SM Entertainment revealed on the 23rd via TVXQ’s homepage, “2011, TVXQ will be returning to you all.”
SM released a statement saying,
“After the 3 TVXQ members left, for over a long year, both U-Know Yunho and Max Changmin have refrained from musical activities.
The two members as well as the company wanted to keep TVXQ alive, thinking about the never changing hearts of our loyal fans who have waited a long time.
As indicated by the ruling, all of TVXQ’s activities need to be done through SM, unfortunately, the three members that left have regretfully not responded to any of our offers for activities as TVXQ. After long and careful consideration, we made this decision.
For U-know Yunho and Max Changmin, who never left and kept their dreams as TVXQ, we have decided together with the two members to keep TVXQ alive.
No matter what happens, we believe that TVXQ should continue for the love and trust of the fans who created TVXQ together with us.
We are not ruling out any possibilities in the future. Continuing TVXQ is the best way to repay the fans who love and waited for TVXQ.”
The two member TVXQ is scheduled to make a comeback in January 2011.
Source: Nate
Credit: Allkpop
Tuesday, November 23, 2010
Sunday, September 12, 2010
[TRANS] Cassiopeia: We Will Wait
I haven't posted in a while lately, there's just been too much depression in the fandom. But I saw this article recently over at DBSKnights. Just thought I'd share it with my fellow Cassiopeians.
911 is over, SMTown is over. Listening to the screams of desperation on the audio stream had so many of us crying rivers. This explosion of emotion is the result of a year's worth of waiting...
Yes, because they're TVXQ, they are our TVXQ, whether it be 2 or 3, we'll accept them all the same. As long as you're good and well, as long as you're able to stand on that stage, even if there's only one of you, we'll love you all the same, because it is Jung Yunho, Shim Changmin, Kim Jaejoong, Park Yoochun and Kim Junsu that we love, but above all, it's TVXQ.
Watching rookies appear one after another in Korea, watching their popularity rise and yours drop has made no difference to us. We cannot and will not forget. Seeing other artists perform on stage may give us a moment of satisfaction, but then we see the five of you, and you never fail to leave us in awe with your talent. The reason you're so well loved across Asia is because you're worth it. This is why your fan cafe numbers are still sky high at 780,000. Because we're willing to love you for the rest our lives~~~
We will never give up until we see that you've found your happiness, and when the day comes, we'll bury you deep down in our hearts~~~
I know, there is a lot that Cassiopeia is afraid of talking about, we're afraid of watching videos, afraid of seeing photos or even reading news. We find solace in other artists. I've been through that too, I was afraid of the internet, but I was never able to forget, ever. It was a period of intense heartache…
Even if you cannot let go, try and accept them the way they are. Regardless of the current situation, the men that we love have remained. Their smiles and laughter may be a little empty, a little forced, but they've also become that much stronger, and so we should wait. We must wait for their return, and when they do, we'll give them and give ourselves the most beautiful red ocean and cherish the world that belongs to us alone. Until then, we must wait, even if loving them means not being able to let go, eventually we'll get used to the pain and learn to love that too~~~
We look forward to seeing another red ocean on October 23rd, one for the other three at the exact same place, Hongkou~~. We'll scream Dong Bang Shin Ki with everything we've got and we'll wait.
Because we were separated to be reunited and we will continue to believe.
Credits: 耗子的花老婆@TVXQBaidu
Translated by: dorfehh@DBSKnights
~lynn~
911 is over, SMTown is over. Listening to the screams of desperation on the audio stream had so many of us crying rivers. This explosion of emotion is the result of a year's worth of waiting...
Yes, because they're TVXQ, they are our TVXQ, whether it be 2 or 3, we'll accept them all the same. As long as you're good and well, as long as you're able to stand on that stage, even if there's only one of you, we'll love you all the same, because it is Jung Yunho, Shim Changmin, Kim Jaejoong, Park Yoochun and Kim Junsu that we love, but above all, it's TVXQ.
Watching rookies appear one after another in Korea, watching their popularity rise and yours drop has made no difference to us. We cannot and will not forget. Seeing other artists perform on stage may give us a moment of satisfaction, but then we see the five of you, and you never fail to leave us in awe with your talent. The reason you're so well loved across Asia is because you're worth it. This is why your fan cafe numbers are still sky high at 780,000. Because we're willing to love you for the rest our lives~~~
We will never give up until we see that you've found your happiness, and when the day comes, we'll bury you deep down in our hearts~~~
I know, there is a lot that Cassiopeia is afraid of talking about, we're afraid of watching videos, afraid of seeing photos or even reading news. We find solace in other artists. I've been through that too, I was afraid of the internet, but I was never able to forget, ever. It was a period of intense heartache…
Even if you cannot let go, try and accept them the way they are. Regardless of the current situation, the men that we love have remained. Their smiles and laughter may be a little empty, a little forced, but they've also become that much stronger, and so we should wait. We must wait for their return, and when they do, we'll give them and give ourselves the most beautiful red ocean and cherish the world that belongs to us alone. Until then, we must wait, even if loving them means not being able to let go, eventually we'll get used to the pain and learn to love that too~~~
We look forward to seeing another red ocean on October 23rd, one for the other three at the exact same place, Hongkou~~. We'll scream Dong Bang Shin Ki with everything we've got and we'll wait.
Because we were separated to be reunited and we will continue to believe.
Credits: 耗子的花老婆@TVXQBaidu
Translated by: dorfehh@DBSKnights
~lynn~
Tuesday, January 05, 2010
[Trans] 100103 TVXQ Japan Contract will Expire in June…
AVEX official gave an official stand related to the chaotic/confusion among TVXQ fans both in Korea and Japan which has been happening after the article about TVXQ already stepped on disbanding procedure was released by Japanese newspapers.
On the 3rd, Nikkan Sports Japan quoted Japanese official from AVEX company, “The policy of TVXQ to work as five members doesn’t yet to change.”
However, as been informed, TVXQ contract with their Japan company AVEX will expire in June. If the contract is not extended from now on, whether TVXQ can continue activities in Japan, it won’t be yet secured.
Currently TVXQ Changmin and Yunho still remain under SM Entertainment while the rest members Jaejoong, Yoochun, and Junsu have left expanding their each individual activities.
Just sometime ago, in Japan TVXQ attended NHK’s year-end award festival Kouhaku Uta Gassen as five members for the first time, however the three members, whose provisional disposition application to terminate exclusive contract against SM Entertainment was accepted by the Korea court as the issue of court injunction, seem to be more passionate in the performance and there was an unseen tense and emotional conflict with the remaining two members that makes the current situation is impossible to predict.
The problem now is whether SM will extend the contract of the 3 members with AVEX after June. The fact that currently TVXQ is at their peak of popularity in Japan is something that can not be ignored under any condition especially in relation to revenue circumstances.
TVXQ is now in a situation of an attempt to reach into final decision amicably to be able to work together in a long-term in Japan.
Credit: Korea Economic Daily
Translation: sharingyoochun.net
On the 3rd, Nikkan Sports Japan quoted Japanese official from AVEX company, “The policy of TVXQ to work as five members doesn’t yet to change.”
However, as been informed, TVXQ contract with their Japan company AVEX will expire in June. If the contract is not extended from now on, whether TVXQ can continue activities in Japan, it won’t be yet secured.
Currently TVXQ Changmin and Yunho still remain under SM Entertainment while the rest members Jaejoong, Yoochun, and Junsu have left expanding their each individual activities.
Just sometime ago, in Japan TVXQ attended NHK’s year-end award festival Kouhaku Uta Gassen as five members for the first time, however the three members, whose provisional disposition application to terminate exclusive contract against SM Entertainment was accepted by the Korea court as the issue of court injunction, seem to be more passionate in the performance and there was an unseen tense and emotional conflict with the remaining two members that makes the current situation is impossible to predict.
The problem now is whether SM will extend the contract of the 3 members with AVEX after June. The fact that currently TVXQ is at their peak of popularity in Japan is something that can not be ignored under any condition especially in relation to revenue circumstances.
TVXQ is now in a situation of an attempt to reach into final decision amicably to be able to work together in a long-term in Japan.
