There’s nothing to indicate that this evening’s 20-minute amble to the Trinity Church Cemetery and Mausoleum will end differently. We take to the block like another of our twilight strolls. Down 150th, greeting neighbors and their dogs. Up Broadway, passing the flower shop, Taqueria San Pedro, a bodega that smells inexorably of frying bacon. Along 153rd, the cemetery to our left walled off by gothic concrete and iron-slat gates. And back down Amsterdam, the litter of Styrofoam, plastic bags, empties, trees clotted by discarded wrappers and shit, except for the church by 152nd whose constituents are invariably kind and welcoming and who make a concerted effort to maintain their area.

Rosetta does quick piss-upons, mawkish marks her spot, seeming almost sad or ashamed to be asserting her presence. She sniffs at noisome interests. She raises her hackles at unassuming brothers and sisters.

It could’ve been anything, really. It could’ve been a cat in the road. It could’ve been miscommunicated direction. It could’ve been my fault. It could’ve been my finest hour. More… “The Canon of Guilt”

We almost always assume that a writer is most influenced by other writers. They’ve read piles of books, they’ve decided that their skills best synch up with what a given number of other authors were doing, and they take a bit here, take a bit there, mix that in with their own sensibilities, and voila, a style is born.

I’ve always found this a slipshod way to go, in part because I don’t believe a great author ever has a single style. It’s one reason I rate Hemingway as at best mediocre, and often quite terrible, like the authorial version of some droning, one-note song that can’t leave its initial starting key or augment what it is doing with additional chords.

You should know, when you read a great author’s work, that it could only be by them, usually within the space of a single paragraph, even a clause. They have a way of inhabiting worlds and characters, while possessing reams of that most overlooked of all literary qualities: energy. Their energy will be unique, and it will animate their characters, and their narrative, in unique ways. More… “Writing with a Brush”

For a lot of people, the line between red and blue is a bit fuzzier in real life than it is on Twitter. For me, this is true even though I’m firmly on the side of le resistance. I think it’s because there are some threads woven into my own biography that keep tying the two sides together, in spite of all the enmity. Maybe, I just have an odd intellectual history, but I wonder if others share something like the story I’m about to tell. I hope it’s not a story that ends up in one of those both-sides, can’t-we-get-along, dead-end morality clause cul-de-sacs. I hope my thinking isn’t as lazy as that. But the threads the story traces are definitely the common ones, and I’m going to take the risk of equivocation in order to follow the story to a conclusion that’s a little more complicated (and a lot less satisfying) than “blue is right, red is wrong.” More… “Red Pill, Blue Pill”

It has been said that astronomy is a humbling and character-building experience. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we’ve ever known.

Carl Sagan, Pale Blue Dot

The tiny dot — a period traversing the face of a solar flare — wasn’t much to behold. If you didn’t know where to look, you would miss it. As small as it appeared, even with the assistance of a telescope, this speck was the planet Venus traveling across the sun.

39 light years away from our solar system, seven new worlds that are part of the constellation Aquarius partake in a dance similar to that of Venus. They cross in front of a star that is 12 times less massive and much cooler than our own. This planetary system is called TRAPPIST-1, named for the telescope in Chile that first discovered three planets in the system. TRAPPIST-1 is so far away that we can’t watch this system’s planets crossing in front of their star, as we were able to when Venus visibly crossed between Earth and the sun. Instead, the sight is only visible to us through the marvels of astronomy research, which transcends borders, languages, passports, and the limitations of human vision in order to transcend the skies. Astronomy researchers rely on global collaborations to characterize planets like TRAPPIST-1 outside of our solar system that radiate the possibility of habitable surfaces and atmospheres. This saga is set against the backdrop of human dysfunction, when instead astronomy research’s ability to let us “see” planets farther away than we could have imagined should, Sagan exhorts, humble us and remind us to deal more kindly with each other.

Infrared (IR) astronomy is the study of the universe using light that isn’t visible to the naked eye. Rather, the light captured by telescopes is “infra” or “below” red light. In the space between galaxies, interstellar dust absorbs visible light and re-emits it as infrared radiation. Looking at infrared light can reveal things that using visible light alone can’t — like the extremely cold material that coalesces to become stars.

