• Aurora2687

    Funny enough, both BoA and DBSK released remakes of their Korean songs when they debuted in Japan – so in that aspect nothing has changed from any other group that has been debuting in the in last 2 years. The formula is the same, just the rise to fame for some groups has been faster.

    • Guest’s Twin

      Though this is true, I would like to note that in cases for SNSD, TVXQ! and BoA, popularity didn’t truly begin until they released new material in Japan.

      • Aurora2687

        True. I see the remakes as introductions, groups establishing themselves to current k-pop fans in Japan and introducing their sound to new fans – 
        I guess no one knows how long Hallyu is going to last in Japan – the best way to catch people’s attention fast is tried, tested and successful hits. It’s good marketing. Their company can than build on this and release new material, even experiment with a new sound they might have not released in SK.

    • Anon

      except dbsk did not – their official japanese debut was “stay with me tonight.” 

      boa’s debut single was “id; peace b” – also not a remake.

      yes, both dbsk and boa have remakes in their entire japanese discography, but they did not debut with a remake as so many kpop groups are currently doing.

      • Aurora2687

        Fair enough, I just remember seeing live performances of O and Rising Sun on Japanese TV shows.

        • maldita

          O and Rising Sun had their own separate Japanese versions that were promoted after the Korean versions.

      • Anonymous

        Actually ID: peace b was a remake , she debuted in korea first with the song and then released the japanese version of it immediately after. But boa is an interesting case because she essentially debuted in both markets around the same time .

  • http://twitter.com/PhanTheHotness Jenny

    Yes, DBSK and BOA did release remakes when they first started, but after that, it was all japanese. The songs were more JPOP than KPOP, and I personally love their JPOP ballads and music much more. 

  • Kay

    I don’t think it’s fair to lump UKISS in with SHINee.  There’s a big difference between the two.  SHINee started their Japanese career already being well known and having ties to BoA and DBSK.  Not to mention they began with remakes of their songs.  So they were somewhat able to rest on their laurels when it came to Japanese releases.

    UKISS on the other hand has been working their way up.  They began by being on BS Japan when they were the original 7 having one already fluent in Japanese.  There they were their variety selves and did perform some of their Korean songs but they weren’t immediately idolized.  They didn’t have a strong enough fan-base in Korea to get them to the we’re so popular status of SHINee.  Then after their re-ordering they decided to make a real debut in Japan with a brand new song.  Which I don’t think is fair saying that it’s a song which they could have slapped on a Korean album.  We all know how odd some songs sound when they get translated into a new language (just look at SHINee’s Lucifer) and the same could be said if they had made UKISS’s Tick Tack in Korean.  I think that the song has a UKISS feel to it but that’s not saying that the song itself is a “Korean song.”  There’s plenty of songs in Korean that I feel if it had the right translation it has the right beat to be a hit song in America.  So saying that a song sounds like a specific place’s song doesn’t make sense to me.  I mean that’s like saying any song with dubstep is a South London song, or any reggae song is from Jamaica. 

    I guess the point I’m trying to make is that because UKISS is coming out with new songs for their Japanese debut it’s not fair to say that their not putting in effort.  A song becomes a specific type only when the lyrics are added, because you can have a great beat that would do well anywhere, but put a language to the lyrics and it’s hard for it to be considered another country’s song. 

    • http://www.callmepatricia.com Patricia

      I agree with your general argument, but the reason why I decided to include U-Kiss is because their most notable (and their only?) release in Japan thus far is “Tick Tack,” which was composed by Ryan Jhun, who is also responsible for a bunch of their Korean tracks as well. The point I was trying to make was that because there is no difference in the staff involved to produce U-Kiss’ Korean stuff and Japanese stuff, there is virtually no musical distinction between U-Kiss’ Korean stuff and their Japanese stuff, which is a problem. But nonetheless, U-Kiss should be given credit for not debuting with a remake and leading a more “legit” career in Japan than most other artists…but, to be honest, that’s probably the least we could ask for.

      • Kay

        But doesn’t that bring about the argument that some fans think that it’s a mistake for an act to change their style to what they percieve the new market is like?  Take Se7en’s american song.  He changed his style both in music and mv and it wasn’t well recieved at all even after they brought in an “American star.”  Who’s to say that there has to be a different staff in order to make music that is good in a country different than their home country?  I think the fact that they got to I think it was #3 on the Oricon charts with Tick Tack shows that one doesn’t have to neccessarily change their style to make it work somewhere other than home.  I think the biggest thing is to show that you’re willing to put in the work to show something new to your new market and that you’re not just going to make remakes to see if you’re going to be popular and then put in the effort after the fact.  So i don’t see there being a problem if there’s no musical distinction as long as what they put out is well recieved.