Credit: Korea Economic Daily
Translation: sharingyoochun.net
Monday, November 02, 2009
[Lawsuit] 091031 TVXQ Dispute 'SM's Dilemma'
Much attention has been put on SM Entertainment and its future actions as the Courts have sided with the three TVXQ members YoungWoong Jaejoong, Micky Yoochun and Xiah Junsu on the legal dispute between the three and their agency regarding their exclusive contract.
On the 27th, the Seoul District Courts partially accepted the exclusive contract suspension request against SM Entertainment submitted by Xiah Junsu, YoungWoong Jaejoong and Micky Yoochun.
To have the Courts partially accept the exclusive contract suspension request is to have the Courts decided that the contract between SM and the members of TVXQ is in fact unlawful. According to the decision of the Courts, SM is not allowed to interfere or question any individual activities of the three members or create contracts regarding group activities without the consent of the three members.
For now, SM has stated that the agency cannot accept the Courts' ruling. SM Entertainment released a notice stating "Although the entire contract was not suspended, the Courts stated that some parts of the contract was questionable and that is why we are submitting an appeal," and "Till now, we have kept some information from the media as the Courts requested that neither side be interacting with the press during the trial. Now we will reveal that information and release an official statement.
Unless an extremely controversial secret is revealed by SM Entertainment that could turn the tables, it can be said that the contract between SM and TVXQ has already been nullified.
The dilemma that SM faces now is the fact that the agency's other singers may attempt to leave the agency in the same method. TVXQ is not the only reason why SM is being so adamant and firm of their stance in this dispute. To state that conclusion first, there is close to no chance of TVXQ disbanding or ending their activities. This is because all three members involved in this dispute have no thoughts of leaving the group names TVXQ. Some representatives to the entertainment business stated that, "There is a high chance that SM and the three members will become equal partners regarding activities such as the release of a new album in the future."
The problem is how the two sides will fix the contract and the income division. Although the income SM receives from album sales or commercial activities will reduce, it is not so much that the company will run into bankruptcy.
The biggest problem for SM Entertainment is the fact that the majority of agencies works under a system that invests money to raise trainees into singers in a span of 1~7 years that does not guarantee profit after the singer's debut. In the case of TVXQ, if they are allowed to leave the agency stating that the contract was unlawful after gaining popularity, the agencies will have no incentive to continue on with this method of raising stars. This is also why the Fair Trade Committee constantly fails to come to a consensus with agencies when it comes to creating a basis contract.
The reason that SM is being carefully watched for its future actions regarding this trial and the consequences that follow is because this is not merely a problem between SM and TVXQ.
Source: [mk news+DNBN]
Translation credits: jeeelim5@tohosomnia.net
Shared by: tohosomnia.net
Do not remove/add on any credits
On the 27th, the Seoul District Courts partially accepted the exclusive contract suspension request against SM Entertainment submitted by Xiah Junsu, YoungWoong Jaejoong and Micky Yoochun.
To have the Courts partially accept the exclusive contract suspension request is to have the Courts decided that the contract between SM and the members of TVXQ is in fact unlawful. According to the decision of the Courts, SM is not allowed to interfere or question any individual activities of the three members or create contracts regarding group activities without the consent of the three members.
For now, SM has stated that the agency cannot accept the Courts' ruling. SM Entertainment released a notice stating "Although the entire contract was not suspended, the Courts stated that some parts of the contract was questionable and that is why we are submitting an appeal," and "Till now, we have kept some information from the media as the Courts requested that neither side be interacting with the press during the trial. Now we will reveal that information and release an official statement.
Unless an extremely controversial secret is revealed by SM Entertainment that could turn the tables, it can be said that the contract between SM and TVXQ has already been nullified.
The dilemma that SM faces now is the fact that the agency's other singers may attempt to leave the agency in the same method. TVXQ is not the only reason why SM is being so adamant and firm of their stance in this dispute. To state that conclusion first, there is close to no chance of TVXQ disbanding or ending their activities. This is because all three members involved in this dispute have no thoughts of leaving the group names TVXQ. Some representatives to the entertainment business stated that, "There is a high chance that SM and the three members will become equal partners regarding activities such as the release of a new album in the future."
The problem is how the two sides will fix the contract and the income division. Although the income SM receives from album sales or commercial activities will reduce, it is not so much that the company will run into bankruptcy.
The biggest problem for SM Entertainment is the fact that the majority of agencies works under a system that invests money to raise trainees into singers in a span of 1~7 years that does not guarantee profit after the singer's debut. In the case of TVXQ, if they are allowed to leave the agency stating that the contract was unlawful after gaining popularity, the agencies will have no incentive to continue on with this method of raising stars. This is also why the Fair Trade Committee constantly fails to come to a consensus with agencies when it comes to creating a basis contract.
The reason that SM is being carefully watched for its future actions regarding this trial and the consequences that follow is because this is not merely a problem between SM and TVXQ.
Source: [mk news+DNBN]
Translation credits: jeeelim5@tohosomnia.net
Shared by: tohosomnia.net
Do not remove/add on any credits
[Lawsuit] 091030 The Need For Change In The Entertainment Agency And The Solution Through The TVXQ Dispute
First of all, the Courts have sided with the three TVXQ members. In reference to the exclusive contract suspension request submitted by Xiah Junsu, YoungWoong Jaejoong and Micky Yoochun, the Courts laid down the decision that 'SM Entertainment is not allowed to interfere or question any individual activities of the three members or create contracts regarding group activities without the consent of the three members.'
This dispute between the group that is the Hallyu Wave's key player and king of the Asian market and the group's agency, the nation's top entertainment agency, is said to bring large waves of change not only to the entertainment industry, but to the entire nation as well. Many have said that the Courts' ruling has kick started the battle against unlawful contracts while others have said that the decision has completely ignored the trainee-raising method of most entertainment agencies.
The TVXQ case can be seen as a result of SM's 'Failure At Management.' However, that is only the evaluation based on the results. The reason the TVXQ dispute has come so far and deep is because there was a charge forward with a lack of 'communication and respect' on both sides.
One of the reasons that this dispute cant not be the center of attention in the entertainment industry is because the Courts have sided with the members of TVXQ and completely overturned the traditional method of agencies' formation of their contracts. We cannot blatantly say that all 13 year contracts are slave contract. As long as 'communication and respect' is prevalent and a fair income division is put in place, it will be a happy contract. They would be willing to sign onto a contract longer than 13 years at will. They would not think of moving to a different entertainment agency.
If TVXQ's birth is inspected, the process is a system with no room for 'communication and respect.' TVXQ is a team that was created by picking the best out of hundreds of trainees and forming a group. Even the members themselves would not have known what lay ahead of them in the future of their music careers. They were able to snag the title of 'Top of the Korean Music Industry' under the system of a large entertainment agency, and their entrance into the overseas market was probably calculated meticulously. The entire process would amount to a total of 10 years.
As this much time has passed, the members are bound to have looked back on themselves. They are also bound to have increased their musical control and bettered their abilities to select their paths. There were times when they had to stand on a stage regardless of the fact that they did not want to, and they would have had to handle the agency's actions to stop any activities that may 'endanger the group' with a feeling of oppression. This is where 'communication and respect' is needed. As the two sides are the bests of the best, there probably was the need to approach the situation calmly and after much thought. If things have come so far, there were bound to have been instances unknown to the public that pushed it so far. To become irreparable.
In truth, the members are preparing to 'sue for the nullification of the contract and compensation for damages incurred from the income division' while SM is submitting an appeal. SM has also stated that they will be revealing information that has not been told before and releasing an official statement.
When seeing all the big and small disputes that have erupted in the Korean music industry, they all originate from income division problems (unlawful contracts), failure to communicate (respect for human rights), natural limits (musical limits, lack of responsibility as a celebrity), and a interference of the family (interference from a third party).
But the income division problems have been the biggest disputes in this industry. Income division is important to gain trust and investments. If income division is not transparent, that is what a slave contract is. The lack of transparency in income division is what started the lack of human rights for celebrities in the music industry in the mid 90s.
-omitted-
The music industry must use this dispute as a stepping stone towards a change in 'communication and respect'. What can gain more trust than a contract is'communication and respect' and 'a transparent income division'. There is no other 'road to a solution'.
