Is there any singular moment in our lives that is ever truly without meaning? In his debut feature film Ulysses, Japanese filmmaker Uwagawa Hikari seeks to find this out through seemingly random improvised sequence of events and discussions between a mother and her 8 year-old son, an impromptu Christmas dinner party, a San SebastiĂĄn cathedral, and a the traditional Japanese ancestral ritual to bid farewell to a loved one.
Much like its literary namesake âUlyssesâ the 1922 novel by Irish author James Joyce, Uwagawaâs interpretation is comprised of a series of brief glimpses in the lives of people he grew to know while attending film school in Spain. In Madrid, Spain, thereâs Aliftina, a woman who though married, has become a single mother to her son Dimitri due to her husband’s years long absence. When told by her that his father has gone off to make a fortune for them, Dimitri with the unvarnished wisdom of a child, responds by telling his mother not to expect only good things in life because life is unpredictable. Leading her to ponder that perhaps her son sees and understands more than she thinks.
At a small gathering in their apartment to celebrate Christmas, two of Aliftinaâs friends begin to dance arm-in-arm with each other. The two men show a sense of joy in enjoying this brief moment of spontaneous intimacy that creates a bubble of respite from whatever uncertainty may exist outside the walls of the small apartment. Uwagawaâs method of filmmaking gives these completely improvisational sequences and those that follow it in the 74 minute film a sort of âfly on the wallâ perspective in the vein of an observational documentary.
At a non-descript park in San SebastiĂĄn, a woman, Enaitz and her acquaintance Ichii, drive aimlessly through rain soaked streets discussing the ways people have to push through their own personal comfort zones to make friends. Later, on a sunny day they sit on a park bench in a nondescript playground sharing a book written in Spanish that they translate to each other in English and Japanese. Itâs at this juncture in Ulysses, that Uwagawaâs journey to becoming more sure of himself as a filmmaker begins to make headway.
In the candlelit cavernous interior of a Spanish cathedral, the camera pulls back and follows Ichii making his way through the wooden pews, like a spectre watching a hero enter into a new stage of an adventure. Cinematographers Avery Duncan and Keisuke Sekino do a beautiful job of giving more visual depth and this sequence shows how they themselves grow along with Uwagawa in the creative process.
In Japan, an elderly lady and her daughter make preparations to perform Obon to honor the passing of their husband and father. They talk about various memories they shared as a family. Moments that took time to create but pass by as quickly as the moment in which their spoken passes. And into the frame comes an unknown man with shoulder length black hair who continues the preparation process, and unless youâve seen his picture you wonât know that itâs Uwagawa himself whoâs taken himself from the relative anonymity of working behind the screen into his own on-screen narrative. The author has become the subject. And thus begins another chapter in Ulyssesâs story.
Premiering in the International Competition program of the 2025 Jeonju International Film Festival, Ulysses began as Uwagawa waiting to experiment with his filmmaking style and wanting to see where a story with no defined script could go. Out of this curiosity came a film where a filmmaker unintentionally learns his limitations and observes his own evolution from someone feeling like an outsider, to figuring out that the art of crafting a film provides unexpected opportunities for insights and interpretations of the small individual moments that make up the human experience. Including his own.
In my interview with Hikaru we spoke of how Hikaruâs struggles to fit in at film school in Spain created unexpected challenges in him figuring out the language of filmmaking in both a literal and metaphorical sense, how using the unique sentence structure of Japanese Haiku inspired his first ever short film which serendipitously ended up being the template upon which he would build the narrative structure of Ulysses and ultimately his confidence as a director.
Carolyn Hinds
Freelance Film Critic, Journalist, Podcaster & YouTuber
African American Film Critics Association Member, Tomatometer-Approved Critic
Host & Producer Carolyn TalksâŠ, and So Hereâs What Happened! Podcast
Bylines at Authory.com/CarolynHinds
Twitter & Instagram:Â @CarrieCnh12
#JeonjuIFF2025 #kcrushinterview #Ulysses #UwagawaHikaru #filmmaker #JapaneseFilmmaker #Irishauthor #JamesJoyce #filmschoolinSpain #kcrushamerica #kcrushmagazine #kcrushvideointerview #filmfestival #documentory #nodefinedscript
WICKED PERFORMANCE VIDEO (VER. A â MOVIESET) WATCH HERE
WICKED PERFORMANCE VIDEO (VER. B â BASEMENT) WATCH HERE
LISTEN HERE
THEBLACKLABEL‘s breakout co-ed group, ALLDAY PROJECT, hit #1 on YouTube’s Worldwide Trending chart just days after releasing their debut music video “FAMOUS.” One week later, they’re back with the title track “WICKED” – alongside two performance videos that build on the global buzz they’ve sparked as a rapidly rising force on the international stage. Watch both performance videos HERE and HERE. Listen to the single album HERE.
With an experimental beat that seamlessly fuses Brazilian Funk, Trap, R&B, and Drill, “WICKED” gives each member of ALLDAY PROJECT the space to express their individuality with unapologetic freedom. The term “Wicked”âan ironic expression meaning “incredible” or “awesome”ârepeats as the hook, anchoring the track’s addictive rhythm. Fueled by explosive performances from ANNIE, TARZZAN, BAILEY, WOOCHAN, and YOUNGSEO and layered over cutting-edge production, the track delivers both sonic intensity and visual exhilaration.
“WICKED” was written by all members of ALLDAY PROJECTâTARZZAN, WOOCHAN, ANNIE, YOUNGSEO, and BAILEYâalongside Vince and global hitmakers Theron Thomas, Tommy “TB Hits” Brown, Amanda Ratchford, and Courtlin Jabrae Edwards. The track is produced by Dominsuk and 24 from THEBLACKLABEL.
ALLDAY PROJECT emerges as a groundbreaking new act under THEBLACKLABEL,
uniting a collective of highly anticipated multi-hyphenate artists who have already built strong reputations in rap, singing, choreography, and fashion. With a bold creative vision and genre-defying approach, the members of ALLDAY PROJECT are actively involved in the production of their music, visuals, and performances. The group has garnered widespread attention for challenging convention and holds the rare distinction of being one of the few co-ed groups in the modern era and the first under THEBLACKLABEL. Founded by mega-producer Teddy Park (a.k.a. TEDDY), THEBLACKLABEL’s roster includes MEOVV, JEON SOMI, Vince, BIGBANG‘s TAEYANG, and BLACKPINK‘s ROSĂ.
Upon the release of “FAMOUS,” the music video went viralâtopping YouTube’s trending music and video charts in Korea, reaching No.1 on YouTube’s global trending list, and placing fourth on China’s QQ Music video chart. These achievements have positioned the group as an emerging presence in the global music scene, with the video surpassing 14 million views on YouTube views in just one week.
Listen to The Debut Single FAMOUS, which includes the title track “WICKED” – HERE
(From left: BAILEY, TARZZAN, YOUNGSEO, WOOCHAN, ANNIE)
Photo Credit: THEBLACKLABEL
FOLLOW ALLDAY PROJECT
TikTok | Instagram | X | Threads | YouTube | Facebook
About ALLDAY PROJECT:
ALLDAY PROJECT â comprised of ANNIE, TARZZAN, BAILEY, WOOCHAN, and YOUNGSEO â unites five artists, each with a distinct origin story. From dance prodigy to rap phenom to fashion trailblazer, they were among the most talked-about pre-debut talents of their generation, and now stand at the forefront of a new era. Together, they push the boundaries of creative expression, challenge convention, and deliver something entirely new and unprecedented. With sophisticated music, daring visuals, and powerful performance – much of which they write and choreograph themselves – ALLDAY PROJECT transcends labels and defies expectations. They don’t fit into a box – because no title can define what’s never been experienced before. Welcome to ALLDAY PROJECT.
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, ROSĂ, MEOVV and Vince.
#ALLDAYPROJECT #ANNIE #TARZZAN #BAILEY #WOOCHAN #YOUNGSEO #kcrush #khiphop #kpop #TEDDY #THEBLACKLABEL #kcrushamerica #kcrushmagazine #WICKED #FAMOUS #topofcharts #newcoedgroup #coed #wenotevenfamous #kidol #Korea #kfashion
On June 21, 2025, BTSâs SUGA officially concluded his military service after serving as a social service agent due to a prior shoulder injury. Although his final working day was June 18, his formal discharge occurred on June 21 following accrued leave.
Shortly after his discharge, Suga shared a warm, handwritten note on Weverse addressed to the ARMY. He echoed his love for ARMY expressing deep gratitude to fans for their patience. The global star also apologized for disappointing them following last yearâs DUI incident pledging to repay fansâ love in future endeavors.
SUGAâs discharge marks the end of BTSâs long-awaited military hiatus and the full reunion of all seven members. Although HYBE has not outlined specific plans, industry insiders expect a group comebackâpotentially in the first quarter of 2026. Although there was no public ceremony for SUGA, fans worldwide showered the star with welcome back support. Excitement is high as BTS embarks on their next chapter as fans eagerly await whatâs next!
â-Karen Mwenda
#BTSSUGA #BTS #SUGA #completesmilitaryservice #SUGALettertoARMY #SUGALettertoFans #kcrush #kpop #kidol #pop #BTSnextchapter #HYBE #BIGHITEntertainment #Koreanmilitaryservice #BTSComeback #hiatusends #kcrushamerica #kcrushmagazine #BTS7memberKoreanboygroup #Billboardwinners #BillboardchartBTS #Weverse
K-popâs global titan BTS is officially aiming for a fullâgroup comeback in March 2026.
According to insiders, BTS is rumored to make a group comeback in 2026. The follows the final member, Suga, scheduled to complete his mandatory military service on June 21, 2025. While HYBE has yet to specify an exact release date, the comeback is rumored for midâMarch, strategically timed around TXTâs return to avoid scheduling conflicts. ENHYPEN 2026 comeback is also rumored to be pushed earlier.
HYBE CFO, Lee Kyung Joon, also hinted that a 2026 return was likely during a precious shareholder meeting. The CFO underscored the need for space to allow members to recharge and fully develop their creative vision. Industry insiders also reveal that BTS is collaborating with topâtier producers to craft a comeback worthy of global impact. Thereâs buzz around a potential preârelease single or special project ahead of the full album launch.
In the meantime, Jin is keeping ARMY engaged with his solo fanâconcert tour, âRun Seokjin EP. Tour,â running from June through August across Japan, the U.S., the U.K., and the Netherlands. As all BTS members reunite and studio work ramps up, anticipation is reaching fever pitch as fans are already planning countdowns to 2026.
HYBEâs CEO emphasized during their shareholder meeting that the group needs time to âreflect and rechargeâ while collaborating with âtop-tier producersâ to rebuild chemistry and deliver a powerful message
â-Karen Mwenda
#BTS #BTSReturn #kcrush #BTSReunion #BTSMilitaryRelease #kpop #koreanculture #kpopidol #BTSfandom #RM #JHOPE #SUGA #JIMIN #V #JIN #JUNGKOOK #BIGHIT #HYBE #BTSJourney #kcrushamerica #kcrushmagazine #BTSPostMilitaryComeback #BTSWhat2025CouldLookLike #BTS2026Return #2026BTSReturn #koreanpop #TXTReturnNoConflict #timetobuildchemistry
BTSâs return in 2025 isnât just about music – itâs a cultural moment set to reshape the global pop scene once again. As the countdown begins for BTSâs long-awaited full group comeback in 2025, ARMYs are buzzing with excitement. After a carefully staggered enlistment plan beginning in late 2022, all seven members will soon reunite – stronger, more seasoned, and artistically evolved.
Where Have They Been?
Jin, the eldest, enlisted in December 2022 and was discharged in June 2024. After the discharge, Jin released the âHappyâ and âEchoâ Eps. He also appeared in varies variety and talk shows.
J-Hope joined in April 2023 and was discharged in October 2024. Before enlistment, he released the critically acclaimed “Jack In The Box” and performed at Lollapalooza 2022. Post-service, he dropped âHOPE ON THE STREET VOL.1â in 2024 and launched a dance docuseries under the same name. J-Hope also released the âSweet Dreamsâ and âMona Lisaâ singles.
Suga started his alternative service in September 2023 as a public service worker due to a previous shoulder injury. Before enlisting, he held a solo world tour as Agust D, following his âD-Dayâ album. Suga, the last BTS member serving his mandatory military service, is slated for release in June 21.
RM, Jimin, V, and Jungkook enlisted together in December 2023 and were released this month, June 10 & 11. Each member released solo projects before enlisting – RMâs “Indigo”, Jiminâs “FACE”, Vâs “Layover”, and Jungkookâs global hit album âGOLDENâ, which included performances on major U.S. shows and charted worldwide.
Comeback & Musical Direction Theories
Fans speculate that BTSâs post-military return will be deeply reflective, genre-fused album, reflecting their solo growth. Some believe they may revisit the emotional depth of “Spring Day”, while also pushing bold, new themes of growth, healing, and brotherhood.
Given the success of solo albums like “D-Day” (Suga) and “Jack In The Box” (J-Hope), the group comeback might fuse each memberâs evolved artistry. Industry insiders speculate BTS is preparing for a late 2025 or early 2026 group comeback, possibly paired with a global stadium tour.
ARMY also anticipates an emotional reunion anniversary-style concert jammed with fan-dedicated tracks and a documentary chronicling their journey through hiatus, military service, and reunion.
â-Karen Mwenda
#BTS #BTSReturn #kcrush #BTSReunion #BTSMilitaryRelease #kpop #koreanculture #kpopidol #BTSfandom #RM #JHOPE #SUGA #JIMIN #V #JIN #JUNGKOOK #BIGHIT #HYBE #BTSJourney #kcrushamerica #kcrushmagazine #BTSPostMilitaryComeback #BTSWhat2025CouldLookLike
K-pop has swept across the globe – and Latin America is no exception. From SHINeeâs 2014 tour to Stray Kids’ upcoming 2025 stadium shows, Korean idols have been building a passionate fanbase in Central and South America. Over the past decade, artists like BTS, Super Junior, ATEEZ, and Dreamcatcher have performed in cities like Mexico City, Santiago, and SĂŁo Paulo, making K-pop a permanent fixture in the region’s music scene.
| Artist | Concert Name | Date(s) | City |
| Super Junior | Super Show 5 | Nov 2013 | Mexico City, MX |
| Argentina, Brazil, Chile, Peru | |||
| SHINee | SHINee World III | Apr 2014 | Mexico City, MX |
| Santiago, CL | |||
| Buenos Aires, AR | |||
| NUâEST | 2014 Tour | Sept 2014 | Mexico, Brazil, Chile, Peru |
| Infinite | Infinite Effect Tour | Jan 2016 | Mexico City, MX |
| Santiago, CL | |||
| BTS | Wings Tour | Mar 2017 | Santiago, CL |
| SĂŁo Paulo, BR | |||
| Dreamcatcher | Fly High Tour | Dec 2017 â Aug 2018 | Brazil, AR, CL, PE, CO, PA |
| Monsta X | Beautiful World Tour | Sep 2017 | Buenos Aires, AR |
| Santiago, CL | |||
| Mexico City, MX | |||
| Seventeen | Diamond Edge | Aug 2017 | Santiago, CL |
| Shining Diamonds | Jan 2020 | Mexico City, MX | |
| EXO | The EXOârDIUM World Tour | Apr 2017 | Mexico City, MX |
| GOT7 | Eyes on You World Tour | Jul 2018 | AR, CL, MX |
| KARD | Wild KARD | Oct 2019 | Monterrey to Porto Alegre |
| NCT 127 | Neo City â The Origin | May 21 2019 | Mexico City, MX |
| Momoland | Momoland Fanmeeting | Jun 2019 | Mexico City, MX |
| Sunmi | Warning Tour | Jul 2019 | Mexico City, MX |
| Twice | Twicrlights Tour | Jul 2019 | Mexico City, MX |
| 3YE | Virtual concert | Jul 2021 | Buenos Aires, AR (virtual) |
| EVERGLOW | Pulse & Heart Tour | Sept 2024 | SĂŁo Paulo, CL, MX |
| Dreamcatcher | Luck Inside 7 Doors | Sept 2024 | Mexico, SĂŁo Paulo, Santiago |
| NCT Dream | THE DREAM SHOW 3 | Sept 2024 | Latin America tour leg |
| Taemin | Ephemeral Gaze Tour | Aug 2024 â Apr 2025 | South America |
| KARD | Where To Now? Tour | Jan 2025 | Santiago, SĂŁo Paulo, BogotĂĄ, MX, Puerto Rico |
| ATEEZ | Kpop Masterz Tour | May 2025 | Santiago, CL |
| Yugyeom | TRUSTY Tour | 2025 | Santiago, SĂŁo Paulo, MX |
| Stray Kids | dominAte Tour | MarâApr 2025 | Santiago, Rio, SĂŁo Paulo, Lima, MX |
Latin Americaâs K-pop scene has evolved from niche to mainstream. With fanbases only growing, the next decade promises even more record-breaking concerts – and unforgettable memories.
