REVISED Last Fans Standing: Veteran Fans of K-pop

Crystal S. Anderson, PhD

Associate Professor of English, Longwood University

One of the things that happens when conducting qualitative surveys is that they can raise more questions than they answer. This is what happened with the preliminary data from Last Fans Standing: Longtime and Adult Fans of Korean Popular Music (K-pop). Response rates were unusually low, which was unusual given the rising number of fans who have been fans for more than five years. I speculated that respondents may think that only adult fans who had also been fans for five years or more could take the survey. So, I revised the survey to focus solely on veteran fans of K-pop, individuals who had been fans for five years or more. This means all you fans of ZE:A, CN Blue, SISTAR, Infinite, Miss A, Teen Top, Nine Muses, T-ara, f(x), BEAST/Highlight, SHINee, UKISS, 2PM, IU, Wonder Girls, KARA, FT. Island, Girls’ Generation, SS501, Super Junior, BoA, Dynamic Duo, Epik High, Lee Hyori, Kangta, Se7en, TVXQ, K. Will, Big Bang, 2NE1, 4Minute, Fly to the Sky, g.o.d, H.O.T, Jinusean, S.E.S, Sechs Kies, Shinhwa, and any other group that debuted more than 5 years ago need to get on it!

The revised survey can be found here:

Shine On: Glamour, Image and K-pop

Shine On: Glamour, Image and K-pop

Visuals are an important part of K-pop, and understanding them is crucial to understanding the meaning of K-pop and its spread globally.

In addition to music videos, images that accompany promotions for music releases, photo shoots featured in magazines and endorsements for an array of products are seen, collected and exchanged by fans.  Not just important fan activity, such archiving in the lay sense is important to the preservation and memory-keeping of the visual narrative of K-pop.

In addition to the promotional function they perform, K-pop images also perform cultural work, constructing multifaceted representations of Korean identity.  Anne Anlin Cheng, professor of English and African American studies at Princeton University, sees “celebrity as a politics of recognition and glamour as a politics of personhood” (1023). This has special resonance for raced bodies:

Glamour’s imperviousness thus draws on a crisis of personhood that is inherently political and maybe even strangely liberating for a woman and a minority–liberating not in the simple sense of acquiring a compensatory or impenetrable beauty. . . but in the sense of temporary relief from the burdens of personhood and visibility.  It may seem counterintuitive or even dangerous to talk about the raced and sexualized body’s longing to be thinglike or to disappear into things, but it is the overcorporealized body that may find the most freedom in fantasies of corporeal dematerialization or, alternatively, of material self-extension (1032).

In other words, the highly stylized images that pepper K-pop represent a visual construction of Korean identities, visuals of how Koreans project themselves globally.  For ethnic people who have been constructed by others, such images are important because they do cultural work, deconstructing or altering images of Koreans and the ideas that accompany them.

I have started a new section in my digital humanities project, Hallyu Harmonyto document and curate images of K-pop groups and artists. In doing so, I hope to be able to make meaningful statements about the kinds of representations of Korean men and women that permeate K-pop, detecting patterns that become apparent when such images are collected together.

In the Visuals section of Hallyu Harmony, image galleries are organized into three broad categories:

  • Casual, images designed to appeal to everyone
  • Chic, images designed to represent more sophisticated styling attainable by most
  • Couture, images designed to capture more fantastic styling not designed for normal wear

Within these categories, images are further organized by concepts, magazine shoots and other promotional images. Concepts for music releases are placed in rough chronological order, allowing users to see how an artist or group’s image evolves over time.

The image gallery for Girls’ Generation, shows a greater variety of images than their reputation may suggest. A review of their concepts show that they are equally likely to promote a casual, chic or couture image. However, they are less likely to reflect a couture image in photo shoots for magazines. On the other hand, early observations of 2NE1’s image gallery (in progress) suggest that even though the group is known for its fierce reputation and image that many fans can relate to, the group reflect a chic image for many concepts.

Documenting such images presents challenges.  Many images gathered from the Internet are divorced from their original context as they are shared by fans and K-pop media. As a result, tracing an image’s origins is not always possible.  In some cases, the availability  of images within their context is related to the commitment of Korean agencies to preserve the context of images.  For example, the H.O.T image gallery (in progress) features many images, but few that can be placed in their original context. SM Entertainment‘s sites do not provide information for images on its H.O.T site.  On the other hand, many of  the concept images in S.E.S.’s image gallery can be associated with their original context due to the continued access to the group’s SM site.  Other sites, like DSP Media (formerly DSP Entertainment) only includes current artists on its website, so locating images for Fin.K.L‘s image gallery (in progress) will be challenging. Images will have to be obtained from other sources.  Moreover, it is easier to document 2nd and 3rd generation K-pop groups and artists like SNSD, while first generation groups like H.O.T and S.E.S prove more challenging because the groups are not active.

