Moon Hyuna – “I Like The Way Back Home” Review

Moon Hyuna – I Like The Way Back Home (Video/Audio)

Moon Hyuna – I Like The Way Back Home

Reviewed on November 30, 2014

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Personal Message: Considering I’m on a rush for everything, I decided to do a “bonus review.” This review will be vastly shorter, but it is a simple way for me to add more reviews to my archive and to not overwork my brain after a 4-hour session of writing a research paper share the incredible bond between the amazing member of Nine Muses and her cats. I am currently hopping all over the place with reviews; I am in the progress of reviewing T-ARA’s “Little Apple” as well as Girl’s Day’s “I Miss You” (yes, I am being silly and slightly idiotic for multi-tasking). For those unfamiliar, Hyuna is a member of Nine Muses. If this song is not sufficient evidence already, she holds a solid vocalist position in the group, and considering Sera’s departure a while back, that position is even more heavily enforced.

Anyhow, I think this song was self-composed by her, and if so, it shows off how talented and intelligent Hyuna is. This also reminds me, I need to start watching Nine Muses’ reality/fun show of “Nine Muses Cast” (future show review, perhaps). On the subject of her feline pets, for those following her social media accounts, many are quite acquainted with these cats. She has posted various cute, silly, and heart-warming videos and pictures of them. Now, for this song, she took it a step further and decided to write one for them; the lyrics express her love towards them.

Although this is not a fully polished, heavily drafted song that is expected to sell in the K-Pop industry, it is one that is personal and from Hyuna herself. Nevertheless, I will grade it as if it were the standard songs I review until I remember how sweet her cats are. But, even with the stricter grading guideline, I foresee this song holding well.

Without further wait, let’s see why Hyuna “[Likes] the way back home.”

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Song Total Score: 6/10 (6.25/10 raw score) – Average score of the sub-categories

– Vocals: 7/10 – Even if the song lacks complexity and such, that does not hinder Hyuna’s decent vocals. For “I Like The Way Back Home,” Hyuna showcases sweet, soft, and melodic vocals. Nothing is drastic in terms of showing off power or high notes, but her smooth, soothing, and gentle style is definitely a pleasure to listen to. Even in Nine Muses, she has been known for splendid vocals, and in the group, her stronger vocals and higher notes are often time disclosed. Anyhow, all the work and practice she has done as an idol still translates over to this casual, self-composed song.

Above average for vocals. Hyuna’s voice proves to be very relaxing. If there were some extra varying lines to show off even more melody, an 8 would have been easily granted. Nevertheless, Hyuna possesses solid vocals, and as stated, in a standard Nine Muses song, she would be rated at an 8 with no issues.

– Song Structure: 6/10 (6.17/10 raw score)

The song goes in this structure and order:

Introduction, Verse, Pre-Chorus, Chorus, Verse, Pre-Chorus, Chorus, Bridge, Chorus, Conclusion

1. Introduction: 6/10 – A very standard structure for this song. That is to be expected considering how this song is rather simple.

For the introduction, a piano melody plays out along with a background harmonica (probably wrong on that; forgive my ignorance).

While the introduction sets up the song properly with the gentle tone, it was a tedious and simplistic melody; there was little diversity if any at all for how the melody flowed. Furthermore, the harmonica only added a basic foundation; even that instrument failed to be compelling.

Considering how it did set the song’s mood, at least the role of an introduction was fulfilled. Nevertheless, for an introduction, it is rather plain and lacks a lot of necessary details to make it significant. But, considering how this song is rather simple, not much is to be expected. Slightly above average is the rating.

2. Verse: 6/10 – For the verses, Hyuna arrives with calm yet stable singing. Like the piano melody that occurs as she sings, her melody does remain simple and repetitive; the same pitches and flow is used.

Continuing the simplicity theme that was established at the start, the verses are slightly lacking. The piano melody follows a stagnant flow, and unfortunately, even Hyuna’s lines follow suit. Thankfully, her voice and singing is pleasing enough to earn some points, but overall, this section remains somewhat stale. Slightly above average is the score.

3. Pre-Chorus: 6/10 – The pre-choruses still possesses the same, tedious piano melody at first, but eventually there is a shift. In terms of the vocals, however, it does differ from the verses. This time, Hyuna is stretching out a word’s duration. Eventually, the piano slows down as Hyuna creates some hype, especially at the “lalala” part.

The first section of the pre-choruses are relatively plain; the piano still carried over the repetitive melody, and while Hyuna’s style differed, the stretched out words were still not too appealing. However, towards the end, the piano slowing down along with Hyuna adding in some extra energy to her singing gave a significant, welcoming shift. That piece not only allowed a smooth transition, but it added the necessary change of pacing and flow in order to prevent the song from becoming even more dry.

Slightly above average is the score. The ending section of the pre-choruses gives a decent boost to the score.

4. Chorus: 7/10 – Now if the sections leading up the chorus were dull, this section redeems that; this part is flourishing with a variety of melody and pacing. Hyuna’s vocals continued the gentle style, but at the same time, extra energy was added. A cheery, relaxing, and upbeat mood was given. In terms of the piano, the melody became more layered than a simple, repetitive one.

This is where Hyuna’s song shines. The vocals are full of diverse melody, the piano became vastly more complex, and perhaps the strongest aspect is how well the vocals mesh with the piano and vice-versa. Hyuna’s vocals were more energetic, but the piano reciprocated that and thus, the choruses sound very soothing and delightful.

Overall, an above average section. This section is very relaxing and peaceful. Hyuna’s singing was solid here, and likewise, the piano instrumental.

5. Bridge: 6/10 – Hyuna begins the bridge with a slower pace. The instrumental also becomes passive to emulate her style. However, towards the end of the bridge, Hyuna does toss in a significant amount of power and does hit a higher note. Upon that, the piano escalates back to the usual flow.

While the vocals and piano were solid, this bridge is nothing outstanding. There were no prominent aspects that push it as incredible. Nevertheless, it holds its ground of being decent. The initial seconds were appeasing, and the follow up of the stronger vocals were welcoming, and thankfully, still within the realm of the overall softer, gentler tone.

Slightly above average is the score. The singing and instrumental were decent, but unfortunately, there was nothing too stunning.

6. Conclusion: 6/10 – The ending in “I Like The Way Back Home” reminded me of some childhood memories; a lot of the songs my parents listened to had this type of ending. Instead of an actual concluding part, the song simply faded out until nothing was heard.

Specifically on what occurred, the conclusion of this song had Hyuna singing a sweet, melodic tune of “Nanana/lalala” (I personally cannot differentiate if it is a “Na” or “La” sound) that eventually became more quiet until, as expected, nothing was heard.

In focus of the singing, it was a melodic and soothing way to finish. Unfortunately, however, with this type of ending, it did leave a slight abrupt feeling; after the last chorus, the song randomly transitions to the “Nanana/Lalala.”

Overall, slightly above average. The song itself was solid, but the method of ending remains questionable. The change to the melodic sounds were surprising, and even at the very end, it does not leave a sound conclusion, but rather, an ending that feels unfinished.

– Line Distribution: X/10 – Hyuna is singing alone, so this is not graded.

– Instrumental: 6/10 – Although I am biased towards the piano (I personally find it, in terms of sound, the most pleasing instrument), that does not automatically mean a good score will be given.

In light of the instrumental itself, it was predominantly the piano and harmonica. By itself, they stand as decent although somewhat repetitive. Adding in the vocals, however, and the instrumental holds well. The biggest asset to the instrumental is how well it supports Hyuna’s voice. In the end, slightly above average is the score. The lack of different melodies will impair the score, but nevertheless, the piano significantly added to the tranquil, serene atmosphere.

– Meaning: 6/10 – If the video itself is not a clear enough indication, this song will probably be about Hyuna’s adorable cats. Perhaps the title is “I Like The Way Back Home” due to anticipating her beloved cats’ attention and presence when she does return home. Anyhow, let’s find out what Hyuna is singing about through these Korean-to-English translated lyrics. And, unlike a lot of other songs, I will toss in that these lyrics may be inaccurate by a larger margin; since this is not an “official” song, but rather one that Hyuna composed, there are not multiple translation sources at all to check with. Nevertheless, it should be close enough, and adding in my own knowledge, I recognized multiple words that were correct per line. At the very least, the general idea is accurate. Anyhow, here are the lyrics:

Samsung Station, Exit 2
30 minutes walking distance from home
I’m so tired today for some reason
I feel pretty down too

I’m so tired but
This familiar street, this familiar town
I sing lalala

I like the way back home
I like your soft eye smile
Your soft tail and your light steps
My white cat, Moya
I like the way back home
I like your awkward eye smile
Your rubbing body, your meowing sound
My talkative cat, Hoya

I feel you even before I open the door
The flower has blossomed
Pretending that nothing’s up, that you don’t care
But inside, you’re going crazy

I’m so tired but
This familiar street, this familiar town
I sing lalala

I like the way back home
I like your soft eye smile
Your soft tail and your light steps
My white cat, Moya
I like the way back home
I like your awkward eye smile
Your rubbing body, your meowing sound
My talkative cat, Hoya

Stay by my side tonight
Stay by my side tomorrow night
You’ve fallen asleep and your small weight
makes my steps go faster

I like the way back home
I like your soft eye smile
Your soft tail and your light steps
My white cat, Moya
I like the way back home
I like your awkward eye smile
Your rubbing body, your meowing sound
My talkative cat, Hoya

As predicted, the song is about her cats. Hyuna is expressing how her cats give her positive energy throughout her day. Even with being tired, she knows she is coming home to a pair of loving, adorable, fluffy pets. Furthermore, she also describes some special attributes of each cat; Moya, the white cat, has its tail, eye smile, and steps praised, and Hoya, the brown cat, is expressed via being very “talkative” with the constant meowings and being cute with rubbing its body.

Overall, slightly above average for the Meaning Score. Different details are given regarding her cats, but nothing is extremely extraordinary. Also, some additional details could have potentially garnered this section a 7. But, of course, the overall meaning is something very admirable and sweet; Hyuna truly loves her feline companions, and through singing and composing a song for them, she truly showcases that bond.  

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Choreography Score: X/10 – Being a ballad and self-composed song, no dance exists. The purpose of the song was for Hyuna to express her love towards her cats, Hoya and Moya.

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Overall Score: 6/10 (6.25/10 raw score) – With purely the Song Total Score, Hyuna’s composed song of “I Like The Way Back Home” concludes with a 6, so slightly above average. Considering this song was simply made as an ode towards her cat, that score is impressive enough. Once again, this was moreover a bonus and fun review than anything else, so the scoring should be taken lightly; after all, the main focus of this song is about love, as cheesy and silly as it sounds. If everyone was genuinely happy and everyone knew how to love one another, this world would be an extremely joyful place (obviously, right?).

Personally, I enjoy this song despite how simplistic it may be. Perhaps the ballad side of me cherishes it, or it might be the Hyuna-loving side in addition to loving her pets, but regardless of the reasons, I find this song worthy of listening to.

Anyhow, as always, thank you for reading this review. Even if this review was vastly shorter than my usual ones, I decided to do it for a bonus/filler review, and primarily, to share the video. The world has enough things to get angry and sad about (although it is still very important to tackle the things that create such feelings), so why not have a video of adorable cats to create some smiles?  

As said earlier, I am currently working on T-ARA’s “Little Apple” and Girl’s Day’s “I Miss You.” After those reviews, I will begin my requested song (apologies for the delay). Now, in regards to the songs after that, I plan on reviewing a male artist (plenty are on my list). Considering how I have been very busy for November, I am disappointed at my current quantity of reviews, but of course, quality over quantity. My current plan is for a strong, finishing push. At the very least, if I fail to publish a few reviews before November ends, I will have a head-start advantage for December.

Stay tuned for T-ARA’s “Little Apple.” It should be finished by tomorrow the end of today. Truthfully, I am writing this while it is 12:45 in the morning, so technically it is already November 30th. Anyhow, I apologize for the lack of reviews. I have been busy with finishing some work, and in honesty, I did put some time towards watching videos and other activities. Randomly switching subjects, that reminds me, I have a month reflection to do, so that will be something to look forward to.

I have said enough. Thanks for reading, enjoy this video and Hyuna’s singing. Keep checking back for my review of T-ARA’s “Little Apple,” and remember, I feel very grateful to have you “Stay by my side.”

