2025 Plus-Size Korean Fashion Trends

The rise of plus-size fashion in Korea isn’t just a fashion moment—it’s a cultural shift. While there’s still progress to be made in representation, 2025 shows potential for significant visibility to curvier bodies in a society long dominated by narrow beauty ideals—with style, with pride, and with softness that doesn’t need to shout to be heard. A new wave of inclusive designers, body-positive influencers, and fashion-forward brands are reshaping the image of Korean fashion—and it’s bigger, bolder, and more beautiful than ever. Here are some plus-size Korean fashion styles that aren’t just following the mainstream, but setting the tone.

1. The Rise of the Beige Aesthetic

2025 is the year of subtlety. Korean fashion has turned to earthy, neutral tones like beige, oat, soft camel, and cream. On plus-size bodies, these hues are more than flattering—they’re empowering. Layered beige looks, oversized knitwear, wide-leg trousers, and minimal accessories create a sophisticated palette that feels effortlessly Korean. Think timeless cuts in linen or cotton blends, monochrome outfits with textured depth, and longline jackets over flowy pants.

2. Layering as a Statement

Korean layering has always been artful, but 2025’s plus-size scene is elevating it to new heights. Instead of hiding the body, layering now highlights it—with intentional volume, proportion, and movement. From cropped jackets over flowy midi dresses to structured button-downs layered under knit vests, plus-size styling is now about shape—not size. Even oversized button shirts paired with bike shorts or A-line skirts add a dynamic blend of comfort and style. Layering isn’t just practical—it’s political. It says, “My body deserves fashion that moves with me and speaks for me.”

3. Soft Edge Street Feminine

The 2020s E-girl aesthetic has evolved to a softer, more wearable version has taken hold. The look blends streetwear staples with ultra-feminine pieces for an edgy-yet-soft visual statement. For plus-size fashionistas, this means pairing graphic oversized tees with pleated skirts, adding lace sleeves to bomber jackets, or throwing a chunky cardigan over a crop top. It’s a mix of K-hip-hop grit and soft 2000’s era nostalgia—and it’s just as bold on a 2XL frame as it is on an XS one. An example look would be wide-leg denim with corset-inspired tops, satin midi skirts with thick-soled sneakers, and soft blush or pastel hair tints.

4. Modern Hanbok Influences

One of the most elegant developments in 2025 Korean fashion is the integration of traditional hanbok silhouettes into everyday plus-size wear. Korean designers are embracing cultural identity through wrap tops, bell sleeves, high-waisted skirts, and flowy fabrics that celebrate form and history. The modern hanbok-inspired look is ideal for plus-size bodies, offering breathable comfort and striking silhouettes. Wrap dresses and tie blouses help define the waist without constriction, while A-line skirts float with movement rather than cling. Most people are going for soft pastel palettes, natural materials, and simple embroidery accents.

Voices Leading the Way & Where to Shop

In Korea and beyond, plus-size fashion influencers are taking control of the narrative. These voices are helping redefine beauty standards and showing that Korean fashion has no size limit. One of the influencers to watch in 2025 include @ssunbiki – a model and influencer breaking barriers in body positivity. There are various Korean and Korean-inspired brands offering extended sizing or specifically cater to plus-size bodies. 09Women is Korea’s pioneering plus-size fashion brand. JStyle is a modern basics and office wear. Romi Story is a soft feminine styles and wide range of seasonal items. 66girls is a budget-friendly oversized fits. YESSTYLE is an international shipping and access to Korean-style plus options.

—-Karen Mwenda

#2025PlusSizeKoreanFashion #plussize #JStyle #kcrush #kfashion #koreanFashion #YesStyle #ssunbiki #09Women #kcrushamerica #kcrushmagazine #RomiStory #66girls #wraptops #bellsleeves #highwaist #widelegdenim #alineskirts #cardiancroptop #bodypositive #layeredbeigelook #koreanculture #selfempower #confidence #koreaninfluencer #oversizedknitwear #khiphopgrit #SamSam #plusfashion #kplusfashion #plustrend

JAPAN 1ST DIGITAL SINGLE SELECTED AS THE THEME SONG FOR KAO’S LATEST PRODUCT LAUNCH–WITH MEOVV AS OFFICIAL BRAND AMBASSADORS
LISTEN HERE WATCH HERE

MEOVV unveiled their highly anticipated EP MY EYES OPEN VVIDE last May, delivering an intimate yet versatile collection that resonated with fans worldwide, peaking at #4 on Billboard’s World Albums Chart. The single “HANDS UP” has surpassed 50 million views on YouTube, while dance challenge videos set to the group’s music have gone viral on Japanese social media, drawing widespread attention. They have now returned with their 1st Japanese digital single, “ME ME ME,” marking their official debut in Japan. Listen HERE. Watch HERE.

The vibrant, infectious, and irresistibly danceable track is an instant summer anthem that opens with dramatic strings before bursting into a fast-paced, upbeat rhythm. “ME ME ME” has also been selected as the theme song for Kao’snew hair care brand, MEMEME, with MEOVV serving as the brand’s official ambassadors. This exciting foray into the Japanese market is sure to make waves this summer.

Watch CM video of Kao “MEMEME”: http://youtube.com/watch?v=fpTJoFGe1aA

MEOVV 2

FOLLOW MEOVV

About MEOVV:
Fierce, feverishly buzzing, and fabulously chic, MEOVV are clawing their way to the top of K-Pop’s new generation. Pronounced “meow,” the multinational quintet — SOOIN, GAWON, ANNA, NARIN, and ELLA — is the debut girl group from THEBLACKLABEL, creatively led by label founder/mega-producer Teddy “TEDDY” Park (BIGBANG, G–Dragon, 2NE1, BLACKPINK).

MEOVV have lived up to that lineage from their first single, “MEOW,” a bilingual pop anthem that earned 5.1M global streams on week one, roared onto Billboard’s World Digital Song Sales chart (No. 10), and whose video logged over 10 million YouTube views in 48 hours. Then came “BODY” — a warning to rivals complete with signature cat-claw choreo — and the R&B-infused “TOXIC,” revealing the group’s emotional side and incredible vocal range. Just three months after their debut, MEOVV displayed stage presence beyond their years at 2024’s MAMA Awards in Osaka, and took home the award for “Favorite Rising Artist.”

Standing for “My Eyes Open Wide,” MEOVV embodies the dynamism and authenticity of young stars in control of their artistry. The group’s members (who are already racking up writing credits) hail from South Korea, the US, and Japan, and possess both unique identities and an indestructible bond. Together they present a duality that’s at times razor sharp, at others effortlessly smooth, while they break down barriers and actualize their dreams. Armed with sweetly savage charms, MEOVV is pointedly yet softly piercing through hearts.

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, Vince and ALLDAY PROJECT.

#MEOVV #THEBLACKLABEL #TEDDY #kcrush #MEMEME #Japanesesingle #newmusic #kpop #koreanpop #MEVVMEMEME #kcrushamerica #kcrushmagazine #SOOIN #GAWON #ANNA #NARIN #ELLA #newgen #kidol #multinationalquintet #fabulouslychic #TeddyPark #newgenerationofkpop #koreanentertainment #MAMAAwards2024 #MyEYESOPENWIDE

The year 2025 has been marked by an overwhelming sense of grief in the Korean entertainment world. The sorrow began early with the heartbreaking deaths of veteran actor Lee Yoon Hee, beloved singer Song Dae Kwan, and actress Kim Sae Ron, whose passing at just 24 years old left fans stunned. Tragedy deepened in March when the nation mourned the loss of Wheesung, a revered R&B vocalist whose smooth voice and emotional depth had touched generations. Yet even after March, the industry continued to say goodbye to cherished talents, from rising stars to legendary figures. In this article, we honor the lives and legacies of those we lost after March, reflecting on the artistry, impact, and memories they leave behind.

Choi Jung Woo

Actor Choi Jung Woo passed away on May 27, 2025 at the age of 68. A beloved face in the world of Korean dramas, Choi Jung-woo brought depth and warmth to every supporting role he played. With notable appearances in Quiz of God, Dr. Frost, and Standby, he embodied the kind of seasoned grace that anchors a production. His calm delivery and fatherly screen presence made him a go-to actor for roles requiring gravitas. Choi Jung Woo left behind decades of performances that helped define the golden age of K-drama. In the tributes, a fellow actor tributed Jung Woo as a true professional, a pillar of stability on every set.

Lee Seo Yi

Actress Lee Seo Yi passed away on June 20, 2025 at the age of 43. Known for her roles in Cheongdam-dong Scandal and The Divorce Insurance, Lee Seo Yi (born Song Soo Yeon) passed away suddenly in late June, leaving fans and colleagues in shock. She was praised for her emotional range and ability to portray complex women on screen. Though the cause of death was not publicly disclosed, her final social media posts revealed a soul grappling with pain — now immortalized in heartfelt fan tributes. Lee Seo Yi’s memorial wall was filled with heartwarming tributes including one that said, “She made the ordinary feel powerful. She made us feel seen.”

Shim Jaehyun

Former F.ABLE member Jaehyun passed away on June 29, 2025 at the age of 23. Shim Jaehyun, once a rising star as part of the boy group F.ABLE, passed away following a long, private battle with leukemia. His death was announced on July 2, shaking fans who had no idea of his condition. Jaehyun was known for his gentle demeanor, powerful vocals, and radiant smile. His bravery in facing illness away from the spotlight is now seen as a quiet act of strength and humility. Among millions of fan tributes was one that said, “He was always smiling — even when he had every reason not to”.

Kang Seo Ha

Actress Kang Seo Ha passed away on July 13, 2025 at the age of 31. Kang Seo Ha’s career was just beginning to blossom, with recent performances in In the Net and Mangnaein earning critical praise. Sadly, she passed away due to stomach cancer, a battle she fought privately. Her death sparked conversations on the pressures young actors face and the toll it takes on health. Known for her soft-spoken charm and emotional intelligence on screen, Kang’s absence is deeply felt among rising stars. An industry columnist tributed the late actress asserting that her presence lingered long after the credits rolled.

As we look back on the immense talent we have lost, we’re reminded that the people behind the music, dramas, and performances are more than entertainers — they are storytellers, dreamers, and voices that shaped lives across continents. Whether through a song that comforted a lonely heart or a scene that made someone believe in hope again, each of these artists gave us a piece of themselves. While their time with us was cut far too short, their light lives on in the hearts of fans.

—-Karen Mwenda

#GoneButNotForgotten #KpopKDramaStarsLostInEarly2025 #kcrush #koreanactor #koreanactress #kdrama #kpop #passedaway #condolences #kcrushamerica #kcrushmagazine #KangSeoHa #ShimJaehyun #FABLE #LeeSeoYi #ChoiJungWoo #koreanentertainer #korean #koreanculture #sympathy #honoringstarslost #whopassedawayin2025 #love #knews

The lights go down. The auditorium hushes with a palpable low hum of anticipation. As the sound of “숨 Breath”—the opening instrumental track on WRLD, the latest album from South Korean indie rock band The Rose begins to play— plays through the giant speakers hanging overhead, images of stars and whorls of fancy drift across the black backdrop above the stage, and a woman’s voice begins narrating a story about a boy making wishes to the endless sky and the stars hanging high up above glow like a memory.

He pictures a train in the clouds, and as the wind steals his breath, in a single leap, the boy boards this train of wishes, dreams, and hope, and so begins The Rose’s fantastic performance for the Toronto leg of their 2025 ‘Once Upon a World’ Tour.

I think when it comes to choosing a name for a band, things can get pretty tricky. Either members lean into the absurd and tongue-in-cheek, or they become earnest and think about what their name means and the image it evokes for their fans. And after seeing The Rose perform live for the first time (finally!) on July 10th, at the Great Canadian Casino Resort, in Etobicoke, Canada, I can say that I don’t think they could’ve done better with a simple, singular, perfectly imperfect rose.

Woosung

Not to wax poetic, but the reason I think a rose suits this group of four uber talented men. Depending on the variety, roses can be tricky to grow because they require the right soil conditions, the correct amount of sunlight, water, and nutrients. And while they can be finicky to figure out at first, once they’ve become firmly rooted, and the correct conditions for growth are achieved, boy is it all worth it, thorns and all. They come in all sorts of vibrant colours, sizes, scents, and varieties that you can’t help but take a minute to stop and appreciate them. The phrase “Stop and smell the roses.” exists for a reason.

I think this perfectly encapsulates the band; Woosung, Hajoon, Dojoon, and Jaeyeong, who began busking in front of shifting crowds on the narrow bustling streets of Hongdae in Seoul, came together to officially debut in 2017 and grew into a band that’s weathered all sorts of uncertain times and difficult situations, forming Winfall (in homage of the original band comprising of Jaehyeong, Dojoon, and Hajoon) their own record label in 2022, that firmly knows who they are, their sound, and what message they want their music to convey. With each album, they experiment with new genres and eras ranging from Blues, jazz, and alt rock and pop from the 80s, 90s, and 2000s, combining traditional rock music, with lyrics that demonstrate how their outlook on life evolves over time.

