Press Release
Pastor Bob Griffith, Virginia, Shares How Faith Communities Build Sustainable Foster Care Support
Manassas, Virginia, 2nd January 2026, ZEX PR WIRE, Pastor Bob Griffith, Virginia, has worked with churches long enough to see what fails and what lasts. In foster care ministry, enthusiasm alone rarely sustains families. Support systems do.
Griffith, a Virginia based pastor, professor, and nonprofit founder, focuses on sustainability. His work centers on how churches organize volunteers, partner with agencies, and reduce burnout among foster parents.
“Foster care efforts are strained when support depends on a few people doing everything,” said Griffith. “In contrast, it thrives when many people do something specific.”
Griffith’s experience spans pastoral leadership and academic training. He has served churches in the Washington, DC region, the West Coast, and the Midwest. He teaches leadership and practical theology at Southeastern University. In each setting, he studies how systems shape outcomes.
According to Griffith, churches often start with good intentions but lack operational clarity. Volunteers step in without defined roles. Communication stays informal and as a result, support fades after initial placements.
Griffith advocates for simple, repeatable structures. Churches assign coordinators. Teams handle meals, transportation, and respite care. Clear schedules replace last minute requests.
He stresses partnership with local agencies. When churches work with existing systems in the community everyone is stronger. Training aligns with state requirements. Communication remains consistent.
“There is an opportunity today for the churches to support current foster families and cheer them on.” Griffith said.
The nonprofit he founded, 1Hope Together, helps churches design these frameworks. He also recommends a national organization www.backyardorphans.org that will assess how each church can take a step forward in doing something to help. The organization trains leaders to assess capacity before recruiting families. This approach protects foster parents from isolation.
Griffith emphasizes shared responsibility. Not every church member is able to be a foster home. Everyone, however, can participate in some form of care. This model reduces pressure and increases retention.
Research supports his approach. Studies show foster families supported by community networks experience lower stress and remain licensed longer. Griffith integrates this data into training.
His work also addresses leadership culture. When pastors speak about foster care as core discipleship, engagement increases. When leaders model involvement, volunteers follow.
“People often take cues from what leaders prioritize,” Griffith said. “Silence signals optional.”
Griffith’s advocacy has reached national platforms. Outreach Magazine, K Love radio, and members of Congress have highlighted his work. Still, his focus remains local.
He mentors university students and collaborates with church leaders across Virginia. His goal stays practical. Build systems. Share load. Protect families.
Griffith also draws from personal experience. His own journey into foster care involved doubt and disruption. That reality informs his teaching.
“I did not walk into this confident,” he said. “I walked in committed to help.”
His book, Fostering Jesus, reflects these principles. It outlines how churches shift from reactive charity to organized care. While the book offers theological context, it also emphasizes action.
“Scripture gives direction,” he said. “Thoughtful systems create a love in action that helps make obedience in this area a reality.”
Griffith also believes sustainable foster care support shapes church credibility. Communities notice when care persists after the spotlight of an event or a message fades.
“Consistency builds trust,” he said. “Families feel it. Agencies see it.”
As churches across Virginia seek ways to serve vulnerable children, Griffith offers a clear message. Sustainable foster care depends on planning, shared effort, and leadership alignment.
“People want to help,” Griffith said. “Give them structure, and they will.”
For more information, visit www.FosteringJesus.org.
About Author
Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.
Press Release
apanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts
According to JapanNews.info, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.
Many Asian growing up in Japanese anime and manga, and nowadays a striking divide in Asian entertainment dominance, with Japanese anime commanding over 60% of entertainment revenue across Asia-Pacific while K-Pop maintains its global music supremacy with an estimated 150 million fans worldwide.
According to comprehensive industry data compiled by Japan News Info and PR News Releaser, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024, driven by streaming platform expansion, merchandise sales, and cross-media adaptations. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.
Anime’s Regional Dominance
The anime industry’s stronghold in Asia reflects decades of cultural integration and recent digital transformation. Market research indicates Asia-Pacific held between 38.7% to 62.7% of global anime market share in 2024, with total regional revenue projected to reach $18.1 billion by 2030.
