Asian Glocal Musical: Journey through A Chinese Christmas Karaoke Night in London
Prologue: ‘We are the World, We are the Champion……’
Karaoke, an entertainment activity of singing songs along with a background sound-track that has the singer’s vocal removed, has become a global phenomenon. With an asiatic origin of its prototypical machine (figure 1) being invented in Japan (Mitsui 1998), and immense popularity among the Asian community (Xun and Tarocco 2007), Karaoke’s global journey may offer us unique insights into Asia’s position in the globalised world. This does not just refer to how Asian nations and communities navigate globalisation, but also the subtle power dynamics between contesting Asian regional power (Otake and Hosokawa 2005).
Figure 1. prototype machine and the inventor (Vocal Star 2023)
Moreover, simply homogenizing experience in Karaoke as something ‘global’ is ignorant of its localisation in different cultures. No matter the cultural context, ‘glocalisation’ almost always comes with conflicts, some sort of inequality, and ‘bordering’, including some with the expense of excluding the others (Massey 1994, Mezzadra and Neilson 2013). Karaoke as a cultural practice is certainly not an exception. In this article, drawing from my personal observations, I invite my readers to rethink how ‘global’ Karaoke has been through my experience in a Karaoke Session organized by a student Karaoke Society in University College London (UCL). I hope that the audience may be inspired to form their own interpretations by my causal inspection on such a simple entertainment, though I also encourage readers to bear in mind the question of ‘how Asia-Asian community navigate a global-multicultural setting’ when you read through the article.
Overture: Introducing the UCL Karaoke Society
UCL Karaoke Society is a new cultural society just established in UCL this academic year. I am a friend of the president Billie, and the Promotion and Social Representative Vicky. I attribute our friendship to our common linguistic background in Cantonese. The aim of the society, as stated on the society’s website (UCL Karaoke Society 2023), is to ‘provide (a) welcoming, non-judgmental environment for you to sing a wide range of music you like’. This statement of inclusiveness might be implying, again, ‘globalisation’ discourse embedded in Karaoke (Mitsui and Hosokawa 1998, Xun and Tarocco 2007), and possibly also the institutional context as a student society of UCL, ‘London’s Global University’ (UCL 2023).
Despite these contexts, I have been questioning how global the society could be perhaps since I attended their very first Karaoke night, and have continued so till today after attending plenty more sessions throughout this academic term. From existing literature, it is reminded that Karaoke is never a truly global phenomenon, but rather something that would be embedded in local context: In Britain, Karaoke does not thrive on its own as something novel, but rather has become a part of the long tradition of singing-along in Bars (Kelly 1998); And Karaoke culture is not something neutral from politics, for what songs people choose to sing, who participate in the singing, where the Karaoke venue would be, etc.are all powerful reflections of subtle contests between nations’ cultural soft power (Otake and Hosokawa 2005, Kelly 2010).
In reality, the activities organized by Karaoke Society by far were certainly not so global: Out of 6 themed Karaoke sessions organized, four of them are more or less Asian (Chinese-pop, Asian-pop, Jay Chou, Anime). And even for the Western-pop karaoke session, Majority of attendees were East Asian, and most of them were Chinese. Just by going for a few sessions and witnessing its development over the past few months, I have already developed the thought that the society has been becoming a diasporic community among Chinese students, and bordering most of the others away.
What is even more interesting is that the society has two online group chats to communicate with members. There is one on Whatsapp, and another one on Weixin, which is exclusively Chinese. Apparently, the committees would spread most of the information first on Weixin, then on Whatsapp. The Weixin online community has also appeared to be more vibrant, too. Group members occasionally ask for additional socials like pub nights, and follow with some daily chats, mostly surrounding Chinese pop music. The Whatsapp group, however, is nearly just for announcement, with very few conversations happening there.
As Christmas is coming, the society decided to organize a Christmas Karaoke Night on 13th December before the term ends. It seemed to be a quite inclusive session from promotions in both online groups and on Instagram. With questions of ‘how global the Karaoke session would be, and how different nationality personnels navigate with one another on picking and singing songs, especially those between Asian and Non-Asian, and Asian from different countries’, I decided to conduct a mini ethnographic fieldwork in this one-and-a-half-hour session between 7pm to 8.30pm on a Tuesday evening. As to be shown below, the session had not been as ‘global’ as I imagined, but still came with surprises, unveiling the subtle dynamics of how Asians navigate a global multi-cultural setting.
