Seo Taiji 1992-2004: South Korean popular music and masculinity (my master's thesis)
© Janet Hilts 2006 - please note: this is not the final version of my thesis.
Upon meeting Chae-tol for the first time, I knew he was different. I suspected this simply because he was a Taiji fan, actually a mania [1], at the young age of 19. Before meeting him, I had already interviewed Yun-hûi twice and in some way, she had influenced my thinking about Koreans of Chae-tol’s generation. She did not have a very positive view of the generation younger than hers, often typecasting them as superficial and “anti-PC”―uninterested in social issues such as feminist issues, or gender identity issues, or pretty much anything she felt was important. In Chae-tol I found a teen much more similar to Yun-hûi than the picture of Korean youths she presented, and I was pleasantly surprised. In fact, I liked Chae-tol very much almost right away, and during our first interview together secretly wished I were ten years younger so we could perhaps become friends.
In Chae-tol’s talk, we see an unbridled but intelligent enthusiasm and joy for Taiji and his music. He was also very enthusiastic and happy talking about the social issues Taiji has tackled over the years, even gender issues. We also see how Taiji has been a guide for Chae-tol since he was very young, and as Chae-tol has gotten older, his passion for Taiji’s alternative or progressive image and ideas has informed how he has conceived of himself.
I met with Chae-tol in person twice, in a coffee shop when he was on March Break (he was attending high school in a town in eastern Ontario). Chae-tol was very passionate and highly articulate about Taiji and his relationship to him as a star and to his music. Chae-tol had given a lot of thought about why he liked Taiji and what aspects of Taiji he should emulate in himself. Chae-tol was not so much interested in being cool, as we might assume a younger fan of a pop superstar might be, as in carefully considering how Taiji might help him find a better way to live and how he could learn from Taiji. (Of course, being a Taiji mania was also a lot of fun). Like Kang-t’ae, Chae-tol’s talk also shows that he conceives of himself as an alternative or different person, much like he viewed Taiji.
Excerpt 1 shows how Chae-tol began his talking about Taiji with me on the first day we met. He jumped right in to tell me his story of being on TV impersonating Seo Taiji when he was in grade one. This story is intriguing because it literally and metaphorically shows how from a very young age, Chae-tol has conceived of himself in relation to Taiji. His enthusiasm and joy recalling this experience bubbled to the surface. Because I knew as soon as I had met him he was very similar to me—reserved and a little shy—I knew this enthusiasm was special, not something he would dish out about something he might soon forget or that did not really matter a lot to him. For this reason, I began to pay close attention to Chae-tol’s joy and enthusiasm in his communication. This continued as he talked and at the end of excerpt 1, we can see how his enthusiasm almost overwhelmed him as he tried to communicate to me everything he felt. In excerpt 2, and mid way through excerpt 1, Chae-tol speaks about how early on he began to conceive of himself as a little different from his peers and that continuing to like Taiji set him apart.
Like Kang-t’ae, he communicated that Taiji was central to how be began to conceive of himself as a critical, thinking person, one way that he felt he differed from his peers. When Chae-tol talked about becoming concerned and interested in social and political issues (the Korean education system, Korean unification and other issues) his eyes were shining. Although he did not talk with his hands much and generally sat still, his alert posture, almost constant eye contact and smiling indicated his energy and enthusiasm. In fact, Chae-tol expressed to me that his critique of the Korean education system, which he first began to think about after hearing Taiji’s song “Kyoshil Idea” (“Classroom Idea”) (1994), was so passionate that he successfully convinced his parents to let him come to Canada to attend high school. This example, among others such as striving to be a perfectionist (excerpt 3) or his interest in studying innovative marketing strategy, indicate how Chae-tol conceives of Taiji as a type of guide whom he has tried to emulate in an alternative way. It is important that gender issues, specifically feminist influenced ideas, work into how Taiji has influenced Chae-tol’s conception of himself. Chae-tol’s enthusiasm, joy and intensity coloured even his communication about gender issues. When Chae-tol spoke about the song “Victim” (2004) he resonated considerable energy and excitement (see excerpt 4). In fact, I was a bit taken aback by his articulateness and confidence. This, plus the fact that he brought up the topic all on his own, indicated to me that he had given the song “Victim” and its introduction tract “Nothing” considerable thought and the issue in the song (discrimination against females in Korean society) was something that interested him and that he was knowledgeable about. In addition, during out first meeting, Chae-tol had expressed some dissatisfaction over his father’s gender discrimination against his sister, whom his father would not let come to Canada to attend high school because she was a girl.
