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Nicole Diaz Bednar S21 Music Video as Allegory: The Case of Kpop in and JYP’s “Switch to me” Music Video Rain and JYP’s 2020 “Switch to me” duet featuring was a long-awaited collaboration between three of Korean pop’s (kpop) longest-standing stars. While the music video seems like the three simply dropped themselves into a casino and had fun chasing an attractive woman, a detailed contextual and intertextual semiotic audiovisual analysis of the “Switch to me” music video reveals how the song functions as an allegory of the kpop industry and the ways that Rain,

JYP, and Psy are positioned in the industry. The recent music video’s star-studded cast of older idols is the perfect setting in which to study the emergence and movement of kpop characteristics over time. The music video establishes the three artists as pioneers of kpop while keeping them relevant by recalling their initial success through old-style music and moves at the same time it engages them in the aesthetics and standards of current kpop. Taking into account the individual legacies of each artist, a frame-by-frame analysis of “Switch to me” yields insight into the Korean entertainment industry, simultaneously acting as a roadmap for deciphering how a music industry may be reflected in the music videos it generates.

The Scene

To make sense of a Korean music video, it is necessary to understand the Korean music industry in which it was created and in which its creators developed their artistic sense. The

“Switch to me” music video is situated within the kpop culture. Specifically, it was produced and is experienced within “the specific sub-mode of idol pop” delineated brilliantly in Aja Romano’s

2020 “A beginner’s guide to K-pop.” The information most relevant to “Switch to me” is summarized below, and all references to “kpop” from here on out refer to the idol sub-mode. 2

Kpop began in 1992 with ’ infusion of traditional Korean pop with the

“elaborate footwork, bold visuals, and hummable hooks” of Western hip-hop. The interest piqued by Seo Taiji and Boys’ performance led directly to the first generation of kpop spearheaded by

Boys member Hyun-suk Yang and his company YG Entertainment, producer Soo-man Lee and

SM Entertainment, and artist Jin-young and JYP Entertainment (JYPE). These three companies produced the first generation of idol groups and idols, including Psy, and their historic establishment of the kpop genre earned these companies the nickname “Big 3.” Due to his status as a performer and personality and his visible involvement in all aspects of JYPE even after stepping down as CEO, JYP’s name and company are often treated synonymously by industry participants, fans, and onlookers. Therefore, JYP shall refer to both JYP and JYPE unless otherwise stated. However, despite the widespread conflation of the two, public opinion of JYP and JYPE differ enough regarding certain issues for discretion to be necessary (Karthikeyan 2018).

Therefore, only acts and behaviors widely attributed to both JYP and JYPE, or only JYP, are discussed here. For the same reason as JYP, SM and YG will refer to both the founders and the respective companies unless otherwise stated (and, in YG’s case, if the date is past June 14th,

2019, the date at which YG removed himself from the industry) (Cha 2019).

Koreaboo’s Jenny Kang provides a solid overview of future generations, keeping in mind artists from previous generations may still be active in subsequent ones. The second generation, where the core concept of kpop was solidified and commercialized, was the first to gain international attention and featured prominent group and soloist Rain. The third generation saw YG financially dethroned by Big Hit Entertainment and CJ E&M, focused on international distinction, and was led by groups and BTS, re-emerging first generation soloists like Rain and , and idols from second generation groups such as ’s Taemin. 3

The fourth, and current, generation is aimed at international composition and characterized by commercialized survivalism (competition reality shows) and artistic transparency. Up-and-coming groups in this generation include and .

According to Romano, what characterizes kpop is the idol – a polished, multi-talented individual capable of dancing, singing, and (if part of a group, only dancing and either singing or rapping are expected), with winning looks and sex appeal and a loveable public persona.

Idol hopefuls become “trainees” at an entertainment company and undergo strict training and vetting before debuting as soloists or group members. Debuting on domestic music shows, where they will be expected to win awards in the future to demonstrate their success, is most common.

As idols release new , termed “comebacks” due to the associated promotional activities, they amass “stans,” fans who are dedicated to following their careers. With enough stans come

“fandoms,” groups of stans who work together to support their idols through purchases and voting and are almost always given “fandom names” by the idol’s entertainment company. Out of JYP,

Rain, and Psy, only Rain and Psy still retain fandoms, termed “cloud” and “PSYcho” respectively.

