It is brighter, more dynamic, and more calculated.

它更明亮、更有活力、更有心計。

Its styles and genres constantly shift, and the song sections rapidly change.

它的風格和流派不斷變換，歌曲部分也迅速變化。

From the high-cost music video sets to the tightly coordinated choreography, it seemed like the end result of work done by a large number of people with the utmost technicality.

從高成本的音樂錄影帶佈景到緊密配合的舞蹈編排，這似乎是大量人員以最高技術水平完成工作的最終結果。

I decided to look into the history behind the genre, and although I always knew that the process would be highly manufactured, its extent surprised me.

我決定研究一下這一流派背後的歷史，雖然我一直知道這一過程是高度人工化的，但其程度卻讓我大吃一驚。

To understand K-pop, we must look at several factors, beginning with South Korea's history.

要了解 K-pop，我們必須從幾個因素入手，首先是韓國的歷史。

From the very beginning, South Korea was built partially as a US proxy state to combat the rise of communism.

從一開始，韓國就部分地作為美國的代理國來建立，以對抗共產主義的崛起。

It was established in 1948 during the Cold War, when preventing the rise of communism was one of the USA's top priorities.

它成立於 1948 年冷戰時期，當時防止共產主義崛起是美國的首要任務之一。

Because of this, the US appointed anti-communist dictator Syngman Rhee, as South Korea's first president, who began extrajudicial imprisonments and executions of leftists, even leading to civilian massacres.

是以，美國任命反共獨裁者李承晚（Syngman Rhee）為韓國首任總統，並開始對左翼分子進行法外監禁和處決，甚至導致平民大屠殺。

The government received such vast sums of American aid that it would almost near the total size of the entire national budget.

政府獲得的鉅額美國援助幾乎接近整個國家預算的總和。

Following a student uprising, Syngman Rhee resigned, and the following political turmoil was broken by General Park Chung-hee, who took over as president in a coup.

學生起義後，李承晚辭職，朴正熙將軍通過政變接任總統，打破了隨後的政治動盪。

Being an anti-communist dictator, Park Chung-hee was supported by the US as well, and continued South Korea's political repression against leftists.

作為一名反共獨裁者，朴正熙也得到了美國的支持，並繼續在政治上鎮壓左翼分子。

The US especially increased their economic and military aid because of South Korea's alliance with the US in the Vietnam War.

由於韓國在越南戰爭中與美國結盟，美國特別增加了對韓國的經濟和軍事援助。

Six days after Park Chung-hee was assassinated, another dictator, General Chun Doo-hwan, took over, and facing national protests, enforced martial law, leading to another civilian massacre.

朴正熙被暗殺六天後，另一位獨裁者全斗煥將軍上臺，面對全國性的抗議，他實施了戒嚴令，導致了另一場平民大屠殺。

It was only in 1988, following nationwide protests against the government, that South Korea finally enacted democratic reforms and held presidential elections.

直到 1988 年，在全國範圍的反政府抗議活動之後，韓國才最終進行了民主改革並舉行了總統選舉。

These were won by Roh Tae-woo, making South Korea a liberal democracy, which led to a liberalization of South Korea's culture.

盧泰愚贏得了這些勝利，使韓國成為一個自由民主國家，這也導致了韓國文化的自由化。

This history relates to K-pop in three ways.

這段歷史在三個方面與 K-pop 有關。

An increase in South Korea's wealth, strict media censorship, and few workers' rights.

韓國財富增加，媒體審查嚴格，工人權利少。

Because of the dictatorial nature of South Korea's history before this, there was almost no thriving pop industry in the country until the 90s, which explains the lack of documented South Korean record labels founded earlier than the 90s.

在此之前，由於韓國曆史上的獨裁統治，在 90 年代之前，韓國幾乎沒有繁榮的流行音樂產業，這也解釋了為什麼缺乏早於 90 年代成立的韓國唱片公司的記錄。

The censorship and traditional values enforced by South Korea's dictators were overarching, and entirely changed the trajectory of South Korean pop culture.

韓國獨裁者強制推行的審查制度和傳統價值觀影響深遠，完全改變了韓國流行文化的發展軌跡。

Western pop music developed with phonographs and radio stations.

西方流行音樂是隨著留聲機和廣播電臺發展起來的。

South Korean pop music, on the other hand, developed with the television.

