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Sunday
Nov012009

Monocle Magazine (11.2009) | Culture Report - How To Be A Band In 2010


By Robert Bound

PREFACE
Rock stars are now essentially CEOs of their own small (and big businesses). Learn how to harness patrons, sponsorship and the digital revolution, and you could soon be selling out, without selling out.

Pro Tip 04 Bernie Cho
President of DFSB Kollective entertainment agency South Korea

"
iPhone apps are an artist’s new A&R ally. Internet radio services, such as Spotify, are available as apps and reward artists with a new “Pay2Play” business. Apps such as Shazam make music discovery easy. And for artists wishing to connect directly with fans, app development costs are dropping because it’s hot."

 

Featured Commentator : DFSB Kollective (Bernie Cho)

Saturday
Sep192009

Lift Asia 09 Conference | Serious Fun! (The Social Web, A Place Only For Friends?)

(JEJU KR) : Social networks, online games, robots, communicating objects: these technologies and services were originally designed for entertainment purposes. They are now giving birth to a whole new range of opportunities and challenges. Games are used for education. Robots are linking patients and doctors. Social networks are the playground of marketers and recruiters.

올해 ‘Lift Asia 09’에서는 혁신, 사회 변화, 경영, 비즈니스, 디자인 및 교육 등 다양한 적용될 수 있는 기회 및 가치에 대해 이야기 하고자 합니다. 보다 자세한 내용은 프로그램을 확인하시기 바랍니다.

Are these "fun" technologies changing as they become more and more "serious"? What new opportunities and challenges are arising from this ecosystem in the making?

본래 학문적인 목적으로 시작된 인터넷은 거대한 비즈니스 플랫폼으로 변신한 뒤 현재는 엔터테인먼트 무대로 활용 중입니다. 인터넷 사용자들은 웹에서 재미를 찾고, 휴대폰으로 가상 공간에 접속하며, 로봇이나 네트워크 객체와 교류합니다.

Lift Asia 09 will explore these questions, and focus on the examples provided by communicating objects, social networks, design, architecture, storytelling and community engagement. The conference will also feature an open program where members of the audience can present their ideas and projects, and we will have our traditional sessions on sustainable development and inspiring stories.

우리는 이러한 서비스와 플랫폼이 단순한 레저 수단을 뛰어 넘을 것을 확신합니다. 비즈니스, 교육 등 다른 분야로 확산되어 새로운 사회적 관행을 낳고 혁신을 주도하게 될 것입니다.


Session 4: The Social Web, A Place Only For Friends? 소셜 웹, 친구관계의 공간?

Online communities and social networks have been around for a while, and we start to have a pretty good sense of the opportunities and issues they create. Beyond collecting a maximum number of friends, social networks are where big companies try to advertise and control their brands, where a picture can make or break a career, where users increasingly broadcast rather than socialize.

온 라인 커뮤니티와 소셜 웹은 한동안 존재해 왔고, 우리는 이것으로부터 생겨나는 기회와 이슈에 대해 어느 정도 인지하고 있습니다. 많은 친구와 관계 맺는 것을 넘어서서, 소셔웹은 이제 대기업이 브랜드를 광고하고 관리하는 공간이 되었고, 업로드 된 사진 한 장으로 직업을 얻거나 잃는 경우도 생기고, 유저들이 사회적으로 활동하기 보다 정보를 퍼뜨리는 공간이 되고 있습니다.

What are the new models emerging? Are we forced to participate? How to deal with a world whose rules are still being written?

앞으로는 어떠한 새로운 모델이 나타날까요? 우리가 참여하도록 강요 당하고 있는것일까요? 아직도 글로 쓰는 것이 편한 사람들에게는 어떻게 대처해야 할까요?

Speakers:

• Jean-Henry Morin, Digital Rights Management Guru, Professor at the University of Geneva, former professor at Korea University
• Benjamin Joffe, Beijing-based Social Media Specialist and CEO of +8*
• Patrice Nordey, Trendspotter, Asian director of think tank L'Atelier
Bernie Cho, New Media Innovator, President/Strategic Planning Director at DFSB Kollective

http://liftconference.com/lift-asia-09/program
http://liftconference.com/ko/lift-asia-09/program_korean



Conference Speaker : DFSB Kollective (Bernie Cho)
Conference Photos : courtesy of Creative Commons (Jinho Jung)

Friday
Sep042009

MTV Iggy | K-Pop Uncovered (Special Report)

MTV IGGY | K-POP UNCOVERED
By Edward Chun

(NEW YORK CITY USA) : Korean-American writer Edward Chun spent several years in South Korea as a music director for Korean television. With his exclusive special report for MTV Iggy, he takes us behind the scenes of the Korean music industry… and answers a few deeply personal questions of his own.

