The Comfort Women Deal A Month Later: Nothing New, Still Gross

When news of the latest "Final deal" regarding the Comfort Women came out on December 28, I wasn't as excited as a few of my Facebook friends. Sadly, my initial "Wait and see" reservations proved correct as the story soured faster than milk and pickle juice.

This topic is overwhelming to write about, because writing about any one aspect causes every single other thing to rush out for inclusion as well. It's like drinking a cup of jello: poke. Nothing. Poke. Nothing. Bigger poke. Omygoodnesseverythingiscomingatoncewhatwasithinking? Plus, no matter how carefully I write this piece, everything I omitted for simplicity or brevity will get thrown in my face in the comments anyway. It's daunting, and I'm frustrated at yet another apology doomed to be rejected both by Korea's and Japan's publics, followed by further recriminations, deepening grievance and apology/insincerity fatigue that will make it harder for both sides to offer and accept the next (hopefully final) apology, when or if it ever comes.

Source

More after the break.

Beautiful Rivers and Mountains 아름다운 강산 - Shin Joong Hyun 신중현

A friend on Facebook recently asked a group I belong to for suggestions on niche Korea blog topics that aren't being filled right now, and I suggested he take older Korean music -- rock and pop stuff -- and make a blog dedicated to making the modern history of Korean music more accessible to English readers. Since G'Old Korea Vinyl stopped updating, that seems to be one gap crying to be filled. Matt from Popular Gusts does too, but not nearly often enough. [Update] and we can't forget The Korean's long-running countdown of the fifty most influential Korean music artists.

If I'm wrong, and you know just the website I should be following, please tell me in the comments, of course!

So a few weeks ago, I saw this on TV. (Warning: if you only click on one video in this post, don't let it be this one.)

It's actor and singer Im Chang Jung, whom I first recognized from raunchy sex comedy "Sex Is Zero," the Korean equivalent to "American Pie" where he played Korean iteration of the Jason Biggs character - the one who gets humiliated a lot. He does well enough as a singer that he got the final performance of an episode of 불후의 명곡 ("Immortal Song" is how the show title's translated. Here is the Show's Facebook Page). "Immortal Song" is a show where they call in one of the great artists from Korea's past, and ask young, up-and-coming artists, less-established bands, and sometimes stars or idols singing solo (not with their superstar groups), to do versions of that artist's songs, and the artist gets to give them a score and choose a winner.

Lee Sang Mi was judging this time, and one of her old favorites, it appears, was a cover of Shin Joong Hyun's "Beautiful Rivers and Mountains" (see her do it live, here) Im Chang Jung did a version of that song (아름다운 강산). My wife said "Oh, that's a Shin Joong Hyun song" to me, and the story came back to me from my Korean Pop Culture class.

I've known about Shin Joong Hyun for a while. I even wrote about him a few times on the blog: Here and most recently here. Shin is known as "The Godfather of Korean Rock." He cut his teeth performing as Jackie Shin on US army bases. Read his interview by Mark James Russell here. Popular Gusts talks about him here here and a few other places. His song Mi-in is discussed here. I talked with a few friends about this song on Facebook a while ago, and want to thank Matt and Gregory and everyone whose contributions there led to this post. During the late 60s and 70s, he was like the Prince of the 80s and the Jimi Hendrix of the 60s combined for Korea: he was doing new things with the guitar, and combining genres and sounds from abroad in wildly interesting ways (Hendrix) and meanwhile, when he wasn't recording his own music, he was writing songs and producing music for many of the other best artists of the era (80s Prince). Korean rock music of the time was really, really interesting.

