National Tide 1980

Ning Weimin is not limited to awards from the Japanese film industry.

At the end of this year, in addition to canvassing votes for Keiko Matsumoto to win the Film Academy Award, she also had frequent contacts with industry insiders who have influence on award selection.

Ning Weimin also extended his hands into the Japanese music industry to stir things up.

In an attempt to interfere with the selection results of this year's All Japan Record Awards, which is the most important for Japanese musicians.

But it should be noted that this incident was not part of his plan at first.

In fact, even he himself didn't expect it at the beginning, it was purely a temporary idea.

When it comes to this matter, it actually seems to be a coincidence or an accident.

Daqing Ning Foreigners is well aware that investing in film production involves the danger of losing all your money.

According to the information he had in his previous life, there were many examples of people falling into the trap due to the filming of big-budget movies, both at home and abroad.

Some film companies can even go bankrupt just because of one movie.

So since he invested in this movie, he really thought a lot about how to quickly recover the huge filming cost of one billion yen.

The most important thing is that Keiko Matsumoto thinks that she has bet all her money on this film.

Even if it was to make Qingzi feel better and relax, Ning Weimin would not put his hope of recovering investment costs in the two conventional channels of movie box office and video tape.

He must think of more ways to make money in order to relieve the pressure Keiko Matsumoto feels.

So after much deliberation, Ning Weimin, who had fully tasted the benefits of audio-visual publishing in China, naturally came up with the idea of ​​releasing a movie soundtrack album for Keiko Matsumoto.

Nothing else, the audio and video consumer market in the Republic is really huge!

It is simply not comparable to a small country like Japan with over 100 million people.

What's more, compared to Japan's entertainment market, it's very closed and there aren't that many choices.

Even if you only sell five million tapes, you can earn 10 million yuan.

In theory, this is equivalent to recovering all the cost of investment in filming.

In this way, wouldn’t the movie box office and video tape revenue become pure profits?

This account is too easy to calculate, how could it still be a loss?

In addition, Ning Weimin also knows very well that although the film "Li Xianglan" suffers a bit at the box office due to its attributes as a literary film and a biopic, it will definitely not be as popular as a commercial film.

But if you think about it from another angle, if you put these two points on the release of music albums, they become additional bonus points.

Don’t forget, Li Xianglan was a well-known star in both China and Japan back then, and many of the popular hits she sang in her life have become classics.

As long as the nostalgia card is played, the number of people who are willing to spend money to buy the film's music album for her is far more than the number of viewers who are truly curious about her life trajectory, willing to spend money to go to the movie, feel the historical atmosphere, and receive anti-war education. many.

There is no doubt about it.

If the movie is not made properly, it will most likely become a promotional advertisement for the music tape, which will ultimately overwhelm the film.

In addition, in terms of production costs, releasing a music album for this movie is also super cost-effective.

Because the songs are all ready-made and have already been sung famously, they don’t have to put a lot of effort into creation, and they are also inherently popular.

From an expense perspective, isn’t Keiko Matsumoto’s recording fee just a matter of rotten meat in the pot?

As for Li Xianglan, after all, she sang songs written by Chinese people back then, so whether it was royalty or not, Ning Weimin only needed to give him a million yen.

For the descendants of domestic songwriters, their contributions in this area are almost negligible.

You know, in this era, Chinese people in mainland China have neither seen money nor copyright awareness.

In this environment, Ning Weimin's benevolence and righteousness all depended on his peers.

He only needs to contact the descendants of these composers and give each family a symbolic 1,800 yuan, which is enough to make them grateful to him and fulfill his reputation as a conscientious capitalist.

Think about it, he obviously could not give it, but he did.

With such a moral integrity that stands out from the crowd, who can blame him?

In terms of tape recording and production, Ning Weimin is also very familiar with it.

Just do what he did with Zhang Qiang and Cui Jian's albums in the first half of this year.

I did cover design in Tokyo, went to a recording studio to make master tapes, and then went to mainland China to mass-produce tapes.

It can not only make full use of Japan's recording equipment and music production capabilities, but also ensure the overall production level of music albums.

It is also very suitable to use domestic cheap labor and raw materials to reduce production costs to the greatest extent.