Source: [star news+DNBN]
Translation credits: jeeelim5@tohosomnia.net
Shared by: tohosomnia.net
Do not remove/add on any credits
This dispute between the group that is the Hallyu Wave's key player and king of the Asian market and the group's agency, the nation's top entertainment agency, is said to bring large waves of change not only to the entertainment industry, but to the entire nation as well. Many have said that the Courts' ruling has kick started the battle against unlawful contracts while others have said that the decision has completely ignored the trainee-raising method of most entertainment agencies.
The TVXQ case can be seen as a result of SM's 'Failure At Management.' However, that is only the evaluation based on the results. The reason the TVXQ dispute has come so far and deep is because there was a charge forward with a lack of 'communication and respect' on both sides.
One of the reasons that this dispute cant not be the center of attention in the entertainment industry is because the Courts have sided with the members of TVXQ and completely overturned the traditional method of agencies' formation of their contracts. We cannot blatantly say that all 13 year contracts are slave contract. As long as 'communication and respect' is prevalent and a fair income division is put in place, it will be a happy contract. They would be willing to sign onto a contract longer than 13 years at will. They would not think of moving to a different entertainment agency.
If TVXQ's birth is inspected, the process is a system with no room for 'communication and respect.' TVXQ is a team that was created by picking the best out of hundreds of trainees and forming a group. Even the members themselves would not have known what lay ahead of them in the future of their music careers. They were able to snag the title of 'Top of the Korean Music Industry' under the system of a large entertainment agency, and their entrance into the overseas market was probably calculated meticulously. The entire process would amount to a total of 10 years.
As this much time has passed, the members are bound to have looked back on themselves. They are also bound to have increased their musical control and bettered their abilities to select their paths. There were times when they had to stand on a stage regardless of the fact that they did not want to, and they would have had to handle the agency's actions to stop any activities that may 'endanger the group' with a feeling of oppression. This is where 'communication and respect' is needed. As the two sides are the bests of the best, there probably was the need to approach the situation calmly and after much thought. If things have come so far, there were bound to have been instances unknown to the public that pushed it so far. To become irreparable.
In truth, the members are preparing to 'sue for the nullification of the contract and compensation for damages incurred from the income division' while SM is submitting an appeal. SM has also stated that they will be revealing information that has not been told before and releasing an official statement.
When seeing all the big and small disputes that have erupted in the Korean music industry, they all originate from income division problems (unlawful contracts), failure to communicate (respect for human rights), natural limits (musical limits, lack of responsibility as a celebrity), and a interference of the family (interference from a third party).
But the income division problems have been the biggest disputes in this industry. Income division is important to gain trust and investments. If income division is not transparent, that is what a slave contract is. The lack of transparency in income division is what started the lack of human rights for celebrities in the music industry in the mid 90s.
-omitted-
The music industry must use this dispute as a stepping stone towards a change in 'communication and respect'. What can gain more trust than a contract is'communication and respect' and 'a transparent income division'. There is no other 'road to a solution'.
Source: [star news+DNBN]
Translation credits: jeeelim5@tohosomnia.net
Shared by: tohosomnia.net
Do not remove/add on any credits
[Lawsuit] 091028 TVXQ's Victory Is A Call For Change In The Entertainment Industry From The Courts
On the 27th, the Seoul District Courts sided with popular group TVXQ's three members and their exclusive contract suspension against SM Entertainment. The Courts decided that the entertainment agency was not allowed to create new contracts without the consent of the celebrity and must not interfere with said celebrity's independent activities in the business. Therefore, a road of free movement has opened up for the members of TVXQ. Although the formal trial procedures are left, this decision seems to shed light on the future of unlawful contracts that are rampant in the entertainment business. Overall, the call for shift from a vertical relationship to a parallel, equal relationship is welcomed. Many expect this dispute to lead into an equal relationship between celebrities and agencies in the future.
Till now, the Korean entertainment business, as the term 'slave contract' implies, has been criticized for its inability to escape unlawfulness and unfairness. The majority of celebrities was put at a disadvantage starting from when their contracts were set up and have become mere tools of agencies. From their official activities to personal actions, everything celebrities did was dictated by their agencies. This was the kind of situation that the three members of the nation's best idol group were in when they went against their agency. If they were in such a state, it is not hard to think of what unthinkable states the no-name celebrities and not-so-famous celebrities are in.
Most domestic entertainment agencies work under a scout-train-management system. Agencies have trained talented rookies and raised the value of no-name celebrities in this organized and investing method. However, although it is easy for a celebrity to become wound up in an unlawful exclusive contract, it is not as easy to escape from his or her entrapment. It can be said that the Courts ruled that, "This is an unfair structure that does not give the members even the bare minimum rights they should have," and "As the members have to pay extremely large amounts of compensation if they go against the contract, it is impossible for the members to wander astray from the contract," because of such methods employed by entertainment agencies.
This decision will bring about a big change to the entertainment business as a whole. This is because the complaints that have been silenced till now may erupt and flood. There is a high chance that the dispute between the members of TVXQ and their agency will take a long time. Right after the Courts' decision, the three members stated that they would file lawsuits for Compensation for Damages and Exclusive Contract Nullification, while the agency has stated that they will be revealing information that the Courts requested they keep quiet from the media and an official statement. This reporter hopes that this dispute will not end a mere expendable argument, but a stepping stone to a new cultural change in the entertainment industry. The tyrannical domination of the biased and vertical patriarchal culture that believes that, "Since I have raised them, I can do whatever I want with them," must now come to an end. It is time that a win-win and equal relationship was created in our entertainment business to take the industry to a whole new level.
Source: [yonhap news+DNBN]
Translation credits: jeeelim5@tohosomnia.net
Shared by: tohosomnia.net
Do not remove/add on any credits
Till now, the Korean entertainment business, as the term 'slave contract' implies, has been criticized for its inability to escape unlawfulness and unfairness. The majority of celebrities was put at a disadvantage starting from when their contracts were set up and have become mere tools of agencies. From their official activities to personal actions, everything celebrities did was dictated by their agencies. This was the kind of situation that the three members of the nation's best idol group were in when they went against their agency. If they were in such a state, it is not hard to think of what unthinkable states the no-name celebrities and not-so-famous celebrities are in.
Most domestic entertainment agencies work under a scout-train-management system. Agencies have trained talented rookies and raised the value of no-name celebrities in this organized and investing method. However, although it is easy for a celebrity to become wound up in an unlawful exclusive contract, it is not as easy to escape from his or her entrapment. It can be said that the Courts ruled that, "This is an unfair structure that does not give the members even the bare minimum rights they should have," and "As the members have to pay extremely large amounts of compensation if they go against the contract, it is impossible for the members to wander astray from the contract," because of such methods employed by entertainment agencies.
This decision will bring about a big change to the entertainment business as a whole. This is because the complaints that have been silenced till now may erupt and flood. There is a high chance that the dispute between the members of TVXQ and their agency will take a long time. Right after the Courts' decision, the three members stated that they would file lawsuits for Compensation for Damages and Exclusive Contract Nullification, while the agency has stated that they will be revealing information that the Courts requested they keep quiet from the media and an official statement. This reporter hopes that this dispute will not end a mere expendable argument, but a stepping stone to a new cultural change in the entertainment industry. The tyrannical domination of the biased and vertical patriarchal culture that believes that, "Since I have raised them, I can do whatever I want with them," must now come to an end. It is time that a win-win and equal relationship was created in our entertainment business to take the industry to a whole new level.
Source: [yonhap news+DNBN]
Translation credits: jeeelim5@tohosomnia.net
Shared by: tohosomnia.net
Do not remove/add on any credits
[Lawsuit] 091029 SM-TVXQ Contract w/r/t/ Income Distribution
The Court has granted the injunction filed by the members of TVXQ against SM Entertainment.The Court found that the Contract between SM and the Members was unconscionable and against public policy. Following this victory, the Members are proceeding with the main suit to ask for the rightful shares of all income generated from their activities.
The following is a summary of the outrageous terms of the Contract that relates to the distribution of income. The clear conclusion is that the TVXQ members have received next to nothing for their six years of work, and that virtually all money we spend to buy SM products stay with SM. Please read the below to see the extent of the injustice.
