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Thousands of people dream of having their own business and even more so be a successful entrepreneur. But what does it take to achieve success in the business industry?

One of the most successful entrepreneurs featured at the Forbes website, Wendy Lipton - Dibner said that "the success of your business would solely depend on you. The only thing you can rely on is your power to achieve your goal".

She shared her success story at the Forbes website and said that when she was young she learned a very important business objective from her high school activity and that is to go out, explore, come back and explain how money is made in business. This is an objective she never forgot until she made millions for herself.

When she was already very successful, she never stopped understanding business and how it really works. Profit is the number one goal in business and how you make it is a natural talent. Yes, there may be a lot of guidelines given and showed on television and the internet but only you know how you will make your sales to the top.

Try to ponder on these notes when thinking of a business:

1.) Passion. Business may be set on profit but the core of your business should be something you love. Passion counts a lot in businesses because it also builds your determination in achieving your goal.

2.) Impact. Business is a big and competitive world, what will matter is how you make a difference to your market. How your business will impact your market. The profit of your business will rely on the impact of your business. The mark it will leave to your customers will make it grow.

3.) Three Guidelines.

If you have noticed, the three guidelines below are very simple and natural.

3 Responses

  1. United Kingdom|British]] record producer [[Ian Levine]]'s Eastbound Expressway, released the single "You're a Beat" in recognition of the slower tempo of hi-NRG music emerging from Europe. Many European acts managed to break through under this new recognition, namely the likes of [[Modern Talking]], [[Bad Boys Blue]], [[Taffy (singer)|Taffy]], and [[Spagna]]. The term "Eurobeat" was subsequently used commercially to describe the [[Stock Aitken Waterman]]–produced hits by [[Dead or Alive (band)|Dead or Alive]], [[Bananarama]], [[Jason Donovan]], [[Sonia (singer)|Sonia]], and [[Kylie Minogue]] which were heavily based on the British experience with Italo disco. During 1986–1988, it was used for specific Italian 1980s [[Euro disco]] imports, such as [[Sabrina Salerno]], [[Spagna]], and [[Baltimora]] but was also used in the [[United States]] as a catch-all term for UK-based [[dance music|dance]] and [[electropop]] groups of the time such as [[Pet Shop Boys]], purported to have a "European beat", hence Eurobeat. By 1989, with the advent of [[Eurodance]] and Euro house, the term was dropped in the UK.
  2. highly polished production with "musical simplicity" at its core — from [[Bubblegum Pop]]-like lyrics, catchy (in some cases Italian, in other Eurodisco-like) melodies, to "elementary" song structures — an average British Eurobeat song took very little time to complete.<ref name=BMI/> Bananarama's "[[Venus (Shocking Blue song)#Bananarama version|Venus]]" and Mel & Kim's "[[Showing Out (Get Fresh at the Weekend)]]" were said completed in a day, according to Pete Waterman of [[Stock Aitken Waterman]].<ref name=BMI/>{{listen |pos=right | filename = Speedway by Niko, from Super Eurobeat Vol. 101.ogg | title = "Speedway" | description = ''Beginning''(0:00-0:31) → ''riff'' in [[Maurizio De Jorio|Niko]]'s "Speedway", from ''[[Super Eurobeat|Super Eurobeat Vol. 101]]'' | format = [[Ogg]] }} '''Classic Eurobeat-style'''{{listen |pos=right | filename = Boom Boom Fire by D.Essex, from Super Eurobeat Vol. 140.ogg | title = "Boom Boom Fire" | description = ''[[Megamix]]-beginning'' → ''riff'' [then cut to] ''b melo'' → ''sabi'' → ''riff'' in [[Maurizio De Jorio|D.Essex]]'s "Boom Boom Fire", from ''[[Super Eurobeat|Super Eurobeat Vol. 140]]'' | format = [[Ogg]] }} Both variants are not recognized by the complexity of their lyrics. Tempo and style vary, sometimes resembling "slower" Italo disco, sometimes "fast and happy" music like [[happy hardcore]], with a sequenced octave bassline. Many feature guitars as a method of "Sabi", or a beginning section, followed by a thunderous, highly technical synthesizer riff<ref>{{Cite web|url=http://eurobeatblog.com/eurobeat-creation-theory-synth-riffssabis/|title=Eurobeat Creation Theory: Synth Riffs/"Sabi"s|date=2010-08-06|website=Odyssey Eurobeat|language=en-US|access-date=2019-10-22}}</ref> which is then repeated after the chorus. Songs usually repeat the verse, bridge, and chorus multiple times during the song. The beginning is typically like an instrumental rendition of the verse, bridge, and chorus, while the riff is a lot like an instrumental version of the chorus. {{Quote box |class = letterhead |border=none |quote = '''beginning (intro) → sabi (musical synth) → A melo (verse) → B melo (bridge) → chorus → sabi (musical synth) → C melo → ending''' |author ='' The intro is the introduction into the song, the sabi is the musical part without voices. The ''A melo'', or a-melody is the first verse in the song, the ''B melo'' is the bridge of the song, and there is a vocal chorus. There is also a ''C melo'' after the first chorus, as well as another ''A/B melo'' variant after the second sabi.''
