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00:00TAKEUCHI MARIA
00:06Tonight's EIGHT JAM is...
00:09All of a sudden?
00:11Nice to meet you.
00:13TAKEUCHI MARIA, 5 years old.
00:18Nice to meet you.
00:20Can I sit down?
00:23Speaking of TAKEUCHI MARIA,
00:25since her debut in 1978,
00:28she has sent many famous songs to the world.
00:35She is the first singer-songwriter in history
00:38to win the first place on the album chart
00:41in four years with her popular songs.
00:45In October, she released her first original album
00:49called PRECIOUS DAYS.
00:52About her charm,
00:55Yuu Sakai said this at a pre-meeting.
01:00Speaking of her songs,
01:02she has an evergreen image,
01:05but I can feel the change as she ages.
01:10She is an adult,
01:12but she has gradually changed.
01:15It's amazing how she can reach people
01:18because she is who she is now.
01:21So tonight,
01:23we will ask TAKEUCHI MARIA
01:26about the charm of her evergreen songs.
01:30We will ask her questions
01:32about the professionals who respect her.
01:35TAKEUCHI MARIA
01:37Nice to meet you.
01:39Thank you for inviting me after 5 years.
01:43Last time I was here,
01:45I was able to see the great response
01:48from the audience.
01:52I was able to see that
01:54from you, TAKEUCHI MARIA.
01:56I was able to see the response
01:58from young people,
02:00including people my age.
02:03I was able to hear many things,
02:06including musical things.
02:09Thank you very much.
02:15It was an honor.
02:17In the studio,
02:19we have Yuu Sakai.
02:21Thank you, Sakai.
02:23Thank you very much.
02:28I heard that TAKEUCHI MARIA
02:30has a notebook.
02:32She knows more than I do.
02:34Thank you Sakai.
02:36Thank you for coming.
02:38And thank you, Zopp.
02:40Thank you, Zopp.
02:42This is the first time
02:44that HONMA is in the studio.
02:46Yes, this is the first time.
02:48HONMA is a great producer.
02:50I'm looking forward to hearing
02:52what he has to say.
02:54I'm under a lot of pressure.
02:56I can't say anything.
02:58I have a lot of questions
03:00for TAKEUCHI MARIA.
03:02I'll try to answer
03:04as much as I can.
03:06Please ask anything.
03:12I'm not trying to change it
03:14in a natural way.
03:16I'm trying to change it
03:18in a mature way.
03:20That's how I see it.
03:22In the 80s,
03:24I wanted to change
03:26the atmosphere of the 80s.
03:28I wanted to change
03:30the atmosphere of the 80s
03:32before and after marriage.
03:34I wanted to change
03:36the atmosphere of the 80s
03:38before and after marriage.
03:40I'd like to talk about
03:42that today.
03:44First of all,
03:46I'd like to ask
03:48how he feels about
03:50the change in singing.
03:52Before that,
03:54let's listen to
03:56Yuu SAKA's explanation
03:58of the change in singing
04:00from the 70s to the 80s.
04:06Wow!
04:08She's cute!
04:10Maria's singing voice
04:12from the 70s to the early 80s
04:14was a low-key
04:16and high-pitched voice
04:18for a female pop singer.
04:20She was calm
04:22but still cute.
04:24It was a reason
04:26that impressed people.
04:36Next,
04:38let's listen to the 80s
04:40to the 90s.
04:42Wow!
04:44I loved it.
04:46I watched the drama.
04:48Wow!
04:50She appeared
04:52in several hit albums.
04:54She was confident
04:56and strong as an adult woman.
04:58Her singing voice
05:00and words
05:02made people feel
05:04moved by her singing.
05:06I was impressed
05:08by her overwhelming moves.
05:20Her voice hasn't changed.
05:22It's a little heavy.
05:26Her voice hasn't changed.
05:34Her voice hasn't changed.
05:36It's a little heavy.
05:38It's a little heavy.
05:40It's a little heavy.
05:42And
05:44her singing voice
05:46in the 20s
05:48was a big change.
05:50Wow!
05:52I liked it.
