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    Moonbin, Member of K-Pop Band ASTRO, Dies at 25

    The K-pop star was found dead on Wednesday at his home in Seoul.Moonbin, a member of the K-pop band ASTRO, died on Wednesday at his home in Seoul. He was 25.The pop star’s death was confirmed by the band and its management agency in a statement in Korean posted to Twitter. They did not specify a cause.“On April 19, ASTRO member Moonbin suddenly left us and has now become a star in the sky,” the agency said. It called on fans to refrain from “speculative and malicious reports” so that his family could process the news. To respect their wishes, the agency added, the funeral would be held as privately as possible, with only family, friends and colleagues.According to the Korean news agency Yonhap, Moonbin was found dead at his home in the upscale neighborhood of Gangnam at about 8:10 p.m. on Wednesday by his manager, who contacted the Seoul Gangnam Police Station. Moonbin, born Jan. 26, 1998, was an actor, dancer and model as well as a singer, who also performed as part of the band Moonbin & Sanha. ASTRO, originally a six-person male K-Pop group, shot to fame in 2016 with their debut EP “Spring Up.” They were named to Billboard’s top 10 list of new K-Pop groups that year.In a statement shared early Wednesday, ASTRO announced the cancellation of the Moonbin & Sanha tour in Jakarta “due to unforeseen circumstances.”News of Moonbin’s death reverberated throughout the K-pop world, as fans praised the star for introducing them to the genre, and mourned the sudden loss.Moonbin is the most recent of a series of Korean celebrities in their 20s dying suddenly. In 2019, the deaths of two other K-pop stars left South Korea soul searching over what had gone wrong in one of its most popular cultural exports. Earlier this month, Jung Chae-yull, a 26-year-old South Korean actress, was also found dead in her home. Some, though not all, of the cases have been acknowledged as suicide.If you are having thoughts of suicide, call the National Suicide Prevention Lifeline at 1-800-273-8255 (TALK) or go to SpeakingOfSuicide.com/resources for a list of additional resources. More

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    Jung Chae-yull, South Korean Actress, Is Found Dead at 26

    Though the cause of the unexpected death of Jung Chae-yull was not disclosed, it has renewed concerns about mental health in the country’s highly competitive entertainment industry.A young South Korean actress still early in a promising career was found dead in her home on Tuesday, according to the production company she had been working with. Although no cause of death was disclosed, the episode has renewed concerns about the mental health of young people working in South Korea’s highly competitive entertainment industry.The actress, Jung Chae-yull, 26, is the most recent instance of the phenomenon of celebrities in their 20s dying suddenly. Some, though not all, of the cases have been acknowledged as suicide.“Actress Chae-yull has left our side on April 11, 2023,” Management S, Ms. Jung’s agency in Seoul, said in a statement on Tuesday. “We pray that Chae-yull, who has always been sincere about acting, is able to rest in peace in a warm place.”Two years ago, another 26-year-old actress, Song Yoo-jung, was also found dead at her home in Seoul. Both Ms. Song and Ms. Jung’s careers had begun only a few years before they died. Ms. Song’s agency did not disclose the cause of her death either.In October 2019, Sulli, 25, a member of a K-pop girl group, was found dead in her home after facing repeated instances of bullying. Officials determined it was suicide. A few weeks after that, Goo Hara, 28, another K-pop singer, was found dead in her home, and her death was likewise ruled a suicide.“Unless the entertainment industry and media change, South Korea will be first place on celebrity suicide,” one K-pop fan wrote on Twitter. South Korean authorities recently announced that instances of bullying will now be reflected on college applications, as the country struggles to put a stop to such abuse.Ms. Jung stepped into the spotlight in 2016 in a fashion competition show in South Korea called “Devil’s Runway,” which grouped rookie and veteran models into teams to compete on the catwalk. She scored multiple endorsements with popular brands like Etude, a large cosmetics company in South Korea, and U.S. fashion labels such as Jill Stuart.Ms. Jung on the set of the movie “Deep,” a thriller in which she had a leading role.HajunsaMs. Jung branched out into acting in 2018, when she landed a leading role in the movie “Deep,” a thriller set in the Philippines. She would go on to act in at least one more film and two series, including “Zombie Detective,” which took home a prize at the 2020 KBS Entertainment Awards in South Korea.Recently, Ms. Jung had been filming a new series called “Wedding Impossible,” based on a web novel. Filming has been temporarily suspended, according to Studio 329, the company that was working with her on the project.Ms. Jung was born in 1996 and enjoyed boxing and snowboarding, according to social media posts. Since Tuesday, fans have flooded her Instagram account to pay tribute.“I love you, Chae-yull, I’ll pray for your happiness in heaven,” one fan wrote after the announcement.Ms. Jung’s family plans to hold a private funeral, according to her agency.If you are having thoughts of suicide, call the National Suicide Prevention Lifeline at 1-800-273-8255 (TALK) or go to SpeakingOfSuicide.com/resources for a list of additional resources. More

