Where have I been, blogosphere? Where, oh where has Vee gone? I'm sure you've all missed the absolute nothing I bring you, but I've noticed that a lot of blogs on IW and elsewhere seem to be slowing down. I have a nice little excuse tied up in a pretty bow, though: I've been experimenting. Technically, I've been running this experiment since late last year, but just now is it all beginning to coalesce into something that's worth writing about.

Before I tell you a little bit about what it's like to be an H!P Groupdubber, though, I'll share with you this:



...that's me, dancing Tokaikko Junjou on my new YouTube account (pinkwota) after my last account (ShadowOmega) was not-so-ceremoniously suspended and purged by avex's lawyers. D: I think this dance is head and shoulders above my last attempt - Honto no Jibun, if you remember - and I really wish for it to meet with the approval of the fan masses. Well, the fan masses who like to see overweight American wota gals replicating dances originally done by 80 pound Japanese girls. Eh. I did my best, and I'm happy with it.

I have a survey to complete, too, by none other than one of my favorite people in whole blogosphere, Celestia, but duty calls for the moment.

( We are the ones who search 'Auditions Needed' on a daily basis )

Here are a few links to acquaint you with the magical world of H!P YouTube Groupdubbing:

"Groupdubs I'm In" [My playlist.]

"Kanashimi Twilight" [This is an example of a single singer stealing the show. I made this dub - organized it, stressed over it, mixed it, and let me just say that all those comments about JPNSinger101 sounding "just like Miki" are RIGHT ON]

Chibi♥Love do 'Koisuru Angel Heart' - Nami and Mari are my favorite singers on YT, probably, and it's all because they sound so AMAZING together.

KawaiiiMusume [The great original]

HenryProvince [I'm this dude's #1 fan - he rocks it out, and I am so glad to hear a guy daring to sing H!P songs. We're set to do a duet of 'Sakura Mankai']

And, as if all that weren't enough, I feel compelled to share things I can't share elsewhere on YouTube - namely, my Ayumi Hamasaki songs that would get me banned. These are my favorites to sing. Boo.

"Independent" by Vee
"Evolution" by Vee
"HEAVEN" by Vee
"Pride" by Vee

...will that do in lieu of a PinkCast this month?

1. What was the first Japanese song that you ever listened to? Traveling back in time, I'll admit it was 'Give A Reason' by Megumi Hayashibara, which was the theme song to one of my first anime series', Slayers NEXT. I would say it was the Tenchi Muyo or Sailor Moon theme song, but it wasn't - I didn't listen to either of those in the original Japanese until after I'd fallen in love with the Slayers soundtracks.

2. Did it inspire you to like that group/singer, or did it turn you away? Totally inspired me. I was spending hours downloading huge .wav files of ripped tunes by Hayashibara, and ordering (expensive, and still usually bootleg) anime soundtracks soon after. I still love listening to all those old CD's - Hayashibara's voice stands the test of time. Back in the day (1996-1999?) it was a common thing to say Megumi Hayashibara was the most overrated thing in all of J-Pop, because of her connection to anime. At least that's what I kept hearing whenever I'd go on bbs and ask for more info about her.

3. What is the one song that you have been listening to for the longest time? Wow...I'd say Ayumi Hamasaki's 'Trust'. Or Matsuura Aya's 'Ne~e?' or 'LOVE Namidairo'

4. What group/singer have you liked the longest? This has to be Megumi Hayashibara, but since I never followed her beyond about 2001, I can't say I know much of her stuff from beyond then. Actually, I know none of it. So...if we're talking about time I've followed a singer/group's actual career, that would have to be Morning Musume.

5. What is the song with the most plays on your itunes/media player? It says here Melon Kinenbi's 'Saa~! Koibito ni Narou'

6. Is that song your favorite? It's definitely in my list of favorites, yes. But I couldn't ever pick a "favorite" song and be 100% sure about it.

7. If not, what is? See above. If I had to make an educated guess at this, though, I'd say it's a toss-up amongst Garnet Crow's 'Float World', Ayumi Hamasaki's 'Humming 7/4', and Morning Musume's 'Say Yeah! Motto Miracle Night'

8. Is there any one group that you can listen to all/most of the songs by? Ayumi Hamasaki. I have yet to find a song of hers that hasn't had multiple listens by me, even if I claim I don't like it. I will still listen to it over and over, just to confirm that. Usually I'll end up liking it. Funny, that.

9. What is your favorite agency? avex trax, most definitely. Ayumi, Namie, BoA, AAA, Koda Kumi, Kato Kazuki, and now Maki Goto? Wow, they're lookin' to take over the world, and I'll go right along with that.

10. What is your favorite group/singer? Well, this should be an easy one for most, shouldn't it? However, I must make the distinction between group and singer. Garnet Crow is my favorite group. Ayumi Hamasaki is my favorite singer. Distinction made so I can provide two answers to one question.

I should be in bed. Now I'm up listening to old Slayers songs.

avex really has a way of turning its idols into tarted-up, high-dollar hookers.

I am just sayin'. I'm not sayin' I disapprove, I am just sayin'.

