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)
1. 4minute "Canvas"
2. FAMM'IN "Circle"
3. Aommy "Shake"
4. Tiffany ft. Simon Dominic "Heartbreak Hotel"
5. NCT U "The 7th Sense"
6. Tiggs Da Author ft. Lady Leshurr "Run"
7. BTS "Save Me"

For some reason I'm picking mood pieces here (tracks 1, 2, 5), sound that's atmospheric but with its sleeves up and muscles flexed, floating fields of toughness. Tiffany, tall and lithe (track 4), is in a mood too, ol' r&b sadness, integrity in heartbreak.

Tiggs isn't playing tough. He'd rather do fear, if it's got speed and a beat.

Aommy is cute and hot and fiery, seems working class to me: in the video, power is kicking the people who can kick you, and imagining (imaging it as if) they'll take it as just hard flirting, and so will the viewers — 'cause the woman doing the workout still needs to flirt, her boundaries not really protected, and maybe she wants to flirt as well, or works it well, anyway, and isn't really seeking an alternative. At least, it feels to me as if the video wants to have its cake and eat it too. Or maybe it's just a workout vid with fantasy advice for women getting by in what remains primarily men's space. The coda is good-naturedly inclusive. I don't know Thailand, so these are distant guesses.

Not keeping up, obviously; four of these I scarfed up only this week.

And 4minute are no more, by disagreement, not choice, it seems (reading between lines of the public reportage).

koganbot: (Default)
How does Hyoyeon keep from being blinded by her own hair? I'm not much of a song-and-dance man, so I never realized what an issue this must be for long-haired performers and their choreographers and hairstylists, especially when the dances don't allow for a lot of improvised hand movements.

h/t arbitrary_greay, as usual.

(Also note hat mishap at 0:22.)

Although it's not quite the same topic, I want to say that I myself have seen, live and in person, Iggy falling off the stage (though it was a different Iggy).
koganbot: (Default)
Of three recent albums by K-pop big shots (SNSD, 2NE1, and After School, w/ 4minute and Super Junior-M in my to-do pile), After School's is head and shoulders above the rest, once again. I still have no sense of the members' individual musical personalities, if they have any, and not much sense of a collective personality either, sonically. "Smooth vocals with forceful accompaniment" is what I come up with, pretty much, plus occasional strong pangs, the latter more often in Korea than in Japan. In their early days, feisty was good, gentle was bad. Now gentle feels deep, and when the vocals go to what I call "easy vocal washes" the resulting mist is like a sharp shower, rather than blah.

The album (Dress To Kill) is in Japanese, its two singles written and produced by Shinichi Osawa. Listening to Shinichi Osawa's Works 2008-2012, which also tends to go for a smooth front and a propulsive engine, I'm nonetheless thrown back to the feeling of distance I often get from J-pop, without knowing if the distance is mine or theirs. And I say to myself "I don't get it." Whereas After School's Japanese work gets to me every bit as well as their Korean.

adjectives, arbitrary_greay's keybs, Euro-ish songwriters )

(My previous two posts entitled "After School's Good Year" are here: 2013 and 2012.)
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"

[Error: unknown template video]

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)
Quick opinions:

SNSD Love & Peace. Japanese, Scandinavian, consistently tuneful, not trying to overpower us with muscle and rhythm.

[Error: unknown template video]

Tymee "On The River." Strong, harsh, and plaintive at once, is the hurt, pummeled, and scarred Tymee. She's been doing this since her sad "Diary" days, but it was usually a sideshow to the artplay and to her being the fast sprite and melody-flinging cut-up. A lot of that's on hiatus since the name change: instead, she's been aggressive and angry; now she's knocked back in pain.

[Error: unknown template video]

T.O.P "Doom Dada." Beats dig into the dark desert to match T.O.P's rasp, which sounds quite amused by all the dust.

[Error: unknown template video]

Also: good album from Vixx, dull album from Myname, very good "Lonely Christmas" from Crayon Pop, T-ara's "Hide 'N' Seek" not as good as Miss A's "Hide & Sick," Nine Muses' "Glue" not as good as Nine Muses' "Gun," 2013 Flashe single not nearly as good as 2012 Flashe single but I'm glad they're still in business and that strong-voiced Songhee is still singing, disappointing single ("It's You") from D-Unit after a very good year, disappointing single from Super Junior ("Blue World"/"Candy"), third set of the year from SHINee (Everybody) not as good as first two.

