Ayumi Hamasaki Sekai - How Ayumi can save Western Music

Ayumi Hamasaki Sekai (http://www.ahsforum.com/forum/index.php)

- Ayu Chat-Room (http://www.ahsforum.com/forum/forumdisplay.php?f=20)

- - How Ayumi can save Western Music (http://www.ahsforum.com/forum/showthread.php?t=50196)

How Ayumi can save Western Music

I'm not sure how many or if any of you have seen this.
I found this article pretty fascinating.

Quote:

By Lance Berry

She’s only 5’2” and weighs 88 pounds. She’s just 27 years old(turning 28 this year), yet in her short career she’s been an actress, model and spokeswoman for numerous products. She writes many of her own songs, tops the charts on a regular basis, and has some of the most innovative and hypnotic videos you’ll ever see. Her music was used during the 2006 Winter Olympics, she’s recorded tracks to raise money for victims of 9/11, and she’s won more music awards than Prince and U2 combined—yet back in 2004 decided she won’t accept any more—and yet you’ve probably never heard of her in your life.

Her name is Ayumi Hamasaki.

And her Japanese music(J-pop) could save the American music industry.

With her roots originally sprouting from Japanese rap, she quickly shifted gears once her first album bombed and she was dropped by her label. The man who discovered her, Masato Matsuura, sent her to vocal classes in both Japan and New York. Upon returning home, she released singles which eventually landed in Japan’s top10 on their music charts. Her first full album rapidly went platinum, a blessing for any relatively unknown artist. During the latter half of the 90’s, Ayumi(commonly called “Ayu” by fans) at one point released a full studio album and limited edition single on the same day. In that same week her concert DVD topped its charts, locking her down as the first artist in history to top three charts in the same week.

Her music is a chameleonic mixture of several styles: dance pop, hard core rock, moderate rap, love ballads, even some gospel thrown in. Yes, I can’t understand a damn word she’s saying unless she occasionally throws in an English phrase—such as in her dance song “Real Me”—yet one can feel the maturity within her phrasing and delivery of the lyrics. This is a young woman wise beyond her years, as evidenced by the convincing manner with which she presents herself in several of her more innovative videos, much more impressive and cutting edge than 95% of the American videos seen here. The video for “Real Me”, although done in 2003(set in the “dancing cyborg factory” of 2503) has a more contemporary feel and futuristic vision than most “cyberpunk” videos done by any group from any current genre in the U.S.

Ayumi’s video for “Ourselves”, in which look-alikes of her try several violent means to get at her while she is imprisoned in her car(later scenes have sinister doctors observing her while she’s chained to a wall, allegedly in an asylum) is disturbing on several subtle and subconscious levels, even while she tempts the viewer in a type of dark kabuki-style costume which might have suited Madonna in her early years. It is actually very telling in a way that given parts of Ayu’s early life(her father abandoned the family when she was only two, and she’s never seen him again) that more than one of her videos deals with isolation and despair, with the main character ending up in an asylum or being lain to rest(“Voyage”, “Free and Easy”). This is also no great surprise, coming from the culture in which she was raised. Having suffered the horror of atomic bombs being dropped on two of their cities, Japan has always been more intimately aware of their own history than most countries. Much of their artwork, cinematic and otherwise, deals with such despair, isolation, and feeling of helplessness in the face of impending doom. It is the reason why Godzilla, a monster spawned as the result of atomic experimentation, exists. That beloved giant stomping machine is one of the most immediate and visual links to the Japanese psyche for post WWII.

Still, much of Ayumi’s music unabashedly celebrates the raw power and freedom of youth(“Greatful Days”, “Humming 7-4”). And when was the last time you were so taken with the power of an artist that you were content to watch a music video where she does nothing but stand on a deserted road and sing to the camera?(“Daybreak”)