Chae-tol’s talk shows us that like Kang-t’ae, his prescription to hegemonic ‘normative’ masculinity is destabilized. Chae-tol’s apprehension about normative South Korean masculinity is linked to his passions and joy in emulating Taiji and his excitement to learn from Taiji’s progressive songs, such as “Victim” or “Classroom idea.” Perhaps by emulating Taiji so closely and so passionately, Chae-tol cannot but subscribe to an alternative masculinity. This is because Taiji himself is positioned as an alternative man, partly through his pro-feminist song “Victim” and partly from his asexual and androgynous image and his lack of participation in military conscription and marriage/normative family life upon which South Korean hegemonic masculinity depends. Ultimately, Chae-tol’s excitement, passions and joy for Taiji help him to envision other ways for Korean society and even for himself to be. Being a fan of Seo Taiji has helped Chae-tol to form himself as a Korean who acknowledges and is concerned about gender discrimination.
[1] The term mania is a Korean-English term that refers to a Seo Taiji fan who is a very serious fan, perhaps active in organized fan activities.
In Chae-tol’s talk, we see an unbridled but intelligent enthusiasm and joy for Taiji and his music. He was also very enthusiastic and happy talking about the social issues Taiji has tackled over the years, even gender issues. We also see how Taiji has been a guide for Chae-tol since he was very young, and as Chae-tol has gotten older, his passion for Taiji’s alternative or progressive image and ideas has informed how he has conceived of himself.
I met with Chae-tol in person twice, in a coffee shop when he was on March Break (he was attending high school in a town in eastern Ontario). Chae-tol was very passionate and highly articulate about Taiji and his relationship to him as a star and to his music. Chae-tol had given a lot of thought about why he liked Taiji and what aspects of Taiji he should emulate in himself. Chae-tol was not so much interested in being cool, as we might assume a younger fan of a pop superstar might be, as in carefully considering how Taiji might help him find a better way to live and how he could learn from Taiji. (Of course, being a Taiji mania was also a lot of fun). Like Kang-t’ae, Chae-tol’s talk also shows that he conceives of himself as an alternative or different person, much like he viewed Taiji.
Excerpt 1 shows how Chae-tol began his talking about Taiji with me on the first day we met. He jumped right in to tell me his story of being on TV impersonating Seo Taiji when he was in grade one. This story is intriguing because it literally and metaphorically shows how from a very young age, Chae-tol has conceived of himself in relation to Taiji. His enthusiasm and joy recalling this experience bubbled to the surface. Because I knew as soon as I had met him he was very similar to me—reserved and a little shy—I knew this enthusiasm was special, not something he would dish out about something he might soon forget or that did not really matter a lot to him. For this reason, I began to pay close attention to Chae-tol’s joy and enthusiasm in his communication. This continued as he talked and at the end of excerpt 1, we can see how his enthusiasm almost overwhelmed him as he tried to communicate to me everything he felt. In excerpt 2, and mid way through excerpt 1, Chae-tol speaks about how early on he began to conceive of himself as a little different from his peers and that continuing to like Taiji set him apart.
Excerpt #1
Ct: (When I was) seven, Seo Taiji was very popular for entire Korea. Basically in all sections. I, actually, was on TV [Oh!]. (He laughs, smiling) I did a … what’s it called . . . Celebrity, what’s it called [I dunno]. Cover performance?
