koganbot: (Default)
Frank Kogan ([personal profile] koganbot) wrote2013-07-23 10:49 pm
Entry tags:

If Gummi Bar Bar Bars, does she also Boom Bing Bing?

Given that Crayon Pop recently recorded "Bar Bar Bar," and last year gave us "Bing Bing," it is pertinent to ask whether Crayon Pop member Gummi, therefore, Boom Bing Bings:

[First video no longer available]

Gummy Bear "Boom Bing Bing"


[EDIT: This was the 130215 Crayon Pop "Bing Bing" at Music Bank. but the vid was scotched for copyright violations and I can't find the performance anywhere else on the Web; I particularly wanted this one because Crayon Pop are slinking around the stage in sweats with hands in their pockets and sucking on a lollipop, like juvenile delinquents. The closest I can find is this one, twelve days later on Show Champion, sweats and hands in pockets but the camera maybe not as focused on the lollipop so not as much deadly lollipop menace.


END EDIT]

Also, as we reported earlier, a woman who writes the blog D4ZZLING ME ("I'm just a mother of 2 kids who are obsessed with nail polishes and nail arts ^.^ ") was inspired by the Crayon Pop MV to do each nail in one of the five Crayon Pop training-suit colors:

http://d4zzlingme.blogspot.com/2013/07/crayon-pop-bar-bar-bar-inspired-nails.html



Keep your dial tuned to [livejournal.com profile] koganbot for further exciting news updates.

Re: And does Shinyoo tick tock trot?

[identity profile] davidfrazer.livejournal.com 2013-07-27 10:24 pm (UTC)(link)
Dana's article is worth reading because she at least begins to explain what makes trot distinctive:

Surprisingly (or maybe unsurprisingly), the genre didn’t exactly originate in Korea; rather, it was born in Japan from late 19th century protest songs and imported to Korea through a variety of channels. Japanese trot music, called enka, evolved largely in response to Meiji Japan’s call to modernize in the image of the era’s (supposedly more civilized) Euro-American powers; as such, it sought to incorporate more “modern” Western elements into traditional Japanese music in order to create modern pop music that was still palatable to a people unaccustomed to new sounds. Born from these efforts were the yonanuki major and minor scales ( Japanized adaptations of the pentatonic major and minor scales commonly employed in Western music — they are characterized by their lack of fourth and seventh degrees) as well as duple (1,2) rhythm borrowed from American foxtrot. As these musical elements made their way into Japanese music, so were they transmitted to the colonized people of Korea.