05:58Her voice hasn't changed.
06:00Her voice hasn't changed.
06:02In the 2000s, the vocalist Harito, who does not know how to sing, and the vocalist Niwa,
06:12who feels the mission of being a voice messenger,
06:18I feel the touch of each person's heart.
06:32More precious than any jewel
06:46There are days when I want to cry
06:53There are days when I grieve despair
07:00At that time, stay by my side
07:08Your shadow is next to me
07:14How does Maria Takeuchi feel about the change in her singing?
07:22How does Maria Takeuchi feel about the change in her singing?
07:30In particular, the way I sing has changed.
07:34For example, in terms of the quality of the voice,
07:37depending on the age, depending on the case,
07:40for example, the low range is easier to come out.
07:43Even so, I don't sing to update my singing method.
07:50Naturally, I try to find a singing method suitable for the song.
07:57However, as I get older,
08:00the way I sing may change,
08:05but I don't pay much attention to singing methods.
08:08Last time, I was told that I was singing like this,
08:12and I realized that I was singing like this.
08:15I don't pay much attention to it.
08:19However, depending on the song, the theme, and the song,
08:22the way I sing may change.
08:25Do you do any voice training?
08:30No, I don't.
08:33If you are on a regular tour,
08:37I think you will do voice training.
08:41In my case, I do voice training when I record.
08:46I don't have any special training or routine.
08:53For example, in the case of TASURO,
08:56I warm up for about 15 minutes before the concert.
09:00However, in my case, I don't have such a place,
09:03so I just warm up a little and sing a little.
09:08Do you have confidence in the OK Judge?
09:12Yes.
09:13Basically, I do voice training with only one engineer and myself.
09:19In the past, until I quit fighting for requests,
09:24the people who directed me were TASURO and the director.
09:29But now, I want to try various things freely
09:32and come to a conclusion by myself.
09:35Also, I don't want TASURO to stay with me for hours
09:41and say,
09:43I'm sorry.
09:44Also, when the director says,
09:46I don't think this take is good,
09:49I say, OK.
09:51He says, what?
09:53I say, no, let's do it again.
09:56Then I make various judgments by myself.
09:59Since 1987, I've been doing it by myself.
10:04Since Quiet Life, I've been doing it by myself.
10:07That's how it is.
10:09Naturally, as I get older,
10:12the things that are transmitted to me change.
10:16It's interesting.
10:18I have the impression that there is singing
10:21at the end of the spoken voice.
10:24It's really interesting now.
10:27The fact that there is singing at the end of the spoken voice
10:30means that Maria has the persuasive power
10:34even when she's not singing.
10:37Vocalists set the chorus high
10:41and say, it's my time from the chorus.
10:44They do that a lot.
10:47In Maria's case, the spoken voice
10:50and the singing are connected.
10:52I don't know if that voice is innate,
10:56but it's not trained.
10:59It's natural.
11:01Next, we have a question from the two
11:04about Maria's singing.
11:07But before that...
