韓國(guó)造星產(chǎn)業(yè)化 一條龍"生產(chǎn)線"

At a rented theatre on a Saturday night in Seoul, 20self-conscious young talents stand awkwardly,some of them in tears, in front of hundreds ofcheering friends and relatives.

周六晚上，在首爾的一個(gè)租來(lái)的劇院里，20個(gè)年輕選手有些局促地站在臺(tái)上，一些人眼里還有淚水，臺(tái)下是數(shù)百名為他們加油的朋友和家人。

All have been working towards this moment foryears, before passing through preliminary auditionsstaged by JYP Entertainment, one of South Korea’sbiggest music production companies. Then came sixweeks of intensive training for this climactic performance, after which only three are handedthe bouquets that signify the offer of a training contract.

所有人都為這一刻努力了多年，他們先是通過(guò)JYP Entertainment公司的初選，之后接受了6個(gè)星期的密集培訓(xùn)，而這次表演就是培訓(xùn)后最終的高潮部分。在表演結(jié)束后，只有3人能拿到花束，代表簽訂培訓(xùn)合同的邀約。JYP是韓國(guó)最大的音樂(lè)制作公司之一。

“I’ve been working so hard for five years, and now I’ve finally made it,” Kim Byung-kwan tellsthe audience, clutching the flowers and visibly overwhelmed after being named champion of theevening.

“我已經(jīng)辛苦努力了5年，現(xiàn)在我終于做到了，”Kim Byung-kwan向觀眾們說(shuō)，手里緊握著花束，顯然已被成為當(dāng)晚冠軍帶來(lái)的巨大喜悅壓倒。

The stakes are high for these young hopefuls, who have the opportunity to becomesuperstars not only in South Korea but across Asia, and increasingly beyond. Psy’s 2012 rap hitGangnam Style — so popular that it recently forced YouTube to recalibrate its counting systemfor video views — is only one example of the growing clout of South Korean popular music,which hauled in revenues of Won4.4tn ($4.1bn) in 2013, according to the Korea CreativeContent Agency.

對(duì)這些渴望成功的年輕人來(lái)說(shuō)，獎(jiǎng)賞是豐厚的。他們將有機(jī)會(huì)成為韓國(guó)、乃至整個(gè)亞洲的超級(jí)明星，甚至越來(lái)越有可能在更多地方揚(yáng)名。樸載相(Psy)2012年的熱門(mén)Rap單曲《江南Style》(Gangnam Style)太過(guò)流行，以至于YouTube最近不得不為其重新校準(zhǔn)視頻播放次數(shù)計(jì)數(shù)系統(tǒng)。這只是韓國(guó)流行音樂(lè)日益增長(zhǎng)的影響力的一個(gè)例子而已。根據(jù)韓國(guó)文化產(chǎn)業(yè)振興院(Korea Creative Content Agency)統(tǒng)計(jì)，2013年韓國(guó)流行音樂(lè)產(chǎn)業(yè)共實(shí)現(xiàn)4.4萬(wàn)億韓元(合41億美元)的收入。

With its slickly choreographed videos and addictively energetic sound, K-pop commandsobsessive followings across Southeast Asia, China and Japan, and has established firmbeachheads in Europe, the US and Latin America. Its international success, along with that ofthe country’s melodramatic soap operas, reflects the glamorous image of a country that hasgone from one of Asia’s poorest states to one of its richest in two generations.

韓國(guó)流行音樂(lè)(K-pop)以舞蹈動(dòng)作精美的視頻和令人著迷的動(dòng)感音樂(lè)贏得了來(lái)自東南亞、中國(guó)和日本的大批癡迷的追隨者，并在歐洲、美國(guó)和拉美建立了堅(jiān)固的灘頭陣地。在兩代人的時(shí)間里，韓國(guó)從亞洲最貧窮國(guó)家之一一躍成為亞洲最富裕的國(guó)家之一。韓國(guó)的流行音樂(lè)以及情節(jié)夸張的肥皂劇在國(guó)際上的成功，正展現(xiàn)了這個(gè)國(guó)家富于魅力的一面。

Most of the music profits from what has come to be known as the “Korean wave” are taken by ahandful of huge production companies, often named after the initials of their former pop starfounders. JYP, for example, was founded by Park Jin-young, a popular singer in 1990s SouthKorea.

