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Ayumi Hamasaki

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Ayumi Hamasaki
浜崎あゆみ
Hamasaki in London (2010)
Born
Ayumi Hamasaki (濱﨑 歩)

(1978-10-02) October 2, 1978 (age 46)
Fukuoka, Fukuoka Prefecture, Japan
Other names
  • Ayu
  • Crea
Occupations
  • Singer
  • songwriter
  • record producer
  • actress
  • model
  • spokesperson
  • entrepreneur
Spouses
Manuel Schwarz
​
​
(m. 2011; div. 2012)​
Tyson Bodkin
​
​
(m. 2014; div. 2016)​
Children2
Musical career
Genres
Years active
  • 1993–present
Labels
Websitewww.avex.jp/ayu
Signature
ayu
YouTube information
Channel
Years active2005 -
Subscribers682K[1]
Total views722 million[1]
100,000 subscribers
Last updated: September 26, 2024

Ayumi Hamasaki (浜崎あゆみ, Hamasaki Ayumi, born October 2, 1978) is a Japanese singer-songwriter and producer. Nicknamed the "Empress of Pop" on account of her influence throughout Asia, she is widely recognized for her versatile music production, songwriting, and live performances. Hamasaki is the best-selling solo artist in Japan, and a cultural icon of the Heisei era.

Born and raised in Fukuoka, Hamasaki moved to Tokyo at 14 in 1993 to pursue a career in singing and acting. In 1998, Hamasaki released her debut single "Poker Face"[fn 1] and debut major-label album A Song for ××. The album debuted at the top of the Oricon charts and remained there for five weeks, selling over a million copies.[fn 1] This rapid rise to fame was attributed to her style of lyric-writing, listeners praising her poetic way of conveying relatable subjects.[2][3] Her next ten albums shipped over a million copies in Japan, with her third, Duty, selling nearly three million. A Best, her first compilation album, further established her position as a crowning artist with more than four million copies sold in Japan.[4][5] It was at this time that she represented more than 40% of her record label's income.[6]

After A Best, Hamasaki went on to experiment with her music style and lyricism, incorporating English into her work from Rainbow onwards. Later albums would range from electronic dream-pop to rock genres, the singer commenting that she focuses on what she wants to create "whether it is trendy or not".[7] Hamasaki currently holds the record for the most albums to place in the top ten by a female artist in Japan.[8]

Hamasaki has sold over 64.50 million units in Japan, and has several domestic record achievements for her singles: the most number-one hits by a female artist (38); the most consecutive number-one hits by a solo artist (25),[9] and the most million-sellers.[10][fn 2][11] From 1999 to 2010, Hamasaki had at least two singles each year topping the charts.[12] Hamasaki is also the first female recording artist to have ten studio albums since her debut to top the Oricon, and the first artist to have a number-one album for 13 consecutive years since her debut.[13][14] In addition to this, Hamasaki's remix albums Super Eurobeat Presents Ayu-ro Mix and Ayu-mi-x II Version Non-Stop Mega Mix, are recognized as two of the best selling remix albums of all time worldwide.[15]

Life and career

[edit]

1978–1997: Childhood and early endeavors

[edit]

Born in Fukuoka, Fukuoka Prefecture, Hamasaki was raised as an only child by her mother and grandmother; her father had left the family when she was three, and had no further contact with the family.[16][17] Hamasaki was primarily taken care of by her grandmother due to her mother working full-time.[16] She described herself as a tomboy when she was a teenager, and as a "strange kid" who liked to be alone.[18]

At age seven, Hamasaki began modeling for local institutions, such as banks, to supplement the family's income. She continued this career path by leaving her family at fourteen and moving to Tokyo as a model under SOS, a talent agency.[16] Her modeling career did not last long; SOS eventually deemed her too short for a model and transferred her to Sun Music, a musicians' agency. Under the name of "Ayumi", Hamasaki released a rap EP, Nothing from Nothing, on the Nippon Columbia label in 1995. She was dismissed from the label when the album failed to chart.[19] After this, Hamasaki took up acting and starred in B-movies such as Ladys Ladys!! Sōcho Saigo no Hi and television dramas such as Miseinen.[17][20] From August 1995 to March 1996, Hamasaki also co-hosted the SoundLink Hōkago no Ōsama (After-school King) for Nintendo Satellaview with Shigeru Izumiya.[21][22] Eventually, Hamasaki decided to return to studying after her mother moved to Tokyo.[16]

Hamasaki attended Horikoshi Gakuen,[23] a high school for the arts, but dropped out in the tenth grade after struggling to adjust to student life.[17] She describes living aimlessly during this period, shopping in Shibuya and going to nightclubs. After singing karaoke at Velfarre, she was introduced to Max Matsuura, who offered her a record deal. Hamasaki suspected ulterior motives and turned the offer down, saying later "I'd never heard of Avex. When he asked if I wanted to pursue a singing career, I said, 'No way.' He was this older guy, and I thought the whole thing sounded fishy."

