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Thursday
Aug262010

Time Magazine : K-Pop Online - Korean Stars Go Global with Social Media


2NE1 pose on the red carpet at the MTV World Stage VMAJ 2010 in Tokyo (photo courtesy of Koichi Kamoshida/Getty Images)(WORLD SECTION) As a child, Dong Young-bae used to hide from his parents to dance to cassettes of Michael Jackson and Stevie Wonder. He says he was too shy to tell anyone he wanted to become a famous singer and dancer. Not anymore. Today the 22-year-old South Korean singer and dancer known as Taeyang is in the spotlight as an international pop star. Thanks in no small part to a long-standing trend in Asia that renders all things Korean cool, Taeyang is going global, riding the so-called Korean wave all the way out West.

Taeyang, who is better known in South Korea as the voice of the Korean boy band Big Bang, released his first solo album, Solar, online last month. It hit No. 2 on iTunes' R&B sales charts in the U.S. and No. 1 in Canada — a first for an Asian artist. "In the beginning, it was hard to believe I had fans buying my album so far away," says Taeyang, whose name means "sun" in Korean. He says he didn't do any promotion in North America for the album, which was recorded in Korean and targeted fans in South Korea and Japan. "The world is smaller now." (See TIME's special report "The Best of Asia 2010.")



For many artists in Korea's booming music industry, social media like YouTube and Twitter have become crucial tools to reach audiences in formerly hard-to-access markets like the U.S. and Europe. Korean artists are bypassing traditional outlets like radio and television, "aggressively steering their efforts to go international via the Internet," says Bernie Cho, president of DFSB Kollective, a Seoul-based agency specializing in the international marketing of Korean pop acts. "Social-media-savvy K-pop stars are now tweeting, YouTubing and Facebooking their way up music charts across and beyond Asia." (Watch TIME's video "TIME 100 Poll: Moot vs. Rain.")

It's working: allkpop.com, an English-language, U.S.-based Korean pop blog that caters to international fans, generates more Web traffic than any Korean music portals in South Korea. "Korean artists are now out there," says Johnny Noh, who runs the site. "People like [Korean artists] and want to know more about them." The blog's monthly readers more than doubled in the past year, from 1 million in 2009 to 2.2 million today. (See 10 things to do in Seoul.)

DFSB Kollective was the first company to begin direct distribution of Korean music acts on iTunes, in 2009. It began with more than 50 Korean artists in the alternative, hip-hop and electronica genres; now there are hundreds of Korean artists available in the online music store. Within a few hours of the Aug. 25 iTunes release of Solar International, an extended version of Taeyang's album that includes English versions of his singles, the album reached No. 3 in Japan, No. 5 in Canada, No. 11 in the U.S. and No. 15 in Australia on the R&B/Soul album chart. It will hit on-the-ground music stores in the U.S. and Canada later, while no release date has been set for Asian markets. It's the first time a South Korean album has been promoted offshore and online exclusively through social-media groups, according to YG Entertainment, Taeyang's Korean R&B and hip-hop label. (Comment on this story.)

 
People in the Korean music industry are watching and learning. YG Entertainment plans to release the first album of girl group 2NE1 offshore and online. The group became famous after releasing the single "Lollipop," with Big Bang, which was featured in an LG cell-phone ad campaign last year. Since then, 2NE1's international exposure — particularly in the U.S. — has been growing. Black Eyed Peas producer will.i.am saw one of their videos and immediately wanted to work with them, says Choi Sung-jun, chief operations officer at YG Entertainment. They have been collaborating for the past couple of months in Los Angeles and London. (See TIME's 2006 profile on Korean pop star Rain.)



K-pop's online buzz has become a way for artists to make a name for themselves at home. Kim Yeo-hee, 22, became a YouTube star in March when she posted three videos under the name Apple Girl. In her first video, Kim played music with the applications of four Apple iPhones and sang Beyoncé's "Irreplaceable." Two days later, her name became the most searched word in all major Korean search engines. In May, Kim released her debut digital mini-album. She is now preparing a single for release in September. Kim, who went from making music on iPhones to selling her own music on iTunes in less than six months, says, "I wanted to become the Korean version of Justin Bieber. But I never imagined so many people could be interested in what I do.

Of course, once your face becomes known overseas, you still have to control your image. On a recent day this month, Taeyang was working nonstop at the YG studio in Seoul to get ready for his upcoming concert that might be streamed live on YouTube. The young celebrity massaged his shoulder, yawned and, with bags under his eyes, looked through the photos that will appear on his new album. He frowned at an image of himself in which his well-groomed goatee had been Photoshopped out. "Call the printer and tell them to change the picture," he told the designer. He gestured to the photo of his digitally clean-shaven face. "I want to look a bit tough," he said. "In the U.S., like this, they'll think I'm too nice."

