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Metro Boomin stands poised in quiet confidence, silhouetted against the backdrop of the Great Pyramids of Giza. With an aura of timeless grandeur, the three pyramids echo the iconic rhythm of his “Young Metro 3x” producer tag. Framed meticulously by his photographer, Gunner Stahl, the moment is frozen in time, capturing not just an artist, but a convergence of history, culture and creativity. As the desert sun bathes the scene in a golden light, Metro Boomin’s presence among the pyramids becomes more than a photograph – it’s a testament to the enduring legacy of artistry and innovation.
In this juxtaposition of ancient wonder and contemporary music, Metro’s presence before the pyramids speaks volumes. It demonstrates hip-hop’s enduring influence and its ability to transcend time and space, from Missouri to the Middle East. Metro Boomin’s April 30 concert at the Kundalini Grand Pyramids venue sold out in record time, whereby Live Nation, the organizer, announced a second night in his routing through the Middle East (including a show in Abu Dhabi’s BRED Festival). The majority of the audience knew the words to at least one if not several of his songs and collaborations played during his nearly two-hour set, suggesting that Metro Boomin’s music has found a home in hearts of youth culture worldwide.
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Per Billboard Explains, Metro Boomin’s Billboard Hot 100 breakthrough as a producer came with Future’s “Honest,” which hit No. 55 in 2013. Over the next three years, he produced 23 more Hot 100 hits. He earned his first No. 1 on the Hot 100 for his work on Migos and Lil Uzi Vert’s collab “Bad and Boujee,” which topped the chart for three weeks in 2017. The episode explains that Metro boasts a remarkable tally of 16 top 10 hits on the Hot 100, including noteworthy productions like The Weeknd’s “Heartless” in 2019 and his collaborative effort with Future and Kendrick Lamar, “Like That,” which clinched the No. 1 spot on the Hot 100 for three weeks this year.
His collaborations with prominent rap artists on groundbreaking albums have been stellar, with seven top 10 entries on the Billboard 200. According to Billboard Explains, notable highlights include Double or Nothing with Big Sean, which peaked at No. 6 in 2017, Savage Mode II, which ascended to No. 1 on the Billboard 200 in 2020, and his solo project Heroes and Villains, which claimed the top spot on the Billboard 200 in 2022, maintaining a record-breaking 18-week reign atop the Top Rap Albums chart. So far in 2024, Metro’s collaborative album with Future, We Don’t Trust You, and the follow up album, We Still Don’t Trust You, both debuted at No.1 on the Billboard 200.
Despite the accolades, Metro maintains a subtle balance of confidence and humility, driven by what feels like a clear sense of purpose in how he approaches making music and chart-topping hits. Throughout his two shows at the Kundalini Grand Pyramids venue, Metro praises his audience and carries with him a sense of wonderment at performing against the backdrop of some of the oldest structures in the world. “I’ve always wanted to see this [the pyramids] with my own eyes, but I could never even fathom doing a show and performing in front of something as crazy and legendary and history as this,” says Metro. “I’m grateful for everyone, for the whole country.”
Metro displays this love in his Cairo shows, wrapping himself in an Egyptian flag as the epic intro of “Superhero (Heroes & Villains)” with Future and Chris Brown plays out in one of his closing tracks in the set. He seems completely unfazed that he is performing solo. He emcees his set, engaging frequently with the audience while delivering a mixtape of his massive body of work, masterfully scripted together in a way that tells a story of what it means for a kid from St. Louis, Miss., to end up making music that captivates the entire world.
When asked about his first hip-hop memory, and what song or album compelled him to pursue the genre artistically and professionally, Metro points back to the year 2000, with the release of Nelly’s Country Grammar. Still in kindergarten at the time, there was no going back for Metro, and with the support of his mother, Leslie Joanne Wayne, he went on to become the most sought-after hip-hop producer of his generation, and a catalyst for reviving the genre’s placement on the Billboard charts.
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As reported by Billboard, with We Still Don’t Trust You arriving atop the Billboard 200 only three weeks after We Don’t Trust You debuted at No. 1, that marks the shortest gap between new No. 1s by an artist since Future replaced himself at No. 1 in 2017 in successive weeks with his self-titled album (March 11, 2017, chart) and HNDRXX (March 18, 2017), both of which debuted at No. 1.
