I Can’t Live Without You: Jung Yonghwa’s Special Forces

Resolve

CNBLUE leader Jung Yonghwa’s latest solo single, LETTER, dropped on May 21 last week, which is a bit odd considering that he’s been in the army for the past couple months, but the circumstances surrounding his enlistment in early March were anything but ordinary. He entered the military under a white-hot spotlight but still managed to keep his dignity and poise despite the intense scrutiny he was under the time. This is evidenced by the release of this latest single, which for all intents and purposes probably would not exist without Yonghwa’s resolve and strength of character.

Happier days

2017 was a fine year for Yonghwa and CNBLUE, full of music and accomplishments, and the band seemed to be leaving the ugly spectre of 2016 behind. In the beginning of January 2018 things continued to go along smoothly, with Yonghwa’s successful variety show Island Trio just completing its first season and another, TalkMon, just starting. Yonghwa was appointed an honorary ambassador to the 2018 Pyeongchang Paralympics and had booked several dates for his solo Asia tour into the early spring. There were hints of a CNBLUE comeback in South Korea as well as in Japan and CNBLUE members were riding the wave of each playing leading roles in popular Korean dramas the year before.

Character assassination

Then out of the blue on January 18 came a blind item in the South Korean media accusing the leader of a popular idol band of receiving preferential treatment in admissions to graduate school at Kyung Hee University. After several hours of frenzied speculation the idol turned out to be Yonghwa, but his purported crime was almost laughable. Instead of taking his entrance interview on campus at KHU, due to his busy schedule one of the college’s professors went to Yonghwa’s studio at FNC Entertainment, his agency, and interviewed him there. No big deal, right? Unfortunately the press played this up as a sin on the level of killing and eating the president’s daughter on live television and Yonghwa was vilified for several days for what was essentially a clerical error. The press dug up and revealed his confidential entrance test scores (he did pretty well, actually, getting a 98 out of 100 on the practical score because DUH he’s a professional musician), Korean netizens ruthlessly scrutinized his intentions for wanting to go to grad school, and the general public assailed his honesty and assassinated his character by suggesting that he went through the back door in order to gain admission to KHU. This despite the fact that out of the eight people who applied to the program, all eight were admitted, and that KHU had to ask Yonghwa several times to apply since they were short of students. All of this speculation took place over a few days and in the meantime Yonghwa’s character was viciously attacked and his professional reputation was seriously damaged. He was edited out of a couple television shows he’d recorded earlier and the last two shows of his solo tour were cancelled.

And to add insult to injury, on January 26 Yonghwa announced that he was enlisting in the army effective March 5, so all of his future events were effectively ended. Whether punitive or not this clearly was a surprise. As an ambassador for the Pyeongchang Paralympics, which began March 9, Yonghwa would surely have been prominently featured.

Pre-shitstorm

The chain of events was astoundly swift and the shitstorm was intense. It seemed like one minute Yonghwa was posing for pictures with the president of South Korea and the next he was being accused of cheating, lying, and avoiding military service, all within about a week.

But although the judgment in the press was rapid and cruel, Yonghwa didn’t waste a lot of time moping around. Apparently once he knew of his enlistment date he went into creative overdrive, with the results being a pair of completely revamped concerts held in Seoul the weekend before he entered the army and the recording of five new songs, complete with music videos. These songs are scheduled to be released one at a time until his enlistment ends in early December 2019, and LETTER is the first of these. He also participated in the creation of a photobook, wrote the lyrics for a song for his labelmates AOA, recorded 90 short voice messages to be released weekly for fans, and recorded at least one new song with CNBLUE. In some ways this rigorous work schedule must have been a respite from the insanity of the Korean press savagely slandering him every day. It was probably a relief to retreat to the bliss of his studio where he could create music in peace instead of having to deal with the endless recriminations of the relentlessly pursuing media.

LETTER, the new single, is a lovely and understated track, with Yonghwa’s controlled yet emotional delivery carrying the song. It’s deceptively simple, with a spare arrangement of strings, piano, drums, percussion, and vocals, but the song’s structure and build are outstanding. Yonghwa sings the song’s plaintive first verse to a straightforward piano accompaniment, then jumps immediately into a hooky earworm where he belts the refrain, alternating the English phrase “I can’t live without you” with Japanese lyrics. The somewhat lower pitch of the song adds to its melancholy, especially in the last line of the chorus, which features a particularly sweet and melodic vocal run ending in a subtle octave jump. Yonghwa’s rich, husky vocals are spot on as he easily hits the chorus’s high notes after purring the softer lines of the verse, throwing in a bit of delicate falsetto as well as some growly lower tones. He knows exactly how to express emotion with his voice without resorting to gimmicks or over-singing.

The song’s lyrics outline an ill-fated romance between a couple who alternate between affection and quarreling, yet at the end of the song Yonghwa affirms his commitment to the relationship despite its troubles. This reflects a maturity and growth in thinking from his past compositions such as COLD LOVE (2014), which laments a lost relationship without hope of reconciliation, or LALALA (2013), which expresses regret for a recent breakup. The ambivalence of the love story in some ways reflects Yonghwa’s love/hate relationship with the South Korean press and public, with his agency, and with his career, all things that benefit him but which also have hurt him terribly.

