New Feature: In the Trenches with K-pop Fans and Fandoms

While most stories about K-pop fans make the obligatory comment about “crazy” behavior, fans actually do all kinds of things that do not cause you to give them the side-eye. Now, I’ll be making posts sharing some of the things I see related to K-pop fans and fandoms. That means, the good, the bad and the what-the-deuce. The purpose is to show the diversity of fans, their attitudes and activities.

Why Psy May Not Be Good for K-pop


As we begin to close out the year, Psy‘s Gangnam Style appears on many top-ten lists and retrospectives. However, what has Psy’s popularity, or more specifically, media coverage of his viral hit, done for K-pop? While a global hit, Gangnam Style may not be good for K-pop.

This post does not ignore the measurable ways that Gangnam Style‘s popularity can be measured. It continues to garner views on YouTube.  Psy horsey-danced his way all the way to the White House in the United States. SPIN lists Gangnam Style as one of the top songs of the year: “”K-pop gets its first ‘U Can’t Touch This’-caliber wedding song; a billion unimaginative bros get an easy Halloween costume; YouTube gets its blessedly Bieber-free new pinnacle, our nation’s various comedians (be they sketching, improvising, monologuing) get a cheap laugh; horses get, y’know, publicity.”  Psy’s success provided the opportunity for  mainstream American music critics to engage K-pop, and in doing so, they describe a form a K-pop that may not be recognizable to the average K-pop fan.  At Billboard,  Jeff Benjamin and Jessica Oak listed the best K-pop Songs of 2012.  The story included Psy and tried to provide some context for Psy within K-pop.  At least they acknowledged that there is more to K-pop than Psy.

However, such assessments continue to misrepresent Psy because it does not take into account the perspective of the established global K-pop fandom. He’s not new to everybody. David Bevan points to how Psy differs from other K-pop groups: “But the premium placed on pretty faces during the ‘idol’ recruiting process and chiseled bodies in the highly streamlined, military-like training systems of most major entertainment companies hasn’t yet translated to mainstream success in the United States as many hoped and forecasted.”  He drives home his point by referring to the promotions of Girls’ Generation (also known as SNSD), a group from rival SM Entertainment:  “Despite sold-out performances on both coasts, a Snoop Dogg cosign, and appearances on both Letterman and LIVE! with Kelly Ripa S.M. Entertainment’s marquee, high-gloss, nine-member girl group, Girls’ Generation, didn’t make any major commercial or cultural inroads.”

Not only is the distinction a misleading one (YG Entertainment, which represents Psy, also uses the training system to produce idols), defining success solely in terms of Psy’s impact on mainstream America overlooks what Psy means for community from which he rose: K-pop fandom. Many K-pop fans see Psy as a representative of YGE.  The omission of other YG artists in Psy’s narrative always struck me as odd. In the K-pop world, many fans gravitate toward artists as well as the agencies that represent them. Seoulbeats notes:  “Recently, major companies in Kpop have been following the footsteps of SM by launching their own family brand, nicknamed JYP Nation and United Cube.  This is the chance for these big names to trot out their entire stable of artists for show, showing a united front for fans and the media.”

However, the coverage of Psy in the United States focused squarely on Psy, even as his younger siblings BigBang and 2NE1 were touring in the United States.   In this way, artists also act as ambassadors for their labels.However, most people who were grooving to Gangnam Style did not know that Psy was “related” to Big Bang. Even Bevan acknowledges, “Both veteran boyband Bigbang (featuring G-Dragon, whose fabulous single “Crayon” never caught on here) and the 2NE1 drew equally impressive crowds at arena shows in Southern California and the Tri-State area, but have yet to enter the mainstream vernacular in the same way as their doughier labelmate.”

In fact, many K-pop fans wearied quickly with Gangnam StylePromi Ferdousi writes: “For those who have followed the rise of K-pop, from when it began in the early Nineties to its peak commercial success now, ‘Gangnam Style’ seems boring by comparison. . . .We all know succeeding in America for Koreans is a mark of achievement, but because Psy is not a characteristically K-pop star, fans humour his accomplishment while preferring other, more authentic K-pop artists. ‘Gangnam Style’ was supposed to be joke and that is how majority of real K-pop fans (including me) view it.”

