[Tackey Tsubasa Best Album Rar
Jamar Lizarraga
Tackey & Tsubasa (タッキー&翼) were a Japanese idol duo consisting of Hideaki Takizawa and Tsubasa Imai from the Japanese talent agency Johnny & Associates. Takizawa, nicknamed "Tackey" (sometimes spelled as its literal romanization, "Takki" (タッキ)), is best known for his drama works, and Tsubasa for his dancing ability. They have also been musically successful with hit singles such as "Venus" and "Yume Monogatari". Their works are produced by Avex Trax.
Before their debut, Tackey and Tsubasa were the top "Juniors" in the Johnny & Associates, a company which specializes in male teen idols led by Johnny Kitagawa. They started out as backdancers for better known teen idols in their label such as KinKi Kids (who also had not yet debuted at the time) in 1995, when both were 13 years old. They have hosted the Japanese variety shows, Gakibara Teikoku 2000 and Music Enta. Besides hosting, the two have starred together in dramas such as Kaiki Club Ghost Stories and Genroku Ryoran. Initially, both of them did not get along well but during the filming of the NHK series Genroku Ryoran, which aired in 1999, they became best friends.
Before their official debut, the two performed together many times. In 1999, Tackey asked Tsubasa to join him in their first duet during the "Johnny's Juniors First Concert" in Tokyo, Japan. In April 2000, at the "Johnny's Juniors Spring 2002 Concert", the two performed their second duet together on stage. For this duet, the two designed their outfits, choreography and even their unit symbol (a tarantula). It was after this time that they hosted the two variety shows, Gakibara Teikoku 2000 and Music Enta, from 2000 to the beginning of 2001.
In February 2001, it was announced that the two would be headlining their first tour, called "Takki and Tsubasa 21st-century Showdown with all Johnny's Juniors". Tsubasa designed the costumes and Tackey designed the setting for this very successful tour, and for the first time in JE history, two Johnnys were distinguished in the title of a Junior tour. This led to many people believing that the two would debut as a duo like the KinKi Kids. Instead, at the end of this tour, Johnny Kitagawa announced the two would debut as solo artists in 2002. They were planned to officially debut when they reached 20-years-old due to their popularity.
For the 2002 "Johnny's Junior concert" the two were again announced to be the headliners of the tour, and it was during this tour that Tackey mentioned he wanted to debut as a duo with Tsubasa. Tackey asked his fans to organize a letter campaign to Johnny & Associates to let them debut as a duo. The fans then launched a campaign asking people who wanted them to debut together to send postcards and letters to Johnny & Associates, imploring Kitagawa to debut the two boys as a duo instead of as solo artists. The campaign has lasted for about a year, but then on August 1, 2002, Johnny announced that they would debut solo. Their debut solo songs would be entitled "Get Down" (Tsubasa's) and "Kiseki" (Tackey's). Yet, as a surprise instead, where the official announcement of their debut was to take place, the two announced they would be debuting as a duet after all. The two solo songs of theirs along with the duet song "True Heart" were the first releases from their debut mini-album, Hatachi (meaning 20-years-old in Japanese), which was released on September 11, 2002.
To date, Tackey & Tsubasa have released 10 singles, 3 albums and 3 DVDs: a significantly smaller number compared to their counterparts in the company. They have been quite successful; their most recent CD releases have reach the top position on the Japanese music charts. The two also share a very close friendship, being best friends; this aspect of their relationship is obvious through their interactions and interviews and is a very important part of the dynamic between them. Each has incredible strengths and skills, and as a result they complement each other very well.
Their songs "Crazy Rainbow" and "Mirai Koukai" were one of the opening and ending theme songs respectively for popular Japanese anime One Piece. They were also featured in the opening animation of One Piece episode 303, added into the opening segment to their song that was used since episode 284. Also, their song "One Day, One Dream" was on the soundtrack of the Japanese anime Inuyasha.
On 3 September 2017, shortly before their 15th anniversary, the duo announced a hiatus.[1] The hiatus began on 17 September, after they performed on Music Station Ultra Fes 2017.[2] Tackey & Tsubasa disbanded on 10 September 2018.[3][4]
One of the recurring details you notice pop up in any English-language writing about Amuro from the 1990s is a tendency to refer to her as an "idol," even if she's being positioned as "not just another idol." And I don't think anyone in 2018 would ever look back at any point in her career and say "yep, that's an idol." I definitely wouldn't. But then I saw a clip of a young Amuro dressed as a bee that made me question my convictions.
