Music

Peter Cooper, Grammy-Nominated Producer, Journalist & Historian, Dies at 52

Peter Cooper, a Grammy-nominated producer, highly regarded Nashville journalist and Country Music Hall of Fame executive, died Dec. 6. He was 52.

His family confirmed the death, posting on Facebook that he died in his sleep after suffering a severe head injury following a fall late last week.

A South Carolina native, Cooper joined the staff of The Tennessean as its prime music writer in 2000 before moving to the Country Music Hall of Fame in 2014 as museum editor.

“He grew to assume the role of museum senior director, producer and writer, driving several important creative initiatives and bringing a poetic grace to them all,” the hall’s CEO Kyle Young said in a statement. “He developed and implemented mission-oriented programs, exhibitions, podcasts and, as a writer, elegantly described the rich character of the country music story. His talents were immense, but his heart was even bigger, and he touched the lives of those he encountered in immeasurable ways. Our thoughts are with his family during this difficult time.”

For all his talents, many saw Cooper first and foremost as a journalist, who brought tremendous empathy to the subjects he covered, including such titans as Johnny Cash, George Jones and Kris Kristofferson, who reportedly told Cooper that he looked “at the world with an artist’s eye, and a human heart and soul.”

Ricky Skaggs tells Billboard he considered Cooper “one of the most gentle and soft-spoken men I ever knew. His knowledge of music, the writers, the players and singers was really unmatched in Nashville. Our industry lost a vital voice for our times. He will be sorely missed!”

Best-selling biographer/journalist Alanna Nash added, “One of the many things that separated Peter from the rest of us who do this work, aside from just the breathtaking humanity that imbued his writing, was his side gig as a musician and his intimate understanding of the torment artists endure. He wrote journalism from the inside of the story, from its guts, because he lived all the wrenching passion and rode every threadbare highway. You don’t drive Hank Williams’ 300-mile ‘last ride’ from Knoxville to Oak Hill, W.V., as Peter did for a story about the 50th anniversary of Williams’ death, without feeling that same pain.”

Like Tom T. Hall, whom he revered, Cooper was, above all, a storyteller through his reported pieces and his own career as a performing singer/songwriter. An accomplished musician, he released several albums as part of the duo Eric Brace & Peter Cooper and was in the trio Eric Brace, Peter Cooper and Thomm Jutz.

His songs had been recorded by John Prine, Todd Snider, Bobby Bare and Mac Wiseman, among others. 

Cooper received a Grammy nomination in best children’s album for 2011’s I Love: Tom T. Hall’s Songs of Fox Hollow, a tribute album to the songwriter’s story songs.

A memorial service will take place in early 2023. In lieu of flowers, his family asks that donations be made to the Baker Cooper fund to support his 12-year-old son’s education care of Wells Fargo Bank or to the Country Music Hall of Fame. 

–Assistance in preparing this story provided by Jessica Nicholson.

Iggy Pop Breaks Longevity Record on Mainstream Rock Airplay Chart

After a record 31 years away, Iggy Pop is back on Billboard’s Mainstream Rock Airplay chart.

“Frenzy,” the Godfather of Punk’s lead single from his upcoming album Every Loser, debuts at No. 38 on the ranking dated Dec. 10.

Iggy Pop makes his first appearance on the list since “Candy,” a duet with Kate Pierson of The B-52’s, peaked at No. 30 in January 1991 and charted into that February.

In between “Candy” and “Frenzy,” Iggy Pop has stayed busy, releasing nine albums between 1993 and 2019. While none spurred singles that reached Mainstream Rock Airplay, he appeared on Alternative Airplay with two tracks (“Wild America,” No. 25, 1993; “Little Know It All,” No. 35, 2003) and Adult Alternative Airplay with one (“Gardenia,” No. 26, 2016).

Iggy Pop’s 31-year absence from Mainstream Rock Airplay breaks a record set earlier in 2022 by Jeff Beck. Beck had been away for 28 years, from his Seal co-bill “Manic Depression” in 1994 to his featured turn on Ozzy Osbourne’s “Patient Number 9” this year.