However, their fanbases are. Fan sites provide the bulk of the images documented, thus acting as valuable informal archives. As more image galleries are completed, I hope to write about the patterns that emerge from images from individuals and groups and compare them with other K-pop artists.

Images: 1, 2 and 34 and 5


Cheng, Anne Anlin. “Shine: On Race, Glamour and the Modern.” PMLA 126.4 (2011): 1022-1041.

Creative Commons License
Shine On: Glamour, Image and K-pop by Crystal S. Anderson is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

Tony Ahn (H.O.T.)

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Tony Ahn (Ahn Seung Ho)


October 4, 2004




TN Entertainment

Fan Name

From Tony

Origin of Fan Name


Official Website

Related Websites

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Television Appearances

Concert Tours

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Top Star



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Volume 1 – Believe (October 19, 2004)

  1. 사랑은 가질 수 없을 때 더 아름답다 (Love Is More Beautiful When You Can’t Have It)
  2. Caught My Eye
  3. 부탁해… (I Request)
  4. 혼자 남겨지는건… (Being Left Alone)
  5. Round And Round
  6. Blue Sky
  7. Somewhere Someone
  8. TKO Skit
  9. She Is The One (ft. Seven(Da Crew), Hyunmoo(Trespass) & TKO)
  10. 어떻게 내가 (How Can I) (feat. Kim Jo Han)
  11. Up Front
  12. 사랑은 가질 수 없을 때 더 아름답다 (Love Is More Beautiful When You Can’t Have It) (Instrumental)

Behind The Clouds (November 29, 2005)

  1. 촌스럽게 (Behind The Clouds)
  2. 널 사랑한게 죄겠지 (It Was A Crime To Love You)
  3. I’m Sad
  4. Blue Sky (Active Electro Remix)
  5. Somewhere, Someone (Coldfeat Remix)
  6. Caught My Eye (12Bit Productions Remix)
  7. 촌스럽게 (Behind The Clouds) (Instrumental)

Volume 2 – Yutzpracachia’s Love (April 14, 2006)

  1. Yutzpracachia
  2. Aisha
  3. 기억해… 사랑해… (I Remember You… I Love You…)
  4. I Am Sad (Matsunaga Mastering Version)
  5. Lady, Enough To cry
  6. Player
  7. 함께 있어 좋은 사람 (Someone I Like Because We’re Together) (ft. May)
  8. 어디선가 나의 노랠 듣고 있을 (To You, Who’s Probably Somewhere Listening to My Song)
  9. Automatic
  10. 그녀 내게 걸어오네 (She’s Walking to Me)
  11. 내 안에 그녈 기다리며 (Waiting For Her In Me)
  12. 촌스럽게 (Matsunaga Mastering Version)
  13. I Am Sad (Instrumental Version)

Untold Story (June 1, 2007)

  1. Freeway
  2. Singing That Melody (Feat. Sat)
  3. 못난 남자
  4. 사랑은 가질 수 없을 때 더 아름답다 (New Arrangement Ver.) (Feat. Miryo of Brown Eyed Girls)
  5. 우두커니(Inst.)
  6. Freeway (Inst.)
  7. Singing That Melody (Chorus Ver.)
  8. 못난 남자 (Inst.)
  9. 못난 남자 (Orchestra Ver.)

Look Blank(우두커니) (April 28, 2008)

  1. 지갑 (Wallet)
  2. 우두커니 (Absent-mindedly)
  3. 그리움도 고마워 (Giving Thanks For Longing)
  4. 지갑 (Saxphone ver.)
  5. 지갑 (MR)

Top star (April 4, 2011)

  1. Top Star
  2. Thank U (Feat. Simon.D)
  3. Trouble Maker
  4. 변해 (Change)
  5. 지금 만나러 갑니다 (I’m Going To Meet You Now) (Junjaman Bottoms Up Remix)
  6. Top Star (Inst.)

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Name Kangta 
Debut August 19, 2001
Status Active
Label SM Entertainment (2001-present)
Fan Name None
Origin of Fan Name N/A
Official Website
Related Websites

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