2017
DOI: 10.1177/2158244017710294
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Keepin’ It Real: Authenticity, Commercialization, and the Media in Korean Hip Hop

Abstract: Defined as a "subdivision within a culture" (Negus, 1996, p. 15), subcultures are frequently characterized as social groups "organised around shared interests and practices" (Gelder and Thornton cited in Shuker, 2013, p. 175). Music subcultures, like hip hop, distinguish themselves from others in society (Shuker, 2013) by developing "social rituals which underpin their collective identity" (Clarke, Hall, Jefferson, & Roberts, 1975, p. 47). The Birmingham School's subcultural theorists utilized a Marxist approa… Show more

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Cited by 21 publications
(3 citation statements)
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“…(Comment on YouTube) While these conflicts reflect, on one level, previous insights about battles for authenticity and legitimacy within online fan cultures (Denison, 2011), at the same time, viewing these through the center-periphery lens allows us to see how such battles also reflect quasi-nationalistic concerns. Given that K-pop heavily draws on non-Korean imagery and faces threats of being overly Americanized or ''internationalized'' (Hare and Baker, 2017), Korean fans feel a stronger drive to preserve the ''Koreanness'' of K-pop and defend their cultural ownership of K-pop. This, in turn, heightens tensions with non-Korean fans.…”
Section: Reinscribing Transcultural Identity Politicsmentioning
confidence: 99%
“…(Comment on YouTube) While these conflicts reflect, on one level, previous insights about battles for authenticity and legitimacy within online fan cultures (Denison, 2011), at the same time, viewing these through the center-periphery lens allows us to see how such battles also reflect quasi-nationalistic concerns. Given that K-pop heavily draws on non-Korean imagery and faces threats of being overly Americanized or ''internationalized'' (Hare and Baker, 2017), Korean fans feel a stronger drive to preserve the ''Koreanness'' of K-pop and defend their cultural ownership of K-pop. This, in turn, heightens tensions with non-Korean fans.…”
Section: Reinscribing Transcultural Identity Politicsmentioning
confidence: 99%
“…What’s big right now is audition programs and beefing and dissing.” For example, in the past 10 years, a plethora of Korean reality television and “hip hop” audition shows that focus solely on rap have been produced, including Show me the Money, High School Rapper, Tribe of Hip Hop, Unpretty Rapstar, Good Girl, SignHere , and Do You Know Hip Hop . Hare and Baker (2017) have investigated the “survival audition show,” Show me the money , through the lens of subcultural theory and cultural hybridization theory. Their findings show that K-hip hop is straddling the boundaries of authenticity and commodification, with Show me the money particularly aiding the commodification of local hip hop culture.…”
Section: Introductionmentioning
confidence: 99%
“…When creating its own brotherhood, “there is a constant struggle between authenticity and commodification” (Hare & Baker, 2017, p. 1) in the development of hip-hop as well as hip-hop clubs. With increasing involvement in music promotion, social media attracts more capital to flow in and reproduce hip-hop music by removing geographic barriers and creating an imagined community powered by networks.…”
Section: Introductionmentioning
confidence: 99%