kevgao1030

[kevgao1030]

The (Most Popular) Originator of Kpop

Kpop, or Korean pop music, is synonymous with flashy colors, hyped up dance choreographies, catchy lyrics, and the presence of a band that is generally well recognized. These trends have been shown to be tried and true, generating over 150 million fans worldwide with no signs of diminishing momentum. While I do not consider myself to be a Kpop fan, I have had a fascination in how such a niche genre in the early 2000s really took off to become the musical superpower that it is today.

To preface my stance on such a question, I would like to address the fact that Kpop in itself has its origins stemming from various facets of the musical world. It is of course difficult to deduce one singular point from which Kpop sprang to life. Instead, I have chosen to focus on the point in which it truly took off and cemented itself as a sensation that it is today.

Thus, the originator of Kpop from my findings is the classic Gangnam Style by PSY, released in 2012.

When outrightly stated, this conclusion seems almost obvious. However, there is still merit such a deep dive into covering the global sensation. Through such introspection, we can gleam into the conditions in contemporary US that allowed Kpop to spring up, what truly led to the Kpop golden age we see ourselves in, and lasting impacts that Kpop will leave for us in the coming future.

To begin, let us look back into the 2012 music scene. At the start of the year, the contemporary artists of the United States took center stage, such as Katy Perry, Justin Bieber, and Adele. These sensationalized pop songs as we know it were being released for the first time. Furthermore, the platform Gangnam Style was released on, Youtube, was continuing its pattern of great growth. With the establishment of VEVO channels in 2010, Youtube had already carved itself as a mainstay in the music world. It was in July 2012 that PSY published his music video on Youtube for the world to see. Almost overnight, the world was captivated by the video, especially within the US where the concept of pop music had been established. Following such momentum came a third factor that led to Gangnam Style's continued success: social media. Days after its release, many American artists and celebrities began personally endorsing such works, including Katy Perry, Tom Cruise, and Britney Spears.

In regards to what led to the boom in Kpop, we can look further into PSY's reason for making the music video and the style that was emphasized within the music video itself. In 2012, South Korea was undergoing an economic boom, following closely in the footsteps of the US in terms of innovation and culture. PSY originated from such an area, known as Gangnam, known for its similarities to rich neighborhoods akin to Beverly Hills in California. Rather than follow in his families' footsteps and take over his family business in semiconductor manufacturing, he committed himself to a music career. Of course, this story is no rags to riches, but it imparts a sense of freedom, likely inspiring other would-be Kpop artists to pursue similar careers in spite of what "they were meant to be".

Another aspect of defining Kpop was the unique style that Gangnam Style captured 10 years ago. With a single watch, one can immediately recognize some qualities, even if implicitly. These include an iconic dance sequence (horse dance in this instance), catchy tunes (possibly even English to draw in the American audience), and a colorful set to define their character. While there are surely more qualities of what makes Kpop what it is, these aforementioned qualities are what I believe are the heart of Kpop.

Finally, I would like to touch up on the future of Kpop. Whether we like it or not, all media will have to evolve to garner the general populace. While Kpop still remains a mainstay within the United States, its growth is undeniably not as great as its prime in the late 2010s. However, new and old stars alike still continue to remain in the music scene through their innovation and adaptation. For instance, Kpop bands have tapped further into the facets of American music, redefining their brand through the use of jazz, blues, and hip hop for a unique twist on preexisting styles. Ultimately, Kpop is a style that will be etched into the history of American music through its impact on capturing the hearts of the world, acting as a trailblazer that embodies both expressiveness and freedom for those who listen and those who sing.

[kevgao1030]

Bruno Mars: The Modern Man of Retro

In today's music industry, various artists have carved their own niche through creating pieces drawn from popular genres, ranging from rap, country music, and rock. One particular genre draws much of its popularity and identity from hip hop and R&B. At its forefront stands song artist and pop icon Bruno Mars. Peter Gene Hernandez, or Bruno Mars, almost single handedly revived the era of hip hop from the 1990s through his most popular songs. Today, Bruno Mars represents the 90s culture, and while he is not as popular as he was during the 2010s, his influence situates him as a well-known artist in the modern US.

Starting from his origins, Bruno Mars was (as expected) especially interested in pop music during his youth, drawing inspiration from big names like Elvis Presley and Michael Jackson. Much of the music her produced is best described as "vintage", such as his early collaborative efforts in songs like "Nothin' on You" by B.o.B and "Billionaire" by Travis McCoy. Such works served to cement his image as a hip hop artist.

Billionaire (feat. Bruno Mars)

Following Bruno Mars' success in late 2000s projects, he began to pursue his own career in the form of his first official album Doo-Woops and Hooligan. The album had almost immediately become a countrywide success, pulling in hundreds of thousands of listens at an alarming pace.

Personally, during my first listen of the entire album, I could not connect the songs to his recent works. However, I eventually was able to discern the instrumentals that linked both of his works. His use of more excitable background music instills a unique depiction of music that is hip hop but is also undeniable a Bruno Mars song. I had actually felt nostalgic as I had heard these very songs in my youth. As a matter of fact, I had heard of these so much that I initially believed that Bruno Mars' songs were the musical products early 2000s era, when in actuality his songs were indicative of what the 2000s represented.

Following his album's success in 2010, Bruno Mars worked on various projects with other music artists until the release of his new album Unorthodox Jukebox. While it did not perform as successfully as his initial album, it still sold very well and reflected his personal style.

My first impression of the album was that it certainly was created by Bruno Mars. It remained upbeat and its lyrics matched the instrumentals. However, I felt that it was certainly not as iconic as his first album. The greatest departure from his style was the song "Gorilla", which reminded me more of rock music than hip hop.

Gorilla

Finally, the last song I want to cover for Bruno Mars is, in my opinion, Bruno Mars' most iconic song: Uptown Funk. With its 90s feel and the stylization of the music video, one can immediately conjure the time era that Bruno hoped to capture. The clothing style exemplifies the 90s: the tinted sunglasses, fedora, leather jackets, and jewelry! Furthermore, the use of the setting sells the theme with the use of vintage cars, brick building neighborhoods, and the overall quality of the recording. On the last point, the filming quality was excellent, but it still captures the sense of 90s television, likely due to the colors used. Furthermore, both the choreography and lyrics also give off a 90s-esque atmosphere. For instance, the lyrics

Take a sip, sign a check Julio, get the stretch Ride to Harlem, Hollywood, Jackson, Mississippi If we show up, we gon' show out Smoother than a fresh jar of Skippy

display a sense of old time metaphors and vernacular that is easily recognizable. In regards to thee dance, much can be attributed to the style, but the group choreography also matches up with 80s dance styles, many of which involve swaying back and forth.

To conclude, Bruno Mars is one of the greatest icons in the 21st century through his incorporation of 80-90s music style and his own unique twist that can be easily recognizable to those who hear his songs. While his name has not been as prominent in today's music scene, Bruno Mars will continue to remain as a mainstay in today's culture, especially in regards to the niche community of retro music.

[kevgao1030]

Chasing a Dream in the Czech Republic

When one hears of music, their first thoughts are of pop music, those which have cemented themselves into fame. However, such entertainment begins from zero and is built from the ground up. One unique band I had come across in my journey to cover newer bands is Katka Rejmonova, a band (and lead singer's name) established in the Czech Republic.

