Nobody’s Fool ( January 2011 )
Yoshitomo Nara
Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.
It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.
But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.
While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.
As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.
In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.
Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.
Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!
I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.
Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.
By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.
After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.
And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.
Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.
But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.
The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.
Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.
After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.
Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.
After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.
I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….
同時也有8部Youtube影片,追蹤數超過9萬的網紅Kathie Violin 黃品舒,也在其Youtube影片中提到,Calum Scott「You Are The Reason」Wedding Song - Kathie Violin cover ✨加入我的會員~讓我能繼續製作更多音樂影片 ✨Join Kathie's Membership to support me create music videos ✨...
you are the reason sheet music 在 Kathie Violin 黃品舒 Youtube 的最讚貼文
Calum Scott「You Are The Reason」Wedding Song - Kathie Violin cover
✨加入我的會員~讓我能繼續製作更多音樂影片
✨Join Kathie's Membership to support me create music videos
✨YouTubeメンバー、こちらから入れます
https://www.youtube.com/channel/UCNO-Xg6OBU9K5LxR4JlO0Cw/join
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–影片製作團隊Video Credit–
小提琴改編 Violin cover & arrangement|Kathie Huang 黃品舒
混音 Mixed & Mastering|Kathie Huang 黃品舒
攝影 & 剪輯 Photographer & Film editor|S.W.
文字編輯 Social media editor|Frank Hsu
服裝 Clothes|Blossom By Caspia LiLi
https://www.caspialili.com/products/%E2%94%82cinderella%E2%94%82-pink
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★關於黃品舒 About Violinist Kathie
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★如果你喜歡我的影片,記得訂閱我並開啟小鈴鐺。
歡迎告訴我你想聽什麼音樂,你的留言和讚都是對我最大的鼓勵,讓我有動力繼續製作音樂作品,更歡迎分享我的影片:)
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#你是唯一的理由 #婚禮必聽 #浪漫小提琴演奏 #CalumScott #カラム‧スコット #小提琴演奏 #KathieViolincover #YouAreTheReasonCover #YouAreTheReasonViolin
![post-title](https://i.ytimg.com/vi/wXoQ-vO07xg/hqdefault.jpg)
you are the reason sheet music 在 SLSMusic Youtube 的最佳解答
✨ 300,000 Subscribers Special Video
✨ 30萬訂閱特別影片
✨ チャネル30万登録者記念
Hi, I'm SLS. Here's our 300k special video. I recorded this video for almost a whole afternoon. NG several times, and It's pretty hard for me playing on an unfamiliar piano, especially a heavy one like Steinway. I've tried my best. All the songs you heard in this video are the songs we've done before in this channel. (or in the future LOL) They're the memories for both you and me.
I wanna thank to Sigfrid Art Center for offering the place and the Steinway piano, and thank to my cinematographer Santon.W for helping me with everyone on video. Thanks to Tt and Emma for helping me that day. None of these happen without your help. hope you like this video.
Anyway, thank you all for making this happen. I'll work harder and try to make SLSMusic better and better, bring you more music contents in the future. As always, we'll upload video every Friday, and do live streaming on the weekends. Don't miss it!
嗨我是SLS,30萬影片來了。在這部影片中你所有聽到的30首樂曲都是在這個頻道上我們曾經演奏過的音樂,對我來說這部影片不只是個普通的串燒,也代表著過程與回憶。
這部影片錄了一整個下午,除了直接一口氣彈30首不能停腦袋要轉的過來有點難度以外,因為是不熟悉的(當天第一次碰)史坦威重琴,實在是讓我吃了些苦頭,這次也要特別感謝「齊格飛藝術中心」提供場地,及超強攝影師仙桶Santon.W讓我可以沒有後顧之憂的專心錄音,也要感謝桌球和Emma當天幫我處理很多事情,沒有你們的幫忙這部影片絕對出不來。
一路走到30萬也經歷了許多風風雨雨,想說的話都在影片後面了,這裡就不多說。對了,怕有些人還不知道,我們頻道開啟了會員系統,除了有每週樂譜、音檔、直播檔等福利,最近還新增了Discord會員限定聊天群組,如果想進一步支持SLSMusic的粉絲歡迎加入會員給與我們實質上的支持!感謝大家一路以來的支持,接下來我還是會更加努力去帶給大家新作品。每週都會發佈新影片、隔週會做線上音樂會直播,千萬別錯過。我是SLS,我們下週見!
00:00 Start!