  3. name = Eurobeat | bgcolor=silver | color=blue | image=File: Super Eurobeat Vol.250 cover art.png | caption=''[[Super Eurobeat]] Vol. 250'' cover art | stylistic_origins = {{hlist|[[Hi-NRG]]<ref name=Arena/><ref>Cunningham, Mark "Good Vibrations: A History of Record Production" (Sanctuary Music Library), Alan Parson (Introduction), Brian Eno (Introduction) Sanctuary Publishing, Ltd; 2 edition (1998, Digitized 20 May 2010). {{ISBN|1-86074-242-4}}, {{ISBN|978-1-86074-242-2}}</ref>|[[Italo disco]]{{efn|Italy is a Eurobeat "Mecca" to either variant of Eurobeat; first produced in Italy<ref name=ECI>David D. Laitin, Robert Schuman Centre (2000). ''Culture and National Identity: "the East" and European Integration.'' European University Institute. Page 14.</ref> and Germany.<ref name=ECI/>}}}} | cultural_origins = '''British Eurobeat:'''<br>Mid-1980s, United Kingdom<br>'''Contemporary Eurobeat:'''<br>Late 1980s, Italy and Japan | derivatives = | fusiongenres = [[J-pop]]<ref>Keizai, Kokusai & Zaidan, Kōryū (cont.) "Japan Spotlight: Economy, Culture & History, Volume 23". Page 24 (Ng Wai-ming: "The Rise of J-Pop in Asia and Its Impact"). Japan Economic Foundation & the University of California. 2004. Quote: "JAPANESE pop music is commonly I referred to as "J-pop," a term coined by [[Tetsuya Komuro|Komuro Tetsuya]], the "father of J-pop," in the early 1990s. The meaning of J-pop has never been clear. It was first limited to Euro-beat, the kind of dance music that Komuro produced. However, it was later also applied to many other kinds of popular music in the Japanese music chart, Oricon, including idol-pop, rhythm and blues (R&B), folk, soft rock, easy listening and sometimes even hip hop."</ref><ref>Society for Asian Music (2003). "Asian Music: Journal of the Society for Asian Music, Volume 34, Issue 1". Page 1 ("Japanese Popular Music in Singapore"). The University of California.</ref> | regional_scenes = {{hlist|[[#United Kingdom|United Kingdom]]|[[#Italy and Japan|Italy]]|[[#Italy and Japan|Japan]]}} | other_topics = {{hlist|[[#J-Euro|J-Euro]]|[[Para Para]]|[[Synthwave]]|[[Stock Aitken Waterman]]}} }} '''Eurobeat''' refers to two styles of [[dance music]] that originated in [[Europe]]: one is a British variant of Italian<ref name=ECI/> Eurodisco-influenced<ref name=Cultural>Ang, Ien & Morley, David (2005). "Cultural Studies: Volume 3, Issue 2". ''Routledge''. pgs. 171, 173, 170. {{ISBN|9781134957927}}. "Eurorecords had to have immediate cross-national appeal, musical simplicity was of the essence- a bouncy beat, just one chorus hook, elementary lyrics. The fun of these records was entirely a matter of sound quality, but once a record was a hit it took on a kind of sleazy, nostalgic charm of its own. It was precisely the brazen utility of these records, in short, that gave them gay disco consumer appeal too.[...] Eurodisco also had an obvious element of camp -British club audiences took delight in the very gap between the grand gestures of Eurosingers and the vacuity of their songs."</ref> [[dance-pop]](this type is only sold in Japan), and the other is a [[hi-NRG]]-driven form of [[Italo disco]]. Both forms were developed in the 1980s. The Japanese [[Para Para]] dance culture is influenced by Eurobeat. Eurobeat music often accompanies [[anime]], which made the genre more popular in the US, where Eurobeat was historically marketed as [[hi-NRG]] (pronounced as "high energy"). For a short while, it also shared this term with early [[Latin freestyle|freestyle music]] and Italo disco. The Eurobeat and [[Super Eurobeat]] genres are used and often associated with the main