Books, blog and other blather

Category: Korean Wave

At last — Pop Goes Korea is back!

PGK2

Okay, so this took a few months longer than I expected last fall. But at least, Pop Goes Korea (2nd Edition) is out and for sale.

The new version is 10,000 or so words longer than the old one, with all sorts of updates throughout. In addition to updates to each chapter, I’ve also added essays about Korean indie music, another about classic rock, a followup Q&A with Sean Yang (founder of Soribada) and a new Q&A with Dami Lee, the web cartoonist.

Best of all, the 2nd edition is also a lot cheaper, for $4.99 on the US Amazon site.

Oh, but all the photos are gone. Sorry, but I didn’t want the hassle of dealing with all those photo rights all over again. And, besides, this is the internet age, so I assumed people could just search and find all the photos they wanted for any subject.

For now, it is only available as an ebook at Amazon, but I am planning to upload it to all the major ebook sites soon enough.

Okay, it is a bit of an old book for such a high-turnover, constantly changing topic. But I think it holds up fairly well (and there really is nothing else that covers the same territory in English). And for the occasional student of pop culture, hallyu or modern Korea, I thought it would be useful to have my book easily available.

Thanks to all who read the original edition, and to those who are interested in the new one. I really appreciate your time, and I hope you find the new version interesting and useful.

 

 

Outrage, bias and growing older

I was taking a look at traffic to this little blog (bloguita?) a little while ago, and noticed a few hits coming from the forum attached to a popular Korean pop culture website. There, on a thread all about the actor Bae Yong-joon, one commenter had linked to my website, saying some nice things about Pop Goes Korea, but also making some strange claims about my “bias” against Bae Yong-joon, apparently instead favoring Lee Byung-hun.

Which I thought was more than a little odd. I mean, there’s a lot in the book about Lee because, well, there’s a whole chapter that profiles him. But in that chapter, when I talk about the rise of the Korean Wave, I clearly indicated the prime importance of Winter Sonata, the drama that made Bae so internationally famous. I may have tweaked Bae’s obsessive fandom once or twice in the past, but I think I’ve always given him his due.

wintersonata

So if I talked a lot about Lee Byung-hun, it was because he was the subject of the chapter, and because he was generous enough to give me plenty of time for interviews, responding to my many questions. Bae would have been a great choice for a TV chapter, but at the time, he just wasn’t interested in participating in the book (and I had some contacts with his company and manager at the time, so wasn’t just cold-calling from out of nowhere).

But, being the Internet, people like to speculate, which led to some really odd comments, like maybe I preferred Lee Byung-hun because his personal scandals appealed to my male sensibilities. Very, very odd. If anyone wanted to take a moment to research a little, they would have found plenty of stories about the importance of Winter Sonata  and Bae in Hallyu history.

Anyhow, it definitely was not a big deal. I only mention it because of some other online fusses I’ve seen lately. There’s apparently a squadron of people who loathe the very nice folks at Eat Your Kimchi, so when EYK was announced as a guest on some Arirang TV show, a mini-mob arose, accusing EYK of all sorts of ridiculous stuff (like fat-shaming, which would be, like, the exact opposite point of their videos on the topic). The mind boggles.

Fans of K-pop groups are always quick to switch to outrage mode, whenever someone is perceived to have slighted their favorites. Some of those fans are famous for being totally unhinged.

But it isn’t just Korean pop culture fans, of course. It seems like any field where people are the least bit passionate, that passion turns so quickly and easily into a wild, mob mentality. Left hate right. Right hates left. The fantasy and science fiction communities, also love a good flame war (“So-and-so famous writer from the past was racist!” being a popular starting point).

All of which makes me so happy to be middle-aged. I have my loves and dislikes, but aside from my family, all my music favs, art, movies or whatever have a much more moderate place in my psyche. “I hate X.” “Oh, okay. I quite like X, but that’s all right.” Life is so much more pleasant this way.

* * *

Then again, no shortage of the big Twitter flame wars involve adults, so I guess age doesn’t mellow everyone.