AOA – “Like a Cat” Review

AOA – Like a Cat (Live Performance)

AOA – Like a Cat (Official Live Performance)

AOA (Ace of Angels) – Like a Cat

Reviewed on November 22, 2014

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Personal Message: I am exceptionally delayed with releasing reviews. As of right now, I am drowning with lots of work, and with due dates being threateningly close, I’m not prioritizing reviews. Nevertheless, I am still attempting to work on this review as much as possible per day. And, since I believe in honesty, I have been slacking slightly in both work and reviews; videos have been draining a lot of time. But, considering how AOA has been the most hilarious group (so far in my experience) to go on “Weekly Idol,” I believe the time lost is somewhat understandable. Furthermore, I have been pumping extra time into practicing for my E-Sports team. Performance-wise, I’ve been slacking so I am trying to correct that.

Anyhow, as readers may have predicted, I am finally reviewing AOA; specifically, “Like a Cat.” This song definitely poses as a serious contestor to T-ARA’s “Roly Poly” for what I would consider the “catchiest song.” Before anything else is said, to address the link, it is a live performance but, knowing FNC Entertainment’s trend (AOA’s label company), their official dance practice video should be released as well. Unlike a vast majority of other K-Pop labels, their company actually takes the time to upload multiple perspectives of AOA’s choreography; versions of eye contact, full view, and even mirrored have all been uploaded for their previous songs (or at least from what I browsed through). For a better view of the choreography, search up their official one. As of the time I am typing this sentence, their company has yet to upload it, but I am confident in their release of it in the future. That also reminds me, an acoustic version could potentially be released as well. Those versions are extremely beautiful and graceful.  "Short Hair" Acoustic Version is one I cannot recommend enough; in fact, I will link it: AOA – “Short Hair” Acoustic Version (I’m a huge ballad fan as readers may know).

Now to add even more delay before the actual review (although for those who can’t stand my tangents, feel free to just skip this section), I will give my opinion on AOA as a whole. I am still personally familiarizing myself with these ladies, but nevertheless, I have found them to be very captivating and solid. To begin, I will focus on their personality side. All of the members have definitely won my heart via interviews, going on shows, and such.

For those curious on a specific lady of AOA that has captured my attention, Choa has proven to be very charming. While her exquisite hair style and glistening eyeliner and eyeshadow hold as infatuating, her attitude makes her even more beautiful. She constantly strives to improve her skills as a singer and dancer. Her wish is to become a popular singer one day, and I have complete confidence in that outcome (and arguably, that has already come true). Another aspect that I found really admirable was her background; her parents had no intentions of allowing her to pursue a career in the entertainment business (realistically, most parents would be against that). Nevertheless, she yearned to be a singer and pursued it despite her parents’ desires. After multiple audition attempts, she made it. Passion is a powerful drive; anyone is capable of accomplishing anything through following it. Anyhow, Choa has proven to be a very remarkable, inspiring lady. Besides, if not for anything else, at least her laugh is very jocular and sweet. Now, if only she was as “hip” as her younger members. Then again, keeping up with the current pop-culture of slang and whatnot is quite difficult. Even without being 24 years old like her, I tend to be out of the loop for everything (and likewise in my own team, I end up being the laughable one for being oblivious; even more embarrassing is that I’m the second youngest).

This also brings me to another point: age. AOA is, so far in my experience, the youngest group I know of; their average age is 21 (I think). It’s also quite interesting that Jimin, their leader, is not the oldest despite holding that position (ironic that I am the one saying that). But, of course, my vision of a leader is heavily distorted by stereotypes and such; when it comes to the leader role, I envision the person to be the oldest, and additionally, I would expect her to come off with a serious, upholding demeanor. Although Jimin falls short on being the oldest and having a solemn attitude, she still showcases excellent responsibility and care towards her members. And actually looking over this section, I really don’t know how this relates to anything. I wanted to start a conversation on K-Pop idols’ ages and how, for a lack of a better word/phrase, they are “bereft of a ‘normal’, youthful life.” After all, it is intriguing to know that the ladies possess no cell phones, and through the variety show “Weekly Idol,” recently got gifted with a TV. FNC Entertainment may be the one responsible for this, but obviously, it is unclear. And actually, it is another subject that I find the lack of those electronics “intriguing” (I am guiltily poisoned with the idea of electronics and such as “normal”). Time to get back on track; this is perhaps the most random, unrelated Personal Message section I’ve ever wrote for my reviews.

In terms of what readers typically come here for, I will now address AOA from a K-Pop/musical standpoint. The very first song I heard from them was “Confused,” and unfortunately, I found that song to be on the weaker spectrum. Eventually, they continued to rise in popularity, and with their release of “Short Hair,” I finally paid more attention. Fast forward further, their current comeback of “Like a Cat” solidified their position on my personal list of groups to remain updated with.

Something I find respectable and enlightening is the fact that AOA has kept their original style throughout their career. Whether it’s their sexy-themed concepts or their distinctive way of singing and song producers following their trend, it has all remained identical. There was no sudden switch that left people clutching at their aching hearts (I’m obviously in no way referring to Hello Venus’ “Sticky Sticky”; I’m also in no way self-promoting the previous review I wrote on that song). While arguably there was a change in terms of switching from an actual band to the standard dance/singing groups, I will exclude that. The final point on why I find this impressive is due to their growth in popularity. From my personal experience, most of the groups that have made it to the higher tiers did, at one point, make a sudden change or, in a lot of cases, constantly go through different concepts and style to keep a high appeal (T-ARA is perhaps the prime example; they have done multiple, varying concepts to gain the public’s love). In Ace of Angels’/AOA’s case, despite retaining the same mature concepts, they are still growing. Changing to please current trends never occurred. Furthermore, witnessing a group that can be considered “underdogs” work their way to the top is satisfying; a sense of pride and proudness derives from that sole idea (and perhaps this is a miniscule tint on what parents might feel when their children grow up).

I have stated way more than enough (I never knew I’d be so loquacious about AOA) . I will personally blame the dark chocolate I consumed during my time of writing, but anyhow, it is time to focus on their comeback of “Like a Cat.” As foreseen, the seven ladies of AOA are returning with a sexy-themed, mature style. This time, however, their main concept/idea is, as Jimin said in their silly dance tutorial, “learning dating skills from a cat.” The lyrics and dance manipulate a cat’s communication and movement in relation to love and flirting.

Anyhow, did the guard-beating diamond-stealing spies of AOA acquire a jackpot jewelry that will captivate ladies and men? The music video claims so, but through this review, let’s find out for sure.

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Song Total Score: 7/10 (6.6/10 raw score) – Average score of the sub-categories

– Vocals: 7/10 – Tossing a quick disclaimer, as always, I recommend listening to the official audio. Listening to the live performance, in the case of wearing headphones, it sounds rather jumbled (live singing/not singing and background playback are not meshing well for this performance). Nevertheless, the quality isn’t too awful.

In light of AOA’s vocals for “Like a Cat,” they are rated on the higher side. AOA does an exceptional job with carrying forth the melody. The flow is catchy, upbeat, and full of altering pitches. In terms of power, while this song was not orientated towards that aspect, the members showed off impactful, lingering lines. Another excellent aspect of these adept singers is how consistent and stable their voices are. Now, in regards to what is not as solid, the post-chorus and (hoping that Jimin won’t whip me like the guards fans won’t decimate me) their leader’s singing/rapping voice hold on the weaker side. The post-chorus showcased a tedious, melodic sound of “Lalalalala,” and while it holds as exceptionally catchy (more in detail later), the vocals disclosed there were not stunning. Before I begin discussing Jimin’s voice, as mentioned elsewhere, I am judging from a musical lens; every voice is unique and beautiful, and in no way am I attempting to bash a specific type of voice. Jimin’s normal speaking voice is very gentle and sweet. With my safety ensured that said, although her rapping is mechanically sound, her higher pitched, nasally voice does contrast every other member’s voice harshly. Her vocals may benefit the introduction, but overall, juxtaposing the other member’s singing to Jimin’s, the disparity stings.

Above average is the score for “Like a Cat.” From what I have observed, AOA as a whole are not the most adept at singing, but they nevertheless possess decent singing skills. Yuna and Choa are their main vocalists (Hyejeong is also worth mentioning), and indeed, they alleviate the vocal load for their other members in this song. Everyone else, although they held their ground, failed to show off utterly mesmerizing vocals.

– Song Structure: 7/10 (7.4/10 raw score)

The song goes in this structure and order:

Introduction, Verse, Pre-Chorus, Chorus, Post-Chorus, Rap, Pre-Chorus, Chorus, Post-Chorus, Bridge, Conclusion (Post-Chorus)

1. Introduction: 8/10 – Jimin is their go-to member for initiating songs; “Miniskirt,” “Short Hair,” “Moya,” and now that I recall more of their songs, practically all of them have had Jimin leading it. For “Like a Cat,” there is no exception to the trend; their leader starts it off.

“Like a Cat” begins with a seemingly random and slightly obnoxious horn sound. After that, Jimin arrives with her lines. With her unique nasally and high pitched voice, she tosses out energetic, catchy, and upbeat English phrases (and while pronounciation is not graded, applause for her flawless English; it was so comprehensible that I actually mistakened a Korean line for an English one). The flow of the lines remain very diverse with different durations, lengths, melody, and background vocals. At the very end, Jimin concludes with the signature of “Brave Sound” (their song producer).

While there are a multitude of weaker aspects to the introduction, it still possesses a higher score of an 8; a solid score. Focusing on the strengths of the introduction, variety and energy have to be the biggest factors. By utilizing different structures such as background vocals of “geu eodil bwado” (means “no matter where you look”; this was the line that I personally heard as “I’ll be by the toe” when in reality, it was a Korean line) and “I know,” it generates and establishes the song’s energetic tune in addition to preventing staleness. Every line spoken was individual and not identical to any other part. Jimin exceeded her role; not only was the song’s mood and energy properly prepared, her varying lines provided a proper hook that would bind listeners.

Contrasting the strengths of this section, what does remain lacking would be predominantly Jimin’s voice along with the questionable horn sound. Regarding the very initial seconds of the song, the horn sound was moreover tumultuous than musical; it was loud and could have been potentially evaded. The only benefit that derives from the use of that noise was a cheap and quick method to instantaneously boost the song’s intensity and energy. Although, in the large scheme, that sound is necessary to smoothly begin the song, a different approach would be more desirable. As for Jimin’s voice, as stated earlier, it is not the most pleasing to hear for a song. While it provided forth a lot of energy and fun, it has a slight tint of annoyance and becomes slightly dull.

Overall, the introduction still holds as solid; the cons are miniscule considering how the horn sound was very brief, and solely Jimin’s voice itself comes off as slightly displeasing. Ignoring the lesser issues, however, and a strong introduction holds. The song engaged listeners via fun, upbeat lines. Additionally, the foundation was properly laid out; the song’s pacing, intensity, and style were all given from the start. An 8 is well deserved.

2. Verse: 7/10 – There is only one verse in this song. This format is not completely alien; we have seen this before in other songs that I have reviewed (not sure on specific ones). Anyhow, Seolhyun and Choa handle this section.

Seolhyun is the first one to sing. Her first two lines involve slower pacing to accommodate the developing melody. Certain endings of “…ae” were also exploited to create a lingering tune. Progressing on, her last line quickens in order to transition to Choa. Once Choa begins, her lines follow the same format as her fellow member.

The verse had the role of developing the song. Coming after the introduction which was relatively energetic, it would be too sudden to have the song play out in high-gear; as a result, a slower, methodical approach would be preferred. In this case, that happened; Seolhyun and Choa were simply constructing the song. By having vocals that were on the calmer side, the explosive vocals that occur later became preservered. In terms of the small sound play with the ending sound of “…ae,” it created some extra specialty to prevent the section from becoming dull.

In summary, the verses lie with a score of above average. While the setup was thoughtful and systematic, the vocals were not dazing nor was the instrumental enticing. Nevertheless, in terms of building up the song, this section fulfilled that role.

3. Pre-Chorus: 7/10 – Mina, a very kind-hearted member, handles the first portion of every pre-chorus. Hyejeong does support her; she arrives for the last half of the pre-choruses. Although pre-choruses tend to heavily hype up a song in preparation for the chorus, “Like a Cat” is a song that remains rather mellow. Therefore, the pre-choruses do not necessarily serve that standard role as typically found in a vast majority of songs. Fitting that role or not, the pre-choruses in “Like a Cat” are decent.

Mina starts the section off with an impactful presence. One line is normally sung, but after that, there is a unique chunking flow; lines of “Spotlight-light-light-light” and “Headline-line-line-line” become used. Once Mina finishes, Hyejeong arrives with melodic and semi-powerful vocals and wraps up the section.

Mina’s part augments this section vastly thanks to having the “Spotlight-light-light-light” (I did not intend for a pun) and “Headline-line-line-line” lines (I still hold my claim). Through this flow, it creates a lingering, catchy and tuneful section. In regards to Hyejeong’s part, her vocals were solid; melody and some power went towards it. Besides leaving a solid impression, her lines provided a very smooth transition to the chorus. Her vocals gave a glance for how the chorus’ vocals would be. As a result, the switch from the pre-chorus to the chorus is borderline undetected.

