Yoshiki (YoshikiOfficial) on Twitter
I’d like to help Japan anyway I can...
http://bit.ly/fqcSjP
8 hours ago via web
http://twitter.com/#!/YoshikiOfficial
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[NBC Los Angeles] Rock Star Yoshiki Auctions "Crystal Piano" for Japan Relief
Proceeds from the auction will go to quake and tsunami victims
View more videos at: http://www.nbclosangeles.com.
When Hello Kitty issues a likeness of you, you're a big deal.
So it's not surprising that when heavy metal musician Yoshiki and X Japan visited Hollywood and Highland in January 2010, they attracted some attention -- about 8,000 screaming fans.
From the LA Times:
With helicopters circling, the feathery-haired band members ascended to a stage atop the venue to lip-sync new songs. Guitars screamed and drums pounded; pillars of fire erupted from cannons. Technicians deployed fireworks and Hollywood Boulevard traffic was brought to a standstill for more than six hours in the name of a singularly Japanese brand of heavy metal thunder.
One component of that thunder will be auctioned to help raise funds for Japan's earthquake and tsunami victims. Yoshiki, who lives in Los Angeles, will auction his "crystal" piano.
"How fragile we are," Yoshiki said Friday at his North Hollywood studio. "Thousands of people's lives. I couldn't believe what I saw."
He said his band mates and family members are ok.
"It took awhile to locate my mother, but she is, thankfully, OK," said Yoshiki. "I’ve spoken with (band members)... and they are all safe, as well. I am praying for the people here who are still trying to locate their family and friends."
The band's first U.S. single was scheduled to be released this week, but that released was postponed.
Donate: Yoshiki Foundation
Follow: YoshikiOfficial
http://www.nbclosangeles.com/news/lo...118253544.html
[NipponProject] Yoshiki to auction off his "cristal" piano
Yoshiki, leader of the Japanese rock band X Japan, will put his favorite "crystal" piano on the auction block, donating all proceeds to help provide aid to the victims of Japan's earthquake and tsunami.
The custom-made, plexi-glass "Yoshiki Signature Piano by Kawai" with Yoshiki's name engraved on it, was used when the band played their legendary shows at the Tokyo Dome.
The Japanese-born Yoshiki, who lives in Los Angeles, felt the earthquake tremors while in a Tokyo recording studio working on X Japan's first North American album, and was shocked by the large-scale damage across Japan. "It took awhile to locate my mother, but she is, thankfully, OK," said Yoshiki, "and Iive spoken with Toshi, Pata, Sugizo and Heath, and they are all safe as well. I am praying for the people here who are still trying to locate their family and friends."
X Japan decided to postpone the release of their first U.S. single,"Jade", that had been scheduled to be released on march 15th, so that they may focus their time and energies on helping with the recovery.
In addition to raising money by auctioning his "crystal" piano, Yoshiki will collect donations for the Japanese disaster relief through the Yoshiki Foundation America, his California non-profit, public benefit corporation with tax-exempt status as a section 501(c) (
www.yoshikifoundation.com ). The Yoshiki Foundation has already donated to American organizations such as the Make-A-Wish Foundation of America, the Grammy Foundation, and St. Vincent Meals on Wheels.
點擊看圖
http://www.nipponproject.com/en/new.php?id=788
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個網update左好多野
Yoshiki Foundation America
http://www.yoshikifoundation.org/
Yoshiki Foundation America Message
Yoshiki Auctions "Crystal Piano" for Japan Relief
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Pray for Japan - ASIA GIRLS EXPLOSION
Condolence to Those Affected by the Earthquake and Tsunami Disaster,
I'd like to send my deepest condolence to everyone in the Tohoku and otheraffected regions, particularly those who have lost their loved ones.
And I truly respect and appreciate the hard work and passion of those working, day and night, to help, support, recover and rebuild the regions.
As a company with the most number of on-line women users in Japan, girlswalker.com and its related groups, Tokyo Girls Collection(TGC) and Asia Girls Explosion(AGE) committees are currently coordinating efficient reliefefforts and are committed to make every possible effort to assist the affected regions.
Again, my thoughts and prayers are with everyone, especially those inaffected region, for swift recovery.