INTRO : What Is K-Pop?

For years, Korea seemed destined to be that small country stuck between China and Japan. It was the “shrimp among whales,” to paraphrase a popular Korean saying. At least that’s the way I saw it, growing up in Chicago as a Korean-American in the 1980s. There were plenty of mainstream Chinese and Japanese restaurants – even fancy, expensive ones – in the neighborhood. But Korean ones? For those, you had to leave downtown and go to Koreatown.

How about Korean movies? Forget watching those. Korean movies and television shows, which looked like they had been illegally copied onto VHS tape by Korean video rental houses, were so low quality that their entire budgets probably wouldn’t have covered the wardrobe cost of a second-rate American movie star.

The worst, however, was the music. With instruments that sounded like something off my cheap, Casio synthesizer, warbling, fuzzy vocals, and beats that sounded suspiciously like polka, Korean pop music was so embarrassing that when a non-Asian friend caught me listening to a song, he not only ridiculed me, I joined in.

But then, something happened: the internet. Bernie Cho, the founder of K-pop creative agency DFSB Kollective, told me of the incredible changes in music quality he saw in the mid-to-late 90s when he worked for music entertainment channels such as MTV Korea and the South Korean music network MNET:

“An interesting side effect of Korea's internet boom was the impact it had on raising the bar for K-Pop. With instant access to international music trends, Korean netizens became more aware of the nuances between inspiration, imitation, and innovation. If a hit K-Pop song smelled like a ripoff, fans slammed the artists hard and fast online -- website bulletin boards and chat rooms would light up with heated debates. Although artists may not be taken to court for plagiarism, fans would take them to the court of public opinion, becoming virtual judge and juries. Although verdicts varied, the message was loud and clear -- imitation was no longer a form of flattery but a surefire way to flatline a career. As a result, K-Pop singers, songwriters, and producers had no choice but to step up their game and deliver more distinctive, more dynamic music.”

Just a few decades later K-pop has not only taken Asia by storm, it has ridden the so-called “Korean wave” all the way to the edge of the United States: the Wonder Girls’ demonstrated enough mainstream potential to warrant an opening spot on the Jonas Brothers’ tour.

For any pop culture geeks who came late to the show: you may be asking yourself a simple question -- just what is K-pop? The answer is both simple…and complicated.

The simple answer is that K-pop is popular Korean music. The more complicated answer, however, is actually a deeper question: just what is popular in Korea?

(Continued)

K-Pop Uncovered : Making Bubblegum, Part 1
K-Pop Uncovered : Making Bubblegum, Part 2
K-Pop Uncovered : The Not So Outsiders
K-Pop Uncovered : Coming To America

Featured Commentator : DFSB Kollective (Bernie Cho)
Featured Artists : Epik High, Drunken Tiger, Yoonmirae


Monday
Mar232009

Yonhap News : Direct K-Pop Exports to Apple iTunes 


애플 아이튠즈에 한국가요 직접 진출

(서울=연합뉴스) 조성흠 기자 = 음원 유통업체 DFSB는 23일 국내 최초로 애플 디지털 음원 시장인 아이튠즈의 공식 유통에이전시 계약을 맺었다고 밝혔다.

DFSB는 또 오는 24일부터 자사와 계약한 음원을 아이튠즈를 통해 공식 서비스할 예정이라고 밝혔다.

이번에 서비스될 음원은 '에픽하이', '장기하와 얼굴들', '드렁큰타이거', '하우스룰즈', 'T 윤미래', '언니네이발관', '크라잉넛', '노브레인' 등의 음반으로, 한국 음악이 국내 유통업체를 통해 아이튠즈에 직접 진출하는 것은 이번이 처음이다.

DFSB는 이번 계약으로 한국 음악이 해외 업체를 거치는 것보다 합리적이고 국내 실정에 맞는 조건으로 해외 진출이 가능해졌다고 설명했다.

DFSB 공윤영 이사는 "이번 계약으로 한국의 음악 사업이 국제적 수준에 한 걸음 다가갈 수 있기를 기대한다"고 말했다.

현재 전 세계 디지털 음악 유료 다운로드 시장의 70% 이상을 차지하고 있는 애플 아이튠즈는 22개국에 음악과 뮤직비디오, 벨 소리, 아이팟ㆍ아이폰 응용프로그램 등을 판매하고 있다.

josh@yna.co.kr

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