Kate | Pop’n Music Wiki
Judy, milk tea
pop’n music 3
Kate is one of the characters from Pop’n Music 3.
- 1 Personality
- 2 Appearance
- 3 NET Self
- 4 Trivia
- 5 Gallery
- 5.1 Animations
- 5.2 Screenshots
- 5. 3 Profile
- 5.4 Merchandise
A girl who began dancing after seeing Judy on TV and admiring her.
Now my movement is still rough, but I dream that someday I can become a dancer and dance on the same stage as Judy!
Kate appears as a young girl with short light blue hair, dark blue eyes, and a tan complexion. Her attire consists of a blue shirt with long, light yellow sleeves and an orange skirt with yellow patterns worn over white pants with blue shoes.
Kate’s 2P changes her hair to bright red and her eyes to purple, while her skin tone is lighter. Her top is magenta with white sleeves and her skirt is pink. Her pants remain white and her shoes are dark purple.
|Let’s go! (いくよ！, Iku yo!?)
|Kyaah! (きゃっ！, Kyaa!?)
|Yaaay (やったぁ, Yattaa?)
|Oh well (えーっと, Eetto?)
|Happy ★ (ハッピー★, Happii ★?)
|*downhearted* (しょんぼり, Shonbori?)
- Kate’s birthdate is identical to Ur’s, Oshare Zukin’s, and Lower’s.
- Kate’s animations are similar to Judy’s, though this may be intentional, relating to her love of Judy’s dancing.
- Kate is one of the few characters with no theme, after Un-Balance was removed in Pop’n Music 5. She remains playable however.
- A Popper’s Lounge interview reveals that she is 17 years old.
Kate in Pop’n Music 3
UK/England Tourist Snap from the AC11 site.
Kate in different outfits from Pop’n Music 18 Sengoku Retsuden.
|pop’n music 3 character
|Mary | Mimi | Nyami | SHOLLKEE | the KING
|Returning Rival Characters
|JUDY | Rave girl | RIE♥chan | SANAE♥chan | tourmaline
|New Rival Characters
|AYA | Ash | Candy | Cyber | Dia | Donna | Hitomi | ice | Kate | LingLing | Megumi | P-1 & P-2 | Poet
|New Hidden Character
|CS Exclusive Characters
|BOY | CHARLY | Edward | HAMANOV
|CAPTAIN SUPER POP | HIKARU | Jennifer | PEPPER | sunny
|New Hidden Characters
|HIKARU | sunny
From nightmare ticketing to online abuse, being a pop fan is becoming miserable | Music
This week, hundreds of thousands of Taylor Swift fans around the UK, Ireland and Europe have been desperately trying to get tickets to the Eras tour, which kicks off in Paris in May 2024. When tickets for North America dates went on sale last year, it was a disaster: demand was so high that systems crashed, the sale had to be stopped and ticket prices spiralled out of control due to Ticketmaster’s “dynamic pricing” whereby costs increase with demand. Clearly Swift’s team and Ticketmaster have worked hard to try to prevent the same thing happening here but it has involved dizzying bureaucracy: presale codes, waitlists and special ballots for general sale.
In our dedicated Swiftageddon group chat, we had been discussing strategy and making spreadsheets for weeks, ensuring we had credit cards and log-ins for every possible date we could make, though there was no indication in advance of how much tickets would be. Presale opened, and we dutifully took our places in the lobby, the waiting room and then the hundred-thousand-deep queue in which places were randomly assigned (military-grade planning only gets you so far).
Fandom for individual artists has replaced the old tribalism around genre
The panic spiked when VIP packages started appearing: you could pay £350 for an OK-ish seat and get the added benefit of some absolute tat, including a souvenir concert ticket and a lanyard. “Should we just get the VIP tickets?” we asked in our frantic chat (we resisted). Breathless articles and Twitter threads about how to maximise your chances of getting tickets added to the hysteria, as did the screenshots of excited fans who had managed to secure the tickets they wanted as the day wore on. “What’s an extra £100?” I asked myself, thinking of my pathetic savings account and that a VIP ticket equalled half my monthly rent.
“This is making me hate her” has been said on more than one occasion – of the woman we are so desperate to see because we love her music so much.
