jaymee

I think you pretty much answered it yourself! Supporting the artists by buying their merch directly off their site or (in the case of music) any music sites they link to for purchase would probably be the ones giving them the most royalties. Like you said, it may have to be through a third party if they don't ship overseas and/or you're not confident enough in your Japanese to order by yourself.
 
If that isn't an option, may I recommend ordering from a VK/j-rock CD supplier? Even if it's a secondhand purchase of something out of print that the band may not benefit from themselves, the monetary profit these stores make help support and keep the scene alive within Japan, providing talk/event opportunities, promotional opportunities, and more.
 
I don't think there's any kind one answer fits all regarding whether artists receive royalties for old releases, short-lived bands, etc. and how much... I would assume most of them do since that seems pretty standard, but how much would depend on their contracts with whatever label it was released under. However, it is pretty safe to say that if it was released on a band's own personal/independent label, they would still receive a good chunk of profit from any music sales or new music pressings.
 
If there's something you're particularly looking for, you can always request it on the upload request thread. In that regard, the forum seems to take the "try before you buy" or "might as well upload it if it's out of print so more fans can enjoy it" approach to uploading VK/j-rock music, so I don't think you have to really worry about getting reported over piracy.
 
I'm not sure of another website database of mp3 like that myself... Maybe another poster can help.
 

It isn't rock but the last concert I went to was to see SZA.

Best way to learn about flowers in Japan is to play Persona 5 and work at a flower shop in the game.
 
Almost OT. Just came to mind.

No prob! I've heard some faux pas stories in the past where foreigners have brought bouquets they picked out to a hospital or baby shower only for the flowers to represent death/funerals/grieving, and the receiving party wasn't particularly grateful to be given the equivalent of a bad omen. (Tho I imagine if it was someone you disliked it would be a brilliant display of savagery lol.)
 
Anywho hope all goes well and you enjoy your live(s)! When are you coming and who are you seeing?

Damn I hope it is too, bb! Not sure if congrats is the right word, but congrats lol

I've been wanting to write some of this stuff out forever because I'm a huge digital packrat and I like to archive these types of things... I don't think any of this has been written out anywhere before, but I'm not sure how much people actually care about the fan culture part of VK here, especially the Japanese fan culture, and especially the online Japanese fan culture. But, just in case any of you are also level 50 Turbo Nerds I thought I should post it here. I hope this is a sensible place to put it??

this piece is WAY too long for how lame the subject is and i'm so sorry
tl;dr: tanuki is old as fuck and there used to be another tanuki and forums are dead, long live tanuki

edit: fixed a number i screwed up
 
 

Oh, since this also applied to digital preservation (which I kind of hinted at in my first post), I also run a vkei blog on tumbo 
 
https://fuckyeahvkeipromopics.tumblr.com/
 
I post vkei promotional photos. I started it when Last.fm died for the first time and didn't allow anyone to upload images for a good 3~4 months. Now that we can add images there again, it isn't as useful, but the last.fm user base is certainly a lot smaller than it was a couple years ago. I also think it's a bit easier for people to look up groups they like by checking the tags I use, as well as stumble across some groups they may not have heard of since I don't stick to a specific subscene. 90% of the stuff I post comes from news threads here for new releases (which usually coincides with new costumes and photo sets), but every so often people on twitter share high quality scans or photo graphs of bands long gone, so I try to grab those as well.

@desertflower304You can give your gift to a staff member at buppan during a live but I usually give them directly to the guys at instores. The bands I follow are probably much smaller than the band you're seeing though. 
At instores, just like oneman lives, there are usually baskets set up on the side so they can just put them in once you hand your gift over. If you want to do something special you can talk to shop staff a week or two in advance and see if they're ok with what you have in mind. I've done that a few times in the past for a semi-popular band (who is now really popular) with great success. 
 
