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Birth of Korean rock

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Anna Anya

Shin Joong Hyun was a pioneering Korean musician born in 1938 who was fascinated by jazz and rock music. He was influential in sharing American styles of music with Korean youth in the 1960s. [END SUMMARY]

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1. Birth Of Rock: Cultural Imperialism, Nationalism, and the Glocalization of Rock Music in South Korea, 1964-1975 Shin Joong Hyun (Jacky, Hicky): Born in 1938, fascinated by jazz and rocknroll Professional musician on the stage of the US military clubs Shared the Korean youth style and ethos of the 1960s psychedelic rock Author of the presentation: Anna Kim
1-2. Birth Of Rock: Cultural Imperialism, Nationalism, and the Glocalization of Rock Music in South Korea, 1964-1975 Intro: The Lady in the Rain https://www.youtube.com/watch?v=ALDoWCcpa7k https://www.youtube.com/watch? v=1QxHeeSfbS0&list=RDALDoWCcpa7k&index=2 https://www.youtube.com/watch? v=a1lbIxyDo94&list=RDALDoWCcpa7k&index=9 The unforgettable lady in the rain + exotic yellow raincoat metaphor of Korean musicians yearning for foreign music
2. American Pop in Korea: Cultural Imperialism Deconstructed ≒ Impact of the US military in Korea. Korea and US zone of in鍖uence in East Asia. Living playing music of the occupiers ≒ Cultural imperialism? Yes/no? De鍖nition: creation and maintenance of unequal relationships, therefore promoting and imposing a culture, usually of politically powerful nations over less potent societies Skepticism about cultural imperialism in the popular music studies literature. When it comes to music and songs, cultural interactions between metropole and colony are far from unilateral or unidirectional.
2-2 Cultural imperialism For one, the language between Anglophone and non-Anglophone worlds should be an impediment to whatever ideological message Anglo- Americal pop songs supposedly deliver to local mass audiences For another, modern Western popular music owes a great deal to the input from other musical cultures, particularly African and Afro Caribbean cultural imperialism is not wholly adequate to capture the great diversity and autonomy of local cultures vis--vis global Anglo-American pop Counterarguments against cultural imperialism do not necessary deny the global dominance of American pop culture The US music still maintains a privileged status as the originator of most, if not all, global pop styles and genres
3. Cradle of rock: US Military Camp Shows ≒ Clubs of the US Army 24th Division (later expanded to Eight Army Corps) - the main source of American popular music ≒ Chyasu music played at that clubs, refers to jazz but encompasses all kinds of non classical Western music from swing jazz to French chanson to Argentine tango Growth of camps number of performances increased growth of professionalism in business and performance Preaudition agency, creation of show troupe (ssyodan): singers, orchestra, dancers and other performers Competition between performers Hierarchy among the bands: 鍖oor bands (part of ssyodan), house bands (committed to a particular club), open bands (playing in private clubs) Different kinds of the scenes: migun mudae American military scene, ilban mudae General public scene
4. Pioneers of Rock and Fatherland Modernization ≒ The typical rock band formation: Beatles or the Rolling Stones style a vocal group (pokol kurup), since these band did their own singing ≒ Korean Pioneers of Rock: Add Four led by Shin Joong Hyun (debut Lady in the Rain), Key Boys by Kim Hong Tak and Yun Hang Gi BUT: - Still US Military camp shows did not do much to win Korean audiences. Only small number of people could understand rock - Limited places to listen to the music (umak kamsangsil, camps, clubs) - Rock as novelty, singing all songs by the group and playing at the same time. - Needed more time (later in 1960s and 70s Korea began to open up to American popular culture during modernization period)
5. Bridge: The Boy in the Yellow Shirt Han Myong Suk Que Sera Sera the song as the opening tune of modern Korean pop Son Sok U wrote The Boy in the Yellow Shirt, a jingle for the New Era.
