This Month In K-Pop: Body Rights, "Body Party," and the American Frontier

Two of the most fascinating developments in K-pop this past month pertained to Korea's fixations on the body, expression, and control. First was Song Seung Hyun's appearance on the variety show Beatles Code 3D (the Ds standing for "dangerous," "diss," and "direct"), where he revealed he once turned down a deal with K-pop's biggest agency. Now in the pop-punk group F.T. Island, Song declined a contract with S.M. Entertainment while still in middle school as it demanded he "give up the rights to [his] body." Korea's penchant for plastic surgery is by now widely known and documented, but this is a rare, on-the-record indication that certain Korean stars might be legally obliged to undergo whatever cosmetic procedures their talent agencies prescribe (ranging from double eyelid surgery to jawbone shaving, navel realignment, and on). Song's recollection of being selected to audition -- upon getting lost at a fireworks festival and being approached by two women, who snapped his picture and handed him a card -- makes his story all the more striking. [via KpopStarz]

In Korea, such top-down assertions of power over performers' bodies and images are commonplace. Last month we recapped the recent rise in institutional criticism of girl groups' increasingly sexy dance routines; now the Korean Communication Standards Commission (an apparatus of the Korean government, devoted solely to internet censorship) claims it will soon enforce tighter restrictions, citing "complaints from citizens" over recent music videos. On the other hand, struggling girl group Stellar has proven there is indeed a growing market for sexually explicit content in Korea. The "19+" video for their new single "Marionette" coins several awkwardly blunt squatting and butt-scratching dance moves, with one of girls taking a break to dribble milk from her lips down her cleavage (before…bathing in it?). As Jacques Peterson notes, the whole thing somehow winds up feeling none too sexy, but for all its nerve it racked up 2.1 million views in barely a week -- irresistible numbers for any underperforming, hugely expensive K-pop act. It'll be interesting to see how the tension between Korean government strictures and market demand plays out in the coming weeks. [via allkpop]

"Marionette" is just one recent reminder of the lengths a Korean pop act will go to earn and keep their celebrity. Perhaps the least scrutable of late is Loen Music's trailer for the rookie girl group Bebop, in which three young women slap each other to the point of bloodshed in what is apparently a competition to be the group's "leader"; it's been reported that they in fact sustained over 100 actual slaps to film the promo. Meanwhile, the hugely popular solo singer IU spent her February taking reprieve from the rigorous demands of her media agenda, saying that "it's been a long time since I last ate without guilt" and resolving to "take pride in my increasing weight." She however concluded by reassuring fans, "Don't worry. No matter what happens, in March I will lose all that weight and return to my original state." [via allkpop]

Promises of K-pop's American takeover have lingered since Psy made major inroads in 2012 (and began as early as the Wonder Girls' 2009 alliance with the Jonas Brothers, of all people), though in lieu of further radio hits it seems K-pop's top brass is deploying a grittier ground strategy. Newcomer Krowdpop has just managed the remarkable feat of raising well over $450,000 to get boy band Teen Top big venue gigs in New York, LA and San Jose later this month. Given that Teen Top is well-known but far from Korea's most household name, Krowdpop's success suggests there might be something to their crowdfunding model.

The real shocker, though, is that Korean media company KBS and the LA Korean Society have convened to organize a free K-pop concert at the LA Memorial Coliseum—capacity 100,000. While big ticket K-pop shows can pull paying audiences not far from that figure in places like Hong Kong (as SM Entertainment's family tour did in November), this will be the biggest K-pop concert in history, and even a free event in the heart of North America's Korean community seems ambitious. But who knows: the show boasts some heavy-hitters, including 2PM, SISTAR, CNBlue, and personal favorites SHINee and Girl's Day. The concert takes place on April 12. [via allkpop]

As for the hits…

Ladies' Code - "So Wonderful"

Classic disco orchestration, Jamerson-worthy basslines, and a nod to the Wonder Girls remind that sophistication is K-pop's strongest suit.

TVXQ - "Heaven's Day"

A genealogy: Mike Will flips 1996 bass anthem "My Boo" for Ciara's "Body Party" last March. Decade-spanning K-royalty TVXQ like what they hear, jacking its chords and sheen for "Love Again" on January's Tense. Said album's success warrant an immediate "repackage" the following month (common practice in Korea), which includes Chang Min's solo feature "Heaven's Day"—a further reduction of the template. This time, it sounds his own.

2NE1 - "살아 봤으면 해 (If I Were You)"

The new album from Asia's most notorious girl group is their best by far, but nothing tops "If I Were You." Like a K-pop take on Etta James, this gorgeous torch song blends sidelong string arcs with lyrics koan-like in their careful balance. They've never sounded better.

Jakob Dorof is on Twitter -- @soyrev