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YG knew that its YouTube subscriber numbers alone would mean that it would get high volumes of views from day one. These seeding platforms were vital to its efforts. Its main artists also, as is expected, have Twitter accounts, mainly being used to push information to high follower numbers. A deal announced with record label Scooter Braun was also brokered in advance, and planned to be announced at the right, strategic, time, so as to give the campaign a further boost.The company also invested in organically growing an engaged audience, so that when the right song came along, they had a large platform on which to seed the campaign to ensure maximum exposure and a surefire online hit.In addition YG's seeding platform, pre-Gangnam, it had around 2.5 million subscribers to its various YouTube channels and had achieved in the region of 1.6 billion views of musicians’ videos across those channels. ‘You mean it all goes over your head?’ ‘Yes.’ ‘Because of Eurovision?’ ‘Yes.’ ” “Everybody comes here to be happy,” the fan explains.Stage 1: The Set-UpDriven by the record label behind Psy (the star of Gangnam Style), YG Entertainment, the video formed part of a wider business goal to push into the US and UK music industry.The report found that YG Entertainment had spent a significant amount of time, before the song came along, setting up an office in America and exploring partnerships with artists such as Will.i.Am. Why, he asks, given all the problems besetting Europe, do people love Eurovision so much? The fan, Lane writes, “immediately swiped the flat of his hand, fast, up across his brow and into the air. Lane interviews one Eurovision attendee, a member of the Eurovision Club of Norway. It all combines to create one of the moods we most associate with pop music: blissed-out, open-mouthed, misty-eyed obliviousness.
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The next year’s contenders, spurred by such bravado, responded with “Magic, Oh Magic” (Italy) and “Piano Piano” (Switzerland).Īt Eurovision, the nonsensicalness of the lyrics is matched only by the surreality of the staging and costumes. Hence such gems as Austria’s “Boom Boom Boomerang,” from 1977 (not to be confused with Denmark’s “Boom Boom,” of the following year), Portugal’s “Bem-bom,” from 1982, and Sweden’s “Diggi-loo Diggi-ley,” which won in 1984. God Knows Why,”cited “Eurovision English” as one of its chief pleasures: it’s “an exquisite tongue, spoken nowhere else, which raises the poetry of heartfelt but absolute nonsense to a level of which Lewis Carroll could only have dreamed.” For many years, Lane explains, Eurovision rules prohibited singers from using a language other than the one of the country they represented, and so “cunning lyricists” responded by “smuggling random expostulations into their titles and choruses.” This, of course, only made the songs more fun: Anthony Lane, in his 2010 review of the Eurovision Song Contest, “Only Mr. The joy of incomprehension is familiar to anyone who loves pop music from elsewhere. It’s better not to know what, exactly, the horse dance might mean. It’s true enough that you can surmise that Gangnam is something like the Beverly Hills of Seoul it’s also true that you can consult to learn that, among other things, PSY is boasting about being “a guy who one-shots his coffee before it even cools down.” (I’ve done that, and don’t recommend it.) On the whole, though, ignorance is bliss. On the other, when you sing along, “Hey, sexy lady” notwithstanding, you don’t really know what you’re singing about.
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On the one hand, it’s obvious that “Gangnam Style” is fantastic. That’s fine-part of what makes “Gangnam Style” so fun is how, like international pop music generally, it combines absolute immediacy with near-total incomprehensibility. The song’s global popularity is such that the vast majority of people who enjoy it don’t speak Korean, and have no idea what it’s about.