Icon is appropriate.

PREFACE: Those of you close to me have heard, no doubt, whether directly or indirectly, that I've been staid from blogging due to a finger injury. Well, I'm writing this little bit of nonsense in a rare hour or so of unbandaged glory, while my finger is still board-straight and not prone to danger, but I don't have a pesky half-ton of splint and gauze weighing down my dominant hand.

So AiWish wrote an article that really got me thinking, about things I've thought of again and again. Remarkably, it's not so much the argument about Japanese wota being batshit crazy that taps into my blogger urges - I'm in full agreement that these guys are almost unilaterally creepy and overzealous. Even when I consider the "older" Western wota that I know personally or semi-personally, there is no way they come anywhere near the infamous dudes on the Berryz wotagei video.

What sparks my interest, rather, is the concept of "wota" being a subjugated term, much like "otaku" has become here in America over the last ten years. It's not even worth it, for the most part, to explain to the 14-year-olds in the manga section that otaku was and is a derogatory term in Japan. Don't bring up the murderer news story. Just smile and nod and hope they don't wreck the section so I'll have to come and re-organize it later. Those who know the origin and meaning of otaku either don't buy into it and politely keep their mouths shut over the whole categorization issue, instead using the more appropriate Western term "fangirl" or "fanboy", which is equally derisive amongst certain social groups but comes nowhere near bearing the stigma of otaku...OR...they feel the need to point it out to everyone who uses the word, along with pitch-perfect pronunciation. These are also the people who painstakingly correct how others say "manga", or, even more ridiculously, "yaoi", because lord knows there's a correct pronunciation for that...okay, I'm ranting. It's been a while and I'm working on a new book. Ray at least will know what I mean by that. Either way, we're still part of a fan subculture wherein a term has been propagated and reinvented by its Western wannabes (what? Americans, steal things from other cultures? No wai!). Now that the anime and manga fandoms have become phenomena here in the United States, it's unlikely to change the way up-and-coming fans view their newfound cultural identity. Having a cultural identity is part of what makes being a genre fan so much fun, especially in your early teens when life is one huge crisis after another. Even if you're worrying about whether daddy will buy you a Benz or a Range Rover at your Super Sweet 16 bash, being a teenager is nothing but drama. Trust me, I remember. I have really embarrassing journals to prove it. So, you don't really care about the history of the term "otaku" - you just know your friends are using it, the net is using it, and that's what you are. Search up "otaku" on Google, if you dare, and you'll understand if you don't already.

Such is how I feel about "wota". The word, not the people. If I were to go out on a limb, I'd say that the Wota propagation began with the AW/IW crowd. I would love to see it grow, but I'm not sure it will. J-Pop is still such a fuzzy area, even to existing consumers of Japanese culture in the United States. Idol groups are the biggest problem. Looking past the "pedophilia parade", as one coworker dubbed the H!P concert I was watching on YouTube at work, looking past the commercialization of young, attractive, scantily-clad girls...it's a difficult thing, I would imagine. As a young girl, it's easier. As an older girl - as an older anything - it's hard. Let's face it - it's nearly become illegal to have fun in the United States. Everything, even genre (almost especially genre) has to be SRS FKNG BSNS or else UR DOIN IT WRONG. God forbid I listen to Ayaya to feel happy to put a smile on my face before work, god forbid I do the Love Revolution dance to boost morale and look goofy in the process. I just don't see these things catching on with the OMFG SRS FKNG BSNS crowd of fans out there today. Bitches don't know 'bout J-Pop.

But enough of my curmudgeonly tirade, there. What I'm saying, dear readers, is this: in a culture where identifying yourself by what you like and what you do is the norm, we are wota. It's a subjugated form of the original term, yes, but we are just that. We're a subjugated form of wota. After all, the vast majority of us don't even have access to half of the things Japanese wota do. But we still enjoy our idols, they still make us happy, they still make us angry, and we still listen to the music. To follow the news and developments of Japanese idol groups, even casually? You're doing more than 99% of the Western population. You're something different, buckaroo. You're wota. So you're not waiting in line for five hours with a clutch of perverts for a chance to catch a glimpse of Risako, but you're this thing called wota nonetheless. What does it mean, in the United States and beyond? In places other than Japan, what does it mean to be wota? Well, I think we're laying down the groundwork for that, now. If we play our cards right, those of us who show pride and a modicum of self-restraint early in the stages of J-Pop's Western spread (and let's hope these are early stages...and that the fad doesn't die away and turn us into foreigners preaching the gospel of long-since-defunct groups ten years after the fact...) will influence the way things will go from this point forward.

Which isn't to say we're that important. Hooray! Five more people are showing a passing interest in Morning Musume! VIVA LA REVOLUCION! Still. What did I say before? Not everything is SRS FKNG BSNS, and that's not how I'd like wota to be seen in the non-Japanese world. Catfights, shit-talking, lots of things I could point out? At least we're not all drooling over pantyshots of Mai, but those things still turn me off from being a vocal wota - and have recently made me consider giving up blogging, and turning it over to the blogging maneaters. I'd like harmony, balance, and a genuine loveliness that just can't be defined. Wait. I'm talking about the Golden Age of MM.

