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: https://www.surveymonkey.com/r/vetfans

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만나서 반갑습니다: Let KPK Introduce You To…

Kaetrena Davis Kendrick, M.S.L.S.

University of South Carolina Lancaster

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BTS is pleased to meet you!

Korean popular music includes many genres – Jazz, Hip-Hop, Rock, Rhythm & Blueseven Ska and Bossa Nova. One of the reasons Kpop is so addictive and has continued its growth globally is because, despite language differences, the music seems so familiar to its listeners, particularly for non-Asian audiences. Fuhr (2015) writes, “K-pop producers strongly follow the formulaic production standards set by Western mainstream pop songs…, but they combine all the well-known elements in a way that audiences in the East and West equally seem to receive as refreshingly new but also familiar.” (pp. 238-239)

Not only do Korean producers strive to mix (and remix) Eastern and Western musical elements, they work closely with Western singer/songwriters and producers or purchase western-based music tracks for use by Korean artists (Note: purchasing tracks is a popular practice in the global music industry. Demo tracks, guide vocals, backing vocals are some terms you can search to learn more).

KPK members have noted that Kpop fans may not be familiar with why many songs sound familiar to them. This realization was crystallized when TVXQ released their strong R&B balladBefore U Go,” (2011) which includes a partial guitar riff from the Isley Brother’s songVoyage to Atlantis(1977) – many people, instead, could only reference Chris Brown’s song “Take You Down” (2008)  – which still echoes the musical composition of the aforementioned Isley Brothers song. Moreover, recognition gaps go beyond music composition to include singing styles, choreography, and song instrumentation or arrangement. Additionally, we’ve found that such oversights are glaring in academic literature, which overwhelmingly focuses on K-pop music as a political tool or economic commodity (Lee 2008, Jang & Paik 2012, and see this bibliography).

The “Let KPK Introduce You To…” blogpost series hopes to help Kpop fans discover links between what they hear in Kpop songs (or see in Kpop promotions) and the recent history of American music and popular culture – from a particular song or a musician’s vocal runs to costuming, training, dancing, or overall presentation.  The primarily audio/visual – and brief – blog posts will open with the K-pop artist song,concept, or performance and then readers will be introduced to the “why it sounds familiar” song, concept, or performance. The entry will end with brief biographical or explanatory text of the “original” artist, sound, idea, or concept. Simple right?

Part lay ethnomusicology and part historiography, the series offers a gateway for music enthusiasts to contextualize the foundation and development of Kpop music, and for critics to move beyond discussions of cultural appropriation in K-pop and toward the more likely premise of global creative collaboration.

If you’ve ever heard or seen a Kpop song, dance, styling, or presentation  and and thought “that sounds like/looks like/feels like/reminds me of…,” this series is for you! Look forward to it.

Sources

Fuhr, Michael. Globalization and popular music in South Korea: Sounding out K-pop. New York: Routledge. (2015).

Jang, Gunjoo & Won K. Paik. Korean wave as tool for Korea’s new cultural diplomacy. Advances in Applied Sociology, 2(3): 196-202. (2012).  http://file.scirp.org/Html/22229.html (16 June 2016).

Lee, Keehyeung. Mapping out the cultural politics of the “Korean Wave” in contemporary South Korea. In C.B. Huat and K. Iwabuchi (Eds.) East Asian Pop Culture: Analyzing the Korean Wave. pp. 175 – 189. Aberdeen: Hong Kong University Press. (2008).

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License

iFans Case Studies Status Update

Infographic based on data collected by Crystal S. Anderson as part of the iFans research study
Infographic based on data collected by Crystal S. Anderson as part of the iFans research study

If you keep with research on K-pop, you may be aware of the iFans: Mapping Kpop’s International Fandom project.  The surveys that make up the qualitative studies seek to understand how the fandoms differ from one another and their relationship to the groups they support. K-pop fans know that the fandoms are unique. Because they have detailed knowledge of the groups they support, they provide a unique perspective on the appeal of their respective groups. Too often, commentators make assumptions about K-pop fans, while the iFans studies goes to the source: the fans.

