Posts tagged ‘Jung Yonghwa’
Hong Kong star Nicholas Tse’s latest vehicle, Cook Up A Storm (CUAS) opens in North America in very very limited release this weekend. As both an Asian film scholar and a CNBLUE fanperson (the film co-stars CNBLUE leader Jung Yonghwa) I had a keen interest in this movie so I made a special effort to see it while it was still playing theatrically near me, thought that involved a 45-minute drive to Cupertino.
The plot is simple: Developers sponsor Paul Ahn (Jung Yonghwa), a French-trained Michelin-starred chef, in opening Stellar, a fancy-ass restaurant directly opposite Seven, a local joint run by Sky Ko (Nicholas Tse) that features down-home Chinese dishes. Of course conflict ensues between the Western-trained Paul and the self-taught traditionalist Sky. Adding to the mix is Sky’s angst over his messed-up relationship with his dad Mountain (the majestic Anthony Wong Chau-sang) and some behind-the-scenes maneuvering by Paul’s girlfriend/assistant (Michelle Bai Bing).
CUAS is paced like a Hong Kong movie, which means in and out in ninety minutes, and in this case this feels really fast. I used to really love the fevered pace of Hong Kong cinema but now that I’ve gotten used to the more leisurely running times of two-hour Korean and Chinese films, or the epic three-hour slogs from Bollywood, this seems almost too rapid.
Because of the bang-bang pace of the film things feel like they’re being told in shorthand, with character development and relationships rapidly sketched out. You almost have to be psychic to realize that Paul is dating Mayo, which is indicated in a few incredibly brief shots of them holding hands and some lingering glances (apparently the steamier scenes between them ended up on the cutting room floor). The relationship between Sky and his dad fares slightly better, but only because as one of the film’s main conflicts it gets a fair amount of screen time.
The showdowns between Sky and Paul are likewise quite rapid, with the most effective one taking place in Paul’s gorgeously appointed high-tech restaurant kitchen. Here the characters are allowed to play off of each other a bit more and the scenario has a chance to breathe a bit, unlike some of the rapid-fire sequences that take place elsewhere in the film. It helps that Nic Tse and Yonghwa have a good onscreen rapport, with Yonghwa in particular doing a great job fleshing out his character with a minimum of dialog.
In some ways the film seems to struggle between wanting to be an out-and-out Hong Kong movie and needing to court the huge PRC market. Aspects of the film that hearken back to Hong Kong films of yore include the wacky costuming of some of the supporting characters, including a pair of dudes with dyed yellow fringes and the oversized glasses and frizzy hair on Tiffany Tang, as well as a subtext about gentrication and the loss of local culture to Western capital. But some key characters are underdeveloped, including Bai Bing’s Mayo, who needs to be more overtly sinister than she actually ends up being. Here a bit more of Hong Kong cinema’s over-the-top aesthetic might have served better, as Mayo is flat and one-dimensional instead of truly venal or vicious.
Anthony Wong’s Mountain Ko is similarly underwritten but King Anthony makes it work by sheer dint of his monumental acting skilz. Likewise veteran Chinese actor Ge You makes a good impression, though his part is also only briefly defined. The two old hands have a great throwaway moment in a pool hall where they clearly delineate their competitive brotherhood through just a few subtle gestures, which goes to show how acting chops can elevate a movie beyond superficiality. Alas, these moments are hard to find in the rest of the movie.
Still, as a food-porn movie the film does a good job. The food photography is quite beautiful and in particular the scenes where we follow both Paul and Sky creating their signature dishes are a lot of fun to watch. This may be due to the fact that Nic Tse is a foodie chef in real life and he prepped most of the food himself, so he seems to have a true appreciation for the way that cooking actually works. Yonghwa also acquits himself well in the cooking sequences since he looks like he knows his way around all of the high-tech gear that Paul uses. I especially enjoyed watching Paul create a fancy foie gras dish that illuminated the process as well as the product. At one point Paul adds a bit of sorbet onto the top of a dish and we see him warming the spoon slightly in order to get the frozen scoop to release cleanly, a small detail that nonetheless adds an interesting touch of realism to the proceedings.
