BTS, The Perfect Formula

Mariana de Obeso Fernández del Valle

“BTS has a magical ability to turn sadness into hope and differences into similarity.”

moon jae-in, south Korea’s president

on september 25th, 2018, a Korean group name bts gave a speech at the UN General Assembly.1 One month later, they were named Tourist Honorary Ambassadors by the Korean government and received the Hwagwan Order of Cultural Merit, one of the most appreciated awards in South Korea for spreading National culture around the world. They were the youngest persons ever to receive such merit.2 How did this happen? How did a Korean boy band end up giving a speech in a room full of global leaders and winning the most important cultural award in their home

country? The purpose of this article is to explain it. But to do so, we must first understand

1 Bard Wilkinson, “K-Pop band BTS tells world youth to “speak yourself” at UN”, CNN, 2018, https://edition.cnn.com/2018/09/24/asia/bts-un-korea-intl/index.html, consultado el 20 de noviembre. 2 Caitlin Kelley, “As Torchbearers Of Hallyu’s Legacy, BTS Received The Order of Cultural Meri”, Forbes, 2018, https://www.forbes.com/sites/caitlinkelley/2018/10/27/bts-order-ofcultural-merit/#4eddd011e2d9, consultado el 26 de noviembre.

the origin of boy bands; the beginnings of the Korean wave (also known as Hallyu), and

how K-pop can be explained as a product of cultural hybridization. Furthermore, it is

impossible to disregard the impact it has had on South Korea’s economy and how the government has used it as soft power to export its culture. This text also pretends to explain what makes BTS different from the rest of the boy and girl bands of the K-pop industry.

A CONCISE HISTORY OF BOY BANDS

A boy band is an all-male vocal group, usually composed of teens going on their 20’s. Boy bands tend to be factory produced, which means that they have a team behind them, who is in charge of overseeing their melodies, lyrics, and the image of the members.3 The members of these groups tend to be good looking and have some skills in singing and dancing. Most of the time, they do not play musical instruments nor write their songs.4 Although this is not necessarily true. The Beatles, for instance, were a boy band,

despite them preceding the concept. The Telegraph affirms that “the Beatles were the first boy band, before anyone had thought of the term.”5 The stigma around the

Beatlemania is a result of the suspicion that boy bands can create. As Jason King said in an NPR interview, boy bands produce the feeling that someone else is “manipulating

the whole thing to produce a specific effect in young girls as their audience.”6

After the Beatlemania, Berry Gordy, CEO of Motown, followed this formula and signed with the Jackson 5, after razing the markets and putting the Jackson brothers at the top of

most charts. Maurice Starr followed Gordy’s formula and created an all-white boy band. The result was New Kids on The Block at the beginning of the ‘90s and throughout the ‘00s.7

After this, a lot of record companies followed the same formula, and the boom of boy bands started. Those were the years of the Backstreet Boys, NSync, Boys II Men, 98

3 Jason King, “The History and Meaning of Boy Bands”, NPR.org, 2014, entrevista en línea recuperada de https://www.npr.org/templates/transcript/transcript.php?storyId=330685429, consultada el 29 de octubre. 4 Loc. cit. 5 Mary Yu Danico, Asian American Society: An Encyclopedia¸ SAGE, 2014, s. v. Hallyu (Korean Wave). 6 J. King, op. cit. 7 Loc. cit.

