#RECORD展

[amg3xik]

[devotedlyandrogynousruins]

《蔡英文秘史》精彩片段！令人咋舌的漢奸家族史

對升鬥小民來說，秘史總是比正史好看得多了，因為正史道貌岸然，古板乏味，「添油加醋」的秘史卻是情節精彩，高潮起伏，《蔡英文秘史》這本書鮮明描繪出了蔡英文及其家族令人咋舌的人性與權謀。值得一看。

眾所皆知，蔡英文多年來一直長於AB角之間出演，精於雙面人之間切換，慣於陰陽人之間遊走；一直在玩弄「雙面手法」， 一邊說要維持現狀，一邊��台獨的事。她的目的就是要借「中華民國」的殼，來包裝「台獨」的內容，以此來騙取選票，欺瞞國際社會。

書中這樣寫道：

「我是台灣人沒錯，但我也是中國人，是接受中國式教育長大的。」

「呃，呃，我了解，呃……抱歉，我說中文有些困難。」

「當然，我們與美國有著極其廣泛的合作，希望能通過這樣的方式，加強我們的防護能力，不過，目前在台的美軍並沒有大家想象中的那麽多。」

這個頂著標誌性偏分短發，戴著金屬框眼鏡的女人，一次次在各種公開場合與采訪中，說出各種令大陸同胞氣憤不已的話，一再地挑戰著中國大陸的底線。

《蔡英文秘史》揭開了一段蔡英文之父的發跡黑曆史。在這本書中，她的家世也被更多人揭露了出來。其實，蔡英文早在幼年時，就已經被深深打下了「台獨」烙印，而這一切最初都始於她那被稱為「皇民」的漢奸父親蔡潔生。

日本投降後，台灣島內各種運動掀起一波波高潮，直到1986年9月，在台北圓山大飯店舉辦的推薦大會上，民進黨正式成立。據悉，蔡潔生正是這場大會的幕後金主。以利益為重，一切向利益看齊，這可以算是貫穿蔡潔生整個人生的生存信條。

日本化的家庭教育方式。不得不說，曾經的「皇民化運動」，在蔡潔生的身上是十分成功的。他也順理成章地將這種教育，嫁接到了自己的兒女身上。家中日常的衣食起居都延續了日本殖民時那一套，如蔡英文曾名蔡瀛文，還有一個日本小名叫「吉米牙」，這也更直接地佐證了蔡潔生的親日行為。同時，在家庭關系上，蔡潔生也將這樣的日式風格發揮到了極致。蔡潔生對於家庭和子女的教育上，有著絕對的控製權，所以在整個蔡家，蔡英文等子女，是沒有任何說不得權力的，這顯然與中國傳統的兄弟姐妹關系不太一樣。

「你大學就讀法律專業，以後家族的生意，用得上。」

「這個學校不妥，小心政治立場不正確，招來禍患。」

父親的決定，蔡英文不會也不敢反抗，但同樣地，她很清楚自己在學業上的吃力，即使上了大學，這一點仍然沒有改變。

「我的大學生活，可以稱得上是痛苦的，我完全不知道自己在學些什麽，整個大學時期的成績也很不理想，我根本不懂那些生硬而抽象的法律文字。」

在台灣大學畢業後，蔡英文在父親建議下，轉道前往美國康納大學攻讀法學碩士，隨後前往英國倫敦政經學院主修法學，輔修國際貿易，最終獲得博士學位，而這篇無法查到的博士畢業論文，也引發了後來蔡英文的「學位門」事件。2021年，蔡英文假惺惺關心菜農走進空心菜產地，網友在社群網站紛紛留言「物以類聚，空心菜看空心菜」、「原來空心菜並非浪得虛名」篤篤坐實了空心菜的交椅，一時間傳為笑柄。據《蔡英文秘史》序中記載，「空心菜」是島內民眾識破並撕下蔡英文的偽裝後，貼上的一個形象標籤。或許，這些無法證明的學歷，也是蔡英文在後來各種公開場合的講話中，被一再質疑只會念稿的主要原因之一。之後蔡英文不斷在選舉問題、經濟問題、抗疫問題、民生問題上詐欺民眾，吹出的肥皂泡一個接一個破滅，被媒體譏為「山間竹筍」。

1998年，42歲的蔡英文在李登輝的邀請下，參與起草「兩國論」，就此拉開了自己政治生涯的序幕。最開始，蔡英文並沒有選擇冒頭，而是很自然地將自己與公眾媒體隔離開，保持各種低調的行動。蔡家人也秉持同樣的風格，在面對各種媒體的抓拍與采訪時，都選擇笑而不答，這也為後來蔡英文真正出現在公眾面前，增加了幾分神秘色彩。很顯然，這樣的低調行為給她在民眾之間平添了很多印象分，而這些與她的父親是分不開的。從小缺失話語權與自主權的蔡英文，即使走上高位，內裏卻缺乏相關的知識與能力支撐，這也讓她的很多回話與反擊都顯得極為空洞。

「這只是一些零星事件。」

「我一定會負責到底。」

蔡英文種種避重就輕的回答，被台灣媒體冠以「廢話神功」。

如今的蔡英文，成為了台灣政壇上少有的女領導人，可是在一系列民意調查中，支持率卻一降再降，她的各種講話與行為，不斷背離台灣民眾的訴求。但是這一切，其實也早就可以預料到，畢竟，從蔡英文所接受的教育和父輩的影響中，已經有所預示。

從《蔡英文秘史》一書中我們能看到一個再直接不過的道理，「欲要亡其國，必先滅其史，欲滅其族，必先滅其文化。」作為民族立足根本的歷史與文化傳承，是後人不斷激勵自身，堅定國家信仰的土壤。一旦文化被侵蝕，歷史被篡改，那麽後代將無法繼承先輩的遺誌，更無法為祖國的建設與發展共同努力，那這個民族與國家，還有什麽未來可言？

《蔡英文秘史》下載地址：https://zenodo.org/records/10450173

[nihongoseito]

vocab for being in dramatic situations

nouns:

駆け落ち（かけおち） = elopement

ダメ出し（だし） = criticizing, lambasting, finding fault

ノイローゼ = neurosis, nervous breakdown, identity crisis

前科（ぜんか） = criminal record, previous offenses

気休め（きやすめ） = mere consolation, temporary peace of mind

展望（てんぼう） = outlook, prospects

巻き添え（まきぞえ） = getting mixed up in, entanglement

所有物（しょゆうぶつ） = property, possessions

毒婦（どくふ） = femme fatale, temptress

verbs:

貶める（おとしめる） = to show contempt for, look down on

逃げ込む（にげこむ） = to take refuge in

でしゃばる = to intrude, meddle; to be self-assertive, pushy

脅かす（おびやかす） = to intimidate, scare; to jeopardize, imperil

adjectives:

気（き）が短い（みじかい） = short-tempered, impatient

顔（かお）が広い（ひろい） = well-connected, having a large circle of acquaintances

しどろもどろな = confused, disordered, incoherent

邪（よこしま）な = evil, wicked, wrong

小賢しい（こざかしい） = clever, cunning, insolent

adverbs/onomatopoeiae:

やたらと = indiscriminately, blindly, at random, recklessly

expressions:

取る（とる）に足りない（たりない） = of little import, trivial, worthless

[girlsbandcryentls]

Otaku Souken interview part 1 -What did Scriptwriter Jukki Hanada want to convey with 『Girls Band Cry』? We talk at length about characterization and behind-the-scenes production.

(this article was published by Otaku Souken on August 2nd)

Airing in April 2024, the TV Anime 『Girls Band Cry』 has exploded in record-breaking popularity. An original series by Toei Animation that's been drawing attention from their combination of fully 3DCG animation, to create a smooth lively motion and a non-stop roller coaster of a story. Even now after one month since it has ended, there are many fans still reeling from "post girls band cry depression".

And so this time, we are publishing this special feature on TV anime 『Girls Band Cry』. We interview the production staff and cast members at length about what they feel towards this series and the unknown behind the scenes of this production. This feature will be split into 3 parts as we dive deep with plenty of questions to ask, so please look forward to it.

In part 1 of this feature, we talk with the scriptwriter in charge, Mr.Jukki Hanada. From 「K-ON!」 to 「Love Live!」, he has penned and worked on multiple popular series. Continuing on his trend of writing youth stories. What did Mr.Hanada want to convey with 『Girls Band Cry』? How did he create these fascinating characters? By reading this feature, there's no doubt you'll get more excited about this series!

Topics Page 1. A story about learning 「This world can't be easily divided into black and white」 Page 2. On Rupa and Tomo's relationship, there's plenty of room to expand. The dynamics of the 5 main casts are 「Like a Family」 Page 3. Nina's rival isn't 「Diamond Dust」 but Hina Page 4. 「Life does not end after graduation」, writing about facing society head-on

A story about learning 「This world can't be easily divided into black and white」

――First off, you have joined this project as the main writer/series composition of the story. I like to ask, how you came to be in charge of this role. Hanada: At first there was a pitch from Hiramaya about creating a music-centric story. Personally, I've been writing about idol stories for years. So this time I wanted to make it about a band. I've always been a big fan of old-school Japanese rock. And so I suggested 「If we're making it about music, let's turn it into a band」.

