Episode Transcript
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Speaker 1 (00:07):
Hey, welcome to Beyond the Scenes. The podcast. It goes
deeper into topics and segments that originally aired on The
Daily Show. This is what you gotta think of this
podcast as, right, Like, if the Daily Show is the
reality show, we're the reunion show where we all get
to come together and talk about never before seeing action.
You know that of course sets the record straight dramatic cuts.
(00:30):
Today we're talking about K pop and how this isn't
an industry that just started booming. This has been a
profitable market for decades, with bands like BTS and Black
Pink and global fandom that helps South Korea in both
the entertainment and economic sectors. Give it a clip.
Speaker 2 (00:47):
The next big step towards today's K pop was in
the nineteen nineties when major music studios started putting performers
together in boy and girl bands. That's right, Corea was
doing that long before Simon Cowell's Nips Ever started poking
through T shirts. That's a no for me, dog, no surprise.
This new wave of K pop blew up around the world.
It featured complex melodies unlike any other pop music, and
(01:10):
always had next level dance choreography. To this day, those
remain the signature elements of K pop. That and being
Asian very important requirement. This new generation of K pop
stars became so successful the government started to take notice
and soon lost a program to promote career music around
the globe. They saw k pop as a way to
boost Korea's cultural strength and economy without having to do
(01:33):
a squid game.
Speaker 1 (01:34):
To help us break this down a little bit more
in the Beautiful Beautiful Beyond the Scenes Mothership, I am
joined by daily show segment producer Sobrina.
Speaker 3 (01:42):
El Sobrina, Hello, Hi, thanks for having me.
Speaker 1 (01:44):
That's mine, that's my NPR voice. How are you doing it?
We're here to discuss Korean pop mewsic. You're ready for
a moving discussion of that Korean and they just start NPR,
they just start trailing over time. Also joining us is
a postdoctoral associate at the University of Buffalo in their
Asian Studies program. Stephanie Choi is here. Stephanie, how are
(02:08):
you doing good?
Speaker 4 (02:09):
Thanks for having me.
Speaker 1 (02:10):
Let's get into this now. You all both grew up
in South Korea, and I would assume that you're both
early K pop fans. Sabrina, I'll start with you. Speak
to me about the impact of K pop on your life.
Like the only thing I can even try and compare
it to, to even attempt to understand what that music
(02:31):
means for your country. It's just what hip hop meant
for black culture in the nineties, where it just it
was me, it was us, it was blackness, it was
everything that like, oh my god, I'm an Nanette, We're
into it, We're doing dances. Like what was that like
when you were younger growing up in South Korea.
Speaker 3 (02:48):
I think that's a really good comparison because it really
was part of my huge identity. And then like that's
all I will talk about with my friends. And I
actually thought about this yesterday while I was preparing, Like
at school, we would have this desk and I would
have like stickers of my my group, my idol, and
then like would put them on my desk and I
would put them on like my books, on my like
(03:10):
my pencils, you know, Like I was obsessed with them,
and that's all I will talk about. And I was
very proud to be part of like that fan club. Now,
my group was TVXQ in English and Korean there called Tumbashinghi.
They were like the second generation of K pop idol
when K pop was going to like Japan and then
like other countries like in Asia, not Europe or America
(03:32):
at this time, but for that, I think that's when
it kind of started. I was like very proud to
be part of that because I always felt like like, oh,
like this is my group, and like I am raising them,
Like I think that's what a lot of like K
pop fans feel like, like not like motherly feeling, but
like I am raising this people, and then like I
want everyone to know about my group because they're they're great.
Speaker 5 (03:53):
You know.
Speaker 1 (03:54):
The thing I always found interesting about K pop just
as an outsider, and of course I was not aware
of K popo well into my life late twenties and thirties,
but as an outsider, it was, wow, these kids are
all the same age as all the kids are, Like
New Edition was always just a little bit older. Yeah,
you know, they were the same thing with New Kids
on the block and seeing they were always just three
(04:15):
four years older than me, so it was like, oh,
that's what I want to be, that's what you want
to be. But it's like it seemed like it was
almost as if witnessing the matriculation of your peers, which
made it easier to root for them in a way,
like Stephanie, for you, what was your introduction into that
world when I was.
Speaker 6 (04:32):
Young, I'm the I'm the first generation. I. Everyone loved
hot and I was one of them, you know, like
everyone loves hot, so like you joined that, you are,
you know, naturally introduced to it through your friends. And
then you know, I had this teenage roupe when you know,
you feel like you're special. So oh no rkapop for me.
Speaker 4 (04:55):
But it was more like Korean rock, you know.
Speaker 6 (04:59):
So I I spent the whole mill in high school
years cheasing after this rock group. And then it was
actually after I entered my m A program here in
the States. By then I was already in my late
twenties and American K pop fans came up to me.
(05:24):
You know, oh I heard that you're from Korea, and
you know, like have you heard of Big Bang? Have
you heard of Girls Generation? And I was like, that's
for teenagers, right, But then I realized that, oh wow,
like these adult fans are really you know, into k pop.
Speaker 4 (05:41):
So I got into K pop pretty late.
Speaker 6 (05:44):
And while I was doing my PhD, you know, like
in fandom studies. They suggest you to become a fan
by yourself.
Speaker 4 (05:54):
And I was like, how can I become a fan?
Speaker 6 (05:57):
You know, you have to It's not like you can
be a fan through by by trying, you know, to
be a fan.
