The Effect of Hedonic Motivation and Consumer Attitudes Towards Purchase Decision on K-Pop CD Albums (Study on KPOPSURABAYA Community)
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Gangnam Style’
POLITICS, PARODIES, AND THE PARADOX OF PSY’S ‘GANGNAM STYLE’ KEITH HOWARD∗ ABSTRACT In 2012, ‘Gangnam Style’ occasioned large flash mobs, three of the early ones taking place in Pasadena, Times Square in New York, and Sydney, Australia. Today, Psy, the singer of ‘Gangnam Style’, is regularly talked about as having brought K-pop to the world beyond East and Southeast Asia, and Korean tourism chiefs are actively planning a Korean Wave street in Gangnam, the district of Seoul lampooned by the song. But, ‘Gangnam Style’ has proved challenging to K-pop fans, who have resisted its gender stereotyping, its comic framing, and its simple dance moves that subsume the aesthetics of movement under a sequence of locations and action vignettes. At the same time, foreign success has given the song, and its singer, legitimacy in Korea so much so that, despite lyrics and video images that critique modern urban life and caricature the misogynistic failures of its protagonist, Psy headlined the inauguration celebrations of Korea’s incoming president, Park Geun-hye, in February 2013. This paper explores the song, its reception and critique by fans and others, and notes how, in an ultimate paradox that reflects the age of social media and the individualization of consumerism, the parodies the song spawned across the globe enabled Koreans to celebrate its success while ignoring its message. Keywords: Korean Wave, K-pop, popular music, parody, mimesis, consumerism, social media, Gangnam Style, Psy. INTRODUCTION In 2012, ‘Gangnam Style’ occasioned large flash mobs, three of the early ones taking place in Pasadena, Times Square in New York, and Sydney, Australia. -
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. -
Pop and K-Dramas: a Billion Dollar Business
Jain Muskan, Nelly Kavira Mangu Mangu, International Journal of Advance Research, Ideas and Innovations in Technology. ISSN: 2454-132X Impact factor: 4.295 (Volume 4, Issue 1) Available online at www.ijariit.com K-Pop and K-Dramas: A Billion Dollar Business Muskan Jain Kavira Mangu Mangu Nelly Christ University, Bangalore, Karnataka Christ University, Bangalore, Karnataka [email protected] [email protected] ABSTRACT The paper demonstrates how the South Korean Pop music and TV-dramas have proven their mark around the globe. With the ever growing popularity of these entertainment methods from Korea, they are not only topping music and tv charts but also evolving into a business worth billions of dollars and most importantly it looks sustainable with the innovation and disruption they are bringing into the world market. Keywords: Pop Music, TV-Dramas, South Korea, Disruption, Innovation. INTRODUCTION When in the 1990s diplomatic relations were made between China and South Korea, South Korean soap dramas like ‘What is Love’ began airing on Chinses television. It soon gained a lot of popularity, with millions of Chinese tuning in to watch the show with their friends and family. Cut to some years later in the 2000s and now in the second decade of this century, there are hundreds of Korean TV series and Korean Pop bands making waves internationally. It is therefore evident how the impact fully the South Korean culture is being propagated across the globe. Being a country that boasts of heavy exports of cellphones and gadgets as such as well as cars and other automobiles have now added K-Pop and K- soaps in the leading export industry, quite possibly on the 2nd or 3rd place. -
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 ................................................................................................................................. -
Tony Testa Television
Tony Testa Television: Saturday Night Live w/One Creative Director / Lorne Michaels/NBC Direction Choreographer The Voice UK - Season 1 Creative Director / Moira Ross/BBC One Choreographer Dancing with the Stars Associate Choreographer Dir. Kenny Ortega / NBC w/Corbin Bleu X Factor w/ Kylie Minogue Choreographer FOX America's Got Talent w/Kylie Choreographer NBC Minogue Wizards of Waverly Place Choreographer Prod. Todd Greenwald / Disney Channel So You Think You Can Dance Choreographer Kankna Produkties BV NL Holland Nicklodoen: Dance on Sunset Choreographer Dir. Don Weiner / Magical Elves Today Show w/ Janet Jackson Co-Choreographer NBC ABC Sports Choreographer Slamball / IMG Ent. Everybody Dance Now - Pilot Co-Host Prod. Ken Erlich #DanceBattle America Choreographer ABC/Magical Elves Music Videos: That Roque Romeo Director Wonderland Super Junior "Devil" Choreographer SM Entertainment Super Junior "Mamacita" Choreographer SM Entertainment EXO "Wolf" Choreographer SM Entertainment EXO "Overdose" Choreographer SM Entertainment TVXQ "Something" Choreographer SM Entertainment Irina "Hit the Red Light" Choreographer Sever Productions Victoria Justice "All I Want Is Choreographer Jonathan Shank/Red Light Everything" MGMT Kylie Minogue "All The Lovers" Choreographer Dir. Joseph Kahn Kylie Minogue "Get Outta My Choreographer Dirs. Alex and Liane Way" Kylie Minogue "Better Than Choreographer Dir. William Baker Today" SHINee "Married to the Music" Choreographer SM Entertainment SHINee "Everybody" Choreographer SM Entertainment SHINee "Sherlock" -
