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日本絕非全球CD銷售的綠洲

日本絕非全球CD銷售的綠洲

Chris Matthews 2014年09月23日
與全球CD銷量持續(xù)萎縮大異其趣的是,在日本,CD唱片依然是占據(jù)主導(dǎo)地位的音樂(lè)產(chǎn)品。不過(guò),音樂(lè)界人士切不可傻乎乎地指望日本成為音樂(lè)產(chǎn)業(yè)的未來(lái)典范。

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????過(guò)去十年間,CD店基本上已在美國(guó)本土銷聲匿跡。淘兒唱片公司(Tower Records)曾在美國(guó)各地設(shè)有數(shù)百家分店。對(duì)美國(guó)樂(lè)迷來(lái)說(shuō),如果想深入地淘一些自己心愛(ài)歌手的唱片,這個(gè)連鎖唱片店一度就是他們非去不可的圣地。不過(guò)到了2006年,該公司申請(qǐng)破產(chǎn)并關(guān)掉了美國(guó)所有分店,往日的盛況頓時(shí)化為過(guò)眼云煙。

????但正如《紐約時(shí)報(bào)》(New York Times)近期刊發(fā)的一篇文章所指出的那樣,在有些國(guó)家,尤其是日本,淘兒唱片不僅沒(méi)有消亡,而且還經(jīng)營(yíng)得相當(dāng)不錯(cuò)。這篇文章將日本人稱為“CD愛(ài)好者”,它寫道:

????日本可能一直都是全世界最早采用新技術(shù)的國(guó)家之一,但日本國(guó)民對(duì)CD持之以恒的熱愛(ài)卻讓這個(gè)國(guó)家成為全球音樂(lè)產(chǎn)業(yè)中的異數(shù)。盡管全球各地(包括日本)的CD銷量都在持續(xù)下滑,但日本的CD銷量還是占據(jù)各類音樂(lè)總銷量約85%的比重,而在瑞典這類流媒體音樂(lè)已占據(jù)主導(dǎo)地位的國(guó)家,CD銷量只占音樂(lè)總銷量的20%。

????該文還提供了其他數(shù)據(jù),旨在表明日本人對(duì)CD是如何情有獨(dú)鐘。它指出,日本全國(guó)仍有85間淘兒唱片連鎖店,去年的銷售額高達(dá)5億美元。不過(guò),我們當(dāng)然不能根據(jù)這些巨額收入證明音樂(lè)產(chǎn)業(yè)的健康指數(shù)。2005年,也就是淘兒唱片在美國(guó)運(yùn)營(yíng)的最后一年,它在全美還有89間連鎖店,銷售額高達(dá)4.3億美元。但到了第二年,淘兒唱片就在美國(guó)無(wú)影無(wú)蹤了。

????與此同時(shí),日本的CD銷量也一直在以兩位數(shù)的速度下跌,去年就下跌了17%。日本樂(lè)迷的獨(dú)特之處其實(shí)并不在于他們喜歡購(gòu)買有物理載體的音樂(lè)產(chǎn)品,而在于數(shù)字音樂(lè),無(wú)論是mp3還是流媒體,從來(lái)就沒(méi)有在這個(gè)國(guó)家真正流行過(guò)。這可能主要是由于日本的音樂(lè)產(chǎn)業(yè)始終固執(zhí)地拒絕讓樂(lè)迷輕松方便地購(gòu)買數(shù)字音樂(lè)或訂閱流媒體音樂(lè)。

????iTunes于2005年正式登陸日本,此時(shí)距離這個(gè)音樂(lè)平臺(tái)在美國(guó)亮相已過(guò)了整整四年,但直到2012年,日本索尼音樂(lè)公司(Sony Music Japan)才允許該公司出品的專輯通過(guò)iTunes發(fā)售。這意味著,僅僅兩年前,日本人還無(wú)法在全球最流行的數(shù)字音樂(lè)商店里購(gòu)買他們心儀的相當(dāng)大一部分音樂(lè)專輯。與此同時(shí),像Spotify、Deezer和rdio這些全球流媒體音樂(lè)巨頭始終無(wú)法跟日本唱片產(chǎn)業(yè)達(dá)成協(xié)議,從而無(wú)法在日本提供服務(wù)。一些日本本土流媒體音樂(lè)公司現(xiàn)在剛開(kāi)始冒頭——去年日本流媒體音樂(lè)銷售增長(zhǎng)了204%——但由于起步晚,它們還需要加倍努力,才有可能追趕上西方同行。

????與此同時(shí),許多日本人依然保持著租賃CD的習(xí)慣。這是因?yàn)?,與美國(guó)不同,日本的版權(quán)法允許這一行業(yè)合法經(jīng)營(yíng)。在這種背景下,樂(lè)迷只需花上買張專輯10%的錢就能租到它,再把音樂(lè)輕松地存入電腦。當(dāng)然,跟美國(guó)一樣,盜版音樂(lè)在日本非常普遍。日本唱片業(yè)估計(jì),在日本,每合法下載1首歌,就會(huì)出現(xiàn)大約10首盜版。由于這種情況過(guò)于猖獗,日本于2012年通過(guò)了全球最嚴(yán)格的反盜版法,該法規(guī)定,盜版者可被判處10年徒刑,罰款約10萬(wàn)美元。