Prodigious

Like many very talented people Yonghwa makes what he does look effortless. But unfortunately the flip side of this is that people don’t appreciate the amount of work it actually takes for him to do what he does, so a lot of his labor goes unrecognized. As an example, even during that dire month or so when the South Korean press was excoriating him on a daily basis he managed to produce a huge amount of work. Yet judging from the quality of his final concerts just days before enlisting as well as the beautiful simplicity of his new single he managed to keep up his superhuman standard of excellence despite the immense stress he was under. In part his prodigious amount of work during that time was probably a coping mechanism during the chaos of those final six weeks after his enlistment was announced, as a balm against the haters who were attacking him as well as an FU to those trying to destroy him. Rather than backing down or giving up he instead doubled down on his creative output.

Yonghwa enlisted on March 5 and after he finished his five weeks of basic training he did well enough to be recruited for South Korea’s special forces, an elite commando regiment that trains much more intensively than standard troops. In recent history only one other South Korean celebrity, Lee Seung Gi, has qualified to be admitted to the special forces, although another notable alumnus is current South Korean president Moon Jae-In. While most idols are content to spend their mandatory military service in the regular forces, Yonghwa instead committed to this much more difficult and rigorous regiment, which is stationed right near the border between North and South Korea and which is a part of South Korea’s first line of defense against any threat’s to the country’s security, including that of its restive neighbor. This is no cushy desk job or civil service position—it’s hardcore military training in the coldest part of the country, not far from the DMZ, and under harsh and exacting conditions. By choosing the special forces Yonghwa is shutting down anyone who slandered him during his recent controversy or who doubted his desire to serve his country.

The real deal

It may be surprising to the casual observer that a Kpop idol would choose such a difficult path but Yonghwa is very driven and this gives him the chance to further test himself to his limits. Also, according to some accounts serving in the regular South Korean military can be a bit monotonous, filled with a lot of tedious physical tasks, whereas the special forces is the real deal. Yonghwa is an intense person who is easily bored so he might prefer hard training as opposed to just killing time in the regular military.

I also wonder if Yonghwa is harboring a little bit of rage at how he was treated by in South Korea before his enlistment. It couldn’t have been easy for him to swallow all of the abuse he endured, but he’s not the type to lash out at others, so this gives him a socially acceptable outlet for any anger or frustration he might be feeling, allowing him to forget his past troubles and to focus on the special forces’ intensive training.

Stronger

The special forces will also make him physically stronger, which can be interpreted as a way of making himself less vulnerable in order to defend himself against the crazy industry he’s in. Maybe he’s also figuring out that being the good boy and playing by the rules is no protection and that it’s useless to try to be perfect—respectability politics never work so he has to learn to fend for himself.

It couldn’t have been easy for Yonghwa to go away in the middle of such a fruitful period in his career. There is not enough time in the world for a person like him to accomplish all he wants to do and to have his time cut short so abruptly is a cruel blow. As a creative person I know the utter frustration of having to abandon a project halfway through, or to have something cut short without coming to fruition. It’s almost like a physical pain, a halt, an abrupt and unnatural end when something can’t be completed, and Yonghwa’s two-year military service may seem like a long hiatus for an artist in the midst of making work.

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Military man

But two years is not that long in the grand scheme of things. Fashions in pop music go by in an instant but those with true talent withstand and transcend trends. Yonghwa and CNBLUE have already proven that they are more that just a flash in the pan and they have the drive, the skills, and the ability to be around for a long, long time.

Will Yonghwa be the same lighthearted person he used to be once when he comes back from the army? Onstage he radiates an infectious joyousness—will he lose the playfulness that makes his live performances so magical? Will the military make him stern and hard-bitten? I think not, but he may carry with him some of the grief and sadness from his recent hardships. But although the bright-eyed boy may disappear, the man to come will be stronger and bolder and will shine more brilliantly than ever.

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May 26, 2018 at 7:38 am Leave a comment

Thinking Out Loud: 2018 San Francisco International Film Festival

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Paternalism, Angels Wear White, 2017

The San Francisco International Film Festival is in full swing right now and as usual the fest has a great lineup of world cinema. Although my viewing schedule was very truncated due to life circumstances I still had a quality film festival experience over the first weekend.

 

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Compassionate, The Third Murder, 2017

I started my mini-marathon with Hirokazu Kore-eda’s latest film, The Third Murder. As per usual Kore-eda goes directly to the psychological heart of his characters, examining their motivations without judgment or prejudice. In The Third Murder a seemingly straightforward homicide investigation takes several unpredictable turns and eventually leads down many unexpected paths. Almost every character presents an unreliable point of view, contributing to the many shades of gray of complicity and blame. Yet Kore-eda emphasizes the compassionate over the judgmental and the film’s open-ended conclusion questions assumptions of guilt and innocence.