Understanding Korean Society Through Popular Music
Situations Vol. 5 (Winter 2011) © 2011 by Yonsei University Hannah N. Bergen (Yonsei University, Seoul) Understanding Korean Society through Popular Music Today one of the most unique aspects of inter-Asian cultural sharing is the hallyu wave. This social phenomenon began in Seoul, South Korea and today accounts for the all pervasive nature of Korean popular entertainment dominating the airwaves of nearly every Asian country. From Japan to Thailand, “K-pop” has conquered the Asian market, and is now turning its attention to the rest of the world. In order to illustrate this current social phenomenon, I have found many sources that all point to the same aspects in K-pop which have allowed one small country to make their entertainment business one of its most lucrative exports. The hallyu wave as a whole has become a blending of uniquely Korean culture with aspects of Western and other Asian cultures which has created a style unique to this particular moment of history. In the words of Sun Jung, author of the article “Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols,” “Transcultural hybridity is one of the most significant aspects of contemporary South Korean popular culture in the postmodern era and is the main driving force behind its overseas popularity” (Jung 166). This combination has allowed the music and film from Korea to be extremely accessible to a wide audience of various nationalities and languages. In order to clearly illustrate the international success of hallyu, I will focus on one specific aspect of current Korean popular culture: music. -
Past, Present and Future of Hallyu (Korean Wave)
American International Journal of Contemporary Research Vol. 5, No. 5; October 2015 Past, Present and Future of Hallyu (Korean Wave) Kim Bok-rae Professor Andong national University I. Introduction Hallyu refers to the phenomenon of Korean popular culture which came into vogue in Southeast Asia and mainland China in late 1990s. Especially, hallyu is very popular among young people enchanted with Korean music (K-pop), dramas (K-drama), movies, fashion, food, and beauty in China, Taiwan, Hong Kong, and Vietnam, etc. This cultural phenomenon has been closely connected with multi-layered transnational movements of people, information and capital flows in East Asia. Since the 15th century, East and West have been the two subjects of cultural phenomena. Such East–West dichotomy was articulated by Westerners in the scholarly tradition known as “Orientalism.”During the Age of Exploration (1400–1600), West didn’t only take control of East by military force, but also created a new concept of East/Orient, as Edward Said analyzed it expertly in his masterpiece Orientalism in 1978. Throughout the history of imperialism for nearly 4-5 centuries, west was a cognitive subject, but East was an object being recognized by the former. Accordingly, “civilization and modernization” became the exclusive properties of which West had copyright (?!), whereas East was a “sub-subject” to borrow or even plagiarize from Western standards. In this sense, (making) modern history in East Asia was a compulsive imitation of Western civilization or a catch-up with the West in other wards. Thus, it is interesting to note that East Asian people, after gaining economic power through “compressed modernization,”1 are eager to be main agents of their cultural activities in and through the enjoyment of East Asian popular culture in a postmodern era. -
Girls Generation SNSD Complete Discography 320
