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[Shortmemo] Muddied by Manipulation: Recent Controversies Across Industries in South Korea

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This material is exclusively prepared for Ringle Customers Material for your English session [ShortMemo] Muddied by Manipulation: Recent controversies across industries in South Korea [source : https://www.kstarlive.com/news/2019/11/14/previously-denied-pd-ahn-joonyoung-has-now-partially-admitted-vote- rigging-in-produce-101-season-1-and-2-298818] 0 본 자료는 저작권 법에 의해 보호되는 저작물로, Ringle 사에 저작권이 존재합니다. 해당 자료에 대한 무단 복제/배포를 금하며, 해당 자료로 수익을 얻거나 이에 상응하는 혜택을 누릴 시 Ringle 과 사전 협의가 없는 경우 고소/고발 조치 될 수 있습니다. This material is exclusively prepared for Ringle Customers [Summary in English] Two recent cases of manipulation in the Korean entertainment industry shocked the rest of society. ● The final rankings and debut members for the K-pop idol group debut show Produce 101 on Mnet, a popular music channel, were manipulated through real-time voter rigging. ⇒ An aspiring idol who failed to win the competition ended up debuting through manipulation. ● Some brokers manipulated the Top 100 charts by hoarding certain singers’ albums and infinitely streaming their songs. ⇒ Lesser known singers topped the music charts, beating famous idol groups such as BTS and Blackpink. The manipulation of Mnet’s idol group debut shows Produce 101 was an incident involving inappropriate requests between the show’s head producer and certain entertainment agencies. ● Original Intention of Produce 101: One hundred and one idol trainees from various entertainment agencies compete for three months, with viewers voting in [1] real time by text message and determining the final top 11 participants to debut as a group. Produce 101 served as an opportunity to showcase their talents, especially for aspiring idols from smaller agencies with less public awareness and marketing support. ● Success of Produce 101: While other competition programs enlisted celebrity judges to evaluate and rank its participants, Produce 101 became a huge hit by inviting active viewer participation. Idol groups IOI, Wanna One, and IZ*ONE debuted through Produce 101 season 1, 2, and 3, respectively, and became extremely popular in Korea and Asia; the success of the show has had a huge impact on ratings as well as the entertainment industry at large. ● Manipulation in Produce 101: A pattern was discovered in the viewer votes for the top 11 members in Produce 101 season 4. The police investigation found lobbying evidence between the show’s head producer and some entertainment agencies, revealing that the rankings of the top 11 members were predetermined before the final episode of season 4. After proof of manipulation was found not only in season 4 but also earlier seasons, the header producer was arrested and the CEO of Mnet held a press conference where he admitted to wrongdoing and publicly apologized. 1 본 자료는 저작권 법에 의해 보호되는 저작물로, Ringle 사에 저작권이 존재합니다. 해당 자료에 대한 무단 복제/배포를 금하며, 해당 자료로 수익을 얻거나 이에 상응하는 혜택을 누릴 시 Ringle 과 사전 협의가 없는 경우 고소/고발 조치 될 수 있습니다. This material is exclusively prepared for Ringle Customers In the case of music chart manipulation, certain brokers manipulated the ranking by hoarding and streaming the album of a particular singer using thousands of fake IDs and macro programs. ● Popular music streaming app structure: In Korea, most users of music streaming apps such as Melon and Bugs Music are subscribers, and the majority of music is consumed through the app. Rather than personal recommendations, each music streaming app is equipped with a UX/UI structure that publishes a real-time Top 100 Chart on the main screen and encourages the