Arts & Culture Master Plan
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Entertainment&Media
ENTERTAINMENT&MEDIA CJ E&M CJ CGV CJ HELLOVISION 1 CJ E&M is Asia’s No.1 integrated contents company, offering a variety of contents and platform services, including media, movies, live entertainment, and games. CJ E&M leverages synergies by converging a myriad of contents to lead the global Hallyu with new contents developed for one source for multi-use. 25 Korea’s first Multiplex Theater CGV boasts the largest number of cinemas in Korea and the greatest brand power. CGV has continued to develop a unique cinema experience so that the audience can watch a movie within the optimal environment. Cultureplex offers a new paradigm in movie theaters and is just one of the many innovations that CJ has brought to the movie industry. 41 CJ HelloVision is a leader in the smart platform market, delivering valuable contents and information to customers. CJ HelloVision provides you with advanced services fit for the new media environment. Its products include smart cable TV ‘hello tv Smart,’ digital cable TV ‘hello tv,’ fast speed internet ‘hello net,’ internet home telephone ‘hello fone,’ Korea’s No.1 budget phone service ‘hello mobile’ and the N screen service ‘tving.’ CJ E&M CJ CGV CJ HELLOVISION 2 3 BUSINESS OVERVIEW FINANCIAL HIGHLIGHTS CJ E&M Weight of each business Sales by year (Unit: billion won) CJ E&M Center, 66, Sangamsan-ro, Mapo-gu, Seoul as % of sales www.cjenm.com (As of 2013) 2013 1,716.1 2012 1,394.6 29% Asia’s No.1 Total Contents Company CJ E&M, 2011 1,279.2 45% creating a culture and a trend 12% Media Sales Profit by Year (Unit: billion won) Game 14% CJ E&M is the No.1 total contents company creating culture and trends. -
BTS Love Yourself: Tear Throughout the Past Year Or So, K-Pop Group; BTS Has Been Blown up Like Crazy
BTS Love Yourself: Tear Throughout the past year or so, K-Pop group; BTS has been blown up like crazy. If you haven’t heard their name at least once, then I’m assuming you don’t keep up with the internet much. BTS has had so much worldwide success over the past year, that it’s hard to believe that they started off by advertising themselves with posters on the streets just 5 years ago. Their stage presence makes fans go wild, and have an amazing global following. They soon had became the most successful K-Pop act in U.S. history. Members from left to right: J-Hope, Jungkook, V (Taehyung), Jin, RM, Suga, Jimin If you are not familiar with K-Pop already, it is a genre of music that has originated in Korea. Korean Pop music has been popular internationally for a good few years, it’s not limited to just people in Korea. Every fan has their reason for liking the genre, maybe it’s the language, the sound, the style, or all of those things. Some people misinterpret fans as being ‘Koreaboos,’ which is internet slang for people who appropriate Korean culture and fetishize Koreans. Not all K-Pop fans are like that, many international fans respect Korean culture, and many are in fact against this kind of behaviour. Biographyoooooooooooooooooooooo ooooooooooooooooooooooo As for BTS fans, ARMY’s is the official fandom name, every K-Pop group or artist comes up with a name for their fans. BTS originally stood for ‘Bulletproof Boy Scouts,’ however throughout the years they have become comfortable with it standing for ‘Beyond The Scene.’ They debuted in 2013 along with their first album ‘2 Kool 4 Skool,’ simultaneously with the lead single in it, ‘No More Dream.’ The album was a big hit as it sold over 145,000 copies. -
AR Rahman and the Global Routes of Indian Popular Music
BEYOND KITSCH: A. R. RAHMAN AND THE GLOBAL ROUTES OF INDIAN POPULAR MUSIC Stephanie Lou Jackson A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: David Harnish, Advisor Esther Clinton Jeremy Wallach © 2010 Stephanie Jackson All Rights Reserved iii ABSTRACT David Harnish, Advisor At the 2009 Academy Awards, A. R. Rahman became the first Indian composer to win Best Score and Best Song (“Jai Ho”) for his music in the film, Slumdog Millionaire (2008). This event not only granted Rahman another prestigious accolade for his accomplishments as a popular film music composer (i.e., he has been awarded many times over in India for his music), but it gave Rahman new star-status recognition among a Western audience. Although enormously famous in India and well-known