Please keep in mind that SM's contract with TVXQ has been amended five times and therefore the applicable terms have varied over time. Accounting for all the resulting complexities, the truth adds up to the following:
I. TVXQ has received $0 for their album sales prior to July 2008, and only a negligible amount after that date.
Prior to the fifth and final round of amendments on July 1, 2008, the Contract read that for any album or single with sales not exceeding 500,000 copies, SM would be entitled to 100% of the profits, leaving the members with nothing. From the time of TVXQ's debut in late 2003 and until TVXQ's release of their 4th Korean album "Mirotic" in September 2008, no Korean album had sold more than 500,000 copies. Therefore, prior to July 2008 TVXQ has had absolutely zero income from their album sales.
On July 1,2008, SM amended the Contract to give each Member 1% of total sales for each album that sells over 200,000 copies. For any albums that sell fewer copies, the members are to receive 0.6% to 0%. SM has not honored even these outrageous terms, as it has not paid TVXQ a single cent since February 2009.
In sum, SM has kept 100% of all sales that TVXQ has generated with the sales of their albums and singles prior to July 2008, and has kept 95% or more of the sales after that date.
II. TVXQ has received $0 for the sales of concert DVDs and albums featuring recordings from such concerts.
Under the Contract, the Members are not entitled to receive any share of the profits generated from sales of concert DVDs and "live" albums.
III. TVXQ has received $0 for their appearances on TV programs.
Under the Contract, Members are not entitled to receive any share of the profits made through their TV appearances if the appearance is of a temporary nature. As all programs on which TVXQ appeared have featured the Members as "guests"and therefore by nature have been temporary, SM has kept all profits that TVXQ has generated from these TV appearances.
IV. For all other possible sources of revenue, SM subtracts from the total revenue all expenses, including salaries of other staff, stage preparation expenses, rent, travel expenses, food expenses, and the like, then gives TVXQ only a fraction of the remaining amount.
As for all other sources of income, the Contract states that TVXQ is entitled to varying percentages of the "net income." The Contract defines "net income" to be the amount remaining after the applicable "operating costs". The "operating costs" are defined to include such expenses that are traditionally expected to be covered by the employer, including but not limited to 1) salaries of the staff (manager, clothing coordinators, makeup artists, dance crew, and the like), 2) performing stage preparation costs, 3) living expenses, including rent and water/electricity bills, 4) travel expenses, including plane ticket costs, 5) meal expenses, and the like.
Even after all these "operating costs" are deducted from the net income, the Members are only entitled to a small percentage of the remainder while SM keeps the rest.
In conclusion, please realize that SM has kept virtually all of the profits that our Members have generated over the past six years. Our Members have received, literally, next to nothing.
Following thevictory of the granting of the preliminary injunction, the Members now prepare for a suit to claim their rightful share of the profits that they themselves generated.
Source: dnbn
Translation: Inklette @ dnbn
Shared by: OneTVXQ.com
The following is a summary of the outrageous terms of the Contract that relates to the distribution of income. The clear conclusion is that the TVXQ members have received next to nothing for their six years of work, and that virtually all money we spend to buy SM products stay with SM. Please read the below to see the extent of the injustice.
Please keep in mind that SM's contract with TVXQ has been amended five times and therefore the applicable terms have varied over time. Accounting for all the resulting complexities, the truth adds up to the following:
I. TVXQ has received $0 for their album sales prior to July 2008, and only a negligible amount after that date.
Prior to the fifth and final round of amendments on July 1, 2008, the Contract read that for any album or single with sales not exceeding 500,000 copies, SM would be entitled to 100% of the profits, leaving the members with nothing. From the time of TVXQ's debut in late 2003 and until TVXQ's release of their 4th Korean album "Mirotic" in September 2008, no Korean album had sold more than 500,000 copies. Therefore, prior to July 2008 TVXQ has had absolutely zero income from their album sales.
On July 1,2008, SM amended the Contract to give each Member 1% of total sales for each album that sells over 200,000 copies. For any albums that sell fewer copies, the members are to receive 0.6% to 0%. SM has not honored even these outrageous terms, as it has not paid TVXQ a single cent since February 2009.
In sum, SM has kept 100% of all sales that TVXQ has generated with the sales of their albums and singles prior to July 2008, and has kept 95% or more of the sales after that date.
II. TVXQ has received $0 for the sales of concert DVDs and albums featuring recordings from such concerts.
Under the Contract, the Members are not entitled to receive any share of the profits generated from sales of concert DVDs and "live" albums.
III. TVXQ has received $0 for their appearances on TV programs.
Under the Contract, Members are not entitled to receive any share of the profits made through their TV appearances if the appearance is of a temporary nature. As all programs on which TVXQ appeared have featured the Members as "guests"and therefore by nature have been temporary, SM has kept all profits that TVXQ has generated from these TV appearances.
IV. For all other possible sources of revenue, SM subtracts from the total revenue all expenses, including salaries of other staff, stage preparation expenses, rent, travel expenses, food expenses, and the like, then gives TVXQ only a fraction of the remaining amount.
As for all other sources of income, the Contract states that TVXQ is entitled to varying percentages of the "net income." The Contract defines "net income" to be the amount remaining after the applicable "operating costs". The "operating costs" are defined to include such expenses that are traditionally expected to be covered by the employer, including but not limited to 1) salaries of the staff (manager, clothing coordinators, makeup artists, dance crew, and the like), 2) performing stage preparation costs, 3) living expenses, including rent and water/electricity bills, 4) travel expenses, including plane ticket costs, 5) meal expenses, and the like.
Even after all these "operating costs" are deducted from the net income, the Members are only entitled to a small percentage of the remainder while SM keeps the rest.
In conclusion, please realize that SM has kept virtually all of the profits that our Members have generated over the past six years. Our Members have received, literally, next to nothing.
Following thevictory of the granting of the preliminary injunction, the Members now prepare for a suit to claim their rightful share of the profits that they themselves generated.
Source: dnbn
Translation: Inklette @ dnbn
Shared by: OneTVXQ.com
Tuesday, October 06, 2009
The Korean Idol World Realities
“I fell through the cracks,” said the attractive brunette sitting across from me with her characteristic bluntness.
I first met Isak (real name: Ida Simmons) when I worked at Arirang TV and Radio, an English-language broadcasting station. The daughter of a Caucasian father and a Korean mother, Isak had previously been the member of an unsuccessful SM Entertainment act called Isak N Jiyeon. However, she managed to eventually parlay her bubbly charms into a successful career as both a DJ and VJ at Arirang Radio.
While Isak, who still has three years left on a ten-year contract, applauded SM founder Lee Soo Man’s ability to think outside of the box and accept a biracial Korean-American into his company, she also remembered the more suffocating aspects of being a K-pop entertainer in the earlier part of the decade. For example, when she lived with several other SM trainees in a dormitory-like setting, the girls’ managers devised a clever way to keep tabs on the talent:
“[T]hey were afraid that we would sneak out. They would put in a house phone for us, and we couldn’t call from our cell phones. We had to call from our house phone to our manager as soon as we walk[ed] in the door [to inform them] that we came in.”
Isak also recalled the strict no-dating policy at the time:
“No dating,” she said. “You get caught, you pay consequences.”
I asked her what the consequences were.
“I was threatened that if I didn’t break up with my boyfriend then I would be either cut from SM or not [be] able to debut.”
Ironically, Isak found that the no-dating rule could actually hamper an artist’s performance, especially since many K-pop songs were about the very topic that its singers were forbidden to engage in: love.
“They’re singing about love but they’ve never experienced love,” she complained. “I think that’s a very big error.”
Isak noted, nonetheless, that a lot had changed in the industry. While “just look pretty and dance” may have been the rule when she began her career, current K-pop fans expect a lot more personality from their favorite stars. Now, as Isak noted, “it seem[s] to be becoming a trend for celebrities to be dating in Korea… a lot of people were coming forward and being honest about their relationships.” And it didn’t stop there: entertainers like Lee Hyori would even appear on reality shows, doing things like going to doctor appointments sans makeup, allowing fans to become even closer to their idols.
The trend toward a more naturalistic and approachable depiction of idol stars, according to Isak, is a positive one, and she heaped a great deal of praise on 2NE1, a four-member girl group represented by YG Entertainment:
“I don’t think 2NE1 is the typical Korean pretty girl,” said Isak. “I think they’re the most beautiful girls in the world because they don’t have double eyelids; because they don’t have noses that hit the ceiling; because they don’t have that “entertainer” look that people have grown accustomed to.”
For all the positive changes that have happened in the industry, however, Isak had a warning for those who were dreaming of becoming an idol star: long contracts and hidden fees had not disappeared.