[Error: unknown template video]
koganbot: (Default)
Lee Hyori: Lee Hyori's Monochrome is the opposite of monochrome, with Hyori applying her gently authoritative style to all sorts of the last century's dance music (incl. country pop and western swing!). Strangely, I'm not hit with a lot of feeling — until the last four songs. That's only on one listen. Maybe the album simply takes a number of tracks before it penetrates, and when I go back to the start, the thing in its entirety will drive through me. In the meantime, "Miss Korea," track two, is an excellent lark (the lyrics as translated over at pop!gasa disputing the larkiness that the sound asserts), and emotion and discontent are at their deepest on track 12, the cheerfully titled "Show Show Show" [UPDATE: which turns out to be a rewrite and rearrangement of (and vast improvement on) Monrose's "No No No," with new lyrics by Hyori (see comments for Monrose embed)].

[Error: unknown template video]

The lyrics throughout Monochrome convey a consistent uneasiness. A lot is going on, though I don't know how much of it I'll reach.

Girls' Generation: Imagine "Land Of A Thousand Dances" in both its doop-doop and na-na-na-na-na versions done as beach-blanket bubblegum. What you've imagined is probably better than SNSD's new Japanese single, "Love & Girls," and I think arbitrary_greay and acts of verbosity are right to take the single, especially its video, to task for laziness and complacency and general unimpressiveness. But I haven't been all that impressed recently with Girls' Generation when they're being impressive, and I actually find "Love & Girls" viable, hummable, groovable. As [livejournal.com profile] actsofverbosity points out, it falls way short of Wonder Girls' similar "Like This." But then, "Like This" was last year's great summer groove,* and a pretty good summer groove like "Love & Girls" is, you know, pretty good. (Here's a link, though I expect Nayutawave will have it killed before you get a chance to click it.)

UPDATE: I've been dropping by every now and then, and switching out the "Love & Girls" video link whenever YouTube takes down the one I've already linked. In the meantime, here's where someone's ripped the song without PV; maybe it'll stay put a little longer.

*Even if "Gangnam Style" was what hit the super-quadruple-lotto.
koganbot: (Default)
GLAM's "I Like That" entered the Gaon Chart this week at 57. This was way lower than I'd anticipated, my expectation being based on an Allkpop story saying "I Like That" had finished number 3 on January 2 on the Bugs Chart. I don't know what the Bugs Chart does, actually (the chart is in Korean, not surprisingly). I assume it records daily numbers, though I don't know of what. "I Like That" isn't in today's top ten.

GLAM began promoting the single on December 29, performing it on SBS's Gayo Daejun accompanied by their Vocaloid friend SeeU. The video didn't go up until three days later, though teasers had started on December 26. Full-throttle comeback performances started on January 3. So, anyway, I don't know whether or not the song had a full week in the public consciousness to post numbers — Gaon's week runs Sunday to Saturday, so the current rankings are based on December 30 through January 5; next chart will cover January 6 through today.

SNSD's "I Got A Boy" is number 1 with a rather unimpressive 28,479,080 points. Its numbers might not reflect a full week either: video wasn't up until Monday December 31, and I don't know when sales started. Also, it's a weird song.

On YouTube, "I Got A Boy" is at 26,564,464 views. Are there Korean video sites I should be taking account of too? YouTube views for "I Like That," which are divided up between LOENENT and GLAMofficialvideo, total 291,414. A couple orders of magnitude of difference, there. Gaon points for "I Like That" are 3,376,761, which makes up one order of magnitude but is still way behind. So Allkpop's lead, "GLAM have been giving Girls' Generation a run for their money with their new single, 'I Like That,' which is rising up on music charts," seems very wrong. Premature, anyway.

I'm rooting big for "I Like That," which I'll write about later. Is a good song, not a great one, but socially this group matters. And they dance well. And the lyrics engage in fairly subtle arguments with themselves, aren't just slogans. Though as slogans they're good, too.
koganbot: (Default)
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.
koganbot: (Default)
Chuck Eddy on K-pop:


Chuck wrote this over a year ago, told me he didn't think Spin had made it available online so I didn't look, but it turns out they had. Excerpts:

"horse-whinnying Cypress Hill–style nasal frat-hop" (Seo Taiji & Boys)

"hiring hotties as much for dancing as singing" (H.O.T.)

