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Big Bang – Let Me Hear Your Voice (声をきかせて) November 7, 2009

Posted by tokkilin in Melodies of Life.
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声をきかせて

さっきまでの雨はもう上がって
アスファルト漂う街の匂い
ねえそっちも もう晴れてるよね
西から回復するって
朝は苦手な君だからねえ
毎日ちゃんと起きられてるかい?
そんなこと未だに心配してるよ

広がる空はそう自由で
何も変わってないけれど
隣に今はただ…ただ君がいないだけ

声をきかせて
素直になればきっと
分かりあえるはずさ
ココロを開いて
声をきかせて
歩いてきた道は僕たちにとってきっと
大切なSTEPさ その未来への

君と初めて出逢ったのはそう
ちょうど今くらいの季節だったね
ライトアップした街並みが
きれいに輝いていた
泣き虫な君はあれからよく
僕の肩におでこをのっけて
泣いてたね その温もりに
無性に触れたくなる

人は誰でもそれぞれに悩みを抱えて生きる
壊れそうな心を必死に抱きしめて

声をきかせて
優しくなればもっと
愛し合えるはずさ
目をそらさないで
声をきかせて
絡みつく不安も寂しさも越えて行こう
今のこの気持ちが絆になる

Yeah, Since you went away hasn’t been the same
In my heart all I got is pain
Could it be that I played a game to lose you, I can’t maintain
Sunlight moonlight you lit my life realize in the night
while love shines bright
Cant let you go we’re meant forever baby let me know

This past without you, Can’t forget you
Letting me be the cloud hanging above me
Raining on me missing you touch
Nights get long and it’s hard to clutch
We’re apart breaks my heart
Its all for the best girl you’re my world
In time my love unfurls
He will then wait for you girl

声をきかせて
素直になればきっと
分かりあえるはずさ
ココロを開いて
声をきかせて
歩いてきた道は僕たちにとってきっと
大切なSTEPさ その未来への

 

The rain just now has stopped
The smell of asphalt is floating around the city
Hey, over there too, the weather is fine already right?
For the weather has cleared up from the west
Since you’re not a morning person
Everyday, will you be able to wake up properly?
I’m still worried about things like that

The spreading sky, the freedom
Although neither of them has changed
Right now, just that… it’s only just that you are not by my side

Let me hear your voice
If we become honest, surely
We’ll be able to understand each other
Please open your heart
Let me hear your voice
The path we have come is, for us, definitely
An important STEP to that future

The first time I met you was
Around this season right?
The light up street was
Glowing beautifully
The crybaby-you, from that time on, often
Laid your forehead on my shoulder
You were crying right? That extreme warmth
From your touch on my shoulder

Everyone lives, carrying his own worry
Desperately holding his broken heart

Let me hear you voice
If we become more kind
We’ll be able to love each other
Don’t avert my eyes
Let me hear your voice
Let’s get over those entwined anxieties and loneliness
The feelings of this moment become our bond

Yeah, Since you went away hasn’t been the same
In my heart all I got is pain
Could it be that I played a game to lose you, I can’t maintain
Sunlight moonlight you lit my life realize in the night
while love shines bright
Cant let you go we’re meant forever baby let me know

This past without you, Can’t forget you
Letting me be the cloud hanging above me
Raining on me missing you touch
Nights get long and it’s hard to clutch
We’re apart breaks my heart
Its all for the best girl you’re my world
In time my love unfurls
He will then wait for you girl

Let me hear your voice
If we become honest, surely
We’ll be able to understand each other
Please open your heart
Let me hear your voice
The path we have come is, for us, surely
An important STEP to that future

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Big Bang and Lee Seung Gi on top of the charts creates problem October 7, 2009

Posted by tokkilin in Happening !.
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Not a real problem though.. it’s so funny how everybody feels “threatened” by Big Bang and Lee Seung Gi.

