Credit: EDAM Entertainment
LISTEN HERE | WATCH THE MV HERE
Critically acclaimed singer-songwriter and global rockstar WOODZ unveils his latest artistic chapter with the release of his 2-track digital single I’ll Never Love Again, out now on all major streaming platforms via EDAM Entertainment and Kakao Entertainment — listen HERE and watch the music video HERE. Known for his fearless genre-bending style and searing emotional honesty, WOODZ delivers a powerful first release post-military discharge.
The project follows the viral resurgence of “Drowning,” which soared to No. 1 on major Korean music charts earlier this year, reaffirming WOODZ’s enduring resonance with listeners even while enlisted. Building on that momentum, I’ll Never Love Again captures both the intensity of heartbreak and the defiance of pushing forward, showing an artist unafraid to bare his vulnerabilities while crafting music that transcends boundaries.
The focus track, “I’ll Never Love Again,” fuses folk-inspired textures with the grandeur of alternative rock. Opening with a melancholy organ melody, the song swells into crashing drums and guitars, mirroring the torment of heartbreak and the resolve that follows. WOODZ’s voice, raw yet commanding, intertwines with a choir to create a sweeping soundscape where sorrow and beauty collide. Its lyrics echo with haunting finality: “If this is how love always ends, I’ll never love again.” The accompanying music video visuals embrace a cinematic palette — evoking solemnity, yet reflecting the resilience of humanity as we continue to reach for love despite inevitable heartbreak.
Credit: EDAM Entertainment
The second track “Smashing Concrete”, which was first released as a visualizer in late July (watch HERE), channels pure, unfiltered energy. The song shifts into explosive alternative metal, combining WOODZ’s rap and vocals with razor-sharp guitar and thunderous percussion. Its message is simple yet unrelenting: break down the walls in front of you and push through. The result is a cathartic anthem of defying obstacles, one that radiates liberation and perseverance.
With I’ll Never Love Again, WOODZ reaffirms his standing as one of Korea’s most innovative and emotionally resonant artists, inviting listeners into a world where grief and beauty exist side by side.
Credit: EDAM Entertainment
WOODZ Digital Single – I’ll Never Love Again
Tracklisting:
- I’ll Never Love Again *focus track
- Smashing Concrete
ABOUT WOODZ WOODZ (Cho Seungyoun) is a South Korean multihyphenate artist — a singer-songwriter, producer, and performer — widely respected for his genre-defying sound, emotional range, and rare artistic versatility. From his early days in the idol group UNIQ and Produce X 101’s project boy band X1 to his breakout as a soloist, WOODZ has charted a path defined by resilience and creative evolution.
Since his solo debut, he’s written and produced nearly all his music, with critically acclaimed projects like EQUAL (2020), SET (2021), ONLY LOVERS LEFT (2021), COLORFUL TRAUMA (2022), and OO-LI (2023), blending elements of pop-rock, alternative R&B, hip-hop, and experimental sounds. Dubbed a “pop-rock chameleon” by DAZED, he’s earned over 300 million streams, over 900K followers, and approx. 800K monthly listeners on Spotify alone and topped iTunes charts in 20+ countries. Ahead of his military enlistment, WOODZ embarked on a 7-continent (North/South America, Europe, and Asia) global tour in 2023 (fueled by his album OO-LI, Billboard’s #3 Best K-pop Album the same year) with sold out shows across 12 countries. Most recently, his track “Drowning” emerged as a sleeper hit and experienced a viral resurgence in late 2024, charting on Shazam and re-entering Korea’s Top 100 two years after release. “Drowning” has since surpassed 135 million views and almost 30 million streams on Spotify alone. As of September 2025, “Drowning” continues to maintain its position within the Top 5 of Korea’s leading music charts.
Amassing a social following of over 5 million, WOODZ is not only a favorite among fellow artists, but is also known as a fashion-forward figure. He’s gained recognition as a quiet, but confident style icon for his sleek experimental styling and effortlessly cool off-duty looks, earning him prominent fashion and culture magazine features in Korea’s Vogue, DAZED, W, GQ, Harper’s BAZAAR, ELLE, and more. With more than a decade of industry experience, an expanding international footprint, and a growing body of critically respected work, WOODZ stands at the forefront of a new generation of K-pop soloists — an all-rounder visionary poised for his strongest era yet. Following the completion of his military service in July 2025, WOODZ has made stops at major festival stages across Japan and Korea, including Summer Sonic, Let’s Rock Festival, and Sound Planet Festival, and dropped his latest digital single I’ll Never Love Again on September 24, 2025.
CONNECT WITH WOODZ Official IG | Personal IG | TikTok | X | YouTube | Spotify | Berriz
#WOODZ #IllNeverLoveAgain #WOODZreturns #DAZED #kpopwriter #kcrush #kpop #kpopproducer #kidol #kfashion #EDAMEntertainment #IU #singer #songwriter #UNIQ #SmashingConcretebyWOODZ #ksoloist #kcrushamerica #kcrushmagazine #DworningbyWOODZ #ProducerX101 #watchIllNeverLoveAgain
Credit: Sony Music Entertainment Korea
Listen to [the a(e)nd] HERE
Watch HIGH=LOVE music video HERE
Ethereal up-and-coming girl group, cosmosy, returns with their first-ever EP, [the a(e)nd], — a six-track collection that includes two brand-new songs, “HIGH=LOVE” and “Princess=Kiss,” alongside their previously released singles “zigy=zigy,” “Lucky=One,” and “BabyDon’tCry=BreakingTheLove,” delivering a deeply immersive listening experience. Following their first debut single, “Lucky=One,” which has amassed over 15 million streams across YouTube and Spotify, cosmosy’s songs feature lyrics in Korean, Japanese, and English, reflecting the group’s sincerity in breaking down barriers with global fans and sharing their heartfelt message with a wide audience.
The rookie group steps into a new artistic era with [the a(e)nd], combining sonic experimentation, poetic minimalism, and raw emotional gravity. This EP includes tracks in Korean, English, and Japanese, reaching fans globally. It intertwines emotive melodies with intense rhythms, giving an immersive experience through a blend of classical and electronic elements—distorted rhythms, heavy bass and synth, and fractured vocals; each track a fragment of a world both ending and becoming. The project is as much about what’s missing as what’s heard, serving as a gateway to the new world cosmosy is opening. Each track awakens one of the Six Senses, weaving a journey through beginnings, endings, and the growth between.
BabyDon’tCry=BreakingTheLove (Sight) is a hybrid electronic track (Trap + Hardstyle) where classical elegance meets modern edge. Weaving samples from Beethoven’s Symphony No. 5 and Mozart’s Symphony No. 25, it creates a rich tapestry in which tradition and innovation blend seamlessly. HIGH=LOVE (Hearing) is a modern electronic track where Brazilian Phonk grooves meet the deep pulse of Trap 808 bass. It begins with a gentle, understated melody that gradually swells into a powerful rhythm, enriched by the resonance of traditional Japanese taiko drums. Princess=Kiss (Taste) brings a modern take on the Snap genre built around Trap drums, driving bass, and layers of hypnotic percussion and melody. The song captures the feeling of stepping beyond the boundaries of everyday life, like a lip gloss commercial that opens the door to new experiences.
zigy=zigy (Smell) is the pre-debut track that encapsulates cosmosy’s identity. A K-pop dance track fusing Afro-pop sounds with Eastern elements, it delicately portrays the inner conflict and identity struggles of teenage girls facing separation. Lucky=One (Touch) is the debut track with the theme “Love arrives like a coincidence and becomes destiny.” A tropical house track where soft synthesizers and lyrical melodies intertwine with warm rhythms to deepen the emotion of love. end=and (Sixth Sense) is a lyrical track blending repetitive sounds and dreamy synths. At the midpoint of the journey toward a “new world,” it captures the space before cosmosy opens the next gate. It serves as a sensory bridge that unites the entire EP.
Listen to [the a(e)nd] HERE
Watch HIGH=LOVE music video HERE
(Photo Credit: Sony Music Entertainment Korea)
As cosmosy continues producing future projects, they aim to inspire young fans worldwide by embracing cultural diversity, self-expression, and boundless creativity. With their unique sound, striking visuals, and undeniable charisma, the collective is set to leave a lasting impact on the global pop scene.
About cosmosy:
cosmosy is a four-member ensemble under Sony Music Entertainment Korea and management company NTT DOCOMO Studio & Live. The group pre-debuted on December 31, 2024, and has now expanded their reach with this release. Their unique blend of J-pop and K-pop elements positions them as a fresh and innovative presence in the international music scene. The quartet comprises Japanese members himesha, de_hana, kamión, and a’mei, each bringing unique talents and charisma. Their group name symbolizes the “Possibilities of Youth” and the “Infinity of the Cosmos,” reflecting their mission to explore limitless potential and growth.
Connect with cosmosy: Instagram | YouTube | Twitter | TikTok
#cosmosy #himesha #dehana #kamion #amei #JPop #kcrush #Japan #SonyMusicEntertainmentKorea #pop #NTTDOCOMO #EPaend #HIGHLOVE #PrincessKiss #LuckyOnebycosmosy #zigyzigy #kcrushmagazine #kcrushamerica #BabyDontCryBreakingTheLove #rookiegirlgroup #fourmembergroup #cosmosynewEP #cosmosyJapanesegirlgroup
For those of us who came of age during the dawn of the K-pop industry, the name H.O.T. evokes a sense of nostalgia that is hard to match. Their music was the soundtrack to the youth, and their breakup in 2001 was a moment of collective heartbreak for an entire generation of fans. While a glorious reunion in 2018 gave fans a glimpse of the five members together again on stage, their individual journeys since the original disbandment have taken them down varied and fascinating paths. Here is what the members have been up to.
1. Moon Hee Jun (문희준)
As the leader of H.O.T., Moon Hee Jun was known for his charisma and stage presence. After the group’s disbandment, he started a solo career and has released pieces including ‘Alone’ (2001) album and “I’m not okay” (2013) travk. Hee Jun has appeared on reality shows, including “The Return of Superman,” alongside his daughter. He was also cast in dramas including “Singderella” (2017). Hee Jun continues to be a prominent figure in the entertainment industry, balancing his work as a TV personality with his family life.
2. Jang Woo Hyuk (장우혁)
The main dancer and choreographer of the group, Jang Woo Hyuk, has continued to be a force in the dance and music scene. After the group’s disbandment, he formed the trio JTL with fellow H.O.T. members Tony An and Lee Jae-won. In 2005, Woo Hyuk debuted as a solo artist with the ‘’No More Drama’ album, with the latest track being “I Don’t Know” (2024). He also ventured into acting in 2012 and appeared on the Chinese drama “Secret Angel”. Woo Hyuk has also appeared on reality shows, including “Groom Class”.
3. Tony An (토니안)
American-born Tony An, has had a multifaceted career since the H.O.T. era. Like Jang Woo-hyuk and Lee Jae-won, he was a member of JTL. In 2002, Tony founded TN Nation Entertainment company and launched a solo career in 2004 with the ’Believe’ album. His latest release is the ‘My Shine Day’ EP in 2023. Tony has appeared on various shows, including as an MC for M Countdown music show, which he left in 2012. Tony has been open about his personal struggles and has used his platform to connect with fans on a deeper level. His journey is a testament to the fact that an idol’s career can extend far beyond the stage.
4. Kangta (강타)
Kangta, H.O.T’s main vocalist, is the only member who has remained with SM Entertainment since the group’s breakup. He has had a prolific solo career, releasing numerous albums including ‘Persona’ (2005) and ‘Eyes On You’ (2022). In addition to starring in “Magic Touch of Fate” (2004) Chinese drama, Kangta has appeared on radio as a DJ and on his own show, “Stary Night Radio”, on MBC in 2016. Beyond his own music, Kangta has become an integral part of the very company that launched his career. Since 2005, he has held an executive position at SM Entertainment, acting as a de facto creative director and mentor to a new generation of K-pop artists. He continues to be a respected figure in the industry, playing a key role in its evolution.
5. Lee Jae-Won (이재원)
Lee Jae-won, the youngest member of the group, also joined JTL alongside Tony An after H.O.T’s disbandment. After JTL’s activities died down, Jae Won debuted as a solo artist in 2005 with the ‘No Pain, No Gain’ album. He also held the “Lee Jae Won 2024 Concert Once Again Seoul” and has been cast in dramas including “My Spring Days” (2014). While he may not be in the public eye as often, he remains a cherished part of H.O.T.’s legacy, and fans eagerly await his future projects.
The story of H.O.T. is one of influence and enduring legacy; a cultural phenomenon that reshaped the Korean music landscape. While their paths have diverged, the bond between the five members and their dedicated fans, known as “White Angels,” remains as strong as ever.