soundtrack for the anime [[Initial D]], which is about Japanese mountain pass street racers. Many Eurobeat artists such as Dave Rodgers, Manuel, Dr. Love, and others have songs featured throughout the anime. Some popular songs associated with the anime include "Deja Vu", "[[Running in the 90s]]", "Gas Gas Gas", and "Don't Stop the Music". ==Characteristics== ;SAW-style A highly polished production with "musical simplicity" at its core — from [[Bubblegum Pop]]-like lyrics, catchy (in some cases Italian, in other Eurodisco-like) melodies, to "elementary" song structures — an average British Eurobeat song took very little time to complete.<ref name=BMI/> Bananarama's "[[Venus (Shocking Blue song)#Bananarama version|Venus]]" and Mel & Kim's "[[Showing Out (Get Fresh at the Weekend)]]" were said completed in a day, according to Pete Waterman of [[Stock Aitken Waterman]].<ref name=BMI/>{{listen |pos=right | filename = Speedway by Niko, from Super Eurobeat Vol. 101.ogg | title = "Speedway" | description = ''Beginning''(0:00-0:31) → ''riff'' in [[Maurizio De Jorio|Niko]]'s "Speedway", from ''[[Super Eurobeat|Super Eurobeat Vol. 101]]'' | format = [[Ogg]] }} '''Classic Eurobeat-style'''{{listen |pos=right | filename = Boom Boom Fire by D.Essex, from Super Eurobeat Vol. 140.ogg | title = "Boom Boom Fire" | description = ''[[Megamix]]-beginning'' → ''riff'' [then cut to] ''b melo'' → ''sabi'' → ''riff'' in [[Maurizio De Jorio|D.Essex]]'s "Boom Boom Fire", from ''[[Super Eurobeat|Super Eurobeat Vol. 140]]'' | format = [[Ogg]] }} Both variants are not recognized by the complexity of their lyrics. Tempo and style vary, sometimes resembling "slower" Italo disco, sometimes "fast and happy" music like [[happy hardcore]], with a sequenced octave bassline. Many feature guitars as a method of "Sabi", or a beginning section, followed by a thunderous, highly technical synthesizer riff<ref>{{Cite web|url=http://eurobeatblog.com/eurobeat-creation-theory-synth-riffssabis/|title=Eurobeat Creation Theory: Synth Riffs/"Sabi"s|date=2010-08-06|website=Odyssey Eurobeat|language=en-US|access-date=2019-10-22}}</ref> which is then repeated after the chorus. Songs usually repeat the verse, bridge, and chorus multiple times during the song. The beginning is typically like an instrumental rendition of the verse, bridge, and chorus, while the riff is a lot like an instrumental version of the chorus. {{Quote box |class = letterhead |border=none |quote = '''beginning (intro) → sabi (musical synth) → A melo (verse) → B melo (bridge) → chorus → sabi (musical synth) → C melo → ending''' |author ='' The intro is the introduction into the song, the sabi is the musical part without voices. The ''A melo'', or a-melody is the first verse in the song, the ''B melo'' is the bridge of the song, and there is a vocal chorus. There is also a ''C melo'' after the first chorus, as well as another ''A/B melo'' variant after the second sabi.'' |source = |width = 100% |align = center}} ==Use of the term== [[United Kingdom|British]] record producer [[Ian Levine]]'s Eastbound Expressway, released the single "You're a Beat" in recognition of the slower tempo of hi-NRG music emerging from Europe. Many European acts managed to break through under this new recognition, namely the likes of [[Modern Talking]], [[Bad Boys Blue]], [[Taffy (singer)|Taffy]], and [[Spagna]]. The term "Eurobeat" was subsequently used commercially to describe the [[Stock Aitken Waterman]]–produced hits by [[Dead or Alive (band)|Dead or Alive]], [[Bananarama]], [[Jason Donovan]], [[Sonia (singer)|Sonia]], and [[Kylie Minogue]] which were heavily based on the