As the opening narration of the story about a boy who wished upon a star ends, the band entered the stage, and after a brief hiccup that caused laughter to ripple across the audience, they open with acoustic chords to “Ticket to the Sky”, and Woosung’s smooth voice with its unique hint of rasp and lilt fills the theatre. The lights go up to just the four sitting on tall chairs, creating an unexpectedly intimate atmosphere. He takes turns with Dojoon singing the verses and choruses, with an ease that both relaxes and builds anticipation. This sets the tone for the entire two-hour concert.

From “Ticket to the Sky” they continue with acoustic renditions of “Childhood”, the third track from their 2022 album ‘Heal’, the achingly soulful “Definition of Ugly is”, “She’s in the Rain”, one of my personal favourites, and “Tomorrow”. Here they take a brief break for the stage to be reset with the addition of Hajoon’s drum kit, and Dojoon’s brightly painted piano.

As the setting changed, Woosung took the time to introduce each individual member and make lighthearted jokes to lighten the mood, shifting the atmosphere for the next chapter in their performance. His way of speaking to the audience and ensuring each member gets their own moment shows how adept he’s grown at keeping the energy up and making sure everyone stays engaged.

Jaehyung

Once the lights were back on, the change in the songs to those with faster tempos was immediately noticeable with the first intro notes of “Nebula”, the first full track on the tour’s namesake WRLD album. There’s a quality to this section of the concert that feels very nostalgic of early 2000s alt-rock, and it becomes clear that the band is being very intentional with the song order.

The bass of Jaehyung’s playing and Hajoon’s drums drive the tempo steadily through “Lifeline”, “You’re Beautiful” their 2023 hit single, the smooth Jazz & Blues inspired “Shift” and “Slowly”, and the mid-tempo bop “Nauseaous” reminiscent of mid-2000s poprock, with “Yes” closing out the second set.

Hajoon

After another break where the stage goes through a major redesign, transforming it into a bedroom decorated with bookshelves filled with knick-knacks, comfortable chairs, a giant bed smack dab in the middle and a virtual ‘window’ above it where the audience’s eye is directed towards projections of various designs relating to the themes of the song lyrics.

This setting is interesting because it directly refers to the themes of the songs, and also to the privacy of the rooms where the group comes together to write, as Hajoon and Jaehyung mention in their mid-set interaction. The way each member, except for Hajoon who stays seated at his drums, moves across the stage and settles into various locations like the edge of the bed to sing and play their respective instruments (Woosung periodically switched between his acoustic and electric guitars, and Dojoon moved between the piano, playing acoustic guitar, and singing at the standing mic) and interacting with the crowd was very interesting and smart stage direction. It felt like watching a live stage musical instead of a *regular concert.

Dojoon

Before beginning their final and longest set with eleven songs (whew!), they spoke of the different ways they met each other, their time busking in front of shifting crowds on the narrow streets of Hongdae building their repertoire, and finding music to be a form of therapy to aid with healing from the different traumas they experienced and coming to understand that while all traumas can’t be healed 100%, as individuals and a group they can grow and keep moving forward with their music.

The story of a boy growing into a man, falling in love, stumbling through relationships, heartbreak, and disappointment in himself and the people in his life, finding his way to acceptance and determination to be a better person with each successive song, is beautifully executed.

The set begins with the high-energy crowd pleasers “Back To Me” and “Alive,” which gives strong 80s electronica vibes, “RED”, “Sorry”, the first song the band wrote together, followed by their long-awaited post-enlistment rock ballad single “Beauty and the Beast”.

Here the tone mellows out a bit with the contemplative and dare I say socially conscious selections of “Nevermind” which had crown interaction with the lyrics displayed on the stage screen, ‘Wonder”, “Sour”, “Cosmo”, and the concert closed out with “O” a song that asks us to see our differences, accept them and each other for a better world, and to be completely honest, as Woosung lead the audience to sing the final chorus acapella the energy in the auditorium shifted completely.

I don’t know if it was just me, but this entire section had me close to tears because I couldn’t help but think of the genocides and other atrocities happening within our world and as a Black disabled woman, and watching the harm being done to the world by the few with too much power while the many struggle to make it through each day, while all we need to do is “see and accept our differences.”

But still we persevere like a rose bush finding a way to survive in the most unlikely of places and we’re inspired to keep wishing and hoping for better days ahead with the open mindedness of a child. This is the story of The Rose and our world.

Photography by Teresa Valenton

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

#THEROSE #TheRoseOnceUponaWRLDTOUR #kcrush #THEROSEWORLDTOUR #kpop #kidols #kpopindustry #kpopconcert2025 #kcrushamerica #kcrushmagazine #CanadaTour #Woosung #Dojoon #Hajoon #Jaehyung #TheRoseInCanada2025 #BackToMe #Alive #RED #Sorry #BeautyandtheBeast #krock #kband #Koreanrockband #Nevermind #Wonder #Sour #Cosmos #O #finalchorusacapella #highenergy #electronica

Free gelato pop-ups in collaboration with local shops across Los Angeles, New York, Houston, and Chicago Happening on Friday, August 1st!

Listen to “Gelato (Remixes)” Here

Following the viral success of their 2024 release “Just Like Dat feat. JP THE WAVY” and their first U.S. tour, PSYCHIC FEVER FIRST U.S. TOUR 2025, PSYCHIC FEVER continues to elevate their global presence through non-stop releases and international performances.

Recently, the group successfully wrapped up their Japanese 5-city tour, PSYCHIC FEVER LIVE TOUR 2025 “EVOLVE”, and released their original 3rd EP “PSYCHIC FILE III”, marking a new era of evolution for the group. They are currently on their 1st U.S. fan meeting tour “ForEVER CONNECT PCF U.S. FANMEET 2025”.

The international sensation, PSYCHIC FEVER, is back with the remix collection of “Gelato”, a track from “PSYCHIC FILE III”. Each remix corresponds to a ‘flavor’ inspired by the song title, reimagined in a variety of genres by remixers Iimori Masayoshi, A.G.O, audiot909, and ALENOISE. Each of the four remixers delivers a distinct take on the track, resulting in a diverse and flavorful collection.

To celebrate the release of “Gelato (Remixes)”, exclusive fan experiences are activating across four major cities including Los Angeles, New York, Houston, and Chicago with free gelato pop-ups in collaboration with local shops. This special one-day activation will see a limited “remix-flavored” gelatos distributed to lucky fans who make their way to the shops.

Fans can win a free scoop of gelato by using one of the remix sounds on either TikTok, Instagram, or YouTube Shorts, or share the song on Instagram Story as an alternative. The activation will run on Friday, August 1st, from 4pm until 6pm local time. Fans are encouraged to arrive early as quantities are limited and available on a first-come, first-served basis.

Cool off this summer with these refreshing, genre-hopping flavors of “Gelato (Remixes)”!

POP-UP DETAILS

Time: Aug 1 (Fri) 4-6PM (Local Time)

Locations:

Los Angeles @ Fatamorgana Gelato, Beverly Hills
162 S Beverly Dr, Beverly Hills, CA 90212
https://fmgelato.com/
New York City @ il laboratorio del gelato
188 Ludlow St, New York, NY 10002
https://www.laboratoriodelgelato.com/
Chicago @ FRÍO Gelato
1301 Chicago Ave, Evanston, IL 60201
https://www.friogelato.com/
Houston @SweetCup Gelato & Sorbet Originale

3939 Montrose Boulevard, Suite L Houston, TX 77006

https://www.sweetcupgelato.com/

RELEASE INFORMATION

Release Date: Friday, July 25, 2025

Title: “Gelato (Remixes)”

Streaming & Download: https://psychicfever.lnk.to/GelatoRemixes

TRACKLIST

M1. Gelato (Blueberry Remix)

M2. Gelato (Orange Remix)

M3. Gelato (Matcha Remix)

M4. Gelato (Mango Remix)

M5. Gelato

TRACK DESCRIPTIONS

M1. Blueberry Remix (Latin)

A bold fusion of upbeat rhythms and passionate Latin vibes. Remixed by ALENOISE, this version adds a vibrant spark that instantly transports you to a sunny beach getaway.

M2. Orange Remix (Afrobeats)

A groovy, energetic take by audiot909 that highlights the irresistible bounce of Afrobeats. As refreshing and bright as a juicy orange, this remix bursts with feel-good rhythms.

M3. Matcha Remix (Lofi Hip-Hop)

A chill, warm interpretation by A.G.O that brings out the mellow, introspective side of “Gelato.” With soft textures and subtle layers, it unfolds like a serene cup of matcha. Mixed by Keisuke Mukai.

M4. Mango Remix (Tropical House)

Remixed by Masayoshi Iimori (TREKKIE TRAX), this version blends sweet and breezy Tropical House vibes into a sound that feels like a relaxing resort escape — the perfect summer soundtrack.

REMIXERS

Blueberry Remix: Remix by ALENOISE

Orange Remix: Remix by audiot909

Matcha Remix: Remix by A.G.O / Mixed by Keisuke Mukai

Mango Remix: Remix by Masayoshi Iimori (TREKKIE TRAX)

PREVIOUSLY RELEASED

Release Date: Wednesday, June 18, 2025

Title: “PSYCHIC FILE III”

Streaming & Download: https://psychicfever.lnk.to/PSYCHICFILE3

ABOUT PSYCHIC FEVER

PSYCHIC FEVER is a seven-member boy group consisting of KOKORO, WEESA, TSURUGI, RYOGA, REN, JIMMY, and RYUSHIN. They debuted in July 2022 as the seventh group from “EXILE TRIBE,” an unparalleled Japanese artist collective under LDH JAPAN. The group’s name, PSYCHIC FEVER, was chosen to reflect the unique individual personalities of its seven members, whose performances—featuring dance, vocals, and rap—create a powerful chemistry. Their fanbase is called “ForEVER.” With the purpose of “IGNITE OUR DREAMS,” PSYCHIC FEVER aims to inspire courage in those who watch them, set their hearts ablaze with passion. Since their debut in 2022, they have been actively performing in Japan and throughout Asia, aiming for global success. Their song “Just Like Dat feat. JP THE WAVY,” released in January 2024, gained significant attention both domestically and internationally, surpassing 270 million views on TikTok. It also entered the Viral Top 50 charts on Spotify in nine Asian countries and regions, including Thailand, Vietnam, the Philippines, Singapore, Malaysia, and South Korea, while also becoming a viral hit in the United States. In February 2025, PSYCHIC FEVER successfully held their first U.S. tour, “PSYCHIC FEVER FIRST U.S. TOUR,” in six cities across the United States. That same month, they announced a global contract with Warner Music Group and their transfer to the music label “10K Projects.” In March, they expanded their reach by performing at SXSW 2025, one of the world’s largest music festivals in the U.S. Their global journey is accelerating, and they are expected to make even greater strides in the future.

#PSYCHICFEVER #KOKORO #WEESA #TSURUGI #RYOGA #REN #JIMMY #RYSHIN #kcrush #LDHJAPAN #ForEVERfanbase #Jpop #GelatoPop #ForEVERCONNECTPCFUSFANMEET2025 #kcrushamerica #kcrushmagazine #USTour2025 #1stWorldTour #EXILETRIBE #debutedJuly2022 #JustLikeDat #JPTHEWAVY #SXSW2025 #Japaneseartist #PSYCHICFEVERRemixers

THE K-POP ICON DELIVERS A RAW, EMOTIVE TAKE ON THE TIMELESS MULTIPLATINUM HIT

LISTEN TO LOVE IS GONE (WITH JOSHUA OF SEVENTEEN) HERE

WATCH THE LYRIC VIDEO HERE

Following GRAMMY-nominated, multi-platinum electronic music icons SLANDER‘s massive release “Broken Hearted” with San Holo and Julia Church, they are here to release another viral sensation. SLANDER’s “Love Is Gone” with Joshua of iconic K-Pop supergroup SEVENTEEN marks a new chapter for one of dance music’s most iconic tracks and is available on all streaming platforms HERE.

“We are super excited to share the SEVENTEEN version of ‘Love Is Gone.’ This was such a special collaboration and opportunity to work with a group of incredibly talented artists to create a brand new world for this record. The SEVENTEEN version stays true to the emotional core, but breathes new life with fresh vocal melodies and overtones. We hope everyone who has heard the original gets a chance to hear this brand new version!” – SLANDER

First released in 2019 with Dylan Matthew and then as an acoustic version in 2021, both became global hits, with the acoustic now one of Spotify’s most streamed acoustic songs at over 600 million streams, and 1 billion streams across all platforms. The song’s emotional vocals have resonated deeply with millions around the world, making it a defining moment in SLANDER’s discography and a viral anthem. Now, SLANDER reimagines this global hit with K-Pop powerhouse SEVENTEEN. With an emphasis on delicate piano chords, Joshua’s warm vocals add fresh intimacy while keeping the acoustic soul that made the original timeless. This simple arrangement gives the lyrics more weight, coupled with the melancholy melody, makes every line feel personal and heart-wrenchly intimate. His delivery breathes new life into the song, making it feel nostalgic and new.

