影視美聯(lián)英語逆數(shù)字音樂大潮日本樂迷對CD癡心不改

1、小編給你一個美聯(lián)英語官方免費試聽課申請鏈接： HYPERLINK /test/waijiao.aspx?tid=16-73675-0 /test/waijiao.aspx?tid=16-73675-0HYPERLINK 美聯(lián)英語提供：影視英語 逆數(shù)字音樂大潮 日本樂迷對CD癡心不改TOKYO Around the world, the music business has shifted toward downloads and streaming. But in Japan, the compact disc is still king.東京音樂市場在世界各地普遍都轉(zhuǎn)向下載和流媒體播放。但在

2、日本，CD卻仍然大行其道。On a drizzly Sunday afternoon recently, Tower Records nine-level flagship store here was packed with customers like Kimiaki Koinuma. A 23-year-old engineer in a Dee Dee Ramone T-shirt, Mr. Koinuma said that, unlike most men his age around the world, he spends little time with digital se

3、rvices and prefers his music on disc.在下著毛毛雨的一個周日下午，淘兒唱片(Tower Records)的旗艦店里擠滿了顧客，身穿迪迪雷蒙(Dee Dee Ramone)T恤的鯉沼公明(Kimiaki Koinuma)就是其中一位。這個23歲的工程師表示，他很少使用數(shù)字音樂服務，更喜歡CD音樂。這有別于全球各地的大多數(shù)同齡男性?！癐 buy around three CDs a month,” he said, showing off a haul of six new albums, including the Rolling Stones classic

4、 “Exile on Main St.” and an assortment of the latest Japanese pop hits.“我一個月買3張CD左右，”他說道，并展示了他的六張新唱片，包括滾石樂隊(Rolling Stones)的經(jīng)典專輯主街流放(Exile on Main St.)和一些最新的日本流行金曲。逆數(shù)字音樂大潮，日本樂迷對CD癡心不改.jpgJapan may be one of the worlds perennial early adopters of new technologies, but its continuing attachment to the

5、 CD puts it sharply at odds with the rest of the global music industry. While CD sales are falling worldwide, including in Japan, they still account for about 85 percent of sales here, compared with as little as 20 percent in some countries, like Sweden, where online streaming is dominant.日本在新技術方面一直

6、都屬于熱衷嘗鮮的那一類地方，但它對于CD的癡迷則讓它跟流媒體服務風靡的各國大相徑庭。CD銷量在世界各地都呈下降趨勢，包括日本，但它們在日本的音樂銷售額占比仍然高達85%左右。相比之下，一些國家的這一比例低至只有20%，如在線流媒體服務當?shù)赖娜鸬??！癑apan is utterly, totally unique,” said Lucian Grainge, the chairman of the Universal Music Group, the worlds largest music conglomerate.“日本市場真的很獨特，”全球頭號音樂巨頭環(huán)球音樂集團(Universal Mu

7、sic Group)董事長盧西恩格蘭奇(Lucian Grainge)說道。That uniqueness has the rest of the music business worried. Despite its robust CD market, sales in Japan the worlds second-largest music market, after the United States have been sliding for a decade, and last year they dropped 17 percent, dragging worldwide res

8、ults down 3.9 percent.那種獨特性令整個音樂行業(yè)相當擔憂。盡管日本的CD銷售表現(xiàn)強勁，但這個僅次于美國的全球第二大音樂市場十年來一直在下滑，去年更是下跌17%，致使全球銷售額下降3.9%。Digital sales rising in every other top market are quickly eroding in Japan, going from almost $1 billion in 2009 to just $400 million last year, according to the Recording Industry Association of

9、 Japan.根據(jù)日本唱片產(chǎn)業(yè)協(xié)會的數(shù)據(jù)，在其它主要市場均呈現(xiàn)增長的數(shù)字銷售額在日本卻快速下降，去年從2009年的近10億美元下滑至只有4億美元。Turning Japan around has become a priority for the global music business, which has struggled to regain its footing after losing about half its value since 2000, when digital technology began to disrupt the album-based business

10、 model.扭轉(zhuǎn)日本市場的運營成為了全球音樂行業(yè)的重中之重。自2000年數(shù)字技術開始顛覆基于唱片的商業(yè)模式以來，該行業(yè)已經(jīng)縮水了接近一半，一直無力挽回失地。But accomplishing change has been difficult, according to analysts and music executives in Japan and the West, in part because of a protectionist business climate in Japan that still views the digital business with suspic

