“Factory Girls,” a [paywalled] New Yorker piece this month by John Seabrook, explores the rise of the two billion-dollar Korean pop music industry and "its fraught entry into the Western music market" despite the YouTube-driven viral success of PSY's "Gangnam Style.”
Typical K-pop “is an East-West mash-up,” writes Seabrook. “The performers are mostly Korean, and their mesmerizing synchronized dance moves, accompanied by a complex telegraphy of winks and hand gestures, have an Asian flavor to them, but the music sounds Western: hip-hop verses, Euro-pop choruses, rapping, and dubstep breaks.”
My brother Carl Hamm, a club and radio DJ who regularly spins K-Pop nights (including one this Friday night in Richmond, VA), says, "This is one of an endless stream of articles I have read that sort of 'warns' of a pending K-Pop invasion. But the fact is, it's already happened. Not just PSY, but groups like EXO (which they mention), BIG BANG, SNSD/Girls Generation, SHinee, and 2NE1. All are well on their way to being huge over here among young American kids. And yes, the whole thing about manufactured, assembly-line personas of the artists is, for the most part, true. But despite the much-rumored dark side of this business, many of them really are gifted performers who have worked hard to reach where they are, love their fans, and enjoy what they do."
"Incidentally, Big Bang are playing 2 dates in Los Angeles and one in New Jersey this November," Carl adds. "Tickets sold out in less than 4 hours! And 2ne1 also recently played to huge crowds in the US last month. See here and here."
Vintage interview with Jonathan Wolff, composer of the iconic Seinfeld theme (and music for Caroline in the City, Full House, Saved by the Bell, and many other shows). “I started with (Seinfeld’s) voice… and took a meter from his delivery, and made that the tempo of the Seinfeld Theme,” Wolff says.
Samuraigutarist recorded his cover of The Beatles’ “Here Comes The Sun” at a very slow tempo that lengthened the song to around 30 minutes. Then he sped up the video and audio 20x. The result sounds like a lovely violin version of the song.
In 1979, Roger Mainwood, just out of the Royal College of Art, created this wonderfully trippy animation for Kraftwerk’s “Autobahn.” It was a commission from the band’s record company but Kraftwerk had no input on the film, and Mainwood says he’s unsure if they even saw it. The fan site KraftwerkOnline tracked down Mainwood and […]
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