Generation Z Artists

Chapter 335 We have a traitor among us.

The question of "the song that best understands the Japanese" immediately became a hot topic of discussion.

Not only are people discussing it, but the Japanese music scene has also collectively spoken out for the first time in a long time, publicly praising Fang Xinghe's musical aesthetics.

Even Takuya Kimura never received such treatment.

Tetsushi Ichikawa, one of the most influential music critics in the Japanese music scene today, published a lengthy article in the latest issue of Onrakushi magazine, analyzing the reasons for the popularity of "Lemon".

"Although I still find it hard to believe, 'Lemon' is undeniably, clearly, and completely a piece of authentic Japanese music."

It may be difficult for non-professionals to understand, but to us, the logic is clear and distinct.

I. Mode and Harmonic Color
Chinese pop music (whether from mainland China or Hong Kong and Taiwan) tends to use pentatonic scales or natural major scales more often, with harmonic progressions leaning towards classic patterns (such as canon progressions, 4536, etc.), and emotional expression is more direct, with less use of modal ambiguity or semitone processing.

"Lemon" is mainly based on natural minor keys, interspersed with harmonic minor keys and semitone progressions (such as the semitone descending in the chorus '梦ならばどれほどよかったでしょう'), creating a poignant and sad atmosphere.

This is one of the most common characteristics of Japanese pop music.

II. The restraint in the melodic line

The melody of "Lemon" is subtle and restrained, even in the climax of the chorus. It relies on instrumental arrangements (such as piano and strings) to build up emotions, reflecting the classic Japanese aesthetic of leaving blank space.

Chinese traditional painting and calligraphy originated from the concept of leaving blank space, but their modern popular music is too influenced by Western styles. The melodic lines often have larger interval jumps (such as sudden octave ascents), or they enhance the dramatic effect through key changes and high-pitched sustained notes, pursuing instantaneous emotional catharsis.

At this level, the music of the two countries is already fundamentally different.

III. Rhythm and Syllable Processing
The lyrics and melody of "Lemon" closely match the rhythm of the Japanese word "mora," with the phrases often ending with a long, drawn-out sound, creating a sense of contemplation.

Chinese pop music places more emphasis on clear pronunciation, with melodies and rhythms influenced by Chinese tones, avoiding reversed words, and handling sentence endings more crisply.

IV. Musical Form

The structure of "Lemon" is ABABCB, with section C introducing melodic variations and harmonic shifts to enhance the narrative.

The structure of Chinese songs is also ABABCB or a simple verse-chorus loop, however, the C section often focuses on technical displays (such as high notes and vocal runs).

The Chinese version of "Lemon," titled "Xia Gu Xiang," is such an example.

The C section of "The Fragrance of Chivalry" suddenly rises in intensity, accompanied by the simultaneous sound of chime bells and gongs, creating a powerful and dramatic atmosphere that adds a strong sense of destiny and history, unlike the more melancholic and sorrowful "Lemon".

The same song, with different arrangements and emphases, can result in completely different listening experiences.

"The Fragrance of Chivalry" is also a good song, but in my opinion, although its style is ancient, it is vulgar. It may achieve great success in mainland China, but it will never be able to move the Japanese people, who have a more sophisticated musical taste.

It is evident that Fang Xinghe's trip to Japan to release his song demonstrates his utmost sincerity, a profound and meticulous analysis of the Japanese market, and an almost unforgettable understanding and appreciation of Japanese music.

Gentlemen, this is no easy feat.

This demonstrates Fang Xinghe's genius and also shows his awe and respect for my country's market.

In fact, Mr. Fang Xinghe has always respected the Japanese market. Although he is extremely unruly, arrogant and difficult to get along with, he possesses a unique craftsmanship spirit that belongs to our Yamato people when it comes to doing things.

That is: reverence, caution, objectivity, effort, focus, passion, and harshness.

"The Snow of the Night" holds a much higher cultural status in Japan than in South Korea, and "Better Days" is ranked first in Japan, second in South Korea, and only average in its home country.

This means that in order to fully open up the Japanese market, Mr. Fang Xinghe made considerable efforts, specifically studying our culture, history, trends, and current situation.

There is an old Chinese saying that goes, "A skilled warrior achieves victory without making a great feat."

Fang Xinghe's success in Japan was the result of repeated victories, with absolutely no element of luck.

Therefore, even though I knew perfectly well that he was only there to make money, I couldn't bring myself to say anything harsh, and could only silently take out my wallet.

Putting ourselves in their shoes, if our Japanese idols could speak fluent Chinese, diligently study Chinese culture, and create customized works specifically for the Chinese market, then no matter how great their success, it would be a perfectly reasonable and admirable thing, right?

We must respect that kind of person, regardless of their country or affiliation.

So please stop attacking the opponent, Star River!

"Lemon" is a poem that Fang Xinghe dedicated to the Japanese people. I know he hates Japan, but he himself may not realize how much he loves Japan.

Hate and love are inherently one, aren't they?

You hate him, but you also love him.

