Stray Kids Member Makes Billboard Chart History
For years now, Stray Kids has stood out as one of the most successful K-pop groups in the world. The band is one of only a handful to reach No. 1 on the Billboard 200, a feat it has accomplished several times. While Stray Kids may be counted among the bestselling K-pop acts in American history, the members that make up the group are still just beginning to introduce themselves to the American public.
This week, Hyunjin — one of the eight singers in the chart-topping act — scores a hit on his own on a Billboard tally, and in doing so joins a very exclusive club of South Korean talents.
Hyunjin Charts His First Rock Hit in America
Hyunjin scores his first hit on the Hot Rock & Alternative Songs chart this frame, as 'Always Love,' a collaboration with D4vd, opens at No. 49. That's the second-to-last position on the 50-spot ranking, which details the most consumed rock and alternative tunes in the U.S., but as it arrives, 'Always Love' becomes an important and historic hit.
Hyunjin Joins J-Hope and Suga
Hyunjin is just the third South Korean solo musician to appear on the Hot Rock & Alternative Songs tally. J-Hope became the first in July 2022, when 'More' and his track 'What If…' reached the ranking in back-to-back period. He remains the only soloist from South Korea to appear on the Hot Rock & Alternative Songs list more than once.
The following summer, Suga — another BTS member — joined Halsey on 'Lilith (Diablo IV Anthem),' which at one point neared the top 10.
BTS and Hyunjin Claim the Same Number of Hits
Looking at all K-pop acts, Hyunjin is now just the fourth name to appear on the Hot Rock & Alternative Songs chart. The first musical figure from South Korea to reach the tally was BTS. The Grammy-nominated boy band joined Coldplay on 'My Universe,' which spent half a year on the ranking and still stands as the only No. 1 to credit any K-pop musicians.
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Forbes
an hour ago
- Forbes
Marlee Hightower Reps Team USA On ‘World Of Street Woman Fighter'
Marlee Hightower of MOTIV Dance Crew // World of Street Woman Fighter MOTIV Crew dance leader Marlee Hightower is a force to be reckoned with. At only 25 years old, the choreographer/dancer is leading her dance crew up against veteran dancers from all over the world in MNET's World of Street Woman Fighter. The South Korean series features some of the world's top women's dance crews competing in a series of challenges to determine the champion. Now, with only two weeks left in the competition, MOTIV Crew, aka Team USA, is fighting for their lives to stay for the finale. Considered the underdogs of the series, partly because the show is a week behind for American viewers, MOTIV has proven their worth through the judges' high marks for the crew. For the team, what they lack in video 'views' and 'likes,' they make up for with their technical and creative scores. Hightower acknowledges that there is a disadvantage to the episode airing a week behind schedule for U.S. viewers. By the time many American fans watch the show, voting for a particular video is already closed, and too late to be included in the final results. She gives the Saweetie episode that aired two weeks ago, but only a week for American fans, as an example. 'A couple of days ago, my friend posted the Saweetie mission, and was like, 'Guys, go vote!'' Hightower shares over Zoom from her hotel in Seoul. 'By then, the voting period is done. It really does show that it takes a while for things to travel. So, that's been tough.' But for Hightower, it doesn't bother her that much as she's more focused on creating dances that she's proud of. She doesn't expect handouts or any favoritism. The lowest score due to the number of views isn't a reflection of their work. 'The judges still take part in ranking us,' she says. 'For the most part, the judges have been receptive and encouraging to what we've created thus far. There may be a disadvantage, but that doesn't change the fact that we keep pushing through and trying to make stuff that we're proud of. Regardless of the outcome, it has to be quality.' Although the show is promoted as a street dance-type competition, it's hard to ignore how K-pop has heavily influenced the show, given that the majority of the dancers on the show have choreographed for K-pop groups. When Team USA was first introduced on the show, they were revealed to be experts in the foundations of hip-hop. Hightower admitted they didn't all know much about K-pop, other than knowing peers who created K-pop choreography. There was even a scene where MOTIV member Ruthie Fantaye was asked to list the K-pop groups they knew and was only able to list BTS. 'I was not very knowledgeable on it, and I knew there was a K-pop mission coming,' Hightower explains. 'There was a moment on the show where we were like, 'How do you define K-pop style?' I still have a very interesting relationship with what you would consider K-pop because I think it has everything to do with the choices the choreographers make.' Marlee Hightower of MOTIV Dance Crew // World of Street Woman Fighter Although Hightower and her crew have competed in several American reality competitions, including World of Dance and America's Got Talent, she wasn't sure she wanted to participate in the World of Woman Street Fighter. She didn't want to do more shows and such, but was finally convinced when Fantaye, who was based in LA, said she'd be down to join MOTIV on this adventure. Hightower began recruiting her members and dancers outside of her crew. 