[Official] Moon Junyoung ☆ Picture Thread ☆

[Guest sulthanah]

I don't know why I want Junyoung will be a solo singer and the first step is by releasing digital single. Below is how to make money 
Songwriter (AKA Music Publishing) Income Streams
In today’s world your songs can generate money and royalties via the traditional “Physical/Analog” music industry or the new “Digital” music industry. There are in fact a minimum of 13 different and specific ways that you as a songwriter can make money off of your songs.
Note – each income stream and type of royalty is generated from both the original recording of a song (i.e. the Beatles’ version of Paul McCartney’s song “Yesterday”) or off of a cover of the song (i.e. if multiple artists cover the song, the song becomes an “x” factor multiplier for revenue and royalties). In the case of “Yesterday,” there are over 25,000 covers, and each version of the song can generate money for the songwriter in many different ways.
Below, these royalty and income types are broken out into two categories:
Physical/Analog Songwriter Royalties and Revenue
Digital Songwriter Royalties and Revenue
Simply stated, these are most of the different ways you make money as a songwriter.
Physical/Analog Songwriter Royalties And Revenue
Income Type: Mechanical Royalties

DESCRIPTION:
A royalty generated from the “Reproduction” copyright. This royalty is owed to the songwriter for each and every unit sold and/or manufactured for physical product – i.e.: LP, CD, cassette, USB stick, etc.
WHO/WHAT GENERATES AND PAYS THIS ROYALTY:
Record companies or any other entity manufacturing a physical product (i.e. Victoria’s Secret, The Gap, W Hotel, Putamayo, etc.) that contains a songwriter’s song on it (either his/her own recording of the song or someone else’s cover of that song).
AMOUNT OWED TO THE SONGWRITER:
In the United States: $0.091 per reproduction of a song. If it’s over five minutes, a formula rate kicks in. The U.S. Government sets the rate.
Outside of the United States: There is no government-mandated rate, however, the royalty rate is typically 8% - 10% of the list price (varies by country).
Income Type: “Analog” Public Performance Royalties

DESCRIPTION:
A royalty generated from the “Public Performance” of the copyright. This royalty is owed to the songwriter for each individual “Public Performance” of a song.
Side note: Under U.S. law, a public performance occurs when music is played in:
(1) A place open to the public where there is a substantial number of persons, outside of a gathering of family and friends (like a live gig); or (2) the performance is transmitted to such a place (like being in a bar watching the live gig happening somewhere else); or (3) the performance is transmitted so that members of the public can receive the performance at the same or different places, at the same or different times (like being at home and watching the gig on the internet).
WHO/WHAT GENERATES AND PAYS THIS ROYALTY:
AM/FM radio, network television, cable television, live gigs (i.e. when you play live, the venue must pay for the public performance of the song regardless of if it’s an original version or a cover of a song), airplanes, retail stores, bars, restaurants, salons, offices, elevators, telephone hold music, movie theaters outside of the U.S. (for example, each time the movie Titanic played, Celine Dion was paid by the movie theaters for the public performance of her song), grocery stores, shopping malls, etc.
AMOUNT OWED TO THE SONGWRITER:
In both the United States and outside the United States there is no government rate. Instead, there is a one-to-one negotiation between the Performing Rights Organization (PRO) and the other entity. However, governments tend to have “Rate” judges oversee these rates to assure they do not get unreasonable. These government entities can adjust rates.
Income Type: Synchronization License Royalties

DESCRIPTION:
A royalty generated from the “Distribution” copyright. A one-time license payment is made to the songwriter, allowing the synchronization and distribution of a song (either the original recording or a cover version) with a moving image (i.e. a song in a movie, TV show, commercial, DVD, video game, etc.).
WHO/WHAT GENERATES AND PAYS THIS ROYALTY:
Film studios, TV studios, production companies, ad agencies, video game companies, etc.
AMOUNT OWED TO THE SONGWRITER:
In both the United States and outside the United States there is no government rate. The license fee is a one-to-one negotiated amount usually based on length of use, if it’s in the background or up front, the territory, the format, and the popularity of the TV show. The range can be from a few hundred dollars to hundreds of thousands of dollars.
Income Type: Mechanical Syncronization Royalties

DESCRIPTION:
A royalty generated from the “Reproduction” copyright. A per unit royalty payment based on number of units manufactured that includes the song (either the original recording or a cover) in a greeting card, toy, video game, etc.
WHO/WHAT GENERATES AND PAYS THIS ROYALTY:
Hallmark, various toy companies, video distributors, video game companies, record companies, etc.
AMOUNT OWED TO THE SONGWRITER:
In both the United States and outside the United States there is no government rate per unit based on the product. The royalty is usually paid based on initial manufactured units.
Income Type: Print Royalties

DESCRIPTION:
A royalty generated from the “Public Display” copyright. Either a one-time or per unit payment based on the printing of lyrics, sheet music, tablature, etc.
WHO/WHAT GENERATES AND PAYS THIS ROYALTY:
Hal Leonard, Alfred Music Publishing as well as various magazines (i.e. Guitar Player showing tabs for a song), books, etc. On rare occasion, a hotel (or other entity) may have a lyric quoted (like the Hard Rock Hotel), and in this case the hotel pays. If the lyrics appear on a t-shirt, the entity making the t-shirt pays a royalty.
AMOUNT OWED TO THE SONGWRITER:
In both the United States and outside the United States there is no government rate. It’s a one-to-one negotiation. For sheet music, it is usually 15% of retail price, and/or a one-time fee for pressing is also often negotiated.
Digital Songwriter Royalties And Revenue
Income Type: Digital Download Mechanical Royalties

DESCRIPTION:
A royalty generated from the “Reproduction” and “Distribution” copyrights. This royalty is owed to the songwriter for each and every unit downloaded.
WHO/WHAT GENERATES AND PAYS THIS ROYALTY:
Any download music services: i.e. iTunes, Amazon, Google, Beatport, Spotify, Rhapsody, Xbox Music, Verizon, etc., as well as any “direct to fan” sales (i.e. RootMusic, TopSpin, etc.).
AMOUNT OWED TO THE SONGWRITER:
It works the same as physical reproductions.
In the United States: $0.091 per reproduction of a song. If it’s over five minutes, a formula rate kicks in. The U.S. Government sets the rate.
Outside of the United States: There is no government-mandated rate, however, the royalty rate is typically 8% - 10% of the list price (varies by country).
Important Note – outside of the U.S., the digital music services need both the right of Reproduction and the right of Public Performance to allow a song to be downloaded. Therefore, the local PRO and/or collection agency bundle these two rights together and usually charge 8% - 10% of the list price (varies by country).
Income Type: Streaming Mechanical Royalties

DESCRIPTION:
A royalty generated from the “Reproduction” copyright. This royalty is owed to the songwriter for each and every stream of his/her song via an “interactive” streaming service (“interactive” means the user can choose his/her songs, stop, go backwards, go forwards, create custom playlists, etc., with no restrictions).
WHO/WHAT GENERATES AND PAYS THIS ROYALTY:
Any interactive digital music service: Rhapsody, Spotify, Rdio, Deezer, Simfy, Xbox Music, Mog, MySpace Music, MixRadio, Slacker, etc.
AMOUNT OWED TO THE SONGWRITER:
In the United States: A government mandated rate of 10.5% of Gross Revenue minus the cost of “Public Performance” (at the moment, the average rate per stream is about $0.005. Note – this rate has increased rapidly over the past two years and is expected to continue to grow).
Outside of the United States: There is no government-mandated rate. The royalty rate is typically 8% - 10% of the list price.
Income Type: Digital Non-interactive “Streaming” Public Performance Royalties