In the end, although the outline is solid, the singing, specifically on Mina’s part, was not spectacular enough to glean a higher score. Nevertheless, a very promising section that will lure in listeners whether it’s due to Mina’s lines or Hyejeong’s melodic vocals.

4. Chorus: 8/10 – Previously mentioned, the transition to the chorus is nearly cloaked; the chorus sounds as if it is simply an extension to the pre-chorus. While that could be possible, to keep sections less complicated, I will label this as the chorus (and overall, it is a chorus). Choa and Yuna, AOA’s strongest singers, cooperate for this section. Knowing the capabilities of these ladies (check out their acoustic cover for evidence), a solid section is anticipated.

Choa sings first. Her lines follow a slower, sliced up flow. Yuna continues with the same style. Reflecting on the vocals, they were, as expected, very solid. Both Yuna and Choa showcased a delightful and very melodic part. On top of that, the instrumental did its part of supporting the section.

Diving deeper, the strength of the chorus lies in the fact of having a strong flow of melody. For example, Choa’s chunked pacing such as with “sappunsappun” allowed catchiness to build. In addition, their vocals went through a diverse range of speed and pitches; some lines were faster while others were slower, and regarding pitches, the ladies were hitting higher notes at certain endings. Additionally, the instrumental amplified the section as a whole by remaining hyped enough to reciprocate the vocals, but at the same time, it remained passive enough to not strip the attention towards the singing.

A solid section. Having their main vocalists singing as a pair allowed for a very adept and fantastic section. The instrumental also gave justice with supporting the members.

5. Post-Chorus: 7/10 – The post-chorus involves all of the members, although Jimin does have solo lines. This section is perhaps the trademark of “Like a Cat”; it is simple yet extremely catchy. Mentioned earlier, this song challenges T-ARA’s “Roly Poly” for what I would consider the “catchiest song.” That is an impressive feat considering how the chorus of “Roly Poly” becomes heavily ingrained in listeners’ heads.

The post-choruses of the song follow the format of chanting “Lalala” (multiple “La”s; exact number will be at the Meaning Score) which is then followed up by Jimin tossing in an English line of “I’m good I’m hot I’m fresh I’m fly” (opinion on this later as well). This repeats twice.

Firstly, while the structure of the chanting is mediocre considering it is a standard chant, “Like a Cat” manages to unveil a decent section. Being exceptionally catchy is arguably the only, yet promising, asset to the post-choruses; the “La” chanting lingers around. Peering on purely the chanting, unlike a lot of other songs (Girls’ Generation’s “I Got a Boy” for example), the chanting here remains complex despite recycling the same sound tediously. The pacing varies, and likewise, so does the melody. In terms of preventing staleness, Jimin’s lines ensure that; the solo lines break away the homogenous flow of “La” sounds, and therefore, it allows some extra diversity along with a change in structure. 

Even though I usually loathe this type of format (chanting a sound over and over), “Like a Cat” manages to achieve an above average post-chorus score; a 5 at max is normally what I would give, but a 7 will be earned. Despite how many times I’ve listened to this song, the post-chorus still retains its unique chanting and catchiness. I will claim this is even more catchier than T-ARA’s “Roly Poly” ‘s choruses.

6. Rap: 7/10 – Chanmi and Jimin are responsible for the rapping in “Like a Cat.”

Coming right after the post-chorus, Jimin shoots out a few lines. Her lines follow a flow of rapping one line, and towards the end, having a kissing noise play as Jimin takes a short pause. After that, Chanmi arrives with her own rapping line. Once she finishes, Jimin wraps the section up with another line that ends with a “meow.”

Although I complained about Jimin’s voice earlier, it does aid her rapping via making it sound coherent and smooth. The rapping here was decently paced in terms of the song. What remains slightly weaker is the flow itself. Words were not pouring out like water; there were some rigid, rougher spots. On the subject of subtle details, there were plenty added. The kissing noise during Jimin’s pauses not only reflected the lyrics, but additionally, it created a variety from pure rapping. The transition was also smooth since the “meow” was a clear indication of the rap ending.

Overall, above average for a rap. The different details added make it a unique rap. If the flow of words were smoother, an 8 would have been possible. Nevertheless, it remains a charming rap.  

7. Bridge: 7/10 – The chorus duo returns for the bridge; Choa and Yuna deliver this section. High expectations are set for these ladies, so let’s see if they surpass predictions.

Yuna kicks the bridge off with a slower yet impacting line. Her next line slowly deescalates in terms of power, but it still retains the slower and melodic flow. Choa continues where Yuna left off. Her initial line possesses decent power and she adds a small note hold at “arajwo.” Further on, she tosses in a few English words and towards the end, she releases a lighter, impressive high pitched note hold at “bam~.”

While I would not personally mark this bridge as a phenomenal one, it still deserves a lot of highlight. Yuna’s intro to the section created some build-up, and with her slowly bringing her vocal strength down, it allowed a smooth transition for Choa. Once her member takes over, disclosing her adept talent was the focus. Choa’s power and note spectrum was revealed. Her note hold towards the end was also a solid mark on the climactic point of “Like a Cat.”

The structure and format of the bridge is admirable, and of course, the ladies’ vocals are as well. What does remain an issue, however, is it remains very basic; there was nothing to separate this bridge from other ones. The vocals were solid, but nothing was outstanding. Even the instrumental proved to be a background.

Overall, above average. The bridge lacks some extra aspects to push it towards an 8. Note holds that occurred were fine, but the other parts, such as Yuna’s initial singing, were not utterly captivating. Nevertheless, it is still a respectable bridge.

8. Conclusion (Post-Chorus): 8/10 – Finally, the last part of the song. The conclusion does have the post-chorus replaying, but this time, Choa throws in some two-part singing.

With the normal post-chorus playing out, Choa simply adds in some note holds of “Woah~” and tosses in an English phrase of “The pretty girls are here, oh baby come on~” which does end in a solid, powerful note hold. Once the dust settles with the original post-chorus fading, Choa adds a final line of “Come on over boy” which eventually disappears as well.

From the start, I will say this conclusion is solid. Having the post-chorus reused is an excellent way to leave “Like a Cat” ‘s remnants; the catchiness and looping sounds of “Lalala” and such will stay with listeners. In terms of Choa’s two-part singing, it was a strong finish. Her lines showcased power, sweet melody, and high note capabilities. Her part was also the finishing touch; it added the last climactic moment. When it comes to very end, it was a smooth end. No abrupt cuts or extended periods existed; it song calmly faded out.

A solid ending. This conclusion will net a score of 8. It is stunning in regards to both the two-part singing and the alluring post-chorus. “Like a Cat” concludes effectively and efficiently.

– Line Distribution: 6/10 – With a size of 7 members, distribution of lines may be slightly challenging. Nonetheless, it is very plausible to achieve a high score.

Starting with Choa, she appears at the verse, the bridge, and of course, the choruses. To excessively add more, she also performs two-part singing at the conclusion. As many can tell, she had sufficient time; “sufficient” is a questionable term, however, considering that she might have been given too much time. Being too prominent might cause scarcity of lines for other members, but we shall find out.

Next up is Jimin. The leader’s moments involved the introduction, the solo lines during the post-choruses, and lastly, the rap section. No issues exist here. Every section she appeared at was rather influential; the introduction radiates with her presence along with the other sections.

Yuna had no issues, either. Her lines included the choruses, and she had a part in the bridge. While she may seem lacking in comparison to Jimin and Choa, for what a member should be given in this song’s duration, Yuna had the perfect balance; not lacking but not excessive.

Hyejeong’s lines occurred at solely the pre-choruses. Since her lines were on the longer duration, no issues truly stem from this except for a lack of variety. For the most part, no issues.

In Mina’s case, her “Spotlight-light-light-light” (I’m sure people saw that coming) consisted of solely the pre-choruses. Similar to Hyejeong, since her lines were lengthier, she had enough time. Although singing different, additional lines would have been preferred, there is little trouble here.

Seolhyun, unfortunately, does remaining somewhat lacking. She occurred at solely the first and only verse, but unlike Jimin, her lines did not leave any impactful, lingering memories. Due to that, she can be seen as deprived of some singing time. Having one more additional moment elsewhere would have been desired.

Lastly, we the maknae (youngest person) of AOA: Chanmi. If Seolhyun’s lines, or lack thereof, proved to be an issue, then Chanmi is in a rough situation. Essentially, her lines are completely unnecessary, and sadly, it would have been even viable if Jimin simply took her lines. Chanmi occurred at the rap section in which predominantly Jimin was rapping; only two lines were rapped from Chanmi. Similar to an old review of Boyfriend’s “Witch,” the rap section in that song had the same issue; two people rapped, but in reality, only the main rapper was necessary. Anyhow, a horrendous distribution for Chanmi; her lines were not only short, but furthermore, were completely replaceable with Jimin simply taking over.

One additional factor to account for is that all the ladies sing during the post-chorus, but unfortunately, since that section leaned moreover towards chanting than singing, it loses its value of being “lines” in the song.

In the end, 5/7 members had adequate lines, and even then, scrutinizing further would reveal that it is still somewhat imbalanced. Choa comes off as too prominent although biasedly, I can’t complain, and Mina and Hyejeong were slightly lacking. The only member with a near-perfect distribution was Yuna. Overall, disappointing for a share of lines. For the score, considering it was mainly 5/7 members (that equates to roughly 70% of AOA) singing, adding in the vital factors of how Choa slightly overpowered the song and Mina’s and Hyejeong’s semi-lacking lines, a lower score will be given. 6 for slightly above average. Normally, 6-membered groups do fine, so even adding one more person should not prove to be troubling. On the other hand, even 9-membered groups are capable of solid distributions. It is somewhat disappointing to see issues occur here.  

– Instrumental: 7/10 – The instrumental in “Like a Cat” is pleasing; it adds a supportive foundation for the vocals along with other utilities.

Meshing with the vocals was natural; neither parties contrasted the other one harshly. In terms of matching up to the song’s flow, that was followed through. The instrumental was only as energetic as the vocals. A clear example is observing the pre-chorus to the post-chorus: the instrumental steps up a notch to accommodate the singing, but once the post-chorus arrives, it plays out as slightly passive in order to fit the chanting. Individually, the instrumental had a soothing, attractive, and catchy influence. A solid soundtrack by itself.

Overall, above average. It lacks the extra spice to gain a higher rating, but nevertheless, it holds as very suiting towards the vocals, and on its own, it comes off as a catchy soundtrack.

– Meaning: 6/10 – “Like a Cat” is a unique title. I predict lyrics that tell a flirtatious love-story. After all, Jimin did claim that datings skills can be derived from a cat. For an off-topic story/fact, apparently slowly blinking at a cat (or receiving such) is their way of sharing affection. For those wondering if this is true, I will ask a teammate who is obsessed with cats (his cats are truly adorable and irresistible). On topic, through these Korean-to-English translated lyrics, let’s find out the story:

Hey no matter where you go
(No matter where you look)
The pretty girls are AOA
You know (I know) You know (I know)
I’m good I’m hot I’m fresh I’m fly
Brave Sound

You say you’ve never seen a girl like me before
That you had a feeling as soon as you saw me
Said that I especially shined
even among the many people
Your head turns to look at me
Your eyes are filled with me
Seeing you hesitate
to talk to me is so cute

The sunlight shines on me like a
spotlight-light-light-light
Only I am in your head as a
headline-line-line-line
Even when you dream, you’ll see me
Are you worrying? Stop it
Come to me, baby come on

I’ll walk over to you like a cat
Picking a rose,
I’ll give it to you,
I’ll surprise you
I’ll walk over to you like a cat
When you’re asleep,
I will softly hug you,
I’ll surprise you

Lalalalalala Lalalalalala Lalalalalala
I’m good I’m hot I’m fresh I’m fly
Lalalalalala Lalalalalala Lalalalalala
I’m good I’m hot I’m fresh I’m fly

I want to go to you like a cat
Tonight, without anyone knowing
I wanna softly kiss you on your lips
when you’re sound asleep
You and I, on this sweet night,
let’s hold tight to the night
You’re my wolf,
I’m your cute cat

The sunlight shines on me like a
spotlight-light-light-light
Only I am in your head as a
headline-line-line-line
Even when you dream, you’ll see me
Are you worrying? Stop it
Come to me, baby come on

I’ll walk over to you like a cat
Picking a rose,
I’ll give it to you,
I’ll surprise you
I’ll walk over to you like a cat
When you’re asleep,
I will softly hug you,
I’ll surprise you

Lalalalalala Lalalalalala Lalalalalala
I’m good I’m hot I’m fresh I’m fly
Lalalalalala Lalalalalala Lalalalalala
I’m good I’m hot I’m fresh I’m fly

We fly high, hug me tonight
and fly higher
So I can touch
the clouds and the moon
Know how my trembling heart
flies so lightly
Oh talk to me, oh lead me
Oh kiss me baby tonight

Lalalalalala Lalalalalala Lalalalalala
I’m good I’m hot I’m fresh I’m fly
(Come baby, kiss baby)
Lalalalalala Lalalalalala Lalalalalala
(The pretty girls are here, oh baby come on~)
I’m good I’m hot I’m fresh I’m fly
(Come on over boy)

The lyrics are indeed about a loving and flirting scenario. Although specifically in this case the main character is a “girl” (“lady” is the true word if I want to be really picky), overall, it remains neutral in relation to gender; the main character could be simply described as a “lover.” Focusing on what is depicted, a lady is expressing her wishes about her love-interest. Lavishing her love-interest with flowers, hugs, kisses, and such are the main details. Unlike a lot of other stories that have a shy lover, the character in “Like a Cat” has a confident, slightly arrogant demeanor. She feels that she is “good,” “hot,” “fresh,” and “fly.” There are multiple details and different aspects that showcase how infatuated the lover is, but the amount is minimal considering most ideas are essentially repeated.