Longest Gaps Between Mainstream Rock Airplay Entries
31 years, nine months, two weeks, Iggy Pop (1991-2022)
28 years, four months, Jeff Beck (1994-2022)
27 years, five months, Elton John (1992-2020)
25 years, 11 months, three weeks, Brian May (1993-2019)
23 years, four months, three weeks, Charlie Daniels (1987-2011)

“Frenzy” is Iggy Pop’s sixth Mainstream Rock Airplay appearance, dating to the chart’s 1981 inception. He achieved his best with “Real Wild Child,” which hit No. 27 in 1987.

Every Loser is due as one of 2023’s first album releases, on Jan. 6.

Latin Holiday Songs & Albums Released in 2022 (Updating)

‘Tis the season to start listening to Christmas songs on repeat without thinking: Is it too soon? As if on cue, like many other artists across genres, Latin acts have begun releasing back-to-back bilingual (Spanish and English) holiday songs — whether original or covers — to get in the spirit navideño.

Among those who recently released a cover of their favorite Christmas song is Kenia Os, who dropped her version of “Blanca Navidad.” “It’s a classic that’s never missing in my house when Christmas begins,” the influencer and singer says in a statement about the recording. “When they asked me to choose a song that represented that magical moment of being close to our loved ones, the first one that came to my mind was ‘Blanca Navidad.’”

José Feliciano — of course known for his anthemic “Feliz Navidad,” which celebrated its 50th anniversary in 2020 and it remains one of the top 10-performing hits in the decade-plus history of Billboard‘s Holiday 100 chart — is now back with a whole new Christmas-inspired album, Love & Christmas, which includes his new up-tempo track “Viva La Navidad.”

There’s also Chiquis, who unleashed her rendition of “Jingle Bells (Vamos All the Way)” with a twist on the lyrics, marking the first time she’s released a holiday-themed song. The Mexican-American artist’s version is a catchy urban-tinged cumbia track that will get anyone on their feet and singing along to her Spanglish lyrics.

Ahead of the holidays, here’s a list of new Navidad-themed or inspired Latin songs released this year, to add to your Christmas music playlist.

Stevie Nicks Praises Lizzo’s Selfless People’s Choice Awards Speech: ‘Your Name Is in the Stars Now’

Stevie Nicks is praising Lizzo for her powerful speech at Tuesday’s 2022 People’s Choice Awards.

After being presented with the People’s Champion award by her mother, Shari Johnson-Jefferson, Lizzo admitted she’d gone back and forth about accepting the award in the first place, and then gracefully turned the spotlight over to a number of activists, artists and other champions she invited up onstage.

Nicks was impressed with the selfless gesture, and she posted her appreciation Wednesday (Dec. 7) on Instagram.

“Dearest Lizzo~ In my opinion~ your presentation last night on the People’s Choice Awards was not only so beautiful and so needed~ that you get the award for being a great woman of our time,” the Fleetwood Mac legend wrote in an open letter to the Special singer on Instagram. “I was so impressed and so touched that you put that together and pulled it off. It was stunning~ and everyone heard you. You have given all women soundbites forever~ flute player, singer, songwriter, future politician…? Your name is in the stars now~ Much Love, Stevie Nicks.”

Appropriately enough for the People’s Choice Awards, Lizzo turned her acceptance speech over to the people, highlighting an impressive array of activists who are effecting real change every day.

“To be an icon isn’t about how long you’ve had your platform,” Lizzo said on stage. “Being an icon is what you do with that platform. And ever since the beginning of my career, I’ve used my platform to amplify marginalized voices. So tonight, I am sharing this honor — make some noise for the people, y’all,” she said before introducing Mary Copeny (i.e. “Little Miss Flint”), Beauty 2 the Streetz founder Shirley Raines, Women’s March Foundation president Emiliana Guereca and many more.

Just last week, Nicks penned a poignant handwritten letter to her Fleetwood Mac bandmate Christine McVie after the “Songbird” singer died at age 79.