DESCRIPTION:
A royalty generated from the “Public Performance” copyright (also known as the “Right of Communication”). This royalty is owed to the songwriter for each individual “Public Performance” of a song via the internet or any other digital source (cable, satellite) via a “non-interactive” digital service (“non-interactive” means the user cannot pick songs, create playlists, go backwards, see what song is playing next, etc. Think of it like AM/FM radio).
WHO/WHAT GENERATES AND PAYS THIS ROYALTY:
Pandora, Slacker, LastFM, iHeartRadio, Sirius XM Satellite Radio, cable companies, any radio simulcast on the Net (about 3,000+ entities in the U.S., thousands more outside of the U.S.).
AMOUNT OWED TO THE SONGWRITER:
In both the United States and outside the United States there is no government rate. There is a one-to-one negotiation between the Performing Rights Organization (PRO) and the other entity. The rate they charge the entity is usually based on a % of its Gross Revenue. Then the PRO uses its own formulas and methods to calculate how much the songwriter gets paid.
Income Type: Interactive “Streaming” Public Performance Royalties

DESCRIPTION:
A royalty generated from the “Public Performance” copyright (also known as the “Right of Communication”). This royalty is owed to the songwriter from each individual “Public Performance” of a song via the Internet or any other digital source (cable, satellite) via an “interactive” service (“interactive” means the user can choose his/her songs, stop, go backwards, go forwards, create custom playlists, etc., with no restrictions).
WHO/WHAT GENERATES AND PAYS THIS ROYALTY:
YouTube, Spotify, Rhapsody, Rdio, Deezer, Simfy, MySpace Music, any other telecom and/or subscription streaming music service anywhere in the world. Also applies to on-line gaming (i.e. Mafia Wars, etc.).
AMOUNT OWED TO THE SONGWRITER:
In both the United States and outside the United States there is no government rate. There is a one-to-one negotiation between the Performing Rights Organization (PRO) and the other entity. The rate they charge the entity is usually based on a % of its Gross Revenue. Then the PRO uses its own formulas and methods to calculate how much the songwriter gets paid.
Important Note – outside of the U.S., the digital music services need both the right of Reproduction and the right of Public Performance to use a song in an interactive streaming service. Therefore, the local PRO and/or collection agency bundle these two rights together and usually charge 8% - 10% of the list price (varies by country).
Income Type: Digital Synchronization License

DESCRIPTION:
A royalty generated from the “Distribution” and “Reproduction” copyrights. A per use license payment to synchronize a song (either the original recording or a cover version) with a moving image (i.e. YouTube, Vimeo, etc.).
WHO/WHAT GENERATES AND PAYS THIS ROYALTY:
Primarily sites like YouTube and Vimeo that have “User Generated Content” (aka UGC), although artists can upload their own videos.
AMOUNT OWED TO THE SONGWRITER:
In both the United States and outside the United States there is no government rate. There is a one-to-one negotiation that sets the per use royalty rate. It’s typically a % of Net Revenue as generated by advertising dollars.
Income Type: Digital Print

DESCRIPTION:
A royalty generated from the “Public Display” copyright. Either a one-time or per unit payment based on the display of lyrics, sheet music and tablature on websites, apps, etc. (this includes avatars with virtual t-shirts).
WHO/WHAT GENERATES AND PAYS THIS ROYALTY:
On-line lyric websites, musician websites, websites with avatars, digital version websites of magazines, etc.
AMOUNT OWED TO THE SONGWRITER:
In both the United States and outside the United States there is no government rate. The royalty is typically a fee for a Term (period of time) and/or a % of the Gross Revenue from the site (paid subscriptions, advertising).
Income Type: Mechanical Royalty For A Ringtone/Ringback Tone

DESCRIPTION:
A royalty generated from the “Reproduction” and “Distribution” copyrights. A royalty is owed from the purchase of a ringtone/ring- back tone for mobile devices.
WHO/WHAT GENERATES AND PAYS THIS ROYALTY:
Telecoms (AT&T, Verizon, T-Mobile, Cricket, Vodafone, etc.) and music services.
AMOUNT OWED TO THE SONGWRITER:
In the United States it is $0.24 per ringtone.
Outside of the United States, there is no government rate set. It is a % of Gross Revenue.
Income Type: Public Performance Royalty For A Ringtone/Ringback Tone

DESCRIPTION:
A royalty generated from the “Public Performance” copyright. A royalty owed for the public performance that occurs with the play of a ringtone/ringback tone.
WHO/WHAT GENERATES AND PAYS THIS ROYALTY:
Telecoms (AT&T, Verizon, T-Mobile, Cricket, Vodafone, etc.) and music services.
AMOUNT OWED TO THE SONGWRITER:
In both the United States and outside the United States there is no government rate. It’s a one-to-one negotiation.

Credit to: http://www.tunecore.com/guides/thirteen_ways_to_make_money

[Guest sulthanah]

ZE:A AWARD

bangbangmir:

2014 is soon to be over with and I feel the need to give my boys awards for their hard work that they’ve done this year.. (since all other awards shows are hatin’) lol

Best Leader: Moon Junyoung (Lee Hoo)

Most Varieties: Hwang Kwanghee

Most Missed: Im Siwan

Best Soldier: Park Hyungsik

Best New Couple: KevWoo (Kevin & Minwoo)

Best Life Runiner: Kim Kevin #STOPKIMKEVIN2014

Most Needed Rest: Kwanghee, Siwan, Hyungsik

Best Muscle Man: Kim Dongjun

Best New Actor: Jung Heecheol

#1 fighting Champ: Kim Taeheon

Best Cover: Ha Minwoo (I’m In Love cover)

Best OTP: ZE:A OT9..

Thank You ZE:A for being wonderful this year. We Love you guys.. ♥

lol

http://forever-zea-nine.tumblr.com/

[Guest sulthanah]

ZE:A Junyoung, "The Agency Asked Me To Pause My SNS Activities"
By Esther Chung | October 22, 2014 03:14 AM EDT



Group ZE:A's member Junyoung said, "The agency asked me to refrain from SNS activities for a while."
 
On October 21, Junyoung posted a final post explaining everything that had happened regarding the current issue.
Junyoung said, "The last month was a storm. Through that storm, I would first like to apologize for bringing upon you concerns and inconveniences. I had a dream since I was young and I only looked to that one road since then. I wanted to try my best and succeed but there were two unforeseen circumstances that made it difficult for me to be active and I had a long time of hardship."
He continued, "But more than me being sick, I was more sad and frustrated that I could not be with my members as the leader. I have been expressing my opinions through my SNS the past month. I know the responses I've been getting are that I'm thoughtless and emotional. I'm also reflecting on my actions."
He said, "My first tweet was indeed emotional. The members and I were trying to resolve the conflicts we had with our agency. I'm an only child in my family so ZE:A members are like family members to me. But when one of my members was hurt, I lost my sanity. And I was in a very emotional state."
He continued, "On October 12, one day before our Japan fan meeting, my beloved member Taehun was hurt during his competition. With that incident happening, the members and I were full of complaints. It was too hard to fight against our agency. We decided that it is no longer possible to communicate with our agency and decided to get the help of our fans and the public, to let you know through my SNS the state of ZE:A. Income ratios, that was just the beginning. What I wanted more was for the agency to treat ZE:A members with respect, as human beings."
He said, "And I found a solution, and I too believed everything was resolved. The public apology Tweet I made right after was what the agency had asked me to post. But because of this post, more misunderstandings were caused towards me and I received even more hatred from the public."
He said, "I felt like I was alone in this world and I needed someone to talk to. I didn't want to believe that I was alone and the only people I could trust were my fans and the public. And after a few days, I started to tell my stories through SNS. But I was not very good at talking with the public. So the agnecy asked me to stop my SNS activities for a while."

http://www.kpopstarz.com/articles/126564/20141022/ze-a-junyoung-the-agency-asked-me-to-pause-my-sns-activities.htm

[Guest sulthanah]

Let's Discuss: Why Does ZE:A Get So Little Love? [blog]
By Tamar Herman via KPOPme | August 07, 2014 01:18 AM EDT


ZE:A is one of the best, most consistent idol groups out there today. The group has several amazing songs, and some duds, but since their debut in 2010, ZE:A has struggled to place in charts to reach the fans.

