One Direction

Total Page:16

File Type:pdf, Size:1020Kb

One Direction Dec 13 One Direction A 3rd British Invasion? LEANNE GUTIERREZ ⎜PROFESSOR FLOTO ⎜JOUR 463 INDIVIDUAL REPORT TABLE OF CONTENTS Executive Summary………………...............………………………..………………………3 Overview………………………………………………………..………………….4 Hypothesis.……………………………………………….…….…………………..4 Methodology………………………………………………………….………...4 - 5 Findings………………………………………………………….……………..6 - 7 Conclusion………………………………………………………….……………...8 Individual Report…………………………………………………………………………...9 Hypothesis………………………………………………………….……………..10 Methodology………………………………………………………….…………..11 Findings………………………………………………………….………..…12 – 15 Conclusion………………………………………………………….………..……16 Challenges………………………………………………………….…………...…17 Appendix………………………………………….....…………………………………....18 Mike Vulpo, E! News Writer Interview Transcript…………………………...19 - 20 2 EXECUTIVE SUMMARY 3 OVERVIEW Since 2010, British boy band One Direction has rapidly risen to pop culture royalty on an international stage, and on a global scale. The five-member group was put together by music industry mogul Simon Cowell, and includes Niall Horan, Harry Styles, Liam Payne, Louis Tomlinson and Zayn Malik. In the past three years, the band has sold over 19 million singles and 10 million albums. Their presence both in their native Europe and the United States has grown exponentially, with their social media and online presence trailblazing the way. Some even compare them to the Beatles, calling them the new “British Invasion,” a term we defined as, “a cultural invasion through music, television and fashion, with pop culture and sociological implications.” Following the Beatles’ 1960s British Invasion, a second invasion occurred in the 1980s, with the emergence of the likes of British artists such as Elton John. Though there has been an undeniable popularity surge for the band, One Direction’s actual album sales, awards and cultural impact do not compare to the prestige of actual previous such “British Invasions.” HYPOTHESIS Despite the fact One Direction has been compared to the Beatles and has infiltrated the American music scene, we believe that there is no current “British Invasion.” METHODOLOGY The foundation of our secondary research was built first by studying the historical context of past British Invasions in the US and around the world. Moreover, we studied other past and current British bands, musicians and artists. We then studied One Direction’s unique personal branding strategies, their Internet presence and social media influence. We also looked closely at sales the band has generated. The core of our primary research consisted of a focus group, four individual interviews and content analysis. 4 Focus Group On September 30, 2013 at the University of Southern California, we conducted a focus group. The group consisted of eight Annenberg School for Communication and Journalism students, including 3 males and 5 females. It lasted for about one hour, with Professor Jennifer Floto as moderator. Interviews 1. Rebecca Sahim, Sony/ATV Music Publishing 2. Jim Yeager, USC Professor – Entertainment PR 3. William Biersach, USC Professor – The Beatles Expert 4. Mike Vulpo, E! News Writer Content Analysis We conducted content analysis by utilizing Google at first, which gave us millions of articles using just the term “One Direction.” From these millions, we pulled 35 that we found were most relevant. Many repeated terms from the articles included: “British boy band,” “boy band,” “British pop group,” and “Beatles.” When we met class guest speaker and content analysis expert Kjerstin Thorson, she instructed us to use Factiva in order to get accurate results of these articles. The search parameters when using Factiva were extremely specific. We used the exact phrase “One Direction,” the date range for the articles was from July 12, 2012 – November 7, 2013 and they were only from within the United States. We ended up with 16,927 articles. The most prevalent trend was the Beatlemania-like hysteria tone of the writing found in the articles, as well as key terms like “boy band,” “Harry Styles” and “Pop Culture.” An astounding part of our content analysis was when we found that from a survey of more than 1,000 One Direction movie ticket buyers, 98% of them were female. By using Radian6, initially we found that by searching “One Direction,” there were too many results to show. Then surprisingly, in the last 30 days, our final Radian6 search showed that there were much less social media buzz about the band, with only 58 tweets, 27 Facebook posts, and 13 Blog Posts with the key terms “One Direction,” “British Invasion” or “1D.” 5 FINDINGS Secondary Research . To understand the term “British Invasion” better, the context of the current supposed British Invasion must be juxtaposed with history and today’s other successful British musicians. As mentioned earlier, past British Invasions have included the 1960s Beatles era, which also was influenced by the Rolling Stones, The Who and the Kinks. The Beatles were introduced to America with their famous hit single, “I Want to Hold Your Hand” in 1963, which went directly to #1 on the charts. The band was widely recognized for uplifting the cultural climate following President Kennedy’s assassination. A second British Invasion took place between 1982 and 1986, and included Queen, Duran Duran, David Bowie and Elton John. Today, One Direction’s personal branding has made them a global phenomenon. Attention to the band’s persona has spearheaded their popularity over the past few years. Social media interaction has given them a connection with fans no other British band has had before. One Direction is not the only British band that has recently grown to such success. Other recent popular British artists include Mumford and Sons, Calvin Harris and Amy Winehouse. One Direction’s social media presence has surpassed all other British musicians of today, with a combined total of 89.8 million Twitter followers. Their personal and professional lives are followed by millions of fans everyday. One Direction was the first boy band to sell 500,000 digital copies with Up All Night, and sold 540,000 copies in the first week of album Take Me Home. One Direction album sales, though impressive, pale in comparison to the likes of Justin Bieber, *NSYNC, Adele and the Beatles . Despite these statistics, One Direction front man Harry Styles has spoken out about his thought that his band is, in fact, part of a “British Invasion.” 