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    K-Pop Group Tomorrow X Together Ends SZA’s Seven-Week Run at No. 1

    The boy band topped the Billboard album chart for the first time thanks to an array of collectible CDs for sale.Riding intense fan interest in its collectible CDs, the K-pop quintet Tomorrow X Together scored its first No. 1 album on the Billboard chart this week, ending a seven-week run on top for the R&B singer SZA.“The Name Chapter: Temptation,” a five-song EP by the South Korean boy band that clocks in under 15 minutes, sold a total of 161,500 equivalent units, including physical sales, downloads and streams, according to the tracking service Luminate. Nearly all of that sales activity — 98 percent, Billboard reported — was on that quaint technology known as the CD. The group released 14 different editions, including autographed versions and some with mystery bonuses like photo books and postcards.The No. 1 debut marks the third Top 5 release for Tomorrow X Together — made up of the musicians Soobin, Yeonjun, Beomgyu, Taehyun and Hueningkai — after the group landed “Minisode 2: Thursday’s Child” at No. 4 last year and “The Chaos Chapter: Freeze” at No. 5 in 2021. Its pure sales numbers for “The Name Chapter: Temptation” were the highest on the chart since Taylor Swift’s “Midnights” in November, Billboard said.SZA’s “SOS,” a consistent hit on streaming services, falls to No. 2 for the first time, with another 100,000 units in its eighth week of release. Overall, the album has topped more than one billion streams and one million in equivalent sales.Swift’s “Midnights” comes in at No. 3 with 68,000 units; the rap producer Metro Boomin’s “Heroes & Villains” is No. 4 with 47,000; and Drake and 21 Savage’s joint release, “Her Loss,” is No. 5 with 44,000.Further down in the Top 10 were debuts by Sam Smith, whose “Gloria” hit No. 7 (and took home a Grammy on Sunday night for the single “Unholy”), while Lil Yachty’s “Let’s Start Here,” a psychedelic foray that strays from rap music, lands at No. 9. More

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    Blackpink, Aespa, NewJeans: The Evolution of K-Pop Girl Groups

    Subscribe to Popcast!Apple Podcasts | Spotify | Stitcher | Amazon MusicOver the past few years, Blackpink has emerged as a worldwide force — hit singles, huge tours, influence in the fashion world — becoming perhaps the first K-pop girl group to reap the full benefits of the genre’s globalization. Standing on the shoulders of earlier innovators like Girls’ Generation and 2NE1, it has become a pop standard-bearer all around the world.It also has been joined in recent years by a slew of other girl groups with growing profiles and unique personalities: Itzy, Aespa, Ive, and the most recent microgeneration, NewJeans and Le Sserafim.On this week’s Popcast, a conversation about the different paths girl groups have had to traverse compared to their male peers, the manner in which they blend music and storytelling and how the worldwide spread of K-pop has amplified opportunities for them.Guest:Tamar Herman, who writes about K-pop for Billboard, Forbes and othersConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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    Broadway’s ‘KPOP’ Will Close on Sunday

    The final performance, just two weeks after its opening, will include a panel discussion about Asian American and Pacific Islander representation.“KPOP,” a new Broadway musical both celebrating and exploring the wildly popular Korean music genre, will close on Sunday, just two weeks after opening.The producers had hoped that the large and youthful global fan base for K-pop music would lead to a strong audience for the show, but instead it faced anemic ticket sales that made it impossible to keep going.The show’s grosses were consistently well below what it costs to run a Broadway musical; during the week that ended Dec. 4, it grossed just $126,493, making it the lowest-grossing musical now running. Its average ticket price was $32.06, which is also unsustainably low; the industry average that week was $128.34.