Category Archives: Seiyuu, Idol, Pop

The A5 Kobe Beef of Smiles: Tabehoudai Version ~That You Can WUG To~

Some time last year I got fed up on how Americans don’t do calls and wrote up a set of calls for Gokujou Smile based on the JP calls out there. With WUG Final tour over, I reviewed my old post as a matter of writing up the tour, and decided I have to write a new post to update the material in the old post, for WUG Final SSA.

Basically, it’ll sound like this:

Do you mix to WUG? Only a few songs, like Gokujou Smile. And even then most people do mostly just the fast mix part and not the full mix part, opting to do the Fu-fuu calls with the group instead.

One change from the old post is that people do the urya-oi as per normal course, but that’s not so important in Gokujou Smile. If you know what you’re doing you would already know what you need to do. If you don’t or if you are unsure, just follow the crowd. The 3rd tour video is still a good reference that will get you through the whole song.

I am mostly still romanizing the calls, via here. The calls are in parens and colored in red.  The mixing is in blue, which is entirely optional and do so at your own risk. Actually there are just 2 normal mixes and 3 speed mixes with lead-in calls, and you can pick and choose which you want to do. The normal mixes conflict with the 3 fufuu calls at the end of each lead-in so most people choose to not do them.

Notes:

  • There are some hand motions that can be done during a few parts, like “housoku housoku” in which you make a upward arrow with your hands, and “nandaka chigau” which you can do the “no” hand motion.
  • The calls with a music note in the paren are sing-along responses.
  • There are some timed jumps. People furicopy normally but the main melody has a jump like 2 bars into it and from what I’ve seen recently, MayuC cues the audience for the jump sometimes. You can review the video from 3rd Tour (above) as an example.
  • Fuwa x4 are not clap clap Fuwa x2 but some people do it. Most people do the 4x.
  • The “Fuu?” call is just a fuu with different intonation. In JP it’s denoted with down and up arrows. (フー↓ウッ↑)
  • (starting signal) just means the usual mix starter phrase. I’m not aware of a standard one used in this but there are some standard phrase people do use.
  • I use an asterisk to indicate the start of the speed mix for typography reasons. Just put the paren in the following line into that. I also wrote speed or standard mix where applicable to indicate the tempo only.

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EGAO! (Fufu!) GOKUJOU! (Fufu!) SUMAIRU! (Fuu!)

(hey x12)

(standard mix on 2nd half) (Starting signal) (TIGER FIRE CYBER FIBER

(Fufu! Fufu! Fuu!)
(DIVER VIBER JAA JAA)

KURAUDO ni kakareta SUKEJUURU (Yay!)
Nandaka samishii shuumatsu wo (Yay!)
Nandemo ii kara umerutte iu no ha chigau (Nandaka chigau~!)

Honto jimi na no futsuu no hi ha (Whoo!)
Douga de neko wo utsushitetari (Whoo!)
Doudesho tamani ha heya no moyou ga he nanka ne

Minna no shashin (sha~ shin~♪) SURAIDO shite mita (‘te~ mita~♪)
SUMAIRU ippai de zenkai de SUMAIRU darake de
SUMAIRU? SUMAIRU?mairu
Waratte shimau (shi~ mauu~♪) genki ni natta yo (natta~ yo~♪)
Akiramenai (TIGER) haru (FIRE) natsu (CYBER) aki (FIBER) fuyu (*) no hi mo 
(* speed mix TIGER FIRE CYBER FIBER DIVER VIBER JAAJAA)

SHINDOI kisetsu wo shiteru kara (Whoo!)
Kawaranu egao wo mederu (Fuwa x4)
NIPPON no egao ga uwagaki suru (Whoo!)
Nanka tsurai toki mo
NIPPON no egao ga kawaiku suru (Whoo!)
Saki koboreru SAKURA iro (Fuwa x4)
SHINDOI kisetsu wo shitte koso no(Whoo!)
Egao(Fufu!) gokujou (Fufu!) SUMAIRU (Fuu!)

(Hey x8)

Tenki ga ii hi ha dekakeyou (Yay!)
Densha ni notte chotto toode shiyou (Yay!)
Denenfuukei suteki na yasai mo toreru (Housoku! housoku!)

