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APOKI, the virtual Korean artist “like a rabbit that lives somewhere in space,” has released her first album, Earth Space Time.
Her debut song, “GET IT OUT,” which she released in February 2021, was created with first-class writers like songwriter Melanie Fontana. Along with its accompanying music video, which encapsulated her spacy, near-future aesthetic, it served as a powerful calling card for this unrivaled virtual artist. She followed this up by working with writers like Melanie and GG Ramirez and producers like A-Dee and Lindgren to create some of the world’s most cutting edge and cool tracks, with a K-pop spin.
Now, she’s finally completed her long-awaited first album. With a total of 11 songs, including both previous releases and new songs, it speaks volumes about why the virtual artist APOKI has drawn the attention she has around the world. Billboard Japan spoke with APOKI about the album.
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What kind of album were you setting out to make with this, your first album?
The key concepts of this album are “reminiscing” and “beginning.” There are brand new songs, but there are also songs I previously released. It’s a record of my travels as an artist, and a present to my fans.
What’s the story behind the album’s title, Earth Space Time?
These three words express my aesthetic, both in the past and spreading out into the future. If you look at my past activities, I think it’s be clear what it means.
The songs were written by a team of hit-makers from around the world, like Melanie Fontana and Andreas Carlsson.
Over the past few years, in the K-pop scene, it’s become standard for songs to be created by overseas teams, including co-writing efforts. I think there’s a synergy between the tracks they create and the Korean lyrics. It feels like the divisions between genres have been disappearing lately, so I’ve been able to show off various aspects of my world. I’m inspired by the varied songs being put out by K-pop artists.
Tell us about what went into creating “Space,” the lead song on the album.
“Space” is filled with my feelings about my birthplace — space. In writing it, I was thinking about how there are all of these aspects of space that have yet to be discovered by earthlings…but what exactly those are is still a secret (laughs). But I’m very happy and grateful to see listeners interpreting it from all kinds of different perspectives. I’ve released various versions, so make sure to check those out, too.
The sound of the album is really cool and polished, but the melodies are very accessible.
There’s such a thing as a language barrier, but there’s no such thing as a melody barrier. That’s why I’m sure people around the world will listen to the album. I want to keep making melodies that all listeners can identify with.
The album contains your August release, “Hold On.” This is your first original Japanese song. What’s the response been like?
This April I collaborated with Girls² on “Countdown feat. APOKI,” which reached a whole new group of fans. Since releasing “Hold On,” I can tell that the number of Japanese APOKI fans is on the rise. I heard that it hit fifth place on Japan‘s USEN Weekly Request J-pop Chart (on November 11), which is wonderful.
Your new ballad, “Fuyu No Sakura (Winter Blossom),” features guitarist Kotaro Oshio. What about Oshio’s guitar playing do you find so appealing?
Actually, in the early stages of the song there was no guitar part, but I asked Kotaro Oshio, who I have a ton of respect for, to play guitar on the song. I love his delicate guitar playing and the slightly wistful sound of his guitar. In his playing, I feel a sense of warmth within that wistfulness. It was an honor to be able to work with him.
I’m sure it’s a hard choice for you, but what songs do you particularly like on the album?
I love them all (laughs). But if I had to pick one, it would be my newest song, “Hashtaggg.” It’s a mid-tempo song with a very stylish atmosphere and a unique sound. The lyrics are a bold emotional declaration, shouting at someone you love “Hashtag me! Look at me!” I think this is a feeling that every girl that’s ever been in love has experienced at some time or other. When I recorded the song, I imagined the relationship between myself and my fans, who give me so much support.
Your music videos, which are made using state-of-the-art computer graphics, always generate a lot of buzz. What creators and artworks have you been particularly inspired by? And how did you develop your own truly unique sensibilities?
My visuals are just everyday life up in space, where I was born, but if earthlings find them novel, that’s great. I’m still studying earth aesthetics, so everything here on this planet is new and inspiring to me. Some of my artwork is inspired by Japanese sci-fi comics like AKIRA. You should check them out.
The Korean music scene is seeing a rise in the number of virtual artists. What do you think is the biggest difference between you and these other artists?
The number of virtual artists and virtual idols in Korea has been really climbing lately. I feel like this year, in particular, the number of fans has really swelled. My goal is to further expand the virtual market along with my fellow artists and to work and grow together. I think artwork is very important for a virtual artist, but musical sensibilities are also critical. I’d like to set myself apart through my musical sensibilities and to stay focused on originality.
You’ve becoming quite a center of attention, with over five million social media followers around the world. I think you play an important role as an influencer because you connect the virtual and real worlds. How do you see your relationship with fans in the social media era?
I’ve yet to meet my fans face-to-face, but I try to actively communicate with them through things like my Instagram live performances. I’m always struggling with how to look cool while staying approachable. I’m very appreciative of the comments and input I get from everyone, and I try to reflect them in my own activities.
So you have ambitions and hopes for a live show?
One of my big goals is to have fun communicating with my fans at a live show. I’d love to play in public, and, in fact, preparations are already underway. Just hold on a little longer!
