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The biggest difference in music fan culture between the West and the K-Pop industry are the parasocial relationships (PSRs) created by each. The western music industry doesn’t buy into parasocial relationships the way that the K-Pop industry does. In fact, the K-Pop industry is built on parasocial relationships. That’s why the fan cultures are vastly different. In my opinion, PSRs aren’t bad, if it’s done in a healthy way. Most of us have at least a few parasocial relations with media figures, athletes, social media influencers, actors, fictional characters, etc. For example, there has been a lot of research done on the connections that viewers have with their local weatherman. These meteorologists “interact” with viewers everyday and inform us about the weather. That’s a trusted relationship that is formed, however, the weatherman obviously doesn’t know all the people who view them from their houses.
What’s the deal with PSRs?
The traditional PSR is one-sided and not reciprocated from the other side. These studies started in the 1950s and mostly referred to television programming hosts. In recent years with the growth of social media, the PSR landscape has changed. “The visceral cues provided by the up-close-and-personal nature of the videos help blur the line for viewers, allowing them to feel that there is a genuine bond with the host, Rutledge says. “You start to develop a one-sided relationship with that person where you feel like you really know that person” (The Parasocial Phenomenon). There’s also the idea of strong community affiliation that is created by PSRs. People who find connection over the shared bond of an idol, actor, character, etc. create a strong community. “These spaces also serve as an opportunity to feel connected to the media personality and extend one’s social network with others who share the same affinity for any particular microcelebrity” (The one-and-a-half sided parasocial relationship: The curious case of live streaming).
If you liken this to the music industry and K-pop specifically, you can see how essential PSRs are to the industry. If there’s no PSR, fans aren’t going to buy multiple albums for the chance to talk with their favorite artists for 60 seconds in a fan meeting. If there’s no PSR, fans aren’t going to form massive campaigns to educate and urge fellow fandom members to vote for their group to win a music show or at the MAMA awards. If there’s no PSR, fans aren’t buying VIP concert tickets (which are very expensive these days) at multiple stops for a chance to get close to their idol and have an interaction. But alas, this isn’t bad, in my opinion. People are allowed to do what they want with their time and money. As long as it’s mutually beneficial for the artist and the fans, there is no problem.
In the West, there are a lot of music fandoms like Beyonce’s Beyhive, Nicki Minaj’s Barbz, Little Mix’s Mixers, Justin Bieber’s Beliebers, etc. where parasocial relationships form but there’s a distance that is created between the artists and their fans. Many western artists and their fans remain closer to the traditional PSR. They might occasionally close the proximity with their fans via social media but as a whole, they retain their privacy and society reinforces their right to have certain privacies from their fans. Naturally, toxic, overbearing fans exist all over the world but the west largely doesn’t endorse these behaviors from fans. The same cannot always be said for K-Pop.
The Positive
The K-Pop industry aligns closer with the one-and-a-half sided relationship where there is “the potential for reciprocal communication, strong community affiliation, fandom cultures, wishful identification, high emotional engagement, and increased presence” (The one-and-a-half sided parasocial relationship: The curious case of live streaming). For example, from BTS’s earliest days (even prior to debut) “members would frequently go live and talk to fans, answer questions, eat food and sometimes even give a teaser of some music they were working on” (The Beatles and BTS – The power of Fandoms). The music is at the core of K-Pop but it runs so much deeper between fandoms and their groups. I think that is one of the strongest points about K-Pop. The mutual respect and gratitude that K-Pop artists extend to their fans is amazing. The fan culture is so strong that it tends to surprise people in the west a lot. The perception of K-pop fans is one of unity and being unrelenting and “ten toes down” behind our groups. I personally have a lot of pride in that as a K-pop fan.
The only form of parasocial relationship that I support in K-Pop are ones that are mutually beneficial to the artist and fans. As fans, we get comfort, energy, and healing from the content and music that our artists put out. On the other hand, even though being an idol is grueling, there are things that artists get in return from fans as well. I love when I see that artists get to fulfill their passion for music and performing, they also receive love and healing from their fans as well as success. This is a parasocial relationship in its purest form. This is what we like. And this is the only way it should be.
RM’s Concert Comments
Anyone who is a fan of BTS knows that RM, the leader, has an amazing way with words. He never fails to pen brilliant lyrics or inspire ARMY (and his members). During the Love Yourself tour era, RM gave his comments where he instructed ARMY to “Please use me. Please use BTS to love yourself”. Working towards the shared goal of self-love through the shared comfort and community of one another? This is what K-pop should be. This is what a parasocial relationship should be. Every time I watch this clip, I’m blown away by the love shared between BTS members and ARMY.