Choppiri nigate na mono datte (Fuu?)
Oishii no tabetara suki ni naru (Fuu?)
OIOI ima made shiranaide gomen to omou

Umi ha hiroi (hi~ roi~♪) yama mo sugoi (su~ goi~♪)
MEIDO IN JAPAN ha saikou sa MAI MAI MAI SUTAA
Nandatte umidaseru
Asobi ni kite (kite~ ne~♪) ai ni kite ne (kite~ ne~♪)
Kono hashi (TORA) kara (HI) hashi (JINZO) made (SENI) wo (*) hashi no kuni he
(* speed mix TORA HI JINZO SENI AMA SHINDOU KANSEN)

SHINDOI kisetsu wo shiteru kara (Whoo!)
Kawaranu egao wo miseru (Fuwa x4)
NIPPON no egao ga uwagaki suru (Whoo!)
Nanka tsurai toki mo
NIPPON no egao ga motenashi suru (Whoo!)
Saki koboreru SAKURA iro (Fuwa x4)
SHINDOI kisetsu wo shitte koso no (Whoo!)
Egao (Fufu!) gokujou (Fufu!) SUMAIRU (Fuu!)

(Hey x8)

(Hey x8)

(speed mix CHAPE APE KARA RARA TUSUKE MYOHONTSUSUKE)

DONMAI namida wo shitteru kara
Kawaranu egao wo mederu
DONMAI na egao ga uwagaki suru
Nanka tsurai toki mo
DONMAI na egao ga kawaiku suru (Whoo!)
Saki koboreru SAKURA iro (Fuwa x4)
DONMAI namida wo shitte koso no (Whoo!)
Egao(Fufu!) gokujou (Fufu!) SUMAIRU (Fuu!)

(hey x12)

(standard mix on 2nd half) (Starting signal) (TORA HI JINZO SENI)

(Fufu! Fufu! Fuu!)
(AMA SHINDOU KANSEN)


Okui Masami 25th & HAPPY END Live “Celebration”

Okui Masami is a major figure in the anisong industry, mainly because she was one of the backbone persons during the early King Record/Starchild days. She is directly the senpai of Mizuki Nana and she has kind of cemented things once she joined JAM Project. She also started her own record label and done various other things behind the scene over the years. Today she still produces, writes music and provide chorus and “lead tracks” for various anisong, outside of her solo and JAM Project work. Well, it would be better said that she has done a lot over the years, and nowadays she has largely moved onto doing JAM Project type stuff.

As I say this, even while as a member of JAM Project, she has a lot of solo activity. Or rather, as a fan of her since her pre-JAM days, her solo activities never really stopped cold, in my opinion. It definitely has slowed down, she’s taken breaks, but unlike many of the other old guys in JAM Project, she has a full original solo album out, which is quite rare. Well, I say old guys, but she turned 50 years old this year, so just about everybody in that group is getting up there.

A solo live is also quite rare for Okui Masami nowadays. She no longer tours, and most appearances are in festival style. This live is the first solo live she has had in two and a half years, or since 2016 March. Why not go, I thought.

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IM@S MUSIC ON THE RADIO & The End of IDOLM@STER STATION

The long running IDOLM@STER mainline seiyuu radio program, IDOLM@STER STATION, has ended this week with a farewell live stream on Nico. To be very technical and fair, it never ran that long, as the weekly program would change cast periodically and rebrand itself slightly (like, IDOLM@STER STATION!!+). It was originally the IDOLM@STER Radio which morphed into this program as other weekly streams started, in 2009. Today, there are 5 weekly broadcasts for the franchise, covering the different sections. The name perhaps more so refers to the program concept that spawned a series of its own spinoff media products, such as all the radio cover songs, the radio original music, and the handful of live shows they put on. The Aisute weeklies would feature some segments that involved characters acting out viewer-submitted scenarios often (a characteristic in other IM@S radios today as well) and other more seiyuu radio-style segments. But if you were just counting the brand, the show falls a bit short of its 10th year! That’s very long for a tie-in seiyuu radio.

Aisute ending means the main 765Pro franchise no longer has a seiyuu-focused radio. In its stead, IDOLM@STER MUSIC ON THE RADIO takes its airing spot (really, it’s produced by the same Nippon Columbia crew that produced Aisute, and it takes over Aisute’s Nico channel) and is going to be a music-oriented program. Its main host is Numakura Manami, with a co-host rotating probably every 4 weeks. The first co-host is Takahashi Rie. For sanity’s sake I’ll call the program MOR for short (based on the official hashtag #アイマスMOR).

Over the long 9 years of Aisute, there were a pretty overt effort to interview Columbia composers who worked on the music, especially the stuff that graced the later Playstation games. And it makes a lot of sense–music is arguably the most noteworthy and radio-worthy thing that IDOLM@STER generally offers. Cinderella Girls, Million Live, SideM and even Shiny Colors are churning out many songs every year. A lot of it is from Lantis, which naturally doesn’t get as much coverage on a Columbia program focused on the original 765Pro, but Aisute always had crossover coverage with guests from the other branches (at least more than a few Million and Cinderella guests).