    • Guest

      U-Kiss is just flopping everywhere since the beginning. Can’t win anything in Korea, can’t win anything in Japan……

  • Anonymous

    i don’t need them to do a dbsk/boa style debut, i just need some more original music that is all i ask.

  • http://twitter.com/PheonixiaJJ Echo

    Another thing I’ve noticed which I find really confusing…….is how acts like SNSD with little effort or promotion can sell more than DBSK….even though DBSK is said to be more popular.
    SNSD has also sold more than Kara and Kara has put in a ton of effort.  I really don’t understand this ‘Japanese’ situation.

    What I do know though is that this ‘fad’ is like bubbles that will eventually pop.  Once SNSD starts looking old or gaining weight etc. the bubble they are standing on in Japan will pop…..which is really unfortunate.  It’s sad that all ‘manufactured’ groups have an expiry date one day.  This is why SME continues to create new groups and as long as they make money will continue to do so. 

    • http://pulse.yahoo.com/_XHJ4GQGXHP6ZQ7ULE2PQ2M5S7I ic

      uhmm, Kara has sold more than SNSD. just putting it out there.

    • http://twitter.com/alianessa Alia Nessa Utami

      SNSD didn’t literally sell everyone though. KARA and DBSK sold more singles, DVDs, and photobooks than them, but they just sold more albums. KARA even outsold their original first album within 2 months, but SNSD came up with repackaged Japanese album, so their number is bigger. 

      One of the reason is the girl group craze in Japan right now. Girl groups generally sell better than boy groups, they appeal more to general public too. Their album sold crazy well also because they immediately promoted it via concert (the best way to promote an album in Japan). KARA didn’t have a nation-wide tour, and DBSK had one after the excitement for their album kind of died down. 
      I don’t think SNSD ultimately half-ass their Japanese effort though. 2/3 of their album is original, and their album is praised highly by Japanese industry official because it’s a good album. They promoted it via a nation-wide arena tour , that’s clearly not a half-assed effort even though that perhaps came up as “easy way to promote an album” to some. There’s effort there, but SNSD’s Japanese promotion is not as half-assed as, say, SHINee. They deserve that good number because, yeah, their Japanese album is very good and it’s presented in a good packaging too.

      • http://twitter.com/PheonixiaJJ Echo

        I never said they half-assed anything.  All I said was that compared to other groups SNSD got it easy……even their arena tour sold well.  This is the first year they legit tried to promote in Japan and it was so…..easy…….for them.

        • http://twitter.com/alianessa Alia Nessa Utami

          Haha, I’m sorry, I jumped to conclusion too fast because of some judgments towards SNSD ^^;

          Massive international fanbase, front-runner of hallyu wave (Gee and Oh! are known in Japan way before SNSD’s official debut), mad catchy song, and a style that is well-received by Japanese, I suppose? :3

    • Guest

      What retarded chart are you looking at? SNSD did not sell more than Kara.

  • Mika~

    The term “Hallyu idol” isn’t even that amazing anymore. I think it’d be easier to count the number of idols who aren’t called Hallyu idols than it it’d be to count the number of idols who are called Hallyu idols…

    I never really thought about it as the Japanese market deserving special treatment from kpop idols; to me, it’s a matter of working hard and showing Japanese fans that effort (from not just the idols, but the company) was actually put into the released album…

    It just upsets me that we, as fans, can’t even do anything to ask for better material if we want to keep supporting our beloved idols. I feel that, if the kpop idols don’t suffer a little in Japan, then how are they going to grow and mature? If the companies think that rereleasing Korean songs is perfectly fine, then won’t we be losing a lot of potentially wonderful songs? I don’t know… To be honest, I like DBSK’s Japanese music a lot more than their pre-Japan-success Korean music… In fact, I don’t think I would’ve ever become a fan if I never listened to their Japanese music and went straight to pre-Japan-success Korean music…

  • http://pulse.yahoo.com/_XHJ4GQGXHP6ZQ7ULE2PQ2M5S7I ic

    too bad though, BOA’s not selling well in Japan atm, her last release, a commemorative DVD (?) sold only 7,000 on the first week. as much as she placed a lot of effort debuting and working hard in Japan, if she doesn’t get promoted properly again, she’ll disappear from the Jpop scene soon. I think it’s all gonna be a cycle in the Kpop scene. when the new “it” artist comes out, the current artists will get to be shoved back. (Isn’t Super Junior gonna be on hiatus and EXO Planet gonna reign over soon?)