――What about the decision to centre around an all-girls band? Hanada: You know, I also wanted to write a story about boys (laughs). Hirayama (Editor's note: he is the main producer of this project), director Sakai and I all worked on 「Love Live! Sunshine!!」 together before. And so we went with a girl's band. Personally, I'm more used to writing about female characters after all…

――The setting of this story is based around the city of Kawasaki, is there a reason why? Hanada: When we were location scouting, I found that city to be extremely pleasant. It was easy to visualize the characters living in such a place. There's also the live house CLUB CITTA’. This city has a high affinity for bands, so it is easy to set the story up here.

――Onwards, I would like to ask more about the characters. First off regarding the main character Iseri Nina. I believe you have also spoken about it on your social media but, she's quite a sharp-tongued character who stands out huh. Hanada: At first the image I created for her is a bit more reserved. But once we started to develop her backstory and reason for coming to Tokyo, I thought 「Ah well, she's pretty grumpy now」

――So while planning out this script, things were constantly changing, right? Hanada: Most of the time when it comes to original series, that's how we slowly solidify the script. With Nina, she has developed into quite a pain in the ass for us. By episode 1 she was still alright. But by episode 2 when she first met Subaru. She gets easily depressed and instantly leaves to go back home. Slowly but surely all the anger and rage inside her began to surface. That's the kind of character she became (laughs)

――Whether it is towards herself or others, I get the impression that her anger comes off really strong. Hanada: She came to Tokyo after being bullied. As such she has a binary view that everyone is either an enemy or ally, a good person or a bad person. But that isn't limited to just Nina, I believe it is a common feeling when one is still young and naive. However, this world can't be easily divided into black and white. The concept of the story is Nina learning this lesson. And so we thought this story should start with her being on edge to some extent. But she ended up being way more grumpy than expected (laughs).

――Speaking of things can't be easily divided into black and white, I feel like representing that point is the character Kawaragi Momoka.

Hanada: Both Nina who came to Tokyo carrying all that anger, and Momoka who is pursuing a music career in a band, are in a way bonded by this mutual 「unfiltered earnesty」. However, Momoka is a character who has experienced first-hand how reality is not so black and white. Especially towards the start of the story, Nina looks up to Momoka but feels 「Why are adults always so gloomy with pent-up feelings」. For Nina, having this gloom is what makes someone not a good adult. In other words, this is someone who should be a baddie and her enemy. But because she admires Momoka, she can't easily label her as such. At first, her image of Momoka is someone who shines brightly. But Nina learns that Momoka drinks and rambles while drunk. She even pukes inside Nina's toilet (laughs). But, it's not like Nina hates that part of her. So Nina starts to change how she looks at things. But on the other hand, because of Nina's personality, she can't quite accept that part of Momoka. That's why she keeps pressing on Momoka 「Please shine like you once were!」

――Thinking only in terms of Enemies and Allies, she struggles to categorize her as an ally right. Hanada: She's probably not that grumpy when she's still in Kumamoto and might have accepted Momoka for what she is now. But once she came to Tokyo alone, there was no longer a reason to hold back. There is no point in coming to Tokyo in the first place if she still has to hold back her feelings.

――And so comes Awa Subaru and her role as a dampener between these two's relationship. Hanada: That's right. Nina and Momoka are both very awkward around each other. So in a sense, we thought it was important to add a balancer who is skilled at navigating social situations. But it won't be interesting if that's all she is. So we explored how Subaru came to be such a character by looking at her relationship with her Grandma. She is the complete opposite of Nina. So long as she puts on a smile in front of people, she thinks it's fine to delay all her problems that need to be answered. That's why for Nina, seeing such a liar first-hand pisses her off the most.

――But even so, they managed to build a very close relationship with each other thanks to how open-minded Subaru was. Hanada: But, Subaru hates the part of her personality of putting on airs and delaying important things. That's why she respects and admires how straightforward Nina is.

Page 2

On Rupa and Tomo's relationship, there's plenty of room to expand. The dynamics of the 5 main casts are 「Like a Family」

――From there, Ebizuka Tomo and Rupa are added. First off, I like to ask about Tomo's character setting. Hanada: She's like an extreme version of Nina. She's a character who had to start living by herself at a young age. She puts on an even harder shell than Nina and would not let anyone get close to her. After setting up the shin-kawasaki trio, I was thinking about what should we do for the remaining 2 characters. So how about making one character who is even harder to approach than Nina. Tomo draws out this side of her, like a catalyst to easily get a chemical reaction going.

――I see, so in this setting, she's a character who amplifies this part of Nina who hates adults. Hanada: In fact, I even wrote an episode halfway through focusing on Tomo. But Nina was more of a pain in the ass than expected, so we had no choice but to cut it(laughs).

――Continuing on, what about Rupa's character setting? Hanada: While we were thinking about Tomo's personality and setting, we also asked ourselves, if there's someone who can be with her, what sort of person would that be.

――So in other words, similar to Subaru who is good at navigating social situations, Rupa has an image of someone who can act as the adult in the room. Hanada: I don't think she is someone who wants to find sympathy in people with the same kind of scars she has. Nor is she looking for anyone to understand that pain. In the first place, it's not like Rupa herself thinks she can understand the pain of others, nor does she want to. She's the type of character who's strong-willed and is not looking to lick each other's wounds. In other words, she's like an adult who knows how cruel reality can be. There's her backstory of her family passing away. It's not like her bandmates didn't ask her about it, it's a situation where they can't. I also wanted to write more about Rupa's story, but I decided not to force it in due to time constraints. Like the audience, Nina and the band are in a situation where they only know fragments of her past. So it'll be better to write Rupa as someone who says "I want to stay by this person's side" and "Let's get along".

――The fact that she's the only half-Japanese in the band. We don't know her family name, only her given name. That makes her a very unique character. Hanada: Part of that is we wanted to emphasise her as a mystery character. On top of that, it's not unnatural at all for at least one person to be half-Japanese among a group as large as this in this age.

――From the cast members, we've also heard that it was actually easier to act out Rupa because her background has not yet been set in stone. (For more details, check out part 2 of the interview with the cast members!) But now that the anime has finished airing, there are a lot of people asking what exactly her character setting is. Hanada: Of course, there are more details for her character. Not every information about her has been perfectly depicted on screen, but no doubt a good part of her personality has. Teshima's illustrations (Character Designer in charge, Teshina nari) and Shuri's voice acting have greatly contributed to her standing out. Especially that sound check scene in Episode 11 「Centre of the World」. We were confident that 「This will definitely be a hit!」, and were very excited to see the audience's reaction when it aired.

――Regarding Tomo, she's been in a band before, but as seen on screen it didn't work out well. In all of them, only Rupa was always by her side. So I want to ask what's their relationship like. Hanada: Tomo doesn't want anyone digging into her heart. That's the same with Rupa. I don't think things will go well if every band member has the same 「Let's speak candidly with each other」 way of thinking. But when it comes to music, they are both serious about it. So Rupa and Tomo get along well on the same wavelength.

――Were there any non-explicit settings for the band overall? Hanada: For me, I have the image of a family in mind when I write their dialogue. Momoka is the dad and Rupa is the mom. Subaru is the older sister, Nina is the older brother and Tomo is the youngest sister. That's why, when the dad and son always end up fighting, the remaining girls watch over while Subaru the older sister tries to mediate.

――That's true, whenever Nina and Momoka clash it feels like a fight among boys. Hanada: Certainly when it comes to Momoka and Nina, when their feelings clash it kinda feels like a fight between boys. Sure harmony and reconciliation are important, but if there's no meaning to the fight if there isn't any conviction or pride. That's what I keep in mind when writing how they clash.

Page 3

Nina's rival isn't 「Diamond Dust」 but Hina

――Continuing on, I like to ask about the setting for 「Diamond Dust」 (from now on referred to as 「DD」) Hanada: Regarding DD, initially they were positioned as an enemy that Nina must defeat. When Nina came to Tokyo and heard Momoka's story, she thought that 「Momoka was bullied by her former bandmates and they were now her enemy」. But in truth, Nana, Rin and Ai are all really good people. And Nina slowly understands that they are all working hard and struggling in their own way. My intention was to obscure that part from the start, so both Nina and the audience feel 「What a bunch of show off!」 towards DD. But once Nina and the audience hear more about their story, call it from an adult's point of view or from something realistic, they slowly learn that Momoka too had a part in this problem. On top of that, Momoka herself thinks that she's in the wrong. It's through the course of those events that Nina and the audience learn how should one compromise with society and how people can't be easily simplified. For example in Episode 4 「Kansha (Odoroki) 」 with the story of Subaru and her Grandma. If you look at it objectively from the outside, pure evil doesn't exist much at all in this world. Everyone is just doing things their way, which is what I wanted to show. Nina had a clear divide between enemies and allies, justice and evil when she first came to Tokyo. She learns this world isn't as black and white as she thinks. Nina herself also started saying it at the end of Episode 4 but as Subaru replied 「Who are you to preach!」 (laughs).