â-Karen Mwend
Â
#KPopArtistsWhoHavePerformedInCentralSouthAmerica #ATEEZ #StrayKids #kcrush #kpop #kidol #KARD #Yugyeom #NCTDream #Taemin #EXO #Seventeen #Sunmi #Momoland #Dreamcatcher #kcrushamerica #kcrushmagazine #TWICE Everglow #Got7 #SHINee #MonstaX #Mexico #Lima #Santiago #Rio #Bogota #PuertoRico #BuenosAires #koreanculture #koreanfashion #Hallyu #kpopconcertsinCentralSouthAmerica
WATCH HERE
PRE-ORDER THE DEBUT SINGLE FAMOUS HERE
Today marks the arrival of the electrifying debut music video for “FAMOUS“, the striking first release from the buzzed-about coed group ALLDAY PROJECT. Featuring five genre-defying members â ANNIE, TARZZAN, BAILEY, WOOCHAN, and YOUNGSEO â ALLDAY PROJECT boldly stakes their claim with undeniable style and energy in this sleek, high-impact video, charged with a futuristic edge. Watch HERE and pre-order the debut single “FAMOUS” HERE.
ALLDAY PROJECT emerges as a groundbreaking new act under THEBLACKLABEL,
uniting a collective of highly anticipated multi-hyphenate artists who have already built strong reputations in rap, singing, choreography, and fashion. With a bold creative vision and genre-defying approach, the members of ALLDAY PROJECT are actively involved in the production of their music, visuals, and performances. The group has garnered widespread attention for challenging convention and holds the rare distinction of being one of the few co-ed groups in the modern era and the first under THEBLACKLABEL.
Founded by mega-producer Teddy Park (a.k.a. TEDDY), THEBLACKLABEL’s roster includes MEOVV, JEON SOMI, Vince, BIGBANG‘s TAEYANG, and BLACKPINK‘s ROSĂ.
“FAMOUS” is a proper introduction to ALLDAY PROJECT that truly embodies the group’s attitude and identity. With witty lyrics that capture their confident, tongue-in-cheek ambition â as they say, “but we ain’t even famous” â the song channels each member’s unique persona and energy. Driven by a danceable beat built on heavy synth bass and edgy guitar riffs, the track layers dynamic rap flows and addictive hooks. “FAMOUS” was written by members TARZZAN, WOOCHAN and YOUNGSEO alongside TEDDY, Vince, Claudia Valentina, Zikai, Norib and produced by Jumpa, 24, Dominsuk and Vince.
Pre-save the THE DEBUT SINGLE FAMOUS out on 6/23 at 5AM EST – HERE
(Clockwise from top left: WOOCHAN, YOUNGSEO, BAILEY, TARZZAN, ANNIE)
Download hi-res photo HERE
Photo Credit: THEBLACKLABEL
FOLLOW ALLDAY PROJECT
TikTok | Instagram | X | Threads | YouTube | Facebook
About ALLDAY PROJECT:
ALLDAY PROJECT â comprised of ANNIE, TARZZAN, BAILEY, WOOCHAN, and YOUNGSEO â unites five artists, each with a distinct origin story. From dance prodigy to rap phenom to fashion trailblazer, they were among the most talked-about pre-debut talents of their generation, and now stand at the forefront of a new era. Together, they push the boundaries of creative expression, challenge convention, and deliver something entirely new and unprecedented. With sophisticated music, daring visuals, and powerful performance – much of which they write and choreograph themselves – ALLDAY PROJECT transcends labels and defies expectations. They don’t fit into a box – because no title can define what’s never been experienced before. Welcome to ALLDAY PROJECT.
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, ROSĂ, MEOVV and Vince.
#THEBLACKLABEL #ALLDAYPROJECT #kcrush #ANNIE #TARZZAN #BAILEY #WOOCHAN #YOUNGSEO #kpop #danceprodigy #rapphenom #rap #fashiontrailblazer #pre-debut #kcrushamerica #newsingle#kcrushmagazine #choreographthemselves #COEDGROUP #Kfashion #FAMOUSbyALLDAYPROJECT #Korea #TEDDY #Koreanentertainment #pop #koreanpop #kpop #Vince #ClaudiaValentina #Zikai #Norib #producedbyJumpa #24 #Dominsuk #highimpact #newkpoptalent #newkoreancoedgroup
Global music icon and cultural trailblazer G-DRAGON has officially unveiled the North American and European legs of his highly anticipated 2025 world tour. With Galaxy Corporation as the global promoters, and Infinite Prospects Entertainment as the local promoter, the tour will bring G-DRAGON’s most visionary live experience yet to major cities including Los Angeles, Las Vegas, Newark, and Paris.
Returning to the stage after 8 years, G-DRAGON promises a multisensory performance that redefines the limits of live artistry, blending music, fashion, digital innovation, and storytelling in a way only he can deliver. The Korean leg of the tour sold out immediately upon release with all 60,000 seats selling out in seconds. With his latest chart-topping album and record-breaking ticket sales, the icon has reached an unprecedented level of influence – surpassing his own legacy – he’s bolder and more impactful than ever before. The theme of the tour is a call for personal self-discovery and self-overcoming. Fans can expect never-before-heard music, custom stage visuals, and exclusive merchandise. The superstar recently gave a glimpse of his upcoming show at the Head in The Clouds Festival where over 36,000 fans were the first to witness the tour’s bold vision.
As the leader of the legendary group BIGBANG, G-DRAGON was instrumental in catapulting K-pop onto the international stage with hits like “Fantastic Baby” and “BANG BANG BANG.“. Widely known as the “King of K-pop,” his solo career has also redefined creative boundaries and topped international charts with albums like “Heartbreaker” and “One of a Kind.” He’s collaborated with some of today’s biggest names, such as Missy Elliott, Diplo, Skrillex, and more. G-DRAGON’s influence extends beyond music into high fashion, visual arts, and philanthropy, where he continues to shape contemporary culture. His distinctive persona has earned him a dedicated fanbase worldwide, and over the years, he has cemented his position as a cultural phenomenon.
Following the release of his third studio album Ăbermensch, G-DRAGON has reaffirmed his position as one of Asia’s most influential and commercially successful artists. The album debuted at No. 1 across South Korea, Japan, and China, allowing him to become the first K-pop male artist in 2025 to exceed 200 million digital points on South Korea’s Circle Chart, marking a career high in commercial reception. Praised for its bold fusion of experimental production and introspective lyricism, this album signals a mature evolution in his artistry. In tandem with his world tour, his latest album marks his highest streaming debut globally, emphasizing his unmatched cultural impact and enduring relevance in a rapidly evolving industry.
The G-DRAGON 2025 WORLD TOUR [Ăbermensch] kicked off in Seoul and has made stops in Tokyo, Bulacan, Osaka and Macau. The tour will be heading next to Sydney, Melbourne, Taipei, Kuala Lumpur, Jakarta, Bangkok, and Hong Kong, before heading stateside on August 22.
The G-DRAGON Official Membership Pre-sale will begin on Wednesday, June 25 at 10AM local time and run through Thursday, June 26 at 9:59AM local time. Public on-sale will begin on Friday, June 27 at 10AM local time. Please visit the official ticketing site for more information. Tickets will be available via g-dragontour.com.
G-DRAGON 2025 WORLD TOUR [Ăbermensch] Tour Dates:
*All dates and cities below are subject to change.*Â
North America
Friday, August 22 â Prudential Center (Newark)
Sunday, August 31 â T-Mobile Arena (Las Vegas)
Friday, September 5 â Crypto.com Arena (Los Angeles)
Â
Europe
Saturday, September 20 â Paris La DĂ©fense Arena (Paris)
(Photo credit: â GALAXY CORPORATION)
About G-DRAGON
G-DRAGON, born Kwon Ji-Yong, has been a prominent figure in global music and K-Pop since the age of 13. His solo career highlights include the albums Heartbreaker, One of a Kind, and COUP D’ETAT, which all topped Korea’s Gaon Chart. As a member of BIGBANG, achieving similar success with the album Remember, and many of the group’s releases in Japan were certified Gold. Amassing over 2 billion career streams and collaborated with artists like Diplo, Baauer, Missy Elliott, Boys Noize, Sky Ferreira, Taeyang, and Skrillex. He won World’s Best Album at the 2014 World Music Awards and has been featured in Elle Korea, Harper’s Bazaar Korea, Vogue Korea, Hypebeast, and more. G-DRAGON also made a name for himself in the fashion world with his brand PEACEMINUSONE, collaborations with Chanel, Nike, and BMW, and recognition as a top art collector. Recently, he launched a perfume in collaboration with FrĂ©dĂ©ric Malle and the charity foundation JUSPEACE to combat drug abuse.
Follow G-DRAGON on social media:
Instagram: @xxxibgdrgn
YouTube: @xxxibgdrgn
Twitter/X: @IBGDRN
Facebook: @gdragon
Official Tour Website:Â https://g-dragontour.com/
Official Fan Community:Â https://gdragon.ai/
#GDRAGON #GDRAGONWorldTour2025 #GDRAGONInTheUS2025 #kcrush #kpopidol #kpop #pop #tour #kcrushmagazine #kcrushamerica #worldtour2025 #GDRAGONBIGBANG #BIGBANG #GDRAGON2025 #LosAngelesGDRAGON #LasVegasGDRAGON #Newark #Paris #ĂBERMENSCH #koreanpop #koreanfashion
From gritty lyricism to turbo-charged beats, SC4F has quickly carved out his name in Koreaâs rising underground hip-hop scene. Known for his high-octane âTwin Turboâ series and dynamic collaborations with MADII, SC4F continues to push sonic and creative boundaries. With each release, he delivers a unique blend of raw emotion, rhythm, and streetwise storytelling. As he rides the momentum of Twin Turbo Vol. 2.5, including standout tracks like âSilhouetteâ and âAfterparty,â we caught up with the artist to talk about his journey, inspirations, and what drives the engine behind his powerful sound.
1. Can you share the story behind your stage name, “SC4F” and what inspired you to pursue a career in hip-hop, of all other music genres?
Hello, nice to meet you! I’m SC4F, a hip-hop artist from South Korea.
There is no particularly significance behind my stage name. It’s simply roots from a scarf, a common accessory. I’ve always been drawn to scarves because they’re fashionable, stylish, and elegant. I’ve also always admired characters in various manga and creative works – especially Japanese anime- who wear scarves. So, I removed the ârâ from âscarfâ and replaced the âaâ with a â4,â which resulted in my current stage name.
I chose hip-hop is because when I was young, my older sister – four years older than me – had a ringtone from Korean rapper Tiger JK. From then on, I became interested in hip-hop music and developed a love for the culture as a fan. Later on, when I was a regular college student wondering what I wanted to do in society, I thought about trying hip-hop music, and that’s how I ended up here.
2. Your latest âSilhouetteâ and âì íí°íí° (Afterparty)â tracks, from âTwin Turbo Vol. 2.5â EP, have had fans elated from their addictive rap and rhythm. How did these two masterpieces come to be?
âSilhouetteâ track is a beat by producer WIZFIT. I wanted to create a song centered around a guitar riff, so I requested him to produce the beat. After receiving the beat, I composed the melody and lyrics. I recorded the hook and bridge sections with my own voice and asked my colleague MADII to sing them. The result turned out better than expected, which was a pleasant memory.
âAfterpartyâ track was handled by a producer ROCK. I tried to capture the various emotions felt at clubs or party venues, and asked him to create a beat that evoked the feel of old music from the 90s. The song’s outro is very long and fades out at the end but those parts were intentionally designed to feel like the songs that used to play on my dad’s car radio when I was a kid.
3. If your rap flow was an animal, what animal would it be and why?
That’s a very interesting question. I’ve never thought about it before, but if I had to imagine it, I would say I try to rap like a cat that can fit into any kind of container or box. I strive to design my flow to fit perfectly into any situation, like a cat trying to squeeze into a narrow space!
4. You went viral for your first âTwin Turboâ series and are now in Vol. 2.5. What inspired the âTwin Turboâ concept, and how has it evolved through Vol.1 to Vol.2.5?
The name âTwin Turboâ was given to us by my fellow rapper LIL GIMCHI. Since MADII and I were doing the album with two voices and two hearts, we thought it was a good name.
Vol. 1 was like the debut album, released shortly after we started. So, it has a lot of rough and bold energy good for such a season. Vol. 1.5, released just two months after Vol. 1, was an extension of Vol. 1.
Vol.2 was created after MADIIâs military enlistment was confirmed. Since MADIIâs enlistment meant we wouldnât be able to perform together for nearly two years, it was an album that felt like a temporary farewell, though not an eternal one. Thatâs why it has a lot of sad and emotional tones.
Of all Twin Turbo series, Vol. 2.5 album took the longest to craft. It therefore features many musical experiments that were not attempted in previous albums, with each track intentionally designed to be diverse in terms of genre and theme. Efforts were made to ensure that listening to the entire album would not become monotonous or tedious.
5. Your âBack on a Stu” track, comeback after âTwin Turbo Vol. 1â EP, set the bar even higher. What inspired this masterpiece, and what keeps you going in this competitive hip-hop industry?
âBack on a Stuâ wasn’t a track I put that much effort into or thought much about; it was more of a freestyle track, so there’s pretty much little to say. My secret to continuously thriving in the hip-hop industry is simply because I love this work. After all, when you love something and find it interesting, you do it without anyone telling you to do so, and keep doing it even when told not to.
