June Kuramoto, The Innovative Koto Master of Hiroshima, Pushes the Boundaries of Traditional Koto Music with Her Fusion Revolution, Making the Koto Extraordinary and Captivating Audiences Worldwide. 

INTERVIEW BY: GINA SEDMAN, WRITER/JOURNALIST & HEAD EDITOR   

From the bustling shores of Japan to the vibrant streets of 1950s Los Angeles, June Kuramoto embarked on a journey that would not only shape her destiny but also redefine the boundaries of musical exploration. 

Growing up amidst the pulsating energy of the Crenshaw district, where legends like Ray Charles and Tina Turner roamed, Kuramoto found solace in the eclectic beats that echoed through the neighborhood. It was here, amid this melting pot of culture, that her love affair with music began. 

Enraptured by the ethereal melodies of the koto, Kuramoto's heart was set ablaze after witnessing the mesmerizing performance of Kazue Kudo, a virtuoso from her homeland. Fueled by a fiery determination, she embarked on a quest to master this ancient instrument, defying norms and pushing boundaries with every strum. 

Yet, it was her insatiable appetite for innovation that truly set her apart. Inspired by the rebellious spirit of rock-and-roll and soul, Kuramoto dared to reimagine the classics, infusing the traditional tunes of the koto with a contemporary twist. Thus, Hiroshima was born—a kaleidoscope of sound that captivated audiences and shattered expectations. 

With every chord, Kuramoto not only forged a path for herself but also became a beacon of empowerment for young Japanese American women, instilling in them a fierce sense of pride in their heritage. 

As Hiroshima's melodies echoed far beyond the confines of California, Kuramoto found herself on a whirlwind adventure, gracing stages across the nation and beyond. It was on one such electrifying night at Howard University that her music transcended boundaries, eliciting a thunderous ovation that reverberated through her soul—a testament to the universal language of her craft. 

From the silver screen to the stage, Kuramoto's brilliance knew no bounds, earning her accolades from the halls of Congress to the streets of Los Angeles. Yet, amidst the glitz and glamour, her heart remained grounded, her hands reaching out to nurture the next generation of musical trailblazers. 

Today, as the sun sets over the horizon, casting its golden glow upon the city, Kuramoto's melodies continue to dance through the air, weaving tales of triumph, resilience, and the timeless power of music to unite us all. I had the amazing opportunity to speak with the amazing and talented, June Kuramoto about her career in music. Here’s what she shared with me.  

Hello June. Hi there. 

I must express my utmost gratitude for your presence here today, as it is an absolute privilege to engage in a conversation with you about your remarkable and illustrious musical journey. Thank you sincerely for gracing us with your presence. It is truly an honor. Oh, no, it's my honor. Thank you.  

Thank you so much. So, how's your day going? It's going well.  There are negatives to old age but many pluses, so I can't complain. 

There you go. I'm just now starting to experience them, so I'll be joining you guys soon. Well, call me whenever you do, I'm an expert. (laughs) 

OK. I will. That's hilarious! (Laughs) I already like you! Awesome. Now, June, do you still reside in California? Yes. I'm in Alhambra, California.  

Oh, the Alhambra is such a beautiful place. I'm sure you are surrounded by so much natural splendor and serenity. Being in such a lovely environment, could you paint a picture of your typical day for me? I wish I could remember everything! (Laughs) But life is truly wonderful and busy. I prioritize spending time with my two lovely grandchildren as much as possible.  

I try to connect with my Koto every day, whether it's just talking to it or touching it.  I also try to practice at least once a week with my senior Koto group, where we go over our music, learn new pieces, play together, and socialize).   

We've discovered that music not only heals but also enhances our memory. Inspired by this, we encouraged others to join us and experience the joy of playing music. It's been a source of great enjoyment for all of us. As time flies, I realize there's still so much to do, but it's a journey I'm excited to continue. 

