(This talk show is archived on youtube.)

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https://www.youtube.com/watch?v=XqOiMQU_VWg

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[00:54]

Susumu Hirasawa: Good evening. This is Susumu Hirasawa. Today, this is the Back Space Pass for "24 (Fushi/Immortal) Mandala" concert held at the Osaka Festival Hall on April 28th and 29th, 2021.

I am sure everyone who is watching this now knows what "24 (Fishi/Immortal) Mandala" is , but for the possible new viewers, let me briefly explain what it is for those who have come suddenly.

[01:32]

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What "24 (Fushi/Immortal) Mandala" means. There was an event called "9th Mandala" that preceded "24 (Fushi/Immortal) Mandala", meaning that my number of twitter followers reached 90,000. In the celebration of having the record of the number, there was an event to hit the snare drum 90,000 times during the live shows.

[01:58]

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Several years after that, the number of followers reached 240,000, so an event was held to achieve 240,000 drum strikes, which inherited the drum strikes of 90,000 from "The 9th Mandala" representing 90,000 people. So, as I said earlier, it was held at the Osaka Festival Hall on April 28th and 29th, 2021, for two days. Did we do four days at "The 9th Mandala"? It was four or five days. it was an event to hit 90,000 drum strikes in 4 or 5 days' concert in "The 9th Mandala". But this time, it was an event with a very difficult mission because we had only 2 days of the concert.

[02:48]

So, first of all, when we tried various calculations, even if we take over 90,000 strikes from the previous event, it was  almost impossible to achieve 240,000 strikes in 2 days. So, I devised various measures.

[03:09]

So, first, one possible measure was to use a machine. I will show you now what kind of machine it was. My acupuncture doctor I visit once a week had a machine designed by him to make moxa for moxibustion. [Notes: He used to be a robot engineer and has designed walking robots with cameras to shoot Hirasawa's shows  in the past concerts.] I forgot what the machine was called, but there was that machine, and there was a rotating part to it, and I thought about tying a stick to it and letting it hit the drum. If you look at this, you can see it immediately, but I rejected the idea after all because it would reach 240,000 strikes in a blink of an eye.

[04:10]

First, let's take a look at the machine. This is a 240,000-strike machine that I tried to use but didn't.

(A video of the moxa making machine is displayed)

[04:54]

That's what it is. No matter how you think about it, it would take only a few minutes to achieve the 240,000 strikes.  I decided that I couldn't use this, so, other than that, I decided to assign a task to the drummer[Yuji Rerure Kawaguchi] and let him earn the strikes in advance. We took the strategy of bringing drums around the city, shooting videos of himself, installing a strike counting machine to the drum, shooting videos of earning strikes by himself and posting them on the special site for "24(Fushi) Mandala".

[05:45]

This operation was carried out, but there were various problems. One time, a police officer stopped him in the middle of the drumming. In another time, he was actually hitting the drums in a place where he should not enter, but he tried to cheat it by pixelating a part of the picture of the video. Sometimes, the mission included very dangerous behavior. Nevertheless, it was thought to be hard to achieve the necessary strikes during the period before the concert...So, besides hitting the drums in the city, he also adopted a method of counting the number of drum strikes in his own live performance of Yuji Rerure Kawaguchi.

[06:32]

Still, it was unlikely that the number of strikes would be achieved, so we further expanded the allowable range of the location and issued a final command such as "Hit the steel frame of Tokyo Tower while climbing the stairs". However, he didn't reach that point after all, and the period before the concert had passed, so we were already ready for rehearsals for the show. I'm sorry. just a moment. Actually, I'm missing a part of my front tooth today, so I can't open my mouth very wide. If I have to open my mouth wide, like this,

[07:31]

(Covering his mouth with a folding fan)

[07:33]

I will hide my mouth with this folding fan. I appreciate your understanding.

