Posts

Looking back at the legacy of K-pop competition show ‘Produce 101’

/in /by
produce 101 wanna one izone ioi x1

By Rachel Saywitz

The first appearance of the bubbly trainees on Mnet’s competition program, Produce 101, was a jarring sight to see. At the start of their debut performance, aired in December 2015 on M! Countdown, 20 young girls appeared in a giant stadium synchronously dancing in a pyramid formation, wearing the same school girl uniform, and singing in unison to the show’s theme song, “Pick Me.” Soon, they were joined by another 20-or-so contestants, floating in on a giant triangle stage. Then another triangle of girls arrived, and another, until finally the stadium was filled with 101 smiling, hopeful trainees, eyes affixed on any chance to get screen time, to show their soon-to-be producers how worthy they were of being an idol singer.

The newly sprung competition show was gaining notoriety even before its first episode — which aired five years ago on January 22 — with its promise to whittle down 101 K-pop idol trainees to a final 11 who would debut as a temporary girl group for a few months before returning to their respective agencies. 

South Korea was no stranger to singing competition shows at the time of Produce 101’s airdate, and in fact had been featuring a wide variety of programs starting in the 2010 like Superstar K and Immortal Song. Globally popular idol groups got their start through label-run reality shows as well: TWICE through JYP’s Sixteen, Monsta X through Starship’s No.Mercy, and Sorn of CLC through Cube’s K-Pop Star Hunt. 

However, what made Produce 101 and its consecutive seasons so drastically different from other programs was twofold. First, the competition was a multi-label endeavor, allowing collaboration between entertainment agencies both big and small. Second, and perhaps most importantly, the final idol group’s lineup would be expressly determined by fans of the show (called “national producers”), breaking tradition with how most groups are traditionally formed. Or at least that’s what the show’s creators wanted us, the viewers, to believe.

Also on KultScene: BEST K-POP ALBUMS OF 2020

It was no surprise, though, that at the time of its original airing, Produce 101 went on to be a ratings smash during its entire three-month run. The show offered not just fan voting, but an in-depth look into K-pop’s infamous trainee ecosystem, as contestants were judged harshly on their dance and vocal abilities. Given that the competition was a reality show first and foremost, editors of the program selectively highlighted contestants that could deliver the best storylines. Perhaps the best example would be the trajectory of Kim Sohye, a trainee at an acting agency who had come to the competition expecting to fail miserably. Despite being an objectively bad singer and dancer, the show’s focus on Sohye’s desperate drive to succeed and her continual improvements pushed her forward to rank in fifth place at the show’s finale, making it into the debut team. 

There was also an intensely reinforced hierarchy that proved to be a main tenet of the show’s voting system. Pressure was placed on the trainees to earn the coveted “center” position in group challenges, where they’d dance in the middle of formations and be able to perform the song’s “killing part,” gaining them more visibility in performances and a chance to earn more votes. And while 11 girls would form the debuting girl group based on a last round of voting in the show’s finale, the highest scoring girl would be deemed the group’s “center,” in all future promotions. Jeon Somi, at the time a trainee from Big 3 agency JYP Entertainment, enjoyed success from her win as “center” in Produce 101’s first season and was arguably the most popular of her group mates at the time. 

i.o.i ioi produce 101 kcon 2016 los angeles la 16
by Alexis Hodoyan-Gastelum

The group that formed from Produce 101’s final episode, I.O.I, also quickly achieved commercial success, landing numerous lucrative CF deals and winning coveted “rookie of the year” awards. Yet the girls of I.O.I, as immensely popular as they were, promoted for only eight months, which was all their contract allowed for. Additionally, the group’s contract with YMC Entertainment — which was tasked with handling all of I.O.I’s promotional activities — still allowed for members to participate in their respective agency’s activities, which meant some girls promoted in two groups simultaneously. I.O.I’s whirlwind of a promotion period ended almost as quickly as it came, but it set the groundwork for the Produce series to expand and extend its reach. 

Produce 101’s second season aired in 2017 and produced the boy group Wanna One, which was even more popular than its first. In the show’s finale, more than 10 million votes were cast by national producers, a number equivalent to around one-fifth of Korea’s population. Learning from the past, Mnet extended the group’s temporary contract from eight months to two years, and didn’t allow members to be active in promotions with their own agencies. Wanna One, led by the group’s “center” Kang Daniel, was massively popular from the jump, becoming only the third Korean group to sell a million copies of their debut album since 1992. Also experiencing a burst in popularity was the boy group NU’EST, who had debuted in 2012 to positive reception before fading to the background over the next four years due to mismanagement. When four of its members appeared on Produce 101 and advanced to the show’s finale, their previous, underrecognized music shot to the top of Korean music charts (only one of those four, Hwang Min-hyun, debuted in Wanna One). 

Wanna One at KCON 2018 NY
By Jean Libert

The Produce series continued its winning streak with its third season titled Produce48 in 2018, bringing in female trainees from Korea and idols from Japan’s AKB48 J-pop juggernaut to produce an international, multi-lingual girl group. While the show itself suffered lower ratings, the resulting final group, IZ*ONE, has lived up to the critical and commercial success of I.O.I and Wanna One, and promotes both in Korea and Japan as one both nations’ top girl groups. IZ*ONE, which is still actively promoting, signed a two-and-a-half-year contract, a notable amount of time to be active in a temporary group and unable to promote with original agencies. Yet the misgivings of Mnet’s contract negotiations were largely overlooked due to Produce’s domination in the music industry, until 2019. 

The fourth season of Produce, titled Produce X 101, was shaping up to be a monumental event. Mnet had announced the winning boy group would have a five year contract as a way to concentrate on both group and individual activities, and a new voting mechanic in the show’s format, where the trainee with the highest amount of accumulated votes by the end of the season would join the final group as its 11th member. The group, X1, was already breaking records in their debut album sales and charting worldwide when their promotions came to a sudden halt. Fans noticed discrepancies in the final vote tallies after the season finale and filed a lawsuit against Mnet. Police then discovered evidence that the votes for X1’s final lineup had been rigged, causing the group to disband a mere five months after their debut. 

