I’m not a big fan of K-pop reaction videos, to he honest. It’s like, why do I want to watch someone I don’t know react to something I do know of? Alas, I follow a couple of such YouTubers because they’re funny and keep me entertained when I’m eating a sandwich and want to watch something fast. And that’s how I stumbled on Grace. Like many people, reading “Grace,” I was drawn by the feigned idea of a The Grace comeback. I, however, found something way cooler and current and totally girl crush worthy.
Quick intro (mostly because I couldn’t find a lot of information on her): Grace Kim is from New York, she was born in 1992, and is the first, maybe only, artist on the new entertainment company YYAC Friend (Young Youth Art Culture) roster. Fin.
Now onto the things we do know; how awesome “I’m Fine” and her overall artistry are. The “I’m Fine” music video looks like an editorial video for online retailers Dolls Kill and Shop Jeen. And while both brands are sometimes hard to digest and too much, Grace found the perfect balance and gave it a kawaii spin that isn’t prevalent in K-pop.
While many K-pop acts these days are moving towards a more consumable sound and fashion, Grace and “I’m Fine” remind me of what got me (and probably many of you too) into K-pop in the first place. Everything from the clothes, to the stunts, to the cinematography and electronic hip-hop hybrid screams “Look at me!” And in a good way. Half of the ensembles and accessories that she wears don’t translate well to everyday life, so why not have an over-the-top music video to show it off? Think 2NE1 with “I Am the Best” or f(x)’s “NU ABO,” when the clothes made you say, “I wish I could rock that.” Truth is, in similar fashion, “I’m Fine” is aesthetics galore. So please pass me three pieces of this eye-candy.
For a debut single, “I’m Fine” is as solid as they come. It’s like a female and minimalistic take on BIGBANG’s “Bang Bang Bang,” and sounds more radio-friendly than most K-pop releases. Grace’s concept, talk-rap and stylistically, reminiscent of early 2NE1 and f(x), but still delivers 100 percent original quirk. And as it custom in K-pop, sometimes the better talented members of groups don’t get to display their full potential and, in a way, this is what happened to Grace in “I’m Fine” as well. Cause homegirl can sang.
Grace’s YouTube page is filled with pre-debut covers, including a beautiful rendition of Taeyang’s “Eyes, Nose, Lips,” and a massive mashup of Big Bang’s “Bang Bang Bang,” Red Velvet’s “Dumb Dumb,” Jay Park’s “Solo,” Girls’ Generation’s “Lion Heart,” and PSY’s “Napal Baji.” Sound bizarre and a total disaster, right? Surprisingly, the singer and her production team pulled it off and delivered a stellar rendition. Moreover, she also uploads original covers where she translates songs from English to Korean or offers her own Korean rap.
To say this New Yorker is talented is an understatement. Not only does she look super cute Overall, Grace came out hard and proved with just one song that we’re witnessing the birth of a future badass queen that aren’t so common in the genre. So yes, I am talking about CL, Lee Hyori, Gain, and Hyuna-type of queen status. Hopefully, “I’m Fine” will pick up more and secure her more releases because I’m definitely not done with what Grace has to offer.
via thegifmill @ Tumblr
What are your thoughts on Grave? Share them in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
Rising from the ashes of forgotten rap crew Daenamhyup and featuring a number of former idol trainees, Rock Bottom Crew have a good base to start off, but some work to do to set themselves apart. Rap crews springing up is no surprise given the mainstream popularity of rap in Korea at the moment . Now that being a rapper in an idol group is not as frowned upon as before, turning back to the underground after not getting into a group also gives some artists a second chance. This is the case for Supreme Boi and Kidoh of Rock Bottom. Supreme Boi is known for being a pre-debut member and current producer of BTS. Kidoh is a former member of Topp Dogg who seemingly left on good terms, just wanting to pursue his personal goals.
While trawling through their back catalogue, it’s easy to see a certain sound that captures what Rock Bottom is. Modern vaporwave trap permeates throughout their tracks. Even with few songs that feature all of them it’s easy to hear the throughline. Clearly influenced in sound and flow by the ‘90s Atlanta hip-hop scene (or Keith Ape and the Underwater Squad), trap beats hold together the songs as the crew let their vocals loose. It’s the addition of floaty synths and retro samples that really draw the attention though. Giving them a slightly softer edge than your average try hard Korean rapper.