The Third Murder is beautifully lit and shot, with Kore-eda using gliding zooms and slow pans to delineate the cinematic space. The film also makes great use of reflection and mirroring to suggest complicity and transference of guilt, since almost everyone in the film lies at one point or another. Performances are also on point, led by the ever-awesome Yakusho Koji (Shall We Dance? The Eel) as the man accused of murder, and the dapper Fukuyama Masaharu (Like Father, Like Son) as the lawyer assigned to the case who begins to doubt everything and everybody as the film progresses.

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Vulnerable, A Man of Integrity, 2017

I continued my festival viewing with A Man Of Integrity, by Iranian director Mohammad Rasoulof. Like his compatriot Jafar Panahi, Rasoulof has been arrested in his home country and banned from making films, so A Man Of Integrity was shot on the down-low in a wintry northern area of Iran. The film is a bitter and intense drama about a family settled in a remote Iranian village that comes face to face with the town’s intractable corruption and cronyism. The delicate and vulnerable goldfish that they farm become a metaphor for the family’s tenuous status in the town, and the film is grounded in strong and intense performances by Reza Akhlaghirad and Soudabeh Beizaee as the couple who stand up to corruption in the village.

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Power dynamics, Angels Wear White, 2017

Vivian Qu’s Angels Wear White also looks at corruption and power dynamics, this time in a seaside village in China. It’s a gripping narrative about the aftermath of an assault on two schoolgirls and the reverberations of that crime on its small-town location. Director Qu captures the precarious position of the female characters in the film, most of whom are suffering under a sexist and paternalistic system, and she brings out great performances from both the adults and the preteen and teenage actors. Also of note is the film’s excellent editing which moves the story along at a steady and assured pace.

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Obscured, The White Girl, 2017

The White Girl features some beautiful cinematography by the legendary cameraman Christopher Doyle (Chungking Express), who co-directed the film with Jenny Suen. Set in one of the last fishing villages in Hong Kong, the film follows a young woman known for her very pale complexion that she protects religiously, supposedly due to her allergy to sunlight. Along the way she encounters a mysterious dude (Joe Odagiri) who lives in a ruined building that is also a camera obscura. Added to mix is an evil developer who wants to pave over the cute fishing village and a subplot involving the white girl’s mother, a famous singing star who long ago abandoned her partner and daughter. The film is heavy with allegory about Hong Kong’s current struggles with China and is a little too elliptical for my taste, but it’s always a pleasure to hear Cantonese dialog.

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Struggles, Minding The Gap, 2018

I rounded off my viewings with Bing Liu’s Minding The Gap, which blends character-driven verite with personal documentary. The film follows Liu and two of his skateboarding friends who talk about surviving life in Rockford, a picturesque city about 1.5 hours outside of Chicago that in fact suffers from a high crime rate, most of which is due to domestic violence. The film becomes cathartic for its three distinct and sympathetic characters, including Liu himself, revealing the struggles each encounters in reconciling their painful histories with their current lives. It’s the kind of humanistic doc that Kartemquin Films (which executive-produced the film) is known for, their most famous film being Hoop Dreams. Minding The Gap is good, solid documentary filmmaking that isn’t afraid to touch on difficult topics like alcoholism, wife beating, and child abuse.

Also upcoming this week—the US premiere of John Woo’s latest actioner Manhunt, which may or may not be a return to his past heroic bloodshed glory, Sandi Tan’s personal documentary Shirkers, Hong Sang Soo’s latest Claire’s Camera, and Lee Anne Schmitt’s essay film Purge This Land, among many other cinematic treats.

for tickets and more information go here 

 

April 12, 2018 at 9:41 pm Leave a comment

Dark Entries: The Great Buddha + and Mainland Noir: Chinese Crime Films

Peering, Pickle and Belly Button, The Great Buddha+, 2017

Film noir is a global cinematic genre and this month in San Francisco we’ve got the chance to see some excellent Chinese-language noir films.

From Taiwan comes The Great Buddha+, which was nominated for Best Feature Film at the 2017 Golden Horse awards and won the Grand Prize at the 2017 Taipei Film Festival. The film follows a couple middle-aged downmarket worker dudes, Pickle and Belly Button, respectively a security guard and a junk collector/trash-picker, as they go about their quotidian lives. The pair live in provincial Taiwan and they aimlessly look at porn, eat unappetizing packaged food, and otherwise try to fill their fairly boring evenings. One night their television goes on the fritz so they opt to watch dashcam footage from Belly Button’s boss’s fancy car, mostly for the prurient interest of listening to said boss’s trysts with various women. This eventually leads them down a path that they did not expect.

Shot mostly in gleaming black and white, with the exception of a few key passages from the dashcam that are rendered in oversaturated lurid color, the film explores relationships between the powerful and the powerless, the rich and the poor, and boss and worker. The pecking order is clear. Women are sexualized and powerless. Poor people are disenfranchised and powerless. Pickle and Belly Button are powerless modern-day serfs working for their bosses. And those in power can get away with murder.

This wistful and morose worldview is leavened with a healthy dose of dark humor, including writer-director Huang Hsin-yao’s wry voiceover commentary in vulgar Taiwanese. Simply yet cleverly structured, the film has a laconic fatalism found in many classic noirs from around the world.

