life as a voyager

251. translation: v6 - "ashiato"

sociologique — Wed, 22 Mar 2017 05:50:52 GMT

I'm alive, I promise! My brain has just been mush for a variety of reasons but I wanted to translate this song the second I heard it because it made me cry because I'm a giant baby. Add this to my ever-growing list of songs that will make me cry if I see them live. At this point, I should just get life jackets for everyone in the venue because I'm going to drown the entire place in my tears.

. kanji .
泣いたり笑ったり　忙しい日々の
足跡はカーブしてく
頼りない足取りで　迷い曲がっても
残せるのはひとすじ

いつまでたったって
強くなれないね
いつか描いた自分を思う

でも僕は揺らめいて迷ってきた足跡も
また今を生きているしるしって思うんだ
一歩ずつ歩いたこの道はいつか
きっと　煌めく景色へ繋がってる

ズレたりよれたり　騒がしい時代(とき)は
いつの間に過ぎていて
今ではあの頃の痛みや涙も
眩しく思えるけど

いつまでだったっけ
器用なフリで
弱い自分を誤魔化していた

でも僕はうつむいて立ち尽くしたあの日々も
今僕を支える力って思うんだ
同じように迷う誰かが気付いて
そっと　ひとりじゃないって思えるような

時には立ち止まりながら行こう
雨でも晴れでも今日も
振り返ればほら　地平線の先までも
途切れない道　確かに光る

ねえ今は飛んだり歌うような足音で
見渡した遥かな世界へ駆け出そう

振り向けばこれまで歩んで来た足跡も
どこまでも続くこれからの道のりも
一歩ずつ歩いたこの道はいつか
きっと　煌めく景色へ繋がってる

何度も踏み出して

. romaji .
Naitari watattari isogashii hibi no
Ashiato wa kaabu shiteku
Tarinai ashidori de mayoi magattemo
Nokoseru no wa hitosuji

Itsu made tattate
Tsuyokunarenai ne
Itsuka egaita jibun wo omou

Demo boku wa yurameite mayottekita ashiato mo
Mata ima wo ikiteiru shirushi tte omounda
Ippozutsu aruitia kono michi wa itsuka
Kitto kirameku keishiki e tsunagatteru

Zuretari yoretari sawagashii toki wa
Itsu no ma ni sugiteite
Ima de wa ano koro no itami ya namida mo
Mabushiku omoeru kedo

Itsu made dattakke
Kiyou na furi de
Yowai jibun wo gomakashiteita

Demo boku wa utsumuite tachitsukushita ano hibi mo
Ima boku wa sasaeru chikara tte omounda
Onaji you ni mayou dareka ga kidzuite
Sotto hitori ja nai tte omoeru you na

Tokini wa tachitomari nagara ikou
Ame de mo hare de mo kyou mo
Furikaereba hora chiheisen no saki made mo
Togirenai michi tashika ni hikaru

Nee ima wa tondari utau you na ashioto de
Miwashita haruka na sekai e kakedasou

Furimukeba kore made ayundekita ashiato mo
Doko made mo tsudzuku kore kara no michinori mo
Ippozutsu aruitia kono michi wa itsuka
Kitto kirameku keishiki e tsunagatteru

Nando mo fumidashite

. translation .
My footsteps have taken a turn
While I was laughing and crying in these busy days
At a pace I just can't keep up and even though they've taken a turn
All that's left is a straight line

No matter how much time passes
I just haven't been able to get stronger
Someday I'll remember the me I imagined

But even my confused and winding footsteps
Are a sign that I'm still alive
Step by step, this path will someday
Take me to a bright, shining place

Before I knew it, these troubled times
Passed while I was getting tangled and slipping up
I still vividly remember
My tears and the pain from back then

Up till now
Acting like I'm so clever
I've been lying to myself

But even on the days when I'm standing still with my head down
I remember I have the power to hold on
People who are confused like me realize it, too
And I quietly remember I'm not alone

I'll go on, though sometimes stopping and starting
Through the sun, through the rain, even today
If I look back -- see? I can even see the edge of the horizon
It's surely shining at the end of this unbroken road

Yeah, with the sound of my feet jumping like they're singing a song
I'll take off to that far-off place I saw

If I turn around, I can see the footsteps I've taken
I can keep going anywhere, even on this journey
Step by step, this path will someday
Take me to a bright, shining place

I'll step forward, over and over

250. keep the earth below my feet

sociologique — Fri, 07 Oct 2016 04:37:00 GMT

This one is basically The Many Angles of Mt. Rainier, everyone's favourite Decade Volcano that's one day going to blow and kill us all! (I say all that with love. I love you, Mountain). Anyway, I took most of these on Stevens Canyon Road between Ohanapecosh and Paradise. (Also, I keep forgetting to reply to comments so please don't think I'm ignoring you, I love and appreciate you all, I'm just bad at replying right now) (Also too -- hey! 250 entries! (well, 250 that I'm counting) That's pretty rad! Thanks for sticking around, friends!)

Mt. Rainier National Park, Washington, USA 2016.09.24

249. i want to live where soul meets body

sociologique — Mon, 26 Sep 2016 20:52:04 GMT

Saturday was National Public Lands Day and that meant free admission to all state and national parks so I took my tiny human for a drive through the park and a short hike through an old growth forest with trees that are estimated to be over 1,000 years old (meaning there are trees that were there during the Norman conquest of England). Also, remember that episode of GeI where they hike to the Mononoke forest? That's what it reminded me of.

The Grove of the Patriarchs Trail, Mt. Rainier National Park, Washington, USA 2016.09.24

248. translation: messages from v6 vol.422: sakamoto masayuki

sociologique — Thu, 25 Aug 2016 18:28:19 GMT

Hello, internet! Now that my brain is no longer mush, I can finally get back to translating things and not taking 50 years to do so (I hope). Here's a quick thing to get me back into it before I work more on the 20th anniversary pamphlet. And while I'm here, I just want to state that Maa-kun is all of us. Which means he's the worst. My poor bb you're such a dork ;__; .

Piano and tap are like that too, but there's great joy in seeing the fruits of your labours when doing something difficult

The play I was just in, "Murder For Two," is done. It's a totally different kind of play than anything I've done before, so it left me with a totally different sort of feeling. I had to play a lot of roles for just one person, and there was a lot to remember so it got chaotic in my head, so until my conditioned reflexes kicked in, rehearsing was pretty hard. I was honestly giving it my all during perfromances, and I couldn't calm down, so when it would end, I would end up thinking that, at any rate, I want this to "end" (laughs). Playing the piano got to be more and more fun, and I want to keep playing. Tap was that way, too, but the more difficult something is, when you practice and get to see the fruits of your labours, there's a great joy in that.

During the photoshoot the six of us did a little while ago, Nagano and I -- who've known one another for 30 years -- got to talking as we did a shoot with just the two of us. I got a lot of feedback, and that made me happy. Nagano, when he was a Junior, would say what he was going to say without complaining, and I just have this impression of him just doing things. I'm the type who'll immediately say what's on my mind, so I'd tihnk someone like Nagano is amazing. He was probably conscious of the people around him. As a Junior, when I'd get included in things, I'd just be an ass (laugh). Nagano would do things properly, and he's the type of person who's been putting down roots and doing his best for forever.

I've been doing stuff for the play for forever, so I haven't had a lot of time to go out lately. so I've been thinking like, is there no way for me to connect to society?, and so more and more I've been doing a lot of online shopping (laughs). I'll buy stuff with one click, and then when things come to my house via express shipping and I talk to the delivery person, I'll honestly feel like, "oh, I'm connecting with people in the outside world" (laughs). What I've been buying is like, face wash for daily use. That and a case of cup ramen. I found the char siu cup ramen I used to eat forever ago, and it's not something they really sell anymore, so I bought it. It's kind of a comfort food (laughs).

247. where the boats go

sociologique — Fri, 15 Jul 2016 04:29:50 GMT

I wasn't going to take my camera with me today, but this is probably the last chance I'll have for quite some time to go out and shoot, so I did. Only got a couple, since it's hard to simultaneously wrangle a stubborn dog who refuses to go near the water and take pictures, but I still got a few. Mostly boats and logs and shit, since this is right next to the ferry terminal. One of them, anyway. We have so many ferries.

Lincoln Park, Seattle, Washington, USA 2016.07.14

246. translation: morita go "himeanole" jweb email

sociologique — Tue, 31 May 2016 16:22:25 GMT

Good morning! and hello from my new house! I finally got my new desk set up and I need a break from unpacking, so here's a short, quick, cute little jweb email from Go (sent last Friday but moving, no desk, etc).

Good morning!

This is Morita Go. The movie "Himeanole" opens starting today.

I think we've made a film you'll enjoy, so I'd be really glad if the people who were already looking forward to it and who'd decided to go see it would come see it.

But for sure, it's a stimulating film with a lot of different meanings, so I'm sure there are people who are also worrying, like "what should I dooo?" I definitely think those people should go see it, too.

It's a film that you'll definitely feel something about after you've seen it, so I'd like for you to head to your theatre and see it.

245. alone and prone in the half-light

sociologique — Sat, 14 May 2016 16:27:35 GMT

We've had a gorgeous Spring here but I haven't been able to get out and go hiking (well, I mean technically I could but I shouldn't right now), so this is the first time I've gone out with my camera since September. We went to the Point Defiance Zoo yesterday for my birthday but only the Sumatran Tigers were out (I wanted to see the Clouded Leopards but they were all asleep), so here's some aminals.

Point Defiance Zoo & Aquarium, Tacoma, Washington, USA 2016.05.13

bonus shots of mt. rainier as we left the zoo

doing the halo thing fuji-san always does ~~god i miss japan~~

244. translation: Since 1995 to Forever pamphlet: my favourite single best 10

sociologique — Thu, 05 May 2016 19:31:58 GMT

I haven't translated stuff in a while for... many reasons, but I want to again, so I'm back with a short thing. I'm still working on the rest of the interviews in this pamphlet, but here's a thing just to get me back into translating. Okada gets kinda deep in this one, so if you'll excuse me, I'm gonna go take these feelings about his feelings and cry a lot.

My Favorite Single Best 10

We collected each member's favourite 10 singles
From the 45 singles they've released to date, each member thought as hard as they could and selected 10, which we're presenting to you!

// Sakamoto Masayuki

We were born all thanks to our debut song!
MUSIC FOR THE PEOPLE (1995.11.01) : You could say it's V6's creator... With this song, we spread our wings and flew, and so it's an extremely precious work that's inseparable from us. With a debut song, you could say things never change... When this song starts playing in concert, all of us -- members and fans -- as one, we turn back the clock.
愛なんだ (1997.01.20) : It was thanks to Inohara that Tamaki (Koji) wrote this song for us. When I first heard the demo tape, I thought "(we've done nothing but Eurobeat up until this point, so) this opened up a new path for us." The lyrics are also really catchy. In the beginning, it's not a song you really dance to, so it's a song where you can have fun with the choreography.
本気がいっぱい (1997.04.03) : I like this song because it's one where everyone can get fired up to it in concert no matter what. Anyway, when it comes to songs where the fans who're coming to the venue can have fun, I think this one's great. This song is also the first one where we all went together overseas and shot the PV, so I've got a great memory of it.
WAになっておどろう (1997.07.09) : Starting with "愛なんだ," we were dancing a lot less in our songs... this song is the same. But when you listen to it, it's a lot of fun, and from kindergarten to elementary school, into middle school... lots of students in different schools have used this song at athletics festivals, and this is the song we sang at Kouhaku, so I've got a lot of memories of it.
自由であるために (1999.05.12) : For me personally, I like rock songs. I really like the lyrics of this song, too. That's not to say I normally listen to rock songs, but surprisingly, I like to sing rock songs. So this one made me happy. Singing this song left a big impression on me, doing it in the rain on a television show.
サンダーバード -your voice- (2004.08.04) : We all did the voice acting for the dub of this movie... I never thought I'd be playing the part of everyone's father (laughs). The "3, 2, 1" countdown in "Thunderbirds" is famous, so making a new "Thunderbirds" made me really happy.
GUILTY (2009.09.02) : Somehow, with the success of this song, we all started feeling more "adult." The timing matched up really well with this song. This one has a flavour to it that I like. On our Asia tour, to people even outside of Japan, I was happy to show people a new V6.
Sexy.Honey.Bunny! (2011.08.24) : Actually, everyone recorded themselves doing the "sexy," but for whatever reason, I got picked (laughs). When we do the intro, and then I say "sexy" and get fired up like "bam!" the second right after that, so it's a joy only I know. I like unconventional songs that we as pros can play around to.
バリバリBUDDY! (2012.02.15) : People from a lot of different fields danced with us in the PV for this song, but they actually came to the venue not knowing the choreography, so we all ended up getting really sweaty. All of us and all the staff made it. We added a different power into it and it increased our enjoyment of it.
ROCK YOUR SOUL (2012.12.26) : We sang this song like an anime song, so it was a ton of fun! I've liked rock and anime songs from the start, so I was happy the second I heard it. And in any case, singing it felt great. At the event for the song, Kenshiro¹ came... but the six of us had to transport him (laughs).

// Nagano Hiroshi

How I felt at the time is still the image I have of each song
MUSIC FOR THE PEOPLE (1995.11.01) : It's our debut song, so of course it's like, "it all started here" or "we did a lot of Eurobeat back then," and it's a song that really takes me back. The intro is really impactful. I remember singing this on a volleyball court, too (laughs).
TAKE ME HIGHER (1996.09.16) : We'd been doing songs on programs for a year at that time, but with this song, it really felt like we became able to do backflips. The choreography had us doing backflips at the very end of the coda, so we couldn't not do it (laughs). It was really scary at first.
愛なんだ (1997.01.20) : After doing 4 really intense songs since our debut, the mood changed really suddenly with this song. It's a bright song, a song everyone can hum, and I think it's great. Tamaki Koji wrote the song for us, and I remember being really impressed and feeling like the demo tape was really free-spirited (laughs).
愛のMelody (2001.02.28) : This is a song where the sight of the fans all doing the hand motions with us in concert really comes to mind. Everyone beautifully moving as one; it's great. It's like "everyone remembers the choreography!" and that also makes me really happy.
蝶 (2008.05.28) : The lyrics are really fresh and something we hadn't done up until that point, and the choreography has a lot of steps in it, so it's one I really remember. And speaking of, we were doing the choreography the day before we shot the PV, and this is the only song where we've done that. All of us, right up until before the shoot, were paying way closer attention to the "choreography check."
kEEP oN. (2012.08.08) : It's a song that Ken and Inohara worked really deeply on for us. Out of all our songs, it's the most playful, and it's got a lot of different components to it. The lyrics also have a lot of different countenances to them, and the full version is over six minutes long... there's really no other song like this one, right (laughs).
Timeless (2015.05.08) : It's our newest song, and also our first single during our 20th year, and the lyrics are like "who we are now," "the current V6," "the six of us's bond," and so it really resonates in my heart.
HONEY BEAT (2007.01.31) : As an easy to understand song of encouragement, it's a song that gets its point across. We change into school uniforms and gloves and sing at stand-up mics. The choreography is in the style of cheerleading, and so the fans can all do it along with us. I really love the "smile, smile" part.
Orange (2005.10.12) : It was the first song we did in the British Rock style, and I love the whole atmosphere of it. It's not like it goes "BAM!" and you get super fired up at the beginning, so it's a song that gradually swells and gets you more excited, but I really like that kind of feeling. You can feel the song expanding.
出せない手紙 (2001.08.29) : Even now, the song draws me into its world, like "I wonder why, this kind of painful feeling..." In concert, we've stood on steep slopes and sang it, and it was like we were slipping away, and so even though it was this really painful ballad, I remember standing there singing and locking my knees (laughs).