—This interview by Hisakatsu Tanaka first appeared on Billboard Japan
NHK WORLD-JAPAN is set to broadcast a music program featuring some of today’s hottest J-pop acts titled NHK WORLD-JAPAN Music Festival 2023 in 160 countries and regions around the world. Part 1 is set to air on Nov. 19, followed by Part 2 on Nov. 26. Explore Explore See latest videos, charts and news See […]
Nishina, SCANDAL and Non graced the stage at the historic Hibiya Open-Air Concert Hall in Tokyo on Nov. 3 for Billboard Japan’s Women In Music Vol.1 event, entertaining fans under the clear autumn sky with songs and performances bursting with individuality.
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This concert was the first with multiple headliners on the bill organized as part of the WIM initiative in Japan, which launched last year to honor artists, producers and executives who have made significant contributions to music and inspired other women through their work, as Billboard has done in the U.S. since 2007.
The Open-Air Concert Hall in Hibiya Park, or “Yaon” as music lovers refer to it, is celebrating its 100th anniversary this year. November 3rd being a national holiday, a large number of fans of all genders and generations gathered at the event. The spirit of the day’s festivities was expressed in the music being played before the concert began, with songs by Western female artists such as Cyndi Lauper’s “Girls Just Wanna Have Fun,” Shania Twain’s “Man! I Feel Like a Woman!,” and Dolly Parton’s “9 to 5” warming up the Yaon crowd.
After the master of ceremonies for the evening, Maki Fukuda and Kanade of the comedy trio 3 Ji no Heroine, announced the start of the event, Nishina kicked off the show. Appearing onstage to warm applause, the rising 25-year-old singer-songwriter and her band broke into noise to perform “Slow Motion.” The leisurely, yet increasingly intense rendition was a fitting opener for her six-song set, gradually warming up the audience with her exuberance.
Nishina
“This is my first time playing at Yaon so I’ve been looking so forward to this,” Nishina told the crowd before moving on to “Tokyo Marble.” Bubble gun in hand, she blew soap bubbles into the audience while hopping from one end of the stage to the other, clearly enjoying her time on the historic stage to her heart’s content.
During “Kedamono no Friends,” the singer twirled her fake tail around in her hand, loosely dancing and singing as the audience clapped with the beat. There was a moment when she almost tripped and fell because she was moving around so much onstage. Laughing, she exclaimed, “Did you see that? What an amazing recovery!” Making the audience feel at ease through such exchanges, she went on to perform “Sugar Spot” for the first time live. By the time she performed “Heavy Smoke,” dusk had fallen over the outdoor venue and her low, mumbly vocals lingered in the cool autumn air. Nishina closed her set with a heartfelt performance of her poignant ballad “seiran yuei,” making good on her weighty responsibility of opening the first-ever WIM event.
During the stage change, Fukuda and Kanade appeared onstage and explained the purpose of the event. “We’d like everyone to feel the power of women and diverse possibilities through these live performances that are uniquely individual,” they said. “The concept of this project is to act towards eliminating gender inequalities in various industries including music, and make the world a place where people of all genders can be their best selves.” The two comedians went to share that more people are bringing their children backstage these days in their field, and new values are becoming more common.
At this point, Nishina came back onstage to join the two emcees and commented, “It’s now pitch dark, but we started while the sun was still out. I was thinking how beautiful it was and had a really lovely time.” When asked if she is conscious of her gender when writing songs, she replied, “I don’t think too much about it, but I try to respect that ‘you are you’ in terms of taking care of myself and respecting others.”
Non
The next artist on the roster was Non, whose latest album PURSUE was named to reflect the kind of woman she looks up to: someone who pursues what she wants and sees it through to the end. Appearing onstage with her backing band dressed in bright red, the multi-hyphenate artist picked up her trademark red Telecaster guitar and opened with “Beautiful Stars,” her collaborative project with J-pop rock band ASIAN KUNG-FU GENERATION.
“I’m so excited because I’m sandwiched between two insanely cool acts, Nishina and SCANDAL,” she noted before performing her next song, “Oh! Oh! Oh!” as the crowd sang along. She then told everyone to “take a seat because this next one’s mellow” and as the intro to “Kouya ni tatsu” (“Standing in the Wilderness”) began to play, the crowd stirred and broke out into loud applause. Fans listened enraptured by Non’s arresting performance of this profound ballad.
Before closing her compact but satisfying set with her warm, mid-tempo number “Azayaka na hibi” (“Vivid Days”), she addressed the Yaon crowd again. “It’s my first time performing in an event like this as part of three acts on the bill,” she said. “I think it’s wonderful that we can all enjoy music together. My heart’s so full. I wish you all many wonderful days today, tomorrow, the day after tomorrow, and beyond.”
When invited back onstage by Fukuda and Kanade for a chat after her segment, Non emphasized again how much she had been looking forward to this day. “I was so happy to be able to play with my band today, because I was disappointed when our show here with Reichi ‘Chabo’ Nakaido’s band was cancelled due to a typhoon,” she said.
