Peter Sidote : Determination Dta Nos

Total Page:16

File Type:pdf, Size:1020Kb

Peter Sidote : Determination Dta Nos STATE OF NEW YORK DIVISION OF TAX APPEALS __________________________________________ In the Matter of the Petitions : of : PETER SIDOTE : DETERMINATION DTA NOS. 825772, for Revision of Determinations or for Refund of : 825899, 825964, Sales and Use Taxes under Articles 28 and 29 of AND 825965 the Tax Law for the Periods June 1, 2008 through : February 28, 2010 and June 1, 2010 through May 31, 2013. : __________________________________________ Petitioner, Peter Sidote, filed petitions for revision of determinations or for refund of sales and use taxes under Articles 28 and 29 of the Tax Law for the periods June 1, 2008 through February 28, 2010 and June 1, 2010 through May 31, 2013. A hearing was held before Barbara J. Russo, Administrative Law Judge, at the offices of the Division of Tax Appeals in New York, New York, on October 2, 2014 at 10:30 A.M., with all briefs to be submitted by February 26, 2015, which date commenced the six-month period for issuance of this determination. Petitioner appeared by Sales Tax Defense LLC (Mark L. Stone, CPA, and Jennifer Koo, Esq., of counsel). The Division of Taxation appeared by Amanda Hiller, Esq. (Michael J. Hall). ISSUES I. Whether Peter Sidote was a person responsible for the collection and payment of sales and use taxes on behalf of POP, Inc., d/b/a Party Time Beverages, within the meaning and intent of Tax Law §§ 1131(1) and 1133(a). -2- II. Whether the Division of Taxation has met its burden of proof for the assertion of fraud penalties against petitioner pursuant to Tax Law § 1145(a)(2). III. Whether, in the alternative to fraud penalties, petitioner is liable for penalties asserted pursuant to Tax Law § 1145(a)(1). FINDINGS OF FACT 1. P.O.P., Inc., d/b/a/ Party Time Beverage (POP) was a retail and wholesale beverage distributor located in Brentwood, New York. 2. POP leased premises from The Mayflower Property Equities Corp. (Mayflower).1 Petitioner, Peter Sidote, was the president and principal of Mayflower. 3. Petitioner is a businessman with 20 years of experience. 4. On November 3, 2008, the Division of Taxation (Division) sent a letter to POP stating that the business’s sales and use tax records had been scheduled for a field audit for the period December 1, 2005 through August 31, 2008. The letter stated that “[a]ll books and records pertaining to the sales and use tax liability, for the audit period, must be available on the appointment date.” The appointment date indicated on the letter was November 25, 2008. A records requested list was attached to the letter specifying the books and records to be provided by POP. 5. By letter dated May 27, 2010, the Division notified POP that the audit period was expanded to include the period December 1, 2005 through February 28, 2010 (the first audit). The Division again requested that the corporation produce all books and records relating to the 1 Mayflower’s name also appears in the record as The May Flowers Property Equities, Inc., and The May Flowers Property Equities Corp. -3- expanded audit period and included a second records request list. On January 31, 2011, the Division sent an additional request for records to POP. 6. During the course of the audit, POP did not provide all the records requested by the Division. Records provided by POP included bank statements, purchase invoices for January 2011, some exemption certificates and quick-book invoices for some nontaxable sales. POP’s representative informed the Division that the business’s records were seized by the Suffolk County District Attorney’s office (DA’s office). The Division determined that POP’s sales records were inadequate because no original source documentation was provided such as register tapes, daybooks or backup to sales tax returns. The sales records did not allow the auditor the opportunity to trace any transaction back to the original source or forward to a final total. The Division’s auditor also reviewed the files seized by the DA’s office. The auditor determined that POP’s books and records, which were seized by the DA’s office, were inadequate to conduct an audit. 