    • Yoyo

      I totally agree with you. BoA is not doing so well right now in Japan and it’s sad since it seems like all her efforts are wasted but then there’s a possibility that she might not want to promote in Japan anymore.

      • happyslip

        I don’t think it’s wasted. Yes, I see that some people might feel like it considering how she worked there when kpop was still unheard of, but the girl already made her mark. Hers is a cycle not limited to Kpop and Jpop but to every pop scene in the world. I think it’s safe to say that an artist like BoA (especially in kpop standards) are on a different league now — she doesn’t necessarily have to compete with the younger artists before in terms of relevancy at this point in time. She’s done most of what they’re doing now. 

    • Guest

      That’s because Queen Boa is getting ready to take over SM Ent. You can see her practicing on Kpopstar Audition.

  • Lili

    I have a question that maybe the people with more knowledge about Jpop can answer me??.

    Some of my friends have told me that the current TVXQ(homin) is not doing as well as before, is this true?.

    I am still a huge fan, but I mostly get my info from Kpop sites, and It saddens me that they are not as relevant as before in korea, they deserve so much more. 

    • http://twitter.com/alianessa Alia Nessa Utami

      No, no, definitely not. 

      HoMin currently is doing a nation-wide tour with 450k-500k attendees, the largest-scale Tohoshinki’s tour to date . Their KYHD Japanese single is #2 tohoshinki’s best-selling single of all time (only 4k left to break Break Out’s record, and KYHD generally had more longevity than Break Out’s single), and TONE is on the way to break The Secret Code’s record for the best-selling Tohoshinki’s original album (you can’t compare original album to best-selection album because best album generally sold 2-3x better than original album), with just 10k left to break The Secret Code’s all-time sales. Even their bad discography like Superstar still outsold Share The World (which is one of the most highly-acclaimed Tohoshinki’s song to date, together with Doushite). Their winter single also sold nearly 150k, and winter discography generally sold less than normal single.

      Tohoshinki is not doing completely spectacular and jaw-dropping ala KARA, but they’re doing better than their best era when 5 is still together (2009). However, Tohoshinki’s best commercial era is still 2010, when they cashed in 75 million USD, thanks to Best Selection and various DVD collections.

      Btw, 2011 is also the best year in terms of CM deals for Tohoshinki, because they got high-class CM deals in Japan.

      So, no, they’re doing just as well.

      • orenji

        lol, no. delusional tohoshinki fans just don’t get what’s happening in japan.

        • http://twitter.com/alianessa Alia Nessa Utami

          What’s your problem, though? You can practically say the same thing to every idol out there because fans generally want to support their idols. Tohoshinki never appeals to general public except for doushite and share the world, but they are still respected until now. Fans are like that everywhere, and it’s not like people love Tohoshinki for nothing? They became their fans for a reason *shrug*

          • Guest2

            You shouldn’t get affected by this person you’re replying to,just look at his/her past comments,this person is trying to rile you up.Toho,JYJ,and Kara have alot of fans in Japan,so they would sell well. :)

          • http://twitter.com/alianessa Alia Nessa Utami

            There are so many people disregarding HoMin’s achievements in Japan it bugs me. Some people even said “their singles sold poorly in Japan”, LMAO WTF? If Superstar & Winter didn’t sell well than all of toho’s singles before except Break Out and Toki Wo Tomete should be forgotten from discography. I read too many comments about that it bugs me. If you don’t have numbers and just talking based on your ego than don’t talk -.-;;

            I know, I should DGAF abt these ppl right ;___;

          • Guest2

            Don’t worry,sometimes I get upset with troll comments.I also hate the way people have disregarded thier success.I’ll never understand why are people so threatened when a group they don’t like is successful?Exactly,so according to that logic Break Out and Toki Wo Tomete are the only hits TVXQ5 only made,eveything else was a flop and failure.It may make some who aren’t trolling feel better if the two fail,cause then somehow they’d still need the others,it’s weird.I don’t depend on my friends nor family to the extreme that some not all fans want all 5 to depend on eachother.