// Inohara Yoshihiko

My memories of the writers of the songs are reborn with them
IN THE WIND (2000.05.10) : It's a song that Sato Chikuzen wrote for us, and it's really cool, and I really like it, but it's also really hard to sing. I remember having a lot of trouble during recording. Even now, it's the only song I still want to practice. I'll often hum it and actually practice it by myself.
野性の花 (2000.02.02) : It was during a time when we wanted to mature as a group, and I feel like we felt like "singing this kind of song would be good," and it's a song I'm happy we sang. Even though it's got those positive lyrics like "we'll keep going forward," there's hope in the lyrics, and it's a mesmerizing song.
UTAO-UTAO (2005.06.22) : It's the first song that my best friend, Akachimachi Kaito, wrote for V6. The lyrics that are like "it's like a modern version of 'Tom and Jerry'," it's like, "I was chasing you around but before I knew it, I was being chased around" and I think we got really into that at the time.
グッデイ!! (2006.06.14) : This was the first song for my drama, "Keishichou Sousa Ikka 9-gakari" that will be celebrating its 10th year on the air this year. Musically, it's a very bright and happy kinda song, so it might seem a little childish, so you might be thinking, "does this really fit for a drama about the police?" but it's actually a very adult kind of song.
バリバリBUDDY! (2012.02.15) : It was a reaaaally slow song in the very beginning (laughs). As we got together and talked about it more, we thought like, "should we maybe speed it up?" and got it to a song we could do on a music show in exactly 3 minutes. It's a challenge we made and a song with a goal in mind.
kEEP oN. (2012.08.08) : Compared to the song before this one, "バリバリBUDDY!" that fit perfectly into three minutes, this song is twice that and super long at 6 minutes and 6 seconds (laughs). But I think that kind of swing in the other direction is fun. I feel confident about it, like "this is a thing that only V6 could do, right?"
Sexy.Honey.Bunny! (2011.08.24) : This was the first in the sequence of songs we released that started from when we were like "we wanna switch up V6's music." From that point, we started meeting directly with the writers and producers and getting everyone in on the making of songs. When we met the first time, we realized it was a song that'd need even more brushing up (laughs).
愛なんだ (1997.01.20) : Tamaki Koji wrote this for us, and it's a song that I feel is a little soulful, and it's just a great song. We'd always done Eurobeat songs up until that point, so we were like "is it all right to switch it up like this?" and were a little worried, but we also felt like "we have to break out of that," so it was quite the challenge for us.
Orange (2005.10.12) : V6's 10th anniversary song. We felt like "it's such a cool song! But, do we want to bring this in right now as we're celebrating our 10th anniversary?" but I liked that (laughs). Those kinds of challenges I feel are necessary if you want to keep going for a long time.
BEAT YOUR HEART (1996.05.29) : It's a song full of originality. There are a lot of rap songs, but none up until that point that really grabbed me musically, so this song is extraordinary for me. As you're wondering if the rap is going to just keep going, it all of a sudden does a complete 180 and comes in with "[scale that] huge wall~" and the way it gets you pumped up is great.

// Morita Go

Along with the music, the PV shoots and the choreography flood back to me
Timeless (2015.05.08) : I love everything about this, from the song to the outfits we wore. With this sort of quiet maturity, it's like, "the feel of V6 lately" is great. With this song in particular, after the A and B melody lines quietly begin, when the hook kicks in, it gives off a "expansive feeling," and it's comfortable and great even just to sing, I think.
GUILTY (2009.09.02) : The song begins quietly, but the lyrics about adultery have a pretty intense feel to them, and so there's a gap there, so I like each and every part of it. There's one powerful part of the choreography that I get really into... try to guess what it is (laughs).
涙のアトが消える頃 (2014.08.27) : We each have our own solo parts in this, and it feels like the world in the song spreads out, and it really feels like it's really a recent V6-ish song. With the six of us's voices, it really feels like the song's worldview unfolds. And beyond that, I just love the choreography (laughs).
太陽のあたる場所 (199.07.14) : The moment the intro starts, everything about the time when the song came out just comes back to me like BAM. From "Shin Oretachi no Tabi Ver.1999 (Our New Journey Ver.1999)" to the shooting for the PV. While we were shooting the PV at this abandoned factory, this little baby bird fell out of a bird's nest, and I remember Inohara-kun bravely looking after it.
野性の花 (2000.02.02) : I remember this as being for the drama, "Gekka no Kishi," but I also just think it's a great song. It's 15 years old, but even when I listen to it now, I don't feel its age. And for sure, we all wore suits when we shot the PV. I really liked the steps for the A melody line (laughs).
IN THE WIND (2000.05.10) : This one's just a song that I intuitively like, without any real reason. I love the feeling before the hook kicks in with "words aren't enough..." But, it's a really hard song to sing. Especially the chorus. Even so, when we sing it now, it's kinda neat. It's another song that just hasn't grown stale.
Believe Your Smile (1999.03.31) : It's a song we've sang in concerts a lot, so the fans' faces just light up with the music. We all come together with the choreography, too, and it feels like all our hands are moving as one, and with the penlights all lit up and sparkling, so it's a song that's tied up with the concert scenery.
COSMIC RESCUE (2003.07.02) : It's a fresh song, and I also like its melody. Especially the beginning where the intro kicks in -- I still find myself unconsciously humming it to myself (laughs). It was for a movie that the 3 of us in Kamisen starred in, so I really remember that, and at the time I was thinking like "talking about space... what a huge theme!"
Sexy.Honey.Bunny! (2011.08.24) : This one pumps me up. Nishidera Gota-san acted as producer on this one for us, bringing in what's great about us, and each and every one of our personalities, and it turned into a song that was both a challenge but one we could attack. We were at a crossroads as a group, and he really pushed us along.
Sky's the Limit (2014.10.22) : Before I say that it's a song I like, before this one, our last two singles had been ballands, so after we were all really feeling like "we've been waiting!" for another dance number. The chorus feels like a sprint, too, and it's just a song that feels good to sing.

// Miyake Ken

I've narrowed this list down to my 10 favourite songs, including choreography
TAKE ME HIGHER (1996.09.16) : We in Kamisen would do backflips during performances, and Sakamoto-kun and Inohara-kun could do them, too, so we got to talking like, "if Nagano-kun could do one, we could all do backflips together..." so we tacked the backflips on at the end of the choreography (laughs). It was scary having the concrete underneath us.
愛なんだ (1997.01.20) : This song all of a sudden does a complete 180. Inohara-kun had starred in a drama with Tamaki (Koji)-san and that ended up being the impetus for him to write this for us. He'd said "a surprise is good," and the demo tape he recorded in his bathroom for us was really neat!
本気がいっぱい (1997.04.03) : This is the first song where we shot the PV overseas. We'd been in LA, Vegas, and Hawaii shooting our photobook around that time, and we shot this while we were in LA, and I just generally remember everyone it being a PV where everyone was genuinely laughing and smiling during it.
Believe Your Smile (1999.03.31) : Even now, it's already become a song we can't really dance to, but we really did the dance for it a lot when it came out. We'd do the Which Way (a kind of lock dance step)and Inohara-kun would do a backflip during the breakdown. It gets me all excited, and I think like, wouldn't it be nice if we could dance it one more time?
CHANGE THE WORLD (2000.10.25) : I was really happy this was chosen as a theme song for "Inuyasha." And I'm also happy that it's got the same title as a song I like by Eric Clapton. Though they have the same name, the songs go in completely different directions, but I think that's neat.
愛のMelody (2001.02.28) : I think we first showed off this song when we went on our Asia tour through Taiwan. That time period left a lot of memories. I like the PV for this one, too. Even now, I'm really happy when the fans do the hand motions with us. There's no other song to compare it to for that feeling of unity.
COSMIC RESCUE (2003.07.02) : With this song, though it's a song that rides on the rhythm, for whatever reason, the melody line is kind of painful. The "shoooting staaaar~" part of the chorus will just grab my heart... but I really like that feeling. There's a unique part of the choreography where it's like we draw a parabola with our hands, and I think that's great, too.
Sky's the Limit (2014.10.22) : We'd actually had this song since we did "ROCK YOUR SOUL," so it had quite a good reputation among the other members and the staff. I like the choreography, too. After having done ballads, this song felt like it brought out the V6-like atmosphere. It's really easy to dance to, and it pumps me up.
Timeless (2015.05.08) : Whether it's the A melody line, the B melody line, the chorus... no matter what you pick, it's a really great song. If, for example, we'd done this when we were younger, it probably wouldn't have been as persuasive. I especialy think Go's "Timeless~" part is great.
Darling (2003.05.28) : I love this song and the choreography. When I go to karaoke with people I know, this song somehow ends up in our queue (laughs). I'll be like "the actual video came up!" ... but I absolutely will not sing it (laughs). We did flips off the wall one time when we performed this on "Music Station."² I was so nervous~

// Okada Junichi

Thinking about myself at these times, a lot of different things come back to life
愛なんだ (1997.01.20) : We'd been doing only Eurobeat-style songs since our debut, and when Tamaki Koji-san wrote this for us, our whole mood changed just like that. That year (1997) is the year we started doing "Gakkou e Ikou!" and this song makes me feel like "we're gonna go cheer on students!"
本気がいっぱい (1997.04.03) : This was the first time we'd all used mic stands, and us singing and dancing in unison was impressive. Up until then, there was a lot of separation between Tonisen and Kamisen, so this was pretty fresh and a lot of fun. I actually remember the handing off of the mic stands not going very well (laughs).
WAになっておどろう (1997.07.09) : Kindergarteners, elementary schoolers... little kids in general will often sing and dance this at sports days or during play dates and that makes me happy. We did this song at "Kouhaku," as well, and I'm really happy when I meet people who were in the crowd who got to like the song from that. It makes me really happy to be in V6.
GENERATION GAP (1997.11.06) : I personally like Fujii Fumiya-san (lyrics: Fujii Fumiya; music: Fujii Naoyuki), so I was really glad that he wrote this song for us. The melody is really easy to hum, and you can sing along all carefree, and our kouhai say they like it a lot, too, so I'm really grateful.
over (1996.11.11) : This was the theme for the legendary drama, "PU-PU-PU" (laughs). Thinking about it now, I seriously felt like the life-sized Tonisen of that time came out in those lyrics -- shining, full of hope. It makes me feel close to the footprints we've made.
太陽のあたる場所 (1999.07.14) : This was the theme song for another legendary drama, "Shin Oretachi no Tabi Ver.1999 (Our New Journey Ver.1999)" (laughs). At that time, I didn't really like myself, but I wouldn't give up on my future self. I ended up looking for my place in the sun (laughs). I wanted to be able to like myself one day... so that was the hope I was holding onto.
愛のMelody (2001.02.28) : This one's a song where we were all wearing red outfits with tied neckties. The choreography is really easy to understand, so the fans will do the hand motions with us, and when they're cheering us on in concert, it's a song that gets me really fired up. You all shine when you do the hand motions!
Darling (2003.05.28) : We were looking for things that we could do, so this song was one we did during a time we wanted to challenge ourselves. We didn't do just regular backflips, but off of stands and pedestals... so while we were trying different things, we were adding to the things we could do. So, I remember this song as the one that gave birth to the "shoulder flip" where Nagano-kun flips me off his shoulders.
UTAO-UTAO (2005.06.22) : While being thankful for being able to sing... at the time, I was thinking about how I have to change myself. That's what I remember when I hear this song. I was on the verge of adulthood, and it was an era where I'd become a man, plant my feet firmly in my 30s, and become a proper man...
Timeless (2015.05.08) : While holding onto the other members' genetleness, I'm able to genuintely feel grateful for our fans. That's what this song is. Dancing to this song in live performances makes me feel at ease, and it's a song where I'm able to -- all over again -- feel the place that V6 has in my life.

. notes .
01. Kenshiro is the main character in "Fist of the North Star: Ken's Rage," the game for which "ROCK YOUR SOUL" is the title song.
02. You don't actually need context or anything for this one, I'm just so happy he brought this up and it's one of my favourite PFs and if you want to watch it, it's 2003.05.30.

243. translation: v6 - "traveler"

sociologique — Fri, 05 Feb 2016 18:08:16 GMT

It's Friday morning and I have nothing to do so have a Tonisen song!

. kanji .
のんびりと口笛吹きながら
軽い日焼けの跡を感じている
僕はTraveler
忘れ物だらけの地図も無い
ただの思いつきの旅だったけれど
来て良かった

照りつける太陽も渦巻いている風も
真ん中で僕が生きている事感じられる

きっともう一度歩き出せる
この足でこの世界で新しい風に吹かれて
ずっとこの場所でこのままで止まっているわけにはいかない
さあ顔あげて行こう Oh Yeah!

あの日を忘れたいと願って逃げてばかりいたけど
それじゃダメなんだ苦しくなる

かなわない約束も解けなかった問題も
離れて見ると何だか小さく思えてくる

きっとこの空もあの雲も全てが繋がっている
遠くに君を思える
ずっとあのままでただぼんやりと毎日に流されてたら
何も分からなかった

地平線の向こう側何かがあると信じて
一人とんがっていた靴のひもを締め直して

きっともう一度歩き出せる
この足でこの世界で新しい風に吹かれて
ずっとこの場所でこのままで止まっているわけにはいかない
さあ顔あげて行こう Oh Yeah!

. romaji .
nonbiri to kuchibue fukinagara
karui hiyake no ato wo kanjiteiru
boku wa Traveler
wasuremono darake no chizu mo nai
tada no omoitsuki no tabi datta keredo
kiteyokatta

teritsukeru taiyou mo uzumaiteiru kaze mo
mannnaka de boku ga ikiteiru koto kanjirareru

kitto mou ichido arukidaseru
kono ashi de kono sekai de atarashii kaze ni fukarete
zutto kono basho de kono mama de tomatteiru wake ni wa ikanai
saa kao ageteikou Oh Yeah!

ano hi wo wasuretai to negate nigete bakari itakedeo
sore ja dame nanda kurushiku naru

kanawanai yakusoku mo tokenakatta mondai mo
hanaretemiru to nan da chisaku omoetekuru

kitto kono sora moa no kumo mo subete ga tsunagatteiru
tooku ni kimo wo omoeru
zutto ano mama de tada bonyari to mainichi ni nagaretetara
nanimo wakaranakatta

chiheisen no mukou gawa nanika ga aru to shinjite
hitori tongatteita kutsu no himo shimenaoshite

kitto mou ichidou arukidaseru
kono ashi de kono sekai de atarashii kaze ni fukarete
zutto kono basho de kono mama de tomatteiru wake ni wa ikanai
saa kao ageteikou Oh Yeah!

. translation .
As I leisurely whistle
I feel the traces of a light sunburn
I’m a traveler
There’s no map of all the things I’ve forgotten
And though this is just a trip I took on a whim
I’m glad I came

The sun that’s beating down and the swirling winds
I can feel that I live right in the middle of them

So I’ll surely start walking on one more time
With these feet, in this world, a new wind will blow
I can’t afford to stop here and stay forever in this place
So I’ll raise my head and go Oh Yeah!

Praying that I could forget that day, I just escaped
But that’s no good, and it’s just gotten harder on me

The promises that couldn’t come true and the problems I couldn’t solve
I tried to get away from them and somehow small thoughts of them still came back to me

Surely this sky and these clouds connect everything
I think of you who’s far away
And when I spend my days just aimlessly wandering around here like this
I don’t understand anything

I believe there’s something on the other side of the horizon
I re-tie my shoelace

So I’ll surely start walking on one more time
With these feet, in this world, a new wind will blow
I can’t afford to stop here and stay forever in this place
So I’ll raise my head and go Oh Yeah!

242. translation: v6 - "issho de saigo no koi"

sociologique — Wed, 03 Feb 2016 00:55:19 GMT

I keep having time at the end of the day to do stuff, so I thought I'd start filling in some gaps of songs I haven't translated. Here's a quick one that I love.

