Mark James Russell

Books, blog and other blather

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Links and Thinks

– There is a very interesting article by Andrei Lankov here about North Korea and how the North Korean people, following the eventual fall of their current regime, will likely remember the Kim family with nostalgia rather than outrage.

It is said that sooner or later this fate will befall statues of Kim Il-sung, in 1945 a minor guerrilla commander who, with much Soviet backing, took power in North Korea and remained its absolute ruler until his death in 1994. However, this author is somewhat skeptical about the prospects: I would not be surprised to learn that some time in the 2030s it is trendy to keep a portrait of the long-deceased dictator in a North Korean house.

Lankov mostly uses Russia, his homeland, as a template for how people’s thinking might evolve after an authoritarian regime falls. Something related that he does not really talk about, though, is how poverty can be a united force. More specifically, mass poverty.

My Mongolian friends talk about how back in their communist days, everyone was poor, so being poor did not feel so bad. Today, Mongolia is free and there are more successful people. But those successes create much envy, and that envy can be a really poisonous emotion.

Let’s face it, people tend to think comparatively, not in absolutes. We don’t care so much about how we are doing as how our success compares to other people’s successes. Everyone wants to be the big man in his tribe (however one defines “tribe” these days).

North Korea may be one of the biggest failed states of modern times, but there are so few riches on display there, I could imagine the average North Korean has very few opportunities to feel envy (which I guess was one of the points of Barbara Demick’s book NOTHING TO ENVY). Which is perhaps one reason that the North’s propaganda has been so successful there for so long.

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– While there have been many articles about how K-Pop became such a big success (including, of course, POP GOES KOREA), most of them have focused on the Korean side of the phenomenon, how Korean music companies grew more popular internationally (also including my book). But The Guardian had a really insightful story recently about how international music has helped build K-Pop.

The article looks at Universal Music Group, which has seen Korean grow into one of its most important markets, thanks to K-Pop. Because while local music in Korea dominates sales, the Korean music labels have known for a while that to compete internationally, they need to use the highest-quality songs and producers.

There’s also a lot of sync income in Korea. The song Top Billing Love – written by Karen Poole, Bloodshy and Avant, responsible for hits for artists like Kylie and Britney – almost made it onto a Britney Spears album in 2002. SME did a deal with mobile phone manufacturer LG and its biggest girl groups, Girls’ Generation and FX, did a version each of the song, calling it Chocolate Love, since LG were launching a new brown phone.

Girls’ Generation’s version went straight to number one. A few weeks later they released the FX version , which also went to number one. Then they released a joint version for LG, which also went to the top of the charts.

It is always useful to be reminded that globalization is a two-way thing, requiring giving and taking to be successful. As good as Korean music companies have been with the marketing and packaging, they still need great songs to create fans.

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– Random crazy-guy babble coming up. Apologies in advance.

Growing up, when it came to politics, I remember a popular saying going something like: “If you are 20 and not a communist, you have no heart. If you are 40 and still a communist, you have no brain.” But I am beginning to wonder if the opposite might be true for my generation.

Back in the 80s, between Ronald Reagan, Wall Street (the Oliver Stone film), and Alex P. Keaton of Family Ties, I think a lot of people in my age group bought into conservativism too early. But just as leftist politics were coasting off of the fumes of the 1960s well after that era had passed, I think modern conservativism is in many ways doing the same thing, using the rhetoric and memory of an era that is no longer relevant.

When I look at international finance today, globalization, and today’s economies, I do not see much that is “conservative” about what passes for the common wisdom. Minimal regulation doesn’t mean no regulation. Collusion, corruption, and cronyism is not efficiency. Free markets only work when the referees are neutral, and the system is as transparent and accountable as possible.

That said, it was good to see the Tories do so well in last week’s Canadian election. I was just graduating university when they were shellacked in the post-Mulroney election, reduced to just three seats in Parliament. But today, they have a majority government again.