What has been left behind with the departure of Aisute is still pretty regrettable–it was almost its own thing during the peak years, and maybe MOR can get its own live show. It certainly will be more cross-franchise than before, so we will see how things swing on a month-to-month basis.

Overall, it is probably overall a good thing that there is now a show to highlight the stories and personalities behind the music. MOR should be a good time and generally this is a positive vibe going forward. Hosted by two cast members, MOR should also remain fun and neta-heavy enough for the usual and core listener types into seiyuu radio-type programs. Two-personality shows dominate this landscape anyway.

PS. Wish they’ll cover some Aisute music down the road!


Is Revue Starlight Idol Anime? Depends on Who You Ask?

If you ask me, there is no such thing as idol anime. OK, maybe there are anime about idols, but that’s not what idols are about.

Idol anime is the new slice-of-life. Which is to say, English language fans can call things however they want, but they are probably wrong when they do.

Basically, it comes in the form of the media-mix IP Love Live, which spawns a bunch of anime, manga, games, music, stage events, whatever. That is par for the course for a lot of the media-mix IPs dating back to the late 90s or 00s. What’s unique about Love Live and its ilk is that they are focused on doing stage shows and live events as a driver for the IP. It becomes a way to reward and reinforce fandom this day and age, it is more engaging to fans (and in ad terms, it drives fans with massively high engagement). Also otaku kids in Japan these days are more about social and networking (and I see that overseas too). Live events themselves also have a lot of pluses in this day and age of seiyuu doing multiple roles besides voice acting, but that’s besides the point.

Invariably most if not all of these “idol” IPs engage its characters primarily, as my non-anime-nerdy friend would say, is like how a professional wrestler (in the WWE and NJPW sense) are like characters performed by the wrestlers, who would have these matches that are dramatic performances and deliver what passes for content to the audience and fans. I don’t know why people think Love Live was the first “idol” thing or the last whatever it was before, but there was definitely some kind of awakening in the west where people “get it.”

The popularity of Love Live and the fact that the IP bills itself as an idol story probably coined the term as such. But the mistake people make is to think Love Live is an “idol” thing. It isn’t. It’s just another media mix story with people who want to be “school idols”–just like how the characters in GaruPan are practitioners of “tankery.” It’s a made up thing that is as close to real idols as just teenage pretty people singing and dancing, trying to make it in some contextually fictional entertainment setting. SIF and Love Live are a work of fiction. But somehow people clang on to this “idol” idea and won’t let it go.

Part of it is obviously that Japanese idols are a real thing, and it is a cultural phenomenon. But I see more and more people who don’t understand the difference between the fiction and the reality. Just like how people apply the term “slice-of-life” to, say, Wake Up, Girls! or something dumb. At least in that verbiage misuse, it’s a made-up-term associated with nothing now being associated with something. “Idol anime” and “idol” generally refer to actual existing things, now being used by ignorant anime nerds to associate with totally different things, regardless of how relevant they are.

You can see this person who complain how calling “Revue Starlight” is misleading people, and it’s obvious. I wouldn’t call Utena or Sakura Taisen an idol anime either, but they are quite similar as Revue Starlight. (Would someone call Girls und Panzer a war anime? Or a tank anime? I guess it’s an anime about tanks, more precisely, an anime about fictional tanks?) But the real injustice here is that it pollutes the discourse on actual Japanese idols, as they are nothing at all like the stories portrayed in Love Live, IDOLM@STER or obviously Revue.

This is also how you get Aqours fans telling their management to not “overwork” the idols. [Which is, by the way, the most sanctimonious, paternal bullshit I’ve ever seen in western seiota fandom, and I’ve been in this fandom since the 90s.] This is not that different than someone who doesn’t know about actual tanks, and thought Tankery exists and a team of 5 people can service 7 tanks in a week, and it’s okay to shoot tank shells at each other???

I don’t know, a lot of this fictional stuff (eg., anime) are only meaningful if you have enough real life experience to contextualize the content. It is real sad if you don’t… It’s like people learning about Japanese idols from anime, when there are tons of real people who are actually in the scene they could read from. It’s fine as a gateway thing but it cannot be your only thing.

PS. I have maybe like 3-4 different draft ideas on this topic in this year alone. It’s really bothering me because while it’s good the Love Live’s popularity is a tide that raises all boats, so to speak, it also brings on a lot of people who are just plainly clueless about idol fandom, culture, and the things those idol IPs try to evoke, and there are not enough school teachers to feed the hungry masses on the Reddits of everywhichwhere. It’s as if only youtubers are their teachers on this stuff, LOL.


Aniuta: One Year After

With the US version of the service launching eminent, here’s what I took away as a casual user of the JP version of the service Aniuta. The short of it is, the library is second. The ease of access and marketing are the top reasons why I pay for it.

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