Some people say it like it’s a bad word. All too often, I find people saying condescending things about Kpop fans, assuming that they are all 12-year-old girls. They deserve respect, and so do the other fans of Kpop that people do not recognize.
Read more at hellokpop.com (Originally published on August 29, 2011)
Everybody wants to know: can Kpop succeed in the United States? Well, that depends on your definition of success. In order to enter the mainstream American music scene, Kpop would have to change so much that it would become unrecognizable to current fans. But, if Kpop remained an underground phenomenon in the United States, it could be successful without compromising its identity.
Read more at hellokpop.com (Originally published on August 16, 2011)
JYJ’s recent stop in the U.S. on their world tour has me thinking about them. Actually, it has me thinking about their only video from The Beginning, “Ayyy Girl.” And when I think of the video for “Ayyy Girl,” it’s hard for me not to think of one thing: one minute and fifteen seconds.
Originally published on KPK: Kpop Kollective on June 4, 2011 by CeeFu
So, this week I ran across a brief story by Esther Oh on the “failure” of Kpop. While I’m always open to hearing what others have to say about Kpop, good or bad, I disagreed with several points that she made. Ok, it’s not just I don’t agree with what she says. What she says is not the Kpop world I know.
First of all, her story had “tone.” It just didn’t take a position on Kpop, it set out from the get-go hatin’ on Kpop. It’s clear she has no love for Kpop. She says she “cringe[s]” when she hears about the Wonder Girls or Rain. Personally, I have a different reaction when I hear about Rain, but that’s just ME, and I’m not even the biggest Rain fan in the world.
Rain; Credit: Esquire
That attitude runs throughout the story. She doesn’t think Kpop is all that, and look, according to her, “the world’s biggest music markets simply don’t care” either. As evidence, she takes shots at BoA, who “bombed” despite working with famous music industry types, and Se7en, who produced “complete flops.” She says that both BoA and Se7en’s forays into the American music scene were “disastrous.” In other words, if a Korean artist fails to break into the American mainstream music scene, this translates into “failure.” By that standard, there are a whole lot of American music artists who are “failing” as we speak, because they are not super popular according to some secret measure. Hey wait, she never says what she means by “failure.” Are we talking record sales? concert attendance? popularity? There are many ways to measure success, none of which she clarifies. I think the popularity of Kpop sites, online fan clubs, twitter accounts and Facebook pages attest that SOMETHING is going on.
What I find very interesting is who she uses as examples of Kpop’s “failure.” She points to BoA and Se7en’s efforts from YEARS ago and ignores one of the most significant examples of Kpop’s attempts to interact with the pop scene in the United States just in December of last year: JYJ, who by measures of even mainstream success did respectable. And what about SM Town Live LA in 2010 that brought the biggest names in SM’s stable to a pretty large American audience?
Also, the United States does not equal the world. Um, the U.S. is part of the world, not the entire world. I looked on a map and checked. Plus, I live here. At the beginning of the article, she claims to talk about the failure of Kpop’s “global domination,” but only gives examples of artists and their experiences in the United States. Given that Hallyu is a global phenomenon, and not one solely directed at the United States, I find her conclusions to be, less than convincing. Especially given the love that other countries have for Kpop: Peru’s love affair with Changmin of TVXQ, ELFs (fans of Super Junior) in Saudi Arabia, and Paris’ demands for an additional SMTown show.
Finally, there is a slippery slope when she talks about the use of American producers in Kpop. She asks the question: “BoA and Se7en have sung songs in English that were produced by Americans, and were transformed and marketed (albeit, unsuccessfully) in a way to suit the American public. Is there, therefore, anything that is so specifically and exclusively “Korean” about their U.S. debuts or their music?” Now, given that she chose two examples of artists who are consciously looking to break into the U.S. market casts some doubt on her conclusions. But once again she completely ignores international fans who like their Kpop straight outta Korea with no changes, complete with actual Korean. It doesn’t bother us. She implies that Americans want American things, and won’t accept things that aren’t “American.” AND, that any kind of collaboration between US and Korean artists and producers must produce something palatable to the American mainstream. Psst, here’s a not-so-secret secret: Hallyu Kpop has always mixed Korean and Western influences (that’s a WHOLE OTHER POST). She seems to be completely ignorant of how often American producers are involved in Kpop albums and the great collaborations that result. For example, Sean Alexander and Steven Lee, producers both based in Los Angeles, worked on Heo Young Saeng’s (of SS501) album, Let It Go. Yes, that album is SLAMMIN’ and YES, I am biased, but I also know what I like. That’s some groovy stuff, and it is Kpop.
Esther Oh seems to assume that Americans don’t want Kpop and rumors of its success have been greatly exaggerated. Yeah, I’m taking this article with LARGE grain of salt. In the end, it just seems to be just a very narrow take on Kpop, especially its international effects. So rarely do you see someone hate the playa AND hate the game.
How are you? I hope you are well, but I have some concerns about our relationship.
First, you know that all lovers of Kpop are not in Korea, or even Asia, right? You do realize you got people who speak from Spanish and Arabic loving you, right? We are like the people of Whoville in Dr. Seuss’ “Horton Hears a Who.” “WE’RE HERE!!” We may not have superlarge numbers, but we are here. And we know our SS501, Super Junior, TVXQ, SNSD, 2NE1, etc. WE KNOW YOU!! We love you, you need to love us back!!! Come say hi sometime!
Second, you know we love you just the way you are, right? From the aegyo to the sexy, we got your back. So when I actually heard Ayy Girl by JYJ, I was afraid that you were changing, and not in a good way. I’m not going to jump on the bandwagon of Kanye West-haters, but that song should be credited this way: Ayy Girl by Kanye West, featuring JYJ. That ain’t Kpop! Just because you have Korean boys singing doesn’t make it Kpop!!!! Where is my Korean? I know this is a CONSTANT gripe, but I can’t let it go. If you aren’t careful, American producers will take the K out of Kpop, and then where will we be?
I know there is a certain kind of value attached to an English language album, but really, English isn’t all it’s cracked up to be. 🙂
Oh and no, I’m not even getting into the Crips-Bloods feud between TVXQ and JYJ. I will tell you this: GET OVER IT!!! You are going to look back and think, “I said WHAT!” Give TVXQ their credit: Keep Your Head Down is slammin’, especially since they are down THREE sexy men. JYJ: do your thing, there is enough adoration to go around.
So, Kpop, you just keep being you! We’ll always be here! Don’t be like Netflix (we are TOTALLY seeing other people!!!)
You know I love my kpop, and should have been absolutely giddy with JYJ’s entre into the US (that means that other kpop bands may make the journey too–SS501, are you listening?!!?). However, I heard a rumor that they are singing in English for their first US album. And that rumor turned out to be true.
I live in the US and I have to say this to my fellow Americans: YOU NEED TO STOP BEING LAZY AND GET YOUR KOREAN ON!!!!! Not you, average American, I mean YOU, corporate executive who thinks you know what we want!
It is a myth that Asian entertainers need to translate their stuff to make Americans feel “comfortable.” The rest of the worldwide Kpop nation gets on the internet and gets their korean lyrics. How else are you supposed to sing the songs in the car? For real, that’s what you sign up for when you listen to Kpop. It’s not ALL about the pretty boys….
It’s the same mentality that keeps crazy good Asian movies from being release in the US. Who in the world is afraid of subtitles? Read people, READ!!!! I should have been able to see Takeshi Kaneshiro in all his Zhuge Liang glory on the big screen! But noooooo, somebody made an executive decision that that can’t happen.
Let’s all take a collective deep breath, and step out of our comfort zones, shall we?