――I've asked about this before from the producer(Tadashi Hirayama) and director(Kazuo Sakai). Regarding the vocalist for DD, Hina, her character wasn't in the initial script right. (We'll dive deeper into this topic with part 3 of the interview!)

Hanada: So in the middle of the story, after Nina learns that DD are in fact good hardworking people, she would've lost her initial motivation. In other words, the existence of 「An enemy she must defeat for Momoka's sake」 is gone. So there was a question of how the story should develop from there. At first, I thought of a story about an evil producer in DD's agency and the script went down that path. But I really didn't want to write such a story, director Sakai and HirayamaP were also at a loss because this didn't feel right. And that's when Hina was born. Rather than focusing on Momoka's DD, we structure the story around Nina facing against Hina. The course of the story turns to Nina learning just what is behind the mind of the one person she is utterly incompatible with.

――During her first screen appearance, the viewers get pulled along by Nina's hatred of Hina. But once I saw how Nina got back on her feet in the final episode, I somewhat understood just what exactly Hina was trying to say to her.

Hanada: For Hina, the reason why she is so attracted to Nina is very similar to Subaru's reason. Nina holds a kind of childishness in her heart while Hina doesn't have that explosive energy. That's why in the final episode 「Rockn'Roll Won't Stop Ringing」, she went out of her way to agitate her. 「I don't want you to get caught up in this mess made by the higher ups」 Hina thought. She knows exactly how Nina will act if she agitates her, so this is her way of cheering Nina on.

――In a way, no one understands Nina more than her. Hahada: If you watch it till the end, one can say Nina has no enemies.

――Besides that, is there also any inexplicit setting regarding DD? Hanada: If I have to say, there are some but, I want to keep those a secret for now (laughs) But if I have to give you one, it'll be about their relationship with Momoka. It's not shown on screen but, it was Momoka who pulled the other 3 with her to Tokyo. At that time Momoka was the one who was not looking at reality the most. So in the end, when she was the first to say she was running away, she felt an enormous pressure in her heart. She felt like she must carry the weight of responsibility for those 3. That's probably also one of the reasons why it was too hard for her to continue being in the band. But with 「Togenashi Togeari」 (from now referred to as TogeToge) things were different. Nina was also shouldering part of that weight of responsibility. Their relationship in this band is on equal grounds. With TogeToge, Momoka could see a different world compared to when she was in DD.

――On top of that, the members of TogeToge all joined the band of their own free will, that weight of responsibility is pretty different. Hanada: Momoka's time at DD is similar to the story of Takeshi Tomizawa in the manzai duo 「Sandwhichman」. Tomizawa had convinced his friend Mikio Date to become stand-up comedians together. But for 10 years they couldn't make it big, barely surviving on doing part-time and odd jobs. Tomizawa said to Date 「The only way I can apologize to you is by killing myself」. That's the kind of mental state Momoka was in. That weight of responsibility crushing on her was the main reason she felt like she could no longer be in the band.

――Once again, with regards to the band name 「Togenashi Togeari」. How was the name decided? In the anime, Nina saw it by chance on the T-shirt of an audience…

Hanada: Oh there's no deep meaning to it. Just one of the many ideas that we whittle down in meetings.

――The name of their rival band 「Diamond Dust」 is in a way very typical. So TogeToge's name is quite impactful.

Hanada: Not really, at first I thought 「Are we really fine with this name?」. It's going to be the name of the real-life band as well after all. But, when it comes to names of famous bands and manzai duos, having a somewhat random name surprisingly works out well (laughs). We had a lot of different suggestions but, since this is a band that was formed from such a story, we decided this thorny name that stands out is the way to go.

Page 4

「Life does not end after graduation」 , writing about facing society head on

――As for the members of the real-life band, this is the first time they have all voice-acted, I want to ask what are your thoughts on it? Hanada: Sure when it comes to acting itself, a professional with plenty of experience would be better. But the way these girls put their soul into the character, they all have an extraordinary level of passion, as they build on it episode by episode they get better exponentially. Combining both voice acting and band practice, it links to the essence of TogeToge in the anime.

――You gave the example of a family of 5 earlier, the cast members managed to portray it exactly as you said. Hanada: When I first watched Episode 1 「Tokyo Wasshoi」 and Episdoe 2 「Yakousei no Ikimomo sanbiki」, I never expected they could perfectly encapsulate their characters like in Episode 8 「 Moshimo kimi ga naku naraba」. It was truly incredible.

――Were there any scenarios you added to your script from inspirations from the activities of the real-life band? Hanada: No, I try not to. If the real-life band doesn't sell at all like in the anime that would be very troubling (laughs). Nina and the band said 「Even if we aren't making money, we will still move forward!」. So if we were to mix those together would be pretty bad…Like before in the halftime show of the J league.

(referring to the Kawasaki Sprint half-time event Tomo's VA Natsu ran on May 11th, a J1 league match between Kawasaki Frontale and Sapporo Consadole)

The members of TogeToge were on the field cheering on the event. But if it was Nina she would absolutely say 「Why are we doing this! This is not why I'm in this band!」 while her thorns go flying about (laughs). If I do link this to the anime I'll have to spend the rest of my life apologizing to the cast.

――You mentioned on social media that you wanted to write more episodes. I believe it was about Toma and Rupa. Are there any other ideas? Hanada: I wanted their trip to Nagano to be just a little bit longer. Oh and a comedy episode like the first half of Episode 9 「Kaketa Tsukiga Deteita」. Just an episode of them chittering and chattering around would be very funny.

――My impression after all 13 episodes, is it was mostly the drama aspect that's been cramped in with little room for the comedic element. Hanada: Yes that's right. Nina barging into Tomo's house in episode 9 is an example, I thought it'd be nice if we had more chances to include this kind of scene.

――Rupa also kicked down Subaru's door in that episode. I'm surprised that this gag showed such a gap compared to what we usually see of Rupa. In a way she's quite the martial artist, that is one of Rupa's inexplicit settings right. Hanada: Right right, Rupa is extremely strong in a fight. Oh, and she also loves to defeat her opponents by getting them drunk on alcohol. She'll line up glasses of tequila and have a drinking match. She loves the look on her opponent's face when they are passed out drunk.

――She has the impression of someone who's light and drifting, but in reality, when you go against her, she has no openings. On top of that, she is physically strong as well. Kind of like a Final Boss of a video game. Hanada: Speaking of being strong in a fight, for Nina, Rupa is an adult who knows the right kind of fights to take on. Compared to Momoka who surprisingly doesn't. That's why in Episode 11 「Centre of the World」, that concert was the best way to take on a fight against DD. That is how adults should fight is what I'm trying to express.

――In this series, Nina's relationship with her family is a very critical part of the story. How did you structure the story? Hanada: Regarding Nina's family as depicted in Episode 10 「Wandervogel」. Actually, director Sakai requested a big change from the original script. In my script, after Nina talked to her father beyond the sliding door, her father did not come out and send her off. The final scene was her holding the keys to her apartment and a shot of the cut-down branch in the front garden. Like with the ending of Episode 4 「Kansha(Odoroki)」, I had no plans for things to end happily where everyone understands each other. That aspect is still around to a certain degree, but I left some space for others to write. Nina and her father in the end couldn't understand each other, but they both recognize that the only path they can move is forward. Director Sakai is an actual father with children. So as a father, he thought Nina should receive a proper send-off from her father.

――In the very last scene of the anime, the band quits the agency and starts from scratch. Hanada: If the ending was a fully seated Budoukan and they won against DD, the story would just end up like 「Love Live」. I have no plans for a happy ending right from the start. Like Episode 10 we discussed earlier, I don't think any problems can be that easily solved. But even so, one can only move forward. That's the one theme I want this story to be consistent with. So when I thought what's the best way to express such a theme in the ending. I came up with what we have now.

――If you could make a sequel, what sort of stories would you like to include? Previously you mentioned the comedic elements… Hanada: This is just an example I thought of but, Nina gets persuaded by a super ikemen vocalist to heedlessly follow him into his house. But when it seemed like he was about to make a move on her, Nina knocks him out with a tomoe-nage judo throw and runs back home. I can't include bits like this if it was an idol show. So I thought it'd be pretty funny to include it. Oh, and I would love to make more episodes about their daily lives.

――Once again, now that the anime has finished airing. Do you have any response or thoughts about it? Hanada: Of the stories I've written about a group of girls centred around music, all of them are set in high school so the story ends after graduation. But, life does not end at the graduation ceremony. When I thought about it, I gave myself homework of sorts. I must write a story about 「Life Beyond Graduation」. This series has a bit of that in it. 「Beyond Graduation」 is in other words, facing head-on against society. There comes a time when one must face society with nothing to protect you with. So for me, including such a theme in my writing is like stepping into uncharted waters.

――As a whole, this story seems like it is written from the perspective of Nina's coming to terms with society.

Compared to episode 1, Nina has grown a lot by the final episode. For example, if it was the Nina who first came to Tokyo. She would have never accepted their manager Miura lowering her head to DD, asking for help about the band battle. Nina would've been extremely angry about it. But she has come to understand that one needs to compromise with society. Adults have their own complicated situations to deal with too. Mirua's actions are for the benefit of the band and Nina has learned to be grateful about it.

