HEAR THIS: There's A Parade Coming Through

Leave it to the UK to give us girl groups worth their salt. Spice Girls, Girls Aloud, Sugababes, The Saturdays. There's enough star power in that non-sentence to fuel any number of rambling squee blogs here on Melismatic. It's pretty much to the point now that when it comes  to quality pop girl groups (who sing in English -- I got you, Japan & Korea), there's really no point looking anywhere but the UK.

Enter Stage Left, the five ladies in Parade, signed to Asylum Records, an imprint of Warner Music Group. They've toured with Ellie Goulding, Shayne Ward and Alexandra Burke. One member is a former member of another girl group, the UK X-Factor merger that was Hope (Phoebe Brown, of the now-deceased Girls Can't Catch was also in said group). Their debut single, "Louder", sparked a lot of noise and hype across the pond -- so much so that it went Top 10 on the UK charts. 

While "Louder" is likeable enough, it lacked any kind of spark or sass for me to want to pay attention.  Despite the lyrics suggesting to "turn it up louder", something about Parade just seemed too...vanilla to me. There is something to be said for a girl group in 2011 that doesn't totally rely on synth and AutoTune for their debut single -- even when it's said by someone like me who unabashedly digs that kind of thing. It reminded me of a lot of the (American-based) girl group fluff of the early 00's, and that's certainly not a bad thing, but it was missing a kind of urgent catchiness that I look for in the girl group's I stan. The hype for "Louder" came and went, and the group released their second single, "Perfume", and I lost interest completely.

Still, many of my UK friends are very insistent in their suggestion that I give Parade a second look, and after perusing two album "mini mixes" (1, 2) that have recently popped up on YouTube, I began to realize why.

Ballad cuts like "Pretty Ugly" let their vocal talents shine through but they still sound very much like a group and still relatable minus the layers of makeup and stage glitz. "RokStar" is beautiful in its epic crescendo, layering and building as the seconds progress, beginning with deep, rich string quarter notes before the whole group comes in with an unrelenting marching snare drum. "Like You", a gem of an up-tempo that sounds like the Ronettes with its hand claps, was co-written by Herbie Crichlow, one of the collaborators from our generation's Swede-Pop Power Period with Max Martin and Denniz Pop, crafting hits for Backstreet Boys and Five.

Why "Stars" wasn't chosen as a single, especially in Europe/Australia, is completely beyond me. I have my fingers crossed that this is something that is currently in the pipeline. The main synth hook is very Darude's "Sandstorm" mixed with hand claps and dance floor cliches. It's what The Saturday's were wanting to achieve with "Notorious".

I'm convinced that if they put out a slightly harder, urban-twinged remix of "Ticking On It", it might fly at American radio, especially given the winter penchant for slightly wistful ballads like this. After "Stars", of course. What a dancefloor gem!

Good on you, Parade -- you've crafted a pretty balanced and popalicious debut album. I find myself really enjoying the entire album for its sheer, unadulterated happy vibe it gives off. I miss when girl groups like these were a dime a dozen, and can appreciate Parade's 2011-spin on it. Listen to the mini mixes below, featuring in order: (1) "Perfume", "Stars", "Knock On My Door", "Yes You Are", "Just A Girl", "Like You"; (2) "Louder", "Shoes", "Weatherman", "Pretty Ugly", "Ticking On It".

WGO: Chart Watch (12/3/2011)

Dedicating this post to my roomie & BFF Kristin Hollins -- Happy Birthday!

Below denotes songs and artists of note featured on the Billboard Hot 100 (USA), Hot Dance/Club Play (USA), UK Hot (UK) and KPOP (South Korea) Charts.

Billboard Hot 100 Singles Chart:
1. Rihanna - We Found Love (feat. Calvin Harris)
3. Adele - Someone Like You
5. Bruno Mars - It Will Rain
6. Maroon 5 - Moves Like Jagger (feat. Christina Aguilera)
8. Gym Class Heroes - Stereo Hearts (feat. Adam Levine)
9. Drake - Take Care (feat. Rihanna)
11. Glee Cast - Rumour Has It/Someone Like You
12. Foster the People - Pumped Up Kicks
14. Rihanna - You Da One
17. Jay-Z/Kanye West - Ni**as in Paris
22. Dev - In the Dark
25. Nicki Minaj - Fly (feat. Rihanna)
26. Nicki Minaj - Super Bass
35. Gavin DeGraw - Not Over You
36. Adele - Rolling In the Deep
46. Selena Gomez & The Scene - Love You Like A Love Song
55. Jessie J - Domino
60. Adele - Rumour Has It
74. Adele - Set Fire To the Rain
78. Rihanna - Cheers (Drink To That)
90. Florence + The Machine - Shake It Out
94. The Black Feys - Lonely Boy
95. Blake Shelton - Footloose
96. Justin Bieber - Mistletoe
97. Lady Gaga - Marry the Night
99. Kelly Clarkson - What Doesn't Kill You (Stronger)



US Billboard Dance/Club Play:
2. Selena Gomez & the Scene - Love You Like A Love Song
3. Rihanna - We Found Love (feat. Calvin Harris)
7. Anjulie - Brand New Bitch
8. Nicole Scherzinger - Don't Hold Your Breath
9. Scarlett Santana - Rain
10. Wynter Gordon - Buy My Love

UK Billboard Singles Chart:
1. Rihanna - We Found Love (feat. Calvin Harris)
3. One Direction - Gotta Be You
7. Maroon 5 - Moves Like Jagger (feat. Christina Aguilera)
8. JLS - Take A Chance On Me
10. Christina Perri - Jar of Hearts

Billboard Korea KPOP Hot 100:
1. T-Ara - Cry Cry
2. Wonder Girls - Be My Baby
8. Girls' Generation - The Boys
15. Secret - Love Is Move
18. Brown Eyed Girls - Cleansing Cream
21. Wonder Girls - GNO
23. B2ST - Dreaming
28. Tablo - Tomorrow (feat. SOL)
32. Davichi - Don't Say Goodbye
41. Wonder Girls - Me, In
43. Wonder Girls - Girls Girls

HEAR THIS: "Show Me" Jessica Sutta

You can say it feels right
Say it to me all night
I don't think you understand (oh)
Love is not a gimme gimme
If you're really with me
Gotta show me, show me
Show me, show me love
Show me love
-"Show Me", Jessica Sutta

I love it when a popstar surprises, but I love it even more when it's the popstar itself that is the surprise.

