Ayumi Hamasaki

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Ayumi Hamasaki

Ayumi Hamasaki (浜崎 あゆみ (also 浜崎歩), Hamasaki Ayumi), born October 2, 1978, is a Japanese singer-songwriter and former actress. Also known as Ayu to her fans, Hamasaki has been dubbed the "Empress of pop" and "the Empress of J-Pop" due to her popularity and widespread influence in Japan.[3][4] Born and raised in Fukuoka, she moved to Tokyo at fourteen to pursue a career in entertainment. In 1998, under the tutelage of Avex CEO Max Matsuura, she released a string of modestly selling singles that concluded with her 1999 debut album A Song for XX, which debuted atop the Oricon charts and stayed there for four weeks in a row, establishing her popularity in Japan.

Because of her constantly changing image and tight control over her artistry, Hamasaki has become a "trendsetter" and an "icon of fashion" in Asia;[5] her popularity and influence in music and fashion extend to China, Singapore, Taiwan, and South Korea. She has appeared in or lent her songs to many advertisements and television commercials. Though she originally supported this, a 2001 event in which Avex forced her to put her greatest hits album in direct competition with Hikaru Utada's Distance made Hamasaki reconsider and eventually oppose her status as an Avex "product".

Since her 1998 debut with the single "Poker Face", Hamasaki has sold around 50 million records in Japan, making her one of Japan's best-selling singers.[6] Her singles have set records: she is the Japanese female artist with the highest singles sales, most number-one singles, and most million-seller singles.[fn 1] She is also the only Japanese artist to have a number-one single every year for ten years straight and the first to have her first eight studio albums top the Oricon.[7][8] Template:JapaneseText

Life and music career

Childhood and early endeavors

Hamasaki was born in Fukuoka Prefecture and raised by her mother and grandmother, as her father had left the family when she was three and never again came into contact with her.[9][10] Because her mother worked to support the family, Hamasaki's grandmother became her primary caretaker.[9]

Hamasaki began her modeling career at seven, working locally for institutions such as banks to earn money for the family. At fourteen, she moved from Fukuoka to Tokyo to take modeling jobs under SOS, a talent agency. Although she got good grades at first, she decided that the subjects she was taking were of no use to her; her grades then dropped drastically and she became a delinquent.[9] Her modeling career did not last long; SOS deemed her too short to be a model and transferred her to Sun Music, a musicians' agency. Under Sun, Hamasaki released Nothing from Nothing, her first album, on the Nippon Columbia label. This rap album, released under the name "Ayumi", failed to chart on the Oricon; Hamasaki was soon dropped by Sun. The talent agencies had provided dormitories; needing somewhere to live, Hamasaki began acting in B-movies and television dorama. The projects she acted in, including the B-movies Gakko II and Ladys Ladys!! Soucho Saigo no Hi and dorama Miseinen, were not well-received by the public.[11][10] Though she had entered Horikoshi Gakuen, a high school for the arts, she left shortly afterward. Dissatisfied with her job, Hamasaki soon quit her acting career as well. When her mother moved to Tokyo, she moved in with her.[9] As she "thought of nothing [to do]" and was neither employed nor in school, Hamasaki spent much of her time shopping at Shibuya boutiques and dancing at Velfarre, an Avex-owned disco club.[10][9]

At Velfarre, Hamasaki was introduced to her future producer, Max Matsuura, through a friend. Matsuura offered her a recording deal immediately after hearing her sing, but Hamasaki suspected ulterior motives and turned the offer down.[10] He persisted until the following year, when she finally signed on to the Avex label and began vocal training.[12][10] Finding the instructors too rigid and the classes too dull, however,[10] she skipped most of her classes. When she confessed this to Matsuura, he sent her to New York for training. The writing in her messages to him from New York impressed him, and he suggested she try writing her own lyrics.[10]

1998–1999: Rising popularity

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"Boys & Girls" (1999)
Loveppears was characterized by dance tracks such as "Boys & Girls."
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Template:Sample box end Hamasaki's first singles under Avex—"Poker Face", "You", "Trust", "Depend on You", and "For My Dear..."—were not major hits, although the last three reached the top ten of the Oricon weekly charts.[10] However, her debut album, A Song for XX (1999), made her a success.[13] Though it was composed of "cautious" and "unassuming" pop-rock tracks,[14] it topped the Oricon charts for five weeks straight and eventually sold over a million copies.[15][16] Additionally, Hamasaki earned a Japan Gold Disc Award for "Best New Artist of the Year."[17]

