The birth of "Rok": Cultural imperialism, nationalism, and the glocalization of rock music in South Korea, 1964-1975

Positions

Volumn 18, Issue 1, 2010, Pages 199-230

  Kim, Pil Ho ^a   Shin, Hyunjoon ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 77952171887     PISSN: 10679847     EISSN: 15278271     Source Type: Journal    
DOI: 10.1215/10679847-2009-028     Document Type: Article

References (52)

1. Shin Joong Hyun, Shin Joong Hyun Rock (Seoul: Tana, 1999), 79
2. For Japan, see Mamoru Toya, Shinchougun Kurabukara Kayougokuhe: Senkp Nihon Popy- ura Ongakuno Reimeiki (Tokyo: Mimizu Shobo, 2005), chap. 5; for Korea and Taiwan
3. see Hyunjoon Shin and Tunghung Ho, "Translation of 'America' during the Early Cold War Period: A Comparative Study on the History of Popular Music in South Korea and Taiwan," Inter-Asia Cultural Studies 10 (2009): 83-102
4. Oliver Boyd-Barrett, "Media Imperialism: Towards an International Framework for the Analysis of Media Systems," in Mass Communication and Society, ed. James Curran, Michael Gurevitch, and Janet Woollacott (London: Edward Arnold, 1977), 116-35
5. John Tomlinson, Cultural Imperialism: A Critical Introduction (London: Pinter, I99I), 34-41
6. Roger Wallis and Krister Malm, Big Sounds from Small Peoples: The Music Industry in Small Countries (London: Constable, 1984)
7. Andrew Goodwin and Joe Gore, "World Beat and the Debate about Cultural Imperialism," Socialist Review 20:3 (I990): 63-80
8. Tyler Cowen, Creative Destruction: How Globalization is Changing the World's Cultures (Princeton, NJ: Princeton University Press, 2002), 21-29
9. David Thornsby, "The Music Industry in the New Millennium: Global and Local Perspectives," in Global Alliance for Cultural Diversity Division of Arts and Cultural Enterprise (Paris: UNESCO, 2002), tables 3, 7; Cowen, Creative Destruction, 8
10. see Jonathan Culler, On Deconstruction: Theory and Criticism after Structuralism (Ithaca, NY: Cornell University Press, 1983), 86
11. Simon Frith, introduction to World Music, Politics, and Social Change, ed. Simon Frith (Manchester, U.K.: Manchester University Press, I989), 1-6
12. Dave Laing, "The Music Industry and the 'Cultural Imperialism' Thesis," Media, Culture, and Society 8 (I986): 331-41
13. Luciana Ferreira and Moura Mendoza, "The Local and the Global in Popular Music: The Brazilian Music Industry, Local Culture, and Public Policies," in Global Culture: Media, Arts, Policy, and Globalization, ed. Diana Crane et al. (London: Routledge, 2002), I06
14. See also Motti Regev, "Rock Aesthetics and Musics of the World," Theory, Culture, and Society 14 (1997): 125-42
15. Pak Ch'anho, Hangup Kayosa (Seoul: Hyǒnamsa, 1992), 221
16. Roald Maliangkay, "Supporting Our Boys: American Military Entertainment and Korean Pop Music in the 1950s and Early 1960s," in Korean Pop Music: Riding the Wave, ed. Keith Howard (Kent, U.K.: Global Oriental, 2006), 2526
17. Tommy Shim, e-mail interview by Hyunjoon Shin, September 2, 2002
18. Pisogǔi yǒin: The Add Four First Album (LKL: LKL 1014, 1964)
19. Shin Joong Hyun, interview by Hyunjoon Shin, August 13, 2002
20. Ko Ǔn, "Kasu Han Myǒng-suk," in Maninbo, vol. 23 (Seoul: Ch'angjakkwa Pip'yǒng, 2006)
21. Anthony Giddens, The Consequences of Modernity (Stanford, CA: Stanford University Press
22. Tomlinson, Cultural Imperialism, 140-72
23. Frederick Buell, National Culture and the New Global System (Baltimore: Johns Hopkins University Press, 1994), 72-123
24. Pradip N. Thomas, "An Inclusive NWICO: Cultural Resilience and Popular Resistance," in Beyond Cultural Imperialism: Globalization, Communication, and the New International Order, ed. Peter Golding and Phil Harris (London: Sage, I997), 163-74
25. Arif Dirlik, The Postcolonial Aura: Third World Criticism in the Age of Global Capitalism (Boulder, CO: Westview, 1997), 84-101
