Global
Page: 33
06/28/2024
Find out Yunah, Minju, Moka, Wonhee and Iroha’s favorite songs, movies, MBTI and more.
06/28/2024
In a debut that has set new records for the K-pop industry, ILLIT emerged as a new pop titan upon its March start this year, earning its place as an undeniable new artist to watch — and as Billboard‘s first-ever K-Pop Rookie of the Month, for June 2024. The five-member act of Yunah, Minju, Moka, Wonhee and Iroha formed through HYBE’s reality show R U Next? has rewritten K-pop’s global expectations with an explosive, addictive entrance into the international music scene.
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ILLIT’s debut single “Magnetic” made chart history by entering the Billboard Hot 100 at No. 91, a feat unprecedented for a K-pop group’s first song. Their Super Real Me EP also impacted the Billboard 200, with a No. 93 debut, and hasn’t left the World Albums chart since it first entered the listing, notching 13 weeks so far. The group’s international appeal was further cemented as “Magnetic” secured spots in the top 10 of the Global 200 and Global 200 Excl US charts, and still remains on both tallies as of the chart dated June 29.
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“We couldn’t believe our eyes,” Wonhee says. “We’ve never dreamt of seeing ‘Magnetic’ on the Billboard chart.”
Moving from reality show contestants to chart-topping artists has been a whirlwind. While ILLIT’s road to debut wasn’t without some minor challenges (a last-minute lineup change saw the departure of Youngseo, originally slated to be the sixth member), the quintet dove into dance rehearsals, vocal training, language lessons and fitness routines, with Yunah mentioning that a pre-debut appearance at Paris Fashion Week in February for Acne Studios also required practice to ensure their chicest walks and poses. Initially announced to the world with the name I’ll-It, changing to ILLIT was not only more visually pleasing and accessible, but was designed to better “emphasize the meaning behind the name of ‘I Will ( ) It,’ to represent the potential for infinite possibilities,” its management home HYBE shared.
While partially attributed to its association with an industry powerhouse like HYBE, their label BELIFT LAB (which also houses ENHYPEN) and the visibility from R U Next?, ILLIT’s breakthrough goes beyond mere circumstance. An addictive blend of sugary-sweet vocals, ready-to-go-viral choreography, and, well, magnetic personalities that viewers fell in love with during their show all struck a chord with a global audience, one hungry for the next K-pop breakout.
With an all-star team including HYBE chairman Bang Si-Hyuk, longtime BTS and TXT producer Slow Rabbit and singer-songwriter Salem Ilese all assisting on Super Real Me, the set’s four tracks point to ILLIT’s promising range, demonstrating where the five members could take their future pop stylings.
Get to know Billboard‘s K-Pop Rookie of the Month better below, with the ILLIT members sharing most of their personal and group stories, and previewing what’s to come next.
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Congratulations on your debut, ILLIT! You’ve started so strong with both your debut single and EP entering high on Korea’s charts, as well as on Billboard‘s U.S. and global charts. How did it feel to earn such a strong reaction?
MOKA: It was mind-blowing how so many people loved “Magnetic.” We are very happy that it’s enjoyed and loved by numerous listeners. We’ll try our best to show a better version of ourselves. Thank you!
WONHEE: We couldn’t believe our eyes! We’ve never dreamt of seeing “Magnetic” on the Billboard chart. We’re super happy that so many people are loving “Magnetic.”
While R U Next? and coming from a beloved company can help, do you have any theories as to why your debut resonated so strongly with fans worldwide?
YUNAH: I think the cute, bubbly and hip vibe of our songs represents the charms of K-pop and pop combined well, capturing the audience’s ears and hearts.
MINJU: I can’t believe all the love our global fans are showing us and I’m very grateful. I think they recognize and appreciate the efforts we put into the performances.
Can you explain the meaning of ILLIT to you, and your first reactions to the unique group name?
IROHA: When I first heard the name, I thought the meaning behind it was wonderful. It means “we can be anything,” and that we have infinite potential to become whatever we want to be as a team.
WONHEE: What I loved was how it has such a beautiful meaning to the name. I was so happy to know that we’ve got a name that’s solely ours.
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What were the months between the finale of R U Next? and debut like?
IROHA: After R U Next? we moved into the dormitory together and took dance, vocal and language lessons.
YUNAH: Yes! We are dorming together right now. Immediately after the show, I spent time taking lessons and exercising, preparing for the debut. As for the fashion week, we focused on practicing walking and posing in front of the press wall.
