K-pop truck protest crossing the line, fandom or power abuse]

《Yoon Jun-ho's Kindling the Fire》

We delve into issues across the entertainment industry. Let's talk about the causes of controversy and issues, and what the voices of the entertainment industry are.

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Some K-pop fans are choosing truck protests as a means of putting pressure on entertainment companies. This is because K-pop fans are becoming more aware that they can make legitimate demands to entertainment companies, which are producers of content, from the consumer's point of view.

Truck protests have several side effects. The fact that some fans' voices are overrepresented, that a negative atmosphere is created between the fans and the entertainment company, and furthermore, that it causes confusion in the business direction of the entertainment company. There are many voices that a new method is needed for the development of communication between the fandom and the entertainment company.

Recently, Ive Jang Won-young's fandom held a truck protest against his agency, Starship Entertainment. The purpose is to protect the rights and interests of the artist. The protest lasted about 8 hours.

In the truck, "I have endured a lot of bystanders from 2021, but I can't stand it anymore", "Cyber Lekka malicious rumors and malicious comments Starship should not be silent anymore", "Is it Starship's request to delete the injured video? Deceptive behavior that betrays trust. STOP", "There is no notice of complaint, but Starship curses are immediately deleted. Who is the management for?", "Repay the Starship artists who are blocking the way with appropriate support and actions."

Even in the first half of this year, several fandom truck protests continued. On the 12th, Girls' Generation Taeyeon's fandom urged through a statement, "Rent overseas concert venues worthy of the artist's popularity, increase the number of contents produced, and share the progress of the complaint against malicious comments." In addition, a truck protest was held in front of the SM Entertainment headquarters in Seongdong-gu until the beginning of this month.

Previously, in May, SHINee's fandom held a truck protest with dissatisfaction with the fan meeting place, and singer IU's fandom urged them to share the progress of the rumor lawsuit. The Stray Kids fandom under JYP Entertainment also raised its voice about the artist's activities in Korea.

The truck protest became a means for the fandom to directly present its claim to Enter. The beginning of the truck protest was in the game industry. In 2020, as face-to-face protests became difficult in the aftermath of Corona 19, it became a trend among consumers.

In response to the fandom's criticism, the industry responded that it was understandable. However, due to the nature of the entertainment industry, there is a burden to disclose information immediately. An official from the entertainment industry said, “I understand the fandom’s feelings of holding truck protests for artists.” “There are times when entertainment companies cannot accept fandom’s demands. Because it happens a lot,” he said.

Another official said, "In the case of the malicious comments against the artist, we are steadily and continuously taking legal action at the company level. However, I would like you to know that it is difficult to disclose the overall details of the case during the investigation stage."

On average, renting a truck for a day costs between 400,000 and 500,000 won. It is proof that paying for the fandom to increase the rights and interests of artists is not a problem. However, there is also a great concern that reckless truck protests have a negative impact on K-pop culture. If the entertainment company starts to shake due to individual subjective judgment and greed, it will cause confusion in the management. The fandom's legitimate demands and appropriate methods for Entersa, as well as Entersa's attitude of listening to the voices of the fandom, are the key to growing K-pop culture. If the fandom is too much, it can become an act of power.

Reporter Yoon Jun-ho, Ten Asia delo410@tenasia.co.kr