"tunes about shy boys, kissing, and snow" (S.E.S.)

"threw samples hard and soft — notably, traditional Asian gorgeousness — into the pot" (Drunken Tiger)

"unprecedented combination of talent, looks, ambition, healthy living, and multilingual studiousness" (BoA)

"Maybe somebody somewhere raps faster than E.via on 'Shake!' but no way as adorably." (E.via)

"G-Dragon and T.O.P. from long-standing boy bunch Big Bang begin by banging big" (GD&TOP)

"mega-delectable mega-hit 'Gee'" (SNSD)
koganbot: (Default)
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"
koganbot: (Default)
While searching "Oscar song meanings," I incidentally found this thread where non-Koreans talk about how they discovered K-pop and why they love it.

"I'm just wondering...... I see many people who aren't Korean listening to Kpop.

"How did you find out and learn about kpop?
"Why do you love it?
"What is your ethnicity/nationality?
"What are your favorite groups and why? What are your favorite songs and why?"
"Do you prefer boy groups over girl groups or both?"


I don't think nationality matters at all because puppies of all countries listen to kpop. A norwegian puppy or a belizean puppy - they all love it! I'm central european, now living in Phnom Penh where local khmer kids dance to kpop in parks. Few nights ago they were swaying their hips to Abracadabra :D
Three people like that the groups don't have to sing about sex, money, and drugs.

Favorite meta, best food reference, most emblematic authenticity argument )
Anyone reading this can answer in the comments, if you'd like, even if you are Korean. How does one define "Non-Korean" anyway? I'd say that I'm non-Ukrainian, non-Belarussian, non-Russian, non-Polish, non-Austrian, nonshtetl, non-European, non-Yiddish, etc., though I could claim all those ethnicities (or whatever) under certain circumstances. By the way, the first-released (though unauthorized) version of "Tell Me Your Wish (Genie)" was not by SNSD but by an Uzbek. Not that Uzbekistan is anywhere near the Ukraine. But it's closer to the Ukraine than to Korea.

[Error: unknown template video]


Jun. 15th, 2012 09:32 pm
koganbot: (Default)
Trevor says, in his writeup about JJ Project's "Bounce," that:

"For me, there's nothing sadder than, say, a couple of self-described 'punks' arguing about what 'real punk rock' is and is not."
Guess you have to count me among the sad, then, since that's exactly what I was doing the other day when talking about Screeching Weasel and Britney in my "Are We NOT MEN?" post. (Ctrl-F "Screeching Weasel" and don't neglect to click the link to my 2007 Blackout ballot.)

I don't dislike "Bounce" (especially not outraged by any genre busting), though the track doesn't drive me, either. But the more abstract Trevor gets in his reasoning, the more I want to argue with it. Except what I'd rather do is prod him to argue with himself. So what I'd say to Trevor is: Ask yourself what questions would be most troublesome for your argument, and what counterarguments would be the strongest, richest, and deepest. I'll say as an aside — and this is an observation, not a criticism — that at least some of the terms you use to praise JJ Project feel very Sixties, very rock.

[Error: unknown template video]
koganbot: (Default)
Those of you who don't frequent the SNSD Free For All missed The Adventure Of Taeyeon And The Moth:

[Error: unknown template video]

Favorite YouTube comments:

"This is gross, it wasn't necessary to kill the moth
How can people celebrate this? you guys are sick!"

"2 true SONE here. One willing to die and one willing to kill for Taeyeon's attention."

("Sones" is the name for SNSD fans.)
koganbot: (Default)

Trevor's got an in-depth analysis of the "Gee" video and the male gaze or absence thereof. If I'm interpreting his basic point right, it's that the video is about girls having fun with girls, not about how they appear to some guy — or maybe more emphatically, it's about the girls having fun with girls while abandoning the gaze of some guy. As far as it goes, this analysis seems right, and matches what I think about Miss A's live routine for "Breathe," which is that it's not about some guy making them breathless; rather, the supposed breathlessness is a pretext for the young women* to clown around with each other.

Except I don't think that puts the issue to rest, not by a long shot. What I find limited in Trevor's analysis is that he's talking about the story in the video but he's not talking about the story of the video in the world. For instance, I'm looking at the video. So's Trevor. So are you. I don't see that the video has subtracted our eyes.

