Here are the links to SG Wannabe's Arirang MV (It's in 3 parts since it's over 20 minutes long... ^^;)
http://www.youtube.com/watch?v=rd3yizwdAas
http://www.youtube.com/watch?v=eiwb-O-89z8
http://www.youtube.com/watch?v=8hMlbqF9kmQ
I've noticed that a few of Korean music videos are very long and aren't even "music videos" anymore. On the contrary, they look more like movie trailers or movies themselves. SG Wannabe's music video seems to be a prime example of this trend. I mean, it's twenty minutes long! Furthermore, there are breaks when the music does not even play, but goes into "movie-mode" where the actors will actually have a script to read. Actors are another thing--this particular music video actually features two actors, Ju-Hyun Ok and Bum-Soo Lee.
I think the music video allows the viewer to expand his/her understanding of the song. With just the song itself, I can make out a faint connection its original folk song counterpart with its emotion and the theme of a separation between two lovers. Watching the movie, however, I understand a strong sense of nationalism that I felt in Arirang songs such as the Gyeong-bok-gun Arirang along with the sorrow and grief of the Gin Arirang, for examples.
Also, from the music video, I feel a strong sense of dismay about the fact that Koreans are separated between North and South. The movie about General Yi also seemed to have this theme. Over the summer I watched a movie that had this same subject matter, called "Underground Rendez-vous" (만남의 광장). The movie tells the story
of a family that was separated by the North-South boundary. The film is packed with
comedy, the movie opens with a scene where the family actually helps the Russians
and Americans put up the barbed wire and fence, not knowing what was actually going on.
When finished with the work, the family on the "South" part of the fence calls
the family on the other side of the fence to come back to their side to go back home.
Of course, the Russians and Americans stop them as it is official that no one can
cross over the fence, now.
History is such an integral part of Korean culture that it dominates Korean film, music, and
other forms of pop culture media.
Here's a trailer:
http://www.youtube.com/watch?v=KZGlfScwDag
Thursday, November 15, 2007
Wednesday, November 14, 2007
EPAKSA
Naotaka and I also had a really hard time imagining what a t'urot'u performance on a bus tour would be like. However, while meeting for our presentation preparation, we came across this video on YouTube and thought that you all might be surprised, and pretty entertained:
http://www.youtube.com/watch?v=5yoFtymTkZs
In Son's article, he writes: "The typical recording [of disco t'urot'u medley] here consists of ten to twelve similar t'urot'u songs laid over the same rhythmic accompaniment: that is, pseudo-disco" (63). Epaksa is a t'urot'u medley singer who was a highway bus-tour guide. This video shows Epaksa performing his disco t'urot'u medley. It starts off with Epaksa infront of a tour bus with a key board accompanist performing a very familiar song "YMCA" to Korean lyrics. The song then proceeds into another song, that is introduced with a picture of himself and the title of the new song.
As each new song is introduced, the video seems to become more and more crazy, which makes you wonder how and if this style "should be understood as a musical, metaphorical, and physical expression of the modern South Korean identity" (52) and if this performer and genre could be taken seriously. However, there are references to taxi cabs, busy streets, stands that sell cassettes, all places that Son referred to in his article that currently holds and plays t'urot'u music. Despite the silly character of Epaksa, it was surprising to read that he was signed by a major record company and his first mega cassette tape had sold more than 400,000 copies.
(by Naotaka and Young Ju)
http://www.youtube.com/watch?v=5yoFtymTkZs
In Son's article, he writes: "The typical recording [of disco t'urot'u medley] here consists of ten to twelve similar t'urot'u songs laid over the same rhythmic accompaniment: that is, pseudo-disco" (63). Epaksa is a t'urot'u medley singer who was a highway bus-tour guide. This video shows Epaksa performing his disco t'urot'u medley. It starts off with Epaksa infront of a tour bus with a key board accompanist performing a very familiar song "YMCA" to Korean lyrics. The song then proceeds into another song, that is introduced with a picture of himself and the title of the new song.
As each new song is introduced, the video seems to become more and more crazy, which makes you wonder how and if this style "should be understood as a musical, metaphorical, and physical expression of the modern South Korean identity" (52) and if this performer and genre could be taken seriously. However, there are references to taxi cabs, busy streets, stands that sell cassettes, all places that Son referred to in his article that currently holds and plays t'urot'u music. Despite the silly character of Epaksa, it was surprising to read that he was signed by a major record company and his first mega cassette tape had sold more than 400,000 copies.