Stage shows are intricate and logistically challenging, requiring the work of hundreds of people, all of whom need to be paid. A fair price should be paid for live music, but the current ticket setup for the biggest live shows is far from fair. Charging more for tickets with exclusive vantage points – whether Swift’s Ready for It package or the Diamond VIP experience at the recent British Summer Time shows in Hyde Park – isn’t just elitist, it plays into the idea that if you’re a real fan, you’ll pay more. It doesn’t have to be this way – some artists, including Tom Grennan, Ed Sheeran and the Cure have responded to the cost of living crisis by insisting on a cap for ticket prices – but for young people, many gigs are surely out of comfortable reach (particularly for those from low income backgrounds) and require being able to sit at a computer throughout the day during a potentially fruitless two weeks of trying to buy them in the staggered, complicated sales opportunities.
Taking a stand … Robert Smith of the Cure performing in New Orleans in May – the band have put a price cap on tickets. Photograph: Brett Duke/AP
As Joel Golby recently suggested in these pages, maybe the reason we’re seeing fans hurl things at their faves on stage – be it cheese or the cremated remains of their parents – is to crowbar themselves into fan lore, because when you’ve paid the money, you have to make it mean something. The heightened demand and sense of panic around the Eras tour has made a status symbol of the tickets alone.
This exhausting slog feels like just one part of what is often a wretched experience for today’s pop fan. Obsessive fandom has been integral to pop since it began, but the network effects of online culture have intensified it. Now, fandom for individual artists has replaced the old tribalism around genre, and although there are tentatively supportive communities out there, fans often compete with each other to prove themselves the most worthy of their idol’s love. There is online warring and – as in the case of a recent debate about who got to stand front row at a Boygenius gig in the US – indignation about what kind of fan deserves the best access.
Musicians then capitalise on this devotion with merch drops, in-gig accessories such as the light-up wands beloved of K-pop acts, and repackaged albums – whether to celebrate spurious anniversaries or, in Swift’s case, reclaim ownership over old work. Fans endlessly share and meme their heroes, keeping them in cultural consciousness and recruiting new fans to the cause as well as spending what are sometimes vast amounts of money on them. A mock slide-show posted on Twitter in June claiming that Swifties were unionising seemed almost fair enough. Its introductory line was, “Fans do the vast majority of promotion and marketing for Taylor Swift without being compensated.” In fact, we pay to do it.
Some fans emotionally thrive off this melee, just as they do the hounding of journalists who criticise stars’ music, and the harassment of the stars themselves for not performing certain songs or playing certain cities. But I suspect most of us just feel overwhelmed and manipulated – not just by the exhausting hoop-jumping for tickets, but also by the internecine squabbles inside and between fan groups and the sense that the music comes second to fandom itself. There are of course much worse things than having to queue online for Taylor Swift tickets; the demand is inevitable for a star of her calibre and the payoff of actually seeing her will certainly be heightened by getting through this rigmarole. But pop music should be the fun bit of life, the bit that eases the daily grind of work, the general horror of the news cycle or the combat of social media comments.
In our dedicated Taylor Swift fan group chat, we have all expressed the following emotions over the past two weeks: fear, anxiety, anger, stress-induced nausea, malaise, despair and loathing. As we noticed more and more of the increasingly expensive but apparently valueless options appearing, these feelings became more pronounced. Everything from fuel to sequins is more expensive now, but fans seem to be bearing the full cost. At what point does it become too much? The American Swift fans taking Ticketmaster to court may have the right idea: burn the ticketing industry down and start again.
BTS star Suga talks about K-pop ban in China – Newspaper.Ru
BTS star Suga talks about K-pop ban in China – Gazeta.Ru | News
K-pop group BTS member Suga revealed that South Korean artists can’t perform in China. Writes about it “ BBC “.
During an online broadcast with fans, Suga admitted that he “can’t perform in China” because no Korean group can operate in that country. Korean media interpreted his comment as an unofficial “K-pop ban” in China. Beijing has never acknowledged the existence of such restrictions.
Suga was asked if he would tour in China as a solo artist, to which he replied, “How can I tour in China if we can’t perform there? People of other nationalities in a K-pop group can go to work in China, but those groups still can’t perform in China as a whole.”
The 30-year-old singer, who also performs under the pseudonym Agust D, is currently on a worldwide concert tour.
China used to be one of the largest markets for South Korea’s music industry. But since August 2016, few South Korean celebrities have been able to perform in China, and Korean shows and films have largely disappeared from TV and cinema screens.