“KPOP,” rich with performance numbers in a mix of English and Korean, tells the story of a solo singer, as well as a boy band and a girl group, all preparing for a U.S. concert tour. They are contending not only with the rigors of the performance style, but also some tensions with their producer, a documentary filmmaker, and among themselves.The show received mixed reviews, including a largely negative one in The New York Times. (The producers complained that the Times review was racially insensitive; Times editors defended the review.)The show, produced by Tim Forbes and Joey Parnes, was capitalized for up to $14 million, according to a filing with the Securities and Exchange Commission; that money has not been recouped. At the time of its closing, “KPOP” will have played 44 preview performances and 17 regular performances.“KPOP” features an original score, with songs by Helen Park and Max Vernon, and a book by Jason Kim. Directed by Teddy Bergman and choreographed by Jennifer Weber, “KPOP” was conceived by Kim and an immersive theater company called Woodshed Collective; its production life began with a fully immersive and more experimental nonprofit staging in 2017 at A.R.T./New York Theaters, produced by Ars Nova in association with Ma-Yi Theater Company and Woodshed Collective.The Broadway production, with a cast that included several alumni of K-pop groups, including the show’s star, Luna, began previews Oct. 13 and, after a string of absences, cancellations and postponements caused by Covid and other infections among the company, opened on Nov. 27 at Circle in the Square. That theater is among the smallest of the 41 Broadway houses; for KPOP, it is configured with 687 seats arranged on three sides of the stage.Overall sales on Broadway remain softer than they were before the onset of the coronavirus pandemic, and that has made survival even harder in an industry always characterized by more failures than successes. This fall, Gabriel Byrne’s solo show, “Walking With Ghosts,” also cut short its run because of weak box office sales; only a handful of this season’s shows appear to be on a path to possible profitability.“KPOP” was a milestone for Broadway in several ways: The first Korean-centered show written by Korean Americans, the first with an Asian female composer, and one of only a handful of shows with a cast that is predominantly Asian and Asian American. The production said that its final performance would include a panel discussion about Asian American and Pacific Islander representation on Broadway.The show, like many musicals on Broadway, is planning to produce a cast album. It is scheduled to be released in February by Sony Masterworks Broadway. More

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    Omega X Members Say Their K-pop Agency Mistreated Them

    A public dispute between band members and the head of their agency has revived concerns about whether South Korean entertainment agencies exploit young musicians.Members of the K-pop group Omega X seemed to be riding high a few weeks ago when their first international tour ended with a successful gig in Los Angeles.But that feeling of triumph was short lived.After the October show, an executive from their management agency screamed at the group at an L.A. hotel and pushed one band member to the ground, footage of the encounter appeared to show. The band members then flew home to Seoul at their own expense and later took their entertainment agency to court.At a hearing on Wednesday, a South Korean judge will consider the request of the group’s 11 members to be released from their multiyear contracts with the agency, Spire Entertainment. Lawyers for the band have said the executive’s behavior in Los Angeles was the latest episode in a yearlong pattern of verbal, physical and sexual abuse. The executive, Kang Seong-hee, resigned last month but has denied any wrongdoing.“I took care of all of them like their mother,” Ms. Kang told The New York Times in a phone interview, adding that Kim Jaehan, 27, the band member who fell at the hotel, had collapsed on his own. She said she hoped the band would resume its normal activities with the agency.Experts on K-pop say the band’s accusations against their agency, if true, would be consistent with other stories from industry insiders and whistleblowers. They say some management companies, especially smaller ones, routinely exploit young artists who are desperate to become K-pop idols by imposing strict controls on their behavior and in some cases subjecting them to verbal and physical abuse.Since the 1990s, “the level of exploitation has been systematized and also normalized because the K-pop industry has become dominant” and more ambitious young people have been drawn to it, said Jin Lee, a scholar of Asian pop cultures and a research fellow at Curtin University in Australia.