Bitter, Black Coal Thin Ice, 2014

Also running through Feb. 25 at the Yerba Buena Center for the Arts is the series Mainland Noir: Chinese Crime Films, which focuses on recent films from the PRC. Included is Black Coal Thin Ice (2014), an excellent noir set in Heilongjiang Province in the far northeast of China. The film follows a bitter ex-cop wearily investigating a cold case and starring one of Taiwan’s best young actresses, Guey Lun Mei, as a black widow character who is more than what she seems. Bleak and twisty, the film explores the darker side of China.

Absurd, Free and Easy, 2017

The five-film miniseries also includes director Geng Jun’s absurdist black comedy Free and Easy, which won a Special Jury Award for Cinematic Vision at the Sundance Film Festival. I’ve already got my tickets and I’m gonna be there for sure.

 

Yerba Buena Center for the Arts

February 7, 2018 at 10:57 pm 1 comment

Get Ur Freak On: Favorite Movies of 2017

My favorite films from 2017 made the list for a variety of reasons but these are the movies I most enjoyed from last year. Three of the films were theatrically released in 2016 but I viewed them first at the Hong Kong International Film Festival (HKIFF) in 2017 so I’m including them here. I saw Get Out and The King on plane flights, but the rest I watched in a cinema somewhere. Listed in no particular order.

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Pulchritude, Jung Yonghwa and Nicholas Tse, Cook Up A Storm, 20171

1. Cook Up A Storm: This film is on the list for the purely aesthetic pleasure of seeing Jung Yonghwa’s perfect features on the big screen. There’s also a lot of nice food porn cinematography but the movie itself is quite lightweight and if it didn’t star my boy Yonghwa (as well as the equally photogenic Nicholas Tse) I’m not sure I would have even given it the time of day. But I’m a big fan of pulchritude so I’m putting it on my list.

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Emo, Lee Byung Hun, The Fortress, 20172.

2. The Fortress: Lee Byung Hun rehabilitates his public image completely in Hwang Dong Hyuk’s absorbing and emo historical about a famously tragic moment in Korean history. While Lee is brilliant as the courtier who must make an unbearable moral choice the rest of the cast is also excellent, including Kim Yoon Seok as Lee’s counterpart, the equally conflicted royal advisor who also pays a heavy price for his decisions.

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Wary, Song Kang Ho, A Taxi Driver, 2017

3. A Taxi Driver: Song Kang Ho is solid as usual in director Jang Hoon’s retelling of the 1980 Gwang Ju uprising, in which the repressive government brutally put down student protestors in the southern Korean city. Although the film doesn’t shy away from the political ramifications of the story it’s still very character-driven, as Song’s wary taxi driver gradually comes around to the side of justice and truth. Bonus points for a dope car chase that turns spunky taxicabs into vehicles for the resistance.

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Indistinguishable, Jung Woo Sung, The King, 2017

4. The King: The third South Korean film on this list attests to the strength and diversity of that country’s commercial film industry. Han Jae Rim’s brutal and cynical political thriller, in which the gangsters are indistinguishable from the lawyers and politicians supposedly opposing them, includes a great performance from rising star Ryu Jun-yeol, who also had a strong supporting role in A Taxi Driver.

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Complicit, Mon Mon Mon Monsters, 2017

5. Mon Mon Mon Monsters: Giddens Ko’s horror film/teen movie presents a nightmare high school scenario where no one is innocent and everyone is complicit. As he stated in his introduction to the film at the Hong Kong International Film Festival, who is the real monster in the movie?

 

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Fierce, James Baldwin, I Am Not Your Negro, 2016

6. I Am Not Your Negro: Raoul Peck’s doc about the legendary James Baldwin shines when it connects the dots between past and present racism in the U.S. Although Samuel Jackson’s does a fine job narrating the film, he is easily upstaged by archival footage of Baldwin himself fiercely speaking out about race, politics, and the historical and contemporary struggles of African Americans. Released 2016, viewed in 2017 at HKIFF.

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Tensions, Justin Chon, Gook, 2017

7. Gook: Justin Chon’s indie gem presents the Korean American perspective on sa-i- gu, the 1992 civil unrest in Los Angeles following the acquittal of the Wind, Powell, Koons, and Briseno, the four police officers caught on video beating motorist Rodney King. Chon miniaturizes the conflicts of the time and his film effectively captures the racial tensions of that moment in time.

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Lovely, Cinema, Manoel de Oliveira and Me, 2017

8. Cinema, Manoel de Oliveira and Me: An outstanding essay film directed by João Botelho, one of the influential Portuguese film director’s protégés. The film looks at the relationship between the late director and Botelho and concludes with a lovely restaging of one of Oliviera’s unfinished silent films.

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Ellipses, Taraneh Alidoosti and Shahad Hosseini, The Salesman, 2017

9. The Salesman: Director Asghar Farhadi creates another humanistic look at moral ambiguity and human frailty. As in A Separation (2011), his use of narrative ellipses and architectural metaphors is masterful, as is his ability to draw out strong and sympathetic, vividly shaded performances from his cast. Released 2016, viewed in 2017 at HKIFF.

