
BLACKPINK's new single 'Jump' tops iTunes charts in 47 countries
The song released Friday marks the group's first release in two years and 10 months since its second full-length album, "Born Pink," in September 2022, excluding "The Girls" from the soundtrack of a video game.
"Jump," with an addictive chorus, marks a transformation from the K-pop quartet's previous charismatic musical style. It "captivates listeners with guitar riffs reminiscent of a Western film, layered with the members' distinctive vocals," according to the agency.
Music producers Teddy and 24, who have crafted BLACKPINK's hit songs, collaborated on the track with international lyricists and composers. The song's music video was helmed by award-winning director Dave Meyers.
BLACKPINK performed the song for the first time during its "Deadline" world tour at Goyang Sports Complex Main Stadium in Goyang, just northwest of Seoul, last weekend.
The tour will then take the group to 15 other cities, including Los Angeles, Chicago, Toronto, Paris, Milan, London and Bangkok. (Yonhap)
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Korea Herald
7 hours ago
- Korea Herald
K-culture begins with the arts: National Theater of Korea launches new season with global ambitions
72 productions, 2 new festivals and vision that bridges tradition, global reach When Korean cultural references like gat, dopo robes, magpies and tigers appear in hit animated film "K-Pop Demon Hunters," it's a sign that the stature of Korean culture has changed significantly, according to Park In-gun, CEO of the National Theater of Korea. 'And K-culture begins with the fundamental arts. I hope to see powerful works that expand across the world," Park said during a recent press conference at the Korea Press Center in Seoul. Building on that foundation, the National Theater of Korea has announced its 2025-26 season lineup, opening Aug. 20. Under the slogan 'Together, Go Further,' the theater aims to position itself as a platform that actively engages with contemporary audiences while remaining rooted in Korea's traditional performing arts. This season marks the largest slate yet, with 72 productions — 11 more than the previous season — including 25 new works. As part of its expanded programming, the National Theater is introducing two major new festivals: the Korea International Music Theater Festival and the 2025 Korean Traditional Dance Festival. These additions reflect the theater's evolving role as both a custodian of heritage and a hub for contemporary expression. Running from Sept. 3 to 28, the inaugural Korea International Music Theater Festival will center on East Asia, featuring music theater from Korea, China and Japan. The festival is expected to grow into a global event that showcases a wide spectrum of musical theater from around the world. Scheduled for Oct. 30-31, the 2025 Korean Traditional Dance Festival will bring together 10 national and regional public dance companies in a sweeping celebration of Korean dance. The National Theater's three resident companies — the National Changgeuk Company, the National Dance Company and the National Orchestra of Korea — will premiere new works this season and revive audience favorites. The National Changgeuk Company will present "Pansori Theater Shim Cheong" (Sept. 3-6), a revisionist take on the Korean folktale heroine, reframing her with greater agency and contemporary resonance. Another major production is "Hyomyeong: The Prince of Art" (June 23-28, 2026), which blends changgeuk with royal court dance to portray Crown Prince Hyomyeong, a pivotal figure in the development of late Joseon-era court performance traditions. "The Story of Lee Nal-chi" (Nov. 21-29) and "Boheoja: The One Who Paces the Void" (March 19-29, 2026) will also return to the stage. The National Dance Company will explore themes of family in a new production titled "Home," while also reviving modern reinterpretations of traditional aesthetics in works such as "Book of the Dead," "Mongyudowonmu" and "Mask Off." The National Orchestra of Korea will collaborate with classical guitarist and celebrated film composer Lee Byung-woo, best known for his work on "The King and the Clown" and "The Face Reader." The season also includes "Acoustic," an experimental project reimagining the sound design of Haeoreum Grand Theater and "Modern Folk Song," a nostalgic revisiting of beloved melodies. The new season also features expanded collaborations with both public and private performing arts groups. Three major productions from the National Theater Company of Korea — "Dangerous Playground" (Aug. 28-31), "The Orphan of Zhao: Seeds of Revenge" (Nov. 21-30) and a new play by Cho Kwang-hwa (May 22-31, 2026) — will be staged at the National Theater. Among private sector collaborations, the production of "The Dresser" (Dec. 27-March 1) stands out. Based on Ronald Harwood's acclaimed play, the work unfolds in a wartime theater dressing room and explores the fragile dynamics of ego, dependency and aging. Veteran actor Song Seung-hwan will star in the lead role.


Korea Herald
a day ago
- Korea Herald
Why are Labubu monsters taking over the world?