26. Roland Robertson, "Glocalization: Time-Space and Homogeneity-Heterogeneity," in Global Modernities, ed. Mike Featherstone, Scott Lash, and Roland Robertson (London: Sage, 1995), 28-29, 38-40
27. George Ritzer, "Rethinking Globalization: Glocalization/ Grobalization and Something/Nothing," Sociological Theory 21 (2003): 193-209
28. 21.Jan Nederveen Pieterse, "Globalization as Hybridization," in Featherstone, Lash, and Robertson, Global Modernities, 45-50
29. Globalization and Culture: Global Mélange (New York: Rowman and Littlefield, 2003)
30. Arjun Appadurai, Modernity at Large: Cultural Dimensions of Globalization (Minneapolis: University of Minnesota Press, 1996), 32-43
31. Also known as ppongtchak, trot refers to a kayo style that typically adopts the so-called yonanuki pentatonic scale, duple time, and some characteristic vocal techniques. Because of its roots in yuhaengga during the colonial period, trot's relationship with Japanese enka music has always been a contentious issue. See the chapters by Young Mee Lee and Gloria Lee Pak in Howard, Korean Pop Music
32. Sunday Seoul, May 4, 1969
33. For the Japanese group sounds, see Shuhei Hosokawa et al., eds., A Guide to Popular Music in Japan (Tokyo: IASPM-Japan, 1991), 15
34. The print media at the time wrote extensively about this cultural phenomenon. Also, Ch'oe Songwon of the 1980s seminal folk rock band Tulgukhwa reminisces at length about his experience with the Korean counterculture. See Hyunjoon Shin, Hanguk P'abǔi Kogohak 1970 (Seoul: Han'gil, 2005), 254-57
35. For a brief description, see Okon Hwang, "The Ascent and Politicization of Pop Music in Korea: From the 1960s to the 1980s," in Howard, Korean Pop Music, 37-42
36. 30.For an overview of censorship and kǒnjǒn kayo, see Roald Maliangkay, "Pop for Progress: Censorship and South Korea's Propaganda Songs," in Howard, Korean Pop Music, 51-54
37. see Roy Shuker, Popular Music: The Key Concepts (London: Routledge, 2002), 20-21
38. 36.Ilgan Sǔp'och'ǔ December 21, 1975
39. See Maliangkay, "Pop for Progress"
40. Shin, Hanguk P'abǔi Kogoha\ 1970, 191-95
41. 40.Shin, Han'gu\P'abǔi Kogohak 1970, 209-15
42. Sunday Seoul, February 28, 1971
43. Chong-sik Lee, Japan and Korea: The Political Dimension (Stanford, CA: Hoover Institution Press, 1985), 45, 109-110
44. The origin of Park's militarist nationalism can be found in his Manchukuo experiences. See Suk-Jung Han, "Those Who Imitated the Colonizers: The Legacy of the Disciplining State from Manchukuo to South Korea," in Crossed Histories: Manchuria in the Age of Empire, ed. Mariko Asano Tamanoi (Honolulu: University of Hawai'i Press, 2005)
45. For gunka, see Junko Oba, "To Fight the Losing War, to Remember the Lost War: The Changing Role of Gunka, Japanese War Songs," in Global Goes Local: Popular Culture in Asia, ed. Timothy J. Craig and Richard King (Seattle: University of Washington Press, 2002)
46. Young Mee Lee, "Nǒdo nado irǒna pyǒngyǒ ng kukka kakkuse," Hankyoreh 21, February 2,2005
47. Shin Joong Hyun, Shin JoongHyun Rock, :49-53
48. Tomlinson, Cultural Imperialism, 68, 92-93
49. Young Mee Lee, "The Beginnings of Korean Pop: Popular Music during the Japanese Occupation Era," in Howard, Korean Pop Music
50. Eu-Jeong Zhang, "The Quest for Lost Songs: The Formation and Development of Korean Popular Music in the First Half of the Twentieth Century," in Proceedings for the Sangnam Forum International Conference (Seoul: Yonsei University, 2005), 7-13
51. See Suk-jung Han, "On the Question of Collaboration in South Korea," Japan Focus (2008), iapanfocus.org/-Suk-Jung-Han-On-the-Question- of-Collaboration-in-South-Korea
52. Cho Yong-p'il, Nǒmu Tchalbayo/Torawayo Pusanhange (Sǒrabǒl: SLK-1009, 1976)