As we build toward the 2024 Billboard Music Awards on Dec. 12 and Billboard’s Year-End Charts reveal on Dec. 13, check out our editorial list of staff picks for the best K-pop albums of the year. As is seemingly tradition, the K-pop industry has plenty to celebrate when reflecting on the year’s album milestones. 2024 featured record-breaking achievements, inventive breakthroughs and a wealth of impactful projects to solidify K-pop’s ever-growing global presence as a commercial and creative force. Stray Kids, ATEEZ and TWICE dominated the Billboard 200, earning their fifth, second and first No. 1 albums in America, respectively. Their successes contributed to a historic moment when three K-pop acts—BTS’ Jin, ENHYPEN and ATEEZ—simultaneously ranked in the top 10. Elsewhere, celebrated projects led several artists to their first-ever appearances on the Billboard 200, while rising, next-generation stars P1Harmony and BOYNEXTDOOR climbed to new peaks. But 2024 wasn’t just about breaking records, but also a year when artists pulled listeners deeper into their worlds. Beloved solo stars like ONEW, Baekhyun, Yves and D.O released their first projects under new labels, showcasing their individuality after departing longtime agencies. Meanwhile, superstars like IU, RM, DAY6, SEVENTEEN and tripleS delivered some of their most ambitious work yet, blending innovative concepts with personal storytelling. From K-pop icons to promising rookie acts, R&B wunderkinds and even one virtual boy band, check out our full list of the best K-pop album below — and be sure to check for our top K-pop songs of 2024 list, too. P1Harmony rises up the charts chart with each album release, and September’s Sad Song EP didn’t just mark their best positions yet (No. 16 on the Billboard 200 and No. 1 on World Albums), but their most expansive and involved work to date. The title track/single allowed P1H the chance to play with Latin pop and hip-hop sounds as the members took more creative control on songs they felt would round out their live setlists and become future fan favorites. Intak and Jongseob teamed up for the rap cut “WASP,” Jiung took the lead on rock anthem “Last Call,” as leader Keeho brought light reggae vibes for “It’s Alright.” No sad songs here — just impressive versatility shooting P1Harmony up the charts. – Jeff Benjamin RESCENE is a rookie girl group to keep your eye on in 2025. Living up to their name, which combines “scene” and “scent,” every corner of their first EP is infused with fragrant nostalgia and glistening melodies. From the dreamy pop ballad “New World” and blissed-out R&B of “Pinball” to their crown electro-pop jewel “LOVE ATTACK,” SCENEDROME is less sensory overload than a smooth spritz of perfume. Opener “Lucky You,” meanwhile, has a regal elegance that seems to signal the arrival of new K-pop queen bees. — Abby Webster Jin’s much-anticipated first set since being dismissed from military service in June is an impressively realized pop-rock debut. The open-road singalong “Running Wild” sounds like a lost banger from The Killers’ classic period, while “I’ll Be There” could have been a Fitz and the Tantrums favorite 15 years earlier. It’s not all ’00s retro, though: WENDY duet “Heart on the Window” has an ’80s-derived smoothness and modern pop sheen that could actually slot it right between Harry Styles and Sabrina Carpenter jams on contemporary top 40. Like pretty much every solo debut from a BTS alum thus far, Happy shows Jin already firmly in his own lane, and ready to speed toward individual success. — Andrew Unterberger EPEX solidified their place as a K-pop force to be reckoned with in 2024 with two full-length albums to showcase and expand their musical and conceptual ranges. Youth Chapter 2: Youth Deficiency captures a nuanced message of embracing deficiencies as part of one’s journey, presenting a relatable narrative that can resonate with today’s youth and flip the definition of deficiency. The LP builds on the foundation laid by Youth Chapter 1: Youth Days (which made Billboard ‘s Best K-Pop Albums of the Year So Far list earlier this year), which highlighted the ordinary moments of adolescence. In contrast, Chapter 2 ‘s eight tracks delve into themes of imperfection, choice and personal growth via standouts like the anthemic pop single “UNIVERSE,” the nostalgic synth-pop-rock gem “1997” and the reflective “Loner.” — J.B. Anchored by creatively contrasting singles like the rebellious, boundary-pushing “Dangerous” and the self-assured synth-pop anthem “Nice Guy,” BOYNEXTDOOR’s 19.99 encapsulates youthful camaraderie and freedom. The group’s ability to channel real-life experiences into their music adds an authenticity that resonates deeply with fans, helping them secure 19.99 as their first No. 1 on Billboard ’s World Albums chart and hit the top 40 of the Billboard 200, previewing the potential of these standout rookies. — J.B. IVE SWITCH cements the girl group’s status as industry trendsetters by showcasing their versatility and depth. With two lead singles, the irresistible, “No Diggity”-sampling party anthem “HEYA” and the intricate, tempo-shifting “Accendio,” the album balances commercial