11、ion.然而，在日本和西方國家的分析師和音樂高管看來，尋求變化并非易事，部分因為日本的保護主義商業(yè)環(huán)境，該國仍對數(shù)字業(yè)務表示懷疑。Streaming music services like Spotify and Rdio, widely seen as the industrys best new hope for new revenue, have stalled in efforts to enter Japan. Spotify, the biggest such player, has been stuck for two years in licensing negotiation

12、s with music companies in Japan, where homegrown pop idols by far outsell Western acts.Spotify、Rdio等被行業(yè)寄予厚望的流媒體音樂服務均遲遲未能進入日本市場。該領域最大的服務商Spotify陷入了與日本音樂公司的已有兩年的版權(quán)談判拉鋸戰(zhàn)當中。在該國，本土流行樂明星的唱片銷量遠超西方歌手。Ken Parks, Spotifys chief content officer, said he was optimistic about his companys prospects, and noted th

13、at the negotiating process was slow wherever it went. Spotify, which has more than 10 million customers in 57 markets around the world, negotiated with labels for almost two years before it arrived in the United States in 2011, for example.Spotify首席內(nèi)容官肯帕克斯(Ken Parks)指出，他對公司的前景感到樂觀，事實上，版權(quán)談判以往在其它國家也并不

14、順利，進展緩慢。例如，2011年進入美國市場之前，它也跟唱片公司談判了近兩年時間。Spotify目前擁有超過1000萬用戶，覆蓋全球57個市場?！癢hen the decision makers finally feel that the heat is intense enough that they have to do something different, they will,” Mr. Parks said. “I think we are approaching that moment in Japan.”“當決策者終于覺得坐不住了，必須要實施一些變化時，他們就會采取行動，”帕克

15、斯說道?！拔矣X得我們在日本市場快要迎來那個時刻了?！監(jiān)thers have doubts, pointing to the Japanese markets devotion to the CD, which remains a primary source of revenue for record labels in the country, and an indispensable promotional tool.其他人則心存懷疑，指出了日本市場對于CD的熱愛。在該國，CD仍然是唱片公司的主要收入來源，而且還是不可或缺的營銷工具。Peculiarities of Japans busi

16、ness climate have shaped its attachment to the CD, but cultural factors may also be at play, like Japanese consumers love for collectible goods. Greatest hits albums, for example, do particularly well in Japan, perhaps because of the elaborate, artist-focused packaging. The hugely popular girl group

17、 AKB48 pioneered the sale of CDs containing tickets that can be redeemed for access to live events a strategy credited with propping up CD sales, because it can lead the biggest fans to buy multiple copies of an album.日本獨特的商業(yè)環(huán)境造就了人們對CD的癡迷，不過文化因素可能也在起作用，比如日本消費者對于收藏品很熱衷。例如，精選輯在日本賣得特別火，這可能是得益于唱片專注于歌手的精

18、致包裝。熱門的日本女子偶像組合AKB48開創(chuàng)了買CD送演唱會門票的先河。這一策略提高了CD的銷量，因為它能夠吸引狂熱的粉絲購買多張唱片。Tower Records closed its 89 American outlets in 2006, but the Japanese branch of the chain controlled by NTT DoCoMo, Japans largest phone carrier still has 85 outlets, doing $500 million in business a year.Tower Records在2006年關閉了89家美

19、國門店，但該連鎖店的日本分公司(現(xiàn)由日本最大的電信運營商NTT DoCoMo控股)仍有85家門店，年銷售額達到5億美元。At Towers flagship store, in the heart of the skyscraper-lined shopping district of Shibuya, a group of preteen girls called Kokepiyo performed for fans and autographed CDs one afternoon last month, while their mother-managers watched prote

20、ctively. Outside, an 18-year-old student who gave her name as Yuria had come to Tower to see her favorite band, the Lotus. She carried a bag full of merchandise she had bought at the store, and said that she frequently buys multiple collectible copies of CDs.上個月的一個下午，在Tower Records位于澀谷摩天大廈林立的商業(yè)區(qū)的旗艦店

