The rise of K-pop (Korean pop) as a new global music genre has wrought theoretical turmoil within the field of cultural studies. This article argues that the global ascendance of K-pop can primarily be attributed to the passionate support of inter-Asian audiences. However, the actual production, performance, and dissemination of K-pop contents have little to do with the Asian pop-culture system. Although the manufacture of K-pop music and its performers depends on Korean talent and management, K-pop producers tend to rely heavily on the global music industries of North America and Europe for their creative content. The global dissemination of K-pop would not have been possible without global social network service (SNS) sites such as YouTube, Facebook, and Twitter-none of which are owned or operated by Asians. This article argues that the manufacturing of creativity in non-Western music, as illustrated by the case of Hallyu, involves three stages: globalization of creativity, localization of musical contents and performers, and global dissemination of the musical contents through social media.