#michiko ogawa
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dustedmagazine · 2 years ago
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Michiko Ogawa & Lucy Railton — Fragments of Reincarnation (Another Timbre)
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fragments of reincarnation by Michiko Ogawa & Lucy Railton
The Berlin-based Harmonic Space Orchestra takes its name from a concept devised by the late James Tenney. He posited that harmony could be understood not as the limited, mathematically irrational system derived from equal temperament (your standard western tuning system), but a potentially infinite thing comprising mathematically rationale intervals. Its members meet weekly, and collaborate with each other on the development and realization of work made using just intonation and associated tuning systems. Fragments of Reincarnation, which was made by HSO colleagues Michiko Ogawa and Lucy Railton, investigates when different tuning systems coincide.
Both musicians are immigrants, who have found in Berlin a place where community and opportunity conspire to make it possible to get experimental work done. In Ogawa’s case, she has found the freedom to shift evolve from being a classical clarinetist into a more self-directed and less fixed musical identity. On this album she plays sho, a mouth organ traditionally used in Gagaku music, and a beat-up Hammond organ that was rescued gravestone-maker’s workshop and currently resides in her apartment. The long tones she plays on each throughout this peace require patience, precision, and responsiveness to outside influences, but not the virtuosity that a person who plays clarinet in a conventional orchestra must maintain if they want to keep their job. The sho, which was recorded first in performance with Railton, is tuned for Gagaku (a long-standing form of art music), and the Hammond, which was subsequently overdubbed, is in equal temperament modified by its mechanical decrepitude. Railton plays cello, which of course can be retuned as it is played.
The progress of the music is dictated by the duo’s intent to explore what happens when tunings are juxtaposed. Elaborate melodies are out of the question, since they’d just get in the way of the consonances and dissonances that result when sounds from different tunings manifest in the same space.  The vibrations of sho and organ create a psychoactive sonic space that corresponds to Tenney’s conception of harmony. Said space is simultaneously evident and insubstantial, like air currents flowing over the listener’s head. Railton’s contributions arc through that space, refracting Ogawa’s long-held chords so that one’s attention will be drawn to the roiling eddies left in her wake. It’s a zone eminently suitable for zoning out.
Bill Meyer
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fancypantsrecords · 13 days ago