March 12, 2011
Jay f.R
Webmaster
girlswalker.com
http://gw.tv/age/pray_for_japan_en.html
＜震災にあわれた皆様へ＞
このたび「東北地方太平洋沖地震」において、被害にあわれた方々に心からお見舞い申し上げるとともに、犠牲になられた方々とご遺族の皆様に対して深くお悔やみを申し上げます。
被災地においては、連日連夜、不眠不休で被災者救助や災害対策にご尽力いただいている皆様に心からの敬意と感謝の意を表します。私たち国内最大級の女性サイト「girlswalker.com」関連サービス、「TokyoGirls Collection（TGC）」及び「Asia GirlsExplosion(AGE)」実行委員会を通じて被災された方々のお役に立てますよう今後様々な施策を検討中であり、全面的に注力していく所存でございます。
改めて被災地におかれましては、一日も早く日頃の生活に戻れるよう皆様のご無事を心よりお祈り申し上げます。
2011月3月12日
Jay f.R
Webmaster
girlswalker.com
http://gw.tv/age/pray_for_japan.html
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[JaME U.S.A.] Asia Girls Explosion
live report - 03.17.2011 20:01
author: Leela McMullen
The anger and the sorrow of Asia trapped inside a small aquarium.
© Laura Cooper
Over 11,000 people poured into Yoyogi Stadium - an hour after the doors were scheduled to open, no less - and took their seats, both stands and arena buzzing with gossip and speculation. After an array of announcements made in English - “No flash photography” etc. - silence fell as the first models took to the runway flaunting kitgirl in skimpily sexy black and white. Designer Olivia Palermo herself wowed the crowd and shrieks resounded as HEATH (X JAPAN) sauntered down the heel-trodden path, long black hair loose about his white and black-clad self. Eyes were drawn down to his cuffed boots, bringing about grins of appreciation for styling so appropriate to the model.
Following the initial fashion exposure came a video to introduce the event. Anger. Sorrow. Asia. Aquarium. The words appeared on the screen as a typewriter clacked diligently away.
Asia Girls Explosion
Movie music from the early twentieth-century filled the ears, and footage of a Russian party full of politicians and high society dancing and socializing was flashed on screen. Then the sound of a ticking clock preceded a barrage of philosophical questions and statements.
“How much bloodshed does it take to bring about peace? Does fate need you or do you need fate? Evil can’t exist without good. Do you see god in the dark? Fashion eat fashion. Fashion is fascist? Stop chasing after Westernization. Stop chasing after truth. No holiness. No profanity. No F-word. No revolution.
“Anger and sorrow of Asia exists on the tip of the AGE runway. Anger and sorrow in Aquarium equals AGE.”
An explosion heralded the entrance of none other than Marilyn Manson embodying the nineteen-forties, smooth, sophisticated… and utterly dark in John Galliano. At first he acted the real model, but soon the Manson the world knew seeped out with unconventional rock poses, a two fingered ‘gun to the mouth’ and a strut that dripped disdain.
Following this celebrity appearance, the fashion show spanned twentieth-century men’s street fashion. Focusing on ‘style’ rather than brand, many familiar yet subtly and cleverly altered items hit the runway, such as a 50’s style Hawaiian shirt that on closer inspection heralded Japanese patterns instead of the familiar tropical flora. There were many typical and oddball stereotypes, including a traditional horseback get-up installed with a modern hood to fend off the rain, construction workers with controversial kanji taped onto their hard-hats, 80’s rocker fashion with checked pants, and even ‘homey’ fashion with baggy grey sweats riding low over hot pink boxers, not to mention a fabulous glittery red beret with studded denim jacket. There were Japanese stereotypes, too: silk ‘gi’ (traditional sportswear for karate), otaku-rock (geek rock), the more traditional otaku and a gaudy bright yellow leopard print jacket you might spot on an outing to Harajuku.
“Dad. Mom. Teachers. Friends. Well, what is right and what is wrong? Nobody taught me anything. What is real? What is fake? Nobody said anything. Who will judge the truth? What is fake and what is real?” The girl’s voice propelled the crowd back into the aquarium. At last the meaning behind the title became clear as an overhead panorama of Tokyo's nighttime skyline flowed over the screen. The dialogue grew more controversial - “Is there anybody controlling our global financial system?” - and stranger - “You can’t trap us in your little fish tank forever. We will break free from this tiny box.” - and utterly existential - “But hey. There is no such thing as an answer. This life itself is a process.” - before turning beautiful to contrast the profanity written across the screen. “Fuck it. The twenty-first century will be the coming of a woman’s world. Women will recreate and give it rebirth. That is how it should be.”
Japanese supermodel Ai Tominaga headed up the women’s collection with a feathery jungle/flower ensemble tied off with a festive Japanese rope as a belt. Among the outfits to appear in the modern section were both sweet and gothic lolita by Baby the Stars Shine Bright, as well as Stitch and Pikachu-themed costume suits and the ‘mori girl’ style of woodsy fashion. The stereotypes ticked back through the ages, exhibiting outrageous Japanese trends such as ‘shidora’ and ‘garuson’ down through a proper line of 80’s women’s work suits.
