B1A4 – “What’s Happening” Review

B1A4 – What’s Happening (Audio)

B1A4 – What’s Happening (Dance Practice)

B1A4 – What’s Happening?/What’s Going On?

Reviewed on October 10, 2015

Personal Message: Sharing a rather random fact, I never knew I would greatly yearn to write reviews; though I certainly love writing for this blog, I have never felt this strongly to want to write reviews as, I now simply have little time to do so. In fact, horribly decided, as of this sentence, I am neglecting sleep for the sake of a few paragraphs. But, it is all worth it, and if I chose to set aside this review for another day, I doubt sleep would come easily since I have pitiful priorities and no life. Jokes aside, reviews of GOT7 and F.T. Island will be coming eventually, but as observed, both have been greatly delayed. Furthermore, even after this review, a recent, momentous solo debut will be reviewed instead of the two, as to be explained later.

On the subject of updates, reiterating the prior review on Ailee’s “Insane,” reviews are now vastly shorter than usual, but for the most part, core messages are retained. Thus, reviews are merely compacted; rather than overly explaining songs, I am now more concise. Of course, however, this is a work-in-progress and will be continually optimized. For technical updates, since it has been many months since statistics were listed, I have checked: as of September 26, the blog has totaled 12,766 views. Considering the month of May had, if correct, roughly 6,000 total views, a large increase is seen. But, as ubiquitously stated, the blog’s popularity is of minor concern. Though I absolutely appreciate every single reader, quality is the priority, not quantity. For final news, after this month’s reviews are finished, I plan to shift to a different word processor, though admittedly this is entirely irrelevant to readers. At most, when the change occurs, slight format modifications may be seen, but overall, nothing should change (consider this unnecessary sharing).

Now, before focusing on the men of B1A4, to address my next review, I do plan to review Girls’ Generation’s leader’s solo debut: “I,” a song worth much discussion–socially and musically. To Taeyeon, the song is most likely very significant for her life, and that may be lyrically but also that of obtaining a milestone. A debut song after years of hard work is certainly something to admire, and in many ways, I respect Taeyeon very much for her behavior, work ethics, and role modeling (and in the future, I may discuss the idea, and importance, of role models and moreover the idea itself, whether in teachers, idols, professors, and so forth). There are also topics of “race depiction in media” and the importance of “I,” or more accurately for readers, “You,” to be discussed. Regardless of the digression to be embarked on, I hope it is meaningful, and with the latter idea of “I” (“You”), that will be the digression for this review.

Before entirely diving into that, for this review, it is on a 5-membered group: B1A4. Their song of “Solo Day” garnered decent popularity, if accurate, and additionally, viewers of “A Song For You” may recognize Gongchan, a member of B1A4, as one of the three hosts for the show. Also, for more background, the men have had a recent comeback. Though the comeback song will not be reviewed, an older song will be: “What’s Happening.” Even if older, it is still a noticeable song and one that will, hopefully, provide a critical and fun analysis. With all this stated, a digression will now take place (readers interested in solely the review, skip ahead): the topic of “I,” or again as clarified, “You.” Though, conceitedly, it will be partially of “I” for a bit.

As brought up in the prior review, while reviews are shortened, the Personal Message will, peculiarly, remain untouched. Confessing, this does, indeed, sound rather arrogant: I am willing to reduce writing for a song, but when it comes to a category that is, based on the title, about me (as seen in “Personal”), I refuse to reduce any length. Arrogance at finest, it seems. In reply, however, that is far from it, and in fact, that assumption is the utter opposite: I plan to maintain the Personal Message as it is, in truth, the most important part of reviews–and most definitely not because of discussing about myself. The “Personal” in the category’s title derives not necessarily from sharing personal facts (though I wish to do so if relevant), but instead, it is there as these words are my own opinions. It would be erroneous to merely label this category as “Background Message” or whatever else as, that would not remind readers that what is said here is, in the end, my views on certain, sensitive topics.