而韓國的流行音樂則是隨著電視的發展而發展的。

Until the 90s, South Korea had only two TV channels, which meant they essentially had a monopoly on the country's popular music.

上世紀 90 年代以前，韓國只有兩個電視頻道，這意味著它們基本上壟斷了韓國的流行音樂。

Because of its development in television, South Korean pop music has the focus on looks, fashion, and choreography that we see up to this day.

由於其在電視領域的發展，韓國流行音樂對外觀、時尚和舞蹈的關注一直延續至今。

The music segments on those TV channels were known as the star system.

這些電視頻道的音樂節目被稱為明星系統。

The broadcasting station would provide studio bands, choreographers, music arrangers and conductors, lyricists and songwriters, and dance groups, and then require the star to sing on stage with them.

廣播站會提供錄音室樂隊、舞蹈編導、音樂編曲和指揮、詞曲作者和舞蹈團體，然後要求明星與他們同臺演唱。

Because the TV channels had a monopoly on pop music, pop stars would have absolutely no control over the creative process.

由於電視頻道壟斷了流行音樂，流行歌手完全無法控制創作過程。

The songwriting, the choreography, the production would all be chosen for them.

歌曲的創作、舞蹈的編排和製作都將由他們來選擇。

This is another aspect of South Korean pop music that we see up to this day.

這也是我們至今仍能看到的韓國流行音樂的另一個方面。

What we know as K-pop now really started in the early 90s, when with the advent of the internet, South Koreans became familiar with Western pop culture.

我們現在所熟知的 K-pop 其實始於 90 年代初，當時隨著互聯網的出現，韓國人開始熟悉西方流行文化。

This led to the formation of The Boys, who combined Korea's pop music with the Western influences of rap, rock, techno, and R&B, and started the craze that we know today.

他們將韓國的流行音樂與說唱、搖滾、電子樂和 R&B 等西方音樂相結合，掀起了我們今天所熟知的音樂熱潮。

Additionally, the 90s were marked by a shift in the South Korean economy, from a focus on automobile, chemical, construction, and electronics industries, to a vast increase in the culture industries, which incentivized the establishment of K-pop managerial companies, the biggest of which to this day are SM Entertainment, YG Entertainment, and JYP Entertainment.

此外，90 年代是韓國經濟轉型的標誌，從以汽車、化工、建築和電子產業為主轉向文化產業的大幅增長，這刺激了 K-pop 管理公司的成立，其中最大的公司是 SM Entertainment、YG Entertainment 和 JYP Entertainment。

However, despite this shift to cultural industries, the work ethic remained the same.

然而，儘管向文化產業轉移，工作倫理卻沒有改變。

SM Entertainment, led by Lee Soo-man, initially produced musician Hyun Jin-young, whose debut was a failure, leading to a net loss for the company.

由李秀滿上司的 SM 娛樂公司最初製作了音樂人玄振英，但玄振英的首演失敗，導致公司淨虧損。

After this, Soo-man decided to create a new system, in which the creation of K-pop stars would be entirely systemized, calculated, and under the control of the company.

在此之後，秀滿決定創建一個新的系統，在這個系統中，K-POP 明星的創造將完全系統化、計算化，並由公司控制。

As Hannah Waitt describes in The History, Development, and Future of K-pop in the Korean Music Industry, Soo-man therefore developed what is now referred to as the in-house system.

正如漢娜-威特（Hannah Waitt）在《韓國音樂產業中 K-pop 的歷史、發展和未來》（The History, Development, and Future of K-pop in Korean Music Industry）一書中所描述的那樣，秀滿是以開發出了現在所說的內部系統。

No longer would SM only produce their artists, they would control every aspect of the artist's career, as seen in the company objectives, to plan, make, and circulate discs, to control music publishing, licensing, and advertising, to provide agents and managers, to organize events, and to operate a star-making academy.

從公司的目標中可以看出，SM 公司不再只是為藝人制作唱片，而是要控制藝人職業生涯的方方面面，包括策劃、製作和發行唱片，控制音樂出版、許可和廣告，提供經紀人和經理人，組織活動，開辦造星學院。

Everything was now housed under the roof of that shabby white building in Apgujeong.

現在，一切都被安置在狎鷗亭那幢破舊的白色建築的屋頂下。

In the SM building, every position was staffed, lyricists, songwriters and arrangers, recording engineers, managers, agents, choreographers, design coordinators, image consultants, dance, vocal, and acting instructors, marketing executives, and of course, the CEO and The system ended up being a great success, and every major South Korean managerial company to this day follows it.

