Are Koreans Afraid of Foreigners? Videoclip plus Facepalm

CJ Entertainment put this video out, to show how scared Koreans are of foreigners.



The only problem is, I don't think it shows Koreans are scared of foreigners.

I'm not surprised at all, given the fact so many Koreans' main experience with English is connected with Very Important Tests, or Evaluations That Could Bugger Your Upward Mobility Forever (even if you never need English in your work), that many are nervous about speaking English. If you could measure English Speaking Anxiety, I don't doubt Koreans would be near the top of the international rankings. But I'd say this video proves Koreans are afraid of speaking English, not of foreigners. Most Koreans I've met are pretty curious about foreigners, if they're brave enough to start talking.

I took issue with EBS's racism video earlier, basically for editing video to tell the narrative they wanted it to (that time, that Koreans like whitey more than South Asians)... and it's interesting to contrast these two videos, to demonstrate that yeah, the white guy also has trouble finding useful help, and some people walk by the white guy, too.

Another angle: if a Korean were walking around on the streets of Toronto or Baltimore, they'd probably have just as much trouble finding help, or being passed by. Because they're not speaking the language of the land. Not even trying.

As a traveller like this guy is dressed up to be, and especially as someone living here, not knowing the basics of the local language kind of inexcusable. It's not THAT hard to learn a couple of phrases, to learn to count, to learn left, right, straight, and "over there," and it'll help you find what you're looking for, and get along with the natives. If you can't be arsed to learn that, while staying here longer than a month, you should only travel to countries that speak your language, or stay well on the beaten track for tourists, where odds are higher you'll eventually bump into someone who can speak with you.

While we're in Korea, and while it's sweet that CJ cares so much about how anglo tourists fare in Korea (did they make similar videos for tourists speaking Vietnamese, Cantonese, Thai, Mandarin, Mongolian and Tagalog?), let's remember that Koreans in Korea are under no obligation to learn the languages of the people who visit Korea, and if they do learn, and if they speak it with you, they've doing you a favor, to which you are not entitled. Let's be clear about that.

And this doesn't prove Koreans are afraid of foreigners. That is all.

Sigh. Do I HAVE to write about Jenny Hyun?

So Jenny Hyun is a person I never heard of before, and she wrote some racist things.
Write-up. Write-up.

I usually don't write about Korean-American or Asian-American things.

Because I'm not Korean, I'm not American, and I'm certainly not Korean-American. Where those discussions intersect with questions of Korean identity and Korea expat identity, it interests me, and I link "I Am Koream" on my sidebar because it's related often enough...

but since everyone's writing about Jenny Hyun's racist tweets, I guess I will, too:

Is Jenny Hyun a typical Korean-American? No.
Is she a typical Korea-Korean? No.
Has she lived in Korea? Not that I've gathered so far.
Do her tweets say anything about Korea? No.
Do her tweets show us anything about how Korea Koreans feel about black people? No.
Do her tweets show us anything about how Korean Americans feel about black people? No.
Is there any reason I should care about her racist dumb comments more any other set of racist dumb comments? No. And hers even less than the other trolls racists and dumbasses, who are more likely to have been in control of themselves when they write their drivel.
Is this going to kill the Korean wave in America? No.
Should Girls' Generation or Chocolat continue to employ her? No.
Should Ms. Hyun have a twitter account if she knows this is one of the ways her mental condition manifests? No.
Last I heard, the situation is being explained as a possible schizophrenic episode... and should I get my knickers in a knickerbocker over words that are nothing more than the manifestation of an unwell mind? No.

Does she deserve to get off the hook if she really is sick? Not off the hook... but she clearly needs help here, either for dealing with racist attitudes, or for dealing with her condition. And she should have a few people around her who are filtering stuff like this.

If the schizophrenic thing is a line her agent or handlers are peddling to get her off the hook? That's just as bad as the stuff she tweeted (and her unapologetic response to the backlash), because schizophrenics and others who struggle with mental illness do NOT deserve to have their condition filed with "I was drunk" and "He's lived a hard life" as excuses for bad behavior that deserve to be met with jaded "oh yeah?" responses. Poisoning the compassion the unwell deserve is the most deplorable thing I can think of.

