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I like how the rhythm in "Tiny Montgomery" makes itself strong by just digging in and digging further, no moving forward. —The rhythm I'm referring to is mostly Dylan's voice, and the strum strum strum. Bass and the rest are a shuffling swing, I guess. So you can sway back and forth while the song steadily drives you down. A-Plus.

Other than that, I've never "gotten" the Basement Tapes, in either sense of the word. Couldn't stand the Great White Wonder boot when it broke onto FM rock in 1969, and never owned the official album, though I once had it in a stash of a friend's records for a summer, listening to it once, and taping "Tiny Montgomery." In any event, a way into it, if I ever do dig in, might be via Don Allred's Pazz & Jop comments, e.g.,

much enjoy that "Folsom Prison Blues" here sounds like the Band is playing "dum dum dum dum doo wah diddy, talk about the boy from New York City," which totally fits the loose flair of D.'s singing (the convict, still regretful, is also getting cranked up on cellblock cocktails). This performance of "The Bells of Rhymney" starts reminding me of "All Tomorrow's Parties," to the further credit of both songs and their performers, incl. writers.
My description of "Tiny Montgomery" is my attempt to explain to myself why it reminds me of the Velvet Underground without reminding me of frequent Velvets source the Yardbirds.

Was inspired to post by Sabina citing the Velvets and then trying to do different, regarding EMA.

I wouldn't assume Dylan had heard the Velvets yet. Was his own drawl he was using for a hammer.

[EDIT: YouTube's taken "Tiny Montgomery" down. Here's a stream of 52 seconds of it, and here's a full stream in lower fidelity.]
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Distracted, scattershot listening, with some good discoveries nonetheless. Pretty much totally ignored hip-hop, but it kept pushing its way onto this list anyway, either as guest spots or per se. A couple of non-gender-reversible videos by Tahiti and A.Kor. A lot of hard-rocking aggression in my top ten (top twelve if you go down to Future), the non-"rock" (Chainsmokers, HyunA, Nicki) rocking as hard or harder than the "rock" (Kate, Courtney, w/ BiS kinda both rock and nonrock). I guess you could call Orange Caramel aggressively silly, too. HyunA is the highest newbie, a vortex of fake mayhem and real power — also with a problematic couple of seconds that you might miss but it's worth saying a little about: war whoops that are made explicitly American Indian in live performance, the problem being not Oh noes! appropriation! or the inaccuracy, but that even when the portrayal of Native Americans as fighters is positive, as warriors! as braves! as admirable and courageous! they're rarely portrayed as anything else [EDIT: as anything other than fighters, that is]. But fwiw, the suggestion of being overrun by whoops makes this particular song stronger emotionally, the song being an overload as it is. The lyrics, by the way, are a takeoff on a Korean kids' song, or so Google informs me. Kids go "Monkey's butt is red, red apple, apple is delicious, delicious banana, banana is long," etc. So HyunA's song goes "Monkey's butt is red, red is HyunA, HyunA is yeah..." so, implied, HyunA is delicious (some haters went, "So HyunA is a monkey's butt," but that's the Internet).

1. Wa$$up "Jingle Bell"
2. The Chainsmokers "#Selfie"
3. HyunA "Red"

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4. BiS "STUPiG"
5. Kate Nash "Sister"
6. Courtney Love "Wedding Day"
7. Orange Caramel "So Sorry"
8. Tinashe ft. Schoolboy Q "2 On"
9. Nicki Minaj "Lookin' Ass Nigga"
10. Crayon Pop "Uh-ee"
11. After School "Shh"
12. Future ft. Pharrell, Pusha T & Casino "Move That Dope"
13. Shakira ft. Rihanna "Can't Remember To Forget You"
14. T-ara "First Love"
15. Puer Kim "Manyo Maash"
16. Danity Kane "Bye Baby"
17. Badkiz "Ear Attack"
18. PungDeng-E "https://www.youtube.com/watch?v=5io392fL2Qo">잘탕 (잘 시간이 어딨어)"
19. GP Basic "Black Bounce"