Further investigations revealed that all four seasons of Produce 101 were guilty of vote manipulation on the part of the show’s producers and agency representatives. The news was a shock and a betrayal of the series’ core ethos in giving power over to the fans. In the end, the show’s PD (producing director) Ahn Joon Young and CP (chief producer) Kim Yong Bum were sentenced to two years in prison on May 29, 2020. Produce 101, much like the lifespans of the groups it produced, had met a swift and unceremonious end. 

Also on KultScene: 50 BEST K-POP SONGS OF 2020

It’s ironic that while the groups that came out of the Produce series dominated the Korean idol scene, many members of these groups came from relatively small agencies, most not standing a chance of success if they had debuted normally. This is what made Produce 101’s impact on the industry so captivating: it was, in some ways, able to even out the playing field. Kim Chung-ha, arguably the most successful idol out of her former I.O.I members, put her small agency MNH Entertainment on the map when she debuted with the group. Because of her musical achievements, the company has been able to expand, bring on more trainees, and debut more artists. Similar stories abound with other Produce idols, such as Kim Jae-hwan from Wanna One — who started on Produce with no agency backing — and Kang Daniel, who gained enough industry cred to break off from his agency and start his own company after Wanna One’s disbandment. While the Korean music charts are still heavily influenced by artists from large agencies like Big Hit, JYP, and SM, there’s a noticeable difference in the diversity of artists and labels gaining popularity, both domestically and abroad. 

However, Produce’s vote rigging scandal in 2019 brought to light the harsh realities of the program, and the impact it had on its trainees. The show had already gone under much criticism in the past for the way in which it was edited, shining harsh lights on underperforming contestants and portraying trainees who had difficulty learning routines as lazy and selfish. Constructed storylines are nothing new on reality television, but there was an insidious factor to putting so much national attention on young trainees, many of whom were minors. One contestant who was often shown performing poorly on Produce’s second season deleted his Instagram due to the amount of hate comments he was receiving from viewers. 

This conversation leads to another way in which trauma was inflicted on trainees, by emotional and verbal abuse from the show’s mentors. One could easily point out that criticism is to be expected in the K-pop training system, but to see it play out for entertainment on television made for an uncomfortable watch. It made viewers — especially foreign ones— confront the realities that these idols in training had to experience in order to become the shiny, blemish-free groups dominating the K-pop scene we stan. On the show, contestants were expected to dance and sing to routines flawlessly in less than a week, and were chastised by mentors when they would fail to do so. Moreover, the show would then highlight trainees who, seemingly bolstered by their mentors’ shouting, would spend all night practicing and end up executing the performance much improved. Segments like these promoted unhealthy behaviors and ultimately did nothing to give trainees the actual mental support that they needed. 

Yet despite these flaws, I, like many others, watched every season of Produce 101, eagerly anticipating new episodes and live performances that I would then rewatch endlessly. Even now, a small part of me wants Mnet to announce a new season so I can have my thirst for more Produce content quenched. I never enjoyed the way trainees were yelled at, or the negative edits contestants received from producers. I didn’t watch the show for manufactured drama. Instead, what I loved was watching friendships blossom between trainees, a fierce love for one another despite intense competition. With every elimination, I cried alongside those who were let go, their lifelong dream of debuting gone for yet another day. 

In the end, it was viewer-generated empathy like my own that allowed the show to be so successful. And while it’s definitely for the best that there won’t be another Produce season anytime soon, there’s no doubt the impact it had on the Korean music industry as a whole and the trainees involved.

What’s your favorite project group from Produce 101? Let us know in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

KultScene is a writer-driven website dedicated to creating a platform where diverse voices’ takes on K-pop can be heard. If you like this post and would like to see more by helping support KultScene’s writers fund, please email us for more details.

Post ‘Produce 101’: making waves in K-pop

/in , /by

Slightly over a year since the airing of the first episode of the boy group survival show Produce 101 Season 2, the next installment of the show, Produce 48 has been attracting buzz with the revelation of the A-list trainers involved, such as FT. Island’s Lee Hongki and former Sistar member Soyou. The continuity of this Produce series can be attributed to the roaring successes of its first two seasons, and of the groups formed following the show (I.O.I and Wanna One). In fact, one year after the program, the K-pop industry is currently dominated by several idols who participated in it. Temporary and project groups have been formed, soloists have debuted, and existing groups were revived due to the popularity of the program, proving the great impact the show has had on the industry.

Wanna One

As the victors of the program, this group naturally had a lot of popularity right off the bat. With their debut song “Energetic” winning 15 music shows and topping both local and international charts, the members gained even more fans through their appearances on several variety shows such as Weekly Idol and Knowing Brothers. Their consistent album releases and music promotions helped sustain this popularity, and their most recent title track “Boomerang,” from the album 0+1=1 (I Promise You) also did wonderfully, netting 10 wins. Since their debut, the members have ranked highly on brand value rankings among idols, with center Kang Daniel consistently in the top ranks due to his numerous appearances in shows like It’s Dangerous Beyond The Blanket and Master Key. Even though the group is due to disband in December 2018, there will be more great music releases from them to come, both as a group and as individual members, and they definitely have bright futures ahead of them.

Nu’est W

Quite possibly the most touching success story from this second season of Produce 101, the five-membered group Nu’est experienced a surge of popularity following the appearance of JR, Ren, Baekho, and Minhyun on the program. With Minhyun in Wanna One, the remaining four members (together with Aron, who wasn’t on the show) formed a subunit called Nu’est W, and attained commercial success with their title track “Where You At” off the album W, Here, which earned them their first music show win since their debut. The experienced members shined throughout the program, with all four members making it to the top 20, and their eventual success proves that effort, coupled with talent, always pays off in the end.

JBJ

As their name “Just Be Joyful” suggests, the members of this group had every reason to be joyful because they were formed wholly out of fan demand. Consisting of members Noh Taehyun, Takada Kenta, Kim Yongguk, Kwon Hyunbin, Kim Donghan, and Kim Sanggyun, the group melded together well, releasing a string of consistently good music with their three mini albums. Another group with a timeline, JBJ recently released their final album New Moon, with the title track “Call Your Name” as a sweet farewell to their fans, full of promises to meet again in the future. With member Noh Taehyun returning to his group Hotshot after the disbandment of JBJ, I hope that the members, who all have so much potential as musicians, will be active in the music industry again soon.