That clarified, to now explain why much emphasis is placed here versus the musical component of, ironically stated, music reviews, that is because, harshly stated, my musical reviews do not necessarily matter. I acknowledge such. For example, I do not even recall what I rated Girls’ Generation’s “You Think,” minus a few categories. Even if it was nearly a month ago, I cannot recall any ratings, and more importantly, I do not quite care of the ratings. What I rated “You Think” is meaningless, minus the recent time period where it was reviewed and where people did read it for to ruminate over music quality. Now, for what does still remain, however, is what I digressed on per song. Drawing an abstract example, in whichever month I reviewed CLC’s “Pepe,” while I expect the song to have been rated poorly, I still recall the digression that took place: shaving–specifically in a gender lens. Nonetheless, as showcased, the song review is unimportant in the long-run, but for what remains prevalent, the “Personal Message” category does. In the sense of discussing shaving, of course.

With that unveiled, that should speak for why the Personal Message category is kept while the review itself is reduced. The musical aspect to the reviews are great and fun, hence why I spend approximately half of my writing time for it (the rest is for the Personal Message). But it is worth bearing in mind that, unless if one is exceptionally engrossed in (Korean) pop music on a technical level, the reviews are not quite relevant in any reader’s life. Until controversial digressions occur, that is. Again, the given digressions are what hold as important, whether my views are agreed to or not. What matters is critically thinking over the given ideas. Despite how the digressions often time are of K-Pop and the social issues that may plague it, the shown inequities are unequivocally not restricted to K-Pop as, with being pop culture, it is reflective of society in general. Furthermore, living in South Korea or not, many ideas still translate over, minus having to shift ideas on, perhaps, who is the “dominant group” and such (refer to reviews that discuss racism for an understanding on the “dominant group” concept).

Overall, for a final point, I would prefer to have a reader finally be able to love and accept themselves for being, for example, homosexual, than for a reader to send an argument for why one of my reviews is atrocious (though I love reading disagreements; do not be discouraged from sending them, I adore reading different stances regarding songs or even social topics). Nevertheless, it is more important for me to show a female reader that, even with being a female, she absolutely has the right to “wear a miniskirt and high heels” (“Miniskirt” reference) and to be sexually attractive despite society threatening her with insults and sexual assault. Likewise, it is imperative for me to show privileged readers, such as myself in the context of gender and sexual orientation (male and heterosexual), that privilege comes with a social responsibility: providing equity for those who lack privilege, and overall, basic kindness. For example, by being a male, it is critical to be aware of the harm that is induced from merely stating, “she shouldn’t wear that much makeup” or, although more extremely, “that was such a gay event” in terms of negativity.  Additionally, rarer discussions, such as the idea of shaving or understanding a feminine male (as I believe in intimacy with readers, such as myself; I would label myself feminine, and nothing is wrong with that as femininity and masculinity are equal), are to be discussed as, often time, these topics are never addressed at all.

It is important for me to address these social topics through varying perspectives. Everyone is affected by the current disparities in place. Understanding, respect, and acceptance of one another are what I hope readers glean out of my Personal Message category. Of course, however, disagreeing is certainly allowed, and in many ways, hoped for as even disagreeing would show that awareness and thinking is in place. Offering a concluding point, while I hope readers enjoy musical discussions regarding K-Pop songs, it is equally important for readers to at least attempt to ponder over very uncomfortable, disturbing topics that many opt to avoid–for obvious reasons. Pop culture is more than songs, flashy choreographies, and exquisite makeup and fashion; pop culture includes the mentioned items but also that of societal messages. Questioning and challenging those social messages are what needs to occur. Some messages may provide respect for all, but at times, some messages may be degrading to someone on the basis of who they are, and that is where personal decision and thinking has to take place.

Returning to, perhaps, a more cheerful tone (if upset or angry, that does indicate genuine care), for “What’s Happening,” while I will aim towards a shorter write, feedback is still desired (and will always be). Directly discussing the song, it has been a song I have listened for some time, but moreover for the purpose of analysis than joy. Hinted at, “What’s Happening” is not necessarily an outstanding song, but in certain aspects, it does hold as appealing. Also, to address the links, a standard protocol is there: the audio is for the purpose of hearing the song in clarity, and the dance practice is for seeing the choreography in full. Finally discovering what is happening in “What’s Happening,” this review will hopefully provide an answer.

