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The third night of the Italian song contest saw the new performances of 15 artists, introduced by the other 15 who performed the night before.
Japanese conductor Seiji Ozawa died at his home in Tokyo on Feb. 6, 2024, due to heart failure. He was 88 years old.
A private funeral was held with his close family in accordance with the deceased’s wishes, with a memorial service scheduled at a later date.
Ozawa was born in 1935 in Shenyang, China. After studying under Karajan and Bernstein, he served as the assistant conductor of the New York Philharmonic, and music director of the Chicago Symphony Orchestra’s Ravinia Festival, the Toronto Symphony Orchestra, and the San Francisco Symphony.
In 1973, Ozawa was appointed as the thirteenth music director of the Boston Symphony Orchestra. He became the first Asian music director at Wiener Staatsoper in the autumn of 2002, a position he held until spring 2010.
Among the many awards and accolades Ozawa has received in Japan and internationally include the Asahi Prize (1985), the Austrian Cross of Honour for Science and Art, First Class (2002), the Mainichi Art Award (2003), the Suntory Music Award (2003), honorary membership of the Wiener Staatsoper (2007), France’s Officier de la Légion d’Honneur (2008), Foreign Associated Member in the Académie des BeauxArts de l’Institut de France (2008), the Order of Culture in Japan (2008), Giglio D’Oro by Premio Galileo 2000 Foundation of Italy (2008), the Praemium Imperiale from the Japan Art Association (2011), the Akeo Watanabe Foundation Music Award (2011), and the Kennedy Center Honors (2015), as well as an honorary doctorate from Harvard University (2000) and Sorbonne University (2004).
In 2010, he also became the first Japanese to be bestowed an honorary membership to the Vienna Philharmonic.
Ozawa won Best Opera Recording at the 58th Grammy Awards in 2016 for Ravel: L’Enfant et les Sortilèges, recorded at the 2013 Saito Kinen Festival Matsumoto, in which he conducted the Saito Kinen Orchestra.
The same year, he was named an honorary member of the Berlin Philharmonic and an honorary citizen of Tokyo.
He has been an elected member of the Japan Art Academy since March 2022.
Mesita, Nicki Nicole, Emilia and Tiago PZK‘s “Una Foto” adds a fourth week at No. 1 on the Billboard Argentina Hot 100 chart as the team-up rules the Feb. 10-dated list. It’s the longest reign for Nicki Nicole since “Entre Nosotros,” also with Tiago PZK, LIT Killah and Maria Becerra, ruled for 16 weeks between […]
Creepy Nuts’ “Bling-Bang-Bang-Born” Holds at No. 1 on the Billboard Japan Hot 100, dated Feb. 7.
Streaming for the MASHLE season 2 opener gained about 20% from the previous week to 17,675,013 streams, also holding at No. 1 for the metric. Downloads rose 4-2 with 12,981 units, up 37%. The track debuted on the radio airplay and karaoke lists this week, at No. 9 and No. 63, respectively. Overall points are up 22% and the song continues to gain momentum, dominating the Japan Hot 100 with a huge lead over the song at No. 2.
In its 18th week on the chart, tuki.’s “Bansanka” stays at No. 2 for the second week in a row. While down by about 0.4% to 10,486,916 streams, the track holds No. 2 behind “Bling-Bang-Bang-Born” for the metric. Downloads are down about 12% to 5,887 units, slipping 6-7, but moves 4-3 for karaoke, indicating that the song is further expanding its reach to the general public.
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Ado’s “Show” returns to the top 3, still racking up points in downloads, streaming, and video views to chart for the 22nd week. The “New Genesis” singer’s latest track “Chocolat Cadabra,” released digitally Jan. 31, debuts at No. 31 this week, coming in at No. 4 for downloads, No. 14 for radio, and No. 14 for video.
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Boku ga Mitakatta Aozora’s “Sotsugyo made” (“Until Graduation”) debuts at No. 8, powered by sales. The second single by the girl group launched with 47,086 copies, about 66.9% more than its debut single (28,204 first-week copies). The new song comes in at No. 2 for radio and the group is off to a good start for the year.