“Asia-Pacific dominated the anime market with the largest revenue share in 2024, driven by increasing consumption of digital content and the popularity of streaming services,” according to industry analysts. Japan remains the production epicenter, while China, South Korea, and Southeast Asian nations have emerged as major consumption markets.
Streaming platforms have accelerated anime’s accessibility across the region. Netflix expanded its anime catalog to 240 titles in 2024, while specialized platform Crunchyroll tripled its subscriber base from 5 million to over 15 million between 2021 and 2024. Notably, 69% of Gen Z respondents report watching anime content, compared to 57% of millennials.
The merchandising segment represents the largest revenue stream, accounting for approximately 29-32% of total anime market value. Popular franchises like Demon Slayer, Attack on Titan, and Jujutsu Kaisen generate substantial revenue through licensed products, games, and cross-media adaptations.
K-Pop’s Global Music Supremacy
While anime dominates Asian entertainment broadly, K-Pop maintains undisputed leadership in the global music industry. Industry estimates place the worldwide K-Pop fanbase at over 150 million individuals as of 2024, with the genre generating over $5.8 billion in annual revenue.
K-Pop’s influence extends far beyond Asia, with major markets in North America, Latin America, Europe, and the Middle East. Groups like BTS and BLACKPINK have achieved unprecedented international success, with BTS generating over $4.65 billion annually for South Korea’s economy and BLACKPINK’s music videos regularly surpassing one billion views.
Social media has proven instrumental in K-Pop’s global expansion. Over 7.8 billion K-Pop-related tweets were posted worldwide in 2021, representing a 16% increase from the previous year. The genre’s carefully orchestrated fan engagement strategies, multilingual content, and polished visual productions have created dedicated international communities spanning diverse demographics.
Major streaming platforms have recognized K-Pop’s commercial potential, with artists consistently appearing on global charts. BTS’s “Butter” spent 10 non-consecutive weeks at #1 on the Billboard Hot 100, while multiple K-Pop groups have achieved top-10 debuts on the Billboard 200 album chart.
Regional Dynamics and Market Trends
The entertainment landscape reveals distinct consumption patterns across Asia. While K-Pop enjoys strong popularity in Japan—with groups like Stray Kids and TWICE ranking among Japanese teens’ favorite acts—anime maintains broader entertainment market share through its integration with gaming, merchandise, and digital platforms.
Southeast Asian markets show particularly high engagement with both formats. Thailand and Indonesia report anime engagement rates of 59% and 56% respectively, while also hosting substantial K-Pop fanbases with dedicated concert audiences and streaming communities.
Industry experts note the genres serve complementary rather than competing roles. “Young Koreans are now openly consuming Japanese culture, including anime, without the historical stigma,” according to cultural analysts studying cross-border entertainment trends. Similarly, Japanese audiences have embraced K-Pop artists, creating a mutually beneficial cultural exchange.
Future Outlook
Both industries show robust growth trajectories. The global anime market is projected to reach $60-68 billion by 2030-2033, with streaming revenue expected to triple from $3.7 billion to $12.5 billion internationally. Technological innovations including AI-assisted production and virtual reality experiences are expanding creative possibilities.
K-Pop continues aggressive global expansion through strategic partnerships, multilingual releases, and international collaborations. Industry revenue surpassed $10 billion in 2020 and continues growing, with South Korea’s entertainment exports contributing over $5 billion to the national GDP.
The divergent success patterns—anime’s regional entertainment dominance versus K-Pop’s global music leadership—underscore how different content formats achieve international influence through distinct strategies and audience engagement models.
JapanNews.info provides comprehensive coverage and analysis of Japanese culture, entertainment, and society for English-speaking audiences worldwide. The platform delivers original reporting and data-driven insights on trends shaping Japan’s global cultural influence. (Market data compiled from Grand View Research, SkyQuest Technology, Parrot Analytics, IMARC Group, Mordor Intelligence, Korean Foundation for International Cultural Exchange, and industry reports published 2024-2025.)
