The Rap Star [EN]: Chapter 262

< Verse 41. Streamline >

***

Labels engaged in the music business worldwide often referred to the ‘Big Three’ music markets as the United States, the United Kingdom, and Japan.

Among these, the United States held the top spot with 40% of the global music market share, followed by Japan with 12% and the United Kingdom with 10%.

That’s how immense the scale of Japan’s music industry was.

People’s tastes vary widely, so when the major market is large, the subculture market inevitably grows in proportion.

Consequently, Japanese hip-hop had become incomparably larger than Korean hip-hop since the late 90s.

Also, instead of a few superstars emerging to drive the culture, as in the Korean hip-hop scene, the underground scene solidified and expanded its influence into the mainstream, following a normal development process.

Thanks to this, a super producer like Nujabes could emerge. Nujabes was a globally respected master of jazz hip-hop.

Perhaps, if you asked someone knowledgeable about Asian music, ‘Which Asian country has the most developed hip-hop music?’ nine out of ten would answer Japan.

However, Japanese hip-hop had a very distinct weakness. To be precise, Japanese ‘rappers’ had a weakness.

That was that their music was ‘100% for domestic consumption,’ completely failing to appeal to the global market.

Of course, Korean hip-hop was also for domestic consumption.

But the reason Korean hip-hop was for domestic consumption was that its history was too short to have had the opportunity to express itself abroad.

Of course, saying they hadn’t tried yet didn’t mean it would succeed in the global market, but not having tried and not being able to were different in terms of potential.

Unlike Korea, Japanese hip-hop had many opportunities for rappers as producers advanced overseas in large numbers. The opportunities given to rappers belonging to the same labels as producers were more significant than expected.

However, regrettably, raps in Japanese always received low evaluations.

Compared to the high praise for their producing skills, sound quality, and production sense even in their home country, the evaluation was dismal.

Many Japanese rappers drastically increased the frequency of English usage to overturn these evaluations, but the evaluations did not change.

In fact, the pronunciation structure that forms the flow and the linguistic system that forms rhymes in Japanese did not suit the ‘raw’ feel, which is an important virtue in hip-hop.

Hime always wanted to break that limitation.

And she thought the answer was to delve deeper into the unique feel of Japan, differentiating it from the United States.

***

“The song I’m about to perform is called ‘Scot,’ which was included in my first mixtape. The original title is ‘Oime [roughly translates to ‘debt’ or ‘owing’]’, which means Scot in Japanese.”

Hime looked down from the stage.

The four judges were sitting side by side at the judging table, and the 62 participants were sitting in their assigned seats behind them.

The reason there were 62, not 64, was that one person was on stage, and one person was waiting on the side of the stage.

The person on stage was herself, and the person waiting was Sanghyun.

Then Simon Cowell opened his mouth.

“‘Scot’ isn’t a difficult word, but it’s not used much in the United States. It’s used more in the UK. Why did you translate ‘debt’ as ‘Scot’?”

“I liked the phrase ‘Go Scot Free’.”

‘Go Scot Free’ is a phrase used when someone is acquitted or escapes punishment.

“Meaningful. Are you ready?”

“Yes.”

“Good.”

Hime took a breath and glanced to the right.

Sanghyun was looking at her with a slightly flushed expression. Sanghyun seemed nervous, but also like he didn’t care.

At that moment, the beat began to play.

***

Hime’s conviction that the answer was a feeling that differentiated itself from the United States had continued for quite some time.

However, the person who shattered her thoughts was FiveSix, Sanghyun, whom she met when recording ‘The way we live’.

In fact, strictly speaking, Sanghyun didn’t show a 모습 [Korean word for ‘aspect’ or ‘image’] that contradicted Hime’s answer.

Sanghyun also used Korean top-down lyrics even in the United States and continued the musical elements he had learned in Korea. Moreover, Sanghyun’s lyrics were in Korean when recording ‘The way we live’.

The way Sanghyun shattered Hime’s thoughts was through ‘freedom’.

