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Translation 110603 Junsu’s Brother Junho Deletes His Twitter…

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[Translation] 110603 Junsu’s Brother Junho Deletes His Twitter Account

T/N: These are Junho’s last tweets before he deleted his account today. As you can see from the mentions he has given to some of Junsu’s fans who criticized him, the hateful tweets he received from those against him (and for some, his decision to work with Avex) had a great impact on him, leading to the deletion of his Twitter account.]

I believe that the negative responses of some JYJ fans were probably a part of Junho’s decision, but not all of his decisionmaking was about the fans. After all, he is Junsu’s brother. Their family is a strong family. However, I do believe that as fans we have a responsibility to be kind and understanding to our guy’s families.

Junho is busy, and probably finds it hard keeping up with Twitter. It is sad because that closes off one channel of communication he had with Junsu.  He also says that he tends to dwell on things people say–so he is wise to eliminate the account so that he can relax and function. He is an adult and has made his own decision to be with Avex. I wish him the best and lots of love.
Momma Cha

(Junho) @joni588 I just want to say one thing to you. Though I am grateful that you love and worry about my little brother, I do not believe that I think and worry about my little brother any less than you do. I, too, always pray that things will turn out well and my heart aches so much when a problem arises. I just want you to know that my decision (to work with Avex) was not one that I made thinking only of my own success.

(Junho) @zinnie06 You say that I faulted fans.. Where in my tweets did you get that impression? To you, I am a person who always causes harm to my little brother. I apologize for being such a person.

(Junho) I’m thinking of deleting my Twitter account because I think I’ll feel better if I don’t tweet in Korean anymore. Will me stopping my tweets like this make those who spoke ill of me become genial? If I just give up everything, would that make things run smoothly for them(JYJ)? I don’t know either. This situation wears me out as I can’t tell you everything about what’s going on..

(Junho) I’m so sorry to the people who have shown me their support till now. From now on, I’ll work hard and not let my mind wander to other things. I think I gained a lot of strength from your support when I tweeted while I was traveling overseas. I would like to thank you all once more. Thank you all, and I love you. Take care of your health.

(Junho) I’m not deleting this account because I’m scared of those tweets or because I’m avoiding them. I started this account knowing that things like this would definitely happen because I work in this particular industry. Because I read each and every mention that I receive and because I keep reading such tweets, I keep thinking about them and I find myself unable to concentrate, so I laid down this decision in order to completely immerse myself in my work.

(Junho) I am still such a small presence in this life. I’ll be on the same level as others only if I work harder than them as I started my career much later. From now on, I’m going to do nothing but focus on my work. I’m always short on time anyway. I will keep the hearts of those who have supported me till now in my heart and focus on my work completely without thinking of anything else. I will keep working and working hard.

(Junho) Last of all, I would like to apologize once more to the fans of Junsu who have had a hard time because of my decision. I believe that you will protect my little brother till the end. Take care of your health and be happy.

Source: [Junho’s Twitter account]

Translated & Shared by: dongbangdata.net

Momma’s Source; sharingyoochun.net

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News 110512 Can Kim Junsu Draw K-Pop Crowds Again?

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Odd. No one mentions Levay With Friends, which was Junsu’s second time performing this role. It also sold out.
This is his third committment to the role, and I believe that he will do even better than before. All five of the original DBSK members are hard-working perfectionists, and they put every effort into their work.
I do not believe that this is a phenomena. Junsu’s appeal will be there for some time to come. Watching your back, mancub. Momma Cha.

News 110512

Can Kim Jun-su draw K-pop crowds again?All eyes on Kim during rehearsal for ‘Mozart!’ musical starting its second round

Namsan Creative Center in Yejang-dong, central Seoul, was jammed with about 200 people on Wednesday when musical “Mozart!” opened its practice room to press and fans.

Though there were no ardent fans screaming or waving placards, it was obvious by the direction the cameras were flashing in that most were there to see one particular actor, Kim Jun-su.