The final takeaway... probably the only real takeaway here:
The response to racism (Mayweather's comment) is not more racism.
The response to Hyun's racism, is not more racism, either (NB: people using this to say all Koreans or all Korean-Americans are racist, because of their tangential association with Ms. Hyun.)

OK I'm done.

Also... Jeremy Lin... Taiwanese-American. Intersects with the themes of this blog even less... though I like a good sports Cinderella story as much as the next guy, and it's really easy to root for him.

SBS K-Pop Star

After the success of "Superstar K" and then "I am a Singer" other reality/audition shows have been catching on like a virus on Korean television.

My wife has been a big fan of K-pop Star, where heads or representatives of some of the major Kpop companies themselves are the panel of judges, watching talented young people compete. Some of the competitors have been pretty darn good, so I'd like to write a post talking about it.

Oh.

Nevermind then.

Building a Great Album: Side 2

I'm calling it side 2 even though you don't have to flip over a CD or tracklist... yet somehow a lot of albums are still structured to have similar highs and lows to what you'd get on a tape or vinyl record. Because it works: it's a way to sustain listeners through an hour of music from a single artist. I'm sure their are other ways to structure it (for example, making an entire side of a record a single song)

I'll Believe in Anything - Wolf Parade. Saw this song performed live. Wow.


By the way, while I'm on the topic... http://www.music-map.com/ is a great site to visit if you like an artist, and want to find more like them.

4. Somewhere in the second half, there needs to be one (or more) song that is absolutely awesome, to hold together the second half. If the album is front-loaded, I'll lose interest. Arcade Fire's albums suffer from this: too many of their second halves (side twos) are a little undifferentiated, and the resulting effect is an impression that their albums are all about ten to fifteen minutes too long. The side two anchor can bring something a little different than the opening trio, it's a good place for a piece that sprawls (on the first half, it's better to keep things tight) ... but it has to kick ASS in its way.

Some great standout second-half anchors - you'll notice that a number of these are the emotional climax of the entire album, and others are the emotional counterpoint that contrasts the tone of the first three tracks:
Ball and Biscuit (White Stripes: Elephant)



What is the Light and Waitin' For A Superman (Flaming Lips: The Soft Bulletin)
When Doves Cry (Prince: Purple Rain) (click the link fast. Prince has a record of removing his songs from Youtube)
Runaway (Kanye West: My Beautiful Dark Twisted Fantasy)
Hallelujah and Lover, You Should Have Come Over (Jeff Buckley: Grace)
I'll Believe in Anything (Wolf Parade: Apologies to the Queen Mary: best track on the whole album)
So Come Back, I'm Waiting (Okkervil River: Black Sheep Boy)
2 Eyes 2 C: (Suckers: Wild Smile)
Maps: (Yeah Yeah Yeahs: Fever to Tell)
Ziggy Stardust (David Bowie: Ziggy Stardust)
Lonely Lonely and When I Was a Young Girl: (Feist: Let it Die)
Tracks thirteen, fourteen, fifteen: (Modest Mouse: This is a Long Drive for Someone With Nothing to Think About - only a stunning climax would have been able to balance an album with so many massive dynamic swings, but these three do it.)
Share (Cymbals Eat Guitars: Why Are There Mountains-the two songs I mentioned in this post are the only two really good songs on the album, in my opinion, but their placement shows me the band knows something about shaping an album. I'll give their next one a try.)

Scythian Empire (Andrew Bird: Armchair Apocrypha)
Broken Drum (Beck: Guero)
If You See Her, Say Hello and Shelter From the Storm [not on Youtube] (Bob Dylan: Blood on the Tracks)

5. A satisfying closing. This is one of the reasons I really hate rereleases, bonus tracks, and special editions that add tracks (especially alternative versions of songs we've already heard) to the end of the original album: because the final word of an album shouldn't be messed with. And if a track wasn't good enough to be part of the original album statement, it doesn't deserve a place on a disc with the original album.