According to Metro Boomin, this success came as a result of what he calls “really caring,” coupled with the urgent need to continue competing with oneself, in order to do better than whatever he did last. But there was a deeper force at play beyond just his individual work ethic, which propelled his consecutive albums with Future to unprecedented heights.
In June 2023, Billboard reported that “rap had yet to produce a Billboard 200-topping album or Billboard Hot 100-topping single” that year, while industry executives grew concerned over the genre’s growth and potential stagnation. So for Metro, things got personal.
“I really took it personally, in the past couple years, seeing different outlets and people sh-tting on hip-hop, saying ‘hip-hop is dying, hip-hop is this, it’s been this long since there was a hip hop No 1…’ says Metro Boomin. “Just trying to spin that whole hip-hop is dying narrative, at the same time trying to celebrate 50 years of hip-hop. I felt they were trying to wash our genre and culture away, I’m still in the game, and I take it personal. Those kind of things disturbed me, at the same time, it was the kind of fuel I needed.”
Reflecting on his roots and the impact of his work on hip-hop, Metro’s passion for the genre is radiant. This undeniable drive propels him to continuously elevate his presence on the Billboard charts and within the genre at large. With each chart-topping hit and sold-out show, Metro Boomin not only cements his own legacy but also pays homage to hip-hop while ensuring its continued relevance for generations to come. Because for Metro, hip-hop is not dead, it’s very much alive and thriving.
Metro Boomin for Billboard Arabia
Gunner Stahl
Metro Boomin for Billboard Arabia
Gunner Stahl
Metro Boomin for Billboard Arabia
Gunner Stahl
ONE OK ROCK announced the dates for its PREMONITION WORLD TOUR 2024 kicking off with two Tokyo stadium shows in September. This global trek will be the largest ever for the “Make It Out Alive” rock band, with eight concerts in seven cities to be held in stadiums in Asia and arenas in North America […]
Vocaloid producer jon-YAKITORY is well known for the songs he has contributed to Ado, ATARASHII GAKKO! and other artists. “Konton Boogie,” which he released in August 2023, became a hit song in 2024. Not only has it been popular on Niconico, but it has also appeared on Billboard Japan‘s Niconico VOCALOID SONGS TOP 20 and Heatseekers Songs charts. It has even reached overseas audiences, and shows no signs of stopping. jon-YAKITORY has been writing songs across a wide range of genres for his entire career, which spans more than a decade. What was behind his creation of “Konton Boogie,” and how does he feel about it reaching hit status? Billboard JAPAN delved into his convictions and beliefs as a creator.
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You released “Konton Boogie” last August, and its play numbers have been steadily climbing ever since. It reached hit status this year. How do you feel about this?
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Personally, I don’t feel very different than I did before, but long-time listeners have been happy to see the song’s success, and I’ve seen people surprised that “The guy that wrote ‘Konton Boogie’ is the same one that wrote ‘Shikabanese’!” or “Oh, that’s the person who wrote ‘Rasen’!” It’s wonderful to see I’ve become a source of joy for many people.
According to audio commentary you uploaded to YouTube, you started writing “Konton Boogie” with the intention of making a funny, high energy song like “Unwelcome School,” an incidental tune used in Blue Archive. What led you in that direction?
I write music in all kinds of genres, and a lot of times what gets me writing a song is music I’ve recently heard, a movie I’ve just watched, or a manga I’m in the middle of reading. I happened to be listening to a song like “Unwelcome School” and I thought “There aren’t a lot of songs nowadays that are like this kind of music, which was so popular in the 2000s.” I thought it would be nice to write a song that just got you amped up, like the kind of music I heard a lot when I was a kid, and what I created was “Konton Boogie.”
You love all kinds of genres, and you’re knowledgeable about all kinds of creative expression, not just music. I feel like that combines to provide a wide range of input for your music. I’ve heard you got interested in music because of RIP SLYME?
