The Japan Record Association (RIAJ) and the Japan Music Copyright Association (JASRAC) are the two strongest music organizations in Japan. After all, these two are responsible for collecting money and dividing money. However, the Japan Music Copyright Association mainly targets lyricists, songwriters and music publishers that own lyrics and music copyrights; while the Japan Record Association targets record production and distribution companies.

These two major associations have a monopoly position in Japan. The Japanese Music Copyright Association monopolizes 99.3% of the copyrights of music lyrics and music in Japan, while the Japanese Records Association has almost concentrated all mainstream record companies in Japan.

Lin Junxiu and Akimoto Yasu mainly deal with the Japan Music Copyright Association. After all, they can receive the lyrics and music copyright income collected from this association every month. As for the Japan Records Association, it is basically only dealing with companies such as Sony Records. In fact, most famous Japanese record companies are in this association.

However, just like Japanese society, the Japanese Records Association has different levels. The highest level is formal members. These member companies not only have the right to propose, but also have the right to vote. Second only to formal members are qualified members. Associate members do not have the right to vote, but at least they have the right to speak and propose at the meeting. The worst is sponsoring members. You can tell that this qualification is bought with money and only the right to attend the meeting.

The rank difference is average with Japanese society, and the membership of the Japan Record Association is also very solid. Since its establishment in 1942, the number of official members of the Japan Record Association has almost no change.

The first of all the official members are the three international record companies: Universal, Sony and Warner; the second is the independent record companies that are very famous in Japan: Ai Hui, King, Kenwu, Poligayin, Being, etc.; the second is the music subsidiaries affiliated to the entertainment giant: VAP Records of Japan TV, Tokuma Bookstore Group's Tokuma Records, Yoshimoto Xingye's Yoshimoto Music, Namco's Bandai Namco Art Records, etc.; the last is the record companies that have existed since the beginning of the association and have continued to this day: Gulunmeia, Imperial Entertainment, Yamaha Music, etc.

Why do Japanese musicians live so well? In fact, the Japanese Records Association is really tireless in collecting copyright fees. For example, the "secondary use authorization fee" and "record compensation for record rental" that domestic musicians rarely hear. The secondary use authorization fee means that even if consumers buy genuine records, if the music in the record is used for commercial purposes, the Japanese Records Association will still charge you; as for the compensation for record rental, it is even more exaggerated. For example, Xiao Ming opened a disc rental shop, and the Japanese Records Association has the right to take a portion of Xiao Ming's income from renting records every day as a usage fee. Even the Japanese Records Association will charge "private recording compensation", which means that Xiao Ming bought the genuine record and then ripped a picture to Xiao Hong, the Japanese Records Association also needs to charge money.

Because the Japanese Records Association has too many places to collect money and the amount involved is too large, the official members have always been reluctant to recruit new official members. The only three subsidiaries of Johnny Mito Iijima, Johnny's Dream, did not get the right membership. Kitakawa's own Johnny Entertainment and Johnny's Storm, both Mary's mother and daughter, are both affiliated members of the association.

It is precisely because of this different treatment that Iijima has an obsession with becoming a member of the Japan Recording Association. Unfortunately, her obsession is really impossible to achieve. Not to mention that Lin Junsoo and Akimoto Yasu do not have this ability, even if they have this ability, they will not use it here. To send a company that has only been established for a few years to the Japan Recording Association, the debt of favors owed is huge. God knows how to pay it back.

Seeing Lin Junsoo and Akimoto Yasu, Mitochi Iijima also knew that it was impossible to break through them, so she gave up on the issue. The next thing we talked about was how to exchange resources. After all, AKB48 does not have too many resources in hand, so basically Iijima Mitochi sent resources to let SMAP fly with AKB48. However, although there were not many things on AKB48 to exchange, the two big guys behind them, Lin Junsoo and Akimoto Yasu, had a lot of good things here. After several negotiations, Junsoo and Akimoto Yasu finally promised to provide corresponding Japanese dramas, songs and other works for artists under Mitochi Iijima.

Just when both sides were almost in the negotiations, SMAP also came here on the spot. Because SMAP joined, everyone ordered the food again. The SMAP side was basically Masahiro Nakajima and Takuya Kimura, and the remaining three people generally didn't care much about these things. In the SMAP side, Zhongju and Kimura, Zhongju was generally communicating. Kimura added some family, and the last five people confirmed that there was no problem, as long as it was OK.

Lin Junxiu and Akimoto Yasuhiro ask SMAP to take care of AKB48 in the future in the future. Mitochi Iijima also represents SMAP that they hope that both parties can cooperate in film and television and music works. The most active person is Kimura Takuya. At this time, Kimura Takuya is really facing the pressure of transformation. You should know that all the characters of Kimura Takuya have played him until now, that is, they are responsible for showing off in TV series. Such performances are probably not enough for another five years. After all, new audiences are growing up, and they may not necessarily like Kimura.

Lin Junxiu recalled a little about 2007. There seemed to be no many works in SMAP this year. In terms of recording, only one single was released throughout the year; in terms of TV series, Takuya Kimura only had one work, Goro Inagaki and Shingo Kasuke only made a guest appearance, while the rest of Kasugaki and Masahiro Nakaki had no works at all.

However, "The Gorgeous Clan" filmed by Takuya Kimura in 2007 is a very classic Japanese drama, one of the few Kimura's works that are not like him. In order not to destroy this Japanese drama, he can only produce orthodox Japanese dramas for Kimura, that is, Japanese dramas with a length of 11 to 12 episodes. As for Kusama Takashi, he can arrange a slightly longer Japanese drama, or even make a longevity drama.

