Brand's First V-Neck T-Shirt and Bandana Debut

──The vibrant colors are striking.

TodaWe mostly stuck to monochrome before, so this time we talked from the beginning about wanting to do something "colorful." We hope people wear it on its own during these hot summer days, and in winter, use it as a pop of color to layer with outfits that tend to be darker.





TodaWhen we say pink or purple, there are many shades, from pale to primary. Especially pink. Shocking pink is too common, and light pink doesn't feel like "BG Brand." Most importantly, we wanted a pink that men would think, "I want to wear this!" We decided on vivid colors, but it was difficult to narrow down the ideal shade from the gradients.

──This time it's a V-neck, isn't it?

TodaThe silhouette of the body, including the torso and length, is the same as before, but this is the first time we've tried a V-neck. It emphasizes the vertical line and creates a sleeker look. The depth of the "V" can vary, but we wanted something that could be worn on its own, so we made it relatively shallow. Actually, we're using a new fabric for the first time this time, and the soft, smooth texture, which we focused on, makes it incredibly comfortable to wear. While the colors are bold, we aimed for a "relaxed" feel with the material and print.





──The print also has a different feel than usual.

UekiThe print is hand-drawn, which is unusual. We've avoided hand-drawn patterns before, reserving them for charity items, but this time we deliberately chose it to achieve that "relaxed" feel you mentioned. We wanted to create a large illustration that would look like a pattern. The warmth and charming characters unique to hand-drawing effectively neutralize the "bold colors," resulting in a milder finish.

TodaWe also paid attention to the white dye in the pattern. Instead of a crisp, clear "layering" of white onto the base color, we wanted a color that would soak in, giving it a used look. This really brought out the "character" that only hand-drawing can provide.

New Character "Itazura-kun" Delivers a Message

──What was the theme for the illustration?

UekiWe decided on the colors and overall feel together, but for the illustration, I asked to be given creative freedom, and I drew it as I pleased. I wanted it to have the BG feel while also conveying a message. When I was a student, I attended an art university, and I often created works expressing environmental issues in a "cartoon" style, like political cartoons. The message of thinking about the global environment has always stayed with me, and I wanted to express it again this time.

A painting depicting environmental pollution, framed and displayed, is defaced with a large peace sign doodle by "Itazura-kun." We've positively expressed a wish for peace through a playful illustration. From a distance, it looks like camouflage, right? But if you look closely, you'll see the message... that's the trick.



TodaI thought knowing the story would add another layer of enjoyment. We've been calling this character "Itazura-kun" for now, but if he appears again, maybe we'll have a naming contest (laughs).

──A bandana has also been released.

UekiIt's an original paisley incorporating classic motifs like dice, BG's signature skull, and a playful, cool heart. The pattern that appears changes depending on how you tie it, so we paid attention to the placement.

TodaI've made bandanas for Love Junkies once before, but this is my first time with paisley. We were particular about the fabric here too, carefully selecting a material that is exceptionally soft and supple. I learned that even with 100% cotton, the texture can vary greatly depending on the weave. You can tie it on your head like I do, or around your wrist as an accessory. We hope people enjoy styling it in various ways.





──So, what was the content of this casual live performance?

TodaWe don't usually set a specific theme for each one, but since this was our first summer live performance, we decided to focus on summer songs. We selected songs, both old and new, including children's songs, with the image of a "Summer Song Medley." There are so many great summer songs, it was hard to choose. I suggested candidates, and we adjusted them with the bandmaster... though ultimately, it ended up being the bandmaster's preference (laughs). We even included something by AKB, but it was unfortunately cut (laughs).

The most recent one was Yuzu's "Natsuiro," I believe? The medley included many classic hits from artists like Yoshida Takuro, Candies, Seiko Matsuda, and Ikue Sakakibara. We also performed all the songs released last year, although there were no new ones. And, of course, a few of our regular duets with Go.





──Did you have any guests?

TodaLast time we had Shota Fukamachi, but this time, Magii Shinji joined us and performed magic. He even made his ears bigger (laughs). Like Go's dancing, I want to give the audience who came to see me something extra, a special treat. I want to show them the enjoyment of live performance beyond just singing, and I hope it serves as an opportunity for them to discover the appeal of things like Rakugo or magic. If anyone goes to see a stage play or listen to Rakugo because of this, I'd be thrilled. It's something they might never experience otherwise, remaining just "something on TV."

