Discussions

With the rise of social media in the last decade, K-pop has made its way to the international realm. Oh and Park’s article argues that social media outlets such as YouTube are pivotal to K-pop’s global expansion; however, artists and music producers have to “find other sources of revenues streams” since music consumers, specifically K-pop fans, are not required to pay to access music content from their favourite soloists or groups on YouTube (Oh and Park 2012: 368-372). As long as the digital gadget is accessible to the Internet, fans can stream their favourite music videos via the YouTube app. Therefore, social media platforms may serve as a mode of promotion for the musical content of the artists, but it is not enough to financially sustain soloists or groups in South Korea.

In relation, Oh and Park point out that the decreasing sales CDs and DVDs is due to the “rampant unchecked piracy”. K-pop fans do not need to buy the entire album because virtual music shops like iTunes make it possible for consumers to purchase the songs they only like, which help producers combat piracy (Oh and Park 2012: 372-374). Despite profit from digital singles or albums, it does not necessarily make an artist financially stable. According to a news report by JTBC Newsroom from August 21^st, 2017, an artist makes 0.42 won, which is about $0.00042 per streaming. In a given example, Heize had only earned 2.7 million won, about $2,700, in spite of topping every chart ranking in July 2017. The news provides a breakdown of the profit: 40% for the distribution; 44% for the production; 10% for composition/writing/editing; and the remaining 6% goes to the artist. This reveals that the artist themselves earn the least in streaming, which has led to some artists to participate in song writing.

On a brighter note, Oh and Park note that K-pop artists and their entertainment companies gain more profit from sponsorships, advertisements, appearance fees, and overseas royalties. Although the traditional B2C (Business to Consumer) model had been impacted by the digital age, entertainment companies have managed to look for alternatives to guarantee revenue maximization through the B2B (Business to Business) model (Oh and Park 2012: 383).

In conclusion, the digital age has slightly affected the CD market, but it has also driven artists and music producers to be creative music-wise and business-wise in order to stand out from the oversaturated music industry. More importantly, it has lessened the distance between artists and their fans.

O, Daeyeong. “(Paekteuchekeu) Gasu 0.42 won…’eumwon suik baebun’ jeokjanghanga? [(Fact check) Singer 0.42 won…’Music  revenue distribution’ appropriate?].” JTBC News, Aug. 21, 2017.   http://news.jtbc.joins.com/article/article.aspx?news_id=NB11510500.

Oh, Ingyu, and Gil-Sung Park. “From B2C to B2B: Selling Korean Pop Music in the Age of New Social Media.” Korea Observer, Vol.43, No.3 (2012): 365-397.

 

There is no question that Korea’s history with America has played a huge role in shaping Korean pop culture. Some music scholars, such as music critic Pak Yong-ku, suggest that Korean traditional music was essentially forced into adopting Western music styles through the lens of the Japanese during the colonial period (Maliangkay 2007:54). While others argue that Americanization was not a dominating force that infiltrated Korean culture through imitation of Western ideology, but rather a process that had been gradually spread incorporated into various aspects of Korean culture (Shin & Ho 2009: 85). Despite the opposing views, it is evident that Americanization has had a huge impact on Korean pop music dating far back into history and I believe its impression continues to grow today.

Through the process of, what Shin and Ho termed, “translatability”, Western music traveled globally, thus be adopted into various music genres across Asia, really took off as an influencing force on Korean pop culture since the Cold War (Ibid., 84). The military shows are a prime example of “translatability”, where American entertainment mannerisms were adopted by Korean performers such as ‘stage manner’ and ‘showmanship” (Ibid.). The stage presence of K-Pop idols today, such as the incorporation of complex choreography and charismatic stage presence is an aspect of K-Pop that fueled its global domination.

Even some negative aspects of these military shows are present today, such as the demanding training and tight scheduling needed to keep up with the worldwide audience demand. Shin and Ho also suggested that creativity of the artist was not a focus of these performances, and that many good musicians couldn’t pass the audition because they did not fit the look that was in demand (Ibid.). The “production” of idols has been a topic of criticism, with some suggesting the image of what “idols” is and the songs they release may reflect the views of their companies, rather than creativity and musical style of the musician themselves. This longstanding issue is why I believe that some underground artists choose to stay underground and call rappers who join idol groups “sellouts” or the influential force behind decisions of artists, suggested by Jay Park in a 2016 interview with i-D magazine, leaving companies so they can have more freedom in what they produce, incorporating their own originality.

