El lado oscuro del Visual Kei

No sabía si ponerlo en el subforo de J-rock, si en opinions, si en debates, o yo que se ò_ó asi que aqui lo pongo, movedlo sin creeis necesario.

Bueno el caso es que sea que el mundo de las discograficas del visual es algo muy turbio, se ve que funcionan como una yakuza. Recientemente (creo que a principios de marzo, pero no me estoy seguro) una página publico una entrevista con un ex-trabajador de una discografica de visual kei en la que comentaba el panorama de estas. Actualmente la página esta caida (no se si por demasiadas visitas o por que se la han petado las discograficas, a saber), pero hay copias del texto por ahí rondando:

(Por cierto, el que hace la entrevista no le gusta demasiado el visual kei, asi que a veces se notan las preguntas algo subjetivas)
http://community.livejournal.com/aramatheydidnt/642314.html

Y aqui esta traducida al castellano (no esta completa) :
http://community.livejournal.com/hikarixkage/21534.html
http://community.livejournal.com/hikarixkage/21850.html

En la página original también se publicó un diagrama de "poder" entre las diferentes personas/discograficas. No lo he encontrado en ningun sitio, pero me han comentado que arriba del todo esta por un lado Yoshiki, por el otro esta Dynamite Tommy. Todas estran entrelazadas, menos la compañia de Kenzi que va por libre.


El original es este: http://www.hellodamage.com/top/2010/03/01/interview-with-an-ex-visual-kei-record-executive/
pero como veis esta petado, habra que esperar a ver si vuelve a estar online y ver el diagrama DD:



Opiniones al respecto? Os lo creeis? Ya lo sabíais?

Yo me lo creo, ya suponía que las discograficas explotan bastante a los artistas.... pero no me imagiana que sería tan a saco como explica el Sr Satoh este u_u''

Todas las dicograficas suelen ser bastante mafiosas,no son a fin de cuentas sino un negocio como cualquier otro,cuyo fin es sacar dinero,cuanto mas mejor,y si arruinando y boicoteando a los demas te resulta mas facil...pues hazlo,es crudo pero es asi.
luego me leer la entrevista entera...y me alegra que kenzi se aisle un poco de todo ese tejemaneje y haga lo que le de la gana
Anarchist Records rules

Lo he leído hasta la mitad, pero vamos, me parece exagerar compararlo con los yakuzas y darle ese tipo de enfoque...

Cuando me la lea entera diré algo totalmente convencido, de momento creo que no es más que una manera de intentar ayudarse unos a otros y expandir lo de todos. Nuse, raro xD

vaya!! de este articulo lei solo la parte en la ke mencionaban a Dada y Velvet Eden, pero no me habia percatado ke hablaba de algo asi o.O me lo leere entero esta vez

Voy por el principio, pero tenía que destacar esto, luego comentaré más

(this article is long enough without getting into a detailed explanation of shojo manga – for now, let’s just say that “shojo” means “comics for tween girls” and features a bunch of androgynous, long-haired pretty-boys in frock coats, who stare deeply into each others’ eyes while roses bloom in the background)

xDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD

Por lo pronto lo encuentro todo bastante normal. No creo que el mundo del espectáculo del resto del mundo diste mucho de esto, solo que aquí está el factor cultural en el tema jerarquías, favores, deudas... Me ha sorprendido, no lo voy a negar, pero si lo piensas bien... Es Japón, tampoco es tan raro xD

Una cosa que si me ha sorprendido y no se si creer es todo el tema relativo a la producción creativa que podemos resumir en este párrafo:

SATOH-SAN: Oh, one other thing: On the CD jackets, there is always credits, saying “the guitarist wrote this, the vocalist wrote that.” That is all bogus – just a fantasy for the fans. The copyright and JASRAC (like NASCAP) licences all go to the producer or the parent company. I have no idea what the split is, but at any rate, some producers can get paid quite well – if they write for a famous band!

Me lo creo a nivel major, pero no a nivel indie, al menos en los grupos antiguos D:

A mi la fraqse que me ha matado a sido

"El Visual Kei es como glam-gothic-rock donde los miembros de las bandas deben parecer vampiros espaciales quienes también son una suerte de condesa Kabuki francesa gay"

oh dios esa me ha matado xDDD

SATOH-SAN: They might do office work, but if there’s not enough roadies, they might do that, too! Basically it’s a big family, and the family takes care of them, and then they do whatever is needed. And when I say ‘whatever’, I’m not talking about office work. That’s why I’m using a pseudonym for this interview!

