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Billboard Japan launched its Women in Music initiative last year, highlighting various trailblazing women in the music industry in a string of projects, including interviews by leading figures in their respective fields. The initiative follows the established example of Billboard’s Women in Music event that has honored artists, producers and executives who have made significant contributions to the music industry and empowered women through their work since 2007.
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Akiko Nakajo is next up in the Japan Women in Music interview series. Currently, the Japan country representative of YouTube Japan, Nakajo studied abroad as a student and began her career at a TV station. Overcoming biased opinions at various points in her life, such as “Why should a woman study abroad?” and “Women can’t read the news,” she paved her way to her current position. Now that she is involved in the management of a platform for creators and artists to communicate with audiences around the world, what does she think needs to be improved and what does she feel hopeful about?
Were there any women you looked up to growing up?
Firstly, my mother was always there for me when I came home. She was that kind of mother who made me feel safe and protected. I was grateful for her love and support. Secondly, I admired female broadcasters. When I was a child, women working as broadcasters began to emerge and I was inspired by their courage and determination. I thought it was wonderful to see them using their voices to communicate and to make a difference in society. Thirdly, I also admired artists and creators. I have always been drawn to all forms of entertainment. I was fascinated by the way artists could express themselves through their work. I loved a Japanese TV music show called the Best Hit USA that was very popular in my time. Because it showcased their music, their words, and the way they express themselves all leave a lasting impression on me.
You saw the various sides women have and were impressed by those different strengths.
I believe so. I have always enjoyed creating things, too. There is something magical about being able to take nothing and turn it into something. That is why I admire artists, creators, and filmmakers so much as they have the ability to take their imaginations and make them real.
Has your idea of an ideal woman changed over time?
My respect for people who express themselves has never wavered. Creators and artists of all kinds make things despite their hardships, and they give us inspiration and hope for the future. I feel empowered by their works, too. Through my own experiences, I’ve come to believe that everyone — whether they’re artists, business leaders, journalists or mothers — contributes to society and the community. I’m also inspired by people, despite how they identify themselves, who pick themselves up after they fail and achieve something new. Failure is something that happens to everyone, but it’s how we respond to it that matters.
So you’ve gained more people you respect. Of the many new artists rapidly emerging on YouTube, are there any female creators that you find worthy of note?
YouTube is home to a wide variety of content creators and artists, and they can leap to go beyond borders. In the past, it was a major challenge to expand your audiences internationally, but now, expressing your work on YouTube means “making a global debut.” The popularity and reach that people like Hyakumantenbara Salome and P Marusama have are tremendous. When seeing the diverse expressions of these creators, it’s encouraging to see that it’s OK to decide with your own expression and identity.
What were you like as a child growing up?
I recently met with my elementary school classmates and they said I used to “dress in freedom” back then. I think I was trying to free myself from something. At the time, it was common for girls to be told how to act and have their actions restricted. For example, women weren’t allowed to read the news on TV, and they were only seen as weather forecasters in most cases, or hosts of segments within a program. This was the world I lived in, and I was determined to do things as I wanted to do them. I just couldn’t give up.
What did you do to keep from giving up what you wanted to do? You could say that studying abroad and getting a job as an anchor person freed you from that “something” you mentioned.
First and foremost, I had to convince the people around me. When I told my parents that I wanted to study abroad, not only my parents but also somehow my relatives and neighbors joined in the discussion of why a girl should leave her hometown to study abroad, and they thought a local school would be good enough. It took me two years to convince them all, but I eventually succeeded. On the day of my departure, about 30 people — including my teachers and vice principals from each of my elementary, junior high, and high schools, my relatives and friends — came to Narita Airport to see me off. Looking back, it’s an unbelievable sight, but I think the long discussions were their way of showing me love and support. That’s why I think it’s only natural to give back to society, my own children, and to the team I work with.
You’re now the mother of two sons. How did motherhood affect your career?
I got married early and didn’t plan on working for long, partly because I was raised by a stay-at-home mom. I was 26 years old when I married and wanted to have kids quickly and be there for them as a mother, but we weren’t blessed with children for over ten years. At one point, I even wondered if I’d ever be a mother in this lifetime. I had no long-term vision for my career and time sort of passed as I just kept working hard every day and took on whatever challenges came my way.
There was also a positive side to experiencing motherhood at a later age. I was in a different phase of my career, and I felt more prepared to handle parenting because I had a better understanding of my job. No matter how old you are when you become a parent, there will always be things you don’t know about raising a child. But if you don’t know how to do your job, managing both parenting and work will be chaotic.
Throughout my journey, I’ve made a conscious effort to engage in multiple activities simultaneously. For instance, I have been involved in non-profit work alongside my career, taught at schools, and pursued further education. Juggling multiple projects at the same time became second nature to me. When I eventually became a mother, I was able to redirect some of the time and energy I’d invested in those personal projects towards parenting. I believe that my experiences allowed me to apply the lessons I’d learned to parenting and vice versa, looking at the positive side of becoming a mother after gaining experience.
What you just shared may encourage people who are trying have children at an older age. What do you think is necessary to make it easier for women to work, society-wise?
Information is now much easier to access than when I was in my 20s and 30s. I think this saves time and makes it easier to design one’s daily life. On the other hand, something that can’t be solved through technology is one’s mindset and the mindset of the people around them. Even if a system is in place, it will be difficult to achieve a working style if the right mindset is not present.
