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chaj · 5 years ago

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Western reactions to K-pop, the acceptability of racist Asian jokes, and the perceived threat of Asians

Source: Big Hit Entertainment

This is a guest article by EC

Follow EC on Twitter at @ececlulu

The first time K-pop boy group BTS performed in America was on their show, American Hustle Life, where members “worried they wouldn’t find 200 fans to fill the venue” they were tasked to perform at in 2014 (Billboard).

Two days ago, BTS performed live at the annual Dick Clark’s New Year’s Rockin’ Eve’ to millions of viewers and rang in the new year in America. Yet, Andy Cohen and Anderson Cooper of CNN chose to comment on how they were “lackluster”:

“I mean…here’s the deal. We gotta get real. We just saw BTS, we think they were phoning it in.” — Andy Cohen (2:06:46 on the countdown here)

All while BTS was still performing on stage.

I wasn’t surprised. Disrespect towards Asian artists isn’t new in the United States. Unfortunately, informed by a history of devaluing and antagonizing Asian work, Western reactions to K-pop haven’t been as accepting as media outlets have made them out to be.

Creator Ethan Klein of H3H3 Productions has never been one to shy away from controversy, especially on Twitter and his H3 Podcast series.

Indeed, when Blackpink came up in “The Most Liked Music Videos” segment of YouTube Rewind 2019, Klein commented:

“I don’t like K-pop, I hate K-pop. I don’t get BTS. They look like — They’re just a bunch of — How did this become a thing in Western culture? Where all these grown men and little girls are jerking off to little k-pop boys. It’s like a little fetish. It’s like a little tw*nk gay fetish about these k-pop boys.” — Ethan Klein, H3 Podcast #164 (25:45–26:10)

#h3h3isoverparty trended on Twitter almost immediately after the episode’s release. K-pop fans criticized how Klein characterized them as “little girls,” emphasizing the diversity of the fandom. Other fans called Klein out for xenophobia and homophobia.

Klein did not take the criticism seriously. In response, he tweeted:

My message to K-pop fans: Lighten up nerds, it you can't handle your hobby being made fun of a little bit then you are really are just a bunch of little girls jerking off to kpop boys.

— @h3h3productions

To the rest of the world, this may be easily brushed off as just fandom drama. Yet on a deeper level, Klein’s comments reflect troubling stereotypes. His comments add to a history of Western racial humor typecasting, antagonizing, and devaluing Asians — normalized by comics, presenters, and public figures.

We’ve seen it before. 2016, on the Oscars stage: Chris Rock’s tasteless skit involving Asian children, ironically after criticizing the Oscars for lacking diverse representation (Vanity Fair). 2017, from the Chainsmokers: member Alex Pall joking about not bringing his dog to China in a Chinese interview (Mashable). 2018, in a comedy podcast by then-to-be-SNL member Shane Gillis (he got fired for this segment): “Why do the fucking ch*nks live there?” when discussing reasons for disliking Chinatown and Asians (Vox). 2019, in an unaired “America’s Got Talent” segment: Jay Leno’s tired joke about Koreans eating dog meat (NBC). All perpetuate damaging, xenophobic stereotypes about Asians. All portrayed as harmless humor.

There’s a lot to criticize in K-pop. Fancam spamming, cultural appropriation, sex crimes, etc., the list goes on and on. But stereotyping groups and the industry as a whole isn’t productive.

Categorizing something as humor can be extremely effective at perpetuating harmful stereotypes.

After all, the easiest response to someone taking offense is to counter: “it’s just a joke!” It’s an easy way to absolve the speaker of responsibility. Suddenly, it’s the listener’s fault for getting offended; they’re too sensitive, or too slow, or just unable to take a joke.

Now, imagine you’re at a bar. Or in an auditorium. Or at the Oscars. Or wherever you’re among an audience where there’s more than just you listening. I don’t know how many times I’ve kept quiet because everyone else around me is laughing.

Here’s the thing, though: not everything that elicits laughter is a joke.

There are good-natured jokes, and then there’s just plain old mockery.