[07:41]

And then, as it went, after Yuji earned the number of strikes in the city, he did it at the rehearsal studio, at the Genepro[Generalprobe/dress rehearsal] studio, too.  We set the drums just like the actual performance, and also set the strike counting machine and the display system to show the count just like the actual show. Because we thought we were behind in achieving the drum strikes, we, the three other members, SSHO, TAZZ, who are Ejin, and I, Hirasawa, also decided to hit the concert toms, installing sensors to them to count the strikes. We all showed our enthusiasm to achieve our mission by hitting the drums in the concert like this.

[08:44]

However, we also knew from our experience that it was dangerous to blindly repeat the number of strikes. Because, if we reach the number of strikes in the middle of the concert, it would not be exciting after that. On the other hand, like a pre-established harmony and at the end, the scene that it was finally achieved as a result of repeated efforts, would not look so interesting either because it would be like a sport club event. Taking all of these things into account, we placed a strike monitor at the feet of each member to monitor how many strikes they have reached.

[09:34]

So, while checking the number of strikes, I was planning to proceed the concert while monitoring the strikes as we had planned, such as how many  more strikes I should add [on the concert toms] on which songs, and so on. But I couldn't afford to think about that during the concert. I ended up leaving things as just letting it flow, leaving the drum strikes hit, and exposing my poor account by increasing the number of strikes in a catch-as-catch-can fashion.

[10:12]

Well, this would have looked like a disappointing result for us who had made such an agreement in advance to increase the number of strikes systematically, but for the spectators who were watching, it didn't look bad al all, I think.

[10:34]

To tell you the truth, considering the calculation in advance, soon after the schedule for the Osaka Festival Hall was decided, in fact, Fuji Rock's offer came, too. And just because "24"(ni-yon) can stand for "fushi" and "24" (Fuji) in Japanese coincidentally, it was also considered whether to carry over this "24 (Fushi/immortal) Mandala" to Fuji Rock. However, this also meant that it would be stupid to hold such an incomprehensible event in front of new audience. So, we decided to complete everything at the festival hall after all.

[11:33]

Having a situation like this, the progress was made from the preparation. And in the end, although it was almost like in a pre-established harmony, we reached 240,000 strikes. However, at the end, after all, it felt embarrassing for me to have a scene like the athletic type drummer who clenches his teeth finally achieves something with the cheers like "Rerure-san, do your best!", which would be a stereotype of never-give-up spirit in a sport. So, I made the last strike by dropping a roll of red duck tape on the concert tom, and achieved the 240,000th strike, seizing credit for Yuji's work.

[12:37]

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And next, I would like to talk a little about the tools and equipment used in the concert. I think the most prominent one was the new laser harp. The one that was used before the new laser harp was designed by an artist who makes aluminum products [005 Harry @005HARRY ], and very... Oh, Please wait a moment (looking back).

[13:20]

(He stepped out for a minute, and came back)

[13:57]

Well, right now, I was told that the URL of this streaming has become a private URL.  Oh, it's really private. Perhaps some people cannot view this? But it seems that there are no such complaints so far. Well, I wonder if this can be put into public mode from now on. I made it to the public mode. Is it possible to make it public from now? Well, it can't be helped, so I'll continue as it is.

[14:57]

There are various messages flying around. Oh well.  And I don't remember how far my story went. I mean, the laser harp, I was talking about. The old laser harp had a good design and was cool when viewed alone, but it had a reputation that some audience could not see Hirasawa, blocking their line of sight. I thought that I had to upgrade it, though it was very sad for me to give the old one up, and I finally upgraded it to a new one this time, but that is not yet fully completed.

[15:56]

So, the system of this new laser harp. The previous, old laser harp irradiates the laser toward the sensor and it makes the sound by the player's hand blocking it, playing the synthesizer, the sampler, and so on. This time, the new laser harp irradiates the laser from below, and when it hits my palm, when the palm hit by the laser shines brightly, this brightly shining hand is detected by the sensor at my feet and it produces the scale. This is the structure of the machine.

