Latest news with #Heya
Korea Herald
4 days ago
- Politics
- Korea Herald
Lee vows for safe, peaceful, people-powered nation in special ceremony
President Lee Jae Myung pledged to place the Korean people at the heart of his administration's vision upon receiving 80 letters of appointment from 80 citizens in a special ceremony, underscoring the legitimacy of his mandate from the people. 'We will build a Korea that truly belongs to the people — a nation where every citizen's potential is nurtured, where our national strength grows in step with your happiness and where that power is shared by all,' Lee said during the ceremony held at Gwanghwamun Square in Jongno-gu, central Seoul. 'At the center of the future we dream of will always be you, the great people of the Republic of Korea.' In his speech, Lee also addressed concerns regarding public safety. 'We hear the residents of Daeseong-dong, Paju, also known as the 'Freedom Village,' who long to live without war, without fear, and the bereaved families who demand that no more lives be unjustly taken in national tragedies,' Lee added. 'We will do everything in our power to make Korea a peaceful and safe place for all.' The event was held on the 80th Liberation Day, emphasizing the nation's foundation as deriving its power from the people. Each representative stepped onto a circular stage and placed a personally written letter of appointment to the president, who began his term with a brief inauguration after being elected on June 3. Of the 80 representatives, NCSoft's artificial intelligence division CEO Lee Yeon-soo presented her letter last, personally handing it to the president. 'As a scientist and technologist who carries the mission to develop AI that understands Korea's history and cultural industries without relying solely on foreign technologies, I appoint this person as the President of the Republic of Korea to lead the nation toward becoming a global AI powerhouse,' the CEO wrote in her letter of appointment, referring to Korea by its official name. Friday's evening event was adorned with cultural celebrations, including a traditional percussion "gilnori" performance with Korean instruments such as the sogo, janggu and buk, accompanied by the song 'Heya' sung by rock singers Jeong Hong-ill and Yun Seong. TDYA — a project girl group formed in celebration of Liberation Day, consisting of YouTube creator Unjunging, rapper Mirani, singer Hyun-jin of girl group Loona and dancer Amy — also took to the stage to perform 'Keep The Light.' Korean American singer-songwriter Ejae, the artist behind 'Golden' from the hit Netflix animated film 'K-pop Demon Hunters,' composed the track for the 80th anniversary of Korea's liberation from Japanese occupation. TDYA's stage was followed by a cheerleading performance by Big Tide Cheerleading, accompanied by songs such as "To You" by Shin Hae-chul and "Time of Our Life" by Day6, which were anthems played during the protests against former President Yoon Suk Yeol. Following the letters of appointment ceremony, a drone show and media projections decorated the Gwanghwamun Square. They were followed by a dance performance by street dance crew The Stories, a taekwondo performance by Tae Kwon Han Ryu as well as musical performances by singers Sandeul, Jung Eun-ji, girl group Izna and Lee Seung-hwan. Former President Moon Jae-in and his wife, family members of the late former President Roh Moo-hyun, as well as religious and business leaders and various public figures, were also in attendance. A total of 3,500 members of the public selected through an online application process were present at Friday's event.
The Herald
5 days ago
- Entertainment
- The Herald
'It's an aching plea for love': Jazz great Ernie Smith drops new single 'Heya'
Award-winning South African jazz artist Ernie Smith is back with a soul-stirring new single titled Heya which is set to captivate fans with its heartfelt narrative and rich African jazz influence. Described by Smith as 'an aching plea from a man faced with an unexpected break-up', Heya tells the story of a man trying to redeem lost love, a theme deeply rooted in human experience and personal accountability. 'It's a relatable theme and consequence brought on by his behaviour, that he attempts to openly swear his deep love and affection for,' says Smith. The title Heya has an amusing origin. It was inspired by a recurring chant in his earlier hit Love Don't Hurt Me Again . 'The intro of that song had echoed chants of 'heya, heya, heya', and based on the success of the track, people started teasing me with the phrase. I thought it would be cool to write a full song coining that.' Smith, a revered name in the local jazz scene, says Heya marks a bold evolution in his musical journey — one defined by honesty, freedom, and fearless self-expression. 'I find myself wanting to write and sing more songs that speak to the realities of life and how we communicate them through ourselves and to the world.' Yet, through this growth, he remains grounded. 'Yes, I am exploring new expressions and expanding my musical voice, but I'll always stay true to the Ernie Smith signature sound. That's the core of who I am.' The new single features backing vocals by rising star CNOTE, a soulful vocalist signed under Smith's Child of the Light Records . The song also sets the stage for Smith's upcoming album, Colours , which he plans to release later this year, followed by a nationwide tour. As a pioneer and mentor in the local music industry, Smith's journey continues to inspire. 'I'm grateful to be a voice in South African Jazz constantly moving forward, organically, while staying true to what I believe to be African and jazz music that celebrates our beautiful people.' Reflecting on his legacy, Smith acknowledges the pivotal role his hometown of KwaZulu-Natal and mentors like Trevor Thomas and Ernest Earl have played in shaping his identity. With influences ranging from George Benson and Jonathan Butler to Jabu Khanyile and Sandile Shange, Smith's sound is steeped in both local roots and global jazz excellence. His creative process? Surprisingly unfiltered. 'My songwriting process is often scattered across voice notes on my phone, bathroom recordings of me mumbling lyrics, or half-finished videos eventually it all comes together in the studio when inspiration strikes.' Smith also remains deeply committed to nurturing the next generation. Over the past two years, he's mentored interns through SAMPRA at his Durban studio and runs a music school in Amanzimtoti. One of his most promising mentees is none other than CNOTE, the same voice featured on Heya . To young artists looking to find their voice, Smith's advice is clear: 'Stay hungry. Keep learning your craft. Don't only listen to the music you like. Until you find your own voice copy. That's how we all learnt to speak.'
