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• • Yoo Han-jin Yoo Young-jin singles chronology ' (2012) ' Catch Me' (2012) ' (2012) ' (2012) ' Catch Me' (2012) ' (2012) Music video on on ' Catch Me' (stylized as ' Catch Me -If you wanna-' in Japan) is a song by South Korean pop, also known as Tohoshinki in Japan. Written by and Yoo Han-jin, two versions of 'Catch Me' exist: the original version, which served as the for the duo's sixth Korean studio album (2012), and a version, which was released as the fourth and last single for their sixth Japanese studio album, (2013). The Korean version of 'Catch Me' was made available for download on September 24, 2012, the same date as the full album's digital release.
The Japanese version of 'Catch Me' was released by in Japan as TVXQ's 36th Japanese on January 16, 2013. A mix of and, 'Catch Me' was met with acclaim, with critics praising the back track's orchestral riffs and the duo's vocal harmony.
The song was mildly successful in South Korea, peaking at number sixteen on the and number twenty-five on the. In Japan, 'Catch Me' debuted at number one on the and peaked atop the. Selling over 137,000 copies on its first week of release, 'Catch Me' was certified gold by the (RIAJ) for shipments of over 100,000. Contents • • • • • • • • • • • • • Background and release [ ] Produced by and co-written by Yoo and Yoo Han-jin, 'Catch Me' is an song with melodies, sounds, beats, and powerful vocal belting.
The lyrics are about a self-respected man who says good-bye to his lover but actually wants to hold onto her. The song was recorded in mid-2012 at the S.M. Blue Ocean Studios in Seoul, South Korea. The Korean version of 'Catch Me' was announced on September 18, 2012, and a teaser clip of the song's accompanying music video was released on their official YouTube channel on September 21, 2012. The full music video was unveiled on September 24, the same day as the album's digital release. 'I Know', the pop ballad track from the 'Catch Me' Japanese single, is written by T-SK, Tesung Kim and Andrew Choi. First released as a promotional single, the music video for 'I Know' premiered on December 6, 2012.
The short version of the 'Catch Me' Japanese music video was released on January 6, 2014, and the full Japanese single was released on January 16, 2013. The song also served as the theme song for the drama Saki. Commercial and critical reception [ ] 'Catch Me' achieved moderate success in its native South Korea. It debuted at number sixteen on the for the week ending September 29, 2012. With over 161,666 downloads in its first week, it peaked to number ten on the Gaon Download chart and thirty-four on the Streaming chart.
The song attained a peak at number twenty-five on the. The Japanese released was more well-received, debuting at number-one on, selling 84,666 copies. It maintained its number one position the following day and sold an additional 25,349 copies, bringing its total sales to 110,015.
The number-one single of the week, 'Catch Me' finished off as the fourth best-selling single of January 2013 in Japan. The single also peaked atop the, number fifteen on the Japan Adult Contemporary Airplay and number thirty-two on the Japan Hot Top Airplay. Critics described the song as 'nostalgic', as the duo's vocal high-note belting performances are highly evocative of their older music. The bass line loop in the song, though met with mixed reviews initially, was later praised for being a good 'fit' for the song. Performances [ ] Music video and choreography [ ] The beat was two places at once; on one end it was this really hard-hitting heavy dubstep, and then it would just flip on a dime into this light piano-tingled, floating verse and chorus. So I was like constantly at war with myself, trying to figure out how I was going to make this song come to life conceptually. —Tony Testa, TVXQ Catch Me — Production Note The music video for 'Catch Me' was directed by Jang Jae-huk.
The dance choreography, noted for its intricacy and artistic imagery, is created by Tony Testa, who said the dance was inspired by the characters in the superhero film, specifically the. In the choreography, Testa utilized the back-up dancers in a way that could show members and doing 'superhuman' moves, such as extended arms and waves. Testa remarked that the back-up dancers in the piece were just 'an emotion that represented anger'. Testa came up with four different versions for the choreography, but all four versions were ultimately put into one performance. In an interview with South Korea's Asia Economy in October 2012, Yunho discussed about the choreography: 'The final choreography has a story like a musical and features what we call a 'Mirror dance' and 'Hulk dance.' While Changmin and I face each other and move in the same direction as if I'm facing a mirror, our back-up dancers connect our emotions through their separate moves.' Filming for the music video took place in August 2012 at the Ilsan Art House.
On September 20, 2012, a teaser for the music video was released on their official YouTube channel. It opened with a shot of a, and showed solo shots of the duo. Yunho says 'catch me if you wanna' and its electronic music picks up, inter cuts with shots of TVXQ dancing in water and mirrored sets. The full music video premiered on September 24, 2012. The dance choreography received critical acclaim. The dance was complimented for being innovative, epic and iconic.
The video and dance were described to be 'highly stylized' and progressive, affirming that the duo are trend-setters for K-pop. A dance practice video for 'Catch Me' was released on September 28, which also received praises from critics and netizens.
Live performances [ ] Critics called 'Catch Me' a spectacle with flashing lights. Their live performances of 'Catch Me' were received with widespread critical acclaim. Viewers were impressed with TVXQ's vocal endurance, as they have managed to perform raw live performances despite having to do such taxing choreography. TVXQ debuted their first performance of 'Catch Me' on in South Korea on October 5, 2012. They performed the song at their and the Japanese version at their Japan-wide throughout 2013. Formats and track listings [ ].
