DOCSLIB.ORG

Anne Gutierrez BBL 3023 Oral Interview

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Anne Gutierrez BBL 3023 Oral Interview Anne Gutierrez BBL 3023 Oral Interview - April 30,2009 Anne Gutierrez BBL 3023 Interview Project ORAL History My interview will start now. First, I would like to begin by asking you to tell me your name and a little bit about yourself. What is your name? Veronica Vazquez When and where were you born? I was born in Montemorelos, Nuevo Leon Mexico on April 14,1972 Were you raised there? Yes I was raised there until the age of 18, and then my family moved to the United States in May 1991. How do you identify yourself culturally? I identify myself first as Mexican since I did grow up there and I was raised there. I do consider myself Mexican -American also because I have lived in the states for half my life now and I did get my American citizenship. What is your first recollection of music? My first memories of music are listening to the music my parents used to listen to. I remember having the radio on at about the age of 5 or so as my parents would get ready to go to work and it seemed that the radio usually stayed on as my mom did housework or as we cleaned up and did our chores. What Type Of music did your parents listen to? My parents mainly listened to Spanish music, mainly music such as corrrido, polkas, and conjunto mainly -real life stories written into song usually about fights or family problems the corridos were very popular that would describe what some Mexicans would go thru trying to cross the border and work to support the family. How did this music make you feel? Most of this music was real life stories and did not have happy endings, usually made me feel sad because it was usually a very tragic song or about issues that had caused people pain. Some of the music was fun and upbeat and music that people would dance to. Where did you family go to listen to the music? Oh we went to weddings, Quinceneras, birthday parties, even funerals and family reunions. We also went to church events and festivals. All of these events involved music and most of the family was included in these events. Where else do you remember listening to music? I remember listening to music mostly around the house that the radio was always on as my father worked in the yard or on the car. The radio never really was off because we also used to listen to the news and to Mexican programs. so it rarely stopped at my house. We also listened to it in the car and on road trips. What were the popular bands of that time? . I remember several different artist of my parents time 10s Tigre's de Norte, Vicente Fernandez, Pedro Infante Jose Alfiedo Jimenez, Antonio Aguilar ,At this time the music I remember was mostly solo singers. Some of these artists are still recording and still just as popular as ever. The singers were popular in Mexico and in the states. I remember hearing them on the radio and on Mexican programs .My brothers and sisters all are familiar with this music because of our parents and when I hear this music it reminds me of when I was little. What was the Message of that music at that time? It depends on what type of music we were listening to it was pretty sad, Was mostly tragic, was usually mainly about sad real life stories that did not have happy endings. Some of it was also about very happy events. Usually the message was about how people solved their problems or how some brave people dealt with life issues .Some of them were about protecting your family and about working hard. Some of the corridos discussed the tragedies some people had to go through to cross the border and work in the states. 17ne music sometimes was about missing your family; a lot of fathers would go away for extended periods of time and work and send their money home. At what age did you become aware of the different varieties of music? I think it was about my pre- teen years. When we mainly used to listen to our parents music but then I started having my own music preferences .We had several bands in Mexico that were aimed at teenagers and we were also aware of Rock and Roll like Michael Jackson, and Sheila Easton and all those because even though Michael Jackson never recorded with Mexican Artists some American artists did record with Mexican artists and mostly we didn't understand the language we knew they were popular so everybody would listen to the music even though we didn't know what was being said we still listened to this music. That was also the time that Madonna was very popular and you can just imagine if Madonna was controversial in the states it was a lot more controversial in Mexico. Our parents were not very happy about the dance associated with her style or about the way she dressed and exposed her stomach and breasts. The way she came across as very sexual and aggressive is not usually how Mexican women allow their daughters to dress. What were the names of some of the popular bands of your teenage years? There was popular groups like Menudo, Luis Miguel, There was one group called Parcheesi that Oh My God were so popular .Their was so many others that we used to listen to but they weren't that mainstream or as popular as the other bands. The dance of these groups was usually a