6. Modernity Glocalized: Kayo Meets Pop Modernity is inherently globalizing misleading. It can be interpreted as a weak version of cultural imperialism; global modernization means homogenization, or more speci鍖cally, Westernization of non-Western cultures (p.209) AS an alternative approach is to focus on the local end of the process *Park Chung Hee used to refer to his political vision as glocalized democracy, which turned out to be an extreme deviation from the stated ideals of Western liberal democracy
7. Kayo and Rock 70s While kayo and pop were competing against each other for mass media spots and larger venues, rock was steadily gaining ground as an underground club culture ≒ Kayo indicated the national origin of certain musical styles rather than the nationality of the composer or performer. Migun Mudae (US military scene) musicians spread fast through mass media created a new trend of Korean popular songs kayo ≒ Rock: Beatles + the Rolling Stones + The Ventures + The Beach Boys Number of places to hear music grows: music cafes, music salons, Myongdong and GI clubs in Itaewon BUT still little public attraction Era of festivals and contests (obsessed by long hair, recreational drug use, antiauthority attitude etc. liberals called it youth culture)
7. Crackdown on Decadent Culture and the Go-Go Midnight Revolt Park Cheong Hee regime against vulgar (chosok) and decadent (toepye): Inspection changbal tansok for hair and skirts length Popular music purge campaign to liquidate the legacy of Japanese colonialism by wiping out the corrupting waesaek (Japanese in鍖uence) on Korean popular music Promoted wholesome songs konjon kayo Government control over popular music, censorship of broadcast, performance, 鍖lm and audio recording. Banned around 223 Korean songs and 261 Western pop songs between 1965 and 1975 Festivals and concerts were canceled, hemp control By 1972 loud and noisy rock almost disappeared from the downtown live music salons survived in go-go clubs (kogojang)
The problems of Rock: ≒ Aesthetics of rock limited ≒ Lack of musical originality or creativity Shin Joong Hyun was able to spread rocks push to the national mainstream because of his fame as the creator of soul kayo. Famous song Miin but this song was banned https://www.youtube.com/watch?v=Igy88BMm5tA (2006 concert) Shin Joong Hyun organized a new band called Yoptchondul (songs included Western rock beat + karak traditional Korean melody) 7-2. Crackdown on Decadent Culture and the Go-Go Midnight Revolt
8. Rock the Nation: Con鍖icting Visions of the Imagined Community Assasination of Park Chung Hee in 1979 Second wave of rock together with new generation raised under American hegemony Musicians began to add more a nationalist 鍖avor to their music (as Shins experiment with Miin) the line between alien and national had already been blurred Rock music and other American cultural imports were not imposed but more or less spontaneously accepted and glocalized by the Koreans themselves. ≒ Eight beat go-go rhythm, nasal voice drips ≒ Shift from Japanese to American postcolonial patronage. ≒ 1980s decade of Cho Yong Pil Too Short:
9. Conclusion Efforts to glocalize Anglo-American rock: 1st generation (60s ~ early 70s). Vulnerable to the accusation of peddling decandent alien culture because of their US military camp show origin Next generations (mid and late 70s). Rock music came from placed different from US military camps, ex. Colleges, high schools etc. Late 1970 mid 1980s campus group songs
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Birth of Korean rock

  • 1. 1. Birth Of Rock: Cultural Imperialism, Nationalism, and the Glocalization of Rock Music in South Korea, 1964-1975 Shin Joong Hyun (Jacky, Hicky): Born in 1938, fascinated by jazz and rocknroll Professional musician on the stage of the US military clubs Shared the Korean youth style and ethos of the 1960s psychedelic rock Author of the presentation: Anna Kim
  • 2. 1-2. Birth Of Rock: Cultural Imperialism, Nationalism, and the Glocalization of Rock Music in South Korea, 1964-1975 Intro: The Lady in the Rain https://www.youtube.com/watch?v=ALDoWCcpa7k https://www.youtube.com/watch? v=1QxHeeSfbS0&list=RDALDoWCcpa7k&index=2 https://www.youtube.com/watch? v=a1lbIxyDo94&list=RDALDoWCcpa7k&index=9 The unforgettable lady in the rain + exotic yellow raincoat metaphor of Korean musicians yearning for foreign music
  • 3. 2. American Pop in Korea: Cultural Imperialism Deconstructed ≒ Impact of the US military in Korea. Korea and US zone of in鍖uence in East Asia. Living playing music of the occupiers ≒ Cultural imperialism? Yes/no? De鍖nition: creation and maintenance of unequal relationships, therefore promoting and imposing a culture, usually of politically powerful nations over less potent societies Skepticism about cultural imperialism in the popular music studies literature. When it comes to music and songs, cultural interactions between metropole and colony are far from unilateral or unidirectional.
