[In Memoriam] Clive Davis: Full Transcript of His 2013 Public Interview in Japan

On June 22, 2026 (local time), music producer Clive Davis passed away. He was 94 years old.
He became president of Columbia Records in 1967 and founded Arista Records in 1975. He was involved in the birth and careers of countless superstars, including Janis Joplin, Chicago, Santana, Billy Joel, Bruce Springsteen, Whitney Houston, and Alicia Keys, and continued to lead the music industry for over half a century. He had also served as Chief Creative Officer of Sony Music Entertainment since 2008.

This article presents the full transcript of the press conference held in December 2013, his first visit to Japan in 38 years. He speaks with insightful words backed by his long career, covering episodes with superstars, his "ear" for identifying hits, and the potential of music streaming services. Looking back now, one cannot help but feel deep respect for his keen eye, which foresaw the future of entertainment.

It is a somewhat long read, but I hope you will stay with us until the end.

Clive Davis Press Conference

Date and Time: Thursday, December 19, 2013, 15:00–16:00
Venue: Foreign Correspondents' Club of Japan
Moderator: Steve McClure (Former Asia Bureau Chief, Billboard)
The first half of the press conference is an interview by Mr. McClure. The second half consists of questions from the audience.

*The "book" introduced in the conference is his autobiography, "The Soundtrack of My Life," which chronicles his life and was published in February 2013. Its candid account of the inner workings of the music industry drew a huge response.
Amazon.co.jp: The Soundtrack of My Life (English Edition) E-book: Davis, Clive, DeCurtis, Anthony: Foreign Books

<Two Important Achievements in a Long Career>

—This may be a foolish question, but first, what is the achievement you are most proud of in your career so far?

Clive Davis◆Well, that's like being asked, "Which of your children do you love the most?" Let me tell you in order. First, I want to say that I entered the music industry by "luck." I lost my parents in my teens, had no money, and worked while going to school. At the time, I studied law to make a living. And fortunately, I joined a law firm that had CBS as a client. Three years after graduating from law school, I got a job as an assistant attorney at Columbia Records. Thus, I jumped into the world of the music business and learned everything I could at every stage.

Five years later, I was offered the position of president by Goddard Lieberson, who was the president of Columbia Records at the time. You will have to read the book I published this time for the details on how this luck affected my life. It's not that Goddard knew about my"ear" (the ability to discern musical talent).However, I realized that I had that ear. I went to the Monterey Pop Festival (*held in California in June 1967; Jimi Hendrix and others performed) and signed Janis Joplin. After that, while feeling my way through, I signed Chicago, Blood, Sweat & Tears, Santana, and Earth, Wind & Fire. This was the beginning of this long adventure.

Therefore, I distinguish between the artists I discovered—like Whitney Houston and Alicia Keys—and the veterans whose careers I was able to extend, which gives me great pride and immense joy. Much of this industry is short-lived and temporary. It is normal for it to end with two or three hits or a two- or three-year career. So, I am very proud of the artists I discovered. Patti Smith and Barry Manilow are among them.

But at the same time, I am also proud that over the years, I was able to revitalize the career of Dionne Warwick, for example, and keep her from disappearing after her wonderful era with Burt Bacharach. I was able to produce hits like "I'll Never Love This Way Again," "Déjà vu," "Heartbreaker," and "That's What Friends Are For," which led to Aretha Franklin. I cannot exactly replicate the great milestones like "Natural Woman" and "Chain of Fools" that Aretha achieved with Jerry Wexler (*music producer/Atlantic Records executive), but the greatest voices of our time should not disappear in a few decades.

So, I am proud that next year I will be working with Aretha Franklin on an album (*"Sings the Great Diva Classics," released in 2014) that compiles great hits by divas, from Dinah Washington to Tina Turner, Sarah Vaughan, Whitney Houston, Annie Lennox, and Adele. Luther Vandross, Rod Stewart, and Carlos Santana (I was lucky enough to reunite with him twice) are also among them. That was a long answer to your question, but I am just as proud of having been able to "revitalize great stars" like the ones I just mentioned as I am of the "artists I discovered" who stood by me for the 25th anniversary of Arista Records in 2000. And now, I am just about to finish Carlos Santana's new work (*"Corazón," released in 2014). I signed him in 1969. I am very proud that after so many years, I am still working with Santana and Aretha Franklin.