. kanji .
すれ違う話題が溢れて
初めは悩んでたけど
好き嫌い分かれるのが逆に楽しいね
年下の君がいつも僕の腕を引く
「飾らないでいいから」君が微笑むたび温かくて

一生で最後の恋だから僕の全て君に捧げるよ
運命なんて照れくさいけれど信じられるよ
一生で最後の恋だからありのままの君を抱きしめたい
僕だけに見せる眼差しずっと離したくないよ

溜息を夜空に浮かべて
冷たい涙をこらえた
寄り添う君の香りふいに頬ぬれた

言葉はいらない思いはちゃんと繋がってる
過去より未来をそんな君の色に染まりたいな

君が隣にいるだけでモノクロの世界が色づくよ
孤独に泣いた夜たちがほら朝に溶ける
どんな些細な出来事でも新しくて鮮やかになるよ
僕だけに見せる夢色きっと二人色になる

一生で最後の恋だから君を死ぬまで愛しぬきたい
一緒に最後を迎えたいでも叶わないかも
僕の最後の恋だからありのままの君を抱きしめたい
僕だけに見せる眼差しずっと離したくないよ

. romaji .
surechigau wadai ga afurete
hajime wa nayandeta kedo
suki kirai wakareru no ga gyaku ni tanoshii ne
toshishita no kimi ga itsumo boku no mune wo hiku
“kazaranai de ii kara” kimi ga hohoemu tabi atatakute

issho de saigo no koi dakara boku no subete kimi ni sasageru yo
unmei nante terekusai keredo shinjirareru yo
issho de saigo no koi dakara ari no mama no kimi wo dakishimetai
boku dake ni miseru manazashi zutto hanashitakunai yo

tameiki wo mayonaka ni ukabete
tsumetai namida wo koraeta
yorisou kimi no kaori fui ni hoo nureta
kotoba wa iranai omoi wa chanto tsunagatteru
kako yori mirai wo sonna kimi no iro ni somaritai na

kimi ga tonari ni iru dake de monokuro no sekai ga irodzuku yo
kodoku ni naita yorutachi ga hora asa ni tokeru
donna sasai na dekigoto mo atarashikute azayaka ni naru yo
boku dake ni miseru yumeiro kitto futari iro ni naru

issho de saigo no koi dakara kimi wo shinu made aishinukitai
issho ni saigo wo mukaetai demo kanawanai kamo
boku no saigo no koi dakara ari no mama no kimi wo dakishimetai
boku dake ni miseru manazashi zutto hanashitakunai yo

. translation .
We’re full of topics we disagree on
And it worries you at the beginning
But liking some things and disliking others is actually pretty fun
You who’s younger than me always pulls at my heartstrings
“You don’t have to put on airs” I say – you always warm my heart when you smile

You’re the last love of my life so I’ll give you all of me
Saying this is fate feels a little awkward but you can believe it is
You’re the last love of my life so I want to keep on holding you like this
Keep showing me that face you show only me; I don’t want to let you go

With a sigh in the middle of the night
You held back the cold tears
Wrapped up in your and your scent – suddenly, your cheek is wet

You don’t need to say anything – our thoughts are connected
More than before, I want to be dyed in your colours in the future

Just by you being next to me, my monochrome world changes colours
The nights where you cried in loneliness – look, they’re thawed by the day
No matter what trivial thing may happen, it’ll be better and brighter
The colours of your dreams that you show only to me – truly, they’ll be our colours

You’re the last love of my life so I want to keep on loving you until I die
I want to see the end together, but that may not happen
You’re the last love of my life so I want to keep on holding you like this
Keep showing me that face you show only me; I don’t want to let you go

241. translation: v6 - "hello" (2015)

sociologique — Fri, 29 Jan 2016 23:34:57 GMT

I AM SO BORED. Here is a song I love a lot.

. kanji .
あなたの呟くような微かな声とメロディ　覚えていられそう
右脳　左脳　無意識にそっと刻み込まれた記憶　体を流れてる
今日雨が止まなくても　例えば2度と会えなくても

HELLO　HELLO　届いていますか？　今も変わらないまま　あなたはただ
HELLO　HELLO　歩き続けていますか？

Arrowのよう　こぼれ落ちる速さで　あなたの顔も　忘れてしまいそう？
それでも　不確かな確かを確かめに行く旅へ　音は流れてる
空に星が見えなくても　例えば2度と話せなくても

HELLO　HELLO　気付いていますか？　今も変わらないまま　私はただ
HELLO　HELLO　歌い続けていました

HELLO　HELLO　覚えていますか？　景色は変わりゆく　それでもただ
HELLO　HELLO　鳴らし続けているから

HELLO

. romaji .
anata no tsubuyaku kasuka na koe to merodii oboeteiraresou
unou sanou muishiki ni sotto kizamikomareta kioku karada wo nagareteru
kyou ame ga tomaranakutemo tatoeba nidoto aenakutemo

HELLO HELLO todoiteimasu ka? ima mo kawaranai mama anata wa tada
HELLO HELLO arukitsudzuketeimasu ka?

Arrow no you koboreochiru hayasa de anata no kao mo wasureteshimasou?
soredemo futashika na tashika wo tashikame ni iku tabi e oto wa nagareteru
sora ni hoshi ga mienakutemo tatoeba nidoto hanasekutemo

HELLO HELLO kitsuiteimasu ka? ima mo kawaranai mama watashi wa tada
HELLO HELLO utaitsudzuketeimashita

HELLO HELLO oboeteimasu ka? keshiki wa kawariyuku soredemo tada
HELLO HELLO narashitsudzuketeiru kara

HELLO

. translation .
I seem to be able to remember the sound of the melody and your faint voice as it murmured
Left brain, right brain – the memories softly etched into my subconscious; my body drifts away
Even if the rain won’t stop today and even if, for example, we could never see one another again

HELLO HELLO is this getting through to you? The you who hasn’t changed, even now – that’s all you are
HELLO HELLO are you walking on?

Like the speed of an arrow from a bow – am I forgetting even your face that quickly?
Even still, the sound wafts on this journey to find out the uncertain certainties
Even if we can’t see the stars in the sky and even if, for example, we could never speak again

HELLO HELLO are you realizing it? The me who hasn’t changed, even now – that’s all I am
HELLO HELLO we’ve gone on singing

HELLO HELLO do you remember? The scenery is changing and that’s all it is
HELLO HELLO so it’ll keep on ringing out

HELLO

240. translation: nakayama yuma - "kousaten"

sociologique — Fri, 29 Jan 2016 18:02:15 GMT

More downtime, more "studying." Turns out the last song I translated was also a Yuma song. This is entirely clipsie's fault.

. kanji .
雨が降る　音もたてずに　街中の輪郭を曖昧にしながら
偶然に　君を見かけた　見覚えのあるコートで交差点をゆく

Flash Back　僕の手を　振りほどいた　君の頬は濡れている
引き止めなければ　終わりと知っていて　僕は動けない

君の過ちさえも　見ないフリで許して
やさしさが寂しい、と　君はうつむいた
時を巻き戻せたら　強く抱きしめるのに
ありのままの自分に　自信がなかった

you were my girl, my girl　手放して
you were my love, my love　気がついた
ちっぽけな僕の存在に
時が経ってわかる　消せない想い

追いかけて　声をかけたら　君はどんな表情で僕を見るだろう
前よりも　きれいになった　新しい恋をして幸せだとわかる

Flash Back　あの夜の　後悔が　今も胸をしめつける
君はどれだけの　涙を流して　僕を忘れたの

すべてを奪うような　恋に臆病すぎて
そばにいても不安、と　君はふるえた
今の僕ならもっと　うまく向き合えるのに
君が見つめてるのは　もう僕じゃない

you were my girl, my girl　失って
you were my love, my love　気がついた
ありふれて見えた幸せに
時が経ってわかる　輝いた日々

せつない痛みほど　本当の強さとやさしさに変わる
そして出会う人と　いつかまた歩き出せる

見上げた空の彼方　光が射し込んでる
もうすぐこの雨も　止む時がくる
空に広がってゆく　茜色の輝き
人ごみにまぎれてく　君を照らすよ

you were my girl, my girl　想い出は
you were my love, my love　忘れない
僕たちは別の道を行く
交差点の向こう　空を見上げた

. romaji .
ame ga furu oto mo taretezu ni machijuu wo rinkaku wo aimai ni shinagara
guuzen ni kimi wo mikaketa mioboe no aru kooto de kousaten wo yuku

Flash Back boku no te wo furihodoita kimi no hoo wa nureteiru
hikitomenakereba owari to shitteite boku wa ugokenai

kimi wo ayamachi sae mo minai furi de yurushite
yasashisa ga sabishii, to kimi wa utsumuita
toki wo makimodosetara tsuyoku dakishimeru no ni
ari no mama no jibun ni jishin ga nakatta

you were my girl, my girl tebanashite
you were my love, my love ki ga tsuita
choboke na boku no sonzai ni
toki ga tattewakaru kesenai omoi

oikakete koe wo kaketara kimi wa donna hyoujou de boku wo miru darou
mae yori mo kirei ni natta atarashii koi wo shite shiawase to wakaru

Flash Back ano yoru no koukai gai ima mo mune wo shimetsukeru
kimi wa dore dake no manida wo nagashite boku wo wasureta no

subete wo ubau you na koi ni okubyou sugite
soba ni itemo fuan to kimi wa fureteta
ima no boku nara motto umaku mukiaeru no ni
kimi ga mitsumeteru no wa mou boku ja nai

you were my girl, my girl ushinatte
you were my love, my love ki ga tsuita
arifurete mieta shiawase ni
toki ga tattewakaru kagayaita hibi

setsunai itami hodo hontou no tsuyosa to yasashisa ni kawaru
soshite deau hito to itsuka mata arukidaseru

miyageta sora no kanata hikari ga sashikonderu
mou sugu kono ame mo tomu toki ga kuru
sora ni hirogatteyuku akaneiro no kagayaki
hitoigomi ni magireteyuku kimi wo terasu yo

you were my girl, my girl omoide wa
you were my love, my love wasurenai
bokutachi wa betsu no michi wo yuku
kousaten no mukou sora wo miageta

. translation .
The rain falls without making a sound and while the look of the town becomes unclear
By coincidence, I saw you walking across a crosswalk in that coat I’d remember anywhere

Flash Back you jerked your hand away from mine, your cheeks shaking
I had to stop you but I knew it was over and I couldn’t move

Even if you messed up, I pretended not to see and forgave you
I missed your kindness and you hung your head
If I could turn back time, even though I held you tight
I had no faith in who I was

you were my girl, my girl and you let go of my hand
you were my love, my love and I realized that now
In my small existence,
I know that time has passed but I can’t erase these memories

If I followed you and spoke up, I wonder how you’d look at me when you saw me
You’ve gotten prettier than you were before, and I can see you’re happily in love with someone else

Flash Back the regrets I feel from that night still hurt me
I’d forgotten just how much you’d cried

I was too afraid of an all-consuming love
You were uneasy and shook even though I was right by your side
Even though who I am now could face you better
But who you’re staring at now isn’t me

you were my girl, my girl and I lost you
you were my love, my love and I realize that now
In this simple love that I’d seen
I know that time has passed from those shining days

The pain hurt so much that your kindness changed into real strength
And then someday when I meet someone, I can start walking forward again

Looking up into the distance, the light shines
The time is coming when this ran will also stop
The sky opens up, shining with maddening red
You shine on as you disappear into a crowd of people

you were my girl, my girl in my memories
you were my love, my love and I’ll never forget that
We’ll keep walking separate paths
Across the intersection, I looked up at the sky

239. translation: nona reeves blog: "v6's 20th anniversary" and "39 symphony" part 1

sociologique — Thu, 28 Jan 2016 21:53:18 GMT

So I've had a good bit of downtime between different projects at work, and since translating is part of my job for really real now, I might as well spend that downtime doing something moderately productive. I've been wanting to translate this since I read it (l o l back when I was in Japan) but never got around to it until now.

Nishidera Gota, you will remember, worked with V6 on Tonisen's "Dancing Machine" and then on "Sexy.Honey.Bunny!", "Poison Peach," "kEEP oN." (with corin), "Music Life," and "D.I.S." And now the "39 Symphony" (still praying we get that as a bonus somewhere).

July 31st, evening. My iPhone rings and it’s Miyake, and as I glance at it, the name “Mr. T of Johnny’s Publications”¹ comes to mind. It’s been a while since he’s called. Maybe he’s calling about working for V6 again… And at that moment, I thought “that’d be great if he was.”

My prediction was right on.

Yet I wouldn’t have thought they’d have needed me for something during this time. The subject of Mr. T’s talk went like this:

“V6’s 20th anniversary tour is going to be starting soon, and this time, we want to weave in the singles that were on our recently-released best album. When we thought of the original setlist, we noticed that there were 39 songs left over and wondered if we couldn’t make those into a surging medley and have that be the centerpiece for the second half. We have 39 songs, and our time limit is about 40 minutes. Thinking about it normally, we’d get about a minute per song, but it’s become a pretty difficult challenge thinking of how to find spots for the ballads and stuff and make it something that’ll fire everyone up.

All of us are in agreement that “we could do it if we had you and corin, the Nishikori combo.”

Unfortunately, we’re only going to be doing rehearsals until August 7th, so we’d need it done by then. We’ve got some stuff done and we want to get moving on the choreography and staging at the same time. Yesterday, we got together and got checks on the first half of stuff done, so would you be able to come by the gym tomorrow?”

V6 are riding the wave of their 20th anniversary. I’ll be able to work with them again. And isn’t this such an incredible offer (it’ll be really hard, and it’d have to be done on a tight schedule, and I’m also really busy…)! I’m definitely going to do it! is how I answered, and after I got off the phone, I did a little victory pose.

Right after that, I stayed up late that night measuring the tempo of each song on all three discs of the best album, making memos about the lyrics, and sketching out a rough idea of everything to prepare for the meeting the next day.

August 1st

I met with the 6 of them for the first time in a long time at the gym.

Okada, who’d gotten nearer to me, glanced at the names of the 39 songs filling the white board and, while smiling, asked, “what do you think? Can we do it?”

When I responded with a jovial “hm? Of course we can!” all the members laughed.

I definitely got the feeling from Ken that “it can’t be anyone but Nishikori.” Sakamoto-san greeted me politely and seemed really happy as he said, “Sorry for calling on you both so suddenly to do this for us while you’re both so busy.” And I said, “what are you saying?! I’m really happy you called me to do such an important job for you for your 20th anniversary!”

I gave the members the copies of the book I’d brought them, “Celebrating ‘We Are The World.’” After all, they’d done a track produced by Michael Jackson as part of J-FRIENDS.

So, I had them tell me their ideas again (this time face-to-face), and after we’d talked about their ideas for the start and the medley, they all went into the practice room to review the choreography for the first half. I was really moved watching them all dance, but I felt like what the hell was I doing intruding, so I left and then went out drinking with corin.

Tonight, as we walked around Shibuya, there were still a lot of young people lined up and making merry from Halloween a few days ago (though not in costume) (laughs). As a pro, you would get these sorts of offers, yeah? They’re difficult but at the same time, they also get you fired up.

Anyway, they collected all the data – 39 minutes of sounds, music, choruses, and vocals, all mixed up – and even just transferring it to PC was a huge task. And it all got sent to me two days later.

For example, it would be something that wouldn’t be used in concert for any year but this one, and I thought it might be interesting if they’d tried mixing up the members and had different versions of songs. In the end, the data they’d sent me ended up having close to 50 songs.

I completely locked down the schedules of Team Nishidera’s superior engineers, Kaneshige Tetsuya-kun and Tamoto Masahiro-kun, and we did it all at my home studio, GOTOWN STUDIO.

