by It is not new to us that the number of overseas views of K-pop music videos posted on YouTube is skyrocketing. The music video for Psy’s, published on July 15, 2012, currently has over 4.1 billion views, including and released in 2016. Released BTS songs have already surpassed 1 billion views for a long time. In addition, the music videos of K-pop girl groups Blackpink and Twice, the peak of popularity, are also closely following BTS’s massive hits, and these figures show that the daily lives of young K-pop fans around the world since the 2010s are genuinely revolving with K-pop. does it
In the midst of this, on March 31, 2021, the YouTube original documentary was produced and released in a total of 7 episodes. Thanks to the global K-pop craze, YouTube’s self-produced reaffirmed the international status of K-Pop and the heightened interest of K-Pop fans. As it is YouTube original content, this video released all seven seasons at once to YouTube premium users, and one episode was sequentially presented to free members every Wednesday evening. As there are almost no comments written, mainly overseas fans are increasing the number of views.
This is not the first time that an original YouTube documentary based on K-pop has been produced. On November 15, 2018, YouTube had already released a documentary, which contains the preparations for BTS’ world tour in 19 cities, and then on April 29, 2020. The YouTube original series was released to 81 countries at the time, and the fact that the girl group TWICE was chosen as the main character of the K-pop documentary produced by YouTube was a big topic among fans. had collected Around that time, Netflix also released the first K-pop documentary (2020.10.14), which showed the fantastic journey of success as a superstar girl group after four years of debut. .) is precisely that. With this, 2020 became the year in which YouTube and Netflix, representing giant global platforms, produced and released a documentary about K-pop idols for the first time. This fact is that K-pop fans worldwide are no longer just enthusiastic about the songs and dances of idol singers. Still, the process of the birth of several superstar idols and the historical origin of Korean popular music that made them come to fruition is amplified. suggest that there was
The original YouTube documentary is in charge of ‘Banger Films,’ a film and TV program production company based in Toronto, Canada. Founded in 2004, Banger Film first produced the documentary, which documented heavy metal history in 2005. Evolution), which vividly testifies American hip-hop’s historical development and change, has been praised by many fans, so it has a high reputation as a professional music documentary producer. On the Korean side, the film distribution company Borderless Film’ took charge of the co-production. Following the release in 2011 and 2016, it is believed that the production planning started in 2018, so it is a sequel to and of Banger Film. It could be said The fact that K-pop is included in the ‘Evolution Trilogy’ of BANGER FILM, which continues the genealogy of heavy metal and hip-hop documentaries, can be seen as having a substantial influence enough to occupy a chapter in global popular music history. Notwithstanding, Korea’s annual exports of cultural goods exceeded $10 billion for the first time in 2019, and Korea’s popular culture industry currently ranks third in exports of consumer goods.
According to music critic Bong-Hyeon Kim, who appeared as an interviewee during the pre-preparation process in the summer of 2018, he interacted with Korean-American producer Robert Ock (Jun-Ho Ok) of Whitefish Film. He is Seongbin Ok, the keyboardist of the first member of the first rock band ‘Key Voice’. During the primary interview of the first part, Kim Hong-Tak, the guitarist of the vital voice, who has become an adult, also appeared, and this seems to be the result of Robert Ock’s request to appear. In addition, BoA, Leeteuk, Ha:tfelt (Ye Eun), Park Junhyung, Kim Taewoo, Han Seungyeon, Baekhyun, Kang Daniel, Sandara Park, Seulgi, Taemin, Taeyong, Tony An, Danny Im, Amber Liu, Doyoung, Red Velvet, EXO, Super From idol singers such as M, NCT, Pentagon, and girl group Everglow, to producers, music critics, and music video producers, all appeared to testify to the development and evolution of K-pop vividly.
Excluding the trailer, the 7-part series consists of, and. This configuration confirms that K-pop’s gaze is leaning toward idol group-centered dance music and performance, which is a generic term for ‘K-Pop’ to cover all Korean songs. It is also related to the fact that the current name ‘K-Pop,’ which was shortened to refer to the music of girl groups and boy groups, which emphasized the splendid performance skills of idol dance groups that began to appear after ‘Seo Taiji and Boys’ rather than hand, has been called from outside. There is this.
In other words, the name and concept of ‘Korea Popular Song’ originated in Korea from music that was newly discovered abroad. As the outside eye felt the new series of sensations was interesting called ‘K-Pop,’ K-pop was a category limited to the domestic popular music market. This is due to the circumstances in which it was reborn as music for overseas export. Since the overall composition of first appeared in the first scene of Korean bands playing rock and roll on a club street in Itaewon, Seoul in 1966, and the Eighth Army, the Yushin regime’s Emergency Measure No. 9 and the 1987 Great Democracy After the establishment and the 24th Seoul Olympics in 1988, Korean popular culture, which first felt global sensation, began to embrace new and young trending cultures such as music, dance, and fashion around 1990. Part 1 ended with a summary of the entire history of modern K-pop in Korea with the unconventional appearance of This documentary reflects the current conceptual nature of K-Pop as it is. In that sense, it can be said to be ‘the history of K-Pop idol groups,’ contrary to the content implied in its title, and the status and influence of K-Pop idols is a reliable global soft power in the new media era, which is the key to Korean popular culture. It suggests that it has established itself with a sense of weight enough to determine the roadmap. (continued in part 2)