????最后,我們不應(yīng)忽略一個(gè)事實(shí),即日本是全球中位數(shù)年齡最大的國(guó)家。就算在人口結(jié)構(gòu)年輕得多的美國(guó),絕大多數(shù)CD也是被年齡較大的人買去的。一般來(lái)說(shuō),隨著年齡增大,人們?cè)谫?gòu)買決策上更容易墨守成規(guī)。由于日本的老齡人口遠(yuǎn)多于其他國(guó)家,它擁有最大的實(shí)體音樂(lè)市場(chǎng)也就不足為怪了。

????不過(guò)不要被這一現(xiàn)象所迷惑,其實(shí)日本的音樂(lè)產(chǎn)業(yè)也和美國(guó)一樣,正在不斷萎縮。網(wǎng)上聽(tīng)音樂(lè)實(shí)在太方便了,在YouTube上免費(fèi)下載或直接盜版流媒體音樂(lè)也很容易,因此越來(lái)越多的日本民眾也開(kāi)始質(zhì)疑,為何要花錢買CD呢。通過(guò)抵制數(shù)字音樂(lè)銷售和流媒體音樂(lè)服務(wù),日本的唱片業(yè)也許能讓CD銷量比其他發(fā)達(dá)國(guó)家更高的情況再延續(xù)幾年,但它無(wú)法永遠(yuǎn)阻擋這一無(wú)可逆轉(zhuǎn)的歷史潮流。

????In the past 10 years, CD stores have more or less disappeared from the American landscape. Tower Records had hundreds of locations across the U.S., and was once the place for American music fans to go if they wanted a deep selection from their favorite artists. But that all went up in smoke in 2006, when the company filed for bankruptcy and closed all of its U.S. stores.

????But as a recent New York Times article points out, Tower Records is alive and well in some countries, especially Japan. The piece describes the Japanese as “CD loving,” noting:

????Japan may be one of the world’s perennial early adopters of new technologies, but its continuing attachment to the 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.

????The article offers other statistics that purport to show the Japanese love for CDs, noting that there are still 85 Tower Records stores in the country that pulled in $500 million in business last year. But, of course, large revenue doesn’t say anything about the health of the business. In 2005, the final year that a Tower Records was open in the U.S., it operated 89 stores and did $430 million in sales. The next year, there were no Tower Records in the U.S. whatsoever.

????Meanwhile, CD sales in Japan continue to decline at a double digit pace, falling 17% from last year. What’s unique about Japan is not so much that they like buying their music in physical form, but that buying music digitally, either in mp3 form or through streaming services, never really caught on. That likely has more to do with the Japanese music industry’s stubborn refusal to make buying music or subscribing to streaming services easy.

????iTunes launched in Japan in 2005—four years after its U.S. debut, and Sony Music Japan didn’t allow its titles to be sold via iTunes until 2012. That means until just two years ago, a large section of what the Japanese would want to buy online couldn’t be purchased on the world’s most popular digital music store. Meanwhile, the big, global players in streaming, like Spotify, Deezer and rdio, have all been unable to reach agreements with the Japanese record industry to offer their services there. Some domestic streaming services are now starting to pop up—total streaming service revenue in Japan was up 204% last year—but the streaming industry is still playing catch up with the West because of its late start.

????Meanwhile, the practice of renting CDs is still quite popular in Japan, as copyright law there makes such an industry legal there, unlike in the U.S. This makes it quite easy for listeners to rent an album at 10% of the price of buying it and just rip it to their computer. And, of course, just like in the West, music piracy is very popular in Japan. The Japanese record industry estimates that for every song legally downloaded in the country, 10 are stolen. The problem is so bad that in 2012, Japan passed one of the strictest anti-piracy laws in the world, in which violators can be subject to a 10-year prison sentence and a roughly $100,000 fine.

????And finally, we shouldn’t look past the fact that Japan has the highest median age in the world. Even in much younger America, it’s the older folks who buy most of the CDs. As people age, they tend to become set in their ways when it comes to purchasing decisions. And since Japan has a higher percentage of older people than any other country, it follows that it would have a larger market for physical music.

????But make no mistake about it, Japan’s music industry is shrinking, just like the one in the U.S. The convenience of listening to music online is too great, and with the ease of streaming songs on YouTube for free, or outright stealing it, the Japanese public is increasingly questioning why it should pay for CDs. The Japanese record industry might have helped keep CD sales higher than in other developed nations for a few years longer by resisting digital music sales and streaming services, but it can’t delay the inevitable forever.

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