[15:49]

And I checked this with the person who designed the laser harp many times, and I confirmed that it would not malfunction even in a bright place such as on a stage, so I bought it with the guarantee that it will not malfunction. However, I found in a blink of an eye, as long as the sensor is pointing up, all the light shining from above will hit it, and it will not work at all. So, as a measure in an act of desperation, I put the sensor of the old laser harp in the horizontal bar of that pipe that you call an iron bar, putting half mirrors on the front. The laser emitted from the controller from below hits the sensor. After all, I used the old system which makes the sound by blocking the laser that is hitting the upper sensor.

[17:55]

However, the laser beam does not go across in front of me, but it illuminates from diagonally below to above, so my appearance is not obstructed at all. However, the laser output was not enough. In other words, I see it from below, so I can see all the laser beams clearly. However, when looking from the audience seats, from slightly sideways or from diagonally above, when there is no line of sight to the extended line of the rays, the light is weakened and it is difficult to see it. Of course, if you make the venue totally dark and burn smoke, you would see it clearly. However, it is difficult because I can not use darkness and smoke in all scenes.

[19:04]

What happens when I use a clear, thick laser beam? It would make my hands get burned. The output adopted at the best balance between burns and outer appearance is the current output, but it is difficult to see it from the audience seats, so future improvement is desired.

[19:35]

And the number of beams, which used to be six, is now eight. That's why I can't remember which beam stands for what. In other words, previously, it was in the form of 3 on the left and 3 on the right [horizontally], so it was easier to remember where was what sound. This time, eight vertical lines are lined up in a row sideways, so it's hard to remember which beam  to block to make what sound. So, as you can see if you look closely at my movements, the movements are almost the same. Due to having the same movement, the patterns of the orders of the movements in blocking the beams is in less variations, so it would be easier to remember. Of course, as was the case with the previous 6 beams, there are dummy beams this time as well. Okay. I do dummy movements included in the actual performance. It also includes actions such as blocking the dummy beam so that the movement becomes more conspicuous and more interesting. This is what I did with the previous laser harp, too.

[21:00]

Overall, the explanation of the new laser harp is done. And it is planned to be upgraded steadily in the future, including its appearance. If possible, at the time of Fuji Rock, I think it would be nice if the rays were more visible and the appearance was a little more decorated. All of this will be done by my staff.

[21:38]

Well, and how many minutes have passed now? Okay. Next, I will talk about Mosrite. PhytoElectron version of Mosrite. Matcha[ground green tea]-green color Mosrite has made a debut. This is... Recently, I get the feeling that electric guitars are back to the sound of steel. The first electric guitar I was fascinated by had the sound of metal. Then, as the times changed, the output of the electric guitars increased, the sound became distorted, and as a result, it became like the sound of wood. Following that, I gradually became less interested in electric guitars. But I think that the trend of the world is heading toward clean tones these days. So once again, I have renewed my idea about the clean tones of the  electric guitars. And with this Mosrite, the output is made a little smaller. It is a Mosrite manufactured by Kurokumo in Japan, but unlike the original pickup, it has a pickup with a slightly higher output. And I lower the volume of  it, and I use it by playing lightly with the output slightly reduced.

[23:19]

Of course, the pickups installed in the EVO are also set to produce such a sound, but in order to balance both, I play Mosrite, trying to reduce the output a little and play lightly. By playing lightly, distortion is suppressed and the sound becomes more metallic and glossy. I mean, I've been playing the guitar for many years, but I didn't notice it. To make a cold metal-like sound, I simply play it lightly.

[23:58]

And I noticed this in a British band called Goat Girl, a girl's band, a girl with less muscles who is unlikely to play the guitar fluently, plays the Stratocaster with a very weak force. When I saw it, it made a very clean sound. So when I tried to imitate it myself, I heard such a sound come out, to my surprise. In the future, I would like to do more research on this kind of guitar tones.

[24:27]

And since the plastic pick I have in my hand gets in the way when I play the laser harp, I would like to find a way to play the guitar without using the pick in the future. In "24 (Fushi/Immortal) Mandala", you can see in the later videos that I played the guitar mostly without using a pick. In the future, I would like to work harder on it.