6. If you could design your own merch line, what would be the first item youâd drop?
If I could design merchandise, Iâd want to create earphones or headphones. Earphones or headphones designed to make listeners enjoy whichever created album.
7. You’ve done several collaborations with MADI. How did you two meet, and what’s the music creation process like compared to when working alone as a single artist?
MADII and I were classmates in the first year of middle school. Weâve been close since then and hanged out often. When I was in college and thinking of what to do, I decided to become a rapper. But I thought it would be too lonely and difficult if I did it alone. At the time, MADII was also interested in the same thing, so we had a lot of discussions and ended up working together.
Making music together is twice as fun than working alone, but sometimes itâs also twice as hard. However, we always enjoy what we do.
8. If you were not in the music industry, what else would you be doing?
I studied design in high school, so I think I would either be continuing down that path or trying to make money through social media or YouTube.
9. âSOCARâ track is another mesmerizing piece from the latest âTwin Turbo Vol. 2.5â EP. What story or vibe did you want to express through the song?
SOCAR is a car rental service company in Korea. Typically, new drivers who donât own a car yet often rent cars through SOCAR for drives. I created the song based on my experience renting a SOCAR and driving it around a year after getting my license. I thought of the ambience of hanging out with friends on a good weather day.
10. What’s one fun fact about you that your fans might not know?
Hmm… An interesting fact about me is that I am not good at cooking, at all. But I recently started thinking I should start trying. So lately, I’ve been trying various things. I’m not very good at it, but I’m trying my best to make it tasty. Now that I’ve said it, it doesn’t seem very interesting…
11. Whatâs one lesson youâve learned throughout your career, and where do you see your music evolving in the next few years?
The biggest lesson Iâve learned through music is that people are all so different. You canât please everyone, and even if everyone listens to the same thing, they feel it differently. So, I think you have to create something that you yourself can enjoy and be satisfied with. In the future, I hope my music will develop not only in terms of skill but also in terms of reaching the ears of many more people. This doesnât mean aiming for mainstream music, but as mentioned earlier, sharing my appeal with people of various perspectives and tastes.
12. What would you like to say to your fans?
All I can think to say is thank you. From the moment I started making music, released it, to when a single soul listened to it, I realized that every part of my life is no longer just my own. I always commit to doing my best and working hard for the fans who always listen to my songs and support me. Oh! And weâre planning to release a new album in July, so please continue supporting us! Please spread the word as well. Thank you for always showering us with love, both I (SC4F) and my fellow artist MADII.
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â-Karen Mwenda
ì€ìčŽí(SC4F)ìì ìží°ë·°
ê±°ìč ìì ì±ë¶í° “Turbo”ëĄ ì¶©ì ë ëčížêčì§, SC4Fë íê”ì ë ì€ë„Žë ìžëê·žëŒìŽë íí© ìŹìì ëč ë„ŽêČ ìì ì ìŽëŠì ëëŹëì”ëë€. êł ì„í “Twin Turbo” ì늏ìŠì MADIIìì ìëì ìž íì ìŒëĄ ì ëȘ í SC4Fë ìí„ì ìŽêł ì°œìì ìž êČœêłë„Œ êłì íëŹŒêł ìì”ëë€. ê·žë 맀ëČ ìì ì êł”ê°í ëë§ë€ ììŽì ìž ê°ì , 늏ëŹ, ê·žëŠŹêł ê±°ëŠŹì ìž ì€í 늏í ë§ì ë íčíêČ ìĄ°íìí”ëë€. âSilhouetteâì âAfterpartyâ ê°ì ëíêłĄìŽ ëŽêžŽ Twin Turbo Vol. 2.5ì ìŹìžë„Œ ëȘ°ìê°ë ê°ìŽë°, ì°ëŠŹë ìí°ì€íž SCAFë„Œ ë§ë ê·žì ìì ìŹì êłŒ ìê°, ê·žëŠŹêł íë¶í ìŹìŽëë„Œ ìì§ìŽêČ íë ìëë „ì ëíŽ ìŽìŒêž° ëëìì”ëë€.
1. âSC4FâìŽëŒë ìëȘ ì ëŽêžŽ ìŽìŒêž°ë„Œ ë€ë €ìŁŒì€ ì ìëì? ê·žëŠŹêł ë€ë„ž ìì ì„ë„Ž ì€ììë íí©ì ì ííêČ ë êłêž°ë 돎ììžê°ì?
ìë íìžì ë°ê°ì”ëë€! íê”ìì íí©ìì ì íêł ìë ì€ìčŽí(SC4F)ëŒêł í©ëë€.
ì ìëȘ ì ë»ì í° ìëŻžê° ìì§ë ììì. íí ëłŒ ì ìë ì ìžìëŠŹìž scarfìì ë°ìš ìŽëŠì ëë€. íšì ëëž íêž°ë íêł ë©ìêł ê·ŒìŹí ì ìžì늏ìŽêž°ë íêł ìŹëŹê°ì§ ë§íë ì°œìëŹŒ ììì íčí ìŒëłž ì ëë©ìŽì ë±ìì ì€ìčŽíë„Œ ëë„Žêł ìë ìșëŠí°ë€ì ìąìíìŽì. ê·žëì scarf ìì rì ëčŒêł aë„Œ 4ëĄ íêž°ë„Œ íêČ ëêČ ì§êžì ì ìëȘ ì ëë€.
íí©ì ì ííêČ ë ìŽì ë ì ì 4ìŽ ë§ì ìčëëê° ìŽë žì ë íŽëí° ì»ŹëŹë§ìŽ íê” ëíŒ íìŽê±°JK ì êłĄìŽììŽì. ê·ž ëë¶í° íí©ì ìêČ ëêł íí© ìì ì êŽìŹìŽ ìêČŒêł íŹìŒëĄì ê·ž 돞íì ìŹëì ê°ì§êČ ëìì”ëë€. ê·žëŹë€ê° íëČí ëíììŽë ì ê° ìŹíìì ëŹŽìŒ í êč êł ëŻŒì í ë íí©ìì ì íŽëłŒêč ì¶ìŽì íë€ê° ìŹêž°êčì§ ì€êČ ëìì”ëë€.
2. ì”ì EP Twin Turbo Vol. 2.5ì ìëĄë âSilhouetteâì âì íí°íí° (Afterparty)âë ì€ë ì± ìë ë©êłŒ 늏ëŹìŒëĄ íŹë€ì ìŽêŽíêČ ë§ë€ìì”ëë€. ìŽ ë êłĄì ìŽë»êČ íìíêČ ëìëì?
ì€ëŁšìŁìŽëŒë êłĄì WIZFITìŽëŒë íëĄëìì ëčížìì. êž°í 늏íê° ë©ìžìž êłĄì ë§ë€êł ì¶ìŽì ê·ž ìčê”ŹìêČ ëčíž ì ìì ìëą°íêł ëčížë„Œ ë°êł ëì ë©ëĄëì ê°ìŹë„Œ ë§ë€êČ ëìì”ëë€. í êłŒ ëžëŠżì§ ë±ì ì ëȘ©ìëŠŹëĄ ë čìì íêł ê·žê±ž ì ëëŁìž ë§ë(MADII)ìêČ ë¶ëŹëŹëŒêł íëë° ìê°ëłŽë€ ë ì ëìì ìąìë êž°ì”ìŽ ìë€ì.
ì íí°íí°ë ROCK ìŽëŒë íëĄëìê° ëŽëčíŽì€Źì”ëë€. íŽëœìŽë íí°ì„ììì ëëŒë ìŹëŹê°ì§ ê°ì ë€ì ëŽìëŽë €êł ë žë „íêł 90ë ë ìŠìì ìë ìì ëëìŽ ëëëĄ ëčížë„Œ ì ìíŽëŹëŒêł ìêž°íìŁ . ë žëì ììížëĄê° ê”ì„í êžžêł íìŽë ìììŽ ëë©Žì ëëëë° ê·žë° ë¶ë¶ë€ìŽ ìŽë žì ì ìëč ì°šì ëŒëì€ìì íëŹëìë ë žëë€ìČëŒ ë껎ì§êČ ìëí ë¶ë¶ë€ì ëë€.
3. ë§ìœ ëčì ì ë© íëĄì°ê° ëëŹŒìŽëŒë©Ž, ìŽë€ ëëŹŒìŒêčì? ê·žëŠŹêł ê·ž ìŽì ë 돎ììžê°ì?
ê”ì„í ìŹë°ë ì§ëŹžìŽë€ì. íëČë ìê°íŽëłž ì ì ìì§ë§ íëČ ë ìŹë €ëłžë€ë©Ž ìŽë€ ííì í”ìŽë ë°ì€ììë ì ë€ìŽê°ë êł ììŽìČëŒ ë©ì íë €êł ë žë „í©ëë€. ì ìŹì ìì ì ë€ìŽë§êČ íëĄì°ë„Œ ëììžíë €êł ë žë „íŽì. ëčìąì íì ë€ìŽê°ë €êł íë êł ììŽìČëŒ!
4. ìČ« ëČ짞 Twin Turbo ì늏ìŠëĄ ì ì돞ì íë©° ìŁŒëȘ©ì ë°ìŒì šêł , ìŽì ë 2.5êčì§ ì¶ìëìì”ëë€. Twin TurboëŒë ìœì ížë ìŽë»êČ íìíêČ ëìêł , Vol.1ë¶í° Vol.2.5êčì§ ìŽë€ ììŒëĄ ì§ííŽ ìëì§ ê¶êží©ëë€.
Twin Turbo ëŒë ìŽëŠì ì ì ëëŁ ëíŒ LIL GIMCHIê° ì§ìŽì€ŹìŽì. ì ì ë§ë(MADII) ëìŽì ìëĄ ëê°ì ëȘ©ì늏ì ìŹì„ìŒëĄ ê”Žë €ê°ë ìšëČìŽêž° ë돞ì ìąì ìŽëŠìŽëŒêł ìê°íìŽì.
Vol.1ì ì돎ëë ë°ë·ìšëČêłŒë ê°ì ììíì§ ìŒë§ ìë ìì ì ìšëČìŽëŒ ê·ž ëčììë§ ëłŽìŹì€ ì ìë ê±°ìč êł ëčì°Ź ìëì§ê° ë§ì ìšëČì ëë€. Vol 1.5ë Vol.1ì ë°ë§€íêł ë ëŹìŽ ìë ìì ìì ëêž° ë돞ì Vol.1ì ì°ì„ì ê°ì ìšëČì ëë€.
Vol.2ë ë§ë(MADII) ê”°ì ëê° íì ëêł ë§ë ìšëČì ëë€. ë§ë(MADII)ê° ì ëë„Œ íë©Ž 2ë ê°êčìŽ ëìŽì íëì í ì ìêž°ì ììí ëì ìëì§ë§ ìœê°ì ìëłìžìŹ ê°ì ìšëČìŽììŽì. ê·žëì ê·žë°ì§ ìŹíêł ê°ì±ì ìž ëŹŽëê° ë§ì”ëë€.
Vol.2.5ë ì ë§ ì€ëë§ì ë§ë Twin Turbo ì늏ìŠì ëë€. ê·žëì ìŽì ìšëČë€ìì íì§ ììë ë€ìí ìì ì ìëë€ì ë§ìŽ íêł ê°ê°ì ížëë€ìŽ ì„ë„Žì ìŒëĄë ìŁŒì ì ìŒëĄë ë€ì±ëĄêČ ë껎ì§êČ ìëíì”ëë€. ê·žëì ìšëČì í”ìŒëĄ ë€ ë€ìì ë ì”ëí ì§ëŠŹê±°ë ëŹŒëŠŹì§ ìëëĄ ë žë „íìŽì.
5. âTwin Turbo Vol. 1âì ìŽìŽ 컎백í âBack on a Stuâë ë©ì íìž” ë ëì êž°ì€ì ìžì ì”ëë€. ìŽ êłĄì ìŽë€ êłêž°ëĄ ë§ë€ìŽìĄêł , êČœììŽ ìčìŽí íí© ì êłìì êłì íëí ì ìë ëčêČ°ì 돎ììžê°ì?
Back on a stuë ìŹì€ ëłëĄ êł”ë€ìŽê±°ë ìŹëŹ ìê°ì íêł ë§ë ížëì ìëêł ê·žë„ í늏ì€íìŒì ê°êčìŽ ížëìŽ ììŽì ê·ž êłĄì ëí ìêž°ë íŹêČ í 걎 ììŽì. êłì íí©ì êłìì íëí ì ìë ëčêČ°ìŽëŒë©Ž ì ë§ ëšìíêł ìŒì°šìì ìŒëĄ ìŽ ìŒìŽ ìąììëë€. ìë ìêž°ê° ìąìíêł ìŹë°ìë ìŒì ìí€ì§ ììë íêł íì§ ë§ëŒêł íŽë íêČ ëë ëČìŽììì.
6. ì§ì ëšžìČë€ìŽìŠ ëŒìžì ëììží ì ìë€ë©Ž, ê°ì„ 뚌ì ì¶ìíêł ì¶ì ììŽí ì 돎ììžê°ì?
ì ê° ëšžìČë€ìŽìŠë„Œ ëììží ì ìë€ë©Ž ì ë ìŽìŽí°ìŽë í€ëì ì ë§ë€êł ì¶ìŽì. ìŽë€ ìšëČì ë§ë€êł ê·ž ìšëČì íšìŹ ë í„믞ëĄêČ ë€ì ì ìêČë ìŹìŽëê° ìží ë ê·žë° ìŽìŽí°ìŽë í€ëì ìŽì.
7. MADIì ìŹëŹ ì°šëĄ íì ì íì šìŁ . ë ìŹëì ìŽë»êČ ë§ëŹêł , íŒì ìì í ëì ëčê”íì ë ìì ì ì êłŒì ì ìŽë€ê°ì?
ì ì ë§ë(MADII)ë ì€íê” 1íë ë ê°ì ë° ìčê”ŹììŽì. ê·ž ë ë¶í° ìčíŽì ììŁŒ ëë€ê° ì ê° ëíê”ê°ì ëí ì§ êł ëŻŒí ë ëíŒê° ëêž°ëĄ ë§ìëščìêł íŒì íêž°ë ë돎 ìžëĄêł íë€êČ ê°ìì ëčìì ëčì·í ë¶ìŒì êŽìŹìŽ ë§ìë ë§ë(MADII)ì ìêž°ë„Œ ë§ìŽ íêČ ëë©Žì ê°ìŽ íêČ ëìì”ëë€.
íŒì ìì í ëëłŽë€ íšê» ìì ì ë§ë€ë©Ž ìŹëŻžë ëë°°ê° ëêł ëëĄë ìêł ë ëë°°ê° ëŒì íë€ ëë ììŽì. íì§ë§ ë ìŠêž°ë©Žì íêł ìì”ëë€.
8. ìì íëì íì§ ììë€ë©Ž, ìŽë€ ìŒì íêł ììì êČ ê°ëì?
ì ë êł ë±íê”ë ëììžì ë°°ì ìëë°, ê·ž êžžì ê·žëëĄ ê°êł ìê±°ë ìëë©Ž SNSë ì íëž ê°ì 걞 íì©íŽì ëì ëČë €êł íì êČ ê°ìì.