Maybe that's a nice guideline, right there.

Ever read The Outsiders?

Be Golden Age, Western wota. Be Golden Age.

Now the splint goes back on, and I shut up for another stretch of time. I'm sure some of you love that part. ;)

I know this first bit should go on Date Kouji Can't Stop Crying, but humor me. This is a BFD.

Well, a couple of days ago I chanced to check the Official Prince of Tennis Musical Site, and I was at first excited beyond all comprehension to see a new cast list up for Hyotei - mostly because several of my boys were returning. I could have predicted that Kato Kazuki, Takumi Saitoh, and Date Kouji would not return (though I don't get why no one can see "no reason why Date isn't returning" - EXCUSE ME HELLO HE HAS GIGS, TOO. Just because he isn't an avex superstar-in-waiting like Kato doesn't mean that he isn't playing the little clubs and DEAR GOD I WANT TO SNUGGLE THAT BOY), but I could never have expected the ***DRAMA*** that played out in relation to their replacements. OK, just one replacement. Apparently Oshitari's and Date's replacements were well-received by the Japanese fans. The English-speaking ones didn't seem to have THAT much to say about them either - only lamenting that the old guard wasn't returning. But Atobe? Oh my God. I would never have expected this, but it happened: A CAST MEMBER WAS KICKED OUT OF THE PRINCE OF TENNIS MUSICAL because of what bordered on fan REVOLT. He was cast for nepotism, I hear on the grapevine, and he's been a bad boy who's been photographed doing pretty much everything Kago Ai has, only with the opposite gender. >__> And he's only 16. Not to mention, fan revolt was mostly over the fact that he was...well...not Atobe. "They kicked him out because he was ugly" many fangirls have espoused, though this is not entirely true. He's a cute enough kid, but "cute" is hardly the embodiment of Atobe Keigo. I'm just sayin'. So, in what was perhaps the week's greatest upset, A-no-be was booted from the TeniMyu cast rather unceremoniously. The official website APOLOGIZED for the inconvenience, in a way that sort of made me think "sorry about that whole Atobe mess, we promise we'll try to get it right next time." nicovideo clips read of multiple thanks and expressions of relief for this decision. Ouch. Poor kid.

Now that you've read all that (or haven't), on to the reason I really opened the UPDATE window in the first place.



They changed the High King video.

NO YOU GUYS I'M TOTALLY SERIOUS THEY CHANGED IT. And they took out one of my favorite parts (Reina's cute little "juunichi" camera hog replete with spinning inside-the-platform point-of-view. That whole sequence is gone. Well, Hell. That was half of what made the PV sparkle for me. Not just Reina, but the whole look of that sequence.

STOP MESSING WITH PV's I ACTUALLY LIKE, UFA. D: D: D:

Or, How I Learned to Stop Worrying and Love C/C



The actual guise of a PV review is just a cover for the fact that I want to say a few words about this song. Now, Tsunku knows what makes good music, but oft-times he'll throw in a few elements that destroy the broad picture. With 'C/C', I think he finally manages to get it right after a long spell of "almost, but not quite". It's not the main hook, although that is wonderfully cliche R&B made for mass consumption at its best.

It's the chorus. How the beat suddenly changes, how the quality of the vocals shift (and the vocals are already pure quality - every girl on this single is made of win), how the tango rhythm is punctuated by the minor key transitions of the girls. That sort of thing, musically, burrows under my skin in a very pleasant way. This could have easily been another 'Kowaranai ai ga Hoshii no' (it even has the "YES YES YO!", though only a few embarrassing exclamations of "COME!") or 'Suki Sugite Baka Mitai' (super-group, anyone?).

The blend of voices is just superb. The more mature-voiced girls are complemented by the "kawaii" ones. as for the PV, if Takahashi Ai could stop fidgeting with her face and hat for about five seconds she would be pulling off something genuinely sexy. Reina needs something other than those ponytails. Saki, Maimi, and our new favorite Egg (except Sayaka. Sayaka is still my favorite) need more screen-time, but look fabulous.

My favorite part is how the camerawork breaks down the old "spinning platform" thing at the 3:00 mark - that's very well-done. And Reina brings home the gold star for her ultra-cool and ultra-kawaii treatment at 2:40. Most people will call that camera-hogging. Those are the Reina-haters. Watch for them.

To be honest, I was hoping for a more dynamic dance. This has its moments, certainly, but the old 'Krishna Arms' gimmick is getting old (though I like how they handled it in this, better than 'Resonant Blue's take). I mean, these girls are all AMAZING dancers, right? Oh, well, we can't have it all.

All told, I can't stop listening to this song. and I really hope 'High King' isn't just a one-time deal.

