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<v Speaker 1>Why Ebody and What's that.

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<v Speaker 2>Yo?

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<v Speaker 3>Welcome back to the Crash Course Pod, the music podcast

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<v Speaker 3>for music heads by a music head. I'm your host, Ashtoney,

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<v Speaker 3>and after last episode's deep dive into releases like Sofa

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<v Speaker 3>gos Mania to Roy Woods's Project, and our other previous episodes.

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<v Speaker 3>If you haven't heard them, go ahead and check it out.

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<v Speaker 3>After this one, we're tuning our attention to the genre

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<v Speaker 3>that has become a global machine. I'm talking, I'm talking kpop.

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<v Speaker 3>So we're not just talking about a fleating trend anymore.

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<v Speaker 3>We're talking about a dominant structural force in the American

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<v Speaker 3>music market. And there's one recent phenomenon that perfectly encapsulates

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<v Speaker 3>the shift, the fictional girl group Hunterricks. I know, you

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<v Speaker 3>guys know exactly what I'm talking about.

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<v Speaker 1>I was a ghost, I was alone.

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<v Speaker 2>You know, I'm done hiding. Now I'm shining like I'm

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<v Speaker 2>bin to bay me dreaming. Honw came so fun now

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<v Speaker 2>believe we were up, up, up. It's a moment, you

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<v Speaker 2>know what, I gether. We're glowing, gonna be gonna be golden.

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<v Speaker 3>I know you guys know, I know I butchered those melodies,

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<v Speaker 3>but I'm a little sick right now, I'm not sick.

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<v Speaker 3>I was gonna lie, but I just can't hit the

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<v Speaker 3>notes today. I can't hit the notes. But Huntricks what

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<v Speaker 3>inspired this episode because, as you know, which you probably don't, Huntricks,

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<v Speaker 3>that song Golden has gone like triple platinum. In my home,

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<v Speaker 3>me and my two daughters, even my son, we'll just

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<v Speaker 3>break out in songs like K pop Demon Hunters is

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<v Speaker 3>our family movie, Like, we love this movie. We've been

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<v Speaker 3>watching it for so long, and that out the soundtrack.

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<v Speaker 3>I was gonna say the album or you can say

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<v Speaker 3>the album, but the soundtrack has so many hits. Like

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<v Speaker 3>Soga Boys and Hunterricks, they are both pulling their weight

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<v Speaker 3>with the hits. So we were kind of just doing

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<v Speaker 3>karaoke and singing all the songs the other day, and

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<v Speaker 3>I'm like, you know what, I'm gonna do an episode

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<v Speaker 3>on K pop inspired by hunt Tricks. It's interesting too,

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<v Speaker 3>because if you watch Luaista on YouTube, he did on

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<v Speaker 3>his second channel Luaista extras like two days maybe three

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<v Speaker 3>days now, three days ago November twenty eighth, I believe

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<v Speaker 3>he did an episode on the Dark Side of K Pop,

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<v Speaker 3>which I watched, and that was actually the day I

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<v Speaker 3>decided myself, I was gonna do this episode, so it's crazy.

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<v Speaker 3>K pop is in the air. Everyone's thinking about K

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<v Speaker 3>pop right now. However, on here, we're not gonna talk

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<v Speaker 3>about the dark Side. You can go see Luaista after

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<v Speaker 3>this episode and watch The Dark Side to keep it

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<v Speaker 3>light and keep it strictly musical. So let me set

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<v Speaker 3>the stage the post k pop reality, shall I say,

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<v Speaker 3>let's kick this off with the shaker. Remember how I

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<v Speaker 3>was telling you about Hunterricks it went triple platinum in

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<v Speaker 3>my home. Well, the fictional K pop group Huntricks that

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<v Speaker 3>I was just telling you about from the animated Netflix

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<v Speaker 3>film K Pop Demon Hunters. What if I told you

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<v Speaker 3>that they've been topping charts. They dropped a song called

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<v Speaker 3>Golden and it wasn't just a novelty hit. It was

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<v Speaker 3>a real chart topper. I'm talking about number one on

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<v Speaker 3>the Billboard Hot one hundred, the first song by an

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<v Speaker 3>all woman group of three or more to do that

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<v Speaker 3>since Destiny's Child in two thousand and one. Now, I

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<v Speaker 3>was ten years old when Destiny's Child did that, and

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<v Speaker 3>that was like the topic of the discussion back then.

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<v Speaker 3>And so imagine this Hunterricks. It is a fictional girl group.

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<v Speaker 3>Mind you. EJ. We'll get to EJ in a minute

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<v Speaker 3>wrote the song and the two other girls, all Beautiful,

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<v Speaker 3>are performing the song, but literally Destiny's Child has gotten

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<v Speaker 3>taken out by Hunterricks and their single Golden. This wasn't

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<v Speaker 3>a viral TikTok moment. This was a commercial, platinum selling

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<v Speaker 3>smash that top charts in over thirty countries. Why did

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<v Speaker 3>an animated group succeed? Where will will wear?

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<v Speaker 2>Real?