[24:57]

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And, another production that was talked about, I mean, something I came up with. There were glowing beads. At the time I sang "Amputee Gerbera", I made a gesture like drinking glowing beads from a bottle. It happened suddenly. On the first day of the concert, one of our video staff took them to my dressing room. He came and said, "Mr. Hirasawa, if you can use this for something, please use it." And he removed the battery shields of them all at once and made dozens of beads emit light. I thought, "I don't know what to do when I'm suddenly given this," I put it them an empty plastic water bottle for the time being, and then covered the the bottle so that it wouldn't shine. I used a small poster to cover the bottle. There was a poster of the kimono parade there, held in Atami, also brought by the video staff. So, for the time being, I had something to wrap the bottle to prevent the light from leaking outside. I went to the stage. And I didn't do anything with it. I just put it there at the stage side for the time being.

[26:37]

Then, at the time of the song "Amputee Gerbera", I thought, "Oh, with this song, I don't have a lot of actions or movements, so maybe I can sing, holding the bottle. Then, on the way, I thought, "Since they are in a bottle, if I tilt the bottle with the gesture of drinking it, the glowing beads will fall like a liquid." Then I realized, "This is exactly what the lyrics say." The lyrics "like drinking stars" is sung in "Amputee Gerbera". I realized that it would be a production that just realizes that phrase, and I praised myself and said to myself in my mind, "Good job, Hirasawa", during the performance.

[27:26]

Then, the next day, I prepared more beads and evolved it into a detailed production that they flow from the bottle and touch the strings of my guitar on the way so that more beads would look like overflowing stars.

[27:55]

Now, I have to have some water.

(He drinks some water from the bottle.)

[28:09]

Excuse me. I see I've received a message from the staff again. Is this really? That's okay. Eh, someone not concerning has given me a message.

Okay. that's about it, things concerning the concert itself I can explain about.

[28:54]

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About 30 minutes have passed, so I would like to move on to Q & A now. But in fact, Youtube has been having a lot of cases like suppressing the freedom of speech recently. I wonder if I say this, this movie would be deleted. There are a lot of cases that movies are deleted. And I think that some people know it, but some people don't know it. And some people know about it very well. It seems that everybody is trying to speak while carefully choosing their words. In the next "Q & A" time, there are answers that might be deleted if I am not careful, so I have written the answers in advance. By reading the written script carefully, I would like to make the "Q & A" time. Let's start with the first question.

[30:13]

【Question 1】: Timeline Series：

"I heard of the 'Timeline series' for the first time. I had the surprise like it started suddenly and ended suddenly. And I heard the the encore song, "End of Timeline" on the second day. When did you think of it as a series, Mr. Hirasawa?"

is the question.

[30:29]

I will answer to the question. The series happened as a result. As I look at the world, it seems to me that multiple timelines are always in progress at the same time. From a certain timeline, you can see all of the timelines there, while from a certain timeline you can only recognize that timeline. It's like a science fiction movie, but it's a fact. To put it more roughly, this can be understood as meaning that the world view without any contact is proceeding at the same time. The unfortunate, stagnant, and dull timeline is being exploited, and thrown away by an intrusion from a malicious timeline. It is also the  malicious timeline that shows its fangs against interventions that sometimes tries to end it. The Malicious timeline raises model slaves to serve the malicious timeline in the name of good intentions and heartwarming stories.

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In the Timeline series, before this song, "End of Timeline", there was a song called "East of Timeline". Every moment...Well, In the Timeline series, I got the observation that 2 or more timelines may be coming to an end, which has been discovered in an attempt to find the possibility of survival while moving between the timelines every moment. That is the "End of Timeline".

This was a song commentary by Hirasawa himself that would make it more difficult to understand as you hear it. It may be understandable, and at the same time, it may not.

[32:16]

Well, next. "This time, you were talking about 'Immortality of Stealth Major' as the concept of the concert, but I felt that what was immortal was intentionally defocused. Immortality of what was the main concept, if I may ask?"

That is the question.

[32:35]

I will answer to the question. With the spread of the Internet, I had expected that the values that the quantitative criteria of major and minor would not be the evaluation of content would eventually mature. However, I have run into a nightmare again.