It’s customary for K-Pop artists to interact and talk with their fans at various points throughout their concerts. Yes, it is sometimes fan service, but it’s also a valuable time for artists to see so many of their fans in one place and express words they’d like to share.
K-Pop Fan Songs
This is one practice that is so amazing to me. The broad displays of gratitude and love that are expressed by K-pop artists to their fans are so awe-inspiring. While I’m sure many Western artists have songs dedicated to their fans, it’s such a regular thing that occurs in K-Pop. Especially when these songs are performed at concerts, it feels like it connects the artists and fans on a much deeper level. Although this image captures just a few fan songs from various K-pop groups and artists, this doesn’t even scratch the service. As an ARMY, I can rattle off a whole list of fan songs (don’t worry, I won’t) and I know it’s the same for most other groups as well. I think this is one of the most beautiful practices that shows the positivity of parasocial relationships.
A Thousand Love Letters
Back to BTS again, to celebrate BTS’s tenth anniversary, ARMY wrote, composed, recorded, and designed a music video for the group titled, “A Thousand Love Letters”. That song was later seen separately by 3/7 members (RM, Jungkook, and Jimin) while they were doing live streams to interact with fans. All expressed their surprise and thanks to ARMY with Jungkook even shedding tears while watching. This isn’t the first song composed for BTS by ARMY and after Jungkook heard a few others, he remarked that ARMY should make an album and he’d buy it.
The Negative
There’s two sides to every coin just like there are two sides to the impact parasocial relationships have on the K-Pop community. Just as much as it brings community and culture to the artists and fans, it can also be the very aspect that makes it very toxic. As aforementioned, a real crowning difference between how the K-pop industry and how the western music industry handles PSRs is the fact that K-pop builds its industry off of their very own kind of PSR system. In the west, there are boundaries that artists put between themselves and their fans. Celebrities in the west can conduct their personal lives however they see fit.
In the K-pop industry, to be an idol is to have a squeaky clean public image. You are someone who is seen as an ideal within Korean society and thus have to uphold certain qualities so as to not shatter the illusion.
“Have you ever seen your favourite Bollywood or Hollywood celebrities apologising for little things like dating someone, gaining weight, or getting married? No, right. Whereas in K-pop idol culture, everything is subjected to intense scrutiny by the Korean media or fans”
~ Ekta Sin
Could you imagine some of our favorite western artists following all the “standards” that K-pop artists follow such as maintaining a certain weight, not being seen clubbing/partying, not smoking, having a pleasant personality 24/7, no dating, fanservice (even if it makes you uncomfortable), etc? I sure can’t. I can’t even imagine not being able to have a choice on any of these matters, however, K-pop was built on these ideals.
This is where parasocial relationships come in. They are fine when it’s mutually beneficial and positive for both sides, but the second that one side tries to take more than what they should, it’s the downfall of the PSR. As fans, we should always remember that we don’t know idols personally, and we have no right to dictate or even be privy to any aspects of their private lives. They are not our significant others, and they have the autonomy to make their own decisions. Don’t be entitled! It’s easy to get wrapped up in the fun content and the inside jokes. Sometimes it’s even fun to be delulu (only when it’s for play and you aren’t actually delulu). But for some fans, they lose touch with reality and forget that idols are people who get hurt, annoyed, angry, stressed, and tired. Being an idol seems like such a lonely endeavor. As fans, let’s support them. We are part of their support system. If fans are attacking their own favorite idols, then who is there to protect and support them?
Jennie Encounters Rude Fans
BLACKPINK’s Jennie encountered an unsettling situation with fans while shopping in Paris. As she exited a store and attempted to enter her vehicle, she was confronted by fans who made accusatory remarks, including “Are you serious?” and “Do you hate us?”. Despite explaining her need to hurry to her next appointment, Jennie ultimately felt compelled to return and engage with the group, taking photos and signing autographs. This incident sparked outrage among BLACKPINK fans (BLINKs) and the broader K-pop community. The fans’ behavior was widely condemned as disrespectful and manipulative, particularly given Jennie’s history of facing unwarranted criticism. The phrase “Do you hate us?” was especially problematic, as it placed undue pressure on Jennie. K-pop idols, including Jennie, strive to maintain positive relationships with their fanbase. Such loaded questions can create a no-win situation for artists, potentially forcing them to choose between their personal boundaries and public perception
Fans need to respect idols’ time and space. We are not entitled to their attention.
