Americans believe that after ‘N Sync, boy bands were dead and then brought back by One Direction. Although One Direction is a British group, American has accepted them as the return of boy bands. That can be proven wrong by looking over at South Korea. While ‘N Sync lasted seven years a Korean boy band, Shinhwa, has been together for sixteen years and is still ongoing, meaning that One Direction was not the return of boy bands, but have just been added to the list. Kpop has been alive for very long and has found its way into peoples’ hearts. The fame that follows Kpop has introduced people into the Korean culture and has influence other parts of the world. Although KPop is a very important factor in the spread of Korean culture many people do not know what Kpop is, therefore the question would be what is Kpop and who are the biggest Kpop stars?
The Hallyu Wave is a “wave- like” South Korean trend spreading across the world. The term Hallyu was first used when the Chinese noticed the popularity of Korean entertainment in China by the late 1990s. Since then the meaning of the word has slightly changed to mean the popularity of Korean entertainment as it spreads around the world (korea.net). Korean culture has spread due to multiple factors including the interest for Korean dramas, culture, and popular music, also known as K- Pop. Another contributor to the popularity of Korean culture is the internet. As more people surf the internet many more discover popular Korean culture, and as more discover the foreign culture even more learn to love K- Pop and consequently use the internet to feed their addiction for the Korean popular music.
The making of K- Pop can be seen mostly through the influence of two countries and the events that...
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Pop culture in the 1950s and 1960s began to spread and infest the nation from front to back through radio shows, books and magazines, television programs, and even motion pictures. Whether it is culture in terms of political affairs, clothing or the latest musical sensations, the United States has always played the dominant role when it came to who knows what is best, first. Some cases of Americanizati...
Because of this, though, the globalization of a song can be seen as detractor to the value of the song 's original use or purpose as there is an essential loss of identity for the song when it is utilized for purposes that stand in contrast to the personal value that it originally possessed. This article is essential in understanding global pop music and the relationship that it has with various forms of music because of the introduction of this discussion that it poses. Feld illustrates many of the reasons behind this development and the causes as to why this phenomenon
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There are close to 12 million Asian Americans living in the United States (U.S. Asian, 2000). Asian Americans are considered one of the fastest growing minorities (Pimentel, 2001). Between 1990 and 1999, the Asian population rose 43% (Census, 2000). However, Asian Americans are still portrayed in a simplistic manner by the American media, which in turn, promotes stereotyping. I have researched various types of mass media in the United States, such as: music, films, television and magazines. I will focus on several examples where Asian Americans are portrayed in a negative way. Furthermore, I will give examples of musicians, and independent films that prove Asian Americans have potential on what they can contribute to in the American media. Finally, I will recommend different ways to rid the stereotype put on Asian Americans by actions that can be taken, not only pertaining to Asians, but to other ethnicities that face stereotypes on their culture.
Rhodes, Henry A. “The Evolution of Rap Music in the United States.” Yale. Yale-New Haven Teachers Institute. 2014. Web. 10 Mar. 2014.
American pop culture recently received flak for cultural appropriation. Artists such as Katy Perry and Selena Gomez were criticized for superficially incorporating Asian images into their music. However, cultural appropriation and cultural tourism – and its consequences – are commonly seen in relation to traditional culture; this lack of attention towards visual representation of modern Asian subcultures – in relation to Asian Americans – dismisses the potential impact of these images. A visual analysis of Avril Lavinge’s “Hello Kitty” and Gwen Stefani’s appearances with the Harajuku Girls reveals that the use of Japan’s Harajuku subculture in American pop culture perpetuates Asian American stereotypes. Specifically, these acts contain characteristics of the submissive “lotus blossom” stereotype and the invisibility that comes from this stereotype. These characteristics result in an insidious formation of race; Avril Lavinge and Gwen Stefani’s cultural tourism constructs the concept of an American that excludes the Asian body through contrasts between themselves and the background Asian body. This racial formation relies on the idea that the two artists have become part of the Harajuku culture, yet they are clearly distinguishable from the homogenized Asian body.
