Category: Uncategorized

There is no doubt that English phrases are commonly use in East Asian music. They tend to mix English lyrics as a transitional flow into their songs, especially in hip hop music. As author Phil Benson in “English and identity in East Asian popular music” (2013) mentions, it is could be a challenge of using a English transition flows, because they are “uneven, multidirectional and unstable, with no strong overall pattern emerging” (Benson, 2013). In this situation, evenly use English transnational flow in songs could be an obstacle for most East Asian singer, however, Psy as a native Korean male singer, has achieved commercial success of mixing Korean and English in his music and vast spreading worldwide.

By evaluating the numbers view and subscribes in comments section on the YouTube, Psy made a huge influence. For example, Gangnam Style has achieved over 30 billion views on YouTube, and the most unforgettable part within is this English phrase “Oppa Gangnam style” and followed by a transitional flow “Eh, sexy lady”. The repeated patterns of rhythm make this song impressive for audience worldwide. In addition, the success of this song is not just evaluating by the numbers of views, but also investigate how audiences are connected to this song with English transitional flows, by looking the comments sections. Benson believes the comments sections “create spaces in which the identity implications of language use can be negotiated across a virtual region” (2013). Subscribers define their identity by making comments using English, which implies the interactions between Psy as a native Korean and global audience, are accomplished.

In conclusion, Psy is successfully using the strategy of mixing the English transitional flow into his music, which reflects on the YouTube by great number of view and comments section.

Benson, Phil. “English and Identify in East Asia Popular Music.” Popular Music 32, no. 1 (2013):  23-33

Signature theme form MV and memorable lyrics are two essential factors that makes a song circulate widely. In the music video Daddy by Psy, he creates an amusing theme that the son, the father and the grandfather are all having the same face of Psy, and the lyrics also are catchy. The style of this song is lively, music video is pleasant and the choreograph maintains the style of Psy, which always containing a sense of hummer. In general, this music video is creative, which implication a real-life phenomenon, using impressive English flows and all of these create the unique identify for Psy.

For the theme of Daddy, Psy role plays 3 generations of the son, the father and the grandfather with one unified purpose, is to become and maintain physical attractiveness to every female in the music video. By using photoshop, a just born baby has the identical face with Psy, in the three stages of Psy, female is attracted by his appearance, such as all of the little girl, include the teacher, in the kindergarten in Psy as a boy, the female dancer in Psy as young adult and the all the old ladies in Psy’s old ages. This implicates that it is a lifegoal of being physical attractiveness for male in our society, which the theme is clear established.

Furthermore, the lyrics of this song is unforgettable, because he uses the repeated rhetorical question in English. As an English transitional flow, “hey, where’d you get that body from?”, then followed by the refrain of “I got it from my daddy”. The purpose of using English flows is that “artists record in the languages of their overseas market and in some cases relocate to them (Benson 2013, 24)”. Also, using English lyrics in Daddy as the hook of the song which “includes a musical idea, often a short riff, passage or phrase, intended to catch the ear of listener” (Jin and Ryoo 2014, 124). This circulation allows English speaker audience to understand Psy’s music in certain context, also allows then to sing along with it.

The style of using English flows creates an identity for Psy. Like Gangnam style, hangover and daddy, they all share the common of using English phrase in the refrain parts and the same style of video. In his video, there are always exaggerated dance and colorful senses. The similarities are the factors to create the unique style of Psy. However, as. A native Korean singer, recording songs in Korea as a representative of Korean artist, also using English make him identified as an international star who spend years studying in United States.

In conclusion, the themes of Daddy are creative and having realist implications and the mixing lyrics of English in his songs could also makes him commercially success in certain extent. All of the factors contribute to Psy’s uniqueness as Korean singer.

Reference

Jin, Dal Yong and Woongjae Ryoo. “Critical Interpretation of Hybrid K-Pop: The  Global-Local Paradigm of English Mixing in Lyrics.” Popular Music and Society 37, no. 2 (2014):113-131.

Benson, Phil. “English and Identify in East Asia Popular Music.” Popular Music 32, no. 1 (2013):  23-33

In the music video “LOVE” featuring TAEYANG, Psy tries to normalize the idea of individualism by writing lyrics relatable to the fans, while emphasizing the importance of caring and accepting. Due to his previous work in K-pop like “Gangnam Style”, Psy’s reputation as a comedic relief is undeniable and it has become difficult for fans to treat him seriously. This music video perfectly contradicts the notion of humor and shifts our attention towards empowerment and change, especially in a modern society where pessimism and hate are common. “LOVE” provides an alternative perspective of the artist where he has taken an active role in addressing social issues such as inequality and challenges the social traditions of marketing and producing K-pop music videos.

