Rainbow’s Jisook’s Reality Show – “Coming Sook: Jisook’s Fantastic Life” Review

– Coming Sook Episodes Playlist

Reviewed on February 28, 2016

Jisook – Coming Sook: Jisook’s Fantastic Life


Stellar’s “Sting” is once again delayed, I have decided to alter the review
schedule as February is coming to a quick end. Through finishing the month with
show reviews or shorter song reviews, the blog will have at least around four
to five reviews, and that will satisfy my personal goal—even if to the lowest
degree. With March, I do plan to continue the current path: to review only
artists who have yet to be reviewed at all. However, MAMAMOO’s latest comeback
of “You’re the Best at Everything” will be heavily contesting that plan, and
similarly, if Fiestar and SPICA have their comebacks within that month. What
will hopefully occur, though, is that during my one-week Spring Break, I will
catch up on multiple reviews. Thus, recent comebacks, regardless of artists,
may still be covered. On topic, for this review, it is not on a song or album:
it is on a short reality show starring Rainbow’s beloved Jisook. “Coming Sook:
Jisook’s Fantastic Life” (I will refer to it as “Coming Sook”) has admittedly
been a show I have been “binge watching.” That is understandable, however.
Jisook is, after all, truly a “happy virus” and “vitamin”; watching her show
will put anyone in a great mood regardless of how they felt prior.

Sharing how I happened to come
across Jisook’s contagious virus, after reviewing Rainbow’s
I decided to check out the group since, as stated in that review, I
was quite unfamiliar with them and thus desired to know the group for more than
their music. Somehow, Jisook’s show was the first video I came across. Needless
to say, though, I am exceptionally grateful for this outcome. Jisook has
utterly infatuated me, and after watching her videos, I will definitely look
more into Rainbow—both with songs and videos. Jisook is sincerely, as mentioned
above, a “vitamin.” The only other idol I know that possesses equal high level
of cheerfulness would be Dal Shabet’s Serri, but point is, both ladies are incredibly
positive. I personally aspire to also be full of love and joy like the two, and
admittedly, Jisook is someone I now also look up to. She showcases my personal
idea of a “perfect” life. (However, MAMAMOO’s Solar is my main role model; I
strive to be exactly like her in every possible way.)

For one, Jisook greatly prioritizes
happiness and laughter—two very crucial aspects I would argue that are vital
for an enjoyable life. On that line of thinking, she also cherishes love and
affection for her friends/members, and likewise, those are also essential
aspects to a good life. In fact, it is debatable that what the world needs more
of is just that: love for others and self. And of course, health and hard work
are also valuable points that Jisook lives up to, such as with dedicating
herself to her hobbies to release stress, and for the obvious example, working
hard in her career as an idol. Lastly, on a materialistic level, she has the
best house one could ask for: not a mansion, but rather, a pretty, organized
and comfortable smaller house. Although I do not wish for readers to interpret
the prior and following words as “the right way” to live, I am against
materialistic living (such as prioritizing money as the source of happiness;
for examples, finding joy in owning the most expensive clothing and makeup
products). Instead, at most for a materialistic lifestyle, money should be
orientated towards (after basic living needs) items that help bring emotional
wealth. Returning to the example of owning the most expensive makeup products,
the joy from such should not stem from the value of the makeup product; rather,
the joy in that has to be within the makeup itself. But as said, to each her
own; as long as he finds his own source of happiness and shares love and
compassion, then all is well.

Overall, I do greatly envy and
aspire to have Jisook’s lifestyle and am very excited to begin my own
independent life in a few more years—though “independent” is not quite true as
I do plan, at the least, to live with a dog. (As shared before, I would love to
adopt a child if financially and emotionally capable, even if as a single
parent.) Although unlike Jisook I would not have a career as an idol since my singing, dancing, and
appearance would cause visual and audio related injuries
 I lack the
intelligence and physical abilities. I would be extremely more content with teaching
high school freshmen students with English and dedicating myself to loving
friends, child and dog, makeup and fashion, exercise, hobbies, and so forth.
And jocularly and randomly to share, I have strongly desired a dog lately. I
cannot be blamed though; as the saying goes: “dogs are woman’s best friend,”
after all. (And if I am correct, a few may suddenly claim that the phrase is
wrong as it should be “man’s best friend.” I will discuss in depth this topic
of “gendered” language below.) All in all, Jisook is an amazing human and I
will strive to lead a cheerful, intellectual, caring, loving and compassionate
life as her.

Now, to discuss my prior use of “woman’s
best friend” (feel free to skip to the review now—though to confess, I have
sorely missed saying that very phrase), there is one topic I have surprisingly
never discussed at all before on the blog: the importance of language, and more
specifically, how language is reflective of social power—examples being
“gendered” language or “heterosexist” language. Nevertheless, it is shocking to
have never discussed this. Given my personal passion for English and sociology
(and teaching, as many would guess), this specific topic of language should
have been one discussed ages ago. It is, after all, the literal intersection of
the two subjects: seeing how sociology (social aspects and topics, etc.) applies
to language (words, daily communication, language arts, etc.) itself. Returning
to the phrase of “dog is woman’s best friend,” many would argue that the proper
way to state such is to change the pronoun of “woman” to “man.” After all, there
is no harm to saying “man’s best friend” or even other phrases such as
“mankind” or “man-made.” Words cannot ever be truly influential. This is why
that vapid saying exists: “sticks and stones may break my bones, but words will
never hurt me.” Unfortunately, though there is no direct harm such as jabbing a
knife into someone, arguably that level of damage is still true with words: it
just happens socially rather than physically.

Language is more than pure
communication, such as with day-to-day conversations; language is more than
beautiful art that can come from great poetry; language is more than mastering
grammar, vocabulary, and argumentative essay formats. Language is, in addition
to the listed examples, also reflective of social equality and power or the
lack thereof. What we say or do not say carries significant social weight, and
from there then are words translated into physical, affecting actions. In other
words, views on gender will influence language, and as a result, language will
influence views on gender. Views on race will influence language, and
similarly, the opposite occurs. There is a cycle with language and social
aspects and thus, it is critical to realize the connection between the two
subjects. Specifically with this digression, although I certainly do equally
hold important the language arts side to language, or the semiotics and linguistic
side to language, I do wish to discuss the sociological aspect to language. And
to begin, “human’s best friend,” a dog, will provide an example.

The largest issue with “man’s best
friend” is it contributes to an underlying assumption many societies have: that
males are automatically the default of everything. To very extreme points,
there are those who even believe that females are “inverses” or “castrated”
males, even though females are simply females—their own sex (and equally
valuable ones; every sex—male, female, intersex—are indeed all worthy). (And,
assuming my biology is not that awful, the mentioned idea is easily disproved
as, scientifically, every human starts out as female. So, if the prior idea is
to be used, it is not females that are “inversed” males, but instead, it is
males are “inversed” females.) On topic, already, there should be a noticeable
issue with having males centered as normal. As a copious amount of reviews have
discussed, males being deemed at the center when, equally and equitably it
should be both sexes, leads to various issues. Androcentrism is a direct
example: the idea that masculinity is the normal for how to think and act. For
a visual example, think of how it is permissible for women to
“cross-dress”—such as wearing a suit—and conversely, atrocious if a man
“cross-dresses”—such as applying BB cream and eyeliner. (Though there are
cultural differences to account for. Yes, in some cultures males using makeup
is nothing surprising versus in, for example, Western cultures. Nevertheless
the same idea holds when it comes to, for a simple example, whether crying is
allowed for males.) This disparity is due to androcentrism: that masculinity is
always accepted, and anything remotely feminine is of lower status and is,
especially in males, never allowed.

