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아이유-GD&탑, 어떻게 아이돌을 놀라게 했나?
Source + Photos: Osen via Daum
by VITALSIGN on February 4, 2011
南韩艺人所属经纪公司的资料
http://www.johyunjaechina.com/dp/?dp-bbsthread-9463-3.html

Music analyst Hanteo revealed that the top digital songs for January were IU’s “Good Day” and GD&TOP’s “High High“, which ranked first and second respectively.

While these two tracks are of different genres and attract different fanbases, they share something in common – they demonstrate the artists’ grip on their music, and their natural flair for their craft.在音樂上展現了個人的影響力和歌唱的天賦


IU took charts by storm with her impressive vocal talent, playing up to the music fans’ desire of wanting to hear an artist’s voice ‘as is’. MR removed videos, a popular ‘tool’ amongst fans, allowed listeners to scope IU’s natural voice and talent.

What’s ironic about success is that she secured it in an industry where auto-tune is considered ‘trendy’ and ‘modern’. IU went back to the roots of music with her famous ‘three high notes’, and many are of the belief that if “Good Day” didn’t feature those high notes, IU wouldn’t have earned the explosive popularity she enjoys today.


Meanwhile, GD&TOP went the complete opposite direction by immersing themselves in the electronic hip hop genre. They debuted as a sub-unit group of Big Bang in order to fully express their personal musical tastes.

Having earned a bit more freedom in both style and music, the unit came up with an interesting blend of club sounds that ‘revolutionized’ the image of idol groups. Instead of strict choreography, the two moved about on stage freely, to the ‘feel of the music.’

T.O.P expressed earlier that they wanted to “break the stereotypes of idols,” and the duo managed to achieve just that.

Though they focused on different aspects, they managed to accomplish their goal of showcasing true musicality. The two broke out of the molds that idols are often enclosed in by performing and creating music that doesn’t restrict their liberties as musicians.


進軍日本的南韓流明星的創收和真正收入,並不能單純地畫上等號.創收"激增",而純收入"難說"...


進軍日本好像已經成了南韓一線明星的必經過程.究竟他們的錢包是不是像期待的那樣厚厚實實呢?只能說一半是成功的.可視的創收額雖然是天文數字,但實際上的利潤并不如此,還在努力地向上增長中,並且離那個天文數字還有很長一段距離.

裴勇俊和崔智友的<冬季戀歌>可以說是南韓流的一記響箭,也是上面提出的落差問題的一個好例子.日本的某研究所公佈,2004年<冬季戀 歌>在韓日兩國一共創收3萬1300億元韓幣(約等於人民幣184億).韓日觀光客,以及主演演員代言產品銷量等也包含在了計算內.而且,裴勇俊和崔智友等當時紅極一時的主角最近都還在日本開展演藝活動.

K-POP熱風的盛行使得南韓歌手進軍日本的收入非常可觀.東方神起2009年登上了日本某年度綜合創收排行榜的第3名,共計創收金額約938億元韓幣 (約等於人民幣5.5億元).2010年儘管鬧出了解約糾紛,還是沒有影響他們的受歡迎,那一年登上了該排行榜的第2位,創收總計約1284億元韓幣(約 等於人民幣7.6億元).這個數字包括了所有他們在日本的專輯發行,DVD售賣,演唱會公演,廣告等的收入.

KARA和少女時代的躍進也非常醒目.KARA在日本被選為了新人歌手第一名,創收總排行上則是第29(177億元韓幣--1億元人民幣).少女時代居第49位,是排行第二的新人歌手(120億元韓幣--0.7億元人民幣).當然收入和利潤是不同的.KARA的情況,年初遭遇了內訌事件,爆出了收入比預想的少很多的說法.其中85%的收入由日本專輯流通公司獲得,再出去宣傳,製作,運營費用,KARA最終僅被分配到1%.因此,南韓各界針對此現象正在提倡[慎重論],認為爲了真正意義上的創收,應該在充分調查創收條件和其他相關資訊后再走進軍日本這步棋.