Even its recent song, Breathe, has gained little attention.
The group has filmed over 20 music videos since debuting, featured in countless songs. Four of the nine members: Kwanghee, Hyungsik, Siwan, and Dongjun, are pretty well known for their acting and variety skills. They’ve appeared in popular shows and movies like The Heirs, Star King, The Moon That Embraces The Sun, Real Men, We Got Married, To The Beautiful You, and A Company Man.

With individual members so popular and the group so prolific and talented, it’s always bothered me why ZE:A isn’t more well received. This past April, the group was ranked as having the 33rd largest fanclub in South Korea; that’s no small feat when there are so many idol groups. YG’s upcoming boy group, WINNER, ranked #26.
This could be a simple matter of larger companies filling up the idol scene and promoting their members better than a smaller company like ZE:A’s, but that’s not the case. Star Empire Entertainment was founded in 2000 and produced not only ZE:A and Nine Muses, but also popular groups Jewelry and V.O.S.
The group is popular enough to rank on the idol fanclub chart (it’s harder than it seems - JYJ, Secret, and SISTAR were at the bottom of the list, despite their popularity). People know the names of some of the members. Several of their albums ranked within the top ten charts, but the group has never won an award on one of the music shows like Inkigayo. They’ve debuted in Japan pretty successfully and have unit groups, but ZE:A still struggles.
So what’s going on?
I’ve also thought about it as the group doing too much, without being exceptional in any single way.
The group’s debut song, Mazeltov, was okay. That’s me being extremely nice — I rewatched it and thought that it was a bit of a mess. But the group made up for it with the follow up track, All Day Long. Songs like Here I Am, Heart For 2, Aftereffect, Phoenix, Step By Step, and my personal favorite, The Ghost of the Wind, have proved that the group can create great, catchy songs.
But not charttoppers.
Popular, but never popular enough. That seems to be ZE:A’s “claim to fame.”

The popular members are popular, but not popular enough to bring ZE:A into the spotlight as a group. The songs are good, but never can compete to be number one. The company is a good one, but doesn’t have the ability to promote ZE:A as much as a bigger company would be able to.
The group tries extremely hard, but it’s like ZE:A is climbing a never-ending staircase. ZE:A’s almost reached the top, but when it pauses for a moment or two to catch it’s breath, another idol group comes out with something that slips ZE:A up.
Unfortunately, this doesn’t seem to be changing. Every time a new ZE:A song comes out, I, and other ZE:A fans, get excited. Ghost of the Wind really should have been “the” song for ZE:A. But it wasn’t, primarily thanks to too much competition - EXO, B.A.P, f(X), and BEAST were all promoting at the time of Ghost Of The Wind’s release.

Based on the fact that it hasn’t happened in four years, it’s unlikely that ZE:A will produce a song that gains enough attention. The songs are catchy, the vocals are good, but they seem to be missing that special thing that makes certain releases from less popular idol groups shoot to popularity.
Considering this, it’s sad that ZE:A’s debut song wasn’t all that great - some groups debut with such a great concept that fans can’t help but pay attention, like B.A.P. Groups like VIXX and INFINITE debuted with strong songs, and then gained momentum to propel them to become current front-runners of K-POP.
But ZE:A’s first song was, as I said, less than exciting, and the group has been around for so long that people know that they're there, but just don’t really care.
It must be incredibly hard for ZE:A to work so hard day after day, knowing that there will always be more groups to compete with. ZE:A lost it's chance for a solid debut back in 2010, and it seems that no matter how hard the group tries, it all seems futile.
Rather than saying the flooded idol market or something like lack of talent or a small company is to blame for ZE:A's failure to gain attention, I think that apathy is ZE:A’s biggest enemy.
We know it, but we don't love ZE:A. We listen to the songs, watch them entertain us, but there's no real connection. Something's missing in the relationship between ZE:A and fans, and until the group does something to change that, it will always lag behind other, newer, K-Pop acts.
Hopefully something will happen that will propel ZE:A into the spotlight that they deserve, or at least allow people to acknowledge the talented, hard-working group.
---


Read more: http://www.kpopstarz.com/articles/102143/20140807/lets-discuss-why-does-ze-a-get-so-little-love-blog.htm#ixzz1fdUQgbY1

[Guest sulthanah]

[TRANS] 141205 Naver OhMyNews' article/interview with Kwanghee: ( article link: http://m.news.naver.com/read.nhn?mode=LSD&mid=sec&sid1=106&oid=047&aid=0002075696 )


[interview] Going full blast from "Olive Show" to "Inkigayo"... "It was hard but I did it"

It's a common thing for idol group members to be active in entertainment and dramas. It is not surprising that it became an important thing (for idols) to initiate in/start on other fields and maintain the (level of) activity so that (they) won't be any less (as compared to others). If you did not prepare yourself thoroughly and (choose to) set foot in out of curiosity, it's only the right thing to remove your foot/yourself after being startled by the harsh hazing/initiation in an area/field which you are not used to/familiar with.

With that being said, ZE:A Kwanghee who had made his face widely known as an "entertainment-dol" is moving forward step by step. Kwanghee, who appeared in (various) entertainment programs with his high-tone voice and confessed a lot of stuffs in relating to (his) plastic surgery without a hitch during (his/ZE:A's) early debut days, had became a little calm/composed after time has passed. (He) had also developed profundity. (Kwanghee) now knows that if you appeared (in programs) as a main guest in the past, you'll be able to become a host for a program now/in the future.

Kwanghee: I have also thought, "just why can't I become 'hot'/popular"... Have felt the importance of knowledge and an annual/growth ring.

To Kwanghee, 2014 had been a hectic year. He matched the breathing with the chefs in

1. and singers in . He also has possession over Joon Woo Seung who's in , (a program) which (Kwanghee) had appeared in to save his sense/feeling of liking clothes. (Kwanghee) had constantly appeared in , (he) had also shared a bit of his stories with people from other fields/areas, who are not celebrities, in , which he had alighted from due to problems with his schedules.
   
   Kwanghee: Even though there wasn't anything hot, I managed to find (my) aptitude (for things) through the various areas/fields. To be honest, it was very difficult/hard (for me). Introducing singers/artistes in a witty way on on Sunday, going to on Monday, doing/going through survival on , on Wednesday, up till

1. 1. on Thursday. It's till the extent that on some days(,) I would even feel nauseous after finish a schedule. I had to be quick in changing-over as there are different terms (to know), depending on whether it's food or fashion.
   
   
   ZE:A members Im Siwan and Park Hyungsik had became 'hot'/popular. Kwanghee was secretly 'damaged'/hurt whenever the two becomes 'pipping hot'/extremely popular. Kwanghee who had thought about, 'just why can't I be 'hot'/popular', said, "in the past 4 years of doing entertainment, I thought that I could win by being quick-witted, (but) now(,) I realized the importance of knowledge and aptitude"(,) he also shared, "I finally knew the reason for Kang Hodong and Yoo Jaeseok sunbae-nims to live and study while carrying news and books".
   
