Phinéas Padolski pop
|Stylistic origins||Phineaner pop · Taesongean pop · Europop · Dikir barat · electronic · pop · dance · gospel · nasheed · rhythm and blues · hip hop · jazz · folk · classical · country · rock · reggae · experimental|
|Cultural origins||RP 2600s, Gangwol Phineaner-speaking region (Negara Awan, Phinbellan Maritime Territories (Maritime Kachi Kochi · Straits Settlements · Territory of Extraterritorial Authority), Territory of Flower and Phinbellan Unincorporated Territory) also in Permata Mutiara|
|Typical instruments||Vocals · drum machine · drums · electronic drums · bass guitar · acoustic guitar · synthesizer · keyboard · sampler · sequencer · digital audio workstation · percussion · groovebox|
|Yapreayan pop · Pekan-kei · PP-trot · PhinBeat|
|Yapreayan pop · Pekan-kei|
|This article or section is a work in progress. The information below may be incomplete, outdated, or subject to change.|
PP-pop (short for Phinéas Padolski popular music, Pyeongrang popular music or Pyeongrang-Gangwol popular music; Phineaner: Muzik popular Phinéas Padolski/Muzik popular Pyeongrang/Muzik popular Pyeongrang-Gangwol; Gangwol Phineaner: Muzik pop Phinéas Padolski/Muzik pop loghak Gangwol-Pyeongrang; Taesongean: 평랑-강월대중음악; RR: Pyeongrang-Gangwol daejung eum-ak or 피피팝) is a genre of popular music originating in the Gangwol dialect speaking region, namely the capital city of Phinbella, Negara Awan, Territory of Flower, Phinbellan Unincorporated Territory and in the Phinbellan Maritime Territories (Maritime Kachi Kochi, Straits Settlements and Territory of Extraterritorial Authority of the Refugee Camp and Immigrant Settlements Area), as well as in Permata Mutiara. This pop music genre is a genre of music in Phinbella that uses the Gangwol Phineaner dialect, including two creoles based on this dialect, Pyeongrang Phineaner and Springwind Islands Phineaner, Phinbellan Taesongean, Yapreayan, and aboriginal languages in this region. PP-pop is influenced by various genres such as Phineaner pop, Taesongean pop, Europop and Dikir Barat, even the style of gospel and nasyid also influences this pop music. In the late RP 2600s and early RP 2610s, precisely in the era of the Phinbellan provisional government, this form of genre emerged with many plated songs i.e. the original song lyrics were changed to lyrics using the Gangwol dialect or Pyeongrang creole itself, it was accompanied by Dikir Barat and mixed with modern music.
The emergence of a boy band known as Valèntich and the Friends-Tones in RP 2610, joined by five teenagers including two of them coming from Permata Mutiara, featuring a mix of slow rock, pop and nasyid genres, has become a craze for many fans among teenagers and young adults throughout the Phinbellan Maritime Territories, and some got names in the genre like Abang-Face, BoBBY and so on until the beginnings of PP-pop "idol" culture at the same time. Those idol groups have broken this genre into the Oriental Taemhwan market, and also it is already gaining popularity all over Phinbella. PP-pop has continued its popularity internationally especially in countries that want to establish bilateral relations with Phinbella, and try to enter the markets of foreign superpowers.
These PP-pop songs are mostly sad songs (mostly called jiwang), songs that are divine (especially nasyid or gospel genre), and plated songs, but they are delicious to be heard by all walks of life and will be their favorite regardless of religion and races.
Origin and influences
Although PP-pop generally refers to pop music in the Phinbellan Maritime Territories and the Gangwol-speaking region, many fans regard it as an all-encompassing genre showcasing a wide spectrum of musical elements. Popular music in the region has its origins in the local musical tradition and the popular Apollonian and Euran music styles. Folk songs and dikir barat were early musical styles that became commonplace in Phinbella and Forajasaki music culture. Beginning in the -30BPs, the social and entertainment dances of Phineaner and Taesongean were performed on a common stage, a fusion of the musical genres of these two majority ethnic groups had developed into a local popular music as it was performed on remote islands.
