#kaze ni fukaretemo

[floorpancakes]

[hydranomago]

[Lyrics & translation under cut]

ENGLISH:

Thinking of the strong bond between us The days of my youth can never be fully recounted Sometimes we were hurt, sometimes we were delighted Those days when we tapped each other on the shoulder

How long has it been since then? How many sunsets have I counted? Are your friends from back home still in your heart? Are they still in your heart?

Cheers.　 Now you're standing on the big, big stage of your life. You've just begun to walk the distant way. I wish you all the happiness.

You and your beloved in the candlelight. I'm squinting at you right now I want to sing you a song of great joy and a little loneliness I want to sing in words of tears

Let the light of tomorrow shine on your body Don't look back, just keep going Even if the wind blows, even if the rain pours Don't turn your back on the love you believed in

Cheers.　 Now you're standing on the big, big stage of your life. You've just begun to walk the distant way. I wish you all the happiness.

Cheers.　 Now you're standing on the big, big stage of your life. You've just begun to walk the distant way. I wish you all the happiness. I wish you all the happiness.

Credit: https://lyricstranslate.com/en/kanpai-cheers.html-0

ROMANJI:

Katai kizuna ni oomoi o yossete Katari tsukusenu seishun no hibi Toki ni wa kizutsuki toki ni wa yorokobi Kata o tataki aata anohi

Arekara dorekurai taata no darou Shizumu yuuhi o ikutsu kazoetarou Furusato no tomo wa imademo kimino Kokorono naka ni imasuka

Kanpai ima kimi wa jinsei no Ookina ookina butai ni tachi Haruka nagai michinori o aruki hajimeta Kimi ni shiwase are

Kiandoru raito no naka no futari o Ima koushite me o hossometeru ookina yorokobi to sukoshi no sabishisa o

Namida no kotobade utaitai Asu no hikari o karada ni abite Furikaerazu ni sanomama ikeba yoi Kaze ni fukaretemo ame ni utaretemo Shinjita aini se o mukeruna

Kanpai ima kimi wa jinsei no Ookina ookina butai ni tachi Haruka nagai michinori o aruki hajimeta Kimi ni shiwase are

Kanpai ima kimi wa jinsei no Ookina ookina butai ni tachi Haruka nagai michinori o aruki hajimeta Kimi ni shiwase are Kimi ni shiwase are

[akirakf]

#015

“Chanchan! Ai chiki chiki bang bang!”

Sambil menyetir, aku melantunkan lagu Chiki Chiki Bang Bang yang kuputar di music player mobilnya kakak. Tentu saja, aku tidak sendirian disini. Bersama Ucup, Udin, dan Karen, kami sedang dalam perjalanan menuju Bandung. Apakah orangtuaku mengizinkan? Yap, tentu saja. Toh, kami sedang liburan sebelum masuk kuliah. Dan untungnya, aku sudah punya SIM, jadi bisa menghemat ongkos liburan kami.

“Jajang! Ai chiki chiki bambang!” si Ucup bernyanyi dengan lirik yang asal-asalan, membuatku tertawa kecil.

“Nyanyi liriknya yang bener dong, Cup!” protes Karen.

“Lah itu udah bener?”

“Mana ada bambang!”

“Liriknya begitu kok!”

“Dah lah, daripada jadi bahan debat, mending lagunya gue ganti.” Udin, yang duduk di sampingku, langsung menekan tombol next pada music player.

“Bentar, biar gue yang ganti.” Ucup pun mengambil ponselku, memilah-milah lagu yang hendak diputarnya.

Yup, music player ini terhubung dengan ponselku, sehingga semua lagu yang diputar di dalam mobil berasal dari ponselku. Tak banyak komentar kala teman-temanku mempermasalahkan lagu, karena fokusku terpusat pada tol Cipularang yang cukup damai Jumat pagi ini. Tidak ramai, tidak juga sepi.

Kipas angin kesedot sampah

Oh kipas angin kesedot sampah

“UCUP!!!” mengetahui lagu yang diputar adalah Kipas Angin Kesedot Sampah, alias lagu favoritnya Ucup, Karen langsung naik darah.

“Kenapa? Lagunya bagus tahu!” protes Ucup.

“Bagus darimana?! Liriknya aneh!”

Ucup dan Karen sibuk berdebat, sementara Udin langsung mengambil ponselku.

“Dahlah, emang payah kalo Ucup yang milih lagunya,” kata Udin.

“Din, tolong puterin AKB48 dong,” pintaku.

“Yang mana?”

“Kimi no koto ga suki dakara.”

Udin langsung mencari lagu itu, dan tak sampai satu menit lagu itu pun berkumandang di mobilku.

“Kimi ga shiawase dattara, kono jikan ga tsudzuku you ni~” aku mulai melantunkan lagu tersebut, sambil tetap menyetir agar tidak mengantuk.

“Zutto zutto zutto inotte iru yo~” Ucup pun ikut bernyanyi, setelah mendapat satu jitakan dari Karen.