Speaker 4 (06:05):
So I was I was kind of trying, you know,
I was following you know, Girls.
Speaker 6 (06:11):
Generation and then some other groups, and then you know,
it came in Korean. In Korean it's called the talk too.
It's a combination word of of fan activity, you know,
fanning and car accidents. So it comes like a car
accident all of the sudden, you know, you just become
(06:32):
a fan. And I got into Exo so bad, and
it's been already nine years, I guess. So it's my
heart for Kai and began like everyone has Baccan in
their heart. It's getting bigger and bigger. I'm a huge
fan of Exo and also Shiny. I'm mostly a fan
(06:55):
of SM entertainment.
Speaker 1 (06:57):
How has k Pop, in my opinion, in a way
that other music genres has not been able to do,
is really plug into their fan base and get their
fan base to really be active, like it just break
down these tears of fandom, because like the only thing
again that I can compare it to. I remember back
in the day, if I really like boys to men,
(07:18):
I could write a letter to Jive Records and they
would send back a poster and go, yay, roy enjoy
the boys demand poster. Hey you're a fan, Like all
I need to be a fan was a poster from
a magazine. I'd get the sore or right on, that's
a deep cut that only specific black people over forty
are gonna get. But you would get a poster and
(07:38):
that was it.
Speaker 6 (07:38):
You were a fan.
Speaker 1 (07:39):
That was it. It wasn't this whole fucking airline frequent
flyer gold silver medallion tears. Break break that down for
us real quick, steffan it and and let me know
as well, a Sabrina like, how did that make you
want to be more of a fan?
Speaker 6 (07:54):
Like?
Speaker 1 (07:54):
Is it bragging rights or whatever? Just break that down
for us.
Speaker 6 (07:58):
For Stephanie, it's really connected to the participatory culture of
Korean popular music scene. But if we look at the
current scene, I would say the relationship is really the
relationship between kpob idols and fans are really centered around
(08:19):
the transaction of intimacy, so you basically maintain both parties
are trying really hard to maintain this exclusive relationship between
the two. So there are many different marketing strategies there.
One is to understand each other through persona. So you
(08:44):
understand idols as you know, the group persona. So for
BTS it would be, you know, you understand them as
BTS members. The BTS members, on the other hand, would
understand fans not as individuals who are strangers to them,
but through the fan persona, the fandom persona, so they
(09:05):
you know, once they meet these individuals, they would understand
them as BTS armies. Exclusive intimate relationships.
Speaker 1 (09:14):
Right, So when you became a fan like and you
sign up per se, does that create a sense of
bragging rights to your to your friends and your classmates.
Speaker 3 (09:25):
Yes, Also that you also feel like you're part of
this huge group, you know, other than your family or
like your school, you know what I mean. It's like
joining like a different friend group that's so big. That's
like obviously it's on the internet, but you know, like
you just talked about boys too, men, did you guys
have like a name for the fans who loves But
that's the thing I think that's very unique for k pop,
(09:48):
Like right now we have bleevers for Justin Bieber, like
Swifties for Taylor Swift. But like a lot of these,
I mean not a lot. Almost every K pop and
their fan club fandom. I think that's what they call
it these days. Back in our day, Stephanie and my days,
we call it fan club, but I think now it's
so global and international they call it fandom. But anyway,
like all of this fan club has a name, so
(10:10):
like it has its own identity. You know, it's not
even only the name. They also have like each group
has their own color. So my group, the TVXQ, our
balloon collars was pearl red. So everyone, all the fans,
if you go to concerts or if you go to
this like music programs in Korea, like in the broadcast
like stations, you would wear per red and or you
(10:31):
would hold like the balloons that's per red, you know
what I mean. So's everyone has a very strong identity.
I think that's very easy, right, And then you talked
about the tears. When I joined the TVXQ fan club,
I would join it, and it's like earning miles for airlines,
So I would have to take this quiz and the
(10:51):
quiz questions would like so absurd. It would be like
what would be this member's like childhood pet's name? And
if I don't get it right, I will not be
able to go to the next tier of this fan club,
like it's a fan page.
Speaker 1 (11:03):
How devastating is that?
Speaker 3 (11:04):
So devastating? So I would be like, while I need
to study, you know, for my school stuff, I'll be
studying my idol group and like their childhood and like
googling and all this stuff, and I will be getting
all these quizzes right, and I will make it to
the next tier. So you become like almost addicted to it,
you know what I mean, because like, you get it
right and the perks to that, then you would be
(11:25):
able to see these exclusive photos that you won't you
weren't able to see when you were like the tier below.
Speaker 1 (11:31):
So it's not even paywalled. It's just proved to be
your loyalty and.
Speaker 3 (11:35):
Then true love, Like are you how obsessed are you?
Can you prove it? You know? Like and I was
truly obsessed with that.
Speaker 1 (11:43):
That's beautiful. That's low key some pre social media level
marketing and in terms of rewarding people and not even
in a bad way, just the idea of I'm going
to reward you a little bit.
Speaker 3 (11:55):
Exactly because back then, like for first generation k pop
and second generation, we didn't have social media, so like
these members of K pop groups weren't able to go
on Twitter and talk directly to the fans, or like
go on Instagram live and talk to the fans directly.
So I think that was like our way, my way
to like I'm not having a real conversation, but I
(12:16):
feel like i am because I'm learning so much about
that I'm proving my like devouted love for them, you know.