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Unexpected, Window Horses, 2017

10. Window Horses: Another excellent animated feature from Ann Marie Fleming (The Magical Life of Long Tack Sam, 2003), this time following a young Iranian-Chinese Canadian poet named Rose as she travels to her father’s home country for a poetry festival. Yes! Totally fun, unexpected and imaginative, with a gorgeous blend of hand-drawn and digitally generated animation.

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Bleak,Tadanobu Asano, Harmonium, 2017

11. Harmonium: an utterly bleak family drama in the tradition of Tokyo Sonata, Koji Fukada’s movie shows the catastrophic consequences of a few bad life decisions. Released 2016, viewed in 2017 at CAAMfest.

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Bravura, Youth, 2017

12. Youth: Feng Xiaogang’s look at a theater troupe in Cultural Revolution China uses a familiar trope of the youth romance film—the awkward country bumpkin outsider rebuffed in her attempts to join an elite, more sophisticated group–to cleverly investigate the deeper political and social elements dividing the country at the time. Utilizing his familiar bravura filmmaking style, including swooping camerawork and intense and masterfully conducted battle scenes, Feng never loses his focus on the impact of great historical events and social movements on ordinary human beings.

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Unease, Terry Notary, The Square, 2017

13. The Square: Ruben Ostlund kicks up the social commentary a notch from Force Majeure (2014), and The Square is an even better film about male anxiety and weakness than its predecessor. Ostland is a master at inverting cinematic conventions and manipulating sound, image and editing to create maximum awkwardness, discomfort and unease.

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Horrors, LaKeith Stanfield, Get Out, 2017

14. Get Out: A brilliant brilliant movie that proves that commercial genre films can be as significant as any other art form in capturing the zeitgeist of a moment in time and place. Director Jordan Peele utilizes the horror genre to reveal the true horrors in the U.S., where racism and oppression lie just below the surface of seemingly benign everyday gentility.

January 23, 2018 at 7:33 am Leave a comment

End of a day: Jonghyun’s suicide and Orientalist concern trolling

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My people my people let’s please not fall for this.

Kpop superstar Kim Jonghyun killed himself earlier this week after a lifelong battle with depression. But the way it’s being spun in some western media outlets has become ridiculous, as if his suicide is a result of the unique pressures of being a Kpop star. It’s not about Kpop or South Korean culture only–this is a bunch of Orientalist bullshit and I’m sorry that people are believing it, though sad to say I’m not surprised that some western press outlets are carrying on as if it’s the gospel truth. But this post on Asian American blog You Offend Me You Offend My Family (YOMYOMF) continues some of the same troubling assumptions, which I had hoped people were not buying.

YOMYOMF’s post states, “His death is being investigated as suicide, and it is pointing in the direction of the mounting pressures he faced as a K-Pop superstar who was in the spotlight. . . It is a major issue which we all need to reflect and act on, and I hope to see Asia really take a serious look at this issue. “ I appreciate that someone is pointing out the need for mental health awareness in Asian/American communities but let’s not pretend that this in only an AZN issue.

YOMYOMF’s post, however, only echoes a lot of the coverage Jonghyun’s suicide has been getting in the Western press. To be fair, media outlets such as the New York Times, the BBC, and People Magazine have been evenhanded in their discussion and avoided racist assumptions. But the appallingly paternalistic coverage in other Western press outlets has barely hidden a slew of racist and culturalist concerns and misconceptions about the Kpop industry and South Korean culture in the most offensive way possible. What really bothers me, though, is the myopia the west has about its own complicity in these kind of tragedies.

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The UK media outlet The Guardian has been particularly egregious in beating the Orientalist drum about Jonghyun’s suicide. The Guardian posted this little bit of culturalist concern trolling earlier this week, citing KPop’s “Hunger Games-like musical culture” as a reason for Jonghyun’s death.

“The lockstep perfection of SHINee’s dance routines is undeniably thrilling – but there is something troubling about them too, knowing that only the absolute best will be tolerated.”

Another article from The Guardian also shamelessly pathologized South Korean culture:

“The relentless pressure to achieve can be found in every sector of South Korean society, from its highly competitive education system to a corporate culture that has little tolerance for failure – factors that experts say contribute to the highest suicide rate in the industrialised world.”

Because we don’t know any tech bros in Silicon Valley who are sleeping under their desks and pulling 80-hour work weeks, oh no.

CNN.com also claims, “K-pop’s success has also been dependent on a highly-polished image. Stars typically can’t be seen dating, getting plastic surgery, or become embroiled in any kind of scandal.”

This is stated as if Honey BooBoo never existed or that Lindsey Lohan’s lifelong misery isn’t a thing.

To put this into a broader context, one of the reasons why South Korea uses Kpop and hallyu for cultural and economic leverage is because of the direct results of Western imperialism. Korea was seriously fucked up by the Korean War and one of the ways South Korea managed to dig itself out of its misery is by using soft power in the form of cultural exports to stabilize its economy. So if bombing the fuck out of a country and then dissing it for doing whatever it can to improve life for its citizens isn’t victim blaming I don’t know what is.

