Latest news with #J-Pop
Yahoo
16-05-2025
- Entertainment
- Yahoo
Lorde Releases Long-Awaited New Single 'What Was That'
Lorde has released her new song, 'What Was That,' the first single from her upcoming fourth studio album. The New Zealand singer-songwriter initially teased the track in her first post on TikTok on April 9. There, she shared a video of herself walking and running around New York City as the lyrics played in the background. 'Since I was 17, I gave you everything / Now we wake from a baby, well baby, what was that?' she sang in the post. Shortly after, the two-time Grammy Award winner announced the official name of the song, 'What Was That.' More from The Hollywood Reporter CEIPA Board Member Tatsuya Nomura on Matsuri'25, J-Pop's Global Rise and Japan's Shift to Streaming Ole Obermann and Rachel Newman Named Co-Heads of Apple Music Terrence Howard Turned Down Marvin Gaye Biopic Because He Didn't Want to Kiss a Man: "I Would Cut My Lips Off" Earlier this week, she debuted 'What Was That' in front of hundreds of fans in Washington Square Park, dancing on a wood platform as the song played on a speaker beside her. Lorde originally told fans to go to the park at 7 p.m., though police shut down the impromptu event as she didn't have a permit. Fans stuck around, and she came out later that night to show off the song. Lorde also prepared her fans for her new era with a voice memo she sent out. There, she thanked her supporters for their 'patience' and teased that 'these are really the last moments where it's just us, which is crazy but so right.' 'I'm so ready. I didn't know if I'd ever be able to say that, but I am,' Lorde wrote. 'I'm so thankful for your patience. I've felt your love, I've felt you right there. This is gonna be crazy, you have no idea.' The news comes after a roughly four year long dry spell for Lorde. Her last album, Solar Power, debuted in August 2021. Despite not releasing her own music in the years since, Lorde notably collaborated with Charli xcx on their 'Girl, so confusing' remix. The track swiftly went viral, and prompted Charli to tap Lorde during her 2025 Coachella set and her September 23 N.Y.C. stop of the Sweat tour. Best of The Hollywood Reporter Hollywood's Most Notable Deaths of 2025 Most Anticipated Concert Tours of 2025: Beyoncé, Billie Eilish, Kendrick Lamar & SZA, Sabrina Carpenter and More Hollywood's Highest-Profile Harris Endorsements: Taylor Swift, George Clooney, Bruce Springsteen and More
Yahoo
13-05-2025
- Entertainment
- Yahoo
Koji Fukada Talks J-Pop Industry's ‘No-Dating' Clauses in Cannes Premiere Title ‘Love on Trial,' First Clip Unveiled (EXCLUSIVE)
What happens when a pop star falls in love? In Japan's cutthroat idol industry, she gets sued. That shocking reality forms the backbone of 'Love on Trial,' Japanese director Koji Fukada's Cannes Premiere drama that rips the veil off the draconian 'no-dating' clauses that keep J-Pop's brightest stars legally barred from romance. The project marks Fukada's fourth collaboration with MK2 Films and his first with Japanese giant Toho, who have unveiled the film's first clip exclusively with Variety. More from Variety Jessica Hausner and Annemarie Jacir Films Among Projects Pitched by Up-and-Coming European Producers in Cannes (EXCLUSIVE) Damson Idris, Anamaria Vartolomei to Star as Miles Davis and Juliette Greco in Mick Jagger-Produced 'Miles & Juliette' Women Direct Only 11% of Top-Grossing Films Globally, According to New Study From Annenberg Inclusion Initiative The film follows Mai, a rising idol whose career implodes when her forbidden relationship is discovered, triggering a court battle that exposes the industry's iron grip on young female performers' personal lives. 'The starting point was a small article I came across on the internet around 2015,' Fukada told Variety. 'It told the story of a female idol who was sued for damages by her agency after having a romantic relationship with a fan. I was particularly shocked to learn that the contract between the idol and the agency included a clause prohibiting romantic relationships with the opposite sex.' What began as industry-specific commentary evolved into an exploration of broader societal issues. 'By exploring this subject, I could delve into more universal issues, such as gender and free will, that lie beneath the surface,' the filmmaker said. To create an authentic portrayal of the idol industry, Fukada and co-writer Shintaro Mitani, who actively writes for a current idol group, conducted extensive research. 'During that time, I conducted numerous interviews with actual idols and producers who manage idol groups,' said Fukada, adding that they studied court records and consulted lawyers to construct the film's legal scenes. While the film takes aim at problematic industry practices, Fukada was careful to avoid sensationalism. 'This film deliberately avoids portraying the most dramatic and scandalous moments of her social downfall in real time,' he said. 