So Hot by the Wondergirls (원더걸스): Lyrics, Translation, & Explanation
(Source)
It’s been a long time since I’ve thought much about the Wonder Girls (원더걸스).
To be precise, not since writing these posts back in April 2008. And in which I was pretty critical of manager JYP’s (박진영) overly sexual marketing of them, and especially of the Korean public’s collective refusal to acknowledge that. After all, band member Ahn So-hee (안소희) was only 15 at the time.
Maybe too critical though, and since then I’ve written much more nuanced posts on the issues that that raised, partially in response to reading excellent alternative perspectives by Gord Sellar and Matt at Gusts of Popular Feeling. But still, I did feel vindicated when So Hot came out just a few weeks later, especially as it was advertised on mainstream Korean portal sites with GIFs of the music video like these on their front pages. One of which, like Matt wrote, comes from the same point (0:17) as a breathy “Oh! Oh!” in the track, and “if you looped it, you’d have a porn soundtrack.”
Feeling a little smug then, and not particularly liking any of their songs either – they’re generally much too slow for my tastes – I’ve deliberately avoided listening to the Wondergirls ever since. Yet nearly 3 years later, not only do I suddenly find that, like them or not, I have to research them, but literally just as I started MellowYel at Mixtapes and Linear Notes wrote a compelling post in which she argues that, basically, “most South Korean girl group concepts since 2007 have been determined by the Wonder Girls”, and that this points to JYP being simply “great at finding formulas that work”. And she’s by no means the first person to make those arguments to me either, although she is the first to pass on such convincing evidence.
So hey, while I’ll always consider JYP a sexist pig, I can still acknowledge his musical and marketing skills. And in light of those, then it’s high time for me to reconsider the Wondergirls, and I’d be very interested in and would appreciate hearing readers’ own takes on So Hot to start. Particularly on what you think it’s about really, as it seems so narcissistic that it may even be a satire, especially considering the comic elements in the video.
Having just praised JYP’s marketing skills though, then I’m really surprised at the poor quality of the official one available:
For the sake of getting the gist, here’s another one with subtitles, although there’s a few basic mistakes with the English:
Finally, the lyrics themselves, most of which are so easy that they could be featured in lower-intermediate Korean textbooks at least. Certainly they’d make for more interesting classes than discussions of temple visits and making kimchee that are the normal fare:
왜 자꾸 쳐다보니 왜에에
내가 그렇게 예쁘니 이이
아무리 그렇다고 그렇게 쳐다보면
내가 좀 쑥스럽잖니 이이
내가 지나갈 때 마다 아아
고갤 돌리는 남자들 을을
뒤에서 느껴지는 뜨거운 시선들
어떻게 하면 좋을지 이이
Why do you look at me so often? Why~?
Am I that pretty?
No matter how pretty I am, if you look at me like that
I get embarrassed , yes?
Every time I walk past [them]
Men that turn their heads
I feel their hot gazes behind me
If that happens, what’s best to do?
(Source)
Here, the frequent “니” endings are a short, informal version of the very formal “~ㅁ니까” ones for asking questions, which is why I added a question mark to them in lines 1 and 2. Line 4 though, is a little more complicated, because there’s a “잖” (short for “잖아”) in the “쑥스럽다” (“embarrassed”), which is used a lot in daily speech when the listener (albeit only an equal or someone of lower status) already knows well – or should know well – what the speaker is saying, as explained in my scan of pages 130-131 from 한국어 문형 표현 100 below (a wonderful book, which teaches Korean learners the differences between 100 commonly confused grammar points). Having that in a question form though, sounds really strange, and so my wife and I think the nuance of the “잖니” ending is effectively that of a tag question, i.e. “지”. It also implies that she’s really talking to herself too.
Before that, in line 3 the “아무리 그렇다고” basically means “no matter [the previous sentences]“. Then in line 7, “고갤” (short for “고개를”) literally translates as “scruff off the neck”, which can be misleading in this video in particular because, in English, “to take something by the scruff of the neck” means to completely control it (i.e. precisely what the girls in the video seem to be doing of the men), whereas it really just means “head”.
Next, in line 8, the “지” in “좋을지” is very strange, and I’m not sure that it is a actually a tag question, as I first thought. Either way, my wife assures me that here at least it basically means “~ㄹ까”, an ending you use when you’re asking someone’s opinion, which means she’s literally asking “what is good?”. Hence my “what’s best to do?”.