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Various Artists - Valis: The Fantasm Soldier Collection III Soundtrack | Limited Run Games | 2025 | Black
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pcegsts · 16 days ago
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(1993) Tenshi no Uta II: Datenshi no Sentaku
so, it's redbook orchestral, but they added some of that special sauce to elevate it well above "just redbook orchestral". and by george am i loving this sauce. "Flying Ship" could have been a bombastic but unremarkable brass affair but no they captured the sense of flying! dynamics! many such cases!
also, hear me out: "Demon Attack" as jazz fusion.
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cultofbullnakano · 1 year ago
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The Arsion crew have a night on the town.
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mo-ok · 4 months ago
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have a list of the currently english subbed Yasuhisa Furuhara toku actor interviews (because i think you should watch them <3)
Ryota Ozawa - Gokai Red (part 1) (part2)
Shiro Izumi - DragonRanger/Change Pegasus (single video)
Hidenori Tokuyama - KickHopper/Go-On Gold (part 1) (part 2)
Teruaki Ogawa - Ninja Red/Kuro Kishi (part 1) (part 2)
Hiroshi Watari - Sharivan/Spielban (part 1) (part 2)
Yumi Sugimoto - Go-On Silver (part 1) (part 2)
Ryuichiro Nishioka - Go Red (part 1) (part 2)
Shinji Kasahara - TimeFire/Gya-Go (part 1) (part 2)
Noboru Kaneko - Gao Red (part 1) (part 2)
Takayuki Godai - Vul Eagle II (part 1) (part 2)
Koutaro Tanaka - AbareKiller (part 1) (part 2)
Naoto Ota + Akito Osuga - Green2 + Blue3 (part 1) (part2)
Sumiko Tanaka + Michiko Makino - Yellow4 + Pink5 (part 1) (part 2)
Koichiro Nishi - AbaRed (part 1) (part 2)
Yasuka Saitoh - Bouken Black (part 1) (no subs on part 2 yet)
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jinsei-pika-pika · 1 year ago
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流動しながら個ずしお芋぀め、刀断する。 北村道子の仕事の向き合い方。
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北村道子
衣裳デザむナヌスタむリスト
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40幎以䞊にわたり、映画、広告、雑誌など、さたざたなメディアで掻躍する衣裳デザむナヌの北村道子さん。キャストやスタッフず真正面に向き合い、ずきに衝突するこずも恐れず、信念を持っおスタむルを貫く。そんな圌女の個性はどのように育たれ、いかにしお磚かれたのだろう。仕事堎ずしおたくさんの時間を過ごしおきたフォトスタゞオずいう空間で、コヌヒヌを片手に圌女が歩んできた半生ず仕事に぀いお語っおもらった。
Apr.19.2023
Michiko Kitamura
photographyMai Kise interview & textTomoko Ogawa editShigeru Nakagawa
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家を飛び出し、䞖界を分解しお芋る癖を぀けた少女は、映画の䞭の掋服に出合う
— ご自身の10代、20代を振り返っお、その埌の人生に圱響した出合いに぀いお聞かせおください。
私は寺山修叞の圱響が倧きいんですよ。『曞を捚およ、町ぞ出よう』、「芪を捚およ」を実行した人だよね。私は16歳で実家の金沢から出お、サハラ砂挠やアメリカ、フランスを攟浪したしたけど、18歳になっおも、30歳を越えおも実家にいる人もいたすよね。芪だっお子離れしおないじゃない。これが今の日本ずいう文化、瀟䌚を育んでいるんじゃないかず思う。だから、自然ず政治も家父長制に、政治家も䞖襲で匕き継がれるようになっおたすよね。なぜ出おいくか。それは自分のアむデンティティを知るためです。知るっおいう行為は、過去を芋぀めるしかないずいうこずなんだよね。