SCANDAL
Closing out the event was SCANDAL, a veteran all-female band of 17 years. The four members were greeted with loud cheers after it was announced that the group had been certified by the Guinness World Records in August as the “longest running rock band with the same musicians (female).” Clad in black, the members opened their set with the band’s uplifting latest single, “Highlight no naka de bokura zutto.”
As searchlights flashed across the venue, the band went on to perform one of its representative numbers, “Shunkan Sentimental,” with the audience spontaneously shouting as soon as the intro began. The four women’s solid performance engulfed the historic venue in a frenzy of excitement.
The veteran band continued to deliver a tight set covering highlights from its illustrious catalog. “I’m having so much fun now that I’m in my thirties and playing in SCANDAL,” said guitarist/vocalist HARUNA to thunderous applause. “I hope you can feel the four of us standing on stage and connecting our sounds together, like light.”
The women performed “Sisters” as a refreshing shout-out to the evening’s theme, then finished their set with their concert anthem “SCANDAL BABY,” gleefully singing in unison. During the second verse, lead guitarist MAMI and bassist TOMOMI huddled close to HARUNA, making eye contact with drummer RINA as they tore through the fan favorite to close out the event on a high note.
During the after-show chat, RINA said, “Now that events like this are taking place, I think we have more opportunities to understand one another. Our hope is that we can all live together while respecting what each of us values. I hope we can enjoy our lives together without giving up anything.” When asked about their thoughts on continuing to perform as a “girl band,” HARUNA replied, “We feel that it’s important for us four members to be considerate of each other and to enjoy the changes as we get older, so we hope to never forget that and enjoy our time together.”
Nishina and Non were also invited to share their impressions of the event, and the former commented, “I had a great time performing side by side with very cool female musicians from different genres,” while the latter shared, “I really enjoyed being here today, listening to Nishina and SCANDAL’s live performances thinking they were so cool and had a good time performing, too!”
The celebration of women will continue as Billboard Japan announced its Women In Music Vol. 2 event set for Feb. 8, 2024, at Tokyo Dome City Hall. The next concert will feature the powerful voices of singer-songwriters Reo Ieiri and Miliyah Kato collaborating with an orchestra.
—This article by Takayuki Okamoto first appeared on Billboard Japan
Ado’s “Show” logs its sixth week atop the Billboard Japan Hot 100, dated Nov. 8, tallying the week ending Nov. 5.
The enigmatic singer has hit No. 1 on the Japan Hot 100 with two other songs in the past: first with her breakout smash “Usseewa” (one week) then with “New Genesis” as Uta from One Piece Film Red (six weeks). If “Show” extends its stay at the top of the tally for another week, the “Kura Kura” songstress will break her own personal record for total weeks at No. 1.
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The theme of USJ’s Halloween event currently rules streaming, downloads and video views, while also performing well in radio airplay (No. 3) and karaoke (No. 6). While figures for downloads and streams have increased, the song shows strong growth in radio and karaoke, with the former gaining 28 percent and the latter 24 percent more points than the week before. The spooky dance number holds at No. 1 for the third consecutive week on Billboard Japan’s TikTok Weekly Top 20 and for the fourth straight week on the Top User Generated Songs lists, meaning the song has become this year’s Halloween anthem for many users of social media.
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At No. 2 this week is YOASOBI’s “Idol.” The monster hit is now in its 30th week on the Japan Hot 100 and currently at No. 2 for streaming, No. 13 for downloads, No. 3 for video, No. 2 for karaoke, and No. 36 for radio. The number of downloads rose again from 3,895 units to 4,420 units this week, indicating the lasting popularity of the catchy Oshi no Ko opener and record-holder for most weeks at No. 1 on the Japan Hot 100 (21 weeks).
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YOASOBI also made headlines in September when the duo’s breakout mega-hit “Yoru ni kakeru” (“Into the Night”) became the first song in Japan to surpass one billion cumulative streams. “Idol” is quickly on its way to reach that milestone as well, sailing past 500 million cumulative streams in 30 weeks, the fastest to do so in the country’s history. It took “Yoru ni kakeru” 63 weeks to reach half a billion streams.
And following at No. 3 this week is YOASOBI’s “The Brave.” Weekly downloads for the Frieren opener increased slightly from 9,224 units to 9,964 units, while karaoke, video, and radio increased 30 percent, 1 percent, and 12 percent, respectively, to lift the pair’s latest hit 5-3 on the Japan Hot 100.
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Debuts in the top 10 this week are LE SSERAFIM’s “Perfect Night” at No. 7 and NiziU’s “HEARTRIS” at No. 10. The former is at No. 14 for downloads with 3,682 units and No. 7 for streaming with 5,888,887 streams. The latter, the South Korean debut track for the nine-member girl group, is at No. 6 for downloads (5,882 units) and No. 30 for streaming (2,955,278 streams).
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The act with most songs on the Japan Hot 100 this week is Mrs. GREEN APPLE. The pop-rock band charts 10 songs on the list, led by “Que Sera Sera” at No. 16 and “Magic” at No. 19.