When I was in junior high school, I saw DJ FUMIYA scratching on TV, and I used up my saved-up allowance and New Year’s money to buy a turntable. I started listening to different kinds of hip-hop, but the ones that really made a lasting impression were unique, fun groups like RIP SLYME or Scha Dara Parr. Then, in technical school, I got into bands like RADWIMPS, ASIAN KUNG-FU GENERATION, and BUMP OF CHICKEN through music club, and I was exposed to Vocaloid through Niconico. These roots may have contributed to my genre-spanning music composition style.
It feels like you approached “Konton Boogie” in a different way than your previous work.
I want to make what I’m interested in. When I was in my teens, I was really excited about jimmythumbP. I was like “I wonder what kind of song he’s going to make next?” and “Wow, he makes music like this, too?! What a great song!” Looking back, when I was in elementary school, I really got into magic tricks, so I guess at heart that’s always been an aspect of my personality. So now, I thought if I made a super-uplifting, 2000s-style song, it would make people laugh. I also knew I had to put in an air horn. That decision was influenced by a TV show.
A TV show?
It’s a Netflix sitcom called Unbreakable Kimmy Schmidt. There’s a scene in which the head of a cult, which has held the main character captive for 15 years, plays an air horn at a wedding. It’s so ridiculous you can’t help but laugh (laughs). That scene opened my eyes to how well air horns and comedy went together.
So you put in air horns as a bit of a joke?
It’s the same reason I put “Get Down” in the lyrics. It can mean “let’s dance,” but it can also mean “let’s get down lower,” so basically “let’s get stupid.” Also, back in the 2000s, there was a ‘geddan’ meme on Nico Nico Douga. It was net slang, like the ‘What’s that? Is it tasty?’ meme or the famous ‘Pure-hearted? Proper? Turtle’s on the scene’ line from Bobobo-bo Bo-bobo‘s “Turtle Rap,” so I was calling back to that, too. I think thing that influenced my approach, drawing from all kinds of different sources, is the way PUNPEE references American comedies and cartoons in his lyrics.
Looking at the internet response, it seems like a lot of people are interpreting the song as saying “we live in a chaotic (‘konton’) world, but let’s bravely dive in, always staying true to ourselves.”
I think once a creative work—not just a piece of music, but also a movie or an anime—is released, then the director’s or writer’s interpretation is no longer the only “correct” interpretation. I had just intended to write a playful, goofy song, so I think it’s fascinating to see it being taken as having that kind of message, and it makes me really happy. However, as a creator, I don’t want to hurt people. I won’t stand for interpretations that do that. Konton Boogie is a stupid song, but it’s not a song that’s calling people stupid. I don’t want to reject or scorn anyone through my music.
With “Konton Boogie” attracting so much attention, I think that now when people hear “jon-YAKITORY” they’re immediately going to think of “Konton Boogie.” How does that make you feel?
I have no problem with that whatsoever. In the past, if you wrote a song and it generated a lot of buzz, people would demand that you write more music with that same sound, but now, with hit songs, I don’t think a lot of importance is assigned to who wrote the lyrics or the music, or who did the vocals, or when it was released. I don’t think there would be any particular problem if the music I release in the future doesn’t sound anything like “Konton Boogie.” But while this change is freeing, the question of whether or not you’ll have the same listener numbers for the next song is something you’ll only find out when the time comes. You can’t turn back the clock, so I think what’s important is what kind of actions you take when you release new music.
“Konton Boogie” is packed with your ideals from back when you were in your teens, deeply absorbed in the Niconico scene. I think music might be the key to dealing with the different things you were feeling at the time.
When I was a teen, I was a gloomy kid, focused on saving money (laughs). When other people with the same psychological complexes turn those complexes into entertainment, it’s really encouraging. I think everyone wants there to be people like that. Ironically enough, the complexes I built up so much when I was in my teens are now the tools that I use. Now, I just keep creating the music that I like.
“Konton Boogie” has performed well on the “Global Japan Songs Excl. Japan” chart, which ranks Japanese music outside of Japan. It’s enjoyed particularly steady support from Korea.