Brian (Fly To The Sky), Mc Mong, Tablo (Epik High), and Kim Tae Woo (G.O.D.) feels threated by Big Bang members and Lee Seung Gi because they kept stealing the #1 position on the chart. Despite their effort to move their comeback date, G Dragon and Lee Seung Gi successfully claiming the #1 Position. Brian (Fly To The Sky) proudly said that he moved his comeback to December. Too bad, MC Mong added in that Taeyang (Big Bang) is also making a comeback in December. It brings laughter when Brian decided not to make a comeback at all because of Taeyang.

It’s so funny indeed. Glad that they can create a healthy atmosphere while competing against each other. The full video could be seen here:

Credits: KBites (Sookyeong)

Pop Goes Korea August 10, 2009

Posted by tokkilin in Happening !.
Tags: , , , , , , , , ,
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Interesting article that I read at Minsarang. I think the writer of this article summed it really well.

—————————————————–

There is a fairly decent overview of the contract situation faced by entertainers in Korea over in today’s Joongang Ilbo. Using the lawsuit Dong Bang Shin Gi (aka TVXQ) has filed against SM Entertainment as the peg, the article looks at the long and onerous contracts that most entertainers in Korea have to have, especially singers.
As you have probably heard, on July 31, three members of DBSG filed suit against its management company, claiming their contract is unfair. DBSG is one of SME’s most popular bands these days, and is doing especially well in Japan, where they recently played two nights in the Tokyo Dome. The band’s complaints were mostly the same things we have heard over and over again in Korea over the years — their contracts are too long, their contracts do not pay enough, the penalties for leaving the management company are too severe, the performers do not have enough control over their own careers, the performers are not paid enough (probably the biggest issue).
I do not want to get into the details of DBSG’s particular case. That is something for the Korean courts to decide. But I do think that cases like these bring up a much bigger point.
Arguing about the “fairness” of idol contracts — how many years should they be, how much should the performers be paid, etc. — misses the big point. I am tempted to call it “Rearranging deck chairs on the Titanic,” but that is probably a bit harsh — after all, the Korean entertainment industry is showing few signs of sinking any time soon. It is more like arguing about what kind of pain reliever is best for a critically ill patient. That is, such talk deals mostly with the symptoms of the disease and misses out entirely on the causes.
Korea’s pop idols are not paid poorly and overcontrolled because the management companies are evil. The management companies are just doing their best within the current system. And judging by the long list of big stars who have emerged from Korea’s music system over the years, they are apparently doing something right.
The trouble is, Korea’s music system itself, which is very resource-intensive and very top-down (like far too much of the Korean economy in general). Because the burden of developing stars and marketing them falls solely on the music companies, it takes a huge amount of money to create new stars. The biggest companies have over 50 performers (mostly young people) in training at a time, taking dance classes, singing classes, learning how to act like stars, and usually living in company housing, eating food paid for by the company, being driven everywhere by the company. All this adds up pretty quickly.
So when a band gets paid pennies for an album sale, you have to remember that the performers spent years in training before they earned any money, and that for each performing earning money and doing well, there are many other aspiring young people who never make it, but who nonetheless burn through company money. How many hopefuls does each company have for each performer who makes it? Five? Ten? I do not know, but it is big enough.
The real problem (as I argue in my book, POP GOES KOREA) is the lack of diversity in Korea’s music business, in particular the lack of a live music scene. In most countries, live music is the core, the heart. Young people pick up instruments and play in their parents’ garages or wherever. Some get good enough to play in clubs. A few get good enough to put out albums (or MP3s or whatever). A very few make money. Basically, the cost and inconvenience of developing acts falls on the wanna-be performers. By the time they get to the music labels, a lot of the winnowing and development has already happened.
Even in Japan, where J-Pop is big business, you have J-Rock and jazz and a fairly wide range of choices. And choices drive competition, when reduces the stranglehold that music companies otherwise might have.
Strangely, Korea used to have a great live music scene. It was a long time ago, but back in the 1960s and 1970s, most of the big performers had a live music background, whether playing on the US Army bases around the country or playing the live clubs of Myeong-dong or wherever. Even in the 1980s, as Korea’s music scene turned more poppy and synthesized (and saccharine), there was still a live foundation most of the acts had — Cho Yong-pil, Shin Hae-chul, Jo Sung-mo, and the like were all live performers first.
But in the early 1990s, the scene began to change, especially with the coming of Seo Taiji. Even though Seo Taiji wrote his songs (well, mostly) and performed them himself, he typically performed them prerecorded, with The Boyz dancing away furiously beside him. It was the formula that Korea’s music companies would use to create their boy- and girl-bands. And soon the manufactured dance bands came fast and furious. Within a few years, they dominated the TV music shows, Mnet, and the like.
For a generation of young people in Korea, being a “star” has meant being a dancer first, a pretty face and perhaps a singer. Very few young people pick up a guitar with dreams of making it big. Sure, plenty of kids play music, for any number of reasons. But few harbor serious dreams of using the guitar (or whatever) to become rock stars.
And as long as the live music scene is not a viable route to becoming a star in Korea, the local music scene will remain dominated by the music labels and manufactured pop music.
The funny thing is, for all the talk of the dominating power of the music companies, the truth is they are actually very weak. They are merely responding to the economics they are given. If young people were to choose different music, the whole system would fall apart. If playing in Hongdae became a route to fame and fortune, then the system would have to change. But as long as Korean young people show no interest in anything but K-Pop, all they will be given is K-Pop. And the system will not really change.
Source: Mark Russell@Kpop Wars

