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Crayon Pop seem to be occupying a social space that doesn't exist in America: not of the mainstream but with no apparent estrangement from the mainstream either, not even to the extent that the mainstream itself is estranged from the mainstream (being estranged from the mainstream is a mainstream attitude). And while Crayon Pop gathered a fanatic core audience before they hit big — people who traveled miles to the Crayon Pop appearances and chanted along with the guerrilla street performances — that audience seemed to be doting-uncle types, not connoisseur types. But then, what counts as "connoisseur" isn't set in stone. For instance, Sunday evenings are an unofficial car show in the parking lots along Federal Blvd. on Denver's Hispanic west side, people hopping into their vehicles and finding spots to show off. There are many venues for discerning eyes.

In any event, Crayon Pop seem to be into music more for the art of it and the process than for fame and fortune or even a career.* Going "trot" this year with "Uh-ee" (and dressing like aunties) fits this: the attitude is "What can we try next?" Makes me think of the otherwise very different "Gentleman," by Psy: not a followup to "Gangnam Style" so much as "What can I do to shift around and fake you out?" But Psy is coming from a well-trod social territory, the outsider hip-hop guy who breaks big but still wants to set the terms of discussion. Whereas with Crayon Pop it's more like, "What color should we paint our house now?" At least that's how Crayon Pop come across. So even if they are secret bohemians (Way did got to art school, for instance), that's not where they live in the public landscape.

Whether or not you think I'm right about Crayon Pop, and even if you don't pay attention to K-pop, I have this question:

Who else — anywhere, present or past — seems to be occupying a social space similar to the one I describe for Crayon Pop?

I'm thinking that certain potential stuff wouldn't count, the reason being it has too much of a chip on its shoulder and too much outsider status: early hip-hop dj's in the Seventies, for instance, or the custom car shows and stock-car races and demolition derbies of the early Sixties that Tom Wolfe analyzed and celebrated in The Kandy-Kolored Tangerine-Flake Streamline Baby. Or maybe I'm wrong, and we should count these things.

Anyway, bohemia from nowhere near bohemia.

Also, we need a new term. "Bohemia" is played out. Care to coin one?

As delinquent lollipop girls in "Bing Bing," five months before fame:

Disco trot Hey Mister )

Opening for Gaga in Milwaukee )
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Although Wikipedia says Richard Rodgers took out full-page ads urging people not to buy the Marcels' version of "Full Moon," the article cited, by Marv Goldberg, contains an update in which Goldberg states he can't find any such ads and that Rodgers' wife Dorothy said in a 1982 Billboard interview that he loved the Marcels' version. In half an hour on Google I'm seeing the story of the ads repeated but no citations, no identification of where the ads appeared (though some specify "UK trade papers"), copy-cat wording in the claim (the word "urging," for instance), and no quoted text from the ads. Also, the claims are all posted after Goldberg's original 2006 posting. Good reasons to be skeptical.

[Error: unknown template video]

Speaking of blue moons and debunkery: According to two pieces in Sky & Telescope, the phrase "blue moon," meaning "rare or improbable occurrence," goes back 400 years, but the supposed derivation from "second full moon of the month," based on a misreading of a Maine almanac, only comes into existence in 1946 and doesn't become widespread until the 1980s.
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Although the powers that be are transliterating the title, "어이," of the forthcoming Crayon Pop single as "Uh-ee," that's very wrong: first, in pronunciation it's "Aw-ee" not "Uh-ee" if you separate out each syllable as written; and second, Crayon Pop shout it out fast without separating the syllables, and clearly they're saying "Oy"!

The title is "Oy"! The title is "Oy"! The title is "Oy"! We should circulate a petition.

May they do a trot version of "Hava Nagila" shortly.