So for example, if something is 120BPM in the second half and 130BPM in the first half, we could even it out to around 130BPM (this makes sense if you’re a DJ) and it all came together well. Throughout all the sounds and songs, if we were to mix up the raps, we could have the rap from “Ai Nanda” over the beat of “Sexy.Honey.Bunny!”, and mix them together – that kind of thing. This is the techniques for so-called megamixes. I coalesced the 20 years’ worth of songs in my head like a robot making a super alloy.

Actually, from the last half of June and into July, I was writing the second volume of my book and absorbed in my writing career, and for four days in the first half of August, I was holed up in my studio writing songs for the musical, “JAM TOWN,” without doing any interviews or any other work. So I got really into V6’s request (laughs). I figured it’d be good if I could do my best on “JAM TOWN” after that (and actually, right after that, I concentrated and got 3 songs finished).

I’m gonna do it! no matter what because it’s the centerpiece medley of V6’s 20th anniversary tour!!!

So, it begins! And with that, I’ll continue this next time.

Nishidera Gota

. notes .
01. Why he's calling Ken "Mr. T," I have no idea. Well, I have an idea, but it may not be right, but anyway, that's literally what it says so take it as you will.
xx. Also, this is part 1 but as of this writing, there is no part 2.

xx. housekeeping

sociologique — Thu, 19 Nov 2015 18:56:45 GMT

Just as a mostly useless update, I've gone and updated this journal's profile for the first time in 50 million years (after literally spending all last night and this morning trying to re-code CSS to simple HTML because LJ doesn't let you use divs, span, or any CSS ~~do you have any idea how frustrating that was~~. I finally gave up and just found different code). I feel like it's more organized and easier to read and navigate now, so hopefully you think the same!

238. translation: Since 1995 to Forever pamphlet: Sakamoto Masayuki long interview

sociologique — Tue, 17 Nov 2015 00:15:32 GMT

Apparently I still can't stop myself from translating, so here's Maa-kun's 10,000 character interview from the pamphlet.

Special.01: Masayuki Sakamoto
With both the perfect, disicplined spirit of an artisan, and the amiability of a man who's relaxed his shoulders, Sakamoto is a man with great "human power." While laughing about "the obvious" and "the usual things," he's a man who'll do the things he has to do with great effort until he reaches the end of his limits, he's come to adore this place called V6 more than anyone else, even if it never leaves his mouth. From the times when he thought he absolutely had to carry out his duties as V6's leader, to his 30s where he had both a personal turning point and one as part of V6, and from there, he spoke to us in a straightforward way about his feelings of gratitude to all the people who've supported him these past 20 years.

"I don't feel like something is finished if I don't do it all the way to the MAX." - p.22

"V6 are a family. But we're not a family..." - p.24

"My age is often a joke, but I don't make excuses about it." - p.26

"With every single word, I want to get it out there in a straightforward way." - p.28

Long Interview
"We say what must be said, but gently. V6 are adults."

"We've definitely changed a lot, but it's hard to put my finger on just how we've changed."

"After all these years, would you once again give us a self-introduction about what kind of group you think V6 is?"

We're a surprisingly serious group. When we're given a task, within the framework of that problem, we'll properly talk it out, and we'll worry about it together. Trying to get six people to agree on something is difficult, but even when we get our opinions out there, it's like "oh yeah, that makes sense, and there is that sort of thing, but isn't there also this?" and we say it gently. We say what needs to be said, but we're people who don't want to create an ugly atmosphere (laughs). We're all adults.

"You're passing through your 20th year, so what sorts of things do you think have changed about V6 as a group?"

I think we've definitely changed a lot, but it's hard to put my finger on just how we've changed. When we were first put together, just because Kamisen hadn't had a lot of experiences, there was a feeling that Tonisen should take the lead. When we'd be doing interviews, or round-table discussions, press conferences, and so on, the first one to start talking would most certainly be someone in Tonisen. But now, or should I say, from about probably 10 years or so ago, it's like, "anyone in V6 is fine!"

"Because I thought I'd drag the group with me, I forced the obvious on everyone"

"For you, at the very beginning, you had a very strong feeling of having to drag everyone along, right?"

Yeah, I thought "I've gotta do something!" But, looking back on it now, I wonder what I was doing, or what I wanted to do... At the time, I wouldn't look at how I wanted to do things, so when I'd get told, "you're the leader!", in a vague way I'd think, "I have to do something!" and I'd hurry along, and I don't think I was really able to do anything because I was being so hasty. I was punctual, and I'd memorize my responses to questions when we'd do interviews ... which is to say that I would only say the obvious things to the other members, and there were times it turned into me forcing them. I feel like there was a lot of resistance, and it was a struggle, but I don't remember the minute details. Every now and then, when I watch old videos and stuff of us, Kamisen absolutely 100% could not do those "common-sense things" (laughs). Now when people ask me "what did you do as Leader?" I think "what did I even do?" Really, I wonder if I even did anything. Even still, at the time, I would just do things arbitrarily on my own, and I think the other members would calmly be watching me like "what is that guy even doing?" (laughs). If I were to have been calm and looked around me, I probably would have discussed things with the other members more.

"There also was a time when you wanted to switch and have Inohara be the leader."

I honestly asked him "Inohara, would you wanna do this?" He responded with "nah, not really," and the agency said "Sakamoto-kun, you absolutely have to do it" and I said "OK." But when I became Leader, because I ended up not being able to see or understand what was going on aroud me, that meant I didn't even understand myself. Like, when I was in my third year of high school, the director of the club I was in gave me orders and said, "you be the captain" and I said, "no way," and they said "no, it has to be you," so I said, "I understand. In that case, I quit!" and I really, seriously quit (laughs) -- that's how much I don't want to be the leader or captain of things. I'm not really suited to it. I know that when I blow a fuse, I just run on full speed ahead, spin out, and totally break down. And sure enough, as V6's leader... that... happened (laughs). I'd run out ahead and when I'd suddenly look back behind me, expecting the others to be there, they weren't. I'd think "wait, where'd you go?" and look ahead, and it was like "wait, you're all seriously running on ahead of me~" (laughs). For the other 5, they opened their eyes to what they wanted to do, and ran rapidly down their own paths. Before I knew it, I was the only one left behind. I was surprised. But even so, just because it couldn't be helped that I was chasing after everyone, I got to think about what it was, for the time being, that I wanted to do or that I even could do. So, I decided that on my own, I would do musicals, and as part of V6, I polished up my singing. I'd always been given the lead vocals in the group, so when it came to being a professional singer, I thought I should do it right.

"We can't lose to our audience in terms of passion¹, so we raised our skills"

"What was the thing you were able to do as part of V6 where you look back and say 'this was our turning point'?"

There's a lot of different ones, but if I were to narrow it down to 1, it would be our first overseas concert in Taiwan. As far as a turning point goes, for me, my awareness of V6 got kicked up a notch. Up until then, when we'd do concerts, I'd think "we have to make sure the audience has fun, and that we make them happy"... but it wasn't a treat, and I was aware of that. However, for our concert in Taiwan, the audience was much more passionate than we were, and we got a lot of power from the fans, and we rode along on that feeling. It was all because of adrenaline, and it was a sort of strange state of excitement. As a result, it even surprised us how excited we got. But I thought, "no, it's the other way around." Being on stage and performing, it's bad if you don't draw power out from the fans, right? So we thought we need to step up our game, each and every one of us need to put in more work, and we can't lose to the audience in terms of passion, so I remember it feeling like it had planted the seed of an impending crisis.

"After you became more conscious of that, was it reflected in your meetings?"

It was pretty much the tour after that one that year when we started having concerts without Juniors in them. At the time, it was quite the challenge for us at first to have just the six of us standing on stage. We felt uneasy, like, "without the Juniors, we won't be able to fill all this space, right?" But, the memory of our concert in Taiwan was pushing us along, so we were like, "let's try it, just the six of us!" and got the courage to take a step forward. Planning concerts where it would be just the six of us, in both singing and dancing, we'd each have to put in more work, and also appeal more to the audience... and in that vein, we'd have to overcome a hurdle, and it placed us in a situation where we'd have to win or lose based solely on our own merits.

"I got free of something when I turned 30, and it was like I was able to walk at my own pace."

"What was the reaction to your first concert with just the six of you?"

Of course, with just the six of us, that meant we had to run around a lot of stage, and compared to what we'd done before, we really had to increase our momentum, and we had a great sense of accomplishment.. I think something like "it was probably awesome." I'm really sorry I'm so vague! (laughs) Lately, we've done all these interviews where they ask us to "look back on the past 20 years" and when it comes to things we've done, they'll ask, like, "Go, how was that?" and he'll go, "I don't remember." And I'm the same -- I think all my memories of that first concert without the Juniors have just totally flown out of my head (laughs). For people, you can't really remember well times when you're totally focused on doing the things in front of you, when you're running on adrenaline, or when you got super excited about something. It's just like... I'm sure there was some feedback, since we came to the decision to continue doing concerts just the six of us. Of course, it's something we've been able to do because the fans were into it. The year after that was the year I turned 30. When I thought about "30 year old idols" and I asked myself "are there even any?" I answered with "back in the day, nope." But then I thought, "if I could have fun being a 30 year old idol, it might be neat." I thought, if I could be the first to laugh and say "I'm 30!" then maybe the normal, everyday things in my life would become fun, too. In terms of being free of the past, it was a kind of defiance (laughs). Then, as hard as it was to believe, I was able to let go of the things that'd made me rigid, and lift the weight from my shoulders, and I started to enjoy myself more. I got rid of the stereotype I had that "idols always have to be idol-like," and without overdoing it, I felt like I was able to walk at my own pace. If I really think hard about it, for me, from the start there were a lot of parts of me that were "un-idol-like" (laughs). When I first entered Johnny's, they said "you're cutting it close in terms of age," so I quit once, became a salaryman, and then came back (laughs). So right before debut, I was under the impression that I was getting called to be a volleyball coach and not a member of V6 (laughs).

"Was there a job you'd done that was a personal turning point for you?"

With that, too, it just so happened that it was around when I turned 30, and it was the first time I got a part in a Broadway musical: "Footloose." I've had roles that were "more than a play," and I've had parts where I was a "musical actor" that were turning points for me, but when it comes to musicals, the affection I feel for it, and the degree to which I love it is more than any other. It was the first performance of that musical in Japan, and so it was pretty monumental, and I had a strong feeling of "I have to kill it!" -- just this ball of stress. It might sound like I'm exaggerating, but for each and every performance, I was burning with energy, totally on edge and concentrating 100%, so during intermission, I was so exhausted I couldn't even go back to my own dressing room. Being "so exhausted I couldn't go back to my dressing room" isn't a simple example, but -- literally, I could not go back to my dressing room (laughs), so they put a bed on one of the wings of the stage for me and that's where I'd rest. Never before or after that have I been so exhausted I couldn't go back to my dressing room like I was in "Footloose." I also fainted once when they lowered the curtain. That's just who I am and it can't be helped, but I don't feel like something is done if I don't do it all the way to the MAX. I want to be successful in what I do no matter what it takes, so I think I put too much effort into whatever it is that I do. If I hadn't recognized that part of me then, I wouldn't another chance after that, so when I stood on stage, every single moment, it was win or lose. So that's why I was so happy when they decided to do another run of the play!

"Is the you who you are when you do solo work different from the you who is part of V6?"

They're totally different. But I think that probably everyone in V6 is different when they do solo work. Naturally, you flip on a different switch. First of all, because what you're doing is totally different. The choreography you're doing is different, and there's new things to remember, but V6 gives you the basis for things. And then your solo work is where you absorb a lot of different things, drill them into your head, and polish it up. V6 feels like home. And when I say "home," I mean it's a good place that feels comfortable, so maybe I should say it that way... but also like, haven't there also been times where it's hard to relax there? Times where it's like you spend too much time at home and you feel so suffocated you just wanna fly out the door, and times where when you don't go back in forever you realize how much you owe to that place, and when you finally do go back, you can sigh contentedly and go "yeah, this place is relaxing~". In a way, it's the most important place. But when I say V6 is a family, I don't mean that the members are a family. We're not best friends, but I also feel like we're different than just regular buddies. But even despite that, it's like returning home (laughs).

"Here in our 20th year, I deeply feel the love everyone around me has for V6!"

"In your 20 years, what's the job you've done that you've been most happy about?"

The work friends we've made through our work -- in whatever form -- as V6, who've run along with us to various places, and who are like "daaaaang" about it being our 20th year. For example, the people who shoot the special features, the staff at Fuji TV from our earlier regular TV shows who were like "if it's for V6, I want to do it!", and when there's an event, the Avex staff we've had for forever who get together to help us, and on editing days for our TBS show, "Amazipang!", the "Gakkou e Ikou!" staff will always pop their heads into the dressing room. Usually, when your work with someone ends, you end up with this sort of dry relationship. But it's not like that with the people who've worked with V6. I really, deeply feel like "what a joyful thing this is!" I feel the "love for V6." It makes me think "I'm really glad I'm in V6~". Through our music, and through our variety shows, being surrounded by such warm staff, I think like, they've really looked out for us -- I feel that all over again. Someday, I'd like to properly repay them for their kindness. Coming upon our 20th anniversary as V6, without a doubt, it's thanks both to the power of the staff around us, and the cheers of our fans. That's why, when people just say to us, "congratulations!", I think "isn't that a little off?" I want to say "congratulations!" back to them.

"If we were to lose even one member, I think it would stop being fun."

"Thinking over it again, what sort of place does V6 have in your life?"

Hmmmm... V6 is the air around me. But that's not to say that that's the place it has in my life. That might be misunderstood as "so that means it's the same whether it's there or not?" (laughs). Pure and simple, V6 is the air around me. People can't live without air, right? If I think "if V6 went away," I don't think I'd be able to take even a step foward, and if we lost even one person, V6 would become something totally different. It probably wouldn't be fun anymore. Being togther for 20 years in any kind of group, there'll be a lot of twists and turns. There'll be good times and bad times. When I find different kinds of solo work or just things I want to do on my own, and I want to push on through that, and when I get more and more praise, you want to put more power into it and concentrate on that more, right? It's hard to think about "if our group work went away, I'd only be able to do one kind of solo job" and when I get super into dramas or plays, or movies at the theatre, I think "I don't wanna be an idol now. I wanna be an actor," and I think the other members have also thought that once in their lives. But now, we've passed through those times, and when we do our best, naturally, we can spread out and do more work, and so when we do our solo work and gain these experienes and come back to V6, V6 become a stronger group for it, and everyone understands that.

"We come up with a lot of well-intentioned bad ideas."

"What kind of group do you want to be from now on?"

As V6, I don't think there'll be any more dramatic changes in the future. If you just sorta vaguely look over your shoulder, and one of the members is sitting there, and there's someone waiting for you there, and someone who'll ask "you OK?" when you come back -- like, lots of things might be totally different, but I don't think I can say that there'll be anyone who'll just selfishly go on ahead. If this were 20 years ago, you'd have someone running on ahead on their own or staying behind, as though you were playing hooky by going to the convenience store for ice cream.² I've known since I was young that if you go along with a feeling like you shouldn't put a toe out of line, or if you repress your own feelings to go along with those around you, as a performer, you probably won't be very interesting, right? Ah, in V6's case, up until now, if you step over the line, and someone yells at you all "THE EFF?!" if you get mad at them even once like that they won't come back, and I do have those sorts of tough parts of myself (laughs). I understand that, so for example, I'll suggest "in order to make the fans have fun at our concerts, should we have little gimmicks?" Like, "let's do a concert without any songs from singles in it," or "the opening is always really extravagent, so what if we started it off with a ballad?" We all come up with a lot of "well-intentioned bad ideas" (laughs). It's neat.

"During your 10th anniversary year, did you have any ideas about what kind of group you'd be or what you'd be like during your 20th year?"