The JYJ K-pop group member would have easily garnered the press anyway, but his popularity has further skyrocketed since he stepped into the musical scene. He is one of the few idol star-turned-musical actors who are successful.
The musical “Mozart!” which tells the life of the legendary musician through musical genres including rock and jazz, set an impressive record by attracting more than 100,000 audience members during its first short run of about a month in Seoul last year.

All tickets were sold out and the musical took home 11 local musical awards at the end of the year. At the heart of the fever was Kim, a former member of boy band TVXQ, who drew thousands of his fans to the theater.

The 15 shows that he starred in were the ones that were completely sold out within three hours of ticket sales. Scalped tickets were sold online for as much as three million won. Tickets to his second musical, “Tears of Heaven,” in which he starred as a Korean soldier earlier this year, were all sold out as well.
Because his “ticket-power” is currently unbeatable, his guarantee fee is known to have been around 35 million won per show for the first round of “Mozart!” topping that of most veteran musical actors.

Kim Jun-su performs a song from the musical “Mozart!” at Namsan Creative Center on Wednesday. (Lee Sang-sub/ The Korea Herald)

“I actually just wanted to do one musical per year. Now is a busy time for me, but I badgered my agency to let me do this because it is ‘Mozart!’ This is something much more than just a musical,” said Kim, who is also currently on a world tour with JYJ.

Kim is taking the role of Mozart again for the second round of the musical which will take place from May 24 to July 3 at Seongnam Art Center Opera House in Yatab-dong, Gyeonggi Province. Three more actors ― veteran musical actor Im Tae-gyung and up-and-coming stars Park Eun-tae and Jeon Dong-seok ― will be sharing the role.

Decked in a fancy red Mozart’s coat, Kim sang one of the musical numbers, “Why Don’t You Love Me,” in front of the press and fans on Wednesday.

His voice was rather soft without a microphone, but there was something that seemed to draw in the listeners ― perhaps the boyish coarseness in his voice and his unadorned, surprisingly quick immersion into the character.

Musical insiders and critics say that Kim’s vocal and dance skills honed during his long training period to debut as TVXQ and his experiences of performing in front of hundreds and thousands of people is paying off.

“I called him a musical prodigy during the last ‘Mozart!’ This time, I think he has reached the stage of a genius. Although he only recently started musicals, he could not be any quicker in learning it,” said Yu Hee-seong, director of the musical.

Kim said that “Mozart!” helped him make a comeback after the TVXQ scandal. Kim and two other members of TVXQ ― Park Yoo-chun, Kim Jae-joong ― filed a lawsuit against S.M. Entertainment over their 13-year contract in July 2009 and formed a new group, JYJ, together.

“It helped me come out to the world, and had me welcomed by the audience again. Looking at videos of the last show, I spotted some unsatisfying parts that I did not realize at the time. I will work hard to present a more mature and perfect performance this time,” said Kim.

EMK Musicals, the producer of the musical, expects tickets to sell out immediately, like last time. The company is opening ticket sales for shows starring Kim at 10 a.m. on May 24, an hour earlier than for other shows.

Although some point out that the Kim Jun-su craze is only temporary, as it relies on his fans, musical insiders say that it could bring positive results for the musical industry by expanding its audience base to the younger generation.

Written by Michael Kunze and music by Sylvester Levay, the musical “Mozart!” premiered at Theater An Der Wien in Vienna, Austria in 1999. Some lyrics have been changed and songs rearranged from last year’s show for the upcoming production.

The musical will run from May 24 to July 3 at Seongnam Art Center Opera House in Yatab-dong in Gyeonggi Province. Tickets range from 30,000 won to 13,000 won. For more information, call (02) 6391-6333 or visit www.musicalmozart.co.kr.

By Park Min-young (claire@heraldm.com)

credit: koreaherald
shared by: sharingyoochun.net
our source: sharingyoochun.net

PETITION SHARING 110501 ENG and JAPAN A DEMAND LETTER from JAPANESE FANS to AVEX

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PETITION SHARING-ENG & JAP A Demand Letter from JYJ Japanese Fans to Avex!