Nic Tse wears the same grimy plaid shirt and greasy bandana through most of the film, telegraphing Sky’s realness and street cred. In contrast, Yonghwa’s flawless face and impeccable chef’s uniform add to the impression of the all-around slickness of Stellar. Yonghwa is confident and believable as a high-end chef in a fancy upscale restaurant–he knows he’s good and he’s not afraid to show it. As the leader of CNBLUE Yonghwa has a lot of swagger and he brings that swag to his portrayal of Paul, though not so much that he becomes obnoxious or overbearing. More significantly, as Paul gradually comes to appreciate the joys of Sky’s simpler cooking aesthetic, Yonghwa communicates this transformation through subtle facial expressions and physical gestures. Even though Yonghwa speaks no Chinese he succeeds in imparting Paul’s intentions non-verbally, effectively playing off of his co-stars despite the language barrier.
The whole thing is very beautiful and fun to experience but ultimately a bit superficial. I wonder if a slightly less frenetic pace might have aided the film’s exposition, but director Raymond Yip, a Hong Kong movie stalwart, seems to want to breeze through as many plot points as possible in the film’s ninety-minute running time. The result is a fun romp that could have benefitted from slowing down and adding a few more details and more character development to the proceedings. Still, it’s a good-natured and pleasant timepass. To use a sports metaphor for a food movie, the film didn’t knock it out of the park, but it didn’t strike out either.
NOTE: Originally meant for release in China during the Spring Festival/Lunar New Year holiday, CUAS was pushed back a couple weeks to avoid direct competition with Journey to the West: The Demons Strike Back (JTTW2), Kung Fu Yoga, and a slew of other films that came out during that time. This was smart in some ways because JTTW2 has become one of the highest grossing films of all time in China, but it also means that CUAS didn’t have the no-Hollywood movies ban protecting it, in which China keeps Western films out of theaters during Spring Festival in order make room for local productions. As a result CUAS directly faced the release of the slick Hollywood production xXx: The Return of Xander Cage, which features popular Chinese stars Kris Wu and Donnie Yen. Because of this, as well as so-so word of mouth and the fact that most Chinese were back at work and not going to movies once the film came out, box office for CUAS in China was thus reduced somewhat. Nonetheless CUAS managed to break the RMB100 million mark and its gross in China now stands at around RMB114 million, or around USD16 million. But unfortunately the production costs of the film were around USD34 million, so unless it does phenomenally well in other territories the film won’t make back its original budget.
With EUPHORIA, CNBLUE’s latest Japanese album that dropped last October, the band continues its ongoing musical evolution and growth. While probably best known for its incredibly catchy early power pop hits like I’m Sorry and I’m A Loner, or it’s more densely produced later tracks, including songs such as Can’t Stop, Cinderella, and You’re So Fine, with this new release CNBLUE goes back further to the roots of its sound, to a more stripped-down early rock and roll and R&B style.
CNBLUE has always worn its musical influences on its sleeve and EUPHORIA is no different, with nods to artists as diverse as Peter Gabriel, Coldplay, Wiz Khalifia, and Sam Cooke, among many others. Their particular talent is taking those influences and synthesizing them into something new and energetic.
The album is frontloaded with six incredibly strong and diverse tracks, but in truth each of the album’s ten tracks ranges from good to excellent. Though the album isn’t quite as perfect as CNBLUE’s best release Can’t Stop, which is a masterpiece from beginning to end, EUPHORIA is still full of high-quality songwriting, performing, and production.
The lead track is the melancholy mid-tempo cut Be OK. A plaintive lament about fighting uncertainty, pain, and self-doubt, the song recalls Coldplay and other Brit-pop in its simple, guitar-based structure. Jung Yonghwa and Lee Jonghyun’s vulnerable, evocative vocals and the sadness and longing in the lyrics create a lovely and unadorned sonic picture. As with many CNBLUE duets between the two of them, the track alternates the wistful delicacy of Jonghyun’s vocals with Yonghwa’s explosively raw and emotional voice. The song ends with Jonghyun barely whispering the affirmation, “I’ll be okay,” which lends a hopeful fragility to the song’s message. This is quickly becoming one of my favorite CNBLUE tracks as the passion and power in this song is no joke.
