The international strategy for Korean pop music: what makes K-pop listed on Billboard Hot 100?
2023; Taylor & Francis; Volume: 29; Issue: 5 Linguagem: Inglês
10.1080/13602381.2023.2207412
ISSN1743-792X
AutoresHyeseon Hwang, Ingyu Oh, Paul Lopes,
Tópico(s)Migration, Ethnicity, and Economy
ResumoABSTRACTABSTRACTBased on a sample of most popular 300 K-pop songs between 2009 and 2021, we investigate why only 44 of them were listed on Billboard Hot 100 despite K-pop’s global popularity in terms of YouTube viewing clicks, streaming revenues from digital music platforms and international album sales. In tandem with the failure to receive any Grammy award by BTS even as their six songs had eventually made to the top position on the Hot 100 chart, the symbolic capital of K-pop in the US music market is all but reticent. Using the bootstrapping method based on the Process macro model for serial mediation effects, we find that the K-pop idol system (or the production system in Korea) negatively mediates the correlation between creative outsourcing and the rankings of Billboard Hot 100 and Spotify. However, signing contracts with global music labels positively mediates the same correlation. We provide implications of these findings.KEYWORDS: K-popBTSBillboard Hot 100value chainsymbolic capitalidol system AcknowledgmentsWe thank Fei Li and Lynn Pyun for their valuable help with data collection and statistical consulting.Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsHyeseon HwangHyseon Hwang is a PhD candidate in Sociology at the University of Seoul.Ingyu OhIngyu Oh is Professor of International Business and Cultural Studies at Kansai Gaidai University, Osaka, Japan. Many of his books and journal articles deal with East Asian corporate governance, knowledge management and business culture. He is Managing Editor of Asia Pacific Business Review.Paul LopesPaul Lopes is Professor of Sociology at Colgate University. His research focuses on innovation and diversity in American art and mass media. He has published three books: The Rise of a Jazz Art World (Cambridge, 2002), Demanding Respect (Temple, 2009), and Art Rebels: Race, Class and Gender in the Art of Miles Davis and Martin Scorsese (Princeton, 2019).
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