#// the mvs are going to become more... music video-esque but this was the first one I wrote so

[mugram]

Sway the Court - Scene Transcript

* The small video in this Scene Transcript includes a quick flash/glitch at the end of it to flash to the MUGRAM logo. The video is not important to your experience of this Scene Transcript. Please enjoy.

I'll sway the court  Make their decisions Choose their hand

“Listen to me, okay? I will make sure you get out so you can see your family again.” Mayumi mutters to her client.

“Thank you.” Her client smiles. “I need to get back to my job so I can get money for my family.”

“Of course.” Mayumi nods. “I’ll make sure that you don’t spend any time in jail.”

Doors fly open 

And it’s the fight for our lives

“...She should not be jailed for the crimes someone else has clearly done. Thank you.” Mayumi takes a seat and looks over at the person sitting next to her.

“You think you can convince them to let me go?”

“Well, I’m sure I can sway the court into your favor.” Mayumi gives a small smile. “I promise you that you will see your family again. If not immediately, then after a little bit of community service.”

“Thank you. Thank you so much.” Her client profusely thanks Mayumi.

“Hey, don’t worry.” Mayumi places a hand on her client’s shoulder. “Lawyers are meant to help out their clients.”

I don’t care how wrong this could go for me

You all will be free so just let me be

“I have to ask.” Mayumi stands. “Witness, did you see my client actually go over to the store, rob it, and leave minutes after?"

"Well, I didn't see her rob it, but the alarm–" The witness starts.

"You didn't see her do it." Mayumi points out.

"Yes, but–" The witness rubs their neck.

"You were across the street from the store; how would you know it was her?" Mayumi stares at the witness, who now is uncomfortably shifting before they finally breathe. "If you don't have any answer, then I guess my line of questioning is over."

Mayumi begins to walk back to her seat.

"She was the only person who left when the alarm went off."  The witness finally speaks.

Mayumi grimaces.

I'll sway the court 

Make their decisions

Choose their hand

Her client only stares back.

So, don't even worry

I have the command and the proof in my hand

I'll make sure that these things will only sway in my favor

"Okay, I need you to tell me. Be honest." Mayumi exhales. "Did you steal from the store?"

"What?" The client shakes her head vigorously. "No, no! I wouldn't do that. I went there to grab some snacks and medication for my sister. I wouldn't rob the store! I have a job and I'm the only source of income for them and I can't leave them because then–"

"Hey, okay. Take a deep breath with me, okay?" Mayumi inhales and exhales.

Her client breathes slowly.

"I promise you, I'll get you out of here, alright?"

"Alright. Are you sure?”

“I’m sure. I have to do this.” Mayumi exhales.

It’s justice after all.

"Your Honor, this is an outrage.” Mayumi stands up. “Surely you can find some leeway–"

“It’s clear to me that after all this back and forth what my stance will be.” The judge bangs a gavel and Mayumi swallows with a frown.

Don’t condemn anything I say

Because I swear I’ll make them pay

“...is GUILTY of the charge of theft.” The judge announces.

“Damn it.” Mayumi mumbles as she stares at the judge before falling back to her seat.

“Hey. What… What does this mean?”

She turns over to her client.

And, don’t you dare turn your back on me yet

Because you shouldn’t need to repent

For sins aren’t yours 

“I… I don’t know.” Mayumi swallows. “I’m sorry.”

They’re all mine.

Mayumi stands in the hallway and watches as her client walks past her. Her hands are cuffed and she has a terrified look on her face.

Mayumi looks down. 

I'll sway the court 

Make their decisions

Choose their hand

Mayumi watches the car drive away, her client inside. “I’m sorry.”

So, don't even worry

“Hey, Kubo-san.” One of her coworkers rolls over in his chair. “I heard about your last case.”

“It’s… fine. Don’t worry.” Mayumi waves him off.

“Hey, it’s not fine. You poured your heart into that case.” 

“I know! It’s just…”

“It happens sometimes. I understand. We can’t save everyone.”

“But, she was clearly innocent!”

I have the command and the proof in my hand

Her coworker sighs. “I know.”

Mayumi exhales and her coworker places a hand on her shoulder.

“It’s just how things happen around here, Kubo-san. I’m sorry.”

I'll make sure that these things will only sway in my favor

"I heard she got her sentence and was brought to prison earlier today."

"...I don't really think that's something you should say to try and comfort someone." Mayumi rubs her face. 

"...Ah, my bad." He rubs the back of his head. "Well, you could always visit in the future."

"Yeah, sure."

It’s justice after all.

The key clicks and Mayumi pushes her apartment door open. Wrapping her brown coat around her arm, she walks over to the couch. 

Picking up a remote and tapping the on button at the TV, a red flash instantly catches Mayumi's attention.

…found dead in her cell last night.

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#mugram #ocgram #milgram oc #Prisoner One - Mayumi Kubo #MUGRAM -- Scene Extraction Transcripts #// the mvs are going to become more... music video-esque but this was the first one I wrote so

[sug4rsweet]

The “Queen of Collabs”—Kaori Takahashi Collaborates with Artists from Psy to Namie Amuro

September 20th, 2013

by E. Cha

With the release of her chart-topping sophomore album Sweet 18, Takahashi is on the top of her game at the moment, and it’s only been 21 months since she first made her debut. The idol’s second album has sold much more than her first, selling over 600,000 copies, and it’s slated to place within the top three of Oricon’s end of the year albums chart, in comparison to the top ten placement Takahashi’s self-title achieved. Her newest single, “Black Night,” became her biggest hit to date, debuting atop the Oricon singles chart and becoming Takahashi’s first No. 1 single. It became the most downloaded song in Japan, and even saw success in America, managing to score a place on the Billboard Hot 100 (her second Hot 100 single so far). And with that level of success, it’s no surprise that other major artists are clamoring to collaborate with her.

The first collaboration to be released was a major one. A remix of Psy’s mega hit “Gangnam Style,” (which hit No. 2 on the Billboard Hot 100) the track was released in June, and its subsequent success cut rather close to that of the original. It garnered two number ones on the Billboard charts, one on the Hot Dance/Electronic chart, and another on the World Digital Song Sales chart. It also debuted at No. 6 on the U.S. Digital Song Sales chart, found itself atop the Oricon charts, and placed at No. 5 on Gaon. Within a mere month, the remix’s music video has also garnered viral status. As of now, it has nearly 90 million views on YouTube, and it’s currently tied with “Black Night” as Takahashi’s most viewed music video. The MV didn’t go viral on the song alone, however. Netizens in South Korea fell in love with Takahashi’s bold makeup, her claw-like nails, and wacky, 2000s-esque hairstyles, with some comparing her to 2NE1’s Dara. There was even a name coined for her style of makeup on Naver, “starliner,” and the trend has gotten so big that it’s spread to England. There was also a scene in the MV of her blowing bubblegum, and since it was the thumbnail, Korean netizens began calling her “Bubble Girl.” Additionally, critics have heaped acclaim on the “Gangnam Style” remix, praising Takahashi for her energetic and unique delivery of her lines, as well as for the versatility in her voice.

The story behind this legendary collaboration is pretty cut and dry, as Takahashi and Psy met at last year’s VMAs. The former’s label, Avex Trax, was quick to push for a collaboration, and due to her status as one of Japan’s fastest rising stars, Psy’s label—YG Entertainment—was just as quick to agree. Takahashi was originally supposed to feature on a remix of “Gentleman,” but she insisted on a remix of “Gangnam Style” instead, as she already had a verse written. And it seems like that change was for the best. An interesting thing, however, is how Takahashi initially believed that there wasn’t going to be a music video for the remix. However, Avex informed her that YG had agreed to one a day before she was set to fly back to Japan. And so, Takahashi remained in Korea for three more days (she was initially there to record her lines), and what is possibly the best music video of 2013 was created.

The second and most recent collaboration to be released was one with South Korea’s very own AKB48 and Flowerbank Entertainment’s most successful girl group, Allume. Released earlier this month, “Cinderella” was also a smash hit, and is probably the most beloved collaboration that Takahashi’s ever done. The gothic concept and traditional J-idol feel of the music video was a favorite among both critics and fans, and Takahashi’s increasingly improving vocal ability saw the most praise, with critics adored how well her voice paired with the members of Allume. And, of course, the track’s commercial performance was just as good. “Cinderella” debuted atop the Oricon chart and found itself at No. 2 on Gaon. It even saw success in the United States, cracking into the Billboard World Digital Song Sales chart at a rather high No. 19. With over 6 million views on YouTube, the track has been trending for the past few weeks, and it’s reportedly been playing across Tokyo and Seoul ever since its release.

Takahashi met Flowerbank’s mega girl group at the 2012 Mnet Asian Music Awards, shortly after Marisol and youngest member Analise stated their love for her music. Even though Takahashi and Allume got along well, there was no collaboration planned or even mentioned in passing. However, as Takahashi and Avex were discussing bonus tracks from Sweet 18 to possibly release, she brought up what was originally an unreleased demo, the track formally known as “Chandelier” and what would become “Cinderella.” Since it was a demo, though, the track was unfinished and “empty.” Takahashi, ever the one to take control of her career, suggested Allume as a possible collaboration, as she believed that more than one additional voice would make the song sound fuller. Both Avex and Flowerbank agreed on a collaboration, as Takahashi needed more international exposure, and although Allume was already popular in Japan, more Japanese fans wouldn’t hurt.

Like the “Gangnam Style” remix, behind the scenes of the “Cinderella” MV was posted to Takahashi’s YouTube channel, showing just how much fun she and the Allume girls got along, and there were some truly notable moments between her, Marisol, and Analise. And just a few days ago, Takahashi stated that a live performance of “Cinderella” is in the works, sparking excitement among both fandoms. She also said that she would love for Allume to perform with her during her upcoming tour, and we can only wait and see and hope that it’ll happen.

Even after two major collaborations, Takahashi still isn’t done. Her upcoming single “Telephone” is an exciting one, as she’s set to collaborate with J-pop legend and her biggest inspiration Namie Amuro. The song is reportedly a quintessential 2010s EDM track, topped with the dark concept that was all over Sweet 18. She’s also collaborating with western artists such as Cobra Starship, Ke$ha, David Guetta, The Cataracs, and will.i.am. The first is set to be on the band’s lead single off of their debut album, “You Make Me Feel…” It’s a truly star-studded lineup that shows just how big Takahashi has gotten in the span of just a year and a half, and it’s clear she isn’t slowing down anytime soon. She’s said that she wants to collaborate with as many artists as she can, so we can’t wait to see what she has in store!

allume belongs to @venusvity + @flwrbankent !

#🍬 … ARTICLES ! #CONNECTIONS ! #fictional idol community #jpop oc #jpop oc soloist #kpop oc #kpop oc soloist #koc #koc soloist #jpop solo artist #jpop soloist #jpop idol oc #fictional idol soloist #idol soloist #fake idol #idol oc soloist #fictional idol oc #fictional idol #fake kpop idol #kpop soloist #kpop female soloist #kpop solo artist #fake jpop idol #ficnetfairy

[seasquared]

How to Go, Unlimited: Life (?) After "Limitless (Rough Ver.)"

When I first started writing this post in 2018, it began with "it's been over a year since SM dropped the MVs for 'Limitless,' and for a while, it looked like NCT would never go back to the 'Limitless (Rough Ver.)' style." But now it is 2022. While that sentence is still technically accurate (four years is more than a year), the visual style for NCT has since solidified, if not calcified. In 2018 we might still have wondered if "Cherry Bomb" was an oddity or a thesis statement. In 2022 we can recognize that "Cherry Bomb" was the test case for what would become the recognizable NCT look and sound: the musical equivalent of having Four Loko injected straight into your brain and then being set loose in the Museum of Ice Cream.

Now with the benefit of four years of hindsight, I can say quite definitively, NCT has never and will never back to the "Limitless (Rough Ver.)" style.

There is only one exception to that statement, and that was when SM dropped NCT Dream's "Go."

"Go" was released in close tandem with NCT U's "Baby Don't Stop" and "Boss," so I hope you'll forgive the brief diversion into its sibling MVs. "Baby Don't Stop" as a song was and remains legendary, a strange combination of Ten's floating high notes, Taeyong's self-assured nasal rapping, and urgent breathy whispering that climaxes in a stretch of harmonization so effortless it feels adlibbed. I would even argue that it is a clear highlight of NCT's overall discography. The music video, on the other hand, is unremarkable, save for Ten and Taeyong's asymmetrical symmetry as they and they alone mug for the camera. Taeyong takes up so much space, all angles with an exaggerated throwing of his shoulders that's emphasized by his outlandishly teased hair and enormous half-tucked white shirt, that you almost miss Ten, sleek and smooth in darker colors and a slicked down hairstyle. Ten dances like he's not even thinking about it, like this is his natural state, as if this is how he drifts through life, flowing from flourish to flourish, his face set in a neutral but sultry remove. Taeyong, on the other hand, moves so abruptly that you feel like he was interpolated from a lower framerate, stop motion with no in-between frames at all, and his face is a dizzying moodboard of open-mouthed expressions: ecstasy, arrogance, seduction, animalistic exertion.