Earlier, Gazeta.Ru reported to that a nurse in South Korea illegally visited the military unit where BTS member Jin serves.
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The best albums of Kate Bush, the creator of the song Running Up That Hill
In February 1978, the debut album of Kate Bush, the most influential pop star of the last 45 years, was released. Rejoicing that the appearance in “Very Stranger Things” made another generation fall in love with Bush’s songs, Sergey Stepanov (“liberties of translation”) compiled the singer’s subjective top of the singer’s albums from worst to best.
Kate Bush’s second record has always occupied one of the most modest places in her canon – and in contrast with the successful debut album “The Kick Inside” in all respects, and with the filing of the artist herself, once complaining about the speed with which she then had to work. Catering to the label, the 19-year-old Englishwoman at that time blinded “Lionheart” from what was: out of ten album tracks, only three were composed especially for him, while the rest of the songs were selected from those two hundred that Bush wrote in a very tender age. Rushing them to perfection in a studio in Nice, Kate didn’t get along with the producer and was forced to change musicians in the middle of a session, eventually releasing an album that inevitably resembled The Kick Inside compilation of outtakes. The label got its way (the album was released nine months after the debut), but learned to leave Bush alone: this is Kate’s last album, which she did not produce.
“The Red Shoes” (1993)
Another more or less universally disliked Bush album was her crisis record: guitarist Alan Murphy, who regularly recorded with Kate, died shortly before it began, and towards the end, her mother Hannah died. Somewhere between these two sad events, one of the main sources of inspiration for “The Red Shoes”, co-director of the film of the same name (“Red Shoes”) Michael Powell, did not become, and the relationship between Kate and her bassist and sound engineer Del Palmer, who were together, came to an end. since 1970s. The streak of personal trauma is not conspicuous (Moments of Pleasure being a notable exception), but at some point seems to have put Bush on autopilot. In addition, the album was released at the peak of the CD era, and Kate, who always preferred analogue to digital, more than once expressed dissatisfaction with the sound and prolonged timing of the disc.
“The Dreaming” (1982)
“Very strange” called the fourth record by Bush, the newly founded Pet Shop Boys reviewer for the British magazine Smash Hits Neil Tennant, who in the same review suggested that Keith was looking for a “less commercial” sound. The album did not really become a bestseller, proving to be the most controversial in Bush’s discography. Those who appreciate it (like Björk or Big Boi of the hip-hop duo OutKast) call “The Dreaming” one of their favorite records, but for many others it is the pinnacle of self-pleasing. Fascinated by the possibilities of the expensive Fairlight CMI digital synthesizer bought on the advice of Peter Gabriel and the revolutionary collaboration of David Byrne and Brian Eno (“My Life in the Bush of Ghosts”), Bush recorded an ambitious and yes, very strange album, where art rock rubbed shoulders with post-punk, percussions and samples were drowning in a sea of overdubs, and singles competed with each other in wildness.
“50 Words for Snow” (2011)
Kate’s career came full circle when, on her second in a year (the first was an auto-remake album “Director’s Cut”) and so far the last record, Elton John sang, whose poster is a couple with a portrait of Bowie – once decorated the bedroom of an aspiring singer. The seven-track “50 Words for Snow” is generous with such symbolic moments, whether it’s the marathon timing of “Lake Tahoe” and “Misty”, Bush’s decision to sing ever deeper (on “Snowflake”), or a cameo by comedian Stephen Fry. , reading out the title fifty names of snow – mostly, of course, fictitious. This is one of the quietest and most chamber recordings of Bush, whose only drawback is, which is again symbolic, just a duet with Sir Elton: on it and Fry’s recitation, the dramaturgy of the record sags slightly.
“Never for Ever” (1980)
If on “Lionheart” Bush’s production involvement was not enough, and on “The Dreaming” – an overabundance, then on “Never for Ever” released between them, everything came out just right. After going on what turned out to be her only tour, during which they stubbornly tried to label her as a sex symbol, Kate returned to the studio with redoubled energy and a lot of ideas – inspired by the recordings of Gabriel and Pink Floyd and showcasing a range that will remember the stories of her classic records. “Babooshka” was her most successful single since “Wuthering Heights” and the album debuted at No. 1 on the UK Singles Chart (making Bush the first woman in history to do so), but the really interesting stuff here starts at the very end: this beautiful and amazingly mature songs about motherhood (“Army Dreamers”) and the nuclear threat (“Breathing”).
