koganbot: (Default)
Sorry I haven't been communicating more. Kind of caught up (as a spectator mostly) in Twitter snark about Trump et al. (The Onion: "Heartbroken Russian Ambassador Thought Special Meetings With Jeff Sessions Were Very Memorable." Matt Yglesias: "It's traditional for the Speaker to hide the health care bill at the start of the seder so the children can search for it later." Yglesias again, in response to "Sen Cornyn, emerging from GOP healthcare mtg, was just asked what the plan is. 'You think I'm going to tell you what the plan is?'" "No Mr Cornyn, I expect you to di-- -- wait, it is totally reasonable to expect you to say what the plan is!")

In the meantime, here's a Chinese cover of Dschinghis Khan's "Moskau."


(Unfortunately, there are no high-quality rips of the MV — in fact, this rip seems to be the only one, though of course there are many rips of this particular rip, this being one of them; i.e., probably not the original rip itself.)

H/t John Wójtowicz for reminding me there's a Dschinghis Khan, and Twitter person @LoofaFace for the empty-chair ref I used as the title of this post. (@LoofaFace's moniker itself is taken from a memorable Daylin Leach tweet.)

Urgent update: David Frazer informs me that there's a North Korean dance to "Moskau" performed by Mullah Resmat protégés Wangjaesan Art Troupe.
koganbot: (Default)
So many days, so few posts.

Look, I'm really a comment-thread guy more than a blog guy, but making supposedly correct triage decisions not to engage in various Tumblr, Facebook, Twitter, etc. convos has left me w/out much public presence, while creating a lot of "notes" for posts here I should "write."

Not in the order they will, could, might, or won't appear:

--Grand opening for the hallway-classroom link and tag. I created them several months ago but have so far never properly introduced or promoted them. Perhaps there will be a banner and balloons.

--Tribal 2, the strong reasons people probably have for using the term "tribal" in a positive sense, like, regarding themselves even (which still doesn't mean you should use the word if you intend to engage in actual for real smart thinking, esp. pertaining to current political and social grouping(s)).

--Tribal 3, the strong reasons people like Paul Krugman, Brad DeLong, Ezra Klein, and a vast ever-multiplying et al. including probably you use the term "tribal" as a pejorative to denote one of the many things that fuck up and make stupid the current political etc. discourse (which still doesn't mean you or Krugman, DeLong, Klein, et al. should use the word if you intend to engage in actual for real smart thinking regarding current political and social grouping(s)). Paraphrases Upton Sinclair.

--Dead Lester 3. Yes, everyone is clamoring for this. </sarcasm>

--Dead Lester 4. One of the Dead Lester posts will be about why I think Paul Nelson never adequately responded to Irwin Silber. This post will be better received than the other one.

--Replication, in regard to understanding the utterances etc. of human beings other than oneself and perhaps other than yourself, too. This will be fun, I hope. It may refer back to the Mark Sinker adjunct thread that for a couple of years now I've been promising to add more to. The post may or may not refer to The Crisis Of Replication in the so-called social sciences, though that part of the post may be less fun.


--Oh My Girl wtf. ("Windy Day.")

--Cahiers du Cinema, Manny Farber. This post will not be as interesting as you were anticipating.

--Who is our most distant animal relative? This post will not answer the posed question, instead will be a meta meditation on taking sides, developing a rooting interest, etc., in which I will try to endeavor not to take sides or root for anything, except maybe will root for rooting and for taking sides, despite my failure to take sides, or root, in the post, unless I do take sides.

--That political discourse appears to batter through, demolish, and utterly flatten the wall between hallway and classroom while being the stupidest, most screwed-up, and destructive discourse in the world would seem to create a challenge to my assertion that (e.g.) rockcrits are being audacious and intellectually strong in not honoring the boundary between hallway and classroom. (The previous sentence leans heavily on the phrases "appears to" and "would seem to.")

--Is there a way for mathematics to finally click for me so that I might someday actually get it and enjoy it? (See the middle of Dave's post, here.)

--Yardbirds raveups.

--Bob Dylan's "Maggie's Farm." (Inspired by Edd Hurt's excellent comments on the "Antirockism Is Rockism" thread.)