11:09見覚えのあるレインコート
11:19黄昏の駅で胸が震えた
11:29駅で偶然見かけた昔の恋人のことを歌っていますが
11:34聴いた人それぞれに想像させる物語があって
11:39自分の思い出とも映画の一場面のようでもあり
11:43いつも一曲聴いただけとは思えない感情になります
11:48歌声もはっきりとした
11:51愛情や未練や母情というわけではないトーンの歌声で
11:56もう少し強く歌ったら
11:59もう少し優しく歌ったら
12:01また違う聴こえ方になって
12:04こうはなっていないという絶妙な歌声です
12:08あなたがいなくても
12:12こうして元気で暮らしていること
12:19さりげなく告げたかったのに
12:28強い歌声だったら刺さるように聴こえてしまったりとか
12:32弱すぎてもダメだしっていうところで
12:34やっぱり竹内マリアさんにしか出せない歌声なんでしょうね
12:39想像させる振り幅といいますかね
12:43では横田から
12:45絶妙な歌声のこの曲を歌うときに気をつけたこと
12:50苦労されたところはありますか
12:53この駅の歌入れは自分で歌って
12:57自分だけで歌って
12:58最終的に達郎のチェックが欲しくて
13:01私なりに歌って
13:03それで達郎に聞いてもらったら
13:07もう一回歌って
13:08すごくいい出来だなって自分で思ったんですけど
13:10いやもう一回歌ってくれるって言うんですね
13:13どうしてって言ったら
13:14もうちょっとつまんなそうに
13:16要するに声自体が明るいので
13:18これは割と切ない曲だから
13:21もうちょっとつまらなそうにって言ったのかな確か
13:27でもうちょっとトーン落とした感じで歌ってほしいってことで
13:31それがOKテイクになったんですけど
13:33その駅の歌入れは面白かったのは
13:36子供がちょうど2歳くらいだったので
13:38夜の歌入れなので
13:40家に置いておくわけにいかないから
13:42スタジオに連れてきて
13:44あっちのコントロールルームの
13:46そういう長い椅子にずっと子供を寝かせて
13:50毛布かけて
13:51その間に起きないうちに撮らなきゃ
13:54そうやって歌ったのを覚えてる
13:57だからロマンチックな風景じゃなくて
14:00すごく現実的な
14:02子供が起きないようにって言いながらでも
14:04笑わないように
14:06タツロウがいつも
14:08私の声が笑うのが良くないって言うんですね
14:11私は笑ってるつもりはないんだけど
14:13声が笑わないように歌ってっていうのがいつも
14:16だから多分駅は
14:18その最後にタツロウがもう一回歌ってっていうテイクが
14:22OKになってるんですよ
14:24適度に張るんだけれども
14:26わーって行き過ぎない
14:28適度に落とすんだけれども
14:30ささやかないみたいなところを
14:32選んで歌ったのかもしれないですね
14:35歌唱に関してテレビで
14:38こういうお話されることっていうのは
14:40おはずないですよね
14:41あんま聞かれることもあんまりないですし
14:44どっか番組に出てもラジオとかでも
14:47この曲について語ってくださいってことあっても
14:50この歌唱っていうことはあんまりないかもしれないです
14:53あんまり私自身もあんまり意識してないので
14:58さらに本間は駅のアレンジに注目
15:12山下達郎さんによるベーシックアレンジもすごいが
15:16服部勝久先生によるストリングスが
15:19メロディー・歌詞と相まって
15:21なんとも豊かな情感を醸し出しています
15:26歌の合間を縫って印象的なフレーズを
15:29跳ね込んでいくのではなく
15:31メロディーと共存しながら
15:33それぞれを際立たせる巧みの技
15:36そして壮大なオーケストレーションに埋もれない
15:40アリアさんの歌声が圧巻です
15:44ひとつ隣の車両に乗り
15:49うつむく横顔ついていた
15:54終わった涙
15:59あふれてきそう
16:04マリアさんの歌声はきれいな発音で
16:07会話のように自然と耳に入る発声
16:12この埋もれない声だからこそ
16:15ハットリ先生はあのアレンジをしたのでは
16:18と思います
16:42ハットリ先生のアレンジは
16:45本当に巧みです
16:48私たちが書くようなレベルのストリングスではなく
16:51普通は声にフォーカスを当てるために
16:54声の男性ならこのくらいのストリングスを
16:57ハットリ先生のアレンジで
16:59フォーカスを当てるために
17:01声の男性ならこのくらいのストリングスを
17:03ハットリ先生のアレンジで
17:05フォーカスを当てるために
17:07ハットリ先生のアレンジで
17:09フォーカスを当てるために
17:11声の男性ならこのくらいのストリングスを
17:13ハットリ先生のアレンジで
17:15フォーカスを当てるために
17:17フォーカスを当てるために
17:19フォーカスを当てるために
17:21フォーカスを当てるために
17:23フォーカスを当てるために
17:25フォーカスを当てるために
17:27フォーカスを当てるために
17:29フォーカスを当てるために
17:31フォーカスを当てるために
17:33フォーカスを当てるために
17:35フォーカスを当てるために
17:37当じてるわけですよ
17:39当じてるわけですよ
17:41では、駅のアレンジについても聞いてみると
17:44では、駅のアレンジについても聞いてみると
17:45あのハットリ先生のアレンジは
17:47すばらしいですよね、ストリングスアレンジ
17:49で、あの
17:51エピソードのひとつあって
17:53駅のストリングスの
17:55駅のストリングスの
17:57感想のフレーズはですね
17:59ビーメロをなぞってたんですね
18:01ダララララ、ダララララ
18:03ってところを
18:05And Tatsuro said,
18:07Teacher, instead of using the same melody,
18:10can you think of a melody that you like more freely?