Read Nicks’ tribute and watch Lizzo’s full speech below:

Sabrina Carpenter Celebrates the ‘Hoelidays’ With ‘A Nonsense Christmas’

Sabrina Carpenter is bringing the heat to the holiday season with a spicy new remix of her Emails I Can’t Send fan-favorite, “Nonsense.”

In “A Nonsense Christmas,” the 23-year-old pop star switches up the goofy lyrics to take on a more festive, flirty spin. Think I only want you under my mistletoe / I might change your contact to ’Has a huge North Pole’ / You said you like my stockings better on the floor / Boy, I’ve been a bad girl, I guess I’m getting coal,” she sings in the opening verse, later noting in the chorus that “Lookin’ at you got me thinkin’ Christmas.”

“y’all made me do this,” Carpenter tweeted announcing the single on Wednesday (Dec. 7). “‘A Nonsense Christmas‘ is out now on all streaming platforms happy hoelidays!!”

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Last month, the star revealed to Billboard on the American Music Awards red carpet that the original version of “Nonsense” was the “most fun” song to write. “It’s just the silliest song,” she continued of the track, “and when we were writing it, I was like, ‘It’s never gonna be put out.’ … At first I was like, ‘It doesn’t make sense with the album,’ and then I kind of realized that there’s a lot of dual feelings to heartbreak and grieving and moving on, and it can happy and sad and confident and insecure. So yeah, that’s one of my favorites too.”

Emails I Can’t Send as a whole peaked at No. 23 on the Billboard 200 upon its release, giving Carpenter the highest chart entry of her career.

Listen to “A Nonsense Christmas” below.

Booker T. & The M.G.’s Frontman Booker T. Jones Remembers Stax Records Founder Jim Stewart

Jim Stewart, the Father of Stax, is dead. The ship has lost its captain, and our hearts are lost at sea. As eternal as he seemed to a young boy like me, I thought this day would never come as he pulled me into his dream of making music for the world. 

There was an intense fire burning in Jim’s chest, born of the love of music, and that fire quickly spread to those around him. What was Jim’s thought process, putting his country music studio smack dab in the middle of South Memphis? The young neighborhood musicians found Stax on their own. They biked to the studio; they worked at the market across the street from the studio; they ditched high school to record at the studio. Stax became a haven, an outlet for the young songwriters in the neighborhood to express themselves. 

Jim never admitted that he believed in me. What if your boss was a small, reclusive lion who never told you exactly what he expected — or what he wanted of you besides showing up for work on time? I would have preferred the lion’s roar to the slightly turned head and his look of feigned disinterest. In hindsight, though, I realize it was often that look of disappointment that spurred me to try to make better music. 

After Booker T. & The M.G.’s recorded “Behave Yourself,” Jim liked it so much that he wanted to put the song out as a single. Jim pushed the band on the spur of the moment, to come up with a B-side for “Behave Yourself.”  Lucky for me I had been working on a bluesy musical sequence, I taught it to the band, and it became “Green Onions.” So Jim gets the credit for pushing us to record the song which became the iconic “Green Onions”. 

Such was the nature of Jim Stewart, the driving force behind the great Stax Records of Memphis, Tennessee. For me, he was the source of countless hours of musical joy, as well as the privilege of making music in a studio less than two blocks from my childhood home. 

Jim fought for Stax Records to the bitter end, sacrificing house, home and well-being. For his gifts to me, the Stax Family, and the world, may he rest in God’s peace. 

Farewell to a King. 

Here’s Why Florence Welch Is Now a Fan of TikTok

While Florence + the Machine‘s Florence Welch was previously not exactly a fan of using TikTok to promote her music, she’s since come around, she reveals in an interview with The New Yorker.

She explained to the magazine that as she was preparing to release Dance Fever earlier this year, her label kept asking her what she was going to do on the video-sharing app to help promote the album, noting that going viral could potentially help boost streaming numbers. Her response to her label, according to Welch?

“Oh, I actively don’t want to go viral. Anytime anything of mine has gone remotely viral, it’s filled me
with dread. Any kind of attention that is not directly related to the work or an album, I don’t want it,”
she recalled. “My fans, the people who follow me, are not going to believe that I just suddenly decided to do TikTok.”