MXM

A project unit formed with the two high-ranking trainees of Brand New Music, MXM consists of Lim Young-min and Kim Donghyun. The duo has released two EPs and one single album thus far, with their most recent title track being “Gone Cold,” which was released in early March. While both members have their own strengths, with Young-min focusing on rapping while Donghyun has a sweet singing voice, they work together very well to create music which reflect their distinct musical identity as a duo. While still a rookie group, they are already gaining a lot of performance experience through the Asia promotional tour they are embarking on, as well as through their participation in huge events such as Korea’s annual dream concert. There is also a high possibility that they will form a new group in the future, once Lee Daehwi and Park Woojin (their labelmates) are done with their Wanna One activities, which will be a group to look forward to given the amazing teamwork they displayed back in their Produce 101 audition.

YDPP

Another project group, YDPP is a four-membered group consisting of MXM, Jung Sewoon, and Lee Gwanghyun. As fellow members of Produce 101 Season 2, their comfortable chemistry showed through the fun “Love It Live It” release, which captured the musical colours of youth, dreams, passion, and purity that inspired the formation of the group. Lee Gwanghyun also made his debut through this project, and successfully showed his adorable charms along his members. Im Youngmin also showed a more all-rounded side of himself here because he got to sing and rap. The members complemented each other very well, and while this group is only temporary (like so many others on this list), the magic of this collaboration will last forever.

Also on Kultscene: K-Rapper Artlover talks blending music & fashion, British & Korean Influences [Interview]

Hyungseop X Euiwoong

An adorable duo formed by the Korean trainees from Yuehua Entertainment, Hyungseop and Euiwoong have released two single albums so far, their most recent title track being “Love Tint,” which was released in April. While their debut track “It Will Be Good” was sweet and highlighted their youthfulness, “Love Tint” has a more melancholic and mature sound which allowed them to better showcase their rap and vocal skills, proving how much they have developed as musicians in the short few months between the releases. The rest of their second album Colour of Dream is also a treat to listen to, as they show several sides of themselves through the five tracks on it. If they continue releasing songs this well-performed and produced, the future for this duo is limitless.

Rainz

The second fan-created group following JBJ, Rainz is a project group consisting of Kim Seongri, Ju Wontak, Lee Kiwon, Jang Daehyeon, Hong Eunki, Byun Hyunmin, and Seo Sunghyuk. While none of the members made it very far in the reality show (the highest ranked member was Sunghyuk at 31), they gained a lot of fans due to their individual skills, be it in gymnastics, taekwondo, dancing or vocals, which they managed to display on Produce 101 despite their lack of screen time. Since their debut in October, they have released two mini-albums, their latest being Shake You Up with title track “Turn It Up.” The electronic track highlights their impressive synchronised dance and fully shows their charisma, made even stronger when the boys are together in a group. While the future of the group is uncertain, they have been busy leaving their mark on the industry thus far and will hopefully do more soon.

HNB

HNB is a boy group comprising of trainees from HF Entertainment, some of whom participated in Produce 101. As the group is undergoing an internal evaluation now, the exact number of members in the group is still indefinite. As a pre-debut release however, four members (three current, one past) of the group who were in Produce 101, namely Park Woodam, Jo Yonggeun, Jung Woncheol, and Woo Jinyoung released “I’m Your Light” to thank fans for voting for them. While the group is being finalized, Woo Jinyoung, Jo Yonggeun, Kim Hyunsoo, and Yoon Jaehee participated in another survival show, YG Entertainment’s Mixnine, in which Woo Jinyoung won first place in, hence making it into the final debut group for the show. The members have also been using V Live regularly to interact with their growing fanbase before their official debut.

Jeong Sewoon

Although he missed the debut lineup by just one spot (he came in 12th place), Jeong Sewoon has made it as a successful soloist thus far, with the release of his first mini album which came in two parts, Ever followed by After. He also completed a milestone first solo concert, and has been performing on prestigious stages such as Mnet Asia Music Awards 2017 and the upcoming Seoul Jazz Festival. His latest title song “Baby It’s You,” released in January of 2018, is a catchy and upbeat track which shows his wide vocal range and versatility as a singer. Beyond developing as a musician, he has also been active on the variety scene, with his appearances on programs like Sugarman Season 2 and Dangerous Beyond The Blankets, which he recently became a permanent cast member for.

Also on Kultscene: Primary & Anda’s “Do Worry Be Happy” Album Review 

Samuel Kim

One of the most prominent participants on Produce 101 from the start, his absence from the final debut lineup was shocking to many, but it also sparked a new beginning for Samuel, who debuted as a soloist one month after the conclusion of the program. While he is only 16, he has proven himself very capable of showing diverse charms, from the energetic “Sixteen” to the fiercer “One,” which he released in March. Beyond his charming outward appearance, he has an outstanding sense of rhythm which shows in his dancing, making him a wonderful performer. The best part —he’ll only get better as he continues growing.

Jang Moonbok

He first caught public attention back in 2010, when he went on Superstar K2. While he initially received a lot of hate and malicious comments, he triumphed through them and emerged stronger than before, earning him the respect of netizens as well as many of the other participants on Produce 101. With his enviable long locks, he became a very distinct personality and continued standing out throughout the show. After finishing in 27th place, he recently made his solo debut through mini album Peeps, with “Red” as his title song. Far from the Superstar K2 performance which he was criticised a lot for, Jang Moonbok has been improving his singing and rapping skills and remains an icon of persistence and growth.

Yoo Seonho

The chick trainee who captured many hearts during his run at Produce 101, especially with his many bromances and the continual growth he showed, finally made his solo debut with Spring, SEONHO in April. In line with his flower-boy and cute image, his title track “Maybe Spring” is a light-hearted ballad with a sweet melody. Just like a flower that is on the brink of blooming, Yoo Seonho has room for development, but his potential is already shining through from his mini-album, with tracks that diversify his music style by incorporating jazzy elements. He has also been busy with other activities such as CF filmings, music video appearances and a web-drama that he did with his fellow Produce 101 mate, Ahn Hyungseop.