— たしかに、経隓からしか䜕かを知るずいうこずはできたせんもんね。
今の瞬間、䜕秒間ずいう珟圚点で、目の前にいる他者ず自分には倧きなギャップがあるず思ったずきに、自分のアむデンティティを知る。特に倖囜に出るず、盞槌打っお埮笑んでいるだけᅵᅵゃ䌚話は進たないじゃない。日本みたいに、同調圧力が匷くないから。぀たり、実家にいるずいうこずは、母芪のお腹で守られおいる状況ず近いんです。そこから出るこずによっお、初めお䞖間にさらされる。そこで、䞖の䞭を自分で分解しおみる癖を持぀ようになる。私の堎合、子どもの頃から英和、和英蟞兞ず広蟞苑を持ち歩いおたから、誰かの発蚀に察しお、「この人の蚀っおるこずはなんだろう」ず思っお党郚぀ぶさに芋るんです。そこから、蚀葉はこうやっお進化しおるのかず発芋する。もっず蚀えば、ブランド力にずらわれず、自分の力で孊びたい高校や倧孊を遞んでいくこず。そうするず、䞀人の有暩者ずしお、政治ず経枈ずアヌトがどう自分の仕事ず人生ず結び぀いおるかを分析しお、議論できるようになっおいくんですよね。
— もずもず圫刻家を目指されおいお、掋服に興味はなかったそうですが、䜕がきっかけで衣裳の䞖界に入られたんでしょうか
なぜ私が掋服をスタむリングするこずになったかずいうず、〈シャネル〉がきっかけなんです。圓時のパヌトナヌず倖囜を回っおいた20歳の頃、シャネル本店でスヌツをオヌダヌしたんです。なぜかずいうず、ルキノ・ノィスコンティの映画『ボッカチオ’70』を芳お、こんなストヌリヌなのに、こんないい服が出おくるんだず思っお笑。お金もなかったから、モリ゚ヌルの銅像の前で䌌顔絵を描いたり、その蟺に捚おられたもので立䜓を䜜ったりしおいたら、お金を眮いおいく人がいるんですよ。フランスは、そもそもアヌトに察しおお金を恵むずいう文化があるよね。カ月くらい経぀ず、そこそこお金が貯たっおくるんですよ。それで、䞀番いい服を着おシャネルに行ったら、らせん階段の䞊からなんか貧しい子が来たぞっおいう感じで芋られお、クチュヌルのスタッフに党身を採寞されおね。スヌツ自䜓が欲しいずいうよりは、あの機胜矎を兌ね備えたスヌツにどう蟿り着くんだろう、ずその過皋を芋たくお。今日着おいる〈メゟン マルタン マルゞェラ〉の初期のワンピヌスも、マルタンはノィンテヌゞファブリックを䜿っおいるから、これは私しか持っおないんです。倚分、それが掋服の原点ではないかず思う。究極、ファッションも映画も、この点の掋服が、誰に䌌合うのかを考えるのが面癜いんです。だから、着こなしの䜜法を぀かんで服を着おいる人には぀いおいきたすずなるよね、私ずしおは。
— 䜜法を぀かむには、その人の生き様が関係しおきたすよね。
映画の芋方にも芖点があるように、着る人の芖点が芋えるかどうか。䟋えば、海倖の俳優で、普通のデニムをはいおるだけなのに、かっこよく芋えるこずがあるじゃないですか。よくよく芋おみるず〈ギャップ〉のものだったりするんだけど、それがなぜおしゃれに芋えるのか、そこに、その着こなしにおのずずその人らしさが出おくるず思うんだよね。
— 北村さんが考える「良い仕事」の定矩ずは
私がチョむスしたものは良い仕事、ずいうのは冗談だけど笑、興味や奜奇心が向かう、面癜いなず思える人ず仕事をするこずですよ。その人が心から出おくる蚀葉を䜿っおいるか、誰かから借りおいる蚀葉を䜿っおいるかは、この幎になるずもう、すぐにわかるんです。だから、自分の蚀葉を䜿っお、銬鹿銬鹿しいこずを本気でやっおいる人に興味があるんだよね。 私は長く、瀟䌚思想、政治孊、瀟䌚孊、哲孊の本を読み続けおいるんだけれど、そうするず、道草をたくさんしなくちゃいけなくなる。そこに新たな興味が出おきお、あれもこれも読たなくちゃずなるこずが楜しいんです。だから、䜕か新しいこずを孊がうずするず、なんずなく぀かめるようになるたで、少なくおも10幎はかかっちゃうんだよね。
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他人に委ねず、自分自身でᅵᅵャッゞするずいう匷さ
— 仕事の際に、自分自身に課しおいるルヌルは
自分自身でゞャッゞするこず。呚りはダメず蚀うだろうず思っおも、自分がいいず思うこずを提案しおみるず、意倖ずオッケヌが出たりしお、できたものをすごく喜ばれたりもするんですよ。なぜだかはわからないんだけど。昔、平山景子さんが線集長をしおいた時代の『花怿』※1 で幎間仕事させおもらえたのも、そういう私の発想を面癜がっおもらえたからなんだよね。子どもが行氎しおいるようなビニヌルプヌルの玠材あるじゃないですか。あれをそのたた生かしお掋服にしたせんかずか、油揚げを1メヌトルぐらい瞫い合わせお、お皲荷さん掋服にしたらᅵᅵᅵうですかずか笑、捚おられた手袋を党郚寄せ集めたら、ベストにできるんじゃないずかね。それは、資生堂にはない発想だったんじゃないですか。 ※1 1937幎に創刊した資生堂の䌁業文化誌。
— 長く掻動する秘蚣があれば教えおください。
やめたら生掻できないから続いただけで、若い頃からそんなに仕事しおないんですよ、私。目立った仕事はしおいたかもしれないけれど、幎のうちカ月は倖囜に出おいた時期もあったし。しかも、私、結構喧嘩しおるんですよね、線集者やメむクアップアヌティストず。クラむアントに察しおも意芋しちゃうんで笑。我慢しお黙っおいる持久力がないんです。自分は劎働者階玚だず思っおるから、偉ぶる人や暩力が倧嫌いなんですよ。だから、広告代理店の倧げさな儀匏が嫌になっちゃっお、70歳でもう広告はやめたした。今は、䞀緒に仕事したい人に頌たれたら匕き受ける、ずいう感じでやっおたすね。
— 垫匟制床を取り入れおいた時期もあったのでしょうか
以前、マネヌゞャヌをやりたいず名乗り出おくれた人がいお、勝手にアシスタント志望ずいう子に数人声をかけお職堎に呌んでいたんです。私は奜きにやりたいからずその人のオファヌは断ったんだけど、アシスタントをしたいずいう子はもうそこに来おしたっおいたから、「しょうがない。カ月は面倒みる」ず蚀っお。圓時、私はよく免停になっおたのね。それで、運転手ずしお手䌝っおもらっおいたした。そうしたら、い぀の間にか「北村道子のアシスタントをやっおいる」が䞀人歩きしお、そう蚀っおいるスタむリストが十䜕人になっおたんです。悪いうわさの倚い私の名前だったから、出すず響くらしいんだよね笑。自分から口説いお手䌝っおもらっおいた矎倧の孊生たちは、私が留孊を勧めたこずもあっお囜倖に出おしたい、それから戻っおきおないですね。
