“10 Twin Cities Businesses that are Embracing the K-pop Craze”

Retailers are reaping the rewards from the $ billion industry surrounding South Korean pop music, which has notably contributed to a resurgence in physical album sales. By Caleb Fravel Special to the Minnesota Star Tribune September , at :PM Lily Shumaker completes her transaction for merchandise as Derik Thaden, proprietor of OtaKuPop, prepares her items for departure at OtaKuPop in Minneapolis on Wednesday. (Ayrton Breckenridge/The Minnesota Star TribuneNestled within a yellow-bricked structure in northeast Minneapolis lies an entrance to South Korea’s vibrant culture. Although there is no prominent signage indicating the presence of OtaKuPop, upon entering, visitors are greeted by an array of vivid colors.

The television within the confines of the store plays vibrant and engaging music videos, with their harmonious tunes resonating throughout the modest establishment. Vibrant posters adorn the windows, while what initially appear to be bookcases are, in fact, shelves brimming with a varied collection of K-pop albums. OtaKuPop represents one of several enterprises in the Twin Cities contributing to the $ billion Korean pop music industry in Minnesota. Interestingly, tangible media such as magazines, trading cards, figurines, stickers, and, indeed, CDs comprise a significant portion of those sales. Although streaming platforms like Spotify have diminished the market for physical media in recent years, K-pop has effectively circumvented this trend.

In , physical media accounted for approximately % of the total global revenue amounting to $. billion, as reported by the International Federation of the Phonographic Industry. According to Stephanie Choi, a K-pop music specialist at the University of Colorado at Buffalo, CDs by Western artists primarily fulfill the role of providing music for listening. Conversely, she noted, K-pop labels have innovatively transformed CDs into intricate packages that feature items such as posters, photo albums, and various other components aimed at enhancing a particular concept. Tina Jeon, currently a graduate student at the University of Minnesota, has personal experience with K-pop, having been raised in Changwon, South Korea.

Retail establishments provide a platform for purchasing albums from her preferred musical groups. For her, the accompanying items—including photocards, posters, stickers, and various other attractive additions that come with the CD—significantly enhance the overall experience. When I unwrapped it, the photocard featured my bias, my most favored member, Jeon recounted while reminiscing about an occasion when she acquired a CD from the boy band Seventeen. It was truly exhilarating to receive that. OtaKuPop is among a number of businesses in the Twin Cities that are integrating the $ billion Korean pop music industry into Minnesota’s cultural landscape.

In recent years, K-pop has emerged as a significant cultural phenomenon, particularly during the widespread enthusiasm for boy bands and girl groups in the s. Prominent figures in this genre, referred to as idols—such as BTS and Blackpink—began to achieve considerable success on Western music charts in the mid-s. One contributing factor to this triumph is the extensive array of content produced by K-pop artists for their audiences, encompassing online videos, magazine publications, and the highly sought-after photocards included in their albums. According to Choi, tangible items like these enhance the collector’s impulse among K-pop enthusiasts. Furthermore, K-pop artists frequently release multiple editions of the same album, each featuring distinct variations.

Photocards resemble trading cards, featuring individual selfies of group members. To complete the entire collection, enthusiasts must acquire additional albums, engage in trading with fellow fans, or purchase them at often elevated prices within the secondary market. Related Coverage World: K-pop’s Impact on Socialist Cuba Takes a Vibrant Turn Additional merchandise beyond albums encompasses figurines, apparel, and light sticks—unique flashlights designated for fans to wave during concerts, serving as symbols of their support for a particular group or idol, as noted by Choi. “The act of collecting is a source of enjoyment for people,” articulated AJ Shaw, a digital content creator focused on K-pop.

In Summary

In conclusion, the rise of K-pop idols like BTS and Blackpink in the Western music scene is not just a testament to their musical talents but also a reflection of the genre’s innovative approach to fan engagement. The diversified content, ranging from dynamic online videos to collectible photocards, creates a rich tapestry that appeals to a global audience. As highlighted by Choi, the allure of tangible items fuels the collector’s impulse, deepening fans’ connection to their favorite artists. With multiple album editions showcasing unique variations, K-pop continues to cultivate an immersive experience that keeps fans coming back for more. This multifaceted strategy not only drives commercial success but also cements K-pop’s status as a cultural phenomenon that transcends borders and resonates with diverse audiences worldwide.