在所謂的“韓流”文化中，大部分音樂(lè)方面的盈利都流入了少數(shù)大制作公司的囊中。這些公司通常以它們?cè)?jīng)身為流行歌星的創(chuàng)始人的名字縮寫(xiě)命名，比如，JYP的創(chuàng)始人樸軫泳(Park Jin-young)就是韓國(guó)上世紀(jì)90年代的流行歌手。

The companies manage every step of the music-making process — recruiting singers as youngas their early teens, and grooming and training them before forming groups from the mosttalented and marketing them around the world.

這些公司控制了音樂(lè)制作流程的每一個(gè)步驟——在歌手們還在青少年初期的時(shí)候就招募他們，對(duì)他們進(jìn)行栽培和訓(xùn)練，然后挑選最有才能的人成立組合，并推向全世界。

A browse through a JYP investor presentation shows how the industry has taken theconcept of the manufactured band to a new level. One slide breaks down planned releases forthe year ahead: one quarter will bring a single from the as yet unannounced “boy band I”, whilethe next will herald releases from “girl band” and “boy band II”.

瀏覽一下JYP的一份投資者介紹，就會(huì)發(fā)現(xiàn)這個(gè)行業(yè)已經(jīng)把“打造樂(lè)隊(duì)”的理念提升到了一個(gè)新高度。一張幻燈片分條說(shuō)明了下一年的發(fā)布計(jì)劃：一個(gè)季度將推出一個(gè)尚未宣布的“男孩樂(lè)隊(duì)一”的一首單曲，下一個(gè)季度將預(yù)告“女孩樂(lè)隊(duì)”和“男孩樂(lè)隊(duì)二”的新唱片發(fā)布。

The largest production company, SM Entertainment, alone made overseas revenues of about$100m last year, up from $8m in 2008, according to analyst estimates at KDB DaewooSecurities.

根據(jù)KDB大宇證券(KDB Daewoo Securities)的分析師估計(jì)，僅最大的制作公司SM Entertainment一家，去年就創(chuàng)下了約1億美元的海外收入，而2008年這個(gè)數(shù)字僅為800萬(wàn)美元。

It has produced two iterations of one of its most popular boy bands: the six members of EXO-K sing in Korean, while their counterparts in EXO-M perform the same songs in Mandarin forthe huge Chinese market.

SM公司為旗下最火的男孩樂(lè)隊(duì)之一打造了兩個(gè)版本：成員共6人的EXO-K以韓語(yǔ)演唱，而對(duì)應(yīng)的EXO-M的6名成員則瞄準(zhǔn)巨大的中國(guó)市場(chǎng)，用中文演唱同樣的歌曲。

The aspiring performers can be subject to tough training regimes and strict labour contracts,says Stella Kim, an early member of what has become South Korea’s most popular pop group,Girls’ Generation. In the days before a performance, dance and singing training would runfrom 10am till well after midnight.

金賢京(Stella Kim)說(shuō)，這些雄心勃勃的藝人可能必須服從嚴(yán)格的訓(xùn)練制度和苛刻的勞動(dòng)合同。在表演前的日子里，舞蹈和歌唱訓(xùn)練會(huì)從上午10點(diǎn)持續(xù)到午夜以后。金賢京曾是少女時(shí)代(Girls' Generation)的早期成員，這個(gè)組合后來(lái)成為韓國(guó)最當(dāng)紅的流行樂(lè)團(tuán)。

When the time came for Ms Kim to turn professional at SM, her parents baulked at the 13-year contract she was of­fered in her teens, which would have banned her from working forany other entertainment company during that time and given SM all rights to her name andimage, while placing swingeing limits on her share of the band’s earnings. “They said, ‘We can’tsign our daughter up to slavery,’” she recalls.

