Lee Soo-man once resisted being called the “King of K-pop.” The title, he said, seemed too extravagant, more suited to a flashy club sign in Itaewon than the man who has quietly built a global music empire. “I asked them, ‘Couldn’t he be the father of K-pop?’” he recalled during an interview with the Associated Press.
The title refers to That of Amazon Prime documentary about his life and legacy. Although Lee initially preferred something more modest, the producers supported him “King of K-pop” it would be better to connect with international audience. “I had to follow their decision” he said, laughing – a compromise that perfectly encapsulates his pragmatic and globally-minded approach.
A global architect of Korean music
As the founder of SM Entertainment, Lee Soo-man is widely considered the architect behind K-pop’s international expansion. His induction into the Asian Hall of Fame this year alongside figures such as Yao Ming, Michelle Kwan and Yoshiki celebrates over three decades of cultural innovation and leadership.
Despite being a controversial figure, Lee’s influence on the industry is undeniable. His company pioneered K-pop’s rigorous internship system, turning young aspirants into polished global idols. While some contracts have sparked legal debates, the model has made Korea a powerhouse in music production and global export.
The vision behind SM entertainment
Lee’s background in computer engineering, acquired during his undergraduate studies in the United States, has given him a unique lens through which to view entertainment. He combined technology and art to create “worldviews” of intricate fictional universes surrounding idol groups such as ESO AND espa. Since then, this approach to multimedia storytelling has become an industry standard, inspiring generations-long groups.
“K-pop is a new communication language that transcends barriers,” Lee explained. “What you can’t stop is culture.”
Failures that shaped success
Lee also reflected on early attempts to break into the US market, such as Well 2009 Debut in English “Eat yourself.” Despite a $5 million investment, the project has struggled due to limited awareness of Asian artists in Western media. The experience taught Lee an important lesson: global collaboration must be balanced with creative control.
“When I asked the songwriters to review it, they refused” he said. “If we had changed him, I think he would have had much better results.”
This setback helped Lee perfect the hybrid model that defines K-pop today, combining Western production with Asian sensibilities while maintaining creative oversight to adapt songs to global audiences.
Expansion beyond Korea
Even after leaving SM Entertainment in 2023 amid a high-profile management dispute, Lee continues to shape the future of Asian entertainment. His new group, 2O MAYdebuted in both China and the United States, testing his belief “Korea should become the country of producers.”
Imagine Korea as a creative hub where global talent can learn production and storytelling techniques. “Culturally, does China need what we do? I think so,” he said, noting that Asia’s large population makes it a natural future entertainment hub.
The light and shadow of K-pop
The documentary also touches on the darkest chapters of K-pop, particularly the mental health issues and suicides of young artists. Lee identifies anonymous online harassment as a global problem and calls for international standards on digital accountability.
However, he believes the focus should remain on the future: “Should we always weigh the dark side and the bright side equally?” he asked. “Rather than clinging to the past, we should talk about the future.”
Cultural legacy and impact
After more than three decades, Lee’s message remains consistent: “K-pop is a language that connects people.” His vision of technology, storytelling and global ambition has helped transform Korean pop into a global phenomenon that continues to evolve and inspire.
By entering the Asian Hall of Fame, Lee Soo-man’s story represents both a reflection of the past and a blueprint for the future of global entertainment.
Sources: Koreatimes
