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13 Things We Learned at GOT7’s ‘Fly in Los Angeles’ Show [PHOTOS]

July 17, 2016/in Events /by Alexis Hodoyan-Gastelum

After two weeks of dabbing through the US, GOT7 closed their first American tour in Los Angeles at the Novo DTLA on July 11. Their last show was an addition after the original LA show sold out quickly and fans demanded a second date to accommodate IGOT7’s (GOT7’s fans), a fanbase which has notably grown […]

Music Video Director Ian Gallagher on Working with Neon Bunny for Free, Co-Directing WINNER, and Dreamlike Images [INTERVIEW]

July 15, 2016/in Features, Interviews /by Joe Palmer

Music videos are a huge part of what entices international fans to K-pop thanks to their accessibility online. The work of music video director Ian Gallagher is not exactly the dancing in box or love stories that are so typical to the genre. His work with the queen of South Korea’s electro-indie scene, Neon Bunny […]

13 Things We Learned at GOT7’s ‘Fly in Los Angeles’ Show [PHOTOS]

July 17, 2016/in Events /by Alexis Hodoyan-Gastelum

Music Video Director Ian Gallagher on Working with Neon Bunny for Free, Co-Directing WINNER, and Dreamlike Images [INTERVIEW]

July 15, 2016/in Features, Interviews /by Joe Palmer

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13 Things We Learned at GOT7’s ‘Fly in Los Angeles’ Show [PHOTOS]

July 17, 2016/in Events /by Alexis Hodoyan-Gastelum

by Alexis Hodoyan-Gastelum

After two weeks of dabbing through the US, GOT7 closed their first American tour in Los Angeles at the Novo DTLA on July 11. Their last show was an addition after the original LA show sold out quickly and fans demanded a second date to accommodate IGOT7’s (GOT7’s fans), a fanbase which has notably grown since the last time the group was here.

But after shows in every major US city, several interviews with them, and thousands of fan cams and accounts recounting everything the guys said or did, what is there left to say about GOT7’s US tour? Well, other than it being an amazing show, it was also an opportunity to witness just how much GOT7 has grown in two short years since debut. So instead of being redundant and telling you things you might already know, here are some highlights from the show and a rundown about the things we learned at “Fly in Los Angeles.”

1. They Sing Live

In K-pop, it’s commonplace that idols lip synch during their concerts so that they can focus on powerful performances. Not GOT7 though. These guys kicked off the show singing live and hitting every move with “Put Your Hands Up.” They may have slowed it down here and there throughout the show with the more vocally demanding songs, but still it was a balancing act they mastered.

by Alexis Hodoyan-Gastelum

2. “Can’t” Is The Best Thing That Could Ever Happen To IGOT7’s

Let’s give credit where credit is due; “Can’t” is one of the best songs on their latest album “Flight Log: Departure.” It has a bubblegum bumpy hip-hop beat that, together with the buttery delivery from the vocal line at the chorus, creates an interesting and yummy sonic experience. Now, how this group went from GOT7 to THOT7 with the choreography for this song is beyond us… but greatly appreciated. Those crotch rolls and invisible love making to the floor was well worth the ticket price by itself. We never thought GOT7 would ever measure up to the Chippendales-like shows their seniors 2PM put on. But with “Can’t,” fans now have hope.

3. A JB & Youngjae Sub-Unit Needs To Eventually Happen

“Fly in USA” was the “Give GOT7 Their Kudos” tour, for they emphasized all their lyric writing achievements on this album every chance they got, giving each other handshakes and requesting applause from the audience. And it was well-deserved. Junior came up with the lyrics for “Can’t,” and Bam Bam put his “rapper” role to good use by writing the rap for Youngjae composed “Rewind.” But the clear standout (#sorrynotsorry) was JB and Youngjae’s ballad “1.31 am.”