David Frazer has taken to calling them Crayon Trot in the New Digs thread (which has become a thread about what he and I are digging, incl. not just the new Crayon Pop but also tracks by Tren-D, Vixx, PungDeng-E, LPG, and Dal★shabet; also contains the interesting information that Crayon Pop will open for Lady Gaga* for about a month of Gaga's North American tour this summer), the "Oy" rhythm definitely being trot. Crayon Pop are also deliberately crossing us up sartorially, donning elegant duds in the teaser (away with the cute speed racer helmets) and then crossing us up further with old-woman ajumma costumes in promo photos and onstage. [UPDATE: Turns out it's not them in the elegant duds, but rather upper-crust "clubgoers," audience members in the video whose elegant boredom is disrupted by Crayon Pop's ajumma act and are then won over.]

Had to look up "ajumma" in Wikip when David dropped the term on us; "is a Korean word meaning 'aunt' literally, however, it is used for calling name of 'married woman,' which is generally only used to refer to women who are middle-aged or older, and working-class." "The Lonely Planet guide to Seoul describes ajumma as a term of respect, but most other sources say it is mildly pejorative. An ajumma is often a restaurant worker, street vendor, or housewife. Ajumma has connotations of pushiness, with ajumma described as hard-working and aggressive people who 'push and shove their way through a crowd to find a seat in the bus or subway,' 'grab you by the arm and try to get you to eat at their place,' or 'push' friends and relatives to buy insurance."

Crayon Pop in it for the art of it )

*Whom they expect to mash with, er, mesh with.
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Okay, "consensus" isn't and shouldn't be an exact synonym for "unanimity," but the way I use it and dictionaries define it is far closer to "unanimity" than to "some people sometimes have similar opinions on something with some overlap as to who has similar opinions and some overlap as to what the opinions are." The latter seems to be how Robert Christgau and Glenn McDonald and Jack Thompson and probably a myriad others are using it in response to this year's Pazz & Jop poll.

I'm raising this issue not because I think we should always stick with the meanings that were in effect back when there were hula hoops but rather because the word "consensus" in its hula-hoop days (and potentially still) does something good that the new, added usage could well obliterate, which is to describe the process or behavior of an entire group, as a group.

That in the previous Pazz & Jop both Christgau and I and a handful of others put Neil Young's Americana in our respective top tens doesn't mean he and I and they have some sort of consensus on the album. We're not acting as a group and our coming together in this way doesn't meaningfully constitute a group (though maybe the ten of us could get together once a year for a party or something).

I use "consensus" in two basic ways:

(1) Regarding how a group makes a decision, to decide by "consensus" means that everyone or near everyone in the room signs off on the decision. Not everyone necessarily will be 100 percent happy with all aspects of the decision: it might be arrived at through discussion, argument, negotiation, and compromise. But everyone is on board with it. If someone disagrees strongly with a position or course of action, that person in effect has a veto. The word "consensus" here specifically and precisely distinguishes this mode of decision-making from other forms of decision-making, such as a vote in which the majority or plurality of voters carry the day; or a decision by a manager, or owner. In a consensus decision, the process by which the decision is reached may include straw polls, but a minority or faction can't be overridden in the way that it can be in a decision by majority or plurality vote or in a command decision.

Decisions by juries are often by consensus. Decisions by legislatures rarely are.

P&J isn't an election or a decision (though it has the feel of an odd combination of election and opinion poll), but you can see how talking about consensus or lack of consensus among the voters does violence to this meaning of "consensus."

(2) Regarding people's opinions or attributes, a consensus would mean something like "the general opinion of a community or group." So if 97% of climate scientists think global warming is real and man-made, then there's consensus. 80% wouldn't be enough to claim consensus (IMO), even if those 80% are right and the other 20% have no good reason to disagree.

That 65% of P&J voters didn't put Yeezus in their top ten (and presumably it wasn't number one for most who did, so let's say that somewhere between 80% and 95% of voters didn't make it their number one (I don't want to spend the time getting an exact number)), shows how ridiculous it is to say that the strong showing of Yeezus is a sign of some sort of consensus. (And it'd just be babble to turn this around and say that there's a consensus that e.g. most albums outside the top ten aren't the album of the year.)