Katka Rejmonová from Czech Republic

Find more information about Katka Rejmonová from Czech Republic - biography and facts, latest songs, videos and chart positions

I was able to come across a post by band member Petr Cermoch on LinkedIn, where he promoted his band's newest release, "Stejně Jako Já", translated directly into "Just Like Me". Petr works as an English to Czech translator and acts as the lead bassist for his band. I had the pleasure to interview him on his relation to music, he and his band's motivation, and the process of music video development.

"Stejne jako ja" is, as described by Petr Cermoch, seemingly a love song, but has undertones on the concept of the "other me". Cermoch's band composed the song as a metaphorical discussion with your other self, where you connect and share your life's journey with this "other self". To exemplify this message, the usage of water metaphors with words like "flow" and "float" serve to provide a more relaxing vibe that may conjure an image of a boat in a calm ocean.

To begin, I had questioned Petr on his perspective on American music and its connection to contemporary Czech music. I had already discerned some similarities between the music in both countries, so I was especially interested in his take on the American music scene. He responded that

"This may come as a surprise, but there is a big connection between US and Czech music. In the communist era (1948-1989), and in the 1970s especially, most Czech pop singers would cover US hits. A lot of Czech hit singles from that time period are covers. Country music has a big tradition here also. Most hits come from the 1960s and 1970s, resembling US bluegrass music."

In regards to the modern Czech Republic, Petr remarked that rap music is particularly popular in the Gen Z population, but also argued that rock music is still present, citing that "Many pop/pop-rock bands that started in the 1990s are still going strong".

Petr's expertise on the history of music surprised me, but it did match his specialty as both an English translator and musician. Due to my personal knowledge on the Czech Republic, I did not expect such US influence on music scenes abroad. What did differentiate the two countries for me was that Petr had said that bands from the 1990s are still going strong today. In the US, there are very few instances where bands or artists are still relevant or present in the music scene for decades on end.

To specifically gauge Mr. Cermoch's inspirations, I had chosen to ask both his personal and the band's reasons for establishment. For his band, he stated:

"We've always wanted to write our own music. No covers. I had been previously in a number of metal bands, so I have always had that desire to make "happy music" instead. Music like Blink-182, Gob, Bowling For Soup, indie rock, pop punk, stuff from my childhood/teens."

For Petr's personal aspirations, he mentioned he had a close friendship with lead singer Katka, but was initially hesitant on playing for the band. However, Peter said that "The very first jam session convinced me. The music felt like something I've wanted to play all my life. Everything just fell into place."

In regards to the band's performance in the Czech Republic, Petr said that the band started out slow in late 2018, starting when they had begun to initially plan their first song "Needed o zivot" (later released in 2019). Unfortunately, the COVID epidemic hit, severely hindering the growth of the band, but they eventually rebounded in 2021, where the release of more music videos "Bývalá" and "Strach" were been nominated and won several international awards. These included the Europe Film Festival, Budapest Film Festival, Prague Music Video Awards, and TMFF.

Finally, I had the chance to learn more about the music video creation process. Petr explained that he and the rest of his band had a say in the final edit of the video while Martin Kolembar from 89vision pics worked heavily on the overall creation. It ultimately went through 2 separate revisions that included minor changes and finishing touches.

To conclude, I would like to once again express my thanks for Petr Cermoch to allow me to interview him. His expert usage of words and explanation on his understanding of music theory and clear explanation of his motivations truly helped me see music in a new light. While music itself may be shared amongst different countries, they still embody the individuals' beliefs and portray a message that transcends language for all to enjoy.

[kevgao1030]

New York City: The Heart of Modern Music

A sprawling metropolis, diverse ethnic background, and homogenization of the new and old alike. These core pillars embody New York City and establish it as one of the icons of the United States.

Such qualities are not only limited to the backgrounds and character of New York City, but also the rather lively entertainment scene within the bustling city. One such scene I will focus on is the music scene of New York City. It is of no surprise that since the city's establishment in the 17th century, it has been a host to many different music genres.

In the city's infancy, America's close ties with European interests had brought in one of the earliest genres into New York City's music scene: the ballad opera. Ballad operas are derived from England, and were a form of music which involved a mix of both modern music and a play structure. Personally, I find such types of music hard to grasp, especially as it is not a particularly modern nor does it follow typical musical genres. However, such unique musical forms are still important as a means to embody the city's thematic incorporation of other cultures in a way that still presents itself as new. Such music is still apparent to an extent through the broadway musicals that have become a mainstay in New York City culture.

During the early 20th century, New York City had a musical scene focused heavily on jazz and blues. Such pioneers included Louis Armstrong and Duke Ellington, many of which performed at musical halls found throughout the city.

All Of Me

Unfortunately, these clubs faced heavy discrimination due to contemporary segregation laws and traditions. Today, while the segregation seen then have thankfully become less apparent today, many music halls still exist today to perform jazz music for all denizens of New York City to enjoy. One famous music hall shown below is Carnegie Hall, which serves to highlight the past and future of jazz through its performances even today.

More recently, the musical scene of New York City has become almost synonymous with pop music. Various musical bands perform throughout the city, with thousands of fans vying for a chance to participate at a live concert. Furthermore, many music-related corporations operate within the city, ranging from music contractors to radio stations, all of which serve to spread contemporary music to the most people possible who are willing to listen. It is no wonder that New York City is the birthplace of many styles of music: it serves as the epicenter of creativity, expression, and popularity, all of which enhances the chances for many to etch their names into the heart of the city's musical scene.

[kevgao1030]

The Core Auditory Thematics of the 20s

The Roaring 20s was the decade-long period of the United States focused on economic prosperity in technology and consumerism as well as an explosion in musical expression of jazz, dancing, and entertainment media. For instance, the term "flapper" was coined during this time, which referred to a stereotype of women who were unladylike and "sexually free". The boom in economy also reflected in greater consumerism, especially in consumer goods like cinema, fashion, and home appliances.

Juxtaposing such a happy time period was the Great Depression, a period in which the stock market crash plunged the economic state of the US into chaos. Not only did investments disappear, the consumer market stalled and unemployment began to spike as many corporations began to lay off workers to save costs.

Of the many musical pieces released in the era of the 1920s-40s, "All of Me" by Louis Armstrong best captures the sentiments of the time period. The instrumentals especially seem to represent the carefree nature of the 20s with undertones that resonate with the more depressing latter years of the 30s.

All Of Me

Firstly, the song was composed based on the stylistic jazz music genre, which is iconic for this time period. As a music deeply rooted in African American history and the South, it follows a motif of a "swing" in the instrumentals. Such swings can be representative of the dance culture during the 20s, which was quite common as jazz music was considered to be a common choice to be paired with dance culture. Additionally, the recording of the song is of course representative of the time period as well. Of course, one cannot update the music without harming the identity of the piece to some degree. The filtered recording of the song matches up more with the time period.

Another topic of discussion is the instruments used in the music. The instruments include the trumpet and the piano. The trumpet initially takes center stage at the start of the song, before a repetitive singular piano piece is played in conjunction. As the vocal begin, the trumpet starts to play at a higher pitch while the piano begins to play a short piece. After the instrumentals, the trumpet takes center stage again to reach the climax before a more final trumpet piece ends the song. My perspective of this structure is that it starts off joyful yet solemn, but becomes more light hearted as the lyrics are sung. However, there is a shift towards a more melancholic feeling with the final trumpet part.

