Korean Lyrics Quotes

Even in the far future, never forget the you of right now Wherever you are right now, you’re just taking a break

Writing about race is a polemic, in that we must confront the white capitalist infrastructure that has erased us, but also a lyric, in that our inner consciousness is knotted with contradictions. As much as I protest against the easy narrative of overcoming, I have to believe we will overcome racial inequities; as much as I’m exasperated by sentimental immigrant stories of suffering, I think Koreans are some of the most traumatized people I know. As I try to move beyond the stereotypes to express my inner consciousness, it’s clear that how I am perceived inheres to who I am. To truthfully write about race, I almost have to write against narrative because the racialized mind is, as Frantz Fanon wrote, an “infernal circle.

[Hooni Kim] is pleased at the global Hallyu phenomenon, but he doesn't think that food has a place in Hallyu. "For me food is so much more real than a pop song or a video," he said. As with all great chefs I've met, he talks about food as a man would talk about a woman he's in love with. Once more adopting his lyric speech rhythms, he said, "Looking, hearing is one thing. Tasting, touching is another. Smelling and tasting is the heart and soul of what Korea is. As much as pop culture wants to globalize, food is the best way for Koreans to share their soul and culture." Turning the expression "you are who you eat" on its head, Kim said, "No. You eat who you are. No one describes who you are like your food.

So in reality there was just one functioning channel, which came on at around 5 p.m., shutting down at 11 p.m. At seven o’clock, there was a news program for twenty-five minutes, almost exclusively about Kim Jong-il. There was no live film, just old photographs of him visiting factories, and the newscaster would read, verbatim, whatever he had supposedly said on those occasions. Next there was a thirty-minute music program, in which the lyrics scrolled across the screen karaoke style. The songs had titles like “Defend the Headquarters of Revolution,” which described the North Korean people as “bombs and bullets.” Then there was a slot for a drama or film, followed by another news program on the more recent movements of Kim Jong-il. This was the news that my students had mentioned watching each night. There were, of course, no commercials, but the news was sometimes interrupted by Kim Jong-il quotations that filled the screen.

Each time I visited the DPRK, I was shocked anew by their bastardization of the Korean language. Curses had taken root not only in their conversation and speeches but in their written language. They were everywhere—in poems, newspapers, in official Workers’ Party speeches, even in the lyrics of songs performed on this most hallowed day. It was like finding the words fuck and shit in a presidential speech or on the front page of the New York Times. Their spoken language was equally crude, no matter the occasion. For example, during the previous day’s speech, Lee Myung-bak and his administration were referred to as nom and paetguhri-dul (that bastard and his thugs). I was relieved that I did not hear my students speak Korean often enough to know whether they had inherited this legacy. Yet I would sometimes hear expressions that warmed my heart—archaic, innocent-sounding words that made me feel as though the entire country were a small village undisturbed by time. Instead of the prosaic soohwa, meaning sign language, North Koreans said “finger talk,” and instead of “developing photos” they said “images waking up,” which I found lovely and poetic.

I never felt comfortable writing about personal racial trauma, because I wasn’t satisfied with the conventional forms in which racial trauma is framed. The confessional lyric didn’t seem right because my pain felt singled out, exceptional, operatic, when my life is more banal than that. I also couldn’t write traditional realist narrative fiction because I didn’t care to injection-mold my thoughts into an anthropological experience where the reader, after reading my novel, would think, The life of Koreans is so heartbreaking!