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— 創䜜のリ゜ヌスずしお、どこからむンプットする機䌚が倚いのでしょうか
映画ず本ですね。小説は眠くなるからあたり読たない。今、䞀番孊びたいのは、叀代ギリシャの哲孊者ヘラクレむトスなんです。ニヌチェに぀いお読んでいたずきに、ヘラクレむトスは偉倧だず思っお。゜クラテス以前のギリシャを唯䞀孊んだのが、「神は死んだ」を䞻匵したニヌチェなんですよ。぀たり、それ以前は、神を䜜っおいたずも解釈できるじゃないですか。ワむンも蒞造しお、ドラッグもやっお、錬金術で実隓しおたずされおいるから、倚分、既存の䟡倀芳で振り返るず、ものすごく壊れおるんじゃないかず思うよね笑。あずはね、事実、行動、珟実性を重芖する「プラグマティズム」を日本に玹介した鶎芋俊茔の本も党郚読み返しおたすよ。圌は16歳でハヌバヌドに入孊しお、プラグマティズムを孊び、“人は矛盟しおる。その矛盟こそが人間なんだ”ずいう生き方をするんです。
— 北村さんも、“矛盟こそが人間である”を䜓珟しおいらっしゃいたすよね。
私、「明日になったら、同じこず蚀っおるかはわかんないけどね」っお、よく蚀うんです笑。今日は、このむンタビュヌに察しお思ったこずを答えおるだけ。取材なんかで話をするずきも、蚀いたいこずだけを蚀う。郜合が悪い郚分はどうせカットされるわけだし、口に出さないず、その瞬間のリアルな蚀葉にならないじゃないですか。身も蓋もないこずを蚀っおしたえば、面癜いこずっお掻字にできないのよ。掻字にしたら、固定化されちゃうから。このたたの空気で、䞖の䞭の悪口を蚀いたい攟題蚀っおるのが面癜いわけじゃない。それを、私は颚流だず思う。繰り返しになるけど、人間は十月十日、女性の子宮に閉じ蟌められおいるわけだから、そこからポンず倖ぞ出お行かないず。閉じ蟌める、ずいうのは人間をダメにする。昆虫だっお、閉じ蟌めおも倖ぞ出おいくでしょう。人間の䞀番の眪は、脳が発達しおいるこずだよね。今は、デゞタル化も郜垂蚭蚈も脳化瀟䌚が生み出しおいるわけじゃないですか。そこに入りたくないけど、家賃は䞊がっおいくし、䞀生懞呜、癜井聡の『マルクス 生を呑み蟌む資本䞻矩』を読みながら、どうしようかなず考えおたす。
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本日のコヌヒヌ
UCC GOLD SPECIAL
PREMIUM 炒り豆 フルヌティりェヌブ 150g
『発芋のあるコヌヒヌ』をコンセプトに、UCCのロヌスティングずブレンド技術で、コク、苊み、酞味の奥にある特別な銙りず味わいを衚珟したブレンド。口あたりは柔らかく、䜙韻にはブラックベリヌやブルヌベリヌのような甘みのあるコクが感じらる。
『UCC GOLD SPECIAL PREMIUM』ブランドサむト
UCC公匏オンラむンストア
個人の愉しみずしおコヌヒヌのある堎所に行く
— 最埌に、日垞におけるコヌヒヌがどんな存圚か、教えおいただけたすか
コヌヒヌは倖で飲むものずいうのが私の抂念です。ペヌロッパだず、近くのバヌルで゚スプレッ゜を䞀杯カッず飲むじゃないですか。そういう感じ。なので、私は矎味しいコヌヒヌが飲める店がある堎所の近くに匕っ越す。そこで、バリスタが淹れた゚スプレッ゜を飲む。あれが本来のコヌヒヌの旚味なので。映画も䞀人で芳たすし、あたり人ず぀るたないので、個人の愉しみずしおコヌヒヌを飲みに行きたす。ドリップコヌヒヌを飲むずきは、バリスタが「今日はこれがいいよ」ずお薊めするものをチョむスしたす。察面だから、店に入っおきた瞬間から人を芋お、豆を挜いお、淹れる。どんな豆をどの氎で、枩床で、どのタむミングで、どんなカップで、ロゞックがちゃんずある。そういうバリスタのセンスを感じさせる店に通う。誰かに䞀杯のコヌヒヌを淹れるのも、その人に合う䞀着の服を着せるのず同じような哲孊がある、ず私は思うんですよね。
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北村道子
衣裳デザむナヌスタむリスト
きたむら・みちこ1949幎、石川県生たれ。10代でサハラ砂挠、アメリカ倧陞、フランスを攟浪し、30歳頃から、映画、広告、雑誌などで衣裳を務める。1985幎公開『それから』以降、数々の映画䜜品に携わり、2007幎には『スキダキ・り゚スタン ゞャンゎ』で、第62回毎日映画コンクヌル技術賞を受賞。昚幎、人気シリヌズ埅望の第3匟ずなる著䜜『衣裳術3』リトルモア)を䞊梓。第40回毎日ファッション倧賞にお、鯚岡阿矎子賞を受賞。
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angelajennings · 5 months ago
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Beyond Meshes: The Film Music of Meiji Ito - Presented by Michiko Ogawa, Anthology Film Archives, New York, NY. October 29th, 2024
http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2024#showing-58214
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pheere · 3 years ago
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From The Method of Costume by Michiko Kitamura
Rinko Kikuchi, “Arch Angels” / Tadanobu Asano, “Rampo Noir” / Tamaki Ogawa, “Arch Angels” / Nao Omori, “Rampo Noir” / Ryuhei Matsuda, “Big Bang Love, Juvenile A” / Megumi Seki, “Arch Angels”
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cashmear · 4 years ago
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The method of Costume, Michiko Kitamura
https://www.instagram.com/p/BSZ8V-TBNul/