Breaking up the eras came a set by DJ NERVO. The Australian women took over the venue with tracks such as When Love Takes Over, which was performed by Kelly Rowland and co-produced by the Nervo Twins.
Immediately after the set followed the first highlight of the night.
Violet UK
On piano sat YOSHIKI, instantly embraced by thousands of voices. SUGIZO also graced the stage, adding the trills and screeches of his violin to the sound of Violet UK. In addition to her role of vocalist, Katie Fitzgerald fingered the strings of an enormous harp, the aesthetic appeal rare and lovely. The beautiful song ROSA was the theme song for the movie "Goemon," and despite the event doubling as the project’s Japanese debut, the crowd was well familiar with the music and listened, awestruck. YOSHIKI, revealed in a kimono nicely offset with a studded collar, finished the number with flair.
SUGIZO took over the crowd’s attention with a guitar solo, red flashes highlighting the intentional scrap-metal look of his instrument. Bringing the solo to an end, he crouched in a low, open pose. Immediately, the electronic intro of Blue Butterfly struck, YOSHIKI joining his companions on the lower level of the stage. He was tucked away behind a keyboard and only half hiding the guitar slung over his shoulders. Before long, however, he proved that the guitar was for more than display and stepped out to join SUGIZO. Behind them, Katie danced ‘cage-style,’ entranced by the club beat whilst the twin guitarists ripped away. An intoxicating, sexy atmosphere descended upon the stadium. The star of the evening even struck up his own guitar solo, taking off down the catwalk as he played, displaying the gorgeous kimono as well as his guitar skills before dashing back down the runway to apply fingers to keys and bring the number to an end.
One universal thought silently reverberated throughout the venue: Is there nothing YOSHIKI can’t do?
Kimono design was certainly on the list of things he could! Violet UK continued to play throughout the YOSHIKIMONO display as actress Kaori Momoi made her way out in a brilliantly visual modern kimono like nothing ever seen before. The collection was shaded primarily in black and white with elegant or sexy variations, with highlights and trimmings in red and gold. The obi (belts) were often fashioned from massive tulle affairs or solid silk cascades. Many pieces displayed sexily shimmering bras in a modern rebellion against traditional trappings. The stunning collection led into the remaining rewind through the twentieth century, resuming with 70’s trends and accompanied by SUGIZO on violin. The designs were primarily prim and proper but with a tight element, combining pencil skirts with long flowing silk sleeves escaping from a vest capped with a top hat. Sportswear, power suits, denim and head-scarves, all the nuances of housewives, rebels and strong and demure women alike were represented.
The steady flow of models trickled out and in their place strode a trench-coated, hooded figure. Slowly, everyone’s eyes widened as they recognized YOSHIKI beneath the hood. Flicking it off, he stood proudly before the cheering crowd, his piano rising to meet him at the central platform. SUGIZO faded out as YOSHIKI’s piano trickled in before the two settled into their second duet of the night. Every so often, YOSHIKI flashed a grin at the crowd, whose cries of adoration reached every corner of the stadium. The final display of fashion spanning the nineteen-fifties and forties took to the stage to circle about the maestro, though the crowd had eyes only for the stage’s central figure. Sober country club fashion with delicate straw hats and polka-dots sprayed in varying sizes on silk blended the best of period and modern, Western and Asian fashion clashed with the music wrung from YOSHIKI’s fingers. He continued, alone onstage once more, deeply involved in the music as he leaned over the keys or stretched far away from them. Wild and ecstatic expressions flitted across his face from one moment to the next. Slamming the keys and flopping like a puppet, he tore passionate screams from his fans. With a yell of his own, he smashed the keys again, thus cuing the final segment of the show.
X JAPAN
“I missed you!” ToshI screamed as X JAPAN took the stage and YOSHIKI stripped down. The vocalist began a series of yells that the fans picked up, matching his cries almost as if they hadn’t already screamed themselves raw during the earlier performances. “This is it!” ToshI warned as YOSHIKI appeared behind his drum kit for the first time that evening, now draped in a long, open black shirt. Born to be Free blasted off, the band’s playing style matching the loose, black-suited feel of their ensemble. Pata wore white silk cuffs rolled up over his black jacket and sported a new trimmed mustache and beard. Despite his earlier, gothic-cowboy appearance, HEATH now sported the feathers and hair-wax of his X JAPAN image. YOSHIKI grinned away through his drum solo, and SUGIZO soon matched him for enthusiasm by throwing his head into the music. An interlude accompanied by violin shifted YOSHIKI to his piano upstage for a ballad with ToshI. The vocalist paused here and there, holding out “away” before continuing softly. His vibrato rang out beautifully as YOSHIKI’s fingers ran across the keys. Then pianist turned drummer once again and the number ended on its original high.