• Ho, Stewart (18 September 2012).. Retrieved 22 October 2012. January 15, 2013.
Archived from on February 19, 2013. Retrieved January 18, 2012.
Retrieved 2014-01-02. Billboard Japan (in Japanese). Retrieved 2014-01-02. (in Japanese). Retrieved 2014-01-02.
• Yun, Seong Yeol (19 September 2012).. Retrieved 30 October 2012. • enews24 (November 30, 2012).. Retrieved January 18, 2013. Gaon Single Charts (in Korean).
Korea Music Content Industry Association. Retrieved 18 January 2013. Gaon Single Charts (in Korean). Korea Music Content Industry Association. Retrieved 18 January 2013. Gaon Single Charts (in Korean). Korea Music Content Industry Association.
Retrieved 18 January 2013. • ^ (in Korean). October 3, 2012.
Retrieved 2013-01-18. • ^ (in Japanese)..
January 15, 2013. Retrieved January 18, 2013. • (in Japanese).. January 16, 2013. Retrieved January 18, 2013.
Billboard Japan (in Japanese). Retrieved 2014-01-02. Billboard Japan (in Japanese). Retrieved 2014-01-02.
Retrieved 2014-01-02. Pop Reviews Now. Retrieved 2014-01-02. • ^ Catch Me – Production Note (released December 27, 2013) •. Asia Economy. Retrieved 2014-01-02. • Ahn, Yi-Seul (21 September 2012)..
Retrieved 30 October 2012. Archived from on 2014-01-02. Retrieved 2014-01-02. Retrieved 2014-01-02. Nate (in Korean). Retrieved 2014-01-02.
ITunes Store (US). September 24, 2012. Retrieved 2014-01-02. • (in Japanese). ITunes Store (Japan).
January 16, 2013. Retrieved 2014-01-02. • ^ (in Japanese). Retrieved 2014-05-31. • (in Japanese).
Retrieved 2014-06-08. • (in Japanese).. External links [ ] • on • on • on.
• • • • K-pop (abbreviation of Korean popular music or Korean pop;: 케이팝) is a originating in that is characterized by a wide variety of elements. Although it includes all genres of 'popular music' within South Korea, the term is often used in a narrower sense to describe a modern form of South Korean pop music drawing inspiration on a range of styles and genres incorporated from the rest of the world such as,,,,,,,,,,, and on top of its uniquely roots. The more modern form of the genre emerged with one of the earliest K-pop groups,, forming in 1992.
Their experimentation with different styles and genres of music and integration of foreign musical elements helped reshape and modernize South Korea's contemporary music scene. Modern began with the boy band in 1996, as K-pop grew into a that amassed enormous fandoms of teenagers and young adults. After a slump in early K-pop, and started a new generation of K-pop idols that broke the music genre into the neighboring Japanese market and continue to popularize K-pop internationally today. With the advent of online and, the current global spread of K-pop and Korean entertainment known as the is seen not only in East and Southeast Asia, but also Latin America, India, North Africa, the Middle East, and the Western world, gaining a widespread global audience. Contents • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Characteristics [ ] Audiovisual content [ ] Although K-pop generally refers to South Korean popular music, some consider it to be an all-encompassing genre exhibiting a wide spectrum of musical and visual elements.
The French defines K-pop as a 'fusion of synthesized music, sharp dance routines and fashionable, colorful outfits.' Songs typically consist of one or a mixture of,,, and genres.
Systematic training of artists [ ]. Search volume for K-pop since 2008 according to K-pop is a cultural product that features “values, identity and meanings that go beyond their strictly commercial value.” It is characterized by a mixture of Western sounds with an Asian aspect of performance. It has been remarked that there is a 'vision of modernization' inherent in Korean pop culture.
For some, the transnational values of K-pop are responsible for its success. A commentator at the has said that 'contemporary Korean pop culture is built on [.] transnational flows [.] taking place across, beyond, and outside national and institutional boundaries.' Some examples of the transnational values inherent in K-pop that may appeal to those from different ethnic, national, and religious backgrounds include a dedication to high-quality output and presentation of idols, as well as their work ethic and polite social demeanour, made possible by the training period. Marketing [ ] Many agencies have presented new idol groups to an audience through a 'debut showcase', which consists of online marketing and television broadcast promotions as opposed to radio. Groups are given a name and a 'concept', along with a marketing hook. Sometimes sub-units or sub-groups are formed among existing members. An example subgroup is which consists of members Kyuhyun, Ryeowook, and Yesung, and, which became one of the best-selling K-pop subgroups in China.
Online marketing includes music videos posted to YouTube in order to reach a worldwide audience. Prior to the actual video, the group releases teaser photos and trailers. Promotional cycles of subsequent singles are called comebacks even when the musician or group in question did not go on hiatus. Use of English phrases [ ] Modern K-pop is marked by its use of English phrases. Jin Dal Yong of Popular Music and Society wrote that the usage may be influenced by 'Korean-Americans and/or Koreans who studied in the U.S. [who] take full advantage of their English fluency and cultural resources that are not found commonly among those who were raised and educated in Korea.'
In 1995, the percentage of song titles using English in the top 50 charts was 8%. This fluctuated between 30% in 2000, 18% in 2005, and 44% in 2010. Similarly, increasing numbers of K-pop bands use English names rather than Korean ones. This allows songs and artists to be marketed to a wider audience around the world. An example of a Korean song with a large proportion of English lyrics is ’s ',' which was released at the same time in both Korea and Japan to much success.
