A Quote by Yui Mizuno

The Tokyo Dome is a huge venue, so for us, its such a prestigious opportunity. — © Yui Mizuno
The Tokyo Dome is a huge venue, so for us, its such a prestigious opportunity.
I will never forget when we performed at the Tokyo Dome. Growing up, I was told that only A-list famous musicians are invited to perform at that venue.
When my dad toured in '91, I think my first gig properly was the Tokyo Dome, 50,000 people indoors. That was pretty scary. I was 12, or 13.
Aside from ROH, just getting a taste of Wrestle Kingdom at the Tokyo Dome with NJPW has me really excited at the prospect of furthering and developing my career in Japan.
I noticed that the crowds in the US seem to do a lot more moshing than European fans. But it's also different from venue to venue and really hard to say.
Give me dome dome da-da-da-da-da dome dome dome I aint trippin on ya money money long long long
Nature is so huge. I mean, you can't even look one way! Everything is huge. That was my natural instinct, to create huge art, to create huge pieces. And to me, I still could create bigger works. The opportunity doesn't come along to do anything any bigger. So I've worked as big as I've had the opportunity to work, basically.
Every one of us is an artist, and as an artist, you really can stroll into any venue that you want, as long as you take your time to learn the etiquette of that venue.
The Tokyo Dome Big Air contest (in 2003) was my first trip to Japan. I think I won it with a double back or something. Those events were fun. I was underaged, like 19 or 20, and going over to Japan in the very beginning was insane. It was amazing.
I commuted to the prestigious Hibiya High School from my uncle's home in Tokyo. During the high school years, I developed an interest in chemistry, so upon graduation, I chose to take an entrance examination for the Department of Chemistry of the University of Kyoto, the old capital of Japan.
For us, as artists, our goal isn't to forever try to play at the biggest venue ever. Our goal is to make music and keep pushing ourselves creatively, whether it gets attention or not. If we get to do that without being broke? That's our goal. And that may not mean that's going to result in us playing the biggest venue in the world.
I didn't realize how much the paint was going to affect how I moved and how I walked. And it wasn't something that consciously happened. It was because the first time I'd done it was a Tokyo Dome show, I want to say in 2013-14, and I walked out there, and I was a completely different person.
I think that one of the visions that is closest to reality is the cardboard city in the subway station in Tokyo, which is based very closely on a series of documentary photographs of people living like that and of the contents of the boxes. Those are quite haunting because Tokyo homeless people reiterate the whole nature of living in Tokyo in these cardboard boxes, they're only slightly smaller than Tokyo apartments, and they have almost as many consumer goods. It's a nightmare of boxes within boxes.
The Bullet Club keeps New Japan Pro Wrestling in the black. Far in the black. Because of me. I'm a part-timer in that company, and I hold the Tokyo Dome merchandising record and Osaka's. Funkos. Bucks on a career run. This Bullet Club may never be topped.
I enjoy playing clubs. I still enjoy the closeness of the nightclub venue. However, after a certain period of time and after playing around some of the clubs in New YorkI felt that jazz should be presented in a more prestigious atmosphere.
"Naming Tokyo" kicked off at the Palais de Tokyo in Paris in June, and it's going to travel to various art institutions for years to come. Every time it is shown, I'm developing the research and involving more and more people in it. The final conclusion of the work would eventually be to put up street signs in Tokyo with my names on them.
The Internet has been a great outlet for storytelling. After all, there are web-based shows that have started online and have then gotten picked up. I think it's a great opportunity for artists to get through the network roadblock. It just allows us another venue to be creative in.
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