6 Primary Research Focus Group: The focus group we conducted consisted of 8 college students between the ages of 20 and 22—3 males, 5 females. It lasted approximately 27 minutes, and was recorded. From the focus group, it was clear from the participants that they thought we were not, in fact, in the midst of a British Invasion. The tone at many points in the focus group was dismissive and even condescending at some points, with strong opinions expressed. Participants knew who One Direction was, but interestingly did not know how or why they knew them. Some of the participants drew comparisons between One Direction’s following and Beatlemania, as well as the Backstreet Boys/*NSYNC era and the Spice Girls. Interviews: . Rebecca Sahim, Sony/ATV Music Publishing o One Direction took formulaic approach from boy bands in the 1990s like Backstreet Boys and *NSYNC . Jim Yeager, USC Professor – Entertainment PR o Said it sounds like a publicist made up the term “British Invasion” o Believes anyone who actually experienced the first British Invasion would not think we are in the midst of one today . William Biersach, USC Professor – The Beatles expert o British Invasion is defined as a “cultural invasion” – not just music o Biersach thinks that One Direction and other British artists’ influence is not a “cultural invasion,” but an “upsurge in interest. o Does not think the band has as much talent as the Beatles . Mike Vulpo, E! News Writer o One Direction is “absolutely” a British Invasion o E! News articles about One Direction consistently get the most views o The band uses British lingo and image to their advantage 7 CONCLUSION After compiling all of our extensive primary and secondary research, reviewing and analyzing it, we together proved our hypothesis: there is no current British Invasion. While there may have been some initial instances where similarities could be drawn between the original British Invasions and One Direction, it is certainly not enough to constitute the same cultural implications as before. Our primary research findings blatantly show through our interviews that highly knowledgeable entertainment professionals do not consider One Direction as any sort of “British Invasion,” with the exception of one outlier. Our secondary research reiterates with album statistics that though One Direction has an impressive sales record, it loses out to other famous boy bands, current pop stars or current British Musicians. Collectively, our research demonstrates the validity of our hypothesis: One Direction is not spearheading a current third British Invasion. 8 INDIVIDUAL REPORT 9 HYPOTHESIS – THE PROCESS HYPOTHESIS 1: We believe we may be on the precipice of a British Invasion given the popularity of One Direction and other artists. Our first hypothesis was created without having done any of our research. It is important to note that the organic reaction of our group initially was to call the band a British Invasion. However, after we discussed our collective research as a group, and conducted our focus group, we decided our original hypothesis definitely needed to be changed. HYPOTHESIS 2: We
Recommended publications
  • How to Be the 'Perfect' Boy Band
    On CD and ONLINE! AUDIO TRACK 6: Listen to an 80s’ boy band member THEBUZZ talk about life behind the scenes www.mg-plus.net/audio HOW TO BE THE ‘PERFECT’ BOY BAND Harry Styles Niall Horan Zayn Malik Louis Tomlinson Liam Payne THE 5 COMMANDMENTS ne Direction – Britain’s newest boy phenomenon. Just how successful? The band One Direction band sensation – almost didn’t “America is one of the toughest places O happen. In 2010, five English and for UK artists to crack●, but this band has become a global Irish solo singers, aged 17 to 19 – Niall made it look easy,” writes Greg Dawson Horan, Zayn Malik, Liam Payne, Harry on BBC online. phenomenon. CURRENT Styles and Louis Tomlinson – auditioned Last spring, their debut album Up to compete in the talent TV series The X All Night went straight to number one reveals the secrets Factor. None of them made it through. in the U.S.: “They’re the first British But as X Factor producer and judge band to top the charts with their debut, behind their success. Simon Cowell tells it: “When they left, I something even The Beatles failed to had a bad feeling – and the idea came manage,” says Dawson. Band member about to see if they could work as a Niall Horan’s response: “As you can group. The minute they stood there for imagine, we were over the moon●.” the first time together, it was weird. They Just what makes One Direction so just looked like a group. And after they ‘perfect’? worked together for five weeks, they came back and were sensational.” Turn the page for the One Direction didn’t win the ‘5 commandments’ Before you read: series – they came in third – but in • What are the key qualities that another sense they won the bigger behind their meteoric make a good boy or girl band? prize: they went on to become a global success.
