k-pop4
민경대
0
882
2015.07.26 07:19
저자 : 민경대
시집명 : 347-1
출판(발표)연도 : 2015
출판사 : 시공장
k-pop4
하루중 2시간은 음악에 미치고 싶다
여러분 누구나 음악에 미치면 기분이 좋으면 만사가
다 잘되다
자 이제 음악을 틀고 머리를 비우고 오직
이 기분에만 심취하고
몸을 흔들어 보아요
가슴이 뻥 뚤리면서
만사가 잘 돌아가고 하늘은 높아가고
땅은 더 넓어지며
미래의 거울이 눈앞에 보이며
두려워하지 않고 어둠을 뚫고 가는 마차위에서
미래의 청사진을 펼쳐 보이며
시인은 시를 쓰고 농부는 밭을 갈고 어부는 바다에서 고기를 잡고
가수는 몸을 흔들어 아름다운 선율을 뿌려주니
온 세상이 잘 돌아가고 태평성대다
http://kpoply.com/hellovenus-chameleon-music-english-translation-lyrics-pronunciation/
K-pop as an industry
Agencies
A billboard for the SMTown Live '10 World Tour in Times Square, Manhattan.
K-pop has spawned an entire industry such as production houses and event management companies; music publishers; distributors of K-pop music and many K-pop and Hallyu other merchandise and service providers.The three biggest agencies in terms of revenue are S.M. Entertainment, YG Entertainment and JYP Entertainment, often referred to as the "Big Three", whose stocks are traded at the Korea Exchange. In K-pop these record labels also function as agencies for the artists. They started operating as such at the beginning of the 2000s.[166] They are responsible for recruiting, financing, training, marketing and publishing new artists as well as managing their activities and public relations.
In terms of market share the biggest agency is S.M. Entertainment. Their artists started K-pop's Hallyu and managed to break into Japan. The "Big Three" occasionally cooperate, for example Se7en, managed by YG Entertainment received a song from JYP Entertainment founder Park Jin-young in 2012 and the representatives of the three agencies judged at the SBS reality talent show "K-pop Star". The "Big Three", together with Star J Entertainment, AM Entertainment and Key East founded the United Asia Management (UAM), which aims to spread K-pop globally as well as facilitate the development of better artist recruitment and management processes. UAM auditions are global and not restricted to Korean talents. Besides musicians, UAM also manages actors, directors, stylists, hair and make-up artists.The merge was highly criticised as it might put pressure on content providers as well as further pressurize other Asian countries, like the Chinese market, which is unable to respond to and compete with the mass production of Korean entertainment companies.
In 2009, DFSB Kollective became the first distributor of K-pop songs on iTunes. The recent overseas expansion by K-pop music agencies has led to significant increases in profit and total revenue.
Philippines[edit]
Main article: Philippine drama
Domestically produced telenovelas first appeared on Philippine television in the 1960s, beginning with the ABS-CBN program Hiwaga sa Bahay na Bato. The format of Philippine telenovelas is almost the same as Spanish and Mexican telenovelas, as they have borrowed many elements including many clichés.
Classic Philippine telenovelas focus on the miserable life of the protagonist ("bida"), with a plot centred on some quest such as finding love or their lost family. Antagonists (called "kontrabida") were depicted as thoroughly evil – characterized as very greedy, rude and violent, and often planning to kill or kidnap the protagonist for money. Telenovelas usually begin with the protagonists' past, move on to their present situations, and sometimes include flashbacks. Twists are also popular and often feature characters who are revealed to be siblings or relatives of the protagonist, or love interests. A typical ending is obvious and predictable, with the antagonist dying painfully (as a form of retribution), and the protagonist only being injured and hospitalised, later marrying and having children.[citation needed] Casting was limited, with actors appearing as protagonists or antagonists in different, sometimes simultaneously-running series. Examples of classic telenovelas are Anna Liza, Flordeluna, Villa Quintana, Mara Clara, Esperanza, Valiente, Kung Mawawala Ka, Mula Sa Puso and Sa Dulo Ng Walang Hanggan.
Modern Philippine television dramas are usually termed teleserye, a portmanteau of the Filipino words "telebisyon" ("television") and "serye" ("series"), and are sometimes called P-drama overseas. Series may belong to one or several genres such as suspense, comedy, politics and fantasy. Teleseryes focus on the life of the protagonist, but incorporate story arcs on the lives of other characters they meet; plot twists are often used to prolong series, which typically run for six to eight months. Antagonists are less violent compared to the older, stereotypical telenovela villain and are depicted as more human and even pitiful. Unlike older telenovelas, they may reconcile with the protagonists, and often survive the show's ending. Directors also hire successful reality television contestants regardless of acting skill, either as minor characters or occasionally major characters. Examples of teleseryes that stood out to its popularity until recently include Pangako Sa 'Yo, Basta't Kasama Kita, the Philippine adaptation of MariMar, Sa Piling Mo, Maging Sino Ka Man, Tayong Dalawa, May Bukas Pa, Walang Hanggan, Be Careful With My Heart, Ina Kapatid Anak and The Legal Wife.
