阿超 - 你懂不懂
詞曲：阿超
從前 從前有一個女孩天天
踮起 腳尖想看見那男孩的世界
夢飛的好遠
時間 漸漸帶走了女孩的心
不見 他說他曾經試著用力去追
當時的感覺
＊
過了太久 變化太多 你的心需要自由
開不了口 那讓我說
＃
你懂不懂 我鬆開手 捆綁的心 得到自由
沒有快樂 那不是我 對你對愛情的要求
你懂不懂 我不難過 眼淚會流是因為太驕傲
自己能放手而感動 不是捨不得你走
晴天 因為我們曾偷偷忘記
雨天 我不再是你最想念的季節
時光不停更迭
昨天 我們像孩子任性要求
明天 你不再回到最熟悉的畫面
黑夜或是白天
Repeat ＊
揮揮手就不要回頭
我不能再一次假裝
假裝遺忘了所有美好過 喔～
Repeat ＃
你走 就不要再回頭
TohoShinki (aka TVXQ!) are a popular Korean boy band and national heroes. An media executive working in Seoul tells me: “Korean internet users’ passion for TohoShinki is something similar in intensity to their belief that Dokdo is Korean land.” Now the group has crossed the Straight of Tsushima and taken over the Japanese music scene with the force of a Mongolian invasion. Their latest single 「どうして君を好きになってしまったんだろう？」 hit #1 on the Oricon chart a few weeks ago. Backed by the #1 record label Avex Trax and Korean music production powerhouse SM Entertainment, there is very little preventing TohoShinki from further dominating the Japanese music scene.
There is one area, however, that remains “off-limits”: TohoShinki are apparently blacklisted from TV Asahi’s long-running music show Music Station. According to a TohoShinki staff member’s blog, the band and their managers have been pushing the producers of Music Station extremely hard over the last few years to appear on the show. Now with three Oricon #1s in the bag — an extremely rare feat for a non-Japanese band — the excuses coming from Music Station are just not adding up.
Lest you see a sinister nationalist motive here, the blacklisting has nothing to do with Toho’s non-Japaneseness. Avex and SM also represent popular Korean female star BoA, who appears on Music Station and other Japanese TV shows regularly. There is only one reason why TohoShinki is not invited on Music Station: an intentional blockade from Johnny’s Jimusho, the production company behind Japan’s long-standing boy band monopoly.
Almost since the show’s inception in the late 1980s, Music Station has been the exclusive citadel of Johnny’s. Popular ’80s boy band Hikaru Genji appeared on the show almost every week. Johnny’s Jimusho’s other acts then rotated week by week, meaning that there were usually two Johnny’s act on every single show. This scheduling made some sense when Hikaru Genji was at the top of the pop charts. Around 1991, however, Johnny’s acts completely stopped charting on the Oricon. At this point, there was an almost “boy band hiatus” in Japanese pop culture: Hikaru Genji had peaked, SMAP had yet to take off, and most consumers rejected idol pop for “live house” rock bands. In spite of early ’90s consumers clearly signaling their disinterest in Johnny’s Jimusho acts, the company’s boy bands still appeared week after week on Music Station. The not-so-shocking conclusion: Japanese TV producers do not book talent based on their popularity as much as the TV station or producer’s organizational relationships with specific powerful talent companies.
This is still true 15 years later. Music Station is fiercely loyal to Johnny’s for unknown reasons and will generally ignore “what the kids are into” in order to put Johnny’s acts on the show. When Johnny’s boy band rivals like Da Pump or w-inds scored hits on the chart, Music Station would not offer them an invitation. So in the late 1990s, Fuji TV’s rival Hey Hey Hey Music Champ started to give these non-Johnny’s boy bands guest slots, and as a result, Johnny’s Jimusho completely boycotted Hey! Hey! Hey! for almost five years. When the main producer for Hey! Hey! Hey! changed around 2003, the non-Johnny’s acts were not invited back and suddenly Johnny’s Jimusho returned in full force. It’s either one or the other.
This kind of no-compromise, strong-arm financial tactics are the bread and butter of Johnny’s Jimusho’s business strategy. Any media company that does something against the wishing of Johnny’s will find themselves completely and utterly frozen out from use of product-moving Johnny’s talent. Since Johnny’s is a production office, rather than a media company, they have smartly forged financial bonds with every single record label and media conglomerate, meaning that any negative action towards Johnny’s will result in a direct loss of revenue for the offender. No one is exempt. Recently, a Kodansha gossip magazine reported on Ohno Satoshi (lead singer of Arashi) smoking marijuana (the horror!) and having a threesome in a karaoke box (the sound of little hearts breaking). Johnny’s responded immediately by forbidding all Kodansha magazines from using Johnny’s talent in any projects and retracting Kodansha annual publishing of Johnny’s Jimusho calenders, which are normally a revenue bulwark. Kodansha may suffer a decline in net sales from this action, making them wonder, in a very hostile market, whether such a story was really “worth it.”
Listening to Japanese business leaders and politicians, I know we are supposed to believe that Japan has always avoided a devilish American-style competitive capitalism motivated by profit. Everyone in Japan values “preserving social harmony at all moments.” Johnny’s Jimusho, however, is a perfect example of the corporate bullying that tends to easily dominate “harmonious” markets. Johnny’s also acts as a fierce conservative force, making sure that the industry does not change or embrace new technologies that would alter the current power balance. The relation between Johnny’s and Japan is like if your 75 year-old grandfather somehow had the power to set internet policy for Hollywood.
When you ask Japanese music insiders on what it would take for Japanese entertainment companies to change, the answer is always: “We are basically waiting for Johnny to die.” This is what strategy for industrial progress in Japan has come to: wishing the speedy demise of the king. I hope TohoShinki has the quiet patience and a few decades required to bring real change to the world of J-Pop.
作词：陈孟奇
作曲：陈孟奇
怎么会忘得掉 你那可爱的微笑
我还是忘不掉 爱情让我搞得乱糟糟
哦 忘不掉 我只希望我有一天能够和你一起
我只要忘得掉 你那美丽的眼睛
我才能忘得掉 爱情的魔力
我还是要忘得掉 我不要再一直捉摸而失去你
我只要你的心知道 你的心才明瞭
可你现在还是看不到 (NO NO)
就把全部烦恼全都忘掉
让我带你到我的心烦恼就不见了
只是想要问你 你好不好
让我给你快乐 让你high 你说好不好
和你到老老 这是我能做得到
不用再烦恼 我是你的依靠
我要在笑笑 我不是在开玩笑
你的眼睛别再玩游戏 (NO NO)
好不好 好不好 好不好
你说好不好