Matsuura persisted, and Hamasaki eventually agreed to take voice lessons the following year, most of which she would end up skipping due to reminding her of school.[24] When Matsuura found out, he offered to send her abroad for one-to-one training instead. "I thought he was kidding" Ayu said later of this time, "I mean, I was seventeen".[25] Hamasaki stayed in New York for three months, corresponding frequently with Matsuura. Due to difficulties voicing her thoughts, that correspondence was usually through letter; impressed by her writing style, the producer asked her to try her hand at lyrics while they prepared for her debut.[25] "No one had ever asked anything of me before, or expected anything," the singer said later. " He's the one who found me and drew me out."

1998–1999: Musical beginnings, A Song for xx, and Loveppears

[edit]

Hamasaki made her debut on April 8, 1998 with the single "Poker Face". Almost a year later, the singer released her debut studio album A Song for ××; it was an unprecedented success, topping the Oricon charts for five weeks and selling over a million copies.[19][26][27] Later in 1999, she received the Japan Gold Disc Award for "Best New Artist of the Year".[28][17][29]

Ayu-mi-x (March 1999), the first of a series of remix albums, signalled Hamasaki moving beyond the pop-rock sound of A Song for ××.[29] She began to experiment with different musical styles in her singles as well, releasing dance tracks and ballads as well as remixes which spanned reggae and house. The singles were milestones: Hamasaki earned her first number-one single ("Love: Destiny") and first million-selling single ("A").[12][30] Her second studio album, Loveppears (November 1999), not only topped the Oricon charts, it sold nearly 3 million copies.[26] In support of Loveppears, she held her first tour: Ayumi Hamasaki Concert Tour 2000 A.

2000–2002: Duty, A Best, I Am..., and Rainbow

[edit]

From April to June 2000, Hamasaki released the "despair trilogy": "Vogue", "Far Away", and "Seasons". Her subsequent studio album, Duty (September 2000), involved feelings of loneliness, chaos, confusion, and the burden of her responsibilities; it resonated with fans, becoming Hamasaki's best-selling studio album.[16][31][32] At the end of 2000, Hamasaki held her first New Year countdown concert at the Yoyogi National Gymnasium.

In 2001, Hamasaki released her first compilation album, A Best. In support of Duty and A Best, Hamasaki held a tour of Japan's domes.[33]

In 2002, the singer released her fourth studio album I Am..., which featured Hamasaki's own compositions under the pseudonym "Crea".[34] In light of the September 11 attacks, Hamasaki revised her vision of I Am..., focusing on issues such as faith and world peace. "A Song Is Born", a duet with Keiko Yamada, was released as part of Avex's non-profit Song Nation project.[35][36][fn 3] She also changed her idea for the album cover, opting instead to be portrayed as a "peace muse":

I had a completely different idea for the cover at first. We'd already reserved the space, decided the hair and makeup and everything. But after the incident, as is typical of me, I suddenly changed my mind. I knew it wasn't the time for gaudiness, for elaborate sets and costumes. It sounds odd coming from me, but I realize what I say and how I look has a great impact.[37]

Later that year, Hamasaki performed at the MTV Asia music awards ceremony in Singapore.[37][38] At the ceremony, she received the award for "Most Influential Japanese Singer in Asia".[38]

In support of I Am..., Hamasaki held two tours, Ayumi Hamasaki Arena Tour 2002 A and Ayumi Hamasaki Stadium Tour 2002 A.[39] In November 2002, as "Ayu", she released her first European single, "Connected". It was released in Germany on the Drizzly label.[40] Hamasaki continued to release singles (all of them remixes of previously released songs) in Germany on Drizzly until 2005.[41]

The singles "Free & Easy". "H", and "Voyage"[42] were released ahead of Hamasaki's next studio album, Rainbow (December 2002). [42][43]

2003–2006: My Story, (Miss)Understood, and Secret

[edit]

In 2003, Hamasaki released three singles, "&", "Forgiveness", and "No Way to Say". The singer then held the A Museum concert at the Yoyogi National Gymnasium.[44] The singer's next release, the EP Memorial Address, topped the Oricon chart and sold over a million copies.[45][46] Despite this, sales of Hamasaki's singles began to wane — although all three of the album's singles topped the Oricon charts, "&" was Hamasaki's last single to sell over 500,000 copies.[47] By the end of Arena Tour 2003–2004, Hamasaki had grown disillusioned with her position in Avex.[48] This period of reassessment led her to begin work on her next studio album, My Story, ahead of schedule.[49]

My Story and its singles, "Moments", "Inspire", and "Carols", all topped the weekly Oricon charts; moreover, with sales of over 1,100,000 units, My Story became Hamasaki's last million-selling studio album according to Oricon.[fn 4][50][51] From January to April 2005, Hamasaki held the nationwide My Story arena tour, her first album-based tour.[48] My Story Classical, a classical version of My Story, was released in March 2005.[52]