在 SM 大樓裡，每個崗位都配備了工作人員，包括作詞家、作曲家和編曲家、錄音工程師、經理、經紀人、舞蹈編導、設計協調員、形象顧問、舞蹈、聲樂和表演指導、營銷主管，當然還有首席執行官。

But what is the process behind generating South Korea's idols?

但是，韓國偶像產生的過程是怎樣的呢？

It typically begins with young students participating in company-run auditions.

一般來說，首先是青年學生參加公司組織的試鏡。

If the company decides that an applicant is talented enough, they become a trainee.

如果公司認為應聘者有足夠的才能，他們就會成為實習生。

As a trainee, you begin intense musical and choreographical training.

作為一名實習生，你將開始緊張的音樂和舞蹈訓練。

They have to sacrifice all guarantees of personal freedom, sleep, and comfort.

他們必須犧牲個人自由、睡眠和舒適的一切保障。

While living in small apartments, trainees are monitored for height, weight, and figure.

學員們住在小公寓裡，身高、體重和身材都受到監控。

Some contracts include agreements to undergo plastic surgery.

有些合同包括接受整形手術的協議。

Social media and dating are not allowed.

不允許使用社交媒體和約會。

Several hours of singing and dancing classes have to be attended every day, all while attending school.

在上學期間，每天都要上幾個小時的歌唱和舞蹈課。

The training period can last up to five years, sometimes even more, and at absolutely any point, the company can drop you without a second chance if you do not live up to their standards.

培訓期可能長達五年，有時甚至更長，如果你達不到公司的標準，公司完全可以在任何時候放棄你，沒有第二次機會。

It is not only musical and choreographical capabilities that are tested.

考驗的不僅僅是音樂和舞蹈能力。

Trainees are often deliberately put down, hurt, and discouraged to test their mental endurance.

受訓者經常被故意放倒、傷害和打擊，以考驗他們的心理承受能力。

Stories of abuse abound.

虐待的故事比比皆是。

Trainees have been forced to stand in line in front of a scale where their weight would be announced for everyone.

受訓人員被迫在體重秤前排隊，他們的體重會被公佈給所有人。

People whose weight had not gone down from last week would be bashed.

體重與上週相比沒有下降的人會受到抨擊。

Idols are forced to decrease their calorie intake, often leading to long-lasting eating disorders.

偶像們被迫減少卡路里的攝入量，往往導致長期的飲食失調。

Idol Jay Park has revealed that he was systematically abused during his training period, being hit for accidentally messing up lyrics or dance moves.

偶像周杰倫-樸（Jay Park）透露，他在訓練期間曾遭到系統性虐待，不小心弄亂歌詞或舞蹈動作就會被打。

Once a trainee is selected to finally become an idol, the struggles do not end.

一旦練習生被選中，最終成為偶像，奮鬥就不會結束。

The intense schedules persist.

緊張的日程安排仍在繼續。

The group Infinite was reported to have no furniture in their living room to make space for nighttime dance practice.

據報道，"無限 "組合的客廳裡沒有傢俱，以便為夜間舞蹈練習騰出空間。

There are images of idols sleeping on the practice floor or of being half-awake while waving at fans, as well as countless videos of them fainting from exhaustion while on stage.

偶像們在練習場上睡覺或半夢半醒地向粉絲揮手的畫面，以及他們在舞臺上累得暈倒的視頻數不勝數。

The contracts they sign as trainees have long-lasting effects, as they often have to repay their debt for the cost of singing and dancing lessons, their wardrobes, and living costs, among other things.

她們作為學員簽訂的合同會產生長期影響，因為她們往往需要償還歌唱和舞蹈課程的費用、衣櫃和生活費等債務。

They even have the term slave contract, specifically to refer to unfair K-pop contracts, some of which last up to 13 years.

他們甚至有 "奴隸合同 "一詞，專門指不公平的 K-pop 合同，有些合同長達 13 年。

The unrealistic body standards persist, idols often being shamed for their weight or being encouraged to undergo plastic surgery.

不切實際的身材標準依然存在，偶像們常常因體重而蒙羞，或被鼓勵接受整形手術。

And even after all this, idols are still often surprised and disappointed at the low wages they receive.

即便如此，偶像們還是常常對自己的低工資感到驚訝和失望。

Most of the money goes to managers, choreographers, producers, and wardrobe assistants, among others.