appeal with creative risk-taking. Meanwhile, tracks like “Ice Queen” and “Blue Heart” further enrich the record and speak to IVE’s larger themes of self-love, the latter being penned by member Jang Wonyoung as a meditation on the challenges of K-pop idol life, metaphorically describing the transformation of an idol’s heart into something icy yet resilient. — J.B. Stray Kids’ fifth No. 1 album on the Billboard 200 in under three years presents the octet succeeding in an impressive variety of styles. The growling rap-rock of album opener “Mountains” and near-reggaetón thunderousness of hit single “Chk Chk Boom” make for a bombastic one-two opening, but “Runner” starts out marching to a near-militaristic NY drill beat, then takes flight into a soaring drum-n-bass chorus. Meanwhile, “Twilight” marinates on a low-key piano shuffle, and the group’s self-titled anthem plays like a fist-pumping version of Justin Bieber’s “Ghost,” complete with one of the year’s best sing-along choruses. The Stray Kids might’ve ATE with the eight-track set, but their fans will also certainly leave feeling fed. — A.U. For the iKON member’s long-awaited full-length solo album, Nakseo makes a deeply personal and versatile record: DK wrote and co-produced every track. From the mellow, guitar-laden vibes of “LTNS” to the irresistible soul of “Groovin,” the album masterfully bridges R&B and K-pop to show his appreciation for both worlds. Collaborations with artists like Punch and his iKON bandmate Bobby enhance the album’s dynamic range, as do the album’s explorations of electronic and dance elements to add vibrancy to DK’s sonic palette. Closing with tracks like “??” and “Genre” leave the LP as an open-ended invitation for what’s to come and what DK can offer in his future musical moves. – J.B. While initially establishing themselves as princes of dark K-pop, ENHYPEN has been embracing lighter sounds and tones in recent releases to consistently great results. The initial ROMANCE : UNTOLD album was centered around excellent, experimental pop singles like “XO (Only If You Say Yes)” — co-produced by “Golden Hour” star JVKE — and the Cirkut-helmed “Brought the Heat Back.” The -daydream- expanded reissue tacks on two tracks with “Daydream” and “No Doubt,” which use brilliantly subtle minimalism to show that not every K-pop smash needs to go toward maximalism. – J.B. D.O. titled his third mini album BLOSSOM to represent his artistic development and growth, which is undeniably felt with his first music project under his independently established agency, Company SooSoo, inspired by his full name Doh Kyung Soo. The personal touches stemming from D.O.’s own label are felt throughout BLOSSOM , which ranges from fanciful to introspective for a cohesive EP. Lead single “Mars” enchants with its whimsical charm and sounds like it could easily make its way onto top 40 pop radio, while standout album cut “Simple Joys” highlights D.O.’s animated vocal delivery against an ocarina-focused production (both are co-produced by Norwegian singer-songwriter Peder Elias). Meanwhile, the buzz single “Popcorn” delights with its playful whistle hook, delivering a bouncy, earworm-worthy experience. We hear true growth in the EP’s final tracks like the acoustic-led “My Dear” and the poignant closing ballad “About Time,” which explore themes of love, regret and self-reflection. With BLOSSOM , D.O. proves that his journey as an independent artist is just beginning to bud. — J. B. ZEROBASEONE’s You Had Me at HELLO blends the polished production we’ve come to expect from the mega-selling boy band with satisfyingly complex details. Tracks like “Solar POWER” and “Feel the POP” shift tempos and genres while “SWEAT” has a soulfulness to an otherwise standard party jam. Meanwhile, “Dear ECLIPSE” dips into R&B territory to highlight the members’ soaring falsettos as the heartfelt harmonies in “HELLO” underline a maturity that transcends their origins on the singing competition Boys Planet . These layers make the album both approachable and rewarding for deeper listening. – J.B. SEVENTEEN deserve a victory lap. Last year, the self-producing K-pop superstars sold a reported 10 million albums globally, with two projects reaching the upper echelons of the Billboard 200 . That’s not what really matters, according to them: “I don’t need money or fame,” the guys say in their latest and embody in lead single “LOVE, MONEY, FAME” featuring DJ Khaled. But between seductive disco sashaying (“Rain”) and infectious Miami bass bounce (“Eyes on You”), Spill the Feels is still a toast to their unending ambition. Nowhere is this clearer than on “Water,” a braggadocious trap banger from the Hip-Hop Team: “I stand on oceans,” they rap. “Yet I still feel thirsty.” — A.W. Trust Me is an apt title for the decade-long wait for the GOT7 member’s project, which acts as a masterclass in blending R&B, hip-hop and pop through its 14 tracks. From the sultry bossa nova opener “LA SOL MI” to the nostalgic ’80s synths of “SHINE” with K-diva Sumin, and the effortless hip-hop hooks in “1 M I N U T E ,” Trust Me offers one of the most satisfying listening experiences in K-pop this year. The LP