tag:blogger.com,1999:blog-82687140936672648432024-03-05T17:52:03.652-08:00Calum Waddell BlogCalum Waddell: Posts about pop culture, travel, cinema, music and a little bit of liberal politics. And being Calum Waddell. In general.Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.comBlogger23125tag:blogger.com,1999:blog-8268714093667264843.post-15216897360190194012022-07-26T13:35:00.004-07:002022-07-26T13:35:57.438-07:00Angus Scrimm Interview (All Things Phantasm!)<p> </p><p align="center" class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight: normal;">Scrimm Fairy Tales<o:p></o:p></b></p>
<p class="MsoNormal"><b><i><o:p> NOTE: I was going through some old hard-drives and found this interview with the late Angus Scrimm, which I think dates back to 2008, eight years before his passing. I thought it might be nice to share it here.</o:p></i></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;">So let’s begin with
an obvious question Angus; what on earth is happening with <i style="mso-bidi-font-style: normal;">Phantasm</i>? Are we going to see The Tall Man in action again?</b></p>
<p class="MsoNormal">I have read four or five scripts for another <i style="mso-bidi-font-style: normal;">Phantasm</i> over the years and the most
prominent of them was, of course, the one written by Roger Avary. That was a
really exciting prospect but to do it right it would have cost $12 million,
which is not a lot by the standard of most budgets but it was still more than
anyone wanted to invest (<i style="mso-bidi-font-style: normal;">laughs</i>). The
last script I read was long and also a bit wordy. It was penned by a guy called
Stephen Romano, who worked with Don on his <i style="mso-bidi-font-style: normal;">Masters
of Horror</i> episode – which I am proud to say I was a part of. However, I
know that if Don could raise the financing, maybe through some rich fan who
wants to produce movies, he would pull another one out of his sleeve as soon as
possible. But right now there is no news to report I am afraid.</p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;">The <i style="mso-bidi-font-style: normal;">Phantasm </i>series is difficult to really
pigeonhole. It is part horror, part science fiction and part fantasy. Were you
a fan of these genres prior to getting your break in the original film?</b> </p>
<p class="MsoNormal">You know, I could never connect with science fiction. I used
to buy these pulp sci-fi magazines with great covers and the stories would just
bore me (<i style="mso-bidi-font-style: normal;">laughs</i>). Horror, however, I
always liked. I was not allowed to see any horror movies until I was 12 and at
that point Universal had reissued <i style="mso-bidi-font-style: normal;">Dracula</i>
and <i style="mso-bidi-font-style: normal;">Frankenstein</i> on a double bill. I
thought they were incredible in the theatre. That ignited a lust in me to see
more horror movies and I recall seeing <i style="mso-bidi-font-style: normal;">The
Wolf Man</i>, which they reissued shortly afterwards, and I tried to see every
other Universal classic after that. And fantasy… Yes, fantasy is delightful,
but it was horror which I liked the most.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5JCQLdibBBxO4ACIf0axrD8KPHeXaN3GIYvG9gAbqMOjhmOZaUraapk-TSIbl_1D8DiCEc-t9dKLjNpt3qOFC4AUQG_SR5ahZrGX_NpZrqf6xKE-TgADByjxdw4rlTnOSujC3K5udqFatHiPqWO26cZmpF__MuVe_1oVQGU_YeY67IeZ57HfUzXIG5A/s240/scrimm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="210" data-original-width="240" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5JCQLdibBBxO4ACIf0axrD8KPHeXaN3GIYvG9gAbqMOjhmOZaUraapk-TSIbl_1D8DiCEc-t9dKLjNpt3qOFC4AUQG_SR5ahZrGX_NpZrqf6xKE-TgADByjxdw4rlTnOSujC3K5udqFatHiPqWO26cZmpF__MuVe_1oVQGU_YeY67IeZ57HfUzXIG5A/s1600/scrimm.jpg" width="240" /></a></div><p class="MsoNormal"><b>In the <i>Phantasm</i> films you are given very little
to say. Of course, this eventually becomes the beauty of your character but –
nevertheless – during the making of the original movie did you ever try and
push Don Coscarelli to give you more dialogue?</b></p>
<p class="MsoNormal"><o:p> </o:p>No I did not (<i>laughs</i>).
After all, acting is not just reciting dialogue – although I do love to have
some delicious lines – but it did not occur to me until after I saw the first movie
that, yes, I did have very little to say. However, I actually contributed one
of the lines in the original <i>Phantasm</i>.
It was when I say, “you play a good game boy but the game is finished. Now you
die.” I was sitting in the dressing room and I jotted that line down on a piece
of paper and thought about bringing it up to Don. However, I decided otherwise
and then forgot all about it. Well Don went into the dressing room, found the
scrap piece of paper and then, when we got into ADR, he had me record that very
line over the scene where The Tall Man is walking ominously through the park. Now
if I hadn’t thought of that I would just have had four lines of dialogue (<i>laughs</i>).</p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;">Did you ever have any
discussions with Don about The Tall Man? I have sat through all four <i style="mso-bidi-font-style: normal;">Phantasm</i> films and he remains quite a
mystery doesn’t he?</b></p>
<p class="MsoNormal">Yes he does, I am not sure you can explain him, but we never
really had any deep intellectual discussions about the character. In fact, some
of our discussions were after-the-fact. I remember that we were flying around
the <st1:country-region w:st="on">United States</st1:country-region> and <st1:country-region w:st="on"><st1:place w:st="on">Australia</st1:place></st1:country-region>
publicising the first movie when it came out and I know that at some point we
both agreed that The Tall Man probably represented the grim reaper in the boy’s
mind. Now, interestingly, I got to play The Grim Reaper in a television series
that Mel Brooks had called <i style="mso-bidi-font-style: normal;">The Nutt House</i>.
It was only on for one season but it was about an unsuccessful hotel and the
lobby looked like a desert wasteland, with a cactus blowing in the wind. Well
The Grim Reaper dashed across in one scene and Mel cast me in the part because
he was a big fan of <i style="mso-bidi-font-style: normal;">Phantasm</i>.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjMfmvltE7KfASw-egCgZ7e3J0WpooSQ4MG-T1oY2Iq4ct_-0U2NDckvUMEj02DHdyrkq5WMfgHBnHBTw8UYAzYfpCeL4838K5ZfWMMmoAqoLxCYC_xdQh5C_v5XDNowPmcHrFgEIILA5O1UZxMNY-aJw0JKQvXolGehS0ZkaROAW7rSvR81ldedraHw/s560/scrimm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="330" data-original-width="560" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjMfmvltE7KfASw-egCgZ7e3J0WpooSQ4MG-T1oY2Iq4ct_-0U2NDckvUMEj02DHdyrkq5WMfgHBnHBTw8UYAzYfpCeL4838K5ZfWMMmoAqoLxCYC_xdQh5C_v5XDNowPmcHrFgEIILA5O1UZxMNY-aJw0JKQvXolGehS0ZkaROAW7rSvR81ldedraHw/s320/scrimm.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;">After <i style="mso-bidi-font-style: normal;">Phantasm </i>was released did you anticipate
being typecast in horror films?</b></p>
<p class="MsoNormal">Oh, I was so naïve (<i style="mso-bidi-font-style: normal;">laughs</i>).
I had made a few films before <i style="mso-bidi-font-style: normal;">Phantasm</i>
and none of them had done any business. So after <i style="mso-bidi-font-style: normal;">Phantasm</i> took off I thought “wow, now my career is made! <st1:place w:st="on"><st1:city w:st="on">Hollywood</st1:city></st1:place> will recognise
me and I will be cast.” But even after I got an agent and got into the Screen
Actor’s Guild nothing much happened. I remember being called up for <i style="mso-bidi-font-style: normal;">Caddyshack</i>, the <st1:place w:st="on">Chevy
Chase</st1:place> movie, because they thought I was a huge fellow. Well it
turned out I wasn’t – Don just made me look that way - so they cast someone who
was much bulkier and taller instead. So the success of <i style="mso-bidi-font-style: normal;">Phantasm</i> did not do much for me. A director called Jim Wynorski,
who was a fan of it, put me in the movie called <st1:place w:st="on"><i style="mso-bidi-font-style: normal;">Inland Empire</i></st1:place>, which was
fun but it almost went straight to video. However, since then I have worked
with Jim on other things and we get along very well. Nonetheless, the well was
self-limiting after <i style="mso-bidi-font-style: normal;">Phantasm</i>. Nobody
in the movies had a role for The Tall Man. My reputation has grown very slowly
and it has done better recently because a lot of the teenaged boys who saw these
films, and grew up with them, have begun making movies and they are casting me
in their projects. That is how I got a recurring role on the series <i style="mso-bidi-font-style: normal;">Alias</i> for example and a director/
producer called Larry Fassenden has been using me… I don’t know if you know
about him but he has independent means to make films – he produced one project
called <i style="mso-bidi-font-style: normal;">The Roost</i>, which is very good,
and he also raised the money for a picture called <i style="mso-bidi-font-style: normal;">Liberty Kid</i>, which is a fantastic drama set just after 9/11 where
two employees at the Statue of Liberty are laid off due to security fears.</p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;">Indeed, I have
noticed from your imdb profile that you have been keeping very busy of late…</b></p>
<p class="MsoNormal">Yes, and I have to mention the work that I have done with
Larry. For instance, I was in a very good horror film that he produced called <i style="mso-bidi-font-style: normal;">The Off Season</i> and I also did something
called <i style="mso-bidi-font-style: normal;">Automatons</i> for him – which
good great reviews. Now, this was a micro-budgeted movie about robots fighting
the last war after humankind has been killed off. It is in black and white with
deliberately scratchy sound and <i style="mso-bidi-font-style: normal;">The New
York Times</i>, <i style="mso-bidi-font-style: normal;">The Village Voice</i> and
<i style="mso-bidi-font-style: normal;">The Post</i> all gave it very good
reviews. I also need to mention a movie called <i style="mso-bidi-font-style: normal;">The Last Winter</i>, which Larry directed. That one stars James LeGros
from <i style="mso-bidi-font-style: normal;">Phantasm II</i>, alongside Ron
Perlman, and it is about some people drilling for oil in <st1:place w:st="on"><st1:state w:st="on">Alaska</st1:state></st1:place> but then nature turns against them
and kills them off one by one. Quite deliberately. </p><p class="MsoNormal"><o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCPBKnA7KuNjPtoVGEDLbyvPZXhbIIIPh_FwchdSDNRbJa_m6fAuudK00Q-9YNVOR7HadsR4eH1XVGyEFEuCy13qanjV-9m4MmJR1XriX7H5PWsKLa0ZkgxsYLY7MHHlfrLuupxego0BvoCh7XovR9H0Pr22Swqva3rV0PT60D9rINI9tolLCxaX3Cuw/s750/scrimm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="422" data-original-width="750" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCPBKnA7KuNjPtoVGEDLbyvPZXhbIIIPh_FwchdSDNRbJa_m6fAuudK00Q-9YNVOR7HadsR4eH1XVGyEFEuCy13qanjV-9m4MmJR1XriX7H5PWsKLa0ZkgxsYLY7MHHlfrLuupxego0BvoCh7XovR9H0Pr22Swqva3rV0PT60D9rINI9tolLCxaX3Cuw/s320/scrimm.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;">I might be in the
minority here but my favourite <i style="mso-bidi-font-style: normal;">Phantasm</i>
movie is the second one. It plays as a beefed up version of the first film,
only with better special effects and an even more delirious atmosphere. Yet,
ironically, it was also the most troubled of the lot…</b></p>
<p class="MsoNormal">Well, first of all, I like them all and I cannot pick a
favourite. I certainly enjoy watching <i style="mso-bidi-font-style: normal;">Phantasm
II</i> so I cannot argue with you there. Of course, I did miss Michael Baldwin,
who never got to return and play the part of Mike (<i style="mso-bidi-font-style: normal;">Note: He was replaced, at studio behest, by James LeGros</i>), but it
was wonderful to go in and make a movie that lasts for five weeks and has a big
studio behind it. You also don’t have to worry about money and you get paid a
little better. On the whole <i style="mso-bidi-font-style: normal;">Phantasm II </i>was
a good experience but there was certainly some studio interference that upset
Don and that was unfortunate. There were also a couple of things that I
strongly objected to. For instance, I don’t like to see The Tall Man being
treated disrespectfully and I hated the scene where James LeGros pulled the
sphere out of the wall and throws it at me and says “suck on this!” I was irate
at that and I suggested that they change it to “let’s play ball,” which I
thought was much cuter. But apparently one of the producer’s came up with “suck
on this” so that was that. Nevertheless, overall, I found <i style="mso-bidi-font-style: normal;">Phantasm II</i> to be a positive experience and I thought it was a good
movie as well.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJI7hqpimbjhZC_GPBnoCv9gwvAfhqVdGv-nFhp8EWtGywzoLx_fS9-OPxoLQ7wwr6YVu5o3yAL6Slyg0ytciINKr_huXJrknVLQeauB9kOjthjukA4vg7ZjXOuxP5SNA3Y2SC2AxJQmwjBbWwAXAY7VVpo19aSFMRZ1o13CHcahIrZPGfVCEdBulKoQ/s500/scrimm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="328" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJI7hqpimbjhZC_GPBnoCv9gwvAfhqVdGv-nFhp8EWtGywzoLx_fS9-OPxoLQ7wwr6YVu5o3yAL6Slyg0ytciINKr_huXJrknVLQeauB9kOjthjukA4vg7ZjXOuxP5SNA3Y2SC2AxJQmwjBbWwAXAY7VVpo19aSFMRZ1o13CHcahIrZPGfVCEdBulKoQ/s320/scrimm.jpg" width="210" /></a></div><br /><p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;">Even so, it
underperformed at the box office. Why do you think this was?</b></p>
<p class="MsoNormal">It was a shame because <i style="mso-bidi-font-style: normal;">Phantasm
II</i> had a major opening release in many countries – not just the <st1:place w:st="on"><st1:country-region w:st="on">United States</st1:country-region></st1:place>
- but I think that Universal made a grave mistake by releasing it in the middle
of the summer season. The same week that we opened <i style="mso-bidi-font-style: normal;">Rambo III</i>, the Tom Hank’s movie <i style="mso-bidi-font-style: normal;">Big</i>,
<i style="mso-bidi-font-style: normal;">Pee Wee’s Big Adventure</i> and <i style="mso-bidi-font-style: normal;">Roger Rabbit</i> also came out. It was the
biggest week, to date, in American cinema in terms of the number of major
motion pictures that were out at the same time. Universal also wanted to keep
everything about <i style="mso-bidi-font-style: normal;">Phantasm II</i>
hush-hush, so it had obtained no advanced publicity, and it was not until the
week before it opened that I began to appear on little local television studios
and stuff. I remember that they held a competition to find out how many people
could fit in The Tall Man’s Hearst, and I was the judge of that, but that was
about it. However, the sequel still performed well, it just wasn’t blockbuster
material which was what Universal was hoping for.</p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;">And, since then, the <i style="mso-bidi-font-style: normal;">Phantasm</i> movies have gone straight to video,
which is a bit of a shame…</b></p>
<p class="MsoNormal">Well what happened is that when Don went back to the studio
with <i style="mso-bidi-font-style: normal;">Phantasm III</i> they took it to
their DVD section. However, Don’s contract required that <i style="mso-bidi-font-style: normal;">Phantasm III</i> have at least two theatrical showings. One was in <st1:place w:st="on"><st1:city w:st="on">Taraho</st1:city>, <st1:state w:st="on">Indiana</st1:state></st1:place>
and I cannot remember where the other was but it was another very small town
somewhere. Nevertheless, <i style="mso-bidi-font-style: normal;">Phantasm III</i>,
in both of these theatres, outperformed every other film that was playing. Even
so Universal did not have any intention to do anything but make a pile of money
out of the video. Now when <i style="mso-bidi-font-style: normal;">Oblivion</i>
came along, Don pretty much financed it himself and that was that. However, I
knew that, even on a small budget, <i style="mso-bidi-font-style: normal;">Oblivion</i>
would be well made because I have never seen a Coscarelli movie that was not
well made! If he is behind it then it will be good. I still do not know why Don
has never become a major <st1:place w:st="on">Hollywood</st1:place> film
director. He has produced films like <i style="mso-bidi-font-style: normal;">Beastmaster</i>
and <i style="mso-bidi-font-style: normal;">Bubba Ho-Tep</i> on a reasonable
budget, and they have made money, but yet he has never become as big as he
deserves to be.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz_XChjOh-5kH6lceV3IyeIOLyjZY3kJzgOVnYibCWzGVDxF37G5_ZteD2sU7fOSyuP5A7Jm-4CDHI8-f-INBvDc9O5brNgQuXa0mDFCwgE7fbRpitYaBvqaT-y5igo8LLjoQd10GW1HJVO-xgOfFYWVl8ow7MBgDsKwmW-D9t6kKL41oxu92JhbvylA/s292/scrimm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="173" data-original-width="292" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz_XChjOh-5kH6lceV3IyeIOLyjZY3kJzgOVnYibCWzGVDxF37G5_ZteD2sU7fOSyuP5A7Jm-4CDHI8-f-INBvDc9O5brNgQuXa0mDFCwgE7fbRpitYaBvqaT-y5igo8LLjoQd10GW1HJVO-xgOfFYWVl8ow7MBgDsKwmW-D9t6kKL41oxu92JhbvylA/s1600/scrimm.jpg" width="292" /></a></div>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;">Diverting from <i style="mso-bidi-font-style: normal;">Phantasm</i> then – can you speak about
working with the producer Charlie Band on a movie called <i style="mso-bidi-font-style: normal;">Subspecies</i>, which you made back in 1991?</b></p>
<p class="MsoNormal">Yes, <i style="mso-bidi-font-style: normal;">Subspecies</i>
was good fun. I know that people have complained about their experience with
Charlie Band but I am not one of them (<i style="mso-bidi-font-style: normal;">laughs</i>).
<i style="mso-bidi-font-style: normal;">Subspecies </i>was made in <st1:city w:st="on"><st1:place w:st="on">Bucharest</st1:place></st1:city> where we were
the first people to make an English-language film. It was also the first film
made there since the Revolution. I remember that there was a lot of dire
poverty and the hotel that I stayed in had a bulb on a string, which was the
light, and a tap that dripped all day and night. There was one working
telephone in the whole place, which was on the main desk, and I ate pork chops
that ran red when you cut into them – so I only ate the edges (<i style="mso-bidi-font-style: normal;">laughs</i>)… But I can honestly say it was
one of the best experiences of my lifetime. The film was made in the
hinterlands surrounding old castles, which was beautiful, and <i style="mso-bidi-font-style: normal;">Subspecies</i> was quite popular when it
came out. As you probably know there were a lot of sequels. It was silly but
people seemed to like it. My agent insisted that I was paid half of my wage
before I left and the other half which I got when I returned. So it was a good
movie to work on.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p><b>Finally, then, if you
had to write the next chapter in the <i>Phantasm</i>
series – where do you think The Tall Man would be?</b></p>
<p class="MsoNormal"><o:p> O</o:p>h goodness, that requires a witty answer and I am never
good at these quick-fire things (<i>laughs</i>).