Monday Morning Links

  • North Korean officials in China affiliated with recently-executed Jang Song-thaek are on the run, in hiding. (Korea JoongAng Daily)
  • The distressing state of illegal dog-breeding in Korea — 95% of breeders unlicensed, and most of them are terrible. (Korea JoongAng Daily)
  • Meet Latin America’s Teenage Korean Pop Fanatics. Fun to read about the trend from a non-Korean source. (NPR)
  • Ian Buruma restates his old (and good!) argument that the US presence in East Asia spurs nationalism and instability. But this time, he combines the argument with the dynastic element of East Asian politics, looking at the leaders of Korea, China, and Japan and noting how their policies have been influenced by their fathers (or, in Abe’s case, grandfather). (Project Syndicate)
  • Are “It” bags on the way out in Korea? An argument that fashion is maturing, shifting to classics and style instead of just brand-names and following. (Korea JoongAng Daily)
  • The Hobbit: The Desolation of Smaug was easily No. 1 last weekend in Korea, but still fairly soft with just 6.6 billion won ($6.3 million) in box office. (KOBIS) In related news, The Hobbit: The Desolation of Smaug is terrible.
  • Oh, Jeon Do-yeon’s moronic new film (did you know it’s bad to be a drug mule) The Way Back Home was second, with 4.5 billion won.
  • With two weekends left in the year, the box office in Korea has already set an  attendance record (over 199 million tickets, and will top 200 million for the first time later today), nearly a revenue record (at 1.450 trillion won, it will beat last year’s record in a couple of days), a major record for Korean movies (118 million admissions), and is 4 million admissions shy of a foreign film record. It is also the second-strongest year for Korean movies ever by percentage, with 59.2% of the box office going to local movies (more KOBIS).

Oh Say Can You CNBC?

Hey, looks who is on TV!


I was interviewed by CNBC for a little segment on Korean pop culture. I appear around the 90 second mark. It was not too exciting, but at least international media are trying to understand what is going on in Korea.

Btw, there are more concerts and good things listed over at the Korea Gig Guide.

 

Legatum Institute: Korea

A year ago, the very nice people at the Legatum Institute invited me to join their summer program, a week long retreat in Italy. It was pretty amazing, talking about the world and the rise and fall of nations, and grandiose things like that with people like Vali Nasr, John Hale, Robert Kagan, Anne Applebaum, Robert Shafer, and Lucie Spickova (and many, many more).

But the real focus of the Legatum Institute isn’t randomly holding events in Italy. The institute is more about sponsoring research and hosting programs for advancing freedom and prosperity around the world. Probably their signature project is the annual Prosperity Index, which tries to quantify the idea of prosperity and rank all the countries around the world.

Which is why I am so happy to announce that I have just made a small contribution to Legatum’s Prosperity project — a country report on South Korea, called “Ready for Prime Time.” My report focuses on Korean culture and soft power and how its successes has helped reshape Korea, making it a more confident and prosperous nation.

It’s pretty cool to be able to add my name to the Legatum’s list of contributors. Past reports have been written by people like James Robinson (who co-wrote Why Nations Fail with Daron Acemoglu) — his essay on Colombia, “The Orangutan in a Tuxedo,” was excellent.

I should add a thanks to everyone at Legatum, for inviting me to the first event and for asking me to write this new report. And to Peter Passell, my editor, who always makes my writing 137 percent better. And an extra thanks goes to Jeff Gedmin, the president of the institute, for being behind it all.

Morning Links

Since I am apparently dumping a bunch of fun links over on my Twitter feed, I thought I would repeat them here for the (wise) folks who don’t bother with Twitter:

  • 2 million North Koreans have mobile phones these days (Chosun Ilbo). It’s kind of amazing how quickly that is growing:
In 2008, North Korea set up Koryolink with Orascom. The number of subscribers stood at only 1,600 in the first year but rose to 100,000 in 2009, 500,000 in May 2011 and a million a year later.
  • Foreign currency (mostly US dollars and yuan) surges in North Korean economy. Now 10% of NK’s economy (Chosun Ilbo)
  • This story about singer-turned-actress Nam Gyu-ri story was hard to get right. She called herself a 변태, which usually is translated as “pervert.” But that language struck some people in the newsroom as too strong and loaded, so we finally decided to go with “weirdo” (Korea JoongAng Daily)
  • A reminder Aug. 14 is the start of the Jecheon Film & Music Festival. A lot of my friends in the entertainment business think Jecheon’s combination of music and movies make it the best fest in Korea (JIMFF website)
  • I think this is turning into a really interesting year for K-pop. The quality of the music just keeps rising. At the moment, one of my favorite songs is Junsu’s “Incredible” (just a really fun tune):

Korea Changes, and Changes You

Well, I’m back in Korea again. Living here for the first time in four years (although I did visit a couple of times while I was in Europe). It is good to be back, trying to find my bearings again. Trying not to stick Spanish words randomly into my sentences. Trying not to gag when I see the price of a glass of wine or an espresso (although smiling happily when I see the price of Korean food and soju).