If we look at racial humor, Yumi Nagashima, for example, incorporates lots of stereotypes about Asian women in her acts. Hasan Minhaj bases material on his Indian family and identity all the time. Misha Han, Joel Kim Booster, and more do similar things. But these comics incorporate stereotypes effectively. Often, their jokes are funny because their punchlines subvert what the audience expects according to their preconceived notions. Or, they attest to a universal experience between them and their audience. Most importantly, their jokes effectively provoke an examination of relevant social dynamics. Take one of Hasan Minhaj’s jokes: “Americans hit on the arm and bruise the body…Indians slap on the face and bruise the soul.” This plays on the stereotype of Asian parents utilizing corporal punishment, but consider the “bruise the soul” part. The joke prompts reflection — how and why does corporeal punishment bruise the soul? There’s an implied statement on the Asian practice of corporal punishment and how it affects children’s development here.

But where’s the punchline with the Asian jokes mentioned earlier in this article? Is joking about Asians eating dogs going to make Asians and Asian Americans listening reflect upon their dog-eating habits? No, because most of us don’t. Eat. Dogs. And even if we did, why is a joke about Asians eating dogs more acceptable than a joke about Westerners eating cows or pigs? We have to acknowledge the inherent cultural bias in these hackneyed comments about Asians consuming dogs. (See a great article about the double standard here).

Cheap shots like this only serve to denigrate Asians and Asian Americans. Like Klein’s and Gillis’s segments, their comments are mere bashing. Once called out, they attempt to mitigate reactions by characterizing their comments as humor. So why did they consider their comments acceptable in the first place?

The fact that racist Asian comments are considered acceptable says something about how Asians are viewed in the United States. Think model minority. We’re meek, submissive, quiet. We’re followers, listeners, takers of what we can get. We don’t complain about what we can’t get.

First, how problematic is it that this is considered what’s “model”?

Second, this makes us an easy target. Mockery works best when it’s one-directional.

The portrayal of Asians as meek and submissive has special implications for Asian men. As Klein echoed in his comments about K-pop, Asian men are effeminate, weak, and only desirable as fetish symbols.

Now, calling a star “gay” isn’t a new comment in pop culture. Justin Bieber, One Direction, and countless other young male stars have been insulted in a similar fashion online. Once these insults are levied at stars of Asian descent, however, racial implications are emphasized. To call a man “gay” and a “tw*nk” suggests emasculation and effeminacy, reflecting Asian stereotypes perpetuated by early racial theorists. Assistant Professor at Lebanon Valley College, Julia Meszaros, sums it up well in a HuffPost article:

In order to “prove” to the world that colonialism was indeed a “civilizing” mission, Western theorists utilized discussions of others’ aberrant sexualities to justify their interventions abroad. As white Europeans colonized large swaths of Asia, white masculinity was posited as the apex that men could potentially reach. Asian men were placed on the opposite side of the spectrum and constantly portrayed as feminine and weak in the face of European conquerors. The colonial stereotypes regarding Asian men’s femininity continue to inform our current racial stereotypes. — Julia Meszaros, HuffPost

The stereotypical portrayal of Asian male stars isn’t new. Psy, when Gangnam Style became popular in the United States, received similar emasculating comments. In an analysis of Western media coverage of K-pop published by the University of Chicago, author Jenna Gibson notes that:

In addition, even supposedly positive appearances brought with them problematic stereotypes that likely colored the view of K-pop among readers or viewers. Particularly when discussing Gangnam Style and Psy, articles often described him as unattractive, chubby, and quirky, exoticizing and ultimately dismissing supposedly shallow Asian pop culture, as well as feeding into problematic stereotypes of hilarious but ultimately emasculated Asian men. — Jenna Gibson, University of Chicago

Here, we see a conflict between Western media’s desire to take advantage of the hallyu wave and its inability to tell informed, aware stories because of internalized biases. K-pop’s ability to generate buzz and conversation is undeniable. This is why there’s been a surge in news outlets covering K-pop and celebrities dropping K-pop names to attract views and clicks. And by the nature of media, there’s nothing wrong with that. What’s wrong is relying on clichéd stereotypes to frame commentary. Stereotypes that inform judgment.

