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osharenippon · 2 years

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70s Japan Trends Through the Music Charts (Part 2)

During the 1970s, the Japanese music industry was in the process of forming its identity. In addition to mirroring the musical preferences of the nation, the charts also served as a reflection of the prevailing societal trends and ambitions of that era. In this series, we chronicle the most significant musical trends of the decade.

70s Japan Trend Through the Music Charts (Part 1)

Trend #4: The Impact of Discover Japan

In 1970, Osaka hosted the World Expo, marking a significant milestone for post-war Japan following the 1964 Tokyo Olympics. To accommodate the influx of visitors, the government expanded the rail network, enabling over 60 million people—half of the nation's population—to journey to the World's Fair. However, as the Expo drew to a close after six months, concerns arose about the railways becoming obsolete. So, with the help of the ad agency Dentsu, they devised a campaign to stimulate domestic tourism by rail. The result was "DISCOVER JAPAN," one of the most iconic campaigns of the decade (which, curiously, was partially inspired by Ivy Fashion brand VAN).

"DISCOVER JAPAN" profoundly impacted Japanese society by popularizing solo travel and igniting domestic tourism, particularly among young women who ventured out on their own. This trend was further fueled by the launch of the first female fashion magazines, AnAn and Non-no, both of which regularly featured articles on charming touristic cities across the country. Cities known as "Little Kyoto," which retained their Edo Period architecture and charm, were particularly attractive to these travelers.

Influenced by fashion magazines, these trend-conscious women journeyed to towns throughout Japan, earning them the moniker "AnNon" (a fusion of AnAn and Non-no). Their impact during the 1970s was significant enough to be mentioned in a song by Sada Masashi, one of the decade's prominent folk singers.

"DISCOVER JAPAN," the print and TV campaign devised by Dentsu, is one of Japan's most successful and era-defining marketing campaigns.

Sada Masashi rose to fame in the early 1970s as part of the folk duo Grape before launching a successful solo career. In 1977, his song "Ehagakizaka," which paid tribute to his hometown of Nagasaki, mentioned identically dressed stylish young girls in denim, clutching AnAn and Non-no magazines while photographing their surroundings. This song vividly captured the aspirational girl culture of the 1970s, characterized by "healing" domestic trips in pursuit of tranquility and small pleasures, hippie and boho-inspired fashion, and folk music as the soundtrack.

Masashi Sada's song and the AnNon-zoku tribe aside, "DISCOVER JAPAN" had an immense impact on different layers of Japanese society. And that included the music charts. In 1971, the two best-selling singles, "Watashi no joka-machi" by Rumiko Koyanagi and "Shiretoko ryojou" by Tokiko Kato, surpassed 1 million copies sold. Both perfectly embodied the campaign's spirit in highlighting the hidden beauties of Japan.

"Watashi no jokamachi," or "My Castle Town," marked Koyanagi's explosive debut, selling over 1.3 million copies. This enka-infused kayokyoku ballad paid homage to cities with Edo-like architecture, often centered around a feudal lord's castle, evoking a peaceful, melancholic atmosphere in its lyrics. Rumiko continued to sing about regional Japan's charms the following year with another hit, "Seto no Hanayome" (The Bride of Seto). Meanwhile, the folk-inspired "Shiretoko ryoujou" (Shiretoko Journey) celebrates the unique beauty and culture of the Shiretoko peninsula on Hokkaido Island.

In the same year, other artists also succeeded by spotlighting provincial Japan. Enka superstar Shinichi Mori delved into this theme with "Boukyou" (Nostalgia). At the same time, Yuuko Nagisa found success with a Japanese rendition of The Ventures' "Kyoto Doll," titled "Kyoto no Koi" (Love in Kyoto). She would go on to have another top-selling single with her version of another Ventures song, "Reflection in Palace Lake," transformed into "Kyoto Bojo" (Kyoto Longing).

Trend #5: The Legend of Momoe Yamaguchi

"Aidoru" or "idols" are cute girl/boy-next-door types who sing, dance, act, host TV shows, and star in countless commercials. They stand as one of the cornerstones of the thriving multi-billion yen Japanese entertainment industry. The 70s was an essential era for consolidating this type of star. And one idol, in particular, shone the brightest: Momoe Yamaguchi.

Momoe is a legendary star and an example of an "aidoru" who excelled at everything, exuding sophistication, talent, and sex appeal. The fact she retired from public life at the height of her fame cemented her mythical status.

Momoe Yamaguchi in her prime, the idol industry's gold standard.

In 1972, at the tender age of 13, Yamaguchi auditioned for the talent search TV show "Star Tanjou!" (A Star is Born). Her crisp singing voice and mature beauty immediately captured the industry's attention. Hori Production, the entertainment agency, and Sony CBS label swiftly recognized her potential and signed her. In May 1973, five months after her televised audition, she made her official debut with the single "Toshigoro" (Adolescence). Although Sony had a history of immediate success with newcomers, Momoe's first single received a tepid response, so her label decided to court a bit of controversy for her sophomore outing. "Aoi kajitsu" (Ripe Fruit) had the innocent-looking 14-year-old girl singing, "you can do whatever you want to me, even if they say I'm a bad girl." The racy lyrics worked, and the single was a success.