Increasingly, foreign songwriters and producers are employed to work on songs for K-pop idols, such as and Sean Garrett. Musicians, including rappers such as,,, and, have also featured on K-pop songs. However, the use of English has not guaranteed the popularity of K-pop in the North American market. For some commentators, the reason for this is because the genre can be seen as a distilled version of Western music, making it difficult for K-pop to find acceptance in these markets.
Furthermore, Western audiences tend to place emphasis on authenticity and individual expression in music, which the idol system can be seen as suppressing. Choreography [ ] Lead singles are conventionally accompanied by, which often includes a key dance move (known as a 'point' dance move) that matches the characteristics or lyrics of the song. 's ' and ' ' are examples of songs with notable 'point' choreography. More recently, well known international choreographers, such as, and, have worked with K-pop artists, such as,,, and. Some fans participate in cover dance groups and upload their dance covers online in, for example, Vietnam. The has attributed the rapid surge in cultural exports since 1997 to the increased worldwide popularity of K-pop. Government support [ ] The has acknowledged benefits to the country's export sector as a result of the (it was estimated in 2011 that a US$100 increase in the export of cultural products resulted in a US$412 increase in exports of other consumer goods including food, clothes, cosmetics and IT products ) and thus have subsidised certain endeavours.
Government initiatives to expand the popularity of K-pop are mostly undertaken by the, which is responsible for the worldwide establishment of. South Korean embassies and consulates have also organized K-pop concerts outside the country, and the regularly invites overseas to attend the annual in South Korea. History [ ] Origins of Korean popular music [ ]. A 1938 trot song by Kim Song Kyu and Park Yeong Ho. Sung by Park Hyang Rim. Problems playing this file? The history of Korean popular music can be traced back to 1885 when an American missionary,, began teaching American and British folk songs at a school.
These songs were called changga in Korean, and they were typically based on a popular Western melody sung with Korean lyrics. For example, the song 'Oh My Darling, Clementine' became known as 'Simcheongga.' During the (1910–1945) the popularity of changga songs rose as Koreans expressed their feelings against Japanese oppression through music. One of the most popular songs was 'Huimangga' (희망가, The Song of Hope). The Japanese confiscated the existing changga collections and published lyrics books of their own.
[ ] The first known Korean pop album was 'Yi Pungjin Sewol' (This Tumultuous Time), by Park Chae-seon and Lee Ryu-saek in 1925, which contained popular songs translated from Japanese. The first pop song written by a Korean composer is thought to be 'Nakhwayusu' (낙화유수, Fallen Blossoms on Running Water) sung by Lee Jeong-suk in 1929. In the mid-1920s, Japanese composer mixed traditional Korean music with Gospel music that American Evangelists introduced in the 1870s. This type of music became known as in Japan, and later in Korea as (: '트로트'). 1940s–1960s: Arrival of Western culture [ ] After the was partitioned into North and South following its liberation in 1945 from, was introduced into South Korea on a small scale, with a few Western-styled bars and clubs playing Western music. After the (1950–53) troops remained in South Korea for protection. With the continued presence of the U.S.
Military during this time, American and world culture spread in South Korea and Western music gradually became more accepted. Entertaining American soldiers in Korea in 1954 The made it possible for several prominent figures of American entertainment, like and to visit the soldiers stationed in Korea. These visits prompted attention from the Korean public. In 1957 the American Forces Korea Network radio started its broadcast, spreading the popularity of Western music. American music started influencing Korean music, as was gradually replaced by and popular songs started to be modeled after American ones.
In the 1960s, the development of and improvements in recording technology led to the pursuit of diverse voice tones. Many singers sang for the American troops, usually in dedicated clubs, the number of which rose to 264. They performed various genres like country music, blues, jazz and rock & roll. The started blooming and popular music followed the trend, spread by the first commercial radio stations. Also began to develop and Korean musicians began performing to wider audiences. When reached the shores of Korea the first local rock bands appeared, the first of which is said to be Add4, a band founded in 1962.
The first talent contest for rock bands in Seoul was organized in 1968. Besides rock and pop, trot songs remained popular. Some Korean singers gained international popularity., Yoon Bok-hee and were the first singers to debut in such countries as Vietnam and United States. The Kim Sisters became the first Korean group to release an album in the United States, performing in and appearing several times on 's TV show. Han Myeong Suk's 1961 song 'The Boy in The Yellow Shirt' was covered by French singer and was also popular in Japan. 1970s: Hippie and folk influences [ ] At the end of the 1960s Korean pop music underwent another transformation.
More and more musicians were university students and graduates who were heavily influenced by American culture and lifestyle (including the movement) and made lighthearted music unlike their predecessors, who were influenced by war and Japanese oppression. Project Igi 7 Game Free Download Full Version For Pc here. The younger generation opposed the as much as American hippies did, which resulted in the Korean government banning songs with more liberal lyrics. In spite of this, folk-influenced pop remained popular among the youth, and local television channel organised a music contest for university students in 1977.
This was the foundation of several modern music festivals. One of the leading figures of the era was, who was raised in the United States and influenced by, and.
Han's song 'Mul jom juso' (물 좀 주소, Give Me Water) became iconic among young people in Korea. His daring performances and unique singing style often shocked the public and later he was banned from performing in Korea. Han moved to and pursued his musical career there, only returning to his home country in the 1990s.