Joo Haknyeon (The BOYZ)

After ending in 19th place on Produce 101, Joo Haknyeon was added to a new boy group under his entertainment company, The BOYZ. The 12-membered boy group has released two EPs so far, and made a comeback recently with “Giddy Up” from their second EP The Start. “Giddy Up” is a playful song with a nostalgic music video concept that would appeal to viewers of all ages. As the lead dancer, vocalist, and rapper of the group, Joo Haknyeon stands out due to his extensive stage experience but also blends well with the team to create a cohesive performance.

Lee Woojin (The East Light)

Soon after finishing the show, the beloved maknae of Produce 101 joined the talented band The East Light, which has an average age of 16.6 years, but whose members mostly have predebut experience and are skilled in various instruments. Despite the members being so young, the band has a very developed musicality. This contrast is emphasized to a somewhat humorous extent in their most recent comeback with “Real Man,” their third digital single, in which they dress in cool-looking suits, until their high-pitched and unbroken voices emerge. They have a charm that is definitely unique in the K-pop industry, and is a band worth looking out for, especially since Lee Woojin, who has shown his vocal prowess among his hyungs on Produce 101, has now joined the band as a keyboardist and vocalist.

Yoo Hwe Seung (N.Flying)

Rounding out the list is Yoo Hwe Seung. He gained much attention on the show for his vocal ability, and though he finished in 39th place, he was quickly added to FNC band N.Flying, who had made their debut in 2013. Despite being the maknae of the group, both in terms of age and experience, he quickly took center stage with his vocals and has definitely added a lot of colour to the group. Their most recent comeback, “Hot Potato,” is an addictive track reminiscent of the music of their sunbaes, FT.Island and CNBLUE, but filled with the group’s own playful flavour. Hwe Seung also created a stir with his ‘five high notes’ (rivalling those of IU’s famous three notes in “Good Day”) which he displayed through his recent collaboration with FT Island vocalist Lee Hongki, “Still Love You.” While the song is a typical ballad, and both singers gave amazing performances, Hwe Seung’s moment was the true climax and left goosebumps all over.

While the contestants have mostly went their separate ways, they are all making waves in the industry and will continue to do so for a long while.

Have you been keeping up with the Produce 101 boys? What do you think of the impact they have made on the K-pop scene? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Artist Spotlight: Samuel

/in , /by

What happens when you put together Latin roots and K-pop? The answer lies in singer and dancer Samuel Arredondo Kim. Known as Samuel in the K-pop scene, he was born in Los Angeles to a Korean mother and a Mexican father, making him one of the few Latino K-pop stars. He became a huge hit at just 15-years-old, proving that age is really just a number.

When Samuel, now 16-years-old, first made his solo debut last August, he immediately caught my attention as well as the attention of many others. And not just because of his unique cultural background. He possesses certain star qualities and a seemingly inborn talent that distinguishes him from others in the industry. His career began at a very young age when he appeared in commercials for a Volkswagen dealership in Bakersfield. In these videos, we see a young and goofy Samuel, gushing about the cars on screen, constantly flashing a cheeky smile. He even sports an oversized suit and tie and speaks fluent Korean, adding to his more-than-adorable image. His comfort and ease in front of the camera makes it obvious that Samuel was born to be a star.

Also on KultScene: K-pop Unmuted: 2017 Awards — Part 2

At age 11, he moved to Korea to begin his training with Pledis Entertainment. While a trainee, he was in the lineup to become a member of boy group Seventeen and appeared in the live broadcast series, Seventeen TV. In these broadcasts it is not difficult to spot Samuel as he is the youngest of the group and quite visible. He is so small compared to the others, that before watching the video, I questioned whether or not he was a part of the group and whether or not his skills would be up to par. However, when he starts to dance, there is no doubt: it is indeed the young prodigy. In fact, he dances with such skill that he blends in with the rest of the group despite the obvious height difference. Unfortunately, Samuel left Pledis Entertainment and was unable to become a member of Seventeen.

That’s okay though, as it did not stop Samuel from pursuing a career as a K-pop idol. In fact, it was probably for the better as he embarked on a path that would transform him into the Samuel we see today. Shortly after leaving Pledis Entertainment, he signed with Brave Entertainment and became one half of the hip-hop duo 1Punch. They debuted in January 2015 with “Turn Me Back,” the title track of their album, The Anthem. The music video shows Samuel, now a preteen, sporting dreads and an outfit that is highly characteristic of the hip-hop genre. Though his appearance is drastically different, it is still undoubtedly Samuel as only he could possess such advanced dancing skills at such a young age. Although the “Turn Me Back” music video does not adequately show off his full skillset, Samuel is still able to give off a hip (yet adorable) vibe that catches people’s attention.

Not long after their debut, 1Punch disbanded after fellow member One joined YG Entertainment. However, Samuel retained his stage name “Punch” and collaborated with American rapper Silentó in “Spotlight.” This catchy single won them the 26th Seoul Music Award for Global Collaboration, and Samuel later went on tour with Silentó. The fact that he was able to go on tour at his young age proves he has the stamina and qualities of a star and was a good indicator of his future successes.

Samuel’s next big moment came when he joined the survival reality show Produce 101’s second season at the beginning of 2017. He immediately stood out to viewers with his indisputable talent, and even co-choreographed his team’s performances. One of Samuel’s most memorable performances was his performance of Chris Brown’s “With You,” where he displayed incredible footwork and, to the viewers’ pleasant surprise, even lifted his shirt to give a quick peek of his abs. It’s evident through this performance that Samuel has grown and matured so much since he first began his career in Korea. He was such a favorite throughout the show, that people were shocked when he ultimately did not end up making the cut for the 11-member boy group.

Also on KultScene: Best K-pop music videos of 2017

Samuel’s true breakout moment came in August 2017, when he finally made his solo debut with “Sixteen,” the title track of his album.. Just when we thought he couldn’t get better (or cooler), he did. Sixteen was so successful, that the first batch of physical copies sold out, with the title track reaching number one on the iTunes worldwide album charts in Vietnam, Indonesia, and other Asian countries. It’s clear to see why: “Sixteen” is such an irresistibly fun bop that it’s quite impossible to not feel the urge to jam and dance along to it. In the video, we also see an obvious transformation in the young idol’s image. Instead of the adorable persona he once exhibited, viewers find themselves charmed by his cool charisma and attractive visuals. If that wasn’t enough, his vocals and choreography once again improved by tenfold, wowing fans even more.