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<v Speaker 3>Ones sometimes struggle any ideas. I think it's the K

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<v Speaker 3>pop formula applied perfectly. The music was written by industry

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<v Speaker 3>veterans like EJ, who wrote for groups like Espa and

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<v Speaker 3>La Seraphim. The production was world class. It bypassed the

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<v Speaker 3>need for a year's long global promotional tour, in intense training,

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<v Speaker 3>high come that visuals, multimedia storytelling. It was all so

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<v Speaker 3>authentic and it rivaled real chart topping hits. Huntricks's success

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<v Speaker 3>proves that K pop is no longer just a Korean export.

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<v Speaker 3>It's a post k pop reality. This is a system,

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<v Speaker 3>a factory for superstardom that can be deployed anywhere, even

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<v Speaker 3>for a cartoon group. And as we see, it works,

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<v Speaker 3>like would you say that.

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<v Speaker 1>It works.

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<v Speaker 3>Exactly and to understand how this formula is perfected, you

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<v Speaker 3>need to know about the engine behind the music, the

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<v Speaker 3>songwriter and producer EJ. So I was diving a little

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<v Speaker 3>bit into EJ's story like two three days ago, and

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<v Speaker 3>EJ's career is an open textbook on the K pop system.

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<v Speaker 3>She trained to be an idle herself at SM Entertainment

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<v Speaker 3>for nearly a decade, starting when she was just eleven,

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<v Speaker 3>but she was dropped, and that disappointment pushed her behind

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<v Speaker 3>the mixing board, where she proved that the system's reject

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<v Speaker 3>can become its most powerful creators. So she was called

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<v Speaker 3>back and ended up writing songs and producing songs for

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<v Speaker 3>the same company that dropped her. And even before Hunterricks,

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<v Speaker 3>EJ was quietly shaping the third and fourth generation K

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<v Speaker 3>pop stars. She's a credited co writer on one of

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<v Speaker 3>the most defining K hits of the past few years,

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<v Speaker 3>Red Velvet's Psycho. She's also worked with powerhouses like ESPA

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<v Speaker 3>on tracks like Drama and Armageddon. She's a proven hit maker,

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<v Speaker 3>not a flash in the pan. She got them hiats.

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<v Speaker 3>I think that the reason Hunterricks music feels so authentic

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<v Speaker 3>is that it's personal. EJ didn't just write the music.

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<v Speaker 3>She became the singing voice for Roomy, who's the leader

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<v Speaker 3>of Hunterricks. She stated that the lyrics to the record

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<v Speaker 3>breaking single Golden, particularly the line we dreaming hard, we

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<v Speaker 3>came so fun now, I believe, are deeply informed by

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<v Speaker 3>her own decade of gruelling training and feeling unfulfilled like

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<v Speaker 3>unfulfilled potential. Her story the trainee who couldn't debut, but

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<v Speaker 3>whose voice and pen ended up at number one on

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<v Speaker 3>the Hot one hundred perfectly illustrates the next point. K

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<v Speaker 3>pop is no longer about which idle debuts. It's about

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<v Speaker 3>the unstoppable machinery of writing, production and high concepts storytelling,

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<v Speaker 3>and that brings us to the real world masters of

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<v Speaker 3>the machine, the fourth generation dominators. Now, if fictional Hundricks

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<v Speaker 3>can do that, imagine what the real groups the fourth

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<v Speaker 3>generation are accomplishing. They are the true architect of K

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<v Speaker 3>pop's current US market dominance. The search results from just

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<v Speaker 3>the last few months of twenty twenty five proved this

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<v Speaker 3>era is fully realized. You have boy group powerhouses for

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<v Speaker 3>its generation, by the way, solidified by groups with massive

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<v Speaker 3>global fandoms and touring stamina Stray Kids, SKZ. They are

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<v Speaker 3>arguably the biggest fourth gen group globally and in North America.

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<v Speaker 3>The recent Dominate World Tour saw huge attendance and they've

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<v Speaker 3>secured multiple multiple number ones on the Billboard two hundred.

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<v Speaker 3>Their self produced high energy sound has carved out an

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<v Speaker 3>enormous stadium fan base in hyphen and Tomorrow Together TXT,

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<v Speaker 3>these groups are consistently mentioned as leaders. Recently sweeping grand

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<v Speaker 3>prizes at the twenty twenty five Mama Awards roof that

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<v Speaker 3>the boy group dominance hasn't faded, it's just shifted to

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<v Speaker 3>a new hungry generation seventeen known as the self producing Idols.

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<v Speaker 3>They're celebrating their tenth anniversary with the massive New World Tour,

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<v Speaker 3>showing incredible staying power in massive domestic and international sales

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<v Speaker 3>with their latest album, Happy Birst Day. Then you have

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<v Speaker 3>the girl group Surge, who are absolutely charting a new

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<v Speaker 3>path of dominance, while Hundricks is a virtual girl group

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<v Speaker 3>breaking records. We have groups like New Genes, Ive, Espa

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<v Speaker 3>and Laseraphim leading the charge with diverse concepts and international partnerships.