TimesLIVE
5 days ago
- Entertainment
- TimesLIVE
'It's an aching plea for love': Jazz great Ernie Smith drops new single 'Heya'
Award-winning South African jazz artist Ernie Smith is back with a soul-stirring new single titled Heya which is set to captivate fans with its heartfelt narrative and rich African jazz influence. Described by Smith as 'an aching plea from a man faced with an unexpected break-up', Heya tells the story of a man trying to redeem lost love, a theme deeply rooted in human experience and personal accountability. 'It's a relatable theme and consequence brought on by his behaviour, that he attempts to openly swear his deep love and affection for,' says Smith. The title Heya has an amusing origin. It was inspired by a recurring chant in his earlier hit Love Don't Hurt Me Again. 'The intro of that song had echoed chants of 'heya, heya, heya', and based on the success of the track, people started teasing me with the phrase. I thought it would be cool to write a full song coining that.' Smith, a revered name in the local jazz scene, says Heya marks a bold evolution in his musical journey — one defined by honesty, freedom, and fearless self-expression. 'I find myself wanting to write and sing more songs that speak to the realities of life and how we communicate them through ourselves and to the world.' Yet, through this growth, he remains grounded. 'Yes, I am exploring new expressions and expanding my musical voice, but I'll always stay true to the Ernie Smith signature sound. That's the core of who I am.' The new single features backing vocals by rising star CNOTE, a soulful vocalist signed under Smith's Child of the Light Records. The song also sets the stage for Smith's upcoming album, Colours, which he plans to release later this year, followed by a nationwide tour. As a pioneer and mentor in the local music industry, Smith's journey continues to inspire. 'I'm grateful to be a voice in South African Jazz constantly moving forward, organically, while staying true to what I believe to be African and jazz music that celebrates our beautiful people.' Reflecting on his legacy, Smith acknowledges the pivotal role his hometown of KwaZulu-Natal and mentors like Trevor Thomas and Ernest Earl have played in shaping his identity. With influences ranging from George Benson and Jonathan Butler to Jabu Khanyile and Sandile Shange, Smith's sound is steeped in both local roots and global jazz excellence. His creative process? Surprisingly unfiltered. 'My songwriting process is often scattered across voice notes on my phone, bathroom recordings of me mumbling lyrics, or half-finished videos eventually it all comes together in the studio when inspiration strikes.' Smith also remains deeply committed to nurturing the next generation. Over the past two years, he's mentored interns through SAMPRA at his Durban studio and runs a music school in Amanzimtoti. One of his most promising mentees is none other than CNOTE, the same voice featured on Heya. To young artists looking to find their voice, Smith's advice is clear: 'Stay hungry. Keep learning your craft. Don't only listen to the music you like. Until you find your own voice copy. That's how we all learnt to speak.'
Korea Herald
03-06-2025
- Business
- Korea Herald
K-pop groups fade from charts — are solo artists the new trend?
