Strengths and Weaknesses
Strengths:
- Visionary leader: Launches large-scale, future-oriented projects like the 35,000-cap LA festival Zipangu and the “artificial life artist” space project: “クラウドナイン、宇宙へ「人工生命アーティスト」を打ち上げるプロジェクトを発足”.
- Artist-centric: Consistently highlights and protects artists’ value, e.g., free first solo live with post-show tipping for Hirate Yurina: “チケット代は無料です。終演後に投げ銭出来る場所は用意しておきます。”.
- Global-minded: Focuses on expanding Japanese music overseas with Ado’s 30+ city world tour and LA events, proud of first-time Japanese achievements at major arenas: “ここで日本人が開催するのは初めてだよ！”.
- Transparent communicator: Openly shares internal decisions and regrets, e.g., explaining venue choice and sell-out process for Hirate’s 1st live and clarifying his own earlier wording: “言葉が足りませんでした。”.
- Community builder: Creates multiple entry points for talent and fans—school, GIRL GROUP audition, actor division, CloudNine Park, and brand collaborations: “スクールを始めました” and “GIRL GROUPオーディションが開催されました”.
Weaknesses:
- Overextension risk: Handles world tours, theme-park collabs, festivals, school, new divisions, and space projects simultaneously, hinting at dilution of focus despite ambition: e.g., tour posts interwoven with CloudNine Park and new projects like “クラウドナインパークが本日より東京ドームシティアトラクションズでも始まった”.
- Public self-criticism: Voices strong frustration about scale in public, which can sound harsh toward existing success: “とてもとても悔しかった。日本のトップアーティストが3組も集まって、まだこのキャパなんだって事が。”.
- Confrontational tone: Takes a combative stance on industry voting systems, which, while principled, may alienate peers: “これアーティストやクリエイター以外の票無くしちゃえば良いのに”.
- Reliance on X: Uses X heavily for key announcements, clarifications, and even artists’ personal messages, risking audience loss if they’re not on the platform: “なぜか本人が自分のアカウントから投稿したがらず、託されたのでこちらでポストします”.
- Limited personal depth: Shares very little about his own inner process or personal life beyond work and occasional birthday/football posts, which can create distance: e.g., mostly business/tour updates contrasted with brief personal note “ありがとう🩴 41歳になったわ”.
Your Simpsons character
Lisa Simpson
This user most closely resembles Lisa Simpson: ambitious, idealistic, and deeply invested in culture and learning. Like Lisa, he’s driven by big-picture goals for art and society, saying he’s traveling so that “Japanese entertainment can be exported and help improve the domestic economy” in “日本のエンタメが輸出され、国内の景気が少しでも良くなる未来に向けて、そのキッカケになれるように”. He cares about fairness and institutional reform, critiquing award-voting systems and proposing transparency: “これアーティストやクリエイター以外の票無くしちゃえば良いのに…組織票や不正が無いって事が世の中に伝わるし”. He’s also intellectually and artistically curious, proudly mentioning becoming a Grammy voting member and attending the ceremony in “Votingメンバーになってから初めてのグラミー賞授賞式でした”. At the same time, he nurtures younger talent through schools and auditions, echoing Lisa’s mentoring side, as seen in “スクールを始めました…当社が培ってきた技術や知識で何かになりたい人達の応援が出来たら”.
Your MBTI personality Type
ENTJ
The account shows clear Extraversion (E): he consistently posts from large public events (world tours, domes, Expo, Grammys) and seems energized by big social/professional environments such as the Grammy reception and afterparty (“アフターパーティーに参加しました”, “AEGのレセプションにご招待いただき寄らせて頂きました 第68回グラミー賞授賞式もうすぐ始まります”). His posts reflect strong Intuition (N): he constantly talks about future-oriented, large-scale visions like expanding Japanese entertainment globally and being a trigger for Japan’s economy (“日本のエンタメが輸出され、国内の景気が少しでも良くなる未来に向けて、そのキッカケになれるように”) and launching an “artificial life artist” into space (“クラウドナイン、宇宙へ「人工生命アーティスト」を打ち上げるプロジェクトを発足”). He appears predominantly Thinking (T): he critiques voting systems in a systematic, fairness- and structure-focused way rather than emotionally (“これアーティストやクリエイター以外の票無くしちゃえば良いのに…そしたら組織票や不正が無いって事が世の中に伝わるし、大きな事務所に入ってるアーティストの方が有利って状況も変えられるのに”), and he frames frustrations (like the LA event’s capacity) as strategic business challenges rather than personal complaints (“とてもとても悔しかった。日本のトップアーティストが3組も集まって、まだこのキャパなんだって事が。”). His strong Judging (J) preference shows in heavy planning, goal-setting, and structured initiatives: launching schools, auditions, actor divisions, international festivals, and long-term tours with clear timelines and capacities (“2026年5月16日にロサンゼルスでフェスします…最大級の35,000人キャパです”, “スクールを始めました…当社が培ってきた技術や知識で何かになりたい人達の応援が出来たら”). Overall, his combination of big-picture strategy, organizational leadership (CEO, festival/tour architect), direct analytical commentary, and future-driven ambition aligns best with ENTJ – the archetypal strategic, outward-facing executive.
Some pickup lines for you
- You became a Grammy Voting member in 2025 and went to your first ceremony in 2026… if I promise to give you all my votes, can I be the plus-one you take to the next after party?
