Naked man at Wellesley College


How’s that for an SEO-friendly title, huh?

For those of you who weren’t lucky enough to have heard the news already, there’s a statue of a balding white dude in his tighty-whities at Wellesley. It’s part of an art exhibition by Tony Matelli that will be hosted at the college until mid-June. The statue is placed at a high-traffic area on campus — right near the main sidewalk connecting the student center and the academic quad — and suffice to say, it’s garnered quite a bit of attention.

Students at Wellesley have started a petition urging President Bottomly and the Davis Museum to remove the statue; they claim that it is a “source of apprehension, fear, and triggering thoughts regarding sexual assault for some members of our campus community” that has “already become a source of undue stress for a number of Wellesley College students.”

The whole ordeal has drawn an unprecedented amount of media attention from all over — within one day of the statue’s erection, we’ve been featured on the Boston Globe, Washington Post, USA Today, CBS News, Time, Buzzfeed, The New Republic, New York Magazine, Business Insider, The Daily Mail…and my personal favorite,, which so eloquently referred to Wellesley as “an all GIRLS school!” (caps included) and advised students to “cover [their] eyes, ladies!”

It seemed odd to me that all these news outlets were talking about Wellesley and its crazed, ultra-feminist student body while the only prominent representation of the student body voice remains manifested in that petition, which has been signed by only 1/5 of the student population. Now granted, I spent most of my day yesterday eating frozen dumplings and watching Star Trek Voyager reruns in my room (hey, snow days don’t come often around these parts), and didn’t get a chance to see the statue in person until fairly recently. But as a board-certified Armchair Keyboard Warrior, I feel compelled to insert my two cents on an issue that matters to me only peripherally.

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Oppa, plus some more oppas

So, Jung Woo, Son Ho-jun, and Yoo Yeon-seok are the new Trugen models.


Literally the only reason why I’m posting these here is so I’ll know exactly where to look if I’m ever in the mood to drool all over these guys. Which is, like, always.



The clothes are ehhhh but let’s not kid ourselves, I’m not here for the clothes.



I contemplated only posting a few of these because subtlety is the new black and all but HEY WHATEVS SUBTLETY IS FOR LOSERS



You stop that, Yoo Yeon-seok. You stop that right now.



And guess what? There’s going to be MORE OF THESE. For a whole year, even!

(Seeyuhhh, Kim Woo-bin and Lee Jong-suk! >:D )


I love me enough for the both of us

“You give but you cannot take love.”



Screen Shot 2014-01-03 at 3.04.46 PM

It’s kind of impressive that Seoulbeats’ review of DBSK’s latest video managed to thoroughly address both whiteness and female objectification in under 700 words. I don’t know if it’s because writing out analyses on racism and sexism over at Seoulbeats has just become routine for us, or if it’s because these isms have somehow become more common in K-pop recently (hello Rain; hello Aron; hello guess-what-we’re-only-five-days-into-2014). Either way, good job team.

DBSK has become SM’s luxury brand du jour — they’ve been the faces of Shilla Duty Free since their comeback as a duo, and their list of endorsement deals is dominated by high-profile brands: Missha, Lacoste, and Nike in Korea; 7-Eleven and Sogo & Seibu in Japan. In a way, DBSK’s latest MV aligns more with their identity as product spokesmen than it does with their identity as performers. By steering away from the cyborg/military/Enrique-Iglesias-wannabe concepts of the past and adopting a luxurious image in their music, DBSK is sealing the deal in transforming themselves into a luxury brand.

From the perspective of the K-entertainment industry alone, pushing DBSK as a mature luxury brand is an incredibly smart move for a pop duo who has long crossed the horizon of mainstream idol fandom, but is still widely recognized and respected outside of the idol fold. And while one can certainly argue that the glamorization of glamour is socially irresponsible and probably classist to some degree, I don’t really take issue with the usage of glamour as an aesthetic a la the “Something” video, as well as countless other MVs in K-pop and beyond. Rather, the bigger problem lies in how glamour and luxury are interpreted and communicated.

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4: A Year, and then some


Hey guys — it’s 2014.

I was originally going to compile an end-of-year wrap-up post for 2013 like I’ve done every year since this blog’s inception, but let’s face it dudes: I basically fell off the K-pop radar this year, and the last entry on this blog — posted two months ago —  consisted of no more than three lines of text waxing poetic on an American popera singer whose fanbase is largely made up of white, middle-aged housewives between the ages of 35 and 60. Needless to say, I think I’ve become a little out of touch with my readership.

So it seemed a little disingenuous to go all-out with a huge, year-end K-pop recap complete with sparkly custom-made graphics when I’ve been so AWOL from fandom this year. Still, I couldn’t let this year go by without a final shout-out to this year’s releases…so here’s a playlist of some of my favorite tracks from 2013 — just some mood music as you read the rest of this post, ha.

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