K-pop has a lot of stylish, high quality songs, and it tends to feature just flawlessly cool people climbing their way to the top. Japan is also being influenced by this, which has resulted in this vibe where people don’t just want cool entertainment, but also comedic entertainment. They want a change of pace. I think that’s what’s behind the popularity of “Konton Boogie” and Yoshida Yasei’s “Override.”
Now that you mention it, there do seem to have been a lot of comedic Vocaloid hits in the past six months or so.
Sasuke Haraguchi’s “HITO Mania,” has really cool music and deep lyrics, but the sounds used in the song and the way the lyrics are used are funny, and the song is a pleasant listen. It came out in the second half of 2023, but I think there’s a trend of people being more receptive to songs with those kinds of amusing elements.
Do you have any plans for what you’re going to do as an artist in the future?
I try not to think about things like that. I’ve never had any success even planning what I’d be doing three years into the future, let alone five…(laughs). It seems to me that instead of thinking about an unknowable future, it’s more important to just do your best at what you want to do in the here and now, and to think deeply about it. There’s no point in trying to do everything indiscriminately. Instead, I want to really focus my attention on each thing I do, reflecting on what I’ve done so far, and to use approaches that produce interesting results.
That said, “Konton Boogie” is resonating with listeners around the world. A global approach would seem like one effective way to move forward.
Actually, on the contrary, that’s something I’d rather avoid (laughs). The number of people enjoying my music in other countries is rising, and I’m very grateful for that. Because of this, I’ve been getting more and more comments asking me to add subtitles in this language or that. But we live in an age where you can easily translate things with your smartphone, and when you’re like “What does this mean??” and you look it up yourself, that’ll often end up benefitting you down the road. I translated Sum 41 and Green Day lyrics myself, dictionary in hand, and the effort I put in made the whole thing even more interesting and fun. I don’t want people to lose that feeling of discovering things on their own.
–This interview by Sayako Oki first appeared on Billboard Japan
In the increasingly global K-pop industry, ZICO epitomizes the concept of a multi-hyphen musician after establishing himself as a rapper, singer, songwriter, producer, boy-band leader, television host and label CEO. But the 31-year-old can now add Billboard chart-topper to his resume thanks to his latest single, “Spot!” featuring Jennie of BLACKPINK.
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Released on April 26 to mark the HYBE artist’s first time dropping a song among the globally focused New Music Friday releases, “Spot!” unleashes ZICO’s latest offering as a hook-heavy, feel-good pop/hip-hop hybrid. Similar to his singles such as viral smash “Any Song” or “Summer Hate” alongside K-pop legend Rain, the playfully buoyant “Spot!” lets the duo bounce through bars to shout out the many meanings that “hit the spot” can conjure.
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The collab caught on quickly Stateside, with “Spot!” debuting at No. 1 on Billboard‘s World Digital Song Sales chart, marking ZICO’s first-ever No. 1 on a U.S. Billboard sales chart. It’s Jennie’s second time ruling the chart after her debut “Solo” single did so back in 2018.
“Spot!” sold 1,000 copies in U.S. in its initial April 26-May 2 tracking week, according to Luminate. It also registered 2.5 million official U.S. streams in the same period.
But the impact of “Spot!” was not confined to the U.S. The collab debuted at No. 24 on the Billboard Global 200 chart with 47 million streams and 5,000 downloads, and also earned a No. 8 debut on the Billboard Global Excl. U.S. with 44.5 million official global streams (excluding U.S. activity) in the tracking week, and 4,000 downloads (excluding U.S. sales).
Sharing his reaction to the good chart news with Billboard, ZICO expressed his gratitude, saying, “I feel like a new chapter has opened up for me as a musician.”
Read on for more from ZICO about working with Jennie, how he approaches collaborating for his new music variety show and what’s next.
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Congratulations on the success of “Spot!” It’s your first No. 1 on a U.S. Billboard sales chart. What was your reaction to the chart news?
I feel like a new chapter has opened up for me as a musician. The song’s reach to Billboard, beyond Korea, fills me with immense gratitude. I’m eager to share this joy with everyone who contributed to making this project a reality.
You’ve collaborated extensively in the K-pop world. Is there something particularly charming about Jennie that impresses you?
