logo
Macron invites ‘K-pop pioneer' Lee Soo-man to open French office, seeks stronger Korea-France creative ties

Macron invites ‘K-pop pioneer' Lee Soo-man to open French office, seeks stronger Korea-France creative ties

Korea Herald2 days ago

Lee delivers keynote at France Music Week as sole Asian speaker, calls for stronger protection of creators' rights in AI era
President Emmanuel Macron invited Lee Soo-man — founder of SM Entertainment, who is often credited as the K-pop pioneer — to open an office in France.
During a Friday meeting at the Elysee Palace in Paris, the French leader expressed his desire to strengthen collaboration between South Korean and French creators, signaling high-level recognition of K-pop's cultural power.
Lee, who now leads A2O Entertainment in Los Angeles, was in Paris as the only Asian speaker at the 'France Music Week Summit,' held at Place de l'Opera on the same day. Macron, attending the event, extended his invitation to Lee directly and instructed French Minister of Culture Rachida Dati to follow up on practical steps for implementation.
Macron greeted Lee warmly, stating he was well aware of Lee's dual identity as both a creative visionary and a successful entrepreneur. Lee was introduced as 'the man who created K-pop,' a title that resonated with the event's focus on innovation in the global music industry.
The meeting went beyond symbolic cultural diplomacy.
It underscored France's growing interest in fostering creative exchanges with Korea, especially at a time when intellectual property rights and AI-driven content creation are reshaping the industry.
Macron's invitation is being seen as a significant gesture that may lead to a long-term cultural and economic partnership.
Meanwhile, Lee delivered a speech at the summit, where over 100 top executives from the global music business gathered to discuss pressing challenges in the industry. His remarks focused on the evolving role of fans, who he described as no longer 'consumers,' but 'prosumers' — fans who reinterpret, remake and even co-create content.
'I imagine a world where fans are part of the creative process, where they are rewarded economically for their participation,' Lee said. 'In the age of generative AI, we must protect the rights of not only original creators but also the emerging roles of re-creators and prosumers.'
He also drew attention from industry insiders by explaining 'Culture Technology' — the system he pioneered to build K-pop into a global cultural force. Throughout the summit, panelists cited K-pop's structure and success as a case study in innovation.
Lee emphasized that in the AI era, protecting creators' rights has become more urgent than ever. His stance on safeguarding creative ownership resonated strongly with the summit's broader themes.
Other participants at the summit included Robert Kyncl, CEO of Warner Music Group; Lyor Cohen, Global Head of Music at YouTube; and Olivier Nusse, CEO of Universal Music France.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

From Blackpink to Cosmosy: Ex-YG's producer's inventive approach to K-pop
From Blackpink to Cosmosy: Ex-YG's producer's inventive approach to K-pop