I think I will have to leave that question to whomever writes the next <i>Phantasm</i> but I am looking forward to
finding out!</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjayB8smNrnD7tSeHLyA45uWh9vR9JHNY0dotlhvO1I7P--8HAI-Kskm6UnK3IdOtS4cnY7roUrWLXPLUMUtoMPfE_s0u5VJvRKKk5stLkvCNlUPhjst0cBcNlkx-2i_0abkUDOptpRVZetJcm9j-pg9LyUM7CmWMToF5aRzzPeqKxHfZIf9E9rdmGcQw/s300/scrimm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjayB8smNrnD7tSeHLyA45uWh9vR9JHNY0dotlhvO1I7P--8HAI-Kskm6UnK3IdOtS4cnY7roUrWLXPLUMUtoMPfE_s0u5VJvRKKk5stLkvCNlUPhjst0cBcNlkx-2i_0abkUDOptpRVZetJcm9j-pg9LyUM7CmWMToF5aRzzPeqKxHfZIf9E9rdmGcQw/s1600/scrimm.jpg" width="300" /></a></div><br /><p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-46140658286391628472021-12-21T17:13:00.036-08:002021-12-26T13:38:37.547-08:00<p><b>Top 20 K-pop Songs of 2021</b></p><p>Am I now too old to do this? Who knows? </p><p>I have been listening to K-pop for a decade now and I still find something to excite me every year, <i>even this year</i>, which has been a pretty difficult annum. In short: my mum passed away in her care home in April and just 365 days ago right now she was spending her Christmas at Victoria Hospital in Kirkcaldy, with her dementia forcing her out of her house which she always told me she wanted to pass away in. Thanks to Covid-19, visiting her was out of the question and then it was a slow, agonising crawl until the end - I was literally at her bedside listening to a death rattle until she passed just a few hours later. Then I finished a little documentary in honour of her memory (that would be <i><a href="https://www.youtube.com/watch?v=oYTcNNi7ci0">Searching for Cannibal Holocaust</a></i>), which no one saw when<i> it did</i> come out, and which Grindhouse has for American distribution (so who knows when<i> that </i>may or will happen). That and the <a href="https://calumwaddellblogger.blogspot.com/2021/08/always-get-it-in-writing-lessons-from.html" target="_blank">Shudder fiasco</a>, made me make a decision to save my sanity and to <i>never </i>direct another documentary (research projects notwithstanding). And all through this, and another house move (my sixth in seven years!), K-pop still provided the soundtrack to life. A rare but welcome consistency.</p><p>So what of 2021's music?</p><p>Well, there were some disappointments this year - IU's <a href="https://www.youtube.com/watch?v=0-q1KafFCLU">Celebrity</a> was just OK, whilst Lisa from Blackpink's utterly lamentable <a href="https://www.youtube.com/watch?v=awkkyBH2zEo">LaLisa</a> was horrible (and I mean <i>headache-inducing horrible</i>), bandmate Rose had a <a href="https://www.youtube.com/watch?v=K9_VFxzCuQ0">couple of meh</a> English-language <a href="https://www.youtube.com/watch?v=CKZvWhCqx1s">moments too</a> and Twice had a few numbers, including the forgettable candy-pop of <a href="https://www.youtube.com/watch?v=vPwaXytZcgI">The Scientist</a>. Moreover, we saw underwhelming comebacks from such usually reliable SM idol groups as <a href="https://www.youtube.com/watch?v=2IkoKhr6Tss">Exo</a>, <a href="https://www.youtube.com/watch?v=c9RzZpV460k">Red Velvet</a> and <a href="https://www.youtube.com/watch?v=PSYRbJjIT6U">SHINee</a>. There was even (shock, horror!) a dull outing from <a href="https://www.youtube.com/watch?v=V0wInr_xATk">Sunmi</a>. Long-awaited solo items from the likes of <a href="https://www.youtube.com/watch?v=8M3WUaeIbOk">Baekhyun</a> and <a href="https://www.youtube.com/watch?v=-Ih5UArd4zk">Wendy</a> felt like album cast-offs whilst the genre's biggest name (BTS obviously) debuted a so-so English language single with <a href="https://www.youtube.com/watch?v=WMweEpGlu_U">Butter</a>. Perhaps the year's finest moment was actually the surprise uniting of members from second generation K-pop band After School for a rendition of <a href="https://www.youtube.com/watch?v=vdp7UOrLH0I">Bang!</a> on South Korean television - either a reminder that I am 1) old 2) nostalgic or 3) K-pop reached a height of quality/quantity somewhere between <a href="https://www.youtube.com/watch?v=ofwFr8o8p0Y">Abracadabra</a> and <a href="https://www.youtube.com/watch?v=AAbokV76tkU">Fantastic Baby</a> (or maybe <a href="https://www.youtube.com/watch?v=wq7ftOZBy0E">I Got a Boy</a>). But I digress: since those glory days, the form has certainly matured into superior long-plays and concepts, such as Taeyeon's 2017 peak (and I still consider <a href="https://www.youtube.com/watch?v=NHXUM-6a3dU">My Voice</a> the best LP of the entire phenomenon, maybe even my favourite record of all time), but <i>the bangers</i> have been less and less frequent - as indicated when some of <a href="https://www.youtube.com/watch?v=nBxnh010LU8">Sistar tried for a comeback</a> and the result was just not so memorable.</p><p>Regardless, then, here is my Top 20 for 2021 and, rest assured, at the very top spot is one of the best of any year - so if you have stumbled across this blog and never given Korean pop music a chance, my advice is to spin that one first and see if you might subsequently find a universe of sublime sonics that is worth exploring further...</p><p><b>20) HYOYEON - SECOND:</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/rthppvDJ2fA" width="320" youtube-src-id="rthppvDJ2fA"></iframe></div><div><br /></div>Hyoyeon's 2021 anthem became perhaps just as famous for its often hilarious Instagram videos (usually featuring the singer snacking whilst fellow K-pop stars mime along or, in the case of an appearance from former SNSD partners Sooyoung and Tiffany, engage in an all-out catfight), but the bop itself is decidedly likeable. Hyoyeon is the Girls' Generation member who seems to come and go every year, re-appearing just long enough to remind us that she is unlikely to fall into obscurity or irrelevance any time soon. And thank goodness for that.<p><b>19) MONSTA X - RUSH HOUR</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/qRdTyoZd3rg" width="320" youtube-src-id="qRdTyoZd3rg"></iframe></div><p></p><p>The best Monsta X single so far? One would have to conclude so - this has a hint of Ennio Morricone but bleeds into an aggressive mix of rap and electro-rock, establishing one of 2021's <i>loudest</i> K-pop endeavours and the one that would, in another, better universe, fill the dance floor. The best we can do these days, of course, is to hope that the neighbours do not bang on the wall as this <i>monster</i> of a single spins its way into our collective (and in my case eternally ageing) heart. </p><p><b>18) ITZY - LOCO</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/MjCZfZfucEc" width="320" youtube-src-id="MjCZfZfucEc"></iframe></div><p>This feels a little more like traditional K-pop in that it begins as something and then turns into something else completely. It is a genre mash-up and done with the usual slickness that leaves your head feeling as if it is on a most pleasurable sugar rush. Kudos to a band that one hopes does not go the way of so many others anytime soon. Things are, after all, <i>only just</i> starting to get interesting...</p><p><b>17) TAEYEON - WEEKEND:</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/RmuL-BPFi2Q" width="320" youtube-src-id="RmuL-BPFi2Q"></iframe></div><p>Continuing with the big guns, CL's contemporary Kim Taeyeon also saw in the summer with a (somewhat understated) bubble-gum opus. Her voice remains perfect, of course, but this is perhaps a little too fluffy for Taeyeon, given the <a href="https://www.youtube.com/watch?v=4OrCA1OInoo">soul-wrenching</a> <a href="https://www.youtube.com/watch?v=wbewYT57_nc">ballads</a> with which she rose to solo superstardom. Still, in this strange new era of a world living under a pandemic, maybe a lighter, sweeter sound was warranted from one of Korea's biggest solo stars this summer - and 'Weekend' provides an easy-listening short-play that will not break your heart but might just make you smile from ear to ear. </p><p><b>16) NCT DREAM - HOT SAUCE:</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/PkKnp4SdE-w" width="320" youtube-src-id="PkKnp4SdE-w"></iframe></div><p>This just <i>rocks</i>. And that's about all I am going to say. I mean, other than that the music video does not really connect with the seduction of the lyrics (which I am sure some might argue is a bit overly 'nudge-nudge'). Anyway... purely on the way this banger sounds, it is another impressive achievement for NCT Dream, who are a fearsome unit (or is it sub-unit?) in the SM oeuvre. </p><p><b>15) (G)I_DLE - HWAA</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/z3szNvgQxHo" width="320" youtube-src-id="z3szNvgQxHo"></iframe></div><p>Even in the fast-paced, low-retention rate world of K-pop it seemed unlikely that hitmakers (G)I-dle would run into trouble quite this soon but, alas, come 2022 and the group is no more as a five. Listen to this lean and mean ditty, however, and soak-up the sound of one of contemporary K-pop's classiest acts, reborn as a fighting-fit four. A return worth cherishing.</p><p><b>14) CL - SPICY:</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/QMwJtMJLXE0" width="320" youtube-src-id="QMwJtMJLXE0"></iframe></div><br /><p>Speaking of CL, the former 2NE1 figurehead made a thundering return with this hard-edged groove that is far better than anything she was doing with YG (back in the days when it looked as if she, and not BTS, would be the first big international breakout and global living room name). It is confident and tough - and CL remains a presence that is almost unrivalled, all the more shame that her former record label dropped the ball on such a phenomenal talent. Oh, and she also dropped an album this year...</p><p><b>13) DREAMCATCHER - ODD EYE:</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/1QD0FeZyDtQ" width="320" youtube-src-id="1QD0FeZyDtQ"></iframe></div><p>Should I have opted for Dreamcatcher's sound of the summer, <a href="https://www.youtube.com/watch?v=PEKkdIT8JPM">Because</a>, instead? Well, in one's defence, as good as 'Because' is, it <i>still</i> feels as if it is standing in the shadow of the greatness of this group's <a href="https://www.youtube.com/watch?v=FKlGHHhTOsQ">back catalogue</a> and, whilst certainly a welcome rush of the unit's ever-reliable pop-rock sophistication, it plays as more of a 'best of' compilation than a reimagining of the formula so far. Not, of course, that there is anything wrong with that - but 'Odd Eye' does it all so much better. The year began with this rollicking experiment in three-minute rock-opera and it excels almost a full calendar later. </p><p><b>12) Epik High (에픽하이) - Rosario ft. CL, ZICO:</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/oC0UJx9NVBM" width="320" youtube-src-id="oC0UJx9NVBM"></iframe></div><br /><p>'Out of my way, I am a legend and I'm here to stay' - and so says the ever-iconic CL in the idol collaboration of the year, featuring not just alternative heroes Epik High but also Zico of Block B fame. Chill out, late night, post-pub comedown music, with a fabulous visual accompaniment offering tribute to (what could be more fitting?) some of South Korea's stylish gangster film masterpieces. In fact, this is perhaps the most <i>masterful</i> Epik High single since they unleashed their <i>rock</i> side with <a href="https://www.youtube.com/watch?v=u2ePT5OlZ7o" target="_blank">Don't Hate Me</a> a good ten years ago, only attesting to their range as songwriters...</p><p><b>11) JEON SOMI - XOXO:</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/H8kqPkEXP_E" width="320" youtube-src-id="H8kqPkEXP_E"></iframe></div><p>If the likes of Hwasa, Key, Mamamoo and Taemin (and even TXT) indicated that 2021 was a darker shade of K-pop then take solace in this anthem for misspent youth with a music video that part homages Amy Heckerling, Quentin Tarantino, <i>Suicide Squad</i> and even Rob Zombie (!) whilst bemoaning the folly of young love. Perfectly sweet and with the sort of chant-back chorus that will infect your skull for days and days... press play with caution, my friends.</p><p><b>10) HWASA - I'M A <span style="font-size: x-small;">빛 :</span></b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/s1kwS3riCQI" width="320" youtube-src-id="s1kwS3riCQI"></iframe></div><br /><p>A reflective piece of performance from Hwasa - whose solo career has been largely exceptional. This has all the grooves of one of Mamamoo's purest pop hits (think, for instance, <a href="https://www.youtube.com/watch?v=brZRDjFIFJs">Décalcomanie</a>) and once it starts it feels as if it is not going to stop anytime soon, championed along by the star's surprisingly breathy vocals - a change from the more polished serenading of last year's astonishing <a href="https://www.youtube.com/watch?v=brZRDjFIFJs" target="_blank">Maria</a>.</p><p><b>9) YUQI - BONNIE AND CLYDE:</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/AE8yKldv_oo" width="320" youtube-src-id="AE8yKldv_oo"></iframe></div><br /><p>Song Yuqi, the Beijing-born member of (G)I-dle (who has managed <a href="https://koreajoongangdaily.joins.com/2021/04/08/entertainment/kpop/Xinjiang-Uyghur-Autonomous-Region-Uighur-Uyghur/20210408172300404.html" target="_blank">to avoid the controversy of fellow countrymen and women</a> navigating the harsh waters between Mainland celebrity and sponsorship with South Korean fame) sings in English for what sounds like a gothic, pounding, widescreen pitch for a future, postmodernist gangster movie directed by Michael Mann. Or maybe it will just be the music to accompany Ryan Gosling in <a href="https://www.youtube.com/watch?v=-DSVDcw6iW8">Drive 2</a>. It sounds part-stuck in the 1980s as well - a little <a href="https://www.youtube.com/watch?v=IGVZOLV9SPo" target="_blank">Pat Benatar</a> perhaps, but that is a compliment. A huge, <i>huge</i> compliment. The lady done well.</p><p><b>8) T-ARA - TIKA TAKA:</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/nyGxdCivBig" width="320" youtube-src-id="nyGxdCivBig"></iframe></div><br /><p>With their last release being four years ago, it looked like the game was over for second generation girl group T-ara, one of the best pop bands of all time (and yes, I am deadly serious), but 2021 gave us this most unexpected and quite fabulous reunion. Boram and Soyeon are missing from the mix (as they had been from late-day offerings <a href="https://www.youtube.com/watch?v=xJHUKzz1vss">Tiamo</a> and <a href="https://www.youtube.com/watch?v=_eQTd-fsKsQ">What's my Name?</a>) but this remains T-ara's best outing since the heady days of<a href="https://www.youtube.com/watch?v=q_eo5j5sib8"> Sugar Free </a>and indicates that the talented quartet are ready to reclaim their crown as the unchallenged Queens of the proverbial disco floor. A very welcome burst of nostalgia that will, one hopes, result in future singles of this quality.</p><p><b>7) TXT - I KNOW I LOVE YOU:</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/d5bbqKYu51w" width="320" youtube-src-id="d5bbqKYu51w"></iframe></div><p>In a year of disappointing boy band hits, TXT came through with this glorious radio-friendly rock song that <i>explodes</i> into an enormous stadium-orientated chorus, although it will be quite some time until that happens in these dire Covid-19 times. A slick and sonically rich stomper, this thumping burst of energy also wears its indie-cred on its sleeves with the presence of Seori on guest vocals - and only the most curmudgeonly of listeners would want to deny that this summer release, which took its home country by storm, was undeserving of its success. </p><p><b>6) AESPA - NEXT LEVEL:</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4TWR90KJl84" width="320" youtube-src-id="4TWR90KJl84"></iframe></div><p>I am not sure I understand SM's concept with Aespa - a band for the future, apparently, but who look as blandly glamorous as any other K-pop band doing the rounds, with the exception of a string of absolutely first class singles. They are the first SM girl group that lacks any sort of immediate presence (then again, I thought the same of the NCT factions), but it is the music which counts and, whilst this might not be the sound of times to come, it is about as funky as it got in 2021. Double this up with the foursome's <a href="https://www.youtube.com/watch?v=WPdWvnAAurg">similarly fierce Savage</a> and <i>get down</i>.</p><p><b>5) TAEMIN - ADVICE:</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/sQg4VCB3bYw" width="320" youtube-src-id="sQg4VCB3bYw"></iframe></div><br /><p>Now undertaking his military service, Taemin was kind enough to leave listeners with this blistering send-off (until the next two years pass anyway) and what a gem it is. It feels pointless, at this stage, to even begin on how brilliant Taemin's music is - he has gone from boy band darling to legitimate critical favourite, teasing a complex identity in the process through dance, lyrics and even music video. Given the suicide of one of his bandmates just four years ago, it would be folly to assume the real Lee Taemin is not present in any of these endeavours, or that the darker sounds are mere coincidence (as I commented regarding the stunning <a href="https://www.youtube.com/watch?v=7UZRHi0kh3c" target="_blank">Two Kids from 2020</a>). Whatever it is, this is an artist of a lifetime, and one to cherish.</p><p><b>4) KEY AND TAEYEON - HATE THAT:</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/sz2Dmo1_BjM" width="320" youtube-src-id="sz2Dmo1_BjM"></iframe></div><p>That SHINee member again, this time with a duet featuring the living legend Kim Taeyeon. Inevitably it is <i>just lovely</i>, with the sentiments of bitterness following a break-up expressed in a literally 'crash and burn' music video. Not quite the approach one might have expected given Taeyeon's seemingly limitless vocal range, but the feeling of frustration and heartbreak is strongly emoted and the two work brilliantly together. One suspects this is also a mild homage to Key's late bandmate Kim Jonghyun, whose last year on Earth included a <a href="https://www.youtube.com/watch?v=NpTpEsE9G8c">similarly understated (and quite beautiful) collaboration</a> with the Girls' Generation superstar. </p><p><b>3) MAMAMOO - WHERE ARE WE NOW?</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zzk09ESX7e0" width="320" youtube-src-id="zzk09ESX7e0"></iframe></div><p>No one does heartbreak quite like Kim Taeyeon, but as a group Mamamoo might be vouching for runner-up status thanks to epic ballads such as this. Honestly, it is <i>just lovely</i> and whilst all four members bring something awesome to the table (albeit with rapper Moonbyul getting the least to do here), there is surely no denying the power and breadth of Hwasa and Solar's tonsils. And <i>damn</i>, just check this <a href="https://www.youtube.com/watch?v=rIr3Y4zEOoU" target="_blank">live rendition</a> from South Korean television earlier in the year.</p><p><b>2) YUBIN - PERFUME:</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/h7C3RyiZfYs" width="320" youtube-src-id="h7C3RyiZfYs"></iframe></div><p>What? You forgot about this one? Shamefully so did many fans and pundits (it has escaped the Dazed Top 40, which is just mind-boggling). But this Wonder Girl gave us a comeback miles better than former bandmate Sunmi; from the opening Indian strings to the rush of eighties synths and a back-and-forth rap leading to a slightly disjointed vocal bridge into a breathless chorus. This was an early year treat and still stands tall as a certified K-pop banger as 2021 concludes. An unrecognised classic from a second generation superstar that time seems to have forgotten. Absolutely fantastic.</p><p><b>1) KEY - BAD LOVE:</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/OYWWnd9ACMI" width="320" youtube-src-id="OYWWnd9ACMI"></iframe></div><p>One of four SHINee members, Key's idol status has long been established - but who could have expected this truly <i>epic</i> solo number: dashing, tormented and <i>just spine-tingling</i>. This is a giant-sounding statement, slickly realised and with a killer music video, boasting an almost instantly-memorable chorus. Moreover, there is just enough of an old-time glam-rock feel (not even kidding here) to make you forget the achingly modern electronics <i>and layers</i> of production driving his vocals from verse to chorus. No expense spared, in other words, but leave it to the geniuses at SM Entertainment to conceive a pop song this perfect.</p><p><br /></p>Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-80882550987684794632021-09-20T00:47:00.002-07:002021-09-20T00:47:15.435-07:00Family Trees<p>Clearing out the pictures of my late mum and my grandfather on my dad's side (William Waddell) looks just like me. </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_7qKhTJjF0jfIYW90yQ6HmK9yZQ-Uv0cZPvh0L_s9ZkwNlq6C2fn0cmGewBm3XOqEoiQL_VrTsBud0TtYjYxXt1L1sAlWPSMzwLnaiuYGXVgdbtP5rG0SeJfQPs6p27L1sbhw_p-HaljG/s1466/gg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1466" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_7qKhTJjF0jfIYW90yQ6HmK9yZQ-Uv0cZPvh0L_s9ZkwNlq6C2fn0cmGewBm3XOqEoiQL_VrTsBud0TtYjYxXt1L1sAlWPSMzwLnaiuYGXVgdbtP5rG0SeJfQPs6p27L1sbhw_p-HaljG/s320/gg.jpg" width="262" /></a></div><br /><p></p>Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-63290719696783518512021-08-25T08:11:00.030-07:002022-10-14T06:38:38.127-07:00Always Get it in Writing (Lessons from Working in Film) - 'Working' Free for Brian Robertson of Shudder's Cursed Films<p>It is hard to believe that October, 2021, marks the 12 year anniversary of me making 'extra features' (and EPK content) for a number of international Blu-ray companies. In that time I have worked closely with someone else (Naomi, of course) to produce a wide amount of material - some of which occasionally pops up as illegal YouTube uploads which we have to keep getting removed. It is a backhanded way of being reminded that someone, somewhere is still watching.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2pD0N5oJsc8JhF2TJFuPpm6C1RMgftrr7kyH6zN__YyV6FkZqDOmvg6-wmLR43NBhMlsSJ7mMa-_M5Q6DOKleK236pLqxn0nGyQPfZnx-78aUrOh9Q7XMJpbIQuoFIUweALPmzjm22tZp/s1144/cannibal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1144" data-original-width="807" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2pD0N5oJsc8JhF2TJFuPpm6C1RMgftrr7kyH6zN__YyV6FkZqDOmvg6-wmLR43NBhMlsSJ7mMa-_M5Q6DOKleK236pLqxn0nGyQPfZnx-78aUrOh9Q7XMJpbIQuoFIUweALPmzjm22tZp/s320/cannibal.jpg" width="226" /></a></div><p>Naomi continues to work hard on bonus material but as I have moved my life into academic research, which frowns on - and can even forbid - third party freelance work, I have had to take a step back and - as of 2021 - conclude that Naomi alone will produce any bonus content that comes to us. In short: I am no longer a 'director' or 'producer' of home video content and our new documentary <i>Searching for Cannibal Holocaust</i> marks a book-end of sorts (we began with Italian horror movies and I, at least, end with it too). It will have a German Blu-ray release soon and probably disappear into obscurity. Or that dubious YouTube infamy [see below - another one of our documentaries we had to have removed for copyright infringement].</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh312Bx6aOkHVoOlPSGf2bF2urYJAt-B_4FNXhsV3lQJmVHRjri_pSoGo6qIqAKO5gj27MUnq993joYRKd9nPgb5hTOUOO-V-fZmVWJuL9o4RBhzUGUl65erpZD_WdkxilR4-5y80_sEdlP/s1080/kim.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh312Bx6aOkHVoOlPSGf2bF2urYJAt-B_4FNXhsV3lQJmVHRjri_pSoGo6qIqAKO5gj27MUnq993joYRKd9nPgb5hTOUOO-V-fZmVWJuL9o4RBhzUGUl65erpZD_WdkxilR4-5y80_sEdlP/s320/kim.jpg" width="320" /></a></div><p>That is actually fine with me, in a sense, as I never made any of my work for the purpose of being 'celebrated' and I have become used to a single one line back cover piece on a Blu-ray ("Includes 42nd Street documentary" or, as in the case with our <i>All Eyes on Lenzi</i> documentary - not even mentioned on the stellar American release of <i>The Tough Ones</i>). I concluded <i>Searching for Cannibal Holocaust </i>during my mum's passing, finishing it the day before she passed, and I always felt it was better being kept as a private thing, which it sort of will become now - although it appears to be doing the rounds on Torrent sites. If this sounds like hard shakes then it is not: I was long fatigued by the film festival circuit. The networking involved in festivals, when attending as a producer (however low budget your work is) is exhausting and whereas I once embraced my annual Cannes Film Festival jaunt as a twenty-something journalist (see below when I interviewed T.A.T.U for <i>Record Collector</i> after a VIP concert), these days I think I might rather opt for an early bed. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNHUSRBiNUNxzwkFFv_v9ub0sATKZVanWFqKHXAHw2rbHl47s4wqqUcBlqUvqAn05xHG7H8e8c05fEG7RDJLNOnG3XpcUSv8zxX3zsxmphz70mZGeGCz7rusGlzlDnQHkMuKf8tw0jvCa3/s604/cannes.