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The Globalization of K-Pop: the Interplay of External and Internal Forces
THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological. -
ARTIST INDEX(Continued)
ChartARTIST Codes: CJ (Contemporary Jazz) INDEXINT (Internet) RBC (R&B/Hip-Hop Catalog) –SINGLES– DC (Dance Club Songs) LR (Latin Rhythm) RP (Rap Airplay) –ALBUMS– CL (Traditional Classical) JZ (Traditional Jazz) RBL (R&B Albums) A40 (Adult Top 40) DES (Dance/Electronic Songs) MO (Alternative) RS (Rap Songs) B200 (The Billboard 200) CX (Classical Crossover) LA (Latin Albums) RE (Reggae) AC (Adult Contemporary) H100 (Hot 100) ODS (On-Demand Songs) STS (Streaming Songs) BG (Bluegrass) EA (Dance/Electronic) LPA (Latin Pop Albums) RLP (Rap Albums) ARB (Adult R&B) HA (Hot 100 Airplay) RB (R&B Songs) TSS (Tropical Songs) BL (Blues) GA (Gospel) LRS (Latin Rhythm Albums) RMA (Regional Mexican Albums) CA (Christian AC) HD (Hot Digital Songs) RBH (R&B Hip-Hop) XAS (Holiday Airplay) MAY CA (Country) HOL (Holiday) NA (New Age) TSA (Tropical Albums) CS (Country) HSS (Hot 100 Singles Sales) RKA (Rock Airplay) XMS (Holiday Songs) CC (Christian) HS (Heatseekers) PCA (Catalog) WM (World) CST (Christian Songs) LPS (Latin Pop Songs) RMS (Regional Mexican Songs) 15 CCA (Country Catalog) IND (Independent) RBA (R&B/Hip-Hop) DA (Dance/Mix Show Airplay) LT (Hot Latin Songs) RO (Hot Rock Songs) 2021 $NOT HS 23 BIG30 H100 80; RBH 34 NAT KING COLE JZ 5 -F- PETER HOLLENS CX 13 LAKE STREET DIVE RKA 43 21 SAVAGE B200 111; H100 54; HD 21; RBH 25; BIG DADDY WEAVE CA 20; CST 39 PHIL COLLINS HD 36 MARIANNE FAITHFULL NA 3 WHITNEY HOUSTON B200 190; RBL 17 KENDRICK LAMAR B200 51, 83; PCA 5, 17; RS 19; STM 35 RBA 26, 40; RLP 23 BIG SCARR B200 116 OLIVIA COLMAN CL 12 CHET -
Lirik Lagu 2NE1 - Come Back Home [Romanized/Hangul/Engtrans/Indotrans]
Lirik Lagu 2NE1 - Come Back Home [Romanized/Hangul/EngTrans/IndoTrans] Romanization [CL] One two three neon nareul tteonatjiman eodingaeseo neoui sumsoriga deullyeowa [Minzy] tto dasi Four five six ppalgan nunmuri naeryeowa nareul andeon neoui hyanggiga geuripda ` [Dara] nareul wihan geora haetdeon neoui mal geojitmalcheoreom chagapge doraseotdeon neoneun wae neoneun wae you’re gone away [Bom] Come Back Home Can you come back home chagaun sesang kkeute nal beoriji malgo nae gyeoteuro [CL] Come back home Can you come back home modeun apeumeun dwiro hae yeojeonhi neol gidaryeo ireoke Now you gotta do what you gotta do [CL] COME BACK HOME COME BACK HOME [Dara] Come baby baby come come baby Come Come baby baby come come [CL] naege dorawa [Dara] Come baby baby come come baby Come Come baby baby come come [Minzy] amu daedap eomneun niga neomu mipjiman gakkeumeun neodo nareul geuriwohalkka yeah [CL] neo eomneun sigan soge gatyeobeorin nan apeul bol suga eobseo neomu duryeowo [Dara] ajikdo motda han manheun naldeuri gidarigo isseul geotman gata neoneun eodie eodie too far away [Bom] Come Back Home Can you come back home chagaun sesang kkeute nal beoriji malgo nae gyeoteuro [Minzy] Come back home Can you come back home modeun apeumeun dwiro hae yeojeonhi neol gidaryeo ireoke [CL] Now you gotta do what you gotta do [Minzy] Come back home Come back home [Dara] Come baby baby come come baby Come Come baby baby come come [CL] naege dorawa [Dara] Come baby baby come come baby Come Come baby baby come come [Bom] Come Back Home Can you come back home -
JUVENILE CL 'K ( D R