Western popular music had influenced Phinbellan popular music in the -40BPs or about the mid-50BPs, a group of immigrants from Northern Keltia and Western Apollonia had introduced such musical rhythms and taught it in local schools, only rock and disco rhythms were introduced. These songs which are based on rock and disco melodies in Phinbella are known as lagu perasan and it started in the early -20BPs, these songs were sung in their own dialect, so much so that it became increasingly popular for expressing any feeling in music, such as the most famous singer Linda Flynn-Fletcher was known for her song “Koi Lindana, Koi Nok Gembire” in -15BP. At that time, the popularity of the lagu perasan increased with the emergence of Love Händel and The Storm.
In the late -10BPs and early RP 2600s, which would be the beginning of the Phinbellan provisional government, Çakari, Umraist (nasheed), dangdut, city pop and Pekan-kei music forms began to influence during this time and had a trend to spread in local pop music. Çakari and dangdut music has influenced the dikir barat industry at the moment, albeit full of advice in such industries, and there are many plated songs based on this music. At the same time, Phineaner, Taesongean and Sangunese rock genres including slow rock have been combined into one form of local alternative rock genre namely Phinbellan rock or Pyeongrang rock, or more simply known as Phinbellan soul (jiwang Phinbella). A local composer has been combining traditional and rock music with Gospel music since the spread of the Nazarene began from the beginning of the Phinbellan exploration. Also at the same time, the trot and Enka music developed by Taesongean and Sangunese newcomers has influenced other Phinbellan communities, yet the influence of folk songs is also very widespread. Thus, local trot and Enka music was developed by being sung in the Gangwol dialect. Many plated songs are created according to the rhythm of certain musics with very different lyrics, yet the songwriting is in favor of the original creator. In the mid-RP 2600s, anime theme songs, image songs and Taesongean pop songs have influenced local music and are still of interest to local young people until now, whatever the influence has been mixed with others until a genre was created called PP-pop which refers to many the musical influences of this region.
Systematic training of artists
Management agencies in Phinbella especially those based in the Phinbellan Maritime Territories and dependent territories offer binding contracts to potential new talent, most of whom can find them are young in age from 10 to 35 years old and come from different backgrounds and occupations. Although PP-pop and PhinK-pop are influenced by Taesongean pop, the training method is not the same but very systematic. Trainees live in a peaceful atmosphere even though it is partially controlled, but in accordance with the chosen genre and in accordance with the interests of a trainee, trainees are allowed to take time to learn existing skills such as singing or dancing, or other skills that they engage in, it's just that is required to learn a foreign language other than the Gangwol accent (as well as its creole and pidgin) and the Phinbellan Taesongean language in preparation for making their debut.
Hybrid genre and transnational values
PP-pop can be said to be a specific cultural product of the Phinbellan region which features "values, identity and meaning that go beyond its commercial value". It is characterized by a mixture of modern rock sounds, Western influences and Phineonesian local music influences with Taesongean performance aspects (including synchronized dance moves, formation changes and the so-called "point choreography" consisting of looping and repeating key movements, which is usually performed by most PP-pop idols) or Phineonesian performance aspects (usually when performing dangdut rock songs). It has been stated that there is a "vision of modernisation" that exists and is mixed with traditional and rural elements in Phinbellan pop culture.
Use of foreign phrases
Similar to Taesongean pop, many Phinbellan agencies based in major cities have introduced new idol groups to viewers or listeners through a "debut showcase", the difference being that the showcase is made up of online marketing and radio promotion and television, compared to Taesongean pop which did so only on television broadcasts. What is also different is that the idol group is given a name and "concept" by the group members and not by the agency, however it is considered a marketing hook and usually there are idol groups that have a double concept. This concept is the type of visual and musical theme that idol groups use during their debut or comeback. It is possible that the concept or the double concept can be maintained or replaced either in the debut and the comeback, and the proposed change of the concept is sometimes agreed or otherwise by the leader of the group, and as usual the fans often distinguish between the male band concept and the female band concept. As usual, concepts can also be divided between general concepts where they need to be maintained even if they are multiple concepts, and theme concepts, such as cute or fantasy and they can be changed. The new idol group in the PP-pop scene is quite similar to the Taesongean pop scene where they will often debut with a popular concept in the market to get a successful debut. PP-pop idol groups are not exempt from establishing sub-units or sub-groups formed among existing members, for example BoBoiBoy and the PTS, have their own sub-unit which is a sub-unit consisting of stepsiblings namely BoBoiFerb (Phineas and Ferb) which is famous for the song "High High", and also Trio-Q which is one of the PP-pop subgroups famous for participating in breakdance competitions.