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20. Serebro "Ya Tebya Ne Otdam"
21. Dal★shabet "B.B.B (Big Baby Baby)"
22. Ca$h Out "She Twerkin"
23. T-ara "Sugar Free"
24. Arcade Fire "We Exist"
25. The Hold Steady "I Hope This Whole Thing Didn't Frighten You"
26. JunglePussy "Fuck Texting"
27. Shakira "Empire"
28. Jiyeon "Never Ever"
29. Mia Martina ft. Dev "Danse"
30. Infinite "Back"
31. Neon Jungle "Braveheart"
32. Lady Gaga "G.U.Y."
33. Zizo ft. Nan Ah Jin "Spy"

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34. Tahiti "Oppa, You Are Mine"
35. Bass Drum Of Death "Black Don't Glow"
36. SNSD "Mr.Mr."
37. Kim Wan Sun ft. Tiger JK and Bizzy "Goodbye My Love"
38. Shakira "Dare"
39. Scarlet "Hip Song"
40. Tyga ft. Young Thug "Hookah"
41. Louie ft. Boy Wonder "Twilight"
42. Low Pros ft. Young Thug & PeeWee Longway "Jack Tripper"
43. Ray.B "살만한가봐"
44. Plan B "Candy"
45. After School "Rock It"
46. Infinite "Last Romeo"
47. Cam & China "Do Dat"
48. A.Kor "But Go"

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49. Choi Sam "Answer"
50. Yemi Alade "Tangerine"
51. T-ara "LA'booN"
52. Brantley Gilbert "Bottoms Up"
53. Rascal Flatts "Rewind"
54. Switch "39˚C"
55. Yelle "Bouquet Final"
56. Polly Scattergood "Subsequently Lost"

Some notes on newbies:

A.Kor "But Go": Lil Jon–like shout-outs, CL-like joyously cute toughness, 2NE1ish mideasternisms.

Choi Sam "Answer": Almost subliminally deep electronic wobbles undergird rapping that seems to work from Korean talk as much as from hip-hop. Most distinct track on this list. (H/t Mat.)

Scarlet "Hip Song": Wears its electronics on its sleeve while going in its structure for the feel of a quick little rock 'n' roll knockoff, using the first eight bars of the 12-bar pattern, the voices as blippy and instrumental-like as the instruments.

Okay, briefly on the warrior thing. Historically you had descendants of Europeans going in and invading and displacing American Indians, with the invaders thinking of themselves as pioneers and settlers (albeit with an advanced guard of gunmen and celluloid desperadoes), whereas the people who resisted the invasion are rarely portrayed as anything but warriors, so are shown as fundamentally war-like. That's a ridiculous imbalance, no?

Anyway, that's all I've time for, may be off-line for a day or two. I don't feel censorious towards HyunA. Some persistent truth and education would be more useful, though not enough money's appropriated for education these days.

[Reminder, I've had to disallow anonymous posting, but if you hit the down arrow you can post using your Facebook or Twitter accounts, and Google+ and a couple more things; the dropdown menu will tell you.]
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Reposting this from Tumblr, where Tom Ewing links a piece at NPR by Amy Kamenetz. Here are Tom's comments (though I'm not sure whom he's quoting at the start) and underneath them my own speculation:

If kids report that they’re transgender and have one leg and belong to a gang and have several children … take it with a grain of salt.
This is a good article on, basically, kids trolling surveys for a laugh. It happens a lot. If I was a kid in the age of online surveys, I’d do it too. Especially if it was one of those surveys where the sole purpose is a hand-wringing clickbait headline about how kids these days think the Earth is flat or would marry their iPhone or whatever. If you’re offered a ludicrous answer in a survey designed to confirm someone’s view of how crappy the modern world is or how dumb everybody is - well, it’s hardly surprising some people take the hint.

But as one look at the article summary tells you, this is also a real problem. What the industry euphemistically calls “hard-to-reach” populations - small minority populations, basically - are actually harmed by this kind of stuff. The article has a good example - a study that reported negative impacts of adoption turned out to show nothing of the sort when troll answers got taken out.

I am not part of any population that suffers from prejudice or bias - name a privilege and I benefit from it. But I am a researcher, so I see at reasonably close hand what happens to data. And it seems to me that data and representation have a treacherous relationship. Inevitably, since people find in data what they are looking for.

On the one hand, data can offer stark evidence of inequalities, different needs and priorities, and different experiences: numbers that can be vital in making a case for change. On the other, data can be the comfort blanket that tells decision makers that change isn’t important. Research can erase minorities by reducing them to the status of a statistical insignificance, or it can ignore the diversity of their experiences in favour of a data-enforced average. There is every reason for people to mistrust data and research.