balances moody, sultry R&B moments with brighter, smoother pop highlights. His knack for collaborations shines, particularly on the seductive “Ponytail” with Sik-K and the introspective “Say Nothing” featuring LeeHi. While R&B-pop producer mastermind GRAY is the most frequent collaborator on the record, tracks like the all-English closing cut “Summer Blues” — produced by Korean-music veteran and XG collaborator Chancellor — push Yugyeom to new areas to flex skills beyond any one style or genre. — J.B. A project from former LOONA members HaSeul, HeeJin, Kim Lip, Choerry and JinSoul, ARTMS (the name is inspired by the Greek goddess of nature and wild animals) officially debuted this year with DALL under the recently launched label MODHAUS. If you loved LOONA’s melodies but wished the group had enjoyed a bit more leeway to get weird, ARTMS is for you. “Usually, the company tells us what to do, but now, since we’re active players and debuting again, we wanted to work on the identity of ARTMS. We gave a lot of input in the songs and concepts,” HeeJin told Billboard in October . The pumping pop of “Virtual Angel” shows off their gorgeous vocal blend; “Sparkle,” which the group wrote the lyrics for, has a swaggery ‘90s R&B flavor; “Flower Rhythm” brings to mind Ariana Grande when she’s melding the dancefloor with R&B rhythms; and “Candy Crush” – with its pillowy horns and even a flute – is as irresistible as the game. The album’s most unexpected moments might be its best. “I’m falling into your kaleidoscope” they sing on the woozy, disorienting “Butterfly Effect,” which sets the stage for the dark electro of “Birth,” an ambitious, marvelous song that evokes Reputation -era Taylor and explores how love can go wrong. — Joe Lynch Upon release, Fourever marked a triumphant new chapter for DAY6 to solidify the K-pop rock band’s place as a force in both the K-pop and global rock scenes with a reinvigorated sound. The project’s success was underscored by the chart-topping album cut “HAPPY,” which not only hit No. 1 in South Korea but also earned the band their first entry on the Billboard Global Excl. U.S. cha r t . With revving guitars and anthemic chorus, “HAPPY” encapsulates a universal yearning for joy, as the members plead “May I be happy?” and affirm their resolve with, “So help me / ...Tell me it’s okay to be happy.” Meanwhile, the album’s opening track and lead single, “Welcome to the Show,” signals DAY6’s readiness to take on the world’s biggest stages with stadium-sized, exhilarating hooks (the song seems like an instant crowd-pleaser and future concert staple). “The Power of Love” delights with buoyant synths, while “Get the Hell Out” channels punk fury with pounding drums and biting lyrics, and the haunting “Sad Ending” rounds out the album, blending eerie piano work with layered vocals to create a chilling, emotional closer. As DAY6 gear up for their 10th anniversary in 2025, this album cements their status as K-rock stars primed for growing recognition. – J.B. NMIXX lapped a few of their K-pop peers this year, all thanks to Fe304: Break ’s artful course correct that transformed the experimental girl group’s signature, polarizing “MIXX pop” genre-mashing into more of a subtle deconstruction. This time, singles “DASH” and “Soñar (Breaker)” kept pace instead of mid-song tempo switches that derail momentum. Spread out over 20 minutes, this rollicking EP is a rollercoaster ride of country twang and rock ( “Run for Roses” ), industrial hip-hop (“BOOM”), pulsing Jersey club (“Passionfruit”), delicate R&B (“XOXO”) and more. It’s thankfully not a total revision of their unique sound, which is why this “NMIXX, change up” sticks the landing. — A.W. A testament to Baekhyun’s artistic independence, Hello, World marks the EXO member’s first project outside his longtime label, SM Entertainment. The album showcases a newfound approach — he told Billboard how he was deeply involved in every aspect, from production to visual storytelling. Tracks like the bossa nova-inspired “Rendez-Vous” and the synth-pop lead single “Pineapple Slice” strike a perfect balance between his signature silky R&B stylings and experimental departures. Meanwhile, the powerhouse vocalist takes on new artistic challenges, like the rap-inspired “Cold Heart,” which highlights his growth as a performer. Hello, World is not just Baekhyun reclaiming his place as one of K-pop’s top soloists, but a reintroduction and a bold new era for his career. — J.B. Yves has big things on the horizon, and she knows it: “You know I fly high, just feel it/ I’mma go far, just give me a minute,” she bids on the A.G. Cook-inspired lead single “Viola,” a testament to the burgeoning soloist’s serious aesthetic chops. On the heels of that sonic sledgehammer (“Let’s get dumb and break sh-t,” it opens) come silky and sulky B-sides “Hashtag” and “Gone Girl” : “You’re five-star criminal for putting me aside,” Yves grouses with panache on the former. I Did ‘s closer “DIM” is truly in a lane of its own — the instrumental outro is a tearjerker even sans words. — A.W. A new chapter for ONEW following the SHINee leader and soloist’s departure from SM Entertainment, FLOW lets