K-Pops! (2024)

K-Pops!-(2024)
K-Pops! (2024)

A once-famous musician is given another chance at greatness after he is reunited with his long lost son. What the man did not expect was the heavy responsibility that came with being a father, as it proved to be much more than solely earning acclaim and recognition.

In the year 2014, was a close friend of mine who was also working under a belt with Yahu, who had just begun his career as a Podcast creator. What impressed us greatly during that time was the release of Venice by our all time favorite singer, Anderson. I mean it was pretty clear that the singer was going to skyrocket his career because, well he was Anderson and also we got to know that he was featured with Dr. Dre on the Compton album Anderson. Speaking of, little did I know that would be pretty soon the Anderson era would begin and we would be smothered with his songs, promotion, and features which drove me towards indifference in the first place. Paak beats the undreable in all the albums that I have listened to and still blows me away. What is intriguing, however, is that I came to believe that he is one of my favorite musicians overnight. I also realize that opening every new feature isn’t true when there isn’t an exact time when Paak has no idea what the crowd wants.

A decade later the picture looks completely different and this time it is the directorial debut of Paak, K Pops! and it has launched at the Toronto International Film Festival. It is remarkable what we have done and theists in those parameters, And for that alone, and for many more, K Pops is simply an amazing film.

It does not matter if one knows that. Paak exists or not because he certainly makes it very clear the first time he steps on stage. One can always expect a variety of this such to see as well. Paak is like a child storming out of a room only to effortlessly raspy sing and drum at the same time. He demonstrates an inexplicable confidence that only those in the musical business understand. In this particular music video. Paak depicts BJ a drummer who has been gigging on a lessees basis in some long established bar for quite a while in what seems to be Los Angeles where, without elaborating grant as much as enough integration of his humor to earn a degree of forbearance. For someone like BJ, it is just a matter of time, because he just needs this push.

On a lighter note, he bumps into Yeji, played by Jee Young Han, and starts the romantic game that is accompanied by a montage of new songs composed by Paak. It is one of the first in the many novel touches that Paak has embedded into the film, preferring to take the riskier option instead. This film has helped Paak solidify his standing as a real multihyphenate. So even if not every risk taken meets the desired expectations, it is captivating to witness an artist figure out what their film voice would be through taking risks.

BJ severing his ties with Yeji depicts that his stagnant music career came to a halt. Despite the vast period, the next time we cross paths with BJ he is still located in the same location that we left him. At this point, we can observe him at the same bar, but in a review manner. Although the setting is a bland bar with fewer patrons, he begins irrationally attacking those who dare to cross the threshold and enter the bar, which ultimately repels their businessmen or even women from standing their ground. At this moment, he is being approached by his best friend and manager Cash who also dabbles in battle rapping alongside Jon Dumbfoundead Park, who also abides by the same principles. Along with them is his mother Yvette Nicole Brown, but this does not bother them either. Regardless of this, they still provided him with an unparalleled opportunity that other artists would die for. Why? Because instead of intending to impress the multi talented K-pop man, Kevin Woo, he rather wanted to play the role of a backing drummer. However, he sheds light on the fact that he wishes to get in touch with the K-pop star in hopes of establishing a working relationship.

Next, BJ arrives in South Korea and the shadows of the scene for the film change yet again which actually is quite brilliantly fitted with BP’s song from their discography. The motion picture makes it clear that this was the main glue that constructed the story of the film.

BJ arrives in his usual classy manner while also making it to Wildcard, where exactly does he find Tae Young (Soul Rasheed, Paak’s son)? Well, considering how he looks it should come as no surprise as the film utilizes such a premise and milks it for a few comic scenes, Tae Young is BJ’s son, who he never knew existed fully. While the film tries to leave right into the exposition of K-pop practice in fact, this has much more to do with the tale about a father and a son that haven’t seen each other for a long time and are meeting for the first time. This is largely what their intention to do was when making this film as well. During the peak of the COVID-19 outbreak, Paak had no other option but to stop going on a thousand tours around the globe and “staying at home” as everyone else meant that now he could do a clearly, billion times more with Soul. I even vividly remember the gazillion Instagram posts of the two where they were simply fighting, making skits, and dancing around.

They K-Pops what you’re able to do with your child which I think is really inspiring to find out and it felt good to watch the movie. 

While the film does occasionally shift into hyperdrive illustrating how it was made and the chemistry between the two is believable, It is not dated in the way other comedies about an outsider or a family coming together feel.

It is the music that possibly stands out the most in this film and it is the one thing that all the leading actors alongside the characters revolve around, the most. K-Pops And how it details music as a form of self expression and a way of finding one’s self feels very beautiful. This sense of wonder is embedded in all strands of the film. As a reminder, Paak’s interest in K-pop started when his child was deeply in love with the kind of music. When BJ tries to shed light on Tae Young concerning the culture of hip hop and its origin, his response is simple yet profound of course, music is a universal language. It is strongly put and it is indeed so, the goal of the film is. If one were to examine the trend of the development of civilization, and in particular that of the hip hop culture, one can notice the amalgamation of several genres at different points in time. It is a genre that is defined by its source and how those sources can be transformed into something new. With BJ evoking and relying on nostalgia while lifting his son in the cultural context of popular music, it reminds the viewer of the intimate connection between the two. Again, Paak and Rasheed are on the screen but this time they are acting.

Meta textually, it’s a wonderful experience but, within the story of K-Pops, it’s a nice touch that functions quite well. 

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