among the South Asian diaspora located throughout many parts of the world, Rahman remained, up until that time, virtually unknown among mainstream U.S. audiences. U.S. audiences today are perhaps more likely than a decade ago to recognize the sounds and images of Indian cinema known as Bollywood, a cultural artifact, once considered “kitsch,” that increasingly traverses international popular cultures. Consequently, the appeal of Rahman’s Bollywood music among a wider global audience (as presented in Slumdog Millionaire) coincides with the global circulation and consumption of Bollywood films and music in recent years. I suggest that the appeal for Rahman’s music outside of India cannot be explained by the Western fascination with the exotic “Other," but instead involves a cultural affinity for a type of style and sound set forth in Rahman’s music. -
Copyright for Blockheads: an Empirical Study of Market Incentive and Intrinsic Motivation
COPYRIGHT FOR BLOCKHEADS: AN EMPIRICAL STUDY OF MARKET INCENTIVE AND INTRINSIC MOTIVATION Jiarui Liu Copyright law is widely perceived as the means to promote social welfare by providing necessary incentive for intellectual creation. However, there has been little clarity in copyright literature on how artists actually respond to copyright incentives: What factors motivate artists to create works? How do artists perceive the usefulness of copyright protection? Would artists continue their artistic careers in a world without copyright law? This article contains a systematic study regarding copyright incentives, based on industrial statistics and extensive interviews from the music industry in China, a virtual copyright-free environment featuring one of the highest piracy rates in the world and having forced dramatic transformation of music businesses. The empirical research indicates three seemingly paradoxical phenomena: While 17.9% of all the musicians in the sample referred to economic benefits as at least part of their motivations for music creation, 97.4% specifically recognized money as being important and helpful for music creation; While 56.4% alleged that copyright piracy did not affect their creative motivations, 72% agreed that copyright piracy does affect music creation; While 53.8% explicitly admitted that they had little awareness or knowledge of copyright, 92.3% indicated that the current level of copyright protection is insufficient and 71.8% suggested that copyright law should provide strong incentives for music creation. The empirical evidence itself provides compelling explanations for such paradoxes: Even though musicians primarily create music for music’s sake, copyright law could still supply powerful incentive for music production in a way that not only caters to market demand, but also allows for broader artistic freedom. -
Carnegie Hall Musical Explorers Song
Weill Music Institute Musical Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 Teacher Guide 2017 | 2018 Weill Music Institute Musical Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 Teacher Guide 2017 | 2018 WEILL MUSIC INSTITUTE Joanna Massey, Director, Learning & Engagement Programs Amy Mereson, Assistant Director, Learning & Engagement Programs Anouska Swaray, Manager, Learning & Engagement Programs ADDITIONAL CONTRIBUTERS Sbongiseni Duma Shanna Lesniak-Whitney Tshidi Manye Emeline Michel Martha Redbone Sofía Rei Sofia Tosello Ilusha Tsinadze Imani Uzuri PUBLISHING AND CREATIVE SERVICES Eric Lubarsky, Senior Editor Raphael Davison, Senior Graphic Designer ILLUSTRATIONS Sophie Hogarth AUDIO PRODUCTION Jeff Cook Weill Music Institute at Carnegie Hall 881 Seventh Avenue | New York, NY 10019 Phone: 212-903-9670 | Fax: 212-903-0758 [email protected] carnegiehall.org/MusicalExplorers Musical Explorers is made available to a nationwide audience through Carnegie Hall’s Weill Music Institute. Lead funding for Musical Explorers has been provided by Ralph W. and Leona Kern. Lead funding for Musical Explorers has also been graciously provided by JJR Foundation, JMCMRJ Sorrell Foundation, and Joan and Sanford I. Weill and the Weill Family Foundation. Major funding for Musical Explorers has been provided by the E.H.A. Foundation and The Walt Disney Company. © Additional support has been provided by The Edwin -
Youth Identity and Regional Music in Northeastern