When did you find out that “Magnetic” was your debut single and what was your reaction?
MOKA: I think we found out sometime in the winter!! I remember how everyone was excited about the song, and I personally thought the song would be perfect for ILLIT.
WONHEE: I vividly remember how all of us were in awe and shouted “Woah!” Because it was that good!
What other songs are your favorites on the album?
WONHEE: I love “Midnight Fiction” the most, because it has its own aura of warmth that’s delivered with cute and whimsical lyrics.
IROHA: I love all of our tracks, but I have to say it’s “Lucky Girl Syndrome” because my heart gets filled with happiness and I truly feel like a lucky girl whenever I perform for it.
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Are any or all of you interested in songwriting, composing or production?
MOKA: We actually haven’t tried [those] yet, but our imagined dreams were reflected in “Midnight Fiction.” It was very interesting to see our stories turn into the lyrics. I’d love to work on lyric writing whenever I have the chance.
Can U.S. fans expect to see you anytime soon?
IROHA: I’ve never been to the U.S. before, but I can’t wait to visit and meet our fans there!
There is inevitable pressure and scrutiny that comes being a public figure. How are you remaining mentally and emotionally strong? Do you have advice or tips for those who might also be going through challenging times?
MOKA: I picture myself achieving my goal, which I find very comforting and nurturing. So I’d recommend this method.
WONHEE: I still sometimes have some difficulties controlling my nervousness, but my tip is to take a deep breath right before I say something. This helps me relax a bit.
Looking ahead, what’s next for ILLIT? Any chance you’re already planning your first comeback?
YUNAH: We are all working hard for what’s to come — which I want to spoil so badly, but I shouldn’t! [Laughs.]
IROHA: Like YUNAH said, we’re working very hard on it, so please stay tuned!
Anything else you’d like to add at this time?
MINJU: I’m forever grateful for all the love we received for our debut track “Magnetic.” We’re working hard to come back with better music and performances, so please stay tuned!
YUNAH: I can’t begin to express how thankful I am for the love our fans have been showing us. And thank you Billboard for letting us share our stories!
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NewJeans took the stage at Tokyo Dome for its Bunnies Camp 2024 fan meeting on Wednesday (June 26), the first of two days the breakout K-pop group performed at the venue for its first-ever headlining show in Japan.
The five-member girl group set a record as a non-Japanese act for shortest period of time since debuting to perform at Tokyo Dome. Tickets for the two-day event quickly sold out to draw a total of 91,200 fans, proving the “Supernatural” group’s overwhelming popularity in Japan where various talented K-pop acts seek to expand their influence.
K-pop fan meetings often feature segments other than live performances, such as games and chatting among members, to focus on interacting with fans. But NewJeans’ event opted to forgo such frivolities for a more music-oriented showcase based solely on the idea of entertaining fans (Bunnies) through song. In addition to all the tracks from their past EPs and singles — “New Jeans,” “OMG,” “Get Up,” “How Sweet” — the girls performed two off their brand-new Japanese debut single, “Supernatural.” This stance was reflected in the mysterious DJ set by the opening act, South Korean music producer 250 (Lee Ho-hyeong), which focused on remixes of NewJeans songs, but with an emphasis on ambient moods.
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The venue brimmed with intense anticipation before the show began, and when NewJeans actually appeared on stage, the crowd erupted into a fierce frenzy that felt like it would blow off the roof of the stadium. But the five members — including Hyein, who had been on hiatus to recover from a foot injury — showed no signs of nervousness in the face of such a spectacle and went on to hype up the audience with live renditions of their signature songs such as “Attention” and “Cookie,” amplifying the energy of the original songs many times over with assistance from a band consisting of guitarist Kazuki Isogai (SANABAGUN.), bassist Kazuki Arai (King Gnu), keyboardist Yudai Ohi (SANABAGUN.), and drummer Soy. Although there were concerns about Hyein’s condition, she looked well and made a strong comeback, impressing fans with her vibrant, cool performance.
In addition to popular songs like “Hype Boy” and “Super Shy,” the highlights of the day were the solo performances that showcased the charms of each member through a fresh approach — Danielle and Hanni’s sweet duo performance of the unreleased song “Hold It Down,” a strong solo dance by Haerin, and Danielle debuting her beautiful R&B-inspired original track “Butterflies (With U).”