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

– Vocals: 6/10 – If direct scores were possible, a “5.5” would take place. But, because of rounding and generosity, a six will be given. On topic, a vast majority of B1A4’s vocals in “What’s Happening” does reside towards being average. The verses, pre-choruses, rap, bridge, and so forth, contain vocals that fail to be melodic or intense. An undynamic, linear route is taken for the vocals throughout nearly the entire song. For examples: the pre-choruses’ vocals are repetitive and lacking in melody, and similarly, the verses follow suit–even with the slight power added at the end. However, optimistically, for what does push the score up to a six are the choruses. The choruses contrasts every other section (excluding the introduction) via possessing highly tuneful, complex, and powerful vocals. Very lively singing occurs.

Overall, however, as solely one section contains desirable vocals, it will limit the Vocals category’s score.

– Sections: 6/10 (5.57/10 raw score)

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

1. Introduction: 6/10

2. Verse: 5/10

3. Pre-Chorus: 4/10

4. Chorus: 7/10

5. Rap: 6/10

6. Bridge: 5/10

7. Conclusion: 6/10

– Analysis: Ratings range all over, but the sections do average, for a score, with a six for slightly above average. Addressing the introduction, the song is properly established with disclosing the overarching style, but also, with retaining a captivating tune. As such, it is delightful, though the musical aspect could be more developed as it is straightforward tunes, hence the six instead of a seven. Nevertheless, it is likable. Focusing on the conclusion, an identical rating holds as it follows a similar route to the introduction: structurally, the conclusion smoothly ends the song, and sonically, it is appealing though not to the greatest extent. Overall, both the introduction and conclusion suffice, and a six is nothing to disregard for ratings.

Switching over to the verses, if it were not for the second verse adopting an entirely different, contradicting form of being sluggish, perhaps a six would be in place. Before criticizing the second verse, though, to focus on the first one, with the gradual pacing and rhythmic, soothing vocals, it is a pleasing section. Now, conversely, when the second verse arrives, the prior version is utterly lost: the vocals no longer are soothing and calm, but instead, hollow–as given by the echoing effect and lack of tune, and in terms of placement, the second verse’s excessively slow rate disrupts “What’s Happening” ‘s flow. On the basis of the first verse, a five still holds, but the second verse is disappointing and fails to complement the song.

Addressing the pre-choruses, it does hold the lowest rating. Structurally, the sections are bereft of individuality; the pre-choruses use a format that is ubiquitously seen in many average, dull pre-choruses. While it may certainly be an effective means of generating hype for the chorus, the change in instrumental to that of echoing and the use of vocal layering to create buildup are, harshly stated, boring methods. These tactics are similar to the idea of utilizing “la la la” for post-choruses, or merely accelerating beats to the highest tempo for other pre-chorus types. It may not be impossible to excellently execute those types of post-choruses or pre-choruses (AOA’s “Like a Cat” brilliantly utilizes the “la la la” post-chorus, for example), but it is very much a difficult task, and unfortunately, “What’s Happening” does fail in that regard. Thus, the pre-choruses lose much credit for using a lifeless, unoriginal format.

Reflecting over the chorus, shifting to a positive tone, this section proves promising: the vocals are to a higher tier, the instrumental properly accommodates the singing, and the format reduces mundanity. Elaborating, with the vocals, though it is in high intensity, the melody remains intact and charming, and the added vocal power does give “What’s Happening” a highlighting point. Regarding the instrumental, despite it being average (as to discuss later), it holds as enticing during the choruses. Reciprocal of the vocals’ intensity, the instrumental follows suit with equally being active, and thus, for an outcome, the choruses are even more appealing.

Discussing the rap, the rapping itself is admirable. A catchy, hasty rate is unveiled, and additionally, with the second half including vocal layering, the rap is able to remain diverse in style. Nonetheless, for what lacks and prevents a seven, the rapping rate could have fluctuated more in order to grant a dynamic flow. Even with the added vocal layering, though the melody becomes enhanced and varied, the flow still holds as unchanged. A relatively minor issue, but it is one that will prevent a seven. To also address the final section, the bridge, the singing vocals and rap remain adequate. Furthermore, the layout of the bridge is also diverse, as seen by the mentioned vocal styles and differing instrumental styles. Unfortunately, like the pre-choruses, a subtle problem exists: unoriginality. The decrease in speed and emphasis towards pacing, and later, acceleration in pacing, are very standard forms of bridges. Thus, as explained for the pre-choruses, a penalty in score will hold. Nevertheless, with the mixture of rapping and singing, a five will be given instead of a four.  

