|Print of Note #11|
|electronic dance music in Korea; Korean Americans||"Seoul Shakedown; a history of Sickboy Productions and other remixes" by Robb Harker (pp.60-4)
"DJ Fujiwara" by Scott Bug (pp.65-9)
Bug, #5, 2001?
|"My first couple of years in Seoul were passed as an English teacher, working six days a week and spending Saturday nights in Hongdae, Seoul's 'alternative district' on the western edge of town. For those of you that don't know, Hongdae is like a sanctuary in Seoul, home to the city's best clubs, bars and coffee shops. It's one of the few neighbourhoods in the city in which you can walk without people staring at you like you're some kind of freak...
Back in '96-'97, there wasn't much of a 'techno scene' at all in Seoul - or Korea for that matter. Some clubs in the Hongdae area were mixing house, trance and techno tracks into sets with many different styles of music, but there were only one or two clubs that were playing strictly dance music. Basically, the country had yet to be exposed to music that was taking over in other nations such as England, Germany and America."
BUG: You're a Kyopo, right? Is there a difference between Korean-American and Zainichi Kankokujin?
|Snow Mountain Music Festival||"The Beat Goes On; 'China's Woodstock' had it all - rain, smashed guitars and good old-fashioned, bad-attitude rock and roll" by Craig Simons, Far Eastern Economic Review, 5 September 2002, p. 57|| Chinese rock has also been held back by government fears that large gatherings could turn political. Officials also don't always like rock's independent streak: Cui's song Nothing to My Name, for instance, became an anthem for the student protests in Beijing in 1989...
According to one veteran musician who played with Cui Jian in the 1980s, Beijing's decision to give the green light for the festival - even in a remote locate like Lijiang - shows the country's leaders may be warming to rock...
A light rain is falling over the crowd as Qi Mu Guang, a self-described hard-core band from Kunming, takes the stage. The singer belts out a slew of expletives in English. Looking on, Sun Baoling, a 75-year-old man from Yunnan with a face like a walnut, appears a little confused. But as Qi Mu Guang's black-clad singer screams amid a roar of amplified instruments, he begins pumping his fist slowly in the air. "I like rock and roll," he declares. "It's got feeling."
(And maybe it's the only music that's loud enough for the old guy to hear without a hearing aid!)
|Yo-Yo Ma's Silk Road Project||"Yo-Yo Ma's Silk Road Project: Musical innovation at the crossroads of East and West" by Adrienne Mong, Persimmon; Asian Literature, Arts, and Culture, Vol. III, No. 1, Spring 2002, pp.82-85.||Gereltecht [Mongolian concert pianist] and Sharav [Mongolian composer], whom Levin [Silk Rd. Project curatorial director] met..., embody a fundamental part of the Silk Road Project's East-West concept: incorporating Eastern instruments and music into traditional Western classical music. They also reflect the Project's biggest challenge -- how to create a new musical sensibility without diluting its traditional roots. "You run a great risk of creating the cultural equivalent of fast food whenever you try to take something traditional and export it to a more global audience," acknowledges Levin.|
|anime-related music, T.M. Revolution||"Eastern Cowboy; manga and anime may have their fans, but at Otakon the real star is T.M. Revolution," by Josephine Yun, Baltimore City Paper, 6 Aug. 03, p.28.||The musician is interviewed in Tokyo before flying to Baltimore to perform at the largest annual Japanese animation culture convention on the East Coast:
TMR may be completely new to the American public, but his music is fairly familiar to anime fans. His first major Japanese hit single, "Heart of Sword," closed the popular series Rurouni Kenshin. and the new Gundam series, Mobile Suit Gundam: Seed, carries his latest single, "Invoke," as its opening song...
Japanese artists have often been dismissed as poor imitations of '80s music and American glam rock, but that view is changing. One reason is accessibility. The growing popularity of anime and video games in the United States has increased interest in other aspects of Japanese culture. Another reason is that the overall quality of mainstream American music has declined, leaving listeners open for other alternatives.
|Ahn Trio||"The Ahn Trio - Classical Musicians" by Maria Ahn, in Cool Women, Hot Jobs ...and how you can go for it, too!, T.Schwager & M.Schuerger (ed.s), Minneapolis: Free Spirit Publishing, 2002.||This chapter on the Ahn sisters gets into their philosophy about music:
At Juilliard we met many brilliant young composers and were exposed to some really great music, more than just the standard classical stuff. It was an intriguing, exciting experience. We discovered that there are a lot of talented, contemporary classical composers who are influenced by their surroundings just as much as the old masters were by theirs. The difference is that now, thanks to modern communications, a contemporary composer's surroundings include a whole lot more. Now someone in Austria can hear jazz from New York, salsa from Columbia, drum rhythms from Ghana, or folk melodies from Tibet without leaving home.
They (through Maria, the cellist) also discuss their exposure on MTV. Julliard (their alma mater) had contacted them about the gig, since the school often receives requests for live music and refers students and alumni:
The session turned out to be a lot of fun, and Bryan Adams was really nice; we could tell he really respected the students from Juilliard. While it was no big deal to us -- we had done a lot of things that meant more to us (such as the record contract) -- our appearance caused quite a stir in the classical music world. It just goes to show the power of the media, and of popular music versus classical music... [It also probably didn't hurt that they were fashionable hotties.]
What amazed us about the experience was the size of the production. There were more people working on this production than there were performers! Clasical music recording session are so much smaller, just the performers and a set that looks like a concert hall...
|Toshiko Akiyoshi||Jazz Review | Toshiko Akiyoshi Jazz Orchestra; "Remembering Hiroshima, in a Farewell Performance" by Ben Ratliff. NY Times, 21 Oct. 03.||Toshiko Akiyoshi has been leading her big band since 1973. This performance on October 17, 2003 at Carnegie Hall was meant to be her last with the band in a concert hall.
|North Korean music||"Backpack | Martial music and sea shanties for Andy Kershaw in North Korea" by Andy Kershaw. Songlines; the world music magazine, #22, Jan/Feb 2004, p.112.||Kershaw hosts a world music program on BBC 3 and had visited No. Korea several times, before his most recent trip to record music performances. He turned the material into 2 shows that aired back in December of 2003. (Go to the 2nd links page to access them.) His trip report is a bit tongue-in-cheek, which is probably the best way to approach the earnest and extremely politicized performances:
One of the sites Kershaw visited in the No. Korean capitol was the U.S. spy ship, the Pueblo.
|DJ P-Love||"We Love P-Love; Groove Digger" by Eric Nakamura. Giant Robot, #39, Winter 2005-6.||an interview with Montreal DJ Paolo Kapunan, a.k.a. P-Love:
"...Most people know me because I toured with Kid Koala for years... I also did the "How to DJ" video that came out. It was one of the first how-to-videos for sale on Amazon. I guess that helped, but in terms of being memorable, I can't compare myself to someone like Qbert."
On getting into DJing:
On his creative process:
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