As if to counter the melancholy of Be OK, the next tune, the album’s title track Glory Days, is a more uptempo track that picks up the pace without sacrificing the emotional thoughtfulness of the prior song. The lyrics describe the “long, long journey of my dreams” which the band has traveled, encountering obstacles and difficulties along the way but never giving up on their vision. The arrangement and production on this track also contrasts with the spareness of Be Okay, with a dense wall of sound combining close vocal harmonies and a rich interplay of synthesizer, piano, and guitar that provides a bed for Yonghwa and Jonghyun’s confident vocal relays. What may not be immediately apparent is the bass line of the song, which travels from thumb-popping plucking to deep, resonant hums. CNBLUE’s musicality is apparent in this track where every element highlights the band’s chops, creating a gorgeous sonic pop music palette.
Take Me Higher, the rockingest song on the album, shows off the band’s signature passion and intensity, as if to prove they can still kick it with guitar-based hard rock. On top of the driving 4/4 beat the song adds a funky James Brown-style guitar riff that demonstrates the evolution of their sound beyond straight-up rock music. Interestingly, this song was composed before the band’s recent insider-trading scandal in June 2016, and the track, including its chorus “direction of my hope,” expresses an exuberant optimism and confidence not found in the rest of the album, much of which was likely composed post-scandal.
Face To Face is another incredibly hooky tune, with Yonghwa crooning and belting like a 60s R&B soul shouter. Although some of CNBLUE’s past English-language songs have been a bit cringeworthy in their awkward phrasing, here the syncopated beat works with the lyrical structure. The old-school keyboards and horns and the doowop refrain adds to the R&B feel as the band channels Stax-Volt stalwarts like Booker T and the MGs and Sam and Dave.
Following Face to Face is Puzzle, the first single off the album that was released in spring 2016 and also composed pre-scandal. Another densely produced and upbeat track, Puzzle starts with Yonghwa belting the title lyrics acapella and the song never lets up after that. As usual Yonghwa and Jonghyun provide energetic vocals but the track is really driven by a zippy arrangement that rides Kang Minhyuk’s relentless drumming skilz. Althought it’s a hooky tune, it’s a tad less interesting upon repeated listening. The tune works much better as a soundtrack to the song’s crazy and whimsical music video.
The next track, however, is the album’s standout. Royal Rumble is pretty much unlike anything I’ve ever heard from CNBLUE. The song uses a syncopated, polyrhythmic Latin beat and a complex guitar line under Yonghwa’s evocative vocals to create a beautiful, singular track. The lyrics, which describe a fighter who faces countless opponents in a battle royale, echo Yonghwa’s experiences in the cutthroat K-Pop world, where even the winners are eventually beaten down and worn out. One of the last lines “I must hurry” repeats before the last haunting chorus. Images of fear, drowning, suffocation, and pain reflect the traumas of existing and surviving in the competitive South Korean music industry. Yonghwa has written eloquently in the past about the vicious nature of the K-pop world, most recently in Checkmate from his solo album (Around here/swords and shields/We become enemies/rip apart each other/and vanish), but Royal Rumble perhaps best reflects the intensity of his experiences there. The last line of the chorus, however, translated as “nevertheless I dream on,” is a moving testimony to Yonghwa’s hope and optimism in the face of ongoing suffering and strife.
Following Royal Rumble is another throwback R&B-style cut, Every Time, with a syncopated beat under Yonghwa and Jonghyun’s confident and soulful vocals. Once again Kang Minhyuk provides a strong and steady beat to anchor the track. Bassist Lee Jungshin contributes the midtempo ballad Stay With Me, with Japanese lyrics that seem to scan successfully. Yonghwa sings it well, in an unembellished style suitable to the song’s clarity and simplicity. Slaves, another upbeat R&B bop, is a goofy tune about cell-phone addiction. But damn if it isn’t catchy as hell and again Yonghwa has fun singing it, belting out the chorus like the legendary soul shouter Wilson Pickett.