I think the reason that "consensus" has wandered to include a new meaning — vaguely, to note that there are some criss-crossing similarities among some individuals, some things in common — is that there isn't some other shorthand that's available to wave at such similarities. So the word "consensus" gets to be the shorthand, even if this new meaning takes out the far more useful old meanings. But a shorthand is no good if there isn't real, actual consensus as to what the shorthand is short for. If there isn't general understanding, you shouldn't use the shorthand, unless there's at least some common sense of how to take the disagreements further. (E.g., there's certainly no general agreement as to whether Macklemore & Ryan Lewis are real hip-hop, but people know that there's no general agreement here, and using the word "hip-hop" doesn't paper over such disagreements.) In any event — this is a somewhat different complaint — "consensus" is becoming a buzzword, people waving at ideas they've not actually worked out, trying to quickly communicate thoughts they don't yet have.
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What's the name of the new T-ara single?

In aggregate it seems to be "Do You Know Me?" at least in translation. But the first track (ballad) and second (dance) have different Korean names, with the title "What Should I Do?" sometimes showing up on YouTube. Since the vid uses both versions, I'm not really separating out which is which. Maybe Wikipedia will eventually figure it out. In the meantime I'm going with "1977 Do You Know Me?" for the ballad and "What Should I Do?" for the dance. Google Translate is its usual pickled self, giving us "I Do Not Remember 1977" for "1977 기억 안나" and "I Cram" for "나 어떡해."

Also — the k-pop news 'n' entertainment sites are not clear on this — is there some 1977 input or origin for the song?

It seems to be a flop right out of the gate (fewer than 450,000 views for both streams after four full days), but I love it from the first instant. I still fear for the future of Jiyeon's unique aura and bearing if she continues to emote (her former uninflectedness and detachment being a form of evocative resistance, at least in my hopes), but nonetheless, in the present, I love how she and they — non-"impressive" singers — so easily brush every poignancy button, and then reprise it all as a romp.

Glad they're ending the year strong.
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Made a YouTube playlist of my favorite tracks from K-pop's lower commercial tiers.

In ascending order. As you can see, I like both it and that:

Leader'S "Hope" (2011). The song is called "Hope" but the sound is heartache 24/7. I left NYC several years before Hot 97 or whatever it was came in with a Latin freestyle format, but I can imagine this humid emotion emanating daily from car radios and bodegas on my block (I lived on the northern end of Mott Street, which was nominally still part of Little Italy, but the Italians had mostly moved to more well-to-do neighborhoods, being replaced by immigrants from the Dominican Republic).

D-Unit ft. Vasco "Stay Alive" (2013). Produced by Zico of Block B, this is a lot more natural than his own group ever was at creating a hip-hop idol sound, emphatic rapping with a backdrop that's half dreamy and half disorienting.

Chi Chi "Sexy Doll" (2012). A come-on that sounds at least as ominous as it is salacious.

Z.Hera "Peacock" (2013). Haven't yet discovered who wrote this, but it's someone with a far better understanding than I of Chopin or whomever, the track moving along towards inevitable bliss, while the singer uses the strain in her voice to suggest struggle and uneasiness. She just debuted, and I'm hoping for great things.

Clinah "So What If" (2011). Fractured power pop. It feels Japanese.

Tiny G "Minimanimo" (2013). I wonder if Bo Diddley had the least inkling in 1955 that he was setting the beat not just for buckets 'n' guts, but for sprites and nymphs.

Miss $ "Physical Or Emotional" (2012). Back to the dark Bodega wail. Miss $ had been a so-what r&b act for several years until they suddenly blossomed into passion.

Evol "Get Up" (2013). Get ur twisty little freak on, and take it to the disco.

GLAM "I Like That" (2013). Samples New York City sorrow, then pushes towards a joy most complicated.

Flashe "Drop It" (2012). A lot like "Bo Peep Bo Peep" in the way it teases and nags you.

New.F.O "Bounce" (2011). While the video apes 2NE1-style imperiousness, the band bubbles and bounces.