金賢京即將轉(zhuǎn)為SM公司的職業(yè)藝人時(shí)，當(dāng)時(shí)僅有十幾歲的她接到了一紙為期13年的合約。這份合約禁止她在合約期間接受任何其他娛樂(lè)公司的工作，要求她將有關(guān)名字和形象的所有權(quán)利移交給SM公司，還將她對(duì)樂(lè)隊(duì)收入的分成壓到低得不能再低的程度。對(duì)著這份合約，金賢京的父母猶豫了。金賢京回憶著說(shuō)：“他們說(shuō)，‘我們不能讓女兒簽訂奴隸條約’。”

Despite changes aimed at boosting artists’ rights, controversy over restrictive contractscontinues. In November, the six members of boy band BAP sued its agency over their seven-year “slave contracts”, claiming each member had been paid only Won18m over two years,despite generating about Won10bn in revenue for the company.

盡管已經(jīng)有一些旨在提高藝人權(quán)利的改變，圍繞限制性合同的爭(zhēng)議仍然存在。去年11月，男子樂(lè)隊(duì)BAP的六名成員因?yàn)橐环?年的“奴隸合約”將所屬經(jīng)紀(jì)公司告上法庭，聲稱(chēng)他們?yōu)楣緞?chuàng)造了高達(dá)100億韓元的收入，但每個(gè)樂(lè)隊(duì)成員在兩年間的薪資僅為1800萬(wàn)韓元。

“The whole training process becomes a kind of debt that you owe to the company,” says MarkRussell, author of two books on the industry, K-pop Now and Pop Goes Korea.

“整個(gè)培訓(xùn)過(guò)程變成了你欠公司的一種債，”馬克•羅素(Mark Russell)說(shuō)。他著有兩本關(guān)于韓國(guó)娛樂(lè)業(yè)的書(shū)，《韓流正當(dāng)時(shí)》(K-pop Now)和《韓流襲來(lái)》(Pop Goes Korea)。

Meanwhile, one of the country’s most prominent plastic surgeons estimates privately thatmore than 90 per cent of K-pop hopefuls undergo cosmetic surgery, further claiming thattrainees may be obliged to reimburse their agency for the cost if they are not chosen for aprofessional group.

同時(shí)，據(jù)韓國(guó)最知名的一位整形醫(yī)師私下估計(jì)，在韓國(guó)流行音樂(lè)界，超過(guò)90%的年輕藝人都接受過(guò)整容手術(shù)。此外，這位醫(yī)師還稱(chēng)，培訓(xùn)生如果未被選中進(jìn)入職業(yè)樂(lè)團(tuán)，或許必須向所屬經(jīng)紀(jì)公司償還整容手術(shù)的費(fèi)用。

The process of bringing new singers to the market has become ever more systematic, saysKim Hyung-kyu, head of talent at Cube Entertainment, an agen­cy behind some bands withhuge followings across Asia, which has started holding shows in Brazil and Europe.

Cube Entertainment的藝人負(fù)責(zé)人Kim Hyung-kyu說(shuō)，把新歌手推向市場(chǎng)的流程已經(jīng)變得越來(lái)越系統(tǒng)化。該公司旗下有幾支在亞洲有大批擁躉的樂(lè)隊(duì)，已經(jīng)開(kāi)始在巴西和歐洲舉辦演出。

“Companies used to just select artists who were good, improve them a bit, and go to debut.Now we consider the de­mand first, which market to target, before we start working on thebands.”

