Ador, the K-pop record label, announced it is suing Danielle Marsh, a member of the megaband NewJeans, for millions in damages, a day after terminating her contract following a year-long dispute. The compensation suit against Marsh, a 20-year-old Australian-born singer, follows months after a Seoul district court ruled that NewJeans' five members must honor their contracts with Ador, whose parent company Hybe is also behind the K-pop sensation BTS.
Ador is also suing an unnamed member of Danielle's family and the band's former producer, Min Hee-jin, for damages and as part of a contract break penalty, alleging they both bore significant responsibility in the dispute. The company claims the actions of Marsh, her family member, and Min Hee-jin led to significant financial losses and reputational damage. The band's contract is set to run until 2029.
The dispute between NewJeans and Ador reportedly began over allegations of mistreatment and unfair contract terms, leading the band to attempt to leave their contract. While the specific details of the alleged mistreatment have not been publicly disclosed, the conflict highlights the ongoing concerns regarding artist rights and contract negotiations within the K-pop industry. The court's initial ruling underscored the legal complexities involved in contract disputes within the entertainment sector, particularly when dealing with long-term agreements.
The lawsuit raises questions about the balance of power between K-pop record labels and their artists, and the legal recourse available to both parties in contract disputes. The outcome of the case could set a precedent for future contract negotiations and artist-label relationships within the industry.
Currently, the lawsuit is proceeding through the South Korean legal system. Ador has not specified the exact amount of damages sought, but reports suggest it is a substantial sum. Marsh and the other defendants have yet to issue a formal response to the lawsuit. The case is expected to continue in the coming months, with potential implications for the future of NewJeans and the broader K-pop industry.
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