Along with the aforementioned Supreme Boi and Kidoh, Rock Bottom bring fellow BTS trainee i11evn, producers Hashmate and Type-C, and Don’t Call Me A Dog (who may be a rapper or a model or a producer or all of the above, I’m not really sure to be honest), to London, UK, for a one-off concert. The show will be at Camden’s The Underground on April 14. Tickets will go on sale at the end of February and range from £15 for presale, £20 standard, £35 early entry, and £45 main show + after party.
Now time to get excited, here are five of Rock Bottom’s best and most well known songs.
Every crew needs their signature song. Something simple enough that each rapper can spit over it in their own style while still having enough of a hook to work as more than a showcase of talent. For Rock Bottom this song is “Nicki Minaj Girls.” It is their call to action; each member brags and disses in typical fashion. The music as well is typical of this type of song, carried by a trap beat, it has inflections of ringing electronics and bassy synths. The passion and anger they bring serve to sell the song. Supreme Boi shouts “Rock Bottom place to be.” It’s hard not to take his word for it.
“Hawaii” by Supreme Boi
Supreme Boi tones it down slightly on “Hawaii,” his soundtrack for spring break hangovers. His aggressive delivery remains in parts but the song floats on its dreamy vocal samples and house sounds. In between his raps, pianos mellow things out creating a vibe that is a first relaxing, but with continued raps becomes creepy and unsettling. In other words, perfect for that morning after “Where the fuck am I?” feeling.
“Siwi” by i11evn
i11evn continues with a chilled out sort of vibe on last year’s single “Siwi.” It’s three and a half minutes of pure rap skill. The song spins cycles with retro muzak remaining for the whole song over a trap beat. i11evn provides the variations with laid back flows interspersed with whines and shouts.
If “Hawaii~” and “Siwi” show the vaporwave side of Rock Bottom, Kidoh’s ”PRETTY MOF#CKA” shows us how they do trap. That is, just like everyone else. At the first few beeps of synth you could even mistake it for “It G Ma.” As a song to upload onto your Soundcloud, it works quite well though. Kidoh shows an agitated angry side to him that maybe someone who knew him as a member of Topp Dogg would never have seen. Best of all it could be an absolute frenzy when played live.
“Jong-Ro” by Hashmate
Something that might not be heard at the concert but could be a great warm up track is producer Hashmate’s instrumental “Jong-Ro.” It brings new meaning to term vaporwave by being as ethereal as a plume of smoke. The synths are ultra smooth and envelope you as it drifts along with its slow tribal drums. That is, until it becomes a house track towards. Drums kick in and break you out of your trip providing a banging end to a chilled out track. This combo of heavy and light is a clear theme with the music of Rock Bottom and could prove to provide an electric night out.
Do you plan on going to Rock Bottom? What are your favourites from them? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2016/02/Untitled-design.png7681024Joe Palmerhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2016-02-10 06:28:032016-02-17 08:15:555 Songs to Get Ready for Rock Bottom Crew’s Show in London
If you’re anywhere in the world, Sunday is pretty much always game day. But yesterday, if you’re in the United States or a fan of American football, you know that it was Super Bowl Sunday. There’s no way to avoid it, even if you don’t like the sport, there’s the likelihood that you went to (or hid from) a Super Bowl party. In honor of Super Bowl 50, we’re going to dedicate this KultScenePlaylist Sunday to Coldplay, Beyonce, and Bruno Mars.
Just joking!
This Playlist Sunday is all about the K-pop songs and music videos inspired by sports and sports uniforms.
EXO’s “Love Me Right” concept photos are practically perfect for Super Bowl Sunday, baseball hats aside. The upbeat song is all about being in love and loving someone in the right way, but the music video is all about the group, their teamwork, and the locker room. (Seriously, though.) EXO’s members are a little bit on the scrawny side when compared to the average football star, but maybe they’d be good quarterbacks? But, luckily, that’s not a concern, because EXO is killing the dance and music routine of “Love Me Right” in a way that definitely makes them win the game.
I am very much not a sports person. I am, however, into sportswear. Despite it being very dated now, when “Oh!” came out, Girls’ Generation rocked the hell out of those outfits. Those cropped varsity jackets were cute af — how did this oppa only see them as little sisters? So if you’re like me who doesn’t really care for sports but likes looking cute at all times, “Oh!” is the perfect song since the girls were just being their fabulous selves while the game is happening.