Hallyu began when Korean popular culture was exported internationally with the help of social media. According to Jung, social media such as YouTube is an internet-based application designed to facilitate the interaction of user-generated content on a transnational scale (2015, 73-76). Throughout the music video, a cast of female choreographers performed in front of a white background and Psy never appeared once in the video. Comparing to Psy’s other music videos, the rareness of not participating in the filming process and changing the focus to women shows an unexpected side of marketing. In addition, an English version of the lyrics and set choreography targeted an international audience who can easily learn the choreography, recreate it with a cover video, and organize flash mobs using user-generated social networking platforms (Jung 2015, 81-82). Psy as a producer enhanced the relationship with fandom by being inconsistent with the previous production process, as a result, fans would consume and react with either appreciation or dissatisfaction. It essentially created a reciprocal relationship between Psy and his fans, both the artist and the consumers “successfully transform themselves into equally important players in the global game of social networking” with the utilization of popular social media platforms (Jung 2015, 85).

Although the main attraction of the music video was the choreography, none of the dancers were portrayed as sexual objects that served the sexual pleasure of the viewer. Apart from the red short skirts which could elicit sexual behaviors and objectification, the fashion decision behind each dancer was considered conservative. In contrast to the sexual objectifying cases mentioned by Kistler and Moon, Psy’s music video didn’t “promote distorted sexual norms” that were dehumanizing towards women and there weren’t any signs of sexual coercion that would perpetuate traditional gender attitude (2009, 82). In fact, the choreography in “LOVE” demonstrated signs of empowerment with their powerful and up-beating dance routine. The strength of women in this music video certainly contradicts with the production style of mainstream K-pop, which depicts female as the lesser gender of two and the existence of women is “for the entertainment and sexual fulfillment of men” (Kistler & Moon 2009, 83).

Due to the absence of Psy in “LOVE”, these foreign dancing bodies were the main characters of the music video as it was aligned with and the overarching message of the song which was uniting one another through caring, especially post-conflict and solidarity. They weren’t used as commodities for male viewership and it was different than Saeji’s description of using foreign bodies as “the object of the sexual desire or love of a Korean star” (2016, 280). Psy’s innovative ideas with foreign bodies challenge the social tradition of music production. By placing them in the forefront of the video and lowering the level of sexuality of the foreign dancers, “LOVE” has the potential to lure more International followers while losing K-pop fans who are hungry for authenticity. He created an alternative way of utilizing foreign bodies.

“LOVE” provided fans a matured Psy who was different in the previous music video, the message of empowering women and low levels of sexuality from foreign bodies challenges the social norm of making K-pop music videos

Reference

Jung, Eun-Young. “K-Pop Idols, Social Media, and the Remaking of the Korean Wave.” Edited by Sangjoon Lee and Abé Markus Nornes. Hallyu 2.0: The Korean Wave in the Age of Social Media, (2015): 72-89

Kistler, Michelle E., and Moon J. Lee. “Does Exposure to Sexual Hip-Hop Music Videos Influence the Sexual Attitudes of College Students?” Mass Communication and Society 13, no. 1 (December 22, 2009): 67-86.

Officialpsy. “LOVE (feat.TAEYANG).” YouTube. July 16, 2017. Accessed December 07, 2018. https://www.youtube.com/watch?v=K5ve5lzs0wM.

Saeji, CedarBough T. “Cosmopolitan Strivings and Racialisation: The Foreign Dancing Body in Korean Popular Music Videos” Korean Screen Cultures: Interrogating Cinema, TV, Music and Online Games (New York: Peter Lang, 2016)

In Ono and Kwon’s chapter about transnational Korean culture, the authors were interested in the compatible relationship between YouTube and K-pop. In addition, “YouTube as a K-pop interlocutor” investigated the features of YouTube which enabled K-pop to become an international phenomenon (2013, 200). The existence of YouTube substantially accelerated Psy’s journey to global stardom in K-pop, the aspects of “visual and minimal limitations” were significant to his fame.

K-pop industries started using YouTube as a cultural advertisement was because of the application’s ability to archive music videos and its reinforcement of visuality (2013, 2008). Psy was able to use his iconic choreography and became an emphasis on visual entertainment in all of his music videos. As a result, he became recognizable due to his dance moves and demonstrated that “visual impression plays a significant role in the consumption of K-pop” (Oh, 2012).

