[TRANS] 111101 Toshiro Ono blogs: Signs of Progress in Ongoing Lawsuits between JYJ’s side & Avex/SM

Note: Toshiro Ono is a freelance nonfiction writer who writes mostly about the mafia and crime. Below is a translation of his blog entry that details actions taken by both sides of the CJeS and Avex lawsuit, as well as his thoughts on the reasoning behind those actions.

Signs of Progress

The below is from records of the trial between C-JeS Entertainment and Avex Management at Tokyo District Court. (Trial Material for Civil Section 29. 2011(ワ)No.17612, Plaintiff : C-JeS Entertainment, Defendant : Avex Management Document prepared by C-JeS Entertainment on Oct. 19, 2011)

The “attorney for the plaintiff” mentioned here means the attorney representing C-JeS in the trial at the Tokyo District Court.

“On Sept. 22, 2011 the attorney for the plaintiff [T/N: attorney for C-JeS in Japan] received a call from Attorney Jihye Shin who is representing JYJ in Korea saying “We received a request from SM for reconciliation for both the trial in Korea and Japan. However we find it difficult to understand their true motive in making this request.” Recently in the lawsuit in Korea concerning the validity of the exclusive long term contract between management companies and artists, the Supreme Court ruled that long term contracts between management companies and artists are invalid, signifying there is a high chance that the Korean court will rule in JYJ’s favor in the lawsuit between SM and JYJ. It can be presumed that SM, because of this turn of events, decided that it would be better to resolve the lawsuits in both Korea and Japan at once by reconciliation. Also, the request made by SM to Attorney Shin assumes that the defendant [T/N: Avex Management] will follow SM’s instructions. Therefore it is easy to presume that the defendant is obstructing the management of JYJ in Japan out of concern for the wishes of SM.”

[rest omitted]

Source: Toshiro Ono’s Blog
Translation by: TheJYJFiles
Please do not add, alter, or remove the credits.

[TRANS] Japanese fans’ tweets: the people and businesses of Ibaraki thankful and impressed by JYJ, concerts were successful despite hardships faced


[TRANS] The taxi driver asked me “Why did the three leave?” so I explained the details and the current circumstances. He said “That’s so maddening… That must be why people want to root for them even more. They must be really good because even though they don’t appear on TV in Japan so many people from distant places came” Thank you Mr Driver… (T_T)


[TRANS] When I was eating at a ramen stand at the Ibaraki venue the guy at the yakisoba (Japanese stir-fried noodles) stand next door was working busily with a big smile saying “I’m so thankful to JYJ”! So glad ♥

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[TRANS] 111012 Newspaper Refuses to Carry Advertisement for JYJ Concert! The Opaque Reasons

The JYJ concert “2011 JYJ UNFORGETTABLE LIVE CONCERT IN JAPAN” will be held this weekend at the National Hitachi-kaihin Park in Hitashinaka, Ibaraki. But behind the scenes the activities of Junsu, Jaejoong, and Yoochun, the three who left Tohoshinki, were met with more trouble.

As a result of the break up and contract troubles, Changmin and Yunho have activities. Their management company Avex formerly managed the three members of JYJ and the three had concerts. However Avex unilaterally announced the suspension of the activities of JYJ in Japan citing JYJ’s Korean management company’s ties to the mafia.  JYJ protested this decision claiming that Avex knew about this when signing the contract. (T/N: This article misreports in that C-JeS never had mafia ties but its CEO, Mr. Baek, did have a prison record of which Avex was well aware from the very beginning.) The three resumed activities with the support of another company. However the two companies are still in dispute over the contract.

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[Opinion] 111014 K-pop Fan Apathy and Its Impact


“Apathetic” is hardly the first word that most people would use to describe the general K-pop fan base. “Crazed” might be a more popular choice, or perhaps “devoted” to put a positive spin on it. After all, K-pop fans are the ones that organize fan clubs and charge membership fees. They’re the ones setting up flash mobs to guilt trip their favorite companies into paying a visit to their countries, and sending creepy couple fan art by the boxful to their idols. But still, they are apathetic.


What makes the average K-pop fan so apathetic, then? Something rather simple: they never demand better, or more, of the companies and the idols affiliated. I don’t mean that they don’t bother demanding quantity and the companies don’t respond. Heaven knows those idols promote anywhere and everywhere and there’s mini albums and repackages galore. The thing is, they never demand better. The companies release the same terrible electro-pop songs over and over and the fans lap it up for the sake of their oppas and their noonas. Nobody starts a flash mob in the name of real vocal gymnastics, or protests for the sake of good lyrics, or asks for, heaven forbid, something new. Nobody really looks in earnest for anything above a superficial level.