Absolutely! It's fantastic that you mentioned that because it truly is. Currently, I'm teaching myself how to play the bass, and just like you said, it's incredibly relaxing and even improves my memory. It's fascinating how playing instruments can have such a positive impact on our brains as we age. They say that engaging in activities like playing games or music helps to keep our minds sharp, preventing conditions like Alzheimer's. It's truly remarkable! Yes, and then it just makes you feel good, right? It's excellent therapy. 

Yes, it certainly is. It's excellent therapy. I want to talk more about the Koto, but before we do, can you tell me who you are in your own words? Who is June Kuramoto? I'm a mother, a grandmother, and a musician. But above all, I've always strived to be a good person first. My mother instilled that value in me, and I try my best to uphold it. It's not easy, but having family around helps keep me grounded. They remind me that, despite any recognition I may receive as a musician, I'm just their sister at the end of the day. It's a humbling experience and one that I cherish. So, that's me. 

That's amazing. You know, I truly believe it's crucial. In public settings, many artists feel the need to wear masks, not to cover their faces but rather to conceal their true internal identity. When you're traveling all around the globe, and people have purchased tickets, the show must go on. However, there are moments in life, even during tours, where you have to set aside personal issues and maintain the image everyone expects from you. Despite having talent, we are all human beings with our own struggles and challenges, just like everyone else. Yeah, it's amazing because sometimes I go to grocery stores and run into someone, and they ask, "You shop?" (laughs)  

Oh, June, that's hilarious! You have to eat! (Laughs) Yes, I know. And I'll tell them, "Yes, I have to eat." But you know what? It's true what people think about you. However, personally, I've always believed that the person should come before the music. Clearly, as you can see, I don't spend a ton of time on makeup and all that stuff because I've always believed in staying true to myself. I try not to act like a diva. However, when I say that, my girlfriends would say, "What?" Then they all give me this look and say, "Hold on a second, you have certain standards, you know?" When I teach, I do expect a lot. I expect respect and dedication. But at the same time, I believe in being genuine and true to who I am because, at the end of the day, I have to live with myself. And I know myself, the good and the bad. 

Indeed. As a woman, I believe that sometimes we are not given the credit we deserve. I rarely hear men being called Divas. However, I feel that women in the industry are sometimes unfairly labeled as Divas. Many times, it's a mislabeling because, as you mentioned, if you value hard work and have dedicated yourself to your career and dreams, you want to surround yourself with like-minded individuals. You want people willing to put in the effort and support your vision. Because any weak link can jeopardize the entire dream. Setting standards is crucial in any type of business, including entertainment. I always say that without boundaries, there are no limits. If you don't establish boundaries, how far can you go? If you don't demand respect, how much disrespect will you tolerate? So, I don't necessarily see many women as Divas. Some of your colleagues may not be willing to fully maximize their potential, put in the necessary effort, or arrive on time. When promoting dedication, commitment, and excellence, some may perceive it as being demanding or dissatisfied. However, it's about upholding high standards due to the hard work invested. Absolutely correct. I completely agree. It has definitely been a challenging road for women in this field, as they are often not treated fairly, kindly, or respectfully. However, it's important to stand firm and hold your ground. I've realized that staying true to yourself is key, and sometimes saying no is necessary. 

Yes, absolutely. I am a big advocate of quiet time. I love my reclusive space and consider myself quite a recluse. That's why I'm a journalist, I guess. But I want to ask you, in your quiet time, what do you find yourself doing? In my quiet time, I love to play music. What's great about the quiet time is that I love to play for myself. It's just me, and in the worst sense, I am my worst critic. But since it's just me, I get to do what I want to do and what I feel at that moment. The songs and whatever I play sort of shift to my mood and feelings. Those are the times when you discover what you can do with music. I find we need to do that more often, right? To find your voice, to find your style, and all those things. 

Absolutely. Do you have a particular song that when you play it, does something special to you? I usually begin my practice and warm up on the day of the performance with this particular song called "Tori No You Ni" (Flight of the Bird), composed by the late Tadao Sawai. When I occasionally perform it, I would explain to the audience that if I played correctly, you could hear the birds' flight—taking off, settling in the evening, chattering, or changing flight direction and soaring through the sky.  This composition always challenges me but at the same time calms me, and yet excites me to soar and find my inner space.    