Finally, although the chorus is very short and easy, I’ll add it separately below, just to make it easier to find. In it, I’ve translated “너무” as “so”, as even though the dictionary gives “too”, in my experience it’s used as “very” (or, indeed, “so”) just as often. I was a little confused by “너무 매력 있어” in line 2 though, because I’ve always learned that “매력” meant “attractiveness”, with “매력적이다” meaning “attractive”. By itself, “매력(이) 있어”, literately “attractiveness have” seems fine too, but what on Earth is the “very’ before that doing there? Is “매력” a noun, an adjective, or what?
It didn’t seem very important, so I gave up and just went with “I’m so attractive”!
(Source)
I′m so hot 난 너무 예뻐요
I′m so fine 난 너무 매력 있어
I′m so cool 난 너무 멋져
I’m so so so hot hot
I’m so hot, I’m so pretty
I’m so fine, I’m so attractive
I’m so cool, I’m so cool
I’m so so so hot hot
(Source)
언제나 나를 향한 눈길들이 이
항상 따라오는 이 남자들이 이
익숙해 질 때도 된 것 같은데
왜 아직도 부담스러운지 이
조용히 살고 싶은데 에에
다른 여자애들처럼 엄엄
엄마는 왜 날 이렇게 나놨어
내 삶을 피곤하게 하는지
Gazes are always turned towards me
These men always follow me
And I think it’s time to get used to it
Why is it still a burden
I just want to live quietly
Just like other girls
Why did my mother give birth to me like this?
I don’t know why something is making my life so tiring
(Source)
Not quite so much to discuss here fortunately.
First in line 3 – “익숙해 질 때도 된 것 같은데” – I confess I don’t know what the “도” (again? also? too?) is doing there exactly, and am open to suggestions, but meanwhile I was “cough” happy to notice the past tense marker “ㄴ” in “된”, giving, literally, “get useㅇ to it – time – 도? – has come – I guess”.
Next, in line 7, “나놨지” had me completely stumped, and no wonder: my wife explained it was a combination of “낳다” (to be born) and “놓다” (to be put). Knowing that, and with the mother mentioned at the beginning, then I think the intention was “Why did my mother make me like this”, as indeed most other translations have put it. That was really tempting, but then at the very least my awkward “Why did my mother give birth to me like this?” does sort of acknowledge the “born” element to the sentence for learners. And, who knows? Maybe the original Korean does indeed more mean she was born the way she was (due to genes), as opposed to being made a certain way (which in English, implies more one’s personality has).
Finally, line 8 is made easier if you know there’s an unspoken “모르겠다” at the end. And as for “피곤하게”, I identified it as a causative construction, as discussed by commenter dogdyedblack here.
Moving on then, next there’s just an extended version of the chorus again:
(Source)
I’m so hot 난 너무 예뻐요
I’m so fine 난 너무 매력있어
I’m so cool 난 너무 멋져
I’m so so so hot hot hot
I’m so hot 난 너무 예뻐요
I’m so fine 난 너무 매력있어
I’m so cool 난 너무 멋져
I’m so so so hot hot hot
Everybody’s watching me, cause I′m hot hot
Everybody’s wanting me, cause I′m hot hot
I’m so hot, I’m so pretty
I’m so fine, I’m so attractive
I’m so cool, I’m so cool
I’m so so so hot hot
I’m so hot, I’m so pretty
I’m so fine, I’m so attractive
I’m so cool, I’m so cool
I’m so so so hot hot
Everybody’s watching me, cause I′m hot hot
Everybody’s wanting me, cause I′m hot hot
(Source: unknown)
언제나 어디서나 날 따라 다니는 이 스포트 라이트
어딜 가나 쫓아오지 식당 길거리 카페 나이트
도대체 얼마나 나일 들어야
이놈의 인기는 시그러들지 원
섹시한 내 눈은 고소영
아름다운 내 다리는 좀 하지 원
어쩌면 좋아 모두 나를 좋아 하는것 같애
Oh no, lease leave me alone
All the boys be loving me, girls be hating me
They will never stop, cause they know I’m so hot hot
Everywhere, all the time, this spotlight that follows me
Chases me wherever I go: restaurants; the streets; cafes; nightclubs
How old do I have to get in order for
my damn popularity to wither? Sigh…
My sexy eyes [are like] Go So-young’s
My beautiful legs [are a] little [like] Ha Ji-won’s
What should I do to make things good? I guess everybody loves me
Oh no, please leave me alone
All the boys be loving me, girls be hating me
They will never stop, cause they know I’m so hot hot
(Helpful picture of Go So-young’s “sexy eyes”. Source)
First up, in lines 1 & 2, I’m a little confused as to why “this spotlight” (이 스포트라이트), which is modified by the relative clause “that follows me” (날 따라 다니는), is later described as chasing her (쫓아오지, with the “지” probably being a tag question), which seems to be unnecessary repetition; but it’s there, so hence the awkward English.