“Kaze ni fukaretemo, boku ga sono hana wo mamoru~”

Dan kami berempat pun langsung menyanyikan lagu ini. Kan, memang AKB48 itu menyatukan kami.

<>

“Ruy,” panggil Karen sambil menepuk pundakku.

“Kenapa, Ren?”

“Kalo ada rest area, bisa mampir dulu? Gue kebelet pipis.”

Mendengar ucapan Karen, aku langsung menepikan mobil ke bahu jalan.

“Kok berhenti?” tanya Karen heran.

“Pipis disana aja, semak-semak,” kataku polos. Ucup dan Udin pun langsung tertawa dibuatnya.

“Heh!! Emangnya gue cowok apa bisa pipis di semak-semak?!” protes Karen sambil memukul bahuku.

“Lah kan elo emang cowok,” kata Udin polos, yang langsung mendpat jitakan dari Karen. Aku hanya tertawa kecil, lantas kembali mengemudi menuju rest area terdekat.

Untungnya, tidak jauh. Tidak butuh waktu 10 menit bagi kami untuk menemukan rest area tersebut. Karen pun buru-buru turun dari mobil, sementara aku membuka ponselku untuk mengecek notifikasi. Ucup dan Udin sepertinya juga pergi ke toilet.

Hmm, sepertinya aku juga harus ke toilet, agar nanti tidak mampir-mampir lagi.

<>

Tepat pukul 12 siang, kami keluar tol dan sudah tiba di Bandung. Suasana kota Bandung di senin pagi ini, tidak begitu beda jauh dengan Jakarta. Hanya saja, kemacetan di kota kembang tidaklah separah di ibu kota negara. Cuacanya pun, sama-sama terik.

“Mending kita makan siang dulu,” kata Udin. “Mau coba ke Delapan Padi gak? Katanya disana enak, murah, trus tempatnya instagramable. Karen pasti suka.”

“Eh, boleh tuh! Gue mau foto-foto!” sahut Karen antusias.

“Tunjukin aja jalannya, gue kan buta arah daerah Bandung,” jawabku. Semenjak kakakku lulus dari ITB, aku memang sudah jarang main ke Bandung.

Maka dengan instruksi dari Udin, aku menyetir ke arah tempat yang dimaksud. Tempat parkir yang cukup luas, dan dalamnya pun instagramable seperti kata Udin.

Puas makan dan berfoto-foto, kami pun melanjutkan perjalanan ke gunung Tangkuban Perahu. Berbeda dengan di Bandung kota, udara disini cukup sejuk. Tak lupa, kami mengambil banyak foto, makan bakso, sebelum akhirnya mengakhiri perjalanan kami dengan ke rumah neneknya Udin di daerah Lembang.

Rumah neneknya Udin cukup asri. Rumah sederhana bergaya kolonial dua lantai, dengan dikelilingi kebun bunga dan pohon mangga. Persis rumah eyangku di Surabaya, hanya saja rumah eyang hanya satu lantai dan cuacanya panas. Halaman rumah yang luas pun membuat mobilku bisa diparkir di sana.

“Assalamualaikum, nenek!” panggil Udin sambil mengetuk pintu rumah yang terbuka. Nenek Udin pun keluar, dan menyambut kami dengan hangat.

“Nek, kenalin, ini temen-temen Udin yang Udin ceritain. Ini Akira, Ucup, sama yang cewek Karen,” Udin memperkenalkan kami. Setelah diperkenalkan, kami beramai-ramai menyalami tangan nenek.

Ah… aku jadi rindu eyang.

Nenek pun mempersilahkan kami masuk, lalu menjamu kami dengan teh hangat.

“Macet gak?” tanya nenek.

“Alhamdulillah enggak kok nek. Lancar jaya,” jawabku.

“Nenek tinggal sendiri?” tanya Karen.

“Iya, tapi sesekali omnya Udin datang kesini, rumahnya di Dago,” jawab nenek. “Nenek seneng kalian main kesini, jadi Nenek ada temennya. Istirahat dulu, abis ini kita makan malam.”

Nenek sudah menyediakan dua kamar untuk kami di lantai dua. Tentu saja, Karen tidur sendiri sementara sisanya dalam satu kamar.

Sambil menunggu giliran mandi, aku merebahkan diriku di sofa, dan membuka twitterku. Kulihat semua temanku bersenang-senang dengan mengupdate di twitter mereka.

“Ruy, mandi sana! Trus makan!” kata Udin sambil melempar handuk bersih padaku. “Ucup sama Karen udah di bawah, lagi ngobrol sama nenek. Abis makan, ayo kita nonton horor.”

“Anjir nonton horor,” komentarku sambil mengambil baju ganti. “Tapi kebetulan sih, gue baru langganan netpliks. Lo bawa proyektor mini?”

“Bawa. Ucup sama Karen bagian sediain cemilan.”

“Sip!”