    [Show full text]
  • The Globalization of K-Pop: the Interplay of External and Internal Forces
    THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological.
    [Show full text]
  • The Boyband Project
    BY EILEEN SHAPIRO CELEBRITY CORRESPONDENT THE BOYBAND PROJECT Contemporary boy band cover group The Boy Band Project is an effervescent, energy-ridden, talented bunch of sexy boys, all complete with Broadway credits, the members having met in the off-Broadway show Altar Boyz. The group covers boy bands from the ‘90s such as Backstreet Boys, New Kids on the Block, O-Town, 98 Degrees, Boyz II Men, *NSYNC and beyond, including One Direction, The Four Seasons, The Jackson Five, The Beach Boys and The Bee Gees. The group’s shows are interactive and nostalgic as well as funny and entertaining. Travis Nesbitt, “The Sensitive One” and self-proclaimed leader of the group, has appeared in Altar Boyz, The Producers and The Radio City Christmas Spectacular. He originates from Orange County, California, and takes his inspirations from Lance Bass of *NYSNC and Jonathan Knight of New Kids on the Block. Jesse Johnson, “The Edgy One,” hails from Denver, Colorado, and is inspired by AJ of Backstreet Boys and JC of *NSYNC. He has been cast in 9 to 5, Wicked, Grease, Altar Boyz and Xanadu. Marshal Carolan, “The Sporty One,” has been in Hair, Altar Boyz, Mamma Mia and The Radio City Spring Spectacular. His influences are Brian Littrell of Backstreet Boys and Donnie Wahlberg of New Kids on the Block. He is originally from Newport Beach, California. Neil Starkenberg, “The Boy Next Door” aka “The Baby,” is from Long Beach, California, and is inspired by Nick Carter of Backstreet Boys and Joey McIntyre of New Kids on the Block. His credits include Mamma Mia and Altar Boyz.
    [Show full text]
  • An Ideological Analysis of the Birth of Chinese Indie Music
    REPHRASING MAINSTREAM AND ALTERNATIVES: AN IDEOLOGICAL ANALYSIS OF THE BIRTH OF CHINESE INDIE MUSIC Menghan Liu 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 December 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill Esther Clinton © 2012 MENGHAN LIU All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis project focuses on the birth and dissemination of Chinese indie music. Who produces indie? What is the ideology behind it? How can they realize their idealistic goals? Who participates in the indie community? What are the relationships among mainstream popular music, rock music and indie music? In this thesis, I study the production, circulation, and reception of Chinese indie music, with special attention paid to class, aesthetics, and the influence of the internet and globalization. Borrowing Stuart Hall’s theory of encoding/decoding, I propose that Chinese indie music production encodes ideologies into music. Pierre Bourdieu has noted that an individual’s preference, namely, tastes, corresponds to the individual’s profession, his/her highest educational degree, and his/her father’s profession. Whether indie audiences are able to decode the ideology correctly and how they decode it can be analyzed through Bourdieu’s taste and distinction theory, especially because Chinese indie music fans tend to come from a community of very distinctive, 20-to-30-year-old petite-bourgeois city dwellers. Overall, the thesis aims to illustrate how indie exists in between the incompatible poles of mainstream Chinese popular music and Chinese rock music, rephrasing mainstream and alternatives by mixing them in itself.
