#snsd dance cover

[mintsbubbletea]

Some pics from a cover I did yesterday :3

[kaixcastiel27]

final poll for my kpop dancce challenge!

[ayoyoungg]

Real talk: why did we never get an IGAB remix that had a dance break in the middle (using the iconic point choreo) 🤔🤔🤔

[authorhjk1]

I enjoyed reading about how each member of SNSD would suck dick. Could you also do one for aespa

Karina

Out of all four, Karina is the most dominant one. She likes it at her own pace, but that pace always depends on when and where. She can be gentle and loving, just when the two of you are ready to go to bed. And she can fuck her face on your cock, when she really needs it, in the car, just before dance practice. Karina likes being on her knees though. She loves it when you cum her face and on her tits.

Giselle

You found out early on in your relationship with her, that Giselle likes roleplay. The pressure of being and idol, always having to look her best, always having to behave properly, at least in the bedroom, she wants to escape from that.

And eventually, as she got more comfortable with you, she also got more comfortable with exploring new roles and new places.

Her favorite? Playing a cheap hooker while you are just walking down the street. You pay her for a blowjob in some alley near your apartment. Anyone could walk by, anyone could see. And yet, this is Giselle's favorite thing. She always has to be perfect and chic on stage. Here, she can be cheap and slutty. Which is more like her style anyway.

Winter

Winter likes it as soft as she is cute. Which means, she loves it slow and soft. There are now "quick blowjobs" like with Karina. Prepare yourself for a heaven like experience. How long can you last with Winter, kneeling in front of you, or lying on her stomach between your legs on the bed, licking, sucking, worshipping your cock, until you can't take it anymore?

And a shy, cute smile forms on her face, everytime she makes you cum. She loves to just stroke your to completion at the end. She loves it how your warm cum slowly rolls down your shaft, covering her hand. Winter always licks it clean afterwards, moaning with satisfaction.

Ningning

Ningning is similar to Karina, with one major difference. It's not her who decides on the pace. Or the when. Or the where. In fact, Ningning doesn't have a say in anything.

She loves it, that, once you are really in the mood, you reduce her to only a set of holes. Her mouth, her pussy, her ass. All just places for you to get your dick wet. She puts her hair in ponytails or similar hairstyles on purpose. Just to tempt you to pull at them, while you force her deeper onto your cock.

[usedpidemo]

What if there was a K-pop based game? Not a Just Dance K-pop edition, but an actual game? What would the gameplay be like? Would you play or buy it? And who should be the first cover idol?

This honestly shouldn't be something I put so much thought into, and it's only scratching the surface, but there's so much material and concepts you could do with a K-pop based game. Other suggestions have already been tackled and explained tactfully, such as gameplay and Career/Story Mode, so here's a list of things and ideas I would like to see in a hypothetical game:

Cover idol:

I think if it’s not BTS or Blackpink, especially for the first game, you’d cause a huge riot. They are far and away the two most popular and recognized K-pop groups of all time, and are basically most Westerners’ gateway to the genre. It makes sense why not them, they’re currently inactive (esp. since BTS are in the military), but I’d argue that you should easily make two cover versions of the game—one with BTS, the other Blackpink. If it has to be one active idol, you could go with many options: Wonyoung, Karina, An Yujin, Yeji, Chaewon, Winter, Seulgi, Sana, Miyeon. It would be cool to have a foreign idol, but it has to be a Korean first, and I’d personally go with Wonyoung. For the Legacy/Legend Editions, I’d pick IU.

MyGM:

You could go three ways with a MyGM mode. Group based, company based, and music show based. All three will have similar gameplay elements, but have different ways and strategies to go about managing a successful group, company or music show. 

MyIdol could be you as a singular group’s manager, scheduling comebacks, concerts, days-off, and so on during a calendar year. There’s a stamina/morale system to balance between working them for profit/popularity and resting them so that none of the members get disgruntled and leave or be sidelined. You’d also have to make decisions for the members’ solo opportunities, line distribution, and more.

MyCompany is larger in scale—you now run an entire company or sublabel (good luck if you’re running Cube or SM lmao). You have to manage every artist’s comebacks and schedules, or else they leave or demand a contract termination. An addition from MyIdol is the ability to sign other idols/artists/trainees on the free agent market and you can add them to existing groups or create new groups with your current roster. 

MyMusicShow would basically be WWE 2K’s MyGM. You’re in charge of a music show/Korean TV station like KBS’ Music Bank or SBS’ Inkigayo and you have to compete with other networks for the best ratings of the week throughout a calendar year. You can negotiate exclusive contracts with other agencies so that their groups can only appear on your programs, as well as managing set designs/TV booking (who wins on your show)/screentime for the artists on your show. 

Universe Mode:

What it says on the tin: you have control over the entire industry and decide who are the top dogs, create special collaborations, send groups on international stages, etc.

Showcase Mode:

Depends on who’s the cover idol: you basically replay some of their most iconic/legendary stages throughout their career. If it were someone like Wonyoung for example, it would include her Very Very Very performance from PD48, that one Love Dive baseball stage, K-Pop Flex 2022, her 2022 Melon Music Awards performance, and so on. You could also do one for whoever’s on the Legend/Legacy Edition cover.

Roster:

Depending on which companies are down for it, I expect all the current 4th/5th gen guys to be available from the start, while 3rd/2nd gen groups are labeled as Legends/Legacy and require some grinding to unlock (with few exceptions). Newer groups would probably be DLC or groups from prominent eras/releases (like 2018 TWICE or 2010 SNSD for example). TheLibrarian’s suggestion of having boy group/girl group only versions is also a possible option, but c’mon, if the NBA and WWE 2K games can include both their men and women’s rosters, I see no reason for the K-pop game not to do the same.

I put so much unnecessary thought into it for some reason, I even tried making concept covers of my own using my ideas and others (they're kinda bad XD). Sorry you had to read through all that.

