nd part of this article will be about the accident and surprise that occured at an ice show, and Yano's own philosophy with regards to figure skating music.)

-- End --

Bonus: You may be interested in this article by @nanoka12 from Figure Skating Life Vol. 4 :)

[blogmusicismydrugxo]

W: TWO WORLDS (2016)

Also: “W: Two Worlds Apart”, “더블유” (watch on Viki, Newasiatv or Netflix)

(Please note that Newasiantv is not an official distributor, be careful when opening their links and always use an anti-virus program when visiting the site)

Genre: romance, detective series, thriller (light)

Cast: Lee Jongsuk (While You Were Sleeping, Hymn of the Death, Romance is a Bonus Book), Han Hyojoo (The Beauty Inside, Love 911)

Synopsis: Is it possible live in the same place at the same time but in a completely different dimension? Oh Yeon Joo (Han Hyo Joo) is a second-year cardiothoracic resident doctor. Her father, a famous comic book creator, suddenly disappears one day and then Yeon Joo herself is kidnapped to a different dimension. Kang Chul (Lee Jong Suk) is a former Olympic gold medalist in shooting and self-made millionaire. He is also the main character of a comic. How will Kang Chul’s world intertwine with Yeon Joo’s other-dimension universe? Is Kang Chul the only person who can help Yeon Joo escape from a parallel universe?

Personal opinion: This show started out amazingly, with lots of tension and leaving just enough questions unanswered to keep the viewer interested. The leads have great chemistry (it’s Lee Jongsuk, of course the chemistry is stellar) and the story is innovative. After the halfway mark it all just went downhill for me. Using the same Deus ex Machina multiple times is just not something you can get away with, and the story just dragged on in the end. The show had such a great start but it felt like I had to drag myself through the last couple of episodes.

Overall rating: 6/10

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