Rosé of BLACKPINK Reportedly Exits Korean Music Copyright Association Amidst Unfair Profit Distribution Concerns
In a significant move making waves in the K-pop world, Rosé has officially stepped back from her affiliation with the Korean Music Copyright Association (KOMCA). Industry insiders are pointing to a troubling issue related to revenue distribution in the South Korean music scene as the driving force behind her decision.
The latest insights reveal that the financial landscape for music creators in Korea remains challenging, especially when juxtaposed with their counterparts in other countries. Currently, South Korean songwriters receive just 10.5% of streaming revenue—a stark contrast to figures like 12.3% in the US, 16% in the UK, and 15% in Germany. Popular domestic platforms like Melon take a hefty 35% slice of the pie, which is significantly more than the 30% average seen in other leading markets, including the US and Japan.
It’s worth noting that while these numbers have improved from the dire situation in 2008—when Melon claimed an overwhelming 57% of profits, leaving songwriters with just 5%—the structure still presents issues. Experts emphasize that a labyrinth of ‘middlemen’ hampers profits reaching the actual creators. Unlike other countries, where revenues are frequently split between just the artist and their publisher, the Korean model involves numerous copyright management organizations.
A major contributing factor to Rosé’s withdrawal is the burdensome ‘management fees’ that eat into the revenue that would typically benefit songwriters. As the dynamic unfolds, Rosé faces fees from both a domestic publisher and an international music publisher, significantly slicing her share of earnings—potentially cutting it down by as much as 30%.
This complex scenario paints a clear picture of the frustrating landscape for artists in Korea, and Rosé’s decision could resonate with many in the industry who feel the weight of these structural challenges.
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