Author Archive: vyg185

Asian Representation in American Popular Music

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Why I Chose This Topic

As an Asian-Canadian, I was disappointed to see the lack of Asian representation in this course. Our textbook highlights people of white, black, or Latino descent who made an impact on popular music of America during the mid-nineteenth century to 2013. To represent the presence of Asians within popular music in America, I decided to choose my own topic where I introduce K-pop group, BTS, & discuss what they have done to move popular music in a new direction.

Background Information

From left to right: V, Suga, Jin, Jungkook, RM, J-Hope

BTS (or Bangtan Boys) have seven members including leader & rapper RM (born Kim Namjoon, 1994), visual & vocalist Jin (born Kim Seokjin, 1992), rapper Suga (born Min Yoongi, 1993), rapper & sub-vocalist J-Hope (born Jung Hoseok, 1994), vocalist Jimin (born Park Jimin, 1995), vocalist V (born Kim Taehyung, 1995), & vocalist, sub-rapper, & maknae Jungkook (born Jeon Jeongguk, 1997).[4] Their name is an acronym for 방탄소년단 (pronounced Bangtan Sonyeondan) or “Beyond the Scene,” which translates to “bulletproof boy scouts.”[2] The group re-branded with a new logo & introduced another meaning to the acronym, BTS, which was “Beyond the Scene.”[3] BTS debuted on June 13, 2013 with “No More Dream” on the album 2 Cool 4 Skool.[4] Their label, Big Hit Entertainment, is a small Korean record label & management agency that was unknown until BTS’s first Korean Top 10 hit “I Need U.”[2] Because BTS doesn’t have a distinct sound & tend to pull influences from several established genres, their presence has more of an impact on American popular music than their songs.

First Introduction of K-Pop to Popular Music in America

PSY (born Park Jae-Sang, 1977)[13] initially introduced K-pop to popular music in America. His song “Gangnam Style” reached #2 on Billboard Hot 100.[14] It still holds the record for highest ranking & most number of weeks on Billboard Hot 100 for a K-pop act.[14] With his humorous music videos & the viral dances, PSY portrayed K-pop as a genre not to be taken seriously. It was simply a funny viral video that didn’t entice people to look into other K-pop artists or become fans.

BTS’s Emergence into American Popular Music

While BTS weren’t the first to introduce K-pop to popular music in America, I believe they are first K-pop act to gain respect, a significant fan base, & history-breaking accomplishments internationally, especially in America.

K-pop is known for discovering artists through auditions & having them train to perfect their appearance, dance, & musicality.[15] Many people view the industry negatively because of this unnatural way of generating artists. Korean record labels tend to control of their acts, similar to how Berry Gordy Jr.’s controlled every aspect of Motown during the 1960s.[9] 

Top (from left to right): Jin, Jungkook, RM, Bang Si-Hyuk, Suga, Jimin, J-Hope; Bottom: V

Driven by an admiration for artists who expressed themselves through their music, Bang Si-Hyuk formed Big Hit Entertainment & went on to create BTS. [15] The freedom BTS are given set them up for success in other countries who don’t support the strict industry. They produce & write many of their songs, incorporating socially conscious lyrics that confront serious themes.[15] Because of their label’s morals & involvement in the production of their music, BTS are one of the first K-pop acts to gain respect internationally.

BTS has gained a significant following from around the world. Their fans are called the ARMY, which is an acronym for “Adorable Representative M.C for Youth.”[11] Many aspects of their music entice people to become fans including their ability to simultaneously sing/rap and dance, high production music videos, meaningful messages within their songs, & narratives that span across several of their albums.

Similar to how Radiohead albums, Ok Computer & Kid A, challenged their fans to decode words & images,[9] BTS opens ARMY to interpretation & theorization of a connected plot within 7 albums. BTS’s interaction with their fan base also goes beyond their music. The group is ranked at #1 on Billboard Social 50, a position that has been held for 56 weeks due to their presence on Twitter, Instagram, Facebook, YouTube, & Soundcloud.[16] BTS also provides their fans with a way to get to know them more as people rather than celebrities. BTS uses V Live to share content from livestreams of performances to produced shows that reveal the members’ individual personalities. Their label has also produced their own content which showcases behind the scenes. Despite not knowing each other before, the relationships between members of BTS seen in this content is as sincere as their music. With their talent & willingness to be authentic with their audience, BTS keeps longtime fans interested & entices new fans to join the ARMY.

