Since entering the new century, the domestic entertainment industry has flourished, and the market pie has become bigger and bigger.
But the status of original pop music has declined.
In the 1980s and 1990s, a singer with a little fame could live well by selling albums, tapes and CDs, and then attend parties or concerts. They definitely belonged to the ranks of high-income people.
Some singers even relied on one or two works to make a living for ten or twenty years.
However, with the development of the market, more and more people entered the industry, and the new generation of idol stars emerged one after another. Big speed of the replacement of artists accelerated, and the industry competition tended to be white-hot.
The rise of the Internet led to the decline of the traditional record industry, forcing singers to find another way to live. Under the influence of Japanese and Korean idol culture, domestic artists also began to embark on the road of no return in marketing packaging.
It was no longer enough to sing well. One must be handsome, beautiful, unique, and know how to promote and hype. Many singers were unwilling to sink to the bottom, and many singers changed their image to cater to the market.
As a result, the power of original works was not valued. Imitation and plagiarism became the trend in the circle. The development of domestic pop music was difficult, and it became a battlefield for talent shows.
Many musicians were worried about this phenomenon and cried out loudly, but their voices seemed so insignificant in the context of the entire industry. Like a stone thrown into a lake, there was only a ripple and then there was no sound.
The rise of Lu Chen in the pop music world was undoubtedly like a fresh wind, making people feel the breath of spring.
At the beginning, his influence was still very limited. A talent show champion could not prove or change anything. At most, it made people admire the emergence of a musical genius.
And the title of "musical genius" was not a rare thing.
But with the release of his debut album "You Who Sat Next To Me", people in the industry suddenly discovered that with a sincere and excellent work, one could still obtain honor, status, and benefits.
His success was a Big inspiration for domestic original works!
The simplest example is the asking price of Lu Chen's songwriting. His current offer to the public is 500,000 yuan, which directly raises the price of the top author by a lot, and in disguise, increases the treatment of the original author.
Others might be scolded for doing such a thing, but Lu Chen proved his value with his strength, the value of an original writer.
Whether it was "In The Spring" or "Not Yet Lovers", he made people believe that with solid works, real stars could be created.
Then there was Chen Fei'er's "Woman Flower" album.
From the title song "Woman Flower" to "Your Eyes", "Crossing the Sea to See You", "Hello Tomorrow", "Meeting" and "Sea of People", six works, six unique love songs, Lu Chen once again showed his strength, but also pushed Chen Fei'er to a new height.
It was as if he had a pair of miraculous hands that could turn stone into gold and turn something rotten into something magical!
"Woman Flower" was an album of love songs, but the style tended to be diverse. Listeners of different ages could find works suitable for them and find bosom friends.
Such an approach was actually very bold, especially for a transformational work. It was simply a risk, but good enough works made the risk a gorgeous show off!
The second day, the third day … The sales of Chen Fei'er's new album, whether it was on the QQ Music Platform or the online crowdfunding platform, climbed steadily. Although the growth rate continued to decline, it was a benign slowdown.
Correspondingly, the album's reputation in and out of the circle continued to ferment.
For people in the industry, what they saw through this album was the transformation of Chen Fei'er, the powerful creative strength possessed by Lu Chen, and the impact on the market pattern …
And for the vast number of fans, they didn't care about this. They knew that the songs were good.
There was more than one good song, and the arrangement and soundtrack were top-notch, full of sincerity!
In just three days, the total sales of the digital version and physical CD version of the "Woman Flower" album (including the package) exceeded 700,000 +, setting a new record in the domestic pop music industry in the past decade. There was no suspense in achieving [Diamond Record].
Under such circumstances, Chen Fei'er herself couldn't sit still.
Before the album was released, she had a hunch that it would be very successful. After all, with so much effort and painstaking effort, coupled with the full support of Lu Chen, there was no reason for it to fail.
But she didn't expect it to be so successful. Big underestimated the support of her fans.
Therefore, Chen Fei'er had to give up enjoying the sweet time with Lu Chen and leave Beijing in advance to launch a promotional tour in major cities all over the country.
The better the market is, the more publicity is needed, and the better the effect of publicity is. If she missed the best publicity opportunity at present, it would be twice the effort and half the result if she wanted to hype after that.
And Lu Chen couldn't stay idle. His first priority was not to shoot a new play, but to move.
After more than a month of construction and renovation, Lu Chen Studio in the New Era Art Center was finally ready to move in. So, on the second day after Chen Fei'er left Beijing, Lu Chen and Lu Xi moved to a new home together.
The area of the new studio reached 1,000 square meters, which was divided from the original Yu Ji Zhong Art Studio. It was divided into two floors, and the location was very superior.
Lu Chen built a brand-new recording studio in the new studio and purchased a batch of the most advanced equipment, making the total cost of moving to a new home more than 15 million yuan, which took a large part of the studio's funds.
But the results of this investment were very obvious. In the future, the studio would be able to independently complete all the work such as composition, arrangement, accompaniment, recording and post-production. Except for distribution, there was no need for outsourcing.
In other words, from the point of view of music production, Lu Chen Studio had full autonomy. In addition to meeting its own needs, it could also undertake external business, and its strength surpassed many small music companies.
On the day of moving to the new home, many peers in the circle sent banners and flower baskets, including Beijing Television Station, Haijin Television Station, Zhedong Television Station, Flying Stone Records, SPG, Crown Pictures, Qiande Brothers, Light Rain Media … as well as friends such as Tan Hong, Liao Jia, Lin Zhijie, MSN and so on.
That night, Lu Chen came forward to host a banquet at the Regent Hotel in Beijing to entertain all kinds of people.
Unknowingly, he already had a considerable amount of connections in the Capital's social circle.
And now, it was less than a year since Lu Chen officially debuted last year!
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