Next, the “어야” ending at the end of line 3 had me stumped for a while, as while it’s clearly not the same as the “이야” described on page 181 of Korean Grammar for International Learners (KGIL), as discussed in the last song translation, I wasn’t entirely sure that it was the very basic “~어/아/야 하다” form, which means having to do something. Eventually though, I discovered something on pages 307-308, which not only doesn’t require a “하다”, but connects it much better to the next sentence:
Line 4 after that has the wonderful “이놈의”, which means “damn”, and the final “원” in it is rarely found in written form, but basically means “sigh”. The meaning of the “지” in “시그러들다” though (to wither), I confess left my wife and I completely stumped.
Finally, at first I though the “어쩌면” in line 7 was simply the dictionary definition of “어쩌다” (1 – occasionally; 2) accidentally, unexpectedly) plus “면” (usually “if”), but my wife told me that the full phrase “어쩌면 좋아” means “What should I do to make [it, things] good”, which makes it very similar to the “어쩌지” of the last song translation (see #3 here for more on that).
And but for one final round of the chorus, that’s that!
(Likewise, of one of Ha Ji-won’s “beautiful legs”. Source)
I′m so hot 난 너무 예뻐요
I′m so fine 난 너무 매력 있어
I′m so cool 난 너무 멋져
I’m so so so hot hot
I’m so hot, I’m so pretty
I’m so fine, I’m so attractive
I’m so cool, I’m so cool
I’m so so so hot hot
As always, thanks in advance for pointing out any mistakes, and or giving alternate translations – I really learn a lot from them. And with this particular song, like I said I’m a little stumped as to what its about really, so thanks also for any insights you can give me!
Bad Girl, Good Girl (배드걸 굿걸) by Miss A (미쓰에이): Lyrics, Translation, and Explanation
( Source )
Having just written that I find new girl groups virtually indistinguishable from each other these days, then I’m very glad reader “abcfsk” persuaded me to take a closer look at Bad Girl, Good Girl (배드걸 굿걸) by Miss A (미쓰에이), as I grew to like it very quickly. And not just because of the eye-candy in the music video below either, which I actually deliberately avoided watching so as to better compare my own translation of the lyrics to the one there later.
But hell: taken from a zip-file available here, in hindsight the screenshots below didn’t really do justice to the eroticism of some of the dance moves. And which to be frank, made finally seeing the video itself almost feel like a reward for all my hard work.
No great surprise to learn that Park Jin-young (박진영) is their manager then, as he is notorious for that sort of thing. Granted, that is the way the whole Korean music industry is going these days, primarily as a means for new groups to stand out, but those groups under the JYP Entertainment label do seem to push the boundaries more than most.
Focusing on the lyrics for now though, here’s my own original translation of them, with explanations of those parts I found difficult:
Update - In case anyone’s confused, the original video with lyrics included has been deleted.
You don’t know me, you don’t know me
You don’t know me, you don’t know me
So shut up boy, so shut up boy
So shut up boy, so shut up, shut up
앞에선 한 마디도 못 하더니
뒤에선 내 얘길 안 좋게 해 어이가 없어
Hello, hello, hello
나같은 여잔 처음 으로 으로 으로
본 것 같은데 왜 나를 판단하니
내가 혹시 두려운거니
You don’t know me, you don’t know me
You don’t know me, you don’t know me
So shut up boy, so shut up boy
So shut up boy, so shut up, shut up
In front of me you can’t say a word
And I can’t believe the bad things you say about me behind my back
Hello, hello, hello
I think this is the first time you’ve ever met a woman like me…why do you judge me?
Am I a thing to be feared?