I enjoy playing it by myself. It's something I taught myself. My girlfriend gave me the music; it wasn't taught by my teacher. This reinforces how reading music is like anything else. If you learn to read, you don't need anyone—you can do it on your own. That's why I tell my students that reading is important. It doesn't always help creativity, but if you want to learn a piece and you can read, it's like reading a manual. If you have the manual and can read it, you can put something together. 

This fills the gap for those who are playing by ear but might not know how to read music. They might think, "OK, I'm having a hard time," but the ability to read music allows them to always come back to it and discover more opportunities. 

I don't advocate sticking solely to reading; it's up to each individual to chart their own path with it. I never claim to be a fast or technically proficient musician. My focus is on finding my interpretation and feeling. I always encourage every musician and singer to write. Writing helps you find your own voice, and once you do, it becomes uniquely yours—no one can take that away from you. 

When you find your voice, you don't sound like anyone else. I believe writing is one of the crucial aspects of discovering that voice. So don't hesitate. Quiet time offers a wonderful chance to compose songs, hum, and connect with nature, which often inspires rhythms or melodies. This freedom and creativity from quiet time can inspire and motivate you to explore your surroundings for new sources of inspiration. 

I once had the beautiful experience of a bird gifting me a melody, bamboo clicking percussively, or trees rustling. 

These quiet moments are also my creative moments, where I'm open to the unexpected and find inspiration in unlikely places. Embracing this sense of curiosity and openness to new sources of creativity can be a powerful tool in your musical journey. 

I agree. You know June, I once heard Rochelle Farrell having a similar conversation about listening to the trains go by, mimicking the sounds, and how that helped her to replicate them. She would absorb the sounds around her, and yeah, that's how she's able to mimic them. That's right. Oh, she's great. I love her.  

And Pat Metheny, you know, when you listen to his music, he incorporates these train movements, and yeah, you can really feel it. 

Yeah, definitely. I would love to see a collaboration between Rochelle Farrell and Bobby McFerrin. Imagine the blend of their different sounds. And hey, we'll have to throw you in there too. You guys could create something truly amazing. Oh my gosh! That would be nice.  

Yes, it would, and hopefully, I will be able to see that collaboration one day. In the meantime, let's rewind a bit. We're going down memory lane, as Minnie Riperton would say. You were born in Japan and raised in Los Angeles. Can you tell me about your journey to America? What initially brought your parents here? Actually, my mother and four kids, aged two to seven, were sent to America by my father.  

My father was an American citizen who was born and raised here, but he went to Japan before the war broke out. My mother was a Japanese citizen, but my father realized that education in Japan might not lead to good opportunities here.   

He wanted us to be educated in America because he's American. So, my mother and us four kids came to America by ourselves. It was a tough journey, especially for my mother, who had to raise us on her own. I can't even imagine how hard it was for her. 

Yeah, it must have been incredibly difficult. It was. I was about 5 1/2 years old at the time, and I didn't fully understand what it meant to move to another country. We just got on a boat and came here.  

I cried, wanting to go back to Japan, but we couldn't. Over the years, I accepted our new life here and adapted. During that time, my mother was fortunate to be introduced to a social welfare organization for the Japanese, which helped us assimilate into American life. They taught her things like how to make spaghetti and tacos since tofu and other Japanese foods we were accustomed to eating were not readily available here. 

That's really interesting. It must have been quite a cultural adjustment. Well, It was definitely a relief for my mother to meet other families in similar situations. Around the same time, my "Koto" teacher came to one of the events they hosted. I was about six or seven years old, and I saw her play. I remember telling my mother, "That's what I want to do." 

Wow, so you knew from a young age. Yes, I instantly fell in love with the instrument. My mother approached her and asked if she taught Koto, and luckily, she agreed to teach at our house in exchange for lessons for me and my two sisters. 