Not only does the tone of the music match certain emotions, the way that it is played also draws a nostalgic feeling. This is attributed to the aforementioned grainy recording of the music piece. However, I also personally believe much of the nostalgic draw of the instrumentals stems from the trumpet pieces, which signify my biases that I liken jazz to more of a nostalgic music style. This is because when I imagine the jazz genre of music, it paints images of "old timey" dance parties that challenge even more classical dance with its energy and charisma. A further source of nostalgia is the constant plink of the piano, reminding me of the original motion picture entertainment from Walt Disney. The 20s, with its advancements in cinema, included the innovations of motion pictures. While nothing in particular immediately reminded me of the 30s, I do believe that was intentional. A sudden jump from one of the greatest advancements in US history to one of its darkest moments typically would lead one to call back to the good times, with only a touch of the innuendo of contemporary sadness.

[kevgao1030]

The Parallels of Music and Dante's Inferno

As seen in most contemporary works, music itself can be applied to most if not all circumstances. From dance to political ideals, music has not only ingrained itself as a mainstay within our society but it has also demanded conscious profound thought from its listeners. Consequently, I have chosen to develop a playlist focused on the concept of the nine layers of hell, or more colloquially known from the work "Dante's Inferno". The compiled songs displayed below serve as a theatrical portrayal of the layers of hell, each representing one or more of the layers that have been described by Dante.

To begin, I had utilized the first song, "A Ghost Trapped in Limbo" by Sylvaine to quite literally represent the first layer of Limbo, which is stated to be where non-Christians and unbaptized virtuous pagans reside. Unlike the other 8 layers of hell, Limbo is stated to not tortured its inhabitants, but their subjects are still unsatisfied. This key description was the crux of why I had chosen "A Ghost Trapped in Limbo". Barring the name drop in the song title, its rhythm and length match one of solitude and perpetuity. Clocking in at 7 minutes 12 seconds, the song is by far the longest and match the theme of limbo, one which is eternal repetition. Uniquely, the lyrics rarely repeat themselves even as it discusses the topic of limbo, where one "[feels] so alone like no one can see or feel" and "caught in this somber world." In addition, to capture the distinct world of limbo compared to the other layers of hell, Sylvaine's song is the only one with soft rock that does not utilize overly harsh instrumentals.

My second chosen piece "Gluttony" by Buckcherry reflects the following two layers: lust and gluttony. The parallels are particularly obvious with the euphemistic use of consumption for sexual activities. As described by Dante, both lust and gluttony are the least acts of sin. However, the punishments are the ever-present fierce winds that beat down and the putrid storm of filth that rains down upon its inhabitants respectively. While it may be a stretch, the song's constant switch between lust and gluttony and the harsh yet methodical "I want it", "I need it", and "I love it" can be a metaphorical take on the similarity of both layers' punishments. I had also utilized this song as it profuse in both tune and language, portraying a stark shift from the prior song.

The following song "I wanted Everything" by Ramones is the representation of the 4th layer, Greed. The layer of Greed is divided into the group who had spent their lives lavishly and those were hoarders. Similarly, I had immediately discerned the difference in verses, where the phrase "I wanted everything" and the rest of the song were sang interchangeably. While I acknowledge the lack of connection to the punishment of the 4th layer (to spend eternity fighting over valuables), the Ramones presents a clear musical chronicle of one who gradually indulges in their greed (albeit understandably to an extent).

"Killing in The Name" by Rage Against the Machine is personally by far the most radical compared to the other music presented in my playlist. With the most "rock" aesthetics and its speak-singing style, Rage Against the Machine is a rebel in all senses of the word. Thus, it is no surprise that they would serve as the fifth circle of Wrath and seventh circle of Violence. The constant use of curse words and direct statements of "I won't do what you tell me" and "killing in the name of" resonate with the defiance of those wrathful. The band Rage Against the Machine also reflects the thematics of the two layers of hell, having been involved in controversial activism on contemporary events during their time period.

The penultimate piece "Take Me to Church" by Hozier is a more well-known music that is still related in the rock genre. With its satirical biblical lyrics, the song best matches the 6th layer of hell Heresy. Here, heretics are subject to flaming hot tombs for eternity. As seen in the following lyrics:

"I'll tell you my sins and you can sharpen your knife Offer me that deathless death"

The individual offers themselves to death as repentance for their sin, which is hinted to be homosexuality. In the past and (unfortunately) even in some areas today, such identities were considered sinful. Another reason for my selection of this song was its return to a more hymnic tone like the first song for the fact that heresy is seemingly out of place in the lower layers of hell, especially with the more morally wrong circles.

The last song in the playlist, "You Give Love a Bad Name" by Bon Jovi represents the final circles of Fraud and Treachery. Bon Jovi's song depicts shattering of one's impression of love through a form of betrayal. The punishment of treachery is the opposite to the 6th, where instead of flames the perpetrators are subject to Lake Cocytus, a frozen lake filled by devils' tears. A likeness can be related to one's depiction of heartbreak, where they feel cold and dead within. Such beliefs are best intertwined with the harsh permafrost of this layer of hell.

[pinkrubberducky]

What is Music if not for Concerts?

(this site only allows me to put in one of my own files so enjoy the whole concert from YouTube- there will be one file at the end of my own)

Many people who enjoy music usually agree that they either have seen their favorite artist perform live or want to see them live. The reason for this is because people generally feel connected to the artist they see live, or at least more close to. I’m guessing that’s the reason so many Harry Styles fans fly across the country, spending thousands of dollars on him. Honestly, I’m not judging, if I had the means to do that, I would as well; Though for me, it would be to see Machine Gun Kelly play live again. The emotions that poured through my body were overwhelming to say the least. 

(from 19 news)

Over the summer, August 13, 2022, to be exact, I had driven to Cleveland, Ohio to see MGK play a sold out show in the Cleveland Brown’s football stadium, FirstEnergy Stadium. It was amazing, possibly even the best show of my life. It started off with a lot of positive energy, which I think possibly fueled the entire rest of the show. The day was considered “MGK Day”, where there was merch and games and his music playing while he was getting some award from the rock and roll hall of fame. Not to mention, the whole city was turned pink as well, in lue of support to Kells. In addition, the mayor of Cleveland presented MGK with a national day, like MGK Day, every year on August 13th, at Kell’s own coffee shop- 27 Club Coffee located in Cleveland. 

(family picture :) at 27 club coffee shop )

To start out, there were 3 “pre-show” events including Willow, Avril Lavigne, and Trippie Redd. A lot of people were freaking out about seeing these live performances, though I only knew like 2-3 songs from each of their sets, so I thought it was just okay, like maybe a 7/10. They were entertaining to watch but I was here for MGK more, if that makes sense. I will say, Trippie’s act was kind of insane. Not only did he blatantly get high on stage from a large blunt, it looked like he would sing a little bit then go back backstage to maybe throw up and then rally a bit more. He was also like “wow I’m really fucked up right now” to the crowd as well, making it to me, seem like he just didn’t really care about his fans. It was still entertaining though a plus. 

Finally, MGK is up to play. By this point, I’m getting a second hand high from the people in front of us smoking, which you know, makes sense given the crowd. Anyways, the board begins to play a video of a pilot of a helicopter as his stage has a pink helicopter strapped to the top. Born with Horns begins to play AS HE IS COMING OFF A LADDER FROM A REAL LIFE HELICOPTER. It was purely epic and Ithink it was a great way to start his show. 

