[hanabiwings]

Mmm... I think she is perhaps readying herself to enter a new market. I don't know if that means a new music market or a new entertainment industry. Couldn't it merely be an expansion further into Asia that she is preparing for? That is: an expansion of activity outside of Japan. Or perhaps she is readying herself for something outside of singing. Either way, if I'm reading this right, it would seem that Hamasaki herself was writing on her BBS those two messages quoted (about being nervous and making a decision and so on). But it needn't mean something like either retirement or expansion, right?

I don't know if she could make it in the US. The European market appears, to my eyes, to be a little more forgiving when it comes to different styles, backgrounds, and so on. In any case, of course I would wish her well in any endeavor she embarks upon. And, of course, I secretly wish that she would get super-popular in my home country (the States). But I hope that she capitalizes on her popularity in Asia as it is already an established market for her.

When trying to tap a market such as the United States, promotion appears to be a decisive factor; Utada's 2004 effort, though edgy and varied enough to 'make it' on some level (in the opinions of many music lovers I've talked to), the lack of promotion seemed to be a great problem. Her 2009 effort has a much more mainstreamed sound, which she crafted with several songwriters despite her usual self-produced methods. I've heard Utada a lot on satellite radio, and she was featured on MTV several times on some television shows, I understand. But major promotions (such as live singing on morning television) were few. BoA, I've also heard on satellite, but her promotion appears to be even less than Utada's. Both of these artists have demonstrated talent in their respective niche markets in Asia. The problem seems to be, in my estimation (and not backed up by statistics or empirical study--forgive me!), a lack of concentrated promotional efforts. But this has long been an issue for Japanese artists, and other artists from Asia, when they attempt to break into the U.S. Dreams Come True had an album from VIRGIN Records that was poorly promoted. They have the talent and sound to capture at least a niche market in adult easy listening. But it didn't happen. I'm convinced that promotion campaigns have to be rather significant to break into the market from outside of the country. Artists with less appeal (charisma, talent, uniqueness, etc.) and a better PR machine seem to fare better. But I'm rambling. ^^;