Usai mandi dan makan malam, kami berempat pun kembali mengobrol dengan nenek. Saat jam menunjukan pukul 10 malam, nenek izin untuk pergi tidur duluan. Dan kami berempat pun langsung mengubah lantai 2 menjadi bioskop mini. Dengan layar seadanya, dan jagung rebus serta teh hangat buatan nenek sebagai cemilannya.

Bandung, 4 Juli 2022

Akira Kusumawardhana Fujimine

[hirateyurinalover]

Self made GIF for

Hirate Yurina in Kaze ni Fukaretemo (風に吹かれても)

[akb48girldaisuki]

Kaze Ni fukaretemo dance version

[marx48]

[sneek-m]

Don’t Trust Over Thirty: 20 Best Songs of Keyakizaka46

Representative as “Silent Majority” is of Keyakizaka46's oeuvre, the song’s tone invites some conflict upon deciding whether or not the record wholly defines the group’s distinct musical voice. The single introduces their us-versus-them worldview in spades, and every subsequent release draws upon it, adding depth or working in opposition to its established elements. The chorus, however, reaches for a triumph that future songs not so much shy away from than they deny a possibility to grasp altogether. Though the idols sing to band together the astray in their most known anthem, they’re more known in retrospect as being stubbornly closed off with distrust of everyone including themselves.

“Silent Majority” still remains a nearly perfect debut single in my eyes. If the key details about the idols aren’t represented then and there, subsequent singles and album tracks carved out the nuance. The B-side in particular color in the specifics of their biography: it’s the place where high school plays a dominant role, giving context to their maturity and choice in language but also the rules of their world. These idiosyncrasies, reminiscent of how the inside of my teen brain used to run, fascinate me more than their grand statements — though, that’s not to say I’m also not wow’ed by the idols giving it their all in “Garasu Wo Ware!”

I did blurb about my number-one choice for a different feature if you would like to read more about why it holds the top place in my personal list. The rest, maybe I will write about why it’s ranked in that certain position, maybe not. I honestly just decided to do this because I wondered whether or not “Futari Saison” would rank top 5 in a personal list (spoiler: it does!). You can listen to everything in this order as a playlist here.

Here are the best 20 Keyakizaka46 songs, ranked:

“Eccentric” (2017)

“Silent Majority” (2016)

“Garasu Wo Ware!” (2018)

“Futari Saison” (2017)

“Hiraishin” (2017)

“Ambivalent” (2018)

“Kaze Ni Fukaretemo” (2017)

“Jugatsu No Pool Ni Tobikonda” (2020)

“Nobody” (2019)

“Dare Ga Sono Kane Wo Narasunoka?” (2020)

“Abunakkashii Keikaku” (2017)

“Katarunara Miraiwo…” (2016)

“Mou Mori Ni Kaerouka?” (2018)

“Student Dance” (2018)

“Kuroi Hitsuji” (2019)

“Sekai Ni Wa Aishikanai” (2016)

“Tokyo Tower Ga Doko Kara Mieru?” (2017)

“I’m Out” (2018)

“Concentration” (2020)

“Taiyo Wa Miageru Hito Wo Erabanai” (2017)

[chirabatta]

GING NANG BOYZ -- YOU & I VS. THE WORLD

(https://open.spotify.com/track/3HQ5X6RrYuybCFJQidnp0d)

you & I, now and forever.

you & I, now and forever.

今は苦しくても 今は悲しくても

君がいるから そばにいるから 僕にはなんでもできる

雨に打たれても 風に吹かれても

君がいるから そばにいるから 僕にはなんでもできる

今は苦しくても 今は悲しくても

君がいるから そばにいるから 僕にはなんでもできる

あの青い空は僕らの空 あの青い海は僕らの海

かけがえのない君と僕はどこへゆくのか

君と僕は永遠に 手と手つなぎどこまでも

尊い君よ ぬれた枕よ 限りない喜びよ

きらきら光る星空の下 遠く君ははなれていた

叫んでみたよ 叫んでみたよ 君の名前

君と僕は永遠に 手と手つなぎどこまでも

尊い君よ ぬれた枕よ 限りない喜びよ

限りない喜びよ

you & I, now and forever.

you & I, now and forever.

ima wa kurushikutemo, ima wa kanashikutemo

kimi ga iru kara, soba in iru kara, boku ni wa nandemo dekiru

ame ni utaretemo, kaze ni fukaretemo,

kimi ga iru kara, soba in iru kara, boku ni wa nandemo dekiru

ima wa kurushikutemo, ima wa kanashikutemo

kimi ga iru kara, soba in iru kara, boku ni wa nandemo dekiru

ano aoi sora wa bokura no sora, ano aoi umi wa bokura no umi,

kakegae no nai kimi to boku wa doku e yuku no ka

kimi to boku wa eien ni, te to te tsunagi doko made mo,

toutoi kimi yo, nureta makura yo, kagiri nai yorokobi yo

kira kira hikaru hoshizora no shita, tooku kimi ha hanarete ita

sakende mita yo, sakende mita yo, kimi no namae

kimi to boku wa eien ni, te to te tsunagi doko made mo,

toutoi kimi yo, nureta makura yo, kagiri nai yorokobi yo

kagiri nai yorokobi yo

you & I, now and forever.

you & I, now and forever.