That's incredible! Yeah, it really was a blessing. While my two sisters eventually stopped taking lessons, I continued because I was so passionate about it. I also felt that playing the Koto was my connection to Japan, which helped soothe my longing to go back.  

I studied with my Koto teacher, Kazue Kudo, for over 40 years, but around the 6th grade and into junior high school, my friends started teasing me for playing what they called "grandma's music."   

Oh no, June!  Yes, because at that time, everyone was getting into  Doo-Wop and R&B. That kind of stuff was popular back then. I grew up in the Adams and La Brea area, which was very multi-ethnic. 

Oh wow! What high school did you attend? I went to Dorsey High.  

That's awesome! Yes, it was a blessing. I couldn't have had it any better. I had exposure to so many cultures, which was a good thing to experience and observe. I learned a lot growing up in my community.  

Yes, absolutely. Yes, it was great. I loved Marvin Gaye, Stevie Wonder, Smokey Robinson, and the Miracles. I wanted to play their music on the Koto because my friends made fun of me.  

I thought if I could put it in a contemporary setting, maybe they might see the beauty of the sound of this instrument. That was what I was thinking. Then, I wouldn't have to hide that I loved this instrument. You know? 

Absolutely! I remember taking a transistor radio to my koto lesson, and I asked my koto teacher, "Can you teach me this song on the koto?" It was "Duke of Earl." It was on the radio at that time. But she told me, "No, June-chan (the word "Chan" is used to reference a child"), you can't do that with this instrument." I never gave up, but I never learned to play "Duke of Earl" either.   

Well, now you can play it during your special quiet time. Yes. (laughs) But eventually, I learned to write songs. I didn't learn to write in the traditional sense, but I gained the confidence to write my own songs.  

Actually, one of the keyboardists from Hiroshima, Derek Nakamoto, encouraged and coached me to write songs. 

 Since then, we have collaborated on many songs. 

That's another blessing, right? Definitely, and it is a blessing. 

I know you've always loved playing the "Koto," but have you played any other instruments or learned to play anything else, or have you mainly focused on the Koto? When we get degrees from Koto, you're supposed to play the shamisen, which is a three-string lute-like instrument.   

I did learn it a little bit, just enough to get my professional status in the Koto world. But I loved the piano. We couldn't afford a piano, so I did try the violin. I couldn't stand the squeaky noise I made on the violin!   

Neither could my family, so that went out the window.   

But I love the fact that with the violin, you caress it. It's intimate. I feel the same way about the Koto. When I write, I use my pizzicato finger and not the pick because I like to have direct contact with the string.    

Wow, that's beautiful! Yes, and that's how I've come to appreciate the Koto. I've always respected and loved the Koto. All my students would tell you that I'm the strictest or that I'm a mean teacher because I demand respect for the Koto and that it should be taken care of. You also need to become the 14th Bridge when you sit down to play. There are 13 strings on the Koto with thirteen bridges, but you become the 14th Bridge when you sit down to play. 

I believe that our strictest teachers were actually a blessing in disguise. They loved us the most and wanted to see the most out of us. Sometimes, when someone is strict with love, it shows that they really care about you. I'm not talking about abusive behavior, but those who are strict out of love. Right. And it's so important. Great doctors are great musicians. It's the same discipline.  

Tell me about your experience breaking into the LA music scene with your instrument. How did you manage to stand out? It was blood, sweat, and tears, and I've had my share. I wanted the Koto to be heard because I felt the Koto is one of the most beautiful sounding instruments.   

Absolutely. It has nothing to do with me. The instrument is so beautiful because of its long resonance and the original silk strings, which were warm and resonant. It just feels good, you know? So, I wanted people to hear it, but I never thought I would be the person. I figured someone else would do it. I thought someone else must know how. I'm just this little ghetto girl, you know? But I did approach other musicians.  