Dr. George Helou is executive director of the Infrared Processing and Analysis Center at the California Institute of Technology in Pasadena and deputy director of the Spitzer Space Telescope, a space-based observatory that contributed critical data to the discovery of this new planetary system. “Infrared astronomy opens a unique and rich window onto the universe,” Helou says. “[IR astronomy] uncovers new phenomena that challenge us to rethink the accepted knowledge of the universe.”

On September 19, 2016, the same day the United Nations held its first summit to discuss the movements of refugees and migrants, a team of physicists including Helou launched a three-week campaign to use the Spitzer Space Telescope to measure the amount of infrared light emitted by the TRAPPIST-1 star. A planet crossing between the telescope and the star casts a shadow, reducing the amount of light transmitted back to the telescope by measurable amounts and for specific time periods. This created dips in the amount of light “seen” by the telescope. Researchers studied light levels from the star long enough to determine which repeating light depressions matched particular planets, which totaled seven, and published their results in Nature in February 2017, shortly after US President Trump signed an executive order blocking refugees and citizens of seven countries from entering the U.S. Sagan’s distant image of our own tiny world and “images” of these new earth-like planets juxtaposed against our constant battles over borders vividly demonstrates Sagan’s “folly of human conceits.”

“Spitzer’s ability to observe almost continuously TRAPPIST-1 for 21 days was critical to deciphering the structure of that planetary system,” Helou says. He notes that studying planets beyond our solar system and the study of anything in space as a variable of time requires following the behavior non-stop as much as possible, which sometimes can’t be done from a single observatory. To accomplish this, Helou explained, international collaborations deploy a string of observatories in different time zones around the globe so the “sun never rises” and night-time observation can continue around the clock. The Global Relay of Observatories Watching Transients Happen (GROWTH) collaboration is one such example. Led by Caltech, this international collaborative gathers data on cosmic events in the first 24 hours of detection to answer explore how elements formed and what events generate gravitational waves. GROWTH operates 18 observatories in the northern hemisphere including in India, Sweden, Taiwan, Japan, Israel, Germany, the UK, and the U.S. When darkness falls on one location, observations continue from other locations that are still in the dark in order to provide nonstop monitoring of an event.

Spitzer’s infrared data combined with observations from ground-based telescopes around the world helped paint a clear picture of the new planetary system. After the initial discovery of the transiting planets, and around the same time that citizens of the United Kingdom seriously contemplated leaving the European Union through the Brexit referendum, researchers launched a global photometric monitoring campaign in May 2016 to learn more about the characteristics of the planets. This involved ground-based observations of the star from TRAPPIST-South telescope in Chile, TRAPPISTNorth in Morocco, the UK InfraRed Telescope (UKIRT) in Hawaii, the William Herschel and the Liverpool telescopes in Spain, and the South African Astronomical Observatory. Working with data from these telescopes helped determine what data from Spitzer alone could not: at least seven planets with sizes and masses similar to Earth revolve around TRAPPIST-1, and they have temperatures low enough to make the presence of liquid water on their surfaces a possibility.

Even before Helou began working on collaborative astronomy projects like TRAPPIST-1, he was well-versed in the idea that the pursuit of knowledge knows no boundaries. Entranced by the stars as a child growing up in Lebanon, his passion for astronomy and curiosity about the universe eventually catapulted him across the Atlantic to complete his Ph.D. in astronomy at Cornell University. He has devoted much of his professional career to using infrared technology to explore space, inspired by the 1983 launch of the Infrared Astronomical Satellite, which was a joint project of NASA, the Netherlands Agency for Aerospace Programmes and the United Kingdom’s Science and Engineering Research Council to survey the sky and measure the intensities of more than 200,000 infrared objects. Perhaps fittingly, his inspiration to pursue astronomy research was the result of a collaborative effort involving researchers across the world.

“Many research projects require teams, large and small, with diverse skills and interests,” Helou says. “When you are building a dream team for a given project of discovery, the best could be anywhere in the world, could belong to any culture or ethnicity . . . If we are limited to national boundaries, we simply won’t have our dream teams for pursuing the most important fundamental questions.” Scientists that worked on the TRAPPIST-1 discovery were from the U.S., Chile, the United Kingdom, Switzerland, South Africa, Saudi Arabia, and France. In order to make these kinds of phenomenal discoveries, people must move beyond the things that appear to divide them and instead focus on commonalities – in the case of astronomy research, this takes the form of a goal that lies literally beyond the stars and man-made divisions on Earth.