“The Kick Inside” (1978)
Bush’s just-celebrating 45th anniversary debut recording is the culmination of years of impulsive writing and studio sessions, the first of which was paid for by Kate family friend David Gilmour of Pink Floyd. The singer who recorded the album was barely 19, but she already knew what she wanted: it was Bush who suggested that the label make the amazing song “Wuthering Heights” the first single in support of The Kick Inside. As befits a normal teenager, she wrote it not under the influence of Emily Bronte’s novel of the same name, but after watching a 10-minute excerpt from its television adaptation. Kate read “Wuthering Heights” a little later, but the deed was done: sung in a voice that was not surprisingly suspected of an overdose of helium, “Wuthering Heights” became the leader of the British song chart and made Bush the most unexpected pop star of his – and any other – generation.
These catchy, weird and bold songs on unpopular topics (menstruation, incest) reminded many people at the same time (for example, Elton John sample of young Kate’s favorite record, “Madman Across the Water”) – and no one in the world. Is it any wonder that the singer immediately flew in from conservatives, parodists and other stereotype lovers who defined Bush by the department, for which thirty years later they will come up with the definition of manic pixie dream girl (“manic dream girl”). In short, young Björk had someone to look up to.
“The Sensual World” (1989)
The sequel to one of the main albums of the 1980s (which we are steadily approaching) could not compete with him on the conceptual part, so Bush herself somehow called “The Sensual World” “collection of stories”. The first of them, the title one, inspiredly paraphrases “Ulysses” (permission to use the original text in the song will be given by Joyce’s heirs a couple of decades later, for “Director’s Cut”), the lyrical heroine of the other dances with Hitler, in some places Gilmour and the vocal Trio Bulgarka solo, well and it was not the first time that Kate had a programmatic ending. Written for the John Hughes-produced rom-com She’s Gonna Have a Baby, “This Woman’s Work” has become one of Bush’s signature songs, anticipating the tone and aesthetic of her later albums—and asking for a myriad of cover versions and interpolations that almost never happen. bad.
One of her major masterpieces, Bush released when they almost stopped expecting even anything everyday from her – a dozen years after the release of “The Red Shoes”, sending her son Bertie to school ( his father and Kate’s husband is her guitarist Danny McIntosh). By this point, Bush’s army of fans ranged from John Lydon to Coldplay, and her list of more or less obvious heirs, which already included Tori Amos and Fiona Apple, was about to be replenished by Natasha Khan (Bat for Lashes) and Florence Welch (Florence and the Machine ). Many of them dropped everything to get on one of the twenty-two shows of the London residence of Bush in 2014, to which she decided on the advice and request of the grown-up Bertie.
So did the writer of these lines, and one of my most striking impressions of the show under the guise of Before the Dawn was that the second part, which was completely devoted to the second half of “Aerial”, was in no way inferior to the first, where the main songs sounded from “Hounds of Love”. “Aerial” is Bush’s only double album, and although there are moments (the single “King of the Mountain”, an ode to the washing machine) on the first disc, it really blossoms on the second, telling about one summer day in nature. Birdsong, captivating digressions (flamenco “Sunset”) and songs like “An Architect’s Dream” or “Somewhere in Between” – Bush hasn’t sounded so powerful in twenty years.
“Hounds of Love” (1985)
Finally, without Stranger Things, it was clear that Bush’s best record, by a margin, was the one from which “Running Up That Hill (A Deal with god)”. Created to be listened to on vinyl, “Hounds of Love” consists of two equal-sized sides: the first, where every song is a single (the only exception is “Mother Stands for Comfort”, which was once beautifully covered by Jane Birkin), and the second, pocket art -pop opera “The Ninth Way”. In Tom Doyle’s recent book “Running Up That Hill: 50 Visions of Kate Bush”, the singer explains her attitude towards physical media: “It seems to me that artists were forced into the CD format, which was detrimental to the creative process. The beauty of vinyl has always been that the first side is followed by a forced pause when you have to turn the record over. This is natural and, I think, very good: no matter how much you love music, you need this space between.
During the theatrical performance that turned out to be Before the Dawn, this space naturally served as an intermission between the drama The Ninth Way (about a woman lost in the ocean whose ship was wrecked) and the puppet theater Aerial: taking a time out, the mostly dumbfounded audience was mostly out of breath.