Joseph Hwang
1. Female Solo Artist
If the United States has a musical artist who can be considered the equivalent of Taylor Swift, South Korea has a similar figure in the form of IU. In contrast to the United States, where solo artists are a common phenomenon in the pop music market, solo artists such as IU are relatively uncommon in K-pop. The majority of these artists are members of idol girl or boy groups.
It would be remiss to suggest that K-pop is devoid of solo artists. The relatively limited number of solo artists and the larger number of K-pop artists in groups can distort the comparison.
While other solo artists exist in the K-pop industry, IU is a notable exception. IU made her debut in 2008. I was introduced to IU as a trainee by her management company shortly before her debut, and I witnessed her debut shortly later. At the time of her debut, IU was a middle school student. This prompted me to question whether she was launching her career at an inappropriate age.
2. Solo vs. Group
Solo artists are perceived as having less diversity and collective appeal than group artists; this is seen as a disadvantage in the context of the heavily group-oriented K-pop culture. Nevertheless, group artists face a vulnerability in sustaining teamwork. Additionally, they must determine when they are beyond the scope of the management company's control, such as when their contract expires, and whether to pursue a solo career. Consequently, upon the termination of their contracts and disbanding of the group, the group members would be able to encounter an unanticipated and unfavorable outcome.
Conversely, solo artists are capable of experiencing both success and failure independently. When compared to group artists, solo artists possess the benefit of assuming responsibility for their success and the privilege of deriving the fruits of their success exclusively.
Additionally, while group artists are significantly influenced by the management company's operational and control capabilities, solo artists possess greater autonomy and control over their destiny, despite the inherent challenges. Each option presents a unique set of advantages and disadvantages. However, the specific type of artist they choose will ultimately determine their future trajectory. Therefore, K-pop artists must clearly understand their long-term goals before deciding on their debut. The decision to embark on a career as a K-pop artist is a significant undertaking that requires a substantial investment of time and effort. Given the demanding nature of this pursuit and the potential for personal and professional growth, it is crucial to approach this decision with careful consideration and a realistic understanding of the time commitment involved.
3. Self-drivenness
In contrast to other K-pop artists who are members of groups, IU is endowed with a greater degree of liberty in terms of both the location and manner of her work. She benefits from being a solo artist, which affords her to select the medium and programs, in which she wishes to feature and offers greater flexibility. Her musical abilities are acknowledged, and her reputation as an autonomous individual is viewed favorably by the general public.
Provided that IU remains in good health and does not engage in socially problematic behavior, she could continue her activities while maintaining her positive image and popularity. This is a highly desirable outcome for the development of the cultural industry. The reality that, most artists from K-pop groups do not continue their activities for an extended period on their initiative and subsequently fade from public memory is counterproductive and inefficient in terms of cultural industry development. It is essential to cultivate assets.
For those engaged in popular music, the opportunity to create new works and bring joy and happiness to the public is a highly satisfying aspect of the profession. The sole means of attaining this reward lies in pursuing longevity and a self-driven approach. From this perspective, the success story of IU has notable implications for the industry.
4. World Tour
IU is not merely a musician. Similarly to the majority of K-pop artists, IU has also pursued a career in acting, with her appearances in K-dramas contributing to her international recognition. This global recognition has facilitated IU's performance as a solo K-pop artist on the world stage, extending beyond the boundaries of South Korea.
IU's overseas tours are recording remarkable outcomes as a solo artist, despite her lack of affiliation with a K-pop group. Her concert ticket sales continue to be in high demand, but more importantly, her international fan base is notably enthusiastic and engaged, spanning multiple generations. In each cultural context, IU endeavors to communicate in a manner that resonates with the local audience. An artist's local-friendly attitude and behavior could elicit more positive outcomes.
To achieve the status of a legend, an artist must engage in extensive and sustained work. IU is demonstrating an increasing ability to fulfill these requirements. Furthermore, spreading the scenes of her bodyguard's care for IU going viral and becoming world-famous contributes to this speculation and hope. To remain active and to ensure that fans do not forget about them, artists must always make careful decisions and take appropriate action to develop their talent and maintain their self-drivenness. It is hoped that IU will continue to flourish as a solo artist in K-pop.
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