All the sixteen statements were found to be highly reliable. A total of 207 samples were collected, and data taken from the respondents were processed with factor analysis, reliability test, descriptive statistic test, and multiple regression tests to obtain results. At the end of the survey, fans were also asked to rate their general satisfaction of K-pop music. Fans were asked to rate sixteen statements in terms of how likely each statement describes the reasons they like K-pop music. An online survey form was generated and posted on the social media. A quantitative survey was tested on K-pop music fans to find how these factors affect the fans' general satisfaction. The original contribution of this paper is to identify a list of success factors of K-pop music and to validate the reliability of the factors identified. Korean ‘sasaeng’ is the epitome of the fan culture’s worst nightmare that broke free. On top of that – they are completely out of the ways of lawful punishment. They are more than just that, they can enter idols’ houses, steal their possessions, take photos, leave bloody letters and chase after idols’ cars. This behavior, although specific is not the worst – this area belongs to ‘sasaeng’, the extreme, violent and completely out of control group of stalkers. Fans prefer their idols to have romantic relationship between group members more than with some outside girl who is not them. South Korea has the problem of accepting homosexuality and the only area where it is fully embraced, is fanfiction writing and ‘pairing’. This leads to creating inter-band pairs being the main pillar of existence for many female fans. Whenever caught in the lie, idols need to apologize for having someone other than fans. Fans, especially female fans, treat their idols as their possessions, belonging to them and them only, and real life relationships of idols are either discouraged or hidden. Korea that a public person has no personal life. The possessiveness of fans, their oppressive attitude towards artists, and the demanding nature of fan circles can all be derived from the deeply rooted idea in S. South Korea, however, generated country’s own fan culture that, in its extremist behavior, is far beyond any other fandom. The basics of fan culture are virtually similar everywhere, be it Europe, South America or China. As every music genre, it has its own fandom, albeit divided in two: domestic and international. In this essay, the term will serve almost exclusively as the synonym to ‘Korean music’. In recent years ‘Hallyu’, that is ‘Korean Wave’, has been sweeping across the globe. It also concludes that the consumers of K-pop have effectively been conditioned to expect certain behaviour from their chosen idols and agencies as they derive enjoyment from the capitalist venture of purchasing and supporting them – as the theory of cultural industry identified in the 1940s. This dissertation concludes that the K-pop industry makes no effort to hide its purely capitalist motivation, and that its success is based primarily on such business decisions. It also identifies how Lee Soo-man’s practice of “cultural technology” became the blueprint for the K-pop industry as a whole in the early 2000s, leading it to reach substantial international success by the end of the decade. These examples include several groups, but primarily the three founders of the three most successful K-pop production houses. It draws on theories of cultural commodification, the reduction of art into a product and the standardisation of popular music using selected key examples in K-pop itself. It argues that K-pop is not only a perfect fit for the Frankfurt school’s theory, but a continuation of it in a manner that was not predicted. The aim of this dissertation is to identify how the theory of cultural industry applies to the Korean pop music industry.
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