consumption of already [2] charting music. Users tend to listen to music that has reached the top of the chart instead of searching for individual songs. Accordingly, entering the Top 100 chart is a prerequisite for success as a musician in Korea. ● Brokers artificially boosting rankings: In this structure of music consumption, brokers under the [3] guise of “social media marketers” can enable even less famous singers to top the charts. Their method is to create 10,000 fake IDs in a popular app, then intensively purchase and stream a particular song at 2-3 a.m. (when the least number of listeners are active) to push the song onto the real-time chart. The brokers approach middle-aged singers who debuted 10 years ago, new singers who aren’t well-known, and their agencies, guaranteeing their chart entry for a minimum of a hundred million won. ● Famous singers falling behind lesser known singers: Songs by BTS, Blackpink, IU, and other artists with huge fandoms began to drop below less famous artists on the Top 100 chart. The singer who topped BTS was suspected of entering the top charts through manipulation because he was barely able to sell any concert tickets during the same time. ● Idol member Park Kyung’s tweets publicizing the issue of music manipulation: Park Kyung, a member of the popular idol group Block B, tweeted, “I want to ‘hoard’ like Vibe, like Song Ha-ye, like Im Jae-hyun, like Jeon Sang-geun, like Jang Duk-cheol, like Hwang In-wook.” The tweet was then reported through various media, raising public interest in music chart manipulation and launching police investigation. Although the singers mentioned on Park’s tweet claim that they only conducted social media marketing through a marketing agency, there is circumstantial evidence that the marketing agency was actually a broker who raised their ranking through hoarding tactics. Manipulation cases aren’t unique to the entertainment industry. Both of the aforementioned events demonstrate the prevalence of manipulation when capital is involved. 2 본 자료는 저작권 법에 의해 보호되는 저작물로, Ringle 사에 저작권이 존재합니다. 해당 자료에 대한 무단 복제/배포를 금하며, 해당 자료로 수익을 얻거나 이에 상응하는 혜택을 누릴 시 Ringle 과 사전 협의가 없는 경우 고소/고발 조치 될 수 있습니다. This material is exclusively prepared for Ringle Customers ● There are even agencies that help startups become one of the top 5 search terms on Naver, Korea’s most popular web portal. “Charting” as a real-time search term is one of the marketing tools that many startups use now. Startups trying to catch consumers’ attention by paying to enter the top 5 real-time search terms may not be fundamentally different from musicians paying brokers to reach the real-time Top 100 chart and ultimately get more clicks. ⇒ In fact, many areas of society try to influence consumer decision through real-time search terms. Google has been long rumored to manipulate the related search terms for politicians during election seasons, while Facebook is suspected of circulating only favorable content for certain candidates. At the same time, the lure of manipulation is not limited to celebrities; we must all establish our own philosophy regarding what we would do in such situations. ● What the two events have in common is the fact that some form of editing in the name of “rankings” and “high exposure” has been conducted to influence public perception, preferences, and choices. In this current media environment, consumers are more inclined to unwittingly and passively accept information provided by Internet/mobile platform operators than to independently look for, compare, and criticize information before making choices that are 100% compatible with their preferences; therefore there are an increasing number of [4] entities trying to influence public taste through manipulation of numbers, rankings, and search terms. ⇒ In the current media structure, more people are expected to manipulate public taste like the head producer and brokers of Produce 101 season 2. Thus consumers need to search for information and make their own judgments instead of accepting the conveniently available information. Discuss manipulation controversies with your Ringle tutor and also receive feedback on your English usage. 