Girls Generation gets its own postage stamps

I don’t know what your thoughts about the Korean pop group  Girl’s Generation receiving its own set of stamps from the Korean Postal service. I suppose it is great for the Korean Wave, but personally, I fear that we are

observing a general institutional decay and blurring of lines that is quite dangerous. I speak not only of Korea, but of many nations. Only when government is reduced to a service for consumers will we at last know what exactly it was that government does.

I wonder what Koreans thought about these stamps. Do let me know.

One response to “Girls Generation gets its own postage stamps

  1. Craig July 10, 2012 at 3:53 pm

    In Canada, there’s a rule. People don’t get on stamps unless they’re dead.

    It’s a good rule.

    We put everything else on stamps – satellites, cellphones, fruit (indeed), rocks, and even some really impressive maps. But living people – no.

    I thought something else looking at this. It’s like in Jeju: There, I went to a relatively impressive “sex museum”, in which, … of all the displays of sexual behaviour around the world, even reproductions of a prostitute-phone-number-emblazoned British phone booth from the 1960’s, …

    Koreans don’t have sex. There was nothing about the raging levels of prostitution and, um, vibrant “undergound” sex culture here, the rampant promiscuity, the near-universal affairs – no. Instead, it included all kinds of information about *other* countries, but virtually nothing about Korea.

    This is the same thing.

    The Girls Generation and every other Kpop girls band sell one thing: Sex.

    The only talent they really have is being sexually precocious, young and appearing in tight clothing. The industry differs remarkably from others around the world in one respect: Like the same industry in Japan, here there’s only a pretense of musical culture. Basically, the entertainment chaebols are selling young Korean girls and images of their sexuality for both men and women to enjoy.

    Like love hotels and red light zones, the facade of a music industry allows Korea to pretend it’s doing one thing, when it’s aggressively not.

    There are more than enough supremely talented musicians in Korea. None of them get a minute of airtime.

    These stamps portray the Girls Generation as some kind of prudish cultural ambasadors. These girls are never seen this way: at best, a silhouette or airbrush-adjusted cartoony measurement image meant to sell beer, pop or entrance 15-year-old-boys on the Internet.

    So what strikes me is the supreme cultural pretentiousness of these stamps, more than anything else.

    So much of Korea these days is much the same: One thing on the surface, and another underneath. Yet for reasons of misplaced shame and a misguided sense of propriety, unlike the Japanese, Koreans can’t own up to it.

    These stamps illustrate yet again that Korea has to get over the enormous image-reality gap that socially cripples people here.

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