M ITCHELL, . vo t, F h , Neuberger, N overini, Shoemaker, and Tredup 1, Approval Minutes - April 1 7, 2008 2. Public Comment 3. Mo nthly Financi a l Report (P. Perez) 4. Mo nthly Report 5. Resolution- Awarding a Contract for Food Servi ce at the t: :. dult J usti ce ,rst r 6. Resolution: An Inte rgove rnmental Agree ment Between K&^i County , the Srr,^ and the City of St. Charles Rena rdin g M unition s B unke rs DRUG R . :_ I . " I -. ... (Judge Weir/M, Da ly/T . Scott) 7. M on'hly port JUVENILE CL 'k ( D r. T. B rown Monthly Rap rt PU BLI C L -a . ER (D . I° lira nt) 9 . Monthlly Report JIT CLERK ( D . Se ll r) 1 0 . Month lyReport Ba rsa nti) 11. Monthly A _ _ I_ ^^ ....^ Y & COURTS (D. Naug hton 12. M onthly Report 1 . Di scussi o n: Night Court J. I ( . West) 1 4 . M onthly Re port (J li n h me 1 5. I` rn4 h l j: 7,e p rt ADULT ' " ' ' (P. Perez/P. Keaty) 1 6 . ily Report COURT 'ACES I II ' (J . ullr/"att) 17, Monthl y Repo rt 1 8. D i scu ss ion- J uvenile Justice Center Evacu ation 19. Di scu ssion: SB2275 (1 7-year old bill) 20. Discussion. Redepl oy Illinois ADJ O U RNMEN T L a) L-'I a) a DR REH I J St "" cs of 05/09/08 C LIENTS I N ACTIVE PEN D IN G TRANSF E RRED TOTA L *Transferred ba ck to respective counties/state ..:" -ACTIVE M EN 163 WOMEN 46 TOTAL 209 RO FILE ACTIVE CAUCASIAN 1 5 AFRI CAN AMER ICAN 50 HISPAN I C 44 TOTAL RACE I GENDER - CTI E CAUCASIAN 'ALE FEMALE AFRICAN AME RI CAN AL 4 3 FEM ALE 7' HISPANIC MALE 38 1 8 % FE MALE 6 3 % TOTA L 209 5/9/20082:59 Cocaine 11 7 56% Herion 27 1 3 % M arijuana 50 24 % Prescription 6 3% Methadone 1 Alcohol 8 4% TOTAL 209 CLI ENTS D IVID ED BY GEOGRAPHIC ACTIVE South °Tri C ities North 32 Aurora 70 Batavia 11 Elgin Montgo mery 10 St. -
The PEP Quarterly
Winter 2016 The PEP Quarterly Inside this issue: The Black History Assembly Internship Report 2 By: Forrest Barrett Dodge Life And Style 4 Entertainment 5 th Sports 11 On February 19 , we went to an assembly and celebrated Afro-American Culture from Comic 12 Past to the Future. It was a fun and educa- Art 13 tional experience. There was music, poetry, Art Show 14 and skits as well as a slideshow. I really loved the dancing. Terrence, Shane, Dreavon, Jasper, and Ms. Eva danced at the end. I loved learning about Black History Month. By Harris Claster The PEP Program would like to thank all of the wonderful bus drivers that take us to our internships, and fun places like the National Zoo. We just want to say that we appreciate all of the great things that you do for us during the school year. These individuals work hard every week to get us to where we want to go. get The bus drivers get us there and back to the Career Center on time and always safely. Finally, we want to also take the time to thank all the assistants who come with us on these internships and trips and help support us too. The PEP Quarterly Transportation By: Giovanni Rios floors, wipe the the seats, 3 at a We have a new dashboards, wheel time. I cleaned the PEP internship. It wells, radios, walkie- dashboards. And is with the APS talkies, clean the Shane mops the transportation de- windows outside, floor on the school partment. The clean the doors out- bus, because is school bus driver side the bus. -
Gender Discrimination in the K-Pop Industry
Journal of International Women's Studies Volume 22 Issue 7 Gendering the Labor Market: Women’s Article 2 Struggles in the Global Labor Force July 2021 Crafted for the Male Gaze: Gender Discrimination in the K-Pop Industry Liz Jonas Follow this and additional works at: https://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Jonas, Liz (2021). Crafted for the Male Gaze: Gender Discrimination in the K-Pop Industry. Journal of International Women's Studies, 22(7), 3-18. Available at: https://vc.bridgew.edu/jiws/vol22/iss7/2 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2021 Journal of International Women’s Studies. Crafted for the Male Gaze: Gender Discrimination in the