This collaboration connects SLANDER’s following with SEVENTEEN’s massive international audience, proving the universal appeal of Love Is Gone, and an opportunity for fans of dance, K-pop, and acoustic ballads to experience the song’s emotional depth through a new voice. Joshua’s presence brings the song to millions more and shows the power of cross-genre collaboration. With SEVENTEEN’s global star power and the original’s legacy, this version is set to reach new listeners. More than a remake, this release honors what fans loved about the song and shows how timeless songwriting connects us no matter where we are in the world.

As the founders of Heaven Sent, SLANDER continues to pioneer melodic bass music on a global scale. The Grammy-nominated, platinum-certified duo’s notable release “Wish I Could Forget” with blackbear & Bring Me The Horizon amassed over 17.6 million streams and counting. The mighty duo recently announced their newly conceptualized ‘Voyager’ Tour, showcasing an entirely new audiovisual experience, and will include special guest appearances from Blanke, Eptic, NGHTMRE, Zomboy and William Black. The tour arrives in September after a string of high-profile shows including their own Code Red at Red Rocks, as well as festival plays at Beyond Wonderland at the Gorge, Lost In Dreams (Originals Only Set), Dancefestopia, Shambhala, Breakaway, and more. SLANDER remains at the forefront of electronic music’s elite.

Joshua Hons, known mononymously as Joshua, is a Korean-American vocalist and member of the self-producing K-pop group SEVENTEEN, which debuted in 2015 and has become one of the most globally recognized acts in the genre. As part of the group’s Vocal Unit, Joshua is known for his smooth, emotive tone and calm stage presence. SEVENTEEN has achieved major milestones including multiple No. 1 albums in South Korea, Billboard 200 entries, and record-breaking sales with albums like FML, which sold 6.4 million copies worldwide in 2023. Outside of group activities, Joshua has collaborated with international artists and appeared in Apple Music sessions. Fluent in both English and Korea, he often bridges global audiences with ease, solidifying his role as a standout member of the group.

About SLANDER

SLANDER is a Grammy-nominated American electronic music duo consisting of Derek Andersen and Scott Land based in Los Angeles, CA who are best known for their unique, emotional, melodic bass music sound. Going from being Icon Collective graduates to selling out massive hard ticket venues including Red Rocks, and performing at global festivals such as EDC, Lollapalooza, Tomorrowland, and Ultra. SLANDER has become one of the hottest acts in dance music with one Platinum and one Gold RIAA Certifications to their name.

About Joshua

Connect With Joshua: Instagram

#Joshua #SEVENTEEN #kpopcollaboration #SLANDER #Grammynominated #Americanelectronicmusic #kidol #kcrush #EDC #Ultra #SLANDERatLollapalooza #JoshuaofSEVENTEEN #collaboration #LoceIsGone #retake #danceanthem #kcrushamerica #FML #ahit #multiplatinum #kcrushmagazine #Hallyu #electronicmusicduoSLANDER

LISTEN HERE | WATCH THE MV HERE

Credit: EGO GROUP

Acclaimed Korean rapper, singer-songwriter, and producer PENOMECO returns with RNSSNC TAPE, out now via EGO GROUP and Kakao Entertainment — listen HERE and watch the music video HERE. The powerful 8-track EP marks his first release in over a year and signals a creative rebirth, reasserting his status as one of Korea’s most versatile and boundary-pushing artists.

Driven by conceptual depth and bold soundscapes, RNSSNC TAPE derives its title from the word “Renaissance,” referring not only to a cultural rebirth, but also PENOMECO’s personal transformation after a decade-long career that’s seen him rise as a songwriter for global K-pop acts and an artist in his own right. From the explosive opener “RNSSNC” to the satirical yet addictive title track “EGGE (Feat. YDG),” the EP traverses a rich palette of sounds — from hip-hop and R&B to Afro Fusion and electronic — layered with introspective, witty, and emotionally raw lyricism.

The album opens with “RNSSNC,” a blistering declaration of intent that sets the thematic and sonic tone for the entire EP — a personal rebirth forged through grit, reflection, and ambition. The title track “EGGE (Feat. YDG)” reunites PENOMECO with veteran artist and actor YDG (Squid Game 3) after their viral success with 2023’s “BOLO,” which topped Spotify’s Viral charts in France, Germany, and Hungary. “EGGE” playfully flips the Korean expression “애걔” (a dismissive scoff) into a rhythmic, Latin Pop-inspired track that underscores PENOMECO’s confidence and lyrical edge.

Elsewhere on the EP, listeners are invited into cinematic sonic vignettes: the emotionally drained “Dance With Me” and “Leave Without You (Feat. Moon Sujin)” capture the melancholic unraveling of a relationship; “My Chick (Feat. Lil Cherry)” delivers Afro Pluggnb chaos and romance; “Fine By me” offers a chilling breakup; and “KK” finds PENOMECO at his most playful, with warped vocals, syncopated beats, and a smile-through-the-burn kind of swagger. Closing out the project is a summer-ready remix of his 2018 fan-favorite “COCO BOTTLE,” reworked by DJ/producer APRO into a euphoric electronic finale.

With PENOMECO’s pen behind hits for IU, Crush, JESSI, NCT, ITZY, EXO, Red Velvet, and more, RNSSNC TAPE is not just a return, it’s a reintroduction. With his sharp musical instincts, wit, and genre-defying confidence, PENOMECO’s renaissance is not coming — it’s already here.

Credit: EGO GROUP

“PENOMECO EP Album – RNSSNC TAPE” Tracklisting:

RNSSNC
EGGE (Feat. YDG) *focus track
Dance With Me
Leave Without You (Feat. Moon Sujin)
My Chick (Feat. Lil Cherry)
Fine By Me
KK
COCO BOTTLE APRO REMIX

About PENOMECO

PENOMECO is a Seoul-based rapper, singer-songwriter, and producer known for his genre-fluid artistry and as a founding member of the alternative hip-hop collective FANXY CHILD (with ZICO, DEAN, Crush, Millic, and Stay Tuned). Over the past decade, he’s penned hit records for top-tier K-pop artists including EXO (“Tempo”), NCT (“Make a Wish”), ITZY (“ICY”), IU (“Empty Cup”), JESSI (“NUNU NANA”), HWASA (“Na”), and Crush (“Satisfied”), to name a few. His solo releases have garnered international acclaim, with songs like “BOLO” hitting #1 on Spotify’s Viral charts in France, Germany, and Hungary, and “My Chick” featured on playlists such as Spotify All new K-pop and RADAR Korea. With RNSSNC TAPE, PENOMECO embarks on a bold new chapter that redefines his place in Korea’s ever-evolving music scene.

Connect with PENOMECO

Instagram | YouTube | Spotify

#PENOMECO #genrefluid #hiphop FANXYCHILD #kcrush #kpop #kidol #khiphop #Koreanmusicscene #RNSSNC #newEP #PENOMECOnewEP #EGOGROUP #Kakao Entertainment #EGGE #YDG #bold #new #kcrushamerica #kcrushmagazine #R&B #AfroFusion #electronic #singer-songwriter #rapper #ZICO #DEAN #Crush #Millic #StayTuned #SpotifyKPopandRADARKorea

LISTEN HERE | WATCH THE MV HERE

Stayc 1

Credit: High Up Entertainment

Breakout K-pop girl group STAYC makes a sizzling return with their Special Single Album I WANT IT, out now on all major streaming platforms via High Up Entertainment and Kakao Entertainment — listen HERE and watch the music video HERE. Known for their signature blend of vibrant visuals and genre-defying pop, STAYC’s latest release captures both their youthful charm and growing artistic maturity.

Tapping into a theme of carefree confidence, I WANT IT delivers bold summer energy with a sleek, refined edge. The title track “I WANT IT” is a high-impact electronic dance-pop anthem, built on infectious synth riffs and a propulsive rhythmic hook. Anchored by the lyric, “Good things we ok,” the track reaffirms STAYC’s trademark message of self-belief and unshakable cool — a statement for anyone navigating an unpredictable world.

The album features two additional tracks that further showcase the group’s sonic range. “Honestly” captures the sting of being sidelined in love, pairing witty lyrics with a slick bass groove and retro wood synths for a polished urban feel. Meanwhile, “BOY” leans into dreamy synths and 808 bass for a laid-back, emotionally resonant mood — a soundtrack to the spark of new emotions.

I WANT IT is a confident evolution of STAYC’s musical identity, perfect for summer playlists, but built to last beyond the season. The single album embraces both joy and reflection, encouraging fans to celebrate every messy, magical, unforgettable moment with boldness and heart.

Stayc 2

Credit: High Up Entertainment

“STAYC SPECIAL SINGLE ALBUM – I WANT IT” Tracklisting:

I WANT IT *focus track
Honestly
BOY

About STAYC

STAYC (short for “Star To A Young Culture”) is a six-member K-pop girl group (including members SUMIN, SIEUN, ISA, SEEUN, YOON, and J) under High Up Entertainment, known for combining strong vocal performances with dynamic pop production. Since debuting in November 2020 with Star to a Young Culture and the hit “SO BAD”, STAYC has rapidly become one of the most prominent fourth-generation girl groups. With viral hits like “ASAP” and “STEREOTYPE,” they’ve charted on the Billboard K-pop 100 and earned multiple rookie awards, including the Best New Female Artist at the 2021 Melon Music Awards and Rookie of the Year at the Golden Disc Awards. Their rise continued with “RUN2U” (2022) and Teddy Bear (2023), along with their Japanese debut and first world tour, “TEENFRESH” (2023–2024). In April 2024, they released their first full-length album, Metamorphic, marking a significant milestone in their career, and last released their 5th single album S this March. Their previous releases have surpassed 100 million streams globally, and their dedicated fanbase continues to grow across North America, Asia, and Europe. From trendsetting fashion to high-energy stages, STAYC has carved out a unique lane with a cool, empowering message — and I WANT IT marks the next bold step in their artistic journey.

Connect with STAYC

#STAYC #IWantIt #KPOPGirlGroup #kcrush #kpop #kpopidol #StarToANewCulture #SUMIN #SIEUN #ISA #SEEUN #YOON, #J #specialsinglealbum #newalbum #SOBAD #ASAP #RUN2YOU #Metamorphic #self-belief #HighUpEntertainment #KakaoEntertainment #kcrushamerica #kcrushmagazine #summerfun #STAYCNewAlbum #HONESTY #BOY #newmusic #STAYCReturns

Canadian city pop artist and singer-songwriter CECILIA returns with a bittersweet city pop tune “Sweetest Luxury”, to be available on July 23, 2025 at 00:00 ET (Eastern Time).

Following her previous city pop releases “Merry-Go-Round”, “Don’t Go Dancing” and “Technicolor You”, this track marks her 4th city pop single since her debut in 2024.

“Sweetest Luxury”, co-written by CECILIA and producer seyertam (Matt Reyes), is CECILIA’s ﬁrst single recorded in two languages – Korean and Japanese. The Japanese lyrics were written by singer-songwriter / producer / pianist Cecili, adapted from the original Korean lyrics written by CECILIA. The song reminisces about a past love that sadly ended, but remembers it as the “Sweetest Luxury” that shone brightly while it lasted, as it was a true love that was meant to happen. CECILIA hopes to reach city pop listeners across the world with this exciting new multi-language release.

TIKTOK | INSTAGRAM | SPOTIFY | YOUTUBE

CECILIA is an independent artist based in Toronto, Canada, who describes her music as “dramatic sad girl citypop”. Her music career began in 2017 at an open mic night in a Hong Kong jazz bar, where she had an epiphany that music could be more than just a hobby. She entered and became a ﬁnalist at the 2018 Those Days These Song singing contest on Fairchild TV, and also won second place runner up at the 2021 Canadian Chinese Songwriters Quest hosted by Fairchild Radio as a vocalist and a topliner. Continuing her momentum, she joined the all-Asian girl punk rock band FETTISH as the bassist, songwriter and second vocalist before its disbandment in 2020 due to COVID-19. Currently, she regularly performs with the Toronto-based city pop band Next Perfect Day, playing Japanese and

Korean city pop tunes from the 80s. Her love for city pop comes from the nostalgic vibe and the unique musical and cultural history of the genre, combining Eastern sentiments with Western musical inﬂuences. With the revival of the genre in the 2020s, she wants to reinterpret city pop for a new generation of global audience.

