Japanesse Doraemon Theme Song

Doraemon: Japanesse Doraemon Theme Song



konna koto ii na
dekitara ii na
anna yume konna yume ippai aru kedo

minna minna minna
kanaete kureru
fushigina POKKE de kanaete kureru
sora wo jiyuu ni tobitai na

(hai! takekoputaa!)

AN AN AN
tottemo daisuki
DORAEMON

shukudai touban shiken ni otsukai
anna koto konna koto taihen dakedo

minna minna minna
tasukete kureru
benrina dougu de tasukete kureru
omocha no heitai da

(sore! tototsugeki!)

AN AN AN
tottemo daisuki
DORAEMON

anna toko ii na
iketara ii na
kono kuni ano shima takusan aru kedo

minna minna minna
ikasete kureru
mirai no kikai de kanaete kureru
sekai ryokou ni ikitai na

(ufufufu… doko demo DOA!)

AN AN AN
tottemo daisuki
DORAEMON

AN AN AN
tottemo daisuki
DORAEMON
Doraemon: English Doraemon Theme Song

this sort of thing is good
I wish I could do it
that sort of dream, this sort of dream, I have many of them but

all of them, all of them, all of them
he grants my dreams
he grants my dreams with a mysterious pocket
I want to fly freely in the sky

(Here! Bamboo-copter!)

ah ah ah
I love you very much,
Doraemon

homework, school duties, exams and errands
because that sort of thing and this sort of thing are awful

all of them, all of them, all of them
he helps me
he helps me with a convenient tool
look! a toy soldier

(Here! Attack!)

ah ah ah
I love you very much,
Doraemon

that place is nice
I wish I could go
this country, that island, there is many of them, but

all of them, all of them, all of them
he makes me able to go to them
he uses a gadget of the future to grant my wish
I want to go on a world trip

The Cuddliest Hero in Asia

DORAEMON may be Japan's cutest export, says Pico Iyer, and his relentless optimism inspires a continent



You've seen him, even if you don't know his name. And if you've seen him, you've been warmed—even inspired—by his energized air of optimism. That bubble-headed creature with a broad smile, a paw raised in greeting and a disarming blueness beams down at us not only across Japan but on the streets of Hanoi, in courses at American colleges, in cinemas in Hong Kong (where he chatters away in Cantonese). Yes, he sells fireworks, adorns postage stamps, blinks as a cursor on Sony PCs and appears in movies about the Dorabian Nights. But more than that, he transmits a message that transcends every language: the future can be likable, the present is redeemable, and you can be happy even if you're blue.

For many years now the Japanese have given us all snazzy machines and elegant styles; their animE and manga designs are so globally compelling that the hip trans-Atlantic music group Gorillaz uses animE figures as virtual front men, and Disney's Lion King was said to have been inspired by the masterful cartoons of Osamu Tezuka. Athletes like Ichiro Suzuki and Hidetoshi Nakata are increasingly electrifying international sporting arenas with their blend of smooth craft and high efficiency. But none of Japan's cultural exports, it could be said, has the warmth, the companionable charm or the zany humanity of the 22nd century cat who has a gadget, if not quite an answer, for everything.

Doraemon lives in a world indistinguishable from our own: his weekly TV shows and annual movies have him inhabiting a typical street in a typical Japanese (and therefore quasi-Western) neighborhood. His best friend, Nobita (the name means knocked down), is a classically helpless, bespectacled fourth-grader who is always being bullied by classmates and shouted at by mother or teacher. Like any good buddy, Doraemon accompanies his pal to baseball practice, sits by his side as he wrestles with his homework and tries to protect him from evil-eyed Suneo and the lumbering Gian. Unlike most best friends however, Doraemon sleeps (as Nobita lays down his futon on the floor) in a closet. His time machine is, well, to be honest, in a desk.

Like the most immortal of such characters, in short—one thinks of Snoopy or Paddington Bear—Doraemon comes with a personality and a history. He weighs 129.3 kg, his height is 129.3 cm and his birthday is Sept. 3, 2112. He has a favorite food (dorayaki—sweet bean paste sandwiched between two small pancakes) and a little sister, Dorami, who is yellow and has ears and long eyelashes (a cousin, perhaps, of Hello Kitty). While Japan's idoru, or mass-produced pop stars, often seem as generic as machines, the country's animated characters, like Doraemon, have the bigheaded individuality of real rebels.

Part of Doraemon's particular appeal though, is that, like Hanna-Barbera's irresistible Top Cat and Yogi Bear, he is ready to take on every situation—and likely, somehow, to get it wrong. Each time Nobita is being afflicted, Doraemon will reach into the fourth-dimensional pocket in his stomach and pull out a takekoputa (flying device) or a dokodemo door, which allows them to go anywhere. But the two can only fly low over the suburban houses in the neighborhood, and the dokodemo door often takes them to the places they most wish to avoid. The reason Doraemon is blue, according to the most recent accounts, is that a robot mouse bit off his ears, and he was so rattled by his girlfriend's ensuing laughter that he turned a little turquoise. The suspicion persists, in fact, that in the realm of 22nd century cats, Doraemon is something of a Nobita.