Not long after that, Samuel released his second album, Eye Candy, in November 2017, which didn’t disappoint with its equally catchy songs. His most recent release was his birthday single, “Winter Night,” which he released January 16, one day before his birthday. Although the rhythm is slower than what we are used to from him, it still shows off his awesome vocals, proving that he is capable of a diverse range of musical styles.

As Samuel has already accomplished so much at such a young age, it’s exciting to see what else he will achieve as he continues to grow in his career and all eyes are on him to see what he does next.

Let us know what you think of Samuel in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

K-Pop Unmuted: 2017 Awards – Part 1

/in , /by

In the 26th episode of KultScene’s K-pop Unmuted, Stephen Knight, Joe Palmer, Tamar Herman, and Gabriel Wilder reflect on the best moments and songs out of Korea in 2017, handing out the awards that they personally deem fit and conversing about some of the hottest topics in K-pop over the 12-month span. This is Part 1 of two year-end episodes.

You can listen to this episode, and previous ones, of KultScene’s K-Pop Unmuted on Soundcloud, iTunes, Google Play Music, and Stitcher.

Let us know what you think of K-pop in 2017’s latest and KultScene’s K-pop Unmuted in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

K-Pop Unmuted: KCON & Produce 101 Releases

/in , /by

In the 22nd episode of of KultScene’s K-pop Unmuted, Stephen Knight, Alexis Hodoyan, and Tamar Herman discuss what it was like being backstage at KCON 2017 LA and New York, and how Produce 101 is shaping K-pop right now. We also discussed new music, including Henry Lau’s sentimental “That One,” Sunmi’s groundbreaking “Gashina,” and HyunA’s age-defying “Bebe.”

You can listen to this episode, and previous ones, of KultScene’s K-Pop Unmuted on Soundcloud, iTunes, Google Play Music, and Stitcher.

Let us know what you think of K-pop in July and KultScene’s K-pop Unmuted in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Weekly K-pop faves: June 5-11

/in , /by

The boy bands cometh! Seriously, though, this past week had the KultScene team falling in love with a lot of new music courtesy of some old, new, and TBD K-pop acts. We enjoyed songs from idol bands FTISLAND and DAY6, and solo songs from two of B.A.P’s members as well as some music from this season of Produce 101. Take a listen and comment below to let us know what song of the week was your fave.

“Open Up” by KNOCK of Produce 101 season 2 (Uploaded June 8)

I think I’ve made my obsession for Produce 101 season 2 pretty clear throughout these lists since the show began. Last week, I chose “Never,” a concept evaluation song from the show, as my fave because it was the one that resonated with me the most. The dance and overall sexy concept, however, definitely went to “Open Up,” but I chose to go with musicality over thirst. So when M! Countdown gave me the opportunity to cheat the system and go for another Broduce song, I took it. KNOCK, the name the team made up for this evaluation, ultimately won on the show and got to perform “Open Up” on M! Countdown. And while, other than hairstyles, they didn’t change mostly anything, it was still a sultry performance. We already know Dongho (aka Baekho of Nu’est) has the sexy thing down, with his velvety smooth vocals. The surprise, however, was Daniel, who hadn’t shined vocally. “Open Up,” to me, sounds like Nu’est’s last album. Dongho singing the chorus is a big part, but musically, it could blend right in. At a time when a lot of boy groups are going the cute route, it’s nice to see the darker concepts are still alive and well.

— Alexis

Also on KultScene: ‘Coming Out! FTISLAND’ Takes Cues From American Reality TV

“Shadow” by Daehyun of B.A.P & “Try My Luck” by Jongup (Released June 8)

After receiving much positive feedback of their solo performances from their ‘Party Baby!’ World Tour this past spring, B.A.P vocalists, Daehyun and Jongup released a collab album for their fans, titled “DaehyunxJongup Project Album – Party Baby”. This special album includes two self written tracks, Daehyun’s “Shadow” and Jongup’s “Try My Luck”.

Daehyun is B.A.P’s first member to release a solo single and to perform it live on music programs (including Show Champion, M Countdown, Music Bank and Inkigayo.) There was a sense of newness seeing him going with a more dance focused track, considering how fans are used to hearing Daehyun belt out his high notes and killer falsettos, which were not the main focus but he still tried incorporating them into this single. “Shadow” has an addictive beat with narrative lyrics. “If I try to touch you, just as a dream I had yesterday, you start to become faint”, a love that is fading, a love that more or less becomes a shadow. Not only did Daehyun steer away from the expectant ballad but by featuring youngest member and rapper, Zelo, he added a distinctive tone to the song.

With Jongup’s well known admiration for Chris Brown’s music and dancing style, it was no surprise to see him release an R&B track. “Try My Luck” has a beautiful mixture of both hard and soft melodies with a few unexpected transitions (like everytime he starts rapping!) The lyrics are direct and bold, “I know that feeling, I know what you want. Only the two of us can do it, you know how I’m feeling” and along with hiss passionately infused odic voice, it’ll make anyone get weak in the knees. Jongup went from having very few lines in B.A.P’s songs, to now writing his own music and very much slaying at it.

Both “Shadow” and “Try My Luck” allowed Daehyun and Jongup to truly show off their depth, range and versatility as singers, outside of B.A.P. Hopefully there’ll be another project album in the future, this time with more solo tracks and from the other members!

— Tam

“I Smile” by DAY6 (Released June 7)

After six months of non-stop single releases, DAY6 finally dropped their first full album, “Sunrise” comprising of the 12 new tracks they released this year and two remixes of their previous title songs, “Congratulations” and “Letting Go.” Needless to say, given the fact that the album is literally made up of ¾ title track worthy songs, it is such a musical delight to listen to. The title track of the album, “I Smile”, in particular, is such a bittersweet and heart wrenching song disguised beneath its cheery sounding title. I may be wrong about this but this song is one of the band’s more musically complex tracks, with chord shifts occurring so quickly and the song constantly moving in an unexpected direction (that instrumental section!!!) The members definitely killed it with the vocals this time, especially Sungjin, who set the tone for the song right off the bat. The accompanying music video is also beautiful, both aesthetically and in terms of its meaning, and I’m proud to say that the members have really picked up some subtle acting skills since their debut. Overall, this has got to be my favourite DAY6 release of the year and maybe of all time, and I hope with this album people will start waking up to their talents.

