JYJ3 note: This is Part 1 of an article written by Professor Lee DongYeon, who teaches cultural theory at Korea National University of Arts. We decided to translate this piece due to its strength of insight and its relevance to understanding how the situation between JYJ and SM is perceived by intellectuals as well as by the general public. DNBN, among other Korean fansites, have posted the professor’s article and we believe it is our duty to share it with international fandom. Part 2 will be posted tomorrow.
JYJ, K-pop’s exiles that refused to be ‘slaves’, what will be their destiny…?
K-pop is at the peak of its craze. In Tokyo, Beijing, Bangkok, and also Paris, London, New York, K-pop is emerging as the new global pop. Via TV and internet, K-pop is claimed to be global icon that lets the world know about South Korea’s cultural excellence. But how much do we actually know about K-pop? On what condition has K-pop come into the spotlight of global pop? How the music of K-pop is created and consumed? Is K-pop really substantial?
K-pop is not the K-pop that we know because K-pop covers only idol music. And K-pop’s exterior and interior are disconnected because the perspectives on K-pop of international K-pop fans and domestic music fans are different. K-pop is like Samsung that ascended the throne to become a global company with its ‘no labor union’ myth. Although idol groups have worked hard and became global stars, there is no way for them to speak properly about their worries and pains. Like global company Samsung that doesn’t have a labor union, K-pop is global pop formed through unlimited competition without freedom. Read More →