To be honest, even releasing an original album with 500,000 tapes in Japan would be much more expensive than Ning Weimin releasing 5 million tapes.

All in all, no matter how you look at it, this thing is very cheap and cost-effective! There is absolutely no reason not to do it!

Not to mention that if this thing is done, the benefits obtained from it will be far beyond simple monetary gains.

Because for Ning Weimin, economic returns are just the most basic benefits.

What he really hopes for is a higher level of ambition and pursuit.

For example, he believes that he has the ability to turn this music album into a large-scale album that can be sought after by fans in China and Japan.

This helped Matsumoto Keiko break into the music market of the Republic and occupy a world.

Then he can cover classic Japanese songs into Chinese songs, or cover classic Chinese songs into Japanese songs, and capture the music markets of both China and Japan in an extremely productive way.

From now on, not only are the golden tickets huge, but you can also make money to the point where your hands are numb.

It is also equivalent to shaping Keiko Matsumoto into a messenger for cultural exchanges between China and Japan, allowing her to gain fame and influence in both China and Japan.

It’s great that it has not only helped Matsumoto Keiko’s singing career, but also made a lot of money!

As for the specific method, the first thing Ning Weimin thought of was that since it was released in two countries, the music album had to be made into bilingual songs and two tapes.

The same song has both Mandarin and Japanese versions, which makes sense.

Just like "Tuberose", the same melody has one flavor in Chinese, but another flavor in Japanese.

At worst, there are two versions of the tape, you can choose from them.

Many real fans have a collecting habit, and many of them will definitely buy them all.

Secondly, in order to pull off a stunt and gain media attention, Ning Weimin also thought of a brilliant trick.

He wanted to ask Yoshiko Yamaguchi, who is now a member of Congress, to come out again and record a song in the recording studio. As Li Xianglan, she would personally sing the theme song of the movie for the movie, adding another one to her personal repertoire. Classic hits.

The quality of the songs is of course important.

However, Ning Weimin was not embarrassed about this. He had already made his choice and made a decision with Matsumoto Keiko.

The theme song of the movie was "Autumn" which he had heard Jacky Cheung sing in his previous life.

That song was originally the theme song composed by the Japanese musician Koji Tamaki for the TV series "Farewell, Li Xianglan" starring Yasuko Sawaguchi. The original name of the Japanese version was "Please Don't Go".

Both the artistic conception and the melody are appropriate illustrations and annotations of Li Xianglan's life experiences.

Now that Ning Weimin has taken the lead in film and television creation, he simply doesn't stop working on it. He even borrowed this song.

From his point of view, he is quite confident, as long as the filming of the movie is not too boring.

As this song fits the theme and has a beautiful melody that touches people's hearts, it will definitely be loved by fans in both countries and can definitely be sung in both China and Japan.

But Clinker planned it very well and thought beautifully.

Once this matter entered the actual operation stage, it unexpectedly hit a wall with Yamaguchi Shuko.

It's not that they are unwilling, it's mainly that age is not forgiving.

Nowadays, Yamaguchi Shuko admits that she is no longer the same Li Xianglan as she was back then, and she no longer has the good voice she had back then.

Although she personally likes this song very much and praises it very much, she sincerely hopes to sing it herself.

But after giving it a try, I felt powerless, and I really didn’t have the confidence to perform this song well.

So I can only express my gratitude with regret.

Instead, she repeatedly asked Ning Weimin to choose an excellent singer to sing the song, so that she would alleviate the regret of not being able to sing it in person.

Now, Ning Weimin was in trouble. Although Yamaguchi Shuko refused, he could have asked Matsumoto Keiko to sing the song.

But in this case, the biggest gimmick is gone.

Moreover, the lyrical part of this song is quite difficult, and Keiko Matsumoto’s voice is a little tougher.

She doesn't have such ideal soft expressiveness, which would probably make the song eclipse a lot.

Especially considering Yamaguchi Shuko's intention, she euphemistically asked him to find a suitable singer. She probably didn't like Keiko's voice and was unwilling to let her sing the song casually.

So who should I find to sing?

A singer who meets his needs must first of all have a good voice, and secondly, he must be proficient in both Chinese and Japanese, and at the same time, his name must be resounding in both China and Japan.

