Billboard Japan

President and CEO of Shure, Christine Schyvinck spoke with Billboard Japan for its Women in Music interview series featuring female players in the entertainment industry. The WIM initiative in Japan began in 2022 in the same spirit as Billboard’s Women in Music that launched in 2007, honoring artists, producers and executives who have made significant contributions to the music industry and empowered women through their work.Beginning her career as a quality control engineer in 1989 at Shure, a leading global audio technology company with nearly 100 years of history, Schyvinck gained diverse experience and insight within the company which helps her move the organization forward to this day. In an email interview with Billboard Japan, Schyvinck shared her mission of getting more women involved in STEM to help them become the next generation of leaders and the importance of having a shared mindset within the industry when tackling gender inequality.Growing up, were there any women you looked up to? How have those ideals changed over the course of your career and life?In my much younger years, I paid attention to women in leadership roles and was quite curious about them. Female athletes, astronauts, and political leaders proved to me that women can go places and they inspired me. It was fortunate that I started my career at Shure, which had a supportive system and did not discriminate between men and women. This is a company that was led by Mrs. Shure herself from 1995 to 2016 – I got to work along-side her and understand her values and beliefs. That experience shaped how I work today, and now it’s my job to make sure women can find paths to success.We can’t leave everything to luck – help is needed along the way. Women play an important role in the future of technology and one of my missions is working with organizations to try to get more women involved in STEM so they can understand that this is a viable career path for them that could result in the next generation of leaders.You joined SHURE as an engineer and have had a successful tenure at the company for over 30 years. How has your experience in different departments and business units affected your career and life?This is now my 34th year with Shure. You will not find many global CEOs who have been with their companies that long. I firmly believe it is important to experience new things in an organization. I started at Shure as a quality control engineer and was quickly exposed to learning about the types of issues sound professionals encounter daily. My job was to help ensure that our equipment was reliable and always ready for the show. Shure’s brand reputation was built on quality products and this company remains committed to delivering the best performing products.I eventually moved from Vice President of Quality to Vice President of Operations, where I managed procurement, supply chain, and manufacturing, as well as quality. This was another essential experience because I was able to work with passionate people all around the world, dedicated to making great products that solved problems for our customers. In 2006, I moved into a role leading global marketing and sales, where I managed three business units in the Americas, Europe/Middle East/Africa, and the Asia/Pacific regions. All this experience has helped me learn more about overall company operations, the global business structure, and what we need to do to meet the evolving needs of customers.Having diverse experience within different parts of our company has given me an appreciation that not all CEOs are fortunate enough to have: I thoroughly understand the type of work that happens at various levels of the organization, and I know what our customers expect from us.You earned a master’s degree in management engineering while balancing work with your career. Are there things you are working on or mindful of in order to achieve your current goals?For me, being a strong business leader means listening. I work with so many talented people that help keep me informed of current business conditions and upcoming trends. I’ve found that having trust in your leadership and listening to customers is the best way forward. We are a customer-focused company and we’re not afraid to work shoulder to shoulder with people as they are working through problems. We like being out in the field and solving issues with certain venues or with certain performances. We’re problem-solvers and we share the end goal of having people in an audience be wowed during a performance. The only way this happens is attention to detail, attention to quality products, and attention in listening to what our customers need.It’s also been helpful for me to have been where many of our Associates have been as I’ve worked my way through this organization. There’s no one blueprint for success, but for me, the combination of listening and hands-on experience has really helped me move the organization forward.On the other hand, when faced with difficulties at work, how have you resolved them?The key to overcoming difficulties in business is to surround yourself with smart, capable people who can collaborate to find the right solutions. Many minds can come at a problem from different angles and help find solutions that perhaps weren’t obvious in the way you were thinking.Christine, you have been the CEO of