MYV The Ever International

Although very little information aside from the basic announcement is available, it was confirmed today on MIYAVI’s OHP that he will be doing another World Tour in October/November of this year.

At this point, only two dates have been released, but as the summer progresses, more dates have been promised for North and South America. Keep your eye on SG for more information.

WHAT’S MY NAME? WORLD TOUR 2011
-AMERICA-

2011/11/12 Lima, Peru – Centro Convenciones Scencia
2011/11/15 Buenos Aires, Argentina – El Teatro Colegiales

I have to admit, this week has had the Visual Kei/Jrock industry full of so much “wtf”, it’s a relief to finally have a piece of news I’m not psychologically prodding with a 20-foot pole.

MIYAVI’s show in Boston last summer was one of the most memorable and outstanding experiences I have had the pleasure to partake of, and should he hit up the east coast again, I will not hesitate to jump on some tickets. I highly recommend anyone who has, and most especially those who have not yet had the pleasure plan on seeing MIYAVI should the opportunity arise.

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giru goes global

Although we’re only halfway through February, I’m already impressed by the amount of overseas activity I’ve seen announced. Compared to the typical moaning and groaning of global Visualists moping about the lack of Jrock in their local livehouses, 2011 is already proving itself to be a promising year for international J-metal moshing.

First we heard of D setting out to vamp up Europe and one of our own hulking southern states with their worldwide debut. Then MIYAVI announced another European tour to promote the release of album WHAT’S MY NAME. The cherry on top was almost headline news that exist trace will be making an appearance at Seattle’s SakuraCon. Almost. But not quite.

On February 5th, controversial cherry-boys girugamesh turned a few Visualist realities (including mine) upside down with the release of not only European tour dates for their 2o11 world tour, but also the mind-blowing confirmation that they will, in fact, be performing at the East Coast’s own Anime Boston (April 22-24). I have no more mind left to be blown. Or so I thought. giru is very, very slowly leaking at least a few more US dates, beginning by tacking a Pennsylvania show on right after they blow up Boston. The boys will share the Starlight Ballroom (Philadelphia, PA) stage with Acey Slade & The Dark Party, who opened for D’espairsRay at their Webster Hall live last year

Although more dates are still in doubt, so far things are looking up for at least a modest US tour- major cities might stand to hold their breath, as I wouldn’t be surprised to see giru hit up the usual hot-spots. But remember, that’s simply my assumption, and if they don’t announce other dates/cities, I refuse to be held responsible for any sense of false hope instilled in your tender Visualist heart.

girugamesh WORLD TOUR 2011 “Here we go!!”

EUROPE DATES
03.05 Tochka / Moscow, Russia
03.06 GlavClub / St.Petersburg, Russia
03.08 Nosturi / Helsinki, Finland
03.11 Columbia Club / Berlin, Germany SOLD OUT!
03.12 Diesel / Budapest, Hungary
03.13 Backstage / Munich, Germany SOLD OUT!
03.15 La Laiterie / Strassbourg, France
03.16 Le Trabendo / Paris, France
03.18 O2 Academy Islington / London, UK
03.19 Zeche / Bochum, Germany SOLD OUT!

USA DATES
04.22 Anime Boston 2011 / Hynes Convention Center, Boston, MA

04.25 Starlight Ballroom / Philadelphia, PA
With Acey Slade & The Dark Party
Tickets

04.26 Crash Mansion / New York, NY *NEW*
With….Acey Slade & The Dark Party? Presumably.
Tickets

04.27 Jaxxroxx / Springfield, VA *NEW*
With Acey Slade & The Dark Party
Tickets

JAPAN DATES
06.04 Hiroshima Namiki Junction
06.06 Nagoya Electric Lady Land
06.08 Osaka umeda AKASO
06.10 Fukuoka DRUM Be-1
06.18 Sendai Darwin

GRAND FINAL
6.26 Zepp Tokyo

Honestly, the reason it took so long for me to post the announcement was because every time I tried to articulate the news, it came out something like awuhetralksjfvkjalhwe7cbytnle98i3784tGIRUGAMESHjhdgflajhg. Considering giru has long been on my Top 5 Bands to See Live Before I Die list, I was (and still am) incredibly stoked to hear that they will at least be shredding through the US to shred a few stages. Although I originally had plans in place to head out to Seattle for exist trace, fortunately I saw the girugamesh announcement before plane tickets were acquired and cons were reg’ed, and was able to do a 180 turn around and head for Boston. Am psyched for the show, and def hoping for a balanced mix of old and new tracks…More on the latter coming soon, so, as always, keep reading SG.

