Not to mention, Cao Zhiqiang's proposal, Masashi Sada is quite tempting.

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

Of course, at this time, the mainland is not called the entertainment industry, it should be reluctantly called the entertainment industry, anyway, the meaning is the same.

Unlike Japan, at this time, the entertainment circles in the mainland are basically state-owned units, and there are no private performing arts companies.

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

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

In fact, this exchange proposal put forward by Cao Zhiqiang, that is, about the introduction of Japanese artists to perform in the mainland and obtain income, has been proposed by Sada Masashi a long time ago, but no unit on the mainland is interested.

It cannot be said that it is not interested, but the meaning of the mainland side is that since it belongs to Sino-Japanese friendly exchanges, it will not talk about money.

In other words, there is no unit on the mainland that is willing to pay for Japanese artists who come to China to perform.

With the current situation, Japanese artists won't come if you don't give money, let alone not give a penny.

Everything, Masashi Sada's proposal, was rejected at the beginning.

But now, Cao Zhiqiang's new proposal has made Sada Masashi's eyes light up.

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

But it's still okay to get the authorization of some Japanese artists to come to the mainland to sell records here in the mainland.

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

After all, in the past, when the songs sung by these Japanese singers became popular in the mainland, their Japanese singers couldn't get a penny, and they were basically prostitutes from the mainland.

But if there is a publishing company on the mainland that can get their permission to release records here, then they can take advantage of this to get a piece of the pie.

This is equivalent to an extra income, and it can also expand its popularity by the way, so why not?

If you can count the sales of the records released in the mainland, then their Japanese singers can easily reach the results of gold records or even platinum records, which is good to say.

You must know that in this era, for singers, the sales of record releases is a very important indicator, but this record sales refers to genuine sales.

Sales of pirated records do not count.

You are Miyuki Nakajima, for example.

Miyuki Nakajima's songs were already very popular in the mainland at this time, and her songs could be heard in many places, but Miyuki Nakajima did not make any profit from them, nor did she count the number of records that were popular in the mainland as her personal record sales.

The same situation is also Deng Lijun, whose popularity in China is even louder.

But in the same way, all Teresa Teng's cassette records are distributed in China, and Teresa Teng herself does not earn a penny, and these records released in the mainland are not counted in Teresa Teng's personal record sales.

Therefore, if there is a serious domestic publishing company that can engage in a genuine authorized distribution, even if the money for a single record is not much, but the quantitative advantage can make up for it.

Where can it compare with the market of one billion people in the upper continent?

Furthermore, as Cao Zhiqiang said.

Since the mainland has opened up, it is impossible for the entertainment industry to be so conservative all the time, sooner or later it will be in line with international standards, and sooner or later it will pay attention to the copyright awareness of creators.

At that time, the forerunners will inevitably enjoy the greatest dividends.

Of course, all of this content just sounds beautiful.

If it is really practiced, limited by the different national conditions of the two countries, there will inevitably be some differences and problems.

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 take the initiative to publicize it, then set the price of the tape high, for example, the tape sells for 30 yuan a plate.

So at this high price, unless you're particularly famous and have some die-hard fans, record sales are bound to be blocked.

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

It's good for you, a Japanese song tape will cost 30 yuan, how many people are going to buy it?

But this also has a point, if you really want to talk about it, let's just say that this price is in line with international standards, and the price is too low to reflect the rank of a Japanese singer, so it should be fooled.

In this way, it is impossible for those Japanese singers to hit the domestic market, which can give the country a big buffer period.

This is actually the same as the import protection barrier, which is to protect the fragile domestic pop song market.

Therefore, Cao Zhiqiang's real purpose is not really to introduce a large number of Japanese artists to make money in China.

On the contrary, he wants to use the so-called "principle of reciprocity" to allow himself and the artists he has cultivated to go to Japan in an extremely preferential way to make money.

Even if his subordinates can't find artists who can sing Japanese songs well to make money in Japan for the time being, Cao Zhiqiang can do it himself.

He has a golden voice, a top-notch guitar performance, and a large number of pop songs to copy in later generations, and Japanese is also top-notch.

