Lately, I've been ignoring existing anchors to figure out my own lines, onsight, no topo necessary.
Some people think such climbing is unsophisticated. It gives us space for creativity. The quantity of climbing in Japan is still limited. But there is a solution to that, too. The apex of the traverse, Mt. Tsurugi m , symbol of Japanese mountaineering, is visible as the highpoint in the distance. From where they are in this photo, the climbers have to descend to the Kurobe River, cross the next mountain and then keep climbing to Mt.
They managed the traverse in the heart of winter in fourteen days. Pachinko gets its name from a popular s pinball game in Japan, with its erratic up-and-down movements on irregular trajectories. Simply put, Pachinko is a linkup of multiple routes, and it helps us train for bigger mountains abroad.
Words and translations are never simple, though: It can push you to your limits. The Kurobe Traverse is the essence of Pachinko. From the end of to the beginning of , I spent fourteen days playing it. The linkup entails crossing the Kurobe River and climbing Mt. Tsurugi m , an intricate peak far removed from the world below, with storms that can leave more than a meter of wet snow per night. We descended with difficulty to the valley floor, waded naked through the icy water and climbed onto the steep flanks of the mountain.
A blizzard pinned us down for days, and then an avalanche slid us meters. I began to understand our own insignificance. But the more time we spent on the Kurobe Traverse and the more energy we put into it, the more beautiful it became. And as I played this particular Pachinko, I realized that all climbing is illogical.
Give an Alpinist Holiday Edition Gift Subscription and T-shirt I was in Japan in February when the Giri-Giri Boys approached For example, the climax of the European enchainment obsession came on March ; Local Hero: Lopsang Tshering Sherpa: Kapil Bisht / March 6, Giri -Giri Boys Score FA of Tawoche's North Face Printer Friendly Version face was solved last month by Fumitaka Ichimura and Genki Narumi of Japan. Fumitaka Ichimura and Genki Narumi, two of the Giri-Giri Boys from.
Because we live in a modern, rational world, the value of climbing increases with its irrationality. Pachinko—climbing up, coming back down, then repeating the process—has no rationale. It could be the answer to this age of advanced equipment, technical skills and information: Does our reliance on these means weaken our passion? If so, pick a mountain range. Open a map and trace a route, any route. When you do, you might see that we've only been playing on a portion of a mountain.
The more you think about how to enjoy the mountain fully, the more possibilities you'll discover. Many climbers clutch guidebooks as they seek their routes—but climbing's not about climbing a topo; it's about climbing a wall. On my first visit to Alaska in , from the Tokositna Glacier, the moment Itchy and I looked at the southwest face of Huntington, we saw a new line present itself. We studied it, and then, though we struggled in the foreign Alaskan terrain, we climbed it. The scale of Alaskan mountains dawned on us.
Though we ran up the wall to the summit, the thought of a meter descent seemed exhausting. As we down climbed the blue ice on the summit ridge, we knew that if our concentration broke, we'd fall to the glacier. We had no information. We couldn't see what was ahead of us. Once, as I rappelled, free hanging, into nothingness, the rope passed through my device and I almost took the plunge. Itchy didn't say much, but I could tell from his gaze that he was holding inside himself the spirit of a warrior.
We reached the glacier just before daybreak. There, we lay on our backs for a while, unable to move. At base camp, all we could do was drink sake and stare at the wall. Itchy showed me a book he'd brought to Alaska about Ryoma Sakamoto, a nineteenth-century Japanese samurai and a Shi-Shi, a "man of inner resolution. We named our route Shi-Shi after the philosophy he shared: Climbing can be that simple—you try to draw a line from the bottom to the top; if you fail, you may die.
Though the route seemed doable as long as we followed the ice, we could not overcome one five-meter section. During our retreat we became immersed in something unknown. It was the energy of the mountain, that strange air that made me feel it wouldn't let us escape so easily. Over two days and a mere meters, we felt its relentless power.
Deep, unstable snow covered the slabs. The rock would not even accept a piton. We continued blindly and in silence. I wanted to be stronger. I began to feel that the more important the route was to me, the more important it became to climb it with style. I wanted to paint my way of living with the lines I climbed. Three months later, Itchy, Tats and I traveled with Yuki Sato to Bolivia, where we played with multipitch climbs and bouldering to our hearts' content. On the south face of Nevado Illimani m , the highest mountain in the Cordillera Real, we established four new routes.