[timextoxhajima]

what's the right word?

my first kpop group was snsd when they first released gee back in 2009/2010 and i was 9/10.

i've been stuck in this hole of 'kpop' since. i turn 24 in april. thats more than half my life.

growing up in a conservative asian family and the elder daughter of two teachers, it's not easy to explain the grievances and troubles i feel like i've experienced. some might not even consider it a terrible thing. yes, i've had a good standard of education and had parents who took care of me but sometimes the challenge was truly connecting with people and finding an emotional support.

nobody else can replicate and/or understand the true depth of the love, admiration, inspiration and reliance a fan has on her favourite idols/groups. throughout the years, i've gone through the eras. going from the snsd/shinee/suju era, and then into the bts/exo/vixx/bap era, and then blackpink/red velvet/wanna one/nct and then i feel like my life had a significant trajectory in the 2019-2020 period because i started dancing.

after having spent a decade being so invested in the idol culture of perfecting every single performance, pushing past boundaries and the idea of 'not being enough' being the exact source of motivation, perhaps picking up cover-dancing wasn't the best idea. especially when i come in a package with a bunch of baggage, anxiety, stress, and other perfectionist ideals.

throughout the years before 2019/2020, my reliance on my kpop idols was emotional. i wrote letters to them like they were my best friends, wished them the best of health and that they were always enough, while wishing i was as good as they were (ironic?). to my past loves: sooyoung, donghae, minho, jonghyun, jungkook, baekhyun, kang daniel, irene, jaehyun and the other members who have helped me through alot - i owe my life to them. quite literally.

tbz and enhypen have a special place in my heart. because not only did they become the usual emotional support pillars i had all the while, they became my mentors. an actual source to learn and be better. enhypen even more, because i've covered at least 5-6 of their items.

this growth in myself and the growth i see in them was so quiet but so sudden last night as i filmed their performances. 'oh my god, i danced to this song back in 2022 and now i get to see it live?'

as a fan, i feel more emotional because not only am i a fan who enjoys their music, i feel like i had connected to them on the 'stage performer' level and though i'm still lacking in many, many ways, i owe my progress and improvement to enhypen. they push me both mentally and physically during practises and their want to surpass themselves always reminds me that love knows no boundaries. the love for the stage and the love to be the best version of yourself.

i'm quite sure there's some psychological term for it, when you rely on someone who doesn't know you exist, and that you gain energy just from this person's existence.

the story is much, much longer but i could write a whole fic about it if i wanted to.

to my strength, my (probably last) love, heeseung.

i could write a billion words about you, and it would still not be enough to share how much of my life, my success, my motivation, my strength i owe to you. the love between a fan and an idol can only go so far, but i promise it will be forever.

i have a knack for choosing the members who seem to be the 'ace' of the group, but you are so unapologetically open about being a perfectionist. that's just my opinion. you know you want to be at your best, and you strive so hard to get there, sometimes i almost feel sad that you think you're not yet perfect. but then again, that's the very thing that makes me look up to you.

saw you for the first time and probably the last time last night. thank you for reigniting this want to surpass myself in every way possible. thank you for reminding me that lacking is the only way up.

[papaya2000s]

The History of Korean Girl Groups' evolution over time - Before Liberation to Girls Generation (SNSD) -> Part 3

I would like to mention before you continue reading that I have been summarizing and briefly going over the information I found. I encourage you all to do further research on this topic as it is very interesting, especially for those interested in older Kpop/Korean Music like myself.

As I mentioned earlier, there is a lot of information available, but at the same time, there isn't much specifically about the music side of Korea's history. I will provide sources for all my posts at the end if anyone is interested.

Now, let me give you a quick summary of becoming a Kisaeng. For more detailed information, you can refer to my previous post. In this post, I will continue discussing what Kisaeng's did up until the 1930s.

Becoming a Kisaeng

The Kisaeng was a skilled working class, and was established in the Joseon period through various paths. Women were either daughters of Kisaeng or sold into the class by families struggling to support them. The government took an early interest in ensuring correct education, starting with the establishment of Gyobang (교방;敎坊) training institutes during the Goryeo period.

Young Kisaeng's with a Gayageum/ Kayagum (가야금;伽倻琴). A traditional Korean musical instrument.

During the Joseon period, instructors focused on music and dance. The three-tiered system of later Joseon included specialized training schools for Kisaeng, covering poetry, dance, music, and art. This system continued into the Japanese colonial period, during which time the schools training Kisaeng were known as Gwonbeon (권번).

Kisaeng and Geisha

During my investigation into the history of Kisaeng, I initially believed that Kisaeng would remain unchanged and continue to be uniquely Korean. However, I discovered that the training and education of Kisaeng underwent significant changes when Japan colonized Korea in 1910. Note - I am not saying that Geisha and Kisaeng's are the same, one is better than the other, or they copied each other, both Geisha and Kisaeng cultures are different the only similarities that they have are that they were highly-trained artist women who entertained men with music, conversation, and poetry.

Gisaeng were highly skilled entertainers who excelled in various art forms such as poetry, calligraphy, painting, dancing, and singing. They were the only women in a strictly hierarchical society who had the opportunity to engage in these activities traditionally associated with men. These talented women received rigorous training at institutions like Janghakwon, which was responsible for music and dance at royal ceremonies during the Joseon Dynasty. Even after the government's disappearance, private Kisaeng schools continued their role, providing comprehensive education that included not only traditional arts but also foreign arts.

Panoramic view and class scenes of gisaeng school in Pyongyang.

Unfortunately, the culture surrounding gisaeng underwent significant distortion during the late Joseon Dynasty. The Kisaeng system was abolished in 1909, leaving restaurants as the only platform for Kisaeng performances. The image of gisaeng was further distorted when the Japanese government introduced a public singing system that grouped gisaeng with prostitutes and entertainers. As a result, Kisaeng began to be perceived as courtesans or individuals lacking traditional artistic value. In contrast, Geisha in Japan have managed to survive and maintain their revered status as entertainers to this day. However, some Kisaeng's managed to adapt to the changing times and emerged as popular stars through mediums like radio, magazines, and movies.