—-Karen Mwenda
#HOT #SMENtertainment #kcrush #WhereAreTheyNow #kpop #originalKpop #kpopidol #Korea #LeeJaeWon #kcrushamerica #kcrushmagazine #Kangta #TonyAn #JangWooHyuk #firstgenkpop #WhereAreTheyNowHOT #werearetheHOTmembersnow #koreanmusic #MoonHeeJun #TheReturnOfSuperman #ImNotOkay #IDontKnow #WhiteAngelesHOTFandom #MySpringDays #2018HOTReunion #kpopartist #kpopindustry #JTL #HOTmembers #JTLmembers #HOTfivemembergroup #Hallyu
BINI continues to break into the U.S scene as they become the first Filipino group to perform at Coachella Music Festival 2026. The upcoming music festival will also include a star-studded line up of global artists including Sabrina Carpenter, Justin Bieber, and Karol G, which will take place at the Empire Polo Club in Indio, California, on April 10-12 and 17-19. Their new achievement will come at the heels of their “BINIfied” concert happening at the Philippine Arena (the world’s biggest indoor arena with capacity of 50,000 seats) this Nov. 29 (Saturday).
Recently, the group received three nominations at the Breaktudo Awards 2025 in Brazil for International Female Group, International Collaboration, and International Fandom of the Year. Earlier this year, the group wrapped their “BINIverse World Tour,” thrilling thousands of fans across Dubai, London, and major cities in the U.S. and Canada. Alongside the tour, they introduced their high-energy single “Shagidi”, which sparked a lively dance trend online and became a fan favorite throughout their shows.
Amassing over 1 billion streams including their previous hit single’s “Blink Twice” and “Cherry On Top” (over 150 million audio-video streams combined). The octet recently collaborated with BELINDA, the Spanish-Mexican singer with over 11 million monthly listeners on Spotify. The track, “Blink Twice (Dos Veces Remix)”, marks the first-ever collaboration between a Mexican artist and a Filipino group and builds on the momentum of BINI’s fast-growing international reputation. The Philippines is the emerging leader in the rapidly rising “Asian pop” movement, with the collective as its standard bearer. The group just announced their new song, “First Luv,” out on October 2 that will be released to usher in a new era.
Last year, they became the first Filipino pop group to perform at KCON in Los Angeles, the world’s largest Korean culture and music festival, captivating millions while their global recognition grew with features in Billboard’s “Global No. 1’s” and Grammy.com’s “Pinoy Acts You Should Know.” Collaborating with global artists and winning accolades like the MTV EMA’s Best Asia Act and one of Spotify Global’s Breakout Artists, the group continues to soar, proving their name as “The Nation’s Girl Group” in the Philippines.
To find out more information on upcoming shows, new music and BINI Coachella news, follow them on Facebook, X (Twitter), Instagram, TikTok, and YouTube, or visit bini.abs-cbn.com.
#BINI #COACHELLA #kcrush #Filipino #FirstLuv #October2ndRelease #FilipinoPop #FPop #idol #Philippines #TheNationsGirlGroup #AsianPop #kcrushmagazine #kcrushamerica #BlinkTwice #KCONLosAngeles, #CherryOnTop #CoachellaMusicFestival2026
Fresh off their participation in KPOPPED, STAYC sat down with KCrush for a written interview to share their thoughts on the experience and what it means for their ongoing journey. Known for their dynamic performances and unique vocal colors, the members opened up about growth, challenges, and their hopes for connecting more with their global fans.
Source: High Up Entertainment
KCRUSH: Hello, STAYC! Kcrush is excited to speak with you today. Congratulations on participating in KPOPPED. KPOPPED showcases the hard work behind the scenes. What motivated you to take part in this program, and what do you hope global fans learn about you through it?
SUMIN: It’s not just about showing the final stage, but also the preparation and effort behind it, which I thought would give the audience a fresh impression. That’s why I decided to take part in this program. I hope more people can see the charms and talents of each STAYC member, and that other artists will also feel inspired to collaborate with us.
SIEUN: To begin with, the opportunity to share a collaboration stage with a legendary POP star is truly an honor. I also believe it’s a chance to promote K-POP and support STAYC’s growth, so I joined with gratitude~! I hope you can see that there are no limits to STAYC’s challenges and growth, and that you’ll enjoy our attempt at a new genre through this collaboration with a POP star~
ISA: In fact, we don’t often get the chance to perform with other artists. I believe there’s so much to learn through collaboration, and this opportunity taught me a lot. It was also a huge honor to perform with a singer I’ve admired since I was a young girl, so I had been waiting for this day with great excitement. I hope many of you will watch the stage and realize that STAYC can take on many genres, while also appreciating the unique charm of each of our voices.
SEEUN: Every new experience is exciting and meaningful for us, both now and in the future, so I chose to participate, hoping it would be a big help going forward. I also hope to show that we can perform seamlessly as one team, no matter who we share the stage with.
YOON: I decided to participate because we’ll have the chance to meet fans around the world and collaborate with amazing POP artists. I think fans will also enjoy seeing what goes on behind the scenes as we prepare for our performances.
J: I thought that being able to create a performance with international artists was a great opportunity in itself, and I wanted to use this stage to showcase STAYC’s variety of charms. Since chances like this are rare, I couldn’t wait to take on the challenge.
KCRUSH: Sumin has shown leadership qualities in STAYC as the eldest. How did participating in KPOPPED challenge your leadership or teamwork skills in new ways?
SUMIN: We split into units this time and collaborated with another artist for the first time. At first, the members were both excited and a little nervous, but we prepared the stage while supporting each other. I think it’s a new challenge for us to showcase our own colors even while collaborating with other artists!
KCRUSH: Seeun, how did it challenge your leadership or teamwork skills in new ways from participating in KPOPPED?
SEEUN: It was our first time meeting Boy George, and although the time to build teamwork was short, we were still able to create wonderful memories and form a strong bond. Despite differences in nationality, age, gender, and culture, I realized that sincerity toward each other and the stage is what truly makes this kind of teamwork possible. Boy George was especially kind and friendly, which made it easy for us to get close to him.
KCRUSH: Isa and Seeun, your growth has been visible since debut. Was there a particular moment during filming when you felt especially proud of how much you’ve developed as artists?
ISA: I was delighted to be able to perform with them and have conversations together as someone who loves R&B and always listened to TLC’s songs. It was a moment where I felt most proud of my debut.
SEEUN: I was proud that by collaborating with another team, we could preserve the beauty of the original track and at the same time infuse it with our own unique color.
KCRUSH: [To Yoon & J] KPOPPED requires participants to surprise not only judges but also fans. How did you prepare to showcase a side of yourselves that people might not expect?
YOON: I think this stage will feel fresher than ever since we tried a style we’ve never shown before. We’ll be bringing you many diverse performances, starting with our upcoming U.S. tour, so please look forward to them a lot.
J: I’d love for everyone to see sides of STAYC that we haven’t shown before! I hope you enjoy the unexpected charms 🙂
KCRUSH: The global K-pop scene is constantly evolving. How do you balance staying true to STAYC’s identity while also trying new concepts or performances?
SUMIN: I believe STAYC’s identity comes from the individuality of each member. The key is that all six of us unite our distinct characters to create music as one, while continuously making efforts in different ways to grow and preserve balance.
SIEUN: We work hard to recreate performances in our own unique way. Each member focuses on showcasing the vocal colors or genres they’re most comfortable with, or we design a stage concept by imagining ourselves as the narrators of a story. However, I believe the most important thing is to keep improving our fundamentals and skills so that we’re always ready to take on new challenges~
ISA: We constantly think about what the fans like while we prepare for our promotions. We perform often so I think we also think a lot about the kind of music we can enjoy together.
SEEUN: We try not to get affected by negative feedback or criticism and come together to take on new challenges.
YOON: We try to keep balance in our musical color. We try to maintain STAYC’s identity, like the songs you hear and realize they’re STAYC’s immediately.
J: I think STAYC has a strong character. We have our own distinct color so I hope we can move forward as artists who can influence the public in a positive way.
KCRUSH: Performing on programs like KPOPPED requires courage. What personal lessons did you take away from this experience that you can apply to your career moving forward?
SIEUN: This performance reminded us once more that music has the power to unite us all beyond nationality, gender, age, and culture. We’ll keep challenging ourselves without fear if it means bringing K-pop and our music to more people~ Above all, seeing Boy George sing part of Karma Chameleon in Korean really made me feel how much K-pop has grown. I hope it keeps spreading around the world and becomes even more influential in the future~
SEEUN: As it was my first collaboration performance and rehearsal time was limited, there were naturally many unexpected factors. It was a valuable experience that taught me how to adapt to those situations.
KCRUSH: [To Isa & Yoon] Your vocals often stand out in performances. Did KPOPPED give you the chance to try new vocal colors or styles that you hadn’t shown before?
ISA: Personally, I really enjoy covering pop songs, so it was even more exciting to be able to sing one alongside the original artist. Since we usually perform dance songs with a lot of choreography, it felt fresh to create new choreography for a different genre this time.
YOON: I usually sing the high notes but there wasn’t a high note this time. That felt new to me and that made it more fun! It felt like taking on a challenge.
KCRUSH: [To J & Sumin] STAYC has a strong following worldwide. How do you hope this new exposure through KPOPPED will connect you to fans in different countries?
SUMIN: I hope to promote K-pop further by covering songs from different countries and building a strong bond. I also hope our genre can feel approachable to people all around the world.
J: STAYC will always work hard as a K-POP artist so we can unite through K-POP!
We wish you success and that your unique colors shine through!
Ashley Borjon, Host & Historian
Ashley is a content creator, educator, and public speaker. As an authority on the Hallyu phenomenon, she has collaborated on projects and events with various domestic and international companies and brands as a music historian. As the host of An Album a Day, she leads an English-language podcast promoting commentary on South Korean pop music. Learn more about her at https://www.a3daypodcast.com
#STAYC #J #KPOPPED #SUMIN #YOON #ISA #kcrush #SEEUN #HIGHUPENTERTAINMENT #kpop #hallyu #kpopidol #koreanpop #kcrushamerica #kcrushmagazine #kcrushinterviewwithSTAYC #BOYGEORGE #TLC #Psy
K-pop legend returns to North America for three exclusive shows this November in New York, Los Angeles, and Atlanta
Credit: RAIN Company
K-pop legend THE RAIN will return to North America this fall with his 2025 THE RAIN TOUR [Still Raining: Encore], marking another milestone in his storied career. Tickets for this highly anticipated three-city run will be available for presale (prior sign-up required) starting September 26, with public sales beginning September 27 via IEMShowPlace.com.
Promoted by Infinite Prospects Entertainment, the entertainment company who brought the recent hyped G-DRAGON tour to the U.S. and previous THE RAIN tour, alongside IEM Group Inc., which has brought international Chinese superstars such as Jay Chou and JJ Lin to North America, the U.S. leg will open November 23 in New York, followed by Los Angeles on November 26 and Atlanta on November 29. Audiences can expect THE RAIN’s signature high-energy performances and timeless hits as he reconnects with fans across the U.S.
The Still Raining: Encore tour follows THE RAIN’s triumphant 2023 North American comeback, his first U.S. concerts in sixteen years. That two-city run in Atlantic City and Las Vegas sold out quickly, underscoring both his enduring legacy and the demand for his return. “Can you believe it’s been seven years since our last concert tour? I’m beyond excited to finally meet you in person. There are so many things I want to show you,” THE RAIN shared at the time.
At recent Still Raining tour stops across Asia, THE RAIN performed a setlist that combined signature hits such as “It’s Raining” and “Rainism” with special covers of contemporary tracks by artists including NewJeans and Bruno Mars. The 2025 North American shows will follow this format, giving audiences the chance to hear both his most iconic songs and newer selections that have featured in his latest performances.
Since debuting in 2002 with Bad Guy, THE RAIN has been a driving force in bringing K-pop to the global stage. His 2004 album “It’s Raining” sold over one million copies, while his role in the hit drama “Full House” made him a household name across Asia. In 2006, The New York Times hailed him as “the ambassador of Asia” following sold-out shows at Madison Square Garden and Las Vegas, establishing him as one of the first K-pop stars to break into the U.S. market. After completing his military enlistment in 2012, he continued to thrive as a singer, actor, and entrepreneur. In 2020, he reunited with Park Jinyoung (J.Y. Park also known as the CEO of JYP Entertainment) for the viral single “Switch To Me,” proving his influence spans generations.
The 2025 encore tour builds on that momentum, offering fans in three of the country’s biggest music hubs the opportunity to celebrate THE RAIN’s legacy and experience his artistry in a new chapter.
About THE RAIN:
THE RAIN is one of the most influential figures in the history of K-pop, credited as a pioneer of the Hallyu Wave that introduced Korean pop culture to global audiences. Since his 2002 debut with Bad Guy, he has sold millions of albums worldwide and risen to international fame with the hit It’s Raining and his starring role in the drama Full House. His impact was cemented with sold-out performances at Madison Square Garden in 2006, where The New York Times hailed him as “the ambassador of Asia.” Beyond music, THE RAIN has starred in films including Ninja Assassin and continued to shape the industry through viral releases like Switch To Me (2020), proving his influence across more than two decades of music, television, and film.
