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Old 2009.09.09, 08:40 PM   #1
Glathannus
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Default Shiina Ringo's working relationship with EMI

I'm noticing a trend where Japanese artists get signed to EMI, and if they don't disband/retire/whatever, then they often jump to another record label. Quite a few Japanese artists have moved away from EMI, but I rarely ever see any Japanese artists move into EMI from another major record label. It's mostly a one-way street.

Does anybody know why other artists are leaving, and why Shiina Ringo isn't? Do you think it would be more beneficial for her to stay with EMI, or do you know something that she doesn't?

I know that Sony does a much better job providing international exposure for Japanese artists than EMI does, and I know that Shiina Ringo doesn't have much interest in tapping any markets outside of Japan. Could that be the single biggest reason why other artists leave when Shiina Ringo doesn't, or are there other factors you think she's taking into consideration?
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Old 2009.09.10, 09:04 AM   #2
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Shiina is very popular in Asia, not just Japan. Taiwanese love her, for example. Perhaps EMI is stronger on the "pan-Asian" front than Sony? Pure speculation on my part.....
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Old 2009.09.10, 12:06 PM   #3
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EMI markets the heck out of Ringo every release. She is slightly over the hill in industry terms, but they pull out all the stops for every single Ringo and Jihen release. She gets PVs, singles, magazines, everything. she seems to have complete artistic control over all her albums and probably has a sweet salary. So why would she switch?

other artists switch labels when they are unsatisified with the label promoting/paying/marketing them. it is quite possible that most leave when management changes. I imagine that through the years Ringo has become such an icon no matter who is in charge they let her stomp around to her liking.

also, all of EMI's DVDs are region-free...if that doesn't say "international" I don't know what does. it is pretty much entirely for fans who live outside of japan...
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Old 2009.09.10, 12:19 PM   #4
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Yes, I was actually gonna mention that region free dvd too

.Now that I think about it , I was in japan when promotion for Ariamaru Tomi was out. And it was pretty often that I would be walking into stores and they would be playing that song. Posters for her single were all about in music stores and now and then I saw things on TV. Her album had not even been released so I can imagine they would be trying to pull all the stops for her, not that she really needs it though. It was nice to hear about her while being there first hand and not having to check online sources thats for sure.

I don't really think theres much of a relationship .
Its pretty much "I do what I want, and you help me get what I want" kinda feel.
Which is cool , im all for her taking things into her own hands with her promotion
well... as long as she doesn't get lazy
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Old 2009.09.10, 01:31 PM   #5
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^ ringo doesn't take her own promotion into her own hand. she seems to have complete creative control of her work, but as far as marketing goes, that is entirely up to EMI. ringo just shows up and does her job (write music and sit to look pretty in photos). EMI does a good job of marketing her, she is still surprisingly visible in the public eye 11+ years since her smash debut, which is quite a feat for an industry based on disposable idols. After a working 11 year relationship, I can't imagine she would want to move away to another label, create entirely new relationships with people who have not known her professionally for 11 years, and put her image and work in the hands of strangers. if it ain't broke, don't fix it, so the saying goes.
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Old 2009.09.11, 01:55 PM   #6
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When you say that artists are going to other labels, away from EMI... are they going to indie labels, or other majors? Major labels are very unstable right now, and are playing their cards close to their chests because of the economic situation. Less artists are getting signed, with a fewer number satisfied with their contract, and even less staying in their contract. People who would have otherwise gone to major labels are now going to indie and "faux-indie" labels because few people in the pop music industry are willing to invest in anyone. Speaking of which, it seems like every other week that I hear about another celebrity starting their own record label...
I believe Ringo specifically wanted to join EMI. I've even read that when she was first signed to them, she carried their business cards to hand out to people - something the A&R people noted as being strange, but sweet. When she was first becoming noticed, she claims she was offered competing record contracts (among however many others, she was offered a contract for Yamaha, who she thought couldn't realize her potential). She chose EMI in the end though, because many of her own inspirations were signed to them (i.e. Blankey Jet City and the Beatles).
Interestingly, I've read on Wikipedia that Blankey Jet City left EMI in 1997, which was about the same time Ringo got signed to them. I've also read somewhere that she was signed to EMI when she was 17 (circa 1996), but I don't believe that's true because that would mean she competed in some music contest(s) even after she was signed.
Originally Posted by kuro_neko View Post
...which is quite a feat for an industry based on disposable idols.
I don't think the Japanese pop industry was anymore or less based on "idols" than the American pop music industry was. It has been very "idol"-centric since the debut of bubblegum pop, but I don't think a lot of what is selling in the industry specifically appeals to teeny-boppers anymore. Especially in Japan, where a lot of popular songs are listened to from people of every generation.
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Old 2009.09.11, 02:16 PM   #7
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Originally Posted by Entry№1 View Post
When you say that artists are going to other labels, away from EMI... are they going to indie labels, or other majors? Major labels are very unstable right now, and are playing their cards close to their chests because of the economic situation. Less artists are getting signed, with a fewer number satisfied with their contract, and even less staying in their contract. People who would have otherwise gone to major labels are now going to indie and "faux-indie" labels because few people in the pop music industry are willing to invest in anyone. Speaking of which, it seems like every other week that I hear about another celebrity starting their own record label...
I believe Ringo specifically wanted to join EMI. I've even read that when she was first signed to them, she carried their business cards to hand out to people - something the A&R people noted as being strange, but sweet. When she was first becoming noticed, she claims she was offered competing record contracts (among however many others, she was offered a contract for Yamaha, who she thought couldn't realize her potential). She chose EMI in the end though, because many of her own inspirations were signed to them (i.e. Blankey Jet City and the Beatles).
Interestingly, I've read on Wikipedia that Blankey Jet City left EMI in 1997, which was about the same time Ringo got signed to them. I've also read somewhere that she was signed to EMI when she was 17 (circa 1996), but I don't believe that's true because that would mean she competed in some music contest(s) even after she was signed.