Interlude: ‘Anthropologists are those who write things down at the end of the day’
To readers unfamiliar with ethnography: Without diving into the academic rabbit hole, this term can be simply understood as a fancy yet rigorous way of documenting social practices with extra care to subtle details; usual ethnographic observations encourage researcher to take field notes during his time in the field, but this should not come at the expense of disturbing the most natural states of happening social activities (Hammersley & Atkinson 1995).
For my case, intensive focus on taking field notes is, however, certainly not a good idea to do during an enjoyable Karaoke evening with fellows and folks. To maintain rigor of my fieldwork, I decided to take pictures of notable social scenes, and note down key thoughts and observations in a few words using my mobile phone during the session. After the session, perhaps inspired by the quote ‘Anthropologists are those who write things down at the end of the day’ (Jackson, 1990: 15), I immediately typed down the extensive documentary at that late Tuesday night to make sure that I can still concisely recall most of the subtle details, like expressions, actions, and conversations of participants. These often-unnoticed niceties, as readers may explore in below, will be surprisingly fruitful to shed light on the questions I have asked before entering the field. Without further ado, let’s progress to enjoy the Karaoke Night through words and imaginations.
Musical Act 1: ‘All I want for Christmas is You’, or is it?
The Christmas night of karaoke night started at 7pm in a seminar room of UCL Anatomy Building. I arrived slightly early at 6.55pm, where there were only Vicky, the Promotion and Social Representative, and another member of the club in the room. The conversations started with Vicky chit chatting with me in Cantonese. Although it was just mostly about daily gossip, the notable bordering of the one member who was present cannot be overlooked. What this member had chosen to do is just to wait in silence, perhaps hoping for the moment we changed our language into Mandarin, or when some other arrived and talked with her in Mandarin.
It was not long until Billie, the president, the rest of the committee team, and some more members arrived just on time. At five past seven, there had been 10 people in the room. All were Chinese and spoke fluent Mandarin with different levels of fluency in English, with three persons (including me) spoke Cantonese. Now most conversations were driven by mandarin, occasionally mixed with some Cantonese. After quickly setting up for Karaoke with very simple audio equipment (A macbook, an amplifier, and a cheap microphone), the president started playing the Christmas classics ‘All I Want for Christmas is You’, and stood up as our first singer of the night.
To be honest, the crowd was not particularly engaged at this moment. The Karaoke session had been paused for quite a few weeks. Meeting after a long break of around 3 weeks, regular members were still enjoying a good chinwag. There were several new attendants who seemed quite reserved, probably because this is their very first time here. No one was singing together, and I can tell that even the singer herself did not sing in an enthusiastic manner, although she was pretending so. Maybe because of politeness no one had been on their phones (yet).
After the first song, a regular participant, Bella, suggested shifting to ‘Jingle Bell Rock’, another Christmas classic. For the second song, the members seemed more engaged. Even without an energetic lead soprano, a tutti among most of us began. It was slightly chaotic, which I might attribute to the reason that not a lot of us actually knew this song after the first eight bars, but some attendants did begin to swing with the rhythm. What came afterwards was ‘Last Christmas’. This time, the tutti was much more united. I could see people start to really sing along with a nice smile on their face. I would say that after warming up from three classic Christmas songs in a row, ice breaking had been successful, although not particularly smooth.
Photo-note 1: Photo taken in the beginning
Musical Act 2: ‘Merry Merry Christmas, Lonely Lonely Christmas’
Things start to get interesting after warming up. The president suggested that we could be more flexible other than just singing Christmas songs, which as she said, ‘We do not know many Christmas songs, afterall’. She might be implying that we may just choose to sing, in specific, more popular Asian-Chinese pop songs that everyone in the room knew better. I could feel the vibes in the room start to heat up at this moment: Participants started to have small chats on what song they liked to pick; they were warmed up, and now yearning to sing the songs they truly knew and loved, in their mother-tongue.
The first song we started with was ‘Lonely Christmas/圣诞结’ from the Hong Kong ‘God of Singing’ Eason Chan. It had the option of either Cantonese or Mandarin lyrics. This time, the Mandarin version had been picked. The participants were much more active to sing along this time. I could hear them singing the melodies and words out loud and neat. It felt like this well-known hit among Chinese had been impressive in creating a collective, engaging atmosphere in the room; And It is at this moment I felt that the Karaoke Night had actually begun.