“They [the management companies] promise before you debut, ‘we’re going to house you, we’re going to feed you, we’re going to give you all the lessons you need. Do your best’ and then we think that that’s all free,” remembered Isak. She soon learned, however, that all the expenses that went into her upkeep, including stylists, salon visits, manager fees, food, and clothing, were deducted from her pay.
Young Kim, host of the Arirang Radio program “K-pop Zone” and former rapper for such groups as S#arp and Uptown in the late 1990s, noted just how little money one could make, even as a member of relatively successful groups: “I made about three thousand dollars in the seven months that I was promoting the [S#arp] album.”
Although Kim, Isak, and others I spoke with said that they believed conditions had greatly improved, recent legal battles and contract disputes (such as the one staged by three members of the immensely popular boy band TVXQ against SM Entertainment, their management company) suggest that something may be rotten in the candy factory. As one industry outsider told me with a knowing smile, “They work their kids hard.”
However, Mark Russell, a Korean pop culture expert, recently commented on his blog, the problem is actually not rooted in the management companies, but rather in the Korean music system itself. Having to train, house, and feed future stars whose success will ultimately have to recoup not only the investment in them, but the company’s investment in other trainees who have yet to make it or who simply fell through the cracks…the economic constraints of such a system are considerable, to say the least. Imagine, then, the costs that go into sustaining the thirteen members of Super Junior or the nine young ladies who make up Girls’ Generation.
More revealing was when Russell told me that, “[In] the late 90s, Koreans spent, depending on the exchange rate, somewhere in the neighborhood of four to five hundred million dollars a year on CDs and tapes. Last year, they spent 60 million. We’re talking about an 80% decline.” The steep fall in music sales could explain why over the years, K-pop stars have moved from being only singers to multitasking entertainers – unless you were writing your own music (and many idol stars do not), there just wasn’t that much money to be found in music anymore. Revenue would have to be generated through concerts, commercial shoots, and public television appearances. Meanwhile, selling talent overseas was no longer just a ploy by the bigger management companies to increase profits, but a financial necessity as the Korean music market continued to shrink.
There are big risks at stake for those investing in idol groups. These risks did not go unnoticed by Isak who understood her previous lack of freedom, stating that, “[We] are products. I know it sounds very bad, but we are products, and that’s why our companies…sometimes treat us like products.”
However, for all the financial risks the companies bear, perhaps the biggest gambles are still those taken by the talent in sacrificing their youth to achieve national or even international stardom. As D-Lite (Daesung Kang) of Big Bang put it, sacrificing “common things in life that we liked – walking around the streets, time to hang out with old friends, etc…” was something he knew he’d have to do.
Every idol star has gone into the K-pop game knowing the cost of fame. Behind the bright lights and their big smiles hides another truth, which D-Lite voiced in simple terms: “We all knew that we had to let it [their former lives] go when we decided to [join] Big Bang but, honestly, sometimes it’s tough on me.”
As I pondered the pressures of surviving in a shrinking Korean music market, I could only think, “It’s tough all around, kid.”
SOURCE: MTV IGGY, Seoulbeats
CREDIT: omonatheydidnt
I first met Isak (real name: Ida Simmons) when I worked at Arirang TV and Radio, an English-language broadcasting station. The daughter of a Caucasian father and a Korean mother, Isak had previously been the member of an unsuccessful SM Entertainment act called Isak N Jiyeon. However, she managed to eventually parlay her bubbly charms into a successful career as both a DJ and VJ at Arirang Radio.
While Isak, who still has three years left on a ten-year contract, applauded SM founder Lee Soo Man’s ability to think outside of the box and accept a biracial Korean-American into his company, she also remembered the more suffocating aspects of being a K-pop entertainer in the earlier part of the decade. For example, when she lived with several other SM trainees in a dormitory-like setting, the girls’ managers devised a clever way to keep tabs on the talent:
“[T]hey were afraid that we would sneak out. They would put in a house phone for us, and we couldn’t call from our cell phones. We had to call from our house phone to our manager as soon as we walk[ed] in the door [to inform them] that we came in.”
Isak also recalled the strict no-dating policy at the time:
“No dating,” she said. “You get caught, you pay consequences.”
I asked her what the consequences were.
“I was threatened that if I didn’t break up with my boyfriend then I would be either cut from SM or not [be] able to debut.”
Ironically, Isak found that the no-dating rule could actually hamper an artist’s performance, especially since many K-pop songs were about the very topic that its singers were forbidden to engage in: love.
“They’re singing about love but they’ve never experienced love,” she complained. “I think that’s a very big error.”
Isak noted, nonetheless, that a lot had changed in the industry. While “just look pretty and dance” may have been the rule when she began her career, current K-pop fans expect a lot more personality from their favorite stars. Now, as Isak noted, “it seem[s] to be becoming a trend for celebrities to be dating in Korea… a lot of people were coming forward and being honest about their relationships.” And it didn’t stop there: entertainers like Lee Hyori would even appear on reality shows, doing things like going to doctor appointments sans makeup, allowing fans to become even closer to their idols.
The trend toward a more naturalistic and approachable depiction of idol stars, according to Isak, is a positive one, and she heaped a great deal of praise on 2NE1, a four-member girl group represented by YG Entertainment:
“I don’t think 2NE1 is the typical Korean pretty girl,” said Isak. “I think they’re the most beautiful girls in the world because they don’t have double eyelids; because they don’t have noses that hit the ceiling; because they don’t have that “entertainer” look that people have grown accustomed to.”
For all the positive changes that have happened in the industry, however, Isak had a warning for those who were dreaming of becoming an idol star: long contracts and hidden fees had not disappeared.
“They [the management companies] promise before you debut, ‘we’re going to house you, we’re going to feed you, we’re going to give you all the lessons you need. Do your best’ and then we think that that’s all free,” remembered Isak. She soon learned, however, that all the expenses that went into her upkeep, including stylists, salon visits, manager fees, food, and clothing, were deducted from her pay.
Young Kim, host of the Arirang Radio program “K-pop Zone” and former rapper for such groups as S#arp and Uptown in the late 1990s, noted just how little money one could make, even as a member of relatively successful groups: “I made about three thousand dollars in the seven months that I was promoting the [S#arp] album.”
Although Kim, Isak, and others I spoke with said that they believed conditions had greatly improved, recent legal battles and contract disputes (such as the one staged by three members of the immensely popular boy band TVXQ against SM Entertainment, their management company) suggest that something may be rotten in the candy factory. As one industry outsider told me with a knowing smile, “They work their kids hard.”
However, Mark Russell, a Korean pop culture expert, recently commented on his blog, the problem is actually not rooted in the management companies, but rather in the Korean music system itself. Having to train, house, and feed future stars whose success will ultimately have to recoup not only the investment in them, but the company’s investment in other trainees who have yet to make it or who simply fell through the cracks…the economic constraints of such a system are considerable, to say the least. Imagine, then, the costs that go into sustaining the thirteen members of Super Junior or the nine young ladies who make up Girls’ Generation.
More revealing was when Russell told me that, “[In] the late 90s, Koreans spent, depending on the exchange rate, somewhere in the neighborhood of four to five hundred million dollars a year on CDs and tapes. Last year, they spent 60 million. We’re talking about an 80% decline.” The steep fall in music sales could explain why over the years, K-pop stars have moved from being only singers to multitasking entertainers – unless you were writing your own music (and many idol stars do not), there just wasn’t that much money to be found in music anymore. Revenue would have to be generated through concerts, commercial shoots, and public television appearances. Meanwhile, selling talent overseas was no longer just a ploy by the bigger management companies to increase profits, but a financial necessity as the Korean music market continued to shrink.
There are big risks at stake for those investing in idol groups. These risks did not go unnoticed by Isak who understood her previous lack of freedom, stating that, “[We] are products. I know it sounds very bad, but we are products, and that’s why our companies…sometimes treat us like products.”
However, for all the financial risks the companies bear, perhaps the biggest gambles are still those taken by the talent in sacrificing their youth to achieve national or even international stardom. As D-Lite (Daesung Kang) of Big Bang put it, sacrificing “common things in life that we liked – walking around the streets, time to hang out with old friends, etc…” was something he knew he’d have to do.