“Everyone wants to be an idol,” she said.The Fine PrintWorkers in South Korea, a deeply hierarchical society, are increasingly speaking up about bosses who abuse their authority. But experts say that most working K-pop artists don’t publicly criticize their agencies because they fear the consequences of violating their contracts.Omega X onstage during their international tour in October.Omega XKim Youna, an entertainment lawyer in Seoul, said smaller agencies in particular have tended to sign rising musicians to contracts that don’t define work hours or set limits on what the artists can be reasonably asked to do.Regulations governing contracts between artists and their agencies have been around for only about 25 years in South Korea, Ms. Kim said. Other industries in the country have robust labor laws. “In this context, it seems that idols, considered the less powerful parties, have no choice but to suffer a little loss,” she said.Some of the losses are financial. It is common, for example, for agencies to ask artists to pay back the costs of the training they received, such as dance lessons, vocal coaching and other preparation. But there are often questions about how transparently those debts are calculated, said Lee Jongim, a scholar of South Korea’s entertainment industry and the author of “Idol Trainees’ Sweat and Tears.”Aspiring K-pop stars “debut in their teens, but entertainment agents are adults,” she said. “So they start out in a structure in which it is difficult to establish an equal relationship.”Speaking OutSome K-pop musicians have waited until their contracts ended to accuse their agencies of mistreatment.In one example, Heo Min-sun, a member of the former group Crayon Pop, told the YouTube channel Asian Boss in 2019 that the band’s agency had withheld band members’ salaries for a year and half after their debut. She said it had also forced them to go on diets and prohibited them from socializing without the agency’s permission.“Our private lives were strictly controlled. Even if I wanted to make a new friend, I couldn’t,” Ms. Heo said in the 2019 interview. Crayon Pop’s agency, Chrome Entertainment, did not respond to a request for comment.In a 2019 criminal case, two K-pop musicians successfully took legal action against their agency before their contracts had expired.Those musicians — Lee Seok-cheol, now 22, and Lee Seung-hyun, now 20 — are brothers who performed in the boy band The East Light as teenagers. They accused their producer, their agency and its chief executive of assaulting and verbally threatening them. A court fined the agency, Media Line Entertainment, about $15,000 and sentenced the producer to 16 months in prison for child abuse. The chief executive received eight months for aiding and abetting child abuse.Another case, though technically successful, is widely seen as a cautionary tale.Three former members of the group TVXQ struggled for years to appear on television after ending their contract with SM Entertainment, one of South Korea’s most powerful agencies.. The country’s antitrust regulators eventually ordered SM Entertainment to stop pressuring cable channels to blacklist members of the band from appearing on TV.The agency denied the commission’s findings. But CedarBough T. Saeji, an expert on the K-pop industry at Pusan National University, said that the band members had been “unofficially blacklisted from the K-pop industry.” The episode sent “a chilling message to younger idols that crossing a powerful company could be the end of their career, even if they achieve a legal goal,” she added.‘A Lot of Anxiety’After Kim Jaehan’s altercation with Ms. Kang at the hotel in Los Angeles on Oct. 22, a South Korean television network published blurred-out footage of the episode that a bystander had filmed. When the band returned to Seoul, its members took the rare step of creating an Instagram account without permission from their agency, as would normally be required. In another rare step, they aired their allegations of abuse at a news conference.“Every one of us is experiencing a lot of anxiety,” Mr. Kim said at the news conference last month. The band members say that a few months after Omega X debuted in June 2021, Ms. Kang, Spire Entertainment’s chief executive at the time, began habitually making sexual remarks, touching their thighs, hands and faces against their wishes, and regularly forcing them to drink alcohol after rehearsals. Lawyers for the band have also said that Spire, a small agency founded in 2020, ordered each band member pay the agency about $300,000 in debt incurred from their training. ‌So far the band’s lawyers have not filed a criminal complaint or presented any physical evidence to corroborate their accusations, citing concerns that doing so would suggest they were trying to influence the civil proceedings that begin on Wednesday. They said their current focus was on getting the band out of their contract, not pressing charges.In an interview last week, Ms. Kang denied the band members’ accusations. Her request for them to cover her agency’s debts was justified, she added, and she believes that the band members have accused her of abuse in order to justify moving to a larger agency.