Jessica – “Fly” Review

Jessica – Fly (Music Video)

Jessica ft. Fabolous – Fly

Reviewed
on May 21, 2016

Personal Message:
And right when I wondered if there
would be more comebacks to review, I received my answer: There are many. I was
amidst reviewing a recent ballad (and within it, I hope, is an interesting
social discussion), but blatantly, plans have changed. Although that ballad
will be finished after this, indeed I am going to suddenly switch over to
review Jessica’s first song—her first song as “Jung Jessica” and not “Girls’
Generation’s Jessica.” (I will discuss this later as some may be curious on my
take. And yes, background will be provided in case readers have no idea.)
Furthermore to complicate the mess I am in, I do want to review AOA’s “Good
Luck,” the ladies’ latest comeback. Especially as it is their first song at all
that is not produced by Brave Sound, it would be interesting to dive into that.
(And there is a social discussion that could take place.) However, as some
readers may know, I do want to focus May on solely artists who have yet to be
reviewed and thus, may delay AOA’s review until June. We will see how this all
falls into place. On topic, though, let us focus on the artist at hand: Jessica.

First of all, admittedly I have not
been following news regarding Jessica; ever since finishing Jessica & Krystal, my favorite
reality show—and of which made me bawl a river down my face and onto my propped
up arms—I have not been keeping track of Jessica at all. At most is the news of
her “leaving” Girls’ Generation. (Notice the quotation marks. Please do not
misinterpret this word as me implying Jessica’s responsible for actually taking
action of leaving; I am using this word to simply get the message across. This topic
will be discussed below.) Otherwise, I have not been reading up on news
regarding her and her activities and thus, this song came as a very huge
surprise. But indeed, it is a welcomed surprise. I have always wondered if
Jessica would return to singing, and I now have my answer. Besides, it would be
a shame to lose her voice and singing skills so I am glad she did release her
own song.

That said, I am quite excited to
deconstruct “Fly” as, from my understanding of reading interviews, this song
has Jessica’s full input; how the song sounds and plays out are all to
Jessica’s discretion. In a group, this would be impossible if not due to
members disagreeing but also due to a label company making the ultimate
decisions. But then again, Jessica is in fact still under a label company: she
is working with Coridel Entertainment. Point is, Jessica’s input have all been
considered and therefore, “Fly” is in many ways a song that is representative
of Jessica’s music—this being something that makes this review even more
relevant (at least to me) as it is directly analyzing an idol’s hard work and
creativity. If all of this is still irrelevant to readers, then at least I
cannot be disagreed with when I say that “Fly” is the talk of many—fans and
music critiques—and thus, the review is still important in the usual sense.

Personal spouting aside (feel free
to skip to the review now), for a small digression that is to occur, although I
will not be investing much time here as this discussions falls into K-Pop news
and not sociology (the latter being, in my opinion, much more relevant to
readers on the basis of us being societal living human beings as the former is
just moreover entertainment), I do want to share my take on the very old
controversy: Jessica “leaving” Girls’ Generation. For background, as many
readers should know, Jessica is a former member of Girls’ Generation—a group
that is oftentimes deemed the “Queens of K-Pop” along with other female artists.
That said, though I believe I have shared my stance before about Jessica
departing from Girls’ Generation, this time around I will be much more thorough
in my explanations and even tackle certain provocative questions.

Before diving into the more complex
questions, let us weed out the simpler ones. The first one is perhaps what is
still going on two years (if correct) after the incident: Did Jessica leave the group? The emphasis
here is regarding who was in control of the outcome: Jessica, Girls’
Generation, or SM Entertainment? I have said this already, but it will be
repeated once again: we, as in us fans and audiences, will never know. Perhaps
in the far future when Girls’ Generation is retired and similarly the members
have individually retired, one might finally reveal the whole story (due to a
lack of repercussions at that point). Fans asking this question are essentially
asking if dogs sincerely feel love; evidence may exist on both sides, but in
the end, no one will ever quite know if dogs feel “love,” or the people who are
responsible for Jessica’s departure from the group. And truly said: does it
matter? Though I have been much harsher in the past such as with bashing boys with “privilege jokes”—refer
to many reviews in which I discuss and challenge male privilege
, it
does appear that no one has asked this somewhat rude yet important question.

Does it matter if we know who is
responsible? Say it was Jessica who made the decision and left her members
crying and begging her to stay. Though I can see the impact of such on fans’
respect, it seems to have no effect on the actual outcome of Jessica staying or
not. Likewise, if Girls’ Generation voted to kick Jessica as it would be best
for both parties, ignoring fans’ reactions, wouldn’t the outcome be identical?
This mixing and meshing can be played all day, and in the end, the same result
holds: decisions were made, and the people responsible are not as relevant as
facing what did happen. Certainly, though,
I do believe that this entire incident was desired to be avoided in the first
place: Girls’ Generation would want to keep Jessica if it was possible to;
Jessica would have desired to remain a part of the group if it was possible to;
and SM Entertainment would have wished to keep Jessica a part of the group if
it was possible to. This situation is far from wanted and thus, finding culprits
to blame is meaningless as none of them truly wanted this event to even occur.
Who would?

With the more basic layer out of the
way, for the more complex questions, one is: Are group idols’ relationships
fake? Now this is a question definitely worth critically engaging with and
perhaps it can extend beyond K-Pop news and moreover into pop culture in
general. Sharing my answer (and to answer this question before diving into even
more complicated ones), I strongly doubt friendships in groups are “for the
cameras.” However, that said, the degree of said friendships can definitely
vary—but indeed I do assert that there are very few if any fake friendships in
groups. Explaining why I believe so, let us first focus on Jessica and Girls’
Generation. In recent news, Jessica has shared that she does keep in contact
with some members. Not all, but some. The others she admits she no longer talks
to at all. What does this mean? It means for sure there are genuine
relationships that are built, but simultaneously, if the former claim is to be
deemed true, then this is also definite proof that some relationships might
have been “faked.” Or is that so? Let us take our attention to “faking”
relationships.

To explain why “faking
relationships” may not quite be the case, I will use multiple examples. We will
equate Girls’ Generation to, for readers’ understanding and perhaps even
relatedness, a sports team—or any team for that matter. (If simpler, just think
of Girls’ Generation as a music group team—this being what they are.) With this
now in mind, let us think of a basketball team—professional, school, it doesn’t
matter specifically. Everyone on the team are essentially friends; there may be
some bickering among the ladies and even some occasional fights, but all can be
considered friends. Why? They all share the same goal: to win—in Girls’
Generation’s case, their win is to reach high popularity, flourish financially,
and to have fans’ love and respect. This is all great, but what happens when said
goal is gone, such as when the group or team disbands? The sad truth: not every
member will keep in touch as friends. In fact, some members may no longer even
view certain members as friends but rather as former working partners or former
teammates. Since I am focused moreover on disciplines of English, education and
sociology, I cannot make psychological comments on this case. But point is, it
does seem that once a teamwork mentality is gone, friendships that were founded
on such will break apart as that very foundation is now gone. This is not
inherently atrocious; if the members have left on good terms with each
other—respecting one another’s decisions and enjoying the time spent together
working—there is no problem at all. Since this may all still be confusing,
perhaps a personal anecdote may help.

Although I am questioning if I
should share this story, to be honest with readers and to hopefully elicit some
readers laughing at me, I was once on a team—a very special team. (If there are
any left, readers who have been here since my newbie reviews may know what I am
embarrassingly hinting at.) Indeed, if I am not nerdy and pitiful enough today,
I was even more so in the past. Hard to imagine, I know. I used to play on an
“esports” team—in other words, a team for playing video games competitively
with tournaments and all. Yes this is where laughing can occur. And readers thought
that I currently have no life. Think again! (Despite my many regrets of
participating in that, I actually do appreciate the amount of time invested
into esports as it taught me a lot about leadership, people management,
responsibility, and so forth. Also, esports may become a norm in the far
future. Besides, it has all the traits of “standard” sports: sexist, racist,
homophobic, ableist slurs, unfairly dominated by boys, that women’s sports need
to receive much more attention and respect in juxtaposition to men’s, and—is
this going too far? Let us save this for another review.)

My blush-inducing background aside,
Jessica’s relationship with Girls’ Generation is something I can perfectly
understand and for why I oppose that “fake friendships” were made. It has been
two years since I last played on the esports team. Initially after disbandment
I did keep in touch with the members. Fast forward to now, to no surprise, I no
longer contact them and vice-versa. At most I do still talk to one member, but
that is because she would occasionally invite me for a game or two. Even then,
our contact is that of working partners—of being teammates—than of genuine
friendships where we would discuss how our lives have been going. This is
similar if not an exact replica of what may be going on among Jessica and
Girls’ Generation members. I was certainly close with all of the members and I
confidently say we did very much care about each other and more so than just as
teammates. However, once the team disbanded and we no longer shared the common
goal of improving and winning matches, as seen, the friendships have stopped.
Translating this to Girls’ Generation’s and Jessica’s case, they all were very
likely genuinely close, but with parting ways, it just happens that
relationships are lost. But as noticed, was I “faking” my relationships with my
former teammates? Not at all. Was Jessica? Very likely not as well. In Girls’
Generation, all may have been close, but once splitting ways, their
relationships have been lost—and as noticed, not due to any malicious acts at
all. Rather, it is just how it goes if the relationship was founded on the
group, and said group is now gone. (Readers who are knowledgeable in psychology
should feel free to make a fool out of me and rip apart my argument if my
reasons are entirely false. I would love to be respectfully destroyed.)