18:16So I said, please wait 15 minutes.
18:19I went to the piano, and 15 minutes later,
18:21he wrote it all over again, and I got that impression.
18:24Wow, that's funny.
18:26Both are amazing.
18:28Once again, the impression...
18:35Wow.
18:59It fits the song perfectly.
19:02So that impression is now the impression of the station.
19:05Originally, it was an impression that traced the B melody.
19:08That's right.
19:10The teacher who wrote it in 15 minutes was amazing,
19:13and we were waiting like this,
19:15and when the next one came on, we were like, wow, that's amazing.
19:19I remember being moved by everyone.
19:22Wow.
19:24It's an episode I've never talked about.
19:28Is that so?
19:30I see.
19:32Even among the strings,
19:35Maria's singing voice is not buried.
19:38Honma-san, is there anything you are conscious of
19:42when using the vocalization and the use of the voice?
19:46If there's anything I'm conscious of,
19:49I'm careful to pronounce Japanese beautifully.
19:54In this case, even in Gagiguge,
19:57whether it's better to pronounce it beautifully,
20:00or whether it's better to avoid it and sing it like Gagiguge,
20:04depending on the use,
20:06if it's a bit of a rock'n'roll song,
20:09there are times when it's better not to pronounce it beautifully,
20:12so I sing while thinking about that.
20:15You're like an announcer.
20:17When it's a low note,
20:19I'm trying to make it sound like a low note.
20:23When it's a high note,
20:25I want to sing in a way that doesn't sound like a high note,
20:29so I think about the key setting carefully.
20:33I want to sing in a range where my voice can be heard.
20:37I originally have a low voice,
20:40so I want to sing in a range where my low voice
20:43can be heard as the middle range.
20:46I think the key setting is important
20:50I think the key setting is important.
20:53I think the key setting is important,
20:56and I want to sing in a way that my Japanese can be heard.
20:59For example, there are people who sing in an English-like way,
21:03and it suits them.
21:05I think there are times when that makes sense.
21:08But I think it's better to sing in a way
21:11that my Japanese can be heard.
21:14I think I sing carefully about that.
21:17You're careful about that,
21:20so you want to sing in a way that your Japanese can be heard.
21:23I want to sing in a way that my Japanese can be heard.
21:26But I also like it when Mr. Kuwata sings in an English-like way,
21:30and Mr. Yazawa sings in a rock'n'roll style.
21:33But I also like it when Mr. Kuwata sings in a rock'n'roll style.
21:36I don't think that suits me.
21:38Mr. Hattori, can you do the Tatsuro dance more freely?
21:41Mr. Hattori, can you do the Tatsuro dance more freely?
21:44He wrote a song in 15 minutes.
21:47That's a great exchange of ideas.
21:50That's a great idea.
21:53It's wonderful.
21:55I'm glad I can listen to something that I can't hear.
21:59You answered it in detail.
22:02Singing is something that flows in real-time,
22:05but I don't think there are many people
22:08who can sing a song that has words and a story in it.
22:13Of course, I think it's important to sing like it's a Japanese song.
22:18I guess Maria's part may be a part of her first song,
22:21her story connecting to Ever Green.
22:24Somehow, I can see why she sings it in this way.
22:28I can see why she sings it in this way.
22:33I can see why she sings it in this way.
22:36Speak you mind.
22:38The next question from Zott is about the change in lyrics.
22:44Maria-san, speaking of the 80s,
22:47Love, friendship between women, forbidden love,
22:51created many famous songs with this theme,
22:54and received great support from women all over the world.