The emergence of famous rap groups such as Pyeongrang Rapper Unit, Nico Nico Nee and Yaremashi in the late -10BPs paved the way for the development of contemporary PP-pop groups, and these rap groups combined rap and hip hop music in particular to revolutionize the music scene in the Gangwol speaking area. This adaptation of Western style extended to the fashion worn by the boy band: the members adopted a hip-hop aesthetic. The clothes of the rap groups are seen as the clothes of young people in the lively streets, usually seen taking influence from hip hop groups from neighboring countries or countries in the real world.
Since PP-pop became a modern hybrid of Western and Phineonesian or Keltian culture starting from the early RP 2600s, there have been many evolutions of fashion trends that reflect the diversity and differences in PP-pop, since the emergence of rap groups, they have adapted western styles in fashion but not everything can be adapted. Many influences of fashion trends from Taesongean pop and Phineaner pop or Fora pop that can smuggle into the PP-pop or PhinK-pop industry make it many idol groups that show this fashion image. Fashion trends from the early RP 2600s to the early RP 2610s can largely be categorized under the following:
- Street: featured by hip hop idol groups focuses on individuality; featuring bright colors, mix and match styling, graphic prints and sports branding.
- Retro: aims to bring back "nostalgia" from the -40BPs to the -20BPs; featuring detailed dot prints and patterns. Common clothing items include denim jackets, boot cut pants, wide leg pants, hair ties, scarves and sunglasses.
- Sexy: highlights femininity and masculinity even though it is used with the dangdut genre; featuring revealing dresses made of satin, lace, fur and leather. Common clothing items include mini skirts, corsets, sheer stockings, high heels, sleeveless vests and see-through shirts. However, this sexy image is supplemented with long-sleeved shirts and tight pants, as is the habit of female idols to avoid wearing eye-catching clothing.
- Black & White: emphasizes modern and stylish, symbolizes elegance and charisma, mostly used for formal wear. (Most nasyid idol groups who dress with this fashion concept but some of the clothes they wear have colors other than black and white, but gray can be categorized as black and white)
- Futurism: usually used with electronic and hip-hop or pop rock genres; featuring colored items, metallic details and prints; promote a futuristic view.
- Traditional: usually used with the folk genre, usually symbolizing the culture of an ethnic group such as Phineaners, Taesongean and so on, not forgetting also the fashion highlighted by idols from the Phinbellan Aboriginal people. Phineaner clothing items such as baju Mataba or baju kurung, samping, capiah, songkok or peci for men and also tudung bawal or various types of hijab for women (as long as it is not the type of hijab that does not cover the aurat) are also worn with the nasyid genre. Items of clothing such as hanbok, sari, cheongsam and so on related to each ethnicity are categorized as traditional.
- Rural: In the era of the second generation of PP-pop where the urban community is used to clothes that seem to be all rural on the lower part of the body or the leg which is called a sarong or kain pelikat because it is possible that jeans are no longer worn for reasons of discomfort, only the shirt only modern clothes, and usually worn with various genres including rock, gospel (for the Nazarene) and dangdut (maybe a few), and usually worn by male idols especially Yapreayan idols in PP-pop. For example, Valèntich and the Friends-Tones and BoBoiBoy and the PTS are pioneers of rural idol fashion.
PP-pop has a significant influence on fashion in Phineonesia, where trends started by idols are followed by young audiences. Mat Phineas Flynn and Ferb Fletcher are among the idols who were crowned as Phinbellan fashion icons while in Danville, where they have repeatedly worked with fashion designer Gaston Le Mode, labeled as "muse". Both of them including some idols have established status as fashion icons.
