In this clip, Fredro Starr talked about the meme that’s circulating which calls him the “Evil Pharrell” and how spot on that side-by-side of the famed producer and himself. He also gave his take on the older generation of rappers calling today’s generation trash. Fredro made the point that hip-hop is a young person’s game from the music to the fashion.
In this clip, Too Short talks about collaborating with Kelis on a song produced by the Neptunes called “Bossy.” He described the events leading up to the partnership and what it meant to him in the latter part of his career before Shirley Ju informed him that he has partaken in 20-30 gold-selling records as a guest feature. To that, the Bay Area rap legend names off some of his greatest collaborations that have earned him plaques such as his work with E-40, Jay-Z, Foxy Brown, and Snoop Dogg.
As the interview moves along, Too Short talks about the way in which his friendships with East Coast rappers blossomed in wake of his first retirement back in the 90s. The Oakland native attributes the friendships that he developed with rappers like Eric Sermon, Keith Murray and Redman. Then, he tells an interesting story about how he and Keith Murray hung out for an entire day, which eventually ended with the two of them going to an infamous nightclub called in NYC called “The Tunnel.” He reveals that Keith Murray had a razor blade in his mouth for the entire day until he spat it out at some point later that night. Lastly, Too Short shares the backstory for some of his favorite collaborations with East Coast rappers such as “Buy You Some” with Eric Sermon, before explaining his logic for working with a litany of unknown rappers all over the country.
In this clip, Brother Marquis spoke about the groundbreaking Supreme Court ruling in favor of 2 Live Crew that made parodies fair use. He discussed the gravity of such a ruling and the lasting implications in today’s media/music landscape that thrives off parodies as a source of content.
Playboi Carti has built up a cult-like following over the years throughout his transformation into one of Hip Hop’s superstar trendsetters.
In a rare interview with XXL published Tuesday (April 12), Carti credited Tech N9ne as a pioneer of his gothic rockstar movement.
XL: You were talking about Tech N9ne earlier. Go back into that. Is that why you are wearing some face paint today? He’s known for that.
Playboi Carti: Tech N9ne, he’s the pioneer of what I got going on right now. When it comes to having a cult following, embracing yourself and sticking to your vision, Tech N9ne is the pioneer of that. So, it’s only right I give him his flowers. And, he’s very big in his own world and it’s the same thing with me. Even with the merch.
With the performance, the merch, the presentation, the Juggalo fans and the die-hard audience…
You [said before] he’s one of the best performers, all of that. And then, if you asked a younger kid today, he’ll say that for me. He’s one of the persons who…
Music-wise? Aesthetically? When did that start? People in hip-hop used to not want to embrace Tech as much as they do now. So, you saying this is a surprise.
I just like how he’s consistent, like his vision. He stuck to his own vision. People like him are before their time, you know what I’m saying? He’s a genius and I’m a genius, so that’s how I see it.
So, you are kind of like a 2.0, 3.0 version of that kind of movement? Not the music, but the same overall package?
I’m more of like, I’m a real-life artist. I really studied his shit before I even get into things. Tech N9ne is the pioneer of this shit. Rock stars. He embraced the rock star, punk shit in hip-hop and it’s fire.
Have you worked together? Have you given him his flowers in person? Is he going to be surprised by what you’re saying or does he know that you feel that way?
Most definitely be surprised by what I’m saying.
South Korean pop stars BTS grabbed worldwide attention when they performed their hit single “Butter” at the 64th Grammy Awards ceremony on April 3, 2022, in Las Vegas, especially when band member V whispered something to Grammy winner Olivia Rodrigo as part of the setup for the performance.
While members of the BTS Army (what their rabid, mostly teenage online fans are called) are furious that BTS lost the Grammy for Best Pop Duo or Group Performance to Doja Cat and SZA, the group is likely more focused on a reminder from the Daily Mail that some of its members are staring down a military commitment in their home country.
Back in 2020, the South Korean national assembly passed a law that allowed members of the band to postpone their mandatory military service until age 30. That probably seemed like a sweet reprieve, but time is relentless. Now member Jin is set to turn 30 in December, and Suga will follow next March.