YOUTH IDENTITY AND REGIONAL MUSIC IN NORTHEASTERN THAILAND A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF ARTS IN MUSIC DECEMBER 2017 by Megan Marie DeKievit Thesis Committee: Frederick Lau, Chairperson Barbara Andaya R. Anderson Sutton Keywords: identity, luk thung, mo lam, urbanization, Isan, Thailand, modernity, globalization, localization, fusion music, luk thung-mo lam Abstract Music in the northeastern region of Thailand comes in several forms, including luk thung, which has been identified by scholars such as Craig Lockhard (1998) and James Mitchell (2015) as the most popular genre of music in Thailand, and mo lam, a local style of singing and dancing mainly performed only in this region. Both these genres trace their origins to Isan, the northeastern region of Thailand, and are strongly associated with the country's Lao minority and rural identity. In the 1990s a new Isan musical genre combining musical characteristics of luk thung and mo lam became popularized throughout Isan and the rest of Thailand. Scholars such as Sanong Klangprasri (2541/1998) and Tinnakorn Attapaiboon (2554/2011) have referred to this genre as luk thung-mo lam. While still firmly situated in the Isan region, this genre has gone through various stylistic changes. Resembling the changing job market of the northeast region, this music is experiencing the effects of urbanization, while still maintaining regional flavor in the sonic effect and sentiment. This study will explore expressions of regional identities in contemporary luk thung-mo lam music as experienced by young people in the Isan region. -
On-Chart Success Dynamics of Popular Songs
On-Chart Success Dynamics of Popular Songs Seungkyu Shin and Juyong Park Graduate School of Culture Technology and BK21 Plus Postgraduate Programme for Content Science, Korea Advanced Institute of Science & Technology, Daejeon, Republic of Korea 34141 In the modern era where highly-commodified cultural products compete heavily for mass consump- tion, finding the principles behind the complex process of how successful, “hit” products emerge remains a vital scientific goal that requires an interdisciplinary approach. Here we present a frame- work for tracing the cycle of prosperity-and-decline of a product to find insights into influential and potent factors that determine its success. As a rapid, high-throughput indicator of the preference of the public, popularity charts have emerged as a useful information source for finding the market performance patterns of products over time, which we call the on-chart life trajectories that show how the products enter the chart, fare inside it, and eventually exit from it. We propose quantitative parameters to characterise a life trajectory, and analyse a large-scale data set of nearly 7 000 songs from Gaon Chart, a major weekly Korean Pop (K-Pop) chart that cover a span of six years. We find that a significant role is played by non-musical extrinsic factors such as the established fan base of the artist and the might of production companies in the on-chart success of songs, strongly indicative of the commodified nature of modern cultural products. We also review a possible mathematical model of this phenomenon, and discuss several nontrivial yet intriguing trajectories that we call the “Late Bloomers” and the “Re-entrants” that appears to be strongly driven by serendipitous exposure on mass media and the changes of seasons. -
Gd&T Tolerance Stack up Analysis
Gd Continue For G-Dragon's eponymous EP, see Kwon Ji Yong. The merger is being considered for the merger of the South Korean singer, rapper and producer Pattern below (Korean name). See the templates for discussion to help reach consensus. It's a Korean name; Kwon's last name. G-DragonG-Dragon on Infinite Challenge Yeongdong Expressway Song Festival 2015BornKwon Ji-yong (1988-08-18) August 18, 1988 (age 32)Seoul, South KoreaOther namesGDOccupationRappersingersongwriterrecord producerentrepreneurfashion designerNet worthUS$40 million[1]Musical careerGenresHip hopK-popdance-popR&BtrapInstrumentsVocalsYears active1994– presentLabelsYGAssociated actsBig BangYG FamilyGD & TOPGD X TaeyangKorean nameHangul권지용Hanja權志⿓Revised RomanizationGwon Ji-yongMcCune–ReischauerKwŏn Chiyong Websiteygbigbang.com/gdragonSignature Kwon Ji-yong (Korean: 권지용; born August 18, 1988),[2] also known by his stage name G-Dragon, is a South Korean rapper, singer-songwriter, record producer, entrepreneur and fashion