The closing track, Blessed, is a sweet lament to the uncertainty of love, but Jonghyun’s English lyrics are somewhat less effective here than in Be OK. As with Every Time, the syntax and phrasing are just a bit awkward, which detracts from the song a bit. Yonghwa’s plaintive singing utilizes the deeper end of his vocal range to good effect, with Jonghyun contributing ably as well. The emotions of the song ring strong and true and this song, together with Be OK, create an evocative conceptual frame for the album. Although some of the tracks are upbeat and positive the uncertainty of these two songs create a lingering sadness and a sense of emotional complexity that perhaps reflects the band members’ state of mind after their troubles this year.
The quality of the songwriting, the increased maturity of the lyrics, and the general excellence of each track on Euphoria speaks to CN’s continued growth and development as artists. Although the guitars are mixed a bit lower than in some of their previous releases, the rock-based backbone of their sound is still there, enhanced with a more sophisticated sense of rhythm and beats. The result is more evidence of the band’s restless creativity and its desire to continue developing musically as they move beyond the constraints of their K-Pop origins into a more elevated artistic territory.
Three versions, You’re So Fine
POSTSCRIPT: CNBLUE recently performed You’re So Fine, their hit song that dropped back in April, on several televised year-end gayo (K-pop) music shows. But instead of simply recycling the song’s original arrangement for their performances, Yonghwa re-arranged the track differently for each of the different live performances. And it wasn’t just a bit of tweaking here and there—each version was radically different and included different instrumentation than both the original track and the other versions they played that week. It seems like Yonghwa’s collaboration last year with indie queen Sunwoo Jung Ah is still reverberating through his musical consciousness as he’s been heading in a decidedly jazzy direction lately. All three arrangements of You’re So Fine on each of the gayos featured improvisational vocals by Yonghwa as he snaked his way around the melody with various rhythmic and harmonic counterpoints to the original tune.
I’m pretty sure that there was no requirement that they come up with a new arrangement for each show, so the band’s insistence on giving an original performance every time no matter what the circumstances is a testament to their desire to be known as musicians and artists, not just idols. They continue to blaze trails in the K-pop world and their only dilemma may be figuring out how to graduate from K-pop and move on artistically from the confines of the genre. I hope their talent and vision is recognized and rewarded accordingly both in South Korea and beyond.
UPDATE: Yet another brand new arrangement of You’re So Fine, this time for the Golden Disk awards on Jan. 13. Orchestral and jazzy, with strings, horns, and added percussion, as well as Yonghwa prowling around in his long black furry coat. He owns the stage in this clip and also throws in a short interaction with EXO singer Baekhyun. You can see he was dying to find a way to get down into the audience this time too. Genius.
Bonus track: Yonghwa sings a smexy version of Sunwoo Jung Ah’s Spring Lady on Yu Huiyeol’s Sketchbook
So here’s how it happened. My family spent this summer in Taiwan and I was hoping we could brush up on our vernacular Mandarin by watching some Taiwanese television. I thought we could acquaint ourselves with Asian pop culture in general as well, so Korean dramas could also be a part of that mix. I wanted to look at Taiwanese dramas to work on our Chinese-language skills, but somehow my daughter ended up watching the gender-bending K-drama You’re Beautiful instead. Because the plastic surgery on the boys’ noses was way too distracting I only followed it intermittently, but I would occasionally glance over at the screen and watch a bit with my daughter, since the show is charming and amusing.
And then, boom! I caught a glimpse of a boy with the most amazingly beautiful and fascinating face, who stood out even amongst his very pretty co-stars. I literally could not take my eyes off of him, he was that mesmerizing. Although he didn’t seem to have any plastic surgery and his teeth were distinctly crooked, it was impossible to stop looking at him, he was so charismatic. I soon found out that the actor in question was Jung Yonghwa, the leader of the Korean rock band CNBLUE.