Success or failure is determined quickly as the industry is rife with internal warfare, where

“fanwars” pit rival idol’s’ fandoms against each other as they attempt to out-vote and damage the reputations and idols of each other’s fandoms. This environment is encouraged by entertainment companies which shun idols from other labels and often refuse collaborations with out-of-label idols. Due to the cutthroat nature of the kpop industry, cross-company idol friendships are kept secret, rivalries are exploited and exposed, and the lifespan of most groups is two to five years.

Within entertainment companies, abuse and neglect are the most common mechanisms used to control idols and industry conditions in general. For example, most damning of JYP’s confirmed or suspected industry-typical indiscretions is ex-2PM group leader ’s 4 termination and subsequent alleged persecution. After the typical silent termination from JYP, Jay

Park returned to a year later under label SidusHQ, a longtime JYP partner. JYP released a statement citing “a violation of business ethics” on SidusHQ’s part, after which Jay Park and other

SidusHQ actors were mysteriously fired from or unable to land roles in variety shows and dramas

(IATFB 2015). In the vein of neglect, meanwhile, from the moment debuted under JYP in

2014 to the moment they walked out in 2021, GOT7 endured extremely inadequate promotion and lack of protection from JYPE and constant belittlement and rejection from JYP (Esquivel 2021).

When the seven members decided, together, not to renew their contracts, it was no surprise to fans.

What was surprising, and critically saved face for JYP, was the news that GOT7 would “maintain the rights to their name, music, and content,” (Esquivel 2021), an extremely generous allowance in the industry. The “evidence” in both cases consisted of rumor and gossip – in the kpop industry, however, rumor and gossip are the most influential makers of public perception due to corruption being the status-quo which, more often than not, results in rumors and gossip being accurate. To be clear, infractions are on the part of companies, not idols, except in unusual cases. Thankfully, the third generation of kpop began a trend towards fair play in the industry and proper treatment of idols which has been strongly embraced by fans and is therefore likely to continue.

The Leader

The “industry senior” of the “Switch to me” triad is none other than Big 3 founder Jin- young Park, stage name JYP. As an artist, JYP is known for sticking vehemently to his inspirations aurally and visually. Chart-topping bops like “Fever,” “,” and “Switch to me” showcase JYP’s signature “Cotton Club…vaudeville-era glamour” aesthetic (Benjamin, J.Y.,

2019) mixed with varying degrees of modernity. He has kept his distinctly retro choreography and 5 sound throughout his career to the point where fans and industry participants might grow concerned should a JYP comeback fail to evoke intense nostalgia from the older generation.

JYP is the current largest shareholder of JYPE (JYP Entertainment) and still promotes as a solo artist under the label (LostInTheDream). JYPE was founded in 1997, only three years after

JYP’s solo debut (LostInTheDream), and produced solo artists and idol groups which defined and continue to represent the core of kpop, including “Switch to me” co-producer Rain, now a CEO, artist, and actor (Benjamin 2020).

As an artist and mentor, JYP insists on an international fluency and performance often ignored or undervalued by other entertainment companies, who take the “k” more seriously than the “pop” and consider domestic domination the only valid form of success. JYP, believing domestic success was too small a goal, debuted Wonder Girls in by having them tour with the in 2009; actively recruited non-Korean Asian members for his groups; and debuted exclusively Chinese and Japanese boy and girl groups and NiziU respectively (Benjamin 2020). Along with international savvy, JYP’s main criteria is that his artists are “decent, honest, [and have] a good heart,” so much so that if artists renege on behavioral commitments JYP will “[terminate] artist contracts, some in the swing of the career” (Benjamin

2020). This approach results from JYP’s direct training and production of Wonder Girls, g.o.d, and Rain, the first JYP artists, and his realization that “when you love an artist, it's not work anymore. If you don't like that artist, you can't spend all night working for them” (Benjamin, 2020).

