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The rise of k-pop, and what it reveals about society and culture.

Initially a musical subculture popular in South Korea during the 1990s, Korean Pop, or K-pop, has transformed into a global cultural phenomenon.

Characterized by catchy hooks, polished choreography, grandiose live performances, and impeccably produced music videos, K-pop — including music by groups like BTS and BLACKPINK — now frequently tops the Billboard charts, attracts a fiercely dedicated online following, and generates billions of dollars.

Yale sociologist Grace Kao, who became fascinated with the music after watching a 2019 performance by BTS on Saturday Night Live, now studies the subgenres of K-pop and its cultural, sociological, and political effects.

Kao, the IBM Professor of Sociology and professor of ethnicity, race, and migration in Yale’s Faculty of Arts and Sciences, and director of the Center on Empirical Research in Stratification and Inequality (CERSI), recently spoke with Yale News about the kinds of research her interest in K-pop has prompted, why the genre’s rise has been important to so many Asian Americans, and why she urges today’s students to become familiar with various musical genres.

The interview has been edited and condensed.

You have said that watching BTS on Saturday Night Live changed your view of K-pop. How did that performance transform your interest in K-pop from a personal one into an academic one?

Grace Kao: I saw that performance, and it stayed in the back of my mind. Then, when we were on lockdown because of COVID, being stuck at home set the stage for having time to watch more K-pop videos. At first, I was just watching them for fun. I knew K-pop was something important, but I didn’t know anything about it. I thought “I should educate myself on this.” My current research collaborator, Wonseok Lee [an ethnomusicologist and a musician at Washington University], and a Yale graduate student, Meera Choi, who’s Korean, offered guidance.

I’ve always been interested in race and ethnicity and Asian Americans. I knew in my gut that K-pop was important, but it was hard to figure out exactly how I could work on it, since I’m a quantitative sociologist. What's fun about being a researcher and being in academia is that we can learn new things and push ourselves. I think that’s the best part of this job.

Grace Kao recommends this playlist to get started.

When I started working on it, I tried to learn without having a clear research question. Then, along with my collaborator, Lee, we started thinking about papers that we could work on together. I was also able to take first-semester Korean, so now I can read Korean, and Choi and I can begin working on different research papers.

What kinds of research are you doing?

Kao: One paper is about the link between ’80s synth-pop and very current K-pop. Others have argued that K-pop borrows heavily from American Black music — R&B, hip hop, and so forth. And it’s true, but we’re arguing that K-pop has links to all these different genres because the production is much faster. We also finished another paper looking at the links between New Wave synth-pop to Japanese city pop [which was also popular in the 1980s] and a Korean version of city pop. And we’re probably going to start a reggae paper next.

In another project, with two data scientists we’re looking at Twitter data related to a 2021 BTS tweet that happened about a week after a gunman in Atlanta murdered eight women, including six of Asian descent. The tweet, which was about #StopAsianHate, or #StopAAPIHate, was the most retweeted tweet of the year. Everyone in that world knows that K-pop is extremely influential, but there are moments now where it seems like it’s ripe for political action because fans are already really organized. We’re looking at how the conversation about the shootings before and after they tweeted changed. The analysis involves millions of tweets, so it's very data intensive work.

Last March you gave a talk on campus in which you talked about the role of K-pop in “transformative possibilities for Asian Americans.” What is an example of those possibilities?

Kao: Partly it’s just visibility. The SNL performance by BTS was really important for people. Especially people my age, we had never seen a bunch of East Asian people on the stage singing in a non-English, non-Western language. I knew that was an important moment regardless of whether or not you like the music or the performance.

I think during COVID, BTS made Asian faces more visible. They were on the cover of Time magazine, every major publication. They were everywhere. But it also brought up questions of xenophobia. People were making fun of them because of how they looked. At the time there was also the extra baggage that comes with being Asian. But any time BTS were attacked, because their fandom is so big and so passionate, their fans would jump on anyone who did anything to them. Then journalists would cover it, and suddenly there were all these stories about how you shouldn’t be racist against Asians.