Sanghyun, as Hime experienced him, didn’t care about anything when making a rap. The only thing he cared about was how to deliver ‘his story’ in the most 멋지게 [Korean word for ‘cool’ or ‘stylish’] way.

When asked one day, Sanghyun said he thought of rap as similar to poetry.

Poetry is unkind, 함축적 [Korean word for ‘concise’ or ‘implicit’], and a language that expresses one’s own imagery. The reason why the 감상자 [Korean word for ‘appreciator’ or ‘audience’] of poetry feels moved or sad is because they recall their own 모습 [Korean word for ‘image’ or ‘figure’] in the poem.

Sanghyun’s attitude was like this.

‘I think rap is about telling my story. Isn’t it up to the public to empathize with that story? If you try to find empathy by force, you have to make up a story.’

Of course, that doesn’t mean Sanghyun doesn’t care about the public. Of course, he cared.

However, the direction he cared about was closer to ‘How can I get my words across properly?’ rather than ‘What kind of music will the public like?’

As a result, Sanghyun was very free in his methodology of rap.

He sometimes borrowed the rap style of the 본토 [Korean word for ‘homeland’ or ‘native land,’ referring to the US in this context] to best convey his story, and sometimes he created a Korean feel. Because he wasn’t bound, his spectrum 오히려 [Korean word for ‘rather’ or ‘instead’] widened.

Hime was so shocked by Sanghyun’s method and soon admired it.

Sanghyun didn’t seem to know his own greatness well, but Hime had never met any musician who worked without a set pattern.

However, Hime soon realized that there was a problem with Sanghyun’s method.

***

The beat Hime chose was an East Coast boom bap beat with a hardcore drum texture.

It was a basic beat in hip-hop. However, it was also a beat with a heavier feel than the usual boom bap feel.

Like a Japanese musician influenced by Nujabes, Hime filled the intro with a jazz performance.

Soon, after a short 4-bar intro, Hime’s rap began.

Hime’s rap was very calm and smooth.

Hime’s rap, which jumped onto the rough drum-embroidered boom bap beat, felt like a swimmer’s 잠영 [Korean word for ‘underwater swimming’].

잠영 [Korean word for ‘underwater swimming’] is quiet but runs faster and more stably than any other swimming style.

Also, it had a 맛 [Korean word for ‘flavor’ or ‘feeling’] that made those watching the swimming competition look forward to the end of 잠영 [Korean word for ‘underwater swimming’].

Who will be faster?

Whose head will come out of the water first?

The real 백미 [Korean word for ‘highlight’ or ‘best part’] of the swimming competition began after the end of 잠영 [Korean word for ‘underwater swimming’].

Hime’s rap was the same.

Like a swimmer who finished 잠영 [Korean word for ‘underwater swimming’], a rap with an intense 맛 [Korean word for ‘flavor’ or ‘feeling’] suddenly popped out after the smooth first 8 bars.

A song needs an uphill section to reach its climax, but rap doesn’t. A 잔잔하던 [Korean word for ‘calm’ or ‘peaceful’] rap can suddenly soar to the top.

Of course, if you 구성 [Korean word for ‘compose’ or ‘structure’] a rap like that, it could present 어색함 [Korean word for ‘awkwardness’ or ‘unnaturalness’] to the listener.

-지지잉! [Sound effect, like a buzzing or static noise]

-지지잉! [Sound effect, like a buzzing or static noise]

However, Hime eliminated the 위화감 [Korean word for ‘sense of incongruity’ or ‘discomfort’] of the sudden leap by inserting sporadic electric guitar samples that seemed to be inspired by Radiohead’s Creep distortion effect.

The expressions of the judges, who were exclaiming ‘Wow!’ were caught on camera.

Paula Abdul, who always emphasized ‘uncontrollable 끼 [Korean word for ‘talent’ or ‘flair’]’, had a particularly satisfied expression.

In the meantime, Hime’s intense rap continued.

Scot was a song about 마음의 빚 [Korean word for ‘debt of the heart’ or ’emotional debt’] or 부채의식 [Korean word for ‘sense of indebtedness’].