( Source, all screenshots: Red and Rosy )
Starting with Line 1 of the Korean after “shut up” etc., the “더니” in “하더니” has many usages according to page 277 of my reference guide, Korean Grammar for International Learners (KGIL), but I think the most appropriate is number 1, that which “allows the speaker to affirm that some fact which (s)he directly experienced or witnessed in the past about a third-person subject is the reason or source for the state of affairs in the follow clause…the subject is usually second or third person”.
That allows the fact that the unnamed man (her boyfriend?) is reticent in front of her to be linked to line 2, that he badmouths her behind her back. But which was actually much more difficult to translate than it looked, as “뒤에선 내 얘길 안 좋게 해 어이가 없어” is literally “[me] behind as for – my story – not well do – word – not have”, which sort of looks like what I ultimately wrote, but was ripe for misinterpretation. Once my long-suffering wife told me that “어이가 없어” actually means “I can’t believe” though, then I was able to muddle along.
In line 6, the “거니” in “두려운거니” isn’t in KGIL, but I think it’s shorthand for “두려운것이에요”, or “scary thing is”. Hence I used the noun form “am I a thing to be feared?” in my translation, but of course something like “are you scared of me?” would be fine too.
Now for the chorus:
겉으론 bad girl 속으론 good girl
나를 잘 알지도 못 하면서
내 겉모습만 보면서
한심한 여자로 보는 너의 시선이 난 너무나 웃겨
춤 출 땐 bad girl 사랑은 good girl
춤추는 내 모습을 볼 때는 넋을 놓고 보고서는
끝나니 손가락질 하는 그 위선이 난 너무나 웃겨
On the outside I’m a bad girl, on the inside I’m a good girl
While you don’t know me well
While only looking at my outward appearance
Thinking of me as a pathetic woman is so laughable
When I dance I’m a bad girl, but when it comes to love I’m a good girl
When you see me dance you lose your mind
Only then to scorn me when the dance is ended
I laugh at your hypocrisy
In line 1, I was surprised that “으로” was used instead of “에”, as I’d always thought the former was used mostly for directions and processes rather than physical locations, but my wife assures me that the latter can’t be used at all in this case (oh well). She also told me that in line 4, “pathetic” would be a much better translation of “한심하다” than the “pitiful; pitiable; wretched” and so on that my dictionary gave; that in the case of line 6 at least, “모습” really means just “me” rather than “outward appearance” or “figure”; and finally that “넋을 놓고 보다” means “to lose one’s mind”, which I would never have got figured out otherwise. I did realize that “보고서” at the end looked a bit weird though – “a written report” – and ultimately the “고서” in it turns out to be one more grammar pattern. Which according to p. 251 of KGIL, has the effect of:
…tightening the relationship between the preceding and following clause, and implying that the contents of the second clause are a natural and closely linked follow-on to those of the first. In other words, whereas “고” alone is appropriate when a long interval intervenes between the two clauses, “고서” is appropriate when the connection is more immediate”.
Finally in line 7, of course “끝나니” is short for “끝나니까”, or “because it finished”. Add “scorn” and “hypocrisy” in there as well, then whatever the particulars of the last 2 lines, I got the impression that the man is captivated by her dancing, but then scorns and thinks little of her as soon as she stops and the spell is broken. Hence laughing at his hypocrisy, although now I’m little confused about the narrative of the song as I type this, as by this stage at least I thought the whole point was that she shouldn’t be judged by her outward appearance and actions…whereas now it appears that they’re actually also her strong points.
이런 옷 이런 머리모양으로 이런 춤을 추는 여자는
뻔해 ha 네가 더 뻔해, 오~
Hello, hello, hello
자신 없으면 저 뒤로 뒤로 뒤로
물러서면 되지 왜 자꾸 떠드니
속이 훤히 보이는 건 아니
A woman with those clothes, that hairstyle, and doing that dance
is shameless? Ha! You’re even more shameless, oh~
Hello, hello, hello
If you have no confidence, you can step back back back there
Why do you frequently make so much noise complaining about me?
I can see right through you
In line 4, I was a little confused for a moment by “저”, which is short for “저기” or “there” rather than being the respectful form of “me”. And then by “자신 없으면 저 뒤로 뒤로 뒤로 물러서면 되지” in lines 4-5, which literally means “confidence – if not have – there – towards the back towards the back towards the back – if step back” and looks like an unnecessary and confusing repetition to me.