To add insult to injury, NBC Chicago news confused SHINee with fellow KPop group BTS and showed a clip of BTS when discussing Jonghyun’s death. I’m not even gonna go there because this is so appalling.

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I’m not defending Kpop because it certainly needs all the scrutiny it gets for its treatment of its young stars but the Western press needs to back the fuck up from its sanctimonious attitude about Jonghyun’s death. The prevailing trope has been “Kpop eats its young,” as if this is unique to South Korea’s entertainment industry (The Guardian’s article also criticized Japan for this, which is telling). Hello, do I need to make a list of Western pop stars who have drank and drugged themselves to death? Can anyone say Amy Winehouse? Or those who have outright killed themselves? Cobain, Bennington, and Cornell are names you need to remember. Or of the walking dead of child stars who most likely were sexually abused and now live with that every day of their lives, like Corey Haim, who his friend Corey Feldman says never recovered from being raped as a child by Hollywood executives? The western press needs to step off.

The underlying message here is, “You are barbaric and backward. We are better than you and we are entitled to tell you about it.” And if that’s not Orientalism in a nutshell then I don’t know what is. So please, my people, don’t fall for this.

 

 

December 20, 2017 at 7:44 pm Leave a comment

I Know You’re Coming Along: CNBLUE STAY GOLD album review

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NOTE: One more CNBLUE post before I’m done. Bear with me as it’s the end of the year and they probably have run out of product for the time being.

CNBLUE’s new Japanese album, STAY GOLD, just dropped a few weeks ago and once again the Korean rock quartet blends its signature sound with some new beats and flavors. This time they’re mostly on the Jpop tip, and as a whole the album is a cohesive, solid piece of work, with each track flows seamlessly into the next, This is interesting considering almost every track is arranged by a different producer.

Freedom summer, Starting Over, 2017

The lead track, STARTING OVER, is a swinging soul throwback that hearkens back to Ray Charles and his mellow, piano-based R&B sound. The song combines acoustic rhythms mixed with electronic beats, with finger snapping, handclaps, and a rolling piano line that gets the toes tapping and the body swaying, and Yonghwa’s powerful, gorgeous vocals effortlessly convey the liberatory mood of the music. Apropos of its civil-rights era sound, the anthemic chorus and the lyrics, which implore the listener to “sing out loud with all our might/have fun just chillin’/unrestrained/set me free” (Japanese lyrics in italics) feels like something from a freedom summer bus ride. But the song also feels quite contemporary as the track includes a deep thrumming bass line and the second prechorus leads into some sinuous, buzzing guitar. Interestingly enough, the lyrics are almost evenly split between Japanese and English, making for an unusual linguistic mélange.

The second track, THIS IS, at first is a seemingly throwaway pop song that is actually quite sophisticated. This upbeat jam features Yonghwa singing the staccato triple-note Japanese lyrics in his best Jpop style, with a zippy synth line over a strong 4/4 structure that creates a beautiful piece of power pop. There’s a really nice moment about a minute before the end of the song where all instrumentation drops out except a simple, unfiltered piano line that bridges to the song’s conclusion.

The punchy third track, CAPTIVATE, written by Jonghyun, combines a strong rock beat with EDM elements. Yonghwa & Jonghyun flawlessly sing its all-English lyrics, and Yonghwa’s strong raspy voice contrasts nicely with Jonghyun’s smooth crooning.

ONLY BEAUTY, also written by Jonghyun, is a beautiful power ballad that really allows Yonghwa’s vocals to shine, making full use of his singing chops as he ranges from sweet, lilting vocals to raw yet controlled belting. Arranged by Japanese pop metal producer Tienowa, this is my favorite track as it creates a gorgeous soundscape that blends the sound of the Japanese lyrics with a lovely melody and beautiful production. This trip hop track reminds me a bit of their 2015 Japan cut SUPERNOVA as its dense wall of sound, with its fluid bass line, strong drums, crashing cymbals and echoing chorus creates a gloriously bombastic bed for Yonghwa’s powerful vocals. Yonghwa’s final acapella belt towards the end of the track showcases his raspy rock voice at its best.

Yonghwa’s composition, BUTTERFLY, meshes it Japanese lyrics perfectly with its pretty, jazzy melody and shows off more great work with Japanese collaborators Hasegawa and Tienowa. This beautiful bit of pop heaven includes some lovely piano and acoustic guitar picking, a smooth bass line, and a hint of synthesizer over Yonghwa and Jonghyun’s outstanding vocals, with a bit of electric guitar to dirty up the mix. The solitary piano break at the end of the song does a great job of reiterating the lovely bones of the song.

MIRROR is the album’s Jpop tribute, as it sounds like it could easily be an anime theme song with its combination of strings, horns, synthezer and poppy vocals. The track features some incredibly upbeat and cheerful lyrics written by Yonghwa, aka the world’s most optimistic person.