And then Yushin happened. Longtime dictator Park Chung Hee shifted his dictatorship into high gear with the Yushin constitution, where he declared a state of national emergency... because he didn't have total power yet, and needed it, I guess. His moral vision of the country excluded decadent rock and roll, and music got regulated more and more strictly. The very fun movie Go Go 70s explores the police persecution of artists (trailer).  Artists of the time were required to have a "건전가요" - one "wholesome song" on each album, a song that encouraged people to work hard, or save money, or be somehow virtuous, which painted an idyllic postcard image of Korea. Flowers in my basket, going to the market and stuff. The Korean wiki suggests these as representative examples: 아 대한민국 시장에 가면 어허야 둥기둥기. President Park had enough invested in this moral vision of his, he actually even wrote a "wholesome song" himself. Here it is, with a HUGE thanks to The Korean, who slipped me the link on Facebook.


UPDATE: More on this song - including an English translation of another patriotic song also written by Park Chung-Hee is at Popular Gusts now.

There are lyrics under the video box if you can read Korean. I haven't been able to find a translation of them - they're all geographical names (think This Land is Your Land), strength and sweat and pride and ancestors and greatness - but just listen to that military aesthetic.

According to the interview by Mark Russell linked above, in 1972, Shin got the call from the President's office: the president wanted him to write a song in praise of the dictator. He refused.

Instead, he wrote the song "Beautiful Rivers and Mountains" -- or 아름다운 강산. Now, I really want you to listen to the song right above this. Then immediately after, listen to the song right below. The lyrics are in the "about" section under this version of the song.

This is the 1972 version from the Shin Joong-hyun Anthology. The version he wrote and recorded just after being asked to glorify the president in song. (If you only click on one video in this post, let it be this one.)


So... the president asks you to sing a song praising the president. The style he would prefer, if the video above is any indication, would be a terse, military march. President Park was also known to admire sentimental ballads.

Instead, you go into the studio, and write a huge, shambling, sweeping, psychedelic song that builds and builds and builds to a wild cry of passion, with lyrics like this (these aren't all the lyrics - as translated on the youtube link above):
Opening lines: Blue Sky / White clouds / A thread of wind rises / To fill my heart...
In this beautiful place, you're here and I'm here...
Hold my hand, let's go and see, run and see that wilderness...
Into this world, we were born. This beautiful place. This proud place we will live.
Today I'll go to meet you... time will pass, we will live together, then fade and fall.
Spring and summer go, Fall and winter come. (at 3:58:) Beautiful rivers and mountains!
(4:05-4:30) Your heart, my heart, You and me, Us Forever We are all, all in endless harmony.

It is a sweeping, gorgeous tribute to the beauty of Korea, and Shin's pride in his country, it contains time, seasons, mortality, harmony -- this is Shin's love of his land, with a loose, sloppy song structure, no chorus, few repeats, just a love poem sung straight through, all draped in shambling psychedelic, fuzzy, decadent rock sounds, ending with an extended musical washout as "we are all in endless harmony" disappears into the endlessness of great music.

There you go, Mr. President.

So instead of singing a tribute to the President, Shin pointedly, and passionately, sings about the beauty of the land. NOT the beauty of the government, the leader, or a vision of greatness for the people. No exhortations to respect your teacher or work hard. The rivers and mountains. He places all the politics and ambitions and dreams of the people under a giant sky of washing guitar, and sings that they will fade and fall, but the land, the beautiful land, will outlast them all.

To me, knowing the story of it, the song screams, "I love this country, Mr. President. Not you." Not only is it a pitched act of defiance, it also might be the best song he ever made.

Of course, he was on the president's shit list then. His albums and songs started getting banned, and finally in 1975 they pinned marijuana possession on him, and arrested him. His songs were banned from being played until President Park's assassination in 1979.

I just can't get over this song. As I listen to the song again and again, each time it gets more powerful to me. Be careful about listening to it repeatedly on headphones in public spaces, I guess. This Starbucks got really dusty. The section at the end - the "Your heart, my heart, you and me, us forever..." - is a cry of passion. The version with the most beautiful climax might be this, by Kim Jung-mi, who infuses it with so much longing, but the way the original spirals off into the sky at the end has the sweep and scale the others lose when they shorten it. It's a beautiful song that reminds us what is used to mean to say something was "epic" -- before the bros seeped all meaning out of the word by overusing it.

