Welcome to nightmare world tonight
I’ve just been reminiscing over old DBSK tour footage, and I still can’t get over how tight the choreography for “Last Angel” is. I think it’s their most well-choreographed song to date (although one must take into account that DBSK has suffered some pretty awful choreography with their Japanese songs *cough* “Survivor” *cough*):
HD that baby. You (and Junsu’s butt at 3:32) won’t regret it.
As evidenced above, the T tour is home to some of the worst disasters in aesthetics known to J-pop…and that’s saying a lot. Everything is just “too much”–too much obnoxious lighting, too much Yoochun-growling, and way too much spandex. Most notably, the T tour is consistently and incessantly mocked because of the members’ performing outfits. And who can blame them:
But even though these five guys spent an entire arena tour prancing around in shiny spandex, they pranced well. The T tour had some of their best live performances yet, both in dance and vocals (with the notable exception of Yoochun’s bear-growling about 2/3 through the concert. Don’t smoke kids!) I don’t know if it was just from the miniature seizures induced by the incessant flashing lights, but all five of them seemed extraordinarily energized throughout the entire concert. Then again, that could also be the spandex talking.
However, “Last Angel” blew me away not primarily by the members’ performances, but by Koda Kumi. To be honest, there is rarely an occasion when she doesn’t impress me, especially when she performs live. There’s just something about her that exudes an extraordinary sense of stage presence wherever she goes. She took over that arena when she appeared in “Last Angel,” and it wasn’t even her concert. I don’t know how she does it, especially with the intense choreography during her live concerts. That girl dances like a fiend…and in heels, too.
Girlcrushing aside, I think Koda Kumi is a fascinating subject for study in the context of Asian culture and feminism. I’ll probably save this post for later when I’ve got more time and more of a brain to do so, but it’s interesting how Koda Kumi’s hypersexualized image is supposed to be a vehicle for feminism in a culture where female sexuality is suppressed. Just take a gander at her music videos and, from a Western point of view, she can easily be labeled as a “slut” along the likes of Britney and Paris. But would the same perception be as readily made in Asia — a culture where women are still quiet, delicate creatures with large eyes and no sense of self?
I think her live performances convey her sense of female empowerment so much better than her music videos, which can be too easily labeled as “skanky.” The great thing with lives (particularly Japanese lives, where lip-synching is wonderfully uncommon) is that it allows little room for tackiness.
(I also think she’s a bajillion times more talented than Britney.)
Rock on, Kuu-chan.