SHURE since 2016, which is a rare feat in the audio and technology industry. Why do you think there are so few women executives in these fields?Shure has been very involved with our trade group AVIXA and others in promoting women in the industry, but there is more work to do too. Women play an important role in the future of technology and it’s really never too early to start thinking about that career path. In fact, I think you have to reach girls when they are in junior high or middle school. They need to start thinking about classes in high school and organizations to join. There are now so many schools and community organizations providing opportunities for all young kids to get involved with STEM (Science, Technology, Engineering, Math), but if that awareness doesn’t hit them early, they won’t sign up or they might be intimidated. As an industry, we should always be looking at ways we can be more involved in getting kids interested in our fields. Then, once they are in the industry, they need to have equal opportunities to progress in their careers and elevate into leadership roles.In terms of gender equality, what is Shure’s current stance, as well as the approaches it has taken in order to achieve it?When Mr. Shure founded the company in 1925, even in those different times, he was very attuned to diversity, equity and inclusion. This has been part of Shure’s DNA from the beginning. McKinsey did a study a few years back called “Diversity Matters.” The facts are there – companies that have more diversity on their teams perform better financially.We have been more aggressive with our Diversity, Equity, Inclusion, and Access (IDEA) efforts recently, involving our Associates in helping shape our communications efforts as we recruit, retain and celebrate a diverse workforce. Gender balance is a big part of that. Mrs. Shure led by example.Diversity in backgrounds, whether it is from the tech sector, musicians, audio engineers, etc., is also important. We embrace this diversity because it helps us better understand our diverse set of customers, which range from major television networks and movie studios, to educational institutions, to musicians and concert venues, to global businesses to individuals who use headphones and earphones. We now have Associates working in more than 30 countries around the world. This gives us a much better handle on local market needs and how to grow in those regions.In Europe and the U.S., women have more access to career development support through various programs and mentorships. Can you tell us about Shure’s women-focused initiative “WE VIBE”?At Shure, we have been making a commitment to our own internal actions around IDEA efforts. Over the past two years, we have held Inclusion Panels, which are panels with our own employees, discussing their backgrounds, their challenges, and how we can all create a better workplace. These are streamed live and via recording for our Associates to watch and ask questions.Our Associate-led resource groups or “VIBES” are each focused on Women, LGBTQIA+ and Culture/Racial Equity – and they have helped guide us in thinking about policies, activities and other support functions they would like to see from Shure. The WE VIBE provides additional resources and support for everyone within the organization who wants to contribute to a more diverse workplace and community. Within the industry, we are holding Women in Technology panels with pros from all over the world in the areas of theater, film and more.Shure is also supporting a number of organizations focusing on increased inclusion and support that reach younger students to help them encourage careers in the audio industry – specifically in areas of STEM.What do you hope to accomplish through this initiative?We have many goals with those initiatives, but our two main goals are:  adding more women and diversity to this industry and celebrating and championing those who are already here.Billboard US, launched Women In Music in 2007, an annual event to honor women artists and executives who actively made a difference that year. What are some key factors when raising awareness about gender inequality issues across the industry, including Shure’s initiatives?This past year has been an empowering year for women in music. The top highest grossing concert tours in the U.S. were from Taylor Swift and Beyonce. There are so many up-and-coming female artists as well – not just in the U.S., but all over the world. We have been supporting programs globally that help women who are just getting started in music to teach them and provide them with opportunities to be successful.It is also important to note the increasing growth in the women behind the scenes in music. And we are doing what we can with our efforts to help close those gender gaps.Finally, what advice would you give yourself during the first year of your career? I think many young women who are looking to enter the music industry will be encouraged by your words.Find who your friends are and don’t be afraid to ask them for help. Oftentimes, women think they have to figure it out on their own, lest they be thought of as “weaker” or “incapable.” Asking questions and finding a network of people who can help you actually builds strength and teaches you how to become a good mentor someday. Simply put, don’t try to do it all yourself.

