Park jaesang s psy recognition and

Kpop, Tune

Though K-pop, or Korean pop music, sensation Recreation area Jaesang (PSY) was widely acclaimed in his home land of Southern region Korea for a few music documents, concerts, and a few music videos, this individual did not get international recognition until his hit music video “Gangnam Style” was launched on YouTube news. The strange satirical online video became the most-viewed video in the good YouTube, reaching one billion dollars views on Dec 21st, 2012, just over five months following its launch. Then, in June 2014, “Gangnam Style” reached two billion landscapes in just under two years following its discharge.

PSY may be short for “psycho, inch but in respect to Billboard, he is undoubtedly well-versed enough in the business universe, as well as what his market is considering, to “make his individual decisions with no label micromanagement. ” Getting a lead part in the progress “Gangnam Style”, PSY co-directed the video and choreographed the notorious equine dance utilized all during. Though PSY had not introduced many music videos before “Gangnam Style”, he did manage to climb for the top of several music charts in Korea six times over the twelve years of his career, a history that perhaps believed the instant accomplishment of “Gangnam Style” in the area. As for intercontinental acclaim, PSY told Reuters news agency, “The Youtube-video never targeted foreign countries. It was for local followers. The lyrics that play in the video are mainly in Korean, and some nuances within both those lyrics plus the videography that only those fluent in

Korean language culture, especially K-pop, could pick up on. A significant example of this is that PSY chose to consist of several Korean celebrities in the music video, such as the five-year-old dancer Hwang Min Woo from “Korea’s Got Talent”, PSY’s Korean language comedian friend, Noh Hong-cheol, and Hyun-Ah, a K-pop singer from the group 4Minute. Viewers outside Korea which often not have very much experience with Korean popular lifestyle may not recognize any of these celebrities, whose customer appearances certainly are a tradition of sorts that is certainly typical of K-pop.

Because “Gangnam Style” was launched on YouTube, it can be easily distributed outside of Korea and thus pass on internationally to prospects viewers outside Korea in a rather almost no time. It did not become hugely popular around the world immediately after its release, yet once it started dispersing, it succeeded very quickly. Although music online video was primarily released on YouTube (and available for purchase on websites like iTunes), it has become viral therefore easily due to the initial, and in the end exponential, fan base. As Billboard explains, “the greatest adding to factor to ‘Gangnam Style’s’ success had been the followers who developed covers and shared the songs with friends. inches So , not only was PSY’s hit online video distributed as the original contact form, but many parody videos manufactured by fans using their own consider (typically comedic) helped to spread the “Gangnam Style” phenomenon.

Though PSY took an attempt on the accomplishment of “Gangnam Style”, both he fantastic label, YG Entertainment, performed strategically develop the video. While previously mentioned, the background music video comes with several big-name celebrities via Korea, every single with their personal fan-base who the video would automatically appeal to. PSY is already deemed a part of K-pop, so many Korean fans might watch the video, and used by the catchy song and novel choreography that PSY developed, share it with friends equally locally and internationally. They will used a “topical dialogue point”, the Gangnam Region, and the stereotypical, materialistic lifestyle it invokes to grab the interest of the Korean language audience, which will it then spread from internationally.

A particular scene that exceedingly shows the satirical nature of “Gangnam Style” is a mockery of a unoriginal American music video scene in which a artist walks down a confetti-blasted red carpet. In his edition, PSY imitates this whilst walking by using a parking car port with two models at his aspect, being too much blasted with pieces of waste: a touch upon the overly materialistic cultural context encircling the release of “Gangnam Style. ” This scene also serves as among the the cultural hybridity evident throughout the production methods and reception in the video, which fuses American and Korean language culture. From this paper, I actually argue that PSY’s “Gangnam Style” music video is an exemplifying response to today’s globalizing world that actually works within the structure. The video reflects ethnical hybridity, described by Kraidy’s intercontextual theory of hybridity. Because of this hybridity element, the written text appeals to a large number of people inside our current associated with Tomlinson’s complex connectivity, in which it is able to reach many people and thus gain rapid global popularity.