With the release of ayu-mi-x (1999), the first of a set of remix albums, Hamasaki began moving beyond the pop-rock of A Song for XX and began to incorporate different styles including trance, dance, and orchestra.[14] Most of the singles released later that year contained dance tunes; this proved shrewd, because Hamasaki earned her first number-one single and her first million-selling single.[18] Owing to the success of its singles, Loveppears (1999), Hamasaki's second studio album, was a greater commercial success than the first: not only did it top the Oricon charts, it sold nearly 3 million copies.[13]

2000–2002: Commercial peak

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"M" (2000)
"M", the first song composed by Hamasaki under the pseudonym Crea, is one of Hamasaki's best-selling singles with over 1 million copies sold.
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In sharp contrast with Loveppears, Duty (2000), Hamasaki's third studio album, only contained one upbeat dance track—"Audience."[9] The creative process behind Duty was not a happy one for Hamasaki, who described her feelings following the production of the album as "unnatural", "nervous",[9] and "heart-pounding."[19] However, the title track had the first lyrics in which she felt she had expressed herself thoroughly.[9] The album resonated with fans: Duty became Hamasaki's best-selling studio album and yielded a trio of hit singles—"Vogue", "Far Away", and "Seasons"—the last of which became another million-selling single.[20][15]

The following year, Avex forced Hamasaki to release her first compilation album, A Best, on March 28, putting the album in "competition" with Hikaru Utada's second studio album, Distance. The "competition" between the two singers (which both claimed was merely a creation of their record companies and the media) was supposedly the reason for the success of the albums, with A Best and Distance becoming the two best-selling albums of the year.[21] Hamasaki's personal life underwent changes as well: she and Tomoya Nagase, her boyfriend since her acting days,[22] went public with their relationship in the fall.[23]

In light of the September 11 attacks, Hamasaki updated the cover of I am...(2002) to represent peace. (Note the dove.)

I am...(2002) brought a number of milestones for Hamasaki. "M," the lead single, marked the beginning of her increased control over her music, as it was the first of the many tracks from the album that she composed herself, under the pseudonym "Crea."[24] In fact, all of I am...'s singles—"M", "evolution", "Never Ever", "Endless Sorrow", "Unite!", "Dearest", and "Daybreak"—were composed by Hamasaki herself.[fn 2] I am... also showed evolution in Hamasaki's lyrical style: it was a retreat from the themes of "loneliness and confusion" of some of her earlier songs.[25] Hamasaki was moved by the September 11 attacks, and revised her vision of I am..., focusing on issues such as faith and world peace. "A song is born", in particular, was directly influenced by the events;[26][25] the single, a duet with Keiko Yamada, was released in December 2001 as part of Avex's non-profit Song+Nation project, which raised money for victims of the attacks.[27] Hamasaki also dropped the planned cover and opted instead to be portrayed as a "peace muse," explaining,

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.[26]

The outlook inspired by the September 11 attacks extended beyond I am.... In 2002, Hamasaki held her first concert outside Japan, at the MTV Asia music awards in Singapore,[28][26] a move interpreted by some as the beginning of a campaign prompted by a sluggish Japanese market.[29][30] But it was clear that Hamasaki's status as a trendsetter extended outside Japan as well:[30] at the MTV Asia music awards, she received the award for "Most Influential Japanese Singer in Asia."[28]

Hamasaki's next studio album, Rainbow (2002), was her first to include English lyrics.[fn 3] Although she did not compose as much as on I am..., she was still heavily involved in the production. The album contained a potpourri of musical styles and influences, with rock- and trip-hop-influenced tracks as well as "summery", "up-tempo" songs and "grand gothic" arrangements. Hamasaki experimented with new techniques, using gospel choruses, strings, and even the yells of an audience.[31] The album yielded three singles, “Free & Easy”, “Voyage”, and “H”; the last became the best-selling single of the year,[fn 4][32] and a short movie, Tsuki ni Shizumu, was used as the video for "Voyage." As part of the promotion for Rainbow, those who bought the album online could access a password-protected website that had a part of the instrumental version of the title track, which did not appear on the album.[31] (It later appeared on Hamasaki's ballad compilation/remix album A Ballads, released in March 2003.)[33]