7. The auditor reviewed POP’s bank deposits and determined that bank deposits were not in substantial agreement with its books and records. Bank deposits exceeded reported sales by approximately $2,090,952.09. The auditor requested and obtained third-party information from POP’s vendors and performed a mark-up test using the cost and selling prices provided by POP. The auditor determinated a markup of 27%, which was applied to audited purchases of $7,015,457.62, resulting in audited gross sales of $8,909,631.18. The auditor reviewed register Z-out tapes (Z-tapes) obtained from the DA’s office for the period May 12, 2009 through June 28, 2009. Based on the auditor’s review of those Z-tapes, that auditor calculated a nontaxable -4- ratio of 12.77%, and applied that ratio to the entire audit period.2 The auditor determined the resulting audited taxable sales in the amount of $7,771,871.28. Credit was given for reported taxable sales of $1,044,131.00, resulting in a determination that POP had additional taxable sales of $6,727,740.28 and tax due of $580,267.60. 8. A second audit of POP’s books and records was conducted for the period March 1, 2010 through November 30, 2012. Based upon the second audit, POP entered into a consent agreement, signed by Charles Malave as president of POP, agreeing to tax in the amount of $63,502.22 plus interest for the second audit period. 9. The Division determined that petitioner and Charles Malave were responsible persons for the collection and payment of sales and use taxes on behalf of POP. 10. On August 26, 2011, the Division issued a Notice of Determination (L-036562007-8) to petitioner as an officer or responsible person of POP, asserting sales and use taxes due for the period June 1, 2008 through February 28, 2010, in the amount $284,986.83, plus penalty in the amount of $444,228.06 and interest. On August 27, 2013, the Division issued a Notice of Determination (L-040021414-2) to petitioner as an officer or responsible person of POP, asserting sales and use taxes due for the period June 1, 2010 through November 30, 2012, in the amount $118,945.22, plus penalty in the amount of $43,597.97 and interest. On October 1, 2013, the Division issued a Notice of Determination (L-040163258-7) to petitioner as an officer or responsible person of POP, asserting sales and use taxes due for the period March 1, 2013 through May 31, 2013 in the amount of $1,502.65 plus penalty in the amount of $250.22 and interest. This notice was based on a return filed by POP reporting tax due of $1,502.65 without 2 The auditor testified that she used Z-tapes from June, July and August 2009 to calculate the nontaxable ratio, but the Division’s audit report and workpapers show that Z-tapes were used from the period May 12, 2009 through June 28, 2009. -5- remitting payment. On October 1, 2013, the Division issued another Notice of Determination (L- 040163259-6) to petitioner as an officer or responsible person of POP, asserting sales and use taxed due for the period December 1, 2012 through February 28, 2013 in the amount of $5,650.46 plus penalty in the amount of $938.97 and interest. This notice was based on a return filed by POP reporting tax due in the amount of $11,695.46 and remitting partial payment of $6,045.00. The notices of determination issued to petitioner do not state the Tax Law section upon which penalties were asserted. 11. During the course of the audit POP executed a series of consents extending the period of limitations for assessment of sales and use taxes under Articles 28 and 29 of the Tax Law. Charles Malave signed the consents as president of POP. 12. POP and Recycling in Communities, Inc., a/k/a Redem Enterprises, Inc., d/b/a CMG Marketing (Recycling), operated side by side out of the same building in Brentwood, New York. The building was owned by Mayflower. Petitioner was the president and owner of Recycling. Recycling operated a bottle and can redemption business. 13. Petitioner, POP, Recycling, Mayflower and others came under a criminal investigation and were charged by the Suffolk County DA with grand larceny, falsifying business records, and scheming to defraud. The basis of the criminal charges was a scheme conducted by petitioner and others in which they knowingly purchased previously redeemed bottles and cans and then redeemed them a second time to third parties. POP’s records were seized by the DA’s office in relation to the criminal investigation. Manhattan Beverage, one of POP’s vendors, indicated during the first audit that POP often returned more bottles and cans than were purchased during the period at issue. -6- 14. When redeeming the bottles and cans, petitioner received payment by cash or check, but sometimes the payment was made in merchandise such as soda or beer. The soda and beer received from distributors in exchange for the empty bottles and cans petitioner returned would go to POP. Petitioner also used POP to pass through the proceeds from the redemption scheme. 15. On June 30, 2011, petitioner entered into a plea agreement with the DA’s office. As part of the agreement, petitioner signed a Settlement Agreement and Consent to Forfeiture with Order individually and on behalf of POP and Mayflower, dated October 18, 2012.