There is a distinctly Japanese quality to all this, in the ingenuity of the Doraemonic gizmos (all portable), his determination to put a bright face on things and never to give up, and even in some of the little cat's idiosyncrasies (one of his machines allows him and Nobita to watch Shizuka-chan, the little girl who is the object of Nobita's affections, in the shower). At heart, Doraemon is profoundly human: it's the very essence of his charm that he has a girlfriend—a small cat called Mi-chan—but she always seems a little out of reach.

Indeed, Doraemon's crossover appeal may be best appreciated if you set him next to the other cartoon figure that Japan has long made ubiquitous. Hello Kitty seems to have no reason to exist other than to be cute. Utterly adorable, often clad in pink and entirely passive, she seems to represent what little Asian girls are told to be in public. Doraemon, by comparison, is as tubby and twinkling as a salaryman after one too many beers. Hello Kitty, after all, has no mouth and never moves; Doraemon seems often to be all mouth, and in every 30-minute episode of his show, is to be seen worried, chortling, goggle-eyed, at peace or pounding on the floor in frustration and then calmly dipping his paw into a bag of cookies.

Scholars of the form may place him in the distinguished line of Astro Boy, Osamu Tezuka's early-'60s creation, who had 100,000-horsepower hydraulics in his arms, searchlights in his wide eyes and a nuclear fission generator in his chest. While Godzilla and Gamera, for example, were nuclear age mutants who showed how science could turn on us, Doraemon (like Astro Boy) offers a more hopeful and benign version of technology. Others might liken his impact not just to that of PokEmon but to the Totoro of Hayao Miyazaki, the visionary animator-craftsman whose ravishing Hiroshige dusks and ecological parables are so commanding that Disney bought the U.S. rights to all his work. But, really, Doraemon belongs in a category of his own: not just a companion (like Winnie the Pooh) and not just an icon (like Mickey Mouse). While Bart Simpson says and does what all of us fear to do, Doraemon does what we dream of doing. As Donald George, the global travel editor of Lonely Planet Publications, says, following a video showing of Doraemon in Oakland, California: "He represents a wonderful combination of innocence and imagination—and you come away with that childlike feeling that anything really is possible. It's the same feeling I get when I travel."

The other part of the Doraemon legend that has made him an evergreen source of nostalgia in Japan for three decades now (or, in a country of fads, 300 fashion spin cycles) is the story behind the story. Most of the country knows the heart-tugging tale of Hiroshi Fujimoto, who created Doraemon in comic-book form in 1969 and then recruited his old elementary school classmate Abiko Moto to work with him (when Fujimoto died, in 1999, it was front page news). And Nobuyo Oyama, who gives Doraemon his voice, is such an institution that she regularly appears on Japanese TV as a performer in her own right. As Japan transforms itself weekly to try to find its place in the modern world, Doraemon is one of the few constants who can bring a grandma in a kimono and a yellow-haired teenager together; so far, he's outlasted 17 Prime Ministers.

Does that make him a hero, you might ask? A hero, in Joseph Campbell's formulation, is an archetypal figure who leaves home, overcomes obstacles and in some way speaks to the universal feeling inside us that we can do more than we are doing and become better versions of ourselves. By that criterion, the sometimes blundering but always triumphant cat with the irrepressible gleam in his eye more than qualifies. He takes the very condition that we associate with melancholy—being blue—and makes it smile.

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Anime 8

External links

* (Japanese) Doraemon Official Website

* (Japanese) Doraemon Movie Official Website

* (Japanese) Doraemon Official TV Asahi Website

* (Japanese) Doraemon Secret Dōgu List, a comprehensive list of dōgu featured in Doraemon

* (Italian) Doraemon nel Paese Preistorico (Nobita no Kyouryuu - Hiroshi Fukutomi, 1980)

* Doraemon article from TIME Asia Edition

* Doraemon (anime) at Anime News Network's Encyclopedia

* Doraemon at the Internet Movie Database

* Viz Media Webpage on Doraemon

* List of Characters (With Preview)

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See also

* List of non-Japanese Doraemon versions
* List of Doraemon media
* Kiteretsu Daihyakka, a similar manga by Fujiko F. Fujio
* The Doraemons, a spin-off about Doraemon and his friends from Robot School
* Dorabase, a spin-off about robot cats who play on a baseball team.

Anime 6

Significance

On 22 April 2002, on the special issue of Asian Hero in TIME Magazine, Doraemon was selected as one of the 22 Asian Heroes. Being the only cartoon character selected, Doraemon was described as "The Cuddliest Hero in Asia".