2003–2006: Decline in sales

File:Ayumi Hamasaki - Arena Tour 2006.jpg
Hamasaki performing in her Arena Tour 2006 A ~(miss)understood~ tour

In November 2002, as "Ayu", Hamasaki released her first European single, "Connected", a trance song composed by DJ Ferry Corsten that had previously appeared on her album I am.... It was released in Germany on the Drizzly label.[34] Hamasaki continued to release singles (all of them remixes of previously released songs) in Germany on Drizzly until 2004.[34]

Hamasaki's first mini-album, Memorial Address was released in December 2003 and yielded three singles: “&”, “forgiveness”, and “No way to say”. The album became her first to be released in CD+DVD format in addition to the regular CD-only format, a decision that came from her wish to “relay the atmosphere” of her A Museum concert earlier that year.[35] Memorial Address, like her previous albums, topped the Oricon chart and became a million-seller.[36] The sales of Hamasaki's singles began to wane, however: "&" was the last to sell over 500,000 copies.[37]

By the end of her My Story tour, Hamasaki had become dissatisfied with her position in Avex: she felt that the company was treating her as a product instead of a person.[38] Along with her dissatisfaction with her last two studio albums (which she thought had been rushed), this led her to begin work on My Story (early 2004). In contrast with her previous albums, My Story had no set theme, nor did Hamasaki attempt to write “something good” or even “something that would give people hope”; rather, she “simply wrote honestly.”[38] As a result, the album contained mostly autobiographical lyrics about her emotions and “reminiscences” of her career. She was so pleased with the result that she declared My Story "the first album [she] felt OK and excited about."[39] She approached the composition of the music with the same “honesty and freedom” that she kept in mind while writing the lyrics. As she liked rock music, the album had notable rock overtones.[39] My Story and its singles, “Moments”, “Inspire”, and “Carols”, all topped the weekly Oricon charts; moreover, My Story became another million-seller.[40] From January to April of the following year, Hamasaki held the nationwide Ayumi Hamasaki Arena Tour 2005, her first tour based on an album.[38]

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"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.
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(miss)understood (2006), Hamasaki's seventh studio album, showed new musical directions.[41] Wanting to sing "a song like Sweetbox's," Hamasaki obtained the permission of Sweetbox composer Roberto "Geo" Rosan to use demo songs he had intended to use in Sweetbox's upcoming album. She edited the songs to fit her personal vision, rewriting the lyrics as well as rearranging some of the songs.[41][42] While My Story comprised mostly rock songs, (miss)understood offered a spectrum of musical styles encompassing pop, R&B, and rock.[43] "Bold & Delicious", the last single from the album, was a funk-infused dance track with a gospel chorus; the preceding single, "Heaven", was an "ethereal" ballad with prominent piano; and "Criminal" was a "dark rock song".[44] All of (miss)understood's singles reached the top of the Oricon; "Bold & Delicious" became Hamasaki's twenty-fifth number-one single, tying her with Seiko Matsuda for the record of most number-one singles by a solo female artist.[45] Though (miss)understood also reached the top of the Oricon, it became Hamasaki's first studio album not to sell a million copies.[fn 5] In March, following the release of (miss)understood, Hamasaki embarked on the (miss)understood tour, which spanned three months with thirty concerts, from Saitama on March 11, 2006 to Yoyogi on June 11, 2006.[46]

"Secrets" was, appropriately, the theme of Hamasaki's eighth studio album, Secret (2006).[47] As well as secrets, the album also explored strong female figures and "painted pictures of love." "Secret", "until that Day", and "Jewel" all depicted the artist's struggles; "Beautiful Fighters" and "1 Love" were "cheer songs for girls". Additionally, "1 love" and "Jewel" were songs about love.[48] Although Secret was originally intended to be a mini-album, one day, during production, Hamasaki "began brimming with things to say" and wrote five more songs. She was enthusiastic over the result and declared it her "best album ever."[48] Both singles from the album, "Startin'" and "Blue Bird", continued her streak of number-one singles: "Startin'" became her twenty-sixth, setting a new record for most number-one singles held by a solo female artist.[49] The album also topped the Oricon weekly charts, making Hamasaki the only artist to have her first eight studio albums do this.[50] Her sales, however, continued to flag: Secret became her first original studio album not to become an RIAJ-certified million-seller.[51]