Klein likely meant to generate controversy with his comments, not attack a whole racial group — he’s basked in the attention that fans on both sides have given him in the past few days. Yet no matter the intentions, the result is the same, and it again reflects upon how casually racism against Asians is accepted in the Western world today.

Furthermore, we can differentiate between standard anti-pop reactions and anti-Asian reactions by identifying an anti-Asian narrative painting Asians as alien and not belonging. About K-pop entering the US, Klein exclaims, “how did this become a thing in Western culture,” exasperated. Here, BTS and K-pop are portrayed as infringing upon “Western culture.” Subtext: they don’t belong — they shouldn’t belong. Klein’s comments, while reflecting standard anti-pop reactions combined with emasculating stereotypes against Asian males, also reflect another troubling angle on Asians: that they are somehow threatening to the Western status quo. It isn’t hard to draw a parallel between this stance and Yellow Peril, emphasizing again just how racially charged Western reactions to K-pop are.

Yellow Peril, a racist term originating from the 19th century, describes the existential threat that Asians pose to Western culture and lifestyles; it was popularized as Asian workers began to immigrate to the West. Economically, Westerners feared that Asians workers, who often worked for much lower wages, were undercutting native workers and stealing their work. Sexually, racial theorists painted Asian men as predators of white women and Asian women as hyper-sexual and submissive. Politically, Asian immigrants were seen as potential security threats and carriers of communism. These stereotypes combined built up the metaphor of Yellow Peril, which informed legislation such as the Chinese Exclusion Act and race riots such as the Chinese massacre of 1871. The depiction of Asians and Asian forces as threatening continues to exist and inform action in today’s society. White flight, when white people move out en mass out of ethnicized suburbias, often comes from fears that their children will be unable to compete with minority children in public schools. We see headlines about China encroaching on trade almost every day. And online, anti-Asian rhetoric festers in forums, posts, and social media.

Western society fears Asian improvement. It tells the Asian individual, yes, pull yourself up by the bootstraps enough so that he/she can be used as a model, an example, but never pull yourself up high enough to threaten existing power structures. Racial rhetoric places Asians as a convenient separator between white people and other minorities. The perceived success of Asians is used to delegitimize struggles faced by other ethnic groups; at the same time, Asians are still not welcomed into spaces traditionally inhabited by whites. The integration of Asians occurs when it only reinforces traditional hierarchies.

Pop music is not just a cultural export but also part of Korea’s economic engine. As K-pop songs begin to hit the US iTunes and Billboard charts, and as BTS begins to perform on shows such as New Year’s Rockin Eve, SNL, and GMA, the potential of K-pop unseating American pop (and by extension, Asian culture becoming more present in Western culture) becomes very real. This perhaps explains why as the Western music market has clamored to profit off of K-pop, they’ve carved out a niche for it instead of integrating it into the existing system. Despite high chart positions, K-pop songs are rarely played on radio. The VMAs were criticized for singling out K-pop as a category this year. Washington Post has called this “separate but equal” (Washington Post). And Klein’s comments, in an attempt to minimize the perceived threat of K-pop, infantilizes its fans and emasculates its idols.

BLACKPINK (Source: udiscovermusic)

It’s interesting to note that Klein’s first reaction, upon seeing a BLACKPINK music video, is to comment upon BTS’s entry into the US and not BLACKPINK’s. First, BTS is the representative group to Westerners right now. But beneath that, BTS is a male k-pop group, and in our examination of reactions to K-pop, we cannot ignore the implications that gender may have. Different stereotypes of Asian men and women likely inform differing reactions to K-pop groups as well. Asian women have been historically stereotyped as submissive and compliant. Yet Asian men, on the other hand, have been also stereotyped as predatory to white women: Asian men are a threat to dirtying or contaminating the purity of the white race, as perpetuated by Hollywood and WWII-era propaganda. Emasculation is a solution, as is redirection. Comments describing Asian men as asexual or gay invalidate their supposed sexual agency against white women, and these stereotypes may explain why Asian men are often seen as the least desirable type of partner. Steve Harvey utilized a punchline in 2017 based on the idea that finding Asian men attractive is amusing (Hollywood Reporter). Data from Yahoo! Personal in the 2000s showed that “more than 90% of non-Asian women said they would not date an Asian man” (Sage Journals). And 10 years later, OkCupid’s data shows Asian men rated lowest by women on their platform (OkCupid).