Degrees, among others. The idea of putting together some random good-looking guys who were following their dreams of becoming a superstar (which made them accessible for

teenagers) did not stop there; it increased. Other manufactured bands started appearing, like McFly in 2003, The Jonas Brothers in 2005, One Direction in 2010, and many others.8 In these same years, the Korean Pop bands that seemed to be using the British/US formula9 began to have an audience outside Asia. Groups like Seo Taiji and the Boys (1992), Super Junior (2005), Big Bang (2006), Shinee (2007), Exo (2011) and, of course, BTS (2013) started appearing in global rankings. They began to revolutionize the idea of boy bands.10

THE KOREAN WAVE: HALLYU AROUND THE WORLD

The etymology of Hallyu comes from the Chinese words, Han (韩), which means Korea, and Ryu (流), which means wave, trend or flow.11 It was first introduced by Chinese markets and media, to refer to the increasing popularity that Korean entertainment was getting in Asian countries, especially China, in the mid-90s.12 According to the Korean government: A great majority of Hallyu-related organizations are K-Pop fan clubs, but there are also various communities of people who are interested in Korean dramas, food, tourism, and more. As of December 2017, a total of 73.12 million people in 92 countries joined these organizations across Asia, Oceania, the Americas, Europe, Africa, and the Middle East.13

Hallyu represents the rapid growth of South Korea’s cultural industry and of its exports in Asia that started with the financial crisis of 1997.14 Although the crisis affected most of

East Asia, the countries who suffered the most were Thailand, Indonesia and South Korea.

8 Loc. cit. 9 This does not necessarily mean that the Korean companies copied the US/ British formula. It just means that K-pop bands followed a similar process of Western bands. It remains to be proved whether they used the boy band formula as an inspiration, or it was just a phenomenon that happened at the same time with similar characteristics. 10 Aja Romano, “BTS, the band that changed K-pop, explained”, Vox, 2018, https://www.vox. com/culture/2018/6/13/17426350/bts-history-members-explained, consultado el 25 de noviembre 11 Mary Yu Danico, op. cit. 12 Hyun-Key Kim Hogarth, “The Korean Wave: An Asian Reaction to Western-Dominated Globalization”, Perspectives on Global Development & Technology, 12 (2013), pp. 135–151. 13 Korea.net, “Hallyu (La Ola Coreana)”, Korea.net, 2018, http://spanish.korea.net/AboutKorea/ Culture-and-the-Arts/Hallyu, consultado el 14 de octubre. Traducción propia. 14 Dal Yong Jin & Tae-jin Yoon, “The Korean Wave: Retrospect and Prospect: Introduction”, International Journal of Communication, 11 (2017), pp. 2241–2249.

For South Korea, it began when the government was incapable of paying its loan to the International Monetary Fund (IMF). The Ministry of Culture looked for a way out and invested heavily on entertainment, expecting it would pay off.15 Twenty years later, I dare say it has.

Hallyu officially started in 1997 with the implementation of neoliberal globalization policies to the cultural sector16 and the establishment of the Sixth Republic. Both contributed to the process of democratization,17 but the development of this phenomena

started years before. As Yim noted: “due to Korea’s unusual historical experiences, including the influence of Japanese colonialism (1910–45), the Korean War (1950–53), and the division of the Korean peninsula (1945–present), cultural identity as Korean tradition and nationalism, as well as national culture, had been the primary object of cultural policy.”18

K-POP AND HALLYU AS SOFT POWER: THE EXPORTS OF CULTURE

To be able to understand K-pop as an example of soft power, we should first define what soft power is. Joseph Nye describes it as “the ability to influence the behaviour of others to get the outcomes one wants.”19 Traditionally in Korea, the government has taken a leading role in the cultural industry, and it has made great efforts to export it across the globe.20 Jin wrote in 2016 that “since the late 1990s, Korea has emerged as one of the major centres for the production of transnational popular culture.”21 Due to the increasing popularity of Korean culture in foreign markets, its government changed its cultural policy substantially to emphasize Hallyu and improve the international image of the country. This is a clear example of soft power.22 “The popularity of Korean culture in terms of export has been increasing. The export of Korean cultural products

