#Idol manager bullying tv

This behavior, although specific is not the worst – this area belongs to ‘sasaeng’, the extreme, violent and completely out of control group of stalkers. Fans prefer their idols to have romantic relationship between group members more than with some outside girl who is not them. South Korea has the problem of accepting homosexuality and the only area where it is fully embraced, is fanfiction writing and ‘pairing’. This leads to creating inter-band pairs being the main pillar of existence for many female fans. Whenever caught in the lie, idols need to apologize for having someone other than fans. Fans, especially female fans, treat their idols as their possessions, belonging to them and them only, and real life relationships of idols are either discouraged or hidden. Korea that a public person has no personal life. The possessiveness of fans, their oppressive attitude towards artists, and the demanding nature of fan circles can all be derived from the deeply rooted idea in S. South Korea, however, generated country’s own fan culture that, in its extremist behavior, is far beyond any other fandom. The basics of fan culture are virtually similar everywhere, be it Europe, South America or China. As every music genre, it has its own fandom, albeit divided in two: domestic and international. In this essay, the term will serve almost exclusively as the synonym to ‘Korean music’. In recent years ‘Hallyu’, that is ‘Korean Wave’, has been sweeping across the globe. It also concludes that the consumers of K-pop have effectively been conditioned to expect certain behaviour from their chosen idols and agencies as they derive enjoyment from the capitalist venture of purchasing and supporting them – as the theory of cultural industry identified in the 1940s. This dissertation concludes that the K-pop industry makes no effort to hide its purely capitalist motivation, and that its success is based primarily on such business decisions. It also identifies how Lee Soo-man’s practice of “cultural technology” became the blueprint for the K-pop industry as a whole in the early 2000s, leading it to reach substantial international success by the end of the decade. These examples include several groups, but primarily the three founders of the three most successful K-pop production houses. It draws on theories of cultural commodification, the reduction of art into a product and the standardisation of popular music using selected key examples in K-pop itself. It argues that K-pop is not only a perfect fit for the Frankfurt school’s theory, but a continuation of it in a manner that was not predicted. Seo Jiyoung then went on to push things to the climax by holding a press conference with the participation of Chris, a male member of the group and manager Koo Kwang Tae, to expose the truth about what happened inside S#ARP.The aim of this dissertation is to identify how the theory of cultural industry applies to the Korean pop music industry. Seo Jiyoung’s mother even went to KBS and hit Lee Jihye on the head. She arbitrarily sat out of S#ARP’s performance.

However, things did not end there as Seo Jiyoung was determined not to forgive Lee Jihye. Facing pressure from Seo Jiyoung’s family and her boyfriend, Lee Jihye is said to have apologized to Seo Jiyoung and received the forgiveness of Seo Jiyoung’s father. As Seo Jiyoung’s boyfriend, Ryu Siwon threatened Lee Jihye to take responsibility for everything, forcing her to publicly apologize. The conflict between two female members of S#ARP became even more tense with the involvement of actor Ryu Siwon.

#Idol manager bullying tv

The fight that took place at the public TV station attracted great attention. Feeling disrespected, Lee Jihye got into a fight with Seo Jiyoung. On October 8, 2002, during a schedule at KBS, when the group was in the elevator, Seo Jiyoung turned to Lee Jihye and hummed “Useless Lee Jihye” to the tune of a song.