Hamasaki in Taiwan, 2007

(Miss)understood, Hamasaki's seventh studio album, was released in January 2006.[53] In support of the album, Hamasaki held the (Miss)understood arena tour, which spanned three months with thirty concerts.[54]

"Startin'", Hamasaki's twenty-sixth number-one single, was released in March 2006.[55] The subsequent studio album, Secret, was released in November 2006.[56]

2007–2008: A Best 2, Guilty, and A Complete

[edit]

In 2007, Hamasaki released A Best 2. The two versions, White and Black, debuted at the first and second positions on the Oricon weekly charts.[57] Hamasaki held the four-month-long Tour of Secret from March to the end of June.[58][59]

Hamasaki in Paris for the filming of the music video for "Mirrorcle World"

Hamasaki released "Glitter/Fated", "Talkin' 2 Myself",[60] and "Together When..."[61][62] ahead of her ninth studio album, Guilty (2008). In April 2008, Hamasaki released the single "Mirrorcle World".[12] Between April and September 2008, Hamasaki held her second tour of Asia: Asia Tour 2008: 10th Anniversary. On September 10, Hamasaki released A Complete: All Singles.[63]

2009–2011: Next Level, Rock 'n' Roll Circus, Love Songs, and Five

[edit]

Hamasaki's next two releases, "Days/Green" and "Rule/Sparkle", continued her streak of number-one singles.[64] The subsequent studio album, Next Level, was released on March 25, 2009.[65][66] Next Level reached the top of the Oricon charts, making Hamasaki the only artist to have a number-one album every year for eleven years in a row since her debut.[14] On August 12, 2009, Hamasaki released "Sunrise/Sunset (Love Is All)". "Sunrise (Love Is All)" was used as the theme song for the Japanese television drama Dandy Daddy?.[67] Hamasaki's third single of the year, "You Were.../Ballad", was used for Tinker Bell and the Lost Treasure in Japan.[68][69][70]

Hamasaki during her 2010 concert tour, Rock n' Roll Circus: 7 Days Special

Hamasaki's eleventh studio album Rock 'n' Roll Circus was released on April 14, 2010. Hamasaki also began expanding her online presence, setting up accounts on MySpace, Ustream, and Twitter.[71][72] In July, entertainment company Livespire announced that Hamasaki's 2009 Next Level tour would be shown in 3D at Toho cinemas nationwide during August 2010.[73][74][75] Later that year, Hamasaki released singles "Moon/Blossom", "Crossroad", and "L".[76] On December 22, Hamasaki released Love Songs, which debuted atop the Oricon album chart.

In February 2011, it was announced that her upcoming tour, Hotel Love Songs, would start in April. It was later renamed to Power of Music and delayed until late May due to the Tōhoku earthquake and tsunami disaster, Hamasaki instead focusing on charity efforts in the immediate aftermath.[77]

On April 20, 2011, Hamasaki simultaneously released four Ayu-mi-x 7 remix albums: House, Acoustic Orchestra, Trance 4, and Ayu-ro Mix 4. On the same day, 2010 Rock 'n' Roll Circus Tour and A 50 Singles: Live Selection topped the weekly chart at number one and two respectively. The simultaneous releases made Hamasaki the first artist ever to have four albums in Oricon's top ten, and also the first artist to hold the two top positions on the Oricon DVD chart.[78]

On August 31, Hamasaki released her second mini album: Five. It topped the Oricon chart for two weeks.[79]

2012–2013: 15th anniversary, Party Queen, Love Again, and A Summer Best

[edit]

On March 21, Hamasaki released her thirteenth studio album, Party Queen.[80] During the press tour, Hamasaki would say that she had considered making the release her first double album due to "how easy" songwriting had come to her during production.[80]

Hamasaki (bottom center) in London with a group of European fans

On August 6, 2012, Hamasaki released her sixth compilation album A Summer Best. In September 2012, it was announced that she would be releasing new material for five consecutive months to celebrate her fifteenth anniversary.[81] The first releases were two mini albums, Love and Again. The third release for 8 January was her compilation album A Classical. The fourth release was Hamasaki's 14th studio album, Love Again, which debuted atop the weekly Oricon Albums Chart. The fifth and final release was the DVD/Blu-ray of Arena Tour 2012 A: Hotel Love Songs, released in March.[82]

In April 2013 Hamasaki began the 15th Anniversary Tour: A Best Live tour. Its setlist, selected by an online fan survey, was later released as her first live album CD.[83]

2014–2015: Colours, A One, and Sixxxxxx

[edit]

From May 30 to July 6, 2014, Hamasaki held her Premium Showcase: Feel the Love tour.[84] Hamasaki's fifteenth studio album, entitled Colours, was released on July 2, 2014; recorded in Los Angeles, it was the sole project the singer worked on entirely in the United States. Of its creative direction, Hamasaki said: "Now that I'm living in L.A., I thought 'I want to do work I could only do in L.A'... I was very proactive about it."[85]