And cases like the adoption study one introduce yet another such reason - the possibility that careless research will end up magnifying the voices of the mischievous (or, let’s face it, malicious) and endorse stigmatizing myths instead of revealing anything useful. The remedies outlined - dummy questions in particular - are ingenious, and this kind of internal check should be routine in any important survey. But the uneasy relationship between research and representation - at the analysis stage as well as the collection stage - is harder to solve.
Article doesn't mention gender, but I would wager that most mischievous responders are male. I'd also bet - not quite as confidently - that because the surveys were done in a classroom, and despite their being anonymous, they got a higher rate of mischief than if the responders hadn't been in the same room together in a teen-specific setting.

I'm relying on my imperfect memory here, but I recall an article in Billboard in the '80s that stated that teen girls had an outsize effect on what was played on Top 40 radio because researchers simply didn't trust what teen boys would tell them and therefore discounted what the boys said or wouldn't even survey boys - if I remember right, the article didn't cite boys' tendency towards mischief but rather said that boys were hostile and defensive (and I assume underlying this, frightened; and I assume the mischief is somewhat fear-based itself). Whereas you could trust a girl's response much more, that she listened to what she said she did, that she bought the advertised products she said she did. (But from reading your posts over the years I wouldn't be surprised if you were to tell me that the reliability of girls' responses is only relatively better, that there are all sorts of reasons that even sincere responses can't be trusted, ranging from the respondents' not understanding the question to their not knowing their own mind, etc.)

New digs

Mar. 16th, 2014 06:59 am
koganbot: (Default)
As you may have surmised, foreign agents shut off the transponder on my home DSL. Search parties expect to find said DSL sometime midweek. In the meantime I've been walking around my new neighborhood. I'm now living in heavily Latino west Denver, though my apt is just a couple minutes' walk from the Little Saigon business strip on Federal. The ratio of phở joints to marijuana establishments is about 30:1, a ratio you don't find in other parts of the city.

(Spambots are still pounding the hell out of my comment threads. With my not having frequent Internet access, spam posts may accumulate. I'll do my best not to delete legitimate comments.)


Nov. 8th, 2013 02:42 pm
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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.)
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The surprisingly fierce battle for Silly Song Of The Year has a new, unexpected leader: Lee Jung Hyun's "V." People who've been following electronic dance music in Korea from the beginning (i.e., no one who reads this blog) know that Wikipedia has its head heading up buttward in saying that in 1999 Lee introduced techno to Korea and to Asia.* Nonetheless, it is fair to say that she is held in esteem as an actress and singer, at least by our trusty Wikipedian. And she is held in esteem by me as well (who first heard of her last week), as she leaves the wobble and the wash behind for a trot two-step with 1940s razzle-dazzle vocals filtered through a helium balloon. Orange Caramel, are you paying attention.**

Here is where she commenced her assignment as ambassador of techno:

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Credible twerks )
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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:

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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:


Image Hosted by ImageShack.us

Keep your dial tuned to [livejournal.com profile] koganbot for further exciting news updates.
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I've finally made a YouTube playlist for the Austral-Romanian Empire.

For my Austral-Romanian thesis, go here. Tracks are:

1. In-Grid "Tu Es Foutu" (Italy 2002). I'm starting in Italy — and therefore in French — rather than Australia, since Mat identifies "Tu Es Foutu" as a progenitor of the no speak americano syndrome.

2. Yolanda Be Cool and DCUP "We No Speak Americano" (Australia 2010)

3. Da' Zoo "La La La (Hot Girls)" (Puerto Rico 2011)

4. Bueno Clinic "Sex Appeal (Max Farenthide Remix)" (Poland 2010). Hyomin brought me here.

5. Gangkiz "Honey Honey" (Korea 2012). For reasons I don't get, this track engendered instant rejection and massive hatred in the YouTube comments.

6. Orange Caramel "Lipstick" (Korea 2012)

7. Solbi "Ottogi (Korea 2012)

8. E.via "I Know How To Play A Little" (Korea 2012). Interpolates you-know-what, but the rhythm is no speak americano with a Romanian twist (though I don't know if that's where she got it from).

9. DJ Sava ft. Raluka "Money Maker (Extended Mix)" (Romania 2010)

10. Celia "D-D-Down" (Romania 2011)

11. Alexandra Stan "Mr. Saxobeat" (Romania 2010)

12. LPG "The First Train" (Korea 2009)
koganbot: (Default)
This song's been on the Billboard K-pop chart for 12 weeks, whereas the Gaon chart refuses to acknowledge that stuff like it exists.

