Fun facts from today’s theory-crafting in /r/LoveLive Discord Voice Chat
It’s common knowledge that Aozora Jumping Heart’s animation was based in Yokohama Arena, which is the same site that Aqours went on to perform their First Live in. It’s also quite well-timed, that First Live was announced right after the first episode of the anime, aka when Aozora Jumping Heart was shown for the first time.
But upon further research of the locations, we’ve found out that two subsequent anime performances also take place in familiar locations.
1. Omoi yo Hitotsu ni Nare was performed in Numazu’s Civic Cultural Center, the same site where they held their summer event in Numazu.
2. MIRAI TICKET was performed in Nagoya’s Nippon Gaishi Hall. This will be the same site used for the first leg of their 2nd Live Tour.
It’s only speculation, but it seems like they’ve been tying in their anime and RL performances quite nicely together. We might potentially see Kobe’s World Memorial Hall and Saitama’s
Seibu Prince MetLife Dome take a role in Season 2.
The two main flaws with this theory is that one site remains unaccounted for: Toyosu Pit, where they held their Christmas Mini Live. And of course, the fact that Kobe’s World Memorial Hall is only a 8k seater which is a downsize from their previous performance. Still, a good chance that we might see these places show up.
They really are making all sorts of places pilgrimage locations aren’t they… (Not to mention the new 3rd Single which is all the way in Oita, far off in Kyushu..)
[STARCAST] Meet the Hallyu Star Lee Jong Suk who is fatally charming
- The Asian man who came out from comics, Lee Jong Suk, gathers total 20 thousand people for 5 countries and 7 cities
- Exclusive photos behind the fan meeting held with 3,000 fans in Thailand
STARCAST readers! How have you been?
For the fans who have waited long for Lee Jong Suk’s news, STARCAST has prepared a special gift for you! (Heart beating fast)
On last September, Lee Jong Suk started Asia Fan Meeting Tour and successfully toured in Japan (Osaka and Tokyo), Taiwan, Singapore, and Thailand! He went to 5 countries and 7 cities! (#He surely worked hart even he isn’t shooting any dramas)
‘2016~2017 LEE JONG SUK FANMEETING ’
Do you remember this? The previous fan meeting poster (#ThoseDays #LookingNew #A man with variety of facial expressions)
Uruha’s interview for ROCK AND READ #067 [part one]
RR: What are your impressions of the world tour, which took place from April to June of this year?
Uruha: Although this tour have become our third overseas, this time we went there with the aim radically different from previous ones. If in the past we went to show ourselves, now we have had a clear intention to bring the album DOGMA and make a live on its basis. If to discourse about DOGMA, we were interested to what extent amplitudinous can become this creation. We began to talk about the possibility of a trip abroad. And somehow it has turned out a challenge to ourselves. If fans, knowing the creativity of our group, don’t come to lives with our new songs, it will mean that we don’t move forward, don’t develop.
RR: Your world tour began with Central and South America.
Uruha: The inhabitants of this part of the world are still hot (laughs). No one knows how to arrange such a greate reception at the airport, as they do. Needless to say, that we were warmly greeted and in other countries, but not so widescale. However, that relates directly to the concerts, people in all countries had blast equally crazy. One feels that they come to enjoy what is happening on a stage with every cell of their hearts. And when this impulse comes to us, it gives us the strength to break out of our capability and to play according to this. This time we again made sure that only our energy is not enough to create such a great show.
RR: All artists, who were abroad, say the same. If to think with this point of view, then, as compared to a foreign audience, Japanese behave in a more “grown-up”. Therefore, during performances abroad Japanese bands always face with a fairly stringent conditions.
Uruha: Yes. When we played live in Toyosu Pit immediately after return from the world tour, we were insanely surprised. “How quiet is here!”, we thought then (laughs). This doesn’t mean that Japanese fans are not hot. But Japanese lives are somewhat similar to a movie theater. While the smoke fills the stage, everyone listens attentively to the entry. Abroad, no one pays much attention to it. All the time shouts “The GazettE!” resound, and the hall is full of the stamping of feet. In South America this ambience reminded us even a little fan’s behavior at football matches. Something like “Ole Ole!” (laughs). Intro before the performance just starts to sound, and foreign fans already shout down the melody, and it’s kind of like calling us to go up on the stage. And this, in turn, acts on us like a magnet.
RR: All this proves once again that live - is something that the audience and the artist create together… Well, after Central and South America the first time you went to North America.
Uruha: It is believed that the situation in the US is more complicated. Even if you are quite popular in Japan and has achieved some success here, the public don’t accept it so simple there. We constantly heard about it, and therefore we included the North America in the tour as a challenge to ourselves. In addition, they constantly said that even if to act in the States - on a small area. A bit harsh, isn’t it? Also there were conversations that in order to your name has become recognizable in the United States, you need to become close to the local organizer and play there at some fest. The fact is that if you don’t have some own know-how, and you just come to play the public wouldn’t accept you, and everything will be in vain. As a result, it’s easier to leave it.
RR: I heard that in the United States beginning musicians perform the opening act for more famous colleagues for the years, and only then their career gradually begins grow.
Uruha: I agree. On this tour we played in concert halls with a capacity of 1000-2000 people. We asked ourselves: and whether we will be able to fill them? From the outset, our stuff said, that even 500 people will be a problem, but 2000 at once… We worried whether it would be all right. And abroad, you can change a large concert hall on the smaller size,if suddenly tickets sold poorly (what is impossible in Japan). However, the local organizer has assured us that everything will be fine, and he booked a large club. Once we arrived at the airport, we realized that we didn’t meet fans crowd. How, then, we will collect so many people? And when we did it, were pleasantly surprised.
RR: It’s a good news.How did you like the concert in the United States?