ChoColat "I Like It" (2011). Young Melanie wants it all, with a massive voice of promise and pain.

Crayon Pop "Bar Bar Bar" (2013). Perhaps they're lucky not to be stars. They get to spray everyone in their audience with water pistols.

E.via (now calling herself Tymee) "Pick Up! U!" (2010). The queen of the lower reaches, she can be anything from a severe art bitch to the cutest and quickest of the wild spirits. Here she gives us fractured power pop, fractured dance pop, fractured Poképop.

Fat Cat "My Love Bad Boy" (2011). Putatively cute and catchy, our heroine breaks her voice into scrapes, sparks, and splatters, and the sort of hooks that rip flesh.

Honorable mentions: Gangkiz "Honey Honey," A-Jax "Hot Game," MYNAME "Just That Little Thing," Blady "Spark Spark," Delight "Mega Yak," X-Cross "Crazy."

Steerage )

I crossposted this on ILM's K-pop 2013.
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Fancam of forthcoming track from Crayon Pop, "Bar Bar Bar." CRAYON POP DO NOT DISAPPOINT. I had to get out of my chair: I was laughing so hard I was afraid I'd hurt myself. I think those are toboggan helmets. Anyway, I can't wait on this. (H/t to David Frazer, as usual, for all things Crayon Pop.)

Subtract the visuals and there's still a great little song, a girl chant that's an earworm with harmonies (or harmonic something, anyway; I would welcome a musical analysis).
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Posted this on Freaky Trigger:

I am here to report that it took me till age 59 to notice that invalid ("being without foundation or force in fact, truth, or law; logically inconsequent") and invalid ("suffering from disease or disability; sickly; of, relating to, or suited to one that is sick") are both spelled the same.

The only rhyming word that Merriam Webster could unearth is "corn salad."

Do the British say "corn" or "maize"?

British recipes maize = About 20,300,000 results (0.39 seconds); British recipes corn = About 1,560,000 results (0.32 seconds). But the first hit on each is Cooks.com English Pea Corn Salad, whose first link is Shoe Peg Corn Salad. First hit when I Google boot heel corn salad is "Missouri's Bootheel Region is Fertile Ground." First hit when I Google yummy shoe tree dessert is "Vidal, California: Shoe Tree - Gone," but I believe that Google believed that I actually meant "desert." Here are photos. Hot boot polish sundae gets us arts and crafts projects where sundae and shoe polish are different items, the former only linked. No boot mentioned, so Google lied.

Minami 2

Feb. 10th, 2013 02:07 pm
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Starting this second thread regarding the Minami incident to forestall Livejournal's terrifying collapsed-thread syndrome encroaching on the previous thread (here).

 photo Scarface Secretary Angelo telephone.jpg

My guess is that it'd be hard for any fan to endorse Minami's self-abasement. Even those who support idol "purity" and manage to link it to being sex-free and boyfriend-free will have that overridden by the sense that Minami is a damsel in distress. In fact, those people might especially be the ones who will have their "damsel in distress" buttons bumped, and will be genuinely torn.

The rest of my thoughts are about K-pop, since I know next to nothing about J-pop:

Is the no-dating rule all that pervasive? )

What do you mean by this word SCANDAL? )

Conspiracy theory )
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Posting again on a subject I don't understand and never will: what physicists mean by "information." My brain balks at mathematical symbols, but I'm good at concepts; so my guess is that if some articulate physicist were to wander by, he or she could explain "conservation of information" in a way that doesn't totally leave me at sea. Wikipedia hasn't succeeded*, but this passage from the entry on "Black hole information paradox" is useful:

There are two main principles in play:

--Quantum determinism means that given a present wave function, its future changes are uniquely determined by the evolution operator.
--Reversibility refers to the fact that the evolution operator has an inverse, meaning that the past wave functions are similarly unique.