Others worry that Psy misrepresents the K-pop they know and love. In an allkpop forum, one person stated:  “I don’t bash him, but i am afraid all people will think that kpop is about talking about hot girls in (insert city here), and then doing ridiculous dances. People don’t like Gangnam style because they think it is a good song, they like it because it is funny/entertaining. I can also see people saying that kpop should start being like Gangnam style, and then kpop will get so much unnecessary hate.” In a different forum, another person said: “Personally, I’m indifferent toward him and his success. I’ve been a fan of K-pop nearly 5 years now and truthfully, I’ve never really recognized Psy or his music and even now, he doesn’t seem to make an impression on me.”

Another thing that may make K-pop fans cringe about Psy’s fame is the threat of English encroaching on contemporary K-pop.  K-pop fans like Korean in their K-pop songs, but Psy’s success brings up American mainstream pop’s resistance to foreign language.  Sam Lansky writes:  “Americans who have grown tired of singing along to PSY‘s “Gangnam Style” in gibberish imitation Korean are in luck: The K-pop crossover sensation says he plans to release his next single in English as early as November.”  If mainstreaming K-pop means groups singing in English all the time, K-pop fans may not be happy. When SNSD released The Boys in English, more than a few K-pop fans expressed disappointment, and some, like  Mithun Divakaran , end up listening to the Korean version:  “As for how it sounds in English — I’m indifferent. . . .  I didn’t understand some of the words at first listen but you can still get the gist of what they are saying. But even as I write this, I’m still listening to the Korean version more.”

If other niche music markets are any indication, K-pop fans have reason to worry.  Jennifer Lena, author of Banding Together: How Communities Create Genres in Popular Music, describes how niche fans react when their music goes mainstream:

After the initial thrill of attention, their original fan base tends to become disenchanted, and instead of engaging with the new music, they’re apt to spend their time celebrating and preserving older music — the stuff made before the corrupting influences of the music industry arrived. That disenchanted group — whom I call “traditionalists” in the book — invest a lot of significance in being and remaining a small group. They’re historians, and what prestige they have flows from the fact that they were “there,” back “then.” They position themselves as the true fans, the core fans, and the authentic fans. And to speak to one of your other questions, they join the chorus of voices criticizing the artistic qualities of popular music.

In the end, the brightness of Psy’s star in 2012 depends on where you are standing.


“Anti-American Gangnam Style Star Also Rapped About Murdering US Soldiers and Their Families.” 7 Dec 2012. PJ Media. 22 Dec 2012.


Divakaran, Mithun. “SNSD – ‘The Boys’ album review… and about Girls Generation succeeding in America.” 20 Oct 2011. Mithun on the Net. 22 Dec 2012.

Bevan, David. “K-pop Fizz Fizz: Live After Psy.” 12 Dec 2012. SPIN. 22 Dec 2012.

Lansky, Sam.  “Psy Plans English-Language Single, Stresses About Topping ‘Gangnam Style.'” 8 Oct 2012. Idolator. 22 Dec 2012.

“SPIN’s 40 Best Songs of 2012 – #8 Psy – ‘Gangnam Style.’ 9 Dec 2012. SPIN. 22 Dec 2012.

Venkatesh, Sudhir. “Adventures in Ideas: How Music Gets Popular, Q&A with Jennifer Lena.” 17 Dec 2012. Freakonomics. 23 Dec 2012.

“Who Really Benefits from K-pop Family Concerts?” 1 Sept 2011. Seoulbeats. 22 Dec 2012.

“Why Does It Seem That Psy Is Getting Dissed More Than He Is Praised?” 12 Jul 2012. allkpop forums. 22 Dec 2012.

“Why Does Kpop Fans Are Bashing PSY?” 15 Dec 2011. allkpop forums. 22 Dec 2012.

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In Defense of the Diverse K-pop Fan

Shane Yoon, With TVXQ fans

As K-pop becomes more popular around the world, its fans also receive more attention, both positive and negative. However, some of the negative characterizations repeated by writers who act as authorities and in professional capacities have racial and gendered ramifications.

In “Hallyu Tsunami: The Unstoppable (and Terrifying) Rise of K-pop Fandom,” Sam Lansky describes K-pop fans as “mostly the ken of geeky music journalists, Asian Americans, and gays weary of Lady Gaga’s art-pop pretensions but thirsty for a similar spectacle.”  After a “trolling high” that resulted in fans responding to his tweets about TVXQ, Lanksy proceeds to rile up fans about Jae Joong, former member of TVXQ and current member of JYJ. This prompts what Lansky describes as “a deluge of death threats from crazed fans who, whether they perceived me as an actual threat to the imagined romance between Yunho and Jae Joong or merely an annoyance who should to be silenced, gave me pause in an online game that had become addictively pleasurable.”   Lansky goes on to link K-pop fandom to  deadly behavior:  “The Mark David Chapmans of the American pop universe tend to be anomalous. With K-pop, stan behavior carries over into the real world with frequent, alarming consequences.”