Machine Gun Kelly - Born with Horns MGK Cleveland 8/2022

MGK rocks his home town Cleveland Ohio Mainstream Sellout Tour

(travis barker and mgk, taken from my iPhone)

He then began to sing his hit songs from both tickets to my downfall and mainstream sellout. In between the songs he would tell a little story, something like this song is for so-and-so and I really want you guys to feel the emotion. I really love this part of the show because it felt like I was really connected to him and everyone singing along made it feel like I was less alone. I think also he did a really good job with his stage presence, while going between a couple hit songs on Binge and Hotel Diablo, he Zip-lined from the top of the stadium to the bottom wearing a Cleveland Browns Jersey with the logo XX on it. The logo stands for everyone stands together and he calls it his XX mob, which basically means we love you for who you are, we don’t care what differences you have as a person, let's embrace them because you’re amazing. I think this can be seen through the way he brings the crowd together; it just feels like a family. 

Machine Gun Kelly Zip-lines across sold out Cleveland Browns Stadium - 8/13/22

In addition to the zip line he also had three outfit changes, smashed a wine glass on his head, performed with Travis Barker and climbed a pillar as he was singing. To me this feels like he’s really dedicated to a show and really dedicated to pulling something together that his fans would like. I think that’s one of the reasons people really relate to his music is because he put so much effort into his lyrics that people feel connected enough to engage with him as a person; that’s why he puts on the shows that he does and I think that’s why people especially men leave a concert feeling loved and less alone. 

(mgk end of twin flame, rocking out, caught on my iPhone)

Reading this you must be thinking, “wow she really loved the show” and yes that is correct, I did.However, I wanted to share my favorite part. My favorite part was when he’s about to sing Twin Flame, which is his ending song; he looks out into the crowd, because he knows his daughter is there, and is like “wow make some noise for my beautiful daughter” and starts praising her which is extremely cute and makes me think he’s such a good father. This is especially cute because the song he sings is about the loss of an unborn child from his fiancé Megan Fox, and how much he loves and cares about his family. Praising his daughter and letting her know that she’s loved before playing this song just goes to show how having to abort an unborn child affects an entire family. I think it just shows his personality really well;  it seems like he is a person who has many layers- he grew up poor, got kicked out before 17, parents died and tried to sell his music on tapes to make a name for himself. He should be proud of himself and I don't think he really was until he saw his hometown stadium sold out. It was incredible to see. 

Like I said before, that was one of my favorite concerts. MGK played beautifully and sang his heart out. It was fun singing along and feeling like I was a part of a big family. I will 100% be seeing him live, even if that means spending money I don't quite have.

[camilorico]

First Impression of Guesstimate's Basement Show from a Newbie to the Basement Show Scene

One random day in August 2022, I was at my job with my coworker who was on the same shift as me, and I was complaining to him about how I had never been to a basement show and I wanted to go to one before the summer was over. He told me that his band holds basement shows and I should definitely watch one of his. I agreed and told him to let me know about his next show, which ended up being on a Friday night, August 12. I wasn’t sure at all what to expect since it was my first basement show ever, and he had only vaguely told me about his band and his bandmates before, so I did not even have much to go off of. In fact, I didn't even know the name of his band until he had told me that his show was on August 12. 

The name of the band is Guesstimate and the name of my coworker is Taylor. He is the trumpet, flute, and keyboard player of the band. The rest of the members are Andrew, who is the drummer, Chris is their guitar player, and Bobby is the bass player and vocals. Unfortunately, Bobby was injured that night so I was not able to see him perform, but the show still went on. Their type of music is progressive rock and fusion jazz with psychedelic influence, which is very different to the pop and R&B type of music I normally listen to. However, this by no means did not mean that their music was not worthy of listening to. 

My good friend came along with me and we both arrived at Taylor’s house where the show was held and walked around to the backyard. We were greeted by band member Andrew, who was really friendly, and he took our $5 admission fees and led us down a steep stairwell into their basement. The basement was very clean, which apparently is extremely rare for basement shows, according to my experienced friend that came along with me. It was so well maintained that there was no dirt on the floors to be seen. Guesstimate was one of the last acts in the show, so when I arrived, the first act, Curly, was performing. 

Curly was a solo performer, who was singing acoustic songs/covers with his guitar and ukulele. He seemed to be more new to the music industry with a still small and growing presence as he did not have a large audience. There were about 10-15 people, mostly older adults past college age, who were just standing around and not doing much while listening to his music performance. To be quite frank, the audience was dead and it felt awkward just standing there with no one else vibing or dancing or even moving around. This performer also attempted to do some kind of interaction with the audience by throwing his doll around to each person in the audience without it falling but that was not much of a success. I believe he was trying to get the audience to interact more and hype them up, but it was as they say, a "tough crowd". Although I see flaws in my experience with Curly's performance, I do think that he was still pretty talented in his acoustic music and it was enjoyable to listen to. 

Once it was Guesstimate’s turn to play, the audience grew a bit more, probably to around 20-25 people, and it was definitely a lot more lively. There were more people vibing to the music and actually moving around, making the experience a lot more enjoyable. Guesstimate performed their tracklist of their album, Fortune Hunters, which is linked below. Their music was almost entirely instrumental, with little to no words, as that does not seem to be the focus. Their instruments, the trumpet, the keys, the drums, and the guitar, are the focus of their music. I liked that all of these instruments complimented one another and still created a listening experience just as enjoyable as concerts with songs that did have lyrics. My favorite songs were Saturday and Three Amigos, as they were upbeat songs that were easy to dance to. I also enjoyed Taylor's Delay, which centered on Taylor's trumpet performance, as hinted by the title. Not only did I enjoy seeing Taylor play the trumpet live in person, but I also saw that he would switch and play the keyboard within seconds too, so it was fascinating to see him playing two instruments at the same time.

Overall, I had an amazing experience at Guesstimate’s basement show, as I truly had no idea what to expect. I only had experience attending kpop concerts and basement frat parties, so it was a lot different from what I was used to, but in a very good way. And this is not a biased review just because the band member Taylor was my coworker and friend, because I truly believe that him and his band Guesstimate deserve a lot of recognition for their hard work and amazing music.

[kevgao1030]

Chasing Lanternflies at the Hidden Gems Literary Emporium

Imagine yourself walking through the bustling streets of downtown New Brunswick. Businesses run parallel down George Street. As you approach the residential area of the SoCam Apartments, an unassuming street reveals itself before. Curious, you enter the new environment. That's when you quite literally notice a hidden gem: the Hidden Gems Literary Emporium.

The Hidden Gems Literary Emporium is nonprofit family-owned bookstore that prides itself in both providing literature to the community affordably and accessibly all while hosting communal events to disseminate poetry, music, and readings to all that attend.

When I had attended the Chasing Lanternflies Open Mic event, I had not been too sure of what would be performed on the stage. Based on preconceived notions, I had thought it was an event centered on the invasive species that had hailed from China. However, a quick introduction with Kenia Hale, who wrote a compendium of short works by various authors called "Chasing Lanternflies", clued me into the proper purpose of the event. It served to capture the moments summer, especially in a new environment.

