shutoddg

[La pelota no se mancha @Diego10Querido]

The Odissey (2026), Dir. Christopher Nolan.

[プロフェッショナル仕事の流儀 @nhk_proff]

【 🎥予告編公開です！ 】

31日（金）22:30～ NHK総合
#プロフェッショナル 「映画監督 #是枝裕和 」

カンヌ国際映画祭最高賞を受賞した映画界の巨匠！
世界が注目する新作づくりに２年間密着しました🔥
👇番組詳細はこちら👇
https://t.co/4zzt688IP0

[傘 @amefuri_kasa_]

『ものすごく個人的なことを歌ったことが普遍的に大勢に届く』

米津玄師がLemonの時に語ってて、星野源が「自分の中に深く潜っていくと誰かに繋がっている」と言っていて、こたけ正義感と朝井リョウが地下室のターンで話しており、RMが

[shutoddg @shutoddg]

ARuM&SSP - AOB

[TuneCore Japan @TuneCoreJapan]

「INDEPENDENT ARTIST 100 - 2026」最終選出100組を発表

2026年2月10日のプロジェクト始動とともにスタートした「推薦フェーズ」、そこで選出された200組からさらに絞り込む「本投票フェーズ」を経て、最終100組が決定。「実感（Impact）」を伴う活動を展開するアーティストから、次世代のシーンを担う「予感（Potential）」に満ちた新鋭まで、2026年の日本のインディペンデント・シーンを象徴する多彩な顔ぶれが揃いました。

投票期間中に寄せられた推薦コメントには、「今一番、ライヴハウスでバンドマンに愛されているバンド」「とても憧れているアーティスト」といった、他アーティストからのリスペクトが数多く寄せられました。同時に、「本企画を通じて新たな才能と出会えた」という声も複数寄せられており、アーティスト同士・業界関係者同士が互いを発見し、推薦し合うアーカイブとしての機能が現れた結果となりました。

5年後、10年後のアーティストがこのアーカイブに触れたとき、「あの時代のアーティストたちは、この魂に共鳴していたのか」と、新たな創作のヒントを受け取る場所でありたい。ここに記される100組の軌跡が、次なる変革を呼び起こす種となり、未来の音楽シーンを豊かに耕し続けるきっかけとなることを目指しています。

TuneCore Japanは、インディペンデントに活動するアーティストの制作への熱量をそのままの純度でリスナーへ届け、未来のカルチャーを前進させる一助となるべく、今後もサービスの向上と、選出アーティストの活動を後押しするプロモーション企画を進めてまいります。企画の詳細については、続報にて随時お知らせいたします。

[SSP @whoisssp]

ARuM&SSP 「THE BOX」Out nowしてる👥
https://t.co/1Z81eRs1sL

[shutoddg @shutoddg]

YRB

[Yojiro Noda @YojiNoda1]

2024年10月頃東京にて、はじめて友人経由でYeに呼ばれた。リリース直前だというアルバムにひと晩、思い浮かんだアレンジを好き勝手加えるだけのはずが、アルバムに参加することになり、生音レコーディングを手伝うことになった。最終的に僕たちの録音は5曲で使われることになったようです。時間のない中尽力してくれたミュージシャンの方々ありがとうございました。
貴重な経験でした。Yeの新曲をいち早く聴きながらレコーディングしたり、アレンジする作業は楽しい時間でした。この機会をくれたJamilに感謝です。
Ye、リリースおめでとう。

⸻

Long story short,
Around October 2024 in Tokyo, I was invited to meet Ye for the first time through a friend. At first I was suposed to add some ideas with guitar and keys for just one night, but before I knew it, I ended up contributing to the album in Live instrument recording. In the end, it seems five of the tracks we worked on made it in the album. Huge thanks to all the musicians who gave their time and effort despite the tight schedule.
getting to immerse myself in his new music, was pure bliss.
Huge thanks to Jamil for making this opportunity possible.
Ye, congratulations on the release.