The girls also covered J-pop songs ranging from classic to contemporary to the delight of the audience, including performances of Vaundy’s “Odoriko” (Dancing Girl) by Minji, Mariya Takeuchi’s “Plastic Love” by Hyein, and Seiko Matsuda’s “Aoi Sangosho” (Blue Coral Reef) by Hanni. Moreover, the girls not only sang these songs, but also created a unique space where the content of each song and the members’ personalities were fused together, as in the performance of “Odoriko,” where Minji threw down her bag with a determined look on her face and started running, a complete change from the cool demeanor she maintained in the first half of the set. NewJeans is known for its beautiful and fragile image, spearheaded by label head Min Hee Jin, and this aesthetic was brilliantly carried through here as well.
The fan meeting also featured guest acts on both days, and J-pop duo YOASOBI appeared on Day 1 (Rina Sawayama took the stage on Day 2) — not as an opening act, but incorporated into the main set. YOASOBI singer ikura joined the group for “Right Now” as if she were the sixth member, surprising the audience with their coordinated formation. The two acts then segued into YOASOBI’s song “Biri-Biri,” smoothly performing the Pokemon-inspired number featuring a cute melody and solid drum and bass beat that perfectly matches NewJeans’ style.
After YOASOBI led the audience to a spectacular climax with its performance of “Idol,” Billboard Japan’s 2023 Song of the Year — unfortunately sans members of NewJeans — the five girls returned to the stage and upped the excitement with an energetic performance of their upbeat hit “ETA,” the audience erupting into a thunderous chorus of “What’s your ETA?” By this time, the band’s groove and the members’ cute but powerful voices and vibrant dance moves were perfectly integrated, and a unique exuberance typical of NewJeans filled the entire venue. Even during the laid-back “OMG,” which the members performed on a moving float, the venue was charged with a strange excitement that had nothing to do with relaxation. To be honest, I was personally concerned that the group’s musicality and a venue with tens of thousands of people might not necessarily be a good match, but on this day, NewJeans completely took over the stadium, a promising result in light of the group’s future performances at large-scale music festivals overseas.
The members closed the main set with “Ditto,” bringing the show to a happy ending with its pleasant groove and familiar dance moves. Answering calls for an encore, the group returned to perform the last song of the evening, “ASAP,” ending the fan meeting in style covered in a huge amount of confetti. The overwhelming satisfaction from the live performance itself — hard to believe it’s only been two years since the group was formed — as well as the tremendous response on social media after the show (with focus on the unexpected covers), will no doubt lead to even greater enthusiasm for the group.
–This concert review by neu_mura first appeared on Billboard Japan
On June 13, the Chinese video platform Bilibili officially launched the “New Generation Musicians Program – Original Season.” This program features a large-scale music creation and musician selection contest for singer/songwriters. It will also provide a 5 million RMB (renminbi) fund, along with diverse exposure opportunities for participants. The initiative aims to empower musicians to […]
Unrepeatable. This is the first adjective that could be associated with Rick Rubin’s Festival of the Sun which took place in Tuscany for the summer solstice on June 21-22. The famous producer had an idea: turn an old village – with its narrow alleys, churches and amphitheatre – into a location for live shows, film previews and talks on the future of economics and technology.
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This was the secret festival in Casole d’Elsa, announced by surprise just a couple of days before. A huge part of it was the Italian pop star Jovanotti, who worked with Rubin in the past and also performed live on a small stage set up in the main square of Casole d’Elsa.
The festival was based on the concept of surprise. When will it ever happen again that you are waiting to watch a free secret show where you don’t know who will be there but then you discover that the names include James Blake, Arcade Fire, Gossip and Rhye?
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The name of the creator of the festival could have made it clear, anyway. Hundreds of people gathered in Casole d’Elsa on Friday (June 21) and knew nothing except that there would be some kind of concert. (It’s hard to imagine that a much larger crowd won’t arrive next year.)
Not even the invited press really knew what would happen. And that was the beauty of it. On Friday, in front of the church of Santa Maria Assunta in Casole d’Elsa, a crowd waited to enter. The name of James Blake began to circulate, which until then most of the spectators had never heard. But for those who had, the idea of listening to him in a church seemed like a dream.
The first performance was that of Krishna Das, an American artist who presents his kirtans, or Hindu devotional prayers, in musical form. The objective was to immediately involve the audience, making them repeat the mantras and allowing them to enter another dimension far from everyday reality. Among the church pews there was Rubin, looking satisfied with this first taste of the event. There were Italian artists such as Jovanotti and Dario Mangiaracina of La Rappresentante di Lista, the actors Riccardo Scamarcio with Benedetta Porcaroli and the artist manager Paola Zukar. Régine Chassagne and Win Butler from Arcade Fire were also there — calm, listening, ready to be carried away by the flow.
