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";s:4:"text";s:8876:"Get the Sunday Review in your inbox every weekend. Today, we revisit the 1992 debut from Seo Taiji and Boys, a canny synthesis of rap, techno, and rock that would soon be seen as the dawn of K-pop. On April 11, 1992, Seo Taiji, 20, Yang Hyun-seok, 22, and Lee Juno, 25, made their national television debut on a South Korean music show under the name Seo Taiji and Boys. had made serious inroads in China, kicking off the global Korean Wave (hallyu) of exported cultural soft power that continues to the present day. He liked being able to hide behind the two older Boys on stage, though he understood as well as they did that the success of their partnership was largely contingent upon his own songwriting and studio prowess. When Seo finally went back to Korea in 2000 to resurrect his career in earnest, his people were there waiting for him—literally. With years of studio experience under his belt, Seo was poised to tap into the burgeoning cultural moment. In a cinematic exit, Seo took a helicopter from the conference hall and went directly to the airport, hopping on a flight to Guam, and eventually, America. The release of their first album, and the months of live appearances that followed, established several of the recurrent themes of K-pop and its industry: An undiscriminating approach to genre tropes, emphasis on elaborate choreography, and practices like the pre-“comeback” hiatus period that follows every album cycle, now considered customary. In the same way that production styles tend to linger on Korean charts a few years past their U.S. expiration date, much of Seo Taiji and Boys owes a debt to musical trends that had become passé in the West by the end of the ’80s. Even to fans, it was always clear who was running the ship. One student, speaking to The Kyunghang Shinmun at the time, compared it to the assassination of a politician: “The death of Seo Taiji is the death of us all.”. What happened next can only be described as a mass rebuke by the public: “Nan Arayo” quickly shot to the top of the Korean charts and stayed there for 18 weeks, while the corresponding album Seo Taiji and Boys went on to sell 1.7 million copies, not counting an incalculable number of bootleg cassettes. The only problem was, compared to other hotshots in the scene, he couldn’t dance for shit. (In 2019, Yang resigned from YG following allegations of drug abuse, corruption, sexual assault, and other crimes. As Seo Taiji and Boys’ popularity skyrocketed, Korean-made pop acts inspired by rap, R&B, and other Black music replaced singer-songwriter types as the new dominant force in the Korean music industry. At moments, Seo reaches even further back in time: The end of the original album had a song called “Rock’n Roll Dance (‘92 Heavy Mix),” built around a sped-up sample of the guitar from AC/DC’s 1980 classic “Back in Black.” It’s a throwaway club track, but its inclusion reveals Seo’s core musical ethos: Taking the music that inspired him most and refashioning it to be relatable to Korean youth. Like the K-pop groups of today, Seo Taiji and Boys developed an obsessive fanbase, one that clung to his every word. Born Jeong Hyun-cheol in 1972, Seo was a problem student, a self-described rebel who dropped out of high school to pour his energy into music. Driven to improve, Seo called upon a rising star named Yang Hyun-seok to ask him for coaching. Over a thousand fans mobbed the terminal at Gimpo International Airport, eager to welcome their hero home. Black music was introduced to the South Korean masses in the ’80s, around the time the country began transitioning from decades of various authoritarian regimes to a direct democracy in 1987. “The melody is a bit weak. On April 11, 1992, Seo Taiji, 20, Yang Hyun-seok, 22, and Lee Juno, 25, made their national television debut on a South Korean music show under the name Seo Taiji and Boys. 1990年代に一世を風靡したSeo Taiji and Boysの解散後、ソ・テジが2000年にリリースしたソロ2作目のアルバム。前作では表立った活動を一切行わなかったため、完全復活を果たしたといえる本作では、それまで以上にアグレッシブでヘヴィなサウンドを追求。 Conservative critics and traditional gatekeepers like broadcasters and radio stations initially blasted the group for their overt “foreign” musical influences, but nobody could argue with the sales. “It would have been nice to hear something fresh in your lyrics,” opined another. But as the newly established Big Three companies—SM, YG, and Park Jin-young’s JYP Entertainment—began to dominate the market, new standards emerged. Pitchfork is the most trusted voice in music. 2017–presente: Seo Taiji 25 Project En abril de 2017 se anunció que Seo Taiji estaba reuniendo a un grupo de bandas de K-Pop moderno para hacer covers de sus canciones del pasado para celebrar el 25 aniversario de su debut con Seo Taiji y Boys. Copyright © 2020 Apple Inc. All Rights Reserved. He immersed himself in the Seoul rock scene as he worked odd jobs and learned how to play the guitar and bass. As the years went on, Seo would only grow increasingly passionate about bringing attention to societal ills and interrogating a national culture that he felt like an outcast in. It was a needed change of pace for the notoriously private superstar, and it allowed him to write songs for what would become his first solo LP: a true rock album, a return to his roots. Seo, their leader, wore a grey vest and billowing black pants, while the Boys were decked in overalls and matching green button-ups. At the time, Korean music was dominated by acoustic guitar-driven folk music and “trot,” a slow-moving style that predates the Korean War, but the youth—including Seo—had become increasingly obsessed with the music that was popular in America: high-tempo, dance-oriented tracks, heavily influenced by prevalent Black music genres like hip-hop and new jack swing. The trio agreed to relatively even financial splits for any touring and performance income—but when it came to album royalties, the split went Seo’s direction, 6:2:2. “That’s how some people demeaned Black music back then. The Boys parlayed their fame and experience into positions of power in this nascent ecosystem: Yang started his own company YG Entertainment, the powerhouse behind iconic acts like Big Bang, while Lee became a notable producer. Long beholden to the whims of TV broadcasters, Korean record labels had consolidated more independent power for themselves in the years since Seo’s debut. The judges awarded Seo Taiji and Boys the lowest score of any of the acts performing that night. Fans were enraged and went so far as to protest the censorship with a letter-writing campaign—but Seo had had enough. They were the first of several groups to perform that night, all of which were angling for high scores from the presiding judges. wowKpopを見て、最新の韓国歌手KPOPアーティスト情報を探そう!. By the time “Nan Arayo” was released in Korea, new jack swing was a well-established sound in the U.S. mainstream, but the song is also clearly indebted to Milli Vanilli’s hit “Girl You Know It’s True,” which was already itself a French-German approximation of American pop. Seo’s fusion of hip-hop, techno, and rock—colloquially termed “rap dance”—had become South Korea’s first homegrown youth music. 1995’s Seo Taiji and Boys IV was a commercial hit, driven by the Cypress Hill-esque “Come Back Home,” but Seo once again found himself butting heads with censors, who reviewed the album before release and forbade him from including lyrics that were critical of the government on the song “Sidae Yugam (Shame of the Times).” He refused to change the lyrics, instead opting to delete his vocals and keep the song as an instrumental. But after recording just one album with them, Seo left the band and started to dabble with samplers and MIDI instruments to try and recreate the sounds he was hearing in American pop music. But it was all I cared about.” The frontman’s earnest nature shines on slow-burners like “In the Time Spent With You,” where he delivers breathy, sing-song rap verses and long, drawn-out notes about savoring a moment with his lover, reminiscing on the wonderful, fuzzy feeling he gets when he’s with them. They sang his songs and held up signs; one of them read, “We Grew Up a Lot, Didn’t We?” The origin of K-pop is a tale of global capitalism and cultural cross-pollination through American imperialism, but it’s also the story of a flunkie metalhead who was told for years he’d amount to nothing, and then reshaped the course of music history. 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