Career
Hiroshi Kitadani began his singing career in 1994 when he was in the trio called Stagger. After the band has released an album through Warner Music Japan, a music label, he released a self-titled album in 1999. Shortly after, he became globally recognized for singing One Piece's opening, "We Are!" Soon, he paired up with fellow musicians in the musical act Lapiz Lazuli in December of the same year. The group released a mini-album before Hiroshi left.
In 2003, his big break came when he joined JAM Project. He debuted live during the group's second live concert, and did not participate in studio until the group's single "Nageki no Rozario" was released. From then on Hiroshi became a prominent figure in the anison industry, but he was not singing many theme songs regularly like his peers in the group. By the time of JAM Project's first world tour, his popularity rose dramatically, and he became known to fans across the globe.
In 2008, Hiroshi released his first full-length studio album, "R-New". In the documentary, he worked on the tracks with his friends in a small recording studio. While in the process of writing songs, he had shown that he can cook, preparing meals for himself in his own apartment. Throughout the duration of the production, JAM Project bandmate Masami Okui supplied back-up vocals and harmonization in many of the tracks on the album. On August 8th, 2012, Hiroshi released his second full-length album, "Real".
Throughout his journey as an anison artist, Hiroshi had been to many events with JAM Project members. He had been in Latin America with his friends, Masaaki Endoh and Hironobu Kageyama, during such events as Anime Friends and the like. He also participated in Animelo, an annual summer anison music festival where JAM Project is a recurring guest. He had also collaborated with names such as Aki Misato to produce anime theme songs, forming a group called SV Tribe along with Masaaki Endoh.
Read more about this topic: Hiroshi Kitadani
Famous quotes containing the word career:
“A black boxer’s career is the perfect metaphor for the career of a black male. Every day is like being in the gym, sparring with impersonal opponents as one faces the rudeness and hostility that a black male must confront in the United States, where he is the object of both fear and fascination.”
—Ishmael Reed (b. 1938)
“Whether lawyer, politician or executive, the American who knows what’s good for his career seeks an institutional rather than an individual identity. He becomes the man from NBC or IBM. The institutional imprint furnishes him with pension, meaning, proofs of existence. A man without a company name is a man without a country.”
—Lewis H. Lapham (b. 1935)