Yoshi’s Island

It is currently 12:03 AM, EST, on September 11th, 2010. Assuming the TIFF folks are as punctual as the Japanese, which they likely aren’t, 12:00 saw the onset of the screening of the official premier of the long-hungered-for film that has been hinted at hither and thither, along with horrible teases such as “2011” and “pushed back”.

That’s right, yo. 10 minutes ago (as I am writing this) at the Toronto International Film Festival, they began screening BUNRAKU.

I’m not sure what it is. But I feel somehow uncomfortable knowing GACKT is on the same continent. We haven’t quite reached that point of same country or same city or, ideally, same building, but I figure same continent is progress. Still not sure why I feel like I’m being watched, though. I guess it’s ‘his’ overwhelming aura stretching itself across the Canadian border. Well, that’s more or less how I articulate “I wish I was there”.

I still haven’t figured out yet whether it’s going to get rough around here when YOSHIKI realizes the American continent isn’t this trembling, vulnerable, innocent creature waiting to be violated by (1980’s) Jrock. There is already a “One” that we have been waiting for, a “One” that will mobilize fans across nations. A “One” that set out to conquer Asia, and having done that, is making his way steadily West.

Sorry to interrupt the mood, but, is it just me or does that sword look *very* long?

This summer, GACKT left Asia to hit up Europe with a limited international debut tour. And now he is encroaching on the Americas with a (rather brilliant) new step into internationalization. Premiering as I type, before a sold-out audience in Toronto consisting of at least a few Canadian and devoted Various Other GACKT fans, TIFF’s Midnight Madness likely has no idea what it is unleashing on the West. And no, I do not mean Josh Hartnett with his banker’s ‘stache.

Hartnett is standing on a (thick) phonebook for the photo

Films, particularly should they be really excellent ones are a superior form of forcing people to expand their horizons. Unlike music, which, even if you can handcuff someone to a post, stick headphones on them, crank it and hit play, often will go in one ear and out the other, especially if it’s in Japanese (a “foreign language”, god forbid). However, many more people are likely to see a film, especially if it gets decent hype, and awareness of certain persons in the film is much more likely to spread than if we attempted to hijack a shopping center’s sound-system and jack our iPods through it (not that I’m discouraging any attempts).

So the question I think we’re all wanting answered is, is his appearance in BUNRAKU, an American film starring big-name American actors, presumably primarily without subtitles for the benefit of our extremely cultured populace, a bold step toward the globalization and mobilizing of the GACKT fandom? As far as GACKT’s interview with “Darryl” of TIFF is concerned, the answer is yes.

Did I just read the words “US, South America, Canada” and “next year” used in the same sentence by GACKT?

The answer is yes.

At the Heart of Brock’s Jelly Donut

I was just on Purple Sky reading their interview with D’espairsRay, anticipating the release of their latest album MONSTERS, and preceding the onset of their world-tour which kicks off this month with dates across the US. Reading through the questions, I admit, although the band members were quite entertaining (e.g. when asked which Monster he would be, HIZUMI answers “Pokemon”. Vuvuzelamon? Or is that Reggae? Visual kei has too many random cross-references in it now, I don’t even know who I am anymore.), the more I read, the more I found myself getting riled up. Had I not known  that this interview was only sitting in my feed for a week, the questions posed to the Monsters would have led me to believe this was posted sometime in 2004.

I realize this sounds harsh, but taking that risk, I’ll say it. Are all Japanofiles neanderthals?

I’ve been following the Japanfandom thing for 5 years now, and seeing as Alzheimers hasn’t totally set in yet, I recall quite clearly the discussions and FAQs of the era. Unless of course journalists are simply given a sheet of preset questions that are never updated, I want to know why exactly they still insist on asking the droll, pointless, unenlightening questions of our generation’s troubled, AMV-watching youth? I was under the impression that we were advancing in the world. That the Japanese music scene in the West was beginning to liberate itself from the clinging, snotty tentacles of the emerging, adolescent internet and bloom into a better blogsphere. That we have actually been evolving over the past five to ten years. Apparently, as it was made clear to me this evening, this is far from the truth. At least in some respect, all Japanofiles are inherently neolithic, and while a few of us may have advanced to the Bronze Age, more or less we’re still wallowing in a dark, cave-like existence devoid of fire or arrowheads.