Physics and astronomy research also rises above manmade boundaries because of economics. The tools behind this research require major investments and equipment, like particle accelerators or IR telescopes in space. “International collaborations can mobilize resources not available to the research community within a single country, the U.S. included,” Helou says. In his own field of IR research, Helou describes the forward movement as the result of “an exemplary relay race” between NASA, the European Space Agency and the Japan Aerospace Exploration Agency, with each agency taking the lead on their own missions with contributions by others.

Helou isn’t alone in recognizing that tapping into resources from around the world is critical to advancing the field. The National Academy of Sciences, Engineering, and Medicine collaborated with NASA to develop a science strategy for the study and exploration of planets outside our solar system, detailed in a September 2018 report on Exoplanet Science Strategy. Among its recommendations are funding and building large ground-based telescopes, as well as launching an imaging mission to collect data on planets orbiting Sun-like stars. The report also honed in on opportunities for coordination between international partners.

Recognizing that “ground-based instrumentation is a strong point of European astronomy, and exoplanet science in particular,” the authors emphasize that working in tandem with existing large European telescopes will be beneficial to future NASA projects building the same, with open sharing of technology and ideas across borders speeding up technology development. Similarly, a launch mission to collect data on exoplanets involves such significant cost, lead-time, and technical complexity that collaborating with foreign space agencies, scientists and engineers is a logical, perhaps necessary path. Coordinating between international resources and even industries will be key to avoiding unnecessary duplication and consumption of valuable resources –a rather more practical and financial angle to Sagan’s reminder of humankind’s “responsibility to deal more kindly with one another.”

“Physics, like all science, is global in character, belongs to, and is the responsibility of all humanity. It is natural for the species as a whole to collaborate on understanding the fundamentals of the physical universe or the essentials of biology,” Helou says. Peering into the depths of space is a reminder that the differences that sometimes appear to divide us aren’t quite so substantial after all, or are “foolish and pointless,” as Helou says, especially in the face of fundamental questions like: Does life exist on planets orbiting other stars? Are there habitable planets in other solar systems? The remarkable ability of astronomy researchers to pull together to explore worlds outside our own adds perspective to the things that appear to divide us here on our tiny world. •

Images illustrated by Barbara Chernyavsky.

Art is remarkably popular these days. When I tell people that I am an academic working on the art market I often get an approving nod of the head that almost makes me feel like I am doing something meaningful with my life. But one also starts suspecting that the art market may be becoming a bit overexposed when you hear opinions on the merits or sale price of a Leonardo painting while having your hair cut. There are few other markets, except for those relating to technology, that has grown so spectacularly over the last decades – not simply in terms of the actual size of the market, but in cultural prominence. Art has entered the realm of the collective unconscious, exhibiting a cross-generational pull that bodes well for its future. It is not simply that the superrich are lavishing millions on paintings – it is also the increasing attendance at museums worldwide that is pointing to a thriving economic sector. The Louvre has broached the mark of 10 million visitors per year, New York museums are charging $25 per ticket, yet the constant flow of visitors is showing no sign of abating.

I had firsthand experience of that combination of cultural edginess and a trending market when I offered a course at a business school on Aesthetics and Art History. I intentionally avoided any reference to the art market in designing the course, promising nothing more than an overview of the history of art in ten sessions, emphasizing the principles of formal aesthetic analysis. The unexpectedly high enrollment, the enthusiastic response of the students and unusually strong work ethic throughout the trimester made me think that I have stumbled upon something deeper than just extended course offer and bored students craving excitement. Many of them were destined for careers in banking but were remarkably open to the opportunity of discussing visual representation. Experiencing a sense of forbidden pleasure for exposing future bankers to the history of art, I marveled at the relative ease with which brains attuned to complex calculations switched to the analysis of visual patterns. The combination of finance and art that unfurled before my eyes was truly intriguing, with their appearing as more compatible than even I had imagined. More… “When Gekko Collects Art”

One May afternoon, my son Evio and I played with a red rubber ball in the public park at Russell Sage College. We kicked the ball toward one another over the spring green grass. At some point, I kicked the ball too hard and it rolled past him, stopping at the foot of the park’s war memorial. With his two-year-old trot, Evio chased the ball and, just before retrieving it, glanced up at the monument. High on a granite pedestal stood the bronze soldier, holding a rifle low across his hips. On our previous visits to this park, I had invited Evio to view, not this one, but the grounds’ other statue: a woman sitting in an armchair and holding a book. As I approached Evio, who was now staring at the statue, I regretted my careless kick.