Before getting off track, in regards
to language itself, it is important to pay attention to as it provides
reinforcement to social ideas. When societies constantly reiterate “dog is
man’s best friend” or that cars are “man-made,” what messages are being said?
To clarify, I do not wish to antagonize people who do say those phrases. Absolutely,
I do believe that when a person says those phrases, they are connoting: “dog is
anyone’s—man or woman—best friend” and “man-made is something made by
humans—whether man or woman as both are capable of being engineers.” In truth,
many people who say those phrases and other gendered phrases are most likely
very much opposed to sexism. Nevertheless, what I desire to emphasize is that,
intended or not, using gendered language has gendered consequences—again, even
if unintended. Language is more than “colloquial.” By using phrases that
include only males on the surface, no matter how benevolent the intention,
there will be repercussions. The following example might highlight such.

Say that I went to the doctor and
that there is awful news: I am dying from Boa-itis, a rare disease caused by
being overly obsessed with SPICA’s amazing leader. (Alright I admit this is
bad. I will directly apologize for this joke.) Searching for comfort, I share
to my close friend that my doctor revealed to me horrible results. Knowing my
friend, she might eventually reply: “What did he say?” Now while Boa-itis may
not be true despite how
Boa has halted my heart a few times
, if this were to occur, I would
forget my dying state and reply with a sharp: “My doctor is a woman; a she; a
female” (and that is true; my doctor is actually a woman). Notice, though, the
language instilled there: assumption that the doctor is a male. During these
cases, what should be said is “they”—even though, yes, it is plural (but
dictionaries now do define it as both singular and plural). Nevertheless, when
this situation occurs (and it does tend to be somewhat frequent), saying “they”
is the overall best route to take. Maintaining gender-equal and gender-neutral
language is what has to occur if gender equality in an even larger form is to
take place. After all, how can society ever accept amazingly skilled male
makeup artists and hair stylists if everyone keeps saying “she” in reference to
those jobs?

At this point, one may have a keen
reply to the prior example: that it is not language that is influential, but
rather, ideas that then translate to language—and that is it; no cycling occurs.
Perhaps we tend to say “he” for doctors not because of language itself, but
rather because we have a socialized idea of who is a doctor and thus merely
state that. That is certainly a true point, but again, the recycling of
gendered language is important to hold in mind: this is why it is best to say
“they” if the pronoun’s gender is unknown. If it is a held common belief that
doctors are males, breaking down that assumption is to break down the language
involved: using “she” or “they” instead of an automatic “he” when one discusses
“doctor.” And furthermore, on this note, there is one example of gendered
language itself being quite influential: the use of “guys.”

Many readers may now be questioning
their own use of the words or synthesizing justifiable reasons for using
“guys,” but as many may now think after reading the prior paragraphs, the use
of “guys” is the one of the most common examples of gendered language in
English (or at least American society). That said, to reiterate an older point,
using gendered language is not based on intentions; using “guys” does not make
one sexist. Not even remotely. Rather, “guys” has been incorporated into
standard English language—akin to “mankind” for example—and that is what needs
to be challenged. Using “guys” is questionable as it does subtly imply that
males can represent females when that should not be the case, and even if that
should be allowed for whatever reason, the fact that the opposite cannot occur
showcases even more inequality. Take the following example. I can refer to a
group of females as “guys,” and that is acceptable. In fact, that is “normal”
and anything otherwise may seem absurd. Strangely enough, however, should I
refer to a group of males as “gals,” many would find it absurd. To some, even
offensive. And yet, “guys” to a group of females is not insulting as the word
has become normalized despite how “guys” does indeed refer to males. Even if colloquially
“guys” has become connoting of both genders, again as highlighted, should this
be accepted, then “gals” has to also be equally accepted, but as unveiled that
is not the case at all.

In terms of solutions, glancing at
other languages may provide a few answers, and in addition, may showcase how
absurd using “guys” truly is. Cantonese and Korean will be used as examples. In
both of the mentioned languages, from my understanding, “guys” is not used to
refer to any cohort of people; “guys” is used to refer to, as expected, a group
of males—a group of boys, men, males. Only in English (or at least American
society) is “guys,” a word that does indicate only males, used to represent any
group of people regardless of sex. Now, for a predicted disagreement, one may
claim that “guys” is in fact used in Korean or Cantonese to refer to a group of
people. A video subtitle said so. As a response, this is where “direct
translation”—or lack thereof—becomes an issue. (And as a subtitler, I do try to
directly translate whenever possible for this very reason. I wish to respect
what the language itself says.) From my understanding (as said before, though I
am not fluent in Korean, I am confident enough in this regard, and with
Cantonese I am rather knowledgeable with it), the literal word of “guys” in both
refer to solely males. It would be silly to attempt to say “guys” in reference
to a group of people. Instead, for what is said, common ways to address a group
are “everyone” in Korean or “they/they all” in Cantonese. Nonetheless, however,
as disclosed neither Korean or Cantonese follow the unique form of how English’s
“guys” can be used for both.

Clarifying, this is not in any way
to downgrade English and American culture (I am American after all) or to
praise Korean and Chinese language and culture as better. That would be
absolutely pathetic and, from this perspective, arguably racist and for sure
ethnocentric (since, as reviews have discussed, racism is based on “dominant
group,” and with writing in this perspective of Chinese and Korean culture, it
would appear I am bashing non-Korean and non-Chinese cultures). Point is, it is
true that in Korean and Cantonese “guys” is not flexible: this is the point I
wish to emphasize. In English, the word “guys” is indeed rooted as males only—akin
to how “gals” is rooted as females only. Thus, with that holding true, “guys”
in English should not be used to refer to both males and females; it should
refer to only males. If one is to refer to both females and males, more
inclusive terms are always available: “they,” “you all,” “everyone,” and
perhaps for the best solution, “guys and gals” or “gals and guys.” All in all, “guys”
is not worth using unless if it is exactly intended: to refer to a group of

And so, there may now be multiple
responses. Readers may feel guilty, annoyed, or currently preparing methods of
strangling me for being “overly sensitive” to words. Repeating the earlier
point, this is not to accuse nor cause guilt; this is to bring awareness.
Truthfully, whether my views are accepted or not does not matter to me: what
matters is that readers are critically thinking about my position. Perhaps
using “guys” or “mankind” are indeed acceptable and even empowering to every
sex. Or perhaps that using “guys” should be allowed but that we should now also
start using “gals” instead of utterly removing the current way we use “guys.”
No matter the response and stance readers have, what matters is why they have
their specific stances. Through critically analyzing what I have argued, that
is what I hope for as, if social inequalities are to be solved, mature and open
discussions have to occur. Directly sharing what my own take is, I personally
favor three options: using “all”; using “gals and guys” and “guys and gals”;
and, using “she” and “he” individually yet equally (such as by saying “it’s every
woman for herself; he needs to find his own cup of coffee”)—though there is the
issue in the latter two examples of not including intersex people for example.

In the end, as I encourage in
readers, it is about equality and equity: having love, respect, compassion, and
understanding for everyone regardless of their social attributes, be it
religious affiliation, gender, race, class, sexual orientation, able-bodied or
disabled-bodied, and more. With this digression, I do urge readers to bear in mind
using inclusive language; language that includes people no matter their gender
or sexual orientation or race, and so on. Language has significant social
consequences, but thankfully, language is in control by a vast majority of
people. Using “you all” instead of “you guys” may indeed help contribute to
gender equality in the long run, and so will using “they” instead of
automatically assuming that an engineer is a “he” or that a nurse is a “she.”
After all, every human deserves understanding and compassion, and I can attest
with full confidence that Jisook would agree. Let us all be a bit more like
Jisook: loving, caring, joyful, and thoughtful to others.


beginning the review, admittedly I forgot how much fun it is to apply sociology
into (Korean) pop culture. Before entirely beginning, for technical notes, it
should be noted that any review that is not of a song can be considered a “bonus”
review: reviews that are meant to overall be fun and to provide variety from
just songs. Therefore, the following ratings I give are, in full honesty,
worthless; the numerical ratings hold minimal value in terms of giving insight
to the show. Juxtaposing song reviews to this review should reveal why: there
are only two ratings versus the abundant amount in song reviews. And certainly,
shows are as equally complex as songs and should indeed have much more
categories that just the current two I have. Optimistically, however, unlike
past show reviews, this time I am able to link the episodes themselves as this
short reality show is luckily entirely on YouTube—officially, to be specific.
(This means there will not be copyright removals, etc.) That said, I did link a
playlist, but I recommend starting with this episode: “Jisook’s New House Tour.” Reason being
that it provides background to both the show and Jisook herself. Also, for
readers who may hesitate to watch as Korean is not known to any degree, no
worries: there are English subtitles. This means that everyone reading is obliged to watch.
Jisook’s show is more important than caring for children, school work, going to

Focusing on the actual review, as I
have not done so in a while for show reviews, for this one specifically, I do
in fact have pictures prepared for the Plot Summary. Before analyzing the show
itself, it is best to summarize the show so that readers have a general sense
of what “Coming Sook” is even about, and what better way to do such than
through visual aids?