15 H. K. Kim-Hogarth, op. cit. 16 Dal Yong Jin, New Korean Wave: Transnational Cultural Power in the Age of Social Media, Chicago, University of Illinois Press. 17 Aja Romano, “How K-pop became a global phenomenon”, Vox, 2018, https://www.vox.com/ culture/2018/2/16/16915672/what-is-kpop-history-explained, consultado el 25 de noviembre. 18 Yim cited in D. Y. Jin, op. cit., p. 27. 19 Joseph Nye, Soft Power: The Means to Success in World Politics, New York: Public Affairs, 2004, p. 191. 20 Yong-jin Won, “Hallyu: Numerous Discourses, One Perspective”, Asian Journal of Journalism and Media Studies, 2015, http://www.jmscom.org/en/ajjm/pdf/won_yong_jin.pdf, consultado el 29 de octubre. 21 D. Y. Jin, op. cit., p. 20. 22 D. Y. Jin y T. Yoon, op. cit.

between 1998 and 2015 increased by 21.4 times, from US $189 million in 1998 to US $4 billion in 2014.”23 $310 million worth of music was exported from South Korea in 2014.24

Korea’s strategies of soft power can be explained by both cultural nationalism and cultural imperialism. I will explain Hallyu and K-pop seen by these perspectives. Cultural nationalism follows the idea that national identity is shaped by cultural elements rather than ethnics.25 “The perspective of Cultural Nationalism has promoted two different projects (that are also cooperative with each other): one is focused on “nation branding,” and the other is centered on “culture industry promotion.”26 To accomplish this, the Ministry of Culture and Tourism has established Korean cultural centres around the world to export Korean culture and create an opportunity for bilateral exchange.27 This brought up the idea of cultural imperialism, because despite the discursive promotion of bilateral cooperation, many academics describe Hallyu as a one-way stream rather than a cultural exchange.28

THE BOOM OF K-POP: A BRIEF HISTORY OF THE RISE OF IDOL GROUPS

The increasing presence of Hallyu in the PyeongChang Winter Olympics of 2018 was

remarkable. K-pop has taken on a whole new significance in the Olympics ceremonies, allowing South Korea to display its best-known export before the world proudly. They are presenting the image of a country that is fully integrated with the global culture.29 “Seo Taiji and Boys (1987) were innovators who challenged norms around musical styles, song topics, fashion, and censorship.”30 Their single ‘I Know’ represented for the first time modern American-style pop music fused with South Korean culture.31

23 Ministry of Culture, Sports and Tourism cited in ibid., p. 2244. 24 D. Y. Jin, op. cit., p. 28 25 Eric Taylor Woods, “Cultural Nationalism” en David Inglis y Anna-Mari Almila (eds.), The SAGE Handbook of Cultural Sociology, SAGE, 2016, 26 Y. Won, op. cit., p. 14. 27 Loc. cit. 28 Loc. cit. 29 A. Romano, “How K-pop became...” 30 Loc. cit. 31 Loc. cit.

The first idol group in South Korea appeared on the scene in 1996, when SM

founder Lee Soo-man created a group called HOT. They shared some traits with

today’s idol groups —and even some similarities with Western boy bands—, such as “a combination of singing, dancing, and rapping, and disparate personalities united through music.”32 But it was not until 2012, when K-pop broke into the mainstream. Korean rapper PSY first cracked US charts with his hit “Gangnam

Style”, which was the first video ever to top a billion streams on YouTube.33

Becoming an idol is extremely difficult and hard. Anyone who wishes to become part of the industry starts at the age of ten to twelve, attends special schools, and has a daily rehearsal routine. Trainees take specialized singing and dancing lessons, and they learn profoundly how to behave in public according to Korean values. Some of these children are lucky enough to get selected and be placed in an idol group.34

The [K-pop] industry is notoriously exploitative, and studio life is grueling to the point that it can easily cross over to abusive; performers are regularly signed to long-term contracts, known as “slave contracts,” when they are still children, which closely dictate their private behavior, dating life, and public conduct.35

On the other hand, social media has been an essential factor for idol groups to reach wider audiences, especially in Western countries. Social platforms, such as YouTube, Facebook, Twitter, and Instagram, have made K-pop more accessible and have allowed fans to connect with the members of the groups creating a solid fandom.36 Stream revolution and giving the fans a space to

participate in the process has also taken a significant part in the K-pop industry.37

32 Loc. cit. 33 Amy X. Wang, “How K-pop Conquered the West”, The Rolling Stones, 2018, https://www. rollingstone.com/music/music-features/bts-kpop-albums-bands-global-takeover-707139/, consultado el 25 de noviembre. 34 A. Romano, “How K-pop became...” 35 Loc. cit. 36 D. Y. Jin, op. cit. 37 A. Wang, op. cit.