9. âTwin Turbo Vol. 2.5âì ë ë€ë„ž 맀íčì ìž ížëìž âSOCARâë ìŽë€ ìŽìŒêž°ë ë¶ìêž°ë„Œ ëŽêł ì¶ìŒì šëì?
SOCARë íê”ì ìëì°š ëìŹ ìëčì€ íìŹì ëë€. ëłŽí” ìì§ ì°šê° ìë ìŽëłŽë©Ží ìŽì ìë€ìŽ ìŁŒëĄ SOCARë„Œ í”íŽ ì°šë„Œ ëčë €ì ëëŒìŽëžë„Œ ë§ìŽ íëë°, ì ê° ë©Ží ëšì§ ìŽì 1ë ìŻ€ìŽ ëì ë SOCARë„Œ ëčëŠŹêł ìŽì íë êČœíì ìŽë €ì êłĄì ë§ë€ìì”ëë€. ë ìš ìąì ë ìčê”Źë€êłŒ ë ëë ë¶ìêž°ë„Œ ìê°íìŽì.
10. íŹë€ìŽ ëȘšë„Žë ëčì ì ëí ìŹëŻžìë ìŹì€ í ê°ì§ë 돎ììžê°ì?
ì… ì ì ëí ìŹë°ë ìŹì€ìŽëŒêł íë€ë©Ž..ì ê° ìë ìëŠŹë„Œ ìì ëȘ»íëë° ì”ê·Œì ìëŠŹë„Œ ìą íŽ ëŽìŒêČ ë€ë ìê°ì íêČ ëìŽì. ê·žëì ììŠì ìŽêČì êČ íŽëłŽêł ìì”ëë€. ìì ëȘ» íì§ë§ ëëŠ ë§ìêČ ë§ë€ë €êł ë žë „íŽì. ë§íêł ëë ëłëĄ ìŹëŻžìì§ë ìë€ì..
11. ìì íëì íë©Žì ë°°ìŽ ê°ì„ í° ê”íì 돎ììžê°ì? ê·žëŠŹêł ììŒëĄ ëȘ ë ìì ëčì ì ìì ìŽ ìŽë€ ë°©í„ìŒëĄ ë°ì íêžž ë°ëŒìëì?
ìì ì íë©Žì ë°°ìŽ í° ê”íì ì ë§ ìŹëë€ì ë€ ë€ë„Žë€ë 걞 ë§ìŽ ë껎ì. ëȘšëë„Œ ë§ìĄ±ìíŹ ì ìêł ëȘšë ê° ê°ì 걞 ëŁêł ëŽë ë€ë„ŽêČ ëëŒêž° ë돞ì, êČ°ê” ìêž° ìì ìŽ ë§ìĄ±íêł ìŠêžž ì ìë 돎ìžê°ë„Œ ë§ë€ìŽìŒ íë€êł ìê°íŽì. ììŒëĄ ì ìì ìŽ ë°ì íêžž ë°ëŒë ë¶ë¶ì ì€ë „ë ëŹŒëĄ ë ëìŽê°êČ ì§ë§ íšìŹ ë ë§ì ìŹëë€ì ê· ìì ì íŹ ìì ìŽ ë€ëŠŽ ì ìëëĄ ë°ì ìí€êł ì¶ì”ëë€. ëì€ì ìž ìì ì ì§í„íë€ë ë»ì ìëêł , ìêč ë§í ìŹëŹê°ì§ êŽì êłŒ ì ë§ì ê°ì§ ìŹëë€ìêČ ì íŹì ë§€ë „ì ìë €ìŒ íêČ ìŁ .
12. ë§ì§ë§ìŒëĄ íŹë€ìêČ í ë§ì ë¶íë늜ëë€.
ìžì ë êł ë§ë€ë ë§ ë°ì ë ì€ë„Žì§ê° ììì. ì ê° ìì ì ììíêł ê·ž ìì ì ë°ë§€íêł ê·ž ìì ì ë€ìŽìŁŒë ìŹëë€ìŽ íëȘ ìŽëŒë ìꞎ ê·ž ìì ìŽíë¶í°ë ì ì¶ì ëȘšë ë¶ë¶ìŽ ì ë§ì êČìŽ ìëëŒêł ìê°íŽì. íì ë€ìŽìŁŒêł ììíŽìŁŒë íŹë¶ë€ì ìíŽ ì”ì ì ë€íêł ìŽìŹí íŽìŒêČ ë€ë ë€ì§ì ë§ìŽ íë êČ ê°ìì. ì ê·žëŠŹêł êł§ 7ìì ì ìšëČì ëŒ êČ ê°ìë° ììŒëĄë ë§ìŽ êŽìŹ ê°ì žìŁŒìžì! ì돞ë ë§ìŽ ëŽìŁŒìê”Źì. ì íŹ ì€ìčŽí(SC4F) & ë§ë(MADII)ëŒë ìí°ì€ížë„Œ ìŹëíŽìŁŒì ì ë ê°ìŹí©ëë€.
â-Karen Mwenda
#KCrushInterviewWithSc4F #SC4F #hiphop #koreanhiphop #TigerJK #MADII #kcrush #indie #kmusic #idol #WIZFIT #AfterParty #Silhouette #TwinTurboVol2point5EP #rapandrhythm #rap #kcrushmagazine #kcrushamerica #ProducerROCK #guitarriff #BackonaStutrack #SOCARtrack #SOCARKoreanCarRentalService #newalbumJuly2025
Kdramas have continued to evolve, and the 4th generation â spanning from around 2018 to 2023- brought its fresh storytelling, standout acting, and unforgettable soundtracks. The era introduced bold themes and global stars. Here are 22 of the best 4th generation K-dramas that captured hearts and screens across the world.
1. Destined With You
A civil servant uncovers a cursed book and an unexpected romance with a lawyer. A mystery, fate, and forbidden love collide in this magical slow-burn fantasy drama.
2. Behind Your Touch
A veterinarian with psychic powers teams up with a detective in a small town. This quirky mystery blends supernatural comedy with unexpected emotional depth.
3. Strong Girl Nam-soon
A girl with superhuman strength returns to Korea to find her birth parents. An action, crime, and laughter come together in this fun female-led adventure.
4. Crash Course in Romance
A former athlete and a star math tutor fall into an unlikely romance. This heartfelt story mixes slice-of-life struggles with sweet chemistry.
5. Bloodhounds
Two young boxers get caught in a dangerous loan shark underworld. A full of action, loyalty, and intensity, this drama is a gripping underdog story.
6. Weak Hero Class 1
A quiet top student uses strategy to fight bullies in a violent school. A raw and emotional, itâs a survival story wrapped in brutal realism.
7. Alchemy of Souls
A powerful soul is trapped in a weak body in a magical world. A fantasy, romance, and stunning lore define this epic two-part saga.
8. Unlock My Boss
A tech CEO gets trapped in a smartphone, and a jobless man finds it. In this drama, tech meets fantasy in this humorous and heartfelt underdog tale.
9. Business Proposal
An office worker pretends to be her friend on a blind date – only to meet her boss. This workplace rom-com is full of laughs, heart-flutters, and lovable side characters.
10. Vincenzo
A Korean-Italian mafia consigliere returns to Korea for revenge. A stylish, darkly funny, and intense, this crime drama has a cult following.
11. Hometown Cha-Cha-Cha
A city dentist opens a clinic in a seaside village and meets the local handyman. This feel-good romance captures healing, humor, and small-town charm.
12. True Beauty
A girl masters makeup to hide her appearance and finds unexpected love. A high school rom-com that explores beauty standards, identity, and growth.
13. The Uncanny Counter
Demon hunters disguised as noodle shop workers fight evil spirits. An action-packed and emotional, this supernatural team drama is full of heart.
14. Itâs Okay to Not Be Okay
A caregiver and a troubled author confront their traumatic pasts together. A visually stunning and deeply emotional, this healing drama is unforgettable.
15. Tale of the Nine Tailed
A nine-tailed fox protects humans while searching for his reincarnated lover. This fantasy romance blends mythology, action, and past-life love.
16. Mr. Queen
A modern-day chefâs soul ends up in the body of a Joseon queen. A hilarious, sharp, and full of twists, itâs a time-travel period comedy like no other.
17. Hospital Playlist
Five doctors and lifelong friends navigate work, love, and music. A heartwarming and slice-of-life, this medical drama is comfort food for the soul.
18. Crash Landing on You
A South Korean heiress crash-lands in North Korea and meets a soldier. Their forbidden love story is emotional, romantic, and culturally rich.
19. Angelâs Last Mission: Love
A mischievous angel must help a blind ballerina find love to return to heaven. A fantasy, tragedy, and romance intertwine in this moving love story.
20. Her Private Life
A professional art curator hides her obsession with a K-pop idol. A funny, steamy romance that explores identity and fangirl culture.
21. The Secret Life of My Secretary
A cold-hearted boss softens after losing his ability to recognize faces. This rom-com blends corporate life, memory twists, and a heartwarming love story.
22. Romance Is a Bonus Book
A single mom lies about her credentials to land a job at a publishing house. This is a slow-burn noona romance that celebrates second chances in life and love.
â-Karen Mwenda
#22Best4thGenerationKDramas #kcrush #koreandrama #kdrama #kpop #hallyu #koreanculture #HerPrivateLife #RomanceIsABonusBook #TheSecretLifeOfMySecretary #AngelsLastMissionLove #CrashLandingOnYou #MrQueen #HospitalPlaylist #TailOfTheNineTailed #ItsOkNotToBeOK #TheUncannyCounter #HometownChaChaCha #Vincenzo #TrueBeauty #kcrushmagazine #kcrushamerica #BusinessProposal #UnlockMyBoss #AlchemyofSoul #Bloodhounds #WeakHeroClass1 #CrashCourseInRomance #StrongGirlNamSoon #BehindYourTouch #DestineWithYou #action #drama #kbeauty #kfashion #koreanactors #koreanactresses #fantasy #comedy #melodrama #hallyu #lifeandlove
Dream Con logo, DreamCon.com
Dream Con 2025 came to my hometown, Houston, Texas, from May 30th to June 1st. It is the largest and fastest growing Black-owned anime and gaming convention in the United States where Blerds can celebrate and indulge in their love for anime, cosplaying, gaming, sports, film, music, pop culture and more. I consider it a blessing to have partaken in that moment of Black joy dripping in Black Excellence. I walked away from Dream Con with something I never expected to encounter: healing. Thatâs probably the last thing you expected me to say, right?
Iâve been to other music, anime, and cultural conventions before, but this was my first Blerd convention. It wasnât the dizzying levels of creativity that went into each cosplay outfit surrounding me at every turn. Nor was it the many spontaneous dance breaks in the middle of the convention halls that managed to tear down the shell protecting my closely guarded secret. The thing that created heaven for me was the feeling of absolute acceptance that washed over me from the moment I stepped through the doors of George R. Brown Convention Center. The atmosphere was so electrifying that I had to take a moment to breathe as my eyes soaked in wave after wave of smiling, happy Black people admiring one another and interacting freely as nerds. For three days, I traversed through the convention halls across three floors engaging in as many activities as time would allow. By the time I plopped down in my car at the end of day three, all of the guards I previously had up had been thoroughly thrashed. I had found my tribe. More importantly, I had received the permission that itâs OK to be a Blerd that my inner child always so desperately craved.
Why is this important?
Blerd is simply a unisex term used to describe Black people who are also nerds. We share the same appreciation and adoration for our chosen topics as anyone else. Similar to other nerd communities, that appreciation and adoration can sometimes also be a source of hurt for us. Moreover, that pain often comes from the people closest to us. When I was young, living in a Black community, being a nerd was fine, but only smart nerds were truly accepted since that usually produced positive rewards. I have always loved watching animation and was even interested in cosplaying at one time. However, being a nerd that enjoys dressing up as a cartoon character or even watching cartoons past a certain age was deemed childish and weird. Like most people, the last thing I wanted to be described as was weird. Added to that, things like anime and cosplaying were shunned in many Black communities because it wasnât considered a âBlack thingâ to do. And this doesnât even include how utterly unwelcoming many nerd communities have always been towards Blerds. Life was hard enough. I wasnât going to add to it just because I liked cartoons. It was just easier to hide my interests deep in my heart rather than face ridicule from family, friends, and even strangers. Attending Dream Con was basically me finally allowing myself to acknowledge this love publically. Being able to do so without having to explain my interests, deny a desire to be some other race, or accept being âotheredâ in some way was like releasing a boulder from my chest. No one cared whether or not I only wore an anime shirt but didnât cosplay. They were just happy to be there, doing their thing. No one noticed that my head was on a swivel, absolutely enamored by all of the amazing cosplay units because they were doing the same thing. No one questioned my Blackness just because I purchased a cute anime license plate cover for my car. They were in line too. Even when I walked to my car at the end of each night, no strangers pointed or whispered. The crowd just hummed with the same excitement I felt for what we saw and hopedo see again. I didnât feel like I needed to change anything about myself to fit in. I just automatically belonged in whatever way I arrived.
Artwork display at Dream Con 202; Houston Tx
The convention was packed to the brim with all maner of fans. Everyone seemed so happy to be a part of the event. Attendees ranged from every age, shape, size, skin tone, and gender. Friends and family members cosplayed characters together. Some joined in the fun by wearing their favorite anime, gaming, or comic related merchandise like I did. I had to know if this feeling was unique to me or if others had also experienced something similar. So I asked a few people how they feltl about the convention and if it is important to the Blerd community. The overwhelming response was without a doubt, âYES!â One gentleman said, âThis convention gives us a home, a place of warmth free from judgement. It allows us to explore our creativity freely without the restrictions others place on us.â I could not have worded it better. And it is evident that RDCWorld, the founders of Dream Con, understood this need deeply as they planned the convention.
Dream Con, +Dream Con 2024 Official Recap Video
There was a lively mix of panels and activities that ranged from fun and entertaining themes such as live manga readings and Q&A sessions with authors like LA West to topics impacting Blerd professionals like Martian Blueberryâs âBreaking Boundaries in Animation: A Conversation with Martian Blueberry.â Each day presented opportunities to engage in a variety of activities, no matter your interest. There were tabletop games, video game tournaments with amazing cash prizes, volleyball and other sports events that attendees could sign up for, anime and gaming meetups, and even K-pop activities like âFrom Seoul to Shonen: The Ultimate K-Drama & Anime Showdownâ and a K-pop random dance. I also cannot forget to mention the plethora of stars that dropped in to share in the fun including Megan Thee Stallion, Tony Weaver, Jr, and Carl Jones .
There were so many activities and panels that specifically celebrated, supported, and encouraged Blackness and nerdom in a positive way, that it was practically impossible to walk out without a change of attitude. Do most conventions have great content and activities? Yes (well, at least the ones I have attended). But I have never felt a connection to other attendees like I felt at Dream Con. I have never felt seen or even welcomed quite the same. I encourage everyone to experience Dream Con or one similar in the future. Particularly other Blerds that are struggling with community or personal acceptance. While the event is obviously meant to be fun, it unquestionably delivers on building the community through education, acceptance and respect. It’s an event that can heal your inner child while enjoying what you love.