“In their opinion, our company does not have enough to nurture them,” Ms. Kang said, referring to the company’s financial resources. “So they are conducting a witch hunt.”Looking AheadOmega X’s fate may depend on how the South Korean public reacts to the band’s side of the story, said Ms. Lee, the pop culture scholar. If the dispute escalates and its members can rally more public support, she said, Spire Entertainment may allow them to break their contract.At least two companies that work with Spire abroad have cut ties since the scandal broke: Helix Publicity, which had been responsible for Omega X’s public relations in the United States, and Skiyaki, the company that held the license for Omega X’s activities in Japan. A number of people who worked or volunteered at concert venues on its recent two-month, 16-city tour of the United States and Latin America have also spoken up for Omega X. Gigi Granados, 25, a cosmetologist who attended a show at Palladium Times Square in New York City, said she had witnessed Ms. Kang screaming at members of the band at their hotel after the performance. “No one deserves to be yelled at that way,” she said. More

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    ‘Gangnam Style’ Brought K-Pop to the World, but Haunted Its Creator

    In 2012, the song took over the internet, and it helped pave the way for the global success of Korean pop. But Psy, the artist behind it, spent years trying and failing to replicate the phenomenon.SEOUL — He may not look it, in a spiffy double-breasted suit and a coiffure secured with enough hair gel to reflect the ceiling lights, but the 45-year-old music executive confides a secret as he rubs his temples: He’s hung over.But he doesn’t mind nursing this headache, at well past 2 p.m. on a Thursday in Seoul. Some of his best songwriting ideas come to him, he said, in the malaise that follows a night of hard drinking.The man doing the creative suffering is Psy, the onetime global internet sensation whose 2012 viral music video and earworm of a song, “Gangnam Style,” became the first-ever YouTube offering to surpass one billion views and had the world galloping along with him.The outlandish but irresistibly catchy song and accompanying video — which has Psy doing the tune’s signature horseback dance move in and around Gangnam, an upscale Seoul neighborhood — achieved the breakthrough, worldwide success that had mostly eluded Korean pop acts, or K-pop, before then.The video, which now has some 4.6 billion views, was so culturally pervasive in 2012 that Barack Obama was asked about it on Election Day. NASA astronauts recorded a parody, and a North Korean state propaganda site evoked the dance move to mock a South Korean politician. But for several years in the aftermath of all his viral fame, Psy said, the song’s success haunted him. Even as he was thrust overnight into a Hollywood existence, getting chased around New York City by paparazzi, signing with Justin Bieber’s manager and releasing a single with Snoop Dogg, internally he felt the pressure mounting for another hit.Psy performing “Gangnam Style” live on NBC’s “Today” show in New York, in 2012. At the time, the video for the song had more than 200 million YouTube views; it now has more than 4.6 billion.Jason Decrow/Invision, via Associated Press“Let’s make just one more,” he says he kept telling himself.He moved to Los Angeles in an effort to get a global career going in earnest, an ocean away from his native South Korea, where he was both a fixture of the music charts and a source of comic relief on silly television variety shows. But none of the attempts came close to replicating the formula that made “Gangnam Style” a global success.Psy wasn’t alone in trying to figure out how to reproduce the phenomenon. In South Korea, not only the music industry but government officials and economists, too, were studying just what it was about the tune, the lyrics, the video, the dancing or the man that had vaulted the song to such singular levels of ubiquity.And in the decade since the song and video first put South Korea’s pop music on the map for many around the world, K-pop has become a cultural juggernaut, expanding out from markets in East and Southeast Asia to permeate all corners of the world.Artists like BTS and Blackpink command devoted fans numbering in the tens of millions, and the bands wield an economic impact that rivals a small nation’s G.D.P. The fervor has spilled over beyond music into politics, education and even Broadway.Some say Psy deserves much of the credit.“Psy single-handedly placed K-pop on a different level,” said Kim Young-dae, a music critic who has written extensively about the industry. The song was a “game changer” for the Korean music scene and paved the way for the groundswell of interest and commercial success that the South Korean stars who came after him experienced, Mr. Kim said.Now, 10 years on from his lightning-in-a-bottle moment, Psy, whose real name is Park Jae-sang, is back home in South Korea, where he has started his own music label and management company and is trying to recreate the magic with the next generation of K-pop talent as one of the industry’s tastemakers.