In the event, I was able to listen to the poetry written by talented writers:

An individual who details their struggles with masculinity in a black community

A man who writes poetry on the discussion of injustices in the United States and strives to honor his birth name

Kenia Hale, who wrote a short story that details an interstellar adventure of one in the future

In addition to poetry, the Open Mic event hosted a solo song by vocalist Isa in the Speakeasy band, who sang a rendition of House of Gold by TwentyOnePilots. The vocalist was able to expertly match the tone of the singer, all while adding their own twist to differentiate themselves from the original.

In summary, the Chasing Lanternflies Open Mic event was truly a delight to attend! Not only was the atmosphere welcoming and accepting to all who attended, it resonated greatly with the cause that the Hidden Gems Literary Emporium strived to achieve. I hope that this piece will convince you to delve further into this bookstore and even possibly support your neighborhood's own hidden gems.

[altmusicposting]

Heroes or Cons? Breaking down 21st Century Breakdown

Released on May 15th, 2009, 21st Century Breakdown was Green Day's 8th Studio album, and proof that they had no intention of slowing down or shutting up anytime soon. An 18 track album full of (mostly) under 5-minute bangers that carry a combination of Green Day's tried and true socio-political criticism and their more recent story-driven angle, this disc deserved way more credit than it got.

Unfairly overshadowed by and nearly always discussed in the context of the band's previous album, American Idiot, especially now that we are more than a decade out from its release, Breakdown doesn't get the opportunity to stand on its own, the way it absolutely can. While the concept-album, rock opera style angle was inspired by its predecessor, Breakdown does plenty on its own to differentiate itself and thus I will be speaking in the context of Idiot no further.

Rolling Stone's Rob Sheffield describes the overarching concept of the album as "a Seventies-style epic, telling the story of two young punk lovers [Christian and Gloria, songs according to Rolling Stone] on the run in the wreckage of post-Bush America," who take care of each other because "no one else will." Included and beyond this are themes of technology, stagnation, complacency, disenchantment, hope, and defiance. This can be heard throughout the album through literal means, like the scratchy radio and technical glitch sounds, and both literally and figuratively through Green Day's iconic biting lyricism. As Alternative Press's Scott Heisel says, "Armstrong [front-man, singer, and guitarist] isn't afraid to spit out exactly what he's thinking."

Many of the band's fans cite this album or songs from it as favorites despite its relative underdog status. However, it was not as well received by some critics, like Pitchfork's Jess Harvell, who can, in the nicest way possible, fuck off. How could anyone who listened to songs like East Jesus Nowhere and Peacemaker call Green Day's efforts here "pompous and dumb"? With lyrics like "Don't test me/second guess me/protest me you will disappear," and one of my personal favorites of all time "this is a stand-off/a molotov cocktail/on the house," it should be more than clear that Green Day has by no means lost their desire or ability to speak their mind and revolt. Furthermore, the specific references like the name drop of Beretta (an arms dealership used for private, police, and military supply), nuclear disputes, climate change, and more show they are not just spewing generalist political outrage. There is nothing empty or hollow to suggest that Green Day is merely trying to recreate previous successes.

One concession I will make is that there are a few areas where the typical up-front message is detoured to further the "plot" of the characters, as in Last Night on Earth, and that can be a bit confusing. The main thing I suppose, is that there is a lot happening all at once, which can be hard to follow. Even still, this is one of the things I personally enjoy about the album. It makes it fun to listen through and to more than once, and putting the disparate parts together forces you to be an active listener.

What creases me about this review though, almost more so than the ignorance in regards to the album's finer points, is that Harvell makes snide comments about each of the band members and their musical/artistic prowess in turn. Criticisms of this kind always bother me a bit because, while it's fine to have a negative opinion of something, particularly when it comes to art, that's not necessarily a reason to insult the artist who created it. Furthermore, despite a proclaimed love of the band, and punk and alternative music in general, Harvell seems to focus on the simplicity and repetition of the musical techniques, phrases, and chord progressions used in this album and by the band in general. Not only is this claim at least partially baseless, given the diversity in instruments (including strings, tympani, and piano), tempos, time signatures(4/4 to 7/4), and moods of these songs, but also ignores the fundamental punk idea that its anyone's game. Yes, much of Green Day's music relies heavily on a few power chords, but its accessible. Which I think, is the point. You don't have to be a musical genius, you just have to say something, and say it loud.

I mean, just listen to !Viva La Gloria! and ?Viva La Gloria? [Little Girl] and tell me you don't get excited by the tempo changes, genre mixing, and impassioned lyrics.

For further proof that Harvell's claims that Green Day are just concerned with "reinforcing their own stature," or "could shit this stuff out in their sleep," are false, one need only turn to the source. In an interview with the Sunday Times newspaper, Billie Joe Armstrong described the aftereffects of leaving the record as akin to post-partum depression. Could this have been a publicity stunt? Sure, I guess. Though I am more inclined to believe it was perhaps exaggerated, but genuine.

One other commonly critiqued part of the album is the Song Know Your Enemy, which appears early on (track 3), and in all honesty does not have much substance. Alternative Press calls it more of "an interstitial piece than a stand-alone song," which I can understand. In all honesty, it has never been a favorite of mine, but I still believe there is a place for it in the track list and in the genre. It serves as a call to the classic angry, repetitive, head-bangy short songs of the "Clash-sized bootboy chants," as Sheffield puts it.

Another critique I have, is with the choice to include the n-word in the lyrics of the second to last track, American Eulogy: Mass Hysteria/Modern World. It is not the first time the band has done this, and though it is (in this case) used as something the martyr, who is described as a compulsive liar, says to insight more chaos and hysteria, it's use by a non-black individual has always made me feel a bit uncomfortable. Given the band (and Billie in particular)'s political activism and stances outside of their music, I find its use especially confusing.

My final issue with the album is that there appears to be little to no songs from the perspective of Gloria. This is disappointing because I love that the songs switch perspectives between in the story (through Christian's eyes), and a narrative third party (Billie/Green Day). This shifting makes the absence of Gloria's perspective in all but Murder City all the more apparent. Whether this absence is for any particular reason, i.e. the band wanted to mainly draw parallels between Christian and Billie, or not, it is still frustrating to have the female "main character" largely as an observed/addressed party rather than an active story-teller.

To return to positives for the end here, the individual songs throughout this album provide some of my favorite examples of high-energy socio-political commentary. For its part, the album as a whole employs fantastic transitions between tracks, with the ending of one leading seamlessly into the next, and so I highly recommend listening to this album all the way through.

[pinkrubberducky]

Is Machine Gun Kelly a Fraud?

The topic of Machine Gun Kelly is somewhat controversial. People don’t agree with the idea that he is helping to revive the Pop-Punk sound; instead, people have said Machine Gun Kelly is a fraud who switches genres and isn’t good at anything. So what exactly is Pop-Punk and is he actually bringing it back? 