Because the heart can act like a mirror

In a reflection of one another

The pieces coming together make the world brighter

Let’s make a chain of hope

A billion hearts all in a row

Not meant to be only for me

The more we share we will be one

Who writes these kind of Hello kitty lyrics except a dreamer and an optimist? It’s actually kind of refreshing that Yonghwa isn’t embarrassed to sing such flagrantly sweet and sappy lyrics, and they fit the track’s poppy production to a T.

The album’s next track, SHAKE, is the title track from their last Japanese single last spring and it only gets better with repeated listens. It’s ridiculously catchy and danceable and it’s one of my favorite songs from their recent live performances too. The wacky music video is also worth a look as it shows a retro 1960s’ salaryman world gone mad.

The next track, SEEDS, is Jonghyun’s contribution to the album’s world of happiness. Entering into the Irish Rock sweepstakes, it’s another ridiculously upbeat song, with the all-english lyric proclaiming “from the times you cry the flowers grow.” The song is all about overcoming adversity, which reflects how the band has come back from their troubles last year. STAY GOLD is a far cry from last year’s Japanee release EUPHORIA, which was recorded immediately following the worst controversy of CNBLUE’s otherwise mostly successful career, and it had several fairly melancholy tracks on it. But 2017 ha been very kind to CNBLUE and STAY GOLD reflects the upswing in the band’s fortunes, with sold-out shows across Asia, starring roles in popular dramas, and strong sales for their solo and group releases alike.

The most downbeat song on the album is SOMEONE ELSE, another carryover from last spring’s SHAKE single. It’s bit of a mood anomaly but it had to be included here because it’s absolutely flawless. It features Yonghwa’s perfect English delivery, and his raspy voice here beautifully complements the country rock sound of the track. The song’s lyrical structure is also stellar, with paradoxes (when I’m with you/you’re not with me) that convey the melancholic longing of the tune, and the short meter of the first and third lines of the chorus cleverly breaks up the rhythm of the rhyme. A hint of strings, strummed guitar, and a popping bass line round out this clean, simple track that’s a genius blend of songwriting, production, and performance.

The album concludes with BOOK, another relentlessly upbeat, visionary song. Here Yongha’s storytelling skill really come to the fore as he uses the metaphor of a book to express the band’s long journey with its fanbase since its debut nearly eight years ago.

I open a book and my story to see you again

I know that you’re there for me

Remember the time when you gave me the strenth to begin

I know you’re a part of me

Take a step at a time

Cause I gotta believe

I’m gonna make the climb

When I gotta to be strong

and I have to be brave

I know you’re coming along

This may be the last full-length Japanese releae before Yongha’s enlistment sometime in 2018 and it’s as if he’s reassuring fans that both they and the band will endure the long hiatus and come out of it together on the other side. In some way it’s a love song to their fans, and it’s sappy and heartfelt in the best Yonghwa style. It’s delivered with such force and sincerity that its earnest, wide-eyed platitudes ring completely true.

Although it’s very strong the album it isn’t perfect. Some of the production is overly wrought, obscuring the melodies instead of highlighting them. Jonghyun’s voice feels a bit strained on some of the tracks, unlike on the moody ballad WAS SO PERFECT (also from the SHAKE single last spring), where he made the most of his smooth, smoky vocals. The production on some of the songs occasionally makes Yonghwa’s Jpop-style vocals sound thin and nasally and doesn’t make full use of his rich and powerful range. Yet despite these small details, and even though most of the tracks are the work of different producers, the album hangs together really well.

It takes a certain flexibility to follow CNBLUE and their musical wanderings these days because creatively they are changing and evolving with whiplash speed. For those who like a steady and predictable style from their pop music, with CNBLUE you’re probably shopping at the wrong store. For those who enjoy something new and unexpected with every release, CNBLUE is the band for you. I’m personally really loving hearing something completely different with almost every release, especially since they maintain their high level of songwriting, production, and performance throughout. As per usual, STAY GOLD is more quality product from CNBLUE.

December 1, 2017 at 8:19 am 4 comments

Non, je ne regrette rien: The Package, eps. 1-2 review

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Tourism, The Package, 2017

Okay, fuck it. This blog is now all-CNBLUE all the time. Or at least for the next post or two.

After an absence of three years on the small screen, CNBLUE leader Jung Yonghwa has made his latest appearance in a Kdrama in the wacky romcom THE PACKAGE. I wasn’t sure exactly what to expect from this project except some pretty scenery from France, so the screwball comedy style of the first two episodes has been a really nice surprise.

The premise is simple—a motley crew of seven Korean tourists take a package tour to France, led by expat Yoon SoSo (Lee Yeon-hee), their patient and long-suffering tour guide. As per kdramas, they along the way they discover various things about themselves and each other.

The freak, The Package, 2017

What sets this drama apart from some of the others that I’ve seen is its completely wacky humor. Yonghwa plays the main lead, San Maru, but instead of being a typical dreamboat heroic type he’s a total freak who has random B&D fantasies, giggles while grabbing an armful of vibrators in a Paris sex toy shop, and constantly takes goofy selfies, even while he’s waiting to be grilled in an interrogation room in the Paris airport. But beneath this dorky exterior is a sensitive and upright soul, which Yonghwa ably conveys through his expressive puppy-dog eyes.

