Reborn Japan for entertainment

Chapter 404 300, achieved!

The peak period and heyday of the Japanese music scene probably occurred during the period from the end of the 80s to the beginning of the 21st century. . .

However, in the 80s, the Japanese music scene entered an era of diva melee.

The 80s of the last century coincided with the heyday of the Japanese economy, and it was also the main stage for Japanese culture to go global after the war.

Under the keynote of fully absorbing Western music elements, electronic music that incorporates elements of folk songs has formed a mature J-POP that has swept across Asia.

Its leading figures are all idol girls with fluffy and short hair and bright eyes.

If we say that the Momoe Yamaguchi trend in the 70s reflected the return of traditional Japanese music.

Then the next 80s was the era of leading the way, divas fighting for supremacy, and the Japanese music scene in the last ten years of the Showa era entered the Warring States Period when various girl idols competed for melee.

And after entering the 90s, the Japanese music scene is not only dominated by singers, but also masters from all walks of life have shot their hands one after another, forming an era in which a hundred flowers bloom.

Millions of singles, almost no less than five every year; album sales have repeatedly set new highs.

Whether male solo singers, female solo singers, rock bands, or idol groups, they all radiated their unique brilliance on this ten-year stage known as the "Golden Age of Japanese Music".

Representatives of the band include ZARD with Izumi Sakai as the core, Nantian Stars with Yoshisuke Kuwata as the core, mr.children, DREAMS COME TRUE, and B'z with Kazuhisa Sakurai as the core. . .

Among the solo singers, there are Miyuki Nakajima, who feeds more than half of the Chinese music circle, Masaharu Fukuyama, who has stepped out of the world with her own American rock, and other future big singers.

After entering the twentieth century, the first few years of the century can be regarded as the last afterglow of the Japanese music scene.

If you sum up the rise of the Japanese music scene in one sentence, it would be that in the 80s, the Japanese music scene went to glory, reached its peak in the 90s, entered the final prologue at the beginning of the 21st century, and finally went into decline.

It was against the background of the eve of decline that Kiyoshi Sakamoto, a reborn person, came into being.

Since its debut in 2004, in just four years, it has created a very strange phenomenon.

When big singers and hot newcomers couldn't sell their records, Kiyoshi Sakamoto's records were big sellers!

The more the record market declines, the more Kiyoshi Sakamoto's records sell, and even set various sales records.

In this context, it is not impossible to call Kiyoshi Sakamoto "the last hope of the Japanese music scene".

Kiyoshi Sakamoto's popularity cannot be easily explained.

Maybe it's because of the tie-up of the hit movie theme song, or Sony's proper promotion, or his superb acting skills in the movie, maybe even because of his talent and age. . .

I don't know when the name Sakamoto Kiyoshi has been deeply engraved in the hearts of the general public in Japan.

Some people compare Kiyoshi Sakamoto with Yutaka Ozaki, a singer of an era who debuted in the 80s.

However, compared to Ozaki Yutaka, Sakamoto Kiyoshi is different.

Because, after his solo debut, he immediately formed a band and put his attention on the band.

He did not continue to stick to his own SOLO road.

If he persists, maybe he can still be as popular as he is now. . .

If you really want to say that Kiyoshi Sakamoto resembles the senior singer, then he should be a combination of Yutaka Ozaki, Masaharu Fukuyama, and Sakurai and Kotobuki.

Like Yutaka Ozaki, he is the spiritual leader of today's young people; like Masaharu Fukuyama, he has perfect external conditions and strong creative talent, and even like Kazuhisa Sakurai, he is the soul of a band.

For a singer with so many qualities, it may be more difficult not to be popular than to be popular. . .

And Kiyoshi Sakamoto's development, just like his height, keeps rising, never falls, and never stops.

And in 2008, the fourth year of his debut, whether it is long or short, Kiyoshi Sakamoto has become a top singer at the level of the king of music.

But now, just one step away, just one step away, Kiyoshi Sakamoto can stand at the top, and look down on the entire Japanese music scene with his mature and sharp eyes!

Therefore, in the year of 2008, Kiyoshi Sakamoto and THE SUN must use extremely powerful fists to sweep away all opponents who dare to stand in front of him and climb to the top of the music scene!
And the first victim became Universal.

. . . . . .

The tie-up effect of hit Japanese dramas is what every singer longs for.

Because, that means big sales.

Even a rookie like GReeeeN, who debuted only a year ago, has become a possible threat to the existence of Sakamoto Kiyoshi due to the tie-up effect.

But, just, maybe. . .

The fate of the two dramas premiered on the same day is not the same.

Judging from the ratings, NTV's "Judao Fresh Master 3" has blown away TBS' "ROOKIES"!
One aired two episodes with an average rating of 25%; the other had an average rating of 13%
From the perspective of topicality, even if "ROOKIES" has a large number of handsome guys and the addition of a popular baseball theme, it is not as good as the combination of "Golden Master 3" and Sakamoto Kiyoshi, which is more topical.