“Let’s make just one more,” Psy said he kept telling himself after “Gangnam Style” became a phenomenon.Chang W. Lee/The New York Times“One of the things I love most about this job is that it’s unpredictable. We say among ourselves we’re in the ‘lid business’ — because you don’t know what you’ve got until you open it,” Psy said in an interview at the offices of his music label headquartered in — where else? — the Gangnam neighborhood of Seoul. “You don’t know which cloud will bring the rain.” With 10 artists under his wing, including a newly minted six-member boy band, TNX, Psy says he feels immensely more pressure shaping and stewarding other people’s careers compared to when he was responsible for his alone.And while he can give his budding stars advice based on decades of industry experience, what he can’t do is offer them surefire instructions on making a hit record.For all the years he has spent thinking and talking about “Gangnam Style,” he remains just as mystified as anyone by its success.“The songs are written by the same person, the dance moves are by the same person and they’re performed by the same person. Everything’s the same, but what was so special about that one song?” Psy said. “I still don’t know, to this day.”Psy performing on the grounds of Korea University in Seoul in May.Anthony Wallace/Agence France-Presse — Getty ImagesIn global terms, Psy and his “Gangnam Style” are the epitome of a one-hit wonder. But in South Korea, he had been well-known as a rapper and musician for a decade before, carving out a path that differed from many of his fellow performers, in that he didn’t count on a boost from his physical appearance or shy away from courting controversy.He never had the chiseled look sought after in South Korea’s pop music industry, and from the release of his first album in 2001, he became notorious for his blunt, profane and at times ribald lyrics. “I Love Sex” was one of the tracks on his debut album, “Psy from the Psycho World!” which was slapped with a ban on sale to minors at the urging of the country’s Christian Ethics Movement.Despite — or perhaps because of — his unapologetic, iconoclastic ways, over the past two decades at home in South Korea, the college dropout has consistently logged chart toppers, best-selling albums and sold-out concerts.“It’s kinda sorta ironic he became so iconic — he went from being occasionally censored to widely celebrated,” said Bernie Cho, president of DFSB Kollective, a Seoul-based creative services agency that offers marketing and distribution solutions to Korean music artists and their labels. “He irreverently winked his way from being the bad boy of K-pop to the golden boy of K-pop.”For a pop song, “Gangnam Style” also unleashed an avalanche of deep think pieces and analyses on the various aspects of South Korea and Seoul it was said to be lampooning: the hypocrisy of the nouveau riche, the superficiality of its social standards and the inequality exemplified by the opulent Gangnam neighborhood.Psy insists the song never intended to deliver any profound social commentary — he was just looking to give people a few minutes of mindless hilarity and a reprieve from reality.If anything, he said, he was poking fun at himself, because he doesn’t aesthetically fit the bill of a posh Gangnam local.A decade on from his lightning-in-a-bottle moment, Psy has started a music label and talent management company. Chang W. Lee/The New York Times“It’s funny because someone who doesn’t look like he’s ‘Gangnam style’ says he is,” he said.Initially targeted for development in the 1970s to expand Seoul south of the Han River, Gangnam has became a coveted address where many of the capital’s wealthy congregate and the best schools are concentrated, an educational disparity likely to ensure that the inequalities symbolized by the neighborhood continue into the next generation.In the years since Psy made Gangnam a globally recognized, if oft-mispronounced, proper noun (“Gang” sounds closest to the latter half of Hong Kong; “nam” like Vietnam), the neighborhood has gotten ever more unattainable for the average South Korean. Nowhere have runaway real estate prices risen as steeply as in the Gangnam area.“If you say you live in Gangnam, people look at you differently,” said Jin Hee-seon, a former vice mayor of Seoul and professor of urban planning at Yonsei University. “It’s an object of desire and envy.”Psy, raised in the greater Gangnam area in a family running a semiconductor business, now lives north of the river with his wife and twin daughters and says he spends little time thinking about the place.A bronze sculpture in Gangnam by the artist Hwang Man-seok, modeled after the signature “Gangnam Style” horse-riding hand motion.Anthony Wallace/Agence France-Presse — Getty ImagesWhat he has recently returned to is his signature live performances.His concerts are legendary in South Korea for raucous good fun. His music — loud and energetic — is often accompanied by dance moves just as outrageous, requiring him to jump, kick and wave his arms wildly in the air. During his six-city tour this year, his first since the pandemic, he said he was surprised to find his joints and limbs as nimble as ever in middle age.In his latest album released this April, his ninth, he collaborated with the rapper Suga of BTS on a single titled “That That.” In the music video, Suga comically duels — and kills — the blue tuxedo-wearing Psy of the 2012 video. (That video has accrued 369 million views.)As for the chase of global fame that once drove him nearly mad, he says he’s made his peace with its absence.“If another good song comes along and if that thing happens again, great. If not, so be it,” he said. “For now, I’ll do what I do in my rightful place.” More