What do you mean by “mindset”?
I believe that many solutions can be found in society, companies, and other organizations if we properly address the basic issue of “creating an environment where people can be themselves, respect each other, and contribute to each other.” Simply put, this means “psychological safety.” For example, we often hear from parents who find it difficult to tell their colleagues that they have to leave early because their child is sick. This is a sign that the workplace may not have a culture of psychological safety. I’m sure some aspects have improved in recent years, but it’s still far from enough. It is important for individuals to take professional responsibilities as well as be responsible for their own set of rules and for those around them to respect and support them.
We’re in the midst of a major shift in values as a society in Japan. As a parent, is there anything you try to be conscious of regarding gender inequality?
Actually, my sons are quick to point out any stereotyping if I might have. They will say, “Mom, isn’t that stereotyping?” It seems that the schools they attend proactively engage in discussions on gender inequality and other social issues. I think it is great that they are aware of these issues, and I am glad they feel comfortable speaking up frequently, and I find myself learning from my sons everyday.
It’s encouraging to hear that efforts are being made in schools to eliminate gender bias. What do you think needs to be done to promote gender equality in the Japanese music and entertainment industry?
I think it’s safe to say that there are signs of change in gender equality. In the past, I often found myself in situations where I was the only woman in a meeting, but that’s becoming rare. We’re also seeing more and more women in decision-making positions, where they weren’t given the opportunity before.
For example, gender inequality in higher education, especially in the sciences, is a problem that’s being addressed at last in recent years. But until fairly recently, parents and teachers would often say things like, “Girls are better suited for the liberal arts.” These words are imprinted in our minds. While the concept of “women belong in the home” is considered outdated, I was influenced by my mother and had no intention of pursuing a career when I was young. This shows the immeasurable influence of mindsets unknowingly imprinted by our environments, such as family and society.
There are still many obstacles that need to be overcome, but I am hopeful because in addition to individual efforts, positive efforts by society as a whole are being made. This includes programs encouraging the growth of the next generation. It goes without saying that gender has nothing to do with how talented someone is. We should remain optimistic and work towards accelerating this change.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
From a musical and commercial perspective, SEVENTEEN’s best-ever chart rankings and sales numbers all feel wholly deserved for their 10th mini album FML.
With 135,000 equivalent album units earned in the United States in the week ending May 4, according to Luminate, the set marks the K-pop group’s biggest sales week, plus a new chart peak of No. 2 on the Billboard 200. (With just 3,000 units separating them from ending Morgan Wallen’s two-month run atop the chart). As the top-selling album of the week, as well as the fourth-largest sales week for all of 2023, SEVENTEEN also notch their fifth No. 1 on Top Album Sales as well as seventh No. 1 on World Albums.
After FML racked up over a reported 4.64 million in pre-orders globally to be the most-ordered album in K-pop history, SEVENTEEN tell Billboard that their latest accomplishments are hardly comprehensible.
“I think [our debut album] 17 CARAT sold 1,400 copies and we were really grateful,” Mingyu reflects. “So, 4.64 million is a number that’s really difficult to grasp. [Laughs] It’s close to 3,000 times how many were sold for our debut album—it’s all very surreal. It makes me think a lot about what we need to do to return this enormous amount of love.”
Throughout FML, the 13-member boy band share with fans—known affectionately as CARATs—how they remain honest about life’s hardships but also offer hope.
“Within our album, we offer two ways of defining the expression ‘FML,’” Joshua explains. “There’s ‘F*ck My Life,’ which is what the acronym usually means, and we also offer ‘Fight for My Life,’ which is what we want the acronym to mean. There are multiple other ways to turn the expression ‘FML’ around to mean something else other than ‘F*ck My Life,’ and that’s what we hope our fans, CARATs, and listeners will also take a stab at after listening to the album.”
Adds Woozi, who wrote on every track on FML and co-produced five songs, “From a macroscopic view, we often only see the good parts, the picturesque parts of everyone’s lives, but there are so many battles that are not visible to the naked eye. Everyone goes through rough times, fiercely fighting to live their lives. We wanted FML to be a reflection of these different layers.”
The guys recognize an uncharacteristically boldness in the group’s two new K-pop singles, “F*ck My Life” and the anthemic, energizing “Super,” the latter of which marked SEVENTEEN’s first Top 40 hits on the Billboard Global 200 and Billboard Global Excl. US, but say it’s necessary in order to express themselves genuinely.
“These are our honest thoughts without an attempt to dress them up,” Wonwoo shares. “By letting everyone know the things we feel and asking ourselves to fight for our lives, we hope those listening will also gain a bit more energy to do the same together with us. I think it’s a mindset that we all relate to even if the trailer and our song might not look like they offer the most pleasing or comforting set of words.”
Through SEVENTEEN’s hard battle as K-pop underdogs—with twice as many members as most groups—members S.Coups, Mingyu Joshua, Woozi, Woowoo, Jeonghan, Hoshi, Jun, DK, The 8, Seungkwan, Vernon and Dino rose to the top ranks of the global charts motivated not just by their inherent talent to express themselves creatively as a “self-producing” group but find peace from delighting their supportive fans around the world.