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 Oct. 30 to Nov. 5, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Canadian pop star Nelly Furtado is set to host the 2024 Juno Awards, which are slated for Sunday, March 24, from the Scotiabank Centre in Halifax, Nova Scotia. This will be Furtado’s second time as Juno Awards host. She also fronted the 2007 show in Saskatoon, Saskatchewan, at which she won five awards.
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Tickets to the 2024 Juno Awards broadcast go on sale Friday, Nov. 10.
Furtado, 44, amassed 10 Juno Awards from 2001 to 2007. The international pop star also won a Grammy in 2002 for “I’m Like a Bird,” which was voted best female pop vocal performance.
In addition to hosting, Furtado is set to perform on the show, as are fellow past Juno Award winners Charlotte Cardin, The Beaches and Maestro Fresh Wes.
The Montreal-born Cardin won four awards at last year’s show – artist of the year; album of the year and pop album of the year for Phoenix; and single of the year for “Meaningless.”
The Beaches won rock album of the year last year for Sisters Not Twins (The Professional Lovers Album). The Toronto rock band had won breakthrough group of the year in 2018.
Hip-hop pioneer Maestro Fresh Wes is the 2024 Canadian Music Hall of Fame inductee. The rapper (real name Wes Williams) made history as the first Black Canadian artist to achieve gold and platinum status in the country. In 1991, he became the first Juno winner for best rap recording of the year for “Symphony in Effect.” He also won best video that year in tandem with Joel Goldberg for “Drop the Needle.”
Tegan and Sara will receive the 2024 Humanitarian Award for their charitable achievements. Academy Award-nominated actor (and Halifax native) Elliot Page (Juno), will present the honor live on the Juno Awards broadcast.
Tegan and Sara are outspoken advocates for LGBTQ+ equality and gender justice. The Tegan and Sara Foundation is an extension of their work, identity and longstanding commitment to building progressive social change.
Tegan and Sara won three Juno Awards in 2014 – single of the year for “Closer,” pop album of the year for Heartthrob and group of the year.
The 53rd Annual JUNO Awards will broadcast and stream live across Canada on March 24 at 8 p.m. ET/9 p.m. AST on CBC TV, CBC Gem, CBC Radio One, CBC Music, CBC Listen and globally at CBCMusic.ca/junos and CBC Music’s YouTube page.
Furtado will become the fourth person to host multiple Juno broadcasts in this century, following Michael Bublé and actors Simu Lu (who hosted in both 2022 and 2023) and Russell Peters.
ENHYPEN is making another big splash to extend their dominance beyond the K-pop, beauty and fashion scenes.
Following the news that the group was joining Cardi B, Offset, Lance Bass, Ashley Tisdale and more stars in the cast of Baby Shark’s Big Movie!, the septet teamed with Nickelodeon and The Pinkfong Company to launch a music video for a new single “Keep Swimmin’ Through” for the viral character’s first feature film.
In the visual aquatic extravaganza, ENHYPEN members Jungwon, Heeseung, Jake, Sunghoon, Jay, Sunoo and Ni-ki perform as both themselves and a boy band of beluga whales. The guys deliver inspiring, oceanic-themed lyrics (“So don’t give up when the tide turns against you, you know you got friends in the deep blue”) to the delight of Baby Shark and friends (with appearances by Mommy Shark, Daddy Shark and ENHYPEN superfan William).
After wrapping the U.S. leg of their Fate World Tour in October, ENHYPEN will return stateside to perform “Keep Swimmin’ Through” on Nickelodeon and Pinkfong’s Baby Shark float during the 97th Macy’s Thanksgiving Day Parade on Nov. 23. Nickelodeon described their display as a “25-foot-long Baby Shark balloon and an 18-foot-long float that showcases an underwater seascape featuring the lovable Shark family,” per a press release.
The new collaboration follows the previous Big Movie music video “It’s Stariana!” that introduced Tisdale’s singing starfish character Stariana. Actors like Aparna Nancherla, Ego Nwodim, and Chloe Fineman, plus Baby Shark series regulars like Kimiko Glenn, Luke Youngblood, Natasha Rothwell, Eric Edelstein, Debra Wilson and Patrick Warburton are also on hand for the flick.
ENHYPEN’s “Keep Swimmin’ Through” releases worldwide across streaming platforms tomorrow, Nov. 3. The song comes ahead of the group’s upcoming ORANGE BLOOD album, dropping on Nov. 17, which Jake recently told Billboard is “our best album to date.”
The video will appear across Nickelodeon platforms and stream on Paramount+ leading up to the winter premiere of Baby Shark’s Big Movie. Watch the exclusive premiere of “Keep Swimmin’ Through” below:
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As predicted last week, Ado’s “Show” returns to No. 1 on the Billboard Japan Hot 100, dated Nov. 1, logging its fifth week atop the tally after gaining further momentum leading up to Halloween.
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Both streaming and downloads for the USJ Halloween event theme increased from the week before, with the former reaching 14,861,306 weekly streams, up approximately 3.2 percent. Downloads are up 17.9 percent at 17,617 units, landing the track at No. 2 for the metric. Points for video views are also up 39 percent (No. 1) and radio jumps 21-7 with an increase of 48 percent. The “Zombie de Dance” show is scheduled to end Sunday (Nov. 5), so it’ll be interesting to see how far “Show” can extend its record atop the Billboard Japan song chart after the spooky festivities come to an end.