Dream Con 2025 Attendees participating in painting a custom art piece, Houston, Tx
By the way, here are some of the amazing panels and activities I dropped in on. This is just a drop in the bucket. I also spent a lot of time connecting with colleagues and making new friends. I encourage you to check out Dream Conâs website to learn more about this yearâs event. You wonât want to miss next year!
- POWER AND CREATIVITY: Building Brand That Moves Culture with Megan Thee Stallion
- Black People Know Things Trivia
- Black in Tech
- Who Wants to be a K-pop Millionaire
- Cosplay Contest
- Xbox Takeover Panel
- Gaming Arena (I played virtual and arcade games)
- Writerâs Block: Novel, Poets, Screenwriters and More Mixer (speaker: Tony Weaver Jr)
CoolHappyTash
#DreamCon #HoustonTexas #MeganTheeStallion #panels #kcrush #cosplay #XboxTakeoverpanel #BlackinTech #Anime #Manga #TonyWeaverJr #writersblock #screenwriterspanel #kpopdance #kdrama #speakers #CarlJones #kcrushmagazine #kcrushamerica #RDCWorld #Blerd(nerd)community #nerd #GeorgeRBrownConventionCenter
As K-pop soars across the globe, Vietnam is taking center stage as one of the countries with most K-pop performances. From EXO to BIGBANG, here is a list of K-pop artists who have performed in Vietnam.
| Artist | Concert Name | Date(s) | City |
| BabyMonster | Hello Monsters 1st World Tour | May 2025 | Ho Chi Minh City |
| Daesung
(BIGBANG) |
Dâs WAVE Asia Tour | May 2025 | Ho Chi Minh City |
| 2NE1 | Welcome Back Asia Tour | Feb 2025 | Ho Chi Minh City |
| Park Bom | Special Fan Concert | Sept 2024 | Ho Chi Minh City |
| Lee Hyori | GENfest Music Festival | Nov 2023 | Ho Chi Minh City |
| EXO
(Suho & Xiumin) |
Adex K-pop Super Concert | Sept 2023 | Hanoi |
| Ailee | Korean Food Festival | Sept 2023 | Hanoi |
| Epik High | HAY Glamping Music Festival | Sept 2023 | Hanoi |
| Super Junior
(D\&E) |
DElight Party Fan-Con | Jul 2023 | Mexico City, MXHo Chi Minh City |
| WINNER | Cross Tour | Feb 2020 | Ho Chi Minh City |
| Red Velvet | V Heartbeat Live Show | Apr 2019 | Ho Chi Minh City |
â-Karen Mwenda
#kpopartistswhohaveperformedinVietnam #kcrush #Vietnam #kpop #kpopcondert #EXO #EpikHigh #kpopidol #SuperJunior #kcrushamerica #kcrushmagazine #WINNER #RedVelvet #Ailee #ParkBom #LeeHyori #BIGBANG #BabyMonster #2NE1 #Vietnamperformance #kcrusharticle #topentertainment
PUNCH was once at the forefront of the entertainment industry, making waves with their powerful performances and unique sound. Known for their emotionally charged ballads and dynamic collaborations, PUNCH built a reputation for producing hit after hit. But as the years have passed, fans have been left wondering: Where is PUNCH now?
PUNCHâs Legacy of Hits
PUNCH first gained widespread recognition with OSTs for popular K-dramas such as âGoblinâ and âHotel Del Lunaâ. Her soulful voice became synonymous with unforgettable moments in K-drama history. Songs like âStay With Meâ (with Chanyeol) and âDone For Meâ solidified her status as one of Koreaâs top vocalists.
PUNCHâs Latest Releases, Collaborations, and OSTs
Despite maintaining a lower profile, PUNCH continues to captivate listeners with new music. Recently, she has released singles that showcase her evolving style, blending R&B, ballad, and indie influences. PUNCH’s latest release is the “I Hope the Painful Memories Weren’t Love” track in February, 2025.
PUNCH has also collaborated with various artists, including rappers and fellow vocalists, further expanding her musical reach. PUNCHâs latest collaboration is “White Christmas” (ft. Lee Boram & Yebin) in 2024. Additionally, PUNCHâs voice remains a staple in K-drama soundtracks, with her latest OST contributions featuring in popular series, continuing to evoke deep emotions among fans. PUNCHâs latest OST is âGood Partnerâ K-dramaâs âBeautiful” OST and âNothing Uncoveredâ K-dramaâs âRun Far Away” in 2024.
PUNCHâs Musical Evolution
PUNCHâs recent releases reflect a more mature and introspective sound while maintaining the emotional depth that has defined her career. Through collaborations with both rising and established artists, she has continued to stay relevant in the ever-evolving music industry. Her ability to adapt and experiment with different genres has solidified her as a versatile and enduring artist.
PUNCHâs Life Beyond the Spotlight
Beyond music, PUNCH has been engaging with fans through social media, occasionally sharing glimpses of her creative process and personal life. While she has not been as active in mainstream promotions, she remains a respected figure in the industry, with her older tracks still charting on digital platforms.
Whatâs Next for PUNCH?
While PUNCH has not officially announced any upcoming albums or major projects, fans continue to anticipate her next move. Given her history of surprise releases, it would not be unexpected for her to drop new music when least expected. Industry insiders speculate that she may explore new genres or even international collaborations in the near future.
Final Thoughts
PUNCH may not be in the headlines as frequently as before, but her impact on the K-pop and K-drama OST scene remains undeniable. Whether sheâs preparing for a major comeback or quietly shaping the industry behind the scenes, one thing is certainâPUNCHâs music continues to resonate with fans worldwide.
Â
â-Karen Mwenda
Â
#PUNCH #wherearetheynow #kcrush #kdramaOST #IHopeThePainfulMemoriesWerentLove #newtrack #kdrama #OST #StayWithMe #DoneForMe #kcrushmagaizne #kcrushamerica #NothingUndercovered #RunFarAway #kpop
For her debut feature film Sumbisori, writer and director Lee Eun-jung uses the unique culture and community of Koreaâs famed Haenyeo, to explore the strained relationship between a daughter, Hae-jin (Lee Sun-bin), and her mother Ok-ran (Seo Young-hee), whose disappointments in life affects their expectations of each other.
In Korean, the word âsumbisori ìšëčì늏â translates to âbreath soundsâ, but on the island of Jeju – Koreaâs largest island in the peninsula, located off its southern coast – sumbisori has a much more specific meaning. Amongst the Haenyeo, it refers to âBreath of the Seaâ, the calm, steady exhale in the form of a uniquely pitched whistle the female divers make upon surfacing from a deep dive.
This breath serves two distinct purposes: first, the steady exhale is to carefully release the bubbles that build up in the lungs and bloodstream due to the increased external pressure of the oceanâs depths on the body. When diving, it’s imperative that swimmers rise to the surface carefully to avoid a potentially fatal condition known as Decompression Sickness, or âthe bendsâ. The second reason for the whistle is for the women to communicate with each other to make sure theyâre all ok. Haenyeo always dive in pairs or groups to ensure their safety because they never take their decades of expertise or the unpredictability and potential dangers of the ocean for granted.
This buddy system plays a significant part in Leeâs depiction of the filmâs female relationships, because it’s this trust and reliance the Haenyeo exhibit towards each other, and their acceptance of Hae-jin that encourages her to open up about her struggles living in Seoul.
Bearing the unwieldy burden of her motherâs expectations to pass the laborious government exams needed to obtain the coveted position of a civil service worker, Hae-jin stumbles, and eventually loses her way in the bustling metropolitan city. Not only has she failed the test, but sheâs been scammed out of her money, and left isolated having lost touch with all her friends back on the island.
So, Hae-jin does what anyone would do when they feel the pressure of failure building and crashing down on them. They escape. She runs to where there arenât any giant highrises and glass enclosed skyscrapers rising above her, and social expectations to fit in and conform to manufactured ideals forcing its will on her. On Jeju, the air is crisp, the lands lush with farms, open plains, and the ocean vast and limitless. And itâs there in its depths, Ok-ran, Hae-jinâs grandmother Kang-ja (Kim Ja-young), and her aunts, or as theyâre affectionately known amongst the Hanyeo, Samchon, meaning Uncle, finds acceptance for being who she is. Mess and failures and all. Leeâs (Toxic, The Uncanny Counter) portrayal of a young woman afraid to disappoint her mother, while already feeling the overwhelming disappointment in herself of her life not turning out to be all she imagined, is relatable.
The insecurity and guilt she feels in almost every interaction with Ok-ran is visible in every hesitant move she makes, which is subtly juxtaposed with the sheer sense of relief and relaxation evident in Leeâs body language when in the water surrounded by Kang-ja and the Haenyeo. Hae-jinâs gradual steps to confidence as she learns to forgive herself demonstrates how closely the actress and director worked to develop their character over the course of the film.
Despite diving for years side-by-side with her own mother, Ok-ran still seems uneasy about the life sheâs been living. Though she may be away from the pressures of city life, she still thinks about where Hae-jin needs to be to have a successful life. Or her idea of success anyway. Depicting Ok-ranâs discontent with her own life this way is a very interesting narrative choice that Lee makes because it shows that even though women can in fact be living life on their own terms, they can still feel some semblance of pressure to be the women society tells them to be. Seo (Toxic,Way Back Love)Â plays this complexity of female identity with great depth and angst. Not angst in an overwrought fashion, but angst that would be familiar to any woman who feels that thereâs something missing in their life, something theyâre searching for but canât quite identify.
To balance out these heavier character elements, is Kang-ja whose exuberance of being able to experience the magic of the ocean is practically contagious, as this is what Hae-jin grasps onto. Though she receives the earth shattering news that her bouts of confusion and forgetfulness are attributed to dementia, Kang-ja is determined not to let the diagnosis and disease steal her joy for life away. The Haenyeo all band together to support Kang-ja in whatever form she needs. They sing their songs of the ocean and camaraderie reminding Ok-ran that sheâs not alone, and encourage Hae-jin to take her time rising through her troubles.
Though Sumbisori may be her first feature, Lee shows that that she has a profound understanding of how to use film as a medium to show how many layers they are to the human experience, and how thereâs so much more to the Haenyeo as women, divers, and a culture thatâs as unique as each breath the take and exhale.
In my interview with Lee Eun-jung, we spoke of her finding inspiration as a writer and solace on Jeju Island, the challenges of filming in open water, and how daughters can be inspiring for their mothers, and discovering her various narrative metaphors in the most unlikely places like names and even an adorable Jindo dog name Haekyung.
Sumbisori premiered in the Korean Competition program of the 2025 Jeonju International Film Festival.
Note: This interview was conducted via email with the use of a language translation program and has been edited for clarity and length.
Your previous film work includes being an assistant director, and script writer. Can you speak a bit about your entrance to the film industry, and forming your own script writing process and narrative style?
Becoming a film director has been a long-time dream of mine. When I was young, I read stories about the people behind the camera in a film magazine, and I vaguely admired their lives. That’s why I chose to major in Theater and Film at university, and right after graduating, I was lucky enough to get a chance to work on a commercial film set.
Working on set was tough, but I think I became addicted to the energy you can only feel there. The process of many people coming together to create one work was moving, and that energy kept me working as an assistant in film productions.
I wouldn’t say I have much experience yet in what you’d call a ‘narrative style.’ But I do try to keep a promise to myself to write regularly and stick to a set schedule. I’ve realized that, like any office worker, you need to faithfully sit at your desk and spend time writing if you want to finish something in the end.
And I tend to get inspiration from everyday life while taking a walk, in the shower, or riding the subway. I jot down sudden ideas in a notepad and later weave them into my scripts.
Sumbisori opens with the camera in the perspective of a Haenyeo ascending to the surface, and as soon as they surface, we see Ok-ran joyfully calling to Kang-ja, who rises across from her, and Kang-ja calls out to Ok-ran in return.
I found this brief interaction, and the others like it in the film, to reveal something very deep about the relationship between the mother and daughter. It shows how they’re always at the forefront of each other’s minds and who they look to every time when they surface from the depths of what troubles them.
The work of a Haenyeo includes looking after the fellow divers you go out to the sea with. As you mentioned, Ok-ran and Kang-ja have been protecting each other their whole lives.
Later, when Kang-ja leaves, and Hae-jin takes her place, it carries that same meaning as well.
Can you describe your feelings when you wrote this opening scene then saw the actresses perform it for the first time?
We filmed in the actual ocean, and the waves of Jeju’s ocean were quite rough at the time. So we went into filming with a lot of anxiety. It was difficult to stand still in the water, and the actors had to act as well, so it was quite difficult. I was thankful, sorry, and respectful to see the actors safely perform their roles.
There’s a very distinct difference in how Hae-jin is introduced into the story and Ok-ran’s reception of her, in comparison to how we previously saw Ok-ran in the sea. Hae-jin looks weary and apprehensive as she walks towards her family home, and upon seeing Hae-jin, Ok-ran is obviously not pleased to see her daughter. Instead of a warm welcome, Ok-ran’s first inclination is to ask âDid you pass?â,referring to Hae-jin having taken a civil service exam.
To the audience this tells us that this mother and daughter pair have a somewhat distant relationship. For any child having their parents greet them this way when they already feel lost and alone would be discouraging, and I saw it as commentary on the personal and cultural expectations parents have of gaining status through education and passing exams.
That’s right. Passing the civil service exam in Seoul and living a stable life wasn’t Hae-jin’s dream â it was Ok-ran’s hope. Like all parents, she just wanted her child to succeed. But often, those hopes end up becoming a burden for the child.
I wanted to portray that kind of relationship in the scene where Ok-ran, seeing Hae-jin after a long time, asks âDid you pass?â Hae-jin had no choice but to return home because she had nowhere else to go, but knowing how her mother would feel about it, she came back filled with inner conflict.
In truth, children understand their parents’ hearts better than anyone.
Usually in South Korean films and dramas it’s the sons who are shown as being weighed down with passing the civil service exams and securing a position as a government worker, so I appreciate you showing that women also face these expectations and struggles. Was this part of your motivation in creating the story and Hae-in as a character?
It’s true that many stories in films and dramas focus on men, even though in Korea, a lot of women apply for civil service exams, and their success rate is also quite high.
Separate from that, though, I wanted to tell a story I know best. And I wanted to fill the film with the things I love.
I hoped to capture the concerns of young people living in today’s world â to say that it’s okay even if you don’t live in a big city like Seoul, and it’s okay even if you don’t have a stable, guaranteed job like a civil servant.
I’d like us to talk a bit about the assumptions people have about ‘city life’, like living in a large city like Seoul is better than living in the country, or islands like Jejudo.
Everyone that Hae-jin meets assumes that her life in Seoul must’ve been easier, more prosperous, and fulfilling than what they live in Jejudo, and much of this is because capitalist societies and those where class hierarchies are firmly established, have created a culture where ‘city life’ equates to success. But rarely are the emotional, financial, mental, and even health challenges that arise in relation to the stress of the struggle to achieve this assumed ideal, acknowledged.