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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 Jan. 29 to Feb. 4, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Megan Thee Stallion has made major impact with “Hiss,” not only debuting atop the U.S.-based Billboard Hot 100 and Hot R&B/Hip-Hop Songs charts, but crowning the Billboard Global 200 (dated Feb. 10).
According to Luminate, “Hiss” drew 39.6 million official streams worldwide in its first week, Jan. 26-Feb. 1.
While that’s a sizeable global figure, “Hiss” owes most of its worldwide success to Megan Thee Stallion’s American fanbase, with 73% of its streams, as well as an overwhelming 95% of its sales, from the U.S. The track does not appear on any of Billboard’s 40-plus international Hits of the World lists.
So while “Hiss” hits its mark atop Billboard’s flagship global ranking, it’s harder to find on its sister chart. On the Billboard Global Excl. U.S. ranking, which removes American consumption from the equation, the track arrives at No. 104. It’s just the fourth instance since the global charts began in September 2020 that the Global 200 No. 1 is outside of the top 10 of the Global Excl. U.S. – let alone the top 100. The previous biggest disparity? Just the top 15: Drake ranked at Nos. 11 (“What’s Next,” March 2021) and No. 12 (“IDGAF,” featuring Yeat, October 2023) on Global Excl. U.S. while leading the Global 200 and Encanto’s “We Don’t Talk About Bruno” sat as low as No. 13 while atop the Global 200 in February 2022.
It’s rare for hip-hop tracks to lead the Global 200, but “Hiss” isn’t Megan Thee Stallion’s first. She topped the inaugural chart, as featured on Cardi B’s “WAP,” which was No. 1 for three of the chart’s first four editions. Doja Cat is the only other woman rapper to hit the top (“Paint the Town Red” for four weeks in September-October 2023), with Drake and Jack Harlow responsible for the genre’s other chart-toppers. That amounts to 13 weeks out of 178, or just 7%, that rap has crowned the Global 200.
Rap, particularly by North American artists, has struggled on both global charts, but especially on Global Excl. U.S., where “Paint the Town Red” remains the genre’s only No. 1. Inherently more focused on (rapid-fire) lyrics than melody makes the genre a tougher sell in non-English-language territories than hook-based pop music. To that end, Doja Cat and Harlow scored their chart-toppers with tracks that lean toward pop, particularly via familiar samples. For his part, Drake remains an elite star who can summon a No. 1 debut on command.
“Hiss” relies heavily on Megan Thee Stallion’s sharp wordplay and speedy delivery. That separates it from even her previous chart-topper, with “WAP” cruising along a repeated hook and a sample of its own, not to mention an instantly viral and meme-able music video, in addition to a bevy of quotable lyrics.
By the nature of its musical and lyrical structure, “Hiss” was primed to be a bigger domestic success story than international. But much of the hype that pushed the track to the top feels insular too. Following its release, listeners spotted one lyric as a reference – and not a polite one – to fellow American-born rap luminary Nicki Minaj. Minaj herself jumped in and released “Big Foot” three days later, a seething retort that generated its own Global 200 debut at No. 36.
The context around their beef spawned memes and social media back-and-forth, drawing in fans of each act, as well as those familiar with each artist’s personal lives and career history. But it didn’t do much to sell the song itself to international audiences that weren’t previously invested in the personal drama of two prominent U.S. stars that didn’t already have as strong a foothold in markets outside North America.
That’s not to say that there was no international interest in “Hiss.” The track generated 10.8 million streams outside the U.S. The fact that it debuted at all on Global Excl. U.S., albeit halfway down the chart, is more than can be said for Minaj’s own “Big Foot,” or ascendant rapper Ice Spice’s new “Think U The Shit (Fart)” (No. 78 on Global 200).
“Hiss” marks Megan Thee Stallion’s 23rd appearance on the Global 200 and 11th on Global Excl. U.S. On the latter, she’s gone as high as No. 3 with “WAP” and hit the top 40 on tracks with Dua Lipa, Maroon 5, and Ozuna. “Hiss” is her highest charting solo unaccompanied entry on Global Excl. U.S., of four overall.