大部分錢都給了經紀人、舞蹈編導、製片人和服裝助理等人。

How do you slice a fraction of a penny and give that to an artist?

如何將一分錢的零頭切成小塊，然後交給藝術家？

You physically literally cannot do it.

你的身體確實無法做到這一點。

But how could a company have such a tight grasp on someone's contract?

但是，一家公司怎麼會對某人的合同掌握得如此嚴密呢？

I believe it to be mainly three reasons.

我認為主要有三個原因。

First of all, the state of workers' rights in South Korea.

首先是韓國工人的權利狀況。

In 2007, South Korea's minimum wage was $3,481, which is barely more than $3.

2007 年，韓國的最低工資為 3 481 美元，勉強超過 3 美元。

The state of labor unions is dire.

工會的狀況非常糟糕。

Businesses often hinder union activities without being sanctioned by the government.

企業往往在沒有得到政府準許的情況下阻礙工會活動。

Some companies set up so-called yellow unions, which are not independent and do not meet standards for collective bargaining.

一些公司成立了所謂的黃色工會，這些工會既不獨立，也不符合集體談判的標準。

Other companies design union-busting measures or hire private security firms to harass union members.

還有一些公司設計了破壞工會的措施，或僱用私人保全公司騷擾工會成員。

Often, South Korean businesses rely on hiring temporary workers, who they are not required to provide insurance benefits to, and fire full-time workers to save costs.

韓國企業往往依靠僱用臨時工來節省成本，因為他們不需要為臨時工提供保險福利，而解僱全職工人。

Even after the intense education that the majority of South Koreans go through, they still find difficulties becoming financially stable.

即使大多數韓國人都接受了高強度的教育，他們仍然很難實現經濟穩定。

And so they, as well as their parents, look for any chance to find a an increase in leisure time after World War II led to many musicians starting out independently, using their free time to start bands, write songs, and record music, where a record label deal would only come in later.

是以，他們和他們的父母一樣，尋找一切機會，尋找一個能讓他們的閒暇時間增加的機會。二戰後，許多音樂家開始獨立創業，利用閒暇時間組建樂隊、寫歌、錄製音樂，唱片公司的合約只會在以後才會出現。

The material conditions of South Korea did not allow for this.

韓國的物質條件不允許這樣做。

The necessity of intense studying and work leaves very little free time for common people to engage with music without the help of record labels and management companies.

由於需要緊張的學習和工作，如果沒有唱片公司和管理公司的幫助，普通人很少有空閒時間接觸音樂。

Because of this, South Korea's culture of pop music was entirely dominated by capital from the very beginning.

正因為如此，韓國的流行音樂文化從一開始就完全由資本主導。

People who dream of a career in music often have no chance but to sign up for such managerial companies.

夢想從事音樂事業的人往往沒有機會，只能加入這類經理人公司。

Thirdly, it is the age at which many trainees begin their career.

第三，這是許多受訓人員開始職業生涯的年齡。

For instance, Jessica Jung, now a member of Girls' Generation, was 11 years old when she was approached by a talent scout and accepted as an SM trainee.

例如，現在是少女時代成員的 Jessica Jung 在 11 歲時被星探發現並接受為 SM 練習生。

Her six-year-old sister was invited to audition as well, but was deemed too young by her mother.

她六歲的妹妹也應邀參加了試鏡，但被母親認為年齡太小。

Regardless, she also joined the company a few years later.

不管怎樣，幾年後她也加入了公司。

Seo Hyun, also a member of Girls' Generation, was only 11 when she auditioned.

同為少女時代成員的徐賢參加試鏡時只有 11 歲。

When asked to sing a song, the first song that came to her head was a nursery rhyme.

當被要求唱一首歌時，她腦海中浮現的第一首歌就是童謠。

This shows just how young a lot of trainees are when they begin their career.

由此可見，很多學員在開始職業生涯時是多麼年輕。

At this point, they might not realize the full implications of what they're signing up for.

此時，他們可能還沒有意識到他們所簽署的協議的全部含義。

The fact that they are sacrificing their leisure time, their ability to have long-term friends, social media, in some cases their health and self-esteem.

事實上，他們犧牲了自己的休閒時間、長期交友的能力、社交媒體，在某些情況下還犧牲了自己的健康和自尊。

Their childhoods are robbed from them and given up entirely to shape them into tools of the company, sculpting every aspect of their being.