Gunn Kim, South Korea’s ambassador to Britain, tried to prepare the group’s fans for the future when he told The Sunday Times, “It is very much expected that young Korean men serve the country and those BTS members are role models for many young-generation Koreans. Most of our people expect that our members of BTS will fulfill their obligation as citizens of Korea. Eventually I think that will happen.”
Jin and Suga will be required to serve for at least 18 months, followed by J-Hope (now 28), RM (27), Jimin (26), V (26) and Jungkook (24). Once this cycle starts, the entire group may not be able to perform together for nearly a decade. Maybe the group’s representatives will be savvy enough to advise that all seven members do their service together and get the obligation taken care of as soon as possible.
Of course, anyone who’s entering the South Korean military has to accept the very real possibility of combat with North Korea, which claims to have test-fired a new long-range nuclear missile called the Hwasong-17. International observers have claimed that the test was actually the older Hwasong-15 but allow that the new missile could be ready soon.
However this plays out, BTS will be the biggest news in pop star military service since Pvt. Elvis Presley answered the U.S. Army’s call in 1958.
In this clip, Bizarre shares the story behind the phone call with Eminem that changed his life forever. The Detroit native states that he was working as a security guard in Dallas, Texas, as a teenager, when Eminem called and informed him that he was about to sign a record deal with Dr. Dre. Shortly after the call, Bizarre quit his job and Eminem sent for him, so they could work on his first album together in Los Angeles.
As the conversation unfolds, Bizarre talks about the process of putting D12 back together after Eminem got signed to Aftermath Records. He shares the details about how he and Proof began to recruit other rappers to solidify the reformation of the rap group.
In this clip, Bizarre from D12 talks about the impact of Eminem’s debut album, “The Slim Shady LP.” The Detroit native recounts the surreal feeling of watching his childhood friend blow up and being an integral part of it. He also talks about the promise that the members of D12 made to one another when they were all independent artists, which stipulated that whoever got signed first would come back for the others to ensure they achieved notoriety as well. Lastly, Bizarre shares some details about why the rap group named their first studio album together, “Devil’s Night.”
In this clip, Boosie reacted to Vlad asking how he feels about white fans singing along to songs with the n-word at his shows, and Boosie admitted that it happens. He stated that fans have also said the n-word while meeting him, and Boosie went on to explain why you can’t put all white guys in the same category. Boosie stated that he’s been around white guys that are tough as steel in prison, and he went on to explain why some white guys are highly accepted.
A decade ago, K-pop had already established itself as a force in Asia and found niche audiences around the world. But it was soon turned into a truly global phenomenon after Psy’s YouTube-breaking “Gangnam Style” went viral in the summer of 2012. Powered by a galloping dance and bonkers music video, K-pop became a buzz word that even your American parents suddenly knew about.
Six months earlier in 2012, though, a very different effort at introducing Korean pop to Western audiences had played out in the form of a made-for-TV movie, starring a septet who’d actually marked K-pop’s debut on the Billboard Hot 100 three years earlier.
The Wonder Girls was a 40-minute film starring the Korean group of the same name, co-produced by K-pop company JYP Entertainment and Nick Cannon’s N’Credible company, which premiered on the TeenNick channel in February 2012. The story follows the outfit on their first tour of the United States, with the Wonder Girls — at the time consisting of Kim Yu-bin, Park Ye-eun, Woo Hye-rim, Ahn So-hee and Min Sun-ye, on top of Korean entertainment after a string of hit singles and equally big across Asia — exploring New York city and getting into assorted hijinks. It culminates with them entering a talent competition at the Apollo Theater (where they face off against an American group called School Gyrls, from a different Cannon-produced movie). It’s a fish-out-of-water story geared towards younger audiences.
The TV movie became a K-pop curio, an obscure bit of trivia for fans. Yet a decade later, as K-pop has grown into a major entertainment force in the U.S., The Wonder Girls special seems more like an important moment in the history of Korean entertainment trying to break America, and one hinting at how future groups and companies would vault to the top of music and social media charts.
“The whole point of this was to introduce American audiences to K-pop,” The Wonder Girls writer Krystal M. Harris tells Billboard. “The Wonder Girls were super huge, can’t-walk-down-the-street celebrities at the time in Korea – but over here, not so much…”
K-pop heavyweights had attempted to cross over into the States before Wonder Girls, but with little success. The singer Rain embarked on an ultimately doomed North American tour in 2007, while ‘00s superstar BoA released an English-language album in 2009, complete with hype-generating music videos, but was met with middling sales outside of her home region.