Just because a band has 300+ fans doesn't mean you should just give up.
Also just because a bandman hasn't posted your gift on social media doesn't mean he didn't receive your gift. If you have the opportunity you can ask him if he liked it the next time you go to an instore.
 
 
I haven't personally arranged them myself but I have helped/contributed a few times so I have a general idea of how the process is. For stands you have to contact the venue and make sure it's okay/there's space before arranging the flowers through a flower shop. The venue doesn't get rid of the flowers after, the flower shop does, so you have to find a flower shop that is open late that will have staff come pick up the stand after the live. There are actually some flower shops that specialize in flowers for VK who are familiar with how things work.

unless the item you're giving is a prohibited item (dangerous goods, perishables, etc.),  the bandman will almost definitely receive your gift even if they didn't mention it explicitly. if you ask me, it's a lot less stressful to give gifts to bandmen of bigger/more popular bands since the whole process is a lot more streamlined/systematic instead of hoping that your guy is coming out to buppan (last week i asked a bandman when they will at buppan at their next live and his reply was "idk, DM me on twitter and i'll come out?" lol). the downside is the lack of interaction/intimacy i guess.
 
another possibility is to pass the gift to the bandman directly if there is satsuei after live or at instores (less awkward if it's a 2 shot so that you don't have to do it in front of everyone else). for bigger bands, usually fans leave them in stipulated baskets/boxes at livehouses or send them directly to their office (there should be an address for fanletters/gift on their OHP).
 
as for flowers, what Duwang says works. the only thing i'd add is that if you're planning to decorate the flowers (photos, balloons, etc.), it would help to discuss it with the flower shop esp if you require it in advance of the live. i also suggest trying to get more people (esp those chipping in) to help with the arrangement.
 
 

I agree so much has already been lost... Strangely I feel like there was way more material in the way of scans, bootleg lives/off-shot or special videos, etc. when visual kei was harder to come by. YouTube has deleted at least half of the stuff I watched, and I don't know anyone that has that stuff anymore unless they own the original it came from or kept the original files. This also applies to releases and looks of a lot of lesser or no-name bands. The same is especially true with out of print magazines like Vicious and Fool's Mate. You can somewhat easily buy older editions of these in Japan, but I'm sure some day even that time will pass.
 
Tho isn't cheki a more "recent" thing? The camera film itself has been around for quite some time, but I feel like only in the past 10 years have bands started replacing photo sets with cheki. I suppose the latter is also more economical for bands just starting out, rather than pay for a professional photographer/studio time and printing. I feel like in the "old" days I didn't see a lot of cheki besides the lottery drawing signed cheki prizes offered by VK magazines.
 
However, I'm eternally thankful there are places like the VK Database preserving information about the bands themselves, including discographies and the line, and many Japanese members that still contribute to it.

I think for most bigger bands you have to use the present box, if for some reason it's not available then ask the staff about it. In my experience staff (be it venue staff or band's staff) always took my presents or letters for me if I was late and they already packed the box away. Whatever passed will be delivered to the members, what they do with it is up to them.
 
Also, in my experience at the events of bigger bands you are not supposed to hand presents directly to the musicians.  At some events fans are asked to not bring presents or to use present box (usually they will have some info about it on their twitter or shop's site).
 
I have one experience with buying a big bouquet to display. Check with the venue they have space for it first. Those displays on a stand cost 15000 yen minimum (usually over 20000, over 30000 if you include the lower level). It also depends on type of flowers, they offer a lot of choice and customize. Flower shop can write a message you want on a board, you can also give them a letter you want band to receive. They will deliver flowers on the day and take care of them after. I would assume that most flower shops would also make and deliver smaller bouquets, smaller ones will probably stay in the backstage area, when those on stands are put in the general area. Look for the flower shops near the venues, then it's most likely they will have this service and had dealt with such orders before.
If the bouquet is more of a normal/smaller size one you could even place it in the present box (flower shops in Japan wrap it in a special paper that has some water, it's safe and doesn't spill). Fans are really respectful here and everyone will be careful with flowers.
 