When he noticed me behind him, Evio pointed up and asked exactly what I feared he might. He wanted to know what it was the man held. Real guns had remained invisible to Evio, made easy by living in an environment mostly free of unconcealed guns, war, and gang rivalry. We’d be exposed to a pistol only occasionally, holstered against the hip of a police officer. And in these instances, Evio would express interest in the officers’ hats or vehicles. He never seemed to notice the gun. Even though the statue’s rifle wasn’t real, I didn’t want to talk about guns with my child, not when he was so young, and not when I knew more than I would wish to share.

For eight years I had studied armed conflicts, gunrunning, and the prevalence of firearms after war. Even before starting this research, I felt outraged by armed violence as it obstructed peace and security for so many people across the world. As I gathered data over time, outrage settled into despondency. And then I became pregnant. When almost nine months into expecting Evio, my body could no longer carry the weight of both a growing baby and firearms research. As my attention shifted to mothering, I wished I could erase the many images that my research had imprinted on my mind, images that represented the opposite of love and nurture. Famished child soldiers in Sierra Leone and the Ivory Coast. Mayan children coerced by army soldiers to watch the execution of their parents. And closer to home, numerous children caught in the cross fire of gang violence. I wanted to keep those images far away from the experiences of my child. Before giving birth, I boxed my books and data, and I said goodbye forever to the topic of guns.

Or so I thought. More… “I Would be Scared, Too”

“My soul is full of longing for the secret of the sea and the heart of the great ocean sends a thrilling pulse through me.” – Henry Longfellow

I too was mesmerized by the rhythmic natural symphony of the sea, the moon, and the clouds as I arrived late at night at my first place to stay at Arenas Del Mar. In a sentence, the resort has delectable cuisine, exceptional levels of service and exemplary eco credentials. It’s where buggies go up and down the steep slopes and one took me to my tropical fruit breakfast on a table on the sand of Playitas Beach in toe-touching reach of the ocean.

I found an elemental joy in picking up an almond nut from its tree and, as if from heaven, a leaf descends dancing, entertaining and poetically falling while pelicans swooped alongside into the water as all my senses were engaged demonstrating the beauty that nature can provide. Iguanas hang out by the pool, Halloween crabs scuttle through the gardens, sloths slumber in the treetops.

Very close by, down a discreet gravel lane, is a one-of-a-kind Villa Punto de Vista where I was next to stay. This astonishing six-story construction is the courageous and ambitious creation of David Konwiser, one of the family owners and the architect who was born in Costa Rican and educated in America.

The design makes optimum use of the dream views with angular windows jutting out like ships’ prows over the ocean beyond. I looked out over the rocks and islands that speckled the sea like the scales on an iguana’s back, adding perfectly to this ultimate jigsaw picture of a setting. The villa likes to quote “Costa Rica. Lots of Monkeys. No Hurricanes” and it’s fun to get one’s own back on the monkeys by teasing, but not feeding, them with bananas as they approach on their rope through the jungle canopy put up like a zip line in the very country where the sport was invented.

Beside these fast monkeys are slow-moving sloths who feed on ‘cecropia’, liking the alkaline in the high leaves of this hollow tree. They only come down once a week to do their business which they bury to stop predators and to fertilize the tree. They sleep for 18 hours a day and live for 30 to 50 years. And they’re even excellent swimmers I was to learn.

I took a boat with Tres Ninas Tours. It was a full day trip as I got to look up at the houses in the hills and the varieties of the green landscape beyond the beach all competing for light. As the day went on so the light changed affording different hues in the color of the sea from teal to lime green from aquamarine to emerald green. Though Uvita was at high tide when I got there I was intrigued to learn that right above the whale-shaped beach was the favored spot for whales to come and mate.

As for her human inhabitants, Costa Rica is one of the longest-running democracies in Latin America and is safe and peaceful. It’s had no wars for over a hundred years, and there is no standing army. And possessed with this openhearted spirit, some locals are amazed to see guns when they go abroad.