Roald Maliangkay suggested that various qualities of Western music, such as individuality and exhilaration of performers and, of course, the use of foreign language, attracted Korean students (Maliangkay 2006: 23), which is still largely appealing to Korean youth today. Just think of all the song choruses that non-Korean speaking audiences can sing along too. K-pop, and many other forms of Korean music, have been incorporating foreign languages, particularly English, to not only appeal to the international audience but also to display the exoticism of language for young Korean audiences. There are many rap competitions shows, such as “Highschool Rapper” and “Show Me the Money” that exemplify this incorporation of foreign language into lyrics. By watching the reaction of the other contestants, the rappers who use English in their raps are clearly seen as more impressive lyricists.

Therefore, with all this in mind, I believe that “americanization” remains a leading influencer on South Korea politically, economically and, most relevant to this course, culturally in the form of K-Pop.

Glasby, Taylor. “International Superstar Jay Park Talks Controversies and Creative Freedom.” i-D, October 25, 2016. https://i-d.vice.com/en_us/article/bjngkv/international-superstar-jay-park-talks-controversies-and-creative-freedom. (accessed 10/01/2018)

Maliangkay, Roald “Their Masters’ Voice: Korean Traditional Music SPs (Standard Play Records) under the Japanese Colonial Rule”. The World of Music 49:3 (2007): 53-74.

Maliangkay, Roald “Supporting Our Boys: American Military Entertainment and Korean Pop Music in the 1950s and Early 1960s.” In K-Pop Music: Riding the Wave, edited by Keith Howard. 21-33. Folkestone, Kent: Global Oriental, 2006.

Shin, Hyunjoon and Tung‐hung Ho. “Translation of ‘America’ During The Early Cold War Period: A Comparative Study on the History of Popular Music in South Korea and Taiwan.” Inter-Asia Cultural Studies 10:1 (2009): 83-102.

 

Korean Idols are expected to conform to Korean values, promote Korean culture, and act as role models and representatives of Korea on the international stage. Part of this is showing patriotism and supporting nationalist values, particularly when it comes to issues surrounding modern history and territorial disputes. However, with rapid globalization and the growing export of K-pop into various regions, it becomes increasingly difficult for idols to maintain neutrality on these issues. Koreans want idols to show patriotism, while international fans want idols to sympathize with their local causes. These conflicting perspectives are often irreconcilable, as one contradicts the other (Fedorenko 2017: 499).

I agree that it is not possible for an idol to publicly and explicitly support Korean nationalist views while maintaining popularity in the regions where those views clash with the local agenda. For instance, an article in Newsis from  February 21st, 2012 revealed that when Kim Taehee came out in support of Korean territorial control of Dokdo, a disputed island in the East Sea, she received backlash from Japanese fans and had Japanese advertisements cancelled. There is no room for balance, since idols can either support, or oppose Korean nationalist views.

There are two ways for idols to keep Korean fans content, while avoiding backlash from international audiences. One is for idols to avoid talking about political issues completely, and ensuring that all of their produced content including music, scripts, and social media posts are as neutral as possible. While this is effective for the most part and the strategy most idols tend to use, it may seem unpatriotic to some which is bad if the idol is more popular in Korea than anywhere else. The other method is avoiding any explicit public stances on issues involving other regions, while using media to promote and celebrate Korean history. This naturally leads to fans, both domestic and international, talking about the issues themselves, without getting the idol involved.

To understand the second method and to see why it is effective, we must see an example. Bada, a popular Korean singer from the group S.E.S., made several posts on social media in 2016 of her celebrating Gwangbokjeol, the Korean Independence Day. Korean fans were happy to see their idol show patriotism while the Japanese fans had no issues with her celebrating a national holiday and talking about history. Not only that, any international fans that were previously unaware of Korea’s colonial past could learn about it.

 

Fedorenko, Olga. “Korean-Wave Celebrities Between Global Capital and Regional Nationalisms.” Inter-Asia Cultural Studies 18, no. 4 (2017): 499.

Yi, Jaehun. “Dakeshima, Gim Taehee balmokjapda… Dokdo allimi hwaldong pyojeok [Takeshima, grabs Kim Taehee by the ankles… Dokdo Awareness Activity the Target].” Newsis, Feb. 21, 2012. http://www.newsis.com/view/?id=NISX20120221_0010535560.

 

Written by Jun Hyung Park