Randomly pulling in another example,
even groups that are known to be very close to each other—MAMAMOO for
example—may one day face the same circumstances. With MAMAMOO sharing their
initial negative experiences of each other (minus those who have known each
other prior to MAMAMOO being made) but have, over time, begun to sincerely love
one another, as seen by the ladies providing very healthy relationship examples
such as with MoonSun,
the dating couple of Solar and Moonbyul—and yes, I very much went there with
MAMAMOO “shipping” jokes, and of which I will one day seriously discuss in a
sociological context
, it would seem impossible for the ladies to part
ways after MAMAMOO retires. But, as discussed all above, the members may no
longer be as close once their glue—their goal of reaching popularity and so
on—is gone. Now MAMAMOO may indeed stay close—and relating to Jessica, as
Jessica is with certain members—however, likewise MAMAMOO may also drift apart.
And that is not automatically bad at all, as discussed. Overall, the main
argument I am asserting is that the “fake friendship” and “Girls’ Generation
are fake women” comments lose much of their grounding once my explanation is
ran through.

Since this discussion has gone for
an unexpected length, let me summarize what has been so far covered: Regarding
the incident itself, we will never know—or at least not until maybe ten more
years or so—the truth behind Jessica’s departure from Girls’ Generation. Was it
the members’ decision, SM Entertainment, or Jessica? In the end, fans will
never know and, as discussed, this mystery is rather irrelevant. For the next
part covered, I explained why the ladies’ relationships were very likely not fake. The “group mentality” is the
reason for their closeness and now the lack thereof for certain members and
Jessica.

Ultimately, for what may conclude
this discussion and for what may make this all relevant to us as consumers of
pop culture, we all might wonder: should
groups, in the first place, be entirely honest with their members’
relationships? I will unfortunately not dive into this, even though it is
arguably the most important topic out of this whole digression. Some aspects to
consider may be whether idols should provide a depiction of healthy
relationships—even if truthfully that is not, or if honesty is to be valued over
all else, and thus, idols should act earnestly. Readers will have to decide
this for themselves. If there is anything I hope to share with readers, it is
that there is seldom a single answer. Be it in my reviews or social
digressions, I hope I showcase that topics are never about good and bad, right
and left; debates and topics are about looking up and down. It is about
understanding multiple perspectives.

I claimed I would not talk for long
about standard K-Pop news, but then again, when I have ever not excessively
talked about anything? From dogs to sexism to makeup to White privilege, that
seems to be the case. Jokes and discussion aside, we should now focus on the
review itself. Biasedly, I do find myself enjoying “Fly,” but I admit: this
song is lackluster from a critical lens. In fact, “Fly” is the first song in
which a specific category has scored incredibly low—the prior lowest record was
five if I recall accurately. All that said, while Jessica is absolutely flying
despite her huge struggles, sadly the same cannot be said for “Fly.” It very
much is losing altitude, and no amount of tears I shed during Jessica & Krystal will change that.

_______________________________________________________

Song Score: 6/10
(5.50/10 raw score) – “Slightly above average”


Vocals: 7/10


Sections: 6/10
(5.50/10 raw score)

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

1.     Introduction:
6/10

2.     Verse: 6/10

3.     Pre-Chorus: 6/10

4.     Chorus: 6/10

5.     Post-Chorus: 5/10

6.     Bridge: 5/10

7.     Rap: 4/10

8.     Conclusion (Post-Chorus): 6/10


Instrumental: 3/10


Section Distribution: X/10

Jessica:
All

Equal Value: X sections per member.  


Lyrics: 6/10

Invisible in the fog
I have to find myself, yeah
The hope in that small light,
just by thinking about it, you’ll find it

When I hold my hand out to that high place,
it feels like I can touch it
Days I looked forward to, are they closer now?
I can draw it in the sky

Just spread your wings to the end
Follow the sound of your heartbeat
Close your eyes, spread out your dreams
You’re a hero you can fly
You can fly

Whoa whoa whoa
You’re a hero you can fly
Whoa whoa whoa
You can fly

A world that you’ve never seen before
will appear before you
Fly above the clouds
‘cause your wings are made to fly

When I hold my hand out to that high place,
it feels like I can touch it
Days I looked forward to, are they closer now?
I can draw it in the sky

Just spread your wings to the end
Follow the sound of your heartbeat
Close your eyes, spread out your dreams
You’re a hero you can fly
You can fly

Whoa whoa whoa
You’re a hero you can fly
Whoa whoa whoa
You can fly

I won’t cry now
I won’t give up
I won’t lose, I won’t lose
Oh no no no no no

Yeah, let’s go, Jess
You should’ve never doubted yourself
Matter of fact you should be proud of yourself
’cause you had to find a way to go about it yourself
Nobody gave you direction, had to route it yourself
And you never got lost, losing’s not an option
No time for L’s, no time to fail
Winning like Steph Curry and them we warriors
Haters wanna see me in a Crown Victoria
But I’m in a Benz, a.c. on 70
Won’t lose my cool gotta move cleverly
Chess not checkers playing it with strategy
Me and Jessica: that’s a win automatically

Just spread your wings to the end
Follow the sound of your heartbeat
Close your eyes, spread out your dreams
You’re a hero you can fly
You can fly

Whoa whoa whoa
You’re a hero you can fly
Whoa whoa whoa
You can fly

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

– Syncing: */10

– Key Points: */10

*There
is a dance according to the music video, but since as of this sentence (May 17) I am
personally unsure on whether Jessica will be releasing a dance practice, dance
version, or even live performances, I will skip analyzing it.

Overall Score: */10
(x/10 raw score)

_______________________________________________________

Analysis: Highlighting
fun facts, the Song Score and Sections category both manage to earn a six by a
mere decimal. On topic with the song, let us look at what I hinted earlier: the
lowest rating out of all reviews (to date) in a certain category. Which
category? The instrumental. First to clarify, contrary to many, the sound of
the instrumental is not at fault; how the instrumental itself sounds
individually with its heavier bass and lighter piano keys are not bad at all. The
instrumental can absolutely hold its own without Jessica’s vocals. Furthermore,
and for what many have critiqued, the lack of “middle sounds” in the
instrumental is nothing inherently bad at all. Reason being is that this aspect
is moreover stylistic and thus, should not be critiqued in of itself. For example, there are songs out there where the
instrumental is heavily focused on higher notes and the middle and lower notes
are minimal to nonexistent. This is not an issue; it is merely the style of the
song. Claiming an instrumental that lacks a balance of sound pitches is
mediocre would be to critique style and not quality—the actual functions that
are happening. Translating this idea over, it is unfair to claim that the
instrumental in “Fly” is poor due to it merely
not having middle pitched sounds. Now, to clarify once again, if one were to
expand this point, then perhaps a critique can be made—and this is where I will
continue. In other words, while many people are right to point out the
instrumental lacks middle sounds, ending the conversation there is insufficient.
For where my argument comes in with this aspect of the instrumental, I do agree
that the lack of middle sounds is problematic—but not in of itself. Lacking of
synchronicity between vocals and instrumental is where issues occur, and the
lack of middle sounds in the instrumental is one culprit.

If
we are to closely tune in with the instrumental while Jessica is singing, there
is a noticeable “gap”: the heavier bass line is on the bottom and Jessica’s
vocals are at the top. Certainly one could dismiss this as stylistic, but I
will take the risk and say that it is more than style at this point. The
instrumental is simply overwhelming once coupled with Jessica’s voice. Rather
than two aspects combining and giving a cohesive, clean sound, there is
dissonance. In many ways, “Fly” begins to sound as if there are two songs in
one during the choruses and pre-choruses: the instrumental song and the singing
song. This, indeed, starts becoming an issue. Middle sounds might have been
able to connect the two, but as of now, the instrumental is very much unsuitable
to the vocals and conversely. Lastly to add to the dissonance issue—if we
should use that term—is how even simple syncing fails to occur. Jessica’s
belting during the choruses and her lines at the post-choruses appear to
perfectly accommodate correctly timed bass lines, but instead, “Fly” opts to
not sync the bass line to Jessica’s singing—another point that leads to
dissonance. Overall, the instrumental in “Fly” in of itself is perfectly fine,
but once accounting for its role in the entire song and with the vocals and
sections, it becomes incredibly lacking and in many ways fails to fulfill its
basic role.

With
the biggest criticism out of the way, and before returning to the other weaker
point, let us focus on one of the strengths: the lyrics. Before resuming a
neutral, serious tone, I do want to credit Jessica’s message in “Fly,” and
also, to simply appreciate how Jessica did not give up despite her significant
setbacks—of which seems to be reflected in the lyrics. That aside, the lyrics
are decent. Ignoring the lyrics’ meaning—something that is entirely subjective
and thus will be avoided in grading—the score is at a six for two main reasons:
creative ideas that are, sadly, muddled by repetition. Explaining the first
reason, by gauging just solely the details, “Fly” seems rather creative. The
rap, for example, is full of many intriguing and witty points and rhymes, and
other parts, such as the choruses, are equally with details. Additionally, the
overall plot of “Fly,” if “plot” is appropriate, can be deemed unique. After
all, it is not about heartache or falling in love. As for the downside,
repetition unfortunately prevents the lyrics from a would-be seven. With every
section minus the verses and rap not being individually unique, “Fly” ‘s
charming details are no longer so as it all becomes mundane. If the
post-choruses, for example, were more than the usual “whoa” and “oh,” or if the
bridge was more than basic phrases, perhaps this issue of repetition would be
avoided.

Both
the vocals and sections are left to discuss, but since I do want to end on a
positive point (and for a concluding point, not so that the review ends
favorably), we will now glance at the latter—and indeed, this is hinting that
the sections are not a strong point
to the song. Now with that said, many may be keen to notice some potential hypocrisy:
the lyrics, a six, were rendered “decent,” and yet the sections, a six, are
suddenly not equally praised. That sounds biased and hypocritical. Although
statistically it is true that the sections are a six, this very argument can be
reversed: as said much earlier in the review, it should be noted that the
sections category is only a decimal away from being a five—average. But, even
without playing around with numbers, the sections themselves are far from
stellar. It is Jessica’s vocals that very much allow them to thrive, hence why
I do consider the category weaker than the lyrics even if statistically they
are equal.