Girls Generation SNSD Complete Discography 320 1 / 6 Girls Generation SNSD Complete Discography 320 2 / 6 3 / 6 Home GIRLS' GENERATION(少女时代) SNSD(소녀시대) GIRLS' GENERATION(少女时代) – THE BEST [Japanese ALBUM] download ... 1. girls' generation (snsd) complete discography @320 22 Genre: Dance Language: Korean Bit Rate: MP3-320kbps + iTunes Plus AAC ... the nine-member girl pop band Girls' Generation became one of the most ... и официальных альбомов Candy shop • k -pop albums :) http://www. ... AAC M4A) 소녀시대 (SNSD) – PARTY Release Date: 2015 K2nblog. 3.. Dec 8, 2015 - [EP] 소녀시대-태티서 (Girls` Generation-TTS) - Dear Santa - X-Mas Special ... Korean Bit Rate: MP3-320kbps + iTunes Plus AAC M4A Taetiseo – the Girls' ... of Taeyeon's solo albums seem to be a bit different from existing SNSD.. Dowland-SNSD-Vol 7. Girl's Generation (소녀시대)-SNSD-Vol 7 [Resim: 50572819.jpg] Yayınlandığı Tarih : 2009.12.01. Tarzı : Pop Dili : Korece Kapasite : 320 k.. girls' generation (snsd) complete discography @320. DOWNLOAD: https://cinurl.com/1i17wi. Girls' Generation Release date: November 1, ... girls' generation (snsd) complete discography @320 girls' generation (snsd) complete discography @320 Discografia Girls Generation MEGA | Descargar album completo rar con la mejor calidad mp3/320kbps totalmente Gratis | Discografiaspormega.com. ... Girls Generation tambien conocido como SNSD es una banda con .... Home » Teen » Download SNSD Girls' Generation discography ... have released seven Japanese singles since their 2010 debut as well as two studio albums, Girls' Generation and Girls & Peace. ... Bit Rate : MP3 - 320kbps 4 / 6 Studio Recording Albums of First 20 AKB48 Stages, Release: Jan. ... 01 Genre : Pop Bitrate : 320kbps Description : Studio Recording of AKB48 Team K .. -
Bts (방탄소년단) – Dynamite Lyrics
BTS (방탄소년단) – DYNAMITE LYRICS | Dynamite (Extended) – EP BTS Dynamite Lyrics : BTS (방탄소년단) : Dynamite (Extended) – EP : “Dynamite” is an upbeat disco-pop song that sings of joy and confidence, bringing a new surge of “energy” to reinvigorate the community during these difficult times. It marks BTS‘ first song to be released completely inEnglish as a lead artist. Song : Dynamite Artist : BTS (방탄소년단) Produced by : David Stewart Album : Dynamite (Extended) – EP BTS Dynamite Lyrics [Intro: Jungkook] BTS Dynamite Lyrics ‘Cause I, I, I’m in the stars tonight So watch me bring the fire and set the night alight [Verse 1: Jungkook] Shoes on, get up in the morn’ Cup of milk, let’s rock and roll King Kong, kick the drum Rolling on like a Rolling Stone Sing song when I’m walking home Jump up to the top, LeBron Ding-dong, call me on my phone Ice tea and a game of ping pong [Pre-Chorus: RM, j-hope] This is getting heavy, can you hear the bass boom? I’m ready (Woo-hoo) Life is sweet as honey, yeah, this beat cha-ching like money, huh Disco overload, I’m into that, I’m good to go I’m diamond, you know I glow up Hey, so let’s go [Chorus: Jungkook, Jimin] BTS Dynamite Lyrics ‘Cause I, I, I’m in the stars tonight So watch me bring the fire and set the night alight (Hey) Shining through the city with a little funk and soul So I’ma light it up like dynamite, woah-oh-oh [Verse 2: V, RM] Bring a friend, join the crowd, whoever wanna come along Word up, talk the talk, just move like we off the wall Day or night, the sky’s alight, so we dance to the break of dawn -
BTS CONTROL Control (ACTIVE / PASSIVE PICKUP INPUT)
High Frequency Selection dip-switch PO BOX 4394 SANTA ROSA, CA 95402 USA Bass 0230-0207D Control P (707) 525-9941 F (707) 575-7046 EMGPICKUPS.COM INSTALLATION INFORMATION Treble EMG MODEL: BTS CONTROL Control (ACTIVE / PASSIVE PICKUP INPUT) SPECIFICATIONS Input Impedance (Ohms) 1 MegOhm INCLUDED: Gain/Attenuation/ Frequency Bass Control +/-12db/20Hz 1 BTS Control Gain/Attenuation/ Frequency Teble Control +/-12db/(Adjustable) 2 Knobs Input Referred Noise -120dbV 1 Battery Clip with Buss Connector Output Impedance (Ohms) 2K 1 Stereo Output Jack (Battery Switching) Recommended Supply Voltage 18 Volts 4 Interconnect Cables (2 Red, 2 White) Current @ 9V/18V (Microamps) 600/740 Battery Life (Hours) 750 Maximum Supply (Volts DC) 27 Volts General Operation The BTS Control is a 2-band equalizer for Bass guitar. The BTS features single-pole filters for broadband equalization. Often the broader single-pole filters are preferred for musical instruments because they are less selective, easier on the ear, and sound more “musical”. One of the features of the BTS Control is a 2-position dip-switch that controls the slope of the high frequency response. By choosing one of the four combinations the high frequency response can be tailored to your liking. The BTS Control has a high input impedance and can be used with active or passive pickups. Bass and Treble controls are mounted on a concentric shaft and knobs are included. Battery Power: If you play the instrument very hard, and are boosting the bass or treble with the BTS, you should consider operating the instrument on +18 Volts (2 Batteries in series, see page 4). -
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. -
Psy Daddy Daddy Song Download
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