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In Gangnam Style Psy sings about being the "guy who downs boiling coffee in one shot" and who "goes completely crazy when the right time comes".
Kwon Yu-Bi, a 23-year-old student and Gangnam nightlife regular, said the song was less about any particular place and more about a new-found hedonism in Asia's fourth-largest economy.
"Gangnam is just a symbolic place and I think the song really reflects Korea, where young people, including myself, enjoy a hectic and crazy night out," Kwon said.
A Gangnam residential address doesn't come cheap, with the average apartment price – even with Seoul going through an extended real estate slump – set at around $720 000.
One particular street, lined on both sides with outlets of global luxury brands such as Louis Vuitton, Gucci, Cartier and Prada has been compared to Rodeo Drive of Beverly Hills in California.
For Kim Hoo-Yeon (23) the real Gangnam style equates to nothing more than an obsession with conspicuous consumption.
"Every time I go to Gangnam, I feel people come to show off how much money they have," she said.
"I don't even feel it's worthwhile labelling it 'Gangnam style'," agreed 29-year-old Park Seong-Jun, who said the place was simply a magnet for anyone who could afford to go on a "crazy money-spending spree".
The video that launched Psy and Gangnam Style to global fame and has notched up nearly 500-million views on YouTube certainly appears to poke fun at the district's image of idle affluence.
It features the rapper breezing through a world of speed boats, yoga classes and exclusive clubs – all the while performing an eccentric horse-riding dance accompanied by beautiful models.
The implied emphasis on superficiality over substance is reinforced by the fact that the real Gangnam is well-known for celebrity-frequented plastic surgery clinics.
But Kim Soo-Mi (49) who works as a pharmacist and has lived in Gangnam for 15 years, believes the image is a false one.
"It's a pity that only the negative sides of Gangnam have been known through the song, since there's so much more to the area than that," said Kim, who sees her neighbourhood as sophisticated rather than glamorous.
"When I visit other areas, that's when I really feel Gangnam is a trendsetter – not just for fashion but for lifestyle in general," she said.
And JH Lim, the owner of a high-end restaurant in the area, said Gangnam's style was one of refined taste that appealed to a mature clientele.
WOODBURY — A Minnesota woman is charged with beating and starving a woman she brought from China to work as a nanny, holding her in a state of “slavery or indentured servitude,” a prosecutor said.
Lili Huang, 35, of Woodbury, is charged in Washington County with five felony counts, including labor trafficking, false imprisonment and assault. Huang remains in jail after making her initial court appearance Friday, the Star Tribune reported.
The 58-year-old woman, who is not named in the complaint, arrived in the U.S. on a visa in late March. According to the complaint, the nanny was forced to work up to 18 hours a day doing child care, cooking and cleaning. Police calculate her pay at about $1.80 an hour, but she apparently did not receive any of it.
The woman recently was found wandering in the street, her eyes blackened. A hospital exam found she had many broken bones.
She was rationed crackers for meals and her weight had dropped from 120 pounds when she arrived in the U.S. to 88 pounds, the complaint said.
The woman was never allowed to leave the house, the complaint said. The nanny told a police investigator she eventually fled the house when Huang threatened to kill her with a knife. She told police she was looking for the airport so she could go home to China, the complaint said.
Washington County prosecutor Pete Orput said the nanny was held in appalling conditions, the St. Paul Pioneer Press reported.
Dan Le, a Minneapolis attorney for Huang, did not immediately respond to a phone message and email from The Associated Press on Saturday.
Police from four cities and agents from the U.S. Department of Homeland Security searched Huang’s home and arrested her, the complaint said.
A bag hidden under the nanny’s mattress contained a large amount of her hair, which Huang allegedly ripped from the woman’s head. The nanny had been hiding it so Huang wouldn’t find it “and force her to eat it,” the complaint said.
The agent verlegt bei Hans Schneider represents an entity (e.g. person, organization, etc.) associated with resources found in Boston University Libraries.
'I remember going to open the door for the first time and trying to rev myself up to this insane degree,' she tells MTV News.
As our countdown to the premiere and release of "Breaking Dawn- Part 2" continues, we've been very lucky to share some quality time with the fifth and final film's key players, plus the woman responsible for it all, Stephenie Meyer.
That quality time has included plenty of talk about the emotional end to it all that is "Breaking Dawn - Part 2," of course, but some of the especially fun moments have come from Meyer and the castmembers reminiscing about all the "firsts" from filming the inaugural movie, "Twilight."
"First day [on set], we started with the ballet studio, so it was the whole climax of the movie," Kristen Stewart recalled of that film's intense action sequence between villainous vampire James and the Cullens. "I remember going to open the door for the first time and trying to rev myself up to this insane degree that I actually almost passed out and suddenly had this excruciating pain shoot out of my head. and they were like, 'Action! Action!' And I was like, 'Ugh,' and I got it together, and obviously it was fine, but it's kind of fitting. I hadn't had that experience before on a movie, so yeah."
Stewart said that outside of shooting, she remembers with affection the fact that the young and then-unknown castmembers got along really well, right from the start.