– Line Distribution: 8/10 – Five members in B1A4 should prove beneficial for the Line Distribution category. A higher score is anticipated.

With Jinyoung, his sections include the first verse, one pre-chorus, the bridge, the final chorus, and due to one line, the conclusion. Five is his total count, which is, assuming four is the standard (as it tends to be the equal quantity), slightly excessive. But, until the remaining men are accounted for, the quantity cannot be critiqued.

For CNU, he handles the introduction, the first chorus, the second pre-chorus, and, if including his single word of “you,” the bridge. Four is his count. Assuming four is the desired quantity, CNU is in a perfect position.

Baro’s sections consist of three: the first pre-chorus, the rap, and the bridge. A slight disparity when compared to Jinyoung’s count, but it may be miniscule in the end.

In terms of Sanduel’s lines, they appear at the three choruses and the second verse. Therefore, his total is at four, and that does assist in providing a balance for the distribution.

Lastly, for Gongchan, his sections include both pre-choruses, the second verse, and the three choruses. A surprising count of six is what Gongchan possesses.

Finally offering a score, it will, miraculously, still hold well. If Gongchan lost a section and Baro gained one, a perfect distribution would exist. Nevertheless, only an eight will be given. Even under the circumstance of the most equal distribution possible for “What’s Happening,” two members would still have one extra sections over the others, hence an eight versus a nine. But, that is still a notable rating, of course.

– Instrumental: 5/10 – Critiquing the instrumental to “What’s Happening,” electric guitar sounds and standard electronic-pop sounds are witnessed. The echoing, electronic sounds occur for places other than the choruses, and for the choruses, as expected, the electric guitar sounds take presence. In terms of the instrumental’s strength, it perfectly syncs to the vocals: calmer sections are accommodated with basic sounds or gentle guitar, but for more upbeat moments, such as the choruses, the instrumental becomes exceptionally lively. This grants the song cohesion, and overall, greatly augments the overall sound. But, besides this aspect, the instrumental is average. It lacks complexity (though complexity does not necessarily mean good; refer to Ailee’s “Insane” for an example of a fantastic yet simplistic instrumental), and more significantly, the instrumental is redundant. Because of minimal changes to the instrumental’s format and the lack of it being diverse, it becomes tedious to hear.

As a result, average does hold, even with solid synergy at play between instrumental and vocals.

– Lyrics: 4/10 – Predicting a potential plot for “What’s Happening,” based on the title and the usual theme of love in songs, the song may be about a main character who is confused with their feelings, or to already leak the lyrics, with a lucky guess, it may be about a main character who is confused on why their partner is acting suspiciously. The following Korean-to-English translated lyrics will shed light on exactly what is happening.

Everyday, yeah yeah yeah yeah
Everyday, yeah yeah yeah yeah

Hey, be honest with me, where are you?
Where are you? (I’m home, of course)
Where are you right now?
Why you do keep changing what you say? What are you saying?
You’re acting strange, you’re acting really strange
Don’t you know that your voice is especially shaky today?

Whenever you open your mouth, you lie everyday
Whenever you open your eyes, you lie everyday
Whenever you get a chance, you lie everyday
Now I know
I knew that would happen

What’s going on, on such a good day like this
What’s going on, on such a good day like this
You, baby I want you, beautiful
Wha’s up wha’s up, tell me tell me, wha’s up?
What’s going on, on such a good day like this
What’s going on, on such a good day like this
You, baby I want you, beautiful
Wha’s up wha’s up, tell me tell me, wha’s up?

Hey, be honest with me, who was that?
Who was it that you could link arms so naturally?
No matter how good I am to you, it’s all for nothing
Who’s fault is this?
Was giving you everything a sin? This isn’t right
I thought this might happen but
I really didn’t know it would actually happen
I should just eat, but what should I eat?

My heart is hurting, and rain is falling
I’m like that but you are probably smiling, oh no

Whenever you open your mouth, you lie everyday
Whenever you open your eyes, you lie everyday
Whenever you get a chance, you lie everyday
Now I know
I knew this would happen

What’s going on, on such a good day like this
What’s going on, on such a good day like this
You, baby I want you, beautiful
Wha’s up wha’s up, tell me tell me, wha’s up?