So that's why I think it kept me going.
Speaker 6 (12:25):
At the same time, you know, when when you take
all those puzzes and get into that community, it's a
it's an extremely closed community.
Speaker 4 (12:33):
So you have this very exclusive communication with.
Speaker 6 (12:37):
Your idol, you know, not you don't have to deal
with haters or antis or reporters who might be you know,
hiding somewhere and learking there, you know, looking for some
some scandals or rumors or some conflicts between fans or
between idols and fans. But at the same time, it
(12:59):
also gave more privilege to Korean fans because you know,
these quzzes.
Speaker 4 (13:06):
Were changing every week or twice a week, so like
you have to keep up with it, and international fans
too had to translate it.
Speaker 6 (13:15):
And by the time they translate that, the set of
quzes were already you know.
Speaker 4 (13:20):
Changed to a new one. Nowadays, I think a lot
of them have changed to.
Speaker 6 (13:25):
Just you know, through payment you earn membership. Wow and
right yeah yeah most yeah.
Speaker 1 (13:33):
Now, Stephanie, the depth to which you can speak to
this goes really, really far. Because you wrote a dissertation
on K pop fandom and the intricacies of it. What
made you go this is interesting? Like was it? Was
it the marketing aspect of it? Was it the human
connection and the familial aspect of it? What made you go, oh,
(13:54):
that's interesting, let me keep it because you know, journalists
and professors and educators you find a thread and pulling
and pulling end and pull it. What was it about
K pop fandom where you went, yes, I need to
know more about this phenomenon.
Speaker 6 (14:07):
The first thing that I found interesting was how many
protests that were going on within the kpop fandom, and
it was, you know, every time some idol gets married
or you know.
Speaker 4 (14:22):
Do something you know wrong, or primary related.
Speaker 6 (14:27):
These fans would protest against their own favorite idol uh
and the mass media would describe them as crazy fangirls.
Speaker 4 (14:40):
But at the same time, what was fascinating was that
the company and idols were readily.
Speaker 6 (14:48):
Accepting their request. So I found it interesting, how you know,
like from the outside they looked delusional, you know, disorganized, hysterical,
like these are the crazy bangirls. But at the same time,
the way the company and idols reacted was more like,
(15:12):
you know, there's some sort of rules and norms that
yeahsiders wouldn't know. So I started from there and then
found out that these female fans are actually they have
a long history of organizing their own fandom. They are
very active at political and cultural and social issues. They
(15:39):
are very well organized. They know how to make their voice,
and they know how to negotiate. So yeah, that was
the starting point.
Speaker 1 (15:51):
The dissertation is titled gender labor and the Commodification of
Intimacy in Kpop? How much do the artists and their
record labels? Essentially the labels who control the artists, and
that's global and that's not a criticism of K pop.
The labels control the artists and music and all of music.
How much does the influence of the fans, how much
(16:12):
of it is constructive criticism versus na man, y'all, wiln
If that's who he wants to date, that's who he
can date. You're not going to tell the K pop
group member who he should and shouldn't be dating. Or
does that go into like just if we really want
to get into the weeds here, does the label pull
this person aside and go, hey, the kind of don't
(16:33):
need to date that person because it's going to mess
up the ticket sales for the next year. Could you
keep that relationship on the low or if you're going
to be with her, tell her to dress different because
it's scaring the fans.
Speaker 4 (16:43):
It's not about dating, per se. I would like to
make that clear.
Speaker 6 (16:47):
It's not about the dating itself, but it's more about
how fans want to get back of what they have
invested in. So a lot of fans these days perform
as promoters of their own idols. The idol market is
so saturated, so competitive. You want to promote your idols
(17:08):
out there so that you can also you know, uh,
make your idle famous and popular and eventually get more profit.
And that would lead to a better production for their
next album, and then you you know, in return, you
get better quality of performing production next time. So that's
(17:31):
the that's the key pop system. So the difference between
idols and non idol musicians is that idols.
Speaker 4 (17:39):
Basically perform fan service.
Speaker 6 (17:44):
So you not only perform music and dance, but you
also provide some sort of fantasy to your fans, assuming
that you're in.
Speaker 4 (17:58):
This, you know, intimate relationship with your fans.
Speaker 1 (18:01):
If I could make an American comparison, it would be
justin Timberlake and Britney Spears. When they were dating, it
was like the beautiful unification of two fan bases. Oh,
that's the greatest thing ever. And then when they broke up,
they were like, oh no, And Timberlake took a hit
for a second because he broke up with Brittany. How
could you do that to Brittany. I'm not a fan
(18:22):
of your music anymore. So I know it's not a
one to one in terms of American American music to
K pop, but just the idea of how much influence
do the fans have on the evolution of an artist's
career in K pop, the idol.
Speaker 4 (18:38):
Fan relationship in K pop is really centered around this idea.
Speaker 7 (18:43):
Of you know, in terms of male idols and female fans,
for instance, it would be, you know, the male idols
will be the boyfriend, female fans will be the girlfriend.
Speaker 4 (18:55):
And if you.
Speaker 6 (18:56):
Look at all the video promotions and song productions, you'll
see that as quite.
Speaker 4 (19:04):
Promoted based on that logic.
Speaker 8 (19:07):
So historically, if you look at the whole generation starting
from the nineteen nineties, it really prioritized idol's chastity in public.