— Alexis
True to style, Orange Caramel didn’t use sports to look cool or athletic. They took table tennis/ping pong, nearly hobby more than a sport, and applied it to a fight for love. In cute matching uniforms, Nana, Raina, and Lizzy compete against a number of opponents to impress their crush. Their acrobatic skills are unprecedented as they crush them one by one. It’s a quirky use of the sport and is shot more like a level of Street Fighter than a sport, but it works perfectly thanks to it. It has boss battles, special moves, and Lizzy’s killer expressions. The song bears the same quirky touches to Orange Caramel’s original formula too. A more quirky effort with its bouncing europop synths and talkative chorus.
Never would I have thought I’d obsess over a cheesy of a music video as I did with MyB’s “My Oh My.” Their cheerleading choreography is simple and easy on the eyes; from their quick one-two steps to their high kicks, nothing too flashy, with clean cut and smooth transitions. It almost looks better than some of the dance routines real cheerleaders in the NBA and NFL put on. This group really took the idea of uniforms to a whole another level with their cute loose cropped tops, pale pink jackets and matching blonde hairstyles! Usually, my brain only allows itself to take in a very small percentage of the girliness that comes from these ultra high energy Korean girl groups, and luckily, at no point during this video did I feel the usual sense of queasiness I normally would, which means they did well.
–Tam
What’s on you K-pop game day playlist? Share your picks and thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2016/02/12714112_10156740816255019_181376715_n.jpg720960KultScenehttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2016-02-08 08:30:372016-02-08 13:26:58Playlist Sunday: Game Day
Without a doubt, 2015 was Zico’s year. He featured on just about every other hip-hop and R&B release, he coached his own team on Mnet’s rap competition show “Show Me the Money 4,” and he released his positively-received album “Gallery.”. Indeed, the Block B member was everywhere — and deservingly so. In the last couple years, Zico has established himself as a rapper without the word “idol” being attached to the title. In addition, he’s also a pretty dope producer. Because even if he was very much involved in the creative process behind Block B, getting rid of the “idol” tag is hard when it comes to other career paths.
And after many trials and tribulations, we have now arrived to the era of Zico. In the short time since he launched his solo career, Zico has graced us with many instant classics and other less appreciated ones, to put it mildly. So now that the public has accepted him as an artist, let’s explore, what are Zico’s best and worst singles?
8. “Tough Cookie”
The tasteless use of the Confederate flag and derogatory term aside, “Tough Cookie” ain’t that good. I mean, we get it, Zico. You’re a legit rapper who got into an idol group to make it big. “Tough Cookie” is your first solo single as an established artist; this is your moment to show what you’ve got… Which apparently is a stereotypical parody of “what hip-hop is.” #ThugLife setting and attire? Check. Heavy bass? Check. Grillz and girls shaking their asses? Double Check. Hanging out with all the badass homies? You know it! However, there’s nothing less gangster than calling yourself a cookie, even if it’s tough.
The track itself is, at best, a basic hip-hop song. Certainly not the worst out there, but with all it’s negative aspects, it’s just better to overlook it altogether.
Fortunately, “Tough Cookie” is Zico’s only bad song. “Boys and Girls,” however, is an enjoyable song with a colorful music video. It was number one for the longest times on the Korean music charts, after all. And yet, I can’t help and think this sounds like one of the multiple singles that Korean-American rapper Jay Park released last year, while Zico released “Boys and Girls” in November. I’m not saying Zico copied Jay’s style, but the similarities to songs produced by Jay Park’s label, AOMG, is uncanny. Maybe hanging out with said crew rubbed off on him? And, again, adorning yourself with lots of girls around, very hep-hap.
Despite this, “Boys and Girls,” as mentioned before, is a fun little song with an easy-to-follow and catchy hook. Would’ve been perfect as a summer release.
6. “Yes Or No”
Dude, I know you’re really hot in the hip-hop scene right now and deserve your kudos, but why are you attacking me for a “Yes or No” answer? Moreover, the jarring beat enhances the aggressive feel of the song, and yet, it’s perfect to jam to in a hip-hop mosh pit type of thing. Not to mention the animated music video, even though short, has cool visuals. The video revolves around the theme that “Yes or No” is a sarcastically narcissistic single just for kicks. Hopefully, now that Zico has established that he’s a dope rapper and producer he can stop reminding us with every single how great he is and that he started out in an idol group. And yes, Zico, the answer is “yes.”
