aespa - The 6th Mini Album: Rich Man (Teaser Photo - Energy Ver. - Group)

~Vocalist: Minami ~ Dancer: Momo ~ Rapper: Yuki ~ Leader: Sakura ~ Center: Mina ~ Visual: Kazuha ~ Ace: Kaede ~ FOTG: Sana ~ Maknae: Iroha ~ submitted by /u/Ok-Database9509 [link] [comments]

K-pop has always innovated new ways to consume idols parasocially. Each generation's most successful artists pioneer new approaches to parasocial intimacy from the unique circumstances in their particular zeitgeist. After their models are codified, subsequent generations build new fantasies on their bedrocks to create a stratified lexicon of parasocial intimacy. For TLDR, just read the bold. I also have personal commentary at the end when you scroll down :) **First Generation → Idol as Partner (HOT, Sechs Kies, S.E.S)** In the first generation, companies primarily marketed idols as surrogate partners. This was the origin of the “boyfriend/girlfriend” fantasy driving fans to groups like HOT, Sechs Kies, g.o.d, S.E.S. Broadcast Television gave artists controlled exposure that framed their images as idealised yet reachable. Fans consumed them as blank slates onto which they could project all manner of desire, but never had reciprocal access. **Late Second Generation → Idol as Friend / Variety Star (SNSD/SUJU)** By the late second generation, the ideal partner fantasy had become canonised in idol marketing. But now, idols sought favour of the general public by appearing on variety shows and groups such as SNSD and Super Junior showcasing their humour and relatability. Television now mediated intimacy by revealing offstage personalities, shifting the parasocial product from pure idealisation to relatability. **Late Second Generation subversions→ Idol as Artist/ Rebel (BIG BANG, 2NE1)** Concurrently, Big Bang subverted the idol industry's rigid image control and lack of artistic credibility by pioneering the paradigm of 'idol as artist.' They were not merely objects of desire. They were larger than life cultural figures who leveraged their musicianship, performances and fashion to build an image of authentic coolness. Meanwhile 2NE1 popularised the 'girl crush' paradigm, a radical subversion of female idol norms. Rejecting femininity that pandered to the male gaze, 2NE1 validated imperfection and toughness as empowering in a superficial industry. 2NE1’s empowerment operated through **music video aesthetics and powerful performances. **Third Generation → Idol as Artist / Authentic Confessor (BTS)** The baton of artistry and resistance passed onto BTS who, initially inspired by Big Bang's "idol-artist" model, shared their personal struggles and addressed controversial social issues in their music. Hailing from a small company without access to the Big 3's broadcasting infrastructure, BTS turned to SNS platforms such as Twitter, fan cafes, YouTube, and V Live. They built intimacy through informal content that collapsed the idol-fan hierarchy. Social media enabled continuous, dialogic access between artist and audience. BTS didn’t just share music; they shared _process, struggles, and private thoughts._ The parasocial commodity innovated from fantasy of romance to a fantasy of authenticity in a manufactured industry: _I know the real them, and they know me._ In an industry that was made by, and for the Big 3, BTS's success was spearheaded by fans who ardently supported them against opposition from haters, industry opponents, and systematic barriers. Fans felt like co-authors of their success story, not passive consumers. **Third Generation → Idol as Algorithmic Muse of Luxury (BLACKPINK)** 2NE1's successor Blackpink reconfigured “girl crush” from rebellion into _aspirational luxury._ Their parasocial power took advantage of Instagram's visual format and algorithmic funnels that enabled purely aesthetic consumption. Blackpink delivered in the form of meticulous luxury aesthetics, global fashion ambassadorships, and a cosmopolitan lifestyle. The parasocial commodity shifted from emotional transparency into a _social ascension fantasy._ Fans could self-insert watching Blackpink in high budget music videos or attending Paris Fashion Week. They flipped parasociality from “I know them” to “I want to be them.” To recap: the partner fantasy, the authentic artist, the rebel, and the luxury muse—each has become canonised in this genealogy. **Personal Comments** If you believe I have made any factual errors, feel free to share them and I'd gladly correct the post. This intends to describe an overarching pattern, not present an exhaustive list. I don't mean to offend if I haven't included your favourite group in this breakdown. My knowledge of K-pop has its limits. That said, if you believe your group has made a parasocial innovation, I welcome you to share it in the comments and I'd be glad to amend my list to include it if I see it justified. I have excluded 4th gen from this breakdown thus far as I wish to make that a separate post. I haven't added it to this one because: 1) I think this post is already long enough. 2) my 4th gen section will be stupidly long, as I'd be attempting to explain a parasocial narrative that's still being written, and thus the burden of proof would rest on me 3) I'd like to first see how this one fares in terms of audience reception. submitted by /u/Livid_Percentage_641 [link] [comments]