BULLY

BEAUTY AND THE BEAST
Yojiro Noda – Band Leader / Band producer
Yuma Yamaguchi – Band Leader
Shin Fujii - Rhodes

WHITE LINES
Yojiro Noda – Band Leader / Band producer
Yuma Yamaguchi – Band leader
Takashi Fukuoka - Percussion
Shin Fujii -Guitar
Kyle Reith – Vocoder
Brayla – Background Vocals

CIRCLES
Yojiro Noda – Band Leader / Band producer
Yuma Yamaguchi – Band Leader
Brayla – Background Vocals

HIGHS AND LOWS
Yojiro Noda – Band Leader / Band producer
Yuma Yamaguchi – Band Leader
Mai Ohtani - Violins, Violas

BULLY
Yojiro Noda – Band Leader / Band Producer
Yuma Yamaguchi – Band Leader
Shin Fujii - Bass Guitar, Electric Guitar
Yuma Yamaguchi - Piano
Teppei Kawakami - Trumpet
Kanade Shishiuchi - Trombone
Mai Ohtani - Violins, Violas
Masabumi Sekiguchi – Cellos

[Taichi Kimura / 木村「謙虚」太一 @Darumavision]

監督した映画「FUJIKO」が、6月5日(金)に TOHO シネマズ日比谷ほか全国公開されることが決定しました。

長文で自分の言葉が収まらないので貼っておきます。是非皆様よろしくお願いします🔥🙏

[ARuM（アラム） @broscolly33]

Out now

https://t.co/YdEMQtfUTn

[横尾忠則 @tadanoriyokoo]

養生の基本は欲を持たないことだ。創造への欲はいくら持ってもいい。それ以外の欲は全て煩悩になる。そしてそれがストレスの源泉。

[takashi murakami @takashipom]

I've long been fascinated by Nobuyoshi Araki—the photographer known simply as “Arākii”.
He’s someone who, with his entire being, era by era, embodied the idea that “art is made by its times.”

There were also incidents that, in the new context of times, came to be seen as unforgivable. He was swept up in those waves and, as a result, has mostly disappeared from the public eyes.

Back when I was a university student in the early 1980s, Japan was deep in the throes of its bubble-economy madness. The most unhinged of all was Arākii, along with the publishers who featured his photos, and the people around him—the so-called “ero media” scene. Their existence stirred constant controversy—most people just rejected them outright. Before being re-evaluated in an art context, he and his circle were simply seen as obscene, vulgar, and outrageous. But they vividly captured the raw reality of postwar Japan, often with Shinjuku’s nightlife as their stage.

Then one day in 1992, a photography institution called Camera Austria visited Japan and proposed an exhibition. This became Arākii's first solo show abroad, held at the Forum Stadtpark in Graz. And just like that, the tides shifted. Suddenly, Arākii was now a stylish erotic photography artist. Musicians and celebrities started flying to Japan just to be photographed by him. But Araki himself remained unchanged; he was still that brazen, vulgar, dangerous character.

During the boom, galleries began representing him and selling his works in the art world. But Araki ignored the art market norms—he’d disregard the idea of edition and kept releasing work. But with Araki, whether you got his punk way of living or not was part of your value judgment. It created this strange space where people just accepted it.

The first work of art I ever bought was Arākii’s photo of his cat Chiro leaping in the snow. It was taken during his dear wife Yōko’s final days. Chiro became a motif that reflected his grief. The date stamped on the photo was February 1, my birthday. It gave me the excuse to make it the first artwork I ever purchased.

I’ve always deeply identified with Arākii’s way of life—the honest creator who vividly captured the shabby reality of postwar Japan.

I once tried cosplaying as Arākii, had him photograph me, and played the role of Arākii myself, taking Arākii-style photos.

I, too, have made works dealing with Japanese eros. My breakout pieces were sculptures from the 1980s and 1990s that embodied explosively shameless anime-style eros. Japanese eros has always defied the norms since the days of ukiyo-e, but even in contemporary Japan, it’s quite something. That was the context.
Nowadays, I’m known as the artist of cute characters and smiling flowers, but at the start of my career, I was a creator whose theme was the distortion of Japanese eros.

Now, at 63, I’m beginning to sense death just around the corner and becoming aware that my body is starting to fail me—and suddenly, my admiration for Arākii is exploding.

[横尾忠則 @tadanoriyokoo]

ぼくも色々読んだ本の中で、一番面白かったのは自分の日記本だった。馬鹿じゃないの！

[shutoddg @shutoddg]

https://t.co/icPZ3FpxSW

[shutoddg @shutoddg]

NY 2023

[shutoddg @shutoddg]

https://t.co/xNwcMhhOEW