21、，少女組合Kokepiyo在為粉絲表演和簽售CD，她們的母親和經(jīng)濟人則守護在一旁。外面，一位叫Yuria的18歲的女生來到Tower Records看她最喜歡的樂隊Lotus。她在該店買了滿滿一袋東西，她說自己經(jīng)常一次性購買多張收藏CD?！癊ach store has its own freebies to give away to sell more CDs,” Yuria said. “So it all depends on how good they are.”“每家店都提供自己的贈品來刺激CD銷售，”Yuria說，“所以全要看它們有多好?！盜n the United States,

22、digital sales have long since overtaken physical ones. But CDs still account for 41 percent of the $15 billion recorded music market worldwide, and, in addition to Japan, some big markets like Germany remain reliant on CD sales. That attachment worries some analysts, who contend that if those countr

23、ies do not embrace online music, an inevitable decline in CD sales will further damage the industry.在美國，數(shù)字音樂銷售早已超過實體唱片銷售。然而，CD在規(guī)模為150億美元的全球唱片音樂市場的份額仍達到41%，除了日本之外，包括德國在內(nèi)的一些大市場仍依賴CD銷售。消費者對CD的這種癡迷令一些分析師感到擔憂。在他們看來，如果那些國家不積極擁抱在線音樂，CD市場無可避免的下滑將會對音樂行業(yè)造成進一步的損害。“If Japan sneezes and Germany catches a cold, t

24、hats it were done,” said Alice Enders, a media analyst with Enders Analysis in London.“如果日本打噴嚏，而德國又感冒，那音樂行業(yè)就完了，”Enders Analysis媒體分析師艾麗斯恩德斯(Alice Enders)稱。A distinctive business ecosystem in Japan has kept CD sales lucrative for music companies. Pricing restrictions on retailers keep the cost of most

25、 new CDs at more than $20. In the mid-2000s, a nascent download service, Recochoku, was tethered to Japans expansive cellphone market, but that system collapsed once the country moved on to smartphones like the iPhone.日本獨特的商業(yè)生態(tài)系統(tǒng)，讓音樂公司仍可以從CD銷售獲得不俗的收益。對零售商的定價限制使得大多數(shù)新CD的售價都超過20美元。00年代中期，新興的下載服務Recocho

26、ku植入了日本廣大的手機市場，但隨著該國轉(zhuǎn)向iPhone等智能手機，這一體系土崩瓦解。Part of the problem, executives say, is the complex array of companies that control rights to the most popular music in Japan, which have been very slow to license new services.行業(yè)高管們認為，該問題一定程度上是因為日本流行音樂版權(quán)分散在各家公司手上，而它們在向新服務授予版權(quán)時行動緩慢。Sonys Music Unlimited, fo

27、r example, is the largest available streaming service in Japan, but it lacks the most popular hits there. (Sony declines to say how many subscribers it has to Music Unlimited, in Japan or elsewhere.) Apples iTunes store arrived in Japan in 2005, but only in 2012 did it begin to sell the Japanese mus

28、ic titles of its hardware rival Sony.例如，索尼的Music Unlimited服務雖然是日本最大的流媒體音樂服務，但它的音樂庫卻沒有該國最流行的那些音樂。(索尼拒絕透露Music Unlimited在日本和其它市場的訂戶數(shù)量。)蘋果的iTunes商店于2005年進入日本市場，但直到2012年才能開始出售其硬件產(chǎn)品競爭對手索尼手握的日本音樂。Executives in Japan and the West blame an overly cautious Japanese music industry for not adapting, and seriou

29、s worries remain about Japans ability to recover from its losses last year.日本和西方行業(yè)高管都指責過度謹慎的日本音樂行業(yè)沒有去適應大趨勢，日本能否從去年的虧損中恢復過來也存在很大的疑問?！癆 substantial amount of senior management is worried about what happens on their watch, but not necessarily worried about what happens after that,” Shigeo Maruyama, the former president of Sony Music Entertainment Japan, said in an interview.“很多高管擔心的是，在自己任內(nèi)會發(fā)生什么，但對此后怎么樣則不一定那么關心，”日本索尼音樂娛樂株式會社前負責人丸山茂雄(Shigeo Maruyama)在一次采訪中表示。This year, things in Japan are looking slightly better. In 2013, there