J: Oh you mean you were on TV acting like Seo Taiji?
Ct: Yes! (He smiles a lot). My mom bought me the same clothing, and taught me how to dance exactly the same way so I was on TV for that. And (laughs) it was really exciting. (Smiling). All of my albums, my father bought me. [Oh!] Ya. And, every time he got a new album, after he went to work, he brought me the album. That cycle, he (Taiji) was hiding and then come, back, hiding and then come back [right]…Ya. So for my second album, all of my cousins and my friends also liked Seo Taiji so, but 3rd album was kind of a changing point, my friends kind of didn’t like the rock parts, and the topics that he dealt with in this album were kind of heavy for grade 2-3 students (laughs, big smile) but I still liked it. And the 4th album was the biggest shock, shock for me. First his appearance had changed, longer hair, with weird sunglasses I didn’t realize it was him when I first saw him on the comeback home show. [Ah]. It was the Come Back Home album it was the first time that I heard (laughs, big smile) gangster music. Yes, it was very so (looks amazed. Shaking his head a bit) … Yes.
J: When were you on television?
Ct: When I was 7. First album. (Big smile, laughing)
J: So your parents liked him.
Ct: Yes. My parents actually totally supported me and even went farther, like Seo Taiji mania, ya. So. …
J: Your parents would have been in their 30s?
Ct: Ya. And. There are too many things to tell you !! (Laughs, big smile).
J: Yes (smile).
Ct: it’s like 13, 14 years of experiences and [I know!][…] Ya that’s ah… (thinking carefully). There are too many aspects, ah, too many stories, to many, ah, ideas, that I have about his music! (Big smile).
Excerpt #2
Ct: There are a few reasons (why I like him so much) but the reasons have been changed. First he was just shocking and interesting. Second was, he was just really popular, with his second album, he was really popular so [with everybody] yes with everybody, so it was more like follow the masses. [Right]. And third album, people started to leave, him. I was more like, more like intrigued. I dunno. I dunno why but, at the age of 10, I was thinking about the problem of the Korean education system (big smile, we laugh together). I dunno, with his music, somehow he taught me, through his music those issues are important. (Smiles). So I started to think about the reunification of North and South Korea, and other problems, ya. And, after that, I also liked, his marketing strategy, not only his music. He is really skilled at, when to come on strong, and, … when to pull back. Maybe also that’s why I want to go into business. [Oh!]
J: So through his songs, even at a young age, you became interested in social issues, from his songs.
Ct: Yes…
J: What kind of marketing do you want to do. Do you want to work in the entertainment field, or not marketing, but business?
Ct: I’m not sure now but I’m more interested in like, media and entertainment, advertising, stuff like that.
Like Kang-t’ae, he communicated that Taiji was central to how be began to conceive of himself as a critical, thinking person, one way that he felt he differed from his peers. When Chae-tol talked about becoming concerned and interested in social and political issues (the Korean education system, Korean unification and other issues) his eyes were shining. Although he did not talk with his hands much and generally sat still, his alert posture, almost constant eye contact and smiling indicated his energy and enthusiasm. In fact, Chae-tol expressed to me that his critique of the Korean education system, which he first began to think about after hearing Taiji’s song “Kyoshil Idea” (“Classroom Idea”) (1994), was so passionate that he successfully convinced his parents to let him come to Canada to attend high school. This example, among others such as striving to be a perfectionist (excerpt 3) or his interest in studying innovative marketing strategy, indicate how Chae-tol conceives of Taiji as a type of guide whom he has tried to emulate in an alternative way. It is important that gender issues, specifically feminist influenced ideas, work into how Taiji has influenced Chae-tol’s conception of himself. Chae-tol’s enthusiasm, joy and intensity coloured even his communication about gender issues. When Chae-tol spoke about the song “Victim” (2004) he resonated considerable energy and excitement (see excerpt 4). In fact, I was a bit taken aback by his articulateness and confidence. This, plus the fact that he brought up the topic all on his own, indicated to me that he had given the song “Victim” and its introduction tract “Nothing” considerable thought and the issue in the song (discrimination against females in Korean society) was something that interested him and that he was knowledgeable about. In addition, during out first meeting, Chae-tol had expressed some dissatisfaction over his father’s gender discrimination against his sister, whom his father would not let come to Canada to attend high school because she was a girl.