Even if I’m suffering now, even if I’m sad now,

Because you’re here, by my side, I can do anything.

Even if I’m hit by the rain, even if I’m blown by the wind, 

Because you’re here, by my side, I can do anything.

Even if I’m suffering now, even if I’m sad now,

Because you’re here, by my side, I can do anything.

That blue sky is our sky, that blue sea is our sea,

Where are you and I headed to, my one and only.

You and I forever hand in hand no matter where we go,

you, my treasure; dampened pillow; boundless joy.

Beneath the starry sky twinkling bright, you were so far away.

I tried shouting out, I tried shouting out, your name.

You and I forever hand in hand no matter where we go,

you, my treasure; dampened pillow; boundless joy.

Boundless joy.

[keyakikun]

Akimoto Yasushi's Point Of View QJ Vol. 135 (December 2017)

It is my job to turn the energy the girls bring into words

Overall producer of Keyakizaka46 who creates all the lyric, Akimoto Yasushi. Though in the last year interview said, 'The first impression from all of the members was quiet. So I feel like to give them a song like 「Silent Majority」', but just in one year, his impression of them has changed greatly. The girls' existence is even more exciting than before.

Q: In the last feature We talked after the first performance in NHK Kouhaku Uta Gassen has been decided and Futari Sezon is just released. After about one year supporting them, what Akimoto-san, as a Total Producer, understand deeply about the charm of Keyakizaka46?

Aki-P: Keyakizaka is different from the other group, and Keyakizaka is not the group that moves forward while keep worrying, I think. Of course AKB48 and Nogizaka46 also worry and lost along their own way, but AKB48 with their sports day sweat and tears struggle and walk along, also Nogizaka 46 with their girly and gentle teamwork. Meanwhile Keyakizaka is more tattered. Those individuality of 'tattered up' just always like a diffused reflection, becoming a group. Usually after some time passed, the group's color will become one, but it's not easy. In a word, too pure to mix. They respect each other.....so there are no sense of cooperativeness. But, that fresh side is its charm, I think.

Q:initially of course people's eyes went to the center Hirate-san, but i think people will gradually understand other members that could bring their personality.

Aki-P : To produce is, impossible to give direct value 0 or 1. Because just how far they could expand, due to they are a mysterious kids that we couldn't tell, it is interesting.

Q: How can you grasp the members view and personality?

Aki-P : Sometime I play shiritori directly with the members via LINE, sometime I also talk directly with them on location, I also listen to the reports from the managers,「Now they are being instructed like this, now they are worrying things like this」. things that was being told to me when i was in Junior High School, there must be some of them that overlapped, and there are also ones that are not. The difference between man and woman also exists, of course there is also the generation gap. Things that couldn't be understood, interesting. Keyakizaka46 lyrics are, the way I look at them, more like an observation diary.

「a close uncle」 but also 「an interpreter」

Q: In April this year the 4th single 「Fukyuwaon」 was released, and the emphasized lyric was 「I refuse to say yes」 「I'll keep resisting to the bitter end」 is this choice of words also the result of watching over the members?

Aki-P : 「Fukyuwaon」, 「Silent Majority」, and also 「Otona wa Shinjitekurenai」 are the same, the emotions of Keyakizaka46. Those girls, also have distrust in adults. I think Adult world, and our (members) world, there has to be clear division. I have to directly teach the girls about how adults are, I have to manage about Sony Music, I tell them (Sony Music) to be an adult for the time being. For example, it is often heard 「I wanna change my hairstyle, I wanna dye my hair but I was told no by Sony Music Records」. I often receive that kind of consultation message via LINE from members. In reverse to that, I reply 「shouldn't that be okay?」. The meaning is I also an「adult」but, how do I say it,「an uncle」that is probably close to them. that pamper his grandchildren like「is that so? really?」.

Q: I get it  (laughing)

Aki-P : Perhaps in the adults of Sony Music also think, for an idol to must have a long black hair, is a weird rule. But those girls wanted to live like what they want, because they think like 「boku wa iya da」(lyric spoken in Fukyuwaon), things like confrontation and times of discord also happened. Because of that image, the song 「fukyuwaon」 was born. Of course as you see it, due to when writing it the life sized worldview is finished, it feels like a deformed, a caricature or something, but because the starting point was something that is inside the girls, the completed lyric isn't wrong.

Q: while continue listening this conversation, Akimoto-san isn't an adult that is 'above' the members, but the one 'floating between' instead.

Aki-P : Inside of me there's no idea like 「this group has this kind of color, so this way of doing things is not good」 at all. As for the members, other than things you should never do as a person, I think it's okay to do things freely. But considering the people that directly manage Keyakizaka, instruction and guidance has to be done. That's why the clashing image of Keyakizaka vs adults is able to be born. Each thoughts spoken by the others are often happened. I also wrote some of the lyrics with「this is how the girls are speaking their opinion」style, conversely thing like saying「this is what the adults are trying to say」to the girls in LINE also happened. My job as producer of this group is, to stand and to interpret between members and adults, there's a feeling like that. maybe, Keyakizaka46 is operated by the members themselves. Somehow just like an executive committee of the school festival.