For
example, the verses, pre-choruses, and choruses progress well—if only tracking
the vocals. Otherwise the progression is dull and, furthermore, is rather inconsistent.
The transition from the verse to pre-chorus does not exist as both sections are
exceptionally similar, and yet the transition from the pre-chorus to chorus is
very much noticeable. Besides minor transition issues, there is also the
problem in the sections themselves. Take the post-choruses as example. These
sections are the epitome of standard post-choruses: reusing words of “whoa” and
“oh” in a cycle. Again as discussed before, that format in of itself is far
from flawed; there is nothing wrong at all for a song to repeat “la la” for example.
However, the execution and placement matters, and in “Fly,” it comes off as too
plain considering the already disconnected vocals and instrumental and the
stagnant, inconsistent progression of the song. Other sections could also be
discussed, such as the rap being misplaced and overall not matching up to the
style of the song, or how the bridge akin to the post-choruses with being too
standard in form, but I believe the main ideas are covered.

Ending
on the positive point, and explaining why I chose to do so, the vocals will
finally be discussed. Quite directly: Jessica is a solid singer. From her
beltings throughout nearly all of the sections to sharp, crisp vocals at the post-choruses
to lower, passive singing at the bridge, Jessica’s singing is what allows “Fly”
to not utterly fall from the sky. And for why this is relevant to consider:
critiquing “Fly” is in no way to critique Jessica’s singing. Oftentimes “vocals”
and “song” are misconstrued as synonymous, but that is clearly far from true.
Nevertheless, this does show that it takes more than Jessica’s singing for a
song to thrive: it also takes excellent composing on the other categories. And
true Jessica may have had much influence on the other parts, but it can still
be said that Jessica is indeed an impressive singer. On topic, Jessica’s vocals
remain extremely versatile in “Fly” as discussed above. Within the song, she is
able to show off a diverse range of pitches, but also that of styles and
intensity. Truly, if not for this single aspect to “Fly,” much of the song—if not
all—would falter.

In
the end, Jessica’s first song still scores decently, but indeed it is far from
a comfortable standing as anything lowered—even a mere change in a section’s
score—would bring “Fly” to an average instead of slightly above average (a six).
The vocals are worth admiring and somewhat the lyrics, but in truth I do admit
to being slightly disappointed with the sections, and very much the
instrumental’s lack of syncing to the song in whole. Nonetheless, it is a song worth
enjoying and respecting given all the work Jessica invested towards it. And
though the following words may somehow be taken as controversial, I do consider
Girls’ Generation’s Tiffany’s own solo debut as equal to Jessica’s. Rather than
fighting over who has the better song, as Tiffany herself said: let us instead
be supportive to anyone—Jessica or Tiffany—who works to bring music to fans.
Focusing on Jessica, however, I will leave with saying I highly look forward to
her future songs, and I only expect her to improve from hereon.

_______________________________________________________

As
I always say, thank you for reading. Unfortunately this review became delayed
for a total of three days. Originally, May 18 was when it would be finished,
but due to delays with taking my girl to the vet and preparing to register for
summer classes, this review was pushed back. Nonetheless it is here. Many
reviews are to come, and many important topics are to be covered. (And I have
heard of the recent tragic in South Korea where a schizophrenic male murdered a
woman out of sexist hatred. I will try to cover the sad news in a review and to
discuss why this incident matters to us all.) In terms of when the next review
will come or what it even will be on, I plan on finishing the ballad review I
started. But, I might abruptly change plans once again. There are little days
left in May, but do expect at the least one more to come before the month ends.
(I am aiming for two more.) Besides, as Jessica says: “Just spread your wings
to the end” so that you can fly-fast-enough-to-write-two-reviews-in-time. Look
forward to whatever is to come.

Girls’ Generation – “Catch Me If You Can” Review

Girls’ Generation – Catch Me If You Can (Music Video)

Girls’ Generation – Catch Me If You Can

Reviewed on April 18, 2015

image

Personal Message: Though it has been quite a while since I have last done a standard song review, I am incredibly excited, and in many ways, finally feeling at ease as this outline is what I currently have the most experience and comfort with. Girls’ Generation made a recent comeback of “Catch Me If You Can,” and from memory, the sole song I butchered reviewed from them was “Mr. Mr.,” which should be incredibly inaccurate and a horrible read (I recall dropping 9s and even a 10 which, embarrassingly, are highly false numbers). Nevertheless, changes have occurred for both the ladies and blog; Girls’ Generation is now an 8-membered group versus 9 as Jessica is no longer in it, and my rubric for review has become more realistic and strict due to gaining more experience. For those curious on my take of Jessica’s departure, due to being oblivious to details (from what I know, she no longer had time for the group as she is the CEO of her fashion company, Blanc), I will not dive into a discussion regarding it.

My pure take is changes occur, desired or not, and moving on is what needs to happen. The current debates and minutiaes on whether harassment or pressure occurred and thus reinforced her leave is, in truth, not entirely worthy of time. For those curious on my stance regarding idol news, I find the exact details less important than how people react to the news; it is moreover telling and intriguing to analyze how the general public reacts to certain news rather than the news itself. For example, with news involving idols dating, it is less vital to care for the couple than to gauge the common reactions of “She is a whore” or “She only wants his money.” Though I will not dive into this discussion (or at least I am claiming so; Miss A’s mini-album of “Colors” shows my hypocrisy of those words), it does reiterate my point of how the idol news is not important itself, but rather, how people interpret and react to the news (and in this case, pondering over and realizing solely the female is cursed while the male is praised during dating news).

To focus back on Girls’ Generation, this review may spark slight controversy in the realm of music. Although I generally cause uncomfort on a social level with digressions (which is great; readers should care of those topics), this review may instill heavy disagreement in terms of my ratings. As such, I am excited as my reviews should be, hopefully, bringing a new perspective to a song. Whether that is agreed with or not is the true beauty of reviews. Reviews are solely opinions of the author, and as a result, being able to understand multiple perspectives is gained, and that is a vital skill to have and what I believe makes reviews important, more so than the single layer of the review’s content itself. (Feel free to skip to the review itself now.)

On that note, and to actually tie in the music video for “Catch Me If You Can,” while my reviews are dedicated towards the songs and dances, as I constantly emphasize, including the social aspect to pop culture is equally pressing, and in many ways, without doing so would be to create a world utterly orientated towards “mechanics.” To address the link first before clarifying my previous point, the music video will be utilized as no live performances or dance practice have been released, but that is of no issue as the music video is focused on the choreography. That said, the music video simply showcases the group dancing on a construction site setting, and coincidentally, the background ties into my earlier point.

To focus on K-Pop without the social side is to live a world dominated with pure construction (like the setting in the music video), technology, science, and more. Though arguably those “mechanics” are the essence of life and necessities, and to draw a parallel to my reviews, the actual deconstruction of songs themselves, it would be blinding and ignorant to solely focus on the mechanics without the humanities/social side. What is the point of having the most advanced technology in the world when everyone, socially, is still incapable of treating male and females fairly (and more such as race, religion, sexual orientation, and a plethora of other aspects). What is the point of having futuristic technologies that allow utter elimination of cancers when solely one group of people have access to it because certain social aspects of equality and equity were not challenged. What is the point of, and a more realistic example, investing unimaginable sums of wealth into state-of-the-art technologies of space and weaponry when there are people who will never benefit, direct or indirectly, from those technologies and could have actually gleaned resources to better their daily lives if the wealth was properly allocated.

Though my latter claim might actually be rather controversial (I am actually seeing many rebuttals of that claim against myself), it would be more clear and relevant to rescope into my initial point: the “mechanical” works of life matters, but equally so does the social side. Both parties must exist for a thriving world in both layers of social and mechanical, and that is the ultimate point to deliver. Caring of solely humanities would be to ignore the actual physics of life and to live in a dream, but solely focusing on the mechanics of life would be to forget cooperation, compassion, and other needs that, while not physical, are arguably equally essential to life.

To tie this all into my blog (and props to readers who read this bit), while I could simply review K-Pop and its mechanics, what is the point of claiming Fiestar’s “You’re Pitiful” or Apink’s “Luv” are 7/10 songs if the incredible ladies of Fiestar are going to be degraded as purely “hot bodies” or if Apink is assumed to exhibit certain behavior on the sole basis of being females, or, for a male group that I have yet to review (but will at one point), if BTS is going to be highly sexualized via homosexual objectification. Though both reviewed songs are admirable (BTS has yet to have a song reviewed, and thus, I cannot give an official stance; but speaking biasedly for the others, I believe “Luv” is 6/10 and “You’re Pitiful” is a 9/10 or 10/10 due to being my favorite song), forgetting the social side would be to solely view the idols as numbers (or worse), not humans, and it would be a shame to lose prime opportunities for readers to realize how pop culture and media are more than pure entertainment. As such, at the very least, should readers ever feel “guilty” or even insulted for investing time into K-Pop, that should never occur as K-Pop should be, and is, more than music and dancing and aesthetics; pop culture and media of any sort is a beautifully wrapped gift of many subtle yet important social topics, and those topics is what drives humans. Being capable of understanding those invisible driving forces is what matters as our lives are made for the better or worse on the sole basis of such, directly or indirectly, and furthermore, those forces also impact the mechanical aspects, of which certainly do influence lives.  