I think it is seen as rude in Japan not to wrap your present or put it in a gift bag. Also, don't write your favorite member's name on the paper/bag, that's rude as well, always attach a ticket.
 
When giving food etc it can't be something that is not obviously store bought and sealed. Anything that is home made or could have been opened will go straight to the bin. I think something useful like everyday items, clothes etc are a good idea. Many members will like alcohol.

I figured it would be cool to have a thread like this for people just starting out going to lives, or maybe even some of you veterans out there that are always trying to make the most of your time and/or maximize efficiency getting in and out.
 
Hack #1: Getting Good Ticket Numbers
 

Hack #2: Getting a Locker
 
 
Hack #3: Have Everything Ready
 

Hack #4: How to Bring Your Own Drink/Keep It Out of the Way
 
 
Hack #5: Buying Goods
 
 
Hack #6: Trying to See Better if You’re Short
 
 
Hack #7: Showing Your Spirit
 
 
Hack #8: Making gya friends
 
 
Hack #9: Saving Money on Transportation Costs
 
 
Hack #10: Finding Cheap/Close Accommodation
 
 
Hack #11: Buying Tickets
 
 
Hack #12: Bringing/Giving a Gift
 
 
If you know of more tricks, please add to the list by replying! 
 
EDITED 5/23/2018 with suggestions from the replies  Also, thanks mod @platyfor the sticky!

In case anyone was interested in a translation of the blog post @Takadanobabaalienlinked, or at least the part relevant to MALICE MIZER.
 
 
After that there isn't any other mention of MM, just more details about his early solo career.

Your #kayaforseason10 movement has paid off...
 
Kaya will appear at RuPaul's Drag Con in Los Angeles, California in 2018.
 
http://kaya-rose.com/information/detail.php?id=220
(( THIS IS ACTUALLY HAPPENING GUYS HOLY SHIT))

I can do it if you don't get around to it, too.
 
It seems like Gackt left out quite a bit of the story before and between, "After that meeting, the environment during those final days was very quarrelsome-like." and, "After that I immediately went to America with YOU and other old friends of mine and began recording an album."
 
He also conveniently leaves out the reasons why a break-up was discussed in the first place. Generally just based on my experience working in Japan thus far, if people you work with/your boss or employer has decided to nullify your contract or end something you're involved in without you being privy to that convo, it generally means that you are considered to be "in the wrong" about something, ergo the group takes action and comes to a decision without you.
 
It honestly sounds like Gackt did something wrong and whether he was aware of how upset the other members/management was over it or not, the group talked about breaking up without him and then suddenly presented this decision to him, with the intention (at the time) of actually breaking up or getting him to withdraw on his own. I'm guessing the latter though since the band did not actually end up breaking up.

In case anyone was interested in a translation of the blog post @Takadanobabaalienlinked, or at least the part relevant to MALICE MIZER.
 
 
After that there isn't any other mention of MM, just more details about his early solo career.

I thought it was more in the line of "What do you mean [insert vk indie band] has already disbanded?? They only released 4 promo pictures and announced they were formed, who does that??"

In case anyone was interested in a translation of the blog post @Takadanobabaalienlinked, or at least the part relevant to MALICE MIZER.
 
 
After that there isn't any other mention of MM, just more details about his early solo career.

You must be new here.

I can do it if you don't get around to it, too.
 
It seems like Gackt left out quite a bit of the story before and between, "After that meeting, the environment during those final days was very quarrelsome-like." and, "After that I immediately went to America with YOU and other old friends of mine and began recording an album."
 
He also conveniently leaves out the reasons why a break-up was discussed in the first place. Generally just based on my experience working in Japan thus far, if people you work with/your boss or employer has decided to nullify your contract or end something you're involved in without you being privy to that convo, it generally means that you are considered to be "in the wrong" about something, ergo the group takes action and comes to a decision without you.
 