I didn't even think about that in the slightest. That's why now, I can't even imagine what we'll be like during our 30th year (laughs). It's just, lately Okada's been saying "no matter how many years from now, we should just randomly get together" a lot, and I'm like, "wow, that's beautiful." It'd be nice if we could just keep randomly getting together, having concerts, and just repeat that forever. But, in 10 years, that means I'm gonna be 54, right? ... hmmmmm, I wonder if I'll be able to dance? (laughs)

"More than just showy acrobatics, we'll show you a high-quality performance."

"Are there things about the group that have encouraged you or lifted your spirits?"

If I had to say, it'd probably be the time I got injured. I broke my foot during the middle of the tour. At the time, I thought how great it was to have the other 5 members around. Sitting near the audience and watching the concert, I thought, "what a super cool group!" Then it was like "wait, what? Isn't it more refined with 5 instead of 6?" -- I had a lot of different thoughts (laughs). At a time when you'd otherwise need to have 6 people, in a hurry, and without uttering any complaints, I was really grateful that the 5 of them were able to succeed in that instance. I had a lot of feelings of regret, like "sorry I wasn't able to be part of the concert!" And from then on, no matter how many times one of us would get hurt, those of us who were left would come together and change the choreography from a 6-member version to a 5- or 4-member version (laughs). People will say "V6 is a group where everyone can do acrobatics," but if you really think about it, we're all amateurs. None of us have properly learned anything. Yet despite this, it's not just acrobatics that we've done, but rather kinda group gymnastics, and the risk of injury in that is much higher. We used to do backflips from raised stages up until however many years ago, right? I remember well how excited the fans got the first time we did that all at once. But, as the years went on, and we all got older, the mood of the people around us changed from one of being "moved" to being "worried" like, "wait, what? You're still doing this? Are y'all OK?" (laughs). When we'd do it succesfully back in the day, the audience would scream, but gradually, that changed to more of a sigh of relief. Actually, I've heard from the fans that like, "I'm as worried about you all as I am impressed." It's unwise to make the fans worry, right? (laughs). When we push ourselves too much and get injured, the quality of the whole performance goes down. So everyone gets excited when we do showy acrobatics, but I'd like to do performances where we can get the crowd fired up without using those things.

"I'm thinking of ways to show my gratitude and make it a show that anyone can enjoy with a smile on their face."

"What are you doing to prepare for this tour?"

Nothing special, really. Same as always. I'm doing the same training I've been doing, and basically getting my body ready for concert rehearsals (laughs). V6's concerts are basically a lot of dancing, so when it comes to be rehearsal time, we do each song a bunch of times, and then when we do the whole setlist, it becomes even more special, and that's enough. I don't have to run myself into the wall -- it's totally fine if I don't (laughs).

"So, have you thought of a personal theme for this tour?"

A theme? I don't think I have... Oh, right, I just thought again about how I don't want to make excuses for my age. If I get a pass on that, I get the feeling that a lot of things in my life will simply collapse. "My age is often a joke, but I don't make excuses about it." That might be the theme I'll be keeping in mind.

"What sort of concert do you think it'll end up being?"

I think it'd be nice if it could be a concert where you could feel all the more the power in the music. I want it to be a concert packed with a lot of different meanings and things. For one thing, we had the idea that "the songs that the fans who've supported us up until now want to hear are the songs we want to sing." And also like "how about if, in an instant, we all turned our backs to the fans, came together, and then sang while looking each other in the eye?" There's a feeling that our 20th anniversary is the only time when we can do things like this. Beyond that, we're gonna dance this time! It might be kinda sad, but because we're a group who do dance intensely even during ballads, this time I want to be made to dance a lot (laughs).

"What's the most important thing about this concert?"

It's all about gratitude! The fans who've kept coming to see us, the staff who construct the stages for us -- they're the reason we're standing on that stage, and without the people who compose the songs, we wouldn't be able to stand on that stage and sing. To say nothing of the fact that without the people who listen to our music, there'd be no reason to stand on that stage. I want to show our gratitude to every person who's been connected to us. But not the kind where you bow your head -- rather, "it would be nice if we could find a way to make make them have fun and put a smile on their face."

"For V6, and for yourself, what sort of place do concerts have in your life?"

They're everything. We all love being up on stage, and we love dancing.

"We put 120% of our feelings into this song, and I'd like for that to honestly come across."

"What sort of feelings did you have when you first hear the 'anniversary song' included on the limited edition A version of your 20th anniversary best album, 'SUPER VERY BEST'?"

I honestly just thought "oh, that's great~". The staff initially suggested we write letters to the fans, but then after that, we gave the things we'd written to Inohara to make a song out of, and that's how it came about. We've had messages and songs for the fans before, but we'd each tried writing different things, but there was so style to it, so I thought this one was nice. At the beginning, all of us were all "whaaat! That's embarrassing!" and felt all awkward, and no matter what I wrote, I'd get embarrassed and throw it out, and it made me want to write my feelings seriously.

"What sorts of feelings did you put into the anniversary song, 'Koko kara' (From Now On)"?

I dunno why, but I am the king of awkward lyrics (laughs). We've written songs as Tonisen a bunch of times now, but of the lyrics I've written, only a few of them have ended up in songs. And even I know that it's about "quality," so I don't set out to write lyrics, but rather my feelings just came out in words and phrases and I sent them off to Inohara. I wrote a P.S. of "I'm sorry!" (laughs). I left it all up to him. I think it must've been really hard on him.

"What sort of impression do you have of the final lyrics?"

When it comes to Inohara's literary talent, his choice of words is wonderful, and I felt like they were lyrics we couldn't have written if we all did it together at once. When it comes to the song, saying these kinds of things are a little embarrassing, and I'm really proud of it since I feel like it became a song even a great writer couldn't have written.

"Tell us what your impressions were when you heard Inohara's melody."

We all had a hand in crafting it, so we fully understood the weight of the lyrics, so when the words hit your ears and mixed with the melody, I felt like it became a song that you could really empathise with. I've been listening to it all the time (laughs).

"How do you want to perform it in concert?"

It'd be fine even if we didn't do anything, right? I want it all to come across in the song. We put our thoughts 120% into the words of the song, so I get the feeling that we don't need to add anything else to it. Really, if we were to dance during this song, wouldn't it become kinda boring? (laughs). With every single word, I want to get it out there in a straightforward way.

"Finally, tell us about 'SUPER VERY BEST.'"

There are 45 singles and 3 new songs. Putting all the songs in order, I understand not just how far we've come, but also like "aah, our voices have changed this much~" and I've noticed how much our voices have matured. I also think it's a mature album without the photographs. While you listen to the songs, you'll think "ah, yeah, this happened," and for everyone who listens to it, please look back on our 20 years with us.

Messages from the Members
Message from Nagano: Even just saying that there's even just one person who's older than me, just sorta makes me feel at ease. It's really great that there's one thing I'll never surpass him at (laughs). Let's keep working hard together!

Message from Inohara: I feel like I'm the person who, out of all of V6, feels most like "I'm gonna spend my life trying to understand Sakamoto-kun's feelings," so with gratitude, from here on out, I want you to show me the things that you like.

Message from Morita: As the oldest in a group separated by ages, he's really serious, and I think "that must have been tough." Having passed 20 years together, I understand that now, and I think I've gotta be grateful to him.

Message from Miyake: He doesn't say what he feels, but rather, shows it by his actions. When I'm doing a play, he'll absolutely come to see it. And then he'll say one word to me and go home... He's a really casual and smart person.

Message from Okada: He's warmly watched over me... probably like a father, yeah? What we think and our values are different, but he's definitely a father figure to me.

. notes .
01. Literally "amount of heat generated" but I just can't make that make sense in this context, so we're going with passion.
02. Blessings be upon apneatic_melody for helping me word this in a way that makes sense in English. Do I even speak this language?

237. translation: Since 1995 to Forever pamphlet: first 09 pages

sociologique — Sun, 15 Nov 2015 04:36:01 GMT

I can't stop myself from translating this pamphlet, so here's a couple things from the first few pages. Nothing really major? just some introduction, mostly, both to the pamphlet itself and the first photo spread. After this, it's each member's long interview, the group's long interview, and the behind-the-scenes of the making of "~此処から~".

Cover

The Bond of 6 People
Until now, from now on

Long Interview
In 10,000 characters
Their various thoughts

Making Story of 20th Anniversary Song
Total coverage of the entire process of making the 20th anniversary song

V6 Summit
The past, present, and future -- the members talk about it all

My Favorite Single Best 10
We collected each member's favourite 10 singles

Pages 6-7

V6 20th Anniversary! live with you. love you forever.
Even up until now, and from now on, as well

Fron their brilliant debut, they've run straight on through these 20 years. The 6 of them who've each mastered things on their own will now try and trace the tire tracks behind them. From long interviews to photographs from long ago, biographies, a behind-the-scenes on the making of the anniversary song, and their favourite 10 songs, and so on... And in all of that, it's jam-packed full of thoughts that can't be mentioned here. We'd like you to enjoy "the current state of 6 people who were able to meet."

Pages 8-9

V6 in Monotone Style
From the time of their debut, the smiling members with the innocent expressions, passing 20 years together, have become grown men. Now, what they want to get across is...

xx. stage reports

sociologique — Sat, 14 Nov 2015 20:12:28 GMT

Since I apparently have so many of them now, I think it'll be easier for us all if I organize them all here.

Concerts

2011.09.24: V6 Live Tour 2011 Sexy.Honey.Bunny! in Sapporo
2013.03.30: V6 Live Tour 2013 Oh! My! Goodness! in Osaka
2013.03.31: V6 Live Tour 2013 Oh! My! Goodness! in Osaka
2013.xx.xx: V6 Live Tour 2013 Oh! My! Goodness! photo post
2015.09.19, 09.20, 09.21: Lovecen Presents V6 Live Tour 2015 ~ Since 1995 - Forever ~ in Yokohama
2015.10.30: Lovecen Presents V6 Live Tour 2015 ~ Since 1995 - Forever ~ in Tokyo
2015.xx.xx: Lovecen Presents V6 Live Tour 2015 ~ Since 1995 - Forever ~ photo post

Fan Meetings

2012.08.27: NEWS Fan Meeting in Osaka

Stage Plays

Morita Go: "Kinkakuji/The Temple of the Golden Pavilion in New York City

Miscellaneous

Using Jticket International 2: Electric Boogaloo (nb: jticket shut down in march 2014)

236. translation: Since 1995 to Forever pamphlet: message from V6

sociologique — Sat, 14 Nov 2015 19:22:26 GMT

As I've been scanning this pamphlet, I keep reading different parts here and there and just getting completely overwhelmed with feelings, but never more than when I was reading the last few pages of the pamphlet where V6 wrote messages to us. As I wait for the pamphlet to upload, I thought I'd just translate them really quick (even though I feel like, for maximum emotional impact, I should wait to post these until after I've translated all the other parts of this pamphlet (because there's no way I'm not going to), but you know what, fuck it). Seriously, they love us so much, and everything they do and everything they've done this year just reinforces that and oh my god here come the tears

Message from V6

To our beloved fans

Precisely because it's right now, we also have things we'd like to say to you all. We may not be able to say it very well, but we thought we'd try to express these feelings with our full spirit. Please accept our messages.

// Sakamoto Masayuki

Fans will say "congratulations" to us, but at the same time, we also want to say "thank you" back to them with all our hearts. I'm sure the fans also have a lot of different thoughts about our 20th anniversary. We're friends who are passing the years together, so let's continue to enjoy ourselves as much as we can.

// Nagano Hiroshi

To the fans who've always supported us, to those who -- for whatever reason -- became fans along the way, and to those who are coming to see us for the first time this time... I think there are a lot of different people, but your cheers give us strength, and you're our support. That's why we'll stay together from here on out, so please keep us in your favour.

// Inohara Yoshihiko

If we had lost even one member, we wouldn't have come this far... and by the same token, if we were to lose even one of the fans we have now, we wouldn't be here together like we are now. Put simply, 20 years isn't the end, and that's why rather than saying "thank you," I'd like to say, "there's more ahead."

// Morita Go

V6's fans are amazing. I can't express it in any way but intuitively, but it's not even close to how profound it is to me. It's incredibly heartening. I can't be anything but grateful, and without a doubt, you fans are there as part of our 20 years of history, as well. We've both all grown up together, but will you continue to run along with us?

// Miyake Ken

Because all you fans are here for me, I feel like I can be aware of my own existence. When I'm doing my best, it's not for me, it's for all of you. When there's something about V6 that I want to report, you're the people I want to tell first. Of course, in the years to come, too...! I don't think that'll ever change.

// Okada Junichi

The me I am now is all thanks to you, the fans, who helped bring me up. Changing my looks from character to character I've played probably causes you trouble (laughs), but I'm thankful for you looking out for me. There are things that will probably change in the future, but I love V6, and I'd be happy if I could get that across... Thank you so much.

235. Lovecen Presents V6 Live Tour 2015 ~ Since 1995 - Forever ~ Photo Post

sociologique — Wed, 11 Nov 2015 23:20:55 GMT

Since I'm obviously not making any progress on scanning and stitching the last half of the tour pamphlet (or anything else in my life, lbr), here's a photo post of con-related things: the arenas, goods, and my idiotic face. I'll try to organize this into sections so it's easier to navigate.

. seats .

Yokohama Arena, 2015.09.19, 2nd floor stands, east block

Yokohama Arena, 2015.09.20, standing, F block

Yokohama Arena, 2015.09.21, standing, A block

Yoyogi, 2015.10.31, 2nd floor stands, north F block

Yoyogi, 2015.11.01, fans sitting outside the arena listening to the concert

. arenas .

They parked the trucks behind the arena at Yokoari

Lovecen trucks at Yokohama Arena, side and back

Lovecen truck at Yoyogi

Sign at Yoyogi

. goods .

Goods I bought the first night at Yokoari. L-R, top to bottom: Sakamoto uchiwa, mobile case (big enough for a small tablet or papers folded in half. I stored my passport and rail pass it in it throught the first trip), pamphlet (156 pages long, probably my favourite tour pamphlet ever), towel is under the mobile case (same size as most other towels you'd get at concerts, covered with the paisley), bag under the Maa-kun uchiwa (DO NOT MACHINE WASH IT, THE SCREEN PRINTING WILL COME OFF (I saw from a girl on Twitter)), USB (8gb, you basically break the heart to open it, but given how many times they've broken my heart...), mikuji in its wrapper, photo sets, t-shirt, penlight

FC pamphlet file. Inside holds 12 pamphlets. I was gonna buy more at Yoyogi and then just... didn't. Oh well. I would've needed like, 6, and that's not money I was wanting to spend anyway, so.

Coloured pencils you could only get at Yoyogi. Simple black case.

The ends all have crystals, one for each member's colour.

Front of the t-shirt

Back. Maa-kun's mom and I were talking about how popular it is this year. It sold out when I was at Yokoari buying goods on Sunday and she told me it also sold out in Sapporo.

What it looks like on yours truly. Your standard M size shirt, same as the 24 Hour TV or NEWS World Quest ones.

And the back. ~~Sorry I look atrocious without makeup.~~

Mikuji from Yokohama, in the order that I got them. Fourth one is from one of my friends who went with me (THANK YOU AGAIN ♥)

Nagano mikuji from Halloween

Mikuji from the very nice girl at Harajuku Station

. mostly dumb pictures of yours truly .

My uchiwa for this trip. L-R: "Masa, let's go drinking," "Baseball Player Sakamoto" (lit. "athlete Sakamoto" but), my twtitter handle (my not-so-subtle way of telling them who I am) (They've talked on Next Generation before about how sometimes fans will put "I'm so-and-so" on their uchiwa and they'll remember that name from having read their letter/question on air, THERE WAS A LEGITIMATE REASON BEHIND THIS, I'M NOT JUST DESPERATE FOR ATTENTION (I mean yes, we all know I'm an attention whore but)).

I don't know how to take a decent picture, all I know how to do is make stupid faces.