5. “Pride and Prejudice”
Within his discography, “Pride and Prejudice” is a breath of fresh air. The music video is not all about Zico, the lyrics don’t boast about his career and self, and the music is pretty chill. His flow is more laid back and allow Zicoto present his views on romance more effectively. Moreover, Suran’s addition at the chorus gave it a nice touch of soul and delicateness that stands out when compared to the previous songs I’ve discussed.
4. “Well Done”
“Well Done” is another slowed and toned down song that lets the lyrics and Zico’s flow take center stage. It’s difficult to go wrong with a song were you bare it all for the audience and talk about your struggles. Good thing “Well Done” has that rawness and realness that make these types of tracks special and relevant. This is the perfect way of showing off what you accomplished — by putting it into context with the hardships you went through. Because of this, “Well Done” seems authentic and not self-absorbed.
2015 was a good year for Zico with all his collaborations and he even saved the best for last by releasing the album in December. And within “Gallery” was another very popular chart topper, “Eureka.” I mean, how can you go wrong with Zion.T at the chorus? But regardless of the popular artist’s involvement, “Eureka” is pretty solid. Zico delivers his hard hitting bars while also delivering a Jazzy and bouncy beat. Also, having a fun music video for a stellar track only make the finished product all that much better.
2. “I Am You, You Are Me”
Visually, “I Am You, You Are Me” is the prettiest music video we’ve seen from Korea so far in 2016. The soft colors, the awesome styling, the cute little story; it’s ethereal. However, it doesn’t seem and sound very Zico-like. It made me think of softer rappers like Crucial Star. And yet Zico completely owned it, especially when he sped up the tempo in key places. And if this is a new direction he’s willing to include to his repertoire, I’m all for it! It would honestly be number one if not for the fact that, as of right now, it’s too unique and not very Zico. From Zico’s creamy vocals to the twinkling sounds and subtle percussion, “I Am You, You Are Me” is as smooth as they come.
1. “VENI VIDI VICI”
Now this is what we expect and love from Zico. “VENI VIDI VICI” is in fact the successful and cooler version of “Tough Cookie.” The revindication, if you will. They’re both hard hitting anthems where he disses the haters and promotes himself. I already went over why we should all forget about “Tough Cookie,” and “VENI VIDI VICI” helps with that. Where the former came off as aggressive and tacky, the latter features Zico rapping in a fast but nonchalant way, which reflects that he doesn’t have anything to prove anymore. It doesn’t rely on cheesy hip-hop concepts done millions of times to seem cool, it just is. Sure, this music video also features girls dancing around him, sure, but at least it exudes personality and, more importantly, originality. “VENI VIDI VICI” show show much Zico has grown in the last two years and how he’s learned from his mistakes (except for those braids… but that’s another story!).
He came, he saw, he conquered, indeed. This is Zico at his best.
What’s your best and worst Zico single? Share your picks and thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter,Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2016/02/Untitled-design-1.png7681024Alexis Hodoyan-Gastelumhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngAlexis Hodoyan-Gastelum2016-02-04 19:31:362016-02-04 19:31:36Zico’s Singles Ranked Worst to Best
“Boys Over Flowers,” “Goong,” “Bridal Mask,” “City Hunter,” and other popular K-dramas are varied in their plots but they all have one thing in common: They’re based on a genre of comics known collectively as manga (or manhwa in South Korea). While webtoons are the current trend forKorean dramas to take cues from (“Misaeng,” “Orange Caramel,” etc.) there are still many mangas that have fodder for K-dramas to turn into absolutely amazing series. For example the One Piece manga series is doing incredibly well and you can even get your hands on figurines from the series, such as the one and only nico robin hentai. So, without further a do, here are five mangas that need to be made in K-dramas asap.
1. “Kare Kano” by Masami Tsuda
“Kare Kano,” or “His and Her Circumstances,” starts off as in innocent enough high school drama, with two rivals falling for one another. But the series quickly darkens in a way that fits a growing trend in K-dramas along the lines of “Cheese In The Trap” and “It’s Okay, That’s Love,” tackling mental health, family difficulties, abuse, etc. There’s a musical element and numerous subplots that tie back to the heartbreaking relationship of the main characters as the struggle through high school and unsettled childhood trauma that threatens the current state of their relationship.
The only thing that “Kare Kano” is missing is a romantic triangle or square, as K-dramas tend to do; this is the story of the two leads and the people important to them in their lives, nothing more. The tender, occasionally shockingly sad, manga has never been made into a drama despite being completed in 2005 and the Korean television industry is at the perfect point to create a show that appropriately represents the light-hearted and complex storylines of “Kare Kano.” (Come on tVN, let’s make this after “Cheese In The Trap” finishes!)
