Pink Tape – The 2nd Album Review/Analysis

f(x) is a five-member girl group that debuted under SM Entertainment in 2009 on September 5th. f(x) released Pink Tape – the 2nd Album on July 29th, 2013. The album contains twelve songs and runs for about forty minutes. Pink Tape is a highly regarded album, seen as one of f(x)’s best. Since I had never reviewed any older albums before, I thought I would begin with this album because it has so many songs that I enjoy. It was interesting to watch and read other reviews on the album and see what other interpretations were out there.

The Title Track

The title track, A.K.A. the most promoted song, is “첫 사랑니 (Rum Pum Pum Pum)”. The lyrics describe the speaker as a girl who is like a “wisdom tooth” that takes its place in your heart by pushing all the “others” out. The song frequently uses imagery and words that remind one of what it feels like to have a wisdom tooth grow in. The girl states that “It feels likе your head is about to burst with pain,” “one day, I suddenly appeared,” and “I’ll stand crooked and torment you.” Though she describes the pain the audience would feel after meeting her and the strange circumstances of her arrival, it is not meant to be a negative experience. In the chorus, the girl proclaims herself as the audience’s “true first love,” implying that falling in love for the first time is similar to having a wisdom tooth grow in. It is painful, but it is also new, unforgettable, and “electrifying,” as the girl claims. The description of the wisdom tooth helps the audience to understand what a “first true love” feels like, using something anyone can relate to: the pain of a wisdom tooth. The lyrics in this song are clever and interesting, though this is not my favorite song on the album, it gives you a different perspective on the “special experience” that is falling in love for the first time. I do, however, wish that the music video leaned into the “teeth” idea instead of doing something common at the time of its release: street wear and a shiny, cool set design.

The B-Sides

The second song on the album, “미행 (그림자: Shadow)”, tells a different story from the title track. The speaker in the song is more like a shadow rather than a tooth, though they don’t explicitly state this. Phrases like “together with you, I walk in sync,” and “without an expression, I hide behind you” give an image of someone who follows, but does not say anything, similar to a shadow. The speaker loves the audience dearly, but does not verbally communicate that, seeming less like a lover and more like a silent observer or secret admirer. The speaker “secretly” chases after the audience’s “footsteps” and is “always careful” so the audience does not notice, further emphasizing the one-sided love that the speaker purposefully pursues. This contrasts with the sharp words of “첫 사랑니 (Rum Pum Pum Pum),” which make it clear that the speaker’s presence will not go unnoticed.

“Pretty Girl” sounds a bit silly at first, but transforms into a powerful and hard-hitting song by the time one reaches the first pre-chorus. It tells the story of a “witch” who absolutely despises someone known as “pretty girl.” The witch casts a spell to make everyone look the same so that the “pretty girl” is no longer a “pretty girl princess.” In the end, everyone is a pretty girl, and there’s no need for her to put herself above others. In my opinion, the song is about the consequences of trying to be pretty. Since the girl loved being pretty so much, she ended up becoming just like everyone else, fading into the background. Juxtaposing a “witch” and a “princess” reminds me of the movie Wicked, mostly because of the conflict between the witch and the pretty girl.

“Kick” is a song that appears to be a love song, though love is only mentioned once. The song’s lyrics illustrate that the main character is riding a skateboard with lyrics such as “I kick with my white sneakers,” ” don’t stop the board,” and “Skateboard on this street.” The speaker expresses their desire to overcome fears and push through challenges, ready to “go forward once again” if they run into any shortcomings. Then, they go on to ask, “Does it always feel like this when you fall in love?” To me, this lyric is out of place in this song because the song is mostly about perseverance. A possible interpretation is that the speaker is overcoming the challenges of love. However, there is a chance that certain nuances were lost in translation.

“시그널 (Signal)” is definitely one of my favorite songs on the album. It gives me the vibes of a 90s sci-fi movie. The song follows a speaker trying to “catch” a mysterious lover, the audience, who seems to give mixed signals. The speaker pleads, “Can’t I keep you after I catch you?” The lover does not comply, seeming to enjoy the game of cat and mouse. In the end, the speaker does not succeed in catching the audience, the game being presumably unending. The speaker has always “got a signal,” but never their lover. I love the idea of this cosmic mystery; I believe it would have made a great title track and music video, but “첫 사랑니 (Rum Pum Pum Pum)” may have been more flashy.