In post colonial time theory, the concept of hybridity offers lent on its own to “many spheres of cultural exploration, theory, and criticism. ” As Kraidy uses the term, “hybridity” mainly pertains to culture, but as well insinuates meanings amongst topics of race, language, and ethnicity. In examining modern-day cultural globalization, Kraidy pinpoints hybridity being a defining feature. The notion of hybridity can be controversial because of its wide variety of uses, initiating controversy about the “meaning, ramifications, and effectiveness. ” In post colonial thought, it might make sense via a historic standpoint that hybridity is oftentimes contested as a result of historic pressure towards sociocultural change, which in turn hybridity symbolizes.

At any rate, according to Kraidy, hybridity has recently become more relevant and visible in intercontinental media and communication research. On a standard, more common level, hybridity has become used to explain “mixed styles and details, ” while on a more extented, yet unusual front, it is theorized as an actual communicative space or practice. Kraidy rejects the use of hybridity as a detailed statement, suggesting instead that this should be considered a communicative practice “constitutive of, and constituted by, sociopolitical and monetary arrangements, inches using circumstance as the driving force. Cross media text messages, as I is going to argue that

“Gangnam Style” illustrates, are the items of “a variety of historical, economic, and cultural pushes whose enmeshments with one another will be as show at local, national, and regional levels as they are obvious globally. ” Hybridity is at the primary of Kraidy’s theory of critical transculturalism, which this individual defines because “a fresh international conversation framework. ” This structure views ethnic hybridization as cultures bonding in both production and reception of media text messaging, with global and local becoming not a dichotomy but mutually constitutive, and where globalization is the site of cultural hybridity.

Thus, in today’s globalizing world, it must be no surprise that hybrid mass media texts are getting to be increasingly more widespread and well-liked. In large part due to their hybridity, most suitable option reach bigger audiences “with minimal expense and risk. ” Furthermore, Kraidy claims that “hybrid cultural forms are not particularité in press globalization. inch He talks about that the omnipresence of hybridity marks “the growing sync of community markets. inches Essentially, cross media texts have been popular to create specifically because of the monetary incentive involved. In a globalizing world, hybrid media may be distributed to a wider basic, meaning better exposure and therefore greater revenue. Instead of producing texts that appeal to one traditions, it would produce more economical sense to create culturally crossbreed texts that appeal into a multitude of civilizations. This includes actually cultures that are different from the those represented in the media object. For example , some American media turns into wildly well-liked overseas between cultures it includes few similarities to, whether the audience values the multimedia for its glance into American life, they will identify with selected aspects, or maybe be interested by the large differences which the media shows. Overall, it really is of financial benefit to make a text that may be received in multiple cultures.

Based on the Atlantic, in South Korea, “The focus on heavy spending, coupled with the countrys really astounding, two-generation growth via agrarian low income to monetary powerhouse, have engendered the country with a great emphasis on work and on aspirationalism, as well as the materialism that can at times follow. ” Gangnam, a district in Seoul, is representational of this materialism, holding several percent of South Korea’s GDP in just fifteen rectangular miles. Adrian Hong, a Korean-American expert, told The Atlantic, Koreans have been kind of caught up with this spending to look wealthy, and Gangnam has really been the leading border of that. inch “Gangnam Style” is PSY’s satirical accept this materialism, poking fun at these people caught up in spending, hoping to make people “laugh like crazy actually in the midst of all this global financial slowdown. inches Thus, his music online video shows that content material of mass media texts themselves can be formed by the position of the economic system, past becoming produced intended for economic profits.

Concurrently, the power of the economy is not the only effect on the production of a cross text. Kraidy proposes an intercontextual theory of hybridity, which cites García-Cancilini’s idea that power does not work only top to bottom, rather electric power relations are interwoven and therefore more effective. Kraidy gives his definition of the intercontextual theory of hybridity as focusing “on the mutually caractère interplay and overlap of cultural, monetary, and personal forces in international conversation processes. ” This theory thus forces past the monetary determinism seated in ethnic imperialism and explains how hybridity serves as a certain talk under which will ideological factors can come collectively under particular contexts. A lot of this paper’s discussion is usually centered on this kind of aspect of hybridity in “Gangnam Style, inches analyzing how a text includes cultures: deliberately, as interpreted by the audience, and simply as a result of the circumstance into which in turn it was made.

