K-pop's roots are black music? An analysis by an American scholar of popular literature.

 A book that analyzed K-pop has been released by an American popular literature researcher.

"K-pop is Black Music" (Nulmin Publishing) is a book by Dr. Crystal Anderson of the African American Department and the College of Arts at George Mason University in the U.S. that reveals the charm of K-pop through the intertextuality and affinity of American and Korean K-pop.

The author is a black woman, an emerging scholar and veteran blogger who studies black American music and Asian pop music from an international perspective. In particular, it is gaining authority and popularity in the K-pop field through high-quality analysis, criticism, database construction, and magazine publishing.

The author cites interviews and records of K-pop stars, producers and entertainment agencies, and affirms that their roots and references have been in American black music since the 1960s.

The author argues that the first generation of K-pop, including Hyun Jin-young, Seo Tae-ji, Kim Gun-mo, and Solid, citing black American music, and that H.O.T., god, Wonder Girls, Girls' Generation, Brown Eyed Soul, Tiger JK, Yoon Mi-rae, Big Mama, 2PM, Psy, Lynn, Axe, Tablo, etc.

The background behind the global popularity and influence of American black music is its unique personality and charm. The unique spirit of resistance and criticism of non-mainstream blacks in the U.S., as well as democratic collaboration systems and continuous innovation and adventure between blacks and non-black Americans, played a major role.

The author argues that K-pop used a high-level music strategy, citing all these characteristics. These points were the driving force behind K-pop's global popularity outside of Korea.

The author also says that K-pop should pay attention to diversity beyond genres beyond singing and dancing idols, and recognize its appeal beyond generations. It is pointed out that emphasizing only the commercial nature of K-pop can lighten the musical innovation and creativity of K-pop.

It is analyzed that K-pop's high level of musical conservatism, idol visuals and performances around the world are creating new international standards, while ignoring criticisms such as too long exclusive periods, excessive practice, and hard promotional activities. Furthermore, it is also defined as a music genre by citing various researchers and critics.