A few months later, Yamaguchi's backers repeated this formula with "Hito natsu no keiken" (One Summer Experience). The song began with a suggestive promise: "I'll give you the most precious thing a girl has." The lyrics were laden with double entendres, describing a "sweet trap of temptation" that can only be experienced once. She sang, "if the person I love is pleased, then I'm happy. I don't mind if you break it," which could be understood as a reference to a girl's heart or hymen.

The single was an explosive hit, propelling 15-year-old Yamaguchi into the A-list. For the remainder of her career, she was frequently asked about the "most precious thing a girl has," to which she'd always offer a stern-looking reply: "Her devotion."

The young, mature-looking girl singing thinly veiled songs about sexual awakening with a dark, serious-looking image set her apart from the prevalent happy-go-lucky idol aesthetic. However, it wasn't merely reliance on gimmicks that transformed her into a legend. In 1976, after firmly establishing herself as a star, she parted ways with her frequent collaborators, lyricist Kazuya Senke and composer Shunichi Tokura. Beginning with the single "Yokosuka Story," she partnered with the husband-and-wife duo Yoko Aki and Ryudo Uzaki.

Ryudo Uzaki, the frontman of the popular enka rock band DOWNTOWN BOOGIE WOOGIE BAND, infused her kayokyoku tunes with a rock edge. Through her lyrics, Yoko Aki redefined Momoe's image as a confident, clear-eyed girl transitioning into womanhood. Sony initially opposed Momoe's desire to collaborate with Aki and Uzaki, but the partnership ultimately helped her reach her commercial peak.

"Yokosuka Story" was Momoe's first single to reach the number 1 spot on the weekly charts. The Aki-Uzaki duo penned several other hits for her, including "Playback Part 2" and "Sayonara no mukougawa" (The Other Side of Goodbye), and opened doors for her to collaborate with other luminaries of Japanese music. Two of her most memorable hits, "Cosmos" and "Ii hi tabidaichi" (Beautiful Day Departure), both released in 1978, were penned by folk superstars Masashi Sada and Shinji Tanimura of Arisu, respectively. The latter became the theme song for the iconic DISCOVER JAPAN TV commercials.

Speaking of commercials, idols worth their salt can't limit themselves to music. Momoe earned millions as the face of Toyota cars, Fujifilm photographic films, Casio watches, and Glico confectionary products, among others. She also starred in highly rated TV dramas and ventured into the world of film.

Starting in 1974, she appeared in two romantic films per year, always paired with Tomokaza Miura as her co-star. While Momoe pursued various ventures, Miura's acting career primarily revolved around being her on-screen romantic partner. Their undeniable chemistry and the box-office success of their films led to them being known as the "golden combination."

In a concert at the end of 1979, Momoe stunned her audience by revealing that her on-screen partner, Miura, was her real-life boyfriend. In a subsequent press conference in March of the following year, she confirmed her intention to marry him and retire officially. In September, she released her autobiography, which sold over 1 million copies in a month. In October, she bid farewell through a series of TV specials and a concert at Nippon Budokan. Her farewell concert reportedly earned Hori Productions over 20 million dollars, according to figures provided by the agency to Billboard magazine at the time. Momoe's success allowed HoriPro to become one of the best-established entertainment agencies in Japan, a position it still holds today. Her final performance took place at HoriPro's 20th-anniversary event, where she sang "Ii hi tabidaichi." In November, she married Miura and disappeared from the media.

The Japanese public obsession with her never waned. Paparazzi tried to capture her at her son's kindergarten graduation ceremony and doing classes at a local driving school. Many speculated she'd eventually come out of retirement. She never did, which only helped feed the obsession around her.

During the 1970s, Yamaguchi enjoyed immense success, but she was one of many popular female idols. The narrative created by her retirement elevated her to the status of a larger-than-life legend. She became the gifted, beautiful young woman who succeeded as a singer, a TV actress, and a movie star before choosing the ultimate happy ending: marriage. By choosing love, Momoe Yamaguchi, the legendary idol, transformed into an ordinary woman—a real-life fairy tale that resonated deeply with Japanese society.

Her decision was driven by profound motivations. Momoe revealed in her autobiography that she was raised by a single mother, the product of an extramarital affair. Her challenging upbringing and her father's late appearance to capitalize on her fame instilled a deep desire for a traditional, happy family life. She also grew weary of the relentless demands of stardom and the repetitiveness of performing the same songs. Thus, she made a heartfelt choice to relinquish fame and public life to give her husband the most important thing a girl has: her devotion.

Trend #6: Idols' Rise

The term "idol" in the Japanese entertainment industry finds its origins in the French film "Cherchez l'idole" (1963), which enjoyed immense popularity in Japan. Initially, "Aidoru" was used to describe the film's star, Sylvie Vartan, before it evolved into a general term to describe youthful-looking triple-threat domestic stars.

Before the coining of the term, "idol-like" stars had already existed. In the 1930s, Machiko Ashita attracted crowds to the Moulin Rouge Shinjuku and served as the face of several brands. In the 1950s, rockabilly stars enjoyed massive popularity among the youth, and the 1960s saw the rise of manufactured "group sound" bands and the female duo The Peanuts, comprised of twin sisters. Legendary stars such as Hibari Misora, Sayuri Yoshinaga, Teruhiko Saigo, Yukio Hashi, and Kazuo Funaki thrived as both movie stars and successful singers.

However, the 70s marked the consolidation of the "idol" aesthetic and career path, paving the way for the "golden era of idols" in the next decade. Essential for it to happen was the widespread adoption of the medium where idols shine the brightest: television.

