The record and tape sales figures of the Japanese record industry have exceeded those of the industries of all other capitalist nations, except the USA, since the mid-seventies. In 1980, Japan's share amounted to 13.9 per cent of all sales in the capitalist sphere according to surveys by Billboard. The USA had 35.8 per cent, West Germany 11.6 per cent, the UK 11.6 per cent and France 7.3 per cent (Kawabata 1977, p. 22; 1982, pp. 91, 199). The output of foreign records, recorded and pressed by Japanese companies, to foreign records, pressed by Japanese companies from masters recorded by foreign companies primarily for their own consumers, has been about three to two. A good many of these foreign records are of American and European popular music, and in this field one can perceive a new and interesting tendency to promote and succeed with artists who are or were less successful in their own country. The tendency, whose background I am going to discuss here, started in the mid-seventies; one of the early examples is provided by Kiss, a New York group, which was shrewdly promoted and achieved wide popularity in Japan before succeeding nationwide in America.
Transition of the concept of total optimization in Japanese companies