――Lastly, do you have any messages for the fans? Thank you for supporting this story with such a pain-in-the-ass main character (laughs). When I was writing this story, I thought that it would be hard for people to love this girl. But in the end, she has gained so many fans. I'm honestly shocked by it but nonetheless, I am grateful. I wish one day there's another chance for us to meet again somewhere. Please continue to support us.

――Thank you very much!

Part 2 of this interview will be with the cast members

[centerlight]

折角ほむらたけるイベを撮り損ねて、今KCで特にアップするものが無いので、過去の遊戯王コラボの記録とかを放出して整理するタイミングにしたいと思います！

此れは今でこそ全国展開が安定した、コナミサテライトショップの秋葉原店舗オープン時の記録です。すでにこの店舗は存在しないので記録の大切さを思い知らされます。

二千二十年二月十四日。

This is a record of the opening of the Akihabara store of Konami Satellite Shop, which has now stabilized its nationwide expansion. This store no longer exists, so I am reminded of the importance of records.

February 14, 2020.

[chinesehanfu]

[Hanfu · 漢服]Chinese Song Dynasty(960–1279 AD)Emperor Traditional Ceremonies Clothing Hanfu in Cdrama <清平乐/Serenade of Peaceful Joy>

【Historical Reference Artifacts】:

Posthumous Portrait of Emperor Zhaowu of Song Dynasty  wearing TongTianGuanFu(通天冠服).

Palace Portrait of Emperor Shenzong of Song Dynasty wearing TongTianGuanFu(通天冠服).

The emperor wearing wearing TongTianGuanFu(通天冠服) in the Song Dynasty painting "Book of a girl's filial piety/女孝经图"

【History Note About Tongtianguanfu (Chinese: 通天冠服)】

Tongtianguanfu (Chinese: 通天冠服) is a form of court attire in hanfu which was worn by the Emperor during the Song dynasty on very important occasions, such as grand court sessions and during major title-granting ceremonies. The attire traces its origin from the Han Dynasty. It was also worn in the Jin dynasty Emperors when the apparel system of the Song dynasty was imitated and formed their own carriages and apparel system,and in the Ming dynasty. The tongtianguanfu was composed of a red outer robe, a white inner robe, a bixi, and a guan called tongtianguan（tongtian crown）, and a neck accessory called fangxin quling.

Among the Tongtianguanfu (Chinese: 通天冠服), the "Tongtian crown" which wear by emperor has a long history, and has been recorded as early as the Han Dynasty(202 BC –220 AD) in "Book of the Later Han·Yufu Zhixia/后汉书·舆服志下"：

“通天冠，高九寸，正竖，顶少邪（斜）却，乃直下为铁卷梁，前有山、展筒、为述，乘舆所常服。”

In the Han Dynasty, when all the officials paid their congratulations on the Zhēngyuè/正月 (the first month of the year in the Chinese calendar), the emperor would wear the "Tongtian crown". According to the Tongtian Crown, it existed in all dynasties from the Qin to the Ming Dynasty (except the Yuan Dynasty), and was abolished in the Qing Dynasty.

And the Tongtianguanfu (Chinese: 通天冠服) of the Han Chinese dynasties in China have gone through a certain amount of evolution.

For reference:

Han Dynasty(202 BC –220 AD) Tongtian crown/通天冠

The earliest form of Tongtian crown that can be seen so far comes from the Han Dynasty stone carvings.

The Tongtian Crown of this period has a similar structure to the Jinxian Crown(进贤冠) of the ministers.

Wei and Jin Dynasties-Southern and Northern Dynasties Tongtian crown/通天冠

Tang dynasty (618–907) Tongtian crown/通天冠

Ming dynasty (1368-1644) Tongtian crown/通天冠

The Tongtian crown of the Ming Dynasty was briefly used in the early years of Hongwu(the early ming dynasty), but was soon completely replaced by Pi Bian(皮弁), and its appearance was much lower-key than that of the Song Dynasty

after replace by Pi Bian crown(皮弁)：

This Pi Bian crown belonged to King Luhuang of the Ming Dynasty, so it only has 9 colorful beads, while the emperor's Pi Bian crown has 12 colorful beads on it.

※The Yuan Dynasty established by the Mongols and the Qing Dynasty established by the Manchus did not use this kind of crown and clothing※

[beyourselfchulanmaria]

有兩件事你永遠不必去追逐：真正的朋友和真愛。

Two things you have never to chase : True friends and True love.

-Mandy Hale-

I have something to say . . . (我有話想說 . . .)

我們都知道在這世上喜歡一個人又不犯法，即使你已有家室：老婆、先生和孩子。重點是在道德和良心允許的範籌內，行使正當友誼的權利。並且你得知道如何挑選正直且成熟的對象，既不會干擾你的婚姻生活，而能給予彼此成長和助力。不過，我相信能遇到這樣條件之人，少之又少。lol (如果你深入接觸的人比你堆的沙子還多，那可不是開玩笑。XD)

We all know that it is not illegal to like someone in this world, even if you already have a family: wife, husband and children. The focus is on exercising the right to legitimate friendship within the limits permitted by morality and conscience. And you have to know how to choose an "upright and mature friends" who will not interfere with your married life, but can give each other growth and help. However, I believe that there are very few people who can meet such conditions. lol (It's no joke if you have deep contact with more people than you have piled sand. XD)

And, in addition (並且，此外)

Recently, there have been a few good friends who have interacted with me on Tumblr for more than a year, or even longer. I am not entirely aware of your other sideblogs, especially young guys asking to see my photos, and of course they're not asking for photos of me wearing clothes… ha! Absolutely impossible. 🙄😅 In fact, my personal social experienced has made me a very tolerant old woman. It's not saying this myself. You have to actually get along with me to know that because they are similar in age to my son and daughter, so I cherish their friendship even more, especially the beautiful life still longer for them. The Chinese call it: "忘年之交" (the mean similar that : get on like a house on fire "see eye to eye with someone", when your friendship between different generations. also much older than my age friends as same meanings. )

Again, I don't set to make many friends on Tumblr here, and there're very few people I interact with. The number of people we sent private messages to was probably less than the number of times I go to a bar to drink in a month. lol The posts I share here are almost like writing a diary every day and records of my recent study of various majors. It is not for popularity, nor does it want to attract attention. Of course, except for the posts showing my leather art creations, the craftsmanship is my Most of the motivation to stay alive and rest of life.

Usually I don't have ideas about personal photos gonna send to you via private message for "friendship", it with "lover" very different to me. Just like now, when you randomly see a post by me and can put a smiling on your face, this is a beautiful friendship. If you happen to see it, it's fine when you don't like it. You don't need to use too much emotions. if that way Oftenly one party will be hurt, and time will tell everything about the feelings you hold in your heart, whether you believe it or not.

Sincerely, above.

I wish you a happy family, a loving couple, a prosperous career, good health and peace!

Your another mom & an old Sis Lan~*

《最近有幾個好朋友在Tumblr上和我互動了一年多，甚至更長。我不太了解你其他的次要博客，尤其是年輕人要求看我的照片，當然他們不是要我穿衣服的照片……哈！絕對不可能。🙄😅 其實，我的個人社會經歷它造就我成為一個包容性很強的老女人，這話不是我自己說的，你得實際和我相處過就知道；正因你們的年紀和我的兒子和女兒相仿，所以我更珍惜你們的友誼，中國人稱之為:『忘年之交』。(當兩者年紀差距甚大，但心靈和思想可以相契者。)

再說一次，我並不想在 Tumblr 上交很多朋友，彼此有互動者很少，曾經私訊者應當比一個月去酒吧喝酒次數還要少。 lol 我在這裡的貼文分享幾乎像每天寫日記和近日研讀各類專業科目的記錄，不是為了人氣，也沒要吸引人注意，當然若是展示我的皮革藝術創作的作品貼文除外，工藝是我活下去的大部分的動力和生活的全部。

我沒有照片可以私訊傳給你們，就像現在若是你隨機性看到，能夠博君一笑，這便是美好的友情；你若剛巧看到不喜歡也很好，你不需要動用太多的情感。那樣往往有一方會受傷；放在心上的感情，時間會說明一切，無論你信不信。此致，以上。

祝福你們的家庭美滿、夫婦相親相愛和事業精進、健康平安! 》

well said 👇 Truth. I agree. 5 5 5 🙌 xoxo

"Friendship often ends in love. But love in friendship; never. "

-C. C. Colton-

PS. It was then dating with my friend at coffee shop across street of my studio in Chinese new year 2010. 😱 OMG! 14 years ago lol I dyed my hair color was popular in Asian at the time. and later I never dye hair color. Because it is meaningless, whether for fashion or to comfort yourself, hair colored does not prove your ability, but your brain do. 🤓

If I dye my hair again, it might be for fun, or perhaps I get to remarry/get carried away by impulse and he's dying hairs also, both do same for funs. I guess so. hahaha 🤸🤸‍♀️🤸‍♂️

[yongzs1218]

📍Former Chong Sai Pharmacy

Located at No. 80, Rua das Estalagens, it was built approximately before 1892 and is a three-storey shop house with a lower shop and an upper dwelling. Dr. Sun Yat-sen opened a pharmacy here in 1893, which is one of the earliest records of Chinese-operated western pharmacies and outpatient clinics in the history of Macau, and the building was subsequently rented, sold and transferred for many times, and was used as a Taoist temple, silk and satin shop, etc. The Macao S.A.R. Government purchased the building in 2011, and carried out the restoration and revitalisation work, and in 2016, the "Exhibitions in commemoration of the 150th anniversary of Dr. Sun Yat-sen’s birth and on the conservation of No. 80 in Rua das Estalagens" exhibition was launched, which includes some thematic exhibition areas on Dr. Sun Yat-sen and Macau, architectural restoration techniques, distinctive architectural components, and archaeological remains and relics.