The combination of the two means that information must always be preserved.
What I gather from this is that: (i) any present "state" must have a unique past; you can't have two pasts leading to the same present; and (ii) the present can't lead to multiple futures. Am I interpreting this right? So a quantum waveform (?) version of a Laplace Demon** could reconstitute the past or forecast the future (or maybe, this being quanta, could reconstitute past probability wave something-or-other and forecast future probability wave something-or-other) based on what's known now. Hence information is preserved. So, however you twist it, you'll always have the same information.

Black holes seem to pose a problem for the principle )

The question I posed last time is, "When physicists say that information is preserved even after everything's been absorbed into black holes that have subsequently evaporated, do they mean that, e.g., 'The test tomorrow is at 1:00 PM' is preserved?" Certainly in my everyday use of the term "information," "the test tomorrow is at 1:00 PM" is information. So I can simplify my question down to this:

Is "The test tomorrow is at 1:00 PM" preserved (by the principle of conservation of information)? If not, what is preserved?

Changed my mind since last time )

I continue to have little idea what I'm talking about. But right now I'd reformulate the question as:

If all physical information is preserved, how can "The test tomorrow is at 1:00 PM" not be preserved?

And a corollary to that one would be:

If all physical information is preserved, and this — somehow — does not include "The test tomorrow is at 1:00 PM" being preserved, then how is it possible that "The test tomorrow is at 1:00 PM" exists even now?

So, to convince myself that all information can be preserved while "The test tomorrow is at 1:00 PM" is not preserved, I'd have to have an explanation for why "The test tomorrow is at 1:00 PM" isn't preserved. And to do that, I'd have to have an explanation for how it can exist now without being physical information. We as physical beings sure seem to have the information that the test tomorrow is at 1:00 PM. So far I can't counter this, can't come up with an explanation of how physical beings can have nonphysical information, or what "nonphysical information" would even mean. I don't think physicists, to the extent that they've thought about it, disbelieve that "mental" and "cultural" information can be conveyed by physical information, or that the latter two sorts of information are different in kind from the former. Actually, I don't know what they think. But how would they even potentially explain the existence of "cultural information" at all if such information is not conveyable physically?

That's what I would need to explain, if I wanted to preserve the principle of "conservation of information" while denying the conservation of "The test tomorrow is at 1:00 PM." Not that I necessarily want to deny that "The test tomorrow is at 1:00 PM" can be preserved. What I'm saying is that I don't know how not to preserve it without destroying the principle of conservation of (physical) information — which for all I know is a wrong principle, but to half understand what physicists mean by it, I'm acting as if it's right. Quantum physics guys seem to believe it needs to be right. So, for the moment at least, I'm counting "The test tomorrow is at 1:00 PM" as physical information, hence preservable by "conservation of information."

So, to reiterate, I think the crucial question here, this time in bold, is: How can "The test tomorrow is at 1:00 PM" exist now without being physical information?

I'm deciding for the time being that it can't, and that therefore it is physical information.

No dif in physical status between things and conventions )

Social info has same physical status as any other info )

Footnotes )
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David McHugh of the Associated Press ("After 3 bumpy years, Europe turns corner on crisis"):

The worst of Europe's financial crisis appears to be over.

European leaders have taken steps to ease the panic that has plagued the region for three turbulent years. Financial markets are no longer in a state of emergency over Europe's high government debts and weak banks. And this gives politicians from the 17 countries that use the euro breathing room to fix their remaining problems.
McHugh does go on to say that Europe's economy is likely to get worse before it gets better, then quotes Holger Schmieding, chief economist at Berenberg Bank in London, as saying "coming waves of turmoil will be less severe." (Article seems to be conflating the receding fear of imminent defaults and a Eurozone breakup, on the one hand, and nonimmediate prospects on the other.)

Tim Duy, on his blog Tim Duy's Fed Watch ("Europe's Back In The Spotlight"):

We are now looking at another year of dismal growth in the Eurozone. This crisis seems to have no end in sight.

To be sure, a little relief today as the Greek parliament pushed through the latest austerity package, throwing the bailout back to the Troika. But the relief was short-lived....