The name Jessica Sutta may not totally ring a bell to you, but when fleshed out it will. She's an ex-member of (the original version of) the Pussycat Dolls, one of the three original members who was basically relegated to back-up dancer status and unfairly overshadowed by Ms. Nicole Scherzinger. In a world Post-PCDpocalypse, several of the Shadow Dolls as I like to call them (so basically, everyone except Nicole) are attempting to go the solo route with various levels of success and much eye-rolling thrown their way. Jessica is notable to me because she gained a major solo deal via Hollywood Records of all places, a Disney-based stomping ground and home of the Jonas Brothers, Demi Lovato and Selena Gomez & the Scene. It's not exactly where I was expecting a flashy ex-PCD member to pop-up.

However, I couldn't be happier that she did, because Hollywood Records sure does know their catchy pop, especially in the dancey-vein. Her first official solo release, "Show Me", was released back in August and it's a total dancefloor corker of the Cascada or September variety. 

There's real popstar potential in Ms. Sutta, so much so that you almost find it hard to believe that she was part of the collateral damage caused by supposed "Doll Domination". It's very heavy handed with the Auto-Tune, but it's also 2011 and this is a club song. The beats are hard, the synths are unrelenting and Jessica seems very comfy in her new position at Center Stage, as she should be.

Perhaps we should send this news to Nicole, as Jessica is clearly "show"-ing her how the solo jaunt should be done. Jessica's motto is if it ain't broke/don't fix it and she plays to her strengths she learned via her days as a Doll during the glory years -- stay sexy, make people want to dance, keep the single singable and catchy. Someone should take notes at her dance class, as she is officially the only ex-Doll to score a solo #1 -- on the Billboard Hot Dance Club Chart. Get it, girl.

Happy Turkey Day!

For those of you outside of the USA, today is Thanksgiving Stateside. It's a time to get up early, spend time with loved ones, eat way too much (turkey, mashed potatoes, sweet potatoes, asparagus, greens, rolls, corn, liquored egg nog, oh my!), put up all your Christmas decorations and pass out early (from all the turkey, obviously), only to wake up before the break of dawn on Black Friday so you can go out to push, shove and generally maim all who stand between you and the one $10 computer that's being put on "Super Sale". 

Oh, and it's also a time to reflect and to give thanks for all the blessings in your life. As you are reading this now, know that I am thankful for you. Yes, you. You! It sounds cheesy, but it's completely true. This year is the first in which I am spending it away from my immediate family, on the holiday that is typically hosted for my entire extended family at my parents' house. Its made even more bittersweet by the fact that part of what made Thanksgiving so memorable was my place at the table was always to the left of my now late grandfather, who passed away in August. I think it goes without saying that my thoughts will be with him today.

Rather than divert your attentions to the ever-relevant "Thanksgiving Song" by Adam Sandler, I will instead offer up this sketch idea from Saturday Night Live. I hope it doesn't put you off your pumpkin pie. (wink) Happy Thanksgiving, everyone!

HEAR THIS: Bruno Mars Forecasts "Rain"

Just like the clouds
My eyes will do the same
If you walk away
Everyday it will rain-"It Will Rain", Bruno Mars

I may not be the closest follower of Bruno Mars' career, but gosh darn can that boy sing. He joins rank with Gavin DeGraw and Elliot Yamin in terms of having velvety voices that literally make me melt into a pile of molten goo. Just one listen to "It Will Rain" and I'm off in the Netherworld that is Bruno's voice. 

I'm not quite sure why, but the he really can do no wrong with me. The control he has with his voice is just unreal -- he has the perfect balance between the strength and the soft, the light and the dark, the soft and the more complex. The lyrics in all of his singles so far suggest this kind of hopeless romantic quality to them. A part of you is almost suspicious, because they suggest a man that almost seems too good to be true. (In my opinion, he's a bit like Boyz II Men's lyrical content in that way.) But in my starry-eyed dreams, I'm wrapped up in a Snuggie with a romantic like Bruno, and with all hope, he can croon like he can, too. Le sigh.

PS - Oh, and the song is the single for the new "Twilight" movie. So the whole idealized romance thing has a bit of an excuse now. Doesn't matter. The song is still gorgeous.

HEAR THIS: Get "Addicted" to Prince Royce

I've saved a place on my chest
For you to rest your head on me
A part of me is a mess
I must confess
It's time to come clean...
I am addicted to your touch
-"Addicted", Prince Royce

The music industry is a small place and I don't think one really appreciates just how small it is until you unintentionally stumble upon an artist, only to realize they are just one or two degrees of seperation from your already-established musical library. Such is the case for me with Prince Royce, a 22 year-old Latin pop artist signed to Atlantic. 

Royce released his debut album, in Spanish last year, and the album soared up to the Top 20 of the Billboard Latin Album chart. The album spawned singles "Corazon Sin Cara" (Heart Without A Face) and a cover of "Stand By Me" by Ben E. King -- both of which hit #1 on the Billboard Tropical Chart. Currently, Royce is working on his debut English release and wrapped up a jaunt opening for Enrique Iglesias and Pitbull. The music video of the first single release from the album popped up online recently -- the dreamy, acoustic guitar-based "Addicted."

I heard the song a few weeks back and was immediately struck by it's lullabye-like feel. It's the kind of ballad that makes you long to lounge around till late on a Sunday with your Dream Guy (or Girl), curled up on the couch. It makes you feel all warm and fuzzy. Then I found out the song was written by Jessica Castellanos, a currently solo, former member of Soluna -- a group that I helped form a national street team for and credit for helping me realize music promotion was something I wanted to do. And I got all warm and fuzzy all over again. It's like the Circle of Musical Life. Now, if only Jessica would release some material of her own and I'd be completely over the (sun and) moon.

WGO: Melismatic Turns 3 & #FutureSound

"Ninety percent of the time, people are listening to the same ten percent of their music library." - Joel Resnicow, CEO of Rexly, a new music-sharing social network functioning as an iPhone app

"There are fans for every artist out there...Marketing 2.0 is about the speed & momentum of acquiring fans -- finding fans faster builds buzz." - Jed Carlson, ReverbNation.com

---

Today is a momentous occasion, friends. November 19, 2011 marks Melismatic's third anniversary living in cyberspace. Blows invisible yet slightly irritating New Year's Eve-esque kazoo. In case you're curious, it's purple and sparkly. Naturally.