Ok-ran herself lived in Seoul for a time with her husband and Hae-jin, but she too eventually ran back home to Jejudo to heal after her marriage ended, leaving Hae-jin in the city alone. Despite knowing how difficult city life can be, Ok-ran still expecting Hae-jin to make it there without any emotional support seems especially unfair, but I think this shows that perhaps she still had feelings of guilt for leaving her daughter to in a sense makeup for Ok-ran’s own perceived failures of not ‘making it’ in the big city.
That’s right. As the dialogue in the latter part of the film suggests, Ok-ran was pushing her daughter to achieve what she herself couldn’t. Jeju women have long been known for their independence and strong self-reliance. It’s a tendency rooted in the island’s wartime history, and Ok-ran lived that kind of life, so she probably believed Hae-jin could do the same.
When Hae-jin was younger, she likely thought that was the only path to success, which is why she followed her mother’s wishes and lived in Seoul. But after experiencing it firsthand, she realized that life in Seoul didn’t suit her. It was only after returning to Jeju that she truly understood this about herself.
That’s what gave her the courage to try living her life in Jeju. I wanted to reflect on what real ‘success’ means. Isn’t true success about finding something that truly makes you happy, not by other people’s standards, but by your own values? That was the conclusion I reached. We live in a time where money matters, but I don’t think it should be the number one thing.
There’s the scene with Hae-jin and her childhood friend Ga-on where it’s referenced that none of Ga-on’s friends in Seoul made it to her wedding because they, including Hae-jin, were all too busy. And I wondered what good is a city life if working and being there causes you to discard friendships and miss moments that matter to them?
This is my personal experience. I was always busy with filming while working as a film assistant. My friends understood my life to some extent, but I never thought of myself as such a fool in my 20s, forgetting even my best friend’s wedding. But like Ga-on, my friends also understood and supported me. I felt really sorry and grateful to my friends.
In your first answer, you said that your writing process involves being consistent, getting inspiration from everything you see, and writing down whatever comes to your mind . When did you first get the inspiration for Sumbisori , and how did the script develop?
Did you ever stay on Jeju island for a period of time to fully immerse yourself in the Haenyeo culture?
Jeju island is one of the most famous tourist destinations in Korea, and I visited it for the first time when I was 30. Before that, I had traveled to many places like Europe and Southeast Asia, but when I finally went to Jeju, I completely fell in love with it. Since then, I’ve spent a lot of time there.
Whenever I was going through something difficult, I would go and walk along the Olle Trail, and it was during those times that I first encountered the Haenyeo. I think that experience is what first made me think of the act of Sumbisori itself. The sound of Haenyeo breathing. Later, while developing a script about a mother and daughter, I decided to incorporate Haenyeo culture into the story, eventually expanding it into a tale of three generations of women.
Jeju is still my favorite place, and although I can’t visit as often as I used to, I make a point of going there at least once a year to stay for a few days.
Now, I’d like to discuss the film’s themes of memory, feeling lost, losing connections with our present, and finding our way back home, and how the ocean and the act of sumbisori serves as metaphors for these.
The ocean is an overwhelming place and dangerous to be in if we enter it without the proper survival skills and sense of respect for it. Its vastness mirrors the human’s brain’s capacity to create memories, and learn, but with cognitive ailments like dementia and alzheimers, our ability to navigate our memories and do what’s as natural as breathing to us, becomes more difficult as the disease progresses.
To me, the confusion, emotional upheaval and distress caused are mirrored in the panic that can arise when we lose our way in the ocean’s dark depths.
I thought the way you explored all of these complex emotions the characters feel about their own experiences, and Kang-ja’s dementia diagnosis and the disease’s progression, were very poignantly and carefully done.
Please speak about any research you did on cognitive decline, how you figured out ways to weave it into the story using the ocean as a metaphor, and working with actress Kim Ja-young to portray its effects on Kang-ja.
After the dementia diagnosis, I did set up a few scenes to show the progression of the illness, but I tried not to portray it too heavily. I was very conscious of not wanting it to look fake.
My own grandmother has dementia, and through that, I learned that the symptoms don’t appear constantly â they surface unexpectedly in ordinary moments. I felt that even those brief moments could be enough to convey the seriousness of the condition.
At the same time, I wanted the character Kang-ja to remain consistently cheerful. As the leader of the Haenyeo, I hoped she would come across as warmhearted and charismatic. So, I thought her attitude toward dementia should also reflect her character. That’s why actress Kim Ja-young and I talked a lot about how to portray Kang-ja as playful and lovable. Although she would have been aware of her own declining condition, she probably didn’t want to burden her children or her fellow Haenyeo by letting them know. She likely felt that causing them worry would be something to feel sorry for.
Because Kang-ja serves as the emotional anchor for both Ok-ran and Hae-jin, I thought it was very fitting you named her Kang-ja, as it translated to ‘Strong man’. But with the dementia slowly erasing her memories and ability to be in a sense emotionally present in their lives, it showed how fragile she was, too.
I thought the name Kang-ja, which means “strong man” in Korean, was a perfect fit for her because she serves as the emotional anchor for Ok-ran and Hae-jin . However, as her dementia gradually erases her memories and she becomes emotionally unable to be present in their lives, it also reveals how fragile she really is .
I could tell from your interpretation that you have a deep understanding of the Korean language. Thank you for recognizing the meaning behind the name. In the past, due to the traditional preference for sons, it was common for names to include the character ‘Ja’ (ć, meaning ‘son’). But in this community, I gave her the name ‘Kang-ja,’ hoping she would be the strongest person of them all.
I believe the reason Kang-ja is strong is because, even as her body deteriorates from dementia, she holds onto her lifelong devotion and love for the sea with unshaken conviction.
When she says, âI want to die in the sea,â it reminded me of how some terminal patients refuse life-prolonging treatment in a hospital and instead choose to spend their final moments in the home where they’ve lived their entire lives. In the same way, Kang-ja chose the sea. She didn’t want to give up the life she loved so deeply until the very end. That’s why I think she truly lives up to her name â Kang-ja, a strong person.
I grew up on Barbados, an Island in the Caribbean, and the sea has always been my favorite place to be. It’s where I went on Sundays to swim and snorkel, but also where I went to escape what troubled me. Swimming and snorkeling or diving requires complete focus on our bodies and surroundings, there’s no real time to think about things that seem distracting in the moment.
As you swim further from shore and look back, you have a different perspective of how everything, including our problems look on land.
I think this is what makes Haenyeo such amazing women. Their ability to let everything go and focus on what’s right in front of them, and realize that the life they’re living can be as satisfying as they want it to be, and this is what drew Hae-jin to follow in their path. But what I thought was interesting is that it took Ok-ran seeing Hae-jin fully embracing the challenges required to be a Haenyeo, and the camaraderie and lifestyle of the Samchons, for Ok-ran herself to finally realize the life she’s been living for years was good enough.
Can you speak about crafting these particular developments in Hae-jin and Ok-ran’s character arcs, and why it was important for you to depict the daughter as an inspiration for her mother and your experience working with actresses Lee Sun-bin and Seo Young-hee?
First of all, your personal story sounds so beautiful. I felt truly glad because many of my own experiences by the sea are reflected in this film as well. I believe Haenyeo represents the purest form of labor, and in those simple moments of focusing entirely on one thing, there’s something valuable for us living in the modern world to learn.
Even within a family living under the same roof, the way people view the same matter differs depending on their own circumstances and positions. Ok-ran and Hae-jin also see the world of Haenyeo differently. Ok-ran, though a top Haenyeo, was never proud of her job, while Hae-jin, having watched her mother since childhood, thought it was the coolest profession anyone could have. That difference naturally created character conflict and tension, and it was also the driving force behind the story.
I personally found the process where Ok-ran comes to realize things through her losses and through Hae-jin to be beautiful as well. Someone once said, Sumbisori is a story that starts with Hae-jin and ends with Ok-ran, and I can agree with that because of the changes Ok-ran goes through.
Actors Lee Sun-bin and Seo Young-hee had previously played sisters in the film Toxic (2022), so I did worry whether portraying a mother-daughter relationship might feel awkward. But both of them have such broad acting ranges that they overcame the real-life age gap and delivered convincing performances.
Since they already shared a good rapport, communication on set was smooth, and most importantly, as a first-time director, I was so grateful that they believed in me. Thanks to them, every day on set was a joy. I feel honored to have worked with such incredible actors for my debut project, and I hope I get the opportunity to collaborate with them again in the future.
For the technical side, please discuss the preparation process you, the production crew, and the cast went through to film a movie that has a significant amount of sequences in the sea and working with the experiences of the Haenyeo to accurately depict their world and culture.
Since I considered the sea to be another protagonist of the story, the underwater cinematography was one of the most important parts of ‘Sumbisori’. I wanted to vividly capture the sea of Jeju, which is both the home and the livelihood of the Haenyeo, so we shot 100 percent in the actual ocean.
While shooting in real conditions allowed us to maintain authenticity, there were risks like waves and weather, and since the actors themselves had to go into the water, a lot of preparation was required. Some of the crew and I personally took GoPros and went into the sea for underwater location scouting, searching for spots that would work best for us.
All the surface-level shots were performed by the actors themselves, while for some of the underwater scenes, stunt doubles assisted and among them were actual Haenyeo divers. The surface, underwater, and open-sea swimming scenes were all filmed in different spots around Jeju.
For her role as Hae-jin, actress Lee Sun-bin learned how to swim for the first time while preparing for ‘Sumbisori’. Thanks to her incredible mental strength and physical endurance, she mastered head-up swimming within just a month. Aside from Seo Young-hee, who was already comfortable in the water, both Lee Sun-bin and Kim Ja-young received diving training at the Hansupul Haenyeo School in Jeju.
Thanks to the practical help of Hansupul Haenyeo School and many Haenyeo divers, we were able to complete every single shot in Jeju’s real ocean. Every cut we filmed at sea felt so precious and valuable that I tried to use every one of them, and I believe the final film holds those moments beautifully within ‘Sumbisori’.
One of my favorite things about the film and how you showed the deep bond of sisterhood between the Haenyeo, is their singing. You show the Haenyeo have their own unique culture, with songs related to their diving, love and respect of the ocean, the land, and to each other. These scenes are special to me because they’re reminiscent of films centered around men where we’d see them going off to battle, sailing across the seas, or traversing the open plains like in old American westerns..
And in ‘Sumbisori’ we get to see women, mature women have these types of scenes where music is a method of showing camaraderie. Some of the songs have a bright, joyful energy, and some more melancholy, reflecting the emotional state of the characters. Talk to me about filming these scenes, and what they mean to you and the Haenyeo who worked on the film.
The song âLeodosanaâ appears twice, sung by the Haenyeo together. The first time is when Kang-ja, after being diagnosed with dementia, goes out to the sea for the first time and sits on the shore with the others, preparing to dive as they sing. âLeodosanaâ is a traditional folk song of the Jeju Haenyeo sung to encourage themselves and each other because their work is so harsh and grueling. With that heart, Kang-ja begins the song, and Haenyeo join in, as if to show they understand and share her feelings. Watching this, Ok-ran’s emotions become complicated.
The second time âIeodosanaâ is heard is at the ending, led by the head of the Haenyeo, echoing from afar. This, too, is sung as a gesture of encouragement for one another. After saying goodbye to Kang-ja, the Haenyeo who remain sing for each other, for today, and to gather strength as they head back into the sea.
All the songs were recorded live by the actors themselves. Since real Haenyeo participated in the filming as actors, the scenes were filled with their spirit and energy, making everything feel that much more vivid and alive.
I’m curious about Haekyung (meaning coast guard). When did the idea of adding her to the story happen? I love dogs and when filmmakers add them as significant characters to a film’s story arc, and thought you using her as a sort of metaphor of being able to return home again to new beginnings after feeling emotionally lost, was great.
At first, Haekyung was conceived as an ‘ordinary’ dog you might find in many rural Korean homes. It was meant to add a certain charm that comes from the simple, endearing presence of a dog in the countryside. But during the script development phase, Yoon Seo-young, my co-producer, suggested an idea for using Haekyung in a more dramatic way. As we developed that idea, Haekyung came to symbolize ‘cycles’ and ‘returning.’
Looking back, I realize that over the years of developing this script, it wasn’t something I completed alone. It came together through the efforts of many people. The director bears the final responsibility, but it’s important to remember that this was never a journey taken alone.
This is my final question. I just have to ask, did the puppies in the film belong to the dog that played Haekyung? They were so cute!
I think dogs are truly harmless, gentle creatures. One of the moments that drew the biggest reactions from the audience at the Jeonju Film Festival was the scene with the newborn puppies.
There are three types of dogs that appear in Sumbisori: the adult dog Haekyung, the newborn puppies, and the slightly older pups. All of them are dogs from Jeju Island. Haekyung, the adult dog, was two years old at the time of filming, was extremely gentle and playful. The village where we shot the film is called Panpo in Jeju, and it was actually the producer who spotted Haekyung living there and cast her. Though she had no formal training as an animal actor, our crew stayed in Jeju throughout the shoot, taking walks with her and bonding with her, which led to such a wonderful performance.
As for the newborn puppies, they weren’t Haekyung’s actual pups. We asked around in Jeju for any dogs that were about to give birth and, after much searching, managed to find them. Because they were so young, we had to be extremely careful during filming and could only shoot for about 20 to 30 minutes.
The slightly older puppies that appear near the grave were cast with the help of a stray dog center in Jeju. Sadly, there are still many abandoned dogs in Jeju, and even now, countless puppies are waiting to meet new owners and homes.
Â
Carolyn Hinds
Freelance Film Critic, Journalist, Podcaster & YouTuber
African American Film Critics Association Member, Tomatometer-Approved Critic
Host & Producer Carolyn TalksâŠ, and So Hereâs What Happened! Podcast
Bylines at Authory.com/CarolynHinds
Twitter & Instagram:Â @CarrieCnh12
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#JOENJUIFF2025 #kcrushinterviewwithLeeEunjung #Sumbisori #filmmakerLeeEunjung #kcrush #filmfestival #JeJu #kcrushamerica #kcrushmagazine #JeJuIslandKorea #koreanculture #Asianfilm #interview #dementia #memory #memoryloss #breathsounds #breathofthesea
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K-Popâs 5th generation is here, and itâs bolder, fresher, and more global than ever. As the Hallyu Wave continues to surge beyond Korea., these new idols are setting trends, breaking records, and redefining the K-Pop sound for Gen Z and Gen Alpha. Here are the best 5th-generation K-pop groups you need to stream now.
1. ZEROBASEONE
Born from Boys Planet reality competition, ZEROBASEONE made waves with their âIn Bloomâ debut single. With stunning visuals and addictive choreography, theyâre poised to lead the next global K-pop takeover. ZEROBASEONEâs powerful performances and charismatic members have already garnered a massive global fanbase, making them a force to be reckoned with.
2. RIIZE
SM Entertainmentâs rookie powerhouse blends nostalgia with future-forward pop. Hits like âGet A Guitarâ show off their unique “emotional pop” identity, earning them fast-growing international fans. RIIZE has carved out its uniqueness through captivating visuals, quickly becoming known for its strong stage presence and ability to convey a wide range of emotions through its music.
3. BABYMONSTER
YG Entertainmentâs fierce girl group delivers powerhouse vocals and edgy hip-hop vibes. With songs like âSHEESH,â BABYMOSTER has already drawn comparisons to BLACKPINK and are living up to the high expectations set by their predecessors.