Everything about her is charming. From vocals and visuals to acting, as well as her sense of professionalism in bringing the song to fruition — it’s all these things combined. But personally, I think it was her professionalism.
How was it filming the music video? It looked like you two were having a blast.
It was our first time getting dressed up and seeing each other in front of a camera [like that]. At first, it felt a bit awkward and funny, so we had a hard time holding back our laughter, but it was these candid moments that were captured on camera for a natural result.
Do you have a favorite Jennie or BLACKPINK song?
I had the chance to peek at Jennie’s to-be-released solo track demos — there were so many good ones.
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I understand you have a lot of respect for the artistic process. You host a new music variety show, The Seasons: Artist With ZICO. How do you approach spotlighting other artists’ work?
I believe my role is to assist the larger audience in comprehending the unique charm of each artist with the most fun and fresh perspective, so I dedicate a lot of effort to this aspect. But most importantly, it’s not solely about music. Rather, it’s about the chemistry, like the candidness and wit, that can come from any moment — I want these moments to be enjoyable little experiences for many people so I really strive to focus on every small second.
It sounds like you’re an observer. Are you seeing or feeling a larger impact with your new song?
I’ve noticed a shift in which more covers, reactions, and challenges [for “Spot!”] are coming from overseas compared to Korea, which differs from my past songs.
Have any new ideas or plans emerged as a result of the achievements or chart success?
Today, after thinking about these questions, I’m starting a kick-off meeting for my next project!
The lineup of songs for the 68th annual Eurovision Song Contest is now set. Ten of the 16 songs performed in the second semifinal on Thursday (May 9) join the 10 qualifiers from semifinal 1 plus the six pre-qualified entries, for a total of 26 songs competing live in the grand final on Saturday (May 11).
Among the 10 new countries joining the list are Georgia, with former American Idol singer Nutsa Buzaladze leading the charge with “Firefighter,” and Switzerland, with Nero’s “The Code” tipped to be the second favorite by the oddsmakers.
Georgia first competed in Eurovision in 2007 and hasn’t performed in the grand final since 2016, when Nika Kocharov and and Young Georgian Lolitaz placed 20th with “Midnight Gold.” The nation failed to qualify from the last six semifinals, but Nutsa has put them back in the running.
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Only seven countries participated in the first Eurovision Song Contest in 1956, including Switzerland, which hosted and won with “Refrain” by Lys Assia. Switzerland won again in 1988 with Celine Dion singing “Ne Partez Pas Son Moi,” so if Nemo can pull off a win, it will be Switzerland’s first victory in 36 years.
The other eight countries to qualify in the second semifinal are Armenia, Austria, Estonia, Greece, Israel, Latvia, Netherlands and Norway. The six countries that were relegated are Alabnia, Belgium, Czechia, Denmark, Malta and San Marino.
The qualifiers from semifinal 1 are Croatia, Cyprus, Finland, Ireland, Lithuania, Luxembourg, Portugal, Serbia, Slovenia and Ukraine.
The six pre-qualified countries are France, Germany, Italy, Spain, United Kingdom and host country Sweden.
results of the competition, with 10 countries out of 15 moving forward into the grand final on Saturday (May 11) and five countries going home. Most notable among the 10 winning countries are Luxembourg, which returned to the pan-European competition this year after a 31-year absence, and Ireland, which holds the record for the most wins with Sweden at seven each.
However, Ireland has failed to qualify for the grand final 11 times since the semi-finals were introduced in 2005. Bambie Thug breaks that spell with “Doomsday Blue,” a self-described “electro-metal breakdown.” Thug (real name: Bambie Ray Robinson) is the first non-binary artist to represent Ireland in Eurovision and will be the first Irish contestant in the competition since Ryan O’Shaugnessy placed 16th with “Together” in 2018.
Thug’s entry is expected to place high in the grand final rankings. If they end up in the top 5, it will be Ireland’s biggest Eurovision success since Marc Roberts’ “Mysterious Ways,” which finished second to Katrina & the Waves winning U.K. entry, “Love Shine a Light” in 1997.