The song “Step” is another anthem of confidence. In my opinion, the speaker is a “not like other girls” type of girl. Instead of wearing “dazzling kill heels,” she wears regular sneakers. She doesn’t want to conform to what other girls do. She chooses to tie her “shoelaces and run” when others are doing their makeup. It is not to get the attention of a boy, but to live for herself instead of for the attention of others. When she says, “I’m holding onto your feet and not letting go,” it is as if she knows she lives in the minds of those who dislike her for her individuality. At first glance, one might say that the speaker sounds arrogant, but I think that she is simply making a statement about breaking free from expectations that hold her back. She passes the one “who is wearing risky heels” and runs.

“Goodbye Summer” is a subunit song with the members Amber, Krystal, and Luna featuring D.O. of EXO, another group under SM Entertainment. It is a song about someone who secretly had feelings for their friend, but never had the courage to tell them until it was too late. The two friends shared a sacred bond, their “relationship” a “heartbreaking story.” Even the day before they graduated, they “couldn’t say what” they wanted to. Now, the speaker wishes they had revealed their “long-time hidden secrets.” So far, this album has told many stories through song, not just feelings. Now that I know the meaning of the lyrics, it really is a sad song despite the happy tune. It effectively captures the emotions of having to live with “the friend label,” and tells the tale of the two friends with personal anecdotes, giving them credibility and making the song more memorable.

The lyrics of “Airplane” illustrate a scene of flying through the air using descriptive words. “On this plane called Love,” the speaker expresses the temporary nature of her love, knowing that the plane will “fall down soon” and that “it’s over between” her and the audience. The song describes love as something temporary, like the feeling of being in the air while jumping on a trampoline, only to fall back down again. Even though the speaker knows her love is temporary, she still wants to fly with her lover in the dream that is love. I love the lyrics, and so far, the album has done a great job at drawing different interpretations of love.

“Toy” uses the metaphor of a “toy” to describe a relationship where one party feels neglected, similar to how a toy is when its owner is not around. The speaker no longer wishes to “endlessly wait for someone” and decides to take control of their life. The speaker doesn’t want to live on believing that time stops whenever “he’s not here.” In a way, the song teaches one to not become codependent and to remember that one’s life cannot revolve around one person, to not be someone else’s “toy.” This song reminds me of Toy Story because it emphasizes making “magic” and causing a “ruckus.”

“여우 같은 내 친구 (No More)” was once a demo created by Ariana Grande titled “Boyfriend Material,” created around 2012. Of course, the original song was about looking for “the right boy” who is “boyfriend material.” Yet, “여우 같은 내 친구 (No More)” is a song about a “fox-like girl” from the perspective of her friend. The fox girl, who is also the song’s audience, frequently finds new lovers, rarely keeping a boyfriend for longer than a month. Her friend is annoyed at her “fox-like” behavior, but feels bad for her friend and comforts her whenever she experiences a break-up, telling her to “forget about that guy” and “start anew.” The speaker wants her friend to finally stop chasing after boys and ignoring her to pursue her infatuation, but she always goes back to her old ways, similar to the never-ending cycle the speaker endures in “시그널 (Signal).” I was surprised by the lyrics of this song since Ariana Grande’s demo is about a girl’s desire to find the perfect guy. In a way, “여우 같은 내 친구 (No More)” is like “Boyfriend Material” if it were from the perspective of the friend of the one who seeks her “perfect type.” The lyrics of “여우 같은 내 친구 (No More)” make you feel bad for the friend who keeps getting neglected over a boy, but also sympathize with the “fox-like girl” who wishes to meet the love of her life. My favorite part of the song is where it describes the “fox-like” girl’s change in personality, where the speaker says, “you were never interested before, but now you go to church,” and “your new boyfriend is a church oppa, right?” It is a bit humorous, but it gives you good insight into the nature of the speaker’s friend.

The speaker in “Snapshot” is trying to capture someone’s attention. The song is less crafty and more straightforward. The one to whom the song is directed is the “camera,” while the speaker is the “model.” The speaker meticulously creates the image they want to present to their audience to win them over, fearing that their “real image” will not be viewed “prettily.” Eventually, the speaker’s image falls apart, revealing who they are underneath after “obviously pretending.” They decide to be themselves, allowing their audience to “know” their “heart.”