--Interesting that Mark says "even the Ramones" (all bands being coalitions) given that the Ramones may be the epitome of a Bowie-Roxy-like "Oh oh oh, look look look, see the disparate elements we are combining," e.g., "See us do power chords with Ronettes melodies" and "Watch us do Dylan existential angst as if it's standard teen heartbreak" or "Watch us do Stones confronting-the-inner-fascist as dumb three-chord la-la-la" etc. etc. (This is a passage from a 4,000-word, rambling, very poorly integrated email I wrote and never sent because I hadn't finished it or remotely come close to figuring out what I was saying; perhaps a readable 1,500 words can be extracted from this. Potentially featuring Earth, Wind & Fire and the Pointer Sisters, who actually appear on a Kantner-Slick song.)

--Is "Only The Good Bits" as bad as "Too Many Bad Bits"? (Perhaps in regard to Paul Morley, and perhaps a continuation of PBS Revisited.)

--Why do we remember the past but not the future?

--Truffaut and Kogan (more of PBS Revisited).

--Wittgenstein doesn't buy into the dichotomy between particulars and universals. (This probably can be applied to the replication thing, now that I think about it.)


--I'm a comment-thread guy. I practically invented the comment thread. So why are even the good comment threads so killingly mediocre? Why is the Internet such a disappointment?
koganbot: (Default)
Tracks that stand out as being less like most of the others on this list:

Wa$$up "Wa$$up" and "Jingle Bell": Like a lot of K-pop, this music draws on American hip-hop. But unlike a lot of K-pop this doesn't sound like K-pop, but rather like American jumprope pop.

Tren-D "Candy Boy": Like a lot of K-pop, this music draws on Italodisco. But unlike a lot of K-pop this doesn't sound like K-pop; it sounds like Italodisco.

Qri "Do We Do We," Boram "Maybe Maybe," Lim Kim "All Right": Not that these three are that similar to each other, but each is from an interesting area of smooth, "All Right" more upmarket, "Do We Do We" and "Maybe Maybe" b-side fluff from T-ara's bench warmers.

After School "Heaven": Smoothly sashays atop the nonsmooth.

Stromae "Papaoutai": Belgian Afro-dance (and family drama).

Baauer "Harlem Shake" and Psy "Gentleman": Relentlessly nondevelopmental mindfucks.

Vick Allen "I'm Tired Of Being Grown": Southern soul.

The Civil Wars "The One That Got Away": Dinner-date folkies let loose with tasteful tears.

Within Temptation "Paradise (What About Us?)": Goth metal (if that's what it's called these days).

Tom Keifer "Solid Ground": Hair metal, which isn't considered metal these days, and fuck these days.

Omar Souleyman "Warni Warni": Syrian wedding music on a speed-racer track.

SNSD "I Got A Boy": Shifts forms, won't establish a plot, shoots its self-conscious audaciousness at us with awesome persistence.

Zhanar Dugalova "Kim Ushin?": A Kazakh grabs the rolling happy spirit of "Behind The Groove"–era Teena Marie, successfully disregarding the fact that Teena Marie was a virtuoso and she isn't.

Fidlar "Cheep Beer": Cheap beer.

1. Crayon Pop "Bar Bar Bar"
2. Baauer "Harlem Shake"
3. GLAM "I Like That"
4. will.i.am ft. Britney Spears "Scream & Shout"
5. MBLAQ "Smoky Girl"
6. EvoL "Get Up"
7. Cassie ft. Rick Ross "Numb"
8. Wa$$up "Wa$$up"
9. Tiny-G "Minimanimo"

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10. Gaeko & Choiza & Simon D & Primary "난리good!!! (AIR)"
2YOON through Kacey Musgraves )
Psy through Fidlar )
Girl's Day through T.O.P )
Ben Pearce through Ray Foxx )

Flogging a live animal )
koganbot: (Default)
I was thinking of leaving the albums category blank, since I didn't give it the attention it needed, and Ashley and Kacey would have done fine without my vote. But Sturgill deserved the shout-out. (Not that any category got the attention it needed. And I’m already second-guessing what I wrote about Sturgill Simpson’s bitterness; not that the bitterness isn’t glaringly evident, but I don’t know if I did right by its complexity. Simpson’s in an interesting fight with his pain (I mean both senses of “with”). Trigger at Saving Country Music thinks “The World Is Mean” is about acceptance and moving forward. I’m not sure about that. But I am a bit worried about not having been fair. But who said life was fair?)