The great visual trick of "Baby Don't Stop" is that the longer you watch it, the stranger their bodies become. Taeyong's whole demeanor is Joker-esque, literally unhinged, as if he were a ball-jointed doll, and by the end his arms seem to stretch to such unnatural lengths that you become worried he will accidentally strike Ten in the face while flailing. (He never does, of course.) In rewatching, you begin to marvel at how Ten seems to set the tempo, unleash and rein Taeyong in at turns. The MV starts with Ten dancing almost absent-mindedly by himself before spinning towards Taeyong, who then jerks awake like a wind-up toy and begins to parallel, though not quite copy, Ten's movements. This continues throughout the video: Ten swings his leg off a chair and Taeyong follows, Taeyong dances for the camera while Ten with his back to the camera snaps his fingers over both their heads, Taeyong saunters and stalks his way down a ramp⁠—following Ten, whose nearly imperceptible figure is waiting just offscreen for him to catch up. When Ten reappears, he taps Taeyong in the back, causing him to slump over like a marionette with his strings cut, before Ten puts his hand back on Taeyong's shoulder, causing him to snap back up. What a well-worn, and delicious, dynamic: a magician and his dangerous familiar, a man and his beloved rabid dog, a two-man performance that is a duet, duel, and binding ritual all at the same time. (Can you tell I love this song and have watched this MV many times by now? This is the kind of characterization through dance and interaction that you don't have time for when you need to fit 2945893 members into the same neon-streaked VR cage for the typical NCT headliner MV.)

"Boss" is even more visually unremarkable. It's half a fashion ad and another half a fashion shoot. There's no storytelling to speak of, only what seems like a never ending parade of wardrobe changes in muted palettes of earthy browns, deep blues, and bright oranges might as well be ripped from 2018 Stylenanda.  Every setting feels clinically empty, an auditorium immaculately cleaned to function as a dance stage. At times this MV feels less like an official music video and more like a very high budget dance cover. There's not even the pretense that these are lived-in environments the boys inhabit (e.g. "We Go Up" or "Regular") or fictional worlds wholly created for them ("Favorite (Vampire)" or "Simon Says"); rather, you can almost see the sign outside each of these locations telling you it's closed for filming or hear the cavernous echoes of cement floors and marble ceilings waiting to be cleaned and put back in order to function as city halls and libraries.

The thing to take away from "Boss" is one word: "pose." There are plenty of "addressing the camera" shots in "Boss," but no longer are they the uninvited, intruding shots of "Limitless." NCT U is inviting you to gaze upon them. You are the camera, literally, like in an early shot where multiple shots of Jaehyun in a camera roll turns into a flip-book style montage that gives the impression of him leaning forward and staring straight at you. I don't think it's a coincidence this MV looks like a fashion shoot. The point is that the boys are Instagram worthy at every turn. No gaze or pose is wasted. You can always tell who is doing the looking and what is being looked at and what you, the ultimate observer, is supposed to take away from a scene. A shot of all of NCT U staring at the camera turns out to be Lucas looking up Mark, who in turn is staring down Taeyong across a boardroom table before they leap at each other like wolves. Maybe more than "Limitless (Performance Ver.)" or the Japanese MV, this is the true "finished" version of "Limitless (Rough Ver.)" a year later. All the rough edges have been polished off, and we are left with nothing but the shiny, flat veneer of performance.

Which brings us to NCT Dream's "Go."

No devotee of "Limitless (Rough Ver.)" (of which, perhaps, I am a church of one) could miss how closely "Go" functions as a tribute. The first group shot of Dream you see in "Go" also features them dancing in front of a PVC strip door, after all, possibly even in the same building. "Go" pointedly deviates from the sterile fashion shoot aesthetics of "Boss" and borrows instead some of the same techniques of "Limitless (Rough Ver.)": picture-in-picture, complicated and rhythmic hand and arm movements, night-vision filters, candid "low quality" shots of the boys that feature them suddenly glancing directly at the camera as if noticing it for the first time. Early in the video for "Go," Jeno and Haechan stare each other down, before Haechan throws a small kiss and Jeno laughingly backs off, almost a direct parallel to a shot early in "Limitless" where Haechan, on the same side of the screen even, shows a magic trick to Yuta. My favorite shot is one where the camera, nominally focused on Jisung playfully tonguing a lollipop, also catches Chenle lurking behind him, looking down at something. Before your brain fully processes the image, Chenle looks like an ominous ghost mistakenly caught in a cursed photo, not unlike the many cursed images of "Limitless."

But "Go" is more than just a retread of "Limitless" with younger members and a different director. In the post-"Inside" world, we can recognize how "Go" is a reflection of where we are now with self-expression and performance in a world saturated with social media. Where the intrusion of the camera in "Limitless (Rough Ver.)" felt unnerving, a series of shots where you are the voyeur filming NCT 127 without their consent, "Go" is another beast entirely, a younger Gen Z "Limitless" that lives in front of the camera, whose personality is crafted around being perceived.

In "Limitless," the footage is nominally filmed by a handheld camcorder, which you sometimes see in the members' hands. Everyone is awkward when the camera lands on them. If they perform, it is in an outrageous way, as if to draw attention to the farce: Doyoung and Johnny practicing a dance move before stopping, Johnny violently spitting out a willow leaf that he's eaten off a branch, or Taeyong zombie-like as he stands with one arm still stuck in a sweater. The only scenes in which they seem natural are those where they seem to forget its presence. The 4:3 ratio shots are often over or under exposed, badly balanced, zoomed in too far or not close enough. Even the wide ratio high quality shots, which should be "normal," have moments of amateurishness that draw attention to its own existence as a piece of film, like a shaky camera shot of a stop sign or a dance sequence at 1:20 where, for no reason at all, the shot is framed so that everyone's heads are cut off.

"Go" on the other hand, feels like a series of well-produced TikToks. Some of the shots are filmed as if from the vantage point of a phone propped up on the ground against a water bottle, like these are just some guys about to break into the latest TikTok dance. When NCT Dream sees the camera, they don't stop performing like NCT 127 does. Instead, Dream gives us a sensual knowing look and, in some cases, they perform even harder. Consider that amazing moment in "Limitless" where Jaehyun starts to lipsync but then loses interest before he finishes his line, instead sullenly chewing his gum, and contrast it with "Go," when the boys notice the camera during Jaemin and Jeno's rap verse. In the next shot, the camera has zoomed in to find Mark and Jeno hanging out of the window. Mark is smiling, pointing at us with a light-up ring (an echo of him pointing the flashlight at the camera in "Limitless"), while Jeno lipsyncs his lines with such swagger that it seems to draw the camera in even more, filling the frame with his face. Even in the "casual" shots, the lighting is well-adjusted, the contrast carefully controlled, and the camera positioned to make sure you can see faces and gestures. None of the blown-out lighting of "Limitless," the childish zoom into a stray cat that you never see again, a split-second establishing shot of pizza boxes and playing cards that only confuses the viewers more.

"Limitless" is the VHS tape, the home video, the black and white Xeroexed zine folded and stapled and distributed by hand. "Go" is the Hype House collab, the Twitch livestream, the YouTube short travelogue. Everything is updated, intentional, filmed with you in mind. Where Johnny and Winwin play videogames on a console in "Limitless," both of them staring unblinkingly at the camera while not seeing it or you at all, Jeno plays "Rider" on his iphone in "Go," and the MV even shows you his screen, bringing you in. You are in on the joke, even if you're not quite part of the group. "Limitless (Rough Ver.)" felt like a very long inside joke, which probably explains why the "Rough Ver." has, as of this post, only 8.6M views and the "Performance Ver." has 54M despite "Rough Ver." being the superior MV. In "Go," Dream knows what and who they are filming for. They are filming for an audience, and the audience is us.

When I watch "Limitless (Rough Ver.)" now, I see it as a funeral for a time before 2022, before 2018 even, a time when  interiority was still possible, when we did not constantly feel the need to perform in front of strangers, our friends, even ourselves. It's more relevant than ever, but as an impotent cry against what everything⁠—not just kpop⁠—has become. That kind of weird⁠—quiet, impenetrable, unwilling to explain itself or resolve into an easy bite⁠—is no longer fashionable. Now "weird" in kpop is bombastic noise, banging pots and pans, a glossy magazine that explodes into ever expanding inserts and samples and 2000s references and aesthetics. Dream claims in "Go" to be "free from the box" and "our real selves," but watching it back to back with "Limitless," you can't help but wonder, are they? Wasn't "Limitless," which itself means to be free, where the members filmed only for themselves and thus were the most free? Maybe it's fitting that everything else in the "Limitless" cinematic universe became bloodless sequel. Nothing ever duplicated "Limitless (Rough Ver.)" ever again, and even SM said goodbye to it in the cruelest, most accurate way possible: by having younger NCT members show us what "Limitless" would look like in the future.

And maybe that's what makes the opening of "Go"⁠—Mark staring straight into the camera as he intones, "Hey, change your ways"⁠—feel so ominous. The old ways are over, and he knows it. I've tried very hard to not let the lyrics of any of the songs intrude on this mostly visual analysis, but it's hard not to see "Go" as an anthem to zoomer doomerism, a cry for the kids of today to rise up and create their own world, and an accusation for those who came before for leaving them in this mess. "Why are you in despair?" Haechan sings at one point. "isn't this the future you ruined yourself?"

Perhaps now is the moment to mention "Touch," the NCT 127 MV that came after "Limitless" and the unspoken fourth in this era of NCT. "Touch" is a nostalgia bomb, a Gap-commercial made of cotton candy, a gijinka of a paint sample strip if it also happened to be a kpop MV. (It was made by the same director of "Baby Don't Cry" and "Boss," who really should consider directing lookbook videos and clothing commercials if they don't already.) It is offensive in its inoffensiveness, a throwback to "Into the New World" with all the boys eventually in jeans and some variation of a white shirt. But I have come to put "Touch" in the legacy of "Limitless," not to demean it. At 1:21, something weird happens. Taeil takes out a phone and activates the camera, mostly like to take a mirror selfie. Suddenly, by 1:29, the rest of NCT 127 has taken out their own iPhones, and begun recording Johnny and Taeil singing together, from many angles.

When I said in 2017 that "NCT 127 is a product that we consume," "Touch" is what I meant. After you are aware that every gesture, every expression, and every moment of "Touch" was filmed in front of many cameras, it sours, though does not destroy, the wide-mouthed and bright smiles of the rest of "Touch." And this is what NCT Dream, the younger brothers, saw when they looked at the legacy of "Limitless (Rough Ver.)." They saw us⁠—the camera, the audience, the performance. NCT 127 pointed the camera at themselves, which started an ever-cascading series of self-perception and self-documentation that NCT Dream had to finish. We thought it was fun and games, until everything became that one kind of fun and that one kind of unwinnable game. We became nostalgic for the past, and then turned nostalgia into an aesthetic, and then drained that aesthetic of any kind of real feeling, so that it was no longer possible to feel nostalgia without feeling like you are performing nostalgia. (After all, for all my rhapsodizing on "Limitless (Rough Ver.)", it's a music video created for of the largest entertainment conglomerates in the world, meant to sell CDs and merchandise and an ephemeral idea of a musical group whose members fall in and out of various lineups in increasingly abstruse ways.) We looked so hard at ourselves that we became the only thing we could see. We became trapped inside ourselves.

And then, when we realized there was no way out, we screamed, like a plea and a command both: Go, go go.

#nct #music #cinema #back on my limitless (rough ver) bullshit #can't wait to see what i write in 2027 on this

[pupa-cinema]

Happy Go-Lucky Heads - VIVA!ハピバ (VIVA! HAPPY BIRTHDAY) - English Translation

Lyrics：Sekihan Music：Nakanishi Kousuke (a.k.a. neko)

ハピバだョ全員集合 Happy birthday-o, gather ‘round everyone オメでたい　オメでたい Let’s be happy go lucky, happy go lucky 誕生日近い人ー Is anyone’s birthday coming up? 「本日生まれです」(はい) “I was born on today” (Okay) 「今週生まれです」(はい) “I was born on this week” 「今月生まれです」(はい) “I was born on this month” (Okay) まとめてドンと来い All of you get your asses over here

育ちとか　生まれとか No matter your upbringing, or background, 男女とか　年齢だとか If you’re male or female, or whatever age you are, '初めて見るよ'とか Or if this is your first time here 'ライブ不慣れ'だとか Or if you’re not used to concerts なにも構うもんか I don’t give a damn 次行ってみよう We’re going forward

いざ　はじめよう(全員集合) Come now, it’s time (gather ‘round) みんなが ready to バカ騒ぎ Are y’all ready to rumble アンタが主役になれ You are now in the spotlight

はぁVIVA VIVA VIVA VIVA Deep breath... VIVA VIVA VIVA VIVA HAPPY BIRTHDAY TO YOU！！ 誰にでもある　わかりやすいハッピーデイ It’s a go-to happy day for anyone いい日だな　ハピバノンノン What a wonderful day, birthday cheer in full swing いっちょま��オメでたいわぉ There’s enough happy go luckiness to go around

VIVA VIVA VIVA VIVA HAPPY BIRTHDAY TO YOU！！ ちょっとはしゃぎすぎよ　あんたも好きねぇ You’re taking it a bit to far, that’s what I love about you いい日だな　ハピバノンノン いっちょまえ HAPPY BIRTHDAY TO YOU！！ There’s enough to go around, HAPPY BIRTHDAY TO YOU！！

さぁまいりましょ Come join the party 後半しゅっぱつ Intermission's over

サプライズ　仕掛ける Set up a suprise 君の　驚く顔　見せて I can’t wait to see the look on your face 部屋の　明かり消して Turn off the lights in the room 忍び寄る　背後へ Creeping up behind you Just like a 背後霊 Just like a guardian angel on your shoulder ◎◎うしろうしろ Behind you!