Next to the festival locations, the event program only said “live,” “show” and “film” without specifying anything else. We returned to the church and this time James Blake was there for real. In front of him were his piano and a loop station. After a while, “Limit to Your Love” started. Sunlight filtered through the painted gothic windows and blended with “Mulholland” and “Retrograde.” Blake couldn’t hear himself or his instrument well, so he started over, then stopped again. Everything seemed so real, but above all profound.
Meanwhile, Paolo Nutini was wandering around in the cloister. Maybe he too would like to play in such a particular context, but he couldn’t because he had to perform officially at the La Prima Estate festival, also in Tuscany. After a break, Jovanotti came on stage, telling people about the responsibility of having made Rubin fall in love with his homeland, Tuscany.
“A few years ago, Rick, my absolute legend, who later also became a friend, and I rented a villa near Florence to transform it into a studio and to work on my album. We were there for about a month. Every morning, he and I went around the villages and hills, so Rick fell madly in love with the region. He even bought a house right in the municipality of Casole d’Elsa: he’s one of us now!”
Jovanotti talked about how many houses they saw together to find one that was right to be renovated without distorting its old spirit — a bit like in his albums, where Rubin reduces the sound to the bare bones to maintain the essence of the artists.
“In the United States there is practically no concept of ancient,” says Rubin. “A 40-year-old house is considered as such. This is why I am so fascinated by your country.” Then there was another important source of inspiration: director Terry Gilliam’s film festival in Umbria. “When we were there together, we saw an incredible gem and thought we should do everything we could to do something like that.”
After Jovanotti, Beth Ditto’s Gossip arrived on stage, and the force of nature we all knew seemed to have returned. She apologized for her cough and her voice, but she seemed anything but unmotivated. Rubin himself invited the audience not to miss the “Heavy Cross” band for anything in the world.
Meanwhile, other Italian artists arrived backstage such as Levante, Madame, gIANMARIA, Birthh, Veronica Lucchesi of La Rappresentante di Lista. Everyone was relaxed and happy with the shows they got to see. The next day, Ghali, Frah Quintale and Måneskin’s Thomas Raggi and Ethan Torchio arrived. Everyone met up in the cloister transformed into a backstage, with tech gurus such as Jack Dorsey, co-founder of Twitter, who held a panel titled ‘Tech and Freedom’ on Saturday (on June 22).
On Saturday there were other surprises. DJ Cosmo Gonik arrives in Piazza della Libertà for his ecstatic dance, then another church hosted the cellist Lucinda Chua, Rhye and the Armenian pianist Marie Awadis. But it was with Win and Regine of Arcade Fire that the climax was reached. The two Canadians performed first in the church of Santa Maria Assunta for a concert and then on the stage in Piazza della Libertà with a DJ set.
The places convey a timeless charm. Not to mention the superlative location of the amphitheatre for the film about Nick Cave, This Much I Know to Be True, presented by the director Andrew Domini, with contrasting purple lights, clear sound and Arcade Fire and Blake in the audience. How can the same magic be repeated next year?
Festival of The Sun
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Many may know ElGrandeToto today as a star of the North African hip-hop scene, but when the young Taha Fahssi was still dreaming of becoming a breakdancer, little did he know that music was his true calling. Toto’s relationship with music began to crystallize during his teenage years in Casablanca, and his first single, “7elmet Ado,” which he released in 2016, did not go unnoticed. Soon, new horizons began to open for Toto. With his unique musical style and bold lyrics, Toto became the voice of the young generation, masterfully capturing their lives and challenges with an unforgiving writing style that brims with powerful similes and flexible rhymes.
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When “7elmet Ado” came out, it reached thousands of listeners organically — Toto’s voice smoothly found ears without any promotion or marketing. He knew how to capture listeners while also instilling in his music the messages he wanted them to hear. After several other solo releases, Toto’s 2017 track “Pablo” proved to be a turning point in his career, amassing millions of views and reaching new local audiences.
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The track began creeping into the public sphere, and soon found its way to local radio station Hit Radio. Learning that his voice was making an imprint on the Moroccan street gave Toto a huge confidence boost, and he began taking part in local festivals such as Festival L’Boulevard and others, eventually cementing his name as one of the rap scene’s best emerging artists.