A Spoonful of Sugar Versus an Apple a Day

A very interesting and long article in the New York Times today about sugar, asking whether sugar is essentially a poison. Really interesting stuff, especially as the whole low-carb/paleo/etc. movement seems to be gaining steam … or at least more mainstream coverage recently. As flawed as some of those diets may be, they do seem to agree that the big bad guy in our Western diets is sugar and processed foods.

(Full disclosure: I rather obviously eat a lot of sugar in my diet. But I am trying to eat less).

I find it rather fascinating watching how the common wisdom on something as basic as food can change so much in one’s lifetime. Repeatedly. But even acknowledging that, I am inclined to agree with the anti-sugar folks. I know when I stick to meat, veggies, eggs, dairy, that I feel a lot better, eat a lot less, and just seem healthier in general.

You can check out Robert Lustig’s Youtube lecture on sugar here.

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I’ve been working a lot on Korean music history lately, helping out on a book about the rock scene in the 1960s and 70s. There is just so many interesting stories from that period, and the music was great. I think when the new book comes out, people are really going to enjoy it.

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Over at Yonhap News, Niels Footman has a really interesting story about live music in Korea, and the difficulties promoters face bringing international acts here. Niels has written a lot of good features for Yonhap over the past year, and this one is particularly interesting.

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Oh, this year’s Cannes films have finally been announced. Nothing from Korea in the main section, but three directors in the Un Certain Regard section — the new films by Hong Sang-soo, Kim Ki-duk, and Na Hong-jin. Congratulations to them.

Classical Asia

A great article in this weekend’s New York Times about the rise of Asia in classical music, in particular in opera. While I knew about Korea’s pianists and violinists, not to mention coloratura soprano Jo Sumi, I had no idea Korea was producing so many top opera singers these days (or that China was coming along so strongly).

Increasing numbers of Western conservatories seek to cash in by recruiting the best young Asian opera singers — particularly those from Korea, Taiwan and China. Last year, in Germany’s prestigious Bertelsmann competition, all three top finalists were Korean, while in America’s top competition at the Metropolitan Opera, one of the four finalists was the Korean tenor Sung Eun Lee. A majority of new tenors hired in Berlin, Stuttgart and a number of other important German opera choruses are Koreans.

I have been spending more time recently listening to Barcelona’s local orchestra (the Barcelona Symphony Orchestra and National Orchestra of Catalunya). It is interesting to be in a place where classical music is so deeply ingrained … and so overlooked at the same time. The local orchestra is maybe 10 percent Catalans, and many of them are alternates. Going to the symphony here is such a different experience than it was in American cities, like Baltimore or Philadelphia, and different than the faux grandness that one usually experienced in Asia. Or maybe I am a different person than I was then.

Barney’s Aversion

So I just saw the movie adaptation of BARNEY’S VERSION, the great book by Mordecai Richler — and wow was it terrible. Completely awful. Now, to be fair, I went into the film pretty skeptical — Paul Giamatti as Barney? Scott Speedman as Barney’s best friend, the fast-living, drug-addicted writer Boogie? Really? Minnie Driver as the second wife? Those are some odd casting choices. The trailer was pretty uninspiring, too. But it was a movie based on one of my favorite books of all time, so I had to check it out.

Usually I don’t like to pile on bad films (or music or whatever). Far better to spend one’s time talking about the (all too rare) good stuff out there than to complain about the bad. But then I saw that this movie has an 80% freshness rating on Rotten Tomatoes — yikes — so I had to post my tiny little protest against this bizarre onslaught of bad taste.

200px-BarneysVersion

Where to even begin describing how wrong this movie was? There is so much to cover, and I’m sure I will miss many things (or hopefully my brain has already begun the healing process, and is forgetting the worst of the film).

The Point(less)

The whole point of BARNEY’S VERSION is a old man looking back on his misbegotten life. It is narrated from his point of view, so is full of his judgments, his unfair analysis, his biases — and made all the more unreliable by his struggle with Alzheimer’s.