“We always work to make our CARATs proud,” SEVENTEEN’s leader S.Coups says. “And I think they would be the most proud of us now.”
Read on for the exclusive track-by-track breakdown with SEVENTEEN below.
“F*ck My Life”
Image Credit: PLEDIS Entertainment
Written by: BUMZU, WOOZI
Composed by: BUMZU, WOOZI
WOOZI: It’s the first time ever that SEVENTEEN is singing a lead single of this tempo, I think. But I don’tthink that it’s any less “SEVENTEEN” than our previous lead singles. We might make different choices each time when it comes to how we express what we think and feel, but at every song’s core, it remains the same that we just present and perform what feels true to us at that point in time.
THE 8: At first, the track might be surprising both sonically and because of its title, but “F*ck My Life,” aswell as “Super,” were just the songs we wanted to share with everyone at this time. We really liked them both so couldn’t single one out to be the lead single either. I think the contrast between the two lead singles makes the album more fun, and actually works to better articulate the overall message of the album.
“Super”
Image Credit: Courtesy of PLEDIS Entertainment
Written by: BUMZU, WOOZI, S.COUPS, VERNON
Composed by: BUMZU, WOOZI, Agust Rigo
WOOZI: Initially, we just had the vague idea of highlighting a strong image of SEVENTEEN through the lead single for this album. Thinking about superheroes for that reason, we started pulling together ideas from the many versions of heroic figures we know of and that eventually turned into “Super.”
MINGYU: I also really like the lines “I love my team, I love my crew!” I think it accurately expresses where our heads are right now.
HOSHI: It’s also the perfect song for a performance—it’s exhilarating when over 200 dancers’ footwork begins to sync up and without even thinking, you just know that your entire crew is acting in unison. It’s a different type of energy, which I hope will be passed onto our audience too!
WOOZI: “Super” is also our answer to the question that follows the first track of the album, “F*ck My Life.” If you ask “So, how is SEVENTEEN fighting for ‘your’ life?” “Super” provides our answer by talking about how SEVENTEEN has fought our way through, for whom and with whose support, all of which also continue to propel us forward.
“Fire”
Written by: BUMZU, MINGYU, S.COUPS, VERNON, WONWOO, WOOZI
Composed by: BUMZU, VERNON, WOOZI
VERNON: “Fire” was a fun song to work on. I threw in the idea of adding in the bells, went on the keyboard and asked [producer] BUMZU if he could make it sound this way. Hopefully it will be a song that gets everyone dancing.
S.COUPS: I’m sure all of the Hip-Hop Unit members have already imagined what it’ll be like to put “Fire” on stage. It’s an addicting sound, one that sort of just hooks you on. It’ll be so much fun to enjoy it with our CARATs at a show, I really can’t wait.
WONWOO: In the midst of the addicting sound, I think the Hip-Hop Unit members’ distinct characters also stand out in each of our verses. It adds a great extent of diversity within the track, and it’s fun because we all sound very different and each have a very different [verse].
“I Don’t Understand But I Luv U”
Written by: BUMZU, DINO, HOSHI, WOOZI
Composed by: BUMZU, WOOZI, Nmore
HOSHI: “I Don’t Understand But I Luv U” is our letter back to the heartwarming and beautiful message from our CARATs. When you’re performing in front of thousands of people that have gathered at that precise moment in time and location just to see you perform, and you feel that pure feeling of joy and love in the air; it’s not a feeling and a sight you can ever forget. That air of affection is not something that can be described in words, as is the connection we have with our fans across the world regardless of the language any of us speak. I hope knowing that brings comfort to everyone listening.
JUN: We recorded this song over multiple sessions, starting with a session before the tour and continuing on after as well. I didn’t realize it at the time, but after touring around all over the world, the music must have hit me differently. BUMZU said I sounded different, that there was a change in how I sing the song.
DINO: We have had the privilege of getting to experience these powerful connections firsthand touring around countries and, because of that privilege, I think we need to try harder to make it known how beautiful these emotional connections are.
JUN: Adding on, we are the Performance Unit after all! We’ve never really set a limit to the type of music we perform. The future of our team lies in performances that sound great, look great and something everyone watching can also become a part of.
“Dust”
Written by: BUMZU, WOOZI
Composed by: BUMZU, WOOZI, Kitae Park
WOOZI: The melody came together first, and I thought that there was a sense of loneliness and longing that came with the sound. Outside the bounds of this song too, I think it’s often the case that we feel a mixture of these sentiments all at once—putting the two together didn’t feel difficult or like a struggle.
JEONGHAN: From our point of view, this track is very classically WOOZI, and has SEVENTEEN written all over it. We’ve been seeing a lot of fan responses that say the song sounds like it could be a soundtrack to a cartoon series, which I agree with! I’m happy to see our fans also enjoying and digging into the song.
“April Shower”
Written by: BUMZU, WOOZI, Kareem James, Softserveboy
Composed by: BUMZU, WOOZI, Kareem James, Softserveboy
DK: Looking back, we also made our debut in May, so the saying “April showers bring May flowers” is something we really resonate with! We wanted our 10th mini album FML to console those listening, even if it’s just a little bit. Everyone has troubles of their own, so whatever it is that you’re going through, we hope you will be able to feel a little better and come to have a little bit of hope that brighter days will come after listening to our album.