Many bands put their most sprawling track last (Desolation Row, A Day in the Life), some sail off into the stratosphere (Purple Rain - Prince: Purple Rain; All Is Full Of Love - Bjork: Homogenic; Dragon's Lair: Sunset Rubdown - Dragonslayer; My Body is a Cage - Arcade Fire: Neon Bible), or at least somewhere (The Happy Birthday Song - Andrew Bird: Andrew Bird & The Mysterious Production Of Eggs) and others end with a gentle sigh that almost deflates (I Saw a Light - Bat For Lashes: Fur and Gold, Mothers of the Disappeared - U2: The Joshua Tree), and others are a little bow to tie off the emotional dramatics that came just before (After Hours - Velvet Underground: Self-Titled; Her Majesty - Beatles: Abbey Road; Space Travel is Boring - Modest Mouse: This is a Long Drive...) but when it finishes, you know it's finished, and the journey is complete.


Radiohead are the best at putting a final song in that drifts off and leaves the listener exactly where they want them. While the rest of their albums are so good it's not always easy to say they're the best tracks on the albums (though some are contenders) but they're all gorgeous songs, and perfect closers. Wolf At The Door and Four Minute Warning (Hail to the Thief and In Rainbows, part II) are favorites.  Tom Waits ties off his albums (which fly in every direction) with his final songs, which is very important to restore unity after switching across genres, themes and emotional tones as much as he does - "That Feel" from Bone Machine, "Anywhere I Lay My Head" from Rain Dogs, and "Come On Up To The House" from Mule Variations are three finishes that complete the arc of their albums, and "Fawn" is a perfect, sad little bowtie.

Other great closing tracks:
Bird Gehrl (Antony and the Johnsons: I am a Bird Now); Pitter Patter goes my Heart (Broken Social Scene: You Forgot it in People) Filmore Jive (Pavement: Crooked Rain, Crooked Rain)

Bird Gehrl


On the flipside, NEVER EVER put your worst song last, because that's the closing impression I'll have of your album. From Here We Go To Sublime, by The Field, has a closing track I find really languid and dull compared to the excellent rest of the album, and particularly compared to the superlative track "Silent," which is the chillest bliss-out I've ever heard. It uses a different sound vocabulary than the rest of the album, and is considerably slower, so that the album ends in an anticlimax... and not in a good way (as in Bird Gehrl, above, or "One road To Freedom" a nice bring-down at the end of Ben Harper's "Fight For Your Mind," after the stormy "God Fearing Man"

Following the template
Antony and the Johnsons - I Am A Bird Now
White Stripes - especially Elephant
U2 - The Joshua Tree
Kanye West - My Beautiful Dark Twisted Fantasy... though the closing track isn't as great as some of the others.
Rain Dogs - Tom Waits (one of the greatest songwriting albums in my collection)
Songs by Leonard Cohen (his gorgeous debut album)
Bjork - Homogenic
Built To Spill - Perfect from Now On (second half high points; Time Trap, You Were Right)
and it doesn't have to be classic, indie, or obscure, either:
Barenaked Ladies - Stunt

Filmore Jive - Pavement (a band whose sound checks none of the boxes that usually make me like a band... but which I keep coming back to again and again, because their songs are just ... great.)


The other way to make an album is to make one that's strong from top to bottom -- no tracks particularly stand way out... but there also isn't a weak one in there, either. This is hard to do, because if the songs are too similar, it's boring, but they have to stay within the vibe. These consistent kinds of albums are the best for listening while you're working or driving, and they're really satisfying.
Avett Brothers: I and Love and You
Most Wilco albums, other than Yankee Hotel Foxtrot
Most albums by "The National" -- which is why they grow on you so much. High Violet is an especially good example of this, because they even manage to have some standout songs... without having standout songs.
Animal Collective: Merriweather Post Pavillion
Bob Dylan: Blood on the Tracks
Bon Iver: Self titled
David Byrne: Grown Backwards



Back to the first post.  Back to part 2.  My posts about Bliss-outs.  About K-pop. About REAL Korean Music.

Building a Great Album: Side 1

Soundtrack: Black Dog, Led Zeppelin, for your listening pleasure.


