Rebirth of Siheyuan starts in the 1980s

Not to mention, Zuotian Masazhi was quite tempted by Cao Zhiqiang's proposal.

After all, as a Japanese who was the first to come to the mainland to expand his career and even went into debt for it, at least in the entertainment industry, he is the one who knows the mainland's national conditions best, especially the mainland's entertainment industry.

Of course, at this time, mainland China is not yet called the entertainment industry, but it should be called the entertainment industry. Anyway, the meaning is the same.

Unlike Japan, the entertainment industry in mainland China at this time was basically state-owned units, and there were no private entertainment companies.

Coupled with the conservative atmosphere, it is really difficult for a foreigner to come to the mainland to make money.

But compared with these, what makes Zuoda Masashi even more uncomfortable is the conservative mentality of those powerful people in the mainland entertainment industry.

In fact, the exchange proposal proposed by Cao Zhiqiang, which is about introducing Japanese artists to perform in the mainland and earn income, has been proposed by Masashi Zuotian a long time ago, but no unit in the mainland has been interested yet.

It cannot be said that there is no interest, but what the mainland means is that since it is a friendly exchange between China and Japan, it will not change the discussion about money.

In other words, no unit in mainland China is willing to pay for Japanese artists to perform in China.

Given the current situation, Japanese artists won’t come if you don’t pay enough, let alone not even a penny.

Of all things, Masashi Sabota's proposal was rejected from the beginning.

But now, Cao Zhiqiang's new proposal made Zuotian Masazhi's eyes light up.

Indeed, perhaps inviting Japanese artists to perform in China is not feasible for the time being.

But it is still possible to obtain authorization from certain Japanese artists to sell records here in mainland China on a profit-sharing basis.

Perhaps, many big-name singers in Japan will not care at this time, but some people will be willing to do so after all.

After all, in the past, when the songs sung by these Japanese singers became popular in mainland China, those Japanese singers could not earn a penny, and they were basically paid prostitutes from mainland China.

But if there is a publishing company in mainland China that can obtain their authorization and officially release records here, then they can take a share of the pie.

This is equivalent to an extra income, and it can also expand your reputation. Why not?

If the sales of their own albums released in mainland China are also included, then those Japanese singers can easily achieve gold or even platinum records, which is nice to hear.

You know, in this era, for singers, the sales volume of album releases is a very important indicator, but this album sales refers to the sales of genuine copies.

Sales of pirated records do not count.

You can be like Miyuki Nakajima.

Miyuki Nakajima's songs were already very popular in mainland China at this time, and her songs could be heard in many places. However, Miyuki Nakajima did not gain any profit from it, nor did she count the number of records that were popular in mainland China.

Personal record sales.

The same situation applies to Teresa Teng, who is even more famous in China.

But similarly, Teresa Teng herself has not made a penny of income from all of Teresa Teng's tape records released in China, and these records released in mainland China are not counted in Teresa Teng's personal record sales.

Therefore, if there is a serious domestic publishing company that can produce a genuine authorized release, even if the money for a single album is not much, the advantage in quantity can make up for it.

Is there any place that can compare with mainland China’s market of one billion people?

Furthermore, just like what Cao Zhiqiang said.

Now that mainland China is opening up, the entertainment industry cannot always be so conservative. Sooner or later it will integrate with international standards, and sooner or later it will pay attention to the copyright awareness of creators.

By then, the first movers will surely reap the biggest dividends.

Of course, these contents all sound beautiful.

In actual practice, due to the different national conditions of the two countries, some differences and problems will inevitably arise.

For example, if a Japanese artist comes to China to release a record, I don’t have to promote it.

As long as you don't actively promote it, you can set the price of the tape very high, for example, the tape can be sold for 30 yuan a tape.

So at such a high price, unless you are particularly famous and have some die-hard fans, record sales will inevitably be hindered.

Just kidding, the monthly salary of ordinary people in China is only about 40 yuan, and an ordinary music tape only costs 10 or 8 yuan.

That's great for you. A Japanese song tape costs 30 yuan. How many people are going to buy it?

But there is some truth to this. If you really want to talk about it, let’s just say that the price is in line with international standards. The price is too low to reflect the level of Japanese singers. This should be able to get over it.

In this way, those Japanese singers will not be able to impact the domestic market, which can give the country a large buffer period.

This is actually the same as import protection barriers, both of which are designed to protect the fragile domestic pop music market.

Therefore, Cao Zhiqiang’s real purpose is not to introduce a large number of Japanese artists to make money in the country.

On the contrary, he wants to use the so-called "reciprocity principle" to allow himself and the artists he cultivates to go to Japan to make money openly and in an extremely favorable way.

Even if his subordinates cannot find an artist who can sing Japanese songs well and go to Japan to make money, Cao Zhiqiang can do it himself.

He has a golden singing voice, top-notch guitar playing, a large number of popular songs for later generations to copy, and his Japanese is also top-notch.

With so many factors combined, as long as he is given a chance, I believe he can immediately become a phenomenon-level idol in Japan and earn a lot of profits on his own.

He remembered that the craziness among Japanese young people chasing stars at this time was second to none.

As long as you can put yourself at the center and export Japanese and Chinese music to Japan, you will be able to gain both fame and fortune.