This manga takes place in a fantasy world where demons are very real and the heroine lives next door to a tengu, or a type of avian supernatural creature. And did I mention she’s the current reincarnation of something known as the senka maiden? Which means that she’s haunted by demons around her who want to eat her flesh. Don’t worry, the handsome tengu next door is there to protect her, until they realize that their romantic relationship may lead to her untimely death. This sort of drama is perfect for people who love shows like “Arang and The Magistrate” or “You Who Came From The Stars” with its fantasy twist on daily life and love.
3. “The Devil Does Exist” by Mitsubi Takanashi
Wealthy male teasing the poor female lead? Yup. Meddling grandmothers? Check. Random events trying to ruin a happy ending? Oh, yes! The fact that “The Devil Does Exist” hasn’t been made into a drama yet is positively shocking, given the fact that it is chock-full of K-drama tropes that hit us at the heart time and time again. The Taiwanese drama “Devil Beside You” shot Rainie Yang and Mike He to fame because of their portrayal of the loyal main couple in this drama, and it’s time that this series makes it way to Korean audiences. There’s laughter and heartbreak in this series that is sure to please K-drama fans around the world.
4. “Yona of the Dawn” by Mizuho Kusanagi
A fantasy drama that could easily be transposed to an early era of Korean history, “Yona of the Dawn” is about an immature princess who witnesses her father’s murder and has to escape with her life. The character development is key to this story, but so is the love triangle and fantasy elements as the manga is interspersed with references to Asian traditional mythlore as the princess and her bodyguard try to save the kingdom. Fans of “Rooftop Prince” or “Queen Seondok” will surely like this sort of manga-to-drama treatment.
You may be ready to shake your head and shout “already done!” at me, because the entertainment industry-based manga was already made into a Taiwanese drama in 2011, featuring Super Junior members Siwon and Donghae alongside Ivy Chen. But that version focused only on the first few volumes of the ongoing series, ignoring the more than 30 volumes that came after (as of publishing this article, there are 37 volumes released). The story of “Skip Beat” matures along with the character development throughout those latter volumes, exploring the struggles of a young woman to get revenge on a childhood crush by rising in the entertainment industry.
Unlike “Kare Kano,” there is a K-drama worthy romantic triangle going on throughout the series, as the heroine undergoes her transformation from country bumpkin to hardworking actress. There’s family members who stand in the way of happiness, rivalries, beautiful looking men, and overseas foreigners who speak the native language fluently for no apparent reason; “Skip Beat” was practically written to be made into a K-drama.
What do you think of these manga to drama ideas? Share your thoughts and suggestions in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter,Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2016/02/manga-to-drama.png7681024Alexis Hodoyan-Gastelumhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngAlexis Hodoyan-Gastelum2016-02-03 20:51:082017-09-01 14:03:305 Mangas That Need To Be Made Into K-Dramas
Looking like a schoolyard gang and Posh Spice cosplayers, 4minute return with yet another big track, “Hate”. Produced by Skrillex, it follows “Crazy” into chaotic banger territory but with a certain pristine quality. Again, unfounded comparisons between YG Entertainment artists are bouncing around due to the sound and look of the music video. As we will see, 4Minute and Skrillex bring a higher level of craft when it comes to run of the mill electro tracks.
Song
Calling this an electro song is a bit reductive. It is the centre of controlled chaos between genres vying for dominance. Where “Crazy” started at top speed, “Hate” allows consecutive parts to sound completely different. They lead to a huge chorus that does not let up once it comes out.
From Gayoon’s opening to Sohyun’s pre-chorus, each part of “Hate” that leads up to the chorus increases in tempo as they come. Gayoon’s beautiful intro threatens us with a ballad. The pain in her voice sets the song up though, as something that won’t take any prisoners. While not hateful there’s a defiance to her pain; she’s done with this man once and for all. The piano melody takes us slowly by the hand into “Hate,” not giving anything about the destination away. Right after, a beat is finally introduced with Hyuna rapping on top of it. Her usual snarl is restrained for the moment, she allows the build before going for the jugular. Jihyun continues with this beat but with added drum flairs, her voice perfectly balanced between singing and rapping to prime us for bigger moments without giving it away. This comes in the form of Sohyun’s electrifying pre-chorus. Skrillex introduces his well known dub over her shouts of “go, go, go.” The song and girls are fed up of playing nice, the hate is real. Like in “Crazy,” the increasing tempo of the beat and screams leads perfectly into a chorus that is at once predictable and surprising.