Sitting with their backs to each other, Youngjae caressed the piano while JB unloaded his truck-full of feels onto the microphone. Named after the time in which the song was written while in Japan, the unreleased song brought the audience nearly to tears with the heartfelt performance, proving these two could easily kill it with a vocal a-la 2AM sub-unit. Their styles might be very different, but there’s something about the mix of JB’s soulful vocals with Youngjae’s angelic tone that just works.

by Alexis Hodoyan-Gastelum

Also on KultScene: Seoul-Based Punk Band …Whatever That Means Talks Music & Multiculturalism [INTERVIEW]

4. … Seriously, Witnessing “If You Do” & “Fly” Live Are Bucket List-Worthy Experiences

If we’re gonna pick favorites, the performances for “Fly” and “If You Do” are definitely at the top. This, of course, is due to the fact that both songs have the most intricate choreographies in GOT7’s discography to date and require the most energy from the boys. But after two weeks of touring, a sick member, and another member with a bad back, the performances could’ve easily fallen flat. And yet, there was not a missed beat on either song. Maybe it was because this was GOT7’s last show of the American tour or maybe their worth ethic is just that good, but the boys managed to give it their all with the choreographies. They even broke the monotony of the song and changed pace, expressions, and freestyle moves. The honorable mention goes to “Just Right,” for Bam Bam and Jackson took their last verses to indulge in a back and forth with the crowd instead of doing their normal parts, which was a fun little interaction with the fans.

5. Someone Give JB A Cold Shower. JK, We Love It

And speaking of “If You Do” and “Fly,” geez, JB… While Yugyeom is GOT7’s main dancer, Im “No Chill” Jaebum trails at a very close second, and that was apparent during “Fly in LA.” Truth is, JB was in his feelings throughout the whole show, but it was especially noticeable during his exaggerated yet much appreciated body rolls in “Stop Stop It,” which lead to his Best Actor in a Drama-worthy performance in “If You Do.” I don’t know where he draws all that angst and anger from, but the boy was definitely going through some stuff in his head, which just proves how much of a pro the leader is.

by Alexis Hodoyan-Gastelum

6. Youngjae Is A Real Trooper

After missing the tour’s opening show in Dallas and making lots of fans upset and concerned over his health, Youngjae powered through his high fever throughout the whole tour. Even though the second LA show was a little over a week after Dallas, GOT7’s sunshine was visibly not as bubbly on their closing night. However, Youngjae must have taken care of himself as best as he could given the circumstances because he slayed all of his vocals as if he were at 100 percent. He might have channeled his energy towards his singing instead of his performance, because the latter was definitely not on par with the rest of the members. But still, he was amazing and everyone was thankful he endured his sickness for the fans.

7. Breaking News: Jackson Was NOT Extra

In the weirdest of plot twists, GOT7’s resident megaphone that always does too much was actually quite tame during the last LA show. As mentioned before, maybe it was due to fatigue, but other than some light bullying and laughing here and there, Jackson was not his usual extra self. In reality, it was Bam Bam who took over the position and delivered many zingers and comedic moments throughout the show like singling out a guy on the second floor and trying to make a couple in the pit kiss.

8. Yugyeom Is Grown, Y’all

The maknae (youngest member) is no more, you guys. While Yugyeom has been the dancing machine since the start, the hyungs (older brothers) have attempted to shield him from more erotic dances. And even though they tried, Yugyeom still freestyled a Chris Brown song and spilled sex appeal all over the stage. Jackson might have declared Bam Bam as the “most nasty” GOT7 member, but Yugyeom is closing in.

by Alexis Hodoyan-Gastelum

9. Mark Can Speak

Time and time again fans have assumed that despite his shyness, Mark will come through when it comes to speak English. And as seen in their ASC appearances, KCON LA fan engagement, and countless other instances, this is never the case. Even if Mark is the English native speaking member, he heavily relies on Jackson and Bam Bam. That’s why it was amazing to see him take the lead during the LA shows, probably because his friends and family were in the audience. Mark talked to the audience a lot, he MC-ed the interlude where all the members solo dance, etc. His interactions weren’t as smooth as Bam Bam and Jackson’s perhaps, but the audience could tell Mark felt comfortable and was pushing through the awkwardness for the sake of it all.

by Alexis Hodoyan-Gastelum

10. Bam Bam Is Never Not On Social Media

By the time the last show in their tour rolled in, Bam Bam was out of dabs. He maybe busted the move a couple of times throughout the show, but he definitely was out of dabs by this time. However, he did roll out his repertoire of memes. Bam Bam flicked a water bottle, brought back the whip and nae nae, and even said “Damn Daniel” a few times.

by Alexis Hodoyan-Gastelum

11. We Can Confirm Junior Is Perfect, Bye.

From his looks, to his facial expressions, and down to his singing… Yup, he’s perfect. That’s all.