What Kraidy details as hybridity is a characteristic of much from the media produced in today’s community, which Tomlinson describes as being laden with “complex connectivity. ” His notion of complex connection is a theory of globalization that clarifies how people recently include begun to communicate and interact inside the global community, doing so in another way from ahead of. Now, Tomlinson argues, the proximity throughout time and space created simply by global modernity (most particularly technology) has brought people in contact who would hardly ever had the opportunity to communicate before, “causing far away events and powers to penetrate the local knowledge. “[25] Although globalization dissolves the securities of area, it offers new understandings of experience in wider-ultimately global-terms. [26]

Tomlinson argues that the complex online connectivity of globalization disrupts the sentiment of “local, inches which in some cases can make it more challenging for people to recognize certain multimedia texts, for example , as totally domestic. Kraidy’s theory of hybridity matches Tomlinson’s talk here, because the globalizing world deepens hybridity to media. As a result of nature of complex connectivity, where connections across time and space will be unavoidable, it has become nearly impossible to designate a text as solely having influence from one specific tradition. Cultures themselves have been hybridized to some extent through the structure of complex connection. Both the volume and content material of information and interactions that individuals can now exchange across time and space “affects peoples perception of personality, the experience of place and of do it yourself in relation to place. “[27] These are generally all aspects of culture, assuming the definition of culture being anything or any way in which persons make sense worldwide. The deterritorialization that occurs in cultural globalization leads to this transformation of culture, as it may travel through Tomlinson’s global world wide web of expansive connections and become continuously created and reformed.

An example of a phenomenon authorized by Tomlinson’s web of connections and inscribed with Kraidy’s hybridity is the Korean language Wave, which in turn “Gangnam Style” is a item of. Having its underpinnings inside the 1990s in Asia, the “Korean Trend, ” or hallyu, is definitely the term at first used by the Chinese press to describe the widespread popularity of Korean well-liked culture beyond Korea. It is just a phenomenon that was initiated and is even now utilized by the Korean government as a device to revitalize the economy. [28] A seven percent damage in GROSS DOMESTIC PRODUCT resulting from the financial crisis of 1998 drove President Betty Dae-Jung to issue his Presidential Déclaration on Culture, which established both the Korea Institute of Design Campaign and the Korea Creative Content Agency. [29] His Basic Law for the Social Industry Promo in 1999 was backed by $148. 5 million from the government. In 2002, 1 . 12-15 percent from the Korean government’s budget was set aside pertaining to cultural development, almost double that of 98 (0. sixty percent), marking an increased purchase in Korea’s economic and cultural long term under Dae-Jung. [30]

Though the Korean Trend originated from and is still affected by the government’s economic reasons, it has just lately evolved from money production through governmental price range support and grants to funding through joint endeavors with international entities and independent makers, like PSY. [31] “The Second Trend, ” or hallyu installment payments on your 0, has become known as the advancement the original Korean Wave via television series to music. Korean put music performers, or “K-pop” singers, create hybrid media that is well-liked both locally and internationally. Chuyun Oh yea describes this kind of hybridity to be “multicultural mutant Koreanness, inch while some European viewers criticize K-pop hybridity as imitating American culture. [32]

Japan popular traditions has also been good in distributing internationally, nevertheless the producers focus on making common products. Korean producers, in contrast, concentrate on creating hybrid multimedia. Hybrid Korean popular tradition, like PSY’s “Gangnam Style, ” works on the intercontinental front and has global appeal for its “Koreanness. “[33] The content is usually local, yet also changes to “the needs and demands of local markets” abroad. “Gangnam Style, inches as I argue, does thus in large part through its copie. [34] Idea reflects glocalization, a 1990’s term it really is a blend of global and localization, defined as “the fact of adapting goods and services that are available all over the world to make all of them suitable for local needs. inches[35] Doobo Shim equates this idea to the practice of hybridity, giving an example of the hybridity expressed when local people “inscribe their particular everyday meaning” into global goods, exhibitions, and styles. [36] This is reflective of Kraidy’s description of hybridity as the ethnic interactions engaged both in the production and reception of a textual content. Once again, generally through their “redaction” (new material followers produce that uses but edits the current content) texts, “Gangnam Style” establishes by itself as crossbreed. [37]

To be successfully sent out internationally, cross types Korean pop culture multimedia are created with all the international target audience in mind, which can be done equally intentionally and unintentionally. This kind of connects to Tomlinson’s idea of intricate connectivity, without the recently created proximity in front of large audiences outside of the domestic sphere, Korean music-video like “Gangnam Style” may not even be accessible to intercontinental audiences, let alone appealing. This kind of proximity “that comes from the networking of social contact across significant tracts of time-space, leading to distant events and capabilities to penetrate our community experience” has been made significantly relevant most recently through the progress the Internet and social media websites. [38] One such platform is usually YouTube, where Korean music videos such as “Gangnam Style” are distributed to the international market. The digital age has provided innovative and effective paths through which Korean popular lifestyle media is usually distributed, which has been key to a global success of hallyu. [39]

