Quote:
Very nice finds. I don't think I've ever read that article before; I find it interesting that the editorial speculates that Hikki likely departed from EMI for English-language work due to personnel changes, while much of the failed/non-motivated promotion that Exodus received under IDJ has been attributed to essentially the same business renovations. Sounds like the whole process was a catastrophe (if a strangely convenient sort of one); but it begs the question as to why, with EMI as a trusted label that Hikki had worked with before, she didn't simply wait out the management changes until the waters had calmed a little before making a move for the American market? How much of this deal was pursued by IDJ itself--and if Lyor Cohen really did facilitate her contracting to the company, it sheds some doubt on the veracity of the excuse we've been repeatedly peddled for Exodus's poor handling. The thing is, Cohen left IDJ in January of 2004, which would match up with much of the story we've heard over and over regarding a corporate makeover interfering with promotional activities, yet here we have Cohen stating that Exodus was slotted for release in 2003, ostensibly prior to his departure from the company. Presumably the album was pushed back, yet it seems beyond the bounds of simple negligence for the album's release (being a debut that was by all indications rather highly sought after) to be green lighted in the midst of a major corporate shifting of hands (Cohen was the Chairman, hardly some random busybody) that any discerning business person would have seen coming miles away-- and would know to affect the allocation of attention towards any non-established artist rather significantly. It all sounds almost like some conspiratorial nightmare (especially in light of this whole fiasco that's gone down with TITO, "In the Flesh" and, above all, "Utada the Best"), although I'm certain it was just really, really terrible management on all sides. Suffice to say, IDJ (in whatever form) certainly does not come off as extremely scrupulous on the whole, indeed appearing covetous and greedy to the point of heedlessness with regards to its artist's welfare and the fostering of their work, which is a shame, especially when real talent ends up being wasted because of ineffective and sightless managerial practices.

I look forward to hearing more about what you've uncovered, Pips. :3