British experience with Italo disco. During 1986–1988, it was used for specific Italian 1980s [[Euro disco]] imports, such as [[Sabrina Salerno]], [[Spagna]], and [[Baltimora]] but was also used in the [[United States]] as a catch-all term for UK-based [[dance music|dance]] and [[electropop]] groups of the time such as [[Pet Shop Boys]], purported to have a "European beat", hence Eurobeat. By 1989, with the advent of [[Eurodance]] and Euro house, the term was dropped in the UK. ==History== ===United Kingdom=== ===="The New Motown"==== {{quote box|quote="It's a great hybrid with Motown-style lyrics, an Italian-style melody, and a Eurobeat. It sounds really great on the radio."|source=—Waterman (1986) on Bananarama "I Heard a Rumour".<ref name=BMI>BMI: The Many Worlds of Music. [[Broadcast Music, Inc.|Broadcast Music, Incorporated]], 1986. p. 17.</ref>|width=30em}} The trio of British record producers, songwriters, and former DJs Mike Stock, Matt Aitken, and Pete Waterman were involved in the British underground club culture, encountering the Black American soul music-focused scene called [[northern soul|Northern Soul]], Italian pop-Eurodisco, and sped-up Motown Sound-inspired tracks. As underground record producers, they sought to recapture the "nostalgia" of Motown Sound with a hint of campy playfulness where the simplicity of musical structures, like in Italian disco, was preferred. This musical formula was proven to be successful enough to be capitalized on as they had a string of top 10 UK hits in the 1980s to the point of their version of Eurobeat becoming synonymous with British pop music as a whole.<ref>Manning, Sean (2008). "Rock and Roll Cage Match: Music's Greatest Rivalries, Decided". Crown/Archetype, Aug 26, 2008. Page 69. {{ISBN|9780307449658}}.</ref> [[Pete Burns]] of [[Dead or Alive (band)|Dead or Alive]] regularly fought the production team over "[having to adhere] to their production methods and concepts" which SAW were "quite firm about". Burns went on making a next album, produced by Burns and Dead or Alive drummer Steve Coy, without them, called ''[[Nude (Dead or Alive album)|Nude]]''. Epic (licensed by Sony Europe) was reluctant about releasing the album but it turned out to be so successful in Japan that it was awarded the [[Japan Record Award]] Grand Prix for Best International Album of 1989 in the 'Pop' or 'Popular' Category.<ref name=Arena>{{cite book |last=Arena |first=James |year=2017 |title=Europe's Stars of '80s Dance Pop |url=https://books.google.com/books?id=zMYtDwAAQBAJ&pg=PT225 |publisher=[[McFarland & Company|McFarland]] |page=85 |isbn=9781476630144 |access-date=2020-01-29}}. Relevant pages 29-32 (Pete Burns), Pages 44 & 85 (high-energy music). Page 29 quote: "I got really sick working with them during the making of the ''[[Mad, Bad, and Dangerous to Know (Dead or Alive album)|Mad, Bad]]'' album. I got really, really sick." [...] The Stock Aitken Waterman team was reportedly quite firm about adhering to their production methods and concepts, which Burns said was a major source of friction. "We would butt heads so fucking badly; it was unbelievable. That's why we eventually walked away from them. For instance, there was a lyric from 'Something in My House' [from the follow-up album, ''Mad, Bad and Dangerous to Know''] where I make a reference to a 'wicked queen.' The actual producer, Mike Stock, stopped me and said I couldn't use the term because it would mean the record is about gay people. I was like, 'Fuck this; it's going on!' They actually wiped the original vocal, but then Pete Waterman came back and said, 'Let [Burns] do it the way he wants to.' There you go."