A special announcement.
Due to unforseen personal circumstances that are partly related to the COVID-19 pandemic (no, I’m not sick), and partly not, I’ve unfortunately had to end The Kpopalypse Radio show.
The blog itself will obviously continue. Although the blog originally started strictly as a companion to the show, the blog now has a much larger life of its own and has become far more popular. Very few blog readers actually also listen to the radio program, so the vast majority of readers won’t have their quality of life affected by this change, and in fact the blog will probably improve as a direct result as I’ll be able to funnel more of my energies from radio show preparations into blog writing and other online content.
Playlists for the show that cover most of its existence are here.
The first song ever played on the Kpopalypse radio show, in April 2012, was Girls’ Generation’s “Gee”.
The last song ever played on the Kpopalypse radio show, in March 2020, was IU and Fiestar’s “Sea Of Moonlight”.
Final stats for the radio show:
Below are some quota stats. Note when looking at these that Three D Radio has a quota system for local (20%), Australian (40%) and female content (officially still 25%, although the station is gradually moving this to 40%).
The radio show was exempt from all of these quotas due to its specialised nature, and reaching “local” (i.e South Australian) and “Australian” content on a Korean-themed show is impossible anyway, obviously. Female quotas were certainly well within reach however, and although I personally felt that their quota system was outdated (female airplay on commercial radio was unusual in 1979 when the station’s quota system began, but is much more common now, to the point where having a quota now seems borderline-insulting to the women it’s trying to help), I always made sure to far exceed the “female” quota in all cases anyway, both as a global average and on a per-show basis. The Kpopalypse Radio Show remains to this date the show on Three D Radio with the highest percentage of female airplay on the entire station (approx 65%) since the recording of computerised stats began in 2016. The small amount of “local” and “Australian” airplay in this chart are from the very rare circumstances (less than half a dozen) where I couldn’t do the show and another DJ filled in and played non-Korean music.
It was my great privilege and a lot of fun to present to radio listeners Korean pop music through the last eight years. Thanks to all people who supported the radio show, and Kpopalypse will keep bringing you content through this blog and associated activities! Stay safe, caonimas!