omonatheydid | Entries tagged with op-ed

hurtmybones.livejournal.com

PLEASE READ BEFORE QUESTIONING/LOOKING AT THE CHART. Please do not repost chart without copying the background information. Don’t take the chart out of context.

Following is the ranking of idols and young vocalists that we’ve analyzed so far here at KpopVocalAnalysis. This list only includes idols who’ve debuted in 2014 or earlier. Idols who have debuted after 2014 were not analyzed due to the lack of material and the possibility of improvements happening shortly after the debut of an idol. Thus no debuts after 2014 shall be included in this chart. If a vocalist of any group that debuted in 2014 or prior is not present in this chart, that would be because their final rating would be at most average or due to lack of material for an analysis.

In 2013, we from KpopVocalAnalysis gathered together as fans, as vocal enthusiasts, and some of us as vocal instructors and vocalists ourselves to bring education and knowledge and to satisfy the curiosity of a community within a fandom. The following rankings we shall post have one thing that most others don’t have, hard work. Unlike what fans like to call the “opinion of experts,” mostly done by PD’s, Composers, and Music Critics, we have not only taken the time to listen to each single vocalist in these rankings individually, one by one, but we also have provided more than a simple sentence to describe how they use their voices/instruments. We have compiled a ranking system through our very own upbringing and learning process in order to properly categorize and find similarities between vocalists, technically.
( please read the accompanying text provided by the writers of the blog! )
source: kpopvocalanalysis.net
mods idk how to tag this bc there's a bajilion ppl on the lists!

purekpopology.livejournal.com

By SE-WOONG KOO

SEOUL, South Korea — My mother fled South Korea for two years in her 20s because she couldn’t stomach her domineering father. On her return, she was married off to my conservative father, whom she gradually realized she didn’t care for. Divorce was still taboo, so she opted to go to Canada with me in tow. The pretext for this long-distance marriage was my education, but it was also for her freedom from patriarchal expectations.

More than two decades have passed. She keeps her address in Canada but now spends considerable time with my father in Seoul. She also dines occasionally with her father, a frail man in his 90s. The arrangement works since the men in her life have grown subdued and she has more say over her life. With time, gender equality came to our family. Patiently waiting for improvement in gender relations, however, is not a strategy for South Korea.

( Read more... )

Source: NY Times

While most of us already know that gender equality in S. Korea is not good, I thought this article had some interesting bits in it.

kyokomurasaki.livejournal.com

The most recent in a series of academic essays on Kpop and Korean music, this entry on "Closer" includes interviews with some of the creative minds behind the song and MV to explore the symbolism behind the song, video, choreo, and costumes, and how all of them were made.

Read the full article @ source

Sources: 1theK, K-Pendium

Are you still slayed by this flawless song/MV, Omona? Is this OMG's best work to date?

yohan94.livejournal.com

Let’s talk about sasaengs.

Sasaengs are one of the most peculiar features to K-Pop, and one that leaves many western fans scratching their heads. What motivates fans to wait in the rain for hours outside an idol’s house, hack into Twitter accounts, or break into dorms? Furthermore, how do sasaengs even know where idols live, or where they’re going to be? What is it about Korea that perpetuates sasaeng culture?

Although I’ve never been a sasaeng myself, in my three years of living in Korea, and two of being an active fan, I’ve brushed into sasaeng culture more than a few times. Before we even begin, let’s delve a bit into the fan psyche. What makes a fan into a sasaeng, and furthermore, what is a sasaeng?( read more.. )

source: harmonicar @ soompi, @ddong_gg0

Idk if this is ok but I found it really interesting as a first hand account of someone's experience with sasaengs/sasaeng culture. What are your opinions, Omona? And have you ever crossed paths with a sasaeng?

uledy.livejournal.com

So, you've been fed-up and agitated with Kpop lately? Don't you worry, SHINee is coming to liberate us all!

So, we know there's going to be a comeback this year- they've all pretty much confirmed it, but the question is when? Many shawolock are thinking soon, as in May and it doesn't seem like SHINee's doing anything to dissuade us. Check out the proof and see for yourself!!