If Park Chung-hee's song got an embed, Kim Jung-Mi's version deserves one, too. If you only click on two videos in this post, let this be the second one:


After the ban on him was lifted, though, music tastes had changed. From Mark Russell's interview:

Shin says, with a soft, matter-of-fact bitterness. “It was completely physical, with no spirit, no mentality, no humanity. That trend has carried over all the way to today, so people are deaf to real music. They don’t know because they are never exposed to it.”

Here's the 1980 version he recorded with "Music Power." The meandering intro is gone. The bass is higher in the mix, the rhythm is more driving. It's a disco song now. A disco song.



I mean... it still kind of rocks, but the synth (rather than rock organ) is a big letdown for me.
The horn section at 3:10 becomes the "hook" in the cover version at the beginning of this post. He's also repeating lines now, rather than letting the song end with a musical meditation.

To me, this sounds like he's trying to make a pop song, rather than trying to make a great song. And it's better than most disco songs you'll ever hear, but it's still a gelded version of that original, which sounds like it's coming down from the top of a mountain. The call at the end after the cry, 아름다운 강산, the climax of the song, where the lyrics come faster, before ending with the musical breakdown - the "Your heart my heart, run together" just after 5:00 here, has none of the emotional impact from the original.

And the sad thing is, the disco version? That's the one that got grabbed, and popularized... as if to prove, to twist the knife on Shin's assessment that "people are deaf to real music." We heard it up above, sung by Im Chang Jung and Lee Seon Hee, whose version is here, and whose version the other singers are referencing. She has a powerhouse of a voice, but the song includes a synthesizer making ocean noises, and '80s power chords. You can almost hear the feathered hair and shoulder pads. And oh. Did I mention? In case you didn't click, the version on Immortal Song at the beginning of the post has a rap solo added. As if the point hadn't already been made. (Apologies to any JYP disciples who think every song is better with a rap solo... I disagree.) And just to make that point really hurt... here is Orange Caramel's version. In case, along with rap solos, you think aegyo is another thing that makes every song better.


Again, I disagree.

And that's the legacy of the song. A defiant cry to heaven, turned into a disco standard. I'm not sure what to make of that, except to just go back and listen to the original again.

In 2006: Shin did a "Last concert" (Covered here by Mark Russell)

That horn "hook" in the 1980 version sounds way better as a power guitar riff, in my opinion. But the song is all the way down to 5 minutes. Now, for a "greatest hits concert," I guess maybe he doesn't have the energy to keep calling out to the skies, especially when the public has chosen the disco version anyway... but I can't help but feel wistful and sad that this is what's come of the song.

I think the gelding of this song is symbolic of what happened to all of Korean music when President Park clamped down on Rock Music. Korea could have been the heartland (or hub, if you will) of an Asian rock scene that might have done all kinds of interesting things we'll never know, because by the time the censors loosened their grip, public tastes were no longer with the innovators. That is a tragedy if you care about Korean music, and I do.

But you know what? You can still listen to the original, so it's not a total loss, I guess.

My man, Shin Joong Hyun

The Kim Sisters and the Ed Sullivan Show

UPDATE: I blanked on the fact Popular Gusts wrote about The Kim Sisters just a few months ago, with some interesting background, including a link to this history of camptown entertainment.


In my Korean Popular Culture class, during our history lecture, the professor mentioned "The Kim Sisters" - a group whose name came up not long ago on tumblr as well. In trying to connect the music being created in Korea during the 1920s 30s and 40s, heavily influenced by Japanese colonialism (Japanese Enka is often mentioned as the musical ancestor to older Korean musical styles like Trot and Bbong-chak) and the US influenced rock and protest songs of the 70s and 80s, the professor draws a line through US military camp entertainment venues, where performers auditioned (echoes of modern Kpop? perhaps, though I think that's a reach), and where performing in the style American soldiers expected, was their meal ticket. A lot of Korea's most memorable performers of the era - including Shin Joong-hyun and Jo Yong-pil, developed their chops on the army bases.