Music is an art form and source of power. Many forms of music reflect culture and society, as well as, containing political content and social message. Music as social change has been highlighted throughout the 20th century. In the 1960s the United States saw political and socially oriented folk music discussing the Vietnam War and other social issues. In Jamaica during the 1970s and 1980s reggae developed out of the Ghetto’s of Trench town and expressed the social unrest of the poor and the need to over-through the oppressors. The 1980’s brought the newest development in social and political music, the emergence of hip-hop and rap. This urban musical art form that was developed in New York City has now taken over the mainstream, but originated as an empowering art form for urban youth and emerging working class.
Perrone, Charles A., and Christopher Dunn. Brazilian Popular Music & Globalization. Gainesville: University of Florida, 2001. Print.
A mixture of western and eastern music, Korean Pop, or Korean Pop, has boomed as fans drool over the idols, their dance moves, and their combination of Asian culture with Western hip-hop verses, Euro-pop choruses, rap, and even some dubstep. Korean Pop hit the waves in Asia quickly becoming popular in China, Japan, Singapore, Taiwan, Vietnam, and many other countries (John Seabrook, 2012). The Korean Wave has continued to spread throughout the East to countries farther west such as Saudi Arabia, Iran, and others, which are quickly getting drawn into the fan base (Clair Weber, 2014).
In this paper I will be discussing how globalisation has impacted the Music Industry in recent years, and in particular the multi-national giant Universal Music Group (UMG). Globalisation is a noun that is hard to define; it has many definitions depending on which scholar you talk to, which dictionary you reference, and the viewpoint you take. The Oxford dictionary will tell you that globalisation is “the process by which businesses or other organisations develop international influence or start operating on an international scale” (Definition of globalization in English). People’s perspectives on defining the word vary depending on the place they were born, where they have lived, the religion they follow, their social status, political ideology, cultural background and wealth, amongst other things, because all of these will affect whether they view globalisation to be a positive or negative occurrence. My favourite definition comes from Kenichi Ochmae; a Japanese organisational theorist most recognised for introducing Japanese management methods, such as the just-in-time method of production, to the Western world. In 1992, Ochmae said that globalisation is the “onset of the borderless world” (Al-Rodhan, 2006). This is my preferred explanation of globalisation because it is so simple to digest. From the phrase “borderless world” alone you can begin to understand exactly what globalisation is all about, however the simplicity of this definition is also its downfall because it is very non...
The coined term ‘Hallyu’ in English means ‘Korean wave’ and it literally means the ‘flow of Korea’. Hallyu wave started in the late nineties with the boom of Korean dramas. People in different countries began to idolize actors and actresses in these popular dramas. K-pop has also become a sensation for music fans. The wave has affected people all over the world, and it still is. It hit the world hard, particularly in Asia over the past decade. It is still new to ...
With the music being the highly profitable, capitalist enterprise that it is today, it is no wonder that it is controlled and regulated by a few large conglomerates that exist is today’s world. It is important to make clear that although evidence is being presented of the positive aspects of globalization through music that there is overwhelming evidence that cultural imperialism is more than it seems on the outside. One must keep in mind that cultural imperialism, globalization and the creation of a global village is a business. People are profiting at other people’s loss of cultural identity, they are sold a culture and heritage. With the every growing N’Sync fan clubs and Britney clones, the world is turning into a stage for pop culture and its glamorous unattainable standards.
Korean pop music happens to be very popular in Korea. It is most popular among the youth of Korea. For the purpose of clarity for this one-thousand-word essay, the youth is defined roughly as ages 0 - 22. Now, there is a phenomenon that occurs with Korean pop music and older Koreans. This phenomenon is a distinct characteristic of Korean pop that separates it from the older Korean pop music of the seventies. This phenomenon is that the older Korean people do not understand the words that come out of the mouths of the singers of Korean pop music that pumps out of the music industry of today in the nation of Korea. This phenomenon parallels that of the pop music of the biggest country of North America—also known by many humans as the United States of America—where older people have trouble connecting with the popular trends in music. This might be illustrated by American people who tend to like country music. If it is not obvious, fans of country music like country music because, as the author of this text has heard, "you can understand [the words]". It is also the tendency that fans of pop music dislike country. These two seem to be mutually exclusive musical tastes. In fact, the older pop of Korea, in the opinion of the author of this text, sounds like country just a wee bit. Trends tend to have the effect that older people can’t understand the words that come out of the mouths of the setters of the trends.
This SWOT analysis will look at K-pop at four sides to discuss how it become an international hit.