The first night of Italy’s 74th edition of the Sanremo Festival was long, despite ending ahead of time. With Amadeus (host and artistic director of the event for the fifth consecutive year), it is normal to stay up late. It certainly must have been more complicated for the rapper Il Tre, who had to wait […]
“There is a phrase, ‘If you have no expectations, there will be no disappointment,’” (G) I-DLE’s Minnie explains when it comes to her mindset for the group’s newest full-length album. “I actually didn’t want to have high expectations, but it will be great if we get good results.”
In 2022, (G)I-DLE embarked on a bold new chapter with its first full LP, I NEVER DIE from 2022. The pivotal moment marked a creative renaissance for the group — with the single “Tomboy” named Billboard’s best K-pop song of the year — and propelled it to new chart heights with hit albums and signature singles. Less than two years later, (G)I-DLE is already back with its second full-length album, aptly titled 2, that shows the group’s heavy involvement in writing and producing songs discussing female empowerment, trusting one’s instinct, destiny, and love.
“Since a lot of people are waiting for (G)I-DLE music, we wanted to come out with a new concept that no one expected,” leader Soyeon says of the LP promoted by the bold and bass-driven single “Wife” (that’s gone viral for its lyrics and breaking into the general public, more on that below) and the booming, big-room anthem “Super Lady.”
Despite a packed 2023, which included the release of their Korean EP I Feel and their debut English EP HEAT — which peaked at Nos. 41 and 25 on the Billboard 200, respectively — (G)I-DLE wasted no time returning to the studio.
“I started working on our songs when we were heading towards the end of our world tour,” says Minnie. “Although I did not have enough time, I worked on the songs non-stop and was able to make ‘Vision’ and 7Days within 10 days.” Shuhua adds, “Whenever we had a free moment, we practiced and recorded our songs.”
The album also marks a significant milestone for member Miyeon, who contributed lyrics for the first time.
“Excluding my solo songs, this is my first time participating in the lyric-making for (G)I-DLE album,” the vocalist shares. “I had so much fun and was able to work with a lot of excitement since it was my first time. Although some parts were lacking, this whole process was a new experience, and I am really glad that our [fandom] NERVERLANDs liked it as well.”
Throughout the creative process, (G) I-DLE’s members took active roles in also shaping the album’s direction, from refining choreography to fine-tuning the concept.
“We all were involved together,” Soyeon says. “We communicated with the choreographer to revise the details while learning the choreography for our title track single ‘Super Lady’ because I wanted to do something that wasn’t so obvious.” Yuqi adds that “most of the choreography and concept were centered around Soyeon, as she is the producer of the group, but all of our members gathered together to share our opinions.”
While high chart rankings are undoubtedly a goal, the quintet also emphasize the importance of connecting with listeners.
“First, I want to thank you for listening and showing a lot of love towards our songs,” Miyeon says to those tuning in. “When preparing for this album, I thought, more than ranking on the charts, I hope each and every person who listens to (G)I-DLE songs can relate to our songs and enjoy them.”
Yuqi sums things up by saying, “Of course, it would be great to rank high on the charts, but I don’t go around thinking about rankings when making music. I want (G)I-DLE music to be delivered to as many people as possible. That’s the biggest and most meaningful goal!”
Read on for (G)I-DLE to break down every track of their new 2 album, track-by-track, below:
“Super Lady”
Image Credit: Cho Gi-Seok 88Rising
Creepy Nuts hits No. 1 with “Bling-Bang-Bang-Born” on the Billboard Japan Hot 100, dated Jan. 31, giving the popular duo consisting of rapper R-shitei (R-rated) and DJ Matsunaga their first-ever No. 1.
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After entering the top 10 last week from No. 27, the MASHLE Season 2 opener rises 5-1 this week, powered by streaming (No. 1, 14,657,362 weekly streams, up 63% from last week), downloads (No. 4, 9,465 units, up 35%), and radio (from No. 10 to No. 7). The track also hits No. 1 on Billboard Japan’s TikTok chart after the “BBBB Dance Challenge” inviting fans to dance to the show’s opening animation went viral on the short movie platform. “Bling-Bang-Bang-Born” also rules the Global Japan Songs Excl. Japan chart released Jan. 25 after bowing at No. 8 last week.
tuki.’s “Bansanka” slips to No. 2 this week, coming in at No. 2 for streaming (10,536,519, up 7.9%), No. 6 for downloads (6,757 units, up 1.9%), No. 4 for video views (2,161,787 views, up 9%) and karaoke, and No. 77 for radio. Though the song couldn’t extend its stay atop the Japan Hot 100, it continues to maintain momentum with overall points increasing by about 7.7% from the previous week.
