The Great American Broadcast (Otis Ferguson, Writer, Part 2)

So just a few, um, thirteen-and-a-half years ago Dave and I were having a discussion about Otis Ferguson, and I'd inserted a couple of long Otis quotes, one of which we talked about a little but the other not much at all, so here it is again:

There is no reason why the movies should stop making bad musical comedies so long as bad musical comedies make money in buckets, so the only squawk on The Great American Broadcast is that its standard ingredients for success in this field could have been shaped together for fair entertainment, as well. It is another of the Twentieth-Century-Fox series of Only Yesterday in Tinpan Alley and uses everything in the formula: the ups and downs of love in show business (radio, this time), specialty acts, songs, wisecracks, blows, background music with old tunes, and what we might call a Spitalny Finale. As usual, the story is only an excuse for introducing these baubles; but at the same time, and also as usual, the story manages to do a lot of shoving around and by the end has got half the emphasis all to itself.

At first they thought of doing an authentic history of radio as entertainment and imported a prominent studio engineer from the early days as adviser. Well, this gentleman worked up a lot of material, but this was too technical and dull, so they put a writer on with him and the two worked up one or more treatments, but these were technical and not bright enough. So apparently they said to hell with it and threw the stuff into the customary mill, with credits for four writers but nothing more from the engineer, or from history. So Jack Oakie meets John Payne in a fight and they meet Alice Faye. Jack loves Alice but she doesn’t love him. Alice hates John but soon they are making with kisses, so Jack hates John. Cesar Romero loves Alice but she marries John and nobody loves Cesar, but Jack goes to work for him. Then Alice goes to Cesar on a technical matter and John hates Alice and leaves the country. Alice and Cesar are going to Reno, off with the old and on with the new, so Jack hates Cesar and manages to get hold of John. Jack wants to help John and now loves him, so they fight. Cesar goes away and Alice and John fight. Then they kiss. Then it says the end.
--Otis Ferguson, review of The Great American Broadcast in "Not So Good," The New Republic, 9 June 1941. (The Film Criticism of Otis Ferguson, ed. Robert Wilson, Temple University Press, Philadelphia, 1971, pp 366–367.)

What's going on here isn't just a funny, knowing way of recounting the plot of a film. It's about how the movie brushes against what audience members bring in with them in the way of gobs and gobs of previous films and plot expectations, and what the movie does to these viewers: pulls them along, drags them along, gets a groove, bores and/or comforts them, and here we are, The End.

I think there's something special in the way Ferguson walks that border between screen and watcher — obviously all viewers and reviewers inhabit that borderland, but that doesn't mean they do it with awareness and insight. Of course, a skeptic could say, "Wait, Otis is still just fundamentally recounting the plot, not saying anything in particular about that borderland." Well, he didn't drag or dance us into analysis in the way that I might. It's more artistic or poetic, like a Hemingway: he touches that boundary, waves at the space outside the movie, the world of other movies and the rest of life, while getting on with the review.

(And Ferguson could do this pretty consistently.)

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Tonight The Ballot Let Me Down (Resurrection and Correction)

I talked Ashton Shepherd's "Whiskey Won The Battle" out of obscurity and into Tom Ewing's World Cup Of 2008 competition coming up in March, and have already prepared my spontaneous retort for when the song gets eliminated early on:

"Tonight the ballot let me down!"

I'd pretty much forgotten Ashton till yesterday when I looked up my Nashville Scene country critics ballot for 2008:

Ashton Shepherd sounds like a caricature of country music, a twang as wide as rivers are deep, no heart left unwrenched, no string untugged, the result being uncannily gleeful and exuberant; then at the end, "Whiskey Won The Battle" — as clichéd as the rest — is a gutkick of total conviction. Country song of the year, except maybe for Willie Nelson's "The Bob Song," a cover of some old Big & Rich fanpack folderol about a guy sitting in his tree taking the piss out of everything he sees, or something, Willie turning it into utter beauty.

I've actually already used the ballot-let-me-down gag, not regarding 2008 but 2011: is a play on words on Merle Haggard's "The Bottle Let Me Down," from 1966, which Ashton Shepherd is referencing and riffing on in "Whiskey Won The Battle." "The Bottle Let Me Down" was covered by LeAnn Rimes in 2011, so when I included her in my nonsingles list I used the headline "Tonight The Ballot Let Me Down." Here we are:

Tonight The Ballot Let Me Down (February 11, 2012)

Anyhow, if you read down the commentary for that list, you'll see that the ballot's fine but that my memory let me down. Recall this from last month's philosophical disquisition:

And my favorite of Hyuna's live TV versions of "Just Follow" featuring Zico (as opposed to the EP track which featured Dok2 who wrote it) made my singles list for 2011 (iirc) but is on my Top 5 Nonsingles Of The 2010s 'cause that's where there was room for it (I've not gotten around to posting here about that list but here's the playlist).

