25 Secrets of Entertainment Businesses
 |
Description
Book Introduction
Mamamoo producer and RBW CEO tells us
Everything About Creating Global K-Pop Stars
The latest revised edition of 『25 Secrets of Entertainment Companies』, which outlines the entire process of planning and producing K-pop stars, by RBW CEO Kim Jin-woo, who created global idol artists such as Mamamoo, Oneus, and Purple Kiss, has been published by Minumsa.
Despite K-pop's global popularity, the inner workings of the entertainment industry remain shrouded in mystery.
The author states that K-POP's global success is not a coincidence, but stems from two axes: "people" and "production system." He traces the six stages of production that an artist goes through before appearing in the world and selects 25 key know-hows contained within them.
In particular, this revised edition incorporates a number of cutting-edge strategies that are in line with the growing importance of the global market.
It vividly contains real-world examples of what's driving today's K-POP, such as copyright marketing utilizing artist IP, global management strategies targeting Japan, the first landing place for the Korean Wave, and the United States, a key stage for the global music industry, collaborative marketing linking shorts and fandom, merchandise planning such as 'Mumubong', and performance marketing combined with 'Squid Game'.
Additionally, through in-depth interviews with 15 working professionals, we designed the program to provide a glimpse into the work environment, career journey, and realities of job preparation for each position.
This book covers the present and future of the rapidly changing K-pop industry, the details of work and the requirements for talent, and even the lively atmosphere of the field where entertainment companies and artists work together, allowing anyone to take a fascinating look into the real world of the entertainment industry.
Everything About Creating Global K-Pop Stars
The latest revised edition of 『25 Secrets of Entertainment Companies』, which outlines the entire process of planning and producing K-pop stars, by RBW CEO Kim Jin-woo, who created global idol artists such as Mamamoo, Oneus, and Purple Kiss, has been published by Minumsa.
Despite K-pop's global popularity, the inner workings of the entertainment industry remain shrouded in mystery.
The author states that K-POP's global success is not a coincidence, but stems from two axes: "people" and "production system." He traces the six stages of production that an artist goes through before appearing in the world and selects 25 key know-hows contained within them.
In particular, this revised edition incorporates a number of cutting-edge strategies that are in line with the growing importance of the global market.
It vividly contains real-world examples of what's driving today's K-POP, such as copyright marketing utilizing artist IP, global management strategies targeting Japan, the first landing place for the Korean Wave, and the United States, a key stage for the global music industry, collaborative marketing linking shorts and fandom, merchandise planning such as 'Mumubong', and performance marketing combined with 'Squid Game'.
Additionally, through in-depth interviews with 15 working professionals, we designed the program to provide a glimpse into the work environment, career journey, and realities of job preparation for each position.
This book covers the present and future of the rapidly changing K-pop industry, the details of work and the requirements for talent, and even the lively atmosphere of the field where entertainment companies and artists work together, allowing anyone to take a fascinating look into the real world of the entertainment industry.
- You can preview some of the book's contents.
Preview
index
Introduction - For those who have the goal of nurturing K-POP artists
Chapter 1: Rookie Development
1 Casting and Training
2 Audition Planning
3 Top 5 Secrets to Successful Casting
4 Bespoke Training
5. Communication is more important than ability, a trainer's quality
6. Character and common sense are as important as dancing, singing, and talent.
7 Mind Control for Your Career
Practical Interview - Modern K CEO Kim Hyung-gyu
― RBW New Artist Development Team Manager Kim Hoon-hee
Chapter 2 A&R (Artists & Repertoire)
1 A&R's Attitude and Work
2 Basic and Essential A&R Virtues
3 People who work with A&R
4 Album Production Process
Practical Interview - Choi Hak-rae, Adjunct Professor, Graduate School of Performing Arts, Hongik University