Immediately after, Bella suggested that she wanted to sing ‘The sound of snow falling 雪落下的声音’, a Mandarin song written as the opening theme of a famous TV drama in Mainland China, and covered by many renowned singers. I definitely expected everyone in the room to know it, more or less. This song is calming and slow in tempo, and it seems that most of the participants are enjoying it, either sitting down quietly listening, or humming the melody together with Bella.
Musical Act 3: Surprise surprise!
While this song was playing, a tall black man walked in! (This was my first time meeting him and I had no knowledge about him other than his physical appearance. After chatting with him later, I learnt that his name is Zion, and will refer to him by his name later on in the article.) Billie and Vicky, both sitting just next to me at that moment, were clearly shocked —they certainly did not anticipate any more new participants, especially a ‘foreigner’, not just because the session had started for quite a while, but also the club might have been so used to only having Chinese members participate.
The club president, perhaps for the matter of welcoming, decided to walk to Zion, who had been standing at the entrance of the room, and asked him if he was here for Karaoke. He affirmed with a clear nodding of his head. After confirming so, the president welcomed Zion to sit down before returning to the front of the room. Zion sat at the back of the room, next to the guys attending the session. (For a clear image, see). Something seemed to change at this moment: Before Zion came in, I expected that most of the songs playing afterwards would be Chinese, as we were within an exclusively-Chinese diasporic setting. This may not just be my personal thoughts, but also a collective agreement by all in the room. Yet with a ‘foreigner’ joining into the social, I believed that some stuff might need to be re-negotiated.
After Zion’s arrival, the president welcomed him by introducing to him about society Christmas night, and explained that song choices were not limited to the Christmas theme (Of course, the conversation was done in English). She then decided to choose ‘All I want for Christmas is You’ for the song coming up again, and gave Zion the mic for him to lead. Zion sang not particularly loud, but I could still hear him well, with most of the others still not really following the song.
Photo-note 2. Zion is at the back of the room with the guys
After that, Eric, our tech officer, decided to join the party, choosing ‘O Holy Night’ by Celine Dion. (It had been unusual for him to sing in past sessions). This time, merely one was following his singing, as it did not seem like anyone had heard of the song before. Perhaps in an attempt to revive the light-hearted atmosphere, the president arranged for the next song to be ‘Rudolph the Red-Nosed Reindeer’, while giving a microphone to Zion, again. Now the tutti returned, and observably everyone was enjoying themselves.
Interestingly, this song vaguely resembled a classic Chinese New Year Cantonese Song named ‘Welcome the Spring Blossoms/迎春花‘ among the Cantonese-speaking group (me, Billie, and Vicky), and we decided to sing this song together as the next pick. It was certainly an utterly engaging moment for us three: we sang and laughed out loud, while swinging along to the rhythm together. I was uncertain if the others in the room enjoyed it, though. From the front of the room where I was standing, I could see people scrolling their phone, or chatting casually with one another. This song, while certainly festive, may simultaneously be exclusive for its language/dialectic bordering, that even the shared Chinese background does not overcome.
Musical Act 4: Finale
The festive chinese song brought us back to the asian pop music cycle. notable selections coming after are the Japanese song ‘Black number’, whereby no one in the room seemed to know how to sing it other than the chinese singer herself , and the song ‘Just too love your/只是太爱你’ from Hong Kong singer Hins Cheung. The participant who led this song is not from a Canton origin, but rather knew this song because of her love towards Hong Kong-Cantonese pop music culture. The Asian pop music cycle, however, may not be as engaging to some in the room. At the back of the room, the guys (Zion, Kelvin, Eric) were all on their smartphones.
‘Snowman’ from Sia and ‘Love Yourself’ from Justin Bieber were then respectively sung by another Chinese member, and Kelvin, the treasurer of the club, a Chinese-Japanese mixed born and raised in Shanghai. Singing along among the audience was unfortunately also rare for these two songs. I casually chatted with Zion. From our short conversations, I knew that this was his first time attending the society’s Karaoke Night. He was born and raised in London, with his ethnic origins tracing back to Jamaica. Then there is ‘What Human are/人是’, a trending pop song sung by Zhou Shen, which was also the theme song for a box office champion Chinese Movie ‘The Wandering Earth 2流浪地球2’. It was Eric who ordered this song, but I decided to join in and introduce Zion to this song, with the intention to make him feel more welcomed, especially in this semi-diasporic community. Although this song had been quite popularly known, singing along in the audience was again, not so common, but for this one I might attribute it to its musicality—the notes were simply too high, and with a legendary music arrangement, it departed from the usual light-hearted songs that people could confidently sing along with. Zion complimented me for my singing after the song was finished.