I think, or at least I would like to think, that my reaction to Brian's survey, without even the context of writing, says all that needs to be said about my reasons for blogging. I've found myself thinking about these questions, my answers, the existential purpose of me as a beautiful and unique snowflake in the blizzard of blogs, off and on since he posted it. The prospect of finally typing up my answers gave my pause, but it also made me smile. I knew I couldn't plan ahead on the whys, because I find that my fingers have a bizarre habit of typing whatever they damn well feel like regardless of how much forethought I've put into whatever I'm writing. This explains my consistent tangents. Case in point, now.

This is for Brian, but it's also for me. If other readers and fellow bloggers may derive some edification or inspiration from it, to whatever end, I'll be doubly satisfied. These are things I think about occasionally, but never for too long. Only when the chips look down on the personal end and I decide to take it out on my outlets. So, onward with the soul-baring.

I want those Sharks With Lasers on Their Heads.

 

 

Sorry for stealing your line, Ru. >__> This PinkCast presented without comment, because why would I record something if I had the presence of mind to write an article?

I'm currently obsessed with Sayaa-kun, but that seems secondary to my obsession with Robert Downey, Jr., which was around before Iron Man, THANK YOU.

I recorded this yesterday, on my day off.

TRACKLIST
x 01 x Aiko Kitahara x Little Honda x
x 02 x Morning Musume x Wagamama x
x 03 x Ayumi Hamasaki x SURREAL + evolution + SURREAL x
x 04 x Shuntaro Okino x Cloud Age Symphony x
x 05 x Hyotei Gakuen (TeniMyu) x Koori no Emperor II x

PinkCast 05

[ DIRECT DL ]

...make this one it.

I sort of jest...but not really. As the concert that took place just a few days prior to the press release announcing Ayumi Hamasaki's diagnosed deafness in one ear, Countdown Live 2007-2008 10th Anniversary, it sort of makes sense that watching this made me wonder where Ayu had gone and what they'd done with her. Who was this woman singing? Trying to sing? I didn't know.

On May 9th Ayumi's Official Website (look at them making an English page for it. Bless, they try so hard) announced the upcoming release of the CDL 07-08 DVD. The DVD version of any CDL concert is always interesting to compare next to the "live" television airing, as the vocals are usually cleaned up and the direction is almost always better. But I will be most intrigued to see what they do with this one. It was a lackluster concert, at best. 'Together When...' and 'untitled ~for her~' were definitely the stand-outs. Some of the stagings were very innovative and fun, especially Ayumi in a leather Catwoman costume for the coda of 'Ladies Night', but there is a give-and-take between showmanship and vocals. Her vocals were, for the most part, atrocious during CDL 07-08. She started off about a quarter-note off in 'talkin' 2 myself' and rarely recovered. I was so shamed, watching the concert I'd personally hyped like a well-paid shill, that I daren't breathe a word of it at length on Pink Wota. Well, here I am to tell you: not the Ayumi DVD you want to buy. If you want to see a great show, pick up her Tour of Secret disc set.

Or, if you're a completionist/masochist like me, you're going to go ahead and get this one anyway. After all, it does have Ayumi in a Catwoman costume. The price is way too much for something like this. For ten dollars more on YesAsia you can pick up the stunning Countdown Live 2004~2005 - worth every penny, that one.

I also note, with no small amount of amusement, that every shred of CDL 2007-2008 has been stripped from all my usual internet streaming video sites. Not that I blame avex at all.

But here's someone - a die-hard fan, at that - telling you it's a trap.

This is a few hours early, but I don't think I'll remember to post it tomorrow. Also, I posted it VERY early, one month ago today. Ray saw it. The rest of you who did: heh, sorry for the false alarm. This is the real deal.

Funny how time slips away from me. By this time I'd already wanted to get pinkwota.com completely set up on Wordpress. One year ago, Ru and I decided to make this little blog and post rotating reviews and/or good J-Pop downloads to share with our friends who might not otherwise have the desire nor the access. We both started off with nifty little articles chock-full of downloads, and already the potential for our combined J-Pop love became apparent. Now it's a year later. I've gained so many friends, we've all gone through so many things, our Pink Wota family has grown by three other bloggers, we've had guest bloggers, we've seen International Wota's first birthday, we've seen Eggs go solo, units disband, singles fly and singles flop. I've called things wrong, I've called things right. There have been arguments, there have been laughs.

I've done a lot of things around these internets since I first had my 28.8 Prodigy connection back in 1996, but I can say that in all that time not much has been as rewarding to me as a writer and a fangirl than Pink Wota. Sure, fandom is fine in any capacity, but unless you're writing it purposefully with the intention of changing the names later (>__> what, who's doing that? Not me), fanfiction always leaves an empty feeling inside, no matter how much you might love it as your work. I love my work for Pink Wota, and I want to constantly make it better. For myself, as a writer (especially with the advent of Intl Wota Press, which may be my first ticket to true publication. Because this novel doesn't seem to be getting edited. I'd make a joke about a layer of dust, but I wouldn't actually be kidding), and for the readers.