The chorus is predictable, given the nature of the song and the name of the producer. Surprising because the song’s build up at first masked it, and because of just how big it is. The horns explode with glee as Hyuna snarls in her familiar nasally voice “I hate you.” At first listen, these horns jar, using music rather than vocals as the hook is still relatively rare in K-pop. Despite their inherent conflicting sound they are shaped into a force by 4minute. It’s a sound to be angry to, to take action to.
Once it ends, “Hate” does not stick to what it knows. Jiyoon replaces Hyuna for the rap verse, similarly sounding as if she’s holding back. She knows she’ll get her chance in the chorus. The big change is the pre-chorus, which Gayoon takes and molds it into her own. Her banshee wail, a call for the hate filled chorus. The song always takes the time to got to quieter moments between those choruses. Mercifully giving us a break but more importantly creating contrast to sit the chorus on a pedestal. A throne to hate.
Music Video
The video does little to prop up the theme of the song with a story, it does have the distinction of being 4minute’s most beautiful video to date. Like the verse chorus relationship different sections of the video contrast with each other. Gayoon’s opening of restrictive mesh clothing, veils, and small frames shows a woman trapped in her hate filled relationship. Right after, Hyuna walks open deserts. The frame stays full as she walks amongst the dust. The expanse is just as scary, too open to the point of loneliness.
They do something similar with the styling too. Gayoon’s vengeful bride aesthetic and Jiyoon’s dominatrix look are total opposites, but work to tell the same story. Gayoon’s innocence, similar to the song, creeps up on you. Something that doesn’t seem hateful at first can quickly change. Jiyoon is the chorus then, an image of controlled hate.
Overall
Over the years, 4minute have changed their style time and again to showcase everything a girl group can be. Mostly focused on a heavier sound based in hip-hop and electro, and every time they executed it perfectly. This era of trap and dubstep influenced work suits them just right once again. “Hate” is a slow burn that tortures the soul of weak men. It cracks with dubstep flourishes and bites with mean raps. No other song has fit these type of sounds so well before.
4minute
4
What do you think of “Hate”? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter,Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2016/02/4minute-hate-teaser-vid-1.jpg9001600Joe Palmerhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2016-02-02 15:16:502016-02-03 20:44:004minute ‘Hate’ Music Video & Song Review
https://kultscene.com/wp-content/uploads/2016/01/got72.png7681024Tam Huynhhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngTam Huynh2016-02-01 20:03:332016-02-27 09:21:49Which GOT7 Member Are You? [QUIZ]
K-pop is a cutthroat battlefield in many ways, but the public feuds are few and far in between. This week’s Playlist Sunday focuses on some of the most sensational K-pop Feuds over the past few years, either between agencies and idols, or singer against singer.
While some K-pop feuds are between two people, the ongoing dispute between JYJ and SM Entertainment is something that has been going on so long that it has even led to action from Korean politicians. JYJ (Junsu, Yoochun, and Jaejoong) is made up of three former TVXQ members who left the group in 2009. Seven years later, the trio still finds their activities blocked bythe influence of their former agency. But in the “Untitled Song, Part 1” (Or “The Nameless Song, Part 1”), which was released as part of JYJ’s 2011 self-composed music essay, the three went out and attacked their former agency, addressing in song what had led to the trio splitting from the other two members of TVXQ. The song, written and composed entirely by Yoochun, details their time at SM Entertainment from 2003 in an earnest way that is lacking from many K-pop songs. The trio sings and raps about their hardships, their journey to the top in Korea and Japan, and the pivotal moment when they reached out to SM Entertainment’s CEO and were disappointed. “When he needed us, we were family to him,” sings JYJ. “When we needed him, we were strangers to him.” The song continues on to express that JYJ’s members realized they weren’t getting paid enough and other hardships and is a frank depiction, and explanation, of the turmoil that led JYJ to leave from TVXQ at the pique of the group’s height. The song ends with JYJ thanking fans for their support. Musically, the song is simple, but the lyrical storytelling is heartbreaking and shows JYJ’s side of a story.