Accordingly, JYP has maintained publicly reciprocal friendships with now-departed early labelmates such as , one of the few non-JYP artists allowed access to the company building, and Rain, with whom JYP occasionally spends holidays (Benjamin 2020). His old labelmates aren’t the only ones convinced of JYP’s good nature – fans consider JYP the “level- 6 headed” Big 3 founder and JYPE the “best of the worst” of the Big 3 companies (Karthikeyan

2018) despite the behavior described regarding GOT7 and Jay Park.

The persona crafted through JYP’s “being on camera for [27] years” (Benjamin 2020) combined with rumor and gossip surrounding his and his company’s business decisions and statements is one of strong preference. That is, fans, participants, and onlookers prefer JYP to other

“old-timers” historically in the market-leading position, namely SM and YG. Because of the ample material for comparison provided by the other Big 3 members, the kpop industry as a whole, and

Korean culture in general, JYP enjoys widespread assumption of innocence and recognition of excellence and receives particularly high praise for decency and values from industry onlookers.

Overall, JYP is an industry original and participates in most of the cutthroat behavior within it – the notable exception being his public acknowledgement of cross-company friendships. He is able to break the expectation of cross-company antagonism and maintain his competitive edge due to his status as a kpop pioneer. JYP’s goal has been and remains internationally savvy to an unusual degree when compared to the overall first and second waves of kpop. However, JYP was unable to reach his level of fame as a perfect idol, due to his being too verbose and calculated, “obscenely” sexual, and having a non-sexual body type (Shin 2009). Thus, his fame and status relied on his ability to create perfect idols, a formula he cracked in 1998 by debuting Rain.

The Protégé

Rain truly was the perfect idol. Kpop scholar Hyunjoon Shin summarizes: Rain was “real,” gentlemanly, and sexy - paired with JYP’s musical ability and intuition, Rain’s vocal and physical ability and marketability quickly skyrocketed Rain into domestic stardom. Additionally, Rain’s persona was part of JYP’s intentional efforts to appeal to international, and not just domestic, 7 markets, as his persona mixed the soft and hard masculinities popular in the east and west respectively.

Artist, actor, and owner of “Switch to me” rights Ji-hoon , stage name Rain, debuted first in 1998 in a failed group and later as a soloist (Britannica). Rain shot to prominence thanks to his “boyish good looks and smooth hi-hop dance moves” (Britannica), releasing one of kpop’s most iconic songs and choreographies, 2008’s “Rainism.” While he is active as a fourth-generation artist, spurred to continued popularity due to various roles in reality and survival reality shows,

Rain retains the sound, visuals, and choreography style from his time as a second-generation artist, albeit with less intensity to account for changing tastes. In the kpop industry, Rain is the ultimate mentor to aspiring idols and industry rookies alike. Several idols unironically refer to him as “big brother,” including MBLAQ’s Joon Lee, who reminds us that Rain is the original momjjang

(stunning physique) idol (Son 2011). Whenever Rain appears as a mentor, judge, or guest on popular survival shows such as “The Unit” and “I-LAND,” he “shows a strict and stern side while training the hopeful idols and teaching them about professionalism” but is seen “forming strong relationships with everyone, going beyond the normal mentor-contestant dynamic” ( 2017).

In 2015, Rain founded R.A.I.N. Company to manage his activities and begin producing groups under his own label (kpop wiki), and Rain’s prominent public persona also generates a synonymity between his self and his company which will be references simply as “Rain” unless stated otherwise. Rain was not only a domestic heavy-hitter, but an international participant as well, appearing in Hollywood films and (Britannica). Rain’s western reception is exceedingly positive – Ninja Assassin director James McTeague was eager to partner with Rain after working with him on Speed Racer and commended his exceptional work ethic, enthusiasm, and humor (koreanbeacon, 2009). 8

Rain was and is considered the first perfect , yet is currently outside the mainstream as an icon due to his continued emphasis on the initial hip-hop identity of kpop begun by Seo Taiji and Boys (Shin 2009). Despite residing outside the mainstream, however, his contributions to the popularity and substance of the genre are strong enough to firmly cement him as an idol regardless of how the genre has shifted over time.