“Coming Sook” is about Jisook, a
member from Rainbow, taking viewers along with her for some of her personal
activities. For one episode, she is touring viewers her new house, but for
others, she may be showing her hobbies or doing other miscellaneous activities,
such as adorably dressing up a dog. Furthermore, personal tips may be given,
such as—for what many men and women may desire to learn of—makeup. That, in
essence, is the show. Nothing more or less. The following pictures will
hopefully grant viewers quick ideas on the show’s aesthetics, format, and so
on. But there is now a very valid question: Why watch this? Is this show worth
an hour or so of my time? On the surface, this show would seem only enticing to
fans of Rainbow or Jisook, but the Analysis category will explain otherwise.


Jisook introducing her house.


Jisook sharing makeup tips. In this case, she is sharing her tip with concealer.


Woori and Hyunyoung, fellow members of Rainbow, visit Jisook’s house. Specifically here, they are looking around Jisook’s bedroom.


Jisook shares her playroom to viewers.


Jisook shares ways she does her hair.


Dali, a model dog, joins Jisook with making dog clothing.


With the assistance of a carpenter teacher, Jisook creates a wooden speaker for a fan.


Value: 8/10

“Good; excellent”

– Entertainment Value: 9/10

– Structural Value: 7/10


True, the structure to the show does
appear tedious: Jisook does one specific activity and viewers watch that for
seven or so minutes. Then the next episode is her doing another activity. Then
the same. Then the same. Then the same. The same. Same. How is that supposed to
be appealing in any form? Although the overarching structure is indeed the
same, the change in the content does provide enough variety to provide appeal
(and a score of seven). For example, the camera setup may be the same for when
Jisook explains her makeup or how she styles phone cases, but just the simple
change in topics allows for much variety. How Jisook explains and acts greatly
differs; she is not robotically going through her activities (more to be said
on this later). Furthermore, even in watching the various activities, all are
significantly different. Sure, Jisook is simply covering hobbies she does
versus, for example, one day going out to shop and the next day to a restaurant,
but the change in activity provides for a lot of content. Watching her share
hair styling tips and then later watching her play with a model dog, while systematically
similar, are exceptionally different in content itself, and that is what helps
provide appeal. Additionally, “Coming Sook” is not just of Jisook’s hobbies.
There are episodes where she is up-and-about with touring her house, cooking
snacks, or playing video games with her members and f(x)’s Amber.

As for what truly does make the show
entertaining in whole, even if the structure is slightly repetitive, Jisook is
entertaining in every sense possible: her words; her humor; her wits; her
actions; her goofiness; the list goes on. Jisook knows how to ace her job of
being an idol—a person whose job is to entertain others and to provide
excellent role modeling. At first, readers may be reaping entertainment through
the activities themselves, but after one or two episodes, that source switches:
Jisook herself becomes the main focus for the show’s entertainment. In fact, if
the show still continued, many would still be content even if the show ran low
on new ideas. Essentially, Jisook could be doing anything and she would somehow
make it all entertaining to watch. For all that is concerned, she could be
putting together a table or, for a drastic example, filing away paper and many
would still be invested in watching. It is not the activities that matter; it
is about Jisook doing said activities. She brings entertainment to the show—after
all, “Jisook” is in the show’s title. Overall, she truly is a hilarious and
joyous lady. I have yet to watch an episode without laughing, let alone not
smiling or squeezing the life out of my stuffed penguin at how cute the show

Answering whether this show is worth
the time, I conclude a strong “yes.” The activities she does are entertaining
on their own to many people, but in addition, Jisook herself provides much
laughter and positivity. Every episode is memorable. She is truly a contagious “happy
virus” (laugh included) and can make an episode of watching paint dry turn out incredibly
funny and entertaining.


Regurgitating what is usually but
sincerely said: thank you so much for reading. Whether read in full, skimmed, I
appreciate any given time to the blog and review. For readers interested in
upcoming reviews, I do apologize for not having a strong finish to this month. The
past days have been full of essays and studying for upcoming midterms, hence
why reviews have been slow. Or perhaps that this review being around 4,500
words could have been two reviews. But as said, March is where I have a week to
catch up on reviews, and thus, I will do my best to do so. Especially as song
reviews are becoming much more concise, there are a lot of expectations to be
able to review numerous songs within a month. For an idea as well, I also plan
to experiment with how often social digressions occur: rather than including
them in every review, I will only include them for every third review. This
way, various readers will have enjoyable content: those who desire both reviews
and social discussions receive their share, and readers moreover interested in
reviews have their share. And on my end, I have both sides of being able to
review more song and to write less, but to still engage with important topics
especially if relevant and elicited by a song.

For the next review, it may be
another show review to wrap up the month, or it may finally be Stellar’s “Sting.”
Either way, stay tuned for whatever it may be. It will be “Coming Sook.”

Rainbow – “Whoo” Review

Rainbow – Whoo (Dance Practice)

Rainbow – Whoo

on February 21, 2016

Personal Message:
As readers may know from my prior
post, reviews have been slightly delayed due to having to re-upload many videos
on my YouTube subtitling channel. Miraculously, thanks to my university’s
internet being extremely impressive (as expected from many educational-related
internet), the uploading process did not take that long. Nevertheless, with
having to add in descriptions, titles, needing to correct subtitles (and I have
not even finished with this), and of course usual university work, much time
was lost for reviews. At the very least, one review could have been posted within
the time frame it took to amend the videos. (I would even claim that two reviews
would have been possible if no social digression occurred. For this review,
there will be none.). Negativity aside, though Stellar’s “Sting” is amidst
review, for the purpose of compensating for a lack of reviews and covering the
latest comebacks, Rainbow’s “Whoo” became of interest. After all, who could
ignore such a cheerful song title?

Regarding the group, admittedly I am
slightly unfamiliar with the ladies: I only know a few of their songs and do
not know the members’ names by heart. Nevertheless, I very much adore a song by
their subunit group: “Cha Cha” by Rainbow Blaxx. In fact, I planned to review
it many months ago. But that said, “I planned” is false; it would be far more
accurate to say “I plan” as I will be returning to the song when I do a “subunit
review month” special. (Four songs are already in mind.) On topic, Rainbow
being unknown to me is nothing unusual—as blunt as that may sound. The group is
indeed quite unpopular, hence why I have minimal knowledge. Why that is the
case I have not investigated enough. It could be due to the music, dance,
concepts, label company (DSP Media), and other factors. Regardless, with the
group having their comeback after a while, “Whoo” provides a chance to finally
gain some recognition, and indeed recognition matters: Rainbow’s popularity can
have dramatic influence on the group’s future.

So, is Rainbow’s comeback, “Whoo,” a
song worth going “whoo” for? Although statistically that is the case, there are
still some significant flaws to the song. (Though Rainbow as a group is
definitely worth cheering on; the group does deserve to be supported, whether
or not “Whoo” in specific renders well.)