Every idol star has gone into the K-pop game knowing the cost of fame. Behind the bright lights and their big smiles hides another truth, which D-Lite voiced in simple terms: “We all knew that we had to let it [their former lives] go when we decided to [join] Big Bang but, honestly, sometimes it’s tough on me.”
As I pondered the pressures of surviving in a shrinking Korean music market, I could only think, “It’s tough all around, kid.”
SOURCE: MTV IGGY, Seoulbeats
CREDIT: omonatheydidnt
Thursday, September 17, 2009
[Lawsuit] TVXQ talks with SM Entertainment break down
TVXQ / DBSK / Tohoshinki members Xiah, Micky, and Jaejoong were trying to make efforts to resolve the issues with SM Entertainment behind the scenes but it seems all talks of coming to an agreement have broken apart. Korean Media Outlet Newsen recently had a phone conversation with the court overseeing the issue.
In the phone conversation, the court stated that it'll be all up to them to come up with the resolution as both sides despite talks of resolution, will not budge from their initial stances. They continued by stating that they're thoroughly reviewing all the papers, documents, and evidence given. After this thorough investigation, both parties will be notified of the decision. The Court stated that they don't know when exactly they'll come up with the decision but that it should be sometime this month.
As the talks have broken down, it seems there's no chance of resolution outside the courts. Hopefully the courts come up with a fair and firm decision.
Credit: allkpop
Source: Newsen.com
Sunday, September 13, 2009
[ADV] Mission Possible: TVXQ's 5th Korean Album Comeback!
Mission Possible: TVXQ's 5th Korean Album Comeback!
'TVXQ's 5th Korean Album Comeback.... EMERGENCY!!!! A manager is urgently needed. Would you be brave enough to pick up this mission?
Mission:
☆ Putting together the hectic schedule
☆ Creative input in the group's music and image
☆ Having the power to be in charge of every single aspect of their comeback
As a manager, you could get the chance to win:-
1st Prize: All About DBSK 3 DVD (Korean First Press Edition)
2nd Prize: All About DBSK 3 Please Be Mine Photobook
3rd Prize: TVXQ Single of your choice!
Find out more at http://www.onetvxq.com/forums/index.php?showtopic=4234
- Always Keep The Faith -
---
With Regards,
Rella
Contest Coordinator
Friday, September 11, 2009
[Lawsuit] TVXQ vs. SM Entertainment Pending Final Decision - All Evidence Due Today
The legal battle regarding unfair contracts between team TVXQ (Youngwoong Jaejoong, Micky Yoochun, Xiah Junsu) vs. SM Entertainment is slowly coming to an end.
The court had ordered SM Entertainment to turn in all financial documents by September 11th, 2009 (today in Korea). Upon review of these documents, a final decision is to be made.
The court has stated that this will be a final judgment and that both parties will not be returning for a retrial, once a decision is made.
SM Entertainment stated:
"After turning in all documents by the 11th, there is nothing more for us to do than await the courts final decision. As of now, we have no idea when a decision will be made by the courts."
Stay tuned for more developments.
Source : allkpop.com
Friday, September 04, 2009
[Lawsuit] 090831 TVXQ's Japanese Income Division; Each Member Received "150 million Won"
*note from your translator: for those who don't really know about the Korean currency
150 million Won = around $120,000 dollars*
150 million Won = around $120,000 dollars*
TVXQ received only $120K in 4 years. This means $30K per year....thats equivalent or less than what a low-income, labour job earner gets in America!
Income was divided in the order of Avex-SM Japan-SM-Members... SM Double Acquisition Controversy
An argument that five member group TVXQ, who are currently in a legal dispute with their agency over their exclusive contract and inexact income divisions, earns an extremely low income from their Japanese activities has been put forth.
An influential acquaintance of the three members who are locked in this legal dispute (YoungWoong Jaejoong, Micky Yoochun, Xiah Junsu) stated, "The amount of money TVXQ has earned from when they started their Japanese activities in 2005 till now is a little over 150 million Won per member."
This is the first time TVXQ's Japanese activity income division has been referred to in detail.
He explained the income division process in detail saying, "A portion of the money TVXQ earns from their Japanese activities goes to their Japanese agency Avex, and some of it goes to SM Japan. The rest goes to SM Entertainment. Therefore, the members receive only an extremely small portion of the overall income."
He also added, "SM Entertainment owns more than 90% of SM Japan's quota and is the parent company of SM Japan," and conspired that, "Another controversy arises of their Japanese income division because of this." He stated that, "Since the members have never seen the actual Japanese contract, they have no clue of how the income division is going on between the agencies and are feeling very frustrated with the situation."
SM Entertainment owns 93.5% of SM Japan's quota
Actually, according to the quarterly report SM released in May, SM Entertainment owns 93.5% of SM Japan's quota (On March 31st).
Even the Civil Society Organization has pointed out that there are problems in the way SM Entertainment divides and calculates the income.
Lee Dong-yeon, professor at the Korean National University of Arts, stated, "The money TVXQ earns from their Japanese activities is first divided by Avex and SM Japan who co-manage the group by 50% each, then SM and SM Japan split the money SM Japan got by 50% each. Therefore, TVXQ only receives a small portion of 1/4 of their income, not a portion of their entire income".
At the debate that was on the prompt 'The Problems Regarding the Korean Entertainment Management System Revealed Through the TVXQ Dispute and the Solutions To These Problems', Professor Lee said, "It can be said that SM Japan and SM Entertainment are basically one company therefore SM Entertainment is using this to acquire twice the amount of money they should be getting from TVXQ's Japanese income."
Professor Lee also stated that, "It can easily be seen that we obviously cannot say that TVXQ and SM Entertainment have a fair and just contract agreement when carefully reading through the fine print of the contract and taking into consideration TVXQ's income division and the preposterous amount SME claims they spend on managing TVXQ (In truth, most of this money is actually not included in the income division.)"
On a side note, it has been found that SME did not adhere to the Preservation of Evidence Request that the three TVXQ members filed that was accepted by the Courts. This Preservation of Evidence Request includes all documents relevant to TVXQ's activities that would help calculate TVXQ's actual income that include account books, receipts, transfer slips, etc.
On the 21st, the Seoul District Courts asked SME at the first hearing to hand in all documents relevant to the trial, but SME did not follow through.
SME's lawyer stated before that, "These documents are all company secrets, and it would be fatal to SME if they were released to the media."
Source: [newsen+DNBN]
Translation credits: jeeelim5@tohosomnia.net
Shared by: tohosomnia.net
Do not add on/remove any credits
Thursday, September 03, 2009
[Lawsuit] DBSK`s Activities in Japan is About 1.5 Billion
In regards to the long term contract and undisclosed earning percentage split problem, it had created an unfair contract. Tohoshinki’s 3 members finally decided to go through court to resolve this dispute with their agency SM Entertainment.
Recently, the 3 members of Tohoshinki had requested to have their earning percentage split in Japan’s documents without taking in much consideration.
It is said that Tohoshinki had debuted in Japan in 2005 and till now, 4 years had passed and each member's earning in these 4 years could only reach about 1.5 billion. This is the first time that Tohoshinki’s earnings from their daily activities in Japan have been revealed.
Representatives had too expressed that SM JAPAN is a company that SM KOREA has 90% control over, and because of the matter over in SM Korea, it is said that it makes one suspricious of how SM Korea manages to pay for SM Japan too.
The members are rather confused over the whole percentage split earning because they have yet to see the whole real contract, according to SM in May revealed their financial status, SM Japan belongs around 93.5% to them. In regard to this matter, the public have raised questions.
Korean art schools professor, Lee Dong Ting said “Because of Tohoshinki’s activities in Japan, it had created a problem in percentage splitting. According to Tohoshinki’s agency, SM Japan and Avex would like to take in 50-50 of the earnings then between SM & SM Japan, another 50-50 in earning’s and in truth, Tohoshinki actually received only 1/4 of the earnings during these activities.
With an agenda of “Through Tohoshinki you could see that the companies system is full of problems and solutions were made,” Professor Lee also pointed out “SM JAPAN and SM been seen as 1 company is okay, therefore this kind of split for earning’s can bee seen as a dirty hand trick.” Professor Lee then said “The total amount that Tohoshinki is getting, being an artist and enjoying their reputation along with SM’s way of making use of the money in the name of ‘because it’s business’ (IE. Saying they need to pay their stylists etc) is not tallying with the reality calculation.”