An incomplete list of gazes, gazers, etc. that might be relevant:

--The characters in the video
--The performers in the video
--Who the videomakers envision might be looking at the video
--The videomakers themselves (incl. performers, costumers, editors, financiers, etc.)
--The assumptions the videomakers make about the audiences for the video, about the audiences' expectations regarding music etc., audiences' role in fandom and their vision of the world, and about how the audiences are likely to use the video, etc.**
--The experiences and assumptions of the videomakers themselves about video, music, life; their vision of potential worlds etc.
--The actual audiences for the video and how they see such videos; their visions of the world and of potential worlds; how they use the video in their lives
--The people writing about the video; the writers' assumptions and visions etc. and their assumptions about their readers' assumptions and visions etc.
--The social classes/categories of the aforementioned (which obv. include age and gender but include a lot of other stuff too)
--How all these gazes, gazers, uses, etc. may change over time, the use of the video not being fixed

More gazing, plus footnotes )
koganbot: (Default)
Q: What do the following have in common: Good Day, Dum Dum Boys, Get Away With Murder, In My Eyes, Try To Follow Me?

A: Damned if I know — other than that they're all song titles, modern (i.e., post-nineteenth-century) popular music.

The question arises because those titles are together on a piece of scrap paper from last week, in my handwriting. What was on my mind? I have no memory of writing this.

I have mp3's of some but not all of these, so I wasn't trying to remind myself that I'd been dicking around with their tags, or needed to.

Performers, if you're interested: IU (아이유), Iggy Pop, Ashlee Simpson, Minor Threat, 2NE1 (투에니원). Robyn does an "In My Eyes" too, but I'm sure I've given it no thought in the last year and a half. The Ashlee song is really entitled "Murder."

[Error: unknown template video]

[Error: unknown template video]
(Video plays even though the still shows blank here)

Your search - "good day" "dum dum boys" "get away with murder" "in my eyes" "try to follow me" - did not match any documents.

Did any of you write about those songs last week?

Also on that piece of scrap paper: my guesses as to who is who in various group photos of SNSD. I've decided it's about time I learned to match name and face for them. So far I'm doing real poorly. They keep changing their damn hairstyles. First photo, I only got Sooyoung, Yuri, Sunny, and Seohyun correct. Next photo I got Tiffany, Yoona, Sunny, Hyoyeon. How did I miss Sooyoung? Third photo, I got Taeyeon, Yoona, Sunny, and Sooyoung. Sunny's the only one I always get instantly.
koganbot: (Default)
This dance track, apparently Polish, is in the Gaon Chart top 100 'cause Hyomin danced to it* a month ago in Paris. Or Hyomin danced to it 'cause it was in the Gaon Chart top 100. (Paging the Correlation-Doesn't-Mean-Causation Department.) Apparently, I wasn't tracking this closely enough.

[Error: unknown template video]

Song's over a year old. And it's in this week's Gaon Chart at 97 (up from 99 last week), spelt "Sex Apeal." And Hyomin danced to it in Paris last month.

(And Hyoyeon "wins," I guess. So what?)

What do dancers call this beat, or this dance genre, with the high-pitch note taking care of the 1 2 3 4 and the bass hitting the offbeat? I call it the no-speak-americano beat, but that's 'cause I do speak americano, and don't frequent dance clubs. At least not often.

Hyomin brought me here )
koganbot: (Default)
Wow! I'd never heard this before! Writer Kenzie* and producers Bloodshy & Avant take a dramatic "Reach Out I'll Be There"–type melody, throw it into waltz time, and make it a funny, bumpy promenade. [EDIT: I meant to say they throw it into SWING time. My brain went herky-jerky there for a second. In any event, this most certainly isn't a waltz; it's 4/4, but each of those beats then subdivides further into triplets.]

The dance is terrific too, each of SNSD coming in from the side or down the aisle and then out onto the runway.

So Lazy Reblog Week continues here on Koganbot, hat-tip this time to [livejournal.com profile] just_keep_on. "Chocolate Love" was part of the promo campaign for LG Electronics' Cyon division's Chocolate BL-40 phone, back in '09. Also in on the campaign, the group f(x) did an even dancier, bumpier version; not quite as good, though, owing to their singing not being as warm as SNSD's. Also, being the Electronic Pop version, it lacks SNSD's tubas and honky-tonk.