If readers managed to stay, I am utterly grateful. Nevertheless, now that my digression is over and in hopes of clarifying and justifying my digressions in general, Girls’ Generation will resume as the sole highlight. The 8 ladies have returned with a new song, and arguably, a new genre. Assuming EDM (electronic dance music) is the proper label, that is what the ladies are tackling. However, “new genre” may be inaccurate as Girls’ Generation has done a similar concept: “I Got A Boy” (and actually, that is my latest review of Girls’ Generation; I truthfully lose track of what I review). Nonetheless, their prior song of “Mr. Mr.” is better. Significantly better. Truthfully, “Catch Me If You Can” is a rather horrendous release, and though the ladies’ high tier of talents are still proven, despite being one of the elite groups in the industry, even those on top will struggle to create a sculpture out of dirt.

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Song Score: 5/10 (5.2/10 raw score) – “Average”

– Vocals: 5/10 – In truth, though I was excited to return to the usual review format, I feel uneasy due to how long it has been. On topic, the vocals in “Catch Me If You Can” are split between “slightly above average” or “slightly below average”; moments of the pre-choruses display the sharper vocals of the song, though still lacking in terms of the group’s standard, and for the other sections, the latter unfortunately also applies though to a more negative scale. Specifically glancing at the pre-choruses’ vocals, an exceptionally lively, charming melody exists. However, despite sounding captivating, little fluctuation occurs as the pacing remains stagnant and notes used remain linear and overall mundane, even if pleasing on the individual level. Furthermore, for the other sections that are not the pre-choruses, though the lower notes of “Catch Me If You Can” are disclosed, the melody remains, in opposite to the pre-choruses, highly dull and lifeless. For what is similar to the pre-choruses, though not a desirable trait, the lack of variety is once more a prominent issue for the vocals.

Overall, with averaging out the averages, average simply holds. For Girls’ Generation, this is a disturbingly lower score as the group is certainly capable of 7, at the least, and 9 at the best.

– Sections: 3/10 (3.17/10 raw score)

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

1. Introduction: 3/10 – The introduction consists of no vocals as purely the instrumental is used.

Though I certainly enjoy EDM based soundtracks, “Catch Me If You Can” challenges that statement. Mechanically, the introduction discloses a lower tiered EDM instrumental: the electronic bass line proves to be moreover plain than exciting, and even the additional lighter beats that occur later prove equally so. With the bass line being relatively heavy, though structurally a foundation is set for the song, the sonic component is nearly nonexistent; a singular bass line being heavy is incapable of providing fluctuation and variety, and thus, sonically the introduction suffers. Additionally, the lighter beats, while contrasting to the bass, are still highly abstract on the individual level and grant minimal musical pleasure due to being absurdly plain.

Now while the sonic aspect of the introduction falters, the structural side partially holds. With utilizing the bass at the very initial moments, the tone and tune of the song become instantly set: “Catch Me If You Can” will be EDM based and will expectedly reuse that bass line. As for the beats, it further complements the anticipation for EDM and provides a blatant transition to the upcoming verse. Another positive point is the natural progression of the introduction; the heavy bass line swapping to the beats, though sonically distressing, is suitable as the lighter sounds simply utilize the bass as a foundation.

Nevertheless, below average will be the score for the introduction. While the structural component is admirable, the mechanical aspects are not compensated for.

2. Verse: 4/10 – While the two verses in “Catch Me If You Can” slightly varies, the overarching format remains homogeneous. Nevertheless, I will include both verses’ characteristics for grading. Yuri, Hyoyeon, Yoona, and Sooyoung handle both verses.

To address the mechanical aspect, the sole differing part from the first and second verse, regardless of whether it is the lower pitched or midrange pitched verse, both are unfortunately lacking. The first verse discloses deeper vocal notes toward the beginning, and though it may be somewhat alluring due to the pitches hitting the lower ranges, the vocals overall remain dry due to a lack of variety. Lower notes, or any note in fact, have the potential to be highly captivating, but it generally requires more than the sheer pitch itself; accentuating the vocals’ pitch via instrumental, prior sections, and variating pacing and melody are a few examples of factors that are vital to having specific pitches thrive. Even once the midrange notes are heard in the second verse or the second half of the first verse, the same issue exists: no variety or support are available to allow the specific note range to succeed.

Structurally, the layout of the verses is neither beneficial or alleviating to the mechanical aspect’s issues; how the verses are laid out does the utter opposite with creating emphasis towards the poorer mechanical side. With repetition existing, whether in the form of the pacing, melody, or more distinctively for the second verse, words, the weaker sonic aspect is, blatantly, merely repeated, and thus, the impaired sound becomes heard for a longer duration. While the repetitiveness may cause the melody to linger, it is not a desirable one to loop; as the mechanical aspect is truthfully distasteful to an extent, having its remnants is not a desired outcome.  

Slightly below average will be the score. The singing’s notes have the ability to succeed, but without other essential components, the notes are moreover abstract than pleasing pitches in a song.

3. Pre-Chorus: 5/10 – For what allows some hopeful prospect to “Catch Me If You Can,” the pre-choruses are respectable, to some degree. Seohyun, Sunny, Yuri, Tiffany, and Taeyeon cooperate for the first pre-chorus and likewise for the second, though Yuri is replaced by Yoona.

Both the section’s mechanics and structure are noteworthy. Nevertheless, issues still vastly arise. Focusing first on the mechanical side, “Catch Me If You Can” becomes significantly more lively. For example, the singing occurring remains incredibly melodic, and due to a multitude of members being involved, an incredibly beneficial point, other aspects such as pacing and power are equally enticing. By incorporating 5 members in one section, constant alternating exists and thus, translates into variety. Utilizing an example, the first pre-chorus showcases the impact of alternating lines: Seohyun’s part offers a melodic, soothing aspect to which Sunny offers an opposite via a power-orientated line. Afterwards, Yuri and Tiffany follow suit the pattern, and eventually, Taeyeon finishes the section her own lines’ format.

On the topic of format, while the mechanical aspect is pleasing due to an alluring melody and the alternating lines bringing diversity, a downfall pressingly holds: an overly simplistic structure. Though “Catch Me If You Can” is an EDM genre and therefore, the pre-choruses’ structure are rendered as usual, commonality does not justify the structure. Upon the pre-choruses occurring, a very distinct transition is heard: a lighter tone. This is a rife concept and trend for EDM songs, but unfortunately, is one that is bereft of layers. Hype towards the chorus may certainly be created, however, the process of doing so is what remains loathing. With the pre-chorus in this song replicating the countless others of creating a lighter tone along with gradual accelerating beats, the lack of uniqueness drains appeal; there is nothing enticing of this common concept of creating buildup for the chorus due to mass-use and arguably misuse. Furthermore, another issue with “Catch Me If You Can” recycling the overused method, the vocals and beats are excessively repeated, and thus, leached of their charms.

Overall, average will miraculously hold. The vocals in the sections are potent enough to compensate for the poorer structure.

4. Chorus: 2/10 – While I was able to “find my heart” for the pre-choruses (which credit to the ladies, minus Tiffany as she knows English, for properly pronouncing; “heart” in Korean sounds moreover as “hurt” and is often said as such), the choruses are not as fortunate. Yoona handles the first, Yuri the second, and Hyoyeon for the final (though arguably every member is involved, based on the music video, I will assume this current lineup for the rest of the review).

Truthfully, the two major aspects of sonic and structure are horrendous. In fact, this may be the worst section I have yet to hear in a song (there is another “song” that has trekked very low numbers, but I tend to be precise with my labels, and “song” for a certain one is a flattering claim). Diving into why this is the case, addressing the mechanical aspect first, the vocals are minimal concerns; the vocals are solely “catch me if you can,” and with a single line remaining moreover as a statement than singing, little focus will be placed on them. For what truly functions as the mechanical component and will be critiqued, the instrumental is in spotlight. A grinding, chaotic electronic sound is in full force, and sadly, it is far from seducing. Being a pure soundtrack is not the flaw of the choruses, but rather, the soundtrack itself; many EDM songs tend to construct the choruses as solely the soundtrack, but in many cases, the soundtrack is decent. “Catch Me If You Can” differs in that the used soundtrack is, bluntly, rather appalling.

Switching to the structural side, attempts to alleviate the section from being stagnant are futile; adding the occasional “catch me if you can” is simply drowned out by the relentless looping of the instrumental. As a result, the chorus is simply a horribly meshed section consisting of a phrase and an ear-tearing electronic sound. No other complexities are included in the choruses, let alone variety, and thus, in addition a poorer mechanical aspect, a structural layout that places more emphasis on the latter exists.

Bad. If I am correct with what a 2 represents (3 is truthfully the lowest I have ever foreshadowed), “bad” and “not good” are the proper depictions of 2/10. Sadly, those terms can be applied to the choruses.

5. Bridge: 3/10 – Progressing on after an unsightful number, Taeyeon and Sooyoung are the duo for the bridge which, if not transparent yet, will be a lower score as are many other sections.

Though certainly not to the degree of the choruses, both components of sonic and structure are feeble. During the bridge, the sonic aspect does exhibit the higher end notes of “Catch Me If You Can” in credit to Taeyeon’s and Sooyoung’s singing, but akin to the verses’ downfall, solely reaching a specific pitch range is gleaned; the bridge remains identical to the verse excluding how high notes are heard versus lower notes, and thus, many issues correlated with the verses are simply translated: lack of variating pacing, a stagnant melody, and a tedious instrumental, for a few aspects. As such, though the mechanical side reaches for new, higher notes, the absence of other crucial, fundamental aspects prevent those notes to be more than a plain set of pitches.

Regarding the structure, with both members’ parts being identical, no diverse moments exist at all. Expectedly, this proves to be a vast issue as the utilized notes are already excessively monotonous, and therefore, having a repetitive structure simply perpetuates that mundanity further. If the bridge possessed a pausing or climactic trait, which does occur for the upcoming pre-chorus, then the section would have potential. Unfortunately, in truth, the bridge is simply a weaker verse; the same format is kept though shifted for higher notes.