Wonder Girls had debuted in 2006 as the first girl group in Park Jin-young’s eponymous JYP Entertainment stable. They quickly gained popularity, before the 2008 retro-tinged number “Nobody” turned them into a greater regional force. Their ambitions grew.
“It was about January 2009 when we were invited to JYP’s U.S. concert as the opening guest, and we heard that people loved our performance,” former Wonder Girls’ member Kim Yu-bin, better known as Yubin, says via email to Billboard. “That’s when we started trying to enter the U.S. market.
The quintet became the first K-pop group to mount a serious push into the U.S. market. They signed with Creative Artists Agency and, in a preview of how Korean artists would come to use U.S. talk shows as a launch pad, appeared on The Wendy Williams Show to perform a song and quickly introduce themselves. Most notably, they served as one of the opening acts for The Jonas Brothers, then at the peak of their Disney-pop superstardom, on their 2009 U.S. tour.
It all would have just been a nice memory if Wonder Girls didn’t make history in the process. Propelled by the Jonas Brothers tour, “Nobody” debuted at number 76 on the Billboard Hot 100. That was the first time a K-pop artist ever appeared on the chart. “Towards the end of the tour, JYP told us we would be starring in a movie,” Yubin says.
The film needed a director, and it found one in music video director Ethan Ladern – who previously worked with artists such as B.o.B, OneRepublic and Bruno Mars. A producer he knew worked closely with Cannon, and he eventually was brought on to direct. “We were doing a grand introduction of the Wonder Girls to the States,” Ladder tells Billboard. It was obviously important that we wanted to show off their singing skills and their talent, and it was about making them really fun.”
Harris, meanwhile, had previously worked with Lader on music videos, and came on board initially as a cast director. First, though, everyone involved needed a first draft of the script to come in. “The script was…a bit offensive,” Harris says. “We were putting Koreans into America, and the script was relying on stereotypical jokes.” She stepped up and volunteered to take a look at it.
She cleaned up the rough bits – which, beyond racist gags, also included the main American character and love interest of member Yenny being named “DJ Nuts, or something relating to a man’s parts.” She changed his name to DJ Skillz, and tightened everything else up, all without losing the TeenNick vibe. “I didn’t have a huge background in anything Korean, but I know when something is a bit insensitive,” she says.
The Wonder Girls earned Harris her first professional writing credit. She still had to cast the film too, which presented further challenges. “It was a non-union film, so that means my talent pool was going to be a lot of green actors,” Harris says. She describes many auditions as “very, very interesting” – but with some diamonds present, such as Wes Aderhold, who was cast as DJ Skillz. “He just knew how to smolder in the right teen way.”
At the time, Aderhold was a fledgling actor based in Los Angeles with only a few credits to his name. “I obviously wanted to portray a DJ authentically, so I watched countless videos of DJs and went to my friends who spin and mix, and watch them,” Aderhold tells Billboard of how he prepared for shooting, alongside working with his acting coach at the time.
The Wonder Girls prepped too, for what would be one of their first forays into acting. “We took acting classes as a group and worked on our English pronunciation and language skills,” Woo Hye-rim, better known as Lim, tells Billboard through email. “Thankfully, our characters were based on our real-life personalities, so it wasn’t that hard to get into the character.”
Language, though, loomed as a challenge. Prior to shooting The Wonder Girls, the group had only needed to use English in a handful of promotional situations, like their aforementioned TV appearances (though Yubin spent part of high school in San Jose). “It was hard enough to act in Korean, but to act in English was even more challenging,” Yubin says. “There was a scene where we had to argue, and that was the most challenging for us. Just imagine having a serious argument with broken English. That was hilarious. It was really hard to keep a straight face.”
Lader, on the other hand, doesn’t remember there being many hurdles for the group – recalling early takes coming off as dry, but with everyone finding their rhythm gradually. “Actually, what I remember was during dress rehearsals, the girls already knowing everything by heart,” he says. “They came prepared and were ready to take the challenge.” Aderhold noticed the same professionalism while acting with them. “I don’t believe any of the girls had acted before. So there was this excitement of doing something for the first time and realizing they were really good at it. That was fun energy to play off of.”