According to the Rolling Stone, 2017 was the year K-pop finally broke in the America.[1] With their first American television appearance at the 2017 Billboard Music Awards, they received the fan-voted award of Top Social Artist Award, making BTS the first K-pop act to receive a Billboard Music Award.[10] That same year, they returned & made their American television performance debut at the2017 American Music Awards with their song “DNA,” from their album Love Yourself: Her.[1]

This year, they proved to be even more successful. BTS won Top Social Artist Award again & performed “Fake Love”, from their newest album Love Yourself: Tear, for the first time at the 2018 Billboard Music Awards.[7] 

BTS became the first K-pop act to reach #1 on Billboard 200 with this album [5],making Love Yourself: Tear the first foreign-language album to do so in over 12 years.[12]  Additionally, “Fake Love” peaked at #10 on Billboard Hot 100.[6]  The BTS World Tour: Love Yourself 2018, which includes 15 North American shows, is sold out & features their last 2 albums as well as the upcoming album Love Yourself: Answer.[8] The tour’s latest announced show, in New York City at Citi Field, will make BTS the first K-pop act to perform a stadium show in the U.S.[17] This growing list of accomplishments prove that BTS is not only making history with their emergence into the American popular music scene, but providing Asian representation.

New Direction of Popular Music

With BTS’s success in American popular music, they provide positive exposure of Asians within mainstream media. Our textbook shows that people of Asian descent didn’t have a significant impact on what popular music is today; however, I believe BTS are currently moving popular music in a new direction. They are redefining the image of K-pop by reducing the stigma behind the industry. Although PSY introduced K-pop to mainstream, BTS proved it to be a genre with artists who want to be respected & taken seriously. They are opening the door for not only other K-pop acts, but for all Asians by proving that we can be successful regardless if we speak a foreign language & don’t embody ideals of Western culture. 

Sources

[1] “10 K-Pop Artists to Watch in 2018.” Rolling Stone, Rolling Stone, 25 June 2018, www.rollingstone.com/music/music-lists/10-k-pop-artists-to-watch-in-2018-630096/.

[2] Benjamin, Jeff. “BBMA Winners BTS: 5 Things You Should Know About the K-Pop Sensations.” Rolling Stone, Rolling Stone, 25 June 2018, www.rollingstone.com/music/music-news/bbma-winners-bts-5-things-you-should-know-about-the-k-pop-sensations-119772/#!

[3] Bruner, Raisa. “K-Pop Band BTS Has Changed Its Name to ‘Beyond the Scene.’” Time, Time, 5 July 2017, time.com/4845531/bts-beyond-the-scene-change/.

[4] “BTS (Bangtan Boys) Members Profile (Updated!).” Kpop Profiles, 13 June 2018, kprofiles.com/bts-bangtan-boys-members-profile/.

[5] “BTS Chart History.” Billboard, Billboard, www.billboard.com/music/bts/chart-history/billboard-200.

[6] “BTS Chart History.” Billboard, Billboard, www.billboard.com/music/bts/chart-history/hot-100.

[7] “BTS Performs ‘Fake Love’ & Wins Top Social Artist at 2018 Billboard Music Awards | Billboard News.” Billboard, Billboard, 21 May 2018, www.billboard.com/video/bbnews52018bbma-bts-8456996.

[8] “BTS WORLD TOUR.” LOVE YOURSELF, bts.ibighit.com/btsworldtour/.

[9] Campbell, Michael. Popular Music in America: The Beat Goes On. 4th ed., Cengage, 2013.

[10] Chiu, Allyson. “South Korean Boy Band BTS Makes History: First K-Pop Group to Top U.S. Billboard 200 Chart.” The Washington Post, WP Company, 29 May 2018, www.washingtonpost.com/news/morning-mix/wp/2018/05/29/south-korean-boy-band-bts-makes-history-as-first-k-pop-group-tops-u-s-billboard-200-chart/?utm_term=.c92a9dbf6975.