Speaker 6 (19:19):
So nowadays, you know, there's social media, you he has
already know who's dating who.
Speaker 4 (19:26):
You know, there's no yeah, they just close their eyes.
Speaker 1 (19:30):
Compare the fan bases, because it sounded like y'all like
way bigger on being connected with the artists than Americans
have ever been. There is no great musician that has
had a fan base that I feel like is just
wild than Michael Jackson. And I can't think of a
name of anybody like nobody was called the Jackson's, the
(19:52):
Jackson years, the glitter.
Speaker 3 (19:53):
Gloves like their own color.
Speaker 1 (19:56):
Yeah, the Neverlanders like nothing. There was no colors. Michael
Jackson concertain faint.
Speaker 4 (20:01):
Actually there was Bodlemania.
Speaker 1 (20:04):
Beatlemania, yes, but since then it's it's not a regular
occurrence because I wonder if Beatlemania was more of the
state of everyone being crazy about the Beatles, or did
it instantly identify with it. Well, no, yeah, Beatlemania is
probably the closest that we've had to anything in a
long ass time. You know, I would argue, but how
(20:26):
would you all compare the fan basis, Sabrain, I'll start
with you, Like, in terms of Korean K pop fans
versus American K pop fans, are we getting there? Are
we still behind the curve like we are?
Speaker 3 (20:36):
See? I think Swifties are there. Like I don't think
they have their own color, but like they're obsessed with
her and like they like, like, you know, I saw
these trends. Every time she posts something, they like dissect
every object in that video and think like, oh, this
clock said it's five o'clock, so like the next album's
coming out on like May fifth, you know, like they
(20:57):
go crazy like that.
Speaker 1 (20:58):
But Ticketmaster to talking to Congress But I know.
Speaker 3 (21:01):
But like that's exactly what I think these K pop
fans do as well. So I think Taylor Swift very
specifically to her. I think the kind of culture exists
here and I can't speak to like the American fans
who love K pop because I'm not American. And I
love K pop because it was the only pop I knew,
you know, when I was in Korea. But like you said,
(21:22):
it's so the personal identity of this each fan club
is so strong, and there's also like competition between other
fan clubs, like, oh, I'm gonna make my idol sell
this much album like for you know, for the new release,
I'm gonna buy ten, and then my friend will be like, well,
I'm gonna buy twenty for my idol. You know, it's
like a competition between them too. And since it's so
(21:42):
personal like that, and then like I told you, like
I have to take all these stupid quizzes to make
it to the next tier, I spend so much time
to it, and I think that's where this intimacy, or
I think it's intimacy that I have a real relationship
with these idols, which I don't, but that's what I
think I do because I spend so much time to it.
Speaker 6 (22:00):
You know.
Speaker 3 (22:01):
I think it's very well known that Korean like idols
can't date each other, you know. I think that's where
a lot of these things come from, you know. But
but like these label companies they do have a dating band,
universal dating band, like and then like I don't know
if it happens these days, but back in my days,
the label companies would like take your phones away so
(22:23):
then you won't be able to like text whoever, you
know what I mean. It was very strict. I don't
know if it's still like that, but it used to
be like that just so that they could like protect
that persona that stuff. And you talked about like you're
this imagining boyfriend or imaginary girlfriend that like these middle
school girl things that you are, so you need to
like protect that image. So I think that's where it, like,
(22:43):
you know, it all comes from.
Speaker 1 (22:45):
After the break, we're gonna talk a little bit about
how these K pop stars are made, the actual recruitment
of talent, the development of the talent, how they get
to become Korean pop stars and idle, and we'll see
if if it's too late for a forty four year
old black man to go register for one of those
(23:05):
K pop academies and see if I got the moves.
Just beyond the scenes, we'll be right back beyond the scenes.
We were talking about the world of K pop. Here
what I would love to do define K pop as
a genre as because me ignorant American man from Birmingham,
Alabama didn't meet my first Korea until the eighth grade,
(23:29):
which is it. That's a true statement. By the way,
I fell in love with a group called Epic High.
So my introduction to K pop was FIFA video games
back in the day. My introduction to just international music
as a whole was video games. The music they would
(23:49):
play in the menu when you're choosing your team and
making modifications so you squad. That's how I learned about
most music that they do not play on traditional terrestrial
radio in American. So Epic Hi had this song called
Fly Fly Hi, and it was so optimistic, beautiful and aspirational.
(24:11):
I didn't know what they were. I still don't know
what they was talking about in the verses, but when
they got to the hook, it was so beautiful. You
can fly higher, higher than the births in this ah.
And then I watched the video. The video for this
song is a robbery and a man's carjacking in eventually
(24:31):
the man is killed by police sniper at the end
of the video. It is the darkest dichotomy of optimism
and hopelessness. It was beautiful, That's what made it so beautiful.
And then I go to talk to one of my friends,
like like years later, k the K pop. I go, yeah,
I like Epici and that's not K pop.
Speaker 3 (24:51):
Hip hop, but is Korean Korea.
Speaker 1 (24:54):
And I've never felt more like an accidental racism in
in a moment. So let's just straight up define K
pop as a genre as it differs from every other
type of means that comes out of Korea. So I
don't sound stupid.
Speaker 3 (25:09):
I think it's it. Epici is hip hop artist. So
like if you tell some like Epici fans, I do
believe they have their own names too.