Photo credits: Hanmin Yun

#CECILA #SweetestLuxury #CityPop #seyertam #kcrush #Matt Reyes #pop #MerryGoRound #DontStopDancing #Technicoloryou #kcrushamerica #kcrushmagazine #newsingle #releasenewsingle #JapaneseCityPop

For her debut feature length documentary Colorless, Odorless, which screened as an official selection at the 2025 Jeonju International Film Festival, experimental visual artist and filmmaker Lee Eunhee investigates the toxic and deadly nature of the invisible and odorless components used in semiconductor plants.

In nature the most brightly colored creatures like amphibians and plants are known to be the most poisonous. The ones that animals and humans instinctively understand to pose a threat to our lives. And inversely in the human world of man made creations, what we can’t see or smell tends to be the most dangerous.

First, what is a semiconductor? As defined by Britannica.com:“a semiconductor is “any of a class of crystalline solids intermediate in electrical conductivity between a conductor and an insulator. Semiconductors are employed in the manufacture of various kinds of electronic devices, including diodes, transistors, and integrated circuits.” The technological marvels are derived from specific chemical processes that transform naturally occurring substances silicone crystals such as ingot or sand into pressed almost microscopically thin wafers or discs. It’s in the “clean rooms’ of semiconductor plants that these discs are turned into the microchips that are given their distinctive characteristics that make them usable for a multitude of electronic devices such as cellphones, radios, laptops, TVs, laser printers.

And it’s in these “clean rooms” where strict protocols are adhered to to prevent the contamination of the precious semiconductors, that the very chemical substances used to make these devices such an important part of our technologically driven lives, that the workers, the women who make them are exposed to invisible dangers. Dangers they not only can’t see but in many cases are unable to smell, but have very real, physically debilitating, and even deadly effects.

In 2007, at the age of 27, a young South Korean woman named Hwang Yu-mi died of leukemia, and amongst her personal possessions she left behind a carefully and almost perfectly preserved journal. This journal known as a “clean note” detailed her daily schedule, activities, and performance logs of the factory where she worked, a semiconductor plant owned by the tech giant Samsung.

Yumi wasn’t the only worker at Samsung’s semiconductor plant to become ill as a result of the colorless and odorless killers permeating the air and flowing through the waters of these factories. For decades women and men working in numerous semiconductor plants in South Korea, Taiwan, and all across Asia have been made sick due to the hazardous substances and materials they worked with to make the components required to operate the millions of electronic and digital devices that we have become so dependent on.

Without being provided proper education about the extremely toxic nature of the components and the lack of adequately effective Personal Protective Equipment (PPEs), the health and well being of thousands of women were and continue to be in danger. These women weren’t warned that upon entering the so-called “clean rooms” their lives were being put at risk, that the likelihood of developing cancer, debilitating chronic illnesses that affect their cognitive abilities, hormonal imbalances, and even infertility would rise significantly the moment they stepped through those hermetically sealed doors.

In Colorless, Odorless, Lee Eunhee dives into years of archival footage beginning with promotional news videos extolling the virtuousness of Samsung being a leader in hiring women in a developing industry. She investigates the contradiction of a company and industry being praised for advancing South Korea’s place on the world stage economically and technologically, but the wellbeing of the very women who made the company the success it became were completely and intentionally ignored.

Through multiple discussions with former workers, their family members who campaign for accountability of their deceased loved ones, activists groups such as the researchers and academics studying the environmental and social impact of the chemical waste from the factories, Eunhee creates a very clear picture of how capitalism and social expectations create an environment of pressure where victims are forced to keep silent through a sense of guilt in order for the company and by extension their respective countries to save face.

In candid discussions with her, the women spoke candidly of the pain they suffer from illnesses and multiple surgeries, and feeling conflicted about the social cost of breaking their silence. In Taiwan, she interviewed activists from the Taiwan International Workers Union, who are working tirelessly to bring awareness to just how dangerous these clean rooms are, and the steep price workers are being made to pay for the advancement of technology and people’s obsession with convenience and consumption.

Think of it. Just the consistent trend of companies like Samsung and Apple releasing new cell phone models proactively every year—or bi-annually in Apple’s case the pressure for workers in the semiconductor plants increases to a level to meet unreasonable demands we outside of those rooms can’t comprehend. And that’s what the documentary does. It asks the audience to take some time to think of just what is being required of the women and men working in these factories and the toll they and their families are being expected to suffer through and pay.

In my interview with Eunhee and the film’s producer Kim Shinjae, we spoke about Eunhee’s interest in connecting disability with technology, how her unique approach to filmmaking lead her research for Colorless, Odorless, and how her perception of technology and the way humans interact with it has changed as a result.

Note: This interview was conducted via video, and has been edited for clarity and length.

In looking at your biography and your work Eunhee, you have, I think, you have a very particular interest in studying the human body and technology, and how we as humans have integrated into our society and cultures, and even our bodies, and you study the ways we move our bodies and how those are related. So, I want to ask you, when did your interest between the human body and technology begin and how did you hone in on such a specific field of observation as a filmmaker?

Eunhee: The interest in technology and the phenomenon that is related to technology has already started since I first began making art. For me, technology is actually a very easy way to understand how society functions, because it is ultimately a human creation. It’s not something from out in space. But it is a product of our cultural or economic systems.

When I encounter something problematic or revealing within the tech-industry, or within technological culture more broadly, I feel like it gives insight into how people interact, how we perceive the human body.

I started to make work related to this when I began studying at the art university in 2012, and it just has been a very long continuation of that subject till now.

Also, I must mention my experience of working at a metal manufacturing factory for four years starting in 2018. The factory was dealing with the material used in the production of technological devices and machines. There, I realized how all these digital products come from very physical materials. All these virtual things from the digital world…these intangible things are made of, you know, the materials extracted from the Earth.

Then I started to trace the full life cycle of technological objects, how they are made, consumed, or how they’re disposed of. It ended up with me making Colorless, Odorless, which is about the human cost of producing state-of-the-art technology.

Yes. I watched some of the short films that you have on the website, and a few of them stuck out to me, like, for instance, The Flat Blue Sky (2016), AHANDINACAP (2020), and Mechanics of Stress (2023), which deals with the stress test that engineers use to test things like steel beams, and concrete, to see how much pressure they can sustain before they break and fall apart and shatter becoming useless or a danger us. And in AHANDINACAP, you dealt with how disabled people use technology to help with their disability, but the way you look at it is very interesting, as you talk about people wanting to fix disability, not necessarily for the benefit of the disabled, but for the benefit of society.

Society advocates for fixing disabled people so they can work and therefore be seen as productive and useful to society, as though people are only useful as disabled people if we can be profitable and beneficial, and I kind of saw this throughline in all of your films.

So, I want to ask you just about that, about looking at disability, because it does tie into Colorless, Odorless, because it’s talking technology, working with technology itself disables the workers. It disables these women. But before you get to how technology disables us, a lot of your films are about how we use technology to “stop being disabled.” So just talk to me about that particular aspect of your previous work.

Eunhee: I think by the time I got to learn about disability studies, it completely changed the perspective of how I looked at society. What disability studies suggest is that impairments are not defined by physical deficiencies, but rather by how society labels and interprets them. In this way, disability studies challenge and subvert the traditional understanding of disability and its relationship with society. It also made me reconsider the idea of “defect”. Perhaps what defines something as a defect might be the result of social norms and perspectives, rather than the condition itself.

It was a perspective shift for me, and I wanted to carry it over into how I think about technology. You know, technology can also be broken or dysfunctional, and at some point it should be repaired, or it should be disposed of. Who’s gonna repair that? Today, we often imagine technology as something that will fix us, something that is evolving beyond us. But technology also relies on human labor to function. When it breaks down, it is human – often invisible workers – who fix and maintain it.

This also made me reconsider what “work” means. The act of working is not just an economic pursuit. The people that I met during the film production, who had worked over 20 years in semiconductor factories, they didn’t just work for money or survival. They took pride in their work, devoting their youth to it.

Their stories and the environments they worked it, reveal so much about human experience. That is where the connection lies for me, in asking what labor is, what its value is, how it is entangled with technology and machines. This interaction is not just linear or one directional, they are interconnected.

Shinjae: To add some additional context, she was always interested in the underlying aspects of cutting-edge technology. But at the same time, actually, she started from books she read related to her personal experience.

Eunhee: It doesn’t come from something I directly experienced. I’ve been more of a caregiver. One of my family members has been very sick, and we have gone through many treatments and rounds of rehabilitation. As a caregiver, I got to encounter a range of new medical technologies and treatments in hospital.

Some of them feel almost like simulations. Like VR-based therapy or large mechanical frames that suspend patients like marionettes to make them walk. It gave me the feeling of doubts: Does that really help? It seems that technology must advance and constantly invent something new. But I feel like this non-stop innovation and creation are driven more by the economic demand than human necessity.

Shinjae: So for me, it was interesting because Eunhee was connecting her interest to labor in a way that was more obvious than her previous works. She was connecting sick bodies and defects of the machinery and defects in the industry and also our society as well. So, I think working with her, I could also follow the underlying connected layers in everything you know. All the digital devices and so on.

Carolyn: Is that what made you interested in working with Eunhee? Because, in looking at the write-ups of some of the film projects, I noticed that your first write-up is around 2022, and that was for Machines Don’t Die. So was that when the two of you began collaborating together?

Eunhee: We already had a good understanding of each other’s interest since I participated in a group exhibition curated by Shinjae, before we actually started making Machines Don’t Die (2022) together as the artist and the producer. The collaboration was suggested by Shinjae, commissioned by the Seoul Museum of Art.

Even though the settings and factories in the film are in South Korea and it’s dealing with situations that specifically affect South Korean people, it can be applied globally because we all use technology. We use Samsung products. My phone is a Samsung.

Shinjae: Yes, you’re right.

Eunhee: And there’s iPhones.

For you, Shinjae, as a curator, when you began working with Eunhee, you mentioned that you saw certain throughlines in the stories, and because of the type of work that Eunhee does is very experimental and she’s dealing with very specific ideas of humanity and technology and our place in culture and society in relation to technology, as a producer, how do you support and facilitate an artist like Eunhee when there might be people who don’t quite understand what she’s going for thematically and artistically?

I imagine that in order to facilitate her you have to have a deep understanding of her art and what she’s thinking to in a sense interpret her work for others.

Shinjae: You mentioned the word facilitator, and actually, I think that my role is not like a typical film producer, but more of a mediator or translator.

If I can mention a bit about my background, my undergraduate was actually in art studies, but I studied creative writing for the MFA. So, I don’t feel like a museum person. I’m more interested in production, and, you know, producing something, rather than reading or distancing myself from the work. So I started my career as an intern from KOFIC, and there, my role was collecting screeners back then, and DVDs and CDs for the programmers at Cannes and Venice and… people who were going to take a look at all the Korean films there at the viewing room. KOFIC provides support to the filmmakers and festivals in that aspect.

Back then as an intern, I was visiting Venice Film Festival for the Korean Film Night, and I remember that I thought “Oh, I have to be here with something, rather than just supporting or organizing a party.” there. I think that was kind of the seed for me. Afterwards, I started working at the DMZ International Documentary Film Festival, but my interest was very specific, because my interest started with non fiction films produced by filmmakers who have visual art backgrounds. Afterwards, I felt maybe artist films and lens-based works by visual artists can be something I worked on in the future, and maybe I could be the mediator for that. So afterwards, I worked at an international sales and distribution company for boutique Asian arts documentaries.

But it was very short, seven or eight months, and then…I don’t know, just my life brought me to the arts scene and I served as a contracted curatorial assistant for Sharjah Art Foundation and the Asian Art Center Theatre, Museum of Modern and Contemporary Arts, Korea in the film and video department, and Seoul Mediacity Biennale later. There, I worked with several art producers who worked with visual artists outside of Korea, but here in Korea, especially in the visual arts scene, normally you get a maximum of $8,000 for the visual artist to make a moving image.

Carolyn: That’s not a lot of money.

Shinjae: No, that’s not a lot at all. So, you know, it’s not possible for the artist, for the project, the film producers can be involved, you know, they cannot even pay for that sometimes. But I thought, oh, we need film producers here. That’s why I started my research about moving image production and I visited European countries first, because there was a kind of moving image production and distribution initiative called On & For Production and Distribution, organized by four artists and a producer collective in Brussels.

I also visited Paris and met an independent curator and film producer from Guadeloupe now based in France who organized screenings in his space called Espace Khiasma, and who also works with artists and filmmakers such as Eric Baudelaire and Mati Diop. Then I went to Bangkok to look into their artist film scene. I was following my own interests to understand how the ecosystem worked because I couldn’t have a role model here in Korea, because I didn’t want to be a typical producer in the film industry who makes documentary feature films or a performance producer.

I also drew references from dance performances and non-traditional performance productions. It took me several years to fully recognize and embrace artist film production as part of my curatorial practice.

Eunhee, something that I talk about a lot on social media is how as humans, we create technology, we create things, and we turn around and worship them, and in a sense I see that related to what you said earlier about humans thinking that technology will fix us, and that’s happening since the advent of the internet, the worldwide web.