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Twenty-five years have passed since anime song singer Hiroshi Kitadani released “We Are!,” the first opening song of the ONE PIECE TV anime series and the first of many opening songs he would go on to sing for the show. “UUUUUS!” the opening theme for the Egghead Arc, with its rapid shifts and changes, is the creation of Kitadani, composer Kohei Tanaka, and lyricist Shoko Fujibayashi — the golden trio known as the “‘We Are!’ Pirates.” “UUUUUS!” means not only “us” but sounds similar to the Japanese pronunciation of “earth” and the Japanese word for “tomorrow” (Asu), pointing to the future of the series. Hiroshi Kitadani talked with Billboard Japan about what went into the creation of this stunningly densely-packed song and what lies beyond.

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You debuted “UUUUUS!” on-stage at the BANDAI CARD GAMES Fest 23-24 World Tour in Los Angeles, held in late January. What was the atmosphere like?

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Hiroshi Kitadani: I sang “We Are!” “OVER THE TOP,” and ” UUUUUS!” With “UUUUUS!” I was a bit worried about debuting it in L.A. I felt like it might be safer to start the song off with a bang in Japan first… But now, because of video streaming sites, overseas viewers can watch the latest episodes at the same time as in Japan, so the crowd went wild. On stage, we were playing the opening animation to ONE PIECE, and the lyrics were also shown on-screen, written phonetically in the English alphabet, so the audience sang along.

When we were kids, we’d learn old anime songs from reruns on TV, but now, with subscription-based streaming services and streaming sites, it’s easy to hear “We Are!” which was released 25 years ago. So not only do people who were kids back then know it, but even modern kids know it. I think that’s why people around the world love “We Are!” even 25 years later.

Why do you think ONE PIECE is so popular worldwide?

Hiroshi Kitadani: Talking with people overseas, I often hear that “In Japanese anime and manga, the main characters and their friends always get completely thrashed by their enemies, but they usually come back stronger, which really gets you in the feels.” That’s true of Luffy, and also of Goku from Dragon Ball. Overseas heroes like Batman or Superman are incredibly strong right from the start, so I think Japanese anime and comics resonate with audiences because of how the characters turn their frustration into power.

You’ve performed five of ONE PIECE‘s theme songs. Could you reflect on what each of those songs meant to you? Let’s start with “We Are!” the first opening theme song for ONE PIECE, which came out in 1999.

Hiroshi Kitadani: “We Are!” was my debut song as Hiroshi Kitadani. The director I worked with when I first debuted under a previous stage name, later joined an agency called Imagine, who Kohei Tanaka was with. Because of that connection, one day I was approached and told, “They’re going to make an anime version of the most popular manga in Weekly Shonen Jump. Kohei Tanaka is going to submit a song for the opening song competition, and we’d like you to do a temporary vocal track for it.” Then they made the decision to go with “We Are!” for the theme song, but they still hadn’t yet decided who would sing it. Due in part to Kohei’s prompting, the staff began saying “Why not just have it sung by the singer who did the temporary vocal track?” My record company had just told me that they didn’t really see a future for me with them, so I was wondering what to do, career-wise. So this “We Are!” offer came out of the blue. That was the start of my rags-to-riches story.

In 2011, 12 years after releasing “We Are!” you sang “We Go!” which was used in the Fish-Man Island arc, when the crew reaches the New World.

Hiroshi Kitadani: Kohei wrote “We Go!” as a response song to “We Are!” At the time, I was really concerned with what people thought about me, so I was reading a lot of 2channel (laughs). I was worried I’d go on there and see people saying “Hiroshi Kitadani is back, but this song is terrible.” But, instead, when “We Go!” was broadcast, there were a lot of comments like “Dani’s back!” and “Cool!” and “That’s the One Piece sound!” I was so happy I cried.

Then in 2016 you sang “We Can!” with Kishidan.

Hiroshi Kitadani: The offer from Kishidan was totally unexpected. It was the first time I’d sung with someone else as solo artist Hiroshi Kitadani, but we had great chemistry. Kishidan wrote the song, instead of the same trio that had started with “We Are!” but even now there are fans who say they love “We Can!” which makes me really happy.

Then at the start of the Wano Country arc, in 2019, you sang “OVER THE TOP.”