Photo-note 3: Snowman
The last two songs before the last one were respectively ‘City of Stars’ from La La Land, sung by a Chinese participant, and ‘The vulnerable woman/ 一个容易受伤的女人’ from a Hong Kong singer Faye/Shirley Wong, sung by the participant who loved Cantonese Culture. The audience, again, did not engage immensely. There was even a group of four chatting on their own at the corner. It is at the moment of choosing the last song that things get slightly more interesting again. Although almost all the participants used Chinese as their mother tongue (of course, other than Zion), the president, Billie, made her call for the last song in English. At this point, there was no actual discussion of what to be chosen, but rather, Billie suggested some hot picks and gauged the participants’ reaction. This time, she had suggested ‘Baby’ from Justin Biebar, some random picks from Taylor Swift, and finally ‘Shape of You’ from Ed Sheeran. Ed Sheeran’s greatest hit was chosen and all participants were more or less engaged in the end (at least not scrolling their phones). After this last song, the session, as well as my mini fieldwork, officially ended.
Coda: The playlist and some fieldnotes
All I want for Christmas is You (Mariah Carey) lead by Billie, with some follow
Jingle Bell Rock (Bobby Helms) lead by Billie, with tutti
Last Christmas (Whams!), tutti
Lonely Christmas/圣诞结 (Eason Chan), tutti
The sound of snow falling/雪落下的声音 (Qing Lan), lead by Bella, solo
All I want for Christmas is You (Mariah Carey) lead by Zion, with tutti
O Holy Night (Celine Dion) lead by Eric, the tech officer of the society, solo
Rudolph the Rednosed Reindeer (The Crystals) led by Zion (deliberately?), with tutti
Welcome the Spring Blossoms /迎春花 (Adam Cheng, Elisabeth Wang) lead by Me, Billie, and the secretary, only us singing
Black Number () lead by a Chinese girl who I didn’t know her name, Solo
Just too love you只是太爱你 (Hins Cheung) lead by the Chinese girl who love Cantonese music, solo
Snowman (Sia), lead by another Chinese girl who I didn’t know her name, solo
Love Yourself (Justin Bieber) lead by Kelvin, solo
What Human Are/人是 (Charlie Zhou) lead by Eric, solo
City of Stars (La La Land) lead by another Chinese girl who I didn’t know her name, solo
The vulnerable Woman/一个容易受伤的女人(Faye/Shirley Wong), lead by the Chinese girl who love Cantonese music, tutti
Shape of You (Ed Sheeran), All together tutti
Spatial Arrangement (where people sit) changes overtime
From song 1 to 5:
Me, Billie, and Vicky were sitting at the very front of the room and were not included in the picture. Everyone in this picture were originated in China and used Chinese as their mother tongue
From Song 6 to 11 (After Zion’s Arrival):
Notice that Zion sat at the far back of the room. The song ‘Sound of the Snowflakes falling’ just ended. While others changed where they sit overtime, The guys group at the back never did.
From song 12 to 14:
What was interesting here might be that most people (the most here however, are just the Chinese participants) had come to the front of the row.
From 15 till the end
Although quite blurred, at the middle of this photo, you would see the small chat group formed at the front left corner of the room, comprised of Billie, Bella, and two of the society members (chinese).
Epilogue: Are We One World?
It has been a long Karaoke Night: Starting with some cliché Christmas songs, then sidestepping to Chinese pop, unexpected first-timers dropping in and the subsequent negotiation of awkwardness and unfamiliarity, before finally approaching a slightly chaotic but festive ending.
The fruitful experience during this session, as I hope my readers may have noticed, manifests in a three-fold resonance with my opening questions:
To start with, the choice to hold a Christmas-themed session by the committee is interesting in the first place. I imagine the committee would know that their club has become quite Chinese-diasporic after running several sessions throughout the term. In China, celebrating Christmas nowadays is no less important as a good opportunity to spend some money, but no more significant than any typical day in a week. People celebrate Christmas by dining out among friends on Christmas Eve, but do not organize family gatherings on Christmas day; the ‘Christian’ part of Christmas is simply ignored during this whole celebration (Sigley 2007). Christmas, something Europeans and Americans might conceive as sacred, is simply not the same in China (well, we have spring festival in return). That being said, it seems safe to conclude that the Christmas session could be used as a reason to hang out among the small diasporic community. This thought leads me to my next point.