Only a few short months ago, Ayumi Hamasaki only had a bare handful of music videos posted on Youtube.com. Her popularity there has caught like wildfire, and she now has over 1,000 vid-clips available for viewing/download, with over 100 of them being straight music videos. Like many of the best things on the internet (superdickery.com, anyone?) I discovered Ayu completely by accident, and since then have been converted to the Eastern musicology she has presented. Her lyrics can be powerful (“Hanabi episode II”), playful(“Angel’s Song”) and always melodic(“No Way to Say”). Many of her best videos are directed by frequent collaborator Wataru Takeishi. Many foreign artists, Japanese and others, have tried crossing over to American radio/video with mixed blessings. However, Ayumi Hamasaki once stated in the midst of a power struggle between her manager and her own label, Avex Trax, that whatever her manager does, she would do too. This led to an end of the struggle as the label exec was forced to resign. With this type of clout in her own country(it’s been estimated that Ayu is responsible—singularly—for as much as 40% of Avex’s revenue), I honestly believe that if the triple threat of Ayu, Matsuura and Takeishi chose to make inroads to American music, they would be a nearly instant hit and a significant trendsetter in the future course of pop music and several other genres, which have become static and worn in the last few years, as evidenced by sagging disc sales which continue to diminish each year.

As we all know, American top 40 has become stagnant within the last decade. Radio stations play the same five songs over and over each day. The recent payola scandal, wherein music execs were forced to admit under Federal inquiry that yes, they do indeed present monetary and other types of bonuses to said stations to keep specific songs “in rotation”, has sent shockwaves through the music industry. I can personally attest to this

fact, having once worked as a music buyer for Tower Records in New York. There were many times when record reps would offer me free tickets to events, promo cuts of unreleased albums and other manner of incentive to hopefully influence what was played in the store and how many of certain titles I bought. It’s one reason why I was one of the first to be offered a recording of Prince’s “Black Album” when it was truly a bootleg(nearly a decade before the CD was legitimately released to the public).

There are very few artists left who refuse to allow the music industry to tell them what kind of music they have to create or even how to market it. Prince is one of the modern “underground” artists, releasing albums first via website only, then with one-album limited contracts with various record companies. U2 chose to give a free concert at Pier 17 one night, the event coming to light through word of mouth only…unheard of for any artist. Because these artists are radically different from their contemporaries, this is one of the main reasons they’re still around. They don’t wait for their fans or anyone else to tell them what to make; they tell others what to expect—the unexpected. You take it or leave it, they’re fine either way. Ayumi Hamasaki, with the continued support and guidance of her manager, could certainly become one of these artists on the American scene, as she has done so in her native Japan. She is the breath of fresh air music fans of all types—rock, soul, hip-hop and even classical—have been dying for, and didn’t know it. Check out Youtube. Try out her videos for “Alterna”, “Step You” and “Is This Love”. If you need further convincing of the raw energy charging through her music, try out “Ourselves”. You’ll be convinced, just as I was.

Ayumi Hamasaki. American music needs you. Come on over, baby.

interesting read.
but honestly, ayu can only write well in japanese. i don't see how she will write in english. and an all japanese langugue album can't sell that much in America. Most people still prefer to be able to understand the langugue.

I wish it would happen. That would just be awesome.

Too bad there's a very slim chance.

I've got two friends at work interested in giving J-pop and J-rock a whirl, though, so... (one who's into rock music. I suggested Miz, Do As Infinity, a couple Ayu rock songs, and Koda Kumi's Ningyo-hime)

The 1st paragraph is so touching. Even though im not Ayumi. lol

Nice article, and I generally agree with what it says, but the problem is, is that the people in America don't necessarily even think that the music industry needs saving. Of course there are select groups of people that just get tired of it, but for the majority of Americans, and especially the American youth, the music industry is fine.

Whether or not this is an opinion that is spawned from ignorance (for, of course, how do you know there is anything better out there if you don't know ANYTHING about it), is unknown...but it may just be that the styles are too different. Since we are small...there are styles present in American music that are almost beaten in...and anything else...sounds...just wierd sometimes to the point of sounding bad. I mean, for example, how can a person, who's been trained that Beyonce and Whitney Houston are the ideal of vocalists possibly get used to Ayu's voice...or mai's, or Ai Otsuka's...

Let's not even get started on the language barrier...it's just a lost cause.

Obviously it would be hypocritical to say that there isn't anything wrong with the American music industry...but to the people who love it...why should it change? Your opinion? What does that matter, when artists are continually making millions of dollars when they release a cd, bad or not, or when people continually pay attention to the music scene...online, or through broadcasts...voting on different polls...selling out concerts...There is always someone who loves the industry...and if that one person does, you can almost guarantee it, that there are about 50 million other people who love it too.