(Phone commercials seem to have an important role in K-pop: especially there's the epic Lee Hyori video for Samsung's Anystar, the third of three major video productions she did for Samsung. This video also served as trainee Park Bom's debut, Bom going on to fame in 2NE1. And according to Wikip, Miss A's early public performances pre-Min, in China, included appearances on behalf of Samsung China's Anycall campaign.)

*EDIT: See comment thread. Checking the Korean Copyright Association writers' credits, Kenzie isn't listed at all for this song, whereas Bloodshy & Avant (Christian Karlsson and Pontus Winnberg) are, as well as Henrik Jonback, so that's three of the four writers of "Sweet Dreams My L.A. Ex." But when we get to the fourth credit, Cathy Dennis is missing and Karen Poole is in her place. Checking Wikip's page for Karen Poole, though, and it doesn't include "L.A. Ex" among her compositions, so I don't know, except I think I've done all the research I want to do for today.
koganbot: (Default)
Look, how am I going to find time to write anything if I'm spending all my time watching Korean TV?

Background: on the East L.A. thread, I said,"But since I've pegged [Sunny] as a future President of South Korea or Secretary-General of the UN, or at least as the next Oprah, she really does need a command of English to fulfill my plans for her. Not so sure how her current dazzling blonde party-girl look fits my forecast, either. Not that I dislike the style, or think that the presidency shouldn't be held by someone who appears capable of bringing out the spirits and dancing a little jig at a moment's notice, but I don't believe that the voters or the Very Serious People who anoint candidates are ready to allow the most capable person in the room to look like that. (Assuming Sunny is all that. My estimate of her is based almost entirely on her tractor etiquette and the ease with which she's learned to handle potentially obstreperous chickens.)"

In response, Mat directed me to "Sunny making moves towards the goalposts you've set (context: pretend court where a real quarrel between two slightly troublesome boys has its seriousness taken out of it)," and he then linked us the following (he specifically linked 1m27s, which is where Sunny starts making moves [UPDATE: this is now a different embed; not sure where he'd have linked it. The TV company seems intent on quashing unauthorized uploads of this show, and I've therefore had to re-embed numerous times. Should this one go dead too, search the video-upload sites for episode 8 of "SNSD and the Dangerous Boys" or "Girls Generation and the Dangerous Boys."]):

I gather — from Wikip — that SNSD are quite seriously assigned to mentor several teenage boys, but of course while doing so they're supposed to be witty and entertaining and to draw viewers.

[EDIT: If you don't have time for the whole video above, I strongly, emphatically urge you — beg you — to watch Sunny's examination of Yoona that begins at 7:40.]
koganbot: (Default)
I wasn't even born in a town at the far eastern end of Los Angeles County. Neither was Tiffany Hwang (born in S.F.), but that's where she grew up, in Diamond Bar, California.

Also, despite SNSD's making my album of the year*, I've not gotten to the point with them where I've figured out who sings what, which face associates with which name, etc. I know Sunny due to Invincible Youth and Sooyoung because she danced with me at the Freaky Trigger Awards Gala and 'cause of her screaming fan girl.

So I made the same mistake Howie Mandel made, which is to think that Tiffany was a Korean speaking English very well, rather than an American speaking English with an east of East L.A. accent:

I do think Tiffany was adopting a Korean accent right at the start of the interview when she said the phrase "audition process." But what I told Trevor was that it hadn't occurred to me that Asian Americans born and raised in North America would have any Asian sound in their English, any more than my Dad had any Yiddish or Russian in his; but seeing as how the place where Tiffany spoke English age 1 to 15 is fifty percent Asian American and twenty percent Hispanic, she's probably simply got a Diamond Bar accent (just as my Dad probably spoke a modified West Chicago accent that he managed not to make too severe), and maybe some of that sound is Mexican as well as Asian. So Tiffany's American accent differs from my American accent more than, say, Jessica's does. "Accent" is a loaded term.

I guess it's Confront The Stereotypes Week on livejournal.

*The 1st Japan Album, not The Boys.


koganbot: (Default)

September 2017

3 45678 9


RSS Atom

Most Popular Tags

Style Credit

Expand Cut Tags

No cut tags
Page generated Sep. 26th, 2017 02:20 pm
Powered by Dreamwidth Studios