育ちとか　生まれとか 男女とか　年齢だとか 'どのバンド好き'だとか No matter what bands you like 'ぼっち参戦'だとか Or if you came here solo なにも構うもんか I don’t give a damn 次行ってみようブレイクダウン We’re going on with this, break it down

誕生日だぁ～ It’s your birthday~ We 祝う YOU We CELEBRATE you 誕生日だぁ～ It’s your birthday~ We 祝う YOU We CELEBRATE you

いざ　はじめよう(全員集合) Come now, it’s time (gather ‘round) みんなが ready to バカ騒ぎ Are y’all ready to rumble アンタが主役になれ You are now in the spotlight

はぁVIVA VIVA VIVA VIVA Deep breath... VIVA VIVA VIVA VIVA HAPPY BIRTHDAY TO YOU！！ 誰にでもある　わかりやすいハッピーデイ It’s a go-to happy day for anyone いい日だな　ハピバノンノン What a wonderful day, birthday cheer in full swing いっちょまえオメでたいわぉ There’s enough happy go luckiness to go around

VIVA VIVA VIVA VIVA HAPPY BIRTHDAY TO YOU！！ ちょっとはしゃぎすぎよ　あんたも好きねぇ You’re taking it a bit to far, that’s what I love about you いい日だな　輪に入れよ What a wonderful day, join together now いい日だな　自分磨けよ Spruce yourself up いい日だな　心洗えよ Cleanse your heart また来年HAPPY BIRTHDAY TO YOU！！ See you again next year, HAPPY BIRTHDAY TO YOU！！

Interviews:    ● Gekirock interview: 

Interviewer(Yoshiba Saori): In our previous interview you had mentioned a birthday song you were in the process of writing, so that turned out to be ‘VIVA! Happy Birthday' I see.

Sekihan: That’s right. After tinkering and revising with twists and turns along the way, we finally arrived at the 'VIVA! Happy Birthday' you see today.

It’s a proper birthday song yet... I couldn’t help but notice the sheer amount of references to The Drifters, “It’s 8 o’clock-o! Gather ‘round!” among many (Laughing).

Sekihan: Good eye.

Poniki: Please stop praising him before it goes to his head.

Sekihan: That wasn’t exactly praise though.

mao: Did you catch most of the references we stuffed in?

Interviewer: They’re of my generation so yes.

Sekihan: The title even was once “Happy Birthday-o! Gather ‘Round” but it was just a The Drifters song at that point so... I changed the title to be “VIVA! Happy Birthday”, while still leaving everything else pretty much the same. Did you notice the Mustache-Dance-esque part in the middle too? As soon as we settled on using The Drifters for our motifs, this idea popped into our heads.     ＊The Mustache-Dance. They say “後半まいりましょ 後半しゅっぱつ” just like Viva! Happy Birthday. 

Interviewer: As the composer, 324, what did you have in mind for this song?

324: At first I steered to make it absolutely bursting with joyous energy. As we said, the song took on a lot of gear changes along the way, so naturally my initial product was a little different from the current one. Mine was more-

mao: Edgy and emo. It was emotional music.

Interviewer: At the chorus the rhythm had been slowed down by half; a mellooow song one could easily crowd surf to. If I recall correctly, didn’t we suggest the theme to be about the birth of life? About ‘Traversing the birth canal’ and what not.

Interviewer: At the studio we had considered that a possibility, but eventually we came to our senses and said ‘Wait, no this isn’t right!’

324: That theme was a bit too heavy so we chose to lighten it.

Sekihan: Simplified and rectified, birthdays are happy go lucky celebratory events so all we’ve gotta do is have a good time. With that said, we didn’t want to make a run-of-the-mill party song either, we were in a pickle. Then came the idea: everyone gathering around  = The Drifters. I watched videos of The Drifters the whole time I was writing.


mao: After eliminating the unnecessary Drifters bits, we have what you see today.


324: It was too far down Drifters lane at first. I had to intervene.


Interviewer: You get lost in the swing of it huh (laughing).

Sekihan: I love-love the qualities of the Shouwa era. On our main site we recently uploaded the MV for “HAPPY GO LUCK HEADS”, in which ‘The Veteran’ appears at the beginning, I tried to dress myself up as Kuroyanagi Tetsuko for that. My interest in Shouwa just comes seeping in to my works. One which I hope spices things up for others as well. 
https://www.youtube.com/watch?v=Jo7nkDUnr2s

Interviewer: The almost fairy-tale ending of ‘VIVA! Happy Birthday’ even leaves a Drifters taste in my mouth. I see Nakanishi Kousuke assisted with the writing of this song, then also ‘Ebifuri-ya’ and ‘WA ni natte tomo ni’. Could you tell me more about him?



Ponikingdom: He’s practically our hidden 6th member, or so the people say. He once even produced a song for my own album. Herein 324 writes aaall the music, so we wanted the essence of someone different here and there. We make a good team to boot. He understands our aesthetic to a T.

Mito-juu: He makes them exactly as ordered.


Sekihan: It’s not about musical ability, but aesthetical ability (laughin).

324 So there you have it. He made the music, then I arranged it to make it perfectly Happy Go Lucky Heads.

　● 324 blog: 324 exhibited how to play the lead guitar part of the intro! He said “Watching this, I notice that this weirdo actually uses the middle finger of his left hand a lot.... That’s uncommon alright. @ Pon-chan - If I ever die, please use this as reference and take over my role as lead.”

● Poniki’s explanation:  It’s a good ol’ birthday song with a catch; it’s in Omedeta style and bound to remind you of a certain classic show about the rich! Every day of the year is somebody’s birthday. We filled this song with wishes for that somebody’s special day! It’s even already becoming a hit among birthday peeps in the crowds at concerts!

● MV release article:  This song is set to celebrate Omedetai’s 1 year band anniversary.

#オメでたい頭でなにより

[insomniac-soup]

TXT: Thoughts on Bighit’s new group, the future of BTS (and Bighit)

March 4 was the day Bighit Entertainment, the entertainment company that manages the worldwide famous Kpop group BTS, released the MV for their new group. I watched the teasers, curious what this new group would bring to the table; after watching the MV, I think it’s worth reviewing what the future may hold, since there’s a lot going on. This post is quite niche in its content so feel free to keep scrolling if this ain’t your cup of coffee. This is a fairly opinionated and extensive take on the topic of the groups mentioned (and Kpop as a whole), so read at your discretion.

[I do not own any of the images, gifs, or videos used in my posts; these visuals are used only for entertainment.]

[Rant #1: Group Comparisons]

PREFACE: to those unfamiliar with Kpop, it’s a genre of music originating in South Korea, placing great focus on the aesthetics of group members, music videos, music shows, and dancing. It originated in the 90′s, drew inspiration from North American music, and evolved to becomes its own genre. Groups or soloists are managed by entertainment companies (as opposed to record labels), so many (but not all) lack autonomy and/or control over their music, general say in the group’s plans, wardrobe, etc. Some groups are more experimental than others, but the industry and genre is quite eye-catching and unique.

So I’ve been keeping up with BTS almost from the moment they debuted, and it’s been great seeing them grow as a group, produce great music (solo mixtapes from the rappers; absolute fire), and get the recognition they deserve. They’re all talented, unique, and have great personalities; that isn’t to say other groups don’t share these traits, but it’s no question that BTS is the most notable for such traits at moment (internationally speaking). The fans supporting them have sparked more debates as the fans increase in numbers, and it can really go either way depending on the fan you meet. Either way, I like BTS, and understand those who don’t. The reason I bring up BTS is because I can’t talk about TXT without mentioning BTS, as BTS is now TXT’s senior group. Now, onto TXT.

TXT, the short-form for Tomorrow X Together, is the new group consisting of 5 members (Soobin, Yeonjun, Beomgyu, Taehyun, and Hueningkai), who just debuted with their EDM-esque EP The Dream Chapter: Star , with the title track ‘Crown’. My thoughts?

1: On the debut title track, I think it’s nice; I don’t think it’s revolutionary or an instant bop, but I do enjoy it. It’s perfect to walk to, the minimalist aesthetic is nice, and they all seem to have personalities. By that, I mean there’s energy from them. That seems pretty typical to expect from any Kpop group, and I’m sure other Kpop fans know that’s given. But there are many groups I’ve listened to whose tracks or debut tracks lacked a kind of ‘punch’. The simple and somewhat cute aesthetic of the MV may not have the actual punch, but I get the feeling the idols themselves are engaging. I appreciated that it was simple, because to be honest, if a debut track is too good, all succeeding tracks can seem underwhelming. With this track, as well as the other songs (Cat&Dog is really catchy not gonna lie), they can work their way up to more complex tracks. This is a quick edit, but after listening to the track a couple more times, it’s kinda catchy. Plus, the lyrics are actually nice, in that it’s not all that different from other songs describing someone’s love changing them for the better, but different because of the word choice.

2: about the group name, I think Bighit favours the acronym-style name, which I do like. This is just a random observation and less so a serious point. Everyone knows BTS are generally referred to just that name, but their other names, Bulletproof Boy Scouts, and their more recent meaning Beyond the Scene, have meaning. I think this can actually make TXT more memorable, because it’s more than just a name. BTS still refers to themselves in the abbreviated form of ‘Bangtan’ (recalling the group’s name in Korean) through songs like ‘Anpanman’, so it helps create an identity. Of course, they aren’t the only group to use acronyms (take AOA, or Ace of Angels), but I make a point of this because they’re not a group from the Big 3 (JYP, YG, SM). EXO and SNSD (although they do go by Girls Generation) are SM groups that both use acronyms (EXO more lucidly), but their name partly has that impact because they come from a notable entertainment company. In the same way that BTS made their name iconic, I can see this working as well for TXT (it also seems really wholesome). My personal interpretation is a theme of unification and obviously togetherness. For each new day, for the future that holds ‘tomorrow’, we can be together, and united in both senses. That might be a bit of a dive, but considering BTS’ naming had similar significance, it would be a nice, wholesome, message to project.

3: They have a really interesting motif with their Introduction Films and group concept, and the members are versatile (in a general sense of the word). Each member has a representative animal and flower associated with them, somewhat reminding me of the different songs sung by the vocalists of BTS (Euphoria, Serendipity, Singularity, and Epiphany). It also kind of reminded me of VIXX, another group that developed their niche as a concept group (meaning each album or EP has a particular theme and songs that match that theme; their latest album EAU DU VIXX has the perfume motif, which implies alluring and scent-related themes and lyrics). This motif, however, is really unique and engaging in its own right, aside from BTS or VIXX. The Introduction Films each dedicate short clips that showcase each member, and the general Intro Film shows them just having fun. Keep in mind that they’re all fairly young, the youngest member being born in 2002. The cute aesthetic may fool you into thinking they’re just another generic boy group (I was kind of tricked into that mentality at first), but like their senior group, this group is building a story with their representative animals and flower. The short story illustrating the boy with horns in their debut showcase was compelling and really interesting; many were quick to point out the wings motif tracing back to BTS’ 2016 album Wings. I see that as well, and I do hope that leads to a good relationship between the Bighit labelmates (I’ll go into detail on that). One of the members, Hueningkai, is the first mixed idol employed in the company (half-Korean, half-American with European and Brazilian ancestry). 2 other members are also good at English, which is really helpful in the market today; what’s helped Kpop groups connect with international audiences is bridging the language gap, so this also means TXT is a group people could understand more (and I wouldn’t say that everyone should speak English and their success is defined by that, but that is the reality in this market). As a brief side note, their dancing seems to be pretty good, which is clear in their dance practice video.

4: as a group on their own, they seem to have potential, but I worry about how they might be compared to BTS. I admit, I compared them at first, but having seen the MV with discarded preconceived notions, I can now say I appreciate TXT in their own right. I am excited to listen to more of their music and give them a chance like I would any other group, and like I mentioned before, they do seem interesting as personalities. I think the problem now is that because they are the brother group to BTS, they will likely seem underwhelming and lacking the ‘it’ quality. I think there are some comparisons worth making that aren’t inherently bad, as well as ones that can be problematic;

Take BTS’ debut MV ‘No More Dream’ compared to ‘Crown’. They are two very different collectives of personalities, and BTS is a lot more aggressive with their darker, b-boy aesthetic. TXT is bubbly and super cheery in comparison, but that’s not a bad thing. That means the groundwork is ultimately different.

As a continuation, TXT is at a different stage as a boy group than BTS when BTS debuted. Bighit was on the verge of bankruptcy, had some scandals (those do exist), and weren’t very rich. BTS’ success decided the survival of the company, but TXT isn’t a group that’s in jeopardy. The company isn’t make-or-break anymore, so considering the circumstances, it’s okay to compare them but not to a large extent. I think it’s okay to compare debut MVs, since that’s fairly harmless, as long as that’s being perceived without the idea that TXT needed to meet the standards of BTS’ debut (and let’s be honest, BTS didn’t have the most revolutionary, amazing tracks to start; some were okay, some are pretty notable for misheard lyrics, others potentially problematic, but they didn’t win awards with their debut songs).

TXT have less members than BTS, so that might have been a marketing strategy; 7 is fairly standard for the number of group members to have, but 5 allows audiences to know everyone faster ‘cause it’s still two less members.

If people can give BTS the benefit of the doubt, then TXT deserves the same courtesy if we are comparing the two. Like I said, BTS gradually progressed as a famous, best-selling group, so TXT should be compared only in the sense that they’re a new boy group under the same entertainment company.

Once I listened to the debut track ‘Crown’, the rapping style greatly differed from BTS’ rap line. They’re more in-tune with melodic rapping over RM, J-Hope, and Suga’s fast-paced, hard-hitting rapping style. Even in ‘No More Dream’ (Jungkook when he still rapped), they’re much more intense compared to TXT’s rappers. You can compare them, but it’s not fair to say anything along the lines of TXT’s rappers being less than compared to BTS’ rap line, since the styles are almost polar opposites.