It's on days like these that I like to reflect about my place within this crazy thing we refer to as the music business: the blogger. 

Billboard is sponsoring a FutureSound Convention, highlighting the state of the industry as we know it and it's slow evolution and adaptation to the digital world -- a subject that couldn't be more interesting and intriguing to me. The music business model is arguably archaic in some respects. As a young person who grew up enamored not just by the musical output of my favorite artists, but of the roads they walked to get to that end, I'm quick to assert I'm always on the artist's side. But in 2009, not long after Melismatic first surfaced, I was able to see first-hand life on the other side of the fence as an intern at a major label here in New York. 

My mindset was forever changed, as I began to truly understand and appreciate the difficult balance -- two sides that seem to be naturally at odds, even though they don't have to be. The business side, seeking the bottom line, and the creative side, seeking artistic satisfaction. But if I learned anything from Mr. James Diener during my short stint working at A&M/Octone Records, it was this -- why does there have to be a fight?

One of the reasons why I adored my time at A&M/Octone was because they were a label environment that was more interested in developing their artists (potentially over a long term) rather than putting all of their money, luck and influence on one catchy single and hoping for the best. The proof is in the results: Maroon 5, Flyleaf, Hollywood Undead, K'NAAN. Each artist is completely and utterly different -- different sound, different fanbase, different needs, different promotional avenues -- and are handled as such by the label. This is the model labels need to adapt to -- looking beyond the one-chance, instant gratification mentality we live in now. We need to look for the career artists -- not necessarily those with the best voice (or looks) but the best chance of producing excellent material over the longest period of time.

I first began documenting my rambles via this diary of what I was listening to, in blog form, three years ago, today and in just that short span of time, already the music industry has completely changed. I have completely changed. When I first started this humble blog, I was just a starry-eyed senior Music Industry major. Three years later and I've moved to major city (that serves as a critical musical hub). My musical tastes have changed. I've met and interviewed so many artists I've admired. I've been to several life changing concerts. My feelings toward music have changed and adapted -- they are elastic in a sense. I've become a touch more cynical, more seasoned, more knowledgeable. But I've also abandoned the mentality that just because an artist I love is being seemingly ignored by the major marketplace, doesn't mean their work is a failure. I was able to hear their work, and enjoyed it. If I've enjoyed it, others most likely have or could or will, too. If my voice encourages just one person to listen to a song or an artist, my job as a music fan is being done effectively.

It's these kind of thoughts that keep me hungry, keep me motivated, and keep me interested in what's going to happen next.

As I say every year, hugs and kisses to all the artists who inspire me, the music that keeps me dancing, and the friends who are willing to listen to my rambling obsessions -- whether they agree with me or not. I love all of you so much more than you could ever know. Here's to the Future (Love/Sex) Sounds to come!

WGO: Chart Watch (11/26/2011)

Below denotes songs and artists of note featured on the Billboard Hot 100 (USA), UK Hot (UK) and KPOP (South Korea) Charts.

Billboard Hot 100 Singles Chart:

Here are a lot of changes in position/debuts by various country artists, most likely due to the recent broadcasts of the Country Music Awards and the upcoming American Country Awards.

1. Rihanna - We Found Love (feat. Calvin Harris)
3. Adele - Someone Like You
5. Maroon 5 - Moves Like Jagger (feat. Christina Aguilera)
6. Gym Class Heroes - Stereo Hearts (feat. Adam Levine)
7. Foster the People - Pumped Up Kicks
9. Bruno Mars - It Will Rain
17. Jay-Z/Kanye West - Ni**as in Paris
18. Dev - In the Dark
23. Nicki Minaj _ Super Bass
24. Nicki Minaj - Fly (feat. Rihanna)
28. Lady Antebellum - Just A Kiss
31. Lady Gaga - You and I
34. Adele - Rolling In the Deep
45. Gavin DeGraw - Not Over You
47. Bad Meets Evil - Lighters (feat. Bruno Mars)
50. Selena Gomez & the Scene - Love You Like A Love Song
58. Jessie J - Domino
63. Blake Shelton - Footloose
64. Britney Spears - Criminal
66. Rihanna - Cheers (Drink to That)
73. Rihanna - You Da One
77. Jay-Z/Kanye West - Otis
81. Drake - Marvin's Room
85. Justin Bieber - Mistletoe
88. Florence + The Machine - Shake It Out

UK Billboard Singles Chart:
1. Rihanna - We Found Love (feat. Calvin Harris)
2. JLS - Take A Chance On Me

Billboad Korea KPOP Hot 100:
Wonder Girls are SLAYING it with six entries in the Top 50 and are also charting in the American-biased Billboard Social Chart.

1. Wonder Girls - Be My Baby
4. T-Ara - Cry Cry
6. Girls' Generation - The Boys
9. Brown Eyed Girls - Cleansing Cream
13. Secret - Love Is Move
17. Wonder Girls - Me, in
18. Wonder Girls - Girls Girls
21. Tablo - Tomorrow (feat. SOL)
22. Wonder Girls - G.N.O.
23. Davichi - Don't Say Goodbye
37. Tablo - Bad (feat. Jinsil)
39. Hyorin (of SISTAR) - Who You Are To Me
40. Women Power - I Hate You, I Hate You
42. Girls' Generation - Mr. Taxi
47. Wonder Girls - Act Cool (feat. San E)
49. Wonder Girls - Stop!

NOW KPOPPING: Two Girl Groups and a Fandom OTP

My KPOP obsession needs no real introduction...let's get right to what's abusing my iPod the most...

BROWN EYED GIRLS - "Sixth Sense"

Saccharine sweet, super Autotuned synthpop not your thing? Not to worry folks. The foursome in Brown Eyed Girls have had an amazing year with the release of their fourth Korean album, Sixth Sense, which I've been meaning to write about for literally ages. BEG is a quartet that has sincere vocals, a distinct (and fierce) personality, and vivid creativity that radiates throughout their entire project. 

They gained relevance in the KPOP world with their 2009 single "Abracadabra", but while it's a killer song for the club, it hardly did them any favors in terms of being taken seriously as a tangible artist with direction (despite the video being quite intense -- so much so it was banned from several channels in Korea for its suggested sexual and violent content). In the time that followed, group leader Narsha released a solo EP (which spawned the incredible and jarringly haunting single "Bbi Ri Bba Bba"), and baby Ga-In did too, after appearing alongside 2AM's JoKwon in the frighteningly adorable Korean "reality" sitcom We Got Married. Ga-In's release, Step 2/4, hinted at BEG's future sound with a genre tagging dubbed "electric tango", displayed in lead single "Irreversible". 