One we named Phajsi Face "Moon" in the local Aymara language and another, the Inti Face "Sun" , because as Tats said, "Our souls were raised like those objects by this adventure.
Still, I remained preoccupied with my experience on the Buckskin. For exceptional routes I decided to face them naked, engaging them with my true self. This is the central meaning of the phrase "Shi-Shi. At first, it was a joke: Two years ago at the Talkeetna Air Taxi of office, we were waiting for the pilot Paul Roderick to fly us to the Alaska Range, when a receptionist asked us the name of our expedition. We didn't have one. But when people started calling us the Giri-Giri Boys, the name stuck.
And one night back in Japan over sake, it all made sense. We barely have enough money, experience or technique. We're barely young enough to call ourselves boys perhaps we're too old already. But we want to face the mountain with overflowing motivation and ambition, and we want to climb to our bare limit. Doing so, I believed, would lead us to something that would let our passion take shape. Somehow the east face of the Bears Tooth appeared even more intimidating than it had two years earlier. We looked at each other for a moment, then our laughter echoed across the glacier.
Half the snow on the lower slab was missing and the exposed rock seemed impossible to climb. Even if we were able to bypass this slab section, above it lay meters of vertical, thin ice—endless, runout, nerve-wracking climbing on the tips of our picks. All we could do was gape at the wall with our mouths open: During a break in the weather we headed for our backup plan: I'd had my eyes on this line for years. But from the glacier we couldn't see beyond a single line of thin ice on an extremely steep slab.
We'd have to decide what to do on the rest of the wall when we got there. At first, the angle daunted us. Yet the line had a sense of presence to it, far more so than the nearby chimney. I told them I wanted to extend our maximum energy toward this enormous mountain and to climb the line it drew from us. If it wasn't to be the east face, it might be this northeast one.
Eventually, we all agreed. Itchy led the first uncertain pitch. Before continuing on to the next one, he exclaimed, "I'm psyched! Before we knew it, curtains of snow covered the wall, ending our play. The snow continued the following morning So, we ate, drank and played cards—shortcuts to geriatric diseases. The line was steeper than anything we'd experienced; we had to feel the pulse of the mountain in order to climb it swiftly. Yusuke instinctively switched to aid in the corner, so that Itchy and I would not become worried or impatient.
But we made sure to mock him: I struggled on the pendulum traverse that followed. Every time I bumped against the rock, Itchy and Yusuke hooted. Then Itchy led the beginning of the upper wall, a delicate slab with small edges and thin ice. On the evening of the second day, we reached a cornice. We were almost at the top. Itchy tackled the steep wall above.
Soon he must have agreed. I went the wrong way!
I wanted to climb the Isis because I'd met its first ascensionist, Jack Tackle, and I'd seen his clear eyes brighten as he told me its story. But to understand Giri-Giri, you need some notion of Shi-Shi. He graduated from Seijo University. Alpinist 63—which is now available on newsstands and in our online store —features another story by Katsutaka Yokoyama about the enchainment of Sun Patch Spur, K7 West and Badal Peak in the Karakoram Range of Pakistan, which he completed with Takaaki Nagato in Though climbers should leave no physical marks on a mountain, we like to believe our passion remains on the lines we draw.
Yusuke, who was to lead the next pitch, mumbled in protest. But when he began, he slung a knob, then freed the crack above effortlessly. I pulled around the last dangerous cornice to the brilliant smiles of my friends. Behind them lay the huge expanse of Denali. I planned to play Pachinko on it. In May five of us Giri-Giri boys would play two separate games. It didn't take me long to come up with the idea of linking the Isis Face and the Slovak Direct. I wanted to climb the Isis because I'd met its first ascensionist, Jack Tackle, and I'd seen his clear eyes brighten as he told me its story.
It had taken him four years of attempts, but even though he'd been unable to climb to the summit from the end of the route, his excitement never faded. By continuing to the top, perhaps I could take part in his passion. Ichimura left and Sato follow the upper section of the first rockband on Denali's Isis Face. The climbers simulclimbed the entire route in three days, one of which was spent in a snow cave waiting out a storm. I admit, the whole idea was slightly mad. There weren't too many friends, apart from Yusuke and Itchy, who could take it seriously.