   (Kwanghee) opens his mouth (with regards to) Moon Junyoung's revelation/exposure... "It had became an even more firm/solid chance"
   
   Even though (his) occupation is still a singer, this year(,) the time which he spent introducing other singers/artistes as a MC on was a lot more as compared to that of him dancing and singing on stage. Kwanghee, who is in charge of (being) energetic among the MCs, said, "it seems like it is more comfortable/easy for a singer who have been in the position as a MC before" and had confessed, "to be honest, I am envious of groups like EXO" . Even though (Kwanghee) had received awards and had filmed CFs as an individual, he felt great disappointment as (ZE:A) has not even once received/became 1st place as a group. Kwanghee said, "(we) would be releasing an album next year(,) it would be great if it turns out good/becomes popular".
   
   In September, ZE:A's leader Moon Junyoung had exposed/revealed the problems (which the group faced) with the company through SNS. Even though it was expected for the matter to become bigger and bigger, it ended unexpectedly and (people) suspected it (to be a) hoax/swindle. Kwanghee who had opened his mouth (and said), "even though a lot of things happened this year, it had became an even more firm/solid chance (for us), and (our) relationship with the company had also became better/improved". "There were a lot of things, which we don't know (about each other) due to being too busy, happened(.) We managed to understand each other even more through this chance". It is not forgotten that after all(,) during hard times, other singers/artistes' comforts/consolations became a big (source of) strength.
   
   Kwanghee: I've always wanted to say this. Truthfully, before Junyoungie posted those words on SNS, (we've all) agreed to this with a critical mind/were aware of the situation. Since the matter ended so quickly, people misunderstood and thought that "there is something now, isn't there?"(,) there isn't a thing like that. Because everyone was cautious/timid and wasn't the type to drag (this issue) for long, we've all met up, communicated/talked and resolved (the issue) on the day itself. I didn't post any words/messages on SNS all this time as I thought that it would be in vain and (people might treat it) as a false info. Leader worked hard alone/had a tough life alone and members made their judgements wisely. Everyone was thankful.
   
   Advice for the next generation of entertainment-dols... "Know yourself, in the form of planning"
   
   Even though Kwanghee is one who ensures his quantity despite all sorts of situations being thrown (at him), he has weaknesses too. He said that, due to high level of consumption of his stamina(,) it is still hard (for him) to do real entertainment with a camera (being present) for 24 hours. Kwanghee, who has a fixed mindset that "I have to be funny once I see a camera", said, "it was okay/manageable if I do things alone, if it was with other people(,) it would become harder and it would be difficult for me to be funny" and "I had to conquer/overcome other people to become a good MC". Kwanghee, who picked EXO's Baekhyun as the next generation of entertainment-dol, also said "I want to something with Shin Dongyeop hyung too".
   
   We have also asked him about the future activities which he wants to try/do. Kwanghee, who revealed, "if (I were to) act, rather than being as cool as Siwanie, I think that I am more suited for family movies, sitcom, cameo appearances etc.", had unexpectedly answered "musical". He, who was asked with a return-question of "would it be fine even if you are not the main vocal", said, "I felt joy while watching the members' (musical) performances" and "I think it would be embarrassing if I do it vaguely. To me, the things which other people envy serve as a motivation to advance forward."
   
   Kwanghee: To be honest, appearing in entertainment (programs) became an issue, it was easy for (my) face to be widely known. But I think that for people who want to be actors and artistes but vainly over do it(,) in the future(,) it might be a setback (for you) when you want to do certain things for your own image. Entertainment is not hard for a person who is funny or hosts things in an enjoyable way. It a waste of time to try everything here and there, and a consumption of (your) image. You must understand yourself accurately/precisely and make decisions after (careful) planning.
   
   *I left out the last paragraph coz it's not exactly anything important hehehe*
   
   http://twishort.com/Ikehc

[Guest sulthanah]

their friendship began everything#MoonKwang. If they didnt meet in the bathroom after modelling, there will be no ZE:A. Moon left his agency where he trained and went to Star Empire to join Kwang Hee.Then Moon called Kevin in Australia and it was his first international call. He also asked his best buddy: Tae Hoenie to join him training in SE. Besides, he also called Mon Woo at 2 A.M in the morning and asked him to join audition.

[Guest sulthanah]

I remember about Strong Heart when Kwang Hee said that he was a blue chip in plastic surgery. Psy fell from his seat after hearing Kwang Hee's confession. His way to promote his members is unique but one by one ZE:A member got recognition

[Guest sulthanah]

[Guest sulthanah]

Parody F4

[Guest sulthanah]

[Guest sulthanah]

I remember about Strong Heart when Kwang Hee said that he was a blue chip in plastic surgery. Psy fell from his seat after hearing Kwang Hee's confession. His way to promote his members is unique but one by one ZE:A member got recognition

[Guest sulthanah]

[Guest sulthanah]

I failed to put images here...Sorry, Moonie I can not spread your pics here.

[Guest sulthanah]

http://www.koreaboo.com/featured/kop-ed-14-major-events-in-the-korean-music-industry-in-2014/

This September, ZE:A’s member Moon Junyoung revealed the group’s problems with Star Empire on SNS, which instantly became a hot topic. He stated that there were many problems with the payment they were receiving and he wished to fix this through conversation.
Star Empire stated, “We should have paid more attention to them, but since we’ve known each other for a long time we thought they would understand and we feel that this incident will bring us closer. After the CEO and Junyoung stayed up the night talking, everything has been taken care of.”
This October, Moon Jun Young revealed that he would stop using SNS for a little while, and that they have come up with a new system. On a more positive note, he has also recently debuted as a DJ.

[Guest sulthanah]

http://netizenbuzz.blogspot.com/2014/12/osen-wraps-up-year-with-top-14-key.html


Article: [Year-End Wrap Up] Tragedy after tragedy... the top 14 key words of the 2014 music industry

Source: OSEN via Naver

1. Shin Hae Chul's death
2. Ladies Codes' deaths
3. Idol lawsuits from EXO to BAP and Megan Lee
4. Jessica's withdrawal from SNSD
5. Music industry comes to a halt for Sewol Ferry accident
6. Kim Hyun Joong assaults his ex-girlfriend
7. Vent accident during festival concert
8. SM lightens up on dating and getting married
9. Sulli and Choiza become a public couple
10. Seungri's late night car accident
11. Seo Taiji, god, and MC Mong's comebacks
12. ZE:A's Junyoung vs Star Empire
13. Gil's drunk driving scandal breaks out on IC's 9th anniversary
14. The idol vs netizen battle rages on (Suzy's antis, Seo Jisoo rumors, photoshopped pictures of Rain)

[Guest sulthanah]

I want star empire will have a variety show for ZE:A. I miss their silliness.

[Guest sulthanah]

http://junyoungaday.tumblr.com/

a tumblr dedicated to Junyoung. There are many Junyoung's pics there.

[Guest sulthanah]

ZE:A (Hangul: 제국의 아이들), also known as Children of Empire, is a South Korean 9-member boy band formed under Star Empire Entertainment. The group released their debut EP, Nativity, and lead single, "Mazeltov" on January 7, 2010,[1] alongside their showcase performance five days later. The group debuted on KBS's Music Bank on January 15, 2010.