( Read more... )

sources: no reason [1] [2] | onewrang| ideal boy | p.408 | agape | kingjonghyun | lsp lovely [1] [2] | justaemin| kindergarten | felicity [1] [2] | dreaming | canusmile [2] | perfect reason | mbckpop | keysyou [1] [2][3]

awww yeaaaahhhh! (do the pics show up now mods?)

omona shawol- how you feel about the hair, what do you want for this comeback, what's the timeline you think?

(ps if you post pics from their time in thailand, could you put it behind a spoiler cut so folks don't get...spoiled?)

turdferguson.livejournal.com

By Kay Thompson

As a resident of the rural American Midwest, I’ve logged some experience as one of thousands of people attending a festive gathering that puts culture on display. No, I’ve never been to ComicCon – but I have been to the state fair. I commented to my friend as we departed Los Angeles Memorial Sports Arena after a hot, exhausting day at KCON 2014, that KCON bore a lot of resemblance to the state fair. “It’s only missing the animals,” I said (although, after hours spent in queues, I felt like I’d become part sheep). KCON presented attendees with the spectacle of a culture that many of us had only imagined rather than experienced firsthand. We could imitate dance moves and makeup routines, hear about K-pop blogging, and watch Korea’s super stars perform – live and in person! I attended KCON to find out: What does engagement with Korean popular culture look like, “live and in person”? And to what extent is that engagement meaningful? Here, I reflect on how KCON addressed those questions, from the mechanics of attendance to the bigger picture –and what KCON could do better in the future to build on the promise of the Korean Wave.

KCON, now in its third year, is organized by the television channel MNET America and its parent company, CJ E&M. The entire convention is held in downtown LA near the campus of the University of Southern California and the California Science Center, ensuring easy access by public transportation. This year’s convention was arranged entirely outdoors, around the perimeter of the stadium beneath tents; on the south side of the arena, a separate area had been designated as the “Market” and housed food trucks, merchandise vendors, sponsor booths (CJ, Viki, Asiana, Verizon, and more), and a small stage for daytime performances.

( Read more... )
What would it look like for KCON to create a cross-cultural encounter that brings us closer to this kind of learning and transformation? Click on the source below to find out!

Beyond Hallyu

MOD NOTE: I got permission to post half of the article from the Beyond Hallyu mods as per our agreement. I took the most compelling sections and shared it with yall, I thought at least some of you would appreciate a critical eye, especially from Kay Thompson who is a fantastic writer. READ THE FULL ARTICLE ON THEIR WEBSITE!

benihime99.livejournal.com

Back in 2008, in the dark days before 1080p YouTube videos, I watched Girls’ Generation’s “Kissing You” video for the first time. I didn’t know the group, let alone care about them—I was a new Super Junior fan eager to watch Donghae’s cameo—but the cheesy sets and fairy-tale outfits quickly won me over. After years of choosing to listen to all-male bands, it was refreshing to see and hear girls my age that I could relate to. By the time “Genie” came out, I was a full-fledged superfan.

( Read more... )

OP's note:

The article doesn't cover everything but it's a good start for a discussion.

One thing that bugs me the most about k-pop is that sex sells (we all know that), lots of girl groups do sexy concepts (some willingly, others, not so much... which itself is an issue); but those same girl group are bashed and insulted for giving the audience what it wants: SEX. And it's not just k-pop it's entertainment in general. You're not relevant until you're "sexual" but then you're a "relevant slut". And considering how young some of the idol are, it is a real issue. On one hand they're asked to be "saint", but on the other hand they should be ready to "sin" to be popular.

Either way, I know the previous article was a bit of a mess, but I thought this could make for an interesting discussion.

moonrok, macheretaengoo's channel, 1theK (former LOEN MUSIC) , SMTOWN

uledy.livejournal.com

On June 9, PSY released the music video for “Hangover”, his newest release which features American hip hop legend Snoop Dogg.