Finally, line 6 was a big stumbling block: first, I originally thought “아니” meant “no”, but it’s actually “know”, as in “알다”. Then, “훤하다” means “gray, dimly-lit”; “extensive, broad and wide, spacious”; “good-looking”; and finally “be familiar with” and I was plumping for the first meaning until my wife said the last would be better.
Speaking of whom, to anybody envious at my Korean ability evident in translations in numerous earlier posts, and surprised at (and tired of) how much I’ve needed my wife’s help this time(!), then, well, I’d be lying if I said she didn’t have a huge role in correcting my numerous mistakes and explaining things after I do the original translations (I probably wouldn’t be able to properly provide any at all without her). I just haven’t mentioned that before because I usually don’t talk about the translation process itself, and how much time and effort it takes us.
Which gives me a newfound respect for those studying Korean entirely by themselves! But getting back to the lyrics though, after the above there’s the chorus again, and then the final verse:
날 감당 할 수 있는 남잘 찾아요
진짜 남자를 찾아요
말로만 남자다운 척 할 남자 말고
날 불안 해 하지 않을 남잔 없나요
자신감이 넘쳐서 내가 나일 수 있게
자유롭게 두고 멀리서 바라보는
I’m looking for a man who can bear me
I’m looking for a real man
Not a man who only talks like a real man
Is there no man that I don’t make uneasy?
Who can’t give me the freedom to watch me become a woman overflowing with confidence?
Finally, an easy verse! Any fellow Korean learners, please feel free to ask me about any of it, but otherwise that’s the whole song already, but for the chorus and finally the English opening sequence again.
Reluctantly tearing my eyes away from the singers (especially Fei {페이}) to the translated lyrics in the video then, I’m happy to say that they appear to be very similar, although there do appear to be some differences between the subjects in the some cases (in other words, I’ve got some “he”s where TheKpopSubber has “she”s and so on).
I’d like to look at those in more detail, but unfortunately I’m about to go out on a big shopping trip with my wife and kids, so for now I’ll just have to leave the post for you to enjoy as it is I’m afraid (those of you also unnerved by mistaken recent reports that North Korea was shelling again, may be happy for the distraction!). But of course, do please feel free to discuss those differences and/or anything about the song, group, and/or MV yourselves, although still knowing so little about the group then I’m going to reserve my own analysis until I’ve at least translated their second hit Breathe (브리드) next week:
Enjoy!^^
Update: Wait…one of them’s only just turned 16? Another middle-school student in a girl band?
Update 2: Given Miss A’s Chinese angle mentioned in the comments (2 of singers are Chinese, and they’ve been promoting themselves extensively there), then I’d like to point interested readers to Rowan Pease’s chapter “Korean Pop Music in China: Nationalism, Authenticity, and Gender” in Cultural Studies and Cultural Industries in Northeast Asia: What a Difference a Region Makes, edited by Chris Berry, Nicola Liscutin, and Jonathan D. Mackintosh, (2009, pp. 151-167), in which (among many other interesting things) she explains that:
( Source: The Japan Foundation )
In 2003, the Korean National Tourism Office [a major investor in the Korean wave] conducted a Hanliu tourism survey in China, Taiwan, and Hong Kong exploring attitudes to Korean culture, publishing the results online…
….It compared the impact of Korean culture with that of four “competitor” countries (the U.S., Japan, Taiwan, and Hong Kong), and in the process revealed much about Korea’s own political and nationalist concerns, particularly in relation to Japan and America. Six of the eleven options for respondents to the category “reasons I like Korean culture” reflect this preoccupation: “less sexual than Japanese culture,” “less sexual than American culture,” “less violent than Japanese popular culture,” “less violent than American popular culture,” “decreased interest in American culture,” and “decreased interest in Japanese culture.” One other echoes Straubhaar’s notion of cultural proximity: “similar in culture.” Certainly, Korea’s own music media censorship laws (which even in 1997 prohibited the displaying of body piercings, navels, tattoos, “outfits which might harm the sound emotional development of youth,” and banned violent or political lyrics), meant that Chinese TV stations could buy in Korean music videos and music TV shows knowing that they were unlikely to upset local censors. However, these questions also reflected a perception that Korea acts as a defender against excessive Westernization and as a guardian of Confucian values within East Asia. (pp. 155-156)
I wonder if those perceptions still hold true for China today, and in particular just how safe and “less sexual” than American and Japanese culture music videos like this one are viewed by Chinese TV stations?