If anyone has any music-theory insights, feel free to post them. Is not my strength. The crucial chords seem to be I II V (as opposed to I IV V), though my guitar is tuned about a quarter tone off from this so I'm not sure. The fa and the ti of the western scale seem to be getting short shrift. If there's a crucial leading note, it's the fifth of the V chord, which happens to be the second (or ninth) of the I chord, the chord it leads to. As for an analogue in my American listening, it would — I think — be the music of the rural British Isles, which of course is one of the inputs into the southern cauldron that produced what's confusingly called American "folk" music.

Meanwhile, Shinyoo's "Hands Of The Clock" hangs around at 36; has been in Billboard's K-pop Hot 100 for the entire year-and-two-thirds (88 weeks) that there's been such a chart, and presumably goes back months or years before that, though it's never gotten higher on Billboard than 23. (A typical Korean hit, one that goes top five, might stay in the Top 100 for not much more than three months. E.g., SHINee's "Dream Girl," at a couple of weeks short of three months, is down at 85 on the Gaon chart.)
koganbot: (Default)
Solbi's "Ottogi," yet another "Lipstick"-like half-trot bridging the silly rhythms of Americano speaklessness and Romanian saxobeats. I missed this when it surfaced last August during the T-ara hysteria. Most notable for 4minute's Jiyoon on the rap:

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And a witty Latin house version:

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Okay, three data points constituting a trend, Miss A, putting "Time's Up" on their new Independent Women Pt. III EP, become the latest K-pop group to mix trot beats and Austral-Romanian int'l rhythm moves.*

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(Also, unrelated to trot or to Romance Australianisms, the lead track and single is "I Don't Need A Man," and the second or third track (depending which listing you see) is called "If I Were A Boy." That and the EP title probably don't remind anyone of anything, but I thought I'd mention them.)

*Of the ten tracks** on my Austral-Romanian mix, Gangkiz's "Honey Honey" probably and Orange Caramel's "Lipstick" definitely include a trot feel. "Trot feel" is not something I can specify, especially when the tracks aren't explicitly trot; but these two instances include emphasized offbeats and a way of pushing the tempo, even when it's not that fast.

**Of course I included an eleventh track, LPG's "The First Train," which is trot but isn't very Austral-Romanian, and was there for reference.
koganbot: (Default)
Something amazing has happened this year with Orange Caramel's singing, though I can't put my finger specifically on what. All I've got is adjectives. Last year Orange Caramel had two terrific songs ("Bangkok City" and "Shanghai Romance"), each dragged down a little by vocals that I'd describe as "adequate": going for cuteness but sounding blah, not distinctive, a bit heavy for the material (analogous to how back in 2010 Orange Caramel had been too old for the kiddie clothes they'd been stuffed into). Now this year, on their latest two hits — "My Sweet Devil" in Japan and "Lipstick" in Korea — they're light and alive, just know where they are, zip right onto and dance right off of the lyrics. (See what I mean? Adjectives. Metaphors.) I can't tell if it's the singing itself, or just that they've been given the right songs and arrangements. But the arrangements on "Bangkok City" and "Shanghai Romance" were fine, are what made those two tracks zip along as well as they did.*

"My Sweet Devil" deserves attention on its own, but today I'm talking about "Lipstick," not for the singing per se, but for the rhythm (which of course includes the singing). In my mind, "Lipstick" is the fulcrum, or the apex (or something), of what I'm going to call the Austral-Romanian Empire. I figured this out when, over at the Jukebox, most everyone else was identifying "Lipstick" with "Mr. Saxobeat" and Europop, while I was hearing trot and "We No Speak Americano." Now, however, I'd say that "Lipstick" is drawing on all of those. Not that Orange Caramel have ever played a true trot, but they've been veering towards it, especially on the two "Asian"** singles, "Bangkok City" and "Shanghai Romance." Trots tend to move light and quick, emphasizing the offbeat almost as much as the downbeat, adding embellishments while running right along. In contrast, the Romanian beat sounds more like it's circling in on itself, a clippity-clop to trot's trot. (Or a clip-cloppity. Anyway, busier. It isn't as if there's a specific trot beat, or a specific Romanian rhythm — though maybe there is, and I'm just not perceptive enough to locate it. Maybe you can do a better job.)