</ref> ===Italy and Japan=== ===="By the Italians, for the Japanese"==== {{quote box|align=left|quote="[A-Beat C, Time, Delta] have been with us for years now, and they believed in us. Without them, we couldn't have made it happen."|source=—avex trax's Haji Taniguchi (2000)<ref name=Steve>McClure, Steve. "Midem 2000: JAPAN: Execs Stress Dance & Urban". ''Billboard'' (Nielsen Business Media, Inc.). Jan 22, 2000. Page 80. ISSN 0006-2510. Quote: "[T]o maintain an existing relationship with our clients we want to show our special appreciation to our collaborators for the success of 'Super Eurobeat Volume 100,' which has sold more than a half-million units since being released in August," says Avex's Haji Taniguchi. [...] Taniguchi says the three companies to which Avex feels especially grateful for their support over the years are A-Beat C, Time, and Delta, all of which are from Italy."</ref>|width=30em}} Meanwhile, in Japan in 1985, the term "Eurobeat" was applied to all continental-European dance music imports. These were mainly Italian and German-produced [[Italo disco]] releases. That sound became the soundtrack of the [[Para Para]] nightclub culture, which has existed since the early 1980s. Japan experienced Italo disco through the success of the German group [[Arabesque (group)|Arabesque]], which broke up in 1984. This did not prevent the release of two Italo disco-sounding singles in 1985 and 1986, produced and mixed by [[Michael Cretu]] (of [[Enigma (German band)|Enigma]]). The later solo success of Arabesque's lead singer [[Sandra Cretu|Sandra]] further introduced this sound to Japan. This attracted the attention of many Italo disco producers (mostly Italians and Germans), and by the late 1980s while the Germans faded out of the outdated Italo disco scene and went for other newly rising popular scenes, mainly [[Trance music|trance]]. The Italians went on to create a new sound especially for Japan, but it was virtually unknown in the rest of the world.{{Citation needed|date=August 2013}}{{awkward|reason=long and unwieldy|date=October 2020}} In Japan, this music is called "Eurobeat", "Super Eurobeat", and "Eurobeat Flash". [[File:Dsc 1150 Mantua.jpg|thumb|right|200px|The majority of Eurobeat labels have been based in [[Northern Italy]], including [[Lugagnano Val d'Arda|Lugagnano]], [[Brescia]] and [[Mantua]] (pictured)]] [[File:Velfarre floor 3.jpg|thumb|right|200px|[[Velfarre]], a discothèque located in Tokyo, was considered a [[mecca]] of Eurobeat during the 1990s and 2000s.]] In the early 1990s, when Eurobeat's popularity was gradually decreasing in Japan, two Japanese men, the owner and a managing director of [[Avex Group|Avex]], a small import record shop at the time, decided to release a [[compilation CD]]. They went to Italy and met Giancarlo Pasquini (later known as [[Dave Rodgers]]), then a member of the Italo disco band [[Aleph (musician)|Aleph]], and eventually released the compilation CD, the first ''[[Super Eurobeat]]'', which proved an instant success and re-sparked Eurobeat's popularity in Japan.<ref>[http://triplei.hp.infoseek.co.jp/s-page/eurobeat.html] {{dead link|date=September 2020}}</ref>{{awkward|reason=overly long|date=October 2020}} Avex also collaborated with foundational Eurobeat labels A-Beat C, [[Time Records|Time]], and Delta long after Eurobeat's mainstream popularity peak.