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How to pick up girls (Eng Sub)
Hyori trades banter with Big Bang on her variety show:
Part 1: http://youtu.be/AyZhMV6nJsY
Part 2: http://youtu.be/FH2lz4MoAjQ
She, co-host Jung Jae-hyung, and the boys are all quite personable, though even with subtitles I'm not understanding whole gobs of the interchange, due some to my not knowing the history, some to my not knowing the culture. But I do get that a hunk of what they're doing at the end is How To Pick Up Girls. And yeah, they're doing it for fun, and it's funny; but still, it's reminding me that these people are fundamentally mainstream and I'm not. (Or if one or more isn't/aren't fundamentally mainstream he/they are going along with it.*) I'm not averse to getting to know attractive women who happen to be passing by, including attractive mainstream women, and letting them know I'm potentially interested; but still, even though I can't totally put my finger on why, the how-to-pick-up-girls mentality epitomizes exactly what's mainstream about this clip and what's not mainstream about me. Maybe it's the assumption that this is our common ground. Or the assumption that we assume a common ground rather than discovering and creating it.
Of course, when various counterculture groups fundamentally go dead for me, and they all pretty much do, sooner or later — freak, punk, postpunk, indie-alternative, "poptimists," [your group name here] — it's exactly because they've gotten into a rut of assuming assumptions, e.g., assuming I'm like them more than I'm like Hyori. (See "The Death Of The Cool.") I don't assume that Hyori and I, for instance, or G-Dragon and I, etc., don't know how to find common ground. One common ground would be if they like to think about such things, about assumptions and how to test them. In 2006 Samsung was willing to postulate that Hyori seeks to see through a multiplicity of eyes.
Not related to this: at one point, Hyori mentions, in regard to a track that she and Daesung recorded, a plagiarism issue that for a time was a barrier to the two of them performing the song, but that she'd now worked out the copyright and they'd be singing it again in the future. What had happened was that for Hyori's H-Logic album, songwriter Bahnus simply ripped off seven overseas songs to sell to the label, the only major difference between his songs and the originals being that he'd substituted new Korean lyrics. It turned out this wasn't the first time he'd done such a thing. Rather astonishing, that he believed he could get away with it. Or maybe he knew he'd get caught, and was simply out of control. Calculating, he might be willing to chance that, e.g., no fan of Georgia Murray was ever going to hear Lee Hyori's "Swing" and no fans of Lee Hyori were also fans of Georgia Murray (and that no one was going to pick up on the Theodorakis riff that Murray sampled and Bahnus copied); but it was simply insane to assume that she and Jason Derülo had no listeners in common, and further that he could use the basic same title of the Derülo song "How Did We" (named "How Did We Get" in the Lee Hyori version, it being the song on which she and Daesung sang their duet) and copy the exact same Annie Lennox sample, and that no one would notice any resemblance. But I only know what Wikipedia says. Hyori seems totally blameless. Bahnus was not only sued by the label, he was convicted of forgery and fraud and sentenced to over a year (at least according to Wikip, though there's a "citation needed" on this).
None of this is meant to imply that I won't someday visit a Derülo YouTube thread in order to say "Lee Hyori brought me."
*Get the sense that Taeyang may not be totally on-board, either.
**[UPDATE: According to Wikip, "Bahnus" refers to Lee Jae-young but he also led a songwriting group, "Bahnus Vacuum"; the text isn't clear but it seems to be saying that Lee alone is responsible for the plagiarism.]
h/t Mat
Part 1: http://youtu.be/AyZhMV6nJsY
Part 2: http://youtu.be/FH2lz4MoAjQ
She, co-host Jung Jae-hyung, and the boys are all quite personable, though even with subtitles I'm not understanding whole gobs of the interchange, due some to my not knowing the history, some to my not knowing the culture. But I do get that a hunk of what they're doing at the end is How To Pick Up Girls. And yeah, they're doing it for fun, and it's funny; but still, it's reminding me that these people are fundamentally mainstream and I'm not. (Or if one or more isn't/aren't fundamentally mainstream he/they are going along with it.*) I'm not averse to getting to know attractive women who happen to be passing by, including attractive mainstream women, and letting them know I'm potentially interested; but still, even though I can't totally put my finger on why, the how-to-pick-up-girls mentality epitomizes exactly what's mainstream about this clip and what's not mainstream about me. Maybe it's the assumption that this is our common ground. Or the assumption that we assume a common ground rather than discovering and creating it.