BEG returned as a four-piece unit in late September 2011, first with hype single in "Hot Shot" (which also featured a decisive latin bend to it), and then with the sucker punch that is "Sixth Sense" -- a melting pot of sex appeal, sweeping instrumentals, soaring vocals and meow!'s set to 1970's-esque disco rhythms. If ABBA was releasing something in Korea in 2011, it might sound something like this. Yes, I went there. Sixth Sense is only eight tracks long (and two of them are interludes), but its tight as a drum. The group recently returned to the scene via Sixth Sense's inevitable "repackage" single in ballad "Cleansing Cream". It's another gorgeous piece, truly highlighting how vocally capable these girls are. It's hard for me to pick what I love best about this era, but if you need a place to start, "Sixth Sense" the song is it.

WONDER GIRLS - "Me, In"

The five chicks in Wonder Girls, JYP's requisite flagship group, are often touted as one of the most influential girl groups in South Korea's Idol Market. Much of their reign is thanks to the juggarnaut that was their 2008 hit "Nobody", whose English complement later went on to be the first song by a Korean artist to chart the US Hot 100. While I quite liked "Nobody" for its almost novelty, "retro" feel, both in its visuals and in its Motown-inspired sound, the majority of the Wonder Girls material fell on deaf ears to me. The group contains very talented, capable and likeable members, but the material just wasn't sparking immediate attention to me.

The group has recently returned to South Korea after a long time spent away (the majority of the time in the United States attempting to firestart their English careers with mixed results depending on who you talk to) via their second full-length Korean album release, Wonder World. The group's main single, "Be My Baby", doesn't do the project much justice (although I dig the dance routine), as I tend to find myself skipping that cut and heading directly to their updated version of Shin Jung-Hyeon's "The Beauty" via "Me, In" (featuring a rap written by the group's husky voiced rapper Yubin). The song makes good use of sing-along nah nah nah nah nah nahs, dark smoky synth and lots of crunchy electric guitar, playing on the group's vocal strengths and trademark sass/sexiness. This is the type of KPOP song I'd want in English over "Nobody" any day. Take notes, JYP. This is one "cover" done superb.

SUPER JUNIOR (Eunhyuk/Donghae) - "I Wanna Love You"

And of course, the requisite nod to a boy band. "I Wanna Love You" is a non-album track that was first presented to eager fangirls via Super Junior's third official tour of Asia (aptly titled Super Show 3) last year. The song, only then available to your ears if you saw it performed live in person (or through YouTube fancams), featured one of Super Junior's main pairings within it's then 10-active membered lineup -- the one I'm most partial to. That of course is the coupling of the group's lead dancer Eunhyuk and the personal favorite of yours truly Donghae. The two are very close friends in real life, often leading to fans "shipping" them (kind of like: I'll never get to meet him/marry him, so he should just be with this guy rather than some inevitable skank who won't appreciate him like I do). It's all very difficult to explain, but that's not really what's at center stage for now. The song's recorded version finally landed in our hands via Super Junior's Super Show 3 live album recording released in late October.

"I Wanna Love You" is a sexy, 90's R&B-influenced slow jam that was co-written by Eunhyuk and my other husband Donghae themselves in collaboration with producer Chance of KPOP (non-idol) R&B/hip hop group One Way. It's not their first collaboration, as they also worked together on the also-Donghae-penned album cut "Y" from SuJu's most recent album release, Mr. Simple. Chance is proving himself as a who's who in terms of the Up-and-Coming Producer category, and I hope his fortunes continue to rise -- his bias toward soulful R&B is really refreshing, especially in a market like this.

The song basically reads as a male version of "The Boy Is Mine". The first verse is sung by Eunhyuk (surprisingly, as he rarely sings solo and is more of the group's go-to rapper), and the second is sung by Donghae -- both verses read like a love letter toward the same girl. Their paths cross in the semi-English bridge as they seize each other up and essentially fight over who is better for said Girl In Question.  The song was performed live with a female dancer, but honestly -- who was watching her? The main hook is also in English, the warbling of "I wanna love you/I can't live without you/.../I wanna have you/I really need you". Cue thousands of ELF-biased fangirls imaging this was written about them (or rather, that Eunhae (their "couple name", like Brangelina), as they are often affectionately referred to, singing it to each other). 

Bias aside, because I mean, let's be serious -- on paper, it's kind of impossible for me not to like this -- the song is pretty decent, albeit a bit cliqued. A lot of Donghae's compositions kind of come off this way to me, mostly because the boy is a sucker for romance, and is that really so bad? My main complaint is the use (although subtle) of Autotune. Neither of these men are Super Junior's power singers (hellooooo, Yesung!) but they aren't expected to be. Within Super Junior, they are in the 'showmen' category, so I felt the use of Autotune seemed a little gratutious, as it didn't so much fill-in their voices but at times drowned them out to sound more than a little robotic. And I don't know about you, but robots kind of kill the mood (unless they are of the Simon Curtis variety, of course). Still, it's a fun attempt. There is no music video for this song, but below is a fan-made video using various fancams from Super Show 3 set to the recorded version of the cut. Be prepared for drool to line your keyboard. It's kind of like they wrote the song purposely to tease their fans (well, duh).

MIXTAPE: Global Mashups Galore with Glee, Masa & Belle Amie

I quite like mashups. The more good songs piled together the better, I say. But there is a trick to making it work. Not every sonic mixture of tunes works when spun together just because you want it to. There is technique and there is skill to creating an awesome mashup -- which is to say, it's not an easy feat. I've publicly stated my adoration for most things DJ Earworm, but he's hardly the only game in town. Below are some of my most recent favorites.

GLEE CAST/(ADELE) - "Rumour Has It/Someone Like You"
There is no denying Adele has had an amazing year, and if you don't own at least one copy of 21, then I have two things to say to you. One, what the hell is wrong with you; Two, tell someone in your immediate circle to nab you this for the holidays (or perhaps buy it for yourself). You will not regret. I may have fallen off the "Glee" bandwagon (and I know I'm not the only one), but they do occasionally have their moments of brilliance, and for me, that's when they put their sangers (why hello there, Amber Riley) up front in a creative mixture. This time round, it pairs my fave 21 non-single (and Ryan Tedder produced) in "Rumour Has It" (with Amber taking point) with the juggernaut that is "Someone Like You" (with Naya Rivera doing the vocal lifting). Just when you thought the Adele card was overplayed, her material comes back to you in a fresh way, and it makes you want to wear out 21 all over again.