According to a fashion designer expert from the University of the Straits Settlements known as Professor Abdul Fathi Muhammad, "PP-pop doesn't actually need to emphasize thin, tall and feminine looks with teenage or sometimes very cute facial expressions, regardless of whether they are male singers or women, usually those with big bodies are said to be cute."
The Phinbellan federal government has long been known for its support of the PP-pop industry, with a specific focus on the popular culture which known as "Phinbellan wave". This genre, which combines elements of traditional Phinbellan music with modern pop, has gained a significant following both within the country and internationally in recent years. As a result, the government has implemented a number of initiatives to support the growth and success of this industry.
In terms of finance, the Phinbellan government has established several funding programs specifically aimed at supporting the development of the PP-pop industry. These programs offer grants and loans to individuals and companies involved in the production and distribution of PP-pop music, as well as to those working in related fields such as concert promotion and music education. In addition, the government has also implemented tax breaks for companies and individuals involved in the production and distribution of PP-pop music, making it more financially feasible for them to operate in the industry.
In terms of diplomacy, the Phinbellan government has also played a significant role in promoting the success of the PP-pop industry on the international stage. This has included hosting international music festivals and conferences focused on PP-pop, as well as promoting the genre through cultural exchange programs and international partnerships. The government has also worked to establish trade agreements with other countries that allow for the easier exchange of PP-pop music and related products, making it easier for PP-pop artists to reach a wider audience.
In addition to these financial and diplomatic initiatives, the Phinbellan government has also implemented a number of government initiatives aimed at supporting the PP-pop industry. One of the most notable of these initiatives is the establishment of the Phinbellan Music Academy, which offers training and education in all aspects of the music industry, including PP-pop. The government has also worked to improve the infrastructure of the music industry in the country, including investing in state-of-the-art recording studios and concert venues. The government has also established partnerships with major record labels and music production companies to help expand the reach of Phinbellan pop music internationally especially PP-pop. In addition, the Phinbellan Cultural Affairs Agency has organized events and festivals featuring PP-pop artists, both within the country and abroad, to promote the genre and showcase the talent of Phinbellan musicians.
Overall, the Phinbellan government's support of the PP-pop industry has played a significant role in its growth and success in recent years. By providing financial support, promoting the genre internationally, and implementing a number of government initiatives where most of it is done by the Phinbellan Ministry of Culture, Youth, Sport and Tourism, which is responsible for the establishment of Phinbellan Cultural Centers everywhere in Micras, the government has helped to create a thriving and vibrant music industry in the country. This, in turn, has contributed to the success of Phinbellan wave and has helped to make it a household name around the world.
In early -50BPs, Phinbella was still in the age of small kingdoms, while Forajasaki was established as a federation of Phineaner kingdoms ten years later. In Phinbella, there were kingdoms that existed in those days. During that time as well, Western culture was introduced to Phinbella including its kingdoms on a small scale, with several Western-style bars and clubs playing Western music. Western culture was spread by immigrants including traders from Apollonia where they settled in Phinbella and Western music gradually became more accepted in certain kingdoms. At the same time, there were also countries established by Western settlers, including from the Boers causing their Western or Boer culture to spread in the region. Some of the musicians who live in the region have performed RSO shows held in the kingdoms in this region for the merchants there. This tour attracted the attention of many locals who visited the show.
In -47BP, a radio station operated by Trans-island Reserve Forces Radio at Marineros Base (now Phinéas Padolski) began broadcasting, spreading the popularity of Western-beat music alongside local beats. The first music recording in the Gangwol region was made in -43BP by Faizel Farquhar of the Natalia State Record Company who was sent to record local music in Keltia. From -40BPs to RP 2607, Marineros Base which was part of the Vers Empire was the center of the music industry that used its local Phineaner dialect and recordings were made at Entertainment and Music Treasure studios. Negara Awan, Springwind Islands and Danville was also the center of the music industry that used their respective dialects.