YouTube has a minimal limitation in terms of marketing K-pop, it provided a platform where producers are able to upload unwanted clips from traditional media and global fans have lesser barriers to consuming music videos (Ono & Kwon 2013, 209). In his latest attempt to eliminate the language barrier among fans, “LOVE” (Featuring. TAEYANG) had English subtitles for the entire song and there were phrases in multiple languages surrounding the theme of uniting. Global fans would have the opportunity to learn more about the artist/idol with the access of social networking sites (SNSs), more specifically with YouTube in terms of Psy.

Hallyu 2.0 or the new Korean wave has attracted many followers beyond South East Asia and this was achievable with the assistance of the internet. Without the exposure of YouTube and his iconic choreography, fans would never learn the real identity of Psy at a global scale.

Reference

Officialpsy. “LOVE (feat.TAEYANG).” YouTube. July 16, 2017. Accessed December 07, 2018. https://www.youtube.com/watch?v=K5ve5lzs0wM.

Oh, S. ”Attractiveness Factors in K-Pop: Focused on American Consumer of K-Pop in U.S.A.”Journal of KSSSS (Jookwanseong Yeongu), 24: 205-214

Ono, Kent. A and Jungmin Kwon. “YouTube as a K-pop interlocutor” Edited by Youna Kim The Korean wave: Korean Media Go Global (New York: Routledge, 2013)

1. What is your answer to criticisms of K-pop masculinity?

  As Korean K-pop music becomes more famous all around world, people are going to have a new concept of aesthetic: What is the real masculinity? In normal Korean males, they have grantee to serve the military, then they became real men. In K-pop industry, males are not necessarily stronger or dressing formal to follow in the traditional style. They can make up, act like a spoiled child or even dressing bonzer and become “Pretty boys”(Colette 2017). In my opinion, I think whatever the male’s style in K-pop right now, as long as they can contribute in K-pop and their fans, then they have masculinity

Male’s style in K-pop industry influences their fans as squeals of delight and excitement(Colette 2017). It means male idol’s style can let their fans become excited, then it is the masculinity and it is also their contribution for K-pop. For example, Colette Bennett said in his article “How male K-Pop idols are redefining masculinity”: “While K-pop may not suit the taste of many, its continued popularity in the U.S. means that hundreds of thousands of people are falling in love with a new kind of man, one we’re meeting for the first time through the music. It’s refreshing and exciting” (Colette 2017). So after K-pop explored in U.S, more fans get interested in the new kind of male. They actually changed their aesthetic and they even fall in love with the male who actually doing make up. And those male idols just did what they desire to do as: “It’s OK for me to dance, to sing, to enjoy who and what I am”(Colette 2017). Their realistic is a responsibility to K-pop industry and their fans. Whatever they look like, they are themselves and they can perform themselves in good attitude. It is the real concept of masculinity.

In 2009, the music video called Abracadabra by 2 pm had a total hit count of 1,150,000 on YouTube. It became the queen of the girls group mimickers(Jung 2010 p.164). It also proved people accepted 2pm’s performance as girls mimickers. However it did not mean they wanted become girls or they are gay. They just opened a new path of male’s aesthetic and a new style of K-pop music video. Those are all their achievement and I think their achievement let them become masculinity.

In conclusion, we should change our mind about how a male should be look like in K-pop industry. There’s no exactly rule that a male couldn’t make up or dressing in female style. Those are all their styles even features. We cannot say if a male who wear ear ring is not masculinity. We should focus on what they did for their fans and how they work hard for K-pop, this is their identification of masculinity.

References:

Jung, Sun. Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols. Hong Kong: Hong Kong University Press, 2011.

Colette,Bennett. “How Male K-Pop Idols Are Redefining Masculinity.” The Daily Dot. February 24, 2017. Accessed November 22, 2018. https://www.dailydot.com/upstream/k-pop-boy-bands-masculinity/.

 

 

 

In the course of making this cover video, we as a group planned accordingly to distribute work equally by realizing everyone’s strengths and weaknesses in the first meeting. Part of the group was more opened to work behind the scenes on the editing and filming side of the production, whereas group members like me who recognized editing as a flaw and decided to be in front of the camera more frequently. Apart from that, group members who weren’t involved in the editing process made other contributions to the group such as organizing meeting times, purchasing items for the shoot, and planning the overall storyline of the cover video (how to make it authentic while remaining Korean feel).

I learned a lot throughout the process of making the Hangover cover video. Because Psy’s collaboration with Snoop Dogg was not their best vocal performance in the realm of K-pop, we were drawn by the visual aspect of the music video and its creativity with cartoons. With limited filming resource and knowledge, the group had to replace the graphic scenes of the music video with authentic clips of ourselves performing and singing to the song. For my part, I had to cover Psy’s first two minutes of the video. As the person who was being filmed, I never knew the importance of lighting and audio perception for the camera. Picking a setting with adequate lighting and the low surrounding noise was the best combination for the filming process.