Other notable singers of the period include, Young Nam-cho and Hee Eun-yang. In the 1970s, also started to become popular. 1980s: The era of ballads [ ] The 1980s saw the rise of singers after Lee Gwang-jo's 1985 album 'You’re Too Far Away to Get Close to' (가까이 하기엔 너무 먼 당신, Gakkai Hagien Neomu Meon Dangsin) sold more than 300,000 copies. Other popular ballad singers included (이문세) and Byun Jin-seob (변진섭), nicknamed the 'Prince of Ballads'. One of the most sought-after ballad composers of the era was Lee Young-hoon (이영훈), whose songs were compiled into a modern musical in 2011 titled Gwanghwamun Yeonga (광화문 연가, Gwanghwamun's Song). The Asia Music Forum was launched in 1980, with representatives from five different Asian countries competing in the event. Korean singer won first place and went on to have a successful career, performing in Hong Kong and Japan.
His first album Chang bakkui yeoja (창 밖의 여자, Woman outside the window) was a hit and he became the first Korean singer to take to the stage at in New York. Cho's musical repertoire included rock, dance, trot and folk pop. 1990s: Development of modern K-pop [ ]. One of the popular hip hop trios of the 1990s In the 1990s, Korean pop musicians incorporated partially and mostly styles such as,,, and in their music. In 1992 the emergence of marked a revolutionary moment in the history of K-pop.
The trio debuted on 's talent show with their song 'Nan Arayo' (난 알아요, I Know) and got the lowest rating from the jury; however, the song and album of the same name became so successful that it paved the way for other songs of the same format. The song's success was attributed to its -inspired beats and memorable chorus, as well as innovative lyrics which dealt with the problems of Korean society. Their footsteps were followed by a wave of successful hip hop and R&B artists like,, Deux, and. In 1995, South Korean record producer founded the entertainment company,. Former Seo Taiji & Boys' member formed in 1996, as did South Korean K-pop singer established in 1997. (young boybands or girlbands) formed, inspired by Seo Taiji & Boys, to cater for a growing teenage audience. Was one of the first idol boybands, debuting in 1996.
Their success was followed by that of bands like,,,,,, and. The 1990s were also a successful period for clubs and bands such as. The prompted South Korean entertainers to look for new markets: released a Mandarin-language album and released an English-language album in Taiwan. 21st century: Rise of Hallyu [ ]. Main article: K-pop's increasing popularity forms part of Hallyu, or the Korean Wave, which refers to the popularity of South Korean culture in other countries. K-pop is increasingly making appearances on Western charts such as.
The development of online social media has been a vital tool for the Korean music industry in reaching a wider audience. K-pop industry statistics Year Total exports in US$ views 2008 $16.5 million 2009 $31.3 million 2010 $84.9 million 800 million 2011 $180 million 2.2 billion 2012 $235 million 7.0 billion Exports by country (US$) Year Japan China 2008 $11.2 million $1.80 million 2009 $21.6 million $2.36 million 2010 $3.60 million 2012 $204 million.
At in 2011 By the beginning of the 21st century, the K-pop market had slumped and early K-pop idol groups that had seen success in the 90's were on the decline. Disbanded in 2001, while other groups like,,,, and became inactive by 2005. Solo singers like and grew in success. However, the success of boy band after its debut in 2003 marked the resurgence of idol groups to Korean entertainment and the growth of K-pop as part of 'Hallyu.' The birth of second-generation K-pop was followed with the successful debuts of (2005), (2005), (2006), (2007), (2007), and (2007).
During the beginning of the 21st century, K-pop idols began receiving success elsewhere in Asia: in 2002, 's single 'Coincidence' became popular in many Asian countries after it was released and promoted during the in South Korea. Became the first K-pop singer to reach No. 1 on the Japanese and shortly afterwards, had a sold-out concert to an audience of 40,000 fans in Beijing.
In 2003, Baby V.O.X. Topped the Chinese music charts with their Chinese single 'I'm Still Loving You' from their third album Devotion, the first idol group to do so, creating a huge fanbase in China. They also charted in various music charts in Thailand. Marked the rise of K-pop boy bands in Japan. In 2008, their single 'Purple Line' made the first foreign boy band and second Korean artist after to top the music chart. Since the mid-2000s, a huge portion of the has been dominated by K-pop. In 2008, South Korea's cultural exports (including television dramas and computer games) rose to US$2 billion, maintaining an annual growth rate of over 10%.
That year, Japan accounted for almost 68% of all K-pop export revenues, ahead of China (11.2%) and the United States (2.1%). The sale of concert tickets proved to be a lucrative business; 's in Japan sold over 850,000 tickets at an average cost of US$109 each, generating a total of US$92.6 million in revenues. Elsewhere in the world, the genre has rapidly grown in success, especially after 's ' was the first YouTube video to reach one billion views, achieving widespread coverage in mainstream media. As of November 2016, the video has 2.7 billion views. Although several attempts have been made by entertainment companies (with idols such as,, and releasing English-language singles) at breaking into the English-language market, these have not all achieved overall success. As part of the, K-pop has been embraced by the South Korean government as a tool for projecting South Korea's abroad, particularly towards overseas youth. In August 2014, the prominent British news magazine dubbed Korean pop culture 'Asia’s foremost trendsetter'.