Many of us who study Asian Americans have observed over time that it often seems acceptable for people to make fun of Asian things. Just by virtue of the fact that it’s [BTS], that their fans are protecting them, and that that gets elevated to the news is a big deal. President Biden invited them to the White House. These are all things I would have had trouble imagining even just five years ago.

You teach a first-year seminar, “Race and Place in British New Wave, K-pop, and Beyond,” which focuses on the emphasis on aesthetics in both genres’ popularity. What understanding do you hope students walk away with?

Kao: I want students to take pop culture very seriously. Sometimes pop music seems not serious, but so many people consume it that it can have pervasive and serious consequences on how people see folks of different race, ethnic, gender, and national identities.

Another thing I wanted students to learn about is genres of music. Students today like music, but they consume it very differently than people did when in college. We listened to the radio or watched MTV, so we were fed something from a DJ or from actual people who were programming the content. You’d end up listening to a lot of music that you didn’t like, but you’d also have a better sense of genres than students now. Today students consume music through Spotify or YouTube and so forth, which use algorithms to give you songs that are similar to the songs you liked, but not necessarily from the same genre. Students can have diverse and wide-ranging experiences with music, but I found that they have trouble identifying that any particular song is part of a genre. So I feel like it’s important for them to listen to a lot of music.

I want them to consume it because sometimes we think we can comment on things that we don’t know anything about. We don’t actually consume it. I think it’s important for students to walk away knowing something about these genres and to be able to identify them: this is a reggae song, this is a ska song, this is synth-pop, et cetera.

What K-pop groups are you currently into?

Kao: Besides BTS, I enjoy listening to groups such as SEVENTEEN, ENHYPEN, NewJeans, Super Junior, and new group TRENDZ.

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Positive Psychosocial Outcomes and Fanship in K-Pop Fans: A Social Identity Theory Perspective

Affiliation.

• 1 Department of Technology and Psychology, Dún Laoghaire Institute of Art, Design and Technology, Dún Laoghaire, Ireland.
• PMID: 32985364
• DOI: 10.1177/0033294120961524

Korean pop culture (K-Pop) has spread its influence outside of Korea to a worldwide fan audience. The present study investigated the self-categorised K-Pop fandom characteristics that predicted higher levels of K-Pop fanship, and subsequent psychosocial outcomes. Social identity theory was applied as a theoretical framework. In total, 1477 K-Pop fans from 92 predominantly Western countries fully completed an extensive online survey measuring fanship, fandom and psychosocial outcomes (happiness, self-esteem and social connectedness). Results of this study indicated that K-Pop fanship was significantly predicted by a several K-Pop demographic and fandom characteristics. K-Pop fanship was a significant predictor of increased happiness, self-esteem and social connectedness. The study findings advance the application of social identity theory in a K-Pop fan context and the psychological fanship research more broadly.

Keywords: K-Pop; Social identity theory; fandom; fanship; self-categorisation.

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Home Essay Samples Entertainment

K-pop Essays

K-pop, also known as Korean pop music, has taken the world by storm in recent years. With its catchy tunes, vibrant choreography, and charismatic performers, it has captured the hearts of millions of fans worldwide. Therefore we will discuss some K-pop essay topics, ideas, and tips for writing a K-pop college essay. Here are 5 K-pop topics to write about:

• The evolution of K-pop – This topic explores how K-pop has evolved over the years, from its early days in the 1990s to its current global popularity. You can analyze the various stages of K-pop and how it has changed over the years.
• The impact of K-pop on Korean culture – K-pop is not just a music genre; it is also a cultural phenomenon that has influenced Korean society. You can discuss how K-pop has influenced Korean culture, such as fashion, beauty standards, and language.
• K-pop and globalization – This topic analyzes how K-pop has become a global phenomenon and its impact on globalization. You can discuss how K-pop has introduced Korean culture to the world and how it has influenced other cultures.
• The business of K-pop – K-pop is not just about music; it is also a massive business. You can explore how the K-pop industry works, from training programs to music production and marketing strategies.
• K-pop fandom culture – K-pop has some of the most passionate fans in the world. You can explore the fandom culture and the role of fans in the success of K-pop.