As the chart above shows, fans of 2NE1 and BigBang have participated the most in the surveys, while fans of Shinhwa and Aziatix have participated the least.   Other groups with high participation rates include SHINee and TVXQ, while other groups with low participation rates include Epik High and f(x).

These participation rates are interesting, because groups like Super Junior and Girls’ Generation have very active global fandoms, yet those numbers are not reflected in participation rates.  Rates may not reflect all fans, just fans who are likely to take (and complete) a survey.  Participation rates may be affected by the activity of the groups.

The iFans Case Studies survey is still active, and now, individuals can take the survey for multiple or  individual groups.

Now that a good deal of data has been collected, look for new research reports on what K-pop fans say about their favorite groups!

iFans: Mapping Kpop’s International Fandom

IFansOmekalogo

IFANS: Mapping K-pop’s International Fandom is a scholarly research project that examines global fan attitudes and activities through surveys, collection of information on online communities and analysis of websites.  Crystal S. Anderson, PhD (Elon University) is the Principal Investigator of the studies and Curator of the iFans project site.

Continue reading “iFans: Mapping Kpop’s International Fandom”

The Unsung And The Unsaid In Kpop

The Unsung And The Unsaid In Kpop
Source: http://taicarmen.wordpress.com/category/the-role-of-the-dreamer-the-falseness-of-civilization/

Crystal S. Anderson, PhD

Elon University

Kpop is subject to a lot of criticism.  A LOT. The most repeated charge against Kpop is that it is manufactured.  But is that really true?  Usually when critics level this charge, they make sweeping generalizations about the whole landscape of pop.  In doing so, they perpetuate stereotypes about the lack of originality in Asian popular culture.

Continue reading “The Unsung And The Unsaid In Kpop”

An Informal Review of Sun Jung’s “Korean Masculinities”: Part 2, or Why We’re Not Going to Talk about Bae Yong Joon

Crystal S. Anderson, PhD

Elon University

So, Nabi has given you a pretty good overview of the book and our general observations of it. Chapter 2 includes Sun Jung’s reading of the masculinity represented by Bae Yong Joon. We here at KPK have pretty strong opinions because most of the time, we are fairly confident in what we’re talking about.  This is the reason why I’m not going to talk about Sun Jung’s analysis of Bae Yong Joon. I haven’t seen Winter Sonata, so I can’t tell say anything about her reading of the way “middle-aged Japanese women” (her phrase) read Bae Yong Joon’s masculinity.

Continue reading “An Informal Review of Sun Jung’s “Korean Masculinities”: Part 2, or Why We’re Not Going to Talk about Bae Yong Joon”

An Informal Review of Sun Jung’s “Korean Masculinities”: Part 1

Don’t get too excited: this book may have a very, very sexy picture of Rain on the cover, but it’s a trap. Published in 2011 by the Hong Kong University Press, Sun Jung‘s Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols has been talked about quite a lot in the academic field of Cultural Studies. People have claimed that it’s the most informative book on Hallyu out there at the moment.

Continue reading “An Informal Review of Sun Jung’s “Korean Masculinities”: Part 1″

TVXQ!

L to R: Junsu, Yoochun, Jaejong, Yunho, Changmin; Credit: TVXQ Promotional Photo 3rd Asia Tour
Name TVXQ!/DBSK/Tohoshinki
Meaning of Name TVXQ!: Tong Vfang Xien Qi (Chinese)
DBSK: Dong Bang Shin Ki (Korean)
Tohoshinki: Japanese name
All: “Rising Gods of the East”
Members Jung Yunho (U-Know, leader)

Kim Jaejoong (Hero)*

Park Yoochun (Micky)*

Kim Junsu (Xiah)*

Shim Changmin (Max, maknae)

*left to form JYJ

Debut December 26, 2003
Status Active
Label SM Entertainment (2003-present)
Fan Name Cassiopeia“Cassies”
Origin of Fan Name Named for the constellation, made of 5 stars symbolizing the 5 members
Fan Club Website(s) unavailable
Related Websites http://www.dbsknights.net
http://dbskkingdom.blogspot.com/
http://www.onetvxq.com/forums/