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="453" data-original-width="604" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNHUSRBiNUNxzwkFFv_v9ub0sATKZVanWFqKHXAHw2rbHl47s4wqqUcBlqUvqAn05xHG7H8e8c05fEG7RDJLNOnG3XpcUSv8zxX3zsxmphz70mZGeGCz7rusGlzlDnQHkMuKf8tw0jvCa3/s320/cannes.jpg" width="320" /></a></div><p>However, if there is one thing I have learned from <i>all of this</i> it is to get something in writing if you plan to assist anyone from a more privileged status (since this blog I have turned down two requests from different BBC series for assistance, based on what you will read here). Such was the case even recently when I failed to listen to my own advice. Someone from Canada, Brian Robertson, contacted me last year to ask me if I could help him with a series on Shudder called Cursed Films, directed by someone called Jay Cheel (who has never offered a very valid apology - remember: I was contacted here by them, not vice versa, and I did what I was asked). I had never seen Cursed Films and the feedback on my Facebook, when I asked about it, did not exactly fill me with hope (see a selection of it below - remember folks, listen to your friends). So I turned him down.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA5XhDSZySYoCzgb6O-84FNDHHabLEFOgJHfKCC8AUazyKoWouisvhsA6jTjMFI54QOn4XP3W9RnKP3q0GyMPEXj6X1gjDS86P4ztpSfIJSQJvmZTwjTQcHb2VLMj_nCA7p1XMKJhyxCQ2/s1646/cursed1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1646" data-original-width="1072" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA5XhDSZySYoCzgb6O-84FNDHHabLEFOgJHfKCC8AUazyKoWouisvhsA6jTjMFI54QOn4XP3W9RnKP3q0GyMPEXj6X1gjDS86P4ztpSfIJSQJvmZTwjTQcHb2VLMj_nCA7p1XMKJhyxCQ2/s320/cursed1.jpg" width="208" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpAlceH2Y8jS-4zkSIpntDlVGCCqhW7wd95alpFLlIdfGOTHF7ziC0bi6Fyr3CdjjhyiQD2bc674rSI7QCFrLACa5wQWBRC_5j3emnHNj00BJjDp2Mzjno_vGwFA5MoonfTXd6riB7Hi_A/s1557/cursed2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1557" data-original-width="1068" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpAlceH2Y8jS-4zkSIpntDlVGCCqhW7wd95alpFLlIdfGOTHF7ziC0bi6Fyr3CdjjhyiQD2bc674rSI7QCFrLACa5wQWBRC_5j3emnHNj00BJjDp2Mzjno_vGwFA5MoonfTXd6riB7Hi_A/s320/cursed2.jpg" width="219" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2kKJRY_pgxNiFREa8uacUs7x5Iwo8ZtKtaVCn9uV1sZm5t0fFEbfEBG2vkAAgWOLxybhv43_uN8IpuUiVqY71Z49kelqtEOVb6ihWEcjebp2XxYvxuuKPXHc5s_24FU7GNSErmgje19n-/s1456/cursed3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1456" data-original-width="998" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2kKJRY_pgxNiFREa8uacUs7x5Iwo8ZtKtaVCn9uV1sZm5t0fFEbfEBG2vkAAgWOLxybhv43_uN8IpuUiVqY71Z49kelqtEOVb6ihWEcjebp2XxYvxuuKPXHc5s_24FU7GNSErmgje19n-/s320/cursed3.jpg" width="219" /></a></div><p>But several emails followed, along with a request for a phone conversation. Brian may have been playing me along when he asked "did they kill real people in this?", although he admitted he had not even bothered to watch the movie yet, but at this stage I became convinced I really did not want to be involved. Especially because our own <i>Searching for Cannibal Holocaust</i> documentary was unveiling a new 'true crime'' twist on the notorious Italian horror movie that I wanted to keep secret. We had gone all the way to Amazonia to find out some new stories and the last thing I needed was for our work to be overtaken by someone else, armed with the 'twist' in the <i>Cannibal Holocaust</i> tale that we had uncovered. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmzcuEn07bJRb_rNcgPe-grsbuNUuw4M3TiHGSqIRIvN6C1CFGCW1ZcWihN3Y1c-Gq0yrcW-eXCFh0rcugetdBFderU083NLbIQ2cLQPBAeWWC9q9lxuD0G87zjOZMymtKWVCTUlxuhI11/s832/CannibalHolocaust.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="832" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmzcuEn07bJRb_rNcgPe-grsbuNUuw4M3TiHGSqIRIvN6C1CFGCW1ZcWihN3Y1c-Gq0yrcW-eXCFh0rcugetdBFderU083NLbIQ2cLQPBAeWWC9q9lxuD0G87zjOZMymtKWVCTUlxuhI11/s320/CannibalHolocaust.jpg" width="308" /></a></div><div><br /></div><br /><p>However, Brian was friendly, personable, relentless and even introduced me to Shudder kingpin Samuel Zimmerman who, on an email dated 1st December 2020, acknowledged knowing my work and stated he would be interested in screening our <i>Category III</i> documentary for possible streaming on Shudder (which we finished in 2017 for the Koch Films label in Germany). I had to point Samuel in the direction of Unearthed Films, who own the work for America, although this was never chased. But, naively believing it would be, instead of seeing this 'interest' for what it was, I said I would help with Cursed and thanked Samuel for his interest. The conditions were simple, however, if Brian was to film anyone we might need for our own work in Rome then our own camera person would be able to ask some questions at the end and continue the shoot with their own camera for us, if only for ten additional minutes or so. I should have known that <i>would not be happening </i>when Brian, after having put him in touch with a contact in Rome who assisted with getting him a rare sit-down with the Italian actor turned politician Luca Barbareschi, mentioned that any material for our use would be unlikely to go ahead (and remember I had assisted unpaid). Meantime I fended off increasingly easy-to-find-out-the-answer-to-questions, during a period where my mum was clinging to her life in her care home, such as "Can we film Lamberto Bava? He is credited as a producer on the movie..." (reply: if you read the FAB Press book on <i>Cannibal Holocaust</i>, released in 1999 and pictured below, which is the most basic research one can do, you will know what happened). This was all time wasting nonsense at a crucial point of finishing the proof read of my new academic press book, and personal challenges, but I reminded myself that there was still the possibility of our documentary on Shudder and that Brian Robertson was just a producer trying to get something made and probably appreciated the help. It was no big deal, really.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy644_hbSuMT_OFQgfI6C0krX3PgsevXxpzLt3wIIKfY5D1pPMN9_4NYm2w0TG3X6dcWrxv3G6xx13ECz-AxzQ9ooaVK8W_irx_DbwiEJ6VnIaksjM8YrmEsk4lTOXFt3qEx2It1CIKDvc/s475/51XNSHMVQ6L.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="475" data-original-width="334" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy644_hbSuMT_OFQgfI6C0krX3PgsevXxpzLt3wIIKfY5D1pPMN9_4NYm2w0TG3X6dcWrxv3G6xx13ECz-AxzQ9ooaVK8W_irx_DbwiEJ6VnIaksjM8YrmEsk4lTOXFt3qEx2It1CIKDvc/s320/51XNSHMVQ6L.jpg" width="225" /></a></div><br /><p>I had also been promised an interview with Cursed for the documentary. I therefore volunteered that Brian Robertson also interview a colleague of mine at the university, who has written extensively about exploitation cinema [see below]. Of course, Brian Robertson said yes. Bizarrely, however, and quite upsetting to myself, my colleague was later contacted and asked to come to London for the shoot (which he opted not to do, being collegiate and a mate and all that). At this point I was not contacted at all. Never again. At all. Despite the work (all unpaid) I had put in. I was not even given a final thanks nevermind a single, solitary email was sent to me regarding the status of screening our work for Shudder. Honestly, a mere 'sorry' would have gone a long way.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRbGIVL7x651ytHKQWOpOHYsBwk7NX_0g5l08zfqKR7fepUXkyMgMUeM1pEIsdj5hzqhltVQsnzrbYlo0PlxuKuwv2e4DyHaoCYniAuk2a_0Siknt90YxkA9_uvUnVR-9Yc069ygT_1lRC/s826/Screenshot+%2528373%2529_LI.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="482" data-original-width="826" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRbGIVL7x651ytHKQWOpOHYsBwk7NX_0g5l08zfqKR7fepUXkyMgMUeM1pEIsdj5hzqhltVQsnzrbYlo0PlxuKuwv2e4DyHaoCYniAuk2a_0Siknt90YxkA9_uvUnVR-9Yc069ygT_1lRC/s320/Screenshot+%2528373%2529_LI.jpg" width="320" /></a></div><br /><p>I emailed Brian saying I was surprised by this given that I was supposed to be interviewed and, yet, have had no reply (and I also mentioned my colleague need not go to London as he could be filmed here in Lincoln). However, there was no thanks and no further contact, clearly since he got what he wanted from me (and I hasten to add that I also got Carl Yorke and Francesca Ciardi involved in his series, with Samuel Zimmerman also offering no thanks - Carl, to his credit, has since indicated he would not have done this had he known how I was treated). No reply was forthcoming. No mention was given as to why someone <i>I literally work alongside was being contacted and not me, who had introduced them</i>. In other words: Shudder got what they wanted - the cast and crew from the film, part organised by me, for no payment, but a hollow 'promise' of looking at my work, allowing additional shooting time and presenting my story of the film in the final project (and stopping them from wasting the time of Lamberto Bava, see below, <i>who did not</i> have anything to do with<i> Cannibal Holocaust</i>). This is really 'first world problems', and I recognise this more than ever as the news plays out desperate Afghanistan refugees fleeing from a tyrannical authoritarian force. I absolutely understand that in the story of my life this is but a small footnote. A minor irritation. A blog post. However, I still do believe there is a lesson to be learned here.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi81tB892n8lwDQt7Bbdud3UAZ91XZMUL2xfd3FyVbN4dMqyasV-oP3fsNBTbNDIXcG5zhhHnPXzVsON27ZegbwoROfb3UeMOyliTmEO6PQU2jj5CSn3uQemPQMwvmZ1t4RW96Rz5R9P-h0/s601/lambertocalum.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="380" data-original-width="601" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi81tB892n8lwDQt7Bbdud3UAZ91XZMUL2xfd3FyVbN4dMqyasV-oP3fsNBTbNDIXcG5zhhHnPXzVsON27ZegbwoROfb3UeMOyliTmEO6PQU2jj5CSn3uQemPQMwvmZ1t4RW96Rz5R9P-h0/s320/lambertocalum.jpg" width="320" /></a></div><p>Ultimately, none of this would have happened if, of course, I had demanded basic payment for what was, in effect, a production job. I politely and efficiently answered an endless series of emails, and even calls, about <i>Cannibal Holocaust</i>, some sent within seconds of the last. I placed Brian in touch with cast/crew and a translator and well-connected cult film author and documentary-maker in Rome. I even took his long, laborious phone calls - and I ultimately did all of this <i>for nothing</i> because I never followed my own advice: <i>get everything in writing</i>. I only have myself to blame, but in penning this blog I hope that I can stop others from letting their initial enthusiasm blind their common sense. Whilst I have no way of knowing what the Cursed Films episode of <i>Cannibal Holocaust</i> will be like (note: Jay Cheel did not offer even a thanks, despite all the groundwork I did for this episode for free, which is appalling), I hope that even those of you who enjoy it can understand how upsetting it is to not even receive a cursory 'thank you' for your work and to end up being ghosted. I never believed that my (obscure) documentary and 'extra feature' work provided me with any sense of importance or 'recognition' - and I hope that this is made clear in this blog. But simple pleasantries sure do go a long way. </p><p>Moreover, if someone from Cursed Films contacts you and wants your help: <i>hang up</i>.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtajzfIkireUI3ts6NmLFzEPfAODZIlvRK1XCJMVM5tyHNfssLN33Keq7c50nWMsllkV2t4jRDp0YS_aYuLM7U85gLt6S-hK-VawbLP_7QuD_SCqTKOomzRyLrOE4nFr_ygtiOHt7y7oOf/s1129/twat.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1129" data-original-width="1129" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtajzfIkireUI3ts6NmLFzEPfAODZIlvRK1XCJMVM5tyHNfssLN33Keq7c50nWMsllkV2t4jRDp0YS_aYuLM7U85gLt6S-hK-VawbLP_7QuD_SCqTKOomzRyLrOE4nFr_ygtiOHt7y7oOf/s320/twat.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Samuel Zimmerman: the wrong kind of exploitation.<br /><br /></div><br />Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-54674604786879537992020-12-24T14:37:00.009-08:002020-12-27T11:26:20.166-08:00The Top 20 K-pop Singles of 2020<p>This is the sixth year I've done this, which makes me like a grand old man of K-pop. I have now been a fan for nearly a decade, which has gone fast, and it seems amazing that so little remains of the scene that saved me from becoming a retro-indie bore, snoring on about how music peaked with the third Belle and Sebastian album or something. <i>Anyway</i>, in a totally too-old-to-be-hipster kind of way, it has been a bit sublime to see what felt like my own little world - one which took me to China for three years for the express purpose of blowing my wages on travel to a number of very costly concerts - now become so mainstream that I can find the albums in my local HMV. I usually mention the <i>Dazed </i>list in this introduction, but honestly - it's so disappointing this year (and I've always thought a list which in 2014 never even had <a href="https://www.youtube.com/watch?v=q_eo5j5sib8">Sugar Free</a> in its top 20 eyebrow-raising anyway), I am not going to post a link. </p><p>Anyone (and I know it will be just a few) reading this has probably stumbled upon my blog accidentally or has some interest in K-pop already, so you already know some of the story of 2020. Nonetheless, here is a quick summary...</p><p>BTS ruled supreme with <a href="https://www.youtube.com/watch?v=0lapF4DQPKQ">Swan</a>, which is not (at the risk of upsetting the 'army') especially remarkable, Mamamoo, <a href="https://www.youtube.com/watch?v=UoI9riNffEU">whose 2020 singles</a> were <a href="https://www.youtube.com/watch?v=dfl9KIX1WpU">not as strong as usual</a>, splintered <a href="https://www.youtube.com/watch?v=NXnP06Ial08">into a</a> <a href="https://www.youtube.com/watch?v=bD06B-5SsSE">number of</a> <a href="https://www.youtube.com/watch?v=Z4NcMnaRK_s">solo presentations</a> (I've listed Hwasa as the best) <a href="https://www.youtube.com/watch?v=Fc-fa6cAe2c">as did EXO</a>, with Suho's superior effort threatening to sound like a Bends-era <a href="https://www.youtube.com/watch?v=Ygrv55VRRas">Radiohead song from those opening notes</a>. COVID-19 compromised the MAMA Awards and, of course, concerts, whilst many of the major names had disappointing comebacks - I wasn't too taken by <a href="https://www.youtube.com/watch?v=X-uJtV8ScYk">Stray Kids</a>, it's fine and all but it sounds<i> less grand</i> than usual, or <a href="https://www.youtube.com/watch?v=UB4FzllQCyc&t=4s">Seventeen</a>. The latest bout of <a href="https://www.youtube.com/watch?v=WqzTRK5GPWQ">A-Pink sugary-pop</a> (described as 'a sophisticated sound' by <i>Dazed</i>, <i>dear lord</i>) was far too sickly and Loona's <a href="https://www.youtube.com/watch?v=0-snXdhDs1w">big moment made my head hurt</a>. Maybe I'm (finally) too old? Judge for yourself, after all I am the fella who thought BTS sounded like a less interesting version of B.A.P. when they first emerged. I did like <a href="https://www.youtube.com/watch?v=P416UUerDVs">A.C.E. </a>- number one for <i>Dazed</i> - but it doesn't make my list whilst, four years later, and I am still not sold on <a href="https://www.youtube.com/watch?v=AHikmx0eVXM">Weki Meki</a>. Otherwise, 2020 was a good, solid year for the Korean pop scene - not as strong as the pre-2016 era, but about as healthy and exciting as you could hope, with a number of mature and maudlin songs, which might surprise some who are listening for the first time. </p><p>And <i>The Guardian</i> still doesn't list K-pop music in its best albums of the year, so we can at least have some comfort in the fact the 'establishment' remain slow to catch on. </p><p>K-pop moves <i>fast</i>, but the true classics are songs that endure forever. I can't imagine anyone will remember Weki Meki in four year's time. But they will probably still be listening to my number one choice for 2020. So without further ado, and with all sarcasm now at a limit, let's see what this year had to offer...</p><p class="MsoNormal"><b>20) Siyeon - 'Paradise'</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/JDmZ6oguzzM" width="320" youtube-src-id="JDmZ6oguzzM"></iframe></div><p class="MsoNormal">What? <i>Really? </i>Yes, in totally unexpected fashion, I am starting this year off with a heart-wrenching ballad, one that actually preceded the pandemic and which is just <i>absolutely beautiful</i>. Came along unexpectedly, pulled at the emotions and showed that Dreamcatcher are more than 'just' another leggy K-pop girl-group producing absolute bangers for over half a decade now. An exceptional 4.05 minutes of lovelorn emotion that, in the wake of such a sorry year, might provoke the feelings of even the biggest bigoted-Brexit buff (scrap that, this comment could be <i>a little bit too</i> hopeful, plus it's not got Liam Gallagher in it).</p><p class="MsoNormal"><b>19) Hyo - 'Dessert' (featuring Loopy and Soyeon)</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4VmLuWDkHYQ" width="320" youtube-src-id="4VmLuWDkHYQ"></iframe></div><div><br /></div><div>The solo(ish) career of Girls' Generation member Hyoyeon (or Hyo as she now prefers) has been glorious - her raspy voice reborn within a series of dance-orientated blinders that are usually released to capture the perfect flavour of summer abandon. This stomper was about as close as any of us got to imagining a drunken, late-night, second-wind in the tropics in 2020 but it captures a vision of a year that could have been, at least. Props to (G)I-DLE for lending Hyo their most charismatic member, Soyeon, to prop up not just the soundscape of this single but the attitude-infused music video. A triumph and enduring proof that SM Entertainment did well to keep those SNSD heavyweights on the payroll.</div><div><br /></div><div><b>18) Treasure - 'I Love You’</b></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/_hFarg-Obuc" width="320" youtube-src-id="_hFarg-Obuc"></iframe></div><div><br /></div><div>YG Entertainment were looking forward to a glorious 2020 before the obvious. Big Bang were due to make a return at Coachella, without Seungri of course, which would indicate that the label - unlike rivals SM - were capable to keeping a unit together for longer than just a handful of years and Black Pink continued to rule the planet. However, obviously G-Dragon and company failed to make their long-awaited reappearance and that meant that the label was reduced back to its focus on their stadium-filling girl group. Then, finally, came Treasure - featuring 12 (!) members, far more than the five-man Big Bang - and opting for a very different, more traditionally K-pop EDM sound. It's good, <i>not great</i>, but solid, catchy, infinitely memorable... not sure how such a teen-orientated concept will grow to Big Bang levels of superstardom but then I never thought Black Pink had it in them to eclipse 2NE1 (and musically they haven't, but that's another argument for another day). And yes, that <i>is</i> 'I love you' they are chanting over the thudding chorus...</div><div><br /></div><div><b>17) Oh My Girl - 'Nonstop' </b></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/iDjQSdN_ig8" width="320" youtube-src-id="iDjQSdN_ig8"></iframe></div><div><br /></div><div><i>Pure bubblegum</i>, but in the best sense of the word. I have come and gone with Oh My Girl, initially falling for the sound of their dream-trance classic <a href="https://www.youtube.com/watch?v=isUudT58Xfk">Closer</a> only to find out that they were never going to make anything nearly as good again (even the mini-album that it appears on defaults into more traditional uptempo chart-pop). This unashamedly thrilling bop doesn't change things but the band, still one member down since the dark and controversial departure of JinE, more than indicates that it can achieve a furiously accomplished pop landscape with the sort of tried and tested <i>lananananana</i> hook that <i>promises </i>to get lodged in your head and never leave. One of the year's most infuriatingly memorable hits.</div><div><br /></div><div><b>16) SuperM - '100'</b></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/nyzhtvtJWDQ" width="320" youtube-src-id="nyzhtvtJWDQ"></iframe></div><br /><div>This is the best SuperM song yet, also managing to sound the closest to a new EXO single in the process - and, whilst the whole 'K-pop Avengers' concept has not really reset the genre (as some expected), there is no doubting that SM has treated this particular pet project with a shed-load of tender loving care. The visuals are as colourful and exemplary as anyone might anticipate, whilst the song <i>feels</i> like an anthem, something that could (and will, when better times arrive) fill a stadium. Not to diminish what has come before, but with '100' SuperM felt - to this listener at least - a far more interesting prospect than before: decidedly more aggressive and a little rockier than before, although if the slightly more sublime <a href="https://www.youtube.com/watch?v=jUsUzbmSLow">Tiger Inside</a> is anything to judge by, this is a group still finding their sound. We clearly have a lot to look forward to.</div><div><br /></div><div><b>15) Dreamcatcher - 'Scream'</b></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/FKlGHHhTOsQ" width="320" youtube-src-id="FKlGHHhTOsQ"></iframe></div><div><br /></div><div>It is strange to think that Dreamcatcher were initially written-off as little more than a South Korean spin on Japan's Babymetal when, all these years later, their sound has evolved into something that could be described as an even more epic Evanescence. This 2020 single, with the usual slicker-than-slick production, shows the vocal prowess of all members and the whole gob-smacking rock-opera is complimented by a video rich in horror and fantasy imagery. This ambitious concept is a widescreen vision of anger and torment accompanied by brief moments of quiet reflection and it sounds absolutely <i>fabulous</i>. Attesting to their changeability, the accompanying effort from this year, <a href="https://www.youtube.com/watch?v=MZ4JGye4dQU">Boca</a>, is quite different.</div><div><br /></div><div><b>14) Gfriend - 'Mago'</b></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/LmBYPXGqtss" width="320" youtube-src-id="LmBYPXGqtss"></iframe></div><div><br /></div><div>I have been slow to catch onto GFriend, even, perhaps wrongly, dismissing them as purveyors of cutsie-pop, but 'Mago' is a toe-tapping classic and a single to fall in love with. K-pop has always enjoyed retro-sounding experimentation and this year brought us at least three high profile hits that adapted the synth-sonics of 1980s chart-pop, albeit bringing them crashing into the present day: 'Lovesick Girls' (see number 11) from Blackpink, 'I Can't Stop Me' (see number eight) from Twice and this welcome injection of disco nostalgia, which pulses with pastness from the opening beat. One listen and there is every chance you will find yourself repeating the 'tik tok' hook in your head, possibly in even your deepest sleep. A short-play to be proud of from a group that reached a peak in 2020. I <i>will</i> be listening in 2021.</div><div><br /></div><div><b>13) Hwasa - 'Maria'</b></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/tDukIfFzX18" width="320" youtube-src-id="tDukIfFzX18"></iframe></div><br /><div>For 'Maria', read Hwasa - this is a mature, and even slightly macabre, exploration of life as a K-pop idol from one of the most respected figures of recent years. Hwasa would have every right to rest on her laurels as a member of Mamamoo, one of the greatest and most successful bands to emerge from the Korean pop scene (full stop), but as with last year's fabulous <a href="https://www.youtube.com/watch?v=ScSn235gQx0">Twit</a>, we instead get a bombastic solo spin-off that lets us a little deeper into one of the genre's most accomplished voices. Whilst there's no doubting the talent of all four members of her band, it seems doubtless that Hwasa might be the personality that heads to sonically bigger things when the veteran quartet inevitably, albeit sadly, call it quits.</div><div><br /></div><div><b>12) Taeyeon - 'Happy'</b></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Raj-AuQgCTg" width="320" youtube-src-id="Raj-AuQgCTg"></iframe></div><div><br /></div><div>Look, Taeyeon's voice is <i>a weapon</i>. It kills me. To prove this, she was even sent to Amsterdam and Berlin to 'busk' for South Korean TV last year as they <a href="https://www.facebook.com/watch/?v=276117837063112">recorded people breaking into tears</a> (basically). Having been to Taeyeon concerts, and experienced her voice live, it is difficult to describe quite how it <i>feels</i> (I've seen people break and, yes, I was one). Certainly the best vocals I have ever heard (endured? At times, it feels painful to even listen without tearing up), this is one of her less <i>brutalising</i> singles - for that, see <a href="https://www.youtube.com/watch?v=4OrCA1OInoo">I</a> or <a href="https://www.youtube.com/watch?v=NHXUM-6a3dU">Fine</a> or <a href="https://www.youtube.com/watch?v=tyFgLWWPAeU">Signal</a> - but it is still curiously downbeat and depressing. It's not her strongest tune, nor one of her greatest numbers, but it was kind of what 2020 deserved - a fantasy of happiness that is simply is not there. Still the most iconic figure in K-pop and the one that makes me most ashamed for thinking Morrissey was a legitimate representation of angst in my youth.