Meena Bae, bassist, and vocalist for punk band Drinking Boys and Girls Choir said that their parents are being brainwashed.
What may be excused as young contrarianism, or a typical complaint among comparably repelled punks the world over, is established in something more profound when it’s utilized to portray the moderate fortress of Daegu, South Korea’s fourth most crowded city.
There isn’t anything cool about Daegu, a landlocked city of almost 2.5 million, where legislative issues slant vigorously tyrant, because of its filling in as the political headquarters of operations for military despot Park Chung-hee during the year of ’60s and ’70s. His system is best recollected in South Korea either for its fierce concealment of discourse and basic liberties or its achievement in revamping a nation completely crushed by war, contingent upon who’s being inquired.
In Daegu, notwithstanding, there’s a bit of disarray. The older occupants still consider Park affectionately. Even it wouldn’t be an unusual thing to discover a photograph of him on the lock screen of an old individual’s mobile phone. Backing for the tyrant is solid to the point that in the year of 2012 presidential political race, 80.14 percent of the votes in Daegu went to his daughter who’s name is Park Geun-Hye, contrasted with 51.5 percent from one side of the country to the other. After taking force, she carried on as her father would have, slicing subsidizing and open doors for human expressions while ordering a boycott of supposed protester specialists, posting more than 9,000 names.
Even though Park is presently carrying out a 25-year punishment on an assortment of defilement accusations, uphold for her and her dad stays solid in Daegu. The drummer of the neo-post-punk band New City, Jeong Seonghoon stated it as the old people of Daegu are all 100 percent strong supporters of the Park. These are old people who have lost their brains, who participate in revolutionary exhibits on the side of the despot.”
Consequently, it’s not erroneous to portray Daegu as a cauldron of stale ideas. This is mostly a direct result of the city’s area—in a valley, ringed by forcing mountains, a geology that, during the Korean War, hindered the development of Communist and Chinese powers. Amusingly, this seclusion is additionally a reason for its hindered social turn of events.
Contrasted with different cities, such as beachfront Busan and the legislative center Seoul, Daegu stays a moderate social desert. According to
Jeong Seonghoon, Daegu never encountered the total annihilation of an old lifestyle and the progressive birth of another one. The war brought a miserable business, yet it constrained the rest of Korea to get dynamic, to change powerfully. Be that as it may, Daegu didn’t change at all. Unlike the usual, it just got bigger.
Despite the fact that Daegu stays overwhelmed by the old ways, its childhood subcultures have progressively been breaking with the past, as shown by the political commitment of its indie performers, and the quality of the Daegu Queer Culture Festival, which is well-known as the longest-running LGBTQ+ occasion in Korea outside of Seoul.
In any case, it’s been a hard journey for the independent scene to make progress. Additionally to managing the city’s domineering traditionalism, Daegu performances like the musicians are fighting with obstructions like those looked by their partners all over South Korea. Bands or K-pop groups separate when individuals among the group are in need to do their obligatory military assistance. K-pop is popularly known as one who is ruling the music market today. Because of the language differences and legal limitations make visiting in neighboring China and Japan difficult to achieve. In South Korea itself, there are not many practical urban communities to play outside of Busan and Seoul, making visiting neither monetarily supporting nor an approach to assemble an after.
Accordingly, there’s been a development to grasp elective spaces, as nearby web magazine Big 9 Go Club and groups like Drinking Boys and Girls Choir sort out occasions in deserted machine shops and old factories. Others groups carry their music to the roads by booking outside shows in the core of the city, performing for walkers downtown—near James Record, an adored vinyl bar that secretly serves as a non mainstream of indie merchandise outlet—while the shops selling beauty products and phones around them impact K-pop from road confronting speakers.
There’s still well-known as the crown gem of the scene, the Club Heavy, a place of any activity since 1994. Of its heritage, Meena Bae stated that when she started an indie band around 10 years ago, Heavy was people’s entryway. Heavy was home ground for Meena Bae and the simple presence of the spot is comforting her already.
Notwithstanding the smothering atmosphere of the city, and the roadblocks on the place, the indie scene in Daegu is obstinate and solid, because of a common conviction that music and reformism can outlive any feeling of despair and defeat what gives off an impression of being the meaningless of endeavoring against such conditions.
The future looks confident as more current groups like the surf-rock outfit, The Plums, and neo-post-punk New City venture into the space made by scene older folks like powerful art-rockers Dogstar, and New Wave enthusiasts The March Kings.