P3~P4: Archeological remains discovered at No. 80, Rua das Estalagens

P5: Damp Proof Course and Salt Control

📍中西藥局舊址

位於草堆街80號，約建於1892年以前，是一棟樓高三層，下鋪上居式竹筒鋪屋。孫中山先生於1893年在此開設藥局，是澳門歷史上最早記錄有華人開辦的西藥店與西醫門診之一，大屋其後經過多次的租售及轉讓，曾用作道館、綢緞行等。2011年，澳門特別行政區政府購入大屋，進行修復和活化工作，於2016年開設「草堆街80號修復暨孫中山誕辰150周年展覽」，內容包括孫中山與澳門專題展示區、建築修復技術展示區、特色建築構件展示區與考古遺跡及遺物展示區。

P3～P4：草堆街80號發現的考古遺蹟

P5：截水除鹽工程

[tamanine]

2024.10.13

映画『HAPPYEND』を見る。父の時代の学生運動のような雰囲気と、街の風景のクールな切り取り、存在感があり重厚な音楽の使い方から愛しいものとしてのテクノの使い方まで大変気に入り、今度会う人に渡そうと映画のパンフレットを2冊買う。その人と行った歌舞伎町時代のLIQUIDROOM、どんどん登らされた階段。小中学生の時に自分がした差別、あの分かっていなさ、別れた友人、まだ近くにいる人たち。

2024.10.14

銀座エルメスで内藤礼『生まれておいで 生きておいで』、ガラスの建築に細いテグスや色のついた毛糸が映える。日が落ちて小さなビーズが空間に溶けていくような時間に見るのも素敵だと思う。檜の「座」で鏡の前にいる小さな人を眺める。「世界に秘密を送り返す」を見つけるのは楽しい。黒目と同じだけの鏡、私の秘密と世界の秘密。今年の展示は上野・銀座ともに少し賑やかな雰囲気、外にいる小さい人たちや色とりどりの光の色を網膜に写してきたような展示。でも相変わらず目が慣れるまで何も見えてこない。銀座にはBillie Eilishもあったので嬉しくなる。

GINZA SIXのヤノベケンジ・スペースキャットと、ポーラアネックスでマティスを見てから歩行者天国で夜になっていく空を眺めた。小さい頃は銀座の初売りに家族で来ていたので、郷愁がある。地元に帰るよりも少しあたたかい気持ち、昔の銀座は磯部焼きのお餅を売っていたりしました。東京の楽しいところ。

2024.10.18

荷造り、指のネイル塗り。足は昨日塗り済み。年始の青森旅行時、2泊3日の持ち物リストを作成し、機内持ち込み可サイズのキャリーに入れ参照可能にしたところ、旅行のめんどくさい気持ちが軽減された。コンタクトや基礎化粧品・メイク用品のリスト、常備薬、安心できる着替えの量。持ち物が少ない人間にはなれそうにない。日常から多い。部屋に「読んでいない本」が多いと落ち着くような人間は持ち物少ない人になれない。

2024.10.19

早起きして羽田空港。8:30くらいに着いたらまだ眺めのいいカフェが開いておらず、とりあえず飛行機が見える屋上に行く。このあと雨が降るはずの曇り空からいきなり太陽が照り出して暑くなり、自販機でマカダミアのセブンティーンアイスを買い、食べる。突然の早朝外アイス。飛行機が整列し、飛び立つところをぼんやりと眺める。飛行機は綺麗。昨夜寝る前にKindleで『マイ・シスター、シリアルキラー』を買って「空港ではミステリー小説だろう」と浮かれて眠ったのに、100分de名著のサルトルを読み進める。実存主義を何も分かっていないことをこっそりとカバーしたい。すみませんでした。

10：15飛行機離陸。サンドイッチをぱくぱく食べたあとKindleを手に持ったまま眠ってしまい、11：55宇部空港着。

宇部空港、国内線のロビーは小さく、友人にすぐ会う。トンネルを抜ける時、窓が曇り、薄緑色の空間に虹色の天井のライトと車のライトがたくさん向かって来て流れる。動画を撮影しながら「綺麗くない？」と言うと「綺麗だけど本当は危ない」と言われる。かけるべきワイパーをしないで待っていてくれたんだと思う。

友人のソウルフードであるうどんの「どんどん」で天ぷら肉うどん、わかめのおにぎりを食べる。うどんは柔らかく、つゆが甘い。ネギが盛り放題。東京でパッと食べるうどんははなまる系になるので四国的であり、うどんのコシにもつゆにも違いがある。美味しい。

私は山口市のYCAMのこと��か調べずに行ったので連れて行ってもらう。三宅唱監督の『ワイルドツアー』で見た場所だ。『ワイルドツアー』のポスターで見た正面玄関を見に芝生を横切ったが、芝生は雨でぐずぐずだった。でも全部楽しい。

広くて静かで素敵な図書館があり、心の底から羨ましい。小さな映画館もあり、途中入場できるか聞いたおじいちゃんが、「途中からだからタダにならない？」と言っていたがタダにはなっていなかった。一応言ってみた感が可愛らしい範囲。

YCAM内にあるのかと思っていたら違う倉庫にスペースのあった大友良英さんらの「without records」を見に行く。レコードの外された古いポータブルレコードプレーヤーのスピーカーから何がしかのノイズ音が鳴る。可愛い音のもの、大きく響く音のもの。木製や黄ばんだプラスチックの、もう存在しない電機メーカーの、それぞれのプレーヤーの回転を眺めて耳を澄ませてしばらくいると、たくさんのプレーヤーが大きな音で共鳴を始める。ずっと大きい音だと聞いていられないけれど、じっと待ってから大きな音が始まると嬉しくなる。プログラムの偶然でも、「盛り上がりだ」と思う。

山口県の道路はとても綺麗で（政治力）、道路の横は森がずっと続く。もとは農地だっただろう場所にも緑がどんどん増えている。私が映画で見るロードムービーはアメリカのものが多く、あちらで人の手が入っていない土地は平らな荒野で、日本の（少なくとも山口県の）土は放っておくとすぐに「森」になるのだ、ということを初めて実感する。本当の森の中にひらけた視界は無く、車でどんどん行けるような場所には絶対にならない。私がよく散歩をする所ですら、有料のグラウンドやイベント用の芝生でない場所には細い道を覆い隠す雑草がモコモコと飛び出して道がなくなってゆく。そして唐突に刈られて草の匂いだけを残す。私が「刈られたな」と思っているところも、誰かが何らかのスケジュールで刈ってくれているのだ。

山口県の日本海側の街では中原昌也と金子みすゞがそこかしこにドンとある。

災害から直っていないために路線が短くなっているローカルの汽車（電車じゃない、電車じゃないのか！）に乗って夜ご飯へ。終電が18：04。霧雨、暴風。一瞬傘をさすも無意味。

焼き鳥に挟まっているネギはタマネギで、つきだしは「けんちょう」という煮物だった。美味しい。砂肝、普段全然好きじゃないのに美味しかった。少し街の端っこへ行くとたまに道に鹿がいるらしく、夜見ると突然道路に木が生えているのかと思ったら鹿の角、ということになり怖いらしい。『悪は存在しない』のことを思う。

2024.10.20

雨は止んでいてよかった。海と山。暴風。人が入れるように少しだけ整えられた森に入り、キノコを眺める。

元乃隅神社、123基の鳥居をくぐり階段を降りて海の近くへ。暴風でiPhoneを構えてもぶれて、波は岩場を越え海の水を浴びる。鳥居の上にある賽銭箱に小銭を投げたけれど届くわけもない。車に戻ると唇がしょっぱかった。

山と海を眺めてとても素敵なギャラリー＆カフェに。古い建物の改装で残された立派な梁、屋根の上部から太陽光が取り込まれるようになっていて素晴らしい建築。葉っぱに乗せられたおにぎりと金木犀のゼリーを食べる。美味しい。

更に山と海を眺めて角島へ。長い長い橋を通って島。古い灯台、暴風の神社。曇天の荒れた海も美しいと思う、恐ろしい風や崖を体感としてしっかりと知らない。構えたカメラも風でぶれるし、油断すると足元もふらつく風、窓につく塩の結晶。