</div><div><br /></div><div><b>11) Blackpink - 'Lovesick Girls'</b></div><div><b><br /></b></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/dyRsYk0LyA8" width="320" youtube-src-id="dyRsYk0LyA8"></iframe></div><br /></div><div>What can you say? YG's premiere group are now second only to BTS in terms of international prestige and their year included a <a href="https://www.youtube.com/watch?v=fnPn6At3v28">collaboration with Lady Gaga</a>, a (surprisingly insightful, if still-approved-by-the-record-label) Netflix documentary to accompany their long, <i>long</i> awaited debut full-length album. Hard to believe it took four years to get the first LP out on the market but it certainly did nothing but raise the profile of the entire Blackpink brand. 'Lovesick Girls' does not reinvent their sound but it does show how effortless they make this sort of thing seem: 'Hey ladies, can you seamlessly recreate the sort of anthem for loss that you might have heard on Top of the Pops circa about 1987?' And there it is. Brilliant.</div><div><br /></div><div><b>10) Girlkind - 'Future' </b></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/qXGRDLwR-EM" width="320" youtube-src-id="qXGRDLwR-EM"></iframe></div><div><br /></div><div>If your initial reaction to this video is 'what the fresh hell is this?' consider yourself not alone. Indeed, the first response to this, and indeed their brilliant <a href="https://www.youtube.com/watch?v=fr6WtJ-r0FI">Psycho4U</a>, might also be wondering if this is some kind of project akin to the KLF, including with not entirely dissimilar vibes - <i>this is the comedown</i>. 'Future' itself is late 80s/ early 90s chill-out and somewhere between farce and genius in its video presentation ('have these kids even heard of the Hacienda?'). The band has yet to pick up much steam, amazingly, and yet this has to be one of the most experimental concepts and tunes of the year... it's just <i>perfect</i>. And just when you think you it cannot get anymore brilliant there is a rap at 1.57 that bridges <i>no less than three</i> subsequent changes in rhythm and then a dreamy outro that is swoon-some. One of the year's underrated gems.</div><div><br /></div><div><b>9) Aespa - 'Black Mamba' </b></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ZeerrnuLi5E" width="320" youtube-src-id="ZeerrnuLi5E"></iframe></div><br /><div><br /></div><div>SM Entertainment badly needed a new girl band after the Girl's Generation split of 2017, the break-up of F(x) a year previous and Red Velvet on a (sort of) hiatus in 2020. So it was that, after a few weeks of tease (not <a href="https://www.thesundaily.my/style-life/going-viral/sm-entertainment-new-kpop-group-aespa-reveal-meets-with-controversy-CD4849545">without criticism</a>) we got this outstanding debut, a (yikes) far better, and decidedly more experimental, debut that the aforementioned groups received before they went on to conquer K-pop (and continents). If there is a problem here it is not the song but rather SM's 'back to the drawing board' reliance on young pin-ups for their first ever female quartet - which is a break from F(x) and - arguably - Red Velvet. There's nothing especially <i>interesting</i> about the Aespa look (the video hints at the concept, at least, of a group that will embrace the virtual, whatever <i>that</i> is going to look like and inform) but maybe that will come later (indeed, who could have predicted Taeyeon from watching the video to 'Into the New World?'). As it stands, this is still a job well done.</div><div><br /></div><div><b>8) Twice - 'Can't Stop Me'</b></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/CM4CkVFmTds" width="320" youtube-src-id="CM4CkVFmTds"></iframe></div><div><br /></div><div>The best Twice song yet, and the best of the year's eighties throwbacks, this builds up to its breathless, exhausting, heart-racing chorus with the sort of aplomb and confidence one would expect from such a seasoned band. Try listening to this and not being awestruck by that '<i>awoowoowoo</i>' that is like a time machine back to a pivotal scene in a high school movie from John Hughes (and so good, they use it again for the outro). The accompanying album was a further highlight of 2020 and shows that Twice, finally, are beginning to mature in sound and concept. And damn, some of these high notes are just thrilling.</div><div><br /></div><div><b>7) (G)I-DLE - 'Oh my God'</b></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/om3n2ni8luE" width="320" youtube-src-id="om3n2ni8luE"></iframe></div><br /><div><br /></div><div>A band that has yet to offer a duff single, 'Oh my God', which features songwriting from the group's Hyuna figure (to reference much-missed, old label-mate 4 Minute) Soyeon, is another blinder. The song begins with religious iconography and sounds - perhaps indicating the end-of-world horrors of 2020 - before breaking into a sweet-sounding ballad that then shatters into a pure pop-rock bridge and into a chorus that slows things down all over again. It is exhilarating to experience and proves that K-pop remains a format for mind-melting musical structures. As for the video - well, it's both delirious and disturbing whilst also downright curious, potentially offering symbolism of a group suffering for their art (or a video director just in love with horror cinema). Cherish this ensemble whilst we still have them, given Cube Entertainment's history with finding a way to mess up a good thing.</div><div><br /></div><div><b>6) Ha:tfelt - 'Satellite (Feat. Ash Island)'</b></div><div><b><br /></b></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Gz-aoC1kcRk" width="320" youtube-src-id="Gz-aoC1kcRk"></iframe></div></div><div><br /></div><div>It feels like forever since we last heard from Ha:tfelt (aka Yeeun from The Wonder Girls) but her return this year with an astounding album, and a number of superb spin-off singles, really made up for her (much-missed) absence. This was one of the finest surprises of lockdown, her soaring, sumptuous vocals and tortured dreams evoked in this truly terrific number; a standout. It still feels, all these months later, like the small steps towards the beginning of summer. Perhaps that is what was intended. <i>Beautiful</i>.</div><div><br /></div><div><b>5) Everglow - 'La Di Da'</b></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/jeI992mvlEY" width="320" youtube-src-id="jeI992mvlEY"></iframe></div><div><br /></div><div>My hunch is that if you asked someone 25 years ago what pop music would sound like in 2020 they would not have been able to predict this. From the first thumping beats, this is the sound of motorcycle-at-full-speed down a futuristic cityscape in a steampunk nightmare movie. The video itself uses <i>Sin City</i> as a reference, but they could have played this over a blank screen and, turned up loud, it would still be difficult to sit still. It's the smash-shit-up-song of the year. </div><div><br /></div><div><b>4) Irene and Seugli - 'Monster'</b></div><div><b><br /></b></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Ujb-gvqsoi0" width="320" youtube-src-id="Ujb-gvqsoi0"></iframe></div><br /></div><div>Two erstwhile Red Velvet members also do the 'horror movie' thing (call it the influence of 2020) with this slow-fast composition that creeps (and that could be interpreted literally) into your head-space with some careful pacing and an evocative, instantly effective chorus-crawl. This is indeed a monster of a hit - and proof again that SM Entertainment are still at the very top of their game. Suffice to say, the next Red Velvet album cannot come soon enough, but for a year without the fabulous five this more than made up for their absence.</div><div><br /></div><div><b>3) NCT Dream - Ridin</b></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/vofjeJvRT9c" width="320" youtube-src-id="vofjeJvRT9c"></iframe></div><div><br /></div><div>SM again, but I will qualify by saying this that I have found the entire NCT system of groups one of their more inconsistent brain-farts. This <i>absolute banger</i>, however, is a work of genius, and an NCT moment that stands among the best. Turn that chorus up <i>loud</i> and discover for yourself that rare blessing in an otherwise terrible, tragic year - existing on a planet where new music this damn good is still being produced. To use an exhausted term, that is nonetheless especially fitting for this rollicking achievement, it <i>just rocks</i>.</div><div><br /></div><div><b>2) Sunmi - Pporappippam</b></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/H8YW1tlsmE8" width="320" youtube-src-id="H8YW1tlsmE8"></iframe></div><div><br /></div><div>The formula to the perfect pop song is something that few have managed to locate, but if ever there was a modern example to be taught in music classes around the planet, it might just be this enormous-sounding burst of energy from Sunmi. The artist, a former member of The Wonder Girls, rarely disappoints but even by her standards this is an insanely lofty setting-the-bar-so-high-few-will-even-get-beyond-the-first-few-steps level of achievement. It does what great pop all-too-rarely manages - combining a character study of newfound love and heightened pleasure with a comedown into self-doubt and personal tragedy. You don't need the lyrics to even know this, such as Sunmi's talent with composition and her mesmerising vocal evocations, but <i>damn</i> - as I said - this is the sort of blitz on your senses that would probably make me quit if I was a rival songwriter. How <i>do</i> you top this?</div><div><br /></div><div><b>Taemin - Two Kids</b></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/7UZRHi0kh3c" width="320" youtube-src-id="7UZRHi0kh3c"></iframe></div><br /><div><br /></div><div>So what <i>could</i> be better than Sunmi's beloved summer single in 2020? How about a return from Taemin, a superb solo album and this shot-in-Paris music video that feels very much of the year (see these deserted streets?) and is a breathy journey through a spot of heartfelt personal trauma that is all too easy to believe, given he is just three years removed from the suicide from one of his best friends. Do we sense a little of these feelings coming to the surface here? It seems so. And it makes for a difficult listen, with the potential to push tears or muster goosebumps. But Taemin has long been a unique genius, shading his character and entire persona in performances that marry dance and voice to ever more ambitious aural landscapes. There's tragedy in this majestic presentation - trying to dance and sing out what has possibly been left unexpressed since Jonghyun's death. Or perhaps it is just about a long lost love. Whatever, it's also the finest achievements of the year... and, it goes without saying, one hell of a song.</div><div><br /></div>Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-56299068038754316422020-04-07T10:45:00.001-07:002020-04-07T10:48:36.415-07:00Olga Karlatos interview<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmHhEN1P5SsW73E0Ags8VC07goKu8POzwdM2B01YyKrmsEf8jrHLDyd3nZIepAWX_VUbNo4vwD9lVAlhMd9bo8hYuuXKqWk0nNHVijcqQ3bJAlSldHlI4_mwdj_yX2IizTJSyyt32ZYVaS/s1600/olga.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="251" data-original-width="400" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmHhEN1P5SsW73E0Ags8VC07goKu8POzwdM2B01YyKrmsEf8jrHLDyd3nZIepAWX_VUbNo4vwD9lVAlhMd9bo8hYuuXKqWk0nNHVijcqQ3bJAlSldHlI4_mwdj_yX2IizTJSyyt32ZYVaS/s320/olga.jpg" width="320" /></a></div>
<br />
During these strange pandemic times, I've decided I'm going to try and find the time to upload some past interviews to this blog for you all to enjoy. The first is with Olga Karlatos, who I interviewed for the Arrow Video release of Lucio Fulci's all-time classic <i>Zombie Flesh-Eaters </i>(1979) back in 2012. This is the first and last time that the legendary actress has spoken about her career - she know resides in one of the few remaining British colonies, Bermuda, in North America and I have recently been in touch with her about, when this pandemic ends, going out there to film an interview with her. Sadly, she has told me she is not interested in doing another interview about the past. I think this is an enormous loss for fans and for me, of course, as an film academic and researcher - we really do have such a vital job to do in chronicling motion picture history and, as pretentious as this might sound, I take that responsibility very seriously. Whilst I hope that the great Olga Karlatos does change her mind one day, here - for now - is the only chat ever conducted with her. Enjoy!<br />
<br />
<br />
<div align="center" style="margin-bottom: .0001pt; margin: 0cm; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">AN EYE FOR AN EYE</span></b></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 11.0pt;">Olga Karlatos lost her sight (and her guts) for Lucio
Fulci but years later she has few regrets...</span></i></b></div>
<br />
<div align="center" style="margin-bottom: .0001pt; margin: 0cm; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">By Calum Waddell</span></b></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">Just who is that stunning actress with the rusty
blonde hair that highlights one of the most iconic moments in horror history
when her right eyeball meets a huge shard of wood almost 45 minutes into the
living dead action of <i style="mso-bidi-font-style: normal;">Zombie Flesh Eaters</i>?
The answer, as any Italian terror-junkie will surely know, is Olga Karlatos - a
woman whose past career as a certified Scream Queen icon is in deep contrast to
her present-day status as a lawyer-extraordinaire, located in the sunny climate
of Bermuda (in 2010 she made the island's local news for sitting the Bermuda
Bar at the tender age of 65). However, long before she swapped her acting
accomplishments for courtroom dramatics, the Greek-born Karlatos was whipping
up a storm in the likes of the classic spaghetti western <i style="mso-bidi-font-style: normal;">Keoma</i> (1976), the brutal police action-thriller <i style="mso-bidi-font-style: normal;">Convoy Busters</i> (1978) and, of course, <i style="mso-bidi-font-style: normal;">Zombie Flesh Eaters</i>. Following her role
as the ill-fated Mrs. Menard in Fulci's meat-munching masterpiece, Karlatos
took on the leading lady part in the Italian sex comedy <i style="mso-bidi-font-style: normal;">Skin</i> <i style="mso-bidi-font-style: normal;">Deep</i> (1979 - and not
to be confused with the Blake Edwards movie of the same name), appeared in the
ensemble of the hit television drama <i style="mso-bidi-font-style: normal;">The
Scarlet and the Black</i> (1983) and tested her thespian metal against the
likes of Anthony Perkins in <i style="mso-bidi-font-style: normal;">The Sins of
Dorian Grey</i> (1983). A return to fright-flicks came with Fulci's underrated,
New York-set giallo <i style="mso-bidi-font-style: normal;">Murder Rock</i> (1984)
and our lady can also be seen in the same year's Prince vehicle <i style="mso-bidi-font-style: normal;">Purple Rain</i>. Yet, Karlatos has remained
tight-lipped about her much-celebrated time in the splatter spotlight. At
least, that is, until now... </span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">Consequently, for this very special Blu Ray edition of
<i style="mso-bidi-font-style: normal;">Zombie Flesh Eaters</i>, the great lady
took the time to sit down with us and discuss her memories of the macabre...</span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">First of
all, can you talk about how you got your start as an actress?</span></b></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">Now this is a <i style="mso-bidi-font-style: normal;">very</i>
long story [<i style="mso-bidi-font-style: normal;">laughs</i>]… I was not a
"born" actress and I followed that path, not so much as a choice for
myself, but as an act of defiance against others. The "others" in
question were my parents, both of whom were orphans and were forced to remain
uneducated. As a result, they transferred their frustrated dreams onto their
children. I resented their overbearing demands for academic excellence and high
performance so I ended up doing the opposite of what I was expected to
do. By the age of 18, I had piled up many "laurels" as a
student, including scholarships, so my announcement that I would go to drama
school - as opposed to university - came as a terrible shock to everyone.
However, although my "rebellious" move may have had the desired
effect, I now had to live up to my choice. My only justification would be to completely
embrace it and do this as best as I could. This probably explains why, in my
retirement, I decided to go back to where I left off - which was to higher
education…</span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuqRVaSvg1P_Oc3sv2vKWRGwY-1N1RIM0wxJZ6_bq9a-iSrP6y3vIZjZroebKQbBC63QLLnAYpXbWEHNULO6RxEktcXutIYvkfZEwhQ9aDn7YDhoviFlr9Ia9kH8stZk-dEKDl5QtSHOks/s1600/olfa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="191" data-original-width="340" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuqRVaSvg1P_Oc3sv2vKWRGwY-1N1RIM0wxJZ6_bq9a-iSrP6y3vIZjZroebKQbBC63QLLnAYpXbWEHNULO6RxEktcXutIYvkfZEwhQ9aDn7YDhoviFlr9Ia9kH8stZk-dEKDl5QtSHOks/s320/olfa.jpg" width="320" /></a></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">Prior to
working with Lucio Fulci, you were cast in all number of fondly remembered
classics from the glory days of Italian genre cinema, such as <i style="mso-bidi-font-style: normal;">Keoma</i> and <i style="mso-bidi-font-style: normal;">Convoy Busters</i>. Can you give us an idea of how busy this chapter of
your life was? </span></b></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">Well I had many different chapters in my life [<i style="mso-bidi-font-style: normal;">laughs</i>]. Lucio, for example, was part of
the third chapter – what we can call the Italian one. Let me explain... The
first chapter was in Greece, where I was born. I left my country at about
22, married the French-adopted director of my first movie and moved with him to
Paris where I lived for about 10 years. Italy came after that. This was a very
important "second" chapter for me because Italy is where I "grew
up". I had been divorced by that point and I was on my own: having to support
myself and my son, and also financially assisting my parents and my former
husband. Thankfully, I built up a good reputation for myself and I was lucky to
make some successful movies - as well as some very bad ones [<i style="mso-bidi-font-style: normal;">laughs</i>]. So the height of my acting career
would probably be the "third" chapter and, yes, I was indeed kept busy
- and I needed it. In fact, I can’t possibly put a number to the roles I was
offered. Eventually, I was given the chance to work in the U.S. and I moved
there permanently. This was the fourth chapter. This is also where I met my
current husband who is a talented film producer. He was - or rather is - a
Bermudian and this is how I discovered Bermuda, and eventually decided to quit
show business. Bermuda is my fifth chapter. Who knows what’s next –if any [<i style="mso-bidi-font-style: normal;">laughs</i>].</span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">Quite a
life! So let's cut to the chase: how did you become cast in <i style="mso-bidi-font-style: normal;">Zombie Flesh Eaters</i>?</span></b></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">This is a question that only the late Lucio Fulci could
possibly answer! I guess he just thought that I was right for the part… I also
had a reputation as being reliable – I was always on the set when I was
expected to be, always prepared, I never wasted production time... that sort of
thing.</span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitmCIzqUO1eqwPzGLpDZJ7RuJWW0usi-W06_g8t4dmBiReU-dSNq9rrA4mmTNsVQ3NSvXrF7NO818D9EkSO0lFdsiiieFjgPubkj2OlxsxSZQbsTqJk8kHV5CVhCCgvhUlGzWSIoUY8-O0/s1600/olga.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="241" data-original-width="321" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitmCIzqUO1eqwPzGLpDZJ7RuJWW0usi-W06_g8t4dmBiReU-dSNq9rrA4mmTNsVQ3NSvXrF7NO818D9EkSO0lFdsiiieFjgPubkj2OlxsxSZQbsTqJk8kHV5CVhCCgvhUlGzWSIoUY8-O0/s320/olga.jpg" width="320" /></a></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">Can you
describe Lucio Fulci as both a director and as a person?</span></b></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">I can only say that my encounters with Lucio were
limited to the professional level. However, his human traits were obvious on
the set, as evidenced by the way he treated his actors and his team in general.
He was always firm but respectful, both demanding and kind, and, maybe
surprisingly, he always faced everything, even complex situations, with a light
touch of humour. This was actually one of his best qualities on the set
given that many of the scenes in <i style="mso-bidi-font-style: normal;">Zombie
Flesh Eaters</i> were meant to be really gory.</span> <span style="font-size: 11.0pt;">I should
also say that although I understand the focus of your attention is on Lucio as
a person and as a director - and I can confirm that I remember him fondly in
both of these capacities – I mainly knew him as the man behind the camera who
was calling the shots. You see, I did not know Lucio outside of the set so I
cannot contribute anything substantial to queries about him on a more personal
level. </span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">That said,
those whom I have met, who worked with Lucio as an actor, state that he had
great respect for intelligent women. Obviously - being extremely smart yourself
- did you also encounter this level of esteem?</span></b></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">Well that is very kind of you to say - thanks. However,
I couldn’t speak for Lucio and I have no way of knowing what he thought of me,
much less about whether or not he deemed me to be intelligent [<i style="mso-bidi-font-style: normal;">laughs</i>]. We did get along extremely well
though - and the fact that he cast me again in <i style="mso-bidi-font-style: normal;">Murder Rock</i> should confirm this.</span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">Where were
your scenes in <i style="mso-bidi-font-style: normal;">Zombie Flesh Eaters</i>
shot? Did you get to travel to the Caribbean?</span></b></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">I don't think I did... So far as I can remember, my
scenes were just shot in Italy but with all of my travels, I may be wrong.</span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">Do you have any
fond memories of your <i style="mso-bidi-font-style: normal;">Zombie Flesh Eaters</i>
co-star Richard Johnson? </span></b></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">Apart from working together on the set and getting
along fine - and I do recall he was very professional, a seasoned actor and a
congenial person - unfortunately I have no specific memories that I could
share…</span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRr5l3ZDXjXXUqQp-0f_SWqNhuU88r3T2RdfgepF0AryMv_ygQUTbahCy3iHtcyAdMTV_Rld2aAE3Ktc61lpC0xLIAQkpvgcsgN9sLjNUX7HSKrgkORPKiNK_83N92exuAAkimaB8oyrxz/s1600/olga.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="427" data-original-width="600" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRr5l3ZDXjXXUqQp-0f_SWqNhuU88r3T2RdfgepF0AryMv_ygQUTbahCy3iHtcyAdMTV_Rld2aAE3Ktc61lpC0xLIAQkpvgcsgN9sLjNUX7HSKrgkORPKiNK_83N92exuAAkimaB8oyrxz/s320/olga.jpg" width="320" /></a></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">What were
your thoughts of the <i style="mso-bidi-font-style: normal;">Zombie Flesh Eaters</i>
script? Did you ever expect the film to be considered a classic of the horror
genre?</span></b></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">No [<i style="mso-bidi-font-style: normal;">laughs</i>].
It is never the case, while a movie is being made, that one can know anything
about its future impact or success. One can <i style="mso-bidi-font-style: normal;">like</i>
the idea, and hope that there will be an audience for the finished product, but
little else. But, of course, every movie involves a lot of work and a serious
investment and why would anyone bother unless they seriously believe in the
project? Having said that, the routine answer is "nobody knows
anything" in show business [<i style="mso-bidi-font-style: normal;">laughs</i>].</span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">If I was to
approach the film in a more scholarly manner - it could be surmised that the
living dead in <i style="mso-bidi-font-style: normal;">Zombie Flesh Eaters</i>,
and the third world setting, present an allegory of the exploited nations
'rising up' to consume the West. What do you think of this sort of retrospective
academia?</span></b><br />
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">You know, I enjoy this sort of
"interpretation" – it is a process of thought that I find very
creative, regardless of whether or not it corresponds to any intention on the
part of the author. Everyone is free to read something into a subject.