What it also boils down to is the fact that TXT is debuting in 2019 and not 2013. 2019 can be marked as a new era for Kpop, especially with all that happened in 2018, and doesn’t border on 2nd generation like BTS did. You could say 2010’s onward is 2nd generation Kpop, while 2013/4 (give or take? I’m a little rough with my years when it comes to Kpop generations and haven’t found a concrete chronology so my interpretation here is mostly speculative) is 3rd generation. This is an unpopular opinion of sorts, but 2nd generation Kpop groups innovated in dance/music styles, and deserve credit for such, helping to usher in popular styles and concepts that comprised 3rd generation groups. BTS is no exception in pioneering and creating unique music styles (they aren’t the standard or exception, but definitely stood out when it counted with notable hype tracks like Dope or Fire and impressive choreographies), but I digress. The point is TXT has a lot to live up to, and not just in comparison to their brother group, but also debuted in an era where Kpop is becoming more widespread, more intriguing to newer audiences, and will be very public (considering the advent of social media).

I will discuss TXT more generally now, as I would like to mention what I think this means for the company and BTS.

1: Hopefully, Bighit will finally let BTS take breaks. We know BTS have toured many times and released music often, and it’s also obvious (with proof) that they’re overworked. They’re so professional, even when they are tired and exhausted (notably Jungkook), which shows how much they care about their fans. Granted, when the company needed revenue, that would be a little easier to judge, but Bighit is no longer in dire straits. Every member of the group is just as human as the next person, and they need to relax; RM himself has stated that they enjoy doing what they do, but still get exhausted. That’s just normal human behaviour. In ‘Burn the Stage’, you see more raw moments that normally happen off-camera, including arguments between members and moments of physical exhaustion. If we are to take these developments as they are and believe every word of it, then it’s fair to say they’re really tired. With that said, I hope TXT is managed well, promoted well, treated well, and given attention as the new group. It means TXT can be maintained and have presence in the industry’s foreground, while also allowing BTS to take time off. I say that without knowing all the technicalities about idol management, but my hope is TXT didn’t debut for no reason and BTS is overworked all the same. I know BTS is releasing a new album in April, which I am excited for, but do worry they just aren’t getting the rest they deserve.

2: BTS will remain popular as TXT breaks in, so I’m not concerned whether BTS will lose relevancy or not. With the hope that Bighit will let BTS get some rest from promotions and touring, I think BTS is comfortable where they stand. There is no doubt about their fame as I mentioned before, and maybe their name might help boost interest for people considering TXT’s music (having a company name that people know is fairly effective, and how I learned about groups like (g)-idle, who are labelmates of CLC, who were labelmates to the former group 4Minute and successor girl group). I mentioned how I was worried TXT would be compared too much to BTS, but I think there are still positives in that relationship. What I would love to see is whether BTS members mentor the new group, like RM or Suga helping with music producing and such (hearing RM’s demos shows how talented he is). A closeness between the two groups would be ideal, which brings me to my next point specifically on the company.

3: Bighit entertainment has a problem, and could potentially become a part of a greater one if it becomes a big entertainment company like the Big 3. This is where I diverge from solely talking about TXT and BTS to run down what this means for Bighit. As I’ve grown up with Kpop, I’ve learned about the good, the bad, the sad, and the ugly. I personally think having that kind of journey is both unique and the kind you need to experience organically; it’s okay to start off as a casual listener in the process of becoming a fan, but it’s still important to recognize at a certain point that the industry isn’t exactly perfect, or that groups can be good without validation or comparison. Some of my favourite groups are managed mostly by the Big 3, all three companies that have their own controversies and problematic programs. JYP overworks his best selling girl group (and best selling group for that matter) TWICE in the same way Bighit does to BTS, but that’s just one of the layers on this problem cake. I won’t go into the details of the scandal, but once upon a time Bighit had a girl group. After such scandals (one member a saesang, another an actual felon) happened, it became a thing of the past and something most people don’t know about. Bighit doesn’t take female trainees, and even in the time BTS trained, they couldn’t interact with the female trainees that were once there. The reason I point this out is because there is no female group in the company, Bighit cannot enter the league of the Big 3. All three have (or had) groups like SNSD, Red Velvet, f(x), Blackpink, 2NE1, Twice, Wonder Girls, the list goes on. The way these groups have and are being treated have its pros and cons, but nonetheless are being managed. This lack of female idols in Bighit is a huge gap in revenue; sure, they might have more money than c. 2012 Bighit, but one group cannot help a company become as influential as SM or JYP. To summarize, the first problem Bighit has is the fact that there are no female idols or groups, which chops down any potential influence in the industry and diversity in music (since girl groups are endorsed differently and allow for concepts that boy groups can’t necessarily try). TXT isn’t bad for being a boy group, but the reason I hope for a good relationship between BTS and TXT is because they will be allowed to interact (that sounds so dumb, why isn’t this a given). Not having a girl group lacks diversity in the sounds, and that could be to Bighit’s detriment.

Next, I wanted to go over what could happen to Bighit now that they have another group to manage. I’ll save a lot of these topics for future posts, but as I said, the Big 3 have had controversies over the years, and even smaller companies have had their problems. Considering the weight loss programs many companies enforce on their groups and general abuse of power (lawsuits from EXO’s former members Tao, Luhan, Kris related to overworking), as well as dating scandals (former CUBE artists Hyuna and E’dawn), being a big entertainment company also generally has connections to problematic incidents. What the concern here is is whether Bighit is inclined to do what other companies tend to do to their artists when they have multiple artists to juggle. Take PLEDIS entertainment as an example; they’re not among the Big 3, but they manage groups like SEVENTEEN, Pristin, the subunit Pristin V, and SF9. Pristin debuted in 2016, and haven’t had any comebacks since ‘We Like’ in 2017. They were given lots of dance practice teasers like Blackpink before they officially debuted as Pristin (some members came from Produce 101 and the one-year group I.O.I), but they’ve basically disappeared as a collective. SEVENTEEN, on the other hand, just had a comeback in January, garnering lots of sales, and continue to promote and write their own music. Granted, SEVENTEEN is slightly senior to Pristin, but it’s easy to see they’re being managed a lot better than their sister group. That’s the sad part, because SEVENTEEN members would even do dance practices with them, and the members of Pristin are quite talented. Problems like this are much easier to find in smaller entertainment companies, and Bighit, with the debut of TXT, are finally entering that ring. That means that they might continue to let their artists have autonomy (ex. RM and Suga), or end up potentially mistreating their idols. I am not saying they will, but only that the concern is now more warranted.

4: The success of TXT will ultimately determine what kind of company Bighit truly is. Here’s the thing. The quality of many entertainment companies are determined by the way they manage, promote, and support their idols. JYP is considered the best among the Big 3 because the idols seem to be close with their labelmates, they micromanage to almost program success, groups are unique in concepts and member diversity (DAY6 compared to GOT7, where both groups have strong English speakers, TWICE compared to older group Wonder Girls and newer group ITZY), etc., but that’s also up for debate. BTS has had a couple problems in terms of lyrics, outfits, comments made in interviews, but have addressed many if not all of these issues. What’s good is that both Bighit and RM will issue apology statements, which means we get both sides of the story and that there is at least a level of respect between the group and CEO. That alone doesn’t reveal enough about the CEO or company though. I’m not saying this to be hypercritical, nor believe everyone should think about this kind of thing when listening to music by a Kpop group; the point is, at least for me, knowing the state the idols are in, because often idols don’t get much control over what they do and could be overworked behind the scenes. They have to pay back the companies for the training and other privileges granted, and even those conditions may not be the best; well-known companies are more transparent nowadays because we see how everyone else is managed, but that’s not the case for BTS or Bighit.

If TXT succeeds in a similar fashion that BTS did, that may open up the playing field for Bighit. Maybe they’ll bring back female trainees, and possibly expand the number of groups they manage if revenue begins to come in steadily. The reason Bighit hasn’t been able to enter the stratum where the Big 3 sit is because they only had one avenue for revenue (BTS), until now. Bighit borders on young as an entertainment company (established in early 2000s), so the company not only lacks the number of years the other ones had to experiment (like SM), alongside the problem of no diversity as a company. To conclude, TXT’s promotions and journey as Bighit’s new group will determine whether Bighit is a problematic company or not, because we will now have another group to see being managed and promoted. We have the precedent of BTS, and I personally hope TXT isn’t mistreated.

Conclusion? This took way too long to write, but I think when I’m considering the prospect of TXT, I’ve considered what it means on grander scales too. The reason it’s worth noting TXT’s debut is for all reasons mentioned; what it means for Bighit, BTS, and TXT themselves. All in all, I’m going to listen to more of TXT’s music and see what the future holds for them, since I see potential in the group’s success and potential for them to be engaging as idols.

#TXT #review #rant #analysis #kpop #kpop industry #music #BTS #RM #Suga #J-hope #Jimin #Jin #Jungkook #V #discussion #thoughts #soobin #yeonjun #beomgyu #hueningkai #taehyun

[johnhaos]

first impressions on the tracks of ly: answer?? 💖💖💖💖💖

i can’t believe tumblr wouldn’t let you send this ask until you took out the ily RUDE but ahhhh thank you for continuing to try we got there in the end!! ily

ahhhhh ok here we go!! so i’ve actually talked about all the songs, except the ones from tear, because i’ve never got to talk about the ones from her before (although i didn’t say much about some of them since i’ve heard them a lot so idk what to say really) so this is pretty long lmao

ahhh and like last time i listened again w/ lyrics and some of them a couple more times so it’s not exactly ~first impressions but close enough,,,, also this is a mess^tm and really inconsistent in terms of how much i say about everything (like, half of it is about trivia: love, epiphany and answer: love myself tbh omg)

ok firstly the progression on the first disc from euphoria to answer love yourself is incredible you really do get a sense of the journey that this series takes you on wow

euphoria: full studio version of euphoria i am YELLING i really love this song and jk’s voice sounds so lovely and ofc i loved the version we got in the video but with the extra parts it’s just beautiful, i love the ‘euphoria’ at the end of the last chorus, the way it rises is just lovely and hmm i’m,,,, not actually sure whether i’ve actually looked at the lyrics before?? but ofc it’s a beautifully written song

trivia just dance: JUNG HOSEOK OMG I’M !!!! holy shit my mouth literally dropped open like 5 seconds in lmao THE BEAT AND HIS RAP AND THE VOCALS OHHHH MY GOD wow this sounds incredible he did that!! it’s so,,, hobi?? g o d and the bit at @2.50 when he’s doing that low rap and repeating the word ‘baby’ hahaahah rip me

serendipity: g o d i adored the intro version i was so excited to see we were getting a full version and ahhh the additional part wow,,, i really love the sound of this song and jimin’s voice is so soft and beautiful i could cry tbh,,,, oooh and the little drum bit at ~3 mins nice,,,,, idk, listening to this song feels like being wrapped in a blanket?? like the combination of the music and jimin’s voice is just really comforting and ahhh it has such beautiful lyrics

dna: ahhh ok idk what to say about dna but g o d it’s really such a bop i always wanna get up and dance (i use that term loosely because i cannot dance lmao) and g o d tae’s voice still completely and utterly kills me in this whew,,,,, and i love the bit that alternates between yoongi and jk

dimple: asdfsa ok i remember being really unsure how i felt about this song when i first heard it but it’s kinda grown on me,,, the ‘so i call you illegirl’ bit always kills me though lmao but it always puts a smile on my face and it’s cute!!

