P-Pop’s BINI: Not Just Eye Candy
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BINI members: (Last row, L-R:) Nicolette Vergara, Stacey Sevilleja; (middle row, L-R:) Maloi Ricalde, Aiah Arceta, Jhoanna Robles, Gweneth Apuli; (front row, L-R:) Mikha Lim and Sheena Catacutan (Photo Courtesy Of ABS-CBN)
Both times you moved to the infectious rhythm. You wish though that you understood what Psy was singing to make it a total experience. How could K-pop be popular and still be strange?
If you’ve been in a vacuum or disconnected, K-pop officially became a global phenomenon in 2019. It ranked sixth out of the ten music markets worldwide. Last year K-pop grew by about 45 percent and was judged the fastest growing major market in 2020.
Sort of like the “British invasion” in the 1960s. But the “Korean wave” brought out bands that were different from the British model. Back in the 1960s, bands were “combos” – performing with a combination of musical instruments and vocal harmonies. But most K-pop bands don’t play instruments.
BINI (Source: Myx)
K-pop music is best experienced on video. The artists are mostly young and attractive, schooled to perform with more complex harmonies and lockstep choreography. You won’t see K-pop artists perform sweaty with facial hair growth and in their skivvies. Much thought has gone into how they are packaged – make-up, wardrobe, and their CD (opening one is like opening an intricately packaged iPhone). With a few exceptions, K-pop is not a solo act.
The global appeal of K-pop can’t be denied. It has made music video more vivid. K-pop does not lose its hold on fans even when it is performed live on stage without video edits. It feeds on a fan base that exists as long as social media thrives. Like rap, it transcends language barriers and cultural differences. The music of K-pop bands BTS and Black Pink have reached the U.S. and all corners of the world.
Soon, circa 2019, P-pop began rearing its head. P-pop has emerged as the Pinoy answer to K-pop, after the reign of OPM, ballads, and acoustic. With groups like SB19 (which paved the way to P-pop evolution three years after its debut) and other bands, with names like California vanity license plates (following the J-pop trend), appeared on video.
Viva dominates with Pop Girls, PPop Generation, U Go Girls, XLR8 and others in its stable. ABS-CBN got into the game later, helping in the auditions for MNL48 (which became the sister group to the J-pop girl group AKB48) in 2017. Then on June 11 this year, it officially launched the girl group BINI.
The considerable resources of ABS-CBN went into the Star Hunt Academy boot camp training of BINI members Maraiah “Aiah” Queen Arceta, 20; Nicolette “Colet” Vergara, 19; Gweneth Apuli, 17; Jhoanna Robles, 16; Mary Loi “Maloi” Ricalde, 18; Mikhaela “Mikha” Lim, 16; Sheena Mae Catacutan, 16; and Stacey Aubrey Sevilleja, 17. Housed together since the COVID outbreak, they received a personality re-do, including make-up, dance, acting, and twice a week schooling. Life coaches drilled into them the niceties of being idols.
Lead vocalist Jhoanna Robles (Photo Courtesy Of ABS-CBN)
While it may not be Juilliard, ABS-CBN took pains to partner with MU Doctor (vocal and dance trainers involved with artists like BTS and Twice) to give BINI three months of authentic Korean discipline on top of the Star Hunt training.
Idol-factory Star Hunt Academy head of training Mylene Quintana-Mallari or MQ said, “It was a consequence of the partnership between ABS-CBN and the Koreans who are the forerunners in the idol business.”
And although the Koreans seem to have cornered the market, MQ said, “The Koreans still seek out Pinoy choreographers. We found this to be a pleasant surprise.” She cited Fil-Am Bryan Puspos and the couple Keone and Mai Madrid (known for their work with Justin Timberlake).
A challenge that BINI and other P-pop artists face is the Pinoy preference for ballads and, until recently, acoustic (guitar-backed) songs. MQ said, “We did a lot of research and immersions on this” and still ended up with love as the touchstone theme “but we see it as love appropriate for their age.”
“Eventually, we want to capture millennials with P-pop and music that resonates with moms and across all ages.”
BINI’s first foray was an upbeat cover of Ryan Cayabyab’s “Da Coconut Nut” in November 2020. It drew 200,000 views in the first 24 hours and went as high as 410,000 in four days on YouTube.
