Nicole Diaz Bednar S21 Music Video As
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1 Nicole Diaz Bednar S21 Music Video as Allegory: The Case of Kpop in Rain and JYP’s “Switch to me” Music Video Rain and JYP’s 2020 “Switch to me” duet featuring Psy 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 Seo Taiji and Boys’ 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 Park 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 Wonder Girls 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 TWICE and BTS, re-emerging first generation soloists like Rain and Sunmi, and idols from second generation groups such as SHINee’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 ENHYPEN and ITZY. According to Romano, what characterizes kpop is the idol – a polished, multi-talented individual capable of dancing, singing, and rapping (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 albums, 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 Jay Park’s 4 termination and subsequent alleged persecution. After the typical silent termination from JYP, Jay Park returned to Korea 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 GOT7 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,” “When We Disco,” 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 North America by having them tour with the Jonas Brothers in 2009; actively recruited non-Korean Asian members for his groups; and debuted exclusively Chinese and Japanese boy and girl groups Boy Story 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.