Korean K-pop is very famous. As seventh chapter discuss about the music pop culture. The vital pop culture reviewer made a candid declaration in describing Korean K-pop that Koreans are not virtuous in imagination or creativity. According to Hung if Lee is right then the promise about rolling Korea into ‘creative economy’ by President Park Geun-hye’s can result in trouble, because Koreans creativity is not good.
But apart of creativity Koreans are good in business such as in advertising, promotions, and packing. It describes that even in K-pop band Koreans don’t have their own Korean artists for instance, songwriters, dancers. They are inspired from European performances, for example, “K-pop boy bands TVXQ and Big Bang are Europop-influenced acts” (Hong, 2004). The reasons that Koreans don’t have their original bands or teams of pop culture and also for that they don’t have their original sounds (in music) is that the Korean pop scene got a poor start on account of restriction that smothered melodic ability and inventiveness.
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For a basic period during the 1970s, rock music was restricted in Korea. The result in boycott, the Korean pop solid didn’t ingest any impact from entire 1970s sound movement, including “classic rock, punk, glam rock, and heavy metal” (Hong, 2004). In 1972, Park reacted to the risk of attack any responsible ruler would: by restricting miniskirts, long hair on men, rock ‘n’ roll. That practically precluded mods, rockers, and radicals- approaching dangers to national security. Instead of these tactics they also have some rules as if they can’t wear clothes on which English letters are written, otherwise they will get detained and this rule is recalled by Wi Tack-whan, head of the Korean Culture and Tourism Institute. Even, they can’t get guitar with them because they consider it as a weapon. A tragic victim of the bans was Korean psychedelic rocker Shin Joong-hyun, sometimes called the “Godfather of Korean Rock” (Hong, 2004).
Similarly, effectively every significant Korean pop vocalist from the 1950s to the 1980s, Shin figured out how to love to rock by tuning in to the American Powers Korea System (AFKN) radio communicates. Shin was most likely the last provisional Korean pop artist to be known outside his nation of origin. For instance his cover song that viral on social media was in “1970, his cover of Iron Butterfly’s “In A Gadda Da Vida,” a live performance that can be seen on YouTube, is a revelation, sung with more vibrancy than the original”(Hong, 2004). But later, Shin’s work also gets restricted because he refused to write the song for the Park’s government and then they (government) start suppress his songs. This issue goes longer until 1979.
In addition to, Shin said that “he was tortured and put into a psychiatric hospital” (Hong, 2004). Author said that she feels for Shin as when she came to Korea in mid-1980s the music was quite different from K-pop that type of music was very rare even, it doesn’t relate with American pop. Korea had almost no melodic character for a significant part of the twentieth century. Even though in wars, Korean singers became entertainers for U.S. Army.
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