<ref name=Steve/> Eurobeat's sound (in the Japanese market) is its main link to its Italo disco origins, where it was just one of many different experiments in pure [[Electronic dance music|electronic dance]]. There are certain synth instruments that recur across the entire genre: a sequenced octave bass, the energetic (sometimes wild) and heavy use of synths, distinctive brass and harp sounds, and tight, predictable percussion in the background. These sounds are layered with vocals and natural instruments (guitar and piano are common) into complex, ever-shifting melodies that burst with energy.{{Citation needed|date=August 2013}} {{listen |pos=left | filename = I Wanna Dance by Domino, from Super Eurobeat Vol. 90.ogg | title = Intro of "I Wanna Dance" | description = "I Wanna Dance", [[Alessandra Mirka Gatti|Domino]]'s Eurobeat song, from ''[[Super Eurobeat|Super Eurobeat Vol. 90 Anniversary]]'' | format = [[Ogg]] }} The [[anime]] series ''[[Initial D]]'', based on the [[manga]] by [[Shuichi Shigeno]], uses Eurobeat music regularly<ref name=Stuck>Stuckmann, Chris (2018) "Anime Impact: The Movies and Shows that Changed the World of Japanese Animation". Vincent R. Siciliano segment. Mango Media Inc. {{ISBN|9781633537330}}.</ref> in its episodes during racing scenes between the characters, and because of this it has come to the attention of some anime fans outside Japan. The series as well as the [[video games]] use a large playlist of Eurobeat songs including some by [[Dave Rodgers]], like "Deja Vu" and other artists such as [[Maurizio De Jorio|Max Coveri]] with songs like "Running in the 90s". (Many of these songs also became [[Internet Meme|memes]].) There are also many Eurobeat songs based on the series itself, including: "Takumi" by Neo, "Speed Car" by D-Team, "Initial D Hell" by Dave Rodgers and "DDD Initial D (My Car is Fantasy)" by Mega NRG Man. In the [[New Initial D the Movie|movie version]] of this anime (Legend 1 Awakening, Legend 2, and 3) there is no Eurobeat and it has been criticised by fans for this reason.{{Citation needed|date=October 2020}} The songs used in the films are instead modern-day [[Japanese rock|J-rock]] songs. In 1998, Bemani, a branch of the video game company [[Konami]] made a hit video dance machine, ''[[Dance Dance Revolution]]''. The game acquired Eurobeat songs from the ''[[Dancemania]]'' compilation series from [[Toshiba EMI]].{{awkward|reason=use of the word "from" twice in quick succession|date=October 2020}} Over time, DDR has featured Eurobeat songs on-and-off in their song lists. However, their number has dwindled due to efforts to make DDR more marketable to North American markets.{{Citation needed|date=August 2013}} Currently, there has been a push to add more Eurobeat into DDR, most recently with the addition of Super Eurobeat tracks in the latest arcade release, ''[[Dance Dance Revolution X2]]''. Other music games in Konami's lineup feature a large number of Eurobeat tracks, including ''[[Beatmania]]'', ''[[Beatmania IIDX]]'', ''[[StepMania]]'',<ref name=Stuck/> ''[[jubeat]], and many more''. The popularity of the genre also led Konami to create a [[Para Para]] game; ''[[ParaParaParadise]]''. ==Subculture== ===J-Euro=== <!--{{listen |pos=right | filename = Stop The Music by Sophie, from Super Eurobeat Vol. 146.ogg | title = "Stop the Music" by Sophie {{small|aka Elena Ferretti}} | description = The original version of "Stop the Music" | filename2 = Stop The Music by Namie Amuro, from Super Eurobeat Vol. 150.ogg | title2 = "Stop the Music" by Namie Amuro | description2 = "Stop the Music" by [[Namie Amuro]], released in 1995, selling approximately 530,000 copies. | filename3 = You (Aggressive Mix) by Ayumi Hamasaki, from Ayu-ro Mix.ogg | title3 = "You (Aggressive Mix)" by Ayumi Hamasaki | description3 = Remixed by [[Bratt Sinclaire]], from ''[[Super Eurobeat Presents Ayu-ro Mix|Ayu-ro Mix]]'' | format = [[Ogg]] }}--> Subsequently, there have been three types of music called "J-Euro" ('''J'''apanese '''Euro'''beat); :1. Eurobeat songs made in Italy, covered by Japanese artists with Japanese lyrics. ::This type of "J-Euro" appeared first in the early 1990s. Notable artists of this type of "J-Euro" have included [[MAX (band)|MAX]], [[D&D (band)|D&D]], [[V6 (band)|V6]], [[Dream (Japanese band)|Dream]], and the "Queen of J-pop" [[Namie Amuro]].