designer, dubbed as the 'King of K-Pop'. G-Dragon trained for six years, from the age of twelve, on the South Korean entertainment label YG Entertainment, before debuting in 2006 as the leader of the hip-hop boy band Big Bang, which became one of the best-selling boy bands in the world. His first solo album, Heartbreaker, and his title track of the same name, released in 2009, were commercially successful, becoming the top-selling album of the Korean soloist at the time and earning him album of the year at the Mnet Asian Music Awards 2009. G-Dragon collaborated with Big Bang Bandmate T.O.P to release the album GD and TOP in 2010. His first EP, One of a Kind (2012), received critical acclaim and three singles: One of a Kind, Crayon and That XX. -
Understanding the Digital Music Commodity
Understanding the Digital Music Commodity Jeremy Wade Morris Department of Art History and Communication Studies McGill University, Montréal June 7, 2010 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy in Communication Studies Jeremy Morris 2010 ABSTRACT This dissertation concentrates on the changing form of the music commodity over the last two decades. Specifically, it traces the transition from music on compact discs to music as a digital file on computers/mobile devices and the economic, industrial, aesthetic and cultural consequences this shift has for how we produce, present, and consume music. As computers became viable sources for the playback of popular music in the 1980s and 1990s, the roots of the digital music commodity took hold. Stripped of many of their previous attributes (i.e. album art, compressed sound, packaging, etc.), recordings as digital files were initially decontextualized commodities. On computers, music underwent an interface-lift, gradually getting redressed with new features (i.e. metadata, interfaces, digital “packaging”). This dissertation focuses on five technologies – Winamp, Metadata, Napster, iTunes and Cloud Computing – that were key to rehabilitating the music commodity in its digital environments. These technologies and the cultural practices that accompanied them gave music new paratexts and micromaterials that ultimately constituted the digital music commodity. Through case studies, generative archival research, and descriptive analysis, this study makes methodological and intellectual contributions to the field of communication and technology studies as well as to studies of new media and the cultural industries. By teasing out the differences between the commodity aspects of the CD and the digital file, this project offers fresh perspectives on materiality, aesthetics, labour and ownership in an era of digital goods. -
Jennifer Fuchikami, Mlisc
Jennifer Fuchikami, MLISc [email protected] HLA Conference November 17, 2018 Fan-video edited by HEXA6ON: https://youtu.be/kTqbir-Qlyo 2017 MAMA Nominees Best Female/Male Group: https://youtu.be/zeZRNG-jVyI • What is K-Pop? • Why K-Pop? • Hallyu Wave • Brief History of K-Pop • Music Charts & Awards • Purchasing Albums • Important Considerations • Where to Purchase • Resources for Collection Development • Promote Your Collection! / Programming • Popular Groups / Groups of Interest • Q&A • Korean Popular Music • Can encompass and fuse many genres: pop, rock, dance, electronica, rap, hip-hop, R&B, latin, tropical, etc. • Songs are often created with intentional “hooks” – patterns of repetitive and catchy melodies, refrains, or choruses. • Performance is a huge component of K-Pop: NCT – Black on Black performance ver. MV Synchronized choreographed dancing is common. • Hallyu Wave – Developing trends, K-Pop artists pushing into mainstream U.S. market. • Fandom – ID’d by ALA’s Center for the Future of Libraries. • 1 of the 30+ trends in librarianship • Because K-Pop! • Music is universal, speaks for itself. • Late ‘90s-early ‘00s: • Rise of popularity of Korean TV dramas and music in East Asia. • 2000s-2010s: • The Korean Wave continues to spread, especially thanks to social media (e.g. YouTube) and rise of international fandom. • 2012 – Psy’s Gangnam Style goes viral • 2018 – BTS breaks into U.S. market, many new collaborations between Korean & U.S. artists. • Trot: Early 20th century. Inspired by Japanese enka, western pop, traditional Korean poetry (sijo). • Post-Korean War: Music inspired by rock, folk, ballad genres. Government censorship drives many artists underground/indie.