Global South Korea and the K-Pop Phenomenon

2018 ◽  
Author(s):  
Crystal S. Anderson
Keyword(s):  
Hip Hop ◽  
First Generation ◽  
The United States ◽  
Pop Music ◽  
South Korean ◽  
Korean Economy ◽  
Rhythm And Blues ◽  
Musical Activity ◽  
Promotional Strategies ◽  
Musical Elements

K-pop is a form of South Korean popular music directed at a global audience that fuses Korean and foreign musical elements. While “idols” (performers who sing, dance, and engage in extra-musical activity) are the most visible, K-pop encompasses a wide variety of genres. Emerging in the wake of a major financial crisis that prompted a restructuring of the Korean economy, K-pop benefits from increased freedom in cultural expression, support by the Korean government, and a global cultural movement that reaches East Asia and beyond. The first K-pop groups appeared in the early 1990s, drawing on hip-hop and rhythm and blues popular in the United States. The use of rap and b-boying/breakdance style, along with emotional vocals of R&B, became staples for first-generation “idol” groups. Initially presenting an approachable image, they later took on more mature concepts before they disbanded in the late 1990s. Several continue to influence the K-pop music scene, even as subsequent generations of K-pop artists emerge. These idol groups have diversified their images as well as their musical styles. Several solo artists have emerged, and hip-hop groups continue to participate. All of this musical activity is governed by Korean agencies, the largest of which are responsible for the creation and management of “idols,” while others encourage indie artists and still others are led by K-pop artists themselves. In addition to the promotional strategies of agencies, media, both professional and fan-driven, play a large role in the global spread of K-pop. The fans themselves are also active participants, acting as both audience members and content producers.

Producing Diaspora

2018 ◽  
pp. 160-184
Author(s):  
Catherine M. Appert
Keyword(s):  
United States ◽  
Hip Hop ◽  
The United States ◽  
Indigenous Music ◽  
Material Gain ◽  
The Face ◽  
The Relationship ◽  
Musical Elements ◽  
Verbal Performance

This chapter shows how palimpsestic practices of hip hop genre produce diasporic connections. It describes how hip hop practices of layering and sampling delink indigenous musical elements from traditional communicative norms to rework them in hip hop, where they signify rootedness and locality in ways consistent with hip hop practice in the United States. It demonstrates that this process relies on applications of hip hop time (musical meter) as being fundamentally different from indigenous music, whose local appeal is contrasted with hip hop’s global intelligibility. It outlines how hip hop concepts of flow free verbal performance from lyrical referentiality to render it a musical element. It argues that these practices of hip hop genre, in their delinking of sound and speech, reshape understandings of the relationship between commercialism and referentiality, and suggests that voice therefore should be understood to encompass artists’ agency in pursuing material gain in the face of socioeconomic struggle.

I'm the illest fucka

English Today ◽  
2007 ◽  
Vol 23 (2) ◽  
pp. 54-60 ◽  
Author(s):  
Jamie Shinhee Lee
Keyword(s):  
African American ◽  
South Korea ◽  
Detailed Analysis ◽  
Hip Hop ◽  
American English ◽  
African American English ◽  
Pop Music ◽  
Face To Face ◽  
South Korean ◽  
Tv Commercials

ABSTRACTAn analysis of African American English in South Korean hip hop. English is rarely used in face-to-face terms in South Korea, but the use of English in commerce and entertainment is not such a rarity. The presence of English expressions in advertising and pop lyrics is no longer considered extraordinary. Lee (2006) reports that 83.75% of 720 South Korean TV commercials use some type of English, and only 16.25% of advertisements rely exclusively on Korean. Pop music is another discourse space in which English is fairly frequently used, occurring in more than 50% of pop song titles. A detailed analysis of the frequency of English in South Korean pop music (SK-pop) is reproduced.