Hot off the back of his win on “Show Me The Money,” iKon rapper Bobby released a diss track calling out all idol rappers. He said that they have smeared the name of idol and rapper but took the time to exclude WINNER’s Mino and Block B rappers Zico and P.O. While making some good points about the overall state of rapping idols, coming for the most of them meant he insulted a lot of people who probably don’t take rapping that seriously. You might say that maybe they should, but in the context of being an idol it makes up only one part of what is expected of them. Generally he came off as arrogant and whiny just to drum up some extra attention. I don’t think that VIXX’s Ravi’s response to him is in any way a better rap, but I do agree with the sentiments. His corny track “Diss Hater”
was about how he thinks all idol rappers are just that and it makes no difference how good you are. Listen to Ravi everyone, we’re all the same really so relax.
What do you do, as a big shot entertainment company, after you’ve “let” an artist go because of “misinterpretations” to then seeing them trying to make a comeback in the industry that you wanted to potentially claim yours? Due to some severely “mistranslated” and overlooked comments that ex-2PM member Jay Park made while still a trainee about the unfavorable aspects of Korea, he was then practically shunned from the industry and country. Although by the time Jay was ready to make his comeback in Korea in 2010, while everyone else was ready to welcome him back with open arms, JYP Entertainment wasn’t having any of that. The company made it so that Jay was blocked and blacklisted from making any possible televised appearance. Jay would be scheduled for certain tv shows, appear on set and then be told to leave and/or get calls the morning of and be told that for whatever unforeseeably reason, his appearance had been cancelled due to “pressure” from the “higher-ups.”
After an almost five year hiatus back in the United States, you can imagine that Jay’s comeback was anything but smooth. Things eventually got better; producers from certain broadcasting stations eventually realized that Jay would be able to grant them better viewership. Certain shows like “Immortal Song 2” and “Dream Team” brought him on knowing that aside from the past drama stemming between JYPE and Jay, that Jay himself would be good for their business. For the sake of their company and pressure from the industry, I get why the company sent Jay off like that, but they shouldn’t have gone about it the way that they did and even afterwards when things were long done between the two parties. Although it seems like the two have moved on from the past, JYP seems to still be holding on to some angst, considering how Jay can’t appear on “Running Man” due to the producers familial relationship with Park Jin Young himself.
— Tam
Who’s side are you on? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
We are only a month into 2016, yet so far a lot has already happened: Legendary boy group H.O.T is reportedly preparing for their 20th anniversary reunion concert, SS501 sub-unit SS301 is making a comeback for the first time in seven years with their album “ETERNAL5,” and Teen Top recently returned with their seventh mini album “Red Point.” But never mind how busy 2016 is going to be; let’s focus on the extensiveness that is H.O.T, SS501, and Teen Top mentioned all in one sentence. It’s easy to forget sometimes that K-pop is in its third generation. Within twenty years, the Korean wave has crashed down on many countries worldwide, bringing us its beautiful culture and music that is constantly in flux.
Whether you just joined the K-pop fandom yesterday or been around since its early inception, be sure to celebrate its evolution by taking our latest quiz to figure out which era of K-pop best suits you!
What did you think of your result? Did you pick the era that you thought you would? Let us know what other quizzes you’d like to see from KultScene! Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2016/01/Which-Generation-of-K-Pop-Do-You-Belong-In-Quiz-Feat..jpg7681024Shelley Foohttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngShelley Foo2016-01-30 18:12:502016-01-30 18:12:50Which Generation of K-Pop Do You Belong In? [QUIZ]
A man picks up a film reel entitled “The Red Shoes.” He splices film stock and sticks it together. Viewing his edited footage he sees black and white images of a woman walking onto a stage and a pair of red shoes followed by a title card that reads: “Would you take me there?”
A smartly dressed gentleman smokes a cigarette and orders a champagne cocktail. A flame haired woman in a beautiful gown copies his order. He asks her, “Why do you want to dance?” She responds, “Why do you want to live?”
These two fragments of stories occur in two different productions with the same title: “The Red Shoes.” The first is from the 2013 music video for K-pop starlet IU’s single. The second is a scene from Michael Powell and Emeric Pressburger’s melodramatic classic from 1948. Few obvious similarities come from those two extracts, yet with a bit of work we can learn how IU channeled these British filmmakers for her own art. It also gives great insight into a time when her artistry and intentions have been brought into question. 2015 has been IU’s most turbulent year in the K-pop industry so far. Much of her work was focused on audience reactions to her and it did not go down well, to say the least. “The Red Shoes” shows us that that will be of little concern to her going forward.