At the same time, Simon and Martina over at Eat Your Kimchi have just celebrated their fifth anniversary in Korea, with a post about how Korea has changed them. It is a good post, but what I find really fascinating are the comments below (I have them organized by most popular). It is full of people who have written little testimonials about why they are into K-pop and Korean culture, despite living far from Korea and having few direct connections to the country. There is a 25-year-old Kindergarten teacher (in Sweden, I think), a 48-year-old mother in Utah, some guy living in Poland, a 17-year-old in the Caribbean who wants to study in Japan.

Of course, Eat Your Kimchi is about a lot more than K-pop. But I think their audience speaks a lot to the international audience for K-pop. It’s not that K-pop or Korean culture is “taking over” the world. But world culture is fragmenting more and more, offering people ever more options of what they can listen to and how they can define themselves.

Back in the 1980s, each year there would be a “biggest music group in the world”, a group (or two) that would dominate radio, that everyone wanted to see in a huge stadium concert, that would be on MTV (or Much) 24-hours/day. That kind of singular domination doesn’t really exist anymore. Most of the stadium touring groups are oldie acts, that old people will go see, even if mostly out of habit. The biggest concerts now are the huge summer festivals, with dozens of acts on the bill, usually in a wide range of genres.

K-pop and Korean culture has become one more option in the buffet of world culture. And for now, it is a very popular part of the buffet — which is good because that means the restaurant keeps replacing it quickly, keeping it fresher than the boring food no one likes and that simmers for hours growing stale. (Er, I think I’ve overextended that metaphor).

Anyhow, Korean things are doing very well now, and I think they are going to continue for some time to come. But as you can see from Simon and Martina and most of their followers, these fans are not usually singular obsessives, caring only about Korea. Korea is one part of a nutritious, cultural breakfast. And, imho, that’s pretty cool.

As for how Korea has changed me. Well, I’ve been in Korea, off and on, since I was 25. Somehow I have fallen into a career that largely involves Korea things — writing about Korea in one form or another. So of course Korea is a big part of my life. I know some people out there have read my book on Korean culture, which makes me feel very lucky.

Seriously, just the thought that people paid money to read my thoughts on a subject is pretty overwhelming. When you are in a newspaper or magazine, you know they are paying for the whole package, and your article is one small part. But a book? That’s all on you, and if they hate it, you just wasted their time and their money. So, anyone out there who read the book, thanks so much.

And, as I have hinted before, there are more books on the way. I think there will be two coming out later this year … I just hope you will continue to find them interesting and useful.

How about you all? Has Korea changed you? Or have you seen Korea change?

It’s Not (and Never Was) a Korean Wave — It’s a Globalization Wave

One of my bigger arguments in Pop Goes Korea was that the Korean Wave was not really about Korea at all; it was actually about globalization. The amazing success Korea has had in media and entertainment over the past 10-15 years was not because Korea was unique and different as much as it was because Korea has ahead of the curve.

Korea was at the forefront of the Internet revolution, and many of the changes that online has wrought came to Korea first (or at least quicker and more dramatically). Music, for example — online/digital sales in Korea have surpassed physical sales (CDs, etc.) since at least 2004.

But, the thing is, those changes are increasingly affecting the rest of the world now. With music now, $5.6 billion is spent globally on digital music (that’s about 34% of all music revenue), with digital exceeding physical sales in Sweden, Norway, India, and the United States, and much of the rest of the world is catching up.

Which brings me to Turkey and Turkish television. I wrote about Turkish soaps in 2010, but they have just continued to grow in popularity since then, earning $90 million in exports last year, up from just $1 million in 2007. They have found big fans throughout Central Asia, the Balkans, the Arab World and even Latin America. And what’s driving that success? Good production values and stories, as well as the need for more content — cable/satellite TV means more channels, and those channels need something to fill the void. Turkish producers have done their best to fill it.

One of Turkey’s most popular TV shows, Magnificent Century (or “Muhteşem Yüzyıl”).

And it is not just Turkey. In Eastern Europe, the growth of pay-TV (now an $8.3 billion market) has also created more demand, leading producers to emulate Russian, Scandinavian, and other content.

With the success of Turkish soft power, predictably, has come a backlash, with many countries banning Turkish soaps. While cultural protectionism is a common issue all over the world (at least when a country is importing culture … exporters tend to be much more open-minded), I do think a lot of journalists oversell the issue. As one wrote:

Remember, the Turks did not feel they should be a satellite state of Brazil just because they so dearly loved Brazilian soap operas in the 1980s and 1990s. Nor did the Arabs begin to love the Americans/America because they had a habit of watching more Hollywood films (than Turkish soaps).