It honestly sounds like Gackt did something wrong and whether he was aware of how upset the other members/management was over it or not, the group talked about breaking up without him and then suddenly presented this decision to him, with the intention (at the time) of actually breaking up or getting him to withdraw on his own. I'm guessing the latter though since the band did not actually end up breaking up.

While that wouldn't be unfathomable, especially after so many took their lives after hide died, I can't find anything to support this in Japanese. Only semi-related thing I found to the band was gossip that apparently one of Gackt's ex-girlfriends tried to commit suicide. Both sound like Tanuki rumors TBH.
 
I've heard a number of times that Yu~ki was having back problems and other health issues, which is one of the reasons he never seemed to be involved in the scene after Malice Mizer disbanded. I feel like if it were just Mana and Kozi to reunite... What's the point? They don't even seem to talk that much any more except for random reunions and visiting Kami's grave.
 
Mana seems like a difficult person to work with, but I also think Gackt and Mana wanted different things. Obviously from the direction Gackt's solo career took, he wanted to become more famous/mainstream, where as it seemed Mana and Kozi just wanted to pursue their own "art", regardless of how popular it would be with fans. I imagine they clashed not only with each other, but with Nippon Columbia, the major label they were signed to. After Gackt went solo he retained his major contract status with Nippon Crown, a separate entity of Nippon Columbia, which further leads me to believe label motives/pressures were also a factor behind what transpired. Despite there not being much of a concept of "selling out" in Japan, Gackt still has a ton of haters in that vein.
 
Probably no one will ever know except the members themselves, their label, and any personal friends or tsunagari at the time.
 

I think this is hard because even during La'Mule's heyday, they were not exactly popular overseas. I had a lot of trouble getting their releases back in the day beyond sending Japanese yen cash in an envelope to Brand X... CD Japan did not carry many indie releases at the time. This was partially because the indie VK reservation system was more complicated and generally were less pressings and a lot of live-only distribution stuff.
 
Some good indicators back then (and seconding some of these already mentioned):
 
- Live venues used and live attendance
- Magazine feature count including did the members have their own column in a VK mag?
- TV / radio appearances
- In store / taiban / misc. event invitation count including what bands did they often play with? Back then bands would mostly play with other bands on the same scale as them unless it was a label event
- Flyers (Back then most bands did not use colored flyers, but more well off bands did)
- Release packaging and/or extras (Ex: Was there a first press? Did pressings come in digi packaging or have other high quality features?)
- Were "bootleg" candid shots sold of them in Harajuku?
- Number of cosplayers (Because at the time, VK fandom was still very much tied to Harajuku, cosplaying on Yoyogi bridge, etc.)
- And last but not least, how big of an influence they had on the scene/their contributions to the scene
 
La'Mule checks off a lot of these. Also they were on the Soleil label, which had a lot of the best (read as most popular) VK indie acts at the time signed, including La:Sadie's. While Soleil didn't ultimately survive, their sub label Matina did. Of course Matina would then basically become Undercode Production.
 
La'Mule had nowhere near the advertising, financial backing, number of fans, etc. of bigger bands like L'Arc, GLAY, etc., but mainstream music and its success has almost always been a reflection of labels and bands being able to ride a trend with bands just below being able to create the undertow influencing these trends.
 
This is why La'Cryma Christi, Malice Mizer, Shazna, and Fanatic Crisis are considered the "4 god bands" of VK in the 90s, despite the fact they were not the most popular and their music hasn't endured as well as aforementioned GLAY, L'Arc, etc. Malice Mizer's and X Japan's influence was especially prolific as it's only in more recent years that most VK bands have made the move from 5 person bands (one singer, two guitars, one bass, one drummer) to different member counts (more often 4 now), and you no longer see someone designated as the "girl"/"onnagata" of the band.
 