Most Japanese American bands then were dance bands and played cover tunes. I figured it was all set in stone, the parts, the songs. Thankfully, in the late '60s and early '70s, there was a movement with African Americans, Chicanos, and others searching for identity. The black community had their jazz, and they owned it. The Chicanos had Santana and Malo and other great bands. 

So, we were also looking for identity. Where do we fit in society? I didn't fit in here, especially since I came from Japan. But I'm no longer considered Japanese in the eyes of people in Japan. 

So, many of us in the Japanese American community were searching for our identity. That was the quest. There was already an Asian group called Hiroshima, led by my ex, Dan. The band had bass, drums, trumpet, horns, percussion, keyboard, singers—quite a variety.  

I approached him because I thought they might be open to new ideas. It was the hippie era—an exciting time!   

We were blessed to be part of an era with such creative music. We had Jimi Hendrix, The Beatles, and more. We could hitchhike safely and travel all over. It was great. We met people and shared experiences. Those were beautiful times.   

As I said earlier, I approached Dan and asked him if the band wanted to jam with me. He said, "Sure." I told him that I didn't know anything about Western music, but this was the instrument I played. It took 80% effort from them and 20% from me to make it work, and vice versa. We both had to learn and adapt since I had nobody to copy.     

But, during my journey, I was fortunate to meet Dorothy Ashby, a beautiful soul. She played the Koto and was an excellent harpist and jazz musician in her time, though she didn't get the recognition she deserved. She was on the scene during the 50s, 60s, and 70s.  

I also met the legendary jazz saxophonist Pharoah Sanders. He had a Koto when I saw him at the Lighthouse. Though it wasn't traditionally tuned, I was excited to see and hear his approach. There's no right or wrong way to play an instrument because that's how music evolves.   

Just like people, we shouldn't be boxed in. Meeting and learning from such creative players was inspiring. They helped me realize I'm not alone. There are always people before you. We are never the first, and we always stand on someone's shoulders. We are not alone, and we did not come here alone. 

Yes, that is so beautiful, June. When you joined the band, were they already signed to a major label, or did that come later? No, that came after. 

June, can you tell me about that experience? I know you guys were on four different labels. Yes, it was very hard.  

At first, we thought we should try to get a deal, but every other band also was trying. Wayne Henderson (of the Jazz Crusaders) was the main person who set up the showcase. 

They don't do that anymore, where you rent a hall to play and invite record companies to come and hear. 

Yeah, I know what you're talking about. They don't do that anymore. No, they don't.  

 It was amazing, and it's too bad. They should, but they don't do a lot of things anymore.  

I know, they should. Growing up in the 70s, I believe every generation is exposed to two generations prior. You're going to be exposed to your parents' music and their parents' music because nine times out of ten, they're going to play the music they like and the music they heard from their parents. 

When I was a child, I was exposed to the music of Ella Fitzgerald and Billie Holiday. My dad was a fan of Frank Sinatra, so I also learned about big bands and everything from soul to funk music. Back then, we had meaningful music, which seems to be lacking nowadays. You hear a lot of talented people, but there's no one to shape them. And a lot of it is more about production, too. 

Yes, absolutely. I feel bad that during our generation, music and sports were taken out of public schools. That was so wrong. We knew things were going to collapse, including the emotional and mental health and well-being of the kids. 

Yes. Music has saved me. Having an instrument saved me, and it still does. Can you imagine what our kids and grandkids are going through with what's going on in this world? It's moving so fast. We need music more than ever. 

Yes, absolutely, and your music has positively affected the entire globe. Hiroshima has gone on to sell over 4 million albums worldwide. Congratulations again!  

Oh, thank you. 

The pleasure is mine. The band's debut album sold over 100,000 copies in just three months. Your second album, "Winds of Change," earned a Grammy nomination, and the band has also achieved two gold albums. The "Legacy" album was nominated for Best Pop Instrumental Album. Those are all major achievements. Did you ever think that this little ghetto girl as you describe yourself who came to America would have such a massive and respected career? And it still feels like a dream. I mean, I have everyday life to deal with, but it's been an incredible journey. I’ve traveled all over the world with the band. 