In other words, every time I elicit a larger amount of reaction, the number of followers increases, and each time, the overall quality of the followers deteriorates. So, this is a manifestation of what we expected from the Internet that quantitative criteria do not actually lead to quality evaluation, but that is just a phenomenon. There are no signs of growth having such idea as a value among the followers themselves. It is a nightmare of grotesque "loving the star that I support " in which people buried in quantity are confined in a narrow world view using the same signature and the same label.

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By often tweeting something that is disliked by a large number of people, the number of followers has decreased. And then the number of followers with different tendencies has increased, and the impression of the followers seems to have recovered a little. As usual, the spell "Stealth Major", which is a combination of contradictory words, has shown some success as a talisman to protect me from this nightmare of evaluation standard. I resolutely wish for the immortality of my safe haven that I am not there [in the majority group]. In other words, it means "Immortality of being Stealth Major".

[34:26]

Next question. "The Ejins with a red line on their face is called by strange nicknames by the fans. What shall I call them?" is the question.

[34:39]

That red is the red of blood, which is the canal of life, that is, "redness / rubedo". It is "Rubedo of salvation/relief". Therefore, it is appropriate to call the new Ejin "Rubedarian". Please call them "Rubedarians".

[35:00]

Next question. "In a past BSP, when you answered a question, you said, 'The heyday is always now', but at the live show this time, I saw the masterpiece stage that easily transcended even that answer. Why can you always be that way in your long career as a musician? " is the question.

[35:25]

I will answer, Actually, this is a normal human state. However, I don't think my ability is in full bloom yet. Believe it or not, my daily performance is relatively higher than general people's performance. It's my performance in daily life, I am talking about. It's not the stage performance. Overall, It's the performance putting everything together. The reason why my performance of various abilities seems to be relatively higher than the same age group, generally speaking, is due to my lifestyle and my thinking habits, I think. I've spent a lot of time upgrading my lifestyle and thinking habits, but of course it's not completely done yet. While gradually selecting habits and ways of thinking, I always find my changing self and feel joy. Having a vision of what you will be will tell you how well you have achieved the upgrade.

[36:43]

By the way, I think it is time for the detox of thinking circuit for me now. I think I'm in the detoxification stage of the thought circuit. Every day, I impose challenges on myself to achieve it intentionally. I am practicing the theme of detoxification of thinking circuits every day with the goal of maintaining a clear and peaceful mind by discovering a lot of unnecessary circuits in myself and throwing them away. I think I can answer that this curiosity toward myself and practice of myself, and the enjoyment in those habits, may have improved my performance relalively.

[37:38]

Next. "The reason for choosing the song "High-Minded Castle". "I heard "High-Minded Castle "for the first time in" 24 (Fushi/Immortal) Mandala" for the first time and it left a great impression on me. Later, when I learned that it was a "protest song against carnage*,  "I felt that the song was more and more meaningful and I thought about the meaning of it myself. But the wall of Stealth is high and difficult for me. I would like to hear from you why you chose the song in the concert."

[Song against carnage: Hirasawa released two songs for free to protest against the wars: http://susumuhirasawa.com/nowar/nowar.htm ]

[38:14]

I'll answer, but I don't think this song is in a difficult category to interpret. I think it has mostly a direct expression. However, if I answer to this question properly, this video may be deleted, so I will talk carefully. "Recently, especially from last year to this year, what is happening outright now in the world matches every word of Hirasawa's past songs," someone said the last time, which was a wonderful evaluation. I thought, "My work was worth it." This "High-Minded Castle" focused on the children suffering in an international conflict caused by lies and bullshit. Rather, it is a direct expression, so the description of the song is not limited to wartime. That is, there is a timeline where you can see multiple things, and the timeline where nothing happens, nothing, not limited to wartime, nothing is happening [it seems]. Even in the reality that is thought to be no incident has occurred, the children are being sacrificed. The song depicts it.

