A ROSE BY ANY OTHER NAME
There is no arguing with the fact that K-pop has asserted dominance on the mantle of music all over the world. No longer just a unique sound that hails from South Korea, it has entrenched itself to many neighboring cultures over the years, the Philippines especially. Despite it being of a foreign language, one cannot help but be swayed by the infectious rhythms, the beguiling lyrics, and assemblage of high-octane machinations that have long dazzled fans to a dizzying delirium. Not a mere fizzle, but a big bang in itself, K-pop is pervading and persistent in visceral sense, that even its fair share of naysayers are willed into silence by the music. Trust me, I’ve seen it happen.
With a pop culture imprint that can easily be likened to the iconic Beatlemania, one that propelled four veritable unknowns into what was then an unprecedented global superstardom; the proponents that make up the diverse and distinct constellation of stars in their galaxy are now enjoying a similar destiny. The sharp rise of anything and everything Korean, in a movement more popularly documented as