#RAIN #RAINCompany #kpop #USTour2025 #STILLRAININGENCORETOUR #kcrush #kpoptourannounced #kidol #kcrushamerica #kcrushmagazine #Korean #kpopmusic #kpoppioneer #hallyu #hallyuwave #actor #KActor #NinjaAssassin #SwitchToMe #filmandmusicidol #THERAIN #RAINIsComingToTheUSNovember #Koreanpopculture #MadisonSquareGarden2006
Played by Han Hye-ji, The Woman, Sun-kyung, has a quiet and unassuming nature that calls no real attention to her, but is noticeable enough to easily fit into whatever space she’s in, yet somehow seems to give off an aura that makes those around her wonder just how she came to be there. Take for instance the film’s opening sequence.
Sun-kyung is at a job interview to be a receptionist at a small local factory, and while she sits with her upright posture, quietly answering the typical questions about her previous job experience, one of the male staff sits behind her on a sofa loudly eating his bowl of cup ramen. When he’s reprimanded to either eat his lunch quietly or leave. He chooses to stay. But but not eat quietly. As the boss continues, asking if she’ll stay at the company for a long while, she says she will, but keeps uneasily looking back at her future colleague loudly chewing his food, this time a rice ball.
Though Sun-kyung’s lack of reaction by way of impatience or annoyance at having her interview be treated so unseriously, may at first indicate she’s the type of person not easily bothered by such matters, it perhaps is the true first sign that this woman is nothing like she appears to be.
At her apartment, Sun-kyung does things that at first glance don’t seem to be anything worth noticing. She puts in the keycode for the door…and after a few initial failures, enters and walks slowly to the lightswitch which she doesn’t turn on with the first try, and hesitantly sits then lays down on the sofa staring at an off-putting picture hung on the wall. Perhaps it’s nothing, but perhaps it is something that this strange picture in a way has similarities to the now famous Pope Leo X (after Rapahel) piece by Colombian figurative artist Fernando Botero.
The mystery of the woman—I love that the title plays as a sort of double entendre reference to the film itself as body and Sun-kyung—begins with a strange encounter Sun-kyung has with a man, Young-hwan (Kim Hee-sang, Mash Ville) who she initiates contact with through an online market forum to purchase his second hand vacuum. At first everything seems normal but the tone quickly changes to one of foreboding when Young-hwan suddenly blurts out that his mother died after drinking cyanide-laced vitamin water. The situation becomes increasingly disturbing and worrisome as Sung-kyung realises that as a woman, her safety could be in jeopardy, but she’s suddenly rescued by a man who turns out to be Ui-jin, an old school friend who just happens to be passing and coincidentally lives close by.
The next day, Sun-kyung learns that Ui-jin was found dead in his home under suspicious circumstances. When questioned by the police, she informs them of the strange interaction she, Young-hwan, and Ui-jin had the previous day, and insinuates that perhaps he may have something to do with Ui-jin’s sudden demise.
As the police do their own investigations and draw their own conclusions about this case and another that occurs around the same time, Sun-kyung becomes convinced that she can figure out what the truth is. That she can tell the real from the fake news
The old adage “still waters run deep” perfectly applies to her, because as the film progresses Sun-kyun becomes a mystery for the audience to unravel, as she herself tries to solve the mystery of Ui-jin’s death and Sun-kyung’s supposed guilt.
In Mash Ville Hwang Wook proved that he has the ability to mix multiple genres, and music and cultural styles into his films in a cohesive way that makes sense to the narrative, but with enough roughness that the overall finished project doesn’t feel overly polished, and with The Woman he does the same but with a bit more slickness to the editing and cinematography befitting a film where a slight change in the camera angle can make a major difference in how a single look from a character can the entire context of what’s being said and done.
For The Woman, Hwang drew inspiration from the godfather of the physiological thriller and murder mysteries himself, Alfred Hitchcock and most notable his films Rear Window (1954), and Vertigo (1958), two films where nothing is ever what it seems, and the protagonists become the most unreliable narrators imaginable. Both films revolve around two male protagonists; one a former police detective with a severe case of vertigo, and the other a photojournalist bound to his bed due to injuries sustained in an accident, who try to solve two murder mysteries with multiple suspects, no real clear means of motive, and physical and mental barriers by way of their own biases and obsessive personality creating hindrances in their truth seeking endeavors as well as their relationships with those around them.
In making his protagonist a woman, Hwang Wook recognises that her gender creates a unique opportunity in showing how certain questions she asks, things she says, and the way she moves through communities within South Korean society gives a new interpretation of “the unreliable narrator”. Han Hye-ji does a terrific job of playing Sun-kyung as someone you want to trust because she’s a woman, is quiet, and likes to keep to herself. But she also turns these very same aspects of this woman into character traits that can be suspicious and at times eerie to watch. In the camera work by cinematographer Lee Sung-won, certain tilts of the camera and slight adjustments in the angle of the lighting create almost imperceptible illusions of Sun-kyung’s facial expressions taking on a menacing air. But was that really what happened or just the audience imagining things?
For Kim Hee-sang, working with Hwang Wook, The Woman is his second role playing an unhinged man on an emotional journey to either solace or completely losing whatever remains of his sanity. In both films, Kim’s portrayal is one that evokes sympathy laced with unease because we’re induced to be suspicious of him due to his troubling introduction. But unlike Mash Ville, as the story of The Woman progresses you have to wonder if perhaps our assumptions are wrong. Where we see a man sharing too much information about the violent death of his loved one, and not reacting in what’s considered a “normal” way, perhaps what’s being shown is a cry for help from a man in society that says grief is supposed to be kept hidden, dignified, and brief. A man who’s left alone to hold himself together and forced to project a facade that makes people who don’t even care about him as a person, comfortable in order to be accepted.
At the end of The Woman Hwang Wook gives no definite answers about anything. We perhaps know even less about Sun-kyung than we did in the beginning, and that’s a good thing because some mysteries aren’t meant to be solved…just yet. But what’s to be sure is that Hwang Wook and his creative team have created one of the most interesting psychological thrillers in recent years, and as performers Han Hye-ji and Kim Hee-sang gave layers to their characters, showing the complexities of human emotions where what we perceive to may not be the truth.
The Woman premiered in competition in the Cheval Noir program at Fantasia Fest.
In my interview with Hwang Wook and Lim Dong-min, they spoke about making such a drastic tonal change in the directing and narrative style from Mash Ville to The Woman, being inspired by Alfred Hitchcock, and how the modern ideology of “fake news” has seeped its way into into social media and people’s psyche, tainting the way they see the world.
Interpreting for the interview was conducted by Pyo Young-soo.
Carolyn Hinds
Freelance Film Critic, Journalist, Podcaster & YouTuber
African American Film Critics Association Member, Tomatometer-Approved Critic
Host & Producer Carolyn Talks…, and So Here’s What Happened! Podcast
Bylines at Authory.com/CarolynHinds
Twitter & Instagram: @CarrieCnh12
#TheWoman #FantasiaIFF2025 #kcrushinterview #kcrush #DirectorHwangWook #ProducerLimDongmin #filmfestival #ChevalNoirprogram #HanHyeji #KimHeesang #AlfredHitchcockinspired #kcrushamerica #kcrushmagazine #FantasiaInternationalFilmFestival #filmreview #filminterview
G-Dragon performs onstage at the T-Mobile Arena in Las Vegas, Navada
Courtesy of GALAXY CORPORATION
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not necessarily reflect the views of KCrush.
On Sunday, August 31, 2025, South Korean entertainment icon Kwon Jiyong, globally known as G-Dragon, transformed the T-Mobile Arena in Las Vegas into his personal stage for the Übermensch World Tour. The “King of K-pop” announced the tour earlier this year, on February 6, through his self-founded entertainment agency, Galaxy Corporation.
G-Dragon’s tour marked his first world tour in eight years, celebrating his comeback album released later that month. For longtime fans, this was more than just a concert—it was a long-awaited reunion. In my case, after last seeing him in concert in Seoul with BIGBANG, it was an emotional experience that I did not expect to tear up about.
KCrush was on the scene to capture the energy, the artistry, and the storytelling that unfolded across the four-act show. With 30 tour dates scheduled worldwide, Las Vegas was just one stop, but was monumental because it was his first time there.
G-Dragon performs onstage at the T-Mobile Arena in Las Vegas, Navada
Courtesy of GALAXY CORPORATION
A Devoted Crowd
Walking into the arena, the crowd reflected the passage of time since G-Dragon’s last major tour. Predominantly Asian women of Korean, Vietnamese, and Chinese heritage, the audience’s average age leaned toward the late 30s, though families and friend groups of all ages filled the space. Many were longtime fans who proudly waited for over an hour to purchase official merchandise, especially the daisy-shaped daisybong lightstick. Some cosplayed iconic looks from G-Dragon’s music videos, too. From robes and silk scarves under snapback caps, to handmade replicas of his red rose jacket, fans outwardly celebrated both his fashion legacy and his music.
Speaking of fashion, G-Dragon was stunning! We will get to that later.
The K-pop concert tradition of exchanging fanmade gifts was also alive and well. One woman cheerfully approached groups of attendees, saying, “Are you excited for the concert? I want to give you a keychain!” The community spirit of fandom, regardless of the soloist or group, reinforces souvenirs and tokens of connection. You are quickly made to feel like you are amongst your kind of people, which was welcoming for first-time concertgoers.
Even those not deeply in fandom culture were caught up in the moment. In our guest section, a woman attending in support of a friend who worked with the Vegas tour team shared, “I’m not really a fan.” She admitted, “Still, it’s amazing to see a legend and the fruits of everyone’s labor.” That sense of pride rippled across the arena as anticipation grew.
G-Dragon performs onstage at the T-Mobile Arena in Las Vegas, Navada
Courtesy of GALAXY CORPORATION
Act I: The Reminder
As the lights dimmed and the first act began, G-Dragon reasserted his legacy. This opening segment was a reminder of who he is and the powerful eras he has shaped in K-pop. Through a mix of strength-driven imagery, iconic visuals, and high-energy performances, he revisited some of his most dynamic work. My all-time favorite G-Dragon song, “MichiGO,” came rumbling through the speakers and I lost control with excitement! Rapping lyrics I remember studying years ago when I was early in my days of learning the Korean language was an indescribable feeling. I’ve heard him perform it live before during his last U.S. concert, but this time was different – I’ve grown up with this and so has he.
G-Dragon performs onstage at the T-Mobile Arena in Las Vegas, Navada
Courtesy of GALAXY CORPORATION
Act II: The Declaration
The second act took on a more dramatic, almost biblical tone. With heavy use of battle iconography and ascension themes, G-Dragon declared his endurance. There was a moment of showing him take a drastically high walk up a flight of steps, as if moving towards the heavens. It felt unexpectedly burdensome yet wholly inevitable. This was a statement that, despite years away from the stage, he still believes that he carries a responsibility to the industry and to his fans.
What made this act particularly thrilling was the choice of deeper album cuts. “I Love It” (너무 좋아) from Coup d’Etat—a collaboration with Zion.T and Boys Noize—echoed through the arena. Even more surprising was “Today,” a track from his 2012 mini-album One of a Kind, originally featuring Kim Jong Wan of Nell. G-Dragon even sang Kim Jong Wan’s high vocal parts! By this point, longtime fans were wrapped up in nostalgia. These were tracks I never imagined hearing live, and they instantly bridged the gap between past and present.
Throughout Act II, he also remixed songs with references to music greats, weaving in Kendrick Lamar’s Super Bowl intro to “They Not Like Us” and nodding to The Jackson 5. It was a reminder that while he is a K-pop pioneer, his artistry is global and continues to have an array of influences. After all, this is the man who said he sounded out the English words of Wu-Tang Clan’s songs as a youth as he fell in love with rap and hip-hop. By the way, did you know that he’s wearing Wu-Tang Dunks in the “Too Bad” music video? He’s been in the industry for decades and still references his early inspirations. (Again, the fashion! Wait, everyone, we’ll get to it.)
G-Dragon performs onstage at the T-Mobile Arena in Las Vegas, Navada
Courtesy of GALAXY CORPORATION
Act III: The Arrival
If the first two acts looked outward—toward legacy and duty—the third act looked inward. Here, G-Dragon went back in time, referring to himself as a/the/that “boy.” This was not the voice of a boy striving for recognition, but of a man who has found peace within himself. He no longer has anything to prove; he has arrived. A bittersweet moment came in the form of a montage highlighting his lifelong dedication to entertainment. For fans who discovered him young, it was once charming to think of him as a child prodigy. But watching that same footage years later, one can’t help but reflect on the sacrifices he made. While his peers grew up with ordinary experiences, G-Dragon was on stage, acting, performing, and breaking records. His childhood was not his own—it was given to the craft. So much so, that whenever his left hand moved as he rapped, or took off his in-ear monitor (IEM) to encourage us to make more noise, the massive diamond ring on his hand almost made it seem like he’s married to it.