The Outlier

Reminiscent of JYP’s personal lack of idol appeal and resulting relegation to producer and icon as opposed to definitive idol, Psy completes the trio of not-quite-kpop kpop giants. Rapper

Park Jae-song, known as Psy, debuted under YG in 2001. Psy was always considered a genius in terms of musical creativity and ability, which saved his reputation from caving to negativity brought on by a marijuana scandal. When “,” heavy with satirical societal commentary and tempered with “silliness,” blasted into the international mainstream, Korea was quick to get behind an artist they already knew could deliver complex music and memorable choreography they could be proud of (Yang 2012). Because he was a musical maverick and had never attempted to hide his eccentricity or conform to industry norms, Psy went from respected household name to beloved and trusted kpop royalty smoothly when “Gangnam Style” hit music charts (Yang 2012). Continuing with his commitment to authenticity, Psy founded his own label,

P Nation, in 2019 (Benjamin, PSY, 2019), which became something of a home for wayward artists.

Jessi, whose career had been hindered by crass language and an attitude which alienated fans, was the first artist to join P Nation according to kpop expert Jeff Benjamin. Benjamin also recounts that was followed by and [] (rights to his old stage name belong to Cube

Entertainment), who are signed to P Nation separately despite being a couple, after they were kicked out of for revealing their relationship to the public without the 9 company’s consent. That Psy’s own reputation has remained strong throughout his adoption of rejected artists proves how much respect his ability and authentic public persona affords him.

While the overall perception of Psy following “Gangnam Style” is positive and celebratory, there is a cultural split between those who recognize him as a nationalistic Korean envoy to the west whose music increased Korea’s overseas reputation and those who recognize him as simply having turned people’s eyes to Korea without positively impacting the national reputation to a significant extent (Yoon 2017). However, the perceptions have in common the high status and power they convey onto Psy, which allows him to reside outside the mainstream and still receive mainstream approval.

As Psy is only present for thirteen seconds (4:34-4:47) at the end of the music video, his involvement is brought up in the analysis only when relevant to the industry characteristics or mechanisms being represented.

On Accounting for Cultural Difference and Methodology

The Korean entertainment industry is, first and foremost, a business. Technology scholars

Parc and Kim show how the current hallmarks of kpop – international appeal, single-song albums, cinematic videos and choreography, and extensively visually appealing artists – are entirely purposeful and meant to embrace changing music distribution conditions caused by digitization.

Thus, the music video’s recognizable casino setting, the separation from the artist’s previous, present, and future albums, the cinematography, and the style must be interpreted with respect to the business practices which select these choices as preferable. Parc and Kim’s article, then, helps to make a distinction between business decisions and artistic decisions, so that the analysis may be properly focused. For example, Parc and Kim note that the kpop industry embraces new trends 10 quickly – this points to the nostalgic sound and choreography as an artistic choice ripe for further analysis.

Next, because the competition and interaction between three men is the crux of the “Switch to me” music video, the consideration of masculinity is necessary and must be adjusted to the perceptions of a Korean industry. Ainslie summarizes the necessary adjustment as “soft” masculinity: the “hybrid” nature of East Asian gender construction, exported most heavily through kpop, which blends feminine and masculine traits to 1) appeal to feminine women as their sociocultural power increases, and 2) appeal to men whose gender constructions fail to position them as traditionally masculine. This is especially valuable in regard to Rain, who bases his most aggressive masculine performance on scopophilia, love of looking (at his abs, specifically), which

Cox reminds us is heavily objectifying in practice. The question with Rain becomes whether the cultural shift towards empowering the woman’s gaze (Hansen 2004) empowers Rain by making his masculinity more palatable or empowers the woman by offering her power over the men by objectifying them. Hansen also directs one to deliberate, and not assume, the woman’s position due to the MV’s production within Korean entertainment culture, which features an extensive fandom often characterized as excessively female or feminine despite encompassing plenty of male fans.

Finally, Korsgaard, Hawkins and Richardson, and Ostrowski delineate the potential for music videos to speak to artistic identity and exert affect over public perception. Korsgaard asserts that a music video is not simply a carrier of information, but a modulator, influencing interpretation through the layering of affect over logical progression, supporting the assumption that “Switch to me” contains multiplicity of meaning. Hawkins and Richardson and Ostrowski provide detailed coding patterns based on their analysis of Britney Spears’ “Toxic and Celine Dion’s “All by 11

Myself” respectively, which inform the analytical procedure applied to “Switch to me.” Hawkins and Richardson utilize film archetypes while Ostrowski utilizes “historie” to determine the effect of narrative. Because “Switch to me” is told, both lyrically and visually, as a story with a definite beginning, middle, and end, Hawkins and Richardson’s and Ostrowski’s work is applicable for deciphering what “sense” the MV attempts to impart in relation to the established legacy of each artist in real life.