The song was chosen exactly as something to be shared now. It's not a difficult song to interpret, so if you're interested, I hope you'll review it[the lyrics of it] quickly. I've been safe, I'm sure. [This movie won't be erased.]

[39:59]

Okay. Next. The question is, "I felt the strength in the two new songs, like the day of the liberation of the hominid family is coming near. However, though I am embarrassed to say, I am even desperate in the face of the overt malice that has begun to appear gradually. Why can you continue to insist on the goodness of humans in such an era and in such a world?" This is also a little dangerous question. I have a note, but I would like to read it even more carefully.

[40:37]

You say that you are beginning to see overt malicious intent in the world. Please do not despair and proceed as you are. Twenty years ago, I learned of the existence of a huge and overt malicious existence, and I have been studying since then. Through my study, I have learned about not only the malicious existence that optically changes the structure of the world, but also the practices to limit the original ability of human beings, directing people's thoughts in a specific direction, making them to have the world view that is associated with specific emotions, to have the logic such as "easy work = evil" and "hard work = good", and to have various other thinking habits that make human beings exhausted, unhappy, with low self-esteem, and unhealthy. I understood that there was this kind of existence. 

[41:45]

Among them, cognitive dissonance exists innumerably as the worst self-destruct device. Because of that, many believe that the world is in the shape of what malicious intent teaches, and that it is proceeding in a stable manner while protecting you, and therefore someone that has discovered inconsistencies that shake people's beliefs has been attacked, ridiculed, and annihilated. That kind of practice has been continued for a long time in the world.

As a detoxification of my thinking habits, I've been observing the self-destruct devices inside me and found that many of them can be removed. I am trembling with the premonition that the hominid family, which has removed all of them and released all controls, will show an unimaginable brilliance.

[42:41]

However, it is not easy to remove them. But I believe that they should be removable by overcoming all the obstacles and by  continuing to work, which is not impossible.

Therefore, in such an era and in such a world, it is possible for me to continue to insist on the goodness of people.

[43:11]

Now, I have the following question. "We have been receiving free live streaming distribution of your shows for a long time, but thanks to the information pandemic this time, paid distribution has become mainstream. In this time's concert, I think there was a demand for paid distribution even having an audience at the venue. Do you plan to continue providing the paid live streaming distribution in the future? Personally, I would like you to have it."

It's a little dangerous one, isn't it?

[43:41]

I will answer. Until a few years ago, our staff used a simple system to deliver the streaming of the concerts for free at no cost. This was based that it was a free distribution, and we thought that it was good to distribute it for free even if the image quality was poor, finding the positive meaning of playing a part in the Internet culture.  There were few distributors at that time, and because it was more expensive, we had postponed the paid streaming distribution. but recently, thanks to the increase in the number of artists who stream their shows, the choices of distributors have increased. Therefore, it has become possible to switch to paid distribution. Probably, I think that high quality paid distribution will continue as it is.

[44:47]

The next question. The question is, "Mosrite has been converted to PHYTO-ELECTRON style, following EVO, but are there any differences on it from the normal model other than the appearance?"

As I answered earlier, first of all, Mosrite is a Japanese-made one that is said to be a '63 model reissued, but it is equipped with a pickup with a slightly higher output than the '63 model. However, it is my idea to reduce the output slightly and to  suppress the output. For EVO, the pickup is different from the normal model in the first place. It is a type that allows you to tap DiMarzio, but I almost always use only the single coil side.

[45:40]

So, at the moment, my guitar factory is working on a special EVO for Fuji Rock, but this is a pure single coil for both pickups. Two Jazzmaster pickups will be installed.

[46:04]

Now the next question. Before that, we will replenish the water. This is a 1.5 liter bottle. I usually drink 1.5 to 2 liters a day, but today my pace is a little slower. Hey this. (Fixes the overlap of headphones on the temples of the glasses) Yes.

[46:48]

The next question. "The last song on the second day was 'End of Timeline'. I felt somehow nostalgic and thought it was a new song at the same time.  A new song like "Mare Tranquillitatis" and" East of Timeline "brought together, I thought. You said that it was based on the melody that you got from your own inspiration, but is there any influence from the subconscious expression or from any traditional music? " is the question.