DJ MASA - "Shin's Family 001"

DJ Masa is essentially the Korean Pop version of DJ Earworm. His year-end dedications to KPOP border on the insane, feauting upwards of 12+ of the year's biggest hits, usually set to Western hit's backdrop. He also comes really hard with original ideas in terms of mashups that often bridge the gap between Western and Eastern music (hence my utter adoration for him). Recent outputs include mixing 2NE1's "I Am The Best" with C&C Music Factory's "Gonna Make You Sweat (Everybody Dance Now)", setting Super Junior's "Miinah (Bonamana)" and 2NE1's "Can't Nobody" to the tune of the Mortal Kombat theme (WHAT?), and taking a bunch of killer KPOP staples and setting them to the likes of Britney Spears "Till the World Ends" or Far East Movement's "Like A G6". Basically, I freak the eff out when he puts out a new remix. His most recent is a cut that features darker cuts by many different artists (songs old and new) to Backstreet Boys' "Everybody (Backstreet's Back)" (alright!). But from the minute I heard one of his more recent mixes, it's been on constant replay...and it's not even necessarily because of the two KPOP jams it features. "Shin's Family 001" is a mix created specifically for a dance crew in South Korea headed up by Super Junior's Shindong. The mix features Kara's recent hit "Step" along with SuJu's trademark in "Sorry Sorry", set to the tune of a blending of Maroon 5/Christina Aguilera's "Moves Like Jagger" and LMFAO's "Party Rock Anthem". Insaniety. Best part? The mashup was a direct collab with the SuJu member himself.

BELLE AMIE - "2011 Mashup"

The only thing that I can think of that would be more impressive than mixing together a bunch of hot songs effectively, is doing just that but singing them yourself. That is exactly what Belle Amie managed to pull off in this Untitled Ode to mostly UK Pop Hits of the past year -- thirty songs to be exact in less than three and a half minutes. Chief amongst them are The Saturdays "All Fired Up", Jessie J "Who's Laughing Now", Wynter Gordon "Dirty Talk", Pixie Lott "All About Tonight", Lady Gaga "Edge of Glory", Cher Lloyd "Swagger Jagger", Bruno Mars "Marry You" and Beyonce "Best Thing I Never Had" allong with about a zillion others. Not only are the transitions seamless and effective, this trio of up-and-comers sounds fantastic. They originally gained momentum as finalists on the British X Factor last year (as a four-piece, one member has since departed). Their debut single, the grrrrl power empowerment anthem that is "Girls Up", was released to radio this past June (with a video uploaded to YouTube on my birthday! -- kismet!). Basically, they have the vocal chops that made me see stars with The Saturdays and the sass of the Dolly Rockers. So in short, I have a new fave UK girl group to root for and a new 'Mel's 100% Supports' Artist. Get ittttttt.

HEAR THIS: Rye Rye Revists Robyn

So much alliteration. It makes me happy.

Question -- what happened to forever?
Me and you always together?
Too bad I was much too clever
Can't be played a fool, that's never
Suppose she made you happy or whatever
Learn from the past -- proceed, get better
Good girl gone mad
Guess you didn't realize just what you had

-"Never Will Be Mine" (feat. Robyn), Rye Rye

Ryeisha Berrain, better known by stage name Rye Rye is an artist you should know, and I will tell you why. First, her main musical champion is M.I.A.. Second, she has cuts produced by Diplo and The Neptunes. Third, she has opened up for Gossip. Fourth, her fashion sense is colorful, avante garde and basically sick.

Intrigued? You should be. After hearing her first hype single in "Bang" (which featured aforementioned M.I.A.), I silently rooted for the baby-voiced Baltimore rapper, but when I heard word she was releasing a major single campaign with a slow jam based around the ballad/acoustic version of my favorite Robyn song ever -- "Be Mine" -- and I just had to hear it. And I wasn't dissapointed.

Too often with sampling shenanigans, especially in the urban arena, I suffer from bittersweet emotions. A part of me wants to fist pump internally because an awesome song that was popular to such a niche audience is brought to a different (and in some cases broader) audience. That being said, there is nothing more infuriating than when the artist that was sampled isn't properly credited or (even more egregious) acknowledged by the general public. Perfect example -- Jason DeRulo's "Whatcha Say". The whole reason why most people loved that song was because of the Imogen Heap "Hide & Seek" sample. But for Joe Radio Music Fan, the majority had no idea (or worse, couldn't care less) who she was.

I'm happy to say this is not the case with Rye Rye's "Never Will Be Mine". The entire song is set to Robyn's "Be Mine" (acoustic version), with the chorus fully in tact, but not only does Robyn get a feature tag, she appears in the music video.

In truth, Rye Rye sampling Robyn doesn't feel strange or unexpected at all. They both are from similar musical circles and its fair to suggest fans of one might be interested in the other. 

Here's to musical collaboration, positive pop sampling and promising new artists! Now, only if Interscope would get on the stick and release Rye Rye's much delayed debut Go! Pop! Bang! and I'd be a truly happy camper.

HEAR THIS: Chanelle & Sean Ray are "On One"

I'm smiling so hard right now.

Double the stellar indie artist, double the fun -- and even better? They are brother & sister. Sean Ray (a mixture of Drake and Chris Brown, but with supreme class to go with his Pretty Ricky-esque sex appeal) and Chanelle Ray (Keri Hilson meets Ashanti in an Aaliyah blender) have both carved their own path via the mixtape/underground promotion circuit for a few years now. Without fail, every few months I hear of a brand new cut from either of these two and am always pleasantly surprised to hear it's sounding harder, clearer, crisper and tighter than the last. In terms of independent artists, it takes a lot to impress me, and in terms of a scale from 1 to 10, Sean and Chanelle are sold 9'.999s solo, but together, they are total dynamite.

Their latest output is a glossy video for their remix of DJ Khalid's Rapper Summit that is "I'm On One" (featuring Drake, Lil' Wayne and Rick Ross). Hype remixes are a dime a dozen, especially in the urban arena, but this stands out for its stark production quality. The song serves as an introduction to the pair, both as they work collaboratively and as separate solo artists. Why either of these two haven't been signed already is completely beyond me.