― RBW A&R Team Leader Lee Hye-jin
Chapter 3: Project Production
1 The Flower of the Planning and Production Team: Production Planning
2 Five things you need for planning and production
3 Artist IP Marketing
4 Global Management
Practical Interview - RBW Planning and Production Director Koo Bon-young
― ContentX Team Leader Lee Ju-won
― RBW JAPAN CEO Wang Jae-woong
Chapter 4: Artist Management
1. What is an artist manager?
2 Road Managers and Public Relations Managers
3 Job Skills of Successful Managers, 5PR
Practical Interview - RBW Artist Management Headquarters Director Lee Heon-min
― RBW Artist Management Headquarters Team Leader Ahn Seong-hee
― DSP Media Artist Management Director Haejong Lee
Chapter 5: Fan Management
1 Fan Manager, Fan Management
2 Fan management tasks, not difficult but rewarding
3. Optimized for work
Practical Interview - RBW Fan Management Team Leader Jeong Seung-eun
― Space Oddity CEO Kim Hong-ki
Chapter 6: HR Management & Management Support
1. A special personnel team that selects ordinary people
2 Top Secrets! A First Impression Fit for an Entertainment Company
3 Management Support Team, the reason for the company's existence
4 Exciting Benefits of Entertainers
Practical Interview - Lee Sang-hwan, CEO of K-Lab Company
― Lim Sook-kyung, Executive Director of DSP Media's Management Support Division
― Song Jun-ho, Managing Director of RBW Management Support Division
Coming Out - The Future and Prospects of the Entertainment Industry
Revised Edition Review
Chapter 1: Rookie Development
1 Casting and Training
2 Audition Planning
3 Top 5 Secrets to Successful Casting
4 Bespoke Training
5. Communication is more important than ability, a trainer's quality
6. Character and common sense are as important as dancing, singing, and talent.
7 Mind Control for Your Career
Practical Interview - Modern K CEO Kim Hyung-gyu
― RBW New Artist Development Team Manager Kim Hoon-hee
Chapter 2 A&R (Artists & Repertoire)
1 A&R's Attitude and Work
2 Basic and Essential A&R Virtues
3 People who work with A&R
4 Album Production Process
Practical Interview - Choi Hak-rae, Adjunct Professor, Graduate School of Performing Arts, Hongik University
― RBW A&R Team Leader Lee Hye-jin
Chapter 3: Project Production
1 The Flower of the Planning and Production Team: Production Planning
2 Five things you need for planning and production
3 Artist IP Marketing
4 Global Management
Practical Interview - RBW Planning and Production Director Koo Bon-young
― ContentX Team Leader Lee Ju-won
― RBW JAPAN CEO Wang Jae-woong
Chapter 4: Artist Management
1. What is an artist manager?
2 Road Managers and Public Relations Managers
3 Job Skills of Successful Managers, 5PR
Practical Interview - RBW Artist Management Headquarters Director Lee Heon-min
― RBW Artist Management Headquarters Team Leader Ahn Seong-hee
― DSP Media Artist Management Director Haejong Lee
Chapter 5: Fan Management
1 Fan Manager, Fan Management
2 Fan management tasks, not difficult but rewarding
3. Optimized for work
Practical Interview - RBW Fan Management Team Leader Jeong Seung-eun
― Space Oddity CEO Kim Hong-ki
Chapter 6: HR Management & Management Support
1. A special personnel team that selects ordinary people
2 Top Secrets! A First Impression Fit for an Entertainment Company
3 Management Support Team, the reason for the company's existence
4 Exciting Benefits of Entertainers
Practical Interview - Lee Sang-hwan, CEO of K-Lab Company
― Lim Sook-kyung, Executive Director of DSP Media's Management Support Division
― Song Jun-ho, Managing Director of RBW Management Support Division
Coming Out - The Future and Prospects of the Entertainment Industry
Revised Edition Review
Detailed image
Into the book
There are numerous entertainment companies in Korea, and many people are curious about them.
As the number of people who dream of becoming artists increases, the number of people who want to work in places that plan and produce artists, that is, those who want to get a job at an entertainment company, has also increased.