    [Show full text]
  • Girl Vs Boy Band
    With special thanks to Lisa Fiedler Bloomsbury Publishing, London, Oxford, New York, New Delhi and Sydney First published in Great Britain in June 2016 by Bloomsbury Publishing Plc 50 Bedford Square, London WC1B 3DP First published in the USA in June 2016 by Bloomsbury Children’s Books 1385 Broadway, New York, New York 10018 www.bloomsbury.com Bloomsbury is a registered trademark of Bloomsbury Publishing Plc Copyright © Hothouse Fiction 2016 The moral rights of the author have been asserted All rights reserved No part of this publication may be reproduced or transmitted by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher A CIP catalogue record for this book is available from the British Library ISBN 978 1 4088 6854 6 To my agent, Susan Cohen, with gratitude CHAPTER ONE Home is where the grass is green and just a little bit blue, And there’s no place in all the world I’d rather be, it’s true. If home is where the heart is . if that’s what people say, Then mine is far away from you and breakin’ every day . Lark Campbell’s fingers moved gracefully over the strings of her beat-up old Gibson guitar. Every lyric she sang, every chord she played, had come from somewhere deep inside her, and now the sound of her music flooded the backyard just like the California sunshine. Her favorite boots—distressed brown leather embroi- dered with dainty blue and yellow flowers—glided through the lush grass as she walked in time with her song.
    [Show full text]
  • Male Objectification, Boy Bands, and the Socialized Female Gaze Dorie Bailey Scripps College
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2016 Beefing Up the Beefcake: Male Objectification, Boy Bands, and the Socialized Female Gaze Dorie Bailey Scripps College Recommended Citation Bailey, Dorie, "Beefing Up the Beefcake: Male Objectification, Boy Bands, and the Socialized Female Gaze" (2016). Scripps Senior Theses. Paper 743. http://scholarship.claremont.edu/scripps_theses/743 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Beefing Up the Beefcake: Male Objectification, Boy Bands, and the Socialized Female Gaze By Dorie Bailey SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILMENT OF THE DEGREE OF BACHELOR OF ARTS Professor T. Kim-Trang Tran Professor Jonathan M. Hall “I enjoy gawking and admiring the architecture of the male form. Sue me. Women have spent centuries living in atmospheres in which female sexual desire was repressed, denied or self-suppressed, and the time has come to salivate over rippled abdominals, pulsing pecs and veiny forearms. Let's do it. Let's enjoy it while it lasts.” --Dodai Stewart, “Hollywood Men: It's No Longer About Your Acting, It's About Your Abs” December 11th, 2015 Bailey 2 Abstract: In the traditionally patriarchal Hollywood industry, the heterosexual man’s “male gaze,” as coined by feminist film theorist Laura Mulvey, is the dominant viewing model for cinematic audiences, leaving little room for a negotiated reading of how visual images are created, presented, and internalized by male and female audiences alike.
    [Show full text]
  • Can M Ter on Thistour
    tough moniker to avoid when you're touring the worldasecond time with the latest boy- band juggernaut, One Direction. thesecret "Some people think, 'Oh, they're just atlaa boy band. They'll haveathing and then disappear,' "saysIrwin. "But we're behind their challenging that thought. We'resoproud of we Retro homages, the music make-welove it-and we're Irwin in a Pink fearle Ifanyone puts usdown,wedon't Floyd tank,anod shirtsbought from the mall to Syd Barrett care.I 't that somewhat punk-notgiving pups in an effort to combat its boy -band image, 5 Secondsof adama hat people say?" Summer sticks to a fairly specific uniform: black skinny jeans, The and aligns itself not with the vocal low -top sneakers and vintage -inspired rock T-shirts touting stylm of,say,Boyz II Men and Backstreet iconic acts like Nirvana, Metallica and Joy Division. Boys, twith the brash, guitar -driven rock The handlers of 5SOS insist the look isn't overly manufactured. And they have fun with it-Hemmings postedapicture to Facebook ofa ofpop>unk pioneers like Blink -18z, All Ramones shirt andapair of scissors, captioned, "Mum,can you cut Time wand especially Green Day. Irwin this for me? Iwannabe punk rock." justp eduphis favorite group's latest The vintage style,afavoriteamonghipsters, implies you've spent DVD, i rtro,and has been playing it virtu- hours scouring eBay and left -field band forums in search of shirts produced for tours that happened decadesago.But there's reallyno allyn topduring whateversparetime he need to spend big buckson worn-outcollector's items.