UekiMagii-san is always so funny, but he's truly an incredible artist, someone who could be called a "genius." Most people would get nervous and think, "I have to do something!" but because he has such skill, he can play it cool and captivate the audience. Seeing him in person, I was deeply impressed by his genuine talent.

──What did he perform?

TodaHe didn't sing. He said he would sing next time though (laughs).

My True Self──This Venue Has Become a Comfortable Place

──Do you set a theme for the dance segments?

UekiThis time the theme is "LOVE." For the dance segments, I get to choose the music I like, and I always think the band members must find it incredibly loud (laughs). This time, I tried to incorporate a summer feel. In Keiko-san's live shows, I try to bring out songs that I wouldn't normally dance to. I also try to minimize acrobatics compared to usual, focusing mainly on "popping dance," which is my specialty.

Actually, at the last casual live performance here, I had a realization, a sort of intuitive grasp of "how dance should be performed." It was like something I hadn't understood before suddenly clicked. When I changed my dancing style, Keiko-san and the fans who have been watching for a long time said, "Something's different this time." It really does get across.





TodaPerhaps it's the difference in venue. While there are certainly other places to showcase different talents, I think there's a unique feeling that comes from performing in the context of someone else's live show. Your dancing has changed quite a bit since the early days, hasn't it?

──Is the casual live a place for challenges?

UekiYes, it is. I deliberately choose songs that aren't perfectly suited for dancing because I can achieve a perfect score. I don't miss a beat. It's not always a perfect score; sometimes it's even negative, but occasionally it exceeds 100 points. I want that kind of "potential." Also, Keiko-san's live shows feature a live band, and the performance itself has a jam-like quality, doesn't it? I feel it would be wrong to bring something too rigidly structured to that. Since the music is pre-recorded, I want the dance to be freestyle, retaining that jam feel.



TodaIt's been five years with two shows a year, and this is our 10th casual live. Unlike Go, I'm not constantly immersed in music, so I always want to aim for a "perfect score." I'm in a situation where I'm barely squeezing it into an extremely tight schedule, and I don't know when the next one will be. So, I was so focused on making sure the audience would want to come back that I had no room for error. But after doing this 10 times, I've become somewhat accustomed to it.

It's different from reciting lines or singing set songs in a musical. It's not something that's meticulously rehearsed and polished. I've experienced many things that I couldn't have known without trying, and I've gradually come to understand that it's okay to be my true self on any given day. This place has slowly become a comfortable space for me.

──Do you feel a change from your perspective, Ueki-san?

UekiIn the beginning, after the live shows, you used to thrash around saying, "My legs cramped!" (laughs). You're amazing; you'd lock yourself in the restroom an hour before rehearsal, listen to tapes, sing all the songs, then go into rehearsal and sing at full volume again, and finally, the main performance. Once in the restroom, once during rehearsal, twice during the main show... if you perform live four times a day, of course your legs are going to cramp (laughs)!

I was even present for the recording, and you'd add a nice vibrato in the same spot all three times you took it. Keiko-san is always serious. I think the live performance is when her rock side, which you don't see on stage or TV, comes out, and I was surprised when I first witnessed it. Her serious approach to the live show, her very way of life, is incredibly cool.





──The anticipation grows with each performance.

UekiUnlike Keiko-san, I've become more nervous since switching to freestyle (laughs). But for me, that tension of not knowing if it will go well is fresh, and I'm rediscovering the joy of live performance.

TodaThe live performance is the only place where I can communicate with the audience as my true self, not as I appear on TV, on stage, or even in my blog. That's precisely why there are things I want to convey, and things I can convey. Sometimes people say, "You talk so much!" afterward (laughs). Thinking back to the first time, I never imagined it would be like this. Now that the current format has become somewhat established, I'm starting to think about seeing a different kind of scenery, something new, in the future.

──Thank you very much.

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Inquiries regarding the Performance
Nelke Planning
Tel. 03-3715-5624 (Weekdays 11:00 - 18:00)
www.nelke.co.jp/stage/imano_2013/