This photo sponsored by Asahi Super Dry (come drinking with me, Maa-kun, it'll be amazing)

234. and you didn't even notice the gentlest feeling

sociologique — Wed, 11 Nov 2015 04:51:06 GMT

The last of my photos from Japan. I didn't take my camera at all this last trip since I knew I wouldn't be going around taking photos (a bummer, but it'd have been worse to bring it and then not use it). So have the last of my ones from Kyoto.

Entoku-in, Kyoto, Japan 2015.09.23, part 2

A pretty bird who loved to pose for me

more birdy ♥

Chion-in

A random street in Gion

233. Lovecen Presents V6 Live Tour 2015 ~ Since 1995 - Forever ~ Concert Report 10.31 (semi-11.01)

sociologique — Tue, 10 Nov 2015 22:00:05 GMT

So this is going to be a lot shorter than my Yokohama reports, mostly because I spent the second half of the show in a total daze.

10.31

At the start of the show, where they start playing "MUSIC FOR THE PEOPLE" and have the screens display the logo, they had a special Halloween one! The logo was in orange and then they had jack-o-lanterns all around it and I think bats and shit? It was a great touch.

During the first MC, Okada made a series of stupid faces when he talked about how they're selling the album there (after Inocchi asked us who'd bought it and who hadn't). Like, he'd lift up his leg and bend his arm and go "Please relax! We're selling it!" with the stupidest look on his face because he's a giant dork.

When Tonisen came out for "Honey Honey Honey," they still did the high fives and hug-off, but this time, Maa-kun basically ran out from under the stage and then on stage left just did a series of gravure poses while making a cheesy face because he's totally uncool and just a complete doof. Stupid sexy Sakamoto.

During the call for ages, we only got up into the 60s that night. Inocchi thought he might've heard someone who was in their 70s there that night, so he had them call out again, but he did not actually hear them. It was only in his heart that he heard them call out to them.

During the regular MC, they started off talking about how much the members of the group had changed over the years. Ken said Okada had completely changed, and they all said Ken hadn't, and then proceeded to call him a "miraculous old man" for the rest of the MC. It was pretty adorable, y'all.

I was trying SO HARD to remember everything because this was going to be my last time seeing V6 for the next like, 2 years, and now I can't hardly remember anything.

The fake-outs this time were Nagano and Go. Nagano had thE BIGGEST GRIN I HAVE EVER SEEN IN HIS LIFE AND HIS VOICE WAS ALL HIGH LIKE IT IS WHEN HE GETS EXCITED you should have heard it. I really REALLY hope they compile these on the DVD. Go's was adorable because Go is adorable. When it came time for the third one where Maa-kun actually gets to do his, he looked around all suspiciously, took a breath, and then didn't do it. He took another breath -- nothing. Another breath, and this time he laughed at himself (I saw some report saying Ken was like "Sakamoto-kun! Hurry up!"), but I didn't hear it and choose to believe he just faked himself out while trying to fake us all out. After that he FINALLY did it and then I died.

So for Yoyogi, what they'd do for "Mejirushi no Kioku" is have V6 on moving platforms that the staff pushes around in front of the second floor. I was told Maa-kun was going to be on my side right in front of me aaaaaand... he came out on the floor on the south block side (I was north), so my heart kind of sank to the centre of the earth. Lucky for me, they all went up on the moving platforms. Inocchi was right in front of us, Okada to the right of him (left of me) and Go to the left of Inocchi (right of me) (I was right in the centre, btw, one row in front of the spotlights in the last row of seats for my block). So they all came around and waved at us during "Mejirushi no Kioku" and "Jasmine" and during "Jasmine" I'm p sure it was, they switched sides, so everyone on my side ran to the other side, and everyone on the other side ran over to our side. I ... kind of had a freakout at ltgmars like "OH GOD HE'S COMING." Can I just take this moment, btw, to remind everyone how wonderful Inocchi's smile is? It's kind of the most radiant thing on this planet.

Anyway, they went down before "Chou" and did that and then the rest of the 39 Symphony. Before "KimiKimi," Inocchi was like "Nagano, you ready?" The night before, my friend told me how Inocchi had been like "Sakamoto-san, do you like me?" and Maa-kun was like "I do." and Nagano smacked him on the shoulder. What a bunch of stupids ♥

During the thank you messages, Inocchi quoted Okada's message from the last VTR from 1996 where they all read messags to each other, the "if it's the 6 of us" part. It was really cute. SPEAKING OF CUTE, YOU KNOW WHO WAS CUTE. You already know who I'm going to say. NO BUT I MEAN IT THIS TIME, OK. Near the end of his message, Maa-kun said he was thankful to have/be supported by such cute and beautiful fans and then said he was gonna say something embarrassing (half the arena gasped): "I love you all." Yeah, I may have made a very high-pitched squeaky noise.

During the first encore, everyone came up on lighted platforms to see everyone on the second floor (when I say lighted platforms, I mean they raised up to form a pyramid beneath them with the platform on top and there were lights in their colours around the bottom of the platform). Ken was right in front of us and this is the only time where I've ever felt like Ken actually saw me? even though I was so far back. Maa-kun was to the right of Ken, left of me, and I really hope he saw my uchiwa because we did some serious waving.

11.01

I spent the whole day in front of Harajuku Station/Meiji-Jingu Mae Station with my sign trying to get ticket (holla if you saw the lone white girl!). I had a couple very nice people talk to me! When I first got set up, an older Sexy Zone fan came up, marvelled at my sign, and wished me luck. A dude waiting for his girlfriend came up and leaned against the wall with me and asked about why I liked V6 and how else had I tried to get tickets and holy crap, I can't believe they're that expensive. He actually called out "someone sell her a ticket!" Thanks, guy ♥ You were very nice and helped make the experience less soul-crushing. A couple girls who were also trying to get tickets later in the day saw my uchiwa (I had them hanging out of my bag on the ground) and came up and one was like "do you like Sakamoto?" I said I did and she said "I don't have a ticket for today, but you can have this" and gave me her mikuji from the night before. I was shocked and apologized that I had nothing for her, but she just said it was OK and wished me luck and then I almost cried and started shaking because that was just so nice ;_; The other V6 fan next to me was like "wow, wasn't that nice!" THANK YOU, NICE GIRLS, WHOEVER YOU WERE! I APPRECIATE YOU!

So, as you can guess, I didn't get a ticket. I thought to stick around the arena, but I hadn't sat in 7 hours, hadn't eaten in almost 20 (I stocked up on snacks and drinks but was too nervous to eat all day (also holding my sign made it difficult to eat)), so I went to a taproom I'd been wanting to check out just off Takeshita and met up with my one friend and calmed down some. Near the end of the show, we wandered back to the arena just to be back there and found the crowd of somewhere between 500 and 1,000 fans all sitting and standing around listening to the show. We could see through the doors the LED lights they had going around the second floor, and you'd randomly see someone's shadow as they went around the arena. At one point, we did hear everyone freak out and rush forward, and I'm guessing that's when Okada ran out to us outside. My friend who actually hit for FC tickets for 11/1 told us he'd called out to us at some point but we couldn't hear him clearly and didn't respond (sorry, bb!). When the fans inside were cheering for one more song, we all yelled out "one more time!" too. I'm really glad I got to be there in that space with everyone, even if I couldn't get in for the actual show. It was good just to be there, with people who also love them a lot, and just feel that atmosphere. I'm mad at myself for being so dazed the night before (I started crying after the first VTR before "Orange" and then let it all out during "Dasenai Tegami"), but the more I think about it, I'm just glad I went and got to be there to celebrate with them. Who knows if/when I'll be back, you know? And this year was special.

Thanks to all the wonderful friends who came with me this time! It was really great to meet so many people who understand these (sometimes irrational) feelings and to share such great times with everyone ♥

For those who didn't go, do you all want picture posts of goods and of the arenas and stuff? I'd have to get them off my phone and from my two twitter accounts but I can totally do that if you want. Thanks for reading! And sorry I can't remmeber hardly anything. I wrote down a bunch of things, but I can't really remember anything outside of those things.

232. Lovecen Presents V6 Live Tour 2015 ~ Since 1995 - Forever ~ Concert Report 09.19, 09.20, 09.21

sociologique — Mon, 26 Oct 2015 01:58:16 GMT

So here's my report. It's taken me forever, partly because I went to the concerts at the beginning of my trip instead of the end like I usually do, I was super busy running around every day, and then when I got back it was straight back to work where everything is horrible, plus jet lag killing me. Basically what I'm telling you is I'm a garbage human being who's really great at starting things but gets overwhelmed and can't finish them without Herculean effort.

Anyway, I've done my best to divide the report so it's easier to read: first with my seats, then the first half of the show, the MCs, then the second half and encores. If any of the girls I went with want to chime in with stuff I missed in comments, please feel free <3 I hope this is sort of helpful for those of you who didn't get to go this year for whatever reason. It's gonna be great on DVD! Don't forget there's gonna be a broadcast of the concert on 12/6 on WOWOW, preceeded by a broadcast of "Hard Luck Hero" and "Hold Up Down"! I'm curious how different the broadcast will be from the DVD (if it will be at all). If nothing else, I hope the DVD comes out quickly, because I'm jonesin hard for it. This is a really, REALLY well-produced show, and I'm just so happy with everything about this whole tour.

Photo posts of goods will come later. For now, enjoy the words!

My seats! Saturday were my FC seats, second floor, right next to the walkway. Sunday and Monday we got Lawson tickets in the standing section since they were the only ones under $250. My feet hated me for it but it was worth it (we'll get to why later (unless you follow me on tumblr and already know why)). I didn't manage to get a picture of my Monday seats since there were too many staff around me, though we were just one section over, slightly further from the stage.

Saturday
Sunday
Monday (thanks to my lovely and wonderful friend for sending me this~)

Oh, and since it's on my public twitter, here's the Lovecen trucks.

and while I'm here, here's some extra pictures of yours truly, the raging narcissist: Outside Yokoari on Monday, with Maa-kun on the Lovecen truck

So you know how most concerts start out with the intro video? None of that this time. Instead, a piano version of "Wait For You" plays and illuminates their silhouettes on stage in front of the screen. The piano version is really gorgeous and I really hope we get a physical copy of the new version (not just the DVD card one). With the special "Wait For You" intro, all they do is the opening part, and then get everyone fired up for "MUSIC FOR THE PEOPLE."

"MFTP" they dance on the main stage and do the intro, the first verse, the chorus, and then another chorus. It was so fun to see it done in concert! During the Monday show, Inocchi talked about how he messed up during it for the first time since they've done it (he was like "we've done it however many times, but I messed up for the first time tonight"). He said how, because of the fans to the right of him, he got messed up and didn't lift his leg over Ken's head in the last part of the chorus, and then tried to do it really quick when he realized he'd gotten screwed up. Ken was like "I THOUGHT I MESSED UP! because I didn't feel your leg go over my head" and Inocchi was like "it was those fans on that side over there!" (pointing to the fans stage right, because the two of them were standing near that side during the MC). Poor Inocchi, statistically, you were bound to mess up sometime. They also talked about how Nagano messed up when they were doing FNS.

After a short version of "MFTP," it's apparently time to kill everyone in the audience with "Supernova." It's the new choreography (which I have to say, I'm not a super huge fan of :\ especially since the first time I saw it was in concert with the pole dancing and yeah, how you gonna top that?). During the "gotta gotta havin a good time" breakdown, they do this really sweet thing with the lights. So what they do is, remember the ropes from "VOLTAGE" during the "VIBES" con where they get themselves tangled up in them and dance with them? It's like that. They have green lights shine down on them as a spotlight (with a blue outline around the edge) and as it's each member's turn to sing, the spotlight spins around them. They then do shit with their hands and like, split it like they did with the ropes during "VOLTAGE." It's hard to explain but it's a really sweet effect. It looked coolest from our seats the first night on the second floor but it's also neat from slightly further back in the arena.

They do the whole dance for "air" that they always do which always kills me (it also kills me that they put "air" after "Supernova," what a bunch of dicks), only this time, with the stage, right, it had six blocks that move up and down, and as each member does their solo parts, the member is up on the blocks in the back singing as the other four do the dance on the other four blocks on the level below them (but still up above the stage). During Maa-kun's "yeah yeah yeah yeah" part, he's standing in the center on the very back on top, snaps his fingers, and a sparkler comes up on the screen from the bottom and as his voice echoes, it explodes into a gorgeous gold firework. It's a nice touch.

After that, they start to make their way around the arena to the center stage and do "太陽があたる場所." During Monday's show, Maa-kun got tongue-tied and messed up singing the first part of the first verse ♥ They only do the first verse, bridge and chorus of this (they cut a lot of songs short during this concert because holy fuck, so many songs to do) before they cut to the "la la la"s and have everyone sing along. Saturday night, they encouraged us to sing louder and sang the whole thing one extra time so we'd get louder. Sunday night, Maa-kun said we sang beautifully, and Monday night, we had to get slightly encouraged but still sang it well and loud. Go team.

They go to the stage in the back of the arena and do the first verse and chorus of "Can Do! Can Go!" There's not much to say about this one aside from the fact that it's just super cute ♥ (also nice to hear V6 sing it again instead of Juniors on Shokura for a change).

After this, they're back on the center stage to do one of my favourite songs, "SPOT LIGHT." This one is just SO FUN to sing along with with the motions they have the crowd do with them and it's also just such a fun performance. Monday night, the ladies in front of us were total dancers in that they were just losing their minds and dancing their fool heads off with V6 the whole time. They really got into it during "SPOT LIGHT." Really, though, the song is just as fun in concert as it looked on the single DVD.

For the next song, they're back to the main stage to do one of my FAVOURITE SONGS EVER, "Good Day!!" They have a really cute background on the screen for this one, but I can't really remember what exactly it was D: Either way, the dance is just so fun and they look like they're having such fun doing it. Saturday night, iirc, Okada lifted Inocchi up a little, Sunday felt him up, and then Monday night totally picked him up and lifted him off his feet. IRIC, they only do the first part of "Good Day!!" before they move on to everyone else's favourite, "HONEY BEAT."

So yeah, "HONEY BEAT" happens and everyone is stupid. I forget what each member did, but I remember them all making faces different nights and during Sunday's (?) MC, Inocchi giving Maa-kun shit for trying to look so cool and cute during it. They don't do the whole song, but we get the first verse, the chorus, and then the end parts so we get plenty of chances to do the furitsuke with them (and can I say, I forgot how awkward it is to try do to "HONEY BEAT" with uchiwa (well, assuming you're not trying to hit the poor person next to you with them or block the people behind you)).