Sometimes the intention is there, sometimes it comes as a surprise, sometimes a
reading can be frustrating if the intention was quite the opposite or none at
all. Again, I cannot speak for Lucio, and his conceptualisation of his work,
but I happen to like your suggested interpretation. It can’t be definitive, of
course, because it is all subjective...</span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyjsorgR-phkTUE2vLhFfOFmY9_t2TiPu6CVNb9aKgc_XIWiE0zzivA2Qab8JqAoBLVnWUNlTo_hyLGnjORc76RGN0pjIq6imA1DD4KqDDOp7J0ZhuUyhUshSuz6mPSBxJXT-GgeN7uUwJ/s1600/olga.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="530" data-original-width="392" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyjsorgR-phkTUE2vLhFfOFmY9_t2TiPu6CVNb9aKgc_XIWiE0zzivA2Qab8JqAoBLVnWUNlTo_hyLGnjORc76RGN0pjIq6imA1DD4KqDDOp7J0ZhuUyhUshSuz6mPSBxJXT-GgeN7uUwJ/s320/olga.jpg" width="236" /></a></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">How did you
feel about the splinter-in-the-eye scene? Some critics have read this as being
especially misogynistic...</span></b><br />
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">Again, this is another "interpretation" -
albeit one which I happen to like less but which I also respect, nevertheless,
as a free exercise of criticism. My own limited view is that this was just
meant to be a horror movie and, personally speaking, I was happy that the
victim was a woman because it meant that I got the part [<i style="mso-bidi-font-style: normal;">laughs</i>]. It could have been anyone though – a man, a child, a
person of any age, gender, or appearance, depending on the overall story line…</span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">Did you see
the special effect for the splinter gag being produced on the set? How was the
experience for you?</span></b><br />
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">I remember vividly the excruciating experience of
having a cast taken from my face – with the plaster poured all over me to
create the mould for the head that served for the splinter gag. Even more
uncomfortable was the post-splinter days when I had to live with an eye patch
and undergo hours of make-up and wait for my scenes to be shot! Funnily enough,
as much as I had trouble adjusting to being one-eyed, the day the patch finally
came off, it took me even more time to re-adjust to binocular/ stereoscopic
vision [<i style="mso-bidi-font-style: normal;">laughs</i>]. </span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">What about
the sequence where your torso is torn apart by the living dead? Can you share
some memories of this?</span></b></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">Ah yes, the scene where you see me being eaten, and
boasting a cut-off leg no less, was not a lot of fun either [<i style="mso-bidi-font-style: normal;">laughs</i>]. I remember I had to lie down on
the floor with one leg through a hole drilled into the floor, and hours of
make-up for the "cut" leg without being able to move for the whole
day. The cramps were killing me – and there was no break because the make-up application
was so lengthy… I won't get into details but you can take it from me: it was
tough! But, this is the life of an actor. And I have done things even more
difficult and painful than that, if you can believe it…</span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">You
certainly suffered for your art - but did you know that, at the time, <i style="mso-bidi-font-style: normal;">Zombie Flesh Eaters</i> was taking a
considerable bite out of the box office in the UK, the USA and all over the
world?</span></b></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">No, to date I had no idea about any of the above [<i style="mso-bidi-font-style: normal;">laughs</i>]. I am actually surprised at hearing
this news, after such a long time…</span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">And were you
pleased to be reunited with Fulci for <i style="mso-bidi-font-style: normal;">Murder
Rock</i>?</span></b></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">Of course I was…. I got the job! And I knew that it
was going to be another good, professional experience and that there would be a
decent final product. What more can an actor hope for? Other than that I do not
remember much about <i style="mso-bidi-font-style: normal;">Murder Rock</i> -
even my character!</span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsp30LtmdOZI0gkilA8GxvDrjDasnY_3xHZzakhKWgmtovg-hn2E-3w7hrV9N-jgaqQRD0Lc6xtINcoKAX5OzCm5y4vFUCGsAhK2OLHbBmqCQj3wsEQ4kAWiknO_JNnh6gaYrT8fXWrxvY/s1600/olga.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="271" data-original-width="500" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsp30LtmdOZI0gkilA8GxvDrjDasnY_3xHZzakhKWgmtovg-hn2E-3w7hrV9N-jgaqQRD0Lc6xtINcoKAX5OzCm5y4vFUCGsAhK2OLHbBmqCQj3wsEQ4kAWiknO_JNnh6gaYrT8fXWrxvY/s320/olga.png" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: 11.0pt;"><br /></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;"> </span><b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">Do you
recall if there was any evidence of Fulci's growing health problems on the set
of <i style="mso-bidi-font-style: normal;">Murder Rock</i>?</span></b></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">I never knew he had any health problems at the time.
No one else did either - at least that I know of. It could be that they
developed later, after I moved to the US and broke away from the film industry.
I honestly don’t know.</span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">Inevitable
question - you gave up on acting: <i style="mso-bidi-font-style: normal;">why</i>?
</span></b></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">As to the "why" - it is another long story.
I guess I had enough by the time I found serenity in Bermuda. I was ready to do
something else like… grow tomatoes [<i style="mso-bidi-font-style: normal;">laughs</i>].
Years later, I again decided to do something different and embarked into
academic pursuits. Now, I have just started a new career as a lawyer. I am
still pondering what to do when I grow up [<i style="mso-bidi-font-style: normal;">laughs</i>]…
</span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 11.0pt;">And are you
pleased to be remembered and have some of your past work recognised,
reappraised and even rediscovered by new generations?</span></b><br />
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 11.0pt;">I am <i style="mso-bidi-font-style: normal;">stunned</i>
every time someone remembers me - and my past. It is so long ago. I would lie
if I said I am not pleased, but, if my work is "re-discovered" as you
suggest, it will be because of some movie as a whole. Actors are only one of
the elements, the authors and directors come first. An actor is as good as the
final product is. It really is a team work. It so happens that it is in the
nature of the job for actors to be exposed to the public eye. Still, it is
first and foremost a job that requires hard work and commitment. Today, as a
lawyer, I still do the best I can. Nothing has changed, except the nature of
the job. Lawyers do not expect to be "re-discovered" or remembered.
But you know what? This is fine with me [<i style="mso-bidi-font-style: normal;">laughs</i>].</span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg96PlSm31aRDOhtAyOFExnKjjInRpYpczA56uXxypolOLZI8bf74uxDSBlxkb0izrW4zGFfbkUzWxxJDC-gEVMhcL-fEJMMx6OETiV0ccxdeG__Y5klPWdyw71TkCq4Sc9qVdhO8HY8-_E/s1600/olga.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="690" data-original-width="1600" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg96PlSm31aRDOhtAyOFExnKjjInRpYpczA56uXxypolOLZI8bf74uxDSBlxkb0izrW4zGFfbkUzWxxJDC-gEVMhcL-fEJMMx6OETiV0ccxdeG__Y5klPWdyw71TkCq4Sc9qVdhO8HY8-_E/s320/olga.jpg" width="320" /></a></div>
<b><i><span style="font-family: "times new roman" , serif;"></span></i></b><br />
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-57768768008696339562019-12-28T15:39:00.002-08:002019-12-29T10:22:49.035-08:00Woohoo, my Top Twenty K-pop song of 2019Anyone even out there?<br />
<br />
It's been a year since I updated this. Sorry. I really do want to keep these Top Twenty K-pop lists of the year coming though. It seems strange writing this at the end of the decade. I've written about Korean films ever since I interviewed Park Chan-wook at the annual Edinburgh Film Festival back in 2004. However, my musical interests were always fairly plain - I had been an NME-junkie and token 'indie' music follower since my days as a student in the late 1990s. Never did I think, if you told me this a decade ago, that I would have binned my Morrissey CDs and have an iTunes playlist that is now almost entirely made-up of Korean music. I've even written about K-pop 'professionally' (i.e. I'm paid for it) over the past few years - with articles on the form in MYM, NEO and most recently in Anthem Publishing's BTS and Blackpink special edition magazines.<br />
<br />
A decade ago I would turn up to gigs at the (now long-demolished) Edinburgh Picture House or the Liquid Rooms (where I once saw, yuck, Scouting for Girls play to about 150 people) and hope that something, <i>anything</i>, would reignite my passion for music - the same passion that once led me to bands such as Belle and Sebastian, Pulp and Suede. Little did I know that it would be a nine-member grouping called Girls' Generation that would solve the problem - but almost ten years ago it was songs such as <a href="https://www.youtube.com/watch?v=6SwiSpudKWI">'Genie'</a>, <a href="https://www.youtube.com/watch?v=F4-SxcCO5d0">'Hoot'</a> and <a href="https://www.youtube.com/watch?v=9gQs7damTIE">'Bad Girl'</a> that would blow my mind and lead to my discovery of other outstanding bands such as <a href="https://www.youtube.com/watch?v=vLbfv-AAyvQ">2NE1</a>, <a href="https://www.youtube.com/watch?v=AAbokV76tkU">Big Bang</a>,<u><span style="color: #000120;"> </span></u><a href="https://www.youtube.com/watch?v=TI0DGvqKZTI">Exo</a>, <a href="https://www.youtube.com/watch?v=EWSTtFoD0Ms">T-ara</a> and so many more. Suddenly I had a wealth of great young music to throw myself into - and my first visit to Seoul in December, 2013 was like experiencing a fresh new world entirely. The tunes blasted from every shop corner and inside every bar or coffee shop - the entire trip documented by the singles from that period which came from <a href="https://www.youtube.com/watch?v=R1-BTf3_Mys">AOA</a>, <a href="https://www.youtube.com/watch?v=kJGcO5Une-g">Block B</a>, <a href="https://www.youtube.com/watch?v=qCPFK61Yu3M">Crayon Pop</a>, <a href="https://www.youtube.com/watch?v=RKhsHGfrFmY">G-Dragon</a>, <a href="https://www.youtube.com/watch?v=hKbNV-4b_g8">SHINee</a>, <a href="https://www.youtube.com/watch?v=tAoME_aMm1w">T.O.P</a> and so many more. This was a city confident in its own grooves - and it made me fall in love with a strange, frequently experimental, pop music that eventually blew-up in the West with BTS (ironically one of the super-groups I never really became seduced by). And before that moment, I had to navigate all the usual Orientalist nonsense about 'liking the girl bands because they are hot' and/ or 'all these members look the same' (both conclusions which I personally found infuriating and xenophobic to the extreme).<br />
<br />
In the interim I had moved to China for three years and got to see many of the biggest bands live for myself. Whilst the 'old me' would have been in a proverbial seventh heaven about The Stone Roses reforming, the 'new me' skipped their comeback entirely and instead saw full concerts from Big Bang, EXID, EXO (twice), G-Dragon, Girls' Generation (three times), Hyuna, SHINee, Taeyang, Taeyeon (twice), T-ara (twice) and two SM Towns (as well as a full-day K-pop celebration in Seoul that included Blackpink, Sunmi, Twice and other superstar names). Call it a (near) mid-life crisis if you want, but I felt young again - and K-pop is to blame/ congratulate for that.<br />
<br />
So if there is a story from the past decade, for me, that has changed my life it has been many of the artists I've publicised and spoken about on this blog. As such, here's my usual Top Twenty list for 2019. If you have browsed this blog accidentally, for any reason, my hope is that there might be something here to give you the same 'mind-blowing' experience that I, myself, had not so long ago...<br />
<b></b><br />
<b>20) Tiffany Young - Magnetic Moon</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/oM_t7Y8gBwU/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/oM_t7Y8gBwU?feature=player_embedded" width="320"></iframe></div>
<br />
Tiffany Hwang went through a name change on her transition from K-pop superstardom to California indie-girl, but her best American single to date affirms that she is probably destined to remain a fixture in the heart of many a fan from the trend's golden era. Whilst the former Girls' Generation member no longer has the sort of profile that was afforded to her via SM Entertainment, 'Magnetic Moon' is her best standalone project since the swoonsome <a href="https://www.youtube.com/watch?v=zQ6u3FO-aRM">'Heartbreak Hotel'</a> back in 2016. By rights this could have topped the charts across the planet but with Tiffany now falling between the cracks of 'legit' K-pop and mainstream chart 'success' she seems to have missed out on many of the 'Best of' lists from 2019. So consider this as at least one attempt to right this blatant wrong - the song is <i>brilliant</i>.<br />
<b></b><br />
<b>19) Infinite - Clock</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/rtxfbnYMWaw/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/rtxfbnYMWaw?feature=player_embedded" width="320"></iframe></div>
<br />
The return of an old idol band favourite in 2019 with this absolutely rollicking early year single. A mid-tempo outing that builds into a classic, <i>epic </i>K-pop chorus of lovelorn pain. Yes, yes this does not <i>really</i> reinvent the wheel, but if you want a grand heartbreaker from the past 365 days (and if you love K-pop the chances are you live for this sort of thing) then 'Clock' is right up there with the best of them. Unfortunately, thanks to military service and contract negotiations running dry, it seems the band has concluded its run - but, to be fair, this superb short-play is a great way to go out.<br />
<br />
<b>18) Park Bom - Spring</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/dnQflYjicms/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/dnQflYjicms?feature=player_embedded" width="320"></iframe></div>
<br />
Park Bom has had a turbulent year - with the solo idol tearing her heart out on the hit television show <i>Queendom</i> (more on that later), including one of the year's sweetest moments wherein she cried her eyes out after an encouraging video message from former 2NE1 bandmate Minzy. As part of a supergroup that split in 2016 but released its last album almost six years ago, it was always going to be tough for Park Bom to warm herself back into the iPads of younger K-pop obsessives and, so it was, that she came last of the<i> Queendom</i> lot whilst expressing her continued grief at the break-up of her old unit. Nevertheless, comeback ballad 'Spring' is a delight and a reminder of why Park Bom can easily claim to be one of the great voices of the K-pop revolution.<br />
<br />
<b>17) LOONA - Butterfly</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/XEOCbFJjRw0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/XEOCbFJjRw0?feature=player_embedded" width="320"></iframe></div>
<br />
There's a mesmerising early nineties-dance groove to this sublime opus that really captivates me - and, <i>damn</i>, it is good chill out music. Possibly the finest LOONA single to date - whilst the K-pop world (and end of year lists) seem to be more enthusiastic about the catchy but less adventurous, if similarly multi-membered, <a href="https://www.youtube.com/watch?v=kOHB85vDuow">Twice</a>, I'll happily toast to this understated gem.<br />
<br />
<b>16) Sunmi - Noir</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/CNeNwplE_aw/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/CNeNwplE_aw?feature=player_embedded" width="320"></iframe></div>
<br />
I don't know if this flamboyant bop should be listed even higher, but Sunmi is her own worst enemy with her singles due to the <i>exceptionally</i> high standards of last year's <a href="https://www.youtube.com/watch?v=TNWMZIf7eSg">Siren</a>, the unforgettable fury of <a href="https://www.youtube.com/watch?v=ur0hCdne2-s">Gashina</a> and her bombastic redux of <a href="https://www.youtube.com/watch?v=4umc87T5UMs">Cheryl Cole</a> with <a href="https://www.youtube.com/watch?v=F4qfN5UeFvQ">Heroine</a> (yes really, this did happen). In comparison 'Noir' is not quite so instantly 'wow' but that does not make it anything less than first class and the video is, as expected, another gem from a singer who puts an exhaustive amount of effort into her music and persona. As with every Sunmi single you might want to turn this one up <i>loud</i>. <br />
<b></b><br />
<b>15) Stray Kids - Side Effects</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/5rPluw_-Eb4/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/5rPluw_-Eb4?feature=player_embedded" width="320"></iframe></div>
<br />
This was listed as the best K-pop song of the year by <i>Dazed</i>, but my general impression of <i>that</i> list is that<i> 1) </i>Any list which does not have 'Lion' on it is not worth your attention and <i>2)</i> I think that as smart and well put-together this mash-up is, it is not quite <a href="https://www.youtube.com/watch?v=wq7ftOZBy0E">'I Got a Boy'</a> and Stray Kids have still to top the stadium-filling ambition of <a href="https://www.youtube.com/watch?v=AdfIfFGCqgo">'Hellavator'</a>. With this said, make no mistake - this a <i>brilliant</i> piece of experimentalism and gives the lads a perfect rock-dance-pop palette in which to fuse a number of sudden pace-changing grooves with abrupt stop-start moments. On first listen it is both slightly annoying and, as it grows into itself and moves to its final crescendo, also totally euphoric. All these listens later I am not so sure that this is not the whole point. This is K-pop at its most challenging, insofar as 2019 goes anyway, and the end result reminds us that we are still in a glory period for new music.<br />
<br />
<b>14) CLC - No</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/ZvhpjERxJlQ/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/ZvhpjERxJlQ?feature=player_embedded" width="320"></iframe></div>
<br />
The 'girl power' anthem of the year, this 'no means <i>no</i>' statement on toxic masculinity became a grower and a certified favourite of 2019. It blows-up into a celebratory, drunken chorus, of course, before pulling the wool out from under your feet and feeling rather more sombre. One of 2019's cleverest compositions, it is good to see CLC establish themselves as a force for the future of a less sexually problematic K-pop scene...<br />
<br />
<b>13) Hara - Midnight Queen</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/ldJDIZfocw4/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/ldJDIZfocw4?feature=player_embedded" width="320"></iframe></div>
<br />
The <a href="https://www.bbc.co.uk/news/world-asia-50535937">suicide of Goo Hara</a> was one of the year's most tragic happenings (especially since her attempt earlier in the year <a href="https://www.allkpop.com/article/2019/05/goo-hara-regains-consciousness-and-talks-about-why-she-attempted-suicide">had been unsuccessful</a>). The news made the mainstream (coming as it did so soon after the passing of her best friend Sulli), and some odious, paternalistic comments from the usual Western 'experts' (I'm not naming names) but rarely mentioned was the fact that the singer - who had reached K-pop superstardom with her former mega-group <a href="https://www.youtube.com/watch?v=j7TYiyEhxdI">Kara</a> - had been struggling to regain career ground as a solo starlet. The pressure of this, alongside her well-documented personal problems, was doubtlessly leading the performer down a very dark road. The Japanese single 'Midnight Queen', which allowed her a short tour before her death, went under the radar of many a K-pop fanatic (thanks to the fast-moving nature of the trend, Kara feels as 'yesterday' as 2NE1). In truth, the comeback was the most Kara-sounding pop epic since, well, Kara (and uses the same production staff behind-the-scenes which may explain this). Whilst this did not point towards a particularly <i>original</i> solo career for the troubled artist, it does mean that fans of Goo Hara got one last gem to treasure before the troubled artist left us far too early, aged just 28.<br />
<br />
Note: the above is a fan-made video of the single as Hara only released an official video of the shortened cut - which can be seen <a href="https://www.youtube.com/watch?v=VuIvox6YNwM">here</a>.<br />
<br />
<b>12) Dreamcatcher - Piri</b><br />
<b></b><b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Pq_mbTSR-a0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/Pq_mbTSR-a0?feature=player_embedded" width="320"></iframe></div>
<br />
Now <i>this</i> is how you stage a comeback. From the opening whistle, 'Piri' establishes itself as a force to be reckoned with. This is maybe the best attempt yet at perfecting that Dreamcatcher rock-pop crossover sound which has been ongoing for the past three years (they have been cruelly referred to as a South Korean attempt at Babymetal, which is sonically nonsense). This might be the best Dreamcatcher outing yet and, hopefully, a pointer for a group growing in its sophistication - let's hope that they continue to release scorchers of this quality.<br />
<br />
<b>11) Blackpink - Kill This Love</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/2S24-y0Ij3Y/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/2S24-y0Ij3Y?feature=player_embedded" width="320"></iframe></div>
<br />
In our beloved K-pop world, Blackpink are now rivalled only by BTS in terms of global superstardom - but the foursome has achieved this stature without a single album to their name, three-and-a-half years after their debut. <i>That</i> in itself is mind-boggling. Perhaps it is the lesson of not overloading fans with material and keeping us all wanting, but it is difficult to imagine Blackpink sustaining their level of popularity with their current 'annual single' approach. Nonetheless, 'Kill This Love' is a perfectly uncomplicated dance floor stomper. It's not the outlet's <a href="https://www.youtube.com/watch?v=Amq-qlqbjYA">greatest moment</a> but it's still nearly flawless. To be fair, at this stage it is difficult to imagine Lisa, Jisoo, Jennie and Rosé putting a foot wrong - let's just hope the <a href="https://www.straitstimes.com/lifestyle/entertainment/blackpink-fans-on-warpath-after-agency-fails-to-release-new-album-from-hit">problems at record label YG</a> don't see them tossed in the same direction as former labelmates 2NE1.<br />
<br />
<b>10) Mamamoo - Gleam</b><br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/uIAScvNDQpI/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/uIAScvNDQpI?feature=player_embedded" width="320"></iframe><br />
<br />
Arguably the best K-pop band currently in existence, Mamamoo had a fantastic 2019 - winning the <i>Queendom</i> television show and securing <a href="https://www.youtube.com/watch?v=GkW538hhFaY">some acclaimed</a> <a href="https://www.youtube.com/watch?v=U_dpIqCDcZk">solo hits</a> for the four band members (see below as well). 'Gleam' is another belter that in any other year would perhaps be even top five or top three. I mean,<i> just listen</i> to these vocals. As with Sunmi and 'Noir' the problem with Mamamoo is that their best moments are so <i><a href="https://www.youtube.com/watch?v=H8NCOA2bK6k">perfect</a></i> that it makes songs as fabulous as 'Gleam', which rate a 9/10, feel a little out of sync with the perfect tens that have <a href="https://www.youtube.com/watch?v=y2OFPvYxZuY">come</a> <a href="https://www.youtube.com/watch?v=G5UM2rOyqr4">before</a>. As Mamamoo come to that sixth year anniversary in 2020, let's all hope that this is a band in it for the long-term because a group this remarkable is a rare beast and it would be heart-breaking to lose them.<br />
<b></b><br />
<b>9) Exo - Obsession</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/uxmP4b2a0uY/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/uxmP4b2a0uY?feature=player_embedded" width="320"></iframe></div>
<br />
Exo remains a group that explores sound-scapes that, just ten years ago (during the end days of my dingy indie music days) I would have found impossible to even imagine existing. Now down to six members (two military enrolments and Lay still hampered by the THAAD-missile stand-off between South Korea and China), Exo have not missed a beat in 2019. This is still the sonics of a band at the very peak of its powers - a grouping so formidable that I only wish they had been around when I was an undergraduate having to convince myself Oasis were worth buying into. Unsurprisingly, the subtle, sexy beauty of 'Obsession' is another work of genius in a year that has been <i>packed</i> with quality comebacks from veteran groups. Speaking of which...<br />
<br />
<b>8) Taemin - Want</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/-OfOkiVFmhM/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/-OfOkiVFmhM?feature=player_embedded" width="320"></iframe></div>
<br />
With SHINee on hiatus due to that 'army' thing (and the ball is still out on whether or not, post-Jonghyun, a comeback should have been quite such a priority), Taemin had a packed 2019 what with <a href="https://www.youtube.com/watch?v=pAnK1y7qjuE">SuperM</a> and this smooth-as-fuck - if inevitably Michael Jackson-ish - sweeping rock-ballad. Taemin remains one of the most captivating, if mysterious (and even, I suspect, quite haunted), male K-gods - but with 'Want' he has his best anthem yet and a tune that stands tall as one of the most mesmerising and, frankly, fuckable of 2019.<br />