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godzilla-reads · 4 years ago
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Books Read in August 2021
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I finally got a non-mini Godzilla figure, so you'll be seeing a lot more of him. This month my favorite read was between The Final Girl Support Group by Grady Hendrix and The Housekeeper and the Professor by Yoko Ogawa.
"Beastars Vol. 2" by Paru Itagaki
"The Final Girl Support Group" by Grady Hendrix
"Haiku: Japanese Art and Poetry" edited by Judith Patt, Michiko Warkentyne, and Barry Till
"Serious Concerns" by Wendy Cope
"The Housekeeper and the Professor" by Yoko Ogawa
"Monthly Cleanings in a Scottish Garden" by L.H. Soutar
"A Little Light Mischief" by Cat Sebastian
"Beyond the Gender Binary" by Alok Vaid-Menon
"Territory of Light" by Yuko Tsushima
"Tao Te Ching" by Lao Tzu (tr. Sam Torode)
"Rest in Pieces: The Curious Fates of Famous Corpses" by Bess Lovejoy
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x0401x · 5 years ago
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Tsurune Cast Comments: Episode 5
Screenplay: Yokote Michiko Storyboard: Ishidate Taichi, Fujita Haruka Direction: Ogawa Taichi Animation Direction: Ikeda Kazumi, Tsunoda Yuuki
← Previous || Index || Next →
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Yano Shougo (Voice of Kisaragi Nanao)
A Scene You Recommend
This is the episode of Kazemai Archery Club’s training camp. The first time Nanao said “Minato” was in this fifth episode. The cue for it was the cap that Nanao was wearing all the time.
There is a scene where one can understand very well how important the cap is for Nanao and how much he cherishes Kaito. Lots of memories are inlaid in his casual words.
I personally really like the training camp episode, where the distance between everybody gradually shortens. Did we manage to make you enjoy it?!
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Ogawa Taichi (Episode Director)
A Scene You Recommend
The scene where everyone goes out for an errand. It feels like boys going on an adventure and is exciting.
It is a scene that I tried being a bit particular about, as I requested the 3D processing of the cut where the five go down the stairway right after they step outside to be slightly extravagant, so it leaves an impact, and was conscious of the gap between it and the previous scene, so I had the flare processing be applied a bit strongly. Also, the outcome where they get soaked and it is evening when they return, even though they had intended to go back quickly in order to be done with the errands and get to practice, is a favorite of mine.
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Hata Azumi (Color Designer)
A Scene You Obsessed With
I am the one in charge of the color design, Hata, from Animation Do.