After you become famous, you can bring others along with you and continue to make money by debuting in Japan. It shouldn't be a big problem.

For example, you can form a boy band by yourself, just like the band Beyond later.

Hey, it seems that the band Beyond was also founded in 1983. I forgot the specific month, but it was the same year anyway.

But boy bands don’t seem to be interesting.

By the way, we can play a male-female match, similar to the Feier band.

For example, except for myself, everyone else in the band is women, which seems to be a good idea.

As for how to choose artists, it's easy.

The Central Conservatory of Music has many good students who can play musical instruments.

There are also countless various art troupes, song and dance troupes that are facing dissolution.

These are all good seeds for future idols!

I don’t believe it anymore. I have the pop songs of later generations, a professional music reserve army, and the appreciation level of later generations. I can’t come up with a few phenomenal idol groups and do a reverse output!

Yes, when it comes to star-making ability, Japan, Hong Kong and Taiwan are indeed the most famous.

But in fact, their level is just like that, and they are not yet at their peak.

If at this time, I can first launch a better idol group, create new dances and new songs, and then export it to Japan through cooperation with Masashi Sada and the gimmick of Sino-Japanese friendship, then

There should be a good response.

At the beginning, it is best to export under the guise of ethnic style, such as opera girl groups, ethnic groups, etc.

Such a distinctive girl group is less likely to cause backlash and resistance from the other party, and should also be more able to attract the love of Japanese people.

Naturally, during this period, I also have to enter the Japanese market as a singer and impress others with my strength.

Once the idol stars you package yourself can succeed when exported to Japan, you will naturally be able to dispel all doubts.

If nothing else, Lou Xiao'e would definitely agree to cooperate with her and help her open up the Hong Kong and Taiwan markets.

In other words, even though the popular culture in Japan, Hong Kong and Taiwan is very good now, when it comes to making stars and creating content, Chiu-keung Chiu is really not afraid of them.

After all, Cao Zhiqiang has the insights and knowledge of later generations to rely on, as well as system plug-ins to assist.

This is what gives him the confidence to fight against Japan, Hong Kong and Taiwan pop culture alone.

One man becomes an army, that's all.

However, this requires a major premise.

That is, Japan must provide Cao Zhiqiang with a legitimate distribution channel so that Cao Zhiqiang can develop in Japan in a serious manner.

At the very least, it is necessary to let Cao Zhiqiang's songs be heard in Japan without hindrance, and to earn enough remuneration in Japan.

And for this, you need a reliable Japanese friend, and preferably someone who is an insider in the Japanese music scene.

There is no doubt that Masashi Zuoda, who is heavily in debt, is the best candidate at the moment.

Masashi Zuoda has a special status.

He is not only a very influential singer-songwriter in Japan.

He is also the first person with considerable influence on the mainland.

After all, he is the first Japanese to hold a concert in China, and he is still full of gimmicks.

Moreover, not only is Masashi Sabota himself awesome, his father, Masato Sabota, is also very well-connected in the Japanese entertainment industry.

Therefore, if Masashi Zuoda can help open up the joints in Japan, Cao Zhiqiang's way to intervene in the Japanese market will be opened.

Then according to the principle of reciprocity, we can release the songs of Japanese singers in China.

In the same way, through Masashi Zuoda, you can also introduce your own singers to Japan, let Japanese people hear Chinese singing, and let Chinese idols in mainland China earn Japanese money.

As long as the songs are good and the content is good, I believe that making money from the little devils will definitely not be a problem.

Of course, we can’t talk about the little details here, only the high-level mutually beneficial parts.

In particular, you have to draw a good picture of the pie and convince the other party that by cooperating with you, Japanese artists, especially the middleman Masashi Sabota, can make a lot of money on the mainland.

"Your idea is very good!" Masashi Zuotian was very excited after hearing what Cao Zhiqiang said.

"But, Cao Sang, can you really do what you say? I mean, can you really guarantee the record distribution rights of our Japanese singers in the mainland?"

"Haha." Cao Zhiqiang smiled slightly, "Well, in two days, my publishing house will open for business. Then you can come along and visit it. Then you will have confidence.

As long as my publishing house is open for business, I will of course be qualified to distribute books and audio-visual products, as long as the content does not violate regulations.

This is the honeymoon period of friendship between China and Japan. As long as we introduce some positive songs to each other and empower each other, there won't be a big problem.

Since there is no relevant music copyright law in our country, we can only use the company-to-company licensing contract model to restrict this aspect.

However, this chaotic and disorderly state will end sooner or later.

And I hope that the end of this chaotic and disordered state can start from you and me.

Let us join hands to build another beautiful and strong bridge for cultural exchanges and cooperation between China and Japan!"

"Very good!" Zuotian Masazhi excitedly held Cao Zhiqiang's hands.

“Exchanges between China and Japan and enhancing friendship are exactly what I want to do!

Cao Sang, you are right. Your domestic market is huge and your people are very smart. This situation of low copyright awareness will end sooner or later.

In this case, let us join hands to end this chaos early!"

"well said!"

Cao Zhiqiang also held Zuotian Masashi's hands tightly, his face full of excitement.

"Mr. Zuotian, you and I join hands for win-win cooperation and start a better tomorrow together!"