    • maldita

      Their singles aren’t selling as spectacularly well as their album, though. The thing is, DBSK took a hiatus just when their career was going full speed ahead. Yunho and Changmin are doing just fine, even better than they did pre-lawsuit. Thing is, if they had stayed together as 5, they’d be selling a lot more. But considering all the circumstances, Yunho and Changmin are doing much, much better than anyone ever thought they would.

  • Quinnley

    Most of Kpop is going to the Japan market because the yen is mightier than the won.

    And I dont trust numbers given by the companies cause I have this feeling it’s all exaggerated. And all the fandoms tend to buy multiple copies of everything just so their faves win whatever poll/survey/award/etc. is out there. The numbers aren’t legit. And all the praises isn’t based on merits but the size of their fanbase In fact, I see why the fans can make or break an idol.

  • http://twitter.com/kimberly_cho92 Kimberly 조은진

    DGNA and Supernova are definitely NOT flops.  Both have established a solid fanbase in japan — which i think is the most important first step in succeeding in the japanese market. Sure, groups are free to go ahead and ride the wave but as long as they do, they’re not gonna achieve the same kind of success as DBSK or BoA, which i think IS very possible in this day and age.  What DBSK and BoA have been able to do was to appeal to people beyond the niche of kpop lovers and become relevant in the public eye. That doesn’t happen with overnight fame and following the trend.  I respect DGNA and Supernova so much because of the way they’ve approached the japanese market.  They’ve deliberately chosen the hard way because that’s what’s going to be the most profitable, financially and as artists, in the long run. 

  • Anonymous

    I just don’t hold the new and incoming, recent Korean singers and groups in high respect like I did for BoA or do for DBSK/THSK.
    Yeah, the now-debuting Korean artists in Japan gain instant fame through the Internet. They get more attention and media coverages because their fans instead of their skills. I’m not saying they’re talent-less but that they are being known initially for being celebrities who are coming to a foreign countries INSTEAD of their hard work in singing and performing. Their work from then on won’t be worth the substantial value it does like BoA’s or DBSK/THSK’s works.

    I guess what I’m trying it to say is that working from the bottom is no longer the norm BUT it should because it doesn’t call into question whether the artist(s) earned the acknowledgments and awards coming to them in the future as a reward for all the hard works they have endured through.
    I like and preferred how BoA and DBSK/THSK debuted in Japan as unfamiliar and learned the language and changed their style to fit the Japanese audience; therefore connecting to a new league of fans. Unlike how current Korean artists are just changing the lyrics to their Korean songs and making less effort into their debut and singing career in a new place.
    BoA and DBSK/THSK took the long, hard way and the latest Korean groups/artists are taking the easier, short route.

  • Anonymous

    It is true that right now, Kpop idols dont need to start from scratch like Boa and THSK. I do acknowledge the increasing influence of Kpop and do not argue that idols can’t rely on it. But that is not an excuse for releasing lazy remakes. Fine. Rely on your Korean fame, but release orginal and quality music then. Who would get mad? 
    It is true that there is no special treatment for Japan, but you should keep in mind that these Kpop artists are trying to promote in Japan. They are welcome to use their fame and Hallyu influence but they should at least show that they are making an effort to promote in Japan by releasing new stuff not just some remakes. It is a basic step to show respect not special treatment. Like Super Junior M in china or taiwan. They wanted to promote there so they release new songs in Chinese. Does that count as special treatment? No. If you want to promote in a foreign country, you should release new songs in that language. That is not special treatment. That is how it should be. 

  • Guest

    When you mention the current flow of the Hallyu then yeah, what Supernova and The Boss are doing seems to be a really bad decision on their part; I mean why work so hard to learn the language and culture, why start from zero and work your way up when you could easily ride a wave of popularity to the top? But I feel like these groups are doing these things with the uncertainty of the future in mind. What will happen if this Hallyu craze dies down and all those other groups are left without the ability to speak the language of the country they’re promoting in? I think the way Supernova and The Boss are handling their foray into the Japanese market is the most respectable approach, and will probably pay off for them in the long run. I also think for them, as artists, it’ll be so much more rewarding to perform at large scale concerts after all their hard work at smaller venues. 

  • G.

    “As far as Korean entertainment is concerned, Japan has been swept up by Korean fan culture all the same …”

    Has anyone told that to Japan?

