Not Just Pretty Faces: K-pop Idols and Quiet Storm Masculinity

2PM

2PM

2PM, a six-member male group from JYP Entertainment, may be the model for K-pop’s beast-like masculinity, which primarily depends on appearance, but they also participate in the black male soul tradition, which uses vocal ability to inform a different kind of masculinity.

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Digital Humanities for the Rest of Us

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One Thing That All Humanities Scholars Can Do To Integrate The Digital Into Their Humanities

I recently gave a presentation at the Council on Undergraduate Research 2016 Biennial Conference on undergraduate research and digital humanities. The session was well-attended. Some the individuals who attended were not only interested in undergraduate research as a co-curricular activity, but also the unicorn that is digital humanities. I know many scholars in the humanities do not feel that they can participate in digital humanities. However, I think there is at least one thing that all humanities scholars can do to digital into their humanities.

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K-pop Essentials: Shinhwa

Source: "Comeback of 'The Oldest K-pop Idol' Shinhwa Interview." KpopStarz. 21 May 2013. Web. 13 Feb 2015.

Shinhwa

The ‘Essentials” series is part of my digital humanities project, KPopCulture, which curates the music, visual culture, choreography, promotions, media and fan culture of K-pop that support this global cultural production. “Essentials” items tell you about a group through playlists of key music videos, performances, choreography and promotional videos. It also offers a bibliography of articles, music reviews and videos. The first ‘Essentials’ item is, fittingly, on Shinhwa, the longest-running K-pop group with its original members. Click here and enjoy!

“Playing the Race and Sexuality Cards in the Transnational Pop Game: Korean Music Videos for the US Market,” Eun-Young Jung

 

JournalofPopularMusic

Eun-Young Jung examines how the visuals of Korean music videos by BoA, Wonder Girls and Rain play on “racialized notions of sexuality” and “sexualized notions of racial identity.”  . . . . Read more at Public Circulation!

“The Globalization of K-pop: Korea’s Place in the Global Music Industry,” Ingyu Oh

KROBS

Ingyu Oh challenges approaches to Korean popular music based on cultural hybridity by arguing that the globalization of K-pop involves modifying musical content from Europe and other locations into Korean content and redistributing it to global audiences. In doing to, it occupies a void between Western and East Asian music industries. . . . read more at Public Circulation!