"It's kind of the beauty of the forming of our group. I think we all kind of got each other really quickly, starting with ['Twilight' director] Catherine [Hardwicke]," she said. "I feel like when you meet her, you know her."
on the second floor of Swem Library.
Five paintings by the Spanish-born, Chilean artist Roser Bru are now on view on the second floor of Swem Library. Bru, born 1923, is one of Latin America’s most significant contemporary artists. As a refugee of the Spanish Civil War, Bru is the last remaining passenger from the 1939 voyage of the SS Winnipeg, also known as the “ship of hope,” that brought 2,200 passengers to Chile.
Bru’s paintings tackle themes of political unrest, the history of art, and women in society. She has received numerous awards for painting and has exhibited internationally. These five paintings, part of The President’s Collection of Art, were donated by Juan (W&M ‘86) and Katrina Conde in 2013 with the aim to promote diversity in the public art program on campus.
Electronic dance music is no longer a young upstart. This year's Bloc Weekender – a 15,000-capacity rave at London Pleasure Gardens, a waterside space at the Royal Victoria Docks – has enlisted some veteran headliners. But even among the likes of Orbital and Gary Numan, you might think a modern classical composer approaching his 76th birthday is an odd fit.
Steve Reich himself, though, would disagree. "I don't know exactly who my audience is these days. There are blue-haired ladies in the old sense of the phrase, and blue-haired ladies in the new sense. You know, there's a place here in New York called Le Poisson Rouge. It used to be a jazz club but now it's rock one night, new music the next. We need to remember, classical music isn't the other side of the moon. This is the way music moves now!"
Reich is a rare living composer who can honestly claim to have pioneered a new compositional language. Graduating from Oakland's Mills College with a masters in composition in the early-60s, he worked at the San Francisco Tape Music Center, an early electronic music laboratory, alongside Terry Riley and Pauline Oliveros, and visited Ghana to study indigenous drumming. All this fed into his compositional work, which pioneered experiments with tape loops, the practice of phasing – repetitive musical phrases that shift in and out of unison – and later, the musical style that would become known as minimalism. In its cascading, patterned repetition and open relationship with modern technology, Reich's music can feel like a pre-echo of electronica. Listen to his 1965 piece It's Gonna Rain, a tape-loop of a Pentecostal preacher, back to back with something utterly modern – say, some Chicago footwork – and you hear eerie similarities in the stuttered rhythm and hypnotic repetition. That's not to suggest DJ Nate and friends are rocking Reich, more an observation that Reich's influence on electronica is hard to quantify: you hear it in everything.
Reich says he can't tell his David Guetta from his Swedish House Mafia, and answers a question about drugs with a diplomatic "I don't think that's a question I'm going to deal with". He hears dance music occasionally "but I'm not surfing around to see what's up". Instead, he says, musical notation is still at the heart of what he does: "The people I work with need those skills. Not everyone in rock has them, but more people in conservatories are getting to do what they want, which is Beethoven on Mondays and Radiohead Tuesdays. I've no problem with that!"
Radiohead are Reich's current preoccupation, although he only got properly acquainted with them last year after attending the Sacrum Profanum festival in Krakow. Among those performing Reich and Reich-inspired pieces were Portishead's Adrian Utley, Will Gregory of Goldfrapp, Aphex Twin ("A very bright, interesting guy"), and Radiohead's Jonny Greenwood, who joined Ensemble Modern to play Reich's Electric Counterpoint. "I'd heard his score for There Will Be Blood and I was thinking, 'Here's a guy into Messiaen.' I'd never have known it was written by a rocker. So I thought I'd better check out some Radiohead."
Two Radiohead tracks, Everything In Its Right Place and Jigsaw Falling Into Place, form the source text for Reich's latest composition, Radio Rewrite, premiering at London's Royal Festival Hall on 5 Mar, 2013. "Their melodic stuff is very beautiful," he says. "I treat it freely, so in places people may go, 'Where's Radiohead?' But those with sharper ears may catch harmonic similarities."
There's talk at the moment of "retromania", of a pop culture that's given up searching for a future, content to regurgitate its past. But Reich is an optimist, albeit in his straight-talking New Yorker way. "Look, most music throughout history is garbage. It could be Beethoven's contemporaries, it could be the current top 40; you play in a garden, you get weeds. A lot of people who use computers are gonna come up with junk; most of the people who use notation came up with junk, too. But there are the Brian Enos – people who have imagination for a new way of working that fits with their intuitive gifts – that come up with great stuff. A few things will turn out to be enduring. Well made, and in a new way."
Bryce Dessner Guitarist for the National, Dessner is also a composer, and was commissioned by Kronos Quartet to write two pieces – Aheym and Tenebre – in Reich's honour.
Aphex Twin While chaotic, Richard D James's experimental dance music displays the influence of minimalist composition. He collaborated with Reich as part of his 75th birthday celebrations.
Tyondai Braxton Former Battles vocalist Braxton's music is built on orchestral loops. He's also composed for the Reich-affiliated avant garde ensemble Bang On A Can All-Stars.