Gabriella: Ooh! There they go, Grease! Paige: He's got the comb! It's there. Gabriella: The comb is there, you just don't see it.
Umu: Now you're reacting to solo artist Seungri, who's actually member of a K-pop boy group called Big Bang.
So, '1, 2, 3''s music video was inspired by John Travolta's 1970s works 'Grease' and '*Saturday Night Fever'.
The song is composed by Seungri, Teddy, Seo won jin, and 24.
The female dancer featured in this music video is a K-pop solo artist called Anda,
and he dance was choreographed by Lee Jae Wook and Kim Hee Jung.
Jason: The lyrics are basically of a guy singing to a girl about how he fell in love with her at first sight, and how she
is the only girl for him.
James: Oh.
We love commitment.
Kevin: What an album name to create, Seungri
Isaac: Wow.
Melissa: Ooh, I like how the sound of heels morphed into the sound of like a metronome thing.
Kevin: We didn't know what the key was until the end of that phrase. Isaac: Mm-hmm.
Kevin: It's B-flat minor, but that you couldn't tell from the beginning.
Henry: I definitely thought that it was like a metronome down beats, and then when it came in
as two and four, I was like wha..?! Elizabeth: Yeah, faked us out.
Jarod: It's definitely got that almost 60s kind of vibe. Collin: Yeah. Jarod: Like a modern kind of twist on it, though.
Henry: Sorry.
Aaugh! ELizabeth: Whoa!
Jarod: Modal mixture, if you will!
Elizabeth: This would be the chorus.
Henry: Hey, blue notes. Good job
Paige: I love that.
I can tell this thing started more theatrical instead of... Gabriella: Oh, yeah, this is definitely school theater. Just like
Paige: Yeah. Gabriella: the fact that they're doing their hands like this.
Collin: The music's not what I expected at all.
Lots of
yelling.
Isaac: What a nice, raspy voice.
I like.
Remiah: It's nice to see the synchronized movements contrasted with them all doing different stuff. Lydia: Yeah.
No, it looks really good. I also like that you recognize the movements, but they're doing it slightly differently than the typical Broadway style.
Gabriella: Ooh! There they go, Grease! Paige: He's got the comb! It's there. Gabriella: The comb is there, you just don't see it.
Elizabeth: There's very little like, actual
harmony support underneath what he's singing.
It's very rhythmic,
and there's just a lot of space for him and his voice to shine through. Like he's not buried by the texture
Henry: It really accentuates flat nine in that melody, and that's awesome.
Kevin: It's so catchy. It's technically a drop song, but it's got one of those timeless
drop riffs.
Paige: I always think I'd be really interested to like
choreograph for a video, Remiah: Yeah, me, too. Paige: cuz it must be so different in terms of how you
space yourself. Remiah: Um-hmm. Paige: I'm very used to doing like on a stage.
Remiah: You have to consider the set and like everything that's going into it. Paige: Yeah, camera angles--everything.
Collin: Okay, this is...yeah. This is like Footloose, man. Jarod: Yeah.
Jarod: I mean, it's like the visuals are very, like, throwback. Collin: Yeah
But, like, the music, I would say, is still very modern.
Gabriella: I'm just waiting for them to do like this. Page: Yeah. Gabriella: Honestly.
Paige: Yep. Yep. Yep.
Thanks for that pelvic thrusting.
Lydia: It's very confined movement, but in a way that it's very simple and effective, Remain: Um-hmm. Lydia: which I like.
Paige: Well, I can tell it's kind of... Gabriella: Oh, here we go.
Are they gonna do it?
Paige: You can tell it's older, because definitely a lot of older dancers
are kind of more based on kind of just like, hip movement and kind of just like solo arm movement.
You can never really see a lot of feet and arm movement at the same time.
Gabriella: Oh, freeze frame. Paige: I was about to say, that was it?
Gabriella: Oh, was this all a dream? Paige: Oh, I love the jukebox in the background.
Collin: Get out of here, kid!
Oh, yeah, see.
Wow.
Kevin: Come on.
Yes!
Cool!
Melissa: But it's cool how they like blend the super modern
2018 feel in the music, even with the 'Grease', like 19 what...50s kind of vibe?
James: Yeah. Melissa: Cuz I feel like the instrumentation was very today, and honestly, the sound and the melodies were very today,
but the clapping James: Yeah. Melissa: was just consistently...and the way it was so repetitive, like that
melody that kept coming back. James: Yeah. Melissa: Like that was also very 1950s song. James: (singing)
James: Yeah, something like that. Melissa: Yeah.
James: The first comment that came into my head was they're doing a really good job of embodying this kind of like American
style. Melissa: Yeah.
James: The only thing that would have like
suggested to me that this was a K-pop song was the fact that it was sung in Korean.
Like that's really the only, Melissa: Same, actually. James: like that's really thing.
James: Usually there are like little, I don't want to say oddities, but just like specific little, you know,
things inserted into the music that let you know
oh, this is K-pop. Here, like they did a really good job; it was almost like an homage, and it was really catchy.