This is Li Bai, a figure reborn from a thousand years ago. To be his contemporary and witness his artistry is a profound honor for me…

Tetsushi Ichikawa used highly professional yet plain language to explain that "Lemon" is definitely a Japanese-exclusive version.

Although he subtly showed off and criticized the aesthetics of the Chinese people, this long article did make the Japanese audience feel a great deal of respect—respect from Fang Xinghe for Japan.

Of course, Fang himself is very clear that this was a simple decision to copy a Japanese classic and use it to fleece investors, without actually putting in any effort.

But the Japanese don't know that!

After hearing Tetsushi Ichikawa's long analysis, many people suddenly realized what was going on.

"Oh! Right! Fang Xinghe complains about us, but he's been learning Japanese and researching the market. He spends all his free time on us. Isn't that strange?"

"Hate and love at the same time, a perfect interpretation!"

"Wow! So Fang Dian is this arrogant..."

"Wow, hehe, saying one thing but meaning another is the cutest thing ever~~~"

"Before hearing 'lemon,' I would have thought it was just nonsense from someone who had been paid to do something shady. But after hearing 'lemon,' I truly believed that Mr. Fang Xinghe had an extraordinary affection for Japan."

"Let him become famous! A kid who works this hard deserves to take everything."

"I respect him, and I fear him. How can there be such a terrible person in the world?"

"It's terrifying. He seems to have no entertainment whatsoever, always working like a robot."

"The Celestial Empire is indeed a breeding ground for such terrifying creatures!"

"There's no need to be afraid! Mr. Fang loves us, and I can feel it clearly every time!"

"I don't care about all that nonsense. All I know is that every time I hear 'Lemon,' it reminds me of my deceased parents. It's amazing music!"

Fang Xinghe's reputation among the Japanese public is rising higher and higher...

Subsequently, even the most influential figures in the Japanese music industry were alarmed.

Tetsuya Komuro, a J-Pop revolutionary of the Heisei era.

Although he has fallen from his peak, he remained an unmissable legend in the music scene until 2004.

As the godfather of Japanese music, he was actively expanding into other parts of Asia at the time, so he immediately showered Fang Xinghe with exaggerated praise.

"Everyone is saying that Lemon is the foreign work that understands Japanese people the most, and yes, I completely agree."

but why?
Why Fang Xinghe of all people?

Why this particular song?
The first reason is that the cultural aesthetics are highly compatible with the core of Japanese culture, which is based on the concepts of "mono no aware" (the pathos of things) and "restraint."

The song is themed around death, yet it uses a simple melody to wrap up a deep sorrow, which is in line with the Japanese cultural tradition of restrained lyricism—like the lingering charm of our haiku.

In the chorus, the melody of 'あなたを爱すること' descends, like a sigh, arousing collective resonance.

When I first heard about it, I immediately applauded and praised this approach.

The second reason is social psychological projection.

The profound contradiction between "regret of loss" and "moving forward" in the lyrics resonates with the collective psychology under high pressure in Japanese society.

Only we old folks can understand how much the Japanese miss that bygone era, yet reality leaves us so helpless—in the foreseeable future, can we see any hope? No, we can't.

The song's exploration of the meaning of death and existence amplifies its social resonance. This is the fundamental reason why Lemon was able to so easily resonate with the entire Japanese society.

The third reason is Fang Xinghe's personal symbol.

Fang Xinghe is not a genius from Japan, but a genius who represents the entire Asia, and even the ultimate height of the yellow race.

We have witnessed his talent blossom in different fields many times before, and we have been amazed and watched incredible miracles unfold one after another.

So, if he suddenly wants to sing, who wouldn't want to listen?

The melody of "Lemon" combined with Fang Xinghe's unique "divine remoteness" temperament has attracted listeners of almost all ages.

The fourth reason is the combination of the 'everyday' and 'sacred' aspects of the melody.

The piano prelude, with its simple, everyday feel, intertwines with the ceremonial feeling of the strings' sublimation.

Fang Xinghe's singing gradually shifted from a low, melancholic murmur to a wild, tearful lament.

The magnetic bass and divine blending are like the two poles of a yin-yang symbol, suitable for listening alone as well as resonating in group settings, covering the small joys and great sorrows of Japanese life.

Just the day before yesterday, I attended the funeral of a senior colleague. The family played this song in the mourning hall, and the atmosphere was solemn and grief-stricken, with a lingering sadness.

Therefore, I dare say that "Lemon" will gradually penetrate into all aspects of our lives.

The fifth reason is the multiplicative effect of film and television on the emotions of the times.

The music video for "Lemon" is extremely unique, and many people have tried to interpret it, but the differences are huge.

The only certainty is that the emotional core of the scene is remembrance, and the tombstone that appears at the end should be the last thing Fang Xinghe's mother left behind.

Some have tried to connect "Lemon" and "Xiangyang" to understand the universal values ​​such as "national belief" and "dignity of life," which makes a lot of sense.

That kind of aesthetically pleasing sacrifice is both a manifestation of chivalry and an echo of fate.

"Lemon" completely transcends the petty love songs, aiming for grandeur and magnificence.