'Doing so would risk replicating the old-fashioned media practices of sensationalizing celebrity scandals for entertainment.' Instead, he focused on 'the lingering, dull pain Mai experiences after losing her status, her subsequent transformation and the significant decisions she makes afterward.' For Fukada, the idol industry represents deeper societal issues within Japan. 'The idol industry is often criticized for tendency to demand immaturity and excessive purity from young women, idolizing them while denying them sufficient autonomy and tolerating no deviation,' he said. 'I believe this characteristic is deeply rooted in Japanese society, which consistently ranks below 100th in the Gender Gap Index and is by far the lowest among G7 countries.' Though 'Love on Trial' may appear more overtly political than some of Fukada's previous works like 'Harmonium' or 'Love Life,' the director said that this as 'a natural outcome of the subject matter.' He noted that the concept began during the editing of 'Harmonium' and was developed alongside other projects, with earlier works like 'Hospitalité' and 'Sayonara' also addressing social issues including immigration and refugees. For the casting, Fukada took the unusual step in Japanese cinema of holding auditions for almost every role. 'We were able to cast actual idols to play idol roles, which allowed us to capture the authenticity of their performances as individuals living in the world of show business,' he said. 'The young idols are delivering stunning performances on screen that only they can achieve. In particular, I hope audiences will feel the presence of top Japanese idol Kyoko Saito throughout the two-hour film.' Despite the film's specific cultural context, Fukada believes its themes will resonate globally. 'While 'Love on Trial' is set in the uniquely Japanese world of idols, its themes — such as gender disparity, oppression, the conflicts of the entertainment industry, and the struggles for independence — are universal.' Fukada said he hopes that the film 'reaches as many viewers as possible' and that international audiences will find 'their own perspectives and societies reflected back at them, as if holding up a mirror.' Watch the clip here: Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival
Yahoo
30-04-2025
- Entertainment
- Yahoo
CEIPA Board Member Tatsuya Nomura on Matsuri'25, J-Pop's Global Rise and Japan's Shift to Streaming
Thousands flocked to downtown Los Angeles last month for Japan Culture and Entertainment Industry Promotion Association's first-ever Matsuri'25, a concert featuring popular Japanese artists. The sold-out March concert, put on by the organization known as CEIPA, and held at the Peacock Theatre, included three acts. Ado, a majorly popular singer-songwriter whose personal details, including her identity, are virtually unknown, engaging duo Yoasobi and the energetic four-piece group Atarashii Gakko! All three artists have had a strong presence in the U.S. music market. More from The Hollywood Reporter Ole Obermann and Rachel Newman Named Co-Heads of Apple Music Terrence Howard Turned Down Marvin Gaye Biopic Because He Didn't Want to Kiss a Man: "I Would Cut My Lips Off" Universal Music Group Posts $3.3B In Revenue for First Quarter Atarashii Gakko! and Yoasobi have both played Coachella with the latter also playing Head in the Clouds. Ado, who performs entirely in shadow through a cage-like box, is preparing to embark on a large scale U.S. tour, having already sold out her July show at L.A.'s Arena. CEIPA held the event to bridge the gap between Japanese artists and U.S. fans, according to a release. The event was particularly timely as the demand for J-Pop grows larger in the U.S. 'It's a gradual growth, but after the pandemic, say 2023, we started looking outside of Japan,' CEIPA board member and Federation of Music Producers Japan president Tatsuya Nomura told The Hollywood Reporter shortly before Matsuri'25 kicked off. The executive addressed an industry crowd at an intimate gathering before the concert. 'Japan was all about selling CDs because you made most profit out of them, but unfortunately [when] COVID hit, the music fans could not go to record shops,' he told THR following his comments. 'In Japan, CDs are sold about 3,000 Yen, which is about $20. If you calculate it, that's like two dollars per song, but when it comes to streaming service[s], [artists don't make] that much,' he continued. 'How do they make a profit? They have to think bigger, outside of Japan.' All three acts on Matsuri'25's lineup have found plenty of success on streaming services including Spotify where Atarashii Gakko! bring in just over a million monthly listeners, Ado brings in over six million and Yoasobi sits at over seven million. Increased global streaming numbers doesn't necessarily mean a change in music or overall focus. 'If I were to say there's 100 artists in Japan, only 10 percent are looking outside of Japan to make their product,' Nomura said when asked if he thought global expansion meant a change in overall strategy for Japanese companies and artists. 'Ninety percent of those artists are making songs for Japanese market.' Nomura adds, 'Even if they make those songs for Japanese market, there are people outside of Japan who notice.' Best of The Hollywood Reporter Hollywood's Most Notable Deaths of 2025 Most Anticipated Concert Tours of 2025: Beyoncé, Billie Eilish, Kendrick Lamar & SZA, Sabrina Carpenter and More Hollywood's Highest-Profile Harris Endorsements: Taylor Swift, George Clooney, Bruce Springsteen and More