Ayumi Hamasaki in Taipei 2015

A One, Hamasaki's sixteenth studio album, was released on April 8, 2015; during its press tour, the singer described the album as a return to "the 'Ayumi Hamasaki' of the past".[86] Between April and July 2015, Hamasaki embarked on her Arena Tour 2015 A: Cirque de Minuit tour, followed by the released of Sixxxxxx, her sixth EP. [87] To promote the release, Hamasaki held her first fanclub exclusive tour in twelve years.[88] On December 23, 2015, Hamasaki released Winter Diary: A7 Classical.[89]

2016–2020: Made in Japan, 20th anniversary, Trouble

[edit]

A 15th anniversary edition of A Best was released on March 28, 2016.[90] In May 2016, Hamasaki began the Arena Tour 2016 A: Made in Japan tour.[91]

On May 11 Made in Japan was released on the streaming platform AWA.[92][93] The album was released on physical formats on June 29, 2016. In May 2017, Hamasaki embarked on her Just the Beginning Tour 2017 tour.[94] The second part of the tour, Just the Beginning Part 2: Sacrifice, was held between September and November 2017. On September 6, 2017, Hamasaki released "Words" as a free download for tour attendees.[95] The third chapter of the tour began in December 2017 through February 2018.[96]

Hamasaki embarked on the Power of Music: 20th Anniversary tour from April 7 to July 22, 2018.[97] Trouble, her seventh EP, was released on August 15, 2018.[98] A 20th anniversary edition of Loveppears was released on November 10, 2019.[99] On December 31, Hamasaki held her annual New Year's Eve concert, later released as Countdown Live 2019–2020: Promised Land.

In February 2020, the singer began Trouble Tour 2020: Saigo no Trouble; the tour was cancelled after two dates due to COVID-19 pandemic restrictions imposed by the Japanese government.[100] In response, Hamasaki organized and took part in multiple online concerts: Premium Limited Live A: Natsu no Trouble on July 25,[101] A-Nation Online 2020 on August 29,[102] Trouble Tour 2020 A: Saigo no Trouble - Final on October 2,[103] and Special Showcase Xmas Eve 2020 on December 24.[104] Countdown Live 2020-2021 A: Music For Life, two concerts for December 30 and 31, were cancelled on December 29 due to a member of staff testing positive with COVID-19.[105][106] Two singles, "Ohia no Ki" and "Dreamed a Dream", were also released in 2020.

2021–2022: A Ballads 2

[edit]

Hamasaki released compilation album A Ballads 2, which peaked at number three in the Oricon top ten, and single "23rd Monster" on April 8 2021.[107]

In June 2021 Hamasaki held Music for Life: Return, which used some of the concept and setlist initially planned for the cancelled Countdown Live 2020 - 2021 A: Music For Life event. Summer Party 2021 was held on August 23.[108] Hamasaki then embarked on Asia Tour 2021-2022 A: 23rd Monster from October 2; despite the name, there were no confirmed dates outside of Japan due to COVID-19 restrictions.[109]

On November 4, it was reported that Hamasaki had fractured her ankle, but that the concerts later that week would still be held.[110] On November 6, the artist was found unresponsive after that evening's event, and was hospitalized for anaphylactic shock.[111] Hamasaki returned to work on November 13 for 17LIVE 4th Anniversary meets Ayumi Hamasaki,[112] and later had surgery for her ankle on November 16.[113] At the end of the year, her Countdown Live 2021 - 2022 A: 23rd Monster concerts were held in Tokyo along with a livestream on dTV.[114]

Hamasaki held an anniversary concert titled Asia Tour: 24th Anniversary Special on April 6, 2022,[115] and toured July through August for Summer TA Party 2022.[116] After announcing that work had began on an upcoming studio album, singles "Nonfiction", "Summer Again", and "Mask" were released, each debuting in the top five of the Oricon Daily Digital Singles Chart.

The final show for Asia Tour 2021-2022 A: 23rd Monster took place on December 10, 2022, in Nagoya.[109] Countdown Live 2022–2023: Remember You was held on December 30 and 31 at Yoyogi National Stadium.[117] It marked the singer's twentieth new year concert ahead of her 25th anniversary since debut.

2023: 25th anniversary, Remember You

[edit]

On January 25, Hamasaki released her eighteenth studio album: Remember You. The album's subsequent performance earned her the distinction of becoming the female artist with the most albums to reach the top ten on the Oricon charts.[118]

On March 28, Hamasaki was announced as a brand ambassador for Rhythm Co. Ltd. When asked about her 25th anniversary, the singer said: "I couldn't do all of this alone for 25 years, if I'd only done it for myself. I want to repay the people who took care of me. (...) I don't really feel like celebrating myself at all."[119][120] The singer held her 25th Anniversary Live concert on April 8 alongside a livestream hosted by Abema.[121] From April 7, the 25th Anniversary Shibuya109 Campaign took place to celebrate Hamasaki's milestone year.[122][123]