Otherwise, there will be no way to express the charm of the song, and there will be no way to attract media attention and achieve the effect of soft advertising.

What's more, even if there is a suitable candidate, he must have the schedule and be willing to sing for him.

In short, just because Yamaguchi Shuko had a problem, this matter suddenly became difficult to control and full of variables.

Ning Weimin was a little confused for a moment, feeling that it would be difficult to find another suitable candidate like Yamaguchi Shuko.

However, just when he was thinking hard and feeling embarrassed, a piece of news in the media completely dissipated his worries and troubles, and he realized that he was really smart and confused for a while.

In fact, the most suitable candidate has always been by his side, and he really can't find it no matter how hard he tries. It takes no effort at all.

Fortunately, on December 11th, the list of winners of the Japan Cable Broadcasting Awards, a very important award in the Japanese music industry, was released.

Teresa Teng, who is currently developing her career in Japan, won the "Grand Award" and "Best Song Award" at the Japan Cable Awards this year for her song "Toki no Flow れに Body をまかせ", which is the Japanese version of "I Only Care About You" , "Cable Music Awards" and became the biggest winner of this award.

Not to mention, an astonishing fact that attracted the attention of many Japanese media and reported one after another is that Teresa Teng has actually won the "Best Award" at the Japan Cable Broadcasting Awards for three consecutive years.

If you include 1984, she won the "Grand Prize", "Best Song Award" and "Cable Music Award" at the Japan Cable Awards for "Repay".

In 1985, she won the "Grand Prize", "Best Song Award" and "Cable Music Award" at the Japan Cable Awards for "Lover".

She has successfully achieved the "Three Consecutive Dominance" achievement that no one has achieved so far, and has become the well-deserved "Queen of Cable Broadcasting"!

This award is amazing. Hundreds of statistics centers in Japan count the number of times a song is played to determine who is the Grand Prize winner.

Compared with using some judges to judge singers and songs, this method is particularly fair.

To put it bluntly, we only look at the box office and don’t look at expert advice. We decide who the winner is entirely based on the audience’s preferences.

It is extremely rare for Japanese indigenous singers to win this music award multiple times, and it is even more impossible to win the award for three consecutive years.

But the non-local Chinese singer Teresa Teng actually did it!

He is worthy of being an Asian-level superstar!

She is indeed a diva that will never fade!

Just like that, when Ning Weimin saw the news, he immediately found a scratch.

Yes, this is the 1980s, the 1980s with Teresa Teng.

Apparently half a year ago, when the Tan Gong branch opened, she invited someone to support the event. How could she be forgotten!

How confusing!

Come on, the fellow villagers will burst into tears when they meet the fellow villagers. As long as Teresa Teng can be invited to help, all the problems will be solved!

Not only are the cards good enough, but the voice is graceful enough! And people can afford it in both Chinese and Japanese!

Especially the singing of Li Xianglan's "Tuberose" is inferior to other singers. Isn't this just for us?

As a result, Ning Weimin quickly contacted the singer using the private phone number that Teresa Teng had left for him. After expressing his congratulations, he did not go around in circles and directly proposed to meet with her and her manager to represent Matsumoto Keiko. 's personal agency is discussing cooperation on the theme song of the movie "Li Xianglan".

Perhaps it was because of the opening scene of the Tan Palace Restaurant last time and the high-society guests that left a deep impression on Teresa Teng.

Perhaps Ning Weimin is more generous with money. As the first mainlander who is willing to spend a lot of money to invite Teresa Teng to support him, he seems to be particularly unique, fresh and refined.

Perhaps it is because the movie "Li Xianglan" is a popular movie that has attracted much attention from the Japanese film industry and movie fans.

Moreover, Teresa Teng, who had been in a personal emotional blank for several years, also became curious about Ning Weimin, who could negotiate cooperation on behalf of Matsumoto Keiko. Her uncontrollable spirit of gossip prompted her to want to know more about the relationship between Ning Weimin and Matsumoto Keiko. the real relationship between them.

Anyway, no matter what, even though she had just won an award and was famous at the height of her popularity, Teresa Teng still squeezed out some time from the endless announcements and commercial performances, and soon made an appointment with Ning Weimin for coffee on the first floor of Tokyo Broadcasting Station. Meet in the hall. (End of chapter)

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