Time Out
21-04-2025
- Entertainment
- Time Out
Japanese pop singer Ayumi Hamasaki will perform in Singapore as part of her Asia tour
Team Ayus, here's the latest scoop: Japanese pop icon Ayumi Hamasaki is set to bring her I am ayu -ep 2- Asia Tour 2025 to Singapore. The news dropped on April 8, 2025, during her concert in Japan, where she unveiled the upcoming stops of her Asia tour, with Singapore, Hong Kong, and Taipei among them. She's since updated her Instagram bio to include Singapore as one of the official tour cities. Crowned the Empress of J-Pop, Ayumi Hamasaki is famed for her extravagant stage productions and distinctive vocal style. Since her debut in 1998, she's picked up numerous accolades including the Japan Gold Disc Awards, Japan Record Awards and MTV Asia Awards. Some of her biggest hits include A, Seasons and Flower. In 2023, the singer shared on Instagram that she had considered retiring, but meeting her vocal coach gave her the renewed drive to keep going. This marks Ayumi's first-ever solo performance in Singapore. Dates and venue details are still under wraps, so stay tuned to our page for the latest updates.
Yahoo
29-03-2025
- Entertainment
- Yahoo
NewJeans' ‘I Feel Coke' Campaign With Billboard Korea: Combining Retro Sensibility & Modern Aesthetics
On March 12, a video surfaced online that caused quite a stir. It was a new Coca-Cola ad featuring K-pop group NewJeans, also known as NJZ, which is currently at the center of much controversy. The ad quickly garnered reactions from around the world. One comment on the ad effectively captures the essence of the project: 'Is this from the '80s or 2025? Is it real or is it a dream? Is it nostalgia or a memory of something I never experienced? It's a work that confuses all of this. It feels like it's depicting the past, but actually, it seems like an idealized version of the present moment. Ordinary yet beautiful people, scenes that feel both real and dreamlike, all captured with ethereal music and visuals. I can't stop replaying it, as I don't want to let go of the dreamlike feeling it gives me.' More from Billboard British K-Pop-Trained Band dearALICE Refuses to Be Bound by Geography or Genre Twelve Times Sweet: Sabrina Carpenter Tops ARIA Albums Again J-Pop Singer-Songwriter Hitomitoi Releases 'Telepa Telepa,' First Original Album in 8 Years The campaign, with creative direction by Billboard Korea, presented a unique blend of subtle retro vibes and fresh, modern sensibility that immediately caught fans' attention. More than just a brand advertisement, it has been recognized as a work that conveys cultural and emotional interpretation. In the conversation below, Billboard Korea explains how they created a unique sensibility connecting the 1980s with Seoul in 2025. How was the theme 'I Feel Coke' conceptualized for the ad? 'I Feel Coke' was both the theme of a Coca-Cola Japan ad series that aired between 1987 and 1990 and the title of a song by Daisuke Inoue, which was featured in those commercials. The original ad was widely praised for capturing the spirit of Japan's economic boom in the 1980s. In the 2025 Seoul version, we reinterpreted it as a tribute, blending nostalgia with a contemporary twist. The new ad was inspired by the concept of Anemoia, a term that describes a sense of longing for a time or culture one has never actually experienced. We wanted to evoke the emotions tied to Coca-Cola from past eras while reimagining them in a fresh, modern way. Every detail was carefully crafted to preserve that feeling of nostalgia while making it relevant to today's audience. Can you explain 'Anemoia' in more detail? The term Anemoia was first introduced in 2012 by American writer John Koenig in 'The Dictionary of Obscure Sorrows.' It describes the feeling of nostalgia for a time or culture one has never personally experienced. This emotion resonates strongly with Generation Z, who, amid uncertainty and anxiety, find themselves longing for the perceived prosperity and joy of past eras. This growing fascination with revisiting and reinterpreting the past played a key role in shaping our creative direction. Our goal was to modernize nostalgia—capturing the essence of past memories while making them feel fresh and relevant today. It's clear that NewJeans being the models fits well. They both represent Gen Z and evoke nostalgia. Exactly. NewJeans effortlessly blend a 'longing for the past' with the 'sophistication of the present.' As