When writing a K-pop essay, it is essential to have a deep understanding of the topic. It is also crucial to research and gather relevant information to support your arguments. You can use K-pop news articles, academic papers, and documentaries as sources.

In conclusion, K-pop is a fascinating subject to explore for students looking for unique essay topics. Remember to conduct thorough research, organize your thoughts, and present your arguments clearly to impress your professor.

Intellectualism In K-pop: Hidden Intellectualism

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South Korea is well-known for beautiful places, delicious foods and modern technology. However when people talk about South Korea, they will mention about K-pop as well. K-pop is an abbreviation of Korean pop, according from an encyclopedia, K-pop “is a genre of popular music originating...

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The Visibility Of K-pop As A Music Genre And Wave

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The History of K-Pop Popularity in Latin America

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Best topics on K-pop

1. Intellectualism In K-pop: Hidden Intellectualism

2. K-Pop: Unveiling Its Discourse Community and Influence

3. The Star Of K-pop, Bts, And Their Relation To Fans

4. Understanding The Negative Sides Of K-pop Industry

5. The Reasons Why K-pop And Korean Music Are So Popular

6. The Visibility Of K-pop As A Music Genre And Wave

7. Exploring Why K-pop And Korean Wave Is So Popular

8. The Relationship Between K-pop’s Popularity And Self-esteem

9. The History of K-Pop Popularity in Latin America

10. K-Pop Fandom as a Subculture: Comparing K-Pop and Western Fandoms

11. Analysis of the K-Pop Industry and Its Eye-Catching Marketing

12. The Dark Side of K-Pop Industry

13. Effects of Patronizing Korean Pop (KPOP) Songs in the Philippine Music Industry 

14. The Popularity and Love of Kpop Culture Among Teenagers

15. Understanding the Influence of K-Pop on Filipino Teens

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Korean Pop – a Genre that is Catching The World by Storm

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Unveiling The Evil Behind Unfair Contracts in K-pop Music

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Analysis of K-pop Transformation in The 1990s to The Present

The presence of intellectualism in k-pop music, corruption in the music industry worldwide, park jaesang’s (psy) popularity and international recognition as a result of his song, gangnam style, analysis of super junior's strengths and weaknesses, media's representation of korean pop culture in the west, why i love k-pop: a personal perspective.

The term "K-pop," which stands for Korean popular music, denotes a distinctive genre of music that first emerged in South Korea and has since garnered immense global acclaim. This musical phenomenon encompasses a diverse range of styles, such as dance-pop, electronic, hip hop, R&B, and rock, among numerous others. What distinguishes K-pop is its infectious melodies, breathtaking choreography, and visually mesmerizing music videos. However, K-pop extends beyond the realm of music, transcending into a cultural movement that encompasses fashion, beauty trends, and a fervent fan culture.

The origins of K-Pop can be traced back to the early 1990s, marking a transformative era in South Korea's music industry. The government initiated a cultural campaign known as the "Korean Wave" or "Hallyu" to promote Korean entertainment and media internationally. One of the first successful K-Pop groups was Seo Taiji and Boys, who debuted in 1992 with their innovative blend of Western pop and rap elements. Their rebellious and catchy music resonated with the younger generation and paved the way for the future of K-Pop. In the late 1990s and early 2000s, K-Pop groups like H.O.T, S.E.S, and BoA gained popularity in South Korea and other Asian countries. However, it wasn't until the mid-2000s that K-Pop truly began to capture the attention of a global audience. The emergence of groups like Super Junior, Girls' Generation, and TVXQ marked a new era for K-Pop, characterized by polished performances, catchy melodies, and synchronized dance routines. With the advent of social media platforms and video sharing websites, K-Pop's popularity skyrocketed worldwide. The introduction of YouTube played a crucial role in exposing K-Pop music videos to a global audience, leading to an exponential increase in international fans. Today, K-Pop is a multi-billion dollar industry that has produced globally recognized acts such as BTS, BLACKPINK, EXO, TWICE, and many others.