K-Pop Industry By Liz Jonas1 Abstract This paper explores the ways in which the idol industry portrays male and female bodies through the comparison of idol groups and the dominant ways in which they are marketed to the public. A key difference is the absence or presence of agency. Whereas boy group content may market towards the female gaze, their content is crafted by a largely male creative staff or the idols themselves, affording the idols agency over their choices or placing them in power holding positions. Contrasted, girl groups are marketed towards the male gaze, by a largely male creative staff and with less idols participating. -
ARTIST INDEX(Continued)
ChartARTIST Codes: CJ (Contemporary Jazz) INDEXINT (Internet) RBC (R&B/Hip-Hop Catalog) –SINGLES– DC (Dance Club Songs) LR (Latin Rhythm) RP (Rap Airplay) –ALBUMS– CL (Traditional Classical) JZ (Traditional Jazz) RBL (R&B Albums) A40 (Adult Top 40) DES (Dance/Electronic Songs) MO (Alternative) RS (Rap Songs) B200 (The Billboard 200) CX (Classical Crossover) LA (Latin Albums) RE (Reggae) AC (Adult Contemporary) H100 (Hot 100) ODS (On-Demand Songs) STS (Streaming Songs) BG (Bluegrass) EA (Dance/Electronic) LPA (Latin Pop Albums) RLP (Rap Albums) ARB (Adult R&B) HA (Hot 100 Airplay) RB (R&B Songs) TSS (Tropical Songs) BL (Blues) GA (Gospel) LRS (Latin Rhythm Albums) RMA (Regional Mexican Albums) CA (Christian AC) HD (Hot Digital Songs) RBH (R&B Hip-Hop) XAS (Holiday Airplay) AUG CA (Country) HOL (Holiday) NA (New Age) TSA (Tropical Albums) CS (Country) HSS (Hot 100 Singles Sales) RKA (Rock Airplay) XMS (Holiday Songs) CC (Christian) HS (Heatseekers) PCA (Catalog) WM (World) CST (Christian Songs) LPS (Latin Pop Songs) RMS (Regional Mexican Songs) 28 CCA (Country Catalog) IND (Independent) RBA (R&B/Hip-Hop) DA (Dance/Mix Show Airplay) LT (Hot Latin Songs) RO (Hot Rock Songs) 2021 $NOT RBH 50 NICOLA BENEDETTI CL 5 CHEVELLE RKA 25 EL FANTASMA LT 31; RMS 4, 17 -I- JIM LAUDERDALE BG 11 070 SHAKE DES 16 TONY BENNETT JZ 14 TYLER CHILDERS B200 181; CA 18; IND 22 FARRUKO LA 38; DES 1; H100 33; HD 39; LPS ICONA POP DA 28 LAUREN ALAINA CS 24, 26, 43; H100 91 2; LR 5, 6; LT 1, 25; ODS 21; STM 18 21 SAVAGE H100 90; RBH 32; RP 21; RS 23 BENNY THE BUTCHER -
The Globalization of K-Pop: Is K-Pop Losing Its Korean-Ness?
Situations Vol. 5 (Winter 2011) © 2011 by Yonsei University Yun-Jung Choi Teacher at the Writing Center (Yonsei University, Seoul) The Globalization of K-Pop: Is K-Pop Losing its Korean-ness? The recent news of Korean boy and girl bands making headlines in Eastern and Southern Asia, Europe and the US are sending new hopes and energy through the K-Pop (short for Korean Pop) industry following the surge of pride when the Korean Wave first hit Japan and China in the late 1990s and early 2000s. The spread of Korean music and the increasing popularity of its singers is mainly due to the three major entertainment companies that dominate the K-Pop market: SM Entertainment (SM), YG Entertainment (YG) and JYP Entertainment (JYPE). SM is the oldest and largest entertainment company in the Korean music scene. It gave birth to the first generation of K-Pop boy and girl groups, including H.O.T, Shinhwa and S.E.S. It now produces the more recent teenage idols, TVXQ, Super Junior, SHINee and Girls’ Generation. YG is known for its hip-hop and electronic sounds that are well represented by its current acts Big Bang and 2NE1. JYPE also has a lineup of idol groups under its name: Wonder Girls, 2AM, 2PM and miss A. As K-Pop’s influence and popularity continues to spread, the three entertainment companies are keenly trying to keep up with the demand and expectations of K-Pop audiences around the world. The three K-Pop powerhouses are incorporating experienced foreign—more precisely, Western—talent for both music and choreography in order to make K-Pop more appealing abroad. -