Melissa: Yeah, it was super catchy. James: it was really like--the clapping, Melissa: Yeah.
it just kind of like, they just like checked off all the boxes of all the
things to do to make something stick in your ear. His voice was really nice, too. Melissa: I love his voice.
James: Yeah, it was great.
Melissa: He sounds so natural and like,
chill. James: It was cool. Kind of remind me of Scott Hoying a little bit, from Pentatonix. Just like a tiny bit. in like, the tone.
But yeah, I thought it was awesome.
Kevin: You know, the song itself is actually quite straightforward.
I can imagine it being like a really infectious banger of a track,
you know. Like if I listen to this more, it's just gonna grow on me
every time,
as I am able to anticipate the one, two, three! Because that drop is so powerful, because it's not like any sort of buildup,
it's a very
sort of jumpy, spiky, type of drop. Isaac: Um-hmm. Kevin: Because it's very sudden. It's all about the abruptness of it, and it's very good.
It's a retro throwback, but not quite the 'Grease' style of retro throwback. Isaac: 'Grease'. Kevin: It's more like a throwback of like the
early 2000s DDR era music. Isaac: DDR. Kevin: I can see this being a totally Dance Dance Revolution track.
Yeah, it's one of those early drop songs,
which immediately separates it from recent drop songs, that focus on the trap style, the synth,
and a lot of this could be synth, but it sounds more acoustic, and it sounds just more energetic.
Elizabeth: Yeah, no, would say this is more comparable to like, the big scene in 'Singin' in the Rain' ,where they sing 'Good Mornin', and
and they go through all the rooms in the house, and they do different
dances, and then they each have little solos, and they're like on the bar, and then they're using
raincoats, and then they all come down on the couch, and like they did it all in one take. So, it's all these different
musical styles, and
different kinds of dance all in one take, so there's a huge history of that happening in tons of different media.
The idea of the continuous take is something that a lot of people have been interested in for a long time.
Henry: Like, there were cool melodic moments, actually. It was a pretty melodic transition between the verse and like the pre-chorus section.
Elizabeth: Yeah, well, cuz it's all melody and no harmony. Henry: Yeah, the harmony was very
scarce, and everything was like electronic, which I don't
normally dig, but like at the same time, this was so cool!!
Like I was just kind of like, yeah!
I dug it because of the context it was in.
Umu: What moves shouted like, musical choreography the most. Gabriella: Oh this, and like
when they were doing this, and like the kicks. That's very musical theater.
Paige: Yeah. Gabriella: I've taken once class, and that was like, all we did.
The counts were like, one and two and, so they would switch moves on the "ands". Paige: Um-hmm.
And I remember from my musical theater class,
the only one I took--the one class I took--the teacher explained that we would start on "and" and not like, "one".
Paige: Yeah. Gabriella: I don't know if that is a musical theater thing, but that is what she told me.
Paige: Yeah, I've definitely never really never taken anything musical theater-based.That's probably like my least well-known area of any kind of dance,
but yeah, I could definitely just tell, and even like the camera angles weren't focused on the whole body,
they were focused on kind of like, upper half and lower half, Gabriella: Um-hmm, on the group as a whole.
Paige: Yeah, you could kind of tell they won't focusing on like, the dance itself,
they were kind of focusing like the vibe
that the dance was giving as a whole group, which is what 'Grease' is, like all of the dancing in the show is based
on like coordination. Not like based on coordination,
but like a lot of the dancers only dance solo, and when they do, it doesn't really differ
from other people in the movie.
It's very like,
oh, we do everything the same all together, and it gives off a really big like, group vibe, basically. And that's what the thing did.
They never really went with just him dancing, unless he was walking to another set. Gabriella: Yeah.
Lydia: I liked that it was kind of
modernized a little bit, like
you know, back then like that was like the cool move to be doing, and they made it look like
you know, very much the hair slicking back that you see, and whatever. I thought it just looked like
cooler, and it fit with the song, even though it was a completely different time, basically.
Remiah: Yeah, I think that Broadway dance, they just love classic jazz. Lydia: Yeah. Remain: That's like their thing,
so like, seeing this, there were still like, classic jazz moves, but it was like they shook it up a little bit.
They made them different. Lydia: Um-hmm.
Lydia: Yeah, cuz sometimes classic jazz can get a little bit Remain: Repetitive? Lydia: Yep. And like, it's nice to see like, when
dancers are like modernizing it a little bit. Because sometimes I watch a musical and I'm like,
I've seen the same box step like 17 times. Remain: The same choregraphy. Lydia: I thought this was a good way of doing it, and
like I was kind of saying during it, I think it's really interesting how they film
music videos, like, because obviously we just watched like a stage dance, too. Like I was
very much thinking about like, how would I do that?
Like, how would you, as a choreographer, Remiah: This is like, completely different than if you were dancing in like a street or something like that.
Lydia: Yeah. Remiah: Telling the story, you'd have to do like a completely different set of moves,
Lydia: Yeah. Remain: cuz you wouldn't have the props, you wouldn't have like the cameras, stuff like that and stuff. Lydia: Yeah, exactly.
Hello everyone, I'm Umu, React to the K channel creator, and I'd like to thank you for watching this video
I really hope you enjoyed or learned something from it.
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