The industry has been criticized for the sexualization of both male and female idols, with the sexualization of minors in particular being of concern. [174] Critics such as James Turnbull of the Korean Pop Culture blog The Grand Narrative have argued young female idols are especially susceptible to pressures to wear revealing clothing or dance provocatively. [174] However, compared to western popular music, K-pop has little sex, drugs, or aggressive behavior and has a much more parent-friendly branding. [175] In 2014, South Korea passed a law to protect idols under the age of 19 from overtly sexualized performances. [169] [166] By convention in modern K-pop, trainees go through a rigorous training system for an undetermined amount of time before debut. This method was popularized by Lee Soo-man, founder of S.M. Entertainment, [149] as part of a concept labelled " cultural technology." [150] The Verge described this as an "extreme" system of artist management. [151] According to the CEO of Universal Music's Southeast Asian branch, the Korean idol trainee system is unique in the world. [152] Breaking & Entering: The Wonder Girls". Billboard. November 20, 2009. Archived from the original on March 17, 2013 . Retrieved April 12, 2016. Lindvall, Helienne (April 20, 2011). "Behind the music: What is K-Pop and why are the Swedish getting involved?". The Guardian. London. Archived from the original on September 30, 2013 . Retrieved March 27, 2012. Having Chinese members in K-pop groups is one way that Korean entertainment companies increase K-pop's marketability and appeal in China. Other strategies include giving Korean members Chinese-sounding names, releasing songs or whole albums in Chinese, and making subgroups with members that predominantly speak Mandarin [258]—like SM Entertainment's Exo-M and Super Junior-M, which has had successful results on the Kuang Nan Record and CCR. [259]

There have been critical responses in South Korea regarding the identity of the genre since its ascendance. Some of the notable music critics in the region have criticized K-pop as "an industrial label mainly designed to promote the national brand in the global market from the beginning" and argued that it was "not formed spontaneously as a pop culture but created with the orchestrated plan led by the government with commercial considerations" although in fact "the genre has practically no ties with traditional Korean identity." There is the perspective that the name of the genre was derived from J-pop. [29] [30] a b c d e f g h "A brief history of K-Pop". A.Side. Archived from the original on November 13, 2022 . Retrieved November 6, 2018. In 2017, Mexico also became the first Latin American country to host KCON. The two-day convention held on March 17–18 brought over 33,000 fans to Arena Ciudad de México. [354] Much like artists during Music Bank, idols covered Spanish songs. Woo, Jaeyeon (May 3, 2012). "Journey to K-Pop Star, 'I Am.' – Korea Real Time". The Wall Street Journal. Archived from the original on June 23, 2012 . Retrieved September 17, 2012.In 2011, the K-Pop Music Festival at the ANZ Stadium was held in Sydney, featuring Girls' Generation, TVXQ, Beast, Shinee, 4minute, Miss A, 2AM, and MBLAQ. [399] There was also demand for concerts from New Zealand. [400] a b "K-Pop takes America: how South Korea's music machine is conquering the world". The Verge. October 18, 2012. Archived from the original on October 20, 2012 . Retrieved December 27, 2017. Oh, Ingyu. "The Globalization of K-pop: Korea's Place in the Global Music Industry": 402. Archived from the original on September 28, 2021 . Retrieved January 15, 2020. {{ cite journal}}: Cite journal requires |journal= ( help)

As K-pop became a modern hybrid of Western and Asian cultures starting from the late 2000s, [61] fashion trends within K-pop reflected diversity and distinction as well. Fashion trends from the late 2000s to early 2010s can largely be categorized under the following: [62] K-Pop Hot 100: BIGBANG Is Unstoppable". Billboard. March 14, 2012. Archived from the original on January 18, 2021 . Retrieved April 12, 2016. Leong, Melissa (August 2, 2014). "How Korea became the world's coolest brand". Financial Post. Archived from the original on January 8, 2015 . Retrieved January 18, 2015. On the Charts: BTS Become First K-Pop Act to Reach Number One". Rolling Stone. May 27, 2018. Archived from the original on May 28, 2018 . Retrieved June 10, 2018.

Wendy, "Like Water"

Lee Soo Man: Taking Korean Pop Culture Global". Stanford Graduate School of Business. Archived from the original on April 12, 2020 . Retrieved April 12, 2016. Eun-Young Jung (2009). "Transnational Korea: A Critical Assessment of the Korean Wave in Asia and the United States" (PDF). Southeast Review of Asian Studies. University of California, San Diego. 31: 69–80. CiteSeerX 10.1.1.458.9491. ISSN 1083-074X. Archived from the original (PDF) on April 13, 2014 . Retrieved April 13, 2014. Lefkowitz, Andy (November 8, 2019). "Lortel-Winning Immersive Musical KPOP Eyes Broadway Run; Talent Search Launched". Broadway.com. Archived from the original on November 9, 2022 . Retrieved April 4, 2022. Korean Pop, with Online Help, Goes Global". Time. August 26, 2010. Archived from the original on August 29, 2010 . Retrieved April 3, 2013. DFSB Kollective was the first company to begin direct distribution of Korean music acts on iTunes, in 2009. It began with more than 50 Korean artists in the alternative, hip-hop and electronica genres; now there are hundreds of Korean artists available in the online music store. Years of K-Pop at Billboard". Billboard. October 11, 2019. Archived from the original on April 27, 2020 . Retrieved April 18, 2020.