Tokyo Reborn: Dark Superstar

Chapter 203: The Fire Before It Happens
After being in the Japanese entertainment industry for these years after his rebirth, Takakura Bunta obviously discovered that the cultural protection policy of the Dark Star plane is much weaker.

Because of the impact of the dark agreement of the World Copyright Protection Convention, market barriers are slowly being developed in both the closed Red Earth Continent market and the White Robe Monarchy in the Middle East...

According to the market environment of this parallel dimension.

The two people that Takakura Bunta was really afraid of were Milk Tea Zhou, who worked as an assistant on a variety show on Iju Island, and the first generation of Korean wave group that had already been formed in South Korea.

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Milk Tea Zhou’s title as the last Chinese pop king of the millennium is no joke.

Although, One Piece Entertainment has been actively developing in the Red Earth Continent...

But compared with Milk Tea Weekly’s strength during her peak period.

At present, the Beasts band can only be defeated in seconds in the Red Earth Continent, Hong Kong, Macau and Taiwan. In Southeast Asia, they may be able to compete a little. In Japan, the Beasts band should have the upper hand.

As for South Korea, the third largest music market in Asia, they have their own first generation of Korean pop groups. Beasts and Milk Tea Weekly account for one-third of the market in South Korea at most.

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The first generation Korean girl group SES officially debuted last year with the support of South Korea's SM Entertainment Co., Ltd.

The first girl group in the Korean music scene is composed of three members: Choi Sung-hee (Sea), Yoo Jin (Eugene) and Yoo Soo-young (Shoo). It consists of three Korean girls from different countries and has a natural language advantage around the world.

Generation after generation of Korean pop groups, this is a nightmare disaster for the music scene in Asian countries...

The measure that One Piece Entertainment Company has to take now is to expand its advantage by leveraging the advantage of Beasts Band debuting two years earlier and maintain its absolute suppression of the Korean Wave.

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The arrangements and accompaniments for the 10 songs in the new album "Ainu" have all been completed. With the help of Ryuichi Sakamoto, the quality of the works is even higher than what Takakura Bunta remembered from his previous life.

For some uncertain areas, One Piece Entertainment invited Ayumi Hamasaki, Utada Hikaru, Mai Kuraki, Kyoko Koizumi, as well as producers from Sony Records and Kadokawa Bookstore's music department to the recording studio.

We also used the influence of Burning to invite Tetsuya Komuro to come and see the demo of this album.

The lead singer of this album, Akina Nakamori, asked for their opinions, and although not all of them were adopted, she still gained a lot of inspiration.

At the same time, these professional singers and producers also witnessed this masterpiece in the hands of Bunta Takakura, and their hearts were deeply shocked.

Afterwards, when some of them were interviewed at events, they were also asked about Bunta Takakura's new album.

Ayumi Hamasaki didn't say much, just said the song was of excellent quality, and the rest would be known to everyone after the album was released.

Komuro Tetsuya was silent for a long time, and finally uttered four words: "There is no one like him in the world, I am ashamed to be inferior to him."

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Among them, the one who really sparked public opinion was the first person in visual rock, Hayashi Yoshiki.

Lin Jiashu happened to be attending the launch of his new album at the time, and when asked by reporters, he said something shocking.

"I listened to his new album and had only one thought in my mind: I can't say for sure in the future, but now Takakura Bunta is the boss of the Asian pop music scene."

Lin Jiashu's words immediately ignited the entire press conference. Even the band members next to him were frightened and their eyes widened.

At that time, some media were dissatisfied and felt that Hayashi Yoshiki was exaggerating. Although Takakura Bunta was great, it was not his turn to be the boss in the Japanese music scene based on seniority.

Lin Jiashu scoffed at this statement and refuted it on the spot: "Singers rely on their strength and works, not on their seniority. Let's wait and see whether the Beasts can dominate the Asian music scene."

After the press conference, few media present cared about X-JAPAN's new album, but instead reported on Hayashi Yoshiki's "crazy talk". …………

The leader of the X-Japan rock band, Yoshiki Hayashi, pioneered the Japanese glam rock style.

Therefore, his words carry a lot of weight and are seen as an excellent explosive point by the media.

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In the 70s, a wave of glam rock (also known as glam rock) emerged in the rock scene in Europe and the United States, with the British band David Bowie and Queen being the most representative.

David Bowie is the founder of glam rock.

Before him, the image of rock musicians had always been that of rough and muscular European and American men, but David created a different image for rock with a dramatic, androgynous and gorgeous look.

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The period from the late 80s to the late 90s, when glam rock was most popular, happened to be the decade when Japan's society and economy were most depressed as it encountered an economic crisis.

When facing the economic crisis, because of the traditional Japanese culture's positioning of men as shouldering a lot of social responsibilities, many Japanese men chose to commit suicide under high pressure.

However, due to male chauvinism, the status of women in Japan is very low.

After returning home, the lost men are prone to abuse their wives and daughters. In the year when the bubble economy burst, 74.5% of Japanese housewives suffered domestic violence, which was also reflected in Japanese dramas at the time.

Therefore, in Japanese society, both men and women have accumulated enormous mental pressure.

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At this time, the trend of "glam rock" flooded into this small island country. This "intense" and "tough" music style was incredibly perfectly blended with the "sad" and "feminine" elements of Japan's traditional culture.

From a gender perspective, men can reduce the mental pressure attached to traditional society through neutralization; women can also obtain a higher social status through neutralization.

At the same time, the public at that time had become extremely tired of the traditional Japanese aesthetics of "elegance, tranquility and beauty".

The core of this traditional Japanese aesthetic lies in "restraint" and "endurance", but what Japan needed at that time was release!!!
Visual rock, which emerged as a result, allowed young people in Japanese society to release long-accumulated mental stress through exaggerated styling and powerful rock music.

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At their peak, this man, wearing heavy makeup and screaming with an electric guitar, became the dream lover of almost all Japanese girls and firmly occupied the position of Japan's number one band for many years.

In 1992, the X-Japan rock band led by Hayashi Yoshiki also served as the closing guest of the "Ten Years of the Japanese Emperor's Reign Celebration" along with the band's three-day performance at the Tokyo Dome.

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This time, Lin Jiashu was willing to promote the Beast Band because the famous Japanese entertainment star Shizuka Kudo coordinated privately.

Lin Jiashu's first love was Kudo Shizuka.

Unfortunately, with the rise of the SMAP group from Johnny & Associates, his career and girlfriend were lost to SMAP's Takuya Kimura.

One piece entertainment company has taken control of the power of Burning Production.

Kudo Shizuka, who was already well-behaved by Takakura Bunta, is now even more obedient and has become a nail buried within the Burning Department of One Piece Entertainment.

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With the stamp of approval from Hayashi Yoshishu, "The Ainu" instantly became popular before it was released, and everyone was looking forward to it more and more.

(End of this chapter)