[Editor Note: … But she’s not biased at all!]

Also on KultScene: IMLAY Remix of Jonghyun’s ‘Deja-Boo’: Exclusive Premiere

12. They’re The Most Engaging K-Pop Group Out There

Maybe it’s because most groups don’t have any let alone three members who can effectively communicate in English, but the interaction with fans is practically unprecedented in K-pop. GOT7 spent time speaking with individual fans and put fans on the spot (i.e, that guy Josh who Bam Bam called his baby) and even went back and forth with them during the speaking interludes. For a couple of hours, fans got a glimpse at what K-pop concerts in Korea are, where the artists can communicate effectively with fans. Because even if the rest of the members aren’t fluent, Yugyeom and Junior, specifically, tried their best to speak English. If anything, the “Fly in USA” tour proved that GOT7 can become a favorite on this side of the Pacific because they have the ability to remove the language barrier between idols and the fans fans.

13. Despite Fatigue, GOT7 Left Their Souls On Stage

As mentioned previously, on the closing night of their “Fly in USA” tour, the members were battling injuries, sickness, and tiredness. Because even if they were only in America for two weeks, GOT7 had been touring for awhile. Some members were visibly out of it or not at their full potential throughout the night, but despite this, they all pulled through and delivered an amazing show. JB did the most with choreography, Mark stepped up his talking, Junior shined with his improved English, Jackson did not disappoint in the body rolls department, Bam Bam had everyone laughing the whole show, Youngjae showered us with his adorable smile and laugh, and Yugyeom was the cutest he’s ever been. GOT7’s second show in Los Angeles established that they’re real entertainers and artists who are in it for the long run. And judging by the fact that all their shows were sold out, we can safely say fans are here for it.

by Alexis Hodoyan-Gastelum

Did you go to any of the “Fly in USA” stops? What was your favorite performance? Share your experience 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.

Music Video Director Ian Gallagher on Working with Neon Bunny for Free, Co-Directing WINNER, and Dreamlike Images [INTERVIEW]

July 15, 2016/in Features, Interviews /by Joe Palmer

Music videos are a huge part of what entices international fans to K-pop thanks to their accessibility online. The work of music video director Ian Gallagher is not exactly the dancing in box or love stories that are so typical to the genre. His work with the queen of South Korea’s electro-indie scene, Neon Bunny is some of the best in the country and shows an entirely more abstract image than the average K-pop music videos (or MVs as they’re commonly known).

In celebration of Neon Bunny’s return with her new album, “Stay Gold,” and his latest work on her video for “Room 314,” we caught up with Gallagher for an interview about his creative process. The director sheds light on his inspirations, his ongoing collaboration with Neon Bunny, working with YG boy group WINNER, and his work in film.

I’d like to start by asking how you got into film and music video directing?

I had two main interests in high-school, writing fiction and playing music. Playing in bands naturally led me to create images for the band, mostly cover designs and stickers, which led to an interest in visual arts. It was hard for me to stick to one thing though. I loved all the different mediums and how they related to each other, the differences and similarities. I wrote a lot of short stories and attempted a novel, while continuing to play music and study a bit of graphic design in college. It took awhile, but I came to the slow realization that films utilized all these different elements to create something else. I think this was like 7 or 8 years ago. I began writing screenplays and bought a cheap DSLR and went from there.

Were there any films or videos you had seen that made you want to do work in cinema?

The greatest push was watching Andrei Tarkovsky’s “Stalker.” It was the most beautiful thing I had ever seen. The film has a simple elegance to it, in story and in cinematography, yet it delves into some deep questions about being human. After watching the film I knew that that was what I wanted to do. To make something like that.