Before becoming Namie Amuro, Namie Amuro was an aspiring pop star building a potential back-up career as a fixture on children's TV. For about two years, she appeared frequently on Ponki Kids, a crazy-popular show that I've had multiple musicians around my age say was vital in exposing them to music. Amuro went to schools and stared at pigs, pretended to be a train and pioneered dancing on public transportation much to everyone's horror. Besides this, she also popped up sometimes in movies and dramas.
Which...is all very idol-ish, and that's before considering how her first group Super Monkeys basically were idols. Despite being plucked out of that project and positioned as a solo force, fame wasn't guaranteed for her, so it was probably smart to hedge her bets by interviewing eight year olds about goats. And in another time, she absolutely would have been pegged as an idol for all this media play (she might even have embraced the term -- an important part of idol-dom). But idols were out in the early '90s, so Amuro couldn't fall into that pit...which allowed her to become something new, a J-pop solo superstar. Unsurprisingly, she never dressed up as a bee again.
By the time Namie Amuro became the biggest female artist in Japan, the Bubble years were well over. You might not have known, though, if you looked at the country's music industry, which was enjoying massive sales...and indulging a lot. The best snapshot I came across in writing was this documentary, a 1996 creation showing Amuro leading up to a sold-out performance at Chiba Marine Stadium. It reminds you that, as part of that show and the recording of her debut album, they flew out Sheila E. The Prince-associated, prolific Sheila E.
"I can't see why she wouldn't be able to cross over into the, umm, American market," she says, maybe being a little too loyal to the people who hired her. Still, it's a good reminder of how ambitious J-pop was in the '90s. You get plenty of non-Japanese involvement in J-pop today, but it tends to be Swedish producers assembling Arashi songs or more specialized locals (all power to Marty Friedman). This was high-profile investment in pop -- note how K-pop has followed something similar in its spread -- and Amuro captured this rush.
If Amuro's career showed the arc of J-pop, her commercial endorsements showed...the arc of many things. Sit back and enjoy this compilation of commercials, and take note of how Amuro's longevity has allowed her to pitch for almost every corner of the digital age, going from chucking floppy disks into the void to showing off flip phones to dancing around with smartphones.
I did mention this in the story, but I became pretty fascinated with the TK Pan-Pacific Tour '97 In Taipei show. Musical interplay between Japan and the rest of Asia -- heck, Korea and the rest of Asia, China and the rest of Asia -- had certainly been going on well before this two-day blowout of all things Tetsuya Komuro, but watching clips from it, this did seem like an early experiment in bringing a country's pop industry to the continent, one that other J-pop acts mirrored but which K-pop figured out perfectly. And right at the center is Namie Amuro, pointing towards the future.
Johnny's duo Tackey & Tsubasa announced their disbandment. This wasn't a huge surprise -- they've been on hiatus since last year, and they've faced health issues in recent times too -- but still yet another reminder for '90s kids that, yep, Heisei is about to end and all your favorites are saying goodbye.
I can't state how much joy this next story brings me, hitting on my love of pop geopolitics, the ever combustible relationship between J-pop and K-pop, and the sheer delight of watching smarm smash into creep. Akimoto Yasushi wrote lyrics for an upcoming BTS song coming out in Japan, after being approached by that group's CEO, and people sure aren't happy! Christmas comes early. The main gripes from BTS fans relate to his sexist lyrics (which, no argument, though having to endure conversations about a C-side that sparked the same controversy here two years ago is goofy...wait until ARMYs discover Onyanko Club) and his nationalism which...might very well exist (AKS did team up with Shinzo Abe's government to make a commercial for the Self-Defense Forces) but BTS fans seem to just be focusing on lyrics to some songs which...are pretty clearly cliche "war is bad" numbers? This performance is probably better evidence, but it also looks like an elementary school play and boy it gets all the weirder if we wade into "soft power" and...it's all a mess, it's a complex issue stretching way beyond music and way beyond fandom (but don't expect pop "stans" to let that stop them...or netizens), and it turns out I live for this mess. More details to come!
Say this about AKB48 though -- if they had a dating scandal, they would deal with it swiftly and professionally, unlike Cube. Two lessons to learn from this -- first, K-pop snatched J-pop's reputation as "the non-Western music industry where you can't date" in the minds of mainstream media, and two....never support a company or talent agency. Go crazy for artists and individuals (though prepare to let them disappoint you too) but please don't root for a logo.