“Pura Vida” is the local expression of their life force. Several countries have an all-purpose word to cover our basic daily forms of interaction. In Hawaii there’s “aloha,” in Fiji there’s “bula’ and in Costa Rica there’s “pura vida.&rsdquo; Literally translating as “pure life” it spans the entire spectrum of greeting and parting incorporating: “no worries,” “enjoy life,” “take it easy” “good luck” and “have a good day.”

I came next further up the Pacific coast to Guanacaste and to the Papagayo peninsula. It’s all beautifully landscaped as a semicircle of large palm trees welcomed me along with a sculpture by Jorge Jiménez Deredia who uses organic shapes that reflect the country’s pre-Columbian heritage. These Diquis stone spheres in particular act as a timeless metaphor of Costa Rica’s deep-rooted egalitarianism: seamless and edgeless and possessing a notion of wholeness.

Papagayo has a number of exquisite beaches. Playa Nacascolo, which was once an area of commerce in pre-Colombian times, is the longest while Playa Jicaro is the most remote on the southern side. In the north, there’s Prieta Beach Club, a perfect day out with its Olas Lounge an ideal spot for lunch in front of waves strong enough for me to body surf.

It is very much an American conceit with its buggies the most common form of transport for visitors. The 18 hole golf course, designed by Arnold Palmer and with Ernie Els as its ambassador, has games played out on ‘paspalum’ the sumptuous carpet-like grass. Near the main entrance, there’s a marina to dock 355 slips where boats for cruising, yachting and sport fishing, particularly for both the black and blue marlin.

I stayed next at Vista Hermosa, Papagayo Luxury. Bang in the middle of the peninsula, this ten-year-old condo is part of the Las Terrazas complex of 16 homes whose owners leave their properties wild around them to grant the animals free movement and whose architect uses terracotta walls both inside and outside to blend in with the natural surroundings and display a contemporary clean aesthetic.

I enjoyed a wonderfully calm boat trip across the bay with Elvision Adventure Tours. My charming and uninvasive skipper guided me with great serenity across the flat water towards the magical beaches of Playa Panama, Playa Hermosa, and the renowned Playa del Coco.

The landscape of Costa Rica and her biodiversity is simply magical: thick lush rainforests, with their dense foliage, uncrowded pristine beaches, steep mountains and majestic volcanoes and waterfalls, the perfect backdrop for the sheer wonder of the colorful birds and animals.

I even looked through the index of the definitive book on Costa Rican birds to find exquisite and exotic names like the chestnut-mandibled toucan, buffy tuftedcheek, long-tailed tyrant, bare-necked umbrellabird, whip-poor-will, double-striped thick-knee, the oilbird, ovenbird and white-fronted nunbird. As for animals, I saw in another book the misfit leaf frog, the bullet ant, the trumpetfish, the beaubrummel (a fish) and the Jesus Christ lizard, so-called as it walks on water.

My final place to stay Four Seasons Resort Costa Rica. The bay side (Playa Blanca) and ocean side (Playa Virador) have a different feel and, I allowed myself to believe, almost a different climate. Eco-friendly electric buggies went at a relaxing speed and it was such an important first scene as the rounded shape of the foyer was truly receptive and embraced me with its open arms, luring me into its golden mosaic fold.

The colors are consistent throughout and blend organically with their natural surroundings. The earth-toned stucco exteriors were computer-generated from actual dirt samples to replicate the deep browns, oranges and reds of the soil and the roots of the land.

How resourceful, cunning and wondrous are the forces of nature: the annona fruit changes from green to a darkish reddish-brown as it ripens, the Indian tree sheds its bark every three days while one local species of grass contracts with human touch. Whales mate above a beach shaped like a whale’s tail. Not to mention all the tricks of camouflage. I have finally learned that sloths are very good swimmers, how hummingbirds manage to stay in mid-air by flapping their wings at a rate of 50 to 80 beats per second and how howler monkeys make so much noise by releasing their voluminous, plangent magic using the wind.

I couldn’t get enough of this delightful country. I have to go back. Whenever but soon.

Adam had further support from www.gatwickexpress.com and www.holidayextras.co.uk (who offer airport lounges at all major UK airports and many international destinations).

All images provided by the author and edited by Barbara Chernyavsky.