The remaining three people, Kasuki Shingo's acting path was too narrow, Inagaki Goro could not take on the main role, and Nakano Masahiro was not in the TV series, so it would be time to arrange these three people to make guest appearances. Lin Junxiu began to recall the better Japanese dramas in the 2010s in his mind. After separating Ogawa drama, Morning drama and female main actors, the remaining few dramas were unable to replace the protagonists because the original starring was too distinct. In the end, the only Japanese dramas left had the risk that the theme might not be suitable.

Lin Junxiu thought about it and finally spoke to Takuya Kimura, "Miang Kimura, I have a very interesting Japanese drama. Although this is a TV series about love, the two parties in the relationship have very different entanglements. The girl's brother killed the boy's sister, and the boy's father died of regret because the murderer did not repent. And more importantly, the boy and the girl's brother were actually friends of the past, and the boy decided to take revenge on him at this time."

The Japanese drama mentioned by Lin Junsoo is the "Mu Shi Drama" launched by Fuji TV in 2011 - "Although this, you have to live." The average viewership rate of this drama is only 9.3%, which is not very outstanding at the same time. However, the drama has received unanimous praise from drama critics. Not only did it win many awards of the season, including Best Japanese Drama, Best Actor, Best Supporting Actor and Best Director at the Japanese Drama Academy Awards, but it also won the screenwriter's 50th anniversary award at the Galaxy Awards.

Unlike the Japanese Drama Academy Awards, the Galaxy Award has a very high style in the Japanese radio circle. TV awards are basically given to documentaries or in-depth reports. Occasionally awarded to TV shows is also aimed at the theme of historical dramas. It is basically NHK's Dahe Drama or TBS TV's "Big Olympic Series". Therefore, the news that this drama made the screenwriter win the Galaxy Award was also a sensation at the time.

But the more troublesome thing is age. The original starring Eita was born in 1982, while Kimura Takuya was born in 1972. If Kimura wanted to star in it, the script would not only have to be greatly modified, but it would probably take more effort to put on makeup. At the same time, this drama requires many young actors to be used, which can make Mitochi Iijima sell favors.

Everyone present has experience in filming TV series, so they can quickly hear the excellence of this TV series. Takuya Kimura's eyes shine. Although Takuya Kimura's Japanese drama ratings beat all actors, his artistic quality of Japanese dramas has been criticized. It's not that Takuya Kimura does not want to star in some in-depth Japanese dramas, but that these in-depth Japanese dramas are really harmful to his image.

For Kimura fans, they cannot accept that Kimura Takuya plays a role like a perverted murderer. But if you want to have in-depth performances, the role must be very extreme. But the roles Lin Junsoo presents are not that extreme, but on the contrary, they are still very positive. And everything is wrapped in the theme of love, which happens to be Takuya Kimura is best at.

"Lin Jun, do you have your script? I feel this is a very interesting story. If possible, please give it to me!" Takuya Kimura almost couldn't wait to make an appointment with Lin Junsoo as the main player of the Japanese drama, "I will definitely play this role well with my heart."

Seeing that Takuya Kimura was caught by Lin Junxiu, Mitochi Iijima had to sigh and said, "Lin Jun, do you have any requirements for this drama? If possible, I hope to cooperate with Keiko and you to become the writing company of this TV series."

"There is basically no big problem." Lin Junxiu said.

In Japan, TV series and movie production companies and work companies are not the same. Production companies and work companies may overlap, but they may also have nothing to do with them. Generally speaking, production companies are only responsible for shooting and production, and the copyright of film and television dramas has nothing to do with them; while works companies are responsible for investing and obtaining corresponding copyrights. It is better for everyone to share the benefits of Japanese dramas together, otherwise the independent attitude of using show production would have been banned by the Japanese film and television industry long ago.

"In addition, I have a very long-lived project, including late-night dramas, SPs, theater versions and other surrounding publications. I hope this project can last for more than five years, and what I need is the role of an uncle. I don't know if SMAP Sang is interested."

"I seem to be the only one suitable for the role of uncle." Cao Yao suddenly looked up and said, and then everyone laughed.

In fact, Kusama Takashi said nothing wrong. Takuya Kimura could not accept such a role. Masahiro Nakanomiya did not have time to shoot such a long-term and cumbersome plan. As for Goro Inagaki and Shingo Kasuke, it was purely inconsistent with the image.

"I don't reject late night dramas, but I want to see the scripts and plans."

"Actually, I have bought the copyright of the adaptation of this creative yard." Lin Junxiu is talking about "The Gourmet at Late Night". This late-night drama with a bit of documentary flavor has been widely praised on Tokyo TV, and its influence has spread from Japan to the entire East Asia region. The original version was starring Matsushige, but in Lin Junxiu's opinion, Kusato Tsuki can be completely replaced.

"I can barely accept late night dramas, but I have requirements for SP and theatrical versions." Iijima said.

SMAP's late-night drama can almost be said to be a self-destructive person. Even if the script is very good and deeply attracted, it is hard to say that it is over.

"I require at least one SP to be filmed every year, and the SP must be broadcast on prime time; and the theatrical version must be filmed at least one in five years, and it must be guaranteed to be released in Asia."

"I can agree to this." Lin Junsoo still plans to broadcast this late-night drama on Tokyo TV. With his relationship with Tokyo TV, it will not be difficult for Tokyo TV to move a two-hour prime time to himself. As for the theatrical version, as long as the drama does not collapse, with its influence in East Asia, there is no problem in the release of this movie in Asia.

While drinking, everyone agreed on many things. In fact, Lin Junxiu always wanted to ask Michichi Iijima, have you ever thought about a way out? In fact, even if Michichi Iijima can take SMAP to leave Johnnys's office, Lin Junxiu would not dare to accept them. With Johnnys' current size, it would be too easy to kill his own small company. Unless it is the ignition system, the two new and old kings of Watanabe are almost the same.
Chapter completed!