'Korea' is erased in Kpop

Kpop, which is produced and distributed directly in each culture of World and evolves into a transnational genreKpop (K-Pop), among other things, Idol Music has always made border crossing the essence, which is beyond the meaning that the product called Music is consumed across the border.The 21st century Idol industry contains the intention of Worldization in the aspect of YG Entertainment, Music production, and publicity and activities of The Artist, and it is already evolving into a transnational genre in both its form and content.The horse dance of Psys Gangnam Style, which has driven the gains of Kpop Idol and the former World into the craze of cover dance (dance-following) since the mid-2000s, is the decisive examples that broke down the old division method of going to YouTube and social media era and set up a new paradigm called Kpop.And now, the former World popularity of BTS and the newly transformed Idol industry, which can not find any other expression other than the word phenomenon, show that Kpop is moving beyond the border crossing stage once again to the stage of localization and individualization.This is also a sign that the new rule on Kpop is approaching at the same time.Nature Haruno is the current state of post-KoreanKpops entry into World beyond the boundary inevitably means the birth of a new scene and domain and a new relationship with the public to be formed in it.Now, Kpops localization is no longer just introducing the same product as a foreign language.It is clear that the success of GOT7 and Black Pink, which have achieved overwhelming success in Japan with the recognition and cultural intimacy of Japan members, and the success of GOT7 and Black Pink, which have secured higher reputation than any Idol group in Thailand and Southeast Asia through Thai local members.The next step in Kpops localization as a global industry is that it will use Korea as a hot word.Abe Haruno, who worked as a sports dancer in Japan and raised the dream of Kpop Idol, and eventually made his debut as a member of the Korean girl group called Nature in August, is not a sub-genre of Korean popular music but rather a part of Kpops current status that is approaching a format expressing the modernity of the pan-Asia region.Both SMs China Idol group NCT China and JYPs China local Idol project, which are about to debut, will be a key example of explaining the ultimate evolutionary model of Kpop Idol, which is owed to transnational methodology.The success or failure of these groups will eventually be measured in the full-scale future of Kpop, which is produced and distributed directly in each culture, not subject to a single God called Korea.It redefined the relationship between music and listeners as well as the industry that crosses the boundaries of Kpop, which requires new insight into the nature and definition of Kpop.It is worth noting the so-called BTS-pop discourse brought about by the unprecedented success of BTS in the United States of America recently.The success of BTS, and further attempts to distinguish their music from existing Kpop, has been consistently raised by their fandom on the Kpop Forum and social networking services in United States of America a year ago.The reason this flow feels unique is that it is at its opposite point, placing the entire music, Kpop (Idol), rather than a specific The Artist.For those who claim the different of BTS, their original narrative or sound, or truth, which is Idol and the artist, is an important basis.But it can be said that BTS-pop supporters in United States of America have a kind of Kpop intention in that they are not just claiming the relative superiority of BTS but are located outside the Kpop fandom.Is this just an incidental happening due to the exceptional success of a specific group called BTS?I would rather pay attention to the differentiation and individualization of Kpop fandom as Kpop grew in the United States of America market.Kpop Evolved into Local PopThe expanded Kpop God, which crosses the boundary, inevitably creates a new fan base (sheart) that was not previously thought of.They began to take on areas that were increasingly difficult to explain by conventional classifications such as Korean Wave Fan or Kpop Fan.When we focus on the United States of America market, the fandom of the previous era, which Kpop began to World in earnest, so fans until the early 2000s, were limited in the large-scale, Asian United States of America community.However, since the launch of the video site YouTube in 2005, Kpops fandom has expanded across Asian lines, including white, black, Latino and other races, regardless of whether it is on or off.Among them, there are a few Kpop Idol groups called 2.5 Generation or 3rd Generation, or Kpop as a non-Idol Music.There are also many who are not familiar with or interested in the existing Kpop or Korean culture.BTS has become an important litmus test site in the composition of Kpop fan base that has already expanded and differentiated.The Korean Wave Fan and Kpop Fan, which have been tied together in homogeneous groups during the past, are taking steps to rebalance their scope and essence through the emergence of The Artist, which differentiates them from the grammar of the existing Kpop Idol Music, and new identity regulations, like BTS.KCON, the largest Kpop festival in North America, which I cover every year, attracted nearly 100,000 participants in Los Angeles this year alone.However, compared to a few years ago when the nuance of Lets find out Kpop was strong, the character is changing gradually to an event that reveals the taste and identity of the United States of America.The word Korean Wave now sounds rustic, and the Kpop discourse centered on Korea seems to be no longer their main interest.Kpop Idol has become an choice equivalent to the United States of America pop star, and it has become felt that it is changing into an individual support pattern for groups that meet their tastes, not following Kpop itself.Kpop, which has become meaningful as local pop through industries that cross the border with the nearest distance, and now Kpop is in the stage where the meaning is redefined as YG Entertainment or derived music in Korea, not Korean Music.Kim Yeong-dae Music CriticsReader First Press, <> Cheer with Jung Gi-gu!