Overall, a decent love story. It remains cute and charming, and as a result, a tint of sexiness is also gleaned from that. Slightly above average for the lyrics. Extra details would easily bump it up to a 7, but as of now, a 6 will be the score. Nevertheless, it is a sweeter story; after all, assuming you have no allergies with flowers, who would not love such a gift?

Now for the “nitpicking” in terms of picking out some intriguing parts of the lyrics, I find the post-chorus’ terms slightly strange. And before going any further, this will not affect the score unless if it is exponentially significant. Addressing, “I’m good I’m hot I’m fresh I’m fly,” while it adds a lot of energy and upbeatness for the song, in terms of breaking down the meaning, it holds as very absurd. Perhaps I am pulling the “I-am-Choa-so-I-don’t-know-slang” card, but I find the diction used for that line questionable. As some readers may know by now, the term “hot,” in my personal list, is very basic and not worth utilizing as an adjective towards describing a person’s physical, intelligent, and personality beauty. Unless if temperature is the subject, “hot” can be replaced by a plethora of other meaningful, vastly more significant words. For the other terms, “fresh” and “fly” are equally absurd, but considering how those are slang words that are probably related to “cool” and whatnot, it will be forgiven. I will cut it off here. Although I am positive that other lines are worth breaking apart, for the sake of keeping the review running, I will progress to the next part.    

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Choreography Score: 6/10 – Quick note, as of the time I typed this sentence, FNC Entertainment did release their official dance practice videos (full version, eye contact, and for dancers, a .8x speed video to make it easier to learn). There is one issue, however: Mina is nowhere to be seen. From what I know, she is busy with filming a drama, hence why she is absent. In the end, it turns out the linked performance will be what I recommend just for the purpose of seeing the full group.

Digressing aside, the dance for “Like a Cat” does hold as lacking. Even though I am probably still scarred from Hello Venus’ “Sticky Sticky” dance relieved to see that the dance was not overly sexualized, it does, unfortunately, remain somewhat mediocre. Syncing was shockingly a large issue; the verse is one example of how the music and dance maneuvers were disconnected. During that section, although the motions were emulating the song’s flow and pacing, it was inconsistent and the only clear, unequivocal moves that synced properly were at the very end of Seolhyun and Choa’s singing. Other sections were also guilty of not matching up to the song. The only sections that were flawlessly synced were the post-choruses and rap; for the post-choruses, every beat was related to a “hip” snap, and for the rap, the flow was matched. Paying attention to the key points (repeated movesets), none were too appealing. A vast majority of the choreography focused on emulating a cat’s movement, but that sadly proved to be either poorly synced or simply dull. Even sections without mimicking a cat, such as the post-chorus, were equally loathing.

A choreography does not need to be utterly complex, and in fact, simplicity is sometimes very effective (T-ARA’s “Number 9” is a solid example), but without properly syncing and having unique maneuvers or positions, the simplicity concept completely backfires, such as in this case. Although it hurts to give a lower-end score for a section that heavily impacts the overall rating, I will grade fairly assuming I forget about Choa and give a 6 for slightly above average. “Like a Cat” has a simple choreography that contains potential, but unluckily, AOA does not manage to execute a completely infatuating dance. Nevertheless, there are still some adequate moments despite how poorly synced and unappealing the key points were. Due to that, the score is not hitting the bottom of the scale.

Now, to add a small tangent on the sexual part of the dance: the “hip” snapping part. In all honesty, everyone knows it is a butt-orientated part versus the current label of a “hip” dance. To say the least, it is interesting and I hold multiple positions regarding it. What I can appreciate is how subtle it is in comparison to a lot of other songs (or maybe I am still simply traumatized by my previous review). Although sexual-orientated parts prove to be obstructive at times due to deconstructing maneuvers to very plain, basic motions, in this case, due to proper syncing and the lack of emphasis/exaggeration, that theme was not too hindering. Nevertheless, sexual or not, the post-chorus’ dance was still very stale. On a different topic, regarding AOA’s choreographies in general, while most of them have explicit or implicit sexual concepts, they tend to be properly executed; nothing is grotesque in terms of being vastly inappropriate or overly emphasized. Remaining mature and retaining maneuvers that relate to the music itself is what AOA does well for the realm of sexy-themed choreographies.

Anyways, as stated ages ago, 6 will be the score.    

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Overall Score: 7/10 (6.5/10 raw score) – At the end, AOA’s “Like a Cat” finishes with a 7/10, and that represents above average, and I do agree with that value. If we are being keen towards the raw scores, however, I am slightly concerned that the Song Score did finish with a 6.6; that is threateningly low. The weaker Line Distribution Score and Meaning Score might have been the reasons.

Anyhow, although statistically the song is not too strong, biasedly, I find it a very catchy song. If I were to review this song via “feelings” versus logic like how I used to long ago in the past, I would have given this an 8. Realistically, of course, we can see certain flaws throughout the song, and that it truly is not the best. Nevertheless, it is above average and I still highly recommend AOA. I have been watching a lot of their interviews and whatnot. I will claim they are a rising group, and it is well deserved. These ladies have worked very hard to get to where they currently are at. Lots of respect towards them. That also reminds me, although I did not link the music video, in comparison to a lot of other ones (or once again, I might still be mentally scarred), it is well done with retaining AOA’s usual sexual-themes without going overboard (but nonetheless, it is very sexualized at certain moments). Besides, it is the first music video I saw with a small plot occurring. Anyways, I personally will be keeping track of AOA’s future releases and such. They have won my heart through their humor, wit, intelligence, and very respectable dedication, and they have won my ears with decent songs (although in honesty, most of their songs are “above average” or even just “slightly above average” if I were to review them).

As I always say and do, thank you very much for reading this review. I hope I did the song justice. I considered being hasty and quickly finishing this review, but I went against that and went my usual pacing. Nevertheless, I apologize deeply for not posting anything for 8 days. As I mentioned with an update post, I have been very busy with school work, so I’m allocating more times toward that. I will be making a strong return during Thanksgiving break; I plan to do a song per day during my time off. While I am skeptical on that, please look forward to it. Thanks for your patience and time, I appreciate it so, so much.

In terms of upcoming reviews, for some reason, during periods where I have multiple songs in mind, I end up being very time restricted. Lots of ballad songs are in mind, but there are also a lot of regular K-Pop songs as well. In order to keep things diverse, I will probably review a male group. But, if I may add my personal belief or at least my experience, males already have enough attention; society is male-orientated and dominated enough. And for those who will get defensive, I am not offending males; I am stating that society is simply structured towards males’ perspective. Point is, if my next review does happen to be another female artist, readers should not overreact and claim I am not being “fair” and such.

Now with that said, I have both male and female artists in mind to review. I will probably do a rushed review for one song I consider mediocre, and then return with a more detailed review on another song. In fact, I think I may review a song with a different language other than Korean; Girls’ Generation did release a Japanese ballad a while back, and I will say, it is indescribably beautiful. To go off topic, music holds a very interesting position in relation to culture and whatnot. Despite how Japanese sounds very foreign to me (and note, unlike a vast majority of newbies exposed to songs with different languages, I said “foreign” and not “weird/strange” or, forbid, “wrong”), I can still heavily appreciate the music and vocals. And, uniquely, the emotional vibe is still felt despite having a language barrier. I am sure a lot of K-Pop enthusiasts can relate; even for those who don’t understand Korean at all, let alone the culture and such, it is impossible to deny that some songs do sound amazing despite sounding foreign.

Back on track, I plan to either review Girls’ Generation’s “Divine” (the J-Ballad) or GOT7’s “Girls Girls Girls” (faster review) for my next one. Even then, I have 5 other songs in mind as well. That reminds me, Hyorin from Sistar did make a solo comeback, so I might review her recent ballad. But, keep in mind I am already drowning in work, so look forward to it, but do not put in too much anticipation. Overall, it will remain a surprise for what my next review is. I have an itch to review a ballad song. With winter coming and all, ballads are always soothing.

I have said too much for this review, so I believe this is a proper place to end it. Once again, thank you very much for the wait. I sincerely appreciate your patience, and I will do my best to repay that with a barrage of reviews coming out during my own break. If it was possible, I would be “Picking a rose” and I would “give it to you.” Thanks for reading, stay tuned for future reviews and for other fun posts as well.  

Hello Venus – “Sticky Sticky” Review

Hello Venus – Sticky Sticky (Live Performance)

Hello Venus – Sticky Sticky

Reviewed on November 13, 2014

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Personal Message: As promised, I will be covering Hello Venus’ recent comeback song, “Sticky Sticky”. I am actually reviewing this without having a proper video link, but by the time this review is finished, I am sure a high-quality live performance video will be published. Currently in terms of when I wrote this Personal Message section, every live performance video was either blurry visually, or in the audio department, very difficult to hear. Given a few more days, a proper link should be attached in this review. Now if their label company is feeling awfully generous, we may be bathed in luxury by having a dance practice video. Chances of that, however, is probably as low as an abyss.

Focusing on what really matters, I will give my personal opinion and insight on Hello Venus’ complete revamp. The most obvious change would be the lost of two ladies; Yoonjo and YooAra left during the summer if I recall correctly. Diving into the technicalities of what exactly happened, in honesty, I am not fully sure. But for those who are very curious, their original label company had a split. Unfortunately, due to that, YooAra and Yoonjo were under another label company than the other members (again, I might be completely wrong, but I remember something along the line of this), and as a result, they weren’t able to stay in Hello Venus. That said, considering how Hello Venus was very unpopular and hardly recognized, I expected the lost of the two valuable members to be the catalyst for disbanding. Fast forward a few months, I have been proven wrong; Hello Venus is still active.

Now that the roster change is clarified, although I am not familiar with this group at all, if my brain is properly functioning, in their previous song of “Do You Want Some Tea?” (check out my newbie review of it), YooAra was a solid vocalist. Losing her probably affected a lot of their vocal capabilities. Their two new members are Seoyoung and Yeoreum, and, from a single perspective of “Sticky Sticky”, neither of them have promising vocals. Then again, not a single member was able to show off impressive vocals for this song. I will simply cut it off here. The real review will begin below.

The final aspect of their changes to discuss, which I’m sure readers are quite curious on, is their concept: cute to sexy. Personally, I did not expect nor desire this; their original cute concept was what made them very unique. Perhaps I am just still in morbid shock; after all, if Apink swapped over to a sexy concept, I am positive that fans would be clutching at their hearts. Anyhow, it will be interesting to observe Hello Venus in the long run. They were not the first group to abandon a cute, lighter concept. Girl’s Day is a prominent group that comes to mind. They started off as adorable, but then transitioned over to give off a stronger, sexier image. In Girl’s Day’s case, that switch was what allowed them to be at their current popularity. Will it work for Hello Venus? In my opinion, no. From my observations, the biggest, most influential factor that Girl’s Day gleaned from switching over to a sexy concept were their vocals; they sounded like the incredible ladies they are versus their original, childish singing style. Sadly, in Hello Venus’ case, the opposite happened: they sound worse. “Do You Want Some Tea?” showcased solid vocals despite being on the cute style. For their comeback, “sexy” vocals are not heard at all. Arguably, I will claim their cute concept’s vocals were vastly “sexier”; they were genuinely decent.