As it happens, not only did I not recall correctly, but I'd also forgotten my lengthy spiel on the very subject of why I was putting Hyuna's live-on-television "Just Follow" on my nonsingles list rather than my singles list:

"So, why does your webrip of a live Dia Frampton performance get classified as a single, but your webrip of a live HyunA performance get classified as a nonsingle?" 'Cause Dia Frampton's "Heartless" was on The Voice, which is an American Idol–type talent show, and for those shows the live performances are what everyone cares about. The popular ones tend to have a singles-like impact. Whereas the HyunA performance was just a live TV clip designed to promote her and her album. If that clip had gotten massive YouTube views I'd probably have counted it as a single. (I chose that performance rather than the album version, 'cause (obviously) I think it's better; also, it was significantly different, having Zico rather than DOK2 in the "featuring" spot.) The real question might be why didn't I discount the live "Heartless" in favor of the quickie studio version that was available for download and actually charted in the Hot 100 and made it to something like 27 on iTunes (Wikip and Google aren't giving me a consistent number for the latter)? The answer here again is that it's the live version that everyone cares about, and the live version is significantly better. Over the years I've put six talent-show clips on my singles list, the other five being Jordin Sparks' "I Who Have Nothing,"* Brooke White's "Love Is A Battlefield,"* Adam Lambert's "Mad World," Didi Benami's "Rhiannon," and Didi Benami's "Play With Fire," all from American Idol. I chose the live version for four of those five, "Mad World" being the only exception. I don't draw any conclusion from that about live talent show performances being generally better than the corresponding studio quickies, since I don't even bother with the studio version unless the live version is extraordinary. So if a live version is extraordinary I'll listen to the studio version, but if the studio version is extraordinary I won't even hear it unless the live version is extraordinary too.

*Hmmm. Apparently I didn't list "I Who Have Nothing" at all in 2007, and, though in 2008 I did list "Love Is A Battlefield," I put it on my songs list but not on my singles list, deciding I suppose that it was not a single.

LeAnn Rimes "The Bottle Let Me Down"

Dia Frampton "Heartless"

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ADMIN: A Philosophical Disquisition: What's A Single? incl. links to Chuck's Best Singles Of 2020

Here courtesy me are two new YouTube playlists:

Chuck Eddy's 11 Best Singles Of 2020

Chuck Eddy's Best Singles 2020 Numbers 12 To 33 alphabetical by artist

And Chuck's writeup of same.

And here's a provisional list of my Top 8 Nonsingles for 2020:

And here's a revised provisional list of my Top 8 Nonsingles for 2020 as of 1/1/21 that wedges in some baile funk:

As you can see, I still distinguish between singles and nonsingles, the latter being album tracks and other tracks that I decide are not singles, and someday I'm going to create a philosophical admin post where I explain what a single is. Okay, here it is: a single is something that acts like a single in some way, say the artist or record company says "here's the new single" or creates an actual video for it as opposed to a mere live video, lyric video, or audio video except those can also be considered "singles" by me if they get enough streams or if the artist etc. has already said "this is my new single" or if it's a talent show performance that a lot of people got excited about; also if an act just creates a knockoff that he/she/they posts somewhere themselves, that IS nonetheless a single because it's singular enough no matter if it only gets a few streams, but if the artist is taking the same basic track and redoing it every week for twenty-one weeks with a different singer or different mix and title (I'm thinking of you, DJ Will DF) those are not singles though one could become a single by getting a lot of streams; but a track is a single if it's a radio hit or streaming hit no matter what the artist or label intended, also is a hit if some big enough communities act like it's a hit or make it a big subject of attention, so Sault's "Wildfires" is a single, as back in the day were Jay-Z's "Takeover" and the Rolling Stones' "Sympathy For The Devil"** and Led Zeppelin's full-length "Stairway To Heaven" even though there'd been no physical single or official designation as a "single." For what it's worth, I've got Semi Tee's "Scooter" on my Nonsingles list (so far), though Chuck's got it on his singles list.* And my favorite of Hyuna's live TV versions of "Just Follow" featuring Zico (as opposed to the EP track which featured Dok2 who wrote it) made my singles list for 2011 (iirc) but is on my Top 5 Nonsingles Of The 2010s 'cause that's where there was room for it (I've not gotten around to posting here about that list but here's the playlist). Btw Qri, the member of T-ara I never paid attention to, managed to get two solo shots on that list!