Dal Yong Jin and Kyong Yook refer to the success of hallyu 2 . 0, which is characterized equally by Korean language popular culture’s increased recognition and its global reach, to be driven largely because of its the usage into “a social media-driven cultural panorama, ” today’s social mediascape. [40] They cite “Gangnam Style” as the utmost prominent and fitting sort of technology’s importance to hallyu 2 . zero, YouTube and Twitter being the main websites through which the success of the claims increased significantly. An initial spark that seemed to have head out the PSY phenomenon were two twitter posts that mentioned the video, one particular by @WeLoveDara, an abroad K-pop enthusiast, and Scooter Braun, the famous entertainment manager that discovered Justin Bieber. [41] Once “Gangnam Style” became effective on social websites, traditional press forms just like NBC’s Today Show started to feature PSY. Both the new and the older media mixed “expedited a global sensation. inches[42] Thus, not only does the sociable mediascape initially influence fans on its own, nevertheless influence can be compounded by spread around traditional press.

The social mediascape has also afforded fans the means to participate and engage with media. In an interview study of Korean language popular tradition fans carried out by Jin and Yoon, many respondents became fans firstly as a result of user-generated content, especially those who do not speak Korean. Many Korean popular culture, “Gangnam Style” included, are made and sent out in Korean. That means that peer-produced translations and subtitles were required in the propagate of the Korean Wave. [43] Past these products to the multimedia texts, information, opinions, and feelings info were also distributed by users, promoting the Korean Say and making other users conscious of the tradition. One interviewee in Jin and Yoon’s study, a 20-year-old Canadian man, said “Korean products is distributed, and that changes what I am encountered with and the things i may similar to the future Social media is completely changing my encounter through my peers. “[44] Users share and remake the text messages that appeal to all of them. This is exemplified in the case of “Gangnam Style, inches of which followers created many parodies that further made famous the video.

Doobo Shim and Sunlight Jung conducted a study amongst Indonesian K-pop fans, through which YouTube was found as the platform the majority of desirable for accessing K-pop, closely accompanied by Twitter. [45] In recent years, YouTube has been quickly gaining floor in terms of professionalized content that generates revenue for the website and developer alike. It truly is no longer a social distribution that provides exclusively user-generated articles, major entertainment companies possess begun to enter into relationships with Vimeo where advertising and marketing revenues will be split. Major record firms have their very own channels online where their content is usually posted and subsequently can be looked at by YouTube users, to be able “to create synergies in production and distribution. inch[46] As Shim and Jung note, “Gangnam Style” was launched on PSY’s management business (YG

Entertainment)’s official Vimeo channel, which revenues coming from advertisement will be shared among YouTube and YG Entertainment. [47] Along with YouTube, on Fb and Tweets “Gangnam Style” was released to and distributed among K-pop fan sites. This specifically included YG’s other music artist sites, providing an effective distribution platform for the background music video.

These Hard anodized cookware fan sites then helped in spreading PSY’s online video to a larger, international target audience. [48] “Gangnam Style” was exposed to the mainstream, the majority of prominently through fans’ “redaction”, their plagiat and understanding, which add more value and meanings towards the original text message. This makes the text more relatable, approachable, and “interesting and fun to consume. “[49] YouTube, Twitter, and Facebook, the foremost three social systems on which Korean language pop traditions pieces are distributed and shared, will be “reciprocally and organically linked in their improvement of the transnational flows of pop content material through the global marketplace. inch[50] Essentially, all three networks match and assist each other inside the transnational propagate of cultural material, speeding up the accomplishment and total popularization of texts like “Gangnam Design. ” These types of transnational flows of hybrid content through social media cable connections are highly representative of Tomlinson’s notion of complicated connectivity in today’s globalizing globe.

