When 2012 finished and I said that Rania’s “Style” was the song of the year, I had to deal with a lot of butthurt from k-pop fans who disagreed with my opinion.  Mercifully, the whining at that time was restricted only to people that I personally knew, and those that listen to my radio show (as I also played my favourites list on-air) – my blogging wasn’t very popular at that time because I had only just started writing.   Twelve months later when at the end of 2013 I said that Crayon Pop’s “1,2,3,4” was the song of the year, it was a different story; the butthurt was far more extreme as now it had also manifested online.

For those who haven’t heard this amazing song yet, here it is again:

Many people didn’t understand this selection, or thought I was stupid/on drugs, or just making it up to be cool/uncool/trendy/non-trendy/whatever, so I thought I’d explain it more deeply.

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“My bias is a true artist, like, OMG”: music production and songwriting credits explained

It’s hard to think up any music fandom with an insecurity complex bigger than any given k-pop fandom.  People who are into k-pop (regardless of which group is their fave) can’t just seem to say “I like this bubblegum shit, because it sounds good to me, and that’s that, and if you don’t like it fuck you” – they have to constantly justify everything both to themselves and others, so they can confirm that “yes it’s socially acceptable for me to like this group”.  That’s the real motivation behind a lot of the excessive caring about vocal technique (“See?  My favourite group are talented, see? SEE?”) chart success (“Look, everyone likes them in Korea, they MUST be good!”) and awards (“They won something!  They’re so special!”) that many fans engage in.  It’s also why fans’ eyes light up with delight like twinkly little snowglobes whenever they are alerted to the rare eventuality of a cog in their favourite sculpted corporate pop music delivery machine getting a songwriting credit somewhere, and also why they then go and trot out these song credits tirelessly on forums and websites in some pathetic cyber-dick-measuring contest.

I thought it would be useful to demystify the meaning of technical terms in album credits, as well as how these terms are allocated to different people and also what it means when people co-write, so when the next media hype article comes along about artist X co-arranging song Y with producer Z, you don’t get the wrong idea about what’s really going on and you at least have some idea about what you’re stroking your e-peen about.  Because I love you guys.


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I’m in D-D-D-D-Danger – truth, fiction and f(x)

Fans of f(x) are always complaining about the group getting minimal comebacks and basically being neglected by SM in various ways compared to the label’s other flagship groups.  Is it true?  If so, what’s the reason for it?  Could things be changed for the better?  I thought it would be fun to explore the answers and possibilities in a fictional story about f(x) fans and their hopes and dreams.

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KPOPALYPSE NUGU ALERT – Episode 1: Fresh Boyz, Valiant, Cherry Kim ft. SNK

As previously mentioned on this site, 2013 hasn’t been a very good year overall for established groups.  However, the nugus were another story with several decent groups (as well as a lot of crap ones) stepping up to the plate, something which didn’t escape my attention or the attentions of other writers on Anti Kpop-Fangirl.  Of course there was criticism for this:


I’d spend some time dissecting this docile mouth-breathing argument but there’s no need as The Real CZ and Zaku both did a great job and I have nothing to add.  However, since covering shit nobody has heard of instead of stuff from the same old established labels seems to really hit a nerve with some folks, I thought it would be a good idea for me to embrace the nugus and make a regular thing of it.  So welcome to:


(For the boneheads – no, I’m not insinuating that T-ara are nugu – I just think that this image looks cool and customs officers fits the theme of being “on the alert” for stuff)

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