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As Mrs. GREEN APPLE continues to chart two songs in the top 10, the band’s latest hit “Nachtmusik” rises 7-3. It’s the theme for the movie Silent Love that opened in domestic theaters Jan. 26, and boosted by this film starring Ryosuke Yamada’s release, streams for the track soared by about 45% to rack up 7,994,782 plays, moving 11-6 for the metric, while radio climbed 14-1. Downloads are down 38% from the previous week to 6,666 units.
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M!LK’s fourth single from a major label, “Kiss Plan,” debuts at No. 6. The track comes in at No. 2 for sales, launching with 79,197 CDs, up by about 30% over the 60,820 copies of its predecessor, “STARS.” The track logged 3,112,622 streams to hit No. 34 for the metric, which is also slightly more than the first-week figure of the previous single.
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Kanjani Eight’s “Anthropos” follows at No. 7, ruling sales. The opener for the anime series Firefighter Daigo: Rescuer in Orange was written by Tatsuya Kitani (Jujutsu Kaisen ’s “Where Our Blue Is”). The veteran boy band’s 50th single sold 162,727 copies in its first week, about 7.8% more than its predecessor, “Ookami to Suisei” (150,848 first-week copies), launching the band’s 20th anniversary year with a bang.
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back number’s “Fuyu to Haru” (Winter and Spring) debuts at No. 9. It’s the J-pop band’s first new release in about six months since “Kaiju no Size.” The latest number is produced by Masanori Shimada, who worked on the band’s single “Horizon” from Aug. 2020. “Fuyu to Haru” hits No. 2 for downloads with 12,842 units and No. 19 for streaming with 4,448,468 streams, while also coming in at No. 2 for radio and No. 28 for video. The three-man group is off to a strong start with its first release of this year.
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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 Jan. 22 to 28, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
J-pop singer-songwriters Miliyah Kato and Leo Ieiri sat down with Billboard Japan for its Women in Music interview series featuring female players in the Japanese entertainment industry. The WIM initiative in Japan launched in 2022 to honor artists, producers and executives who have made significant contributions to music and inspired other women through their work. The first 30 conversations in this series were published in Japan last year as a “Billboard Japan Presents” collection by writer Rio Hirai, who moderates this conversation between the two popular artists.
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Ieiri and Kato are both set to perform at Billboard Japan’s Women In Music Vol. 2 concert on Feb. 8, along with the Tokyo Philharmonic Billboard Classics Orchestra led by Yukari Saito as conductor. While the styles of the two singers vary greatly, they share a common ground in the way they both delve deeply into their inner selves to sublimate what’s there into their music. In this conversation, Ieiri and Kato got to know each other better ahead of their upcoming WIM concert as they opened up about their mindsets on songwriting and their respective careers.
Tell us how you felt when you were asked to perform at Billboard Japan’s Women in Music Vol. 2 concert, and what you have in store for the show.
Miliyah Kato: The purpose of this concert, women’s empowerment, is something I’ve always valued like a mission throughout my career. I was happy to be tapped to do it and could immediately imagine the way I’d feel when I stood on that stage. It’ll be my first time performing with an orchestra at Tokyo Dome City Hall, and performing with Ms. Ieiri is also special, so I think we’ll be able to add further breadth to our show.
Leo Ieiri: This is actually our first time meeting each other, but when I heard that my collaborator would be Miliyah san, I was surprised and so happy at the same time. I went to an all-girls school and all of my classmates at the time loved your songs. I never thought I’d have an opportunity to work with you and am so honored.
Miliyah: I guess you’re a bit younger than me? I recognized you as an artist with a fresh, wonderful voice, and I think we share something in common in that we both create songs by digging into our personal sides. I feel close to people who can share their dark sides like that.