DINO: We weren’t originally supposed to say it but since it’s been spoiled already by some of our members… We are planning on another comeback later this year. We hope you’ll join us then too!
YOASOBI’s “Idol” continues to rule the Billboard Japan Hot 100, holding at No. 1 for the fourth consecutive week on the chart dated May 10.
While figures for both metrics are down slightly from the previous week, the Oshi no Ko opener continues to rule streaming with 25,433,131 streams and video with 8,570,370 views. The track also returned to No. 1 for downloads this week with 32,878 units, up 7 percent from the week before. These results show the diversification of fan activity in terms of contact and ownership, indicating that this latest hit could be expanding the fanbase of the breakout duo itself.
Additionally, the song rises 9-3 for karaoke with a 90 percent increase, also showing the rapidly expanding fanbase of the “Monster” pair. The track’s point total is more than double that of the song at No. 2 this week and its domination of the Japan charts is likely to continue.
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THE RAMPAGE from EXILE TRIBE’s “16BOOSTERZ,” the song at No. 2, and Sexy Zone’s “Cream” at No. 5 were the two new singles vying for No. 1 for physical sales this week, and the four-man Johnny’s group’s 23rd single came out on top with 227,372 copies, ahead of the 16-member LDH group’s 19th single, which launched with 197,450 copies. But “16BOOSTERZ” racked up points in other metrics, coming in at No. 2 for radio, No. 86 for downloads, and No. 45 for streaming, overtaking “Cream,” which only added points through radio airplay (No. 10) and video (No. 55).
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 May 1 to 7, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Ed Sheeran’s sixth U.K. chart title is within reach, as – (Subtract) stockpiles a massive midweek lead.
Based on sales and streaming data at the halfway mark, Sheeran’s Asylum LP is already the U.K.’s fastest-selling album of 2023, the Official Charts Company reports.
With no major new titles threatening Sheeran’s pursuit of the crown, the English singer and songwriter should nab his sixth consecutive U.K. No. 1 – a streak that includes all four of his mathematics-themed sets, and 2019’s No. 6 Collaborations Project.
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Subtract has already racked-up more than 56,000 combined units, more than any album has notched during a full-frame this year, according to the OCC.
The previous mark was owned by Lana Del Rey’s Did you know that there’s a tunnel under Ocean Blvd, which accumulated 41,000 chart units during its first week.
Sheeran appears to be everywhere, all at once. The singer and songwriter performed on American Idol last Sunday, he won a high-profile copyright lawsuit last week, he’s the subject of a special four-part Disney+ docuseries, The Sum Of It All, he’s set to perform at the 2023 ACM Awards, and, yes, he’s currently on tour.
Also eyeing a U.K. top 10 debut is Manchester rapper Tunde with First Lap (via Tunde), new at No. 3 on the chart blast; former Kasabian frontman Tom Meighan’s first solo album The Reckoning (Destruct), at No. 4; and Therapy? with Hard Cold Fire (Marshall) at No. 9, which could net the veteran Northern Irish rock outfit a third career top 10 album, and highest-charting effort since 1995’s Infernal Love.
Finally, Katy Perry’s performance at King Charles III’s Coronation Concert over the weekend has handed an immediate boost to the U.S. pop superstar catalog. Perry’s sophomore set Teenage Dream (Virgin), a leader following its release in 2011, is set to reenter the chart at No. 40. Teenage Dream features “Firework,” with which she closed her set and dedicated to the king, saying, “Thank you for bringing out the firework in so many young people.”
All will be revealed when the Official U.K. Albums Chart is published Friday (May 12).
BTS has been a dominant act on Billboard’s global charts since the group’s launch in September 2020, with the most chart-toppers on both lists — six each on the Billboard Global 200 and Billboard Global Excl. U.S. — among all acts. Beyond the group’s many achievements, its members have notched an additional 26 entries on Global Excl. U.S., including debuts on May 6-dated lists.
Suga, performing under the alias Agust D, scores four debuts on Global Excl. U.S., including the chart’s highest new entry as “Haegeum” starts at No. 12. “Amygdala,” “Huh?!” with fellow BTS member J-Hope, and “D-Day” follow at Nos. 127, 182 and 200, respectively.
Add in “People Pt. 2,” Agust D’s duet with Iu, bouncing back from No. 108 to No. 64, and he tallies five songs on this week’s Global Excl. U.S. ranking. That’s more songs in one week than any BTS member has simultaneously charted as a soloist, passing Jimin’s recent haul of four songs on the April 8 chart.
The rush of activity for Agust D follows the release of his latest solo album, D-Day. The set debuts at No. 2 on the U.S.-based Billboard 200 with 140,000 equivalent album units, according to Luminate. Globally, the LP’s 10 songs drew 131 million streams and sold 98,000 downloads in the week ending April 27. Those totals fall in line with Jimin’s 133 million streams in the week ending March 30, the debut frame for his FACE EP.
The 10-song tracklist for D-Day averaged 15.6% of its streams from the U.S. and 84% from outside, a near dead-ringer for Jimin’s 16.1% U.S. share. With most of Agust D’s activity coming from outside the U.S., it makes sense that his songs perform better on the Global Excl. U.S. chart than the Global 200, where he lands three entries. “Haegeum” leads his titles there as well, but a few notches lower at No. 15 (outpaced by The Weeknd’s Hot Shot Debut, “Double Fantasy” featuring Future, at No. 12).