How did you end up working in Korea? Any advice for other foreigners who might want to do the same?

I’m a rare case actually. I’m half-Korean, half-American, and pretty much grew up in Korea speaking both Korean and English. [I] went to a Korean elementary school, but then went to an international school for high-school. So the culture of Korea is not foreign to me. I’m not exactly an expat, yet I’m not Korean. I’ve always been sort of in the middle of two cultures. My advice to foreigners is come on over, learn the language, be nice and have a great time. It’s a great place to work; a lot of interesting things are happening in art. I think Korea is just now breaking into a post-modern era, and it’s really amazing witnessing the change.

What’s it like to make films there compared to anywhere else you might have worked?

Koreans have the most intense work ethic I’ve ever seen. I love working with a Korean crew.

What is your process for directing a music video?

I have to love the song. I need to really feel something from the music. It’s a pretty simple process though. Once I have a song, I just listen to it non-stop and try to figure out a visual mood for it. Looking back on my videos, I think I’m more focused on capturing a certain overall tone than individual images. Especially for music videos, I try to mimic the process of writing music and go with what feels right at the time instead of anything too intellectual.

Your collaboration with Neon Bunny started in 2011 with “Together With Me.” How did it come about?

I think her first album had just come out and she already had another video. I heard “Together with Me” and loved it. So I e-mailed Neon Bunny saying I’d make her a video for free with no budget, and sent her the idea. I don’t know what she thought about me, but for some reason she accepted and it turned out to be great fun. I was still learning all the technical aspects of filmmaking and it shows in the video, but it was a blast to do.

Also on KultScene: Seoul-Based Punk Band …Whatever That Means Talks Music & Multiculturalism [INTERVIEW]

What made you continue that collaboration with Neon Bunny?

She’s a truly great musician. Her songwriting abilities are just amazing. It’s no easy task to create pop music which also has depth, it’s one of the hardest things to do in music, but Neon Bunny seems to do it so effortlessly. So I’m pretty much honored to be allowed to create videos for these songs. A music video is only as good as the music. Also, Neon Bunny produces her own music on her own label, so it’s really great to be able to make decisions without having a committee to water down the ideas.

How has your relationship grown over the years?

We’re good friends now. I think we know each other’s strengths and weaknesses and that helps when we are trying to create something together.

What is your process for making a music video with her compared to with others?

Much more laid back. There’s definitely a trust that’s developed over the years. Shooting videos is usually a tedious and difficult process, a lot of stress, never enough money or time, but with Neon Bunny it feels like we’re actually having fun. For the video for “It’s You” we just travelled around various places in Seoul and shot whatever we felt like. There was an overall structure but instead of extensive storyboarding, planning, and having a big crew, we let it go loose and it was a lot of fun. It would be hard to propose shooting a video like that to another artist.

Your work with Neon Bunny, from the soft focus of “Together With Me” all the way up to the crystalline views in your latest work “Room314,” has almost always had an impressionistic quality to it. Is this a particular style you like and what draws you to it over a straightforward narrative?

I’ve never really been a fan of narrative music videos. Of course there are great videos that use narrative devices, but I like to be closer to the abstract nature of music. To me, it’s about feelings and moods, and a kaleidoscope of emotions. The nature of dreams also take up a large portion of my work. I love hazy ill-defined things, and it ends up in the videos. I’m not trying to create any kind of deliberate style though, I think it just happens because I try not to intellectualize the work and make decisions based more on instinct. Anything I do will inevitably have my stamp on it because it’s come through the filter of my brain, so I try not to think of any personal kind of style. The whole process is a discovery really, seeing what happens, how certain elements give unexpected results. This happens throughout the entire making of the video, from the first idea, to shooting, and especially in the editing.

Do you think it works especially well with music videos?

Yes. For films I take a completely different approach. Narrative films are about the story and characters, but with music videos it is a good opportunity for me to explore the more abstract and impressionistic aspects of filmmaking. The works of Stan Brakhage, Jonas Mekas, and Chris Marker have also been a great revelation and influence on my own stuff. In my mind it’s like the relationship between prose and poetry, and playing with the gray area between the two forms.