Anyhow, I have went on for long enough on that subject. In short, I am hoping Hello Venus goes back to their original concept, or at least, to alternate the two concepts of cute or sexy, or another solution, to do a combination such as with Girl’s Day’s “Darling”. As of now, Hello Venus’ current concept is overwhelming different. I may just be purely biased right now, however. That might be the case since I watched the music video (I rarely watch the MVs of K-Pop songs; live performances and/or dance practices are what I watch) and expected their original concept. As a result, I was completely caught off guard and disturbed by how sexual it was. To share a tangent, “implicit” sexy concepts are my preferred concepts for the sexy category (and for those wondering what is my favorite concept in general, I am not bound to one; biasedly, T-ARA and Nine Muses’ general songs/choreographies are ones I’ve found appealing). For example, the choreographies of Nine Muses are bold, confident, powerful, but they possess sexiness disguised in the form of remaining mature and respectable. In the scenario of Hello Venus’ “Sticky Sticky”, the choreography is heavily focused on blatant sexual dance moves. Their label company should have stuck with the original style, but they must have had some deliberate purposes for this change (and actually, a discussion about which concepts are most appealing/profitable would be interesting).

I have digressed for way too long, and in fact, this review might hold the record of the longest Personal Message section yet. Anyhow, Hello Venus’ recent comeback song is “Sticky Sticky”. As stated earlier, the ladies are swapping over to a sexy concept. Despite losing two members during the summer, they have rebounded with the addition of two new teammates. Although it is admirable to see them persevere, their latest song leaves them in a “Sticky Sticky” situation; it does not compete with their previous song.

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Song Total Score: 5/10 (5.4/10 raw score) – Average score of the sub-categories

– Vocals: 5/10 – Considering Hello Venus was given an 8 before for their vocals, seeing a 5 here is absurd. The style of this song may be the one to blame.

“Sticky Sticky” showcases average vocals. The singing holds as weak and exceptionally stale. The melody provided was simplistic; a spectrum of notes did not exist. Even during the bridge section, the higher pitches were not too appealing. In terms of being stale, the style thwarts the vocals from being diverse. Strangely, for this song, the ladies had to sing in a raspier voice. Due to this, a lot of the melody becomes clogged down and restricted. (As a disclaimer, as I mentioned before in my review of “Red” by Hyuna, I am judging voices from a musical aspect; every voice is indeed unique, charming, and beautiful. There is nothing wrong with having a raspy voice at all. Every voice should be well respected.)

Average vocals for this song. Hello Venus in the past have shown competent vocal capabilities, but in this song, the style of raspiness and the lack of diverse pitches lead to an exceptionally stale song from a vocals perspective. It’s pitiful that “sexy” vocals mean the ladies have to hinder their own voices to suit the theme. What would have been “sexy” would be their normal singing voices. They have proven to have stunning vocals, but for this song, that is not showcased.

– Song Structure: 5/10 (5/10 raw score)

The song goes in this structure and order:

Introduction, Post-Chorus, Verse, Pre-Chorus, Chorus, Post-Chorus, Verse, Pre-Chorus, Chorus, Post-Chorus, Bridge, Conclusion (Post-Chorus)

1. Introduction: 5/10 – This introduction is what I personally call a “trademark” introduction. This is due to the song producer, Brave Brothers, always leaving his signature (and actually, one day I may give a brief discussion regarding K-Pop songs and the main song producers). Anyhow, a male voice introduces the group and the producer. Throughout the voiceover, Hello Venus adds “Hello” in a raspy tone.

This introduction leans towards the mediocre side, but considering how efficiently it sets up the song, it holds as adequate. The vocals’ style is instantly established and the slower paced instrumental is set. Furthermore, this section remains compact; nothing excessive.

Overall, an average section. Quickly setting up the sexier theme and delivering the vocal and instrumental styles was properly done. What does remain lacking is how plain and dull it is. A “trademark” concept without any other aspect to support it holds as pure narration. Sadly, such was the case here. Although Hello Venus did add their “Hello” lines, they were simply adding a background narrating voice. A current example of a stronger trademark introduction would be AOA’s “Like a Cat” (next review in line). AOA has a trademark introduction for all of their song’s beginning, but due to either actually singing or having twists and a variety of melody and words, they manage to pull it in a stunningly appealing manner. Anyhow, on track with “Sticky Sticky”, the introduction is rated as average.    

2. Post-Chorus: 4/10 – Considering how the post-chorus is instantly used when, as the name states, it should be found after a chorus, this section may seem absurd in terms of the order. Nevertheless, despite all odds, the timing is acceptable. All of the ladies sing for the post-choruses.

The post-choruses involve a melodic repetition of “Oh”. Unfortunately, there is nothing else to add onto that.

Repetition and staleness are huge issues for the post-choruses. There is no diversity in terms of the words used (it was only one word), and the melody, despite being withered down due to the raspy vocals, is endlessly looped. These aspects are perfect bait for luring out tedious sections. The only benefit regarding this section would be how it does hold as slightly catchy, but taking into account of how there is little complexity involved, that brings the post-choruses to a “Sticky” situation.

Overall, below average. This section is simply too repetitive. If the vocals were more impressive or the section’s length was shortened, then perhaps it would be slightly stronger. As of now, however, staleness is a large issue. One of the most stagnant sections I’ve heard in a song.

3. Verse: 5/10 – Yooyoung and Alice handle the first verse, and as typical, I will focus on the first verse for critiquing.

Yooyoung arrives with a slower pacing to accommodate the instrumental’s rate. The vocals retain the expected raspiness. Towards her last line, she does add some emphasis at the last word “geol” for a smooth transition to Alice. Once she takes over, she replicates Yooyoung’s style. There is a difference, however, towards the middle of her part. Her words of “tteugeoun nungire” have extra power going towards them. After that, Alice concludes her last line.

From a vocal standpoint, it holds as mediocre. There was minimal melodic flow for the singing; staleness becomes derived from such. In terms of the emphasized parts, they slightly alleviate the dullness, but not by much considering the amplifications were still vocally lacking. The only strength that emerges from this section is the proper chemistry between vocals and instrumental. Both sides were identically paced.

Overall, an average section. Should the emphasized parts not have existed, this would be leaning towards the negative scoring scale (less than 5). Thankfully, with some minimal differences in the flow due to emphasis, a penalty won’t occur. Nevertheless, the section is bereft of anything solid. The vocals are mediocre, the instrumental provides solely a foundation, and the melody, despite the emphasized words, is still equally plain.

4. Pre-Chorus: 5/10 – Nara handles the first pre-chorus by herself. For this song, the pre-choruses are rather shorter. That is not an issue; the pre-choruses fulfill their roles.

Upon transitioning to this section, the instrumental makes a subtle increase in energy. It becomes slightly faster. Nara’s part involves reaching for the higher pitches. At the very end, she manages to hit a high note for transitioning the song to the chorus.

For the most part, the pre-chorus does the standard role. It escalates the song’s intensity in preparation for the chorus. Focusing on the singing, while Nara’s range is respectable, once again, the raspiness impairs vocal abilities. The ending could have been vastly stronger if the “sexy” themed singing was decimated. Due to the raspier style, the high noted ending sounded as if she was lacking breath. In a song, it is almost imperative to always show sustained vocals, not faltering and languishing ones (although in different situations, this wouldn’t hold as true).

Another average section in “Sticky Sticky”. The vocal skill is partially witnessed via high notes, but the style of delivering the lines is not solid. Simply put, this section did its standard job of bringing the song’s intensity up for the chorus. Anything else, however, remains out of the picture.

5. Chorus: 5/10 – So far, as readers can tell, this song is coming off as purely average. Will the chorus follow suit? Perhaps. Alice and Seoyoung team up for the first chorus.

Alice begins the chorus with decently powered vocals. Her lines become slightly more dynamic by being sliced up into bits. During the ending parts of “…hage” and “…lae”, there are small pauses after each part. Seoyoung’s part emulates her member exactly. After both ladies finish, the song transitions into the post-chorus.

If it has not yet been clear, this song is quite average. As anticipated, another average section. The pacing here provides some fluctuating lines. That allows for diversity and prevents some staleness. Vocally, though, both ladies were limited by the raspy, weaker tone. “…hage” is an example of how the raspiness constricted their vocal range. Additionally, with how the instrumental became slightly more upbeat, seeing the vocals reciprocating that would have been desired. The chorus in “Sticky Sticky” leaves room for improvement.

6. Bridge: 6/10 – Three members are responsible for the bridge. Seoyoung, Nara, and Alice are the ones in specific.

Coming off with decent power, Seoyoung initiates the bridge with “I’m in love”. She adds one more line before Nara tags in. In contrast to the power, Nara gives a slower, quieter tone. Following that up is Alice who, in coordination with Seoyoung, hits a higher pitched and strong note hold. Once all the dust clears, the song proceeds with the post-chorus/conclusion.

Personally, I have mixed feelings about this bridge. Although the ladies kept their raspiness style, they were, against all odds, able to show off an energetic, melodic, and impactful bridge. The note hold at the very end was well executed in both categories of power and coordination (Seoyoung joined in). What prevents me from confidently giving a high score is due to peering at the song as a whole. I expected a relatively dull calm bridge. The song in general was rather mellow and quieter, and therefore, any bridge with a climax occurring in the form of a powerful note hold would be unexpected and unsuitable. Sadly, “Sticky Sticky” uses the climactic bridge concept.

Overall, slightly above average. The bridge itself was well done. Vocals were diverse despite the rife raspy style, and the note hold was impressive. What holds the bridge back is the approach of it; impacting and powerful. Having a calmer bridge would have suited the song as a whole. The section is mechanically well done, but systematically at fault.

7. Conclusion (Post-Chorus): 5/10 – Similar to the bridge, this section contrasts the other pieces harshly. Head-on power in the form of the post-chorus occurs for the conclusion. All of the ladies chip in.

The post-chorus plays out as usual. However, this time different members throw in high notes and perform two-part singing.

Since the post-choruses were exceptionally bleak, considering how the conclusion takes away such via two-part singing, a solid ending should be expected. That is not the result. Similarly to the bridge, this conclusion was overdone; the two-part singing and explosive vocals were too potent. A calmer end should have been done.

Overall, an average section. The vocal skills were respectable, but this style either should have been included near the start, or, if left out, remain out. This conclusion fails to fit the established trends and it fails to bring the song to a smooth end.  

– Line Distribution: 6/10 – There are 6 members in Hello Venus, so a high score should be expected.

Alice has a part at the first verse, she appears at the choruses, and returns at the bridge. Plenty of time was given to her.

Nara handled the first pre-chorus and appears at the bridge. Slightly lacking considering both moments were very short in duration.

Lime is heard at the second half of the second verse. One part for her, so not too impressive. More time could have been given.

Seoyoung had sufficient lines. She appears at the choruses and bridge. No issues.

Yooyoung is witnessed at the verses. The first halves of the verses belong to her. An ample amount of time was given.

Yeoreum possessed solely one pre-chorus. Considering how short the pre-choruses were, not much time was given.

Lastly, the final thing to account for is all the ladies sing during the post-choruses.

The main issues in the share of lines for “Sticky Sticky” is predominately with Yeoreum, but other members such as Lime and Nara were also lacking. Even with all the members singing the post-chorus, more time could have been allocated towards three of the members. Slightly above average, but nevertheless, slightly disappointing.  

– Instrumental: 6/10 – The instrumental in “Sticky Sticky” works as a foundation; it remains subtle and a part of the background, but it fulfills its job of supporting the vocals. During moments where the intensity was higher, the instrumental followed suit. Individually, the soundtrack is a slower paced and calmer orientated type. The beats are consistent and provide decent rhythm. Other sounds hold as decent.

Overall, slightly above average. It meshes well with Hello Venus’ singing, and individually, it remains as a soothing soundtrack. Nothing too spectacular, but it can be regarded as sufficient.