dance routine choreographed that was done at the same time by the members of the group. Break dancing was also becoming popular as well at thls time due to the influence of Michael Jackson and The type of music was associated with a fiee-style type of dance that just allowed you to put your own taste of dance moves that you like doing. How did you find this music? I found this music mainly by hanging out with fiiends and by listening to different radio stations than my parents. Their was also a popular tv showed that would be compared to American Idol. The program in Mexico was really well known, the singers that came from all over Hispano-America would compete to win a prize just like American Idol. From that competition the singers that would win would make it and be like the Hannah Montana of that time. They became the pop stars that were very famous. Where did you go to hear this music? Family get- togethers, dances ,weddings aimed at entertaining the children because at that time children went everywhere with their parents ,Now a days on the wedding invitation says no children allowed but before we would all get together for family celebrations. Did you consider it mainstream music? Some of it was considered mainstream. Bands like Menudo and Parchisi are compared to New Kids on The Block and NSync. An artist named Thalia was a member of the Parchis group and she was compared to an American pop star named Mariah Carey. In fact the record producer Tommy Mottola married both of these women. Most of my fiiends or other people my age liked it so yes I do consider it to have been a mainstream type of music. I wasn't sure when I first heard Menudo that they would have such a large following or that they would be thought of as teen heartthrobs. Usually it was not the Mexican or Spanish boy or Puerto Rican boy being considered a heartthrob in the states. Their music was fun and upbeat and I guess that's why they did so well. They were fairly similar to the New Kids on the Block- See picture inserts- Menudo Compared to New Kids on the Block Menudo- 1 984 , .. New Kids On The Block-1 984. The artists have been compared to each other in the 1980s when I was a teenager, one group was all white and the other group was all Puerto Rican. Both were popular in Mexico and in the states around the same time period. In Mexico the group members were forced out of the band at age 16 that's why .there is over 30 former Menudo members. I think both groups also tried for a comeback in the early to mid 2000's. Some other Mexican groups or artists that came out of Mexico and made it big was Ricky Martin who was the first replacement of an original Menudo member and Luis Miguel. Did this music you listen to have a particular dress style associated with it? Oh yes most definitely, the bands like Menudo were well known for their tailored Jackets and tight fancy tight jeans. The group all wore matching outfits. The outfits were very flashy, very 80's style. The guys my age were wearing jackets with the sleeves rolled up and colorful t-shirts underneath and tight jeans folded tightly around the ankle. Headbands and wristbands also became popular among the guys dress style. They were walking around wearing the style of the Menudo group. The teenage girls who liked this type of music also dressed a certain way. I remember that big hair was really in style. Some girls wore their hair in side pony tails and or in a banana clip. Our make up was always done and I remember that bright colors were in, Blue mascara was also in.
Load more

Recommended publications
  • BEACH BOYS Vs BEATLEMANIA: Rediscovering Sixties Music
    The final word on the Beach Boys versus Beatles debate, neglect of American acts under the British Invasion, and more controversial critique on your favorite Sixties acts, with a Foreword by Fred Vail, legendary Beach Boys advance man and co-manager. BEACH BOYS vs BEATLEMANIA: Rediscovering Sixties Music Buy The Complete Version of This Book at Booklocker.com: http://www.booklocker.com/p/books/3210.html?s=pdf BEACH BOYS vs Beatlemania: Rediscovering Sixties Music by G A De Forest Copyright © 2007 G A De Forest ISBN-13 978-1-60145-317-4 ISBN-10 1-60145-317-5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording or otherwise, without the prior written permission of the author. Printed in the United States of America. Booklocker.com, Inc. 2007 CONTENTS FOREWORD BY FRED VAIL ............................................... XI PREFACE..............................................................................XVII AUTHOR'S NOTE ................................................................ XIX 1. THIS WHOLE WORLD 1 2. CATCHING A WAVE 14 3. TWIST’N’SURF! FOLK’N’SOUL! 98 4: “WE LOVE YOU BEATLES, OH YES WE DO!” 134 5. ENGLAND SWINGS 215 6. SURFIN' US/K 260 7: PET SOUNDS rebounds from RUBBER SOUL — gunned down by REVOLVER 313 8: SGT PEPPERS & THE LOST SMILE 338 9: OLD SURFERS NEVER DIE, THEY JUST FADE AWAY 360 10: IF WE SING IN A VACUUM CAN YOU HEAR US? 378 AFTERWORD .........................................................................405 APPENDIX: BEACH BOYS HIT ALBUMS (1962-1970) ...411 BIBLIOGRAPHY....................................................................419 ix 1. THIS WHOLE WORLD Rock is a fickle mistress.