In 2018, he made several notable collaborations, including “Slay” with Manal, a fusion of pop and rap with the masterful production of Soufiane AZ and the outstanding flow and performance of Toto and Manal. In early 2020, Toto launched “Hors Serie,” a track that brought together Don Bigg, a star of Morocco’s old-school rap scene, and emerging rappers like Khtek.
Toto worked with local producers like Hades in his early days, then began collaborating with the new generation of producers such as Draganov, Nouvo and Yo Asel. His collaboration with Nouvo on VitamineDZ gave us one of the most beautiful Moroccan duets and helped consolidate the “trai” genre, a blend of trap and Rai music. Toto recorded the track during his first visit to Algeria, and as an ode to the country that helped shape his musical identity, the track samples Cheb Khaled’s hit song, “Abdel Kader.”
During this period, Toto also released his first LP, Caméléon, which he had been working on since the early days of his career in 2017. With this album, Toto further established his visual identity. The artwork shows Toto’s face painted in the colors of chameleons – a metaphor for his ability to integrate and thrive in any space or circumstance, especially as his sound was increasingly overlapping with the local culture and expanding on the regional and global scales.
Then came the biggest turning point in Toto’s career with the track “Mghayer,” which showed the evolution of his sound, whether in terms of performance through his delivery and flow, or in terms of writing. The track pays tribute to his mother, who passed away in 2020, giving Toto a space to express his grief and sing about his pain to an entire generation. The track became one of the biggest hip-hop releases in the Maghrebi region (comprising western and central North Africa, including Algeria, Libya, Mauritania, Morocco and Tunisia) and amassed millions of views.
Between Caméléon and his latest album, 27, which he released in 2023, Toto dropped several solo tracks and collaborations, including a North African collaboration with Wegz in “Msh Khalsa,” a collaboration with CKay on a remix of his global hit song “Love Nwantiti,” and a local collaboration with Small X on “Thezz.”
In 2023, two months after dropping the single “Weld Laadoul,” Toto released his long-awaited album 27. Toto told Billboard Arabia in an interview that while Caméléon introduced people to ElGrande Toto, 27 was a much more personal album that tells the story of Taha Fahssi. To his usual poignant lyrics, Toto added a dash of the sophistication he acquired over the years, resulting in a powerful album.
The acclaimed 27 placed eight tracks on Billboard Arabia’s Hot 100, including “Blue Love,” “Dellali” ft. Hamza and “Razones” ft. Morad, which remain on the chart until the time of publishing. Toto also snatched the No. 2 position on the Billboard Arabia’s Artist 100 chart in the week of Dec. 11, 2023, remaining there for four consecutive weeks. Toto continues to chart in Billboard Arabia’s Artist 100, competing with the biggest Arab names in the world of pop, hip-hop and other genres. Following the album’s resounding success, Toto became the first rapper from the region to perform at the iconic L’Olympia in Paris, before going on a tour across Europe to promote the album.
Today, ElGrandeToto has become a hip-hop force to be reckoned with, cementing his position as one of the pillars of Maghrebi hip-hop. Thanks to his diverse releases and notable collaborations, Toto’s work resonates with a wide audience and influences the entire North African music scene. 27 served as a platform for Toto’s self-expression and artistic development, propelling him to new heights, wider audiences and bigger successes. Meanwhile, in 2023, Toto was the Middle East and North Africa’s most exported rapper, according to Spotify. Through his tours and concerts, Toto continues to share his music with an ever-growing audience and collect achievements and accolades.
ElGrandeToto
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Creepy Nuts’ “Bling-Bang-Bang-Born” continues to rule the Billboard Japan Hot 100 for the 19th week on the chart released June 26.
The viral hip-hop hit comes in at No. 2 for downloads, streaming, video views, and karaoke this week. Downloads for the MASHLE Season 2 opener increased slightly compared to last week and overall points decreased only slightly, perhaps due to the duo wrapping up its headlining tour over the weekend (June 23) after having been on the road since March.
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Now in its 19th week atop the Japan Hot 100, “BBBB” is closing in on the all-time record for most weeks at No. 1 held by YOASOBI’s “Idol,” which ruled the tally for 22 weeks.
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IS:SUE’s “CONNECT” debuts at No. 2. The four-member girl group made its major-label debut on June 19, and “CONNECT” is the lead track off its first single. Launching with 133,769 CDs, the track rules sales and also radio, while coming in at No. 28 for downloads.