– Meaning: 5/10 – “Sticky Sticky”; an interesting title. I am expecting a love-related story that isn’t necessarily cheerful, but rather, a “Sticky Sticky” situation such as a fight. And no, for my fellow readers that follow me from my E-Sports activities, this song is not praising the Demoman’s beloved weapon (and for those completely lost, just nod your head and ignore this). Putting aside my inhumanely awful joke/pun, let’s take a look at the story from these translated lyrics. It is not 100% accurate, but here are the Korean-to-English translated lines:

(Hello) It’s a new beginning
(Hello) Brave Sound and Hello Venus
(Hello) Now we together, let’s go

Oh oh oh oh
Oh oh oh oh
Oh oh oh oh
Oh oh oh oh

I’m so full of charm
Am I really sexy?
Just by giving you a look,
you get so happy
You can’t take your eyes off me
Your hot stares at me
make my heart pound, too

Hold my hands, hum along
and whisper love to me, oh baby

Sticky sticky, risky risky
I wanna hug you, I wanna have you next to me tonight
Sticky sticky, electric electric
Wanna come to me? You’re it, catch me tonight

Oh oh oh oh
Oh oh oh oh
Oh oh oh oh
Oh oh oh oh

Make me lose my breath
Make me dizzy because of you
My cheeks are red
Your naughty hands are so busy
Your sweet words
are like chocolate
My heart is like melted candy
In your hands, sticky sticky

Hold my hands, hum along
and whisper love to me, oh baby

Sticky sticky, risky risky
I wanna hug you, I wanna have you next to me tonight
Sticky sticky, electric electric
Wanna come to me? You’re it, catch me tonight

Oh oh oh oh
Oh oh oh oh
Oh oh oh oh
Oh oh oh oh

I’m in love, I’ve fallen deep
into your heart, can’t escape
Hold me tight, sweetly tell me
Make it sticky,
our own tonight

Oh oh oh oh
Oh oh oh oh
Oh oh oh oh
Oh oh oh oh

In reality, my predictions were completely off; the sheer opposite happened. “Sticky Sticky” describes a flirtatious love-related story. A lady or gentleman is in a situation where, as the title says, they are heavily attached to their partner in both a physical and an emotional level. Through physical contact such as holding hands or hugging, the couple is “Sticky Sticky”, but with being in love with one another, they are also glued together via feelings.

In the end, an intimate, passionate love story is unveiled. While the story itself is interesting and slightly different than others, details remain lacking. The verses are mainly the sections that give details. Everything else is a repeat of the same idea of “Sticky Sticky”. Average lyrics. If more details were added, a higher score would have been given.  

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Choreography Score: 5/10 – To be straightforward, the choreography of “Sticky Sticky” is, as every other section in this song has proven to practically be, average.

Syncing with the song was consistent, but there were numerous moments where a connection between movements and the song was lost. Examples include the verses. In terms of the key points, they were not impressive. Every section recycled the same dance sets, and in focus of every set, they were mediocre. Ignoring the sexual aspect of the dance (which will be discussed in a few more lines), the dance maneuvers remained extremely simplistic. The post-chorus’ dance section was equally plain as the musical section itself. The only benefit of the dance would be how it reflects the song’s slower pacing.

Now as stated earlier, time to address the sexually-orientated dance.  It is one thing to have a section overly sexualized, but it is another issue when that typically involves whittling down the dance to simply moving or (forbid) groping a body part. Blatant sexual dances are not only disturbing, but it simply notches the choreography’s complexity down by a significant degree. To use a current song as an opposite, AOA’s “Like a Cat” is a solid example of a sexy-theme while remaining subtle. Hello Venus’ “Sticky Sticky” becomes hindered by their sexually explicit dance sections. To clarify, most of the time (sexualization in media will be saved for another time), and that is a questionable frequency term, sexy-themed concepts in K-Pop songs are not instantly bad; the largest indicator is explicit versus implicit. Nine Muses, for example, has been known to lean towards the sexier side, but it has never been outrageously disturbing (but I’ll be honest, “Wild” was overwhelming at first due to the MV) since their choreography and song are limited by being very subtle and passive.

Anyhow, point is, a sexy-theme doesn’t immediately corrupt a song’s or choreography’s rating unless if it is poorly executed. What ruins the concept is when it is overly exaggerated or explicitly done. And lastly, for fans who are indeed clutching at their aching hearts for Hello Venus’ concept change, these ladies are simply cooperating with their label company. I am positive that the members of Hello Venus are, in fact, genuinely sexy ladies; like many idols, they are extremely hard working, talented, intelligent, and persevering. Sounds sexy enough.

To bring this all the way back to the choreography, it holds as average. The dance’s key points are weak, and certain parts are impaired due to a poorly executed sexually-orientated part.

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Overall Score: 5/10 (5/10 raw score) – Both the Song Total Score and Choreography Score are rated at a 5, thus, the Overall Score will follow as such. This leaves Hello Venus’ comeback at a rating of average, which I do reside with. The song itself is average and similarly is the choreography.

Perhaps in the future Hello Venus will release a hit, but as of now, their song holds as mediocre. Nevertheless, I am glad the group is still active. Rebounding from a roster disaster is very admirable.

As I always do, thank you for reading this. Apologies for being rather slow with this review. I did slightly rush this review, but hopefully it still remains cohesive enough. Thank you very much, though, for sticking around and reading. It means a lot.

For my next review, AOA’s recent comeback of “Like a Cat” has caught my attention, so that will be reviewed shortly. Their other songs have been notable, but nothing was too outstanding. “Like a Cat”, however, has definitely captured my ears. Anyhow, I appreciate how they have an “AOA” style to their songs and that they’ve stuck with the same concept throughout their entire career. They’re a group that’s rapidly gaining popularity, and considering they were (don’t hurt me) underdogs, it’s really pleasing to witness that. More will be discussed about this if I remember on their review.

I am currently bundled down with work, so reviews are not a priority. School before anything else, but I will do my best to keep up. The end has arrived. Thank you for all the support; “Your sweet words are like chocolate”. Keep checking back for a review on AOA’s “Like a Cat”.

Girls’ Generation – “I Got A Boy” Review

Girls’ Generation – I Got A Boy (Live Performance)

Girls’ Generation – I Got A Boy (short/live vers.)

Reviewed on November 8, 2014

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Personal Message: There are so many things to address/share before this review. To begin, this will be the first review of November 2014. Let’s keep things rolling well, and, through work, improving. Something to address quickly, this review will be based on the live performance linked above; this version is significantly shorter (30 – 40 seconds?). What is lost is a bridge section in addition to shorter transitions (I think). I am keeping it this way to prevent readers from becoming confused with the performance audio and the official audio. Overall, though, it’s practically identical.

Anyhow, why am I digging all the way back to 2013 for this song? Originally, VIXX’s “Error” was going to be reviewed, but then I saw that they did a dance cover of Girls’ Generation “I Got A Boy”. As a result, it made me look over this song once more, and considering this song won YouTube’s Music Award (right?), I took an even closer look and decided to review it.

For a short story, I remember vividly this era of Girls’ Generation. It was a huge sensation and hit (side note, it’d be so much fun to analyze and figure out why it was so popular, etc.). People from all over loved the song, concept, and style. Personally, when it came to the song itself, my initial take was “What is this thing?” Now of course, “thing” might’ve been said differently, but I was quite repelled by the song. Silly joke aside, it still remains as one of the most disorganized songs I’ve listened to, even after coming back to it after many months.

One last story I have to share, though, is how a recent “discussion” about Girls’ Generation and this song led to me being called a “woman-loving feminist”. Now if this person told me that in a cheerful, friendly way, it’d be a different story. However, her style of delivering that was in a muttered, menacing tone. Quickly summing up the discussion, I mentioned how ladies should be able to happily express that they “Got A Boy” they love. Perhaps my phrasing of “men are ‘unnecessary’” was poorly worded, and thus, I got the comment stated above. I simply meant how females should not feel obligated to be with a male for the sake of just being with a male. Anyhow, what irritated me the most was how feminist was said with such a negative connotation when that should not be the case. Believing both genders are equal shouldn’t be anything close to bad. But, to each their own opinion; after all, this is the same friend that gave me trouble for watching “The TaeTiSeo” (check out my review on that show). And as a disclaimer, in no way am I trying to put my friend down; she just has different perspectives than me, and I fully accept and understand that.

Back on track with this song, as mentioned, Girls’ Generation was extremely popular during this time. Perhaps it was due to this song’s uniqueness, the chic styles, or most likely, a combination of the two. While this song comes off as a mixture of hip-hop, regular pop, funkiness, and full of fun, it still remains very disorganized. I haven’t even started organizing the different song structures, but I feel quite intimidated.

Even with my own personal dislike towards this song, I won’t let that hinder me from reviewing it fairly. After all, the intelligent, tough, and hard working ladies of Girls’ Generation were very prominent during this time. A reason must exist for that. Enough said, “Let me introduce myself, here comes trouble” in the form of Girls’ Generation’s “I Got A Boy”          

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Song Total Score: 6/10 (6/10 raw score) – Average score of the sub-categories

– Vocals: 7/10 – Knowing it’s Girls’ Generation, a 9 would be expected. Unfortunately, for this song, that is not quite the case. For moments where there was individual singing, the vocals were decent. What doesn’t remain too solid is their chanting; moments during the chorus and pre-choruses. While those sections had catchy, energetic vocals, nothing vocally stunning was shown at all. Peering back at individual parts, when a single member would sing her own lines and part, it would remain sufficient; not too strong but nothing to look over. Adding a fun mood is the benefit of their vocals in this song.

Overall, for “I Got A Boy”, vocally intensive lines were nonexistent. Nevertheless, the vocals were very catchy and upbeat. The choruses and pre-choruses showcase vocals that capture attention, but in terms of moments that unveil high vocal skills, there were little to none. Above average for vocals. Although this song in specific lacks their standard score, Girls’ Generation has proven that they can be very adept singers; examples include “Mr. Mr.” and with their sub-unit group, TaeTiSeo.

– Song Structure: 6/10 (6.14/10 raw score)

The song goes in this structure and order:

Introduction, Pre-Chorus, Verse, Pre-Chorus, Chorus, Verse, Rap, Pre-Chorus, Verse, Pre-Chorus, Bridge, Chorus, Conclusion (Chorus)

1. Introduction: 9/10 – Personally, this may be one of my favorite introductions. Ignoring my bias, however, it would still hold as a fantastic introduction. Sooyoung, Yuri, and Tiffany handle the introduction.

The song starts off with Sooyoung yelling out, “Ayo, Sooyoung!” After that, a few lines are sung/spoken (depending on if you consider that singing). Eventually, Yuri takes over and replicates Sooyoung’s style. Once Yuri’s part closes, Tiffany takes over. The instrumental also shifts to a lighter, energetic and upbeat version. Tiffany’s lines include confident and fun words. A smooth transition is created from such. One last thing to add is during certain words, such as “eo-meo” and “wae geuraetdae?”, all the ladies chip in for emphasis.

In terms of the introduction’s role, the start of the song should capture the attention of listeners. In addition, it should allow listeners to anticipate what is to come. For “I Got A Boy”, all of those parameters are set; the dialogue style at the beginning lures people in, and the energetic vocals and instrumental set up the song. To go into detail, Sooyoung and Yuri’s part was a short story/dialogue (the Meaning Score section will cover it). Musically, their lines were on the plain, calmer side. Nevertheless, for certain words such as “eo-meo”, the other members would say it along with either Sooyoung or Yuri. This creates some diversity for their flow along with highlighting the lyrics’ meaning. When Tiffany arrives, her part elevates the song’s energy. Her lines leave a lasting impression. Furthermore, by having both the vocals and instrumental shift together, the transition becomes very fluid.

Overall, a very loveable section. Considering how the song as a whole isn’t too solid, an introduction as this is rather surprising. The dialogue at the start captures attention and the emphasized words add to the flow. Lastly, the transition to the next section was exceptionally well done; Tiffany and the accompanying instrumental swapped over to an energetic style without coming off as harsh. A very high score will be given here.

2. Pre-Chorus: 5/10 – For this part, all the members of Girls’ Generation sing. There are a few solo lines; one lady of the group sings during those moments. Before going any further, there are two “versions” of the pre-choruses: slow version and fast version. Since I’m feeling lazy it would be less confusing and troublesome, I will be grading the pre-chorus as an average. If I were to be specific, the fast version would be a 4/10, and the slow version would be a 6/10.

Peering at the slow version first due to order, it remains quite solid. As stated, all of the members sing and then one member would have a solo line. Focusing on the first pre-chorus, the ladies are chanting to a catchy and powerful melody. Although their chant is using a simple “Oh” and “Yeah”, this creates proper syncing between the vocals and the instrumental’s heavier beats. Jessica, in the case of the first pre-chorus, finishes the section with an adequate and satisfying line. Overall, for the slow version, due to phenomenal synergy between the vocals and instrumental, the section as a whole becomes augmented. The words used may be very basic, but hearing the perfect connection between the heavier instrumental and equally impactful words allows this version to thrive.

Unfortunately, when the fast version occurs (pre-choruses after the rap), the previous pleasing style disappears. Instead, the instrumental downgrades and the vocals attempt to emulate the lighter melody. Connections between the soundtrack and singing are gone. With the instrumental being quite fast-paced, Girls’ Generation struggled to keep up; the vastly lighter style that emanated from the instrumental did not mesh well with the ladies’ singing.