[11] Herman, Tamar. “Meet the Fans of BTS: Profiles of American ARMY.” Billboard, Billboard, 29 Sept. 2017, www.billboard.com/articles/columns/k-town/7981702/meet-fans-bts-profiles-american-army.

[12] Kreps, Daniel. “On the Charts: BTS Become First K-Pop Act to Reach Number One.” Rolling Stone, Rolling Stone, 25 June 2018, www.rollingstone.com/music/music-news/on-the-charts-bts-become-first-k-pop-act-to-reach-number-one-629174/.

[13] Murray, Lorraine. “PSY.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 6 Dec. 2017, www.britannica.com/biography/PSY.

[14] “PSY Chart History.” Billboard, Billboard, www.billboard.com/music/psy/chart-history/hot-100.

[15] Romano, Aja. “How K-Pop Became a Global Phenomenon.” Vox, Vox, 16 Feb. 2018, www.vox.com/culture/2018/2/16/16915672/what-is-kpop-history-explained.

[16] “Social 50.” Billboard, Billboard, www.billboard.com/charts/social-50.

[17]Staff, TIME. “BTS Announce First U.S. Stadium Show in New York City.” Time, Time, 9 Aug. 2018, time.com/5362005/k-pop-bts-stadium-show-us-love-yourself-tour/.

 

The Payola Scandal

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Salt in the Wound

Our textbook for this course describes the payola scandal as the salt in the wound. To give some background information on the wound established before the payola scandal, rock and roll’s most important acts faced devastation and absence. Buddy Holly, who reintroduced sounds of first generation rock and roll and proved it could be more than dance music, died in a plane crash. Elvis Presley, who gave pop stars a sense of freedom and brought a new vocal sound into popular music, served in the army. His comeback two years later fell short since he had lost the edge that made him the king of rock and roll. The man responsible for the new beat of rock and roll, Little Richard, gave up his music career to become a preacher. Jerry Lee Lewi, known for his sexual song “Great Balls of Fire,” was caught in a scandal himself where he married his thirteen-year-old cousin while still being married to his previous wide, damaging his career. Chuck Berry, whose lead and rhythm guitar playing defined the reference point for rock sound, was arrested for Mann Act violation and severed two years in jail. To rub salt in the wound, the payola scandal broke out in 1959, contributing to the decline of rock and roll.

What is Payola?

Payola: Undercover or indirect payment (as to a disc jockey) for a commercial favor (as for promoting a particular recording).[1]

This definition relates to our course as it describes the act that was the heart of this scandal. Disc jockeys, or more known as the abbreviation DJs today, are responsible for playing previously recorded music to a live audience, usually on the radio. This gives them a remarkable amount of power in the music industry as they essentially control what the public heard. However, the big labels paying the disc jockeys are the ones controlling what records became hits. Ultimately, any wealthy company could manufacture a popular song by paying for radio play.

The Rise of Disc Jockeys

From 1950 to 1957, the number of disc jockeys went from approximately 250 to 5000, multiplying by a factor of 20. The reason for this increase was partly due to new records being produced. As the number of disc jockeys rose, so did the importance of establishing unique on-air personalities. When disc jockeys became aware of their power, they established flat rate deals with labels to ensure a minimum amount of plays. For example, a moderately popular disc jockey would be paid $50/week to play one record multiple times. The most influential disc jockeys demanded percentages of money made from concerts, trips, free records, and merchandise. 

The practice of payola was so effective on the music industry that Variety and Billboard called for change and government involvement. ASCAP, the strongest licensing organization, also accused their main competitor, BMI, of payola and insisted investigation. During this time period, ASCAP associated with mostly white composers who wrote Tin Pan Alley songs. While BMI represented young, racially mixed composers of R&B and rock and roll songs, worked with indie labels, and licensed the music of black and country performers. By the mid-1950s, BMI released almost two singles for every single ASCAP release. The government didn’t get seriously involved with payola until it was featured on television.