2007–present: Foray into Asia

On February 28, 2007, Hamasaki released A Best 2, a pair of compilation albums containing songs from I am... to (miss)understood. The two versions, White and Black, debuted at the first and second positions on the Oricon weekly charts, making Hamasaki the first female artist in thirty-six years to hold the top two positions on any Oricon album chart.[52] By the end of 2007, the pair became Japan's fifth and seventh best-selling albums of the year respectively.[53]

Hamasaki performing the song "part of Me" in her first Asia Tour

Following the release of A Best 2, Hamasaki held the four-month-long Tour of Secret from March to the end of June, and performed not only in Japan but also in Taipei, Shanghai, and Hong Kong, making Tour of Secret her first tour extending beyond Japan.[54] As a result, the concerts became highly anticipated, and tickets for the one in Taipei sold out in two hours;[55] tickets for her Hong Kong concert sold out in three hours.[56]

Rumors of a future marriage for Hamasaki and Nagase began to be circulated by the Japanese media by July 2007, nearly six years after the couple had gone public with their relationship.[23][57] On July 13, 2007, however, Hamasaki announced that they had broken up, after seven years.[58][59] Shortly thereafter, Hamasaki revealed that she and Nagase were no longer living together.[60] News of the split came as a surprise and prompted various rumors among Japanese media about the cause. However, Hamasaki has not explained.[57]

Unlike its predecessors, the writing of Hamasaki's ninth studio album, Guilty (2008), was not an emotional experience for her, nor did it have a set theme. However, she would later say that its tracks appeared to "tell a story."[61] Most of them were dark; the album had a notable rock tinge,[62] as had many of her earlier albums. It contained some ballads, such as "Marionette" and "untitled ~for her~", though these also had rock overtones.[63] With first-week sales of around 432,000 copies, Guilty peaked at the number-two position on the weekly Oricon charts, making it Hamasaki's first studio album not to reach the top.[fn 6][64][65] The singles the album yielded, however—two physical singles ("glitter/fated" and "talkin' 2 myself") and Hamasaki's first digital-only single, "Together When..."—all reached the top of their respective weekly charts;[66][67] with around 720,000 downloads sold,[68] "Together When..." also climbed to the top of the monthly download charts, a first for Hamasaki.[69] A short film, Distance Love was used as the music video for "glitter" and "fated". The film, shot in Hong Kong, co-starred Hong Kong actor Shawn Yue as Hamasaki's romantic interest.[70] Finally, Guilty was later re-released as a digital album in twenty-six countries outside Japan, nineteen of them Western nations. That, along with Hamasaki's decision to employ western DJs such as Armand van Helden for her 2008 remix albums ayu-mi-x 6 -Gold- and ayu-mi-x 6 -Silver-, has been interpreted as her first step into a global market.[71]

In a January 8, 2008 entry on her TeamAyu blog, Hamasaki revealed that an inoperable condition, possibly tinnitus[6] or Meniere's Disease,[65] had caused complete deafness in her left ear. She disclosed that she had been diagnosed with deafness in 2006 and that the problem dated back to 2000.[72] Supposedly as a result of her hearing loss, Avex shares went down by thirteen yen.[73] Despite the setbacks, Hamasaki stated that she wished to continue singing, and that she would "not give up" on her fans and that "as a professional", she wanted to "deliver the best performance for everyone."[74][75]

Hamasaki's forty-third single, "Mirrorcle World", was released on April 8, 2008. To commemorate her tenth anniversary in the music industry, the single was released in two versions, the second B-side containing a remix of either "You" or "Depend on You"; both versions contain "Life" as a B-side.[76] "Mirrorcle World" became yet another number-one single for Hamasaki, making her the only Japanese female solo artist to have a number-one single every year for ten consecutive years.[77]

Avex recently announced that on September 10, 2008, Hamasaki will release A Complete ~All Singles~, a compilation album that will include the A-sides of all her singles along with previously unreleased footage from her a-nation concerts.[78]

Image and artistry

File:Ayumi hamasaki Countdown Live 2007 2008 teamayumembers.jpg
Fan-made Ayumi Hamasaki tribute vehicles parked outside the Countdown Live 2007-2008 Anniversary concert