The Ray family has some serious genes. To download the song for yourself, click here.

Chanelle Ray's single "High Heels", one of my favorites of her buzz cuts, was featured during my stint at Resolution Radio. You can also check out her music video for the single, "Baby Boy". Sean Ray has an intense amount of material available for perusal via his YouTube account, my favorites being baby-making jams like "Scream" and "Athlete". You can also check out my interview with him from mid-2009 (!!) here.

MIXTAPE: Late In the Game Love

As I begin compiling a tentative list of my favorite songs of 2011 (can you believe it's almost over?), there were a smattering of relatively obvious choices that, while I do enjoy them, I never got around to feeling the need to write about them on the blog. You can probably guess the reasoning behind this. More often than not, the songs themselves were such a mainstay in the more commercialized avenues of music news (television, radio, etc.), it was a generally accepted fact in my mind that most folks have already heard the song and made a decision on its quality for themselves.

Rather than beat a dead horse (I hate that expression, and yet I use it again and again...is that being redundant?), let's just take a quick second to groove to them one more time...

HOT CHELLE RAE - "Tonight Tonight"

There's a party on the rooftop

Top of the world tonight, tonight

And we're dancing on the edge of the Hollywood sign

I don't know if I'll make it

But watch how good I'll fake it

It's alright, alright

Tonight, tonight

In my own mind, when I first was introduced to Hot Chelle Rae back in 2009, they were more on the quirky rock side of the pop/rock genre spectrum. Fast forward to 2011, and we are presented with the pure poppiness that is their breakthrough single "Tonight Tonight" off their upcoming sophomore album. It's reminiscent of the carefree "rock" (heavy on the quotes) that dominated the airwaves when I was in high school -- slightly ridiculous, kind of petulant, and very catchy. In a sense, they are a poppier 2011 version of Simple Plan during their glory years. In the case of "Tonight Tonight", I'm very okay with that, and can't get that "Whoa-oh-oh! Whatever! Whoa-oh-oh!" bits out of my head.

NICKI MINAJ - "Super Bass"

I said, "Excuse me, you're a helluva guy
I mean, my my my my, you're like pelican fly..."
Yes I did, yes I did
Somebody please tell him who the eff I is
I am Nicki Minaj, I mack them dudes up
Back coupes up and chuck the deuce up

I have a strange fascination with Nicki Minaj and the extreme opinions she spawns in all listeners. It appears you either love her or hate her, there is no in between...unless you're me, I guess. She certainly can create a sticky pop song, brimming with more-than-a-little-bit ridiculous lines that you find yourself memorizing and repeating unconsciously ("Pelican fly"? Where do people come up with this stuff?). "Super Bass" is undoubtedly the most commercially friendly cut off of Pink Friday, and never do I choose to skip it when it comes up on the ol' iPod. Say what you want about Nicki, but in a genre dominated by men, she holds her own, not just in terms of grabbing the attention of your eyes but your ears, too.

MAROON 5 - "Moves Like Jagger" (feat. Christina Aguilera)
Take me by the tongue and I'll know you

Kiss me till you're drunk and I'll show you

All my moves like Jagger

I got the moves like Jagger

I got the moves like Jagger

Maroon 5. Praising Mick Jagger of the Rolling Stones. With a feature tag nod to Christina Aguilera. And with a heavy whistled hook. I really didn't want to like this, mostly because it seemed so utterly...what's the word?...random. But when it works, it works, and there is no doubt that this is the cut that helped save Maroon 5's slumping third record Hands All Over (via re-package, of course). Plus there's the added bonus that it helped the public forget about the terrible year Ms. Xtina has had of late (the trash written about Burlesque, her divorce, public drunkenness, screwing up the words to the National Anthem, and oh yeah, that Bionic fiasco). It's the unexpected sum of seemingly strange ingredients, and has arguably become  one of the most successful cuts of 2011. Who could have thought?

FEFE DOBSON - "Can't Breathe"

I can't breathe if I'm not breathing with you

I can't sleep if all I'm dreaming is you

Can't you see -- I've got no air without you

I can't breathe, I can't breathe

Underappreciated pop goddess Fefe Dobson's underwhelming career is one of the most depressing subjects to talk to me about. She is phenomenally talented. Catchy chorus literally ooze of of this girl. While originally pushed with a "rocker" bent via singles like "Take Me Away" and "Bye Bye Boyfriend" from her debut set back in 2003, like a chameleon, she reemerged in 2004 with the decidedly 80's-infused "Don't Go (Boys & Girls)". Then was the undeserved "album limbo" that submerged her supposed-to-be-sophomore album Sunday Love until the project was pretty much abandoned. But one should never truly count out Fefe, who knows her own strengths (her catchy songwriting) and isn't afraid to stick to her guns. After penning hits for Disney-Gen Royalty in Miley Cyrus ("Start All Over"), and handing over scrapped gems to Jordin Sparks ("Don't Let It Go To Your Head") and Selena Gomez ("As A Blonde"), amongst others, Fefe returned to us with her "official" sophomore album Joy in 2010, a true smattering of genres that proves just how strong of an artist she is. Hype singles in "I Want You" (clangy, brash and kind of Ramones-esque) and "Watch Me Move" helped fuel my anticipation but one listen to the Kevin Rudolf (yes, the "Let It Rock" Kevin Rudolf)-produced single "Ghost" and I was sold. The latest offering from Joy is the album's centerpiece big power ballad in "Can't Breathe" (reportedly originally written by Dobson with Leona Lewis in mind), complemented by a searing guitar solo by another underappreciated artist, Orianthi. This song sounds best when played at 11.

BEYONCE - "Love on Top"

Everybody asks me why I'm smiling out from ear to ear

(They say love hurts) but I know

(It's gonna take a lil' work)

Nothing's perfect but it's worth it

After fighting through my fears

And finally you put me first

Okay, so perhaps Beyonce's fourth solo disc (titled 4) may not be as commercially consistent as her previous efforts (to put it mildly), but that doesn't mean the reasoning behind this was deserved. Bey was going for a more grown sound for 4, and considering she is now officially a married woman in her 30's (and an expecting mother) the more adult-contemporary sound featured was a welcomed change in my book. I could appreciate her risk-taking using bolder choices sonically, but when it comes to Beyonce, I always feel she's at her best when she's just flat out sanging. No track did that more justice than "Love On Top", which she performed at this year's Video Music Awards as a means to introduce the mini-mogul she's currently carrying within her. The joy of "Love on Top" is in the sonic journey -- vocal (and key) crescendo that kind of creeps up on you in a whirlwind of happiness where you want to scream along with Bey. Only someone with a strong voice could take a relatively innocuous (and repetative) melody and turn it into something exciting. That coupled with the vintage, summery feel, and I'm transported back to my younger days, listening to Stevie Wonder. Ahhh, nostalgia.