After "HONEY BEAT" is the first short MC. Every night, Inocchi was like "IT'S SO HOT! Aren't you all hot?" Saturday night we were all like "YES GOD IT'S SO HOT" and the other nights we just agreed with them. Every night, too, they had us all fan them with our uchiwa and I gotta say, it really did cool down the arena some. Way to put our fangirly powers to good use, Inocchi. So most of this MC was the same every night, just bee tee dubs. Inocchi would ask Okada if he was doing well/if he was feelin it, and Okada would act like the awkward idiot he is and be like, "don't worry, everyone -- I'm feelin good!" and make these stupid, exaggerated faces because basically, he's a giant dork. After Okada Stupid Faces Hour, Inocchi would say something about how it's been 20 years and would segue into talking about the ages of the fans. First he'd ask who was in their 20s, and most of the arena would respond. Next was their 30s (Saturday night, Maa-kun (and I think Inocchi?), said how we were all sexy now that we're in our 30s. Fuck yeah we are). Next was their 40s, and the women in their 40s have that subtle refinement (he literally used "wabisabi"). Next 50s, for which a few women responded, and when they did, Inocchi went "wow, you're so charming! Here I thought you were 20!" and Maa-kun went "bro, you're a genius!" Next 60s, and they got a few Saturday. Sunday night it was so funny because this older lady was standing a few over from us up in the standing section and she was the only lady to respond to "who's in their 60s?" and when she called out "me!" she immediately realized she was the only one and went "OMG JUST ME?!" and got all embarrassed, poor lady, it was so cute. Inocchi was like "it might be unbelievable, but let's see -- anyone in their 70s?" and they got a few Saturday night and I think maybe one on Monday, but no one on Sunday if I remember right. Saturday they had a lady in her 80s at the concert. Every night, Inocchi would go up to 90s, and every night no one would respond, but he'd always go "it's ok, I heard them in my heart." Then he'd ask how many people there were in their teens, and they'd get a good few, and then be like "HUH? Are we OK?" Ken was like "We're old men, you know!" Then they'd be like "but there's ages lower than that -- where are all the kids?!" and a bunch of adorable little "here"s would ring out. Sunday they had a whole section of kids, it sounded like, so they had them do call and response a couple times, it was adorable. Then they'd call out for the dudes, and there were quite a few each night. Sunday and Monday, we were behind this one same couple, and the dude had an uchiwa and penlight and knew all the songs and choreography. That guy was great. I wanna be their friend. Last was the staff, who'd call out from all parts of the arena, and on Saturday (or was it Sunday?), they had them call out from backstage twice (they didn't get as energetic a response the second time). And then Inocchi was like "all of us together, we're gonna make this a great show."

Anyway, after that, they'd basically just leave it up to Kamisen for the rest of the MC while Tonisen went to change, but they'd tell us how it's their 20th anniversary concert and they've got a lot to sing, including songs from Tonisen and Kamisen, and that's basically when they'd go change.

So Sunday night was adorable because Tonisen went down to change and literally no one in Kamisen said anything and Go started laughing his adorable little laugh. I swore to myself I'd try to remember what happened during Kamisen's MCs, but I have just totally forgotten. Lots of talk about "wow it's been 20 years" and this and that. OH! They did talk about how when they're in their dressing rooms, they just naturally kind of end up sitting together as Tonisen and Kamisen.

After Kamisen's MC, Tonisen come out to do "Honey" and each night, there was like, this massive hug-off, particularly between Go, Ken, and Inocchi. Sunday night, Ken was the last to go back down to change and instead of just going and giving everyone a hug, he jumped up on Maa-kun's back and rode him around for the first part of the first verse (pretty much right up until the chorus). Y'all, it was literally the cutest thing I have ever seen in my life. Nothing is ever gonna top that (unless Ken does it again, which, knowing Ken, is entirely likely). So Tonisen does "Honey" and it's great because the song is great and Tonisen is great.

After that, it's time to get serious again, though. Everyone goes to the center stage and in the center stage, there's an empty chair under a spotlight. Everyone is around it in a big circle around the edge of the stage (the stage is round, obviously) and singing "涙のアトが消える頃" while the stage slowly rotates. The lights for this one were really gorgeous -- they have a ring of lights suspended from the ceiling (flat lights, not like light bulbs like in Go's Sekubani solo) that move up and down, so in the later parts of the song, they'd be hanging down about midway between V6 and the ceiling, and they can also move in waves, so some would be higher and others as they rotated around them and it created a gorgeous effect. At the same time, they'd have lights reflecting from the bottom of the stage and the lights would basically split. I really do have to give it up to whomever designed their lighting this tour, they really earned their pay (my nephew's a lighting designer and that shit is hard, so I really commend them).

After that, there's chairs lining the stage from the center to the outer ring of the arena and they do "GUILTY" only this time, everyone is sitting down. For Go's "yo baby, I feel so guilty" and "baby, just hold me tight" he's got a red spotlight on him. They only do the first verse, chorus, rap, and then the breakdown and last part. I'm for real -- the "GUILTY" dance on chairs is pretty sexy, and they do it really well.

After this, Tonisen slip out and Kamisen are all back on the main stage and do "キミノカケラ." I remember from Saturday and Sunday that the background of this on the big screen is mostly the lyrics, and on the monitors around the arena, everyone is in black and white instead of in colour. Moody. I really can't say much beyond that except that this is a really beautiful song to hear everyone sing live. I already liked this song a lot but hearing it live -- my feelings.

Next is everyone's favourite, "will," which never disappoints. I want to say everyone was on the blocks as they moved but I can't be sure. I'll correct myself on all these things after I go to the Yoyogi shows.

After this, it's back to the center stage for your favourite and mine, "Break the Wall!" They have the crazy coloured lights again for this one. During the instrumental part of the song, they had a green light that spread out around the arena and basically divided top and bottom, it was REALLY IMPRESSIVE. A lot of the lighting during the actual song was a lot like what we saw on the Sekubani tour, but they used a lot more lasers and shit this time. At the end of the song, V6 walk back to the main stage and as they reach the end of the walkway, they turn around and shine laser pointers up at the back ceiling of the arena (Inocchi messed his up Saturday night, poor thing). Also, this is one of the few songs they actually did the whole song of (bless ♥)

So basically, everyone is wiped after this, so it only makes sense that this is where they have the first MC.

Saturday:

So after panting and apologizing for being so exhausted, Inocchi asked us all to take a seat and was like "IT'S HOT." and then I think Okada? went "I'm hot, too" (in the temperature sense), and then they all joked with him like "oh, yeah, you're so hot~". They talked about how it's their 20th year and this and that. They said something about how they've danced a lot, and how Leader is totally fine and OK, and Inocchi was like "it's amazing, though, he's 44!" and how it surprised him.

After that, they pimped out the "SUPER Very Best" editions on sale at the con. Inocchi said how they have 45 singles on it and a lot of old songs and stuff. And how this year they did 24 Hour TV and were together for a long time (Ken agreed), and then he mentioned how they're doing another "Gakkou e Ikou!" SP this year and everyone clapped. And then Inocchi just had to make us all feel super old and say "so 'Gakkou e Ikou!' ended 7 years ago, and there are probably people in the audience now who've never known 'Gakkou e Ikou!'" (i.e. they weren't alive when GeI was on the air). Thanks for that, Inocchi.

After this, they talked about how Ken's gotten more and more averse to people touching him. So like when the choreographer or someone will grab his arm and bring him over to where they want him to be, Ken doesn't like that and he'll want to swat their arm away. Inocchi asked if it was OK if the other members touched him and he was like "...yeah, that's fine. It's just people I don't know."

They talked about some other stuff after this but I honestly forget what, but after THAT was my favourite part of any and every MC: so they were talking about Ken being Ken and how they haven't really changed in 20 years and theyr'e still themselves, and they bring Go into it because Go just hasn't been talking up to this point. And Go's talking about how he's glad they have Ken because Ken helps him out. So Go had to return a thing and call someone on the phone and get his money back, so he gave the phone to Ken and have Ken just pretend to be him and do it for him. And the funniest part is they're talking about how when Go will give the phone to Ken or Ken gives it to Go, it's always difficult when the voice changes so dramatically (from Ken's to Go's or vice versa).

And continuing on the subject of Ken, Okada talked about how Ken has a lot of wise sayings/good words to say to him. Like earlier, he told Okada he has confidence in him. Inocchi was like "THAT'S AMAZING! Wait why was he even saying that?" and Okada talked about how he was worrying and overthinking things and this and that, and Ken said that it'll be fine because Ken has confidence in him. Everyone was really impressed and all "that's so nice!" And Inocchi said how they're an amazing group.

So after this was my second favourite part of any MC: a mystery note Inocchi found on his seat at "Asaichi" before they went on air. It read:

"To Inohara-kun,

"Relax. You've got that winning smile on again today! Japan's morning starts with 'Asaichi'!

(Read the bottom)

From The World's Ken :)"

So what had happened was Ken was filming for "Minna no Shuwa" amd after it was done, found himself in the "Asaichi" studio when no one was there and he took some pictures of himself going around doing stuff. Oh god, this is gonna be amazing on the MC collection on the DVD, but he was like, in the studio, then at everyone's desks, then in Inocchi's chair. The pictures were hilarious, but my favourite part was Ken going "OK, next! OK, next!" and having the staff flip through the pictures on the screen (HIS VOICE IS SO CUTE). The pictures were hilarious, y'all, we were D Y I N G. Ken made sure to remind us all at the end that no one else was in the studio with him, but he got their manager to take the photos for him.

I forget what they talked about next, but after that, Inocchi asked Nagano what's been up lately, and was like "other than talking with Sakamoto-kun ... probably nothing, right?" But Nagano said no, he'd been touching Okada's butt. And then Inocchi told the audience how Sakamoto and Nagano messed up during the "二人恋人のように" part in "Supernova" because they'd accidentally turned to face one another instead of facing away. Then he said how Nagano and Sakamoto were so into the dance and it was SO CREEPY TO HIM and then they'd been singing during the Kamisen part in "一夜だけのSupernova" and he was the only one not singing. I honestly forget what all they said after that because I was laughing too hard (they're so hilarious, I've missed them so much).

After everyone regained their composure, Inocchi and Okada pimped out "SUPER Very Best" with the DVD card for the special version of "Wait For You" that they sing at the beginning. Inocchi also warned us that they're gonna be releasing more and more singles, so look out! and then they all laughed like "look out for what?" and Inocchi apologized because he's exhausted. And then they asked us if we were ready and all that and went back to change for the second half of the show.

Sunday:

Sunday, Inocchi was wiped again, and was like "are you sweating?!" and Tonisen were like "yeah, it's so hot!" Nagano was like "it's hotter than yesterday!" and Inocchi asked us all if we'd bought towels and made sure to remind us that they're also selling t-shirts, so get one of those, too. Also, he thanked us for getting so excited with them and said "おおきに" and was like "that's Osaka's version" and told Okada he hadn't spoken in Osaka-ben at all and so he went "ほんまおおきに" and Inocchi said he'd never heard that before. Okada and Nagano then proceeded to speak to one another in high-pitched voices in Osaka-ben, all "we've been together for 20 years" "that's right~ we'll always be together~."

They talked again about how it's their 20th anniversary and this and that, and also mentioned how they made the video screens bigger for this tour.

So this is where they started talking about Hey! Say! JUMP and Okada said he likes Inoo-kun. Inocchi reminded us all they did 24 Hour TV with JUMP and how Tonisen is used to always being around people younger than them because they're always with Kamisen, but Kamisen isn't, so it was totally new for them to see Okada all the time being like "they're so cute. Chinen is so cute~" Okada said Daiki is cute, too, and everyone gasped and was all shocked (everyone except me. I clapped a lot because DAIKI IS THE CUTEST). Inocchi said he got a text from Daiki right after 24 Hour TV was over that he was going to do his best to get Kamisen to be into him.

They talked some about Go and Aiba working together, and how Aiba thought Go was nice and that kind of thing. He said how he'd done "Tensai Shimura Doubutsuen" with him and how Aiba sent him a text the day afterward. Only Go sent a reply while he was asleep that was intended for someone other than Aiba (his girlfriend, basically) and Aiba sent him a reply like "yeah... hey, sempai, I think this was meant for someone else." This is when Inocchi mentioned how the members don't know Go's phone number/address for texting. Ken's like "really?" and Inocchi asked him if he knows and he's like "I don't. I've never really thought about it. I figure if I don't, I don't." Okada was like "every time we find it out, he changes it." Go said that's not how it is, and he just changes it cos he feels like changing it. Inocchi asked him if he's changed it since Aiba texted him, and he said probably. "So are you gonna tell Aiba your new one?" "Probably not."

They talked a little more about kouhai, but I forget what all they said. Inocchi asked Nagano if he ever goes out with kouhai, and he said he doesn't really. He went out to eat with Tsubasa, but it'd been like, 10 years since then, and Inocchi talked about how they haven't really mingled a lot with the other groups. Okada was like "Inocchi probably has the most out of all of us." He goes out to eat with them, too, like with Matsujun and Murakami and gets drunk and apologizes. Maa-kun was like "it's fine to go out and get drunk with your kouhai" and Inocchi was like "you go out and get drunk a lot." Ken was like "yeah, after concerts, he totally does." Maa-kun was like "I do?" and Ken was like "yeah, on the shikansen coming back." Inocchi swore he was drunk in the dressing room. Nagano was like "yeah, we all went and got bento and all he got was snacks for the train." This next part was my favourite: so Ken was like "after the concert, we went to a conbini in the neighbourhood and Sakamoto-kun went straight for the beer cooler." Inocchi was like "yeah, after we get done with work, sometimes he'll come over and on the way, he'll absolutely stop at a conbini, and he gets an entire six pack. I get so worried about him like, IS HE OK?! and then I figure, oh, it's probably fine, that's just his beer for the week, AND THEN THE NEXT DAY, HE'D ALREADY DRANK THEM ALL!" Ken was like "he drinks too much!" I missed what Maa-kun said in response because I was literally falling over laughing (MY PRECIOUS LITTLE LUSH, LET'S BOTH DRINK TOO MUCH TOGETHER)

After this, Ken accidentally admitted he and Go had showered together, and was liek "WAIT, NO, I DIDN'T MEAN IT LIKE THAT!" and everyone got all scandalized and made fun of him. It was a total accident on Ken's part and he accidentally walked in on Go and they talked about how nicely he washes himself. Okada I guess washes himself the same way? It's hard to describe without you being able to see the pantomime. Inocchi talked about how Osaka-jo Hall has a huge tub and asked who'd gone in it, and Okada said he and Go had together. Go said he didn't realize Okada was in there and he was in the shower room and Okada was in the tub and he walked out of the shower and for whatever reason through there was an old man in the tub but it turned out to be Okada. Nagano chimed in after this all "Go came back to the dressing room with a huge grin on his face, all, 'I was in the bath with Okada!'" Inocchi said how he and Maa-kun had bathed together before and how when Maa-kun gets in the tub, he does the really old man "aaaaaah~" sounds, only he does it like two or three times and not just once. Ken said how girls really don't do that (Ken, honey, you should have heard me when I got back to my room and off my feet for the day. Girls definitely make those sounds). Inocchi asked Nagano what he thought about him and Sakamoto-kun together and he was like "eh." Ken was like "are you just quietly angry?" and Nagano was like "nah, just like 'huh, ok.'"

After this, they talked more about how Ken doesn't like people he doesn't know touching him. Ken was like "we were rehearsing one of the songs we were gonna sing on 24 Hour TV and Nakajima-kun got really into the song and everything and touched me and I really hated it." Inochi was like "you're terrible!" Okada was like "he was doing his best!" and Ken was like "I didn't say anything, I just thought it!" When he's in dance rehearsals, he also hates it when the choreographer will grab him and bring him over to where he needs to be. He was like "just call me over and I'll come. You guys are fine, though. But with Nakajima-kun, I was like 'HUH - oh, I hate this' but then I just smiled at him."

They didn't talk about a whole lot after that -- mostly just "we've danced a lot, and we've got more dancing to do, so are you ready?" Inocchi had us stand up, stretch out our arms, and then Ken started a whole calisthenics class, having us roll our necks and do proper streching and stuff, and Maa-kun was like "how did this end up happening at a V6 concert?" Ken was like "you gotta, cos otherwise you'll be stretching, all *waves* 'Inocchi! Inocchi!' *pretends to pull a back muscle*" (I do have to say, it was REALLY nice stretching because the standing section life is really, really hard).

Monday:

Inocchi and Maa-kun started out talking about how they're really sweating and they really danced a lot this time. Inocchi asked Maa-kun how he's doing and Maa-kun was confused, but Inocchi was like "well, you really got into 'Honey Beat' and [mimes Maa-kun's faces and shit]" and Maa-kun was like "I just got into it..."