After her label asked her to engage more with the platform, Welch posted a video of
herself
performing a snippet of her song “My Love” in March. She captioned the a cappella clip, “The label arebegging me for ‘lo fi tik toks’ so here you go. pls send help.” The clip subsequently did experience some viral success — just as her label wanted. (Dance Fever subsequently peaked at No. 7 on the Billboard 200 after its May release.)

Reading the comments on the post changed her mind about the platform, the Grammy-nominated artist told The New Yorker. “I found [the TikTok community] to be anarchic and hilarious and weird in a way that I really enjoyed,” she shared.

“I feel like it’s a platform on which you can be stranger,” she added. “Like, if I just want to drink fake blood in a graveyard, TikTok is an environment that would embrace that.”

Trending Up: ‘Wednesday’ Has Fans Screaming ‘Bloody Mary,’ Plus Metro Boomin, Raye & More

Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. 
 
This week: A Lady Gaga deep cut goes viral thanks to Netflix’s
Wednesday — despite not being featured in the show — while a star trio’s ’00s R&B cover gets a big bump for the original, and Snoop Dogg does it for the kids.

Lady Gaga’s “Bloody Mary” Soars Over 400% in Streams Thanks to ‘Wednesday’ 

The streaming gains of The Cramps’ “Goo Goo Muck,” as covered in Trending Up last week, make perfect sense: the spooky-punk classic was used in a school dance sequence in Netflix’s smash new Addams Family revival Wednesday. With millions binging the show following its Nov. 23 premiere, “Goo Goo Muck” naturally received a healthy streaming bump by viewers eager to listen to the song that soundtracked Jenna Ortega’s limb-throwing dance moves. 

Yet that school dance sequence is also helping Lady Gaga’s “Bloody Mary” make major moves… and Gaga’s Born This Way track (released on Interscope in 2011) isn’t even featured in Wednesday. Instead, TikTok users have figured out that speeding up “Bloody Mary” makes the electro-pop track synch perfectly with Wednesday’s off-kilter choreography, and are producing and liking hundreds of “Bloody Mary”/Wednesday clips as a result.  

“Bloody Mary,” which was never released as a single from Born This Way, is up 415% in weekly U.S. on-demand streams for the week ending Dec. 1, cracking 2 million plays in that time frame, according to Luminate. “Slay Wednesday!” Mother Monster wrote on Twitter last Thursday (Dec. 1) to acknowledge the trend. “You’re welcome at Haus of Gaga anytime (and bring Thing with you, we love paws around here).” At the end of a year where TV and movie soundtrack hits were louder than ever on TikTok, it’s only fitting that we get a soundtrack hit fully born on the platform. – JASON LIPSHUTZ 


The Weeknd & Metro Boomin Fans Can’t Keep Their “I Don’t Wanna Know” Listening on the Low

It might’ve been re-titled “Creepin’,” but any fan of ‘00s pop or R&B knew what the deal was by the end of The Weeknd’s first line. The song, taken from star producer Metro Boomin’s new Boominati Worldwide/Republic set Heroes & Villains, is a cover in all but name of Mario Winans’ cheated-on classic “I Don’t Wanna Know” (from his 2004 album Hurt No More on Bad Boy/Universal) with rap’s late-year-MVP 21 Savage handling the guest verse duties that belonged to Diddy on the original. Featured as the lead track on Spotify’s most recent New Music Friday playlist, “Creepin’” was one of the best-performing tracks on streaming over the weekend, and is currently leading the daily charts for both Spotify and Apple Music

We’ll see next week what kind of early chances “Creepin’” has of matching or exceeding the chart heights of “I Don’t Wanna Know,” which peaked at No. 2 on the Billboard Hot 100 in 2004. But in the meantime, some of its streaming success has also spilled over to the song’s predecessor: Its daily official on-demand U.S. stream count rose from just under 50,000 on Dec. 1 (the day before “Creepin’”) to over 157,000 on Dec. 3 – a gain of 215%, according to Luminate. – ANDREW UNTERBERGER


Raye Resets, Scores a Fast-Moving Viral Hit 

“A little context, if you care to listen/ I find myself in a s–t position,” Raye sings early in her new single “Escapism,” featuring 070 Shake; the British pop artist is singing about an unexpected breakup and the drowning-of-sorrows that will follow, but Raye also found herself in a sticky situation last year when she publicly claimed that her label, Polydor Records, was refusing to release her long-completed debut album.  