'We got approached to do it, but I never thought to ask [others] or outsource to join the team,' says Hightower. 'I started warming up to the idea of agreeing to join the show. Then I sat down and thought about who I would bring together and what would be possible.' Bella Olsen, Abby Diaz, and Kaidi Lindo were already part of MOTIV, and those Hightower praises were among the strongest from the original team. Breakdancer and Olympian Logan Edra, aka Logistx, had taught at MOTIV a few times, so Hightower knew her from the dance community. Hightower thought a B-girl would be a perfect addition to the show. Logistx had been asked by several other potential dance crews to participate in the show, but felt a vibe with MOTIV. There was no audition process. Instead, after the show reached out to Hightower, they had a few conversations with the producers and were then placed on the show. TEAM USA // MOTIV Crew on World of Street Woman Fighter '[Being on this show] differs a lot [from American shows] in terms of the content and structure of the show,' Hightower explains. 'I've never been on a show that's focused on not just the dance, but also the reality of it and who we are as people, separate from the dance itself. The drama aspect is all very new to me.' Initially, Hightower felt a significant amount of pressure as the workload began to accumulate. She believes it's due to Korea's work culture being a bit more intense than what she's used to in America. She understands that it's just their way of life, and she is just to adjust to it, learning together with her team. They all film on a very tight schedule. 'Everyone's very passionate, and is more about getting the work done,' she says. 'In America, it's about maintaining labor. It's very different. I've had conversations with the show and showrunners, and they [tell me] it's very different. They're working with so many different crews from all over the world. Every single part of the world has different standards.' Hightower does enjoy the experience of being in another country and learning their culture, but does have moments of uncertainty due to not understanding the language or when things get lost in translation. Despite that, the team is loving the attention they've received from the show, which is hugely popular in Korea. People have recognized and stopped Hightower on the street, and express their love for the show. She wonders if this kind of attention would transfer when she returns home to Florida. 'I think there is a more niche group of Americans who watch the show,' says Hightower. 'Here, this is the show. So, it's been interesting. I enjoy experiencing the fan culture here because it's so passionate. The people come with gifts! I just learned what a coffee truck was – where the fans [rent] a coffee truck [for their favorite celebrity]. I'm still so perplexed by it, but I'm so appreciative of it.' Marlee Hightower of MOTIV Dance Crew // World of Street Woman Fighter She is also appreciative of the way the show portrays Team USA. She was initially worried about how Americans might be perceived by Koreans, especially since Korea is a relatively homogeneous country. Hightower felt a lot of pressure at the beginning of filming because she was unaware of the reception they'd receive, especially since their style had not been as popular in the competition in the past. She didn't want to disappoint anyone, especially since they're representing their country. 'I've grown a lot more confident in what MOTIV has to offer,' she reveals. 'Initially, I did feel a lot of pressure, but the American people who are watching the show have been really supportive. Even when the Mega Crew Mission came about, I felt that was finally the opportunity to lay everything on the table.' The Mega Crew Mission required each team to have a large number of dancers participate, regardless of age and gender. The dance video and routine must incorporate cultural elements and a high-angle shot, with a focus on storytelling their national identity. With the current events unfolding in the U.S. (as well as the ongoing struggle for People of Color), Hightower didn't want to be ignorant of what was happening in their country. As director for the video titled 'We The People,' she says she wanted to represent America honestly, especially in the realm of hip-hop, which has always been about resistance and rebellion. She refused to make the piece happy-go-lucky, and told the story of the diverse faces and cultures in America that have struggled at the hands of politics. 'There was no other way to address my feelings,' she explains. 'The MEGA CREW MISSION was finally time to represent the U.S.A. and what is [currently] happening in the U.S.A., and let that be known to the rest of the world.' Mission captured the attention and hearts of many for its symbolism and well-crafted choreography. The judges scored their video highly, receiving a perfect score from the guest judge and former Street Woman Fighter participant, Lia Kim. Hightower had also read the comments from the video from Korean fans, who broke down their understanding of the video, despite many of them never visiting America. 'It shocked me, honestly,' says Hightower. 