Such generalizations come from those familiar with K-pop as well.   Simon (of Eat Your Kimchi fame) gave this comment as part of  this discussion on Al Jazeera‘s The Stream: K-pop Diplomacy in response to the ability of K-pop idols to relate to fans (@20:02): [Disclaimer: I was initially approached to do the show, and my video comment was chosen for inclusion during the show–Yay!]

One of the things I’m really interested in when it comes to the marketing of K-pop idols. . . I find the way that K-pop idols are described by’s a little bit disturbing to me. It’s really in terms of religious terms. These are K-pop idols. They’re described as gods and goddesses and kings and queens. I lot of people look up to these idols and they shake and they quiver and that element of K-pop idols trying to relate to fans it’s difficult for fans sometimes to understand because it’s like, “Oh my God, this is my hero, this is my god speaking to me.” So I find it very interesting.

Such characterizations gendered and racial implications.  K-pop is made up of a variety of individuals, including Black Kpop fansadult K-pop fans and Arabian K-pop fans. K-pop fans come from all over the world, as numerous Facebook pages and comments, websites and YouTube video subbed in various languages reveal.  Unlike other large scale fandoms like science fiction, whose fan communities that tend to be overwhelmingly white and male, K-pop fandom is made up of mostly women.  When men, sometimes white, characterize this fandom made up of females and people of color as hysterical, homicidal, dangerous, and cult-like, it plays into historic unfounded negative characterizations of ladies and people of color. It is using a broad brush to describe a few, and that broad brush erroneously paints people of color and women as disruptive to the social fabric.

There are plenty of people who consistently criticize K–pop fan behavior, but outlets like Anti Kpop Fangirl and Asian Junkie both note they are expressing their personal opinions.  Lansky and Simon express such opinions in a professional capacity and as a result, their negative and erroneous characterizations carry more weight.  Lansky has written for such auspicious outlets as The Atlantic, New York Magazine and Billboard.  As a result of  Eat Your Kimchi, Simon is regarded as an authority on K-pop. Groove Korea describes Eat Your Kimchi as “the top source of information on K-pop in English.”

Their tendency to generalize about the diverse fandom that is K-pop also does some damage to the credibility of both Lansky and Simon.   Lansky glosses over the fact that he instigates the “terrifying” behavior that he then points to it as “normal.”  This is akin to having a Packers fan walk into the Bears locker room and start talking smack about the team’s quarterback (thanks Heidi!). While violence is never the right response, it is natural that Bears fans would respond because they had been provoked.  Lansky sought to get the very reaction he received, then proceeded to write about it to show how “crazy” K-pop fans are.  Stan behavior is sensational, and gets people to read your story.

Even more egregious is the way Lansky equates K-pop stan behavior to Mark David Chapman, the man responsible for the murder of John Lennon.  No K-pop fan has ever killed anyone, and to suggest such is at best poor writing, and at worst, deception.  That’s a sketchy and manipulative thing to do as a writer. It adds insult to injury to be a professional male writer and characterize a largely female and young adult fandom in this way. It smacks of paternalism.

Simon fails to qualify his comments. He does not describe some fans as engaged in literal idol worship, but ascribes that behavior to all fans.  It just doesn’t apply to all fans.  For every story you hear about a stan or a fan war on a forum, there are loads more of unreported stories about fans cooperating at a fan meet or patiently waiting for somebody to be released from MMA.  This failure to be careful with language, as a figure of authority on a subject, can have a negative effect on Simon’s credibility. Once again, to be a white man who describes a largely female fandom in this way has implications for Simon’s credibility.

The problem is not talking about the extreme behavior of fans. It happens. The problem is when males,  some white, acting in professional capacities talk about it as the only fan behavior among a largely female and very diverse fan community.

Image: Shane Yoon


Al Jazeera English.  “The Stream: K-pop Diplomacy.” 3 Sept 2012. Al Jazeera English. 20 Oct 2012. <>

Lansky, Sam.  “Hallyu Tsunami: The Unstoppable (and Terryfing) Rise of K-pop Fandom.” 10 Sept 2012. Grantland. 18 Sept 2012. <>