Song Score: 6/10
(5.8/10 raw score) – “Slightly above average”

Vocals: 5/10

Sections: 5/10
(5.25/10 raw score)

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

1.     Introduction:

2.     Verse: 5/10

3.     Pre-Chorus: 5/10

4.     Chorus: 4/10

5.     Post-Chorus: 4/10

6.     Rap: 7/10

7.     Bridge: 6/10

8.     Conclusion: 6/10

Line Distribution: 8/10

Chorus 1, Chorus 2, Bridge (Total: 3)

Introduction, Post-Chorus 1, Rap, Conclusion (Total: 4)

Verse 1, Bridge, Chorus 3 (Total: 3)

Pre-Chorus 1, Pre-Chorus 2, Bridge (Total: 3)

Pre-Chorus 1, Pre-Chorus 2 (Total: 2)

Verse 1, Verse 2, Bridge (Total: 3)

Chorus 1, Verse 2, Chorus 2, Bridge, Chorus 3 (Total: 5)

Equal Value: 3.29 sections per member.  

Instrumental: 5/10

Lyrics: 6/10

Clap clap clap clap
Clap clap clap clap
Rainbow, ah

When you say you can’t live without me,
I might be shaken
Is that for real?
Even if I ask thousands of times,
I don’t know,
I can’t sleep every night
(It’s all about you)
Ever since you said those words,
my heart has stopped

What can I do?
My heart was struggling and exhausted
But you’re holding onto it my baby
If you love me, if you’re thinking of me,
you shouldn’t do this

Clap clap clap clap
Clap clap clap clap
Rainbow, ah

The moment I first saw you,
I froze right there
Love me do, baby chu
I just wanna be with you
I think I like you too
Maybe my heart has gone crazy
It’s only looking for you

Even when you make it obvious
that you like me, I can’t answer you
When you said “let’s meet again” the day after tomorrow,
those words kept circling around me (lies)
I can’t fall asleep every night
(It’s all about you)
Ever since you said those words
My heart has stopped

What can I do
My heart was struggling and exhausted
But you’re holding onto it my baby
If you love me, if you’re thinking of me

On a rainy day
(You said you came in front of my house)
my heart pounded
You said that you loved me
What do I do?
I can’t believe it
I’ve waited for those words for so long
I can’t believe it
What’s wrong with me? I’m so nervous
I couldn’t even talk, whoo

What can I do?
Crazy crazy
I’m in love with you too, baby
If you love me, if you’re thinking of me
I’m gonna start too

Clap clap clap clap
Clap clap clap clap
Rainbow, ah

Choreography Score: 8/10 (7.5/10 raw score)

– Syncing: 7/10

– Key Points: 8/10

Overall Score: 7/10
(7/10 raw score)


Yes, the choreography rates incredibly well; yes, the line distribution is
phenomenal; yes, the vocals are not poor; and ultimately, yes, the song does
score decently—individually and overall. Nonetheless, it is doubtful to
consider “Whoo” a “slightly above average song” (a six). The song should—despite
what my unbiased, systematic rating claims—score at “average” (a five) instead.

an overarching view, “Whoo” struggles to bring distinctive qualities. There are
no stunning vocals, seducing instrumental or exceptionally smooth sections. A
vast majority of the song is rather plain, and indeed, this is its drawback. With
the vocals for example, although the members maintain an upbeat and catchy tune
and even hit impressive notes toward the end, the flow is extremely stagnant. From
the verse to the conclusion, the vocals seldom deviate; there are no major
shifts in singing paces, melodies, and styles. Of course, there is Woori’s rap
that differs (as to cover later), but ignoring this aspect, the vocals do
become quite dull. Even though the vocal skills exist and are showcased, the
vocals’ flow is too mundane. Perhaps, though, the sections are to blame.

that note, the sections are the weakest link in “Whoo.” The verse, pre-chorus,
chorus, and post-chorus all follow a rigid, linear format. Now to clarify,
linearity is not inherently flawed; the problem here is not that the sections
are linear, but rather, how the sections do execute the linear format. After
all, for a simple example, ballads tend to follow a straightforward style.
Obviously however, ballads are not automatically impaired because of that format.
In some cases, said linearity augments a ballad (or any song). What matters,
then, is the execution. To focus back on “Whoo,” the post-chorus is a clear
example of a poorer trial. The section consists of using singular words, and
the melody, structure, and pacing are all equally simple. Unfortunately, with
this style being commonly used in various pop songs’ post-choruses, “Whoo”
greatly loses appeal. If there were some distinctive point to the
post-choruses, it would at the very least become tolerable if not enticing.
Using a contrasting example, AOA’s “Like a Cat” is still personally the song
with the best execution on a traditional post-chorus. In “Like a Cat,” the
post-choruses recycle a simple melody, repeat a singular sound (“la”), and yet
in spite of it all, with the addition of occasional contrasting vocal lines and
its excellent placement in the song, it thrives. The same cannot be said for “Whoo”
‘s post-chorus; there is no distinctive feature that repels away mundaneness.
Likewise, other sections replicate the same issue: stale and overly simple to
the point of sounding like “an average pop song”—a comparison that is never
desirable in this genre.

the end though, “Whoo” is not in despair. If it truly was, then the ratings
would have most likely reflected such. For aspects where “Whoo” does succeed, the
line distribution—even if oftentimes deemed negligible—is solid. Members nearly
all have equal lines. If Hyunyoung transferred one section to Yoonhye, an even
higher score would have been earned. Additionally, the choreography remains
alluring. Despite a debatably average song, the members are able to fabulously
translate “Whoo” into beautiful movements. Key points remain, unlike the
sections themselves, diverse; there are minimal if at all any repeats of key
points. At most, the post-choruses are recycled for the purpose of a signature
key point, but even then, all of the dance moves are appealing and unique.
Adding on, the syncing remains sharp. From moving to quick and minor beats to slowly
shifting with vocal beltings, the choreography accurately reflects the song’s
musical sounds. Lastly, for a section that flourishes, Woori’s rap does just
that. Unlike every other section being rather linear, the rap is dynamic: the
pacing changes throughout the rap; the rapping vocals switch from a standard
sound to an edited sound; emphasis exists all over. Overall, the mechanics and
structure involved in the rap are impressive.

in all, accounting for the choreography and line distribution, a six for the
Song Score and a seven for its Overall Score do seem reasonable. Those two
aspects to “Whoo” are definitely stunning and do provide the song its
strengths. But even then, I still contest that, in terms of the audio itself, “Whoo”
should hold at a five. If the line distribution was not sponging the weaker categories,
a five would most likely be the case. In the end, “Whoo” is not a “bad” song per
se, but it would be a stretch to claim it is a “good” song. Nevertheless, no
matter what this review claims, the ladies of Rainbow deserve full support, and
I will confidently say that I look forward to reviewing their next song in the


always, thank you for reading this review. In this review I did attempt a new
strategy: I did not attempt to review this song second-by-second. For example,
I did not dive into the lyrics or even the instrumental. Instead, I opted to
focus on aspects that would bring the most prominent, interesting discussion.
Feedback is always desired on whether this is a more effective route or not.

the next review, Stellar’s “Sting” is in the middle of review. To confess, I am
excited for it not purely because of the song itself (though I do have, to
leak, a rather controversial musical view to “Sting”; I do not reside with many
that are praising the song quality), but rather because of the chance to apply
sociology into it. Slut-shaming will be slightly discussed, and for what will
be the main topic, I will discuss “double standards” and the topic of “deciding
appropriateness” (since I lack a more proper label). Other reviews will follow
suit, and each also have interesting social topics to discuss, and of course,
interesting perspectives to the songs themselves.

forward to “Sting” as the upcoming review. “Maybe my heart has gone crazy; it’s
only looking for you” and for February to end with, hopefully, two more

YouTube Channel Update: Process of Re-uploading

Posted on February 19, 2016

Needless to say, this news is in fact incredibly upsetting. Especially with already partially stressing out over university, and furthermore, now probably losing time to write the long awaited review on Stellar’s “Sting,” I do have terrible news for readers/viewers: my first YouTube channel got terminated over copyright issues. Specifically, the Maxim modeling video of Fiestar’s Jei, Linzy, and Yezi was the “third strike” that caused the termination. That said, I do not wish for anyone to interpret this as a protest against copyright, or that Maxim should be antagonized. I am indeed in full support of copyright terms that YouTube abides to: it is what helps bring in revenue. With subtitling Fiestar videos for example, I am very open to my videos being monetized by their label company as every cent does matter for the group, and thankfully, LOEN Entertainment does in fact do that. Nevertheless, with Maxim being a different company, the same leniency did not exist–though questions as to why it took the company multiple months.