    My face made a huge WTF-type expression when I came to the paragraph about how the Japanese market shouldn’t get special treatment. Look. Whether you like it or not, k-pop artists go out of their way to re-record their past hits in Japanese—and sometimes they even make new MVs (well, PVs… as they’re referred to in Japan) to go along with it.

    Now your sentiment would make sense if k-pop artists chose to promote their original Korean songs in Japan, but that’s obviously not the case. The reason why so many people bitch about the “low quality” of remade k-pop songs is because they’re LOW QUALITY. I mean if a company and an idol group is going through all this trouble, at least do a good job. And NO, I don’t consider 40% English + 60% cheesy Japanese lyrics to be a good remake of a k-pop song.


    Every k-pop group or idol who is attempting to break into Japan needs to take some fucking notes from the following people: BoA, JYJ, TVXQ, KARA, and (most recently) Se7en. They got the language down and the music doesn’t sound like shit.

    *To their credit, Rainbow is half-way there since all of their members are quite fluent in Japanese.*

    • http://twitter.com/4NiaxBlackJack Seneca Miles

      You forgot 2ne1!!

      • Fei

        2NE1 is not really popular in Japan. Their music don’t really fit in the j-pop scene at all (with some exceptions). 

  • martian

    The only beef I have with any idol trying to promote in Japan is that half of them can’t even speak conversation Japanese without stumbling. Learning a language isn’t easy peasy Japanesey (LOL sorry couldn’t help it) but if they were serious about promoting in Japan, do it properly by first being able to communicate. I do not want to go through another Yuri trying to pronounce “Yoroshiku Onegaishimasu” only to stop at “Onegai” and pause and think for a hard 5 minutes what the next few syllables were (one of the concert videos I saw of their Japanese Arena Tour, not too sure which one, but whilst many thought it was cute, I found it so disrespectful because it is probably one of the first 5 greetings you will ever learn when you start learning Japanese). 

    Hallyu at the moment is a fad, and it will continue to be one unless someone takes some serious effort to immerse themselve in the market behind the scenes, rather than trying to milk every penny out of the consumers via the obvious routes of nation wide arena tours and repackage albums. The effort put into these are shiny and obviously expensive, but the effort put into learning a language and showing it off earns much more respect and praise and can go toward establishing a long term career that won’t fade into the background as easily as the 50 other rookie idol groups that are trying to break into Japan before they even take baby steps in their own country. That is unless they just want to ride the Hallyu Wave while it still exists and is highly profitable because in the end Entertainment is a business, and in business investments are made and investments are lost regardless of the moral or ethical implications. Business involves ruthless tactics in order to make the most out of every investment and the move in Japan seems to be the same. At this point Japan is just a lucrative business investment in order to maximise profit and market efficiency while this, the Second Hallyu Wave, still lasts. 

  • Beets

    Hallyu sucks for now. It’s a fad. I still like to believe i’m in 2008. 

  • MaryDBSKluv4ever

    DBSK and Boa are considered as J-pop.When they started their activities, ESP DBSK, they work hard like crazy! @ first they could’t even stand in normal stage, but they perform like like small place. They show Bigeast, their work hard and now tey got respect. 

    • http://www.facebook.com/people/Willam-Mclean/1003580224 Willam Mclean

      2002, 2003 BoA sold the most Korean Studio Albums for an artist in SM entertainment. 2004, 2005 DBSK sold the most Korean Studio Albums in SM, BoA was second in both those years. These do not include their Japanese sales.

      BoA has had more number 1 peaked Korean Studio Albums in her 5 years since her debut(2000-2005) than Big Bang, SNSD, KARA, FT Island and Wondergirls. All those groups are at least 5 years old and have ranked number 1 in the Oricon Weekly Album charts for 2011. DBSK and 2ne1 were the other groups that were successful, 2011 was huge year for Korean Music in the Oricon charts

      BoA producing Albums for the Japanese market doesn’t make her a J-Artist any more than if Elvis were alive and started doing the same. DBSK and BoA were just as huge in South Korea as they became in Japan. They were marketted as Korean Artists in Japan because the was one of their selling points.

      The international fans are more likely to mistake BoA for being japanese, I know, I was one of them hahahahahahahaaha. But I was really happy that BoA was my first real taste of a Korean Artist and she was yummy hehehehehehe

  • Guest

    BoA’s “Every Heart” > every remade kpop song released in Japan since 2010

    Thanks, Inuyasha.