CULTURAL HYBRIDIZATION: FROM KOREA TO THE WORLD

After tracing the history and nature of idol groups, the boom of K-pop in the Western Hemisphere can be explained through cultural hybridization. English can

be seen in three main aspects of Korean music: its lyrics, its songs’ titles, and some group names.38 Even though many people would address this as a process of Americanization —considering the US military presence in the peninsula of Korea throughout Cold War—, Jin and Ryoo have another explanation: cultural hybridization: This hybridity has generated new creative cultures, ones which are free from Western dominance, or whether this trend eventually oppresses local music and soundscape. […] the contemporary cultural stages and transition of popular music in Korea occurring within the unfolding logic of globalization, and to interrogate the adequacy of cultural hybridity as a plausible framework to explain cultural phenomena currently under way throughout Korea.39

“Cultural hybridization discourse provides a richer theoretical alternative, since it emphasizes the adaptation and active articulation of global processes with local or regional norms, customs, needs, and traditions.”40 This mix of culture offers the local culture an opportunity to adapt to globalization in its terms, because “hybrid culture is more resistant, democratic, diverse, and heterogeneous than cultures of Western states.”41

“K-pop exists as a hybrid modernity mixing Western and Korean cultures. But it also seems to be increasingly becoming a unique local culture, distancing itself further from Western culture and representing more of the Korean culture.”42 Korean pop music mixes Western genres, such as hip hop and R&B, with Korean innovations.43 As a Rolling

Stone’s article expresses: “the average American song is four melodies, maybe five. The average K-pop song is eight to ten. They are also very heavy in the harmonies.”44

38 Dal Yong Jin y Woongjae Ryoo, “Critical Interpretation of Hybrid K-Pop: The Global-Local Paradigm of English Mixing in Lyrics”, Popular Music & Society, 37 (2014), pp. 113–131. 39 D. Y. Jin y W. Ryoo, op. cit., p. 114. 40 Ibid., p. 115. 41 Appadurai cited in loc. cit. 42 D. Y. Jin, op. cit., p. 111. 43 Loc. cit. 44 A. Wang, op. cit.

BTS: PERFECTING THE FORMULA

In 2010, Bang Si-hyuk began to build a different kind of studio (now known as BigHit) and a group called Bulletproof Boy Scouts, later Bangtan Boys, and finally BTS. Romano says that “the ingredients of their success were inherent in the original name. Bang intended “bulletproof” to function as a celebration

of the kids’ toughness and ability to withstand the pressures of the world.”45

“He also wanted the band to be able to be sincere and genuine —not immaculate idols groomed amid studio culture, but real boys who shared their authentic personalities and talents with the world.”46 None of the members of BTS had to sign any “slave contracts”. They do not have curfews and can discuss the pressures that come with fame. They write most of their lyrics and video scripts, and their songs are socially conscious and describe modern teen anxieties.47 “By straddling the line between maintaining a respectable image and writing critical lyrics, BTS have offered a refreshing change from what some critics and fans dislike about the K-pop machine.”48 They openly discuss taboos topics in South Korea, like LGBTQ+ rights, mental health problems, teens struggles, the pressure to be successful, depression, and how demanding the industry and fame can be.49 They have proven an important leadership and commitment with the youth of the

world. BTS partnered with the United Nations Children’s Fund (UNICEF) for its “Love