I really hope you all enjoy what's gone on here at Pink Wota v.1. v.2 is on the horizon, mostly because LiveJournal's Domain Aliasing technologies are terrible and I'm not paying for pinkwota.com without any thoughts toward expansion. I may even brave the waters of blogging sites I'm unfamiliar with. I do so hope you'll all follow me when that time comes. Pink Wota's LJ will remain open and active, unless all my fellow bloggers decide they want to follow me with accounts to update on Wordpress (where you can currently find the parked post heralding Pink Wota v.2).



...no cupcakes, sadly. No time for even making a suitable dinner for myself. Grand Opening is tomorrow. Ganbaremasu.

Usually I will hesitate to include a blatant use of profanity anywhere in my articles, most especially in the title, but there just seems no other way to say it. I've been gone for a while, pulling between 60 and 70 hours each week for the last month or so. Our store is open now, and Grand Opening festivities begin on Friday. I thought I'd take this little bit of downtime to mash out a new article. I've missed blogging - it's been calling to me, amidst the endless stream of work/sleep/eat/shower/work ad nauseum. Sure, I've been able to sneak in the odd Guerilla Wota moment - I convinced my first "regular customer" at our Mix 'n Burn station that she had to download Utada Hikaru's version of 'Fly Me To The Moon', and the woman (no less than 55, I'm certain, and a fan of torch songs and standards) ended up asking me to burn a mix of Clazziquai, w-inds., and Orange Pekoe (thanks, Wu!) after I gave her a listen on my iPod. I still have to make that CD, and I don't know how many laws I'll be breaking in the process. Maybe I'll meet her at Panera Bread for the drop-off, I don't know. I've been making sure to face out our copies of Shugo Chara!, though that's far more under the radar than searching up Morning Musume imports through our special order system.

All that is interesting and all, with the capability to hold my attention for days at a time while I don't have internet at my disposal, but not having anyone to fantard with takes a lot of the drama out of...well...wota drama. I can't believe how hard the news of Mutou Mika's departure hit me. She was the underdog, she was the ugly duckling who made me cheer for her despite all the fan-ribbing. And we only ribbed on her because we loved her, right? (You'd better damn well say yes) This was the blow I couldn't understand. I was just as baffled by the hyperspeed move of Manoeri from Gatas to soloist, but with her overwhelming popularity I could understand UFW trying to cash in on the possibility of having another successful soloist after lo these many years and lo these many scandals. Why baffled, why gobsmacked by restructuring within Ongaku Gatas?

Because, futsal gimmick aside, they had potential. I don't say this just out of a biased loyalty to the unit boasting both Yossie and Rika. I say it because their first two singles really were on par with the Big Three of Hello!Project. I go back now to my dear Wu's December post on OG and wonder at how prophecy may have been spoken in that article. Maybe the early album was too much too soon. I look at the line-up that produced NKnBELL and Yattarouze! now and I just can't stand to imagine it without Manoeri or Mucchi. Even though I never got around to a proper review of 1st GOODSAL, my thoughts were proliferated as best I could through the blogosphere - I considered it mediocre. I listened to it and thought "my girls can do so much better than this". I could easily imagine every track being as catchy and danceable as their two singles, but it's just not what happened. To be honest, I haven't even given the whole album more than two or three listens. Which also probably explains the lack of a review. But um, anyway, back on track.

Wu was right. There was a certain intrigue and romance about OG in the beginning, as wota went crazy for Manoeri and I marvelled at KonKon's puffy face being GoneGone (though her voice had improved markedly) and everyone's legs being just amazing.

Pull OG's fan favorite, and its fan least-favorite (though I really do believe all the hate-ons for Mucchi were in jest, for the most part. Who remembers when Tsuji was considered "the ugly one"??), and just watch what happens? Is that the plan, here? I really don't know what the future holds for Ongaku Gatas, but we know a few things for sure: Mai won't be spearheading a new Country Musume (and, frankly, Ayaka's auspicious graduation has me worried if they're on a "get rid of the last vestiges of the Golden Age" kick...) and Rika doesn't have her hands full with v-u-den anymore. This leaves four "major" H!P idols with not much else to do (exclusing Elder Club concerts) and four promising Eggs with not much else to do (excluding backup dancing). I'd have thought the sudden loss of two members would have meant a sudden push with a new single, a new concert, something. But maybe they're biding time on OG. Is it too late for that?

I can't find a suitable answer, and it's too trivial in the long run for me to think about it too much, but I want OG to be in the big leagues (sports pun unintentional, though damn I'm good). They've already got big league talent, and some big league potential. Even without Manoeri or Mucchi, they can and will persevere. But where do they fall on UFW's Priorities List? I'm sure there is one, and right at the top are things like "Release More Risako Photobooks" and "Keep Denying Eighth Generation Photobooks" and "Make HaroMoni@ Less Appealing". Maybe somewhere on there in a scribbled in suggestion: "Market Ongaku Gatas???? Maybe???", but as far as I know that might be under "Remember To Lock Koharu's Padded Cell at Night". Hmmm, now that I think about it, that has to be a pretty big priority. Maybe there is hope, after all.