A “Fresh New Music Mix” for the 1980s: Broadcasting Multiculturalism on Crossover Radio

2021 ◽  
Vol 15 (1) ◽  
pp. 30-59
Author(s):  
AMY CODDINGTON
Keyword(s):  
Hip Hop ◽  
Minority Groups ◽  
Racial Politics ◽  
The United States ◽  
Pop Music ◽  
Radio Stations ◽  
New Radio ◽  
The Us ◽  
Radio Industry ◽  
Top 40

AbstractThis article examines the racial politics of radio programming in the United States by focusing on the development of a new radio format in the late 1980s. This new format, which the radio industry referred to as Crossover, attracted a coalition audience of Black, white, and Latinx listeners by playing up-tempo dance, R&B, and pop music. In so doing, this format challenged the segregated structure of the radio industry, acknowledging the presence and tastes of Latinx audiences and commodifying young multicultural audiences. The success of this format influenced programming on Top 40 radio stations, bringing the sounds of multicultural publics into the US popular music mainstream. Among these sounds was hip hop, which Crossover programmers embraced for its ability to appeal across diverse audiences; these stations helped facilitate the growth of this burgeoning genre. But like many forms of liberal multiculturalism in the 1980s and 1990s, the racial politics of these stations were complex, as they decentered individual minority groups’ interests in the name of colorblindness and inclusion.

scholarly journals Klaster Industri Budaya sebagai Dasar Manuver Politik Korea Selatan

2021 ◽  
Vol 2 (2) ◽  
pp. 192-213
Author(s):  
Asinauli Tamba
Keyword(s):  
United States ◽  
South Korea ◽  
The United States ◽  
Literature Study ◽  
South Korean ◽  
East Asian Region ◽  
Military Alliance ◽  
Korean Economy ◽  
Production And Distribution ◽  
High Altitude Area

In July 2016, South Korea agreed with its military alliance, the United States to install Terminal High Altitude Area Defense (THAAD) on its territory. This agreement is the embodiment of the interests of the two countries that were integrated. The United States's interests in spreading influence in the East Asian region and South Korea's interests in protecting the country from North Korea's nuclear test practices on the Korean Peninsula. But the THAAD installation was rejected by China, which considers the instrument as the trigger of tensions in the region and hampering China’s dominance. In expressing its disapproval, China imposed economic sanctions by boycott on South Korean-owned cultural industrial products, namely hallyu. In October 2017, South Korea approved China's request to change its THAAD policy through points listed in the Three NOs. The significant changes in South Korean foreign policy are questionable in this study. This study uses the theory of neorealism as a logical thinking and suggests that hallyu as the main reason for the political maneuvering chosen by South Korea as a boycott of China as the main market share of the hallyu has crippled the South Korean economy. South Korea chose a bandwagoning strategy in the midst of threats in order to be able to maintain the production and distribution of cultural products which are currently the main source of foreign exchange for the country. This research uses qualitative research methods with data collection by literature study.   Keywords: South Korea, China, United States, THAAD, Boycott, Cultural Industry, Hallyu.

scholarly journals “I'll Rise”: Rememory, Hope and the Creation of a New Public Sphere In Ben Harper's Music

2008 ◽  
Vol 31 (1) ◽  
pp. 19-31
Author(s):  
Delphine Gras
Keyword(s):  
United States ◽  
Hip Hop ◽  
The United States ◽  
Black Music ◽  
Rhythm And Blues ◽  
New Public ◽  
Musical Discourse ◽  
Benedict Anderson ◽  
Full Force ◽  
Musical Genres

Recent studies about resistance music in the United States primarily focus on the hip-hop movement. However, it does not offer the only musical discourse contesting contemporary injustices. Even though the debate about hip-hop is a crucial one that deserves full attention, it seems necessary to widen the current conversation on music to take into account a wider array of musical genres and artists. This will in turn allow us to see the revolutionary power of music in its full force. In the United States, black music, from the Spirituals to Rhythm and Blues, has undeniably been a potent agent for social change. Because they enable strangers to identify with each other through a common discourse, songs from many different genres have fostered what Benedict Anderson calls “imagined communities.”