Kpop, which is produced and distributed directly in each culture of World and evolves into a transnational genre

Kpop (K-Pop), among other things, Idol Music has always made “border crossing” the essence, which is beyond the meaning that the product called Music is consumed across the border. The 21st century Idol industry contains the intention of Worldization in the aspect of YG Entertainment, Music production, and publicity and activities of The Artist, and it is already evolving into a transnational genre in both its form and content.

The 'horse dance' of Psy's Gangnam Style, which has driven the gains of Kpop Idol and the former World into the craze of 'cover dance' (dance-following) since the mid-2000s, is the decisive examples that broke down the old division method of going to YouTube and social media era and set up a new paradigm called 'Kpop'. And now, the former World popularity of BTS and the newly transformed Idol industry, which can not find any other expression other than the word 'phenomenon', show that Kpop is moving beyond the border crossing stage once again to the stage of localization and individualization. This is also a sign that the new rule on Kpop is approaching at the same time.

NatureHaruno is the current state of post-Korean

Kpop's entry into World beyond the boundary inevitably means the birth of a new 'scene and domain' and a new relationship with the public to be formed in it. Now, Kpop's localization is no longer just introducing the same product as a 'foreign language'. It is clear that the success of GOT7 and Black Pink, which have achieved overwhelming success in Japan with the recognition and cultural intimacy of Japan members, and the success of GOT7 and Black Pink, which have secured higher reputation than any Idol group in Thailand and Southeast Asia through Thai local members. The next step in Kpop's localization as a global industry is that it will use 'Korea' as a hot word.

Abe Haruno, who worked as a sports dancer in Japan and raised the dream of Kpop Idol, and eventually made his debut as a member of the Korean girl group called 'Nature' in August, is not a sub-genre of Korean popular Music but rather a part of Kpop's current status that is approaching a 'format' expressing the modernity of the pan-Asia region.

Both SM's China Idol group NCT China and JYP's China local Idol project, which are about to debut, will be a key example of explaining the ultimate evolutionary model of Kpop Idol, which is owed to transnational methodology. The success or failure of these groups will eventually be measured in the full-scale future of Kpop, which is produced and distributed directly in each culture, not subject to a single God called Korea.

It redefined the relationship between Music and listeners as well as the industry that crosses the boundaries of Kpop, which requires new insight into the Nature and definition of Kpop. It is worth noting the so-called BTS-pop discourse brought about by the unprecedented success of BTS in the United States of America recently. The success of BTS, and further attempts to distinguish their Music from existing Kpop, has been consistently raised by their fandom on the Kpop Forum and social networking services in United States of America a year ago. The reason this flow feels unique is that it is at its opposite point, placing the entire Music, Kpop (Idol), rather than a specific The Artist.

For those who claim the 'different' of BTS, their original narrative or sound, or 'truth', which is Idol and The Artist, is an important basis. But it can be said that BTS-pop supporters in United States of America have a kind of 'Kpop' intention in that they are not just claiming the relative superiority of BTS but are located outside the Kpop fandom. Is this just an incidental happening due to the exceptional success of a specific group called BTS? I would rather pay attention to the differentiation and individualization of Kpop fandom as Kpop grew in the United States of America market.

Kpop Evolved into 'Local' Pop

The expanded Kpop God, which crosses the boundary, inevitably creates a new fan base (sheart) that was not previously thought of. They began to take on areas that were increasingly difficult to explain by conventional classifications such as 'Korean Wave Fan' or 'Kpop Fan'.

When we focus on the United States of America market, the fandom of the previous era, which Kpop began to World in earnest, so fans until the early 2000s, were limited in the large-scale, Asian United States of America community. However, since the launch of the video site YouTube in 2005, Kpop's fandom has expanded across Asian lines, including white, black, Latino and other races, regardless of whether it is on or off. Among them, there are a few Kpop Idol groups called '2.5 Generation' or '3rd Generation', or Kpop as a non-Idol Music. There are also many who are not familiar with or interested in the existing Kpop or Korean culture.

BTS has become an important litmus test site in the composition of Kpop fan base that has already expanded and differentiated. The Korean Wave Fan and Kpop Fan, which have been tied together in homogeneous groups during the past, are taking steps to rebalance their scope and essence through the emergence of The Artist, which differentiates them from the grammar of the existing Kpop Idol Music, and new identity regulations, like BTS.

KCON, the largest Kpop festival in North America, which I cover every year, attracted nearly 100,000 participants in Los Angeles this year alone. However, compared to a few years ago when the nuance of 'Let's find out Kpop' was strong, the character is changing gradually to an event that reveals the taste and identity of the United States of America. The word 'Korean Wave' now sounds rustic, and the Kpop discourse centered on 'Korea' seems to be no longer their main interest.

Kpop Idol has become an 'choice' equivalent to the United States of America pop star, and it has become felt that it is changing into an individual support pattern for groups that meet their tastes, not following Kpop itself. Kpop, which has become meaningful as 'local' pop through industries that cross the border with the nearest distance, and now Kpop is in the stage where the meaning is redefined as YG Entertainment or derived Music in Korea, not 'Korean Music'.

Kim Yeong-dae Music Critics

Reader First Press, <> Cheer with Jung Gi-gu!