The Tyrant Billionaire

ABC Television's announcement of an upcoming singing competition immediately captured nationwide attention. Japanese society, still under the shadow of war's devastation, had yet to fully recover and remained in a suppressed state.

This was the first time such a large-scale entertainment event was being organized.

The newspaper announcement specified requirements: participants had to be aged between 12 and 22, regardless of gender, as long as they believed they could sing well.

Competition Rules:

The first round would be open auditions. Those who passed would enter a training camp where accommodations and meals would be provided, along with professional coaching.

The inclusion of meals and lodging was crucial, especially for those from outside Tokyo who might find it difficult to handle accommodations on their own. Securing a one-way ticket to Tokyo was achievable for many, but staying there for an extended period could be a struggle.

The second round would be a selection stage, where 32 contestants would advance. Those who performed exceptionally well might secure a contract with Hardy Entertainment Group.

Securing a contract meant finding employment—an attractive proposition with generous pay, sure to draw many hopeful participants.

The third round would be an elimination match where the top 32 would continue to compete until the top 10 were selected, all of whom would sign with Hardy Entertainment as performers.

The fourth round would be the finals, where rankings would be determined, and the top three contestants would receive significant backing from the company to release their own albums.

In the U.S., signing actors through a competition might be done discreetly to avoid accusations of unfairness. However, in Japan, it was openly stated as one of the most appealing aspects of the contest.

Registration was straightforward—contestants could register directly with the singing competition team at ABC Tokyo or apply by mail, with the station's mailing address listed in the newspaper.

The open auditions were set to begin on June 1 at the ABC Television Tokyo branch building.

The entertainment market in post-war Japan was severely lacking. Life was hard, restrictions were tight, and public entertainment had all but vanished. When ABC began airing programs, people finally experienced genuine entertainment, making television squares popular. In the U.S., no one would stand outside in the cold to watch TV.

Sayuri had been confirmed as the host of the singing competition, and rumors circulated that she had already begun to serve Hardy.

In Japan, the public generally supported women who served American dignitaries. For example, after Setsuko Hara began serving MacArthur, she was viewed with even more respect and admiration, even seen as working for the good of the country and its people.

The singing competition production team was fully formed.

Sayuri was a part of the team, with some authority in decision-making. Of course, there were also advisors from the American headquarters.

On stage:

Tony, an artistic director from ABC headquarters in the U.S., was explaining the contest's operation. He was dissatisfied with the arrangements for the Japanese competition, finding them too simplistic.

"Grand—it must be grand."

"The auditions should be crowded. Send out four filming teams to interview contestants during auditions—these clips can be used as broadcast material."

"With three simultaneous audition groups, you'll need at least three panels of judges, and they should be highly representative. The judges themselves should be part of the appeal."

"There's too little equipment; we need at least double the current amount. Photographers, sound engineers, lighting technicians—we're short-staffed and need to recruit more."

After hearing Tony's comments, the team exchanged glances.

One director spoke up, "Mr. Tony, your suggestions are excellent, but the Tokyo branch's resources are limited, and it's impossible to meet your demands in such a short time."

"That's unacceptable. If you're doing this, it should be done properly. Follow my instructions and get what's needed immediately," Tony insisted.

As a headquarters-appointed director, he looked down on Japanese resources, and his tone betrayed an inherent bias.

He also had personal ambitions. If he made a success of this project in Japan, it would strengthen his reputation as a senior artistic director, potentially leading to promotions and a better career stage.

"Mr. Tony, acquiring additional equipment and personnel won't happen overnight. It might be challenging to start by June 1 as planned," the director pointed out.

"That's your problem. If something's missing, then move faster. Some people always have excuses for laziness," Tony retorted.

His comment was harsh, essentially accusing everyone of not working hard enough.

Faces around the room turned grim.

The atmosphere grew tense.

But Japanese people tended to fear Americans, and with Tony representing the headquarters, no one dared to speak up.

Aside from the agent from the talent management division, Tony held the highest position among the representatives from headquarters. The management team dealt solely with talent contracts, giving Tony significant influence over production.

The afternoon meeting ended with no resolution.

Someone reported the issue to the station director, who, after some thought, realized he couldn't overrule Tony. Moreover, he wasn't sure if Tony's demands represented headquarters' wishes.

After considering for a while, the director summoned Sayuri.

"Sayuri, you were at the afternoon meeting. We have a difference of opinion with the artistic director from headquarters. What's your take?" the director asked kindly.

"Mr. Tony's demands are a bit high. Increasing equipment and staff isn't realistic. Meeting his requirements would significantly increase costs, which doesn't align with our original plan. After all, we don't have the financial backing that headquarters has, so we have to work within our means.

"I believe our initial strategy is better; we have all the necessary elements, just not on the grand scale Tony wants. Even with our resources, I'm confident the Japanese audience will love this program," Sayuri replied.

The director nodded, "I agree with you. However, Mr. Tony's views are also important, so I think we should consult with Mr. Hardy. Sayuri, the station would like you to ask Mr. Hardy's opinion, as it's best if he makes the final decision."

The director, a seasoned politician, skillfully deferred the difficult decision to someone who could handle it.

He couldn't overpower Tony.

But someone else could.

Sayuri was slightly taken aback by the request to consult Mr. Hardy. Normally, the director would make this request personally, yet now he was entrusting it to her.

"Is this appropriate, Director?" Sayuri hesitated.

"Oh, there's nothing inappropriate about it. I believe you're the most suitable person for the task. Please, Sayuri," the director said with a slight bow.

Sayuri quickly returned the bow.

"In that case, I'll give it a try," she replied softly.

The director nodded with a smile.