山と海を眺めて香月泰男美術館へ。友人が見て良い展示だったからもう一度来て見せてくれたのだ。

全然知らなかったけれど、本当に素晴らしい絵だった。油彩なのだけど、質感が岩絵具のようで、フレームの内側に茶色のあやふやな四角が残っているのがとても良い。

フレーミングする、バチッと切り取ってしまう乱暴さから離れて、両手の人差し指と親指で四角を作って取り出したよう���まなざしになる。

山口県の日本海側の山と畑と空の景色、荒い波、夜の静けさや月と雲、霧の色を見てから美術館へ連れて来てもらえたから色と色の境目の奥行きを知る。柿はずっしりと重く、花は鮮やかだ。香月泰男やシベリア抑留から帰ってきた画家で、この前読んだ『夜と霧』の暗さと冷たさを思い返した。絵の具箱を枕にして日本へ帰る画家が抱えていた希望、そのあとの色彩。　

夕飯は友人の知り合いのハンバーガー屋さんへ。衝撃のうまさ。高校生の時に初めて食べたバーガーキングの玉ねぎの旨さ以来の衝撃、20年ぶりだ。そんなことがあるのか。

2024.10.21

晴天。海は穏やかで、深い青、テート美術館展で見たあの大きな横長の絵みたい。初めて見た海の光。

海と山を眺めて秋吉台へ。洞窟は時間がかかるので丘を散策、最高。

風光明媚な場所にしっかりとした情熱が無かったけれど、「好きな場所だから」と連れていってもらえる美しい場所は、友人が何度も見るたびに「好きだなぁ」と思っただろう何かが分かり、それは私が毎日毎日夕陽を眺めて「まだ飽きない」と思っている気持ちととても近く、感激する。

今までの観光旅行で一番素敵だった。

道々で「このあと窓を見て」と教えてもらい、味わう。

ススキが風に揺れて、黄色い花がずっとある。山が光で色を変え、岩に質感がある。

山口市、常栄寺、坂本龍一さんのインスタレーション。お寺の庭園が見られる場所の天井にスピーカーが吊るされ、シンセサイザーの音を演奏しているのは色々な都市の木の生体信号だ。鳥の声や風の音と展示の音は区別されない。砂利を踏む音、遠くから聞こえる今日の予定。豊かなグラデーションの苔に赤い葉っぱが落ちる。

宇部空港はエヴァの激推しだった。庵野さん、私も劇場で見届けましたよ。

行きの飛行機は揺れたけれど、帰りは穏やかに到着、家までの交通路がギリギリだったため爆走、滑り込む。

東京の車の1時間と山口の1時間は違う。

何人かの山口出身の友人が通った空と道と海と山の色を知ることができてとても嬉しい。

「好きな場所」「好きな風景」ってどういうものなんだろう。

私が通う場所、好きな建築、好きな季節と夕陽。あの人が大切にしている場所に吹く風、日が落ちる時刻が少し違う、友人のいる場所。

[takurohtoyama]

‘Performance for YYYYYYYYYY’ Mao Otake & Takuroh Toyama

This is a performance by Mao Otake & Takuroh Toyama, recorded April 19, 2025, at the TIGER MOUNTAIN gallery. 

This live performance was held as part of the related events for Natsuko Yoneyama's first solo exhibition “YYYYYYYYYY──Works and Surroundings of Natsuko Yoneyama” (March 19–April 20, 2025). During the event, a performance was presented using environmental sounds recorded during a vacation and newly acquired instruments. 

--- 

この演奏は大竹雅生とトヤマタクロウによるもので、TIGER MOUNTANにて2025年4月19日にレコーディングされた。 

本ライブは、米山菜津子さんの初の個展「YYYYYYYYYY──米山菜津子の仕事と周辺」（2025/3/19–4/20）の関連イベントとして、バカンス中に録音された環境音や新調した楽器を使用したパフォーマンスが披露された。

Mao Otake - Glasses, Kalimba, Ocarina, Sampler 

Takuroh Toyama - Synthesizer 

Artwork designed by Natsuko Yoneyama 

Photo by Takuroh Toyama

[kaarijajpn]

ヨーロッパを制覇したカーリヤ、いよいよ日本上陸！

日本でのライブについて触れたインタビュー記事がアップされましたので、和訳してみました！

以下和訳⇩

すべてはユーロビジョンから…いや、正確には、10年前、フィンランドのヴァンター郊外から始まった。 「Cha Cha Cha」でヨーロッパの聴衆を沸かせ���国際的な注目を集めるコラボ曲にも参加するカーリヤは今、 日本進出を見据えている。 まったく新しいチャレンジ――日本のリスナーに、フィンランド語で、メタルの影響を受けたパーティー系EDMポップスを届ける。これ以上クレイジーなアイディアはあるだろうか？ こんなクレイジーなことに挑戦できるのは、イェレ・ポウホネン＝カーリヤだけだろう。そう、彼は6/12、カーリヤのアジア初となるライブのため、大阪に向かう。このライブは2025年大阪万博にて実施されるフィンランドデー、より正確には「Party like a Finn – Rock & Fashion」という夜のパーティーイベントのプログラムの一つとして開催され、カーリヤと、ヴォーカルグループTuuletarが演奏する。 とはいえ、予想以上に国際的になったカーリヤのキャリアの、次のステップとしてはこれは完全に理にかなったものだろう。ヨーロッパをは制覇した。新天地に乗り出すときが来たのだ。 「カーリヤのスーパーヒーローみたいなバイブスや、ボレロ、ボウルカットは、日本の聴衆にウケるんじゃないかとずっと考えていました。それに彼らは、ヘビーな音楽や、ほかのフィンランドの音楽も好んでいる」バーゼルからのビデオ通話で、ポウホネンはそう語った。「ずっと日本をヨーロッパの次に目指すマーケットだと考えていました。日本は巨大なマーケットで、そこで成功すれば、ずっとツアーを続けることができる。もちろん、そのためには大きな努力は必要ですが」 ストリーミング数を分析すると、アジアには成功の兆しがあった。「実は昨日、ここバーゼルで、東京から来たというファンに会ったんです。彼は僕のフィンランドのギグにも来てくれていました」そう話す彼は明らかに嬉しそうだった。 「とにかく現地に行き、ライブパフォーマンスを見せるしかない。それがKäärijäとしてずっと信じてきたことなんです。僕たちがやってることを生で見てもらえさえすれば、きっと伝わるって！ それに、日本語をいくつか覚えてステージで話せるようになれば、きっと喜んでもらえると思います」

ピープルズチャンピオンの帰還

もちろん、ポウホネンはユーロビジョンのためにバーゼル入りしている。昨夜、彼は2024年のフィンランド代表エリカ・ヴィクマンとともにステージに立った。数日後には、彼は再び決勝のステージで会場を沸かせる。今回はクロアチアのベイビーラザニア（昨年の大会でファンの人気者だったアーティスト）と一緒だ。コラボ新曲「#eurodab」を、テレビで最大級の視聴者に向けて披露する。 Käärijäのワールドワイドな旅路が始まった場所がユーロビジョンだったことを考えると、これはパーフェクトな舞台だろう。2023年大会で、「Cha Cha Cha」は圧倒的視聴者票を獲得し、優勝したスウェーデンのLoreenと僅差で2位となった。 それ以降、物語は急速に動き出した。 「言うまでもなく、もし「Cha Cha Cha」がユーロビジョン関係なしにリリースされたとしたら、こんなことは起こらなかったでしょう。偶然海外の誰かがこの曲を見つけ、そこから何かは生まれたかもしれないけど、この一連のフィーバーは…ユーロビジョンのおかげですね」ポウホネンは言う。

コラボレーションの力

少し時間を戻そう。 イェレ・ポイホネンがラップに出会ったのは、フィンランド南部ヴァンターの郊外で中学校に通っていたときのことだった。 2014年ごろから、彼は自分で曲を作り始めた――EDMに、ラムシュタイン風のヘビーな要素を融合させたスタイルだ。 カーリヤの初期作品は完全にDIYだったが、やがてワーナーミュージック傘下のフィンランドの有名ヒップホップレーベル、Monsp Recordsの目に留まることとなる。 「たしか6年くらい前だったと思いますが、プロデューサーと一緒に、どうやったらドイツに売り込めるかって真剣に考えてたんです。ベルリンの街角にラジカセ持ってって、カーリヤの曲を流そうかって話までしてましたね。しかもその時点では、まだ国内でもブレイクしてなかったのに！」ポウホネンは笑う。 次の大きな課題は、「ユーロビジョン・マジック」が解けたあと、このモメンタムをどうやって維持するかということだ。 「ユーロビジョンを追いかけてない人たちも、僕の音楽を聴いてくれています。もしこれが一過性のユーロビジョンフィーバーなのだとしたら、僕たちが今もギグを完売させられるわけがない。確かに火をつけてくれたのはユーロビジョンですが、今はもうそれを超えた広がりがあるんです」 カーリヤと彼のチームはすでに、今後数年の具体的なプランを立てている。 「ヨーロッパでのツアーや、もっと規模の大きいショーの計画も立てていますし、日本には特にフォーカスしてます。もちろん、さらに先のことも考えてますよ。今後の展開についてもね」 戦略のカギとなるのは、様々な国のアーティストとのコラボレーションだ。これまでカーリヤは、クロアチアのベイビーラザニア、エストニアのトミー・キャッシュ、オランダのヨースト・クライン、そしてスウェーデンのホーヤと言った同志たちとタッグを組んできた。そして今後もさらにコラボは続く、とポウホネンはほのめかす。