Everyone interviewed about the actual filming of The Wonder Girls recalls it being fun, albeit frantic to finish everything in a short amount of time. Visual gags happened in the moment — including JYP, playing the role of overprotective manager, opting to wear silly pajamas and an eye mask in one scene — while unforeseen challenges like filming above a kickboxing gym added unforeseen stress (“Everytime the ‘ding’ happened between rounds, that’s when we shoot scenes,” Lader says).
“I want to say the Wonder Girls got like three hours of sleep, because they were shooting with us for 12, 15 hours, and then they’d rehearse their dance sequences and then they’d have to be back on set early in the morning,” Harris says.
Some of the fond memories stem from The Wonder Girls’ off-set freedom. Harris recalls the crew talking about making plans to go out, “and the girls were so excited about it because nobody was going to know who they were. They weren’t going to be hounded like they usually were when they went out. For this one moment in time, they were able to just be young women, having fun.”
The film premiered in February 2012, at a time when K-pop was taking more serious strides into the U.S. market. At the same time as The Wonder Girls, compatriots Girls’ Generation promoted their English-language release “The Boys” on American TV shows, including a somewhat surreal performance on The David Letterman Show with Bill Murray and Regis Philbin watching on. In July of that year, Wonder Girls shared their big swing at the English-language markets (and a number previewed in their movie), “Like Money,” featuring Akon and a video directed by Lader, featuring the Wonder Girls reimagined as cyborgs. While performing well on Korean charts, the song largely breezed by the intended American audiences.
Five days after that clip debuted, though, “Gangnam Style” appeared on YouTube. Its soon-to-be mega-success underlined something the K-pop industry had actually taken advantage of before and what would become necessary moving forward – easy access online. The Wonder Girls could only be viewed when TeenNick broadcast it (or through illegal streaming sites) in 2012. Currently, the best place to view it is on YouTube via fan uploads.
“I often watch the clips on YouTube — the movie makes me feel refreshed,” Yubin says, while Hyerim also says she revisits it via these unofficial uploads.
The lack of access hurt its overall reach, but The Wonder Girls did foreshadow an approach that would become crucial in K-pop’s future promotion — creating a shared bond between fan and performer. “Just like the message we give in the movie, we wanted to share our journey with our fans; the journey to success in the U.S. as a foreign idol group from South Korea,” Hyerim says.
Despite being scripted, the movie aimed to show new viewers who the members of this group were, while also giving existing fans a different perspective on their favorites. This approach is commonplace today, whether through social media or more slice-of-life offerings like Blackpink’s Netflix documentary or aespa’s New York trip diary (including a chat with Nick Cannon).
“In my experience, they were really the first time time a group came out like, ”I want to go to the States. I want to plant our flag, and have K-pop be recognized for how amazing it is,” Lader says. “Now flash forward to someone like BTS, and if there aren’t those forebearers leading the way, they don’t get the same opportunity.”
Lader is still directing music videos, for artists such as David Guetta and NLE Choppa, while working on other projects. Aderhold recently moved to New York to pursue artistic ambitions, and says that the last time he saw the movie “was two or three years ago…my friends put it on the big screen, while we were having mimosas.” Harris kept in touch with The Wonder Girls via Facebook for a bit after, and focused on her acting and writing career.
The Wonder Girls marked the first serious effort to introduce K-pop into the United States, a process that has paid off in recent years. Yet for Yubin, there’s something more personal to it: “The most fabulous thing is that the movie allowed me to reminisce about our time in the U.S. The people that I met during shooting the film and the experience that I was on the scene are unforgettably precious to me.”
The Wonder Girls never pushed too much into the U.S. market after 2012, and the group disbanded in 2017. While not held up as an important step in K-pop’s push into the United States, The Wonder Girls marked the moment of an industry’s ambitions becoming much more serious.
“It was a brand new market not only for our group, but for a K-pop group to debut in the U.S.,” Hyerim recalls. “Regardless of the result, I enjoyed the challenge as I believe it made our group stronger as a team and also left us with such a special memory. If I could turn back time, I would do the same without a doubt.”