Act IV: The Farewell
The encore act tied everything together with tenderness. Similar to the time he took during his 2017 world tour, Act III: M.O.T.T.E., G-Dragon shared a recording of himself reflecting on the years he was out of the spotlight. He mentioned how overwhelmed and exhausted he was and how he was not certain when the time would be to return. There was still much that he wanted to say, but in his own way (hence, developing Galaxy Corp.). G-Dragon said that the little boy he was – now addressing himself as “Jiyongie”– can grow up reassured that everything would be okay. He is happy, free, and hopeful for the future.
The finale began with a special performance: a rock rendition of “I Can’t Help Falling in Love With You.” Standing at his mic, the audience joined in unison, evoking memories of when fans sang “Haru Haru” at BIGBANG’s last concert in December 2017. It was a communal, emotional release that underscored the bond between artist and audience. It closed with my favorite song from this year’s album, “IBELONGIIU,” where I stood and sang with pride until my vocal chords couldn’t produce more sound.
G-Dragon performs onstage at the T-Mobile Arena in Las Vegas, Navada
Courtesy of GALAXY CORPORATION
Style, Symbols, and Superhuman Opulence
No G-Dragon concert is complete without a statement in fashion. Throughout the night, he appeared in an array of Asian designer ensembles, accented by his ambassador love affair with the House of Chanel. Accessories glittered, and the diamond studs in both of his ears were stunning — genuinely gasp-inducing sluggers of a rock that spoke to his wealth and passion for luxury..
One of the more symbolic threads of the night was his use of the “U” symbol, a motif he has carried throughout this 2025 era. By his own explanation, it represents his past and present self, from 2009 until today, looking upon one another. While the distance between then and now may not be vast in years, the transformation he has undergone in that span is both immeasurable and visible. So much has happened, and yet he continues evolving without abandoning what made him iconic.
G-Dragon performs onstage at the T-Mobile Arena in Las Vegas, Navada
Courtesy of GALAXY CORPORATION
Closing Reflections
The Übermensch World Tour is more than just a concert series; it is G-Dragon’s living autobiography told through music, visuals, and performance. Each act spoke to different stages of his life: the meteoric rise, the trials, the acceptance, and ultimately, the reconciliation with self.
Walking out of the T-Mobile Arena, one thing was clear: happiness, on his terms, has finally found G-Dragon. And for fans who have grown alongside him, the night was not only about witnessing a comeback but also about affirming a shared journey. Indeed, our leader, our self-realized “Superman” has returned! And this time, Kwon Jiyong feels more human than ever.
Ashley Borjon, Host & Historian
Ashley is a content creator, educator, and public speaker. As an authority on the Hallyu phenomenon, she has collaborated on projects and events with various domestic and international companies and brands as a music historian. As the host of An Album a Day, she leads an English-language podcast promoting commentary on South Korean pop music. Learn more about her at https://www.a3daypodcast.com
#GDRAGONinLasVegas #LasVegas #kcrush #GDRAGON2025USTour #kpop #kfashion #kidol #Koreanidol #BIGBANG #TheSuperman #TheSupermanHasReturnedtotheUnitedStates #Korea #kcrushmagazine #kfashionista #kcrushamerica #GDRAGONFashion #GDRAGONShow #GDRAGONTour #GDRAGONOnStage #GDRAGON #ÜbermenschWorldTour #GDRAGONGalaxyCorporation #TmobileArenaLasVegas #KwonJiyong #MichiGO
Ready to lose your voice again? Thought so! Grab your tickets and block off the dates, we’re coming back to bring you together again!
KPOP CLUB NIGHT UPCOMING DATES SEPT—-> DEC 2025
Sept 5 – Los Angeles (18+) – DJ Chen
Tickets: https://www.eventbrite.com/e/kpop-club-night-tickets-1560403531969
Sept 6 Seattle – Ora (21+) – DJ Chen
Tickets: https://tickets.oraseattle.com/e/kpop-club-night-ft-dj-chen-at-ora-4/tickets
Sept 12 – Denver- Temple (21+) – DJ Chen
Tickets: https://www.tixr.com/groups/templedenver/events/kpop-club-night-in-the-loft-154417
Sept 13 – Nashville – Vinyl Lounge (18+) – DJ Chen
Tickets: https://www.eventbee.com/v/kpop-club-night-in-nashville-sept-13-at-the-vinyl-lounge/event?eid=223322462 DISCOUNT CODE: STAY
Sept 19 – Dallas – Art Co (18+) – DJ Chen
Tickets: https://www.prekindle.com/promo/id/-2853111880204170264
Sept 19 – New Orleans – Arora (18+) – DJ Angie
Tickets: https://www.eventbee.com/v/kpop-club-night-in-nola-sept-19-at-arora/event?eid=244729141 DISCOUNT CODE: STAY
Sept 20 – Detroit – The Loving Touch (18+) – DJ Angie
Tickets: https://www.eventbee.com/v/kpop-club-night-in-detroit-sept-20-at-the-loving-touch/event?eid=284324834 DISCOUNT CODE: STAY
Sept 20 – Las Vegas – Fremont Country Club (21+) – DJ Chen
Tickets: https://link.dice.fm/n3f5d1c10eac
Sept 20 – London (19+) – The Rec Room – DJ Yuka
Tickets: https://www.eventbee.com/v/kpop-club-night-in-london-sept-20-at-the-rec-room-masonville/event?eid=253223864 DISCOUNT CODE: STAY
Sept 26 – New York (21+) – 230 Fifth – DJ Chen & Angie
Tickets: https://kpop-ny.eventbee.com/ DISCOUNT CODE: STAY
Sept 27 – Toronto (19+) – The Rec Room – DJ Yuka
Tickets: https://kpop-toronto2.eventbee.com/ DISCOUNT CODE: STAY
Sept 27 – Washington DC (18+) – The Howard – DJ Chen & DJ Angie
Tickets: https://www.ticketweb.com/event/kpop-club-night-howard-theatre-tickets/13898244
Oct 3 – Chicago (21+) – Stereo – DJ Angie
Tickets: https://www.eventbee.com/v/kpop-club-night-in-chicago-october-3-at-stereo/event?eid=274220993 DISCOUNT CODE: STAY
Oct 3 – Pittsburgh (21+) – Avalon – DJ Chen
Tickets: https://www.eventbee.com/v/kpop-club-night-in-pittsburgh-oct-3-at-avalon-social/event?eid=284124793 DISCOUNT CODE: STAY
Oct 4 – Kent OH (18+) – The Burnt Pickle – DJ Chen
Tickets: https://kent-kpop.eventbee.com/ DISCOUNT CODE: STAY
Oct 10 – Miami (18+) – Mad Live – DJ Chen
Tickets: https://miami-kpop.eventbee.com/ DISCOUNT CODE: STAY
Oct 11 – Phoenix (18+) – Waler Studios – DJ Chen
Tickets:https://phx-kpop.eventbee.com/ DISCOUNT CODE: STAY
Oct 11 – Winnipeg (18+) – The Rec Room – DJ Yuka
Tickets: https://www.eventbee.com/v/kpop-club-night-in-winnipeg-oct-11-at-the-rec-room/event?eid=284124362 DISCOUNT CODE: STAY
Oct 17 – Boston (21+) – Royale – DJ Chen
Tickets: https://kpop-boston.eventbee.com/ DISCOUNT CODE: STAY
Oct 18 – Minneapolis (18+) – Varsity – DJ Chen & DJ Angie
Tickets: https://www.livenation.com/event/vvG1bZbRh3R4gI/kpop-club-night
Oct 24 – San Francisco (21+) – Temple SF (Main Room Upstairs) – DJ Chen
https://www.eventbee.com/v/kpop-club-night-in-san-francisco-oct-24-at-temple/event?eid=284024695 DISCOUNT CODE: STAY
Oct 25 – Montreal (18+) – Ausgang Plaza – DJ Yuka
Tickets: https://lepointdevente.com/billets/xd0251025001
Nov 7 – Edmonton – The Rec Room (18+) – DJ Angie
Tickets: https://kpop-edm.eventbee.com – DISCOUNT CODE: STAY
Nov 7 – Kansas City – Warehouse on Broadway (18+)
Tickets – https://www.etix.com/ticket/p/72980863/kpop-club-night-kansas-city-warehouse-on-broadway
Nov 8 – Calgary (18+) – The Rec Room – DJ Angie
Tickets: https://kpop-calgary.eventbee.com – DISCOUNT CODE: STAY
Nov 14 – Philadelphia – Fringe Bar (21+) – Tickets on sale soon
Nov 21 – Fresno – Club Encore (21+)
Tickets: https://fresno-kpop.eventbee.com/ DISCOUNT CODE: STAY
Nov 29 – Columbus (18+) – Skully’s – DJ Chen
Tickets: https://cbus-kpop.eventbee.com – DISCOUNT CODE: STAY
********************************************************************************
Dec 20 – NYC 18+ MASSIVE EVENT!
Tickets out Sept 30
Dec 27 – CHICAGO 18+
3rd annual Chi Kpop Xmas
Tickets out October 5
Sign up to follow Kpop Club Night on Livenation.com for discounts to both of these shows!
See you on the dance-floor!
______________________________________________________________________
Look at our updated pics&videos! We’ve uploaded hundreds more photos & videos from the last few months of parties, find yours and download them now at https://www.facebook.com/kpopclubnights/photos_albums
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Q: You’ve acted, written, and directed. Which role feels most natural to you, and which one pushes you the most?
Sean: Acting will always be my first love. Directing, though, is by far the most difficult. You’re running the ship, uniting teams, and making constant critical decisions with limited time and resources. It’s an all-encompassing role.
Q: What’s the hardest part about directing?
Sean: Directing is like a team sport—you’re working with department heads, artists, and crews to manifest your vision. The toughest part is motivating everyone while making countless decisions every day. There’s never enough time or resources, so you do the best with what you have.
Q: When you direct or write, how does your perspective as an actor shape your storytelling?
Sean: I always focus on character. That’s what audiences fall in love with and return for. As actors, we’re constant observers of human behavior, so character work comes naturally—and it’s the heart of any good story.
Q: How do you approach preparing for a role?
Sean: Every role requires different tools. I trained in Meisner, voice, and movement, and I try to pull from whatever works best for the character. For Butterfly, I researched CIA training—not the combat side, but persuasion and manipulation. Learning those techniques gave me insight into Hollis’s mindset.
Q: Why did you choose the title Korea Next, Finding Hallyuwood for your documentary?
Sean: At the time of Gangnam Style, Korean entertainment was just beginning to resonate globally, and I wanted to understand why. “Hallyu” means Korean Wave, so Finding Hallyuwood was a wordplay on Hollywood—a suggestion that Korea could become the next entertainment hub. Looking back, it’s clear Korea has delivered on that promise.
Q: What kind of stories still need to be told about the Korean American experience?
Sean: We’ve only scratched the surface. Streaming has opened the door for global audiences to embrace all kinds of cross-cultural stories. With Butterfly, for example, it’s not about being Korean American—it’s a spy thriller that just happens to center on a Korean American family. Those layered, universal stories are the future.
Q: In Butterfly, you play Hollis. How did you approach developing the character?
Sean: Hollis is ex-CIA and head of the Seoul office of the Caddis Group. I researched CIA psychological tactics like RICE—Resource, Ideology, Coercion, Ego—for turning sources. That helped me ground Hollis’s manipulation skills. And since Butterfly was the first American series fully shot in Korea, my bilingual background was crucial to bridging communication on set.
Q: How did it feel to be part of a series that taps into the global interest in Korean media?
Sean: Honestly, it’s huge. Daniel Dae Kim said the show wouldn’t have been greenlit ten years ago. To have a big studio-backed action series with a predominantly Asian cast shows how much the industry has evolved. I hope Butterfly becomes another reference point that proves these stories can succeed.
Q: How do you see cross-cultural projects shaping opportunities for Korean American actors?
Sean: Every successful project builds a reference point. Crazy Rich Asians was a turning point—suddenly, more opportunities opened up. I hope Butterfly can be that kind of example in the action-thriller space. Personally, I want to get to a place where it’s not even a “talking point”—it just exists.
Q: As someone who works in both the U.S. and Korea, what cultural differences stand out most?
Sean: In Korea, filmmaking feels communal—actors even help move equipment if it helps the crew. In the U.S., there’s more emphasis on individual excellence and entrepreneurship. Both are powerful, and I’ve learned a lot from each.
Q: Can you share a fun behind-the-scenes moment from Butterfly?
Sean: At the wrap party, everyone—Korean and American—sang karaoke together. It was hilarious watching American crew members belt out Korean ballads. It felt like the perfect cultural equalizer and a memory I’ll never forget.
Q: Since you speak both Korean and English, do you have a favorite expression from the set?