他們的童年被奪走，被完全放棄，被塑造成公司的工具，被雕琢成他們的方方面面。

Their childhoods are robbed from them and given up entirely to shape them into tools of the company, sculpting every aspect of their being.

他們的童年被奪走，被完全放棄，被塑造成公司的工具，被雕琢成他們的方方面面。

Not just their singing and dancing capabilities, but their appearance, behavior, outward personality, and life schedule.

不僅僅是他們的歌唱和舞蹈能力，還有他們的外表、行為、外在個性和生活安排。

In a heartbreaking moment on the South Korean show Big Brother, the lead singer of Girls' Generation, Taeyeon, was asked which traits of her she would like to be passed on to her children.

在韓國節目《Big Brother》中，少女時代主唱泰妍被問及希望將自己的哪些特質遺傳給孩子時，她的回答令人心碎。

The other band members immediately suggested that it would be her voice, but Taeyeon, after some thinking, disagreed.

其他樂隊成員立即建議說是她的聲音，但泰妍經過思考後不同意。

The fact that Taeyeon wouldn't want to wish her own life upon her children, as a famous and admired idol which she worked for almost her entire childhood and teenage years, is telling.

泰妍的童年和少年時代幾乎都在為一個著名的、受人崇拜的偶像工作，她不願把自己的生活寄託在自己的孩子身上，這一點很能說明問題。

You might think that trainees, having to spend years living together and practicing together, develop healthy and lasting friendships, but for the most part, the system hinders this.

你可能會認為，學員們必須長年累月地生活在一起，一起實習，才能建立起健康而持久的友誼，但在大多數情況下，這種制度阻礙了友誼的建立。

Trainees, being in danger of being dropped by the company at any time, must adopt a competitive attitude and can never be certain of the future of their friendships.

受訓人員隨時都有被公司辭退的危險，他們必須採取競爭的態度，而且永遠無法確定他們的友誼的未來。

Seohyun of Girls' Generation, talking of a previous trainee friend, recounts, She was training to be in Girls' Generation with us, so for five years she slept, ate, and practiced with us.

少女時代的徐賢在談及之前的一位練習生朋友時回憶道："她是為了和我們一起加入少女時代而接受訓練的，所以五年來，她和我們一起睡、一起吃、一起練習。

For five years we had the same dream and we had no doubt that we were going to be in the same group.

五年來，我們懷揣著同一個夢想，毫無疑問，我們會在同一個小組。

For five years we worked hard together as trainees, and after our showcase we were convinced that we were going to be in the same group.

作為實習生，我們一起努力工作了五年，在我們的展示之後，我們確信我們會在同一個小組。

But people at our agency always told us, don't get too close to each other.

但我們機構的人總是告訴我們，不要走得太近。

I thought, why are they saying that?

我想，他們為什麼這麼說？

They told us, what if you aren't in the same group?

他們告訴我們，如果你們不在同一組怎麼辦？

You shouldn't be too close to each other.

你們不應該靠得太近。

I thought, that's not going to happen.

我想，這是不可能的。

We're definitely going to be in the same group.

我們肯定會在同一組。

We have the same dream.

我們有同樣的夢想

But after our and my friend's name should have been there, but it wasn't.

但在 "我們 "和 "我朋友 "的名字之後，本應出現 "我們 "和 "我朋友 "的名字，但卻沒有。

Rather than being happy that I was debuting, I was so sorry to my friend that I couldn't even talk to her.

我並沒有因為自己的首次亮相而感到高興，反而對我的朋友感到非常抱歉，甚至都不敢和她說話。

After the decision was announced, I couldn't even look at my friend's face.

決定宣佈後，我甚至不敢看我朋友的臉。

I was preparing to debut, and she was still a trainee.

我當時正準備出道，而她還是個實習生。

Since I still had to go to the practice room, I would see her.

既然我還得去練功房，那就去看看她吧。

I couldn't even look her in the eyes because I was so sorry.

我甚至不敢直視她的眼睛，因為我真的很抱歉。

One day, my friend grabbed my hand and took me to the bathroom.

有一天，我的朋友拉著我的手，把我帶到衛生間。

She looked at me and started to cry, and we cried together.

她看著我開始哭，我們一起哭。

We didn't say anything, but we knew how the other was feeling.

我們什麼也沒說，但我們知道對方的感受。

So we kept crying while holding hands.