Catchy and Infectious Music High-energy Performances Aesthetically Pleasing Visuals Idol Culture and Fan Engagement Global Appeal and Multilingualism

BTS, iKon, Seventeen, Twice, Blackpink, Got7, NCT, MONSTAX, Stray Kids, Red Velvet, etc.

Lee Soo-man, the founder of SM Entertainment, one of the most prominent talent agencies in South Korea. Lee Soo-man's innovative strategies and visionary approach revolutionized the K-Pop industry, introducing the concept of idol groups and producing globally successful acts like H.O.T., TVXQ, and Super Junior. Bang Si-hyuk, the founder of Big Hit Entertainment (now known as HYBE Corporation) and the mastermind behind BTS. Bang Si-hyuk's unique vision and dedication to storytelling have propelled BTS to international stardom, breaking barriers and gaining a massive global fan base. G-Dragon, a member of the legendary group BIGBANG, who not only contributed to the success of his group but also had a significant impact on the fashion and music scene in Korea.

1. K-Pop has experienced a remarkable rise in global popularity, with fans spanning across the world. In fact, according to a report by the Korea Foundation for International Culture Exchange, K-Pop fans can be found in over 180 countries. 2. K-Pop music videos have achieved astonishing view counts on popular video-sharing platforms. One notable example is the music video for BTS's hit song "Dynamite," which set a Guinness World Record for the most viewed YouTube video in 24 hours, accumulating over 100 million views. 3. K-Pop's success goes beyond the music itself and has a significant impact on the South Korean economy. The Korea Creative Content Agency reported that K-Pop contributed approximately $5 billion to South Korea's economy in 2019.

The topic of K-Pop is important to write an essay about due to its global impact, cultural significance, and influence on the music industry. K-Pop has transcended geographical boundaries and captured the attention of a diverse international fanbase. Exploring this phenomenon allows for an examination of the power of music in connecting people and fostering cross-cultural exchanges. Furthermore, K-Pop serves as a reflection of South Korea's cultural identity and its ability to create a distinct and captivating entertainment industry. Studying K-Pop provides insights into the country's history, society, and artistic expression, shedding light on the broader cultural landscape of South Korea. Moreover, the success of K-Pop has challenged traditional notions of the music industry, showcasing innovative approaches to production, marketing, and fan engagement. Analyzing the strategies employed by K-Pop agencies and the fandom culture surrounding K-Pop groups can provide valuable insights into the changing dynamics of the music business in the digital age.

1. Jang, W., & Paik, W. K. (2012). Korean wave as tool for Korea's new cultural diplomacy. Advances in Applied Sociology, 2(03), 173-180. 2. Jung, S. M., & Shim, H. (2018). The cultural economy of K-pop. International Journal of Cultural Studies, 21(3), 319-335. 3. Kim, J. E., & Ryoo, W. (2011). Globalizing K-pop: Online strategies for the Korean music industry. Media, Culture & Society, 33(2), 243-258. 4. Kim, J., & Park, M. (2017). Globalizing K-pop: South Korea's branding strategy in the digital age. In Cultural Perspectives on Global Development (pp. 225-237). Palgrave Macmillan, Cham. 5. Lee, H. (2020). How K-pop became a global phenomenon: The history and success factors. Social Science Journal, 57(4), 417-427. 6. Nabi, R. L., & Kwon, H. (2020). Becoming a K-pop fan: Exploring the motivations for consuming Korean popular music in the United States. Journal of Broadcasting & Electronic Media, 64(3), 438-457. 7. Shin, H. Y. (2015). Music, gender, and authenticity in Korean American K-pop cover dance: Generation 1.5's cultural negotiations of an imagined homeland. Journal of Popular Music Studies, 27(4), 390-410. 8. Yoon, S. J., & Lee, J. H. (2019). Behind the curtain: Fandom, affect, and agency in the global circulation of K-pop. Television & New Media, 20(3), 276-290. 9. Kim, E. S. (2019). The politics of representation: Gender and sexuality in K-pop. Popular Communication, 17(1), 20-34. 10. Hesmondhalgh, D. (2013). The cultural industries (4th ed.). Sage Publications.