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The influence of Hamasaki's music, sometimes considered one of the major forces in shaping Japan's current music trends,[30] has been attributed to the progressive sound of the music as well as her self-penned lyrics;[30] critics, however, credit clever marketing strategies.[79][11][30] The popularity of her music extends beyond Japan;[80] she has a "sizable [following] across Asia"[81] and is one of the few Japanese singers whose albums have sold over 10,000 copies in Singapore.[82] Additionally, her album A Best 2 -White- became the best-selling Japanese or Korean album of the year in Taiwan.[83] Though her first tour with stops outside Japan did not take place until 2007, Hamasaki has been moving towards an Asian market since 2002: in addition to performing at the MTV Asia awards, she performed at South Korea's first joint performance among Asian singers and at a concert celebrating Sino-Japanese relations.[84][85] Because of the widespread influence of her music, Hamasaki has often been compared to Madonna,[86][87] whom Hamasaki cites as one of her influences,[24] along with soul musicians Babyface and En Vogue and rock bands Led Zeppelin and Deep Purple.[2] She also admires Michelle Branch, Kid Rock, and Joan Osborne and Japanese artists Seiko Matsuda, Rie Miyazawa, and Keiko Yamada;[2] these diverse influences have led to the variety of her own music.

Hamasaki began commissioning remixes of her songs early in her career; this also influenced the diversity of her music.[14] Her remixes, found on many of her records, span different genres of electronic dance music including Eurobeat, house, and trance, as well as acoustic genres such as classical and traditional Chinese music. She has employed Western as well as Japanese musicians; among those she has worked with are DJs Armin van Buuren, Jonathan Peters, Junior Vasquez, Above & Beyond, and Ferry Corsten; the Lamoureux Orchestra of France;[fn 7] and traditional Chinese music ensemble Princess China Music Orchestra.[88]

Having released over 100 songs (not including remixes), Hamasaki's musical style has changed over time: her music contains aspects of rock and R&B and spans styles including dance, metal, progressive rock, pop, and classical.[14] She also uses different instruments and techniques including piano, orchestra, gospel choirs, guitars, traditional Japanese strings, music boxes, and even effects such as yells, claps, and scratching.[33][31][14] She frequently employs others to compose; as she has explained, "I'm not a professional; I lack even basic knowledge about writing music." However, when writing "M", none of the melodies composed by her staff appealed to her, and she decided to compose herself.[9] Thinking that this let her get closer to what she had in mind,[25][26] Hamasaki continued, most notably in her album I am..., mostly her own work; furthermore, she took control of nearly every aspect of her artistry for the same reasons. Later on in her career, however, she began delegating many of the tasks she had previously handled, including composition, to her staff.[89]

Hamasaki's lyrics, all her own,[fn 3] have resonated among her fans, who praise them as being "like the contents of [...] a diary" and "reflecting [their own] changing emotions".[30] Because she has "trouble voicing her thoughts", Hamasaki uses her lyrics as an outlet; she "draws from her own experiences and emotions" and tries to put them "honestly into words".[2] 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."[2] Because of this, she did not use English lyrics until her album Rainbow, as she had felt that she could best express herself in Japanese.[fn 3] As with her musical style, the themes of her lyrics have varied: although "loneliness and confusion" were frequent in her earlier albums, she has branched out to wider themes such as faith and peace;[25] themes in her later albums included love and the struggles of women.[48][31][43] Hamasaki draws inspiration for her lyrics from various sources. A story told to her by her friend about a saint named Mary (possibly the Virgin Mary) served as the basis for "M", while the September 11 attacks inspired "a song is born".[90] In an interview, she explained that "in the beginning" she "was searching for [herself] in [her] music", adding,

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.[26]

File:Ayumi Hamasaki - Boss Commercial.jpg
Hamasaki in a television commercial promoting Boss Coffee, one of the many brands she has advertised

Hamasaki's influence extends into other aspects of pop culture, including fashion, and she is often considered an icon and trend-setter in fashion[91][89] a status attributed to her tight control over her image.[23][92] As well as appearing in fashion magazines such as ViVi, Popteen, and Cawaii, Hamasaki repeatedly wins awards such as "Best Jeanist", "Nail Queen"[1][79] and Oricon's "Most Fashionable Female Artist".[93] This status has led to Hamasaki's shaping of Japan's fashion scene;[4][94] many aspects of Japan's fashions—including clothing, hair, nails, and accessories—have in some way been influenced by her.[95][79] As with her music, Hamasaki's influence in fashion extends outside Japan; the trends she has started have spread to Asian countries as Taiwan, China, and Singapore.[96][97][98]

