K-Pop’s Musical Value and Fan Culture Praised, Yet Industry’s Negative Effects Acknowledged

International opinions on K-Pop remain divided. While its value as a musical genre and the strengths of its fan culture are recognized, there are also voices criticizing the systems and practices within the industry. Debbie, a 61-year-old K-Pop fan, wrote in a recent article that K-Pop is a cultural phenomenon comparable to the Beatles, the Grateful Dead, and Taylor Swift, describing it as having different languages, complex musical techniques, addictive melodies, and representing a triumph of social media. Drawing on her experience with various music styles such as 1970s rock and pop, 1980s new wave, and 1990s Britpop, she explained that K-Pop is a hybrid genre that blends rock, hip-hop, and pop into one song. K-Pop has deep musical roots. After American soldiers introduced rock music to Korea in the 1950s, Korean musicians influenced by artists like Michael Jackson and Run DMC in the 1980s now lead the major entertainment companies in Seoul. However, the negative effects of the K-Pop industry are evident as well. Debbie acknowledged criticism stating that fans can be obsessively devoted and that stalker behavior exists, adding that “the industry has a poor reputation. Some individuals, as young as 13 or even younger, undergo 14 hours of intense training per day.” She further noted that “entertainment companies set extremely high expectations, demanding seven-year contracts and, in some cases, requiring artists to undergo plastic surgery.” Nevertheless, she argued that “K-Pop training matches the intensity faced by elite athletes or ballet dancers” and that “K-Pop is an elite creative profession, accessible only to those with the dedication to achieve it.” BTS’s RM offered a deeper perspective on this system. In an interview with Harper’s Bazaar, he said, “The company dislikes when I answer questions about the dark side of K-Pop,” adding that “some journalists will create headlines saying things like ‘RM called it a terrible system that destroys young people.’ But I believe that system played a role in shaping this unique industry in some way.” RM also spoke about the image-management culture in the K-Pop industry. Regarding the tendency of entertainment agencies to present idols as perfect individuals who do not date, smoke, or get involved in controversies, he emphasized the context of Korean culture. “Westerners don’t understand. Korea is a country that was invaded, devastated, and divided. Just 70 years ago, we had nothing—a nation that needed help from the IMF and the UN. But now we have become a country watched by the whole world. How was that possible? How did it happen? It’s because people worked insanely hard to move forward,” he explained. He also mentioned that people from countries like France and the UK, which were once colonial powers, come to Korea and criticize similar “stress.” He added, “But those things are part of what it takes to succeed, and they are also what makes K-Pop so interesting.” RM’s remarks highlight both the intensity and competitive nature of the K-Pop industry while suggesting that it needs to be understood within the historical context of Korean society.