What Was “Pop” in Korean Pop Before the K-pop 1964–1987?
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Before K-pop emerged as a global phenomenon, the term pop in South Korea is often assumed to have referred mainly to Anglo-American music. Yet between the mid-1960s and mid-1980s, pop (p’ap) and pops (p’aps) were also widely used for domestically produced music. This study examines how pop was defined and debated in a rapidly developing South Korea by analyzing media discourse and musical practices of the time. Two case studies anchor the discussion: Jo Dong-jin (Cho Tong-jin) and Lee Sooman (Yi Su-man), both linked to the influential Orient label. Cho later founded Hana Music and Yi founded SM Entertainment. Despite their contrasting aesthetics and strategies, both companies shared common roots until the early 1990s, when globalization and digitalization reshaped the industry. Today they seem worlds apart, yet enduring personal and professional ties reveal subtle but lasting imprints on K-pop’s texts, discourses, and practices.
Abstract
Before K-pop emerged as a global phenomenon, the term pop in South Korea is often assumed to have referred mainly to Anglo-American music. Yet between the mid-1960s and mid-1980s, pop (p’ap) and pops (p’aps) were also widely used for domestically produced music. This study examines how pop was defined and debated in a rapidly developing South Korea by analyzing media discourse and musical practices of the time. Two case studies anchor the discussion: Jo Dong-jin (Cho Tong-jin) and Lee Sooman (Yi Su-man), both linked to the influential Orient label. Cho later founded Hana Music and Yi founded SM Entertainment. Despite their contrasting aesthetics and strategies, both companies shared common roots until the early 1990s, when globalization and digitalization reshaped the industry. Today they seem worlds apart, yet enduring personal and professional ties reveal subtle but lasting imprints on K-pop’s texts, discourses, and practices.