Because of her "trendy image", Hamasaki has been sought by numerous brands to endorse their products.[99] Throughout her career under Avex, she has promoted products ranging from electronics (Tu-Ka cell phones and Panasonic)[11] to various snack foods.[79] Among the products she has advertised on television are the Honda Crea,[100] Kosé cosmetics,[79] Mister Donut donuts,[101] and Boss coffee.[102] Although Hamasaki initially supported the exploitation of her popularity for commercial purposes, saying that it was "necessary that [she is] viewed as a product",[24] she later protested Avex's decision to market her as a "product rather than a person."[103]

Hamasaki's live performances are often lavish productions that 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.[104][105] Some of her promotional videos are lavish affairs as well: those of three songs, "fairyland", "my name's Women", and "Jewel" are among the top twenty or so most expensive music videos,[106][107] making Hamasaki the only non-anglophone to hold such a distinction.[108]

Other activities

See also: Ayuready?

As well as serving as background music for television advertisements, some of Hamasaki's songs have been used as themes for video games, television shows and motion pictures.[fn 8] "Depend on You" and its B-side "Two of Us" served as the opening and ending theme respectively of the video game Thousand Arms;[109] the video game Onimusha: Dawn of Dreams used "Startin'" and "rainy day" as its opening and ending theme respectively.[110] The dorama My Little Chef featured "Voyage";[111] the anime InuYasha featured "Dearest".[112] Finally, "Heaven", "Secret", and "fated" were used as the themes for the movies Shinobi: Heart Under Blade, Confession of Pain and Kaidan respectively.[113][114][115]

On October 12, 2002, Fuji Television began airing Ayuready?, a talk show, on Saturday nights from 11:30 to midnight, hosted by Hamasaki and often featuring her performing songs with guests, among whom were Goto Maki, Puffy, and Akina Nakamori. After less than two years, the last episode aired in March 2004.[116] Also in 2002, Hamasaki began releasing Ayupan, a line of merchandise (mainly figurines) featuring stylized versions of herself. In 2007, she and Sanrio created a line of merchandise called Ayumi HamasakixHello Kitty; the products, featuring Ayupan and Hello Kitty together, were sold at Hamasaki's 2007 tour Ayumi Hamasaki Asia Tour 2007 ~Tour of Secret~ and also online at mu-mo.net.[117] The merchandise consisted of cell phone straps and Lumix cameras adorned with Hello Kitty peeking out from behind Hamasaki's "A" insignia;[fn 9] 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.[118]

Discography

Main article: Ayumi Hamasaki discography

Concerts

Year Title Format
2000 ayumi hamasaki concert tour 2000 A 第1幕 VHS, DVD, VCD
2000 ayumi hamasaki concert tour 2000 A 第2幕 VHS, DVD, VCD
2000–2001 Ayumi Hamasaki Countdown Live 2000-2001 A VHS, DVD, VCD
2001 Ayumi Hamasaki Dome Tour 2001 A VHS, DVD, VCD
2001–2002 Ayumi Hamasaki Countdown Live 2001-2002 A VHS, DVD, VCD
2002 Ayumi Hamasaki Arena Tour 2002 A VHS, DVD, VCD
2002 Ayumi Hamasaki Stadium Tour 2002 A VHS, DVD, VCD
2002–2003 Ayumi Hamasaki Countdown Live 2002-2003 A DVD, VCD
2003–2004 Ayumi Hamasaki Arena Tour 2003-2004 A DVD, VCD
2004 ayumi hamasaki A museum ～30th single collection live～ DVD, VCD
2004–2005 Ayumi Hamasaki Countdown Live 2004-2005 A DVD, VCD
2005 ayumi hamasaki Arena Tour 2005 A ～My Story～ DVD, VCD
2005–2006 Ayumi Hamasaki Countdown Live 2005-2006 A DVD, VCD
2006 ayumi hamasaki Arena Tour 2006 A ～(miss)understood～ DVD, VCD
2006–2007 ayumi hamasaki Countdown Live 2006-2007 A DVD, VCD
2007 ayumi hamasaki Asia Tour 2007 A ～Tour of Secret～ "Live + Documentary" DVD, VCD
2007–2008 ayumi hamasaki Countdown Live 2007-2008 Anniversary DVD

