K-국민가요 송대관의 1975년 발표곡 <해뜰날>을 검색하면, 1982년 빌보드 핫100 차트에서 무려 6주 동안 1위를 한 J. Geils Band의 <Centerfold>가 나온다. 한국에선 <Centerfold>를 검색해도 <해뜰날>이 나온다. 장발단속과 야간통행 금지가 있던 독재 정권 시절의 ‘건전가요’ <해뜰날>과 첫사랑이 포르노 잡지 모델이 되어 빡친다는 내용의 ‘불건전 가요’ <Centerfold>는 어떻게 연관검색으로 묶이게 되었을까?

한국에서 <Centerfold>는 “<해뜰날> 표절곡”으로 더 많이 알려져 있다. 1975년의 한국 경찰이 J. Geils Band 멤버들의 긴 머리를 봤다면 이발 가위를 들고 쫓아왔을지도 모를 만큼 두 노래의 배경과 분위기는 완전히 다르다. 그러나 <Centerfold> 전주에 맞춰 <해뜰날>을 부를 수 있을 만큼 테마 리듬이 유사하다. 양정무 한국예술종합학교 교수는 2012년 11월 1일 ‘프레시안’에 기고한 칼럼 <싸이 성공담에서 표절 당한 송대관을 생각한다>에서 “표절이 분명하며, 가수 송대관 씨와 작곡자 신대성 씨는 <Centerfold> 곡의 원저자에 가까운 대접 받아야 한다”라고 주장하기도 했다. 

<Centerfold>가 <해뜰날>을 정말 표절했을까? <Centerfold>가 발표된지 40년, J. Geils Band의 리더 J. Geils가 사망한지 5년이 흐른 현재까지도 해답은 나오지 않았다. <해뜰날>의 저작권과는 아무 상관없는 나 같은 사람들이 돌림노래처럼 40년 동안 <해뜰날>을 <Centerfold>가 표절했을지도 모른다고 떠들고 있을 뿐이다.

 

 
​<해뜰날>과 함께, K-POP 역사 산책 

1976년은 송대관의 해였다. 오랜 무명 시절을 거쳐 내 인생에도 ‘쨍하고 해뜰날’이 있기를 바라며 직접 작사한 노래 <해뜰날>로 ‘MBC 10대 가수 가요제’에서 최고인기가수상과 최고인기가요상을 수상했다. 흑백 TV 수상기가 280만여 대를 기록한 해, 최고인기가수를 가리기 위해 MBC로 도착한 42만여 통의 엽서 중 송대관은 전체 득표수의 약 40%인 17만여 표를 얻었다. 참고로 그 시상식에서 K-POP의 단군 SM 엔터테인먼트 이수만 회장이 남자 신인가수상을 받았다. 

사실 <해뜰날>의 최고인기가요상 수상은 요즘 말로 ‘빈집털이’였다. 바야흐로 1975년. 박정희 정권의 유신헌법 아래, 집회·시위의 자유와 방송·통신·음반 등 표현의 자유를 제한하는 내용의 긴급조치 9호가 발동됐다. <KBS 영상실록>은 그 시기를 “유신의 암흑 정치 절정기”라고 설명한다. 긴급조치 9호의 ‘공연활동 정화방침’에 따라 수많은 인기가요들이 허무, 비탄, 애상, 불건전, 치졸 등의 정서를 담았다는 이유로 금지 처분을 받았다. 그러니까 우리가 출근길에 느끼는 모든 감정이 금지였다는 의미다. 일례로 한대수의 노래 ‘물 좀  주소’(1974)가 물고문을 연상시킨다는 이유로 금지 당했다. 연이어 연예계 대마초 파동이 일어나며 많은 인기가수들이 방송정지 당하거나 구속됐다. 유신헌법 재신임 부정 투표 논란, 인혁당 사건 등 정치문제를 연예계 스캔들로 덮기 위해 대중문화에 더 서슬 퍼런 검열의 총칼이 드리워진 해였다.

