What was that? Where’s the video for SNSD on Letterman?

The YouTube hit counter for the clip seemed to get stuck at 306 views, but I’ve left the tab open and have been watching with awe at the speed at which comments and “likes” are rolling in. It was posted about 4-5 hours ago and is already approaching 10,000 likes. A new comment has been added…hmmm…I should do the math, but I’ll just estimate every 3-5 seconds. If anybody ever doubted that K-pop has a global and active fan base….It really is remarkable.

I’m essentially just going to plagiarize myself for a comment on I left on Roboseyo’s blog that’s awaitinng moderation there (Rob, I hope you’ll still publish it there, and if you happen to see this first, cut and paste to eliminate my numerous typos from writing at 4 a.m. in a jet-lag addled haze).

I agree with pretty much all that has said [the discussion there was on the impossibility of “taking over” the American market; the essence of K-pop as a commodity to make money for entertainment conglomerates and foster brand nationalism], except for the fact that despite being primarily a punk/indie fan, I’ve come to enjoy a number of K-pop songs over the last couple of years–but I’d better, since I do research on it. At first I had to grit my teeth, but now, no doubt about it, I’ve acquired the taste and I also think the songwriting has improved to some extent (“Bubble Pop” isn’t just eye candy; it’s a catchy tune, dangit….).

But I’m with Roboseyo, you have to recognize K-pop for what it is–a manufactured product, not organically created music based on grit and passion, which are the qualities I value most highly in music. But the visuals and infectious spirit of K-pop and its ability to engage people across a–let’s give credit where credit is due—broad international spectrum are not be sneezed at. I know music and musical genres more deeply than pretty much anyone else I know—this is not meant to be a boast, but to give an idea of the issues here: I’ve played bass guitar in three bands in two countries over the course of my life, have released EPs, played well-known local alternative clubs, been a college radio DJ, etc., and still invest a huge amount of time listening too new music, creating eclectic YouTube playlists for friends and for my own edification, etc., but there is now too much music globally for anyone anywhere to become a global phenomenon even like Michael Jackson or Madonna did in the ’80s. The Justin Biebers and Lady Ga-ga’s of the world are nowhere in the same league in terms of cross-demographic appeal and awareness. Our current technologies and the nature of musical production allow for too much diversity. I regularly stumble across songs that I like by artists I’ve never heard of and then see that the YT hit count for the song over a million. Musical aims have to be more modest, and even, say, K-pop’s admitted success in Japan has to be kept in perspective. The phenomenon is real; quantifying it and its effects is much more difficult.

I’ll close with a great story I recently heard from a friend which gives a clear idea of just what the issues are (and also even points to such things as the fragmentation of “(neo)liberal democracies” like the US): my friend’s friend was telling his 9- year old son about the fact that when he grew up there were only 3 network channels on TV plus a couple of local stations to watch on UHF for reruns in contrast to the 200-300 or whatever channels one can readily now pull up on cable if one is keen to, and his son’s response was “Wow, Dad, you really must have had to spend a lot of time on the internet!”