The concept of fandom indicates that Wonder Gays and Dee Kosh are both the fans of the singers of original version of their performance, Wonder Girls and Psy, respectively. It is because they have detailed knowledge of their artistes, spend large amounts of time learning and replicating the performance of their starts, and emotionally connected with their artistes. In the pathological context, fans share perspective, wishful identification, and affinity by relating themselves with the artistes. Wonder Gays and Dee Kosh also share their perspective and identification by performing the identical dance. Without the liking of their artistes, it would not have happened. Thus, the pathological definition of fandom would also apply to Wonder Gays and Dee Kosh’s clips. However, accord...
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...ngapore has become a more universal phenomenon” (179). In this sense, their parody no longer is the replication or the copied version of “Gangnam Style”. Rather, it is the new production of Singapore, which generates new fandom in their own parody and new values in their differences and their new ideas. Their reproduction begins with their fandom. However, “Wonder Gays” and “Singaporean Style” not only gear the extension of more acceptable music, dance, and culture of “Nobody” and “Gangnam Style”, but also they produces their own culture.
Likewise, Wonder Gays’ performance of “Nobody” and a Singaporean fans’ remake of “Gangnam Style” began with their fandom, and they made their efforts to be alike their artistes while identifying themselves as prospective one of the artistes. Through their performance, they create the new cultural products through their differences.
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