Comparative Study Of K-Pop And OPM

Comparative Study of K-Pop and OPM. Cervantes (2015) interviewed eight (8) K-Pop fans and eight (8) OPM fans and surveyed 200 K-Pop fans and 200 OPM fans residing in Metro Manila. The study found out that: (1) Fans of K-Pop knew the genre because of peer influence and used the internet to be familiar with the artists. On the other hand, OPM fans got to know their artists because of radio exploitation, performing, and publicity. (2) Language is not considered a barrier. In the case of VisPop artists, it would be feasible for them to adopt the strategies used to promote K-Pop. Still, both fans prefer a language that they can easily understand and can relate with; (3) Talent is the main point of the fans’ interest in artists. Therefore VisPop
(5) Plastic surgery is not an issue to K-Pop fans because it’s part of their idols’ profession but OPM fans don't want to be in the same boat. Artists of the VisPop genre may consider personality forming and should step in the Metro Mani- la with a good attitude and a lovely impression; (6) According to both groups, music videos should carry the message of the music and the handpicked themes are: love or being in love, though K-Pop fans appreciate more dancing. This is not a problem for VisPop artists as their mu- sic is in that realm already; (7) K-Pop fans reasoned out originality and creativity, of a concept, and music video styles are what they like about K-Pop instead of OPM. On the other hand, OPM fans thought that K-Pop is all about aesthetics and OPM fans don't understand the Korean
In 2014, Representative Teddy Baguilat introduced the OPM Development Act or HB 4218. It is about the promotion, protection, and development of the Philippine music industry and for other purposes. Jorge (2015) writes that advocates proposed the bill because foreign artists largely take over the local concert scene here in the Philippines. Furthermore, proponents of the bill reasoned out piracy caused albums and singles easy to download and duplicate. In addition, many artists feel they don’t need record labels anymore since the flourish of digital audio production, as they can produce music in their own computers. Traditional broadcasting and paying payola for expo- sure has minimized since digital marketing in social media exists. This started a debate between mainstream music industries and independent music artists. Although the OPM Development Act stipulates more airplay of Filipino songs should be given to radio stations, it is not intended to be a Magna Carta for artists, and its tax incentives for radio stations to play 4 original Filipino songs per hour due has evidently failed to garner full compliance from all radio stations. Meanwhile, the Philippine Musicians’ Alliance for Welfare, Rights & Development (PMAWRD) declared it’s position on the bill essentially stating its opposition due to the bill not being able to properly ad- dress employment protections rights. Instead, they