Korean Sociological Image #29: JYP and the Objectification of Women
( Source: 뮤지컬이야기 )
What’s wrong with this advertisement?
When I first saw it, I couldn’t really put my finger on it, other than noting the similarity to some iconic but controversial Robert Palmer music videos. Which was kind of ironic, considering what Park Jin-young (박진영) is putting his fingers on.
With thanks to an anonymous reader for passing it on, both these problematic elements and more are present in his new music video, “No Love, No More” (노러브노모어), the main subject of this post. But first, a quick explanation of what was so controversial about those Robert Palmer videos exactly, for many of my younger readers may not even have heard of them.
As Alyx Vesey explains in Feminist Music Geek, the crucial one was “Addicted to Love” from 1986, and as a feminist she had trouble with it:
…for one big, obvious, highlighter-yellow reason. It’s so blatantly sexist. The models who comprise Palmer’s backing band are normatively beautiful, musically inept, interchangeable, ornamental, passive, and blankly spectacular. They’re kinda like a Busby Berkeley chorus line, only on sedatives and with visible nipples.
And while unrelated to this post, I think it’s worth quoting her a little more:
And yet. I can’t let this one go so easily. It’s an indelible image that is simple and yet iconic in design (it’s so effective that ”Simply Irresistible” and “I Didn’t Mean to Turn You On” only mildly revise the concept). Thus, it’s also easily replicable. When you put “Addicted to Love” alongside another lexicon 1980s video like, say, Michael Jackson’s “Thriller,” it’s much easier to match (many people, including Jackson, tried and failed to reach or exceed that video’s epic proportions).
It’s also an easy concept to subvert, which is my primary interest. I’d like to highlight a few instances where women take on “Addicted to Love” and, in the process of recasting and reconfiguration, potentially disrupt the original music video’s sexist aims.
Which I highly encourage you to check out. Meanwhile, let me also present the Simply Irresistible music video here, for I think that with the women dancing in the background, it is the most similar of the three to No Love No More (see here for a longer version):
Finally, No Love No More itself. Regardless of the criticisms in this post, it probably has the best picture quality of any music video I’ve ever watched on Youtube, so make sure to click on “HD”:
Clearly not a carbon copy of Robert Palmer’s videos then, and JYP (or whomever was responsible for them) might reasonably claim not to have been at all influenced by those. But whatever the origins, the women in the barn (and in the poster) are indeed extremely similar, and almost all are objectified.
And yet there are still more problematic elements in it, pointed out to me by the reader who passed the video on. Unfortunately, I didn’t have time to ask permission to quote her email before writing (apologies for my over-enthusiasm), so she’ll have to remain anonymous:
…the video infuriates me. Maybe it’s because I come from a country where explicit violence against women is not only extremely taboo but also illegal to portray in music videos. Still, given that domestic violence is such a formidable problem in this country, I find it mind-blowingly irresponsible that the most powerful man in Korean music at the moment puts out a video like this.
Shooting his girlfriend execution-style (apparently it’s okay to show her blood spraying out as her body crumples to the ground but it’s not okay to show an actual gun doing the shooting)… he then turns the “gun” on himself, and we’re expected to sympathize with him as a tear runs down his cheek as he takes his last breath. He executed his girlfriend, but the poor guy must have felt immense pain to have been driven to do such a thing. Break to the rest of the video, which simply consists of JYP dancing while dozens of women stand around or grope him as sexual props. JYP’s entire image seems to rely on the objectification of women, as demonstrated by [that poster], for one example…
…in which he is fingering a woman’s breasts, “playing her” as if she was a musical instrument. Now I’m definitely no fan of K-pop, and normally have nothing to do with it, but this video of his has been playing over and over on TV, and I can’t help but fear the message it sends young Koreans. JYP is, after all, immensely popular and influential in the K-music world, as he owns one of the most successful music labels in Korea and appears on countless TV shows and commercials. I find it surprising that no one seems to take offense to this video, which romanticizes violent “crimes of passion” (end).
( Source )
I agree, and as that reader is almost entirely responsible for this post, I encourage her to give me permission to print her name so that she can receive the credit for it!
But I would of course appreciate it if any other readers had more to add, on either the music video, the poster, and/or JYP’s marketing in general. And I confess, I know nothing about JYP’s music. So to any fans of his in particular, would you say that that characterization of him is fair?
(For all posts in the Korean Sociological Image series, see here)
34 comments