Beyond the No. 58 debut on the U.S.-based Billboard Hot 100 for “Haegeum,” the track cracks four of Billboard’s Hits of the World rankings. It debuts on Indonesia Songs (No. 19), Singapore Songs (No. 20), South Korea Songs (No. 24), and Philippines Songs (No. 25). “People Pt.2” spent one week on the April 22-dated Indonesia, Singapore and South Korea charts.
Country singer Terri Clark, rock band Trooper, French Canadian singer Diane Dufresne and veteran jazz pianist Dr. Oliver Jones will be inducted into the Canadian Music Hall of Fame on May 18 at Studio Bell in Calgary, Alberta.The induction ceremony, presented by Music Canada, is set to stream live at 9 p.m. ET on CBC Gem, CBCMusic.ca/junos and on CBC Music’s Facebook and YouTube pages. This is the second iteration of the event, which was paused during the COVID-19 pandemic. Tickets are on sale now at junoawards.ca.
Clark, Trooper and Dufresne will take the stage to perform. Robi Botos and jazz vocalist Ranee Lee will perform in tribute to Jones, who will accept his honor in person.
Jann Arden, a 2021 Canadian Music Hall of Fame recipient, will induct Clark, who featured Arden on her 2012 recording of the country staple “Leavin’ on Your Mind.”
Deborah Cox will make a special appearance, following her 2022 induction into the Canadian Music Hall of Fame and her performance at the 2022 JUNO Awards.
“The breadth of talent involved in this year’s event is a true testament to what Canadian musicians are capable of – global influence, record-breaking success and immense creativity,” Allan Reid, president and CEO, CARAS/The JUNO Awards & MusiCounts, said in a statement.
Clark has placed seven albums in the top half of the Billboard 200, topped by Greatest Hits 1994-2004, which rose to No. 14 in 2004. Clark’s albums have included collabs with such stars as Vince Gill, Alison Krauss, Reba McEntire, Dierks Bentley and Tanya Tucker. She has also placed seven singles on the Billboard Hot 100, topped by “I Just Wanna Be Mad,” which reached No. 27 in 2003.
Trooper cracked the Billboard 200 in 1978 with Thick as Thieves. The album included the band’s only Hot 100 single, “Raise a Little Hell.”
Established in 1978, The Canadian Music Hall of Fame was created to acknowledge artists who have contributed to the recognition of Canadian music globally. Previous honorees include Nickelback, who received the honor on this year’s Juno Awards broadcast in March; Gordon Lightfoot, who died earlier this week; Alanis Morissette, Buffy Sainte-Marie, Barenaked Ladies, Joni Mitchell, k.d. lang, Leonard Cohen, Neil Young, Oscar Peterson, RUSH, The Guess Who, The Tragically Hip, Sarah McLachlan and Shania Twain.
YOASOBI’s “Idol” logs its third consecutive week atop the Billboard Japan Hot 100 on the chart dated May 3.
Last week, “Idol” stayed at No. 1 after surging in streaming, video views, and other metrics — scoring an 83.7 percent increase in overall points. The Oshi no Ko opener maintains its momentum this week, racking up 25,783,683 streams (26.6 percent gain) and 9,030,423 views (7.6 percent gain) to dominate streaming and video. Overall points for the track increased by 17.3 percent this week and reached 23,211. With 25,783,683 weekly streams this tracking week, YOASOBI’s “Idol” ranks second on the all-time record behind BTS’s “Butter” that clocked in at 29,935,364 streams on the week of June 2, 2021. Official HIGE DANdism’s “Subtitle” follows at No. 3 with 21,708,199 weekly streams (Nov. 23, 2022).
BE:FIRST‘s “Smile Again” bows at No. 2 on the Japan Hot 100 after taking the top spot for downloads and preventing the soaring “Idol” from holding for a second week. The ballad also rules radio and comes in at No. 2 for physical sales, streaming, and video, scoring high in each metric to reach a total of 19,494 points, but this wasn’t enough to overturn the point difference between YOASOBI’s hit in streaming and video.
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AKB48‘s “Doushitemo kimi ga suki da” (“I just love you so much”) debuts at No. 3 on the Japan Hot 100, launching with 473,635 copies to hit No. 1 for sales. The 61st single by the girl group, its first after switching labels to Universal Music Japan, sold more CDs in its first week than the previous single, “Hisashiburi no Lip Gloss,” released last October (429,419 copies) but couldn’t supplement this lead with the other metrics. Total points for this track added up to 7,219, far behind the two top songs competing at a high level this week.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
For the full Billboard Japan Hot 100 chart, tallying the week from Apr. 24 to 30, see here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
After seven studio album releases, Enter Shikari finally snags a U.K. No. 1.
The St Albans, England-formed rock band blasts to No. 1 on the Official U.K. Albums Chart with A Kiss for the Whole World (via So Recordings), their sixth top 10 appearance.
Previously, the group scored top 10s with their 2007 debut album Take to the Skies (No. 4 peak), 2012’s A Flash Flood of Colour (No. 4), 2015’s The Mindsweep (No. 6), 2017’s The Spark (No. 5) and 2020’s Nothing Is True And Everything Is Possible (No. 2). Also, thanks to the release of a vinyl-exclusive pressing, Live At Alexandra Palace 3 enters the weekly survey at No. 15.