Talia, an Israeli-born singer living in Luxembourg, will be the first person from that small European country, the only grand duchy (a country ruled by a monarch with the title of grand duke or duchess) remaining in the world, to sing in Eurovision since Modern Times placed 20th with “Donne-Moi Une Chance” in 1993.
The other eight countries that qualified for the grand final are Croatia, Cyprus, Finland, Lithuania, Portugal, Serbia, Slovenia and Ukraine. The five countries relegated out, by public vote during the live broadcast, are Australia, Azerbaijan, Iceland, Moldova and Poland.
The oddsmakers have Croatia heavily tipped to win; it would be that nation’s first victory in 30 attempts, although Riva, a band from Croatia, triumphed in 1990 when their country was still part of Yugoslavia.
A second semi-final will be broadcast live on Thursday (May 9). There will be 16 countries fighting for a spot in the grand final top 10 that night: Albania, Armenia, Austria, Belgium, Czechia, Denmark, Estonia, Georgia, Greece, Israel, Latvia, Malta, the Netherlands, Norway, San Marino and Switzerland.
Pre-qualified, and thus able to skip the semi-finals, are the host country (Sweden) and the “Big Five” (France, Germany, Italy, Spain and the United Kingdom), so-named because they contribute the largest amounts to the production budget.
Semi-final No 2 of the 2024 Eurovision Song Contest will be live on Peacock in the U.S. on Thursday, May 9, starting at 3pm EDT/12 noon PDT. The grand final will also be live, on Saturday, May 11 at the same times.
Of 15 debuts on the May 11-dated Billboard Global Excl. U.S. chart, the most noticeable, at least in terms of a lengthy backstory, may not be Tommy Richman’s seemingly out-of-nowhere breakout hit “Million Dollar Baby” (No. 74) or Kendrick Lamar’s rap battle entry “Euphoria” (No. 98). The most surprising title on the tally overall may […]
ATARASHII GAKKO! is set to digitally release its third full-length album called AG! Calling on June 7 through the group’s U.S. label 88rising.
The project is the four-member girl group’s first full-length set in five years since their last album Wakage ga itaru, and includes “Tokyo Calling,” which the women performed live at this year’s Coachella, and “Fly High,” the theme song for the recently released animated Netflix movie Hanma Baki VS Kengan Ashura, and more. The alternative Japanese girl group made its worldwide debut under 88rising in 2021.
ATARASHII GAKKO! will kick off its World Tour Part I in June at the Primavera Sound 2024 in Madrid and perform in 13 cities across Europe and Asia. The group will also hit 11 cities across North America beginning in September for its World Tour Part II promoting the new album. Tickets will be sold in advance from 10:00 a.m. on May 9 in each city, and will go on sale to the general public from 10:00 a.m. on May 10 in each city.
Check out ATARASHII GAKKO!’s tour dates below:
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World Tour Part IJune 1 – Barcelona, Primavera Sound FestivalJune 3 – Brussels, La MadeleineJune 5 – Paris, BataclanJune 7 – Cologne, Live Music HallJune 8 – Berlin, MetropolJune 10 – London, Indigo at The O2June 12 – Amsterdam, Melkweg MaxJune 19 – Seoul, Yes24 Live HallJune 21 – Kuala Lumpur, ZeppJune 23 – Bangkok, Samyan HallJune 25 – Hong Kong, MacPherson StadiumJune 27 – Taipei, Zepp New TaipeiJune 29 – Singapore, The Theatre at Mediacorp
World Tour Part IISeptember 26 – Vancouver, PNE ForumSeptember 27 – Seattle, Showbox SoDoSeptember 29 – San Francisco, The WarfieldOctober 1 – Mexico City, Pepsi CenterOctober 3 – Chicago, Byline Bank Aragon BallroomOctober 6 – Toronto, HISTORYOctober 9 – Boston, RoadrunnerOctober 11 – Washington, D.C., The AnthemOctober 13 – Atlanta, The EasternOctober 15 – Austin, ACL LiveOctober 17 – Dallas, The Factory in Deep Ellum
The 2024 Met Gala should have been a strictly star-powered triumph for Stray Kids, when the current faces of Tommy Hilfiger set a historic first at fashion‘s biggest night out. Yet amid the glamour, Stray Kids fans — and, possibly, some of the members themselves — were left with the experience marred by their disrespectful treatment by red-carpet photographers, highlighting the systemic barriers still faced by non-Western artists in Hollywood.
