Camegirls collection for chat
Camegirls collection for chat - Fling chat rooms
Taxi” and my twentieth click on “Gee” it occurred to me that I might not know how much I loved these girls, either. “They look like ,” my twenty-one-year-old niece hissed over my shoulder one day as I was watching “Gee” again. Girls’ Generation is a group of preppy-looking young women in skinny trousers.“Listen, boy,” Tiffany coos at the outset of “Gee.” “It’s my first love story.” And then she tilts her head to the side and flashes her eye smile—the precise crinkle in the outer corner that texts her love straight 2U. When they wear hot pants, it’s to display the gams, not the glutes.
Korean ancestry used to be a stigma in Japan; now it’s trendy. Dressed in workout clothes, he was in the middle of a session with some of the trainees, and he couldn’t stop to talk; he disappeared into a dance studio, outside of which there was a pile of kids’ shoes.
It was five o’clock on a Sunday in May, two hours before showtime, but already thousands of K-pop fans had flooded the concrete playa outside the Honda Center, a large arena in Anaheim, California.
Tonight’s performers were among the biggest pop groups in South Korea—ee, f(x), Super Junior, EXO, TVXQ! In the United States, Korean pop music exists almost exclusively on You Tube, in videos like “Gangnam Style,” by Park Jae-sang, the rapper known as PSY, which recently went viral.
Korean TV dramas and, to a lesser extent, Korean films have, along with Korean pop music, become staples in markets formerly dominated by Japan and Hong Kong.
According to the pop-culture scholar Sung Sang-yeon, Korean TV producers established themselves during the Asian economic crisis of the late nineties, offering programming that was cheaper than the shows being made in Japan and Hong Kong and of higher quality than most other Asian countries could produce themselves.
K-pop concerts in Hong Kong and on mainland China are already lucrative, and no country is better positioned to sell recorded music in China, a potentially enormous market, should its endemic piracy be stamped out. Entertainment, the Korean music company that is sponsoring the global tour, is hoping to change things, through a unique system of “cultural technology.” Outside the arena, clusters of fans were enacting dance covers: copies of their favorite idol groups’ moves.
Yet, despite K-pop’s prominence in Asia, until recently few in the United States had heard of it. (PSY’s horse-riding dance, from “Gangnam Style,” may be the Macarena of the moment.) People carried light sticks and bunches of balloons, whose colors signified allegiance to one or another idol group.
But before long Toth was studying Korean, in order to understand the lyrics and also Korean TV shows. Eventually, he travelled all the way to Seoul, where, for the first time, he was able to see the Girls—Tiffany, Sooyoung, Jessica, Taeyeon, Sunny, Hyoyeon, Yuri, Yoona, and Seohyun—perform live. “You think you love them, but then you see Tiffany point directly at you and wink, and everything else that exists in the world just disappears,” Toth wrote on Soshified, a Girls’ fan site.
“You think you love them, but then you see Sooyoung look you dead in the eye and say in English, ‘.’ “ Toth concluded, “I might not know how much I love these girls.” I had arranged to meet Toth because somewhere between my tenth viewing of the Girls’ video “Mr. It wasn’t the music—bright, candy-cane-sweet sounds, like aural Day-Glo—and, while the dancing was wonderfully precise, the choreography had a schematic quality. For pervy, try the J-pop group AKB48, a Japanese girl ensemble, with scores of members, who, affecting a schoolgirls-in-lingerie look in their video “Heavy Rotation,” pillow-fight, kiss, and share heart-shaped cookies mouth to mouth.
“They take the love the fans feel for them, and they return it to the fans,” Toth told me.
“When you see them onstage, it’s like they’ve come to see you.” I must have looked skeptical. “You’ll see.” “H is the term that Asians use to describe the tsunami of South Korean culture that began flooding their countries at the turn of the twenty-first century.
The Honda Center show was a rare chance for K-pop fans to see the “idols,” as the performers are called, in the flesh. The performers are mostly Korean, and their mesmerizing synchronized dance moves, accompanied by a complex telegraphy of winks and hand gestures, have an Asian flavor, but the music sounds Western: hip-hop verses, Euro-pop choruses, rapping, and dubstep breaks.