With so many factors combined, as long as he is given the opportunity and the power of his own person, I believe that he can immediately become a phenomenal idol in Japan and make a lot of profits.

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

As long as you can take yourself as the center and reverse export Japanese and Chinese music to Japan, it is appropriate to gain fame and fortune.

After becoming famous, it shouldn't be a big problem to bring other people along and continue to make money in Japan.

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

Hey, in this way, it seems that the band beyond was also formed in 1983, I don't know what month it was, but it was the same year anyway.

But the boy group doesn't seem to be interesting.

By the way, we can play with men and women, similar to the Fei'er band.

For example, except for myself, everyone else in the band is women, which seems to be quite funny.

As for how to choose an artist, it's also simple.

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

There are also those who are facing disbandment, countless various art troupes, song and dance troupes.

These are all good seedlings of idols in the future!

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

That's right, now if you want to talk about the level of star-making, it is indeed the most famous in Japan and Hong Kong and Taiwan.

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

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

And at the beginning, it is best to export in the guise of national style, such as opera girl troupes, national wind orchestras and the like.

Such a special girl group is less likely to cause backlash and resistance from the other party, and it should also attract the love of the Japanese.

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

Once the idol star who has packaged himself can succeed when he is exported to Japan in reverse, he will naturally be able to dispel all doubts.

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

In other words, don't look at the pop culture in Japan, Hong Kong and Taiwan is very awesome now, but if you really talk about star-making and content, Cao Zhiqiang is really not afraid of them.

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

This is the confidence that he dares to fight against Japan, Hong Kong and Taiwan pop culture alone.

One man into an army, but that's it.

However, this requires a big premise.

That is, on the Japanese side, it is necessary to give Cao Zhiqiang a legitimate distribution channel, so that Cao Zhiqiang can go to Japan to develop seriously.

At the very least, Cao Zhiqiang's songs must be unhindered in Japan, and he can get enough remuneration in Japan.

And this, you need a reliable Japanese friend, and it is best to be with an insider in the Japanese music scene.

There is no doubt that the debt-ridden Masashi Sada is the best candidate for now.

Masashi Sada has a special status.

He is not only in Japan, but also an influential singer-songwriter.

He is on the mainland side, and he is also the first person with a lot of influence.

After all, the first Japanese to come to China for a concert is still full of gimmicks.

And Masashi Sada is not only awesome, but his father Masato Sada is also very well-connected in the Japanese entertainment industry.

Therefore, if Masashi Sada helps open up the joints of the Japanese side, Cao Zhiqiang's way to intervene in the Japanese market will be opened.

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

In the same way, through Masaki Sada, you can also introduce singers from your side to Japan, let the Japanese hear the singing voice of the Chinese, and let the Chinese idols in the mainland earn Japanese money.

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

Of course, the careful thinking in this cannot be said, only the high-level mutually beneficial part.

In particular, it is necessary to draw a big pie and make the other party believe that by cooperating with him, he can make Japanese artists, especially the middleman Masashi Sada, make a lot of money on the mainland.

"You've got a great idea!" Masashi Sawa was very excited after listening to Cao Zhiqiang's story.

"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? ”

"Huh." Cao Zhiqiang smiled slightly, "That's it, in two days, my publishing house will open, and then you can visit it together, and then you will have confidence."

As long as my publishing house opens, I am of course eligible to publish books and audio-visual products, as long as the content is not illegal.

It's the honeymoon period of friendship between China and Japan, and as long as we both bring in some positive songs and give each other a mutual license, then it's not a big problem.

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

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

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

Let's work together to build a beautiful and strong bridge for cultural exchanges and cooperation between China and Japan. ”

"Good!" Masaki Soda held Cao Zhiqiang's hands excitedly.

"Sino-Japanese exchanges and friendship are exactly what I want to do!

Cao Sang, you are right, your domestic market is very large, and the people are also very smart, and this situation of weak copyright awareness will end sooner or later.

In that case, let's work together to end this mess early! ”

"Well said!"

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

"Sada-kun, you and I will work together for a win-win situation and open a better tomorrow together!"

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