3 본 자료는 저작권 법에 의해 보호되는 저작물로, Ringle 사에 저작권이 존재합니다. 해당 자료에 대한 무단 복제/배포를 금하며, 해당 자료로 수익을 얻거나 이에 상응하는 혜택을 누릴 시 Ringle 과 사전 협의가 없는 경우 고소/고발 조치 될 수 있습니다. This material is exclusively prepared for Ringle Customers [Summary in Korean] 최근 한국의 연예계에서는 두 가지 조작 사건이 사회에 큰 충격을 주었습니다 • 유명 음악 전문 방송 채널인 Mnet 의 K-pop 아이돌 그룹 데뷔 프로그램 “프로듀스 101” 에서의 시청자 실시간 투표 조작을 통한, 경연 최종 순위 및 데뷔 멤버 조작 à 경연에서 떨어진 아이돌 지망생이, 조작에 의해 최종 선발되어 아이돌 그룹으로 데뷔한 사건 • 일부 브로커들의 특정 가수의 음원에 대한 무한 스트리밍 및 사재기 통한 인기 음원 (Top 100) 차트 조작 à 대중에게 잘 알려지지 않은 가수들이 BTS, 블랙핑크 등 유명한 아이돌 그룹을 제치고 음원 차트 1 위를 차지한 사건 Mnet 의 아이돌 그룹 데뷔 프로그램 ‘프로듀스 101’ 조작 사건은 총괄 PD 와 일부 연예 기획사 간 잘못된 청탁에 의한 조작 사건이었습니다. • 프로듀스 101 기획 의도 및 본래 취지: 다양한 연예 기획사에 소속된 101 명의 연예인 지망생들이 약 3 개월 간 다양한 미션에 대한 치열한 경연을 펼치고, 각 경연의 최종 순위는 시청자들의 실시간 문자투표의 결과로만 정하여, 최종 11 위 안에 든 참가자들을 아이돌 그룹으로 데뷔 시켜주는 프로그램임. 특히 대형 기획사 (SM, JYP, YG) 소속의 연습생들 대비, 대중에게 인지도를 쌓을 수 있는 기회가 부족하고 마케팅적 지원을 받기 어려운 중소형 기획사 소속 아이돌 지망생들에게, 프로듀스 101 은 본인의 이름을 대중에게 알릴 수 있고, 재능과 끼를 뽐낼 수 있는 기회의 장으로서 역할을 하였음 • 프로듀스 101 의 성공: 타 경연 프로그램의 경우, 유명 심사위원들의 평가 및 피드백이 경연 순위에 절대적 영향을 끼쳤던 반면, 프로듀스 101 은 순수 시청자들의 투표에 의해 100% 최종 순위가 결정된다는 측면에서, 많은 시청자들의 적극적 참여를 유도하여 시청률이 대박난 프로그램 이었음. 동시에, 프로듀스 101 의 시즌 1, 2, 3 을 통해 데뷔한 아이오아이, 워너원, 아이즈원이 한국 및 아시아에서 엄청난 팬덤을 형성하며 인기 몰이에 성공하여, 시청률 뿐 아니라 엔터테인먼트 산업 전반에 막강한 영향력을 끼쳤던 성공적인 프로그램이었음 • 프로듀스 101 에서의 조작: 프로듀스 101 의 시즌 4 에서, 최종 데뷔 멤버 11 명의 시청자 문자 득표수가 특정 배수로 반복되는 패턴이 발견되었고, 조작 정황에 대한 검찰수사가 진행됨.
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    SOUTH KOREA 2020 CUSTOMIZED & CONNECTED IPSOS FLAIR COLLECTION IPSOS FLAIR COLLECTION | SOUTH KOREA 2020 SOUTH KOREA 2020, Customized & Connected Ipsos Editions September 2019 © 2019 - Ipsos 4 CUSTOMIZED & CONNECTED - INDEPENDENT AS WELL AS DEPENDENT Ipsos Flair: Understand to Foresee We are very pleased to publish our first edition of Ipsos Flair focusing on South Korea. Launched in 2005, Ipsos Flair is an international publication that analyzes the values and attitudes of consumers-citizens impacting their view on all the actors of society (brands, advertising, businesses, media, politicians...) to provide substantial analysis and recommend the best strategies. Flair is about instinct and intuition, ability to capture the atmosphere of a country, to perceive the right direction, to know when to act ... It is also another way of looking, considering the surveys’ results as sociological symptoms to understand the real relationship between people and everything around them. This publication summarizes the knowledge and experience gained by our research teams in South Korea. It is part of a series of books published by Ipsos around the world: the Ipsos Flair programme.1 Founded in France in 1975, Ipsos is an independent market research company controlled and managed by research professionals. Ipsos teams assess market potential and interpret market trends, combining a variety of methods from surveys to qualitative and social media sources, to name a few, with know- how and technology. They help clients develop and strengthen brands and build long- term relationships with their customers. They test advertising and study audience responses to various media and they measure public opinion around the globe.
  • Comparative Response of the Hepatic Transcriptomes of Domesticated and Wild Turkey to Aflatoxin B1