Flow

2019 ◽  
Author(s):  
Mitchell Ohriner
Keyword(s):  
Hip Hop ◽  
Rap Music ◽  
Music Analysis ◽  
The United States ◽  
Close Reading ◽  
South Bronx ◽  
The World ◽  
Key Concepts ◽  
Voice Flow ◽  
Computational Music Analysis

Originating in dance parties in the South Bronx in the late 1970s, hip hop and rap music have become a dominant style of popular music in the United States and a force for activism all over the world. So, too, has scholarship on this music grown, yet much of this scholarship, employing methods drawn from sociology and literature, leaves unaddressed the expressive musical choices made by hip-hop artists. This book addresses flow, the rhythm of the rapping voice. Flow presents theoretical and analytical challenges not encountered elsewhere. It is rhythmic as other music is rhythmic. But it is also rhythmic as speech and poetry are rhythmic. Key concepts related to rhythm, such as meter, periodicity, patterning, and accent, are treated independently in scholarship of music, poetry, and speech. This book reconciles those approaches, theorizing flow by integrating the methods of computational music analysis and humanistic close reading. Through the analysis of large collections of verses, it addresses questions in the theories of rhythm, meter, and groove in the unique ecology of rap music. Specifically, the work of Eminem clarifies how flow relates to text, the work of Black Thought clarifies how flow relates to other instrumental streams, and the work of Talib Kweli clarifies how flow relates to rap’s persistent meter. Although the focus throughout is rap music, the methods introduced are appropriate for other genres mix voices and more rigid metric frameworks and further extends the valuable work on hip hop from other perspectives in recent years.

Fear of Crime among Female North Korean Defectors in South Korea

2021 ◽  
pp. 0306624X2199236
Author(s):  
Jaeyong Choi ◽  
Tay Hack ◽  
Julak Lee
Keyword(s):  
South Korea ◽  
Language Proficiency ◽  
Acculturative Stress ◽  
Fear Of Crime ◽  
The United States ◽  
Korean Immigrants ◽  
South Korean ◽  
The North ◽  
North Korean Defectors ◽  
Smooth Transitions

Although some studies have focused on immigrants’ fear of crime in the United States, it is important to point out that the number of North Korean defectors to South Korea has rapidly increased since the 1990s. Therefore, understanding factors associated with fear of crime for North Korean immigrants, especially female defectors, is important for ensuring their successful transitions into South Korean culture. The present study used existing survey data from a sample of female North Korean defectors to explore factors related to fear of crime. Results indicate that the number of North Korean friends, language proficiency, and patriarchal attitudes toward gender were significant predictors of fear of crime for the North Korean female defectors. Findings are described and discussed as a potential source for policymaking to reduce North Korean immigrants’ acculturative stress and fear of crime and to encourage smooth transitions into new cultures.

scholarly journals Meat Demand in South Korea: An Application of the Restricted Source-Differentiated Almost Ideal Demand System Model

2007 ◽  
Vol 39 (1) ◽  
pp. 47-60 ◽  
Author(s):  
Shida Rastegari Henneberry ◽  
Seong-huyk Hwang
Keyword(s):  
United States ◽  
South Korea ◽  
The United States ◽  
System Model ◽  
Demand System ◽  
Almost Ideal Demand System ◽  
The South ◽  
Meat Demand ◽  
South Korean ◽  
Meat Market

The first difference version of the restricted source-differentiated almost ideal demand system is used to estimate South Korean meat demand. The results of this study indicate that the United States has the most to gain from an increase in the size of the South Korean imported meat market in terms of its beef exports, while South Korea has the most to gain from this expansion in the pork market. Moreover, the results indicate that the United States has a competitive advantage to Australia in the South Korean beef market. Results of this study have implications for U.S. meat exports in this ever-changing policy environment.

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