(by Naotaka and Young Ju)
Reinventing Tradition: T’urot’u and "Highway Star"
I found this week's readings and audio samplings to be fascinating, and each piece was very much connected. A main theme running through all of the essays and music is the idea of "reinvented tradition" that is so prevalent to all of the texts in our class. T’urot’u, for example, is a music style that has been reinvented with each generation since its formation in the 1920s. Whether infused by the sounds of Japanese popular music or American rock, t’urot’u has been reinvented many times, and has been able to maintain some form of popularity in Korea. In "Regulating and Negotiating in t'urot'u, a Korean Popular Song Style," Ming-Jung Son writes, "t’urot’u has had different meanings and different sounds throughout history, and these have been negotiated within the relationships existing between the music, politics, and the public consciousness" (73).
I found the trend of t'urot’u bus performances during highway tours to be particularly interesting. Not only did this phenomenon reinvent and repopularize t’urot’u, but it also connected turot’u with pride and appreciation for the Korean landscape, which was once war torn and inaccessible for Koreans to see. By developing this association between t’urot’u with Korean landscape, t’urot’u became clearly established as a uniquely Korean art form, despite the outside influences that played a role in shaping this musical style.
The idea of performers singing t’urot’u and dancing up and down bus isles perplexed me, and I really wanted to see what this looked like. Unfortunately, I was unable to find any videos of this on the Internet, but I did come across a trailer that I find very interesting! Thus trailer is advertising a Korean film from 2007 titled "Highway Star." Here is the description I found of the film on global.yesasia.com:
Stuck in a small town, aspiring rocker Dal Ho (Cha Tae Hyun) makes a living reluctantly playing trot at local clubs. When small-time recording company head Jang (Lim Chae Moo) offers Dal Ho a contract, he eagerly grabs the opportunity, believing that his time has finally come. After he signs, however, Dal Ho discovers that he won't be rocking after all. Instead, he will be singing trot. Unable to back out of his contract, Dal Ho takes to the stage behind a mask to hide his embarrassment, and ends up an overnight sensation. The wannabe rocker seems to have found his true calling, but doing music he dislikes. With the help of Jang and a certain cute trot singer (Lee So Yeon), maybe he'll actually learn the passion of trot.
This film description provided me with information that I did not get from Ming-Jon Sun's essay. Although I realized from her reading that t’urot’u is associated with an older generation, I did not get the sense that this music is stigmatized as being "dorky," maybe in the same way that Americans of our generation find disco (no offense to disco lovers) ?
The trailer to this film can be found at this link: http://www.youtube.com/watch?v=oniAAqMVTVM. Although it is Korean without English subtitles, something major comes across- the background music is OPERA! It is Bizet’s Carmen. This is an example of opera being used in popular culture, and being taken out of the realm of being solely for the upper class. But why use this song in a Korean film trailer? Both opera and t’urot’u are cultural traditions that have been around for generations. Could it be that the filmmakers are suggesting that like opera, t’urot’u is associated with an older, (stuffier, stricter?) generation, but is possibly making a comeback? "Highway Star" is another example of t’urot’u being reinvented- now in the media of popular film. An entirely new generation will experience t’urot’u through this film. Similarly, the use of opera music in the trailer reinvents opera. It is not an art that is reserved for rich, white Americans, as it once was, but is now being exposed to Korean middle-class audiences.
I found the trend of t'urot’u bus performances during highway tours to be particularly interesting. Not only did this phenomenon reinvent and repopularize t’urot’u, but it also connected turot’u with pride and appreciation for the Korean landscape, which was once war torn and inaccessible for Koreans to see. By developing this association between t’urot’u with Korean landscape, t’urot’u became clearly established as a uniquely Korean art form, despite the outside influences that played a role in shaping this musical style.