Source: hohobbs
Translation: mel @ OneTVXQ.com
Credits: OneTVXQ.com { One World. One Red Ocean. One TVXQ! }
Feel free to repost, but please leave the full credits intact. Thanks!
Monday, August 31, 2009
[News] 090828 An Offering Of A Sacrifice To Spirits Done For "Heading To The Ground"
There was an offering of a sacrific to the spirits done for MBC’s new Wednesday-Thursday drama ‘Heading to the Ground.’
On the 24th at 2pm, the offering was one at MBC’s Yangju set and actors such as Jung Yunho, Ara, Lee Yunji, Lee Sang-yoon, Kim Jaeseung etc camealong with Director Park Sungsoo and all the staff.
Jung Yunho, who plays the lead role of Cha Bong-goon, prayed for the success of ‘Heading to the Ground’ by saying “Please help this drama be a big hit!” and praying alongside fellow actors Ara, Lee Yunji and Lee Sang-yoon.
Director Park Sungsoo said, “I was touched by the passions of these young actors who threw themselves into everything and anything we asked them to do. I think that the hard work of the actors will be seen in the eyes of our viewers,” and “I directed this drama with a fun and happy heart because the actors and staff always made the set come alive with their jokes and antics.”
Ara, who plays the role of Kang Haebin, said, “Overall, there are a lot of action scenes. Cha Bong-goon (Jung Yunho) especially has a lot of them, but he would rarely use a stunt double and worked hard in all his scenes and that gave all of us strength to work harder,” and “Because the script itself was funny, shooting the drama was fun too.”
Jung Yunho, who plays the lead role of Cha Bong-goon, said, “I’m doing everything for the first time so it took me some time to get comfortable, but all the staff members are excellent and all the actors on set were cheering each other on so I’m expecting this drama to be really good,” and “I still am lacking in some areas but everyone will be able to see me grow more along with Bong-goon each time an episode airs,” and was very modest.
The drama ‘Heading to the Ground’, which is gaining a lot of attention as this is TVXQ’s U-Know Yunho’s debut into acting, will first air on September 9th.
Source: [pimedia+DNBN]
Translation credits: jeeelim5@tohosomnia.net
Shared by: tohosomnia.net
Do not remove/add on any credits
On the 24th at 2pm, the offering was one at MBC’s Yangju set and actors such as Jung Yunho, Ara, Lee Yunji, Lee Sang-yoon, Kim Jaeseung etc camealong with Director Park Sungsoo and all the staff.
Jung Yunho, who plays the lead role of Cha Bong-goon, prayed for the success of ‘Heading to the Ground’ by saying “Please help this drama be a big hit!” and praying alongside fellow actors Ara, Lee Yunji and Lee Sang-yoon.
Director Park Sungsoo said, “I was touched by the passions of these young actors who threw themselves into everything and anything we asked them to do. I think that the hard work of the actors will be seen in the eyes of our viewers,” and “I directed this drama with a fun and happy heart because the actors and staff always made the set come alive with their jokes and antics.”
Ara, who plays the role of Kang Haebin, said, “Overall, there are a lot of action scenes. Cha Bong-goon (Jung Yunho) especially has a lot of them, but he would rarely use a stunt double and worked hard in all his scenes and that gave all of us strength to work harder,” and “Because the script itself was funny, shooting the drama was fun too.”
Jung Yunho, who plays the lead role of Cha Bong-goon, said, “I’m doing everything for the first time so it took me some time to get comfortable, but all the staff members are excellent and all the actors on set were cheering each other on so I’m expecting this drama to be really good,” and “I still am lacking in some areas but everyone will be able to see me grow more along with Bong-goon each time an episode airs,” and was very modest.
The drama ‘Heading to the Ground’, which is gaining a lot of attention as this is TVXQ’s U-Know Yunho’s debut into acting, will first air on September 9th.
Source: [pimedia+DNBN]
Translation credits: jeeelim5@tohosomnia.net
Shared by: tohosomnia.net
Do not remove/add on any credits
[Trans] 090829 GQ September Issue ‘The Real TVXQ Was In Japan’ CRITIQUES
TVXQ sings “I got you~ooo, Under my skin,” and dances. When the buttons on the shirts that cling onto their bodies cannot handle their powerful moves and burst, U-Know Yunho’s well-developed and chiseled pectoral muscles are shown. Fans from all over Korea, who may have had ill feelings towards the long stretch of Japanese activities, act as though the group had never left and stare at their TV and even go up to the TV screen and stroke it. I’m talking about the comeback stage of
TVXQ’s thin and muscular bodies are completely different from SM Entertainment’s preceding idol groups. The direction that the members of TVXQ are headed is being influenced by the Japanese activities they have been carefully and diligently doing. In Japan these days, their is a ‘Hosomacho’ or ‘thin muscle’ trend blazing through the nation. The biggest reason for this trend is because the majority of young Japanese women prefers the thin muscled hosomacho look over the heavily muscled gorimacho (gorilla macho) look.
What am I talking about? There are probably going to be some people who tell me that this trend has been around for a while with the majority of singers in Johnny’s Entertainment and with the majority of males in Tokyo having a thin muscle body structure. But what they are talking more about skinny guys who look as though they have muscles because they are skinny, not the ‘thin muscle’ look. But to think that TVXQ is just one of the many hosomacho groups is a big mistake. This is because the popularity of Tohoshinki, as they call themselves in Japan, is so great and out of this world that it cannot be fully comprehended or understood in Korea.
If we divide the dominating Japanese male idol groups into three categories, the first would be ‘role Lolita’, groups comprised of pretty boys, the second would be ‘Yankees’, groups comprised of members who have a bad boy vibe to them, and the third would be the TVXQ style. The TVXQ style’s popularity can be properly felt in Japan’s host clubs. Koreans may connect the words host or hostess with adult clubs and see these words with a negative outlook, but to many young, handsome and popular college students in Japan, it is the most preferred part-time job.
Different from Korea’s hosts, Japan’s hosts serve only alcohol and there is a different term for those who provide sexual intercourse and they are called ‘Urisen’. In these host clubs that can easily be found in Shinjuku’s Gabukicho area, the pictures of the hosts in the clubs tell women what kind of style each host is. Before, most of the people in the pictures copied the style of Johnny’s Entertainment’s idol groups. But now, at least one or two hosts in every club very conspicuously copies the style of one of the members of TVXQ.
In this area, there was once a time where the most manly people were nabe (a girl dressed up as a guy or a trans gender female). with their thin, pretty bodies. But now many Japanese women are asking for the hosomacho style, men who are not only pretty, but are also manly, and who are not only skinny, but has muscles. The TVXQ wind is blowing through the clubs of Gabukicho.
Since many Korean idol groups are popular not only in Korea but all of Asia, many Koreans may think that TVXQ’s popularity is similar to that of other celebrities. Shall we delve deeper to see just how popular TVXQ is in Japan? TVXQ’s most recent Japanese single sold almost 200K copies in one week. This sets TVXQ with the second highest first week sales in their agency, Japan’s biggest company Avex.
The only group above TVXQ is the 14-member group Exile, the group that received the highest award from the Japanese Record Association and the group that even creates big changes in society with their raging popularity. This means that TVXQ’s first album sales beats that of the female leaders of Japanese pop, ‘Amuro Namie’. ‘Hamasaki Ayumi’ and ‘Koda Kumi’. This is a feat that not even popular star ‘BoA’ has achieved. These are the kind of top singers we can compare TVXQ to now.
But I am not basing their popularity on album sales only. TVXQ has set a huge record of being on Japan’s representative music chart ‘Oricon Chart’ as 1st on weekly single sales six times already. Since the year 2000, the number of stars who have attempted to enter the Japanese market is enormous, with stars such as S.E.S, Sugar, Park Junghyun, Rain, Lee Soo Young, Se7en, SS501, Ryu Siwon, Park Yongha, Lee Byunghun, Yoonha, K, Sunmin, Big Bang and Super Junior.
But the only singers who have reached first on Oricon’s weekly single charts are BoA (once) and TVXQ (six times). TVXQ also succeeded in being invited to hold two concerts in July at the Tokyo Dome which is considered the Dream Stage, even to Japanese singers. This has never been completed by any other Korean singer before.