만만한 경쟁상대가 없긴 했지만, <해뜰날>은 1976년 최고의 노래가 분명했다. 그해는 탈식민지 전후 국가 대한민국의 배고픔이 공식적으로 종료된 해였다. 역사상 처음으로 국민이 먹고 남을 만큼 쌀이 수확됐다. 1977년엔 수출 100억 달러를 달성했다. “안 되는 일 없단다 노력하면은” 자력갱생 정신을 담은 <해뜰날>은 민족의 가슴에 내 인생에도 ‘쨍하고 해뜰날’이 올 거라는 희망을 불어넣었다. 참고로, 현재 한국은 1인당 육류, 채소, 수산물 소비량이 세계에서 가장 높은 수준의 나라로 경제성장을 이뤘다.

국사 교과서에 실려야 할 것 같은 이 노래와 포르노 잡지 Center(가운데)에 fold(접히다)된, 가장 크고 선정적인 사진이 실리는 페이지를 뜻하는 <Centerfold>의 유사성이 공론화되기까지 오랜 시간이 필요할 수밖에 없었다.

​표절, 진실 혹은 거짓  

사실 많은 사람들이 <해뜰날>과 <Centerfold>의 유사성을 받아들이지 못한다. 두 노래의 분위기가 너무 다르기 때문도 있지만, 당사자인 송대관이 공식적으로 문제를 제기하지 않았고, 문화 사대주의의 영향으로 ‘천조국’의 빌보드 핫100차트 1위 곡이 한국의 트로트 가요를 표절했을 리 없다고 여기기 때문이다. 그래서 <해뜰날>이 세계인의 사랑을 받을만한 매력적인 노래라는 사실보다는, J. Geils Band가 <해뜰날>을 들었을 가능성을 추리하는 데 더 골몰한다.

작곡가가 주한 미군이었다는 썰이 가장 신빙성 있게 거론되는데, 이건 <신비한 TV 서프라이즈> 194화(2016.01.01.)의 ‘진실 혹은 거짓’ 코너의 거짓 에피소드였다. 사실이 아니다. J. Geils Band가 1980년 6월 일본 콘서트 투어 중 접했을 가능성도 이야기 된다. 1980년엔 인스타그램이 없어서 J. Geils Band가 신오쿠보의 삼겹살 맛집을 태그하지 못했으니 알 길이 없다. 당시 <해뜰날>과 일본의 관련성은 같은 한국인인 조용필의 <돌아와요 부산항에>가 일본에서 히트를 쳤다는 사실 정도밖에 없는 것 같다. 이러나저러나 무슨 상관인가. 인류의 문명이 시작된 이래 좋은 것은 언제나 국경을 넘었다.

송대관이 진작에 법적으로 표절 여부를 가렸더라면, 이런 시시한 탐정놀이는 없었을 것이다. 그는 왜 40년 째 권리 위에서 잠자고 있는 걸까?

<Centerfold>가 빌보드 핫100 차트 1위를 한 1982년, 송대관은 또 다른 해뜰날을 꿈꾸며 미국에서 이민생활 중이었다. 당시 많은 한인 이민자들처럼 적은 자본으로 시작할 수 있는 청과물점을 운영했다고 한다. 청과물점을 한다는 건, 새벽 3시에 밥을 지어먹고 도매시장으로 출근해서 밤 10시에 퇴근해서 잠드는 생활을 했다는 의미이다. 언어도 문화도 낯선 미국에서 고달픈 이민생활을 하던 송대관이 저작권 개념도 제대로 자리 잡지 못한 시절에, U2와 영국 투어를 다니던 J. Geils Band를 어떻게 상대할 수 있었겠는가? 단칸방의 좁은 창문으로 떠오르는 해를 보며 젊음의 격정을 쏟아 만든 <해뜰날>이 미국의 낯선 거리에서 울려 퍼졌을 때, 그가 느꼈을 당혹과 분노는 그 누구도 짐작할 수 없을 것이다. 그리고 송대관이 8년의 이민생활을 접고 한국으로 돌아와 가수로 재기에 성공했을 때 J. Geils Band는 이미 해체한 상태였다. 송대관에겐 표절 문제를 마음에 묻고 끝내는 게 최선이었을 것이다.