There is a fairly decent overview of the contract situation faced by entertainers in Korea over in today’s Joongang Ilbo. Using the lawsuit Dong Bang Shin Gi (aka TVXQ) has filed against SM Entertainment as the peg, the article looks at the long and onerous contracts that most entertainers in Korea have to have, especially singers.

As you have probably heard, on July 31, three members of DBSG filed suit against its management company, claiming their contract is unfair. DBSG is one of SME’s most popular bands these days, and is doing especially well in Japan, where they recently played two nights in the Tokyo Dome. The band’s complaints were mostly the same things we have heard over and over again in Korea over the years — their contracts are too long, their contracts do not pay enough, the penalties for leaving the management company are too severe, the performers do not have enough control over their own careers, the performers are not paid enough (probably the biggest issue).

I do not want to get into the details of DBSG’s particular case. That is something for the Korean courts to decide. But I do think that cases like these bring up a much bigger point.

Arguing about the “fairness” of idol contracts — how many years should they be, how much should the performers be paid, etc. — misses the big point. I am tempted to call it “Rearranging deck chairs on the Titanic,” but that is probably a bit harsh — after all, the Korean entertainment industry is showing few signs of sinking any time soon. It is more like arguing about what kind of pain reliever is best for a critically ill patient. That is, such talk deals mostly with the symptoms of the disease and misses out entirely on the causes.

Korea’s pop idols are not paid poorly and overcontrolled because the management companies are evil. The management companies are just doing their best within the current system. And judging by the long list of big stars who have emerged from Korea’s music system over the years, they are apparently doing something right.

The trouble is, Korea’s music system itself, which is very resource-intensive and very top-down (like far too much of the Korean economy in general). Because the burden of developing stars and marketing them falls solely on the music companies, it takes a huge amount of money to create new stars. The biggest companies have over 50 performers (mostly young people) in training at a time, taking dance classes, singing classes, learning how to act like stars, and usually living in company housing, eating food paid for by the company, being driven everywhere by the company. All this adds up pretty quickly.

So when a band gets paid pennies for an album sale, you have to remember that the performers spent years in training before they earned any money, and that for each performing earning money and doing well, there are many other aspiring young people who never make it, but who nonetheless burn through company money. How many hopefuls does each company have for each performer who makes it? Five? Ten? I do not know, but it is big enough.