When we talked about the plan to local climbers, they'd smile, throw their hands in the air, shake their heads, and say "Crazy! They described the Isis and the Slovak as "difficult" and "routes with few repeats. I'd first told Tats and Yuto about the ridge that extended from the Kahiltna Peaks to the Cassin while we acclimated on the West Buttress. Tats declared the project "The Real Cassin" because it would make an already classic line even better. They were the kind of climbers who valued the beauty of a line more than the accomplishment.
Our linkup, from May , would be neither. We desired to immerse ourselves deeply in the mountain.
And once we began, we remembered how simple it is just to keep on climbing! We started simulclimbing up the Isis, stretching the pitches, and by the end of Day One we were already about halfway up. On Day Two, however, the weather trapped us in our bivy cave. We were hesitant to stake out so early in the game, but the golden rule of Pachinko is to rest when you can and make solid progress when you move.
Indeed, the following day, we finished the Isis in no time. From the top of the South Buttress, we tried to down climb the Ramp Route swiftly, but the slope was steep and covered with blue ice. I'd dropped my sunglasses on the upper part of the Isis, and now my eyes were dazzled, just when one wrong step would have cost me everything. When night fell, we pitched our tent below a stable serac. Inside, we felt comfortable, until, just before dawn, ice chunks began to hit our tent. I buried my face into the sleeping bag, praying they would miss. If the Isis had been easier than we expected, the descent from the top of the South Buttress down the Ramp Route was a perilous maze.
Both were filled with my partners' laughter. And each time we had to sharpen our senses, I could feel the mountain with my whole body. A few days later we were on the Slovak Route, in the heart of the south face. By now, without sunglasses, I was snowblind. I offered to do more physical work as the third. Something in his voice told me they were thinking of retreat. I couldn't find a good reason not to agree. Although my eyes didn't feel too bad, how could I know whether or not there would be complications?
It was the first single from their album, C'mon. The song is written and used for a commercial song of Pepsi NEX. Limited edition includes DVD with the music video for the song. Track listing "Sayonara Kizu Darake no Hibi yo" - 3: Track listing It's Showtime!! The release is one of the band's many number-one singles in the Oricon chart. This song is one of B'z many number-one singles in Oricon chart, and also their first single to stay at number one more than two weeks. The single was re-released in , and re-entered at 7. It sold over , copies according to Oricon.
There are two versions of "Easy Come, Easy Go! This is a more aggressive mix, with the drums and synths pushed forward in the mix; --The single version of the song, which also appears on the compilation B'z The Best "Treasure", and in an instrumental version on the band's first TV Style album. This is a less aggressive, more radio-friendly mix. Both the drums and synths are dropped further back in the mix while the acoustic guitars are brought forward. In addition, synth brass stabs that precede the chorus that were less prominent This song is one of B'z many number-one singles in Oricon chart, and sold over a millions copies, with 1,, copies sold.
It was used as the main theme for the TV drama Beautiful Life. In , the song was certified digitally by the RIAJ as a gold single for being downloaded more than , times to cellphones since its release as a digital download in early This song is one of the duo's many number-one singles in the Oricon charts, and has sold over , copies. The song has received three certifications from the RIAJ: Retrieved January 21, Retrieved February 21, External links B'z performance at Oricon B'z official website Blowin' is the tenth single by B'z, released on May 27, This song is one of B'z many number-one singles in Oricon chart, selling over , copies in its first week.
The single was re-released in , and re-entered at 9. It sold over 1,, copies according to Oricon, becoming the 41st best selling single of all time in Japan. Japan Gold Disc Award. The song is used as the ending theme in Detective Conan's tenth feature film Detective Conan: The Private Eyes' Requiem. This song is one of B'z many number-one singles on the Oricon chart. Although sales aren't very high like their previous single about , copies , it is well known among fans being usually played live. It was also often used as a tie up in TV. Track listing Juice - 4: It was the drama Asu o Dakishimete's theme song.
The single were less successful, charting only at 37 in the Oricon yearly Charts, with , copies sold in 7 weeks of chartrun. It became also their first single since Itoshii Hitoyo Good Night Track listing Ring - 4: Awards Winners are in bold text. This song is one of B'z many number-one singles in Oricon chart, selling , copies during its chartrun. Marty Friedman, ex-Megadeth guitarist who is acquainted with J-pop, stated that this song is one of his favorites in a column he wrote for the magazine Nikkei Entertainment. Member feedback about Ai Giri Giri: Soft rock songs Revolvy Brain revolvybrain.
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