As K-POP fans, some people are curious about the organization, structure, and work of entertainment companies.
There are also professionals from various industries who work with the company as partners.
There are people who majored in practical music, are preparing to become artists or have given up their careers and are considering employment in the entertainment industry, aspiring entertainment entrepreneurs who are preparing to start their own business, and investors who are considering or have already invested in the entertainment industry.
--- p.8
The new talent development team's work is largely divided into casting and training.
These two processes can be said to be the starting point for creating artists.
The main task is to select artists with potential who can become exclusive artists in the future from among aspiring artists, and to provide them with appropriate training and management to help them grow further.
In other words, it can be said to be similar to the process of grinding and polishing a raw stone to create a diamond.
--- p.15
If you are an artist planning to release a new album, the first thing you need to do is plan the album.
It is a good idea to decide on a concept by considering the artist's characteristics and trends.
Album planning can vary depending on the artist's personality.
The number of songs included in an album also varies depending on whether it is a single, a mini-album (EP), or a full-length album, and the budget that must be allocated also changes.
--- p.126
It was when Mamamoo was preparing a new album.
I wanted to see a variety of choreography, so I commissioned choreography from three places.
All three were not bad, but there were some parts that I liked, so I mixed the three choreographies and re-choreographed them.
While practicing the choreography created in this way, the artists' ideas were incorporated, resulting in a unique and diverse choreography that gained greater popularity.
--- p.158
The artist's concept, theme, and the context of keywords, artistic expression, and consistency of the work are sometimes expressed as the artist's worldview.
Ultimately, branding is a repetitive process of persuading the artist about their identity and worldview, and the ultimate goal of branding is to gather persuaded supporters (supporters, fandom).
--- p.183
As global influence grows, the way K-pop artists operate in the United States is quite different from that of Japan.
In Japan, it is common to establish a long-term plan on a yearly basis with a 360-degree strategy that encompasses albums, broadcasts, concerts, and fan meetings.
On the other hand, there are only a very small number of K-pop artists who are active in the United States for a long time.
Most of them are short-term activities, divided into project units such as concert tours lasting 2 weeks to 1 month or media PR tours lasting 2 weeks.
--- p.195
In the past, most productions were aimed at reaching number one on Korean music charts and music shows, but now, becoming a global hit has become the goal and vision.
When considering content production direction, artist image, creative keywords, etc., I started to think with global fans in North America, Europe, etc. in mind.
As the number of people who dream of becoming artists increases, the number of people who want to work in places that plan and produce artists, that is, those who want to get a job at an entertainment company, has also increased.
As K-POP fans, some people are curious about the organization, structure, and work of entertainment companies.
There are also professionals from various industries who work with the company as partners.
There are people who majored in practical music, are preparing to become artists or have given up their careers and are considering employment in the entertainment industry, aspiring entertainment entrepreneurs who are preparing to start their own business, and investors who are considering or have already invested in the entertainment industry.
--- p.8
The new talent development team's work is largely divided into casting and training.
These two processes can be said to be the starting point for creating artists.
The main task is to select artists with potential who can become exclusive artists in the future from among aspiring artists, and to provide them with appropriate training and management to help them grow further.
In other words, it can be said to be similar to the process of grinding and polishing a raw stone to create a diamond.
--- p.15
If you are an artist planning to release a new album, the first thing you need to do is plan the album.
It is a good idea to decide on a concept by considering the artist's characteristics and trends.
Album planning can vary depending on the artist's personality.
The number of songs included in an album also varies depending on whether it is a single, a mini-album (EP), or a full-length album, and the budget that must be allocated also changes.
--- p.126
It was when Mamamoo was preparing a new album.
I wanted to see a variety of choreography, so I commissioned choreography from three places.
All three were not bad, but there were some parts that I liked, so I mixed the three choreographies and re-choreographed them.
While practicing the choreography created in this way, the artists' ideas were incorporated, resulting in a unique and diverse choreography that gained greater popularity.