The real problem (as I argue in my book, POP GOES KOREA) is the lack of diversity in Korea’s music business, in particular the lack of a live music scene. In most countries, live music is the core, the heart. Young people pick up instruments and play in their parents’ garages or wherever. Some get good enough to play in clubs. A few get good enough to put out albums (or MP3s or whatever). A very few make money. Basically, the cost and inconvenience of developing acts falls on the wanna-be performers. By the time they get to the music labels, a lot of the winnowing and development has already happened.

Even in Japan, where J-Pop is big business, you have J-Rock and jazz and a fairly wide range of choices. And choices drive competition, when reduces the stranglehold that music companies otherwise might have.

Strangely, Korea used to have a great live music scene. It was a long time ago, but back in the 1960s and 1970s, most of the big performers had a live music background, whether playing on the US Army bases around the country or playing the live clubs of Myeong-dong or wherever. Even in the 1980s, as Korea’s music scene turned more poppy and synthesized (and saccharine), there was still a live foundation most of the acts had — Cho Yong-pil, Shin Hae-chul, Jo Sung-mo, and the like were all live performers first.

But in the early 1990s, the scene began to change, especially with the coming of Seo Taiji. Even though Seo Taiji wrote his songs (well, mostly) and performed them himself, he typically performed them prerecorded, with The Boyz dancing away furiously beside him. It was the formula that Korea’s music companies would use to create their boy- and girl-bands. And soon the manufactured dance bands came fast and furious. Within a few years, they dominated the TV music shows, Mnet, and the like.

For a generation of young people in Korea, being a “star” has meant being a dancer first, a pretty face and perhaps a singer. Very few young people pick up a guitar with dreams of making it big. Sure, plenty of kids play music, for any number of reasons. But few harbor serious dreams of using the guitar (or whatever) to become rock stars.

And as long as the live music scene is not a viable route to becoming a star in Korea, the local music scene will remain dominated by the music labels and manufactured pop music.

The funny thing is, for all the talk of the dominating power of the music companies, the truth is they are actually very weak. They are merely responding to the economics they are given. If young people were to choose different music, the whole system would fall apart. If playing in Hongdae became a route to fame and fortune, then the system would have to change. But as long as Korean young people show no interest in anything but K-Pop, all they will be given is K-Pop. And the system will not really change.

Source: Mark Russell@Kpop Wars

—————————————————–

Credits: Minsarang.wordpress.com

KPop in Time Magazine August 6, 2009

Posted by tokkilin in Happening !.
Tags: , , , , , , , ,
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Very very interesting. I came accross this article and find it a bit controversial.

Korean Pop – Flying Too High?

Indeed, with competition in the industry growing fierce, buying exposure for your stable of stars is becoming almost a necessity. The success rate for new acts is low. Perhaps one in 20 make it, but producers have investments to protect. By the time budding superstars are ready to go public, at least $50,000 may have been sunk into their grooming. To have any chance of a return, artists need exposure on radio shows and in the tabloids that cover the entertainment industry. Most important are appearances on the 20 or so entertainment shows run by the big three television networks—MBC, KBS and SBS—and on a few prime cable music-video shows. The exposure can cost more than $350,000, most of it for television. Producers consider it a bargain—the same amount spent would buy just 10 minutes of prime commercial advertising time, barely enough for three songs.

Getting plugged into the TV circuit is key to pushing your wannabe heartthrobs up the music charts. Run by TV stations, the charts provide a much-watched yardstick to gauge band popularity. But some say the charts are slanted in favor of the stars who make the most small-screen appearances—in Korea, rankings are only partly based on CD sales and fan voting. That makes TV appearances all the more important. “Bribing is marketing,” says an industry official. “With the least amount of money, you get the most effect.”

There is growing sentiment that the music business needs to clean up its act. Money has poured into the market, and too many production companies chase a finite pool of fresh talent. The top idols are still selling a million-plus CDs each time out, but average sales for second-tier artists have slipped by at least 20%. MP3 copying over the Internet is taking a big bite out of total sales, which slipped 9% last year.