'I didn't think that people would fully understand it unless they were from America. I was overwhelmed with emotion. It was validating, but also an overwhelming feeling, just because I wasn't expecting it.' Hightower felt she was doing something important, telling the world what was going on as an artist and storyteller. As the most diverse group on the series, she felt seen, especially beyond the silly and humorous moments that the show displays. She does say that the show edits are 'very much who we are.' The lighthearted moments are very real, which stand out to viewers. The team's lack of knowledge about K-pop culture has been a recurring subject of jokes in the series, particularly in their misunderstandings of K-pop styles and the concept of 'Ending Fairies.' Hightower leans back and laughs, thinking about the 'Ending Fairy' moment. She admits they were a bit annoyed during the filming of it when they had to hold their pose for an extended period after finishing their dance. They didn't know why until the Ojo Gang performed afterward and 'served face' for the Ending Fairy. '[The film crew] were helping them correct their posture and poses,' she exclaimed. 'We were so annoyed and mad in the moment because we were in competition mode. Why were they doing that? What's going on? Then, we watched the videos, and you saw us bursting out laughing because we were so embarrassed. Then the episode came out, and I saw the overarching theme of showcasing MOTIV's lack of understanding of what K-pop has to offer.' Hightower wasn't offended by this because she understood what the writers and producers were trying to do. It also made the group look adorable in the eyes of viewers, who saw the group as good sports for their reaction. 'It was cute,' she admits. 'I see everything they're doing.' TEAM USA // MOTIV CREW for World of Woman Street Fighter As the competition comes to a close, Hightower is still adjusting to this newfound fame. And, how to navigate around it – especially to see if it does change anything when she returns to the U.S. She does feel that she's grown from being on the series, especially her threshold for pressure. At first, she was gut-wrenchingly nervous ('Like I was gonna throw up'), but as time progressed, she realized she could accomplish this difficult task. 'My nervous system is regulating now, so it's tested me and made me stronger,' she says. 'That's something I'll carry on in my life now.' As for after the series wraps, she won't have time to relish in her newfound fame as she's scheduled to participate in the Red Bull Dance Your Style National Final. The Red Bull ambassador admits that she hasn't thought about the Final because the show has been consuming most of her time and focus. She is excited to return to dancing for the fun of it, 'because I really think that's what dancer style is all about, the more you have fun and the more you engage and bring the audience in with you, and the more they're receptive to that.' She does think the show is prepping her mindset for the Final, as she feels stronger regarding her threshold for pressure. 'When I do these battles, it's 'do or die,' whether or not we're going to make it or go home. So, what I'm able to handle and how I'm able to compose myself in the face of extreme adrenaline and intensity is something I'm going to take with me into the National Final.' And, hopefully, for Team U.S.A.
New York Times
2 hours ago
- New York Times
He's Bringing Rossini to Philadelphia and ‘West Side Story' to Rome
It was the morning of the dress rehearsal for Leonard Bernstein's 'West Side Story,' at the Baths of Caracalla, the ancient ruins that are the traditional summertime venue for the Rome Opera, and the show's director, Damiano Michieletto, was concerned. 'Some of the Jets have problems with precise pronunciation,' he said. After deciding to do the musical in English rather than in translation, he did not have the funds to hire a full American cast for the Jets, a gang rumbling to take the streets of New York. You could tell, he fretted. (The diction was less of a problem with the Sharks, the rival Puerto Rican gang, he said, 'because Italian, you know, that works.') That might have been his least concern. This year, Michieletto was given free rein to come up with the program for the Rome Opera's summer Caracalla Festival, which runs until Aug. 7, keeping in mind that 2025 is a Jubilee year for the Catholic Church expected to draw millions of pilgrims with varying musical tastes to Rome. In a break from past programming, he decided that the first major new production would be 'West Side Story.' A musical — gasp — was headlining one of Italy's most highbrow cultural stages and was an unusual choice in a country where musicals are considered a minor genre and often dismissed. That did not faze Michieletto, who over the past 20 years has built a reputation as a visionary, nonconformist, at times over-the-top, director whose work is in demand across Europe. In September, he will make his debut at a major American opera house with Rossini's 'Il Viaggio a Reims' at Opera Philadelphia. There he will be presenting a revival of a much-lauded version first staged in Amsterdam in 2015 and reprised several times since. For his new work at the Caracalla Festival — which this year is titled 'Between the Sacred and the Human' because it casts a wide musical net, from a staged production of Handel's oratorio 'The Resurrection' to 'West Side Story' — he opted to focus on the electric energy of a work that was directed and based on an idea by Jerome Robbins, one of the great choreographers of his generation. Want all of The Times? Subscribe.