K-Pop is a very strange universe and the more I find out about it the less I’m sure I like it. Commercial pop music around the world is by nature a very capitalistic place but K-Pop in particular seems to be pop music to the nth degree. The songs are hyper-catchy but not necessarily very deep or meaningful, and seem to be designed to be listened to for about a week maximum, after which they are supplanted by another hyper-catchy and not very deep tune. The performers are uniformly young and beautiful, either by nature or makeup or cosmetic surgery. Most of them are drilled to be precision dancers, and the fashions are ultra-trendy, with mas de moda hairstyles in many rainbow colors. The music videos are glossy and slick, with crazy dreamlike imagery meant to stick in your backbrain just long enough for you to pay your money and download the songs.
Plus, in order to sell songs, groups go on a variety of music shows and compete viciously for trophies every week. There seems to be about a half-dozen of these and the groups make the rounds after dropping each song, participating in a sadistic hazing ritual that pits group against group based on digital streaming, record sales, music video views, and popular voting both ahead of time and live as the shows progress. It’s kind like the hunger games for pop music except without the literal dying, but the humiliation for the losers and the jubilation of the winners is similar enough to a fight to the death. So it’s not exactly the most nurturing and comforting creative atmosphere.
CNBLUE is a bit of an anomaly in the K-Pop world. Along with their labelmates FT Island they are one of the few bands, as opposed to dance groups, to become K-Pop stars. CNBLUE is partly an idol group, partly a pop-rock band, and partly a collection of male supermodels, as each member is pretty damn good looking. But the band can also play their own instruments and sing, and they also compose most of their songs, so they don’t fit the typical K-Pop mold. They are also most emphatically not a dance group, and their music is much more rock than hiphop or dance-oriented like other K-Pop groups.
So I’ve become completely fascinated by Jung Yonghwa and CNBLUE. Some reasons for my interest include:
Boys with guitars
I’ve always loved rock music, from punk to metal to power pop, and CNBLUE plays some of the catchiest pop-rock around. Yonghwa has a knack for writing hooky, complex, and accessible tunes that earworm into your brain immediately. I’m Sorry, Can’t Stop, and Cinderella, to name just a few of their most popular tracks, are all catchy as hell and each is unique and distinct from each other as well.
Great live shows
CNBLUE is famous for their balls-out live performances and Yonghwa in particular leaves it all out on the stage for every show. The interwebs are full of youtubes of their rocking live shows which seem to get better and better as the years go by. No doubt their grueling touring schedule of the past six years since their debut has helped them improve their live performances immensely, as they have literally played hundreds of shows in that time, which is par for the course for many top-tier K-Pop groups. (From 2013-2016 CNBLUE played more than 100 concerts, as did Big Bang and Super Junior, two other kings of the K-Pop world). Ironically, when appearing on Korean television shows (which K-Pop groups do incessantly) CNBLUE doesn’t always get to play their instruments live, since the TV shows are designed for dance groups, not bands with guitars and amps. But even when hand-syncing CNBLUE members manage to rock the house with their sheer energy and stage presence.
K-Pop has this thing called “visuals,” which basically means how good-looking your group members are. Members are usually recruited for their physical beauty and if they are not up to snuff then their agencies aren’t shy about sending them out for a spot of plastic surgery to fix things up. CNBLUE, however, is pretty well-known for their excellent visuals without going under the knife (and the rumor is that their agency, FNC, picked the members in particular because it was too broke at the time to afford plastic surgery). In other words, CNBLUE’s members were chosen specifically because they are tall and good-looking first, with their relative musical skills secondary. They’re widely regarded as having “no visual flaws,” which in K-Pop fan parlance means each member is exceedingly handsome.
So all four members are supernaturally beautiful, with guitarist Lee Jonghyun in particular possessing inhuman good looks. Yonghwa not only has a beautiful face, with large, wide-spaced eyes, an elegant nose, and a narrow jawline, but he also possesses a remarkable amount of charisma, charm, and stage presence for a young man in his twenties. So it’s a lot of fun to watch CNBLUE since they bring the pretty. Although this has certainly helped with their mass appeal, in some ways their beauty has worked against them as far as being taken seriously as musicians, since they are considered idols first and musicians second, despite their musical skills. I’ve had a hard time convincing my friends that it’s about the music and not just the visuals when it comes to CNBLUE since their good looks are so immediately overwhelming at first.