    [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]
  • A Case Study
    A CASE STUDY ASAL EHSANIPOUR | LEANNE GUTIERREZ | KATE MCKENNA | SRIDEVI REDDY | PHOEBE ABRAHAM | EDDIE PARK “…Who is One Direction?” - USC PR Student, September 2013 BACKGROUND • British boy band • Formed by Simon Cowell after losing the X-Factor UK • Grew exponentially popular over the past 3 years, especially in America • Some call them the new “British Invasion” HYPOTHESIS #1 We believe we may be on the precipice of a British invasion given the popularity of 1D and other artists. HYPOTHESIS #2 We believe although One Direction, Adele, etc. are very popular in the United States, calling them a British Invasion is jumping the gun. HYPOTHESIS #3 (FINAL) Despite the fact One Direction has been compared to the Beatles and has infiltrated the American music scene, we believe that there is no current “British Invasion.” A British Invasion is… • Cultural invasion through music, television, fashion • Pop culture and sociological implications • The Beatles • 1960s METHODOLOGY METHODOLOGY • Secondary Research – Sales – Personal branding – Past/current British bands – Internet presence & social media platforms – Past British Invasions METHODOLOGY (Cont’d) • Primary Research – Focus group – 4 interviews – Content analysis FINDINGS SECONDARY RESEARCH: BRITISH INVASION • Members of 1st British Invasion: – The Beatles – The Kinks – Rolling Stones – The Who – The Animals SECONDARY RESEARCH: BRITISH INVASIONS (Cont’d) • Origin – Replicating 1950s American rock – Inspired by jazz & skiffle genres – Young people & American black music on the periphery
    [Show full text]
  • 1 Dreamboats, Boybands and the Perils of Showbiz: Pop and Film, 1956-1968 David Buckingham This Essay Is Part of a Larger Projec
    Dreamboats, Boybands and the Perils of Showbiz: Pop and Film, 1956-1968 David Buckingham This essay is part of a larger project, Growing Up Modern: Childhood, Youth and Popular Culture Since 1945. More information about the project, and illustrated versions of all the essays can be found at: https://davidbuckingham.net/growing-up-modern/. The first appearance of rock and roll music in film seems to have been something of an afterthought. When Richard Brooks’s Blackboard Jungle was released in 1955, the producers made a last-minute decision to accompany the opening and closing credits with an obscure B-side called ‘Rock Around the Clock’ by Bill Haley and the Comets. The record had been released the previous year with little success. Although an instrumental version of the tune does appear in the middle of the film, Blackboard Jungle is barely concerned with rock or pop music at all. In one notable scene, the delinquent teenagers trash their teacher’s treasured collection of jazz records; while in another, one of the students, Gregory Miller (played by Sidney Poitier) performs a gospel song with his black class-mates. However, the inclusion of Haley’s track made it an immediate chart hit; and it also contributed to the remarkable success of the film with teenage audiences. Indeed, the use of ‘Rock Around the Clock’ seems to have encouraged dancing and even wilder behaviour in cinemas, both in the US and in the UK. When the film was shown in South London in 1956, Teddy Boys in the audience reportedly rioted and slashed the seats; and this led to similar behaviour in cinemas around the country.
    [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]
  • BTS Versus Blackpink Korean Boy Bands Are Subverting Gender Stereotypes; Korean Girl Groups Are Reinforcing Them by OPHELIE SURCOUF
    English EST 1995 GREATER CHINA NORTHEAST ASIA SOUTHEAST ASIA SOUTH ASIA OCEANIA MIDDLE EAST WORLD OPINION TOPICS AT LIFE K-POP MAY 17, 2019 Korean boy band BTS at the 32nd Golden Disc Awards on January 10, 2018. Photo: WiKipedia Gender and genre: BTS versus Blackpink Korean boy bands are subverting gender stereotypes; Korean girl groups are reinforcing them By OPHELIE SURCOUF s any inhabitant of planet earth with access to a computer or TV will have noted, boy band BTS and girl group Blackpink are seismically A moving and shaking the global music scene, surfing a tidal wave of K- pop as it crashes upon global shores. The exposure of the two supergroups recently sky-rocketed to ever greater heights when, one after the other, they smashed YouTube records of “Most Viewed Clips in the first 24 Hours.” Blackpink was first with “Kill This Love” – ringing up 56.7 million views. Barely 24 hours later, BTS shattered that number, raising it by 20 million views, with “Boys with Luv.” Both have also performed on massive American stages – Saturday Night Live for BTS and the Coachella music festival for Blackpink. So has K-pop as a genre truly gone global? Or is it simply that, as the world goes gaga over the Bantang Boys, BTS is dragging Blackpink in its foaming wake? BTS Performs ‘Boy With Luv’ Sorry Blackpink, but… The two groups come from the same place and are often mentioned in the same breath. But when it comes to sales, the chasm between them is glaring. In 2019, Blackpink’s EP Kill This Love broke the record for the highest first-day sales for a girl group album with 78 275 copies sold, according to Hanteo.
    [Show full text]