RIP Heavy D

RIP to a man who helped bridge genres. Rather than be sad, let's all groove together one time to the 90's funk that was "Now That We Call Love", brought to us by Heavy D & the Boyz.

If this isn't a perfect snapshot of 1992, I don't know what is.

WGO: Chart Watch (11/19/2011)

Below denotes songs and artists of note featured on the Billboard Hot 100 (USA), UK Hot (UK) and KPOP (South Korea) Charts:

Billboard Hot 100 Singles Chart:
1. Rihanna - We Found Love (feat. Calvin Harris) {Airplay Gainer}
3. Adele - Someone Like You
4. Maroon 5 - Moves Like Jagger (feat. Christina Aguilera)
5. Gym Class Heroes - Stereo Hearts (feat. Maroon 5)
7. Foster the People - Pumped Up Kicks
13. Dev - In the Dark
15. Jay Z/Kanye West - Ni**as in Paris
19. Nicki Minaj - Super Bass
21. Nicki Minaj - Fly (feat. Rihanna)
23. Lady Gaga - You and I
28. Adele - Rolling In the Deep
37. Gavin DeGraw - Not Over You
43. Hot Chelle Rae - Tonight Tonight
45. Selena Gomez & the Scene - Love You Like A Love Song
46. Lady Antebellum - We Owned the Night
55. Britney Spears - Criminal
58. Rihanna - Cheers (Drink To That)
59. Christina Perri - A Thousand Years
60. Jessie J - Domino
71. Drake - Marvin's Room
72. Coldplay - Princess of China (feat. RIhanna)
82. Florence + The Machine - Shake It Out

UK Billboard Singles Chart:
2. Rihanna - We Found Love (feat. Calvin Harris)
5. Maroon 5 - Moves Like Jagger (feat. Christina Aguilera)

Billboard Korea KPOP Hot 100:
5. Girls Generation - The Boys
6. Brown Eyed Girls - Cleansing Cream
8. Tablo - Tomorrow (feat. SOL)
12. Wonder Girls - Be My Baby
23. Jay Park - Girlfriend
24. Wonder Girls - Me, in
27. F.T Island - Like A Bird
34. Wonder Girls - Girls Girls
37. Hyorin (SISTAR) - Who You Are To Me
40. Girls Generation - Mr. Taxi
42. Infinite - Paradise
43. Brown Eyed Girls - Sixth Sense

HEAR THIS: Joe Jonas is a "Love Slayer"

I've never hid my guilty-pleasure fueled addiction to the Jonas Brothers. You can judge me for it. I don't care. Three brothers who genuinely enjoy hanging out together, writing pop music together and playing instruments doesn't sound so lame to me.  

Nick may be the maestro of the group (if you haven't heard his solo disc via Nick Jonas & The Administration, you're missing out), but I'd be lying if I said my favorite JoBro wasn't middle brother, Joe -- the sexy, off-kilter, klutzy and slightly dangerous (by the Disney Standard) middle brother. This crush wasn't satiated at all when he announced his own solo plans -- it only made me crave more. Throw in that he wanted the feel to be much more Justin Timberlake Future Sex/Love Sounds-esque, and you had one manic chick with OJD (Obsessive Jonas Disorder, for those of you not in the know).

Unfortunately, by the time Fastlife finally made its way into my grubby little hands, the excitement behind the project had waned. A little of that was due to the unearned flopping of its first single, "See No More" -- a punchy little pop gem frighteningly co-written by Chris Brown. But the majority of my disinterest was due to the choice of its second single, Lil' Wayne-assisted "Just In Love". To me, it simply lacked any kind of spark or urgency that made me want to listen to the whole disc. Given the album's credit list reading like a who's who in contemporary urban pop (Claude Kelly, James Fauntelroy, Brian Kennedy, Adonis Shropshire), the fact that it has relatively stalled by chart standards is probably the biggest letdown of all. The vast majority of Fastlife was produced by Floyd "Danja" Hills, the Timbaland protege who helped create many of the highlights from Justin Timberlake's sophomore set that Joe's debut was supposedly channeling.

Fastlife is proof that no matter how promising the material can be or how A-list the producer is, a key component of what makes a pop record exciting is in the charisma and vocal execution if its popstar. Joe was never the vocal powerhorse of the Jonas family, nor did he ever claim to be. This showed through in just how limited his vocal range is -- so even his own brand of charisma (of which he has bucketfuls of) couldn't save him there. On several cuts, he seems a bit out of his league, as the delivery is just not as believable as it would have been if it was provided by Timberlake or Chris Brown.

There was one shining moment on the record for me though, beyond "See No More" which I do quite like. "Love Slayer", unsurprisingly one of the Danja-produced cuts, is a cut above the rest and pulsates in a perfect dancefloor crescendo with a tasteful use of Auto Tune. In its case, Joe's limited vocal range is spotlighted and it works. The magic is in the whirlwind chorus ("Love Slayer/Causing nothing but trouble, babe/And I want more of it/Love Slayer/Causing nothing but trouble, babe/And I think I love it"). It oozes just the right amount of sex appeal without making you feel uncomfortable as to who it's coming from. It's simple but effective and you find yourself gyrating along with the synths, mimicking the flash of strobelights in a dark, smokey club.

Check out Joe performing the song live on David Letterman below:

Why this wasn't the big selling point for the album, I'll never know. There's a reason this sucker scored Joe his only solo Top 10, and on the dance charts to boot.

HEAR THIS: Sophia Fresh (Doesn't) "Breakup"

I never meant for this to be the perfect transition between the two seemingly far apart musical words I adore -- Western (largely American CHR Top 40/British Pop) and Eastern (I'm looking at you, Korea) -- but it is. Fam, if this isn't proof positive that our (musical) world is getting smaller each day, thanks in large part to YouTube and Social Media, I don't know what is. Stay with me on this one...

