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Provided to YouTube by The Orchard Enterprises Gay Guerrilla · Julius Eastman · Frank Ferko · Patricia Martin · Janet Kattas Julius Eastman: Unjust Malaise ℗ 2005 Anthology of Recorded Music, Inc. Released on: 2005-01-01 Auto-generated by YouTube.

EP-4 · Album · 1983 · 8 songs.

「あれ？あなたってフィクションなの？」 ツヌグイの虫 食せば期待を来す まだ足りない あの波動はもう菜の花の色 宮のワゴン誘う パノラマの向こう あれ？あなたってフィクションなの？ 体ってそーゆー風に曲がるものだっけ？ 頭はピクセルだよん 裸が四方八方 ちょっと待って 片道 ここでグッバイ 新しい魂のために あれ？あなたってフィクションなの？ 体ってそーゆー風に曲がるものだっけ？ 頭はピクセルだよん 裸が四方八方 ちょっと待って 惑う和同開珎 しゃぶらなノイローゼ リアのキャノンがドン 窓から乗り込め vocal : 初音ミク music/movie : とろぉりぃ ( https://twitter.com/tororiUu ) @tororiUu

Joué par Marc-André Hamelin en live a Husum - août 2017 - , la "Vocalise Reminiscenza" (1994) du compositeur Ecossais Alistair Hinton( 1950- ) inspiré de la "Vocalise" de Rachmaninoff, oeuvre dédié a Kaikhosru Shapurji Sorabji.

「THE FIRST TAKE」は、一発撮りのパフォーマンスを鮮明に切り取るYouTubeチャンネル。 第457回は、フライング・ロータスが主宰するLAのレーベル、Brainfeederに日本人で最初の所属アーティストとなった長谷川白紙が初登場。 今回披露するのは、音楽シーンに大きなインパクトを与えた10代最後のリリース作品「草木萌動」に収録された代表曲のひとつ、「草木」。 長谷川白紙の研ぎ澄まされた感性で心象風景を具現化し、複雑に音が混ざり合う本楽曲を、「THE FIRST TAKE」ならではの緊張感とグルーヴが交差するスペシャルなバンド編成にて一発撮りパフォーマンスを披露する。 Vo & Keyboard: Hakushi Hasegawa Drums: Shu Akimoto Bass: Ryo Miyachi Percussion: Hitomi Aikawa Alto Sax: Kei Matsumaru STREAMING & DOWNLOAD：https://ultravybe.lnk.to/somokuhodo ■長谷川白紙 OFFICIAL Web Site: https://hakushihasegawa.com/ YouTube: https://www.youtube.com/c/HAKUSHIHASEGAWA X: https://x.com/hsgwhks Instagram: https://www.instagram.com/hsgwhks/ ■「THE FIRST TAKE」OFFICIAL Web Site: https://www.thefirsttake.jp/ Instagram: https://www.instagram.com/the_firsttake/ X: https://x.com/The_FirstTake TikTok: https://www.tiktok.com/@the_first_take Playlist: https://lnk.to/sfhklx THE FIRST TIMES: https://www.thefirsttimes.jp/ ■RULES 白いスタジオに置かれた一本のマイク。 ここでのルールはただ一つ。 一発撮りのパフォーマンスをすること。 A microphone and a white studio. And 1 rule. You’ve got 1 TAKE. ■STATEMENT 一発撮りで切りとる。 今という時間と、 今しか出せない音を。 THE FIRST TAKE この瞬間は、二度とない。 CAPTURE THE TAKE. THIS MOMENT. THIS SOUND. THE FIRST TAKE IT ONLY HAPPENS ONCE. Episode 457 welcomes Hakushi Hasegawa, the first Japanese artist to be signed to Brainfeeder, the LA-based label led by Flying Lotus. 1 TAKE performance of "Somoku," one of the representative songs from their EP "Somoku Hodo" which was their last release as a teenager. The conceptual EP shocked the Japanese music scene, especially with the track "Somoku" in which Hakushi Hasegawa attempts to visualize their emotion and thoughts. Enjoy this one-take performance of the sophisticated song with a special band arrangement that brings out the unique tension and groove of "THE FIRST TAKE." CREDITS ― Director/Creative Director：Keisuke Shimizu Art Director：Yo Kimura Copywriter：Hiroshi Yamazaki Director of Photography：Masato Moriyama DIT：Toru Miura (Spice) Camera Assistant：Koichi Yuri , Himari Minakuchi, Yuto Yamada (Spice) Lighting Director：Kazuhide Toya Chief Lighting Assistant：Naoya Imaoka Lighting Assistant：Kenta Nagai, Shota Moriuchi, Shunsuke Kikuchi, Akio Morita Stage Carpenter：studio noll Offline Editor：Tamaki Ide (FAB) Colorist/Online Editor：Junya Akahoshi Production Assistant：Kai Takaha, Nagisa Taki, Suzu Takano,Tamaki Ide, Nanami Sato, Yuko Gomi (FAB) Producer：Hazuki Hasegawa, Masato Kudo (FAB) Hair&Make: Sayuri Yuuki Costume Provided by noir kei ninomiya #THEFIRSTTAKE #長谷川白紙 #草木