The only downfall (or benefit) is the fact that there IS a language barrier. With this barrier, there's a gaurantee sell of at least 100,000 CDs if advertised with a translation, and subtitles on the chorus or something. Just something to entice the people.

But as one of the youth, I'm one of the few who thinks the music industry needs to be saved. Before, songs like "YMCA" that actually had a meaning, and that's (corny) inspirational had topped the charts. Now to look at mainstream music these days, it's impossible to believe the %#$!@ that they sing about. To think that our industry relies on sex, drugs, and money to sell.

I may not like it, but one of the few respectable genres is country. I personally really don't like it, but it's the kind of genre that is weak to save our music, yet has the best meaning to it.

I think the best way is to really get someone well-known to cover a song first (Startin', GAME, INSPIRE), then release her to the US.

this is a very positive article about ayu. i am very pleased that ayu is catching online popularity on youtube! this can pave way for the western breakthrough for ayu!

and where was this article posted?

May I ask where this comes from?

I'm amazed at the quality of the article reguarding Ayumi, however the article appears to somewhat be taking up this advantage of praising Ayu rather than adressing this "problem with Western Music", which I still don't understand fully...

Nevertheless, thanks for the great read :D

Quote:

Originally Posted by Yukitora (Post 903863)

I think the article is meant to be more to do with Ayu than anything else.
Anyway, here is the link to where I got it.
http://lietv.com/ayumilietv.htm

Not that there's much saving to be done for the American music industry anyway. Lots of great stuff already come from there. The Japanese music industry indoubtedly have it's own faults too, I'm sure. Like the Grand Taishou award thingy and record companies bribing for awards.

Anyway, it'd be really great if Ayu recorded in English. Probably 6 months on intensive English lessons first. Then maybe she can try... Although I don't know how she'll write songs in English as she's really a Japanese at heart. It's like learning Japanese and trying to be poetic with it.

Quote:

Originally Posted by MC Tatsujin (Post 903876)

I agree that there is great stuff coming out of the U.S but the whole Hip-Hop, Rap thing has become way out of hand. Plus most of there female popstars (putting this as polite as I can) are air headed, fat crackWhor*s.

AND GOD!! I hope Kevin Federline dies.

You're right. I can't stand the rap crap going on in the US and somehow saturates airwaves all around the planet.

Good female artistes are plentiful, but popstars.. The only one I like for now I guess would be Gwen Stefani. x__x Kylie's releases never got big in the US since CGYOMH.

Quote:

Originally Posted by emiko (Post 903809)

Pretty much summarized all of it, striking me by awe again, I love you :).

Though it would be an improvement for American music to get some Japanese influences.

lol. Gwen Stefani is the only female pop singer from America that I like.
As for Kylie, sometimes I think alot of American's would'nt recognise good music if it smashed them in the face. I mean come on! The US is the only nation on this planet where Kylie is not on megastar status.

Not the Americans on this board, they obviously have taste.

Emiko pretty well hit the nail on the head, I could not agree more.

Really nice article, even if it is over simplified. And I agree, American music needs saving fast. I doubt it will be a Japanese artist that saves it though.

Well, someone needs to pop up and do it soon :|

I stopped paying attention to Western music years ago.

I think that as the jpop "undrground movement" will increase we might see some bands heavily influenced by j-rock. THat's proably the way jpop will "save" amercan music, not by making japanese artists take over the market. ALso, country music which is a very big market in the US doesen't really need any saving by jpop. Just like "J-Pop" in general woulden't be anything without the heavy western influences, both american and euro influences (f.ex. eurobeat) but still i performed by japanese artists.

The aritcle was very, very well written and I feel like this author has pointed out some of the main reasons exactly why I listen to j-pop. I just had to put Ayumi Hamasaki on full volume after reading.. XD

As long as she doesn't take over Justin Timberlake or Korn, or any of the metal scene, I don't care. But I really doubt she'll ever go into the Western Music Scene. It's just a wish that will probably never come true.

I just hope that no American artists start randomly covering Japanese songs in English.. x.x That's like the worst way to bring it over here.. especially if its badly done..

I'm not sure the author of the article really understands American tastes. Based on what my co-workers like to listen to on the job, Ayu's music would never be accepted.