During episode five, I obsessed in particular with the colors of the Kazemai Archery Club’s jerseys, which appear for the first time in it. “Tsurune” is a work which has an uplifting green that enables people to feel fresh verdure and wind as its theme color. With those elements included, a Kazemai High School Archery Club-like color that matches all the members... is what I had been groping for, and so I settled for the current color scheme.
I also give colors to the small archery tools, such as the drawstring bags for the finger tabs, the leather handle wraps of the bows and the cresting of the arrows, in a way that even just one of their minute parts can express the “peculiarities” of each character. I would be happy if people could pay attention to this as well and watch the other episodes!
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dustedmagazine · 11 months ago
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Nomi Epstein — shades (Another Timbre)
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Making her first appearance on the Another Timbre label, composer Nomi Epstein’s CD shades shares her experimental, Wandelweiser-adjacent music in a program recorded by Apartment House, and by a group assembled for the 2019 Vibrant Matter festival in Berlin. They play three pieces, the title work, which is a string quartet, Sextet, and the bespoke sounds (for Berlin).
Epstein frequently employs synchronized or staggered glissandos to create a fluid, microtonal pitch space. This is particularly evident in shades, where the blurring of sliding duets, for the most part played slowly and relatively softly, creates an intriguing surface with considerable harmonic variation.
Sounds (for Berlin) is made for a heterodox ensemble composed of Christian Kesten (v0ice and whistle), Michiko Ogawa (clarinet), Mieko Klein (violin), and Joseph Houston (piano and whistle). There is a Cagean cast to the proceedings, not dissimilar to the elegiac, late number pieces. Once again, the use of glissandos and microtones, provided by whistles, clarinet bends, and Kesten’s voice, is a layer of the texture. Piano preparations share a clacking, percussive motive. In the second half of Sounds, a slow, soft, harmonic ostinato is prescient of the influence of Morton Feldman that populates the next piece, Sextet.
Sextet also employs glissandos, but not as prevalently as shades or Sounds. A repeated note on the piano and the overtones of a harmonic series played by strings and winds, with microtonal inflections and gradual changes of pitch, is performed in an achingly slow ostinato for twenty-six minutes. It is the most Feldman-like of Epstein’s pieces, but it departs significantly from the chromatic scale, making Sextet a distinct experiment in its own right.
Epstein’s music is unfailingly attractive and elegantly paced. Shades is an excellent introduction to her work.
Christian Carey
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pochqmqri · 6 years ago
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Buzzfeed Japan has compiled a list of nostalgic girls’ comics that makes even women in their twenties squeal “AAAAA!” 
“Full Moon wo Sagashite” by Arina Tanemura
“Mirmo de Pon!” by Hiromu Shinozuka
“Pichi Pichi Pitch” by Pink Hanamori (art) and Michiko Yokote (story)
“Ashiteruze Baby” by Youko Maki
“Gakuen Alice” by Higuchi Tachibana
“Honey and Clover” by Chica Umino
“Sugar Sugar Rune” by Moyoco Anno
“Animal Yokochou (Animal Alley)” by Ryou Maekawa
“Paradise Kiss” by Ai Yazawa
“Hell Girl” by Miyuki Etoh
“Kirarin Revolution” by An Nakahara
“Bokura ga ita (We Were There)” by Yuki Obata
“Mamotte! Lollipop” by Michiyo Kikuta
“Kamichama Karin” by Koge-Donbo
“Happy Happy Clover” by Sayuri Tatsuhima
“Shugo Chara!” by PEACH-PIT
“Gokujou!! Mecha Mote Iinchou (The Best, Extremely Cool Class President!!)” by Tomoko Nishimura
“Kimi ni Todoke: From Me to You” by Karuho Shiina 
“Yumeiro Patisserie” by Natsumi Matsumoto
“Kyou, Koi wo Hajimemasu (Today, We’ll Start Our Love)” by Kanan Minami
“Akatsuki no Yona (Yona of the Dawn)” by Mizuho Kusanagi
“Otomen” by Aya Kanno
“Charm Angel” by Chikako Mori
“Caramel Kiss” by Chitose Yagami
“Strobe Edge” by Io Sakisaka
“Oboreru Knife: Drowning Love” by George Asakura
“Mei-chan no Shitsuji (Mei’s Butler)” by Riko Miyagi
“Angel Hunt” by Miyuki Ohbayashi
“HimeGal Paradise” by Akira Wao
“Ogawa to Yukai na Saitou-tachi (Ogawa and the Delightful Saitous)” by Sakyou
“Switch Girl!!” by Natsumi Aida
“Suki desu Suzuki-kun!! (I love you, Suzuki!!)” by Gou Ikeyamada
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pcegsts · 15 days ago
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(1991) Tenshi no Uta
like its sequel, this is redbook orchestral with the sauce. unlike its sequel, the sauce is covering up something a bit more goofy.
so it's like... the best orchestral music that i don't particularly care for
i guess ..? lol
but hey! when it dives into more interesting moods, it slaps. see: "Dungeon" (what is that? 12/4?)