Leo: Thank you so much. After all, it’s pretty much a given that the experience of falling in love or having feelings for someone could end up hurting you, right? When my soul was still childish, I couldn’t stand that hurt and songs would be born from there. As I’ve gotten older and gone through more experiences, I’ve come to understand that loving someone includes that hurt. I want to convey such changes in a woman’s mindset and growth through my songs.
I listened to your song “Aitai” in my school days, and when I listen to it again as an adult, it sounds so fresh and I can tell that it describes a different state of mind compared to the lyrics you write now. A female artist who has built her own history like that is so great.
Miliyah: Thank you. I made my debut in my teens and spent my 20s and 30s as a singer, and feel that my songs reflect the way I live my life and how I spend my days. I don’t think I’m great just because I’ve been doing this for a long time, but I’ve been able to do this for so long because of the people who listen to my music, and that’s something to be very thankful for. So I want to show my gratitude by creating places where people can have fun, like concerts.
Ms. Kato, you mentioned that the empowerment of women has been like a mission in your career. Have you always felt this way?
Miliyah: I became a singer by singing about things that were bothering me. My third single, “Dear Lonely Girl,” came out when I was 16. I was in high school at the time, and I hated grownups. [Laughs] I hated being judged so much, but I didn’t understand myself, either, and felt kind of lonely. When I sang about how I felt with bleached blonde hair, it turned out a lot of girls around me could relate. It felt like people noticed my existence, and I realized, “This is what I should sing about,” and felt it was my mission to encourage women through my songs. That’s what I’ve been doing ever since.
Leo: That’s so cool. I’ve never really been too aware of empowering women before. I’ve always thought that there’s an infinite number of identities other than female and male, and that there’s no gender difference in how a person feels. It wasn’t until I was in my late 20s that I became aware of my female identity in a new way. I think it was during what they call the “quarter-life crisis,” when I was trying to figure out how I should live from then on. More of my friends were getting married or having kids, so the awareness came naturally. But I think the melodies that come from such shifting emotions and casual daily life resonate with people the most, so I want to keep singing songs like that.
Miliyah: Now that I’m in my 30s, I think my way of thinking has changed so much that it’s hard to believe. Women in particular go through ups and downs because of the changes in their hormones or life stages. But if you stop and look back on your life, I’m sure you’ll see you did your best during each decade. I faced myself seriously from moment to moment and the results are evident in my music.
Leo: That’s so true. I’m 29 now, and I’ve been looking really forward to hitting my thirties, and hearing you say that just now makes me feel more strongly about it. I’ve included parts of myself that are embarrassing and weak in my songwriting, and as I grow older, I sometimes look back on the things I made in the past and wonder why I was thinking that way at the time. But they prove I’ve been opening the door to my heart and making music seriously. I sometimes sing songs written by other people, which is also really fun, but I’m set on continuing to write my own lyrics as well.
We women accumulate personas, don’t we? To marry or not, to have kids or not… there are so many paths and so many roles that we’re forced to take on. How we maintain our identity in the midst of all that is important. Looking at your Instagram, I’m struck by how energetic you are. You work out stoically, yet you also enjoy shaved ice and whatnot as a treat for yourself. It helps me see that people who keep moving ahead have two sides, taking time to be strict and easy with themselves as needed.
Miliyah: Oh wow, you’ve checked out my account? [Laughs] Yes, I think being up for a challenge in life is definitely more interesting. There are people who want to pursue beauty, and there are people who want to live a simple life without luxuries, and it doesn’t matter what you take on as a challenge.
I say I want to empower people, but that desire might make me unwittingly use strong words and that could make the recipient think they need to achieve something big. But that’s not what I really want to get across. I think living is also about how much you end up liking yourself over the course of your life. We all have our own hang-ups and it’s impossible to force yourself to keep working hard all the time. But everyone is equally capable of taking on a challenge. If you keep challenging yourself, no matter how small, I think you’ll come to like yourself even more than you do now.
Like you said, women experience changes in their environment and their sensibilities depending on the stages in their lives. Is there anything you both value in order to continue your singing career for a long time and in a healthy way?
Miliyah: Well, I think what I value is the sense of trying to be strong, even if I can’t always be strong. As a solo artist, I’m the only one who bears the brunt, but behind the scenes I’m being supported by my staff and fans. So in order to be the kind of person that everyone wants to follow, I want to stay strong, cheerful, and energetic. I can stay strong even when things make me nervous because I never forget that.