The idea of performers singing t’urot’u and dancing up and down bus isles perplexed me, and I really wanted to see what this looked like. Unfortunately, I was unable to find any videos of this on the Internet, but I did come across a trailer that I find very interesting! Thus trailer is advertising a Korean film from 2007 titled "Highway Star." Here is the description I found of the film on global.yesasia.com:
Stuck in a small town, aspiring rocker Dal Ho (Cha Tae Hyun) makes a living reluctantly playing trot at local clubs. When small-time recording company head Jang (Lim Chae Moo) offers Dal Ho a contract, he eagerly grabs the opportunity, believing that his time has finally come. After he signs, however, Dal Ho discovers that he won't be rocking after all. Instead, he will be singing trot. Unable to back out of his contract, Dal Ho takes to the stage behind a mask to hide his embarrassment, and ends up an overnight sensation. The wannabe rocker seems to have found his true calling, but doing music he dislikes. With the help of Jang and a certain cute trot singer (Lee So Yeon), maybe he'll actually learn the passion of trot.
This film description provided me with information that I did not get from Ming-Jon Sun's essay. Although I realized from her reading that t’urot’u is associated with an older generation, I did not get the sense that this music is stigmatized as being "dorky," maybe in the same way that Americans of our generation find disco (no offense to disco lovers) ?
The trailer to this film can be found at this link: http://www.youtube.com/watch?v=oniAAqMVTVM. Although it is Korean without English subtitles, something major comes across- the background music is OPERA! It is Bizet’s Carmen. This is an example of opera being used in popular culture, and being taken out of the realm of being solely for the upper class. But why use this song in a Korean film trailer? Both opera and t’urot’u are cultural traditions that have been around for generations. Could it be that the filmmakers are suggesting that like opera, t’urot’u is associated with an older, (stuffier, stricter?) generation, but is possibly making a comeback? "Highway Star" is another example of t’urot’u being reinvented- now in the media of popular film. An entirely new generation will experience t’urot’u through this film. Similarly, the use of opera music in the trailer reinvents opera. It is not an art that is reserved for rich, white Americans, as it once was, but is now being exposed to Korean middle-class audiences.
Tuesday, November 13, 2007
Korean Pop Music
One of the things I was immediately struck by while listening to all this music was the sampling of American recording artists. Seo Taiji Boys had some Flavor Flav/Public Enemy in their song and it sounded like one of the songs posted here by Drunken Tiger had some DMX in it. Crying Nut's music and melody also seemed to sound alot like old punk/The Ramones at times. I know we talk alot about globalization and importing vs. exporting culture, so it got me thinking why do so many people/groups emulate American artists? A perfect example would be the group Drunken Tiger, where did that gansta image come from, from America? Or did a similar stereotype of rappers being gansters already exist in Korea? Do Koreans recognize this as being a sampling of American-style rap (or music in general)?
I'm not sure if this is always true or still holds true today, but I believe that back in the 1990's and maybe early 2000's, bands were often "tested" in Asia, seeing what people liked and didn't like. So I can't help but wonder if this sort of created this imposing American influence that still hangs over Korean pop music. Do you think Korea will ever be able to export its own version of music that'll become popular elsewhere? I also wonder why exactly doesn't Korean music become popular in America, it can't simply be a language barrier because lyrics can be translated. Maybe if Korea is always following suit, it'll always seem like old news in America, seeing how fickle music and pop culture can be...?
A final question I had while reading "Exploding Ballads" was, how come trends go global? For example, in the reading they talked about how ballads were so popular in the 80's, which seemed really similar to rock ballads by hair bands in the 1980's in America. So which came first, American ballads or Korean ballads? And what does it mean from one country's music to emulate another? (My guess is American ballads came first and was later copied by everyone). I guess this ties into our sort of on-going discussion about globalism and how we import or export certain cultural items and why doesn't Korea export more of its music to America.
I'm not sure if this is always true or still holds true today, but I believe that back in the 1990's and maybe early 2000's, bands were often "tested" in Asia, seeing what people liked and didn't like. So I can't help but wonder if this sort of created this imposing American influence that still hangs over Korean pop music. Do you think Korea will ever be able to export its own version of music that'll become popular elsewhere? I also wonder why exactly doesn't Korean music become popular in America, it can't simply be a language barrier because lyrics can be translated. Maybe if Korea is always following suit, it'll always seem like old news in America, seeing how fickle music and pop culture can be...?
A final question I had while reading "Exploding Ballads" was, how come trends go global? For example, in the reading they talked about how ballads were so popular in the 80's, which seemed really similar to rock ballads by hair bands in the 1980's in America. So which came first, American ballads or Korean ballads? And what does it mean from one country's music to emulate another? (My guess is American ballads came first and was later copied by everyone). I guess this ties into our sort of on-going discussion about globalism and how we import or export certain cultural items and why doesn't Korea export more of its music to America.