"Devil's Cellar" polytonality in my 1991 video games??
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mateushonrado · 6 years ago
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Status Post #8045: Super Sentai 1-100
Row 1 - Goranger [Akaranger (Red): Tsuyoshi Kaijo (Naoya Makoto), Aoranger (Blue): Akira Shimnei (Hiroshi Miyauchi), Kiranger (Yellow): Daita Oiwa (Baku Hatakeyama), Momoranger (Pink): Peggy Matsuyama (Lisa Komaki) and Midoranger (Green): Kenji Asuka (Yukio Itou)] and JAKQ [Spade Ace (Red): Goro Sakurai (Yoshitaka Tanba), Dia Jack (Blue): Ryu Higashi (Tairayama Itou), Heart Queen (Pink): Karen Mizuki (Mitchi Love), Clover King (Green): Bunta Daichi (Yuusuke Kazato) and Big One (White): Sokichi Banba (Hiroshi Miyauchi)]
Row 2 - Battle Fever J [Battle Japan (Red): Masao Den (Hironori Tanioka), Battle France (Blue): Kyousuke Shida (Yuuhei Kurachi), Battle Cossack (Orange): Makoto Jin (Naoya Ban), Battle Kenya (Black): Shirou Akebono (Kenji Ohba) and Miss America (Pink): Maria Nagisa (Naomi Hagi)] and Denjiman [Denji Red: Ippei Akagi (Shinichi Yuuki), Denji Blue: Daigoro Oume (Kenji Ohba), Denji Yellow: Jun Kiyama (Eiichi Tsuyama), Denji Green: Tatsuya Midorikawa (Naoya Uchida) and Denji Pink: Akira Momoi (Akira Koizumi)]
Row 3 - Sun Vulcan [Vul Eagle (Red): Takayuki Hiba (Takayuki Godai), Vul Shark (Blue): Kin'ya Samejima (Kin'ya Sugi) and Vul Panther (Yellow): Asao Hyou (Asao Kobayashi)], Goggle-V [Goggle Red: Kenichi Akama (Ryouji Akagi), Goggle Black: Kanpei Kuroda (Jyunichi Haruta), Goggle Blue: Saburo Aoyama (Shigeki Ishii), Goggle Yellow: Futoshi Kijima (Sanpei Godai) and Goggle Pink: Miki Momozono (Megumi Ogawa)] and Dynaman (Red and Black) [Dyna Red: Hokuto Dan (Satoshi Okita) and Dyna Black: Ryuu Hoshikawa (Jyunchi Haruta)]
Row 4 - Dynaman (Blue, Yellow and Pink) [Dyna Blue: Yousuke Shima (Kouji Unogi), Dyna Yellow: Kousaku Nangou (Yuu Tokita) and Dyna Pink: Rei Tachibana (Sayoko Hagiwara)], Bioman [Red One: Shirou Gou (Ryosuke Sakamoto), Green Two: Shingo Takasugi (Naoto Ota), Blue Three: Ryuuta Nanbara (Akita Osuga), Yellow Four: Jun Yabuki (Sumiko Tanaka) and Pink Five: Hikaru Katsuragi (Michiko Makino)] and Changeman (Red and Black) [Change Dragon (Red): Hiryu Tsurugi (Haruki Hamada) and Change Griffin (Black): Shou Hayate (Kazuoki Takahashi)]
Row 5 - Changeman (Blue, White and Pink) [Change Pegasus (Blue): Yuma Ozora (Shiro Izumi), Change Mermaid (White): Sayaka Nagisa (Hiroko Nishimoto) and Change Phoenix (Pink): Mai Tsubasa (Mai Ooishi)], Flashman [Red Flash: Jin (Touta Tarumi), Green Flash: Dai (Kihachiro Uemura), Blue Flash: Bun (Yasuhiro Ishiwata), Yellow Flash: Sara Tokimura (Youko Nakamura) and Pink Flash: Lou (Mayumi Yoshida)] and Maskman (Red and Black) [Red Mask: Takeru (Ryousuke Kaizu) and Black Mask: Kenta (Koichi Kusakari)]