Speaker 1 (25:19):
Okay, I'm gonna join that group. I know I'm a
little late to the party.
Speaker 3 (25:22):
If you tell their fans that they're K pop, they
would be offended because they're above kve pop, like they're
real artists. Now, I think that sense where it comes
from is because when you become K pop idols, this
label companies like signed you a trainee contract, which I
don't think it exists in America, Like for example, like
in America, I think you just upload a video on
(25:43):
YouTube you singing, and then somebody sees you and they
sign you, and then you become an artist. More or less.
In Korea, you have to go to like the training
school and they made you sign a trainee contract where
you have to follow whatever they tell you to do,
whether that's taking Chinese class whatever, like English class, last class,
dance class, music class, or like going on a diet
(26:03):
and I'm gonna check your weight every week. All that
maybe some of the dark slussot exactly. So like a
lot of idols go through that process and then this
big label companies they also have like a concept of like, oh,
the next idol group that I'm gonna make, it's gonna
be five cute girls wearing school uniforms talking about their
(26:24):
first love like innocence. So like even if that's not
who you are, if you signed this training contract and
you became part of this group, like you're going to
be that, Like that's your image going forward, Like are
you following me when I say so? But like EPICAI
was not that, you know, like they were.
Speaker 1 (26:41):
It's creative autonomy from the jump exactly.
Speaker 3 (26:44):
So I think I think that's that's the difference.
Speaker 1 (26:47):
Talk a little bit if you can, Stephanie just about
the idea of because you're going into these academies, you
gotta be going like I would imagine, somewhere between ten
to two twelve years old, to come out thirteen to
fourteen polished, so we can get a good ten year
runway out of you. You know, as an artist, how
much you know? In America we talk about the idea
(27:11):
of child stars and not knowing how that corrupts the
psyche of a child on the backside of it, when
they're done with stardom and they're twenty eight and trying
to figure out what the hell they want to do
and they're finally not famous for the first time in
their life. How much of a kid's childhood are they
sacrificing to these camps? How much of your youth are
(27:33):
you trading in exchange for this attempt at being a
huge global megastar.
Speaker 4 (27:39):
When they're too young, when they're preteen, the companies wouldn't
sign idle training contracts because they're too young. They might
change their dreams.
Speaker 6 (27:51):
You don't know. They only sign trainee contracts right before
they meet their debuts, so right before you know they've
when they already invest in all the album production and
you know they already have the debut, the so called
debut team. But until then, usually these trainees spend as
(28:16):
short as six months and as long as eight years.
You know, if you make your debut in a pretty
late age of twenty or twenty two. You know, in
terms of childhood, I actually get lots of questions from
mass media, especially from Western mass media, you know how
abusive the kpole system is? Do they even have childhood?
(28:39):
And I, you know, tell them back, you know, it's
this exceptional and K pop though, you know, in all
fields across performing arts and sports, like, what kind of
system allows you to sleep well? It will you know,
do all the things that you want to do and
(29:00):
still be the best. So I'm not saying that.
Speaker 1 (29:03):
You know that there's a trade regardless.
Speaker 6 (29:06):
Of I'm not saying that the environment is not abusive,
but I would say that, you know, it's it's it's
the problem of the system. So do we ever talk
about and also the perspectives that Western mass media brings
into K pop? Do we ever talk about diet plans
of the horrible diet planes of ballerinas? Do we talk
(29:29):
about you know, marathon or other Olympic athletes. Daily routine
of you know, practicing or or or pianists, famous pianists,
you know, practicing for it like six seven hours a day.
Speaker 4 (29:46):
Like, isn't that abusive? How can we never talk about that?
Speaker 1 (29:50):
You know, well, because that's American. We don't talk about
American stuff. We got to criticize.
Speaker 6 (29:56):
You're already very used to it, so you know, tut
up all of a sudden, you know, you find this
new thing called k pop, it's a new performing arts
and you know, like these kids are subuseid they're going
to this boot camp, you know, uh, harassed by the adults.
But you know it's not a yes or no question,
(30:17):
but it would be more about then, you know, how
do adults within this industry, what kind of what kind
of efforts do they put in to protect uh these
trainees at best? And I would say for the company,
they arrange all the you know, once.
Speaker 4 (30:40):
They they move.
Speaker 6 (30:43):
To the dorm, which is often close to the company building,
they would you know, rearrange all.
Speaker 4 (30:49):
The school uh new schools.
Speaker 6 (30:52):
And then also you know, sometimes if it's needed, then
the trainees would you know, the companies would provide.
Speaker 4 (31:00):
Lessons for the triny school work.
Speaker 6 (31:04):
And then there are also allowed and not allowed to
you know, practice during the night time. But then there
are always legendary stories of you know, successful idols sneaking
into the company building, you know, at night, and then
like wait until the guard leads, and then you know,
practice all day long, all night long. Another thing I
want to bring up is why is this narrative of
(31:27):
the so called the dark side of key pop? You know,
if you google the Dark Side of Key Pop compared
to the Dark Side of America Pop, you'll find nothing
from by googling the Dark Side of America Pop, but
you'll find tons of English articles that is entitled the
(31:49):
Dark Side of Key Pop talking about the abusive environment
of key pop. And I would rather want to ask,
you know, then, how come this abuse narrative is so
popular and how come this abusing system is so transparent
in kip pop because you know, this is not new
(32:12):
in any child labor industry. Correct also in American pop industry.
