Monday, February 23, 2015

What's Real in Korean Hip Hop? A Historical Perspective

Recently, Lizzie Parker addressed an important question in the Beyond Hallyu website:  what is "real" in Korean hip hop

The question of authenticity may pop up in any given genre of Korean pop music, because every genre of K-pop is an import. Yet the question of authenticity is particularly pressing in hip hop, because no other genre of pop music cares so much about "being real," to a point that authenticity is the genre's raison d'etre, as hip hop does. Indeed, even in the birthplace of hip hop, the quest for authenticity is elusive. (Is Jay-Z still real, even though he went corporate?) When hip hop is exported to a different cultural sphere, the hurdle of authenticity becomes ever higher.

Parker's article did a great job in identifying the elements of what is considered "real" in Korean hip hop. Consider this post a companion piece, about how the idea of authenticity evolved in Korean hip hop. This inquiry is necessarily a historical one. So let's jump right into history of Korean hip hop, and start with the pioneers.

I.  Pre-History:  Early 1990s

The very first piece of K-pop that may be considered "hip hop" appeared in 1989. Hong Seo-beom [홍서범], a moderately popular rock musician, recorded a song called Kim Satgat [김삿갓].


Even by today's standards, Kim Satgat's rapping, overlaid on funk beat, has held up surprisingly well. But Hong's attempt was clearly an experimental one. Hong never aspired to be a hip hop musician; Kim Satgat was a one-off, avant-garde take at the new form of music that was gaining ground in the U.S. at the time. In the popular recount of Korean hip hop's history, Hong name is rarely mentioned.

Instead, the K-pop artists who came after Hong, such as Seo Taiji [서태지], Hyeon Jin-yeong [현진영] and Lee Hyun-do [이현도] are usually considered the pioneers of Korean hip hop. But even with this corps of artists, the label "hip hop musicians" would be a stretch. Seo Taiji's first album in 1992 , for example, definitely caused a sensation with a historical rap number, I Know [난 알아요]. But hip hop was just one of the many musical styles that Seo Taiji played with; in his later albums, Seo drifted toward his original love, i.e. rock music. Lee Hyun-do and his group Deux showed more dedication to the genre, but Lee's creativity (at least for the music that he himself would perform) was cut short when Kim Seong-jae [김성재], Lee's partner in Deux and the animal spirit of the group, passed away under mysterious circumstances at the tender age of 23.

(More after the jump)

Got a question or a comment for the Korean? Email away at askakorean@gmail.com.


Tuesday, February 17, 2015

Bonus Fresh Off the Boat Post

TK lied--sort of. The best essay to read about Fresh Off the Boat is indeed the essay by Clarissa Wei. But the best piece to read overall is Constance Wu's interview with the Time magazine regarding the show.

(source)

TK made it his practice to share links and short thoughts on his Facebook. But the interview with Wu, who plays Jessica on the show, has such great insights that it deserves a post.

Below, for example, is pure gold:
I think the reason people have been quick to throw the stereotype criticism on us is because there will always be people who are laughing at the wrong thing. Some people are like, “Oh, stereotypical accent!” An accent is an accent. If there were jokes written about the accent, then that would certainly be harmful. But there aren’t jokes written about it. It’s not even talked about. It’s just a fact of life: immigrants have accents. Making the choice to have that is a way of not watering down the character and making it politically correct. It’s choosing authenticity over safety, and I think that’s bold.
This is such an incredible point. From the beginning of this blog, TK has been trying to figure out how to approach the distinctiveness of Asian Americans. (For example, this post. Reading this again after seven years, I have many regrets.) Plainly, Asian Americans are different. Then how should Asian Americans, and the mainstream society, talk about this difference? 

Some Asian Americans have carried on as if we should never talk about this difference. TK thinks this is a mistake, and Wu explains why: the difference is real, and pretending that the difference does not exist is to lie about ourselves. This is who we are, and we should not be embarrassed about it. 

Wu makes this point a bit more specific to her character Jessica, which makes her perhaps the most compelling character on the show:
She’s aware of her difference, yet she doesn’t think that’s any reason for her to not have a voice. It doesn’t elicit shame in her. She doesn’t become a shrinking violet. And instead of that being something that Asians should be embarrassed of, I think that’s something that we should be proud of—the types of characters who know they don’t speak perfect English, who know they have different customs, who don’t think that that’s any reason for them to not have a voice.
The difference does not elicit shame in Jessica. This is perhaps the most important lesson that Fresh Off the Boat could impart to young Asian Americans: our difference is what we are, and it should not be a source of shame. We are who we are; don't apologize.