Recommended publications
  • PTAB April 8, 2021 Meeting Packet
    Municipality of Anchorage Public Transit Advisory Board Meeting Agenda April 8, 2021, 5:30–7:00 p.m. https://bit.ly/PTAB-April-2021 1. Call to Order 2. Roll Call 3. Approval of the Agenda 4. Public Involvement Announcement: For those watching live online, comments and questions can be submitted via Teams Live Q&A by clicking on the Q&A button on the right side of the screen. Public comments for this meeting have also been collected via email and people have had the opportunity to sign up for a phone call. When the Board reaches your agenda item, your comment will be addressed, first by written comment, then by Teams Live Q&A, and finally via outbound phone call. If you have elected to be contacted by phone, the meeting moderator will attempt to call you after the agenda item has been discussed by the Board. You will have 2 minutes to speak on each item you wish to comment on. Written comments will be read aloud by the meeting moderator after the items have been discussed by the Board. Teams Live Q&A comments will be addressed when appropriate. A recording is being made of this meeting and will be posted on the Municipal website. 5. Action / Information Items a. Minutes of the March 11, 2021 Meeting (Action Item) b. Director’s Update (Info Item) c. PTAB Core Ideology and Annual Goals (Action Item) d. 2020 System Report Card (Info Item) e. Ridership Update (Info Item) 6. Public Comments [2 minutes each] 7. Member Comments 8.
    [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]
  • Conceptually Androgynous
    Umeå Center for Gender Studies Conceptually androgynous The production and commodification of gender in Korean pop music Petter Almqvist-Ingersoll Master Thesis in Gender Studies Spring 2019 Thesis supervisor: Johanna Overud, Ph. D. ABSTRACT Stemming from a recent surge in articles related to Korean masculinities, and based in a feminist and queer Marxist theoretical framework, this paper asks how gender, with a specific focus on what is referred to as soft masculinity, is constructed through K-pop performances, as well as what power structures are in play. By reading studies on pan-Asian masculinities and gender performativity - taking into account such factors as talnori and kkonminam, and investigating conceptual terms flower boy, aegyo, and girl crush - it forms a baseline for a qualitative research project. By conducting qualitative interviews with Swedish K-pop fans and performing semiotic analysis of K-pop music videos, the thesis finds that although K-pop masculinities are perceived as feminine to a foreign audience, they are still heavily rooted in a heteronormative framework. Furthermore, in investigating the production of gender performativity in K-pop, it finds that neoliberal commercialism holds an assertive grip over these productions and are thus able to dictate ‘conceptualizations’ of gender and project identities that are specifically tailored to attract certain audiences. Lastly, the study shows that these practices are sold under an umbrella of ‘loyalty’ in which fans are incentivized to consume in order to show support for their idols – in which the concept of desire plays a significant role. Keywords: Gender, masculinity, commercialism, queer, Marxism Contents Acknowledgments ................................................................................................................................... 1 INTRODUCTION .................................................................................................................................
    [Show full text]
  • Addendum to the Phase 1 Remedial Investigation Work Plan, W
    Supufuad Ccn'.cr Slit: V bkiiAK: _ U'lHhk: ADDENDUM TO THE PHASE I REMEDIAL INVESTIGATION WORK PLAN W.R. GRACE SUPERFUND SITE ACTON, MASSACHUSETTS HSI January 14,2000 GEOTRANS A TETRA TECH COMPANY 6 Lancaster County Road, Suite Four Harvard, Massachusetts 01451 6 Lancaster County Road HSI Harvard, Massachusetts GEOTRANS 01451 A TETRA TECH COMPANY 978-772-7557 FAX 978-772-61 83 P.N. N099-007 January 13,2000 Mr. Derrick Golden Mr. Donald Hanson U.S. Environmental Protection Agency Bureau of Waste Prevention Region I MA Department of Environmental 90 Canal Street, Mail Code #HBO Protection Boston, MA 02203-0001 627 Main Street Worcester, MA 01608 Subject: Addendum to the Phase 1 Remedial Investigation Work Plan, W. R. Grace Superfund Site, Acton, Massachusetts Gentlemen: Enclosed please find the Addendum to the Phase 1 Remedial Investigation Work Plan. As indicated in the attached schedule, we will anticipate receiving comments from you on this document by March 14, 2000. If you have any questions regarding this document, please call me at (978) 772-7557. Sincerely, Anne E. Benjamin Project Manager Enclosures AEB/blc M \WP DOCS\N099\200OTI 11) 1015 »pd Derrick Golden and Donald Hanson 2 January 13,2000 cc: Seth Jaffe, Esq.. Foley. Hoag & Eliot Andy Cohen, DEP Boston Jim Demming, Action Water District Bob Eisengrein, ACES Doug Halley, Town of Acton Stephen Anderson, Anderson and Kreiger Maryellen Johns, W.R. Grace & Co. - Conn. Gretchen Muench, Esq. U.S. EPA Chuck Myette, EMCON Jim Okun, OT&O Barbara Weir, Metcalfe & Eddy J. Swallow, Pine & Swallow Associates Mitch Obradovic, W.