Pop culture has fed into this stereotype. As Eddie Huang from Fresh Off the Boat wrote in a New York Times opinion piece:

“The structural emasculation of Asian men in all forms of media became a self-fulfilling prophecy that produced an actual abhorrence to Asian men in the real world” — Eddie Huang, The New York Times.

Keeping Asian men undesirable proves beneficial to non-Asian men, as non-Asian men will never be the “most undesirable one.” An ego boost of sorts. However, K-pop’s popularity proves that Asian men can be attractive in the West, thus threatening this dynamic between Asian men and non-Asian men. Deconstruct further and we return to the concept of Yellow Peril, of restricting the spread of Asian culture, ideas, and genes. To racists, with K-pop, as masses of female, white fans begin to find Asian men worthy of idolizing, the popularization of Asian men connotes not just a cultural takeover but perhaps a racial takeover as well.

K-pop has continued to break boundaries anyways — groups playing major stadiums, BLACKPINK headlining Coachella, NCT 127 appearing on major talk shows — so I’m optimistic. Ironically, growing up, I don’t think my friends or I have ever been questioned for idolizing white pop stars as Asian Americans. Our favorites: Taylor Swift and One Direction. Neither have Western stars ever avoided the Asian music markets. Linkin Park, Beyoncé, Avril Lavigne— all have toured China in the last decade. Dua Lipa just attended MAMA 2019. And arguably, collaborations between K-pop stars and Western artists can be seen as attempts to capitalize upon K-pop’s popularity as much as they can be seen as attempts to penetrate a Western market. It’s just that Western reactions to K-pop can be informed by Western stereotypes against Asians.

I think back to when I went to Poptopia this year, when NCT 127 played last. Fans called out 99.7, the organizer, for letting NCT 127 apparently headline while other artists such as Halsey and Lizzo were not headlining.

Fans Expressing Their Discontent (Source: Facebook)

In reality, Halsey and Lizzo played the longest sets. NCT 127 only played four songs: Cherry Bomb, Regular, Superhuman, Highway to Heaven. Yet during the break between Lizzo and NCT 127, I watched as throngs of attendees streamed out of the stadium, leaving only a sea of fans holding green lanterns in front.

As a family passed by, I overheard the son asking, “Mom, is the concert over?”

“It’s over, we’re going home,” she answered decisively, while the son looked back at the fans congregating in the front.

Attendees were still streaming out as NCT 127 danced to Cherry Bomb. Less than half of the floor and 100s sections stayed. I couldn’t stop thinking about how disheartening it must be to dance to a leaving audience. Of course, not being able to finish watching the concert could be attributed to other things. Needing to rise early for work or wanting to avoid the traffic, for example. But secretly, I griped about attendees not being able to stay for just 15 more minutes out of respect for a new group. It seemed to me that they weren’t taken seriously because they were new, they were Asian, and that they were foreign. Like the CNN comments. It’s true that Cohen and Cooper might not have found the performances engaging. But to criticize on live national television, while the group was still performing in the background, conveys a fundamental level of disrespect.

Perhaps, the question isn’t if K-pop is ready for the United States, but if the United States is ready to accept K-pop as legitimate.

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CNN, H3H3, and BTS: The West’s Disrespect of Asian Artists was originally published in Plan A Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.

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chaj · 5 years ago

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2019 was an interesting year. I returned in the middle of the year or so. I had to go back through tweets to find it. But there it is.

You might remember that I stepped back from the site about a year ago for personal stuff. Well, I got bored so I’m coming back starting July. Be prepared. – Chris (@wakesidevision)

— Korean Indie (@koreanindie) June 27, 2019

Honestly, I don’t know if coming back was positive or negative but I do enjoy writing about Korean music. So here’s my list of favorite albums of the year. As per usual, this isn’t in any order, but more of free-flowing, beer-enabled list of the music that I thought was awesome.

