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el even before their official debut. Such thorough training is less common in Japan.</p><h2 id="4cf1">3. The Impact of Military Service</h2><p id="fa77">As Korea is technically still at a ceasefire, all able-bodied men are required to serve in the military for approximately two years, typically between their early and late twenties. Consequently, intense training during their teenage years and debuting in their early twenties becomes crucial for K-POP idols, as it’s challenging to regain popularity after completing military service. This time constraint may contribute to the narrower debut window for K-POP artists.</p><h2 id="6bc1">4. The Number of Debut Groups and Intense Competition</h2><p id="58b5">While it’s said that nearly 100 groups debut annually, only a handful reportedly remain active after two years, regardless of the investment. This glimpse into the harsh reality reveals that even with substantial costs, groups face elimination within two years of their debut. The intense competition may explain the exceptional dedication of trainees from an early age.</p><h2 id="15a8">5. The Fervor of Fandoms</h2><p id="2c0f">K-POP boasts a fervent fan base known as “fandoms.” During new song releases, fans engage in “streaming citizenry” activities, simultaneously streaming the music in massive numbers to boost its popularity. Moreover, some fans even pool funds to place birthday support advertisements for their favorite artists. This stark difference in fan enthusiasm contributes significantly to the gap between Japan and K-POP.</p><h2 id="c870">6. The New Musical Approach: “Patchwork Music”</h2><p id="6523">Unlike the traditional one-song-per-album approach, recent K-POP tracks have embraced a technique called “patchwork music.” Within a single song, hooks and choruses appear rapidly, with the melody shifting abruptly, creating a novel structure. This format is well-suited for short video consumpti

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on on social media platforms. K-POP’s adaptability to these new platforms is evident.</p><h2 id="aa87">7. Song Camps and the Songwriting System</h2><p id="eb13">Introduced by SM Entertainment in 2009, “Song Camps” pioneered a new approach where multiple songwriters collaborate as a team to produce a large volume of songs. Instead of a single writer composing one track, multiple writers cooperate to create multiple songs. This system may have been well-suited for the patchwork music style.</p><h2 id="378c">8. Comebacks and Rest Periods</h2><p id="f56d">In K-POP, the release of a new song or album is called a “comeback.” Before a comeback, artists take a rest period, creating a distinct gap. In contrast, Japanese singers and idols are constantly present in the media through regular television appearances, making the timing of their comebacks less apparent. This separation from comebacks may contribute to building anticipation.</p><h2 id="ff27">9. Promotional Activities Leading Up to Comebacks</h2><p id="d968">In the lead-up to a comeback, artists release music video teasers and teaser schedules to heighten anticipation. After the song’s release, fans engage in “fan-subbing” activities, creating subtitles in various languages to boost YouTube viewcounts. These grassroots efforts may be pivotal in rallying collective support.</p><h1 id="8dd4">Conclusion</h1><p id="c81d">As we’ve seen, K-POP employs a unique system that differs from the Japanese music scene, from the production process and musical approaches to promotional activities and fan relationships. Unwavering dedication and innovative thinking seem to be driving K-POP’s global success.</p><p id="31da">However, if Japan establishes new systems for the next era, there’s a chance to catch up to K-POP. Continuous friendly rivalry may be key, as we can learn from each other’s strengths through insightful discussions like this one.</p></article></body>

The Phenomenal Rise of K-POP and What Japan and the World Can Learn

K-POP has taken over the world.

No, it’s still taking over the world.

Its catchy rhythms and music always uplift our moods and make us happy.

However, we’ve never heard of Chinese music or Japanese music going globally viral.

So what’s the appeal of K-POP?

Let’s take a closer look.

(Note: There may be some misspellings in the romanization of Korean words in this article, as the author is a native Japanese speaker.)

Introduction

The phenomenal rise of K-POP as a global phenomenon is fueled by a unique system that differs from the Japanese idol culture. In this essay, we’ll explore the characteristics of the K-POP system in detail and examine what Japan can learn from it.

𝟏. Differences in the Production Process

Major Korean entertainment agencies typically spend an average of four years and around 280 million yen (approximately $2.4 million) to produce a new idol group. This massive investment of time and money serves as a risk mitigation strategy to ensure the group’s commercial success. In contrast, Japanese singers and idols typically debut after a relatively short training period.

2. The Rigor of the Trainee System

Korean entertainment agencies subject trainees to rigorous training from the outset. For instance, it’s common practice for trainees to live in dormitory-like facilities for extended periods, undergoing intensive dance and vocal training. This approach hones their skills to a high level even before their official debut. Such thorough training is less common in Japan.

3. The Impact of Military Service

As Korea is technically still at a ceasefire, all able-bodied men are required to serve in the military for approximately two years, typically between their early and late twenties. Consequently, intense training during their teenage years and debuting in their early twenties becomes crucial for K-POP idols, as it’s challenging to regain popularity after completing military service. This time constraint may contribute to the narrower debut window for K-POP artists.

4. The Number of Debut Groups and Intense Competition

While it’s said that nearly 100 groups debut annually, only a handful reportedly remain active after two years, regardless of the investment. This glimpse into the harsh reality reveals that even with substantial costs, groups face elimination within two years of their debut. The intense competition may explain the exceptional dedication of trainees from an early age.

5. The Fervor of Fandoms

K-POP boasts a fervent fan base known as “fandoms.” During new song releases, fans engage in “streaming citizenry” activities, simultaneously streaming the music in massive numbers to boost its popularity. Moreover, some fans even pool funds to place birthday support advertisements for their favorite artists. This stark difference in fan enthusiasm contributes significantly to the gap between Japan and K-POP.

6. The New Musical Approach: “Patchwork Music”

Unlike the traditional one-song-per-album approach, recent K-POP tracks have embraced a technique called “patchwork music.” Within a single song, hooks and choruses appear rapidly, with the melody shifting abruptly, creating a novel structure. This format is well-suited for short video consumption on social media platforms. K-POP’s adaptability to these new platforms is evident.

7. Song Camps and the Songwriting System

Introduced by SM Entertainment in 2009, “Song Camps” pioneered a new approach where multiple songwriters collaborate as a team to produce a large volume of songs. Instead of a single writer composing one track, multiple writers cooperate to create multiple songs. This system may have been well-suited for the patchwork music style.

8. Comebacks and Rest Periods

In K-POP, the release of a new song or album is called a “comeback.” Before a comeback, artists take a rest period, creating a distinct gap. In contrast, Japanese singers and idols are constantly present in the media through regular television appearances, making the timing of their comebacks less apparent. This separation from comebacks may contribute to building anticipation.

9. Promotional Activities Leading Up to Comebacks

In the lead-up to a comeback, artists release music video teasers and teaser schedules to heighten anticipation. After the song’s release, fans engage in “fan-subbing” activities, creating subtitles in various languages to boost YouTube viewcounts. These grassroots efforts may be pivotal in rallying collective support.

Conclusion

As we’ve seen, K-POP employs a unique system that differs from the Japanese music scene, from the production process and musical approaches to promotional activities and fan relationships. Unwavering dedication and innovative thinking seem to be driving K-POP’s global success.

However, if Japan establishes new systems for the next era, there’s a chance to catch up to K-POP. Continuous friendly rivalry may be key, as we can learn from each other’s strengths through insightful discussions like this one.