K-pop: revolutions, terror and the future
By David Tizzard David Tizzard In a 2018 academic article titled “Regulating the Idol: The Life and Death of a South Korean Music Star” co-written by respected K-pop professor CedarBough T. Saeji, we are told that fans often slowly encounter “the dark side of K-pop and Korean society.”Yes, I see many of you nodding. Very true. Great country, fun music, but ― like anywhere else ― some problems to be addressed. Beyond the glitz and glamor there are some unseemly elements.We are not allowed to mention “the dark side of K-pop” now though. If you do, you are accused of Orientalism or not paying enough attention to the various tragedies and horrific incidents that happen in other industries. Football, gaming, politics, My Little Pony.It is a shibboleth. In the past two years, the language deemed acceptable has changed.Shhh. Be quiet. They are listening.And it even extends to the very nature of what K-pop is. The previous Associated Press definition had it as “a South Korean musical genre often characterized by synthesized music.” Again,