  • 4. 2-2 Cultural imperialism For one, the language between Anglophone and non-Anglophone worlds should be an impediment to whatever ideological message Anglo- Americal pop songs supposedly deliver to local mass audiences For another, modern Western popular music owes a great deal to the input from other musical cultures, particularly African and Afro Caribbean cultural imperialism is not wholly adequate to capture the great diversity and autonomy of local cultures vis--vis global Anglo-American pop Counterarguments against cultural imperialism do not necessary deny the global dominance of American pop culture The US music still maintains a privileged status as the originator of most, if not all, global pop styles and genres
  • 5. 3. Cradle of rock: US Military Camp Shows ≒ Clubs of the US Army 24th Division (later expanded to Eight Army Corps) - the main source of American popular music ≒ Chyasu music played at that clubs, refers to jazz but encompasses all kinds of non classical Western music from swing jazz to French chanson to Argentine tango Growth of camps number of performances increased growth of professionalism in business and performance Preaudition agency, creation of show troupe (ssyodan): singers, orchestra, dancers and other performers Competition between performers Hierarchy among the bands: 鍖oor bands (part of ssyodan), house bands (committed to a particular club), open bands (playing in private clubs) Different kinds of the scenes: migun mudae American military scene, ilban mudae General public scene
  • 6. 4. Pioneers of Rock and Fatherland Modernization ≒ The typical rock band formation: Beatles or the Rolling Stones style a vocal group (pokol kurup), since these band did their own singing ≒ Korean Pioneers of Rock: Add Four led by Shin Joong Hyun (debut Lady in the Rain), Key Boys by Kim Hong Tak and Yun Hang Gi BUT: - Still US Military camp shows did not do much to win Korean audiences. Only small number of people could understand rock - Limited places to listen to the music (umak kamsangsil, camps, clubs) - Rock as novelty, singing all songs by the group and playing at the same time. - Needed more time (later in 1960s and 70s Korea began to open up to American popular culture during modernization period)
  • 7. 5. Bridge: The Boy in the Yellow Shirt Han Myong Suk Que Sera Sera the song as the opening tune of modern Korean pop Son Sok U wrote The Boy in the Yellow Shirt, a jingle for the New Era.
  • 8. 6. Modernity Glocalized: Kayo Meets Pop Modernity is inherently globalizing misleading. It can be interpreted as a weak version of cultural imperialism; global modernization means homogenization, or more speci鍖cally, Westernization of non-Western cultures (p.209) AS an alternative approach is to focus on the local end of the process *Park Chung Hee used to refer to his political vision as glocalized democracy, which turned out to be an extreme deviation from the stated ideals of Western liberal democracy
  • 9. 7. Kayo and Rock 70s While kayo and pop were competing against each other for mass media spots and larger venues, rock was steadily gaining ground as an underground club culture ≒ Kayo indicated the national origin of certain musical styles rather than the nationality of the composer or performer. Migun Mudae (US military scene) musicians spread fast through mass media created a new trend of Korean popular songs kayo ≒ Rock: Beatles + the Rolling Stones + The Ventures + The Beach Boys Number of places to hear music grows: music cafes, music salons, Myongdong and GI clubs in Itaewon BUT still little public attraction Era of festivals and contests (obsessed by long hair, recreational drug use, antiauthority attitude etc. liberals called it youth culture)
  • 10. 7. Crackdown on Decadent Culture and the Go-Go Midnight Revolt Park Cheong Hee regime against vulgar (chosok) and decadent (toepye): Inspection changbal tansok for hair and skirts length Popular music purge campaign to liquidate the legacy of Japanese colonialism by wiping out the corrupting waesaek (Japanese in鍖uence) on Korean popular music Promoted wholesome songs konjon kayo Government control over popular music, censorship of broadcast, performance, 鍖lm and audio recording. Banned around 223 Korean songs and 261 Western pop songs between 1965 and 1975 Festivals and concerts were canceled, hemp control By 1972 loud and noisy rock almost disappeared from the downtown live music salons survived in go-go clubs (kogojang)
  • 11. The problems of Rock: ≒ Aesthetics of rock limited ≒ Lack of musical originality or creativity Shin Joong Hyun was able to spread rocks push to the national mainstream because of his fame as the creator of soul kayo. Famous song Miin but this song was banned https://www.youtube.com/watch?v=Igy88BMm5tA (2006 concert) Shin Joong Hyun organized a new band called Yoptchondul (songs included Western rock beat + karak traditional Korean melody) 7-2. Crackdown on Decadent Culture and the Go-Go Midnight Revolt
  • 12. 8. Rock the Nation: Con鍖icting Visions of the Imagined Community Assasination of Park Chung Hee in 1979 Second wave of rock together with new generation raised under American hegemony Musicians began to add more a nationalist 鍖avor to their music (as Shins experiment with Miin) the line between alien and national had already been blurred Rock music and other American cultural imports were not imposed but more or less spontaneously accepted and glocalized by the Koreans themselves. ≒ Eight beat go-go rhythm, nasal voice drips ≒ Shift from Japanese to American postcolonial patronage. ≒ 1980s decade of Cho Yong Pil Too Short:
  • 13. 9. Conclusion Efforts to glocalize Anglo-American rock: 1st generation (60s ~ early 70s). Vulnerable to the accusation of peddling decandent alien culture because of their US military camp show origin Next generations (mid and late 70s). Rock music came from placed different from US military camps, ex. Colleges, high schools etc. Late 1970 mid 1980s campus group songs