Sean: In Korea, we always end the day with “수고하셨습니다” (You worked hard/thank you for your efforts). It literally means “you have suffered well,” but it’s a way of honoring everyone’s contribution. I love that spirit of gratitude.
Q: If you weren’t pursuing acting or filmmaking, what would you be doing?
Sean: When I was a kid, I wanted to be a scientist. I love exploring how things work, and I still have that curiosity.
Q: Do you have any non-series projects you’re working on now?
Sean: Yes—my company, Third Culture Content, is adapting the Korean drama King the Land for the U.S. We’re excited to reimagine it for an English-language audience.
Q: Finally, is there anything you’d like to say to your fans?
Sean: I’ll never forget the early fans who supported Korean dramas before the global craze. Your passion made all of this possible. We live for the fans, and I’m deeply grateful.
With Butterfly, Sean Dulake proves that stories can cross borders just as seamlessly as he does. Rooted in gratitude for his fans and driven to tell bold, character-centered stories, he’s only getting started.
– Robyn Rush
On August 29, 2025, the world will be able to tune into Apple TV+ and binge KPOPPED, a new competition series unlike anything we’ve experienced before. Artists from around the world will collaborate to reimagine one of their chart-topping songs, performing before a live audience. It’s global legends and K-pop idols coming together to be crowned the winner by votes, and all of the excitement is happening in Seoul!
K-pop girl group BLACKSWAN (Korean: 블랙스완) is getting in on that excitement as participants. As a group born from the ashes of a legendary South Korean concept, the “swan” in their name could genuinely be replaced with a phoenix – they’ve reinvented the image of what it means to be a bonafide K-pop idol. As the first Korean-language major girl group with a full lineup made of non-Koreans, they intend to compete with global luminosity on their side.
In this interview, we connect with members Sriya and Nvee and hear their thoughts about KPOPPED and what fans should anticipate. Please enjoy!
Ashley Borjon, Host & Historian
Ashley is a content creator, educator, and public speaker. As an authority on the Hallyu phenomenon, she has collaborated on projects and events with various domestic and international companies and brands as a music historian. As the host of An Album a Day, she leads an English-language podcast promoting commentary on South Korean pop music. Learn more about her at https://www.a3daypodcast.com
#BLACKSWAN #KPOPPED #hallyu #kcrush #kcrushinterview #interviewwithBLACKSWAN #AppleTV #kpop #kcrushamerica #kcrushmagazine #SouthKorea #SeoulKorea #newmusicshow #girlgroup #koreanculture
PLAYBACK (플레이백) debuted in 2015 with the single “Playback”. Despite strong talent and fan support, the group went inactive by 2018 and unofficially disbanded soon after. Since then, the members have branched into acting, solo music, content creation, and even new careers. Here is what each member is up to now.
Hayoung
Hayoung pursued acting after PLAYBACK, signing first with Management Nangnam and later with O& Entertainment, changing her stage name to Han Na Young. On July 2021, Hayoung signed with Echo Global Group and started using Lee Ha Young her birth name, as her stage name. She appeared in web dramas such as “On the Campus” (2019) and “To My Beautiful Woo Ri.” Recently, she took supporting roles in bigger productions, including “Call It Love” (2023) and the movie “Dead Man” (2024). Hayoung interacts with fans through her SNS platforms including Instagram.
Woolim
After PLAYBACK went on hiatus, Woolim debuted under OD Entertainment through The Pink Lady project girl group. The group debuted in February 2019 with the “God Girl” digital single. She then signed with Lean Branding in May 2021 and released some tracks including “My Dummy Darling” digital single, before the contract ended in January 2025. Woolim has also appeared in some television shows including ‘Immortal Songs 2’ in 2023 as a guest singer. Woolim also keeps up with her fans on her YouTube channel and other SNS channels including Instagram.
Yujin
After PLAYBACK went on hiatus, Yujin signed with FN Entertainment to focus on acting under the name Oh Chae Yi. She went on to star in Kdramas like “Gracious Revenge” (2019) and “Unpredictable Family” (2023). Yujin often interacts with fans through her Instagram page.
Yunji
Yunji has maintained a low profile since PLAYBACK went on hiatus. Based on her SNS feed, she works as an idol trainer. In March 2023, Yunji got married, and some PLAYBACK members reunited to celebrate her wedding. She occasionally posts updates with trainees and PLAYBACK friends on her Instagram page, but otherwise lives a more private life.
Eunjin
Originally removed during pre-debut, Eunjin was added back to PLAYBACK in 2017. After PLAYBACK’s hiatus, she released the “Can Do Nothing” OST for the drama “Touch” (2020). Since then, she’s been less active in mainstream entertainment. She interacts with fans on her Instagram page.
Though PLAYBACK’s group activities died down, each member has found her own path—whether in acting, solo music, mentoring, or personal life. Their story reflects both the struggles of K-pop groups and the resilience of idols who reinvent themselves beyond the stage.
—-Karen Mwenda
#PLAYBACK #WhereAreTheyNowPLAYBACK #Eunjin #CanDoNothingOSTbyEunjin #kcrush #kpop #kpopidol #Yunji #Yujin #FNEntertainment #OhChaeYi #GraciousRevenge #kcrushamerica #kcrushmagazine #Touchkdrama #Woolim #PinkLadyProject #Hayoung #HanNaYoung #LeeHaYoung #EchoGlobalGroup #OnThe Campus #CallItLove #Korea #koreanactress #koreankpop #kdrama #lifeafterkpop #WhereAreThePlaybackMembers
Editor : Evgeniya Hong
Rising K-pop newcomer Hwina is captivating listeners with her poetic lyricism and emotional depth. After debuting with hits like “Like a Tree”, she quickly became a name to watch, not only for her delicate yet expressive vocals but also for her lyrical storytelling. Her works such as “Noise Canceling” and the recent “A Secret Tale About Us” explore themes of identity, emotional healing, and quiet strength. In 2025, she gained national attention when she was selected as one of the final 10 artists for the MUSE ON 2025 program, beating out over 400 other applicants in the highly competitive selection process, solidifying her place among Korea’s new generation of singer-songwriters. We sat down with Hwina to talk about her journey, inspirations, and what lies ahead.
Who is Hwina and what is the story behind your name and artistry?
Hi KCrush readers! I’m Hwina, a singer-songwriter who creates music across pop, R&B, and synth-pop. My name represents my desire to shine through my music and connect with people on a deeper level.
Your debut mini album, “Like a Tree”, gained traction upon release. What emotions or stories were you hoping to express through the title and release in general?
My debut EP captures the emotions I experienced while growing up, especially those that shaped who I am. Since it was my first time opening up to listeners, I wanted to be completely honest. “Like a Tree”is about standing tall, growing stronger, and becoming someone who can offer comfort and strength to others. It reflects my positive mindset and my ongoing journey of personal growth.
Looking back, was there a defining moment when you knew you wanted to pursue music professionally?
I’ve always loved singing, but there was a moment in middle school that made everything clear. A friend who had made things difficult for me once said, “If you become a singer, I’ll ruin you.” Oddly enough, that pushed me even harder. I wanted to prove that I could succeed not just as a singer, but as a kind and strong person.
In “Noise Canceling”, you wrote about escaping from the noise of the world. What “noise” have you personally had to cancel out to find your own voice?
The noise I had to cancel was mostly my own anxious thoughts, like “Am I doing okay?” They shook me a lot. On top of that, there were outside expectations and comparisons. If I let those take over, I’d lose my true voice. So I learned to let go of the noise and focus on the stories I really want to tell. That’s how I found my own voice.
What’s one fact about you that fans have no idea about?
I really love soft and cozy things like blankets and plush toys. They calm me down and make me feel better. I always keep a blanket with me at home.
Your recently released the “A Secret Tale About Us” single has got many fans talking. What was the inspiration behind this piece?
It’s based on a real experience. When I was young, a boy and I watched a romance movie together, and we promised that even years later, we’d watch it again. I didn’t necessarily miss him, but that pure and innocent moment inspired the song.
Which artists, regardless of genre, inspire your sound and lyricism?
I’ve always looked up to IU. Watching her, I thought, “I want to be that kind of artist.” I want to be versatile, with a broad musical range and a lot of charm.
You were selected as one of the final 10 artists for the MUSE ON 2025 program, chosen from over 400 applicants. What did that moment mean to you as a rising artist?
It felt like recognition for all the work I’ve done so far. I’m really grateful, and I see it as a new opportunity to connect with more people through my music. It was a real turning point for me.
Fans are also excited about potential collaborations with new artists. Are there any Korean or international artists you’d love to work with in the future?
I’d love to collaborate with Lee Chan-hyuk from AKMU. I enjoy trying different genres, and working with him would be such a wonderful musical adventure. I’m also open to all kinds of creative ideas, even fashion collaborations.
We heard you’ll be releasing a new album soon through MUSE ON 2025. Could you tell us about the upcoming album?
The EP, coming out in October, is centered on synth-pop. It follows a journey from the bright, sunny moments of youth, to facing unavoidable realities, and finally to exploring the deepest parts of yourself.
If you had to write a letter to your future self, five years from now, what is the one thing you would want to say or ask?
I’d tell myself, “Keep sharing love with the people around you.” No matter how far you’ve come, never forget the importance of staying genuine and close to the people who support you.
With the increasing wins and recognitions, what should fans be looking forward to in the near future? Any upcoming projects?
To stay true to that promise, I’ll keep making honest music. In September, I’ll be releasing a pre-release single, followed by my new EP in October. With these releases, I look forward to meeting fans more often and getting closer through concerts, live performances, and broadcast appearances.
What would you like to say to your fans who are always rooting for you?
It might seem like I’m walking this path alone, but I’ve really been walking it with all of you. I hope we can continue sharing our hearts through music for a long time. I’ll repay you with good songs, and with my new EP coming out this year, I’m excited to meet you more often through concerts and on various shows. Let’s stay together for many years to come! ♥THANK YOU! LOVE YOU ALL!♥︎
—-Karen Mwenda
Inspired by the Taiwanese urban legend of the Yushan Xiaofeixia about a group of three ghostly spectres in the giant yellow raincoats who haunt the deep recesses of the Yusan (Jade) Mountain, Haunted Mountains: The Yellow Taboo is film that successfully weaves urban legend, traditional folklore, occultism, and relationship drama into an entertaining and compelling horror.
When best friends Jia-ming, Yu-xin (Angela Yuan), and her boyfriend and Jia-min’s childhood friend, An-wei (Tsao Yu-ning) decide to go hiking on a sunny day they expect their day to be the same as any other when they’ve trekked other mossy woodland trails. So the last thing they expect is to encounter a group of hikers and rescuers congregating around the body of a man who’s apparently died under mysterious circumstances. After making typical inquiries to satisfy their curiosity, the trio shake off whatever misgivings they have and continue on their way. But as the trail becomes more difficult to navigate and fog descends, they fail to pay attention to the signs that things aren’t quite right…until they come to a path blocked by torn yellow fabric strung between trees.
Against the hesitant suggestions from Jia-Ming and Yu-xin that perhaps they should turn back, An-wei insists there’s nothing wrong and the other two give in and cross the barrier. By violating this “Yellow Taboo”, they end up making the biggest mistake of their lives, for beyond this obvious sign of caution, the friends stumble upon a blood ritual being performed by masked individuals. This one action sets off a chain reaction of events where Jia-Ming is plunged into a timeloop where he repeatedly relives this horrific day watching the two people he cares the most about die over and over again for days, months, and years. Ghastly spectres in yellow raincoats constantly shifting indistinguishable faces haunt him in this waking nightmare only seems to be aware of.
Timeloop storylines aren’t new by any means to genre films, including horrors and psychological thrillers. But what makes this aspect of Haunted Mountains: The Yellow Taboo work is how it delves into the psyche of a man whose own emotions are what’s keeping him trapped as much as the otherworldly forces at work seem to be.
Though he loves An-wei, his desire to be the person that Yu-xin loves and wants to spend her life with, overrides everything else, and that desire becomes twisted with his insecurities at not measuring up to his friend, plagues Jia-Ming with doubts he can’t ignore. Every day he wakes, Jia-Ming is wracked with guilt at not preventing them from making such a huge mistake, his feelings for Yu-xin, failing An-wei, and his inability to stop it all from happening again.
Whenever Jia-ming takes a step towards figuring out how to end the loop, and get off the mountain, he’s not only thrown back to the point where it all went wrong, he’s tossed sideways, like a leaf in a thunderstorm, or a puppet on a string. Offsetting everything he thought he understood and believed.
Audiences familiar with Liu know him for his lead roles as the sweet and charming male lead in romantic dramas such as 2021’s Fall in Love with a Scientist, or more serious period occupation era dramas like My Bittersweet Taiwan, and with Haunted Mountains: The Yellow Taboo, they’ll get to see Liu stretch his acting wings a bit more as a man wracked with self-recrimination as he’s forced to confront his inner demons and learn that the best way to survive a storm is to push through it no matter how painful the process is.