In May 2017, K-pop received international coverage following boy group 's win for Top Social Artist at the, making them the first K-pop group to win a BBMA. Industry [ ] Agencies [ ] K-pop has spawned an entire industry encompassing music production houses, event management companies, music distributors, and other merchandise and service providers. The three biggest companies in terms of sales and revenue are, and, often referred to as the 'Big Three'. These also function as representative for their artists. They are responsible for recruiting, financing, training, and marketing new artists as well as managing their musical activities and public relations. Currently, the agency with the greatest market share is S.M.
In 2011, together with Star J Entertainment, AM Entertainment, and Key East, the Big Three companies founded the joint management company United Asia Management. Total revenues of K-pop (in USD million) Year of establishment Record label 2008 2010 2011 2012 2013 2014 2015 2016 Source 1995 42.5 87.1 129 241 268 286.9 280 313 1996 51.8 70.3 96.9 116.6 156.3 170 286.4 1997 3.1 9.1 17.8 13.5 21.4 48.5 50.56 69.5 Sales and market value [ ] In 2009, became the first distributor of K-pop on. In 2011, 1,100 albums were released in South Korea. The hip-hop genre had the most representation, at two-thirds of the total albums.
One-third of the albums were from a variety of other genres, including rock, modern folk, and crossover. In 2012, the average cost of obtaining a K-pop song in South Korea amounted to US$0.10 for a single download, or $0.002 when streamed online. In the first half of 2012, according to, the Korean music industry grossed nearly US$3.4 billion- a 27.8% increase on the previous year- and was recognized by magazine as 'South Korea's Greatest Export'. K-pop (in Korea) global music market rank Year Physical* Digital 20 27 2007 24 2009 21 2011 11 8 * includes albums, singles and DVDs sold Trainee system [ ]. See also: By convention in modern K-pop, trainees go through a rigorous training system for an undetermined amount of time before debut. This method was popularised by, founder of S.M. Entertainment, as part of a concept labelled '.
Described this as an 'extreme' system of artist management. According to the CEO of 's Southeast Asian branch, the Korean idol trainee system is unique in the world.
Because of the training period, which can last for many years, and the significant amount of investment agencies put towards their trainees, the industry is very serious about launching new artists. Trainees may enter an agency through auditions or be scouted, and once recruited are given accommodation and classes (commonly singing, dancing, rapping, and foreign languages such as Mandarin, English and Japanese) while they prepare for debut. Young trainees sometimes attend school at the same time. There is no age limit to become a trainee and no limit to the duration one can spend as a trainee. Record charts [ ]. Further information: Korean record charts include the and the. Recently, some K-pop records have appeared on the of Japan and the of the United States.
In May 2014, became the third K-pop act to enter the that year after, and were the first K-Pop act to chart on Billboard 200. In October 2016, 's album becomes the first Korean album to chart in the, reaching #62, and the highest charting and best selling K-pop album in the. They also became the first Korean artist to have three entries on the Billboard 200 and first K-pop act to have an entry for more than one week on the Billboard 200. In February 2017, BTS landed their fourth album, 'You Never Walk Alone,' at #61 on the Billboard 200, becoming the first K-pop act to have four entries on the Billboard 200. They also became the first Korean artist to break into the Top 10 of the US iTunes sales chart with the title track 'Spring Day' at #9.
In May 2017, also became the first Korean artist group to win a Billboard Music Award. In September 2017, landed at #14 on the with their new album,, becoming the first Korean artist to land in the top 40 of the chart. Television [ ] The Korean music industry has spawned numerous related reality TV shows, including such as and, specialist rap competition and its female counterpart, and many 'survival' shows, which commonly pit trainees against each other in order to form a new idol group. Examples of survival shows include 's, which formed the boy group; 's WIN: Who Is Next, which formed the boy group; MIX&MATCH, which formed; 's, which formed girl group; 's No.Mercy, which formed boy group; 's Pentagon Maker, which formed boy group; 's, which formed girl group and boy group, and most recently, 's Finding Momo Land, which formed the girl group. Culture [ ] K-pop artists are frequently referred to as or idol groups. Groups usually have a leader, and the youngest group member is called the maknae ().
The popular use of this term in Japan was influenced by boy group when they expanded their activities in the country in 2007. Its Japanese translation 'マンネ' was often used to name the group's youngest member in order to differentiate him from their leader with a similar name and spelling,. Industry-specific expressions [ ] Korean Romanized Meaning 대상 daesang At music awards artists may receive a bonsang for outstanding music achievements. One of the bonsang winners is then awarded with a daesang, the 'Grand Prize'.
본상 bonsang All-Kill (AK) Referring to chart positions. An Instiz certified all-kill ('AK') occurs when an individual song sweeps all of South Korea's major music charts simultaneously, placing first on both the real-time and daily charts. Perfect All-Kill (PAK) An Instiz Perfect all-kill happens when an individual song has an all-kill and at the same time it places first on Instiz Weekly Chart. Mini album Roughly equivalent to an EP, contains multiple tracks but shorter than a full-length album. Title track Track that is released with a music video and promoted through live performances on televised music shows. Promotion Takes place when a title track is released. Artists perform in televised music shows and interviews.