결론은 <해뜰날>을 <Centerfold>가 표절했는지 법적으로 가리는 것보다, 두 노래의 저작권이 소멸되는 시점이 더 빠를 것 같다. 하지만 뭐 어쩌겠는가. 송대관의 또 다른 히트곡 ‘네 박자’의 가사처럼 “울고 웃는 인생사. 소설 같은 세상사. 세상사 모두가 네 박자 쿵짝”인 것을.

최이삭 Isak Choi

instagram @isakchoi


<사진 제공 - 은설기획, 오아시스 레코오드사> 

Billboard No.1 Song Plagiarized K-POP’s Classic “Sunny Day.”

If you search for Korea’s legendary singer, Song Dae Kwan’s hit song “Sunny Day,” from 1975, you will also find J. Geils Band’s “Centerfold,” which topped the Billboard Hot 100 chart for six weeks in 1982. And the same thing will happen vice versa if you search for it in Korea. When “Sunny Day,” was released, it was during the time when there were hairstyle restrictions as well as time curfews. Even during these days of dictatorship, people were allowed to listen to this very song. In stark contrast, the song, “Centerfold,” released by J. Geils Band was about the artist’s anger upon finding out that his first love became a model in a pornographic magazine. How did such a lustful song become related with the song, “Sunny Day?”

In Korea, people are aware that “Centerfold,” is a direct plagiarism of its original song, “Sunny Day.” If the members of J. Geils Band were seen in the streets in Korea during 1975, police would’ve probably chased them down the streets with scissors for disobeying the law. With that in mind, the two cultures from both songs were living in a totally different world. Yet, the iconic melody and rhythm were so similar, that either one of the songs can be sung on each other’s tracks. Yang Jung Mu, professor from Korean National University of Arts affirmed the plagiarism in his column, “Through the Success of PSY, Be Reminded of when Song Dae Kwan was Plagiarized,” in the “Pressian,” column on November 1st, 2012. He emphasized on the fact that Song Dae Kwan, and the producer of the song, Shin Dae Sung needs to be received credit for “Centerfold,” as they  should be deserved.

But did J Geils Band really plagiarize “Sunny Day?” It’s been 40 years since their release, and five years since the passing of J. Geils, but the question still remains unanswered. People like me, who are not related with the royalty, might just be making noise about this matter for the past 40 years.

Walkthrough the History of K-POP and “Sunny Day”

1976 was Song Dae Kwan’s year. After a long time of remaining anonymous, just like the lyrics to his song, he was awarded with the Most Popularity Award, and the Most Popular Song Award at MBC’s Top 10 Festival. It was during the time where black and white televisions made a record breaking sale of selling over 2.8 million sets. Out of 420,000 mails sent to MBC determining the most popular singer, Song Dae Kwan received over 170,000 votes, which made up about 40% of the total votes. In the same year, Lee Soo Man, the current chairman of SM Entertainment was awarded with Rookie of the Year Award at the ceremony.

But in reality, none of those awards mattered during that period. In 1975, Park Jung Hee imposed the 9th emergency law stating that freedom of assembly, and demonstration that expresses freedom through broadcasting, communication, arts, and music is to be restricted under the Yushin Constitution. According to “KBS Video Annals,” it was the peak of the hours during the period of Yushin’s dark politics. Countless songs that were loved by the public expressing emotions such as, yearning, griefing, mourning, anything according to the government that were “unhealthy,” were banned under the Performance Activity Purification Policy. Every emotion that we deal with on our way to work was banned and regulated. In 1974, Han Dae Soon’s song, “Give Me Water,” was banned because it had the potential of remind the public about the water torture. Many celebrities and artists were arrested and banned from appearing in the media for getting caught smoking Marijuana. It was the year when political scandals and issues of illegal balloting of the Yushin Constitution and the Inhyuk Party were covered up by harshly persecuting and creating false rumors in the entertainment industry.