1. 2YOON - "24/7"
2. Miranda Lambert - "Mama's Broken Heart"
3. Kacey Musgraves - "Blowin' Smoke"
4. The Civil Wars - "The One That Got Away"
5. Luke Bryan - "That's My Kind Of Night"

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6. Sturgill Simpson - "Life Ain't Fair And The World Is Mean"
7. Cassadee Pope - "Wasting All These Tears"
8. Chris Stapleton - "What Are You Listening To?"
9. Taylor Swift - "22"
10. Gwen Sebastian - "Suitcase"


1. Sturgill Simpson - High Top Mountain
2. Ashley Monroe - Like A Rose
3. Kacey Musgraves - Same Trailer Different Park

Bunch of other categories )


Sturgill Simpson could rename himself Grumpy Stodgill, so resolved is he to be left-behind and to resent it. So the album works way better as music than as music criticism, but I'm sure Grumpy'll take that tradeoff. Hard, bitter, immovable.

Korean duo 2YOON's "24/7" isn't country so much as it's a visit to a country theme park (that's exactly how it's portrayed in the video). But as a lark rather than a lived-in world it manages to be more alive and rousing than a year's full of defensive, redneck partying, maybe because it isn't burdened with having to represent the vitality of an American South that is still determined to feel defeated.

Women have been going musically berserk in response to broken hearts since well before Frankie plugged Albert (not to mention Johnny) and Miss Otis sent her regrets. And Kacey's "Merry Go Round" references Malvina Reynolds' "Little Boxes" (1962), and it could have footnoted Ray Davies' "Well Respected Man" (1965) as well, for adoring the girl next door while dyin' to get at her. But there is a twist of feminism and newness coming from the McAnally-Musgraves-Lambert-Monroe clique, as they frame these old tropes as a breaking out rather than a breaking down. This isn't all that new either - Martina McBride and Shawn Colvin were lighting up the sky in rebellion a decade before Miranda struck her match with "Kerosene." But if people keep claiming a newness, this could lead to their creating some genuine newness. The experience isn't new but the response to it can be.

Technical details )

koganbot: (Default)
K-pop kills it for Christmas:

UPDATE: The "Jingle Bell" vid is now inexplicably blocked in the U.S. (it's on Wa$$up's own VEVO, ffs); here's an audio stream: http://www.youtube.com/watch?v=I9CfIPRc1Kg. RE-UPDATE: They posted another one, so I re-upped, but I'll keep the audio stream just in case.] [UPDATING THE UPDATE: Now they've taken it off this VEVO and onto another of theirs. So I've re-upped once again.]

h/t centurion of prix, David Frazer.


Nov. 8th, 2013 02:42 pm
koganbot: (Default)
Song of the week is Lim Chang Jung's "Open The Door," a seemingly square, florid, impassioned trot that goes hilariously LMFAO in the chorus. The song's actual history runs opposite: was originally, last year, a forgettable would-be int'l-style dance track that I'd heard but forgotten by the Wonder Boyz (incl. LMFAO squiggles but w/out the zest we get when we Open The Door). So what's new this time are the trot beats, which with the hamming bring the song to immediate life. The squiggly LMFAO parade-streamer synths are the topper that they couldn't manage to be in the first version.

"Open The Door," by the way, makes this my third straight K-pop post to feature a Shinsadong Tiger track. He seemed to be having an off-year until all of a sudden he's not.

I'm late on it, but I highly recommend GI's "Gi," extending GI's tradition of ridiculous song titles. (Very first single was called "Beatles" despite having neither lyrics nor sound that refer to our lovable moptops (other than, I suppose, by having a beat). Band's name stands for Global Icon, and the Beatles are a global icon, if that's a connection.)