the K-pop veteran step into a more hands-on creative role, writing all six tracks to curate a more personal project in his first under GRIFFIN Entertainment. With a blend of dreamy synth-pop, jazz influences and innovative vocal deliveries, FLOW showcases ONEW’s artistry as both a performer and songwriter, capturing the essence of a seasoned artist unafraid to push boundaries. Lead single “Beat Drum” encapsulates the album’s playful yet profound themes, pairing percussion-driven beats with clever lyricism to reflect ONEW’s nearly two decades of dedication to music. The EP is a testament to his growth as an artist and the opportunities provided by GRIFFIN, a place that can encourage him to flourish to cement his legacy as a K-pop trailblazer but also set the stage for even greater heights in his solo career. – J.B. A landmark K-pop album of 2024, ASSEMBLE24 proves that a 24-member girl group can craft a cohesive and accessible listening experience. For the first time, every member of the two-year-old tripleS girl-group project united to deliver a genre-spanning record that is as ambitious as it is satisfying. The LP is centered around the empowering lead single “Girls Never Die,” which ingeniously ensures that each member gets a moment to shine and remains true to the LP’s name that all 24 stars are assembled and ready for action. The album’s sonic standout moments are plentiful: “White Soul Sneakers” delves into Afrobeats and acid funk amid entertaining tempo and musical shifts; “Midnight Flower” charms with a bubbly, ’80s-inspired pop-rock foundation; “Dimension” embodies a New Jack Swing groove; and “24” channels quintessential tripleS with strong synths, playful hooks and groovy percussions. ASSEMBLE24 feels like a celebration of the type of creativity and unity that is especially unique to K-pop. — J.B. “I’m a bit rusty,” NCT 127 say on “Walk,” though the line isn’t meant to be self-effacing. Rather, it’s a humble brag about the team’s je nais se quois — which has remained strong amid member exits and hiatuses — on full display on their sixth studio album. As always, the masterful production is in top form thanks to SM Entertainment’s elite squad behind the scenes. There are enchanting details to home in on with every song: saxophone grooves (“Orange Seoul”), dirty basslines (“Pricey”) and noirish, neo-soul flutes (“Rain Drop”). Plus, “Can’t Help Myself” and “No Clue” reassert their status as vocal powerhouses in the K-pop industry, rounding out one of their most cohesive projects yet. “I’m in the studio day and night,” Mark raps on “Intro: Wall to Wall.” And the effort is evident. — A.W. As a virtual boy band, PLAVE could have technically focused on a number of aspects beyond great songs but the CG-crafted boy band has music at its heart. ASTERUM: 134-1 opens with the smooth,r reggaeton-infused “Watch Me Woo!” — a track that will immediately grab anyone’s attention — before diving into the rock-pop brilliance of centerpiece single “Way 4 Luv.” Emotional highlights like “From” showcase the group’s harmonies over stark piano, while “Our Movie” picks up with R&B production mixed with shout-along choruses. The standout “Virtual Idol” directly confronts skeptics of PLAVE’s artistic legitimacy, flipping the narrative with a self-empowerment anthem built on an infectious hip-hop production. While PLAVE’s members are virtual, their talents are anything but artificial. Utilizing motion-capture technology, they bring a human depth to their projects, which is mirrored in the album’s masterful songwriting and production, with all five members heavily involved in crafting the sound. — J.B. “It’s us speaking to each other and encouraging each other,” Jihyo told Billboard in February of With YOU-th . It was clearly a conversation fans wanted to here; the next month, the EP gave TWICE their first No. 1 on the Billboard 200. The six-song project is bookended by tracks that emphasize the nine-piece band’s togetherness: “I Got You” is a sparkling, buoyant anthem with Carly Rae Jepsen vibes about how the girl group’s members rely on each other in a crazy world, and closer “You Get Me” is an uplifting song about a friend who always sees “the best me.” In between, TWICE flaunt determination and attitude on the thumping, chant-filled “New New,” flex into lightly funky territory on “BLOOM” (written by Jeongyeon) and experiment with Jersey club on “Rush,” which Chaeyoung wrote after finding inspiration in PinkPantheress. And they’re not slowing down – they recently dropped Strategy , featuring Megan Thee Stallion on the simmering title track. – J.L. IU did something rather unique when it comes to her (immaculate) discography: She released an album full of positivity. While the K-pop queen has released some of K-pop’s most devastatingly beautiful and masterfully melancholy songs, The Winning explores IU’s internal growth and personal satisfaction. Anchored by the poignant ballad lead single “Love Wins All,” which stars IU alongside BTS’s V in its cinematic music video, the anthemic track provides a grounded sense of hope. From the groove percussion on “Holssi” where IU confidently declares, “Fly high to bloom/ ...I’m gonna go to win,” to the aspirational synth-pop of “Shopper,” plus the seamless blend of musical generations and styles for “Shh..,” featuring NewJeans member Hyein, rock singer Wonsun Joe and narration from 86-year-old Korean music legend Patti Kim, the project epitomizes IU’s ability to innovate while maintaining a timeless essence. As we approach the end of 2024, The Winning is particularly apt title for IU’s latest project after the starlet sold out her first-ever U.S. tour this year, hitting six arenas across the States in support of the EP. — J.B. RM’s Right Place, Wrong Person is not just the best K-pop album of 2024 — it’s one of the year’s most daring musical statements across any genre. Across a tight 34 minutes, RM lays bare his psyche for listeners to enter, navigating themes of identity, vulnerability and liberation. Tracks like the introspective “Come Back to Me” (the English pre-release single would sound right at home on alternative radio) and the boundary-pushing “Domodachi,” featuring Little Simz, (boasting a blend of languages, emotions, sounds and cultural aspects) highlight his willingness to experiment to the point that the LP is as intricately sonic as it is emotionally personal. Building on the excellence of his 2022 solo debut Indigo (which Billboard named the best K-pop of that year ), this latest effort is a monumental leap and spits in the face of genre confines. RM effortlessly shifts from hip-hop to jazz, Afrobeats to punk while maintaining an artistic coherence uniquely his own. The album’s lyrics—balancing self-interrogation with poignant social commentary—find their perfect counterpart in lush productions crafted by his trusted TEAM RM collaborators, showcasing RM’s growth as both a musician and a storyteller. Beyond the music, RPWP gains added resonance through its companion documentary, RM: Right People, Wrong Place . The doc captures the BTS leader’s creative journey and the dichotomy between RM, the global superstar, and Kim Namjoon, the ordinary young man. This pairing of album and film solidifies RM’s position as a pioneer in making K-pop more personal and accessible today, but also as a vital voice in contemporary music. Whether he believes it, RM is indeed the right person in the right place to blend raw authenticity with visionary artistry to create a masterwork to transcends cultural and genre boundaries — and push us toward living in a less divided world. —J.B.The year 2025 lies ahead, and addressing climate change is high on the list of priorities for countries across the world as well as the global community at large. The 29th session of the Conference of the Parties (COP29) to the United Nations Framework Convention on Climate Change (UNFCCC) ended in the early morning hours of 24 November 2024; the 30th session (COP30) will convene on 10 November 2025. In between these sessions, much work remains to be done to advance climate action at the national and international level, including on a range of topics that include climate finance, the Global Goal on Adaptation (GGA), a new round of national commitments, and many more. For many participants and observers, COP29 fell short of expectations. However, the conference still produced several decisions that lay out a roadmap for 2025 and beyond, while other agenda items were postponed until June or November 2025. Arguably the most important decision out of COP29 was the last-minute agreement on a new collective quantified goal on climate finance (NCQG), which sets a goal of “at least USD 300 billion per year by 2035 for developing country Parties for climate action” and calls on all actors “to work together to enable the scaling up of financing to developing country Parties for climate action from all public and private sources to at least USD 1.3 trillion per year by 2035.” The decision text on the NCQG also highlights the importance of reforming the multilateral financial architecture as well as the need to remove barriers faced by developing countries, such as Sri Lanka, for financing their climate action. For example, these barriers could include high costs of capital, limited fiscal space, unsustainable debt levels, high transaction costs, and conditionalities for accessing climate finance. In the same decision, Parties at COP29 launched the “Baku to Belém Roadmap to 1.3T,” which aims to scale up climate finance in line with the ambitions outlined above—through grants, concessional and non-debt-creating instruments, or measures to create fiscal space—throughout the year and until COP30. Other agenda items which made progress include the Global Goal on Adaptation, which will see further technical and political work through 2025 to adopt a set of indicators at COP30; loss and damage, which has seen pledges for the Fund for Responding to Loss and Damage; and Article 6, where the framework for carbon trading has been further operationalised. In between now and COP30, there are many other milestone events, workshops, gatherings, and activities that aim to advance climate action across the different workstreams and agenda items. This includes the negotiations at the Bonn Climate Change Conference (SB62) in June; several high-level summits and ministerial meetings (for example, the Copenhagen Climate Ministerial or the Petersberg Climate Dialogue); other relevant events across the United Nations system (such as the 80th session of the United Nations General Assembly); and a range of regional gatherings, mandated workshops, and the meetings of technical bodies. Both developed and developing countries are scheduled to submit their new Nationally Determined Contributions (NDCs) in February 2025, informed by the outcomes of the first Global Stocktake which concluded in 2023. For most countries, this is the third iteration of their NDCs after the initial round in 2015/2015 and a second one in 2020. Although the NDCs offer all countries a much-needed opportunity to scale up ambition, developing countries will depend on the provision of finance and other means of implementation to make stronger commitments. COP30 will take place in Belém, the capital and largest city of the Brazilian state of Pará, which is considered the gateway to the Amazon. Tens of thousands of participants, including many heads of states and ministers, are expected to attend the conference over two weeks in November, and logistical preparations are ongoing. While the new finance goal is decided, much work is left to be done towards operationalising it; and there are other agenda items as well that will be at the centre of attention. On climate finance, the current goals of providing $ 100 billion per year and doubling adaptation finance will come to an end. The COP29 decision on the NCQG outlines a way forward, but developed countries will need to scale up provision of finance to allow for ambitious action, while developing countries need to access and utilise funds in effective and inclusive ways. Furthermore, the global community must work together to reform the international financial architecture in a way to ensure that it is fit for purpose and reflects the needs and priorities of all countries. The Global Goal on Adaptation will be a critical part of the COP30 agenda, as Parties must define a set of indicators for the seven thematic and four dimensional global adaptation targets. These indicators aim to boost adaptation action across the world and track success across different sectors and dimensions, ultimately building long-term resilience in a holistic way that allows for green growth and sustainable development pathways. The multilateral process is only a piece of the complex puzzle of climate action, but it is an important one. COP30 might be a year away, but work must start now to ensure successful outcomes. In addition, action at the national and regional level is vital to convert decisions and global frameworks into actual implementation that reaches the ground and addresses the needs of vulnerable communities, sectors, and countries.
Tech and growth stocks have dragged Wall Street's main indexes lower at the end of an upbeat holiday-shortened week that was driven by expectations around a traditionally strong period for markets. Yields on some US Treasury notes were higher on the day, with the ones on the benchmark 10-year note hovering near an over seven-month high they hit on Thursday. The yields on the benchmark 10-year note were last at 4.587 per cent. Rate-sensitive growth stocks dropped with Nvidia down three per cent and Tesla off by 3.8 per cent, while Microsoft shed two per cent. Ten of the 11 major S&P sectors, including information technology and consumer discretionary fell the most, down about two per cent and 1.9 per cent, after powering most of the broader market's gains in 2024. "Tech, which has had a tremendous run, is starting to pull back. It is the beginning of a healthy correction that will get focused in on over the next four to eight weeks as we switch administrations," said Jay Woods, Chief Global Strategist at Freedom Capital Markets. In early trading on Friday, the Dow Jones Industrial Average fell 329.50 points, or 0.76 per cent, to 42,996.30, the S&P 500 lost 70.22 points, or 1.16 per cent, to 5,967.60 and the Nasdaq Composite lost 356.63 points, or 1.77 per cent, to 19,665.01. As of Thursday's close, the S&P 500 had recovered most of last week's losses that stemmed from the US Federal Reserve projecting fewer interest rate cuts in 2025 and hurting risk appetite. All three indexes are still set for weekly gains, with the benchmark index now about 2.3 per cent below its all-time high of 6,099.97 points clinched on December 6. With three sessions left to close out the year, markets are in the stock-buying season called the "Santa Claus rally" - the last five sessions of December and the first two of January. Since 1969, the S&P 500 has climbed 1.3 per cent on average in the seven-day trading period, according to the Stock Trader's Almanac. US equities have broadly extended their gains from a stellar November, when Donald Trump won the US presidential election, as hopes of pro-business policies under the incoming administration stoked optimism. Trading volumes in this holiday-shortened week have been below the average of the last six months and are likely to remain subdued until Jan. 6. The next major focus for markets will be the December employments report due on Jan. 10. Among individual movers, Amedisys gained four per cent after the home health service provider and insurer UnitedHealth extended the deadline to close their $US3.3 billion ($A5.3 billion) merger. Declining issues outnumbered advancers by a 3.01-to-1 ratio on the NYSE and by a 3-to-1 ratio on the Nasdaq. The S&P 500 posted two new 52-week highs and two new lows, while the Nasdaq Composite recorded 44 new highs and 35 new lows.