Though albums are sold as CDs or digital tracklists these days, rather than tapes or records with two sides, there are certain features of the first half of an album's playing time, and certain features of the second half, that have held true even after we stopped having to flip over our tapes and records. This post is about what works on side one of an album.

I'll try to put links up at least one of the times I mention an album or band... but google works, folks, and unless I add a qualifier, I'd say that all the songs (and albums on which they are found, obviously, given the topic) are keepers, and worth a try. Unless you really disagree with my taste in music... which is OK, too.

1. As per Nick Hornby's Mixtape Rules from High Fidelity, the first track SHOULD be a great one... but it should also be a statement of purpose about what the album will be about (this has been true since Sergeant Pepper, the first modern album), and the second song should bring things up even higher, if possible-or go somehow further in the direction the album's going. No band has ever (or at least... SHOULD ever) put their most depressing song first. Or the one offbeat song that doesn't match the rest of the album's tone. The Joshua Tree put Bullet The Blue Sky fourth (a good place for a change of pace song), not first. White Stripes' Elephant also changes pace for tracks 4 and 5. Couldn't exactly gone any higher.

Led Zeppelin (Black Dog, Whole Lotta Love, Immigrant Song) and U2 (Where the Streets Have No Name, Beautiful Day) are two bands that are very good at picking a great opener. Like or dislike the entire album, with "And the Hazy Sea," Cymbals eat Guitars tells you exactly what you're getting. On an awesomer scale, "Wanna Be Startin' Somethin'" at the beginning of Michael Jackson's "Thriller" lets you know you're in for something really, really hot.

Other albums with really great first songs, or songs that set the tone really well: Funeral, by Arcade Fire (The Suburbs is probably a better album overall, but The Arcade Fire might never top that first song off their debut full-length). Purple Rain, by Prince (Let's Go Crazy), "Fever to Tell" and "It's Blitz" by the Yeah Yeah Yeahs. Weezer's "My Name is Jonas," is an amazing opening volley. "Until the Morning Comes" by Tindersticks. Yeah Yeah Yeah Song, by The Flaming Lips (At War With the Mystics is not their best, but probably their most fun album.)

Until the Morning Comes (Tindersticks)

2. The first three tracks should set out most of the album's sonic parameters, and if you only have four or five great songs for your album, it's not a bad idea to cash in two, or even three of them, in the first triple. If the goal of your album is to rock out, the advice given in High Fidelity (I think in the book: can't find it in the movie clips) stands: start strong, but make the second song even better, to serve notice that things are going to rock out, not peter out.

Greatest opening trios in my collection:
White Stripes: Elephant (Seven Nation Army, Black Math, which somehow, almost unbelievably, kicks it up another notch from the stunning opener, and then There's no Home For You Here, which nearly made me drive off the road the first time I listened to it in a car.)
Jeff Buckley: Grace (Mojo Pin, Grace, Last Goodbye)
U2: The Joshua Tree (Where the Streets Have no Name, I Still Haven't Found What I'm Looking For, With or Without You: Incredible!)

Yeah Yeah Yeahs: Zero. Shiny!


Other stellar opening trios: David Bowie: Ziggy Stardust (track 4's not bad, either), The Flaming Lips are very good at opening songs and trios that set out the tone for the album...and also kick ass, The Yeah Yeah Yeahs albums "Fever to Tell" and "It's Blitz" also do this really well, but the masters might be The White Stripes: all of their studio albums do this in spades, bringing the thunder while setting the soundscape.

Interestingly, the Beatles - album as genre pioneers - usually don't follow to the "first three tracks" rule

3. If there isn't a tone-shift track somewhere in the first five tracks (think "Bullet The Blue Sky" on Joshua Tree, or "Exit Music For a Film" on OK Computer, or "The Beautiful Ones" on Purple Rain), I stop expecting one, and start listening for if the album is consistent all the way through (Blood on the Tracks) instead. Changes of tone aren't needed, but it's a different type of album where the songs all combine into a very unified listening experience, instead of standing out a little, one from the other.

Back to part one.  On to part three.