In response to this mind-blowing interview, I would like to pull those questions that particularly offended the intelligent Japanofile in me, and address them, hopefully, for the benefit of Ogg and Zug, my brethren:

1. Illegal downloads: The illegal download phenomenon exploded on the Internet many, many years ago. I remember Limewire from way back when Yoshiki was still a Japanese man (okay, well, that’s kind of a hard line to draw, but hey), and billions of websites and programs have since enabled such notorious activities. People download illegally off the internet– all it takes is one Google search and you have new albums for free. Entire websites and blogs have emerged devoted specifically to “promoting” their favorite bands by having one person acquire the album, and then upload it for the masses to leech off of.  This is not breaking news. We are no longer excited about this topic.

Musicians create music because it is their calling, passion, talent, or simply what they want to do as their job. Be that as it may, they do actually do this for their job– a job being, that is, a means of acquiring the papery stuffs we use in daily business in order to survive: in layman’s terms, money. When a band releases an album, DVD, or otherwise product, they do put it on the market for sale. That is to say, to be purchased using money. Obviously if they wanted people to download it for free, they would upload it onto the internet as free downloads. Asking bands what “they think about illegal downloads” is absolutely pointless. Unless one is fishing for that one band to say “Oh yeah, we just love it when everyone refuses to support our livelihood and just downloads for free everything we release.”, there is no longer any answer that can result from this question that can possibly shine a light. You have limited time to ask the band questions: for all our sakes, use it well.

2. People download illegally because Japanese CDs are “expensive”:

The Japanese music industry works slightly differently than the Western one. For example, in the West it’s not that common to release singles every other day. Most artists release albums frequently instead. In Japan, however, bands release full-length albums much less often, but tend to release singles several times throughout the year. A Japanese single typically costs around $10.00 – $12.00, and you get anywhere from 1 to 4 songs. Full-length albums typically cost around $30 – $35, with some as low as $25 and others as high as $40. Assuming it’s being shipped, that adds anywhere from $5 onwards in shipping fees, depending on who you buy from, method of shipment, and how much you order.

The misconception is that because it’s going to cost $45 to order an album from Japan, it’s okay to steal it by downloading online. Because a pair of denim from a chain store costs roughly $60, does that mean everybody shoplifts? No, I don’t think so. And yet does everyone wear denim?

“Expensive” is basically not an excuse. CDs, like everything, cost money, even if they come from Japan. If you have no money, get a job.

3. Japanese CDs are unavailable for Westerners to buy:

If you live in a rural part of the United States, let’s say like Wisconsin, where there are no strip-malls, no FYEs, no chain stores, no Hot Topic, and you have no access to the internet or a computer of any kind, then yes, Japanese CDs are totally unavailable for you to buy. Also, if you live in one of these places, you probably are out digging potatoes and not listening to Japanese rock music and Visual Kei on your 16G iPod with Skullcandy headphones.

Many popular Jrock bands are available on the most simplistic platforms such as iTunes and other online MP3 stores. Anything you can’t find there is readily available through a multitude of respectable English or multilingual websites dedicated to making Japanese music accessible and available to non-Japanese.

Get out from under your rock.

4.Westerners have no means of sampling/hearing the music:

MySpace, Facebook, iTunes, Amazon MP3, official websites, this amazing invention we all should have heard of by now: YouTube.

Get out from under your rock.

5.”Its either people don’t hear your music, or they download it illegally.”

I suggest moving from Wisconsin. That is all you can do.

In the beginning of time, these were once relevant, interesting topics, the answers to which many young Padawans were eagerly seeking. They were, yes, interesting topics back in a time when we all thought onigiri were donuts because Brock and Misty thought we couldn’t handle the truth. Now, however, we know what lies at the heart of the rice-ball, just as we now know that there are a lot of people out there who download music illegally. However, unlike being asked and consulted about the existence of illegal downloads, we are no longer constantly told “those are not jelly donuts. They are sweet rice packed around a shriveled plum with a little seaweed slapped on them.” And over and over again we do not go “oooh…is that what that is.”