Filmography

  • Twins Teacher (1993)
  • Battle spirits ryûko no ken (1993)
  • Sumomo mo momo (1995)
  • Miseinen (1995)
  • Like Grains of Sand (1995)
  • Gakko II (1996)

Footnotes

  1. ^ This last record is shared with Pink Lady, Namie Amuro, and Hikaru Utada.
  2. ^ "Connected" and "A Song is Born" are not considered by Avex as part of Hamasaki's official discography. The former was released under the Drizzly label; the latter was part of Avex's non-profit Song+Nation project. Both songs, however, appeared on I am...
  3. ^ a b c Two of Hamasaki's songs released prior to Rainbow, "Love ~since 1999~" and "Audience" used English. However, the lyrics of "Love ~since 1999~" were not written by Hamasaki, and the only English in "Audience" is the word "yes"; therefore these songs are usually not counted among her songs using English. (Takeuchi Cullen, Lisa. "Empress of Pop". Time. pp. p. 4. {{cite web}}: |pages= has extra text (help); Italic or bold markup not allowed in: |publisher= (help); Unknown parameter |accessmonthday= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help))
  4. ^ All sales and charting positions in this article apply only to Japan or Japan's Oricon charts unless otherwise stated.
  5. ^ It is not clear whether (miss)understood or My Story is Hamasaki's last million-selling album, as the RIAJ lists (miss)understood as a million-seller, while the Oricon claims that (miss)understood sold just under 900,000 copies.(Template:Ja icon "Yearly Album Rankings for 2006". Oricon Style. December 21, 2006. Retrieved 2008-03-28. {{cite news}}: Check date values in: |date= (help); Italic or bold markup not allowed in: |publisher= (help)) (The RIAJ's certification is based on the number of albums shipped to stores, while the Oricon gathers its tallies from the retailers themselves.)
  6. ^ Hamasaki's first-week sales were the highest for that week (the first week of January). However, Oricon's year only has fifty-one "weeks"—the first two of the year are combined. Kobukuro's sales for the combined two weeks were slightly higher than Hamasaki's, giving them the number-one position.(Template:Ja icon "Ayu Reveals That She Has Gone Deaf in Her Left Ear". Sponichi Annex. January 7, 2008. {{cite web}}: Check date values in: |date= (help); Italic or bold markup not allowed in: |publisher= (help); Unknown parameter |accessmonthday= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help))
  7. ^ For a comprehensive list of Hamasaki's Avex-sanctioned remixes released in Japan, see Hamasaki's discography at mu-mo.net.
  8. ^ For a complete list of the commercial tie-ins of Hamasaki's songs, see her discography.
  9. ^ This is the symbol in question: File:Ayumi Hamasaki A Logo.gif. 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 proper titles of these albums are RFile:Ayumi Hamasaki A Logo.gifINBOW, File:Ayumi Hamasaki A Logo.gif Best, File:Ayumi Hamasaki A Logo.gif Ballads, File:Ayumi Hamasaki A Logo.gif Best 2 -White-, File:Ayumi Hamasaki A Logo.gif Best 2 -Black-, and File:Ayumi Hamasaki A Logo.gif Complete .

See also

Citations

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  9. ^ a b c d e f g h i Template:Ja icon Shikano, Atsushi (February 20, 2001). "Interview with Ayumi Hamasaki". rockin'on japan. {{cite journal}}: Check date values in: |date= (help)CS1 maint: date and year (link)
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Further reading

  • あゆ報道班 (2005). 浜崎あゆみの秘密 (Secrets of Ayumi Hamasaki). データハウス. ISBN 978-4887188518.
  • 富坂 剛 (2005). 浜崎あゆみPure Stories (Ayumi Hamasaki Pure Stories). アールズ出版. ISBN 978-4901226998.
  • 本郷陽二 (2003). 今輝く歌姫たち 浜崎あゆみ物語. 汐文社. ISBN 978-4811376233.

External links

Wikimedia Commons has media related to Ayumi Hamasaki.

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