この北米／ロンドンの公演には二つのレコード会社が関係していて権利関係のクリアランスに手間取っています。どんな事をしても見てもらいたいので全力で交渉中。teruzane RT @2yu1i8 @u3music アメリカとかのライブハウスでやったliveDVD はでないんですか？？

Ultra_Red wrote:
This is all Island Def Jam's fault.
That greedy record label that refused to promote our Hikki and had no hand in the ITF concerts are now trying to squeeze money from the Utada's and are blocking the release of this video.

Just another typical greedy American business trying to steal money from their employees and clients.


I'm so glad she dumped them.

brunangii wrote:
in america on the other hand, she has to compete with the brittney spears, and whoever else dominates the pop charts. let me see you take on the responsibility of promoting a virtually unknown(outside of her hardcore fanbase) artist in the feeding frenzy that is america's pop charts.

brunangii wrote:
also you can't just be so blatantly blind as to only blame the record company. hikki herself didn't do much to push the record company. she just sat back and accepted that they were doing all they could. well actually her dad is more at fault than her, he's her manager. look at the well known/established artist off the world and how their managers handle the record companies when it comes to promotion then look at hikki's manager.

Shurikid wrote:


This is all pretty much true, as well. Hikki, in the end, wasn't motivated to dominate the American music industry: she essentially stated that herself. But I do think, and I accept this as my own totally personal interpolation, that part of that was that she was not comfortable with IDJ from a certain point onwards. I think everyone wrote off IDJ's failure with "Exodus" (which Hikki seemed just as adamant about as any of her Japanese work) as a very terrible, upsetting, circumstantial fluke- but a fluke nonetheless. With TITO, they seemed to tackle initial campaigning at full force: Hikki was doing the kind of promotion necessary for an up and coming artist and she seemed genuinely interested in where this development might take her. IDJ (and possibly even more so her father) was getting her into radio stations, onto Ryan Seacrest, finding her slots on whatever shows she could make. She did the Sephora gigs which were HUGELY successful; beyond anyone's expectations, I think. "Come Back to Me" was charting and people were starting to hear about her. And then it all just stopped. And when Hikki came back from being sick, it was like IDJ just didn't care. I truly do believe they gave up on her before she gave up on them- but I don't think it took her long to give up on them, either, and when business gets bad like that it's pretty hard to get anything done. Frankly, I think that with the willpower and the material, Hikki and EMI could launch a very successful campaign for her in the States, but that's a different story for a future prospective.

Shurikid wrote:
This is all pretty much true, as well. Hikki, in the end, wasn't motivated to dominate the American music industry: she essentially stated that herself. But I do think, and I accept this as my own totally personal interpolation, that part of that was that she was not comfortable with IDJ from a certain point onwards. I think everyone wrote off IDJ's failure with "Exodus" (which Hikki seemed just as adamant about as any of her Japanese work) as a very terrible, upsetting, circumstantial fluke- but a fluke nonetheless. With TITO, they seemed to tackle initial campaigning at full force: Hikki was doing the kind of promotion necessary for an up and coming artist and she seemed genuinely interested in where this development might take her. IDJ (and possibly even more so her father) was getting her into radio stations, onto Ryan Seacrest, finding her slots on whatever shows she could make. She did the Sephora gigs which were HUGELY successful; beyond anyone's expectations, I think. "Come Back to Me" was charting and people were starting to hear about her. And then it all just stopped. And when Hikki came back from being sick, it was like IDJ just didn't care. I truly do believe they gave up on her before she gave up on them- but I don't think it took her long to give up on them, either, and when business gets bad like that it's pretty hard to get anything done. Frankly, I think that with the willpower and the material, Hikki and EMI could launch a very successful campaign for her in the States, but that's a different story for a future prospective.

And honestly, all of this became totally irrelevant to me (more so than it was before) after I saw her at the "In The Flesh" concert. I realized at that point in time that my love for her music doesn't account for the level of widespread appeal it achieves. It's not that I would mind her totally reinvigorating the American music scene, but if it never happens it never happens. I just want her to be content making the music she wants to, and I want her to maintain control over her career without feeling compromised in her musical decisions. I think IDJ may have been pressuring her artistically along those lines: I think "This Is The One" may have been a partial result of that, and I think that's why it ultimately failed to make itself known. In retrospect, I don't think it really was the one: I think Hikki may have been trying to prove something, I think she realized early on she wasn't going to and I think she learned a lot from it. And I think her new worldwide deal with EMI (and the resultant break from IDJ) is partly informed by that lesson. But, again, I'm heavily interpreting my own vision of things from what I know on a strictly surface level basis of information. As such, I digress.