Rise of solo artists reflects shifting tastes, diversified platforms and the waning impact of idol group comebacks The Korean music scene is undergoing a notable shift. Once dominated by idol groups, the nation's top streaming charts are now increasingly led by solo artists — signaling changing tastes, industry dynamics and the evolving behaviors of K-pop consumers. As of Tuesday, girl group aespa was the only idol act ranked in the top 10 of Melon, Korea's largest music streaming service. The monthly Melon chart for May showed aespa, Ive, and BoyNextDoor placing at No. 7, No. 9, and No. 10, respectively. In stark contrast, last May's chart was packed with K-pop groups: Illit landed at No. 2, followed by Ive, I-dle, QWER, TWS, aespa and Babymonster — collectively occupying seven of the top 10 spots. A similar pattern emerged on the April digital chart released by Circle Chart, run by the Korea Music Content Association. That month's top 10 included soloists G-Dragon, Jennie, Woodz, Zo Zazz, Hwang Garam and Rose. Only aespa's 'Supernova,' Ive's 'Heya' and Le Sserafim's 'Hot' represented idol groups. On the latest weekly chart, just three groups — aespa, BoyNextDoor and Riize — managed to stay in the top 10. Comebacks fall flat: A lack of impact from new idol songs Despite the sheer number of group comebacks this year, many new releases have failed to leave a lasting impression. NCT Wish, Le Sserafim, TWS, BoyNextDoor, Hearts2Hearts and Kiiikiii are among the teams that either returned or debuted in the first half of 2025. Yet few managed to maintain a stable presence on the charts. 'Frankly, K-pop groups aren't doing well right now,' said music critic Lim Hee-yun on Tuesday. 'Of course, artists like IU are consistently strong, and soloists like Woodz, Hwang Garam and Zo Zazz have made impressive rebounds or gradually built momentum with ballads. But when it comes to idol groups, there haven't been many new songs that truly capture the public's attention.' Many soloists dominating the local charts are former members of mega-popular groups such as Big Bang and Blackpink, whose brand recognition, fan bases and individual artistry contribute to their strong performance. Big Bang's G-Dragon, for instance, ranked No. 1 in Circle Chart's April 'Digital Top 400 Artist Index,' securing 12 songs in the top 400 and accounting for a 5.5 percent share of the entire chart. A format built for focus: Solo tracks resonate in the streaming age Lim believes part of the shift is rooted in the musical format itself. Idol music, often designed around choreographed performances and rap-heavy breaks, can be thrilling on stage but less appealing for passive listening. 'K-pop idol songs can be fun and dynamic with raps and powerful choreography. But as listening experiences, they're often less cohesive,' he said. 'Even if a group has strong vocalists, it can be jarring when a weaker member jumps in with a rap verse mid-song. Solo tracks, in contrast, are built around a single vocal tone and emotional arc — making them more immersive for listeners.' Lim also noted that K-pop fan behavior has changed. Younger fans, in particular, have drifted away from traditional streaming platforms. 'K-pop fans once played a central role in boosting their favorite groups on domestic charts. Now, with so many platforms — social media, fandom apps, exclusive content — their efforts are more spread out. Idol groups no longer dominate the charts like they used to,' he said. jaaykim@
Korea Herald
03-06-2025
- Entertainment
- Korea Herald
K-pop groups losing dominance? Solo acts take over Korean music charts
Rise of solo artists reflects shifting tastes, diversified platforms and the waning impact of idol group comebacks The Korean music scene is undergoing a notable shift. Once dominated by idol groups, the nation's top streaming charts are now increasingly led by solo artists — signaling changing tastes, industry dynamics and the evolving behaviors of K-pop consumers. As of Tuesday, girl group aespa was the only idol act ranked in the top 10 of Melon, Korea's largest music streaming service. The monthly Melon chart for May showed aespa, Ive, and BoyNextDoor placing at No. 7, No. 9, and No. 10, respectively. In stark contrast, last May's chart was packed with K-pop groups: Illit landed at No. 2, followed by Ive, I-dle, QWER, TWS, aespa and Babymonster — collectively occupying seven of the top 10 spots. A similar pattern emerged on the April digital chart released by Circle Chart, run by the Korea Music Content Association. That month's top 10 included soloists G-Dragon, Jennie, Woodz, Zo Zazz, Hwang Garam and Rose. Only aespa's 'Supernova,' Ive's 'Heya' and Le Sserafim's 'Hot' represented idol groups. On the latest weekly chart, just three groups — aespa, BoyNextDoor and Riize — managed to stay in the top 10. Comebacks fall flat: A lack of impact from new idol songs Despite the sheer number of group comebacks this year, many new releases have failed to leave a lasting impression. NCT Wish, Le Sserafim, TWS, BoyNextDoor, Hearts2Hearts and Kiiikiii are among the teams that either returned or debuted in the first half of 2025. Yet few managed to maintain a stable presence on the charts. 'Frankly, K-pop groups aren't doing well right now,' said music critic Lim Hee-yun on Tuesday. 'Of course, artists like IU are consistently strong, and soloists like Woodz, Hwang Garam and Zo Zazz have made impressive rebounds or gradually built momentum with ballads. But when it comes to idol groups, there haven't been many new songs that truly capture the public's attention.' Many soloists dominating the local charts are former members of mega-popular groups such as Big Bang and Blackpink, whose brand recognition, fan bases and individual artistry contribute to their strong performance. Big Bang's G-Dragon, for instance, ranked No. 1 in Circle Chart's April 'Digital Top 400 Artist Index,' securing 12 songs in the top 400 and accounting for a 5.5 percent share of the entire chart. A format built for focus: Solo tracks resonate in the streaming age Lim believes part of the shift is rooted in the musical format itself. Idol music, often designed around choreographed performances and rap-heavy breaks, can be thrilling on stage but less appealing for passive listening. 'K-pop idol songs can be fun and dynamic with raps and powerful choreography. But as listening experiences, they're often less cohesive,' he said. 'Even if a group has strong vocalists, it can be jarring when a weaker member jumps in with a rap verse mid-song. Solo tracks, in contrast, are built around a single vocal tone and emotional arc — making them more immersive for listeners.' Lim also noted that K-pop fan behavior has changed. Younger fans, in particular, have drifted away from traditional streaming platforms. 'K-pop fans once played a central role in boosting their favorite groups on domestic charts. Now, with so many platforms — social media, fandom apps, exclusive content — their efforts are more spread out. Idol groups no longer dominate the charts like they used to,' he said.