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A Kiss for the Whole World completes a tight race, finishing just 800 combined units ahead of its nearest rival, The 1975’s Live with the BBC Philharmonic Orchestra (Polydor). The 1975’s live set, an exclusive physical-only release (vinyl, CD and cassette) for the 16th annual Record Store (April 22), is new at No. 2 on the Official Chart, published April 28.
After starting the week with a slim lead, British indie pop duo Everything But The Girl debuts at No. 3 with Fuse (Buzzin’ Fly), for a new career best. Fuse is Tracey Thorn and Ben Watt’s first studio album as a duo in 24 years, and it’s their fifth top 10, following 1985 debut Love Not Money (No. 10 peak), 1990’s The Language of Love (No. 10), 1993 greatest hits collection Home Movies (No. 5) and 1996’s Walking Wounded (No. 6).
Completing an all-new top four is Taylor Swift’s folklore – The Long Pond Studio Sessions (EMI), a Record Store Day exclusive. The Long Pond Studio Sessions is the U.K.’s best-selling album on wax for the latest chart week, and bows at No. 4 on the all-genres albums chart. The original version of folklore spent three weeks at No. 1 in 2020.
Finally, new releases from Jethro Tull (RökFlöte at No. 17 via Century Media), Post Malone (The Diamond Collection No. 25 via Republic Records), Songer (Skala at No. 30 via Hard Reality), and Tiësto (Drive at No. 34 via Atlantic) crack the U.K. top 40 on debut.
Last year was important for the expansion of SB19. Not only did the Philippines’ reigning pop kings expand their worldview with their first English single, “WYAT (Where You At),” and visited cities throughout North America, Asia and the Middle East on their Where You At world tour, but saw their rising impact on charts like Billboard’s Hot Trending Songs chart when they became just the second-ever act to top the real-time Twitter-powered tally. In 2023, the members have taken it upon themselves to expand their individual music careers, including the solo debut of eldest member Josh Cullen.
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The rapper-singer-dancer showcased his full range of talents on his first single “WILD TONIGHT” while embracing an image much darker than SB19’s beloved Pinoy-pop style. Adopting a vampire concept, the 29-year-old lets loose both visually in the music video and musically by changing his vocal styles and approaches throughout the track. “WILD TONIGHT” marks significant growth from the more restrained energy Josh previously showed when he hopped on the remix to “Sofa,” recorded with his cousin and fellow Filipino musician Ocho the Bullet. Cullen was clearly ready to unleash something much more powerful with the star saying that “WILD TONIGHT” is just the first stroke in his burgeoning solo career.
Just when SB19’s adoring fans—affectionately known as A’TIN—thought they could pin Josh down as P-pop’s dark and wild party boy, the star switched things up with his heavier second single, “Pakiusap Lang,” that embraced edgier hip-hop and R&B beats sound while sharing his acting skills in the accompanying music video that explores the twists and turns in a complicated relationship.
Before the release of “Pakiusap Lang,” and as rumors buzz that SB19 is gearing up to release new music ahead of their fifth anniversary in October, Josh found some time to sit down for Billboard to reflect on his solo career and what makes up his musical viewpoint in these 20 Questions.
“Honestly, if I could have a vacation right now, I totally would,” Cullen laughs when he thinks about how far he and his bandmates have come in these past years. “Still, I love what we’re doing and know I have to work hard to make it happen.”
Read on for more from Josh Cullen including new stories from his career, first musical memories, hints about future releases and more.
1. Where are you living and working from right now?
At the moment, I don’t have a fixed location as I’ve been prioritizing my passion for music and exploring new experiences. Though I’ve come a long way in my personal and professional life, I know that there is still much more to learn, discover, and achieve. I’m eager to see where this journey takes me and I’m committed to working tirelessly towards my aspirations.
2. You’ve made your solo debut with “WILD TONIGHT.” Can you explain the significance of this moment for you and the meaning of the title?
As an artist, I chose to title my solo debut “WILD TONIGHT” because I wanted to convey a sense of unleashing the beast or the fun inside oneself at night. It’s about how a vampire might seek revenge or how a normal person might embrace their wild side. I think the title is significant because it represents a sense of liberation and escape from the mundane aspects of daily life. It also encourages listeners to embrace their individuality and uniqueness. To me, “WILD TONIGHT” conveys a sense of excitement, energy, and a bit of danger. It invites people to join me on a journey of self-expression and exploration.
3. Your fans might be surprised to hear you both rapping and singing. Did you want to make sure of all sides of yourself with this first single?
I wanted to make sure that my fans get a glimpse of all sides of myself with this first single. I wanted to showcase everything—from my music to dance, rap to singing, creativity, choreography and every little detail to be at its fullest potential. I have been working hard, perfecting my craft and waiting for the perfect opportunity to come forward. This is the moment I’ve been waiting for to show the world what I’m truly capable of. I’m excited to share this new chapter of my journey with them and hope they enjoy the music as much as I did creating it.