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Bowing at No. 3 is JEONGHAN X WONWOO’s “Last night (Guitar by Park Juwon)” by two members of the K-pop group SEVENTEEN. The single sold 99,154 CDs in its first week and hits No. 2 for sales, while hitting No. 29 for downloads, No. 36 for video and No. 58 for streaming.
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Mrs. GREEN APPLE’s “Lilac” slips 3-4 this week, but the track has reached No. 1 for streaming after steadily climbing the ranks for weeks. The song has been hovering in the top five on the Japan Hot 100 for ten consecutive weeks.
Outside the top 10, MY FIRST STORY x HYDE’s “Mugen” climbs 21-13. The opener for the Hashira Training arc of the popular anime series Demon Slayer: Kimetsu no Yaiba saw increases in downloads (158% week-over-week), streaming (114%), and radio (132%) ahead of the final episode of the season airing this Sunday (June 30).
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from June 17 to 23, here (https://www.billboard.com/charts/japan-hot-100/). For more on Japanese music and charts, visit Billboard Japan’s English Twitter account (https://twitter.com/BillboardJP_ENG).
By: Billboard Japan / Photo: Courtesy Photo
Kenshi Yonezu is set to drop his highly anticipated sixth studio album, entitled LOST CORNER, due Aug. 21. The project will be the J-pop hitmaker’s first album in four years since his previous set, STRAY SHEEP. All versions of the new album will include many of the singer-songwriter’s recent hits, such as “Sayonara Mata Itsuka!” […]
AEG Presents and Tim Hinshaw’s Free Lunch have entered into a strategic partnership, Billboard can exclusively report. Under the terms of the partnership, Hinshaw will be responsible for securing and marketing hip-hop, R&B and gospel tours for AEG’s global touring division.
The alliance follows in the wake of Kendrick Lamar’s “The Pop Out — Ken & Friends.” The Juneteenth concert at the Kia Forum in Inglewood, Calif. was presented by pgLang and Free Lunch. Streamed to fans around the world on Amazon Music — Hinshaw’s current client — the event broke the record for the most minutes watched of any Amazon Music production.
In announcing the partnership, AEG Presents president of global touring Rich Schaefer said, “Tim’s connection to hip-hop and R&B — whether it’s the music, the artists or the culture — is unmatched. I’m excited to bring someone of Tim’ stature on to help our team expand in an area we’ve already had so much success in. His spirit and energy will be a great addition to the touring team, and we look forward to learning from him as we help build our business together.”
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Free Lunch founder and CEO Hinshaw added, “I am honored that this chapter started with Kendrick Lamar’s ‘The Pop Out — Ken & Friends,’ an iconic moment for L.A. and hip-hop. Partnering with AEG is a natural next step for Free Lunch. I have been very fortunate in my career to play a role in delivering some of the most unforgettable live music experiences for the culture and look forward to continuing that success with Rich and the whole AEG team moving forward.”
Formerly Amazon Music’s head of hip-hop and R&B, Hinshaw launched Free Lunch in 2023. As noted in a release announcement, the multifaceted creative shop is principally focused on “authentically bridging the gap between culture and corporate America.” During Hinshaw’s five-year tenure at Amazon, he oversaw the streaming service’s industry strategy and partnerships across both genres, inclusive of the global flagship brand Rotation. Among the various projects he brokered was 2022’s exclusive livestream of The Big Steppers Tour: Live from Paris via Amazon Music and Prime Video. The event not only spotlighted Kendrick Lamar’s second performance in Paris, it also celebrated the 10th anniversary of his second studio album, good kid, m.A.A.d city.
Hinshaw also helmed artist negotiations for Amazon Music Live, a livestreamed concert series on Twitch and Prime Video that aired following Thursday Night Football. Among artists featured on the series were Lil Baby, A$AP Rocky and 21 Savage. Additional livestream projects under Hinshaw while at Amazon Music included: Tyler, The Creator’s Call Me If You Get Lost Live concert in his hometown of Los Angeles; Kanye “Ye” West’s #FreeLarryHoover benefit concert in L.A.; J. Cole’s Dreamville Festival from Raleigh and Summer Walker’s homecoming show in Atlanta for Black History Month.
Prior to joining Amazon Music, Hinshaw established the urban music division at Fender Guitars. He also worked in music marketing for Vans. Honored as executive of the year in 2022 for Billboard’s annual R&B/Hip-Hop Power Players issue, Hinshaw began his music industry career as co-manager of his songwriter brother, Charles “Prince Charlez” Hinshaw. That endeavor led to a joint venture label deal with Island Def Jam and a global co-publishing agreement with Rondor/Universal Music.