Q: Specifically, is it about live stage?

Aki-P : Speaking about live, right now we're thinking about the part of setlist and performance which are centered around Hirate, could also be said as think about different sides. In short, we're being told by Sony Music「Please don't do this」, not only accepting. The decision about go or no go of a school festival are still comes from adults, but the awareness of「in fact that the one that producing the school festival is us」is strong. That's what made it interesting.

A farewell is, a rebirth.

Q: July this year Keyakizaka's 1st album was released, then held all 6 area tour. What's the image that was to look out in the production of this album?

Aki-P : Keyakizaka46's live is really pretty right? Songs in「Masshiro Album」has to be well written because it's a necessity to have new songs for the live. Because there isn't much song that as exciting and uptempo as「Abunakkashi Keikaku」so far.

Q: How about solo song? like line that was written by Hirate-san「Jibun no Hitsugi, youi shiyou/watashi no owari, kiete shimaou (I'm making preparations, for my own coffin/In my end, I will disappear)」I think its an extreme un-idol-like song.

Aki-P : Hirate often said 「I want to vanish from this place.」 Because she's a pure kid she might be tired from human relations, perhaps because of the pressure of always being the center, or maybe it's a girl narcissism. Anyway because I always look over her, I think that everyday we're saying farewell to our past self. Everyday this kid learns about what despair is, what does it feel to have hope, what does she know, and what she threw away. That's what「changing perspective」is, just like skin that is regrow every time, ourselves also reborn as new everyday. 'saying farewell' is of course like being reborn, maybe that girl wants to deliver a message like that. But that's not only limited to Hirate, it could also be words that is directed onto another members or young kids out there.

Q: The feel of songs by Kanji Keyaki and Hiragana Keyaki are different, is it because they have different feel as a group too?

Aki-P : Because Hiragana Keyaki is more like a little sister, I think it's clear. because they can see from a close distance that the older sisters are really worried and troubled, they are slowly putting distance. That's why comparatively to Kanji, there's a lot hiragana's song which had the indifferent feel. But, after arriving later than their older sisters, Hiragana Keyaki also have the feeling that they have to overtake Kanji Keyaki. Whatever new challenges arise,「Soredemo Aruiteru (we'll still walk through)」, that's why i created that song.

Q: In October 2017 the 5th single,「Kaze ni Fukaretemo」was released, and the first words are「That's the way!」, which is really a contrast with「Fukyuwaon」and had a lighter lyric and tone, what's the reason behind it?

Aki-P : When making single, I will gather my musical reference. Roughly, among countless numbers of song candidate, some are selected then the arrangement for those selection will be decided.「Kaze ni Fukaretemo」was selected in an early phase, then I thought let's go with this, I already thought about the image like「(the costume is) pants and necktie」. Then I entrust it to TAKAHIRO and friends, and the perfect whole perspective also inserted into the shooting of music video. In the first day, the lyric was totally different with the final version. no matter how many timesI listen to the temporary lyric it just felt wrong, Then I rewrote it all over again. The next day it caused an uproar among members and staffs.

Q: About the past lyric (of Kazefu), it's closer to「Fukyuwaon」?

Aki-P : I don't really remember, but probably closer to a love song. from that point「Kaze ga fukumama ni motto jiyuu ni ikiyou (as the wind keeps blowing let's live more freely)」was wrote, and then start shifting (to the current lyric). that decision could only be said as a creator's intuition. As for the timing of the single after「Fukyuwaon」, keeping in mind that the girls have walked such long journey, (I thought) now they might want to sing a song like this.

Q: Does this mean like you can let loose one hand (take it easy) maybe it could affect something in a long term?

Aki-P : Logically if you use your head, it's just possible to be predicted. The most important is, how we can take it completely. For example, we are making a temporary single for the next summer, at first I cannot make it good. Furthermore Keyakizaka46  is especially moving unpredictably. I'm also excited to see how those girls will continue to move from now on, I want to interpret the good things that was born from the journey of those girls. translating the energy that those girls brought, that's my role in this group, I think that's the most important job as a producer.

[hunter934]

Quick Japan Vol.135 – TAKAHIRO

TAKAHIRO, a dancer who is always being the person in charge of choreography for all singles of Keyakizaka46 up until now and also involved in concert production on their first summer tour. Regarding to their performance, what kind of change does he feel? What can be seen from the girls that encountered their own limit is that they want to create by themselves a group called Keyakizaka46.

- This year is really an intense year for members and TAKAHIRO-san as well. When you look back at 2017, what kind of development do you feel from them?

TAKAHIRO: If there was a strong sense of unity last year, then I feel the emergence of “individuality in unity” charm this year. I have been together with them since they were still amateur, this year they pay attention to each other more deeply, each member expresses their thoughts frankly. While still putting the group first, each member also thinks about what do they want to do as individual? What do they think as individual? Within the identity of Keyakizaka46, the emergence of individual consciousness might be a positive thing.