The last song on the album, “Ending Page,” uses the metaphor of the ending of a book to illustrate the end of a relationship. The speaker starts off by describing the feeling of losing the “camouflage of love,” feeling lonely as their love begins to fade away. The song creates an image of a book with lyrics such as “if we turn the ending page to our novel,” “the place where it’s been written and erased,” and “turn me back to the happy times.” The speaker hopes that at the end of their “story,” their love will remain “on top.” “Ending Page” is a good ending to the album, as it feels like the album’s story is wrapping up, finally reaching the end of the “novel.” The distinction between “Ending Page” and “첫 사랑니 (Rum Pum Pum Pum)” is that the title track describes the audience’s first love, and “Ending Page” talks about the end of love.

The Impact

Overall, the album felt very intentional, with each song presenting a clear story or feeling. It is difficult to see the same intentionality in more recent K-pop albums, where most lyrics convey vague emotions. Most songs on the album are about love, which feels a bit redundant to me. I might understand why there are so many love songs because with a group of people, it is hard to have a song more specific to the entire group, especially in K-pop. Love is also a common theme that appears in plenty of songs.

Bibliography

Choujimi. “Pink Tape, the First Frontier of Video Concept Work in Kpop.” YouTube, 14 May 2024, youtu.be/5Lzq7aKTbzQ?si=GQScJ6ZyhxuvO9Qk. Accessed 9 Feb. 2026.

SMTOWN. “f(x) 에프엑스 ‘Pink Tape’ The 2nd Album Art Film.” YouTube, 16 July 2013, youtu.be/r4u3BzM0rqo?si=hMHmD3wLWST6C41e. Accessed 14 Feb. 2026.

SBS. “SBS [2013가요대전] – 에프엑스(F(X)) ‘미행+첫 사랑니.” YouTube, 28 Dec. 2013, youtu.be/P_wpaXwSwiM?si=Zas-CRDu3yfI7oax. Accessed 15 Feb. 2026.

“Genius English Translations – F(X) – 첫 사랑니 (Rum Pum Pum Pum) (English Translation).” Genius, 2025, genius.com/Genius-english-translations-fx-rum-pum-pum-pum-english-translation-lyrics. Accessed 15 Feb. 2026.

“Genius English Translations – F(X) – 미행 (그림자: Shadow) (English Translation).” Genius.com, genius.com/Genius-english-translations-fx-shadow-english-translation-lyrics.

FSBolthof. “F(X) – Kick Lyrics» Color Coded Lyrics | Lyrics at CCL.” Color Coded Lyrics, 29 July 2013, colorcodedlyrics.com/2013/07/28/f-x-kick/.

FSBolthof. “F(X) – Signal (시그널) Lyrics» Color Coded Lyrics | Lyrics at CCL.” Color Coded Lyrics, 29 July 2013, colorcodedlyrics.com/2013/07/29/f-x-signal-sigeuneol/. Accessed 21 Feb. 2026.

FSBolthof. “F(X) – Step Lyrics» Color Coded Lyrics | Lyrics at CCL.” Color Coded Lyrics, 29 July 2013, colorcodedlyrics.com/2013/07/28/f-x-step/. Accessed 21 Feb. 2026.

Mike. “F(X) – Goodbye Summer (Feat. D.O of EXO) [Amber, Luna, Krystal] Lyrics» Color Coded Lyrics | Lyrics at CCL.” Color Coded Lyrics, 29 July 2013, colorcodedlyrics.com/2013/07/29/f-x-goodbye-summer-feat-d-o-of-exo-amber-luna-krystal/. Accessed 22 Feb. 2026.

“Genius English Translations – F(X) – Airplane (English Translation).” Genius, 2025, genius.com/Genius-english-translations-fx-airplane-english-translation-lyrics. Accessed 22 Feb. 2026.

FSBolthof. “F(X) – Toy Lyrics» Color Coded Lyrics | Lyrics at CCL.” Color Coded Lyrics, 29 July 2013, colorcodedlyrics.com/2013/07/28/f-x-toy/. Accessed 22 Feb. 2026.

“Boyfriend Material.” Ariana Grande Wiki, Fandom, Inc., 2026, arianagrande.fandom.com/wiki/Boyfriend_Material. Accessed 22 Feb. 2026.

Breezy. “F(X) – No More (여우 같은 내 친구) Lyrics» Color Coded Lyrics | Lyrics at CCL.” Color Coded Lyrics, 29 July 2013, colorcodedlyrics.com/2013/07/29/f-x-yeou-gateun-nae-chingu-no-more/. Accessed 22 Feb. 2026.

