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and put up my hair to try to look much bigger and taller than the japanese she is describing in the language of dignity maintenance the labor of foregrounding a racial visual marker at the appropriate scale for the consuming audience this is technical craft talk not pathos the pathos is that the technical craft talk is required the other half of the minstrelsy connection is on the consumption side and this is the part that doesn t get talked about because it requires acknowledging that the postwar u s army in korea was until 1971 and arguably through the 1980s an institutional environment where the racial logic of the american 1930s was operationally still running the camptown clubs were segregated not by u s military policy truman had ended that but by patronage habit and by korean proprietor preference which produced the same outcome through the marketplace there were all white clubs and all black clubs the women working the bars were classified as white women or black women depending on which clientele they served and a woman who crossed the line was stigmatized by both the gis and the koreans black soldiers complained about lower service quality at all black clubs less favorable locations korean bar owners refusing to play their preferred music or in some cases refusing to serve them at all in july 1971 fifty black soldiers rioted at camp humphreys against the de facto segregation destroyed clubs and got hunted down with sickles by korean residents which forced the eusa s 24th psychological operations detachment to start running educational meetings for the women on how to be less racist toward black gis the remediation strategy for black soldier complaints about segregated clubs and racist korean proprietors was to run psy ops re education programs on the prostitutes etiquette and good conduct training in non discrimination with the bar owners confiscating vd cards until the women completed the meetings this is in katharine moon s archival research from eusa documents so the korean performers and korean sex workers operating in the camptowns in 1965 were working a labor environment where the audience was segregated along the same color line that had defined the minstrel show audience in the 1880s where the right performance of music was different in the white clubs versus the black clubs you played country and pop in one and soul and funk in the other where crossing the line had professional and social consequences and where the institutional referee special services and eusa was running the whole thing on doctrines descended from a specifically american mid century military entertainment culture that itself descended from reconstruction era minstrelsy the korean rock guys who came out of this shin joong hyun pre eminently absorbed the racial coding without ever having to think about it as racial coding because to them it was just the music the americans like segmented into the music the white americans like and the music the black americans like and you played to the room shin s catalog from the late 1960s into the 1970s draws unmistakably on the black american psychedelic soul funk crossover that was getting requested in the clubs that hired him the pearl sisters whom shin produced are doing girl group r b in korean the trot composers i mentioned in the original post who learned their craft as 8th army bandmasters were drawing from the white club country and pop traditions the signal travels the signal doesn t get labeled when the k pop industry of the 1990s and 2000s starts producing what looks to outsiders like a fluent and almost uncanny synthesis of black american r b and hip hop with white american teen pop production techniques and when american critics ask how korea developed this sophisticated racial vocabulary in popular music when there s basically no black population in korea the answer is that the vocabulary was loaded into the institutional memory by forty years of korean musicians playing the segregated camptown circuit learning to do white music for the white clubs and black music for the black clubs and to read the room precisely and the agencies that emerged in 1989 and the early 1990s hired those musicians and those musicians protégés as trainers and producers there s no black population in korea but there was for two generations a black audience in korea organized into specific clubs in specific neighborhoods of specific camptowns and the labor that fed that audience is what the modern industry s r b hip hop fluent production owes its fluency to you can hear it cleanest in the producers who came up working for u s military clients before crossing over the pipeline from itaewon s club scene where yang hyun suk and park jin young came up as dancers in the late 1980s before founding yg and jyp into the corporate styles those agencies later defined is genealogically continuous with the pipeline from the black soldier clubs of tongduchon in 1968 to shin joong hyun s psychedelic funk records of 1973 the institutional space those producers learned in was a space that had been carved out by the u s army s segregated entertainment doctrine which had been carved out by special services soldier show culture which had been carved out by camp show minstrelsy which had been carved out by the original 1830s blackface revue in the bowery same as it ever was etc the deep weird thing about all this and this is what i keep getting stuck on is that the k pop industry as it exists now is the only major popular music industry in the world that absorbed the racial economic logic of the american minstrel show without absorbing the actual american racial demographics that produced minstrelsy korea has functionally no black population and no historical relationship with the african slave trade and no reconstruction and no jim crow and no civil rights movement what it has is the apparatus isolated from the population like a culture sample taken from a host organism and grown in a bioreactor under controlled conditions the output is a music industry that performs a virtuoso black american music idiom for a global audience packaged and sold by an industrial machinery that learned its craft serving white american gis in segregated clubs and that does this with no apparent self consciousness about any of it because the institutional memory was loaded entirely by people who never saw the apparatus from the outside inside the apparatus this is just how you make music you learn the song you watch the customer s face you play to the room the room is in bangkok now or são paulo or riyadh or san antonio but the muscle memory is from tongduchon in 1968 which got it from stuttgart in 1953 which got it from saipan in 1944 which got it from a print run of at ease volume ii that included blackface makeup instructions and the script for a minstrel sketch about january and molasses the apparatus does not know any of this the apparatus has never known any of this the apparatus is a piece of cultural industrial machinery that was built by accident over a hundred and fifty years to do one specific thing produce at scale a charismatic performance of a racially coded musical idiom by performers from a marked group sold to consumers from an unmarked group and the apparatus does not particularly care which marked group is providing the labor or which unmarked group is providing the demand because those are surface parameters the koreans are inside the machine