In the -30BPs, open auditions were held to recruit local musicians to perform at the Boer reservists' club, so many musicians from the local poor joined the auditions, and at that time, skilled local singers considered performing for Boer troops as a good way to support his family as well as to make a wedding gift. In addition to generating income, the singers were given the opportunity to record their own songs. The singers performed their songs in various early genres such as country music, blues, jazz and pop yeh yeh, which usually the genre used to be trending in Forajasaki. The economy in each of the existing kingdoms began to grow and popular music followed the trend of the region, using their accent, it became something new, and of course the songs published at that time became popular. Public radio stations at that time broadcast locally produced songs alongside songs from abroad and then spread them.
The first local band that championed the yeh yeh pop genre appeared known as Kugiran A&Z, a band formed in -27BP. The first talent competition for pop yeh yeh bands at Marineros Base was organized in -22BP. The first local song in the Pop Yeh Yeh vein was sung by the A&Z Band themselves, and it was their song that caused the band to gain popularity. After the popularity of the band, more and more other bands were established during the Pop Yeh Yeh craze and tried their best to imitate the style of the A&Z Band.
Several singers from the Gangwol region including from Marineros Base have performed outside the region including performing in Forajasaki, although television service in Phinbella did not exist at that time, those who got a name outside often appeared on radio programs, and even appeared on the program television in Forajasaki such as Auspo Brothers, Gurindo, Kumpulan Hantu Sangkor Ayam and Alakazim. The Auspo Brothers are the first band from the Gangwol region to release an album in Forajasaki and Plazas de Irian. Other singers or artists from this region including Gyal Manja, Zafrul Mat Saman, Khairul Papan and Konch are the first to have debuted in southeast Eura as in Krasnovlac.
During this period, with the rise of Western pop music and Gangwol rock music, folk songs and dikir bharat where they were brought from State of Barbara no longer dominated in the Gangwol region. However, many local singers who fought for dikir bharat such as Mat Yeol, Kerol Anak Fiji, Sebastian Merak Mas, Song Mae-il Anak Kala and Kim Han-cheul still managed to attract a certain level of popularity, Mat Yeol became famous since -30BP with his famous songs such as Anak Buja' Idak Jjenih, Gule Ike Puyuu, Kilih Idak Pueh Kilih, Sunggoh Chumil Rupe Deme and others.
The heyday of rock & roll or yeh yeh pop music faded and diminished in -21BP and it was replaced by rock, R&B and disco music that would soon gain popularity. Music influenced by Çakaristani beats was brought into the region through Forajasaki in the early -20BPs, while rock and disco were also introduced, causing pop music in the region to undergo another transformation. Between the late -30BPs and mid-10BPs, the market for local recordings and artists from the region was in greater demand from the outside community, bands and musicians who were still performing in clubs and pubs were contracted to record. At that time, many of the non-Phineaners who also spoke in the Phineaner dialect began to play tricks to venture into the Phineaner music industry. The non-Phineaner pop band Yah Kok led by Sakata Hitachi pioneered non-Phineaner bands and artists who recorded Phineaner dialect pop songs. The famous bands of the -30BPs from Forajasaki helped in modernizing pop music in the region and recruited some local singers and bands to modernize it; solo singers of the era such as Sumou Jangkalan, Ithnin bin Khamis and Rosnah Muliana Zain continued to push pop music to its peak.
Since the end of -30BPs, slow rock, heavy metal and hard rock and blues have also become dominant until now, and at the same time, in the middle of -20BPs, it saw the emergence of ballad singer Wan Deraman Wan Kati after his first album "Koghang Terlalu Jaoh Nok Dekak Nye" sold more than 430,000 copies and was once marketed in Forajasaki, it has the influence of a famous ballad singer and composer Khairool Idlan who uses the Gangwol dialect. Other ballad singers in the region including Sushi Muhammad and Sulthan Faz were dubbed "the princes of ballads" due to the influence of Forajasaki's famous ballad singers. In the rock genre, the first band that championed this Phineaner rock, Kogora, led by H. L. Muhammad from Marineros Base, played a major role in shaping rock music in the region for almost five years. "Carpark rock" or "rock karpak" has become a phenomenon among the youth of the region and usually performs in parking areas, from where famous local rock bands such as Hans and Friends, Wera, Polonia, Love Händel, as well as solo rock artists Bar Zuhal and Irshin Yamako.