Japanese Kisaeng (Geisha)

Geisha, or Yegi (藝者), is a term used to describe Japanese Kisaeng, a system that originated in Japan between 1688 and 1704. Geisha's were skilled in traditional Japanese arts and were responsible for delivering professional hospitality. Initially men, they changed in the 18th century when women took over the role. Geisha's are known for their vibrant and elegant kimonos, which they pair with red lips against their white-powdered faces.

During the Japanese colonial period, the Gwonbeonbeon in Seoul was different from traditional Korean Kisaengbeonbeon. Japanese brothels were more akin to Yechanggi (藝娼妓), public servants in brothels, aiming to centralize prostitution in specific areas and prevent private brothels from spreading into residential neighborhoods. By 1924, the number of brothels in Japan had increased significantly, reaching 544 establishments.

The Shinmachi red-light district in Seoul was a prominent location for prostitution during the Japanese colonial period. The Shinmachi Red House Association was formed in the western part of the district, where customers could personally select women from a lineup or through numbered photo albums displayed on the walls of the establishments.

Photo of the Midori-machi brothel in Busan during the Japanese colonial period.

The history of'resthouse villages' reflects the remnants of Japan's colonial rule and its impact on various regions. For example, the Wanwol-dong brothel village in Busan traces its roots back to the establishment of the 'Midorimachi Red Center' in 1907. This area, referred to as Sohwatong by the Japanese, served as a hub for brothels that eventually spread across the country.

The transition from the 'public brothel system' to the post-liberation era marked a shift in the dynamics of these villages, reflecting the changing socio-political landscape over time.

In modern times, it is important to note that some women who engage solely in prostitution may falsely identify themselves as Geisha's, disregarding the true essence of the profession.

The Pyongyang Kisaeng School tourist attraction during the Japanese colonial period

The historical significance of the Pyongyang Kisaeng School, which was a renowned tourist attraction during the Japanese colonial period, greatly contributes to the cultural heritage of the Korean Entertainment Industry. The abundance of information available about the school's existence and operation during that time period adds to its historical value. This knowledge not only enhances our understanding of the school's role in Korean entertainment but also sheds light on the broader historical context in which it thrived.

During the Goryeo and Joseon periods, Kisaeng's attended training institutes to receive proper education. The government showed early interest in this by establishing Gyobang, a training institute during the Goryeo period. This educational system continued into the Japanese colonial period, where Kisaeng training schools were called Gwonbeon.

In the 1930s, many tourist groups visiting Joseon were eager to see Kisaeng's, and the most sought-after place to witness their traditional beauty was the Pyongyang Kisaeng School. Originally named 'Pyongyang Giseonggwonbeon Kisaeng Training Center,' (평양 기성권번 기생양성소) it operated as a three-year school near the Daedong/ Taedong River (대동강), with support from around 10 large-scale restaurants in the area.

Photo postcard from Pyongyang Kisaeng School

During that period, the curriculum varied for each grade, with different content for each of the three years. First-year students were taught songs like Ujo (우조;羽調) and Gyemyeonjo (계면조;界面調), along with subjects like Pyeongsijo (평시아), Gojo (고조;高調), Saseojo (사서조;詞說調), the Four Gentlemen, Chinese rhymes, Korean language, and arithmetic.

Moving on to the second year, students learned more advanced Sijo such as Gwansan Yungma (관산융마;完山龍馬), Baekgusa (백구사;白口寺), Hwanggyesa (황계사), and Eobusa (에부사), as well as various musical instruments like Saenghwang, flute, Yanggeum, Geomungo, and Jeotdae.

The third year excluded Yangsando and Bangataryeong from the curriculum due to their perceived lower level, and instead focused on teaching Seungmu, Geommu, and dance based on guest requests.

Pyongyang Kisaeng school class scene

A Kisaeng school that was just like a school

Upon graduating, they relocated to various cities such as Seoul, Sinuiju, or Daegu, with approximately 70% of the 180 graduates choosing to go abroad. While many students who enrolled in the Kisaeng school hailed from Pyongyang, there were also a significant number from Seoul, Hwanghae Province, and Pyeongan Province. The school boasted two esteemed masters, Park Myeong-hwa and Gimhae-sa, who taught singing, while painting was taught by Suam.

In 1934, four years later, the number of students increased to 250 and the subjects taught at Pyeongyang Kisaeng School underwent changes. The curriculum offered a surprisingly diverse range of subjects, providing students with a comprehensive education.

The Pyongyang Kisaeng School catered to children aged between 13 and 15 who had completed the 6th grade of regular school. Similar to a girls' school, it operated on a semester system and charged monthly tuition fees. For first-year students, the monthly payment was 2 won, while second-year students paid the same amount. Third-year students, on the other hand, had a slightly higher monthly fee of 3 won. Additionally, there was an admission fee of 3 won for each student.

Pyongyang Kisaeng School professor’s subject

In my view, when comparing the education of Kisaeng students to the training of modern idols, there are striking similarities between them both. For instance, foreign members of idol groups must learn Korean, while both foreign and Korean members are required to master skills such as singing, dancing, playing instruments if necessary, and even writing lyrics before making their debut. Both Kisaeng students and idols are required to dedicate themselves fully to their craft, demonstrating a commitment to excellence and a willingness to continually improve their skills in order to achieve their goals.

The first semester ran from April 1 to August 31, the second semester from September 1 to December 31, and the third semester from January 1 to March 31. President Ki Seong-kwon (기성권) served as the principal of this school. Pyongyang's Kisaeng school gained a reputation and attracted visitors from Shanghai, Nanjing, Tokyo, Osaka, Seoul, and other locations.

I couldn't find any pictures of President Ki Seong-kwon (기성권) who served as the principal for the Kisaeng School.

The study learned at Kisaeng school is Kisaeng (妓學) - Prostitution.

During the period of Japanese colonial rule, schools were closely monitored by the security police. Women who pledged their allegiance as Japanese imperial subjects were then enlisted as members of the Ministry of Defense. In this context, the purpose of establishing schools for Kisaeng, who were considered the epitome of entertainment and laughter at social gatherings, was to provide them with vocational education.

Kisaeng were regarded as professional women who inherited their skills from previous generations, and as such, these schools focused on teaching various crafts, techniques, and even Gihak.