UPDATED:
Petition is for the Japanese fans only but may be opened up to international fans later. The petition site can be found HERE and you can view the full petition HERE in Japanese. The petition started today and will last until May 31st.

A Demand Letter from JYJ Japanese fans to Avex

We, Japanese fans of Jejung, Yuchun, Junsu (hereafter, JYJ) hereby make the following demands of JYJ’s current management company, Avex.

In September 2010, with sudden announcement from your company, JYJ’s activities were suspended, and the opportunity to listen to JYJ sing was deprived from us JYJ fans. Since then, JYJ’s activities in Japan have remained suspended till this day. During this entire time, we have kept waiting for the resumption of JYJ’s Japanese activities, and have continued to send such demands to your company, but even now have not received an acceptable explanation for the suspension of their activities.Moreover, on the matter of the earthquake relief charity event that JYJ is to hold, the representative of the venue where the event was going to be held has recently made an announcement citing contract problem with your company as a reason that has cast doubt on the materialization of the event as planned.

This event represents JYJ’s well-wishing for Japan after many years of doing activities here, and is a charity event they are to voluntarily come to Japan to conduct, as a segment of their effort expressed immediately after the earthquake to support the disaster-stricken areas. To prevent even an event purposed to revive (Japan) from happening, during a time when we as a nation need every possible effort to recover from the aftermath of this unprecedented earthquake, is an action that we feel is very questionable.

We hope for the prompt resumption of JYJ’s music activities, and hereby make demands of your company in regards to the following points.

1. C-JeS is a business entity officially registered in Korea in December 2009, its size and organization composition can be viewed by anyone on the company registry. Furthermore, your company’s Vice President has, on his Twitter, revealed his close relationship with the representative of C-JeS. Thusly your company’s assertion that you did not know about the past of C-JeS’s representative before signing the contract is entirely unconvincing.

If (despite the foregoing) your company still insists that you did not know about the past of C-JeS’s representative, and uses such as a reason to suspend the contract, then was it not a neglect of duty on your company’s part as a public listed company to do due diligence on your business partner before the fact?

2. In Korea, JYJ has been appointed to promote the G20 Summit, to promote the Overseas Korean Trader Association as honorary ambassadors, and to promote other internationally recognized Korean enterprises. Their entertainment activities have not been hampered by the fact that C-JeS is their management company.
To use a reason that did not cause any problem in (JYJ’s) home country, that the representative of C-JeS has himself denied, and to give the Japanese society false and negative impression of JYJ, we find your ground (that the reason was based on) to be very questionable.

3. When JYJ began their Japanese activities in April 2010, the problem regarding the affirmation of the three’s exclusive contract with SM was already resolved by the October 2009 court decision. Consequently, the reason your company used to suspend JYJ’s activities, “Depending on the progress of the exclusive contract affirmation lawsuit between JYJ’s three members and SM, there is a possibility that their exclusive contract with our company may become invalid” (quote from Avex’s official statement) has been rendered a non-issue.
Rather, it (the contract issue) was a problem that your company needed to resolve, as your company signed exclusive contract with JYJ while the contract signed (by Avex) with SM as Tohoshinki remained in effect, we feel your logic to make the issue a problem with JYJ is very questionable.

4. When your company, in spite of the aforementioned circumstances, used corporate compliance as a reason that your company would no longer provide management services to the three, it meant that the contract could no longer be maintained as per normal. To restrain the three with the contract while not letting them to engage in entertainment activities, we must say is very socially unjust behavior. We find it very hard to understand that in spite of the fact that both JYJ and their fans desire for (JYJ’s) Japanese activities, such a condition (the suspension of activities) has continued for as long as 8 months.