Combining everything together, average remains as the score. The slower versions showcased exciting and powerful moments, but the faster version did the complete opposite; weak and little to no chemistry between the vocals and soundtrack. On the positive side, at least listeners will hear the better pre-chorus version at first. Nevertheless, it is disappointing to see a pre-chorus degrade during a song.

3. Verse: 5/10 – As keen readers may notice, this song does seem disorganized. The pre-choruses have two versions, and likewise, the verses have multiple versions as well. Thankfully, the two versions aren’t too drastically different, but nonetheless are homogenous to the pre-choruses with the terms of “fast version” and “slow version”. If those terms become too confusing/boring, quoting a friend, the first verse is the “badass version”, and the remaining two are the “cute versions” according to her.

Putting humor aside, regardless of the versions, they all come out as average. I won’t be able to use a verse in detail/as an example since they all differ, so I will generalize. For all the verses, the singing executed was neither adept or inept. In terms of the instrumental, both the slow version with its heavy beats and the electronic fast version were average. Unlike some previous sections, there was little to no connection between vocals and instrumental. Everything for the verses come out as plain; nothing terrible but also not astounding. Now, if there were bonus points for being adorable, Seohyun and Tiffany would’ve earned a few, but realistically and looking at what truly matters for judging, Girls’ Generation manages to snatch only 5. (Short tangent, judging realistically should always be in mind, not how “cute” or whatever a lady/gentleman is)

4. Chorus: 4/10 – The chorus of “I Got A Boy” is, as expected from the song title, the key phrase of “I got a boy”. To be blunt, this category spells below average explicitly: B-E-L-O, shall I end this pathetic joke? All of the ladies sing during a chorus for the entirety of it.

The choruses consist of repeating lines of “I got a boy” followed by a few adjectives that are either in English or Korean. There are 6 phrases of “I got a boy…” assuming I counted correctly. Firstly, repetition becomes a huge issue; “I got a boy” times 6 becomes quite stale. Should the lyrics not be tedious enough, the instrumental ensures that the chorus is. The soundtrack itself is an obnoxious electronic sound that zips back and forth. Vocally, since all the members are chanting, the melody becomes muddled down moreover to power and chanting versus actual singing.

In summary, below average for a section. The instrumental was mediocre, melodic and delightful vocals weren’t showcased, and the flow was utterly mundane. Remaining somewhat catchy is the only strength of the choruses.

5. Rap: 9/10 – Digressing for a moment, I feel ashamed that I even considered myself a fan of Girls’ Generation; I had no idea that Yoona and Hyoyeon (or any member at all) were capable of rapping. Anyhow, I came to an extremely welcoming realization thanks to “I Got A Boy”. For this rap, those two ladies handle it professionally.

Yoona kicks off the rap with words sliding off her tongue. The pacing is quick and her melody is catchy; outstanding for a rap. Hyoyeon carries the remaining of the rap after Yoona is done. There is a unique layer added to this part: dialogue. For two lines in her rap, Hyoyeon would spit out a line and Yoona would toss in a few words as a reply. After all of that, Hyoyeon finishes the section on her own. Another aspect to include is the instrumental, which still remains the same bouncing electronic sound.

A large boost to the score is the outright fact of the ladies’ speed and fluency. Words were coming out easily and the pacing was incredible; fast and accurate. Melody was not lost as it typically is during such high rates, either. Another aspect is how, despite all odds, the instrumental amplifies the pacing. Although the instrumental individually induced annoyance, the soundtrack reciprocated the rapping speed from Yoona and Hyoyeon.

Overall, one of the better raps I have heard in a song. Yoona and Hyoyeon’s rapping skills individually were stunning. On top of their amazing mechanical rapping talent, the instrumental aided the section and the flow and melody remained just as solid. A very high score is deserved here.

6. Bridge: 5/10 – A basic bridge that fills in the spot. Jessica and Seohyun tag up for this section.

Jessica initiates the bridge. During her lines, the instrumental shifts to a relaxing and softer tone. Jessica’s lines are hitting the higher pitch range. Her pacing was on the slower side and had some words stretched out (not enough to be considered note holds). Nevertheless, she remained very melodic and graceful. Later, Seohyun transitions in via adding “neo” (means you in English). Once she takes ownership of the section, Seohyun sings one line and the rest of Girls’ Generation concludes the bridge with everyone adding one final line.

While I am glad that the bridge was nothing excessive, it does remain on the bleak side. The vocals from Jessica were impressive, but the follow up from Seohyun contrasted that by being basic. Peering at the soundtrack, it stands as equally stale. Observing how this song as a whole was structured, a lackluster bridge seemed imminent; no pathway leading to a climactic moment existed. Nonetheless, even if this is a bridge that isn’t aimed towards being the climax, there aren’t any prominent aspects.

Overall, the bridge comes out as average. The singing from Jessica holds as skilled and enlightening, but the instrumental and Seohyun’s part did not provide anything further. A plain, simple, and basic bridge.

7. Conclusion (Chorus): 6/10 – As something seen from other K-Pop songs, the chorus is recycled for this song. That is seemingly concerning considering how the choruses are not too appealing, and in addition, the previous section before the conclusion/final chorus was another chorus.

All of the ladies handle the chorus, and in general, the final chorus flows as any other chorus did. The difference here, however, was two-part singing occurred; a few members sing their own separate lines to add some layers.

Perhaps the two-part singing added enough to create diversity and changes, but the conclusion is not bad at all. In fact, it’s slightly above average. The double choruses towards the end give a final climax along with the key phrase becoming ingrained into listeners. With certain members singing their own lines, the choruses no longer felt as stale. Even if the “I got a boy” phrases were repeated for a total of 12 times, due to the two-part singing, that thought did not occur whatsoever. In terms of the final moment, it was a clean cut. The soundtrack died out completely and the ladies were left standing (no pun intended) with simply finishing one line.

For this section in “I Got A Boy”, slightly above average is the score. I expected a much lower score, but since the two-part singing modified the song in an appropriate and enjoyable way, a decent score is given.

– Line Distribution: 7/10 – With nine members in Girls’ Generation, it will be challenging to have all lines equally shared among the ladies. Nevertheless, they pulled off a solid score if I recall in “Mr. Mr.”. Besides, it is possible to ace a perfect score with nine members; Nine Muses (as the name implies; also one of my favorite groups) has nine members and they manage a very equal share with lines.

On track with Girls’ Generation, for Taeyeon, her lines involved the halves of the first and second verse, and one line during a pre-chorus. No issues exist here.

Jessica had one line during a pre-chorus, two lines at the first verse, and, more generously, lots of spotlight during the bridge. Due to the bridge, it redeems the lack of lines during the other parts.

Sunny had a lengthier moment during the first verse, and in addition, she had the second half of the second verse. One more section to add is her one line during a pre-chorus. Seeing how prominent she was for the verses, she is not lacking in this song.

Tiffany had a plethora of the song’s parts. That or maybe I’m biased towards her and thus, pay more attention. In a serious tone, she appeared during the introduction, she had one transitioning line, and she had a half of the third verse. Sadly, the reality does show that she lacks a few lines, but considering how impactful her introduction was, she left enough of an impression for viewers/listeners. For the most part, no concerns are here, but more could’ve been expected.

Hyoyeon shared the incredible rap with Yoona, so her prescence was definitely felt. Besides having that excellent section, she had one line during a pre-chorus. Considering how her rap had a longer, impacting duration, Hyoyeon had a fair share.

Yuri was, unfortunately, primarily at solely the introduction. Although she did a pleasing part, it would have been desired to see her have other moments. The only other moment she sung was during a quick line at a pre-chorus. Overall, more is expected from her; slightly lacking from this song.

Sooyoung rides in the same boat as Yuri; she took the first half of the introduction, but that was mainly it. Even more homogenous to Yuri, she had one quick line during a pre-chorus. Like Yuri, more lines would have been delightful. Not too impressive in terms of the line distribution for her.

Yoona, the actress of Girls’ Generation (she has been casted in multiple dramas/movies), was, as mentioned earlier, the rapping partner with Hyoyeon. Her part involved the fluid and smooth rap, and one line during a pre-chorus. There are no issues with her share; she had an amazing rap moment.

Last, but definitely not least, Seohyun, the sweet maknae (youngest person) of Girls’ Generation, had numerous lines. She was given a lengthier moment during the first verse and second verse, and she supports Jessica during the bridge. Thanks to a longer time frame at her sections, she had a nice bit of the song. No problems.

One thing to account for is all the ladies sing/chant during the pre-choruses and choruses. This does alleviate some sharing problems, but not by too much.

Peering at everything, a 7 will hold as the score. Yuri and Sooyoung were the only ones bereft of singing time, but adding on the factors of how their introductions were powerful and lengthy, it slightly redeems them. Furthermore, with all the ladies singing during certain sections, that also helps by a minimal margin. Above average for Line Distribution; while some members lack some spotlight, for the majority of the song, it remains diverse enough with different members singing.

– Instrumental: 4/10 – Perhaps the disorganized structure stems from the instrumental. Throughout the song, there were multiple, random shifts occurring all over the place in terms of the soundtrack. It would change from heavy and slower paced beats, to a vastly faster, electronic based instrumental. The opposite also occurred; electronic sounds to the heavy beats. Since the transitions were very abrupt and seemingly random, that will impair the score. This created a lot of incohesive, confusing moments.

Looking at the soundtrack individually, it remains quite mediocre. The instrumental was either somewhat obnoxious with electronic sounds, or it was a plain beat. When it comes to meshing with vocals, surprisingly, it works well. Vocals are often time backed up by the instrumental; the energy from both parties feed off one another. The choruses were filled with a chanting style of singing, and the electronic sounds there blended in smoothly with that. Other moments, especially during the rap, also benefitted. Yoona and Hyoyeon’s rap was augmented due to a soundtrack that reflected their rapping speed.

Overall, slightly below average. The sudden swaps between the two types of instrumental (heavy beats or electronic) ruins the score. Too many disorganized moments were the results of the random transitions. Individually, the soundtrack remains quite stale. Neither “versions” of the instrumental were stunning. If it wasn’t for how well the vocals and instrumental mixed, this would be a lower score. Thankfully, the rapping moment, choruses, and more give the score a slight boost.

– Meaning: 6/10 – “I Got A Boy” would seem to be a title related to love. I am expecting a story where a lady is bragging about her partner, or perhaps, a story where she is expressing how she captivated her lover. Through these translated Korean-to-English lyrics, let’s find out the story. Not 100% accurate:

Ayo! Sooyoung! Yeah yeah, are you ready for this?
Uh-muh, look at her, look
What happened to her that she cut her hair? Huh?
Uh-muh, again look at her, look
From head to toe, her style has changed
Why did she do that? I’m curious to death,
why did she do that? Tell me
Let me introduce myself!
Here comes trouble! Follow after me

Oh oh oh yeah oh, oh oh yeah oh,
you really are something else

Who is she? Ridiculous
Do you know you’re too self-assertive?
She thinks I’m average
Yeah, I guess she really liked him
No way! No way!
She became so pretty and sexy,
it’s because of him, right?
I almost asked her
what her new makeup was
Truthfully, I’ve seen it for the first time
The deep eyes, like a scarred beast
I was dizzy by just talking to him
You really are something else
You really are something else

Oh oh oh yeah oh, oh oh yeah oh,
You really are something else
Oh oh oh yeah oh, oh oh yeah oh,
You really are something else

Ayo! Stop! Let me put it down another way

I got a boy, a handsome one, I got a boy, a kind one
I got a boy handsome boy, who took all my heart
I got a boy, a handsome one, I got a boy, a kind one
I got a boy awesome boy, I must have really fallen for him

Ah, my prince
When are you gonna come save me?
Like a white dream
Will you lift me in your arms and fly?

I’m like, surprised, mental collapse
He wants to see my face without makeup.
I really like him,
would it be okay to show it to him?
Oh! Never! Right? Right?
Let’s keep what needs to be kept right, right
Until you take all of his heart
Don’t ever forget this

Oh oh oh yeah oh, oh oh yeah oh
Even if I stay up all night, it’s not enough, everything everything
Oh oh oh yeah oh, oh oh yeah oh
Our biggest interest, everything everything

Listen to me, you all know him, right?
He’s a bit young but he’s full inside
Sometimes he is as reliable as an oppa
but when he acts charming, he is so cute

Oh oh oh yeah oh, oh oh yeah oh,
you’re crazy, crazy
Oh oh oh yeah oh, oh oh yeah oh,
you’re crazy, crazy

Always next to me, it’s you, who’s on my side
and listens to me, you- you-
I’m happy as it is right now,
‘cause everything will work

I got a boy, a handsome one, I got a boy, a kind one
I got a boy handsome boy, who took all my heart
I got a boy, a handsome one, I got a boy, a kind one
I got a boy awesome boy, I must have really fallen for him

I got a boy, a handsome one, I got a boy, a kind one
I got a boy handsome boy, who took all my heart
I got a boy, a handsome one, I got a boy, a kind one
I got a boy awesome boy, I must have really fallen for him

I got a boy, a handsome one

Firstly, I am using the lyrics from the live performance, so if these lyrics differ from the original audio (which it should), then that is why. Also, I am hoping this format will paste into the blog a lot smoother. Edit: Using Notepad to type in the lyrics and formatting in there seems to be the most efficient method.