In an industry that thrives on constant reinvention, a mischievous, elvish toy called Labubu is quickly becoming fashion's most unexpected new star. With its jagged teeth, wild hair and wide-eyed grin, Labubu has leapt from collectible curiosity to cultural symbol. Originally designed by Hong Kong artist Kasing Lung, Labubu was introduced through the Pop Mart x How2work series, initially appealing to a niche group of toy collectors. But Labubu's popularity has surged well beyond that audience, especially among Generation Z consumers drawn to its offbeat, anti-cute aesthetic. Rebellion against perfection Unlike the smooth, symmetrical mascots that once dominated toy shelves, Labubu's oddball charm resonates with young people who reject conventional standards of beauty. The imperfections — sharp teeth, awkward grin, untamed hair — have become a statement of identity in an age where uniqueness is increasingly celebrated. Pop Mart's marketing strategy helped drive the toy's ascent. Labubu is sold through a blind box model, where buyers don't know which version they'll get until after the purchase. This element of surprise, paired with limited stock and different rarities, has sparked high demand and fierce competition. Scenes of fans standing in line at vending machines and sold-out displays across China have become a hallmark of Labubu's rise. The thrill of the chase and the scarcity of certain designs turned Labubu into a high-stakes collectible. Some rare versions have fetched prices up to 30 times their retail value on the resale market, adding to the toy's allure. In Korea, the standard blind box vinyl figure typically retails for 15,000 won ($11). Star power and social media hype Labubu's leap into the fashion world has been fueled in large part by celebrity endorsements. Blackpink's Lisa and Rose were among the first major figures to embrace the character. Lisa, in particular, often shared Instagram posts featuring Labubu, attaching Labubu keychains to her Louis Vuitton bags and posting unboxing videos for her millions of followers. These high-profile nods helped propel Labubu into the global spotlight. Soon, celebrities like Rihanna, Kim Kardashian and Dua Lipa followed, each incorporating the character into their personal style and solidifying its status as a playful yet fashionable accessory. Labubu's popularity signals a shift in what qualifies as 'cool' in the fashion world. Where luxury items and designer logos once dominated, accessories like collectible toys and keychains are now being used to express personality and a sense of fun. From toy shelf to runway The character's growing influence became undeniable during the fall 2024 Milan Men's Fashion Week when Chinese label Pronounce featured Labubu in its collection. The character appeared on knitwear and was even placed in the front row of the runway show, a symbolic nod to its newfound place in the fashion conversation. This presence was not a one-off. In 2025, Pop Mart partnered with Uniqlo to launch a Labubu-themed fall collection, bringing the character to mainstream audiences. Labubu's reach had officially expanded beyond collectors and influencers — it had entered global retail. Future of Labubu Labubu's popularity is also reflective of larger cultural and psychological shifts. Younger consumers, especially Gen Z, are embracing imperfection, rebellion and individuality over polished aesthetics. Labubu embodies these values. 'I went as far as traveling to Shanghai just to get my hands on these cute dolls,' said Yang Ha-young, a Labubu collector in her late 20s. 'Even after that, I constantly scroll Karrot (a secondhand marketplace) to get ones that I do not yet have. You get such a sense of achievement when you are able to get it against such fierce competition.' The sense of exclusivity is key to the character's appeal, not just as a toy, but as a symbol of self-expression. Labubu stands out in a sea of sameness, making it especially attractive to consumers looking for something that reflects their identity, not just trends. Labubu's rise shows no signs of slowing, with more collaborations, celebrity sightings and limited-edition releases on the horizon. What started as a quirky figure on a toy shelf has evolved into a global icon. Labubu's toothy grin and playful spirit have carved out a space where high fashion meets fun — and where imperfection becomes something to celebrate.