Media Contact
Organization: PR NEWS AI LLC
Contact Person: Rachel Weiss
Website: https://prnews.ai
Email: Send Email
Contact Number: +19152134473
City: Dover
State: Delaware
Country:United States
Release id:39779
The post Japanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts appeared first on King Newswire. This content is provided by a third-party source.. King Newswire makes no warranties or representations in connection with it. King Newswire is a press release distribution agency and does not endorse or verify the claims made in this release. If you have any complaints or copyright concerns related to this article, please contact the company listed in the ‘Media Contact’ section
About Author
Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.
Press Release
Japanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts
According to JapanNews.info, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.
Many Asian growing up in Japanese anime and manga, and nowadays a striking divide in Asian entertainment dominance, with Japanese anime commanding over 60% of entertainment revenue across Asia-Pacific while K-Pop maintains its global music supremacy with an estimated 150 million fans worldwide.
According to comprehensive industry data compiled by Japan News Info and PR News Releaser, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024, driven by streaming platform expansion, merchandise sales, and cross-media adaptations. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.
Anime’s Regional Dominance
The anime industry’s stronghold in Asia reflects decades of cultural integration and recent digital transformation. Market research indicates Asia-Pacific held between 38.7% to 62.7% of global anime market share in 2024, with total regional revenue projected to reach $18.1 billion by 2030.
“Asia-Pacific dominated the anime market with the largest revenue share in 2024, driven by increasing consumption of digital content and the popularity of streaming services,” according to industry analysts. Japan remains the production epicenter, while China, South Korea, and Southeast Asian nations have emerged as major consumption markets.
Streaming platforms have accelerated anime’s accessibility across the region. Netflix expanded its anime catalog to 240 titles in 2024, while specialized platform Crunchyroll tripled its subscriber base from 5 million to over 15 million between 2021 and 2024. Notably, 69% of Gen Z respondents report watching anime content, compared to 57% of millennials.
The merchandising segment represents the largest revenue stream, accounting for approximately 29-32% of total anime market value. Popular franchises like Demon Slayer, Attack on Titan, and Jujutsu Kaisen generate substantial revenue through licensed products, games, and cross-media adaptations.
K-Pop’s Global Music Supremacy
While anime dominates Asian entertainment broadly, K-Pop maintains undisputed leadership in the global music industry. Industry estimates place the worldwide K-Pop fanbase at over 150 million individuals as of 2024, with the genre generating over $5.8 billion in annual revenue.
K-Pop’s influence extends far beyond Asia, with major markets in North America, Latin America, Europe, and the Middle East. Groups like BTS and BLACKPINK have achieved unprecedented international success, with BTS generating over $4.65 billion annually for South Korea’s economy and BLACKPINK’s music videos regularly surpassing one billion views.
Social media has proven instrumental in K-Pop’s global expansion. Over 7.8 billion K-Pop-related tweets were posted worldwide in 2021, representing a 16% increase from the previous year. The genre’s carefully orchestrated fan engagement strategies, multilingual content, and polished visual productions have created dedicated international communities spanning diverse demographics.
Major streaming platforms have recognized K-Pop’s commercial potential, with artists consistently appearing on global charts. BTS’s “Butter” spent 10 non-consecutive weeks at #1 on the Billboard Hot 100, while multiple K-Pop groups have achieved top-10 debuts on the Billboard 200 album chart.
Regional Dynamics and Market Trends
The entertainment landscape reveals distinct consumption patterns across Asia. While K-Pop enjoys strong popularity in Japan—with groups like Stray Kids and TWICE ranking among Japanese teens’ favorite acts—anime maintains broader entertainment market share through its integration with gaming, merchandise, and digital platforms.
Southeast Asian markets show particularly high engagement with both formats. Thailand and Indonesia report anime engagement rates of 59% and 56% respectively, while also hosting substantial K-Pop fanbases with dedicated concert audiences and streaming communities.
Industry experts note the genres serve complementary rather than competing roles. “Young Koreans are now openly consuming Japanese culture, including anime, without the historical stigma,” according to cultural analysts studying cross-border entertainment trends. Similarly, Japanese audiences have embraced K-Pop artists, creating a mutually beneficial cultural exchange.
Future Outlook
Both industries show robust growth trajectories. The global anime market is projected to reach $60-68 billion by 2030-2033, with streaming revenue expected to triple from $3.7 billion to $12.5 billion internationally. Technological innovations including AI-assisted production and virtual reality experiences are expanding creative possibilities.