Pyongyang Kisaeng school western dance performance practice scene.

1939 Pyongyang Kisaeng School 3rd grade class schedule

The timetable provided showcases the class schedule for 210 third-grade students at Pyeongyang Kisaeng School back in 1939. The classes were named after a 'Japanese spear', reflecting the diverse range of subjects taught at the school. Notably, the schedule did not include departments such as Changga and Dance for the first year, and Sijo and Akjeon for the second year.

This comprehensive curriculum was so varied that it was considered a single discipline known as ‘Gihak (妓學)’. The students were carefully assigned to fields based on their strengths by senior Kisaeng's and renowned female teachers who excelled in spear techniques. They were instructed in various skills, including playing the gayageum, based on their proficiency levels. Initially, they were taught how to produce sounds, a challenging task that required rigorous training for 3 to 4 months, during which they refrained from eating to master a wide range of tones.

Furthermore, the students were trained in the pronunciation of custom sounds and the proper way to strike their knees, following a step-by-step guide on hand and leg movements. Approximately 50 to 60 female students emulated these movements, swaying their shoulders gracefully and singing in unison. The dance performances at the Kisaeng school were renowned for their sword and monk dances during that era.

However, by the late 1930s, these dances were merely symbolic, reflecting a decline in interest in classical arts among the audience. The curriculum also included classes on 'etiquette' and 'conversation', where students learned the art of serving and interacting with male customers. Detailed instructions were provided on every aspect of hosting a banquet, from walking and sitting to pouring drinks, making facial expressions, bidding farewell to guests, and entertaining them in the kitchen. While technical skills were essential for excelling as a Kisaeng, there was also an emphasis on innate talent and the ability to captivate men through charm.

The presence of exemplary Kisaeng seniors within the school environment further enriched the learning experience, as the school was closely associated with the Kisaeng office, fostering a culture of mentorship and guidance.

In the 14th Showa edition of Modern Japan/Joseon, there is an article titled "What is taught in gisaeng schools ?" It is written by a person named Han Jae-deok (韓載德) who  went to Pyongyang's gisaeng school to report on it, it contained the fact that there are 210 students and the third-year schedule.

Pyongyang Kisaeng School

The Pyongyang Kisaeng School has been known for producing some of the most talented Kisaeng/ Korean singers who made a significant impact on the music scene during the 1930s. Graduates from this prestigious school have gone on to dominate the popular music industry, showcasing their exceptional skills and captivating performances.

The Kisaeng school in Bubyeokru, Pyongyang, is a 70-year-old establishment that combines Korean and Western influences. The school is known for its unique atmosphere, with a mix of Korean and Western houses. The school features a dance classroom, a musician's seat, and a meeting place for famous Nogis to share their experiences and receive ethics education.

The downstairs classroom is a song classroom decorated like the largest hall in Seoul, with 80 to 90 students learning meditation songs and singing. The school also has an unblocked oriental medicine room, where students can establish their voice through noise.

The calligraphy and painting room is a required subject for first-year students, requiring them to practice meditation with the Mindless Pen. The school has about 250 students, who are taught in three semesters. In the first year, students learn song, calligraphy, painting, singing, Korean language, arithmetic, and Korean. In the second year, they learn Ujo, Sijo, Gasa, Korean language, arithmetic, calligraphy, painting, singing, and dance. In the third year, students learn lyrics, dance, miscellaneous songs, singing, Japanese songs, Eastern and Western music, calligraphy and painting, and martial arts.

In summary, the gisaeng school in Bubyeokru (부벽루) is a unique blend of Korean and Western influences, offering a unique learning experience for students.

A photo postcard showing Gisaeng performing orchestral music.

Soruses:

https://terms.naver.com/entry.naver?docId=1763526&cid=49230&categoryId=49230

https://terms.naver.com/entry.naver?docId=6539877&cid=69239&categoryId=42967

https://terms.naver.com/entry.naver?docId=2401256&cid=62040&categoryId=62040

https://en.wikipedia.org/wiki/Kisaeng#cite_ref-61

https://terms.naver.com/entry.naver?docId=6539880&cid=69239&categoryId=42967

[jung-koook]

Do you have a favorite snsd song? 🤩

these two because it makes me feel nostalgic

I have danced to the song "the boys" and "I got boy" at school in different years. and the year I danced to "I got boy" I won the I got boy album with taeyeon cover because I won first place in the competition. and years later I also won tickets to sm's concert. 😅 I was that person who knew all the kpop and jpop choreographies and now I don't even know all the kpop groups. 😭😭😭😭

[married-2-the-music]

K-pop Discography Deep Dives: Girls Generation / SNSD (Part ONE)

Girls’ Generation debuted in 2007, with nine members: Taeyeon, Seohyun, Yoona, Yuri, Tiffany, Jessica (who left in 2014), Sunny, Sooyoung, and Hyoyeon, and soon became one of the most popular groups of the 2nd generation of k-pop with their catchy retro songs and down-to-earth image. Also, I’ll be using the names Girls Generation and SNSD (Sonoshidae, their Korean name) interchangeably through this.

Here are my credentials: So, I’m absolutely a fan of Girls’ Generation, although I’m in that weird space where I’m more than a casual one yet not quite a SONE (a full fan), but just like with Sunmi, I have a feeling that this deep dive will make me one. I’ve heard almost all of their title tracks, and a decent amount of b-sides, but since they have over 100 songs, I’m sure I’ll find some new ones to love too. I’m also a fan of both Taeyeon and Tiffany’s solo careers.

Their 2007 debut was Into The New World, and I honestly do not know what to say about this song. It was the reason I wanted to do this review in the first place, because in my opinion, it’s the best k-pop song of all time, and I’m not even a SONE. It’s upbeat and ultra-poppy, cheesy as hell, wonderfully hopeful, and has an instantly recognizable, soaring chorus that I can sing from memory (although not as well). I’ve probably seen this MV dozens of times, but I still chuckle at the dance break and can’t stop smiling at the take-off in the last bridge and how young they are, just barely older than I was when I became a k-pop fan. In the years after Into The New World was released, it’s become an important protest song in Korea, and to many now—myself included—it’s more than just what it was meant to be.