Korea Herald
a day ago
- Korea Herald
‘Teto' or ‘egen'? Young Koreans turn to hormone-inspired identity tests
Though seen as playful route for self-discovery, experts urge moderation to avoid stereotyping, self-limiting beliefs Bae Sung-jin, a 30-year-old office worker, says there's now one more way to check compatibility during blind dates. 'I get emotionally drained easily and tend to be very sensitive in relationships. So I make sure to check their MBTI and whether they're a 'teto' or 'egen' type,' he said. Twenty-two-year-old Lee, who recently got into so-called 'identity tests,' introduced herself as follows: 'I'm an 'egen woman,' so feminine clothing suits me well. But my personality is more like a 'teto woman.' — I'm bold and outgoing.' A new personality classification trend has taken hold among young singles in Korea, with the rise of the 'teto-egen' test. The test uses analogies to testosterone and estrogen levels to analyze interpersonal styles and energy types. Social media platforms like Instagram and YouTube Shorts are awash with users sharing their results. The trend has spilled into pop culture as well. Young K-pop fans analyze celebrities based on the theory: Aespa's Winter is labeled a teto woman, Karina an egen woman, Suzy a teto woman and IU an egen woman. Countless videos and comment threads speculate about celebrities' personality types by combining their clothing style, speech patterns and dating histories. Hormonal archetypes go viral The 'teto' and 'egen' arcetypes are derived from the hormones testosterone and estrogen, respectively. According to the typology, a teto man is masculine and athletic, while an egen man is gentle and appearance-conscious. A teto woman is expressive and extroverted, whereas an egen woman is reserved and traditionally feminine. The teto-egen test from the personality test platform, Types, had attracted over 1.16 million participants as of Thursday. The test, consisting of 28 questions, produces results such as gentle egen man or commander-like teto woman. One of the main draws of this test is its romantic compatibility analysis. Emotionally sensitive egen men are said to be attracted to charismatic teto women, while strong-willed teto men are seen as well-matched with caring egen women. The test gained even more attention after the final episode of 'SNL Korea' season 2 on Coupang Play last month featured a skit titled 'When a Teto Man Falls in Love.' In the episode, boy group BTOB's Yook Sung-jae, cast as an egen man, is dumped by his teto girlfriend for a more masculine partner. He undergoes a brutal teto transformation that includes growing a thick beard. The origin of the trend dates back to June 2021, when a diet content creator first posted about it on his blog. It gained popularity through a web cartoonist on Instagram, going viral soon after. For Gen Z, who seek quick ways to define themselves, the trend is a form of self-expression. Online content now covers dating, marriage, fashion, beauty and workplace behavior based on these archetypes. One beauty YouTuber posted a makeup tutorial titled 'Makeup for egen women,' featuring a clean and neat look. There are also countless videos on topics like 'The ideal woman for an egen man,' 'How teto women talk to teto men' and 'How teto women date egen men.' History of typing the self Self-categorization trends are nothing new. In the late 1990s and early 2000s, blood types were a popular personality metric in Korea and Japan. Statements like 'type A people are timid' and 'type B people are selfish' were commonly accepted, even though they originated in racially motivated studies by a Japanese eugenicist that have since been rejected by scientists. Later, the Myers-Briggs Type Indicator, or MBTI, became the most popular personality clasification tool, dividing people into 16 types. People began using MBTI types to explain themselves in conversations and check compatibility on first dates. It even found its way into career planning and hiring processes. Professor Lim Myung-ho of Dankook University's Department of Psychology and Psychotherapy explains the popularity of such trends as rooted in a desire for self-discovery and understanding. 'The trend reflects the MZ generation's effort to understand themselves and build positive relationships with others,' he said. Curiosity or confinement In a nationwide survey by Embrain Trend Monitor involving 1,000 Koreans aged 19 to 59, 76 percent of respondents in their 20s and 71.6 percent in their 30s said they 'want to understand themselves accurately.' The 86 percent of those in their 20s and 87.6 percent of those in their 30s said they were 'curious about who they are,' yet only 22.4 percent and 36.8 percent, respectively, felt they had truly learned about themselves through experience. The results highlight a growing reliance on type-based classifications to explore identity and match behavior to social expectations. In essence, these tests are light-hearted forms of entertainment, but they also serve as tools for introspection, self-expression and social communication. 'In an anxious society, it reflects a desire to feel a sense of belonging and create intimacy in relationships,' said Lim. 'As long as the intense competition among young people continues, these types of classification trends will persist.' However, some experts caution that such identity tests risk reinforcing oversimplified binaries. Framing behavior and traits in terms of gendered hormones can make stereotypes further entreched. 'Humans are wired to categorize and group things. Just like with MBTI or blood types, categorizing people into 'teto men' or 'egen men' is another attempt to simplify complex human nature,' said Kwak Geum-joo, a professor of psychology at Seoul National University. She warned that while such classifications begin as curiosity, they can become self-restrictive if taken too seriously. Professor Lim echoed the concern, 'Blindly believing in these tests can lead to overgeneralization and binary thinking. Identity tests should be treated lightly and used for reference only,' he said.