Got a question or a comment for the Korean? Email away at askakorean@gmail.com.

Monday, February 16, 2015

Fresh Off the Boat, and Being Your Own Self

(source)
We are four episodes in with the historic television show, Fresh Off the Boat. Among the many reviews and essays that revolved around the show, the best read in TK's mind was this piece by Clarissa Wei:
I grew up resenting my parents for all of the above because it was far different from the childhoods I saw and devoured on television. I thought my parents were crazy; that my mom was neurotic and my dad was overly obsessed with American symbolism. And while I had a vague sense that other Asian-American families had similar experiences, I had no idea just how similar the experiences were. There were no reference points.

. . .

Yes, every Asian-American childhood is different, and Fresh Off the Boat is only based off of one Asian-American family. But I relate to it far more than any other television show I have ever seen in my life. For once I have something to identity with. 
Asian-American kids desperately need shows like Fresh Off the Boat as reference points. The small details matter. Watching Jessica eat an apple off of her knife, seeing Louis hire white actors for a commercial, seeing Eddie being taunted for eating noodles in school, and watching the Huang family encounter casually racist remarks by folks in the community — all this was like watching a montage of my own childhood.
"Fresh Off The Boat" Made Me Realize My Parents Aren’t Crazy [XO Jane]

This observation dovetails into a topic that TK has been mulling over for some time: growing up as an Asian American. This topic is interesting partly because it is an experience that TK has never fully had, because he immigrated to the U.S. as a 16 year old. Yet sooner or later, TK and TKWife will have their very own TKDaughter or TKSon, which adds urgency to this topic.

Having spent a lot of time studying and listening to stories of many different Asian Americans, one conclusion I made is: it is critical for an Asian American child to grow up feeling normal. Children may not be able to verbalize everything they sense, but they nonetheless keenly sense whether they are different from other children, and whether their family is different from other family. If everyone a child sees is different from her, she ends up defining herself through the difference rather than through who she is.

Of course, this is not always the case. Even under adverse situations, certain people with extra special mental strength manage to imbue their own agency in their identity. (One such example could be Jim Yong Kim, president of the World Bank. Growing up in rural Iowa where he belonged to one of  two Asian families in the town, Kim graduated his high school as the valedictorian, class president and the quarterback for the football team.) But with most children, being surrounded completely by people who are different from them is a difficult challenge in the course of identity formation. It is hard not to let the difference define you. You become the shadow, rather than the thing itself.

Although TK cannot exactly prove this empirically, he is certain that this is the ultimate cause of the subtle difference in attitude between the Asian Americans in/from the West Coast versus Asian Americans elsewhere. There is no good way to characterize a large group of people in a very fine-tuned manner, so I will state it crudely:  West Coast Asians, on the whole, exhibit significantly less angst about their Asian-ness. Having been surrounded by enough Asians throughout their lives, they never had the need to justify their Asian-ness. Not so with Asian Americans from elsewhere, like young Eddie Huang from Orlando. There is a reason why Huang so loudly proclaims his ethnic identity, while Roy Choi--a chef like Huang, but from Los Angeles--quietly, but confidently, mixes Korean and Mexican.

West Coast Asian Americans certainly live as racial minority in America. But in their day-to-day lives, they do not constantly experience that minority-ness. The minority experience is an unending, tiresome struggle to justify one's being. And there is only one way to prevent this struggle from being the essence of your identity: around a child, there needs to be a critical mass of Asian American families that serve as a reliable sample of the humanity, such that the child's family is not the only example of what being an Asian means. Without the critical mass that demonstrates Asian Americans' essential humanity, the Asian American identity will always be a kind of an add-on that is grafted onto what is "normal," i.e. white. 

As Wei's essay ably shows, it is difficult for a child not to be shamed by the difference. Some children respond to this by pretending that the add-on does not exist; some respond by feeling excess shame or excess pride on this add-on. (Thus creating the three archetypes: "twinkie," "self-loather" and "AZN Pride".) But as long as the Asian American identity is considered an add-on rather than an integrated part of normalcy, an Asian American child is never at ease.

(I cannot even begin the grasp the experience of Asian American adoptees, most of whom experience the difference within the family, as they are growing up. I have quite a distance to cover, and I am not far enough along my journey to talk about that topic just yet.)