The gratitude for the many 도움들 [Korean word for ‘help’ or ‘assistance’] Hime had received coming this far, and the apology for the mistakes she had unknowingly made, were the main contents of the lyrics.

However, Scot was not a song that 풀어내는 [Korean word for ‘unraveling’ or ‘resolving’] these things in a self-confessional and lyrical way.

In the end, what this song was saying was to reveal a rapper-like 포부 [Korean word for ‘ambition’ or ‘aspiration’] that ‘I’ll pay it all back when I get to a higher position’.

And Hime’s 선전포고 [Korean word for ‘declaration of war’ or ‘proclamation’] and 부채의식 [Korean word for ‘sense of indebtedness’] were also applied to Sanghyun to some extent.

Clearly, Hime had achieved remarkable development in her skills through Sanghyun. By following Sanghyun’s method and modifying it to suit herself, she eliminated her weaknesses.

Sanghyun didn’t know, but The X Factor was Hime’s first activity in 2 years since The way we live 작업 [Korean word for ‘work’ or ‘project’].

During the long period of 2 years, Hime only repeated learning English and following Sanghyun.

She submitted her 도전장 [Korean word for ‘challenge’ or ‘letter of challenge’] to The X Factor when ‘Sanghyun’s 것 [Korean word for ‘thing’ or ‘stuff’]’ had all disappeared from her rap and only ‘Hime’s 것 [Korean word for ‘thing’ or ‘stuff’]’ remained.

So, no one could imagine how surprised she was when she met Sanghyun after passing the first audition. Because Sanghyun was Hime’s 우상 [Korean word for ‘idol’] and teacher.

She didn’t watch the news at all, so she didn’t even know Sanghyun was participating.

Maybe that’s why she chose Scot as her 경연곡 [Korean word for ‘competition song’] with Sanghyun.

I express my respect to the people who have pushed and pulled me so far.

Hime is here thanks to you, your 것 [Korean word for ‘thing’ or ‘stuff’], by your 곁 [Korean word for ‘side’].

All I can do is go higher.

All I can do is 사면 [Korean word for ‘acquit’ or ‘repay’] all of this with music.

Hime’s energetic 외친 [Korean word for ‘shouted’] ‘Go scot free’ echoed.

That’s how the verse ended and the hook began.

***

Hime returned to Japan after The way we live 작업 [Korean word for ‘work’ or ‘project’] and learned about Sanghyun. She even hired a translator because she couldn’t speak Korean.

And then she could see how Sanghyun was able to have freedom.

Sanghyun had never failed.

Not even once.

Moreover, he had never rapped about anything other than his own story.

<56 JFTR>, which contains 연애담 [Korean word for ‘love story’], was a little ambiguous, but in Hime’s opinion, even if the story itself was fiction, the women appearing in the song were clearly real people.

So there was a problem with Sanghyun’s method.

Ordinary musicians inevitably had to repeat 좌절 [Korean word for ‘frustration’ or ‘setback’] and 극복 [Korean word for ‘overcoming’] countless times. As they did so, their music changed, and their skills developed.

Of course, there were also those who gave up music without overcoming 좌절 [Korean word for ‘frustration’ or ‘setback’]. 좌절 [Korean word for ‘frustration’ or ‘setback’] was different for each person, and so were the methods of 극복 [Korean word for ‘overcoming’].

But there was one thing in common.

That was the type of 좌절 [Korean word for ‘frustration’ or ‘setback’] experienced by musicians whose skills had reached a certain level or higher.

It was the sense of 괴리감 [Korean word for ‘disconnection’ or ‘alienation’] between musicality and 대중성 [Korean word for ‘popularity’ or ‘mass appeal’].

It was the 좌절 [Korean word for ‘frustration’ or ‘setback’] experienced the moment they understood that the perfect music they had been pursuing without rest since starting music could 오히려 [Korean word for ‘rather’ or ‘instead’] harm 대중성 [Korean word for ‘popularity’ or ‘mass appeal’].