Mid-20BPs to early -10BPs
Between the mid-20BPs and the early -10BPs, R&B and Pop music became the focus of urban youth in the Gangwol-speaking region, although it was mixed with rock elements, resulting in the creation of lagu perasan. This genre became a new phenomenon when a singer known as Linda Flynn-Fletcher sang a song where she wanted to have fun with the public, and the song appeared in -14BP. In -12BP, Linda continued her singing career with PMKB with the second album "Sensasi" which financed and produced by Choi Yong-won. Musicians who featured lagu perasan such as Love Händel and the group from Kota Hilir, The Storm also embellished the atmosphere of the era but more to karpak rock rhythms than R&B and disco. Other lagu perasan singers such as Kqazau, Lim Ho-kyun, Jang Hye-san and Fadzilah Che Wong were influenced by R&B, fusion and jazz, and also Hamidah Saad, Nur Qas and Choi Myeon-gi with their Phineaner pop and dangdut have made big wave in that era, where their hit songs became a crowd craze and their albums sold hard by selling more than 100,000 album units in one day. Linda did not miss out on making waves in late -11BP with her third album where it sold over 250,000 units in one day.
However, the popularity of lagu perasan began to wane in the early -10BPs, due in part to the retirement of Linda Flynn-Fletcher. Linda, who had been a major force in the PP-pop industry for many years, retired in -10BP, leading to a decline in the popularity of lagu perasan.
In fact, a genre with the theme of a big city scene brought from Sangun that is "city pop" (シティーポップ, shitī poppu) has started to gain a foothold in Phinbella especially in the Gangwol-speaking area since -16BP where car stereos were introduced and spread by the community to the community in Phinbella, considering that Phinbellans often buy cars from Forajasaki. It is possible that big cities such as Tampines or Bandar Baru Fatin, or at least in Kota Hilir and Danville are the inspiration for many songs in this form. Among the big names involved in city pop are Val-Itok, Kugiran Emas Berjuntai, Yukalao Miztaschiuy Assedenmoi Inchuaya (YMAI), Fakhrul Idlan Muhammad, Kim Hee-wan, Park Jin-hui and many others. City pop singers in Phinbella are also among the Sangunese people who live in this country. The popularity of city pop for many years in less than three decades until it plummeted in the early RP 2610s, however, city pop artists continue to publish songs of this genre until now. The characteristics of city pop in Phinbella (except for the "cultural background") were inherited by Pekan-kei musicians starting at the end of RP 2604.
New style of Phinbellan rock
Late -10BPs to RP 2600s: Development of modern PP-pop
In the late -10BPs to RP 2600s, PP-pop musicians incorporated partially Phineonesian-wide pop, Europop, Taesongean pop and mostly Western Micras popular music styles such as hip hop, slow rock, jazz, and electronic dance in their music. The incorporation of these various genres allowed for the creation of a unique and diverse sound in the PP-pop industry. This fusion of various genres helped to create a distinct sound that set PP-pop apart from other Keltian pop music at the time. In -7BP, the emergence of Pasukan Rap Utama (PRU) marked a revolutionary moment in the history of PP-pop. The trio debuted on NNN's talent show with their song "Koi Tau" and got the lowest rating from the jury; however, the group gained a large following due to their unique blend of rap and traditional Phinbellan instrumentation. This marked the beginning of the incorporation of rap and hip hop elements into PP-pop music.