Full warning: there is no way that I could view any song fairly after this strong a debut, but I do really like the song Girls Generation, and actually didn’t know that this was a cover until this deep dive, since I can only associate it with them. It’s very bubblegum from its first moment, heavier on the aegyo than its counterpart, but the song’s slower pre-chorus, SNSD’s great voices, and that smash of a chorus manage to prevent the cutesiness from being overwhelming.

From the 1st album, simply entitled Girls Generation, I enjoyed the springy, vintage (somewhat Christmasy?) vibes of Ooh La La, the lovely harmonizing in Complete and Tinkerbell, the elegant classical flourishes in the background of Kissing You, and the guitar and excellent vocals in Honey. Overall this album feels incredibly 2nd gen, and gave me waves of nostalgia.

Gee is probably one of Girls’ Generation’s most well-known songs, and it’s easy to see why. With simple but fun choreography, and a chorus that constantly walks the tightrope of being incessantly catchy and just a little grating, it’s a total earworm. It takes a lot to make me enjoy such a cutesy song, but I think it was the combination of nostalgia and humor or maybe just how much I wanted to dance, and enjoy this one I did. As an aside, I’d forgotten that Minho from SHINee makes a cameo in this video, so that was a nice surprise.

From the EP, Gee, I had two main hidden gems. Way To Go is very much the kind of inspiring, upbeat bubblegum that I love, and also feels very nostalgic. Dear Mom, as I expected, is more of a ballad, and reminds me a little of Chung Ha’s Goodnight My Princess, with a sweet, heartfelt message to the girls’ mothers that made me text mine and ask how she’s doing. (Love you, Mom!)

Genie (or in Korean, “Tell Me Your Wish”) is a song that I thought was released later into their careers, with the slightly more mature image it uses. While still very bubblegum, it’s more polished, with a 70’s / 80’s synth background that began SNSD’s long run of retro-inspired singles. This isn’t one of my favorites of theirs, probably because in the years since it’s come out so, so, so many more k-pop songs have used the same style and thus it doesn’t sound as unique as some of their other tracks. I do still like it though.

From the EP, Genie, I had a good time dancing to the electronic beats of Etude, and the hrd-hitting synths of Boyfriend. One Year Later is a collaboration between Jessica and Onew from SHINee, so I was drawn to it right away; it chooses an understated coffee-shop feel that eventually blossoms into a strong ballad that really suits the warmth of their voices, and serves as a great album closer.

Oh! goes back on the somewhat more mature image that Genie established, going for a cheerleader concept, but sticks with the retro pop, this time pulling from a much more 80’s video game synth. It’s very much emblematic of the era it’s from with the nearly cloying aegyo, but unlike with Gee, most of that is in the MV and less so in the song. I like this one too, more than Gee, but I don’t find myself repeating it that much; I think it needs more of a bridge.

Run Devil Run is the second single from this album, and was highly unusual for the time since “cutesy” girl groups did not do this kind of hard-hitting synth. Don’t get me wrong, it’s still very much a pop song, but today it would be considered “girl crush”, like TWICE’s later-career pivot with Fancy and I Can’t Stop Me. I was worried the first time I heard this one that it would have an anti-drop, but thankfully the vocalizing in the second half of the chorus assuaged my worries. I actually showed this song to a friend of mine who enjoyed it so much that she bought it! And now “you better run, run, run, run” is stuck in my head for the foreseeable future, which I suppose is my own fault, isn’t it?

From the repackage album, Run Devil Run, I had a lot to choose from as a hidden gem. I enjoyed the choppy hook of Echo, the runway-ready confidence in Show! Show! Show!, the full-speed-ahead chiptune in Stick Wit’ U, and of course Key from SHINee’s feature in the youthful Boys & Girls.

Hoot is next up, and besides Into The New World, is my favorite so far. For some reason, it’s not talked about much as one of SNSD’s best singles, which always boggles my mind, because it’s just so delightful. I mean, it’s a spoof of classic spy movies with a percussive 60’s retro beat and such good clothes! That vocalizing under the last chorus gets me singing along every time. I even had a poster of it on my wall in high school, and it was the first k-pop choreography that I learned (albeit, very badly; I looked like a dying chicken). My only gripe is that I have no idea why this song is called Hoot and not Shoot or Trouble, which both would’ve been better names, but I digress. From the EP, my hidden gem was the jazzy, ballroom dance inspired Snowy Wish.

The Boys, admittedly, is one of those songs that I appreciate more than I actually like. I respect that it’s a classic and an important moment for k-pop, but as one reviewer said, “it feels more like a spectacle than a song, but what a spectacle it is.” Though it’s very catchy and I do hum along whenever it comes up on my shuffle, I’ve just never been a fan of anti-drop choruses, and even when they’re done well (like here or in many BTS songs), I always find myself thinking how much more I would like the song if it was changed. It feels more like a 2NE1 song than an SNSD one, though they sell it pretty well and their vocals make it at least twice as enjoyable.

From the album, The Boys, I enjoyed the dancefloor beats of Telepathy, the interesting distortion and slowdowns in Trick, the roller disco of Vitamin, the classical flourishes in My J, and especially the jazzy super-spy influence in Top Secret, which was my hidden gem and feels like a natural successor to Hoot. I also enjoyed Mr. Taxi’s Korean version, but we’ll discuss that later.

I Got A Boy, like The Boys, is a song that I appreciate more than actually enjoy. Also like The Boys, it’s a song that popularized what’s now not uncommon in k-pop: the trend of songs that are a hodge-podge of genres and tempos, and admittedly, pulls it off. I’m not the biggest fan of the hip-hop segments, but the 1st chorus, the bridge, and the hook of “here comes trouble” are pretty great. I find myself caught off guard by the breakdown and switch up every time, even though I know it’s coming, which I know is the point, but it gives me a bit of whiplash, truth be told. This is more a me thing than an issue with the song, though, because it achieves exactly what it sets out to do.