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Globalizing Inspirations: K-Pop and its Influence to Philippine Popular Music

A research paper in partial fulfillment of the requirements for the subject The Contemporary World (TCWN01G) discussing the Korean popular music and how it has influenced the Philippine music industry.

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Asia Review

Luis Zuriel P Domingo

For almost a decade, Korean Pop (K-pop) music has become a global phenomenon. Transgressing regional boundaries, K-pop music found extraordinary success in Southeast Asia, including the Philippines. Globalization of culture, however, had not only produced skeptics but also challenged the tenets of cultural identity vis-à-vis a crisis on nationalism. This paper seeks to theorize the adverse and favorable effects of K-pop music with regard to its significance to contemporary Filipino national identity through assessment of history, culture, and meaning. This paper tackles and examines its nuance to contradictions of culture and identity and how the transnationalism of pop culture, like K-pop music, contributes to the development of culture and society in the Philippines in recent history.

Johan Jolin

Hyunjoon Shin

Alexa Elizabeth Lee

Korean popular music, or K-Pop, has taken the world by storm in the recent years. The process that ordinarily would be responsible for such global recognition of an art form from a non western space would be called “globalization”. Many view globalization as purely an economic force there to exploit the world’s population. However, as you shall see through the following literature review, this may not always be the case as sometimes globalization is also a force for the good.

Korea Journal

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Due to the close but complicated relationship between the Japanese and Korean music industries, J-pop and K-pop have several significant commonalities and differences. By analyzing the transformation of K-pop in tandem with Japanese influences through a convergence of political economy in terms of historical approach and textual analysis, this paper identifies several key elements involved in the growth of K-pop. It does not attempt to determine the major reasons for the success of K-pop, and/or the failure (or low degree of popularity) of J-pop in global markets. Instead, it comparatively discusses several major features—including idol production systems, copyright issues, and hybridity—of these two popular music genres, thereby mapping out J-pop’s influences and the remnants of such influences in the K-pop sphere, as well as the ways in which K-pop has become a model for J-pop. It aims to investigate the contemporary cultural stages and transition of popular music in Korea occurri...

Cross-Currents

Alexandra E . Necula

The Korean Wave, also known as Hallyu, represents a strong cultural manifest coming from South Korea. The movement recently began to slowly, but certainly penetrate global markets in various ways. The most popular manner is K-Pop, Korean music, which has become a manifest itself, especially since foreign individuals seem to not always relate it to Hallyu; actually, the tendency is to separate the two concepts. Still, as previous research on the topic shows, overseas popularity of Hallyu and K-Pop is not as high as desired, and has many weaknesses. Regarding foreign markets, especially non-Asian ones, previous research seems lacking. For this reason, the current study was conducted, in order to provide a starting point for future research about targeted overseas markets. As the results show, there are many aspects that require attention and improvements. The aim of this paper is to explain where those weaknesses occur, and, if combined with other aspects, how things can be improved in order to better promote K-Pop and Hallyu in general.

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Doctors can do more to help prevent gun violence, USF paper says

• Sam Ogozalek Times staff

Doctors can do more to help prevent gun violence and offer counseling on firearms safety, according to a review by University of South Florida researchers, including a medical student who survived the 2018 mass shooting at Marjory Stoneman Douglas High School in Parkland.