<br />
<b>7) Sulli - Goblin</b><br />
<b></b><b></b><b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/P5uE7KDkDFE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/P5uE7KDkDFE?feature=player_embedded" width="320"></iframe></div>
<br />
This was always going to be a tough one to write about. When Sulli passed, at age 25, it was the biggest K-pop scandal since the death of SHINee's Jonghyun in December, 2017. Unlike the boy band hero, Sulli - who stopped promoting with SM band<a href="https://www.youtube.com/watch?v=n8I8QGFA1oM"> F(x) </a>in 2014 - did not leave behind a posthumous album of <a href="https://www.youtube.com/watch?v=pIsQVyDn8HU">gut-wrenching anthems</a> such as Jonghyun - but, over the summer period, she dropped this unexpectedly sombre and slight single. It was widely acclaimed, but the intro and outro obviously pointed to a creative force that was disturbed if not outright exhausted. Whether or not SM just assumed Sulli to be playing a 'character' in her own fiction, time now indicates that 'Goblin' was something weightier and far more disturbing. With each month since her passing, it becomes less and less easy to listen to, but that should not diminish from its charms nor from its honesty...<br />
<br />
<b>6) Hwasa - Twit</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/ScSn235gQx0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/ScSn235gQx0?feature=player_embedded" width="320"></iframe></div>
<br />
Solo-power in the shape of Mamamoo's Hwasa - who had this superb single to showcase her stunning vocal range. Mamamoo have always had a slightly outré and eccentric feel to their music, which also made its way into Hwasa's solo debut which feels like a confident and relaxed (if still forceful) statement of loved-up confusion. Whilst the lyrics perhaps should have been stronger, especially given the quite dominant persona of the singer, 'Twit' remains as memorable as some of the best of Mamamoo and that in itself is one hell of a compliment.<br />
<br />
<b>5) ONEUS - Valkyrie</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/k6msd9uh8nA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/k6msd9uh8nA?feature=player_embedded" width="320"></iframe></div>
<br />
Getting the year off to a fine start was ONEUS - who can certainly boast about having the best opening riff to any tune of the year. What else is there to say? To steal a well-worn term...<i> this just fucking rocks</i>.<br />
<br />
<b>4) Red Velvet - 'Psycho'</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/uR8Mrt1IpXg/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/uR8Mrt1IpXg?feature=player_embedded" width="320"></iframe></div>
<br />
Red Velvet's Christmas single may only have been with us for a week but it's so immediately catchy and kooky (in that now-classic Red Velvet way) that it has to be top five for 2019. I would even go so far as to argue that this is the heavenly fivesome's best release since the classic '<a href="https://www.youtube.com/watch?v=WyiIGEHQP8o">Red Flavour</a>' two-and-a-half-years ago. Yes, it is<i> this good</i> and thus it easily lays claim to a position this far up my top twenty (and provides another argument for waiting until the end of 2019 before writing these lists!). Whilst Red Velvet may never overtake Girls' Generation's spot as the all-time greatest SM Entertainment femme-gathering, it is surely - at this stage - not without trying...<br />
<br />
<b>3) AOA - Sorry</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/FwsUHHiPcRA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/FwsUHHiPcRA?feature=player_embedded" width="320"></iframe></div>
<br />
AOA were one of the most unexpected joys of 2019. The band is now the oldest K-pop girl-group still in existence, being able to date back to 2012 (making them positively over-the-hill in the 'business') and looked done for after two members - including <a href="https://www.allkpop.com/article/2019/11/former-aoa-member-choa-makes-first-public-appearmace-in-over-2-years-since-depature-from-group">lead vocalist Choa</a> - quit the line-up. Instead, the remaining five members used the show <i>Queendom</i> (yes, that again) to warm themselves to a new generation. It certainly worked - and whilst AOA did not win, official comeback single <a href="https://www.youtube.com/watch?v=ixxWWKX4S_8">'Come See Me'</a> was a hit, whilst their live cover of Mamamoo's<a href="https://www.youtube.com/watch?v=JXC7rtAVOzM"> 'Egoistic'</a>, complete with cross-dressing dancers, raised eyebrows across their native nation. Wisely abandoning their<a href="https://www.youtube.com/watch?v=q6f-LLM1H6U&list=RDixxWWKX4S_8&index=2"> 'risqué'</a> presentation of old, the 'new' AOA seems to be finally doing things on their own terms. Whilst I could have easily placed the remarkable 'Come See Me' into this position, I've gone for 'Sorry' - which opens with a riff on Ennio Morricone before becoming a breathy-sexy pop classic - as it is the first new AOA single we got to hear (thanks to <i>Queendom</i>) and, frankly, it is a <i>blinder</i>.<br />
<br />
It would be a sin if a group making music this exemplary were not to reach a bigger stage than ever before in the coming years...<br />
<br />
<b>2) ((G)I-DLE) - 'LION' </b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/6oanIo_2Z4Q/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/6oanIo_2Z4Q?feature=player_embedded" width="320"></iframe></div>
<br />
Another band that emerged from <i>Queendom</i> with an absolute belter of an anthem (in the final round each competing artist had to complete and release a new single). Unlike AOA with 'Sorry', the <span style="background-color: white; color: black; display: inline; float: none; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> participants gave us a fully-fledged (and quite eye-opening!) music video for this cracker. With February's release of <a href="https://www.youtube.com/watch?v=G8APgeFfkAk">'Senorita' </a> this was a young group already staking a claim as one of the finest single bands of the year but 'Lion' takes the band to even higher heights - this is just such a beautifully orchestrated ditty... from that slow, <i>sensual</i> opening to the eventual fast-crash of different vocalists that makes the chorus feel like such an exhilarating celebration of sensuality... Now let's just hope that this (whisper it) slightly empowering tune, and this exciting new group, is not stuffed down the toilet in the way that Cube did with 4Minute just three years ago...</span><br />
<span style="background-color: white; color: black; display: inline; float: none; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><br /></span>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><b></b><br />
<b>1) Taeyeon - Spark</b><br />
<b></b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/eP4ga_fNm-E/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/eP4ga_fNm-E?feature=player_embedded" width="320"></iframe></div>
<br />
Taeyeon remains one of K-pop's most fascinating enigmas. Musically, she has been in the shadow of her outstanding solo album <a href="https://www.youtube.com/watch?v=NHXUM-6a3dU">'My Voice'</a> from 2017 - an LP that allowed the singer to step out of Girls' Generation once and for all and emerge as a solo star of remarkable talent and maturity. Since then, those of us who were at the 'Persona' tour, have been craving more outstanding moments - which have (and I hate admitting this) come in thin bursts (but when they arrive - wow, <a href="https://www.youtube.com/watch?v=wbewYT57_nc">fuck me</a>). Her second full-length LP was always going to be a tough cookie but Taeyeon returned with not just this frantically paced single but a number of accompanying <a href="https://www.youtube.com/watch?v=IbOBBK3kVss">heart-stopping</a> moments. 'Spark' was a curveball of a comeback - not the big emotional ballad we all probably expected - but something quite radical and unique. It is not just a perfect example of K-pop's ability to keep us guessing but also my single of 2019 from my artist of the past decade.Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-84460194308539638562018-12-10T08:20:00.001-08:002018-12-10T09:25:19.238-08:00MY TOP TWENTY K-POP SINGLES OF 2018It seems I might only have the time and energy to update this blog once a year but, hey-ho, were you not all waiting for my annual top twenty K-pop singles of the year? It has been a phenomenal 2018, and there's so many songs that did not make the cut and I am already wishing were in there (Seventeen's <a href="https://www.youtube.com/watch?v=ShEU4Ab0zxU">'Thanks'</a> tops the list, but I also loved Jimin's <a href="https://www.youtube.com/watch?v=g-YvU8_4XzI">'Hey'</a>, EXO-CBX's <a href="https://www.youtube.com/watch?v=Ib674A1yMtg">'Blooming Day'</a>, Hyoyeon's reinvention with <a href="https://www.youtube.com/watch?v=T87wXAJe-_M">'Sober'</a> and her 3LAU collaboration <a href="https://www.youtube.com/watch?v=ZOxlPu_rizU">'Punk Right Now</a>'). There have also been some unexpected surprises - Hyomin's <a href="https://www.youtube.com/watch?v=9gIGR3k-m6o">'Mango'</a> is her best solo single to date, SM Station collaboration <a href="https://www.youtube.com/watch?v=KR5CtMLuiqQ">'Wow Thing'</a> is a joy, Key from SHINee made a solid debut with <a href="https://www.youtube.com/watch?v=TZWSW90lybM">'One of These Nights'</a> whilst his band incorporated a sound beamed from Southern African for the chorus to <a href="https://www.youtube.com/watch?v=IDpWeURKkbI">'I Want You'</a> and super-idol team up <a href="https://www.youtube.com/watch?v=fvYtzE3clCw">'Honey Bee'</a> offered a fine 'last drinks' anthem. Disappointments came along too. Last year I gave the top spot in my list to Taeyeon's sublime <a href="https://www.youtube.com/watch?v=NHXUM-6a3dU">'Fine'</a> but her 2018 comebacks with <a href="https://www.youtube.com/watch?v=im1UUY8dQIk">'Something New'</a> and Japanese debut <a href="https://www.youtube.com/watch?v=k9_XH1YibcY">'Stay'</a> were disappointing and puzzlingly played down her stomach-knotting vocal prowess. Likewise EXO, whose <a href="https://www.youtube.com/watch?v=iwd8N6K-sLk">'Tempo'</a> was not a patch on flamboyant album track <a href="https://www.youtube.com/watch?v=7XVPxbZ_C9Q">'Ooh La La'</a>, which I wish they had led-off their 2018 reappearance with. Established idol bands also made some puzzling diversions, goodness knows what the AOA brain trust were thinking with <a href="https://www.youtube.com/watch?v=ntWSnDV0MYs">'Bingle Bangle'</a> or GOT7's sloshy <a href="https://www.youtube.com/watch?v=RtRtLf84I2M">'Miracle'</a>. At least Seungri took his Big Bang hiatus to give us the dashing <a href="https://www.youtube.com/watch?v=Q7sHwg2Z21U">'1,2, 3'</a> - a solo comeback to applaud - and BoA led a year of enjoyable singles beginning with the retro-disco of <a href="https://www.youtube.com/watch?v=Xg_4tbLnIOc">'One Shot, Two Shot'</a>. BTS continued their domination of the globe, and it was great to see their success in bringing South Korean soft power to a grander stage than ever before. With that said, the band did not offer anything in 2018 that pushed the K-pop sound into new territory (see: Holland on this list). Their best was surely <a href="https://www.youtube.com/watch?v=pBuZEGYXA6E">'Idol'</a> although I think <a href="https://www.youtube.com/watch?v=MBdVXkSdhwU">'DNA'</a> remains their highlight to date. It has been a fascinating 365 days, then, and I have limited myself to just singles (so no album tracks) and also only one song per artist.<br />
<br />
So, with that established, let's get on with the rundown...<br />
<br />
<br />
20) <b>Oh My Girl - Remember Me</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/RrvdjyIL0fA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/RrvdjyIL0fA?feature=player_embedded" width="320"></iframe></div>
<br />
I'm starting to conclude that nothing this band does will ever come close to their gobsmackingly gorgeous trance-pop classic <a href="https://www.youtube.com/watch?v=isUudT58Xfk">Closer</a> from 2015, still one of the very best K-pop shortplays of all time. 'Closer' was always going to be a hard act to follow, and subsequent singles attempted to branch out into <a href="https://www.youtube.com/watch?v=LNZKqhXCv5c">different experiments</a> - albeit not always with <a href="https://www.youtube.com/watch?v=AJqhKWo89FQ">the best results</a>. However, the band, which has not been without <a href="https://www.allkpop.com/article/2015/10/oh-my-girls-jine-admits-she-was-diagnosed-with-anorexia">its scandals</a> since lift-off, made a 2018 comeback with a joyously unpretentious, pulse-pounding slice of synth-pop that draws a line under past sounds and seems to start from scratch all over again. It is also the perfect, and unassuming, start to this top twenty and one hopes that the group continues with such less - how could it be put? - <i>outre</i> experiments in the future (as anyone who has endured this year's <a href="https://www.youtube.com/watch?v=rW9r_1ys2ec">sub-unit effort</a> might agree).<br />
<br />
19) <b>Apink - I'm So Sick</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/_U3yC1OvLXU/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/_U3yC1OvLXU?feature=player_embedded" width="320"></iframe></div>
<br />
Driven
by an emotion-fuelled lead vocal, and an autotuned catch that introduces the song and reappears throughout, this is undemanding pop escapism but with a healthy dose of maturity in its presentations and lyrics
- something the more innocent and twee bubblegum of Apink has never
really managed to achieve (with a largely young teen-focused intent). Finally reimagined as women with adult problems for
this 2018 comeback, the new shortplay sounds a little like late-day T-ara (2015 - 2017) - but with more verve. A good bouncy chorus and some slick vocals make this a
hard release to dislike and an easy one to love.<br />
<br />
18) <b>IU - BBIBBI</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/nM0xDI5R50E/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/nM0xDI5R50E?feature=player_embedded" width="320"></iframe></div>
<br />
For her tenth anniversary IU gave us this relaxed little R&B number that proves infectiously catchy. I must admit that it took some time for last year's mellow-as-it-gets <a href="https://www.youtube.com/watch?v=d9IxdwEFk1c">'Palette'</a>, to grow on me, although when it did, it became a repeat-listen. The same is true for the artist's contribution to 2018. It's just... <i>lovely</i>. Bless her.<br />
<br />
17) <b>Black Pink - Ddu-Du
Ddu-Du Du</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/IHNzOHi8sJs/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/IHNzOHi8sJs?feature=player_embedded" width="320"></iframe></div>
<br />
Black
Pink strutted into 2018 as one of the biggest K-pop bands on the planet
and end the year unscathed, with an Asian (world?) stadium tour to
embark on in 2019. The hopes were high for the follow-up to the
outstanding <a href="https://www.youtube.com/watch?v=Amq-qlqbjYA">'As if it's Your Last' </a>and whilst 'Ddu-Du
Ddu-Du Du' lacks the scale of the 2017 release, it shows YG's mainstay
writer Teddy doing what he does best (and might even be doing in his sleep): a repetitive hip-hop beat matched
with a jubilent chorus of repetitive chart-baiting pop. It is no insult to maintain that this is Black Pink's weakest single to date, because that only attests to the quality of what has come so far. It's good, if not quite <i>great - </i>but that first bridge at 53 seconds in is still to die for.<br />
<br />
16) <b>Suzy- Sober</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/DgT4CPv_CCE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/DgT4CPv_CCE?feature=player_embedded" width="320"></iframe></div>
<br />
Model, actress and general megastar, Suzy Bae probably never needs to do anything for the rest of her life given her unshakable status as one of Korea's biggest exported faces and all-round icon. Yet her mini-album, released in February, gained almost unanimously positive reviews and showed a solo force<i> par excellence</i>. The sexy strut of 'Sober' was one of the year's highlights, matched by a confident and colourful music video that announced Suzy as K-pop's latest standalone chart force. With a sound as great as this, don't count on that Miss A reunion ever taking place.<br />
<br />
15) <b>iKon Kiling Me</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/RyVS7R9PN6U/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/RyVS7R9PN6U?feature=player_embedded" width="320"></iframe></div>
<br />
YG tried hard to recover from a departing Psy, a collapse in efforts to break CL in America and a defunct Big Bang in 2018, not only with Black Pink but with their relaunch of iKon. Thankfully, 'Killing Me' is a truly bombastic experiment - kicking-off as a routine bout of ballad-pop before going full blast into a pounding EDM chorus followed by a ferocious rap and then an interlude for some hip-hop grooves. There are too many 'catches' to keep up with in this single, and it has a brilliant ability to come-and-go with its build-up to the explosive chorus, but this is undoubtedly an audacious mix of sounds for one of K-pop's less exploited big label-names and an exciting primer for things to come.<br />
<br />
14) <b>Amber and Luna - Lower</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Zjp0mdMeIPU/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/Zjp0mdMeIPU?feature=player_embedded" width="320"></iframe></div>
<br />
Hopefully this early year anthem will not miss out on many lists due to its release date (January, 5th - an eternity ago in K-pop, meaning it might have slipped from a few minds). End of the night trance, mixed with sophisticated EDM beats and even a spot of nineties rave, this is a gorgeous satisfier as we all patiently hope that F(X) can eventually make that well deserved return to the spotlight. Luna, it bears noting, still has one of K-pop's most underrated and seductive voices.<br />
<br />
13) <b>Jonghyun - Shinin</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/J41qe-TM1DY/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/J41qe-TM1DY?feature=player_embedded" width="320"></iframe></div>
<br />
It is difficult to listen to Jonghyun's final album, '<span class="st">Poet | Artist', knowing that this was the singer's final statement before departing this planet. Standout track <a href="https://www.youtube.com/watch?v=DeaGMsL83So">'Take a Dive'</a> was probably the LP's emotional peak but likely too intense for a posthumous single release from an artist whose suicide hit the international news. 'Shinin', however, was the sort of feel good single that was needed. Although it lacks the impact of <a href="https://www.youtube.com/watch?v=jmNhfjzmMrU">'She Is'</a>, his audacious 2016 single that features a falsetto which will surely go down in the ages, this was a bittersweet reminder of what a magnificent talent the world lost last December.</span><br />
<br />
12) <b>Yuri - Into You</b> <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/hsJ2c3k_XeE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/hsJ2c3k_XeE?feature=player_embedded" width="320"></iframe></div>
<br />
Girls' Generation member Yuri has been kept away from the solo spotlight since the band debuted in 2007 (and at this point only Sunny has yet to get a chance to shine on her lonesome) but this hip-shaking effort was well worth the wait. A single inspired by the music of the Mediterrean was probably not what anyone expected from the SNSD icon and the result is effectively exotic and inevitably provocative.<br />
<br />
11) <b>(G)I-DLE - Latata</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/9mQk7Evt6Vs/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/9mQk7Evt6Vs?feature=player_embedded" width="320"></iframe></div>
<br />
Fast becoming one of the year's 'sounds of the summer', this is so
absolutely perfectly put together, and so slickly produced, that it
boggles the mind how any mere mortal concocted something that becomes so
instantaneously jammed in your skull. It is perhaps a bit <i>too</i> rich in sound
(small complaint, I know) - it feels like pop beamed from another
planet, with every voice auto-tuned and dusted to perfection, matching
the delightfully unpredictable switch-and-stop-start tempo of the
backing grooves, not to mention the sudden veer into a surreal Indian-inspired dance and sound, but... wow. <i>Just wow</i>. Only in Brexit Britain could a population be excited about The Spice Girls reforming when pop of this quality exists. <br />
<br />
10) <b>EXID - I Love You</b><br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/SAdmzjsFVQo/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/SAdmzjsFVQo?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
Back as a fivesome for the first time in years, Exid's latest outing, there best since <a href="https://www.youtube.com/watch?v=RnDSODY7bVE">'Lie'</a> a whole 18 months ago, throws back to an 80s power-synth sound, complete with some dazzling vocals, whilst maintaining the band's usual 'big' dancefloor style. Worth noting that the single was part-penned by LE, whose rap here is a standout. Her contributions to the EXID story are often pushed into the background thanks to the superstar presence of Hani (who has less to do, vocally, here thanks to the return of Solji and her distinctive howl), but she gets some of the best moments in 'I Love You'. Also worth noting that this might be the most South Korean of all videos released this year. I've had nights like this in Seoul too (as has anyone who has tried to 'drink like a Korean').<br />
<br />
9) <b>Taemin - Under my Skin</b><br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/D0OTv7ZUle4/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/D0OTv7ZUle4?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
Taemin's
Japanese comebacks have been better than his homegrown ones, and it was
no different with the ertshile SHINee member's 2018 opus. 'Under my
Skin' is Taemin realising another deliciously widescreen project - like
the crescendo to the end credits of a tragic film epic. It's outstanding
and arguably his finest single to date. Still a top league player in
K-pop, it will be curious to see how SHINee continues to move beyond
Jonghyun's passing whilst still providing a platform, and the freedom,
for its solo stars to excercise their demons. Currently, this feels like
the most obvious attempt from any SHINee star to vocally address Jonghyun's passing - although, understandably, the lyrics are wide open for interpretation. Either way, this is the feel bad K-pop song of the year, and an essential listen.<br />
<br />
8) <b>Red Velvet - Bad Boy </b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/J_CFBjAyPWE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/J_CFBjAyPWE?feature=player_embedded" width="320"></iframe></div>
<br />
'Bad Boy' came early in the year, just before Red Velvet seduced Kim Jong-un and scaled their highest heights of commercial success yet. It is flawless, obviously, from start to finish - and that is about all I have to say about Red Velvet's greatest contribution to 2018, but world domination is surely forthcoming.<br />
<br />
7) <b>Stray Kids - Voices</b><br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/5HMOkfE3kno/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/5HMOkfE3kno?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
Stray Kids gained friction and fan favouritism this year, only their second on the scene, but obviously fell behind the fan conquering BTS. Both, to some extent, attempt a sound that oozes 'authenticity' (after criticising BTS on Twitter, I got a wealth of 'what other K-pop bands write their music?' tweets, although <i>clearly</i> some fan definitions of 'write' are, how should we say,<i> loose </i>to say the least) whilst a slick pop machine pulls the strings behind-the-scenes. Not that this is something to criticise in itself, obviously, and B.A.P probably set the stage for South Korean mass-manufactured bands that make an attempt to sound <a href="https://www.youtube.com/watch?v=1zRzl1d5vNU">indier-than-thou</a> (right down to epic 'edgy' videos and a <a href="https://www.youtube.com/watch?v=sGolQ9LzbkY">'straight-from-the-parent's-garage'</a> succession of early singles) and fair play to BTS for making an international stage of it. Stray Kids are part stadium-rock and part this tradition, at least so far, and 'Voices' is a <i>massive</i> single. If this all pays off on a BTS scale is anyone's guess, but Stray Kids have a better chance than anyone of breaking in a big way outside of the Far East.<br />
<br />
6) <b>NCT U - Boss </b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/0AUFyFEt35g/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/0AUFyFEt35g?feature=player_embedded" width="320"></iframe></div>
<br />
<i>Damn</i>, this is suave. A handsome and assertive dance growl, NCT U stomped back into the public eye to reclaim their place as the best of the NCT units. And if you are losing count of which is which and with what member at this stage of SM's mind-melting NCT experiment then join the club. What is for sure is that 'Boss' continues a surge of upward quality for the entire shebang - and it is delicious to consider where the future might go...<br />
<br />
5) <b>Sunmi - Heroine</b><br />
<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/F4qfN5UeFvQ/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/F4qfN5UeFvQ?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
From a purely personal standpoint, this song was just a vital feel good
much-needed early year anthem. It should also be noted that Sunmi's <a href="https://www.youtube.com/watch?v=TNWMZIf7eSg">follow-up single</a> this year is also well worth a spin (it might even be better, but 'Heroine' has more emotional relevance to your writer). Does this <a href="http://kpoplove.koreadaily.com/sunmis-song-heroine-accused-plagiarism/">plagiarise Cheryl Cole</a>? Quite probably. But don't let <i>that</i> make you hate on it too much.<br />
<br />