From the album, though I liked both the choppiness of Talk Talk’s chorus and the guitar breakdown in Express 999, my hidden gem was absolutely the super catchy Dancing Queen. Though it’s named after the ABBA song, its very specific instrumental really reminds me of The Beatles’ Magical Mystery Tour.

Mr. Mr. is one of those songs that arrives, like many of SNSD’s best tracks, with a “let’s go!” and wastes no time going into its excellent chorus. It pulls from bonafide disco, and feels like the best combination between a ballroom dance in its slower moments and a club hit in its faster ones. Its bridge and last chorus’ high note is, and I don’t say this lightly, perfection, and I can never resist replaying it at least once (or mouthing along). From the EP, my hidden gem was the pathos-driven Goodbye, though I’m sure it connected more with me since this was Jessica’s last release with SNSD, and I’m sad to hear her and her great vocals go. It’s hard to make a ballad engaging, but this is a catchy, somewhat bittersweet one, which is a personal weakness of mine.

We’re ending with Mr. Mr. for this week because as mentioned, Jessica didn’t renew her contract after the seven years were up, and thus this makes for a natural stopping point. Next time, we’ll be doing a boy group supplemental and part two of this Girls Generation deep dive. Tschüss!

[ggidolsmuts]

What are some canon events/absolute points in K-pop you could think of? These could be releases or events that completely changed the industry forever.

Hmmm... Some good mixed in with the mostly bad, mainly because laws and practices are written in blood. Not in timeline order, just as I think of them.

TVXQ contracts were the original "slave contract", but that's gotten marginally better

SNSD Black Ocean was an event that showed how toxic fanbases can get, I like to think people have gotten better

Sorry Sorry, Gee and Tell Me felt like songs that were the first to go "viral" in the "cover dance" sense in Korea.

Ladies' Code was a complete shock to the industry, it felt very much like a "get your shit together" tragedy for companies, people take safety more seriously while traveling now.

Weekly Idol popularizing stuff like Random Play Dance and 2x speed dance (although that's fallen off)

Several unfortunate lives have had to be lost before people start taking mental health more seriously, although maybe still not seriously enough

Psy blew up in the West

BTS and Blackpink grew huge internationally

Zico's Any Song challenge might have kicked off the whole "dance challenge" thing groups do now? Or at least that was the first notable one I remember seeing.

Those are the ones that influenced the industry directly that I can think of. There's a lot of Kpop adjacent stuff like the Goo Hara law, Burning Sun scandal, drug stuff, but those haven't had a lasting impact on the industry itself, just those involved.

[mintsbubbletea]

List 5 things that make you happy, then put this in the askbox for the last 10 people who liked or reblogged something from you! Get to know your mutuals and followers 💚

Dancing!! Ive been on stage ever since I could walk, I may not be the best but I will but on one hell of a show. I love and belong on stage as its a way to express myself Latest dance cover

Listening to music, I mean I've always been so happy and obsessed with music but there was a time in my high school days where I couldn't not leave the house without my headphones and had to listen to music because of how bad my anxiety was. Had the biggest panic attack when my teacher took my phone for the whole day cause I forgot to put it on silence and had to deal with no music for the whole day :(

I reallllllly love Kpop. Been a fan since 2013 in third grade, of course I love other type of genres of music but Kpop has a special place in my heart. Some groups I like are Ateez, New Jeans, Twice, Exid, Sistar, SNSD, VCHA, 2NE1, (G)I-DLE and more

Im a big foodie. I can literally be sad or just chilling when people will give me food and I'll be the happiest person. I have a good relationship with food and I appreciate and love it 💚

Tattoos!!! I currently have 9 tattoos and I absolutely love them. Im happy when I get them cause its another way of expressing my art and my creativity on my skin, i also love showing them off

[jisungshotfirst]

the cutie @taeyeonsb asked for my fav taeyeon songs so here

10. Worry Free Love

... the boppiest bop to ever bop? this is a objective fact. It's just so FUN omg. and so happy like.. literally yeah, worry free love. the track is so energetic and danceable and her voice.... the verses are so sassy and the choruses are so ecstatic.... THE TRUMPETS. incredible. they are in the background when they're introduced and ur like omg?? what a fun melody i want more? and then theyre like... bet. here's a whole outro of it<3 whenever i play this song in the car I genuinely be dancing the entire time not even joking

9. Feel So Fine

just... vocals<3 the song is just So uplifting...THE PRECHORUS. when the drums drop out the bass drops out and its just VOICE and emotion and it's just such a beautiful build up. her voice is so powerful and she can project just so well and I think that she just excels at expressing these kinds of messages: self-love but in a simple, personal way. the love isn't grandiose, it's 'fine', but her voice is able to make that small contentedness feel so big.... AH. also woobin covered this song :( and sang it so beautifully :( so now i get to think of taeyeon AND ruby when i listen to this song so that is a win for me

8. No Love Again

a beautiful understated bop. because it combines both the pumping energy of a dance track and the airy vocals and softness of the production... it feels so mature and honest. to me this song is for a solo lil dance party with just yourself... there are certain songs that I'm so glad went to certain people and this is one of them... taeyeon deserves this song so much..

7. Something New

VOCAL HARMONY LAYERING.... SM's pride and joy of having a wall of vocal harmonies at its finest<3 but entirely stripped back... it's the opening of the boys by snsd goodness but SEXIER..... hello what more could you want. this song is so sexy and groovy i feel like a cooler person just by listening to it. it's sooo simple its able to carry the entire idea with just bass with little embellishments of piano and simple drums.... and vocals....... i am an absolute sucker for nananas.. and they can come in many many forms but.. as a wall of bv harmony as the chorus hook...... everything i could ever want. this song is SO HOT

6. Blue

have u ever heard a song more beautiful?? piano and vocal set it up so perfectly and it sounds so pretty and sad... and then the kick comes in... and harmony....and it's building..... the way this song BUILDS. 4 on the floor kinda beat in a soft ballad send me to another planet because to me what could be an ethereal drum-less song is given this low pumping feeling that just grounds the emotions entirely. And it can utilise that by taking the beat back out... and playing with that sense of being grounded.... and they just take it out! what was a comfortable chorus with a steadiness is now taken away and it feels like a thought flying away from you...

