You know you’re in for a treat when Seo In-guk appears on screen (literally speaking) – whether it’s a stellar performance as an actor, a song in which his musicianship stands out, or a candid conversation with him on Zoom. As a South Korean superstar, Seo is undeniably one of a kind. His acting skills? We don’t even need to go there; he’s a prodigy. His immaculate satoori dialect struck me when I first met him in Reply 1997 and began to pay attention to his work, which includes a roster of super hits like Master’s Sun (2013), High School King of Savvy (2014), Hello Monster (2015), Squad 38 (2016), Shopping King Louie (2016), The Smile Has Left Your Eyes (2018), Doom At Your Service (2021) and the ongoing Café Minamdang. I believe that Seo became a star long before the Korean wave happened.
Trust me on this: when I started watching Café Minamdang (Minamdang in Korean) a week ago, I had no idea I’d end up interviewing him in the next few days. I struck up a conversation with him at 11.30 am IST on the day of the interview. Seo In-guk, mark my words, is the sweetest, most humble, and soft-spoken person I’ve ever come across. Meeting him left me with only one question: “Like how?” Apparently, that’s what real artists are – “true in the dark and humble in the spotlight.” I initiated the discussion in Korean as an icebreaker, and there he was, with the most incredulous expression, marvelling at how an Indian journalist could be proficient in Korean.
Bu hikaye RollingStone India dergisinin September 2022 sayısından alınmıştır.
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Bu hikaye RollingStone India dergisinin September 2022 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Giriş Yap
DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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INDIA'S HIP HOP MOVEMENT GAINS MOMENTUM
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TINASHE 'I'VE BEEN IN THE GAME 10 YEARS.I'M NOT NEW TO THIS.I'M TRUE TO THIS'
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