trivia love: oooh i love the piano intro wow nice KIM NAMJOON K I L L I N G IT the background music is soooo nice i’m loving this vibe omg and he sounds amazing,,, ok i just read the lyrics and notes [x] before listening again and i am also so blown away by the depth of namjoon’s lyrics and the thought that goes into them, the way he can play with words and incorporate details about the pronunciation and written form of the language is truly incredible g o d,,,, and then also using the difference between live and love in english?? and god i remember him talking about both of those similarities during the interviews in america as well daaamn. he,,,, i,,,, i’m really struggling to put into words how i feel about this song and joon rn it’s a lot but god i have so much love and respect and admiration for him,,,,

her: THE TRANSITION from love to this ooof,,,, this is my fave rap line song tbh, i love the music they use and their flows are amazing and the chorus (and using wonder, answer, her and tear PLS) i honestly love it so much such an underated song can people please stop sleeping on the rap line tracks istg and appreciate them pls it’s what they deserve

ok god i wasn’t gonna talk about the ly: tear tracks but singularity really owns me and i still cannot get over this song and how absolutely perfect it is for tae and how good he sounds and asdfdsa possibly my fave intro tbh and just a fave in general wow,,, ok right moving on

trivia seesaw: *whispers* suga HE’S BACK asdfgsa,,, HIS VOCALS HOLY SHIT MIN YOONGI !!!!! GOD this is soooo good the music and the mix of rap and vocals i am YELLING he really did that and his voice at the end fuck i am dead

epiphany: (ok the bit until // is what i wrote after the mv dropped and then i added some stuff listening to the album) you know how we both said we were !!! every time jin sang on tear?! this was a whole song of that wow truly blessed!! ok so firstly, the style of song is the kind of style that i really like, i’m always drawn to their more ballad-esque songs and this is no exception. and god it’s so perfect for jin?? he voice sounds heavenly and just works /so/ well with this style of music (the same for the other intros & euphoria, they really killed it with showing the individual voices of the vocal line throughout the love yourself series bless) ahhh and the lyrics are so beautiful and the message of love yourself within them just wraps the series up so nicely like ‘i’m the one i should love in this world’ and ‘not so perfect but so beautiful’ are so meaningful,,,, // OMG AND THE BITS THAT WEREN’T IN THE MV I JUST GASPED and god the lyrics for the new parts as well this whole song and message makes me so emotional i,,,,,

i’m fine: ok i read the description yesterday that this drew on save me but i literally had to pause like 3 seconds in because i was not ready for that DAMN though this is so good,,,, tae’s voice at the beginning and joon’s verse !!!! hobi saying hope world my heart soars tbh and damn yoongi’s verse my god he sped off it made me breathless just listening to it what a legend and the vocal line ahhhh this is a bop,,,, ahhh right ok second listen with lyrics, i actually listened to save me again with lyrics first gosh and the parallels [x] esp. w/ joon’s verse in the two i’m,,,,, these boys are really something else this is amazing

idol: ahhh i always end up struggling to talk about the title track because i always watch the mv a few times first but don’t note down any thoughts rip,,,, but i love the use of traditional instruments in this and it has such a good beat i cannot wait to see a full choreo for this,,,, and the lyrics!! THE LYRICS!!! (wow i’m so good at explaining my feelings rip) like ‘i know what i am / i know what i want’ [x] and ‘i do what i do, so you just focus on yourself / you can’t stop me loving myself’ but YEAH i really love this and it’s so high energy i was jamming away lmao

answer love myself: was that a *whispers* suga i heard?? i love that this has become a thing i really do,,,, the vocal line sound so beautiful and the rap line parts are incredible,,,, AND i just burst into tears ok wow i’m not even listening with lyrics so i bet that’s gonna make me sob even more gosh what a beautiful way to round off the ly series. oh god and magic shop right after?? this is unfair i was already crying and now it’s gonna be even worse asdfdsa,,,,, ok here we go second listen with lyrics helP god ok so i just read them to begin with and i’ve got goosebumps these lyrics are really,,,, just pretty relatable tbh like ‘perhaps, more so than loving someone else / it is even more difficult to love myself / let’s honestly accept what needs to be accepted / the standards you set are stricter for yourself’ [x] just,,,, yeah,,,,, and the ‘you’ve shown me i have reasons / i should love myself’ part sounds gorgeous,,, oh and hey guess what?? i’m crying again god this song is really something

best of me: i,,,, don’t know really,,,, it’s not my fave track tbh but it’s still a bop,,,, the transition from magic shop to this is cool though with the ‘you gave me the best of me so you’ll give you the best of you’ / ‘you got the best of me’ lyric parallels though

go go: BOP!! BOP!! BOP!! ahhh i really love the music used and wow all of hobi’s noises and backing vocals really add to it this song would sound so different without them,,,, ohhh and this followed by anpanman?? iconic incredible amazing

mic drop: god this always makes me start jamming out and mic mic bungee remains iconic ok that’s all

dna pedal 2 la mix: OH OK i mean i had no idea what to expect because wtf does pedal 2 la mix mean?? and i would not have imagined that but HOLY SHIT?? god this goes so hard i’m yelling and tae’s voice works so well with this mix wow

fake love rocking vibe remix: ok we’d already heard this but ahhh i do love this version

mic drop steve aoki remix: i am so glad we’ve finally got this version on spotify because i really enjoy the remix but i don’t listen to the version w/ d*siigner and this has the dance break bits as well!!! so this is what i really wanted!! good stuff!!

and we’re just gonna ignore idol feat. n*cki m*naj ok good,,, bye

overall conclusions, g o d the new songs are incredible and exceeded any expectations i had of them tbh i’m really just super emotional about the boys at the moment i love them so damn much

#q and a #suaboras #bangtansofts #thought i'd tag you as well ginny hope that's ok!! #long post // #thank you thank you #i really enjoyed doing this #i feel like it makes me appreciate the album more than i would otherwise #also i copied this into word #and it was almost 2000 words asdfdsa #(if only i was putting this much effort into my dissertation rn oops) #but ahh thanks again ily!! #ahh and there's a lot of rambling about tae and the rap line #who's surprised?? not me!!

[fyloona]

(INTERVIEW) The all-girl K-pop group with a unique coming together story

LOOΠΔ are a girl group who are ambitiously announcing their 12 members over a string of solo singles – we speak to the members of subunit ODD EYE CIRCLE

A little over a year ago, something big was quietly manifesting on the edges of South Korean pop music with the reveal of HeeJin, a then-15-year-old who was the first person to be announced for a new, 12-member girl group called LOOΠΔ. The process of introducing LOOΠΔ to the world ranks as one of the more ambitious projects undertaken by a single entertainment agency (in this case, Blockberry Creative), with each of the group’s members unveiled not over a matter of weeks but over 18 months. Each girl has a symbolic colour and animal, and each releases a solo pre-debut single and video, interspersed with music by subunits formed of the already-revealed members.

While LOOΠΔ’s multi-pronged announcement strategy might seem hard to wrap your head round, large scale concepts and storylines for girl groups aren’t an anomaly in K-Pop. One only need look back upon T-ara’s 15-minute film around “Cry Cry” and videos like “Lovey Dovey” for precedents, or to newer groups like the J-rock-centric Dreamcatcher and GFriend’s ‘school trilogy’ of music videos. But LOOΠΔ stand apart amongst girl groups and even in the wider K-Pop world for the sheer ambition of their world-building, with each music video knotting another thread into an increasingly complex web of theories and imagery. Only EXO have in recent memory so carefully created a far-reaching origin story.

LOOΠΔ are yet to make their official debut. Right now there are still four members who’ve yet to be revealed – currently HeeJin, HyunJin, HaSeul, ViVi and YeoJin make up the subunit LOOΠΔ ⅓, while Kim Lip, JinSoul and Choerry combine for LOOΠΔ/ODD EYE CIRCLE. For now it’s the latter who have become key purveyors of what’s known as the ‘LOOΠΔVERSE’.  The trio’s solos (Kim Lip’s “Eclipse”, JinSoul’s “Singing in the Rain”, Choerry’s “Love Cherry Motion”) are sleek, compelling cuts of electronic pop, stylistically linked via their MVs (music videos) and tinged with 90s R&B, future bass and Katy Perry-esque vibes respectively. As LOOΠΔ/ODD EYE CIRCLE, they’ve also solidified themselves as one of 2017’s brightest groups, with both their EP Mix & Match (which climbed to #10 on Billboard’s World Chart) and its just-released repackage Max & Match pulling together the boldest elements of their individual songs.

“Chaotic”, “Uncover” and “Starlight” are drenched in unpredictable percussion and spacey synths against the girls’ feathery yet firm vocals, while on “LOONATIC”, they skip beyond familiar turf and channel Grimes’s dream pop. Two singles – the upbeat and assured “Girl Front” and “Sweet Crazy Love” – pile on new and existing visual clues (circular mirrors, maps, their ‘odd’ eyes) and recreate shots from the group’s previous videos.

As they discuss the struggles of debuting and breaking the mold, Choerry (at 16 the youngest of the three) calls their overarching concept “a first”. “It’s new, intriguing, and we’re proud,” she says. “It’s like being in a fairytale.” Open and assiduous for this, their first ever international interview, Kim Lip, JinSoul and Choerry are also feisty, confident and endearingly prone to dissing each other like siblings. Say hello to your new favourite girl group.

You each have a colour and an animal... did you get to choose either?

Kim Lip: The company chose each animal based on each member’s character. When I heard I would be an owl, for a moment I was like, ‘Huh?’, because everyone would want something pretty, like the deer for ViVi or a cat for HyunJin. But I like my symbol animal now. I think it goes well with my solo track.

JinSoul: When we first heard Choerry would be the fruit bat, everyone was surprised because it’s not very girl group-like. But given that Choerry will be going back and forth between both LOOΠΔ ⅓ and the new one coming later, I believe it fits the theory very well.

*full interview under the cut

Theories already abound about multiple dimensions in the LOOΠΔVERSE – one for each sub-unit, including those yet-to-debut – and everyone needs to find each other to debut a whole. Can you give us any hint to the full story?

Kim Lip: There are several theories, but we want to show the process of putting puzzles together through our videos and music. I’ll give you one hint – we’re wearing a band on our wrists based on each of our colours and that band is twisted. People might not have noticed, but ‘Möbius’ is an important hint for LOOΠΔ moving forward.

JinSoul: LOOΠΔ is 12 solos, three units, then the complete group, but I can tell you that this is not the end, rather just a beginning. There could be a new unit with different combinations, for example, HyunJin and I could be a new unit.

It’s unheard of for girl groups to develop narratives that are as complicated and prolonged as yours. What did you think about LOOΠΔ not only having a story but their own world?

Kim Lip: When we first heard about – like, how it would be actualised – we were quite surprised, because normally girl groups would just perform good songs with nice clothes. But as the theory unfolds, even we’ve gotten more curious and we’re finding it enjoyable!

If I said LOOΠΔ has the potential to change the creative landscape for K-Pop girl groups, how would you feel about that?

Kim Lip: It’s definitely a goal we’d like to achieve. Each solo has its own power, and each unit has an independent power rather be a typical unit, then all together we become LOOΠΔ. We want to be like Marvel’s Avengers.

How did each of you join LOOΠΔ? What did your friends and family say when you told them you were to be in an idol group?

Kim Lip: I tried out in so many auditions to find the right agency. I was pretty exhausted. But then my company contacted me through Instagram. I auditioned, made it, and became a trainee. It was challenging to adjust, realising ‘This is what a trainee’s life is like,’ and I spent time worrying about if I’d be able to become a member. But I practiced hard and finally became part of LOOΠΔ. All my family and friends celebrated with me. They were as happy as I was.

JinSoul: I auditioned a lot. I had good opportunities through street casting but didn’t make it through. But, like Lip, our company contacted me through Instagram. My family is very proud, and my friends have been supporting me a lot even before my debut.

Choerry: I participated in a vocal contest and got casted for an audition and became a trainee. My parents didn’t like the idea of me becoming a singer at the beginning, but they support me a lot now and give me the strength to go on.

LOOΠΔ/ODD EYE CIRCLE is said to have ‘strange and mysterious charms’. What’s your strange charm that only your family or friends understand fully?

Choerry: Kim Lip may pretend to be inattentive or indifferent, but actually she always keeps her eyes on others and takes care of them. She has that cold-but-warm charm.

Kim Lip: JinSoul may look cold and have a strong personality but, in fact, she has sloppy charms (makes cute mistakes).

Kim Lip: Choerry has a bright energy and charm to think always positively, even in bad situations.

Your EP has several tracks that really stand out for their ethereal synth pop. Which track seemed most interesting to you at first?

JinSoul: I have affection for all the tracks, but I liked ‘LOONATIC’ especially because it’s a type of genre only we can do in K-Pop.

Choerry: Also, ‘Chaotic’ is a bit masculine, but we’re proud to express it with our voices.

LOOΠΔ/ODD EYE CIRCLE is based around the ‘girl crush’ attitude – what does that mean to you personally?

Kim Lip: Girl crush for me is a complete turning point from (the ‘pure’ image of) LOOΠΔ ⅓.

Choerry: I think it’s a girl who has a strong gaze and who is cool, a girl who approaches proactively and confidently. Girl crush might be difficult to pull off, but I think we’re good at creating a strong appearance, so it fits us. Haha!

Lip, you have a natural authority about you on and off stage. Have you always been this type of confident person?

Kim Lip: When I was little, I was so shy that I couldn’t even get food on my plate at a buffet. When I thought ‘I want to be a singer’ and went to audition, I thought I should become more confident. I tried hard to change my personality so I could become the Kim Lip of now.

What did you emotionally experience while waiting to debut? What was your biggest fear and biggest hope?

JinSoul: Would I really make it to debut? I did my best in everything with many thoughts. In the beginning, I was shy and had low self-esteem, so I was worried if it’d be okay to debut with this talent and visual (appearance). But I was also so excited for my song coming out!

Choerry, you’re still at school... what does the average day look like for you? How do you juggle schoolwork, rehearsing and performing?

Choerry: Normally I wake up at 6am and go to school. When I have a schedule, I attend only morning classes or take a day off, so it’s sad that I don’t have much opportunity to meet with friends.

Now you’re promoting as a trio and spending a lot of time together, what’s something new you’ve discovered about each other?

Kim Lip: I didn’t know when JinSoul was a trainee but, as we’ve lived together, I’ve noticed her sleeping with her eyes open. I thought it was only in the car because it’s quite uncomfortable, but she always sleeps with her eyes open.

JinSoul: Choerry tends to be bloated well in the morning, so when she wakes up, her double eyelid is gone. So in the morning it’s quite different version of Choerry.

Choerry: Lip is very easy-going, that was quite unexpected. But she is surprisingly cleaner than I expected.

source: DAZED

#loona #odd eye circle #jinsoul #kim lip #choerry #t:interview #t:info

[fyhyungwon]

Additional translation by Dana Hong. © Dazed

#hyungwon #ot7 #monsta x #170824 #t: interview

[forljh]

[Article] From survival show rookies to K-Pop stars

Talking to the seven-member group, who rose from participants on survival show NO.MERCY to become rising stars in South Korea’s music scene

Paris. Summer, 2017.

It should be a gorgeous mid-August day but the rain is apocalyptic, drenching the hundreds upon hundreds of people queuing outside one of the city’s most celebrated music halls. They’re here for the first ever European shows by Monsta X, the seven-member South Korean group whose mix of pop, hip hop, and heavy EDM combined with dark, tough, and sometimes cabalistic concepts has seen them gain a fiercely dedicated global following.