The review, published in February in the journal Advances in Pediatrics, noted that many doctors believe they should talk to patients about firearms, but often don’t because of time constraints, a lack of training and discomfort with the topic.

In Florida, a law passed in 2011 limited what questions doctors could ask patients about guns. But a federal appeals court found the restrictions to be unconstitutional and struck them down six years later.

The law “had a very chilling effect I think for a lot of providers,” said Cameron Nereim, one of the review’s authors and an assistant professor of pediatrics at USF who focuses on patients ages 12 to 25 in Tampa.

The review noted that the American Medical Association calls gun violence a public health crisis and firearm-related injuries were the leading cause of death for U.S. children in 2020, surpassing motor vehicle crashes.

Doctors can ask patients about whether guns are kept at home and if they are locked, unloaded and separated from ammunition, according to the review.

USF medical student Nikhita Nookala, who survived the shooting at Marjory Stoneman Douglas High School and covered it as a reporter at The Eagle Eye, the school’s student newspaper, contributed to the review.

The Tampa Bay Times spoke with Nereim and Nookala about their work, which was published with two other authors from North Carolina and Texas medical centers.

The interviews have been edited for clarity and length.

What are the major takeaways you hope physicians get from this paper?

Nookala: It’s important to assess patients’ risks and to see if you can do some harm reduction in terms of encouraging safe storage or just telling kids to be careful around guns.

It doesn’t have to be super political. It’s just about children’s safety at the end of the day.

The paper noted some of the major barriers to physicians counseling on firearms safety are the lack of formal training, lack of confidence that patients will follow their recommendations and low perceived self-efficacy. Are there any ways to address that?

Nereim: I think there are. ... One of the things is how do we do a better job of incorporating this into our training, whether that’s while you’re going through your residency program, while you’re going through your medical school, making sure these things are actually being plugged into our curricula.

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Is there a particular stage of education where you think this would be best emphasized?

Nereim: I think medical school, before students have even differentiated in terms of what specialty or subspecialty they’ll be choosing, that’s a great opportunity to make sure we’re relaying this information.

In school so far, have people talked about gun violence as a public health issue?

Nookala: Everyone acknowledges that it’s become a problem and it’s getting worse. I think a lot of people feel very helpless because it’s something that is hard to bring up.

You’re not accusing someone of “You don’t store your gun safely, you’re putting your child in danger.” ... You want to (tread) the line of “Oh, you have guns in the home, that’s fine, are you storing them safely, are (you) using gun locks?”

It’s just small things that you can remind people, nicely, without discouraging them from coming back.

During routine visits, do you ask patients or patients’ parents whether there are guns in the home, if they are locked, securely unloaded (and) separated from ammunition?

Nereim: Yes, we do.

With the ongoing mental health crisis that’s involving young people ... I think it becomes even more critical that we do our due diligence and we ask those questions about things like firearm ownership ... how ammunition is being stored, what level of training the family members or the kids themselves have in terms of actually using these objects.

How do those conversations normally go for you? Are they difficult?

Nereim: When you’re able to successfully create that nonjudgemental space ... the vast majority of patients and families are really receptive to the questions we’re asking.

Do you ask patients more often than not? Or do you ask their parents?

Nereim: I tend to do both.

Do you ask firearm-related questions in every visit with a patient, or do you only ask them with someone who would be considered high risk?

Nereim: I wouldn’t say we ask it at every visit. I think we’re getting better at making this more a universal thing that we’re screening for, in the same way that 15, 20 years ago we would make sure at every visit we’re asking “Are you wearing your safety helmet if you’re riding your bike? Are you buckling your seat belt if you’re riding in a car?” We’re moving in that direction.

It happens a lot more consistently in these higher-risk situations, so if you have a patient who’s experiencing mood symptoms, depression or maybe even anger, irritability, impulsive behaviors.

(The paper suggested) that physicians can link those at risk of gun violence to other programs that offer support in the community. Do you do that regularly? How common is that?