If Buono! are out to beat me up, take my lunch money, and have me come crawling back for more, on the metaphorical fangirl level, then they just keep on landing punches. On the metaphorical fangirl level. I've been a busy bee these last couple of weeks, but today I had occasion to check out not only the PV preview, but also the full radio rip, for Buono!'s newest single, Kiss! Kiss! Kiss! (which I've already pre-ordered, of course) (that's where the "steal my lunch money" bit comes in).

I mean, the song is good enough as it is. Catchy, pure Buono!-style, complete with great vocals, arrangement, and a rockin' chorus. Oh, and Momoko's irresistible "Ai~shi~te~ru~!" Thank you, Momoko. I need to be told that as much as possible. :3 If that wasn't enough, the costumes are out of this world. Holding to the "seifuku-gone-punk power" theme that Buono! seems to be adopting, we've got a ties, oh boy have we got ties. But it's not quite that simple. Airi's rockin' an unexpected newsboy hat and suspenders complete with FLAIR, and all of them are bangin' out hardcore in the "close-up" shots.

But. But. Wait for it.

This song has harmonica in it.

Lo! I am raptured!

I think something must have happened to me in a past life, or possibly before I can remember...but no matter what, if a harmonica is involved in a song, that song usually gains a few points automatically. Usually. I'll perk up like a dog to a kettle whistle, get all doe-eyed, and go "ooooo!" But, like all things, the harmonica can be abused to oversaturate a song, but in the right genre sometimes even too much harmonica is too little. Why, yes, I listen to the blues. But I think having a fever and the only cure being More Harmonica came from listening to a lot of Janis Joplin and Bob Dylan in my youth. Dylan, mostly. The Beatles also had their notable harmonica victories. Simon and Garfunkel, too. So, you see, I zero in on the sound of a harmonica like JunJun zeroes in on bananas.

Buono! has the advantage of a harmonica inclusion that is not overbearing and not just a tease, and manages to be just right.

GO~! GO~! BU-O-NO~!

Also, I nominate this song, when written out with the band's name, to be the most gratuitous overuse of exclamation points in the well-known J-Pop library. I desperately want to be proven wrong because I crave the amusement, but I think four in a row sort of wins.

Or not.

This month's PinkCast (because I sincerely don't believe I'll get around to recording another one what with all the Grand Opening craziness coming up on us...) features an amalgam of old and new, J-Pop and American Indie and Brit Alternative and...okay, actually, there's nothing "new" here. It's all sort of dated. And I'm not sorry! How can you resist?

I wavered on whether or not to do a theme that used English-language songs with Asian themes, but when I figured out that, aside from 'Rains in Asia', I only really had 'Big in Japan' (Alphaville's version) and 'One Night in Bangkok' to choose from, I decided to shelve that idea. So I went with no theme at all. Bizarro Vee! Me do opposite of what normal Vee do!

I have some flash-lightening pink hair color to apply to my lovely Masae-inspired coif, and I also purchased a flattening iron so I can take proper care of the style. Finally, huh?

Hee hee, I'm listening to my Dream Live 3rd soundtrack and I am endlessly amused by how unexpectedly deep and sexy Hirofumi Araki's voice is. This is only amusing if you're familiar with what Araki looks like. For reference, check out the layout I did for ashkta, my idk bff/fellow blogger over at Date Kouji Can't Stop Crying. By the way, WE plan on doing a full-on running commentary to 'Boys Love' when she travels into town shortly...be on the look-out for that, it promises to be good times. Especially since it is, at it's core, a RIDICULOUS FILM.

OK, here comes the PinkCast!

x TRACKLIST x
x 01 x Rains in Asia x Jump x
x 02 x Yokushitsu x Shena Ringo x
x 03 x Lovestruck x Iko x
x 04 x See/Believe x Frente! x
x 05 x Call My Name x Garnet Crow x
x 06 x This is Cracker Soul x Cracker x

PinkCast 04

[ DIRECT DL ]

P.S. - One error - the "dicking around on guitar" quote is from Mr. Show with Bob and David, not MST3K. Bad me!

Raid asks, and I answer. In his latest entry, he makes a compelling argument for the three singers he would marry based purely on voice. After explaining his choices comes this little nugget of why I love the blogosphere: "That said, I'd love to see some other bloggers' own views on the matter. ... Who would you guys marry based purely on voice?

Keep in mind, I am aching from head to toe, I really should just go to bed, but as blogging is something that gives me an intense rush of joy, I had to crank this one out. Raid, man, I just can't resist a direct address.

( The answers may surprise you! Or maybe not. Depends on how well you know me... )

...now I'm so tired it's not even funny. But, there you have it, Raid! And anyone else who might care.

Well, ten hour shift of unpacking and shelving is imminent tomorrow as Panama City Beach attempts to open its first Borders store, with yours truly at bat. It will be a fantastic hotspot for literati and just plain cool people. On the downside, I'm weary to my bones from yesterday's sort, but on the upside I'm really hyped to get stuff done. I don't know really, why I'm opening a Pink Wota article with a lengthy treatise on my own state of being, but in my most Garrison Keillor of moments I like to pretend that I can mix my personal with my objective blogging and something great will come of it. Hopefully this will not be people just scrolling past my introductory paragraphs; hopefully this will be a little way to bring you all inside my head, to show I mean it when I say "comfort blogging".