    [Show full text]
  • Is Rock Music in Decline? a Business Perspective
    Jose Dailos Cabrera Laasanen Is Rock Music in Decline? A Business Perspective Helsinki Metropolia University of Applied Sciences Bachelor of Business Administration International Business and Logistics 1405484 22nd March 2018 Abstract Author(s) Jose Dailos Cabrera Laasanen Title Is Rock Music in Decline? A Business Perspective Number of Pages 45 Date 22.03.2018 Degree Bachelor of Business Administration Degree Programme International Business and Logistics Instructor(s) Michael Keaney, Senior Lecturer Rock music has great importance in the recent history of human kind, and it is interesting to understand the reasons of its de- cline, if it actually exists. Its legacy will never disappear, and it will always be a great influence for new artists but is important to find out the reasons why it has become what it is in now, and what is the expected future for the genre. This project is going to be focused on the analysis of some im- portant business aspects related with rock music and its de- cline, if exists. The collapse of Gibson guitars will be analyzed, because if rock music is in decline, then the collapse of Gibson is a good evidence of this. Also, the performance of independ- ent and major record labels through history will be analyzed to understand better the health state of the genre. The same with music festivals that today seem to be increasing their popularity at the expense of smaller types of live-music events. Keywords Rock, music, legacy, influence, artists, reasons, expected, fu- ture, genre, analysis, business, collapse,
    [Show full text]
  • The Role of Pop Music and Pop Singers in the Construction of a Singer’S Identity in Three Early Adolescent Females
    Wilfrid Laurier University Scholars Commons @ Laurier Music Faculty Publications Faculty of Music Summer 2010 The Role of Pop Music and Pop Singers in the Construction of a Singer’s Identity in Three Early Adolescent Females Amy Clements-Cortés Wilfrid Laurier University, [email protected] Follow this and additional works at: https://scholars.wlu.ca/musi_faculty Part of the Music Performance Commons, and the Sociology of Culture Commons Recommended Citation Clements-Cortés, A. (2010). The role of pop music and pop singers in the construction of a singer’s identity in three early adolescent females. Canadian Music Educator, 51(4), 17-23. This Article is brought to you for free and open access by the Faculty of Music at Scholars Commons @ Laurier. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. recurring motifs Peer Review Corner Edited by Lee Willingham The Role of Pop Music and Pop Singers in the Construction of a Singer’s Identity in Three Early Adolescent Females By Amy Clements-Cortes The Canadian Music Educator/ Musicien éducateur au Canada has recently established ‘Peer Review Corner’ as a regular feature of our journal. Authors wishing to have articles submitted to a panel for review may send them to Dr. Lee Willingham [[email protected]] with that request. This initiative within our own publication fills a void for Canadian scholars who wish to submit their writing to peer juries, and disseminate it to a Canadian audience. If you wish to serve as a reviewer, please contact Dr.
    [Show full text]
  • One Direction Infection: Media Representations of Boy Bands and Their Fans
    One Direction Infection: Media Representations of Boy Bands and their Fans Annie Lyons TC 660H Plan II Honors Program The University of Texas at Austin December 2020 __________________________________________ Renita Coleman Department of Journalism Supervising Professor __________________________________________ Hannah Lewis Department of Musicology Second Reader 2 ABSTRACT Author: Annie Lyons Title: One Direction Infection: Media Representations of Boy Bands and their Fans Supervising Professors: Renita Coleman, Ph.D. Hannah Lewis, Ph.D. Boy bands have long been disparaged in music journalism settings, largely in part to their close association with hordes of screaming teenage and prepubescent girls. As rock journalism evolved in the 1960s and 1970s, so did two dismissive and misogynistic stereotypes about female fans: groupies and teenyboppers (Coates, 2003). While groupies were scorned in rock circles for their perceived hypersexuality, teenyboppers, who we can consider an umbrella term including boy band fanbases, were defined by a lack of sexuality and viewed as shallow, immature and prone to hysteria, and ridiculed as hall markers of bad taste, despite being driving forces in commercial markets (Ewens, 2020; Sherman, 2020). Similarly, boy bands have been disdained for their perceived femininity and viewed as inauthentic compared to “real” artists— namely, hypermasculine male rock artists. While the boy band genre has evolved and experienced different eras, depictions of both the bands and their fans have stagnated in media, relying on these old stereotypes (Duffett, 2012). This paper aimed to investigate to what extent modern boy bands are portrayed differently from non-boy bands in music journalism through a quantitative content analysis coding articles for certain tropes and themes.