For what this means, to readers of the blog, this may mean a delay in reviews as I attempt to re-upload the various videos I have had on my first channel. And yes, I thankfully do have all of my subtitled videos saved. In terms of viewers, I will link my second (now my main) channel: AtrocityCL Subs. After the various copyright issues I have had with the first channel (it did, after all, have two strikes prior to Maxim’s), I am now much more cautious regarding videos that will be uploaded and hopefully will not repeat the same mistakes. Overall, though, to confess, this is overall extremely disheartening to me. I have devoted–and will devote–much time into subtitling videos, be it of Fiestar or other groups, and losing the channel is, for a lack of a better phrase, a hit in the face. It does feel that hard work has gone to waste.

Optimistically, however, I do have the ability to re-upload multiple videos (ones with no copyright issues), and thus, it is not an entire lost of work. Additionally, I can finally have all of my videos in one location versus being scattered around. And lastly, I will now take a more formal channel title with “AtrocityCL Subs”–though this is quite a bluff as I am far from fluent in Korean. But, given that “AtrocityCL Two” would no longer make sense and that “AtrocityCL” is essentially still in use, this provides the perfect solution.

In the end, stay tuned for reviews though understand there may be delays, and for viewers of my YouTube channel, I will still continue subtitling videos. As frustrated and saddened as I may be right now, this will indeed be a minor setback to reflect over in the future.

Super Junior – “Magic” Review

Junior – Magic (Music Video)

Super Junior – Magic

on February 14, 2016


Personal Message:
Admittedly, I entirely forgot that
Valentine’s Day was on February 14. If not for a few friends mentioning a
get-together for “anti-Valentine’s Day,” this review would have missed the
date—assuming that this review does indeed get posted in time. Unlike last
year’s Valentine’s Day review where I wrote it three days before the holiday
(Juniel’s “I Think I’m In Love”; and yes, it still holds as one of my favorite
music videos and that I
dreamily hope for an equally loving relationship one day as in the video
as of this sentence, I am writing on the exact day of Valentine’s Day. For an
excuse, however, that review was when I was not drowning with schoolwork. (Even
after this review is done, I still have much work to attend to.) But, regardless
of circumstances, I do believe that I can finish this review on time given that
there is no choreography to grade and that, supposedly, no social digression will
occur. In fact, I also hope to push out another shorter review for this week.

Now for some personal conceited news
to share with readers, I did get declined for a campus job I very much desired.
Though I am disappointed at myself, I am glad that the accepted people are
definitely deserving of the job, and that I still gleaned the valuable
experience of filling out a job application. And, for at least one positive
point, in March I will be helping host an English literature conference and am
very excited for that (especially given that I am also majoring in English and
that I am planning to teach English in high school). Also, for another positive
point, an amazing friend who made this blog’s icon will soon be making me icons
for my YouTube English subtitling channels. Huge thanks and shoutout to her.

Ignoring my point of how positivity
should always be found, a lesson learned from Dal Shabet’s beloved leader
Serri, for this Valentine’s Day I have decided to review Super Junior’s
“Magic.” Given that the song is flirtatious and that I have always desired to
review the veteran and popular gentlemen, “Magic” becomes a perfect candidate. After
all, if it is interpreted that the lyrics are not just of physical attraction
and that with the music video the characters are not “fighting over women” or
stalking, and that respectful behavior is showcased and reinforced toward the
female character, “Magic” can be rendered quite romantic. (But, if personal
stances have to be given, while I do challenge the lyrics to some extent, I do
consider the music video as positive. The characters, from my interpretation,
may be huddled together in scenes, but for the plot it is actually about each
individual man’s date. Thus, during moments of seemingly “fighting over
women”—a topic I have touched upon in various reviews—it is arguably solely for
technical transitions as the music video simply reuses the female character,
akin to ZE:A’s “Marry Me” for example. However, if one is to
be critical with the lyrics or video, many discussion topics can always occur,
as is always the case with any pop culture medium.)

On a more lighthearted tone (readers
should skip to the review by now), for what will perhaps make readers laugh, I
will now openly contradict myself: I will focus solely on Super Junior’s
appearances so that I can claim they are absolutely physically gorgeous (and I
am certain they are also very non-physically attractive). Shamelessly shared as
well, I will definitely be taking note of and stealing some of their fashion
and makeup in the music video. Who could ignore their beauty? (And though this
is becoming robotic to repeat, for those finding my “fanboying” as a
heterosexual male absurd, awkward, or even “wrong,” refer to an older review: Teen Top’s “Ah Ah.”) Now of course, I should not be
complimenting the beautiful men of Super Junior as I do actually have a
Valentine’s Day date: it is with SPICA’s Boa (and SPICA has confirmed a
comeback in March). And no, I am absolutely not delusional in any form. Little
is it known that I am Boa’s husband. It just happens that she has yet to
propose to me, but that will happen soon enough. And no, I am in no way still
overly obsessed with her as hinted at in prior reviews. Boa’s deep, charming
and soothing voice in “Russian Roulette” is to blame along with her amazing leadership,
hard work, humor, intelligence, skills, and so on. MAMAMOO’s Moonbyul’s “be
normal” should very much apply right now.

Drama references aside (and if a few
readers are confused, all is fine; when it comes to my friends’ ubiquitous
American pop culture references, I am equally lost for example), on a more
serious tone, although I am blatantly madly infatuated with Boa and admittedly
do hope that I one day fall in love with a special woman and that she proposes
to me (be it for dating or marriage), to clarify, in truth I am just as content
if I were to live more independently in the future. I do not wish for readers
to interpret my “idol crush” as a message that relationships are unequivocally
necessary for a content life. At the very core of an intimate relationship,
love should be the main criteria; even if finances and so forth are equally
important factors, love itself should be the driving force. Thus, if that does
not occur in the future and I personally find myself independent, I would still
be quite happy as I truly do not believe in rushing love or that an intimate
relationship is “necessary.” Besides, Girls’ Generation’s Sunny once said she
hopes to live independently and to never get married. Personally relating and
to share very personal goals (though I believe in full honesty, the following
words are uneasy to share as I do hold these privately), I likewise would
follow Sunny’s goal if love does not come along.

Living with an adopted female German
Shepherd or Rottweiler and having a teaching position would already satisfy me
by a significant amount. Coupling that with investing time in my interests of
fashion, makeup, music, exercise, and spending time with friends and family,
all would provide me the satisfaction I need. Also, if financially and
emotionally capable, I would strongly desire to adopt a daughter and be very
glad to be a parent, even if that means being a “single dad.” But, point being,
not having a partner would not lower my happiness.

Now for why I am hesitant to share
all of this, excluding how these are very personal desires, for one, the
certain dog breeds may already be quite surprising to some (either due to the
breeds’ reputations or that the breeds do not fit my image)—let alone how I
seemingly have gender biases that extend even to non-human species. In brief
reply, I very much adore dogs and have had a lot of positive experiences around
them. As for preferring larger breeds and them being female, biased experiences
with a friend’s female German Shepherd may be the reason. I enjoy larger dogs with
athletic abilities, high loyalty and intelligence, the ability to work and
train them for various tasks, and so on. Regarding the sex, while it overall
does not dictate many differences in dogs (assuming it is “fixed”), familiarity
is preferable when it comes to working with such capable dogs, and thus,
females are more desirable personally. Both the mentioned breeds would fulfill
the requirements, and admittedly have always been personal favorites. (On a
side note, I do not believe in “guard dogs.” The two breeds listed are
oftentimes desired for that arguably toxic role, but as I learned from my
friend, to roughly quote her, “You protect your German Shepherd; you’re her
guard, not the other way around.”)