4) <b>Jennie - Solo</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/6uGLitW_7as/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/6uGLitW_7as?feature=player_embedded" width="320"></iframe></div>
<br />
Even outdoing her mother band, Black Pink's Jennie Kim, who has long been one of YG's MVPs albeit <a href="https://www.youtube.com/watch?v=JF1rWk18n_A">as a background player</a> before her 2016 breakthrough, gave listeners one of the annual best with this standalone effort. Longtime fans will be well-aware that she has a voice which holds up to some of the best, but applause to YG for giving her such a killer tune to get her tonsils around. One of the indiest-sounding efforts of 2018 - this is a defining moment for a band poised to be as big as BTS on a global scale (lets just hope they don't rise and fall as quick as former labelmates 2NE1, whom YG pushed into America at the eventual cost of the foursome's own stability).<br />
<br />
3) <b>Girls' Generation - Lil Touch</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/SdzLl-XpJt0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/SdzLl-XpJt0?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
Down to five, and missing key vocalists Seohyun and Tiffany (who attempted a breakout with her <a href="https://www.youtube.com/watch?v=16QbCoxLNkI">lacklustre American debut</a> in 2018, revealing the limitations of no longer having the SM machine at full force), Girls' Generation nevertheless came back with their best shortplay since <a href="https://www.youtube.com/watch?v=b09U0KLv6I4">Catch me if you Can</a> in 2015. A remarkable reinvention, and a lovably aggressive pop tune with a breathless pace, the future for SNSD, now tipping into their thirties (only indicating their unique longevity) is evidently as vast as the remaining five members want it to be.<br />
<br />
2) <b>Mamamoo - Wind flower</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/uOZ2r_UAfdc/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/uOZ2r_UAfdc?feature=player_embedded" width="320"></iframe></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
Mamamoo had a delightfully diva-ish reinvention in 2018, kicking-off with the beauty of piano ballad <a href="https://www.youtube.com/watch?v=S10azlzvS_8">'Paint Me'</a>, a notable statement that this annum was going to take a very different direction for the foursome, who vocally remain one of the top tier bands in K-popdom (and in 2018 their management appears to have done <i>everything</i> to emphasise this, as a cursorary click on any of these links will indicate). Follow-ups such as the whispy ballad <a href="https://www.youtube.com/watch?v=0FB2EoKTK_Q">'Starry Night'</a> and the Spanish guitars of <a href="https://www.youtube.com/watch?v=pHtxTSiPh5I">'Egotistic'</a> gave the group a lavish and mature sound that nevertheless retained aspects of their earlier pop experimentalism. It led to late-year entry 'Wind flower', which is far more subdued than the previous three singles but points to a band that is just as comfortable with an indie-guitar number as they are an epic pop production or piano-led bombast. There are some brilliant use of backing vocals and harmonies in 'Wind flower', and given K-pop's general consensus that when one member of a band drops out, the show goes on - it seems uncertain how Mamamoo can ever be anything without all four members (of which leader Solar has arguably the best set of lungs). Hats off to the music video as well, which captures some of the silent urban beauty of late night Hong Kong.<br />
<br />
1) <b>Holland - I'm So Afraid</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/GHfBTlbhpiI/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/GHfBTlbhpiI?feature=player_embedded" width="320"></iframe></div>
<br />
Korea's first openly gay K-pop idol burst out with this epic soundscape that captures the sublime calm-before-the-storm, then the heightened apprehension and panic, of 'coming out'. A short dance-opera, that scales ambitious heights of expression in the shortplay format, this is absolutely spellblinding in design and execution. A testament to the evolving nature of South Korean pop music, even as the 'genre' (term used insanely loosely) reaches a decade since 'Gee', 'I'm So Afraid' came out of nowhere to be my most beloved moment in music this year.Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-79314210452670043612017-12-23T09:11:00.002-08:002017-12-23T10:20:01.204-08:00SHINee Were/ Are a Brilliant Band - But Don't Tell That to the UK Media...<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Dww9UjJ4Dt8/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/Dww9UjJ4Dt8?feature=player_embedded" width="320"></iframe></div>
<br />
Shinee (I will leave off writing SHINee) are a band that features "pretty safe boyband production staples: predominantly light, fluffy
disco-funk tracks, with occasional forays into gnarly pop-rock and gauzy
alt-R&B" according to Ben Beaumont-Thomas in <a href="https://www.theguardian.com/music/2017/dec/18/kim-jong-hyun-shinee-star-dies-amid-an-unforgiving-k-pop-industry">The Guardian</a>. The same man who recently praised Liam Gallagher, the singer whose audience typically features inebriated and aggressive middle aged beer-bellied men and who has been churning out the same sound-alike guitar chug for over two decades, as<a href="https://www.theguardian.com/music/2017/aug/10/liam-gallagher-jay-z-bono-quotes"> an unfiltered star who rescues us from pop boredom </a>(yes, really). In the same article there was the (relatively pointless) comparison to <a href="https://www.youtube.com/watch?v=vj_RAgNWOWk">J-pop band AKB48</a> - Japan and Korea are, let us not forget, <i>totally different countries</i> (and the<a href="http://www.bbc.co.uk/news/world-asia-21299324"> infamous and disturbing</a> AKB48 incident he mentions has no precedent in Korea). And then there is the comment that two EXO members had left Shinee's SM Entertainment and filed a lawsuit against the label (and it is actually three: Luhan/ Kris <i>and</i> Tao). In actual fact, the SM lawsuit is far more complex than that - all three members, who are Chinese, were accused by SM of illegally promoting in China. After the lawsuit, Luhan became China's <a href="https://www.forbes.com/forbes/welcome/?toURL=https://www.forbes.com/sites/russellflannery/2017/09/22/2017-forbes-china-celebrity-list-full-list/&refURL=https://www.google.co.uk/&referrer=https://www.google.co.uk/">second highest earning celebrity </a>- precisely <i>because</i> of his EXO fame (he flogs everything from KFC to mobile phones) - whilst Kris is the tenth <a href="https://www.forbes.com/sites/russellflannery/2017/09/22/2017-forbes-china-celebrity-list-full-list/2/#48a3d3d3d2cc">biggest money-maker</a> in the country (his image is all over Shanghai right now). Whilst no one is denying the rigid and (more than likely) abusive and domineering nature of training to be a K-idol, the EXO lawsuit also had to do with some business-savvy young men wishing to exploit a far bigger earning potential in their native Mainland China as models, actors and Mando-pop singers rather than undergoing the crippling trials and tribulations for further EXO world tours and dance routines.<br />
<br />
And who can blame them?<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/hKbNV-4b_g8/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/hKbNV-4b_g8?feature=player_embedded" width="320"></iframe></div>
<br />
The death of Jonghyun from Shinee may have resulted in a scramble to cover K-pop (and judging from that Guardian article it is by a writer using Google) but come December 23rd, just five days after the artist's passing, the same newspaper saw no reason to mention the suicide in its <a href="https://www.theguardian.com/culture/2017/dec/23/2017-year-pop-culture">pop culture breakdown of 2017</a>. It seems Korea is only of interest to anyone when the North is firing off a rocket launch (clue to those reading only the British media: if there is a war in East Asia it will be over <a href="http://focustaiwan.tw/news/afav/201712210006.aspx">Taiwan</a>, but that is less sexy and takes far too long to explain so it gets less coverage).<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/AbZfpZ7QmT0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/AbZfpZ7QmT0?feature=player_embedded" width="320"></iframe></div>
<span style="font-size: xx-small;">Shinee go 'house'. Notice how this sounds nothing like song above. Dig?</span><br />
<br />
SM Entertainment, of course, are the same behemoth who created Shinee. Not to mention Girls' Generation, BoA, TVXQ, Super Junior, F/X, NCT and Red Velvet. Their major store in Seoul, the <a href="https://www.smtownland.com/">Coex Artium</a>, located in Gangnam, is a spiralling three story building worth of K-pop geek-gasms: 3D shows, merchandise galore, a museum and restuarant and more. For a K-pop buff it feels like a trip to Disneyland and it has the unenviable ability to make your entire head scramble into mush the second you walk in the door (loud music, life size portraits scrambling for attention in numerous murials, brightly coloured goods and too many fans with pink and purple hair). It is soft-power done brilliantly. And the portrayal of SM as a 'family' of artists is as carefully cultivated as that of Ronald McDonald or Vince McMahon's WWE.<br />
<br />
Is there something seriously shady underneath? So it would seem...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/UF53cptEE5k/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/UF53cptEE5k?feature=player_embedded" width="320"></iframe></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
Certainly, given the online reports, it does seem that there is <i><b>really sinister side </b></i>to the K-pop dream machine - touched upon by The Guardian but somehow pushed to the side in the description of Shinee as a vapid pop band, which could not be further from the truth (I will get to this in more detail soon). As I mentioned in my blog a year ago, K-pop has begun to address issues which were previously considered no-go in South Korea - and SM, to their credit, has largely led on this front. From Taeyeon's heartbreaking ode to<a href="https://www.youtube.com/watch?v=4OrCA1OInoo"> suicidal thoughts 'I'</a> to Shinee bandmate Taemin offering a <a href="https://www.youtube.com/watch?v=GkdzFbQqVnQ">beautifully worded ballad</a> to the 22 month military service that young South Korean men are obliged to undergo. And although the latter is wrapped in metaphor one would need to be a total dunce to miss the central point of the song (also worth noting that a mix of military service and being caught with weed led to a suicide attempt from <a href="https://www.allkpop.com/article/2017/06/breaking-big-bangs-top-found-unconscious-moved-to-icu">Big Bang's rapper T.O.P this year</a>). SM band F/X's 2014 single<a href="https://www.youtube.com/watch?v=iv-8-EgPEY0"> 'Red Light'</a> - a criticism of the <a href="http://www.asianjunkie.com/2015/11/11/fxs-red-light-was-a-criticism-of-the-sewol-ferry-disaster/">Sewol ferry disaster </a>- is still, I think, one of the most harrowing and brilliant pop singles of all time.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/bcu7yZBeSKw/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/bcu7yZBeSKw?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
The <a href="http://www.worldofbuzz.com/ex-snsd-trainee-reveals-ugly-truth-kpop-korean-entertainment-industry/">brutal training regimes</a> in K-pop, the <a href="https://topofthekpops.wordpress.com/2015/07/12/random-post-56-twice-and-the-emotional-abuse-that-was-sixteen/">'last man standing' </a>recruitment process, <a href="https://aminoapps.com/c/k-pop/page/blog/why-i-am-worried-about-taeyeons-health/63Iz_uK3l0e1v4kjYbzMkMk8QlP488">the IV drips</a> (and the <a href="http://www.kpopstarz.com/articles/287117/20170918/vixxs-leo-suffers-from-internal-bleeding-still-performs-on-stage-with-iv-in-arm.htm">IV drips backstage</a>) and the pressure to stay slim - <a href="https://www.allkpop.com/article/2017/10/jine-leaves-oh-my-girl-terminates-contract-with-wm-entertainment-due-to-anorexia">often with a ridiculously unhealthy diet </a>- are well-documented. What makes thing worse is that when K-pop stars are allowed to be 'human' and do gain a little weight - as Yuri from Girls' Generation did in 2014 (<a href="http://www.hellokpop.com/news/netizens-respond-to-girls-generation-yuris-weight-gain/">and looked all the better for it</a>) - they are dragged through the coals by 'fans' (even if it is online discussions about what 'prompted' the change of shape - as if it is anyone's business). <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/nchkAmc49p4/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/nchkAmc49p4?feature=player_embedded" width="320"></iframe></div>
<br />
None of this is taken seriously in the West, per the coverage of Jonghyun's death, because to most readers South Korea is probably some faraway country that they will never visit, populated by people speaking a language that in our post-Brexit wasteland few of us want to listen to or engage with. <i>I get that.</i> Living in China for three years and reading some of the hapless nonsense, published in major newspapers no less, about the country and culture was mind-boggling enough. But the coverage of Jonghyun's death has all-too-frequently smacked of a distant imperialism: witness NME - having to distract themselves from plugging the new Kasabian masterpiece no doubt - to pen a witless and <a href="http://www.nme.com/news/music/k-pop-singer-kim-jong-hyun-has-died-2177432">incorrect piece about the band</a>. Did you know that Shinee took a four year hiatus beginning in 2013? No? Me neither because it didn't happen. Did you know that Shinee reformed in 2017 with only one original member of the band? No? Me neither because it didn't happen.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/hgeAmF7bgoE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/hgeAmF7bgoE?feature=player_embedded" width="320"></iframe></div>
<br />
Now I understand that Onew, Key, Jonghyun, Taemin and Minho might not be as well known as, say, Radiohead on this side of the pond but how would the UK media react if someone in South Korea wrote that Jonny Greenwood was the last man standing in the Oxford group who had just gotten back together after a hiatus stretching ten years? <i>In the nation's biggest musical periodical no less.</i> I am fairly sure there would be catcalls about the journalist being an utter idiot - and yet Shinee mean far, far, <i>far </i>more across the Asian continent than Radiohead or Coldplay ever could. It is the Brexit disease - it is not<b><i> our </i></b>music, so we need not even bother researching it properly. Yet even allowing for a simple fact check or trying to give their music some credence outside of 'pretty safe boyband fluff' is apparently out of the question. NME has shied away from covering K-pop for years now despite the fact it now seems relatively difficult to ignore its popularity and (I would argue) the fact that it is a fairly major 'alternative' scene in the UK.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/WJua7KEP_oE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/WJua7KEP_oE?feature=player_embedded" width="320"></iframe></div>
<br />
There has been a lot of this dismissive-and-yet-needing-a-story-did-you-know-South-Korea-has-a-high-suicide-rate jargon going on in the press which has been eye-rolling to read. My own take, as someone who has spent a lot of time in South Korea and actually loves the country's pop culture and indeed the nation's general evolution from neo-Confuscianism to an Asian tiger and soft power warrior, is that there is a lot to say about Jonghyun's suicide and indeed Shinee's place in the K-pop pantheon. Far from being a fluffy boy band, the group frequently experimented with sounds you would not expect to hear in the sort of Western music that typically gains radio airplay - the jarring dub-step of 'Everybody', for instance, is certainly more interesting than anything one might expect from the too-stoned-to-care, beer-in-the-air, snooze-worthy soundscapes of Kasabian. The group's experimentation with house music, 2015's 'View' does far more to conjur up the smoky 'glory days' of mid-90s indie clubs than those new Stone Roses catastrophes or Noel and Liam's warbles (as does album track 'Feel Good') and last year's 1 of 1 hinted at a similar indie-esque direction that, of all ironies, took its lead from the sort of material that NME was once ahead-of-the-curve in promoting. This approach reached a new left-field turn with their November 2016 single 'Tell Me What to Do' - detailing a love triangle across a more subdued Shinee sound; it felt like a further step into a more downbeat alternative-sounding territory. That its ode to hopelessness and tears marks the band's last major Korean language single is heartbreaking. For most of us, naturally, the band's biggest masterpiece was 2011's 'Sherlock' - a glam rock mash-up of their songs 'Clue' and 'Note' - that merely stands as one of the finest tunes ever concoted. And it is still a go-to tune on my iPad during those times when that dark cloud hovers above me. My favourite part is Jonghyun's high notes - and it is gutting to know that never again can we hear those live... To recognise part of the pressure of being in an SM band is to recognise that the label makes a very clear attempt to reinvent each artist's sound with every record, complete with a punishing concurrent dance routine. It would be nearly impossible to imagine your average UK 'indie' band having to start from scratch every eight months or so - but this is what an SM band has to do. Hiring a journalist who doesn't know his or her K-pop from their J-pop might result in an article that follows a quick trawl of YouTube but it does not even begin to get into what makes the music, and a band like Shinee, such a high-pressure franchise... including the fan expectancy of consistent (visual and aural) comeback and reinvention.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/pPp9da0-Q_E/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/pPp9da0-Q_E?feature=player_embedded" width="320"></iframe><br />
<br />
<br />
Whilst less noted than Taemin, the solo career of Jonghyun was also generally well-received (headlined by the electro R'n'B of She Is). Inevitably, his duet with Taeyeon - 'Lonely' - which was released just eight months ago now has a sinister edge that cannot be shaken.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/jmNhfjzmMrU/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/jmNhfjzmMrU?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
It will probably now stand as a suicide anthem, especially reading some of the online comments, although I hope it finds life above this tawdry label.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/NpTpEsE9G8c/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/NpTpEsE9G8c?feature=player_embedded" width="320"></iframe></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
And, yes, as the mainstream mentioned, Shinee are beautiful: none less so than its leading member. Did Jonghyun's suicide come due to the crippling pressure of fame/ touring/ comeback scheduling/ dieting and/ or the upcoming 22 month military service that would have almost certainly caused a career set-back? It is difficult to know, but I do wish that young men in South Korea were allowed to discuss the horrors of enlistment to the army more openly. I also - and this goes for all of East Asia - feel concern about the Confuscian influence that still demands obedience to hierarchy (including, in South Korea, rite-of-passage-by-liver-fucking-drinking-sessions) and, in turn, leads to such a high-octane society. But these are not my cultures or countries and, heaven's knows, the UK is in such a mess that being stressed about South Korea is not exactly top of my list either. That the country is a part of my everyday life due to its pop culture - mainly its music and cinema - is unavoidable, though, and it does mean I can care about its representation in the UK media.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/jLVm4J_aW4U/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/jLVm4J_aW4U?feature=player_embedded" width="320"></iframe></div>
The bitter, painful irony of Shinee's ultimate 'cheer up' song<br />
<br />
Perhaps most annoying has been the 'underneath the glitz' factor: but as I have highlighted in this blog post, there is plenty of K-pop that is downbeat, a lot of K-pop goes into dark areas and there are many K-pop songs that are willing to talk about identity, sexuality, politics and even depression. None of this might fit the script of the 'gorgeous dead K-pop star with dyed hair' but it does not mean it is not there. K-pop, as it stands, is less of a genre or movement as it is a name for Korean language music - some of it written by the stars themselves, some of it written by others, but it would be wrong to assume it is all the same or it is 'safe' (I often think my previous teen dark 'indie music' days, a loyal old Manics fan etc, has found its most logical home in K-pop). And Shinee were always a standout band because of how successful they were in varying their sound.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/XwkP3qfwqs8/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/XwkP3qfwqs8?feature=player_embedded" width="320"></iframe></div>
<br />
This might be news to the media - who, unfamiliar with the bands (and, again, I am not expecting them to be obsessives) seek for the old 'it sounds a little like...' fall-out. Caroline Sullivan, who I actually really like, fell into this with <a href="https://www.theguardian.com/music/2012/dec/16/big-bang-review">Big Bang</a> - comparing them to Justin Bieber. But Big Bang sound nothing like Justin Bieber. And why do we need a Western comparison anyway? Why does any foreign 'boy band' have to sound like an established Western totem? By giving us that totem, in a brief review, one is almost indicating that the Korean group are simply taking from a fakey-foreign sound even when Big Bang sound, I don't know, just as much like flipping Wolf Alice or Suede as they do Justin Bieber.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/roughtzsCDI/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/roughtzsCDI?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
None of this is to distract from the very real tragedy of Jonghyun. It is heartbreaking to see someone so young kill themselves and if it marks the conclusion of Shinee as a band (and I am unsure how they can comeback from this - what could a new single even sound like?) then I hope future generations will continue to discover what an amazing group they are. I saw them live twice, during the SM Town tour in Tokyo, Japan, 2016 and earlier this year in Hong Kong. Both shows were excellent and my heart aches at losing such a promiment figure. I often joke that K-pop saved my life - regardless, it certainly altered a lot about me: from making me obsessive about the country it came from, and its history, to making me recognise that, in my thirties, I did not have to be that boring old codger who sits at a bar and rambles on about how good music was in the nineties or noughties (I'd take Shinee over almost anything I had in my music collection during either decade). I am but one voice of many, naturally, but I wish some of these artists - seemingly engulfed in a bubble and part of that unstoppable K-pop machine - actually knew what they meant to many of us. Would it change much? Doubtful. But I fear that Jonghyun's death will not be K-pop's last tragedy.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/f8-aYW2biys/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/f8-aYW2biys?feature=player_embedded" width="320"></iframe></div>
Jonghyun opens this song. Yes, he was beautiful. <br />
<br />
In the meantime, my sole hope is that some of these great songs stand out and, in my own wording, and with the accompanying sounds, what made/ makes Shinee so special might become more clear than the UK media reportage has allowed....<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/8kyG5tTZ1iE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/8kyG5tTZ1iE?feature=player_embedded" width="320"></iframe></div>
<br />
Warning: the above song is perfect<br />
<br />
<br />
<i>In the UK, Samaritans can be contacted on 116 123. In the US, the National Suicide Prevention Lifeline is <a class="u-underline" data-link-name="in body link" href="tel:%28800%29%20273-8255">1-800-273-8255</a>. In Australia, the crisis support service Lifeline is 13 11 14. Other international suicide helplines can be found at <a class="u-underline" data-link-name="in body link" href="http://www.befrienders.org/">www.befrienders.org</a>. (Thanks to The Guardian)</i><br />
<br />
<br />
<br />
<br />Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-42578422048644902752017-12-17T14:50:00.001-08:002022-09-11T12:26:56.000-07:00THE TOP 20 K-POP SONGS OF 2017<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<br />
<br />The <a href="http://www.dazeddigital.com/music/article/38328/1/the-20-best-k-pop-songs-of-2017">Dazed Top 20 K-pop list </a>is really not winning me over this year. It is all subjective, of course, which is why I am offering my own. Cannot believe it has been a year since we last did this but when I say this is the Top 20 K-pop Songs of 2017 I obviously mean this is the <b><i>Top 20 Songs of 2017</i></b>. And so many more I could have added. I have limited myself to one song per band but there was <i>a lot </i>to enjoy this year: Suzy's <a href="https://www.youtube.com/watch?v=b34ri3-uxks">solo bow</a> for JYP (complete with the sumptuous Wong Kar Wai inspired video), the mind-melting hodgepodge of Weki Meki's brilliant <a href="https://www.youtube.com/watch?v=bAsyhiaHzJQ">I Don't Like Your Girlfriend</a>, SNSD's Hyeyeon with the air-punching <a href="https://www.youtube.com/watch?v=gKSzjvvxwJg">Wannabe</a>, Hyuna's predictably provocative and amusingly self-aware <a href="https://www.youtube.com/watch?v=vcqImqOVE2U">Lip & Hip</a>, NCT 127's snarling<a href="https://www.youtube.com/watch?v=WkuHLzMMTZM&t=156s"> Cherry Bomb</a> and their arguably even better <a href="https://www.youtube.com/watch?v=mbsrf4OICR4">Limitless</a>, IU's effortless cover of <a href="https://www.youtube.com/watch?v=cxcxskPKtiI">Last Night Story</a>, B1A4's understated <a href="https://www.youtube.com/watch?v=aYru067971M">Rollin</a>, B.A.P's atypical <a href="https://www.youtube.com/watch?v=J65BF4NogoI">Honeymoon</a> and their first class rocker <a href="https://www.youtube.com/watch?v=Ku_FYERiHC8">Wake Me Up</a>, Dreamcatcher's <a href="https://www.youtube.com/watch?v=zihoyz0u_cs">Chase Me</a> - which is what Babymetal might sound like if they were way more interesting - and T-ara's 'is this it?' possible (but not confirmed) final single of <a href="https://www.youtube.com/watch?v=_eQTd-fsKsQ">What's My Name?</a><br />
