Tokyo Reborn: Dark Superstar

Chapter 41 Proxy War

On the B1 floor of Jinnan Industrial Building, there is a super unlimited horn barbecue restaurant.

After listening to Kanda Keiko's statement, Takakura Bunta put down the chopsticks in his hand and said:

"So, Sony Records rejected the song?"

Kanda Keiko took a sip of barley tea and explained again:
  "of course not."

"It's just that Johnny's strength in the local male idol market is too strong."

"Mahihiko Kondo is just one of the solo singers. Even if Masahiko Kondo has passed away, Johnny will still have new generation artists such as Takuya Kimura, Tomoya Nagase, Jun Matsumoto, Hideaki Takizawa and so on."

"The more powerful ones are Johnny's boy groups, from SMAP to V6, and most recently Kinki Kids and Arashi. They are extremely popular not only in China, but also in Asia."

"In addition, Johnny has good relationships with TV executives, advertisers, and members of Congress."

Takakura Bunta understood what Kanda Keiko meant.

Johnny's Office now has millions of people and thousands of good generals, holding the emperor's hand to command the princes. This sincerity cannot be competed with.

Kondo Masahiko is equivalent to Xia Houyuan and will have a great impact, but he will not be able to cause a devastating blow to Johnny & Associates.

…………

Kanda Keiko put down the tea cup, took out a contract and handed it to Takakura Bunta.

"Our company believes it's not the right time to go head-to-head with Johnny & Associates. But we can fight a proxy war."

Bunta Takakura opened the contract and looked through it: "Proxy war?"

Kanda Keiko said: "To put it simply, you can use your identity as an independent singer to sign a publicity and distribution cooperation agreement with Sony. Both parties will share the publicity and distribution costs and share the profits."

"This avoids an all-out war between Sony Records and Johnny & Associates."

Takakura Bunta looked at the contents of the contract and said: "The single sales split is 50%, so I have to bear 50% of the publicity costs?"

"I don't have that much money."

Keiko Kanda put a piece of butter on the barbecue iron plate and said:
  "Last year, Sony Records began launching an independent musician support program in the North American market."

"I helped you apply for a quota, and you are the first in the country."

"Payment of publicity and distribution expenses will be deferred, and the cost will be deducted after profit distribution from single sales is completed."

Bunta Takakura put a whole plate of beef tongue into the barbecue iron plate, and the butter and beef tongue merged, making a sizzling sound.

Bunta Takakura: "You will owe the promotion fee first, and then pay it back when the song makes money? What if the song loses money?"

Kanda Keiko picked up a piece of roast beef and said, "Don't worry. Sony Records will use all its resources to promote this song "Kill That Tokyo Man"."

"Our executive vice president is very optimistic about your song."

Takakura Bunta opened a can of Kurokirishima sweet potato soju.

ton ton ton...

"Let us start a top-notch war in this extremely boring and vulgar music world!"

Bunta Takakura signed the contract.

....................................

This is a proxy war waged by Sony Records against Johnny & Associates.

Takakura Bunta's position can only be regarded as a chess piece to charge into the battle.

However, he already owed a nine-figure debt to the hunting lodge, which was too much to bear.

The worst thing is to join the hunting lodge and become Emiri Aramaki's exclusive boyfriend to pay off her debts.

Moreover, Takakura Bunta is very confident about this song.

…………

The three decades of economic prosperity brought about by the Jimmu boom, the Iwato boom, and the Izano boom vanished in a blink of an eye due to the collapse of the bubble economy...

The ongoing stock market crash, real estate collapse, the disintegration of the lifetime employment system, and the rise of dispatched labor...

The trauma of all this to this country is too deep.

"Kill That Tokyo Man"

This song just rubs a pinch of salt into that wound.

It can be said that it is an extraordinary meeting, just at the right time! ! !
  .........     In today's RB consumer market, these people who have personally experienced the bubble economy are still the main consumers in the market.

If it is the loose generation more than ten years later, or the Reiwa era decades later.

This song can only be regarded as excellent, but it definitely cannot arouse huge resonance.

Only when the entire nation has just experienced this painful period of disillusionment and is licking its festering wounds.

The emergence of such a song only requires the right time, right place, right people, and the right people to become famous!
  This is destined to be a dominant song.

....................................

After Takakura Bunta signed the contract, Kanda Keiko immediately made several phone calls.

Sony Records, the super war machine, began to operate...

Soon, Takakura Bunta got the physical sample CD of his single from Kanda Keiko.

This disc only contains the single "Kill That Tokyo Man".

In addition to the name of "Kill That Tokyo Man", the packaging of CDs and tapes contains lyrics and song introductions.

There are also three promotional posters that Takakura Bunta took specially two days ago, which Kanda Keiko asked Takakura Bunta to take.

Keiko Kanda heard her alumni TBS producer Koichi Takano mention the "ghost back" legend of the Ultraman Tiga crew.

These three posters were photographed by Bunta Takakura at the request of professors from Kyoto Municipal University of Arts.

…………

The background of the poster is of collapsed buildings and securities flying in the sky.

Takakura Bunta is naked all over, and his muscles are like carefully carved marble sculptures, smooth and hard, exuding a healthy luster no matter what the light is.

Even more attractive is Bunta Kotakakura, who is only covered by a document with "Plaza Accord" written on it, half-hiding his face while holding a pipa, like an ancient ferocious beast, with teeth and claws, full of impact and violence.

Kanda Keiko swallowed when she saw this poster.

She asked the marketing department to contact the printing factory to urgently print 2 additional posters, and conduct overwhelming publicity in magazine stores, video stores, and store counters...

…………

Kanda Keiko’s explanation for this is that it can attract a wave of fans of mature ladies.

Bunta Takakura originally wanted to refute, but then he thought of his VIP charity donors at Night Tokyo Charity Welfare Institute.

"Forehead……"

Bunta Takakura did not dwell on the poster, but listened to the tape and CD.

As expected of Sony.

The sound quality is quite good, the playback is very smooth, and there are no disc or cassette defects.

…………

Takakura Bunta specially ordered 23 single CDs from Kanda Keiko to give to his VIP charity donors at the Night Tokyo Charity Welfare Institute.

This is a good opportunity to increase your worth.

Mental volunteers like Sanji who provide emotional value have unlimited upper limits. To a certain extent, they are similar to the scam in Northern Burma.

The spiritual system among volunteers can create an annual income of 2 trillion yen a year, equivalent to 0.1% of RB GDP.

In contrast, intensive volunteers have a clear ceiling.

They cannot actively provide emotional value and can only passively obtain emotional satisfaction through identity, status, etc., by letting customers figure it out.

…………

Takakura Bunta's VIP charity donors are basically the big winners in the bubble economy era. They probably won't have much resonance with the song "Kill That Tokyo Man".

However, this is an excellent opportunity for Bunta Kotakakura to increase his worth.

An ordinary plumber, a third-tier supporting actor, and an independent musician who collaborates with Sony Records, these three identities are at completely different price points.

This is just like later generations of celebrities who like to attend red carpets and spend money to buy awards at unpopular film festivals.

For example: the model's flower of wealth, the actor's flower of wealth, the actress' flower of wealth, the Tibetan mastiff's flower of wealth...

The four identities provide completely different emotional values ​​to the big benefactors, and the prices are also completely different.

(End of this chapter)