The main thing I remember from this MC was them talking about standby time before the concert. Inocchi said how Ken gets ready really early and he agreed. Okada said how Ken and Go change for the show like an hour before the show and what's up with that. Go said he changes for the show really, really early. Inocchi asked why, like was it to get himself in the mood for the show and Go was like "yeah." Ken said how Go had changed for today's show an hour and a half beforehand. For Sunday's show, he'd changed two hours beforehand. Also, he didn't eat apparently? Tonisen tend to change later than Kamisen. Nagano said how he'd just barely made it today. Inocchi then went "That Sakamoto Masayuki, we were waiting before the show and there was like 10 minutes left and he still wasn't there and I was like 'is he OK?' What was up with that, Masa?!" Maa-kun was like "I'm always late. I change like 3 or 4 minutes beforehand." Everyone gasped and Ken was like "wow, that's cutting it really close." (I screamed a lot because I also don't change until the last minute) I forget what all they said after this, but I do remember they kept calling him "Mssa" and it was hilARIOUS to me.

Next, they moved onto talking about doing "Stomp" for 24 Hour TV and Ken said he still remembered his part from it so Inocchi had him do it agian for everyone. Inocchi was like "YOU FORGOT, THO! SEE!" cos Ken messed up apparently.

I forget what happened after that, but I remember Inocchi pointing out how Nagano messed up one part in "GUILTY" and they all made fun of him for it.

And since they were talking about messing up, this is where Inocchi was like "so, we have these songs we've been doing for 20 years, right? Like 'MUSIC FOR THE PEOPLE.' Well, tonight, for the first time ever, I messed up during it. Because of the fans on this side *motions stage right* they were all into it and I was all into it, and the part where Ken kneels down and I swing my leg over him--" and Ken interrupts him like "YEAH YEAH YEAH! At that part, I always feel your leg go over me, and this time I didn't feel it at all! And then I was like, wait, maybe I messed up???" Inocchi was like "I thought about doing it real fast but then I might have hit you" and Ken was like "yeah, that's dangerous." Inocchi kept going all "IT'S ALL THESE FANS OVER HERE'S FAULT! COME ON!"

Inocchi was all "we've been doing some songs for 20 years and I'm sure there are ones we've never messed up on!" Go was like "no way" and Inocchi was like "yeah, I'm sure we have before." He then went on to talk about how on the summer FNS, Nagano messed up during one of the songs. I could hardly make heads or tails out of the next part because they were literally all yelling over one another about messing up and mostly just yelling at Inocchi. Ah, stupids <3

Inocchi talked about how he'd been watching old V6 videos since it's their 20th year and remembering a lot of stuff, things they'd done, "oh, that's how it was/it was like that," that kinda thing, and how they have more songs to sing after this, more dances to do, and are we ready for the second half? Then they had us stretch again like we did the night before, with Ken leading us (seriously, this was SO WELCOME after standing for hours and hours).

Hey, look at you, you made it all the way through that! Good for you!

After this, they go back and change and the second half of the show is the "Thank You Symphony (39交響曲)."

The VTR starts out with some stuff about the universe, then about the world's population, then Japan's population. Then statistics about the odds of two people on the opposite side of Japan being able to meet, and then the odds that everyone in V6 would be able to meet. Then it calculated how many fans V6 has been able to see in concert, then the amount of time they've spent with one another. From what I've read of other reports, the number actually changes each day to include the previous day's concert in the totals. Then it says -- in English -- "Thank you for all you do for me. The Thank You Symphony" and changed back to Japanese to be "いつもありがとう。 39交響曲"

- The First Movement -

The first song in the symphony (which is, I should point out, a really, REALLY well done medley of all the songs they sing in the second half, plus some other songs they don't sing also mixed in) is "Orange." Remember in the "Musicmind" con how they came down from the top of the arena? They don't come out from the top, but they do come out from behind the screen on a moving platform, so the effect is kind of the same. They only sing the first verse and then the chorus, but it was still enough to make me want to cry (I LOVE THIS SONG A LOT OK).

Next was "COSMIC RESCUE" which is always great every time they do it. It was really only the intro and chorus, IIRC, but it's still great.

After that, they faked us out with the intro to "Sexy.Honey.Bunny!" They all line up and Maa-kun gets ready to do his "Sexy!" and right as he's about to say it, one of the other members jumps in and does it first. IIRC Ken jumped in the first time on Saturday night, Nagano first on Sudnay night, and Nagano again on Sunday.

Instead of Sekubani, they went next to MY ETERNAL JAM, "IN THE WIND"! They only did the chorus, but THAT'S OK, THEY STILL DID IT! ALL MY VOTES PAID OFF!

After this, they tried to do the Sekubani intro again, and again Maa-kun got punked. Saturday was Ken, Sunday night it was Go the second time, and then Monday was Inocchi!

After that was the intro and chorus of "愛なんだ" which, yeah, OK, it's played out in music shows, but it's cute in concert. They basically remixed a lot of the songs this time, so it was extra fun. I think this first part was just the rap.

- The Second Movement -

When they start the second movement, they do the intro to Sekubani again, and this time, Maa-kun looks around, half-suspicious, half-dejected, and when he realizes no one's gonna jump in, he actually does his "Sexy!" (and murders me in the process), and then they do the song.

After a short version of Sekubani, they do the chorus of "愛なんだ."

Next is "kEEP oN." starting from the part before the chorus, and they splice it up a bit, IIRC. Saturday night, Maa-kun COMPLETELY forgot his "Sunday Monday 朝まで" part and there was just nothing (except the wave of embarassment you could feel emanating from him) (I laughed, I'm not gonna lie to you guys, it's hilarious when he forgets his lines). They definitely did the "la la la" part, I remember that.

After this was a short version of "WAになっておどろう" (mostly just the hook and the "la la la"s). Not much to report other than my feelings about it (I taught the song to my preschool students and one of them can't really speak but learned the whole chorus really quickly and loves dancing around to it and I sing it to him when he gets upset to help calm him down so I was overcome by F E E L I N G S).

The last part of the second movement is a short version of "バリバリBUDDY" during which they definitely do the whole ending and everybody dances along with it and then it wipes V6 out because it really is a good workout.

Next is the second VTR. This one shows how many concerts V6 have done (each time adding to the total), how many hours they've spent doing concerts, how many staff have worked with them on their concerts. Next was ones about V6, like the percentage of Nagano going out to eat in the local area after concerts (100%), the amount of times Ken hasn't talked in concert (pretty much 0%), and the amount of times Inocchi's gotten fired up/worked up in concerts (about 100%). I was all there with my feelings and ready to cry about the miracle that is V6 and then they hit me with the stupid of Ken and god dammit, V6.

After the second VTR, they come back out for

- The Third Movement -

They sing all of "メジルシの記憶"

And I won't lie to you, this is where I forgot basically everything that happened Saturday night. SO! What happens is Maa-kun first comes out on the top of the arena stands (F block), Inocchi opposite him on the other side of the arena (we couldn't see Inocchi Friday but we could see Maa-kun, so we all started freaking out about who was where). Ken was in A block, Go was up in the second floor stands, and Nagano in C block. Saturday night, Okada walked around the second floor stands and came over to us. He really takes his time shaking hands and smiling and saying hello and stuff. When he got to us, he was singing his part, so he didn't say anything, but he looked me dead in the eye, nodded, and shook my hand. The girl behind us (we were next to the walkway, so she was first row stands behind us) whipped out a sign that said "congratulate me on my wedding" so he spent time congratulating her and missed all my friends who came with :( Sad day. (PS DID I MENTION I ACTUALLY SHOOK OKADA'S HAND AND NOW HE FOR REAL KNOWS I EXIST Okada you're so sweet to me every concert ;____;)

Sunday night, I did not realize the stand for where Maa-kun was going to be singing was like 5 people away from me so when he came out, I was completely taken by surprise. I rushed over and when I got there, I was right in front of him and, yeah, I completely lost all feeling in my body, I lost the ability to breathe, and I thought I was going to shuffle off this mortal coil right then and there. I may have gotten out a feeble "Maa-kun" while trying to get him to look down and wave at me, but no dice. I tried to say something -- ANYTHING -- to him as he turned to go down the stairs, and I reached out to try to touch him, but I couldn't get any words out and my hand was shaking so violently, I never got even close to him. As he went down the stairs, I stumbled back to my spot by the rail and basically fainted on it (my friend I was with asked if I was OK and I shook my head and went "no..."). V6 are literally the only people in this world who can render my completely speechless. This has happened twice now. I will be kicking myself for both incidents until the day I die.

After Maa-kun went down the stairs, we waited for Inocchi to come back up them. I positioned myself near the last couple girls and called out to him as he walked by. He turned, saw me, smiled (HIS RADIANT, ADORABLE, SWEET, PURE, BEAUTIFUL SMILE) and grabbed my hand and locked fingers with me until he was practically out the door BLESS YOU, INOCCHI

Monday night, we knew someone was going to be in our block, possibly Ken (we were in A block), so we positioned ourselves behind some other girls, giving us a less optimal view of the stage but closer to Ken and where the real action was going to be. Ken came out and sang, and we knew he doesn't like people touching him, so no one touched him, and he's also never looked at anyone really in the eye that I've seen in concerts (he looks around but never really at you. He sees you, but you never have a moment). He's a very, very tiny man. We stayed positioned for Nagano to come back up the stairs and out the door behind us, and Nagano, blessed, beautiful person that he is, turned around when I called out to him, smiled, and touched my hand for a moment on the way out.

So, yes, all I remember of "メジルシの記憶" was everyone going around the arena and singing and how I've now managed to see every member of V6 from a distance of 1 foot or less.

After this, everyone is back down on the main floor for "ジャスミン" (another very short version).

Next is "野性の花" (another short version).

Affter that is a suuuper short version of "蝶" and by super short, I mean really only like, half the chorus.

We got another super short version of "GENERATION GAP" (the really short chorus).

After this was "本気がいっぱい" with the requisite "hey!" part done 5 or 6 times.

Next is "Believe Your Smile" with the intro, chorus, and the "whoa whoa whoa"s. During all these, they're basically just circling the arena.

- The Fourth Movement -

First is "over." I can't remember if they did the entire entire song, but it was a decent length version of it.

Next is "愛のMelody" with, of course, all the good parts for the furitsuke in there.

After that is the intro and the chorus of "Darling."

Last in the fourth movement is my jam, "スピリット" (thank you, fellow fans, for voting for it, too <3)

- The Fifth Movement -

For this one, they're on the main stage in a circle with the spotlight on them.

First is "君が思い出す僕は君を愛しているだろうか" and they start of with the chorus a capella and then slowly bring the piano into it. I swear to fucking god, if anyone else tells me V6 can't sing, I am going to beat them over the head with a recording of this version.

Next is a really short version of "Timeless" which is as beautiful in concert as it's been on music shows.

After that is my favourite song they've released the past couple years, "Sky's the Limit," followed by "ROCK YOUR SOUL" and if you went to the OMG con and remember how when they shot off the pyrotechnics and you could feel the heat of the flames from the back of the arena, I can confirm they're as hot this time as they were last time.

Last was "TAKE ME HIGHER."

After this was the last VTR, about the distance between V6 in concert, in meetings, in their dressing rooms, and it ended with a clip from August 1996 where they read notes to one another. I only really remember Go's, Maa-kun's, and Okada's. Go's was something about "Pになっちゃいました" or something and it only sticks out cos I was like "wtf?" Maa-kun's was about how he was glad to debut and be Leader but it's definitely not only just him in the group and that he'd do his best for everyone. Okada's was about how if it's the 6 of them, they can overcome anything, he thinks. The background music was "出せない手紙" because they really want to tug at your heartstrings nad specifically want to murder me (DO THEY HAVE ANY IDEA WHAT THAT SONG MEANS TO ME (this was the song that hooked me into V6 for good))

- The Fifth Movement -

Of course started with "出せない手紙" and yeah, I had to hold back tears every night (I'M SO GLAD MY VOTES WORKED). They only really did the chorus, but that was still enough to make me too fucking emotional to live.

After that was all of "UTAO-UTAO" and a short version of "ありがとうのうた"

Last was a short version of "Wait For You" and ugh the dance the D A N C E. Everything about that song is perfect.

Last was their MCs where they individually thanked us all, talked about how grateful they are that they've managed to get to 20 years, how they didn't think they'd get to 20 years, and that as long as we'll have them, they want to keep releasing music and doing concerts for us and hope we'll continue supporting them in the future. I want to find reports of what they said each night, but I'm so behind on posting this right now that I can't make myself do it -- I just want to get this posted. I'll post those in a separate entry if I do.

Last, Inocchi talks about how they wrote the next song to express their feelings to the fans and they all chill on the platforms (which are on different levels) and sing the full version of "此処から".

After everyone's chanted "V6!" a bunch, Maa-kun, from behind the stage, will go "MAAAAADE IN! JAPAAAAAAAAAAAAN!" (can I say how glad I am that he just owns that now. What an awkward little panda <3) and they do "MADE IN JAPAN" with the dance on the main stage and then go to the center stage and do "Change the World." This is when they throw out the signboard and stuff. A girl in our section caught one Saturday night from Inocchi, and he drew his little self on them and it was super cute. We wanted to get a picture with it, but they started herding us out of there pretty quickly before we could ask.

After the first encore, they of course come back out to do a second with "BEAT YOUR HEART."

Monday night, Ken didn't do his goodbye kiss after the second encore, so we knew something was up. Sunday night, the other people in the arena were all cheering SUUUUPER super loud for V6 come back out for a third, but they didn't. Monday night, though, everyone was even louder than on Sunday and Okada, from behind the stage was like, "what do you want~?!" and everyone screamed out "ONE MORE TIME!" again and we did that a few times and then they came back out and did a special encore of "ミュージック・ライフ." V6 went all around the arena (not up the stairs but on the main floor level), down on the floor through people and close to the stands. At one point, someone handed Okada their toddler.

At the end, they shoved Ken back out a few times so the rest of them could go back below the stage first, he did his goodbye kiss (like he always does) and that was it.

And now we're through! For my Yoyogi report(s), I'll fill in any gaps , tell you about stupid things they did, try to remember more from the MCs, and not take an entire month to write the damn report. See you next week!

231. i held it a world away

sociologique — Tue, 13 Oct 2015 04:27:57 GMT

Second round of pictures from Kyoto. I didn't have a chance to go to Entoku-in the past few times I've been in Kyoto, and I'm really glad I got to go this time. It was gorgeous, and virtually devoid of other people (a welcome respite during Silver Week).

Entoku-in, Kyoto, Japan 2015.09.23, part 1

a teahouse designed by sen-no-rikyu

ngl to you dudes, this is probably my favourite photo i took this entire trip

i could sit and stare out at rock gardens all day

closeup of a traditional roof because i'm fuckin ~artsy~

230. translation: okada "library wars: the last mission" jweb email

sociologique — Sat, 10 Oct 2015 18:40:16 GMT

The second this showed up in my inbox, I knew it was going to be dorky and stupid because it's Okada. I was not disappointed.

It's today~~~~~ It's Okada.

Today is a special day!! That's why you're getting this email.

Why it's a special day.....

Is a secret.....

And when you think of secrets, you think of Ikuta's movie.....

But it's not that.

Today, "Library Wars: The Last Mission" is in theatres!

Please go see it at the theatre!

Please keep me in your favour.

Okada Junichi

229. walk with me the future's at hand

sociologique — Sat, 10 Oct 2015 03:55:46 GMT

Took my camera with me back to Japan but only got to take pictures around Kyoto (couldn't in Tokyo since I was basically going to cons every day after sightseeing in the morning and they don't let you take cameras into the venue). It was great to revisit a lot of the places I'd been before but didn't get to spend a lot of time exploring.

Kiyomizu-dera, Kyoto, Japan 2015.09.23

the cursed tree. people used to use two nails and a straw doll and nail it to the tree to curse their enemies.

these are to help ward off sickness. red used to be associated with disease but then it became associated with warding it off.

a sign i really liked in sannenzaka

my best friend's good friend's very scientific and detailed explanation of who this is: "it's, uh, buddha's girlfriend"