The secret menu: Japanese releases
CNBLUE has released a huge number of albums in Japan that contain a whole nother catalog of songs created for the Japanese market. Not only does this mean that they’re sung in Japanese but the music tends to be more the rock side rather than the pop side. Which means these albums contain many more heavy-duty power chord guitar-based tunes specifically designed to be played at full speed in live stadium shows. Their first major-label Japanese release, Code Name Blue, rocks hard and loud and contains several of their best J-Rock style arena songs (Where You Are; Come On; In My Head; Have A Good Night). Many of these were written by Yonghwa, whereas the songs on their Korean albums they were releasing at the same time (2012) were still mostly written by other people. Even second vocalist Jonghyun, who leans toward pretty crooning on their Korean releases, rocks out on the Japanese albums, and Yonghwa belts like a boss. For those who prefer their tunes to rock a bit harder, the Japanese releases are the way to go.
CNBLUE just dropped their latest mini-album at the beginning of April, a five-song EP called Blueming (hint: flower pun). Included is the lead track “You’re So Fine,” which includes a poppin’ bass line and some soulful vocals from Yonghwa, who also wrote and produced the cut. The tune is a fat and catchy track, with its synchopated rhythms and swinging horns giving the song a 60s R&B feel. Yonghwa is a smart and savvy songwriter and he includes four or five singalong hooks in both Korean and English. His vocals are impeccable as well, with effortless octave jumps, seamless transitions to falsetto, smooth dynamics shifts and rhythmic patterns, and an easy control of his tonal and volume range, whether spitting a syncopated patter, swinging a sweet ad lib, or belting out the chorus. In most K-Pop songs the vocals are divided among the various members, with one person singing the lead, one the chorus, one rapping, one in falsetto. Here Yonghwa sings almost all of the parts himself, with a little help from second vocalist Jonghyun, which is an impressive feat for song with such variations in the vocal line.
The song’s music video is quite K-Pop, with over-the-top costuming, hyperkinetic editing, and a hypersaturated color palette, as well as the ridiculously handsome look of the four band members—if you aren’t used to the genre it’s probably best to listen to the song without watching the MV as its high-gloss styling can be quite distracting and overwhelming.
There’s been some bitching and moaning among certain CNBLUE fans since this release is much more on the pop side (and the title track is very retro R&B), rather than rock. To a western observer such as myself it’s odd to hear a musical group criticized for stretching its creative boundaries and trying out different genres. I’m used to artists like Prince, David Bowie, and the Beatles, to name just a few, whose sound always changed and evolved with every release. To me it’s strange that CNBLUE has been criticized for trying out new musical styles, which seems like a healthy sign of creative growth and maturity. CNBLUE has already mastered the art of the power chord blues-based rock song so it’s nice to see them moving into jazzier compositions and arrangements. To my mind there’s nothing wrong with some syncopation and a bit of scatting to liven up a song. It also shows a more sophisticated musicality that’s promising for the band’s future releases. What I’m hearing is the convergence of their musical styles between their Korean and Japanese releases. With the exception of You’re So Fine, the tracks on their most recent Korean release, Blueming, sound a lot like the ones on their two most recent Japanese albums, Colors and We’re Like A Puzzle, showing a heavy dose of Oasis and brit-pop influences.
Their most recent Japanese single, Glory Days, which dropped last week, is an effortlessly listenable slice of J-pop-inspired pleasure, with a pretty piano line weaving through the melody and the lead vocal relaying between Yonghwa and Jonghyun to create a catchy, upbeat track. The subtle addition of strings and a church organ adds a reverent and dare I say spiritual atmosphere which is echoed in the beautifully conceived and shot music video to the song. Not as hard-edged as some of their other Japan releases, the recording has a delicate and wistful beauty to it. Despite its seeming simplicity the track reveals its complexity after several listens, attesting to Yonghwa’s increasing skills as both a composer and a producer.