When it comes to adopting a
daughter, to confess the gender preference is perhaps due to personal biases.
With spending more time around females than males, unfortunately a disparity
results in terms of feeling more comfortable and so forth with females versus
males. In fact, to the astonishment of a male friend, to repeat an old answer:
I would be more exceptionally more comfortable to discuss with my daughter her
physical changes during puberty than with discussing that same topic but with
my son. But brushing aside that point since his mom can handle that talk, more
surprisingly however, many are shocked when I share that I am open to adopting.
Personally, once settled and capable, I do wish to raise a child, regardless if
a single parent or not, and if the child is biologically my own or not. As Girl’s
Day’s Sojin once discussed (she also wants to adopt one day), adopting is a
chance to give love to children who otherwise may not receive love. Synthesizing
the factors of how I desire to raise a child in the future, and assuming I am
fully responsible for such a task, then adopting is fulfilling those wishes
while also giving love that may perhaps not come around to her.

Of course, though, in the end gender
truly does not matter to me when it comes to loving my children and others, and
that I am working towards removing any biases I have. No matter even their
sexual orientation and so on, loving and teaching are what I wish to give to my
children. Pet dogs follow suit with receiving love and discipline regardless of
gender. Seriousness aside, and I am confused on how this review suddenly
transitioned to these topics, though readers now know that I desire to adopt a daughter
and that I adore dogs, for an overall takeaway: be optimistic, joyful, and love
others and yourself. Even if the love is far from romantic, affection—not a
relationship—is what is necessary in life. That said, for those who celebrate
Valentine’s Day or not and who have a partner or not, I nevertheless hope the
day is splendid and that much love is given whenever possible.

Finally focusing on the review
itself, for technical sides to the song to address, as stated earlier, there
will be no choreography to grade. Peculiarly, however, there still is in fact
dancing: it just happens to be shown purely in isolated chunks in the music
video. Super Junior has never performed this song or released a dance practice.
From my knowledge, this is because “Devil” was the main title track over
“Magic,” hence why there have been no performances of the latter song (though readers
should correct me). Therefore, it will be impossible to grade the choreography
even though one does exist. Another clarification will be regarding the members
involved. Once again, if accurate, there are eleven members in total, but for
this song, only nine members were involved. Why this is the case I am
uncertain, so readers should feel free to share the reasons and even the
general dynamic of how Super Junior promotes songs.

Nonetheless, even with confusion on
the magical workings of Super Junior, the gentlemen deliver a perfect
Valentine’s Day song—or so it seems. Arguably the theme is in place for the
song, but in terms of quality, the same may or may not be said. The review will
determine if there truly are any tricks up Super Junior’s sleeve.


Song Score: 6/10
(6.4/10 raw score) – “Slightly above average”

Vocals: 7/10

Sections: 6/10
(6.33/10 raw score)

Introduction, Verse,
Pre-Chorus, Chorus, Rap, Pre-Chorus, Chorus, Rap, Chorus, Conclusion

1.     Introduction:

2.     Verse: 6/10

3.     Pre-Chorus: 6/10

4.     Chorus: 6/10

5.     Rap: 6/10

6.     Conclusion: 7/10

Line Distribution: 6/10

Chorus 1, Pre-Chorus 2, Chorus 2, Chorus 3 (Total: 4)

Verse 1, Rap 1, Chorus 2, Conclusion (Total: 4)

Pre-Chorus 1, Chorus 2 (Total: 2)

Pre-Chorus 1, Chorus 1, Chorus 2, Chorus 3, Conclusion (Total: 5)

Pre-Chorus 1, Chorus 1, Rap 2, Chorus 3, Conclusion (Total: 5)

Donghae:  Introduction, Verse 1, Chorus 1, Pre-Chorus
2, Chorus 3 (Total: 5)

Chorus 1, Chorus 2, Chorus 3 (Total: 3)

Chorus 1, Pre-Chorus 2, Chorus 3 (Total: 3)

Verse 1, Chorus 1, Chorus 2, Conclusion (Total: 4)

Equal Value: 3.89 sections per member.  

Instrumental: 6/10

Lyrics: 7/10

That magic girl

You’re so amazing
You’re like a clear flower baby
My heart flies over and follows you
I don’t even want to blink my eyes
I try to hold my breath
Baby, she’s alright

The sexy girl I’ve seen on TV when I was young
Next to her is a magician
I stared but I still couldn’t believe it
So shocked but it kept going
After I became an adult,
I knew it was all just a trick on the eyes
But then you appeared

She’s so hot
She’s on fire
You definitely have tricks up your sleeve
She’s so cool
I try so hard to find it but I can’t
I’m flying to you, two of us
I’m falling into you again, two of us
She’s so hot
She’s on fire
This ecstatic magic, magic, magic

Let’s go
She’s so mysterious
I’m delirious
It’s different from the circus, a Mobius
I can’t figure it out
It’s like looking at fireworks
All the things I’ve imagined keep going on
This girl is magic, and I’m I’m so ecstatic
What do I do?
Then you come closer

She’s all that
A “rabbit in a hat”
I’m curious what’s inside?
Out of the three cards that are hidden,
which one should I pick?
I can’t stop thinking

She’s so hot
She’s on fire
You definitely have tricks up your sleeve
She’s so cool
I try so hard to find it but I can’t
I’m flying to you, two of us
I’m falling into you again, two of us
She’s so hot
She’s on fire
This ecstatic magic, magic, magic

Magic tricks
I’m getting excited
Girl, you’re all the audience I need
You lead me, you trap me inside your name
Slow mo, now try to escape
Try to escape me tonight
It won’t be easy
All around the world
I’m addicted to you magic, magic girl

She’s so hot
She’s on fire
Try to find my tricks up somewhere in this heart
She’s so cool
Only you can make this stage shine more
The moment you come into my arms
The moment I get shocked and fall into it
She’s so hot
She’s on fire
You and I, magic, magic, magic girl

She’s so hot
Sexy girl I’m your magician
Everyone looks but can’t believe it
So hot, so hot, everyone shouts
She’s so cool (girl)
Hey it has just begun
The show is magic, and it’s so amazing

Choreography Score: X/10 (x/10 raw score)

– Syncing: X/10

– Key Points: X/10

Overall Score: 6/10
(6/10 raw score)


Analysis: Unfortunately,
“Magic” nearly misses achieving a seven for its Song Score. Nevertheless, the
song is rather balanced in both its sound and numerical scores, and overall it
can be deemed decent. For what holds as the song’s most prominent and
beneficial feature, although many would entirely dismiss this category, the
Line Distribution has much influence on the song.

is the Line Distribution relevant besides being an abstract aspect; the Line Distribution
is simply how lines are divided among members and thus, when discussing the
sound of a song, this should be meaningless. Though that is true to some degree
in a vast majority of songs, in “Magic” this is not the case. First, however,
it is notable that the Line Distribution is far from a high score. Truthfully,
the score should even be lower: a five. The increase, though, is that though
numerically the sections are far from being evenly divided, the lines are
constantly alternating among members. As a result, members all still receive a
respectable amount of spotlight as there is no long streak of lines (excluding
the raps). In terms of how this impacts the song, however, it is not the rating
itself that matters: it is the alternating that occurs. Every other category is
indirectly yet positively affected through this style of distributing lines.