Monday, November 12, 2007
I'm A Cyborg, But That's Ok
I recently watched the Korean film "I'm a Cyborg, But That's Ok," a film by popular Korean director Park Chan-Wook and starring the pop star Rain. This movie was interesting because it is more in the vein of artsy directors like Michel Gondry(Eternal Sunshine of the Spotless Mind) and Jean-Pierre Jeunet(Amelie), in contrast to historically based movies we have watched. "I'm A Cyborg.." does not really have historical, nationalist, or political themes in it. I believe that the experiemental nature of the film made it less accessible to the Korean population - this is proved by it's relatively poor showing at the Korean box office. While Rain and the director make it a talked-about film in Korea, I wonder whether the movie was more intended for the artsy international audience that our readings have brought up. The movie made the festival rounds and had good critiques, including one in the New York Times.
While the film was not the typical romantic comedy or historically based drama seen in Korea, the inclusion of Rain and the overtones of filial piety made it more characteristic of a Korean product. The main character's problems stem from her sense of duty to her grandmother, which is very reminiscent of traditional Korean values. While other relatives seem to neglect the mentally ill grandmother, the grandaughter is distraught that she cannot help her grandmother. I believe that had this been a movie made in the US, it seems much more likely that the main character would be fixated on a lover or sibling, rather than have that deep sense of connection to a grandparent.
Second, I found Rain's participation in the movie fascinating, because it vears so far from his usual arena. In "Full House", for example, Rain played a pop star, and as is common for singers turned actors, the acting wasn't a great stretch. For "I'm A Cyborg" though, Rain somewhat alienates his audience, because the movie isn't straightforward, and Rain's character is psychologically complex. However, I found it interesting that the movie still featured Rain as an entertainer, because he does sing in one scene (perhaps in a kind of fan service).
Overall, I found "I'm A Cyborg, But That's Ok" to be a great look at what a more experimental Korean film looks like. It doesn't have the characteristics of a blockbuster, and yet shows the talents of a famed director and pop star. I believe it's the kind of movie that is meant for an international audience while at the same time maintaining strong Korean characteristics.
P.S. (The movie is availible on YouTube in clips if anyone's interested)
While the film was not the typical romantic comedy or historically based drama seen in Korea, the inclusion of Rain and the overtones of filial piety made it more characteristic of a Korean product. The main character's problems stem from her sense of duty to her grandmother, which is very reminiscent of traditional Korean values. While other relatives seem to neglect the mentally ill grandmother, the grandaughter is distraught that she cannot help her grandmother. I believe that had this been a movie made in the US, it seems much more likely that the main character would be fixated on a lover or sibling, rather than have that deep sense of connection to a grandparent.
Second, I found Rain's participation in the movie fascinating, because it vears so far from his usual arena. In "Full House", for example, Rain played a pop star, and as is common for singers turned actors, the acting wasn't a great stretch. For "I'm A Cyborg" though, Rain somewhat alienates his audience, because the movie isn't straightforward, and Rain's character is psychologically complex. However, I found it interesting that the movie still featured Rain as an entertainer, because he does sing in one scene (perhaps in a kind of fan service).
Overall, I found "I'm A Cyborg, But That's Ok" to be a great look at what a more experimental Korean film looks like. It doesn't have the characteristics of a blockbuster, and yet shows the talents of a famed director and pop star. I believe it's the kind of movie that is meant for an international audience while at the same time maintaining strong Korean characteristics.
P.S. (The movie is availible on YouTube in clips if anyone's interested)
Sunday, November 11, 2007
some music links
I'm sure a lot of people are already familiar with Epik High and Drunken Tiger, but I thought I'd post some links to songs anyway.
Epik High - Fly
Drunken Tiger - Good Life
Epik High - Love Love Love
There's a few similarities between Epik High and the Japanese group, m-flo.
m-flo - Astrosexy
Anyone got any other bands?
Epik High - Fly
Drunken Tiger - Good Life
Epik High - Love Love Love
There's a few similarities between Epik High and the Japanese group, m-flo.
m-flo - Astrosexy
Anyone got any other bands?
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