“Switch to me” Music Video

The “Switch to me” music video begins with dapperly dressed Rain and JYP sitting side by side at a casino bar. The first thing established is their camaraderie – Rain applauds JYP that

“everything you do turns out well,” while JYP compliments Rain’s “high reputation” (0:06, 0:13).

This camaraderie hearkens it’s origins – Rain mentions he “learned it all from [JYP]” (0:24), before shifting the original friendly mentorship relationship into a competitive one when JYP, as if provoked by his protégé’s success, stands and turns to fully face Rain (0:32). When Rain stands in response, the two stare intensely at each other (0:39-0:42) until a new explanation for the tension is offered: both men receive a text from an unknown sender at the same time (0:42). The text contains a photo of a woman in a red dress arriving at the bar framed by the words “TARGET is

Confirmed,” indicating that Rain and JYP are both meant to pursue the woman, or target. A split panel then focuses only on their eyes as Rain and JYP catch sight of the target entering the casino’s bar, personalizing their intent towards her (0:51).

At this point, the song begins with JYP’s sung assertion that “[The woman is] too good for him,” (1:02) where him is the yet unknown man she is waiting for at the bar and the implied recipient of JYP’s challenge. Thus, JYP gives the previously crafted tension and intent an outlet by initializing the competition which is the music video’s focal point. Rain enters into the 12 competition with JYP and the unknown man by jumping in front of JYP to sing “I’m the right one for you” (1:14). This issuance and acceptance of the challenge is immediately followed by a dance break in a modern minimalist studio setting (1:20-1:49), where Rain has changed into an itty-bitty sparkly crop jacket and JYP has donned a glitzy long sleeve and low-riding hip-hop pants. During the dance break the two enjoy close-ups only when they take over singing. Otherwise, the camera remains further back, displaying both equally. By the last chorus, the camera no longer zooms in on whoever is currently singing (3:37-4:15).

All Love, But Not That Way

The camera’s lack of preference is the first hint that the competition is serious but not personal, in that the two men want to win to secure the target as opposed to winning to overshadow the other. This sentiment is solidified throughout the narrative arc of the music video. When JYP pulls up next to Rain’s Jeep in a Ferrari, Rain is unamused but not angry (1:57); when JYP rides up to Rain during his shoreside date on a white horse, Rain simply scoffs in exasperation (2:16);

Rain’s reaction to JYP later interrupting a fine dinner with a helicopter is more aggressive as Rain throws down his wine glass, but still falls short of actual fury and reads as disbelieving frustration

(3:36). Similarly, when Rain takes the attention away from JYP by showing off his abs, JYP seems desperate but not angry (3:10). Their competition is similar to brothers fighting over a toy and does not cross into aggression or threat. Despite being in direct competition, Rain and JYP allow their regard for each other to be kept separate from their failure at the hands of the other.

This is not to say the competition is any less intense or the stakes – the romantic potential or rejection – are any less high, simply that the competition is a necessary pursual to which resides outside of their personal relationship. This is evident especially at the conclusion of the music video and competition. After Rain and JYP have demonstrated their charms to the woman, they 13 wait, perched side by side on their cars, outside of the casino as she exits (4:16). They wave to her, excited to see who she leaves with, only for her to turn, and with unbridled joy previously unexpressed towards either Rain or JYP, embrace the forgotten competitor – her original man –

Psy (4:33). Instead of reacting with aggression or rage, Rain and JYP reiterate their commitment to separating the competitor and the competition by sharing an overwhelmingly confused stare first with each other and then with the camera (4:49).