Philippine telenovelas nowadays also gained popularity abroad particularly in Southeast Asian countries like Malaysia, Cambodia and Vietnam and other countries in Africa.
하루중 2시간은 음악에 미치고 싶다
여러분 누구나 음악에 미치면 기분이 좋으면 만사가
다 잘되다
자 이제 음악을 틀고 머리를 비우고 오직
이 기분에만 심취하고
몸을 흔들어 보아요
가슴이 뻥 뚤리면서
만사가 잘 돌아가고 하늘은 높아가고
땅은 더 넓어지며
미래의 거울이 눈앞에 보이며
두려워하지 않고 어둠을 뚫고 가는 마차위에서
미래의 청사진을 펼쳐 보이며
시인은 시를 쓰고 농부는 밭을 갈고 어부는 바다에서 고기를 잡고
가수는 몸을 흔들어 아름다운 선율을 뿌려주니
온 세상이 잘 돌아가고 태평성대다
http://kpoply.com/hellovenus-chameleon-music-english-translation-lyrics-pronunciation/
K-pop as an industry
Agencies
A billboard for the SMTown Live '10 World Tour in Times Square, Manhattan.
K-pop has spawned an entire industry such as production houses and event management companies; music publishers; distributors of K-pop music and many K-pop and Hallyu other merchandise and service providers.The three biggest agencies in terms of revenue are S.M. Entertainment, YG Entertainment and JYP Entertainment, often referred to as the "Big Three", whose stocks are traded at the Korea Exchange. In K-pop these record labels also function as agencies for the artists. They started operating as such at the beginning of the 2000s.[166] They are responsible for recruiting, financing, training, marketing and publishing new artists as well as managing their activities and public relations.
In terms of market share the biggest agency is S.M. Entertainment. Their artists started K-pop's Hallyu and managed to break into Japan. The "Big Three" occasionally cooperate, for example Se7en, managed by YG Entertainment received a song from JYP Entertainment founder Park Jin-young in 2012 and the representatives of the three agencies judged at the SBS reality talent show "K-pop Star". The "Big Three", together with Star J Entertainment, AM Entertainment and Key East founded the United Asia Management (UAM), which aims to spread K-pop globally as well as facilitate the development of better artist recruitment and management processes. UAM auditions are global and not restricted to Korean talents. Besides musicians, UAM also manages actors, directors, stylists, hair and make-up artists.The merge was highly criticised as it might put pressure on content providers as well as further pressurize other Asian countries, like the Chinese market, which is unable to respond to and compete with the mass production of Korean entertainment companies.
In 2009, DFSB Kollective became the first distributor of K-pop songs on iTunes. The recent overseas expansion by K-pop music agencies has led to significant increases in profit and total revenue.
Philippines[edit]
Main article: Philippine drama
Domestically produced telenovelas first appeared on Philippine television in the 1960s, beginning with the ABS-CBN program Hiwaga sa Bahay na Bato. The format of Philippine telenovelas is almost the same as Spanish and Mexican telenovelas, as they have borrowed many elements including many clichés.
Classic Philippine telenovelas focus on the miserable life of the protagonist ("bida"), with a plot centred on some quest such as finding love or their lost family. Antagonists (called "kontrabida") were depicted as thoroughly evil – characterized as very greedy, rude and violent, and often planning to kill or kidnap the protagonist for money. Telenovelas usually begin with the protagonists' past, move on to their present situations, and sometimes include flashbacks. Twists are also popular and often feature characters who are revealed to be siblings or relatives of the protagonist, or love interests. A typical ending is obvious and predictable, with the antagonist dying painfully (as a form of retribution), and the protagonist only being injured and hospitalised, later marrying and having children.[citation needed] Casting was limited, with actors appearing as protagonists or antagonists in different, sometimes simultaneously-running series. Examples of classic telenovelas are Anna Liza, Flordeluna, Villa Quintana, Mara Clara, Esperanza, Valiente, Kung Mawawala Ka, Mula Sa Puso and Sa Dulo Ng Walang Hanggan.
Modern Philippine television dramas are usually termed teleserye, a portmanteau of the Filipino words "telebisyon" ("television") and "serye" ("series"), and are sometimes called P-drama overseas. Series may belong to one or several genres such as suspense, comedy, politics and fantasy. Teleseryes focus on the life of the protagonist, but incorporate story arcs on the lives of other characters they meet; plot twists are often used to prolong series, which typically run for six to eight months. Antagonists are less violent compared to the older, stereotypical telenovela villain and are depicted as more human and even pitiful. Unlike older telenovelas, they may reconcile with the protagonists, and often survive the show's ending. Directors also hire successful reality television contestants regardless of acting skill, either as minor characters or occasionally major characters. Examples of teleseryes that stood out to its popularity until recently include Pangako Sa 'Yo, Basta't Kasama Kita, the Philippine adaptation of MariMar, Sa Piling Mo, Maging Sino Ka Man, Tayong Dalawa, May Bukas Pa, Walang Hanggan, Be Careful With My Heart, Ina Kapatid Anak and The Legal Wife.
Philippine telenovelas nowadays also gained popularity abroad particularly in Southeast Asian countries like Malaysia, Cambodia and Vietnam and other countries in Africa.