The duel between the two dramas is just like the duel between Kiyoshi Sakamoto and GReeeeN.

From the beginning to the end, "Judao Fresh Master 3" was pressing against "ROOKIES", and "ROOKIES" was completely powerless to fight back.

This is also reflected in the record sales of Kiyoshi Sakamoto and GReeeeN.

Through the analysis of the hit singles in recent years, it can be found that it is difficult to create topics and sell the records by relying on the songs themselves.

The traditional sales promotion method of "natural musk fragrance" in the Japanese music scene is no longer enough to cope with the new consumption habits. Therefore, it is becoming more and more difficult for singers who rely on their songs to gain a foothold in the music scene.

What's more, it needs the record company's own promotion, and relying on some good TIE-UP, or big topics, to make the work achieve better sales results.

But this method is often only suitable for idol singers or groups, and individual singer-songwriters are required to be human flesh background boards. This kind of publicity work is not their specialty, and more importantly, it is out of place.

However, for Kiyoshi Sakamoto, an outlier in the music scene, all of this is not a problem at all.

You know, he is not only the lead singer of THE SUN, but also a singer-songwriter, and he is also the first Heisei actor with a box office of over [-] billion.

Human flesh background board?
nonexistent.

Sony's promotional resources alone are enough to make Kiyoshi Sakamoto's record a big hit.

What's more, with the TIE-UP effect of "Fresh Master 3" added? !
The "Golden Master" series has always been NTV's trump card Japanese drama. After having 1 and 2 episodes with good reputation and a huge fixed audience, as a catalyst, as long as there is a hot-blooded youth theme song that can match the theme, there will be Possibility of a big sale.

And Kiyoshi Sakamoto's "さくらのうた" is not a very passionate song, but the portrayal of youth is more realistic.

It just coincides with the spirit of "Kumiko Yamaguchi" never admitting defeat in "Golden Master 3".

Coupled with Kiyoshi Sakamoto's personal national popularity, and complementing each other, both "Golden Master 3" and Kiyoshi Sakamoto have gained huge benefits.

. . . . . .

As "Golden Master 3" once again won the ratings championship in the second week, the duel between Sakamoto Kiyoshi and GReeeeN has also come to an end.

In the last week of April, it is also the fifth week of Kiyoshi Sakamoto's album release, April 4th.

"キセキ" has sold 25 singles.

"Sakura Season", album sales of 40.

The gap between the two is even bigger than last week.

This week's Oricon sales list was released, and it was officially announced that Universal Music lost everything in this attempt to block Kiyoshi Sakamoto's plan.

After a month, Kiyoshi Sakamoto's sales broke through 100 million, 200 million, and 300 million without any impact under the obstruction of the three groups of singers around the world!

Victory and defeat!

. . . . . .

Regardless of the other side, Kenji Kitano was once again called to reprimand by the board of directors because of this failure. The cumulative sales volume of Kiyoshi Sakamoto's album officially entered the 300 million sales club five weeks after it was released, becoming the No. 2008 album in 300. The first [-] million sales album!
It is also the first 2002 years since Hikaru Utada's "DEEP RIVER" in 6, another original album with a sales volume of over 300 million!

In one fell swoop, Kiyoshi Sakamoto's "Sakura Season" became the 21st in Japan's album sales list.

And this ranking is not the final ranking of Kiyoshi Sakamoto's album. . .

Because, the sales figures of the album are still going up.

Relying on this album, Kiyoshi Sakamoto became, second only to Hikaru Utada, the youngest singer with 300 million albums.

Although compared to the 16-year-old Hikaru Utada, his first album sold 765 million copies, setting a record for the number one sales in Japan and even in Asia.

However, the 18-year-old Kiyoshi Sakamoto, in the context of the decline of the record market, can still set a record of 300 million album sales, which is also amazing.

From pre-sale of 150 million in one week, to breaking through 200 million in two weeks, and breaking through 300 million in the last five weeks.

This is the singing of Kiyoshi Sakamoto's album.

After this battle, the entire music world once again experienced the unstoppable and terrifying influence of Kiyoshi Sakamoto.

The title song in the album, "さくらのうた" also became the most popular song in the college graduation season because of its inspirational lyrics, and it was called the "Graduation Song".

Because of the high popularity of "さくらのうた", Sony also wanted to release this song as a single alone, taking the opportunity to make a wave of money.

However, this proposal was rejected by Kiyoshi Sakamoto.

In his opinion, doing so is too cheap.

In the end, nothing happened.

While Kiyoshi Sakamoto single-handedly defeated Universal Music and swept the music scene, a person who was very close to him felt very angry because of Universal Music. . .

(End of this chapter)