One other journal article, by Jung and Li, analyzes “Gangnam Style” particularly in the framework of the positive effect. They argue that its success was determined by the cooperation of traditional and new media outlets, “the active engagement of global people, the video’s spreadable hooks, a laissez-faire copyright policy, and the music performer PSY’s marketing strategies. “[51] They make reference to first transnational spread of “Gangnam Style” becoming attributed to the translations offered by global K-pop fans plus the Korean diaspora, as well as fan-created content just like reaction movies, parodies, and blogs describing some of the specific Korean traditions behind it. In their “second stage” in the transnational distributed

Shim and Jung note that celebrity describes of the video, mainly on Twitter, and “Gangnam Style”-related videos created by professional entertainers and filmmakers equally marked a “turning point” for its popularity. [52] The “third stage” is seen as mass media endorsement as well as a large increase in the availability of parody videos, especially by YouTube celebrities, users who have countless channel readers and thus, a huge audience. Shim and Jung’s final “fourth stage”, leading up until the date of publication (2014), notes the continuation of the cultural phenomenon’s momentum, while using continual posting of even more PSY concert videos and exponential boost of “Gangnam Style”‘s view count. [53]

Jung and Li state that “Gangnam Style” is “different from the normal K-pop music video, inch attributing their differences mainly to the older, heavyset PSY as the singer, and also its joy, parody, and bizarreness. [54] They clarify that PSY was successful in creating his online video because he catered to the “B-class culture, ” which illustrates lowbrow preference, a “thug” spirit, and rebels up against the “mainstream, inch popular in South Korea due to a rising perception of individuality. Most YouTube users are of B-class cultures, which means they can use “Gangnam Style” because an escape and a social critique during global states, like PSY intended. [55] PSY was also successful because of his decision with YG Entertainment to not implement copyright infringement. This was key in allowing copie and user-created content to grow and thus act as a marketing tool for their first production, leading to financial benefit. [56] Overall, Jung and Li’s examination of “Gangnam Style” offers an objective perspective of how “Gangnam Style” achieved its global popularity and phenomenon status.

Which includes that of Jung and Li, there are several examines of the success of “Gangnam Style, inches specifically because of the modern age, and there are various established communication theories relating to the PSY phenomenon which were extensively explored and created. However , scholars have yet to interpret the music video as a great exemplifying response to some select communication ideas that have been established. In my examination, I get into both the “Gangnam Style” and globalization theory dialogues and attempt to use PSY’s creation as an example to bridge the 2 on a refined level that writers ahead of me have never done. “Gangnam Style” illustrates Kraidy’s theory of hybridity, and thus, critical transculturalism. The rise of social media use in Korean well-liked culture, while described by Kuwahara, Shim, Jin, and Yoon, is an essential impetus that exposed it to these kinds of a large and supportive international audience. I actually argue that this can be representative of a concept Tomlinson referred to in 1999, although before many social media persisted, as “complex connectivity. inch Through the previously discussion of several literatures, My spouse and i connected “Gangnam Style” to established interaction theories and ideas of students. The remainder with this paper will certainly serve as a far more in-depth and detailed exploration of the cable connections made among PSY’s music video and communication theory.

The whole plot as well as the themes operating throughout “Gangnam Style” had been formulated while PSY’s respond to the interpersonal context encircling the video’s production. PSY produced his music video to include sociable commentary, satirizing the widespread materialism prominent in To the south Korea’s Gangnam District. Korean Blogger Jea Kim discussed further towards the Atlantic, talking about the video to be “about how people outdoors Gangnam follow their dream to be one of those Gangnam residents without even knowing what it really means. ” In accordance to her, Koreans are beginning to appreciate they may certainly not actually want to stick to the Gangnam case, and these types of growing unklar feelings are reflected in PSY’s music video. [57] As a quotation states previous in this newspaper, he planned it to get for his fan base in Korea. This explains so why some very certain cultural facets of the video, mentioned before, may be lost on foreign viewers. Although this could seem to be contradictory, the text is still considered hybrid in Kraidy’s conditions, in part mainly because cultures interact in not simply the production from the video, although also their reception. The information is community, but also adjusts to “the needs and requirements of neighborhood markets” abroad, which “Gangnam Style” truly does so in large part through their parodies. [58] By simply getting a closer check out “Gangnam Style”, one can conveniently see the subtext of materialism, which can charm to many people worldwide whether or not they find it just ridiculous, or very relatable, like it is made for a materialistic culture such as the United States.