5. You Better Not

this song makes me SO happy. it's so filled with joy... to me this song is like.. trying SO hard to not smile and gradually you just let up.... or trying so hard and being SO determined to not let someone take up all your thoughts.... and gradually they're in your head more and more and suddenly they're everywhere. WHICH .. you can LITERALLY HEAR. the acoustic guitar sits way way in the back of the mix in the first chorus.... and then it's slightly more forward in the next chorus.... and then THEN the next chorus starts with JUST acoustic guitar... and then everything is back in with the guitar right at the front of the mix..... its the most beautiful example of text-painting literally ever it makes me cry with joy.

4. Gravity

a 6/8 taeyeon power ballad :( literally what do i have to say. this song was my first taeyeon love and she means the absolute world to me... i don't even have much to say because it's just perfect from start to finish. the dragging of the rhythms... theres literally nothing to worry and rush about, taeyeon just takes her time. the build in the bridge... the high note....... the adlibs in the last chorus..............[cries]

3. INVU

literally the most stunning piece of production that's ever blessed my ears. it's so subtle and careful while taeyeon cries her heart out..... an even more understated bop. it's So So careful.... the arpeggiator into the last chorus literally sends me to another plane i am floating i have ascended. this is literally music to levitate to... it's gorgeous it's stunning it's perfect.

2. Curtain Call

i've said before that this song sounds like love and it's true :( this sound is so nostalgic, the instrumentation and the harmony and just everything feels like you've known it for years and years... the chorus is sosoososo uplifting and joyful. the harmoniessssss :((( and the OUTRO. she just lets it keep going..... lets us sink into the feeling. it's so perfect :(( it's anthemic and universal in all the right ways.... but it's mine<3 i've gatekeeped her<3

Wildfire

this song just works So well together... every part of it slots together so well. the sample that repeats almost the entire time.... perfect. it creates such a sense of simplicity and unity for the song. like every bit of it is feeling the same thing. the rhythms fit around it so perfectly too and it just loops so perfectly. this song doesn't even have a bridge! she is just what she is. it's the kind of genuine simplicity that's had to achieve. i've also misheard one of the lyrics as 'you can never do it again' since i first hear it which is absolutely just incorrect but i love it... because you can never do it again, you just gotta say what you wanna say no matter how simple. if you listen to this song it just saves you from all the bad thoughts ever... only hopeful happy thoughts<3 tho you're not allowed listen to it coz it's mine

if you got to the end MWAHHHHH. go listen to taeyeon and improve your life<3

[twistifiedz]

/ BASICS + SOHYE

BIRTH NAME / kim sohye

STAGE NAME / sohye

BIRTHDAY / october 21, 1996

NATIONALITY / korean

ZODIAC / libra

LANGUAGE / korean + english + japanese + mandarin

FACE CLAIM / kim doyeon (weki meki) + jeon somin (kard)

VOCAL CLAIM / jessica jung (snsd) + park bom (2ne1) + rose (blackpink)

POSITION / lead vocalist, lead dancer

DEBUT / september 1, 2016 in TWIST

LABEL / jyl records (2012-PRESENT)

HISTORY

Kim Sohye was born on October 21, 1996 in Seoul, South Korea as an only child. However, Sohye spent most of her childhood living in various places such as California, Canada, and New Zealand. Sohye has always dreamed of becoming a model, in which she would participate in various beauty pageants as a child. Sohye’s parents were very much against the idea of Sohye becoming a child idol, and would often shield her from participating or in general, just be against her diving in the arts compared to the rest of the family of lawyers and doctors. Much to her parents’ dismay, Sohye would spend most of her childhood with her aunt, who was far more supportive of Sohye’s aspirations. 

Sohye’s aunt Jia was a traveling stylist in the early 2000s to early 2010s, who took Sohye under her wing as they would travel across the world to tend to clients. Whilst Jia would dress her clients, she would listen to music from artists such as Janet Jackson, BoA, and Destiny’s Child. Sohye was immediately mesmerized by the stage presence from these artists, as she wanted to venture into singing. Singing came quite naturally to Sohye, she always chose singing and dancing as talents to showcase during her beauty pageants.

In 2012, a 16 year old Sohye, covered a Janet Jackson song at a beauty pageant in California. Her performance took interest in the newly founded CEO of JYL Records, Jiyeon Lee, who founded Sohye’s voice to be soft and angelic. Sohye then auditioned for JYL Records in 2012, accepted as a trainee, and moved back to South Korea with her aunt Jia.

Sohye debuted in 2016 with TWIST as a lead vocalist, lead dancer, and visual. She is known for her stunning beauty and rather angelic vocals, in which her adlibs and vocal placement in the group’s music is praised by critics and often compared to Mariah Carey and Ariana Grande.

[papirouge]

im the jpop anon. thank you for the long and thoughtful reply! :)

yeah, theres something really wrong with kpoppers. i actually remember what perfume video the "fat legs" comments were from - it was their first budokan concert back in 2008, i think they were wearing the pink outfits (or perhaps the yellow ones from drream fighter). i think what those kpoppers might meant were kashiyukas thighs, since she wore very short shorts in the pink outfits, and while her legs are thin her thighs are plumper. but like, thats literally what makes her known as "the hot one" among fans. like shes very renowed for having very nice legs, and in general its normal for women to have bigger tighs and wider hips. i guess one could just shrug it off as kpop fans being salty and petty, but many kpop girl members have crazy thin legs. like if you look up snsd aka girls generation, youll realize that many of their promotional images have them with really skinny legs. one of the very few kpop songs that i like is "gee" by this girl group, and i decided to look at the comments of the dance ver and some poeple were defending one of the girls because koreans fans were being mean to her for being "fat". i think she was called jessica or something like that, and i look her up to know which one of them was and like, if they didnt mention anything i wouldnt even have realized but her "problem" was basically that she had this "square-y" body type and that made her look like 0,5 millimeters bigger that the rest.