TV allowed entertainment agencies to aggressively push their young, fresh-faced talents in front of a broad audience. They populated music and variety shows, commercials, and dramas. They were immaculate, life-sized stars ready to play the part of the nation's sweethearts.

Although history has crowned Momoe Yamaguchi as the ultimate 70s idol, she was just one among many during most of that decade. A closer examination of the numbers reveals that, among female idols, Mari Amachi had the most significant short-term impact during that time.

Amachi was first introduced on the popular TBS TV drama "Jikan desu yo" (It's Time) in 1971, playing "Tonari no Mari-chan" (Next Door Mari-chan). She played the minor role of a cute girl who lived close to the show's primary setting, a family-run public bathhouse, and often appeared by her window, playing guitar and singing. By October, with the backing of the biggest entertainment agency of the era, Watanabe Production, and Sony CBS, 19-year-old Mari Amachi officially debuted with the single "Mizuiro no Koi" (Light Blue Love). It was a hit—the first of many. Mari would be 1972's best-selling act, achieving high sales with four albums and five singles.

Mari's image, characterized by an innocent aura, a happy-go-lucky personality, and frilly dresses as stage outfits, became the prototype for female idols. Her short hair and chiseled smile earned her the nickname "Sony's Snow White," evoking the image of a fairytale princess. Unsurprisingly, she was particularly popular with children, leading Watanabe Pro to license her likeness for various goods, including the coveted "Do-Re-Mi Mari-chan" Bridgestone Cycle bicycle, highly sought after by young girls in the early 70s.

Despite her rapid rise to fame, Mari's time at the top was short-lived. By 1974, another Watanabe Pro idol, Agnes Chan, was already surpassing her in sales. In 1977, Mari's health deteriorated, and she took a lengthy hiatus, officially attributed to thyroid issues but later revealed to be depression triggered by her waning popularity. In 1979, she attempted a comeback, even bagging an endorsement deal for an ultrasonic facial device, one of the year's hit items for women. But her time had passed, and she didn't find much success. Eventually, Mari's career took unconventional turns, including involvement in a softcore porn movie, the release of nude photobooks, and a transition to becoming a "fat" talento (TV personality), followed by a weight-loss book.

In 2015, in her last public interview, she revealed that, at 63, she was living in a retirement home in the Tokyo suburbs. Her fan club covered her expenses, while her daughter provided a modest weekly allowance. This marked a stark contrast to her glamorous peak years and serves as a reminder of the challenges idols face in the Japanese entertainment industry, particularly women, and how easily discardable idols can be. It also shows how wise Momoe Yamaguchi was, bowing out gracefully at the right time.

However, Momoe Yamaguchi and Mari Amachi represent two extremes within the realm of idols. While Mari achieved record profits for two years before facing decline and eventual obscurity, Momoe maintained relevance for nearly a decade before choosing to marry her on-screen partner, retire, and become a living legend. Most other 70s idols did not experience such remarkable destinies.

In 1971, two other young idols, Rumiko Koyanagi and Saori Minami, made their debut alongside Mari Amachi. The trio was collectively known as the "shin sannin musume," or the "three new girls." Their joint concert at the Budokan on Christmas of 1972 solidified their shared nickname.

The Shin San-nin Musume. Clockwise: Rumiko Koyanagi, Mari Amachi, and Saori Minami.

Rumiko Koyanagi had her skills honed at the Takarazuka Music School. Takarazuka is a very traditional, all-female theater group, and their training academy is known to be highly rigorous and selective. Koyanagi graduated top of her class but wanted something other than a musical theater career. Instead, her goal was to debut as a solo singer. So she left the Takarazuka Revue and signed with Watanabe Pro and Warner Pioneer label to fulfill her dream. Her first song, "Watashi no joka-machi" (My Castle Town), buoyed by the "Discover Japan" boom, surpassed 1 million copies sold, becoming the best-selling single of 1971.

Rumiko's repertoire predominantly featured enka-influenced kayokyoku. Her classical sound may not have been as appealing to the youth as some of her peers' slightly more modern tunes, but it ensured her stable sales throughout the decade. In her sixties, Rumiko has reinvented herself as a passionate soccer fan and a glamorous senior lady, sharing lifestyle tips and her love for Chanel and Lionel Messi on Instagram. She also conducts dinner shows, a lucrative type of intimate concert usually held at luxury hotels, where fans pay hefty prices to enjoy a multi-course dinner while listening to nostalgic hits.

The third "shin sanin musume" is Saori Minami. Minami didn't have a million-selling debut like Rumiko, nor did she become an instant sales behemoth like Mari. That didn't mean she was less impactful. Quite the opposite. Hailing from Okinawa, still under US occupation during her debut, Saori impressed Japan with her exotic beauty. In 1971 and 1972, she outsold every other female idol in bromide sales. Bromide is the local terminology for photographic portraits of celebrities, and historically, its sales are the best way to gauge how popular an idol is.

Her first single, "17-sai" (17 years old), became a classic and enjoyed enduring popularity, with several artists covering it over the decades. After retiring in 1978 upon her marriage to legendary photographer Kishin Shinoyama (known globally for his portraits of John Lennon and Yoko Ono), Saori made a comeback in 1991 but has made only sporadic public appearances since then.