Therefore, their relationship doesn’t end up with senior-junior relationship, they put effort to face their problems together, they pursuit an answer, I feel the greatness of expression artist from them. For example, when Hirate’s health was in poor condition on the summer tour, normally people from management would think about the solution, then they would tell it to members, however they wanted staff to give them time to discuss it with members only, “We want to think properly about it by ourselves”, and they decided to perform without anyone filling her position, they discussed about how to deal with the situation when member’s health is in poor condition, then they told us their solution.

Also, back then when some member want to ask something about dance, she would ask other member to convey that question to me, but now each member come and ask to me by herself. Their thought and feeling toward this group are really strong, moreover they started to feel proud to belong to this group, they’re already one step ahead at thinking and finding the ideal shape of this group, I think this year is a year which members created Keyakizaka46.

- What kind of thought do they have after they went through the summer tour?

TAKAHIRO: When their television drama “Zankoku na Kankyakutachi” ended, they had to face “Keyaki Republic 2017”, several days later they still had to do rehearsal for the summer tour, I think they were in very difficult situation. They had to create something together in such a difficult condition, so it’s natural if there are some conflict between them, I think it’s easy for them to speak out what they thought. “Let’s give entertaining performance to everyone”, they have one solid goal, but there must be 21 different ways to reach that goal, one member wants to show the aesthetic of a solid dance, another member wants to stress the communication with the fans. It would be endless debate if they have to choose which thought is better. Even though there were conflict of thought between them, I think they already did their best to reach their goal. I want to face to it together with them and show respect to their strong will at the same time. Even in such crisis situation, or when they lose their focus, I think basically they choose their own path to move forward.

- How is your impression toward Hiragana Keyaki?

TAKAHIRO: They got little chance to perform on the summer tour, and watching Kanji Keyakizaka46 who is their sparkling goal with their very own eyes, I think it must be hard for them. Since they are always compared to Kanji Keyakizaka46, they have to think of how to make their fans moved, and thanks to that, their performance and their ability to make expression are steadily improving. On top of that, they are always surrounded by happy aura. Their debut timing and their overall age are close to Kanji Keyakizaka, so it’s natural if they would feel upset for always being compared to Kanji Keyakizaka. But in their case, “We want to shine in our own way!”, they have more sparkling expression, I think probably it gave birth to their charm. Two identities of Kanji Keyakizaka46 and Hiragana Keyakizaka46 are already established, and 2nd generation also already joined, I think they will become much stronger group.

Everyone already experienced standing in the front row, now it’s time to show the overwhelming power of the group

- Keyakizaka46’s worldview which started from “Silent Majority” was compiled on their album and tour, I feel that their latest song “Kaze ni Fukaretemo” is a little bit different from their works thus far. What kind of feeling did you put into this song?

TAKAHIRO: Visualizing the lyric is always be the most important thing. Their songs always have a part that connected to the “Life is not always what we want it to be” theme, whatever the song is. However, “Silent Majority” is expressing a courage to oppose and say “No” to such a thing, while “Kaze ni Fukaretemo” is expressing big-hearted feeling to accept it, “No one knows what will happen in nature, so why don’t we just follow the wind?”. Every member has that kind of feeling,  so I feel that this song is a song that will illuminate their future one step ahead. That’s why the main point of this song is everyone‘s dancing the same choreography. If they show solid performance, their strength will be seen, but if someone make a mistake, she will completely stand out. Since everyone already experienced standing in the front row, probably now it’s time to show the strength of Keyakizaka.

Since everyone already stood out, so I think that now it’s time to show the overwhelming power of this group. Also, in order to develop necessary dance in the series of their story up until now, I also made use of the substance of the song itself. For example, I created Moses formation in “Silent Majority” which Hirate-san walks in the middle of this formation. Even in “Kaze ni Fukaretemo”, I also created the same formation, however I added a choreography that one level harder where they move around to form that formation. Both songs are connected to each other, at first Hirate-san walks in the middle of the formation with ego and strong will, but this time she can accept and get over the harsh reality. A developed dance also expresses that all members are moving forward to the next stage. Figure of Hirate-san that blew a leaf on the beginning of television music program also expresses about the stream of time and nature, probably I already succeeded in creating a choreography that connected to “Futari Saison”.

- Last question, what is your expectation toward them from now on?

TAKAHIRO: I guess many things can still happen to them, every single thing always gives birth to something new, so I want to be blown together with them. I will do my best on the path where we’re blown to.

PICKUP 1: Fukyouwaon’s interlude is expressing about the pain created by society, it’s expressed by Hirate’s movement where she looks like being crushed in a circle, then she shouts “Boku wa Iyada”, as if she tried to break free from it. This idea also appears in Kaze ni Fukaretemo, however Hirate, who dances freely in the middle of the circle, is the object. 

