In Japan there is a school of thought rippling through a fringe fan base that stubbornly refuses to accept Hikki had any input to TITO what so ever.

The opinion is that Universal called all the shots from conception to release, the songs bare little or no resemblance to the style Hikki originally intended and Hansel and Gretel at Stargate, and Tricky the ?dickhead? (not my vulgar description, I am quoting from Cousins translation), were briefed ?carte blanche? to create the R&B sound, for purely commercial reasons?

As time progresses, this scenario doesn?t appear so completely bonkers, all promotion as of 26 march has been either shelved or cancelled, taking into exception the Hawaii gig, even that a text book example of how not to promote what is accentually a landmark CD release, all in all this sorry tale could have cost Universal many millions of dollars, that bill will ultimately be footed by the shareholders.

Maybe the whole business has reached the point of no return, from a financial point of view, unless there is a clearly defined business case to resume future publicity in the US.

Hikki now will, like every other Japanese musician before her, have to accept that her career as a songwriter and musician will be essentially a Japanese phenomenon only.

Interviewed earlier this year, Hikki announced that she could have easily just sat back on her laurels in Tokyo and just sucked it in.

TITO was the good pop that would reward Utada with the music industries global nod of respect, it nearly did!

The events leading up to the Peri-Tonsillitis health scare, on the 12 May were followed up by a clear statement that the promotion of TITO would resume, now clearly their was no intention to do so, well not on Hikki part.

My humble opinion is that, we politely word the letter that aquaticdragons is gallantly preparing, and if there is enough interest, maybe just maybe Hikki might privately acknowledge that returning to the US, will came along way to earning the respect as a musician and a songwriter.