Following the success of Pasukan Rap Utama, many other PP-pop artists began to incorporate rap and hip hop elements into their music. One of the most notable examples of this was the group Geng Rap Gegar, who gained widespread popularity in the mid-RP 2600s with their hit single Bunyi Gegor where this single album started selling hard with sales of 400,000 copies within a week. In the RP 2603 until RP 2607, PP-pop experienced a surge in popularity with the rise of boy bands and girl groups. These groups, such as Hitz2 and G-Force, gained widespread success with their catchy pop songs and energetic dance routines. This trend also led to the emergence of solo artists, such as Diva Azzam Abdullah and Raihan Van Huizen, who gained a significant following with their soulful ballads and pop-rock hits. The massive popularity of Pasukan Rap Utama among teenagers in Phinbella shifted the focus of the Gangwol dialect music industry to youth-centric pop music. After the peak of PRU's popularity, a group named UNI-See was led by seven young people from Pyeongrang, and since its appearance, the group has been successful by receiving several gold and platinum wins in the middle of -5BP. While the group of three brothers PRU, wrote many rap and hip-hop numbers aimed at the rap and hip-hop groups that have just been established recently.
At the beginning of the Phinbellan provisional government era where the term PP-pop began, there were entertainment companies that began to exist in that era, including Wayang Tinggi Entertainment founded by Osmuliana Kim in RP 2600. A ethnic-Gogobugian record producer, Ferdinand Wong Hikawamiyon where he studied majoring in art academy in Forajasaki and exposed to trends in Forajasakian music, founded an entertainment company known as Planeta Agency in RP 2602. While a singer based in Forajasaki, Kiai Hamid Mustapha established KHM Entertainment in RP 2603.
During this period there was also fierce competition among pop singers to get their songs to the top of their charts.
In the decade of the RP 2600s, male or female idol groups were established to cater to the growing teenage audience, not only with the hip-hop or rap genre, but there are also idol groups oriented towards the slow rock style that sways or the melodious Phinbellan rock cheery especially the idol group from among the teenagers themselves. The emergence of idol groups in that decade made young people copy the hairstyles and fashions that were said to be cute. Items associated with idol groups ranging from sweets to perfumes are also sold. The formula used by PP-pop idol groups is said to come from the style of an idol group from Taesong, there are even a number of idol groups that use the formula style of a band of teenagers from Forajasaki.
The early RP 2600s marked an era when pop music with traditional elements such as dangdut and Phineaner ethnicities rocked the market with best-selling albums from singers such as Ritmapruma, Sheeder, Emily Wastafel, Olly Olivia, Kyung Hong-gi and many more. With a contemporary touch, these singers managed to dignify traditional Phineaner music to a higher level, the most proud of which is that dikir barat, which has been submerged since the -20BPs, has been dignified again with the emergence of more famous dikir groups or bands, where it has plated or parodies songs in Adarani language especially from Çakaristan to a song with the rhythm of dikir barat as an example of a lyric that reads "Rindu, rindu, mengapa hati selalu rindu", and since then the genre of dikir barat managed to penetrate the mainstream market and often resonates in radio funnels, sales of compact discs featuring dangdut songs, Phineaner rhythms and dikir barat also received a warm response from adults and teenagers, especially in rural areas. There is a dumping of VCD or DVD sales of movies from Çakaristan which has a devastating effect on the PP-pop industry.
There was also a penetration of the genre of nasheed into the mainstream market between the early RP 2600s and the early RP 2610s. The genre, which only used vocals and percussion music developed by vocal bands at the time, gained a lot of support from the rural population and the religious Umraist demographic especially the Phineaner community in Phinbella and some Taesongean Umraists, but there were many vocal bands especially male idol bands Umraist religious PP-pop which is not nasheed oriented also publishes nasyid rhythmic songs where it started in the late 2000s, the members of the band perform their songs similar to the usual style of nasheed bands without any musical instruments other than tambourine drums and keyboards, for contemporary riffing definitely uses musical instruments that are not used in rock music. Not forgetting that the gospel genre also penetrated the PP-pop market by combining local traditional elements and also rock music, and the gospel genre is highly specialized by the Nazarene religious population and needs a lot of support from them, this genre began to penetrate the market in the same era as nasheed which is dedicated to Umraist residents.