Breaching Etiquette

When looking at “Switch to me” within the context of kpop, the most interesting aspects are that the collaboration exists, that the relationships are positively depicted, and that the three are presented on equal footing. That this collaboration exists when Rain, JYP, and Psy are all part of different entertainment companies is in direct contention with the general kpop rulebook, where the competition is cutthroat and cross-company idol friendships are discouraged or, if they manifest, are kept private (Romano 2020). Even idols within the same company suffer from the expectation of animosity, such as when survival shows like YG’s “WIN: Who Is Next” pit potential groups from the same company against each other in publicly displayed real-time (kpop wiki

“WIN…”). Therefore, the fact that three idols from different companies collaborated and promoted themselves together as friends is a big indicator to a knowing viewer to not only take notice of this extraordinary fact but take it as a sign that something else extraordinary might also be happening in the video.

That the three are presented as equals throughout the video is another breach of kpop correctness. Korea values respect towards elders extremely highly – in the kpop industry, this is translated as respect and deference towards industry seniors who have debuted before one

(Romano 2020). Following this expectation, JYP, who debuted in 1994 (LostInTheDream), should 14 have been the de-facto competition winner, with Rain, who debuted in 1998 (Britannica), coming in second and Psy, who debuted in 2001 (Yang 2012), coming last. For Rain to ‘usurp’ JYP by producing their collaboration under his own company (RAIN’s 2020), and for Psy to ‘usurp’ them both by winning the competition for the woman, is an exceedingly non-traditional depiction of the three’s positions relative to each other.

The success of this partnership within a cutthroat industry, and the acceptance of the non- traditional crediting, is down to Rain, JYP, and Psy’s individual reputations, which are referenced throughout the music video as well. All three artists are known as uncommon idols – Rain for focusing on non-Korean markets as an actor and letting his idol persona develop from there (Shin

2009), JYP for being so antithetical to the polished and loveable idol image (Romano 2020) that he rose to fame as a kpop CEO and let his idol persona exist intermittently through high-profile singles, and Psy for debuting as too unfiltered of a celebrity and reaching idol classification due to the explosive “Gangnam Style” music video which went viral on a global scale (Yang 2012).

Furthermore, the three are outliers in the kpop industry: Rain was one of the first to break into global stardom, albeit on a small scale, and was Korea’s first heartthrob idol; JYP as a businessman led the development and dissemination of the Korean ‘wave’ both domestically and internationally

(Shin 2009); and Psy was an acknowledged global musical phenom (Yang 2012) and the first to definitively turn western eyes towards kpop. All this is to say, Rain, JYP, and Psy’s careers have earned them the right to break the kpop rules without suffering the consequences. In fact, their breaking the rules solidifies their positionality as originals in the genre.

Attending to Tradition

Although they break the rules of engagement, so to speak, Rain and JYP only bend them in regard to visuality and musicality. Musically, “Switch to me” evokes nostalgia for the two men’s 15 initial rise to fame during kpop’s first generation by relying almost entirely on choreographic moves they used when they debuted, placing emotive vocals with little else at the center of the song, and choosing Vaudeville-like music for the background (Benjamin, J.Y., 2019). The emotive vocals in particular are what drew fans to kpop in the first place (Ryu 2020) and giving them center stage in “Switch to me” ensures that the star power Rain’s vocals once had is not eroded by JYP’s oddness. The nostalgic choreography and sound are modernized by the inclusion of timeless kpop tropes still in use, meshing musicality and visuality into a product appealing to old and new audiences alike.

Using three established kpop tropes each is a visual move which shows Rain and JYP’s allegiance and contributions to the genre. The characters used are: the gentleman, based on Bond- esque westernized masculinity denoting capability, class, and wealth; the beast idol, known for being in peak physical shape and utilizing musculature for aggressive shows of masculine superiority and sexuality; the old-time sugar daddy who is exceedingly sexual yet sexually undesirable, but tempting due to the assumption of free-flowing wealth; the flower boy, the media embodiment of soft masculinity which defines masculinity as sensitive and oriented towards friendship (Ainslie 2017); the eccentric dandy, who dresses stylishly but questionably and otherwise has the qualities of a gentleman.