Of course, when various counterculture groups fundamentally go dead for me, and they all pretty much do, sooner or later — freak, punk, postpunk, indie-alternative, "poptimists," [your group name here] — it's exactly because they've gotten into a rut of assuming assumptions, e.g., assuming I'm like them more than I'm like Hyori. (See "The Death Of The Cool.") I don't assume that Hyori and I, for instance, or G-Dragon and I, etc., don't know how to find common ground. One common ground would be if they like to think about such things, about assumptions and how to test them. In 2006 Samsung was willing to postulate that Hyori seeks to see through a multiplicity of eyes.
Not related to this: at one point, Hyori mentions, in regard to a track that she and Daesung recorded, a plagiarism issue that for a time was a barrier to the two of them performing the song, but that she'd now worked out the copyright and they'd be singing it again in the future. What had happened was that for Hyori's H-Logic album, songwriter Bahnus simply ripped off seven overseas songs to sell to the label, the only major difference between his songs and the originals being that he'd substituted new Korean lyrics. It turned out this wasn't the first time he'd done such a thing. Rather astonishing, that he believed he could get away with it. Or maybe he knew he'd get caught, and was simply out of control. Calculating, he might be willing to chance that, e.g., no fan of Georgia Murray was ever going to hear Lee Hyori's "Swing" and no fans of Lee Hyori were also fans of Georgia Murray (and that no one was going to pick up on the Theodorakis riff that Murray sampled and Bahnus copied); but it was simply insane to assume that she and Jason Derülo had no listeners in common, and further that he could use the basic same title of the Derülo song "How Did We" (named "How Did We Get" in the Lee Hyori version, it being the song on which she and Daesung sang their duet) and copy the exact same Annie Lennox sample, and that no one would notice any resemblance. But I only know what Wikipedia says. Hyori seems totally blameless. Bahnus was not only sued by the label, he was convicted of forgery and fraud and sentenced to over a year (at least according to Wikip, though there's a "citation needed" on this).
None of this is meant to imply that I won't someday visit a Derülo YouTube thread in order to say "Lee Hyori brought me."
*Get the sense that Taeyang may not be totally on-board, either.
**[UPDATE: According to Wikip, "Bahnus" refers to Lee Jae-young but he also led a songwriting group, "Bahnus Vacuum"; the text isn't clear but it seems to be saying that Lee alone is responsible for the plagiarism.]
h/t Mat
no subject
The interesting thing about BB songs is that GDragon writes all of the parts (except for TOP's parts) - or at least, is usually the only person with a songwriting credit. But when you compare the other members' parts to the personality they express in interviews, they sort of match up? So he's either specifically writing for the other members, or they are working on the parts together, but he is finalizing the words and taking the credit.
And I guess I think this is kind of psychologically thorny, because on the one hand he might be able to express something they would like to but can't; on the other he might seem to know them better than they know themselves but actually be shaping their responses; and on the third hand he could be doing the authorial thing, where you write - not reality as it actually is - but reality as you would like it to be. (Bringing this comment around full circle.)
...And then that reality might happen, because this isn't a group that draws a strong line between others' perceptions of them and their own self-perceptions of them. ^^
How much all of this is still true, by the way, and how much they have "moved on" in a more "mature" direction, is anyone's guess -- and this is all my speculation anyway. ^^ Really, sometimes I can't escape the feeling that for all the adult choices these guys are making, GDragon Taeyang and especially TOP are all actually five year olds and GDragon in particular is lashing out at the world because it's not going how he wanted it to. And one reason I think that is that the songs sometimes have, not just slightly different meanings when they are rerecorded in a different language, but actually opposite meanings - there's no one reality, here.