Leo: I think all human beings are actually weak. Men and women are equal in mind, but their bodies are inevitably built differently. So the inclinations stemming from those differences led to women being forced in the home, into weaker positions at certain points in history. When you find yourself in such positions, it’s up to you to choose whether you live your life feeling sorry for yourself, or thrive because you don’t want people to feel sorry for you. I think Ms. Kato is a really strong person who believed in herself and walked with a sense of mission no matter what position she found herself in.
There was a time when I thought I wasn’t cut out for a career in music and wanted to quit. At that time, I helped out at a nursery school, partly because I like picture books. But when I spent some time in another field, I was able to look at my own situation objectively. I realized I liked to sing after all and returned. I don’t know if I’m suited for it or not, but I couldn’t pretend that I don’t love it.
Hearing that you felt conflicted like that even though you’re so successful comes as a surprise. What advice would you both give yourself when you were just getting started in your career? In particular, Ms. Kato, you debuted when you were just 16. What did worry about back then?
Miliyah: In the first year of my career, I was like 100 times bolder than I am now. [Laughs] Lacking experience and ability, I was bold out of ignorance. But if I could speak to myself from back then, I’d probably say, “You don’t have to worry so much.” Unlike today, social media wasn’t as widespread, and maybe things were easier in that sense, but even while being bold, there was a part of me that worried about people’s reactions and thought maybe I’d get in trouble. So I’d tell younger me to just go all out.
Leo: Well, I was desperate to find a way to protect my worldview. I was even afraid of things that people said to me out of kindness, because I felt like they were dismissing who I was. Now I truly want people to tell me what they think because I know that stimulation from the outside is what expands my own world.
But because of that time I spent protecting myself like that, I enjoy meeting people later on in life. You don’t have to try to be so mature, and if you’re afraid, it’s OK to protect yourself. I’d like to say to myself at that time, “If something bad happens to you, try to understand what it is you don’t like about it and let your feelings out.”
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
“Mwaki,” the urgent progressive house track from Brazilian producer Zerb and Kenyan singer Sofiya Nzau, has been a dance world sensation since its release last November. The track hit No. 1 on Spotify’s Global Viral Chart, with more than 100,000 videos created by fans on social media, and is currently at No. 3 on the global Shazam chart.
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The track — sung in the tribal Kenyan language of Kikuyu — also gained momentum with recent remixes by Major Lazer and Tiësto, with edits from Franky Wah, Major League DJz, Tyler ICU, and Chris Avantgarde forthcoming. The song’s title translates to “fire.”
“I knew ‘Mwaki’ was special, but I didn’t expect the success and love that the song has had,” Zerb said in a statement. “I’m very happy not only with the result, but also with the opportunity to spread my music to the world.”
Now “Mwaki” is coming to life even more vividly via it’s just-out video, starring Zerb, Nzau and a fleet of Kenyan dancers. Directed by by Mikhail Mehra — who helmed the classic video for Major Lazer’s “Lean On” — the video was made in Kenya’s stunning Hells Gate National Park, where the crew traversed the park’s gorges by rope (and avoided the local hippopotamuses) while filming in the canyons and fields.
“Everybody on the team just making miracles happen,” Mehra said in a statement. “Hopefully, we make Kenya proud, because it was a tremendous experience.”
The clip comes with the announcement that the São Paulo-born producer, who has performed at Lollapalooza and Rock In Rio, has signed with UTA for live representation in all territories excluding Brazil.
The track is out on the indie label TH3RD BRAIN, whose global campaign behind the track successfully broken the song in myriad countries.
“Music doesn’t have borders today. It’s inspiring that an artist in Kenya can upload her vocals to the internet, be found by a Brazilian DJ, and turned into one of the biggest dance records of the year,” TH3RD Brain’s Alec Udell tells Billboard. “As an independent label, our partner network is set up to tell stories like this across the globe. Zerb and his manager Gabriel have been at this game for over ten years so what’s next for them is what’s really exciting to us.”
Watch Zerb’s “Mwaki” music video below:
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