5. Moreover your company, while suspending (JYJ’s) activities in such a manner, continue to sell JYJ’s music CDs, DVDs among other products. What is more, these products were what Oricon addressed in their explanatory note as “products that were determined by your company prior to their sales to not be reflected on the Oricon ranking chart.” Notwithstanding the fact that those products were subject to such extremely unusual measures, with no advance notice given, (the action by Avex to disallow sales results of those products to be reflected on Oricon ranking chart) disappointed fans who despite feeling it’s questionable to sell (JYJ’s) products during their activity suspension, bought the products in an effort to support JYJ, and also made JYJ miss the opportunity to show their high popularity to the general public.
In April 2010, when the announcement to halt Tohoshinki activities was made, your company has declared, that “Our company intends to continue fully supporting respectively these five individuals, who are extraordinarily talented young people with a future”.

Yet for us fans who have devotedly waited for JYJ’s return since last September, we have already been deprived the chance to be close to JYJ’s music for 8 months, while your company has in effect relinquished the management of the three.

We as consumers and fans, seek (your company’s) explanation for this inconsistent situation. If there is no possibility of improvement of the current situation, (we ask you to) please as soon as possible resolve the contract problem (work out the validity or invalidity of your contract with the three), and return JYJ to their supporting fans.

We wish for the three young people with extraordinary talent, Jejung, Yuchun, and Junsu to be granted freedom to embark on a new journey of music activities, for us fans to be able to freely enjoy their music.
Note: we have not consulted Cjes or JYJ’s three members prior to writing this demand letter, the letter is presented by the Japanese fans who volunteered to participate. We ask for your understanding of this fact.

April 19, 2011

JYJ’s Japanese Fans

Source: @TheJYJfiles & Shomei.tv
English Translation by: Starfield
Shared by: iXiahCassie
Our Source: iXiahcassie

Letter of (Almost) Resignation: Final Confessions Part III

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LETTER OF (ALMOST) RESIGNATION: FINAL CONFESSIONS PART III

Posted on April 25, 2011 by The JYJ Files

Letter of (Almost) Resignation: Final Confessions, Part III

In any case, as a Korean Government employee and representative, my loyalty lies first and foremost to Korea before the Korean Wave. My responsibility is to serve Koreans—including the idol singers under SM—not the Korean Wave. JYJ’s fight and plight is clearly exposing that, under the circumstances engineered by companies like SM, the latter is destroying the former. The social context of the lawsuit and the certain characteristic elements of the Kpop fandom reveal that not everything associated with the Korean Wave is beneficial to Korea or Koreans. If anything, a great many aspects of the Korean idol boom and its internationalisation have left me deeply disturbed, if not downright afraid, on behalf of our singers and citizens. As attractive as the commercialised components of it are—the slick music videos, cool fashion and complex stage performances—it is ultimately disseminating the image of Koreans as disposable products or exotic performing circus monkeys. One only needs to peruse the comments on high-traffic English-language Kpop sites to understand that this way of marketing Korean artists does not necessarily garner respect for Koreans or genuine admiration for the country’s culture—a culture that survived its unfortunate geopolitical position, wars, neo-Confucian oppression/repression, annexation, division, extreme poverty and more to accomplish in 60 years what it took Western countries 200, a rare and unique example of economic development and citizenship empowerment. Surely such a culture and its descendants deserve far more than to be regarded as a disposable Internet byte.

Not too long ago, Korean netizens were fuming over articles, blog posts and/or cartoon strips originating from Japan that portrayed Korean girl groups as little more than sex objects[i]. Koreans attacked the Japanese for their racism and low regard for Koreans, but, in all seriousness, were they in a position to level such criticism? After all, it’s not as if girl groups or idols are regarded any differently in Korea—ultimately, they are all objects, sexual or otherwise. So, who can blame the Japanese, or any other non-Korean group of ‘fans’ for that matter, when they are simply acting on what they learned from the original source? Idol singers…written off as products in Korea…and thus treated as sexual objects everywhere else. If this is the face of the Korean Wave, I daresay it’s not worth preserving. For the security and moral integrity of our citizens, this kind of Korean Wave is best dismantled.