But the Bible sends a message, “Prophets do not get respect from their homelands.” For some odd reason, TVXQ’s outstanding achievements do not seem to be reported or praised in Korea. Also, it is sad to see that TVXQ’s success of almost selling 200K copies of their single was buried under the dispute between SM Entertainment and three members of TVXQ (Micky Yoochun, Xiah Junsu, YoungWoong Jaejoong) and the disbandment rumors that followed it.
They are not something something ’sama’ (like Yonsama) who were washed ashore by the Hallyu Wave. No, they even asked all Japanese media agencies not to associate the word ‘Hallyu’ with them (even asking for news articles to be pulled down if the word was used in relation to them), to show that they wished to succeed with their own powers and were able to become widely known in Japan. TVXQ had to erase their nationality in order to gain the acceptance from the Japanese population.
The rumors of disbandment at the height of their popularity has become a hot topic of conversation in the Japanese music industry. Japanese media has been created a daily special to update everyone about what’s happening in Korea with regards to TVXQ, and this has caused Avex’s CEO to come forward and give an explanatory statement to clam the Japanese fans. He announced that TVXQ’s Japanese activitees would continue regardless of what was happening in Korea and he decided to announce this himself. This has never happened before.
It seems as though the way Korean agencies set the income division when writing up the contract has surprised the people of Japan who are used to the Japanese agencies’ way of working that gives monthly salaries that may change. Since the first official event TVXQ held after the disbandment rumors came out was in Japan and not Korea, the source of such rumors, with the Fireworks Festival Concert, the Japanese media was more vigilant when it came to reporting the issue than the Korean media.
Therefore, whether they wanted this or not, this case has opened TVXQ up to a wider fan base including the younger generation. YoungWoong Jaejoong, who is the most popular amongst the members in Japan, was even seen in a paparazzi scandal magazine that only extremely famous Japanese celebrities appear in.
Although the situation in Korea is a complete mess, TVXQ might be able to take one step further in their Japanese activities through this happening. But they must once more grab hold of their Korean fans. There are already rumors that the ‘light fanbase’ is ready to embrace the new 6 member male idol group SM Entertainment is preparing.
As faithful as Korean fans are, they are also able to turn their backs on a singer very quickly. If even the fans who used to embrace them turn their backs on TVXQ, the group will become the prophets who are not respected in their homelands.
Source: [GQ Magazine+DNBN]
Translation credits: jeeelim5@tohosomnia.net
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[News] DBSK’s Expected 2 Months Break
Dong Bang Shin Ki outdoor concert, a-nation that is pre-scheduled to be held on August 29th in Osaka, Japan will keep going on.
After the provisional disposition facing DBSK’s agent SM Entertainment to stop exclusive contract effect from part of DBSK members, it’s been a difficult environment for DBSK to continue their activities, therefore the continuance of DBSK future activities has been gathered lot of fans’ attention ever since.
Recently DBSK’s Korea label SM Entertainment and Japanese label AVEX don’t catch any additional schedules other than ones have been pre-arranged. Except Yunho who will debut in MBC drama “Heading to The Ground”, the remaining members are said to be having break naturally (T/N: I’m not sure why the reporter doesn’t mention Changmin as well)
Members activities will be stopped at least for 2 months is being certain, but members’ concert in Shanghai that has been planned to proceed on October 2nd is expected to be executed.
The provisional disposition againts SM Entertainment filed by 3 DBSK members Jaejoong, Yoochun, and Junsu has received its first hearing on August 21st in the morning. The judge at that time said, “For the sake of public responsible to DBSK biggest fans and also the members internal relationship, I hope the two sides to consider settlement of this dispute amicably.” advising for a consensus.
Next hearing will be held on September 11th.
Source: pressdot@newsway.kr
Translation: sharingyoochun@wordpress
[News] Despites The Crisis, Changmin is Still Concentrating on His Acting Debut
“This first debut, I want to carry it perfectly.”
DBSK member Changmin (21) has been concentrating on acting training for his first challenge drama “Paradise Ranch”. Recently DBSK meets crisis as in lawsuit case related to some of its members. During this lawsuit period, it’s been repeatedly stressed that the lawsuit and members’ individual activities are separate stories. They’re already preparing for another coming up activities.
Just few days ago, after finishing a performance in Japan, Changmin returned home and when there isn’t any official activity, he’s fully absorbed to the debut drama training. Going back and forth Japan – Korea, Changmin never once keeps aside his script reading training.
From Changmin’s assistant, “The series of recent crisis creates burdensome to him mentally, is true. But as acting has been his long dreamed challenge, makes a great motivation to him afterall. From now on, he’s going to be busy traveling back and forth between Korea and Japan. Even from his recent departure (in Korea) few days ago, he already portrayed an excitement about the drama preparation.”
“Paradise Ranch” is a co-production drama between SM Entertainment and Samhwa Networks and they have goal to broadcast the drama at the end of this year. A delightful story of romance is blended by beautiful music will show the fresh youth romantic acting of Changmin. The drama will enter its first shooting early next month.
Source: naver news
Translation by: sharingyoochun@wordpress
[News] Cosmetic Company Lawsuit Case: Full Investigation
Seoul’s Gangnam Police Station on August 27th has lauched a full investigation regarding lawsuit filed by cosmetic company, CREBEAU in which DBSK members Jaejoong, Yoochun, and Junsu have their investment.
The public prosecutor from Seoul police office section 7 (head: Kim Cheong-hyeon) directed the investigation according to letter of complaint to SM Entertainment from CREBAU officer who requested for a full investigation of complainant’s identity before court review next week.
This police investigation is held as an instant basis to decide whether there’s criminality charges in defamation mark that is accused to SM Entertainment as defendant by CREBEAU company.
On August 4th, CREBEAU company where in DBSK members Jaejoong, Yoochun, and Junsu have their investment in filed a lawsuit against SM Entertainment for a defamation issue.
Source: jjw@fnnews.com
Translation: sharingyoochun@wordpress
[News] 3 DBSK Members’ Investment Cosmetics Company Sue SM for Defamation Issue
Seoul Central District Court officer revealed on August 26th that a representative of CREBEAU (위샵플러스) cosmetic company had filed lawsuit against SM Entertainment in charge of defamation issue on August 4th.
CREBEAU representative said, “The problem that is filed by 3 members who are also investors in our company is something to do with the unfair distribution income and to terminate the exclusive contract effect. However, SM keeps distorting the essence of the issue by saying that the main reason of their lawsuit is related to the cosmetic company. This is definitely a false representation and inflicts a serious libel to our company.”
Source: pretty@yna.co.kr
Translation: sharingyoochun@wordpress
[Lawsuit] SM x DBSK Lawsuit: “Will The Evidences Application be Accepted?”
As had been reported, besides the provisional disposition to terminate exclusive contract effect, 3 members of DBSK namely Jaejoong, Yoochun, and Junsu also submitted Preservation of Evidence request so that they could calculate the exact amount of their income.
However, in the first hearing held on last August 21st, SM responded regarding the Preservation of Evidence request, “This immediate appeal for Preservation of Evidence can’t be executed.” SM expressed disapproval regarding the submission request. The company explained that DBSK income receipts along with other documents and materials needed for this settlement is company’s trade secret. And if they’re to be exposed to the media, it can lead to fatal effect.
Regarding the problem, the court described an “in camera” system to invalidate SM’s claim of a fatal risk. The “in camera” system is the process in which the viewers of the evidences are to selected/limited number of people only. Because of this, DBSK’s payment issue can be resolved and the current conflict can be raised.
SM officials therefore approved the DBSK’s ‘Preservation of Evidences application’ and the submission deadline is tomorrow, August 26th.
The court judgment whether SM’s application is received as valid evidences or not is to be determined on Friday, August 28th.
Meanwhile, on the same day (August 28th), DBSK fanclub Cassiopeia is showing support to their idol by submitting petition which is signed by approximately 121,073 people at 1:30 p.m to National Human Rights Commission. “DBSK members have been victims of serious human rights violation and now are seeking way to escape from it. We asked the help from National Human Rights Commission to give human rights protection for DBSK members through their court hearing.”
On last August 20th, Cassiopeia had already submitted their petition which was already signed on-line by 120,000 people from August 12th to 18th (six days) to Seoul Central District Court to support the terminate of unfair contract.
Source: diodeo + newsen
Summarized by: sharingyoochun@wordpress
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