When the lights do go down, the screams are piercing and reverential. Monsta X’s show is broken into group and unit performances (where members do something special, from a spin on the decks to covering popular Western songs) and every gesture, word, and ad-lib will wind the audience higher until the room virtually pulses.

Backstage, however, things are much calmer. Vocalists Wonho, Kihyun, Hyungwon, Shownu, and Minhyuk, and rappers Jooheon and I.M, emit a serene, friendly professionalism. They’re wearing their stage costumes: Kihyun, the main vocalist, sports a sizable and sparkling Chanel logo brooch, while Monsta X’s leader, Shownu, has a thick band of sequins around a sleeve that throws light right into your eyes. Their entire effect is dazzling and distracting – all seven in tight trousers and jackets laden with diamante chains and epaulettes, beautiful faces smooth with makeup – and it will send their fandom, known as Monbebe, wild over the next two hours.

While fans will commit their favourite moments of the night to forums or YouTube, Kihyun can’t pick just one standout memory from the tour, which began in June. “Rather than just one particular moment, it’s just whole moments of time,” he explains. “Even when we perform in front of people who speak different languages, that all members enjoy the concert together gives me goosebumps.” Shownu, however, pinpoints his as “at the end of the songs like ‘넌 어때’ (‘I’ll Be There’), Monbebes prepare something special, like placards, so we’re always surprised.”

“We’re having fun every day,” says Minhyuk, as I.M adds, “We spend most of our free time sightseeing and eating. We’re always walking around, taking pictures.” Jooheon nods in agreement: “It gives us inspiration.”

Monsta X, who debuted in May 2015, were born from NO.MERCY, a survival show created by their label Starship Entertainment. In the show, existing male trainees vied against each other to debut in a new boy group. NO.MERCY initially shocked its audience when I.M, a total newcomer, was added to the mix late and ended up controversially being chosen for the group, knocking out fan favourite #GUN. It was a contentious start to idol life, but the competitive tension fast become an enviable camaraderie, complete with family-esque banter and bickering which, alongside Monsta X’s underrated, slow burn success, helped earn the unwavering loyalty of the Monbebes.

Like most artists, both Monsta X’s music and their members contain notable contradictions. Their singles frame them as one of K-Pop’s more intimidating groups – the cinematic strings on “Fighter”, the graceful choruses and tight raps on “All In” and “Beautiful”, and “Hero”s crunching EDM and its sibling, the passionate, infatuated “Stuck” – but, as Kihyun says, “even if we look a certain way on the outside, it’s just an image. For example, Jooheon might look chill and tough, but inside he’s quite sensitive.”

This contrast was recently presented to the casual listener with the fizzy “Newton”, their first aegyo-heavy (cute behavior) official MV (music video), but a recent interview points to grittier songs as their personal favorites, creating a lot of guesswork as to their next concept. Wonho, who habitually scratches at his palms idly while other members speak, snaps to attention and smiles. “Actually we’re working towards the next album, but we haven’t fixed a particular concept just yet. So when we know we’ll call you directly... if you want.”

“Even if we look a certain way on the outside, it’s just an image” – Kihyun, Monsta X

Their sensitive side has never been concealed, but you need to delve into their albums for it, seen on likes of the mid-tempo soul of “Amen” and “Need U” or the extraordinary, piano-lead “Broken Heart”. Or invest in their reality shows Deokspatch X, Right Now!, and newer series X-Ray (“You saw that?” Kihyun asks in English, surprised – and you can just catch his slight lisp), where their off-stage personalities veer like go-karts through sassy, embarrassing, risible, protective and tender.

Of course, far more lies beyond those facets. “I’m actually writing songs most days, particularly at the hotel between concerts,” Wonho divulges. Notorious for removing his shirt on every stage, he’s the incorrigible flirt, the sweet, muscular show-off – but has, alongside Jooheon and I.M, become far more involved with the group’s output and devoted himself to honing his craft. One of his compositions, the bittersweet lyrics and upbeat trop-house of “From Zero” is a fixture on the set-list, a duet he performs with Hyungwon. Despite calls from fans to commit “From Zero” to tape, it’s still only for the stage, though Wonho isn’t entirely discounting the idea. “That’s something we need to discuss further as the song was originally developed without a plan for release,” he muses. “So we’ll think about it.”

One of the most compelling inter-band unit performances on this tour is 2Chain (Kihyun and Jooheon), who, after releasing a striking cover of R&B singer Crush’s “You & I” earlier this year, cover Lil Wayne’s “Mirror”. Jooheon has written his own verses for it, brutally self-judgmental yet ultimately empowering words he uses in a volatile performance that emotionally knocks you from your seat. “It was Kihyun who suggested ‘Mirror’, and I liked the song as well,” he explains candidly, sat beside the singer who reassuringly taps on Jooheon’s knee throughout.

“People don’t always say complimentary stuff to themselves, and I thought about what I was missing, where I wasn’t good enough – like, trying to see the whole picture,” Jooheon adds in Korean. “I realised it was my fans who were most important in my life, so I tried to match myself with them, seeing the fans from my perspective and seeing myself from the fans’ perspective. I guess I tried to put a lot of things into those lyrics…” He trails into silence – although known as one of Monsta X’s big on-stage personalities, today he’s quiet and watchful, and Wonho breaks the sudden lull. “Wow, that’s going to be really hard to translate,” he blurts, making the others laugh.

“I don’t particularly think about if we’ve had to work at becoming friends, which I guess means it hasn’t been difficult” – Minhyuk, Monsta X

Besides Monsta X, the members have their own projects – mixtapes (Jooheon, I.M), photography (Kihyun) and illustration (Minhyuk). I.M’s introspective 2016 track “Who Am I” was the pertinent musings of a young idol, asking “am I born for me or born for success?” Despite a year speckled in career milestones, answers remain unfound. “I think I’m still looking,” he replies in English, which he undoubtedly picked up from a childhood spent in Israel and the US. He’s the maknae (youngest) at 21 years old but possesses a disconcerting directness and a wry intensity. “Asking myself questions like that makes me grow up and be stronger,” he says, leaning in, elbows resting on his knees.

The group’s meme king, Hyungwon, isn’t a big talker in interviews but a joy for fans with his droll humor and expressions, which consistently go viral. Under the moniker DJ H.One, he’s been DJing on the tour and appearing at dance festivals like Ultra Korea “to show new things about myself. I’ve been practicing for about eight months in my own time.” His preference is for crowd-pleasing EDM; he throws a sliced and diced version of Monsta X’s single “Beautiful” into his sets, and as Hyungwon adds, “there’s a song called ‘Bang Bang Bang’, it has Jooheon rapping over it. I think the reaction (from the crowd) is so much better when we’re together.”

Unexpectedly, it’s Shownu who has impressed the public through the dance show Hit The Stage and beauty show Lipstick Prince, where male idols are taught the art of makeup. Formerly awkward enough around people to have earned the nickname ‘Robot Shownu’, he’s blossoming. “Lipstick Prince really helped me a lot to become confident around other singers and be able to get to know them, and Hit The Stage helped the way I perform,” he admits. “It’s definitely good for us to be working solo, but we never forget it’s Monsta X that makes solo activities possible. Also we have more fun together than alone.”

Together they’ve certainly achieved impressive goals – from winning last year’s Male Dance Performance at the Seoul Awards to topping the Billboard World Chart with their recent album, The Clan Pt. 2.5 Guilty. “We haven’t really thought about awards,” Minhyuk says of potential future wins. He’s interrupted. “A Grammy!” demands I.M, laughing, then apologising. “But rather than awards, we want to be a group the next generation can look to, like ‘I want to be like Monsta X’,” Minhyuk continues.

“We’re a family... We shine brighter when we’re together” – Shownu, Monsta X

Monsta X might well inspire others. After all, their dynamic – even in the unnatural confines of an interview – is one of warmth, acceptance, and familiarity. It’s in the little looks they shoot each other, the nudges of support, and Minhyuk, with his sunny smile and a speaking voice that cracks a little on the edges, embodies all that, creating an easy atmosphere that relaxes his bandmates.

“I don’t particularly think about if we’ve had to work at becoming friends, which I guess means it hasn’t been difficult,” Minhyuk muses. K-Pop fans often question if the appearance of closeness in idol groups is strictly for business or if they’ve truly bonded. “Well, y’know, I am a businessman,” he says slyly, making Wonho snort with laughter. “Just kidding! I think it’s been just a naturally flowing relationship.”

That there might be a member who remains hard to read sparks a debate. Kihyun tilts his head, squinting at the ceiling. “Even difficult members are so easy to read. I don’t know…” he says, half to himself.

“No, no!” says Minhyuk, with glint in his eye. “I have one. I.M. He’s our youngest so he seems to easy to read, but sometimes he’s really not. It’s like he has his own world.”

“I think he just has no thoughts during those times,” Shownu offers.

I.M’s world would be..? “Maybe Mars?” he replies, straight-faced. “But anyway, we don’t get angry, we’re always happy,” he quips, to explosions of disbelief around him.

There’s just enough time to look back at their career thus far and define, beyond the music, what’s set them apart to succeed. In a rather endearing way to end things, what Shownu says is mistranslated into “I think the difference is we have quite great bodies…” Kihyun laughs so hard he rolls into Jooheon’s lap as Minhyuk protests loudly – “Great bodies? Great shapes, great shapes!” he re-translates as Hyungwon and Shownu look startled, and I.M, Jooheon and Wonho wear the smiles of those who can no longer be embarrassed by much at all.

Shownu patiently starts again. “Firstly, all of us have great shapes, and we’re very dynamic…” He pauses. “I’ve never used the word ‘dynamic’ (‘역동적인’) before,” he says hesitantly, a leader who tends to let his group do most of the talking, “...and we’re powerful on stage. We’re a family. We’ve known each other for a long time and we shine brighter when we’re together.”

Article by Dazed

#monsta x #170823 #t:interview

[fy-shownu]

[INTERVIEW] From Survival Show Rookies To K-Pop Stars

Talking to the seven-member group, who rose from participants on survival show NO.MERCY to become rising stars in South Korea’s music scene.

Paris. Summer, 2017.

It should be a gorgeous mid-August day but the rain is apocalyptic, drenching the hundreds upon hundreds of people queueing outside one of the city’s most celebrated music halls. They’re here for the first ever European shows by Monsta X, the seven-member South Korean group whose mix of pop, hip hop, and heavy EDM combined with dark, tough, and sometimes cabalistic concepts has seen them gain a fiercely dedicated global following.

When the lights do go down, the screams are piercing and reverential. Monsta X’s show is broken into group and unit performances (where members do something special, from a spin on the decks to covering popular Western songs) and every gesture, word, and ad-lib will wind the audience higher until the room virtually pulses.

Backstage, however, things are much calmer. Vocalists Wonho, Kihyun, Hyungwon, Shownu, and Minhyuk, and rappers Jooheon and I.M, emit a serene, friendly professionalism. They’re wearing their stage costumes: Kihyun, the main vocalist, sports a sizable and sparkling Chanel logo brooch, while Monsta X’s leader, Shownu, has a thick band of sequins around a sleeve that throws light right into your eyes. Their entire effect is dazzling and distracting – all seven in tight trousers and jackets laden with diamante chains and epaulettes, beautiful faces smooth with makeup – and it will send their fandom, known as Monbebe, wild over the next two hours.

While fans will commit their favourite moments of the night to forums or YouTube, Kihyun can’t pick just one standout memory from the tour, which began in June. “Rather than just one particular moment, it’s just whole moments of time,” he explains. “Even when we perform in front of people who speak different languages, that all members enjoy the concert together gives me goosebumps.” Shownu, however, pinpoints his as “at the end of the songs like ‘넌 어때’ (‘I’ll Be There’), Monbebes prepare something special, like placards, so we’re always surprised.”

“We’re having fun every day,” says Minhyuk, as I.M adds, “We spend most of our free time sightseeing and eating. We’re always walking around, taking pictures.” Jooheon nods in agreement: “It gives us inspiration.”

Monsta X, who debuted in May 2015, were born from NO.MERCY, a survival show created by their label Starship Entertainment. In the show, existing male trainees vied against each other to debut in a new boy group. NO.MERCY initially shocked its audience when I.M, a total newcomer, was added to the mix late and ended up controversially being chosen for the group, knocking out fan favourite #GUN. It was a contentious start to idol life, but the competitive tension fast become an enviable camaraderie, complete with family-esque banter and bickering which, alongside Monsta X’s underrated, slow burn success, helped earn the unwavering loyalty of the Monbebes.

This contrast was recently presented to the casual listener with the fizzy “Newton”, their first aegyo-heavy (cute behaviour) official MV (music video), but a recent interview points to grittier songs as their personal favourites, creating a lot of guesswork as to their next concept. Wonho, who habitually scratches at his palms idly while other members speak, snaps to attention and smiles. “Actually we’re working towards the next album, but we haven’t fixed a particular concept just yet. So when we know we’ll call you directly… if you want.”

Their sensitive side has never been concealed, but you need to delve into their albums for it, seen on likes of the mid-tempo soul of “Amen” and “Need U” or the extraordinary, piano-lead “Broken Heart”. Or invest in their reality shows Deokspatch X, Right Now!, and newer series X-Ray (“You saw that?” Kihyun asks in English, surprised – and you can just catch his slight lisp), where their off-stage personalities veer like go-karts through sassy, embarrassing, risible, protective and tender.