Hiroshi Kitadani: “We Are!” began without anyone knowing who would even sing the song. “We Go!” was a response song to “We Are!” So “OVER THE TOP” was the first song that Kohei wrote to-order, just for me. We’ve worked together a long time, so he was able to write a song with the vocal range where I do my best singing, where I could give the song a distinctive appeal and bring out its flavor. The pandemic started after I released the song, so I haven’t had many opportunities to perform it on stage, but it’s a song that I wish even more people would have chances to hear.

How did you feel when you first heard “UUUUUS!” the current opening song?

Hiroshi Kitadani: To be honest, my first response was “Huh?” Like “It’s not bad…but I prefer music more like ‘OVER THE TOP.’” But Kohei said “It grows on you,” and, sure enough, the more I heard it the better and better it sounded. The show opening is on YouTube now, and it has over 10 million views. One of the comments on the video said “It’s the best song so far.” I know Kohei must always be under a lot of pressure, so I’m amazed that he suggested this song, which is so ambitious but risky.

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I feel like “UUUUUS!” must have been harder to sing than any of the past songs. Do you have any basic advice for anyone trying to sing it?

Hiroshi Kitadani: It’s hard to come up with any kind of succinct advice (laughs). However, for all five of the ONE PIECE songs, not just “UUUUUS!” I’d say it’s important to sing it with a smile on your face. When you sing while smiling, that smile comes out in your voice, making the song brighter and more exciting. When I was recording “We Are!” there were a lot of important people in suits at the recording. It was my first time recording in that kind of atmosphere, and I got really tense. On top of that, every time I’d finish recording a take, they’d be whispering to each other. I was in the recording booth, so I had no idea what they were saying. I was starting to get into a negative mindset, thinking “Was that a bad take?” when Kohei said “This is a song that’s going to give hope and inspiration to people around the country, so smile when you sing it. When you sing with a smile, your voice will have a smile.” That snapped me out of it. I sang while smiling, and they said it was a good take. I’m really glad for the advice Kohei gave me, and it’s something I cherish in my heart even now.

—This interview by Harunoto first appeared on Billboard Japan

hololive English VTuber Hakos Baelz has released her first full album, ZODIAC. On the album, whose theme is the Chinese zodiac, she has taken on a wide range of musical styles, from rock and ballads to reggaeton and EDM. It provides a glimpse into various facets of this artist, hololive’s self-proclaimed “agent of chaos.” There are also guest appearances by veteran VTubers like Inugami Korone, Usada Pekora, and Tsunomaki Watame, and the entire album is full of little touches that keep listeners engaged to the very end. Billboard Japan talked with Hakos Baelz about the new album, ZODIAC, which represents the culmination of her musical activities.

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To start off with, could you tell us a little about how you got started as a VTuber?

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Baelz: At first, I didn’t really know that much about VTubers, but I had a few friends who were doing it, and one day, when I happened to be looking into hololive online, I saw that they were holding auditions. I decided to apply on a whim. That’s how it all started.

Were you already interested in performing music?

Baelz: I’ve been listening to music since I was little, and I was always extra fond of music that expressed my own emotions. I’ve always loved J-pop and K-pop, and I listened to Ayumi Hamasaki thanks to the influence of my family. I didn’t understand Japanese at the time, but the emotions came through in the music, which I really liked. But I didn’t have the confidence to write my own music or sing myself. I’ve never liked my own voice. So, to be honest, I didn’t really have my sights set on music back when I debuted. But I just decided, “why not, I’ll give it a shot” and released my first original song, “PLAY DICE!” I got a lot of support from the people around me, so I started thinking that I could make even more music, which turned into discussions about an EP and then an album.

You released “Play Dice!” in February 2022. What did you want to express through this song?

Baelz: It was my very first song, so I wanted to let listeners know what kind of VTuber I was. I met Camellia, who wrote the lyrics and the music, through a friend. He makes really fun music, and I thought he’d be able to create the kind of music I’d like, so I asked him to write the song for me. He’s been involved on all the EP and album work I’ve done since then, and he always creates exactly the kind of song I’m looking for, so I’m super thankful to him.

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You’re also credited as a co-writer for the lyrics on “Play Dice!” How did the writing process go?