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    For ‘KPOP,’ a Broadway Transfer Is More Like a Reinvention

    The show’s creative team talks about revamping the immersive Off Broadway hit so that it moves “around the audience” at Circle in the Square Theater.Back in 2017, the musical “KPOP” had the kind of Off Broadway premiere that showbiz dreams are made of. The buzz around the production — which had the rare distinction of being about a specifically Asian pop-music style and having a largely Asian creative team — was so intense that desperate New Yorkers were pleading for tickets to its sold-out run at the small A.R.T./New York Theaters in Midtown Manhattan.Talk of a Broadway transfer started quickly thereafter, but, for a variety of reasons including the pandemic, it took five years for “KPOP” to finally make the jump. Now, at long last, the show is in previews, with an opening night set for Nov. 20.The musical Broadway audiences will see, however, is a very different beast from the one that opened in 2017: This is not so much a transfer as a reinvention.The original Ars Nova production, presented with Ma-Yi Theater Company and Woodshed Collective, was an immersive spectacle in which audience members followed a bunch of artists from room to room on two floors, and discovered how the Korean music industry relentlessly drills its stars (called idols) into poptastic precision.None of the 41 Broadway theaters could accommodate this sort of staging. But at least the one the show finally grabbed, Circle in the Square Theater, has a unique asset: It’s in the round.“I like to say it’s the world’s smallest arena — it’s a postage stamp of Madison Square Garden,” the director, Teddy Bergman, said. “For a show that traffics in pop, that collective energy and that collective effervescence felt like something we could capture like lightning in a bottle.”To preserve the sense that the audience is getting behind-the-scenes insights, the book writer, Jason Kim, altered the framing device: The show is now set up like a mockumentary about an upcoming American tour for a K-pop entertainment company’s roster — the boy band F8, the girl group RTMIS and the solo singer MwE.“At Ars Nova, the audience moved around and in this production we’re very much trying to move the piece around the audience,” Kim said. “I think the spirit of the show has been preserved, although it is a different format, and we are trying to engage the audience in very much a different way. We loved that the new theater casts an extra member, which is the audience.”The show is now set up like a mockumentary about a K-pop label’s roster, which includes the boy band F8, the girl group RTMIS and the solo singer MwEF8.Sara Krulwich/The New York TimesKevin Woo, center, in “KPOP,” now in previews at Circle in the Square Theater. There’s a “whole new appreciation and understanding and reception of this music in the States,” the show’s director said.Sara Krulwich/The New York TimesAnother reason for the transformation is the fact that the moment “KPOP” originally aimed to capture has changed dramatically. In 2017, most Americans had no knowledge of K-pop, save perhaps for the song “Gangnam Style,” by Psy. Nowadays, Korean acts like Stray Kids routinely top the U.S. music charts and in May a K-pop artist, AleXa, won NBC’s “American Song Contest” on behalf of Oklahoma, where she was raised.Over the past five years, Bergman said, “BTS happened and ushered in a whole new appreciation and understanding and reception of this music in the States.”He added: “We wanted to focus on what is the journey, the cost, the joy, the exhilaration, the sacrifice of these pathbreakers who are journeying into new territories and spreading this music. I didn’t have to come from a position of having to explain much, or really anything to the audience. It really freed us up to be able to dig deeper psychologically, emotionally.” (The show’s close relationship with South Korea means the deadly crowd surge in Seoul was deeply felt; the Broadway production made a curtain speech last weekend and had a moment of silence, and posted a statement on social media.)One beneficiary of this change in focus has been the character of MwE, played Off Broadway by Ashley Park and now portrayed by Luna, a South Korea-based actress and former member of the K-pop girl group f(x).