Korea Music Content Association urges K-pop award shows and music programs to boycott NewJeans and ablume

Korea Music Content Association urges K-pop award shows and music programs to boycott NewJeans and ablume (Saena, Sio, Aran) future activities in order to prevent future “tampering” attempts from other K-pop acts: —

“Circle Chart should consider excluding the sales of albums and music from the agencies and artists that have been suspected of tampering. In addition, Circle Chart should also consider excluding data from music show programs such as M-Countdown, Music Bank, Inkigayo, The Show, Show! Champion and other music broadcasting programs. Also, major music awards ceremonies in Korea (Circle Chart Music Awards, MAMA, Golden Disk) should exclude these artists.”

THE FULL STATEMENT: THIS MAY BE A BETTER TRANSLATION

The Association expresses deep concern over the recently reported attempts at tampering in the popular music industry, an issue that has become a serious source of controversy, and declares its commitment to doing everything possible to root out such practices that could shake the very foundation of our industry.

We have already witnessed so-called “tampering” during the “FIFTY FIFTY” case, where an outside producer contracted by an entertainment agency (hereinafter “agency”) was alleged to have induced young and promising artists, as well as their parents, to sever exclusive contracts with their original agency.

In the wake of the FIFTY FIFTY incident, new allegations reported by a particular media outlet have now implicated former ADOR CEO Min Hee-jin (hereinafter “the former CEO Min”) in a tampering attempt. Regardless of whether these new claims are true, they starkly reveal how widespread tampering has become in the popular music industry.

Furthermore, these suspicions suggest that even large-scale agencies may not be immune to tampering activities, forcing the Association to take a more active stance against the issue. If such incidents continue to recur, no agency will be able to confidently bring in outstanding producers as part of their in-house teams or hire them as external contractors authorized to interact freely with artists.

Moreover, if internal or external producers leverage their close relationships with artists and their parents to break away from agencies at any time—independently using the agencies’ intellectual property and trade secrets—then which agency would dare to invest in discovering and producing artists? And what kind of investor would invest in such agencies?

In the FIFTY FIFTY case, the withdrawing members—who ignited the public’s anger—are openly seeking new exclusive contracts and exploring avenues to continue their careers elsewhere. Amid this situation, fresh tampering allegations against the former CEO Min have been raised.

Thus, in light of these events, the Association directs the following requests to the former CEO Min, the group NewJeans, and relevant members of the National Assembly and government officials:

First, we call on the former CEO Min to provide a clear and factual account regarding the tampering allegations reported by a certain media outlet. Numerous suspicions have arisen, including claims of tampering attempts and possible acts of breach of fiduciary duty related to her previous agency. Now, more than ever, it is crucial for the former CEO Min, who stands at the center of this controversy, to present a clear and accurate explanation.

The former CEO Min’s previously encouraged media battles have unleashed a flood of speculative articles not grounded in facts. As a result, even those who previously had no interest in “tampering” or K-pop have begun to view the industry negatively. Furthermore, the popular music industry, which has endured eight months of mounting fatigue due to these tampering controversies, no longer wishes to learn about developments solely through the media.

The former CEO Min must cease evasive, inflammatory, and ambiguous responses. She must clarify the facts and bring this current dispute to a conclusion.

Second, the group NewJeans must faithfully adhere to their exclusive contract and engage in sincere dialogue with their agency to seek common ground. If no agreement can be reached, they should humbly await the judgment of the courts. NewJeans should remember that they are not the only presence in the popular music industry. Many senior artists, employees of other agencies, and peers and junior artists who look up to NewJeans are doing their best in their own roles. Given that NewJeans has firmly established itself as a leading K-pop artist, we ask that the group exercise caution and prudence in all media statements.

Third, we strongly urge the National Assembly and the government to consider legal and institutional reforms to eradicate tampering. Allowing exclusive contracts to remain solely within the domain of private autonomy and the voluntary judgment of the parties involved has reached its limit. Even if certain behaviors in this case may be regulated under current laws—such as a breach of fiduciary duty by a director—there is an evident lack of legal statutes or institutions that reflect the particularities of the popular music industry. Agencies invest heavily over long periods to discover and nurture artists, producing numerous tangible and intangible creative works in the process. We therefore request the establishment or refinement of dedicated legal provisions and systems to maintain order and sound practices in the popular music industry.