Korea Herald

timean hour ago

  • Korea Herald

From Blackpink to Cosmosy: Ex-YG's producer's inventive approach to K-pop

From managing Blackpink's debut to launching all-Japanese girl group Cosmosy, Sinxity aims to redefine K-pop's creative model while championing diversity and LGBTQ+ visibility Shin Seong-jin, better known by his professional name Sinxity, may come across as soft-spoken, but his words land with surprising clarity and conviction. In an industry steeped in formulas and rigid systems, Sinxity stands out for challenging conventions and redefining the role of a K-pop producer. 'I'd rather be called a creator than a creative director,' he told The Korea Herald in an interview on June 12. 'There are producers for drama series on over-the-top platforms, but above them are creators who oversee the entire message. That's what I do — from choreography and visuals to promotion and marketing, I aim to deliver a consistent creative identity.' Sinxity's approach is often compared to that of Min Hee-jin, the former CEO of Ador, who debuted the girl group NewJeans. Like Min, Sinxity does not compose music, but plays a decisive role in shaping all aspects of an artist's debut and concept. 'I've been working in entertainment since 2009, starting at YG Entertainment,' he said. 'I was involved in (the company's) IPO projects and also worked as a manager and creative director on debut projects for Lee Hi, AKMU, Winner and Blackpink.' On his experience with Blackpink before their debut in 2016, Sinxity said, 'The fact that Blackpink even came together as a team felt like a miracle. Each member had outstanding potential. Meeting such individuals in a single group project feels like fate.' 'What's most important in producing is identifying the essence each trainee holds, and helping that core grow,' he said. 'With the Blackpink members, I was truly moved by their talent, beauty and individual charm.' Building new creative standard In 2018, Sinxity left YG Entertainment and founded his own label, Axis, backed by investment from Naver subsidiaries Naver Snow and Naver Webtoon. He said the name Axis reflects his vision: 'If one strong axis was in place, I believed it could become a platform where creators like myself could emerge — even reshape the entertainment industry.' 'I want to surpass companies like Hybe, SM and JYP Entertainment — not just follow them, but do better. I see content as something holistic. I want to set a new standard across the entire entertainment value chain.' Cosmosy and case for cultural specificity In April, Axis debuted its first girl group, Cosmosy, in partnership with Japan's largest telco, NTT Docomo. The group consists of four Japanese members and sings in Korean, English and Japanese in each song — a rare combination even in today's global K-pop scene. 'In Korea, K-pop mixes Korean and English. Likewise, Japanese fans enjoy listening to Korean, and Korean fans enjoy Japanese through anime and J-pop,' he said. "Since Korean and Japanese have similar syntax, mixing the two doesn't feel unnatural. Each language offers unique expressions, which I found creatively exciting.' Cosmosy also pursues a diverse musical range beyond K-pop and J-pop, venturing into pop and Afro-pop influences. 'They're an idol group in the way they promote, but musically they're diverse. I think it's okay to blur the lines of identity,' Sinxity said. 'We formed a clearer hypothesis about how Cosmosy could grow. With all members being Japanese, we could use that cultural specificity to define the direction of our concept more clearly.' 'Rather than debuting them as a 'complete' group, we allowed space for them to evolve,' he said. 'We focused on having an all-Japanese lineup because that cultural foundation allows for unique content. With multinational groups, issues of cultural appropriation often arise. We wanted to steer clear of that.' Redefining norms At the end of the interview, Sinxity also spoke candidly about his sexual identity, sharing that he is gay. 'There are many sexual minorities in K-pop,' he said. 'With two members of Katseye recently coming out, I think K-pop is having a positive impact.' Axis also runs a drama subsidiary that produces BL (gay romance) series. 'Our content aims to break stereotypes and give courage to those who need it. I just hope what I'm doing has meaning in this world.'

Meet, perhaps date your favorite K-pop star with VR headgear
Meet, perhaps date your favorite K-pop star with VR headgear