another thing that happened to me very recently was that i was looking for a notebook to buy and there were selling some with kpop groups in the cover, and i stumbled upon one that had this boy band named stray kids, and god dammit... these guys have such heavy plastic surgery like wtf... some of them look like literal wax figures its scary. i remember when kpop fans were saying it was racist how some people made fun of boy bands by saying they all looked the same, and sure, definitely some of them probably were, but you cant deny that some of these guys (and girls) dont end up looking the same when they get their faces botched up all to follow the same very narrow korean beauty standards.

and yeah, i can see the difference between kanon and akari, but i also think it was because kanon was much bigger than akari. like she even made fun of herselkf many times when she introduced herself. i always remember when michishige sayumi was asked which animal fit their teammates the best, and she said kanon was a hippo or an elephant 💀 i always got the impression that kanon making fun of herself like referencing she had a full meal before a performance so she was full of energy was a defense mechanism - a lot of fat people usually make fun of themseves because they want to do it before others can make fun of them first, like "look at me, im fat and i know it and dont take it seriously, please dont make fun of me because i already do it and it doesnt hurt me at all!".

speaking of sayumi, she once was also asked which helloproject group she would least like to be stuck with on an island, and she said berryz koubou because they seemed like they liked to eat alot.. im guessing she was referring to maasa and risako.

i wanted to say more but this got so fucking long lol sorry papi... perhaps ill send another message later...

Tbh Kpop visuals are so ridiculously filtered that I'm pretty sure those girls are made prettier and skinnier than they really are. People these days are soooooo freaking guillible and believe anything they see online. These girls get ps to oblivion and still need to be photoshopped like mad.... They're not perfect. Nobody is.

The thing is japanese idols aren't expected to look perfect like Korean do. Jpop idols aren't supposed to look 'flawless'. Perfume debuted when they were like 12-13 years old ; we saw them grow before our eyes, so if they did anything shady with their appareance everyone would have noticed. These women are soon 35 and still kicking.. - I wonder how these Kpop girls will look at that age 👀

I don't even think that Kpoppers know what "sexy" is anyway. What's stricking with Kpop is that despite how much polished their aesthetic are, they emanate 0% charisma. They give off an absolutely frigid energy. Every single of their move and face expression are policed. Kpop MV would make anyone epileptic so much shit is going on because that's how bad the artist themselves can't put it up themselves.

At least, old school jpop idols still have a lil bit of personality - which is why we still remember of them 10, 20 years later. The same couldn't be said for today's one tbh (I lost interest after Morning Musume 13./Michishige graduated because all the newcomers were more dull than the others... Even Riho who was hailed as The Ace of the group didn't leave the same impact as OG members (Ai Takashi, Tsuji Nozomi, Ai Kago, Maki Goto, Reina Tanaka, etc.) AKB48 fell off after the Kami 7 all graduated (the sister groups are meh).

But to be fair, the new Reiwa era (more conservative ) isn't just prone to leave raw personalities pop out in like that... Ai Kago stunts would have made her cancelled without afterthought or second chances today...😬 The idol group era is pretty much over in Japan. Right now, 'boring edgy' like Aimyon or Yonezu Kenshi are popping.

I can't bring myself to find Kpop boys attractive. Period. They are all ugly and I have no shame to say it because they were all much better before doing plastic surgery. So no it's not racist to say they all look the same because plastic surgery made them look the same - not their race...

I DARE someone to tell me the 2 dudes on the left aren't the same. The one at the top particularly looks like an otome game character 💀 like- he straight up looks like his face was DRAWN.

And you know what freaks me out the most? It's that from one picture to another THEY DON'T LOOK LIKE THEMSELVES??!?

Like wtf is this shit???

It's supposed to be the same band but the faces.... don't match others pictures 💀

You know society colllapsed now that stray kid dudes are considered attractive....when back in the day we had natural and authentic beauty like Takeshi Kaneshiro *sigh*

downgrade of the millennium. Mishima killed himself for this.

And you know what freaks me out the most about these kpoppers? It's that they seemingly don't "exist" beside these ridiculous doctored photoshoot. Are there any candids of them out and about in the street? Without perfect lightening, angle and filters? Tbh I wouldn't be surprised they are AI or shit like that.

Perfume look the same when they do bc....they arent botched

Michishige is RUTHLESS 😭 I mean, in Morning Musume she had the persona of being a narcissist so it makes sense she put down other girls for not being as pretty as her. But yeah dunking on a girl who's like a decade younger than you is shitty. Those idol group are shoving together girls from entire different generations (Michishige was in her mid 20s when she graduated and the youngest member of the group were like 13-14 years old 🥴) so awkward girldrama situations are bound to happen.... That being said, it's a very bad idea to get into an idol group if you're feeling awkward about your physically appearance... Kanon should've never been in Momusu, imo.

I always found Berryz Kōbō was much coherent than Morning Musume ; members were closer in age and experience. I was a smaller band and the lineup was consistent so you weren't lost in the amount of new faces every other years (like Momusu regular call for new members).

I think its fitting that some of its members love eating when they have a song called 1億3千万総ダイエット王国 ("A kindgom of 130 million [people] complete diet[ing]") *the population of Japan is of 125 million but I guess the evened it out for the song that was kinda critical of diet culture. Good for them tbh And that song was bop. Berryz Kōbō truly delivered the few years before disbanding.

[finallydelight]

has ming ever done like a special stages like hush miss a, good girl bad girl, adult ceremony, finesse dance cover, butterfly (idk i’m just naming the ones i’ve seen)

Yesss !! she has done a bunch of them, I'll give the most notable ones. 

– KISSING YOU with Dahyun, Kei, Umji, Arin and Yuqi 

They performed the SNSD song at the 2018 KBS Song Festival on December 28, 2018. 

– MY EAR's CANDY with Seungkwan 

The original song by Baek Jiyoung featuring Taecyeon was covered by two of SVT's main vocalists. They performed it on April 27, 2016 at the 'Melon Premiere Showcase'. 

– BE MINE with Seulgi, Momo, Chungha and SinB 

The five dancers performed the special stage at the 2016 KBS Song Festival on January 1, 2017.