— Anna

Also on KultScene: Bang Yongguk Wants You To Know That Everything’s Going To Be All Right

“No Better Days” by FTISLAND (Released June 7)

Disclaimer: I’m a huge fan of FTISLAND. So when I heard “Wind” as their 10th anniversary track, paired with a remake of their debut single “Love Sick,” I was a bit disappointed. Then I listened to it in earnest and was excited by the amazing instrumentals at the end. But I don’t want to talk about the title of FTISLAND’s anniversary album. Nope, I’m all about the first track, “No Better Days.” The power of the track is no joke and it’s exactly what I wanted. Powerful drums, soaring vocals– not just from vocalist Hongki but also from Jaejin while the other members provide backup harmonies– this is one of the most dramatic songs on the album. And I love it.

— Tamar

What was your favorite K-pop release of the week? Tell us what you think in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

KultScene’s 2017 Artists to Watch

/in , /by

Chungha Sam Kim KARD Jung Seung Hwan

New year, new Kpop. As 2017 begins, we are watching closely for artists both new and old to stand out with better music and performances. And especially following the 2016 Kpocalypse, nothing is entirely predictable. Anything can make your fave popular — a funny variety appearance, a trendy CF, or a “Sha Sha Sha.” So we ask: Who will be the trend in 2017? KultScene’s writers Anna and Kushal break it down across Male, Female, and Coed lines to give you our prediction of 2017’s rising stars.

MALE Artists to Watch in 2017: Jung Seung Hwan, Sam Kim (Antenna Music)

Of K-pop Star fame, these two singers made their much anticipated debuts in 2016 and while their styles of music are different, they both have equal potential to make it big in 2017. Beginning with Sam Kim’s pre-release single in March with “Mama Don’t Worry,” he then made an official debut in April with his full-length EP I Am Sam.

Each of his songs are so musically inspired and creative that they bring a new life and freshness into the K-pop industry and “No Sense” illustrates that completely. The fact that he’s only going to be 19 this year just means that he still has a lot more room to grow as a musician in the future. Most recently, he also released an amazing OST (“Who Are You”) for popular airing drama Goblin and has been gaining a lot of recognition for the soulful track.

Jung Seung Hwan on the other hand, only made his debut recently in December with his album Voice. He achieved an “all-kill” on Korean music charts with the release of his album, but this shouldn’t come as a surprise for the singer since he had previously topped charts with the covers he sang during his stint on K-pop Star. His naturally emotional voice makes him the perfect choice to sing sorrowful ballads and OSTs, as proven by the successful sound tracks he has been releasing, even before his official debut. In particular, his OST for Oh Haeyoung Again hit the right notes with the Korean public and has achieved a long-staying popularity even with the many other releases of 2016. (I heard the song playing in shops at least 5 times when I was visiting Korea in December.)

Ballads aren’t new in K-pop, but the way these two artists reinvent the genre in their own ways keeps their music interesting and strengthens their individual identities as musicians. Here’s hoping that they’ll discover their well-deserved success in 2017!

FEMALE Artist to Watch in 2017: Kim Chungha (M&H Entertainment)

Originally one of Produce 101’s underdogs, Kim Chungha quickly rose to fame last year as a member of the trendy, nation-produced I.O.I. Among many younger, cuter members, Chungha’s sexier, more charismatic image immediately stood out to I.O.I fans looking for a member with an edgier side. While she rose to fame as a dancer and choreographer, she is by no means a weak vocalist. Chungha has impressed fans left and right with her dancing skills, from improvising “Partition” during her first Produce 101 audition in January to performing on Mnet’s dance show Hit the Stage months ago. The crowning achievement of her tenure as an I.O.I member, however, is the choreography to the group subunit’s song “Whatta Man (Good Man),” which she herself crafted during the summer.

Without a strong company behind her, Chungha’s rise to relevance was largely unprecedented, but definitely welcomed by fans throughout the K-Pop world. While she has enjoyed success as an I.O.I member, many were worried about her future after the group’s upcoming disbandment at the end of January. It was announced at the end of 2016, however, that Chungha would debut as a solo artist under her label M&H Entertainment in the first half of 2017. The decision to give her a solo debut was probably one of the smartest things her label could do, given that 2017 is already going to be flooded with newly successful girl groups and newly debuted girl groups that have yet to find success. The oversaturated nature of the market makes her solo debut something the Korean public and international fan community will quickly embrace — no new members to learn, no new group name to start stanning. In a world of cutesy and energetic girl groups, Chungha’s charisma will likely stand out, giving her another edge in the intensely competitive market of female K-Pop artists. Chungha is definitely multi talented, and her ability to handle multiple skills and concepts puts her immensely ahead in K-Pop game this year.

COED Artist to Watch in 2017: K.A.R.D (DSP Media)

While they haven’t officially debuted, the four members of K.A.R.D have already made huge waves in the K-Pop universe with their pre-debut track “Oh NaNa,” which was released early last month. Voted by KultScene’s contributors as the 5th Best Song of 2016, the track has yet to chart in Korea, but has remained near the top of worldwide K-Pop charts for almost a month. Their music video has also accumulated over 4 million views, and their YouTube channel has over 180,000 subscribers (keep in mind that they have already overtaken their label DSP Media in subscriptions, which is the channel with every single KARA music video ever…).

With the kind of international attention the group is receiving, it isn’t long before they get similar love in Korea. The inclusion of masculine male rappers and infectious female vocals creates the ultimate mix of boy group and girl group fans alike. Instead of competing for the top spot among boy groups or girl groups, they amalgamate what makes each type of group work in a co-ed unit that stands out. While rising groups like Cosmic Girls and fellow DSP artist APRIL are trying to stand out in the girl group world this year, and new boy groups like VARSITY and Top Secret look for success on the other side, K.A.R.D has relatively no competition. They have entered a niche of K-Pop that hasn’t been touched in years, and with the kind of visuals, talents, and musical quality with which they’ve started, it’s only a matter of time before they become a force to reckon with in the K-Pop world.

Additional content courtesy of Anna Cheang. 