22:59For example,
23:01If you want to be happy
23:11It's very easy to find tomorrow
23:21Looking for clothes that suit your slightly sweaty body
23:31If you jump out into the city, look, everyone will look back
23:42No matter how many times the chance comes,
23:53Realize that only money is not a man
24:02It's a good song.
24:04Yes, it is.
24:18Why did she write such lyrics?
24:32Such a lonely sound of footsteps at dawn
24:38When I get closer, everything
24:45As if nothing happened
24:49I wear a shirt
24:52I look at my beloved back
24:56And in the 2000s,
25:00I feel like I have more and more lyrics
25:04that represent a wonderful holiday
25:08that cut off the wonderful Christmas of the family.
25:11I can't wait for the TV room
25:16that was held in the hands of the children
25:21Christmas is coming this year
25:27In the middle of the 2000s,
25:29a masterpiece with Maria's sense of life was born.
25:35That is...
25:39Every time spring comes again
25:46I add one year
25:52The scenery in my eyes
25:59Changes little by little
26:07What is amazing is the convincing power of the chorus.
26:11It is a lyric that can be written because it is Maria, who was 50 years old at the time.
26:18In the chorus, the impressions and images of the 20s and 90s are drawn in English,
26:24and each phrase is positive.
26:29It is a priceless lyric that Maria can write because she has overlapped her 50 years and the next 50 years.
26:47I want to remember everything
26:52My heart said
27:17But I feel it's nice to be 50
27:48Question from ZOPP
27:51I feel that there are some changes in the lyrics along with the age,
27:58but how do you feel about the changes in the lyrics?
28:03As I get older,
28:07for example, the way I see the scenery,
28:12for example, my feelings for the current situation,
28:17it's natural to change the way I see it.
28:21Of course, the words I find and the things I want to say
28:25I think it's normal to change when I'm young.
28:30For example, the door to life is when I celebrated my 51st birthday,
28:35I saw the cherry blossoms and I was born in spring,
28:39and when I saw the cherry blossoms in spring,
28:42I wondered how many more times I would see this,
28:45and I realized that I had said it,
28:48and I thought I'd try to make it into a song.
28:51That's the door to life.
28:53It's a thought that I didn't think of when I was 30 or 20 years old,
28:57and the thought of how many times I would see the cherry blossoms
29:00is probably a word I used when I was in my 50s.
29:03There are changes in that sense,
29:07but what I find interesting about writing is that
29:10I'm about to turn 70,
29:13but I look back at myself when I was a teenager,
29:16and for example, I write 5 seconds before I fell in love with Ryogo Hirose.
29:22You can go back to your teenage self and write.
29:28So people who turn 70 can write songs for teenagers,
29:32and people who turn 30 can write songs for people in their 30s.
29:37But if you're in your 30s, you can't write songs for people in their 70s.
29:42I think that's a big advantage.
29:46The more you age, the more you can expand your range of lyrics,
29:51and the more words you can find.
29:54So the change in lyrics is a change in my age,
30:00and the change in the way I feel is reflected in that.
30:06From Zopp,
30:08how much do you pay attention to the flow and flow of lyrics?
30:14Not just the lyrics, but also the music.
30:20What Tatsuro and I are always aiming for
30:23is a sound that doesn't fade after 20 or 30 years.
30:28I want to pursue a sound that doesn't fade after 20 or 30 years.
30:34So, for example,
30:36I think I might include words that reflect the times.
30:41For example, I didn't use the word smartphone or cell phone 40 years ago,
30:47but I might include that in my lyrics.
30:51But when I listen to it as a whole,
30:55I want to make it sound like it's been around for decades.
30:59That's what we have in common.
31:02So I think about what kind of instruments I want to use,
31:06and what kind of words don't age after 30 or 40 years.
31:13So arranging is very important.
31:16If you add a sound that's popular now,
31:19it might age after two years.
31:23I think that's what Tatsuro is very careful about.
31:28In terms of choosing the words for the lyrics,
31:31I think that's important.
31:33Because it's universal.