Shibuya109 during Hamasaki's 25th Anniversary Campaign, April 2023

On July 8, Hamasaki began her 25th Anniversary Tour, announcing three different acts that ran until March 2024.[124] The scheduled dates included locations in all 47 prefectures of Japan, a first for the singer; Hamasaki would say later that this came from a wish to "see all of Team Ayu" for her 25th anniversary.[125] Hamasaki's new year concert, Countdown Live 2023-2024: A Complete 25, took place later that year at Yoyogi Stadium on December 30–31. A livestream of the final date was broadcast by Abema.[126]

2024-present: I am Ayu

[edit]

In March 2024, Hamasaki released a cover of Miyuki Nakajima's "Jidai" as a theme song for Banpaku no Taiyo.[127] In April, "Bye-Bye" was used as the April–May theme for Minna no Uta, becoming Hamasaki's first contribution to the program.[128] On May 21, "Aurora" received a limited release as the theme for Azur Lane's seventh anniversary; it was released internationally on June 26.[129]

On September 1, Hamasaki performed on the main stage at A-Nation 2024. Other performers included Koda Kumi, Red Velvet, and TRF.[130] From September 2 to October 2, Hamasaki embarked on the TA Limited: Thank U Tour, holding seven concerts across four locations in Japan.[131]

Hamasaki's third Asia tour, Asia Tour 2024 A: I am Ayu, began in Shanghai on November 1. The tour includes dates for her annual Countdown Live concerts in Tokyo.[132]

Artistry

[edit]

Lyrics

[edit]

In the beginning, I was searching for myself in my music. My music was for me. I didn't have the mental room to be conscious of the listener; I wrote to save myself. I didn't understand what it was to write songs. But over time I began to see many things, my influence, the responsibilities that gave me.

— Hamasaki on the new lyrical directions in I Am....[37]

Hamasaki's lyrics have defined her image since her debut; in two surveys conducted by Oricon, respondents voted Hamasaki's writing as their favorite aspect of her artistry.[133][134] Steve McClure of The Japan Times noted that Hamasaki had quickly developed a reputation as a "thoughtful, introspective lyricist"[135]; Barry Walters of The Village Voice went further, complimenting her ability to sing of "the pain and happiness of millennial life (...) She's a testimony to why, despite everything, we're lucky to be alive in the 21st century".[29]

Having trouble voicing her thoughts out loud, Hamasaki has said that she uses lyric writing as an outlet; she draws inspiration from her own experiences and emotions, as well as from the lives of those around her.[136] She has stated that honesty is essential to her lyrics, saying, "If I write when I'm low, it will be a dark song, but I don't care. I want to be honest with myself at all times".[136]

In Hamasaki's debut years, Tetsu Misaki noted a large change in the lyrical style between A Song for ×× and her following albums Loveppears, and Duty. Misaki believed that Hamasaki's meteoric rise to fame had impacted her perspective, signalled by her using the words bokura (僕ら, "we") and tsutaeru (伝える, "convey/tell") more often; it gave the impression that she was thinking more on her influence as a public figure.[137] Hamasaki's awareness of her fame went on to shape the lyrical direction of her albums I Am... and Rainbow,[17] only returning to a more autobiographical style with My Story: "I didn't want to write something to give people hope... I wanted to make something unmistakably human."[138]

Over the course of her career since, Hamasaki has penned lyrics that have spanned from self-reflection, parenthood, societal issues, feminism, and climate change. Subaru Tomioka has highlighted her ability to bring emotion into her work, specifically the enmity Hamasaki has conveyed through songs such as "Lady Dynamite", "We Are the Queens", and "Vibees": "Her lyrics declare that social minorities do not exist only in ways convenient to the majority (...) They are mercilessly cutting towards any assigned stereotypes".[139]

"Evolution" (2001)
Many of Hamasaki's songs are dance tunes, such as "Evolution" (2001), a self-composed single that also has rock elements.
"M" (2000)
"M", the first song composed by Hamasaki under the pseudonym "Crea", shifts to a relative key, like most of her self-composed songs.[140]
"Bold & Delicious" (2005)
Hamasaki took new directions on (Miss)understood, as epitomized by the single "Bold & Delicious", a funk-influenced song that used a gospel-style chorus.
Problems playing these files? See media help.

Musical style

[edit]

Hamasaki has released almost three hundred original songs; through them, she has covered a wide range of musical styles, such as dance, metal, R&B, progressive rock, pop, and classical. Hamasaki has cited Madonna, Babyface, En Vogue, Led Zeppelin, and Deep Purple among her early influences, and has openly appreciated the works of Michelle Branch, Joan Osborne, Seiko Matsuda, Rie Miyazawa, and Keiko Yamada.