You know, we've seen Free Brittany, Mickey Mouse Club.
Speaker 1 (32:23):
But I think therein lies the difference in the coverage
of the two abusive systems is that within the Korean system,
I would argue that there is an entity, there is
a governing body, there are three labels, there is an
actual building where you can go and go for every
failed childhood actor in America, for every musician that burned
(32:44):
out from a rigorous tour schedule at twelve thirteen years old.
I did morning radio, hip hop radio for almost fourteen years.
Saw them all come through, all the thirteen and fourteen
year old rappers, and saw them all burnt out at
seven o'clock and a no kid should be up this
early to do media on a regular basis. But because
(33:04):
in America there is no academy for rap. There's no
place for a parent to go and drop off their
child for a couple of months, to live in a
dorm to learn how to rap. You just wrap around
at the local club or label guy sees you. So
the system is more it's more jello. So it's hard
to really concretely identify who's wrong and who's the person
(33:29):
to fingerwag at. And I think that's why the coverage is.
There's such a disparity, you know, in the coverage. You know,
I don't know if you have an opinion on that
or not, Sabrina, but I just think that in America
because there is no formal system system like that. Yeah,
even influencer culture in this country, which I think is
(33:49):
negative in the greater good of you know, what some
of these kids are going through and what their fans
are consuming. That's not even really regulated by our governments
at all, you know, Whereas in Korea, I know they're
like introducing it into after school care and they're trying
to figure out ways to hey, let's tiptoe into this
in ways that aren't necessarily going to the big bad
(34:10):
government building. So like, I just I just think that
that's probably why it's not as much of a coverage
because if you were to write the same article about
the American child labor entertainment industry, who would you point
the finger at? Who is the right? Who is the person?
Like it's all Kaiser so say everywhere but nowhere type
(34:31):
of stuff.
Speaker 5 (34:32):
Totally, if you made a great point, I would say,
it's more of the problem of the system, yes, And the.
Speaker 6 (34:42):
Good and bad thing about that is that, you know,
it's really hard to change the system. At the same time,
it can be expanded into an issue of legislation and
more of discussion of the entire industry.
Speaker 1 (35:02):
Well, after the break, I want to talk a little
bit about my experience with the wonderful group ESPA, who
made a visit to the States, And we also want
to get into the economics of this. We're bringing it
home talking about K pop. Let me go in google
this epic high fan group so I can pay twelve
dollars and get an epic high post. I'm a forty
(35:24):
four year old man. This is beyond the scene.
Speaker 3 (35:26):
I need to google it too. My best friend will
kill me if I don't remember their name.
Speaker 4 (35:30):
I gotta check if kaised up meat bubble messages.
Speaker 1 (35:36):
Beyond the scenes. We are bringing at home talking about
K pop. Stephanie Sabrina, thank you for educating me and
also allowing me to embarrass myself, not saying that I
thought a Korean hip hop group.
Speaker 3 (35:49):
No, but I was impressed. You know Epici.
Speaker 1 (35:51):
Yes, that is the only song I know. I've not
had an opportunity to google other things.
Speaker 3 (35:55):
Oh, I googled it. It was high school high school. Yes,
that's the game of their family.
Speaker 1 (35:59):
All right, Well then I'll bet I'll take that. I
also only knew of BTS because of Saturday Night Live
and the second song they did on SNL Boy with Love,
I was like, oh, no, that's a jam. I was like, yeah,
that's a jam. And then I started playing it on
beat Saber on my VR headset, and now I'm in
(36:20):
love with that group. I had an opportunity to do
a field piece with the group Espa who. I'll be
honest and saying Stephanie, I did not necessarily know a
lot about before the when I was told I was
doing the piece, you know, you go do your research
so you can learn a little bit. And the more
I listened to their music, the more I felt right
and not having known it, forty year old black guy
(36:43):
not their genre, pretty sure that wasn't their target demo
when they got in the studio. But but we're out
on this double decker bus. We're shooting footage and stuff, right,
And I've been out with American celebrities, right. And this
is also a compliment to the fan to K pop fandom. Right.
(37:06):
American fans, I believe tend to want a little more
than just a photo. They want a moment. They want today,
How the kid, where's your fis? How long are you
going to be in New York?
Speaker 5 (37:19):
Man?
Speaker 1 (37:19):
That's a double decad but do you like double decord?
Speaker 5 (37:21):
But a right?
Speaker 1 (37:21):
Can I get a picture? Whereas what I saw with
Espase fans come up, they do their little peace sign
ESPA do the peace sign back, and wherever they were,
they were on top of a bus taking selfies with
strangers on the sidewalk and the strangers angling the camera
up to get the selfie, and it was almost understood,
like to your point about I don't want to bother
(37:42):
you at dinner, so I'm just gonna sneak a photo
where it was understood, this is not an opportunity for
us to have a conversation, but I'm still going to
give you this moment, and the fans understood that it
needs to be brief. And it was just like every
block four or five photos between setups, and the fans
were just so appreciative and waving and just shooting b
roll footage Like I'm just amazed at that level of
(38:08):
just connectedness in how brief it was, how brief and
how profound it was. Do you learn that at the
at the at the Korean K Pop School Academy of
Music and Fandom, Stephanie, or is that just a skill
set that's developed over time.