What's more important than the gold records and (all) is how we touched people's lives. When people come up to us and say, "You don't know what you've done for me during the hardest time of my life," and share their stories, that makes it all worth it. It's wonderful, and I'm so grateful.   

Yeah, I always say, what is a life lived if you can't live it to help somebody? I believe that God gives us gifts, and we are responsible for those gifts. We should use them to add something to this world. The gift God gives us is meant to be shared, to help others. The beauty is in giving, not just receiving. Many artists will receive honors and awards, including Grammys, but the greatest reward is impacting someone's life. 

When you pour into someone's life and know that your life mattered—not because you obtained material wealth, but because you made a difference in someone's life—that's what counts. Knowing that someone can say, "This beautiful woman named June played this beautiful instrument, and it touched me, helped me through a hard time," that's what matters. Right. That's why I live in a very tiny house, but it's not about the house, my bank account, or the car I drive. Despite the hardships I still face today, as we all do, I feel like the richest person in the world. 

Absolutely. And I am so blessed. 

June, you are an absolute treasure and a source of joy for all those blessed enough to cross paths with you. Meeting Miles Davis is an extraordinary experience that eludes most individuals. Although I never had the opportunity to meet Miles personally, I had the privilege of interviewing Louis Gossett Jr. before his passing. During our conversation, he regaled me with captivating tales of his time spent alongside Miles, recounting their shared adventures and even sharing amusing anecdotes about Cicely Tyson. Mr. Gossett was truly a remarkable individual. I am genuinely intrigued to hear about your own encounter with both him and the legendary Miles Davis. Uh-huh. Oh, yes. You know, I had the pleasure of meeting Lou Gossett. Isn't he wonderful? He wanted to get together with the band to do something, a play or something. But anyway, he's just a wonderful person. Miles Davis, on the other hand, gave me utter fear. 

He was pretty intimidating. (laughs) You know, he was. I'm sure I can say 90% of people feel the same way.  

I understand, June. I would have been afraid of him, too. (Laughs) He was so incredibly talented, but he didn't seem to smile a lot, and he just looked like a no-nonsense person to me. Yes. But what an honor to open for him because you knew he had a say in it. He's not going to let just anyone open for him. But on the other hand, I'm saying to myself, "Ay yi yi yi, you got to come with it, June, because he may or may not be listening, but he might be listening." (laughs) 

That’s funny! I never spoke with him because I'm not that social of a person, but the guys in the band hung out with the cats in his band. I don't hang out with the band or the cats in his band. I have a kid, so I spend most of my time in my room. But anyway, I would hear great stories, and I learned so much from the cats in the band. I'll share some because when I tell people, they go, "I never thought about that."  

This is what Miles would say—now, I can't guarantee it's 100% accurate—but like someone said, "Oh man, you know, everybody plays so fast, I don't know what to do," and he goes, "When they play fast, you go slow." 

That is hilarious, June! But I love it, and I think I will keep that one in my life box. Great words of wisdom coming from a music genius. Yes, it's so simple, but oh my gosh, that's brilliant. Yes. He kicked against the grain. Yeah. And then Miles said, "If they go slow, you go fast." And it makes so much sense. You don't try to keep up; you just go there. So it was things like that.  

I was also told that when the keyboard player would solo, Miles said, "Don't use your left hand as a comp when you're soloing." When you're "comping," you're building your solo with the comp and not the melody that's building your solo. Then I go, "Oh," because he wanted you to build on the melody to build the solo rather than the comp. So you go, "Wow," you know, things like that.  

I also remember when we got off the stage after we performed, Miles and his entourage would come down.  We're standing on the side on the side of the stage to let them pass (I was holding my breath with my head down).  As he was passing us, he said, "Hey, Cats". We all fell to the floor, relieved he acknowledged us!!  Dan got his autograph on the book Miles wrote!       