Who do you think will be Kpop’s rising star this year? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

The I.O.I Debacle: K-Pop’s Newest Conundrum

/in , /by

I.O.I DIA Gugudan

2016 has been a year of many changes for K-pop fans everywhere, particularly in the increasing size of groups. 12-member Cosmic Girls (WSJN), 42 quadrillion-member NCT, and most notably in the Korean spotlight, 11-member I.O.I from popular idol survival show “Produce 101,” which aired from January to April of this year.

For those of you who never watched the show, I’ll give you a quick summary [Spoiler alert!]. Mnet, one of the biggest entertainment networks in Korea, assembled a lineup of 101 female trainees from over 45 different companies to create the ultimate idol survival show. The girls were first ranked by skill level into levels A, B, C, D, or F classes. From there and on, the girls were organized into different units and tasked with performing with different songs, all while being subject to public vote.

In the end, the eleven trainees with the highest number of votes would debut as members of a temporary girl group under YMC Entertainment that would disband after one year of promotions. And this group was eventually called I.O.I, with members Somi (JYP), Nayoung (Pledis), Mina (Jellyfish), Sejeong (Jellyfish), Doyeon (Fantagio), Yoojung (Fantagio), Yeonjung (Starship), Chungha (M&H), Sohye (Redline), Chaeyeon (MBK), and Jieqiong (Pledis). Mnet made a few of the results very notable through editing and show structure — specifically, Somi placing first and being awarded the “center” position (as maknae, or youngest member, of the show’s entire 101-girl lineup), Sohye’s rise to fourth despite originally being an F trainee, and Yeonjung just making it by snagging 11th place.

Somi Sohye Yeonjung Produce 101 I.O.I

As a result, I.O.I started with incredible popularity, as all of the group’s members got tons of exposure from the show. Their first mini album “Chrysalis” sold approximately 60,000 copies and counting, demonstrating their fandom power only a month or two into their existence. And they’re not only notable in their number of fans — the group has also snagged many CFs and endorsement deals as well, showing that their popularity permeates the public itself. And while all of this is sweet and dandy, the group has also become incredibly controversial, opening up many ethical/philosophical/“is this even possible?”/“WTF?” K-pop questions for fans to ponder.

Also on KultScene: The Best K-Pop Girls of June

To begin, the group itself is entirely an experiment, because it was crafted exclusively by public vote. And considering how visual-oriented entertainment culture can be, this group has weaknesses when it comes to raw talent. Among the entire 11-member lineup, the only strong vocals are Sejeong and Yeonjung, forcing the group to pursue more rap-friendly, easy-singing songs instead of those that use stronger vocals to captivate the listener. And while all members definitely have their talents and charms as amazing and talented performers (some examples: Somi is a visual-singing-dance triple threat, Yoojung brings incredible stage presence, and Chungha is a truly gifted dancer), the group has essentially become about visuals and “pretty likeable qualities” instead of any sort of musical accomplishment. The question must be asked: is this the best way to form a girl group? Does opening up member selection to vote dilute the talent, and/or place excessive limits on the way the members use (or don’t use) their talents?

With the way I.O.I looks, I would argue that it does. The group’s image boasts talented performers, but doesn’t let them show off raw singing or dancing talent for the members that do possess those abilities. It puts incredible limits on the group’s musical abilities, and, depending on who you are, it can make the performance less exciting to watch. I don’t know about you, but I watched Yeonjung’s high notes in her “Into the New World” performance literally one hundred times before I.O.I’s debut. I was hoping for more of that in I.O.I’s repertoire, but Yeonjung’s high note in “Dream Girls” is much less impactful. With the vocal caliber, song quality, and immense size of the group, that kind of stuff seems to be less of a priority for the producers.

Yeonjung Produce 101 I.O.I

Going off of that, the next larger K-pop question comes to mind — does a group as big as 11 members really work? In the case of groups like Super Junior, EXO, Seventeen, and more, the answer seems to be yes. But for a girl group like I.O.I, it isn’t. This group isn’t an innovative performance-oriented group like Super Junior; they’re not a dance-heavy pop group like EXO; they aren’t a unit-centric, talent-based group like Seventeen. Instead, they’re just a girl group with likeable and talented members that should all get a sizable amount of the spotlight. But instead, each member is left only one or two lines in the entire song, and barely anyone gets to shine at all. While I.O.I might be popularizing a larger group model for girl groups, they’re demonstrating that it doesn’t work well in terms of music and performance.

Music quality is another area where I.O.I suffers incredibly. And this is the fault of none other than their label, YMC Entertainment. The first song they released as a group, “Crush,” wasn’t entirely bad in the eyes of netizens and fans alike. The music video, however, created a lot of noise — why were they all in mismatched outfits, singing and dancing without coordination in a room that resembles the worst of K-pop’s “box music video” era? Obviously, it seems that the “Crush” music video was a quick production for fans to enjoy. But the enjoyment was limited, especially when editing and/or other management problems led to Yeonjung’s criticism for allegedly trying too hard to steal the spotlight from other members. The deletion and re-release of the video, consequently with less Yeonjung, demonstrated that the whole affair was sloppy and unprofessional from the start.

Their actual debut song “Dream Girls” was just as messy and controversial. The song combined many different styles, tempos, and rhythms, and in my honest opinion, not very well. While it is catchy, the song was very sloppy and fragmented, with main vocals getting very few lines, raps coming out of nowhere, and the center member’s mysterious absence from the front-and-center region of the stage during important parts of the song. While the song was very different in sound, the music video showed many similarities to that of Girls’ Generation’s debut song “Into the New World.” While a plagiarism suit never precipitated from the scandal, fans were left very angry. Why couldn’t a better and more unique music video have been made to complement such unique girls? Many fans were also angry about Somi’s position in the song, which, essentially wasn’t center like she was voted to be. While many argue that Somi doesn’t have to be center the whole time (and that is a legitimate argument), she was barely in the center at all. It seems like, in order for her to be the center, Chaeyeon’s “We are the Dream Girls” line at the beginning of the chorus should have gone to Somi, and some other lines could have been switched around to find a place for Chaeyeon. After all, Chaeyeon’s place at the front-and-center of the song’s tagline is essentially what the center position is for. Fan’s argued that Somi was voted to be center, so she should have been there and Chaeyeon should not have. This point actually kills two birds with one stone: demonstration of the group being mismanaged, and further evidence to show that groups probably shouldn’t be decided by vote.