4. Going off the song title, “WILD TONIGHT,” can you recall your craziest night out?
When it comes to the craziest night out I’ve ever had, one experience definitely comes to mind. It all started innocently enough with my friends inviting me out to chill and grab a bite to eat. However, things quickly escalated when everyone ended up getting super drunk, myself included, and by the end of the night, I found myself in a situation where I was two hours away from home and had no idea how to get back. In the end, I ended up hopping on a bus and riding home, having my autopilot body switch activated. Looking back, it was definitely a wild night and not exactly what I had planned when I first agreed to hang out with my friends. But it’s a story that I’ll always remember!
5. What’s the first album or piece of music you bought for yourself, and what was the medium?
I don’t quite remember the exact title, but I believe it was a Linkin Park album that I bought. I bought it on CD format because that was the most common way to buy music back then. I remember being so excited to have my own copy of the album and being able to listen to it whenever I wanted. It was a really important part of my younger years and I still have fond memories of listening to it on repeat.
6. You wrote and composed “WILD TONIGHT.” Tell us about how you worked on the lyrics.
Working on the lyrics was a bit of a struggle, to be honest. I wanted to make sure the vampire concept was in there, but also have it relate to real life. I was stuck on the first verse for days and couldn’t come up with anything that felt right. But then, one night at 3 a.m., I had this crazy dream with the perfect lyrics and melody for the first verse. I was like, “Oh, shit, I gotta record this now!” And it turned out to be exactly what I needed.
As for the pre-chorus, I also hit a roadblock and was struggling to come up with something catchy. I started brainstorming and thought to myself, “What’s something people will easily remember and sing?” I was running out of ideas and was like, “Fuck it, let’s try this even if it sounds stupid.” That’s when I decided to throw in the “La-la la la” part. It was a crazy idea, but it ended up being the most catchy and memorable part of the song.
All in all, I’m really proud of how it turned out and I hope the people can feel the passion and love that went into creating it.
7. You also co-produced the single. What’s your background with music production?
My background with music production is pretty limited. I don’t really know much about music theory or anything like that. But I’ve dabbled in it a little bit and have been able to pick up some things along the way. I wouldn’t say I’m a pro or anything, but I think what I’m good at is having a good ear and being able to make good judgments about the sounds and overall vibe of the music. And you know what, I’m glad that my cousin Ocho [the Bullet] who is just as crazy as me, has co-produced the single with me. It’s been a fun journey working together and bouncing ideas off each other. We’re not afraid to experiment and push boundaries, which has led to some really unique and exciting sounds in the final product. Plus, being a performer for a long time, I have a good sense of what makes a great song and I think my experience on stage has given me a unique perspective on what works and what doesn’t when it comes to producing music. So even though I don’t have a formal education in music production, I’m confident in my abilities and my passion for music always drives me to learn and improve.
8. There are a lot of interesting concept photography for “WILD TONIGHT.” Tell us about creating the visuals for the single.
For the visuals I really wanted to incorporate a lot of storytelling, representations, and metaphors. I didn’t want to just spoon feed people with the answers. I had a lot of ideas and wanted to make sure every detail had a purpose, even down to the easter eggs. With the help of my production team, we were able to execute everything we wanted to do, from the CGI to the vampire traits. I’m really proud of how everything came together and I think it really adds another layer to the song.
Shout out to my amazing production team, YouMeUs, for bringing my vision to life and giving me the quality that I’ve been longing for. They were able to understand my ideas and help me execute them in a way that exceeded my expectations. Without them, the visuals for “WILD TONIGHT” wouldn’t have been possible.
9. How did your hometown/city shape who you are?
Imus, Cavite is the place where I grew up and it definitely had a huge impact on shaping who I am today. The people, the culture, and the environment all played a role in my upbringing. It’s where I experienced my firsts, my successes, my failures, and my challenges. It’s where I developed my values, my principles, and my perspectives. Living in Cavite taught me to be resilient, resourceful, and determined. It also taught me to be compassionate, empathetic, and understanding. The experiences and memories that I have from my hometown are invaluable and have been instrumental in shaping who I am as a person and as an artist. It is where I began loving street food as well.
10. What was the first concert you saw?
The first concert I saw was the Dream K-Pop Fantasy Concert 2012 featuring Girls’ Generation. As a fan of SNSD, it was a dream come true to see them perform live. They were one of my inspirations as an artist, and seeing them perform gave me a better understanding of the music industry. The concert was a memorable experience, and I still remember the energy and excitement of the crowd. It was definitely a pivotal moment in my music journey.
11. What was the biggest lesson you learned from SB19’s first world tour?
The biggest lesson I learned from SB19’s first world tour was how powerful music can be in bringing people from different cultures and backgrounds together. It was incredible to see how fans from all over the world connected with our music and performance, despite language barriers. The tour opened my eyes to the diversity of music and how it can transcend boundaries.
12. Did SB19’s world tour influence how you approached your solo debut?
Although the tour didn’t directly inspire my current song “WILD TONIGHT” it gave me a lot of inspiration for my future music. Being able to experience the different locations and cultures we visited on tour was a valuable experience that I have already drawn from in my future songs. Overall, the tour was an unforgettable experience that helped shape my approach to music and creativity.
13 Did the other SB19 members share feedback or their feelings about you debuting solo with “WILD TONIGHT”?
To be honest, other members didn’t provide specific feedback or express their feelings about it. However, they were all very supportive and encouraging. They commented positively on the music video and were happy with my solo endeavors.