Promotion on TV shows usually lasts one month, with a 'debut stage' for newcomers, a 'comeback stage' for regulars and a 'goodbye stage' at the end of the cycle. Appeal and fan base [ ]. Fans (VIPs) hold crown shaped light sticks during a concert: this is the symbol of the fan club Not all K-pop fans are young females, although most are; in 2012 magazine interviewed male adult fans, who admitted to liking the group for its members' looks and personalities, citing the members' humility and friendliness towards the fans. Many fans travel overseas to see their idols on tour, and tourists commonly visit Korea from Japan and China to see K-pop concerts. A K-pop tour group from Japan had more than 7,000 fans fly to Seoul to meet boy band in 2012, and during JYJ's concert in Barcelona in 2011, fans from many parts of the world camped overnight to gain entrance. A 2011 survey conducted by the reported that there were over 3 million active members of fan clubs.
An article by indicated that K-pop’s future staying power will be shaped by fans, whose online activities have evolved into 'micro-businesses'. K-pop groups commonly have dedicated fanclubs with a collective name and sometimes an assigned colour, to which they will release merchandise. For example, fans are known as 'Cassiopeia', and their official colour is 'pearl red'. Some of the more popular groups have personalised light sticks for use at concerts; for example, fans hold yellow crown-shaped light sticks. For the Korean boyband Fan clubs sometimes participate in charity events to support their idols, purchasing bags of ' in order to show support. The rice bags are donated to those in need.
According to, for one of Big Bang's shows, 12.7 tons of rice were donated from 50 fan clubs around the world. There are businesses in Korea dedicated to shipping rice from farmers to the venues.
Another way that fan clubs show their devotion is sending lunch to idols during their schedules, and there are catering companies in South Korea specifically for this purpose. A unique feature of K-pop fandom is the 'fan chant'. When an idol group releases a new song, chants, usually consisting of group members' names, are performed by live concert audiences during non-singing parts of songs. Obsession [ ].
Main article: Some idols and idol groups have faced problems from obsessive fans that indulge in stalking or invasive behaviour. These fans are known as fans, from the Korean word for 'private life', which alludes to their penchant for invading the privacy of idols and members of idol groups. There have been accounts of extreme behaviours from fans trying to gain idols' attention as well as taxi services that cater to those wishing to follow idols. Korean public officials recognize this as a unique but serious concern. Some idols have reacted angrily towards sasaeng fans, for which they received backlash; including members of JYJ, member, and.
In response to the issue, a new law introduced in February 2016 in Korea saw the penalty for stalking rise to around US$17,000 as well a possible two-year jail sentence. See also: • 2003–present: at the in Los Angeles • 2011–present: in South Korea • 2012–present: in California • 2015–present: in New York • 2015–present: in Japan • 2009–present: Philippine K-pop Convention Social media [ ] Social media has been instrumental in the global reach of K-Pop, particularly video-sharing site. Of the 2.28 billion worldwide K-pop YouTube views in 2011, 240 million came from the United States, more than double the figure from 2010 (94 million).
Popularity and impact [ ] Asia [ ] Japan [ ] Following the lifting of -era restrictions imposed on exchanges and trade between Korea and Japan in the late 1990s, 's debut Japanese album released in 2002, entitled, was the first album by a Korean singer to debut at the top of the Japanese Oricon Charts and become an RIAJ-certified 'million-seller' in Japan. On January 16 of 2008, (known as Tōhōshinki in Japan) also reached the top of the Oricon Charts with their sixteenth Japanese single '.
This made them the first Korean male group to have a number-one single in Japan. Since then, the Japanese market has seen an influx of Korean pop acts such as,,,, and.
In 2011, it was reported that the total sales for K-pop artists' increased 22.3% between 2010–2011 in Japan. Some Korean artists were in the top 10 selling artists of the year in Japan. With tensions still remaining between Korea and Japan, the import of Korean popular culture has been met with different forms of resistance, in the form of the 'Anti-Korean Wave'. One demonstration against the Korean Wave with roughly 500 participants was broadcast on Japan’s Fuji TV to an Internet audience of over 120,000. However, the chairman of the Presidential Council on National Branding cites this resistance as proof of “how successful Korean Wave is.” According to the Korea Foundation for International Culture Exchange's 'Korean Wave index', the top consumer in 2010 was Japan, in a list that also included Taiwan, China, Vietnam, Thailand, Malaysia, Indonesia and Philippines. China [ ] K-pop has yet to dominate the Chinese market, but there has been considerable success: in 2005, held a concert in Beijing with 40,000 people in attendance.
The won an award in the 5th annual China Mobile Wireless Music Award for the highest digital sales for a foreign artist, with 5 million digital downloads in 2010. Entertainment agencies often include Chinese members in idol groups with the aim of marketing to China; 's was an example of this. And their sub-group have had successful results on the Kuang Nan Record and CCR. Taiwan [ ] Despite sharing a similar past, the Taiwanese did not carry a positive sentiment towards South Korea after 1992, which is when South Korea broke off its diplomatic relationship with Taiwan in order to pursue one with mainland China.
This changed in the early 2000s as the cultural dispersion of hallyu has contributed to the reconstruction of South Korea's image among the Taiwanese. This change was in part prompted by the South Korean government, who wished to encourage goodwill between the two countries after the break of diplomacy. Philips Saa7135hl Driver Download Xp. Now many Taiwanese have remarked that Korean popular music and Korean dramas has helped to foster a renewed interest and healthier relationship with South Korea. Singapore [ ]. Holding a concert in,.