[47:47]

I will answer. As long as it is music, the expression of the subconscious mind is a matter of course in my everyday life, so I will omit talking about it, but I would like to answer about the influence of traditional music. In particular, it is about the Japanese-style and Asian-style melody of unknown nationality used in the song "End of Timeline". From the middle and late stages of P-MODEL, my style often had an Asian taste of unknown nationality. Unlike other musicians of modern music  having Western taste, feel and texture, I had little interest in Western rock music, however, I had no genres in the domestic music that could make me sympathized with, and I had no motive or inevitability to play with traditional Japanese melodies. It was born out of an attempt to explore the pop music that cannot find its roots in either Western rock or Eastern folk music.

[48:31]

At first, I couldn't verbalize the concept well, but now I can explain it in the words I have at my feet. In other words, "the near future of Japan that did not come". It is what happens when the current Hirasawa creates by adopting the core of traditional music, instead of imitating the shape of tradition or diverting the style of traditional culture. In other words, in that sense, it is influenced and unaffected by the traditional music at the same time.

[49:07]

So, here's the question: "Initially, I think an interactive live show in Osaka was scheduled, but the flag name on the map was changed in April 2020." The flag name on the map means, in fact, it's been always there. It's not over yet. An event to make a guitar album is currently underway. On the special site, the event progresses is shown on the map. There are the  flags everywhere on the map, and the flags are, for example, concerts or some events. They show the target points, and the flags are exposed there with some kind of cryptographic expression. Among them, this person is saying that the flag on the map saying  Interactive Live Show was there, but the flag's name has been changed to something else. So, she says, "I would like to ask if this was a decision that there was not enough preparation time to do the ILS, or if there were other more positive reasons."

[50:33]

I will answer. I have received some other questions about the selection criteria for the live venue, and I think I can answer those questions at the same time. In the first place, it is rare that the user can select a live venue according to the purpose based on the desired scale, desired date, desired day of the week, etc. Due to music  industry circumstances, most popular venues, dates, etc. are reserved by someone in advance. Unless there is an accidental vacancy, It may be possible to buy or exchange dates from those who have the right to use them.

[51:24]

In order to hold the hall under the best possible conditions, first of all, before thinking about the contents of the concert, that is, instead of having the order of thinking "Please reserve this hall because I want to do this concert", I would have to say, "Please reserve this hall" first.  You go through the reverse process like "Think about what kind of concert I would do  because I have reserved the venue." So, in order to think about the contents of the concert and immediately seize the vacancy that happens by chance under the best conditions, one strategy is to immediately seize the vacancy when you find it without having time to think about the contents of the concert.

[52:03]

Therefore, this time, the Osaka Festival Hall was seized first. After that, it was the result of considering whether to make it an ILS or a normal live according to my schedule, because it was related to the release time of the new album. As a result of taking various circumstances into consideration, the ILS was impossible because it was necessary to do ILS at least at two cities, Osaka and Tokyo, and it was necessary to do it over several days, so two days at the Osaka Festival Hall was not enough for an ILS tour. Taking those conditions into account, I have given up to have the ILS this time. And I came to the conclusion that I will perform in an ordinary solo concert.

[52:57]

And next. The next question. "How do the art brain and the practitioner's brain of yours work separately before, during, and after the concert? And when and how did you realize that Mr. Hirasawa's music was established? How did it happen? I'm sorry I like talking about the brain." is the question.

[53:24]

Eh, what the practitioner's brain and an artist's brain mean is that, I'm a musician, a creator, but also other than playing music, I write articles and I do various things. I am also the director of a company called Chaos Union that manages myself. I'm doing tasks that are completely different to one another in the ways I use my head. This person is asking about that.

[54:06]

Now I will answer. How to go back and forth between the artist's brain and the practitioner's brain has been my long-standing theme. The usages of the brain in the two phases are  completely contradictory, and switching between them requires ingenuity and training. Ideally, you have plenty of time throughout the year, and you should be able to allocate the right amount of time for both phases, but Hirasawa Brain doesn't allow that. In order to generate and realize creative ideas one after another, I have to operate management and operate the company.