    [Show full text]
  • TATIP Binder
    Cornell “Lord Judah” Carelock Cornell “Lord Judah” Carelock, the one-and-only professional Hiphop teaching artist in Westchester, has many years of experience as an Artist and social justice leader. As an artist and music producer, he has specialized in many evolving forms of creative expression through his company, Judah Bless Entertainment, founded in 2004. For the past 10 years he has focused on collaboration and group learning through active, participatory experiences utilizing music and visual art. Mr.Carelock has been working with the Westchester Martin Luther King Jr. Institute for Non Violence since 2006 building bridges between youth, adults, and law enforcement. Since joining the T.A.T.I.P Training series in the Summer of 2016 Lord Judah or as the youth call him " Mr. Judah " has received a Great boost in his creative approach to his lessons and classroom structure. "I Can Remember a workshop at the Fredrick Douglas Museum in the Summer. We were embodying feelings , transforming them into movements , then transforming that into my expression through words , and then sharing with others and exploring how we can create an an expression that is inclusive of all of our feelings and ideas". "Mr. Judah" as he is known has been a Professional Teaching Artist for over ten years and he is currently working with Arts Westchester, Dream Yard Project, Wingspan Arts ,and the Mt. Vernon Youth Bureau to name a few. He has also presented workshops for organizations such as the Scarsdale Middle School's Young Writers Workshop ,The Westchester Music Conservatory, Club Excel of the White Plains Youth Bureau, The African American Men of Westchester, Mount Vernon School District, Mt.
    [Show full text]
  • Sweet 16 Hot List
    Sweet 16 Hot List Song Artist Happy Pharrell Best Day of My Life American Authors Run Run Run Talk Dirty to Me Jason Derulo Timber Pitbull Demons & Radioactive Imagine Dragons Dark Horse Katy Perry Find You Zedd Pumping Blood NoNoNo Animals Martin Garrix Empire State of Mind Jay Z The Monster Eminem Blurred Lines We found Love Rihanna/Calvin Love Me Again John Newman Dare You Hardwell Don't Say Goodnight Hot Chella Rae All Night Icona Pop Wild Heart The Vamps Tennis Court & Royals Lorde Songs by Coldplay Counting Stars One Republic Get Lucky Daft punk Sexy Back Justin Timberland Ain't it Fun Paramore City of Angels 30 Seconds Walking on a Dream Empire of the Sun If I loose Myself One Republic (w/Allesso mix) Every Teardrop is a Waterfall mix Coldplay & Swedish Mafia Hey Ho The Lumineers Turbulence Laidback Luke Steve Aoki Lil Jon Pursuit of Happiness Steve Aoki Heads will roll Yeah yeah yeah's A-trak remix Mercy Kanye West Crazy in love Beyonce and Jay-z Pop that Rick Ross, Lil Wayne, Drake Reason Nervo & Hook N Sling All night longer Sammy Adams Timber Ke$ha, Pitbull Alive Krewella Teach me how to dougie Cali Swag District Aye ladies Travis Porter #GETITRIGHT Miley Cyrus We can't stop Miley Cyrus Lip gloss Lil mama Turn down for what Laidback Luke Get low Lil Jon Shots LMFAO We found love Rihanna Hypnotize Biggie Smalls Scream and Shout Cupid Shuffle Wobble Hips Don’t Lie Sexy and I know it International Love Whistle Best Love Song Chris Brown Single Ladies Danza Kuduro Can’t Hold Us Kiss You One direction Don’t You worry Child Don’t
    [Show full text]
  • Quantitative Analysis of Phonological Variation in Korean Hip-Hop English Lyrics
    IDENTITIES AND LYRICS: QUANTITATIVE ANALYSIS OF PHONOLOGICAL VARIATION IN KOREAN HIP-HOP ENGLISH LYRICS A Thesis Submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Masters of Science in Linguistics By Jinsok Lee, B.A. Washington, D.C. April, 2009 Copyright 2009 by Jinsok Lee All Rights Reserved ii IDENTITIES AND LYRICS: QUANTITATIVE ANALYSIS OF PHONOLOGICAL VARIATION IN KOREAN HIP-HOP ENGLISH LYRICS Jinsok Lee, B.A. Thesis Advisor: Natalie Schilling, Ph.D. ABSTRACT This paper extends the sociolinguistic investigation of Hip-Hop language and its performative usage more generally by examining English in the lyrics of three Korean Hip-Hop groups: Dynamic