A year ago, there were just three Korean music companies in the US.

Now there are more than 60, and they all have one thing in common: They’re all part of a booming and rapidly growing industry.

The Korean music industry employs some 6,000 people worldwide, with an estimated annual revenue of $1.4 billion.

Its biggest players are K-pop, country music, and hip hop, with the latter three making up a large portion of its profits.

Korean music is one of the fastest-growing industries in the world, with more than 20,000 musicians making it their top priority in 2016.

It is estimated that the number of people in the United States who have heard Korean music has nearly doubled over the past decade.

As the music industry continues to grow, so too does its competition.

The music industry has been on a downward trend since 2012, when Korea’s biggest music companies—K-pop and country music—were all sold to Korean conglomerates.

The K-Pop and country-based companies now make up nearly half of all global music sales, and are on track to surpass the $1 billion mark by 2020.

But they’re also growing at a rapid pace.

This year alone, they will add another $500 million in sales.

These Korean music giants have become increasingly important players in the music business in the past few years.

In fact, they are now one of only three music companies to own more than 40 percent of a US music studio.

The other two are Warner Bros. and Sony.

All three are based in Los Angeles.

The three companies share a common core, including their focus on the music, but their strategies and revenue streams have evolved drastically over the last decade.

Both K- and country companies have embraced the “influencers” concept that’s become so popular in the hip hop and K-rock music industries.

They seek out musicians and fans to get them to their label or to record their music, sometimes for free.

Many of the most popular artists on K-POP and KROQ have become big business for both the labels and the artists themselves.

They’re able to offer them lucrative, guaranteed deals with their labels.

They often have a songwriting partner or an executive producer.

And most importantly, they often don’t pay any royalties.

The result is that both companies have become bigger than ever before.

K-pops music has become so big that many artists are leaving the country-focused genres in order to pursue bigger and more lucrative opportunities outside of K-punk.

In 2017, the top 25 K-music artists earned $1,000,000 and $1 million, respectively.

These figures are significantly higher than the top five US hip hop artists and top five K-ranks combined.

It’s not surprising that artists like Kanye West and Chance the Rapper have been able to generate more than $1bn in sales, even if the numbers are lower than they were in 2015.

There’s a reason for this.

The rise of the K-dramas is due in large part to the rise of social media.

The growth of the internet has allowed artists and their fans to share and interact directly with one another in real time, creating a virtual environment that is much closer to real life.

In the music world, this trend has allowed people to connect and communicate more easily and easily.

They can share and be inspired by one another and with their peers.

But these artists also have a huge stake in the success of their music.

Kpop and Krock’s success has allowed them to be able to earn massive profits, while K-culture and Kpop-music’s growth has helped the music companies expand and become more profitable.

For both companies, there are a number of reasons for this shift.

The biggest is the internet.

In 2016, K-world’s K-style of music—pop, rock, EDM, hip hop—is now dominant.

The two biggest K-genre artists—Lil Jon and A$AP Rocky—are now in the top three.

But Kpop’s Kpoppop music has been steadily gaining popularity since 2015.

That’s because K-core, a genre of music that is primarily Korean and which has been gaining popularity in the country for years, has also become popular.

This is especially true in the U.S., where K-dominant genres are becoming more popular.

It makes sense that both of these genres are gaining more fans.

It also makes sense for Kpop, which has always relied on the Kpop music industry as its core market.

That way, it’s more likely that it can retain its loyalty and keep paying royalties.

In addition, the rise in Kpop culture and Kranks popularity has allowed the music labels to take on bigger roles in the business.

They have to focus more on marketing and promotion.

And they have to work more closely with K-based