I'm Japanese, and I'm glad to know you are interested not only in Japanese recent music, but also in "Showa Kayo", which I like very much.

another great link between the two songs are their single covers, which are basically the same photo (young lady holding a glass, elbow on table, lamp on the background) but with AG's version being purposefully funnier with the smeared lipstick on Suzuka. I think that might be very obvious for those who knew of Furui Nikki before, but my mind was blown when I found that out.

Thanks for this. It is something that I would never be aware of on my own. It is heartwarming to see people using their talent and energy to lift up. So much of what goes on, or at least receives attention, is the opposite. Peace.

That was very intereesting, thanks! I didn't know about the references in Otona Blue, very fascinating. The performance with Wada was fun and heart-warming.

In some video, Suzuka said that she was listening to Yosui Inoue's ``Ballerina'' all the time. Speaking of Yosui Inoue, ”氷の世界 Kohri no sekai'' is famous as a super bestseller in Japan. Although ``Ballerina'' didn't have many sales, the song, arrangement, vocals, and lyrics are all wonderful, and I think it is a monumental piece of Japanese pop music. I think Suzuka has a natural talent for finding things that can be applied around the world.

Thank you, Professor, for making this all so much more intelligible. I had no idea of the connection. I love all your Japan-related content, especially Atarashii Gakko!

Professor, this is why you are the Govenor of Japanese rock, pop and light jazz ... to be truthful, I have seen multiple versions of Otona Buru and the First Take version was my favourite version of the song (and honestly, is still my favourite version of the song), even though you showcased some amazing footage of AG and Wada Akiko that challenges that status. This was fantastic. However, a slight sour note on the AG's and Wada Akiko's performance of OB, was that it reminded me of another kind of, sort of, duo performance between the master of a genre and the up-and-comers. Of course, I refer to Babymetal's collaborative performance with Rob Halford. In my mind, that was a performance that should have soared, but to me, fell a little flat. Whilst these performances are wonderful for preserving these moments, where newer bands honour the importance of those who came before them, at least AG dulled it down a little to allow their guest to fit in. I was really impressed with those girls paying respect like that. Another great video, thank you professor.

This was a great video. I love your deep dives into these groups.

I enjoyed and at the same time learned a lot from this one just like your other videos. Thank you so much sir. AG 🔥🔥🔥🔥 Suzuka 💗

Great analysis, thanks for recording this and sharing it with us. Every time I watch one of those, I appreciate the depth and all the angles you put into them.

That was a great mashup, I didn't know theY did that.

Brilliant analysis, thanks!

When "Otonablue" came out Japanese fans noticed the melodic and rhythmic similarity to Wada's "Old Diary". The lyrics aren't similar as such, though as you say they are thematically related. I watched that show and there was quite a buzz immediately afterward about how Wada sang out of tune and Suzuka made the adjustment. When Suzuka recorded "Otonablue" she had a photo of Wada before her.

Thank you

Спасибо

Thanks for this.

Great analysis, thank you for sharing!

Thanks a lot for this analysis. Your holistic aproach, especially the inclusion of the choreo, has again opened up new angles I did not see before. Is Ishikawa Saiuri the same singer that pioneered the use of "Sore" and "Washoi", which we now see in some Babymetal songs?. The mashup perfomance was brilliant. Apart from the self reference to the songs as you have described, Wada Aikiko rocking out at 73 is amazing. The moment towards the end where she - quite successfully - emulates Suzukas wide knee-bend stance blew my mind. So Atarashi Gakko look forward, Wada Aikiko back. Where would you locate Babymetal's Headbanger, which shares the theme of holding on to a moment? I would argue the "I" singer hurling herself towards the stage is right in the moment when the transition happens, in a way right in the middle between the other two songs.

excellent, and interesting. What is amazing ATARASHII GAKKO! becoming known, and loved here in the U.S. even though they sing primarily in Japanese. Speaks to the force of their talent. I hope they become extremely popular along the lines of true crossovers like Jackie Chan, or Michelle Yeoh, household names. They are true transcendent originals. It remains to be seen how bright they will shine. I'd love to see them on SNL.

AJ, I would highly recommend that you review the BABYMETAL graphic novel! I picked up my copy today and read through it, and it has some very interesting stuff in there regarding how BABYMETAL was formed.

The World is full of marvelous things and thank you for juxtaposing Atarashii Gakko with Preston North End, although as a Boro fan I can't completely endorse your support of a Championship rival. The appreciation and debt that AG express for Wada is generous and touching. I think it is very well expressed in this short where Mizyu presents Wada with some AG socks with a little curtsy. kzfaq.infoWDB33hMt544

音楽的なこの曲の源流を辿ると、Nina Simone の Work Song とか、Peggy Lee の Fever とか、もっと遡るとシカゴブルース辺りまで行くと思います。　日本では美空ひばりの「真っ赤な太陽」とか、ピンキーとキラーズの「恋の季節」なんかで愛されている形式の楽曲ですね。 「オトナブルー」の歌い出しで「分かってる、欲しいんでしょう？」という辺りには、男性の欲求を理解した女子の衝撃や不安も隠されていると思います。　山口百恵の初期の歌辺りでは「あなたに身を捧げます、好きにしてね」という感じだったんですが、リーダーズのこの歌は違いますね。

i loved your original video it really helped me get into atarashi gakko 🫶 excited to see u revisit it!