The reason for this, is that a cultural awareness has developed in the West for things Japanese. We have learned about the existence of rice on earth, and even that it is shaped into triangular luncheon friends. As a media-driven, entertainment-industry society, we have evolved since the days when we were watching Pokemon on VHS. Although I never had problems inputting search queries into Google and clicking through results, I do recall that time when it seemed as though everything was truly on the other side of the world.

As of the year 2010, though, I really believed that our cultural consciousness around Japanese rock and Visual Kei had, like our awareness of onigiri, evolved and developed. CDs, merchandise, product, and even live shows are at least moderately available.

In response to the above mentioned questions, all I can say is, are all Japanofiles still completely paleolithic? Am I the only fan of Japanese rock music who has whole CD racks full of Japanese CDs that were neither unavailable, extortionately priced, or downloaded illegally? No. I am not. So why are we still asking these questions.

No disrespect to the folks at Purple Sky.

KO’d in Munich, Back in Business in Bochum

I’ve been insanely busy this past week. It’s amazing how you suddenly start working 40 hours a week, and those few hours you have between getting home and going to bed (trying to make sure you get enough rest to make it through the following day without passing out at your computer…it almost happened last Wednesday.) become fleeting, and extremely precious. Before, it just took will-power to make sure I got things done, now it actually takes skill. Carrying on in this demented, self-absorbed la-la land of trying to make money, get rest, and still have fun, it’s like being in a daze of busyness. Things get seen more as if from out of the corner of your eye than full-on. There are a few things, though, that can rise right up out of your news feed and give you a nice, sobering slap in the face.

GACKT collapsing mid-song and falling off the stage into the arms of crazed fangirls is one of those things.

Friday was the final show in GACKT’s European debut tour. And from what I hear, even after the intense closure to the second-to-last show in Munich, he pulled another GACKT and got up on the stage in Bochum and rocked them just as hard. In fact, in his blog he stated that because he got, shall we say, KO’d in Munich, he rocked harder in Bochum.

Honestly, although this kind of news is painful to hear, I’m not surprised. And after the fact, I don’t think anyone is, really. When the first rumors went around about a European tour this summer, I don’t think I was the only one who thought it wouldn’t happen because “it’s not physically possible”. Between voice-acting projects, the huge process of being part of Nemuri Kyoshirou, releasing EVER, moving to Avex, organizing and touring YFCz around Japan, and everything else that goes with being one of the biggest celebrities in Japan, how could it look like a possibility? Now that I’m thinking about it logically, I’m shaking my head. What was he thinking? How was this, in any way, shape, or form, a good time for him to debut internationally?

There were already reports from the Japan shows of GACKT passing out after the lives. He even went to the hospital at least two or three times in as many weeks. And not to mention, we all know the stories. He discusses openly (psycho is probably proud of it) the fact that he has been known to collapse after shows, and even to be hospitalized with serious conditions such as pneumonia after extended tours. This is different. This is 3 hospitalizations in as many weeks. At the London on the 16th, GACKT was noted to be ‘unsteady on his feet’ at times. But this is different. This is collapsing mid-song and falling off the stage into the crowd of flesh-eating zombies.

I wasn’t at the Munich live when, during the encore, GACKT collapsed and fell off the stage into the crowd, and I didn’t experience what it was like to be standing in the front row when he lost it. Or watching from afar and seeing him suddenly disappear from the stage. However, I did read accounts of both, and some other, perspectives including his, and it’s obvious that it doesn’t matter where you were when it happened, really. I want to address it from a universal stance, anyway. It’s not just disturbing to see it happen – fans all of the world have been worrying for days without having seen anything.

It should be common knowledge by now that GACKT does everything in his power to avoid living only a partial existence. He wants to do everything %150+. This is an incredible quality in a person, and GACKT’s superhuman capacity to do and get done has been a huge source of inspiration for me, and I’m sure for others as well. In fact, it’s entirely because of GACKT that I was even able to realize that I was living my life so shallowly to begin with. If it weren’t for him, I would probably never have stepped it up. It’s because of his philosophy around living fully (or, in his case, to an extreme) that I have been able to work through some intense situations that may have potentially overwhelmed and drowned me.

But even though he has inspired me personally, and again, I’m sure many others as well, by being this type of person, it’s not %150 anymore, it’s %200. He’s moving at a velocity now that we can’t even really comprehend, even from a place of trying to understand the process of celebrity status. And obviously, it’s beginning to effect his health, and as a result, it’s causing a lot of concern among us, the fans.