Of course, far more lies beyond those facets. “I’m actually writing songs most days, particularly at the hotel between concerts,” Wonho divulges. Notorious for removing his shirt on every stage, he’s the incorrigible flirt, the sweet, muscular show-off – but has, alongside Jooheon and I.M, become far more involved with the group’s output and devoted himself to honing his craft. One of his compositions, the bittersweet lyrics and upbeat trop-house of “From Zero” is a fixture on the setlist, a duet he performs with Hyungwon. Despite calls from fans to commit “From Zero” to tape, it’s still only for the stage, though Wonho isn’t entirely discounting the idea. “That’s something we need to discuss further as the song was originally developed without a plan for release,” he muses. “So we’ll think about it.”

One of the most compelling inter-band unit performances on this tour is 2Chain (Kihyun and Jooheon), who, after releasing a striking cover of R&B singer Crush’s “You & I” earlier this year, cover Lil Wayne’s “Mirror”. Jooheon has written his own verses for it, brutally self-judgemental yet ultimately empowering words he uses in a volatile performance that emotionally knocks you from your seat. “It was Kihyun who suggested ‘Mirror’, and I liked the song as well,” he explains candidly, sat beside the singer who reassuringly taps on Jooheon’s knee throughout.

“People don’t always say complimentary stuff to themselves, and I thought about what I was missing, where I wasn’t good enough – like, trying to see the whole picture,” Jooheon adds in Korean. “I realised it was my fans who were most important in my life, so I tried to match myself with them, seeing the fans from my perspective and seeing myself from the fans’ perspective. I guess I tried to put a lot of things into those lyrics…” He trails into silence – although known as one of Monsta X’s big on-stage personalities, today he’s quiet and watchful, and Wonho breaks the sudden lull. “Wow, that’s going to be really hard to translate,” he blurts, making the others laugh.

Besides Monsta X, the members have their own projects – mixtapes (Jooheon, I.M), photography (Kihyun) and illustration (Minhyuk). I.M’s introspective 2016 track “Who Am I” was the pertinent musings of a young idol, asking “am I born for me or born for success?” Despite a year speckled in career milestones, answers remain unfound. “I think I’m still looking,” he replies in English, which he undoubtedly picked up from a childhood spent in Israel and the US. He’s the maknae (youngest) at 21 years old but possesses a disconcerting directness and a wry intensity. “Asking myself questions like that makes me grow up and be stronger,” he says, leaning in, elbows resting on his knees.

The group’s meme king, Hyungwon, isn’t a big talker in interviews but a joy for fans with his droll humour and expressions, which consistently go viral. Under the moniker DJ H.One, he’s been DJing on the tour and appearing at dance festivals like Ultra Korea “to show new things about myself. I’ve been practising for about eight months in my own time.” His preference is for crowd-pleasing EDM; he throws a sliced and diced version of Monsta X’s single “Beautiful” into his sets, and as Hyungwon adds, “there’s a song called ‘Bang Bang Bang’, it has Jooheon rapping over it. I think the reaction (from the crowd) is so much better when we’re together.”

Unexpectedly, it’s Shownu who has impressed the public through the dance show Hit The Stage and beauty show Lipstick Prince, where male idols are taught the art of makeup. Formerly awkward enough around people to have earned the nickname ‘Robot Shownu’, he’s blossoming. “Lipstick Prince really helped me a lot to become confident around other singers and be able to get to know them, and Hit The Stage helped the way I perform,” he admits. “It’s definitely good for us to be working solo, but we never forget it’s Monsta X that makes solo activities possible. Also we have more fun together than alone.”

Together they’ve certainly achieved impressive goals – from winning last year’s Male Dance Performance at the Seoul Awards to topping the Billboard World Chart with their recent album, The Clan Pt. 2.5 Guilty. “We haven’t really thought about awards,” Minhyuk says of potential future wins. He’s interrupted. “A Grammy!” demands I.M, laughing, then apologising. “But rather than awards, we want to be a group the next generation can look to, like ‘I want to be like Monsta X’,” Minhyuk continues.

Monsta X might well inspire others. After all, their dynamic – even in the unnatural confines of an interview – is one of warmth, acceptance, and familiarity. It’s in the little looks they shoot each other, the nudges of support, and Minhyuk, with his sunny smile and a speaking voice that cracks a little on the edges, embodies all that, creating an easy atmosphere that relaxes his bandmates.

“I don’t particularly think about if we’ve had to work at becoming friends, which I guess means it hasn’t been difficult,” Minhyuk muses. K-Pop fans often question if the appearance of closeness in idol groups is strictly for business or if they’ve truly bonded. “Well, y’know, I am a businessman,” he says slyly, making Wonho snort with laughter. “Just kidding! I think it’s been just a naturally flowing relationship.”

That there might be a member who remains hard to read sparks a debate. Kihyun tilts his head, squinting at the ceiling. “Even difficult members are so easy to read. I don’t know…” he says, half to himself.

“No, no!” says Minhyuk, with glint in his eye. “I have one. I.M. He’s our youngest so he seems to easy to read, but sometimes he’s really not. It’s like he has his own world.”

“I think he just has no thoughts during those times,” Shownu offers.

I.M’s world would be..? “Maybe Mars?” he replies, straight-faced. “But anyway, we don’t get angry, we’re always happy,” he quips, to explosions of disbelief around him.

There’s just enough time to look back at their career thus far and define, beyond the music, what’s set them apart to succeed. In a rather endearing way to end things, what Shownu says is mistranslated into “I think the difference is we have quite great bodies…” Kihyun laughs so hard he rolls into Jooheon’s lap as Minhyuk protests loudly – “Great bodies? Great shapes, great shapes!” he re-translates as Hyungwon and Shownu look startled, and I.M, Jooheon and Wonho wear the smiles of those who can no longer be embarrassed by much at all.

Shownu patiently starts again. “Firstly, all of us have great shapes, and we’re very dynamic…” He pauses. “I’ve never used the word ‘dynamic’ (‘역동적인’) before,” he says hesitantly, a leader who tends to let his group do most of the talking, “…and we’re powerful on stage. We’re a family. We’ve known each other for a long time and we shine brighter when we’re together.”

#monsta x #t: article #t: news #t: interview #170823 #dazed

[axtogymnastics]

Staying Woke: B.A.P’s Wake Me Up

     B.A.P’s latest music video is one of the most powerful that I’ve seen from Kpop. It’s dark and completely relevant to today’s society. Their latest comeback deals with mental illness, which is a very tough topic to address, especially in South Korea, and this is the first time I’ve seen it portrayed so openly in mainstream Kpop. B.A.P themselves have struggled a lot over the past few years: overworked and underpaid, they filed a lawsuit in late 2014 and were on hiatus for 21 months. Leader Yongguk took a break to treat his own anxiety and panic disorder. I get the feeling that “Wake Me Up” is a way for them to open up about their own mental hardships, but also impart a strong call for change.

     The MV portrays a range of characters struggling with addiction, depression, and loneliness. The diversity in this MV is impressive for a Kpop group, both in the race of the actors and the range of issues tackled. We see a woman dressed up and doing her makeup, then smearing lipstick across her face. Not liking the appearance of her reflection, she breaks the mirror at 1:56. This stands for beauty standards and the pressure women face to adhere to them. The woman smiles from beneath the makeup, but it is not genuine, and she is upset by her inability to be herself anymore. 

     We also see woman with an eating disorder, who tries to cut her food into smaller and smaller portions. The food becomes disgusting bugs, and she is revolted by it and cannot bring herself to eat. Another girl reaches for her pills and overdosing, representing prescription drug addiction. The characters are all isolated, like the man in the bathroom who attempts to drown himself, or the other who cannot reach anyone by phone. The latter is shown in a trance as sparks fly around him, and when he opens his eyes, dead bodies surround him. This could represent mental illnesses like schizophrenia, where the afflicted has difficulty distinguishing reality from their imagination, or even plain ignorance, an unawareness of the evils around oneself. 

     However, the character that stands out the most to me is the protestor. Holding up a sign that reads “Emotion Revolution” with the “evol” flipped to read “love,” he represents the artist trying to make his voice heard. Yongguk’s verse begins with “viva la revolución” (fun fact: he’s got it tattooed across his chest) or “vive la revolution,” depending on how you hear it, phrases used during the Cuban and French Revolutions to protest the evils of government. Like BAP, he’s trying to draw awareness to a societal problem in order to awaken those around him. I think the issues represented by the unrelated characters are general and not limited to any single country or society. The multiracial cast represents the global community and issues ranging from the scandal over South Korean president Park Geun-Hye and her impeachment, to police brutality against blacks in the US, the conservatism of Asian cultures, or the stigma against mental illness all over the world. Rather than call out specific situations, B.A.P calls out a general lack of empathy, humanity, and love. 

     Even though nobody seems to see or hear the protester, things start to change when BAP come to the rescue. At first, frustrated with the lack of attention, the protester beats up the car in front of him. Nearby, the woman at the start of the MV with the unhealthy makeup obsession, notices B.A.P on the television behind the window of a corner store. Soon a crowd gathers to watch B.A.P’s PSA on the televisions, and then the five characters with various disorders are seen smiling and holding a single rose, symbolizing love, hope, and renewal. All it took was one woman with the slightest inclination, the small bit of empathy required to stop (and smell the roses) to listen to B.A.P’s song, before the entire crowd realizes that the protester was right all along, and that they need to take action. This is where B.A.P delivers their message, urging viewers to join together and take action, for there is strength in numbers and in community. The characters all come together to celebrate and light fires in the streets, sparking hope and rebellion. The first step towards change is a common acknowledgment of the issues, which we see at 3:26. 

     One of the hidden symbols is the references to November 5th, circled on the calendar above. Yongguk’s broadcast airs at 11:05. November 5th is Guy Fawke’s Day, a British holiday when effigies are burned, bonfires lit, and the Protestant rebellion against the Catholic Church is commemorated. In the scene above, the writing on the wall is Yongguk’s reminder of his mission—to awaken the people and make them aware. After he does this, they have a Fawkes-esque rave/riot in the street, a celebration of rebellion. International Survivors of Suicide Loss Day is also in November, although that may not have been an intentional connection.

     For a rather depressing subject like this one, B.A.P could have easily done a song like Agust D's "The Last" or Yongguk's own "AM 4:44;” –ominous, deep rumbly rap, and a sparse beat. However, the song and lyrics express a sort of urgency with the repetition of "wake me up," and the constant, high-pitched guitar riff in the background. The lyrics, unlike those of the other two songs, contain no direct references to depression, suicide, self-harm, or anything else that would make the song un-promotable on South Korea’s notoriously censored music programs. B.A.P has already let go of their youth, their sleep and Yongguk’s mental health for the sake of their music. And now, they have sacrificed some freedom of speech for the sake of making this topic more mainstream. Despite the censorship, B.A.P. is able to use their music video to highlight the problems of society and bring our awareness to the need for action.

Thank you for reading!

#mv analyis #bap wake me up #bap #julia #i would hesitate to call this an analysis #but im still tagging it as such #even though i feel this is more of an essay explaining the message and less of a symbolism analysis #i update really slowly but please bear with me #i'll write about different group soon

[adeleaccess]

can you do a track by track review of 25? sorry if you've done this before!

i kinda did an initial reactions thing on twitter when it first came out, but it’s fun to do one after a while so sure :)

“hello”: when i first heard this song i truly could not move. when i first heard it and her live, i was bent in half sobbing. second time, i was shaking uncontrollably. anyone that says 25 is safe has not heard its first track; 21 was never serving this. fuck me up adele adkins. 10/10.

“send my love (to your new lover)”: lyrically savage (“baby i’m still rising” is my fav) but otherwise kinda a glorified taylor track. fun live–i prefer the studio style from the later shows—she looked absolutely gorgeous in the mv but it was lazy as hell and kinda killed its chances for song of the summer. 7.5/10.

“i miss you”: a florence-esque sexual awakening of epic proportions. when i first heard it i was about to take my intro psych midterm, ended up getting a 110/100 bc of ha power. this song has singlehandedly corrupted the global youth. that bridge, tho… help pls i’m deceased. 9/10.

“when we were young”: i probably have more mixed feelings on this song than any other in her discography. i adore it live–both the church performance and the shows. it’s so powerful and cinematic. at the same time, the studio production is just…eh? it becomes lifeless. the ‘aged’ recording effect is tacky, and i can’t deal with how badly the high note was buried by the bvs. it has some incredible lyrics, but also some basic lyrics. most of all, i still don’t quite get it 💀is she in the future looking back to now? is she in the now looking back to 19/21 days? is it about her childhood as it was marketed i use marketed loosely, as they scammed us on the video? i just feel like it should’ve been held off for at least her fourth record, if not later. it’s hard to connect with anyone about being old when you’re (at the time) only 27. 8.5/10.

“remedy”: absolutely stunning lyrically, but has always felt severely anticlimactic. you keep waiting for that all-out “WHEN THE PAAAAAIN CUTS YOUUUUU DEEEEP” moment, but it never comes. kinda wish she’d re-recorded it, definitely wish she’d do it live, as i think it would help fix a lot of those energy issues. 6.5/10.

“water under the bridge”: a boP. should’ve followed hello as second single with a big music video. there are a few lines that are eh (”i want you to be my keeper”…?) to me, but overall i like the lyrics, and in general i truly never ever get tired of this song. i could listen to it for hours. it’s a much better pop/upbeat sound for her than that of “sml”. 9/10.

“river lea”: savage, awesome low notes, and criminally underrated. those verses are htg some of the best if not the best she’s ever written. the chorus is too basic and repetitive in comparison. this is a(n alt) sound and writing/prod collab i neeeeed her to revisit, i know it was said she didn’t get much time with danger mouse and i think with some more development would be beyond epic. 8.5/10.