Written and produced by powerhouse duo Kim Eana and Lee Min Soo, IU’s “The Red Shoes” tells the story of a woman lost in her world, hoping for summertime and her love to return. The film “The Red Shoes” follows Victoria Page as she tries desperately to become the greatest ballerina there ever was. Thanks to the impresario of Ballet Lermontov, Boris Lermontov, her goal comes into view. Her true desire is put into question, though, as he makes her choose between love and dance.
The opening of IU’s video clearly places it within classic film territory, but the similarities do not end there. The musical theatre aesthetic and dancing red shoes (naturally) are clear examples. Even the group of men IU plays with can be traced back to the group of men who make up Lermontov’s creative team of choreographers, composers, and designers. Most interesting, however, is how they both adapt the story of “The Red Shoes.” The original story is a fairy tale written by Hans Christian Andersen about a young girl who acquires red shoes that make her dance and dance until her feet must be amputated. Powell and Pressburger’s “The Red Shoes” uses this story within the film as the main ballet that Page performs while also connecting with it metaphorically as the tale seems to come true for her.
In a sense this is what IU also does with the film. Her song is not a straight adaptation and the video and lyrics do not take the same story but rather continue the theme. In the film, the infamous red shoes were seen as a torment, objects that mirror the destructive obsession within a person. For IU and Kim Eana however, they are seen as saviours. She slips into the red shoes as she sings, “If I count this as destiny, if I choose my own destiny”. It is not until she puts them on that she can break free of her monochrome world and take the projectionist by the hand and lead him to endless dancing and music.
IU is wilfully taking the obsession of the shoes onto herself. She is not scared of being consumed by the music. If she can dance and sing for the rest of her life, she will. She spurs on the shoes with Lee Min Soo’s big band swing music and her “oompa loompa dooms.” References to repeating stories of love and her chorus refrains of “again, again” show IU’s commitment to music. Intriguingly the song leaves behind the red shoes in favour of pink shoes. IU sings as she puts on the new shoes, “They say you can go to better places if you wear better shoes.” Like Powell and Pressburger did with Andersen’s story, IU brings “The Red Shoes” further. Not only is she comfortable being obsessed, she wants more and she wants something new.
The comfort does not last however.The black and white world starts to creep back in. The red shoes chase after IU before finally attaching themselves to her again. This move mirrors the concluding events of the film. In it Page is forced into an ultimatum by Lermontov and her boyfriend, Julian Caster, about whether to dance or go home with Caster. In a state of panic she is seemingly forced by the shoes to run out of the building and to throw herself in front of a moving train. It is an altogether more bleak look into the theme than what IU has given us, yet the similarities are clear. IU is aware that living in a constant state of creativity is not good for a person. Responsibilities pull us out of this fantasy world.
This maturity is what helps the song from falling into pure indulgence. It shows foresight into IU’s more recent work and how people have reacted to it. The push and pull of idol and civilian life was clearly on IU’s mind but the thoughts of others were not a concern for her. By the time 2015 came around though she could not ignore what her audience thought of her. Her work on her album “Chat-shire”, written exclusively by IU, shows her directly commenting on her muddled identity as a young woman in the spotlight. “The Red Shoes” seemingly warned her about this, “The girl with the brown hair looked for her path, Fell in love again and lived happily, A story that has been re-written from the beginning.” Telling us that we have heard this story before, she says, look deeper. IU can see what’s coming. It happens to many female artists who try something different. Who dare to leave their comfort zone.
The enigmatic Boris Lermontov informs us of how to really understand IU, “The music is all that matters. Nothing but the music.”
This is what ultimately matters in the end. IU is a musician. What she has to say is in her music. If it is that which has brought her all of this hate than so be it. It is the risk we take when creating. It is the risk we take when we put on the red shoes.
“The Red Shoes” heralded in the next stage of IU’s career. Her move from a cute idol with a great voice into an artist was highlighted by her use of a classic film. While it is not strictly her work, her continued collaboration with Eana and Min Soo is clearly a huge influence on her later work. The parallels between IU and Victoria Page are apparent enough that it is not likely this would have worked with many other female idols as well. IU’s insatiable desire for music has not wavered. All the hate in the world will not stop her. She will keep on dancing, red shoes or not.
What do you think of the comparisons made here? Also what do you think of IU’s recent controversies? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2016/01/Teaser-7-IU-_-The-red-shoes-screencap-iu-35710132-1280-720.jpg7201280Joe Palmerhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2016-01-29 07:03:282016-01-29 07:03:28IU’s Red Shoes: A Torment or Saviour?