Fourth, the Association will consider excluding the album and music sales of agencies and artists implicated in tampering from the counting system of the Circle Chart operated by the Association. We will also examine whether to exclude and withhold this data—which we currently supply—from eight music broadcasting programs (“M Countdown,” “Music Bank,” “Show! Music Core,” “Inkigayo,” “The Show,” “Show Champion,” “The Trot Show,” “ENA K-POP Chart Show,” etc.) and major domestic music awards ceremonies (the Circle Chart Music Awards, MAMA, the Golden Disc Awards).

Ultimately, such measures are absolutely necessary for preserving order, establishing healthy business practices, and ensuring the sustainable development of the popular music industry. Extreme self-interest will only lead to division and mutual destruction within the industry. We urge all parties involved in this incident to bear responsibility for the damage done to the industry’s image and to cooperate sincerely with any investigations, maintaining a spirit of self-restraint.

The Association will continue to work closely with all stakeholders to explore solutions that foster the industry’s sound growth and development. Moreover, similar incidents have continually surfaced since the “Min and NewJeans” affair two months ago, including the ChenBaekXi controversy in June. Their common trait is the exploitation of the fact that major domestic agencies are publicly listed companies. They incite public opinion through unverified and inflammatory claims, triggering widespread media storms. Issues that should be addressed through legal procedures have instead been turned into industry-wide gossip, damaging reputations and spreading like a trend. Worse yet, such public opinion battles are fueling fan emotions, encouraging even more heated and irrational responses. Conflicts can arise in any industry or company. The current pattern of emotional and wasteful approaches to dispute resolution will eventually harm everyone.

We hope that all parties will engage in mutual consideration and communication to find wise solutions, enabling these conflicts to be resolved smoothly and amicably.

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The Korea Music Content Association expresses deep concern about the recent tampering attempts in the popular music industry and declares its commitment to eradicating these practices that threaten the foundation of Korean pop music.

We have already witnessed what is known as 'tampering' in the 'Fifty Fifty' incident, where an external producer, hired by an entertainment agency (hereinafter referred to as "agency"), attempted to persuade young, promising artists and their parents to breach their exclusive contracts. Following closely after this, media reports on the alleged tampering by former Adore CEO Min Hee-jin (hereinafter referred to as "former CEO Min") have raised further alarms, highlighting how pervasive tampering might be within the industry, regardless of the veracity of the claims. This suggests that such practices can occur not only in smaller agencies but also in major ones, compelling our association to take decisive action.

If these events continue unabated, agencies will struggle to attract or maintain talented producers, especially in scenarios involving outsourcing, where producers might exploit their relationships with artists to become independent, disregarding contractual obligations and potentially misusing the agency's intellectual property. Who would then invest in or develop talent under such conditions?

The artists who left Fifty Fifty, igniting public outrage, are now brazenly signing exclusive contracts with other agencies and resuming their careers. Amidst this, suspicions have again been directed at former CEO Min's tampering practices. Therefore, our association makes the following demands:

First, former CEO Min should clarify his stance and the facts concerning the tampering allegations in recent media reports. The media war she has initiated has led to numerous speculative articles, negatively impacting public perception of the K-pop industry and causing widespread fatigue within it. Former CEO Min needs to address this issue directly and factually to put an end to the ongoing controversy.

Second, singer New Jeans must honor their exclusive contract through sincere dialogue with their agency, and if no agreement can be reached, they should await judicial review with humility. They should be mindful of their influential status in K-pop, considering the broader impact on the industry.

Third, we urge the National Assembly and government to revise laws and systems to combat tampering. The current legal framework treating exclusive contracts as private agreements is insufficient, especially in the unique context of the music industry which involves significant long-term investments in artists and creative works. We call for legislative changes to ensure fair business practices.

Fourth, Circle Chart, operated by our association, is considering excluding from its statistics the sales figures of albums and music sources from agencies and artists suspected of tampering. This includes data provided to various music broadcast programs and major domestic music award ceremonies.

These steps are crucial for maintaining order and fostering healthy business practices within the music industry, ensuring its sustainable development. We call on all parties to take responsibility for repairing the industry's tarnished image and to cooperate fully with any investigations. The association will continue to work with stakeholders to promote the industry's sound development.

Moreover, similar incidents, like the Chenbaeksi controversy in June, illustrate a worrying trend where major entertainment companies exploit their status as public companies to wage media wars, spreading unverified claims and fostering conflict among fandoms. This practice of turning legal disputes into public gossip is detrimental to the industry. We advocate for resolving conflicts through mutual respect and communication rather than through emotionally charged public disputes.

All members of the Korea Music Content Association

https://m.entertain.naver.com/now/article/477/0000525629