--- p.158
The artist's concept, theme, and the context of keywords, artistic expression, and consistency of the work are sometimes expressed as the artist's worldview.
Ultimately, branding is a repetitive process of persuading the artist about their identity and worldview, and the ultimate goal of branding is to gather persuaded supporters (supporters, fandom).
--- p.183
As global influence grows, the way K-pop artists operate in the United States is quite different from that of Japan.
In Japan, it is common to establish a long-term plan on a yearly basis with a 360-degree strategy that encompasses albums, broadcasts, concerts, and fan meetings.
On the other hand, there are only a very small number of K-pop artists who are active in the United States for a long time.
Most of them are short-term activities, divided into project units such as concert tours lasting 2 weeks to 1 month or media PR tours lasting 2 weeks.
--- p.195
In the past, most productions were aimed at reaching number one on Korean music charts and music shows, but now, becoming a global hit has become the goal and vision.
When considering content production direction, artist image, creative keywords, etc., I started to think with global fans in North America, Europe, etc. in mind.
--- p.331
Publisher's Review
A Glance at the K-POP Industry Creating Global Hits
Today, K-POP is not just music for Koreans.
The author emphasizes that compared to the past when the goal was to top domestic music charts or music shows, the goal and vision of K-POP is now to become a global hit.
In fact, K-POP is receiving unprecedented attention from around the world, with K-POP singers reaching number one on the Billboard 200 and Billboard Singles Chart, and a new 'K-POP Artist Award' being established at the 'American Music Awards,' one of the three major music awards in the United States.
What's the secret behind the K-pop production system that creates global hits? The author defines the entertainment industry as "a place where people nurture and create people," and focuses on the people behind entertainment companies.
In reality, behind the glamorous appearance and stage presence of K-POP stars, there are dozens or even hundreds of people who work hard to create the stars.
In this way, the book contains various stories that we have all been curious about but did not know about, such as the sources of income for entertainment companies including copyright royalties, cases of hits or failures, fan goods, and fan clubs, focusing on people who want to become stars and those who want to create stars, allowing anyone to get immersed in the process of creating a K-POP star.
A friendly guide for those who want to grow with artists.
This book divides entertainment company duties into new talent development, A&R, planning and production, artist management, fan management, human resources management, and management support, and examines them in detail.
It also includes interviews with practitioners in each field, providing vivid voices from within the industry.
★ [New Artist Development Team] is where everything before an artist's debut is managed.
It is broadly divided into audition and training work, and includes casting planning, strategic training, regular evaluations, and even character and common sense education.
Recently, the importance of trainee training courses has increased as they have become content.
★ The [A&R (Artists & Repertoire) team] is called the ‘flower of the entertainment company’ as it participates in all aspects of production, including song collection, composer management, album planning, recording, mixing, and mastering.
He is responsible for coordinating the entire album production process, taking into account the trends in the music market and the singer's characteristics.
★ [Planning and Production Team] is a team that plans and produces various contents and products that can promote artists, such as music, albums, music videos, choreography, goods, and showcases.
We establish a consistent theme and direction for artists and all content, and lead the project around this.
Recently, in line with the expanding K-POP market, the scope of work has been expanded to include IP marketing and global management.
★ [Artist Management Team] is divided into road managers who manage the artist's schedule and prepare and move the artist, and public relations managers who arrange appearances in various media.
A manager is a supporter and friend who takes care of the artist directly, so the two are inseparable and very close.
★ [Fan Management Team] communicates with fans who are the artist's supporters, manages fan cafes and various SNS, and leads on-site events such as public broadcasts, concerts, fan meetings, and fan signing events.
With the recent increase in global fans and the rapid change in the media environment, work is also diversifying.
★ [Human Resources Management and Management Support Team] handles general human resources and accounting-related tasks such as recruitment, contracts, promotions, and settlements.
However, it is special to have a general understanding of the entertainment company and to discuss profits and settlements with the artists.