However, Sanghyun didn’t have that process.

‘Because he’s so good at rap.’

A genius was also lucky.

Because he was so good, he immediately captured the hip-hop 매니아들 [Korean word for ‘maniacs’ or ‘enthusiasts’] of Korea, and because he was so good, he presented a new 패러다임 [Korean word for ‘paradigm’] to the public unfamiliar with hip-hop.

Therefore, Sanghyun had never 고민해본 [Korean word for ‘worried about’ or ‘considered’] about 대중성 [Korean word for ‘popularity’ or ‘mass appeal’]. 대중성 [Korean word for ‘popularity’ or ‘mass appeal’] is a 취향 [Korean word for ‘taste’ or ‘preference’] that is 발휘되는 [Korean word for ‘exhibited’ or ‘displayed’] among familiar things, not something that is 발휘되는 [Korean word for ‘exhibited’ or ‘displayed’] in an 독보적인 [Korean word for ‘unique’ or ‘unrivaled’] area that cannot be touched.

At least in Korea, Sanghyun was not affected by 대중성 [Korean word for ‘popularity’ or ‘mass appeal’].

But this was America.

The place where hip-hop was born, where the 전설들 [Korean word for ‘legends’] who created hip-hop are still rapping, and where the living 전설들 [Korean word for ‘legends’] who have 뛰어넘은 [Korean word for ‘surpassed’ or ‘transcended’] the dead 전설들 [Korean word for ‘legends’] are releasing albums.

To give an 비유 [Korean word for ‘analogy’ or ‘metaphor’], it was like this.

If a very hungry person is given a piece of meat, that person will eat it 허겁지겁 [Korean word for ‘ravenously’ or ‘greedily’]. As if that meat is the best 만찬 [Korean word for ‘feast’] in the world.

However, a person who is not hungry but pays for and orders a 만찬 [Korean word for ‘feast’] for 식도락 [Korean word for ‘gastronomy’ or ‘gourmandism’] is different.

They would want to have a meal they would like, considering many things such as the condition of the meat, texture, 육즙 [Korean word for ‘meat juice’ or ‘juiciness’], spices, and 애피타이저 [Korean word for ‘appetizer’].

The former was Korea, which accepted Sanghyun’s rap, and the latter was America.

Sanghyun is very good at rap.

If you only look at his rap skills, he is not 꿀리지 [Korean slang for ‘inferior’ or ‘lacking’] compared to living 전설들 [Korean word for ‘legends’] like Eminem or Jay-Z. Before 넘어가는 [Korean word for ‘crossing over’ or ‘entering’] into the realm of 취향 [Korean word for ‘taste’ or ‘preference’], it was impossible to 논할 수가 [Korean word for ‘discuss’ or ‘argue’] about skill superiority.

But if Eminem, Jay-Z, and FiveSix release albums at the same time and you can only buy one album, whose album will people choose?

The satisfaction that the public can only feel in FiveSix’s music, 뛰어넘어ing [Korean word for ‘surpassing’ or ‘transcending’] being good at rap.

The process of 뛰어넘어ing [Korean word for ‘surpassing’ or ‘transcending’] the category of rapper and becoming a musician.

Sanghyun lacked this.

Because he was so good.

Because he had been running straight without ever 넘어지지 [Korean word for ‘falling down’].

In Hime’s opinion, this process was Sanghyun’s last 성장통 [Korean word for ‘growing pains’]. If Sanghyun, who had grown step by step, 맞춘 [Korean word for ‘fit’ or ‘matched’] even the last piece of the 퍼즐 [Korean word for ‘puzzle’], he was now a 완성된 [Korean word for ‘completed’ or ‘perfected’] musician.