*[UPDATE: Chuck tells me that "Scooter" is on neither of Semi Tee's albums and was uploaded as a stand-alone single on Rhapsody/Napster in May of 2020. That does seem definitive, though there’s no vid and not a lot of streams; approx 50,000 on Spotify and fewer on YouTube. But several people have posted videos of themselves dancing to it, PLUS there’s a Chipmunks version, which are both single-y type behavior on the song’s behalf; so I guess I'll move it over to my singles list. I mean, a Chipmunks version would seem to decide the question once and for all in favor of its being a single! (Interestingly, it was uploaded all the way back last January.)]

**[CORRECTION: Damn, I should've checked this. There actually was a physical single for "Sympathy For The Devil," though I can't tell from Wikip if it was ever released in America: the song got no AM airplay or chart action; it was played to death on FM back when FM still had few listeners. I wouldn't be surprised if all the sales went to the album. But anyway, there was no physical single for "Gimme Shelter" and I'd sure count that as a single.]

Oh, and I haven't decided what to do about TikTok which I haven't paid much attention to though if something's a hit there it's surely a single but then you have to figure out which version to link as the "single," but anyway I've got on my 2020 singles list someone's YouTube compilation of a bunch of TikTok kids lipsyncing the same fragment from Life Without Buildings, because linking them all together creates an amazing repetitive track in itself, sorta like Baauer's great "Harlem Shake." (Also, check out the latest version of my Ongoing Singles list for 2020; new additions towards the bottom which I'll eventually distribute upward.)

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A Dingo Bell Ate My Bhabie (Frank's Eardrums December 2020)

Here's my most recent Eardrums playlist.* It's kinda overrun by my latest infatuation, Brazilian funk, which is a species all its own — there are a couple of subspecies, brega funk from Recife and regular old funk carioca from Rio and São Paulo, except I'm just now diving into them, and damned if I can tell the difference.** For instance, DJ Guuga's from Recife and MC Dricka and MC Teteu and their frequent producer DJ Will DF are from São Paulo; but both Guuga and Will DF are similarly abrasive as per my taste — Will's maybe more compulsively abrasive, while Guuga's more playfully abrasive, and abrasively playful.

MC Dricka has collaborated with brega funk artists. I infer from this that there are modes of transportation in Brazil, and the technology to work together at a distance.

South Park are on here too and they're also playfully abrasive and abrasively playful but don't sound anything like brega funk.

There are a couple of Korean Jingle Bells that go admirably off-message, as does a Chicago Silent Night that's less than silent. And some standard Eardrums fare not related to the season.

Bhad Bhabie's here with the meme that made her accidentally famous when others latched onto her. The music cries tears in the background.

And Bali Baby, with an original riff and rap that went viral.

I think "dingo" is just a pun on the ding-a-ling of Christmas bells, though for all I know it's Brazilian street slang that Google Translate has yet to come across. H/t to Don Allred for providing the title, "A Dingo Bell Ate My Bhabie," and to Jonathan Bogart for setting me off on this adventure by choosing "Dingo Bell Sou Seu Papai Noel" as his bonus nomination in Tom Ewing's Xmas World Cup.

*"Frank's Eardrums" playlists are meant to flow and/or splash and gurgle and turn on themselves like mixtapes of yore, often concentrating on what I've been absorbing most recently but sometimes I just wedge things in that I think'll sound interesting. And what I'm listening to recently isn't always made recently, and I owe several new finds of old tracks here to Tom's Xmas World Cup.

**I found a Brega Funk playlist on Spotify, "BREGA FUNK • Metendo o Passinho | Recife," curated by Gael Uno, subtitled "from Recife to the World" but the track added most recently has vocals by São Paulo's MC Teteu, so maybe it's the World to Recife as well. The playlist leans towards the hooky and goofy and bouncy ("brega" means tacky or cheesy), perhaps more so than Brazilian funk as a whole, but now I'm probably just reaching for differentiation. There's the fun of forward motion, then there are volley shots and barriers, as if to have fun fucking with the motion. Amazing stuff.

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The Spoonie Gee Trilogy

Spoonie Gee's "Love Rap" is coming up in Tom's latest Twitter poll, and I've been meaning to link these for a while anyway and I've run out of excuses not to.