The Kim Sisters came a bit before Shin Joong-hyun and many of the others. They developed an act in the '50s as kids, which became polished enough to garner an invitation to an act in Las Vegas in 1959 (source), and were a big hit in the 1960s, appearing on the Ed Sullivan show 25 times - only 9 acts ever had more. Now Ed Sullivan is kind of a big deal... yet my mother-in-law had never heard of The Kim Sisters.

Their mother was Lee Nan-Young, whose song "Tears of Mokpo" is one of the classic Korean standards: it's like "Someone to Watch Over Me" in that everybody's done this song. You've heard it in a taxi, your mother-in-law sang it in the noraebang, and one of the singers did a version on the latest music audition show.

Source

In the Korea Times interview, former member Mia Kim admits that her group's timing was perfect: "When we started our career in the U.S., there were no Oriental acts as such. We were the first Oriental band that could play Western music and was good at it." They were the right act at the right time.

The early 1960s was also the time when the Japanese song "Sukiyaki" hit number one in the USA (1963)... so maybe there was something in the air... it was well before the Beatles brought Indian culture into hippie culture ('68), and at first google, the early 60s was a relatively quiet time for Asian-Americans, especially compared to the black civil rights movement (Rosa Parks kept her seat in 1955 and MLK met President Kennedy in 1960, around the time The Kim Sisters were putting bums in Vegas seats)... so it's hard to fit their invitation to perform in Vegas into a framework other than putting Orientalism on display -- at least from the demand side. However, getting on Ed Sullivan once ain't chopped liver, and they were invited 25 times - clearly more than a novelty act could ever muster. It would be worth further investigation.

And I really don't mean to take away from what they had going, The Kim Sisters were incredibly talented performers, able to play 20 different instruments between them, and if you watch the videos, able to sing very much in the style of Western pop groups of the time, which is interesting in its own way: the way the sisters balance their Oriental-ness (tossing a few Korean words into a song) with their very Western vocal and performance style, actually reminds me of current Korean acts trying to make it in the US, working to hit that exact balance of being similar to US pop, but not too similar, and different... but not too different. (Do we sing in English? Do we powder our skin paler or apply bronzer? Do we apply eye make-up to look more round, or more slanted? Do we change our dances? Do we harmonize with intervals from Korean music or Western music? Do these people even know what Gangnam is?) The Kim Sisters couldn't completely escape the pressure to put their Asian-ness on display: the b-side of their single "Harbor Lights" was a song titled "Ching Chang," written by E Shuman and M Garson. Sigh. I haven't been able to find the lyrics or a recording of the song online yet.

(image from here)



Watch the sisters. Just watch them. I'm interested in the subtexts of their performances - the fact they were partly chosen, as per the interview, because "there were no Oriental acts as such" ... but also because they 'could play Western music and was good at it" (and they really were). The way The Kim Sisters perform Korean-ness is interesting, and could be contrasted with, the ways The Wonder Girls, Psy, Rain, or Lee Byung-hun choose to emphasize or de-emphasize their Korean-ness, in order, themselves, to hit that right balance of different, but not too different, that is necessary for a pop act to distinguish itself, and the balance between foreign and maybe exotic, but not other, that a foreign act must strike.

Here are some of their performances from Youtube.

With Lee Nan-Young, the mother of the two sisters, and aunt of the third member.
Note the make-up emphasizing their darker skin and eye shape, and that their mother doesn't solo in English, but dresses in American styles.


Contrast that with the way she moves, dresses and stands in a live performance of her most famous song, admittedly downbeat compared to "Michael Row The Boat Ashore" above, but still:


They play instruments in this one, and dance in unison.. but the way they move is pretty clearly modeled on Western pop girl groups.


Goin' Out Of My Head


Starting in Hanbok, with traditional instruments, and then stripping it off to sing in English... interesting images.



And to contrast with more recent efforts to "make it" in America...