31:35For example, everyone has this kind of feeling.
31:39In this case, whether it's a man or a woman,
31:43whether you're old or young,
31:46I'm sure you have a common feeling
31:49that you want to convey to the audience.
31:52If you put that into words,
31:54it will apply to everyone.
31:56So I think it's a word that will probably reach everyone.
32:00So I think he's particular about the universality of that.
32:04But on the other hand,
32:06it's strange to say that he's very self-centered,
32:10but he has his own world view.
32:13Young people have a sense of what he's saying.
32:17People who are younger than me
32:20might think it's interesting,
32:23but it's something I can't do.
32:26So I think it's interesting to think about
32:30what he's trying to say.
32:33I don't think I'm in charge of that.
32:37I don't think everyone wants that to happen to Maria Takeuchi.
32:42It's very objective.
32:44I think it's amazing what people are doing.
32:49There are so many different styles.
32:52It's interesting.
32:54Speaking of which,
32:56do you see the artist Maria Takeuchi as an object?
33:01Yes, I always do.
33:03I'm very objective.
33:05For example, when I'm composing,
33:08I think about what kind of music
33:11I want to make people listen to.
33:14I see.
33:16For example, this time,
33:18I want to make people listen to rock and roll
33:21or a more manly band sound.
33:23I think I'm like another producer.
33:28Matsumoto-san, you answered the question.
33:32I thought it was amazing.
33:35I'm a lyricist,
33:38so even when I'm 40,
33:40I have to write with the feeling of a teenager.
33:43I don't have much time to think about my age.
33:47I see.
33:49In that sense, it's the same way of thinking.
33:52In this industry,
33:54people who appear on the outside and people who are on the inside
33:57tend to be informed that young people are good.
34:03But I heard what Takeuchi-san said,
34:07that as you get older, you can write more.
34:10I feel like I'm being told to write more.
34:12I think so, too.
34:14I was personally very happy about that.
34:17Now, we asked the professionals
34:19what they wanted to hear.
34:23This is a question from Anami-san.
34:26Do you listen to young musicians like our generation?
34:31I listen to them a lot.
34:33It's not like I buy a lot of CDs,
34:36but I watch them on TV and YouTube.
34:40I listen to Nukumon Shokushakai,
34:42King Gnu,
34:45Fujii Kaze,
34:47Yonezu,
34:50and Boundy.
34:53Young people are good at singing,
34:57and they have a high ability to play instruments.
35:00I've been watching them for a long time
35:03because I think they're really good.
35:06But if you look at the older generation,
35:09I've been a big fan of Ringo-chan since her debut.
35:12I've been listening to her songs all the time.
35:16I also think Utada-san and Ringo-chan are geniuses.
35:21They're amazing.
35:23I also like Yellow Monkey.
35:26I've been listening to them.
35:30I admire people who play in a band style.
35:37If I were a man,
35:39I would definitely want to be in a band.
35:42Do you have any musicians who are in the same position as you?
35:51I don't think there's anyone in the same position as me.
35:56I made my debut as a singer.
35:59I've been known as a singer-songwriter
36:02since 1984.
36:05I've been a singer-songwriter for a long time,
36:09so it's hard for me to be in the same position as someone else.
36:13And I've been doing this for a long time.
36:16I think there should be at least one musician
36:22who is in the same position as me.
36:26I don't have a rival.
36:29I don't have a rival.
36:33Maria-san, you have a good pace.
36:37That's right.
36:38If I don't take it easy,
36:41I can't make music.
36:43There's another musician who is much better than me.
36:48I want to support him.
36:52I think he is a treasure of Japan.
36:56I want to support him
37:00so that he can continue his career for a long time.
37:04I think that's my indirect musical activity.
37:10That's it.
37:12That's good.
37:18That's good.
37:19That's wonderful.
37:21He is very humane.
37:23That's why he can continue his career for a long time.
37:27The original album, Precious Days,
37:30has been released for the first time in 10 years.
37:36Maria Takeuchi, who celebrated her 45th anniversary of her debut,
37:40recorded 18 songs of her favorite songs.