Though some elements of the narrative are a bit uneven such as the introduction of a family that ends up having connections to the group and certain aspects of the occult and Shamanic themes without enough explanation on their connections, the film is intriguing and has great rewatch value as there’s clues that could be missed on first viewing. The production quality is very high as the set design, score and sound effects, and cinematography all meld together to create an atmospheric thriller that makes one curious to learn more about Taiwanese folklore, and perhaps venture into dark forests for a bit of adventure…or maybe not.
Haunted Mountains: The Yellow Taboo had its international premiere as an official selection of the 2025 Fantasia International Film Festival in Montreal, Canada. There I spoke to director Tsai and producer Ivan Chen about working in the Taiwanese film industry, making the change from commercial projects to a genre film, its themes of regret, guilt and folklore, and casting Liu for a role unlike any he’s done before.
Interpreting for this interview was conducted by Xige Yi.
Carolyn Hinds
Freelance Film Critic, Journalist, Podcaster & YouTuber
African American Film Critics Association Member, Tomatometer-Approved Critic
Host & Producer Carolyn Talks…, and So Here’s What Happened! Podcast
Bylines at Authory.com/CarolynHinds
Twitter & Instagram: @CarrieCnh12
#TheYellowTaboo #KCrushInterviewWithHuntedMountainTheYellowTaboo #TsaiChiaYing #IvanChen #KCrushInterviewWithDirectorTsaiChiaYingandProducerIvanChen #kcrush #kcrushamerica #kcrushmagazine #kcrushinterview #2025FantasiaInternationalFilmFestival #MontrealCanada #FallInLoveWithAScientist #horror #WrittenbyZouWan-Zhen #Taiwaneseurbanlegendof theYushanXiaofeixia
From their mythological vampire beginnings to powerful sci-fi imagery, VIXX have always told stories. Today, even as their group activities have slowed, each member continues to build their own narrative—on stage, screen, and beyond.
Ken (Lee Jae Hwan)
Ken switched agencies from Jellyfish, and Joined S27M Entertainment in March 2024. He became the MC of ‘YES I KEN’ YouTube reality show and released the ‘Puzzle’ solo mini-album in December 2024. He also headlined his own solo concert, “2025 KEN SOLO CONCERT: WONDER LAND”, in January 2025 and released the “To You” digital single in May 2025.
N (Cha Hak Yeon)
N changed agencies and signed with 51K after leaving Jellyfish in 2020 to pursue his acting career. He has evolved into an actor with a diverse filmography. He has acted in Oh My Ghost Clients, Joseon Attorney, and Castaway Diva. N is still an active member of VIXX
Hyuk (Hwang Min Hyuk)
Hyuk is currently under Companion Company after leaving Jellyfish in 2022. In 2022, Hyuk released the “Stay for Me” single featuring Seo In Guk. He also held a farewell fan concert, ‘2024 HYUK FAN CONCERT Home’, in March 2024 before enlisting for mandatory service. Hyuk enlisted as a public service worker in April 2024. Hyuk is still an active member if VIXX.
Leo (Jung Taek Woon)
Leo left Jellyfish in March 2024 and is now with under Big Boss Entertainment. After the move, Leo changed his stage name to Jung Taek Woon. He also launched his b,stage platform. On June 2024, it was announced that he would make his first film debut in ‘Veranda’, a romantic thriller film scheduled for release in 2025. Leo is still an active member of VIXX.
Hongbin (Lee Hong Bin)
Former member Hongbin left VIXX in August 2020 after a controversy on Twitch livestream. Hongbin apologized for the incident, left VIXX, and enlisted into the military. After miliary service, Hongbin returned to streaming on CHZZK, a Naver streamers platform that rolled out after Twitch’s exit.
Ravi (Kim Won Sik)
Former member Ravi exited VIXX in April 2023 amid a military evasion scandal. Prosecutors sought a two-year prison term, ultimately resulting in a suspended sentence and 2-year probation. Ravi is currently not active in the entertainment industry and has maintained a low profile from the public.
Although no full-group comebacks or tours have been held recently, VIXX remaining members—Leo, Ken, N, and Hyuk— posted a photo on May 25, 2025 celebrating their 13th anniversary. This symbolized their ongoing connection despite member departures. Fans anticipate possible future reunions, particularly after Hyuk completes his military service in early 2026. While no longer as united on stage, VIXX’s legacy thrives—through Leo’s stage presence, Ken’s soaring vocals, N’s acting, and Hyuk’s dedication. Their collective chapter may be paused, but individually, they continue to write compelling stories.
—-Karen Mwenda
#VIXX #WhereAreTheyNow #kcrush #Leo #Ken #N #Hyuk #kpop #kidol #Ravi #Hongbin #CHZZK #Jellyfish #JungTaekWoon #KimWonSik #kcrushmagazine #kcrushamerica #korean #membersofVIXX #where #kculture #BigBossEntertainment #CompanionCompany
THEBLACKLABEL’s Vince releases his new single “차차차 (CHA CHA CHA) (feat. G-DRAGON)”, a perfect summer smash following his success on the KPop Demon Hunters soundtrack. G-DRAGON’s first feature in 8 years arrives on his birthday, August 18—the perfect moment to celebrate and for Vince to step into the spotlight with this rare collaboration. Watch HERE and listen HERE.
Vince’s recent work on the KPop Demon Hunters soundtrack earned him a #2 album on the Billboard 200, while the Saja Boys‘ tracks “Soda Pop” and “Your Idol” both peaking at #3 on the Billboard Global 200. Beyond his contributions to BLACKPINK and BIGBANG – including LISA’s “MONEY” and BLACKPINK’s “SHUTDOWN” – Vince also serves as the main producer for ALLDAY PROJECT, playing a key role in their success.
Hot off his recent momentum, Vince unveils a summer-perfect track years in the making with none other than G-DRAGON. The lighthearted and playful “차차차 (CHA CHA CHA) (feat. G-DRAGON)” is breezy, charming, and made for lounging in the summer heat. Paired with an animated visualizer that captures the song’s energy and mood, it sets the stage for Vince and G-DRAGON to perform and shine together.
Photo Credit: THEBLACKLABEL
Follow Vince:
INSTAGRAM | YOUTUBE | FACEBOOK | TWITTER
About Vince
Vince has written and produced for an all-star lineup of talent including JEON SOMI, IZNA, MEOVV, ALLDAY PROJECT and BLACKPINK. He was heavily credited on TAEYANG’s record-breaking album, ‘WHITE NIGHT‘ which spent two weeks at #1 on the Billboard World Digital Albums chart, and has contributed to every song on TAEYANG’s comeback EP, ‘Down to Earth‘. He also co-wrote and co-produced one of Korea’s best-selling songs of 2017, Sunmi’s smash hit ‘Gashina‘, which landed on the ‘Best K-Pop Song of the Year‘ list in Billboard.
Vince debuted in 2019 as a solo artist with the single ‘MENNAL‘ and went on to broaden his activities by collaborating with artists like Zion.T on the track ‘Emergency‘ and featuring on TANAKA’s ‘Choose Me’.
He produced the entire discography in his 2023 EP ‘The Drive‘, showcasing his artistry through songs like ‘UUU‘ and ‘GET OUT‘.
In 2025, he also participated as a producer and writer for the soundtrack of ‘KPop Demon Hunters, the first internationally produced animation centered on K-pop idols. The soundtrack achieved unprecedented success, charting on multiple major global & U.S. Billboard and Spotify charts.
About THEBLACKLABEL:
THEBLACKLABEL is a South Korean entertainment company, record label, and creative agency founded by TEDDY in 2016 and home to acts such as TAEYANG, JEON SOMI, ROSÉ, MEOVV and ALLDAY PROJECT.
#VINCE #GDRAGON #THEBLACKLABEL #TEDDY #KPOPDemonHunters #soundtrack #kcrush #kpop #kpopidol #CHACHACHA #ProducerALLDAYPROJECT #BIGBANG #newmusic #kcrushamerica #kcrushmagazine #songwriter #VinceandGDRAGONCollab
The Seoul International Wines & Spirits Expo (SIWSE) returned to COEX Exhibition Center June 26-28, 2025 and Kcrush was able to gather amongst professionals and enthusiasts and enjoy an easier-to-navigate experience once again. The annual event leaned heavily toward business exchanges than leisure tastings this year, offering a noticeably different energy compared to 2024’s atmosphere. I think it’s best that I provide some context so that it doesn’t appear that I’m nitpicking.
Music Credit: “msBlink”
Next, the attendee demographics also reflected a shift. While 2024’s expo welcomed a wider international presence, this year’s visitors were predominantly Korean, with most appearing to be in their late 20s to early 40s. Finally, the local professional turnout – something that definitely improved from 2024 – gave the event a sharper, more industry-driven atmosphere, showing how South Korea continues to define its own place in the global wine and spirits market.
Regardless, for a wine educator and fan like me, SIWSE 2025 still delivered plenty to explore. Instead of rows dominated by wines and spirits alone, we encountered glassware (and bought a unique set from a moscato vendor in less than 10 minutes on the exhibit floor on the first day!), wine storage solutions, packaging, and even shipping technologies. This gave the event a more transaction-oriented tone, with clear attention on the needs of distributors, importers, and business buyers. It was a behind-the-scenes experience I hadn’t had in the wine industry and genuinely enjoyed.
I was fortunate to have my husband, “Pilot”, join me again in covering the expo this year. Pilot supported the experience by collecting video interviews, helping us document not just the products, but the people and stories behind them. Together, we had the opportunity to engage with brands who generously shared their time and expertise. They seemed to really enjoy that we did this together! Notable highlights included conversations with Master Tardan and Shabo Winery, Matsuishuzo, Coreanos, Gongboocha Bakery Tea House, MEgori distilled soju, Siragida, WPER Wine, and Liliac the Wine of Transylvania. Their willingness to speak about their processes, philosophies, and products enriched the expo experience and gave us insight into the evolving landscape of global and Korean beverage culture.
While the 2025 Seoul International Wines & Spirits Expo may have been smaller in size and quieter in atmosphere, it emphasized the depth of Korea’s wine and spirits industry and its ties to the global market. I hope that its continuation in Busan later this year remains a window into both tradition and innovation!
Ashley Borjon, Host & Historian
Ashley is a content creator, educator, and public speaker. As an authority on the Hallyu phenomenon, she has collaborated on projects and events with various domestic and international companies and brands as a music historian. As the host of An Album a Day, she leads an English-language podcast promoting commentary on South Korean pop music. Learn more about her at https://www.a3daypodcast.com
#2025SeoulInternationalWinesandSpiritsExpo #Korea #wine #spirits #beer #expo #kcrush #Asianwines #MasterTardanandShaboWinery #Matsuishuzo #Coreanos #GongboochaBakeryTeaHouse #Megoridistilledsoju #Siragida #WPERWine #LiliactheWineofTransylvania #annualevent #kcrushmagazine #kcrushamerica #COEXExhibitionCenter #moscatvendor #internationalwineandspiritsvendors #SippingThroughSeoul
Beyond K-Pop and KDramas, Korea is shaping global development by building strong ties with Africa. Over the years, Korea has worked alongside several African countries to offer a lending hand is various sectors including health. Below are some of the projects highlighting the growing partnership rooted in shared progress and long-term resilience.
1. Big-picture Pledges
At the inaugural Korea–Africa Summit (June 2024) in Seoul, Korea committed to expand ODA (Official Development Assistance) to US$10 billion by 2030 and mobilize US$14 billion in export financing to unlock trade, infrastructure, energy, health, and digital projects with African partners. This is being channeled through KOICA (Korea International Cooperation Agency) grants, the Economic Development Cooperation Fund (EDCF) concessional loans via KEXIM bank, and partnerships with the AU (African Union), Africa CDC (Centre for Disease Control), and multilaterals.
2. Water, Sanitation & Climate Resilience
In May 2024, UNICEF and KOICA signed a US$39 million program to deliver climate-smart health, WASH (Water Hygiene and Sanitation), education, child protection, and social protection services on various African countries. KOICA has also funded multi-phase water production and supply upgrades in Kenya, including a partnership with UNICEF to scale up WASH resilience initiatives.
3. Power & Infrastructure
In 2023, the AfDB and Korea Exim bank (EDCF) aligned on a US$119 million transmission project supporting Kenya’s geothermal renewables integration. Korea’s Ministry of Economy and Finance has been deepening EDCF cooperation with 21 African countries since 2024 for more effectiveness. Uganda and Tanzania have also benefited in infrastructure boost, including Uganda’s 2024 $500 million EDCF agreement.
4. Education
Korea also has a track record of public governance policy dialogues and workshops with East African governments, sharing e-government and public sector modernization lessons. GKS (Global Korea Scholarship) and KOICA CIAT fellowship program (government officials’ scholarships) are some of the most impactful undergraduate, master’s and PhD scholarships. KOICA regularly supports scholarships, technical training, and short-course exchanges. Through the Smart Education Project, KOICA has established over 21 smart schools across Nigeria as of August 2025, transforming teaching through digital platforms. Before Nigeria, KOICA had also undertaken an education initiative in Zanzibar, Tanzania that also included a teacher-training program.