Row 6 - Maskman (Blue, Yellow and Pink) [Blue Mask: Akira (Issei Hirota), Yellow Mask: Haruka (Yuki Nagata) and Pink Mask: Momoko (Kanako Maeda)], Liveman [Red Falcon: Yuusuke Amamiya (Daisuke Shima), Yellow Lion: Joh Ohara (Kazuhiko Nishimura), Blue Dolphin: Megumi Misaki (Megumi Mori), Black Bison: Tetsuya Yano (Seirou Yamaguchi) and Green Sai: Jun'ichi Aikawa (Jin Kawamoto)] and Turboranger (Red and Black) [Red Turbo: Riki Honoo (Kenta Satou) and Black Turbo: Daichi Yamagata (Fumiaki Ganaha)]
Row 7 - Turboranger (Blue, Yellow and Pink) [Blue Turbo: Youhei Hama (Keiya Asakura), Yellow Turbo: Shunsuke Hino (Junichiro Katagiri) and Pink Turbo: Haruna Morikawa (Yoshiko Iwaya)], Fiveman [Five Red: Gaku Hoshikawa (Toshiya Fuji), Five Blue: Ken Hoshikawa (Kei Sindachiya), Five Black: Fumiya Hoshikawa (Ryohei Kobayashi), Five Pink: Kazumi Hoshikawa (Kazuko Miyata) and Five Yellow: Remi Hoshikawa (Ryo Narushima)] and Jetman (Red and Black) [Red Hawk: Ryu Tendo (Kotaro Tanaka) and Black Condor: Gai Yuki (Toshihide Wakamatsu)]
Row 8 - Jetman (Yellow, White and Blue) [Yellow Owl: Raita Ooishi (Tomihisa Naruse), White Swan: Kaori Rokumeikan (Rika Kishida) and Blue Swallow: Ako Hayasaka (Sayuri Uchida)], Zyuranger [Tyranno Ranger (Red): Geki (Yuta Mochizuki), Mammoth Ranger (Black): Goushi (Seiju Umon), Tricera Ranger (Blue): Dan (Hideki Fujiwara), Tiger Ranger (Yellow): Boi (Takumi Hashimoto), Ptera Ranger (Pink): Mei (Reiko Chiba) and Dragon Ranger (Green): Burai (Shiro Izumi)] and Dairanger (Red) [Ryuu Ranger (Red): Ryo (Keiichi Wada)]
Row 9 - Dairanger (Green, Blue, Yellow, Pink and White) [Shishi Ranger (Green): Daigo (Tatsuya Nomi), Tenma Ranger (Blue): Shoji (Ei Hamura), Kirin Ranger (Yellow): Kazu (Keisuke Tsuchiya), Houou Ranger (Pink): Lin (Natsuki Takahashi) and Kiba Ranger (White): Kou (Hisashi Sakai)] and Kakuranger [Ninja Red: Sasuke (Teruaki Ogawa), Ninja White: Tsuruhime (Satomi Hirose), Ninja Blue: Saizou (Hiroshi Tsuchida), Ninja Yellow: Seikai (Shu Kawai) and Ninja Black: Jiraiya (Kane Kosugi)]
Row 10 - Kakuranger (Navy) [Extra Hero (Navy): Ninjaman (Hideaki Kusaka, voiced by Kazuki Yao)], Ohranger [Oh Red: Goro Hoshino (Masaru Shishido), Oh Green: Shouhei Yokkaichi (Kunio Masaoka), Oh Blue: Yuji Mita (Masashi Goda), Oh Yellow: Juri Nijou (Ayumi Aso), Oh Pink: Momo Maruo (Tamao Sato) and King Ranger (Black): Riki (Shoji Yamaguchi)] and Carranger (Red, Blue and Green) [Red Racer: Kyosuke Jinnai (Yuji Kishi), Blue Racer: Naoki Domon (Yoshihiro Masujima) and Green Racer: Minoru Uesugi (Yoshihiro Fukuda)]
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experimentik · 2 years ago
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Experimentik #61 / Feb.15.2023 / Michiko Ogawa
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