Overall, the bridge will hold as below average. The higher notes, although new to the song, are not musically pleasing, and with a structure placing emphasis on the weaker sonic aspect via repetition, the section suffers drastically.

6. Conclusion (Chorus): 2/10 – With the conclusion taking the form of a chorus, an incredibly dreadful section, the conclusion will be indirectly affected negatively. Hyoyeon is responsible for the final chorus.

With the mechanical section already being discussed earlier, the structural component is what will be of focus. Utilizing the chorus as the final section may suit a standard conclusion’s role, but fulfilling such is, paradoxically, unbeneficial in the song’s case. “Catch Me If You Can” lingers due to an increased duration of the choruses, and blatantly from the section itself, however, due to the choruses holding atrociously, leaving a residue of those sections is not beneficially applicable; by having “Catch Me If You Can” concluding with a lasting chorus, the horrendous sections are the final impressions and thus, the weaker sonic component is vastly emphasized, which blatantly is undesirable.

As a rating, bad or not good will return. Utilizing a section that is significantly tainted moreover impaired than helped.

– Line Distribution: 10/10 – With 8 members in Girls’ Generation, equal distribution of lines may be slightly more challenging. However, with the main vocalists of Seohyun, Taeyeon, and Tiffany being less prominent than in many prior song releases, a higher score is anticipated.

Girls’ Generation’s leader, Taeyeon, possesses lines at the first 2 pre-choruses, the bridge, and a single line at the final  pre-chorus. In total, 4 sections are accounted for. Recalling previous reviews, 4 is generally a desirable quantity and thus, Taeyeon’s share should not instill issues.

Addressing another main vocalist, Tiffany has an incredibly infatuating voice her spotlight in every pre-chorus. Therefore, 3 sections is her count which is admirable, though that is liable to change based on the other members.

Seohyun, Girls’ Generation’s youngest, remains identical to Tiffany; her lines consist of all the pre-choruses, and thus, 3 will also be her numerical count.

With the main vocalists having equal share, the remaining members should automatically follow suit. Sunny’s highlight involves, like the prior 2 members, all of the pre-choruses. 3 is her count, and at this rate, the distribution in “Catch Me If You Can” is in trajectory for perfection.

Hyoyeon’s sections include the introduction, one verse, and the final chorus. Once more, 3 sections is the count, and assuming the trend continues, a perfect score is utterly viable.

In hopes of Yuri continuing so, her lines appear at the introduction, the first pre-chorus, one verse, and one chorus. 4 is her count, similar to Taeyeon’s distribution. In the overarching view of the song, 4 sections will not be menacing to the score. No issues are present.

Assuming Sooyoung possesses either 3 or 4 sections, a higher score will remain possible. With both verses, the bridge, and the final pre-chorus, 4 is her total count. With 3 members now possessing 4 sections, should Yoona, the final member remaining, be responsible for 4 sections as well, a perfect score will become granted.

Verifying Yoona’s sections, her spotlight consists of the first 2 verses, the first chorus, and one pre-chorus. Miraculously, 4 sections is her total, and as a result, the line distribution in “Catch Me If You Can” can certainly be rendered as perfect.

For an overall score, 10 will be given. Unlike older song releases from Girls’ Generation where the main vocalists (Taeyeon, Tiffany, Seohyun, and even former member Jessica if accurate) were prone to dominate, this song remains free from such. Mathematically, 3.5 is the average lines per member, and with the group following such with half of the members possessing 3 sections and the remaining with 4 sections, it is unequivocally a perfect distribution.

– Instrumental: 3/10 – While a 10 does astoundingly exist, the music-orientated aspects are still low. Regarding the instrumental in “Catch Me If You Can,” while structurally supportive, it is incredibly dysfunctional sonically. Focusing on the positives, with being an EDM song, the soundtrack naturally provides for vital roles. For example, transitions are largely in credit to the soundtrack: light quick beats are utilized during the verses to prompt alternating of members, and for the most prominent example, the pre-choruses are seamlessly switched due to the instrumental adopting a lighter tone. Unfortunately, despite providing the song its natural, fluent flow, the drawback of its mechanical component does hinder much of the instrumental. Moments excluding the pre-choruses are either dull or simply horrendous due to being moreover chaotic than harmonious. Now, for the pre-choruses, the instrumental does become acceptable; the lighter tone is not overwhelming and meshes well with the vocals that also utilize a similar style and tune. However of course, one decent section is incapable of compensating for the remaining ones, of which are extraordinarily poor in terms of the instrumental’s sounds.

As a result, for an overall score, 3 will holds which indicates below average. The structure is not entirely bad, and the pre-choruses provide a few seconds of enjoyment, but with the other sections proving to be unpleasant, the score will be significantly lowered.

– Meaning: 5/10 – “Catch Me If You Can” does emanate the idea of provoking, though that may be linked to my agitation towards the song. Nevertheless, on a more serious note, the song title does prove to be intriguing and prompts multiple questions. Through the following Korean-to-English translated lyrics, the story will hopefully become unveiled, and likewise, the answer to why the song is labeled as such. As always, the lyrics are not 100% accurate:

(Did it) Rather than clumsy words
(Did it) it’s your actions
(Did it) that I believe
(Did it) Rather than knowledge
(Did it) it’s consciousness
(Did it) that moves me
You’re staring at me as if it’s love at first sight,
but I can’t accept you easily
My heart changes every minute every second without rest
You’ll be so anxious

Don’t stop, go past the limit, go faster
I’ve got a feeling
I can’t even catch my own heart, it’s a new me
I’m going to find my heart,
my heart, my heart
I’m going to find my heart,
my heart, my heart

Catch me if you can
Catch me if you can
Catch me if you can

Came to this place some day
Drew out this dream some day
You passed by some day
But I’m not at the same place now
I don’t have the same dream
The same you isn’t here either
I’m not the girl who talked in front of you anymore
Want an even more different me?
I’m like new every minute every second, watch over me
Women keep changing

Don’t stop, go past the limit, look at the changed me
I’ve got a feeling
Suddenly, even this moment will become the new past
I’m going to find my heart,
my heart, my heart
I’m going to find my heart,
my heart, my heart

Catch me if you can
Catch me if you can
Catch me if you can

Look at me, shining on you more hotly than the sun
Passing like a dream, my soul,
dancing in the real life

Can’t stop
I’ve got a feeling
I’m going to find my heart,
my heart, my heart
I’m going to find my heart,
my heart, my heart
(I’m going to find my heart)

Catch me if you can
Catch me if you can
Catch me if you can
Catch me if you can
Catch me if you can

While the lyrics are vague (in a good sense), a romantic plot, or the lack thereof, seems to be the story. In a summarizing phrase, a lady is rejecting a love-interest due to an ever-changing “heart”; a love-interest wants to be accepted but the main character refuses as she is still uncovering her own desires and such. Diving into specifics, with the love-interest “staring at [the main character] as if it’s love at first sight” (which is incredibly false; I have went over the subject of “love at first sight” in a past review, though I forget which), the main character responds by not “[accepting] [the love-interest] easily.” Her reason is not one motivated of distaste, but rather, to keep the love-interest at ease as they would be “anxious”; the main character is unpredictable due to a “heart” that “changes every minute every second without rest,” and thus, would make a relationship difficult. Progressing after the love-interest’s futile attempts to be in a relationship with the main character, she embarks on a journey to “find [her] heart.” This is where the title arrives: “Catch me if you can” is in reference to both the love-interest and herself; for the love-interest, it is a warning of whether they would be capable of following through a relationship despite her transforming heart, and for herself, it is a question of whether she would be able to find her “own heart.” Additional details exist, though the overarching idea is simply more reiteration towards her continuous change.

For an overall score, the score will slightly falter. The lyrics do contain a unique plot in juxtaposition to many other songs, but the lack of additional details do hinder the score. The choruses and pre-choruses are highly repetitive and simply regurgitate the same, identical ideas of “Catch me if you can” or “I’m going to find my heart” respectively. Therefore, while the plot itself remains special and inviting of speculations, the tedious lines will lower the score to one of average.

– Critical Corner: Ignoring the more blatant layer to the song, deeper analysis may elicit some important connotations, and potentially, even points of discussion. “Love at first sight” is one, though due to covering it in another review, I will not elaborate here (I should attempt to find the review at one point, however). In short, “love at first sight” is erroneous as appearances are negligible. Furthermore, defending the “natural” argument is also equally false; love, in its ultimate form, cannot stem from sheer physical appearances, and thus, it is not “natural” to “fall in love at first sight.” The idea of beauty, physical and non-physical, is another subject in mind, though from memory I have partially addressed such in another review (I believe my review on Juniel’s “I Think I’m In Love,” though I am unsure and thus will not directly link it).

As an overall point, rather than claiming it is natural to fall in love with a person on the sole premise of physical appearances, understanding the implicit and explicit ways society has taught the idea love and beauty will disclose how false the “natural” argument is; solely physical beauty is emphasized, and furthermore, in terms of what physical beauty is indeed highlighted, uncovering the specifics to such reveal additionally how those specific traits are also merely taught. To clarify my incohesive phrasing, for a very simplistic example (the same one I utilized in the unknown review), society has socialized the idea that taller people are more attractive. Interestingly, while “statistics” may exist to gauge and prove that height does correlate to attractiveness, if a culture exists where height is shunned and thus, shorter people are desired, the “natural” argument would instantly collapse.