Aespa’s Karina Apologizes for Dating
Earlier this year, Dispatch Korea, a news source that provides breaking news, gossip, and other information about Korean celebrities, reported that Aespa’s Karina and popular K-actor, Lee Jae Wook were in a relationship after meeting at a Prada fashion event. Soon after the news was confirmed, Karina took to her social media with a hand-written letter apologizing to her fans for surprising and disappointing them with the news of her relationship.
In the end, the couple ended their relationship after 5 weeks citing “the emotional pain caused by various malicious comments and feeling sorry for the fans”. This incident highlights the significant impact parasocial relationships can have on K-pop idols’ personal lives, often forcing them to prioritize fan expectations over their own happiness. The pressure to maintain an “available” image for fans can lead to secrecy, public apologies, and even the termination of genuine romantic relationships. Moreover, the intense scrutiny and backlash from fans who feel betrayed by their idol’s dating life can create a toxic environment that affects both the idol’s mental health and their ability to pursue normal relationships.
The Seunghan Situation
The RIIZE controversy involving former member Seunghan has become a focal point in K-pop discourse, highlighting the complex dynamics between idols, management companies, and fans. RIIZE, a seven-member boy group, debuted under SM Entertainment in 2023 with members Shotaro, Eunseok, Sungchan, Wonbin, Sohee, Anton, and Seunghan. However, the group faced a significant setback in November 2023 when pre-debut videos of Seunghan surfaced, showing him smoking and in intimate situations with a girlfriend, leading to intense backlash from certain segments of the fandom, resulting in Seunghan’s 10-month hiatus. SM Entertainment’s handling of the situation included partial erasure of Seunghan over the 10 months and also vague or nonexistent updates on when he’d return. Things took a dramatic turn in October 2024 when they announced Seunghan’s return, only for Seunghan and SM to announce his withdrawal from the group two days later due to fan protests. Some fans went to extreme lengths, sending funeral wreaths to SM Entertainment’s offices to symbolize that Seunghan’s return would be the “death of RIIZE”.
The swift removal of Seunghan from RIIZE has sparked a heated debate within the K-pop community. International fans and some Korean supporters have initiated boycotts of SM artists and organized protests demanding Seunghan’s reinstatement. Worldwide K-pop merch distributors and stores have pledged to stop selling RIIZE merch, followers on all official RIIZE accounts have dropped, and fans in Seoul took part in a 3-day protest for Seunghan to return.
The controversy raises questions about the power dynamics between fans, entertainment companies, and idols. It underscores how excessive fan involvement can impact an idol’s career and personal life, often blurring the lines between an artist’s public persona and private experiences. The Seunghan situation serves as a stark reminder of the need for a more balanced and respectful approach to idol-fan relationships in the K-pop industry.
While this is an ongoing situation that hasn’t concluded, I’m hoping for the best for Seunghan. In my three years of being a K-pop fan, this is my first time seeing such a sickening display of a K-Pop company reinforcing toxic fan behavior. This is a dangerous precedent that has been established by SM. This shows fans who take PSRs way too far that if they mobilize, companies will take their side over their idols. We are already seeing copycat funeral wreath campaigns happening as a bunch were sent to HYBE to demand Yoongi’s removal from BTS (not happening, by the way).
RIIZE is 7.
Conclusion
In the K-pop industry, idols transcend the role of mere performers, instead offering a comprehensive experience to their audience. This experience is carefully crafted and marketed, encompassing not just music and performances, but also personal interactions, behind-the-scenes content, and a sense of intimacy that fans eagerly embrace. Entertainment companies capitalize on this by providing a constant stream of content, from multiple comebacks per year to exclusive fan meetings, all designed to strengthen the parasocial bond. PSRs are no doubt the bread and butter of the K-pop industry. It’s what connects us, empowers us, and pushes us forward. As a business model, it’s actually very smart. Scary, but smart. It’s a lucrative business. And we, as fans, readily accept this. Let’s remember to maintain a balanced perspective on their relationships with idols. While parasocial relationships can provide genuine comfort and inspiration, it’s important to recognize their inherent limitations and potential pitfalls.
Sources
The one-and-a-half sided parasocial relationship: The curious case of
Parasocial Relationships: The Nature of Celebrity Fascinations
The Beatles and BTS – The power of Fandoms
Let’s Talk About The Unrealistic Expectations And Scrutiny Faced By K-Pop Idols
What Happened to RIIZE’s Seventh Member, Seunghan? The Group’s Controversy Explained
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