Police in Georgia on Saturday fired tear gas and water cannon to disperse pro-EU protesters rallying for a ninth consecutive day against the prime minister's decision to shelve talks on joining the bloc. The Caucasus nation has been engulfed in turmoil since the governing Georgian Dream party declared that it had won a disputed October 26 election. The party's critics have accused it of creeping authoritarianism and of steering the country back towards Russia. Thousands of defiant pro-EU protesters in Georgia rallied Friday after the prime minister claimed victory in a "battle" against the opposition. Tens of thousands have taken to the streets since the election to protest against alleged electoral fraud. Fresh rallies took place across the country after Prime Minister Irakli Kobakhidze announced last week that Georgia would not hold talks on European Union membership until 2028. Police have fired tear gas and water cannon against pro-EU protests in Tbilisi and hundreds of arrests have been made, triggering outrage at home and mounting international condemnation. France, Germany and Poland condemned what they called the government's "disproportionate" use of force against protesters and opposition leaders in a joint statement Friday. On Saturday, riot police moved in with water cannon to disperse the rally outside the parliament building, making arrests as the crowd retreated a few metres (yards), an AFP reporter witnessed. Tear gas was later deployed and groups of protesters reportedly spread across the city, blocking traffic along the capital's key thoroughfare. Georgia's rights ombudsman, Levan Ioseliani, said police "had no legal grounds for the dispersal of peaceful rally." He called on the interior ministry "to immediately halt the dispersal of the protest, cease the detention of participants, and refrain from using special measures, ensuring that protesters can continue their demonstration peacefully." Thousands blocked the street outside parliament on Friday, with some blowing whistles and others setting off firecrackers. "People will continue the protest," said one demonstrator, 23-year-old Giorgi, wearing a Georgian flag and a back scarf pulled over his nose. "They're patient, I will be here for the rest of my life if it is necessary to save my country." Separate protests were held outside Georgia's public broadcaster -- accused of being a government propaganda tool -- as well as the education ministry and the country's tourism administration offices. Thousands have also staged anti-government rallies in the second city of Batumi on the Black Sea coast. On Friday, a court in Tbilisi put a 19-year-old youth activist in pre-trial detention on charges of "organising, leading, and participating in group violence". Zviad Tsetskhladze told the judge "the rule of law has been crushed. "Our actions are a form of resistance, aimed at preserving the rule of law, defending democracy, and protecting the rights of every individual." The prime minister on Friday praised his security forces for "successfully neutralising the protesters' capacity for violence". "We have won an important battle against liberal fascism in our country," he told a news conference, using language reminiscent of how the Kremlin in Russia targets its political opponents. "But the fight is not over. Liberal fascism in Georgia must be defeated entirely," Kobakhidze said. With both sides ruling out a compromise, there appeared to be no clear route out of the crisis. The leader of the opposition Lelo party, Mamuka Khazaradze, said the government "has resorted to arresting young activists and political opponents out of fear of relentless public protests and growing civil disobedience by public servants." Masked officers have raided several opposition party offices and arrested opposition leaders earlier this week, while around 300 people have been detained at rallies. On Friday Nika Gvaramia, leader of the opposition Akhali party, was sentenced to 12 days in prison. Alexandre Elisashvili, leader of the Strong Georgia opposition group, was remanded in custody for two months of pretrial detention. More trouble is expected after December 14, when Georgian Dream lawmakers elect a loyalist to succeed pro-Western President Salome Zurabishvili. She has vowed not to step down until the parliamentary polls are re-run. Local media has also reported protests across the country, including in the cities of Batumi, Kutaisi, Zugdidi, Rustavi and Telavi. Critics of Georgian Dream are enraged by what they call its betrayal of Tbilisi's bid for EU membership, enshrined in the constitution and supported by around 80 percent of the