In 2005, the Japan Society of New York selected Doraemon as a culturally significant work of Japanese otaku pop-culture in its exhibit Little Boy: The Arts of Japan's Exploding Subculture, curated by renowned artist Takashi Murakami. In Murakami's analysis, he states that Doraemon's formulaic plotlines typified the "wish fulfilment" mentality of 1970s Japan, where the electronics revolution glamorized the idea that one could solve their problems with machines and gadgets rather than hard work or individual intelligence.[citation needed]

In 2008, the Japanese Ministry of Foreign Affairs appointed Doraemon to be as the first anime cultural ambassador[3][4].

Despite having no official appearance in the United States, Doraemon influenced a number of shows on the US-based TV network, Nickelodeon. Doraemon is the predecessor-of-sorts to Butch Hartman's animated TV series, The Fairly OddParents (which airs on the above-mentioned channel), and has the same plot and style of humor. Both series have also met with high popularity worldwide.

In many ways, Doraemon was the first of its kind. It has been considered to be a prototype of the modern slapstick cartoon series for children such as the above-mentioned The Fairly OddParents, SpongeBob SquarePants (another US-made show made by Nickelodeon), and Fujiko Fujio's own bleak Kiteretsu Daihyakka. Also Disney's Phineas and Ferb has some similarities especially with most of the show's characters.

Anime 5

Ending themes

The ending themes used for the weekly Doraemon series airing between 1979 and 2005 were:



Since the 2005 series incorporated all the credits into the Opening Sequence, these three themes were used as the Ending Theme.



Three songs were used for the separate weekday Doraemon series.

Anime 4

Opening themes

The opening theme used for the weekly Doraemon series airing between 1979 and 2005 was Song of Doraemon (ドラえもんのうた, doraemon no uta?), which was performed by five different performers over the course of its years:


In the New Doraemon Series (2005), new opening themes songs were used, except for the first one


Two songs were used for a separate weekday Doraemon series which is a part of Fujiko Fujio Theater (藤子不二雄劇場, Fujiko Fujio Gekijoo), the first song being the same as the first song of the weekly series

Anime 3

NTV Cast

Anime 3

Voice actors

From 1979 to April 2005, the same five voice actors provided the main voices in Doraemon. However, they retired in April 2005 partially due to the 25th anniversary of the Doraemon television series. On March 13, 2005, TV Asahi announced the new voice actors for the five main characters:




* Nobita - Hiroko Maruyama (stand-in for Ohara, July 23, 1979 ~ July 28, 1979)
* Suneo - Naoki Tatsuta (stand-in for Kimotsuki, November 15, 1985 ~ December 6, 1985)
* Nobita's Papa - Masayuki Katō (Start ~ October 2, 1992)
* Sensei - Ritsuo Sawa → Osamu Katou → Kazuhiko Inoue (Start ~ September 1981)
* Kaminari - Shingo Kanemoto (February 8, 1985 (character debut) ~ September 14, 1990)
* Shizuka's Mother - Keiko Yokozawa (Start ~ August 1981)
* Suneo's Mother - Yoshino Ōtori (Start ~ March 8, 1991)

Anime 2

Feature films

In 1980, Toho released the first of a series of annual feature length animated films based on the lengthly special volumes published annually. The films are more action-adventure oriented and unlike the anime and manga, some based on the stories in the volumes, they have more of a shōnen demographic, taking the familiar characters of Doraemon and placing them in a variety of exotic and perilous settings. Nobita and his friends have visited the age of the dinosaurs, the far reaches of the galaxy, the heart of darkest Africa (where they encountered a race of sentient bipedal dogs), the depths of the ocean, and a world of magic. Some of the films are based on legends such as Atlantis, and on literary works such as Journey to the West and Arabian Nights. Some films also have serious themes, especially on environmental topics and the use of technology. Overall, the films have a somewhat darker tone in their stories, unlike the manga and anime.

The most recent Doraemon film, Nobita's Great Battle of the Mermaid King, will be released on March 6, 2010.

Anime

Television series



After a brief and unpopular animated series in 1973 by Nippon Television, Doraemon remained fairly exclusive in manga form until 1979 when a newly formed animation studio, Shin-Ei Animation (Now owned by TV Asahi) produced an anime series of Doraemon. This series became incredibly popular, and ended with 1,049 episodes on March 25, 2005.

Celebrating Doraemon's anniversary, a new Doraemon series produced by Studio Pierrot began airing on TV Asahi on April 15, 2005 with new voice actors and staff, and updated character designs.

Popularity

Doraemon is a term of common knowledge in Japan.

Newspapers also regularly make references to Doraemon and his pocket as a something with the ability to satisfy all wishes. Other characters in the series are also referenced frequently on TV shows with similar looking casts. Some magazines have used the analogy that America is the Takeshi of the world and Japan is his little brother Suneo.

Doraemon was awarded the first Shogakukan Manga Award for children's manga in 1982, and the first Osamu Tezuka Culture Award in 1997.