    [Show full text]
  • THE GLOBALIZATION of K-POP by Gyu Tag
    DE-NATIONALIZATION AND RE-NATIONALIZATION OF CULTURE: THE GLOBALIZATION OF K-POP by Gyu Tag Lee A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Cultural Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2013 George Mason University Fairfax, VA De-Nationalization and Re-Nationalization of Culture: The Globalization of K-Pop A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University By Gyu Tag Lee Master of Arts Seoul National University, 2007 Director: Paul Smith, Professor Department of Cultural Studies Spring Semester 2013 George Mason University Fairfax, VA Copyright 2013 Gyu Tag Lee All Rights Reserved ii DEDICATION This is dedicated to my wife, Eunjoo Lee, my little daughter, Hemin Lee, and my parents, Sung-Sook Choi and Jong-Yeol Lee, who have always been supported me with all their hearts. iii ACKNOWLEDGEMENTS This dissertation cannot be written without a number of people who helped me at the right moment when I needed them. Professors, friends, colleagues, and family all supported me and believed me doing this project. Without them, this dissertation is hardly can be done. Above all, I would like to thank my dissertation committee for their help throughout this process. I owe my deepest gratitude to Dr. Paul Smith. Despite all my immaturity, he has been an excellent director since my first year of the Cultural Studies program.
    [Show full text]
  • Citra Feminin Dalam Video Musik Teen Top (Studi Semiotika Mengenai Citra Feminin Pada Video Musik Teen Top Berjudul “No More Perfume on You”)
    NASKAH PUBLIKASI Citra Feminin dalam Video Musik Teen Top (Studi Semiotika mengenai citra feminin pada video musik Teen Top berjudul “No More Perfume on You”) Ketua : Zein Mufarrih Muktaf, S.IP NIK : 163 083 Anggota : M. Johan Junizar NIM : 20110530189 Anggota : Novrizal Ali NIM : 2011053071 UNIVERSITAS MUHAMMADIYAH YOGYAKARTA JANUARI 2013 i Citra Feminin dalam Video Musik Teen Top (Studi Semiotika mengenai citra feminin pada video musik Teen Top berjudul “No More Perfume on You”) Oleh : Zein Mufarrih Muktaf, S.IP., M.Ikom M. Johan Junizar Novrizal Ali Abstrak Video musik Teen Top berjudul “No More Perfume On You” merupakan video musik yang cukup menarik untuk diteliti. Setting video musik dengan latar putih, kostum hingga pada cara make up cenderung memperlihatkan kesan feminine. Peneliti tertarik untuk mencoba meneliti bagaimana symbol feminine direpresesntasikan pada video musik tersebut. muncul rumusan masalah bagaimana citra feminin diperlihatkan pada video music Teen Top pada lagu berjudul ““No More Perfume on You”? Tujuan dari penelitian ini adalah bagaimana citra feminin diperlihatkan pada video music Teen Top pada lagu berjudul ““No More Perfume on You” Metode yang digunakan adalah jenis penelitian deskriptif dengan pendekatan semotika Pierce. Kesimpulan dari penelitian ini adalah bahwa teks symbol feminine lebih merujuk pada feminine modern, yakni feminine yang lebih menitik beratkan pada konteks putih, glamour, make up, dan kesan erotis pada lawan jenis. Kata kunci : feminine modern, video musik, Teen Top. Abstract Teen Top's music video titled "No More Perfume On You" is a unique music video that is interesting to study. Setting music video with a white background, costume up on how to make up tends to show the impression feminine.