But I would say, more recently, within the last 20 years, with regards to our cell phones and TV, and now AI are almost seen as our gods. We’re never without our cell phones. We walk around with them in our hands even when not using them like they’re permanently attached to us. But, more recently, there’s something that I’m very worried about, and it’s AI.

There’s a movement within the AI tech space by people whom I call neotech-colonialists, who are trying to position AI, generativeAI as a type of newGod to humans. They’re saying things like ‘we’ve created this technology and it’s amazing. So amazing that it’s better than us human beings. ‘So now, I’d like to ask you to talk about that concept of worshiping technology, even though we’re the ones who built it and also need to fix it, because how can something that we consider a God need repairing by the same people who created it?

Talk a bit about that, because that does tie in a lot to Colorless, Orderless, and to these companies and the technology that these women and men in the semiconductor plants in South Korea and all across Asia are working with and manufacturing with their own hands and at the cost of their health are being looked at as being above them, above us by technocrats, men particularly wealthy white men in North America like Mark Zuckerberg and Elon Musk, which in itself is an irony.

Eunhee: That’s a difficult question.

Carolyn: I know.

Eunhee: People often ask me after seeing my work, “So, do you want to say that technology is bad? in a dystopian way, it is going to harm us?” and I cannot really say I agree with that. I don’t want to define technology into one single justification. Technology is not one simple thing, it’s a complex entanglement of many elements of human society.

I don’t think we worship technology itself. What we’ve worshiped is probably money. Tech industries are fueled by the stock market speculation. Companies like Samsung and TSMC are not just corporations, they are deeply tied to global capital. Their growth is a shared desire, not just of CEOs, but of shareholders, governments and the public who associate these companies with national development.

This kind of collective pressure builds up all these problems sometimes. When problems arise, instead of addressing them, companies often try to cover them up, with the fear of damaging their market value and reputation.

One example is the health risks affecting the female factory workers that were hidden for a long time. The semiconductor industry in South Korea is supported by the whole nation, as the chance of economical leap. A lot of the media back then framed women workers as symbols of national development, praising their “nimble fingers” and their natural suitability for delicate tasks. But the health issue has never been focused on. People wanted to believe that these advancements were purely good, that they would make us rich and improve our lives.

So, worship of technology is not the main point. It’s more about how our collective desires are projected onto it. Our desire for wealth, control, speed, and flawlessness. For example, I think surveillance technology reflects a human desire to know everything, to see without deeper investigation, to simplify complex realities into simple data.

Carolyn: Yeah. It’s about simplification and instant gratification using technology.

Shinjae: I think you already know, but historically, big companies like Samsung have been supported by the government and politicians and they work closely with Samsung. There was even a situation when the vice president of Samsung was jailed for offering bribes in response to the president’s request for support.

So, actually, I’m living close to the Samsung semiconductor factory complex in which one of the interviewees in the film worked. Along the roads, I saw banners celebrating the selection of our region as the site for the semiconductor industry cluster under the previous administration.

Carolyn: The interview subject in the film you referred to is the lady who worked on the processing line and got sick with ear infections and had to have a hysterectomy, correct?

Shinjae: That’s right.

So we’re really getting into the meat of the film now. You’ve both mentioned how Samsung the company itself is seen as the pride of South Korea because it’s known the world over by everyone and we’ve spoken of how Samsung devices are used the world over, so now I want to talk about the women themselves.

The film begins with the story of Hwang Yumi, who died at 22 years old of acute leukaemia in 2007. She worked for Samsung on the semiconductor processing production line. Eunhee, I read online that there had been another company from which Samsung had bought out the rights to operate their semiconductor plants and basically took control of the whole industry in South Korea around 1974. And as you mentioned Eunhee, in their marketing they spoke of women being suited to those jobs of building the delicate parts because of their strength and nimble fingers and as seen in some of the archival footage used in the film.

I found it particularly interesting the company used women working in the plant as a way to position it as being feminist. As the company was being supportive of women and women’s rights, and their right to work in tech spaces. This was different because at this point in time tech and sciences were very male dominated fields. And initially this seemed like a good thing, but as Samsung was using the message of equality, women were (and still are) the predominant victims of the company’s negligence. They were becoming sick due to the lack of care for their health. They didn’t have proper PPEs, or proper training on how to work with the components and all of the toxic chemicals used in the process of making them.

There wasn’t proper ventilation or sanitary conditions. In watching the film these images really stood out to me through the discussions with all of the South Korean and Taiwanese workers and activists whom you spoke to. The conditions of those labs and the perceptions people have of them are what prompted the title of the film.

Inside these factories are the famed “clean rooms”, places where all the considerations of cleanliness are for the products being made, but not for the humans making them. To track their production tasks, workers keep what are known as a “clean note”, and Hwang Yu-mi has one and because of the treatment it received to keep it free of contaminants, her book has outlasted her. And that really shook me. It struck me that the reason we have a record of how she felt sick is because the company has stricter protocols of how she had to care for it than the company had for her life.

Eunhee: The image of the “clean note” and the issues of health risks faced by semiconductor factory workers were already exposed in several documentaries and media around 2014, which was 10 years ago.

So, many Koreans were aware of these incidents then. But they don’t know that even 10 years later, the same things are still happening. Not only in Samsung but across many other companies, including outsourcing firms and factories in other countries. The same pattern keeps repeating where the female workers are being silenced, especially because a lot of the diseases and sicknesses that they get were so private.

For example, the risks to their reproductive health. A lot of women working in the semiconductor factories experience of miscarriage. Because those issues are seen as “women’s problems”, they were discouraged from speaking out. These silencing strategies are very effective for the company, especially because the causes of illness are invisible—there’s no obvious substance to blame, no clear proof to point to.

The women workers were not able to share their experience to the public, not just because of shame, but also because of the pride they once had in being employed by a prestigious company.

The people I met; they often said “Can I even talk about this? I was proud to work there. I don’t want people to think I’m just complaining.” and I think it happens very strategically in this semiconductor or electronic industry, not only in Korea, and that’s why I thought we must talk about this issue in the film.

Although that earlier documentary raised public awareness, these issues were never truly resolved in 2014. Many people think “Oh, we thought it was actually finished. We thought the government was dealing with it. We thought the environment in the factories got better.” But it is not. A lot of the testimony of the female South Korean workers and the migrant workers are still saying exactly the same thing as was said 10 years ago.

In this film, we didn’t just focus on Samsung, but also on its outsourcing companies. Tighter regulations have led major corporations to offload dangerous or toxic work to subcontractors, both locally and overseas. This isn’t unique to Samsung—it’s also happening in places like Taiwan, where the economic strategy similarly relies on electronic manufacturing.

Workers in Taiwan who produce iPhones or ASUS laptops shared similar stories. Female workers are suffering from breast cancer and other cancers, but with almost no media coverage. So, yeah, I think I wanted to update the story that have not been resolved yet.

The other thing that really stood out to me with the film’s title Colorless, Odorless not only because it relates the invisibility of the vaporised chemicals in the atmosphere of the clean rooms, some of them also don’t have odors. And with the colorless, and odorlessness, the film really made me think about how they also come with silence. So like, those three things can kind of go hand in hand, colorless, odorless, and silence, with regards to the women not being able to speak out. They’ve been essentially silenced by the job itself, even if the company doesn’t have to necessarily exert pressure on them directly.

They’re also silenced by the expectations society placed on them for having these jobs by saying “You’re a woman working this field, so you should be grateful. You can provide for your family, you can buy food, you can buy clothing.”, so as you were saying it creates this idea that these women I don’t have the right to speak up because they are grateful for what this job has provided for them. Even as it’s killing them.

Close to the end of the film, the same former Samsung employee you spoke of earlier does say that that’s what makes her feel very conflicted which she revealed when she said ” I don’t work there anymore, but I’m still living with the effects of this.”

There always comes a time when we have to ask if the silence is worth it? Is the silence worth the consequences, you know? And, and I think that’s something really important the film made me think about and it’s not just about what happens inside the factories. It’s about what happens outside of them, because what happens there doesn’t stay there. It spreads out, and not just with regards to the toxic chemicals leaching into the water and into the environment, but it affects their lives, their families and I think the society as well because even though people might not think about it like but as is highlighted in the film thousands of people have died from this, and that has an effect on society, that affects the population.

So I was wondering if I was thinking too much about this, but as I pay attention to South Korean politics and culture there’s a situation that’s become quite a significant worry for the country right now is the drastic drop in the human birth rate. And I was thinking, if you have from just one company, Samsung in this case, a situation that for thousands of women has caused their deaths, chronic illnesses that lead to the inability to have children, and for those who do have children they’re born with physical and cognitive disabilities, which means they also can’t go on to have children.

I just kept thinking this one ‘situation’ alone could have a dramatic effect on the birth rate, because these are people that can’t, in a way, contribute to the population numbers. So I was wondering, am I thinking about this too much, but I…don’t think I am.

Shinjae: It’s the same for me, I’ve been interested in the aftermath of the East Japan earthquake (2011) from the perspective of [it being a] slow disaster because of the radioactive contamination there, and the contaminated water coming from Japan. But in the process of my research on this, I’ve realized that this is also a slow disaster happening in our bodies.

I want us to talk a bit now about the activists whom you spoke to in Taiwan, because in my research, I saw that while South Korea is one of the largest manufacturers of the chips for semiconductors, TTaiwan actually has the most semiconductor plants, and next to South Korea, Taiwan is the largest producers and manufacturers of electronics like laptops, PCs, printers, and cell phone components.

Tell me about going to Taiwan and speaking to the members of various activist organizations like the Taiwan International Workers Union. You spoke to them about their work in the lamination labs, clean rooms, and the occupational injuries suffered in places like Tao Yan.

Is there anything you were surprised to learn about specific instances that happened in Taiwan, that you perhaps may not have observed with South Korea?

Eunhee: I found more similarities than differences between the cases in Taiwan and Korea. The history of the RCA factory’s arrival in Taiwan, how this American factory came to Taiwan and the entire nation rallied around electronics production as a pathway to economic growth. Also, the mass number of women employed to RCA is very similar to cases in South Korea.

It was the same pattern the women workers were not informed about the dangers of the chemicals they were handling. They were not given proper masks or bodysuits to protect themselves. There was also the social pressure of working in a good company, being silenced.

But the thing is, this problem surfaced a bit earlier in Taiwan. As a result, NGOs, independent media, and civil rights groups there have a longer and somewhat stronger history of activism around these issues. But they also have a much higher number of deaths from cancers and other illnesses linked to toxic exposures in the factories.

When I reached out to visit, they welcomed me right away. They had a goal. Not just compensation—they’re now trying to build a memorial park where the RCA factory used to stand. Since the factory has been shut down, they want that place to remind people of the risks involved in this kind of work. I was honestly very moved by how clear and motivated they were about their vision for the future.

We also tried to go to Vietnam, but the NGO that we contacted said they were under surveillance by the government, so the visit was postponed. The Vietnamese government seems to be ignoring the issue—because companies like Samsung making factories in their country are so important for the economy.

It’s just like when the American company RCA came to Taiwan, it was great for their economy, so they close their eyes to other dangerous risks, and now in Vietnam women are getting sick.

To close out the interview, something that you said in the film that I found very poignant is that the only evidence they women have are the testimonies of their bodies because there’s no written evidence. All they have are their memories of the smells and experiences, and it made me think of the Radium Girls who died of radiation poisoning from working in watch factories.

The evidence they had of what happened to them was their bodies becoming sick after working in those factories, and how they glowed in their graves.

So, I’d like you to talk about the body being the testimony of an invisible force harming these women.

Eunhee: But the sad thing is, even though there’s medical evidence—like documents, test results, MRIs—that show harm to the body, it often doesn’t help in court. The factories always deny responsibility, even when the data is there.

So in my work, I don’t try to scientifically prove that “this specific illness was caused by this specific chemical”, because that’s not my role. I don’t want people seeing this work to have doubts like “Are they really sure that they got sick in the semiconductor factory? Maybe they want something else.”

What I try to do is make the audience feel connected, to these women workers, to the interviewees. For example, one of the women I interviewed had undergone ear surgery, and she shared her MRI scans with me. And I put a lot of effort into using certain sound and visual effects so that people can receive or feel some emotion towards them.

I used their words, their stories, and their actual bodily images, so that the audience can imagine themselves in those situations. To think, “Maybe this isn’t just some distant woman’s story. Maybe it’s connected to me too.” Or people would also begin to reflect on the devices they use every day—the phones in their hands, the laptops they type on—and realize that these things were made by people like her.