The book covers not only six key entertainment roles, but also collaboration specialists outside of entertainment, such as composers, arrangers, and session musicians, as well as the entire related ecosystem, including newspapers, broadcasting stations, and music streaming sites.
This book, which unravels the various jobs and on-site stories surrounding K-POP stars, will serve as a useful guide to help not only fans who love the stars, but also investors in entertainment companies, job seekers, and those working in the industry understand and get one step closer to the entertainment industry.
Today, K-POP is not just music for Koreans.
The author emphasizes that compared to the past when the goal was to top domestic music charts or music shows, the goal and vision of K-POP is now to become a global hit.
In fact, K-POP is receiving unprecedented attention from around the world, with K-POP singers reaching number one on the Billboard 200 and Billboard Singles Chart, and a new 'K-POP Artist Award' being established at the 'American Music Awards,' one of the three major music awards in the United States.
What's the secret behind the K-pop production system that creates global hits? The author defines the entertainment industry as "a place where people nurture and create people," and focuses on the people behind entertainment companies.
In reality, behind the glamorous appearance and stage presence of K-POP stars, there are dozens or even hundreds of people who work hard to create the stars.
In this way, the book contains various stories that we have all been curious about but did not know about, such as the sources of income for entertainment companies including copyright royalties, cases of hits or failures, fan goods, and fan clubs, focusing on people who want to become stars and those who want to create stars, allowing anyone to get immersed in the process of creating a K-POP star.
A friendly guide for those who want to grow with artists.
This book divides entertainment company duties into new talent development, A&R, planning and production, artist management, fan management, human resources management, and management support, and examines them in detail.
It also includes interviews with practitioners in each field, providing vivid voices from within the industry.
★ [New Artist Development Team] is where everything before an artist's debut is managed.
It is broadly divided into audition and training work, and includes casting planning, strategic training, regular evaluations, and even character and common sense education.
Recently, the importance of trainee training courses has increased as they have become content.
★ The [A&R (Artists & Repertoire) team] is called the ‘flower of the entertainment company’ as it participates in all aspects of production, including song collection, composer management, album planning, recording, mixing, and mastering.
He is responsible for coordinating the entire album production process, taking into account the trends in the music market and the singer's characteristics.
★ [Planning and Production Team] is a team that plans and produces various contents and products that can promote artists, such as music, albums, music videos, choreography, goods, and showcases.
We establish a consistent theme and direction for artists and all content, and lead the project around this.
Recently, in line with the expanding K-POP market, the scope of work has been expanded to include IP marketing and global management.
★ [Artist Management Team] is divided into road managers who manage the artist's schedule and prepare and move the artist, and public relations managers who arrange appearances in various media.
A manager is a supporter and friend who takes care of the artist directly, so the two are inseparable and very close.
★ [Fan Management Team] communicates with fans who are the artist's supporters, manages fan cafes and various SNS, and leads on-site events such as public broadcasts, concerts, fan meetings, and fan signing events.
With the recent increase in global fans and the rapid change in the media environment, work is also diversifying.
★ [Human Resources Management and Management Support Team] handles general human resources and accounting-related tasks such as recruitment, contracts, promotions, and settlements.
However, it is special to have a general understanding of the entertainment company and to discuss profits and settlements with the artists.
The book covers not only six key entertainment roles, but also collaboration specialists outside of entertainment, such as composers, arrangers, and session musicians, as well as the entire related ecosystem, including newspapers, broadcasting stations, and music streaming sites.
This book, which unravels the various jobs and on-site stories surrounding K-POP stars, will serve as a useful guide to help not only fans who love the stars, but also investors in entertainment companies, job seekers, and those working in the industry understand and get one step closer to the entertainment industry.
GOODS SPECIFICS
- Date of issue: July 23, 2025
- Page count, weight, size: 340 pages | 148*210*30mm
- ISBN13: 9791170526308
- ISBN10: 1170526306
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