PICKUP 2: Since Kaze ni Fukaretemo’s peformance outfit is suit, they are challenged to do dance with fast step and footwork that can be seen clearly. Also, all members do the same choreography on the chorus. By showing the harmony of all members, it will be showing the unity of the group.

PICKUP 3: Swastika pose that was performed by Sato Shiori in the dance track of last year One Man Live, reappeared in Hiraishin and it’s now performed by all members. Also, the order of members that stand in a line is exactly the same as in Tokyo Tower wa doko kara Mieru?. The idea of previous song that reappeared on another song indicates that there is a connection between the story of those songs.

===================================

sorry for my bad english, special thanks to toomuchidea for the RAW

[gocchisama]

Nadeshiko Glass Cannon : Thoughts on Hirate Yurina (平手友梨奈）

Amidst the chaotic world of internet, lot of debates emerge and many arguments clashes. One of them is fan’s talk on Hirate Yurina’s situation. Is she being unprofessional considering her Center status of keyakizaka? Is she a sensitive girl whom we should give some safe space? For someone as complex as her, it’s hard to build a reasoning from twitter, more fited to one liner thoughts. After a long hiatus on this blog (since summer vacation), i will try to express my humble opinion on this topic.

First, let’s get into context. Actually i believe it started during Futari saison, where you could notice a drop of attention (during promotion), but nothing to be worried about. FujiQ concerts, Republic of Keyakizaka were completed in outstanding fashion, with fireworks and water pistols. However, during Zenkoku summer tour, fans noticed another drop in strength, especially in-between concert Tokyo Idol Festival, were Techi was quite low tension. In Sendai concert, she didn’t interact nor even looked at fans once. Anyone could have guessed that Yurina was under pressure in both physical and mental aspect through summer and she would eventually recover. Kaze ni fukaretemo was an upbeat atmosphere with lot of smile, contrasting with the angry toned Fukyouwaon. A song that was supposed to lift a little bit the burden off her. Unfortunately, few  more broadcasted TV performances showed another low tension, depressed center. To the point that many fans pointed out this as clearly unprofessional. Japanese fansite had their biggest article (600 comments) on Techi’s behavior.

“What we thought as punctual exhaustion, leant towards chronic mood swings”

Objectively speaking, it’s hard to deny Hirate’s special status in Keyakizaka. As unmovable center so far, she naturally represents the face of the group, and is scrutinized by fans and regular japanese audience alike. Even though TAKAHIRO sensei makes an effort to give highlights to everyone, choregraphy  still hugely rely on the 0 position. Even if other members do their best to pull their best shot, a weakened Techi will 100% draw attention of the viewer, even unconsciously. This is something fans of other members noticed “we can’t help looking at techi being expressionless” “the contrast between uplifted members and a moody yurina is striking”. Since we agree on the amplified impact of a weak center in performance, we also should take into account management goal. Who are they targeting? Regular audience, like those who watch Kouhaku utagassen at the end of the year. Those potential fans are very sensitive to first impressions of a performance, and won’t bother learning keyaki’s history if performance is not satisfying. Even though some fans would defend her since she’s only 16 and having an insane workload, it is clear we should at least address the issue. The question is, do we let things go through despite fans discontent having their oshimen performance shadowed by techi’s condition, and having potential fans not being impressed by keyaki’s act anymore?

What i believe cause an uproar among fans, is the thin gap between an idol personality/character and the idea of professionalism in the entertainment industry. Idol subculture is suffering from stereotypes (and sometimes, justified) where female members put fake smiles and do quirky gimmicks to please middle-aged male fans. Asking Techi to change her attitude during performance could be seen as not genuine, or even worse, forceful. Such blasphemy considering Keyakizaka are identified as “idols who don’t smile and rebel against adults”. Quite troublesome to argue against “don’t force her to be someone she isn’t”, but is it really what it is about? Following her since the beginning, Techi has showed a wide range of emotion in Keyakizaka. Granted, she is the reserved and shy type, but more than enough i’ve seen her enjoying doing radio, interacting enthusiastically with members during variety shows, being high tension meeting comedians. The PV of Kaze ni fukaretemo showed her being full of smile. Techi absolutely can be in a good mood. So why isn’t she like that during key moments like Single promotion in TV music show? Are we going to risk an average performance in kouhaku utagassen?

“while being rare, Techi shows her kiddy side in private”

To get answers, it’s necessary to process bits of information given here and here in interview and making-of. In the latest rockin’on japan interview (that you can read here), she explains that she always aim at the greatest performance, and that she would go as far as saying “if it’s not that good, i won’t do it”. A perfectionist mindset, that could explain her polarizing performances. An hypothesis would be, because she sees single promotion on TV show as routine, she’s doesn’t put her max in it, while her solo dance with Ken Hirai is seen as challenging, thus her breathtaking performance. Because Keyakitte kakenai is considered as routine shooting, she keeps her profile low, letting others like Oda nana shine. Unlike what has been said before that Techi has multiple persona, she is actually a straightforward person. Meticulous during rehearsal, she let loose during performance, only moving through raw emotions rushing in her mind. In all performance, she is expressing her self. She said that all keyakizaka singles pictured what she felt at the time, especially the fourth single. This is when she felt anger that she could bring her best fukyouwaon performance ever in makuhari. Because she has trouble grasping the style of kaze ni through her emotion, she has yet to best it. 

