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Petition for Infinite and Woollim Entertainment to cancel concert screenings and plans for release of "Inconvenient Truth": an awareness campaign for misogyny and rape culture

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"You can thank Google for your new obsession" (CNN Geek Out)
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"Getting an Abortion in South Korea"
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Tablo, TaJinYo, and the implications of celebrity obsession
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Beauty standards and how idols propagate them
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Block B's comeback in a post-controversy framework
Idols tweeting about private matters
▪ The mentality of idol hopefuls [1] [2]
▪ Jay Park and being 'gangsta' in K-pop [1] [2] [3]
▪ Pursuing idoldom: AKF's advice [1] [2]
Shipping idols of the same sex
The role of visuals in K-pop
Can non-Asians make it in K-pop?
BEAST's 'racist' New York casting call?
Cultural insensitivity plagues K-pop
▪ English in K-pop songs [1] [2]
How 'Asian' are the MAMAs?
Thoughts on fan service
Plastic surgery: achieving 'natural' via unnatural means?
"National prestige" and the Hallyu Wave
Government takes action for sexual exploitation in K-pop?
Cracking down hagwons & education reform
The irony of the 'ethnic diversity' gimmick
BEAST & 4-Minute tells us not to watch porn?
The "Paradox of Korean Globalization" and K-pop
Japanese actor Sousuke Takaoka's "xenophobia" towards Hallyu?
Songs by BEAST, Jay Park, etc. banned
The "plight" of KoreAm idols?
Dalmatian's Daniel imitating accents: funny or "racist"?
What exactly makes K-pop "K-pop"?
Why "K-pop Secrets" sorta piss me off


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The name and the concept was inspired by Angry Asian Man and The Angry Black Woman. In my posts, I cite my sources accordingly. All images I include are not mine. None of the gifs are mine. Nope, not even that green fan. Credits go to their original owners. Someone please make me a less artistically-deficient banner.

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Angry K-pop Fan's literary work is licensed under a Creative Commons Attribution 3.0 Unported License.

(Venting since March 2011)
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Posts tagged "sm entertainment"

(Sorry I’ve been posting nothing but links to articles these days. I’m currently working on a new post, but it may still be a while. I’m really preoccupied with packing and goodbyes as I’m about to fly back to Canadaland for school T_T)

A quick rundown of the banning spree the Ministry of Gender Equality and Family seems to be having fun with nowadays (extracted from the article):

  • More than 2,600 songs have been banned in the past two years after being flagged for ‘hazardous media content’…
  • This month, 24 songs have been banned as a result of their references to alcohol - 160 for this year alone…
  • The Korean public have also blamed the Ministry’s unclear standards and inconsistency in censoring music. While the aforementioned songs were categorized as “hazardous” due to references to drinking, Nam-jin’s “Empty Glass” and Lim Chang-jung’s “A Glass of Soju”, whose major themes are alcohol, escaped the regulation [ko]. 

Agencies have already taken matters into their own hands. In fact, SM Entertainment has already won their lawsuit against the Ministry for issuing a ban on “Another Day,” by SM The Ballad group, while Cube Entertainment plans to follow suit for the condemnation against BEAST’s newest album. 

And it’s about time, too. I understand the intent here, but banning songs and restricting creative rights and freedom of expression is honestly not the best way to battle society’s ills

(found via The Grand Narrative)

Two international media bloggers recently published their views on the kpop phenomenon; but most importantly, on how and why they believe that the wave is, well, not up-to-par as a truly global force. 

Read this invalidation of Hallyu as a “global domination” force by CNN Go’s Esther Oh, and this post about its “soft power” by Neil Manticore-Griffin from the Chicago-based In These Times. 

Then read hellokpop blogger Ceefu criticize their critique of kpop (same link as post title). 

Ceefu refutes the legitimacy of the articles’ main points by bringing up how they failed to take into account “the heart of kpop”, which is its massive fanbases, both international and Korean. The two writers also get called out for illustrating a very narrow knowledge of kpop — Oh for not acknowledging other acts besides Se7en and BoA, and Manticore-Griffin for basically not backing up his claims with any sort of proof that he actually took the time to engage himself in the trend. Ceefu labels his “scathing indictment of Hallyu” as nothing but “opinions [based] on generalizations instead of first-hand knowledge.” 

In addition, Ceefu notes,

" […] my criticism is about the writing and not about the people who write. This is not personal. I’m sure Oh and Manticore-Griffin are perfectly lovely people, but they are people who have written about Kpop, of which they know little.  Okay, so a couple of articles contained some smack talk about Kpop. What’s the big deal? The big deal is that in introducing Kpop to broader readers, they both either leave out or dismiss fans, the heart of Kpop. I’m not talking about people on the fringe who are just one step away from a restraining order. I’m talking about regular people who like their Kpop.”