“Hangover” features appearances by YG Entertainment's G-Dragon and CL, with a rhyme scheme that can appeal to both Korean and American audiences. The video shares the goofiness of “Gangnam Style” and “Gentleman”, with the hip hop street cred of Snoop.

While Snoop Dogg may seem like an unlikely artist to be featured with PSY, the pioneer of West Coast hip hop has an on-going relationship with YG Entertainment and Korean pop.

( what's your friend's attitude? why she so damn rude? huuuuuuuuuuuuh? )

sources: kpopstarz | SevenDwarfsHappy1026 | WonderGirlsVEVO | 38xavierable2 [1] [2] | SturdyPineTV | BIGBANG | MediaVOP

what's your fav collaboration omona (hip hop or otherwise)??

turdferguson.livejournal.com

ichigo-shortcake

There were 3 specific things that we abided by at that time [during our trainee days].

Firstly, to greet well (to whoever, sincerely).

Secondly, to be punctual.

Thirdly, to tell no lies.

No matter what happens, these are the 3 things that the members and company abide to, and it is also the promise between us members. It’s been a year and a half since debut and this promise still holds true. I believe that it would be the same in the future… The company once told us, “The road that you all have chosen… You will live by communicating with the public, receiving their love while meeting their expectations. If you cannot even keep a small promise to yourselves, how are you going to keep the many promises you make to the public?”

-B1A4′s Baro, Star Column interview, 2012

One of the perils of being a K-pop fan is the possibility of betrayal by people we trust. We come to know idols, and sometimes the staff behind them, through performances, interviews, and variety shows; the more time we spend with information about them, the more we believe we understand about their selves and their lived realities. Yet even as we cheer for our favorites, watching them soar to new heights of popularity and performance ability, we are aware of and occasionally confront the fact that the industry exists for one reason, and that reason is not the growth and wellbeing of the young people who are its face. The K-pop industry is fundamentally a capitalist enterprise, and it exists to generate profit. Our glimpses “behind the curtain” are often jarring, revealing an industry that does not love its idols the way we do, and that loves us only insofar as we buy the products (from their own albums to makeup, snapbacks, chicken, and more) that our faves advertise. We quickly learn that people in the industry will do whatever it takes to keep their idols relevant and moving products off the shelves.

It’s unusual, then, that in the context of an industry that values profit over people, WM Entertainment holds its idols – a 5-member boy group called B1A4 – to the expectations Baro outlines above, expectations that put humanity and trust at the center of every interaction. And it’s ironic, and perhaps a little sad, that the same company is now under fire, facing allegations of dishonest business practices while promoting the group’s second full album. Specifically, WM has been accused of sajaegi, that is, illegally buying back B1A4’s physical albums in order to increase the sales numbers that factor into music shows, where idol groups have the opportunity to win awards based on several criteria.

( Read more... )

Beyond Hallyu (there's more of this article there~)

uledy.livejournal.com

By Kim Young-Jin

A video from singer Rain’s new album, “Rain Effect,” is drawing criticism for what some call a racially-insensitive caricature of black women.

Bloggers and observers took exception to the video for “L.A. Song,” the album’s second single, which depicts a black woman whose chest and buttocks enlarge significantly after being kissed by the singer.

“The suggestion…is that his kiss activates this hyperbolic sexuality of the woman,” said K-pop-focused website Seoulbeats in a post. “Combined with the predatory gaze he shoots her way prior to this makes this scene more than uncomfortable.”

The video, part of Rain’s return from a four-month hiatus, was the latest K-pop product to be hit for racial insensitivity. Comedians, pop singers and other celebrities have made racist gestures in recent years, including those that feature blackface.

A representative of Cube Entertainment, which released the album last week, was not immediately available for comment.

( Read more... )

( The Music Video )

Source: the korea times | loen

gif credit:

suxaholic

uledy.livejournal.com

Hallie Bradley, right, author of the blog “The Soul of Seoul” sits with her husband, guitarist Jung Jae-oo. The couple has implemented “fighting rules” to help handle cultural differences in their marriage.
/ Courtesy of Hallie Bradley

Balancing Love, Race and Culture

By Kim Young-jin

After Jenny, an American, decided to move to Busan to teach English, she researched the expat dating scene in Korea. And then she resigned herself to being single.