The four judges would also be thinking this. That’s why they 붙인 [Korean word for ‘paired’ or ‘matched’] him with herself, who is the most 염두에 두는 [Korean word for ‘mindful of’ or ‘concerned about’] about 대중성 [Korean word for ‘popularity’ or ‘mass appeal’] among rappers. If he were 붙게 [Korean word for ‘paired’] with other rappers instead of herself, it would be a 자리 [Korean word for ‘place’ or ‘opportunity’] to 겨루는 [Korean word for ‘compete’ or ‘vie’] skills, and Sanghyun would 무조건 [Korean word for ‘unconditionally’ or ‘definitely’] 승리할 [Korean word for ‘win’ or ‘triumph’].

So, if Sanghyun doesn’t 염두에 두 [Korean word for ‘mindful of’ or ‘concerned about’] about 대중성 [Korean word for ‘popularity’ or ‘mass appeal’] in this 무대 [Korean word for ‘stage’], the judges were ready to give the genius his first 패배 [Korean word for ‘defeat’] and create a 발판 [Korean word for ‘stepping stone’ or ‘foundation’] for growth.

Before they knew it, the judges were not seeing Sanghyun as a 참가자 [Korean word for ‘participant’] of a 리얼리티 쇼 [Korean word for ‘reality show’].

They were seeing him as a musician who would leave a 거대한 족적 [Korean word for ‘huge footprint’] in the 대중음악사 [Korean word for ‘popular music history’] that would continue in the future, whether they 의식했던 [Korean word for ‘conscious of’ or ‘aware of’] or 의식하지 못했던 [Korean word for ‘unconscious of’ or ‘unaware of’].

If they had 진행했다 심사 [Korean word for ‘proceeded with judging’] to 만들어가기 [Korean word for ‘creating’ or ‘making’] a 리얼리티 쇼 [Korean word for ‘reality show’], it would have been more 이득 [Korean word for ‘beneficial’ or ‘advantageous’] in terms of 시청률 [Korean word for ‘viewership ratings’] or 화제성 [Korean word for ‘buzzworthiness’] to 붙이는 [Korean word for ‘pairing’] Sanghyun. This 대진 [Korean word for ‘matchup’] would not be 만들어지지도 [Korean word for ‘created’] in the first place.

So Hime didn’t care whether she 이겨도 [Korean word for ‘wins’] or 져도 [Korean word for ‘loses’].

Because they were 겨루기 [Korean word for ‘competing’] based on the judges’ 기준 [Korean word for ‘criteria’], not skills, she honestly thought she would 이길 것 [Korean word for ‘win’]. And she wanted to 이기고 [Korean word for ‘win’].

But if she 졌다면 [Korean word for ‘lost’], it meant that Sanghyun was 완성이 [Korean word for ‘complete’], and she thought she would be 기쁠 것 [Korean word for ‘happy’] because her 우상 [Korean word for ‘idol’] had become 완전해졌다는 [Korean word for ‘perfected’].

‘Is Sanghyun’s 완성이 [Korean word for ‘completion’] more 기쁘다고 [Korean word for ‘happy’] than 5 million dollars? I’m 미쳤구나 [Korean word for ‘crazy’], I am.’

She had these thoughts, but her 마음은 변하지 않았다 [Korean word for ‘mind did not change’].

The only thing she 아쉬운 [Korean word for ‘disappointed’] was that she could not 함께 올라갈 [Korean word for ‘go up together’] with Sanghyun no matter how the 결과 [Korean word for ‘result’] came out.

It seemed that she 좋아하는 [Korean word for ‘liked’] Sanghyun.

‘I’m thinking too deeply because I’ve been 따라하다ing [Konglish for ‘copying’ or ‘imitating’] his music for 2 years.’

That was what Hime thought right before going on 무대 [Korean word for ‘stage’].

***

Hime’s Scot came to an end.

Scot, which 구성된 [Korean word for ‘composed’] of two 벌스 [Korean word for ‘verses’] and two 훅 [Korean word for ‘hooks’], was a 무대 [Korean word for ‘stage’] that was 도저히 흠을 잡을 수가 [Korean word for ‘impossible to find fault with’] even if you tried to 잡으려고 흠 [Korean word for ‘find fault’].