—They definitely have the power to survive. And you have guided them. You are a wonderful mentor in both business and art, and you have guided artists' careers very effectively. That is how it feels to me. And what impresses me is how you fuse art and business. But at the beginning of your career, when you started as a lawyer, did you not think you would be involved in show business?

CD◆I never dreamed I would enter the world of music. I loved music, but I was just an ordinary radio listener. However, I was very lucky to be able to take advantage of the opportunities that luck and circumstances brought. I never thought music would become my passion. The only reason I continue to work today is that I love music. And even now, I am working on a new album (*"JHUD," released in 2014) for Jennifer Hudson, an American artist with a wonderful voice that rivals Aretha and Whitney Houston. As I said earlier, I am also working with Santana and Aretha. I love doing that. I continue because it gives me great satisfaction and fulfillment.

<The Rock Revolution and Memories of Janis>

—Now, in 1967, you became president of Columbia Records. You didn't think you would enter the music industry, and you certainly wouldn't have expected to become the president of a leading American label. According to your book, you didn't have high expectations when you went to the Monterey Pop Festival in June of that year. You intended to have a lovely weekend in California. But you had a life-changing experience. If you hadn't gone to Monterey, do you think your career would have taken the shape it has today?

CD◆Yes, I think the Monterey Pop Festival was a life-changing experience. It was a social revolution, a cultural revolution, and a musical revolution. None of my company's A&R people came, but I just felt, "This is a revolution." Despite being as powerful a label as Columbia, our profit margins in 1967 were breaking even. Industry people involved in pop music at the time were not looking at rock. They were involved in popular music like hits and R&B, but they were not rock experts. In other words, the A&R who handled Barbra Streisand and Andy Williams didn't know what to do when this "rock revolution" happened.

So, I said, 'I am here now, and I feel what is happening to my very core.' I had never seen anyone like Joplin. She was a soul-stirring white sister with a swirling, irresistible charm. And I won the contract with her. I also signed The Electric Flag (an eight-piece band featuring Mike Bloomfield and others). Two weeks after returning to New York, having witnessed the electrification of the guitar and seen a horn-infused group like The Electric Flag, I auditioned Blood, Sweat & Tears, which had evolved from The Blues Project. Shortly after that, I signed Chicago and Santana. Yes, I took risks. I trusted my intuition. It wasn't that I was confident. I didn't know, but as time went on, it taught me that there might be talents I hadn't even imagined.

—In your book, you introduce the episode of when Janis signed with Columbia. Could you tell us that story? It could be said to symbolize the social conditions of the time.

CD◆She was the first artist I ever signed, and she came with her band members to the beautiful CBS building in Manhattan, designed by Eero Saarinen and known as 'Black Rock' (a Finnish-born architect/product designer who was active in America; the CBS building is a 38-story black skyscraper). However, I was worried that these rebellious, young rock icons, with their loose gowns, beads, and new outlook on life, might feel that the company I was running was 'stiff, establishment-oriented, and uncomprehending.' Then two things happened. One was that when Janis and I were signing the contract, she said, 'Hey, this is too formal, too corporate. Today is the most important day of my life.' And then she invited me to go to bed with her. I was honored, but I politely declined.

After that, we went to a large meeting room downstairs. I told them, 'I want you to feel at home here. Don't be misled by the corporate atmosphere of this beautiful building. We aren't stiff, and I want you to feel like you're at home. It's casual.' Then one of the male members stood up, and he was completely naked. Having traditional values, I was truly surprised. There was Janis, collapsing in laughter with a cackle that only she could produce. And she said to me, 'See? Now you know how casual we are.' Yes, that is a very special memory of my first artist signing.

<What are the most important elements of a hit song?>

—I imagine no artist had ever shown up to a signing ceremony completely naked before that. To this day (laughs). Now, I'd like to ask a very broad question. There may not necessarily be a clear answer, but I would love to hear it from you directly. What are the important elements of a hit song? Is there something like a magic formula? Or what do you place the most importance on?

CD◆Intuitively speaking, it might sound cliché, but I am looking for a visceral reaction that bypasses logic. This isn't about dance music or rap. When it comes to hit songs, my professional life has been made very rich thanks to the people in music publishing. Professional songwriters are often criticized, but for many of the artists I have been involved with, such as Whitney, Barry Manilow, Aretha, and Dionne, they are extremely important figures. I am looking for a melody that won't leave your ears. A melody, and a chorus.

—Something you can whistle.