On the other hand (if I may undercut my own argument), when you look at the IFPI’s international music numbers, local sales are still overwhelmingly important in most markets. But I don’t think that is terribly surprising. Exports are more of an issue in capital-intensive forms of media, like TV or movies. When you go to the big international content markets (film, TV, music, or whatever), you are increasingly seeing an international presence selling content, not just buying. It’s still the early phases of the new media world we are growing into, but I’m still encouraged by what I am seeing.

 

 

The Korean Wave — More Then Just Korea

One of the major points of POP GOES KOREA is that the Korean Wave was not really about Korea. It is about globalization, and how the forces the created the Korean Wave will be creating other regional cultural powers in the future.

I recently stumbled across a great case in point, the Turkish drama GUMUS (“Silver,” but better known as Noor in the Arab world). Noor has become very popular in many Arab countries (the series finale apparently had 85 million viewers around the region on the Middle East Broadcasting Corporation), and that popularity has spurred interest in Turkey in those countries.


Take a look at this report from Monocle magazine about Noor. Change the soap opera to Winter Sonata and the location to Korea, and the story would be virtually indistinguishable from the many articles about the Korean Wave that appeared over the years.

(Well, indistinguishable except for one notable difference. At one point, the reporter comments: “While Turks are proud of their past, they don’t look back.” Hard to imagine anyone using that sentiment to describe Korea.)

Similarly, here is a Monocle story about the music scene in Taiwan, and the influence it is having on mainland China.

The point being, people all over the world are looking for good stories, music, and culture, and that Hollywood cannot begin to do it all. Sure, American pop culture is the biggest force around, but it is not the only force. And as time goes by, we are going to see more and more local forces — like Noor, like Korea — rising up and capturing the imaginations of people from around their regions and beyond.

The Sincerest Form of Flattery, Vietnam edition

One of the big reasons I do not like the term “Korean Wave” (as I talk about in POP GOES KOREA) is that the term undervalues the size and scope of the cultural trends affecting pretty much everywhere. It is not a Korea thing, as much as it is a globalization thing. And just as Korean entertainment companies got a great boost by improving their business management, marketing, and artistry, now other creators and businesses are getting into the act.

In an interesting example of what I am talking about, here is an article about how Vietnam is following Korea’s example in how to produce pop stars.


The article talks about how aspiring singers in Vietnam are coming to Korea to produce their albums or study with Korean music labels:

Another pop star, Ho Ngoc Ha, who recently took part in the Asian Song Festival 2009 in South Korea, said: “Going to South Korea to witness their technology, I understand their entertainment industry. They can make anybody to become a bright star with that professional and huge system”.

Actually, this has been a long time in coming. I remember representatives from KBS telling me way back in 2002 that they were seeing a lot of interest in their programs from Vietnam. One of Vietnam’s first multiplex chains was run by a small Korean exhibition company (sadly now out business in both countries, I do believe). And I have been seeing media folks from Vietnam Media Corporation for years, at PIFF, Cannes, and elsewhere. The Vietnamese program 39 DEGREES OF LOVE was deliberately modeled on Korean TV dramas. No surprise, then, that producers and creatives in Vietnam’s music scene would also try to emulate Korea’s successes.

All very cool, but this is about more than just Korea. In my humble opinion, the point of these influences and changes is not Korea’s Koreanness. These are trends that are deeper and more pervasive. After all, it is not a coincidence that Korea’s cultural rise in Vietnam (and elsewhere) came at the same time as its corporate rise. In Vietnam, Korean cosmetic and appliance companies were aggressive in breaking into the market, which helped open things up to cultural content (and vice versa).

So I definitely credit Korea for being one of the first non-Western countries to modernize its entertainment industry and reap the benefits of doing so, I think it is important to realize that almost all countries are looking to do the same thing. India and China are of course the highest profile competitors in Asia, with Hollywood studios falling over each other to sign up deals in those countries. But you can see it pretty much everywhere. I can see it here in Spain, in their music and movies (Spain produces a lot of films each year, thanks in part to an aggressive Catalan film community).

While the Hollywoodization of the world’s entertainment industries can be distressing at times, on the whole I think this is good for most local cultures. They are learning how to produce popular, engaging entertainment, which is the best way to ensure local entertainment industries continue to exist (or even thrive) in the face of the huge, global entertainment conglomerates. So if Vietnam can emulate Korea to strengthen its entertainment industry, I think that is a good thing.

UPDATE:
And just hours after I post this story, there is an article out of the Philippines about the popularity of Korean pop stars. Okay, not really related to the Vietnam story, but still interesting to see how mobile today’s pop culture can be, and how good Korean stars are at getting that popularity around Asia.

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