Two years after the emergence of the "shin sannin musume," a new trio of newcomers known as the "Hana no Chuusan Trio" or the "Chuusan's Flower Trio" (a reference to the fact all of them were in Chuusan, the third year of middle school) came into the spotlight. Masako Mori, Junko Sakurada, and Momoe Yamaguchi were all revealed in the talent search TV show "Star Tanjou" (A Star is Born). In 1975, by the time they were in their second year of high school (kou 2), they co-starred in the successful film "Hana no Kou 2 Trio."

The Hana no Chuushan Trio: Momoe Yamaguchi, Junko Sakurada and Masako Mori.

At 13 years old, Masako Mori secured her place as the inaugural "Star Tanjo" grand champion in 1971. The following year, she debuted under Hori Production and swiftly soared to success. Mori's music was deeply influenced by enka, and by the end of the decade, she had solidified her status as a fully-fledged enka star. In 1986, she tied the knot with enka superstar Shinichi Mori, leading her to retire from the entertainment scene. However, in 2005, following her divorce, the former idol made a comeback, embarking on tours and participating in TV dramas for a few years before ultimately deciding to bid farewell to her career once more on her 60th birthday in 2019. Notably, she shares three children with Shinichi Mori, including TAKA, the lead vocalist of the famous rock band ONE OK ROCK.

Junko Sakurada clinched victory at "Star Tanjo" in 1972 at 14. Subsequently, she signed with Sun Music agency and Victor Music, marking her official debut in February 1973 with the release of "Tenshi mo yumemiru" (Angels Also Have Dreams). Given their similar age, niche, and close debut dates, the industry and some fans pitted her against Momoe Yamaguchi despite their behind-the-scenes friendship. Both idols enjoyed substantial popularity, with Yamaguchi usually holding an edge in sales. The exception was in 1975 when Junpei, as fans affectionately knew her, dominated as the best-selling female idol in music and bromide sales.

In addition to her music career, Junko excelled as an actress. In 1983, she opted to conclude her singing career to dedicate herself solely to acting. A decade later, in 1993, the former idol shocked Japan by announcing her participation in a mass wedding ceremony organized by the controversial South Korean Unification Church at the Olympic Stadium in Seoul. Her husband had been chosen for her by the church.

Her association with the cult brought her career to a halt. With her image becoming closely linked to the church, TV networks and advertisers distanced themselves from her. Consequently, Junko relocated from Tokyo, devoting herself entirely to her faith and family. Since then, she has made a few comebacks. In 2006, she published a highly-publicized essay book, and in 2013, she celebrated the 40th anniversary of her debut with a special concert. In 2017 and 2018, she returned to the stage, coinciding with her musical comeback and the release of a new album, "My Ideology."

After this project, Junko has remained out of the spotlight, with an official return unlikely unless she completely renounces her ties with the United Church. The cult's controversial image became even more repellent following the murder of former Prime Minister Shinzo Abe in July, committed by a young man who attributed his family's financial and psychological turmoil to the church. Consequently, the cult's unethical financial practices and ties to the ruling Liberal Democratic Party have become widely discussed topics in the country. For Junko Sakurada, her affiliation with the cult has overshadowed her otherwise successful decades-long career.

Completing the trio alongside Junko and Masako was Momoe Yamaguchi. Although Yamaguchi's career has eclipsed that of almost every other idol of the 1970s, she initially experienced the least success among the three young girls. Unlike her peers, both of whom had claimed grand champion titles at "Star Tanjou!," Momoe secured second place at her final showcase. Moreover, her debut single was the poorest-selling among the trio. However, she would ultimately emerge as the definitive idol, and her retirement would serve as the perfect conclusion to an epoch-making career.

While Momoe, Junko, Masako, Mari, Agnes, Rumiko, and Saori, among others, collectively set an impressive precedent for future female idols, male idols also played a significant role in the era. In terms of profitability, male idols reigned supreme, thanks to the unwavering loyalty of their female fanbase.

Johnny Kitagawa, the late founder of Johnny's Jimusho, eventually became the most influential figure in the entertainment industry. He monopolized this niche for decades with his boybands. However, during the 1970s, Kitagawa was not among the most powerful. Although his agency achieved considerable success with the boyband Four Leaves, it was soloist Hiromi Go who briefly held the nation under his sway between 1973 and 1974. Unfortunately for Kitagawa, this period of dominance proved fleeting, as Go departed for another agency in 1976, signaling that Johnny Kitagawa still had much to accomplish to solidify his authority.

With Johnny's domination still on the horizon, Hideki Saijo emerged as the most influential male idol of the 1970s. Saijo enjoyed success with several hit singles, including the ballad "Chigireta Ai," released in 1973, and 1979's "Young Man," a cover of Village People's "Y.M.C.A." Demonstrating the power of devoted fangirls, Saijo became the first domestic solo artist to perform a concert at Nippon Budokan. His popularity quickly transcended the Budokan, propelling him to the status of a stadium headliner and solidifying his position as the decade's top concert ticket seller.

The loyalty of fangirls meant that male idols consistently outperformed any act in ticket sales. In the 1960s, The Tigers, considered one of the pioneers of the "group sound" movement and regarded by many as Japan's first idol group, became the first domestic act to hold a stadium concert. By the following decade, the "group sound" era had ended, but some former band members successfully transitioned into solo careers.

Kenji Sawada and Hideki Saijo, the two stadium-selling male idol superstars from the 80s.