one, the vocals become extremely diverse. On the surface, there are always multiple
voices heard; as single lines tend to be alternated, this means there are
simply more members involved with singing a section. Using an example, the
choruses are not solely one member singing, but instead, are of around seven or
so members. Therefore, seven unique voices are heard, and that in itself, even
without considering a musical aspect, serves well for bringing vocal diversity.
To now account for a musical perspective, “Magic” showcases multiple vocal
styles: there is slower, calm singing; there is tuneful and soft note holds;
there is powerful, unison singing; there is rapping at certain moments. Adding
on top of all of those styles, the ubiquitous line alternating with members help
provide seamless transitions for when different styles take place.

the sections, a landslide effect is in place. Because of the line distribution
influencing the vocals, the sections in “Magic” are expectedly affected as
well. However, the association is not as strong. From a vocal standpoint, the
sections may benefit, but when it comes to the structure of the sections,
neither the vocals or line share are major factors—if even factors at all. That
said, structurally a few sections suffer from repetition accumulating. For
example, the choruses, while filled with upbeat, powerful, tuneful and diverse singing,
dwindle in quality because of the flow; a stagnant form takes place considering
all three choruses are quite identical and lengthy. Homogeneously, the raps are
also sections that become impaired through failing to be dynamic. With the
raps, the flow and tune, while not distasteful, are nothing distinctive.
Because of such, mundaneness builds up, and with a lengthy duration akin to the
choruses, appeal is lost. Tagging on the instrumental as well, the same issue
translates: staleness, even if the sound itself is admirable. Nevertheless,
overall the sections and even instrumental still do fare well. Specifically with
the sections, the lowest ratings are at a six for “slightly above average.” For
the higher scores, both the introduction and conclusion excel, reasons being
that both the sonic and structural components are enticing.

for the lyrics, with many sections holding as unique and not mere replicas of
prior ones and accounting for the various details, a higher score is earned.
Most alluringly, the analogy regarding the love-interest lady being a magician
and the main character being trapped in a (love) spell serves the Lyrics
category incredibly well. Although this idea is not inherently an outstanding,
extraordinary plot, the details surrounding this main theme all remain thorough
and intriguing.

Super Junior’s “Magic” does only reach a six, but to be specific, it is only .1
of a rating score away from being rounded up to a seven. Despite what numbers
claim, however, “Magic” is an enjoyable song, and it is one that is flexible:
it serves well for a summer or Valentine’s Day song. Reiterating an earlier
point, the line distribution—regardless of what the rating for it is—is what
gives “Magic” its magic; through this single category, every other aspect is
positively benefitted in some manner. At worst, repetitiveness is the downfall
for the song, but even then, it is a minor one.


have twelve minutes to post this before I would consider it “late.”
Miraculously, I have indeed finished this on time, and I hope on Tuesday I also
finish another review and to soon enough begin reviewing Stellar’s “Sting.” At
this rate, though, I am planning to dive directly into “Sting,” and will probably
do that. Thus, for the upcoming review, readers can expect Stellar to be of attention.

always, thank you for reading or skimming this review in full, and as said
earlier, I hope many had a wonderful Valentine’s Day or at least a wonderful
regular day. Look forward to Stellar’s “Sting,” and with that, a return to this
blog’s distinctive point: having lengthy discussions regarding social topics.
Predictably, much is to be said for “Sting” and slut-shaming, though I will say
that many are finally, and rightfully, giving Stellar the respect they deserve—socially
and musically. Stay tuned for the review. I will work hard to release it soon.
After all, “you’re so amazing; you’re like a clear flower, baby.”

4Minute – “Hate” Review

4Minute – Hate (Music Video)

4Minute – Hate (Live Performance)

4Minute – Hate

on February 7, 2015

Personal Message:
Though it is already a week into
February as of this review (and sentence), I have many reviews prepared and
plan to release all of them within the short month. For what is specifically
planned for this month and even March, I do wish to focus on artists that have
yet to be reviewed at all on the blog. Now, this may seem hypocritical
considering I am reviewing 4Minute, of whom have been reviewed generously:
their songs of “Whatcha Doin’ Today” though we do not discuss the “Dark Days” of reviews and “Crazy,” and an album review. Nevertheless, excluding this current review, I
desire to bring in new voices, even if it means skipping over popular comebacks
and instead focusing on the unpopular ones. To be specific, Stellar’s “Sting,”
G-Friend’s “Rough,” and Yezi’s (from Fiestar) “Cider” are a few examples, and
after those three songs, I have four male artists prepared. All seven artists
will be new to the blog and thus, I am excited for the upcoming content on the
blog. Furthermore, assuming I was accurate with scheduling, as long as I
dedicate at least one or half an hour per day to writing reviews, I can
definitely fill February with a total of six reviews (or eight if I am that
ambitious). As such, it seems plausible that the blog will finally be
relatively active, and of course, many important social digressions are still to
come along with the reviews.

On topic with this review, although
no social digression will occur (and again, many are coming; social digressions
allow me to give a more personal voice to the blog, and it provides moments of
critical thinking for readers, regardless if agreeing or disagreeing), it
nonetheless will still be a rather important review: this review will be
providing one additional perspective to “Hate,” a song that is going to dictate
4Minute’s future. This is the reason for why 4Minute is being reviewed even
though they have had more than enough spotlight on the blog.

To further explain the current
stakes the group is in (and readers feel free to correct me), 4Minute’s
contract is soon expiring, and what will determine their decision to renew it
is if the album for “Hate” sells well. Now, whether this is CUBE Entertainment (their
label company) or 4Minute enforcing this deal is unclear, but regardless,
emphasis is towards how well the album is perceived. What is unsettling about
this deal, though, is that the title track is indeed a risky take: 4Minute
collaborated with Skrillex, a dubstep artist, in producing a dubstep title
track. Thus, while this does allow “Hate” to be unique, it may perhaps be too
differing from their prior music styles, and as a result, “Hate” becomes disliked.
And, logically following from there, if “Hate” is in fact disliked by a
majority, then album sales will most likely falter, and that will ultimately
lead to 4Minute disbanding as they will not renew their contracts.

In reply, however: I am extremely
confident that 4Minute will be fine. First, their general popularity is high
enough that, even if “Hate” is a weaker song, many fans will still support them—and
“many fans” is quite enough for sells to flourish. Especially after “Crazy,”
4Minute definitely are recognized by many. Secondly, though Skrillex
contributed, “Hate” in truth does not seem to be dubstep at all; “Hate” lies,
at most, on the border of dubstep, but it moreover resembles EDM or at least
the genre that “Crazy” was, though more electronic based. Therefore, the fear
of “Hate” being too different from 4Minute’s prior music styles is not entirely
true. As pointed to, “Crazy” in some aspects resembles “Hate.” (Though
admittedly, I am not too familiar with dubstep and thus might not be able to
identify it. At most, I am familiar with Skrillex’s “Rock and Roll Will Take
You To The Mountains” and have knowledge in that regard. Dubstep is worth
respecting, though, as is every single music genre.) Thirdly, it is album sales
that CUBE Entertainment and 4Minute are looking at; individual music sells are
not the main concern (if they truly are focused on album sales). Even if “Hate”
does in fact render poorly with a majority of people, the album could contain
songs that otherwise make it worthy of purchasing, and thus, “Hate” faring
poorly is negligible.

But, despite the optimism I am
bringing, it is true that title tracks can definitely influence how a person
perceives an album. For example, as the review for Sistar’s “Shake It” mini-album
discusses (if I recall correctly), “Shake It” rating poorly did deter me from
listening to the album in whole. It took the motivation of a review to finally
hear the entire album, and thus, the same issue may exist for 4Minute’s “Hate.”
Focusing on the song specifically, many have been repulsed by the chorus, and
to leak, I agree: the choruses are horrendous. However, even if a crippling
chorus is possessed, other aspects still exist, of which can absolutely
compensate for a weaker section. With this in mind, even if many hate the
choruses, it would be hard to equally hate everything leading up to the
choruses. After all, I would hate to use “hate” to describe “Hate”—and readers
would also hate me for awful puns.