I don't think the Japanese pop industry was anymore or less based on "idols" than the American pop music industry was. It has been very "idol"-centric since the debut of bubblegum pop, but I don't think a lot of what is selling in the industry specifically appeals to teeny-boppers anymore. Especially in Japan, where a lot of popular songs are listened to from people of every generation.
its not that uncommon to see artists start their own labels. usually any small time artist who hits it big usually ends up forming their own label as a blanket catch-all to preserve their creative endeavors. The most famous that comes to mind is Aimee Mann, simply because of how difficult her road to independent status has been.

pretty much all of what you said concerning the record industry above is a moot point in Japan based on the differences in the economy here versus there. while that is true for what is going on in the US, you'd be surprised how little things have changed in Japan. You'd also be surprised how strongly the idol industry is performing. When we talk about idols, we don't merely mean bubble gum pop artists. we are talking about all spectrum of the media. I'm talking about watching movie star's record number 1 singles, tie the song into a popular television drama, be featured as the sponsor for a sports drink, and appear on massive billboards throughout the country. It would be strange here to see Angelia Jolie star in a television drama about a struggling single-mother lawyer, while singing the show's theme song, launching said theme as a number-1 single, tying the music video into an ad for Pepsi, and being cast in another bodice-ripping period drama about a Shakespeare love triangle. It is just absurd, but that crap is how the entire industry powers itself in Japan, still to this day. It is how the money is made. (even ringo had her paws into the idol business a bit, check out some of her early tv promo's...) I'm talking about the same elitism group of hit makers writing music for the hordes, of interchangeable pop units like Morning Musume and Johnny's, of movie and television projects that are cast without screen tests based on names. Japan is very much the land of the idol in all senses concerning the media. This is why when one of them "disgraces" themselves with some humdrum average behavior (like getting drunk in public), they have a very public and scandalous fall from fame, creating a media sensation. how often does our media react the way it did when Britney shaved her head and broke down? That is pretty much the same time of shock value blown-up over the top scandalous news that you see about pop idols EVERY DAY on the news in Japan. the differences in our industries and economies couldn't be any more different.
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Old 2009.09.11, 04:23 PM   #8
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Originally Posted by kuro_neko View Post
its not that uncommon to see artists start their own labels.
This is true. But there's a difference between labels like those of Aimee Mann's and the Ego-strokes I mentioned in my post.

