There are many ways a talent agency promotes their song like releasing music albums, selling merchandises, world concert tours, and many more. They also promote their music albums by performing their K-pop groups in music-oriented TV programs like Music Bank (now broadcasting in 72 countries through KBS World) that provides live performances and music chart information. Similar shows include M! Countdown (MNet), Show! Music Core (MBC), Inkigayo (SBS), and many others. An article in the Guardian written by Helienne Lindvall, entitled K-pop: how South Korea turned round its music scene, presents the following example of SM Entertainment’s business selling is not just music, but also in other ways, “SME even has its own merchandise …show more content…
But we have seen that another important aspect is the visuality of the genre. During the 1980s, the music industry began to rely on television to determine the success of a song or artist. As the TV industry liberalized in the early 1990s, South Korean TV needed programs to fill air space. One strategy was to show concert footage, news updates about various bands and artists, interviews, and music videos. The music industry saw this as effective marketing, and took a more active role in preparing performers for the camera. Part of it was also the careful construction of gender and sexuality in K-Pop. For men, we see a hybridity in the formulation of the masculine image that combines virtues of traditional Korean values of masculinity, kawaii, or cute, masculinity, and a more global metropolitan masculinity while in women, we see a mixture of innocence and sexual submissiveness, with the proliferation of the school girl image as well as images of the same women in more sexually charged situations. Such values are expressed through performativity of movement, speech, gestures, and enactments exhibited in every day social behavior (especially on …show more content…
Those companies were able to make a hybrid form of music that appeals to many different cultures. The music is written and produced by people from around the world, the chorographers are mostly foreigners and within boy bands and girl bands there are members who were not born in South Korea. Most K-pop songs are sung in the Korean language and have some English lyrics. Nowadays songs are also being recorded in Japanese, Mandarin or English. By making it half-Korean it is ready for consumption by non-Korean consumers. Yet it is expected by the Korean fans that the boy bands and girl bands behave like Koreans. Actors and singers who have not conformed to the Korean lifestyle and culture are expected to go back to their countries. This creates a hybrid culture that makes Korean popular culture more accessible for other cultures that are culturally distant to
For instance, in those activities the company provides free snacks and drinks, also has a special magazine for children, very special like Happy Meal. In every country they have special offerings, like for a Muslim community you can’t sell any pork product, or every different place has its own preferable taste, so, they try to use this for their advantage. As for “Old Spicy Guy” I would say in today’s world people want to see or to try unique things – PSY’s Gangnam Style, it’s so popular and it has incredible number of views on YouTube, but in my opinion it’s not so good example of music despite its views. But it’s unique, entertains people, maybe that’s the point people like it and that makes the producer
What constitutes “masculinity?” Sadly, the term has been defined so harshly that it is having detrimental effects on our society. The definitions of gender roles bombard us everywhere, from books, to advertisements, to movies, there is seemingly no place one can hide from these absurd standards. Canadian sociologist Aaron H. Devor points out in his article “Becoming Members of Society: Learning the Social Meanings of Gender,” that gender norms are learned early on in life, burdening children with these restrictions (388). This is what makes movies which clearly reject and mock gender roles, such as The SpongeBob SquarePants Movie, so refreshing.
Radio and Television The music of the 1960s and 1970s definitely had an impact on culture and society in the United States. Protest music, specifically, brought ideas, as well as problems, to the attention of many Americans. Radio stations across the nation were a big part of the spread of protest music. Radio experienced a boom after World War II.
The Mask You Live In, show all the pressure from the media, their friends, and the grown people’s life. All the boys and man faced with some messages provide them to hide their real emotions, built up the idea that women are only for sexual conquest instead viewing women are friends, and allow men to communicate anger with other by violence. All the controversial about gender associate with race, class, their situation, creating a confusing of problems all men and boy must to be a man.
Gender Expectations in Different Cultures “Women are supposed to cook and do house chores… Women should be responsible for raising children… Men should tell women what they should do… Men are superior than women.” Gender expectations are evident in Lorraine Hansberry’s A Raisin in the Sun and the society in Korea. Due to their different culture and lifestyle, The Youngers, the African American family, in A Raisin in the Sun have gender expectations that are different from the those in Korea.
1980s Music The 1980s was a decade where many things changed drastically. The music industry in the 1980s experienced major changes, mostly due to the political and economic changes, and new trends and inventions. In the 1980s, America changed both economically, and politically.
