The EstrellaTV show will be holding auditions at Fox Theater in July.
'The EstrellaTV show will be holding auditions at Fox Theater in July.'
With the orchestral performance 'K-Factor,' a group of composers shows another side of the genre
'Don’t underestimate the power of K-pop . That’s a lesson many in the music industry have learned over the past few years, as the South Korean musical export has taken over charts and groups like BTS , BLACKPINK and EXO have broken records, established global fanbases on social media and found footholds in Western culture. Now, a team of composers, K-pop experts and musicians are trying to draw attention to the deeper side of K-pop: its construction as an art. In “K-Factor: An Orchestral Exploration of K-Pop” on June 20, New York City’s Lincoln Center will host a live symphony orchestra of 50 musicians playing orchestral arrangements of some of the genre’s biggest hits, from Red Velvet’s Ice Cream Cake” to BTS’s “Idol” and Girls Generation’s “I Got a Boy.” The goal is to shine a new light on the history, evolution and complexity of the music of K-pop, back to its influences in the ’30s and ’40s — and not just on its glitzy and sometimes controversial idols. “ I hope the audience is able to feel that the whole K-pop trend nowadays isn’t just by sudden chance, but more the result of a long history of creative innovation,” says South Korean songwriter Eana Kim, one of the architects of the “K-Factor” show. “[K-pop] is about creating a worldview as much as having good music. I think that’s helped people around the world connect with it recently.” Kim was brought in by classical composer and pop singer-songwriter and producer Johan , who previously worked with conductor Yuga Cohler on “Yeethoven ,” an orchestral mashup of Kanye West and Beethoven’s works. This time, they built a larger team — including Kim, Seoul-based K-pop expert and consultant Jakob Dorof and advisor Jihoon Suk — to develop the show. TIME spoke with Johan, who is based in Los Angeles, as well as Dorof and Kim, who are both based in South Korea, about why the genre was ripe for an orchestral reimagining and what they hope K-pop fans new and old will take away from their project. TIME: How did this project come together? Johan : Yuga [Cohler] and I had been talking about doing a show that would explore a type of music that an orchestra would bring out and illuminate in a different way. Partly because of the phenomenon around K-pop, but also because of general interest, we both started talking about why K-pop was compositionally interesting. Pretty much immediately, I reached out to Jakob [Dorof]. I knew him from college and he’s an expert on this; also he knew people who work in this industry. Jakob Dorof : One of the people we involved very early on is Eana Kim. She is by many measures the top lyricist in the industry [in South Korea]. The side of Korean music we’re focusing on is a bit underrepresented, both in Korea and internationally. We’ve also got Jihoon Suk; he’s an expert on early Korean music, and early recorded music in general. The scope of the show goes all the way back to the 1910s to 1920s and has a really robust historical aspect. And we’ve brought in JungJae Moon, a top pianist here, involved with SM Entertainment, one of the main architects of K-pop since the very beginning. And Chris Yoon, head of A&R at SM, is doing a talk. How is K-pop distinct from Western pop? What has contributed to its recent popularity? Eana Kim : T here was a big decline of boy bands and girl groups in the West in the 2000s, with less focus on choreography and the whole visual aspect. But it was picking up a lot of popularity in Korea during that time, and Japan, too. As the market for “idol pop” expanded here, it helped Korean companies and artists hone their craft and gain a kind of worldwide competitiveness. One unique thing is the entire K-pop system, [in which] a single entertainment company takes charge of the whole process: directly casting teens and training them, on top of producing and marketing. Eventually, K-pop got to the level where idol group members had to start directly contributing to the creative process, to help them stand out. Another key thing is Korean idol groups spreading out worldwide through platforms like YouTube and V-Live, which is another way to help build a fandom — sharing glimpses of the artists’ daily lives, their creative process, all that stuff. Many audiences know K-pop through the popularity of its “idol” industry. What about K-pop musically makes it unique to focus on? Johan : There are concerts where the orchestra plays pop music, and those are fun. But we see [K-pop] as a robust and intellectual artistic institution. Coming from my background — having spent most of my life as a classical composer before I ever did pop music — that was really the interest: expose people to this very sophisticated music. We want to trace certain musical threads and how they’ve developed over the past 100 years of Korean music history. It’s not just, “here are the hits.” We’re trying to be more provocative from a formal composition standpoint. Dorof : There are a lot of things about K-pop that are distinct in popular music history worldwide. It is a recently global and Western phenomenon . But that coverage of the musical aspect, the understanding of that — and the depth of it as a process and an art form — is a bit lacking. This is an opportunity to show that. What struck you in the process of translating K-pop hits into orchestral arrangements? Was there anything particularly surprising or challenging? Johan : You’ll see songs jumping from genre to genre within sections of a song, even from bar to bar. In ’90s [K-pop], there’s a lot of heavy metal references going on, but mixed with R&B and also a rap component. That can be an exciting challenge for an orchestra. You can’t just be like, ‘Well, there are parts that will work for the orchestra and we’ll drop the others.’ It’s all there, every little detail. So for instance, those ’90s boom-bap drums: I want to use orchestral percussion to capture the exact second that a particular snare drum sound has been chopped a certain way, really getting into the sonic detail of that. I ended up relying on a lot of unusual techniques; you have to play your percussion instrument using this particular type of mallet. How did you end up choosing the songs? Dorof : We are trying to have it be a visceral, fun concert experience, but we also want it to have a historical narrative. T here’s one iconic example — Girls Generation’s “I Got a Boy” from 2013. It seemed like it would be a real challenge because it’s very musically sophisticated, but the vast majority of it is happening around one chord. I was a little worried about that, but when I heard Johan’s orchestration I was blown away and psyched to hear how that will play. And there’s one ’90s pick from the annals of K-pop that’s just epic and wild and maybe the most classical in the entire set. Johan : Some songs, like “MAMA” by EXO , are so symphonic already. BLACKPINK has this song “Kill This Love” right now which leans heavily on brass and trombone; that’s fun because it’s going to sound exactly like it. Then when you get into the ’90s, stuff by H.O.T. and the earlier era of K-pop, like Seo Taiji [and Boys], they really capture how jarring the genre juxtapositions are. A song might rely heavily on the drums, but the orchestra is mostly not drums. So you start looking for other details: there’s this whole synth part that I maybe didn’t notice, there’s a background vocal really tucked in. Dorof : Also, if you take a panoramic view of K-pop history, especially in the ’90s onward, there’s a surprising amount of screaming. Johan : There’s very metal-inspired pieces. I ended up reaching into my compositional background of chaotic, atonal music and techniques to get jarring stuff to capture those details. The arrangement is closer to a contemporary classical concert than purely a tribute to pop music, because it’s so complex and provocative. Your team has described the music as having a “radical spirit.” What is most radical about K-pop? Dorof : For me, a lot of it has to do with song structure. It’s not always verse-chorus pop song format. There might be a diversion or a curveball that only happens once. This super open-minded, all-embracing approach to influences and composition [is different from the] Western pop perspective. A lot of the groups are a Korean equivalent to an *NSYNC or a Spice Girls or a Little Mix; it’s not to say that there isn’t experimental, interesting pop music elsewhere in the world. But when you compare it to the context of pop music and a One Direction or a Backstreet Boys release, as great as that music is in its way, K-pop is striking. There’s interesting textures and emotions that are hyper-dynamic. It can be very theatrical and operatic. Nothing is off-limits in K-pop, structurally or referentially. That’s what keeps me coming back.'
The actor Jessie Buckley gives an electrifying performance as a struggling Glasgow mom who dreams of being a Nashville star.
'There is a sub-sub-genre of film that I have an extreme, longstanding weakness for: If your movie is about working-class Brits living in a tough part of town and struggling to express themselves artistically, I am almost certainly going to like it. In Tom Harper’s Wild Rose , Rose-Lynn Harlan (played by Jessie Buckley) is a 20-something Glaswegian who was recently released from prison, is struggling to raise two young children, and dreams of only one thing: singing country music and becoming a Nashville star. Just as with Billy Elliot and his ballet dreams, or the embittered miner musicians of Brassed Off , or the grumpy cobblers of Kinky Boots , I was enraptured from the get-go. Crucial to any of these films is a lead performance that can capture both the shine of the hero’s aspirations and the grind of day-to-day life. Buckley, an Irish stage and TV actor who has just begun her transition into movies, supercharges Wild Rose with electrifying purpose, adding flair and substance to the screenwriter Nicole Taylor’s routine but solid script about a diamond in the rough. I wasn’t rooting for Rose-Lynn to succeed merely because that’s what these stories require; I was also just desperate to watch her sing as many times as possible. Harper is a journeyman filmmaker whose screen credits include the Brit horror knock-off The Woman in Black 2 and the BBC adaptation of War & Peace (also starring Buckley). He presents Glasgow as flat and gray, all the better to make the redheaded Buckley pop as she returns to the city after a year in jail. The first chunk of the film tracks her departing the prison in high spirits, hooking up with an old boyfriend, then picking up her two children from their disapproving grandmother, Marion (Julie Walters). She picks a fight at the local bar where she used to perform, gets a job as a cleaning lady for the well-off Susannah (Sophie Okonedo), and even has a close call with the cops over her 7 p.m. curfew. Almost 40 minutes pass, and viewers hear multiple times about how Rose-Lynn has been singing since she was 14, before we see her take the stage for the first time. All that buildup pays off, though. When Rose-Lynn finally storms back into her local bar and sing Chris Stapleton’s “Outlaw State of Mind,” the movie opens up. Buckley bubbles with charisma without losing a grip on her character, evincing a woman who’s only really herself when she’s singing. One song should be enough to convince the audience that Rose-Lynn is worthy of Nashville superstardom, but like any good hard-bitten British melodrama, Wild Rose has a healthy dose of reality to weigh her down. Rose-Lynn’s dreams clash with the difficulty of her family life, the lingering effects of her criminal past, and her inability to stick with anything long enough to make a career out of it. She’s raw, boiling talent—which is part of why the relatively unknown Buckley (who also played a crucial role in this year’s TV hit Chernobyl ) is so well-cast. Walters, who played the encouraging but flinty dance teacher in Billy Elliot, is an old hand at these sorts of films, and she infuses Marion with just the right amount of love and despair for her daughter’s wild ways. As a wealthy woman who genuinely adores Rose-Lynn’s singing but who can be painfully patronizing about it, Okonedo has an even narrower path to tread, but the Oscar-nominated actor shows her subtle knack for getting quickly to the heart of even a minor supporting character like this one. The real delight of Wild Rose , though, is how delicately it finds a narrative that rewards Rose-Lynn’s obvious skill without succumbing to easy tropes about how natural talent and fame go hand in hand. That Rose-Lynn is an onstage force is easy to tell from the second she picks up a microphone, but Taylor makes this film less about her gift than about the maturity she needs to take it beyond the local Glasgow pubs. As a result, the film’s melancholy but uplifting closing notes land that much more powerfully.'