5. Health Systems & Disease Security
In 2024, Uganda’s ministry of health and WHO launched a KOICA-funded program to refurbish 28 health facilities in Busoga, improving service delivery and equipment readiness. Since 2004, Korea Foundation for International Healthcare (KOFIH) has also been running multi-year projects on various African countries including Ghana, Ethiopia, Kenya, Zimbabwe, etc. The projects strengthen health insurance policy, medical equipment governance, and TB screening and diagnostics, including the 2022–2026 KRW 8.15 billion governance project. Through 2024, KOFIH’s Dr. Lee Jong Wook Fellowship offered local trainings to build in-country capacity for biomed engineers. During the 2024 Summit, Africa CDC, Korea’s KDCA (Korea Disease Control & Prevention Agency) and the International Vaccine Institute agreed to deepen cooperation on vaccines and health security across Africa.
—-Karen Mwenda
#BeyondKPop #KoreasGrowingPartnershipwithAfrica #AfricaandKorea #KOICA #kcrush #KOFIH #Ugandasministry #WHO #Ethiopia #Kenya #Zimbabwe #health #KDCA #ODA #kcrushamerica #kcrushmagazine #partnershipwithAfrica #EDCF #kpop #kdrama #KEXIM #AU #CDC #Education #smartschools #WASH #power #infastructure #GlobalKoreaScholarship #CIAT
(Credit: A2O Entertainment)
Buy/Stream “B.B.B”: https://orcd.co/biggerbadderbetter
Watch “B.B.B”: https://youtu.be/0kBL7n_Yxak
The next-gen global girl group, A2O MAY, returns with “B.B.B”, a bold new single that lives up to its name – Bigger, Badder, Better. This next era marks a major step forward in the group’s mission to revolutionize global music, with “BBB,” which features striking visuals and genre-defying sounds. Earlier this year, the quintet made global headlines after being the first Chinese idol group to perform at the well-renowned iHeartRadio’s Wango Tango, marking both their U.S. stage debut and simultaneous appearance on American television via KTLA.
“B.B.B (Bigger Badder Better) [feat. A2O LTG]” is an empowering, high-energy anthem for today’s youth—radiating confidence, self-expression, and unapologetic flair. Driven by an infectious pop beat and bold lyrics like “I’m bigger, badder, better than the cool kids” and “Don’t need nobody to follow,” the track celebrates owning your power and embracing your true self. With its irresistible hook and fearless attitude, BBB isn’t just a song—it’s a movement for young adults ready to stand out and shine. The highlight of “B.B.B” is the special feature by LTG (Low Teen Girls) — three members from A2O Entertainment’s Rookies unit, set to debut in the near future. Set against a lively school backdrop, the music video captures LTG as juniors admiring the stylish and popular seniors, A2O MAY, creating a relatable and charming storyline. The fresh rookie energy of A2O LTG paired with A2O MAY’s confident presence delivers a unique synergy, adding a next-generation twist that makes “B.B.B” especially memorable for fans and new listeners.
In just a few short months, A2O MAY has broken records and defied expectations in the U.S. Their pre-debut single “Under My Skin” made them the first Chinese group to enter the U.S. Top 40 Radio Chart, where it remained for two consecutive weeks. Their official debut single, “BOSS,” has now charted five consecutive weeks – rising from #35 to #32 – marking their second U.S. Top 40 entry and the highest charting placement in history by a Chinese girl group. The track has also amassed over 30 million views across Weibo and YouTube, fueled by the viral Jump Rope Dance featured in its chorus. With growing traction across both Asia and North America, A2O MAY is fast emerging as a leading powerhouse in global pop.
Backed by K-pop pioneer Soo Man LEE and launched under A2O Entertainment, A2O MAY is the first group to embody “Zalpha Pop”—a genre blending Gen Z emotions and Gen Alpha’s creativity. Their music fuses futuristic production with emotionally resonant storytelling, creating cultural bridges through sound and style. Highlighting their unprecedented debut, the group attended the star-studded Amazon Studios’ “Lee Soo Man: King of K-Pop” premiere in Los Angeles, the feature documentary chronicling the enthralling life of a bold visionary. The red carpet sparkled with icons such as Girls’ Generation members and Taemin from SHINee, sharing the spotlight with the rising group primed for global dominance.
ABOUT A2O MAY
A2O MAY (AY-TWO-OH-MAY) is the first official girl group launched under A2O Entertainment, making their debut on December 20, 2024. The group is composed of five talented members — CHENYU (17), SHIJIE (18), QUCHANG (18), MICHE (20), and KAT (20) — who were selected from A2O Rookies’ HTG division. Hailing from Shanghai, Suzhou, and Hawaii, A2O MAY is a multicultural, bilingual group fluent in Chinese and English, representing a new generation of global idols. Each member brings a unique artistic identity shaped by passions such as fashion styling, piano, visual art, songwriting, and performance. A2O MAY is the first group to embody Zalpha Pop, a genre and cultural movement created by renowned producer Soo Man LEE, aimed at blending the emotional authenticity and storytelling of Gen Z and Gen Alpha. Their debut single, “Under My Skin,” captures this vision with a rhythmic, synth-driven sound and introspective tone, offering a powerful glimpse into the future of youth-driven global music. As pioneers of A2O’s artist ecosystem, A2O MAY continues to connect with fans worldwide through digital-first content, dynamic visuals, and an open, evolving narrative of growth, self-expression, and creativity.
More than a name, A2O MAY signals the beginning of a cultural shift. Inspired by the season of full bloom and sharing its sound with the Chinese character 美 (Mei), meaning “beauty,” the name reflects not only outer elegance but inner strength — the quiet power behind every transformation. More than artists, they are a bridge — connecting culture to culture, generation to generation, heart to heart. Step into the world of A2O MAY. The future begins in May’s full bloom.
Follow A2O MAY: INSTAGRAM | YOUTUBE | SPOTIFY | APPLE MUSIC | TikTok | Twitter/X
#A2O #CHENYU #SHIJIE #QUCHANG #MICHE #KAT #A2OMAY #BBB #kcrush #kpop #kidol #kpopfashion #kpopmusic #newmusic #GenZ #ZalphaPop #ProducerSooManLee #SooManLee #UnderMySkin #globalmusic #AmazonStudios #kcrushamerica #kcrushmagazine #thefirstChinesegrouptoentertheUSTop40RadioChart #ChinesePop #CPop #feat.A2OLTG #BOSS
GALAXY Corp. – GLOBAL VIRTUAL ARTIST AUDITION FORM
Click the link above to apply to audition
Home to K-Pop superstar G-DRAGON, AI Enter-tech company Galaxy Corporation, has officially announced the launch of 2025 GLOBAL VIRTUAL ARTIST AUDITION, a global audition program designed to discover and debut a groundbreaking virtual K-Pop group. The initiative marks Galaxy’s first large-scale talent search under its newly formed artist division and signals a bold step forward in redefining the future of K-pop through inclusivity, innovation, and global reach. Blending cutting-edge virtual technology with real-world talent, this initiative seeks to redefine the boundaries of music, identity, and performance in the K-pop industry.
2025 GLOBAL VIRTUAL ARTIST AUDITION will recruit talented individuals from around the world in Los Angeles to become members of a groundbreaking virtual idol group. These artists will have their voices, movements, and personalities embodied in fully virtual idol avatars – ushering in a new kind of performer beyond the traditional idol group. The avatars will be brought to life through an immersive transmedia concept developed by Galaxy’s Creative Technology. The project reflects Galaxy’s broader vision of building “entertainers without borders” who can transcend physical limitations to connect with a global audience in real time.
These performers will undergo professional training and avatar pairing, taking on digital identities that transcend physical boundaries and allow them to perform, connect, and evolve in real time across global platforms. Members will receive specialized training, including vocal, rap, dance, motion capture, digital stage presence, and fan interaction through immersive media.
This marks Galaxy Corporation’s first public audition campaign of this kind, following widespread attention after signing global icon G-DRAGON. 2025 GLOBAL VIRTUAL ARTIST AUDITION reflects Galaxy’s ambition, combining artistry, individuality, and technology to shape the next generation of global superstars. Galaxy Corporation is best known for their impact in Korean entertainment, most notably producing the hit Netflix reality competition series, Physical 100.
Auditions will be held exclusively first in Los Angeles, making this a rare opportunity for North American-based talent to join a debut project backed by industry-leading technology and creative innovation. Following the LA auditions, additional rounds are planned in other major global cities, with the ultimate goal of debuting as global artists who transcend borders.
Eligibility
- Any age
- Any gender
- Categories: Vocal, Rap, Dance, All-Rounder
Submission Period
- Opens on August 13, 2025 at 12:00 AM PT
- Closes on August 26, 2025 at 11:59 PM PT
- Learn More: https://www.youtube.com/@galaxycorp_audition_official
Submission Requirements
- Submit one video, at least one minute in length, showcasing the talent you wish to highlight.
In-Person Audition
Location: Los Angeles
Date: September 8, 2025
Venue: El Rey Theatre
About GALAXY CORPORATION
Galaxy Corporation is an AI Enter-tech company redefining the boundaries of performance, media, and identity. With a focus on virtual content, AI-driven storytelling, and global talent development, Galaxy is pioneering immersive experiences for the digital era. In 2024, the company made headlines for signing world-renowned artist G-Dragon, signaling its bold vision to bridge the gap between legacy artistry and deep cultural insight, Galaxy Corporation is committed to shaping the next frontier of music, fandom, and digital expression.
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During the 25th annual Jeonju International Film Festival, award-winning South Korean actress and singer, Lee Jung-hyun made her directorial debut with the dramatic short Toe-Tapping Tunes, alternatively titled Going to See the Flowers, in which Jung-hyun plays, Su-mi, a woman suspended in overwhelming grief and anonymity by a society and system that fails the most vulnerable.
In Toe-Tapping Tunes, the determined Su-mi walks brusquely into a local hospital, upon entering the patient ward, she begins screaming for her mother at the top of her lungs. In the ward she confronts the doctors and nurses on their wards asking why they won’t release her mother who’s well enough to eat three meals a day so is well enough to be discharged. Despite the medical staff insisting that her mother isn’t well enough to be released, they do so in order to appease the argumentative daughter.
Once home, Su-mi does her best to get her mother to eat the light broths she prepares for her, but to no avail.
Unemployed and with no source of income to care for her mother, Su-mi tries to sell their home, but is told by the realtor that the market is bad, even worse than during the IMF crisis of the late 1990s. Nothing she seems to do is working. Her attempts to apply for social assistance as their family home being worth more than the prerequisite amount set by the government, makes them ineligible for welfare. The same home that they’re not making any from either as rental property or sale. Unfair life can be when we’re at our lowest. Seeking to grasp onto any ray of hope that things can be better, Su-mi sees a poster for a bus tour to see the cherry blossoms on Mt. Seoraksan, and determines that if she can get her mother well enough to attend the trip, then everything will get better. That there’s a light at the end of the long exhausting tunnel her life has become.
Having to deal with her mother’s cancer has worn Su-mi down mentally, but having to deal with her own chronic illness on top of it all creates a sense of weariness that hangs off of Su-mi’s body that’s almost visible to the eye.
Since her debut acting role in director Jang Sung-woo’s critically acclaimed A Petal (1996), Lee Jung-hyun has made a name for herself as a consummate performer who devotes herself to every role she takes on, including her stage career as AVA, her multi-facated charismatic persona which she made her singing debut in 1999.
Now after a very successful premiere at Jeonju International Film Festival—during which Jung-hyun also served as the festival’s 5th special Programmer of the Year—she’s making a name for herself as a screenwriter, director, and producer with the 28 minute short film. With her portrayal as Su-mi, Jung-hyun shows how adept she is at taking up these numerous roles behind and in front of the camera.
As Su-mi, Jung-hyun gives a great layered performance as a woman slowly unraveling no matter how tightly she tries to hold herself together, and no one seems to be able to see or hear her what she’s really saying. It’s like the more she insists that things are fine, the more obvious it is that nothing is ok. And unfortunately that’s the reality of too many people in today’s society.
In my interview with Jung-hyun, she spoke about her adaptability as a performer and director, the challenges of making an independent short film on a very small budget, and using her own personal experiences and real cases of social neglect as inspiration for the film.
Note: This interview was conducted via translated email correspondence and has been edited for clarity and length.
Throughout your career you’ve played a variety of characters who’ve lived in different time periods throughout Korean history, even the dystopian future, worked various jobs, existed in different strata or status of society, and were all in different places emotionally. Is there anything specific about each of them that you as their performer found to be similar?
In my debut film Flower Petal in 1996, as well as in the short films Turbulent, Myeongnyang, Alice in the Land of Sincerity, and Battleship Island, I played strong-willed characters, and I think all of the characters in these films are similar to my own usual strong-willed personality. I was the youngest of five daughters, and my father was a police officer, and coinciding with my debut, my father retired, so I effectively became the head of the household.
