Literature Application by Ky Kim
- Asia327Student
- Dec 9, 2018
- 2 min read
In recent years, one of the significant changes to K-pop was the incorporation of “diverse stylistic input from abroad, which has been closely related to the growth of hybrid K-pop through a Korean-English mix in lyrics” (Jin and Ryoo 2014: 119-125). Similarly, Bak Jaebeom has contributed to a new dimension of K-pop by fusing Western and Korean aspects: through English mixing in lyrics, Bak Jaebeom is able to authentically represent his individual artistry as well as garner respect domestically in Korea and internationally.
Jin and Ryoo argue that “the current form of hybridization in languages and styles [of most K-pop] does not show authentic or locally driven hybrid music [and] cannot break the largest music market” (Ibid., 127); however, as a Korean-American, Bak Jaebeom greatly differs from other Korean idols. His unique identity enables him creative freedom in terms of producing culturally hybridized music utilizing both the Korean and English language. While “the majority of K-pop singers learn English because of its role as a lingua franca in music” (Ibid., 120), Jaebeom rather had to learn more about the Korean language as he was already fluent in English when he first debuted. Despite his multinational identity and understanding of both cultures, Jaebeom still tries to “maximize melody lines with easy English lyrics” and increase aural internationalization through his music (Ibid., 120). Such efforts are demonstrated in the choruses of “All I Wanna Do” and “Me Like Yuh” which they also have an English version that are only composed of English lyrics. These kind of strategies not only cater global audiences but also produce successful K-pop songs without being inauthentic.
In conclusion, Bak Jaebeom’s cultural hybridization of Western and Korean languages has provided a flavourful, organic theoretical alternative that has proven success in the global music industry (Ibid., 115).
Bibliography
Jin, Dal Yong, and Woongjae Ryoo. “Critical Interpretation of Hybrid K-Pop: The Global- Local Paradigm of English Mixing in Lyrics.” Popular Music and Society 37, no. 2 (2014): 113-131.
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