The eight-member Billboard 200 chart-toppers attending the Met Gala marked the first time an entire group has hit the glitzy gala together. Making their Met Gala debut in custom-designed suits alongside Tommy Hilfiger himself, members Bang Chan, Changbin, Lee Know, Hyunjin, Felix, Han, Seungmin and I.N arrived at the Metropolitan Museum of Art collectively in navy jackets that would soon reveal the custom ‘fits in various shades of the clothing brand’s signature red, white and blues underneath.
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But a few feet away, amid the flurry of camera flashes that surrounded all sides of the Gala entrance, derogatory comments from on-site photographers groaning about the group’s “robot” demeanor, annoyed that the reveal took place with their backs to one group of photogs, and thinking the band would only understand Korean reveal the thinly veiled prejudices that still plague the industry.
(Note: The video below includes subtitles that don’t always match what can be heard.)
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As The Daily Mail noted, some paps said people would get “confused” because the group took photos with their coats on and off — a racist stereotype that people of Asian descent are challenging to differentiate visually. One photographer can be heard making his peers laugh after joking that viewers would think “two K-pop bands” attended the 2024 Met Gala. (From this reporter’s findings from the last 48 hours, no one has made that mistake.)
The incident shed light on the unfair challenges international celebrities like Stray Kids face navigating less familiar territory in pursuit of global success.
Despite instances where SKZ easily and comfortably adapted to the American media landscape via live interviews like BUILD Series or People TV, last year’s MTV VMAs, or various Fashion Weeks, the singers still face barriers and a dismissive attitude toward their presence. It reflects a lack of understanding while underscoring the need for greater cultural sensitivity and inclusivity in entertainment.
Most of the Kids’ media experience is with Korean and Japanese events, which have systems and red carpets structured differently than in the States. At a typical K-pop event, press conference or awards show, there is a platform for artists to pose for photographers who are all collectively shooting together during a dedicated photo time. Guided by an MC, host or team leader like Bang Chan, the artists almost always coordinate their pose to their left, center and right for everyone to get a range of angles and shots. After that dedicated time, photogs are left to their own devices to get the best pics.
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With this context, Stray Kids did attempt to show love to all sides of the photographers on the Met Gala carpet by staggering themselves so four members were more forward toward one side of the cameras and then turning around so the other four were more forward for the second group of photogs. Also of note: While the photographers knew Stray Kids were a K-pop act, members Bang Chan and Felix grew up in Australia and Seungmin spent some time living in Los Angeles; assuming that an English comment would slide past them (including “What’s Korean for ‘right’?,” which elicited laughs from the paps) is incredibly close-minded.
While it is important to understand that photographers need usable and workable photos to fulfill their livelihoods, the diversity that Stray Kids bring to a function like the Met Gala should be celebrated rather than marginalized. Perhaps the prospect of shooting an eight-member boy band could be a new professional challenge instead of something to bemoan.
Korean artists have been attending the Met Gala for over a decade, with guests like PSY and Siwon of Super Junior attending more than 10 years ago and, more recently, seeing the likes of BLACKPINK‘s Jennie coming for her second Met Gala this year. Considering fashion’s consistent and growing affinity for K-pop partnerships, even more K-pop groups are likely to attend in the future.
Whether the comments were heard or not, Stray Kids moved with grace and poise on the carpet, and their presence alone reminds us of the importance of inviting and embracing different cultures, people and perspectives.
From the reality show that created their group in 2017, Stray Kids have had an unwavering determination to defy expectations and rise above adversity. Despite obstacles, the band’s overarching talent, humility, and tireless spirit to continue forward are not only recognized by one of the world’s most prestigious events but increasingly felt across the different Billboard charts. As they continue to break boundaries and challenge norms, Stray Kids can show how they won’t just make waves in the music industry, but help reshape long-held perceptions and inspire greater change.