    [Show full text]
  • MONEY for NOTHING BEHIND the BUSINESS of POP MUSIC MONEY for NOTHING Behind the Business of Pop Music
    MEDIA EDUCATION FOUNDATIONChallenging media TRANSCRIPT MONEY FOR NOTHING BEHIND THE BUSINESS OF POP MUSIC MONEY FOR NOTHING Behind the Business of Pop Music Producer: Kembrew McLeod Associate Producers: Thom Monahan & Jeremy Smith Editor: Jeremy Smith Executive Producer: Sut Jhally Narrated by Thurston Moore Musician, Sonic Youth Featuring interviews with: Chuck D Musician, Public Enemy Ani DiFranco Independent Musician Michael Franti Musician, Spearhead Reebee Garafolo Professor, Author Rockin’ The Boat: Mass Music & Mass Movements Shirley Halperin Editor, Bop Magazine; Music Industry Journalist Kathleen Hanna Musician, Bikini Kill/Le Tigre Dave Marsh Music Journalist Robert McChesney University of Illinois Media Education Foundation © MEF 2001 2 INTRODUCTION ROBERT MCCHESNEY: Music plays a big part in peoples' lives today it has historically and it’s an important vehicle for popular expression, for popular communication to exchange ideas, emotions, feelings. And if you look historically right through the present day its social movements, movements for social justice, movements for peace, for democracy invariably popular music has played a large role in communicating ideas through songs, popular songs, just sort of unifying people, bringing people together. It has a very rich important tradition and legacy that still exists today. But even though music is the popular medium, it's the people's medium, it really isn't the people's medium in our society today, it's the property of four or five companies who have inordinate control over what sort of music gets produced and what sort of music doesn't and it made it much more difficult for it to be the people's medium and this is the problem we face.
    [Show full text]
  • Diversity of K-Pop: a Focus on Race, Language, and Musical Genre
    DIVERSITY OF K-POP: A FOCUS ON RACE, LANGUAGE, AND MUSICAL GENRE Wonseok Lee A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2018 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2018 Wonseok Lee All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Since the end of the 1990s, Korean popular culture, known as Hallyu, has spread to the world. As the most significant part of Hallyu, Korean popular music, K-pop, captivates global audiences. From a typical K-pop artist, Psy, to a recent sensation of global popular music, BTS, K-pop enthusiasts all around the world prove that K-pop is an ongoing global cultural flow. Despite the fact that the term K-pop explicitly indicates a certain ethnicity and language, as K- pop expanded and became influential to the world, it developed distinct features that did not exist in it before. This thesis examines these distinct features of K-pop focusing on race, language, and musical genre: it reveals how K-pop groups today consist of non-Korean musicians, what makes K-pop groups consisting of all Korean musicians sing in non-Korean languages, what kind of diverse musical genres exists in the K-pop field with two case studies, and what these features mean in terms of the discourse of K-pop today. By looking at the diversity of K-pop, I emphasize that K-pop is not merely a dance- oriented musical genre sung by Koreans in the Korean language.
    [Show full text]
  • Xiami Music Genre 文档
    xiami music genre douban 2021 年 02 月 14 日 Contents: 1 目录 3 2 23 3 流行 Pop 25 3.1 1. 国语流行 Mandarin Pop ........................................ 26 3.2 2. 粤语流行 Cantopop .......................................... 26 3.3 3. 欧美流行 Western Pop ........................................ 26 3.4 4. 电音流行 Electropop ......................................... 27 3.5 5. 日本流行 J-Pop ............................................ 27 3.6 6. 韩国流行 K-Pop ............................................ 27 3.7 7. 梦幻流行 Dream Pop ......................................... 28 3.8 8. 流行舞曲 Dance-Pop ......................................... 29 3.9 9. 成人时代 Adult Contemporary .................................... 29 3.10 10. 网络流行 Cyber Hit ......................................... 30 3.11 11. 独立流行 Indie Pop ......................................... 30 3.12 12. 女子团体 Girl Group ......................................... 31 3.13 13. 男孩团体 Boy Band ......................................... 32 3.14 14. 青少年流行 Teen Pop ........................................ 32 3.15 15. 迷幻流行 Psychedelic Pop ...................................... 33 3.16 16. 氛围流行 Ambient Pop ....................................... 33 3.17 17. 阳光流行 Sunshine Pop ....................................... 34 3.18 18. 韩国抒情歌曲 Korean Ballad .................................... 34 3.19 19. 台湾民歌运动 Taiwan Folk Scene .................................. 34 3.20 20. 无伴奏合唱 A cappella ....................................... 36 3.21 21. 噪音流行 Noise Pop ......................................... 37 3.22 22. 都市流行 City Pop .........................................