Duo, Epik High, and Drunken Tiger. This paper examines overall occurrence of English as well as the extent to which their English incorporates features associated with African American Vernacular English (AAVE). Alim (2002) argues that American Hip-Hop artists connect their lyrics to street culture by using features of AAVE such as copula absence however, in this study of Korean Hip-Hop lyrics, instead of focusing on syntactic features, phonological features are to be studied mainly. The use of English in Korean Hip-Hop songs varies from lexical items (e.g. Nwun tteponi yesterday swucwupten kuttay. From the song “paykya” from the album “Remapping the Human Soul” by Epik High 2006) to a sentences (When My body turns cold, you will know, I remapped the human soul. From the song “paykya” from the album “Remapping the Human Soul” by Epik High 2006), and sometimes, but not for all the artists, a whole paragraph.
    [Show full text]
  • 3. SMACK THAT – EMINEM (Feat. Eminem) [Akon:] Shady Convict
    3. SMACK THAT – EMINEM thing on Get a little drink on (feat. Eminem) They gonna flip for this Akon shit You can bank on it! [Akon:] Pedicure, manicure kitty-cat claws Shady The way she climbs up and down them poles Convict Looking like one of them putty-cat dolls Upfront Trying to hold my woodie back through my Akon draws Slim Shady Steps upstage didn't think I saw Creeps up behind me and she's like "You're!" I see the one, because she be that lady! Hey! I'm like ya I know lets cut to the chase I feel you creeping, I can see it from my No time to waste back to my place shadow Plus from the club to the crib it's like a mile Why don't you pop in my Lamborghini away Gallardo Or more like a palace, shall I say Maybe go to my place and just kick it like Plus I got pal if your gal is game TaeBo In fact he's the one singing the song that's And possibly bend you over look back and playing watch me "Akon!" [Chorus (2X):] [Akon:] Smack that all on the floor I feel you creeping, I can see it from my Smack that give me some more shadow Smack that 'till you get sore Why don't you pop in my Lamborghini Smack that oh-oh! Gallardo Maybe go to my place and just kick it like Upfront style ready to attack now TaeBo Pull in the parking lot slow with the lac down And possibly bend you over look back and Convicts got the whole thing packed now watch me Step in the club now and wardrobe intact now! I feel it down and cracked now (ooh) [Chorus] I see it dull and backed now I'm gonna call her, than I pull the mack down Eminem is rollin', d and em rollin' bo Money
    [Show full text]
  • MTV Meet Bebe Rexha: the Anti-Katy Perry of Pop
    MTV Meet Bebe Rexha: The Anti-Katy Perry of Pop. [T]he New York native takes a more “f–ked up” approach, drawing inspiration from Angelina Jolie’s “Girl, Interrupted” and Kirsten Dunst’s “Melancholia.” Billboard Buzzing, Breaking, Blowing Up: Meet the acts who will help define 2014. Singer/songwriter channels inner demons into hits ELLE Her blisteringly honest songs are as wounded as Tove Lo, incisive as Sia, and Pink-with-a-blowtorch angry… V Magazine THE GIRL WITH THE PLATINUM TOUCH DEFINES WHAT SHE WILL BE USA Today Meet the Vocal Wizards Behind EDM’s Biggest Hits VIBE One listen to her strong pipes and edgy lyrics on “I Can’t Stop Drinking About You,” you’ll want to give her a shot. Perez Hilton We LOVE us some Bebe Rexha! And, as the months have gone by and she's come more into herself as an artist we have started to see her and less as some alter-pop outsider and more like whom she really is - Katy Perry's younger and edgier sister! Both write BIG pop songs! And, like Katy, Bebe, not only writes her own songs but she also writes hits for other people too! Rexha is giving us pop with some serious bite - and we LOVE it!! Just Jared sexy and seductive Idolator Bebe Rexha‘s no stranger to a mean pop hook… a dark, devastating (and autobiographical!) heartbreak anthem. EQ View The lead single, spunky pop banger ‘I’m Gonna Show You Crazy’ is a defiant assertion of Rexha’s individuality AXS Bristling with potential Bebe Rexha is in line to assume pop eminence.