That's so funny! I love it, June! Everyone would just shake in their boots, I'm sure. (Laughs) Yes, but the sad thing is that nobody had cell phones then, so we couldn't take pictures. So, we didn't have anything tangible to commemorate those special moments. We don't have anything but memories, which is the best part, I guess. But I loved that he talked to us, and we all giggled like little teeny- boppers.   

Oh, June! I loved those stories you just shared with me. Thank you so much! Your career has been and still is amazing! In fact, you have been so blessed by God that you were recently selected as one of the recipients of the 2024 National Endowment for the Arts National Heritage Fellows Awards. Can you tell me about that, June? How exciting! It's still, again, another dream I feel I'm in.  

I'm still numb, and I think I will be for a while. But at the same time, my teeth are chattering, and I'm biting my nails because I'm going, "No, this can't be!"  I've played Koto almost all my life, and I've taught Koto since I was about 20 years old.     

I've been a teacher and a performer for a long time. So, this is what I do. I don't find anything exceptional about it. It's just what I do. In my opinion, teachers, nurses, and doctors should get national recognition.   

When I got my degree from Miyagi School of Koto, Tokyo, Japan, I said to my teacher, "I feel like I'm not ready," and she said, “June-Chan, none of us are ever ready, but you just have to live up to it now." So now I have to live up to the Heritage Fellowship. I thought I was retired, but now I have more work to do.  

Absolutely. I'm learning so many wonderful things from you that I can apply in my own life. Thank you for sharing these amazing stories about your incredible journey. So, can you tell me about "Cruisin’ J-Town” the documentary film? Oh yes. This documentary was added to the 2023 Library of Congress National Film Registry!  It has quite a bit of history about us, the band, and about Daniel and Luis Valdez and El Teatro Campesino in Watsonville. We had the great honor of working together with this great family and this documentary was able to capture the love and interactions.   

Who would you or would you have liked to play with? One of my dreams was to play “Thrill Is Gone” with B.B. King because he had so much soul, but sadly we lost him, and I didn't get to do that. 

B.B. King was one of a kind indeed. I had the opportunity to see him live. It was a great show. I'm glad I witnessed him perform live. Now, June, is there any chance we'll get any new music from you, or are you working on anything in the future? Well, not right now. In light of everything that happened with COVID-19 in 2020 and 2021, and after breaking my back, I had a lot of time to reflect.  

I was down for a few months, and it made me realize how precious time is. Dan and the band have been so supportive, caring, teaching, and guiding me with much patience to where I am now.  I am forever grateful to them and my family and friends. I especially owe my daughter, who grew up with both parents being in the band and away on the road or in the studio.  It's my small way of trying to make up for being an absent mother.  I also have two grandchildren, and knowing my time might be limited, I want to spend more time with them. This led me to retire from touring with the band to focus on family while I still can.     

I remember my grandmother, who was in a wheelchair and couldn't do much with us. I don't want my grandchildren to have similar memories of me. I spent so much time on the road when my daughter was growing up, and I missed a lot. Now, I want to be present for my grandchildren. However, they are growing up fast, and they often prefer to be with their friends rather than at grandma's house.   

Lately, I've felt a nudge to return to music. There are a few songs I want to write, mostly about children and nature.  I believe it's more important now than ever to raise awareness about environmental issues and pay tribute to nature and the world we leave our children.   

I always tell people to live their bucket list every day. Don't wait—do it now. Life is unpredictable, and it's important to seize the moment. Hopefully, you can come to the UK. If I do, I'd love to see you there. You know, I remember playing in Hampton a couple of years ago. A couple watched our soundcheck and the show. Later, I found out the man was playing in one of the bands. After the show, he told me they had been waiting for us to come to the UK or Europe for 40 years. We never had the offers, but maybe it's time to go on my own.   

Exciting! I sure hope you can come out one day. Now, before I pose my ultimate question, let me delve into one of the primary motivations behind launching this magazine. It's all about establishing a platform for independent artists to exhibit their artistry and glean wisdom from those who have paved the way before them. The objective is to offer them the chance to immerse themselves in the stories of those who have already attained a certain level of success, enabling them to learn from their experiences and carve their own unique path.   