On topic, the lyrics reveal a story that is somewhat confusing. The format differs from other songs. At the start, it appears to be a dialogue in some sense. Moving past that, in a quick summary, people are noticing how a lady looks quite different. She became “sexy” and “pretty” due to, according to assumptions, wanting to impress a love-interest. Continuing, eventually the assumptions do hold as true; this lady found a lovely boy whom she is in love with.

Glancing at some details, there are some sweeter and slightly jocular lines. For example, the part with how the boy may be young and cute but still remains just as reliable as an older person (oppa: literally translated as “older brother”; used by females when referring to an older male). There are some other interesting points as well.

Overall, in terms of grading the story/significance, it comes off as slightly above average. Different details are appreciated, but the story itself does not hold as exceptionally intriguing. Personally, I enjoy the overarching idea of (and goodness forbid I get called a “woman-loving feminist” again) how ladies should be able to proudly say “[they] got a boy, a handsome one…a kind one…” and such. Ladies and men all deserve a partner that they genuinely love. A relationship for the pure sake of having that entitlement is ridiculous and outrageous.  

Since there is a current trend of me nitpicking at lyrics, I will now discuss some points that I find questionable or worth mentioning in detail. As always, this critiquing here will not affect the score. Rather, I simply wish to discuss certain details. Back on the subject, something that is mentioned right off at the start is how the story’s main character changed her appearance in order to infatuate her love-interest. To be quite frank, I do not hold a solid position/stance, but overall, a lady or man should be able to dress how they desire to without the fear of acceptance or rejection. If a female wishes to dress to impress a love-interest, then by all means that should be accepted without any hassles or assumptions. On the other hand, should she wish to change her style “head-to-toe” for the purpose of pleasing herself, then that should also be fully accepted and no assumptions should ever be made that she is only dressing to attract people/a love-interest. These ideas also applies to males equally.

The final takeaway message is a small reminder to dress how you wish to dress. Changing your style completely should not warrant the automatic idea of trying to attract a lover. Sometimes, a female or male wishes to dress well for themselves, not for others. Even if the case is true where dressing to impress happens, no issues should be given there, either.

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Choreography Score: 8/10 – Digressing for a moment, I can certainly see why fans were in love with this concept; the style is quite chic and captivating. In specific, Yuri’s clothing set appealed a lot to me. Props towards her stylist; he/she did an excellent job. I can definitely learn multiple things from Girls’ Generation’s style (assuming I had stylish clothes to begin with; but alas, fashion is not one of my priorities in life yet).

Focusing on the actual subject, the choreography for “I Got A Boy” stands as solid. Syncing with the music proved to be consistent. Every maneuver was linked to either the pacing, the beats, or a mixture of the two. Transitions in this song were very fluid. Despite how the song itself had rougher transitions due to the instrumental, the dance flowed from one set to the other seamlessly. When it comes to the key points, seeing multiple, different setups was pleasant. Repetitive dancing only occurred at the choruses.

“I Got A Boy” will earn a solid score here. Every aspect of this dance is strong, but nothing pushes it as extraordinary. Nevertheless, this was an enjoyable choreography. The dance uplifts the fun mood of the song while showing off power and coordination.  

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Overall Score: 7/10 (7/10 raw score) – In the end, Girls’ Generation’s “I Got A Boy” finishes with a decent score of 7/10. That translates as an overall above average song. I personally think it’s slightly above average (6/10), but considering how the choreography was solid and that the introduction and rapping sections were quite remarkable, this score is acceptable. The song itself is weaker due to the poorer instrumental which impaired both the organization and the song sections’ capabilities.

For this review, I was extremely delayed. I believe I started this review 5 days ago, but I’ve only finished it now. Instead of filling my free time with writing reviews, I’ve guiltily spent it on either watching videos or playing a few games. I’m finishing up the bonus episode/last episode of “The TaeTiSeo”, so that has drained some time. Also, I spent an hour watching TaeTiSeo on “Hello Counselor”. Anyhow, I should hopefully be back on track. Forcing myself to do a bit of a review everyday has been helpful, so I will positively resume that old regime. I may be a bit slower for the time being, however, considering I have plenty of schoolwork and scholarships to apply for.

As always, thank you very much for reading this. Apologies for delays, but hopefully this review redeems that slightly. Thanks for all the support, it means a lot and I sincerely appreciate your time reading this blog.

If anyone is curious on my next review, I am making an abrupt turn and swapping over a recent comeback: Hello Venus’ “Sticky Sticky”. VIXX’s “Error” will be reviewed at a later time. Anyhow, in terms of Hello Venus’ comeback, I have a plethora of things to say. Their concept has completely flipped to a sheer opposite. That will be interesting to digest. That also reminds me, AOA will be making a comeback soon as well, and I think it’s about time I gave my opinion on their songs/dances. As of now, expect “Sticky Sticky” by the freshly reformed group of Hello Venus as the next review. I won’t share my own opinion on that song here, but on a different note, I am glad their group did not disband after they lost two valuable members.

I have said enough. In summary, I am on a busy schedule but I will attempt to get out a review on Hello Venus’ new song as soon as possible. Other than that, look forward to more reviews. Thank you once again for reading. “Always next to me, it’s you, who’s on my side”, so thanks and check back in a few days for the review of Hello Venus.   

Blog Opinion: Red Velvet’s Wendy’s Racist Imitations

Video Clip of Wendy’s Racist Impersonation (13:45 – 15:10)

Posted on November 4, 2014

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Firstly, I will throw a disclaimer: yes, I am going to dive straight into the pit of fire. This is a sensitive topic, but as a result, this is why this needs to be discussed. If I do end up receiving Red Velvet fans’ hate, I understand. Nevertheless, I am not here to necessarily attack Wendy; I am here to attack, to challenge, the notion of racism and the idea of remaining silent. Personally, knowing that I have the ability to voice my opinion to an audience, it obliges me to do so. This is a prime opportunity to discuss a real-life issue that remains too prevalent. Once again, I am not trying to put down Wendy. In fact, if I have the ability to point at who is to be guilty, I challenge you to take a look at your own life; who is the “Wendy” in your life? This incident is not the only one that we have seen. Sadly, with the average daily life, many of us will probably encounter a similar scenario where a person is humiliating a culture or race or such.

I have no knowledge of Red Velvet nor of this radio show, so I do confess my ignorance in those regards. However, despite not knowing much, to find this racist moment close to humorous or entertaining is atrocious; setting forth stereotypes, on the radio, and as a person of high status/fame, is completely wrong. The current defense on Wendy’s part is, “But she was joking, it’s all for a laugh and to be entertaining” does not excuse a single trace of this incident. To laugh at this is to merely accept the idea that racism and making fun of another person’s culture, identity, and more is fine.

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Anyhow, before I lose readers, a quick translating summary of the clip above (13:45 to 15:10):

Wendy was asked to show off an individual talent. In reply, she said one talent she had was she could imitate foreigners. In specific, she said White people and Black people were the ones she could imitate. Following up, she decides to impersonate a white female; she claims that their voices were somewhat high-pitched. Her imitation then involved a stereotyped “Oh, my, gosh”. After that, she decided to imitate a Black female. This time, she threw in some hand snaps and motions while saying, “Girl, you ain’t talking to me”. Lastly, she decided to imitate Black males. For this part, she added that they are like gangsters, and thus, went on with “What up, you wanna go, man, you wanna go?”

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So now that readers have an idea of what’s happening, I will explain my huge frustration. I also highly recommend that if you made it this far in the reading, that you continue on. This is a sensitive subject, and in fact, I’m expecting responses of “What is a K-Pop reviewer like you doing in this business?” To actually answer that right now, that is perhaps why; being a reviewer of music, people might come to think I only care for the musical aspect of K-Pop, but of course, that is completely false. Doing so would be secluding and deluding myself of reality. Luckily or unluckily (depending on your take), I do not believe in a perfect fantasy world where everything is fine. If society wishes to embark on the journey to genuinely get to the “perfect fantasy world”, addressing problems head-on is the way. Hiding or simply side-stepping issues do absolutely nothing but allow an issue to pervade.

Back on topic, why is this incident of Wendy doing the imitations completely disrespectful and wrong? Wendy is not the only one to point fingers at; the entirety of the radio crew is at large fault. This event is wrong due to how everyone found it funny. As stated earlier, by accepting these “jokes” as such, it gives an implied meaning of acceptance and even beyond. Racist jokes will be seen as entertaining and jocular; consequences are unseen. To have a culture, race, gender, or any other personal attribute to be seen as a fault is erroneous; no one should ever feel ashamed of their own identity. These jokes enforce the idea of having fault in an identity. Any type of mockery that sets an identity component as the joke is inhumane. No one should ever need to feel pain, both emotionally and physically, due to another person’s ignorance.

Besides discussing how racist jokes and such are horrible, the audience in the radio show is equally distasteful. The encouragement, the clapping, the laughter, the reenactments, all of those actions were equivalent to the imitations themselves. Although Wendy was the person to actually say those racist remarks and to act out on the grotesque imitations, everyone had technically said the same. The act of laughing along and clapping showcases how they found the racist comments enlightening; they were in support.

Considering Red Velvet is a sprouting newbie group, this incident will tarnish their reputation. Knowing that they are idols, they should have had the decency to think twice on what was being said and done. Alas, sometimes us, humans, are simply the result of our society. Something to be critical is asking yourself: is Wendy the one to blame, or is society at a whole the one to blame? Truthfully, I do not possess an answer; both may be responsible and connected.

With all this said, I am utterly shocked at this. By simply being idols, they hold the responsibility of representing K-Pop, and in this scenario, they have utterly failed to hold an upright image. As I said multiple times, I am not here to bash on Wendy. What needs to be aimed at is the problem itself: racism and the acceptance of racist jokes and whatnot. Laughing and encouraging a racist, sexist, or such remark, joke, or impersonation is on par with doing the said racist action. In fact, even remaining silent is still acceptance. Holding a tongue against these racist remarks is simply remaining neutral/default, and unfortunately, the “default” is indeed the unjust action. I questioned whether I should make this post. Worst-case scenario, I gain the opposing side’s hatred and potentially lose readers. If being disliked is what it takes for people to start realizing how this incident is wrong, then by all means, I accept the trade.

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In the end, blaming not Wendy, but rather, the issue revolving around racism and the social acceptance of such is where people should focus their anger. Being aware is what society and the world needs. Always ask why. And while Wendy is an idol, and as a result, is receiving huge attention for this, bringing it back to reality should be in mind; “Wendy” exists in your life. It is your choice on whether you laugh along like her group members and radio hosts, remain defaulted on the acceptance of social issues, or, to do a simple saying to your friend of, “Hey, that isn’t funny, that’s pretty messed up”

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As a personal side note, forgive me if I ended up losing my argument’s point throughout this post. I did my best to remain as respectable and mature as possible. Personally, this incident did induce an emotional reaction; I was quite outraged that an idol, who should be well aware of the influence she has, would commit such actions.

If any Red Velvet/Wendy fans are upset at this, once again, realize she is not the primary target, and secondly, accept the faults of your idol. To share my own take, as readers may know, T-ARA is a group I admire very much (in specific, Soyeon who I heavily look up to as a role model). Nevertheless, for their bullying incident, I did not live in denial. I do reside in the fact that they bullied out an ex-member. It is shameful and your own pride feels hurt as well, but this is where you are able to learn from another person’s mistake, even if they are your role model/someone you hold highly. Idols are still humans governed by society’s ways. They are not perfect.

Lastly, thank you if you do read this. I am not thanking you for solely reading, as I do in practically all of my other posts, but thank you for (hopefully) taking this post to heart, and in fact, reflecting in your own life and actions. Perhaps you were “Wendy” before, or perhaps, you were her members that were laughing along. If such is the case, it doesn’t matter on what has been done, but instead, what will be done.

To slightly make the mood lighter, I am in the middle of reviewing Girls’ Generation’s “I Got A Boy”. I would have been done, but this incident prompted me to create this post. Anyhow, stay tuned for it, and of course, stay aware and do your own part for society.