In his blog post about the show*, he recounted the experience of the whole thing, of losing consciousness 5 or 6 times during the live, and the pain in his legs as he was about to collapse. They were, in his words, “absolutely human legs”. Yes, GACKT, you are a human too.

However, I don’t think he really realizes that. And so much of the time, I don’t think we do either. But now that this has happened, Fans are realizing it, in some way. Unfortunately it’s playing out more or less exactly how you might expect it to. It’s about this that I want to talk right now.

A bunch of fans have gotten together on Facebook recently (I’m not sure which account this is based out of, but if you search GACKT enough you’ll likely come across it) to organize a Facebook Event (of which I highly disapprove in general) based around “supporting GACKT’s health”. The event is to, on the same day, “spam” GACKT’s email account with a standardized block of text that says, to paraphrase, ‘GACKT: shut up, sit down, and rest yo ass or we fangirls gonna cry’.

Now, I want to make it really clear that I think the intention and sentiment behind this “event” is really commendable, and I think we all agree with it. We all want him to rest and regain his health, and we would all like for his strength and longevity to be his priority…But firstly, I really don’t believe anything is solved by spamming anyone with anything. And I really don’t believe flooding his email with these messages is going to help at all– in fact it will probably just result in annoying him on a deep level. Yeah, I’m sorry guys, but I have to say it straight up. I don’t believe hammering “you have a problem, we demand you fix it” into anyone’s head helps in any way. I do believe in focusing on the positive in every situation, and through the drawing of attention to the positive, the negative issues or aspects become diminished by the positive force funneled into the hopeful, helpful direction.

If you want to support GACKT, and you want to give him a message to encourage him to take care of himself, flood his email with messages. Flood it with personalized, individual messages written with sincerity, composed from the concern in your heart. Tell him how amazing his shows were in Europe. Tell him how much you are supporting him, and how many encouraging hopes and wishes you are sending to him with your thoughts. Tell him you are concerned about his health– tell him how much you care about his well-being. Don’t say “You’re going to die if you don’t stop.” Say, “You are the strongest person I ‘know’. I believe in you. You are what encourages and keeps me going when things get tough. Your music keeps me fighting for my dreams…and now, I want to help you keep fighting for yours. I believe in your ability to be strong. You can do this. I believe that this is the beginning of the increase of your strength, stamina, and health. I believe in you.”

Because you do, don’t you?

*To read an English translation of his blog post please check out amaiakuyume’s page. Special thanks go out to her for doing an awesome job making his words available to monolinguals.

UROBOROS- with the proof in the name of…UROBOROS.

In 2008 they released UROBOROS. In 2009 they toured for UROBOROS. In 2010…they finally stopped touring for UROBOROS. On June 22…they released a CD and DVD set of…UROBOROS. In this excerpt from their official MySpace, it says “While many trends come and go, Dir En Grey’s music….” is cryogenically frozen in…UROBOROS.

In summer, 2010….legendary screamo hardcore band Dir En Grey….will tour North America for…UROBOROS.

Dir En Grey will be touring alongside band Apocalyptica. Internet Fan Commity pre-sale will begin @here this Friday (July 16), and general ticket sales will start next week, on Friday the 23rd. It’s a good thing you have had 2 years of…UROBOROS to prepare you for this.

Dir En Grey and Apocalyptica dates:

08/23 – Toronto, ON @ Sound Academy

08/24 – New York, NY @ Nokia Theatre

08/26 – Boston, MA @ Royale

08/27 – Philadelphia, PA @ Electric Factory

08/28 – Baltimore, MD @ Ram’s Head Live

08/30 – Atlanta, GA @ Center Stage

08/31 – St. Louis, MO@ Pageant

09/01 – Chicago, IL @ House of Blues

09/02 – Minneapolis, MN @ First Ave.

09/04 – Denver, CO @ Ogden Theatre

09/05 – Albuquerque, NM @ Sunshine Theatre

09/07 – Las Vegas, NV @ House of Blues

09/08 – Los Angeles, CA @ Wiltern

09/10 – San Francisco, CA @ Regency

09/12 – Seattle, WA @ Showbox SoDo

By the way, I just had to add this as a side note: it was serendipity. The image I just so happened to choose to represent this post was, without my conscious effort, from none other than… UROBOROS. But then…I’d have had to go on an archaeological dig in order to find anything else, right?