Contents [hide]
1 History
1.1 Pre-debut
1.2 2010: debut
1.3 2010: Leap for Detonation and Level Up
1.4 2010-2011: Asian tour and Japanese debut
1.5 2011: first album Lovability, special single "Exciting!" and Japanese single "Daily Daily"
1.6 2012: Delayed Comeback, Sub-Unit Announced, Spectacular, Phoenix, Beautiful Lady
1.7 2013: Illusion, Beautiful Lady
1.8 2014: First Homme, Junyoung's stage name adoption, Project Sub-Unit
2 Members
3 Discography
3.1 Korean discography
3.1.1 Studio albums
3.1.2 Mini albums
3.1.3 Singles
3.2 Japanese discography
3.2.1 Singles
4 Filmography
4.1 TV and reality shows
4.2 Music videos
4.3 Movies
4.4 Dramas
4.5 Musicals
5 Awards
5.1 Mnet Asian Music Awards
6 References
7 External links
History[edit]
Pre-debut[edit]
Under the name Child of Empire, following their appearance on Mnet's Office Reality,[citation needed] the group gained attention by performing various guerilla shows[2][3] and creating UCC (user created content) videos.[4] They have also appeared in a documentary-styled show Star Empire, and later getting their own documentary show titled Empire Kids Returns, showing them performing in wingcar performances around Seoul and training. The group faced controversy in December following the similarities of the group's name to Brown Eyed Girls's JeA. The group later changed the pronunciation of the name to avoid implications.[5]

2010: debut[edit]
Releasing teasers beforehand,[6][7] the group debuted with their EP, Nativity under the name ZE:A, on January 7, 2010.[1] Immediately they garnered attention, reaching number one on both the "Album Chart" and "Artist Chart" on Daum on their debut day.

2010: Leap for Detonation and Level Up[edit]

ZE:A performing at the Cyworld Dream Music Festival, July 23, 2011
The group made a comeback on March 25, 2010 with the release of their second mini album, Leap for Detonation. Produced by Brave Brothers, the title song "All Day Long" is melodramatic and featured a major change in style.[8] The group released both a music video and a short music drama for "All Day Long" where member Kim Dong Jun played the lead actor. The music drama and video also featured labelmate and upcoming member Park Min Ha from Nine Muses. The group's third single, "Level Up", was released on July 8, 2010 in digital format only. No music video was ever released for "Level Up"–only two teaser MVs were released prior to their comeback.

Their official fanclub name was announced in June through an image posted on their official Daum cafe. Back in April, Star Empire revealed the top ten nominees for the potential fanclub name. After a long voting process, ZE:A's (or ZE:A STYLE) was decided as the group's official fanclub name.

2010-2011: Asian tour and Japanese debut[edit]
The group have started off their Asia promotion tour starting with Thailand at the end of July 2010. Other showcases and promotional events occurred in Taiwan, Singapore, Malaysia and more in this tour.

On September 22, 2010, the group released their Japanese debut single ZE:A!(ゼア!). The single placed third on the Oricon daily chart. On December 21, 2010, ZE:A released their Japanese single album, Love Letter/My Only Wish, and placed second on Oricon daily chart.[9]

It was announced on January 16, 2011 by Japan's Sankei Sports that the group will have leading roles for the Japanese-Korean collaboration movie RONIN POP.[10]

2011: first album Lovability, special single "Exciting!" and Japanese single "Daily Daily"[edit]

ZE:A in February 2011
The group released their first full length album, Lovability, on March 17, 2011 with "Here I Am" set as the lead single. The official Korean MV for "Here I Am" was also released on March 17, 2011.[11]

Promotions for Lovability were cut short due to "Be My Girl", a song off Loveability, was deemed unsuitable for minors.[12] On March 16, a representative from Star Empire announced that the group will be donating a portion of their tour profits from the first half of 2011 to aid in the relief of the Japanese earthquake and tsnuami.[13]

At the end of June, Star Empire announced that the group will be releasing a summer single. While filming the jacket album for Exciting!, member Hyung Sik fell off the yacht with member Dong Jun. Hyung Sik was saved by Dong Jun and the group's manager, while suffering a minor ankle injury.[14][15]

A Comeback Teaser was released on July 5. On July 8, 2011, the music video for title track "Watch Out" was released and the group also made their comeback on KBS's Music Bank the same day. On July 8, for the first time, the group took the number one spot on Hanteo's real-time album sales chart. On July 29 a 1:30 minute Full Music Video of "Heart For 2" was released on ZE:A Official YouTube Channel (ZEA2011).[16]

After two weeks of promoting "Watch Out!", the group started their follow-up promotion with "Heart For 2".

Early October, Star Empire announced that a new Japanese single will be released on November 22. The single will contain 4 tracks, a new ballad song titled "Daily Daily", a Japanese version of "All Day Long" and instrumental versions of both songs. According to Star Empire, there will be 2 DVD versions, version A and version B; version A containing Daily Daily music video & the making of the music video while version B will contain Daily Daily music video & the making of the jacket photo shooting. On November 2, 2011 a 30 second preview of 'Daily Daily' was uploaded on the ZE:A Official YouTube Channel (ZEA2011), 5 days later on November 7, 2011 a 30 second preview of 'All Day Long' Japanese Version was uploaded. November 24, 2011 the full Daily Daily PV was uploaded.

On November 22, the single was released and were placed 3rd on the Oricon Chart just a few hours after release. The PV was released on November 23.

2012: Delayed Comeback, Sub-Unit Announced, Spectacular, Phoenix, Beautiful Lady[edit]
During the brief break various ZE:A members ventured into drama appearances and variety appearances. Notably, Im Siwan received national fame for his role in the MBC fictional historical drama The Moon That Embraces The Sun playing the teen version of the prince's scholar, Heo Yeom. The drama was broadcast from January 4 to March 15, 2012.[17][18]

ZE:A's comeback album was set to release on June 21, 2012, but in May, ZE:A's agency, Star Empire Entertainment, announced that the group would postpone their comeback because of an injury to member Jun Young's right ankle.[19]

It was then later announced that ZE:A's Ha Min Woo would be forming a unit group with two Japanese artists, Nikaido Hayato (singer of Alpha), and actor Sasake Yoshihide. The group is called 3Peace Lovers, and their first single, "Virtual Love," was released on June 26, 2012.[20]

On June 14, ZE:A's Daum Cafe released information about the comeback album and uploaded 4 10-second preview songs on the ZE:A Official YouTube Channel (ZEA2011). The second studio album was revealed to be titled "Spectacular" and will be featuring eleven songs in the tracklist. The comeback is confirmed to be set on July 4. On July 3rd, ZE:A hosted a showcase promoting "SPECTACULAR" performing songs from the album, which was streamed live on their official YouTube channel (ZEA2011). On July 3, ZE:A's official channel (ZEA2011) uploaded the music video for their title track "Aftermath" from their album "SPECTACULAR."

On August, it was announced that Kwanghee will be the new cast of MBC We Got Married and will be Coupled with Sunhwa SECRET.

On August 26, ZE:A uploaded the music video for their title track "Phoenix" from their fourth single album, Phoenix.

Promoted as a special gift for ZE:A'S, a non-album single named Beautiful Lady was released on December 7, 2012. The MV was released the same day with various scenes featuring ZE:A's Park Hyungsik and 4Minute's Nam Ji-Hyun whom were casted in the reality show The Romantic and Idol.[21]

2013: Illusion, Beautiful Lady[edit]
ZE:A made their comeback with "Ghost of Wind" on August 8.

Hyungsik was cast in The Heirs as Jo Myungsoo

Minwoo was cast in a Japanese Musical Summer Snow

ZE:A having their full scale first concert in Korea - Illusionist on 23 November.

2014: First Homme, Junyoung's stage name adoption, Project Sub-Unit[edit]
On May 23, 2014 Star Empire Entertainment announced that ZE:A would have a comeback, after a ten month hiatus, with their second EP. Following the announcement various teaser pictures were released.[22][23][24]

The music video for the title track of First Homme, Breathe, was released on June 2, 2014.[25] Televised music show promotions for First Homme started on June 5th on M! Countdown. Breathe was simultaneously promoted for two weeks with another song off their EP, St:Dagger.[26] Both tracks were produced by Brave Brothers.