00:11 Hataraku Saibou / CheerS - ClariS / はたらく細胞
00:26 One Piece / One Day - Rootless
00:52 Fate/stay Night / Brave Shine - Aimer
01:13 Nier:Automata / Weight of the World
02:08 No Game No Life Zero / There is a Reason - 鈴木このみ
02:54 Tokyo Ghoul / Katharsis - TK from 凛として時雨
03:28 From the Abyss / Deep in Abyss 來自深淵
04:04 Naruto / Blue Bird - Ikimonogatari いきものがかり
04:25 Your Lie in April / Hikarunara 光るなら - Goose House
04:47 Naruto / Departure to the Frontline 出陣
05:32 Secret Base ~Kimi ga Kureta Mono~ 君がくれたもの
06:30 Mahou Tsukai No Yome 魔法使いの嫁 / Here - Junna
07:01 Violet Evergarden / Sincerely - TRUE
07:34 Kimetsu no Yaiba 鬼滅の刃 / Gurenge 紅蓮華- LiSA
08:09 No Game No Life / This Game - 鈴木このみ
08:45 Fullmetal Alchemist 鋼の錬金術師 / Again - Yui
09:09 Sword Art Online / Swordland
10:15 A Cruel Angel's Thesis 残酷な天使のテーゼ
10:33 My Hero Academia 僕のヒーローアカデミア 我的英雄學院
/ Peace Sign - Kenshi Yonezu 米津玄師
10:59 Karakuri Pierrot - 40mP
11:37 Fairy Tail / Main Theme
11:54 One Piece / Share The World - TVXQ 東方神起
12:16 Guilty Crown / My Dearest - supercell 罪惡皇冠
12:53 Laputa: Castle in the Sky - Joe Hisaishi 天空の城 / 久石讓
13:32 Digimon Adventure デジモン / Brave Heart
14:22 Gun Gale Online / Ryuusei - Eir Aoi 藍井エイル
14:36 Pokemon / XYZ - Matsumoto Rika 松本梨香
14:53 Domestic Girlfriend ドメスティックな彼女 / Kawaki wo Ameku カワキヲアメ
15:02 Detective Conan 名探偵コナン / 渡月橋 - Mai Kuraki 倉木麻衣
15:48 Senbonzakura 千本桜 - Kurousa-P 黒兎P
17:21 BONUS!!!
🎶 每週五上傳影片、隔週有直播音樂會,記得開啟YouTube🔔通知!
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✨特別感謝「齊格飛藝術中心」提供此次拍攝場地及史坦威鋼琴
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#Anisong #Piano #Medley
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you are the reason sheet music 在 SLSMusic Youtube 的精選貼文
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Demon slayer,
it’s definitely one of the best ANIME in 2019. Not only because of this Episode 19, The whole character and story design, the music and the graphic, every aspect of this ANIME all presents perfectly.
I’ve seen many piano channel has already post their cover of this beautiful song right after this episode came out, but unfortunately those couple days I was dealing with other things and unable to watch it.
So I finally watched it yesterday, and it was, yeah, really crazy. I practiced for about one hour and recorded it for another one hour, edited the video for about 3-4 hour and this is it.
Sometimes we’ll think that, if the algorithm keep ignoring you,
then there’s no necessary to follow the new ANIME music and try to make new video as soon as possible, 'cuz no matter how hard you try, there’s always someone one step of you, there always will be. And even though some of those are low-quality videos, you can’t even sure that audience could tell it. The VIEWS is everything.
Some of you followers may found that recently we’re in the dumps about the situations of our channel.
Although we keep telling ourselves that everyone will be facing this moment eventually, but not like this.
We've seen some of our creator friends on YouTube or some of million-subs channel also facing serious algorithm problem, then we realized that this probably isn’t personal. but it’s still can’t stop us from being upset.
Really, it’s not about the money, it’s that, you make something good, something worth a look, but there’s no chance for it to shine. And the reasons are completely not related to MUSIC itself.
These kind of problems always exist, but YouTube “was” a place that could let creators no need to worried about it, and it’s also the reason that Musicians on YouTube grew crazily past couple years. I really miss the old days.
Anyway, we’ll just keep fighting, and maybe, find another way out. Recently we’re working on planning the future of our channel,
including “how do we survive when I finish studying in Japan and back to Taiwan to the army” and “new ideas, new series for the channel”. It seems all pretty hard in the future, let’s see what would happen LOL.
No matter what, our intention of making music video never change, which is sharing.
2019.08.16 SLS
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Song Title: 竈門炭治郎のうた / Kamado Tanjiro No Uta
From: 鬼滅の刃 / Demon Slayer
Original Artist: Go Shiina feat. Nami Nakagawa
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Equipments
●Keyboard / Roland RD-300NX
●Speakers / ADAM A7X
●Audio Interface / Audient iD14
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※ This video is
Performed by SLS
Filmed by SLS
Edited by SLS
Audio produced by SLS
![post-title](https://i.ytimg.com/vi/SuyqRDaR684/hqdefault.jpg)