Veteran creator aims to expand K-pop, protect copyrights, and modernize systems amid AI era challenges
[OSEN=Seon Mi-kyung reporter] “This is the golden time, I will serve responsibly for four years!”
Composer and producer Kim Hyung-suk has made a resolution for his colleagues. He officially announced his candidacy for the 25th president of the Korea Music Copyright Association (KOMCA) and is stepping up to expand K-pop and protect the rights of copyright holders. In the AI era, he is determined to lead changes tailored to the increasingly expanding music market.
Kim Hyung-suk, a core creator who has played a decisive role in establishing the K-pop sound over the past 30 years by creating numerous hit songs with top artists such as Shin Seung-hoon, Sung Si-kyung, Na Yoon-kwon, and Im Chang-jung, is a copyright holder with over 1,400 works registered with KOMCA. He presented a “Four Major Innovation Vision” focused on innovating overseas collection systems to match the global status of the content industry, expanding member welfare, establishing a transparent management foundation, and advancing AI-based platforms.
“I will definitely create a structure where creators’ rights are protected and their fair value is rewarded,” Kim said. OSEN met him to hear about his determination to run for the presidential election and the innovations he plans to propose.
Q. What prompted your decision to run for the KOMCA presidency?
The association is currently in turmoil. I agonized over this a lot. (If elected) I won’t have time to write songs, and there’s talk that doing well here is just breaking even because it’s a place with a lot of criticism. I’m someone who steps into the world when there’s a problem, so the risks felt greater. Senior and junior colleagues encouraged me, and as I began reviewing the data, I realized the situation was too severe.
There was too much wasted money, and the system was lax and inefficient in collections. K-pop has become a 450 billion Korean won market, but the system remains unchanged. The AI era has arrived, and we need to platformize, but there’s almost no plan. We must protect K-pop’s foundational IP by closely cooperating with the Ministry of Culture, Sports and Tourism, the Ministry of Science and ICT, and the Ministry of Economy and Finance, but there’s so much to do.
I resolved to take decisive action. There’s a cartel within the association, but I’m not part of it, so I can take action. I believe this is the golden time.
Q. Why did you decide to run for president at this time?
If I just closed the files after reviewing the data, I’d be old enough to be criticized by my senior and junior colleagues. I came forward with the mindset of serving responsibly for four years.
The KOMCA president represents over 60,000 members. If a professional manager enters and changes the system, we’d have to predict and experiment again. Copyright is essentially a history of struggle. Even if the association is lax and its system outdated, the achievements of past presidents are significant. We must highlight and promote these to build the association’s brand, but efforts have been insufficient. I need to expose the good, fix the bad, and take action. I have no desire for re-election; I must accomplish everything in four years.
Q. Were there previous proposals or considerations about running?
There were many proposals. At the time, I was busy writing songs and was younger. I also trusted the association. Now, I feel it’s the right time. I’m around the middle age between senior figures and younger artists. When I met senior figures, I felt their pain as a creator. Welfare is crucial. I also called emerging artists in their 20s and 30s, and they pleaded, “Please help us.” The market has grown, but their copyright earnings remain the same. This responsibility weighs heavily.
Q. If elected, what vision will you pursue?
I’ll entrust the association’s corporate consulting to a global accounting firm and overhaul everything. I’ll compile reports on various issues and share them with members and the public. Otherwise, the four-year term will end with just patching holes. KOMCA must protect rights, bridge gaps, balance interests, and negotiate to prevent loss of rights — crucial tasks requiring transparency. The current lack of transparency has eroded trust.
Additionally, there’s a disconnect between senior and emerging artists. We need a welfare foundation supported by the government and corporations to improve welfare for both groups.
Q. How did you view KOMCA as a member before running?
I was a creator. For 35 years, I focused solely on music, writing 1,400 to 1,500 songs. I did my best as a writer and trusted the association. That trust remains. If elected, I won’t disappoint members.
After being endorsed by colleagues and reviewing the data, I saw many problems. This is the golden time. In the AI era, how do we protect creators’ rights and generate revenue? The association must institutionalize solutions.
Q. Amid growing distrust, like BLACKPINK’s Rosé’s departure, what do practitioners most want to voice?
Copyright is intangible, and rights must be protected. Young artists distrust the association, which is outdated. For example, the U.S. International Transmitting Society platform collects fees but has many unregistered or misregistered works — systems need improvement.
China also underpays royalties, but Tencent controls 80% of its music platforms. We could collect more but currently receive far less relative to the market size.
K-pop’s foundation is IP, so we must collaborate with the government on R&D funds, but currently, we’re passive. Policies are like balloons — we need balance. What’s fastest, most stable, and efficient?
Q. Why haven’t systems been established until now?
Understanding causes leads to solutions. Why do we collect only 200 million Korean won from the U.S. when we could collect 14 billion? We must research and act. Passivity leads to dead ends. Let’s create government-led systems to protect writers’ rights.
The same applies to OTT issues. Even with a Supreme Court ruling, we don’t receive royalties. OTT payments depend on total revenue, net revenue, user count, and ID numbers. We sought payment based on total revenue and users per ID, but another entity contracted based on net revenue and IDs. Despite the court ruling in our favor, they refuse to pay. Communication breakdowns caused this. We must unify the market and consolidate power.
Q. Are there plans to negotiate with domestic music platforms?
Reports state domestic streaming platforms have no growth potential and are becoming YouTube monopolies. Yet, our rates are below international standards.
K-pop is solidifying, but the domestic market is shrinking. We shouldn’t just demand higher rates; we must revive the domestic market. For example, temporarily offer free promotional products before charging. Broadcast rates are also below international levels.
Protecting rights is vital, but so is market formation. Balance is key.
As markets change, there’s pain and expansion. The global music market is shifting. If we allow AI solutions using our music, we can collect royalties proportionally. Secondary processing could increase earnings. We must institutionalize this through prediction and discussion. Hence, platforms and blockchain are needed. We’re at a crossroads — this is the golden time.
Q. Some say the association lost trust due to self-serving actions. How will you avoid this?
The association has factions, making reform difficult. Re-election ambitions worsen this. I belong to no faction and have no re-election plans. Taking action risks backlash, but I have no reason to compromise. I accepted this responsibility heavily.
My first step is corporate consulting to transparently resolve issues. I’ll publish all reports.
During board or committee meetings, members usually hear only results, not processes. Processes must be shared. Live-streaming meetings on YouTube would help. Excluding personal or confidential details, transparency in decision-making is crucial.
Q. How do you plan to manage human resources as the association grows?
With a 450 billion Korean won market, KOMCA is understaffed compared to foreign counterparts. The association lacks HR management, leading to crises. There’s no audit system, and crisis management is absent. The organization has grown, but its foundation is weak.
Though the association has achievements, no one acknowledges them. Building its brand is vital. A strong brand attracts corporate sponsorships, connects emerging artists to welfare programs, and supports senior figures. KOMCA is a creator-based organization, so balancing creators’ perspectives is essential. Trust, transparency, and brand-building must proceed step by step.
Q. You’ll likely collaborate with Park Jin-young, co-chair of the Presidential Committee on Popular Culture Exchange.
We’ve spoken. He said, “If I retire, I’ll do this without shame. I’ll do my best for K-pop’s development.” I didn’t expect those words, but he’ll deliver.
We’ll collaborate from industry and K-pop perspectives to create a sustainable cultural foundation, not just events. Establishing certainty is challenging. “KPop Demon Hunters” opened gates, and now the scope is as vast as the universe.
As K-pop’s identity dilutes, what does “K” mean? As genres expand and universalize, what should we do? /[email protected]
