Im Jin-mo: "Popular Songs Contain the Values and Meanings of Their Era" [Seomideum's Book Talk]

Book 'Yuhyungga 3·6·5' Published
Analysis of Popular Songs by Era from 1945 to Present
"Popular Songs Reflect the Values and Meanings of Their Times"

[Asia Economy Reporter Seo Mideum] Popular songs are a mirror of their times. Popular songs (lyrics) capture the concerns of the era, resonate with contemporaries, and help future generations understand. “Bindaetteok Sinsa” (after 1945), which satirized the post-liberation era’s pretentiousness with lyrics about a gentleman in a suit entering a bindaetteok (mung bean pancake) shop without money and getting beaten; “Jeonseon Yagok” (1950s), which comforted soldiers by linking war and mothers; “Appa-ui Cheongchun” (1960s), which sang about the hard life of fathers during industrialization; “Seoul Gugeong” (1970s), depicting the clash between tradition and modernity through a rural old man’s first train trip to the city; and “Babocheoreom Salatgunyo” (1980s), which metaphorically described a politician’s powerless retreat during military dictatorship. Since then, popular songs have encapsulated eras and lives within the four-beat rhythm of “kungjak kungjak kungjarrak kungjak,” passed down by word of mouth. In that sense, perhaps a collection of popular songs is no different from a history book. We met music critic Lim Jin-mo, author of “Popular Songs 3·6·5” (Schola), which organizes modern history through songs. The following is a Q&A.

- You introduced 365 popular songs by era. What criteria did you use for selection?

▲ Last year, I hosted a special program on MBC. We introduced one song per day, totaling 365 songs over the year. That content was compiled into a book. While the broadcast introduced songs according to timeliness, the book is organized by era. The selection focused on songs we loved that well embodied the era’s values and social significance.

- Popular songs seem to have the power to evoke the circumstances of their time.

▲ That’s right. I entered university in 1978, and at that time, Yoon Seung-hee’s “Like a Swallow” (1977) came out. It’s also the song Song Kang-ho sang in the movie “Memories of Murder.” It was written with the “Swallow Tribe,” a notorious family-destroying group, in mind. The lyrics tell of men who went to work in Saudi Arabia for foreign currency and returned to find their wives had squandered their wealth. There are countless examples like this.

- Songs have even led to changes in reality.

▲ Indeed, Seo Taiji’s “Come Back Home” brought many runaway youths back home. At the time, conflicts between parents’ and children’s values caused many runaways, and Seo Taiji’s song, which guided them home, became a huge topic. The lyrics, tailored to youths’ perspectives, were effective. The broadcasting station even aired a special program. One runaway youth said, “I was excited not to hear my mom’s nagging after running away, but after listening to Seo Taiji oppa’s song, I suddenly missed home,” which became a big sensation.

- There is often a gap between songs chosen by critics and those favored by the public.

▲ Critics tend to emphasize artistic merit when selecting pop classics. Usually, songs by musically outstanding artists are included. But for this book, we focused on songs loved by the public and still beloved today. That doesn’t mean they lack artistic quality. I believe the public’s perspective is not very different.

- There is a saying that songs have their own owners. Sometimes songs become hits unexpectedly with different people.

▲ Like movies, sometimes something rejected by one person blossoms with another. Kim Guk-hwan’s “Tatata” (1992) was originally offered to Cho Yong-pil. But he declined because the “hahaha” laughter in the latter part felt burdensome, and that’s how it went to Kim Guk-hwan and became a hit.

- Popular songs compress social phenomena and interests into common topics. But nowadays, as focus shifts to individualization, interests seem to diversify.

▲ In the past, interests were relatively singular, but now the volume of news is enormous. Even if popular songs represent the era, they have become too diverse. Previously, the main audience for songs was people in their 20s to 40s. Now, there are many songs for teenagers, and with the retro trend, many songs appeal to those over 50. As the audience diversifies, the character of popular songs has changed significantly. BTS’s “Blood Sweat & Tears” (2016) made a big impact among young people but not so much among older generations. Today’s pop music is narrower than before, when it encompassed generations.

- Popular songs embody the era’s characteristics from lyrics to melody. While live vocal-based music was popular in the past, planned electronic sounds dominate recently. How do you interpret this change?

▲ People’s tastes keep changing. Fifteen years ago, Crying Nut’s “Mal Dalrija” was hugely popular. But now, softer songs are more loved. There are more rappers than rockers. It’s an inevitable trend of the times.

- Jang Yoon-jung’s “Eomeona” sparked a trot craze, elevating trot to a genre enjoyed by all ages. How do you analyze this phenomenon?

▲ In the past, trot expressed sadness or regret. But now it’s become more cheerful. I think everyone opens their heart to trot’s simplicity and honest emotions as they age. Recently, the emergence of three-beat trot has added excitement. The retro influence and shows like “Mr. Trot” and “Miss Trot” helped create the atmosphere well.

- BTS’s songs have caused a huge global impact. Personally, how do you see the reasons for their popularity?

▲ As CEO Bang Si-hyuk said, half of BTS’s success is due to SNS, and indeed the SNS era played a big role. Plus, their songs and performances were excellent. Especially “Fire” (2016), “Blood Sweat & Tears” (2016), “DNA” (2017), and “Spring Day” (2017) were really good. Personally, I find their songs a bit disappointing after entering the U.S. market.

- You argued that BTS’s military service exemption is unfair.

▲ They have announced a temporary suspension of activities and are doing solo activities, but the atmosphere is not good. The agency should quickly conclude matters related to enlistment. For a good image, it’s best to enlist now. I hope they enlist sequentially rather than getting involved with politics.

- Plagiarism has been a hot issue, recurring frequently. How should it be handled?

▲ Plagiarism is a painful issue. Because foreign music has had a strong influence, plagiarism still confines us. Recently, Yoo Hee-yeol must have felt unfair. YouTubers sometimes maliciously edit songs to look similar. So it’s a bit unfair to blame artists entirely. But above all, conscience is important. The core of public art’s beauty is creativity and originality. Influence is natural, but sneaking it in is unethical.

- Could plagiarism happen unconsciously?

▲ Of course, it can. But in Yoo Hee-yeol’s case, it was too similar. That leaves no room for excuse. Above all, conscience toward originality is crucial. Self-checking is important. Usually, I think the person involved is aware of plagiarism.

- Are there programs or methods to pre-check plagiarism?

▲ Some attempts are being made. But above all, self-checking is key. Composers can verify within their own process.

Pop music critic and pop columnist. He began his career as a music critic in 1991 and has established himself as a leading critic in Korea. He runs the music criticism webzine “IZM.”