Speaker 6 (38:26):
I think fans have been developing how to interact with
their idols, and of course there are you know, the
crazy ones. Fans call them hussang. Somesing comes from the
term sassan, which means privacy, So someone who invades idols privacy,
(38:48):
you know, the stalkers. But fans always discussed themselves from sussing,
and you know, the real fans would learn how to
respect idols schedules and privacy, and that's how you know.
And also like these days, everything is filmed and will
(39:10):
be on social media, and that really represents the reputation.
Speaker 4 (39:14):
Of the fan club.
Speaker 6 (39:16):
So fan clubs are also very much aware of how
to maintain their own reputation and gain respect on social media.
So I think it comes from respecting the idol and
also from respecting yourself.
Speaker 1 (39:36):
Brina, how much has K pop's global economic impact benefited
the country of South Korea?
Speaker 3 (39:45):
Wow? I mean I was thinking about this this morning
when I moved to the States, and you were to
tell me, like some K pop idol we're going to
be on SML, or like this podcast is going to
talk about k pop, or like they're gonna go on
morning shows like you know, some late night shows, I
would have laughed at you, like I would have not
believed you. You know, like when I moved here, I
(40:07):
still listened to a lot of K pop and watched
a lot of K dramas, you know, all that stuff.
But like I never dis actively discussed theF with my
American friends because like why would I. They would never understand,
you know, they don't know what it is. But nowadays,
like people like you know, Stephanie said, like people come
up to me and be like, oh, do you know
black Pink? Do you know this? Do you know this?
So like from a very personal point of view, I
(40:30):
think it had a very positive impact of like Americans
and a lot of international just you know, global people
like more curious about this small country called Korea. You know.
Like but you know, I feel like a lot of
the time when you think of Asia, a lot of
people would think of like China or Japan. But now
(40:52):
I feel like Korea also became like kind of like
a big name that everyone kind of all of a
sudden associates with Asia and then like very curious about it.
So I think it's very positive impact. And also you know,
like this year, Netflix announced that they're going to have
like the biggest ever lineup of K drama, so like
that's not K pop, but it's still part of Like this.
Speaker 1 (41:12):
It's all part of the culture.
Speaker 3 (41:13):
It's all part of the culture, and all of a sudden,
Netflix is like doing the biggest lineup and investing all
this money in K drama show that's you know, going
to air globally. So I think it's I personally love it,
and I think it's great because now I can I
don't even need to convince my friends to watch my
American friends to watch it. They just watch it and
talk to me about it.
Speaker 1 (41:30):
Yeah. I think what makes it really interesting to me,
Stephanie is because you know, as an American, we traditionally
think of ourselves as the factory of entertainment for the
rest of the world. But now Korea the curator. They're
not the consumers, they're the curators. So I would imagine
that has to be good for tourism and shit and
making people at least want to maybe go see a
(41:52):
K pop concert in Korea instead of going to Atlanta.
Speaker 4 (41:56):
That's not me not just.
Speaker 6 (41:57):
For concert tours, but I see lots of international students
college students coming to Korea during the summer or you know,
spend their whole year in Korea. You'll see lots of
young generation coming to Korea and learn more about Korean culture.
And then I also see lots of young air national
(42:18):
utubers who are you know, talking about Korean culture in
Korea while they live in Korea.
Speaker 1 (42:27):
Now as you research, you know, your your forthcoming book
about the global impact of k pop stardom, Stephanie, What's
changed and what stayed the same over the years in
this genre of music.
Speaker 6 (42:41):
In terms of fandom, the market has become broader than before.
At the same time, I also see some political changes.
I think it's not just a problem of kypop, but
because of the current changes in Inol politics, I see also,
(43:04):
you know, more conflicts of ethnic nationalism and xenophobia in
international capa fandom as well, you know, coming from a
Korean fandom, but also from other translocal fandoms as well.
Speaker 1 (43:19):
How much do social media play a role in that
political influence? You think in the sense of most musicians
don't want to get into politics political issues across all genres.
They just want to make music. But then as your
fans become more you know, suppressed or dealing with injustices.
(43:42):
And I think that globally political movements are more connected
because of social media. So if there's something like if
you look at, say, stop Asian hate in the States,
which I imagine doesn't have the same level of gravity in
Korea because it's just a different environment. But if an
Asian artist is I mean over here to perform for
a for predominantly Asian audiences, they might go, yo, man,
(44:05):
we need you to say something about the bullshit. So
are you finding are you all finding that more groups
now or even within the parameters of what still keeps
them within without choosing a side, because I always feel
like there's the politicians and then there's the issue, and
there's the issue that's hurting the people. Like do you
at least see them? Do you see more artists now
(44:26):
at least speaking about the issues?
Speaker 3 (44:29):
I would think so, But I think it depends on
certain topics, like for example, like BTS was invited to
the White House and talked about Asian hate I think
a year ago or two years ago. Two years ago, well,
I thought it was a little sus because they're not
Asian Americans, like you said in Korea. Like everyone's Korean,
so there's no Asian hate. If there's hate is just hate,
(44:51):
you know, koreating crime on Koreans.
Speaker 1 (44:52):
You know.
Speaker 3 (44:53):
But the White House decided to invite BTS to talk
about Asian hate, which I don't think they ever experience
because they don't live in this country, you know, but
they were brave enough to talk about it. And I
think just to see Asian k pop this group at
the White House, I think had like a lot of
gravity to a lot of fans out here in America.