CD◆Something that stays in your heart. And even now, I never listen to a song without reading the lyrics. I know many A&R people don't pay that much attention to lyrics, but I do. To be clear, my A&R team and I found every song that Whitney recorded. The lesson I want to convey in my book is the importance of the song itself. There was a time when Whitney came to me about this. 'Should I be writing songs too?' she asked. She had seven consecutive number-one hits. Her debut album sold 23 million copies worldwide, and her second album sold 22 million. Even so, she was criticized by critics just for being an entertainer and for being beautiful. They called her a queen with teeth as beautiful as pearls. She said, 'Janet Jackson is co-writing now. Madonna is too. Should I?'

I replied, 'I can't decide that for you. I would never say you shouldn't write songs, and I intend to listen to the songs you write. But we made 'The Greatest Love of All' and 'Saving All My Love for You' hits. These will become standards.' And I said, 'To me, you are the successor to Billie Holiday, Lena Horne, Aretha Franklin, Barbra Streisand, and Frank Sinatra, and you are in the lineage of traditional singers who respect professional songwriters. If you can write songs as good as theirs, then you should write them. But your voice is in the tradition of pure vocal genius.' Since then, Whitney never brought up that topic again.

—That theme runs throughout your book as well. Some artists are convinced they must be songwriters to prove their worth, but that is not necessarily the case, you argue.

CD◆Of course, if they have the talent, that's a different story. I wouldn't try to provide songs to Alicia Keys, who is a great songwriter, and I wouldn't provide songs to a rock band. Their genius comes from what they write themselves. There is no need for me to interfere. I have never received an unfair financial benefit from any song I have found for an artist. What is important is that they have their own 'signature song.' My book is filled with many names, but I have seen examples where artists who had five or ten consecutive hits started saying, 'I have the right to write my own songs,' and as a result, they were unable to write hits themselves.

And when they come back in their 30s or 40s saying, 'My voice is in the best shape it's ever been. Won't you sign me again?'... One female singer said, 'Back then, you should have given me an electric shock. You shouldn't have let me make that decision.' I was in my 20s too. What I learned from experience is that you should go with the flow and treat each situation individually. Star power and personality are important, but great songs are just as important an element.

<Whitney's Tragedy: Relationships with Artists>

—This is also a difficult question, and I hope you will forgive me for bringing up this topic, but there is something I must ask. There is a very emotional scene in your book. When you confronted Whitney and asked her, 'What is the problem?', she denied it completely. As a result, we know what happened, unfortunately. At what stage and to what extent should A&R representatives and executives intervene in an artist's private life? Where is the line? You say that you 'could do nothing to help Whitney.'

CD◆With Janis Joplin (who died in an accident on October 4, 1970, at age 27; it is said to have been a drug overdose), I was too young and still too much of a newcomer to the industry. I knew she drank and lived for the day, not thinking about tomorrow, but I was devastated by her tragic and premature death.

Regarding Whitney, we had a long relationship. She always called me the 'father of the music industry.' And as I said earlier, it wasn't just that I discovered Whitney; it was a relationship where I worked with my A&R staff to find the wonderful songs that would define her career. At first, I thought it was just the effects of cigarettes, but it was important for me to write in my autobiography about how hard I tried to discuss Whitney's drug problem with her when her voice began to be seriously affected around 2000 or 2001. She came to my weekend villa. However, she was not ready to accept the frank advice I gave her.

In my book, I also include a letter I wrote to her when I saw her at Michael Jackson's concert at Madison Square Garden in New York. I hadn't seen her for a while, and she was painfully thin; I gasped. I included the letter where I wrote about how she had to deal with this. To skip ahead a bit, I'm sure you have all seen or heard the interview she gave on Oprah Winfrey's show (the host/producer of the talk show 'The Oprah Winfrey Show,' who has publicly disclosed her past drug addiction). I thought she had overcome her drug addiction. No one can overcome this fatal battle unless they hit rock bottom, to the level where they ask for help themselves. She was frank with Oprah. So, when I worked with her on the album 'I Look To You,' I thought the only problem we were facing was cigarettes. I believed her when she said frankly, 'I've stopped drugs. But I can't stop cigarettes. I'm cutting down, though.' I always said, 'Cutting down isn't enough.'