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[Op-Ed] Underbelly of the ‘Korean Wave’ by Jasper Kim

Imagine a world where slavery, often involving underage and unsuspecting victims, is not only condoned, but legally enforced. This is not fiction, but fact, in one of Asia’ most prolific entertainment export-oriented country ― South Korea (Asia’s fourth largest economy and OECD member state) ― involving the so-called “Korean Wave.”

The term “Korean Wave,” (or “hallyu”), which began sweeping parts of Asia from the late 1990s, creating new possibilities for promising stars to gain fame and fortune (in a collectivist Confucian culture where what others think is a notable determinant of an individual’s self worth). Such new emerging industry ― Korea’s entertainment industry ― has led to the rise of a wave of girl and boy pop “idol” bands, such as Kara, Wonder Girls, Big Bang, Super Junior, and TVXQ.

However, with the rising phenomenon of the “Korean Wave,” we see signs that the underbelly of it may not be as pretty as seen from above. This is because a notable portion of such aspiring young talent are being forced into the signing of long-term “slave contracts” with little remuneration in which the bargaining power and terms and conditions of the contract are grossly and disproportionally in favor of the entertainment agency.

Often such slave contracts involve a so-called quid pro quo whereby the entertainment agency provides entertainer-related expenses (food, housing, singing and dancing lessons, sometimes with plastic surgery procedures) in exchange for dubious and over-the -top royalty schemes for the agency. Such contracts also often have embedded exclusivity provisions, which preclude the young artist from contracting with other competitor agencies. .

The economic benefits derived from the Korean Wave amount to those from exports to China, Japan and other in countries in Asia (according to the Korean Ministry of Culture, Sports, and Tourism). As a result, little economic incentive or national interest has existed to “pierce behind the corporate veil” (a legal term of art denoting the initial deference given to commercial actors in their business transactions) involving such contracts.

On July 31, 2009, three members of TVXQ (a highly popular five-member boy band) argued to terminate their earlier-agreed-to exclusive contract with SM Entertainment (one of South Korea’s largest and most prominent entertainment agencies). TVXQ’s claims revealed that they had agreed to a 13-year contract (which did not include time the two-year mandatory military service required of all male Korean citizens).

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[NEWS] K-ola: Corruption in Korean pop music

WITH its over-reliance on manufactured teen pop, and a leave-nothing-to-chance managerial style reminiscent of Phil Spector (minus the murder), there are obvious parallels between “K-Pop” and the American music industry of the 1950s and 60s. And perhaps now another box can be checked: the practice of bribing one’s way onto the charts. That’s payola, or 증회 in Korean.

Twenty-nine people, mainly radio and cable-TV staff, have been arrested on suspicion of accepting cash payments in return for airplay or fraudulent chart positions. New artists and their managers, keen to start their careers off with a hit, were the most frequent customers: Incheon Metropolitan Police believe that between April 2009 and May of this year, around a hundred wannabe singers paid a total of 150m won ($143,000) to several producers and the chairman of a cable-TV company. Such sums are dwarfed by the 400m won or so allegedly collected by the operator of a website that compiles a chart based on the number of radio plays each single receives. According to police, the unnamed 60-year-old took the money from singers and pop managers, promising six-month stays in his dubious top ten, for a price of 38m won each.

Others received money for songs that nobody ever heard: six employees of one radio station apparently fiddled with playlists in order to add songs to the charts which had never actually been aired. This pay-to-play(-or-not) scandal is especially unfortunate given the banner year that the Korean entertainment industry has been enjoying. Successful K-Pop concerts as far away as Paris have driven the local press into a frenzy, and prompted ordinary housewives to pour their money into shares of labels like SM Entertainment, the price chart of which now resembles that of an internet stock circa 1999.

Corruption though is the one problem that this country seems unable to stamp out. This year, on top of the usual civil service and chaebol naughtiness, no fewer than 46 players from the Korean football league have been arrested over match-fixing. For its extraordinary economic progress and rapid democratisation, South Korea is a smash hit of a nation—but in terms of Transparency International’s Corruption Perceptions Index, there is a real danger of an imminent drop from the top 40.

Source: The Economist
Shared by: TheJYJFiles