R. “Boyfriend Material – Ariana Grande /번역/한글자막/Lyrics.” YouTube, 1 July 2025, youtu.be/vaNNb5lNd8o?si=Zzyj0E1Hup4yA7yj. Accessed 22 Feb. 2026.

FSBolthof. “F(X) – Snapshot Lyrics» Color Coded Lyrics | Lyrics at CCL.” Color Coded Lyrics, 29 July 2013, colorcodedlyrics.com/2013/07/28/f-x-snapshot/. Accessed 23 Feb. 2026.

FSBolthof. “F(X) – Ending Page Lyrics» Color Coded Lyrics | Lyrics at CCL.” Color Coded Lyrics, 29 July 2013, colorcodedlyrics.com/2013/07/29/f-x-ending-page/. Accessed 23 Feb. 2026.

My Heart Bleeds

This is my piece from a Valentine’s paint party hosted by the National Art Honor Society (that I am a member of) at my school! I call it “My Heart Bleeds.” It was really fun to make and I completed it in about an hour. It depicts a heart inside a ribcage that is softly glowing. The heart is bleeding and fading into the air. It gives a feeling of wearing your heart on your sleeve or putting your whole heart in something. This has really inspired me to do more painting!

To Be a “Global” Girl Group…

To some, a global girl group is a group with members from various countries and continents. To others, it’s a girl group that is popular internationally. Throughout history, there have been multiple top girl groups such as Fifth Harmony, TLC, Spice Girls, Destiny’s Child, and many more. Girl groups have used their platforms to send different messages, such as TLC and their strong support for female empowerment. Recently, musical girl groups have started to resurface alongside the increasing global popularity of K-pop groups.

The Western Girl Group Resurgence

Girl groups have begun to re-emerge in the 2020s after their decline in the 2010s; one of the last notable groups being Fifth Harmony and Little Mix, both going on indefinite hiatuses with members pursuing solo careers. K-pop’s 3rd generation had begun around 2013 and marked a time when K-pop was still just making its way into the West. Some recent examples of global girl groups are KATSEYE, FLO, Say Now, XG, no na, and plenty more emerging globally. These groups differ from K-pop groups because they adhere to a more global audience, using differing aesthetics and musical sounds from their K-pop counterparts. Many newer groups are going for a 2000s sound and aesthetic. This is especially appealing to Gen Z, as many people are turning toward older genres and forms of media. This is also coming with a desire for more musical groups rather than just soloists. Some believe that the lack of groups has caused the music scene to become dull and tiresome, with the inability to do complex harmonies and have the chemistry that groups bring to the table.

Girls in the Business

It seems as though norms of the past have re-emerged alongside girl groups. Girl groups were full of young, inspirational women who were meant to convince girls that success could look just like them, while also conforming to music industry beauty, body, and fashion standards. The issue of provocative fashion for women in the music industry has been around for years. The entertainment industry in general is known for its use of female bodies as products and marketing tactics. Katseye is a big example of that. Katseye, though debuting with a Y2K, “teen” concept, is now donning a more adult, girl-crush look. This switch was seen after the release of their single “Gnarly.” A couple of the members, most notably Lara, had dressed this way before. The reason why it has become an issue now is that the members are now under a billion-dollar company, making it unlikely that they can control their styling. A bigger reason is that most of the members are very young; the youngest, Yoonchae, just turned 18 in December of 2025. Groups like FLO and Say Now also have similar styling to Katseye, but the members of these groups are a bit older. Though not explicitly stated, a normalized part of being a female artist is being skinny and wearing revealing clothing, especially in the West. So much so that it is also a way K-pop girl groups seem to attempt to make themselves known in the West.

Making it Big

Though many strive to be “global” groups, what one might call being successful is also being well-known in the West. There are a variety of K-pop (and K-pop adjacent) groups and idols who have tried to become popular in the United States (BP, XG, TWICE) by changing the way they present themselves. TWICE has started to gain more traction in the West by releasing songs in English. The members of BLACKPINK have released solo projects, all of them with their own unique flair, but most marketing towards the West with English lyrics and collaborations with Western artists such as  Doechii, Bruno Mars, and Raye. XG, a more recent group composed of all Japanese members, blends the genres of Hip-hop and RnB while promoting both in the West and at Korean music shows. XG, TWICE, and BLACKPINK all have strong fan bases in the West, but does that make them global groups? K-pop groups are striving more and more to be well-known in the West. Groups like Cortis, who use aspects of Hip-hop and other Western genres as well as Korean lyrics, are a major example. Overall, it seems like every group is trying to be the next big thing internationally.