highlighted in Billboard Artist last October, they are not only icons of Gen Z but also a reflection of the nostalgia this generation experiences. Their unique ability to reimagine past eras with a fresh, modern twist made them the perfect match for this project and that synergy shines through in the ad. What elements from the past were specifically referenced and which parts were reinterpreted in a new way? One element that deeply moved us in the original ad was the happiness depicted — especially the brief moments of happiness that can be found in everyday life. We also paid close attention to authentic 1980s Japanese elements, such as the yuppie lifestyle, baseball, pay phones, leisure and health aesthetics, and more. In the 2025 Seoul version, we sought to reframe these experiences through the lens of Gen Z, while still capturing the sense of longing that was present in the original ad, reimagined with modern sensibilities. What aspects of 2025 Seoul did you incorporate into the ad? We aimed to capture different aspects of everyday life in 2025 Seoul, from the city's efficient transportation system and vintage markets to social media content creation, instant photography and young adults moving into their first apartments. We also highlighted outdoor delivery meals and romantic moments on college campuses, small yet authentic elements that will resonate with people for years to come. These moments represent the happiness of today's youth, which was at the heart of our vision for this project. NewJeans' rendition of 'I Feel Coke' has garnered attention for its refreshing and dreamy vibe. How does it differ from the original song from the past? ADOR and its A&R team aimed to preserve the essence of both the original song and the era it came from while capturing the signature feeling of the Coca-Cola brand. At the same time, they wanted to reinterpret it through the emotions NewJeans embodies today. The goal was to craft a track that complements NewJeans' warm, understated, yet sophisticated vocal style. The intro's synthesizer melody follows the same pattern as the original, but with a fresh sound design. As the song progresses, the synthesizer and electric guitar in the second verse echo the original's nostalgic vibe, while the outro introduces a saxophone, bridging the dreamy atmosphere of the past with a modern, refreshing touch. How was the vocal distribution among the members decided? ADOR carefully arranged the vocal distribution to highlight each member's individual strengths. For the final choir section, they focused on enhancing the harmonies, ensuring that each member's unique tone blended seamlessly while preserving the choral beauty of the original song. Were there any special episodes during the arrangement and recording process? During the arrangement process, the members of NewJeans gave input on the intro sound, helping refine it to perfectly complement the visuals of the ad. During recording, they focused on making the song their own while also capturing Coca-Cola's signature sense of energy and refreshment, making the entire experience truly special. In addition to the main ad video, there were also sub-content pieces. What were they? Yes, we created several additional content pieces to enhance the campaign. For example, we designed illustrated posters featuring the 1980s Coca-Cola logo and imagined what Billboard Korea magazine covers might have looked like if it had existed back then. NewJeans also shared behind-the-scenes collage videos filmed with disposable cameras and camcorders, capturing candid and intimate moments. These extra elements added emotional depth to the ad and gave fans a rare, personal glimpse into the members' real personalities. After the online release, there was an overwhelming public response. Can you share some memorable comments? We got a lot of reactions, like: 'It's strange that I cried even though it's just a commercial.' 'It feels like watching an uplifting youth movie.' 'The legendary collaboration between Billboard and Coca-Cola.' 'I can't stop replaying it.' 'I'm only drinking Coca-Cola now.' (Fun fact: Coca-Cola sales went up on the release day and the day after.) The project manager at Coca-Cola Korea also shared that the comment 'It delivers happiness in chunks' really stood out to them. The collaboration between Billboard and Coca-Cola was also unique. Exactly. We often take 'happiness' for granted because it's always around, and we think we understand it. But one of the simplest yet most essential ways to capture that feeling is through music. That's why we believe music is the perfect medium to express the 'feeling of happiness' that Coca-Cola stands for. The partnership between Coca-Cola and Billboard, with their rich histories, created a unique connection between music and advertising. Do you have any behind-the-scenes stories you can share? The sunny, warm summer vibe in the ad was actually filmed on a snowy day. 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