► STREAM : https://f5ve.lnk.to/underground ► SUBSCRIBE : https://www.youtube.com/channel/UCV1YxS0AVPOrx_HDj9Pgt8Q?sub_confirmation=1 ► join the hi-5 fandom: instagram: https://instagram.com/f5ve_official x: https://twitter.com/f5ve_official/ tiktok: https://www.tiktok.com/@f5veofficial website: https://www.f5veofficial.com ☆ about f5ve ☆ f5ve are inter-dimensional dream agents from Tokyo, Japan. Their mission is to infiltrate the subconscious mind in order to eradicate self-doubt and negative energy. Utilizing their arsenal of optimism, confidence, fantasy, intelligence and female empowerment, these five women create surreal aural landscapes in which fear can’t exist. f5ve are the women of every girl’s dreams. ► VIDEO CREDITS: Directors: Charlotte Rutherford & Crystalline Director of Photography: Yechan Shin Production: Nakama Film EP: Anna Hashimoto Producer: Kei Honda Production Manager: Stephanie Kha Production Coordinator: Shosuke Sean Suzuki Photography: Crystalline Choreography: Riko Koyama Directors’ Reps: SN37 Agency Management: LDH Japan & ThreeSixZero f5ve Executive Music Producer: BloodPop® Chief Artist Officer: Maho Kuzuoka Artist Relations: Shunya Tanaka Logistical Mgmt: Momoko Otsuji Creative Director's Assistant: Adam Newcomer Post Production: Slips Studios Editor: Anthony Miralles VFX Artist: Cole Daly VFX Artist: Daniel Felipe Mangosing Post Producer: Helen Citlalli Shope Post EP: Andrea Aniceto-Chavez Color Grade: Yechan Shin 1st AD: Ryohei “Roy” Mizuno 2nd AD: Yuki Defago 3rd AD: Hayato Miyoshi Assistant to Directors: Marisa Suda Production Assistant: Yukiko Nagata, Sofiane Boucif, Maya Lowery Meal Coordinator: Mayuko Kodama 1st AC: Woochul Park 2nd AC: Jaewon Chang Steadicam Operator: Yechan Shin Video Assist: Chua Hao Jie / Gladsad Data Manager: Kengo Tsuchiya / Gladsad Sound Mixer: Mariel Lohninger Drone Operator: Steve Gaudin Gaffer: James Thompson BBE / Board Operator: Manabu Kato Electric: Wataru Yoshinaga, Katsumi Oishi, Go Ozeki, Takuya Nojima, Kazuhiro Fukuda, Miwa Taguchi, Moeka Onose, Yoshinobu Takeda, Sorata Oshima Key Grip: Yujiro Nishi / Wish Grip: Jun Hasegawa, Ayaka Shiba Prop Master: Tei Cheng f5ve Styling: Masako Ogura & Crystalline f5ve Hair + Makeup: Kiyomi Onuki, Rei Takamatsu, Risa Onodera f5ve Nails: Krista Jones special thanks to Diesel Japan and AMBUSH Casting Directors: N², Dai Araki Assistant Casting Director: Yusei Kano Location Manager: Hironori Togawa Assistant Location: Kenji Baraki Picture Car Coordinator: Bruce Yamakawa Dekotora Truck Coordinator: Hitoshi Hamada Picture Car Drivers (Fast cars): TOKIPAPA, Takashi M., illest Japan, Hiro K., Mint Japan, Hahiro, Kosuke Kawahara, Y.N. Picture Car Driver (Motorbike): Danying Liu Health and Safety Supervisor: Etsuko Suzuki filmed on location in TOKYO, JAPAN Song Written by BloodPop® & Emyli Song Produced by BloodPop® & Count Baldor Vocal Engineering by Damien Lewis Mixing by Austin Seltzer Master by Joker Logo Designs by Timothy Luke ► LYRICS: 毎日起きてコーヒーして 涙溢れないようなスマイルで マニュアル通りの生活で 死にそうなんだ　I just wanna escape Wanna go, wanna go, wanna go 太陽が眩しすぎて Wanna go, wanna go, wanna go プレッシャーに負けそうで プレッシャーに負けそうで 今から行こうよ Underground, underground ここから逃げよう Underground, ground なりたい自分にやっとなれる場所 皆で行こうよUnderground, ground チカチカ地下地下チッカ地下（はい!） カチカチな世界から地下へ（hey!) ピカピカピカピカ　チッカ地下 (はい!)　 ピカピカおニューなワタシへ (hey!) 毎日倒れるように帰宅 涙我慢してすぐ眠る 自由になれる夢また見る そして気付いたら朝が来る Wanna go, wanna go, wanna go 太陽が眩しすぎて Wanna go, wanna go, wanna go プレッシャーに負けそうで プレッシャーに負けそうで 今から行こうよ Underground, underground ここから逃げよう Underground, ground なりたい自分にやっとなれる場所 皆で行こうよUnderground, ground チカチカ地下地下チッカ地下（はい!） カチカチな世界から地下へ（hey!) ピカピカピカピカ　チッカ地下 (はい!)　 ピカピカおニューなワタシへ (hey!) 夕方16:30 まだまだまだまだ 早く出たいよ まだまだまだまだ アングラのドリンクはおいしくて 音楽も気持ちが良いの 今から行こうよ Underground, underground ここから逃げよう Underground, ground なりたい自分にやっとなれる場所 皆で行こうよUnderground, ground チカチカ地下地下チッカ地下（はい!） カチカチな世界から地下へ （hey!) ピカピカピカピカ　チッカ地下 (はい!)　 ピカピカおニューなワタシへ (hey!) #アンダーグラウンド #jpop #パラパラ #parapara