Global girl groups are re-emerging in a time of great change in the music industry and in the world in general. K-pop is already supplying more and more girl groups practically every day. With this in mind, will there even be room for top “global” girl groups? Or will this wave of groups pass like other recent trends? There is still no exact definition of what is or isn’t a global. Time will tell whether the world will finally have groups that define what it means to be a global girl group in today’s music scene.

Bibliography

Epstein, Lea. “The Return of the Girl-Group.” The Tufts Daily, 19 Nov. 2025, www.tuftsdaily.com/article/2025/11/the-return-of-the-girl-group. Accessed 5 Feb. 2026.

Mia Lares, Yérimen. “Girl Groups Are Back: How the K-Pop Machine is Bringing Back The Western Girl Group” GEN-ZiNE, 27 Oct. 2025, www.gen-zine.com/posts/girl-groups-are-back-k-pop. Accessed 5 Feb. 2026.

“Second Take: The Declining Popularity of Girl Groups in Western Music Harms Sonic Diversity – Daily Bruin.” Daily Bruin, 2024, dailybruin.com/2024/10/05/second-take-the-declining-popularity-of-girl-groups-in-western-music-harms-sonic-diversity. Accessed 5 Feb. 2026.

Delgado-Umpierre, Paulina. “Are Girl Groups Back? A Brief History of Girl Groups in the 21st Century.” Are Girl Groups Back? A Brief History of Girl Groups in the 21st Century – the Cornell Daily Sun, 26 Sept. 2025, www.cornellsun.com/article/2025/09/are-girl-groups-back-a-brief-history-of-girl-groups-in-the-21st-century. Accessed 5 Feb. 2026.

Clare, Sean. Sex Exploitation “as Bad in Music Industry as in Hollywood.” 16 Oct. 2017, www.bbc.com/news/entertainment-arts-41633726. Accessed 5 Feb. 2026.

Suzanne, Camryn. “Too Many Girl Groups…?” YouTube, 5 Dec. 2025, youtu.be/uXwQ2scqK1g?si=is9VA3b4BqqnHvzn. Accessed 5 Feb. 2026.

Misty Copeland Black History Project (2/21/25)

In the words of Pablo Picasso, “I am always doing things I can’t do, that’s how I get to do them.” This mindset is what got Misty Copeland to become a well-respected ballerina in an industry that did not approve of African American dancers.

The art of dance is said to have been around since 3300 BC. Ballet, however, only began in the 1400s. Ballet, though beautiful and elegant, requires an insane amount of discipline. To become a ballerina, it takes years of training and sacrifice that can leave you feeling fulfilled or ultimately scarred. The very first professional ballet dancer was a French woman who went by the name of Mademoiselle De Lafontaine. At the time, the stage was mainly filled with male performers, so Mademoiselle De Lafornatine was a very rare occurrence who managed to shine because of her enthusiasm and grace. She shone so much that many people even called her the queen of dance. Also, if it wasn’t obvious before, Mademoiselle De Lafontaine was white, and so were the many ballet dancers that came after her. Ballet, for a very long time, was a discipline that only white dancers dominated. Raven Wilkinson, who was believed to be the first African American ballerina, came about in 1955, which is about 555 years after ballet began.

In the year 1982, the world was introduced to Misty Danielle Copeland, who was once a little girl with big dreams and a love for dance, and is now a renowned ballerina who advocates for diversity. Copeland was born in Kansas City, Missouri, and spent most of her life living in San Pedro, California. She started her dancing journey at the age of thirteen when she discovered the art of ballet while living in a motel with her siblings. She was the first person in her family to ever be interested in dance or fine arts in general. 3 months after taking her first ballet class at the San Pedro Boys & Girls Club, she was already dancing en pointe, a ballet technique that usually takes many years to master. 2 years later, at the age of 15, she got first place in the Music Center Spotlight Awards. She studied at the San Francisco Ballet School and American Ballet Theatre’s Summer Intensive on a full scholarship. Later, she was even ordained American Ballet Theatre’s Coca-Cola Scholar in 2000.