Now, Raye has a new deal with Human Re Sources/The Orchard, and a viral hit with “Escapism,” which has gotten the sped-up TikTok treatment and taken off as the soundtrack to various lip-syncs and rap-alongs following its Nov. 11 release. “Escapism” earned nearly 2 million U.S. on-demand streams in the week ending Dec. 1, according to Luminate – a 300% gain from the previous week. Raye has been featured on dance hits by David Guetta, Jax Jones and Major Lazer, but she may be entering 2023 with a fresh start and a hit as a lead artist – the opposite of a s–t situation, really. – JL  


“Affirmation”s With Snoop Becomes a Surprise TikTok Trend

If you’ve ever felt like you needed some motivational pep talk from Tha Doggfather, it’s been quite the last couple weeks for you on TikTok, where the Snoop Dogg-fronted kids’ music project Doggyland has been taking off lately. “Affirmation Song” has been the biggest breakout track from its independently released Kids Hits, Vol. 1 project, with thousands of vid eos – most from adults, clearly still in need of a little positive reinforcement – being soundtracked by Snoop leading a chorus of kids in a series of the titular chants (“There is no one better to be but myself! Today is gonna be an amazing day!”) The song’s streaming performance has gotten an accompanying self-esteem boost, spiking 272% in official on-demand U.S. streams to 269,000 for the week ending Dec. 1, according to Luminate, and undoubtedly raising some label eyebrows about what other artists might be able to get into the viral kids’ music game. – AU


Q&A: Stephen Brower, Global Co-Lead of Artist Relations at Amazon Music, on What’s Trending Up in His World

What was the process for programming this year’s lineup of Amazon Original and cover holiday songs?

We always look to work with artists we know our Amazon Music customers love. Lizzo and Kane Brown have had massive success on Amazon Music, both throughout their careers and certainly with their 2022 album releases. Lauren Spencer-Smith is likewise an emerging artist that Amazon Music customers have been loving all year long. Working with each of them to find a holiday song that we thought holiday listeners on Amazon Music would discover and love was a fun process, and one we think will delight their fans on Amazon Music. 

We also look to work with artists across different genres and styles of holiday music. If you’re an R&B fan, there’s an amazing Giveon Amazon Original for you to discover. If you love classical holiday music, Alexis Ffrench has delivered a beautiful song for you.

What have you noticed in terms of how Amazon Music users are interacting with holiday music in 2022 as opposed to previous years?

Our customers have found these new holiday Amazon Originals early this year, and certainly seem to be responding to these songs. We’re already seeing Originals on the Holiday 100, with Lauren Spencer-Smith at No. 51, Lizzo at No. 54 and Kane Brown at No. 58 on the chart. Both Lizzo and Lauren Spencer-Smith debuted on the Hot 100 this week, and Lizzo’s track is currently at No. 52 on the Official Charts (UK) Top 100 this week. That these songs are only available on Amazon Music — and are doing so well so early in December — shows how excited our customers are about holiday music and about these new Amazon Originals.

Every year, several artists try to launch new holiday songs as well as covers of classics, with only a few cutting through the clutter. What do you think is the biggest key to a successful new holiday song?

The beauty of holiday music, but also one of its challenges, is that having a holiday hit is really a long-term proposition. These songs only have a brief window of time to catch the public’s ear, but they have that window every year. Our 2018 Amazon Original from Katy Perry, “Cozy Little Christmas,” was certified platinum earlier this year, and now feels like one of those songs listeners are going to look for every year. I think something similar is happening with Carrie Underwood’s Amazon Original song “Favorite Time of Year” from 2020. Those songs have that magic quality of being both nostalgic and contemporary at the same time, which I think will be key to their timelessness. 

