These days, HYBE and Bang Sihyuk have become the ultimate targets of demonization. After achieving the most dazzling success and the greatest accomplishments, they are now facing the harshest disparagement, indeed, even hatred. When the dispute with Min Heejin began, many media outlets unconditionally blamed HYBE, claiming its multi-label system was the problem. A NewJeans member made what many consider a hard-to-accept claim that she was treated unfairly after hearing unpleasant remarks from a manager at another label, yet the press, and even some lawmakers, immediately began criticizing HYBE. On top of that, groundless conspiracy theories involving a cult were raised, leading the public to attack HYBE and Bang Sihyuk indiscriminately.
In such an environment, the activities of major entertainment agencies are bound to shrink. It will also negatively affect the trust that artists have in their companies. That, in turn, leads to instability in the K-pop industry.
The problem is the lingering prejudice that views large agencies as little more than a necessary evil. As a result, the media and the National Assembly tend to see them only as targets for criticism and regulation. So whenever an issue involving a major agency arises, the practice has been to criticize first and examine later.
Of course, major agencies are not absolute good. Just as Korean companies went through immature stages during earlier periods of underdevelopment and gradually refined their systems to advance the national economy, major entertainment agencies were once influenced by the industry’s backward conditions but have since rapidly reorganized and are now driving the globalization of K-pop. If that is the case, rather than attacking them unconditionally, there is also a need to encourage and support them.
HYBE, which is currently receiving the most criticism, stands at the forefront of strengthening K-pop’s competitiveness. Bang Si-hyuk led the BTS project as executive producer and created achievements that will remain in history. He is considered the leading contributor to the globalization of K-pop. He determined BTS’s identity and direction and even participated in songwriting. That alone would be monumental, but what is even more remarkable is that he took it a step further, expanding BTS’s success into an internationally competitive “system.” He established a multi-label structure that does not rely on a single team. Through overseas expansion, he also succeeded with KATSEYE.
In a normal society, such remarkable, self-made achievements would prompt discussion about how to commend and support these figures. Instead, our society seems to focus only on attacking them. For other major export corporations, both strengths and weaknesses are considered, but when it comes to large entertainment agencies, there is a tendency to see only the negatives. Of course, if there are legal disputes, those should be judged based on investigation and court results. The issue is that even in such cases, the media and public often rush to condemn them as immoral before any conclusion is reached, almost as if treating them like enemies.
Legal matters can be judged when conclusions are reached. Separately from that, however, the contributions of major entertainment agencies should be clearly acknowledged and properly supported. That would strengthen the competitiveness of K-pop. While supporting companies in nationally strategic industries is considered natural, the problem is that major K-pop agencies seem to be excluded from such recognition.
original post: here
1. I knew this would happen
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