Just as our grandparents passed down their wisdom to our parents, we too can learn from those who have blazed a trail for us. While we navigate through life, we're bound to stumble upon mistakes, but by absorbing and applying the wisdom shared by others, we can hopefully minimize those missteps. That's precisely why I envisioned this magazine – to provide industry veterans like yourself an opportunity to share your tales and ignite the aspirations of budding artists in various domains such as acting, film, music, and singing.   

By immersing themselves in your narratives, they can gain invaluable insights from your journey and hopefully discover guidance as they embark on their own unique paths. So, please offer some final words of wisdom for those grappling with finding their way. It would be immensely appreciated. One word of wisdom to up-and-coming artists is to always be true to yourself because you have to live with yourself. Find your true self, and remember, it's never too late to learn. My teacher once told me, "If you think you're good, you're not." She meant that if you think you've reached your peak, you won't strive to get better. So, keep pushing yourself to improve.  

I attended only a few record company meetings during our record deals. Most of it was handled by Dan and our manager.  I didn't like the legalities, as contracts seemed to kill the essence of everything. The legalities and business would stagnate my creativity.  Music should be free for everyone. In a perfect world, we should all be able to just exist.  

In a few of the meetings I attended, the record representative often pushed that "s*x sells."  Looking back at pictures of myself from thirty years ago, I think, "I didn't look as bad as I thought I did!" (Laughs) But those kinds of meetings instilled a stronger commitment in me to devote myself to my creative energy and my true self and expression rather than commercial success.   

But ultimately, what sustains a career in this industry is not superficial appeal but authentic creativity. So, keep that in mind. Enhance your beauty because you deserve to feel good, but always remember that it's your unique creativity and inner qualities that will truly resonate with your audience and ensure the longevity of your career. 

June, thank you for bringing that up. I appreciate the fantastic advice for up-and-coming artists. When it comes to our younger artists, especially young female artists, I encourage them to let their talent be what sells. I say this because it bothers me to see so many young, talented women allowing themselves to be slaves to this industry and to be over-sexualized.  

Growing up, we loved songs because of the music, not because of the artist's image. When we heard artists like Smokey Robinson and Marvin Gaye on the radio, it inspired us to rush to the record store for the music, not the image.   

My message to the younger generation, particularly women, is to let their voice and talent be the driving force behind their music. Don't allow your body to be the selling point. We, as women, need to stand up and say no. Let our talent speak. In the past, women dressed differently, with full clothing, and it was about the art of music, singing, and musicianship. It was creative people expressing themselves uniquely. This is a powerful reminder that our talent and artistry should be the focus, not our appearance.  

Ms. June, I wanted to express my deepest gratitude for the incredible time we spent together. It has been an absolute pleasure and a truly enriching experience. Not only have I gained valuable knowledge from you, but I have also been inspired by your remarkable journey. Having you here with us is a true honor, and I am grateful for the opportunity to share your life and precious time. I understand the value of time, and I cannot thank you enough for generously sharing it with me and our readers.    

My heartfelt prayer is that God continues to shower His blessings upon the incredible work you do. May He guide your hands and lead you towards fulfilling His divine purpose. Furthermore, I pray that the Lord blesses you, your beautiful family, and your travels abundantly. May He surround you with supportive and loving individuals who genuinely care for your well-being. I want you to know that I am immensely proud of all your accomplishments.   

Your achievements are a testament to your dedication and perseverance. Above all, I am captivated by your beautiful spirit, which shines through in everything you do. Thank you once again for gracing us with your presence and for being an inspiration to us all. Gina, thank you so much! Your heart is just incredible. I was reading your interview with “Ola Onabule.” Gosh, I love him now. I didn't know him until you introduced him to me. I read what you said, and it showed me your heart. So, I love you too. 

June! God bless you! Thank you! Thank you, Gina. 

You're welcome. Take care. 

End of Interview

Visit June Kuramoto's website: Click Here