For an example that would make more sense, one that many will understand, hair is a prime example. Many claim it is more attractive for a female to have longer hair as it is apparently “natural”; studies have supposedly shown that females with longer hair are attractive. Now, males will also participate in this example: studies claim it is “natural” that males with shorter hair are more attractive. However, by meshing the two points of males and females, something construing occurs: males with long hair are considered repulsive, and in opposite but equal in terms of response, females with short hair. Rather than merely disregarding the repulsion as simply a reaction to those who do not fit the “natural” ideals of beauty, posing the question of how males with long hair and females with short hair are not natural would be better. Hair growing is natural, and equally is cutting it. In that case, males with longer hair should still be considered “natural,” and similarly for females with shorter hair. Overall, rather than claiming hair length correlates to beauty on the basis of naturalness, it is more realistic to understand society has socialized these specific ideas of beauty, and thus, there is no “natural” beauty. Females have been taught that long hair is considered beautiful; it is not innate for females to know longer hair is connected with beauty. For males, the same applies except in terms of short hair.

Nature versus nurture is a subject seldom challenged, let alone discussed, and thus, it is vital to allocate some time towards pondering this subject. Natural possesses too many variables to truly ever prove, and overall, even if humans are natural in certain aspects, that should be irrelevant as humans are blatantly above “natural,” and therefore, should no longer reinforce it or justify actions on the sole idea of natural. After all, claiming solely males should be in authoritative positions due to the idea of “naturalness” simply perpetuates inequalities and inequities in life. Even if it was true that males are natural leaders, humans are, or at least should be, intelligent enough to glance over minuscule animalistic behaviors; humans are certainly advanced enough to not rely on pathetic “instincts,” but instead, true compassion and cooperation for one another. In that sense, even with the assumption that naturalness exists, it should be heavily combated. By falling and justifying actions as natural, it simply offers the idea that humans have yet to mentally advance, and certainly, that is false as, by even reading this sentence, it proves that humans are past natural living standards. Returning to the prior example, females are unequivocally capable of authoritative positions; the issue is not whether females are capable of such, but rather, whether society is capable of moving past the idea “naturalism” and animalistic behaviors that justify unfair treatment and systems.

Though another discussion point has occurred, I will most likely save it for another review. The idea of “partnership necessity” is one worthy of discussing, and similar to the digression above, is related in terms of how society has socialized specific ideas, or in this case, needs for life. It is also interesting to observe the role of gender in terms of “partnership necessity.” Briefly put (assuming I am not a hypocrite like in Miss A’s mini-album review of “Colors.”), society ushers the idea that partnership, whether in the form of dating or marriage, is necessary for life. Unfortunately, and as mentioned in the album review of Miss A’s “Colors,” by teaching partnership as necessary, and with gender norms intersecting, a disaster is created: for example, boys are taught to be aggressive and such, and with society also teaching that partners are necessary, it leads to multiple issues with how males could potentially treat females. I will end it here as the linked review covers such, though moreover in focus of gender norms.

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Choreography Score: 7/10 – Ignoring the longer digressions, though as always I hope are ones worthy of ruminating over, it is now time to focus on Girls’ Generation’s “Catch Me If You Can.” While the Song Score is not entirely impressive and has been largely compensated by the perfect Line Distribution, the choreography that takes place is thankfully respectable, for the most part.

Syncing for the choreography remains highly accurate, even despite how chaotic the song mechanically is. Every physical snap connects with a musical snap, slower musical moments are met with movements that follow suit, and for the more intense sections, such as the choruses, equally energetic and upbeat maneuvers are exhibited. The sole moment where syncing becomes vague is during the choruses’ hip-spinning key point; every other moment excluding that portion is clearly connected with the song’s beats and flow.

On the subject of key points, “Catch Me If You Can” unveils a complex choreography. Many key points vary from prior sections, such as how the first pre-chorus’ dance differs from the second pre-chorus. Furthermore, the complexity involved is a proper amount; the dance may possess a copious amount of formations, but it is all a proper scope and thus not overwhelming. Transitions and other details are equally impressive, and overall, with excellent syncing existing, possessing many different, excelling key points accentuates the potency of the choreography.

7 will be the rating. Above average is a proper label to encapsulate the dance. Should the sole moment of disconnected syncing be revamped, an 8 would easily be earned. _______________________________________________________

Overall Score: 6/10 (6/10 raw score) – With the Song Score and Choreography Score averaging out, 6 remains as the final numerical value. Slightly above average is the translated meaning, and that is agreeable to. Biasedly, the Song Score should be much lower, potentially a 3 or even pessimistically, a 2, but with the perfect Line Distribution and even an admirable choreography, the current 6 is acceptable. Nevertheless, a 5 for average may be more suiting. Summing up “Catch Me If You Can,” the ladies of Girls’ Generation definitely prove their adeptness, but their vocals and dancing cannot carry the entirety of a song to success. As such, for a comeback, it is a disappointing one. Positively, however, a future comeback is awaiting, one that will be truly promoted unlike the current one.

As I will always say, thank you very much for reading this review. I wholeheartedly appreciate it and cannot express enough gratitude. It sincerely means a lot. That said, I will apologize for a delayed release; I did claim the review would be finished by Friday night, but it is now Saturday. For what also requires apologies, perhaps due to an absence of writing standard song reviews, I feel as if this one is in poorer quality. As such, if it is, I will work harder to correct such in the future.

In terms of future reviews, as listed in a previous post regarding requests, the current list will be followed. As such, The Ark’s music video of “The Light” will be reviewed, and for the person who requested it, forgive me for the lengthier delay. Nevertheless, it will be published as soon as possible, and furthermore, it will possess a structured outline. Other news to offer is that the upcoming review will be slightly later (a week perhaps) due to finishing academic related work. Of course, once that is cleared, the review will promptly begin, and considering it is a music video review, I expect it taking less time than standard song reviews (this one required approximately 3 days of writing, though I lost track of the total hours).

Keep checking back for the first music video review to be conducted. Of course, “rather than clumsy words it’s [my] actions that [you] believe,” and thus, I will do my best to finish work in order to have time for reviews. That said, “I’m going to find my heart” for the upcoming review as it requires one, but certainly however, I have already found my heart: the readers. Thank you once more, and keep checking back for the upcoming review on The Ark’s music video of “The Light.”

Girls’ Generation – “I Got A Boy” Review

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

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

Reviewed on November 8, 2014

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

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

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

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

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

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

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

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

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

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

The song goes in this structure and order:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Ayo! Stop! Let me put it down another way

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

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

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

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

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

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

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

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

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

I got a boy, a handsome one

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

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

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

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

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

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

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

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

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

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

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

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

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

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

OnStyle’s Reality Show – “Jessica & Krystal” Review

Reviewed on August 14, 2014

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Alright so I don’t know exactly what I’ll be writing for a show “review”, but perhaps this might just be my personal opinion of the show. Anyhow, this is by far one of the better, if not, the best (reality) shows I have ever seen. It’s heartwarming, funny, cute, dorky, and full of emotions. Heck, this is the first show I’ve watched that made me genuinely cry, and although I can get emotional easily when watching things, I’ve never shed an actual tear until this show. So props for that.

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Anyhow, what is “Jessica & Krystal” about? Well as some of you may know, Jessica is a member of Girls’ Generation, a veteran group of the K-Pop scene (Check out my review of “Mr. Mr.” by them) and Krystal is a member of f(x), a solid quintet group (And see my review of “Electric Shock”). And of course, Jessica and Krystal are both sisters; the Jung sisters (last name). While they both work and perform for the same label company of SM Entertainment, they hardly have time to truly spend time with one another. Nevertheless, their affection and love for each other only grows stronger with being apart. For this show, the crew takes us on a ride. We get to see the real sisters; not the singers/dancers, but the actual, sweet independent ladies they are.

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What’s great about this show is it breaks a lot of the created images of them. People have known Krystal as rude, arrogant, etc. and some have thought that for Jessica as well. However, through following their actual lives and seeing their hectic schedules, people are truly able to understand what they go through and how they truly act. Krystal is a reserved, shy person, not someone who refuses to talk since they’re rude.

Another great thing is they show being an idol isn’t all fun and games; it’s a job. A hard job. Although, in my opinion, the show makes lightly of how busy they are, at least they reveal that. There was an episode showing Krystal getting only a few hours of sleep (2 to 4?) and then having to film and practice for the entire day. This also includes running straight into nighttime. After all the work is done, she has time to sleep for a few hours, and then it repeats. A tough job it is, even if it looks glamorous and fun on the outside.  

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Now besides seeing an idol’s personal life, what this show does focus on is their relationship: Jessica and Krystal. It is extremely heartwarming to see how close they are to one another. They eat together, laugh together, cry together, they share so many moments with each other. Of course, being able to do this was thanks to the show. Without spoiling anything, pretty much the ladies have thanked the show for allowing them to spend time together, since normally they would never have time to do that. Anyhow, their love for each other is something everyone can feel and reflect upon. Love truly is everything. I think that’s a message people forget, so remember to love those who are close to you. 

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Well I guess I just covered points on highlighted things of this show. I sort of just went into this post with nothing in mind, but hey I wanted to share it with you guys. This show is just awesome, it really is. Full of charms and laughs, it provides entertainment and it provides a great behind-the-scenes look at the lives of the Jung idols. I really wish they went for another season, but in reality, this show is meant as a one-time deal; going further wouldn’t have the same, momentous effect it currently has. 

If you haven’t seen this show, check it out. In fact, there are some English subtitled videos for it, so that’s neat. 

Anyhow I’ve come to really love this show and adore these sisters. I’m still shocked that “Jessica & Krystal” made me cry, but that goes to show how genuine the show is and such. 

As usual, thanks for reading. Even though this isn’t the usual music review, I hope you find it just as entertaining. This is more of just my opinion on the show and such, but I hope it’s insightful. I didn’t go into much detail, since spoiling this incredible show would be dishonoring. Check it out for yourself to see. 