At this point, the use of payola by disc jockeys was no longer being ignored. To prevent them from losing their licenses, radio stations fired disk jockeys who put them at risk. In November of 1959, 335, disc jockeys across the country admitted to receiving over $263 000 in what they called consulting fees in court. That number didn’t represent the amount of money disc jockeys were truly obtaining.

Major Players

The trial became more interesting when two of the most influential disc jockeys, Alan Freed and Dick Clark, were called to testify. These men both played significant roles in the rise of rock and rock, but denied accepting any payola.

In his past, Alan used his job as a disc jockey to promote music he liked. Throughout his career, he eventually accepted some sort of bribery in return for guaranteed radio play. Unfortunately, Alan ended up taking the blame for all disc jockeys in America due to his overall reputation. He was friends with R&B musicians, jive talked, smoked, and looked restless. Compared to Dick’s handsome looks and politeness, Alan seemed like a better target for the committee. After being questioned, he lost many of his friends in the broadcasting industry. Once he refused the sign a document confirming he never accepted payola, he was fired from WABC and charged with twenty-six counts of commercial bribery. At the end of the trial, he received fines, a suspended and jail sentence. Although he was the man who gave rock and roll its name, the payola scandal destroyed him.

Dick’s clean reputation wasn’t the only reason for his escaping of the payola scandal. Before the trial, he cleverly cut ties that would’ve incriminated him including part ownership of seven indie labels, six publishers, three record distributors, and two talent agencies. In conclusion, the lesson he learned from the payola trial was “protect your ass at all times.” He is now known for surviving the payola scandal.[2]

Government Involvement  

On February 11, 1960, President Eisenhower addressed payola as an issue of public morality. As a result, the Federal Communications Commission proposed a new law, making payola a criminal act. The main concern of the committee was the abuse of public airwaves radio stations used to broadcast their signals.

The trial resulted in the Federal Communications Act banning secret payments and requiring broadcasters to disclose if airplay for a song was purchased. Payola became a criminal offense with a penalty of up to $10 000 in fines and one year in jail. Although this scandal changed the law, payola managed to survive through the loophole of private payments. Instead of eliminating the act payola, the trials reorganized the practice.

Josephine Baker

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Early Life and Work

Josephine Baker PhotoA popular dancer and singer during the 1920s was Josephine Baker (1906-1975). She was born as Freda Josephine McDonald on June 3rd in St. Louis, Missouri into a childhood affected by poverty and abuse. Due to her father’s absence and mother’s low income, she left elementary school to support her family. She cleaned houses and babysat for wealthy white families, but eventually left home.

As a teenager, Josephine lived on the streets and survived on food scraps. She took up dancing in street performances as well as clubs and debuted on stage at a theatre performing comedic routines with local street musicians, The Jones Family Band, and all-black dance troupe, the Dixie Steppers. This performance landed her a job as a dresser and a tour in America with these acts.

While workings as a dresser, Josephine received the opportunity to join the production of Shuffle Along, a musical comedy, as a member of the chorus. She was popular amongst the crowds for her incorporation of comedy throughout the show. Because of the audience’s admiration, she stayed in the show until its closing in 1923.

The Harlem Renaissance

In the pursuit of more success, Josephine moved to New York City, during the Harlem Renaissance. This historical event involved African Americans moving to New York City and developing the Harlem neighbourhood, which acted as the core of black culture. With them they brought literature, music, stage performance, art, and in Josephine’s case, ambition. She performed in Chocolate Dandies on Broadway and the floor show of the Plantation Club.

Breakthroughs for Black Performers

Image result for josephine baker bananaIn 1925, France was in the midst of their obsession with American jazz and fascination of African Americans musicians, performers, & artists. A talent recruit scouted 19-year-old Josephine to perform in La Revue Nègre, an all-black revue in Paris. She made a lasting and bold impression on the French when she performed Danse Sauvage in only a feather skirt.

Josephine performed La Folie du Jour wearing only a skirt made of bananas at the Folies-Bergère music hall. This famous performance made her the most popular and highest-paid performers in Europe. She also danced the Charleston at the Folies-Bergère. However, it was introduced and popularized in Europe on-stage in Running Wild, an all-black musical production.