Without Korea there would be no Korean Wave, and without Koreans there would forcibly be no Korea. Therefore, I strongly believe that a sustainable Korean Wave will have at its centre talented Koreans (along with an accountable infrastructure that cultivates and supports their well-being and potential) NOT faceless, shameless entertainment companies.

Thus, inasmuch as SM needs JYJ to fail, Korea, and more specifically the Korean music industry, needs JYJ to succeed. Every stable, thriving and/or critically acclaimed music industry has artists occupying the middle ground between the commercialised pop idols and serious indie musicians, artists who act as the fulcrum, and buffer, harmonising the two extremes. Industry size ultimately doesn’t matter. This principle applies to the music market in the United States—where the likes of Madonna, Prince and Michael Jackson were allowed to grow from teen idols to music icons with merit in their own right—as well as the music markets of Iceland and South Africa, both of which have produced Grammy Award-winning artists[ii]. Korea needs artists like JYJ. The Korean Wave needs artists like JYJ, artists with pop idol roots but who grow to become acknowledged as artists in their own right, bringing stability to the entire industry by doing so and securing its future by sticking around to cultivate the next generation of pop singer-songwriters. And so I have always believed that not only JYJ fans but also those who truly value Korea, the Korean arts and the Korean Wave will support JYJ.

What the Korean Wave ultimately needs are leaders that, first of all, truly love Korea and also respect and understand the value of Art. Art is not a Slot Machine but a complex and capricious muse that will only play second-fiddle mistress to SadoMasochistic perverts for so long. By all indications, she has already grown tired of the game with said perverts and has found a new patron that truly appreciates her. The C’est si bon show, which gathered the artists of the Korean folk music movement of the 1960s and 70s for a studio concert that was broadcast live, garnered jaw-dropping ratings[iii], even among the young, and YG Entertainment is fast rising in prominence as a model for the future of Kpop business ethics and artistic success[iv] (though given its recent ill-judged dive into the cartel world through UAM, it remains to be seen if or, rather, how much, YG will sell out, since it will now have to harmonise its position with that of the likes of SM).

What the Korean Wave needs are more Seo Taijis and Yang Hyeonseoks (CEO of YG Entertainment) as opposed to Lee Soomans and Kim Youngmins, more DFSB Kollectives[v] as opposed to Melon or Dosirak, and an industry environment where the likes of Fluxus and C-JeS can compete alongside the likes of JYP and Cube.

And so, in the end, in attempting to leave my last words on JYJ, I have strayed far from our favourite trio and have ended up on policy recommendations for the sustainability of the Korean Wave. Nonetheless, I hope my readers can see the logical connections between all the points that got me here. Also, I hope that the readers of The JYJ Files can now see why I never considered JYJ’s plight to be a question of Kpop or fandoms but rather one of justice and State sovereignty. In fact, I believe SM has been trying for a long time to trivialise the matter into a conflict between fandoms, pitting in its discourse the JYJ fandom against either the HoMin fandom or the fandoms of other SM artists. In my view, it is so much bigger than that, and it is my wish that the international JYJ fandom does not fall to the trivialisation ruse. As I have said above, SM—in drafting and enforcing the kind of contracts that it did, in continually disobeying the mouthpiece of the Korean State, and in defrauding Korean taxpayers—has meddled in the one area the Korean State cannot tolerate—its exclusive sovereign authority—and consequently has come to symbolise the antithesis of post-G20 Korea and a force that hates the Republic of Korea and her citizens.