4. ILLIT
HYBEâs latest girl group debuted through R U Next? competition show and brings a refreshing mix of youthful energy and sleek production. ILLIT group is rising fast on both Korean and international charts thanks to their relatable “teen crush” concept and catchy, easy-listening sound that resonates widely.
5. KATSEYE
Created through Dream Academy reality show, this global girl group under HYBE and Geffen Records is K-Popâs boldest attempt at global crossover success. Pioneering a unique blend of K-pop training with a strong focus on the Western pop market, KATSEYE signals its ambition to transcend traditional K-pop boundaries and establish a distinct global identity.
â-Karen Mwenda
#5thGenerationkpopgroups #5thgen #kcrush #HYBE #KATSEYE #GeffenRecords #Westernpopmarket #kpop #kpopidol #Hallyu #global #ILLIT #RUNext #teencrushconcept #DreamAcademy #BABYMONSTER #GenZ #YGEntertainment #RIIZE #SMEntertainment #kcrushamerica #kcrushmagazine #ZEROBASEONE #GenAlpha
Miss Kim is a rising star in the vibrant world of Korean trot music – a genre loved for its nostalgic charm, powerful vocals, and emotional storytelling. With a voice that captures both tradition and modern flair, Miss Kim is quickly becoming a household name among trot fans in Korea and beyond.Â
Debut & Breakthrough
Before stepping into the spotlight, she spent years honing her craft in local singing competitions and regional music festivals, where her potential was recognized by industry veterans. Miss Kim participated in the 2023-2024 Miss Trot 3 competition on TV Chosun. During the program, Miss Kim got to collaborate with legendary trot icons and young crossover artists, expanding her appeal across age groups.
Miss Kim officially debuted on March 13, 2025, with her single âë ëâ, which translates to âThe One Who Will Make It.â The song delivers an uplifting message of perseverance and success, resonating with many listeners. Her standout performance of âHong Silâ during Miss Trot 3 showcased her unique vocal tone and emotional depth, setting her apart from other contestants. Judges praised her ability to convey deep emotions, noting her as a significant new talent in the trot genre.
Recent Works
2024 was a big year for Miss Kim, who participated in the Miss Trot Threegether series. Notably, she featured in Music Source of Miss Trot Threegether Best, Pt. 3 and Pt. 10, released in 2024, showcasing her versatility and commitment to the genre. Miss Kimâs March 2025 debut has been one of her latest success ventures so far.
Online Presence
Miss Kim actively engages with her growing fan base through social media platforms. Her official Instagram offers behind-the-scenes glimpses, performance updates, and personal moments. Additionally, her YouTube channel features music videos, live performances, and vlogs, allowing fans to connect with her journey.
Conclusion
Miss Kim embodies the essence of modern trot musicâhonoring traditional roots while infusing fresh energy. Her genuine storytelling, powerful vocals, and relatable persona have endeared her to a diverse audience. As she continues to evolve, Miss Kim stands poised to redefine the trot genre for new generations.
â-Karen Mwenda
#MissKim #Trotsinger #Trot #KoreanTrot #kcrush #storytellingthroughTrot #MissTrotthreegether #HongSil #TheOneWhoWillMakeIt #kcrushamerica #kcrushmagazine #trotgenre #koreanculture #MissTrot3
This is gonna be so cool! We’ve partnered up with Netflix to offer some free dance classes in LA, NY, Chicago, Atlanta and Dallas to celebrate their upcoming film KPOP DEMON HUNTERS!Â
Learn some dance moves inspired from the film taught by top choreographers across the country. The class will feature music and choreo from the soundtrack including the song “TAKEDOWN”, the film’s anthemic original song performed by JEONGYEON, JIHYO AND CHAEYOUNG of TWICE. Watch: TWICE’s rendition of “TAKEDOWN,”
Reserve your spot in the class now at kpopclubnight.comÂ
KPOP CLUB NIGHTÂ UPCOMING DATES MAY 2025 —>
New shows coming up in Vancouver, New York, Philly, let’s go!
May 23- New Orleans – Republic (18+) – DJ Chen
Tickets:Â https://www.eventbee.com/v/kpop-club-night-in-nola-may-23-at-republic/event?eid=253026843
May 24 – Miami – Mad Live (18+) – DJ Chen
Tickets:Â https://www.eventbee.com/v/kpop-club-night-in-miami-may-24-at-mad-live/event?eid=243627343
May 30 – Orlando – Celine (18+) DJ Angie
Tickets:Â https://www.eventbrite.com/e/kpop-club-night-w-dj-chen-fri-053025-tickets-1325674631509
May 31 Mississauga – The Rec Room (19+) – DJÂ Yuka
Tickets:Â https://www.eventbee.com/v/kpop-club-night-in-mississauaga-may-31-at-the-rec-room-sq1/event?eid=272026374
May 31 Jacksonville FL – Decca Live (18+)Â – DJ Angie
Tickets:Â https://www.eventbrite.com/e/kpop-club-night-at-decca-live-sat-may-312025-tickets-1321622080219
June 6 – Detroit – The Loving Touch Ferndale (18+) – DJ Chen
Tickets:Â https://www.eventbee.com/v/kpop-club-night-in-detroit-june-14-at-the-loving-touch/event?eid=213927242
June 7 – Oakland (21+) – Oakland Continental Club – DJ Chen
Tickets:Â https://posh.vip/e/kpop-club-night?t=kpopnight
June 13 – Kansas City – The Truman (18+) – DJ Chen
Tickets:Â https://www.eventbee.com/v/kpop-club-night-in-kansas-city-june-13-at-the-truman/event?eid=223427143
June 13 – Montreal – Ausgang Plaza (18+) – DJ Yuka
Tickets:Â https://lepointdevente.com/billets/xd0250613001
June 14 – Charlotte – The Underground (18+) – DJ Chen
Tickets:Â https://www.livenation.com/event/G5eVZbtpOdKr-/kpop-club-night-18
June 21 Washington DC (18+) The Howard – DJ Chen
Tickets on sale May 1 at 10am from https://www.unionstagepresents.com/the-howard/
June 27 – Denver – Temple (21+) – DJ Chen
Tickets:https://www.tixr.com/groups/templedenver/events/kpop-club-night-in-the-loft-139640
June 28 – Raleigh NC – The Ritz (18+) – DJ Chen
Tickets:Â https://www.livenation.com/event/G5eVZbtGoPFtN/kpop-club-night-18
June 28 – Toronto – The Rec Room (19+) – DJ Yuka
Tickets:Â https://www.eventbee.com/v/kpop-club-night-in-toronto-june-28-at-the-rec-room-roundhouse/event?eid=284324705
July 3 – Vancouver – Celebrities (19+) – DJ Chen
Tickets:Â https://www.ticketweb.ca/event/kpop-club-night-celebrities-nightclub-tickets/14473813 – DJ Chen
July 4 – Seattle – Ora (21+) – DJ Chen
Tickets:Â https://tickets.oraseattle.com/e/kpop-club-night-ft-dj-chen-at-ora-4/tickets
July 5 – Honolulu – HB Social (18+) – DJ Chen
Tickets:Â https://wl.seetickets.us/event/kpop-night-with-chen-at-hb-social-club/651423
July 5 – Winnipeg – The Rec Room (18+)
Tickets:Â https://www.eventbee.com/v/kpop-club-night-in-winnipeg-july-5-at-the-rec-room/event?eid=293623461
July 12 – Los Angeles – Catch One (18+)
Tickets:Â https://www.eventbee.com/v/kpop-club-night-in-your-area-los-angeles/event?eid=224423502
July 19 – Salt Lake City – Soundwell (18+)
Tickets:Â https://www.tixr.com/groups/soundwell2/events/kpop-club-night-ft-dj-chen-at-soundwell-139030
July 25 – Philadelphia – Fringe Bar (21+) – DJ Chen
Tickets:Â https://www.etix.com/ticket/p/87348489/kpop-club-night-philadelphia-fringe-bar
July 25 – Edmonton  – The Rec Room (18+)
Tickets:Â Â https://www.eventbee.com/v/kpop-club-night-in-edmonton-july-25-at-the-rec-room/event?eid=263823663
July 26 – Boston – Royale Boston (18+)
Tickets:Â https://www.eventbee.com/v/kpop-club-night-in-boston-july-26-at-royale/event?eid=253222864
July 26Â –Â Calgary (18+)Â – The Rec Room – DJ Yuka
Tickets:Â https://www.eventbee.com/v/kpop-club-night-in-calgary-july-26-at-the-rec-room/event?eid=213523561
Aug 2 – Myrtle Beach – TBA (18+) – DJ Chen – Tickets on sale soon
Aug 8 –Â Atlanta (18+)Â – The Masquerade – DJ Chen
Tickets:Â https://www.ticketmaster.com/event/0E00628ED2CD3976
Aug 9 – New York (18+) – Irving Plaza – DJ Chen
Tickets:Â https://concerts.livenation.com/kpop-club-night-18-new-york-new-york-08-09-2025/event/000062A3CBF195AB
Aug 22 – Houston – NOTO (18+) – DJ Chen
Tickets:Â https://www.eventbee.com/v/kpop-club-night-in-houston-aug-22-at-noto-htx/event?eid=213321365Â Discount code HOT (until June 1)
Aug 31 – Pittsburgh – Enclave (21+) – DJ Chen
Tickets on sale soon
Sept 13 – Nashville – Vinyl Lounge (18+) – DJ Chen
Tickets:Â https://www.eventbee.com/v/kpop-club-night-in-nashville-sept-13-at-the-vinyl-lounge/event?eid=223322462Â Â Discount code HOT (until June 1)
Sept 20 –Â London (19+)Â – The Rec Room – DJ Yuka
Tickets:Â https://www.eventbee.com/v/kpop-club-night-in-london-sept-20-at-the-rec-room-masonville/event?eid=253223864Â Discount code HOT (until June 1)Â
Nov 29 –Â Columbus (18+)Â – Skully’s – DJ Chen
Tickets on sale June 1st.Â
See you on the dance-floor!
______________________________________________________________________
For complete, accurate and up-to-date schedules check http://kpopclubnight.comÂ
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#kpopclubnight #colaborationwithNetflix #Netflix #dance #KPopDemonHunters #TWICE #TakeDown #kcrush #kcrushamerica #kcrushmagazine #learndancemoves #kpopfunnightout #choreography #kpop
Based on the 2016 award-winning novel âWinter in Sokchoâ by Elisa Shua Dusapin, filmmaker Koya Kamuraâs adaption and debut feature film, is a quiet introspection on what identity, beauty, and self-confidence looks like in modern day South Korea.
Through the eyes of Soo-ha (Bella Kim), a mid-twenties young South Korean woman searching for some semblance of the familiar in the unfamiliar French graphic novelist Yan Kerrand (Roschdy Zem), whoâs looking for his own font of inspiration in an unfamiliar city, Koya (Homesick, Kidnapping John Malkovich) and co-writer StĂ©phane Ly-Cuong weave a story about two people, a city, and maybe a country looking for answers in learning to accept themselves, faults and all.
In spring, summer, and fall, Sokcho, a small coastal city located in North Western South Korea, is vibrant with a bustling fishing industry and curious tourists visiting to partake of the cityâs seafood delicacies for which itâs famous, and to get as close as politically allowed to the infamous DMZ. That invisible border line along the 38th parallel splitting the Korean peninsula into North and South in 1948. Guests stay at the many pensions and guesthouses for respite, and for Soo-ha who works at The Blue House (not so subtly named after the presidential residence in Seoul), cooking and tending to the needs of guests offers her a way to meet new people while maintaining distance.
But that all changes the day Yan Kerrand arrives to find lodging in this cold and quiet town. Shy upon first meeting him, Soo-ha, encouraged by her kindly boss Mr. Park (Ryu Tae-ho) to speak to their new arrival in French, a language which she spent years studying as a university student but had little opportunity to use in a casual setting. Both Soo-ha and Kerrand are curious about each other, mutually attracted by their individual reserved natures and penchant for quietly observing the world as it moves and shifts around them. However, seeing the chance to learn about Sokcho and Korea from the perspective of a local, Kerrand takes the chance to have Soo-ha be his personal tour guide.
In the days following his arrival, she takes him on a tour to the Goseong DMZ Museum – where curiously the receptionist speaks Soo-ha in English rather than Korean, and welcomes Kerrand in French. Here, they walk around the exhibits listening to audio history of the decades of conflict that wracked the peninsula until armistice was declared in 1948. Itâs with this scene that I realised how intimate sharing earphones can be. Intimate not in a sexual way, but intimate in the way huddling closely to a trusted confidant and sharing oneâs innermost thoughts without fear of judgement, is. On open lookouts dotting the landscape, they look at the jagged mountain tops relaying folktales and stories about dragons, womenâs bodies, and flying fish spreading their wings across the surface of the sea.
Through each interaction, Kerrand and Soo-ha gradually open up like the earliest spring blooms, revealing more of what makes them intriguing to each other. He learns that Soo-haâs interest in learning French stemmed from her longing for a father sheâs never met. A Frenchman fisherman, her mother (Park Mi-hyeon) knew for only a brief while before he left to return to the seas. This absence of a man who remains a mystery to her, has created a sense of discontent and uncertainty within Soo-ha about who she is as a woman, a daughter, and even a Korean.
With careful observation, it becomes quite obvious that Soo-haâs shy nature and insecurities are as visible as the bright white surgical bandages obscuring the identity of a mysterious female guest whose presence feels like an eerie symbol of a culture obsessed with looks and fixing perceived flaws. This unnamed and unknown woman, is often seen sitting quietly sipping tea and eating food prepared by Soo-ha, is as sad a figure as she is intriguing. Could she be a celebrity, a university student, a young mother, or even a tourist from overseas partaking in the specialities of the plastic surgery capital of the world?
Whoever she may have been, she serves as a reminder of how women are influenced to change their identities, the features that make them unique, into someone almost indistinguishable from oh so many others all for the sake of being pleasing to the eye of strangers. A cultural belief and norm demonstrated in Soo-haâs boyfriend Jun-ho (Gong Do-yu), casually suggesting that if she moves with him to Seoul, sheâd be better suited to and accepted in the bustling metropolitan city if she altered her face. Not once is the tremendous pain, long recovery period, and real danger plastic surgery entails ever mentioned or considered.
As Soo-ha tries to figure out who she is and who she wants to be, Kerrand himself reveals his enigmatic nature. He licks paint brushes, tastes ink, and chews on bits of paper to test their quality because it’s only if they meet his standards can they be of use to him as tools for illustrating the thoughts and images flowing through his mind. Through Kerranâs art one of the most beautiful elements of Winter in Sokcho takes shape. The lines of the human body.
As the characters speak of the imperfections they see in Soo-ha and their own bodies, the audience is shown that these so-called faults are what makes the human body to be brilliantly beautiful. They take shape with animated black and white swoops and glides across the canvas of the screen. And begs the question why is seeing the soft curves and folds of a womanâs body beautiful when painted on a canvas or sculpted in cold marble, but seen as ugly and undesirable in the true nakedness of flesh.