Basically, I became a rock critic so that I could write about Spoonie Gee and Teena Marie, though that barely begins to explain it — right off, I'm not just writing about Spoonie Gee, I'm writing about myself and the Rolling Stones, and there's a lot of let's call it hopeful thinking here, that Spoonie and hip-hop can pick up the critical thinking baton that Jagger and Dylan and punk rock all dropped. There's a lot of bracing naïveté in the first of these pieces, but actually I think it's the piece that goes deepest, my mind digging up and throwing itself and dirt and arrowheads at the world, what music can be and what writing can be, what thinking can be — and I still identified w/ punk rock so in bringing it up with Spoonie I'm not so much using punk to tell you what Spoonie's like but using Spoonie to tell you what punk is like: it's like me; it's like Spoonie. Or so I wished, that we were included in its variety. "There's a second story behind the first."

At least at the moment the first link should give you all three pieces consecutively through Google Books, but in case it doesn't, try the second link for "Sex Don't Love Nobody" and the third for "The Godfather LP" (and the second has some great pics). And if the first link balks, scroll back from the third.

Spoonie Gee (1985)

Sex Don't Love Nobody (1987)

Spoonie Gee The Godfather LP (1988)

—For the first two of these I unconsciously developed a formula: Performer Gets Critic --> Performer Loses Critic --> Performer Gets Critic (in the first piece it's Spoonie Gets Critic, in the second it's Kool Moe Dee Gets Critic). Used the formula on Teena Marie when I reviewed Naked To The World. Later used the formula more consciously while reviewing several others and it didn't work as well.

—Mike Tyson hadn't yet been accused of rape when I wrote the Godfather review or else I couldn't have ended it like that. I lucked out.

—The first piece was submitted to one zine; the editor supposedly was waiting on it because it needed an update which I wrote but then she didn't actually want me, or Spoonie, so I gave it to Jim DeRogatis and he published it in his fanzine Reasons For Living. I kept it in fragments as I'd written it because that way I got three closers.

—There've been attempts to recast and glorify Spoonie Gee as having initiated the pimp-mack thing in hip-hop, but to his credit that's NOT REMOTELY TRUE: as my reviews say, his vulnerability was never far from his boasts. I do take him to task for the woman-hating in "Street Girl," but I see deeper stories.

—"I've run out of excuses not to": Regarding the search for deeper stories, I may have a kindred spirit in Crystal at The Singles Jukebox, but I'm too afraid of her to find out. Anyhow, I've been wanting to link my Spoonie Trilogy and point to it ever since I read Joshua and Crystal in the comments of the Jukebox's review of Juice WRLD's "Fine China": what Joshua and Crystal wrote are interesting stubs that they could extend into actual thinking and for all I know they have, though I don't expect the Jukebox to have a substantive discussion of anything anymore — but haven't really been reading to see if it has, and maybe I underestimate them. My assumption is that I know way more than Crystal does about "old white critics mad about misogyny in hip-hop," and what I know beats the crap out of what she knows, but she doesn't want my help.

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We live on the surface when our hearts search for the deep (Top Singles 2020 through October)

Great year for excellent murk, a lot from Atlanta's Spillage Village collective, Dreamville Records, EarthGang, JID, gumby flexible voices, a sense of motion at the side or just out of the frame, like an Altman movie. So you've got your rap or your melody but the surrounding sound as well, just a lot of stuff, the street fair, the campfire, the ballroom, gymnasium.

And then South African house — amapiano, gqom, Semi Tee, Kabza De Small — a similar effect by way of an opposite route: the main show is stripped away, so you get the highway, the tires, the feet — a big open space and lots can pour in.*

Here's the list, and first the playlist:

1. Deante' Hitchcock ft. JID "I Got Money Now"
2. Full Tac ft. Lil Mariko "Where's My Juul??"
3. Major League & Focalistic ft. Moonchild Sanelly, Kabza De Small & The Lowkeys "NdiKuze"
4. Kabza De Small & DJ Maphorisa ft. Semi Tee, Miano & Kammu Dee "Lorch"
5. Dreamville ft. EarthGang & Reason "Still Up"

6. Billie Eilish "No Time To Die"
7. Spillage Village, EarthGang, JID ft. Jurdan Bryant, Mereba, Hollywood JB "End Of Daze"
8. J Balvin "Morado"
9. Semi Tee ft. Focalistic "Mercedes"
10. Sexyy Red "Northside"
11. Kabza De Small, DJ Maphorisa ft. Aymos, Samthing Soweto, Mas Musiq & Myztro "eMcimbini"
12. Bob Mabena ft. Kabza De Small, Madumane & Tyler ICU "Drip Drip Juluka"