“Doing Gender” by West and Zimmerman is similar to Butler’s “Performative Acts and Gender Constitution.” However, West and Zimmerman build upon the ideas that Butler puts forth. Butler focuses on gender as performance and how gender is made up by specific actions. While West and Zimmerman take the concept of performance and constitution and applies it to a new concept, the sex category and how sex categories and gender are intertwined in society. Sex categories and gender, according to West and Zimmerman, are different and interconnected.
Popular culture in post-war Australia was immensely influenced by American and British culture. Upon the end of World War 2, Australians experienced increased leisure time with nothing to fill it with. The Union had successfully enforced the 8 x 8 x 8 principle, thus supplying Australians with 8 hours of work, 8 hours of leisure and 8 hours of sleep. Increasing globalisation meant that the average Australian became more aware of the world around them, rather than the impenetrable bubble of their farm or township that they belonged to. This knowledge of foreign ideas and behaviours were quickly adopted because of their tantalizing appeal and soon became extremely common in Australian society.
With the rise of television and in-home electronics, the video generation was born. Movies like Pretty in Pink, Back to the Future, Star Wars, and Dirty Dancing were gaining extreme fame and inspiring the youth culture to follow its messages and trends. In music, MTV lead the way with music videos that propelled stars like Madonna, Prince, Michael Jackson, and Phil Collins into the stardom many wished for. Out of this came the rise of Pop and Hip-Hop, two defining genres that changed the trends and styles of the
“Kabuki is well known for its exaggerated acting, flamboyant costumes and makeup, and unnatural storylines. The onnagata, usually male actors who perform the roles of women, have been an important aspect of kabuki since its beginnings in the 17th century. In a "labyrinth" of gendering, the practice of men playing women 's roles has affected the manifestations of femininity in Japanese society.” (Wu, Guanda, Onnagata: “A Labyrinth of Gendering in Kabuki Theater,” Academic OneFile) Kabuki theater is an amazing art that takes ordinary ways to do things and makes them extravagant. Kabuki plays are very structured and mainly focus on topics such as: ethical conflicts, romances, and historical events.
For example, “the MTV aesthetic during its golden age of 1981 to 1992 [...] influenced not only music but network and cable TV, radio, advertising, film, art, fashion [...] even politics” (Marks, Craig, and Rob Tannenbaum 1). MTV encouraged teenagers, and society around them. It was a smashing hit that influenced how we have TV today. “Billboard” mentions, “1984 ‘Top Video Countdown’ debuts” (1). This helped the teenagers find what kind of music they enjoyed.
The existing asymmetry in terms of social power between men and women was strengthened through these images, as the stereotyping of women in these categories was associated with lower degrees of social and control. In his book ‘Gender Advertisements’ Erving Goffman describes how feminity and masculinity displayed within western media. In his analysis, Goffman addresses several trends and patterns in how feminity (and masculinity) is portrayed as well as the messages this conveys to the viewer. According to him women are portrayed as soft, vulnerable, fragile, powerless, dreamy, childlike and submissive . Goffman described a number of symbolic ways in which indicative behavior displays the subordination of females to males, the ritualization of subordination is accomplished by using social connotation associated with elevation, location positioning, and body posture .
To profess their heterosexual identity, boys enact the ritual of performative sex talk. With a profusion of sexual bravado, boys fight to one-up each other in their stories of sexual prominence and prosperity. Pascoe states that “expressing heterosexual desire establishes a sort of baseline masculinity” (87), in part to distance themselves from the feminine identity of a “fag,” but also to establish masculine dominance. These discussions center around how these boys are able to enact their subjectivity and control on the world around them, with women as the objects of their control and puppets of their desires. Furthermore, the masculine dominance is established through compulsive heterosexuality when boys engage in specific patterns of opposite-sex touching.
This study addresses how self-made artists in the music industry uses marketing skills to help promote their music compared to the artists that are signed to a record label. Throughout this essay, I’m to going to analyze and compare Chance the Rapper’s sales to that of a well-known Hip/Hop artist J. Cole and the marketing schemes deployed by the upcoming artists in the music industry. Artists must learn to adapt to change constantly. They have to incorporate or amalgamate several marketing and promoting schemes to grow their audience organically.
The Homogeneity of Pop Music Pop music, or popular music, in the modern sense has been around in the United States for several decades, having begun around the late sixties, and has encompassed an assortment of genres throughout its progression. As pop music has aged and adapted, an increasingly common complaint among the critics of this genre is all pop songs being homogenous, or they “all sounds the same”. Typically, the fans of this genre respond by stating each song is easily distinguishable from one another, provide a unique musical experience, or they aren’t less unique than any other category of music. Nevertheless, recent evidence supports the notion of pop music sharing numerous underlying traits between many of its songs. The homogeneity