Kenji Sawada, the former lead vocalist of The Tigers, remained a constant presence on the charts throughout the 1970s. Under the guidance of the influential Watanabe Pro agency, Sawada succeeded as a singer and actor. He brought a rockstar aura to his performances, incorporating impactful and extravagant visual elements and pioneering the use of makeup, drawing inspiration from David Bowie and glam rockers. In doing so, Sawada laid the groundwork for visual kei, a movement that would revolutionize Japanese rock in the late 1980s and early 1990s. Nicknamed "Julie" since his early days in the 1960s due to his admiration for Julie Andrews, Sawada continues to thrive as a prominent music figure in Japan, one of the few stars from that era still capable of selling out stadiums.

While girls' adoration often paves the way for male idols to enjoy lengthy careers, there are exceptions to this rule. In 1974, Finger 5 became one of the best-selling idol groups in the country. Comprising five young brothers from Okinawa, they were marketed as Japan's response to the Jackson 5 and consistently churned out hit singles. However, just two years later, their popularity took a nosedive. Several factors contributed to this decline, notably their heavy reliance on the two youngest members, aged only 10 and 12. These youngsters not only grappled with exhaustion from relentless work schedules but also faced the challenges of puberty, causing their voices to change and preventing them from hitting the right notes in their songs. Consequently, Finger 5 lost its appeal.

Finger 5's brief career underscores a crucial aspect of the idol industry: the importance of youthfulness. In Japan's gender-biased society, some male idols from the 1970s were granted the opportunity to age gracefully, evidenced by a few who maintained success well into their 60s and 70s. In contrast, female idols invariably confronted the pressures and inevitable decline associated with aging.

This brings us back to the quintessential idol of that era, Momoe Yamaguchi. By choosing to retire and steadfastly resisting any temptation to reenter the public eye, Yamaguchi effectively became frozen in time at 21 years old, her age at the moment she bid farewell to both showbiz and the public. This solidified her status as a legendary and unattainable icon—an idol who never aged.

70s Japan Trends Through the Music Charts (Part 3)

#enka #kayokyoku #momoe yamaguchi #70s japan #1970s #japanese music #jpop #discover japan #heibon punch #kenji sawada #hideki seiji #junko sakurada #70s idols #finger 5 #mari tenchi #rumiko koyanagi #saori minami #four leaves #hiromi go

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someawesomeamvs · 1 year

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youtube

Warning: Violence

Title: Witch Doctor

Editor: SoreyKun

Song: Witch Doctor

Artist: Cartoons

Anime: Asobi Asobase, Busou Shoujo Machiavellianism, B Gata H Kei, Carnival Phantasm, Chuunibyou demo Koi ga Shitai! Ren, Date A Live, Death Parade, Dungeon ni Deai wo Motomeru no wa Machigatteiru Darou ka, D.C.III: Da Capo III, En`en no Shouboutai, Fantasista Doll, Gabriel Dropout, Gekkan Shoujo Nozaki-kun, Gochuumon wa Usagi Desu ka??, Hentai Ouji to Warawanai Neko, Kaguya-sama wa Kokurasetai: Tensai-tachi no Renai Zunousen, Kono Subarashii Sekai ni Shukufuku wo! Kurenai Densetsu. Kore wa Zombie Desuka?. K-On!. Love Lab. Mayo Chiki!. Naruto Shippuuden. Nichijou. Ore no Imouto ga Konna ni Kawaii Wake ga Nai. Ore no Kanojo to Osananajimi ga Shuraba Sugiru, Plastic Nee-san, Princess Connect! Re:Dive, Re:Zero kara Hajimeru Isekai Seikatsu, Ryuuou no Oshigoto!, Sakamoto Desu ga?, Sakurasou no Pet na Kanojo, Sansha San`you, Seto no Hanayome, Shinchou Yuusha: Kono Yuusha ga Ore TUEEE Kuse ni Shinchou Sugiru, Tamako Market, Tamako Love Story (film), Weathering With You (film) Urara Meirochou, Yuru Yuri, Yuru Yuri 2

Category: Comedy

#anime #amv #comedy #cartoons #music #video #song #youtube #editing #anime mix #Anime MIX 「AMV」- Witch Doctor #soreykun #too many anime to list #Youtube

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atopearth · 2 years

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White Album 2 Part 1 - Introductory Chapter

I've always liked the White Album 2 anime (I also really enjoy the first White Album despite most people hating it haha) because I remember thinking it was such a good romance drama. So now that I have the chance to play the VN, I am very excited! I think I liked Kazusa the most haha. Omgg when Chikashi spoke, I was like hellloooo Emiya Shirou?!!?! I just finished Fate/hollow ataraxia (EDIT: it’s been months now LOL), so his voice is still fresh in my mind haha, it's so weird! Aww did Setsuna fall in love with Haruki because he helped her out when she wanted to withdraw from the beauty pageant? I honestly completely forgot everything about the anime, so everything is new to me haha. I guess she's interested at least, considering how she's decided to stick with the pageant. HAHAHA OMG, took me a while but I just realised that Takeya is the voice of Avenger from Fate/hollow ataraxia lolll!! It's Fate 2.0🥲🥲 As for Haruki, he sounds a bit familiar, and I think it might be because of his voice being Nagasumi from Seto no Hanayome haha! Otherwise, I probably just feel like it feels familiar because I watched the anime back in the day haha. Honestly, it felt really really nostalgic to hear the White Album song. It really reminds me of Morikawa Yuki haha, the good old days~