Nereim: It’s extremely common. ... In the space where I work, probably anywhere from 50 to 70% of patients may have some significant social need. ... A lot of young people confide in me that they’re fearful just to be outside and to be walking in the place where they live because there have been times where they’ve heard gunshots. Or they know there was a shooting that occurred in that same square, that same block.

As you can imagine, when you have these kinds of social needs that manifest over time, there can be pretty major health consequences.

Why is this research important to you?

Nookala: In the aftermath of the (Marjory Stoneman Douglas High School) shooting, the focus was on Parkland, and Parkland became this beacon of gun violence prevention. But the reality is that outside of that one incident, which was horrible, gun violence doesn’t really occur in cities like Parkland every day. It occurs in cities like Tampa every day in marginalized communities. … The focus needs to be shifted back to that.

Training to be a doctor, I wanted to know more about ways you could make changes on an interpersonal level with your patients without being involved in these really political movements that oftentimes (are) just kind of doing nothing or (do) a little something and it gets reversed a few years later. It’s frustrating to watch that.

Nereim: Violence leads to more violence. The only really, truly effective way for us to move forward as a society is we just have to realize that prevention is incredibly important. … I just don’t think we can ignore the role this is playing in the lives of our patients and their families.

Sam Ogozalek is a reporter covering the healthcare system and mental health. He can be reached at [email protected].

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New Research Reveals Full Diversity of Killer Whales as Two Species Come into View on Pacific Coast

March 27, 2024

Long viewed as one worldwide species, killer whale diversity now merits more. Southern Resident Connections - Post 35

Scientists have resolved one of the outstanding questions about one of the world’s most recognizable creatures, identifying two well-known killer whales in the North Pacific Ocean as separate species.

Killer whales are one of the most widespread animals on Earth. They have long been considered one worldwide species known scientifically as Orcinus orca , with different forms in various regions known as “ecotypes.”

However, biologists have increasingly recognized the differences between resident and Bigg’s killer whales. Resident killer whales maintain tight-knit family pods and prey on salmon and other marine fish. Bigg’s killer whales roam in smaller groups, preying on other marine mammals such as seals and whales. (Killer whales actually belong to the dolphin family.) Bigg’s killer whales, sometimes called transients, are named for Canadian scientist Michael Bigg, the first to describe telltale differences between the two types.

He noted in the 1970s that the two animals did not mix with each other even when they occupied many of the same coastal waters. This is often a sign of different species.

The finding recognizes the accuracy of the listing of Southern Resident killer whales as a Distinct Population Segment warranting protection under the Endangered Species Act in 2005. At the time, NOAA described the distinct population segment as part of an unnamed subspecies of resident killer whales in the North Pacific.

Now a team of scientists from NOAA Fisheries and universities have assembled genetic, physical, and behavioral evidence. The data distinguish two of the killer whale ecotypes of the North Pacific Coast—residents and Bigg’s—as separate species.

“We started to ask this question 20 years ago, but we didn’t have much data, and we did not have the tools that we do now,” said Phil Morin, an evolutionary geneticist at NOAA Fisheries’ Southwest Fisheries Science Center and lead author of the new paper . “Now we have more of both, and the weight of the evidence says these are different species.”

Genetic data from previous studies revealed that the two species likely diverged more than 300,000 years ago and come from opposite ends of the killer whale family tree. That makes them about as genetically different as any killer whale ecotypes around the globe. Subsequent studies of genomic data confirm that they have evolved as genetically and culturally distinct groups, which occupy different niches in the same Northwest marine ecosystem.

“They’re the most different killer whales in the world, and they live right next to each other and see each other all the time,” said Barbara Taylor, a former NOAA Fisheries marine mammal biologist who was part of the science panel that assessed the status of Southern Residents. “They just do not mix.”

Recognizing New Species

The Taxonomy Committee of the Society of Marine Mammalogy will determine whether to recognize the new species in its official list of marine mammal species . The committee will likely determine whether to accept the new designations at its next annual review this summer.