    Comparative Response of the Hepatic Transcriptomes of Domesticated and Wild Turkey to Aflatoxin B1

    toxins Article Comparative Response of the Hepatic Transcriptomes of Domesticated and Wild Turkey to Aflatoxin B1 Kent M. Reed 1,* ID , Kristelle M. Mendoza 1, Juan E. Abrahante 2 and Roger A. Coulombe 3 1 Department of Veterinary and Biomedical Sciences, College of Veterinary Medicine, University of Minnesota, Saint Paul, MN 55108, USA; [email protected] 2 University of Minnesota Informatics Institute, University of Minnesota, Minneapolis, MN 55455, USA; [email protected] 3 Department of Animal, Dairy and Veterinary Sciences, College of Agriculture, Utah State University, Logan, UT 84322, USA; [email protected] * Correspondence: [email protected]; Tel.: +1-612-624-1287; Fax: +1-612-625-0204 Received: 29 November 2017; Accepted: 10 January 2018; Published: 13 January 2018 Abstract: The food-borne mycotoxin aflatoxin B1 (AFB1) poses a significant risk to poultry, which are highly susceptible to its hepatotoxic effects. Domesticated turkeys (Meleagris gallopavo) are especially sensitive, whereas wild turkeys (M. g. silvestris) are more resistant. AFB1 toxicity entails bioactivation by hepatic cytochrome P450s to the electrophilic exo-AFB1-8,9-epoxide (AFBO). Domesticated turkeys lack functional hepatic GST-mediated detoxification of AFBO, and this is largely responsible for the differences in resistance between turkey types. This study was designed to characterize transcriptional changes induced in turkey livers by AFB1, and to contrast the response of domesticated (susceptible) and wild (more resistant) birds. Gene expression responses to AFB1 were examined using RNA-sequencing. Statistically significant differences in gene expression were observed among treatment groups and between turkey types. Expression analysis identified 4621 genes with significant differential expression (DE) in AFB1-treated birds compared to controls.
  • The African Roots of Cuban Music,The Music of the Nyayo Era,Kenyans' Elusive Search for a Cultural Identity,How Afrobeat(S)

    The African Roots of Cuban Music,The Music of the Nyayo Era,Kenyans' Elusive Search for a Cultural Identity,How Afrobeat(S)

    The African Roots of Cuban Music By Boima Tucker British sociologist Paul Gilroy suggested the history of culture in the Atlantic world is characterized by constant exchange. One of the most traceable elements of that exchange, is the musical connections between communities of African descent on either side of the ocean. These musical practices operate as sites of resistance, cultural retention, and social cohesion that allow us to understand some of the ways we all are formed by trans-continental processes. During the dawn of recorded music in the early part of the 20th century, Cuba—one of many New World sites of African and indigenous resistance to European colonisation and enslavement—would become a hotbed for musical export in the emerging industrialized system of music distribution. Folk musical traditions from across the island would come together in Havana’s studios, and then get dispersed around the entire Atlantic world. In the early part of the 20th Century, Cuban musical styles like son, mambo and guaguanco followed migrants and sailors out across the Atlantic, hitting radio waves in the ports of landing, and spreading throughout the interior of the countries they landed in. With its strong traces of West and Central African rhythms, this music would find legions of devoted followers on the African continent. Local artists would try their hand at recreating the sound, and start to mix elements of their own local traditions creating what we now know as Congolese rumba, soukous, mbalax, semba, kizomba, and highlife, etc. These styles, amongst many others on the continent, would go on to form the backbone of national identity in the post-independence period, their propagation supported with enthusiasm by the leaders of the new nations.
  • Hallyu at a Crossroads: the Clash of Korea's Soft Power Success and China's Hard Power Threat in Light of Terminal High

    Hallyu at a Crossroads: the Clash of Korea's Soft Power Success and China's Hard Power Threat in Light of Terminal High

    Asian International Studies Review Vol. 18 No.1 (June 2017): 153-169 153 Received March 15, 2017 Revised May 10, 2017 Accepted May 20, 2017 Hallyu at a Crossroads: The Clash of Korea’s Soft Power Success and China’s Hard Power Threat in Light of Terminal High Altitude Area Defense (THAAD) System Deployment HANNAH JUN* The past two decades have witnessed the remarkable success of Hallyu, or the Korean Wave, with Korea welcoming a large influx of foreign visitors and benefiting from massive consumption of products ranging from Korean television and film, K-pop and lifestyle products. A more recent announcement by CJ E&M points to an even more aggressive plan for regional ubiquity, as encapsulated by Hallyu 4.0. Simultaneously, we have already felt some of the effect of policy changes in China – a core Hallyu market – as a response to Korea’s plan to deploy a Terminal High Altitude Area Defense (THAAD) system. In this sense, we see the stirrings of a clash between Korean soft power and Chinese hard power, and are uncertain who will emerge on top. This paper examines the broad success of Hallyu from key theoretical perspectives, while addressing linkages between Korean corporations and cultural power/influence that have led to an announcement such as Hallyu 4.0. This paper also highlights the recent tensions between Korea and China, specifically with respect to THAAD deployment, and outlines potential implications for businesses and policymakers through preliminary scenarios. Keywords: Nuclear Taboo, Nuclear Arms, Deterrence, Norms, Proliferation, Just War * Assistant Professor, Ewha Womans University, Seoul, South Korea; E-mail: [email protected]; DOI: 10.16934/isr.18.1.201706.153 Downloaded from Brill.com09/28/2021 03:33:20PM via free access 154 Hallyu at a Crossroads I.
  • Jang Wonyoung IZONE: Age, Ethnicity, Net Worth, Wiki