Punk rock, according to Merriam Webster, is “rock music marked by extreme and often deliberately offensive expressions of alienation and social discontent,” and pop music  is music specifically designed for mass appeal and commercial success (musical dictionary). Thus, if you were to define the genre of pop-punk, it would be extreme and deliberately offensive expressions of alienation and social disconnect designed for mass appeal and commercial success. Machine Gun Kelly embodies this with not only his album Tickets To My Downfall but with Mainstream Sellout as well.  

mainstream sellout (life in pink deluxe)

mainstream sellout (life in pink deluxe) available now: http://MGK.lnk.to/MSDeluxe

Unlike older rap albums MGK had put out, Tickets and Mainstream Sellout have many punk/rock guitar and drum solos. This is partly due to the fact that drummer Travis Barker from the band Blink-182 had jammed out with him during quarantine in 2020 and things just streamlined from there (Life in Pink on Hulu). Travis then ultimately became MGK’s producer on a lot of the songs put out on the albums. Just another reason to believe that MGK is reviving pop punk; Having someone who is known for pop punk as someone who looks over and critiques your work would most certainly influence your sound as well. 

Taking a look specifically at Mainstream Sellout you would think that the main message of the album is that he is depressed, loves a woman and that he doesn't care what the internet is saying about him because he’s going to be himself and do what he wants regardless. 

A good example of that is the song Mainstream Sellout; where he goes on to say that he’s heard everything said about him and how people don’t quite support him. It seems like he’s listing out comments people have actually said to him, “leave the scene you’re ruining it, I’m a poser, does he even like, play guitar?”, which I think represents the idea of punk music because he is going against what social “norms” are. 

The idea that people have a set of ideals that one has to follow in order to be considered into a specific group is absurd. Once out of that group, you get “alienated” and targeted in order to “fix” yourself. MGK’s song ''Born with horns'' starts out saying it's hard to live and then he goes “alienate me i'm not the one you want, I feel so alienated.” This is him getting his emotions towards societal distress out into the world. 

Furthermore, the album has a track that sounds very similar to Adam's Song by Blink-182. The first guitar notes in Adam’s Song sound similar to Emo Girl by MGK and Willow, the back vocals-ish of the song, which makes me think that Blink-182 was also an inspiration of MGK’s music as a whole. Even on different albums as well, if you listen to 27 on Bloom, or Bad Motherfucker on General Admission (deluxe) you pick up rock vibes. 

In conclusion, MGK has a rock influence which is what makes his albums Tickets to my Downfall and Mainstream Sellout so good. He expresses so many emotions in his music and defies a lot of societal norms, as well as playing towards a larger audience. I believe his music is helping to revive the pop-punk genre.

[kevgao1030]

A Tumultuous Transition Turned Triumph

If you were to ask any music buff on the happenings of the 1970s, the band Fleetwood Mac is bound to be mentioned. However, its founding and journey up until its breakout success is certainly less noted by the general populace. Originally a British band that had its roots in Blues, Fleetwood Mac had shifted towards the rock industry as the band chose to relocate to Los Angeles, California. Having earned its place at the top before in the form of 'Albatross' in Britain and "Rhiannon" in the US, Fleetwood Mac was not a newcomer in the music community. What stood against the ensemble was not international attention externally, but instead from within.

During the 1970s, various internal struggles had begun or continued brewing. Between drummer Mick Fleetwood's domestic strife, vocalist Christine McVie's and bassist John McVie's divorce, and vocalists Lindsey Buckingham and Steve Nick's disdain between one another, the buildup to their new album's release had been incredibly strained. Thus, it is foreseen that such heated strife bled deep into the very music that they had created.

'Rumours' at its very core is an album that encapsulates eleven distinct songs created solely by Fleetwood Mac. An interesting point is its british spelling, possibly reflecting upon the origin of the band. Additionally, its title may quite literally refer to the news coverage received by the band from the press.

In regards to the band's music, its first song, 'Second Hand News', epitomizes the tone of the members leading up to the release of the album. Clashing with the generally positive rhythm and loud tone, the lyrics heavily juxtapose the music as seen:

One thing I think you should know I ain't gonna miss you when you go Been down so long I've been tossed around enough Aww, couldn't you just Let me go down and do my stuff

These lyrics exemplify the desire to fully move forward all while continuing their passion, which can best be seen as the music the artists still enjoyed making.

The following song, 'Dream' is best seen as a response, where the vocalist validates the desire to be free but stresses what is lost in the process.

In essence, the focus of 'Rumour' serves as a means of dialogue between the members expressed in both the purest and best form: through music. While both sides do initially clash through both its lyrics (literally) and rhythm, the overall tone of the album does shift to the theme of compromise and resolution, especially within the songs 'Go Your Own Way' and 'Songbird', where the rhythm and/or the lyrics are incorporated from past songs to signify a unison, if not in ideals, in understanding.

Finally, the closing songs of the album present a final outlook on the band's relationship: one of wariness. Best discerned in Gold Dust Woman, the instrumental heavily focused on strings depicts an uncertain tone. Coupled with the lyrics, this song returns to the initial songs and themes displayed in the earlier songs as if to call to the need to be aware of the past.

Overall, 'Rumours' by the band Fleetwood Mac is a reflection of the band's journey leading up to its release. While the members did struggle prior to the creation of the album, each member utilized music to best present not only their individual struggles but also of the band. With the record-breaking success of the album, Fleewood Mac was able to manipulate their flaws into career-reversing piece that resonated with the souls of the contemporary American populace.

[richardleerutgersblog]

"My.Life" Separates J. Cole from the Rest

With the new age of rap, a common trend within the industry has been the use of "mumble rap". With repetitive and indistinct lyricism, some believe that mumble rap "degrades an entire subgenre of music to an insult of the artists making the music". Though, while many artists have found much success using this form of rap, I do not believe it to be a true form of music. In fact, one artist that I find to truly contrast this, is Jermaine (J.) Cole.

Demonstrated through his powerful lyrics that bring his life story in the form of music, J. Cole differentiates himself from these other rappers. In his latest album, "the offseason", Cole portrays his tough upbringing into a major come-up into the success he has found today. "My.Life", one of the songs in the album, serves as the greatest example of this. He begins the song by describing the violence and drugs he grew up around ("Woke up early from shots that were swarmin'"). He then transitions these harsh upbringings into his talking about his aspirations to become something great ("Me, I was startin' to envy, wanna be on the top where it's plenty"), ending the first verse on a positive note. The storytelling of the lyrics is extremely well done and seamless, allowing you to connect with the artist. Being able to listen to a comeback story and the hard work it took J. Cole to get where he is now, differs heavily from the stereotypical mumble rappers, who ramble on about how much money or girls they have. Finally, Cole's references to celebrities like Ja Morant (NBA point guard) and Rihanna (singer), add to the connectivity and audience interaction of the song. Being an NBA fan and understanding the play on of "Ja Morant" and "Grizzly" furthers this sense of audience connectivity in the song.

Now, while "My.Life" has appeared to be a demonstration of Cole's exceptional lyrical ability, there have also been some controversies to the song. Some critics found that "the n-word is used multiple times, as well as the f-word and a few other profanities—vulgarities that undermine a track with some redemptive vibes". While this may be true, I do not believe that profanity undermines the message of the song. The majority of songs in all genres include profanity or vulgar lyrics, however this can be edited out or removed with a simple bleep. I believe the notion that Cole's occasional vulgar language disrupts the redemptive vibes of the song to be an exaggeration. While it is always a positive for a song to be "family-friendly", I think that the whole idea of violence and drugs bypasses this theme already, and so labeling curse words as a hinderance to the redemptive qualities of the song is again, an over exaggeration.