[54:47]

And in this respect, the technique I have been using for more than 10 years is "15 minute job change". This is well known to the old fans of mine. I list up jobs from multiple genres and jobs with different contents, and do for only 15 minutes each. After 15 minutes, I can move to another genre. I can't say that I have a plenty of time in waiting for my head to switch. If I don't switch instantly and concentrate on my work instantly, the alarm will sound immediately. This makes me tense and the job is inefficient until I get used to it, but as many steps become unconscious, I become more relaxed and more efficient than the old ways, having a transition time. This facilitates the brain switching that occurs at the junction of work genres, and the switching behavior is maintained even if the 15-minute unit is changed to the hour unit, the daily unit, or the week unit.

[56:03]

On the other hand, the artist's brain promotes collaborative work between conscious work and unconscious process. Attempts to rationalize the unconscious process will fail. Only that field is not systematized, and it is necessary to consciously scatter triggers that bring out meaningful processes. Breathing exercise is a good trigger. It can be done during other work. In producing the new music, I tried to maintain the relationship of making the conscious process obey the unconscious process of music work. Therefore, I was prepared for the unconscious process during sleep, preparations for capturing the unconscious entity that appears due to some trigger, specifically, placing a recorder at the bedside. As you can see, it's difficult to understand. Specifically, the artist's brain senses the formation of music at any time and place, and it happens suddenly at any time.

That is. It's an answer that I don't understand, but please understand.

[57:24]

Now that time is approaching to the end, this is the last question. This is also a little dangerous one, but let me do it carefully.

"I think there was an obstacle to carrying out the concert at that time in that situation."

I will also skip the question quite a bit.

"How did you manage to get the permission to do the concert with all the seats open?"

Is the question.

[57:52]

Well, this was just done, having sympathy and solidarity toward the experts around the world who are committed to disseminating scientific truth that is credible and has not been tampered with malicious intent,

and having empathy and solidarity toward many independent and beloved citizens of the world who strive to expand it, even being socially stigmatized,

I just repeated communication to read and understand an arrangement of words that were not enforceable with a calm line of sight, implying the slight nuances of pressure and threat, based on our free will and guaranteed rights. In summary, I have been sane.

[58:39]

Please feel a sense of discomfort in the world where this natural act is regarded as unusual. But if at this point your cognitive dissonance stimulates your emotions and erupts discomfort and hatred toward me, and if you don't want to know what's happening in the world by overcoming those challenges, you have nothing to gain from me anymore. Nothing makes you entertained. It only foments discomfort and hatred and hurts yourself. If that is the case, I recommend you to leave me immediately.

[59:17]

And I want to tell all musicians, all artists. You are the ones who are good at detecting the discomfort of reality with your sharpened intuition. Please use that ability, and demonstrate that ability, and detect the discomfort of reality. Detect this grotesque inconsistency. Once detected, do not stop your steps in front of the impression manipulations on the surface of the world, personality attacks using the fame of some celebrities, and so on, which are done to damage the reputation of independent citizens seeking the truth.

[59:55]

Many good citizens stop in front of them, are persuaded to stop thinking, and return to grotesque inconsistencies. Please peel off everything and proceed. Do not deny all the possibilities that outline your thoughts, keep them on hold and connect them. Investigate the cause of the discomfort yourself and follow the conclusions drawn from your own thoughts. People will have the opportunity to think by seeing your actions. Accept that the profession you have taken is destined for your outstanding intuition and subsequent insights to stand out in front of people. You are there to stand out.

[1:00:41]

That's all. Did you tremble with the shock? You don't have to be scared. All of these are words to protect you. Am I safe? It seems that the time is just right. I talked a lot for an hour. Thank you very much for staying with me until the end.

Now, today's "BSP '24 (Fushi/Immortal) Mandala' edition" is over. Good bye.

[1:01:14]

(END)