Plus Magazine

| Written by Lee Seungwon (Editor for the music webzine IZM)

Music and broadcasting have shared an indissoluble bond since their inception. Broadcasting, inherently a visual medium, has actively incorporated music as an auditory component. Yet, the interplay between pop music and broadcasting transcends mere utilization, evolving into a deep symbiosis that has substantially broadened each other's roles and influence. Music, leveraging the broadcasting medium's outreach, has managed to more directly permeate public consciousness. Conversely, broadcasting has been enriched and enhanced through its integration with popular music. The inception of MTV, ushering in a new epoch for both broadcasting and popular music, undeniably underscores the profound mutual impact they share.

In South Korea, the simultaneous emergence of pop music and broadcasting highlighted their symbiotic relationship in a more pronounced way. The country's public broadcast channels prominently featured music ranking shows, among other musical programs, establishing them as a key component of the broadcasting sector. This was complemented by the proactive engagement of popular music and artists within a wide array of non-musical programs. A notable example is the variety show ＜Infinite Challenge＞, which, through its unique music festivals and various projects, not only spotlighted indie musicians but also played a pivotal role in bringing quality music directly to the masses. It wouldn’t be an exaggeration to say that in this context, pop music and broadcasting went beyond mere collaboration to achieve a harmonious fusion.

Particularly noteworthy is the launch of Mnet, a channel dedicated to comprehensively covering music. Its establishment significantly influenced the national music scene. Mnet didn't just provide a platform for various artists to showcase their talents; it also arranged a wide array of music-centric programs. This approach brought a fresh dynamism to the world of popular music, allowing innumerable artists to use this platform as a springboard, thereby richly embellishing the tapestry of popular music with their artistic endeavors.

In this context, the rise of audition and survival programs, starting with ＜Superstar K＞, marked a seismic shift in the Korean pop music industry due to their immense popularity. Specifically, the ＜Superstar K＞ series played a crucial role as a gateway for gifted artists, revitalizing the music industry while also igniting a nationwide frenzy for audition-based programs and elevating interest in the pop music scene. The impact of the hip-hop survival series ＜SHOW ME THE MONEY＞ was particularly tangible. It not only revitalized South Korea's hip-hop culture, which was once considered a subculture, but also became a pivotal force in shaping the genre and advancing the broader field of popular music. Furthermore, the ＜Produce 101＞ series and similar idol group audition shows became key channels for funneling new talent into K-POP. Through these programs, Mnet has profoundly influenced the entire landscape of popular music, endowing artists with a narrative dimension through their broadcast journeys.

The Generational Shift Induced by ＜BOYS PLANET＞

Annually, survival programs ignite fervor, and in 2023, this trend continued with Mnet's captivating survival shows striking a powerful chord in the music and pop culture realms. At the forefront this year was ＜BOYS PLANET＞, broadcast to widespread acclaim early in the year. This boy group audition program, a sequel to the 2021's ＜Girls Planet 999: The Girls Saga＞, concluded with resounding success, potentially triggering a significant butterfly effect in the K-POP industry.

As the talents discovered through the ＜Produce 101＞ series have been dominating K-POP in recent years, similarly, the debut of ZEROBASEONE, formed on ＜BOYS PLANET＞, garnered immense attention from K-POP fans. Their inaugural EP [YOUTH IN THE SHADE] achieved a remarkable milestone, selling 1.24 million copies on its first day and setting a new record in K-POP history as the first debut work to reach million-seller status upon release. This achievement surpassed previous records for debut sales by a K-POP group. Their follow-up release, [MELTING POINT], also reached double million sales from the outset, continuously injecting fresh momentum into the pop music scene with its sustained popularity.

The debut of ZEROBASEONE extends beyond mere commercial triumph. Their emergence marks a pivotal moment, signaling the onset of the fifth-generation idol era, especially during a period where boy groups have faced challenges, ushering in a wind of change.

The defining distinction between fifth-generation boy groups like ZEROBASEONE and their fourth-generation predecessors lies in their innovative approach to music. Similar to how fourth-generation girl groups like NewJeans, IVE, and LE SSERAFIM crafted a trend-setting, accessible sound and image, ZEROBASEONE and their contemporaries aim for a sound that's both modern and approachable, seeking a deeper connection with the audience. This strategy marks a significant departure from the methods used by earlier boy groups such as Stray Kids and ATEEZ, both in their outward presentation and underlying principles.

ZEROBASEONE's musical approach mirrors that of NewJeans in their [NewJeans 2nd EP 'Get Up']. Starting with ‘In Bloom,’ which integrates speedy drum and bass evoking the style of the British singer-songwriter PinkPantheress, to ‘CRUSH’ that infuses the directness of Jersey club music while accentuating a more masculine tone, and moving to ‘Take My Hand,’ which overlays dreamy melodies on top of UK garage beats, they consistently utilize breakbeat rhythms. This strategy not only adds a unique freshness to each track but also significantly boosts their widespread appeal.