37:45Among them, these three people gave her a famous song.
37:50I thought it would be best to send a song straight to her.
37:56I'm a fan.
38:02The famous song of Maria Takeuchi that the three professionals sang.
38:07Look, I'm about to cry again.
38:15I can't change my weakness.
38:22When I listen to this song, I feel again that Maria Takeuchi is a teacher
38:27who makes songs that reach everyone and remain forever.
38:36In recent years, music has become popular,
38:39but I feel that it has left many people behind.
38:45In such a situation, when I listen to this song,
38:48I feel that singing is a wonderful thing.
38:52I feel like I was really sent a song
38:57with the energy to save my feelings or do something.
39:06Just by not realizing it, love is overflowing.
39:12Everything around you.
39:17La...
39:30Just by not realizing it, love is overflowing.
39:37Everything around you.
39:39And so, this question from Yokota.
39:43I feel the power of Maria Takeuchi's unchanging beauty from this song.
39:49What do you focus on when you write a song for everyone in this day and age?
39:57If there's something you focus on in this song, I'd like you to tell me.
40:05I was asked to write this song as the theme song for the drama,
40:11The Great Kikana Sensei, starring Erika Ikuta.
40:15At the press conference, I was asked to write a song to encourage people
40:23who are struggling in this world.
40:27I've written a lot of songs to encourage people,
40:30so I thought it would be best to write a straightforward song to encourage people.
40:36Ikuta is a great musical star,
40:42and she has a great voice as an actress.
40:46So I asked her if it was possible for me to sing a song for her.
40:56She said yes, so I wrote a song to encourage her.
41:10As a universal theme,
41:12I think everyone in this day and age is very anxious, including me.
41:17I think it's a dark time.
41:21For example, in the world of social media, there are a lot of fatalities,
41:26and now that the coronavirus is over,
41:29there are wars and conflicts all over the world,
41:34and there's an earthquake.
41:36Everyone is very anxious,
41:38but I think everyone feels that they are living their best lives.
41:43I don't know how powerful a song is,
41:48but I'll do my best to send you a song.
41:51I'm trying to encourage myself.
41:55I want to encourage everyone and myself.
41:59But I don't want to say,
42:01let's do our best,
42:03but I want to say,
42:05when you're lonely,
42:07let's get together.
42:09So let's sing together.
42:12I thought it would be nice to have Riku in the song.
42:18I'm glad it's a song like that.
42:21Thank you for listening to the album and asking me questions.
42:30It's an honor to have Sakai, Zopp, and Honma here.
42:37I'm so honored.
42:39Thank you for the two specials.
42:42I look forward to working with you all.
42:47What's the next special?
42:49How many years later?
42:51I don't want to wait 10 years.
42:57Mr. Sakai.
42:59I'm not drinking, but I'm drunk.
43:02I think it's good today.
43:04I've always been a fan of Maria's music and voice,
43:08but when I listen to Maria's music,
43:12I'm a fan of her way of thinking.
43:18I love what she's thinking.
43:21I could tell from the beginning.
43:24I could see Maria's personality.
43:28It's overflowing.
43:30The way you approach the listeners is exquisite.
43:34We encourage each other,
43:37but we don't say things like,
43:39let's go to Kibatte or Kamushara.
43:43We don't say that.
43:45We say, let's go forward.
43:50If we said that, you would have let go of your hand.
43:54It was a little embarrassing.
43:58I could tell that the Japanese people were saved
44:02by your exquisite energy.
44:04You're kind and encouraging.
44:06I could tell.
44:08The way you say it is,
44:10let's go forward.
44:12Change the arrangement.
44:14Not 15 minutes.
44:16Can you do 15 minutes?
44:20Good, good, good.
44:26This week on Terasa T-Bar...
44:29I'm a fan.
44:32Next week, the 30th anniversary of their debut.
44:37I listened to all the artists,
44:39and I felt like I was influenced
44:41by the stars of the same era.
44:44Behind the big hit,
44:46there are many surprising strategies.
44:49I thought it would be interesting
44:51if I could listen to them
44:53and be influenced by them.