Perhaps you recall a three piece girl group I've mentioned once or twice called Sophia Fresh. The group first came to my attention in mid 2009, due mostly to the groundswell of female (R&B) groups led by a prominent producer. There was Electrik Red (Tricky Stewart) playing on their sexy strengths, telling us they feel "So Good". There was RichGirl (Rich Harrison) making it okay to creep on your BF (because "He Ain't With Me Now Tho"). There was my girls in Purple Reign (Darkchild) going all Destiny's Child on us (complete with a premature breakup this past year...I'm still sick over it). And there was Sophia Fresh, a countrified, Auto-Tuned wonder brought to us by T-Pain.

A girl group repped by T-Pain may not be the type of thing I'd personally be into -- and to be fair, on paper, I was hesitant at first. But with one listen to their debut single, "What It Is" (which featured a bow by Kanye West), I was hooked. They are much more than the Auto-Tuned gimmick that having T-Pain on your side would suggest to the average pop listener like myself. Their music is pure dancefloor fautter with heavy beats that aren't afraid to cut your ear drums, filled to capacity with attitude. In particular, they aren't your average girl group. Comparisons were quickly made to TLC and it's a fair assessment. In the years since then, Sophia Fresh has continued to step their game up. Despite roadblocks in terms of an official release, the group has kept their own momentum, releasing a handful of buzz singles including a more recent cut "This Instant", featured on the soundtrack to the dance flick Step Up 3D.

Fast forward to now. The girls are hard at work on their upcoming mixtape project, Sophia Vs. Fresh, with an official album release set to follow in 2012. Much of the momentum for the mixtape is due to its cutthroat hype single, "Best Break Up". It's Auto-Tuned wonky pop's defiant, aggressive, gum-smacking American cousin -- stripped bare of too-lush and sweepy instrumentals that many girl groups rely on in favor of street smarts and quirky attitude. It's hook centers around everyone's favorite Kanye joke ("I'mma let you finish/But this is the best break up of all time"). And it's kind of the business.

I defy anyone to not want to sing along to the "I could be like/Biiiiiitch/Get your tongue out of my boyfriend's mouth!" bit. I  know you want to. You can snag the song for yourself thanks to the ladies themselves here.

But Mel - you're undoubtedly thinking - Sophia Fresh is cool and all, but how does this correlate to KPOP? Last Wednesday, Sophia Fresh posted the following video on their Twitter account, stating "Korea knows 'What It Is'." The video is from an episode of South Korea's Music Core from February 2010, highlighting the ladies of Girls' Generation (well, four of the nine, anyway) dance battling it out to...you guessed it...Sophia Fresh's "What It Is". A part of me died at the fact that I hadn't seen this before (get it, Hyoyeon, get it!)!

Like a nerd, I reposted the tweet, as I live for when my fandoms collide like this. But Sophia Fresh proved just how down they really are, when they tweeted me back with the below. If that doesn't make you smile, you are cold hearted.

Ladies, your brand of aggressive beats is exactly what America is missing right now. Here's to hoping 2012 is your year -- it's long overdue!

HEAR THIS: Girls' Generation Brings "The Boys" Out

We're born to win
Better tell all your friends
'Cause we get it in
You know the girls
Bring the boys out
-"The Boys", Girls' Generation (So Nyuh Shi Dae)

I know what you're probably thinking. Me, heralding a SNSD track? But the reality is there is just something about "The Boys" that makes you want to put it on proverbial replay.

Girls' Generation, SM Entertainment's flagship nine-membered girl group whom I saw live at Madison Square Garden, are the first artist following BoA from the company to announce formal plans to release material in America. "The Boys", already released in Korea and making the promotional rounds, is set for American release as a maxi single via Interscope Records this mid-November. The fact that SNSD (or rather, GG) is boasting Interscope on their side makes me very hopeful for their chances indeed.

Another braggable aspect about "The Boys" is its production. While the Korean version was written by SM's messiah that is Yoo Young-Jin, the song was produced by American visionary Teddy Riley. Riley is responsible for bringing the world Blackstreet ("No Diggity", anyone? No doubt...) and the Neptunes amongst others, and pioneered the "New Jack Swing" style of R&B music. He also produced much of Michael Jackson's Dangerous album, including the song "Jam", a portion of which was highlighted during a dance-off segment at the SMTown show (heavily featuring Girls' Generation member Hyoyeon). As of recently, GG isn't the only Korean pop artist he has been experimenting with -- he's also been working with ex-2PM member Jay Park and produced the steamy "Dr. Feel Good" for girl group RaNia.

Don't get me wrong. "The Boys" is hardly a KPOP cut with New Jack style. Not in the slightest. It's still very much in the pocket of the sound that Girls' Generation (and SM Entertainment by extension) has developed for themselves, already established in previous hits like "Tell Me Your Wish (Genie)" and "Run Devil Run". Rather than their cutesy image of the past (think "Gee" or "Kissing You"), "The Boys" is soaked in in-your-face attitude, and serves as an anthematic call-to-arms for an introduction to the group. 

It has a distinctly urban bend to it that previous singles lack, most likely to capitalize and intrigue Western audiences, but for the most part, it's Girls' Generation doing what they do best -- walking the line between classically feminine and epically sexy. Considering I like my (female) KPOP groups with attitude over cutesy-ness (I guess I'm just not an aegyo person), its the version of Girls' Generation I can appreciate.

While the Korean version feels much more natural (as it should), the English Version is very well done. The lyrics themselves are quite cliche, but such is the case of much commercialized pop music, and considering 7/9ths of the group are not well-versed in the English language, the song is an achievement that they sound as fluent as they do. Rather than link to the formal music video, check out the live performance of the song below at the Madison Square Garden show I attended (the first formal live appearance by the group in the United States). Yes, they were singing to track, but they were singing live -- SM Entertainment overdubbed the video below with the song to make the vocals more clear.

As upset as I want to be about the next American debut by an SM Entertainment artist being Girls' Generation over my boys in TVXQ, Super Junior or even SHINee, I have to admit the decision is a smart one. America has been having trouble accepting boy bands (even ones with serious swag) since the glory days of *NSYNC and the Backstreet Boys. Given the general "WTF" xenophobia that surrounded much of JYJ's recent attempts at English success, I think it's much easier for America to swallow nine pretty Asian girls strutting around to urban-twinged power pop than watching five adorable (although slightly effeminate) Asian boys. We may not like it, but it's reality. And if Girls' Generation "brings the heat" like they promise, all of KPOP will be thanking them for helping get their foot in the door that is Western Success. Bring it on, girls.