Ogiso being worried about her image and even keeping up with it by getting a part-time job to buy clothes and stuff to meet people's expectations of her after getting popular is such a high school thing, it really makes me think, this really is youth haha. I sound so old lmao. It's really cool how much Ogiso loves singing. To think she can sing like 30 songs in 2 hours, that's crazyyy haha. Kazusa and Haruki are like a cute bickering couple lol. Haruki really is an idiot. He nearly killed himself just trying to find out who was the one playing the piano in Music Room 2 haha. I guess the reason why Kazusa has a soft spot for Haruki despite everything is because he never gives up on her no matter what she says. His dedication to his "job" is in a sense comforting because of that I guess haha. It was so cutee how Kazusa gave Haruki pointers on how to play the guitar better. Their relationship is so cute. Ogiso really is nice though, she's obviously interested in Haruki already but I think it's sweet how she's willing to share her secret with someone she barely knows just because it'll help them out. Loll, I actually really like how Ogiso is basically declaring war with Kazusa already because she knows Kazusa likes Haruki as well. She's a tough girl. Ogiso is so sweet and thoughtful to cook dinner for Kazusa and Haruki. It's obviously because she wants to save money, but the fact that she remembered that Kazusa always eats takeout and wants to give her nutritious homemade food at least once is very nice of her. It's interesting how cliche each of their family dynamics are, with Kazusa having the famous absent parents, Haruki with the divorced parent and Ogiso having the happy and wholesome family. It really makes you wonder, when you're like Haruki, are you attracted to the one who is similar to you (broken childhood) or would you be attracted to someone who has a "whole" family that can provide you with something you never had? Either way, Ogiso is someone Kazusa can't win against, so yay to the trio finally starting their journey in practising to perform on stage together. Kazusa is harsh but she's right for everything haha.

Haruki and Kazusa practising at Kazusa's house was so cuteee. I love how much she smiled, she was having so much fun. Kazusa's choice of coffee being cafe au lait with lots of sugar is so cute haha, it suits her so much since she's such a sweet softie at heart. Anyway, hearing White Album and now Sound of Destiny really is so nostalgic. It felt so heartwarming and sweet when Kazusa said Haruki would definitely be able to play the guitar solo. Anyway, I know the first White Album story is quite disliked but I actually really enjoyed how it stepped over so many boundaries in the anime when it came to relationships and I guess I just loved how toxic things were, and how tempting it is to be depressed and just go along with anything and everything that could "make you happy" even if it's only for just a moment. It was a bit of a guilty indulgence that I could never forget about because I enjoyed how "human" it felt to keep jumping around, being indecisive and just trying to live and find what makes you happy even though you're making one bad decision after another haha.

I guess what I hate most about love triangles is having to see one of the girls get hurt. Well, in this case, both of them are going to get hurt and I guess that's normal, but it's still sad to think about...and to see Ogiso struggle so much with her feelings and want to not like Haruki as much but he keeps doing things that gets her hopes up and makes her like him more, it's honestly relatable haha. When Ogiso started opening up about her feelings to Haruki and said something along the lines of "the closer you are to everyone, the easier it becomes to feel left out", and this is especially apparent when they hide things from you like how Kazusa and Haruki hid from her that Haruki stayed over at Kazusa's place a few times already... anyway, when she said that, it really reminded me of stuff back in school. Maybe it's silly to think about now when I'm so much older already, but I still remember feeling so left out when I found something my friends promised each other in an exchange diary (the good old days lol). We were all exchanging it between each other, and yet even though I thought we were all close to each other and thought of each other as special, in the end, it wasn't like that, it honestly made me feel so dumb. Maybe it was then that I decided to never really give my heart to anyone, but honestly, so many things happened in school, I wish I could forget about them all, because it's funny how no matter how many years pass by, what hurts you, hurts you and that isn't something that you can just get over sadly.

Sometimes I wish I could be like Haruki and can so confidently say something like "I will never leave you", but I know that I could never say something like that because I know it's impossible for me to fulfil and for others to as well. But, it's still nice to hear it. I can't even blame Kazusa for being so soft towards Haruki. I mean, when someone says they're so worried about you that they don't want to let you out of their sight and that they're putting so much effort into cooking for you, it's hard to not feel happy about that. Kazusa is so beautiful. I love her outfit so much more than Setsuna's haha. Setsuna's outfit reminds me of Full Moon wo Sagashite haha, but I guess it's just the typical "pure" outfit. Personally, I think Morikawa Yuki's White Album and Ogata Rina's Sound of Destiny is much better but that's just my opinion haha. Just like with the anime, I honestly can't help but be disappointed in Haruki. Like yeah, Setsuna is great, but I wish he gave more thought into who he liked and who he wanted to be with instead of just going with the flow knowing that it would ruin their friendship forever. It's sad that the three of them will never be able to be as happy and united as they were on that stage, but I guess even if he didn't do this, Setsuna and Kazusa's feelings would eventually cause the three of them to fall apart anyway, it was only a matter of sooner or later. Honestly, even if Kazusa didn't like Haruki, in her perspective, I would have still felt super left out, because right after they promised that the three of them would always be together, Setsuna and Haruki started dating, "leaving her out". Of course feelings can't be helped blah blah, but it just feels so silly, like in the end, love was more important than their friendship after all, so what is there to believe when it comes to their promise? I can understand why Kazusa tries to make it seem as if she's forgotten and doesn't care about the promise they made about the three of them always being together, because that's something I've done before too. By denying the existence of the promise, you hope that it won't hurt you and that it's not important, because if the other party can break it so easily, why should you care about it so much? But regardless of what you try to do, in the end, what hurts still hurts, and thinking and seeing how hurt Kazusa is makes me all teary and I can't help but cry for her.