- You helped Ado sell out O2 Arena, Uber Arena, and all those world tour dates—how about we start with something more intimate: just you, me, and a front-row seat to whatever Japanese music event you plan after “Zipangu” at the Rose Bowl?
- You launched Cloud Nine School, Cloud Nine Park, an actors’ division, and even an ‘artificial life artist’ into space—impressive, but have you considered managing my heart? It’s already clearly under your production.
- The way you talked about平手友梨奈’s first Zepp solo live and her “イニミニマイニモ” MV felt so devoted that I caught myself thinking: if you care that much about your artists, imagine how dangerously well you’d treat your partner.
- From celebrating Ado’s sold-out dome tours to posting that humble ‘悔しかった’ after matsuri25 LA, you always aim higher—so I figured I’d shoot high too and ask: any chance I could be your next ambitious international collaboration, starting with a date in Tokyo?
Your 5 Emojis
Your new Twitter bio
CEO of CLOUD NINE. From Zepp to domes to the Grammys—chasing moments you never forget. Once packed an artist in a backstage bath towel to survive the AC.– @chigira_takuya
Your signature cocktail
Grammy Galaxy Nine Highball
A base of Japanese whisky reflects his solid backbone as CEO of Cloud Nine and architect of global tours like “Ado 世界ツアー 2025/6/19 London”, strong but refined. Bright yuzu liqueur captures his upbeat, visionary push to take Japanese music worldwide, from “日本人アーティストとして初のソールドアウトを達成しました。” to launching huge festivals like “『CLOUD NINE presents “Zipangu” JAPANESE MUSIC EVENT 2026』”. Effervescent sparkling sake stands for the celebratory, sold-out, dome-filling energy of posts like “Ado DOME TOUR 2025「よだか」 本日は東京ドーム2日目 ありがとうございます” and his exuberant birthday “ありがとう🩴 41歳になったわ”](https://x.com/chigira_takuya/status/1918446656313495709). Complex cold brew green tea adds a thoughtful, slightly bitter depth, echoing his candid industry critiques like “これアーティストやクリエイター以外の票無くしちゃえば良いのに” and reflective comments after “matsuri25ロサンゼルスを終えました。 とてもとても悔しかった。”. Finally, a sprinkle of edible gold dust nods to his status as a Recording Academy voting member “この度、Recording Academyによって、アメリカのグラミー賞Votingメンバーに選出されました。” and the glittering, world-stage ambition behind posts like “行ってきます 日本のエンタメが輸出され、国内の景気が少しでも良くなる未来に向けて”.
Your Hogwarts House
Slytherin
Their tweets show strong, outward-facing ambition and a desire to expand Japanese entertainment globally, like when they say they are heading out so that “Japanese entertainment can be exported and become a trigger for improving the domestic economy” in “行ってきます 日本のエンタメが輸出され、国内の景気が少しでも良くなる未来に向けて、そのキッカケになれるように”. They consistently take on large, high‑stakes projects—Ado’s 30+ city, 500,000‑person world tour and sold‑out arenas such as Uber Arena and O2—proudly noting milestones like surpassing BLACKPINK’s merch record in Berlin in “今日の会場ではグッズ売上がBLACKPINKを超え歴代1位になりました。”. This is paired with a strategic, big‑picture mindset: organizing one of the largest overseas Japanese festivals with a 35,000 capacity in Los Angeles in “2026年5月16日にロサンゼルスでフェスします…最大級の35,000人キャパです” and even launching an “artificial life artist” project aimed at leaving a legacy future generations want to inherit in “その仕事、夢、目標、引き継ぎたいです。…人工生命アーティストを打ち上げるプロジェクトを発足”. Their acceptance as a Recording Academy voting member and reflections on Grammys in “Recording Academyによって、アメリカのグラミー賞Votingメンバーに選出されました” and “Votingメンバーになってから初めてのグラミー賞授賞式でした。” further underscore a drive to operate at the center of the global industry. While there are clear notes of loyalty to artists and fans, the dominant throughline is ambitious leadership, long‑term strategy, and a desire for influence and impact—classic Slytherin traits.
Your movie
Your song
Stronger - Kanye West
A song like Stronger by Kanye West fits Chigira Takuya because its core message—pushing limits and turning challenges into fuel—mirrors his drive to scale Japanese music globally. He consistently frames setbacks as motivation, as seen when he called the capacity of the LA event "very frustrating" yet used it as a personal spur to grow, while praising the artists’ performances: “日本のトップアーティストが3組も集まって、まだこのキャパなんだって事が。”. His ambition to expand Japanese entertainment worldwide and boost the domestic economy also echoes the song’s theme of relentless forward motion: “日本のエンタメが輸出され、国内の景気が少しでも良くなる未来に向けて、そのキッカケになれるように”. He embraces bold, trailblazing projects—from a massive overseas festival to launching an "artificial life artist" into space: “クラウドナイン、宇宙へ「人工生命アーティスト」を打ち上げるプロジェクトを発足”. Even his pride in record-breaking world tours and sold-out arenas shows the same “harder, better, faster, stronger” ethos, as when he celebrated unprecedented merch records and sold-out shows: “今日の会場ではグッズ売上がBLACKPINKを超え歴代1位になりました。”.
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