(45:15):
So I would say, like, they do speak up that
kind of stuff. But like I was, Stephanie, correct me
if I'm wrong, But I wouldn't think they would, like
like how Taylor Swift was very anti Trump, right, Like,
I don't think any of the BTS members or any
of the k pop idols would be like, oh I
hate the current president right now in Korea, Like I
don't think anyone would be that.
Speaker 1 (45:35):
Yeah, I don't think. Yeah, I don't think many American
artists wouldn't be until their Taylor Swift stadium status right anyway,
But just that sense of speaking about an issue that
may be a lightning rod for their fan base like
it might be such that they're but if if you're
in an Asian American just seeing them at the White House
(45:56):
trying to stir it up make you then feel like, oh, well,
the administration won't was to me Joe blow the voter,
but they might listen to BTS, which is sad.
Speaker 3 (46:05):
To say, But yeah, what do you think are there?
Speaker 1 (46:11):
Is there a little bit more of a political lean
in terms of just issues, not politics, but not politicians.
But do you see more of a conversation around issues
from a lot of K pop artists today versus you know,
if we're talking about what's different from then versus now.
Speaker 4 (46:27):
I think the.
Speaker 6 (46:28):
Current entertainment industry in general really gets away from, you know,
making political statements. Entertainers should remain asked, you know, someone
who would entertain people without any political bias. So I
think it's not just for keypo idols, but for you know, actors.
(46:52):
Actors are I think that more, you know, they make
a bigger voice one comes to politics, but when idol's
definitely not. But I see how they are trying to
give positive influence through a more universalized issues such as
(47:14):
you know, peace, love and justice, you speak yourself, love, yourself,
so you're not, you know, leaning toward a specific political goal,
but rather, you know, they're giving the seed of activism
to the translocal communities.
Speaker 1 (47:33):
And let's end on a question about change. If we're
talking about where K pop was and where it is now.
I'm not going to say his name, but I know
of a I know of a white dude personally who
moved to Korea to seek out a career in K pop,
probably about seven eight years ago. How are non Asian
(47:58):
aspiring cape pop artists? I don't want to say treat it,
but how hard is it to merge into that? Like
do y'all have an eminem yet? Like who is the
non native person of that music genre? Does that analogy
that make?
Speaker 3 (48:16):
Maybe Lisa from Black Pink, she's Tie, So maybe some
Americans might think she's Korean because she looks Asian, but
she's not Korean.
Speaker 1 (48:24):
Guarantee you a lot of Asian I'm sure a lot
of Americans.
Speaker 3 (48:26):
Is me educate you she is not Korean, although she's
fluent in Korean and English, and like obviously she like
you know, she's from Thai, so she speaks Thaie as well.
Speaker 1 (48:34):
But is that something that could have even dared to
have happened fifteen years.
Speaker 3 (48:38):
Ago, fifteen years ago, twenty.
Speaker 1 (48:41):
Let's go twenty, Like, how much.
Speaker 3 (48:44):
Is that first generation?
Speaker 1 (48:46):
I mean, clearly it's accepted the group is a hit, right,
so it's not like people hate her because she's tied.
But in terms of the evolution of it becoming more
multicultural and becoming more k pop not necessarily be mean
solely the property of Koreans anymore, or it's not something
there are other people in the sandbox. Now, do you
(49:08):
see that evolution continuing, Stephanie.
Speaker 6 (49:11):
Yeah, there was also the first black capop idol Centro.
Speaker 1 (49:18):
I think, oh, yes, send me here, we're going. Yeah,
there are.
Speaker 6 (49:24):
Little changes in K pop, but you know, as far
as k pop.
Speaker 4 (49:31):
Will sustain uh.
Speaker 6 (49:34):
Relying on the cultivation of intimate relationship between idols and fans,
it will be more of a problem of how much
this non Korean idol can communicate well with the local fans. First,
the Korean fans nice, whom you will need almost every
(49:55):
week or every month during your promotion activities, and a
lot of companies offer Korean language lessons. So I don't
think it has been a problem, but it will be
more about the cultural proximity that you feel to non
(50:16):
Korean idols. But at the same time, I also see
how like more and more companies are really focusing you know,
overseas market. You know, they don't just reside in Korea,
but they you know, seeing what bts they focus more
on overseas market and that's how you know they stretch
(50:38):
out beyond Korea. So I see a lot of potentials,
but there will be definitely more conflicts and negotiations going on.
Speaker 1 (50:48):
So I get what you're saying, Stephanie. The idea of
other cultures and other races entering into k pop and
their success within it just still boils down to their
ability to connect with the fan base.
Speaker 6 (51:00):
Yeah, but also with the lack of multicultural experience with
Korean society, that will be also it's still changing, but
you know, it's it's really still very new to Korean society.
The Korean government launched this multicultural agenda only by two
(51:24):
thousand and six, so only by then they started to
recognize this you know, multicultural population in Korea, So it
will be late, but I would also expect more voices
coming from you know, international fans and non Korean residents
(51:45):
in Korea, so we'll see. I mean, Korea is always
you know, changing fast, so who knows.
Speaker 1 (51:55):
Well, we look forward to the book breaking it all down.
I think that's all the time we have for today.
He Stephanie, Sabrina. Thank you all for going beyond the
scenes with me.
Speaker 3 (52:04):
Thank you, thank you.
Speaker 1 (52:12):
Listen to The Daily Show Beyond the Scenes on Apple Podcasts,
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