Shady business customs could stifle development over the long term, says Lee Sang Ho, the television journalist who produced the MBC K-pop exposé. While other Korean industries have been bringing their business practices up to global standards, the pop music industry remains stuck in the past, Lee says. “The main problem is a lack of transparency. This has to be said for the betterment of the Korean mass music industry.” (Ironically, prosecutors have charged a former MBC producer with bribe taking.)

The probe, which has been ongoing for at least three months, seems likely to widen. Kim, the lead agent on the case, says investigators are now looking at the possibility that SM Entertainment violated laws governing the stock market. They suspect that SM Entertainment used its stock exchange listing to curry favor with TV executives, in some cases giving them free shares prior to SM Entertainment’s IPO in April 2000. On the books, the handouts were recorded as sales but the money was never collected, Kim alleges. The company released a statement saying it followed “normal procedures” in its IPO and pointedly denied an allegation that it distributed shares to the wife of a TV executive.

Lee, SM Entertainment’s boss, is in the U.S. until August on business, according to the company. Meanwhile, Kim says at least 10 more television producers and journalists covering the entertainment industry will be brought in for questioning this week. Some suspects are already in hiding or overseas, says Kim. But “we will not stop our investigation until we get to the truth and punish those responsible,” he says. “We are concerned [the investigation] could paralyze the show business industry, so we are going all out to expedite it.”

The stars themselves are just hoping this will all blow over soon. With their managers spending half the time answering questions from prosecutors, or hoping not to be the next one called in, it’s hard to keep a tune going. J.T.L.’s Jang says he’s not sure if the upheaval will really clean things up. “Once your expectations are too high then you can just get more disappointed,” he says. Fellow band member Lee Jae Won declines to discuss the investigation, saying it wouldn’t be wise for a pop star to bad-mouth the industry. “That’s like asking us to dig our own graves,” he says.

For high-profile boy bands like god, the scandal could taint what should be a heavenly ride to the top. If fans begin to doubt the legitimacy of their idols, the pact the industry’s producers seem to have made with capitalism’s darker forces could take the wind out of Asia’s most dynamic music scene. Even an act of god might not save K-pop.

—With reporting by Kim Yeoshin and Kim Yoo Seung/Seoul

With all of the things happening between TVXQ and SM Entertainment, KPop industry got the impact around the world. Good thing because KPop became well known, Bad thing because it’s well known for the bad stuff.

Haru Haru – 하루 하루 August 5, 2009

Posted by tokkilin in Melodies of Life.
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Umm.. I didn’t have a chance to post any big bang. So far their albums are filled with kick ass songs. Two songs that I really love from Big Bang: Baby, Baby and Haru Haru. Don’t know why these days Kpop using a lot of repetition on their songs. Either way, it seems the strategy works well. It helps people to remember the lyrics and got stuck with it for days or months. You know which songs I’m talking about right?. Anyhow, here’s one of Big Bang Song, Haru Haru (Day by Day). I love the movie as well, it has good story line and G Dragon looks different in there, probably because of the fight that he got into? ^^

Thanks for Asian Fanatics Forum for the lyrics.


하루하루 – Day by day

떠나가
Yeah, Finally I realize that I am nothing without you
I was so wrong, forgive me

Ah ah ah ah~

[Verse 1]
파도처럼 부숴진 내 맘 / 바람처럼 흔들리는 내 맘
연기처럼 사라진 내 사랑 / 문신처럼 지워지지 않아
한숨만 땅이 꺼지라 쉬죠 / 내 가슴속에 먼지만 쌓이죠 (say goodbye)

[Rap]
ye 네가 없이는 단 하루도 못 살 것만 같았던 나
생각과는 다르게도 그럭저럭 혼자 잘 살아
보고 싶다고 불러봐도 넌 아무 대답 없잖아
헛된 기대 걸어봐도 이젠 소용없잖아

[Rap]
네 옆에 있는 그 사람이 뭔지 혹시 널 울리진 않는지
그대 내가 보이긴 하는지 벌써 싹 다 잊었는지
걱정되 다가가기 조차 말을 걸 수 조차 없어 애 태우고
나 홀로 긴 밤을 지새우죠 수백번 지워내죠

[Chorus]
돌아보지 말고 떠나가라 또 나를 찾지 말고 살아가라
너를 사랑했기에 후회 없기에 좋았던 기억만 가져가라
그럭저럭 참아볼만해 그럭저럭 견뎌낼만해
넌 그럴수록 행복해야되 하루하루 무뎌져가네 e e e

Oh girl I cry cry
You’re my all say goodbye..