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

#JeonjuIFF2025 #ColorlessOrderless #DirectorLeeEunhee #ProducerKimShinja #kcrush #kcrushfilminterview #film #semiconductor #manmade #kcrushamerica #kcrushmagazine #kcrushnews #radiationpoising #Taiwan #TheFlatBlueSky2016 #technology #disabled #AHANDINACAP

Credit: Sony Music Entertainment Korea

WATCH “BabyDon’tCry=BreakingTheLove” HERE

LISTEN TO “BabyDon’tCry=BreakingTheLove” HERE

Ethereal up-and-coming girl group, cosmosy, returns with their second official single, “BabyDon’tCry=BreakingTheLove,” a delicate blend of classical and electronic roots, an emotionally stirring melody intertwined with an intense rhythm to create a deeply immersive experience. Following their official debut single, “Lucky=One,” which has amassed over 13 million streams across YouTube and Spotify, the song features 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.

“BabyDon’tCry=BreakingTheLove” is a track that captures the resolute determination of young women to break free from love tainted by hypocrisy and lies, and to protect their true feelings and one another. The song delivers an immersive experience through a masterful blend of classical and electronic elements, where emotive melodies intertwine with intense rhythms. A heavy bass synth grounds the track, while the gradually building energy of the drums meticulously amplifies its emotional intensity. By boldly breaking away from the conventional verse-chorus structure, the song intensifies its sense of tension and immersion as it builds toward the climax, with emotions and energy rising distinctly in the latter half.

cosmosy is a four-member ensemble under the label, Sony Music Entertainment Korea and management company NTT docomo Studio&Live. The group initially pre-debuted on December 31, 2024, and has now expanded their reach globally 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 as a global pop group. 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.

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.

(Photo Credit: Sony Music Entertainment Korea)

About cosmosy

‘cosmosy’ is a Japanese four-member girl group consisting of himesha, de_hana, kamión, and a’mei. The group’s name symbolizes “the possibilities of youth,” “the infinite universe,” and “growth and conflict,” carrying the meaning of COSMOS of Youth. Their official debut is with BLACKPINK’s Creative Director SINXITY’s lead along with creative teams that have worked on numerous K-Pop artists such as aespa, IVE, LE SSERAFIM, TXT, IU, and Red Velvet, and more.

Connect with cosmosy: Instagram | YouTube | Twitter | TikTok

#cosmosy #electricsound #JPop #Japanesesingers #kcrush #SINXITY #newsingle #BabyDontCryBreakingTheLove #cosmosygirlgroup #kcrushmagazine #kcrushamerica #pop #SonyMusicEntertainmetKorea #Japan #global #NTTdocomoStudioandLive #himesha #dehana #kamión #a’mei #fourmembergroup #LuckyOne

From idol to entrepreneur! 💼✨ These K-Pop stars didn’t just dominate the stage—they’ve also made bold moves into the business world. Whether it’s launching fashion brands, running restaurants, or founding entertainment companies, these idols are building legacies beyond music.

💡 Featuring:

G-Dragon (BIGBANG), Jessica Jung (Former SNSD), Sandara Park (2NE1), Baekhyun (EXO), Leeteuk (Super Junior), Sooyoung (SNSD), Jaejoong (JYJ), Zico (Block B), Jay Park (Former 2PM), and Rain.

Explore how they turned their star power into CEO status!

📌 For more K-Pop news & deep dives, visit: kcrush.com

#KpopIdols #KpopBusiness #KpopEntrepreneurs #GDragon #JessicaJung #SandaraPark #Baekhyun #Leeteuk #Sooyoung #Jaejoong #Zico #JayPark #Rain #Kpop2025 #KpopNews #kcrush

Trigger Warning: Article discusses suicide and depression. Please scroll to the bottom of the article for links and numbers to helpful sources. You are not alone.

On December 18, 2017, many heard the news that SHINee’s Kim Jonghyun passed away. The 27-years-old was more than just the leader of one of the world’s biggest K-Pop groups, he was also someone’s role model, a brother, a friend, a son, and a human being whose job was to entertain people. The latter is something many lose sight of as we put pop stars and other celebrities on a pedestal and treat them like royalty. However, they are just people who train for years— often giving up their childhoods— to do a job that many of us dream about growing up.

Early reports indicate that Jonghyun committed suicide based on text messages he sent and evidence at the scene. As of the evening of December 18, there is a translation of a note making the rounds on social and news media circuits. As a warning, it is difficult to read and provides insight into Jonghyun’s thoughts and the despair he felt prior to taking his own life.

The news of his death is particularly shocking because Jonghyun was a vibrant soul who wasn’t just known for his music: He was also well-known for his support of the LGBTQ+ community and for reaching out to those in need. As with any death of someone well-known and loved, the news is sudden, shocking, and hard to absorb.

Sadly, he joins a sad and not-so-lonely club of celebrities who’ve died tragically due to suicide. Many of us fail to see the signs of the dark monster of depression that often consumes them. For those of us who stand in the crowds engaged in fan chants and applause, we see the glamour and the sparkling façade of dreams achieved, but we fail to see the shadows tucked away in the deepest corners of the stage. As celebrities, they are expected to put their best faces forward despite what they feel on the inside. For fans, especially young fans, the happiness and charisma celebrities exude on-stage and during fan interactions are what many think is a 24/7-personality. However, we don’t see what it’s like on the inside—what the head and heart truly feel—on days when they’re home away from the cheers, media, and the hot glow of stage lights.

Here, this is where fans fail. Many fans cannot differentiate between the person and the star. Celebrity is nothing more than glorified cosplay. Fans celebrate the perfectly crafted personalities and images agencies create to keep fans happy and buying merchandise emblazoned with their biases’ faces. Fans feel they know the person personally and know everything about him or her while feeling as if they own the air a celebrity breathes. This often turns into abusive behavior and hateful comments vomited online by people who hide behind computer screens. This can be viewed as manipulative and controlling behavior to get a star to act and do exactly as fans dictate, but at the root of it, it’s venom that poisons a world that should bring people together and unite people in joy. Instead, it’s a bitter, stressful environment that not only wears on different fandoms, but on the stars people claim they love. No one stops to think about the person wearing the celebrity mask.

We do not see people. We only see what we want to see.

This is where society fails. People gravitate to the feel-good portions of life and shun the darkness. People fail to see human suffering because it’s not fun or pretty. People who struggle with mental illness know this all too well.

Sometimes, we’re forgotten or shunned because we’re an enigma; sometimes even our own friends walk away from us because our mental and emotional storms are too much to handle. For many, we’re not even human, so we put up a front to be loved, accepted, and humanized in a world that is cold to the struggles of others. The world made up of billions of people becomes a lonely place. A quote from the TV show Person of Interest (2011-2016) becomes a stark reality: “In the end we’re alone, and no one’s coming to save you.” We become the shadows people fear.

For those who dare to walk into our shadows, you are the light even if you do not realize it.

Today, it seems like the world is a dark and hopeless place. There is so much hate. Anymore, compassion is hard to find. As a society, we need to make more of a concentrated effort to be kind and to help others because we truly do not know what lies beneath in someone’s life. You hear the clichéd stories like, “that homeless man you see on the street that people harass? He may be suffering from PTSD following his third tour in Iraq. That girl you bully on the bus? She struggles with depression because her mother is dying of cancer…” Unfortunately, these are the realities millions of people face every day.

Those of us with mental illness are trying our best and working on surviving every day.

According to the World Health Organization (WHO), over 300 million people worldwide suffer from some form of depression or mental illness. That’s close to five percent of the world’s population. According to WHO’s 2017 fact sheet, 800,000 people commit suicide a year; it is the second-leading cause of death for people between the ages of 15 and 29. WHO also shares that fewer than 10 percent of this population receives adequate mental health care. This needs to change. It needs to change now. It needs to change fast.

Jonghyun’s passing, as expected, is hitting the K-Pop community hard, not just Shawols. While it’s okay to mourn the loss of his music, the loss of a leader, and the loss of a role model, it’s important to keep in mind that depression and suicide are much bigger than K-Pop. It is a global issue. It’s like tossing a stone into water. First, the ripples start small and grow to where the whole pond is disturbed. Eventually, the ripple reaches shore and affects those near it as well.

Sadly, Jonghyun’s death adds another layer to the mental illness discussion and the questions friends, family, and colleagues will inevitably ask: Were there signs? Did we miss something when we were with him? Did we not pick up on something the last time we talked? Did we love him enough? What if I checked my phone sooner? The what ifs will weigh just as heavily as the action. Fans and people closest to Jonghyun may scrutinize over every social media post, every performance, and his actions leading up to December 18 trying to find that one clue that lead to what occurred. Perhaps there may be something. Perhaps there is nothing at all.

Unfortunately, when a celebrity like Jonghyun passes, there is the fear of copycats from fans and those who suffer from depression and suicidal tendencies. Some of these fears stem from the news reporting the story, unhealthy idolization of the celebrity or friend, and a perceived deep connection to the deceased. For Shawols and K-Pop fans alike, it’s important to talk and reach out to someone if you are feeling sad or affected by the news. There’s no shame in talking to a parent, a teacher, a guidance counselor, or calling a helpline in a time of need. It’s important to keep in mind that even in the darkest of days, there is never any shame in reaching out for help.

Despite some fanwars that occur in the K-Pop fandom, the overall fandom is a tight-knit community that needs to weather this storm as everyone tries to grasp the suddenness of Jonghyun’s passing. This is a time to come together to help those hurting and those who are most volatile, especially with many K-Pop fans falling into the pre-teen/teen category. Now is the time to discuss mental health and to push for stronger awareness and care. Now is time to help eliminate the stigma.

As a society, people need to show more compassion. No one’s stories are the same: Everyone has a battle. Reach out to your fellow person and don’t be afraid to genuinely ask how that person is doing. Listen. Listen to their fears, their sadness, their hearts… don’t shun them or turn them away because you find them difficult or draining. Do your best to be there. Don’t assume that a smile means everything is okay.

Be kind.

While it’s not a cure-all for mental illness and depression, it’s a step in the right direction.

A post shared by SM Entertainment Group (@smtown) on Dec 18, 2017 at 4:57pm PST

If you or someone you love is struggling with depression, there is help.

United States

American Foundation for Suicide Prevention: Call 1-800-273-TALK (8255)

Crisis Text Line: A 24/7 nationwide text-messaging hotline. Text 741741 to talk to a trained counselor.

National Suicide Prevention Lifeline: Call 1-800-273-8255- Available 24 hours every day.

The Trevor Project: Call 1-866-488-7386. Crisis and suicide prevention services available to the LGBTQ+ community.

Trans Lifeline: Call (877) 565-8860. Crisis and suicide prevention services for trans and non-binary individuals.

Veterans Crisis Line: Call 1-800-273-8255 and press 1 for help. Text 838255 for text-based services. This service aids veterans.

Canada

Kids Help Phone: Call 1-800-668-6868. A 24-hour service for youths 20 and under.

The Canadian Association for Suicide Prevention: Assistance is available in French and English. However, they are not a crisis center, but they do have links to crisis centers in each Canadian province.

Trans Lifeline: Call (877) 330-6366

Youthspace: This service helps people aged 30 and under. Text them at 778-783-0177. The service is available from 6pm to midnight PST.

For a complete list of suicide and crisis lifelines available in many countries, please visit Wikipedia’s list of resources.

—-Joelle Halon

https://www.mixcloud.com/KpopClubNight/super-fresh-kpop-mix-july-2025-by-dj-yuka-k/

Get your to-do list done in no time by blasting this brand-new mix from Yuka recorded last night! It’s got all the new songs of the summer that YOU NEED to know! Click here to listen now on mixcloud (you don’t need the app or a log-in to play it).

ARE YOU TURNING UP? IT’S GOING DOWN!

K-pop Club Night Upcoming Dates July 2025

Date	City	Venue	Age	DJ(s)	Tickets	Discount Code
July 18	Chicago	Stereo	21+	DJ Chen	Tickets	BLINK
July 19	Ottawa	Sky	19+	DJ Yuka	Tickets	BLINK
July 19	Salt Lake City	Soundwell	18+	DJ Chen	Tickets
July 25	Philadelphia	Fringe Bar	21+	DJ Chen	Tickets
July 25	Edmonton	The Rec Room	18+	DJ Yuka	Tickets	BLINK
July 26	Boston	Royale Boston	18+	DJ Chen	Tickets	BLINK
July 26	Calgary	The Rec Room	18+	DJ Yuka	Tickets	BLINK
Aug 2	Myrtle Beach	House Of Blues	18+	DJ Chen	Tickets
Aug 8	Atlanta	The Masquerade	18+	DJ Chen	Tickets
Aug 9	New York	Irving Plaza	18+	DJ Chen + DJ Angie	Tickets
Aug 16	Toronto	The Rec Room	19+	DJ Yuka	Tickets	BLINK
Aug 22	Houston	NOTO	18+	DJ Chen	Tickets	BLINK
Aug 23	Austin	Parish	18+	DJ Chen	Tickets
Sept 5	Los Angeles	TBA	18+	DJ Chen	Coming soon
Sept 6	Seattle	Ora	21+	DJ Chen	Tickets
Sept 13	Nashville	Vinyl Lounge	18+	DJ Chen	Tickets
Sept 19	Dallas	Art Co	18+	DJ Chen	Tickets
Sept 19	New Orleans	Arora	18+	DJ Angie	Tickets
Sept 20	Detroit	The Loving Touch	18+	DJ Angie	Tickets
Sept 20	Las Vegas	Fremont Country Club	21+	DJ Chen	Tickets
Sept 20	London	The Rec Room	19+	DJ Yuka	Tickets
Sept 27	Washington DC	The Howard	18+	DJ Chen & DJ Angie	Coming soon
Oct 11	Winnipeg	The Rec Room	18+	DJ Yuka	Tickets
Oct 18	Minneapolis	TBA	18+	TBA	Coming soon
Oct 25	Montreal	Ausgang Plaza	18+	DJ Yuka	Tickets
Nov 29	Columbus	Skully’s	18+	DJ Chen	Coming soon

See you on the dance-floor!