After 'I Look To You,' when I noticed the quality of her performances was very poor, I told her, 'Unless you stop smoking completely, you can never record again.' I never dreamed she was involved with drugs in the last year or two. She came to see me two days before she died. In Los Angeles, I have held a party every year on the eve of the Grammy Awards for the last 35 years. It's a party where every artist comes, gives a wonderful performance, and makes memories that last a lifetime. She came to my bungalow, where we often listened to music together. The reason I am telling you this in such detail is that I want to show you Whitney in her prime after this. There was no one else like her.

Why am I still so emotional? It's because we are preparing a live album (released in 2014 as 'Whitney Houston Live: Her Greatest Performances') to show the world why everyone, from Babyface to songwriters and producers, hails her as the world's greatest singer. Whitney said, 'I'll stop smoking. I promise. I'll stop completely.' And we made plans to produce the album in August of that year. She died just 48 hours after that conversation. She herself had no way of knowing she was on the verge of death. While I was adjusting the schedule for that afternoon...

I will show you how she mastered not just hit songs, but other material as well. While flashy production at the Grammys and other award shows can sometimes overshadow true talent, the footage I am about to show you is Whitney singing at the American Music Awards. First, 'I Loves You, Porgy' from 'Porgy and Bess.' Then, the wonderful song 'And I Am Telling You I'm Not Going' from 'Dreamgirls.' This was years before the movie 'Dreamgirls' that led me to discover Jennifer Hudson. And finally, I will conclude with 'I Have Nothing' from 'The Bodyguard.' You will see an artist captivate an audience live and bring them to their feet. What I want you to remember is her in this peak condition. There is Aretha, there is Barbra, and there is Whitney Houston as a class of her own. May I share this with you all? It is footage that no one has seen yet. I share it with all my heart.

<The Future of the Music Business: What Can Record Companies Do?>

—(After the video ends) What can I say? Thank you so much for showing us that. I am speechless.
I would like to ask one final question before moving on to questions from the floor.
Clive, what are your thoughts on the future of the recorded music business? I ask this because I found the following passage in your book: 'I have confidence in the future of the music business because I have no doubt about the value of what we are selling.' However, while people clearly love music and it is an important part of their lives, hasn't the digital distribution revolution lowered the value of recorded works as a commodity? If so, in the face of fundamental erosion of this traditional business model, what can traditional record companies offer in terms of 'adding value'?

CD◆First of all, I do not agree with that premise. It is true that as technology advances rapidly in every field, we must seriously re-examine our business. We must determine whether technology has made our product obsolete. However, by every standard, music is more a part of people's lives than ever before. This is clear from the numbers on YouTube and Spotify, or the importance of music in people's lives.

What happened, unfortunately, is that the music industry was slow to respond to the digital revolution. And there is still a segment of people who think music should be free. Everyone knows that music should not be free. We must reward the creative geniuses, the creative writers. We need to reward those who enrich our lives with music. So, it is true that we are in a period where we need to catch up. There is no doubt when you look at the value of music today, its role, and the part it plays in people's lives. I am optimistic that once legal rights are asserted and new ways to deliver music to people are found, the recorded music industry will regain a sound foundation. I do not think that is excessive optimism or a short-sighted view. I believe in the future of music, and I believe in the future of an essential, vibrant music industry.

—Look at Beyoncé's album released this week(*'Beyoncé', released in December 2013). She unveiled it for the first time through social media. It is a truly interesting and innovative marketing strategy. It is currently number one on the Billboard charts. However, there is no single. She sold it only as an album. What do you think about this?

CD◆I really like that approach of hers. I support her saying, 'I won't release a single. I want you to buy my work.' I recently went to the Kennedy Center Honors ceremony. Three of the artists I signed, Carlos Santana, Herbie Hancock, and Billy Joel, were honored, and I had the honor of giving a speech at the Secretary of State's dinner. I mentioned those three names because their music is not something you can just snack on bit by bit. You cannot just listen to a part of Herbie, Santana, or Billy. You will want to know the full scope of their creativity, what the entire album is like beyond the single.

Therefore, I applaud Beyoncé for saying, 'I am not satisfied with being judged by singles alone. I will leave that to other artists. I want you to see my work as a whole.' She not only released a 15-16 track album, but also included the same number of videos. She said, 'This is who I am now. This is what I am expressing now.' And despite not releasing a single, she sold 618,000 albums in the US in just three days. I think that proves the power of her and the music itself.

Question 1: Who is the most memorable artist?

—Now, I will take your questions. As is customary, if there are any members of the press, please step up to the microphone.

Questioner 1: Thank you. May I ask the most difficult question to answer? In your long career in the music industry, if you had to name three of the most memorable artists, who would they be?