 
Featured Artists : Taeyang / Kim Yeo-Hee
Featured Commentator : DFSB Kollective (Bernie Cho)

Sunday
Apr252010

MTV Iggy : The 25 Best New Bands In The World 


(NEW YORK CITY USA) : For every amazing new band there's at least a drillion terrible ones. So to save you time, here is our totally subjective list of the 25 Best New Bands In The World. From Chinese no wave to New Zealand dance-punk to home-growned Brooklyn indie rock we've got it all. Take a look at what we came up with -- and see who, you, the viewers voted for as the Best of the Best. The band who got the most votes will get an MTV Iggy weekend homepage takeover and a studio taping next time they roll through New York City!

ARTIST PROFILE : MAD SOUL CHILD

It's the 21st century. Regular old bands that just play music are so old-fashioned. We prefer our bands to follow the model of Mad Soul Child: One part dance-floor ready electro, one part sexy diva singer, and one part visual feast. Because yes, the trio that makes up Korea's most revolutionary pop-electro is made up of a DJ, a Diva, and a Music Video Director -- who at each show plays visuals to correspond to the tunes. Both impossible not to dance to and impossible not to watch; Mad Soul Child is the perfect mind-boggling smorgasbord of awesome in our over-stimulated culture.

Mad Soul Child was formed in 2001 by savvy electro genius DJ Chanwoo as way to get out from behind the tables and into the lime-light. Recruiting statuesque vocalist Jansil was step one. Convincing his old friend VJ Kwon to direct the visuals was step two. They've since collaborated with K-Pop royalty such as Lee Hyori and Jo Sungmo and gained a reputation as the go-to soundtrack for tons of TV ads. But that was all groundwork for their 2009 debut, La La La, a catchy, hook-filled album of jewel-toned electro, topped with Jansil's sly, sultry vocals.

On their big hit, "V.I.P. Girl" Jansil acts like the Korean Madonna, singing her own version of "Like a Virgin." "Kiss and touch," she sings breathily. "We gotta go on that runway." Yes, they do. Appearing at America's CMJ Music Festival last year they kicked off an international reputation that is still growing. We think they're set to get bigger than ever in 2010.

EXCLUSIVE MAD SOUL CHILD INTERVIEW : "The visuals are essential."

Mad Soul Child, AKA DJ Chanwoo, Jinsil and VJ Kwon sit down tell us about how they formed and what to expect from their live show.

MAD SOUL CHILD 'VIP Girl'

Hailing straight from Korea, Mad Soul Child consists of DJ Chanwoo, VJ Kwon, and Jinsil on vocals. Formed in 2001, and active in the Korean music scene ever since, Mad Soul Child spin together electronic beats and Jinsil's alluring voice that flows freely from Korean to English and back. Their catchy tunes never seem to want to leave your head. "VIP Girl" is a single from the band's debut album “La La La" released in 2009.

Featured Artist : Mad Soul Child
Artist Management : Mad Soul Child

International Digital Music Distribution : DFSB Kollective

 

Monday
Mar152010

10 Magazine : Life in Korea - 10 Questions


Bernie Cho: President of DFSB Kollective


1. As a Korean-American who grew up in the States, what was it like making the transition to Korea? When I grew up in the US, I always lived in sleepy countryside towns. Moving to Seoul was like stepping onto the set of Blade Runner—way too many bright lights in this big city. The noise, the crowds, and the speed of Seoul were a bit overwhelming at first. But daily reminders such as taking off my shoes at the front door, having kimchi served with almost every meal, and getting yelled at in Korean all the time made me feel at home.

2. How did you get involved with the music industry? I originally came here in 1993 to attend graduate school. When I crashed a movie launch party one night, I happened to meet an executive who asked me to apply for a job at his new music TV channel. On a whim, I went in for an interview and somehow ended up getting hired. So a week before classes started, I dropped out and never looked back. Over the next dozen years, I worked both in front of and behind the cameras as a presenter and producer for Korean music TV channels such as MNET, MTV, and Channel [V]. Thanks to such opportunities, I’ve had amazing front row views and backstage stage access to the rapid rise of the K-Pop music scene.