Myself” anti-violence campaign, which raised $1 million in the US in less than two days.50 Thirty-six South Koreans commit suicide every day, according to a report from Korea’s Ministry of Health and Welfare. While South Korea’s government has been slow to address this problem, some BTS members have been vocal about their own bouts with depression. In their docu-series […] RM talked about how depression had previously made him afraid to go back on stage: “I was unable to

45 A. Romano, “BTS, the band...” 46 Loc. cit. 47 Loc. cit. 48 Jae Ha Kim, “How BTS are breaking K-pop’s Biggest Taboos”, The Rolling Stones, https://www. rollingstone.com/music/music-news/how-bts-are-breaking-k-pops-biggest-taboos-628141/, consultado por última vez el 25 de noviembre. 49 Loc. cit. 50 Loc. cit.

enjoy things like I used to.” And in their annual New Year’s message to their fans, Suga told them, “It’s okay to live without a dream.”51

Their leader, Kim Nam-Joon, also known as Rap Monster or RM, released in 2018 a solo artist mixtape titled Mono, which hit No. 1 across the iTunes charts of 88 countries.52 Suga, and J-Hope also debuted as solo artists.53 It is also essential to address the approach that BTS has given to building its fan base and how they give great importance to interacting with it.54 As Steve Aoki said “these guys just

crush it. And I think because the fans are making such a big deal, it’s not going anywhere.”55

Also, as Kristine Ortiz stated, “they’re able to create a sensory experience through clothes and music videos with elaborate story lines. That’s not seen a lot in Western music.”56

BTS mixed both formulas successfully: they were able to stay loyal to South Korea’s values and have had a strong leadership exporting and promoting Korean culture around the world.

After receiving the Hwagwan Order of Cultural Merit, “Suga touched on how the group’s milestones were an honor to his family”, then added, “with the mindset of a representative of the nation, I will spread awareness of Korea throughout the world.” Jungkook also echoed

that sentiment “we’ll continue to contribute in spreading Korea’s culture around the world.”57

BTS has also mastered a way to avoid Western rejection. They have represented the central value for the Western liberal world: freedom. Freedom of speech and freedom to be whoever they want to be, aside from typical K-pop bands which are told how to behave and act.58 As Amy He has said, “American listeners crave the authentic”59 and that is what BTS has given them, authenticity among K-pop and mainstream music, a hybrid

with the best of both worlds. But maybe “BTS’s success is not about the band’s ability to transcend the norms of K-pop; it is about K-pop’s rapid ascension into the mainstream.”60

51 Loc. cit. 52 C. Kelley, op. cit. 53 A. Romano, op. cit. 54 Loc. cit. 55 Steve Aoki cited in Amy X. Wang, op. cit. 56 Ortiz cited in loc. cit. 57 C. Kelley, op. cit. 58 A. Romano, op. cit.; A. Wang, op. cit.; Jae Ha Kim, op. cit. 59 D. Y. Jin & W. Ryoo, op. cit., p. 127. 60 A. Romano, op. cit.

CONCLUSION

It is easy to claim that idol groups followed the Western formula of boy bands, or that the fame of BTS can be explained because they represent Western ideals. This would be utterly unfair. Instead of merely copying the formula, we should understand

that Korean boy bands have developed it with their specific series of values. To answer the question introduced in the first part of this article, we must first understand K-pop (specifically BTS) as a soft power tool of the Korean government that influences global markets and the inhabitants of other countries. Also, it is essential to regard how

Hallyu has improved South Korea’s image in the world since the beginning of the ’90s. BTS were able to give a speech at the UN General Assembly because they have a great impact on the global community and have an important role in youth leadership. Their

success is an expression of soft power and the ability they have to influence global markets. And it is only possible because of the freedom BigHit has given them, which makes

BTS different from every other Korean idol group. They received the most significant cultural merit in South Korea due to the same phenomena, because these seven young men proved they had exported South Korean culture and values throughout the world.