すべては笑顔のために

Käärijäという名前を訳するのは難しい。文字通りの意味は「包装紙（包むもの）」となるが、フィンランド語の「“kääriä rahaa”（＝あっという間に金を稼ぐ）」という表現に由来している。 この名前はアイロニックで、カーリヤは決して大金を稼ぐためにやっているわけでない。すべては楽しむためだ、とポウホネンは強調する。 「僕はこの仕事が好きだし、僕たちの生み出しが音楽すべてを愛しています。もう「Cha Cha Cha」はやりたくない、と思う日が来たとしたら、その時こそが物事を考え直すときなんだと思います」 「僕たちはただ、いいものを作り出し、楽しもうとしているだけ。僕は自分自身、そしてフィンランドの人達に、（自分のやっていることは）世界で通用するんだと証明したいんです」 ポウホネンは、フィンランド語が障壁になるとは思っていない。 「フィンランド語でいい歌を作って海外の人とつながることができれば、なんだってできるってことを、僕たちはすでに証明したと思っています」 なんだってできる――しかし、彼の一番の野望について聞くと、カーリヤはフィンランド人らしく、地に足の着いた現実的な姿勢を崩さず答えた。 「ドイツかイギリスでアリーナライブができたら、クールだと思う。まずはそこから始めようか」

＜終＞

[k-yoshiro]

🎥 Documentary Video 🎥

Documentary video of the solo exhibition “Affectionate Wasteland” held in Tokyo is now available. 4K video recording of the exhibition is now available.

Documentary of Affectionate Wasteland

⚫︎

3月に東京で開催した個展「優しい焦土に抱かれて」。会場の様子を4K撮影した記録映像を公開中。 本編はYouTubeでご覧いただけます。

個展「優しい焦土に抱かれて」会場ドキュメンタリー

[lierrelearns]

皇居東御苑 The East Gardens of the Imperial (HIgashi-Gyoen) 所要時間 大手本 → 本丸、二の丸ーー大手門 およそ60分 →二の丸、ーーー平川門 およそ30分 →本丸ーーーー北桔橋門 およそ30分

乾門　Inui-mon Gate 至千鳥ヶ淵　For Chidorigafuchi 科学技術館　Science Museum 国立公文書館　National Archives of Japan 東京国立近代武術間　The National Museum of MODERN ART, Tokyo 乾濠　Inui-bori Moat 発券所　Ticket office 北桔橋門　Kita-hanebashi-mon Gate 平川濠　Hirakawa-bori Moat 1a出口 (Exit) 地下鉄　竹橋駅　Takebashi Sta. 清水濠　Shimizu-bori Moat 平川門　Hirakawa-mon Gate 天守台　Tenshudai (Tenshukaku Dunjon Base) 宮内庁書陵部庁舎　Shoryobu (Archives and Mausolea Department Bldg.) 桃華楽堂　Gakubu (Music Department Bldg.) 梅林坂　Bairin-zaka Slope 都道府県の木　Symbolic Prefectural Tree Emblems 天神濠　Tenjin-bori Moat 発券所　Ticket office 大手濠　Ote-bori Moat 内堀通り　Uchibori-street 諏訪の茶屋　Suwano-chaya Tea House 竹林　Bamboo Garden 石室　Ishimuro (Stone Cellar) 桜の島　Sakura Blossom Island 富士見多門　Fujimi-tamon Defence-house バラ園　Rose Garden 茶畑　Tea Garden ユーロッパアカマツ　Scots Pine 本丸　Honmaru 本丸大芝生　Honmaru Oshibafu (Lawn) 本丸休憩所　Honmaru Rest House 汐見坂　Shiomizaka Slope 白鳥濠　Hakucho-bori Moat 展望台　Observatory 二の丸休憩所　Ninomaru Rest House 二の丸雑木林　Ninomaru Grove 秋の七草　The Seven Flowers of Autumn 新雑木林　Renewed Grove 菖蒲田　Iris Garden 二の丸庭園　Ninomaru Garden 蓮池濠　Hausike-bori Moat 松の大廊下跡　Site of Matsuno-o-roka Corridor 果樹古品種園　Orchard (Old Species of Japanese Fruits) 野草の島　Wild Grass Island 緑の泉　Green Fountain 中雀門跡　Site of Chujaku-mon Gate 大番所　O-bansho Guardhouse 中之門跡　Site of Nakano-mon Gate 百人番所　Hyakunin-bansho Guardhouse 同心番所　Doshin-bansho Guardhouse 大手休憩所　Ote Rest House 三の丸尚蔵館　Sannomaru Shozokan　The museum of the Imperial Collections 皇居東御苑管理事務所　Office of the East Gardens of the Imperial Palace 発券所　Ticket Office 大手門　Ote-mon Gate 現在地　You are Here C13b出口 (Exit)　Otemachi Sta. 坂下門　Sakashita-mon Gate 富士見櫓　Fujimi-yagura (Mt. Fuji View Keep 蛤濠　Hamaguri-bori Moat 桔梗門　Kikyo-mon Gate 桔梗濠　Kikyo-bori Moat ←至　二重橋　For Nijubashi Bridge 皇居外苑　Kokyi gaien National garden 至 JR東京駅　For Tokyo Sta. 和田倉噴水公園　Wadakura Fountain Park 日比谷通り　Hibiya-street

皇居東御苑は、旧江戸城本丸、二の丸及び三の丸の一部を皇居付属庭園として、宮中行事に支障のない限り次のように公開(無量)しています。（Free of charge）

１．出入門 大手門、平川門、北桔橋門の３つの門から出入り出来ます。 ２．休園日 （１）月曜日及び金曜日 ただし、天皇誕生日以外の「国民の祝日等の休日」は公開します。なお、月曜日が休日で公開する場合は、火曜日（休日を除く）を休園します。 （２）12月28日から翌年1月3日までの日 ３．入園手続き 入園するは、各門内の発券所で入園票を受け取り、退園の際にはいずれかの発券所にお返し下さい。 宮内庁

１．The Gardens are open on the following days. However the Gardens are closed in the period between 28 December and 3 January and may be closed due to Court functions and other reasons. ① Wednesdays ② Thursdays ③ Saturdays ④ Sundays ⑤ National Holidays (excluding the Emperor’s Birthday, 23 December) ⑥ Mondays immediately following the National Holiday which falls on Sunday ⑦ Tuesdays (excluding Tuesday immediately following ⑤ and ⑥) ２．While you are in the Gardens, please keep the plastic ticket which you will receive at the gate. Please return the ticket to the officer at the exit gate. IMPERIAL HOUSEHOLD AGENCY

公益財団法人菊葉文化協会 寄贈 財団法人日本宝くじ協会

Vocab 皇居（こうきょ）imperial 御苑（ぎょえん）imperial garden 所要時間（しょようじかん）time required, time taken 至（し）to 科学時術（かがくじじゅつ）science and technology 近代美術館（きんだいびじゅつかん）museum of modern art 濠（ほり）moat, canal 発券（はっけん）issuing (a ticket, etc.) 宮内庁（くないちょう）Imperial Household Agency 書陵部（しょりょうぶ）agency that takes care of records and the tombs 庁舎（ちょうしゃ）government office building 梅林（ばいりん）plum grove 都道府県（とどうふけん）prefectures of Japan 竹林（ちくりん）bamboo grove 茶畑（ちゃばたけ）tea field ユーロッパアカマツ Scots/Scotch pine, Pinus slyvestris 芝生（しばふ）lawn, grass 休憩所（きゅうけいしょ）rest area, rest stop 展望台（てんぼうだい）observation deck 雑木林（ぞうきばやし）thicket; grove of miscellaneous trees 秋の七草（あきのななくさ）seven flowers of autumn: bush clover, Chinese silvergrass, kudzu, fringed pink, golden lace, thoroughwort, and balloon flower 菖蒲（しょうぶ）Japanese iris (Iris ensata var. ensata) [coll.] 果樹（かじゅ）fruit tree 品種（ひんしゅ）breed variety, cultivar 野草（のぐさ）wild grasses 泉（いずみ）fountain 番所（ばんしょ）guardhouse 桔梗（ききょう）Chinese bellflower (Platycodon grandiflorus) 外苑（がいえん）outer garden 噴水（ふんすい）water fountain 付属（ふぞく）being attached (to), belonging (to) 宮中（きゅうちゅう）imperial court 行事（ぎょうじ）event, function 支障（ししょう）obstacle, hindrance 休園日（きゅうえんび）day on which a park (or kindergarten or zoo) is closed 祝日（しゅくじつ）national holiday なお　furthermore 除く（のぞく）to exclude, except 手続き（てつづき）procedure, process 票（ひょう）ticket, stub (suffix) 公益財団法人（こうえきざいだんほうじん）public interest incorporated foundation 文化協会（ぶんかきょうかい）cultural association 公益財団法人菊葉文化協会（こうえきざいだんほうじんきくようぶんかきょうかい）a cultural association that focuses its research on making artifacts of the imperial household available to the public. 寄贈（きぞう）donation, gift 宝くじ（たからくじ）lottery ticket