Misty Copeland is best known for being the first African American ballet dancer to be promoted to principal dancer at the American Ballet Theatre in the company’s 75 years of history. What’s more is that she is the company’s second African American solo dancer and first in 2 decades. She performed in many well-known classical and contemporary roles, one of her most impactful roles being her performance of the title role in the ballet Firebird, which was based on her and was choreographed by the famous choreographer Alexei Ratmansky. Furthermore, she blew away many as the first black woman to play the lead role of “Odette/Odile” in American Ballet Theatre’s production of Swan Lake. 

Since her rise to fame, Misty Copeland has been involved in a lot of volunteering and charitable work. She enjoys mentoring young people and working with many charities. Barack Obama even designated her as a member of the President’s Council on Fitness, Sports, and Nutrition. Television programs and publications that have featured Misty include popular programs such as 60 Minutes, This Week with George Stephanopoulos, CBS Sunday Morning, The Today Show, MSNBC’s Melissa Harris-Perry, Essence, People Magazine, Vogue, and Ebony. Under Armour once launched a campaign called “I Will What I Want”, featuring Misty in one of their commercials, which went viral with approximately 9,000,000 views. On top of that she has endorsed COACH, Diet Dr. Pepper, and American Express.

Furthermore, she made guest performances at the American MusicAwards in 2019 with Taylor Swift, the 2020 Grammy Awards with Ben Platt, Camilla Cabella, and Common, as well as dancers from the Debbie Allen Dance Academy, and at the Prince Grammy Tribute performance with the artist H.E.R. Copeland debuted on Broadway in 2015 with the musical On The Town and was also cast in the Disney movie The Nutcracker and the Four Realms as the Ballerina Princess. Moreover, Copeland had begun her own production company titled Life In Motion Productions, whose mission is to normalize good representation in the arts and to breathe life into the stories of artists. Flower, her first project, was launched in 2023 at the Tribeca Festival. Flower is a film that uses dance to bring awareness to multi-generational equity.

Misty Copeland is not only a famous ballerina, but also a famous writer. Copeland uses her writing to promote causes she believes in, like diversifying classical ballet. Her children’s book Firebird, which she wrote alongside outstanding author and illustrator Christopher Myers, won a Coretta Scott King Book Award, which is given to exceptional books that are written or illustrated by African Americans. She created a picture book called Bunheads and has written many New York Times bestselling books such as Ballerina Body, Life in Motion, Black Ballerinas, and The Wind at My Back. This book is meant to be a tribute to the late ballerina Raven Wilkinson, who was Copeland’s mentor and friend.

Misty Copeland once stated that her mission was to “bring dance to the modern generation.” She continues, “I had never dreamed of being promoted to a soloist—or being a role model—but I started to get such positive feedback from the black community…” The support Misty Copeland gained from the black community as a ballerina and her passion for the art fueled her desire to become a philanthropist and an ambassador of the Boys & Girls Clubs of America, where she began her journey. In the year 2022, Copeland founded The Misty Copeland Foundation, which strived to create more inclusion and equity in dance with its first program, BE BOLD. She has won multiple awards, such as the Spingarn Medal in 2023, the Trailblazer Icon Award at The Grio Awards, and an Honorary Doctorate of Fine Arts from New York University. She was also honored as one of Glamour’s Women of the Year, was named on the Root 100 list, Time 100 Most Influential People, and was honored at the Black Girls Rock! Award. In 2023, she launched the women’s line of her athletic wear business, Greatness Wins, which she co-founded with Chris Riccobono and Derek Jete. 

According to Kendrick Lamar, “It’s easy to forget who you are.” Oftentimes, people are discouraged from going into industries where there are not many people who look like them and force themselves to give up their identities to fit in. In a world where many people rise to fame and forget about their values and their past, Misty Copeland chose to uphold her values and empower the younger generation, and has even become well-known beyond the industry of dance and ballet. She has even claimed that she sees ballet as a form of activism, stating that “just being a black dancer, in a black body”, performing in a “white art form” can be a way to effect change. Black women have always found it hard to fit into different industries because of the prejudice against them and women of color in general, especially within the entertainment industry. Copeland found her calling to dance on stage and to serve the community that brought her there. Her work is continuously evolving as she continues to advocate for the diversification of the arts, both for aspiring artists now and future generations.

Works Cited

Copeland, Misty. “The Official Website of Misty Copeland.” Mistycopeland.com, 2015, mistycopeland.com/about-2/. Accessed 25 Feb. 2025.