It is possible to assume a fan of k-pop like us would undergo a similar process to produce a cover video for their favorite idol, they would have to have to organize personnel similar to us for maximum productivity and efficiency. I’m glad to say we’ve managed to do that!

• Wesley Wong

We all understand that without fans, there would be no stars, but how much power do fans really have? Discuss the power of a fan/consumer and what this could entail (how much impact do we have)?

First of all, I think there are different types of fans which make different influence on our society, and their fandom behavior depends on the level of obsession to their idols. The more obsession and the larger number of fans, the stronger power they could contain. According to the fan culture, the most obvious benefit from being a fan of someone, is the power to connecting people from the worldwide, which share the same interests and goals. It suddenly allows them to form an alliance, and makes them representable as one of the group member. This coherence within fan culture can make strong influence on economics and public opinions to idols and to society. Fans are not only supporting their idols mentally, fans are also consumers supporting idols financially, such as buying CDs, photo albums, posters, going to their concerts, and sending gifts. Those would be a great deal of money for general fans, if encountered a wealthy hysterical individual, buying a house in the same neighborhood of their idol is possible. In addition, entertainment companies also making money from fans indirectly by selling popularities of artists. As consumers, fans have huge impacts on society economically.

However, there could be conflicts between one fan group to another. Fans grasp every piece of information of their idols from everywhere at any time, even the underlying message of their idol’s interaction with another artist on the internet. Not just they want to be “closer” to their idols, but also willing to do everything to protect their idols. Conflicts happen when this process of decoding information from idols’ behavior to fan’s thoughts. For example, when an unfamiliar artist making a bad joke with their idol, these fans can be really sensitive to this information then perceiving it negatively. In the worse scenario, both fans of these two artists would “flight” each other on social media, and then entertainment journalists could catch this opportunity to find any other related evidence, then create public opinions. When ordinary people reading the news reports, they would have the first image of these two artists are not getting alone with each other, however, the truth is opposite. This would contribute negative relationship between both the artists and their fans. In general, the power of fans is unlimited.

 

Reference

Kim, A.(2017). Korean Popular Music (K-Pop), Youth Fan Culture, And Art Education Curriculum. (Master’s thesis). Retrieved from https://scholarcommons.sc.edu/etd/4368

 

 

Based on the question, our group will give some ideas about how Korean idols balance the nationalistic while still appealing to international audiences who do not care about nationalistic elements. As we know, Korean people are patriotic. They expect their country has stable development while still remember the Korean history. So we can see some Korean dramas, Korean movies, even Korean music, the Korean idols’ performance still keep Korean traditional, the old style. It is also to remind young people how Korea getting stronger. However, if Korean idols want to maintain Korean nationalistic and bring them to other countries, they need to change strategy. The reason is most international audiences especially young audiences; they are not interested in nationalistic. They desire popular.

To give a specific analysis, we would like to talk about Korean music. Some traditional music is melodic and memorable. Even though those classic music given Korean audiences strong emotionality, let them go though back. They do not catch international audiences’ attention. Most international audiences they do not know about Korean culture, and even they do not feel interested. If the music has much nationalistic components will let them feel boring and sleepy. And most young people like to aspire popular music, and the most famous idol in right now. So I think if the Korean idols want to balance this problem and expanse their music companies to international. They need to change their music’s style.

For example, nationalistic music is peaceful and we think is the main reason why international audience do not like it. It is so boring. To be an international audience, I would like to listen the Korean music is let me feel relax. Nationalistic music let me feel sleepy. So I think if Korean idols expect to let international audiences accept Korean culture positivity, they can make some hip-hop music. Back to today, hip-hop is the most popular music in the world even in Korean. For instance, there has a website called Medium and it tells about Korean hip-hop as: “As I see it, hip-hop is a culture, something larger than a genre of music. It encompasses many things, fragments of life at the time of its creation, into an art form which anyone of any race, ethnicity, skin color, or origin can enjoy.” (Medium 2017). Hip-pop music is an idol’s passion and it is a culture’s spirit as well. The hip-pop music itself is vive and noisy, it is a good way to let young people to freed their pressure. And it is also a good way the Korean idols let nationalistic elements in hip-pop, it likes to change another style to tell international audiences the Korean culture without boring. It is a good idea to attract international audiences listen Korean culture and an awesome strategy for Korean idols appeal their country’s nationalistic.

 

Citation:

. “A Look Into Korean Hip-Hop Culture – – Medium.” Medium. August 08, 2017.

Accessed September 26, 2018. https://medium.com/@93/a-look-into-korean-

hip-hop-culture-16850a441019.