3. So how has K-Pop developed over the past fifteen years?
The first K-Pop music clips I saw on TV felt like cheesy, kitschy karaoke—I didn’t know whether to laugh or cry. But then, surprisingly, the quality of K-Pop music improved dramatically. Imitation gave way to innovation. Thanks to the emergence of slick beats, sexy stars, and sophisticated videos, K-Pop became hip, hot, and happening. Within a decade, K-Pop dominated almost 70% of the Korean music market. By the time the 2002 World Cup kicked in, K-Pop artists were topping music charts all over Asia. Fast forward to 2010 and K-Pop is now starting to climb the charts in North America and Europe.โ€จโ€จ

4. What does “DFSB Kollective” stand for? “DFSB” is a semi-meaningless, pseudo-heavy acronym of our favorite Fatboy Slim song chorus, “Da Funk Soul Bruthas.” Being that we were a bunch of guys from Seoul, it kinda sorta made sense. Over drinks, it sometimes gets misinterpreted as “Delta Force Seoul Base.” Over a lot of drinks, some people try to confuse it with the popular boy band Dong Bang Shin Ki (DBSK).

5. What led you to start this agency?
Over the years, my business partner Dalse and I developed not only professional but also personal relationships with many Korean artists and their management. What we kept hearing was a growing sense of frustration. Although no one would argue the quality of Korean music was getting better, the financial incentives to make great music seemed to be getting worse. They had to spend more time and money in marketing, only to make less profit, and split it with more people and places. Korean music TV channels were playing less videos in favor of reality TV shows and local online music stores were pricedumping digital tracks practically to free. This kind of business logic seemed dyslexic to us. As fans of music, we felt compelled to create a more sensible, sustainable, artist-friendly business model. Hence, we opened our creative agency.

6. So what exactly does DFSB Kollective do?
For Korean artists and management companies who want to go direct to their fans and go direct worldwide, we are a convenient, one-stop shop. We essentially provide label-like services without being a label. As the first official K-Pop aggregator for iTunes worldwide, we offer them the most direct distribution avenues into the most international digital music stores. We strike revenue-sharing deals with the world’s leading audio and video streaming sites on behalf of the 150 K-Pop acts that we represent, and we offer our clients overseas PR, concert productions, and a wide range of digital media solutions. And given that we not only offer 15% more but 15 times more in profit for every digital music sale overseas (compared to what they make in Korea), we provide non-rocket science reasons for them to work with us.

7. Just how important is the internet to artists these days?
In this day and age of Facebook, Twitter, and YouTube, anybody anywhere at any time can become the next big thing. If the Korean Wave is to shift from fad to phenomenon among those surfing the net, we need to empower K-Pop artists with the right combination of digital tools to enable music fans all over the world to discover them in a simpler, better, faster manner.

8. How would you describe the Korean digital market? DMZ: Digital Media Zeitgeist. In 2006, Korea became the first country in the world where digital music sales surpassed physical music sales. By 2007, Korea emerged as the #4 digital music market in the world. But below these staggering sales numbers are some hidden landmines. Although Korea is admired as one of the most wired (and wireless) societies in the world, the Korean internet has spawned a virtual walled garden that hinders non-Koreans from finding out more about K-Pop. Local portal sites’ reliance on ActiveX plug-ins makes it tough to preview and purchase K-Pop music from overseas and their reluctance to let foreigners register makes it rough for them to access K-Pop fan clubs. As much as K-Pop has surged in popularity in Asia and beyond, I wonder how much bigger K-Pop would be if Korean websites were more open and in tune with global standards and practices.
  
9. What is your personal opinion on Hallyu, the so-called Korean Wave? I’m very optimistic. But try asking 10 non-Asians to pronounce ‘Hallyu’ and see how many can pronounce it correctly and how many even know what it is. Until a bad hair perm takes on the name, I think it’s a lot safer and easier to sell K-Pop as part of the “Korean Wave.”

10. What advice would you give to a newcomer to Korea who wants to explore the indie music scene? If you’re on the ground and want to go underground, the only answer is Hongdae. It’s the mecca for Korea’s best and brightest new music talents. If you’re looking for some action in outdoor mosh pits, you can’t go wrong checking out amazing events like the Pentaport Rock Festival, Jisan Valley Festival, and Green Mint Festival. If you’re online, I recommend the quirky site Indieful ROK (indiefulrok.blogspot.com), run by a woman in Sweden (no joke) and the US-based sites AllKPop (allkpop.com) and Soompi (soompi.com), both of which generate way higher web traffic than any and all Korean music sites in Korea (go figure).

http://10magazine.asia/3114/bernie-cho-10questions/

By David Carruth

Sunday
Nov012009

Monocle Magazine : 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

"โ€จiPhone 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)

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


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