Namie Amuro's parents divorced at an early age, and she was raised independently by her mother. She made her debut at the age of 14 and joined the girl group "SuperMonkey's" in 1992, and her musical route was the popular style of early Japanese girl groups.

However, the group had a bad fate, and in 1995 they finally changed their name to "MAX" and released their only chart-topping song "TryMe", and Namie Amuro relied on the popularity and experience accumulated during the group's time to develop solo on Ai Hui Records.

During this time, her mentor Tetsuya Komuro gave her great help and development guidance, and produced a number of successful commercial works in the J-Pop singing and dancing mode for her. Among them, "ChasetheChance" became her first number one single, which sold more than one million and won her the 32nd Japan Golden Sword Award.

Tetsuya Komuro has successfully transformed Amuro from a young and innocent girl who lacks musical personality into a generation of Japanese youth idols.

After returning to the music scene in 1998, it was clear that Tetsuya Komuro's traditional dance pop style could no longer bring new musical breakthroughs to Amuro. The album "Genius2000" released immediately after it was still popular, but it was Amuro's first record that did not reach one million sales, and "BreakTheRules" at the end of the year was even more dismal.

All kinds of contradictions and conflicts are coming head-on, and the separation of master and apprentice has become inevitable.

Eventually, Amuro began to experiment openly with American hip-hop producer Dallas Austin, and gradually embarked on a new popular path of fusion hip-hop music, introducing this strong trend to the Japanese music scene, and also causing considerable impact on the Takajima region, where fast songs are scarce.

Since 2002, she has participated in the "SuiteChic" music project, collaborating with many famous Japanese hip-hop musicians such as AI, Zeebra, M-flo's VERBAL, etc., and releasing two singles and the album "WhenPopHitsTheFan", without the pressure of her career, to achieve the ultimate in hip-hop spirit.

In 2003, Namie Amuro returned to her personal development and released her distinctive album "Style", which regained market sales for herself. From this record, Namie Amuro completely went to a personal transformation of music, and at the same time entered a mature period of sexy and glamorous image.

Although the hip-hop style is a passionate pursuit, from a long-term perspective, pure and specialized hip-hop music is by no means a long-term solution for the Japanese pop market. If you want to strengthen the position that cannot be lost for a long time, it will be extended to Europe and the United States. amp; amp; amp; B: Mainstream style is the smart move.

and Hip-Hop and Ramp; amp; amp; amp; Style B is inherently complementary in black music, requiring only a calibration and transition of the concept of a record. Amuro's previous albums "Style" and "Queen of Hip-Pop" have been relatively Ramp-oriented; amp; amp; amp; B's work just doesn't put it forward as the focus of diversified development.

Finally, in the singles "Can'tSleepCan'tEatI'mSick" and "Babydon'tCry", which began to be released in 2006, Namie Amuro took the lead in Ramp; amp; amp; amp; The B style is the focus of the mainstream as the support of the record. In particular, "Babydon'tCry" brought both market and word-of-mouth, making her the singer who has a single in the top 10 of the Oricon chart for 13 consecutive years.

Starting with the 2007 "Play" album, Namie Amuro has achieved all-round, all-angle Ramp; amp; amp; amp; B maturation. by Ramp; amp; amp; amp; B is the backbone of the composition style, assisted by familiar Hip-Hop elements, and then added Rock in line with the spirit of the times, as well as the strong retro flavor of the 70s and 80s to increase the height and breadth of the work, resulting in the pop record "Diverse Ramp; amp; amp; amp; B style".

Contemporary electronic dance music is not only the popular trunk of European and American music, but also plays a major role in Japan. For Namie Amuro, Ramp; amp; amp; amp; B's roots don't need to change, it seems that as long as you step into the tide of electronic dance music, pure electronic music is still different from the mainstream, and pop just needs to be diversified, expanded and comprehensively promoted - and Amuro is not satisfied with this.

In 2009, Amuro released the single "Wild/Dr.", which began to fully ventur into electronics, and the arrangement of new and slightly alternative dance music brought a refreshing audio-visual experience. Importantly, she embeds "personal consciousness" as a fresh blood in the electronic style, rather than simply pursuing physical rhythm singing and dancing.

The music video is unique in the Japanese market by constantly expressing the spiritual meaning, laying out dramatic abstract concepts such as "resistance", "destruction", and "rebirth" into the rhythm, highlighting the thickness of the song's interior, and changing the traditional superficial impression of electronic dance music.

It can be said that Namie Amuro is an indispensable figure in the history of Japanese pop music.

Her music career spanned three decades, and her unusual career achievements made her one of the longest-lived singers in Japan. Her music has had a positive impact on the Japanese music scene, exploring and innovating in a down-to-earth manner, constantly breaking the rules of the genre, and continuing to explore the possibilities of the market.

Not only did she create new musical rules in the midst of risk, but she also paved the way for others to pioneer. Although she has also experienced twists and turns in her life, such as marriage changes, loss of her mother, retirement, and custody lawsuits, she still adheres to her duty as a singer with a sense of responsibility.

Although Lu Deshuang didn't know much about Namie Amuro, but when he saw the sadness revealed in Namie Amuro's eyes, Lu Deshuang couldn't help but want to stretch out his hands and hug her in his arms, even what, ravaging something, cough cough, unfortunately, the relationship between the two has not yet reached that place, not to mention, even if it is in public here, it is not suitable!

"Come, drink, we have a saying in China, called a drunk to relieve a thousand sorrows, meaning, probably say that after getting drunk, there will be no troubles!"

Lu Deshuang feels that he is shameless enough, but it's all for women, everyone should be able to understand, if you can't understand it, then you can take it with a dog, when the man's sperm worm is on the brain, the festival is all lost!

"A drunk relieves a thousand sorrows?"

Namie Amuro muttered, laughing at herself, if she can really get drunk and relieve a thousand sorrows, then why does her sorrow still exist until now, especially yesterday, she found that her husband Maruyama Masayan was hiding himself again, he used to go out to spend all day drinking, but now he has intensified it, bringing the woman home, and even after being caught by himself, he not only scolded her, but also gave her a slap, which made Namie Amuro despair about this marriage, if it weren't for the children, it is estimated that she would have the heart to divorce!

"Yes, get drunk and relieve a thousand sorrows, cheers!"

"Okay, cheers!"

PS: Thank you Kite V for the thumbs up!