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The lead song off J-pop boy band WEST.’s first “triple-A side” single called “Zettai Zetsumei/Beautiful/AS ONE” released Oct. 25 debuts at No. 3 on the Japan Hot 100 this week. “Zettai Zetsumei” is powered by sales with first-week CD figures for the track reaching 302,821 copies, which is about 1.37 times more than the group’s previous release, “Shiawase no Hana” (220,040 copies).
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“Suggoi FEVER!” by Morning Musume. ’23 bows at No. 4. The track leads the girl group’s first new single in ten months, called “Suggoi FEVER!/Wake-up Call～Mezameru toki～/Neverending Shine,” and is the last one including current leader Mizuki Fukumura. The song marks No. 2 for sales with 135,797 copies, surpassing the previous single called “Swing Swing Paradise/Happy birthday to Me!” (121,814 copies).
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After hitting No. 1 last week, Sakurazaka46’s “Shoninyokkyu” falls to No. 7, but the track continues to perform well, coming in at No. 5 for sales with 18,196 copies sold and No. 7 for streaming with 6,242,620 weekly streams.
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Also, Hey! Say! JUMP’s “Ready to Jump” off the group’s first-ever digital EP “P.U!” debuts at No. 15 on the Japan Hot 100 this week after hitting No. 1 for downloads with 26,719 units including bundle totals. The track is also at No. 26 for video.
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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 Oct. 23 to 29, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Iconic Japanese singer and actor Tomoyo Harada spoke with Billboard Japan for its Women in Music interview series celebrating female players in the country’s entertainment industry. The WIM initiative in Japan began last year to honor artists, producers and executives who have made significant contributions to music and inspired other women through their work.
Harada debuted as a teenager in 1982 and quickly became a household name as the star of Nobuhiko Obayashi’s The Girl Who Leapt Through Time (1983). She has since established herself as both a prolific actor and singer, with her most recent music release being her fourth cover album of love songs called Ren-ai Shousetsu 4 ~ Ongaku Hikou (“Love Story 4: Music Flight”) that dropped Oct. 25.
While the award-winning superstar’s ephemeral presence and soothing vocals seem unchanged since her debut, she has long been an adult in the entertainment industry and has experienced her share of difficulties along the way. Harada sat down with Billboard Japan to chat about her new album and look back on the turning points in her lauded career, while also sharing the music that has recently been inspiring her.
Congratulations on the release of your new album. What do you like about it?
Unlike an original album, the songs in this set are all numbers that have been loved by many. And, they’ve been sung by many before. When I listen to the different versions of these songs, there are lots of hints hidden in them. There are ways of singing that I would never have thought of, and nuances unique to English that can’t be expressed in Japanese, so I learn a lot about expression. These kinds of discoveries are pleasures that only a cover album can offer.
You mainly selected classics from the ‘60s and ‘70s that have been loved for generations for this collection.
We wanted to present music that would gently accompany people’s daily lives, so I decided on the songs together with producer Goro Ito and my team, taking into consideration the overall balance. Mr. Ito always comes up with lovely, playful arrangements, so I enjoyed that as well during the production.
Some of the songs are deeply personal to me. For example, Neil Young’s “Only Love Can Break Your Heart” is a song that my brother, who is ten years older than me, used to sing in our childhood home in Nagasaki. When my sister, two years older than me, and I were playing, we’d hear him practicing hard in his room, playing the guitar he’d just learned. Hearing this song brings back warm memories of listening to it with my sister.
The songs on the track list will probably evoke various memories for each listener. Did you have any female role models you looked up to back then?
I don’t really remember… Now, I think women with inner fortitude are beautiful. If you have an inner strength, you can stay flexible, you know? I also want to be that kind of person and hope to express that in my music as well.
Did you begin to think that way recently?
No, I think it’s something that gradually grew within me. When you’re young, you sometimes have a tendency to be really serious and stubborn. Like being straightforward is the only way. As you get older, you gain more perspective, and develop a kind of inner strength. I think that kind of strength allows you flexibility that won’t snap easily. Not visible strength, but a mellower kind. I find myself being drawn to that kind of strength now.
Is there anything that you try to be aware of to get closer to that ideal?
Yes, I think it’s important not to obsess about something or think too much about things. If you’re obsessed, you lose perspective, and you might end up limiting your possibilities. I want to listen to what others have to say and not be narrow-minded about things. Once you face what’s in front of you with sincerity and put your energy into it, I think the right balance is to relax and let it take its natural course.
Has being a woman ever affected your career or life in general?
I can’t really think of any examples. I guess I’m fortunate in that I’ve never been treated any differently because I’m a woman.
It’s best not to have experienced such things, of course. Then, regardless of gender, when you experienced difficulties or obstacles, how did you overcome them?
I’m sure I’ve experienced some difficulties, but I don’t think any of them were insurmountable. So this might not answer your question, but here’s something I do remember. Ever since I made my debut in my teens, I worked as both an actor and singer. When Keiichi Suzuki agreed to produce my music in my twenties, I decided to put my previous public image aside for the time being and return to basics in terms of music as if I were making my debut anew. And in doing so, the project turned out really great.