Source: Shattered Tranquility

Official Announcement: MySpace

The Return of the King

It was foretold centuries ago by the great philosophers and learned men. The astronomers looked to the heavens and said “the world as we know it will reach its end. The apocalypse will be feared. And that constellation there (no, a little to the left) will appear on earth to save the people, and all will be made right again.” Well, my friends, he is here.

That’s right. Yoshiki’s plans to conquer the United States have been put in action at last, 18 years after they were first conceived. Along with XJapan, Yoshiki held the first press conference in New York City to pitch plans for a North American tour in 1992. Probably most of you weren’t even born yet. The plans fell through, however, and the band split up in ’97. A proper campaign and future presidency seemed out of his reach until last year when Yoshiki brought his band-members together for what was supposed to be a “final performance” for vocalist Toshi, at the Hollywood music-video filming concert. However, during that time, the band was able to rally together and, although I’m sure it took more than a few shirtless and heartfelt ‘ganbare!’s from the determined Yoshiki, they reunited for a total comeback.

Now that Yoshiki is based out of Los Angeles, his campaign is able to go much more smoothly. With the intention of “starting over” in the US, he has already founded a charity organization THE YOSHIKI FOUNDATION OF AMERICA, and hosted the opening event on July 1st in L.A.. The band is scheduled for Chicago’s Lollapalooza music festival in August, and Yoshiki and other members will be making appearances at select conventions in the country throughout the summer…. Did you think that would satisfy him?

In the fall, the band will be totally reborn– this time in the American music-industry, not the Japanese market. They will release a brand new full-length album which, as quoted by Yoshiki, is currently “90% complete”. But that’s not all, they have also announced a 10-city North American tour that will begin sometime in October, including a (projected) run through Los Angeles, San Fransisco, Vancouver, New York, Boston, etc. They will perform in 2,000-6,000 capacity venues– so if you were expecting an intimate, rock-band comeback…

XJapan is Back

I know it seems like I mock, but actually this is one of the most exciting things happening in the Jrock scene these days. As evidenced by his persistence in trying to get over here for a tour, and with past efforts such as S.K.I.N., Yoshiki is one of the pioneers of Visual Kei overseas activity. It’s pretty cool that he’s finally making this all happen, but also in many ways I’m not remotely surprised. There was never any doubt in my mind that Yoshiki would come to conquer– it was just a matter of time.

XJapan is an interesting phenomenon, though.

For example, if you look at abingdon boys school, MIYAVI, and GACKT, these guys can all sell out the Tokyo Dome in minutes over in Japan. I honestly doubt MIYAVI could sell out a 2,000 capacity venue here. But the point isn’t necessarily whether it’s possible or not. The point is that when an artist like abingdon boys school or GACKT, perform overseas, they perform in miniscule venues. In many ways, the way I look at it, it’s preferable to see them perform overseas because you can get close enough to touch them. In Japan, they perform at huge venues, so that’s not really possible. It creates a different experience of the band overseas. Because it felt like such a powerful experience seeing a.b.s and MIYAVI in tiny venues, I feel like the live impacted me so much more than it otherwise would have, and as a result, I’m a much more devoted fan.

However, when XJapan performed in Hollywood last year, the amount of people who showed up to be a part of that moment was staggering. When their appearance at Lollapalooza was announced, however, it got a mixed response. I think a lot of people wanted Yoshiki to plan his North American activity more like GACKT has planned his European debut. Small, intimate, personal venues that sell out, but for the people who get to go, it’s an unbelievable experience.

But somehow if you look at what happened with the Hollywood filming event, you wonder if that sort of thing is even possible for this band. Does it seem incredible that they can perform before 20-60,000 people in North America? Does this mean that everyone knows a closet-XJapan-fan? There you were, living your Visualist life, thinking you were isolated and alone in your fandom…and now you know that with those kinds of numbers projected for this tour, we should practically all know at least one XJapan fan?

I think the ambition and trust Yoshiki shows by knowing they’ll sell out 6,000 seats is terrific, because these artists should believe they have this kind of fanbase– they need to have that belief in us, because generally they seem to underestimate our numbers. And I hope that by showing this kind of confidence, he can inspire more Jrock artists to perform overseas. But not in 6,000 capacity venues, please and thank you.