population. Several ambassadors, a deputy foreign minister, and other officials have resigned over the suspension of EU talks. Georgian Dream, in power for more than a decade, has advanced controversial legislation in recent years, targeting civil society and independent media and curbing LGBTQ rights. Brussels warned such policies were incompatible with EU membership, while domestic critics accuse the government of copying Russia's playbook. Rights ombudsman Ioseliani has accused the police of "torture" against those arrested. ub-im/rscStanley has been busier than ever this December and we’re only one week in. In case you missed it, Stanley released a whole slew of new tumblers, including a limited-edition Christmas Scarlet Tinsel tumbler, the long-awaited leakproof ProTour Flip Straw Tumbler with Leakproof Lid , and Leo Messi GOAT collection . Normally, it takes a little while for new Stanley releases to make it to Amazon, but you can already buy the ProTour Flip Straw Tumbler in four different sizes (14 oz., 20 oz., 30 oz., and 40 oz.) in a variety of different colors. These tumblers range in price from $20 to $45, depending on which size you buy. The real beauty of Quencher ProTour Flip Straw Tumblers is the leakproof ProTour Flip Straw lid. The new lid design allows you to “flip up the built-in straw to sip, then snap it shut when you’re done,” so the tumbler is finally leakproof. Stanley has also taken a step back from its traditional logo design with a vertical logo placement. The tumblers also have a two-tone lid and all the other features of Stanley’s classic Quenchers. Stanley Leakproof Tumbler: Where to find it on Amazon Since this product is brand new and was highly requested, a number of colors are already out of stock on Amazon. Only the 30 oz. and 40 oz. are available and in stock in every color on Amazon right now. The Best Gift Guides of 2024 Our journalism needs your support. Please subscribe today to NJ.com . Dawn Magyar can be reached at dmagyar@njadvancemedia.com . Have a tip? Tell us at nj.com/tips/ .
On a frigid Thursday evening at Banner Hospice of Northern Colorado’s memorial garden, Madison Tapper sat directly next to a luminary that represents the light of her life. Her recently departed grandmother. Tapper, among many family members and friends, came to honor the 350 lives lost in hospice between Dec. 1, 2023, to Dec. 1, 2024, at “Lights of Life,” Thursday evening at the memorial garden located at Summit View Medical Commons in Greeley. At the Luminary Walk Thru and Special Holiday Lighting, the memorial garden path, lit up from beginning to end with 350 luminaries, filled with loved ones sharing stories, hugging, taking pictures and quietly paying their respects to previous hospice patients. Bereavement Coordinator Julie Miller said attendance at the “memorable” event each year shows the impact that hospice has on the community. “It’s just nice to take a special moment to remember the ones that aren’t physically with us anymore, especially around the holidays,” attendee Shanna Martinez said. The commemorative opportunity has been an annual event for decades in the community, Miller said. This year was the first time it was hosted at the memorial garden. The Banner Hospice of Northern Colorado landed on this decision because Miller and her team wanted to highlight their office’s move, planned for Febuary, from the 19th Street location to Summit View Medical Commons. Although the event changes often, such as moving locations, the biggest change happened when COVID-19 hit. The pandemic drove the event outdoors to follow social distancing guidelines. But Miller thinks this was for the best because it gives attendees a chance to wander through the memorial as they wish — embracing and mourning together or coming for a quiet reflection alone. No matter how people grieve, Miller has a meaningful experience each year getting to catch up, outside of the hospice setting, with families she has worked with over the past year, such as Tapper. The two shared a cordial hug and discussed how the luminary of Tapper’s grandmother, Edith Serafin, shined bright — as she did during her life. Serafin became a mother to Tapper, who lost her mom at 6 months old. “She was a strong, independent woman,” Tapper said. “She taught me to be that type of person. So that’s why I’m here.” Like Tapper, Trennea Harrod attended the luminary walk to celebrate the lives of two family members who passed away, her aunt and uncle. This event marked the first celebration of life that brought Harrod’s entire family together. Miller said that’s what the event is all about, coming together. Tapper felt comforted to see that others dealing with the same grief as her, making her feel less alone during the tough time. “It’s all about connection,” Miller said. “When people come here, they don’t have to feel so alone. It’s not just one luminary, it’s many.”The best snowboard bindings to raise your game on the slopes
Is Enron back? If it’s a joke, some former employees aren’t laughing
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Charting Hero Introduces AI-Powered Medical Scribe Platform for Healthcare Documentation