I like Setsuna...but c'mon? What does she want Kazusa to do? She asks Kazusa whether she's really okay with all this but what can she do or say? It's not like she can throw a fit and tell her to stop dating Haruki or whatever, these are what they've chosen to do. Setsuna knew it would hurt Kazusa and Haruki is too clueless and too much of an idiot to know that he's hurting her and losing his chance with her just because he didn't think that she would reciprocate his feelings. Haruki taking the easy way out always annoys me. I guess what irks me about Setsuna is that yeah she's trying to be "considerate" but that consideration is pointless and hurtful, because in the end it only serves to make herself feel better. She chose to go after Haruki, she chose to make a move on him knowing it would hurt Kazusa, she knew it and chose to do it, so rather than showing her pointless "pity" and care for Kazusa, she should live true to her "love" and keep moving forward knowing it would hurt her but accept that because as long as she wants Haruki, she will hurt Kazusa. It's frustrating that Kazusa has to be the "mature" one and comfort Setsuna and baby her even though they obviously don't share the same amount of consideration for each other. Personally, I still feel that if Haruki and Setsuna really wished for the three of them to always be together like they said they did, then they wouldn't have rushed into a relationship so fast, but that's just my salty opinion.

In a game, it's fine, but in real life, definitely do not imitate Kazusa and drive somewhere on a road trip when you've just gotten your licence! Haruki is right, they could really die. Anyway, since they obviously won't die, these will definitely be nice memories. I still think them chatting away on a train would have been cute but oh well, they get to see snow together. Setsuna is wild, can't believe she really got the three of them to soak in the hot springs together lmao. To say I'm disappointed in Haruki would be an understatement, even though I can see where he's coming from, especially since he's just a teenager, but honestly, everything he does is so disrespectful of Setsuna. When he touched her breasts and kept kissing her to try and force himself to focus on her instead of thinking about Kazusa, I really wanted to punch him. When I first watched the anime, I cried when Kazusa finally confessed her feelings to Haruki. But I think more than that pain now, I'm so mad at Haruki. Mad at how indecisive he is, mad at how he knew where his heart lay but kept making excuses to Setsuna and to himself. Mad at how he thinks physical affection is the best way to show feelings, mad at how he continues to hurt Kazusa and everyone around him. Mad at how disrespectful he is to both girls. And even though Kazusa is "wrong" for having sex with Haruki, I honestly can't blame her at all, because I can't deny that if I was in her position, I would probably do the same thing. Haruki really never lets her retreat, he's so relentless. On the other hand, I really didn't need to see the blood from the penetration!! That looked painful, but probably exactly what your first time would be like, painful but apparently a happy thing. Anyway, although I agree with Takeya and them that he should have really cherished Setsuna, with how he's been treating her, I don't think I can agree because he'll never be 100% devoted to her, and that fact will inevitably break her in the future so I'd rather he let her go now.

I guess Setsuna has been true to herself this whole time, selfish. I don't hate her "selfishness" though, because I can see why, and how understandable it actually is. She was isolated from her friends before, she's always been alone socially. So when she found Haruki and Kazusa, she didn't want to lose her place, she didn't want to be left out, and in order to not be left out, she had to do something that would solidify her place. It hurt Kazusa though, so I'm unhappy with her selfishness regardless, but I can see why. I think if I was younger, I would totally admonish her selfishness, but now that I'm older and can see how precious these things like friendship can be, I really can't blame her, even though I don't think I would do it knowing that it would hurt my friends' feelings. However, it's still so so selfish. So selfish because it just goes to show how much pain she was willing to allow Kazusa to go through just so she can keep playing house and keep the both of them by her side. And although she is probably half saying it so that she can come to accept that Haruki really doesn't like her and that she didn't "lose" but I'm sure she really likes Haruki too. Wow, that was so cruel. Like, I know it might be the last time Haruki would see Kazusa but dang, kissing Kazusa right in front of Setsuna is just so so cruel...Especially after finding out that he basically cheated on her on her birthday celebration. Honestly though, it's crazy how much torture Setsuna is willing to go through just to be with Haruki, especially knowing that he loves Kazusa the most.