    [Show full text]
  • The Symbolic Rape of Representation: a Rhetorical Analysis of Black Musical Expression on Billboard's Hot 100 Charts
    THE SYMBOLIC RAPE OF REPRESENTATION: A RHETORICAL ANALYSIS OF BLACK MUSICAL EXPRESSION ON BILLBOARD'S HOT 100 CHARTS Richard Sheldon Koonce A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2006 Committee: John Makay, Advisor William Coggin Graduate Faculty Representative Lynda Dee Dixon Radhika Gajjala ii ABSTRACT John J. Makay, Advisor The purpose of this study is to use rhetorical criticism as a means of examining how Blacks are depicted in the lyrics of popular songs, particularly hip-hop music. This study provides a rhetorical analysis of 40 popular songs on Billboard’s Hot 100 Singles Charts from 1999 to 2006. The songs were selected from the Billboard charts, which were accessible to me as a paid subscriber of Napster. The rhetorical analysis of these songs will be bolstered through the use of Black feminist/critical theories. This study will extend previous research regarding the rhetoric of song. It also will identify some of the shared themes in music produced by Blacks, particularly the genre commonly referred to as hip-hop music. This analysis builds upon the idea that the majority of hip-hop music produced and performed by Black recording artists reinforces racial stereotypes, and thus, hegemony. The study supports the concept of which bell hooks (1981) frequently refers to as white supremacist capitalist patriarchy and what Hill-Collins (2000) refers to as the hegemonic domain. The analysis also provides a framework for analyzing the themes of popular songs across genres. The genres ultimately are viewed through the gaze of race and gender because Black male recording artists perform the majority of hip-hop songs.
    [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]
  • What Is the K in K-Pop? South Korean Popular Music, the Culture Industry, and National Identity
    본문(43-3_2012) 2012.9.28 3:3 PM 페이지339 339 What Is the K in K-pop? South Korean Popular Music, the Culture Industry, and National Identity John Lie* In the early 2010’s, the expansion of South Korean popular culture around the world is led by popular music, usually known as K- pop. In this paper I seek to answer two questions. First, what are the sources of its success beyond the South Korean national border? Secondly, what does it say about contemporary South Korean society and culture? Key Words: K-pop, Korean Wave, Hallyu, South Korean Popular Culture, Popular Music I. Introduction The phenomenal success of the Korean Wave has generated collec- tive celebration in South Korea.1 In the early 2010s, the national self- * John Lie is C.K. Cho Professor of Sociology at the University of California, Berkeley, U.S.A. He received his Ph.D. in Sociology from Harvard University. His forthcoming books include The Global University and The Consolation of Social Theory. E-mail: [email protected]. 1. The Korean Wave is the literal translation of the term which originated in China ( ; Hánliú). The first character refers to “Korea” and the second usually evokes “flow” or “current,” signifying “style.” The same Chinese characters KOREA OBSERVER, Vol. 43, No. 3, Autumn 2012, pp. 339-363. © 2012 by THE INSTITUTE OF KOREAN STUDIES. 본문(43-3_2012) 2012.9.28 3:3 PM 페이지340 340 John Lie congratulation is especially manifest for the popularity of South Korean popular music (K-pop), which has spread from neighboring Asian countries, such as Japan and Taiwan, to farther ashore in Europe, the Americas, and the Middle East.2 The K-pop World Festival in Decem- ber 2011 attracted wannabe K-pop singers from sixteen different countries and confirmed its global appeal to South Koreans (Choe and Russell, 2012).
    [Show full text]