CD◆Well, I can look back, and I have written about it in my book... but it is impossible to choose, and it would hurt someone who wasn't chosen. Instead of giving a long list, let me introduce a few without ranking them.

Without a doubt, meeting Janis Joplin, which was the starting point for both my career and hers, is a memory I will never forget for the rest of my life. It changed my life forever. And seeing a teenage Whitney Houston, hearing her belt out 'The Greatest Love of All,' which I had commissioned eight years earlier, I was convinced it was the beginning of a tremendous career.

Let me tell you another episode regarding Bruce Springsteen, whom John Hammond (*a legendary A&R who joined Columbia Records in 1939 and discovered many stars including Bob Dylan) and I signed. When we signed him, he was a folk artist who stood still in front of the microphone. As the head of Columbia Records at the time, I was constantly threatened by the media saying, 'Rock is dead. Music is in decline.' So, I rented a large theater in Los Angeles for seven consecutive days and held a show that combined Miles Davis, Bruce Springsteen, Anthony Newman's chamber orchestra (*a leading American harpsichord & organ player), and the New Riders of the Purple Sage (*a country-rock band formed by Jerry Garcia of the Grateful Dead). As I said earlier, it was to show the diversity and health of music.

Springsteen appeared on a stage as big as Radio City Music Hall and sang straight into the microphone. I remember walking from one end of the stage to the other and saying to him, 'This isn't a small club like Max's Kansas City or CBGB (*two legendary live houses that gave birth to New York punk). You're in a theater this big, so you have to use this space and move around.' Two years later, I had founded Arista Records in 1975. He hadn't broken through as a major artist yet. It was just before 'Born to Run' was released. He said to me, 'Can you come to The Bottom Line in New York (*a live house with about 500 seats in Greenwich Village)?' When I went, there was Bruce Springsteen, who had become the world's greatest live performer. He was jumping on tables, exuding an energy I couldn't have imagined, and putting on an incredible performance. After the show, I visited his dressing room. He looked up and said, 'Hey, did I move around enough to satisfy you?'

I have been truly lucky and blessed. I have had the privilege of working with them, whether it was Patti Smith, the great rock and roll renaissance woman, or Alicia Keys, the wonderful singer-songwriter and beautiful renaissance woman. I am blessed. So I cannot choose just a few, but I have done my best to answer your question.

Question 2: Should Sony Music separate from Sony?

—I think that was a sufficient answer. Now for the next question. The gentleman over there, please.

Questioner 2: Recently, Sony has received a proposal from one of its shareholders to separate and spin off its music and film divisions. The reason is that by doing so, it would be better for shareholders, more nimble, and more agile in responding to market movements. In response to that proposal, Sony has put forward 'One Sony,' saying there are advantages to being one big family.
From your position of running music labels that are now part of Sony, what are the advantages of being part of this giant corporation? And with earnings not expected to increase until 2017, what value is Sony Music providing to this giant corporation?

CD◆I think the advantage of being with Sony is that Sony respects creative leadership. And they expect results from their leaders and provide them with the opportunity to achieve them. Music is a vital element that shapes Sony, and such an essential part of the company should not simply be sold off. I cannot see any reason for that, and I definitely support my current position. I believe the problem will be resolved.

Question 3: What is the deciding factor for signing a contract?

--Yes, please go ahead with the next question.

Questioner 3: Mr. Davis, I believe you have received many demo tapes and seen many wonderful singers, talented singers, and performers. However, not everyone can be signed, and you can only choose a few each year. What was the deciding factor for signing that specific artist? Is it because he or she is a wonderful singer?

CD◆First, what you have to determine is whether you are auditioning artists who create their own music. In that case, you evaluate the songs they are writing. If you are auditioning to find artists like Springsteen, Alicia Keys, or Patti Smith, you evaluate their music and whether they can sustain that music. If you are evaluating interpretive singers—that is, singers who rely on publishers, writers, and songs—you look for artists who have the power to bring an audience to their feet. The Whitney footage you saw earlier was not prepared for me to come here today. I happened to find that tape while I was looking for all of her songs. Once you hear that voice, you know she is cut out to be a star.