Beard, Alison. “Life’s Work: An Interview with Misty Copeland.” Harvard Business Review, 1 July 2022, hbr.org/2022/07/lifes-work-an-interview-with-misty-copeland. Accessed 25 Feb. 2025.

“Misty Copeland, Soloist in the American Ballet Theatre.” Into the Gloss, 24 Feb. 2016, intothegloss.com/2014/03/misty-copeland-ballerina/. Accessed 25 Feb. 2025.

“Misty Copeland: What I’ve Learned from My Mentor Raven Wilkinson.” Www.commonwealthclub.org, www.commonwealthclub.org/events/2022-11-16/misty-copeland-what-ive-learned-my-mentor-raven-wilkinson. Accessed 25 Feb. 2025.

Blumberg, Naomi. “Misty Copeland | Biography, Performances, & Facts.” Encyclopædia Britannica, 2 Nov. 2018, www.britannica.com/biography/Misty-Copeland. Accessed 25 Feb. 2025.

“La Fontaine | French Ballerina.” Encyclopedia Britannica, www.britannica.com/biography/La-Fontaine. Accessed 25 Feb. 2025.

Boodhoo, Niala. “Misty Copeland: Ballet as Activism.” Axios, 4 Jan. 2024, www.axios.com/2024/01/04/misty-copeland-ballet-as-activism. Accessed 25 Feb. 2025.

“BrainyQuote.” BrainyQuote, 2025, www.brainyquote.com/quotes/kendrick_lamar_470556. Accessed 26 Feb. 2025.

Ballet Quotes | Ballet Connections. www.balletconnections.com/ballet-quotes/. Accessed 26 Feb. 2025.

In Honor of Afrobeats

Afrobeats have begun to rise in K-pop with many songs like “Tinnitus” by TOMORROW X TOGETHER, “Rover” by KAI, and “Super (손오공)” by SEVENTEEN. However, throughout its history, K-pop has been known for appropriating other cultures. One of the most prominent is black culture. From using “black English” to straight-up saying slurs, K-pop seems to have a blurred vision of what is and isn’t cultural appropriation. So what is? 

The dictionary definition of cultural appropriation is “the unacknowledged or inappropriate adoption of the customs, practices, ideas, etc. of one people or society by members of another and typically more dominant people or society.” Now I can name many of these cases when it comes to K-pop—for example, multiple idols wearing box braids, cornrows, and dreadlocks. Some may argue that some of these hairstyles do not belong to one culture. Matted hair has been present in multiple cultures around the world. However, most of these idols wear these hairstyles intending to look more “hood” (or, dare I say, more “black”).

One may ask, “What does this have to do with Afrobeats in K-pop?” Well, I began writing this essay after I discovered the song “Smart” by LE SSERAFIM. “Smart” by LE SSERAFIM is very popular because many fans of K-pop love it when K-pop groups use Afrobeats in their music. My only problem with this song is the accents. Maybe it’s just me. Maybe I’m just hearing things. However, some parts of the song sound a lot like a bunch of girls trying to imitate an African accent. This is not what one would call a “blaccent,” however, because a “blaccent” refers to trying to imitate Black people by using AAVE and trying to sound “ghetto.” 

Many have argued that it’s just a Korean accent or that they are just saying it in a way that makes sense musically. That is not the case. In a Korean accent, the words “smarter” and “winner” would be pronounced “seumate-o (스마테오)” and “wine-o (위네오)”. Musically, they could have pronounced it “smartuh” and “winnuh” instead of “smatah” and “weenah”. Obviously, they are using an African accent. Some might say that this isn’t a problem because of the genre, but plenty of other K-pop groups like ATEEZ, P1Harmony, and I-dle have used Afrobeats in their music without imitating an accent. LE SSERAFIM themselves didn’t imitate an accent when they released their Afro/Latin beat-inspired song, “ANTIFRAGILE”.

I do not believe it is the fault of the girls, as they probably didn’t have a say in whether or not they should imitate an African accent in this song, as they did not write it. It might be that they were forced to use it, as the song seems to be heavily inspired by “Water” by Tyla and “Woman” by Doja Cat. Still, that does not make the accent any more okay. LE SSERAFIM creates good music. They may have been criticized for many other things, but I do not believe they should be set up for failure with this song (though it is successful). I just hope that in their future Afrobeat-inspired endeavors, they don’t try to imitate African accents.