Oh Chill : Oh, Two Animals

I’ve been waiting for Oh Chill‘s full length for a long time. Since I listened to their first EP, saw them in Seoul, and then in San Francisco, they’re one of the bands that just continually impress.

The full length blew me away and continues to be one of the most played albums this year. Also “On and On,” the closer for the album might also be my song of the year. This album will be a classic.

Love X Stereo : 37X and 37C

I remember when Annie told me about their plan for 37. Externally, I was 1000% behind the idea of 37 songs in a year. Internally, my thought was “you guys are fucking crazy.” They launched their Patreon and got to work. It’s taken longer than originally planned but 37X and 37C showcase the best of Love X Stereo.

From their origins as a three-piece to their work as a duo, their work ethic resulted in a portfolio of work that they should be proud of. With the 37 Project completed, I’m really curious where they plan to move now.

CHS : Jungle Sauna

I don’t know if Apollo 18 is resting in peace since the members are off in different projects. But Hyunseok‘s return with psychedelic surf rock was surprising. I wonder if he matured beyond the post-rock and shoegaze and wanted something a little more laid back. That said, Jungle Sauna isn’t something you’d expect and that’s what makes it so amazing.

Big Phony : The Silent Motto

I admit, I’m biased with Big Phony. He’s an artist that I have a tremendous amount of respect for and try to push through the website as much as I can. His music has always had an important place in my heart. Also my mom loves him and made meeting him her goal when she came to SXSW years ago.

While he might not release as much “official” music, Big Phony is an important marker in Korean music and should be celebrated more. The Silent Motto released unexpectedly but is an important discography release as it marks the thoughts and emotions at that specific time. I like that Biy Phony releases demos of his work alongside his official releases because it shows the progression of his music.

THE SILENT MOTTO by Big Phony

Bosudong Cooler : yeah, I don’t want it

I listened to Bossudong Cooler‘s EP a lot. But it wasn’t until an Angle Magazine YouTube video that my interest really sparked. Funny enough, the song they play is a cover.

Either way, Busan’s music scene is thriving and there are a lot of bands. Bosudong are unique and have a signature sound. The EP setup a lot of expectations, let’s see if they deliver with what comes next.

Gumiho : Gumiho

I love punk rock and I love pretty much 99% of the punk rock that I can find from South Korea. Gumiho recorded their debut very cheap and it shows in the audio. But that shit quality also captures the raw energy of the band.

If you want polished punk rock, get the fuck out. Gumiho is keeping punk rock going and now they have more to prove (and hopefully a higher budget) for their next release.

Hunjiya : Look After August

A couple (or few) years ago, Hunjiya sent an email introducing her music. I thought it was a good start for an artist. A couple (or few) years later, she releases Look After August and I don’t know what or how she improved so much.

Hunjiya is part of a group of Korean American artists that I consider to be the upcoming generation that will define what music will be. Once Western media gets past her “Korean” base level and really drill down into her music, she could be a pop star for the young internet-connected generation.

Jambinai : Onda

It feels like there are more “music ambassadors” for indie music. Jambinai are definitely part of that group. They constantly tour Europe and with Onda, expanded their sound to become even more sonically aggressive while introducing a new angle to their music. Each release is better than the previous and with a permanent rhythm section, the band will definitely go even harder.

I wonder if they will have time to write a new EP or album or will spend most of 2020 touring. Honestly, with all the work European labels are doing with Korean bands, US-based labels need to get off their asses and start reaching out, signing distribution deals, and getting more bands in the US.

Cacophony : [夢] Dream

I’m super late to Cacophony. I think I only found out about her through a suggested YouTube video. She made a video for every song on Harmony and I continue to listen to both albums daily.

I’m not sure why her music is so addictive to me specifically. It’s all good, but her songs stick in my head. I probably won’t get to reviewing her music this year, but on my list for early 2020.

Post written by Chris P for Korean Indie.

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