There is a thriving K-pop fanbase in Singapore, where idol groups, such as 2NE1,, Girls' Generation and EXO, often hold concert tour dates. The popularity of K-pop alongside has influenced the aesthetics image of Singaporeans. Korean-style 'straight eyebrows' have become quite popular among many Singaporean females and males of Chinese, Malay and Indian descent. Singaporean beauty salons have seen an increase in the number of customers interested in getting Korean-style 'straight eyebrows' and Korean-style haircuts in recent years. On 5 August 2017, Singapore hosted the 10th Music Bank World Tour, a concert spin-off of Music Bank, a popular weekly music programme by South Korean broadcaster KBS.
More than 7,000 fans were treated to a spread by five music acts, namely BTS, Red Velvet, SHINee, Mamamoo and CNBlue, at the sold-out session at the Suntec Singapore Convention & Exhibition Centre. This event proved the immense popularity of the Hallyu wave in Singapore. Malaysia [ ] In Malaysia, among the three main ethnic groups-, and - many prefer to listen to music in their own languages, but the popularity of K-pop alongside Korean movies and TV series has become popular among all three ethnic groups, which Malaysian firms have capitalized upon.
The popularity of K-pop has also resulted in politicians bringing K-pop idols to the country in order attract young voters. India [ ] In the state of, where separatists have banned Bollywood movies, consumers have turned to Korean popular culture for their entertainment needs.
The 's correspondent Sanjoy Majumder reported that Korean entertainment products are mostly unlicensed copies smuggled in from neighbouring Burma, and are generally well received by the local population. This has led to the increasing use of Korean phrases in common parlance amongst the young people of Manipur. In order to capitalize on the popularity of K-pop in Manipur, many hairdressing salons have offered 'Korean-style' cuts based on the hairstyles of K-pop boy bands. This wave of Korean popular culture is currently spreading from Manipur to the neighbouring state of.
K-pop is catching up in various other states of the country and millions of fans hold festivals and competitions in regard of the same. Nepal [ ] In, K-pop gained popularity along with and films. K-pop has become influential in the Nepali music industry and K-pop music videos are often used as an accompaniment to Nepali music on and has become a popular trend in the country.
North America [ ]. Donika Sterling, an American K-Pop fan diagnosed with, was sponsored to meet her favourite idols in South Korea. In 2006, held sold-out concerts in New York and Las Vegas as part of his. In 2009, the became the first K-pop artist to debut on the Billboard Hot 100 singles chart. They went on to join the on the. In 2010, they toured 20 cities in the United States, Canada and Mexico, and were named 'Artist of the Month' for June. In 2010, held the with dates in Los Angeles, Paris, Tokyo, and New York.
The same year, during the 8th Annual, K-pop artists made their first appearances at the. At the 2011 gala at in Notable K-pop concerts in the United States in 2011 include the Concert at the New York Korea Festival, the K-Pop Masters Concert in Las Vegas, and the Korean Music Wave in Google, which was held at 's headquarters in. 2012 marked a breakthrough year for K-pop in North America. At the start of the year, performed the English version of ' on the late night talk show The and also on the daytime talk show, becoming the first Korean musical act to perform on these shows, and the first Korean act to perform on syndicated television in the United States. In the same year, the group formed their first sub-unit, entitled, or simply 'TTS', composed of members,, and. The subgroup's debut EP,, peaked at #126 on the Billboard 200.
In May, returned to California again with the in. In August, as part of their, held their first American concert in the at the of. In November, as part of their Alive Tour, held their first solo concert in America, visiting the in Los Angeles and the in Newark. The tickets sold out in only a few hours, and additional dates were added. On November 13, the American singer-songwriter and backup dancers performed ' alongside during a concert at in New York City.
PSY later told reporters that his gig with Madonna had 'topped his list of accomplishments'. On January 29, 2013,, one of America's most popular music magazines, launched, an online on its website that covered K-pop news, artists, concerts, and chart information. In March of that year, performed at the in, alongside, who represented Korean rock. F(x) was the first K-pop group ever to perform at SXSW. Mnet hosted its Kcon event in NY and LA in July 2016.
Latin America [ ] Many idol groups have loyal fanbases in Latin America. Since 2009, about 260 fan clubs with a total of over 20,000 and 8,000 active members have been formed in Chile and Peru respectively. In 2011, the United Cube Concert was held in, shortly after the second round of the first was held in Brazil, with as judges.
In March 2012, performed in Chile and Peru. When the group arrived at the in Peru for the JYJ World Tour Concert, they were escorted by airport security officials through a private exit due to safety reasons concerning the large number of fans (over 3,000). At the in Lima, some fans camped out for days in to see JYJ.
In April, and jointly aired a K-pop reality show in Colombia. In September, became the first K-pop idol to perform solo in Brazil and Mexico, after the in in 2009. The concerts sold out well in advance.
That year there were 70 K-pop fan clubs in Mexico, with at least 60,000 members altogether. In January 2014, performed in Peru, Chile, and Bolivia, becoming the first K-pop idol to perform in Bolivia. The tour proved his popularity in the continent as both fans and the media followed him everywhere he went, causing traffic on the roads and police to be called to maintain safety. Fans were also seen pitching their tents outside the concert venue for days before the actual concert.
Europe [ ] In 2010, both the and the were held in Paris. K-pop fans in Warsaw holding a South Korean-Polish flag as well as banners of various boy bands In February 2011, performed at the Apolo concert hall in Barcelona. In May, became the first K-pop artist to perform in Germany, during the Music Festival. Also performed in both Berlin and Barcelona. Flew to and won the Best Worldwide Act during the in Northern Ireland. In Poland, the K-pop Star Exhibition was held in the Korean Culture Center.