With artists with whom we work to create new cover versions of classic tracks, I think a key is having something distinctive so that their new version can sit alongside an original or iconic version and not compete with it. Last year, Camila Cabello’s Amazon Original version of “I’ll Be Home For Christmas” featured mariachi flourishes that felt totally authentic to her, and also gave her version something listeners would seek out alongside other versions of that song. This year, Lauren Spencer-Smith’s take on “Last Christmas” is as an emotional ballad, which gives a totally different feel than Wham!’s iconic version.

Fill in the blank: the biggest new trend in holiday music over the next few years will be _______.

Holiday versions of songs that aren’t otherwise tied to the season. In the U.K., Stormzy has released an Amazon Original holiday version of his current single “Firebabe” that customers are loving. We did something similar last year with the Amazon Original holiday version of Coi Leray’s viral smash “Twinnem.” I love both of those and think they really offer something unique to fans alongside songs that are more explicitly “holiday,” thematically. – JL


Seasons Gainings: Happy “Heather” Day

In between cleaning up from Thanksgiving and starting to hang your holiday decorations, did you make time to celebrate “Heather” Day? Maybe not, but plenty of Conan Gray fans surely did, with “Heather Day” trending all across social media on Dec. 3 – thanks to the date being mentioned in the 2020 hit ballad’s opening lyrics, “I still remember, the third of December, me in your sweater…” Plenty of commemorating took place across streaming services as well, with “Heather” (from Gray’s Republic-released Kid Krow album) rising 92% in daily official on-demand U.S. streams to over 914,000 on Dec. 3, according to Luminate – enough for the song to re-enter the Spotify Daily Top Songs USA chart at No. 62. – AU

JUJU Talks Self-Acceptance & Celebrating Individuality for Billboard Japan Women in Music

J-pop songstress JUJU spoke to Billboard Japan for its latest Women in Music interview featuring trailblazing women in the Japanese music industry. The initiative launched this year in the same spirit of Billboard’s annual Women in Music issue that began in 2007, with a mission to produce interviews, live performances and panel discussions focusing on women who continue to break new ground in Japan’s music business.

The 19-year veteran of Japanese showbiz continues to make great strides this year, including her new song “Hana” (Flowers) written as the theme for the movie Motherhood, which hit Japanese theaters in November. The pop star who has inspired legions of fans with her powerful vocals throughout her music career shared her thoughts on self-acceptance and celebrating individuality in this latest interview.

Have you ever felt that being a woman was an obstacle in your career?

At the moment, not at all. This year marks the 19th anniversary of my debut as a singer, but I don’t think I’ve experienced anything where I felt that it was difficult to accomplish because I’m a woman. When I look around me, however, I do feel the need to change the system. The way society works was mostly established more than 60 years ago during the period of economic growth in Japan, and is out of step with the times. Even the systems that were created specifically for women need to be updated by assessing what we really need. For example, a blanket rule for maternity leave isn’t enough, don’t you think? People have completely different potentials whether they’re a woman or a man, in terms of physical strength and family environment and such, but the disadvantages may be greater if everyone is bound by a set of rules that aren’t flexible.

Since you mentioned maternity leave… Your latest song “Hana” is the theme of Ryuichi Hiroki’s new movie Motherhood, which depicts the complicated relationships between mothers and daughters.

The movie is a story that revolves around women, but the title of the theme song “Hana” expresses the idea of respecting all individuals as we live our lives as people, including being women. We all grow up knowing that there are many different kinds of flowers, right? From the kinds we don’t know the names of that bloom on the roadside to the ones in a magnificent bouquet made at a florist, flowers bloom at different times and in different ways, but they’re all splendid. The spirit of the lyrics is, “Wouldn’t it be great if we each could bloom in the place of our choice, in the way we decided, and in the color we want to be?” I hope this song inspires listeners to reflect on whether they’re being true to themselves. I’d like people to remember that it’s OK for you to be who you are.

I get the impression that you firmly believe that people are diverse in their own ways. When did you start thinking this way?