Hamasaki began commissioning remixes of her songs early in her career, and this practice also influenced the diversity of her music.[29] These remixes span a variety of genres such as Eurobeat, house, and trance, as well as acoustic mixes, classical and traditional Chinese music. The musicians and acts she has worked with directly include Above & Beyond, the Lamoureux Orchestra,[fn 5] Junkie XL, and the Princess China Music Orchestra.[141]

In addition to writing her own lyrics, Hamasaki has also involved herself in other aspects of production throughout her career. Though Max Matsuura is officially credited as the producer of her records, he said of Hamasaki, "Ayu is a very meticulous worker behind the scenes. A lot of the work she does by herself is more in the producer's arena. I think really we should say 'Produced by [A]yumi [H]amasaki'."[142] In 2022, Matsuura stated that he began to step away from the lead producer role from around 2000, leaving Hamasaki to coordinate her music production on her own.[143]

Hamasaki began to pen her own compositions in 2000, beginning with her single "M". During its production process, she struggled to find a melody that matched what she had in mind, and decided it would be faster to compose it herself.[34][16] In a 2001 interview, she stated that 'I never thought it was important for me to start writing original songs... with “M”, it just so happened that the melody I wrote fit the best.' In the same interview, Hamasaki said she felt no pressure to continue composing, and that she felt she could 'only go so far' with it due to her lack of formal knowledge.[144]

Hamasaki continued to use her own compositions under the name 'Crea' until 2006; although she has mentioned working on compositions since, none have been used in a studio album.

Videos and stage

[edit]
Hamasaki's live performances are often lavish productions that use "grand-scale props".[145] Performances of "Mirrorcle World" in her 2008 tour of Asia used a floating ship.

Hamasaki is often involved in the artistic direction of her music videos.[56] The themes of the videos are varied; many contain short storylines, some of which use symbolism to convey their respective messages.[133] Additionally, the videos of "Fairyland", "My Name's Women", "Jewel", "Green", and "Virgin Road" are among the top twenty or so most expensive music videos, making Hamasaki the only non-American artist to hold such a distinction.[146][147][148]

Hamasaki is also involved in the production and artistic direction of her live performances; they, like her videos, are often lavish productions and use a variety of props, extravagant costumes, and choreographed dances. She has used large video screens, fireworks, simulated rain drops, trick stage floors, and suspended devices.[145]

Public image and legacy

[edit]

Hamasaki's lyrics and image initially gained a following predominantly among young Generation X and Millennials, often referred to as "the voice of the lost generation".[149][150] Music critic Tetsu Misaki believed that the juxtaposition of her fashionable appearance and her personal lyrics was one of her most important selling points, helping shape the 2000s pop scene in Japan.[137] Teresa Nieman of The Guardian wrote that Hamasaki's willingness to take on unusual subject matter is what made her noteworthy among her peers, naming her as the 'undisputed Queen of J-pop'.[151] According to publications, it was that ability to contrast striking visuals and vulnerability that went on to inspire an entire generation across Asia.[152][153]

Lisa Takeuchi Cullen of Time magazine credits some of Hamasaki's early success to her "by-the-bootstraps climb to pop royalty" journey, her perspective resonating with the general public.[25] Tomoyuki Hokari of OKMusic agrees, considering her lyricism as a "reaction against the customs and culture of the previous generation", and a "terrifyingly calm, objective view" on the social turmoil of turn-of-the-century Japan.[154] In addition to that air of rebellion assigned to Hamasaki, her history of supporting LGBTQ+ rights and diversity has led to widespread recognition as a gay icon; according to Teruko of Weez-y, her unapologetic inclusion of LGBT themes and performers is considered radical, and continues to be defining element of her image in Japan.[155][156]

In the 2000s, her frequent changes in image greatly impacted the course of fashion.[157] Described as a "chameleonic style icon",[151] Hamasaki was known for being fully involved in every aspect of her work, displaying a unprecedented degree of ownership over her image; the control she had over the market drove stores to buy black market paparazzi shots of magazine shoots pre-publication, hoping to get ahead of the next 'Ayu-instigated trend'.[158] Mishal Varna of MTV compared her influence to that of Madonna, reflecting on the singer drawing in over 150 million viewers to her performance on MTV Asia.[24] Hamasaki herself considered her constantly changing image essential to her craft. A regular face on publications such as Vivi, Popteen, and Cawaii!, her style accommodated the changes in message she curated for each album cycle. That process is credited for the creation of the hime-kei wave, along with influencing returning Y2K kogal and gyaru-kei trends.[159][160][161]

Hamasaki's career has become the subject of academic study, and is considered to have had a profound impact on how the Japanese music industry manages and promotes female artists.[162][163] Zhan Hongzhi of Inter-Margins magazine named her success as a type of "identity economy", explaining: "Japan spends 33.3 billion yen a year on Hamasaki. She is no longer just an idol. She has become "Hamasaki Industries", a media in her own right."[164] In the wider media industry, various artists have spoken of being influenced directly by Hamasaki; these include Itano Tomomi,[165] Mao Asado,[166] Maximum the Hormone, Tsubasa Masuwaka,[167] Sayaka Kanda,[168] Ken Hirai, Ayaki Sasaki,[169] Chiharu Niiyama, Riisa Naka,[170] Lin Yu-chun,[171] Rinka,[172] Asako Ito, Mana Sakura,[173] Misono, Rina (Scandal), Rie Tanaka,[174] and Rina Kawaei.[175]