Song Score: 5/10
(5/10 raw score) – “Average”

Vocals: 6/10

Sections: 4/10
(4.17/10 raw score)

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

1.     Introduction:

2.     Verse: 6/10

3.     Pre-Chorus: 3/10

4.     Chorus: 2/10

5.     Bridge: 5/10

6.     Conclusion (Chorus): 3/10

Line Distribution: 5/10

Verse 1, Verse 2 (Total: 2)

Introduction, Pre-Chorus 2 (Total: 2)

Verse 1, Chorus 1, Bridge, Pre-Chorus 3, Conclusion (Total: 5)

Chorus 1, Verse 2, Chorus 2, Conclusion (Total: 4)

Pre-Chorus 1, Chorus 2 (Total: 2)

Equal Value: 3 sections per member.  

Instrumental: 5/10

Lyrics: 5/10

Your eyes are telling me
Liar liar liar, don’t lie to me
I don’t wanna know anymore
I don’t wanna know know know
Not anymore, no no no, it’s over

Go, go, this is it for us
Get out get out turn around and go
Our love had only hatred left
I see the end of our seemingly endless love
Don’t drag for absurd excuses
It’s late, it’s over

Go go go, rather than being like this
Done done done, rather than fighting against each other
Go go go, I just can’t take it any more
Leave me alone, leave me alone

I hate you, hey no no
I don’t need you, hey no no
I hate you
Hate, hate, I hate you, hate
Hate, hate, I hate you, hate
I don’t need you
Hate, hate, I hate you, hate
Hate, hate, I hate you, hate

I write answers to the questions
which haven’t got answers
I now get to have doubt instead of crush
Rather than being like this,
we’d better break up
If I get lonely with you,
I get lonely alone

I don’t wanna know
all the same excuses everyday
I don’t wanna do
all the same arguments everyday
It’s meaningless
I am tired

We do not have an answer
I hate you, hate you
I hate you now

I hate you, hey no no
I don’t need you, hey no no
I hate you
Hate, hate, I hate you, hate
Hate, hate, I hate you, hate
I don’t need you
Hate, hate, I hate you, hate
Hate, hate, I hate you, hate

Go, go, get out, get out
Go, go, get out, get out

We fell in love like crazy
I was dragged by you like a fool
You did too much,
you crossed the line

I hate you, hey no no
I don’t need you, hey no no
I hate you
Hate, hate, I hate you, hate
Hate, hate, I hate you, hate
I don’t need you
Hate, hate, I hate you, hate
Hate, hate, I hate you, hate

Choreography Score: 6/10 (6/10 raw score)

– Syncing: 6/10

– Key Points: 6/10

Overall Score: 6/10
(5.5/10 raw score)


Analysis: To
dive directly into the most prominent criticism towards the song, many resent
the choruses. Unfortunately, I do strongly agree and also consider the choruses
to be of poor quality. The beat-bass mixing come off with power, but that is
all. Factoring the occasional plain vocal lines, the lengthy duration, and the
lack of any other instrumental sound other than the beats, the choruses become
a chaotic, rough and monotonous mess. It is simply too stale and too long. If
there were more moments of deviating away from a linear form of beats, or if
the choruses were significantly shorter, then perhaps the choruses would have a
higher rating. But, neither of those are the case. At most, the choruses
provide “Hate” its signature sound and power. However, at the expense of
alluring tunes, sounds, and structure, it is definitely a mediocre section.

another culprit to “Hate” ‘s average rating, the pre-chorus and conclusion rate
poorly. The pre-choruses follow an extremely standard route of accelerating beats
to build up hype. Now agreeably, that is not inherently a flawed structure;
this method is nothing to instantly worth shaming just because it is indeed a
rather popular form (and arguably an effective form). Nevertheless, with
lacking uniqueness and utilizing sounds and beats that are plain, and on top of
all of that, to use an obnoxious vocal transition, the pre-choruses are worth penalizing.
As for the conclusion, with it being a recycled chorus, the same issues
translate over, though it is a point higher as at least “Hate” ends on its
signature sound. Finally, with the lyrics being overly repetitive and lacking
depth, and the line distribution failing to be more evenly divided when doing
so should be easier as the choruses are not vocally intensive, “Hate” does
indeed seem deserving of an average rating.

other aspects, however, “Hate” is not in utter ruins solely because of the
choruses, pre-choruses, and so forth. Different aspects still thrive, though
admittedly the degree of thriving is partially limited. For example, the vocals
are respectable, especially during the verses. During those sections, 4Minute’s
tuneful, smooth singing is showcased, and furthermore, Gayoon’s introduction is
another great example. Adding on, during the pre-choruses, vocal power is also
unveiled, even if that contributes to the pre-choruses being obnoxious, as discussed
earlier. Nevertheless, as vocals are restricted to more passive moments and
sections, gaining any higher score is indeed difficult. Positively, though,
even if singing is limited to the smoother, slower lines, all of the singing
showcased is admirable.

for another strong point, contrary to its rating the instrumental itself is
nothing atrocious. Ignoring the choruses, the slower and deep bass line that
runs is exceptionally soothing, and complementing that with 4Minute’s vocals,
the instrumental is in fact seducing. What cripples the instrumental score,
sadly, is that the choruses are technically still the instrumental. Thus, it
drops from a seven to a five since, as addressed above, the choruses are
horrendous. Regarding another positive point to “Hate,” the choreography is decent.
Despite how it appears intimidating to find key points that would reflect the
choruses, 4Minute miraculously manages to. While the key points are still nothing
phenomenal, nonetheless, the key points remain appealing and varying.
Discussing the syncing as well, the same is said: the syncing may not be sharp
and precise to the milliseconds, but it definitely still links to the song and
that is certainly admirable considering the spontaneous, erratic beats that
occur during the choruses.

it is true that many issues in “Hate” can be linked back to the rambunctious
choruses. However, even so, it would be shortsighted to entirely dismiss this
song on the basis of those sections. The verses and introduction, for examples,
are decent. Furthermore, the vocals offered by the members are not repulsive,
and similarly, the instrumental as well if ignoring the choruses. And, of
course, for the visual component to the song, the dance remains appealing and
upbeat. But, no matter how much optimism is implemented, “Hate” is by far
4Minute’s weakest song yet. Unless if other songs in 4Minute’s album help mask
over “Hate,” the title track will potentially repel quite a number of
listeners, and that is something to concern over given the circumstances
4Minute are in. In the end, “Hate” is not entirely worth disliking, but it is
certainly far from 4Minute’s standard quality of songs, and it is doubtful that
this song will reap the ladies the popularity that “Crazy” did. “Hate” is,
overall, a song to enjoy solely for its buildup to the choruses—or because one
is a fan of 4Minute. Personally, though this song will not be having anymore
replays (I have analyzed the song enough), I will still in fact support the
ladies. If 4Minute is to have a chance to improve from “Hate,” it is crucial
that fans continue supporting them, regardless if “Hate” is hated.


those who read or skimmed this review, as I always say, thank you so much. I
appreciate any given time towards the blog and reviews. On a random note, this
review only took two hours, and that is actually quite surprising. If I had a
digression, I would anticipate three hours, but even then, it is much shorter
than my usual average of five to six (and even seven in some cases) hours per
review. Also, this style of reviewing is definitely more liberating than the
prior ones that were incredibly systematic and, to confess, boring at times.
Improvement is still necessary of course, but this review does provide some
encouragement to continue this format.

here on, reviews will focus on male and female artists that have yet to be
reviewed at all on the blog (and this will continue until March). This is to
provide variety in content and to hopefully give spotlight to groups that
oftentimes receive minimal attention—be it personally or generally with
popularity. That said, Stellar will most likely begin this trend. If I become
busy, however, I have other reviews in mind that, though digressions will be
included, they will be far more concise than the lengthy one that Stellar will
have (and many should suspect why this is the case; Stellar’s history of being
slut-shamed is something I will address). Look forward to upcoming reviews. This
month, I will not “drag for absurd excuses” regarding the lack of reviews as
there is no reason not to release six to eight of them in this month.