“Sunny Day,” was clearly extraordinary, and was unsurpassed in 1976. It was the year when the Republic of Korea officially became decolonized. The hungry days were over, and for the first time in the history of Korea, the citizens in Korea had enough rice to eat. Exports reached up to $10 billion in 1977. The nation was in love with “Sunny Day,” as it delivered hope for peace and the spirit of self-reliance. Just like the lyrics in the song, people of Korea believed that sunny days will come. Korea achieved the highest level of economic growth in the world with the highest consumption of meat, vegetables, and seafood per capita.

The contrast between the two songs are remarkable. One being a history textbook material, and the other having the content from the infamous pornographic magazine for having their provacative photos “folded in the center,” it makes sense as to why this matter took so long to rise to the surface, if you understand the political history of Korea during these times.

Plagiarism, Truth, and Lies.

Many people during this time couldn’t accept the fact that there was a correlation between “Sunny Day,” and “Centerfold.” Yes, the vibes were fed off differently when compared, but Song Dae Kwan himself did not bring up this matter to the public. It didn’t fathom the minds of people that Billboard Hot 100 Charts’ #1 song artist would dare to plagiarize a trot artist from Korea. Cultural relativism is what affected the minds of the nation, and rather than fighting for “Sunny Day,” to become renown all around the world, Koreans were deduced into neglecting the fact that J. Geils Band may have somehow come across the song, “Sunny Day.”

A popular TV show in Korea called, “Surprise,” had a segment about “Truth of False,” in their 194th episode. It investigated the credible story that the composer of the song, “Centerfold,” might’ve possibly been an American soldier in Korea, but was judged to be false. There was another story that the J. Geils Band might’ve heard “Sunny Day,” during their concert tour in Japan in June 1980. In a time where Instagram and hashtags didn’t exist, there was no way for them to know some of the contents that were featured in the lyrics, such as the famous pork belly restaurant in Shin Okubo.

The only possible relation between “Sunny Day,” and Japan might’ve been through the artist Cho Yong Pil, who made a huge sensational hit through his song, “Come Back to Busan Port.” So what’s the big deal? Since the beginning of human civilization, boundaries for treasures found abroad never seemed to exist.

What if Song Dae Kwan had legally taken the matter of plagiarism to the court? Why did he sleep on his legal rights for over 40 years?

In 1982, when “Centerfold,” became #1 on the Billboard Hot 100 Chart, Song Dae Kwan was an immigrant in America, running a small fruit shop just like many Korean immigrants did during that time. He sacrificed his sleep and health in order to make sure that his wholesale market was operational. Waking up and eating breakfast at three in the morning, coming back home at ten at night, this was his daily routine, his life and reality. Not being able to express freely due to language and cultural barriers, how could he have faced J. Geils Band who were on the UK tour with U2, let alone the copyright system? He couldn’t even grasp the concept of what copyright was.

 Song Dae Kwan was immigrating from the United States dreaming of another “Sunny Day” while <Centerfold> topped the Billboard Hot 100 chart in 1982. Song Dae Kwan ran a fruit store in the states  like many Korean immigrants did with a small amount of capital at that time. He sacrificed his sleep to run a fruit and vegetable store in the early morning. Eating breakfast at 3 in the morning, going to work at a wholesale market, and back home at 10 p.m. This was his normal life. He suffers from language barriers, and different cultures as well. How could he deal with J. Geils Band, who was on a U2 and UK tour when he didn’t even know the concept of copyright.

Looking out and seeing the sun rise from the tiny window in his small bedroom, Song Dae Kwan poured his soul into the lyrics to his song. Can you imagine the confusion and the frustration that he must’ve dealt with when he heard the melodies and chord progressions from his very own song in the streets that were foreign to him? And when Song Dae Kwan returned back to Korea on his road to success, J. Geils Band had disbanded. Burying the hatchet and keeping it deep within himself was the best that he could’ve done.

To conclude this matter, rather than taking both songs up to the justice system and trying to settle this issue, it’ll take a shorter time for the copyrights for both “Sunny Day,” and “Centerfold,” to expire. But just like the lyrics to Song Dae Kwan’s hit song, “Four Beats,” “In life, you laugh some and cry some. The world is like a novel, everything is in beats and rhythms in fours.”

최이삭 Isak Choi

instagram @isakchoi