藤家渓子 (1963-) 《思いだす　ひとびとのしぐさを　――室内オーケストラのための》(1994) オーケストラ・アンサンブル金沢 指揮：岩城宏之 Keiko Fujiie [1963-] Beber -- for chamber orchestra (1994) Orchestra Ensemble Kanazawa Conductor: Hiroyuki Iwaki Keiko Fujiie's works to now carry an image of transparent reverberation. The melody on which the reverberation is structured is both slender and clear cut with a certain transparency. One sees Fujiie's rich imagination and strong composition skills in the various sound gestures that go to make up the clear-cut melody. For example, the Pas de deux for piano solo, while being just like the progression of the melody in a balletic work, is also light and jaunty. Perhaps the method of taking up fine trembles in the melody and not letting them go reflects the influence of guitar technique. Fujiie has composed various works for guitar, including a number of pieces for solo guitar commissioned by Kazuhito Yamashita, including The Bodrum Sea and To Far-Off Land (For Gabriela). These works are characterized by a range of notes, which, while being simultaneously minute and broad, move in a relaxed way. Suppose one were to become involved with Fujiie's music, it would be the very physicality of it that would produce a feeling of intimacy. In the latest work too, the expression is rich and there is a direct gesture in the sounds of each of the instruments, something particularly characteristic of Fujiie. On the other hand, however, no individual motif adds to build-up the gesture. Rather, one feels a jump in the style, expressed in fragmented melodies that could be considered to almost lack coherence. The roar of the brass winds is counterpoised with the tremolo of the strings and take turns with the placidic solos of the woodwinds. Amidst this are included fragments that closely resemble a new-vein music tradition, or closely resemble Mahler or Stravinsky. Furthermore, in the percussion section, there are reverberations of ostinatos and gamelan that are reminiscent of folk music. While one observes something of the collage method at work, the various points of departure are separate but come together to reverberate like crystal, which is characteristic of Fujiie. The piece can be said to be imbued with warmth, cold, moistness and dryness, in which an enormous yet very sensitive view of the world revolves at a startling speed. One recognizes that the image in the poem has provided an opportunity for the composer. The work evokes a pleasant sensation of a powerful "bursting out" from what could be described as the fairly "organized" musical context in which Fujiie has composed until now. This work received the 43th Otaka Award for Composition (1995). Yoko Narazaki (translated by Meredith Box)