<ref>Bakuren, [http://bakuren.at.infoseek.co.jp/j.htm List of J-EURO Original Tracks] {{Webarchive|url=https://web.archive.org/web/20081010195006/http://bakuren.at.infoseek.co.jp/j.htm |date=2008-10-10 }} {{in lang|ja}}</ref> {{listen |pos=right | filename = You (Aggressive Mix) by Ayumi Hamasaki, from Ayu-ro Mix.ogg | title = "You (Aggressive Mix)" by Ayumi Hamasaki | description = Remixed by [[Bratt Sinclaire]], from ''[[Super Eurobeat Presents Ayu-ro Mix|Ayu-ro Mix]]'' | format = [[Ogg]] }} :2. J-pop songs made in Japan, remixed in the style of Eurobeat by Italian Eurobeat producers. ::This type of "J-Euro" appeared first on the 1999 issue of ''Super Eurobeat'', ''Vol. 100'', with several tracks of this type of "J-Euro" by [[MAX (band)|MAX]], [[Every Little Thing (band)|Every Little Thing]], and [[Ayumi Hamasaki]].<ref>[http://www.time.com/time/world/article/0,8599,2054810,00.html] {{dead link|date=September 2020}}</ref> This type of "J-Euro" has been popular in the [[para para]] scene since around 2000.<ref name="tsutaya">[[Culture Convenience Club|Tsutaya]], [http://www.tsutaya.co.jp/works/20032612/summary.html J-Euro Non-Stop Best > Summary] {{in lang|ja}}</ref> [[Avex Trax]] launched the ''Super Eurobeat Presents : J-Euro'' series in 2000; ''[[Super Eurobeat Presents Ayu-ro Mix|Ayu-ro Mix 1]], [[Super Eurobeat Presents Ayu-ro Mix 2|2]] and [[Rmx Works from Super Eurobeat Presents Ayu-ro Mix 3|3]]'', plus a [[Ayu-mi-x 7 Presents Ayu-ro Mix 4|fourth]] remix album missing the "Super Eurobeat" tag featuring [[Ayumi Hamasaki]], ''[[Super Eurobeat presents Euro Every Little Thing|Euro Every Little Thing]]'' featuring [[Every Little Thing (band)|Every Little Thing]], ''[[Super Eurobeat presents Hyper Euro Max|Hyper Euro MAX]]'' featuring [[MAX (band)|MAX]], ''Euro global'' featuring [[Globe (band)|globe]], ''[[Super Eurobeat Presents Euro Dream Land|Euro Dream Land]]'' featuring [[Dream (Japanese band)|Dream]], ''J-Euro Best'', ''[[J-Euro Non-Stop Best]]'',<ref name="avex">[[Avex Trax]], [http://www.avexnet.or.jp/avexdb/eurobeat_etc/j_euro.htm J-EURO] {{in lang|ja}}</ref> :3. Eurobeat songs made in Japan, and sung by Japanese artists themselves. :: This type of Eurobeat was always present since the 2000s, but only started recently to gain much attention with the [[para para]] scene promoting a lot of these songs. Most songs are anime remixes or J-pop covers, which makes it an ''anime boom'' as some people call it.{{Tone inline|date=August 2013}} ::Eurobeat labels to showcase this type of J-Euro are ''A-One'', ''Akiba Koubou INC/Akiba Records'', ''Eurobeat Union'', ''Fantasy Dance Tracks'', ''Plum Music'', ''SuganoMusic'' and more. ===Para Para=== {{main|Para Para}} One of the dance moves Eurobeat spawned was {{nihongo|''para para''|パラパラ}}, a type of Eurobeat music-inspired Japanese youth social dance performed in unison.<ref>Karen Ma (1996). "The Modern Madame Butterfly: Fantasy and Reality in Japanese Cross-cultural Relationships". Charles E. Tuttle. {{ISBN|9780804820417}}. Quote: "[T]he ''para-para'' girls-young women in their late teens and early twenties dancing in unison in Japanese dance steps to the sound of fast-tempo Euro-beat. ''Para-para'' dancing is not a new invention: it dates back to the early eighties."