The scientists proposed scientific names for the new species based on their earliest published descriptions in the 1800s. Neither will keep the ubiquitous worldwide moniker, orca . The team proposed to call resident killer whales Orcinus ater , a Latin reference to their dominant black coloring. Bigg’s killer whales would be called Orcinus rectipinnus , a combination of Latin words for erect wing, probably referring to their tall, sharp dorsal fin.

Both species names were originally published in 1869 by Edward Drinker Cope, a Pennsylvania scientist known more for unearthing dinosaurs than studying marine mammals. He was working from a manuscript that California whaling captain Charles Melville Scammon had sent to the Smithsonian Institution describing West Coast marine mammals, including the two killer whales. While Cope credited Scammon for the descriptions, Scammon took issue with Cope for editing and publishing Scammon’s work without telling him. (See accompanying story .)

The Smithsonian Institution had shared Scammon’s work with Cope, and a Smithsonian official later apologized to Scammon for what he called “Cope’s absurd blunder.”

Species Reflect Ecosystem

The contested question of whether Southern Residents were distinct enough to merit endangered species protections initially drove much of the research that helped differentiate the two species, said Eric Archer, who leads the Marine Mammal Genetics Program at the Southwest Fisheries Science Center and is a coauthor of the new research paper. The increasing processing power of computers has made it possible to examine killer whale DNA in ever finer detail. He said the findings not only validate protection for the animals themselves, but also help reveal different components of the marine ecosystems the whales depend on.

“As we better understand what makes these species special, we learn more about how they use the ecosystems they inhabit and what makes those environments special, too,” he said.

The new research synthesizes the earliest accounts of killer whales on the Pacific Coast with modern data on physical characteristics. The team also use aerial imaging (called photogrammetry ), and measurement and genetic testing of museum specimens at the Smithsonian and elsewhere. While the two species look similar to the untrained eye, the evidence demonstrates they are very different species. The two species use different ecological niches, such as specializing in different prey, said Kim Parsons, a geneticist at the NOAA Fisheries Northwest Fisheries Science Center in Seattle and coauthor of the new research.

Recent research with drones that collect precise aerial photos has helped differentiate Bigg’s killer whales as longer and larger. This might better equip them to go after large marine mammal prey. The smaller size of residents is likely better suited to deep dives after their salmon prey, said John Durban, an associate professor at Oregon State University’s Marine Mammal Institute. His killer whale drone research is done collaboratively with Holly Fearnbach, a researcher at SR³.

The different prey of the two species may also help explain their different trajectories. Southern Residents are listed as endangered in part because of the scarcity of their salmon prey. Bigg’s killer whales, by contrast, have multiplied while feeding on plentiful marine mammals, including California sea lions.

While killer whales represent some of the most efficient predators the world has ever seen, Durban said science is still unraveling the diversity among them. The identification of additional killer whale species is likely to follow. One leading candidate may be “Type D” killer whales identified in the Southern Ocean around Antarctica.

Other killer whales in Antarctic waters also look very different from the best-known black and white killer whales. This reflects a wider diversity within the species, said Durban, who has used drones to study killer whales around the world. “The more we learn,” he said, “the clearer it becomes to me that at least some of these types will be recognized as different species in due course.”

Southern Resident Connections

Southern Resident killer whales are icons of a vibrant but struggling marine ecosystem that is important to us all. Join us in exploring the ecological connections that tie this system together, and the ways we are protecting and working to recover the whales we all care so much about.

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More Information

• New Research Reveals Two Species of Killer Whale
• How Scientists Chose Names for Newly Identified Killer Whale Species
• Two Species of Killer Whale Infographic
• Marine Mammal Genetics Research
• 2004 Status Review of Southern Resident Killer Whales
• Saving the Southern Resident Killer Whales
• Listing of Southern Resident Killer Whale Under the ESA
• Killer Whale Ecotypes Poster

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