    • http://airanimechiic.blogspot.com Sungel

      Yes. Tbh- Heck, I always thought BoA was a jpop idol until just last year xD

  • Guest

    i honestly do not like the emerging new Hallyu/Kpop to begin with (it started changing a couple years ago…but 2009 and 2010 was that definite year that was the turning point of Kpop having a lot of ridiculous things…and too much mainstream american things in it)…What DBSK and BoA did was not KPOP in Japan…but they pretty much did their own style of Jpop w/ their own individual blends…they gained recognition as Jpop artists and were adopted by the Japan as their own…

    “TOHOSHINKI”  is a very good example of that…they did not only gain much support but a lot of respect as well…something we don’t see anymore…All the recent kpop artists in Japan just seem to be doing remakes of their old kpop songs…and seem to barely be making an effort….it might work for them i assume…but the fans that they attain are of those of Kpop…not the one mentioned before. Same with BoA who did her best…And you could see the results of that.
    seriously…most of the kpop artists just do some japanese with a whole bunch of engrish in it…and the effort can’t be seen as much…at least make it even better than how it was and improvise…THEY DON’T EVEN TRY TO UNDERSTAND OR LEARN THE LANGUAGE…Though for recent shows KARA has been quite exceptional for this matter…the others are like “WTF”… When DBSK and BoA were debuting in Japan…they literally just studies the language AND CULTURE for months…hindering and activities whatsoever…i can some results in KARA’s Japanese…

    For the most part, the current Hallyu that goes to Japan in these current times are for not the same purpose that DBSK, BoA, and other actors strived so hard for…they’re mostly their for the money since Japanese consumers buy albums more often than in Korea ( + the larger consumer market) and since digital downloads aren’t as popular.

    • Guest

      addition: if i’m not wrong…Japan not only adopted BoA and Tohoshinki as Jpop artists….But DBSK was NEVER known much as “IDOL” group in Japan…but a DANCE ACAPELLA group since the beginning of their debut there. 

      • http://www.facebook.com/people/Zhen-Jiang/100003229803466 Zhen Jiang

        They were IDOL group then and are IDOL group now.
        Yes they sang(when they were still 5) and dance better than all Japanese idol groups. But thats irrelevant.

  • http://airanimechiic.blogspot.com Sungel

    Iono about Supernova, but if I’m correct, DGNA/Daikoku Danji has a better fanbase in Japan than in Korea.

  • http://twitter.com/Rylee_Ann Rylee Ann :D

    IMO they need to take the BoA/DBSK route when debuting in the states or europe… We have no idea who they are, you can’t just throw out any  old thing and be like “THEY’RE FAMOUS IN KOREA, YO.” (Looking at you, SNSD) most people don’t even know there’s more countries in Asia than Japan/China, and we don’t give a crap about how famous you are in your home country. 

  • http://twitter.com/lizariseup Liza Rise Up

    Honestly, I think these companies would benefit from making entirely original songs when they debut in Japan, and maybe putting one or two Korean-to-Japanese remakes on the full length albums as a treat. Because then the Korean and other international fans would still buy these new Japanese songs. I would buy an entirely new Wonder Girls song if they released it in Japan, America, or anywhere really. But I’m not about to sit here and buy Nobody by the Wonder Girls in Korean, then in English, and then in Japanese, sorry.

  • http://twitter.com/popaky2 azin hd

    it’s intresteng how people here talks about TVXQ and BoA and respect them… in other hand most people are saying hallyu isn’t really good anymore…

    but i have a question, if you all really believe in this so why everyday there are more people in kpop?!!! in 2012 more than 60 groups debuted in korea, the became popular in blinks while they didn’t deserve it at all… but they made big fan cafes and so many hardcore fans!!! since 2009 SuJu haven’t bothered himself to realease a real new album, but it’s 3 years they become best sellers!!! so why?!!!

    if really a good music is important, as everyone saying, so why you see people doing otherwise??

    if really not being able to speak japanese is disrespectful to jap,so why they buy these idols album?!!!!

    i stop liking kpop only 5 monthes after i knew it… everytime i hear it, i feel being insulted… i can feel they only see us as their market, not people that they are working for… but i can’t get it why sth like gangnam style should be world hit!! sistar got first place, suju become the best stars, and many others, while people who knows how to sing and what music is has no place in this hallyu wave…