marcocsb wrote:
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Shurikid wrote:

Agreed; I think this is key to any future success Utada will have in markets outside of Japan. She has to start promoting herself based on her appeal as an INTERNATIONAL music phenomenon- not writing for an "American" audience or a "Japanese" audience but for a global audience.

I think with TITO people felt let down because Utada proved that she could write and sing with the best of the mainstream, but to her existing fans...that isn't very impressive. We expect her to make an art that is all her own, which is, perhaps, a misplaced expectation; I think the intention behind TITO and the reception of it were very different. For Utada, and the way I personally view TITO, the album was an exploration and redefining of her roots after taking so many steps into the experimental- from "Deep River" onward, persistently. I think Utada wants to avoid feeling contrived and in order to do that she has to remind herself of the rote basics at times. The timing for this exercise just happened to conveniently coincide with an English-language release. For her listeners, I think it was harder to swallow. The transition from "Exodus" to "This Is The One" is not exactly smooth, but if you put it into the context of her larger body of work, it makes a lot more sense. Perhaps this is just me reading too much into TITO in order to justify it because I shamelessly adore it, but we all know Utada is in a constant mode of discovery and play and curiosity. I think she's also intelligent enough to know when she needs to step back and ground herself to some kind of foundation. In that regard, she could have done far, far worse than TITO.

I couldn't agree more, i'm not Japanese but i like way more her work for japanese audience rather than her work for american audience and i think that's the case for most of her fans worldwide, so yeah she should focus on international audience. She should focus on the kind of people that really appreciates music and not on americans that only listen to hot girls music.

marcocsb wrote:
Quote:

Shurikid wrote:

Agreed; I think this is key to any future success Utada will have in markets outside of Japan. She has to start promoting herself based on her appeal as an INTERNATIONAL music phenomenon- not writing for an "American" audience or a "Japanese" audience but for a global audience.

I think with TITO people felt let down because Utada proved that she could write and sing with the best of the mainstream, but to her existing fans...that isn't very impressive. We expect her to make an art that is all her own, which is, perhaps, a misplaced expectation; I think the intention behind TITO and the reception of it were very different. For Utada, and the way I personally view TITO, the album was an exploration and redefining of her roots after taking so many steps into the experimental- from "Deep River" onward, persistently. I think Utada wants to avoid feeling contrived and in order to do that she has to remind herself of the rote basics at times. The timing for this exercise just happened to conveniently coincide with an English-language release. For her listeners, I think it was harder to swallow. The transition from "Exodus" to "This Is The One" is not exactly smooth, but if you put it into the context of her larger body of work, it makes a lot more sense. Perhaps this is just me reading too much into TITO in order to justify it because I shamelessly adore it, but we all know Utada is in a constant mode of discovery and play and curiosity. I think she's also intelligent enough to know when she needs to step back and ground herself to some kind of foundation. In that regard, she could have done far, far worse than TITO.

I couldn't agree more, i'm not Japanese but i like way more her work for japanese audience rather than her work for american audience and i think that's the case for most of her fans worldwide, so yeah she should focus on international audience. She should focus on the kind of people that really appreciates music and not on americans that only listen to hot girls music.

gantzman246 wrote:

Excuse you, I'm an American and I do not listen to hot girls music. The same thing is going on in the Asian pop market. Watch what you say your comment is offensive.

LoBFCanti wrote:
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Jiremi wrote:
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DEEPRlVER wrote:
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joeri wrote:
Boa has more succes then utada, and that is for a reason.

her (utada's) english music just sucks, it is hard to hear for utada fans (like myself) but it is the truth.

Bioa on the other hand has nice music that you can actually dance on that is where utada lacks...talent i suppose..

i dont mind if she never makes an english album again her japanese music is way better anyway (although it has been better ) and she quits when she is 28 so its almost done for her...

"Bioa"'s album didn't even chart in the top 100. "Biao" had no tour in the US. "Bioa"'s songs did not reach the radio positions that Utada's song did. "Bioa"'s so called "Engrish" career turned her into a tired, drained-looking lesbian creature. Utada doesnt lack talent. She writes her music. "Bioa" doesnt even write and when she does, it's crappy ass shit like "Identity"

That said Utada will never succeed here. She just doesnt try. I wish she would but if she isn't happy doing it, then so be it. At least we still have her Japanese work.

You should get an award. Everything you said was true.

It doesn't sound like joeri is a fan at all.

BoA didn't exactly compromise creativity however.The US album was just terrible;It didn't come as a complete shock that it sounded the way it did.Identity wasn't as fail as I thought it be either.Though I must say I'm not in love with the album.BoA's US album was outsold by TiTO by 6,000 copies.TiTO sold only 17,000.The odd thing is...I feel Utada has nothing to show for it.BoA's album tanked but I still know more people that are completely unfamiliar with East Asia's music scene that know "Eat you up" than I do that know any of Hikaru's US works.BoA's album ranked #127 on top 100 vs. TiTO's #69,but it proceeded to out rank TiTO on dance and heatseekers charts.

Utada had an album and 4 games worth of promotion.I think BoA did ok considering that Utada only sold 6,000 more albums.Ok by means of East Asia artists in our market,those sells are still jank.Little Dragon and La Roux are doing better here than Utada & BoA's USA sells combined.I simply don't this East Asia can do it.I actually don't want them to break through here.I like being able to sit on stage because their is no room for the other 23 people that came to a small venue to see the artist.It's not hindering their careers at all,they are going for international success after they've reach it in their native regions.

And umm...since when is BoA bi?Did you assume this because she performed at the Gay Pride Parade?It's called exposure.She performed at such a large "controversial" event to gain exposure.Her hair cut is not butchy all either.I think it's very nice.And if this is even about the Eien video,get over yourselves.