In conclusion, J. Cole has proved to be truly unique in the modern day rap industry, and innovative in his creation of lyrics. Connecting with his audience and creating a story, J. Cole beautifully executes the theme of his song, whilst defying the trending lack of creativity in mumble rap. It seems as though he went from redeeming himself to now redeeming the rap industry as a whole.

my.life

J. Cole’s latest mixes some positive, personal reflections with some profane, suggestive verses.

Mumble Rap: A Genre or a Joke?

The merit of mumble rap has grown to become one of the most divisive topics in today’s hip-hop industry. Although some fight to fiercely pro

[tristan-v-saxophone]

a history on the Mingus Magnum Opus

What do you think of when you hear the name "Charles Mingus"? Chances are, not very much. Maybe you've heard his popular tune "Moanin'," known for its tasty bass line played by baritone saxophone, or maybe you got a taste for the gorgeous ballad "Goodbye Pork Pie Hat", but for most, that's as deep as they go, never diving into the depth of what his music really is.

Unquestionably one of the most influential jazz musicians of his time, Charles Mingus was well known during his time as a phenomenal musician. He played with some of the most incredible musicians of the time, including Charlie Parker, Louis Armstrong, and Duke Ellington. The number of his works branches into the hundreds, and much of his music pushes the bounds of Jazz as a genre. But one "tune" stands above all others in this, his largest work: Epitaph.

At 4235 measures and 19 movements long and taking just over 2 hours to perform in its complete form, this composition can only be described as enormous. The composition features styles of music bridging all western music of the time, from the orchestrally inspired "Childrens Hour of Dream," to the traditional Blues of "Better git it in your Soul", the Latin "Mood in Mambo", to the Avant Garde "Chill of Death", everything that had inspired Mingus had been featured in this composition.

Of course, a piece of this magnitude is not an easy one to perform. It features difficult written parts, complex chord progressions, and confusing song forms, in which even great musicians, such as the incredible Wynton Marsalis, struggled to read and perform the music. The aptly named composition was stated by Mingus to be written "For his tombstone," implying he did not believe the piece could be performed in his life time. Despite this, he did make one attempt; the ill-fated 1962 Concert.

On October 12, 1962, Charles Mingus had a live session in an attempt to record the composition. The original session date had been pushed up, several rehearsals had been cancelled, and Mingus continued to expand the composition until the day of the session, and the event was advertised as a live concert. These circumstances resulted in an infamous performance of poor reading, false starts, and angry outbursts from Mingus witnessed by a public audience paying for entry. The 'concert' ended with Mingus shouting at the audience

"Get your money back. I couldn't stop you from coming here. The press agents lied to you. You've been taken advantage of. Go out now and get your money back. I don't want you to think I've done this to you. It was supposed to be a recording session, but Mr. George Wein, who is a fine promoter, changed it into a concert. So get your money back. The company has lots of money. It would take years to rehearse this music."

Since that first attempt, the manuscripts had been lost, then later rediscovered by composer and arranger Andrew Homzy, during a visit to Sue Mingus, Charles Mingus's wife. Epitaph has only been performed in completion 6 times, twice in 1989, and four times in 2007.

[soleilsogolden]

Olivia Rodrigo and the Revival of Pop-Punk

In the early-2000s, pop-punk was almost inescapable. Thanks to commercially successful bands such as Green Day and Blink-182, pop-punk maintained extreme mainstream relevance for nearly a decade. Once the 2010s came around, the pop-punk scene began to fizzle out as electropop music took over and artists such as David Guetta and Skrillex gained popularity. The golden age of teenage angst came to an end, that is until 2021 saw the resurgence of pop-punk music. Young artists have reclaimed the genre and modernized it in unexpected ways, and one artist, in particular, is at the forefront of this pop-punk revival: Olivia Rodrigo. 

So, what exactly is pop-punk? It is a music genre that fuses elements of catchy pop and fast-paced punk-rock. It typically combines fast tempos, raw lyricism, and loud electric guitar solos. This music style started to trend alongside the grunge fashion styles of the early 2000s. Twenty years later, we find ourselves amidst a return of this pop-punk scene after the release of Olivia Rodrigo’s first studio album, Sour. 

In 2021, Sour debuted at No.1 on the Billboard Top 200 Albums chart and has since earned the artist three Grammy awards (Best New Artist, Best Pop Solo Performance, and Best Pop Vocal Album). Popular music coverage website, Pitchfork, refers to this album as a “slightly chaotic collection of break-up anthems filled with melancholy and mischief.” Of all of the songs on Sour, “brutal” feels the most pop-punk-oriented, lyrically and sonically. Consider these lyrics from the track:

And I'm so sick of 17

Where's my f****** teenage dream?

If someone tells me one more time

"Enjoy your youth," I'm gonna cry

And I don't stick up for myself

I'm anxious and nothing can help

And I wish I'd done this before

And I wish people liked me more

Now compare Rodrigo’s lyrics to the following popular pop-punk song, “Beverly Hills” written by Weezer, circa 2005:

Where I come from isn't all that great

My automobile is a piece of crap

My fashion sense is a little wack

And my friends are just as screwy as me

I didn't go to boarding schools

Preppy girls never looked at me

Why should they? I ain't nobody

The lyrics of both of these songs are unquestionably snarky and self-deprecating, allowing the artists to resonate with their target audience of teenagers and twenty-somethings who feel similar levels of dread. Rodrigo’s angsty lyrics in “brutal,” combined with her killer electric guitar riffs, make for the quintessential pop-punk song. 

Although we find ourselves in a modernized age of pop-punk, it is inevitable that today’s music will display similarities to the original pop-punk songs of the early-2000s. However, there is a thin line between inspiration and plagiarism, and Olivia Rodrigo might be testing her luck. In the midst of the massive praise Rodrigo has received for her recent music, there has been criticism surrounding the resemblances between the songs featured on “Sour,” and the music released by the popular pop-punk band, Paramore. Rodrigo was accused of ripping off Paramore’s 2007 hit "Misery Business" with her #1 hit song “good 4 u.” In fact, the backlash Rodrigo received led her to give up millions of dollars in royalties to Hayley Williams- lead singer of Paramore- by offering her an official song credit on the track.

Both songs have comparable vocal rhythms and chord riffs, though it is important to recognize that there are stylistic trademarks that some of the most popular pop-punk songs share, which can explain why songs of this genre may sound very similar to each other. In fact, it has become a running joke that the lyrics of many of the most popular early-2000s pop-punk songs share the same trope of “hating your hometown,” which can be seen in the video below: 

As arguments rage on about what is deemed unoriginal in pop-punk, Rodrigo continues to grow as an artist, contributing to the evolution of the genre. Despite the controversy and allegations of “copying other artists,” there is no denying that she has made a name for herself in the pop-punk realm. In the span of one year, Rodrigo has sling-shotted to extreme mainstream success, introducing a new generation of teenagers to pop-punk music.

The pop-punk renaissance is here, thanks to Olivia Rodrigo.

[dg1010]

A Romance Story in NANGMAN.

When people say the name of the infamous genre “KPOP”, we always come to think about good-looking male or female dance groups with very cheerful rhythms. But the idea that “KPOP” could refer to a bigger picture of all of Korean music, such as rap or r&b, never comes to mind. While he is not part of any famous idols, he himself is an artist that has been popping off for a couple of years and especially after releasing his newest album NANGMAN. 19-year-old Seo Dong Hyun, commonly known as Big Naughty, released a track of 10 songs that portray a whole story of romance and what it means to be in love. The theme behind this album may seem a little cringe to some, but the music itself is done with passion, creativity, and hard work. That’s why I want to say that every song on this album is just really good. 