Each picture of “Gangnam Style” does PSY’s overarching theme of people pretending to be or aspiring being what they are not, he describes himself lounging luxuriously around the beach staying fanned by a beautiful woman, only for the viewers to understand shortly after that he is basically just on the playground. Later, PSY can be spending time in a sauna, between gangsters instead of wealthy business people, and dances on a middle-aged-tourist-filled party coach rather than in a swanky, expensive club. All the while, PSY is wearing elegant clothing and strutting around, seemingly getting involved in Gangnam stereotypes at first look, but turning out to actually be taking part in lower-class, more “common, ” and fewer materialistic actions. Thus, this kind of theme is straightforward to relate with for the previously talked about “B-class” viewers on YouTube. Making use of the earlier observed concept which a hybrid text such as “Gangnam Style” could be successful amongst cultures which might not be similar to individuals part of the text, some civilizations or international locations without much materialism may nonetheless find the video appealing pertaining to other reasons. Since the video is hybrid, there might be many ways the fact that audience interprets and loves the text. At a most elementary level, probably the audience watched the video due to its humor and sheer entertainment factor, while PSY discussed, “‘I just wanted to make something which was purely comedic ” something which could make people laugh consistently even in the middle of all this global economic slow down. ‘”[59] On a deeper level, an audience outside of the main ethnicities incorporated in the video may begin to appreciate “Gangnam Style” following being exposed to a translation of computer in their native language or maybe a parody that relates even more closely for their culture.

What PSY decides to accomplish and include in each scene, especially in which he designates the scenes to become filmed, is overwhelmingly affected by current South Korean language culture, his production choices are a clear, direct manifestation of on how he responds to this. The success “Gangnam Style” acquired due to the theme of rejecting materialism draw how the “enmeshments” of lifestyle in a multimedia text, both constructed and accidental, create some of its hybridity. Because also mentioned before, this kind of hybridity interests global audiences, partly since it makes multimedia texts even more approachable or in other words that they are either related to the culture from the viewer, or maybe the viewer interprets and loves the text in the way they decide, sometimes engaged in creation of “redaction” content material. This clarifies in large part the achievements of “Gangnam Style” across the world, at itself and its particular user-generated production.

The user production of translations, plagiat, and blog page explanations in the content in “Gangnam Style” have further more popularized the video among nationalities outside of South Korea. These types of “redactions” were made possible throughout the distribution of “Gangnam Style” on YouTube and other social media sites, linking fans across time and space. Its hybridity meant that the background music video will be received uniquely by every single international audience, and thus allowed the viewers, as stated prior to, to understand the content in ways relevant to all their culture. Oftentimes, these understanding were revealed and pass on to different viewers, as translations and parodies, impacting on their understanding and further establishing “Gangnam Style” as a crossbreed music video while raising its success.

Furthermore, through this fan-to-fan “redaction” and parody video tutorials, the original text may become a lot more hybrid with regards to the meaning admirer takes away via it. For example , if a fan watches a parody type first, they might view “Gangnam Style” with an increased pair of cultural connotations, adding to the inherent hybridity of the text, at least as viewed by that fan. These relations amongst global audiences, made possible through social media like YouTube and Twitter, mark how PSY’s phenomenon performed through present globalizing community. and its structure of Tomlinson’s complex connection. In doing so , the video started to be extremely powerful as a hybrid media text message on the global market.

In Shim and Jung’s study, Vimeo and Twitter were one of the most preferable platforms to audiences of Korean popular lifestyle, and in the Jin and Yoon article, they were offered as the platforms through which “Gangnam Style” increased the success of the claims the most. Once again, this shows that the video is known as a suitable rendering for all K-pop of Tomlinson’s connections and influence formed through space and period over particular platforms. While Jung and Li clarify, though not necessarily exactly typical K-pop material, enthusiastic K-pop fan systems on social media were the foundation of “Gangnam Style”‘s syndication to the global audience. Therefore, without modern-day complex online connectivity that Tomlinson describes, it would have been extremely hard for PSY’s video to succeed in so many visitors.

The around the world reception of “Gangnam Style” was plainly very positive. Again, it generated two billion thoughts about YouTube in only under couple of years after it is release, rendering it the most-viewed in the platform’s history. [60] As mentioned before, after the early times observing “Gangnam Design, ” a large number of international viewers may not have been completely able to quickly identify the Korean rapper’s true which means behind the availability of the online video, a satirical comment on the Gangnam District of To the south Korea, in respect to PSY himself “poking fun by those types of people who are attempting so hard to get something that they’re not. “[61] However , in the first year of the r