Welcome to Black Friday, and welcome to PassCode Day! We’ll build on the success of BiS’s #NewIdolArmy campaign to celebrate the international release of “MISS UNLIMITED” and show PassCode that their fans love them and are everywhere.
This one’s very simple:
Download “MISS UNLIMITED” if you haven’t already
Snap a photo of it playing on your device of choice, or of your physical CD cover/case, or of you and your merch, or any combination thereof
Tweet it at @passcodeO and the members with a message saying where you’re from
tl;dr version: On Friday, we got nuts for “MISS UNLIMITED!” Use the hashtag #国際ハッカーズ and/or #InternationalHackers and send messages from your country, with pics showing your purchase/merch.
You can call me crazy (especially if you don’t already!), but I think the #NewIdolArmy celebration last Friday and over the weekend was an unmitigated success. I never did a proper count, but there were a lot of people in a lot of countries sharing their IDOL photos and turning it black in honor of BiS.
So how about PassCode?
If you remember this post (with a final point that got a little lost in the shuffle) about buying idols’ offerings when they actually become available in your country, sending a message to the labels and agencies that there aren’t just fans abroad, but enough fans abroad to warrant trying to make more of them, is one of the things that we can do right now.
PassCode made their major label debut with “MISS UNLIMITED,” and it distributed internationally, finally even in North America:
Brian, the Thoughtful Voice among Western idol fans, added a great post this morning over at his very own supremenothing.com. What’s it about? If the headline weren’t a dead giveaway, I’d tell you, but you can read and are intelligent!
The gist: If we want idols to cater to us, market to us, make things available to us, come visit us, etc., we have to show them our numbers. And though we’re up to some other efforts to prove our existence, the actual simplest thing to do is to buy international releases — not Japanese domestic, though CD Japan and whatnot appreciates it, but the stuff that is specifically being sold to us. Like:
The realest point:
When Babymetal’s first album debuted at number one on iTunes international metal charts, that was an event that made their record label and their management take notice that there was a very real market underway here. The eventual worldwide success of Babymetal, and the reason why it actually became feasible to see them live on your soil, started becoming a truly tangible thing that day. It made news over here and in Japan. It made Senpai notice us, you dig?
So go read the whole thing, nod vigorously in agreement with what Brian wrote because it is correct, leave an encouraging comment that may or may not include swears, then come back here and continue on: Continue reading →
I never thought I’d review a single; I just didn’t see the point. And yeah, “MISS UNLIMITED” is listed on iTunes as an EP, but it’s three songs and an air vocals version of the title track, and that’s a single in my book.
So why would I bother reviewing this one? A lot of reasons, actually: Because there’s an ongoing discussion around whether idols other than Babymetal can achieve crossover success in the West; because PassCode is among the most cited and seen when newcomers go looking for “what else is like this”; because I felt like it; and so on.
This is PassCode’s major label debut. It’s available internationally via iTunes (and probably other mechanisms, too, eventually). It’s already available in Europe and soon will be in North America. This might not be going all-in, but it’s a move aiming at international audiences.
Or maybe, more appropriately, it’s a trip down the memory hole; there are probably a few people at we-B Studios (and especially Universal Japan!) who’d prefer that we not see this side of PassCode … a PassCode that’s a little … different. Continue reading →
You may have heard about Bellring Girls Heart being gutted in the very near future when Ayano and Mizuho graduate, and the group going on a I-believe-it-this-time temporary hiatus before a very soft reboot next year.
What you may not have heard about is how they’re going to go out as vividly as possible.