Following First Homme promotions, Junyoung teased pictures of various ZE:A members recording in the studio in late July.[27] He would later confirm on Instagram of a new ZE:A sub-unit which would consist of Kevin, Heecheol, Junyoung, Dong-jun, and Taeheon.[28] The new sub-unit was announced to release a Japanese single but it was shared only to fans that attended an exclusive fanmeet.

On August 22, 2014, ZE:A leader Junyoung announced during their ZE:A's Day fanmeet that he would officially begin promoting under ZE:A under the stage name Lee Hoo (이후). He cited negative feelings surrounding his name as a reason to change his name.[29] He would be the second member to adopt a stage name.

Star Empire Entertainment began releasing teaser pictures of their first project-unit on August 22 that included Nine Muses member Kyungri, a company trainee named Sojin, and ZE:A member Kevin.[30] The unit was announced to be called Nasty Nasty is debuted on September 3, 2014 with their title track Knock.[31]

Members[edit]
ZE:A
Stage name Birth name Date of Birth
Romanized Hangul Romanized Hangul
Kevin 케빈 Kim Ji-yeop 김지엽 February 23, 1988 (age 26)
Kwanghee 광희 Hwang Kwang-hee 황광희 August 25, 1988 (age 26)
Siwan 시완 Yim Si-wan 임시완 December 1, 1988 (age 26)
Lee Hoo 이후 Moon Jun-young 문준영 February 9, 1989 (age 25)
Taeheon 태헌 Kim Tae-heon 김태헌 June 18, 1989 (age 25)
Heechul 희철 Jung Hee-cheol 정희철 December 9, 1989 (age 25)
Minwoo 민우 Ha Min-woo 하민우 September 6, 1990 (age 24)
Hyungsik 형식 Park Hyung-sik 박형식 November 16, 1991 (age 23)
Dongjun 동준 Kim Dong-jun 김동준 February 11, 1992 (age 22)
Discography[edit]
Main article: ZE:A discography
Korean discography[edit]
Studio albums[edit]
2011: Lovability
2012: Spectacular
Mini albums[edit]
2013: Illusion
2014: First Homme
Singles[edit]
2010: Nativity
2010: Leap For Detonation
2011: Exciting
2012: PHOENIX
Japanese discography[edit]
Singles[edit]
2010: Love☆Letter"
2011: Watch Out ~Netsuai Chuuihou~
2011: Daily Daily
2013: Illusion
Filmography[edit]
TV and reality shows[edit]
2009: Mnet Office Reality - Child of Empire (April 15 - July 1)
2009: Mnet Empire Kids Returns (October 19 - November 23)
2009: Maknae Rebellion (Junyoung, Dongjun & Hyungsik) (February 6)
2010: Idol League
2010: Mnet Mnet Scandal (Junyoung & Dongjun)
2010: School of Rock - ZE:A (August 3 )
2010: Mnet 1doL Cam (June 21)
2010: KBS Joy Idol League ZE:A (May 4)
2011: Mnet Moon Night 90 (Kwanghee, Heechul & Minwoo) (Nov 17)
2012: Birth of a Family Season 2 (Siwan)
2012: KBS2 Let's Go Dream Team! Season 2 (Dongjun)
2012: Mnet VIXX's Mydol (Heechul & Dongjun)
2012: SBS Running Man Episode 104 (Siwan)
2012: MBC We Got Married (Kwanghee)
2012: GURUPOP Show EP7
2012: Arirang TV Star Road
2012: tvN The Romantic and Idol (Hyungsik)
2013: tvN The Romantic and Idol 2 (Kevin)
2013: MBC Real Men (Hyungsik)
2013: KBS Yu Huiyeol's Sketchbook (Kevin, Siwan, Minwoo, Hyungsik, Dongjun)
2013: Tooniverse Nankam School (Kevin, Minwoo, Hyungsik, Dongjun)
2014: SBS Running Man Episode 182 (Siwan)
2014: MediaCorp A Date with K-pop Stars (Kwanghee)
Music videos[edit]
2010: "Mazeltov"
2010: "All Day Long"
2010: "My Only Wish"
2010: "Love Letter"
2011: "Here I Am"
2011: "Watch Out"
2011: "Heart For 2"
2011: "Why?"
2011: "Daily Daily"
2012: "Aftermath"
2012: "Phoenix"
2012: "Beautiful Lady"
2013: "The Ghost of Wind"
2013: "Step By Step"
2014: Breathe
Movies[edit]
2011: Ronin Pop (Japan)
2012: A Company Man (Dongjun)
2013: The Attorney (Siwan)
Dramas[edit]
2010: SBS Prosecutor Princess (recurring cameo by Junyoung and Dongjun and cameo by other ZE:A members)
2010: MBC Gloria (cameo)
2010: KBS2 Please Marry Me (cameo)
2011: KBS2 Crossing the Youngdo Bridge (Dongjun)[32]
2011: KBS2 Detectives in Trouble (cameo by Kwanghee)[33]
2011: CGV Girl K (Dongjun)
2011: KBS2 Poseidon (Junyoung)
2011: MBN Vampire Idol (Kwanghee)
2012: MBC Moon Embracing the Sun (Siwan)
2012: SBS Salamander Guru and The Shadows (cameo by Kwanghee)
2012: SBS Remember You (Hyungsik)
2012: KBS2 Man from the Equator (Siwan)
2012: Channel A KPOP Ultimate Survival (Kevin)
2012: MBC Standby (Siwan and cameo by Kwanghee)
2012: SBS Dummy Mommy (Hyungsik)
2012: tvN Reply 1997 (cameo by Siwan)
2012: SBS To the Beautiful You (Kwanghee)
2012: KBS2 My Husband Got a Family (cameo)
2012: MBC Every 1 Reckless Family 2 (Heechul)
2013: KBS2 Sirius (Hyungsik)
2013: tvN Nine: Nine Time Travels (Hyungsik)
2013: KBS2 The Fugitive of Joseon (Dongjun)
2013: KBS2 The Clinic for Married Couples: Love and War 2 - Idol Special (Dongjun and Junyoung)
2013: SBS The Heirs (Hyungsik)
2014: MBC Triangle (Siwan)
2014: KBS2 What Happens to My Family? (Hyungsik)
2014: tvN Misaeng (Siwan)
2014: MBC Every 1 Boarding House 24 (Dongjun)
Musicals[edit]
Lunatic Dream Team (Heechul)[34]
Aladdin (Dongjun)[35]
Temptation of Wolves (Hyungsik)[36]
Gwanghwamun Sonata (Kevin)[37]
Catch Me If You Can (Dongjun)[38]
Bonnie and Clyde (Hyungsik)[39]
Awards[edit]
Mnet Asian Music Awards[edit]
Year Nominated work Award Result
2010 Mazeltov Best New Male Artist [40] Nominated

http://en.wikipedia.org/wiki/ZE:A

[Guest sulthanah]

You have to know about Electronic Dance Music because Junyoungie has been developing K.E.D.M. A new genre of music combination between Kpop and Electronic Dance Music.
Electronic dance music (also known as EDM, dance music,[1] club music,[2] or simply dance) is a broad range of percussive electronic music genres produced primarily for dance-based entertainment environments such as nightclubs, raves, and festivals. The music is largely produced for playback by disc jockeys (DJs) and is generally used in the context of a live DJ mixes where the DJ creates a seamless selection of tracks by segueing from one recording to the next.[3]

In 2010, the acronym "EDM" was adopted by the American music industry and music press as a buzzword to describe the increasingly commercial US electronic dance music scene.[4][5]