[Verse 2]
길을 걷다 너와나 우리 마주친다 해도
못 본 척 하고서 그대로 가던 길 가줘
자꾸만 옛 생각이 떠오르면 아마도
나도 몰래 그댈 찾아갈지도 몰라

넌 늘 그 사람과 행복하게 넌 늘 내가 다른 마음 안 먹게
넌 늘 작은 미련도 안 남게 끔 잘 지내줘 나 보란 듯이

넌 늘 저 하늘같이 하얗게 뜬 구름과도 같이 새파랗게
넌 늘 그래 그렇게 웃어줘 아무일 없듯이

[Chorus]
돌아보지 말고 떠나가라 또 나를 찾지 말고 살아가라
너를 사랑했기에 후회 없기에 좋았던 기억만 가져가라
그럭저럭 참아볼만해 그럭저럭 견뎌낼 만해
넌 그럴수록 행복해야되 하루하루 무뎌져가네 e e e

[Bridge]
나를 떠나서 맘 편해지길 / 나를 잊고서 살아가줘
그 눈물은 다 마를테니 / 하루하루 지나면

차라리 만나지 않았더라면 덜 아플텐데 um 영원히
함께하자던 그 약속 이젠 추억에 묻어두길 바래 baby 널 위해 기도해

[Chorus]**

oh girl I cry cry yo my all say goodbye bye
oh my love don’t lie lie
you’re my heart say good bye

——–
Leave me
Yeah, Finally I realize that I am nothing without you
I was so wrong, forgive me

Ah ah ah ah~

<Verse 1>
My heart broken like tides
My heart swaying like wind
My love faded like smoke
It never erases like tattoos
I just sigh so the ground shakes
Dust just collects inside my heart (Say goodbye)

<Rap>
You thought I wouldn’t be able to live a single day without you
But it’s different from what I expected, I’m getting along well
You never answer when I cry out I miss you
It’s all in vain to have vain expectations

<Rap>
Who’s the person next to you, does he ever make you cry
Do you even see me or did you forget everything
I’m worried, anxious cause I cannot even approach you or talk to you
I stay up the long night alone, I erase it off hundreds of times

<Chorus>
Don’t look back and just leave me, and don’t look for me, just live on
I have no regrets cause I loved you, so just take our happy memories
I can stand it somehow, I can bear it somehow
As much as I do this, you need to be happy, it’s fading day by day

Oh girl I cry cry yo my all say goodbye

<Verse 2>
Even though we bump into each other
Just keep going on your way pretending you didn’t see me
If our old memories pop up maybe
I might go to see you without noticing

Always be happy with him, so my mind never changes
Get along well as if it is for me to see so that I won’t have a single regret

As white as the sky, as blue as the floating cloud
Always smile like you do as if nothing happened

<Chorus>
Don’t look back and just leave me, and don’t look for me, just live on
I have no regrets cause I loved you, so just take our happy memories
I can stand it somehow, I can bear it somehow
As much as I do this, you need to be happy, it’s fading day by day

<Bridge>
Hope you feel more comfortable after leaving me
Just forget me and live on
The tears will all dry up
After day by day

It wouldn’t hurt like this if we never met each other um
Now keep our promise to be together forever as a memory
baby I pray for you

<Repeat chorus twice>

Oh girl I cry cry
You’re my all say goodbye bye
Oh my love don’t lie lie
You’re my heart say good bye