A very interesting study would be to compare the versions of Kpop videos for different audiences: what do the changes from The Korean Version of Bring the Boys Out to The American/English version show us about their company's expectations of the American market, or their perception of their members' strengths for the new market.







This is another video where the version marketed to American audiences is different from the one sold to Asians (a version which still features some white actors though).

The difference between the versions of "Bar Bar Bar" by Crayon Pop, meant for the domestic, and then the utterly unnecessary one for "global" audiences is interesting too... and kind of clumsy. I might write that up in more detail later.

Nobody Owns Arirang

So China is ruffling some feathers by claiming "Arirang" as part of Chinese cultural heritage.

Arirang mass games.

And while it's true that some people in China sing Arirang (after all, there are TONS of ethnic Koreans in Northeast China), others suggest this is part of China's "northeast project" of co-opting Korean culture and history as their own, probably in order to legitimize land claims in the region.

A few things just to throw into the discussion:

Jang Sa-ik's Arirang. (which of these is the 'correct' use of Arirang? Who gets to say?)


1. Retroactively assigning Korean-ness to things that happened in the past is always problematic, as is  a group of people associated with a nation-state self-appointing themselves as the final arbiters of what is and isn't Korean, according to the current priorities, values and practices of their nation state.  Too often, such claims are made for fishy motivations relating more to current national politics than honest historical reckoning.

2. The idea of the nation state only came about in its modern form less than 200 years ago. Retroactively claiming that certain practices, foods, songs, dramatic forms, or whatever, belong to one, but not another group of (long-dead) people, according to border lines that were drawn LONG after the origins of those practices, foods, etc., doesn't make much sense.

Guy gets his grandparents to sing arirang.


3. As I argued in that seventy-five piece series that took me a year to complete: Nobody Owns A Culture. Culture is something people do, or practice, not own. UNESCO might be more useful at recording and preserving world heritage if it began finding different, more flexible ways of identifying origins of cultural elements, so that all this crap about "national cultures" don't have to get mixed up in cultural heritages that predate said nations. It annoys me when something like UNESCO, which is trying to do a good thing, becomes a battleground for national historical claims.

If Pumashock sings SNSD songs, she doesn't BECOME Korean, nor does SNSD cease to be Korean because an American sang it. 

This is also Arirang. There are tons of different Arirang melodies and versions.


4. China is a huge, amazingly diverse nation, and that diversity includes cultural elements that are not shared with the entire nation. Saying that "This is a song/set of folk songs popular with Korean Chinese in Manchuria" doesn't automatically mean that your average Han Chinese in Bejing, or Joe Chinese in Kunming will thenceforward stand up when he hears that melody, and say "That's MY culture," any more than Oregonians would say "This music defines me" about Dixieland jazz.

Jeongseon Arirang


5. Arirang has been sung in so many different ways, in so many different eras, by so many different groups, with different themes, that it's more of a form than a song. One could almost say it's more of a genre than anything else. (one of the first things I learned in trying to find out the history of Arirang, is that it was one of the most popular songs in Japan during the first half of last century... though that might have been for similar reasons to why Gilbert and Sullivan set their musicals in the far east - as an aspect of the colonizing gaze.)

Haeju Arirang... you get the point.


All this stuff about essentializing culture, and retroactively assigning it to nation-state regions that hadn't been defined as such at the time of origin, and then getting up in arms when others also say that they used it, in that region, is just a little specious.



So...
can we at least be honest enough to acknowledge that this isn't about whether or not Manchurian Koreans sing or sang Arirang, but about anxiety over the "Northeast Project" and China's attempts to co-opt Korean culture into China's matrix, and then talk openly about that, instead of making fusses about non-issues like this?

Thanks.

Oh shit! The New York Philharmonic played Arirang on instruments invented by Europeans. It's American culture now. Damn you Americans! First you stole the Stanley Cup from Canada, and now this! Curse you all! (bit of sarcasm there)


Wait...
There's a video of a Korean baby singing a British song that was a hit worldwide, popular on an American website. So, Hey Jude is now a Korean cultural heritage. China can have Arirang if they want.