This was an indicator that Pinoys are not necessarily hung-up on love songs.
Ever since ruined British cotton magnate John Tiller whipped Music Hall dancers into synchronicity in 1890, bringing on the dancing girls for entertainment value has not diminished through the ages. Remember why St. John lost his head. And how Japanese girls helped their family’s farm by becoming geishas in the 17th century.
Fast forward to the 21st century, and Japan is still in the grip of the idol culture. Singing and dancing girls who play to obsessive fans who want to be a part of their idols in every way. (Curiously, even before K-pop, Korean BoA was already a pop superstar to the Japanese. And there is no need to belabor the Japayuki.)
Vocalist Maloi Ricalde (Photo Courtesy Of ABS-CBN)
MQ says she suspects sometimes it’s the photos more than the songs that sold some CDs. Because of conservative Pinoy values, BINI would only sing about “crushes” but would not go into some of the racy themes and situations in some K-pop songs. Sort of like the school girl exuberance of J-pop group AKB48. Cute but still years away from being sexy.
But BINI would like to think of themselves as the Pinoy version of K-pop group Twice. Twice videos have spawned memes and dance crazes, being dubbed “the next girl group.”
For sure, BINI aims to disabuse some who see pretty performers as mere promo girls like the Ginebra San Miguel Angels. But trying to debunk that notion in a country where Viva Hot Babes took precedence could be a challenge. Specifically, going against nearly clad women who can’t carry a tune drenched in double entendre.
BINI shortened “Binibini” for its band moniker. According to lead vocalist Robles (who appeared in the tele-serye Kadenang Ginto), “BINI represents us millennials. We want to inspire everyone and embrace even our imperfections.”
MQ said, “There was a lot of names floating out there. But we settled on BINI. It was something that can easily be pronounced by most countries because, after all BINI was intended for a global market.” And it was also picked by newly installed Star Magic head Laurenti Dyogi.
When BINI was conceptualized, the original K-pop group it had in mind was Red Velvet. MQ said, “They had the duality of cutesy and power songs. They were vocally impressive.”
BINI members said, “We like K-pop groups like BTS, Black Pink, and Itzy.”
But the difference between K-pop and P-pop, according to main dancer Catacutan, is “the influence in either is different but we infuse Pinoy excellence and culture” and it’s a platform “to show off what we Pinoys can do.”
BINI’s debut and signature “Born to Win” elevates its female performers. It has stark locations, killer hooks, danceable rhythm, and smooth quick-change-of-clothes editing. Most importantly, it illustrates that women performers don’t need inane novelty songs to gain an audience.
MQ said, “BINI won’t be treated like (the Latino boy band) Menudo. (They won’t be asked to move on from the group when they get older.) Maybe in three or four years, we’ll explore solo acts for them. And when they reunite, they will even be better.”
Personally, “Born” means a lot more to BINI members. It’s their Phoenix song arising from a two-year COVID lockdown at Star Hunt. They are also Star Hunt Academy’s first girl group alumni. And for ABS-CBN, a validation that the network has not been silenced since its franchise renewal was denied. BINI will probably not go the way of a tele-serye, sitcom, or rom-com. It’s a band declaring independence.
Two days after its debut with “Born to win,” BINI performed live on “ASAP Natin ‘To” and went on to appear on KTX.ph and Kapamilya Channel on June 19 and June 20, respectively.
A 12-song BINI album is slated for release this year, according to vocalist Ricalde. MQ said BINI is ready to go and perform “anywhere there’s no COVID and in any country willing to open their borders.” She thinks Dubai and the U.S. are strong possibilities.
BINI is being touted as a breakout group because it is a high-concept girl group, while most of the other groups are content in being street smart. BINI is taking smart girl performers out of the street. So, it’s not just eye candy anymore.
Harvey Barkin is editor-in-chief at FilAm Star in San Francisco, correspondent for the San Jose Mercury News and content writer for an industry-specific newsletter. He is also a reporting fellow for campaigns and grant-funded projects. Previously, he was a correspondent for news portal BenitoLink, a tech writer for Silicon Valley start-ups and a book reviewer for Small Press in Rhode Island. His work has appeared in various media from advertising copy and collateral to B2B content and in various outlets from Valley Catholic to Inside Kungfu.
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