Continuing to echo Sigley (2007), Christmas, in a Chinese manner, is just a vague crust for festive atmosphere, with Chinese characteristics ‘zhongguotese中国特色’ as the core. After just a brief Christmas opening, the session tried to bring participants back to a typical Karaoke room in China. Bringing this back to my interest in Asian and globalization, the Chinese students, in this case, are by no means embracing the questionably ‘globalized’ western narrative of Christmas culture. Rather, as a diasporic community, they have appropriated Christmas and Karaoke to create an enclave that traversed away from London and all the way back to China. I am not saying that it is a moment of rejecting globalization, yet what is observed here is that, at least for this small community, ‘Global’ is not something to be embraced even when they are in a country foreign to them. In absolute contrast, it can be momentarily escaped from through bordering practices like exclusive uses of language and twisted cultural practices. By doing so, the community creates an exclusive time-space that virtually takes them back to China, even though they are living within a ‘global’ and ‘inclusive’ environment within UCL and London.
But how successful the Karaoke bordering has been is called into question with Zion joining in. I would argue that the reactions of participants and, as I would imagine, the changed trajectory of the karaoke session afterwards, may offer us an optimistic narrative of how Asians (in my case, though, specifically Chinese) negotiates with a more globalized socio-cultural setting. From first glance, the society president Billie, although shocked for a moment, had not stepped away from trying to include Zion into the community, as shown by her change in language to communicate, invitations to sing, and choices of song to be sung. And this is indeed successful considering that Zion chatted with Kelvin, Eric and me, building some relationships within the community. The song picks from audiences had also become a mix of English and Chinese. These indeed show that within this small community, the personnels are not actually against globalization or multi-culture. In fact, the diverse song picks may already have been reflecting that even just among Chinese students, the song taste and perception of Karaoke culture are quite multi-cultural; and the choice of organizing and coming for a Christmas Karaoke, even to a smallest extent, should still be embedded with willingness to engage in a global culture of ‘Christmas’. What the personnels are against, perhaps, may just be the full integration into a Anglo-Saxon ‘global’ discourse which will threaten their Chinese-Asian identity. Hence, Zion has been indeed welcomed because his presence would not make the Karaoke Night lose Chinese Characteristics and become a typical Sing-along Karaoke Night in a typical British Bar.
An even more radical imagination on the whole point of setting up the Karaoke Society may be extended from the above argument: It is because the local Karaoke culture in London, mainly concentrated in bars and clubs, has not been truly global, but rather super localized in reality, so that to participate, participants must integrate with the British cultural identity in their Karaoke practice. To the Chinese students who are not willing to embrace so, they would rather set up their own enclave for Karaoke in defense of their Chinese-Asian cultural identity through singing. With much stronger resonance to radical scholars on cultural discourses, power of knowledge and shaping of identity, and to keep an overall optimistic theme, I would not advocate this as a formal argument without more in-depth research. Still, audiences may bear this in mind when they rethink the question of ‘how does Asia negotiate globalisation’ afterwards.
Curtain Call: Asian and Globalization
‘How does Asia negotiate Globalisation?’ This ethnographic piece was never intended to provide a concise answer to this big question. My initiative of doing this mini project just simply arose from a random thought: ‘As a humanistic geographer-anthropologist, I am kind of responsible to drive the journal I am posting on away from the distant and detached international relations/politics/economics ivory tower.’ What I have shown from my work, in its simplest form, is just how Karaoke, a cultural practice, is not something universally enjoyed, but rather, can be appropriated to generate communal inclusion or exclusion within the Asian community.
Yet, from my less than two hours of fieldwork, I also discovered and was inspired by how a small Chinese-Asian diasporic community practiced their collective culture through Karaoke distinctively during a festive Christmas evening and within a global city—London. How they have negotiated this multicultural context has defied a simple dichotomy of inclusive or exclusive. In fact, they are neither embracing, nor bordering, but rather in a gradual manner, dialoguing with the ‘global’ culture while retaining their indispensable socio-cultural traditions. Concerning the recent global unrest and continued divorce between worlds, I hope this piece of slice-of-life writing offers some sense of hope and an optimistic conclusion to my audiences: The divides between East and West, Developed and developing, North and South, Asian and Non-Asian, ‘Indigenous’ and ‘Modern’ are not so dimmed, edgy and conflicting, but rather are just some fruitful and interesting moments, not so different from picking songs in a Karaoke night, emerging from a continual dialogue towards ultimately resolving such dichotomy. These all pave the way to reaching a truly globalized, yet at the same time incredibly diverse world.