More than anything, I would like the international JYJ fandom to be a fandom that truly loves Korea and Koreans…that cares enough about Korea to have high expectations of it and hold it accountable to those expectations…a fandom that loves the members of JYJ as Koreans and human beings with talent. I don’t know how much I’ve convinced you that to love Korea in practicality means hating SM, but the only effective response will be to NOT get bogged down in fights with either the HoMin fandom or the fandom of other SM idols. At the most fundamental level, this is not a fight between SM fans and JYJ fans. It is not even a fight between SM and JYJ. It is a fight between the SM system and the Korean State. Therefore, I am convinced that the only effective response is to pressure the Korean Government. Continue writing and emailing relevant ministries and communicating with them through projects like the international fans’ petition. As international consumers of the Korean Wave who are fully aware of the prevailing conditions, you have immense potential to influence policy on the labour standards in the Korean entertainment industry and to effectively protect the artists you love.

In many ways, you boast a power Korean fans cannot even dream of, as the ripple effects of the international fans’ petition have already shown. I remember on the day of the interview I gave to the Chosun Ilbo, I told an impressed reporter that there were an unimaginable number of people outside of Korea who have never been to Korea before but who loved Korean culture. “Korean culture no longer belongs solely to Koreans,” I said, and this part made it to the actual article. What didn’t make it into the article is that I went on to say, “Now that Korean pop has garnered an audience beyond Korea and has gone truly global, it must meet the international expectations of its international audience. If only to retain the economic prowess and global appeal of Korean music, we cannot afford to ignore the opinions and demands of the international consumers.” These standards and expectations, being international, are ultimately yours to define, not Koreans’. Your mobilisation will thus benefit not only Kim Jaejoong, Park Yoochun and Kim Junsu, but future ambassadors of the Korean arts, music and pop culture as well. Ultimately, your voice will prove the most effective in realising positive change in the Korean pop music industry. As such, I consider you all (including all those who participated in the international fans’ petition) as true Friends of Korea and decent human beings. JYJ could not ask for better admirers, and Korea could not ask for better supporters. I thank you all immensely from the bottom of my heart. Please don’t change, and may your numbers grow.

Be encouraged! Be empowered!

Yours Sincerely,

Jimmie Kim

[i] http://www.koreaherald.com/national/Detail.jsp?newsMLId=20110113000615

[ii] http://icelandreview.com/icelandreview/daily_news/?cat_id=16567&ew_0_a_id=319769. See also, http://www.timeslive.co.za/entertainment/article795444.ece/Soweto-Gospel-Choir-gets-a-Grammy-nod

[iii] http://www.allkpop.com/2011/03/yges-yang-hyun-suk-talks-about-the-changes-in-the-music-industry

[iv] http://www.allkpop.com/2011/01/yg-entertainment-attracts-the-attention-of-musicians-known-worldwide. See also, http://www.allkpop.com/2011/01/is-yg-entertainment-the-solution-to-the-korean-music-industry

[v] http://www.dfsb.kr/ . The company is better known as the distributor of Korean music for Apple’s iTunes in North America. Unlike the Korean Internet music download distributors, DFSB does not slash prices at the artists’ expense and invests a chunk of their profit into promoting a new Korean indie or underground musician each year. This year, it’s Seoulsonic.

Written by: Jimmie of TheJYJFiles
Source: thejyjfileswordpress.com

I believe it reasonable to allow our guy…

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I believe it reasonable to allow our guys some personal space. They give a lot. Is it too much to ask that they be given a chance to rest and recuperate from their work? Momma Cha

News: Park Yoochun Pleads for ’sasaeng’ Fans To Stop

JYJ’s Park Yoochun recently expressed his frustrated feelings about sasaeng fans.

On March 12th, the star left the following message on his personal Twitter: “Please don’t follow us. Don’t come to our house either. Sasaeng!” ‘Sasaeng’ is a term meant to describe a particular group of fans who stalk their favorite star’s private lives and every movement with an emotion that exceeds a normal fan’s.

Netizens responded, “I think Park Yoochun is suffering a lot because of sasaeng fans that follow him to his house”, and “Love expressions towards celebrities should have some restraint.”

Source: Sports Chosun via Daum
credit: allkpop
Our Source: sharingyoochun.net

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