Contents [hide]
1 History
1.1 Birth of club music
1.2 Acid house and Rave
1.3 North American commercialization of EDM
1.3.1 Criticism of commercial EDM
1.3.2 Corporate investment in EDM
2 Terminology
3 Genres
4 Production
5 Festivals
6 Industry Awards
7 See also
8 References
9 Further reading
History[edit]
Notable examples include the 1977 collaboration between producer Giorgio Moroder and vocalist Donna Summer on the song "I Feel Love", a groundbreaking dance/discothèque hit with no traditional instruments.[6]

Birth of club music[edit]
See also: Hi-NRG, Electronic body music, Euro disco, Synthpop, Italo disco, Electro (music), Garage music (North America), Post-disco and House music
Acid house and Rave[edit]
See also: Acid house, Techno, Rave and Second Summer of Love

Roland TB-303: The bass line synthesizer that was used prominently in acid house.
By 1988, house music had exploded in the UK and Germany with acid house becoming increasingly popular.[7] There was also a long established warehouse party subculture based around the sound system scene. In 1988, the music played at warehouse parties was predominantly house. That same year, the Balearic party vibe associated with Ibiza based DJ Alfredo Fiorito was transported to London, when Danny Rampling and Paul Oakenfold opened the clubs Shoom and Spectrum, respectively. Both night spots quickly became synonymous with acid house, and it was during this period that the use of MDMA, as a party drug, started to gain prominence. Other important UK clubs at this time included Back to Basics in Leeds, Sheffield's Leadmill and Music Factory, and in Manchester The Haçienda, where Mike Pickering and Graeme Park's Friday night spot, Nude, was an important proving ground for American underground [8] dance music. Acid house party fever escalated in London and Manchester, and it quickly became a cultural phenomenon. MDMA-fueled club goers, faced with 2 A.M. closing hours, sought refuge in the warehouse party scene that ran all night. To escape the attention of the press and the authorities, this after-hours activity quickly went underground. Within a year, however, up to 10,000 people at a time were attending the first commercially organized mass parties, called raves, and a media storm ensued.[9]

The success of house and acid house paved the way for Detroit Techno, a style that was initially supported by a handful of house music clubs in Chicago, New York, and Northern England, with Detroit clubs catching up later.[10] According to British DJ Mark Moore it was Derrick May's "Strings of Life" that eased London club-goers into acceptance of house, with Moore stating that: "I was on a mission because most people hated house music and it was all rare groove and hip hop...I'd play Strings of Life at the Mud Club and clear the floor. Three weeks later you could see pockets of people come onto the floor, dancing to it and going crazy – and this was without ecstasy." [11][12]

North American commercialization of EDM[edit]
Initially, electronic dance music achieved limited popular exposure in America when it was marketed as "electronica" during the mid to late 1990s.[13] At that time, a wave of electronic music bands from the UK, including The Prodigy, The Chemical Brothers, Fatboy Slim and Underworld, had been prematurely associated with an "American electronica revolution."[14][15] But, instead of EDM finding wider mainstream success, it was relegated to the margins of the industry.[14] Despite the domestic music media interest in "electronica" during the latter half of the 1990s, American house and techno producers continued to travel abroad to establish their careers as DJs and producers.[14]

By the mid-2000s, a number of factors led to an increased prominence for dance acts in North America that was larger than previously observed. Daft Punk's performance at the 2006 Coachella Festival was considered by Spin to be a "tipping point" for EDM, as the appearance fueled nostalgia of the electronica era, and introduced the duo to a new generation of "rock kids".[14] In 2009, French house musician David Guetta began to gain prominence in mainstream pop music after achieving several crossover hits on Top 40 charts, such as "When Love Takes Over", and collaborations with U.S.-based pop and hip-hop acts, such as Akon ("Sexy richard simmons") and The Black Eyed Peas ("I Gotta Feeling").[16]

The increased popularity of EDM was also fuelled by concerts and festivals, such as Electric Daisy Carnival, that placed an increased emphasis on visual experiences (such as video and lighting effects), fashion (which The Guardian characterized as an evolution from the 1990s "kandi raver" into "[a] slick and sexified yet also kitschy-surreal image midway between Venice Beach and Cirque Du Soleil, Willy Wonka and a Gay Pride parade"), and the DJs themselves, who began to attain celebrity-like statuses. Websites such as YouTube and SoundCloud also helped fuel interest in other genres of electronic music, such as electro house and dubstep. At the time, Dubstep also began to develop a harsher sound popularized mainly by U.S. producer Skrillex.[17][18]

In 2011 Spin declared the start of a "new rave generation," with acts such as Guetta, Canadian producer Deadmau5, and Skrillex now followed by a new wave of mainstream consumers.[14] Elements of EDM also became increasingly prominent in the music of mainstream chart acts, and collaborations occurred with producers such as Afrojack and Calvin Harris.[14] Promoters could now generate higher profits from booking DJs over other types of music acts. According to Diplo:"a band plays, it's 45 minutes; DJs can play for four hours. Rock bands—there's a few headliner dudes that can play 3,000-4,000-capacity venues, but DJs play the same venues, they turn the crowd over two times, people buy drinks all night long at higher prices—it's a win-win."[14] Other major acts gaining prominence during this period, such as Avicii and Swedish House Mafia, elected to hold concert tours at major venues such as arenas alongside nightclub appearances; in December 2011, Swedish House Mafia became the first electronic music act to sell out New York City's Madison Square Garden.[17]

In January 2013, Billboard introduced a new EDM-focused Dance/Electronic Songs chart, tracking the top 50 electronic songs based on sales, radio airplay, club play, and online streaming[19] and by November the same year, Music Trades magazine was calling EDM the fastest growing genre on the planet.[20] In addition to the growth of EDM through live events and the Internet, radio and television were also credited with helping to increase mainstream attention: analysts noted that sales of Calvin Harris's "Feel So Close" and Swedish House Mafia's "Don't You Worry Child" dramatically increased after they began receiving contemporary hit radio airplay.[21] EDM songs and artists have been featured in television commercials and programs, while some artists have produced more pop-oriented songs to make their work more accessible to a mainstream audience.[22]

Criticism of commercial EDM[edit]
Despite the growing mainstream acceptance of EDM, a number of producers and DJs, including Carl Cox, Steve Lawler, and Markus Schulz, have raised concerns that the perceived over-commercialization of dance music has impacted the "art" of DJing. Cox sees the "press-play" approach of a new generation of EDM DJs as not being representative of what he calls the "DJ ethos".[17] Writing in Mixmag DJ Tim Sheridan questioned whether or not EDM was responsible for affecting the art of traditional DJing.[23] Sheridan contends that the emergence of "push-button DJs" who use auto-sync functions and pre-recorded sets featuring "obvious hits" rather than a diverse selection of music has led to a situation where "the spectacle, money and the showbiz [had] overtaken all—even notions of honesty."[23]

Some house producers have openly admitted that "commercial" EDM required further differentiation and creativity. Avicii (whose 2013 album "True" featured songs incorporating elements of bluegrass music, such as its lead single "Wake Me Up") stated that there was "no longevity" in the majority of EDM.[24] Deadmau5 has also criticized the homogenization of EDM, stating that the music he hears "all sounds the same"—he emphasized his diversification into other genres, such as techno and, in 2014, he released a techno song under the moniker "testpilot" for Richie Hawtin's label, Plus 8. During the 2014 Ultra Music Festival, Deadmau5 made remarks attacking up and coming EDM artist Martin Garrix, and during his set later in the evening (where he filled in for Avicii, who was unable to attend due to medical issues), he played an edited version of Garrix's song "Animals" remixed to the melody of "Old McDonald Had a Farm". Following the performance, Deadmau5 was also criticized on Twitter by fellow electronic musician Tiësto for "sarcastically" mixing Avicii's "Levels" with his own "Ghosts 'n' Stuff", asking in response "How does one play a track sarcastically? "Am I supposed to sneer while hitting the sync button? Or is that ironic?”[25][26][27][28]