The Austral-Romanian spectrum )

Dance Mix )

I Know How To Playlist A Little )

Footnotes )
koganbot: (Default)
Of the top fifty songs on last Thursday's Billboard K-pop chart, seven of them have been charting for ten weeks or longer. Here they are, in ascending number of weeks:

Busker Busker "It's Hard To Face You" 10 weeks
Verbal Jint "Good Morning" 10 weeks
Juniel "Illa Illa" 10 weeks
Wonder Girls "Like This" 11 weeks
Big Bang "Monster" 11 weeks
Kim Tae Woo "High High" 12 weeks
Shinyoo "Hands Of The Clock" 51 weeks

51 weeks doesn't mean that "Hands Of The Clock" began its run 51 weeks ago. It just means that the Billboard K-pop chart is only 51 weeks old, and that's when they started counting. The track could be years old, for all I know. Maybe decades old. The singer looks a couple of decades younger than I am, but I'm more youthful at heart. Here's a live version that was uploaded to YouTube in December 2009:

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It's currently at 32, the highest it's been in the Billboard K-pop era.*

We've talked about it before. Me: "In the olden days, this would have been my stereotype of what Asian pop sounds like." Also, "Presumably, it's old people who listen to this. I'm an old person, and I like it." (Probably like it somewhere between 4 and 6 points, but let's not quibble.) [livejournal.com profile] arbitrary_greay: "Holy cow that sounds like some generic Chinese karaoke staple. I can hear the color change scrolling through the karaoke captions on a flickering blue screen." [livejournal.com profile] davidfrazer: "You might enjoy Bret's visit to the noraebang from Flight of the Conchords."

T-ara holding nearly steady )

My opinion of Ferguson-Krugman dustup substantially final, despite my investigation being desultory )
koganbot: (Default)
Not at all clear yet as to what I'm hearing when I listen to the new 2NE1 single. I express my confusion over at the Jukebox. Can't say I'm able to pick out the non-Western sounds the band are talking about in interviews* (trot, enka). Sounds like R&B-based dance-pop to me, but pushed into interestingly disparate melodic sections. But then, I'm not educated in Korean forms. Maybe you can help.

*At allkpop and kpopstarz.
koganbot: (Default)
Anybody know anything about this? According to Billboard, it's been on the K-pop chart for 39 weeks, never getting above 35. A trot rhythm, ballad-like but definitely Asian. In the olden days, this would have been my stereotype of what Asian pop sounds like. Touches of what seem like country & western, but the resemblance may be a coincidence (though I wouldn't assume it's a coincidence). Also, a few big-band r&b horn flourishes.

Presumably, it's old people who listen to this. I'm an old person, and I like it.

[EDIT: YouTube took down the studio version, so here's a live performance.]

Longest-running K-pop qua K-pop tracks in the top 50 are Ailee's "Heaven" (which is a big ballad, really, though I'll count it as K-pop given that K-poppers give it their ears), 15 weeks, and Big Bang's "Fantastic Baby," 12 weeks. The Gaon chart doesn't list longevity, but goddamn "Moves Like Jagger" is still in the Top 100 after 9 months or so. T-ara's "Lovey-Dovey" just fell out of the Top 100 after approximately 20 weeks; IU's "You And I" and Trouble Maker's "Trouble Maker" are still in the low 100s after about 25.

Unlike American pop, K-pop has a blockbuster pattern. Releases are events, and they get crowded out by the next week's events. Even the most popular songs stay only several weeks near the top. SNSD's mark of 9 consecutive wins for "Gee" on Music Bank in early '09 will likely never be beaten. (The Gaon chart didn't exist yet. I think it's slightly easier for a teen-oriented K-pop song to hang onto number one on the TV performance show charts than on Gaon, since ballads aren't as much in the competition. But still, 2 weeks is a lot and 4 weeks is dominating. Not sure how IU's "You And I" did on the performance charts, but it stayed atop Billboard K-pop for a solid 5 weeks, and remained in the top 10 for a total of 9. See Wikipedia's Korea K-Pop Hot 100 entry for the other long runners.)

Loose Sync

Jan. 8th, 2012 01:09 am
koganbot: (Default)
Loose lips sink ships, but loose sync is the shit.