Kiel Tutin Resume
KIEL TUTIN CHOREOGRAPHER MUSIC VIDEO TWICE ‘I CAN’T STOP ME’ CHOREOGRAPHER LEE SUHYUN ‘ALIEN’ CHOREOGRAPHER BLACKPINK ‘LOVESICK GIRLS’ CHOREOGRAPHER JUUN D ‘ANH LA GA NGOC’ CHOREOGRAPHER RAINIE YANG ‘BAD BAD LADY’ CHOREOGRAPHER BLACKPINK & SELENA GOMEZ ‘ICE CREAM’ CHOREOGRAPHER ITZY ‘NOT SHY’ CHOREOGRAPHER J.Y.PARK ‘WHEN WE DISCO’ CHOREOGRAPHER HYUNA ‘GOOD GIRL’ CHOREOGRAPHER SOMI ‘WHAT YOU WAITING FOR’ CHOREOGRAPHER BLACKPINK ‘HOW YOU LIKE THAT’ CHOREOGRAPHER R1SE ‘SUNR1SE’ CHOREOGRAPHER NIZI ‘MAKE YOU HAPPY’ CHOREOGRAPHER TWICE ‘FANFARE’ CHOREOGRAPHER TWICE ‘MORE & MORE’ CHOREOGRAPHER HAILEE STEINFELD ‘I LOVE YOU’S' CHOREOGRAPHER ZHANG BICHEN (DIAMOND) ‘MY WAY’ CHOREOGRAPHER COCO LEE ‘FANCY’ CHOREOGRAPHER TODRICK HALL ‘FAG’ CHOREOGRAPHER TWICE ‘FEEL SPECIAL’ CHOREOGRAPHER KUN ‘YOUNG’ CHOREOGRAPHER SOMI ‘BIRTHDAY’ CHOREOGRAPHER TWICE ‘FANCY’ CHOREOGRAPHER BLACKPINK ‘KILL THIS LOVE’ CHOREOGRAPHER AMANDA ‘NEW DAY’ CHOREOGRAPHER R.TEE X ANDA ‘WHAT YOU WAITING FOR’ CHOREOGRAPHER AMANDA ‘UTOPIA’ CHOREOGRAPHER JOLIN TSAI ‘WOMXNLY (DANCE VERSION’ CHOREOGRAPHER JOLIN TSAI ‘UGLY BEAUTY’ CHOREOGRAPHER JENNIE (FROM BLACKPINK) ‘SOLO’ CHOREOGRAPHER BLACKPINK ‘DDU-DU DDU-DU’ CHOREOGRAPHER JENNIFER LOPEZ ‘DINERO (FEAT. CARDI B) CHOREOGRAPHER JENNIFER LOPEZ ‘EL ANILLO’ CHOREOGRAPHER JOLIN TSAI ‘STAND UP’ CHOREOGRAPHER MONSTA X ‘SPOTLIGHT’ CHOREOGRAPHER ANNA ‘TIPTOE’ CHOREOGRAPHER ANNA ‘E-HUH?’ CHOREOGRAPHER ANNA ‘PARTY CRASHER’ CHOREOGRAPHER STAN WALKER ‘YOU NEVER KNOW’ CHOREOGRAPHER iKON ‘BOUNCE (RHYTHM TA)’ CO-CHOREOGRAPHER CL ‘HELLO BITCHES’ AS. CHOREOGRAPHER PSY ‘DADDY’ CO-CHOREOGRAPHER G-DRAGON & T.O.P ‘ZUTTER’ AS. CHOREOGRAPHER BIGBANG ‘BANG BANG BANG’ AS. CHOREOGRAPHER JOLIN TSAI ‘MEDUSA’ CHOREOGRAPHER JOLIN TSAI ‘PLAY’ CHOREOGRAPHER JOLIN TSAI ‘PHONY QUEEN’ CHOREOGRAPHER 4MINUTE ‘CRAZY’ CHOREOGRAPHER TOURS JOLIN TSAI ‘UGLY BEAUTY WORLD TOUR’ CHOREOGRAPHER TODRICK HALL ‘HAUS PARTY WORLD TOUR’ CHOREOGRAPHER COCO LEE ‘ME TO YOU’ TOUR CHOREOGRAPHER JENNIFER LOPEZ ‘IT’S MY PARTY’ U.S.A. -
Artikel 1 June 2020.Indd
ASEAN Marketing Journal • Vol. XII • No. 1 • 1-8 SOSIAL MEDIA STRATEGY OF NEW KPOP ALBUM : A VISUAL ANALYSIS OF BLACKPINK’S PHOTO TEASER Yudhistya Ayu Kusumawati1 1Visual Communication Design, School of Design, Bina Nusantara University, Jakarta, Indonesia 11480 [email protected] Anindya Widita2 2Public Relations, Faculty of Economics & Communication, Bina Nusantara University, Jakarta, Indonesia 11480 [email protected] ABSTRACT Manuscript type: Research article. Research Aims: This paper examined visual concept in Blackpink photo teaser as the promo- tion strategy in social media. Design/methodology/approach: This research was carried with qualitative approach, using Roland Barthes semiotics analysis to identify sign and symbol to identify visual meaning of Blackpink photo teaser and how the group is being presented through social media. Research Findings: Blackpink photo teasers have visual appeals which is consistent with the brand of the group. The girl crush and duality concepts of black and pink characters representing beautiful and strong persona were the message intended to be delivered through social media to the audience. Theoretical Contribution/Originality: This research explored the message contained within the visual concept in promotional photo teasers of a K-Pop group, Blackpink, as a social me- dia strategy in promoting the new album. It is notable that the group wanted to project certain image through the photo teasers of the new album. Practitioner/Policy Implication: This research noted that the promotional strategy of a brand, in this case, the K-Pop group, in social media takes into consideration the brand iden- tity and message appeals other than the visual aspect. Research limitation/Implications: This research only focused on one K-Pop group and a new album. -
