"Virtual Idols Rewrite K-pop History"
Foreign Media: "The Real K-pop Powerhouse Is Not BTS, but Netflix"
Professor Seo Kyungduk: "Formation of 'Fandom Expansion' Across Generations and Genders"
The Kedeheon Craze: Domestic Tourist Attractions and Traditional Characters Also Gain Popularity
The soundtrack "Golden" from the Netflix animated film "K-Pop Demon Hunters" (abbreviated as "Kedeheon") has set a historic milestone by becoming the first K-pop song to top both of the world's two major charts.
"Virtual Idols Rewrite K-pop History"
On August 11 (local time), "Golden" reached number one on the Billboard Hot 100 chart. Previously, on August 1, the song had also claimed the top spot on the UK's Official Singles Chart Top 100, which, along with Billboard, is considered one of the world's two leading charts. With this achievement, "Golden" has accomplished what even top K-pop artists such as Psy (Official Singles Chart No. 1), BTS (Hot 100 No. 1), and Blackpink (Official Albums Chart No. 1) have only managed individually, by securing both records simultaneously.
"Golden" is the official promotional song of "Huntrix," the virtual K-pop girl group featured in Kedeheon. The song was produced by Lee Jae, a composer who was formerly a trainee at SM Entertainment, along with Korean-American artists Audrey Nuna and Ray Ami. The songwriting and arrangement team also included several Korean and K-pop specialist producers. While more than 90% of the lyrics are in English, key phrases such as "eoduwoujin" ("darkened") and "yeongwonhi kkaejil su eomneun" ("eternally unbreakable") are sung in Korean, preserving the unique sentiment and identity of K-pop. This strategy is credited with offering global fans both a "distinctive appeal" and "cultural differentiation."
Foreign Media: "The Real K-pop Powerhouse Is Not BTS, but Netflix"
International media outlets have highlighted that this song marks the first time a virtual idol has reached number one on both major global charts through online activities alone. The Wall Street Journal recently published an article titled "The Real K-pop Powerhouse Is Not BTS, but Netflix," stating, "Virtual idols have reached a level that human idols have not achieved," and noting that the emergence of boundary-breaking competitors, including AI-generated music, is ushering in a new era for the music industry. The BBC analyzed that, "Despite being virtual groups, Huntrix and Sajaboys have been able to form authentic fandoms through social networking services and streaming platforms."
Professor Seo Kyungduk: "Formation of 'Fandom Expansion' Across Generations and Genders"
In response, Professor Seo Kyungduk of Sungshin Women's University commented, "The global phenomenon of 'Kedeheon' serves as a prime example of the 'expandability of K-pop.'" Professor Seo explained, "Whereas the K-pop fanbase was previously centered mainly on women in their teens and twenties, there is now a 'fandom expansion' that encompasses a wide range of generations and genders, regardless of age or gender."
He added, "There is a scene where the Huntrix members, after finishing their tour schedule, visit a public bathhouse and eat gukbap, which has contributed to the expansion of tourism content, as public bathhouses are now drawing attention as travel content." Furthermore, he emphasized, "Since the release of 'Kedeheon,' the number of daily visitors to the National Museum of Korea's online museum shop has surged from about 7,000 to around 600,000, providing a significant opportunity for increased interest in Korea's traditional culture."
The Kedeheon Craze: Domestic Tourist Attractions and Traditional Characters Also Gain Popularity
The simultaneous success of Kedeheon and its soundtrack is having a direct impact on Korean tourism and culture. Tourist hotspots featured in the film, such as Namsan, Bukchon, the Han River, and the National Museum of Korea, have seen an influx of foreign visitors, and merchandise featuring traditional Korean animals like the tiger and magpie is selling rapidly. Experts note that "the case of Kedeheon demonstrates that K-pop can expand beyond the music industry into the global content and tourism sectors."
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