I also noticed a certain digital edge to a lot of your work. The affected colours of “Romance in Seoul” comes to mind, is that a conscious effort to replicate Neon Bunny’s electronic music?

I like to play with the imagery of more mainstream K-pop videos, and the idea came out of re-appropriating the super saturated color schemes of many of those music videos. Like a twisted version of a dance video, but still poppy and colorful to look at. The electronic aspect of the music definitely pushed the visuals in that direction. The basic idea behind “Romance in Seoul” was a fever dream recorded digitally and played back with glitches and errors. The dancers were amazing to shoot. All the dancing in the video was improvised on the spot.

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What was it like working with WINNER? At the time they were a potentially huge debuting group and you have the task of creating a video from an instrumental song of theirs, not exactly standard idol fare. Is your approach to a song like that different to something more straightforward?

Actually, the song was written and performed by Min Woo Kang, a really great electronic musician, specifically for the teaser video. There’s a bit of a misconception that it is a WINNER song. The co-director, Kim Zi Yong, and I decided we wanted to try something different with the music. Usually for teasers a song from the band is used, or a song is licensed. I think because WINNER was still in production on their album, maybe in the mixing process, it wasn’t possible to use one of their songs, so we decided to hire a musician to basically score the teaser. It was the first time we worked like that and I am really proud of how that came out. The song was written as the editing of the video was taking place, so the editing changed with the song, and the song changed to the edit if we needed anything at a certain part.

Working with WINNER was great. They are a great group of guys, really nice and very passionate about their work. I was pleasantly surprised to see how professional they were even though it was one of their first videos. In fact everyone over at YG was great, with more of a collaborative atmosphere than the other companies.

“The Visitor” is also another example of your impressionistic work, what sort of story did you try to tell with it, if any?

The story aspect came from co-director Kim Zi Yong. The basic premise is the end of a night of partying, with each member being in a different situation. My involvement may have added a little bit of that impressionistic aspect to it, but when collaborating like that it becomes hard to tell what element came from who. Those are the best collaborations too.

How was it working with Kim Zi Yong?

It was probably the most fun I’ve had. It’s great being able to bounce around ideas like a tennis ball, adding a bit here, changing some there, always coming up with something else that you couldn’t have thought up alone. We were good friends before working on the video so it just became an extension of that. Playing around with ideas and seeing where that leads. The editing was also collaborative, with each of us taking a pass at it over and over again, riffing on what the other one did. He’s a really great director and I’m always excited to see what he’ll come up with next.

I watched the trailer for you new short film “망” (“MAHNG”) and am very intrigued. Can you tell me a little bit more about that? Where can we eventually see it?

“MAHNG” is a period piece, and though it’s not based on anything specific, I wanted to take aspects of Korean folk tales and try to spin a new story out of that structure. The basic storyline is of a young woman who has lost her husband, and she drags his body across the land to a shamanistic shrine, and prays for the spirits to bring her husband back to life. At night, a spirit comes to hear her speak, but things don’t work out the way she wanted. We’re still in the process of sending it out to film festivals, but after that run we plan to put it up online for free.

Do you have a preference for making films or music videos?

Though related, the two are vastly different in execution so it’s hard to say which I prefer. Each medium offers something different in creative satisfaction. I’d like to eventually make feature films, but it’ll be a long and slow process getting there, especially since the films I want to make won’t fit perfectly in the mainstream. Music videos offer a great outlet for me, but I plan on doing more diverse work. More short films, more videos that aren’t exactly music videos but something else. The goal is to keep plugging at it and always having fun.

What are you working on at the moment?

We just finished a video for Neon Bunny for the song “Room314.” We’re probably going to do another track off the album but it’s still in the preliminary stages. Working on screenplays during the down time.

Thanks so much for the interview. Is there anything you would like add or ask in return?

Thank you for the interview. I think it’s great that you guys are covering some Neon Bunny related news. More people need to hear the music. Buy the albums. Support the artists that you love so they can make way cooler shit.

What do you think of Ian’s work? 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.