In Studying the '88 Olympics

a few things I've learned that might not make it into the papers, but were interesting to learn nonetheless.

from "The Games Within The Games" by Vincent J Ricquart (Hantong Books 1988)

1. The Olympic Museum in Jamsil is an awesome encapsulation of the Olympic narrative as told by the Korean government, and that narrative is followed by people who have talked with me about the Olympics with surprising consistency.

2. Before the '88 Olympics, South Korea didn't have diplomatic relations with many socialist countries.  After the Olympics many of those countries established diplomatic relations with Seoul.  That they committed to attending may or may not have been because Seoul was at least engaged in talks with Pyongyang about holding some events in the North, though that didn't pan out.

It didn't pan out because North Korea was being over-demanding, intransigent, and arrogant.  They wanted to host either the opening or closing ceremonies (pretty damn big deal) and started building a stadium before having confirmed shared hosting duties. NK also assumed the North Korean team soccer would be granted an automatic berth in the Olympic tournament, as a host country, so didn't even bother to send their team to a qualifying tournament in (I think it was) Malaysia. FIFA, miffed at the arrogance, disqualified them from the Olympics.

Ever since the humiliation of that disqualification, North Korea has been a humbled state, and has engaged in international discussions with much less pride, willing to be flexible, and compromise.  It's been impressive to see them back off from that off-putting, screeching brinksmanship they used to do.

(source)

(source)

3. My own thoughts, in regards to the "'88 Olympics made Seoul an advanced nation" meme:

IF we accept the eurocentric model of "development into an advanced nation" and the eurocentric definition of what an "advanced nation" is... (after all, the IOC and FIFA and the like are western institutions - it's no surprise they use Western criteria to determine which nations are "advanced" and award them hosting rights)

Landing an event like this DOES require a certain level of achievement/skill in two main areas: infrastructure development (to build facilities and handle logistics) and diplomacy (to 'sell' my country to the committees that choose the next host).  That's all that hosting rights proves for SURE about a country.

But my own analogy is this:

Hosting the olympics for a developing country is like an adolescent buying a car with his/her own money. It doesn't CAUSE them to become an adult, and it doesn't automatically make them an adult, nor is it a prerequisite: another kid who never buys their own car isn't thereby disqualified from becoming an adult...

The official Olympic poster: 

but it certainly can be a powerful sign of a kid's intentions to act, and probably also desire to be treated like an adult, and it makes a strong statement of that to everyone around.  Sure, uncle Vernon might grumble that little Annie's not mature enough to own a car, and there might be a family discussion about Annie's shortcomings along the way (just as people grumbled about Korea's dictatorial political culture, and street protests, and North Korea stuff, just like they grumbled about Tibet and political prisoners in 2008), and young Annie might wrap the thing around a telephone pole... but the way she pays for, maintains, and uses her car might also be a way for all the adults around her to note, and recognize, that she's an adult, and for some adults, and many of Annie's peers, and maybe for Annie herself, that'll be a sure sign she's crossed the threshhold.

If you want to learn, literally EVERYTHING about the '88 games, you can go here, and download the two-volume, 1500+ page official report written by the Korean Olympic Organizing Committee, in .pdf form. Pictures in this post are screenshots taken from the .pdf.

I like these versions of "Hodori" the Seoul Olympic mascot.

Korea did an interesting job of presenting itself as a modern, developing, and also ancient culture, all at the same time, during the Olympics.


The Olympics have had a pretty troubled history of scandals, boycotts, tragedies, dumb moves, more scandals, and the like... but the fact that countries on both sides of the Cold War attended the Seoul Games (only Cuba, Ethiopia, and North Korea boycotted) might have been the beginning of the era we now experience, where Olympic attendance is pretty much taken as a given.

It used to be that who hosts the olympics was the stage for national rivalries (hence the cold war boycotts) but now, it seems that rather than hosting and boycotting the olympics, the main arena for international competition and bragging comes from who wins the most medals.  At least that's how it looks from here.