Dream Girls I.O.I

To be completely honest, hearing that the group would be promoting under YMC was very surprising when it was first announced. The label doesn’t exactly have brand value, since their only real sustained claim-to-fame is Ailee. And while Ailee is very successful and incredibly talented, putting the group under YMC was bound to create problems. There have been several reports of mismanagement, whether it be scary managers or arriving late to events, and the label is essentially the only one to blame for these dilemmas. Trusting this slightly unknown label with some of K-pop’s future stars might have been the wrong decision.

Putting all of these scandals and problems aside, the biggest controversies remain. First of all, as far as I know, there has never before been a group of girls signed to one label with each girl simultaneously being signed to a completely different label. The only other remotely similar example of this anomaly is Gain of Brown Eyed Girls, who was signed to Nega Network for group promotions, while signing with LOEN and other labels for solo promotions (this was before the entire group, including Gain’s solo brand, switched over to Mystic Entertainment’s APOP sub label, of course). I.O.I’s label conflict creates a lot of problems, some of which most likely led to I.O.I’s unfortunate inability to perform on any music shows other than “M! Countdown” and “Music Bank (they were even edited out of the SBS Dream Concert 2016 broadcast).”

The dual label problem gets even larger (and even ethically confusing) when members are withdrawn from one group to be part of another. All of this begins with Chaeyeon, Heehyun, and Ng Sze Kai, who were all members of groups during their participation in “Produce 101.” Chaeyeon and Heehyun were members of MBK Entertainment’s DIA, but “temporarily withdrew” in order to participate in the show as trainees, while Ng Sze Kai (more commonly known as Shin) did the same as a member of Hong Kong girl group As One. While Heehyun and Shin didn’t make the I.O.I. lineup, Chaeyeon was voted in to join the group. It was expected by fans and netizens that Chaeyeon would remain “temporarily withdrawn” from DIA until I.O.I’s disbandment next year. It’s become pretty obvious, however, that this isn’t happening. Once “Dream Girls” promotions began to wind down, Chaeyeon was pulled from the lineup of I.O.I’s upcoming subunit lineup to promote with DIA. While she isn’t an actively promoting member of I.O.I at the moment, she’s still a member of both groups at the same time, under completely different labels. It goes even further with Jellyfish girls Sejeong and Mina, who were pulled from the subunit lineup to join their home label’s first girl group Gu9udan. Even Yeonjung was pulled from the lineup to go back to Starship Entertainment. While Starship originally said she was being pulled “to work on skills other than singing,” it’s probable that she’s coming out with her own project sometime soon, considering the label just opened a new Instagram account for a project called “Y Teen” set for release this month.

Sejeong Mina I.O.I Gugudan

The dual group membership concept creates many problems in this setting. To bring back another K-pop example, an instance that resembles the current I.O.I situation is Yeonkyung of MBK Entertainment, who was at one point a member of both The SeeYa and F-ve Dolls. We didn’t get to see many of the consequences of this arrangement, however, because both groups went inactive not too long after that announcement. Besides, both groups were under the same label, so the conflict is much less prevalent and plans can be made in accordance with both groups. Japanese record labels do this all the time — the main dancers of BABYMETAL were actually simultaneously part of another girl group under the same label (although they’ve recently withdrawn from the other group), and AKB48 constantly has concurrent members between itself and its many sister groups. The major difference is that, once again, they are all under the same management.

In Chaeyeon’s case, she finished “Dream Girls” promotions with only a few weeks before diving into DIA promotions, leaving her practically no time to rest. According to recent reports, she is even being considered for a drama, which is just astounding, if you ask me. She debuted only months ago and she is already a member of not one, but two girl groups, on top of acting in a drama?! Too much in too little time — her health must be seriously suffering. The same can be said of Sejeong and Mina, who joined Gu9udan promotions very soon after I.O.I took a break.

And there’s another conflict: neither of these groups’ releases has been successful. DIA’s “On the Road” barely managed to chart in the top fifty, and while Gu9udan’s physical sales are good (the Jellyfish trio from “Produce 101” has a pretty formidable fanbase), their track “Wonderland” keeps on falling only days after release, with negative reactions from many fans and netizens alike. The rushed nature of these releases is most likely in part responsible for their lackluster quality, crammed to coincide exactly with the time during which I.O.I goes into subunit mode.

I.O.I Subunit

Also on KultScene: Inside KCON 16 NY

So the questions must be asked: should one girl be in two groups at the same time? Does this become even more concerning when the girl is under two different record labels simultaneously? Not to mention the consequences — I.O.I’s subunit is missing both of its main vocals. While these positions are likely to be filled by Somi and Chungha, neither of these two has the vocal prowess and technical skill possessed by Sejeong and Yeonjung. And what about health? Not only are Chaeyeon, Sejeong, Mina, and Yeonjung being thrown between labels and groups, but the I.O.I members won’t get that much time to rest before subunit promotions begin, as it is.

And there’s also probably the biggest, most frustrating conflict of all for many Korean fans — if they voted and supported their fave through “Produce 101,” isn’t it only fair that their home label not pull them out of the group while they’re still claiming their year-long prize? Is that unfair to the fans who voted for them, or should fans simply remain supportive as their idol moves between groups and promotion cycles? In theory, I personally think there’s nothing wrong with one person being part of two groups. But when the concept is carried out the way it is in this situation, I disapprove, simply because of how music releases, promotion cycles, and most of all, the members themselves are being treated.

The dilemmas are endless; I.O.I truly is a K-pop conundrum. Despite my intense criticism, I am a huge I.O.I fan in all honesty. My critique is not for the group members themselves. It’s instead for whoever thought a publicly voted girl group would reach some sort of perfect “Ideal of Idol” (what the actual I.O.I acronym stands for). It’s for whoever is managing them, whether it be YMC or the home label they’re debuting under. It’s for whoever put these eleven talented, beautiful, and amazing girls in the crossfire of a label jurisdiction war. With only three more releases from I.O.I coming our way, and whether they’re in units or not, my only hope is that some of our many K-pop dilemmas are resolved before their untimely disbandment.

What do you think of I.O.I’s controversies? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.