Though winter can feel like the longest season of them all, with its frigid air that creates a thin veil of emotional obscurity and uncertainty, itâs the one that allows us to appreciate the vivid colors of spring blooms, the rolling waves of unfrozen ocean waves and fresh air as signs of new beginnings. For Kerrand the closing of winter in Sokcho signals a new chapter in his next book, and for Soo-ha a change in attitude and her relationships.
Winter in Sokcho had its world premiere at the 2024 Toronto International Film Festival, and screened in the world cinema program of the 2025 Jeonju International Film Festival.
In my interview with Koya we spoke of the themes of characters searching for answers about their lives in his films – 2019âs award-winning short Homesick, Winter in Sokcho, and his current project Evaporated, working out the complicated chemistry and dynamics of their characters with Bella and Roschdy, and the importance of the mystery woman to the filmâs narrative.
Â
Carolyn Hinds
Freelance Film Critic, Journalist, Podcaster & YouTuber
African American Film Critics Association Member, Tomatometer-Approved Critic
Host & Producer Carolyn TalksâŠ, and So Hereâs What Happened! Podcast
Bylines at Authory.com/CarolynHinds
Twitter & Instagram:Â @CarrieCnh12
#DirectorKoyaKamura #KoyaKamura #WinterinSockho #southkorea #kcrush #JeonjuIFF #TIFF #Sokcho #kcrushmagazine #kcruchamerica #featuredfilm #kcrushinterview #kcrushfilminterview #bookauthorElisaShuaDusapin #FrenchKorean #culture #2019awardwinningshortHomesick #currentprojectEvaporated #filmfestival #JapaneseFrench #labeling #identity #belonging #BellaKim #GongDoyu #RyuTaeho #plasticsurgery #appearance #GoseongDMZMuseum #RoschdyZem #StéphaneLyCuong
First Chinese Idol Group to Perform at American Music Festival and Attend Prestigious Gold Gala Celebrating Asian Excellence
(Photo Credit: A2O Entertainment)
Los Angeles, CA â May 12, 2025 â Breakout girl group, A2O MAY, continues to make history standing out with an eventful weekend of high-profile events with many firsts for a Chinese idol group. First, the rookie all-stars made their live on stage debut at their first American Music Festival, iHeartRadio’s Wango Tango on May 10. The formidable act, always pushing the limits, stunned with a live performance of their hit singles to critical acclaim for their stage persona, dance moves and live vocals. The quintet shared the stage with some of music’s biggest names such as Gwen Stefani, Doja Cat, Meghan Trainor, and more.
After the Wango Tango festivities, the group were invited by Gold House to attend their star-studded definitive annual award ceremony for 100 Asian Pacific leaders who most impacted culture and society. Jon M. Chu, Megan Thee Stallion, H.E.R., Daniel Dae Kim, and Priyanka Chopra Jonas are among the stars honored at the fourth annual Gold House Gala. The event brought together Asian Pacific American stars, industry leaders, athletes, and influencers to celebrate their excellence. Other recognizable luminaries were Soo-Man Lee, Girls’ Generation members HYOYEON, TIFFANY, SUNNY and, SUPER JUNIOR’s Siwon.
Simultaneously, their pre-debut single, “Under My Skin,” secured a place on the U.S. Mediabase Top 40 Radio Chart for two consecutive weeks. This achievement further cements A2O MAY’s position as the first Chinese idol girl group to enter and now sustain a presence in the U.S. Top 40, signaling a powerful breakthrough moment for the group on the international stage. 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. Following their historic entry at No. 39 last week, A2O MAY’s continued presence underscores not just an initial splash but a growing resonance with North American audiences, a rare and significant accomplishment for a newly debuted girl group.
While “Under My Skin” continues to climb internationally, A2O MAY has kept their momentum strong with the release of their fierce officially debuted single, “BOSS,” which amassed over 60 million views across YouTube and Weibo showcasing their escalating global fanbase and versatility as artists. The group also made their first U.S. television broadcast debut on KTLA Morning News in Los Angeles performing the chart-topping radio song to a live audience of millions to promote their Wango Tango performance. Alongside their success abroad, “BOSS” also ignited strong momentum domestically, placing No. 1 on one of China’s top streaming platforms, QQ Music.
Formed under A2O Entertainment and guided by acclaimed producer Soo-Man Lee, A2O MAY represents a new generation of performers fluent in both Chinese and English, united by their multicultural background and shared artistic vision. Members CHENYU (16), SHIJIE (17), QUCHANG (17), MICHE (19), and KAT (19) hail from Shanghai, Jiangsu, and Hawaii, bringing a unique global perspective to their music. Their debut introduced a new genre, Zalpha Popâa futuristic sound blending emotional storytelling with cutting-edge production, designed for the digitally native Gen Z and Gen Alpha.
The recent pivotal moments mark a significant breakthrough not only for the group, but for the broader Chinese music industry, as the group becomes a symbol of what is possible when diverse voices are given a global stage. A2O MAY stands at the forefront of the Zalpha Pop revolution with millions of streams and radio play under their belt â they’re not just a girl group â they’re a movement.
(Photo Credit: A2O Entertainment)
ABOUT A20 MAY
A2O MAY is the first official girl group launched under the A2O Channel by A2O Entertainment, making their debut on December 20, 2024. The group is composed of five talented members â CHENYU (16), SHIJIE (17), QUCHANG (17), MICHE (19), and KAT (19) â who were selected from A2O Rookies’ HTG division. Hailing from Shanghai, Jiangsu, 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 futuristic sounds with Gen Z emotional authenticity and storytelling. 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.
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For her second feature length film Mistress Dispeller, documentarian Elizabeth Lo follows a wife, her husband, his mistress, and the dispeller, the woman hired to cast out the mistress like a spell created to break the fragile bonds of marriage.
Mistress Dispeller which screened in the World Cinema program of the 2025 Jeonju International Film Festival, is truly a unique film because how many non-fictional films are there where the camera is allowed to see and record the most intimate, painful, and bewildering aspects of a marriage and âthe other womanâ?
In China, thereâs a new service industry flourishing where women are hired by a spouse suspicious of their partner being guilty of infidelity to find out the truth of the matter, and if cheating is happening, root out the matrimonial usurper. It may sound like what a Mistress Dispeller does is the work of a private investigator, and in many ways it is. But what Wang Zenxi, aka Teacher Wang, does goes beyond surreptitiously following the cheater and taking photos to report back in clandestine meetings.
Teacher Wang does her best to understand the emotional needs and motivations of the parties involved, in this case Mrs. Li, her husband Mr. Li, and his younger mistress – but not as young as youâre thinking – FeiFei, in order to find a way to humanely break up the relationship between FeiFei and Mr. Li, without causing too much harm. Because you see, what Teacher Wang really is, is a conflict resolution expert, and watching the way she operates is fascinating and completely engrossing.
In watching Elizabethâs previous multi award-winning short films Hotel 22, and Motherâs Day, and her debut feature Stray, itâs quite obvious that Elizabeth Lo has a knack for seeing the people and animals around her with deep curiosity and respect that seems intrinsic to her love of film.
Her film style is to select her main character, a stray dog on the streets of Istanbul named Zeytin for instance, literally take her camera down to their level, and follow every step they make for days, weeks, and even months at a time. This provides Elizabeth and the audience a viewpoint of the world theyâve thought about, but for never more than a few fleeting moments. It gives a glimpse into a whole new world that exists not in a parallel universe, but right there in our realm, next to us. Fully visible and audible.
When Mrs. Li first meets with Teacher Wang, and Mrâs Liâs own brother-in-law who himself was once the mister removed from a marriage by Teacher Wang (yes, I knowâŠtalk about drama!), she talks about her anger and frustration from being betrayed by a man she dedicated decades of her life to to build a home and family with him. She also speaks fondly at how much care he takes to prepare her motherâs favourite meal.
Itâs countless moments like this where Mrs. Li, FeiFei, Mr. Li, and Teacher Wang herself all show unguarded vulnerability of their wants, fears, and hopes they have while caught up in a relationship where each person is aware of the other but feels more alone than ever. The editing by Charlotte Munch Bengtsen beautifully weaves these snippets of life together to give each person as full an identity as possible with a film where the camera feels invisible but really isnât. No one feels as though theyâre incidental to the story. Particularly FeiFei who turns out to be more than we the audience, Mrs. Li, Teacher Wang, and even Elizabeth ever expected her to be. Thinking about it, Teacher Wang and the film does a lot to dispel whatever myths and preconceptions anyone going into the film about the mistress of this story.
It takes a special skill and emotional maturity and empathy to be allowed to film a couple whose marriage could be either in the process of being permanently broken or healed. And if it does heal, evidence of the cracks formed through stress and distance will be painstakingly repaired and camouflaged with carefully placed compromises like lines of gold in Kintsugi mended china.
In my interview with Elizabeth for the filmâs screening for Jeonju IFF, we spoke about her inclination to telling such intimate stories of human nature, knowing how to respect her subjectâs space while leaving almost none at all between them and the camera, and how she, producer Maggie Li and their team went about making Mistress Dispeller to document the complexities of a marriage.
Mistress Dispeller premiered at the Venice Film Festival where it won two awards, and has won and been nominated for over a dozen more at multiple international film festivals.
Carolyn Hinds
Freelance Film Critic, Journalist, Podcaster & YouTuberAfrican American Film Critics Association Member, Tomatometer-Approved CriticHost & Producer Carolyn TalksâŠ, and So Hereâs What Happened! PodcastBylines at Authory.com/CarolynHinds
Twitter & Instagram:Â @CarrieCnh12
#MistressDispeller #VeniceFilmFestival #ElizabethLo #JeonjuIFF #kcrush #China #documentarian #shortfilm #Hotel22 #MothersDay #Stray #kcrushmagazine #kcrushamerica #DirectorElizabethLo #filmfestival #2025
How far would a husband and father run to escape the grief howling at his howls like a dog begging to be noticed and acknowledged? How much can his children go before the exhaustion of refusing to face this monster nipping at their heels drags them down?
For his debut dramatic feature Mongrels, Korean Canadian writer, director, and actor Jerome Yoo takes the Kim family; father Sonny (Kim Jae-hyun), his teenage son Hajoon (Nam Da-nu), and eight-year-old Hana (Jin Sein) from Seoul, South Korea to the open plains and dense forests of the Canadian prairies on an emotionally fraught journey where the grief from the loss of their mother and wife follows them like a spectre of the night.
In this new country, Sonny takes on the job of doing what he does best, hunt. In the town where he and his children are trying to settle down, a pack of wild dogs, mongrels, are seen as nuisances to the farmers and local townspeople, and seeking to curb the movements of these dogs, local businessman Scott Larson (Morgan Derera) hires Sonny to track and hunt the dogs down to be culled.
Itâs in the forests observing the behaviour of the animals of both the four legged and bipedal variety that Sonny seems more confident. Here, is where the skills he honed in the mountains and forests of his homeland provide him the ability to show these white Canadian men with their strange glee at stalking defenseless formerly domesticated dogs, is how Sonny shows them heâs just as important and a contributing member of their society as they are.
As Sonny finds his footing on the moss and leaf covered forest floor, Hajoon tries to do the same amongst the teen community. His easy going nature and openness makes forming friendships, particularly with Scottâs son Nedd (Jedd Sharp) one less thing for him to worry about. And for Hana, Laura (Candyce Weir), Neddâs mother, becomes a willing mother figure – at times uncomfortably so – she can go to when her and brother donât have time for Hana.
Outside of their home all three members of the family do the best they can to portray a functioning family unit. They take part in outdoor family luncheons with the Larsons. Attend church services where everyone nods along in accordance with the preacherâs words, and enjoy the angst and excitement that comes when approaching the cusp of young adulthood.
But if you look at the nuances of the portrayal of the lead cast, we see how Yooâs structure of the story and direction of the actors reveals that this family is more broken than anyone on the outside can see. Holding their own equally in their scenes together Kim and Nam give their characters depths and layers to them that are as distinct as the filmâs visual and auditory identities crafted by cinematographer Jaryl Lim, and composers Hao-Ting ‘Jude’ Shih and Yu Tae-young.
Within this new and unfamiliar home Kimâs Sonny is domineering, consumed with wild swings of emotions from anger, dismissal, and despondency as he sits alone at night talking on the phone to a wife whoâs no longer there, telling her stories of loving moments and their adjustment to a new home.
Sonnyâs aggression seems to be directed solely at Hajoon whoâs reaching an age where asserting his independence away from his father, and daring to question why Sonny does what he does and how his behaviour may have resulted in his parent’s relationship changing before his mother’s death. relationship changed before her death. Itâs in these moments that Yooâs direction changes the tone and context of the film. Even it’s very meaning. For who is the real mongrel? The wild dogs roaming the forests at night, or Sonny, a man whose words of âStrong mind. Strong heart. Strong fists.â seem more like a threat and contradictory than encouragement to do right.
While her brother and father are caught up in their tumultuous emotional whirlwind of male hormones and struggle for dominance, Hana seeks refuge by catching planes from the sky to make wishes upon. With her childlike naivete and strong imagination, she believes that if she manages to get one hundred planes her most heartfelt desire would become reality as told to her by her mother. Interspersed the idyllic scenes of Hana and Hajoon playing in creek beds, and being warmed by the sun in golden grass fields are glimpses of a very lonely little girl. Despite Mongrels being her first ever acting performance, Jin is completely believable and endearing as Hana. Her ability to translate Hanaâs longling to be noticed and have her family whole once again is very impressive for these are emotions that arenât the easiest to portray, especially in a film with as heavy tones and scenes as Mongrels does.
Set in 1991 at a defining period in South Korean history when the country is finding its footing on the world stage having become a new democracy just four years prior, and undergoing rapid industrial redevelopment and technological advancement, Yoo makes the interesting narrative choice to make an immigrant story not about economic hardship or political unrest, but one about what it means to run from the place where the person central to your family unity has died, and being in that place becomes too much too bear.
But Mongrels isnât just about the loss of a human loved one. Itâs about the loss of an idea, the concept of what constitutes a whole family unit in a society where being a father, mother, son, and daughter is seen as the ideal. Itâs about what can be done when youâre not prepared nor equipped to handle the unit breaking down and falling apart. Itâs about the loss of your motherland and asks how do you process the grief of losing whatâs such an intrinsic part of your identity?
Throughout the film, the sound of growling dogs gnashing their teeth can be heard. Their low rumbles are resonant and haunting and only heard by Sonny. These howls and whimpers arenât the animals Sonny hunts, but the memories and reality heâs too afraid to face. But once he does, he can calm them, because itâs only through embracing grief that we can begin the healing process. It never goes away. But it can be tamed.
In my interview with Yoo and producer Nach Dudsdeemaytha for Mongrelâs screening at the 2025 Jeonju International Film Festival in South Korea, we discussed Yooâs methods of characterising grief in the Kim family, and Dudsdeemathyaâs learning curve producing a feature length film in the Canadian film industry.
Mongrels was produced by Musubi Arts, and had its North American premiere at the 2024 Vancouver International Film Festival, where Yoo won the award for best Emerging Canadian Director. The film also won the FIPRESCI prize at the 2024 Tallinn Black Nights Film Festival.
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:Â @CarrieCnh12
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