Mathew Knowles, Beyonce’s father and prominent music producer in U.S., recognizes 2NE1 and JY Park
By Park Si-soo
Psy has made himself a household name of K-pop with his smash hit “Gangnam Style” released last year.
Since his meteoric rise, the 36-year-old chubby musician has been treated as a “national hero” in Korea, creating an atmosphere in which throwing any word of criticism or skepticism at him was regarded as something like “blasphemy.” So much so that major portals are still overflowing with cheering stories although his high-priced attempt to cement his presence in the U.S. with “Gentleman” went awry.
Considering this, Mathew Knowles’ dim prospect for Psy in the U.S. market is surely considered provocative and embarrassing — at least to his domestic fans.
“Psy should be congratulated for his success with his song Gangnam Style. However, I don’t believe he will continue to be successful in the U.S. market,” Knowles, chairman of American music label Music World Entertainment, better known as the father of international pop star Beyonce Knowles, said in an email interview with The Korea Times.
“It is very likely that he will be a one-hit wonder when it comes to the U.S.” He didn’t elaborate on why, adding everything is up to “his fans.”
K-pop is 'very impressive'
Yet this remark doesn’t necessary mean he is negative on the prospects of K-pop as a whole. Rather the 62-year-old music producer, touted as the creator of Destiny’s Child and former manager of Beyonce, is setting his eyes on Asia, especially Korea.
“I am looking forward to bringing MKB (Mathew Knowles Best) to Asia” he said, referring to a division of his firm designed to provide K-pop artists with what he described as “world class” talent management, executive music production and distribution. The division’s two other leaders — Sylvester Carter and Sherman Easter — recently visited Seoul and were “very impressed” with its music scene, he said.
“Returning from Seoul, they showed me a number of K-pop videos on YouTube, some of which were good and some of which were whack,” he recollected. “But, overall the level of talent was impressive and I saw the limited success in the U.S. as a challenge.” MKB is going to branch out into Korea, Thailand and Japan he said.
Asked about his favorite K-pop musician, Knowles singled out 2NE1, a four-member girl group which made its debut in 2009 and has built an extensive fan base in Asian countries with flamboyant dance moves and catchy songs.
“Their music is a little more urban,” he said. “Their videos and live performances speak to the time they have committed to developing their talent.”
Asked about the No.1 contributor to K-pop’s international rise, he pointed to “JY Park,” or Park Jin-young, a prominent songwriter and music producer who established the country’s third biggest entertainment agency JYP. “He has made a strong consistent contribution to K-pop as a creator of groups like the Wonder Girls,” he said. “He has also made a considerable contribution as a writer, producer, performer and executive.”
YouTube matters
Knowles said K-pop is quickly making inroads into the U.S. and other Western countries through YouTube.
The video streaming website’s global distribution power of K-pop content has already been proven with several cases, including Psy and Girls’ Generation. The latter recently burst into the American music scene by winning the “Video of the Year” at the inaugural YouTube Music Awards.
“K-pop is expanding in the U.S. and other Western countries, partly because of the touring that is beginning to take place and largely because of YouTube,” he said.
“YouTube has provided K-pop with the exposure that would not have existed because little, if any K-pop is played on U.S. radio.”
He also shared his time-tested recipe for success in the American music market.
“The recipe begins with a great team, great music and artists who work hard at perfecting their craft and interpreting the words ‘never been done before’ as an invitation to succeed.”
Knowles cautiously predicted that K-pop is unlikely to follow the footsteps of Japanese music or J-pop, which rocked the global music scene in the 1990s but soon crumbled.
“J-pop may no longer be as relevant as it was in the 1990s. I don’t believe it is a given that K-pop with follow along the same lines,” he said.
“K-pop seems to be evolving and creating sub genres and I believe this is healthy for the survival of K-pop. By creating sub genres within K-pop, you broaden the overall listener base and create the opportunity to not only hold on to your fans but also grow your base.”