So a movie taking a third-person, objective look at Barney’s life is already facing a pretty tough challenge. The filmmakers have immediately shifted the story away from what made the original tick and what gave it heart. Maybe, given sufficient inventiveness and wit, they could have overcome that challenge — but there is not and they do not.

Casting

Barney, the main character in BARNEY’S VERSION is a man of many, many faults — he is drunk, crude, cantankerous. But he is not a schlub. And that is how Paul Giamatti plays him, as a schlub. A soft, unread bore (whereas Richler’s Barney wa a voracious reader — sure, he read for the wrong reasons, but he did read a lot). I think Giamatti thought he was being tough a couple of times when Barney growled a couple of lines, but he sounded about as authentic as Kevin Costner was in Robin Hood.

Barney may have been a jerk, but there was a reason he was able to marry three beautiful women, it made some sense. Richler was never known for being terribly insightful or rich with his women characters, but somehow this movie makes them all even more shallow. Why do they fall in love with Barney? Why do they even give him the time of day? This part really had my wife snapping and angry.

And who is the Rosamund Pike woman (who played Mariam, Barney’s saint-like third wife)?

Minnie Driver was a poor choice to play Barney’s second wife, but at least her acting is pretty good, and she is one of the few characters who have some life in this soggy story. Hoffman does a good with his bad material, too, although his storyline is as random and clunky as everyone else’s in this mess.

Satire

Mordecai Richler was, first a foremost, a satirist. Practically every page of his books are full of witty, brutal takedowns of our politics, society, culture, hypocrisies, and vanities. But this is a movie without satire (or wit, for that matter). It just a convoluted love story, with an unimportant murder-mystery tacked on.

And, really, you could cut out the murder and everything with Boogie and not changed the movie was all, whereas the murder-mystery was the core of the book. BARNEY’S VERSION was “written” by Barney, seeking vindication for his misspent life. So on each page Barney settles scores with a fierce, acidic wit. But the movie? Nothing.

Music

Okay, this is a little more random and less serious — I love the music of Leonard Cohen, but I fear it is time for a new rule: if you have Leonard Cohen music on your soundtrack, your movie probably stinks. If you have Leonard Cohen music during a sex scene, multiply that stinkiness by 100 or so. The evidence is overwhelming — WATCHMEN, PUMP UP THE VOLUME, BIRD ON A WIRE, SHREK, and now BARNEY’S VERSION (obviously the exception to this is MCCABE & MRS MILLER).

Wrapping Up

Yes, fans of books who complain about the movie adaptations can be tiresome (and cliche). But I do find it interesting how the ways movie adaptations stink have changed over the years. Most of my life, the problem was Hollywood changing everything, with no respect for the source material. But now, I think the opposite error — over-faithfulness to the source material — is the main problem. WATCHMEN, THE OLD GARDEN (a Korean movie from a couple of years ago), and BARNEY’S VERSION are all fairly accurate to their original books, and all three suffer because of it. (Faithful to their plots, that is … they are about a million miles away from being faithful to the essence of those works).

THE WONDER BOYS is a good counter-example. Absolutely wonderful film, but it diverges significantly from the book, especially in the second-half. And in most of the ways it is different from the book, it improves upon the book’s failings.

Anyhow, a movie needs to stand or fall on its own merits. And even if you completely forget about the book, the movie BARNEY’S VERSION is a mess. Worse, it is dull and torpid. Save yourself the pain and just read the book (in fact, I think I will start re-reading it).

Movies, Music, and Other Links

– My latest article is up at Korean-Content — this time a talk with director Jang Cheol-soo, whose film BEDEVILLED was screened at Fantasporto, the fantasy/science-fiction film festival in Porto, Portugal. I attended Fantasporto, too (greatly enjoying it, as always), and spent some time with Director Jang, walking around the old city with him, and taking a quick trip to Guimaraes to see the castle and old town.