FOLLOW AND TAG

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‘Doctor X’ – Japan’s Longest-Running Medical Drama

In the world of Japanese dramas, few series have carved a legacy as bold and enduring as ‘Doctor‑X’. Since its debut in 2012, this medical drama has captivated viewers with its fierce protagonist, gripping surgical scenes, and unapologetic critique of hospital bureaucracy. While Japanese dramas often go unnoticed in global conversations dominated by K-dramas, ‘Doctor‑X’ has consistently delivered top-tier ratings, iconic catchphrases, and a loyal fanbase that stretches across continents.

The Unstoppable Dr. Daimon

At the heart of ‘Doctor‑X’ is Michiko Daimon, portrayed by the acclaimed actress Ryōko Yonekura. Daimon isn’t your typical white-coated heroine. She’s a freelance surgeon who floats from one university hospital to another, armed with unmatched surgical skills. She is known for her sharp tongue and the “I never fail.” signature line. What sets her apart isn’t just her talent—it’s her refusal to conform. She scoffs at authority, rolls her eyes at pompous hospital directors, and walks away from political games without a second thought. In a world where hierarchy is everything, Daimon dares to be different.

A Legacy of Excellence

‘Doctor‑X’ first aired in October 2012 on TV Asahi. Over the course of seven seasons and multiple specials, it consistently dominated prime-time slots, peaking at over 23% average viewership in Season 2—an impressive feat in Japan’s competitive TV landscape. Each season brings a new hospital, a fresh batch of enemies, and even more impossible surgeries. The formula is familiar, yet somehow never gets stale—thanks to Daimon’s larger-than-life persona and the biting satire that threads through each episode. Despite its episodic format, the show manages to touch on serious issues: medical ethics, corruption, and the rigid structures of Japan’s healthcare system. But it does so with flair, humor, and a touch of rebellion.

Where Can You Watch It?

Finding ‘Doctor‑X’ with English subtitles can be tricky, but not impossible. Seasons 1–4 are available with English subtitles in select regions on Amazon Prime Video. You can watch it on Netflix Japan using reliable VPNs. For later seasons, season 5 to 7, fans often turn to unofficial sites like kissasian.

Why It’s Still Worth Watching in 2025

Even though the latest season aired in 2021, ‘Doctor‑X’ feels timeless. Its themes—standing up against corruption, protecting life at all costs, and owning your power—still resonate deeply. And Ryōko Yonekura’s magnetic performance keeps the series fresh, even a decade after its debut. In an era where medical dramas often revolve around romantic subplots or tragic deaths, ‘Doctor‑X’ dares to be different. There’s little to no romance. No tragic backstory to make us pity the lead. Just a brilliant woman, doing what she does best—saving lives and defying expectations.

Final Thoughts

‘Doctor‑X’ is more than a medical drama—it’s a cultural phenomenon. With its strong feminist lead, satirical edge, and consistent quality, it’s no surprise it remains one of Japan’s most successful TV exports. For J-drama fans or curious newcomers looking to try something bold, smart, and a little bit rebellious, ‘Doctor‑X’ is a must-watch.

—-Karen Mwenda

#DoctorX #RyokoYonekura #Jdrama #Japanesedrama #kcrush #mustwatch #strongfemaledoctor #kcrushamerica #kissasian

WATCH HERE

LISTEN HERE

Flagship artist, JEON SOMI, makes her comeback after 11 months with her brand new single “EXTRA.” Putting aside her bubbly “high teen girl” image, JEON SOMI is taking on a more thought-provoking concept, marking a bold new step in her artistic journey. Watch HERE and listen HERE.

‘EXTRA’ is a dance track that captures the feeling of being just outside someone’s gaze – standing on the edge, watching from the sidelines. Personifying the feeling of being an extra in a movie – drifting through scenes without ever being fully seen – the track captures a sense of confusion and contradiction. JEON SOMI channels these complex emotions in ‘EXTRA’ through a polished new-disco sound, layered with a catchy hook, sleek melodies, and an infectious groove. With this release, she opens a new chapter – showcasing a deeper emotional range and a more refined sense of expression.

Set against a minimal yet striking soundscape, JEON SOMI’s effortlessly laid-back vocals heighten the track’s atmosphere. She portrays the moment of breaking free from the role of an extra – stepping forward and claiming the spotlight – with disarming honesty and assured confidence.

“EXTRA” is written by JEON SOMI, TEDDY and Vince along with 조윤경, 황유빈(XYXX), Alna Hofmeyr, Josh Allen and Shae Jacobs. The track is produced by VITALS and Shae Jacobs.

Photo Credit: THEBLACKLABEL

Follow JEON SOMI:

INSTAGRAM | TIKTOK | FACEBOOK | TWITTER

About JEON SOMI

Born as Ennik Somi Douma in 2001 in Ontario, Canada, JEON SOMI grew up in Seoul, South Korea. After several commercial ventures, JEON SOMI ultimately became known after winning Produce 101, a South Korean TV singing competition, and subsequently became part of the project girl group I.O.I. After winning first place on Korean reality singing competition Produce 101, the young musician joined THEBLACKLABEL and began her musical partnership with producer TEDDY.

JEON SOMI released her first full-length album “XOXO” with the single “Dumb Dumb” achieving 20M views in just 2 days and breaking into the Billboard 200. Her second single, also titled “XOXO” has surpassed 100M views in less than a month and cemented JEON SOMI as one of the top solo female artists of this generation. In Summer 2023, she released her brand-new EP entitled “GAME PLAN” along with the music video for “Fast Forward” which has amassed over 80M views and was the #1 Trending Music Videos Worldwide for 3 days.

Currently just 24 years young, JEON SOMI has garnered the attention of major global brands such as Prada, Louis Vuitton, L’OReal, The North Face & Lacoste while also producing her own line of makeup products called, ‘GLYF‘.

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 Vince.

#JeonSomi #TheBlackLabel #TEDDY #EXTRA #JeonSomiEXTRA #kcrush #dance #disco #partystyle #Vince #XXYX #kpop #kidol #newsingle #Alna #producedbyVITAL #kcrushamerica #kcrushmagazine #hallyu #koreanpop #kpopindustry #EXTRAMV

Netflix’s K-Pop Demon Hunters, released June 20, 2025, is topping streaming charts and music playlists worldwide. Mashing K-pop spectacle with supernatural fantasy, this animated phenomenon claims the #1 spot in over 40 countries and has fans spellbound by its visuals, choreography, and emotional depth. This film redefines K-pop fantasy, blending sleek K-pop aesthetics, high-stakes fantasy, and powerful music into a cultural phenomenon

Plot & Story

Set in a neon-soaked, myth-infused Korea, the film follows the dazzling K-pop girl group balancing sold-out performances with secret demon-slaying missions. Their singing’s sonic energy fuels the mystical “Honmoon” barrier, protecting humanity from the demon-king Gwi Ma. But peace shatters when the sinister rival boy band Saja Boys, led by demon-turned-idol Jinu, begins siphoning fan energy – threatening to collapse the barrier.

Creative Team

K-Pop Demon Hunters is directed by Maggie Kang and Chris Appelhans, and the screenplay by Kang, Appelhans, Danya Jimenez, and Hannah McMechan. The film fuses anime-inspired visuals and Korean heritage. Sony Pictures Imageworks took over the animation part, bringing neon stage lights, stylized action, and folkloric touches to life.

The voice cast, featuring mainly talented Korean-Americans, is as star-studded as the concept. Arden Cho (Rumi) is a singer, model, and actress (Teen Wolf TV series and Netflix’s Ingrid Yun). May Hong is a model and actress (Tale of the City drama). Ji-young Yoo (Zoey) is a model and actress (Until Dawn film). EJAE is a singer-songwriter and record producer. Audrey Nuna is an R&B singer and rapper. Rei Ami is a singer-songwriter and rapper. Rising K-drama star Ahn Hyo Seop plays Jinu, with vocals by Andrew Choi – a singer and composer under SM Entertainment.

The soundtrack—featuring hits like “Golden,” “Takedown” (by TWICE’s Jeongyeon, Jihyo & Chaeyoung), and “How It’s Done”—is produced by industry giants Teddy Park, Jenna Andrews, and THEBLACKLABEL, rivaling real-world K-pop releases.

Audience response

With cliffhangers hinting at Rumi and Jinu’s romantic history and Saja Boys’ true origins, fans are already demanding a K-Pop Demon Hunters 2. Rumors of collaborations with reputable groups like BTS are heating up, with creators teasing exciting future crossovers. This musical adventure isn’t just a film – it’s a franchise in the making.

—-Karen Mwenda

#KPopDemonHunters #DemonHunters #KPop #NetflixKPopDemonHunters #KoreanPop #Hallyu #KFantasy #kpopidol #kcrush #kcrushamerica #kcrushmagazine #Rumi #Jinu #SajaBoys #Kfranchiseinthemaking #globalcharts #KPopDemonHunterscharting #GoldenTWICE #TakedownTWICE #TeddyPark #JennaAndrews #THEBLACKLABE #SonyAnimation #Sony #ArdenCho #kculture #kfashion #AhnHyoSeop

Becoming the First Idol Group Composed of All Chinese Members to Chart with Consecutive Hit Singles

Credit: A2O Entertainment

Super Star girl group, A2O MAY, continues to impress critics as their newest single “BOSS” makes Mediabase’s Top 40 list. Landing at No. 35, it marks the highest placement ever achieved by a Chinese girl group and sets the record for the highest female Chinese artist in the U.S. Top 40 radio. A2O MAY is now the first group with all Chinese members to have two songs on the Top 40 list, further cementing them as international trailblazers in the music industry. “BOSS” has earned the group the highest charting of any Chinese girl group in Top 40 history, surpassing their breakout single “Under My Skin,” which peaked at No.39. This milestone marks two consecutive charting singles for the group, making A2O MAY the first-ever girl group with all Chinese members to achieve this feat on U.S. Top 40 radio — a groundbreaking moment in global pop history.

The Mediabase Top 40 chart, based on actual airplay data from over 180 major radio stations across the United States and Canada, serves as a key indicator of mainstream popularity. A2O MAY’s hit singles continue to resonate with North American audiences, a rare and impressive feat for a newly debuted girl group.

A2O MAY continues to soar as “BOSS” reaches over 30 million views on YouTube, establishing A2O MAY as beloved global artists worldwide. Alongside their success abroad, “BOSS” also excited domestic audiences, charting at No. 1 on QQ Music, one of China’s premier streaming platforms.

Guided by renowned producer Soo Man LEE, A2O MAY blends multicultural backgrounds and bilingual fluency in Chinese and English, positioning themselves as a pioneering voice of a new era in global pop culture. As representatives of the newly launched Zalpha Pop genre, a fusion of Gen Z/Alpha storytelling, CHENYU, SHIJIE, QUCHANG, MICHE, and KAT bring an authentic and boundary-breaking energy to every stage they step onto.

A2O MAY are coming off their first U.S. live performance at the KIIS FM Wango Tango Festival last month. They made a huge splash as they performed alongside top global artists, including Doja Cat, David Guetta, Meghan Trainor, and Gwen Stefani. As A2O MAY’s success story continues to unfold, they are not just breaking new ground as a rising global act; they are shaping the landscape of the international music industry.

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 (17), QUCHANG (17), 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

#A2OMAY #A2OEntertainment #Chinesegirlgroup #BOSSbyA2Omay #kcrush #CPop #Kpop #MediabaseTop40RadioChart #topchart #Chenyu #SHIJIE #QUCHANG #MICHE #KAT #kcrushamerica #kcrushmagazine #SooManLEE #ZalphaPop #GenZ

Between 2008 and 2012, K-pop saw the rise of powerful girl groups that not only topped domestic charts but also helped fuel the global Hallyu wave. Here are the top 10 K-pop powerhouse girl groups from that golden era who skyrocketed K-pop’s global influence.

1. 2NE1

2NE1, who debuted in 2009, revolutionized K-pop with their fierce, independent image and genre-blending music. Hits like “I Am the Best” and “Fire” earned them international fame, Billboard chart records, and massive influence on fashion and pop culture solidifying their status as K-pop legends.