For my upcoming review, I’m making a complete change of plans to f(x)’s “Red Light”. That’ll be a really, really fun and critical review, so stay tuned for that. I’m also going to post an “Upcoming Song Review” blog for those wondering what my future plans are. Adding diversity is my main goal. Anyhow, thank you for reading this, check out the ladies’ amazing show. For now, I’m actually going to finish the remaining, precious 8 minutes or so left of the last episode. See you in the next review!

Girls’ Generation – “Mr. Mr.” Review

Girls’ Generation – Mr. Mr. (Dance Practice)

Girls’ Generation – Mr. Mr.

Reviewed on August 1, 2014

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Personal Message: It is now the time of August! Time to look back at my Archive page to see how hectic July was. But anyhow, a new month, a new chapter. I started this blog on my birthday of July 7, and seeing how time flies by is scary; I hardly expected much to come out from this blog but, that’s been proven wrong. Anyhow, let’s keep the journey going, shall we? Oh and on a smaller note, I’ll probably be busy for a few days so reviews may become scarce for the time being. I’ll try my best to keep posting, though. 

As promised, today I’m going to review “Mr. Mr” by Girls’ Generation. Personally, I’m not exactly familiar with them. I think they’re an excellent group, but I sadly don’t quite follow them. Anyhow, they’ve been one of Korea’s top groups. They’re stylish, talented, cute, and dorky. Very talented and experienced, seasoned ladies by this point in time, so let’s see how well their latest song fares. 

“Let’s go!”

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Song Total Score: 8/10 (7.8/10 raw score) – Average score of the sub-categories, separate so Choreography Score doesn’t affect it.

– Vocals: 9/10 – After listening to this song for a copious amount of time, I’m confident to say that the vocals are excellent.

Every line holds its own; from what I can tell, every member does their part. There are some more intense vocal work done in this song, most notably, at the later parts. At the bridge section, for example, there are some crazy singing skills at play. 

All in all, very solid vocals from the nine ladies of Girls’ Generation. Extremely talented singing was done.

– Song Structure: 8/10 (8.43/10 raw score) – Going to have scores for “Verse score”, “Pre-Chorus score”, “Chorus score”, etc.)

The song goes in this structure and order:

Introduction, Verse, Pre-Chorus, Chorus, Verse, Pre-Chorus, Chorus, Bridge 1, Bridge 2, Conclusion (Chorus)

So for “Song Structure”, I’m going to go through each section (Verse, Chorus, etc) and give a score per section. After that, the average is the “Song Structure” score.

Note: A “standard” song structure. There’s the verse, then pre-chorus, then chorus, then repeat. Of course, with the usual introduction, conclusion, and a bridge. So quite normal for a song and the syntax/order of it is normal as well. The only differing part would be the bridge; I’ve classified it into two types: Bridge 1 and Bridge 2. Both are in the bridge category, but there’s a momentous change from the first to the second.

1. Introduction: 7/10 – The introduction I’m referring to here is before any singing occurs at all. Just the instrumental; the electronic bass, distorted sound. 

I feel guilty to label this part as the sole “introduction”, since to be honest, the first verse is practically the introduction as well. But, just to keep it consistent with how I’ve reviewed songs in the past, I’m following the same trend.

The introduction here isn’t extremely solid. It’s average. The moment the song starts, the key instrumental is given away, but it’s very stale by itself. It’s the bass-line sound; distorted and “electrified”. Later once the vocals accompany it, it works very well, however, on its own for the start, very plain. 

A standard start. It sets the key instrumental but nothing else is brought up. While this may a rough initial score, it does get better. 

2. Verse: 8/10 – There are two verses in this song; the first is the pair of Taeyeon and Seohyun while the other verse is with Jessica and Tiffany.

I’ll be grading the first pair since Jessica/Tiffany replicate the other verse.

As I’ve stated earlier, the harsher introduction perfectly slides in the song once the vocals kick in. Taeyeon kicks things off with a very powerful “Let’s go!”. This was a perfect line as it connected the introduction to the verse. In fact, thanks to this, the introduction by itself isn’t necessarily bad anymore; “Let’s go!” attaches itself to the introduction in a way that meshes the first verse with it. 

Anyhow, the verses in this song are excellent. Taeyeon’s first lines give off quite some power and that already starts establishing the intensity of “Mr. Mr.” Seohyun’s line are quite similar; although her vocals are slightly weaker, she still brings in the same effect.

A really key feature about the first verse is there’s a play on words, or more accurately, the sound of words, from English to Korean.

Taeyeon’s line of “Let’s go!” has the same sound as her second line of “dwaetgo”. Both “…go” were parallel in sound and in power; a really subtle but amazing detail added here. Adding on, Seohyun follows that pattern with the words “jaego” and her “Oh oh oh…” ending. Now speaking of Seohyun’s “Oh oh” ending, that allowed an easy transition to the next part of the song. 

In total, a solid verse. Lots of powerful vocals exchange in addition to a great play on the ending of words for the first verse. Solid singing from the ladies.

3. Pre-Chorus: 9/10 – For the pre-chorus, there’s quite a bit of variety in terms of singers; for the first pre-chorus, Sunny, Yoona, and Jessica take it. The second pre-chorus has the trio of Sunny, again, along with Sooyoung and Yuri. As usual, I’ll be grading the first squad of Sunny, Yoona, and Jessica. The second pre-chorus is different lyrically, but musically, it follows the same melody and pacing and such.

The pre-chorus is definitely a very solid part of the song. Let’s break down the different aspects.

So the moment the pre-chorus hits, the instrumental morphs itself; it has the “build up” sound quality to it in terms of getting passive in order for a build up to occur. This works to the function of the usual pre-chorus, the standard hyping up for the chorus. 

In terms of singing, Sunny takes the lead. She brings a softer melody to the song, in contrast to the powerful vocals that the previous section has given. Yoona follows up and emulates Sunny’s line. Both the ladies are bringing the intensity/energy level of the song down slowly. This is perfect for creating a climax. After Yoona, we get to hear Jessica. Her singing is on the slower pace, and her pitch is on the lower side. This is just adding on to the build up process. Her final lines, though, are quite catchy. “You bad bad bad boy, you so bad”.

So far what we can notice is Sunny and Yoona had normal paced lines, but Jessica gradually slows down the song with her part. Her final line made the song feel like it came to a complete stop; now this is stretching out a build up process for sure, but at least it wasn’t over done. The last word of “bad” was editted and distorted and had its pitched lowered and lowered, so even more work towards reaching the chorus. This part is fine. It granted a smooth transition for sure.

In short, the pre-chorus was a very, very extensive build up process. The 3 ladies worked together to slowly bring the song down which would then allow an extremely energetic chorus. Thankfully, it worked out; the build up was excellent and it definitely gets listeners hyped for the chorus. The only risk is it can be considered too long for a build up, but since it was mostly Jessica bringing the song down, it didn’t feel too long. Overall, solid work by the ladies.

In terms of the other pre-chorus, it follows the same trend, the difference, though, are the lyrics. 

4. Chorus: 9/10 – Looking at the song lyrics, I could’ve made a post-chorus section, but I think overall, just keeping it was one chorus would make life a lot easier. Anyways, it’s time for the chorus. After such a dramatic hype for it, will it disappoint? Let’s see.

It definitely does not disappoint at all; an extremely catchy and solid chorus.

There are so many powerful aspects to this song’s part, but before we continue, I’ll be covering the first chorus. Every other chorus follows the same format, except different members sing. 

Moving on, the best way to describe the chorus is through one word: teamwork. Firstly, everyone is singing the chorus (or at least it seems that way, if I’m wrong, then well free credit to Girls’ Generation).

Now, through the chorus, there are some nice two-part singing. Nothing intense, but it’s a nice added layer. To be specific, every time the ladies sing “Mr. Mr”, some other member sings. Yuri does that for the first chorus with “Mr. Mr. (nal bwa)”, for example.

Continuing, after the first 4 initial “Mr. Mr.” have passed, a member has a solo singing part. For the first chorus, Taeyeon was that person. Her part brought back the song to a single voice versus the entire group singing. She sang with sufficient power to match the chorus’ high intensity but she still managed to carry the flow and melody perfectly. After her, Tiffany comes with with a small line to carry out the flow and power, but quickly after her, Seohyun steps in and does the same. That isn’t the end, though, now both the ladies finish the chorus together with “Geuge baro neo Mr. Mr.” They continued the same melody and pacing as well.

Finally, the chorus ends by repeating “Mr. Mr.” until it fades into the verse. A perfect transition for the next part. Adding on, the instrumental also provides a lot of intensity to the song and it aids the vocals very well. Great synergy between vocals and instrumental.

The real beauty behind this chorus is probably through how lines are shared. Everyone is singing, then a member has her spotlight with two-part singing. After that, a member has a few lines to sing alone. Then after that, a member takes a few words followed up by another singer who takes a few words. However, after that, they both sing the same final line. Just the switch up between the singers in the group is fantastic; it provides a really climatic moment for the song in addition to hearing a diversity of sweet voices. An impressive chorus for sure.

5. Bridge 1: 7/10 – This is the part with the countdown. Err, count…up? We’ll just call it counting. 

Ignoring the terrible joke, Bridge 1 honestly felt like a bridge, for the bridge. This part is where the counting occurs and then the funky instrumental begins. There’s very little singing although words are thrown in such as “Hey, hey” and “Mr. Mr., Mr. Mr.” Bridge 1 isn’t quite the strongest, especially for a bridge, it doesn’t seem to be a bridge for the song as a whole, it seems to be building up towards another part, which actually seems to be the intended goal. Either way, the funky instrumental is unique yet useful. It allows the song to calm itself and to recycle itself so that another top-notch intense/energetic part can occur again. 