Jang-in-Portugal-300x225
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– Which reminds me, Fantasporto is a really fun festival. Different than most, but in a good way (the festival organizers are more hands-off than most, but I like being more independent). And I really like Porto, the look of the city, the food. And this year, they actually had sunny weather (Porto is usually rainy this time of year).

– Speaking of Korean movies, as I write this, local films are taking in over 60 percent of the box office in Korea in 2011. Sure, attendance is lagging (there has been no AVATAR-esque blockbuster to dominate things), but still, always good to see a country’s cinema performing well.

– A bunch of articles have appeared on the web recently that talk about Korean indie music and my music website, the Korea Gig Guidea round-up on the indie scene in the March music issue of KoreAm magazine; a profile of the Gig Guide over at Groove magazine.

– And speaking of music, this is shaping up to be a pretty exciting time for Korean indie music. Four Korean bands are slated to play SXSW this year — DFSB Kollective taking Galaxy Express, Vidulgi Ooyoo, and Idiotape to SXSW, Canada Music Week and a couple of other gigs, and Apollo 18 doing their own 16-gig mini-tour through Texas, Oklahoma, Arkansas, Louisiana, and Tennesse. Plus 3rd Line Butterfly and W&Whale appearing on Monocle magazine’s podcast recently, and Balloon & Needle just had a mini-tour of Europe, showing their more avant-garde electronica. Seriously, the Korean music scene at the moment really reminds me of the movie scene back in 1996, full of talent and energy, just waiting to take off. Despite (because of?) the music industry being ravaged around the world, I am getting strangely optimistic about the chances for the Korean indie music community breaking out.
2K11 SEOULSONIC promo

– Btw, how cool is it that Apollo 18 got themselves included on one of the main posters for SXSW? That’s them on the lower left, on the same poster as Emmylou Harris and The Kills. Shawn writes a bit about Apollo 18 and their tour plans over at the Korea Gig Guide.

SXSW2011

– Terrible news coming from Japan, as that earthquake has been upgraded to a 9.1. Fortunately, no one I know there seems to have been hurt … but with so many thousands hurt, dead, and missing, tragedy is going to be overwhelming for some time.

Asia Leads World Box Office 2010

A few years ago, when I was writing for THE HOLLYWOOD REPORTER, I remember trying to convince the powers-that-be to put more resources into Asia because Asia’s box office was much bigger than most people realized. I did some math and figured out that in 2006, Asia represented a little over $6 billion at the box office, compared to about $8 billion in Europe and $11 billion in North American.

Despite those numbers, I would say THR’s focus was about 70% America, 20% Europe, 5% Asia, and 5% everything else (just a rough estimate). Clearly those ratios do not really match up, but I could tell that nothing was going to change any time soon, which made leaving THR much easier.

(For the record, I loved the people I worked with, but was frustrated by the bureaucratic inertia and the lazy thinking by the higher-ups).

Well, those trends have just gotten more pronounced. The Motion Picture Association of America just released a report on 2010’s world box office, and Asia is stronger than ever. Europe (including the Middle East and Africa) has grown to $10.4 billion, and Asia is now $8.7 billion (and Latin America is a blistering $2.1 billion). Of the growth since 2006, 40 percent has come from Asia.
World Box Office 2010

America and Canada have grown to $10.6 billion from $9.2 billion, but most of that is from 3D — regular 2D box office actually fell to $8.4 billion.

In case you are interested in such things, the USA/Canada market had its best year in terms of admissions in 2002, when it sold 1.57 billion tickets, as opposed to 1.34 billion in 2010 (the worst year in the past decade).

Of course, as far as the movie publications are concerned, the big issue is not box office but marketing spending — how much the Asian movie companies are spending on publicizing their movies outside of their home territories. And that is not much. Additionally, the numbers out of much of Asia are pretty opaque: China has swung way too much over the years, and who knows what is going on in India. But Japan remains the world’s No. 2 movie market, and Korea is close to $1 billion.