“love in the dark”: i know many people that would sell their soul for this song live, i’m not quite one of them. the strings are beautiful, and it has some of my very favorite lines on the whole album–”i want to live and not just survive” like shiiiiiit–but it’s just too plodding through the verses for me i think, and i wish she’d maybe gone a bit edgier/alternative with the styling to complement “imy” and “rl”. 8/10.

“million years ago”: i like the story she tells with this song (”conjunctivitis crying” lol), i like the lyrics even though it’s kinda an anti-”hg”, i like the studio version, i like when she gets into the last chorus in the shows, but this is a strange case where the song is definitely better at certain shows than others. like in auburn hills, it was on of the best to me, in nashville she was happier and it was a bit sharp and one of the weakest or i’m just crazy idk. 7/10.

“all i ask”: cursed and often seems like a vocal cord hemorrhage waiting to happen. in some ways, i feel like this is an adele song about an adele song. rcmh performance was a slay, though. 5/10.

“sweetest devotion”: the SONG. like running through a field of wildflowers, drinking hot chocolate (not simultaneously). the power is mind-blowing both in the studio and the extended live versions. paul serves again with production. only criticism is that in the beginning she says “i find it funny that you’re the only one i never looked for” and then later “i’ve been looking for you baby, in every face i’ve ever know”… sowhatisthetruth.gif. the fact that you can contrast those to the final sentiment of 21 “nevermind i’ll find someone like you” makes up for the contradiction, though. love a good reference. 10/10.

“can’t let go”: i hope adele knows, i won’t let go of the fact this is not on the standard. her most raw studio performance on a studio track. “lump in my thooAoaaooaoaat” sjsjsjsjjsjsjsj the tears are real. i cannot. i cannot at the fact that most of the owners of 25 do not have this. do they know this is the tea? i would sell my soul to heard this one live. 10/10.

“lay me down”: another sex anthem… queen feeling haself. love the verses, something about the the chorus is soooo grating to me, though, and it suffers from the same repetition issues as “rl”. 5.5/10.

“why do you love me”: not a major standout in her discography, but belonged on the standard, too. i love the vocals here and it feels like it would be so fun live. it’s definitely a feel-good final note in the same way that “sd” is, i.e. you get the same emotional takeaway regardless of which version of the album you’re listening to. 7.5/10.

#adele #anonymous #answered

[seasquared]

"It’s in front of your eyes now”: Direct Address in NCT 127′s “Limitless” MV

“When the movement or attitude of the player is obviously unnatural in turning his face towards the camera, he betrays by the act the fact that he is acting -- that there is someone in front unseen by the spectators to whom the actor is addressing himself. Immediately, the sense of reality is destroyed and the hypnotic illusion that has taken possession of the spectator’s mind, holding him by the power of visual suggestion, is gone.” -- Frank Woods

On January 4, 2017, SM Entertainment released two different versions of NCT 127's "Limitless." One, subtitled "Rough Ver.," featured the group decked out in now-typical SM boyband madness (poodle hair galore, sports jerseys, and loud streetwear) dancing and mugging for the camera in an abandoned industrial space. The video alternates between lo-fi camcorder quality shots of the members chewing gum or practicing their moves, more typical dance sequences, and -- most outrageously -- a mixture of the two:

Since January 4, I've watched this video probably 20 times already, and I still haven't stopped.

"Limitless" is not SM's first foray into the faux arthouse style. Perhaps the most obvious is the promo film for f(x)'s 2nd album, which is smugly titled "Pink Tape Art Film.” "Pink Tape" starts with faceless shots of the members' hands outstretched into a projector, cupped around a lit match, or reaching for something dangling from the ceiling, then segues into a colorful potpourri: the members dancing against projected images of flowers and mosaics, playing with bubbles, trying on clothes, re-enacting Magritte's "The Lovers."

There's an air of art school project meets home video to "Pink Tape" -- it's nostalgic, youthful, and colorful, a summer afternoon you wasted with your friends writing a short movie that you film, complete with bad acting and homemade costumes. The promotional material around "Pink Tape" was just that, a story about the exhilarating feeling of your first crush and the whirlwind emotions of becoming an adult.

That's not what "Limitless" feels like at all. Where "Pink Tape" is nostalgic, "Limitless" is creepy; where "Pink Tape" evokes memories of a simpler, more vibrant time, "Limitless" is confrontational, almost sinister, and one of the most interesting music videos to have come out of kpop in years.

In music videos, especially for kpop, there are two primary kinds of direct interactions with the camera: the "addressing the audience" shot -- the entire group or one member is facing forward into the camera as they lip-sync or dance -- or the "looking cool" shot --  one member (usually the member who's singing) addresses the camera while everyone around them pretends to be going on with their life. If a music video has a storyline, these shots are usually also intercut with more typical movie-esque footage, where there is no direct address of the camera at all. 

For example, take a look at BIG BANG's "Fxxk It": the MV opens on a "looking cool" shot of Taeyang singing into the camera while the rest of his band eats snacks and flips magazines, pretending the camera isn't there, and then transitions into an "addressing the audience" shot for GD's lines, as GD sings directly into the camera while the other band members dance. 

(If you break it down, classic BIG BANG actually has quite a bit of fun with how these two types of direct address shots are interwoven in narrative MVs. "Haru Haru," for instance, has a few typical "addressing the audience" scenes (the band seated on chairs singing into the camera, for example) but actually has its members lipsync the lyrics of the song in lieu of faking dialogue as they act out the narrative scenes. "Lies" throws both kinds of direct address shots into its narrative shots -- the band members, never acknowledged by the main character of the MV, sing at her or into the camera, and sometimes even both: at 2:13, a seated TOP sings into the camera while Daesung looms over the unsuspecting girl emoting at her.)

Direct address in MVs helps mirror what live performance is like: the group members are singing at you as they would if they were on stage and you were in the audience. Just as everything that happens backstage or offstage in a concert is not really part of the concert, there is no sense of the "off-camera" in an MV; that is, everything that exist in the world of the MV exist in front of the camera. A typical MV shot either consists of full immersion like a movie or full "invitation," with a group member looking at you to form a connection. The camera is not an intrusion, but rather the only conduit through which the group members or actors in the MV come alive.

The most unnerving thing about "Limitless" is how thoroughly it rejects this framework. The members of NCT 127 in "Limitless" recognize the presence of the camera, but as a purposeful intruder. Over and over again, the camera functions as a stranger that catches NCT 127 "in the act," and the members freeze, as if to deny us entrance into their inner world.

There's an implication that the camera is not a natural, assumed part of the world, but rather a character within it -- after all, you see the camcorder in the MV in the hands of Haechan and Yuta. The MV implies that some of the shots are the footage they filmed, but overwhelmingly the sense is that you filmed this MV, and without their consent.

Consider the following categories of shots in "Limitless"

All members stand stock still staring into the camera: 

Peering out at you from behind a window, curtain, or column: 

Suddenly noticing your presence and looking at you:

What is it about these shots that are unnerving or odd? It's that they hint at an inner life of the group members within the MV, a private world that we are intruding. In some ways, "Limitless" outright rejects you, the viewer: the members don't want to perform for you, and when they catch you staring, they freeze in place, as if to ask, what are you doing here? It's almost as if NCT 127 isn't ready for you to see them in the "rough" cut of "Limitless" -- just look at Jaehyun who starts to lipsync at 2:54 but loses interest before he finishes his line, choosing to chew his gum instead, and Taeyong who sits, bored, while Yuta practices his dance moves at 1:23. As if to emphasize the glitched existence of this MV, a cut that isn't supposed to exist and isn't finished, you see a "rough" shot of their dance sequences overlaid on the "finished" shot, or a smash cut where a dance move is seen from a different angle, creating dissonance.

Most of the unnerving scenes are shot in the camcorder style, but even in the more polished hi-fi scenes, there are moments of strangeness. Take 2:40, where Doyoung parts Taeil's sleeve to peer at you, or the difference in the group shots at 2:43 (all the members looking at you) and 3:09 (all the members covering their eyes), or 3:50, where Winwin and Taeyong stare at the camera motionless, Winwin's hand over Taeyong's mouth. Even a totally normal "direct address" shot of Taeyong at 3:44 gets weird, when he suddenly turns away from the camera to finish the rest of his line.

Perhaps the most unconventional sequence starts at 2:16, when the group gets up slowly from their seats to get into dance formation. You watch as a few members stretch lightly, sliding reluctantly off their perches but within seconds, a smaller screen pops up right in the middle of the larger one, blocking your view. As even more group members approach the camera from the background, you’re treated to the smaller screen showing you scattered shots of skateboarding, a flashlight pointed at you, and Johnny and Doyoung idly practicing a synchronized dance move before noticing the camera and, of course, freezing in place and lowering their arms. The screen within the screen disappears. NCT 127 take a few preparatory steps, pause, fix their sleeves, and then snap into their routine. 

This scene combines all the uncanny elements mentioned above: the camcorder found footage, the recognition of the camera, the disjointed images, the scene within a scene. But here, even the “normal” MV shot happening in the background is off. The widescreen, high-resolution footage means we’re in the world of the polished MV, but instead of dancing, NCT 127 is just now getting ready. We’ve caught them right as they are putting on their entertainer faces and shuffling into their places. They are in time, but the camera is a few beats too early, ruining the smooth “dance scene - solo scene - dance scene (but from another angle)” transition that we’ve gotten used to.

Girl groups in kpop have their doll imagery; I’d like to propose that “Limitless” is the NCT 127 equivalent. The symbolism of the camera’s gaze in “Limitless” is obvious, sarcastic, and yet still sharply felt: NCT 127 is a product that we consume, sometimes despite the objections of the group members themselves. What we see on camera is just a fragment of their lives, and often the most unnatural fragment. Our gaze interrupts them, freezes them, puts them under scrutiny. When pinned under that scrutiny, they may sing, or dance, or joke around, or even act as if they are disregarding our gaze. But we should never forget that it’s a choice they make to subject themselves to that gaze, and they will never not be aware of that gaze. 

"Limitless" largely ends on a conventional note -- close-up shots of NCT 127′s faces as they mug for the camera in the dark. But even still, NCT 127 has to turn the table on us. Forced to perform, they disappear into underexposed group shots. They put their hand over the camera. They show us their shoes. And, finally, they turn the camera on you, as if to say, now it's our turn.

(Thanks to @k-screencaps for almost all the screencaps.)

#music #cinema #nct 127 #what the hell am i doing

[weareafuckingmess-blog]

Song of the Day - January 17, 2017

Dreamcatcher - Chase Me

[T] Dreamcatcher originally debuted with 5 members under the name Minx back in 2014, but at the end of last year their company announced they were revamping the group and having them re-debut under the name Dreamcatcher with all 5 original members of Minx, plus 2 new members. I remember trying to get into Minx shortly after their debut, but it just wasn’t enough to get me to become their fan. When I heard about them debuting as a new group with a whole new image and sound I got so excited though and I’ve been anticipating this ever since. These girls are so talented, their amazing synchronization especially caught my attention, along with their vocals and goofiness. I'm so glad Happyface seems to have realized their mistakes with Minx and are doing so much better with Dreamcatcher. This sound and concept are definitely not what you typically find in a new K-pop group, but that’s exactly what makes this debut so refreshing. I love that Happyface decided to take a risk and it’s definitely solidified the fact that I’m gonna continue keeping with up with Dreamcatcher in the future. I love how this track has slower parts and faster parts, but they manage to fit together perfectly. The choreography also looks awesome, I watched them perform this at their showcase but I’d still love a dance practice version too! I can’t say enough good things about this. This is a fantastic debut. Congrats girls!

[C] Damn! When it started in the beginning I was feeling it and then the song really gets going and I sat here in shock for a second. I can’t say I’ve ever heard a girl group go with this sound but I’m not complaining at all! I don’t recall ever hearing about a group named Minx so I’m really happy they decided to try again with a new name and sound because this is awesome. These girls definitely have a lot of talent, I love their vocals and their synchronization is insane, there’s always the rare groups that just nail it with dancing and these girls are on that list! I really hope they get the recognition they deserve and stick with this sound and don’t stray from it any time soon!

[M] I have never even heard of Dreamcatcher prior to this video so I have no preconceived ideas of what to expect and I have to say I was not expecting a song like this from T. The rock elements of the chorus are really rock-esque and kind of remind me of the Jrock that S and I were listening for the past hour before I sat down to review this track. Dreamcatcher actually have a sound I could see myself getting into for a girl group. I like their darker approach to their music video aesthetic. The video had a really creepy ending which I appreciated. T you have my attention I will be waiting for the continuation of this one. Finally a girl group that has caught my eye.

[S] I definitely remember hearing of MInx but can honestly say I did not listen to anything they had released so this is like the first time I am hearing them. and I must say WOW!!  I really should have more faith in T’s picks this was definitely one of the songs she picked that I was not looking forward to listening to but this definitely blew me away not only is the mv creepy and cool but this was not what I was expecting at all. I really love the rock elements of this song. It is the sound I have been pretty into lately so I am really curious if the other tracks carry on this strong sound. I am off to go and listen to the rest of the Dreamcatcher stuff ^^ 

#kpop song of the day #song of the day #kpop #dreamcatcher #dream catcher #chase me #nightmare #jiu #sua #siyeon #yoohyeon #dami #handong #gahyeon #the 'to be continued' made me so excited #i'm guessing that means we won't have to wait long for their comeback :D