RIIZE, another group representing the fifth generation alongside ZEROBASEONE and hailing from SM Entertainment, follows a distinct yet fundamentally similar path. Their primary aim is to resonate with the audience through highly accessible melodies and familiar rhythms, showcasing their intention-driven musical direction. The use of real instruments, such as the guitar in their debut track ‘Get A Guitar’ and the saxophone in ‘Talk Saxy,’ enhances the directness of their music, opening doors to attract new fans. This approach significantly diverges from the tactics of their predecessor group NCT, who combined psychedelic tones, electronic elements, and intense rap to captivate their audience, further accentuating the distinction in their styles.

Leading the charge into the fifth generation, BOYNEXTDOOR adopts a more explicit strategy. Their name, ‘BOYNEXTDOOR,’ symbolizes their philosophy of closeness and accessibility to their fanbase. Consistent with this belief, they craft melodies that are easy to relate to, avoiding complexity in their sound. Their lyrical approach also sets them apart from mainstream boy groups, as they emphasize sincerity and a conversational tone, significantly enhancing their relatability. This method, while traditional, offers a breath of fresh air in the rapidly evolving K-POP landscape.

Amidst K-POP's unprecedented girl group dominance, there is growing intrigue about whether these boy groups, with their public-friendly tactics, can spearhead a significant generational transition. There's a heightened expectation to see if they will succeed in carrying the mantle for boy groups, a challenge that has been daunting for some time, especially in the wake of the fifth generation's momentum sparked by ＜Boys Planet＞.

Once more, it's a showdown among the queen bees. ＜Street Woman Fighter 2＞ and the Surge of Challenges

Succeeding ＜Boys Planet＞, which subtly opened new avenues in K-POP, came the follow-up to the landmark 2021 dance program ＜Street Woman Fighter＞, aptly named ＜Street Woman Fighter 2＞. This sequel brought the vibrant culture of dance to the forefront of the public eye, showcasing fiery competitions among dance crews, including challenges for the underdog, hierarchical missions, and expansive mega crew missions. The show’s intense narrative, captivating performances, and dynamic stages delivered an exhilarating experience to the audience, sparking yet another surge in the ‘SWF’ phenomenon.

This fervent wave was reincarnated as a ‘challenge’ once more. Central to this new challenge was the song ‘Smoke (Prod. by Dynamic Duo & Padi)’ by Dynamic Duo and Lee Youngji. The track, animated by Gaeko's compelling voice, spurred dancers to execute performances brimming with precision and vigor. A multitude of participants joined in the challenge, propelling its popularity to over 600 million TikTok hashtag views by the end of December, demonstrating the sustained heat of this trend.

This dynamic series of events is not unprecedented. The overwhelming response from the public to dance survival shows has a relatively recent history. One of the earliest instances was with David Guetta's ‘Hey Mama (Feat. Nicki Minaj & Bebe Rexha & Afrojack)’ in ＜Street Woman Fighter＞. Nicki Minaj's formidable rap and Bebe Rexha's mesmerizing vocals resulted in dynamic performances that swiftly grabbed viewers' attention, sparking an enormous challenge frenzy. The fervor was so intense that it dominated a wide range of broadcast shows and digital platforms.

In the same vein as ‘Smoke (Prod. by Dynamic Duo & Padi)’ in ＜Street Woman Fighter 2＞ and ‘Hey Mama (Feat. Nicki Minaj & Bebe Rexha & Afrojack)’ in , the key track of ＜Street Man Fighter＞ was ZICO’s ‘New thing (Prod. by ZICO) (Feat. Homies)’. With the audience already acquainted with ‘Hey Mama’ and ZICO's ‘Any Song’ challenge, they enthusiastically embraced the sophisticated performances of the dancers. This momentum propelled ‘New thing (Prod. by ZICO) (Feat. Homies)’ to become one of the top hits of the year, establishing ZICO's approach as a gold standard in dance challenges.

The reason why dance survival shows consistently ignite such massive excitement, and what sets challenges like these apart from others, is rooted in the nature of the broadcast itself. The viewers get an in-depth look at the dancers' process of creating their performances, the fervor of competition, and the behind-the-scenes dynamics. This exposure draws the audience in, enabling them to concentrate more deeply, engage more fully, and participate more actively in what they see. The broadcast infuses the visuals and performances with a sense of liveliness and authenticity. In a time when the mode of music delivery is just as crucial as its quality, the role of broadcasting as a conduit becomes pivotal, making it more accessible and relatable to the audience.

This year, building on the past, broadcast programs and K-POP have continued to feed off each other, injecting fresh energy, fostering deeper understanding, and culminating in extensive harmony. It’s likely that our unwavering anticipation and desire for the narratives K-POP, broadcasting, and mass media will weave together in the next year and far into the future stem from this very interplay.  

※ Manuscripts from outside writers may not reflect the editorial direction of this magazine.