Anywho, when I was a teen this was my favorite La'Mule song:
 
 
 
And over the years, this has become my favorite:
 
 
 

These are the ones that come to my head at the moment
 
NEW SODMY
mousouko (there is only a small clip of it in the TOUR CAT WALK 2002 -Documents- VHS, and a transcription of its lyrics, but it remains unrecorded), 
Frame (only played live, unrecorded), 
DALA (you can hear it in the LAST LIE live VHS but there never was a proper recording).
 
MALICE MIZER
16のソリチュード (16 no SOLITUDE), 
Freeze me, 
Portugal, 
白昼のワルツ (Hakuchuu no WALTZ), 
前兆  (Zenchou's vocal version),
魅惑のタンゴ (Miwaku no TANGO),
You can hear them in several bootleg recordings from their lives.
 
E'm~grief~
Rita and Cecir were supposedly working on new songs some time after their hiatus, but with Yuuze's death and Rita leaving the scene I guess any chance of getting to hear them are pretty much dead too.
 

I think this is hard because even during La'Mule's heyday, they were not exactly popular overseas. I had a lot of trouble getting their releases back in the day beyond sending Japanese yen cash in an envelope to Brand X... CD Japan did not carry many indie releases at the time. This was partially because the indie VK reservation system was more complicated and generally were less pressings and a lot of live-only distribution stuff.
 
Some good indicators back then (and seconding some of these already mentioned):
 
- Live venues used and live attendance
- Magazine feature count including did the members have their own column in a VK mag?
- TV / radio appearances
- In store / taiban / misc. event invitation count including what bands did they often play with? Back then bands would mostly play with other bands on the same scale as them unless it was a label event
- Flyers (Back then most bands did not use colored flyers, but more well off bands did)
- Release packaging and/or extras (Ex: Was there a first press? Did pressings come in digi packaging or have other high quality features?)
- Were "bootleg" candid shots sold of them in Harajuku?
- Number of cosplayers (Because at the time, VK fandom was still very much tied to Harajuku, cosplaying on Yoyogi bridge, etc.)
- And last but not least, how big of an influence they had on the scene/their contributions to the scene
 
La'Mule checks off a lot of these. Also they were on the Soleil label, which had a lot of the best (read as most popular) VK indie acts at the time signed, including La:Sadie's. While Soleil didn't ultimately survive, their sub label Matina did. Of course Matina would then basically become Undercode Production.
 
La'Mule had nowhere near the advertising, financial backing, number of fans, etc. of bigger bands like L'Arc, GLAY, etc., but mainstream music and its success has almost always been a reflection of labels and bands being able to ride a trend with bands just below being able to create the undertow influencing these trends.
 
This is why La'Cryma Christi, Malice Mizer, Shazna, and Fanatic Crisis are considered the "4 god bands" of VK in the 90s, despite the fact they were not the most popular and their music hasn't endured as well as aforementioned GLAY, L'Arc, etc. Malice Mizer's and X Japan's influence was especially prolific as it's only in more recent years that most VK bands have made the move from 5 person bands (one singer, two guitars, one bass, one drummer) to different member counts (more often 4 now), and you no longer see someone designated as the "girl"/"onnagata" of the band.
 
Anywho, when I was a teen this was my favorite La'Mule song:
 
 
 
And over the years, this has become my favorite:
 
 
 

Number of publications they were featured on, how well kept their history is (if no one cared, they'd be an empty last.fm profile with one or two blurry pictures), amount of times people have tried to be them (whether subtly or explicitly), general rate at which they released material, and, in this case, the reaction to their revival were indicators I personally use. The grain of salt with this though, as I'm sure you're hinting at here, is that it is a mix of gut feeling + observation, but distorted through the eyes of a Western fan looking backwards. I am open to learning about if this bias in incorrect.
 
Of course, influence is a spectrum. Obviously someone at Glay's level will have much more influence on a macro scale than La'Mule, but that doesn't mean the latter's efforts are lost to the void.