This was an idea that came to me when I saw the poster. Back at the office, Shinichi Iwahashi had already planned to write this idea into a proposal. At this time, Watanabe Manyumi called him over and brought such news, so he simply
Take advantage of the situation and mention this idea to her first.
"Joan Jett is coming to Tokyo to perform."
"Really?" Watanabe Manyumi's reaction seemed to be uninformed.
It’s not surprising, the Japanese music market is huge, and there are many first-, second- and third-tier foreign singers visiting Japan to perform.
Unless it is a well-known event like Michael Jackson and Madonna's visit to Japan, otherwise, if they are neither the organizer nor co-organizer of the concert, nor do they have any business dealings, nor are they fans, they will not pay special attention to it.
"I think that before, we only limited our sights to the country and reached a dead end."
Iwahashi Shinichi used Joan Jett as an introduction to talk about his thoughts, "This music festival does lack a figure who is topical enough and can be the finale, but this big figure does not necessarily have to be a domestic figure.
singer."
"You mean, do you want to invite Joan Jett to the finale?" Speaking of this, Watanabe Mayumi didn't understand.
Shinichi Iwahashi did not answer directly, "In terms of female rock music, there is probably no more suitable and more appealing spokesperson than Joan Jett."
"This is true." Watanabe Manyumi also admitted.
The world of rock and roll has always been a man's world, and girl bands themselves are in a niche around the world. In terms of success, one of them is Theunaways' unprecedented influence.
Not only that, their success also brought a good signal, allowing many women who love rock to see the direction and hope of women in the rock world.
Having achieved success both as a band and as an individual, Joan Jett is undoubtedly a hero to women in rock.
"But that's not all I thought of."
Shinichi Iwahashi mentioned the key point in his thoughts, "Aside from whether I want to invite Joan Jett or whether I can invite her, what I think about is that if we want to increase the influence of this music festival, we should make it
Wouldn't it be a good idea to raise the scale of the company to an 'international' level?"
“International scale?”
"It would be boring to just invite a foreign big name to be the finale."
In that case, from a sensory point of view, Joan Jett does not look like she has come to light up the audience at the finale, but rather like a tigress invited by a bunch of monkeys in the mountains who are in need of a boss.
To go a bit further, the Japanese nowadays really dare to shout the slogan "Japan's No. 1". Even the former American godfathers didn't take it seriously. Even if it is clear that there are no big-name female rock singers in the country, so it is necessary to do this
If you come alone to hold the battle, you can't openly let them think that they need foreigners to come to the rescue because they are incompetent.
Thinking of the various meanings behind this sentence, Watanabe Wan Yumi couldn't help laughing.
Although she is Japanese, Watanabe Mayumi's style and many ideas are not very Japanese. She is even quite disgusted with some traditional ideas that are deeply rooted in Japanese society. To a certain extent, she is a "progressive woman".
Therefore, it creates a feeling that Japan has taken the lead in this music festival, attracting singers from home and abroad to participate, and even Joan Jett has joined in. This way, the senses will be much better, and you can successfully achieve your goals.
The purpose is to satisfy the arrogance and inferiority complex of this nation.
"I think, since we have already thought of inviting overseas big names to perform for the finale, why not just set our sights on the world and invite outstanding foreign female rock musicians. No qualifications or fame are required, as long as they have talent.
Female musicians with excellent live standards will be invited to perform on this stage once."
"In addition to Europe and the United States, maybe we can also try to invite singers from Rabbit Country and Kimchi." Shinichi Iwahashi said.
"Rabbit Country?"
Watanabe Manyumi had been quietly listening to his ideas, and now she spoke for the first time.
"I'm sorry, I don't know much about it. I only know that Theresa-san is a very popular star." Watanabe Productions was the first agency that Deng Lijun signed when she came to Japan to develop.
But other than that, Watanabe Mayumi knows little about the entertainment industry in Rabbit Country. In fact, at this stage, Rabbit Country has not yet formed its own entertainment industry ecosystem.
Watanabe Manyumi asked: "Does Iwahashi-san know any female rock musicians who were born there?"
To her, it was a distant and mysterious land. Even though geographically speaking, it is much closer from Japan to Rabbit Country than to the United States or Europe, but that feeling of remoteness comes from psychological
of.
Iwahashi Shinichi hesitated for a moment before saying, "I don't know if there is such a person."
For Shinichi Iwahashi, it is a land that is both familiar and unfamiliar. Familiarity means familiarity. It is the place where he was born and grew up. As for strangeness,
Modern science has eliminated geographical distance. As long as you can afford the bill, traveling to the far shore of the ocean is as simple as turning a globe.
But people have not yet grasped the secret of how to make time flow forward or backward, and cannot pave the way and build a bridge between the two worlds thirty years ago and thirty years later.
Therefore, for Shinichi Iwahashi, an outlier, even if he has memories of his previous life, the Rabbit Country in 1986, an era that he has never personally experienced or witnessed, is still strange and distant.
"Rock music in Rabbit Country started very late," Shinichi Iwahashi considered the words and said half-seriously: "I once heard friends who have been to Rabbit Country say that in Rabbit Country, rock music has just sprouted, which is probably equivalent to the beginning of groupsounds.
When contacted by the Japanese."
Before the invasion of groupsounds, the Japanese music scene was still dominated by ballads and ballads, and a modern pop music system had not yet been established. With economic development and the improvement of national living standards, the proportion of the population going to college has increased, and higher education has broadened their minds.
Open-minded young people have brought about a new music trend.
"I see." Watanabe Manyumi nodded.
If you use groupsounds as an analogy, then she almost understands.
In fact, not only are the backgrounds similar, but the situations between the two are also very similar.
The main driving force for the opening up of culture and ideas in the 1980s came from the cultural elite. The same is true for literature, and the same is true for music. People who are struggling to make ends meet do not care about literature, and people who have to work hard to make a living have no time to be exposed to rock music.
Not only do we not have that margin, we also do not have that opportunity.
Because of this, the seeds of national rocking are buried among college students, members of song and dance troupes, and children of cadres. These people have relatively well-off families, are materially satisfied, have their minds enriched through knowledge, and have access to this new music type.
among.
After all, this is an era in which college students are allocated a job, have no worries about work or housing, and eat public food when they go to work.