Ever since I was a child, I think. There were a lot of weird adults around me growing up. My family and the other grown-ups around me didn’t care that there were children around and never hid anything from me. Even topics that people would normally be like, “Don’t let kids hear that!” would be openly discussed. Maybe they figured, “If she’s going to eventually hear about it elsewhere, she might as well hear it from us.” Like, “If she doesn’t understand something, she can ask an adult around her on the spot. That way, she won’t end up misunderstanding.” People would come to our parents’ gatherings crying and asking for advice about their problems. Because I grew up in such an environment, I was able to imagine that even those who normally seem happy can have such problems, and I came to think, as a kid, that being a grown-up can be hard.

I spent some time in New York later on, a place where people of different races and languages gather, but I realized that in the sense that people have various worries and problems even if they don’t show it on the outside, the world is no different from the one I’d seen growing up.

How have you dealt with your own worries and problems?

Whenever I’m in a difficult situation, I think back to a letter a friend sent me long ago. It said, “A day is a day, no matter how you spend it.” Things happen as you live your life and sometimes it can be hard. Still, the days go on, and no matter how you spend it, the same amount of time will pass. Then let’s try to not take it too seriously, so that we don’t spend all our time on the hard things. That’s the message I got from the letter. I mean, today is the youngest day of our lives. And tomorrow we’ll be a day older and maybe wiser. So I’m not afraid of getting older, and it’s never too late to start something. After all, a day is a day no matter how you spend it. That’s why I try to think that things will work out no matter how I do it. Though sometimes it’s not good enough even when I do try to think like that.

You know it, but sometimes it’s not good enough. Is there a way to cope when you can’t bring yourself to think, “A day is a day no matter how I spend it?”

I’m the type who doesn’t know when to give up, so I can’t give up on myself when I’m in a bad situation. What inspires me when I want to pull myself up again is a line from Whitney Houston’s “Greatest Love of All”: “I decided long ago / Never to walk in anyone’s shadows / If I fail, if I succeed / At least I’ll live as I believe / No matter what they take from me / They can’t take away my dignity.” I sing this verse out loud when I want to fire myself up.

I’m sure there are many people who are inspired by the way you motivate yourself to perform on stage and by hearing your voice.

I’d be happy if that were so. Even if we have to go through some painful experiences, it’d be nice if we could learn a lot from them. I’ve loved to sing since I was a child and always wanted to be a singer and was lucky enough to make that dream come true. Still, there are times when I feel bad or sad, but each time I think, “Oh, now I have one more thing I can sing about,” so I’m able to continue without breaking down. I think everyone has their own way of putting things into perspective like that, even if they’re not singers.

This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan.

Official HIGE DANdism’s ‘Subtitle’ Scores Fifth Week at No. 1 on Japan Hot 100

Official HIGE DANdism’s “Subtitle” returns to the top of the Billboard Japan Hot 100 again, extending its record to 5 weeks at No. 1 on the chart dated Dec. 7.

“Subtitle” continues to sit at No. 1 for streaming for the seventh straight week (from 19,306,522 to 18,006,563 weekly streams) and hits No. 1 for downloads (from 14,583 to 15,611 units) for the fourth, while also coming in at No. 3 for video (from 2,869,548 to 2,696,956 views), No. 6 for radio airplay, and No. 8 for karaoke.

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Last week’s No. 1 song, Kenshi Yonezu’s “KICK BACK,” falls to No. 2, coming in at No. 2 for streaming (from 13,272,889 to 12,507,777 streams), downloads (from 14,349 to 11,613 units), video (from 4,356,710 to 3,031,299 views) and karaoke. In other metrics, the track hit No. 10 for radio and No. 11 for sales. Both “Subtitle” and “KICK BACK” are slowing down figure-wise, but “Subtitle” saw a smaller decrease overall and their positions reversed on this week’s list.

King & Prince’s former No. 1 single “Tsukiyomi” holds at No. 3 on the Japan Hot 100 and continues to perform well. The single sold 111,385 copies this week (up from 80,306 last week) and rises 3-1 for the second time on the metric, and also holds at No. 1 for video for the third week although figures have decreased slightly from 3,564,897 to 3,363,622 views.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, YouTube and GYAO! video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from Nov. 28 to Dec. 4, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.