A longtime symbol of love, beauty and longevity, the camellia has made its mark on pop culture as Coco Chanel’s signature flower, teaching an important lesson about prejudice in To Kill a Mockingbird and, for MIN and her grandmother, the floral represents the K-pop star herself.
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“Whenever it blooms, she always gets so excited,” MIN says of the sometimes-fickle flowers her grandma grows. “She says, ‘Min-young, you’re going to be like the flower that has bloomed! You’re going to do so well.’ She always tells me that.”
As July marks 14 years since she and her girl group miss A debuted with the instant K-pop chart-topper “Bad Girl Good Girl,” MIN might seem past the point of needing such encouragement (no matter how adorable). But on her 33rd birthday today, June 21, the Seoul native is releasing her first-ever full project with Prime Time. The four-track EP doesn’t just take its name from the genre-shifting title track but acts as a layered mantra.
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“On the surface level, it’s saying this is my ‘Prime Time’ and you don’t get to choose when my prime time is — no one gets to tell me when my prime time is,” she explains in her longest-ranging interview in years. “Internally, I’ve felt like I was very repressed in a way that I didn’t really know I was repressed: I didn’t speak my mind, give an opinion or say my truth. I always felt like I had to listen to my elders and industry higher-up people who got to pick my time or choose what I do.”
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Dressed today in cozy, oversized sweats inside the comfort of I LOVE DANCE‘s Manhattan studio where she frequently rehearses, guest-teaches classes, and, eventually, found a music and production team in the newly formed Monstar Entertainment, MIN (born Lee Minyoung) has a subtle, humble quietness to her despite spending most of her life entertaining. After working on South Korean children’s television and joining K-pop agency JYP Entertainment in middle school, a teenage MIN moved to New York for an intended international solo career that included mentorship from Lil Jon. After years of prep, internal plans at the company changed and she was introduced to her future band mates Fei, Jia and Suzy months before they’d debut as miss A, the first girl group to come from JYP after its Wonder Girls became the first K-pop act to break into the Hot 100.
“I met Jia and Fei once when I came to Korea from America, but that was it,” MIN recalls. “After three months, we were together 24-7. It was hard, very hard…I was under a lot of pressure to be successful and be on the same level when it comes to music and exposure as your rivals; I had to hit the top spot every time.”
While “Bad Girl Good Girl” kicked off the quartet’s five-year string of consecutive Top 10 singles in Korea (including five Top 10s on Billboard‘s World Digital Song Sales chart), miss A released less frequently by its third year as the members’ careers took off down non-musical roads like acting, television, hosting and modeling, while Chinese members Jia and Fei balanced opportunities in Korea and their home country. MIN booked variety television and movie roles, but her original intentions for solo music seemed incompatible with the fast-paced K-pop scene and a rapidly growing JYP Entertainment.
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“I have such a big respect for JYP and we still talk,” she says of the company’s founder and namesake who also produces music for his acts. “There are a lot of people working for one group and I’m one of the artists. It isn’t that my opinion doesn’t matter — we listened to everyone’s opinion to decide anything — but it also depends maybe how much money you make for the company and then people might listen to you and your opinion would matter more. It’s a big business with a lot of people needing to be paid…and maybe for some people, it is just a job. But for artists, it’s their life. It’s my life — giving 14, 15 years of my life. I have wanted to release solo [music], but it didn’t fit and didn’t happen.”
To encourage more miss A music and group activities, MIN found herself in the “peacemaker” role among her band mates around the band’s fifth year. “I believe that I tried my best at that time,” she reflects. “But I think that was already too late to take that role on or to make everyone happy.”
Indeed, before its fifth anniversary, miss A released what would be its final album, Colors, in March 2015. While the EP became the quartet’s highest- and longest-charting entry on World Albums, gossip regarding discord between the members began affecting its fanbase, and excessive media speculation led a young MIN to wish she had been more image-conscious.
Lauren Nakao Winn
Lauren Nakao Winn
“I didn’t understand the fans’ desire for us to be best friends,” MIN admits. “I think everyone wants that to be true, but I think it’s just very unfair. If I understood that, I think I would’ve acted differently. I was just young and feel like I should’ve thought ahead. It’s scary to be in front of people and on camera, and I would have acted smarter.”