That being said, LE SSERAFIM is not the only one who has imitated an African accent in their music. There are also songs like “Run Away” by Kohway. This song also features the artist imitating an African accent. Kohway says “ron aweh” instead of just saying “run away.” Still, I believe K-pop is not going to be overtaken by a bunch of wannabe Africans, as there are still plenty of K-pop groups releasing songs inspired by Afrobeats and even Latin beats like in ATEEZ’s EP, “GOLDEN HOUR: Part.1,” and TOMORROW X TOGETHER’s song, “The Killa (I Belong to You).”

As this essay comes to a close, I would like to list a few songs I like that have utilized Afrobeats (and/or Latin beats) in all or part of the song without being culturally inappropriate:

  • “Work”, “Blind”, “Shaboom”, “Promise”, “Wave”, “Promise – Notation from Senor Juwon Park”, “WIN”, “Sector 1”, “Crazy Form (미친 폼)”, “ARRIBA”, “The Real (멋) – 흥: 興 Heung Version”, and “Fireworks (불놀이야) (I’m The One)” by ATEEZ
  • “BANG BANG BANG” by BIGBANG
  • “As If It’s Your Last (마지막처럼)” by BLACKPINK
  • “SHUT DOWN” by CLASS:y
  • “BOCA” by Dreamcatcher
  • “LATATA” and “Dumdi Dumdi” by I-DLE
  • “Ra Pam Pam” by Golden Child
  • “Rover” by KAI
  • “LET’S DANCE” by LEE CHAE YEON
  • “ANTIFRAGILE” by LE SSERAFIM
  • “PTT (Paint The Town)” by LOONA)
  • “Fact Check” by NCT 127
  • “Soñar (Breaker)” by NMIXX
  • “More Than Words”, “Late Night Calls”, and “Let Me Love You” by P1Harmony
  • “That That” by PSY feat. SUGA
  • “행복 (Happiness)” by Red Velvet
  • “Super (손오공)”,” Fire”, and “Spell” by SEVENTEEN
  • “ZOO” from SMTOWN
  • “Back For More (with Anitta) (Afrobeats Remix)”, “0X1=LOVESONG (I Know I Love You feat. Seori”, “The Killa (I Belong to You)”, and “Tinnitus (Wanna be a rock)” by TOMORROW X TOGETHER
  • “LORO”, “Diamond”, “WOULD YOU RUN”, “DOOM DOOM TA”, and “RUB-A-DUM” by TRI.BE
  • “SUPERWOMAN” by UNIS
  • “TRICKY HOUSE” by Xikers
  • “1&Only” by XLOV

Bibliography

“Genius Romanizations – LE SSERAFIM – Smart (Romanized).” Genius, 2024, genius.com/Genius-romanizations-le-sserafim-smart-romanized-lyrics. Accessed 15 Jan. 2026.

2026 MLK Jr. Oratorical Contest Speech

“I Am the Future of My Community”

“What will my future be like?” That is a question we have all asked at some point. You may have imagined flying cars, spaceships, and living on Mars. Maybe the future is much simpler. It could be a nice modern house, a sports car, and a well-paying job in real estate. In the current state of the world, it is hard to keep that same optimism. For youth today, the future may look like working a 9-to-5, living paycheck to paycheck, and retiring at the age of 70. Maybe even earlier, if their job was taken by AI. I bet it’s been a while since anyone has talked to you about climate change. 

With all these problems, it’s almost impossible not to ask, “What future?” Well, I’ll tell you what future. The youth are the future. The youth have dared to dream beyond the grey walls of our society. The youth are marching through the streets across the world, hoping to make a change. We refuse to be confined to what has been done and what one thinks can be done.

What would I do with the power of an adult? I would speak up about the injustices I see around me and be an example for those younger than me, but can’t I do that now? The future of my community can be innovative. The future can be unlimited opportunities for all. Stopping gun violence, closing the wealth gap, eliminating inequity, rewriting our story so the next generation can think about their futures too. Because even before we turn 18, we make so many important decisions. We decide what career we want or where to apply for college.

So I’m making the most important decision of all. I’m choosing to be the future. I’m choosing to do better than those who came before us because we are the future of our communities. I am the future of my community. In a letter by the Universal House of Justice to the world, it states, “All must surge, but the youth must soar.” Thank you.

Note

I won 2nd place!

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