I am guessing that the Troika increasingly sees no way out for the Greek economy, at least under the current policy path. Does anyone really expect this to be anything more than just another effort to kick the can down the road? Everything to date has simply intensified what Ambrose Evans-Pritchard described as the "Greek death spiral."

Spain too )
To be precise, Duy isn't predicting a default or breakup, just another year that's worse than the last, with unemployment that's already depression-size in Greece and Spain getting worse.

My understanding (or not) )
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Best track on HyunA's Melting is the rough 'n' tough "Don't Fall Apart";* starts with a martial beat and a voice commanding "Attention!" Wikip credits words and music to Beatamin, who seem to be the duo Nassun and Zenda Fakteri. A flick of the wrist on YouTube, and we find them working with Kikaflo on his "Attention" (2011), which is, as they say, slammin':

A bit more searching, and there's Kikaflo's recent Kick A Flow Mixtape: 20 Minute Spits, lead track "Look At Me":

Look At Me )

Though I'm tired of guys acting hard, Kikaflo's got the sound to at least make the hardness strong. Mixtape seems to be legally available for free through the hip-hop collective Yeizon. Four strong songs, the rest pretty good. I don't know if Beatamin are players on it, though Nassun's credited with "additional lyrics."

Nassun's highest visibility was as the goofy guest rapper on Lee Hyori's light-of-spirit "U-Go-Girl." He's the funny boho boy on that one; on "Attention" he's the scary well-cheekboned Mr. Zebra Pants, singing the break.

Nassun's own recent release, Under The Sun, goes more for beauty, instrumental versions being better than original versions.

*[UPDATE: Wait. Now Wikip is calling the HyunA song "Straight Up!" in English, presumably the record company deciding that that's the best title for marketing the song outside Korea. But "Ice Cream" is the single, so why should they care what this one's called? Song is still "흐트러지지 마" in Korean, which the ever creative Google Translate renders as "Do undisturbed."]
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Here's HyunA displaying her Pikachu voice (segment begins 26 seconds in), anticipating how a year later she tells Psy he's just her style. But what's striking me now about the clip is Jihyun saying, right at the start, "We're famous for not having talents." I can't tell if this is just a quick quip, a "talent" merely meaning a special side attribute, or if the comment is coming from somewhere deeper.

There's a TV clip a bit later (here, and continues here) of their discussing how they deal with harsh comments, the guys who told them, "It's okay, just get your faces done first" (i.e., told them that their performance wasn't bad but that before they debut they ought to all have plastic surgery*), and people later who called them "deud minute," an acronym for "I couldn't even listen to or see 4minute." Those of you who've been following this longer and more attentively than I have: Are 4minute's looks considered a challenge to typical idol-girl faces and fashion? HyunA, of course, is Sex Symbol Of The Moment in K-pop, and she seems a master at being able to switch from goofball and brat in one second to total command in the next, donning and shucking off cuteness at will, while nonetheless coming across as fundamentally warm and spontaneous, and a light-hearted attention grabber. (If you stick with the Mr. Teacher vid beyond Pikachu, you'll see a funny sequence where HyunA's videoing the rest of 4minute head-on as they walk along a Kuala Lumpur street, but complains that it's scary for her to walk backwards, so makes all of them walk backwards so that she can be walking forward while continuing to work the camera.) But I wonder if the rest are considered non-idol-style in their looks and demeanor (and if that's felt to be a plus by their fans). Gayoon's face looks squashed-in, and Jihyun's can fall into a weary or sardonic droop, though I don't think that makes either of them unattractive.

I also wonder if HyunA's quick image switches make the general K-pop audience uneasy; to me she's thoroughly coherent and has done a smooth job of disarming the opposition.

Update: All hail Jiyoon )

*I gather that their label president encouraged them not to. And as Jihyun says, it's too late now anyway, since everyone knows their faces.
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With only a couple of furlongs left, DJ Bedbugs is a nose ahead in the quest for his second consecutive title.

