My partner has been onboard the K-pop train for several years. As much as they enjoy their groups, we've discussed several aspects that are connected to the global American capitalist hegemony. Keep in mind that these are two people's experiences rather than a scientific consensus.
The List
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As K-pop has become more mainstream, songs have begun to incorporate more and more non-Korean lyrics, particularly English.
The K-pop industry is large enough such that it attracts international artists, almost all of whom appear Eastern/SE Asian. Exo from the 2010's is one group who had eight South Korean and eight Chinese members, and they released songs in Korean, Mandarin, and Japanese. (Exo slowly lost its Chinese members due to mistreatment, but that's a different story).
Nevertheless, Exo is more of the exception. Many groups sing exclusively in Korean and English. And whereas in the past, Korean would be the predominant lyrics with a sprinkle of English, many newer songs are the exact opposite with Korean as the minority.[^1] Perhaps this is the price paid for going global.
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Girl groups in k-pop face very different treatment from boy groups.
My impression of the industry is that "typical" K-pop idols start training young, break out as part of a boy/girl group, and finally dive into a solo careers as singers, actors, etc. Not everyone makes it past each step, and some idols come from other media industries.
Girl groups deal with additional complications. Several girl groups have debuted with minors amongst their members[^2], and they have been getting progressively younger. When you consider that idols train can train for several years, this means a 16-year old member probably starting training at 13-14 years old.
In addition, girl groups are generally shorter lived than boy groups. A large part of the blame goes to the record labels. A new girl group may debut with a label, and they'll get all the attention, publicity, and studio backing they could ask for. A couple years later, a new girl group will debut with the same label, and the previous one will be neglected. I've been told that girl groups live and die by what is trendy in the moment, and this constant churn is one way to chase it.
Generally speaking, boy groups do not face those same pressures.
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Sexualization of idols
Sexualization of K-pop idols exists. It's a thing. It exists among both girl groups and boy groups, but in different ways. Girl groups face the more well known sexualization we see in our society. Boy groups face aggressive homoerotic 'shipping' among their fans.
In fact, the industry plays into it. One of the common stipulations in an idol's contract is that they will neither date nor enter romantic relationships for a period of time. This can range from a few years to the length of their contract. The implication being that the idols are single and available for you, the consumer. Coupled with the number of underage idols and prevalence of Asian fetishization in the West, this sexualization is particularly gross.
Conclusion
Next time someone speaks about the cultural exports of K-pop, you can ask "but at what cost??" and mention the above.
[^1]: For example, As If It's Your Last by Blackpink in 2017 vs. Shutdown in 2022
[^2]: For example, Ive debuted in 2021, which means Wonyoung and Liz were 17, and Leeseo was 15. Similarly, NewJeans debuted in 2022. Their youngest member, Hyein, was 14.#
They go through years of abuse to 'train' to become an idol, and may not even make it to the end. At every step if the label decides you're not cutting it, they'll sever your contract and leave you on the streets. I think they also have to pay back the investment in that case? People that have made it big in the industry sometimes come out with stories of how they were treated in their training, and it's brutal.
I wouldn't be surprised if many of them end up in debt or can barely afford to live. I think we imagine it's a given that being a popstar = money but I'm not sure if that's even the case. They're salaried right? Employed by a company and they do whatever the company tells them. Not different from a wage worker, except with fame.
I think the goal for an idol is to eventually get out of this servitude contract with the social capital they've acquired, and then launch a solo career in the US or elsewhere where they may be able to make their own money.
And then yeah the sexualization and how idols (both men and women) are not even allowed to date. I remember there was this apparently huge scandal some time ago because two idols were dating each other. I think one of the two (the woman, of course) ended up having to leave the industry over it.
South Korea is a fake country and this feudal culture permeates through their entertainment industry. They have like 3 big entertainment companies and they have their hands in everything: TV, music, movies. Not games I think though. If you want to work in the entertainment industry, you have to go through them. Even their 'indie' labels are owned by these companies and there's not really such a thing as 'indie' music in SK, at least in the mainstream. I'm sure you can find actual indie stuff in Korea but it seems much less prevalent than even in Japan. 'indie' stars in SK basically also have a team behind them writing their songs and performing the music, they're just allowed to be a bit less hyperpop about it.
It's a packaged commodity that has become such a market, suppliers need to churn out as much product as possible.
Yes, being a "trainee" is pretty brutal. For those that make it and debut, some (many?) of their contracts stipulate that the idols don't get paid until their company believes they've earned back their training costs. In fact, if an idol leaves before that time, they are obliged to pay back the company for their training. Going solo is the ideal.
It's as you say; K-pop has become more and more of a commodity.
Worst Korea. Squid Game didn’t come from there for no reason.