Creating an album. For artists, it is a contradictory act—both a process of excruciating agony and a moment of pure ecstasy. Usually, instruments and various debris would be flying through the air, but today, for the first time in a long while, the Enfants Terribles studio was filled with a warm, congenial atmosphere.
Watching this scene unfold, Saito Ichigo wore a look of immense satisfaction.
"Our damn superstars are actually getting along for this album?"
"Sunglasses guy, there's no reason to fight when the songs are just pouring out of us."
The muscular drummer slurped down the remaining bits of his protein shake with gluttonous efficiency as he offered the reply with a grin.
It was true. The process of creating Enfants Terribles' third album was, for the first time in their history, harmonious. Unlike the past, where they would swing instruments at each other, scream obscenities, and storm out of the studio at the slightest provocation, the work was proceeding smoothly.
Tanaka Shuji and Yokishi worked together to churn out the foundations of the tracks, Sakamoto Ryuichi produced them, and finally, Hide polished the songs, transforming them into masterpieces.
Recently, Saito Ichigo had been happier than ever. The top-tier groups under Strawberry Productions were still going strong, and even B-Komachi—a group he had built from the ground up while scraping the bottom of the industry—had finally established themselves as a frontline force.
At this rate, Ai is ready to throw down the gauntlet in the American market.
He was especially relieved to see the third album of Enfants Terribles coming together so easily, considering how they had been wobbling during their second album tour. Even if Hide didn't possess the same raw, burning passion he once had, he was at least fulfilling his duties as a leader.
"By the way, you damn superstar, are you sure you don't need to rest more?"
"I have a sense of responsibility, you know. Even if we've grown apart, shouldn't I hold the line until that child reaches the top on her own?"
From Saito's perspective, this wasn't a bad thing. If Hide could find motivation for living through that sense of duty, it was enough. It was certainly better than back when he looked like he was ready to give up on life altogether.
"Then, I'm sorry to interrupt the session, but I'll need a moment of your time."
Miyazaki Makoto, who was standing next to Saito Ichigo, began handing out documents.
"These are the settlement statements and the future schedule. I've only booked events fitting for 'damned stars' like you, so I think you'll be satisfied."
Aside from Sakamoto Ryuichi, who was receiving a settlement for the first time, everyone else gave their paychecks a cursory glance. Once you reach the scale of Enfants Terribles, you care more about the long-term plans for the band than personal pocket change.
"Sato, you already signed the contracts for the World Tour venues?"
"Booking them early makes it easier to organize the rest of the schedule. Strawberry Productions has accumulated some know-how now. And for the last time, it's Saito, not damn superstar Sato."
As they scanned the schedule more closely, every member of Enfants Terribles stopped on the exact same line.
[U.S. Super Bowl Performance.]
Shuji pointed at the document, a mischievous smirk spreading across his face.
"Who else but us would go to the Super Bowl? We're the biggest stars of this era, after all. Right, Leader?"
The Super Bowl. America's largest sporting spectacle. It was an event of overwhelming prestige, consistently recording over 100 million viewers, and dominating in terms of ratings, buzz, and symbolism.
The stars who had earned the honor of appearing at the Super Bowl were legendary names like Michael Jackson, Mariah Carey, Whitney Houston, and Madonna. Only the absolute pinnacle of talent could hope to stand on the Super Bowl Halftime Show stage.
Of course, there were distinctions even there: joint performances versus solo performances.
Joint performances were for those who were at the top of their game but perhaps lacked that certain 'legendary' status. Solo performances were reserved for icons who had carved their names into history. A representative example of a solo performance was Michael Jackson's in 1993, which set the standard for the modern halftime show.
In short, a solo Super Bowl performance was an honor granted only to those who could be called the symbols of an era.
Sakamoto Ryuichi, who had not been part of Enfants Terribles for very long, turned to Saito Ichigo with a stunned expression.
"Is this... a solo performance...?"
"Yeah. Congratulations on being recognized as legends."