TOP NONSINGLES Through Third Quarter 2012:
1. DJ Bedbugs "Hella Hollup"
2. E.via "Night Blooming Roses"
3. Neil Young & Crazy Horse "Oh Susannah"
4. After School "Eyeline"
5. T-ara "T-aratic Magic Music"
6. DJ Bedbugs "Aaron's Party Rocking"
7. Neil Young & Crazy Horse "Wayfarin' Stranger"
8. TaeTiSeo "Baby Steps"
9. DJ Bedbugs "Come Out And K"
10. DJ Bedbugs "Ready To Greenlight"
11. Neon Bunny "First Love"
12. DJ Bedbugs "Your Mann"
13. After School "Broken Heart"

Number 5 and number 13 are in Japanese.

What Is A "Single," And, By Negation, A "Nonsingle"?

Something's a single if it acts like a single or gets treated like a single, no matter what it is (even if it's a 50-minute webrip of a symphony). So "Gimme Shelter" is a single, "Stairway To Heaven" in its long version is a single, "Takeover" is a single, though none of those three was on an actual physical single. And certainly if it's promoted by the label as an album's or EP's "emphasis track" or "focus track" it's a single.

If it doesn't act like a single, it nonetheless can be a single if... )

"T-aratic Magic Music"
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Mark, or someone, why is the harmonic minor scale called the harmonic minor scale? How is it any more harmonic than the natural minor scale? Wikip:

"One More Day" is composed in the key of A harmonic minor, meaning though in A minor, it has a G#, an accidental, at the end of the chorus and the end of the second verse. The vocals span around an octave and a half, from C4 to E5. It is written in verse-chorus form, with a bridge section in a rap-form, featuring Sung Hyo Ram from XCROSS as the guest rapper, before the last repeated chorus.

Wikip explains "harmonic" in the name like this:

The scale is so named because it is a common foundation for harmonies (chords) used in a minor key. For example, in the key of A minor, the V chord (the triad built on the note E) is normally a major triad that includes the raised seventh degree of the scale: G♯, as opposed to the unraised G♮ which would make a minor triad.
What confuses me about this explanation is that it assumes that, if your i is a minor, then V is somehow more "harmonic" than v is. (That is, that the major chord that's a fifth above the chord that establishes the key is, when the key is minor, more "harmonic" than the minor chord that's the fifth above the original chord.) Now I get that Wikip is saying that the major V is more "normal" or "common" than the minor v. (Where? Among whom?) Is that because it's — somehow — more harmonically related? Is it because of that "leading-tone" business Wikip mentions?

Here's a natural (rather than harmonic) minor for the v, which sounds fine to me:

Sistar Zukie )

Yes, I'm never likely to master music theory. Other stuff is taking my time.

Another reason for this post is that you — especially you who are named "Mark" — may enjoy the ChoColat track for how its harpsichord and melody recall the classic She'kspere/Kandi days of TLC, Destiny's Child, and Pink. Maybe you, more than I, will be able to explain what the melody has in common with those melodies of yore (if I'm right that it does).
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Haven't listened yet to the whole Farrah Abraham album, or followed much of the discussion. But Phil Freeman calls it "pure outsider art — fucking brilliant. Makes Peaches and Le Tigre sound like Taylor Swift." And Dave seems to be endorsing this characterization, "outsider art," in his Atlantic piece. Not sure whether or not I'd use it on her, or how often I'd use it on anyone. But to poke around further, let's ask the following questions:

(1) What is Farrah Abraham outside of?

(2) What might she be inside of? Who might her models and sources be?

I'm thinking of people like Teena Marie, Sophie B. Hawkins, Stevie Nicks — not as Farrah's sources or models, but as people who had sources and models themselves for their ideas of song lyrics and liner-note poetry; they were drawing on ideas of poetry that were probably as abundant as "real" poets' ideas, if not more abundant.*

And Bob and Jim, in parens )
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"I hate you"

Person A says to Person B, "I hate you." Is it more likely that Person A is:

(1) expressing affection?