“過(guò)去音樂(lè)公司往往先挑選優(yōu)秀的藝人，稍微提升一下他們的才藝，然后就出道?，F(xiàn)在，在開(kāi)始組建樂(lè)隊(duì)前，我們先考慮需求，考慮要瞄準(zhǔn)哪個(gè)市場(chǎng)。”

In a five-strong band, Mr Kim says, one member should be fluent in English, with two Chinese-speakers and two Japanese speakers. One of Cube’s new bands includes a Thai singer, which itex­pects to help the group crack that country’s lucrative music market. To motivate thetrainees, seven hopefuls might be made to compete for five positions in a new band.

他說(shuō)，在5人樂(lè)隊(duì)里，一個(gè)成員應(yīng)該能說(shuō)流利的英語(yǔ)，兩名成員會(huì)說(shuō)中文，還有兩名會(huì)說(shuō)日語(yǔ)。Cube公司旗下的一支新樂(lè)隊(duì)里有一名泰國(guó)歌手，該公司希望這有助于樂(lè)隊(duì)打入泰國(guó)利潤(rùn)豐厚的音樂(lè)市場(chǎng)。為了激勵(lì)培訓(xùn)生，公司可能要求7名年輕人角逐新樂(lè)隊(duì)的5個(gè)位置。

“Out of 10,000 people who audition, only 100 will become trainees, and out of 100, only 10can become a popular singer. And out of those 10, only one will really be a star,” he says.

“在10000個(gè)參加選拔的人中，只有100人能成為培訓(xùn)生，在這100人中，只有10人能成為流行歌手。而在這10人中，只有1人能真正成為明星。”

Competition is equally fierce among the agencies themselves, with a steady stream offledgling companies springing up to challenge established names. Hwang Hyung-chang, aformer advertising consultant, set up Chrome Entertainment in 2012 with an idea for a quirkyfive-piece girl group and just Won10m in the bank.

經(jīng)紀(jì)公司之間的競(jìng)爭(zhēng)同樣非常激烈，不斷有新公司涌現(xiàn)出來(lái)，挑戰(zhàn)老牌公司的地位。當(dāng)過(guò)廣告咨詢師的HwangHyung-chang在2012年成立了Chrome Entertainment。當(dāng)時(shí)銀行賬戶里只有1000萬(wàn)韓元的他想要打造一支風(fēng)格古怪的5人女子樂(lè)隊(duì)。

“I did as much as I could by myself — styling, shooting photos, cover designs,” Mr Hwang saysin the recording studio of his agency, its name tattooed on his forearm.

“我做了自己力所能及的一切事情——造型、攝影和封面設(shè)計(jì)，”Hwang Hyung-chang在他的公司里的一間錄音棚里說(shuō)。他的小臂上紋了公司的名字。

The resultant band — Crayon Pop — shot to fame in 2013 with its debut single “Bar Bar Bar”,catching attention with their matching crash helmets and dance routine modelled on a pistonengine. The band was invited to open concerts for Lady Gaga and Mr Hwang says Crayon Pop’shit earned Chrome $2m in the year after its release, helping to fund recruitment of several newacts.

他組建了一支叫做Crayon Pop的樂(lè)隊(duì)。2013年，Crayon Pop以出道單曲“Bar Bar Bar”一炮而紅，MV中的女孩子戴著一樣的安全帽，編舞動(dòng)作像活塞式發(fā)動(dòng)機(jī)一樣，吸引了人們的眼球。該樂(lè)隊(duì)曾受邀作為L(zhǎng)ady Gaga演唱會(huì)的開(kāi)場(chǎng)嘉賓。Hwang Hyung-chang說(shuō)，在Crayon Pop出道的那一年，樂(lè)隊(duì)的成功為Chrome公司創(chuàng)造了200萬(wàn)美元的收入，給公司招募新藝人提供了資金。

“In this industry, it’s not really about how much you have in the bank,” says Mr Hwang. “It’sabout how long you’re able to survive.”

他說(shuō)：“在這個(gè)行業(yè)，重要的不是你的銀行賬戶里有多少錢(qián)，而是你能存活多久。”