OMG! Mejor que no le cuente esto a mi madre si quiero trabajar en ese negocio D:

DIR EN GREY is made up of members from a few bands. You have Kizaki, from Osaka. (he later formed various bands and labels such as Matina and Undercode). Anyway, in the beginning, he was in LA’SADIES with other future DIR EN GREY members, and he got a call from the label, saying “We want you for a bigger band.,” and I guess he must have believed that head-hunter!

:/ con esta ya van 5 razones distintas ke oigo de porke Kisaki se piro de La:Sadie's

‘Roadie chains’ are another interesting phenomenon of Visual Kei! Here’s one example: KUROYUME was a band, their roadies went on to form dir en grey, which had the same image! And Dir en Grey’s roadies formed a band called THE GAZETTE. Another example. . .MALICE MIZER’s roadie was named Kamijo – a year later, he was in his own band called LAREIME, which looked and sounded like MALICE MIZER. In fact, he started a label called ARTIST’S SOCIETY, and all the bands on that label sound like MALICE MIZER (because he’s the producer – he wrote all the music!)

flipo .__.

La parte de Fans es muuuy interesante xD

SATOH-SAN: Keeping the fantasy intact is the biggest priority. If there is no image, no fantasy, the band will never get big.

TDR: You mean, if the guys talk to fans, and let slip that they’re working the midnight shift at 7/11, or living on ramen and pachinko, it’ll be hard for the fans to picture him as a bisexual 17th century British vampire space-man after that?

SATOH-SAN: You understand this phenomenon very well!

Fliiiiiiipa colega con las fiestecitas xDDDD

joder lo de las fiestecitas xDDD (solo de imaginarme a algun ke otro grupo en una situacion como esa se me caen del pedestal ;_; )

SATOH-SAN: No! They keep them busy all the time – because unlike America, 90% of the bands were just formed this year! They need exposure. They keep forming new bands out of old ones – the fans need novelty, I think. Also- why would a label release one album a year??? That is senseless.

TDR: So what is the alternative? 3 albums a year? Isn’t that hard for the one guy who has to write all the songs for 10 bands?

SATOH-SAN: No, no, no. Why sell one album when you can sell 6 ‘maxi-singles’ with two songs each? You can sell them throughout the year – at 1,500 yen each (almost the cost of a full album!). And then at the end of the year, you re-release all the singles with a couple of filler tracks, and call THAT the album. You just sold every song twice, and made about four times the money!

PORFIN LOS MAXI-SINGLES XDDDDD

SATOH-SAN: There’s a lot of stories about musicians prostituting themselves. It’s no problem for the company if that happens – since it doesn’t cost the company money. Unless it interferes with showing up on time!

dios!!

TDR: Speaking of major labels . . .Wasn’t there a case where a – a certain musician left his Visual band and became a famous pop star, whose songs sold millions of records? And the musicians in his old band had written some of the songs which turned out to be these hits? And when the musicians complained about not getting paid for these very lucrative songs, they wound up missing or damaged in some way?

SATOH-SAN: I have no idea what you are talking about. (draws finger across throat) Next!

Espera espera espera... DE QUIÉN HABLAN?????

Me viene a la mente Gackt, pero su única canción (que yo haya oído) que suena a Malice Mizer es Mizerable ._.

tiene que ser horrible ser musico famoso

Sei-chan escribió:

TDR: Speaking of major labels . . .Wasn’t there a case where a – a certain musician left his Visual band and became a famous pop star, whose songs sold millions of records? And the musicians in his old band had written some of the songs which turned out to be these hits? And when the musicians complained about not getting paid for these very lucrative songs, they wound up missing or damaged in some way?

SATOH-SAN: I have no idea what you are talking about. (draws finger across throat) Next!

Espera espera espera... DE QUIÉN HABLAN?????

Me viene a la mente Gackt, pero su única canción (que yo haya oído) que suena a Malice Mizer es Mizerable ._.

yo pense en miyavi tmb, que tiene 2 canciones de due le quartz, aunque no se