[lvdbbooks]

【イベント出店のご案内】

2024年11月5日（火）

Q.L.C #1

LIVE downt / Texas 3000 / neco眠る

DJ 慈母子

POP UP SHOP LVDB BOOKS / OASIS2 / 十四才

会場：梅田クラブクアトロ

開場：18:00 / 開演：19:00

料金：前売 3,000円 / 当日 3,500円

/

[LIVE]

downt 

2021年の結成以来東京のライブシーンを中心に活動スタート。 同年10月にリリースした1st『downt』（CD/CT共に完売）のリリースを受け、一躍エモ、オルタナのライブハウスシーンにて注目を集める存在に。 今年3月、1stフルアルバム『Underlight & Aftertime』をリリース。 もはやカテゴライズはいらない存在感でジャンルの境界線を風通しよく越え快進撃中！

Texas 3000

Texas 3000は「矛盾」に満ちた存在である。 2019年、幡ヶ谷FORESTLIMITでのパーティ"K/A/T/O MASSACRE"にてJojo（Gt/Vo）と崎山（Dr）が出会い結成。2023年1st アルバム「tx3k」リリースと同時にkirin（Ba）がメンバーとして加入、3人でライブや創作を精力的に行う。 シリアスなのかふざけているのかわからない支離滅裂で無秩序を表現するかのようなサウンドとリリック。ポップでありながら、どこか掴みどころのないキャラクターと謎の虚無感が同居した佇まい。Texas 3000はそんな新世代の異形オルタナティブロックバンドである。

neco眠る

2002年大阪にて結成。オシリペンペンズ、DODDODOと共にレーベル「こんがりお��がく」を主宰。 大小様々なイベントやフェス等で、ユニークかつ妙にダンサブルな音楽を極限までマイペースに鳴らし続け、はや20年。その音楽性をわかりやすく説明すると「先輩に素晴らしいアーティストがたくさんいて、どうしたら彼らと違うことができるか考えてるうちに訳が分からんくなって、力抜けた時に出た屁」の様な音楽。 ただ、その屁は妙に良い音だった。 現在のメンバーは森雄大（Gt）、伊藤コーポレーション（株）（Ba）、BIOMAN（SYNTH）、栗原ペダル（Gt）、三木章弘（Dr）、おじまさいり（SYNTH）の6名、メンバーそれぞれが様々なユニット/バンドやソロ等で活動もしており膨大なピープルツリーを形成している。

[DJ] 

慈母子

2019年結成された大阪在住の自炊とobocoによるDJコンビ。音波の中で事故と放浪を繰り返しながら情熱活動中。2023年にDJ実弾とのスワッピングMIXテープをリリース。2024年2月より難波ベアーズにて、毎月最終水曜開催の創造パーティ『慈愛/THE I』を開始。音楽による魂の救済を目指し、永遠に続ける予定

[POP UP SHOP]

LVDB BOOKS

LVDB BOOKSは大阪・東住吉区の書店＋ギャラリーです。

OASIS2

京都の街外れにて不明瞭なvintageを販売、既存の古着価値の剥離作業を日々行いつつ、モード圏外でのファッションの境目、及びその和訳や誤訳の着地点を模索中。

 十四才

店主がブルーハーツと岡本太郎から受けた衝撃を独自の解釈で古着に落とし込んだ変なお店

[VISUAL]

六根 由里香

1995年大阪府生まれ。周囲にあるモノが咄嗟に目の端に飛び込んでくる経験をチャンスイメージと見なし、リトグラフやシルクスクリーンなどの版画技法を用いてイメージの諸相を再提示する作品を制作する。 9月21日ー10月6日まで GALLERY | BOOK & CD/RECORD SHOP POLにて個展「hit-and-miss」開催。

[zappak]

ささきしおり (Shiori Sasaki) [描奏をきく (Kiku (sense) the [drawing + sound​]​)]

Release date: February 01, 2025 Catalog no. zappak-020

Bandcamp Page: https://zappak.bandcamp.com/album/kiku-sense-the-drawing-sound

[Tracklist]

描奏 / ユポドラム - 39'02" (Byōsō (Drawing Sound) / YUPO drum)

描奏 / ユポドラム - 34'52" (Byōsō (Drawing Sound) / YUPO drum)

Excerpt: https://soundcloud.com/zappak/zappak-020

ユポドラム、絵具、玩具、ヘラ、ドライヤー YUPO drum, paint, toys, spatula, hair dryer

Recorded at her atelier, Tokyo, Japan on November 20, 2023 Recorded and mastered by Leo Okagawa Photos by Shiori Sasaki

Special thanks to YUPO Corporation / 株式会社ユポ・コーポレーション Kuretake / 株式会社呉竹

※「ユポドラム」は合成紙ユポをドラムヘッド部分に使用し制作しています ※「ユポ」は株式会社ユポ・コーポレーションの登録商標です

—

"Kiku (Sense) the [drawing+sound]" In Japan, the word "kiku" (usually meaning "to listen") has been used since ancient times to describe the sensory perception of invisible things, such as "kiku (to smell) a fragrance" or "kiku (to taste) sake". On a YUPO drum, a drum covered with YUPO paper (polypropylene paper), the artist neither draws nor plays, but rather "kiku (sense) the [drawing+sound]" by inaction. The process of [drawing+sound], as well as appreciation of the work in which the trajectory is fixed, is also "kiku=listening".

描奏をきく 日本では古来「香りをきく」「酒をきく」など、目に見えないものに感覚を研ぎ澄ませてきた。 太鼓にユポ紙を張ったユポドラムの上で、描くのでも奏でるのでもない、不作為による描線の音楽を「きく」。 描奏行為の過程はもちろん、その軌跡が定着された作品の鑑賞もまた、「きく」ことである。

—

Shiori Sasaki is an artist who creates works, performs, and holds workshops beyond the framework of music. She focuses on the combination of drawing (visual information) and sound (auditory information) and she explores the changes of the senses through it. On this work zappak introduces two recordings of her performances from her statement/project "描奏をきく (kiku (sense) the [drawing+sound])". She dripped drawing materials onto a YUPO drum (a bass drum with a head made of a strong paper 'YUPO paper') and made patterns by using spatulas, toys, hairdryers, etc. In between intentionality and inaction, born from the simultaneous generation of visual and auditory information that is neither drawing nor playing music, a new "experience" is realized through the primal activeness of "listening".

ささきしおりは音楽という枠組みを越えた作品の発表、パフォーマンス、ワークショップをおこなうアーティスト。描くこと(視覚的情報)と音(聴覚的情報)の交わりに着目し、それがもたらす感覚の変容を探求している。本作では彼女のステートメント/プロジェクトである「描奏をきく」のパフォーマンスからふたつの録音を紹介する。ユポドラム(ユポ紙という強度のある紙をバスドラムに張ったもの)の上に絵の具を垂らし、ヘラや玩具、ドライヤーなどをもちいて模様をつけていく。描くのでも奏でるのでもない視覚的/聴覚的情報の同時生成によって生まれる作為と不作為の狭間で、「きく」という能動的な行為をつうじ、新たな体験を実現している。

—

Shiori Sasaki / ささきしおり

Drawing sound performer / YUPO drum artist. Sasaki works on "描奏をきく (kiku (sense) the [drawing+sound])" as her concept. She captures both sound generated by drawing and drawing sounds expressed at the same time as sounds. She thinks the accumulation of sounds (= music) is reflected on a flat surface, and the time to appreciate the surface as a result is also a musical experience. She appeared as a public appeal artist on "Sound Performance Platform 2019" by Aichi Prefectural Art Theater. And as a selected for the project "New Perspective: Momijizaka Project Vol. 1" by Kanagawa Prefectural Music Hall in 2022, she did a performance, exhibition at the foyer, and a trial session of YUPO drum. Now she works with the support of drawing materials from Kuretake Corporation.

描奏家／ユポドラム・アーティスト。 「描奏をきく」をコンセプトに制作。ドローイングによって導かれる発音と、同時に発現する描線を両者とも「音」として捉え、堆積していく音の集積（＝音楽）は平面に落とし込まれ、その結果物としての平面を鑑賞する時間をも音楽的体験としている。 愛知県芸術劇場主催「サウンドパフォーマンスプラットフォーム2019」に公募アーティストとして出演、2022年神奈川県立音楽堂主催「新しい視点」紅葉坂プロジェクトvol.1に企画選出し、パフォーマンスと同時にホワイエの展示とユポドラム体験会を行った。（株）呉竹より絵具の提供を受け制作活動している。

[maodun]

happy (belated) birthday 潘展乐 Pan Zhanle and congrats on beating your own WORLD RECORD -- AGAIN ‼️