Creepy Nuts’ “Bling-Bang-Bang-Born” returns to No. 1 on the Billboard Japan Hot 100, dated May 8, extending its record to 14 weeks atop the tally.
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The hip-hop hit dominated the chart for most of this year after it first hit No. 1 on the chart released Jan. 31 and stayed there for 13 straight weeks. The MASHLE Season 2 opener slipped to No. 2 last week (May 1) but returned to score its 14th week atop the list. The track has increased in all metrics of the chart’s methodology except streaming compared to the previous week. Downloads for the long-running hit are up by 117%, radio airplay and video views by 105%, and karaoke by 120%. And it’s far from doing poorly in streaming as well; weekly streams remain almost the same as the week before and the total has surpassed 300 million at the second fastest pace in Japan chart history.
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Moving 4-2 this week is Mrs. GREEN APPLE’s “Lilac.” The song gained 130% in downloads, 127% in karaoke, and notably, 425% in radio from the week before, hitting its highest position yet.
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Debuting at No. 3 is SixTONES’ 12th single “Neiro.” The theme song for the drama series Omukae Shibuya-kun starring member Taiga Kyomoto launched with 540,564 CDs sold, outselling the group’s previous single “CREAK” (471,285 first-week sales). The track tops sales and comes in at No. 9 for radio and No. 18 for video.
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In other chart moves, the theme song of a project by TOBE’s artists, called “Be on Your side,” re-enters the chart at No. 12 after selling 75,157 copies in its first week, and the first single “MORNING SUN” by EXILE B HAPPY — the new EXILE TRIBE music group led by EXILE TETSUYA — bows at No. 15.
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 Apr. 29 to May 5, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
The first of three live broadcasts of the 2024 Eurovision Song Contest yielded the initial results of the competition, with 10 countries out of 15 moving forward into the grand final on Saturday (May 11) and five countries going home.
Most notable among the 10 winning countries are Luxembourg, which returned to the pan-European competition this year after a 31-year absence, and Ireland, which holds the record for the most wins with Sweden at seven each.
However, Ireland has failed to qualify for the grand final 11 times since the semifinals were introduced in 2005. Bambie Thug breaks that spell with “Doomsday Blue,” a self-described “electro-metal breakdown.” Thug (real name: Bambie Ray Robinson) is the first nonbinary artist to represent Ireland in Eurovision and will be the first Irish contestant in the competition since Ryan O’Shaugnessy placed 16th with “Together” in 2018.
Thug’s entry is expected to place high in the grand final rankings. If they end up in the top five, it will be Ireland’s biggest Eurovision success since Marc Roberts’ “Mysterious Ways,” which finished second to Katrina & the Waves winning U.K. entry “Love Shine a Light” in 1997.
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Talia, an Israeli-born singer living in Luxembourg, will be the first person from that small European country — the only grand duchy (a country ruled by a monarch with the title of grand duke or duchess) remaining in the world — to sing in Eurovision since Modern Times placed 20th with “Donne-Moi Une Chance” in 1993.
The other eight countries that qualified for the grand final are Croatia, Cyprus, Finland, Lithuania, Portugal, Serbia, Slovenia and Ukraine. The five countries relegated out, by public vote during the live broadcast, are Australia, Azerbaijan, Iceland, Moldova and Poland.
The oddsmakers have Croatia heavily tipped to win; it would be that nation’s first victory in 30 attempts, although Riva, a band from Croatia, triumphed in 1990 when their country was still part of Yugoslavia.
A second semifinal will be broadcast live on Thursday (May 9). There will be 16 countries fighting for a spot in the grand final top 10 that night: Albania, Armenia, Austria, Belgium, Czechia, Denmark, Estonia, Georgia, Greece, Israel, Latvia, Malta, the Netherlands, Norway, San Marino and Switzerland.
Pre-qualified, and thus able to skip the semifinals, are the host country (Sweden) and the “Big Five” (France, Germany, Italy, Spain and the United Kingdom), so-named because they contribute the largest amounts to the production budget.
Semifinal No 2 of the 2024 Eurovision Song Contest will be live on Peacock in the U.S. on Thursday starting at 3 p.m. ET/noon PT. The grand final will also be live, on Saturday at the same times.