    [Show full text]
  • Analyzing Genre in Post-Millennial Popular Music
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Analyzing Genre in Post-Millennial Popular Music Thomas Johnson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2884 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ANALYZING GENRE IN POST-MILLENNIAL POPULAR MUSIC by THOMAS JOHNSON A dissertation submitted to the Graduate Faculty in Music in partial Fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 THOMAS JOHNSON All rights reserved ii Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson This manuscript has been read and accepted for the Graduate Faculty in music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ___________________ ____________________________________ Date Eliot Bates Chair of Examining Committee ___________________ ____________________________________ Date Norman Carey Executive Officer Supervisory Committee: Mark Spicer, advisor Chadwick Jenkins, first reader Eliot Bates Eric Drott THE CITY UNIVERSITY OF NEW YORK iii Abstract Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson Advisor: Mark Spicer This dissertation approaches the broad concept of musical classification by asking a simple if ill-defined question: “what is genre in post-millennial popular music?” Alternatively covert or conspicuous, the issue of genre infects music, writings, and discussions of many stripes, and has become especially relevant with the rise of ubiquitous access to a huge range of musics since the fin du millénaire.
    [Show full text]
  • Girl Vs. Boy Band: the Right Track Free
    FREE GIRL VS. BOY BAND: THE RIGHT TRACK PDF Harmony Jones | 240 pages | 02 Jun 2016 | Bloomsbury Publishing PLC | 9781408868546 | English | London, United Kingdom The High Note (Girl Vs Boy Band 2): The High Note - Harmony Jones - Google книги Not wearing a mask is not an option Part 4. Deadly wildfires worsen across California. K-pop sensation BTS. Courtesy of Big Girl vs. Boy Band: The Right Track Entertainment By Dong Sun-hwa For K-pop record labels, boy bands have long been thought to be more lucrative than girl groups because the former often attract loyal female followers who loosen their purse strings for costly concerts and albums. When it comes to album sales, BTS topped Gaon's chart, selling more than 3. At first glance, it looks like today's K-pop female bands are comparatively underperforming. It is the first K-pop girl band to have a "dome" tour in Japan as well. The group invited 40, fans to the domes for each concert. Critic Park Soo-jin, who writes for music magazine IZM, said one of the rationales behind the girl bands' recent rise Girl vs. Boy Band: The Right Track their image transformation from passive girls to active women. This seems to have appealed to listeners of the same gender. Almost all music-related businesses, such as merchandise and concerts, have been customized to suit female followers. This is why the number of female fans willing to use their cash for their stars is greater than that of male fans. This sense of connectedness also seems to make them more loyal to their singers, leading them to play more active roles in their community.
    [Show full text]
  • © Copyright 2020 Young Dae
    © Copyright 2020 Young Dae Kim The Pursuit of Modernity: The Evolution of Korean Popular Music in the Age of Globalization Young Dae Kim A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2020 Reading Committee: Shannon Dudley, Chair Clark Sorensen Christina Sunardi Program Authorized to Offer Degree: Music University of Washington Abstract The Pursuit of Modernity: The Evolution of Korean Popular Music in the Age of Globalization Young Dae Kim Chair of the Supervisory Committee: Shannon Dudley School of Music This dissertation examines the various meanings of modernity in the history of Korean pop music, focusing on several crucial turning points in the development of K-pop. Since the late 1980s, Korean pop music has aspired to be a more advanced industry and establish an international presence, based on the economic leap and democratization as a springboard. Contemporary K-pop, originating from the underground dance scene in the 1980s, succeeded in transforming Korean pop music into a modern and youth-oriented genre with a new style dubbed "rap/dance music." The rise of dance music changed the landscape of Korean popular music and became the cornerstone of the K-pop idol music. In the era of globalization, K-pop’s unique aesthetics and strategy, later termed “Cultural Technology,” achieved substantial returns in the international market. Throughout this evolution, Korean Americans were vital players who brought K-pop closer to its mission of modern and international pop music. In the age of globalization, K-pop's modernity and identity are evolving in a new way.
    [Show full text]