Acknowledgement
I had earned the approval from the society committees to conduct fieldwork, record information, and deliver them for research-journalistic purposes before the session started. A sincere thanks to the journal editor for providing useful comments on improving my writing. I am thankful to my friends, society president, Billie and the Promotion and Social Representative, Vicky, for providing me assistance in completing the fieldwork. The field notes would not be as detailed without their additional information provided. I would also like to offer my special thanks to Dr Tatiana Thieme from UCL department of Geography for providing me with invaluable advice for improvement after reviewing my first draft. Without her encouragement on reflexivity and writing style, the extensive discussions in ‘Intermission’, ‘Epilogue’ and ‘Curtain Call’ would not have existed, and the article would not have acquired these cool, operatic subheadings .
Reference
Hammersley, M. and P. Atkinson (1995) Ethnography: Principles in Practice, London: Routledge.
Jackson, J. (1990). ‘I am fieldnote: fieldnotes as a symbol of professional identity’, in Sanjek, R (ed.) (1990) Fieldnote: The Makings of Anthropology, New York: Cornell U Press.
Massey, D.B. (1994) Space, Place and Gender, Cambridge: Polity P.
Mezzadra, S. and B. Neilson (2012) ‘Between inclusion and Exclusion: on the topology of global space and borders’ in Theory, Culture & Society, 29, 4-5, 58–75.
Mitsui, T. and S. Hosokawa (eds.) (1998) Karaoke around the World: Global Technology, Local Singing, London; Routledge.
Ôtake, A. and S. Hosokawa (2005) ‘Karaoke in East Asia: modernization, Japanization or asianization?’, in Abbass, A. and J.N. Erni (eds.) (2005) Internationalizing cultural studies: An Anthology, 51 – 60, Oxford: Blackwell.
Sigley, G. (2007) ‘Chinese christmas story’ in Shi, X. (ed.) (2007) Discourse as Cultural Struggle, Hong Kong: Hong Kong University Press.
UCL Karaoke Society (2023) Karaoke Society | Students Union UCL (visited on 13/12/2023)
University College London (2023) UCL - London's Global University (visited on 13/12/2023)
Vocal Star (2023) The Origins of the Karaoke Machine (vocal-star.com) (visited on 20/12/2023)
Xun , Z. and F. Tarocco (eds.) (2007) Karaoke: The Global Phenomenon, London: Reaktion Books.
Songs
All I want for Christmas is You: https://youtu.be/CVAZU7KBjck?si=mE_djkif-Z6NfpQe
Jingle Bell Rock: https://youtu.be/fyEAX7Cd3OE?si=X90TV-JjLyiCik9R
Last Christmas: https://youtu.be/E8gmARGvPlI?si=Z5fAzPG_n4CUJZKG
Lonely Christmas: https://youtu.be/RJbmHG4pXuA?si=EqCbgipatvoy7yPj
The sound of snow falling https://youtu.be/jnjiqk0H-5A?si=noJRgNDhlelK4Ipy
O Holy Night https://youtu.be/Y1oLk54R5Xg?si=l5IHJJLtSEThsugO
Rudolph the Red Nosed Reindeer https://youtu.be/VjL031bE9FA?si=N5W5-uOJFic443ij
Welcome the Spring Blossoms https://youtu.be/6CbQ5lszFiY?si=aOu1mKzmRzU-ZZsv
Back number https://youtu.be/7zBeQezaz4U?si=PqOuc9h6OMQkFoip
Just too love you https://youtu.be/k2rVffhNd0E?si=46Kc9OCDeQ7yNQPc
Snowman https://youtu.be/gset79KMmt0?si=_fepLAwGzEKE2g9x
Love Yourself https://youtu.be/oyEuk8j8imI?si=2sxAMCWAtQbshDSW
What Human Are https://youtu.be/qDf0ctm4x8g?si=5SB2jYBUXrdBatin
City of Stars https://youtu.be/GTWqwSNQCcg?si=p5REtJl_JqWyy9p_
The Vulnerable Woman https://youtu.be/tDw_ULjZWA8?si=R_3wLOEluImLvKt5
Shape of You https://youtu.be/JGwWNGJdvx8?si=CaTkhLjVz9HPVkfQ
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