Through this album, Big naughty was able to show his versatility by showing his skills through singing, rapping, lyrics, and so much more. Each song has its own different rhythm and vibe, which makes the whole album even better as it gives a wide variety of different types of music to listen to for his listeners. My personal favorites are good examples of how the album portrays distinct genres. R&B comes through the songs like “Hachiko” and “Lovey Dovey”, Pop rhythms in some of the songs such as “Romance Symphony”, and hip-hop come out through a few songs like “Period” and “Actor”. The music is not the only thing that makes this album so great.

One thing I love about this album and this artist is that he makes the music through his personal experiences. He shares it with his listeners so that many of them could relate to it and know that no one is alone. He shared with ENVImedia in an article, written by Vanessa Arias, called BIG NAUGHTY TALKS ABOUT NANGMAN AND HIS CREATIVE PROCESS stating “The rapper shared that “Vancouver,” one of the pre-released tracks, remains one of the most meaningful songs on the album for him… The track is deep, discussing an ex who left him to go to Vancouver and he’s stuck with the thoughts of their past relationship and the idea that he would chase her there.” When I look at many artists these days, there is always the main theme of getting rich, flexing their wealth, or how easily they can get with girls. When I listen to Big Naughty, one thing that stands out is his personal experiences within his songs. He shares his familiarity with the topic of each song while also following a trendy path of music. 

These ideas of versatility and personal experience are great for creating an album. However, One minor thing behind this album is that I feel some songs that include a feature he could have done on his own and it would be a lot better. For example, “Hachiko” features three other people that do good, but I don't feel as connected with them as I do with Big naughty in the song. If he did the song on his own, I feel it might have been so much better. No hate to the features. This is a minor problem so it doesn’t really matter. Overall, this album is amazing and everyone should go check it out. Here's the music video for “Romance Symphony” if you want to give it a listen.

[pinkrubberducky]

Is Harry Styles the One to Break the Curse of Toxic Masculinity?

By Jillian Bradin in September 2022

Harry Styles, a former One Direction band member, otherwise known as Fruit Man among his fans, is one of the most controversial pop stars of the summer. There a lot of people who have said he is queer-baiting, a term defined as someone who presents “queer ideas” soley for the purpose of marketing and gaining a larger audience. This began when he was pictured in Vogue Magazine in 2020 wearing a Gucci dress and since then has been helping people come out to their families or friends at his own shows. 

pic via rolling stone uk

People seem to have an issue with this because he, himself, has not actually said anything about his sexuality, however that shouldn't matter. Why are we questioning other people’s sexuality in 2022? It’s just a way people live, it's how people are, and again, like Harry says, we should treat people with kindness. Sexuality is a fluid spectrum and people should love people regardless of gender, sexuality and how one dresses. 

Consequently, from this idea of dressing or acting “gay” stems toxic masculinity. The idea of being more femine as a cis man has created backlash of not being “manly” enough, the sole definition of what toxic masculinity is. Toxic masculinity is doing things to seem like you are this alpha male, who is “better than everyone else” because they’re the most “manly”. This has led to issues of homophobia if you’re seen wearing or saying something “not manly enough”. 

So how does his music bridge this idea of toxic masculinity and interpersonal struggles? 

While it is true that Styles sings about fruit like Watermelon Sugar, many of his songs have a lot of longing to be more feminine throughout them. The media, a large scope of it at least, have begun to assume that he is part of the LGBTQ+ because of the qualities he possesses that are seen more in women, such as wearing more “feminine clothing” and being a decent human. This creates a fine line- no pun intended- between what men can do, how they speak, what they can wear and who they can be, without being called a woman, which is degrading for so many reasons. 

His music contains lyrics that can be listened to with many different perspectives, whether on the surface or with intent. There are a lot of songs I could analyze, however, I will be choosing one album that seems the most fitting as it contains a lot of songs longing to be who is with no remorse.  

On the album Fine Line, the songs She, Cherry, Fine line, and Treat People With Kindness, include lyrics that have a double meaning, or in other words contain double entendres. 

Although there are these amazing songs, I'm afraid if I write about all of them, no one will read this blog. So, without further ado, I will give you my top 3 songs off Fine Line that represent what a true man is. 

Fine Line; Put a price on emotion, i’m looking for something to buy

      I don't want to fight you, And I don't wanna sleep in the dirt

       We'll get the drinks in, So I'll get to thinking of her

       We'll be a fine line

The lyrics on a more shallow perspective look like they are talking about struggles with an old lover or past relationship. However, looking more closely, you can see that he says, Put a price on emotion, I'm looking for something to buy; to me, those lyrics scream that he wants to be allowed to have emotion but it will come at the price of being seen as less masculine or not manly enough. He then says, I don’t want to fight you and I don't want to sleep in the dirt, we’ll get the drinks in so I'll get to thinking of her. In this case, I think that he doesn’t want to suppress his feminine side, which I believe is the “Her” he is referring to. The lyrics seem like he wants to be his masculine self and not care about if things are seen as less masculine, which could be seen as defying toxic masculinity. 

She;    He takes a boat out, Imagines just sailing away (away, away)

And not telling his mates (not telling his mates), He wouldn't know what to say     (wouldn't know what to say, to say)

She (she), She lives in daydreams with me (she), She's the first one that I   see

And I don't know why, I don't know who she is (she), Lives for the memory

A woman who's just in his head (just in his head), And she sleeps in his bed (his bed)

While he plays pretend (pretend), So pretend (pretend)

The lyrics of “a woman who's just in his head, and she sleeps in his” might refer to how he recognizes himself in different aspects of his identity that he holds within himself, almost like a secret. Unlike Fine Line, this song seems to tell the story of how he wants to show who he really is and tell his friends and people closer to him, but seems afraid as if something bad might come of it. He also writes that he takes a boat and imagines sailing away. This, to me, symbolizes day dreaming about something and escaping from reality. To put it in context, Harry wants to get away from the reality of being scared or afraid of who sees him as how he sees himself. 

  Finally, the song Treat People With Kindness just embodies emotions of finding who you are and wanting to be yourself in a place where people don’t judge you. 

TPWK;  I got a good feeling, I'm just takin' it all in

   Floating up and dreamin', Droppin' into the deep end

   And if we're here long enough, They'll sing a song for us (ah- ah-ah-ah), 

   And we'll belong,

   Maybe we can, Find a place to feel good

   And we can treat people with kindness

  The lyrics “floating up and dreaming” conveys a world in which Harry wants to escape to. One where people live alongside you and encourage you to be the best version of yourself with no judgment or criticism. The next set of lyrics, “if we’re here long enough, they’ll sing a song for us” represents the patience he is willing to endure in order to make his dream a reality, and maybe, just maybe, everyone will treat people with kindness. 

Overall, Harry Styles has done an incredible job trying to diminish the ideas of toxic masculinity. I think that if more men, and even women and people in between, were to follow in the footsteps of him, the idea of being manly enough would expire and people could truly be themselves. Why try to fit into society’s standards when we could change the standards of society instead? Maybe if we did that, the world would be a better place and more men would be singing about fruit.