2. Davichi

Though not your typical idol group, Davichi are known for their powerful ballads and emotional vocals. The duo band, which debuted in 2008, are known for hit songs like “8282” and” Don’t Say Goodbye”, which dominated Korean digital charts and became karaoke staples.

3. 4Minute

Known for their edgy concepts, 4Minute – who debuted on 2009 – brought hits like “Hot Issue” and “Crazy” that topped charts and appeared on Billboard’s World Digital Song Sales chart. This cementing their global fanbase revealing their edgy, powerful style to international audiences. 4Minute disbanded in 2016.

4. EXID

After the 2012 debut, EXID rose to fame after a fancam of member Hani went viral, boosting the “Up & Down” track onto the Billboard World Digital Songs chart and making them a household name worldwide.

5. AOA

AOA, who debuted in 2013, combined band and dance group concepts before finding major success with hits like “Miniskirt” and “Like a Cat” found their way onto the Billboard World Digital Song Sales chart, highlighting their rising international popularity.

6. T-ARA

T-ARA, who debuted in 2009, created timeless hits like “Roly-Poly” and ‘Bo Peep Bo Peep”, achieving huge popularity in Korea, Japan, and China. “Bo Peep Bo Peep” topped the Billboard Japan Hot 100, showing their massive influence across Asia.

7. Crayon Pop

Following their 2012 debut, Crayon Pop achieved the global sensation status soon after debut and appeared on international charts while earning attention from international media. Crayon Pop’s “Bar Bar Bar” became a global viral hit and entered the Billboard World Digital Song Sales chart, thanks to its catchy hook and quirky choreography.

8. f(x)

Having debuted in 2009, f(x)’s experimental sound brought critical acclaim, with albums like ‘Pink Tape’ reigning in international charts. f(x)’s album ‘Red Light’ reached No. 1 on the Billboard World Albums chart, proving their global critical acclaim.

9. SISTAR (2010)

After their 2010 debut, these queens of summer – SISTAR – delivered hits like “Alone” and “Loving U”, which quicky gained them local and international fame. SISTAR’s “Give It to Me” appeared on Billboard’s K-pop Hot 100, cementing their reign as summer queens.

10. Miss A

After the 2010 debut, Miss A smashed records with their debut single coupled with their unique style helped them chart internationally and lead the K-pop wave. Miss A’s “Goodbye Baby” made it onto the Billboard World Digital Song Sales chart, showing their wide-reaching appeal.

—-Karen Mwenda

#2008to2012Top10GirlKPopGroups #kcrush #MissA #SISTAR #kpop #kpopidol #kpopmusic #kpopgirlgroups #fx #CrayonPop #koreanpop #hallyu #kcrushamerica #kcrushmagazine #TARA #AOA #Korea #kpopwave #EXID #4Minute #Davichi #2NE1 #MissAGoodbyeBaby #SISTARGiveItToMe #SISTARAlone #fxpinktape #fxRedLight

By a Whiskey-Loving Explorer with a Passport and a Curious Palate

The 2025 Seoul International Wine & Spirits Expo (SIWSE) once again delivered a dazzling showcase of flavors, culture, and craft from across the globe. Held at the ever-bustling Starfield COEX Exhibition Center, this annual event is a mecca for both seasoned connoisseurs and curious tasters eager to sip something new.

As a U.S.-based whiskey enthusiast (and self-proclaimed flavor adventurer), I make it a point to attend this Expo whenever I’m in town. It’s not just about the drinks—though, let’s be honest, the drinks are fantastic—it’s about discovering brands you can’t find at your local shop, and connecting with fellow lovers of spirits from Korea and beyond.

The Layout: A Delicious Maze

This year’s venue was as sprawling and tempting as ever. With international vendors pouring out samples of wine, whiskey, sake, and everything in between, the Expo had all the buzz of a bustling street market—with a far higher ABV. My only gripe? The whiskey booths weren’t grouped together, which meant I had to trek across the hall, often distracted by stunning displays and delicious side stops. (Spoiler: I did not resist them all.)

Coolhappytash drinking a sample of Arizwell’s The Rhythm Hangover Drink

Let’s Talk Whiskey

Now, I’m not a whiskey sommelier, nor do I pretend to be. I’m just someone who appreciates a well-crafted bottle and the stories behind each label. Normally, I reach for Crown Royal Vanilla or Buchanan’s Deluxe—either on the rocks or in a highball with ginger ale. But the Expo gave me a chance to explore beyond the familiar. And friends, let me tell you—it was worth every step (and every sip).

Here are my standout discoveries:

🥃 The Busker (Ireland) – Smooth, Easy, and Friendly

This was a great intro for anyone new to whiskey. The Busker’s range was approachable, with subtle flavors that didn’t overpower. Each pour was smooth on its own, yet versatile enough to mix if needed. It’s a solid Irish whiskey with just enough depth to keep things interesting—but never intimidating.

Vibe: Laid-back starter whiskey

Price: Very affordable

Great for: New drinkers or casual gatherings

🔗 thebusker.com

🥃 Bankhall (UK) – Smooth Sophistication with a Fresh Twist

Bankhall made an impression with its single malt aged in bourbon casks—first served to me as a highball (1-2-2 ratio), then neat. Smooth, confident, and surprisingly balanced for such a young brand (launched in 2023), it immediately reminded me of my big brother—cool, composed, and just the right amount of bold.

Vibe: Confident and charming

Price: Reasonable for the quality

Great for: Gifting or sipping with someone you respect

🔗 bankhallwhisky.com

🥃 Goldcock Peated (Czech Republic) – For the Refined and Ready

Yes, the name caught my eye. But the taste kept me intrigued. The Goldcock Peated, with an ABV of 45%, delivered smoky, robust flavors meant to be savored solo. I did get to sniff the elusive Goldcock 20—a limited release aged 20 years with only 100 bottles in Korea. A dream for another day. Until then, the Peated is my mature, earthy go-to.

Vibe: Grown-up, no-nonsense richness

Price: Peated: mid-range / 20-Year: luxury splurge

Great for: Whiskey purists and smoke lovers

🔗 goldcock.cz

🥃 Fly Supreme (Scotland) – Sleek Bottle, Bold Soul

Don’t let the modern bottle fool you—this Blended Scotch delivers old-school complexity. I picked up warm notes of chocolatey toffee, while my friend raved about a spicier citrus finish. The rebranding clearly worked; we saw plenty of younger adults queuing up for a taste.

Vibe: Stylish outside, deep inside

Price: Budget-friendly

Great for: Curious newcomers looking for a mature taste

🔍 (Available online)

🥃 Natterjack (Ireland) – Bold, Spirited, and Cola-Worthy

Bold without being too sweet, Natterjack was a surprise for me. While it doesn’t have the vanilla or caramel notes I typically gravitate toward, I still appreciated its warmth. I’d mix it with cola, but it’s worthy of sipping too.

Vibe: Bold and energetic

Price: Super affordable

Great for: Whiskey with a cola twist

🔗 natterjack.com

(Pro tip: Don’t pack it in your carry-on… RIP to my bottle that didn’t make it past security.)

Honorable Mentions (aka The “Not Whiskey, But Wow” Club)

🖤 Shanky’s Whip – A thick Irish whiskey liqueur with rich, creamy notes. Over vanilla ice cream? Game changer.

🔗 shankyswhip.com

🍶 Kuroobi Yuyu Sake – Clean, crisp, and almost refreshing. I’m still thinking about it.

🔗 fukumitsuya.co.jp

🍐 Magpie Pear Wine (South Korea) – Made from 40% native mountain pears. Light, elegant, and undeniably Korean. A perfect tribute to local craftsmanship.

Final Sip: Why You Should Go Next Year

The SIWSE is far more than a booze bazaar. It’s a cultural tasting menu, an international mixer, and a celebration of craftsmanship all in one. Whether you’re a whiskey loyalist, a wine wanderer, or just curious about what the world is drinking—this Expo deserves a spot on your calendar.

Until next year—cheers to bold flavors, curious spirits, and stories shared over a glass. 🥂

Additional highlights https://photos.app.goo.gl/rSpRQNWk5kYjyrAw5

—- CoolHappyTash

#2025SeoulInternationalWineandSpiritsExpo #SIWSE #Korea #kcrush #wine #whisky #spirits #kculture #glassofwine #TheBusker #Irland #BankhallfromUK #Bankhall #GoldcockPeatedCzechRepublic #CzechRepublic #FlySupreme #Scotland #NetterJackIrland #NatterJack #ShankysWhipIrishwhiskey #KuroobiYuYuSakeJapan #MagpiePearWine #KoreanMagpiePearWine #kcrushamerica #kcrushmagazine #wineandspiritscoverage #koreaexpomediacoverage

Thank you for the opportunity to talk about Lemiti U and this very personal project. Below are the responses to your interview questions:

1. Can you introduce Lemiti U & the story behind its formation?

Lemiti U was born from the creative urge to imagine a girl group I would personally like to be part of. At first, it was just for fun, but then I had to admit it was a childhood dream I couldn’t fulfill through traditional means. The idea was simple: to create LEMITI as a way to give voice to the songs I write.

2. How would you describe Lemiti U’s musical color and style?

Lemiti U is experimental, but strongly rooted in K-pop/pop. I try to create samples in DAWs based on what I’m feeling or consuming at the moment. Technically, nothing amazing — and generative AI never captures 100% of what I want to express. But maybe that tension is part of the sound.

3. Lemiti U’s debut album, IT IS POLEMIC, introduced the group to the world. What themes were you aiming to convey and how did you decide on the musical direction?

With IT IS POLEMIC, I wanted to start a conversation about what’s considered “real” in music and entertainment. I tried to evoke emotion in the lyrics — especially in “Generic Duh” — but I’m not sure it came through as I intended. One interpretation could be the erasure of our essence in order to fit into what’s already established — though nothing is set in stone.

4. From the members’ facial expressions to their stage presence, everything feels so real. How did you design the group to evoke such an emotional and lifelike experience?

The emotional foundation of Lemiti U began with storytelling — I personally love writing. Each member has a personality and a fictional emotional universe. I see them as characters in a narrative. The visual prompts come afterward, shaped by those stories.

5. “BUBBLEGUM” is one of Lemiti U’s latest Japanese singles. How do you approach cultural authenticity when creating content for different audiences?

I was heavily inspired by groups like TWICE for this type of track. It was a real challenge to use translators for Japanese — and even for Korean — since English is my second language, and I’m only slightly familiar with Korean, almost not at all with Japanese. Still, I try to approach each language and culture with care.

6. What does success look like for a fully AI group like Lemiti U?

Personally, that’s not really what I’m aiming for. LEMITI already has a small audience, and that’s more than enough for me. I create and use generative AI as a way to have fun and explore creatively. As for my art, I’d love to be recognized for songwriting, and have the chance to study music more deeply.

7. How has Lemiti U’s concept and sound evolved since the very beginning? Were there any surprising creative shifts along the way?

Absolutely. The group started with more of a pop industry critique aesthetic, but as I developed their inner stories, I shifted toward making songs that expressed how I feel — and how I wish people would hear the music I’d like to create in the future.

8. How do you imagine Lemiti U’s next comeback or project pushing the boundaries of virtual idols and K-pop?

I started building a lore in “Back In Black,” continued it in “Twenty Four Hours” — a collab with singer, producer, and songwriter Nikky Nagori — and now it’s evolving with “INVU,” part of the Japanese EP Me To Me. The idea is to expand this fictional universe with each release.

9. What is the biggest misconception people have about AI-generated music groups, and how do you want to change that narrative?

Many people think virtual groups are here to replace human art. I strongly disagree. As things stand, AI still generates repetitive concepts and ideas. Only human beings can create something truly authentic. AI might help — but always in a supporting role.

10. Any upcoming Lemiti U projects that fans should look forward to?

Yes! A new English mini-single called Never There is coming — probably this June. It’s a very personal and special track for me.

11. With AI groups becoming more popular globally, how do you see the future of K-pop and virtual idols evolving over the next 5 to 10 years?

I honestly don’t know what could surprise me anymore — maybe hologram-based concerts? If Lemiti U ever becomes truly big and I’m in a good position, I’d love to hold real auditions for real idols. I’d turn CheMisTry Labels — currently a fictional agency — into the opportunity I never had, for people with real dreams and something to share with the world.

12. What would be Lemiti U’s message to their fans?

Thank you for bringing me closer to my dream, even indirectly. Even if it’s just a few of you — that’s already more than enough for me.

—-Karen Mwenda

#LemitiU #kcrushinterview #CheMis #Aigroups #popularKpop #kpop #kpopmusic #hologram #kcrush #Korean #hologrambasedconcerts #virtualidols #kcrushamerica #kcrushmagazine #NeverThereEnglishMiniSingle #idol #NikkyNakori #INVU #BUBBLEGUM #ITISPOLEMIC #createsamplesinDAWs