Clearly, the person whose business strategy more closely aligns with global spending (maybe these guys?) is going to make a lot of money. But for now, most people’s focus remains on America first, and the West in general second. Asia gets a lot of lip service, but continues to be really underrepresented

Hee Sisters on Their Way

The ’70s disco group Hee Sisters are about to have an anthology released by Beatball Records. And remixed by DJ Soulscape, too. This could be a lot of fun. You can hear an overview of some of their songs, along with a bunch of cool pics and other images in this Youtube video:

Dreaming of Dream High

Over at Korean-Content.com, my new story is up, about the Korean TV drama DREAM HIGH. I was fortunate enough to have a good talk with DREAM HIGH’s executive producer Jimmy Jung (who is also the president of the Korean music company JYP Entertainment) about the program, how it came about, and JYP Entertainment’s plans for producing programs in the future. Here is an excerpt:

Actually, despite people’s preconceptions, combining singers and TV dramas is an old formula, one that JYP Entertainment learned with their megastar Rain. Rain acted in three TV dramas when he was first with the company, most famously Full House, the show that became a hit all over Asia and helped propel the young singer to the next level. “Through Rain’s three TV series, I learned how TV is a great promotional tool,” said Jung. “There are so many so-called hallyu stars in Korea, but compared to stars who only act, stars who can act and sing and dance have a much stronger position.”

Movies, Democracy, and Media Thoughts on a Saturday Morning

– Kind of amazing that, as I write this, there are two Korean films on Andrew O’Hehir’s top movies of 2011, including the No. 1 spot for Lee Chang-dong’s POETRY. Sure, it is early in the year, but I still think that is impressive.

– Currently with a rating of 84 on Metacritic, POETRY is tied for fourth-best rated film in American theaters at the moment — tied with SECRET SUNSHINE (Lee Chang-dong’s previous film). That’s pretty cool, too.

Metacritic-110212
(click on the pic to see larger)

– Interesting stats about movies in Europe in 2010 over at the European Audiovisual Observatory. Overall attendance dropped 2 percent, but different territories varied wildly — Italy leapt 11%, and France had its best year since 1967, but Germany was down 13%, and Spain down 11%.

What was especially interesting for me was the national cinema share in each country. In Korea, domestic movie share has always been a big deal (at least since I started covering its cinema), and it was pretty amazing to see local films steadily rise from around 20% when I first arrived there in the 1990s to a high of 65% in 2006 (and since then, hovering around 40-50%).

Over in Europe, however, no country’s domestic cinema took in over 36% of the box office (except for Turkey, with an impressive 52%). Italy and the Czech Republic both had good years, with local films rising from the low-20’s to 32% and 35% respectively. France was down slightly, but still pretty good at 35.5%. Spain had just 12%.

(You can also click here to see a chart with all the data).

– Very happy to see Mubarak step down. But still so very far to go before Egypt begins to get any real freedom or democracy. Still, that was an important first step. I just hope things work out for them.

– In a related vein, there is a very interesting article by Konrad Lawson at Frog in the Well comparing what is happening now (protests, torture, democracy) in Egypt and the Middle East to Korea’s democracy movement of the 1980s.

– A lot of people talk about media bias, left or right, usually depending on how right or left you are (btw, what a torpid way of viewing life or yourself). But the more I read and work with news aggregators, the more I think the biggest bias in the media is story bias — that is, writers and editors continually try to push events and analysis into easily digestible, high-conflict stories. So a complicated event turns into a decently nuanced analysis in the Wall Street Journal or Financial Times or whatever. But then the news aggregators (like Drudge, Gawker, Newser or whoever, the options are endless these days) get ahold of that original story, find the juiciest quote or idea, and play that up in large fonts and active verbs. And before you know it, everyone is screaming at each other, all over again. Could it be the way we consume news is pushing bias (or at least our perceptions of bias) more than the writers and editors themselves?

(Of course, I am only talking about real news outlets, not silly propaganda/argument machines like Fox, MSNBC, or Huffington).

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