    Jang Wonyoung IZONE: Age, Ethnicity, Net Worth, Wiki

    Jang Wonyoung IZONE: Age, Ethnicity, Net Worth, Wiki Jang Wonyoung was born on 31stAugust 2004 in Ichon-dong, Seoul, South Korea. She holds the nationality of South Korea. She is a dancer and a singer, and most famous as amember of IZONE,a girl group. Educational background Jang was raised alongside her three-year older sister in Taiwan by their father who is initially from South Korea but who experienced childhood in Taiwan, and who is today filling in as a music teacher, and their mother who is half South Korean, half Chinese. Roused by her father, Jang started taking singing lessons at an early age and learned at a nearby grade school while at the same time going to a school of the performing expressions. Career The unscripted television show "Produce 48" started circulating on Mnet, as a collaboration between the AKB48 Group and the TV ability establishment Produce 101. It was dispatched to discover 12 girls who might frame a group, after the show finished on 31 August. The individuals on the internet known as netizens (internet and resident) chose IZONE for the name of the group – 'IZ' means '12' and 'ONE' is for them as one group. 96 girls contended in the show. The group acted in Japan at Tokyo Dome City Hall on 20 January 2019 and sang their first song in the Japanese language called "Suki to Iwasetai", arriving at #2 on the Billboard Japan Hot 100, as well as on the Oricon Singles Chart. IZONE's collection was ultimately released on 17 February 2020, named "Bloom*Iz", breaking the record for the quantity of sold duplicates in its first week with more than 355,000.
  • CJ ENM (035760 KS) Music Business Secures More Global IP

    CJ ENM (035760 KS) Music Business Secures More Global IP

    Company Report Sep 24, 2019 CJ ENM (035760 KS) Media/entertainment Music business secures more global IP To own IP of 5 boy/girl group in 1H20 After “Wanna One” disbanded (Dec 31, 2018), CJ ENM launched new band group “X1,” consisting of the highest-ranking members from reality audition show “Produce X 101” in 2019. Sales of X1’s debut album (launched on Aug 27, 2019) exceeded 520,000 units, the highest initial sales volume for a debut album. Although police are investigating a vote-rigging scandal at Produce 101, album sales volume, a leading indicator of fandom, remains solid. Album sales volume of “IZ*ONE,” a girl group consisting of the 12 highest-ranking members from the finale of “Produce 48,” now stand at 800,000 (320,000 in Korea + 480,000 in Japan) in 2019. As IZ*ONE is set to release its third Japanese single on Sep 25, its 2019 album sales in Korea and Japan are likely to hit 1mn. Even if X1 and IZ*ONE release no more albums in 2019, their combined album sales in 2019 will likely reach 1.5mn, about 60% of Wanna One’s 2018 album sales Rating BUY (M) volume in Korea and Japan (2.44mn albums). Combined album sales volume of X1 and Target price 303,000 (M) IZ*ONE in 2020 should easily surpass Wanna One’s 2018 album sales. Current price (Sep 23) W171,500 CJ ENM plans to launch 3 more boy bands from Sep 2019 to 1Q20, including one made Upside potential 77% up of the top-11 trainees of Produce 101 Japan; “TOO” (Ten Oriented Orchestra), composed of the winners from audition show “World Klass”; and one sourced from global auditions of Belief Lab (JV of CJ ENM and Big Hit Entertainment).