Fortunately, my debut in the film Flower Petal at the age of 15 allowed me to work as a child actor and model from a young age, which enabled all my sisters to complete their education and marry well. The maternal love in the movie Peninsula feels similar to the maternal love I have for my two children now.
Would you say this similarity between the characters and yourself, a similarity, is what drew you to playing them?
I think the first step is important. If that image was successful, then similar characters kept coming in. The movie Flower Petal was a really difficult character, but after playing the role of a possessed girl there, almost all of my roles since then have been tough characters, and I think audiences like it better when I play tough characters. In fact, it led to the movie’s success at the box office.
I dreamed of becoming a singer since I was a child, but I ended up debuting as an actor after passing an audition by chance. I’ve loved singing and dancing so much since I was a child that I did Michael Jackson’s moonwalk and sang Madonna’s songs at kindergarten. I feel happiest when I get to play new characters and express myself through acting, whether on stage or on screen. Seeing the audience enjoy my performance makes me even happier and grateful.
As a singer and performer on stage known for playing multiple characters with each of your songs, I think it would be easy to say that the theatrics of performing came natural to you as you’re an actress, but I think the opposite could be true?
It wasn’t particularly difficult… It was just always fun. When acting, I don’t usually try to act, but rather I just let it come naturally, thinking of the character as my usual self and acting based on my awareness of the surrounding circumstances.
To me, the way you developed different on stage personas as Ava, may have been complex as you performed multiple characters, sometimes within one concert, live in front of different audiences each time for different events.
I say this because I think taking on the role of writer, director, and actress for your first independent film project, gave you the ability to switch modes during the pre production, and filming stage for this short film.
Thank you so much for recognizing my village. It was really tough. Above all, we had to shoot more than ten scenes a day with a small budget of 5 million won, and we had to move locations and finish within three days, so it was hell.
As the director, I couldn’t let my spirits falter, and since all the staff were volunteering their talents, I had to take on all the junior staff’s tasks while considering everyone’s feelings during filming. Then, when the camera rolled, I had to fully immerse myself in my character. It was mentally and physically exhausting, but when the camera rolled, I focused all my energy on acting. Standing on the cliff edge made my concentration even sharper, so fortunately, the transition to acting went smoothly.
Was it always your intention to play Su-mi or did you decide to do so after you completed the screenplay?
Since we had to start filming within two weeks of completing the script, there was no time to cast actors, and since we didn’t have the production budget, we couldn’t offer guarantees, so I had no choice but to do it myself. Additionally, I didn’t feel confident that I could convey the character in such a short time. However, since I wrote the script myself, I knew the character well, so I thought there wouldn’t be any problems with the transition and just went ahead with it.
Next time, if I have a better environment, I want to shoot leisurely and sit in front of the monitor and focus only on directing.
Why did you have to begin production so quickly after completing the script? Two weeks is a very narrow window to begin the process arranging filming locations, obtaining permits, and finding cast and crew.
The staff who were supposed to help me were working on other projects, so I didn’t have time to coordinate their schedules. Fortunately, I was able to quickly find the location using the internet and Google Maps.
There was no need to scout large venues, so it wasn’t difficult to get permission right away.
The film begins very suddenly with the increasing rhythmic beat of a drum that instead of leading a natural crescendo changes to lighter, happier music that in a way causes the audience to assume that the film will be light hearted and comedic, when in truth it really isn’t.
Yes, the script was based on the 2022 Changshin-dong incident in Korea, and the circumstances were quite dark, so rather than making the film equally dark, I wanted to make it bright and fun to convey the message. When it was screened in Jeonju this time, I was secretly happy to see that the audience thought it was a lighthearted movie but ended up crying at the end, which meant that the message was well conveyed.
Can you speak to your reasoning for beginning the film in such an upbeat way and if it was in your original script or perhaps conceived during the production process?
I had the idea for the script from the beginning. I completed the story while thinking of my late mother as I went cherry blossom viewing with pop music playing in the background. My mother passed away from cancer, but she refused treatment until the very end and wanted to go cherry blossom viewing, so we fought a lot. On the one hand, I felt regret. I wish I had taken her on one last cherry blossom viewing trip, but I couldn’t. So, I decided to approach it with joy and hope, and that’s how I completed the script.
My condolences on the passing of your mother.
Thank you.
I think the Changshin-dong incident is a very unfortunate and sad occurrence that highlights the ways legal red tape and governmental administrative policies can cause the most vulnerable people in society to fall through the cracks. Your film does a great job of addressing this and how the epidemic of loneliness in modern society creates situations where people like Su-mi are left to struggle with their own mental health issues in isolation.
What was your creative process in developing Su-mi’s fragile psychological state in the script and your performance?
I used religion, though I’m not actually religious, but everyone around me is. While some are truly passionate believers, I’ve also seen others who go because their parents or family insisted. Others go to church for Christmas to receive church gifts, and then to Buddha’s Birthday to get bibimbap (temples often serve free food, and since they’re vegetarian, bibimbap is often served).
I found it fascinating that there were such conflicting religions, and I was also impressed by the fervent believers’ fervent prayers and reliance on God. So, I set up Su-mi as someone who, with no one to turn to, relies on religion, and she endured mentally until she collapsed.
The reason I chose Catholicism over other religions is because it has “holy water,” a physical tool to defeat the devil. Holy water is like a shield, a bodyguard.
Because a hospital is a place where quiet is valued and required for the peaceful recovery of patients, Su-mi’s introduction as someone unafraid to bring attention to herself immediately causes the audience perhaps rather unfairly, to question her motives and if she truly cares for her mother.
When Su-mi forced her mother to leave the hospital after causing a disturbance and returned home, there were demand letters from various university hospitals on the shelf. When Su-mi first caused a disturbance at the hospital, a message briefly appeared on the nurse’s computer monitor stating that she had not paid her hospital bills and had been hospitalized for a long period of time. Su-mi has continued to keep her mother hospitalized for several years without paying the hospital bills.
She does this because she has no money and cannot find a job due to her chronic illness. She intentionally causes disturbances to confuse hospital staff and force her mother’s discharge in order to avoid paying hospital bills.
Apparently, there are people who actually get discharged this way. I checked with different university hospitals and they confirmed that one or two people a month avoid paying hospital bills and flee, and most of them are people in difficult circumstances. Fortunately, the hospital only sends demand letters and takes no further action.
Additionally, Su-mi has a congenital illness, so she cannot find employment and only works part-time at home. The house is related to one of South Korea’s real estate issues. The Changsin-dong mother-child incident was a case where people who should have received protection from the state were denied it simply because they lived in a shack, and they died alone at home.
Once Su-mi is home with her mother it becomes quite clear that she’s not equipped financially and physically to look after someone in need of around the clock medical care, but still, Su-mi does her best to stay positive that her mother will get better.
As you mentioned, she prays often and fervently and sprinkles holy water on her mother often, and I noticed Su-mi has multiple figurines related to Christianity, but also references to her mother being a Buddhist. Can you talk about Su-mi’s faith and the depiction of religion in the film?
I thought it would be interesting to portray her as someone obsessed with religion. I actually saw someone sprinkling holy water while walking down the street, and I thought it was really funny. So I incorporated that into the character of Su-mi.
For her parents, I thought it would be interesting for them to have different religions. How much must the sick mother have hated her daughter Su-mi to sprinkle holy water on her? It was also interesting to imagine how they would have clashed under their different religions when the mother was healthy.
Despite being a devout Christian, and taking time to visit a church, Su-mi, never actually seeks counsel and help for herself. The scene where she enters the confessional but doesn’t speak to the Priest on the other side is heart breaking.
She’s clearly under enormous stress and feels isolated with the strain of caring for her mother. I saw this as not just Su-mi’s fear of losing her mother but also herself under the weight of everything she’s carrying on her own.
Yes, Su-mi, who had always lived a hard life because of her mother, couldn’t show her struggles to anyone. Not even to the priest, whom she always wanted to impress. I thought that just going somewhere where no one was around and crying would be a little comforting to Su-mi, who found it difficult to cry.
For many people asking for help means surrendering control to someone else. That they’ve failed, and when her request for help is rejected, she falls into despair. But when she finds a poster for a cherry blossom viewing tour, she vaguely thinks that her mother will recover and be able to go on the tour.
Is this theme of isolation, loneliness and fear of being seen as a failure in caring for an ailing parent the main theme you wanted to address with TOE-TAPPING TUNES; the isolation that only children experience when caring for a terminally ill parent?
It just came from my own experience. As I mentioned earlier, I felt bad that I couldn’t take my mother, who was battling cancer, on a cherry blossom viewing trip. Su-mi must have been exhausted from caring for her for so long and was not in her right mind, so she saw a kind of illusion or fantasy. In reality, my mother passed away as soon as she came home and couldn’t even go to the bathroom.
Another theme that I noticed in the film is food. The importance of meals being eaten. I know this may seem like an odd comparison and question, but in the variety show Stars Top Recipe at FunStaurant on which you’re a regular cast member, you pay very close attention to the details in preparing meals for your family.
For anyone who’s seen the show, which I have, it’s obvious food is one of your love languages. Was this also an inspiration for you?
The reason why I chose muk (mukul, a type of black bean paste) is because when my mother was undergoing cancer treatment she vomited a lot, so the only food she could eat was soft and sour muk dishes. That’s why I included the setting where Su-mi’s mother also chooses muk.
As someone who was taking care of her mother, I wanted to feed her something, and muk was the only food I could find among all the other foods. And the fact that the muk on the table is always there means that my mother has already passed away.
In your portrayal of Su-mi I noticed that the way you move your body is mostly in contained, and tense movement. Almost jerkily as though she’s someone being very conscious of every move they make, but when she walks it’s either with the hurried pace of someone trying to get places by a specific time, or she’s walking slowly like someone completely discouraged.
Talk about the physical challenges of playing a character with two very distinct ways of being physically and how they reveal her true mental and emotional state when she’s incapable of speaking them.
Yes, Su-mi is always being chased. She’s running away. She doesn’t have time, so she has to feed her mother quickly and save her, so I expressed that with hurried movements.
Could you tell us about your technical approach to filmmaking, including the cinematography and costumes? You made some interesting choices in how the audience views Su-mi. Early on, the camera often looks up at her from a low angle, while in other scenes, such as the church sequence, the camera is positioned high up, making her appear small and fragile.
Thank you for your insight. When I was working on the storyboard, I chose a lot of dramatic angles to express Soo-mi’s presence. Her lines are strong, but she’s actually weak, so I used a lot of angles looking up from below.
To me this film acts as a cautionary tale for us to pay attention to the people in our lives, and look at the big and small things they do. What they say and don’t say. There are many people struggling, in need of help but are afraid to ask for it because they’re afraid of being judged and told they’re not doing enough.
Above all, there are many welfare blind spots in South Korea. There are cases where citizens who should be protected are not, and where the country’s welfare system is being abused. I completed the script with the intention of raising awareness of this fact and ensuring that the “Changshindong Mother and Child Incident,” which was the talk of the media two years ago, is not forgotten.
For many who do reach out for help, they’re rejected because they don’t meet specific social and financial criteria, so they’re left to fend for themselves until they slowly fade away beyond a point they can be seen and reached.
I really enjoyed your performance and direction of TOE-TAPPING TUNES, so I’m definitely looking forward to the next project. Filming your second movie a month after your directorial debut is quite impressive. What would you say has been your biggest lesson throughout the process of creating and premiering the film that you’ll take into this new project?
The biggest lesson is… with a small production budget, try to avoid taking on all the work of production, acting, directing, and staff members all by yourself. It was really hard, but when I collapsed, everyone collapsed, so I filmed while laughing and encouraging everyone.
Every day, I cleaned up the set, came in at 11 PM, prepared for the next shoot until 2 AM, and woke up again at 5 AM to go to the set. I started crying for two days straight.
I hope others can work happily with a more generous budget. Otherwise, it’s best to write a script that doesn’t require a large budget. I’m filming my graduation project in June, and it’s also about the socially disadvantaged. I’ve saved up a little more money to film it on a more generous budget than my previous projects.
Humans always grow and learn new things about themselves through new challenges and experiences. As an actor, and now as a writer and director, what new insights have you gained about yourself?
“If you persevere and work hard until the end despite wanting to give up, you will be rewarded.”
It’s truly rewarding to be invited to film festivals and interviewed by such wonderful people like you. I wanted to give up, but… I think I persevered and worked harder, and these great results followed.
Carolyn Hinds
Freelance Film Critic, Journalist, Podcaster & YouTuber
African American Film Critics Association Member, Tomatometer-Approved Critic
Host & Producer Carolyn Talks…, and So Here’s What Happened! Podcast
Bylines at Authory.com/CarolynHinds
Twitter & Instagram: @CarrieCnh12
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