“A lot of people say that Western guys in Korea only want to date Korean girls and Korean guys only want to date Korean girls,” she said. Such views weren’t completely accurate, however. “There are men who are exceptions.”

She eventually began going out with a Korean, a “rebellious and unique” man who “liked being different.” But her initial expectations reflected common perceptions about dating here, where it’s more common to see heterosexual couples of expatriate men and Korean women, than vice-versa.

The number of Korean man-expat woman couples appears to be on the rise, however. While data on expat dating patterns are difficult to come by, longtime observers say the increase is visible in hip areas such as Seoul’s Itaewon and Hongdae districts.

This may seem a matter of course, given the rapid growth of the foreign population, whose number recently surpassed 1.5 million. Still, it raises intriguing questions in a country where locals often joke about how Korean women are coveted for their beauty while the men are disregarded for having diminutive bodies.

( Read more... )

source: the korea times

so, this article kind of says things y'all already know, however, I was pleased that there was some (SOME) discussion regarding the difficulties Asian men and Black women face dating outside their race in South Korea (cause all these expat articles are generally like foreign = western = white which like, nah).

uledy.livejournal.com

20131106_seoulbeats_fiestar1

Lindsay of SeoulBeats writes:

As far as rookie girl groups go, Fiestar is firmly in the middle of the road. They’ve had decent success especially with their debut, but they haven’t had a hit to rocket them to stardom either. When you look at what each member of the group has to offer individually it seems that the content given to them by the company is the issue, not their talent. Containing members form Korea, China, and the USA, Fiestar is not only diverse but also multitalented. Member Cao Lu was a solo singer originally in China and rapper Yezi has already made a name for herself in the underground scene with her mix-tape releases. When these factors are considered, it seems a shame that the ladies of Fiestar continue to be given sub-par material like “I Don’t Know.”

It isn’t that “I Don’t Know” is any worse than any other cutesy K-pop single, but it certainly falls near the bottom of the list in regards to both song and MV. It’s got a decent hook, but the rest of the song is boring in comparison. Similarly with the MV, the drama scenes are entertaining at least, but the “dance” sequences aren’t particularly engaging. But what’s worse than dooming this potentially talented girl-group to mediocrity is the fact that “I Don’t Know” sports a plot line and lyrics that are insulting to both men and women alike.

What at first seems like a nice, innocent, romantic MV turns out to be nothing but a cheap ploy to portray young women as clueless and young men as breast-obsessed idiots. Possibly my biggest complaint with this MV was how misleading the beginning was. It seemed like for once the nerdy guy was going to get the cute girl and that she was actually going to share his interests in figurines, etc. Likewise, I felt betrayed when the focus suddenly shifted to the girl’s breasts and the pleasant atmosphere of the room became creepy.

( Read more... )

Sources: seoulbeats | loen

idk how to tag this...we don't have an op/ed or sexism tag so idk

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OMONA THEY DID(N'T)!

endless charms, endless possibilities

Entries tagged with op-ed

KpopVocalAnalysis' Vocal Ranking Chart 2016 version

A New York Times Op-Ed: South Korea’s Misogyny

K-Pendium waxes rhapsodical about Oh My Girl's "Closer"

Opinion: Why Sasaengs Happen in Korea

I feel it in the water, I feel it in the earth, I smell it in the air- SHINee Comeback Approaching!

"KCON 2014: The convention we got, and the convention we could have"

Bad Girl, Good Girl: The K-pop Fandom's Sexism Problem - The Feminist Question

K-Pop & Its Love Of American Hip Hop

Clarifying B1A4′s sajaegi scandal: Lessons for K-pop fans

Rain's Video Criticized for Racist Elements

Is Dating Harder for Expat Women?

[OP-ED] Wishing I Didn't Know Fiestar's "I Don't Know"

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