The 참가자들 [Korean word for ‘participants’] who saw Hime’s 무대 [Korean word for ‘stage’] were 술렁이고 [Korean word for ‘stirring’ or ‘buzzing’].

Before the 심사 [Korean word for ‘judging’], the judges had 못을 박았었다 [Korean word for ‘hammered in’ or ‘made it clear’] that there would never be a 패자부활전 [Korean word for ‘loser revival round’ or ‘wildcard round’] or a 2인 합격 [Korean word for ‘two-person pass’]. So one of Hime or FiveSix would 떨어진다는 [Korean word for ‘be eliminated’].

Having seen Hime’s 무대 [Korean word for ‘stage’], it was 상상도 할 수 없었다 [Korean word for ‘unimaginable’] that Hime would 떨어진다는 [Korean word for ‘be eliminated’]. It was 정말 말도 안 되는 일 [Korean word for ‘really ridiculous thing’] to 만들고 [Korean word for ‘make’] a 무대 [Korean word for ‘stage’] like this and 떨어진다는 [Korean word for ‘be eliminated’].

However, it was 역시 도저히 상상할 수가 [Korean word for ‘also unimaginable’] that FiveSix would 떨어진다는 [Korean word for ‘be eliminated’]. It was 마치 상상이 금기된 것처럼 [Korean word for ‘as if imagining it was forbidden’].

However, a 극소수의 참가자들 [Korean word for ‘small number of participants’] who 알아차린 [Korean word for ‘noticed’ or ‘realized’] the judges’ 의도 [Korean word for ‘intention’], like Melody or Hime, thought that Sanghyun was likely to 떨어진다 [Korean word for ‘be eliminated’].

In the meantime, Hime’s 무대 [Korean word for ‘stage’] received 극찬 [Korean word for ‘high praise’] from the judges. The 칭찬 [Korean word for ‘praise’] was so long that the 촬영 총감독 [Korean word for ‘chief director of photography’] hired by Simon Cowell signaled that it was enough. However, the 극찬 [Korean word for ‘high praise’] continued after that.

Hime went down to the 좌측 [Korean word for ‘left side’] of the 무대 [Korean word for ‘stage’], and Sanghyun came up from the 우측 [Korean word for ‘right side’] when the 단어들 [Korean word for ‘words’] that could be used for 칭찬 [Korean word for ‘praise’] had all 떨어진다 [Korean word for ‘run out’].

‘대중성 [Korean word for ‘popularity’ or ‘mass appeal’]? 음악성 [Korean word for ‘musicality’]?’

Melody tried to 유추해보았다 [Korean word for ‘deduce’ or ‘infer’] what he had 골랐는지를 [Korean word for ‘chosen’] while looking at Sanghyun’s 표정 [Korean word for ‘expression’], which she could not 알아차릴 수 [Korean word for ‘discern’].

According to what Melody had 지켜본 [Korean word for ‘observed’], it seemed that Sanghyun had also 알아차린 [Korean word for ‘realized’] what this 심사 [Korean word for ‘judging’] meant.

He seemed to have 알아차린 [Korean word for ‘realized’] a little late because it was 관련된 [Korean word for ‘related’] to 본인 [Korean word for ‘himself’], but in fact, there was no one as 뛰어난 [Korean word for ‘outstanding’] in musical 센스 [Konglish for ‘sense’] or 대국적인 안목 [Korean word for ‘broad perspective’] as Sanghyun. Maybe Sanghyun would 결국 알아차렸을 [Korean word for ‘eventually realized’] even if she hadn’t given him a 힌트 [Korean word for ‘hint’].

At that time, Sanghyun, who was 나누던 [Korean word for ‘exchanging’] a few words with the judges, started singing.

While listening to Sanghyun’s rap, Melody 깨달았다 [Korean word for ‘realized’] that he had 끝내 선택했다 [Korean word for ‘finally chosen’] 음악성 [Korean word for ‘musicality’], not 대중성 [Korean word for ‘popularity’ or ‘mass appeal’].

< Verse 41. Streamline > End

ⓒ