“What I’m very excited about in this version is the examination of the female characters,” said Helen Park, who wrote the bilingual score with Max Vernon, and orchestrated and produced it for Broadway. “They all have different ambitions, different journeys, different histories, different characteristics. As an Asian woman, that’s something so special.”While MwE, only in her mid-20s, is already a battle-hardened music-industry vet, the new character of Brad is at the start of his idol career and struggling because he is being shunned by his F8 bandmates. Not only was he the last to join the band, but his being mixed race becomes a factor as well. The role had resonance for the actor playing him, Zachary Noah Piser, who has Chinese and Jewish roots: This spring he became the first Asian American actor to play the title role of “Dear Evan Hansen” full time on Broadway.“Brad’s whole situation is very kind of meta because it was very me — I was a newcomer to the Broadway production of ‘KPOP’ and he is the Asian white boy from Connecticut who gets plucked up and placed in this group,” Piser said in a video chat. Brad acts as an entry point into issues centering on identity — which were already present in the first version, but have since been retooled.“When we first started writing, the main idea behind the show was ‘How could K-pop cross over in America?’ — it’s what these Korean artists have to sacrifice in their authenticity in order to be palatable to an American market,” Vernon said on the phone. “Obviously K-pop crossed over, so we asked different questions, like, ‘What’s going on in these artists’ mental state behind the scenes? What kind of pressure is that exerting on their psyche, on their relationships with other people in their band?’”Luna, who got her start in K-pop before turning to musical theater in South Korea (starring in shows like “Legally Blonde,” for example), pointed out that “KPOP” nails the genre’s emphasis on rigorous training.“There are such detailed scenes that are really rooted in the reality of that world,” Luna said via an interpreter in a video conversation. “I feel that people who are actually K-pop singers or who are trainees will really relate. It also gives a sense of consolation for the immense amount of effort and hard work put into creating K-pop.”From left: Park, Kim, Weber, Bergman and Vernon.Justin J Wee for The New York TimesSUCH AN OVERHAUL of the show’s concept and characters also required a reshaping of the score, which The New York Times’s Ben Brantley described as being “as synthetically sweet and perversely addictive as the real thing” in his review. When asked about the balance between old and new songs, the creative team agreed that it was about half and half — “maybe more new than old,” Park said.She and Vernon also had to reflect the changes in the genre at large: The acts that were popular when they started working on the show, back in 2014, are different from the current ones, and fans were sure to notice dated references.“We were responding to Exo, 2NE1, Girls’ Generation, Psy, Big Bang, but K-pop music changes every three to four years so it would be like doing a show called ‘Pop’ and all the music sounds like Britney rather than Billie Eilish or whatever the great artists are that you’re listening to right now,” Vernon said on the phone. “Sometimes by the time musicals are on Broadway, it feels like they’re lagging 15 years behind the culture — we did not want that.”Similarly, the choreographer Jennifer Weber, who is also handling the Max Martin jukebox musical “& Juliet,” had to work within the specific parameters of K-pop dancing. Key elements are point moves, which are the visual answers to the songs’ hooks (one of the most famous remains Psy’s horse-riding gimmick in “Gangnam Style”).And because members of a group trade vocal lines at a quick pace, careful integration is needed to make the choreography work. “You have to almost break it down mathematically about who’s singing at what time,” Weber said on the phone. “You need to constantly be revealing who’s singing, so that person needs to pop out of the formation for their line — and that line could be as little as two bars.”Another way to assure that the show recreates the wondrous, kinetic excitement the best K-pop acts generate was to hire performers who had spent time in the trenches and could share their experience: In addition to Luna, the cast includes BoHyung, a former member of the girl group Spica; Min, formerly of Miss A; and Kevin Woo, once in U-KISS.“A lot of my questions in the first weeks were like, ‘How do you breathe? How do you execute this incredibly intricate choreography?’” Piser said. “The biggest response I got from the K-pop idols in our show was, ‘You’ve got to be patient, you’ve got to be good to yourself and you’ve got to trust the process.’”With “KPOP” now on Broadway, its creators are aware that the show is not just going up against other musicals but against actual K-pop artists — and this time again, the intimacy of Circle in the Square could come through.“We’re competing with Blackpink and BTS,” Bergman said, laughing, “but I don’t know where else you’re going to see BTS with 600 other people. Unless you’re Jeff Bezos or something.” More