Millions of points go to Ceefu for speaking up on behalf of the rest of us international fans when it comes to defending against the dismissal of the kpop craze as something with a lot of international appeal. Because if it really was a global flop-and-drop, how else would you explain BIGBANG’s comeback album in the US top 10 iTunes albums chart (and just below Rihanna at that)? What about the massive sell-out of tickets for SM Town Paris? (A record of 15 minutes… holy heesus.) 

Ceefu has basically covered everything that came to mind while reading Oh’s and MG (Manticore-Griffin)’s posts, but there are some comments I’d like to add.

(click on the link to see more… I placed my review in a separate post to keep this post from hogging up space on your dash.)

Entertainment agencies KeyEast, SM, YG, JYP, AMENT, and Star J has joined forces and created an investment corporate body known as United Asia Management as a step closer to achieving a more international status for k-entertainment.

The CEO of KeyEast stated, 

"Using the experience each company has in advancing overseas, we will be bringing together each company’s business know-hows and network systems as the base for our new agency. We are looking forward to this collaboration in creating a synergistic effect for the advancement of not only Korea’s entertainment industry, but Asia as well."

According to Allkpop,

all artists under the six agencies will be under a database system that manages intellectual property rights. A new contents production system will be utilized as well for movies, dramas, and other media. UAM will also be acting as the global agency for artists planning to advance, or currently promoting in, overseas.

Ok, so I seriously know nothing about business and the like, but according to what I’ve read so far, intellectual property are creative inventions of the human mind (such as art, poetry, music, etc.), making intellectual property rights those that protect the interests of creators by giving them property rights over their creations. From this, I’m assuming one of the following:

  •  a) that the works created by the artists and the producers that will be created under the UAM’s name will be that of UAM, and not of the individual companies, or
  • b) the works created will still be under each individual companies’ names, just recorded within the larger database of UAM.

(Then again, there’s a huge 97% chance I’m wrong, so please correct me if you can. Seriously, I’m making huge guesses here.)  

ANYWAYS, UAM will be housing the following entertainers and more: Jang Dong Gun, Hyun Bin, Shin Min Ah, Bae Yong Joon, Kim Hyun Joong, BoA, Lee Yeon Hee, Goo Hye Sun, Big Bang, Rain, 2PM, Miss A, and the Wonder Girls.

Oh, and a comment that may fill up some holes:

Company YG, SM and JYP sell music in Korea. They all want to sell their music in Japan but to do that they have to use a middleman, (let us say for random’s sake) AVEX. However, AVEX only sells their music if he can have 50% of their sales in Japan. So YG, SM and JYP decided to pool their money together and start UAM. UAM is owned partially by all of them so they get more of their money back allowing them to expand into America and Europe. But, in Korea, Japan, America, and Europe company YG, SM and JYP all remain separate entities. (toplover13)

Besides the corporate aspect of this issue, it seems that the industry is seriously making itself aware and pro-active in the globalization of the k-entertainment industry. As pumped as I am (our access to k-pop as international fans is growing!!), some comments of the article highlighting the possible pitfalls of this caught my eye:

  • Many fans seemed to be concerned about the fates of smaller companies (such as Cube (4Minute, G.Na, BEAST).

This is a legit concern, come to think of it. Competition is no longer competition — it’s purely domination. What will happen to smaller companies’ plans to promote their artists overseas?

  • Many are questioning the donning of the term “Asialyu” in replacement of “Hallyu,” as stated in the article. 

People are getting technical — there is debate that if all these companies are purely South Korean companies, then it’s nothing more than just a power up for “Hallyu”. The ‘domination of Asia’ that is implied through the term “Asialyu” is not at all existent if this is the case. (Also, wtf is up with a fail word like “Asialyu”)

Another pretty interesting point was brought up by a particular commentator:

What’s really interesting is what will happen to …say the Japan market. Currently SM contracts LOADS with AVEX…and in turn AVEX acts as SM’s strong-arm to get their artists airplay/TV time, or in the case of JYJ, to completely block them from public activities all together. Soooo ~~~ when this UAM cuts out AVEX (and AVEX’s $$$ take from Korean artists) what do you think will happen within the Japanese Management Companies? I’m gonna bet Korean artists will no longer be as welcome to the Oricon charts as they once were. (sally_b)

On the other hand, fans are spazzing over it, claiming that: 

  • the cohesion of groups under a single label (somewhat) may lessen fan wars and tension between fan clubs (THANK GOD)
  • more exposure for k-entertainment on a global scale
  • a more direct approach is taken in the direction towards overseas promotions (no longer is it a wishy-washy sort of project — an establishment like this consolidates commitment towards the effort)

in addition, my two cents:

  • establishing themselves in a more global scale places these companies under a bigger watchdog, which may decrease the potential for any corruptive corporate activities and misdemeanors, a huge plus for the entertainers on board. 

It’s quite a complicated issue, nevertheless something that we all need to keep tabs on. What does everyone else think?

(image credit: Allkpop)