K-pop also saw a surge in popularity in Russia, where 57 dance teams took part in the. During the second round of the competition, flew to Moscow as judges, also performing to Russian fans. The following year, Russian youths launched K-Plus, a Korean culture magazine, and the number of Russian K-pop fans was reported at 50,000. Performing at the in Berlin In February 2012, held their in Berlin. According to the, many fans who attended were not just from Germany but also from neighbouring countries such as France and Switzerland.
Also in February, the drew more than 10,000 fans to the. That year, artists such as and performed during the United Cube Concert in London, where the MBC Korean Culture Festival was also held.
When arrived at the for a concert at the in the same year, part of the airport became temporarily overrun by frenzied fans. The reservation system of the Odeon West End crashed for the first time one minute after ticket sales began as the concert drew an unexpectedly large response. At this time, SHINee also held a 30-minute performance at the. The ticket demand for this performance was so high that fashion magazine gave away forty tickets through a lottery, and the performance was also televised in Japan through six different channels. Also in 2012, Big Bang won the Best Fan category in the Italian.
2014 saw a continued rise in the popularity of K-pop in Russia. On February 3, became the first ever Korean singer to hold a solo concert in Moscow. Middle East and Africa [ ] K-pop has become increasingly popular across the Middle East and Africa over recent years, particularly among younger fans. In July 2011, Israeli fans met South Korea's Ambassador to Israel, Ma Young-sam, and traveled to Paris for the in Europe. According to Dr.
Nissim Atmazgin, a professor of East Asian Studies at of Jerusalem, 'Many young people look at K-pop as culture capital- something that makes them stand out from the crowd.' As of 2012, there are over 5,000 K-pop fans in Israel and 3,000 in the Palestinian territories. Some dedicated Israeli and Palestinian fans see themselves as 'cultural missionaries' and actively introduce K-pop to their friends and relatives, further spreading the Hallyu wave within their communities. In 2012, the number of fans in Turkey surpassed 100,000, reaching 150,000 in 2013. Appeared for a fan meet-and-greet session in Dubai and a concert in Abu Dhabi. In Cairo, hundreds of fans went to the ’s stage theater to see the final round of the K-POP Korean Song Festival, organised by the Korean Embassy.
Oceania [ ] In 2011, the K-Pop Music Festival at the was held in Sydney, featuring Girls' Generation, TVXQ, B2ST, SHINee, 4minute, miss A, 2AM, and MBLAQ. There was also demand for concerts from New Zealand. In August 2012, visited Sydney Harbour and the, as judges of a K-pop contest being held there. The following year, were judges at the same contest in Sydney. In October, toured Australia after his single 'Gangnam Style' reached number one in Australia on the charts.
In May 2016, held a concert in Auckland, becoming the first K-Pop group to perform in New Zealand. In May 2017, came to Sydney as part of their. The show sold out in less than 48 hours, and attracted fans from other Australian states and New Zealand.
It was the group's second time visiting Australia after their in 2015. Foreign relations [ ].
See also: On May 25, 2010, South Korea responded to the alleged North Korean sinking of a navy ship by broadcasting 's single ' across the. In response, North Korea affirmed its decision to 'destroy' any speakers set up along the border. That year, reported that the had considered setting up large TV screens across the border to broadcast music videos by several popular K-pop girl groups such as,,, and as part of 'psychological warfare' against North Korea. In September 2012, North Korea uploaded a video with a photo manipulated image of South Korean president performing the dance moves of '. The video labeled her as a 'devoted' admirer of the system of autocratic rule set up by her father,. On May 7, 2013, cited Psy's ' as an example of how people around the world are being ' swept up by Korean culture -- the.'
Since the early 2010s, several political leaders have acknowledged the global rise of Korean pop culture, most notably U.S. President, who made an official visit to South Korea in 2012 and mentioned the strong influences of social media networks, adding that it was 'no wonder so many people around the world have caught the Korean wave,.' A few months later, delivered a speech in front of the, where he noted South Korea's 'great global success' in the fields of culture, sports and the arts, before pointing out that the Korean Wave was 'making its mark on the world'.
This occurred a few days after spokeswoman remarked in a daily press briefing that her daughter 'loves Korean pop', which sparked a media frenzy in South Korea after a journalist from the country's publicly funded arranged an interview with Nuland and described Nuland's teenage daughter as 'crazy about Korean music and dance'. In November 2012, the British for the,, addressed a group of South Korean diplomats at the, where he emphasized the close ties and mutual cooperation shaping and added: 'As 'Gangnam Style' has demonstrated, your music is global too.' In February 2013, the,, gave an interview with South Korea's Yonhap News Agency, where she voiced her desire for more South Korean companies to invest in her country and named K-pop as 'one of the main factors that made Peruvian people wanting to get to know South Korea more'. According to an article published by the international relations magazine, the spread of Korean popular culture across Southeast Asia, parts of South America, and parts of the Middle East is illustrating how the gradual cessation of European is giving way and making room for unexpected outside of the Western world.
On the other hand, an article published by magazine expressed concern that discussions about Hallyu as a form of soft power seems to bear a whiff of the 'old Victorian fear of '. In August 2016, it was reported that China planned to ban Korean media broadcasts and K-pop idol promotions within the country in opposition to South Korea's defensive deployment of (Terminal High Altitude Area Defense) missiles. The reportage of these planned regulatory measures caused an immediate negative impact on shares in Korean talent agencies, although stock prices later recovered.