now they built the most efficient version of it ever produced the machine doesn t know who built it kpop korea american empire minstrelsy cultural industries the apparatus does not know what it is materialist scumbag og reminder to go over to the new blog with the old url and follow from there i will reblog the times hear for a few days but then they will stop 7 notes may 14th 2026 open in app facebook tweet reddit mail embed permalink materialist scumbag materialist scumbag the kpop trilogy part 1 okay so the thing people get wrong about kpop consistently is that they treat it as a music phenomenon with weird business practices attached and the more useful frame is a labor system with music attached the analog runs through motown which is closer than people think on its way to the japanese idol system it was explicitly copied from in the late 90s which was itself a post war adaptation of the studio system hollywood abandoned in the 50s when the paramount decrees forced divestiture and the actors got agents and the leverage flipped and what s interesting is that korea in 1997 basically ran the studio system playbook after everyone else had figured out it only works if you can lock the talent up for years before they have any bargaining power which required and this is the part nobody talks about a specific cultural and legal environment where 13 year olds can sign ten year contracts and the enforcement mechanism isn t just the contract but the entire social infrastructure of shame family pressure and you ll never work in this industry again which korea had and america post jackie coogan law didn t the 1997 date is not incidental this is post imf crisis korea which is the critical fact everyone omits the asian financial crisis destroyed the korean economy gdp contracted sharply the won lost half its value the chaebol conglomerates went through forced restructuring under imf terms and the government looked around and said okay we need export industries that aren t just steel and ships and semiconductors what about culture what about the thing the japanese figured out with anime and they literally funded it the ministry of culture set up budget lines they subsidized content creation they built the regulatory framework and this is what s called the hallyu wave the korean wave and calling it a wave is already a misdirection since waves are natural phenomena and this was industrial policy conducted with the same deliberation as park chung hee s steel mills three decades earlier just aimed at a different export category sm entertainment founded 1995 jyp 1997 yg 1996 these are not coincidences of timing these are firms positioning themselves for a state supported export push the way hyundai positioned itself for ship exports in the 70s and the training system the thing westerners find so creepy and alien kids recruited at 11 living in dorms six years of vocal training and dance training and language training and diet monitoring before they debut this is lifted wholesale from johnny s entertainment in japan which drew on the takarazuka revue tradition which was a solution to the specific problem of how do you produce performers reliably in a market where natural talent discovered by a scout produces too much variance for industrial scale content output and the answer is that on top of any discovery you manufacture them the same way you manufacture anything raw material goes in one end a highly standardized product comes out the other and the ones that don t meet spec get discarded along the way the debut rate for trainees at major agencies is somewhere around 1 which functions as a survivorship funnel rather than a talent filter what the agencies figured out that the old hollywood system never quite did is that you can make the fans absorb the labor cost of promotion the streaming manipulation the coordinated voting campaigns the buying in bulk to chart the translating and subtitling and running the international fan accounts this is unpaid marketing labor extracted from a global audience of mostly young women and it s organized with a precision that would make the communist party blush there are spreadsheets there are shift rotations there are metrics dashboards and the product being promoted is simultaneously the object of the labor and the justification for it which is a closed causal loop that functions exactly like religious devotion except the deity is a samsung subsidiary the parasocial mechanics are also not accidental the reason idols aren t allowed to date the reason scandals around dating destroy careers comes down to the agencies correctly identifying on top of any quaint confucian holdover that the product they re selling is the availability of the idol the fiction that the fan could plausibly be the object of the idol s affection and dating confirmed to exist breaks the fiction which collapses the revenue which is why the contracts explicitly forbid it for the first five to seven years and then gradually allow it once the fan base has aged past peak parasocial investment and moved on to the next generation of trainees it functions as a product lifecycle layered over what looks like a career and here s where it gets interesting to me the entire global k pop phenomenon the bts at the un blackpink at coachella the cultural juggernaut that americans started noticing around 2017 and assumed was just korean music got good this is the scaling phase of a 20 year industrial program and the fact that it coincided with tiktok and streaming globalization isn t luck the korean agencies had spent two decades optimizing for exactly the content format short visually intense infinitely repeatable built for fan generated derivative content that those platforms would eventually reward and they did it before the platforms existed because the logic of the product was always aimed at maximum circulatory velocity the comparison i keep reaching for is the british invasion another case of a peripheral country figuring out how to export cultural product to the american market at a moment when the american domestic product was creatively exhausted except the british invasion was a bunch of working class kids who d independently absorbed american blues and rock n roll and spat it back in a form americans couldn t recognize as their own whereas the korean wave is a state industrial project that reverse engineered american teen pop assembly backstreet boys britney the mmc disney pipeline and industrialized what americans were only doing artisanally which is why incidentally american teen pop basically died around 2010 and never came back in the same form americans kept wanting manufactured pop and the korean product was better manufactured cheaper per unit of output and came with a fan labor marketing apparatus the american majors couldn t replicate because american fandom doesn t organize that way and can t because american labor laws and social structures won t produce the kind of unpaid coordinated fan work the korean system runs on american stans will tweet they will not spend their saturday coordinating a streaming farm what s going to be interesting and what nobody seems to be tracking is what happens when the first generation of major agency idols who signed those ten year contracts in the early 2010s age out take their accumulated capital and industry knowledge and start their own agencies because you re already seeing it hybe is partly this various producer led labels are this and whether the se...