K-Pop continues aggressive global expansion through strategic partnerships, multilingual releases, and international collaborations. Industry revenue surpassed $10 billion in 2020 and continues growing, with South Korea’s entertainment exports contributing over $5 billion to the national GDP.
The divergent success patterns—anime’s regional entertainment dominance versus K-Pop’s global music leadership—underscore how different content formats achieve international influence through distinct strategies and audience engagement models.
JapanNews.info provides comprehensive coverage and analysis of Japanese culture, entertainment, and society for English-speaking audiences worldwide. The platform delivers original reporting and data-driven insights on trends shaping Japan’s global cultural influence. (Market data compiled from Grand View Research, SkyQuest Technology, Parrot Analytics, IMARC Group, Mordor Intelligence, Korean Foundation for International Cultural Exchange, and industry reports published 2024-2025.)
Media Contact
Organization: PR NEWS AI LLC
Contact Person: Rachel Weiss
Website: https://prnews.ai
Email: Send Email
Contact Number: +19152134473
City: Dover
State: Delaware
Country:United States
Release id:39779
The post Japanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts appeared first on King Newswire. This content is provided by a third-party source.. King Newswire makes no warranties or representations in connection with it. King Newswire is a press release distribution agency and does not endorse or verify the claims made in this release. If you have any complaints or copyright concerns related to this article, please contact the company listed in the ‘Media Contact’ section
About Author
Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.
Xepeng focuses on how merchants receive settlements exclusively in Rupiah without digital asset custody.
Denpasar, Bali, Indonesia, 2nd Jan 2026 — Xepeng today outlines the merchant outcome on its platform, focusing on how merchants receive settlements exclusively in Indonesian Rupiah (IDR) without any requirement for digital asset custody or management at any stage in the transaction lifecycle.
Xepeng’s design separates the initiation instrument, a customer’s digital asset, from the commercial event recorded by the merchant. The platform executes conversion and settlement so merchant cash flow remains bank-native, while Xepeng manages identity verification, risk controls, and conversion mechanics on the backend.
Merchants provide a transaction reference to confirm the commercial purpose. Funds are then transferred directly to the merchant’s bank account in Rupiah, maintaining familiar cash flow patterns. This approach means merchants never hold, store, manage, or account for digital assets at any stage. There is no need for wallets, private keys, or exchange registrations, reducing operational complexity.
The design supports standard practices in Indonesia, where merchants continue with Rupiah-based invoicing, reconciliation, accounting, and tax reporting. By handling all digital mechanics on the backend, Xepeng enables merchants to benefit from expanded international digital payment sources without altering their core operations.
“Merchants should not have to become asset custodians to accept new forms of international value,” said Budi Satrya, CMO of Xepeng. “Our role is to translate global value into clear Rupiah settlements so businesses can focus on service, not custody.”
Indonesia’s financial system prioritizes Rupiah for domestic transactions to promote stability and local circulation. Xepeng’s settlement model aligns with this by ensuring outcomes remain in local currency, supporting economic retention.
As international digital payments evolve, platforms like Xepeng provide merchants with a structured way to access new value streams while staying within established local practices.
About Xepeng
Xepeng provides a payment conversion platform that enables Indonesian merchants to receive Rupiah settlements from international digital payment sources without holding or managing digital assets.
Media Contact
Organization: Xepeng
Contact Person: Budi Satrya
Website: https://xepeng.com/
Email: Send Email
Contact Number: +6287862024247
Address:Jl. Cut Nyak Dien No.1, Renon
Address 2: Denpasar Selatan, Bali
City: Denpasar
State: Bali
Country:Indonesia
Release id:39776
The post Xepeng Defines Merchant Outcome: Rupiah Settlement, Not Digital Asset Custody appeared first on King Newswire. This content is provided by a third-party source.. King Newswire makes no warranties or representations in connection with it. King Newswire is a press release distribution agency and does not endorse or verify the claims made in this release. If you have any complaints or copyright concerns related to this article, please contact the company listed in the ‘Media Contact’ section
About Author
Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.
Japanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts
apanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts
Xepeng Defines Merchant Outcome: Rupiah Settlement, Not Digital Asset Custody
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