Both Rain and JYP take on the gentleman character while in the casino as the music video opens. This character is not seen again, even when they return to the casino after “wooing” the woman, and this brief touch of a character who later disappears or is incorporated into other characters is typical in kpop. Specifically, a dapper, cleaner character generally introduces the music video and conflict, and then gives way to more tempting characters. During the dance breaks, Rain adopts the momjjang (stunning physique) aesthetic (also called beast idol aesthetic) 16 by dancing in a top which leaves very little to the imagination, an important decision as it reminds kpop fans that he was the original “beast” idol the term was coined for (Son 2011). JYP’s low- riding pants and glitzy tee during dance breaks place him in the “old-time sugar daddy” category

JYP himself created, and which very few others have ever inhabited, as it requires a level of overt sexuality and obliviousness considered obscene in kpop (Shin 2009). Rain and JYP take these rougher characters out of the dance breaks only during the rap break, the section considered the hardcore or unique bridge in kpop, and keep them away from the rest of the narrative arc. This serves to strictly establish Rain and JYP as properly masculine in the “hard” western sense while allowing the female gaze to empower the woman with subjectivity and choice (Hansen 2004). In the narrative arc, then, during the verses, Rain slips into the “flower boy” persona (Waszkiewicz

2020) while JYP embodies a sort of “eccentric dandy” less popular but still present in kpop.

We Return to Love (Still Not That Way)

Another aspect of modern kpop Rain and JYP lean into is the preferred relations – that is, the homosocial between men, and the placeholder heterosexual romance between men and a single woman. While homosexuality itself is frowned upon in kpop (although the first openly gay idol debuted in 2018), homosocial behavior is expected and desired – “ service,” as it is called,

“satisfies the fantasies of heterosexual fans and employs queerbaiting” without challenging the discriminatory politics of kpop (Valge 2019). The most obvious example of this in “Switch to me” is in the beginning sequence, when the two stand extremely close and maintain intense eye contact for three seconds (0:39-0:42) as JYP considers extending a challenge. However, the fact that the competition does not adversely impact Rain, JYP, and Psy’s friendship inserts a subtle, ever- present homosocial context. Furthermore, the woman representing the heterosexual interest is the prize Rain and JYP are competing for, yet the two men react to each other as opposed to her 17 throughout the music video. Every time their courting is one-upped, their frustration is directed not at the woman but at the other male, such as Rain scoffing at JYP’s horseback arrival (2:16) and Rain and JYP consulting each other for reasonableness when the woman chooses Psy (4:49), cementing the homosocial context as central to the story. This is contrasted with the heterosexual romantic relationship Rain and JYP are chasing and Psy already has. The progression of the narrative is dependent on the two’s attempts to secure the romantic target – the woman is significant only to the extent that she keeps the plot moving, and is briefly empowered when she makes the choice the men have put before her. This is both similar and dissimilar to modern kpop preferences for the depiction of heterosexual romance in music videos. It is similar in that it provides narrative momentum and evokes traditional notions of masculine sexual aggression and competition; it is dissimilar in that most idols pay an exorbitant amount of attention to the heterosexual interest on top of performing around them.

This is because the heterosexual interest in music videos is considered the placeholder for fans in order to encourage obsession with the idol and thus motivate more purchases from the associated entertainment company. This is so entrenched in the kpop culture that when idols date or marry, they can end up thrown out of their companies (Benjamin, PSY, 2019) or disowned by fans, as happened when ’s Chen announced his marriage only to be swamped with messages claiming “[Chen’s] not taking responsibility over the [fan] who loves you” (Samson 2020). Thus,

Rain and JYP’s desire for but relative indifference towards the female character may be interpreted as an acknowledgement that while they’d enjoy more popularity, they don’t badly need it at this point in their careers as they are already staples of the genre. This interpretation gains credibility with the woman’s first show of recognizable emotion as she embraces Psy (4:33), who debuted after both Rain and JYP and can therefore represent the inescapable cycle of celebrity, which is 18 that a “new hit” is always around the corner ready to “win” audiences from established artists, whether established artists understand why they’ve lost or not.

As Allegory

When all the elements of “Switch to me” are presented together, they serve to characterize the kpop industry as a whole while also highlighting and reiterating the status of three central kpop figures. Kpop culture is displayed through Rain crediting JYP’s mentorship (0:24) and the differences in the relationships between the men and women and between the men themselves.