But the radio and TV programs at the time were rigidly divided into genres, and there were some programs that were hard for me to appear in because I was also an actor. I never thought my acting career that I’d worked so hard on would hinder me. But I was confident that we were making good music, so I figured the only thing I could do was just keep at it. Eventually, the song “Romance” that I created in collaboration with the Swedish producer Tore Johansson became widely accepted. From that point on, my music was treated equally as if some door had opened and I felt that I’d won the support of people in the music industry.
When you felt that the music industry was closed off to you, what motivated you to keep going?
Well, I knew that the music I was making with Mr. Suzuki was good. I kept going with a genuine desire to make good music rather than wanting to produce hits. The fact that I kept going without giving up along the way turned out to be significant. I had the pleasure of meeting new fans, and I think it was a major turning point in my career as a singer. I had some experiences in my twenties where my life changed through such encounters with people. You never know where you’ll come across such encounters, so I want to keep my eyes open and cherish the people I meet.
One of the reasons that led to the launch of this interview series is the gender gap on the Billboard Japan charts: in 2022, out of the 100 most popular groups on the year-end tally, the gender breakdown of artists and acts was 58 male, 27 female, and 15 mixed. This ratio hasn’t changed greatly over the years. Are there any female artists that encourage you whenever you hear their songs?
I didn’t know there was a gender imbalance on the chart. I often learn about new music from my niece, who is a college student, and recently I’ve been watching videos by (rappers) Awich and Chanmina with her. I was thrilled when I saw them for the first time. They appear on stage in front of huge audiences so regally, bursting with energy and look spontaneous and free. Their lyrics are also really honest and strong, and it makes you wonder how deep and intense their lives must have been because they both must still be young.
Hearing you mention those two artists is unexpected! It must be reassuring to have someone close by who can teach you new things.
When I found out (Awich) was going to perform “Bad Bitch Bigaku” live on a music program, I stood by in front of the TV to watch. It’s encouraging to know that my niece and other young women are growing up watching artists who express their feelings honestly and verbally like that.
—This interview by Rio Hiral (SOW SWEET PUBLISHING) first appeared on Billboard Japan
Multi-hyphenate artist Non chatted with Billboard Japan for its Women in Music interview series featuring female players in the Japanese entertainment industry. The WIM initiative in Japan launched last year to honor artists, producers and executives who have made significant contributions to music and inspired other women through their work.
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Non joins SCANDAL and Nishina on the lineup of Billboard Japan’s Women In Music Vol.1 event set for Nov. 3 at the historic Hibiya Open-Air Concert Hall in Tokyo, dubbed “Yaon” by fans. In this in-depth interview, the 30-year-old who has been expanding her fields of activities beyond genres such as acting and music shares the reasons why she expresses herself freely in every area she commits herself to and continues to powerfully evolve.
You’ll be performing at the Women In Music Vol.1 event in November. How did you feel when you were asked to perform?
First, I was happy to be invited to participate as part of the Women In Music initiative, and was also really excited to be able to perform with my band on the Hibiya Open-Air Concert Hall stage. I was once scheduled to perform at Yaon with (legendary guitarist) Reichi “Chabo” Nakaido, but the show was canceled because of a typhoon. That was really sad, so I’m very happy to be given the opportunity to perform there again with my band for the Billboard JAPAN Women In Music Vol. 1 event.
Anything you can share about what you have in store for the event?
Well, I want to enjoy myself first and foremost. This year I released an album called PURSUE with songs filled with fun and powerful messages, so I’ll be playing lots of tracks from it.
We’re looking forward to seeing you onstage. The theme of this event is “Supporting Women.” What do you think of this theme?
The power of women is something I value so much that it was the theme of my first solo exhibition as an artist, called Non’s Solo Exhibition – Girls Bare Their Fangs. So I empathize with the event’s theme and honestly think it’s lovely. I hope my performance at this event conveys the strength of women and our badassery.
So that’s the kind of woman you think is cool. Do you remember the kind of women you looked up to growing up?
When I was little, my image of a cool woman was someone who walked around effortlessly in heels and dressed smartly. Someone who never trips and is radiant. I still think women like that are cool, but don’t think I want to be that person anymore.
What’s your current ideal?
Right now, the person I aim to be is someone who “pursues” [the title of Non’s album] what she wants to do and carries it through. Carrying out one’s own will is something I think is important. And it’d be ideal if I could do it in an interesting and funny way to boot. Even if what I’m dealing with is serious, I want to transform it into something fun to express it.
Is there anyone you know who comes close to your current ideal?
Akiko Yano. I’ve loved her since I was in high school and used to study and imitate the way she sings. I started out being a fan of her voice and songs, but now I think the way she lives and everything about her is beautiful.
Could you go into detail about what exactly you admire about her?
The fact that she never relents. No matter what anyone says, she never gives in and always sticks to what she thinks is right. I think it’s really cool how she doesn’t make decisions based whether or not she might go against the grain.