Korea Herald

time5 hours ago

  • Korea Herald

Meet, perhaps date your favorite K-pop star with VR headgear

VR technology brings fresh energy to K-pop-themed films Imagine your favorite K-pop star being just within reach, confessing their love or playfully teasing you. Picture them beaming as they offer a bouquet of your favorite flowers. It's no longer just a fantasy — thanks to VR concerts. On Wednesday, CGV released "Cha Eun-woo VR Concert: Memories." Viewers wear a VR headset and are immersed in a romance-movie-like experience, stepping into the role of the romantic lead opposite the singer. By raising a hand while wearing the headset, the system recognizes your gestures, allowing you to choose essential story items based on your preferences, leading to different scene outcomes. As the film is also a concert movie starring the K-pop idol, performances are woven into the storyline. Viewers can watch Cha singing and dancing just like in any other concert, but much closer. "It was fascinating to see a nearly 180-degree background view and how Cha Eun-woo seemed to come right up close. The headset was a bit heavy, but it was really fun," said Ha Ji-yeon, a fan in her 20s. Just a few years ago, K-pop films were either documentaries that shed light on artists' off-stage lives or concert films that captured performances and behind-the-scenes footage. Wheesung's "Live in 3D Wheesung: It's Real," released in 2010, is often remembered as the beginning of this trend. It was followed by BigBang's "Big Show 3D" in 2011, Beast's "Beast Encore Concert 3D" and Infinite's "Second Invasion Evolution The Movie 3D" in 2012 — all live concert films watched with 3D glasses that became quite the trend at the time. After the 3D film wave passed, BTS's "Burn the Stage: The Movie," which documented the group's world tour "Trilogy Episode III The Wings Tour," was released in 2018 and drew 315,010 viewers. Since then, many major K-pop acts have followed up their world tours or large-scale concerts with accompanying films to extend the excitement. Now, VR films are breathing new life into the now largely predictable patterns of K-pop cinema. The company behind Cha Eun-woo's VR concert, Amaze VR, which previously produced TXT's "Hyperfocus: Tomorrow X Together VR Concert" in 2024, has ambitious plans to expand the K-pop VR concert market. Amaze VR CEO Lee Seung-joon confidently predicted that VR concerts to become one of the leading trends in the K-pop scene. 'Last year's TXT VR concert sold over 170,000 tickets worldwide. That's about 30-40 percent of what a live concert sells, and based on that success, we plan to launch a new VR concert every two months starting June,' said Lee. He explained that the filming process for realistic VR visuals is similar to shooting a Marvel movie. 'We film the artist directly on a green screen stage and then add backgrounds and effects using CG. All of the backgrounds are computer-generated,' explained Lee. "Cha Eun-woo VR Concert" is also set to be released in Japan, the US and South America. To screen the concert, each seat must be equipped with a VR headset, synchronized with the screen and sound system and managed by staff overseeing the devices. Amaze VR owns over 2,400 headsets and has set an ambitious goal of establishing 'Amaze Theaters' worldwide, akin to IMAX auditoriums. "Using just one or two days of an artist's time to create an experience that lasts forever holds immense value. I hope someday all artists would release a VR concert alongside every new album or tour — and this marks our first step toward that world," said Lee.

Animation ‘K-pop Demon Hunters' hits No. 1 on Netflix in 26 countries, tops 93 charts
Animation ‘K-pop Demon Hunters' hits No. 1 on Netflix in 26 countries, tops 93 charts

Korea Herald

time6 hours ago

  • Korea Herald

Animation ‘K-pop Demon Hunters' hits No. 1 on Netflix in 26 countries, tops 93 charts

An animated film about a K-pop girl group that battles evil spirits is now one of Netflix's most-watched titles worldwide. "K-Pop Demon Hunters," co-directed by Korean-American filmmaker Maggie Kang and Chris Appelhans, debuted June 20 and quickly topped Netflix's global chart, according to data from FlixPatrol. Between June 21 and 22, it held the No. 1 position globally, ranking first in 26 countries and landing in the Top 10 in 93. Viewership has been especially strong not only in Asia but also in the US, France and Germany. The film follows Huntrix, a K-pop trio whose concerts double as supernatural missions. On stage, they use music to maintain a magical barrier called the "honmoon," which protects the human world from demonic forces. Their main rival is Gwi-ma, a spirit king who preys on human souls and sends demons to defeat the hunters in the form of a boy band, the Saja Boys. The voice cast includes major Korean stars. Actor Lee Byung-hun from "Squid Game" plays Gwi-ma, and actor-singer Ahn Hyo-seop voices Jinu, the leader of the Saja Boys. Produced by Sony Pictures Animation, the film blends fast-paced action, fantasy and musical drama. Although primarily in English, the film includes Korean dialogue and is packed with culturally specific details, from folklore creatures like "dokkaebi" (Korean goblins) to everyday habits like visiting traditional medicine clinics and bathhouses. Audiences have embraced both the visual design and the music. K-pop producer Teddy contributed to the soundtrack, including Huntrix's 'Golden' and Saja Boys' 'Soda Pop.' Twice's Jeongyeon, Chaeyeong and Jihyo perform the film's opening number, 'Takedown,' and MeloMance's 'Love, Maybe' and Exo's "Love Me Right" play in their original Korean versions. Critics and viewers agree on the appeal of "K-pop Demon Hunters." As of June 24, it holds a 96 percent critic score and 91 percent audience score on Rotten Tomatoes. The film's success reinforces Netflix's belief that 'great stories can resonate everywhere, regardless of language or culture," as Kim Min-young, head of Netflix's Asia-Pacific content division, said earlier this year.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store