Baelz: First, I wanted a story. I wanted it to feel like my story. I told Camellia about this, and he wrote the starting lyrics. Then I put out some of my own ideas, and we bounced ideas off each other until we’d written the lyrics for the entire song. The song’s theme is “freedom.” Each time I write music, I pick a one-word theme. I share it with the producer and have them write a song that reflects that theme.

You were a member of the special, exclusive unit of hololive members that performed at the Riot Games ONE 2023 e-sports event held in December. You put on a performance of “K/DA,” a virtual pop group made up of League of Legends characters, right?

Baelz: Last April, I covered K/DA’s “POP/STARS.” The reaction from fans was great, which may have been why I was selected to be part of the Riot Games ONE unit. I had never expected to perform at Riot Games ONE, so I was overjoyed. I’ve always been a big fan of K/DA, and I watched their choreography a lot, so I was happy to be able to practice and learn the choreography myself for the event.

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So, moving on to your album, what was your initial idea for how it would be structured?

Baelz: I’m a rat VTuber, so my first thought was that it would be fun to make an album whose theme was the Chinese zodiac. Personally, I find it easier to create an album when there’s a strong theme. When you have a theme to work with, if you ever get stuck while writing music, you can always return to that theme, you know? So that makes writing easier.

The album has all kinds of sounds and aesthetics. Which song do you think is the closest fit for you?

Baelz: The rat song, I’d say. It’s the first song, “RxRxR.” I decided to lead the album with the rat song. On my Pandæmonium EP, which I released last July, I expressed different sides of my personality. With “RxRxR,” I wanted to go with a genre and a message that wasn’t on the EP, so I wrote a pop rock song. It has the powerful spirit that I started out with.

I feel like there’s a chaotic freedom in “RxRxR” and “Play Dice!” and all of Pandæmonium, partly because you’re a rat.

Baelz: I guess so. Most of my songs have something to do with freedom. However, the kind of freedom varies from song to song. In the case of “RxRxR,” the image I had was one of a rebellious high schooler. When I was first talking to ZAQ, that was the story we were using, and the song came out just as I’d envisioned it.

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There are also a lot of collaborations on the album. “HIDE & SEEK ~Nakayoku Kenkashina~” features Usada Pekora.

Baelz: Pekora is rodent family, like me. We’ve collaborated many times, and every time it ends up with us playing fun pranks on each other and friendly competition. I thought it would be fun to have a song like that on the album. I also wanted to collaborate on a song that really fit her. A song that didn’t just match her image, but also her voice and the way she sings. In “COLOUR,” I collaborated with Tsunomaki Watame. I love Watame’s voice, because it’s soft but powerful. I wanted to do a song together with her in that style. On “BITE! KAMU! BITE!” I teamed up with Inugami Korone. I wanted to make an electro swing song. I figured it would be a good match for her voice. She has just ungodly strength. I always crack up when I watch her streams. They’re my favorite streams.

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Which songs were the hardest to record?

Baelz: Probably “GEKIRIN” and “Ohayo-EST Gozai-MASTER ♡.” The rap part in “GEKIRIN” was hard, both because the lyrics are complex and because it’s so fast. But when I heard the final product, I was happy to have created that a song that I also personally find cool. For “Ohayo-EST Gozai-MASTER ♡,” the lyrics were hard. I wanted to make a song that would fill you full of energy, like a “good morning!” to start your day. While the song was still a work-in-progress, it made a weaker impression than the other songs, but Kris helped out a lot and we made changes during the recording process, so it was a lot of fun to record.

I’m sure writing the album was a big challenge. Do you feel like you yourself grew in any way through the process?

Baelz: It gave me the confidence of knowing I can create good songs. Initially, I didn’t have any interest in making music. Whenever I was making covers, I was always really nervous, so I’d consult with my friends on what to do whether it be singing or mixing. But through the process of completing this album, I feel like I’ve learned to identify what makes a good song, what goes into making a good song, what instruments would work best and other knowledge like that.

In closing, do you have any message you’d like to share with listeners looking forward to hearing the album?

Baelz: Thanks for always listening to my music! I still have a lot to learn, but I hope you enjoy my album!

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