Excellent post by [livejournal.com profile] arbitrary_greay about "loose sync":

There are some cases where the performers can be putting their own spin on the same steps and yet still seeming in perfect sync. I like to call this "loose sync," as usually the music for these performances don't have the emphasis on the beat and feel looser as well. It's much harder to achieve loose sync because it's dependent on the chemistry between performers. Any decent dancers can achieve regular sync given enough rehearsal time in front of a mirror. But dancing differently and still feeling matched? That takes EVEN MORE rehearsal time, an innate understanding of how one's body moves to the music, and usually perfectionist tendencies from the parties involved.

Lots of embeds in the post; here's an example to whet your appetite:

SweetS )
koganbot: (Default)
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Galaxy Dream ft. Turbotronic, "Ready 4 Romance"

Pretty much missed three out of the four months, but was still able to get a solid 20, thanks to ringers from late last year, Korean b-sides, Korean instrumentals, a Far East Movement bonus track that's currently number 5 on the Gaon Overseas Chart, and a joke that my mom (b. 1923) says is far older than she is, much less the Bellamy Brothers. So predates World War I, at least. Might even predate the French And Indian War.

In regards to said joke, while even my Britney-loving friends consider "Hold It Against Me" the bottom poop of Britney's year, I'm completely taken by it, as it rumbles and rocks, glides and pummels, soars and attacks; maybe it's a bit too comfortable in its trashiness, compared to the unsettlingly squirmy trashiness of Blackout, but basically I think this and "3" are genius and if only she 'n' Max 'n' crew had put together an album's worth of such gorgeous sexslime, Femme Fatale'd be in my decade's top ten for sure. Will likely make my year's ten, anyway, though as you'll see below, not a lot of albums have been knocking the door of the koganbot pleasure center.

1. Britney Spears "Hold It Against Me"
2. Jeremih "Down On Me"
3. GD&TOP "High High"
4. Galaxy Dream ft. Turbotronic "Ready 4 Romance"
5. IU "The Story Only I Didn't Know"
6. GD&TOP "Knock Out"
7. Far East Movement ft. Lil Jon & Colette Carr "Go Ape"
8. Big Bang "Tonight"
9. Rihanna "S&M"
10. Reba McEntire "If I Were A Boy"
11 through 20 )

Albums )

Wild rose

LPG are listed as "trot," which is a Korean descendant of foxtrot, so I expect it's what everybody danced to prior to the young people's wave of hip-hop and r&b; in feel it makes me think of Italodisco, actually. LPG seem to be young people themselves, their name originally standing for "Long Pretty Girls" owing to the singers all winning beauty contests. Possibly an unpromising premise for a girl group, but art can come from anywhere, even the heights. Now, foreshortened by a few defections and replacements, LPG are merely "Lovely Pretty Girls" and perhaps need a successful album so as not to end up lonely pretty girls. They did a recent terribly blah cover of "We No Speak Americano," their voices being the total wrong style for a poke-you-in-the-ribs novelty. There's something clear and matter of fact about their singing, reminding me of Boney M.*

Kogan links )

IU, Far East Movement, Big Bang, Camo and Krooked, Girl2School, Kara, Rainbow, Crookers, Jamey Johnson, T-ara )

Albums Longlist 2010 )

Country Singles Longlist 2010 )

Martin Ramey vid )
koganbot: (Default)
I had an ongoing list of videos I liked, then back in May I forgot to keep up with it, so here are some vids from early '09. For further viewing pleasure visit Kat's tumblr.

Will Young )

Untouchable ft. Hwa Young "Tell Me Why": [livejournal.com profile] petronia wrote, "What I'm getting is that the 'interrogation scene' takes place in the head of the male protagonist. His fiancée rejected him, fell into an obvious deep depression and attempted/committed suicide in such a way as to make it seem the relationship was the problem (tearing up photos, etc.), except the guy was basically blindsided - so the rest of the vid is a reification of his warring emotions of anger and confusion (TELL ME WHY YOU DID THIS TO ME) and helplessness at not being able to save the Korean Sylvia Plath from herself (stuck on the balcony watching the proceedings). Why he had to call in a pop group to aid him in the effort I don't know though - presumably Untouchable speak to his emotions during this difficult period in his life?"

Plus vids by The Lonely Island, Enrique Iglesias, Nikki Awesome, Timberlee, Yeah Yeah Yeahs, Britney Spears, Taylor Swift, and a new one by I Blåme Coco )


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