13. DJ Maphorisa & Kabza De Small ft. Qwestakufet "Mi Amor"
14. Rosalía "Juro Que"
15. WayV "Turn Back Time"
16. Blackpink "How You Like That"
17. H.E.R. ft. Pop Smoke, A Boogie Wit da Hoodie & Chris Brown "Slide (Remix)"
18. Ninety One "Lie"
19. StrongBangwaBoy "237 Njangi"
20. Focalistic ft. Vigro Deep "Ke Star"
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Joey Beltram Stands His Ground (Dance Party 1990)

Last month Tom Ewing ran a World Cup Of 1990 on Twitter and nearing the end asked, "For voters here, I'm interested — has the relatively deep dive of this poll changed your opinion of 1990 at all? (assuming you had one!)" My basic response is too long for 280 characters, or even 2800, so I'm blogging it here, also referring to and embedding a YouTube playlist I created, " Dance Party 1990," made up mostly of tracks I heard (and in many cases discovered) through his tournament or that I found or recalled while seeing what 1990 tracks I myself wanted to nominate. Not exactly a best-of (my pool included another 8 or so tracks including Masta Ace and Happy Mondays that never quite fit the flow). I thought of the "Dance Party" moniker after finishing the playlist, so dance wasn't the intent but what I discovered I had: not all tracks in "dance" genres but all inspiringly danceable.

My answer to Tom's question:

I tend to be a More Is More kind of guy, but — in this poll at least, in the general super area of House-Rave-Dance (but not freestyle & hip hop & r&b & hair metal) — Joey Beltram and ilk clean everybody's clock. By "ilk" I don't mean "rave" or any particular genre or style but a tendency within any genre or style to HOLD YOUR OWN, to concentrate on a crucial sound or path or problem, some bone you're chewing, and there you stand your ground rather than synthesize or mash together or collide with or incorporate neighboring styles.*

And of course there's one towering exception, uncleaned and unclocked, Clivillés & Cole's remix of Denise Lopez's "Don't You Want To Be Mine," the only freestyle-house amalgam I've ever heard. Freestyle is basically dead by 1990, the poll's George Lamond track ("Bad Of The Heart") being touching but totally average, a snapshot of a genre that has no forward motion (though there's an unexpected glorious freestyle last gasp the next year from Lisette Melendez and Corina). But now there's an alternate universe in my mind where, instead of stopping dead, freestyle like an alien leaps atop of and claws its way into passing genres like house and techno and New Jack Swing and propagates from there. This kinda sorta DOES happen in 1992 and 1993 in Korea, and for all I know is happening throughout the late '80s and '90s in Japan, the Land Where Italo Lives, but anyway *I* don't find out about any of that for another 17 years.

Speaking of Korea — or Los Angeles — I say in passing, in my kind of in-passing "Legend Of The Glockeater," that the lesson that Drunken Tiger learned from the Wu-Tang Clan is that less is more and more is more, too. In another piece (mostly about rock) I call this Recombinant Dub, to give Jamaica pride of place: My basic attempt is to identify a kind of double direction of contrary motion, which can exist between genres or within a genre or within a person or even within a day: Like, you subdue the thoughts inside your head, taking everything down to a main thing, your breath, say, but then with the inner chatter stilled, sounds around you — crickets, passing cars, tinnitus, a distant jackhammer — come rushing in.

In mid-'70s Bronx you have hip-hop DJs clearing out the rest of a track — taking out the vocals, the flourishes — to bring everything down to the breakbeat, and with 2 turntables and 2 copies of a record you can potentially play that breakbeat forever; but being DJs they use the never-ending breakbeat as a frame for adding sounds and cuts and riffs and melodies and scrapes and flourishes from other records, a whole memory of funk but also Monkees and Kraftwerk, and then tags and shoutouts and rap battles from your crew — potentially anything — and hip-hop is born. And then closing in on the '90s maybe you can hear this within house, acid house being both this singular corrosive 303 sound but also the tendency to sample soundbites. Or think of the house beats added to Denise Lopez. For a related submerged and perhaps otherwise imaginary unknown continent, listen to the second half of Liz Torres's "I Hear Voices (Voices In My Head)" on my playlist; geysers of salsa suddenly emerging from beneath the house beats.