When performing in Europe rather than America, black performers felt more acceptance and less segregation and discrimination. Josephine was welcomed in Paris and even admired by culture figures. In contrast, she faced a racist reaction when she returned to America to perform Ziegfield Follies in 1936.

Josephine began singing professionally in 1930. This lead to her roles in talking films, Zou-Zou and Princesse Tam-Tam, as a singer. She also starred in other films including, Siren of the Tropics and Fausse Alerte. Her appearances in these films earned her more success as well as broke more barriers. 

World War II

Image result for josephine baker in uniformDuring World War II, Josephine served in the Women’s Auxiliary of the French air force. She also worked with the Red Cross and as a member of Free French forces, entertaining troops and performing benefit concerts in Africa and the Middle East. Her work for the Résistance, involved her smuggling messages hidden in her sheet music and underwear. These efforts earned her two of France’s highest military honours, the Croix de Guerre and the Legion of Honour with the rosette of the Resistance. 

Civil Rights Movement

Although she considered France her home, Josephine returned to America where she fought for the civil rights movement. She had refused perform in venues that forced segregated audiences. In Las Vegas, she was considered the first person to integrate casinos. At this point, she had evolved from an exotic dancer to an activist.[1]

As a celebrity, Josephine still faced segregation and discrimination in America. During her 1951 American tour, a number of hotels and restaurants refused her admission. At the Stork Club in New York City, she charged the club owner, who failed to serve her, for racism. As a result, she was on the FBI watch list and lost her American citizenship rights.

Image result for josephine baker civil rightsHer opposition against racism was recognized by the NAACP and May 20th was declared as Josephine Baker Day. With attorney general Robert F. Kennedy’s aid, she  was able to return to America in time for the 1963 March on Washington. As one of the few women allowed to speak at the march, she spoke about her life as a woman of colour in America and abroad. She represented civil rights through the eyes of a black woman who experienced both oppression and freedom.[2]

Influence on the History of Popular Music

Image result for josephine baker gifsJosephine Baker’s biography is one you read and wonder what are you doing with your life. With the number of accomplishments and their diversity, it is hard to believe they were fulfilled by one person. To summarize her influence on popular music, she played a significant role in integrating black performance into Europe. Her career started in America and the talents she developed there flourished in Europe, where she became even more successful. She created not only a path for other black performers, but for woman as well by empowering them. Although her career mainly took place in Europe, that doesn’t reduce her importance in North American. Those who question her influence on American popular music, can’t question her influence as a female civil rights activist in America.

Sources

Black Heritage Commemorative Society. “Josephine Baker.” Black History Now, 17AD, 2013, blackhistorynow.com/josephine-baker/.

Britannica, The Editors of Encyclopaedia. “Josephine Baker.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 31 May 2018, www.britannica.com/biography/Josephine-Baker.

History.com Staff. “Harlem Renaissance.” History.com, A&E Television Networks, 2009, www.history.com/topics/black-history/harlem-renaissance.

“Josephine Baker Biography.” The Biography.com Website, A&E Networks Television, 19 Jan. 2018, www.biography.com/people/josephine-baker-9195959.

Norwood, Arlisha R. “Josephine Baker.” National Women’s History Museum, 2017, www.womenshistory.org/education-resources/biographies/josephine-baker.

Williamson, Heidi. “What Josephine Baker Teaches Us About Women’s Enduring Legacy Within The Civil Rights Movement.” ThinkProgress, ThinkProgress, 28 Aug. 2013, thinkprogress.org/what-josephine-baker-teaches-us-about-womens-enduring-legacy-within-the-civil-rights-movement-2b4a95b666fd/.

Footnotes

[1] Griffith, Joanne. “Culture – Josephine Baker: From Exotic Dancer to Activist.” BBC News, BBC, 31 Dec. 2014, www.bbc.com/culture/story/20141222-from-exotic-dancer-to-activist.

[2] Williamson, Heidi. “What Josephine Baker Teaches Us About Women’s Enduring Legacy Within The Civil Rights Movement.” ThinkProgress, ThinkProgress, 28 Aug. 2013, thinkprogress.org/what-josephine-baker-teaches-us-about-womens-enduring-legacy-within-the-civil-rights-movement-2b4a95b666fd/.