於是，我們手拉著手不停地哭。

Honestly, we cried like that for several weeks.

說實話，我們就這樣哭了好幾個星期。

The company has no regard for the emotional traumas it causes, for the family-like dependencies it creates only to break them, for the terrible mental health that a lot of its trainees have to endure.

該公司完全不顧自己所造成的情感創傷，不顧自己所創造的家庭式依賴，只為打破他們的依賴，不顧許多受訓人員不得不忍受的可怕的心理健康。

Once the contract is signed, the trainee has no say in any decision process.

一旦簽訂合同，受訓人員在任何決策過程中都沒有發言權。

After the creation of this highly effective in-house system, another problem rose up.

在這一高效的內部系統建立之後，另一個問題又出現了。

Piracy.

盜版。

As it became increasingly common to illegally download music for free, the next development for managerial companies was to connect their idols with commercial products and saturate the media.

隨著非法免費下載音樂變得越來越普遍，管理公司的下一個發展方向就是將偶像與商業產品聯繫起來，使媒體達到飽和狀態。

In addition to already being singers, dancers, actors, and TV personalities, K-pop idols now became advertisers, appearing in commercials for everything from water purifiers to fried chicken.

除了歌手、舞蹈家、演員和電視名人之外，K-pop 偶像現在還成為了廣告商，出現在從淨水器到炸雞的各種廣告中。

Conversely, K-pop music videos themselves became advertisements for external products.

相反，K-pop 音樂視頻本身也成了外部產品的廣告。

Even more than before, the importance of appearance rose above that of reality.

與以前相比，外表的重要性甚至超過了現實。

Because of this, K-pop ended up influencing not just pop music, but advertisements, consumer products, movies, TV shows, fashion, and all of these things would end up influencing K-pop in turn.

正因為如此，K-pop 最終不僅影響了流行音樂，還影響了廣告、消費品、電影、電視節目和時尚，而所有這些最終又反過來影響了 K-pop。

This feedback loop created an entire culture that was mainly run by just three managerial companies.

這種反饋循環形成了一種主要由三家管理公司管理的整體文化。

As Hannah says, with a firm hold on the Korean domestic music economy, these three companies are able to manufacture culture in Korea, defining what the masses deem to be popular, and as a result, what they spend their money on.

正如漢娜所說，這三家公司牢牢控制著韓國國內的音樂經濟，能夠在韓國製造文化，定義大眾認為流行的東西，並是以決定他們的消費。

They create their products, Korean idol stars, in accordance to what their consumers want, but in turn are able to define exactly what the end product will be, thus manipulating what the consumers want into what they have already created.

他們根據消費者的需求創造產品，韓國偶像明星，但反過來又能準確地定義最終產品，從而將消費者的需求操縱到他們已經創造的產品中。

This reminds one of The commodities circulating in a market gain their significance not from their inherent qualities, but from their relations with each other, to the point where no reality exists outside of these relations.

這不禁讓人想起《市場上流通的商品不是從其固有的品質中獲得意義，而是從它們之間的關係中獲得意義，以至於在這些關係之外不存在任何現實。

The entirety of South Korean pop culture becomes fully manufactured because K-pop idols are influenced by what is popular, but what is popular itself is already influenced by fully manufactured K-pop idols.

由於 K-pop 偶像受流行事物的影響，整個韓國流行文化變得完全人造，但流行事物本身已經受到完全人造的 K-pop 偶像的影響。

The commodities produced by the contemporary Korean wave are prime examples of simulacra, copies without originals.

當代韓流生產的商品是仿真的典型代表，是沒有原件的複製品。

Because of the nature of the business, the individual idols have virtually no autonomy in the production process.

由於業務性質的原因，個人偶像在生產過程中幾乎沒有自主權。

The division of labor is extremely strict and disciplined, with each department trying to push its limits.

分工極其嚴格，紀律嚴明，每個部門都在努力挑戰自己的極限。

Such a way of making music can only be achieved by almost inhuman levels of calculation and technicality, and this is why K-pop appears to be so overproduced.

這種音樂創作方式只能通過近乎非人的計算和技術水平來實現，這也是 K-pop 看起來製作過度的原因。

Compared to its western counterparts, K-pop music are brighter, more saturated, the choruses are larger, and the hooks sharper.

與西方同類音樂相比，K-pop 音樂更明亮、飽和度更高、副歌部分更大、歌詞更尖銳。