Sometimes it can be hard to stand by your own opinions or how you feel about something. When you’re confronted with such dilemmas, how do you deal with it?
I take Ms. Yano’s words to heart at times like that. I wanted to be like her so much, I asked her one time, “If there’s something I want to do, but there’s this permeating sentiment telling me not to, how do I express myself freely and do what I want, like you do?” She told me, “If there’s something you want to do, keep doing it until the people around you stop saying anything. Then everyone will give up.” Those words have been my mantra since then. So I’m sure behind the scenes of me carrying out whatever it is I want to do, there are probably lots of people who have given up and are exhausted. [Laughs]
Your fields of expression span a variety of genres, including acting, music, and filmmaking. Have you ever felt the influence of being a woman in any of those activities?
To be honest, I’ve never really thought about the influence of being a woman. But when I watch movies or TV dramas, I often find myself thinking that the kinds of roles I’m interested in playing are often played by men. It’s something that’s always really bothered me. Whenever I come across such roles, I think a lot about how I would play it or about other ways that role can be interpreted, and that probably links to my own new creative projects.
In a recent film I appeared in, called The Fish Tale (Sakana no ko), I played the role of a man, Sakana-kun. I was able to do that thanks to director Shuichi Okita’s conviction that it didn’t matter if the character was male or female. It was a role that came my way just when I was thinking about how certain roles are only played by men, so the work is now very close to my heart.
Are there any difficulties specific to playing a male role that are different from female roles?
Differences in physique between men and women are inevitable, so I had to flatten my breasts and add filler to make my body less curvy, but other than that the only thing I did in a conscious way was to study (the real-life) Sakana-kun. I observed things like his movements, tone of voice, and how he emphasizes things so I could portray him naturally, but this isn’t particular to this role and I do the same for female roles, too. I don’t think I did anything different from usual just because the gender of the role was different.
I imagine it’s part of an actor’s job to play roles that say or do things that you actually wouldn’t in real life. When you perform such roles, does it affect who you are?
That doesn’t affect me. If I happen to empathize with some part of a character’s way of life, that might encourage me or convince me that my interpretation is adequate, but on the whole, roles with similar personalities or circumstances to my own don’t come my way. So I think in that sense, I draw a line between the roles I play and my own life.
If you were to give advice to yourself when you were first starting out, what would you say?
That’s hard to answer, but if I must I guess I’d tell myself to fix my posture. [Laughs] I’ve fixed it now, but at the time I wasn’t really aware that I was slouching, so I want to tell myself to straighten up a bit.
Lastly, could you share a song by a female artist that gives you strength?
“Hitotsudake” (“Only One”) by Akiko Yano. The lyrics are mixed with fantasy-like images, but evoke daily life and are heartwarming. It’s a romantic song that makes those everyday things sparkle. From there, the chorus depicting longing for the person they’re singing about hits you right in the heart, and it’s so cool. Ms. Yano’s voice is warm and soothing, but it also stirs up my feelings and excites me. I think this song has all those elements. I often listen to this song in the middle of the night because I tend to feel motivated and more focused and creative at night. It hones my senses and stimulates me so much that I can’t sleep.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
A new Canadian Broadcast Corporation investigation calls into question the Indigenous identity of singer-songwriter Buffy Sainte-Marie. It’s already opened up a broad conversation about identity and appropriation.
The bombshell investigation aired Friday (Oct. 27) on the YouTube channel of the program The Fifth Estate and will be available to stream on CBC Gem starting at 9 p.m. tonight.
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Sainte-Marie is one of Canada’s most decorated musicians. The artist and activist has won the Polaris Music Prize, multiple Juno Awards, an Academy Award for Best Original Song, and is the recipient of the Order of Canada and the Governor General’s Performing Arts Award.
She was named Billboard’s Best New Artist in 1964. She’s been recognized as a champion of Indigenous rights on an international level, from the stage to Sesame Street, where she educated children about Indigenous culture starting in the mid-1970s.
The documentary, however, says some of Sainte-Marie’s family members believe her claim to Indigenous heritage “is built on an elaborate fabrication.”
Sainte-Marie has previously said that she was adopted by her parents, Italian-Americans Albert and Winnifred Santamaria, and grew up in the predominantly white Christian suburb of Wakefield, Massachusetts. Later, as a young adult, she was adopted by Emile Piapot and Clara Starblanket Piapot of the Piapot First Nation in Saskatchewan in accordance with Cree law and customs.
She has mentioned that her mother, who she has said was part Mi’kmaq herself, told her that she was Indigenous and that there was no documentation of her birth. In a 2018 interview on CBC’s Q, she attributed this to the Sixties Scoop, a time in Canadian history when Indigenous children were removed from their homes and put up for adoption.
The documentary, which was made without participation of Sainte-Marie herself, features an interview with her younger cousin Bruce Santamaria, who disputes her claim of adoption. It also features quotes from other family members, including references to alleged sexual abuse. The investigation hinges on her birth certificate, which CBC obtained, which lists her presumed adopted parents as her birth parents and her race as white.
