Yep that's meatspace me in the banner. Category tags for filtering: idols, music, tv, femslash, musicals, film, other, craft (storytelling technique), my stuff (fanworks I make). Also: "gdi do I need a game tag", "huh I don't seem to have a cartoon tag", "a shiny book tag appears"
For potential link rot purposes, this is Gaki-san doing Aishuu Romantic at her Spring 2014 live.
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This is a great rendition. She lets the instrumental carry all of the ero-kawaii elements, and so performs the vocals only as dramatic, playing the lyrics straight.
(Also, I always love it when grads are listening to music released after they leave.)
For potential link rot purposes, this is about Aishuu Romantic at Hina Fes 2019. Currently there's not an excerpt of just that part, so I'm using the full MM OG set embed instead.
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Honestly, though, this was my favorite of the OGs set. Their chemistry is palpable, and they know exactly how to leverage the appeal of this song. They’re like a sexy version of the synced-duo act that W had promised 13 years ago.
Fukuchan enjoyed Sayu slapping her abs way too much XD
And the choices of head tilt on the titular line, whoooo! Hitting every beat with a strong pose.
There's that "Weeb Ass Shit rating" post which is really good. One direction from which to expand from it is the implicit question underlining such a model. "Do those stories really need any of the content in those categories?"
For a given anime where the Weeb/Ass/Shit isn't the intended primary appeal of it, shouldn't there be a version of the story removing all of the Weeb Ass Shit? And is the de-WAS'd version better for that distillation?
One of the things the recent One Piece and ATLA live action adaptations have inadvertently tested is that question as scoped to episode counts and shounen plotting structures.
Well, Fermat's Cuisine is that but for Food Wars. The same cooking techniques and the best thematic developments about what it means to pursue the highest levels of cuisine, minus the ecchi foodgasms and all of the shounen-isms (the stock characterizations, the incessant tournament duels, the bad power scaling, the need for idiot balling because they're stupid ass teenagers).
Anyways, the answer to the meta-level question is that it's about the audience niche. WAS can be the spoonful of sugar that makes the medicine go down. It's okay to make 101-level stories, "baby's first X" stories. And really, two cakes is the best policy here. It sure is nice to have both the WAS and non-WAS versions tackling these themes, since they offer the widest window of opportunity to spark joy, to be the gateway from one side to the other, in both directions.
I'm sure I've already made this kind of post before, but the current paradigm for scoring in the West is towards invisibility and complete customization to the footage after the edit (which is already a sabotage since the edit was done to demo tracks in the first place).
I've seen Western style scoring even start to creep into anime, as the productions for those get increasingly globalized. For example, GWitch sounds disconcertingly like a MCU movie.
Jdrama, meanwhile, is still very not afraid of beating the two primary themes of their soundtrack into the the ground and out the other side of the glue factory. And even when the composers know that the editors are going to do that with their music, they're yet still not afraid to compose for maximum stand-alone memorability, like they're Korngold or Herrmann.
(Love Shuffle's EWF and Bangles abuse is an obvious example, but this post is about Fermat's Cuisine. That composer brazenly believes that their main theme will evoke the same emotions of cosmological wonder every time it gets pulled out, multiple times an episode. As of episode 4, they're still right!)
Apparently Oda Sakura did a guest appearance with Philosophy No Dance? I wonder whose initiative that was, and if UF would be willing to pursue more gigs like that.
For potential link rot purposes, this is the Minimoni Hinamatsuri and Lucky Cha Cha Cha perfs at Hina Fes 2019.
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Shorties that KamiFuna had to shank to secure their spots in this:
Daishi
Sakura (she didn’t really want it anyways)
Yokoyan
Chii
Karin, Takechan (actual Shin Minimoni members orz)
wait why was Tanimoto in that photoshoot she’s fucking way too tall lol
Manakan prolly didn’t want it
Maybe Momohime, Takase
I've been rewatching the H!P Utagassen roster videos again, and damn they need to bring that kind of thing back, where we can watch the girls produce and explain their decisions. Momoclo has a lot of that kind of footage, as well.
Maybe there were some hurt feelings behind the scenes (compared to Hina Fes where the lottery is an impersonal arbiter)? Or maybe the inter-group scheduling logistics weren't good enough ROI.
These two weren't in MM together for very long, but they were absolutely on the same page for playing off of each other (with Yokoyan taking the initiative)
Really good combo
(For potential link rot purposes, this is Yokoyan and Honey announcing Satoyama events starting in October 2018, and then shilling a packaged curry)
This is about the very last episode of The Girls Live (261)
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yoooooooooooo Takui teaching the keyboard girls about pop composition!
Karin was probably madly jealous she couldn’t be a part of this
You can really see Maa’s gears whirrring as she processes it all
Bless UF so much for being a musician’s label
I do find it interesting that he had to put the chords in terms of the keys, instead of numbers. Makes sense, though, as simply learning an instrument and to read sheet music, you don’t always learn chord numbers (or how to figure out what they are, given a base key).
The missing embed is an instagram post (featuring Riho backstage with MM at HinaFes 2019), because now the dashboard view is now broken about instagram embeds? Not that they work in CSS view, either, but they at least have a link to the post there.
W to finally to release songs from cancelled single and album after 13 years!
I don’t think anybody was prepared when this news dropped earlier today! I’m SO happy these tracks are finally getting released after all these years!!!
if you missed it, W’s cancelled single “Dou ni mo Tomaranai / Choiwaru Devil” and tracks from their cancelled album “W3:faithful” are being released as a digital mini-album titled “Choiwaru Devil” on March 30th. this coincides with their reunion performance during the “Hello! Project 20th Anniversary!! Hello! Project Hina Fest 2019<Hello! Project 20th Anniversary!! Premium“ concert at Makuhari Messe.
I actually just recently translated 2 of the songs on this mini-album, and will DEFINITELY do the rest leading up to its release this weekend!!!
Choiwaru Devil (ちょい悪デビル; Bad Lil’ Devil) *Original
Dou ni mo Tomaranai (どうにもとまらない; Nothing I Can Do to Stop It) Yamamoto Linda cover
Harusaki Kobeni (春咲小紅; Little Spring-Blooming Rouge) Yano Akiko cover