Not every songs needs to have a fantasy-themed, IT-boy/girl energy, aggressive dancing, obnoxious facial features, all with AI heavy hooks! The scene needs some Goldilocks Water too. submitted by /u/thecolorofmycapisRED [link] [comments]

It is very interesting - VMA is milking kpop for their very dedication for streaming and voting in past few years and it seems like this year we are not getting any kpop performance. I am more surprised that BP or any of the BP girls (especially Rose or Jennie or both, really) not announced as performers. Or is VMA milking the ‘gotcha surprise’ moment as much as they can? Do you guys think we will have a kpop performance/s this year? Will any of the nominated kpop idol/groups be invited/and attend the VMA this year? What are your guesses? submitted by /u/Many-Ad-9007 [link] [comments]

I LOVED both these songs when they came out and I had an attachment for all of these members because of the Produce 101 Season 2 series. Just wanted to put out this post to remember them MXM - I'm The One Hands down, my favorite debut song of all time because I love this genre as it's youthful and vibrant and felt out of this world for me Brief description: MXM (Mix and Match), consisting of Kim Donghyun and Lim Youngmin formed after the Produce series where they auditioned with Lee Daehwi and Park Woojin with the self-composed song 'Hollywood' (honestly one of the best auditions in the whole series). They've got another song I really liked which was 'Checkmate'. Later re-joined with their audition members to form AB6IX in 2019, sadly Youngmin had to leave the goup early on from a DUI. I've not kept up with either of them as often as I used to, ik Donghyun is still in the group and recently released a new song, and last I checked with Youngmin, I think he's also released some music this year. JBJ95 - Home This songs really sweet and emotional to listen to, i've had nostalgic, fantasy daydreams with this song lol, instrumental is really underrated too. Brief description: JBJ95 consisted of Kenta and Sanggyun, formed after JBJ disbanded (still devestated about it). If JBJ was still around then this probably would've been a sub-unit, there's the 95 because both were born in 1995. They unfortunately had to disband because of a lawsuit I think. Same with MXM, I also have not kept up with either but recently saw the JBJ reunion group photo so pretty happy about that. I hope they're all doing well, truly missed those times where I laughed with them at games and variety shows. submitted by /u/MelonUniverse [link] [comments]

There is a recent news about an actress dating Jimin coz she shared a tiktok vedio where Jimin can be seen walking out from an elevatorand talking to her.It seems that they are atleast accquintances..now such rumours are circulation for a while now...but there were no response from bighit or Jimin confirming or denying anything, then there is a very famous vedio circulating about v and jennie last year ig,also some jungkook and winter dating rumours were going around last month but again no statement from the agency. ...its not like idols are accountable to us...but I have noticed a pattern...BTS is basically 3rd gen kpop group..we can say that BTS members enjoyed 10+ years of fame and immense popularity.(and are still immensely popular)...Which is a lot compared to average kpop groups ...with many members now above 30s...BTS are veterans of the kpop industry....I think a bunch of BTS fandom have grown up , became rational and busy with their lives...also I think the BTS members themselves are not interested to play the dream boy and feed the childhood fantasies of naive teenager's anymore...I remember back in the days in award shows BTS and BLACKPINK were awkward to even look at each other and now see BTS members enjoying BP deadline concert..I am pretty sure that these is not something that BTS would do before 5/6 years....because many toxic fans would go crazy and attack BP members..also back in the days Bighit would immediately issue a statement right next day of a post or a video hinting and possible relationship of the members for example jk's alleged rumor with a tatoo artist ....what I am trying to say is I have noticed a significant change in their way the company handle these matters now And I feel like the BTS member themselves trying to change the teenage heartthrob image. BTS now seems to make music and enjoy their life with a stable fanbase...so as a fan we should respect it. submitted by /u/Due_Collection_3363 [link] [comments]

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It just seems like it to me like this is the other half of Dream Academy that Geffen was more interested in than HYBE was. Katseye was promoted and marketed mainly through HYBE (hence why they are known by many kpop stans and spoken out in kpop spaces) but Abema seems more like they'll be promoted and marketed through Geffen. I don't know maybe I'm naive for thinking this (probably) but it just wouldn't make sense to have two global girl groups promoting mainly through HYBE. I feel like Katseye was marketed to fans of kpop and Abema will not be marketed that way. submitted by /u/onlyeveryotherday [link] [comments]

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Rules: • ⁠You can comment on the same idol more than once, but only the comment with the most upvotes will count. For example, if there are many comments for Idol A with 1 upvote each, but one comment for Idol B has more upvotes, then Idol B wins. • ⁠Comments that mention more than one idol will be disqualified submitted by /u/ConnectionOk8413 [link] [comments]

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What song did you skip at first but later found out was actually amazing? submitted by /u/Logical_Sweet_6624 [link] [comments]

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