An intense drum solo opening accompanied by jets of flame announced JADE just as clearly as ToshI’s scream of the title. As he sang behind his mic stand, YOSHIKI absolutely cracked it up on the drums; however, it was a fun kind of passion, not intense. In contrast, SUGIZO was all showmanship, spinning dramatically out of a mid-verse strum. All hands rose into the air to celebrate the powerful chorus. YOSHIKI grooved cheerfully to the guitar line after pulling off a drum roll. The number approached its end with another round of jetted flames on all accents. Shifting blue lighting throughout intertwined with the crowds’ waving hands to create an aquatic feel, giving the impression of silvery schools of fish in…an aquarium. In contrast to the peaceful image, YOSHIKI tore into the drums until the final accents, where the vocalist screamed “JADE!” once more.
Braving big bad “Producer YOSHIKI,” ToshI backed him into a corner, forcing the mic into his hand. Grinning sweetly, YOSHIKI addressed the crowd before confessing, “Being called ‘producer’ is embarrassing. Who’d have thought X JAPAN would have collaborated with a fashion show? But we’re V-K,” he added as if it should be obvious. He then consulted both the crowd and ToshI several times as to whether X JAPAN had played Yoyogi before, then spontaneously suggested that they should do so next time. He took it upon himself to make an important announcement, but overwhelmed by the evening, he gave up and handed the mic over to ToshI halfway through. Between their combined efforts, they announced that the new song Scarlet Love Song would air as the theme song to the anime "Buddha" in May. This had apparently brought about the sudden decision to play a longer version of the piece yet to be heard. “Will you sing it?” YOSHIKI entreated his lifelong friend and bandmate. “I’ll do it for you,” ToshI conceded.
As YOSHIKI tackled the piano, ToshI sang softly, and images of the anime provided a visual stimulus in the background. Then, a dramatic piano solo led into the repeating refrain of I.V. which the crowd swiftly picked up. ToshI pitched in here and there, enjoying the sounds rising from all around him before the build-up and hardening of the number brought the remainder of X JAPAN back into the fold, guitars all out and YOSHIKI behind his kit once more. Obviously on the ultimate high, he jumped up, bouncing before the verse. Meanwhile, ToshI sidled up to PATA, who wore a cheeky smirk, while SUGIZO thoroughly rocked out on guitar. HEATH became the next to receive ToshI’s attentions as the vocalist slung an arm around his shoulders. The crowd sang, aided by SUGIZO between the vocalist’s half of the lyrics. They poured their souls into it until ToshI cried, “Thank you! Let’s meet again! Bye bye!”
The grand finale saw YOSHIKI head back down the runway, smoke filtering about his feet as he played shyly with his hair and grinned at the crowd. Katie Fitzgerald entered upstage, singing I’ll Be Your Love. Meanwhile, Hollywood girls, supermodels, DJs and stars took to the runway to join YOSHIKI, embracing and teasing him, waving to the crowd and swaying to the music. Manson not only hugged the producer, but even kissed him affectionately on each cheek. Glitter fell from above as the evening’s models lined the runway and the central piano platform lifted even higher into the air, displaying YOSHIKI to all.
The stage cleared, and YOSHIKI executed an athletic hop up onto the piano where he basked in well-earned glory for a short while. The crowd released a unified breath of pleasure as a recording of Tears washed over the venue. Eventually, the piano descended back to stage level, and YOSHIKI jumped the distance before it even landed to walk the runway one last time. At the stage, he turned and bowed to the crowd before taking his final leave.
Not just a fashion show, not just a concert, not just a concept – Asia Girls Explosion is the beginning of a movement, one of those world-changing events that inspires new ideas long after its passing. We can only hope that the phenomenon will be repeated, witnessed and adopted by the world over.
點擊看圖
http://www.jame-world.com/us/article...explosion.html
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☆3月20日hide
●【災害関連】ピンクスパイダー、仙台公演は中止
詳しくは↓（BARKS）
http://www.barks.jp/news/?id=1000068419
http://www.hide-city.com/information...?id=1300434835
http://ox-tv.jp/event/event-detail.asp?pno=472