Lizzo Got the Crowd on Its Feet With a Rousing Sister Act 2-Flavored MTV Movie & TV Awards Performance
Blame it on her juice
'Lizzo’s MTV Movie & TV Awards performance at Santa Monica’s Barker Hangar was the shot of adrenaline that awards shows have been looking for , lighting up the crowd — and social media — as she sang “Juice.” The 2019 MTV Movie & TV Awards were hosted by actor Zachary Levi and took place on June 15, but aired on Monday night. Singer-rapper-flutist Lizzo, whose album Cuz I Love You dropped in April, took to the stage for a rendition of her popular, dance-worthy funk-R&B song as one of the evening’s only musical performers. Luckily, the crowd was in for a treat. It wasn’t just a straightforward performance: Lizzo started off as a soloist onstage decked out in a silky choir robe, a definite departure from her usual bold and body-baring costumes. In a move reminiscent of the dramatic flourish from Sister Act 2 , Lizzo and her group of backup singers, also in robes, quickly got the directive to do away with their outerwear. They then burst out into an exuberant performance. Lizzo sang, danced, twerked, got the audience on its feet and participating in vocal scales and showcased her infectious energy. Spotted singing along in the crowd: Jada Pinkett Smith and her son Jaden Smith, and Captain Marvel star Brie Larson. Those aren’t her only celebrity fans: the evening revealed her she has many stars in her corner, from James Blake and Jameela Jamil to Dan Levy and Sandra Bullock . The MTV Movie & TV Awards may not be the generally-more-recognized MTV Video Music Awards (confusing, yes — those come up in August), but with this debut, Lizzo may just find herself getting plenty more airtime. I LOVE @lizzo ! @MTVAwards pic.twitter.com/hGaLGkIf4g — dan levy (@danjlevy) June 18, 2019 Got to meet the Queen at @MTVAwards @lizzo ❤️ pic.twitter.com/rTUoM1pFQQ — Jameela Jamil 🌈 (@jameelajamil) June 16, 2019 Sandra Bullock & Lizzo, on MTV Movie Awards. pic.twitter.com/dIaVDrHJTr — best of sandra (@bestofbullock) June 16, 2019'
Roli's Lumi Keys, available on Kickstarter starting at $249, is a light-up keyboard designed to teach kids how to play music.
'Roli's Lumi Keys, available on Kickstarter starting at $249, is a light-up keyboard designed to teach kids how to play music. Read More'
Florida International University dropped from its second place spot in public university performance measures tied to statewide funding.Higher education quality is a critical factor for companies who strive to recruit locally. The new performance
The host sang his way alongside the night's nominees, pausing only to share a comedic moment with Bryan Cranston.
'The host sang his way alongside the night's nominees, pausing only to share a comedic moment with Bryan Cranston.'
Brendan McDermid/Reuters There were two big winners—and no major surprises—at the 2019 Tony Awards. Hadestown (for musicals) and The Ferryman (for plays) won handsomely, including the two centerpiece Best Musical and Best Play awards. If
Anaïs Mitchell's long-developing musical won eight awards, including best musical, while The Ferryman won best play.
'Anaïs Mitchell's long-developing musical won eight awards, including best musical, while The Ferryman won best play. (Image credit: John P. Filo/CBS)'
Anaïs Mitchell's folk opera smash surprised no one by taking home the Best Musical award on Broadway's biggest night.
'Anaïs Mitchell's folk opera smash surprised no one by taking home the Best Musical award on Broadway's biggest night.'