There are many talented vocalists. If you go into the world of gospel, everyone can sing with power and intensity of soul. However, you have to determine, 'Can they become a star?' That is why I participated in American Idol (an audition program broadcast on television since 2002, which has produced popular singers such as Kelly Clarkson and Carrie Underwood) for the first six years. You are looking for a star. This is a special talent. I spoke about longevity earlier, regarding how long their careers will last. For me, that is the standard. And, 'Can this artist fill an arena as a headliner?' That is the standard for artists who do not write their own songs. If they do write songs, I also evaluate how intense that material is. I will never forget auditioning a rock artist with a different nature like Patti Smith, but basically, I am looking for a headliner.

Question 4: The impact of streaming on Japan

Questioner 4: What is your view on streaming and subscription services, and what can they bring to the industry? What will the future be like? What is your opinion?

CD◆I think these streaming services have significantly expanded the audience for music in both America and Europe, bringing in huge numbers. As legal rights issues are sorted out, with tens of millions of people becoming the audience, it will eventually settle into a standard of financial compensation that allows record labels to operate healthily.

I had the opportunity to speak with Nobu-san from Sony Music Japan today, and I felt very encouraged. He told me about the wonderful traditions that continue in Japan. There is a culture of visiting record stores like Tower Records and HMV, and I was very encouraged by the fact that CDs probably account for 80% of the market share in Japan (as of 2013). I thought that was wonderful.

That is not to say that is all there is to it. There is always value in tradition, and there is value in having a wonderful product in your hands. However, at the same time, there is value in knowing that things change and in being open. The fact that streaming services like Spotify have expanded so much and that music and songs are being listened to on a scale never seen before is very encouraging for the future in terms of the total amount paid to us. The mechanisms and such will continue to change, but this clearly demonstrates the power that music inherently possesses.

As this session is coming to an end, I would like to give a final push of encouragement to everyone in Japan with affection. Of course, you should be proud of your local artists, musicians, and the headliners who are about to emerge, and you have every right to be. However, at the same time, I want you to embrace artists coming from other countries as well. I have heard that the percentage of overseas artists, which was once around 40%, has fallen. Perhaps it is around 20% now. But even without worrying about such percentages, music is wonderful no matter where it comes from in the world. As for me, I listen to wonderful artists and music regardless of which country they are from. So, one last word: please be open to new artists who inherit the traditions of Whitney Houston or Aretha Franklin, no matter where they come from. Please welcome them into your country, just as you once did.

<What kind of future do you envision?>

--You have left a wonderful legacy in sending American artists out into the world. On the other hand, there are many wonderful artists in other countries, including Japan, who wish to receive more attention in America. They want to be part of the huge music scenes in America and Europe. However, in terms of culture, there seems to be an imbalance in the world. What do you think can be done to change this situation? Also, what kind of future do you personally hope for?

CD◆Well, as I said earlier, what I truly hope for is that wonderful artists have the opportunity to reach audiences around the world, regardless of which country they are from.

However, as a practical matter, we are facing the barrier of 'language.' I spoke about the importance of English because I know that English is a mandatory requirement. I have heard that in Japan, people are learning English from a younger age than ever before, and that is truly wonderful. Americans are very limited in terms of language ability. People in many countries speak multiple languages, but Americans do not. Realistically speaking, whether or not you can advance into the world depends in part on language.

Speaking not just in terms of ideals but in terms of reality, it is a very difficult problem. For example, Andrea Bocelli (a tenor singer from Italy who is active globally) advanced from Europe to America and had a breakthrough. So, I was searching on my own for 'artists I could sign regardless of the language barrier.' And I tried to develop several artists to advance them from Europe to America. Because, in the modern music business—I hope this doesn't get too technical—if you don't rely solely on hit songs, you have to market through television. To reach millions of people, you need to do interviews, appear on programs, and perform in places other than just having a hit. However, because they did not realistically master English, it was difficult, almost impossible, to make them break through.

Therefore, in our task of finding excellent talent regardless of which country they are from, we must understand that 'language becomes an important factor.' In America, people do not study other countries' languages diligently, but I think this is a tremendous limitation for America. On the other hand, in Europe, where neighboring countries are in contact, they learn each other's Italian, German, French, and Spanish. I hear that young people in Japan are now learning English as young as six years old, and if that language barrier is removed, there is a sufficient possibility that we will witness a major global success by Japanese artists. I am truly looking forward to that.

Thank you very much for coming today. I am truly happy to have been able to speak in front of you all.

▼Compilation album featuring works/artists Mr. Clive Davis has been involved with▼

"Clive Davis: The Soundtrack of Our Lives" (released in 2017)

(Editor: A)