Excerpt #3
We are listening to the album Live Wire (2004)
Ct: Number 9 and 12 connect really well. [Number 9 and number 12 connect really well?] Yes. When we play them, they are exactly the same way. He builds them bit by bit. How can I say? When I work, I try to do, I try to, this type of art, or something I’m working on. [Ya]. Even though I’m doing a little homework, I try be perfect on my work. So he makes sure all of his songs are perfect. He’s a perfectionist [Yes]. And I try to follow that characteristic of Seo Taiji, perfectionist. Everything I make I want to make it very good quality. I don’t really have any relationship with other manias. In Canada. I am more solitary, as I also was before (smiles, I laugh a little). But after ah, his website was built, I did many mania activities. Now I am doing ah, ah, developing a Seo Taiji copy band [oh, cover band]. Yes, cover band. So that’s what I’m going to do this summer.
Excerpt 4
We are listening to the Live Wire album (2004) again
Ct: Victim is about more like gender issues. (Laughs points to track 3, “Nothing”) this one is interesting, it’s a bridge [this one like an introduction to “Victim”]. Yes. Interview some people on the street. And it’s about a Korean man. He is a Korean man (the man talking). He says… he says, “what about, ah, women’s rights in Korea, they already have lots of rights.” But on the next track, he Seo Taiji kind of counter argues [ah] the, that they don’t have, enough rights. Right? [Uhuh] (Talking very excited and interested in this, bright eyes, looking right at me). So ah… I don’t know for your essay are you looking at this kind of gender issues, discrimination?
J: For one part [yes] I am. I am looking at this song (I point to Victim) [ya]. But I am also interested in the music, the sound of the music, and issues of gender, not just the lyrics. [Yes]. Like, style and sound, and the sounds of voices. [Yes].
Ct: It is really hard to get what he is saying in it … the lyrics are not, ah straight [yes]. Even for Korean people we have to think about it, interpret.
Chae-tol’s talk shows us that like Kang-t’ae, his prescription to hegemonic ‘normative’ masculinity is destabilized. Chae-tol’s apprehension about normative South Korean masculinity is linked to his passions and joy in emulating Taiji and his excitement to learn from Taiji’s progressive songs, such as “Victim” or “Classroom idea.” Perhaps by emulating Taiji so closely and so passionately, Chae-tol cannot but subscribe to an alternative masculinity. This is because Taiji himself is positioned as an alternative man, partly through his pro-feminist song “Victim” and partly from his asexual and androgynous image and his lack of participation in military conscription and marriage/normative family life upon which South Korean hegemonic masculinity depends. Ultimately, Chae-tol’s excitement, passions and joy for Taiji help him to envision other ways for Korean society and even for himself to be. Being a fan of Seo Taiji has helped Chae-tol to form himself as a Korean who acknowledges and is concerned about gender discrimination.
[1] The term mania is a Korean-English term that refers to a Seo Taiji fan who is a very serious fan, perhaps active in organized fan activities.
Previous posts
- [ch. 1] conclusion
- CHAPTER 2: Talking about Seo Taiji, popular music ...
- [ch. 2] Popular music and gendered meanings
- [ch. 2] Popular music and gendered meanings cont.
- [ch. 2] Taiji and gender 1
- [ch. 2] Taiji and gender 2 & Conclusion
- Vignette # 2
- CHAPTER 3: Alternative masculinity through Seo Tai...
- [ch. 3] Vocal sound and gender
- [ch. 3] Seo Taiji & Boys’ soft, slow songs