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<v Speaker 3>This is the key of K pop the superfan economy.

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<v Speaker 3>K pop agencies didn't just create pop stars, they created

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<v Speaker 3>a superfan economic model. Platforms like weavers and the high

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<v Speaker 3>production value of physical albums turned US music listeners into

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<v Speaker 3>dedicated superfans, driving unprecedented physical album cells. Just this year,

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<v Speaker 3>multiple Korean albums from the groups like in hyphen in

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<v Speaker 3>eighties swept the top ten physical cells chart in America.

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<v Speaker 3>People are buying physical media again, and K pop is

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<v Speaker 3>the engine. So what happens when a global system gets

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<v Speaker 3>to global? This is where the music conversation gets interesting.

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<v Speaker 3>We're seeing groups being launched using the K pop system

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<v Speaker 3>but with only one or no Korean members. Think of

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<v Speaker 3>the global girl group CATSI. They're formed using the intense

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<v Speaker 3>idle training process, but they are deployed. I mean they're

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<v Speaker 3>deploying the method while shedding the cultural specificity. What does

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<v Speaker 3>that mean? They're using the K pop formula, the training methods,

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<v Speaker 3>the intense artist development and training, and they're not Korean.

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<v Speaker 1>So what looks like K pop.

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<v Speaker 3>Is being more than just for Korea Korean pop? It's

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<v Speaker 3>looking more like kse system the business of it all,

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<v Speaker 3>you know. I think K pop is still still a

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<v Speaker 3>distinct genre, but I think the production methodology is becoming

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<v Speaker 3>the new global standard, which is replacing the old euro

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<v Speaker 3>US centric benchmark, euro US centric benchmark. It's a method

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<v Speaker 3>that includes intensive training, multimedia, narrative marketing, and deep fan engagement.

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<v Speaker 3>And I think that's what the K system is starting

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<v Speaker 3>to stand for, opposed to the K in Korean for

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<v Speaker 3>K pop. The demand for K pop is booming. You

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<v Speaker 3>have major stadium level tours from groups like Black Pink

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<v Speaker 3>with their all stadium Deadline Tour, Stray Kids, and Twice

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<v Speaker 3>who's now doing and in the round stage production. They're

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<v Speaker 3>not just concerts, they're multi billion dollar cultural events, proving

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<v Speaker 3>that physical, dedicated fan base is stronger than ever in

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<v Speaker 3>the US. The final most visceral proof of the K

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<v Speaker 3>pop takeover is simply looking at the touring schedule. This

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<v Speaker 3>isn't a niche market anymore. This is a stadium economy.

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<v Speaker 3>And we already mentioned Black Pink and they're the third

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<v Speaker 3>generation group that set this current trend, this benchmark. They're currently,

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<v Speaker 3>like I said, on their Deadline Tour, which is their

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<v Speaker 3>first ever all stadium tour. They kicked off in the

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<v Speaker 3>US in twenty twenty five, so the US leg in

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<v Speaker 3>July twenty twenty five, and they sold out major venues

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<v Speaker 3>like Sofi Stadium and Los Angeles and City Field in

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<v Speaker 3>New York, not once, but often with added dates due

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<v Speaker 3>to overwhelming demand. This is a group that just returned

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<v Speaker 3>from a period of intense solo activities. Might I add

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<v Speaker 3>Jenny Jisu, Rosie Lisa. They all have high profile solo

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<v Speaker 3>debuts and projects, but the collective demand for Black Pink

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<v Speaker 3>was so enormous that they came back and immediately anchored

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<v Speaker 3>the global live music market, Proving what did? They prove

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<v Speaker 3>that the K pop's acceptance is stronger than ever. Their

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<v Speaker 3>success in selling out these venues confirms that the fourth

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<v Speaker 3>generation groups are following a newly paved path. The floor

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<v Speaker 3>for K pops success is now the stadium, not the arena.

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<v Speaker 3>So what does that mean now? I think that it

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<v Speaker 3>means K pop is no longer waiting for American acceptance.

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<v Speaker 3>It's building the new global pop template right before our eyes.

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<v Speaker 3>And the Hundris phenomenon was a perfect viral test case

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<v Speaker 3>that proves the method works without the human element and

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<v Speaker 3>it's redefined pop itself. I forgot to mention, we can't

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<v Speaker 3>talk about K pop's future without mentioning the elephant in

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<v Speaker 3>the room, the return of bts from their military service

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<v Speaker 3>and the next year that's gonna be epic and their

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<v Speaker 3>reentry will catapult this post K pop landscape to new heights.

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<v Speaker 3>So that's it for this episode of Crash Course Pod.

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<v Speaker 3>We'll be back next time. Check our next episode. We're

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<v Speaker 3>gonna talk about Chief Keef, so check that out. It

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<v Speaker 3>should be out already and all the details are down

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<v Speaker 3>below in the description box. And yeah, that's our take

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<v Speaker 3>on K pop. Hit us up on social media and

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<v Speaker 3>let us know what were your thoughts. What do you

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<v Speaker 3>think did we miss something we want to know by