</ref><ref>Roland B. Tolentino, Jin Hui Ong, Ai Yun Hing (2004). "Transglobal Economies and Cultures: Contemporary Japan and Southeast Asia". Page 241. University of Michigan & University of the Philippines Press. {{ISBN|9789715424196}}.</ref> ==Themes== Yet another characteristic of Eurobeat is recurring song themes. Common themes include: :{| !style="background: #e3e3e3; width: 5%;"|Theme !style="background: #e3e3e3; width: 40%;"|Examples |- |{{small|'''Cars (racing)'''}} | {{small|"Running in the 90s" by Max Coveri; "Like a Speedy Car" by Danny Rock; "The Race is the Game", "The Race of the Night", "The Race is Over", "Wheels of Fire", and "New Race Game" by Dave Rodgers; "Face the Race" by Powerful T.; "Hot Hot Racing Car" by Go 2; "Drivin' Crazy" by Ace; "My Car is Fantasy" by Mega NRG Man; "Car of Your Dreams" by Dave & Nuage; "Ready Steady Go!" "Limousine" and "Gas Gas Gas" by Manuel; "Go Racin' Go!" by Go 2; "Speedy Speed Boy" by Marko Polo; "Grand Prix" by Mega NRG Man; "The Top" by Ken Blast.}} |- |{{small|'''Energy'''}} |{{small|"Adrenaline" by Ace; "Power" and "NRG" by Go 2; "Get Me Power" by Mega NRG Man; "Stop Your Self Control" by Marko Polo; "Max Power" by Dr. Love ft. D. Essex; "Electric Power" by Niko; "Overload" by Matt Land}} |- |{{small|'''The Future'''}} |{{small|"Futureland" by Ace}} |- | {{small|'''Love'''}} |{{small|"Killing My Love" by Leslie Parrish; "Love is in Danger" by Priscilla; "Love is Danger" by Linda Ross; "Need Love" and "Raising Love" by Mega NRG Man; "Crazy for Love" by Dusty; "Mystery of Love" by Virginelle; "Burning Love" by D. Essex; "I Need Your Love"; by Dave Simon; "Love Rhapsody"; by Victoria; "Love Countdown"; by Fastway}} |- |{{small|'''Japan'''}} |{{small|"Boom Boom Japan"; by Dave Rodgers; "Tokyo Tokyo"; by D. Essex; "Tokyo Fever" by Marko Polo, 'Japanese Girl' by Ken Martin, "No One Sleep in Tokyo" by Edo Boys, "Japanese Girl" by Mega NRG Man, "Night Flight to Tokyo" by Matt Land, "Made in Japan" by Dave Rodgers}} |- | {{small|'''Eurobeat itself'''}} |{{small|"Super Eurobeat" by Franz Tornado and The Tri-Star Girls; "Super Eurobeat (Gold Mix)" by Dave Rodgers and Futura; "Eurobeat" by Dr. Love; "King of Eurobeat" by Jordan; "Super Eurobeat (Eurobeat Mix)" by Alphatown; "Super Eurobeat" by Niko; "Loving Eurobeat" by Dejo and Bon}} |- |{{small| '''Music and dancing in general'''}} |{{small|"Music for the People"; by Dave Rodgers and Jennifer Batten; "Play the Music" and "Don't Stop the Dance" by Ace; "Music Come On!" by Go 2; "Don't Stop the Music" by Lou Grant; "Music Forever" by D. Essex; "Disco Fire" by Dave Rodgers; "Dancing" by Vicky Vale}} |- |{{small| '''Money'''}} |{{small|"Love for Money" by Money Man; "Money Go Round" by Fastway; "Money Go!" by Marko Polo}} |} Eurobeat also has notoriety for name recognition, lifting titles from popular songs and using them as the names of Eurobeat tracks e.g. "Like a Virgin", "Goodbye Yellow Brick Road", "What Is Love", "Dancing Queen", "Don't Stand So Close", "Station to Station" and "Spark in the Dark". Artists usually adopt different stage names according to the mood of each song, or depending on who wrote their lyrics.{{Citation needed|date=August 2013}} For instance, Ennio Zanini has stated on the SCP Music website that he goes by the name of "Fastway" on songs which are more upbeat and sprinkled with high-pitched female backing vocals, and goes by "Dusty" on his more "serious" tracks

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