In the late RP 2600s especially since RP 2606, Taesongean pop has influenced Phinbellan pop music and has become the choice of many teenagers and youths in the city and village corners apart from and beat Istvanistani pop songs, talent agencies in the federal territories began to market PP-pop stars by implementing the idol business model once used in Taesongean pop and Sangunese pop, where usually from Taesongean pop, talent is selected and trained to attract the attention of a global audience through formal lessons or through residency programs. This process seems to be similar in terms of ethics, compliance and physical and language training, but the language training in the PP-pop idol selection program requires a polite style of language even though the lyrics of the songs are indeed 'indecent' and somewhat 'obscene' or 'explicit' but they are dismissed and replaced by polite words to protect the listener's sensitivity, especially from the majority of Umraist listeners. Residency programs should take care of the personality of participants or trainees, especially from among women, and potential talent not to choose height and usually it does not require a very high or low average height when compared to TC-pop which often looks for idols with a high average height. PP-pop is not the same as Taesongean pop where it does not emphasize its appearance, even chubby appearance is allowed but not exceeding the set weight limit which is between 80 to 100 kilograms, but what is in common is the character and facial expression of teenagers or sometimes very cute, it doesn't matter if they are male or female singers, but they can't be overly feminine. At that time, trainees from among teenagers were chosen to collaborate in an album of bharat dhikir songs such as Isabella Garcia-Shapiro who was singing the official song theme of the 'Rosalinda' drama series, the trainees' collaboration album was often published by certain recording companies, including from Forajasaki. Over time, Forajasakian artists have been successful because of their fluency in the local language in Phinbella.
RP 2610s–RP 2620s
Similar to Taesongean pop, PP-pop has also spawned an entire industry that includes music production houses, event management companies, music distributors and other goods and services providers in the market of directly administered territories and dependent territories, as well as the national market itself. Monsta (established in RP 2605) and Wau Entertainment (establised in RP 2611) are among the largest PP-pop entertainment agency companies in terms of sales and revenue, these companies have contributed greatly to the PP-pop industry as well as the Phinbellan animation industry, often known as "AniPhin and PP-pop Big Duo". Record labels under the umbrella of the biggest entertainment agencies such as Wayang Tinggi Entertainment, Skyline Production, CO7DPLAY Production, Home Vision Network and others also function as representative agencies for their artists. They are responsible for recruiting, financing, training and marketing new artists and managing their music and public relations activities. Currently, the agency with the largest market share is Monsta where it produced big stars such as Mat Phineas Flynn, Isabella Garcia-Shapiro and Phinean Tōnán'hyôrï. In RP 2610, these two largest agencies together with several small-scale entertainment agencies founded a joint management company known as Nittere Digital Records, which was also joined by record labels under its umbrellas.
Sales and market value
The record charts of PP-pop songs are likely to include those on radio and television, even in Tanah Tōnán'hyôrï as well as in the Phinbellan special administrative territories have their own record chart system for PP-pop, it also includes national record charts such as the Recording Board of the Federation Chart and Rampaian Digital Chart. Several PP-pop records have appeared on the charts in Forajasaki and Oriental Taemhwan, as well as in Plazas de Irian.
CD, DVD or digital download piracy
Poor living and working conditions
Appeal and fan base
Popularity and impact
PP-Pop is common in Sanpantul as well as in all Micras. Sanpantul management is very satisfied with PP-Pop.
In Shireroth, Hopsy released a PP-pop-inspired album in 1694. In contrast. PP-pop has been banned in the Unified Governorates of Benacia since the authorities first became aware of the phenomenon in the same year that Hopsy's album was first released. Owning, playing, or performing any piece of music deemed to be "PP-pop" carries the tariff of a mandatory ten year tour of duty with the Biological Remediation Service. Restrictions promulgated by national authorities culminated in the 1699 Edict of Prohibition against Degenerate Art issued by the Congress of Chryse. In Floria, popularity is mixed after PP-Pop is used for content such as memes and short funny videos online mostly mocking Phinbella.
- Contemporary culture of free area of the Federation
- Phinbellan Wave (a.k.a. Phillyu)
- Gangwol Phineaner, Pyeongrang Phineaner and Springwind Islands Phineaner
- Pyeongrang idol
- Telenovela Gangwol
- Cinema of Phinbella
- List of PP-pop artists, idol and girl groups
- List of PP-pop concerts
- Music industry of Keltia
- Music of Phinbella
- TC-pop (Oriental Taemhwan)