“I can say absolutely with 100% certainty that this is the original birth certificate. Beverly Jean Santamaria [later nicknamed Buffy] was born in Stoneham, Mass., at New England Sanatorium and Hospital on Feb. 20, 1941,” says Maria Sagarino, the town clerk in Stoneham.
Sainte-Marie’s lawyer contends that children adopted in Massachusetts were commonly issued new birth certificates with their adopted parents’ names (which the clerk denies).
Ahead of the investigation, Sainte-Marie put out a video in which she affirms herself as “a proud member of the Native community with deep roots in Canada.” She also put out a written statement entitled “My Truth As I Know It.”
“It is with great sadness, and a heavy heart, that I am forced to respond to deeply hurtful allegations that I expect will be reported in the media soon,” the statement reads. “Last month, the Canadian Broadcasting Corporation contacted me to question my identity and the sexual assault I experienced as a child. To relive those times, and revisit questions I made peace with decades ago, has been beyond traumatic.”
“I am proud of my Indigenous-American identity, and the deep ties I have to Canada and my Piapot family.” In her statement, Sainte-Marie says she was told by her mother while growing up that she was adopted, and that later in life her mother told Sainte-Marie she may have been “born on the wrong side of the blanket,” a phrase typically used to indicate a child born to unmarried parents.
“For a long time, I tried to discover information about my background,” Sainte-Marie says. “Through that research what became clear, and what I’ve always been honest about, is that I don’t know where I’m from or who my birth parents were, and I will never know.”
My Truth As I know it – Buffy pic.twitter.com/CZjBMOcKP9
— Buffy Sainte-Marie (@BuffySteMarie) October 26, 2023
CBC contextualizes the investigation within a recent series of revelations around high-profile figures whose claims of Indigenous identity have been disputed, including filmmaker Michelle Latimer and author Joseph Boyden and a number of academics.
These thorny cases, often called “Pretendians,” have initiated conversations around who gets to claim Indigeneity and for what end – often to claim benefits or opportunities or shield themselves from criticism. Some Indigenous commentators are wondering whether Sainte-Marie meets the criteria to warrant this kind of scrutiny, and who should get to do it.
By contrast here’s the CBC’s test for when to tell a Pretendian story, and it’s on way less solid ground. It basically says if you are any noteworthy Native person, you meet the bar for CBC digging into your genealogy. The ‘benefits’ test in the BSM case seems very subjective. https://t.co/CnPm6Rav8u pic.twitter.com/lsf8rnV2Nx
— Robert Jago (@rjjago) October 27, 2023
Two members of the Piapot family also released a statement, affirming their kinship with Sainte-Marie.
“We grew up knowing that Buffy and our grandparents adopted each other and how deeply committed and loving they were to one another,” the statement from Debra and Ntawnis Piapot says. “Buffy is our family. We chose her and she chose us.”
“No one, including Canada and its governments, the Indian Act, institutions, media or any person anywhere can deny our family’s inherent right to determine who is a member of our family and community,” the family states.
The statement emphasizes the importance of Indigenous sovereignty in determining who can claim Indigenous identity. “Join us in protecting our right to uphold who we claim as family through our traditions and natural laws.”
Responses on X have pointed out that using government records to determine Indigenous identity can be fraught. In Canada, the Indian Act has historically been used to exclude people with clear Indigenous heritage from achieving “Indian Status” under Canadian law.
The one thing I’ll say about the Buffy Sainte-Marie thing is that my grandfather was listed as “white” on my mother’s birth certificate but as “Indian” on his WW2 draft card and he was born on Cattaragus rez and he looked like this, so regardless of anything, records are complex pic.twitter.com/vLM161126C
— Kristin Chirico (@KristinChirico) October 27, 2023
Many commentators have expressed that the investigation is painful for Indigenous communities.
We are now reviewing the material that CBC released on Buffy Sainte-Marie. Like all Indigenous peoples across the country we are slowly processing the information. Our hearts go out to all those who feel pain today. We will release a statement in the coming days.
— Indigenous Women’s Collective (@IndigenousWome4) October 27, 2023
This is all so harmful, hurts our communities, our aunties, our grandmas who adored her music and those who actually lived through the Scoop, foster system and adoption. Everyone will have their own feelings reading this. Please take care while doing so: https://t.co/cgEJXAYbHy
— Tanya Talaga (@TanyaTalaga) October 27, 2023
Others are asking who the investigation serves.
Who is served by this bomb. That’s the only question worth asking. Because it isn’t us. It isn’t any of us. But it’s our communities that are going to suffer and struggle long after this story fades. https://t.co/y5TQAMrxon
— daanis (@gindaanis) October 27, 2023
In the CBC investigation, Native studies professor Kim TallBear says she hopes the investigation will be a turning point when it comes to the phenomenon of white settlers claiming Indigenous heritage.
“This one should make it obvious that we have a real problem we have to address and that organizations and institutions and governments need to get on board and figure out how to stop this problem,” she said.
“And if it doesn’t happen after this case, then I don’t know where we go.”
Buffy Sainte-Marie, who is 82, retired from touring earlier this year for health reasons.
This article was originally published by Billboard Canada.