“My Guilty Pop Pleasure” is an ongoing effort on the XHIBIT P blog to openly address some of the internal conflicts and contradictions that we often feel towards our love for pop culture. If you’d like to be a guest contributor, please contact us.
K-Pop boy band, BIGBANG
That’s right, you read correctly. My guilty pop pleasure is Korean Pop, otherwise known as K-Pop. Now looking at me – a black girl from the West Indies, raised in the notorious rap borough of Brooklyn- you would not think that I would have a thing for music from another part of the world, in another language no less, but I do. I’ll tell you how it all started: one night while watching a mini-marathon of Degrassi (another guilty pleasure for another time) on the N, I stumbled upon the music video for K-Pop Princess BoA. The name of the song was “Eat You Up,” and I was immediately intrigued. She could sing, dance and had style. After a while, however, she disappeared and I have yet to see the video on T.V. again.
BoA “Eat You Up” video:
Months later I stumbled on a copy of The Village Voice, with Jin Young Park, a mega mogul in the Korean entertainment industry on the cover. I have to tell you, I was excited to see this, as I was intrigued by BoA and I wanted to learn more about the culture of K-Pop. The article talked about him trying to launch some of his artists in the states and hoping that he could get them to cross-over into the American music industry. I found his intentions commendable, but I wasn’t too happy with some of the training methods that were going down. It seemed to me that these artists were being manufactured as Asian Hip-Hop knock offs, trained by hip-hop choreographers and enduring singing lessons requiring them to learn English and listen to nothing but Beyonce, Usher, Mariah, Alicia Keys and Keisha Cole. When I told my friends about this, some of them were not pleased.
“Can’t we have something that is genuinely ours?” They demanded. One girl said that she detested the fact that artists feel the need to use hip-hop and R&B culture as a means to break into the industry, using “I can’t stand when [non-blacks] use what is typified as ‘black music,’ to get ahead. These Asians are doing the same thing.” While I tried to tell her that music knows no boundaries, I had to admit that she had a point. I watched videos of some boy bands singing Boys II Men, wearing baggy pants with backward caps, rapping Jay-Z and it left a jarring taste in the mouth.
Years later while mindlessly going through my tumblr dashboard, a girl I knew had a video of a Korean guy dancing. I asked who it was and she (being the K-Pop junkie that she is) pointed me in the right direction, full on with band names, music videos, and some of her favorite songs. And I must admit that while I felt like I was looking at hip-hop through an altered mirror, I found that I couldn’t help but enjoy it. The lyrics (mostly in Korean) are tamer than anything that’s being produced in Hip-hop and R&R at the moment and the beats are infectious. When I walk home from work listening to it on my MP3 player, all I hear and feel is the music. And while they do “borrow” a lot of Hip-Hop and R&B to draw in audience and influence listeners, one thing I HAVE to stress is that they’ve embraced something outside of their own (as I’ve been told) rigid culture and made it their own. I now find it a compliment that Koreans look to ‘black’ music culture and want to be a part of it. Groups like 2NE1 and BigBang have taken elements of hip-hop culture along with other pop culture elements and have dominated the pop charts in Korea and quite a few slots in my MP3 player.