Got a question or a comment for the Korean? Email away at askakorean@gmail.com.

Tuesday, February 03, 2015

50 Most Influential K-Pop Artists: 8. Deulgukhwa

[Series Index]

8.  Deulgukhwa [들국화]

Years of Activity: 1985-present (most recent album in 2013)

Members (Current):
Jeon In-kwon [전인권]:  Vocal, guitar
Choi Seong-won [최성원]:  Vocal, bass, synthesizer

Members (Former):
Heo Seong-uk [허성욱]:  Keyboard
Jo Deok-hwan [조덕환]:  Guitar
Ju Chan-kwon [주찬권]:  Drum
Kwon In-ha [권인하]:  Vocal

Discography:
Deulgukhwa (1985)
Deulgukhwa II (1986)
Deulgukhwa 3 (1995)
Deulgukhwa (2013)

Representative Song:  Only That is My World [그것만이 내 세상] from Deulgukhwa (1985)




그것만이 내 세상
Only That is My World

세상을 너무나 모른다고
You know so little of the world
나보고 그대는 얘기하지
That's what you tell me
조금은 걱정된 눈빛으로
With eyes shrouded a bit with concern
조금은 미안한 웃음으로
With a smile shaded a bit with apologies
그래 아마 난 세상을 모르나봐
Yes, perhaps I don't know the world
혼자 이렇게 먼 길을 떠났나봐
Perhaps I started this long journey all by myself

하지만 후횐 없지
But I have no regrets
울며 웃던 모든 꿈
All the dreams through which I cried and laughed
그것만이 내 세상
Only that is my world
하지만 후횐 없어
But I have no regrets
찾아 헤맨 모든 꿈
All the dreams that I have searched for
그것만이 내 세상
Only that is my world
그것만이 내 세상
Only that is my world

세상을 너무나 모른다고
I know so little of the world
나 또한 너에게 얘기하지
That's what I tell you, too
조금은 걱정된 눈빛으로
With eyes shrouded a bit with concern
조금은 미안한 웃음으로
With a smile shaded a bit with apologies
그래 아마 난 세상을 모르나봐
Yes, perhaps I don't know the world
혼자 그렇게 그 길에 남았나봐
Perhaps I stayed on that road all by myself

하지만 후횐 없지
But I have no regrets
울며 웃던 모든 꿈
All the dreams through which I cried and laughed
그것만이 내 세상
Only that is my world
하지만 후횐 없어
But I have no regrets
가꿔왔던 모든 꿈
All the dreams that I have grown
그것만이 내 세상
Only that is my world
그것만이 내 세상
Only that is my world

Translation note:  The switch in subject between the first line of the first verse and the first line of the second verse is my own interpretation. In the actual song, the subject is not clear, because the sentence does not contain a subject--as is common with Korean language construction. 

Maybe they should have been ranked higher because...  Deulgukhwa's first album is widely considered the greatest album in K-pop history.

Maybe they should have been ranked lower because...  They can't go lower. But they probably can't go higher either. Only the best artists of the genre are above them at this point.

Why is this band important?
In the late 1970s, Korean pop music suffered through a catastrophic dark age. The Park Chung-hee dictatorship, growing ever more authoritarian, decided that pop culture was harming the national discipline. Many pop musicians found themselves in jail for trumped-up drug charges. All albums required governmental approval before they were released. Park was later assassinated, but his replacement--General Chun Doo-hwan--was hardly any better. K-pop, which was at the forefront of world pop music trend in the early 1970s, regressed for nearly a decade.

Deulgukhwa was the ray of sunlight that broke through the dark ages. The band's first album is widely considered the greatest rock album in K-pop history, and with good reason. The album is a historical breakthrough that rebooted the progress of Korean pop music. In fact, Deukgukhwa kickstarted the golden age of Korean rock. It may seem unthinkable today, but in the mid- to late 1980s, Korean TV's pop music ranking shows would be routinely topped with rock bands, with Deulgukhwa being a routine presence. Although it is once again driven underground today, Korean rock music owes a great deal of its current sophistication to Deulgukhwa and the rock band of the 80s.

Interesting trivia:  Choi Seong-won also had a successful career as a producer. His most famous product is Panic, ranked 25th in this list.

Got a question or a comment for the Korean? Email away at askakorean@gmail.com.
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