Forbes
2 hours ago
- Forbes
Squid Game Season 3: How Food Reveals Its Emotional Core, Explained
Subtle food details throughout Squid Game Season 3 underscore the series' core themes. From a tense lunch box standoff to a guard feeding a baby mid-chaos, here's how the Squid Game continues to use food for maximum emotional impact. Warning: Spoilers for Episodes 4–6 of Squid Game Season 3 below. Food in Squid Game has never been incidental. It arrives with purpose—sometimes as provocation, sometimes as reward, and occasionally, as an absence that speaks volumes. What's eaten, refused, or withheld often reveals more than the characters ever say aloud. Season 3 doesn't linger on these moments, but they're there—quiet, charged, and surgically precise. Watch closely, and food keeps slipping into the margins, shaping the narrative in ways that echo the stakes of the game itself. Fans have noticed. On Reddit, entire threads have turned into emotional autopsies of these scenes, with users on r/SquidGame treating each detail like a code to crack. A recent discussion thread covering Episodes 4 through 6 became a running commentary on how these choices land. Below, we trace the emotional undercurrent of Season 3's most talked-about food scenes through the eyes of the viewers watching most closely. A boxed lunch that's more than a meal One of the season's most dissected moments unfolds with little fanfare: a metal lunch tray, filled with rice, kimchi, and a few sparse sides. There's no dialogue. No grand gesture. Just a slow scan of players confronting the food in front of them—and revealing everything in how they respond. Some eat immediately, almost mechanically. Others hesitate or barely touch their trays—a few flat-out refuse to eat. As one Redditor put it in the episodes 4–6 discussion, 'The way the characters handle the food reflects their emotional state and alliances.' The boxed lunch becomes a psychological mirror—showing who's coping, who's unraveling, and who's trying to disappear. Hunger is the frame, but survival, submission, and quiet rebellion are the real themes at play. For a deeper dive into how Squid Game uses meals to signal power imbalances, see Squid Game's Feast of Inequality: How Food Symbolizes Power and Poverty. A moment of gentleness inside the storm Later in Episode 4, a jarring bit of tenderness punctuates the chaos. While contestants claw for advantage, a masked guard steps aside and feeds a baby from a bottle of milk. It's a blink-and-you'll miss it scene, but the emotional whiplash is immediate. Viewers latched onto the moment. 'The fact that there's a literal infant being cared for while people are fighting for their lives… wild,' one Reddit user wrote. Another added, 'It's the first time I actually felt something for the guards.' Both reactions appeared in the same episode thread, which quickly filled with commentary on the emotional tension the scene created. There's no explanation. No score swell. Just an unexpected reminder that somewhere inside the system, something human still flickers. This moment is one of many subtle emotional pivots in Season 3. For more on how the show walks the line between grimness and levity, check out How Food Tie-Ins Balance Darkness and Delight . A single lemon slice cuts through Then there's the lemon. In what's become a low-key fixation for fans, one contestant bites into a lemon slice, rind and all. No comment, no joke. Just a calm, almost surreal motion. 'Who just bites a lemon like that?' one fan asked. The subreddit lit up with theories: a flex, a trauma response, a signal of total emotional detachment. 'They're too numb to flinch anymore,' one user offered. It's a single, wordless action—but it hits like a monologue. The conversation hasn't stopped at interpretation. It's spilled into the kitchen These food scenes aren't staying on-screen. On Reddit and TikTok, fans have begun recreating the show's most emotionally loaded bites: boxed lunches with kimchi and white rice, lemon slices on ice, triangle-cut toast, black sesame popcorn, and yes—even baby bottles, offered up with a wink to that haunting Episode 4 moment. As one Redditor summarized it in the discussion thread: 'Milk for the baby, lemon slices, and spicy kimchi because this season is wild.' It's more than fandom. These are watch-party rituals—snacks as a kind of emotional cosplay, mirroring the show's quiet intensity and the discomfort viewers now share. And of course, no fan food moment is complete without a nod to the candy that started it all. For a breakdown of the show's viral snack legacy, see Breaking the Dalgona Candy Code. Why it still lands Season 3 doesn't build an entire arc around food, and it doesn't need to. Its power lies in the restraint. In Squid Game, food isn't there to be symbolic for symbolism's sake. It's always doing something. Whether hinting at collapse, masking a crack in the armor, or reminding us who's still trying to hold onto something human, these moments carry weight because they ask us to look closer. In a story driven by spectacle, in Squid Game, it's the small decisions—who eats, who doesn't, and why—that often land the hardest.
