Tsuyama (of the Mimi-sensei-loving quartet) and Orihara fight under the former’s mistaken belief that the latter sexually assaulted Mimi-sensei. Evenly matched, the situation is eventually defused when Mimi-sensei herself explains that nothing happened and Hasegawa lied about Orihara squeezing Mimi-sensei’s breasts. Tsuyama and his friends still discover it’s Shion who’s the true “culprit,” but at least a couple of them don’t seem to mind at all.
Jin uses the audience gathered from the fight to his advantage, and suddenly announces a 4 vs. 4 singing competition between the Chorus Appreciation Society and Tsuyama’s group.
We learn in a flashback that Tsuyama is actually a pretty good singer, but they’re not exactly ready for this contest. The music teacher Takano-sensei offers to help them. Also, unbeknownst to his friends, the gorilla-like Ogawa (nickname “Ogre”), goes to the Chorus Appreciation Society for help in learning how to sing better. The reason: he doesn’t want to hold the others back. Jin begins teaching him about how to deal with being out of tune.
Back in the present, Tsuyama’s group are about to sing “Cherry” by the Japanese pop group Spitz (Mimi-sensei’s favorite band) against the Chorus Appreciation Society’s “Viderunt Omnes,” when suddenly, Ogawa hands his microphone over to Akira, in what looks to be a shocking betrayal!
Not the Best Handling of Rape as a Subject
I want to preface this minor criticism by saying that I don’t think Kio Shimoku is trivializing or supporting rape in any way, and what I sense from the story is that this little fiasco is more about a false rumor run rampant. Hasegawa, for her part, didn’t even say the word okashita (variously “rape,” “violated,” etc.)–it was Tsuyama who interpreted it that way.
However, given the increasing awareness we as people have about women not being believed when it comes to sexual assault, having a girl like Hasegawa start this rumor is not the best look for the series. For me, it’s not a deal breaker, and I still love the heck out of Hashikko Ensemble, but it’s potentially playing with fire.
Anyone Can Improve Their Singing
Jin makes a helpful point this chapter about how getting better at singing in tune depends on how tone deaf someone is. A person who can recognize that they’re not singing well can, over time, learn to adjust. Someone who is tone deaf, on the other hand, will need another person to tell them when they’re off, but this can still be a path to improvement.
It gives hope to folks like me who are musically challenged.
Friendship Between Misfits
While I originally thought that Tsuyama and his friends might become antagonists of sorts, that doesn’t seem to be the case. Instead, what I see is a group of people who are kind of weird and arguably pretty creepy, but who have one another’s backs. I find it touching that Ogawa thinks so highly of Tsuyama (who encouraged him to work out so that no one could belittle him) that he would go to the enemy for help in learning how to sing. In a way, it’s like these guys are the cast of Genshiken, only all of them are like 10-15% Kuchiki. The clear path is for at least some of these guys to eventually join the Chorus Appreciation Society, but I wouldn’t be surprised at a few twists and turns.
Also, the fact that two of them are into yuri but two of them don’t seem to care that much makes for a small but interesting distinction among their group.
As Mimi-sensei talks about her fondness for Spitz, the following songs get mentioned:
“Sora o Toberu hazu” (“You’ve Gotta Be Able to Fly”)
“Viderunt Omnes” is also brought up again. Orihara basically refused to sing anything else.
Despite all the weirdness with Hasegawa, her running commentary for the Orihara-Tsuyama fight is a highlight of this chapter. The way she compares Orihara’s enormous strength to Tsuyama’s speed and technique fills me with glee.
I highly doubt that Akira is doing any sort of real heel turn, but I’m looking forward to how it pans out. I assume that friendship will win over all, and Shion will gain some strange new guardians.