Uruha: We had a lot of fun! The audience kept chanting “The GazettE!” all the time, and it was very hot throughout all the live. We absolutely hadn’t a sense that we play here for the first time. The fact is that America - a great place for entertaining. For example, the make-up rooms are always spacious, and some clubs even have basketball courts on the territory, trainers and machines for popcorn. Insanely fun. I’ve been playing games up to the appearance on the stage. So, during all the day of american live you just have a good time (laughs). The rooms also have LCD displays with excellent sound. First live was in Dallas Bomb Factory. It is a huge place with a concrete floor. It is not a suitable option for a performance, right? But there was a surprisingly high-quality acoustics. Although the sound was trembling, but it was tough enough. All this together has made a good impression.
RR: I believe that, having gone to America and having gone this hard way, you got a significant experience.
Uruha: It’s true. Whatever to take - climate, tradition or fun - there is a lot of difference from Japan. And not only a musician, anyone, getting this ambience, will understand what I mean. Personally, I liked Dallas.
RR: It’s great, when, and the ambience is good, and the live is exciting. This time you brought a lot of equipment?
Uruha: We reduced the amount of equipment to the necessary minimum. We used the offices of various companies; have leased them, applying digital processors as a guitar amplifier, which are also responsible for all of our effects. Respectively, to create a guitar sound it was enough to take only the processors and a laptop computer for their settings. But in order for the sound, which we originally wanted to achieve on the tour, the old version could be not enough. Therefore, there were difficulties, which took a lot of time to solve them. However, after we solved all system issues during live tours within the country.
RR: You already the third time travel abroad on tour. Giving a concert abroad - is this for you a ordinary thing or yet there is something special?
Uruha: Not very special. For me, such a trip more akin to a certain practice austerities (*a spiritual practice, assuming austerity and self-restraint). When you spend a world tour, you really plunge into the different sorts of an ambience, faced with various difficulties. Just the flights can be maddening! But such experiences temper you and your psyche. And also expands the horizons of your vision of what a concert can be. You seemed to absorb something what you never would meet in your home country. And, even though I now depart from the topic of conversation, but personally I’d love to go abroad more often.
RR: But if you did all your best in the world tour, would you have strength to play lives in Japan?
Uruha: Travels are a little exhausting physically. In South America, there was no air conditioning, and the live turned in a solid hell. Stage equipment was also different from japanese. If we play on a Japanese stage, we have a special system of bottom blowing air. And there it was installed, but such poor quality, that I wanted to ask: “It blows?” (laughs). And I also was injured during a Brazilian live. Among the various stage equipment there is, for example, a small podium (on which the musicians usually stand on during performances). And I asked such one. But the one that was given to me, was not completely fixed. Not knowing this, during of execution AGONY on encore, playing on the guitar, I jumped on it. As a rule, I never jumps on these things, but this time the energy from the audience was so mad, that I succumbed to it. So at that moment the stand overturned, and I hit my shin on the near corner. At that moment I didn’t feel great pain. I was more ashamed (laughs). But when I returned to the dressing room after the live, the leg became unbearable ache. The outfit at the site of impact, as it turned out, was torn, and the right leg was all in blood. The wound was deep enough. We even had to ask for help from a doctor of the club. He made me to drink two large tablets. Oh, those Brazilian drug (laughs). They are so potent, that when you drink them, you still feel sick for a while. Even you can’t drink beer (laughs).
RR: Foreign drugs have a very strong effect!
Uruha: Yes, they have. I have, by the way, the scar still. And also it was very hard in Taiwan and China, where there is high humidity. In Central and South America, as well as in the North, the air is dry, so it’s much easier tolerated. Well, except directly air at a concert, of course (laughs). And only in Taiwan we’ve got a classical concert hall for the performance. Audience seats seemed like went up, and the view from the stage was wonderful, that, in turn, a little unusual. Well, a real concert hall. Before, all the time we played in live houses, and here a completely different ambience. But we have been able to profit from it and play a great live. Also in Taiwan was a lot of cosplayers. And it was not even the GazettE cosplayers, but something seemed to be more on Lolita and anime characters. There were even cosplayers of other bands. In general, there was everything you want (laughs).
translation from japanese to russian by zhukovskayaliza.vk for vk_paradox
translation from russian to english by me
as always thx for reading and sorry for mistakes ^^
Today, May 11, at the United Cinema Toyosu is the advanced screening and stage greeting for the movie Double Mints! It’ll be right before the screening that starts at 7 pm! If you’re hesitating, please come!
But before that, I’m off to a certain preparatory meeting…A “certain” meeting…I’m looking forward to it :D I hope you’ll be pleased!
So I went to the event 10/23. It was short but fun! They did a bunch of talks, chose their favorite scenes, did script reading, and shiritori games, and sung with everyone the opening song. The entire event was kedaruge and done in a yurui manner. Almost like over tea. XD
Ono Kenshou’s fav scene was when Shiraishi was asking Oota if Tanaka-kun likes someone or depends on someone a lot. Oota 「俺か？！」he tsukkomis and also Shiraishi’s 「確かに！」was funny. Aoi-chan’s scene was the change of background where both sisters were wearing cat and dog outfit. Super cute ><
I liked a lot of things, but what was really funny was how everyone teased Iguchi-san by saying “So Iguchi-san, what is OO to you?” like 5x with stuff like “summer”, “listness”, “matcha” and random stuff and put him on the spot a lot. But it was really cute, and he also became the shiritori annyui (listless) master. I hope he gets more relaxed eventually (^ ^)
Okitsu-san did a lot of tsukkomis.
Also I sent Okitsu-san, Iguchi-san, and Aoi-chan letters. :D
Twas a fun short event. Even now, the OP is stuck in my head because the whole audience went “Lalalala lalala lalala” like 20x.