A Look Into the Kaleidoscopic and Cosmopolitan Branding
TRY TO FOLLOW ME: A LOOK INTO THE KALEIDOSCOPIC AND COSMOPOLITAN BRANDING SCENE OF POP MUSIC IN SOUTH KOREA HONORS THESIS Presented to the Honors Committee of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Justin Kendall Joe San Marcos, Texas May 2014 TRY TO FOLLOW ME: A LOOK INTO THE KALEIDOSCOPIC AND COSMOPOLITAN BRANDING SCENE OF POP MUSIC IN SOUTH KOREA Thesis Supervisors: ________________________________ Judith Oskam, Ed.D. School of Journalism and Mass Communication ________________________________ Olga Mayoral-Wilson, APR School of Journalism and Mass Communication Approved: ____________________________________ Heather C. Galloway, Ph.D. Dean, Honors College COPYRIGHT © 2014 BY 周 JUSTIN KENDALL JOE iv ACKNOWLEDGEMENTS I want to thank everyone for their support during the project: Dr. Judy Oskam for her kindred enthusiasm, insight and new K-Pop songs; Professor Olga Wilson for her plethora of research expertise and faith in my skill; Selin Janis Aydin for transforming the birth of a K-Pop fan into an art form; the Honors College for the opportunity to take this unique journey; Dr. Galloway and Professor McCabe for imparting their discipline to writing a strong and artistic thesis; the School of Journalism and Mass Communication for giving direction to my profession; my friends and family for lending their ears, opinions and eagerness in this important milestone; my best friend Laura Donnell for being my soundboard and listening to my hysterics; my Aunt Nanette and Uncle Greg for giving sanctuary to my craziness; and my mom and dad for their understanding and kindling my fire and pride in who I am. -
Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music Sarah Leung
Vassar College Digital Window @ Vassar Senior Capstone Projects 2012 Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music Sarah Leung Follow this and additional works at: http://digitalwindow.vassar.edu/senior_capstone Part of the Film and Media Studies Commons Recommended Citation Leung, Sarah, "Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music" (2012). Senior Capstone Projects. 149. http://digitalwindow.vassar.edu/senior_capstone/149 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Catching the K-Pop Wave: Globality in the Production, Distribution, and Consumption of South Korean Popular Music Sarah Leung Media Studies Senior Thesis Thesis Adviser: Tarik Elseewi April 20, 2012 Chapter List: I. Going with the Flow: K-Pop and the Hallyu Wave…….…………………………………2 1. Introduction…………………………………………………..……………………2 2. So What is K-Pop? Local vs. Global Identities……………...…………….…….10 II. Making the Band: K-Pop Production………………….…….…….….….………………25 1. The Importance of Image……………………………………………..………….25 2. Idol Recruitment, Training, and Maintenance………………………….…..……28 III. Around the World: Patterns of K-Pop Consumption…………….….….…….………….34 1. Where is K-Pop being Consumed? …………………….….…………………….34 2. Interculture, Transnational Identity, and Resistance……...……………….……..42 IV. Crazed! The “Pop” in K-Pop………………………………………………………….…48 1. H.O.T.? Issues of Gender and Sexuality in K-Pop’s Appeal……..…..………….48 2. Fan Culture and Media Convergence………………...……………………….…69 V. Conclusions……………………………………………..………………………….…….77 Bibliography…………………………………………………………………………………85 Leung 1 I.