Why Bridge 1 is somewhat weak is due to it relying upon a weaker instrumental; the same distorted, electrified bassline is heard. It’s a bit more…distorted and it gives it a powerful funky tune. Hearing this alone, though, isn’t enlightening. As stated earlier, the instrumental works well WITH vocals, but not without. The transitioning to and after are great. Previously, the past section had the instrumental down down properly. Now transitioning to the next part has the instrumental changing into a different tune. It becomes lighter and perfectly fits for the higher notes to come.

6. Bridge 2: 10/10 – I love this part. For sure, this is my favorite part of the song.

For this section, there’s a lot of support role done along with very, very outstanding vocal work done. 

Bridge 2 kicks off with Sooyoung and Yoona singing their lines together. They sing in a high pitch, but they do it quickly and quietly. They provide support for Taeyeon’s singing that occurs. Taeyeon’s line are extremely powerful; the melody is carried by her as well through her strong singing. Sooyoung and Yoona are aiding their vocals to back her up. Now next up we have Hyoyeon and Yuri doing the support role. This time, Tiffany is adding her powerful vocals at work. It isn’t over yet, though. Once Bridge 2 transitions to the final chorus, Tiffany adds the final climatic peak of energy through an extremely powerful, high pitched, and lengthy note hold of “Mister~ Oh~”

Bridge 2 does a fantastic job with having a main singer then back up singers. Teamwork is showcased here. Furthermore, Tiffany’s final note hold was an astonishing, satisfying, last-top-peak energetic line. An amazing bridge that utilizes extraordinary vocals along with great supporting vocals as well.

7. Conclusion (Chorus): 9/10 – A perfect ending. After such an energetic Bridge 2, “Mr. Mr.” manages to wrap itself nicely.

For this part, the chorus is recycled once more, but it is a lot more energetic. The instrumental is also “lighter”, this helps augment the higher pitched vocals at this point. For the last chorus, it’s homogeneous to the other choruses except this one has some great two-part singing to add the final sprinkle of intensity. There are lots of “Oh~” and “Whoa~” parts added. The ladies here are adding everything they can for a final shot; higher pitched note holds, very melodic voices, lots of power, it is definitely a solid punch for an ending. Very satisfying. At the very end, the instrumental dies out properly as well. A quick, but smooth end. No cuts or abruptness. 

– Line Distribution: 8/10 – Nine members, so let’s see how the ladies had their lines shared among each other.

Taeyeon had so much spotlight, but she wasn’t dominating it. She was used when powerful vocals were needed, and serve she did. Excellent vocal work done by her, and her given lines proves it. 

Jessica had a lot of lines as well; she was seen at the verses, pre-choruses, and does some two-parting at the conclusion. So for sure, she had her spotlight.

Sunny was heard in multiple sections; although she lacks near the end, she was quite prominent through the other parts.

Tiffany was similar with Taeyeon in that she provided a lot of powerful lines; she had a huge impact on the song. Positively, she had her time.

Hyoyeon is on the quieter side; nevertheless, we hear her with two-parting at one chorus along with tagging up with Yuri towards Bridge 2. I think she’s also in the conclusion, so she wasn’t exactly left out. 

Yuri seems to be on the quieter side as well. She does some two-parting but also has a great solo part for the second pre-chorus. 

For Sooyoung, she had some tag-teaming with Yoona for Bridge 2, and she seems to have added the “Mr. Mr.” during Bridge 1. Also, she had one line at the second pre-chorus. Not completely ditched.

Yoona probably has the least from what it seems like; she had one line at the first pre-chorus and then later partners up with Sooyoung for Bridge 2. She could’ve used maybe one more line, though.

Seohyun is the last on the list, but she definitely had some lengthier lines. She is in the first verse, has a few words at the first chorus, then makes a return at the conclusion. She had her time for sure.

Overall, I’ll give an 8/10 since some members are lacking and could’ve had some more, but we have to remember, everyone does sing the chorus, so props for that. Not disappointing, though, and as always, sharing lines among nine members is extremely difficult. Their line distribution was the best it could be with allowing the stronger singers to strive while still allowing everyone else lines. And of course, everyone sings along in the chorus. 

– Instrumentals: 7/10 – As mentioned earlier, the instrumental by itself is quite weak. Electronic based. It serves its job on the bright side, with aiding transitions, which it does extremely well, and it complements Girls’ Generation’s vocals very well.

Average instrumental alone, but with the singing of the ladies, it works very well. 

– Meaning: 7/10 – Many of you may be inquiring, “Mr. Mr.”, what could the lyrics be about? I had no idea, perhaps a way of flirting with a mister, or maybe a way of telling off a mister. Who knows, but let’s find out through the English translated lyrics. Not 100% accurate, but close: 

Let’s go! What are you worried about?
What are you afraid of?
If you keep measuring things out, it’ll be too late
Oh oh oh~, Oh oh oh~

Every day brings a different kind of nervousness
I want someone to take the lead
But you ignore it and close your eyes
You bad bad bad boy, you so bad

Be stronger
Mr. Mr. (look at me)
Mr. Mr. (yes you, you, you)
You made my heart race
Mr. Mr. (the best man)
Mr. Mr. (that’s you)
You make broken glass from scars
turn into stars Mr. Mr. Mr. Mr.
The chosen one to make me shine,
that is you Mr. Mr.

Mr. Mr. Mr. Mr. Mr. Mr. Mr. Mr.
Mr. Mr. Mr. Mr. Mr. Mr. Mr. Mr.

Why can’t you believe it yet?
I’ll tell you the real secret
Of why you are a special Mr.
Oh oh oh~, Oh oh oh~

You have the key to open the future
So have a dream that is bigger than a little boy’s
Place me in your shining eyes
My Mi, Mi, Mister, Rock this world

Be stronger
Mr. Mr. (look at me)
Mr. Mr. (yes you, you, you)
You made my heart race
Mr. Mr. (the best man)
Mr. Mr. (that’s you)
You make broken glass from scars
turn into stars Mr. Mr. Mr. Mr.
The chosen one to make me shine,
that is you Mr. Mr.

1, 2, 3, 4
Hey, Hey, Hey, Hey,
Mr. Mr. Mr. Mr.
Hey, Hey, Hey
Wooh~

(In this world) in front of you
(before anyone else) throw yourself
(More intensely) more intensely
(Mr. Mr.) Mister
(Only you) can fulfill
(just one thing) for the tomorrow
(That you and I will live inside) Mister

Be stronger
Mr. Mr. (look at me)
Mr. Mr. (yes you, you, you)
You made my heart race
Mr. Mr. (the best man)
Mr. Mr. (that’s you)
You make broken glass from scars
turn into stars Mr. Mr. Mr. Mr.
The chosen one to make me shine,
that is you Mr. Mr.

Alright, the meaning seems to be about a lady telling the gentleman she’s in love with to, well, be a “Mr. Mr.” and to make the move. What’s the move, you ask? Proposing to finally be girlfriend/boyfriend, marriage, etc.

The lyrics are average; it’s just the lady explaining why she loves him and that she’s urging him to make the first move and to “Be stronger” and take that chance.

There are some interesting details, but nothing sophisticated at all. A love story, or a give-me-your-love story as I like to call them. 

Average lyrics.

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Choreography Score: 9/10 – “Mr. Mr.” does contain a very fun choreography to watch; it’s classy and stylish, and therefore sexy. It’s also quite powerful when the chorus hits.

The syncing is dead-on, lots of connections between the music and movements. Transitioning goes very smoothly. Positioning also highlights the singers, which is always awesome. Later, male dancers do come in as back up, and normally seeing SO many people dancing would seem chaotic, but “Mr. Mr.” has it in check; they’re there to provide the ladies someone to dance with for certain parts. Some background filler it seems, but fitting.

The only part I find out of place is the single male dancer part; while Jessica and him share a specific scene, once Tiffany comes in and knocks him to the ground (not literally, of course), he does a roll and the ladies walk over him. Not the smoothest transition to get out, and it would’ve been nicer if Tiffany’s entrance had pushed him out versus placing him on the floor. Would’ve made the transition easier and then the dance would possess no awkward rolling-around part.

Overall though, very solid dance. The bridge dance part is also quite badass if I may use that word; lots of power there and great execution.

Check out the video above to see!

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Overall Score: 9/10 (8.5/10 raw score) – A 9/10, I agree with that.

“Mr. Mr.” is an awesome, fun song. Lots of incredible singing done by the ladies of Girls’ Generation. The song itself is quite catchy and solid, and the choreography is amazing. I highly recommend this song. 

Considering the ladies are practically veterans in the K-Pop industry, I think this song does them some justice; I haven’t heard all of their other songs, though, but I heard enough and I think “Mr. Mr.” does show off their very skilled singing abilities. 

As always, thank you very much for reading this review and my blog. I sincerely appreciate it, so thank you very much. Before we end, like I said, I may not have anything up for a few days since I’ll be away. On top of that, I have some other things to do and I personally might be grinding and training hard for my E-Sports thing for a bit. BUT, knowing how much I love Korean Pop and reviewing songs, I doubt I’ll be away (if at all) for a while. 

Cheers for a new month! A brand new month so a time to hone in some stronger, entertaining and thought-provoking reviews. I will work even harder for my readers, so expect that. 

And before I forget, I have to do my obligated advertisement of “Jessica & Krystal”, watch that show if you haven’t checked it out. That show follows the daily lives behind the sisters. Very cute, heartwarming, and funny. K-Pop idols are truly one of the most hardworking people out there and they provide a great example for others. 

Anyhow, time for me to get off soon since I’m going to have to wake up super early. Thanks once again. “You make broken glass from scars
turn into stars” and “The chosen one to make me shine, that is you”