I was feeling very down and out about Pink Wota this week. Maybe it was just a lack of serotonin, or a lack of adrenaline, but suddenly it seemed like I couldn't, and didn't really want to, keep up with the crowd. Celestia said pretty much everything I wanted to say regarding the Resonant Blue Another Version PV, except this: Sayumi and Eri aren't exactly resonating sadness when they're having a ball at the amusement park. :\ It just seemed out of place. Everyone else seemed sorta lonely - even the Pandas. But Sayu and Eririn? Just chillin', eating ice cream. "Oh, I'm sorry, were we supposed to be resonating sadness? Okay, we'll just glare at the camera, here."

And yes. Koharu more than makes up for making me want to punch her for smiling all through the Dance Shot by being smoking hot in the story footage.

Thus, finding not much to say about current events in the J-Pop world - and learning that one of my longtime friends is going to be in Japan with the JET program for Ayumi Hamasaki's 10th Anniversary Tour (and has more or less promised to bring me back swag of epic proportions) - I find not much to do here on Pink Wota. Just a slump, just a slump.

What lies beneath is an article I've been kicking around for a month or so. It's not much, but I like to think a good retrospective is nice once in a while.

No secret that Melon Kinenbi's This is Unmei is one of my favorite H!P songs of all time. No secret that I practically worship Masae Ohtani and modeled my new split-level hairstyle after one of her many incarnations. No secret that Melon Kinenbi is just fantastical.

But what struck me as I started to stalk YouTube, watching performance after performance by the group (spurred on quite a bit by the live-footage PV of Charisma, Kirei, is that they work more effectively than any other H!P commodity as a live act. I don't mean this in the arena sense of "knock your socks off" showmanship, not really. Morning Musume, Berryz, C-ute, Ayaya, Gomaki, all have put on amazing concerts and cannot be discounted as things unforgettable by fans who have had the pleasure of seeing them in person. But Melon Kinenbi brings a more dressed-down, "club" feeling to their performances. This translates very well onto DVD. Most notably in their recent fan club release, ~LOCK ON!~

So I began to compile the live clips I could find of my favorite Melon Kinenbi song - This is Unmei - in order to extoll the virtues, the evolution, and the mystique behind Melon Kinenbi live.



( Unmei dakara... )

So, are we not supposed to be staring at their asses?

I'm not complaining. In fact, I'm having a bit of a crisis, here. The "image" of C-ute was already starting to shift to a more mature one with Tokkaiko Junjou, only to be obliterated by LALALA Shiawase no Uta. Now, with Namida no Iro, they are rocking the sort of smouldering sexiness that U-15's are far too good at pulling off, sometimes. Even Morning Musume's having a problem pulling this off lately. But, if nothing else - even if the debate of "is this too sexy too soon" consumes the blogosphere, I'll make two things known now:

1) I like the sexy C-ute. Nay, I LOVE the sexy C-ute. They seem more at home with this PV and with Tokkaiko Junjou.
2) If nothing else, these next few months should be magnificent for Hello!Project sales. There are passionate fans for every upcoming release - this, Anataboshi, Resonant Blue, Nannimo Iwazuni I LOVE YOU...an EPIC second quarter for H!P seems evident. At least, I can hope so.



Maybe it's my big sister complex kicking in and they're not as sexy as I see them, or maybe I'm a dirty U-15 pervert in disguise. Whatever the case, they manage it with demanding poise. Does that make sense? Take a look at the PV. They're dancing their hearts out (no knee-flapping or goofy moves in sight...), rocking wonderful costumes, and everyone (even MaiMai D:) seems to be saying, with her eyes, "bring it on". Oh, C-ute. You are working your way up my Hello!Project favorites list steadily and surely. True to the most optimistic speculations across the blogosphere, LALALA Shiawase no Uta seemed to just be a wrinkle in the C-ute fabric. It's almost (almost) safe at this point to assume that Berryz is being marketed now toward the safe, fun, charismatic "Golden Age MoMusu" crowd, and C-ute is playing right into the hands of the current J-Pop market. Which is fine by me. That the Kids groups seemed far too similar in the early couple of years was troubling, but I think here in 2008 they've finally discovered identities - or UFA has shaped them into those identities. Or maybe I'm just wildly speculating. Or maybe I'm just so excited about how cool this PV is that I'm going to try and spin some sort of credible yarn into my review without just slobbering my fangirl all over the page.