14. What’s your go-to karaoke song?
My go-to karaoke song is “Martyr Nyebera” by Kamikazee, a popular rock band from the Philippines. The intro of the song actually sounds like The Flintstones theme, which is pretty cool. Whenever I sing this song, I go all out and even do some head banging. It’s a really fun and energetic song to sing; it always gets the crowd going.
15. Are these new singles indicating more solo music is coming from you?
Yes, I’ve been working on a lot of songs. I was actually surprised that I’ve managed to compose a lot of songs in a short period of time. I will be releasing more songs that would allow people to get to know me better as an artist.
16. What’s at the top of your professional bucket list?
My ultimate professional goal is to make a meaningful impact on the Philippine music scene, particularly with OPM [Original Pinoy Music]. I’m passionate about contributing to the growth and recognition of our distinct musical heritage, and I’m determined to share it with a wider audience both locally and internationally. Additionally, I hope to inspire those who, like me, dream big and show them that with perseverance and hard work, anything is possible.
17. What’s one thing even your most devoted fans don’t know about you?
I didn’t make it to the hospital. I was born inside a car, ha!
18. What’s your message to fans who have been supporting SB19 and you?
I just want to say a huge thank you to all the A’TIN and BBQs out there who have been supporting us and me personally. It means the world to me to have such an incredible fanbase behind us, whether it’s for my solo projects or for SB19 as a group. The dedication and love that you have shown us are beyond words. Your unwavering support has helped us reach new heights, and we are forever grateful for your endless encouragement. You guys are the best, and we are honored to have you as part of our family.
19. Can you share anything about SB19’s plans for 2023?
While I can’t spill all the beans just yet, I can tell you that we’re cooking up something big for everyone. You can definitely expect a bigger comeback and possibly a bigger tour. We’re putting in a lot of effort and creativity to make sure it’s a great experience for everyone. We’re really excited about it and can’t wait to share more details soon. So, stay tuned and keep an eye out for more updates from SB19!
20. What else do you want to share with Billboard readers this time?
As a representative for OPM and Pinoy pop, I would like to extend an invitation to all the Billboard readers out there to watch out for more exciting music from us. We are thrilled to bring our unique sound and talent to the global scene, and we can’t wait to show the world what we’re capable of. So, please, lend us your support by checking out other amazing artists and groups from the Philippines as well. We have a lot of incredible talent here, and we’re confident that you’ll find something you’ll love. Thank you for your time and we hope to see you soon!
When the Billboard Global 200 launched in September 2020, a wide swath of international territories across six continents was represented among the world’s biggest songs, led by the United States with 138 artist credits in that first week.
But traveling just south of the border, Mexican artists were notably absent. In fact, no artists from Mexico appeared for the chart’s first 33 editions, until Gera Mx and Christian Nodal debuted in May 2021 with “Botella Tras Botella.” On the April 29-dated survey, that sparse global representation has ballooned to 8% of the entire ranking, lagging behind only the U.S. (46%) and England (11%).
Among Spanish-speaking territories, Mexico is now, thus, the leader, having passed Puerto Rico and Colombia, which had functioned as generators of reggaeton’s biggest acts, including Bad Bunny, Feid and Karol G.
But Mexico’s recent surge is not due to a new wave of native reggaeton stars, although young acts such as Yng Lvcas and Peso Pluma are finding success with “La Bebe,” at No. 3 on this week’s Global 200. More generally, regional Mexican has soared in popularity as a genre, focused on traditional folk styles from rural Mexico and the southwestern U.S., helped along by some more modern pop and rhythmic flourishes, as well as exposure on TikTok and, surely, the increasing Hispanic population in the U.S.
The genre’s quick dash to the head of the pack includes some American acts, in addition to the many Mexican artists that have debuted this year. Grupo Frontera, from the Texas valley, score the week’s highest new Global 200 entry, teaming up with Puerto Rico’s Bad Bunny on “Un x100to.” The track starts at No. 5, becoming the group’s first top 10.
While Bad Bunny’s global superstardom can’t be removed from the equation of the song’s success, it’s noteworthy that he has joined them on a traditional regional Mexican track, rather than the group bending to his proven successful urbana style. Further down the chart, Latin pop act Becky G makes a similar move, joining Peso Pluma on “Chanel,” zooming from No. 141 to No. 85.
Meanwhile, California’s Eslabon Armado and Gudalajara’s Peso Pluma climb from No. 3 to No. 1 on the Global 200 with “Ella Baila Sola.”
Further cementing Mexico’s position of authority among Latin America, Peso Pluma becomes the country’s first act to top the tally, joining a slew of Latin acts who did so previously, including Puerto Rico’s Bad Bunny, Argentina’s Bizarrap and Colombia’s Shakira.
In all, Peso Pluma has nine songs on this week’s Global 200, trailing only Taylor Swift (10). That includes two debuts, at No. 123 with “Igualito A Mi Apa,” alongside Fuerza Regida, and No. 127 with “El Tsurito,” joined by Junior H and Gabito Ballesteros.
Peso Pluma’s huge haul is supported by Grupo Frontera (five entries of its own), and, with three songs each, Fuerza Regida, Junior H, Natanael Cano. With an extended supporting cast, regional Mexican artists put their stamp on 18 songs on the chart this week. Of those, three are debuts and 10 are on the rise, indicating there could be more on the way in the coming months.