(2) expressing hostility?

Let's posit that A and B are each over twenty years old, and that they're speaking English. This is all we know. "More likely" means "probability of at least 50.1%."

Although "expressing a mixture of affection and hostility" is a reasonable third option, I'm not allowing it. Just pick (1) or (2).

See comments.
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Most translation sites just copy others, often without attribution. So there's one basic translation of T-ara's "Lovey-Dovey" going around, possibly originating at pop!gasa. Here's the first verse and the chorus. Translators, I'm not impressed, especially not by "those passing by couples." (The ~ sign after "Woo" means a whole lotta woo, I guess (I hear "oo oo-oo oo-oo, oo oo-oo oo-oo").)

It's so cliché )

It's clear )

These translations leaving me unfulfilled, I decided to take matters into my own hand. Well, not my hand, or even my mind, as I don't speak Korean. But the magical hand of Google Translate. Grabbing Hangul lyrics from Chacha 짱, we see this:

너무 뻔해 )

Today alone, I do not like the math I
Oh, this day is finally bored
(Ooo ooo woowoowoo woowoowoo)'ll pass

Look, look at a passing couple there
I can love you like that
(Ooo ooo woowoowoo woowoowoo) Ooh I feel so lonely

I Lovey Dovey Dovey Uh Uh Uh Uh Lovey Dovey Dovey Uh Uh Uh Uh
Do not let alone anymore
Now, Lovey Dovey Dovey Uh Uh Uh Uh Lovey Dovey Dovey Uh Uh Uh Uh
Oh where are you in
Lovey Dovey Dovey Uh Uh Uh Uh Lovey Dovey Dovey Uh Uh Uh Uh
Sure you will find her
I melt the frozen too long, you know where the hell

This is great! Alone, I don't like the math either. "I melt the frozen, you know where the hell." Indeed I do.

Hair defeats fire )
koganbot: (Default)
The 내 사랑 싸가지 / 내사랑 싸가지 Saga continues, as Google Translate once again modifies its rendering of Fat Cat's "내 사랑 싸가지" (also sometimes spelled without the space between 내 사랑):

"내 사랑 싸가지" = "My Love Is A Bad Boy"
"내사랑 싸가지" = "Baby Bitch"

I refer you to previous installments in this series:

"My Love, The Douche"
"Guitar Squawks And Robobeats"
"Fat Cat's My Love Bitch"


Mar. 4th, 2012 12:14 pm
koganbot: (Default)
How widely used is the term "co-ed" as a noun meaning "a female student"?

I'd have thought that in the U.S., at least, the term was archaic. Almost all schools in America now have male and female students.* I've never heard the term in conversation. However, in Korea, there is a mediocre K-pop group called "Co-Ed School," one of the few idol groups to have both males and females.

I first considered asking this question a week ago, when I'd hunted down an Erik Erikson quotation I'd remembered inexactly from having read it in 1970. It had stayed in my memory for a fundamentally different reason, the phrase "compared to what?," which relates to the psychosocial explorations of mine that I entitle "Relativism: So What?," and I'll give it its own entry one of these days. But I also remembered that it contained the term "co-ed," the word surprising me when I read it, and that's the word I used in the Web search that successfully tracked down the quote. I'd originally seen the passage in the Erikson collection Identity: Youth And Crisis, and in my memory I assumed the essay was from the late 1940s, the term "co-ed" dating it in my mind. Surprisingly, I see that the essay was based on a lecture that he gave in 1960. Although some prestige schools like Yale remained male-only until the late 1960s, I've assumed the term "co-ed" had been long moot by 1960, coeducation being so overwhelmingly common. Again, I don't recall ever hearing the word in conversation, and I grew up about a half mile from a college campus.

So last Wednesday, when Rush Limbaugh called Sandra Fluke a "slut" for advocating that her college include birth control in its health package, he started off, "What does it say about the college co-ed ... who goes before a congressional committee and essentially says that she must be paid to have sex?"

YouTube searches )


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