All that said, let's talk presences. Maimi (and her ass) is the Number One draw, as usual. And she deserves it. She looks absolutely stunning, sounds absolutely stunning, and...is Maimi. Is it just me or does it seem that she's grown about three years since we last saw her in that horrid pink furry chicken suit PV? Airi is, again, a force to be reckoned with, but much like my beloved Koha of Morning Musume, my beloved Airi of C-ute just doesn't seem to know when to turn off the kawaii and go for the kakkoi. She's stellar, vocally, as usually, and her ass looks great, but she's just a tad too happy-looking. This is not a happy song. It's not like she doesn't look great with a more sorrowful expression - past PV have proven this. But when she's singing, her whole face lights up. It might just be me, but it seems incongruent with the song and the rest of the images. Erika is the surprise winner of the PV, with numerous close-ups and a kickin' hat. MaiMai still pisses me off just a tad, and if I had any complaint about this PV she'd be it. But, I take C-ute as a whole, and she's part of the package. When she grows up by a couple of years I'll probably love her. Nakki, despite an unfortunately-screenprinted t-shirt (thanks for the free advertising, but this is a video about asses), looks downright fabulous and icy cool in something I would've worn while I was in high school (and probably did, with a different graphic. I'll try to find photos. That hat is just TOO familiar). She gets her fair share of screentime, as well.

It doesn't matter to me that Kanna and Chisato are shortchanged in the screentime department, because Chisato (my sentimental favorite, if you know me) just SHINES in this video, with a calm, mature radiance I always expected but never...prepared myself for, I suppose. If I could stop talking about these girls' costumes for a moment, I would, but I can't. Seriously, Chisato's outfit has to be my favorite, with the rad off-the-shoulder sweater, the single fingerless glove, and those boots. They're finally doing her hair right, too. She looks like a mini-me of Ohtani Masae, and I could only hope they'd follow this "punkish" image forward with her. That's just me, however. Every moment she's onscreen, she's completely in control. Kanna doesn't have the same sparkle, probably because they stuck her with the most unfortunate costume. Oh, well. Ass check? Terrific. This makes up for it.

What a great PV, what a great song. The lighting, the staging, the dancing, the screentime given to every girl - it all seems to be the antithesis of Resonant Blue (though I loved the dance on RB...I seem to be alone in that department...T___T). I'll quickly cast my vote for Namida no Iro (so help me, everytime I type that I want to type LOVE Namidairo!!!) having the best dance of this round of singles. The PV is a toss-up; are we even considering Dschingis Khan with this round, since it's already been released? Regardless, the styles are SO dissimilar, it doesn't matter! Berryz wins in their own way, C-ute wins in their own way. An ulcer that was threatening to form over my divided loyalties regarding the Kids groups has calmed, finally. Because they are now markedly different...if only UFA keeps this up.

( Now...tons of screencaps, with commentary!!! )

In light of the recent Avril Leviathan (nope, I'm not a fan)/Puffy AmiYumi collaboration news, I thought instead of writing what would basically amount to an article agreeing with six of one side (I don't think Avril Lavigne is a talented songwriter by any means, and it sort of cheapens Puffy in the eyes of a lot of their longer-established American fans) and half a dozen of the other (Puffy will be able to say they have more to their name on the American cred tip than "Teen Titans", Avril is probably a fan like the rest of us and, you know, good for her in some way), it would be more productive (and fun!) to write an article about American/Japanese musical artist collaborations I'D love to see.

Of course, this whole thing is just a flight of fancy. But shall we just agree that Max Matsuura reads my blog, and might get an idea from this? And, hey, this is an open invitation for a blogosphere-wide dialog on Dream Collaborations. Because, of course, everyone has their preferences!

( My Top Five Pipe Dreams... )

If you've been around these internets, which most of you have, you know about the RickRoll. If you didn't know about it before April Fool's Day, you probably know about it now, because many a website used the RickRoll as their weapon of choice for Poisson d'Avril. Now, C.J. and I agree that Rick Astley is a pantywaste. Not that I hate the song entirely, because it has that certain old-school charm about it that always makes me groove in an absolutely ridiculous "I KNOW I look like a weirdo" way. So, C.J., being the genius he is, falsely led us all under a cut on his LJ to premiere...

The Buono!Roll.

While most internet memes of the Japanese variety have been borne of anime and otaku culture, and usually draw upon existing derision of said meme (see Sayonara Zetsubou-sensei, Motteke! Serafuku, and Caramel Dansen), the simple act of memeing is also known to pull in just as many legitimate, existing fans. Now people actually watch those anime!

...I don't want to get people watching Shugo Chara, I want people listening to Buono! and knowing that Hello!Project exists. For the first time, or all over again.

Maybe I'm just a dreamer. But I'm not the only one. Is it possible that, if enough of you Anon out there (THERE MUST BE SOME OF YOU), spread the Buono! word through, not pedobear, but a genuine Buono!Roll, some people who who never knew about H!P might actually take a listen?

What might come next? People checking out Buono's next single? Legions of devoted fans on /b/? Yuri eroguro fanart of Miya/Airi? (D:) Whatever the case, memes come and go like new J-Pop blogs. But it's worth at least a shot.

The concept is essentially the same as the RickRoll. Not much explanation needed there. That said, I heard u liek mudkips? (that's my homegirl kichara, there. You know I love it when you call me Big Poppa)

I suggest using this link if you want to initiate a Buono!Roll of your own: http://www.youtube.com/watch?v=dEW--Ro_kuw

Comments, concerns, thoughts on plotting to make this register as even a blip on the internet radar?