In short, she shows great professionalism because she wants to transcend the idol status with performance never done before (summer tour last Fukyouwaon was epic) . The drawback, is that she is not enough in control. By letting herself loose, there’s a risk she isn’t able to convey the song spirit according to her very high standard. She is literally a glass cannon, high risk, high reward. It makes sense that her relationship with other members was quite complicated. Because she applies this absurd standard to herself only, like a burden, she couldn’t open her heart easily; because she was afraid to be misunderstood inflicting such negativity (self criticism) to herself. She doesn’t want to put this pressure on members she loves. 

She doesn’t cares about position or popularity (that can be source of tension between the girls). Alone, she always push herself further away. Can you be introverted and straightforward at the same time? Techi proved it was possible.

“Yurina allows Keyakizaka to reach new artistical heights, but she’s also who makes the group vulnerable to worrisome performance”

We can always make assumptions on who she is, to find a culprit, to determine what’s wrong or right. Instead, I want to believe that every stakeholders have a responsability in this. Yurina, who unconsciously don’t compromise, and management who put her in center of songs that doesn’t fit her personality. So far Keyakizaka singles were successes because Yurina found herself in all of the songs. But choosing center need to be primarly determined by who can embodies the song best, and not by blindlessly following a “center pattern”. In my opinion, Techi was viable as a center for Kaze ni, but this time other keyaki members were too, like yuipon or akanen with positive attitude.The benefit would have been to avoid the current unconsistency Techi is having.

Health condition still plays a big part in this; Yurina have been center for so long it must have drained her long term. To change center would not only give her some mental rest to recover, but also give a great opportunity for another member to shine. Keyakizaka fandom is mature enough to see this change, also Zenkoku tour has finished safely, so there’s no obligation to continue with Yurina to build a storyline anymore. Another advice to management is to create a more comfortable environnment in order for Techi to find balance in her lifestyle. Reaching artist level thanks to her unique mindset is one thing, but hurting herself (not stopping even though she’s exhausted) is a mistake as well. It’s totally plausible that because she doesn’t want to disappoint, she cast aside her own health to keep performing. An “immature” behavior, that is not her responsability. It is up to management to say “STOP” and preserve her.

It’s not easy to find ourselves. It’s not easy to open our heart. Yurina showed great courage seeking help to other members, and it tells she’s more conscious of her limit, a step to the right direction of an equilibrium within her. She need to put faith in members, in staff and last but not least, something i haven’t seen yet, to fans! Because yes, we are part of the whole. As fans we also have opinions, feelings toward our oshi that inspire us. Don’t be afraid to speak your mind. 

“It is at our lowest point that we are open to the greatest change.”

[air-wotathekpopfan]

Nogizaka46 wins 59th Japan Record Award (2017) Song of the Year

Nominees

Nogizaka46 – Influencer (WINNER)

Daichi Miura – EXCITE

Kiyoshi Hikawa – Otoko no ZesshouHiroshi Miyama – Otoko no Ryuugi

Keyakizaka46 – Kaze ni Fukaretemo

AI – Kirakira feat. Kanna

Kana Nishino – Te wo Tsunagu Riyuu

AKB48 – Negaigoto no Mochigusare

AAA – LIFE

SEKAI NO OWARI – RAIN

[nogizaka77]

“Kaze ni Fukaretemo” My favorite scene

[46pic]

Keyakizaka46 5th Single - Kaze ni Fukaretemo Promotional Image

[marx48]

[sneek-m]

Song of the Day: February 2020

I brushed up a little bit, and I mean a little bit, of Chara and Yuki’s respective solo discographies this month after checking out their awesome collaborative mini album. It’s been long overdue, and I should definitely check more of it when I have the time.

Here are my picks for Song of the Day this month.

February 3: Seiho – “I Feel Tired Everyday“ [single, 2019]

February 5: E-girls – “Bessekai” [single, 2020]

February 7: Layla – “Seaside” [Goodbye EP, 2019]

February 10: Keyakizaka46 – “Hiraishin” [Kaze Ni Fukaretemo, 2017]

February 12: Momoiro Clover Z – “Hashire!” [Ikuze! Kaito Shojo, 2010]

February 14: Aimyon – “Sayonara No Kyoni” [single, 2020]

February 17: Chara & YUKI – ���Tanoshii Kenobi” [Echo, 2020]

February 19: SF9 – “Good Guy” [The First Collection, 2020]

February 21: Sunwoo JungA – “Classic” [Stunning, 2019]

February 24: Tsubaki Factory – “Dakishimeraretemitai” [single, 2020]

February 26: Morning Musume ‘20 – “Kokoro & Karada” [single, 2020]

February 28: Shiritsu Ebisu Chugaku – “Sing Along, Sing a Song” [MUSiC, 2019]