Before you go, before you turn around
Come back to me baby girl
(Alright) It’s alright even if you’re not always bright
(Alright) It’s alright even if you don’t look for me
(Alright) I’m happy just by looking at you
Falling in love
Falling in love
You

What’s going on, on such a good day like this
What’s going on, on such a good day like this
Yeah, yeah, yeah, yeah
Wha’s up wha’s up, tell me tell me, wha’s up?
What’s going on, on such a good day like this
What’s going on, on such a good day like this
Yeah, yeah, yeah, yeah
Wha’s up wha’s up, tell me tell me, wha’s up?

Every time I think about you
Every day, I think about you
Every time I think about you again today
Every time I think about you
Every day, I think about you
Every time I think about you again today
Hey, you better be good to me, okay?

Foreshadowed, the plot involves a main character who is wondering why their partner is “acting really strange.” It appears that she, the partner, “lies everyday,” and thus, it leads the main character wondering, “What’s going on, on such a good day like this.” Other details are included, but for the overarching image, this idea of a suspicious partner is utilized. To now explain the rating, a lower one is in place. Justifying it, first of all, the plot itself is not necessarily unique. Though it is tragic with an untrustworthy relationship, it falls within the category of romance–though a failing one, more accurately. Adding on, for the actual lyrics, many lines are repeated or lacking. Minimal details are granted as solely the rap and first verse contain varying information. Anticipatedly, the other sections are merely reiterating ideas or contain line that are do not greatly impact the plot.

A four is the score. If lines were more varied and detailed to further develop the story, a higher score might have been earned.

– “Critical Corner”: Thankfully, no large discussion arises from the lyrics. Besides the point of, of course, open communication during any relationship, be it with friends, a partner, or whoever else, these lyrics are not pressing of any other topic. Trust should be in any relationship, and for another note, it is very admirable of the main character to still respect his partner, even if she is “not always bright” (and, if correct, this is not in the sense of intelligence; this refers to their friendliness and overall, is a “lost-in-translation” line) and “if [she doesn’t] look for [the main character].”

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Choreography Score: 6/10 – Discussing the choreography, to address the most prominent point to the dance, the syncing is incredibly precise. Every movement throughout the choreography is reflected musically, and with this remaining consistent, it is an impressive feat. From the verses to choruses to conclusion, all of the maneuvers relate to the song, and as state, the degree of such is phenomenal. When it comes to the remaining component, however, the choreography does falter. The dance moves themselves, while not mediocre, are not outstandingly attractive. Bringing an example, the choruses’ key points are repetitive and, though perfectly synced to the song, are tiresome to continually watch. Additionally, the use of backup dancers is relatively questionable; while the backup dancers add into the fun factor of the dance, mayhem is also brought. The five men of B1A4 would suffice for the dance, and furthermore, even the conclusion would remain fine without the backup dancers.

Slightly above average will be the given score, though it does nearly branch into a seven for “above average.”

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Overall Score: 6/10 (6/10 raw score) – In the end, with both the Song Score and Choreography Score rating as six, the Overall Score will follow suit. Thus, B1A4’s older song of “What’s Happening” can render as a slightly above average song, and considering this was two years ago, that is a remarkable score. Although I have yet to hear the group’s latest song, they certainly are capable of singing, and gauging from this song, most definitely with dancing. In the future, perhaps a comeback review will take place for B1A4.

As I always say, thank you very much for reading this review, whether in its entirety or skimmed for the numerical values. I appreciate any given time towards the blog, so thank you. Leaving updates in regards to how reviews are, I am in favor of how they are gradually becoming more concise. Improvements, however, are still needed for the sections category. Reducing length there is still necessary, and also, the Lyrics category could potentially be shortened (as tested here). Personal summary of a song’s lyrics will most likely be removed, and instead, solely analysis will take place. Time will be saved, but also, room for readers’ own interpretations is now given.

Upcoming reviews will be of Girls’ Generation’s Taeyeon, GOT7, and F.T. Island. Assuming I am on schedule, the mentioned artists will conclude the month of October, and that will be a slight accomplishment given how busy I am with university. Specifically for the next review, Taeyeon’s “I” will be reviewed. I will work hard to quickly release it. That all stated, “It’s alright even if you don’t look for” the next review, “I’m happy just by looking at you.” Thank you for reading, and if interested, stay tuned for the review of Taeyeon’s solo debut. Keep checking back.