The previous consideration of herself as a product has sometimes led to conflict between Hamasaki's artistry and her economic influence. Accusations of the singer having lost her relatability, or presenting an overly fake or cultivated image, have continued throughout her career.[176] A renewed sense of appreciation for Hamasaki's work was covered by media outlets during her 25th anniversary, The First Times writing: "Involved in the Japanese pop scene for over 24 years, she has never stopped touring, never stopped releasing new music, and has never taken a break to recharge her batteries. How many artists can we say we have like that?"[115]

Other activities

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Philanthropy

[edit]

Throughout her career, Hamasaki has been a notable supporter of LGBTQ+ rights; in 2018, she was the invited headliner for Tokyo Pride, held in Yoyogi Park on May 6. During her performance, she spoke on having relied on friends made in the Ni-chōme district in the early days of her career for support, and the need to stand up for change: "Japan is still a conservative country, so there is a part of us that cannot shake off the image of those in minority groups being wrong. If there are moments in the future when you feel small and want to give up, please remember this day - I hope that you will always be proud of who you are, and keep going. I will always be walking alongside you."[177]

In March 2011, Hamasaki donated 30 million yen to relief efforts for the Tōhoku earthquake and tsunami.[178] In 2021, Hamasaki donated 10 million yen to the Japanese National Center for Global Health and Medicine, receiving the Medal of Honor.[179] During the 2022 typhoon aftermath in the Shizuoka prefecture, Hamasaki openly criticized the media for not reporting on the disaster thoroughly. Over a period of three days, she organized a donation point and visited Shizuoka to talk to survivors and coordinate resources.[180]

In 2023, Hamasaki adopted two dogs who had severe medical issues and a background of abuse. Speaking jointly with Anella representatives, Hamasaki highlighted the need to provide care for long-term residents of rescue homes, and encouraged awareness of puppy mills and the impact adoption can have: "Saving an animal's life won't change the world, but you can change that animal's world forever".[181]

Ayuready?

[edit]

From October 2002 to March 2004, Hamasaki was the host of her own talk and variety TV show, named Ayuready?, on Fuji Television. The talk show, which aired on Saturday nights from 11:30 to midnight, often featured her performing songs with guests. Among the names who appeared on the program were Goto Maki, Puffy, and Akina Nakamori. To promote the program (and her album Rainbow), Hamasaki opened the Rainbow House restaurant on Shōnan Beach on July 1, 2003, which was open until August 31, 2003.[182] After almost two years, the last episode of Ayuready? aired in March 2004.[183]

Branded products and endorsements

[edit]

Throughout her early career under Avex, Hamasaki promoted products that ranged from electronics (Tu-Ka cell phones and Panasonic)[20] to various snack foods.[184] Among the products she has advertised on television are the Honda Crea scooter,[185] KOSÉ cosmetics,[184] Mister Donut donuts,[186] and Boss coffee.[187]

Hamasaki's "A" logo

In 2001, Hamasaki launched her own limited-run fashion brand, MTRLG (Material Girl); the clothes were sold at MTRLG boutiques and at Mise S*clusive stores.[182] In 2002, Hamasaki created Ayupan, a cartoon version of herself that appeared in a line of merchandise (mainly figurines), and in a 2003 animation. For her 2007 tour Tour of Secret, Hamasaki collaborated with Sanrio to create a line of merchandise, "Ayumi Hamasaki x Hello Kitty/", that featured Ayupan and Hello Kitty together.[188] The merchandise included cell phone straps and Lumix cameras decorated with a picture of Hello Kitty behind Hamasaki's "A" logo;[fn 6] the former product was a result of a collaboration with Sanrio and Japanese fashion brand Ash & Diamonds, the latter a collaboration with Sanrio and Panasonic.[189]

Although Hamasaki initially supported the exploitation of her popularity for commercial purposes, saying that it was "necessary that [she is] viewed as a product",[34] she eventually opposed Avex's decision to market her as a "product rather than a person". This began a significant hiatus from lending her name to product advertisements and endorsements.[190]

In August 2019, author Narumi Komatsu released a novel about the early years of Hamasaki's life, titled M Aisubeki Hito ga Ite. The book advertised itself as based on interviews with Hamasaki, although the singer herself stated that the book "combined both fact and fiction" and had become its own story. A television drama-series based on the novel aired from April to July 2020.[191]

In March 2023, Hamasaki became a beauty brand ambassador for Rhythm Co., representing their R-Face BFT Pack product.[192] The packaging included Hamasaki's signature "A" logo. The partnership included Hamasaki's first press conference in over 8 years, and used "MASK" for its related advertisements.