The hallmarks of kpop – competition, choreography, and cinematography – are all present, but they are merged with the hallmarks of Rain, JYP, and Psy, some of which don’t match the kpop standard. The proclivity towards and lack of backlash for rule-breaking proves Rain, JYP, and Psy have the power and influence to personalize their public personas where other idols do not, and the particular rules they break reveal which expectations placed on idols are subject to change past a certain level of fame. More importantly, the emphasis on first-generation audiovisual composition provides the reasoning for and the context of the three artist’s industry status as well as a historical view of where kpop began, and the concessions to modern kpop – fan romance, fan service, and devotion to superior graphics and narrative storylines – reveal where kpop stands now.

To “close the loop” and complete the allegory, the woman in “Switch to me” functions as a metonym for the fans. Her locus as the prize of the three artist’s competition reveals the importance of the fans to the kpop industry, as they provide the money that keeps idols producing more content, and the short-lived empowerment granted to fans when they choose between idols or idol groups. Psy’s teasing interaction with Rain and JYP as he claims the woman speaks to his level of fame being on par with theirs; his jubilance in claiming the woman establishes “fans” as singularly necessary to an idol’s success, because Psy represents the “up-and-coming” idols due 19 to his overnight rise to stardom at the hands of fan-generated virality. Rain and JYP’s highlighting of their enduring friendship throughout the competition establishes fans’ secondary importance to idols on a personal level, as idols can take more comfort in each other than in the masses of unknown faces milling beneath them onstage.

Thus, the “big picture” of kpop comes into focus through the interactions of the individual components in the “Switch to me” music video. The music video serves as an allegory where Rain and JYP represent established players such as themselves and Psy currently, Psy represents newcomers and himself in 2012, the woman represents fans, and the interactions represent the mechanisms of the kpop industry at multiple levels of fame, aided by depictions of both hard and soft masculinities so as to be recognizable to both westerners and easterners.

The insights acquired through the reading of the “Switch to me” music video as an allegory are useful not only for the kpop industry, but for studying the media products exported by any media industry for clues as to the values and inner workings of that industry or artist. The consideration of what each element of a music video relates to in its industry or the experiences of the associated artist is a worthwhile pursuit, as further interpretation may create a site of learning or deeper understanding about or of the entertainment sector it resides in.

I have acted with honesty and integrity in producing this work and am unaware of anyone who has not. /s/NicoleDiaz April 8th, 2020

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Pop Culture Bibliography Benjamin, Jeff. “PSY Shares the Vision for His New P NATION Label & Next Chapter as an Artist: Exclusive.” Billboard, 2019. Benjamin, Jeff. “J.Y. Park Shares the Real-Life Inspirations That Fuel His 25-Plus Years at the Center of K-Pop.” Billboard, 2019. Benjamin, Jeff. “J.Y. Park Has To Tell His Story: On Autobiography, ‘Disco’ & The Values That Rule His Company.” Forbes, 2020. Britannica. “Rain South Korean and actor.” Encyclopaedia Britannica. Cha, Sangmi. “Founder of K-pop label YG resigns amid drugs and sex scandals” Reuters, 2019. Esquivel, Sarah. “GOT7 Has Departed From JYP Entertainment – What Comes Next?” Study Breaks, 2021. Herman, Tamar. “JYP Entertainment Tops Big 3 to Become World’s Biggest Kpop Label.” Billboard, 2018. IATFB. “Jay Park disses JYPE for blocking him, calls him jealous and childish.” AsianJunkie, 2015. Kang, Jenny. “Here’s The Breakdown of K-Pop’s 4 Generations, According To IDOLOGY Webzine.” Koreaboo, 2020. Karthikeyan, Hershey. “Why do people say that the JYP Entertainment Corporation is better than the other Big 3 companies?...” Quora, 2018. Kim, Dianne P. “9 Reasons Why Rain Is Still The Ultimate Oppa.” , 2017. koreanbeacon. “Ninja Assassin - Korean Beacon Interview with RAIN (비) and James McTeigue.” Youtube, 2009. Kpop wiki. “Rain Company.” FANDOM. Kpop wiki. “WIN: Who Is Next?” FANDOM. LostInTheDream. “JYP Entertainment Profile: History, Artists, and Facts.” KProfiles Kpop & K celebrity profiles.

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