Also noted, Tren-D's "Candy Boy," in an unabashed Italodisco style. I especially like the instrumental B-side:

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(I've included the Austral-Romanian tag because, while "Open The Door" isn't quite on the continuum that I've imagined, it's a second-cousin to the style.)
koganbot: (Default)
Okay, T-ara's really weird year was last year, but that was merely for what was being done to them in their lives. As for notes and singing and dancing and stuff, this year seems to be one tangent after another. Of course, "Number 9," their new Shinsadong Tiger single, is a return to top T-ara and resumes right where they left off with "Sexy Love" in September 2012. But my actual favorite T-ara product in 2013 has been most-inessential-member Qri's strange Bunny Style b-side in Japan, "Do We Do We," which sounds like perfect piffle from a previous dimly perceived galaxy of Italodisco. Here's a fan vid. [UPDATE: YouTube scotched the fan vid, so here's another one, using a Bunny Style still (ears are... I don't know, but it's not my world)[and that was scotched as well, so here's yet a third, ear-free).]

The only other track to hit me from the Bunny Style project (10 different releases with the same A-side and ten different B's) is "Maybe Maybe" from other officially inessential member Boram, the song trying to sound equally inessential, could do double duty as a commercial for air freshener. Without the apparent skill she outdoes Lim Kim and IU on the Ipanema tip. The rest of "Bunny Style" is as light and bright but far less engaging in its nothingness. (But I don't pretend to a feel for J-pop.)

(Btw, [livejournal.com profile] arbitrary_greay and [livejournal.com profile] askbask have you heard this?)

Target, Jeon Won Diary, Bikini, Painkiller )

So, to "Number 9" and Shinsadong Tiger: he's once again risking one hook too many and using song parts that no longer seem to flow one into the other in the way melodies used to flow back in the Korean old days of two years ago, though maybe those parts'll seem inevitable in their order once they get ground into me over multiple hearings, as finally happened with "Volume Up" and "Sexy Love," in any event seem to fit K-pop's growing formal ferment.

Jiyeon abandons her uninflected breathiness for actual emoting, the brief beginning of which ("neo manhi nal utge haneun") reminds me of the strong cross-ocean ache in Pajama Party's and Brenda K. Starr's "Over And Over"**; the song's passion is on her shoulders even more than Eunjung's, and she carries it. Although for the long run I'm uneasy if this turns out to be a change in Jiyeon's role,*** this time it works in the song's general pitch of T-ara joy and anxiety. To top everything, Hyomin does a bleaty barky thing in a "rap" that once again, typically for T-ara, is more compelling than most real rappers' real raps.

But maybe the year's top T-ara story is Qri and Boram finding themselves in a carefreeness that no one would believe from the others.

Footnotes, Pajama Party, Robert Mitchum, rankings )

koganbot: (Default)
What this does is gives us the guitar from Laura Branigan's version of "Self Control" but then seemingly pastes in the vocals from the Raf version ('cause you can't have girls singing a man's game). And then of course the world gets destroyed, but that's not as impressive as rooting one's 2010 violence in a deep knowledge of '80s Italodisco.

(h/t girlboymusic and scores of other tumblrites)

EDIT: OK, it does seem to be the Raf version that's pasted in, but it was also pasted into the Branigan version about two minutes in, if I'm reading Wiki right ("was repeated" could mean "copied" rather than "pasted in"): "A vocal break from the Raf version was repeated and paired with a sharper and repeated percussive element." So our hockey videoist might well only know the Branigan version.
koganbot: (Default)
So, yes, there was Chinese Eurodisco in the '80s - which does not surprise me, given that my cheap introduction to Italodisco was through pirate cassettes out of Hong Kong and Singapore that I could pick up in San Francisco's Chinatown at three for a dollar; but still I hadn't heard any actual Chinese performers on them, just the usual Belgians and Germans and Italians (and Canadians and Miamians).

Also this, which is MOR pop from the early '90s:

Yvonne Lau, the singer of "Snowy," had previously been half of the duo Paradox (I learned that from a Joni Mitchell fan forum!); did videos in which Lau and her musical partner would walk by each other without consenting to speak (which makes perfect sense, given that they're in a band together) or where they'd stare significantly at a bird cage while performing ProgRock.

And now I have stated the entirety of my knowledge of 20th century Chinese music.
koganbot: (Default)
Click's "Duri Duri" (1987), one of my favorite Italodisco tracks ever (though the sound is muffled on this rip):

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María Daniela Y Su Sonido Lasser )


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