Originally Posted by kuro_neko View Post
It would be strange here to see Angelia Jolie star in a television drama about a struggling single-mother lawyer, while singing the show's theme song, launching said theme as a number-1 single, tying the music video into an ad for Pepsi, and being cast in another bodice-ripping period drama about a Shakespeare love triangle. It is just absurd, but that crap is how the entire industry powers itself in Japan, still to this day. It is how the money is made.
Ever watch late night talk-shows in the U.S.? We have that same kind of person-franchising going on here. It can be epitomized with the oft-heard interview expression "I hear you also have a book coming out?"
The vectors differ simply, because American celebri-culture works on the same mechanisms. For example, Beyonce - at any given point, she could be releasing a new fragrance, clothing line, and double album with exclusive DVD at Wal-Mart stores. Gwen Stefani and Miley Cyrus do the same thing, as does many other stars. (Even Anita Bryant - of orange juice and fruit pie fame - did it in the 60's while she was becoming famous as a singer.)

Originally Posted by kuro_neko View Post
how often does our media react the way it did when Britney shaved her head and broke down? That is pretty much the same time of shock value blown-up over the top scandalous news that you see about pop idols EVERY DAY on the news in Japan.
First of all, the latest Hello! Project scandal isn't really comparable to Britney Spears' or Mariah Carey's snowballs of shame. If you don't remember, Spears had about three different scandals going on at that same time, namely the one involving the custody of her children. Tabloidism is alive and well in the U.S., we've just been a little more disillusioned than usual with it lately.
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Old 2009.09.11, 04:34 PM   #9
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Originally Posted by Entry№1 View Post
When you say that artists are going to other labels, away from EMI... are they going to indie labels, or other majors?
Only a couple years into her career, Namie Amuro left EMI for Avex, which was indie at the time (during the mid 1990s). I've also noticed that in much more recent years, GO!GO!7188 has left EMI for BMG. Meanwhile detroit7 goes through record labels like diapers, and EMI was one of many. Nowadays detroit7 is with Victor, but there's no telling how long that will last.

PE'Z started out under EMI, but ever since pe'zmoku formed (it's basically PE'Z with a vocalist/guitarist/songwriter named suzumoku thrown in) under BMG (or some other Sony subsidiary), PE'Z hasn't done anything new, but technically pe'zmoku is a 'different' band, probably so they're not breaching contract.

Originally Posted by Entry№1 View Post
I believe Ringo specifically wanted to join EMI. I've even read that when she was first signed to them, she carried their business cards to hand out to people - something the A&R people noted as being strange, but sweet.
I have a physical copy of the TIMEasia article which mentions that. It took me at least a year to find one, and I'm never selling mine because western media recognition of Shiina Ringo is way too rare and cool.

Originally Posted by Entry№1 View Post
Interestingly, I've read on Wikipedia that Blankey Jet City left EMI in 1997.
There's so much more to that, than what you'll find in any one article. What you have to understand is that Blankey Jet City is one of many bands in the Asai Kenichi portfolio. Sherbets is another such band, but started up under EMI in 1996 instead of 1991, and they left EMI the same moment Blankey Jet City did. Funny thing about Sherbets is they were called Sherbet under EMI, but when they changed record labels they swapped one member and became Sherbets - probably for legal/contract reasons.

Blankey Jet City ended up under one of Universal's subsidiary record labels, and the details on Sherbets are hazy but nowadays they seem to be under BMG. Asai Kenichi's solo career is also under BMG. It looks like Sherbets and JUDE tried to tough it out under Asai Kenichi's own independent record label (called Sexy Stone Records), but gave up and ultimately became... gobbled up by Sony? Again, the details are hazy on that.
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Old 2009.09.11, 06:26 PM   #10
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I don't think Nelly Furtado's label is an ego stroke if you know anything about her and what she has been through as an artist. Have you ever looked at any of her collaborations? If anyone knew anything about her other than Loose-era fame they wouldn't write her off so quickly. But I digress... As for the other two...well, I get your point.

I also see your points about the rest but I don't think it works on the same level as it does in Japan, in terms of total media percentage and representation. The US is a bit more diverse in those regards, so you do have people like Miley Cyrus and the Olsen Twins and Beyonce, but on a whole you don't turn on the radio and find that more than half the music has some sort of commerical tie-in, rather it be something national or even very small, like some sort of radio jingle (like monobright did recently). The media in the US is more specialized, whereas in Japan it is more about creating celebrity and having them utilize their name to sell multiple formats. Beyonce, regardless of what you think about her, does have talent apart from her name, which is more than you can say about projects like Morning Musume and such. And the scandal I was referring to was with SMAP and the recent speed controversy...

that being said, the fact that Ringo has managed to escape with almost none of her solo music and only two Jihen's singles as tie-in's is something of a miraculous feat. most artists manage to have a least a few of their singles tied up in some promotion of some sort.

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