Overall, since I already knew the most important plot points of the Introductory Chapter, nothing was really surprising, but I definitely still felt Kazusa's pain the most. I didn't realise until later that after finishing the chapter, you have to go back through it again to see some extra scenes and I definitely recommend them! Now I remember why Io thought Haruki was the one who confessed to Setsuna, it was because Setsuna was okay with the three of them being together forever, never changing, until she saw Kazusa kiss Haruki while he was sleeping, so she knew she had to do something otherwise she'd definitely lose, which I can't blame. Setsuna knew she was on the losing side but she didn't want to give up without a fight, which I admire. The only thing I hate about her is that this basically confirms she totally knew Kazusa's feelings, it wasn't just her "gut", she saw Kazusa kiss him and she still did all that crap on the rooftop asking her if she was okay with it blah blah when obviously she wouldn't have been, so yes, very insensitive, very selfish and I can't help but hate her a bit seeing how much torment Kazusa was going through behind the scenes. Anyway! I went off on a tangent, but yeah, great drama, I couldn't stop reading because I loved how the three of them had such a nice relationship. It was sad that romance had to "ruin" it, but I think they're still very much worth cherishing because it really feels like a nice youth to have had and experienced, and as Setsuna said, regardless of the pain right now, she still would have liked to meet Haruki and Kazusa, and doesn't regret that at all because in the end, these memories and feelings are irreplaceable and I think the Introductory Chapter shows that very well. Even though Haruki annoyed me at times and Setsuna's actions weren't my favourite, I still enjoyed it alot because they felt very human and I could understand why everyone did what they did, and I guess that's the appeal of it all haha. All is fair when it comes to love I guess. Or maybe love is war?

#white album 2

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gear-project · 1 year

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Annon-Guy: Sorry if I already asked this, but what are your thoughts on Tsundere's, including the ones who comically attack their love interest? They tend to get a lot of hate for being "abusive". Example: Kagome from Inuyasha.

GP Mini-rant on Manga ahead: Readers HAVE BEEN WARNED!

I'm actually not very fond of Romcoms (Romantic Comedies) in terms of my personal tastes.

There have been stories like Seto no Hanayome (My Bride is a Mermaid) which takes abuse of the male protagonist to the extreme… and sometimes I have to wonder if there is some disconnect between people who understand men versus people who are fans of the female gender in Japanese Culture.

You have this "idea" where women are the dominant force in all relationships in the manga writing, be it Tsundere, Kuudere, Yandere, Yuri etc…

And counter to all this you have all these reincarnation stories where the male protagonist dies and gets reincarnated with god-like powers to dominate his own harem as an act of "revenge" against the women (mostly) who wronged him.

While I do like some elements in Fantasy stories (and even Harem stories on occasion)… like I said, there is a huge disconnect between Japanese culture and more realistic relationships out there, which suggests to me that Men or Male culture in Japan is highly diminished and separated from real interactions with women.

I'd also argue it's not all that different here in America, and let's not even dive in to the sub-categories of gender preference that people have enforced these days.

Rather, the traditional concepts of romance or even marriage and family has been tossed in the gutter, if not forgotten altogether by modern culture and beliefs if you ask me.

Maybe there are a "few" stories and manga/anime out there that claim to embody the genre "slice of life"… But which slice of WHOSE life? What's "normal" anymore?

I'm not saying that it's all bad or inconsistent writing, or even that the manga out there isn't worth reading… some stories are REALLY GOOD… But I am saying that a lot of it is unrealistic and not very wholesome to readers without understanding the underlying culture as context.

There's different ideas of what is "funny" or "humor" and minor differences in culture without any explanation can really transform a joke between friends in to a controversial offensive debate.

Inuyasha (and its spinoffs) have been around for many MANY years… so that brand of gag humor is consistent with the author themselves, but a lot of that humor is better expressed in the manga, rather than how it is interpreted in the Anime adaptations… especially considering the idea that Kagome's relationship with Inuyasha is much more seriously expressed in the Anime itself… (you can actually see this expressed more in the sequel to Inuyasha: Hanyo no Yashahime, particularly when the girls encounter their parents who legitimately love their children despite being half-demon).

It's somewhat like trying to explain Tsukkomi and Boke/Manzai comedy to people who don't get why it's funny (and even then, you can't guarantee that that brand of humor would be considered "funny" to some people).

Well… at the end of the day, there's manga you like and manga you DON'T like… and that applies to everyone.

I've got my share of reading lists, and not everyone likes what I read (in fact I often see a lot of people dropping the manga I read sometimes).

What this all boils down to is that if you want to find a type of character (male or female) that you "like", sometimes you won't find it in some cultures.

For example… if I were to describe my "ideal romance"…:

The woman is aggressive and passionate but also respectable and honest with herself… and the relationship is healthy and still reasonable (meaning they do consider marriage as a prospect in the future and don't take things too far unless their intentions are to stay together).

The man is adaptive, also reasonable, understanding, but also has his own standards but isn't particularly portrayed as perverse or obsessed with the female gender, rather he'd be "obsessed" with the person he falls in love with and have wholesome and healthy reasons for that.

The relationship wouldn't lean entirely on the man for support OR the woman… and you'd actually GET to see what a healthy relationship is like for a potentially-married couple. The responibilities and burdens both sides have… and how they support and help one another in a realistic setting.

If the manga story I've just described rings any bells to you, GOOD, that means there's still people out there who understand what realistic romance is like!

Well anyway… that's enough discussion on THAT topic… But well.. I do like my weird subgenres… reincarnation god mangas, super harems, monster girls, and other ODD stories… but well, even if they ARE unrealistic, at least a few stories have the sense of self-awareness to point that out to readers (I've seen a few good harem stories actually DO that with the struggles each female character HAS inside the Harem).

Part of the reason I read Harem genre is "because" it's complex, like a juggling act, and history has shown poligamy to be this mystical concept few people comprehend in romance because of our basic selfish nature to want to be FIRST in our significant others' thoughts.

Well that's it for now… If you ask me though, there's not enough Mecha and Science-fiction genre manga out there, emphasis on the SCIENCE.

#GP reads Manga #Romantic Comedy #Manga Subgenres

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