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The Evolution of the K-pop Album: From Profitability to Innovation
Bite Review: Yeonjun Impresses as a Performer but Falters Musically with “Ggum”
Jimin’s Artistic Evolution Shines in “Muse”
SB Mid-Year Review, 2024: Leading Debuts Reflect Industry Disruptions
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“Imaginary Friend” Sets a New Standard for Itzy’s Artistry
The SB Mixtape, 10/31/2024: A Bittersweet Symphony
Illit’s “Cherish (My Love)” is a Whimsical Exploration of Love and Pain
Bite Review: “APT.” is a Masterclass in Fun from Rosé and Bruno Mars
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KCON LA Aspires for a Festival Feel and a Wider Reach
The Midnight Studio: Tackling Death with Choice
Marry My Husband Attempts to Seduce 4B Feminists with Promises of Girlboss Success
A Shop for Killers: Rich in Secrets and Action
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Taemin
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The Evolution of the K-pop Album: From Profitability to Innovation
Boys Planet: The End of “K-pop” As We Know It
Ageism and Age Bias in K-pop
Kim Garam and the Power of Fans in Shaping Idol Narratives
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Seoulbeats Segments
The SB Mixtape, 10/31/2024: A Bittersweet Symphony
Beats of the Month: Culinary Class Wars & Aespa Bring Excitement to Autumn
For Your Viewing Pleasure: Keeping Cosy
Week in Review, 10/21 to 10/27
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Bite: Korean Wave Exports Exceed KRW 3 Trillion
May 6, 2011
Guest
2
No wonder American artists are trying to get in on some of that. Money, the great equalizer.
Source
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