Yeon Hee as SoSo, the tour guide with a past, is Maru’s potential love interest, and she hides her mysterious history behind her smiling professional façade. Like Maru she’s fleeing some kind of romantic disappointment so no doubt they’ll hook up sometime before the drama ends.

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Boredom, The Package, 2017

Rounding out the cast are a young couple who are past the romantic part of their relationship and are now in the boredom period, a grumpy-ass ahjussi and his forbearing and possibly seriously ill wife, and a man who may or may not be traveling with his young mistress.

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Screwball, The Package, 2017

The whole thing is played against the gorgeous French scenery and true to form the cinematography by the Korean cameraperson is top-notch. The first two eps displayed a screwball sensibility that at times hearkened back to the best of Lubitsch or Capra, kdrama style, with characters randomly discussing their bowel movements or making madcap slo-mo dashes through the streets of Paris, coffee cups a-flying, while taking broad pratfalls along the way.

 

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Skinship, The Package, 2017

Yet underneath all of the slapstick nonsense is a more serious tone, as Maru is forced to work on end-of-the-year reports for his shady company back in Korea even while he’s on his vacation, and SoSo deals with the precarities of contingent employment in her adopted country. By the end of the second ep we got a sense of some of the romance to come, too, as the two unattached characters Maru and Soso shared some accidental skinship and bonded over their fondness for the poignant 1991 French film Les Amants du Pont-Neuf (The Lovers on the Bridge).

Yonghwa had the dubious good fortune of debuting in the 2009 drama YOU’RE BEAUTIFUL before he had had much acting experience and in that show and his next drama, HEARTSTRINGS, he was as wooden as a day-old bagel. His performances improved quite a bit in subsequent dramas and by his fourth role, in the clever 2014 saeguk THE THREE MUSKETEERS, he had learned how to convincingly create a memorable character through his acting. But first impressions are often indelible so he’s faced a lot of prejudice against his acting skills due to his stiff performances in those first two shows.

 

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Fool, The Package, 2017

So it’s great to see that in the first two eps of THE PACKAGE Yonghwa completely dispels any doubts about his acting skilz, as he nicely develops Maru’s character, at times a wide-eyed fool completely lacking in social skills, and at others an innocent abroad in a world of crooks and thieves. His comic timing is quite on point and he manages to go from gleeful to confused to emo in a split second.


Gratuitous pulchritude, The Package, 2017

He’s also featured in the hallowed and time-honored kdrama convention known as the “gratuitous leading man topless scene.” In this case it takes place at the end of the first ep (if you want to skip to it immediately) as the camera lovingly documents his semi-nude torso, detailing his toned bod from all angles of view.

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Tourist herding, The Package, 2017

But despite the allure of this display of pulchritude, it’s Yonghwa’s endearing and layered performance as the loveable oddball San Maru that’s made the biggest impression on me so far. His leading lady Lee Yeon Hee does a good job conveying the banality of her job as she herds cranky tourists around France. I’m hoping that future eps may allow the SoSo and Maru to improve on their verbal sparring ala Hepburn and Tracy.  And will we get to see a Yonghwa screen kiss this time around? The truth will only come out in the watching, but this drama is just heartfelt and breezy enough to make me want to see more.

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Melo medical, Hospital Ship, 2017

NOTE: This has been a banner year for CNBLUE members appearing in Korean dramas. In addition to Yonghwa’s leading man role in THE PACKAGE, his bandmates have all been cast as the male lead in various shows. Drummer Kang Minhyuk is currently starring in the very popular medical melodrama HOSPITAL SHIP, along with kdrama queen Ha Ji Won (THE SECRET GARDEN; EMPRESS KI), and the show has been one of the top-rated dramas in South Korea much since its premiere in August.

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Throwback romance, Girls Generation 1979, 2017

Guitarist Lee Jonghyun has been the male lead in not one but two dramas in 2017, the saeguk comedy MY ONLY LOVE SONG that screened on the Netflix platform in June, and GIRLS GENERATION 1979, the throwback teen drama that aired in the fall. After bassist Lee Jungshin appeared as the second lead in the historical remake of MY SASSY GIRL in early summer he was cast as the lead in LONGING HEART, a time-travel romance that will premiere in December. Somewhere in there in 2017 CNBLUE also managed to release two albums in three different languages and tour twice in Japan and once across Asia. Yonghwa added in his own two solo album releases and went on an eleven-show tour in Japan this year.

CNBLUE’s frenetic activity in 2017 is quite possibly a clue that one or more of them (Yonghwa almost certainly) will be enlisting sometime in 2018, and no doubt at least one of the CNBLUE members will squeeze in a role another drama or two before they start to go off to the army. Sometimes I think that after working so hard for close to a decade the military might seem like a respite of sorts for CNBLUE. But I have hope that they’ll come back from their enlistment and create more glorious music together and appear in even more dramas in the years to come.

October 19, 2017 at 7:30 am 3 comments

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