In New Jack Swing ex-boyband New Edition guys find their way into the adventure of hip-hop, in one sense it's all down to a rhythm that sweeps away everything in its path, but it also manages to sweep in a lot: harmonies, black vocal history (a year later: "Motown Philly"). There's a social depth, since New Jack Swing doesn't just put different musics together, it potentially throws different audiences and different musicians together, finds a way for different social streams to coalesce.** (But you can almost feel the need for a pushback, a fight, elements determined to resist.)

On my 1990 Pazz & Jop ballot I put both a Snap! and a Chill Rob G version of "The Power" near the top, behind "Justify My Love," but ahead of LL and Michel'le and "Vogue" and "Roam" and "Ice Ice Baby." Didn't include the New Jack Editions but mentioned Ralph Tresvant and Johnny Gill in my comments. Anyway by 1991 I decided "The Power" didn't hold up, the whole International House thing and its forced raps and diva samples now seeming tiresome and shallow and who cares. No reason in principle that this should be so, but it was.*** I'm glad the Denise Lopez remix showed up in this poll to remind me I don't have to hate C&C. Actually, as far as the sonic feel, Beltram and C&C-Lopez are hardly opposites. Each sounds as solid and obdurate as the other.**** In the Dance Party I've interspersed these blocks of thundering rave but I'll have one of 'em (e.g.) emerging naturally from a dance ditty that precedes it and leading logically to a hard rock song that follows, the raver seemingly giving birth to the rocker.

So, again, both impulses at once: push it altogether, but also, hey STOP, what's that sound, listen, take account of THIS! So, take account of Joey Beltram's pulsating boulders, V.I.M. taking the piss in "Maggie's Last Party," LFO's dark harm, Marina Van-Rooy's sly "Sly One" (okay, I don't have an adjective for this — who is she? — but I like it), Renegade Soundwave's "Thunder" which is a haunted house that they emptied of all its furniture! Rising High's "Magic Roundabout" is like a bunch of STOP moments strung together, a necklace of boulders, both impulses again. All this stuff I mostly missed in 1990, my not having an ongoing story for house, rave, techno. For all I knew, these tracks could've appeared anytime from '86 to '07, me saying "Hello, where are you from?" with no sense of chronological before or after and no feel of "1990" as they loomed into earshot.*****

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It is the beginning of 'sister unit' (excerpt from Lee Sun-hee's Wikipedia page)

I'm preserving this long excerpt from Lee Sun-hee's Wikipedia writeup in case some dutiful Wikipedian discovers the entry and takes out all the good stuff:

In 1984, she participated in the 5th MBC Riverside Song Festival as a team named '4막 5장' with Im Sung-kyun, senior of the same department of university, and made her debut earning great attention to win the Grand Prize with a song "To J". At that time, she had a perm in a hurry because she was afraid that she might be caught the fact that she competed in the festival without any permission by her parents. That's why she seems so out of place.

When Lee Sun-hee visited the music office of Jang Wook-jo, a South Korean songwriter, in the second year of high school to find a song to sing, a composer named Lee Se-geon was throwing bunch of sheet music away in the garbage can. Sun-hee asked him watching that scene, "Can I use this?", and picked music with his permission. Surprisingly, the song in that music was "To J", her debut and signature song which gave her grand prize of festival. There was a joke that Jeon Doo-hwan, South Korean president at that time, would ban "To J" in radio because the song reminded the nation of the president because his family named starts with 'J'. In fact, this song was used when satirizing the news that always report their president at first.

She was famous for having female fans more than male fans even though she is a woman because of her explosive singing ability and the charm of her boyish attire. It is the beginning of 'sister unit'. At that time, video of her stage performance shows screaming sound of female fans like the sound coming out in the male idol's stage performance by yelling fans nowadays. The size of her sister unit of Lee Sun-hee was so huge, and the power of her sister unit was so great that there was a rumor that the company gave money and mobilized people.

Lee Sun-hee's round glasses and curt hair caused so-called 'Lee Sun-hee syndrome', which was popular among female students at that time. The unique image making that sticks to a course wearing pantsuit costume and her appearance like a shy boy attracted not only male fans but also female fans in 'Lee Sunhee syndrome'. Social atmosphere that rejects the decadent trend set up the environment that singers with healthy image like her can succeed and stretch their wings. Additionally, Lee Sun-hee was able to make herself popular with her unique vocal ability expressing strong power at high notes and songs that stimulate emotions of young women.
"Ah! The Good Old Days"

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A Disquisition On Hyphens



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