Hamasaki was announced as a brand ambassador for Gem Castle on October 2, 2023, her song "Dearest" used as the theme throughout their 45th anniversary campaign.[193]

Personal life

[edit]

Hamasaki had a romantic relationship with her producer, Max Matsuura, from 1998 to 2000.[194]

Hamasaki began dating actor Tomoya Nagase in 2000, with their relationship ending in 2007. The pair had known each other since co-starring a TV drama in 1997.[195]

On January 1, 2011, Hamasaki announced her engagement to Austrian actor and model Manuel Schwarz, whom she had met on the set of "Virgin Road".[196] On January 2, her office announced that she and Schwarz had married in the United States the day before.[197] On January 16, 2012, Hamasaki announced her divorce through her fan club website, Team Ayu.[198][199][200]

On December 13, 2013, it was announced through a fan club blog post that Hamasaki was engaged. In the announcement, the singer said "As my partner is an ordinary student, I would be very happy if you could watch over us quietly."[201] On March 3, 2014, the singer announced her second marriage. The couple filed for divorce in September 2016.[202][203]

On January 1, 2020, Hamasaki revealed that she had given birth to her first child "at the end of last year".[204] On October 2, 2020, Hamasaki announced her second pregnancy through the Team Ayu website, and in May 2021 confirmed that she had given birth to her second child "sometime in spring".[205]

Hearing loss

[edit]

In January 2008, Hamasaki announced on her blog that an inoperable condition, possibly tinnitus or Ménière's disease, had caused complete deafness in her left ear.[206][207] While the diagnosis was made in 2006, she admitted to the symptoms dating back to 2000, originating from her continuing stage performances while having an ear infection.[208][209] Hamasaki stated in the blog post that she wished to continue singing, and that as a professional, she wanted to "continue delivering the best performance I can".[208][210]

On May 20, 2017, Hamasaki revealed that she had also began losing hearing in her right ear, experiencing severe bouts of dizziness and nausea. She vowed to continue performing, writing: "The stage is where I belong. It's the only place I really, truly exist. I don't know anything else."[209]

Discography

[edit]
Main articles: Ayumi Hamasaki discography and Ayumi Hamasaki videography

Concert tours

[edit]

Filmography

[edit]
Year Title Role Notes
1993 Twins Teacher Momo Tachibana
Battle Spirits Ryūko no Ken Yuri Sakazaki Voice role
1995 Sumomo mo Momo Kuriko
Miseinen Hitomi Tabata
Ladys Ladys!! Soucho Saigo no Hi Misaki
Like Grains of Sand Kasane Aihara
1996 Gakko II
2002 Tsuki ni Shizumu Minamo Hamasaki's song "Voyage" was the theme song for this movie.
2007 Distance Love Herself Short film based on her songs "Glitter" and "Fated".

Video games/software

[edit]
  • Visual Mix Ayumi Hamasaki Dome Tour 2001 (PlayStation 2)[211]
  • A-TYPE ayumi hamasaki touch typing software (March 29, 2002, e frontier, Windows)[212]

Awards

[edit]
Main article: List of awards received by Ayumi Hamasaki

See also

[edit]

Footnotes

[edit]
  1. ^ a b Oricon does not count Nothing from Nothing, released by Nippon Columbia, among Hamasaki's albums.
  2. ^ This last record is shared with Pink Lady, Namie Amuro, and Hikaru Utada.
  3. ^ Original text: "このシングルは2001年9月11に米国で発生した同時多発テロを追悼するために企画され、リリースと同時に日本で話題を集めたチャリティーシングル『song+nation』の3枚だ。"
    "まず、浜崎あゆみとKEIKOがデュエットした『a song is born』が2001年12月12日にリリースされた。"
  4. ^ (Miss)understood is listed as a million-seller by the RIAJ, but the RIAJ's certification is based on the number of albums shipped to retailers; Oricon gathers its tallies from the retailers themselves.
  5. ^ For a comprehensive list of Hamasaki's Avex-sanctioned remixes released in Japan, see Hamasaki's discography at mu-mo.net Archived January 16, 2009, at archive.today.
  6. ^ This is the symbol: . It is used either as a substitute for the letter a or to represent Hamasaki's name. The titles of six albums, Rainbow, A Best, A Ballads, A Best 2 -White-, A Best 2 -Black-, and A Complete use this symbol; the titles of these albums appearing as RINBOW, Best, Ballads, Best 2 -White-, Best 2 -Black-, and Complete. (Dashes are commonly used in Japanese script to enclose subtitles.)
  7. ^ As there were no concerts held outside of Japan due to pandemic restrictions, it is listed as a national tour.

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Further reading

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  • Ayu Press Crew (あゆ報道班) (2005). Secrets of Ayumi Hamasaki (浜崎あゆみの秘密). Data House (データハウス). ISBN 978-4-88718-851-8.
  • 富坂 剛 (2005). Ayumi Hamasaki Pure Stories (浜崎あゆみPure Stories). R's Publishing (アールズ出版). ISBN 978-4-901226-99-8.
  • 本郷陽二 (2003). Ayumi Hamasaki Stories (今輝く歌姫たち 浜崎あゆみ物語). Chobun (汐文社). ISBN 978-4-8113-7623-3.
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