LeeSSang and Running Man’s Kang Gary has released his first mini album as a solo rapper. The mini, despite only having four tracks, has two title tracks: Shower Later and XX몰라 (ZOTTO MOLA), both rated 19 in their release country South Korea, and having been banned from broadcast and performance on SBS, KBS and MBC. Despite this Shower Later claimed the number one spot on eight real time charts.
Shower Later features the smooth R&B vocals of Crush, rumoured to be releasing his own EP shortly. The lyrics for Shower Later are about one woman, yet the mv shows numerous. This mv having both positive and negative messages attached to it.
The use of multiple women allows for viewers and fans to reflect themselves onto any woman Gary encounters in the video, as the implication is he isn’t just attracted to one kind of woman.
However the way in which the camera focuses on the many women in the mv is intended to reflect the way Gary looks upon the one woman in the lyrics. The one thing that doesn’t reflect this? Gary’s face!
Gary’s face is emotionless, and nondescript. This does not help portray the passion he displays in the song. Rather, it makes the women appear as objects that he does not feel for, only sexualises.
The song is very sexualised however, as is the imagery that surrounds the girls, so it could be argued that Gary’s non-expression is in fact fitting.
In the opening scene the car is elongated to make it appear more phallic; the speed limit sign shows the number 69, the name of a sexual act; a lipstick tube is both phallic and used in a sensual way; and the way in which the female touches the phallic gearstick in the car is purposely sexual.
The movement of the seesaw not only allows for the objectifying camera angles of the women but simulates sex.
The seductive eating of the frozen lollies, once more in purposely phallic shapes, represent a sexual act.
The key being placed into the keyhole, a representation of the sexual connection between man and woman.
The range of power tools the women use show a variety of different things: the act of sex; seduction; even once more the phallic shape, this time with an emphasis on size as the saw states its size in inches. Here we can see similarities to the famous Benny Benassi music video, Satisfaction, which employs similar themes to show sexual ideas.
As we go into the final scene we see one of the women refuel Gary’s car. Just as with the key and they keyhole, the fuel pump entering the car shoes the act of sex and the connection between male and female. This takes us to the fire hydrant and the purposely sexual way in which the woman touches it.
The explosion of the fire hydrant symbolises sexual climax. During this shot we see one of the women has a snake tattoo, snakes or serpents often being a symbol of sin or sexual desire.
Shower Later is simply a very sexualised music video, though the lyrics of the song possibly couldn’t have left many alternate options. The only question left being; would this have been more effective with one woman and a more passionate expression from Gary? We’ll never know.
ZOTTO MOLA is the second title track. You will notice the Korean name for the song is XX몰라, X of course not being a Korean character, the XX replaces Zotto here as the words is a curse word. 조또 몰라 would be You Don’t F***ing Know / You Don’t Know S***. If you watch the LoenEnt version of the mv with English subtitles you will notice that the lyrics are paraphrased to eliminate the offensive word.
ZOTTO MOLA is all about the lyrics as the visual sees the rapper in a water tank as it slowly fills up. In contrast to Shower Later’s visual of many girls we hear Gary being ZOTTO MOLA with the words:
I don’t need one hundred other girls / I just need you
The feelings in this track are strong, the visual mirroring that, as he drowns in the water, his feelings, as it concludes.
Interestingly this mv took 20 hours to film, and the tank contained cold water that accounts for dramatic shots of his goosebumped arms.
Gary’s Mr. Gae is out now via iTunes and contains two other tracks and instrumentals of the two title tracks.