Right now there are some obstacles that may keep CNBLUE from fully exploring new musical directions. The first is that, as part of their job as K-Pop idols, they also are required to be active in other entertainment fields, including modeling for fashion magazines and appearing on variety shows and in advertisements. Whereas Western pop stars mostly have the luxury of focusing primarily on their musical output and somewhat less on their public image, in K-Pop world it’s a different story.
Like their fellow K-Pop idols, the pressure is on for CNBLUE to constantly produce new musical product, pose languorously for various fashion spreads, wear stylish and trendy outfits at the airport, appear in dramas and variety shows, tour around the world, and otherwise live their lives as South Korean pop music celebrities. All four members have acted in Korean dramas, and Yonghwa is awaiting the 2017 release of his very first movie, the Chinese film Cook Up A Storm with Hong Kong superstar Nicholas Tse. And as per all South Korean males, the four members will soon have to serve their mandatory military duty, which lasts a little under two years and which will probably take place in the next couple years for the two oldest members, Yonghwa and Jonghyun.
A more immediate threat is the involvement of both Yonghwa and Jonghyun in an insider stock trading scandal earlier this year surrounding CNBLUE’s fucked-up agency, FNC Entertainment, which by all accounts is sleazy and badly run. After almost of week of mudslinging and speculation Yonghwa was cleared of all suspicions of insider trading, but in a surprising twist, the investigation then revealed that Jonghyun was also involved in the case. Despite Yonghwa being declared innocent of all charges and Jonghyun only receiving a small fine, some K-netizens feasted on the possible downfall of two of K-Pop’s biggest stars. It was an unsavory spectacle to observe and some online commentators took a particularly vicious glee in attacking the squeaky-clean idols. The whole situation was really distasteful and in my opinion was being used as a distraction from various political scandals happening now in the country including a multi-billion dollar scam involving the Lotte group, one of the country’s biggest corporate conglomerates. I also suspect that Yonghwa’s shady boss may have been throwing Yonghwa under the bus to keep himself from being implicated.
It’s hard at this point to tell exactly what the turn of events were due to the opacity of motivations of all concerned but by all accounts Yonghwa bore the brunt of the bad publicity . As a side note, Yonghwa is hugely popular in China and interestingly enough, the Chinese press was much more supportive of Yonghwa than was the South Korean media.
If for some reason Yonghwa’s career takes a damaging hit it will be a loss for everyone concerned because he’s the real deal and not just a run-of-the-mill disposable idol. The only possible silver lining is that it may scuff up his clean-cut image a bit, which ironically may make him more marketable in the West, where being a bad boy is a badge of honor, not something to be shunned as it seems to be in South Korea. Also notable has been the unwavering love from most of CNBLUE’s and Yonghwa’s devoted fanbase, thousands of whom throughout the length of the scandal expressed their undying support across social media platforms such as twitter, weibo, and instagram.
But despite the admirable loyalty of the fans (along with some petty bickering), after following the insider trading accusations and its aftermath I’ve liked K-Pop and the whole bloodthirsty South Korean entertainment scene even less. It’s heartbreaking that someone can be crucified in the press without even going to trial and Yonghwa’s case was a very ugly spectacle. God help us as a species if this is the way we treat our artists, especially young people like CNBLUE. Capitalism eats us all and it will be especially tragic if the aftereffects of the scandal hinder Yonghwa and CNBLUE’s ability to make music. Because in the end, despite their physical gorgeousness, their modeling talents, their fashion sense, and their acting skilz, CNBLUE is really about making great music. Everything else is just gravy.
UPDATE: As another example of their artistry here’s a link to the lyrics for “Glory Days.”
who gently nudged my back
Most likely written by Yonghwa after the insider trading mess this summer, the song is all about keeping faith during hard times. When read together while watching the MV of the track the entire song comes together beautifully as an expression of Yonghwa and CNBLUE’s state of mind during and following the nasty controversy they faced.