In May 2014, the NBC comedy series Saturday Night Live parodied the stereotypes of EDM culture and push-button DJs through a Digital Short entitled "When Will the Bass Drop?". The short featured a DJ named Davvincii—who is seen performing a number of unrelated tasks—including playing a computer game, frying eggs, and collecting money rather than actually mixing, and pressing a giant "BASS" button to cause the heads of attendees to explode.[29][30][31]

Corporate investment in EDM[edit]
Following the mainstream success of EDM it became increasingly attractive to outside investors; with some comparing it to the dot-com boom of the late-1990s. The beginning of corporate consolidation in the EDM industry began in 2012; especially in terms of live events. In June 2012, media executive Robert F. X. Sillerman—founder of what is now Live Nation—re-launched SFX Entertainment as an EDM-focused conglomerate, and announced his plan to invest US$1 billion for the acquisition of EDM-related properties. His purchases included a number of regional promoters and festivals (including ID&T, organizers of the annual Tomorrowland festival in Belgium), along with two nightclub operators in Miami, U.S., and Beatport, an EDM-oriented online music store.[32][33] Live Nation itself also invested in the EDM market with the acquisition of Cream Holdings and Hard Events, and the announcement of a "creative partnership" with EDC organizers Insomniac Events in 2013;[34] Live Nation CEO Michael Rapino described EDM as the "[new] rock 'n' roll."[35][36][37]

Advertisers have also increasingly associated themselves with the EDM industry; for example, alcoholic beverage companies such as Heineken and Anheuser-Busch have maintained marketing relationships with the Ultra Music Festival and SFX, respectively. Heineken also incorporated Dutch producers, such as Armin van Buuren and Tiesto, into their marketing campaigns. Avicii's manager Ash Pournouri compared the increasingly commercial EDM industry to the transformation and commercialization of hip hop, which occurred in the early 2000s, arguing that the "corporate world" was beginning to "catch on" to EDM.[22]

U.S. radio conglomerate iHeartMedia (formerly Clear Channel Media and Entertainment) has also made efforts to align itself into the EDM industry; the company hired noted British DJ and BBC Radio 1 personality Pete Tong to produce programming for its "Evolution" dance radio brand,[38] and announced a partnership with SFX Entertainment in January 2014 to co-produce live concert events and EDM-oriented original programming, such as a Beatport countdown show, for its top 40 radio stations. iHeartMedia president John Sykes explained that he wanted his company's properties to be the "best destination [for EDM]", and felt that its planned Beatport top 20 show would provide increased mainstream, North American exposure to up and coming producers.[39][40]

Terminology[edit]
The term "electronic dance music" was used in America as early as 1985,[41] although the term "dance music" didn't catch on as a blanket term for the genre(s) until the second half of the 1990s, when it was embraced by the American music industry with their "Dance" charts (which continue to this day), as well as the consistent use of the term "dance music" in reference to artists in reviews.[41] In July 1995 Nervous Records and Project X magazine held their first award ceremony titled "Electronic Dance Music Awards." [42][43]

Writing for The Guardian, journalist Simon Reynolds noted that music industry adoption of the term "EDM" was part of a drive to re-brand "rave culture" in the United States; an attempt to "draw line between today's EDM and 90s rave".[44] While "EDM" has become the common blanket term for dance music genres in the USA, in many parts of Europe and online, in the UK the usage of "dance music" or "dance" is more commonly used.[45]

What is widely considered to be "club music" changes over time includes different genres depending on the region and who's making the reference, and may not always encompass electronic dance music. Similarly, electronic dance music sometimes means different things to different people. Both terms vaguely encompass multiple genres, and sometimes are used as if they were genres themselves. The distinction is that club music is ultimately based on what's popular, whereas electronic dance music is based on attributes of the music itself.[46]

Genres[edit]
Main article: List of electronic music genres
Just as rock, jazz and other musical genres have their own set of sub-genres, so does electronic dance music. Continuing to evolve over the past 30 years dance music has splintered off into numerous sub-genres often defined by their varying tempo (BPM), rhythm, instrumentation used and time period.[47] The broadest categories include house, techno, trance, hardstyle, UK garage, drum & bass, dubstep, progressive, electro and hardcore.

Production[edit]

Typical tools for EDM production: computer, MIDI keyboard and mixer/sound recorder.
In an April 2014 interview with Tony Andrew, the owner and founder of the Funktion-One sound system—considered a foremost model of audio technology and installed in venues such as Berghain, Output and Trouw—Andrew explains the critical importance of bass to dance music:

Dance music wouldn’t be so successful without bass. If you think about it, we’ve really only had amplified bass for around 50 years. Big bass is only a couple of generations old. Before the invention of speakers that could project true bass frequencies, humans really only came across bass in hazardous situations—for example, when thunder struck, or an earthquake shook, or from explosions caused by dynamite or gunpowder. That is probably why it is by far the most adrenaline-inducing frequency that we have. Bass gets humans excited basically. Below 90 or 100 Hz, bass becomes more of a physical thing. It vibrates specific organs. It vibrates our bones. It causes minor molecular rearrangement, and that is what makes it so potent as a force in dance music. The molecular vibration caused by bass is what gives dance music its power. It is what makes dance music so pleasurable to hear through a proper sound system.[48]

Andrew also warns that too much bass, as well as too much sound overall, can be harmful and a "good sound engineer will understand that there is a window between enough sound to give excitement and so much that it is damaging."[48]

Festivals[edit]
See also: List of Electronic dance music festivals
Other festivals, including Lollapalooza and Coachella have increased the number of EDM acts represented.[citation needed] Coachella in particular took an adventurous path giving electronic acts a high profile in a time when they were seldom booked alongside rock bands, in the United States at least. Rawley Bornstein, an MTV music and talent programmer, described EDM as "the new rock and roll,"[49] as has Lollapalooza organizer Perry Ferrell.[50] Ray Waddell, touring editor at Billboard magazine, noted that festival promoters have done an excellent job at branding.[49]


Electric Zoo Festival 2011 at the Hilltop Arena
Tomorrowland, a popular EDM music festival in Belgium has amassed millions of followers through YouTube and other social media. Tomorrowland broadcast the show live over YouTube and over 16.8 million viewers tuned in. The 20 minute recap video of Tomorrowland in 2012 amassed over 90 million views on YouTube, a testament to the growing popularity of electronic dance music.[51]

http://en.wikipedia.org/wiki/Electronic_dance_music

[Guest sulthanah]

My response on the articles below:

It's not all about money. The writer forgot to write that Junyoungi also brought some issues: mentally and physically abused, slapped by the CEO, overworked, underpaid....sighhh....I hope the writer read what ZE:A's said about this article.


Difference in profit among members in the same group becomes a cause for dispute as well. ZE:A’s member Moon Junyung complained, “I am not getting the reward I deserve for the amount of work that I do.” This appeared to be a dispute between artist and entertainment [agency], but there can only be a stark difference in payout when compared to Im Siwan, Park Hyungsik and Hwang Kwanghee, who are all very active outside of the music industry. The entertainment [agencies] realized this and tried to give the same opportunity to everyone, but could not avoid the partial choices of the public. Moon Joonyung and Star Empire later came to an agreement and prevented the team from falling apart.



http://www.koreaboo.com/featured/idols-vs-agencies-battle-money-will-shadow-lift-k-pop/