Despite being characterized as miss A’s spunky main dancer, typically rocking a jagged bob and showing heel-over-head flexibility in music videos, MIN says she began battling high levels of self-doubt and anxiety near the act’s third or fourth year. At the time, mental health resources and using social media for direct fan communication were far from where they stand today in K-pop, allowing for rumors and anonymous trolls to run amok regarding the group.
“Just because I could dance and look strong doesn’t mean I can take or handle all the bad sides of the industry,” she says matter-of-factly. “Everything that we were and we did was fully under control, so I feel like a lot of people see me in a certain way. Things were more based on ‘the image,’ but I wasn’t a strong person, so I would get hurt by comments and online bullying — it just haunted me every day.
“I don’t really look at my stuff online. I always ask my friends if there are good [comments] that would cheer me up for my mental health and they would screenshot the good ones. But back then, naturally, I would maybe scroll down and see a bad comment, and I just couldn’t go to sleep. Wherever I was in public, I started to feel like, ‘Oh, maybe that person was thinking that.’ I felt my personality become very small and guarded…I still struggle with certain things and certain comments. In a way, I feel like I’m villainized, you know? It’s very unfair and sad, but I don’t want to dwell in the past and I don’t want to drag anyone down; that’s not me.”
By the end of 2017, MIN’s contract with JYP ended, and the company announced Miss A’s disbandment. While considering offers from new agencies, she “blocked every communication” and hid in her grandmother’s home as a safe space. She nearly signed on to join a K-pop survival show for idols rebooting their careers, but her grandma advised against it.
“I think I would’ve burnt out,” she recalls. “I just was not ready to face the world after my contract ended with JYP. I was in a really dark place; I was just scared to be outside or even be seen in public. I just had so much anxiety, so if I wasn’t seen then I could avoid all of that tension.”
Years later, MIN slowly returned to the spotlight with a new, noticeably un-idol-like attitude heard on singles like 2021’s “Onion” (with lyrics like, “I smoke, I drink, I get nasty with me/ Dirty, different and messy/ Patient, confident, weary/ Baby, there are layers to me”) and returned to New York (to co-star in the musical KPOP on Broadway in late 2022) settling in with her pet pomeranian Dan-chu. She credits the city in part to her music comeback.
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“It’s a hustle; everyone’s hustling,” she muses of NYC. “I just get that vibe and energy in the city and of the people. No one cares if you’re a f-cking K-pop idol. No one cares if you’re whatever.”
Liberating herself of outside expectations and reconnecting with her love of music and dance in New York translated into the Prime Time album where MIN says she has the freedom to return to, as well as break away from, her image in miss A.
MIN’s comeback single “PRIME TIME,” featuring rapper Lil Cherry (who enlisted MIN on an experimental album cut in 2022), purposely opens with a knocking, harder hip-hop opening as a callback to her miss A days. Her soaring belt hops into a Jersey club beat before it all gets mashed into a glitchy, glittery, gutsy chorus.
“Nobody’s telling me that I have to put out my album by a certain time or be a certain weight by a certain date,” she says that doubles as an anthem against stereotypes and pretenses in the K-pop industry.
“I felt like I’m an old person, but I am not an old person!” she laughs. “The average age is so young, especially in the idol world, so you breathe in that air and perceive it like that…but I’m just doing this because I want to and I think now is a time that I can fully [use] my potential to the fullest without caring too much of anyone’s demands — it’s on my terms.”
Lauren Nakao Winn
Listening through the EP, “SHIMMY (Skip)” shrewdly uses a Korean playground song as a basis for setting boundaries (“I can be anything, you can’t tell me what to sing”) while the breezy, easy-listening pop of “M.A.W” (standing for “Might as Well”) is a personal motto for both her and her grandmother — who closes the EP with a surprise, uplifting voice recording on “HAPPY PLANT (A Call From Grandma).”
“She’s my role model,” MIN is sure to add. “Whenever I had to make a big decision, I always go to her and ask her opinion. She would say, ‘Might as well just do it.’” While Grandma is excited about her granddaughter’s music (“She’s just so happy for me”), MIN also wants to make sure listeners understand that the confidence in Prime Time results from not letting the outside world crush what and who she loves on the inside.
“I want to give people who are in the hardest moment of their life a message of hope and encouragement,” she says. “I feel like I could relate to them because there have been so many ups and downs in my life as well. I want people to know that it’s okay and you don’t have to give up on your life. Don’t. Because there is someone that loves you.”
The final seconds of the EP echo just that: MIN’s sunny laugh and her grandmother’s warm rasp ending “Call From Grandma,” telling each other that they love one another.