If the actual TV series "The Return of the Condor Heroes" could be broadcast in Japan, allowing our emotions to rise and fall with the fates of the characters in the story, then this song would have a very high probability of becoming a social phenomenon and a symbol of healing.

At this time, as Japanese society is falling into further fragmentation and isolation, there must be something that becomes a container for the emotions of the times. Why can't it be "Lemon"?
It's very likely to be "Lemon".

"Lemon" was released alongside "The Return of the Condor Heroes".

Tetsuya Komuro's overtures were met with an immediate and positive response from Tsuhiko Kadokawa.

He did one thing right—he established a strong association between lemon and the Condor Heroes, causing public expectations for the Condor Heroes to suddenly surge.

Komuro holds a very high position and has a huge influence in the music industry. His endorsement is far more credible than Sony's promotional materials. Therefore, the drama promotion, which was originally very difficult to handle, achieved the best results almost without spending a penny.

"We eagerly await your arrival!"

"It would taste even better if eaten while watching the show, right?"

"Fang Xinghe's acting skills are still trustworthy, so maybe it's worth watching."

"I wasn't planning on watching it, but Lemon changed my prejudice."

"Xiangyang is really great, so when and where can we see the complete version of The Return of the Condor Heroes?"

"Fang Xinghe and Liu Yifei, the most beautiful children's collaboration... As we get older, we should watch some of these kinds of enjoyable TV dramas!"

"Although it's a Chinese drama, I'm willing to watch it."

"Hurry up! Where's it stuck? Go fix it!"

"I feel like this will be a drama with even more charm than 'Winter Sonata'..."

Not only was there great anticipation on the 2ch forum, but discussions also took place among the general public in Osaka, Kansai, Okinawa, and other regions. It became a hit even before it aired, and has finally become a reality in Japan.

The enthusiastic response from the public quickly spurred the bosses of the six major TV stations to engage in negotiations with Xinghe Film and Television.

After the first round of bidding, TV Tokyo, a company known for its low-budget animation, and TV Asahi, a right-wing conservative organization, were the first to be eliminated.

Two days later, TBS also fell into a disadvantageous position.

Only NHK, Fuji TV, and Nippon TV remain, locked in a fierce battle with all their might.

NHK is the only public broadcaster, and it has a very strong incentive to maintain its position. Moreover, having just benefited from the huge success of "Winter Sonata," it has even more confidence in foreign dramas.

Fuji TV is a privately owned channel that relies on hit dramas. It successfully bet on four popular dramas throughout the year with an average viewership rating of over 16%, and its gambling mentality is now very strong.

Japanese television stations are the most outrageous. Due to immense pressure to achieve high ratings, these guys not only bid wildly but also acted erratically—because they couldn't compete with their rivals, they simply fabricated ratings.

Many people think that Japan's craftsmanship spirit is a later development, but no, no, no, that's already absurd.

Last year, Nippon TV just resigned as its general manager, and this year another producer has been embroiled in a scandal involving the creation of fake news, drawing widespread condemnation from the Japanese public.

This is also related to Fang Xinghe – the pressure faced by Japan TV has become the best breakthrough point.

Seeing that the three platforms were showing great "sincerity," Brother Fang finally revealed his true colors and pulled a wicked trick.

"Gentlemen, we need to stop bidding. None of your prices have a clear advantage. Why don't you listen to my suggestion?"

The leaders of the three stations felt a chill run down their spines, sensing an extremely ominous aura.

But what can they do?

No one can give up this opportunity.

"Hi, please tell me more!"

Fang Xinghe spoke leisurely: "How about we bring in the sponsors behind me and let them make the bids?"

"what?!"

Confused face x12.

Each of the three stations brought a team of four people, leaving everyone completely bewildered.

Brother Fang slowly revealed the final mystery: this was the exclusive model he had prepared for "The Return of the Condor Heroes"—the production company would conduct advertising bidding, which would be tied to the series, and the revenue would be shared with the TV station.

"I will hold a special advertising bidding event, limited to my own partner businesses, to compete for the main advertising slots during the broadcast of 'The Return of the Condor Heroes'."

The top-ranked item is the opening title sponsorship advertisement.

Second on the list are the four prime advertising spots between the two episodes.

Third on the list are the two 10-second ad slots before the next episode's preview.

A total of 7 slots are available. The TV station is not allowed to cut out any advertising slots in the middle of each episode. You can only sell the remaining time before and after the broadcast to ensure the purity and continuity of the two episodes of "The Return of the Condor Heroes" being broadcast consecutively.

"Of the revenue from the bidding for the seven advertising slots, I'll take 70%, and you'll take 30%. There's no need to pay cash as a purchase price for the film..."

"impossible!"

The directors of the three stations exclaimed in surprise at the same time.

But the next second, the opposition alliance crumbled into pieces.

NHK: "We absolutely do not agree to such humiliating terms!"

Fuji TV: "Biding for advertising slots is our right!"

Japanese TV: "7% is too much!"

The directors of NHK and Fuji TV turned their heads in unison, their eyes blazing with intense, fiery energy...

Grass!
There's a mole among us!
(End of this chapter)