Awaking aboard the International Space Station, astronauts must dress for a long day of research, maintenance, exercise, and other tasks. They don their “icon shirts,” custom-tailored garments with interchangeable “swatches.” Some swatches allow them to map their positions within the ISS, allow them to communicate with ground control, and others record and transmit their vital signs. After fixing the swatches appropriate for the day’s agenda to their icon shirts, the astronauts are prepared for work onboard the space station. Of course, when they venture outside of the ISS for experiments or repairs, they must also wear special equipment, like a spacesuit and a “personal warning harness,” which alerts them to any danger of being struck by stray debris.

As innovative as that wardrobe sounds, it’s far from the current reality. Aboard the ISS, crew members typically wear polos and cargo pants. In space, they wear suits similar to the ones worn by their predecessors in the 1960s.

But NASA has been trying to upgrade its astronauts’ wardrobes — particularly through collaboration with designers and researchers. Rebeccah Pailes-Friedman, one such collaborator, is a professor of industrial and fashion design at the Pratt Institute, where her students worked on prototypes for NASA, sewing and soldering their ideas for what astronauts’ clothes should be. We spoke about the challenges they faced, as well as their proposed solutions. Our conversation has been edited for clarity and brevity. More… “Dressing for Success . . . in Space”

In high school, we swooned to boy bands and carried quarters so we could “arrive alive” after a teenage drinking binge. In middle school, we walked straight to airport gates to greet our grandparents as they tumbled off flights, rumpled in button-down shirts and pantyhose. And in elementary school, we read piles of books to earn personal pan pizzas from Pizza Hut and people told us we were special.

And we were special. As the high school graduating class of 1999, early on in our academic careers, administrators, teachers, and parents lauded us with the exclusive title of “last class of the century.”

Throughout our elementary, middle, and high school years, we got by on microwavable meals and believed our brains could look like fried eggs — any questions? — but we partied like it was 1999 anyway. On the brink of Y2K, my graduating class of 374 gathered on a warm evening in late May to fulfill our legacy. We were a large class crammed into a small gymnasium in West Central Wisconsin, our family members packed onto the bleachers after months of trading and haggling for coveted graduation tickets.

As one of 17 valedictorians in my class (yes, you read that right), I’d talked my way into what I considered to be the desired final speaking position. I wanted the proverbial final word—and it wasn’t about friendships or memories, thankfulness or nostalgia. What I had to offer was a simple piece of advice: “Wear sunscreen. If I could offer you only one tip for the future, sunscreen would be it. The long-term benefits of sunscreen have been proved by scientists, whereas the rest of my advice has no basis more reliable than my own meandering experience . . . I will dispense this advice now.”

That’s right. The class of 1999 was also the recipient of the spoken word piece, “Everybody’s Free (to Wear Sunscreen),” released by Baz Luhrmann in 1998 based off of music from the film Romeo + Juliet and an essay written by columnist Mary Schmich that was published in the Chicago Tribune in 1997. Though Schmich’s essay (and Luhrmann’s original rendition of the song) addressed the class of 1997, it was the single released in 1999 with its salutation addressed to “ladies and gentlemen of the class of ’99” that implanted in our minds after playing the song endlessly on our Discmans. More… “Trust Me on the Sunscreen”

It’s time to take Kpop seriously. Every pop culture form reaches a point where the product attains sufficient depth and complexity to merit serious critical attention, as opposed to sociological analysis or entertainment business history chronicling. For western pop, that moment came in 1967, with the release of Sgt. Pepper’s Lonely Hearts Club Band. For Kpop, that time is now. This is Kpop’s Sgt. Pepper moment.

To understand this moment, we need first to consider Kpop’s genesis and growth. Kpop has its origins in the processes that have transformed South Korea in the past two decades. Without the liberalization of Korean society at the end of the 20th century, Kpop would never have come into being. The military government that fell in 1987 had repressed rock and folk musicians as part of a larger policy of maintaining socially conservative norms. As the government democratized, so the media became open to a wider range of voices and styles. As part of this opening, the 11th April, 1992 saw one of the talent shows that were and still are a mainstay of television in Korea broadcast an act that broke with the hitherto dominant ballads and nightclub standards; Seo Taiji and the Boys drew on New Jack Swing and hip-hop in their performance of “Nan Arayo”. Kpop was born that evening. The show’s judges gave “Nan Arayo” the lowest score of the show, older viewers were bemused, but an enraptured younger audience, thrilled by both the new sound and the accompanying dance moves, rushed out the following day to buy “Nan Arayo” and kept it at the top of the charts for four months. More… “Kpop”