<br />
It has been a tremendous year for K-pop buffs but what made the top 20? Without further delay, let us get started...<br />
<br />
<br />
<b>2NE1 - GOODBYE</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/wEkLHC7l25w/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/wEkLHC7l25w?feature=player_embedded" width="320"></iframe></div>
<br />
The year began with this conclusive moment and even then it felt surreal. At the crux of 2014, YG's 2NE1 were, along with Girls' Generation, the top selling and most dominant girl band in Asia. Then it all went wrong. Bom got caught <a href="https://www.allkpop.com/article/2014/06/breaking-2ne1s-park-bom-revealed-to-have-attempted-to-smuggle-drugs">trying to smuggle speed into South Korea</a> and aside from the <a href="https://www.youtube.com/watch?v=rBZRXRg_QHw">briefest of reunions</a> all the attention was put into CL and that, it seemed, was that. Minzy did not join the band for the final single but what we did get was a fitting farewell - an acoustic, heartfelt conclusion to an incredible career and a fitting successor (six whole years later) to <a href="https://www.youtube.com/watch?v=5n4V3lGEyG4">their standout fan favourite classic single Lonely</a>.<br />
<br />
<b>GIRLS' GENERATION - ALL NIGHT</b><br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/f4w8IbQTJpY/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/f4w8IbQTJpY?feature=player_embedded" width="320"></iframe></div>
<br />
Girls' Generation have ruled the K-pop scene for a decade and as members went on to achieve acting and solo accolades the end was undoubtedly coming. But, <i>whooo boy</i>, did things implode fast. Just <b><i>three months</i></b> after the release of their tenth anniversary album the legendary group were no more with Sooyoung, Seohyun and Tiffany calling time on their activities with SM. Some fans, expecting at least the customary Asian (re: Japan, Korea, Bangkok and Taipei) tour were outraged but they need not have been. At least we got a fabulous final album and whilst kiss-off single All Night probably will not be remembered as the eight-some's finest moment it still has enough of the group's genre-bending experimentalism to make your mind scramble and to demand further listens.<br />
<br />
And isn't that why <a href="https://www.youtube.com/watch?v=wq7ftOZBy0E">we all loved</a> the <a href="https://www.youtube.com/watch?v=b09U0KLv6I4">greatest K-pop group</a> in history <a href="https://www.youtube.com/watch?v=MtszbsOlYRY">in the first place?</a><br />
<br />
<b>MAMAMOO - YES I AM</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Ue9NG1hAr78/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/Ue9NG1hAr78?feature=player_embedded" width="320"></iframe></div>
<br />
Every year it happens. Every year when I do these lists I miss out on an absolute classic and last year it was undoubtedly the outstanding <a href="https://www.youtube.com/watch?v=o0I8YjeWfQU">Decalcomanie</a> (yes, quite a mouthful) by Mamamoo, merely one of the greatest K-pop 'belters' of all time. Really. Click and listen. It is <b><i>stunning</i></b>. The charismatic foursome's 2017 single Yes I Am is not nearly as strong, but it is still a super-fun example of Mamamoo's brilliant blend of camp, kookiness and high notes. They have reached some admirable heights already and I suspect their <a href="https://www.youtube.com/watch?v=D15-XYRubsc">sometimes admirably ambitious pop-operas</a> are only <a href="https://www.youtube.com/watch?v=3IIBVnn4eTM">getting started</a>.<br />
<br />
<b>SONAMOO - FRIDAY NIGHT</b><br />
<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/aUoznes8Fn4/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/aUoznes8Fn4?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
Pure party this one... get your coat off and get on the floor. Basically. It seemed to come from nowhere and it has just the right mix of retro and right now - which is a bit of a theme to the most DJ-friendly K-pop tunes of 2017. As you will see...<br />
<br />
<br />
<b>JIMIN - HALLELUJAH</b><br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/hZ8AUeGXLDo/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/hZ8AUeGXLDo?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
<br />
From the opening Spanish guitar to the usual 'hey' (which typically signals <a href="https://www.youtube.com/watch?v=qEYOyZVWlzs">the start of an AOA song</a>), Jimin made a cracking start as an artist in her own right. The rapper of the <a href="https://www.youtube.com/watch?v=q6f-LLM1H6U">can-you-push-this-any-further K-pop band AOA</a> - who had their own<a href="https://www.soompi.com/2017/06/22/breaking-choa-officially-leaves-aoa/"> share of controversy</a> this year - this pounding anthem felt as if it had been stolen from the Madchester period and given a spit-shine with 2017 production values. Given the title, the Hacienda-groove is obviously on purpose and, to the surprise of many no doubt, Jimin sells this song far, far better than her sex-pixie reputation would have many AOA-critics believe. A strong round of applause.<br />
<br />
<b>MINZY - NINANO</b><br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/nmZGpBIz_Gg/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/nmZGpBIz_Gg?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
Having left 2NE1 in apparently less than acrimonious circumstances - and indeed left CL to falter with her apparent mission to break America (clue: one single but otherwise <a href="https://www.youtube.com/watch?v=8o4Zj98FeX4">still waiting</a>) - Minzy made a very cool comeback with this mix of Bollywood, tough vocals, hip shaking, a bit of hip-hop and a dance groove that looks to the future whilst sounding like it has been brewed in the late nineties. This is a brilliant composition and even in a year filled with excellent solo comebacks positively stands tall with 'I am woman, hear me roar' confidence - more than echoed on the fuck-you-YG sound of <a href="https://www.youtube.com/watch?v=k9vOXvUF2Hc">flip-side Super Woman</a>. As we eagerly await what YG has in store next for 2NE1 alumni Dara and CL, and hope for a Bom resurgence, it is certainly first blood to Minzy in the soap opera ashes of one of K-pop's defining collectives.<br />
<br />
<b>EXID - DDD</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/axVvZrDz60k/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/axVvZrDz60k?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
<br />
Exid had a phenomenal 2017 with their jazzy and whimsical <a href="https://www.youtube.com/watch?v=5wEjz3RdnKA">Night Rather Than Day</a> proving to be an appealing and successful diversion from their more identifiable<a href="https://www.youtube.com/watch?v=egqDPipqIAg"> retro-disco sound</a>. DDD offers some fairly sexy and satirical lyrics (in keeping with the provocative video, also typical of the band - this is the same group who had a hit with a tune called <a href="https://www.youtube.com/watch?v=8NaeaLW8CLY">Hot Pink</a>, less we forget) and a chorus that feels beamed from the glory days of Studio 54. All sandwiched between an aggressive EDM beat. Will this band ever produce a disappointing shortplay?<br />
<br />
<b>BTS - DNA</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/MBdVXkSdhwU/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/MBdVXkSdhwU?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
So the big news is that BTS (as I predicted a year ago) broke America. Sort of. They played the <a href="https://www.youtube.com/watch?v=tNtcYIo6N04">AMAs</a> and millions of people who had never discovered K-pop (or just thought of it as Gangham Style) seemed to have <a href="http://mashable.com/2017/11/23/bts-twitter-engagments/">a collective orgasm</a>. DNA is the strongest BTS single to date and its flawless marriage of indie guitar with the genre's token EDM chorus is undoubtedly brilliant. There is always the worry that your favourite thing becomes the mainstream and DNA might well be the song that pushes a K-pop band further into the mainstream and paves the way for more. With that said, given the likes of NME still have not caught on I am not too worried. <i>Yet. </i><br />
<br />
<b>BOA - CAMO</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/bKqe9zqMUcI/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/bKqe9zqMUcI?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
Veteran K-pop icon Boa delivered her best shortplay to date with Camo. Sounding like pure seduction, it gives her token husky voice a chance to breathe, flirt and <b><i>ooooooh </i></b>its heart out - all to a pounding dance beat that should fill the floor at any self-respecting Korean nightclub. It is 'last drink' music - and for good reason. She knows how to get you home.<br />
<br />
<b>SUPER JUNIOR - ONE MORE CHANCE</b><br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/-UROg0lsqW0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/-UROg0lsqW0?feature=player_embedded" width="320"></iframe></div>
<br />
Super Junior have never been a band that, I felt, released an entire album of classics but their tenth solo LP Play - two and a half years in the making - was tremendous with nary a dud moment. Whilst their 'big' comeback song was the excellent <a href="https://www.youtube.com/watch?v=MvqB6JsRbsc">Black Suit</a>, which returned the legendary SM band to their usual sound of suave-pop (it sounds like an aspiring Bond theme at some points), it was their against-type ballad One More Chance that impressed me the most. Featuring a returning Shindong (welcome back) this is a feel-bad weepie that gives the lads - now entering their thirties - a chance to go all bombastic about breakups and even (sssssh) suicide (yes, he really does sing 'I want to end it all'). Brave and bombastic (South Korea's enormous suicide rate is an open secret), it is a shame that the band got <a href="https://www.allkpop.com/article/2017/10/super-juniors-siwon-and-his-family-apologize-for-their-dog-who-bit-and-caused-the-death-of-a-neighbor">plunged into</a> <a href="https://www.allkpop.com/article/2017/06/netizens-get-angry-after-sungmins-wife-likes-a-post-of-an-international-elf-slapping-korean-elfs-face">controversy</a> just as they just embarked on their most ambitious comeback to date. I can personally bask in this ballad on repeat.<br />
<br />
<b>TWICE - LIKEY</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/V2hlQkVJZhE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/V2hlQkVJZhE?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
JYP's biggest band had a few biggies this year as they continued their climb to being one of the hugest selling K-pop bands in history. I have not been big on talent show winners Twice - their bubblegum sound was, I generally felt, aimed at young teens but then mid-year single Signal won me over with its oddball <a href="https://www.youtube.com/watch?v=VQtonf1fv_s">glam-space sound</a> (this is only going to make sense if you click on that link). Even better was Likey a homage to social media romance, with some admitedly dubious lyrics, that still managed to chuck together rap, repetition, synths and a squirrel-voiced chorus that is still lost in my brain and annoying my sleep. <br />
<br />
Don't say you weren't warned, you click 'play' on this at your own peril...<br />
<br />
<br />
<b>SEVENTEEN - DON'T WANNA CRY</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/97cx53Tpp6g/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/97cx53Tpp6g?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
<br />
I was always bummed at Pledis for chucking away the oh-so-underrated <a href="https://www.youtube.com/watch?v=V9v6SHaewGg">After School </a>in favour of Seventeen but this unexpectedly tough electro-pop gem finally won me over. From the melancholy opening to the build-up of voices and then the eventual back-and-forth chorus medley this is such a well crafted depiction of uncertainty (the chorus is about denying the want of an ex-love basically) that it eventually, especially combined with the dance routine, feels like a genius moment of pop ballet. And, yes, I just said that. Their next single of 2017, <a href="https://www.youtube.com/watch?v=CyzEtbG-sxY&list=RDCyzEtbG-sxY&t=42">Clap</a>, is not half bad either. <br />
<br />
<b>TAEYANG - WAKE ME UP </b><br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/gerhTWvUfJQ/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/gerhTWvUfJQ?feature=player_embedded" width="320"></iframe></div>
<br />
G-Dragon's Big Bang bandmate returned with this initially sinister-sounding growl of electro-balladry that emerges into a slow-motion unravelling of the muscular frontman's apparent vulnerability. And that brief break from verse to chorus is such a perfect tease. Taeyang had one of the biggest K-pop solo hits of all time with 2013's beautiful <a href="https://www.youtube.com/watch?v=UwuAPyOImoI">Eyes, Nose, Lips</a> so expectancies were high for this comeback. He, probably for the best, avoided a retread of the angst of that contient-conquering eye-watering ballad, and instead opted for this expression of heart-clenching obsession in the early throws of romance. A shockingly good return.<br />
<br />
<b>EXO - KO KO BOP</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/IdssuxDdqKk/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/IdssuxDdqKk?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
Last year's standout <a href="https://www.youtube.com/watch?v=KSH-FVVtTf0">Monster </a>was not going to be an easy act to follow, but Exo emerged (minus their final Chinese member Lay) with this fit-as-fuck raggae-dance number that sounded like yet another reinvention for K-pop's most consistently experimental boy band. Beginning with the sound of Carribean dancehall, with a whispery sexiness, this evolves into something else completely and, like all good K-pop, keeps you thirsty for the resolution. What times we live in when any music can be this amazing and when a band can continue to produce work of this standard on such a frequent basis. <br />
<br />
<br />
<b>STRAY KIDS - HELLEVATOR </b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/AdfIfFGCqgo/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/AdfIfFGCqgo?feature=player_embedded" width="320"></iframe></div>
<br />
JYP lost two major acts in the past couple of years with <a href="https://www.youtube.com/watch?v=EkSOOiMDGiY">Miss A</a> and then <a href="https://www.youtube.com/watch?v=PYGODWJgR-c">The Wonder Girls</a> but by the sound of this debut effort from new boy band Stray Kids they have things in hand and then some (yes, I know they also have Twice and Got7 but still...) Stray Kids launched themselves into a crowded market and yet accomplished this EDM-fuelled anthem that mixes rap and rage and a huge skin-tearing chorus that is absolutely <i>enormous</i>. This was a statement of arrival and whatever the future holds, it is now unthinkable that Stray Kids will not emerge into major players in the K-pop scene.<br />
<br />
<br />
<br />
<b>RED VELVET - RED FLAVOUR</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/WyiIGEHQP8o/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/WyiIGEHQP8o?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
You could not move in Seoul or Tokyo without this blaring from cars, shops and restuarants. It was, probably, the song of the summer. <b><i>Insanely catchy</i></b>, this was the sound of Red Velvet undoubtely taking the mantle from the soon-to-disband Girls' Generation and the where-the-hell-are-they F/X as SM's top all-female band. No, it doesn't quite reinvent the wheel but - as with many an SM classic - who could expect that lead-out at the end, the mid-song rap or the amount of catches hidden under the bouncy, disco hall stomp? It is a tune that gets rooted into your skull and then demands repeat listening - much like their almost-as-amazing follow-up single <a href="https://www.youtube.com/watch?v=6uJf2IT2Zh8">Peek a Boo</a> (which should be on here too but I have limited myself to one song per band).<br />
<br />
<br />
<b>SUNMI - GASHINA</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/ur0hCdne2-s/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/ur0hCdne2-s?feature=player_embedded" width="320"></iframe></div>
<br />
The ex-Wonder Girl Sunmi had one of the year's biggest homegrown hits with Gashina (meaning a 'bitch' - but she is playing with this term thanks to this enormous FU to an unappreciative ex-boyfriend). Sexy, addicitve and featuring a fast-slow tempo that builds to a stop-step chorus is, at first listen, difficult to follow but eventually cathartic, this was and is a solo effort to cherish. And man... that video is all levels of amazing. <br />
<br />
<b> BLACKPINK - AS IF IT'S YOUR LAST</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Amq-qlqbjYA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/Amq-qlqbjYA?feature=player_embedded" width="320"></iframe></div>
<br />
YG's new girl group had big shoes to fill after the demise of 2NE1 but they played a blinder with this, their fifth and best single to date. It has three choruses. And each one clings to the next in a sort of build-up of anguish, desperation and then relentless throw-caution-to-the-wind celebration. It is<i> pure pop </i>and yet there is something beautiful about the way the totally divergent vocal ranges compliment one another. It <i>really shouldn't work</i>, especially when Rosé utters her tinged-with-some-uncertainty-wail of 'Kiss me like it’s a lie/ As if I’m your last love' - which breaks into an extended plea - before Lisa picks-up with the central hook of 'As if it’s the last, as, as, as if it’s the last'. It is one of the greatest bridges I have ever heard in a pop song. It's just... <b><i>awesome.</i></b><br />
<br />
<b>G-DRAGON - '무제(無題) (Untitled, 2014)</b><br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/9kaCAbIXuyg/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/9kaCAbIXuyg?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
A document to lost love. G-Dragon's comeback was hotly anticipated but who could have anticipated <b><i>this?</i></b> Not his usual rock-dance-rap-indie-mash-up but instead an understated piano-led wistful longing for a figure of past (and brief?) romance. His Kwon Ji-Yong concept album promised audiences a more personal look at the human being behind the icon (he has to do military service in 2018) and it was a blinder complete with <a href="https://www.youtube.com/watch?v=WaUbYMd8zpM">a literal fuck-you</a> to his critics and schmoozers as the opening track that comes complete with a twisted rambling Shaun Ryder-esque mix of venom and vulgarity. Untitled 2014, however, is one of the most beautiful and delicate pieces of music in recent years and, without a word of English, registered with audiences from continet to continent, resulting in a rare three-date UK tour. <br />
<br />
<b>TAEYEON - FINE</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/NHXUM-6a3dU/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/NHXUM-6a3dU?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
Oh boy, it comes to this.<br />
<br />
Maybe it was 2017. Or at least <b><i>my</i></b> 2017. Maybe it is just her voice. It broke me. <b><i>She </i></b>breaks me though. It was the first concert I wept at. My concert-buddy Naomi wept too. I was all, 'Really? <i>Both of us?</i>' The tour bus afterwards was silent. Everyone, it seemed, had been battered by over two hours of Taeyeon. That soaring chorus. It glides and it punches. It is an indie-anthem with stadium-filling lungs. It is beautiful. Upsetting but haunting. At least at first listen. A simple guitar line opens the song but once you know what is coming that very first few seconds produce goose-bumps. Or maybe I just never fell for the whole diva-this-is-my-pain thing before. There is a first for everything. She's been slowly slaying me for years. I always felt Dog Man Star by Suede was safe as my favourite album of all time. My Voice by Taeyeon replaced it in 2017. From the delicate but hugely ambitious widescreen sadness of <a href="https://www.youtube.com/watch?v=Am7q-yB9-II">Time Lapse </a>to the piano melancholy of <a href="https://www.youtube.com/watch?v=8Kwxeqhv9-I">Love in Colour</a> and even the confident but against-type smoky strip club sex n'sweat swagger of <a href="https://www.youtube.com/watch?v=MHqy1JsVvIE">I Got Love </a>it is perfect. Just <b><i>perfect</i></b>. Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-57410460224792571972017-12-17T09:48:00.003-08:002022-09-11T12:27:41.319-07:00I WENT TO ALL THREE DISNEYLANDS IN ASIA SO YOU DID NOT HAVE TO (Unless you really want to)I'm a huge fan of Walt Disney. There. I said it. I have books galore on the great man (and he was a great film producer and creator) and I roll my eyes at those BFI lists of the best films ever made that don't feature his work - as if <i>Pinnochio</i> and <i>Fantasia</i>, for instance, do not belong on a list of the greatest achievements in motion picture history. Was Walt Disney a racist and a fascist? All evidence indicates he was anything but (in his young years he was actually a radical lefist) but he certainly grew into a conservative and opposed unionisation. Anyone curious about Disney's complexities (and it is worth stating that he put Louis Armstrong on his Disneyland television show even when channels in the South and advertisers maintained they would not carry the programme) can and should access the legions of material that has been penned on the imagineer. He was a troubled, complex man and the more you learn about Walter Elias the more you can begin to appreciate his art. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJS2iqIMlDKgd3xCunYv9Mzbb7oew5R6qyb8xjCU1QiLDWcnB1vTbnyUpfohVHG1lczCdhpvY753QUwyrY0mgRorDRRpj-iXozpqtZATbFWuj17YxMl6AxiETyIVVRhgYWAPqD5ggAKK5T/s1600/1079_10151578827286747_1274439714_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJS2iqIMlDKgd3xCunYv9Mzbb7oew5R6qyb8xjCU1QiLDWcnB1vTbnyUpfohVHG1lczCdhpvY753QUwyrY0mgRorDRRpj-iXozpqtZATbFWuj17YxMl6AxiETyIVVRhgYWAPqD5ggAKK5T/s320/1079_10151578827286747_1274439714_n.jpg" width="320" /></a></div>
<br />
<br />
<span style="font-size: xx-small;">Walt Disney World, November, 2012</span><br />
<br />
Which brings me to his ultimate gamble - Disneyland, Anaheim, California (followed by Disneyworld in Orlando, Florida). Even in my cynical old age I still think there are things to admire in the parks in California and Florida - although Jean Baudrillard probably nailed it best with his description of hyperreality and now, walking around the Magic Kingdom, I cannot help but refer back to his excellent essay. Nowadays I oddly feel it far more difficult to immerse myself in the plastic fantastic of the castles, costumes and cartoon characters come to life as human-sized dollops of fake-fur. Blame it on Baudrillard. Or maybe just a growing pessimism at the ever growing expansion of the Mouse House which, for now, means turning Disneyland into a confused hodgepodge of pop culture that takes in everything from Darth Vader to Robert Downey Jnr.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLQSCb6KbeYjexopCM1bLgbw5m5f0iIVaKRSAassWbAKnWwSpTY6aRq2IkZyeHU8Muca-8DAfkin2LSlYT9_GlLJGgHARO-92rVTP6ooldNHG271W8kYQ-jK7kzg_odK3RDPJeKgoOqDeT/s1600/482208_10151802228991747_1416420997_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="703" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLQSCb6KbeYjexopCM1bLgbw5m5f0iIVaKRSAassWbAKnWwSpTY6aRq2IkZyeHU8Muca-8DAfkin2LSlYT9_GlLJGgHARO-92rVTP6ooldNHG271W8kYQ-jK7kzg_odK3RDPJeKgoOqDeT/s320/482208_10151802228991747_1416420997_n.jpg" width="234" /></a></div>
<span style="font-size: xx-small;">Visiting Disneyland back when I was 25 and living in LA</span><br />
<br />
The first Disneyland to open outside of America was in Tokyo. It opened in 1983 and was soon followed by Tokyo Disneysea in 2001. Wikipedia tells me these are the only parks not under Disney economic ownership but you probably would not notice. The Magic Kingdom looks very similar to those in America but my main interest was in Disneysea, which is unique to Japan and gets <a href="http://www.disneytouristblog.com/tokyo-disneysea-best-theme-park/">a lot of raves online</a>. After visiting Hong Kong and having done the two parks in the USA during my lifetime I was a bit fatigued with the Magic Kingdom. Main Street had lost its allure and Space Mountain had been castrated in the Hong Kong park (see below). So it was, then, that Disneysea seemed the best option.<br />
<br />
Then you walk in and... <i>Oh really?</i> Two hour waits for rides? Hmmm, well this is when the Fastpass comes in useful, right?<br />
<br />
For those who have never been a <a href="https://en.wikipedia.org/wiki/FastPass">Fastpass </a>is part of the Disney ticket. You slide it into a machine that offers you (usually) the chance to come back in about 90 minutes or two hours and skip the bulk of the waiting line. The tickets are limited but they are spread around every attraction meaning that if you cannot get a Fastpass for, say, Space Mountain then you probably can for Splash Mountain. Then you go and wait for a ride (say 50 minutes) then by the time you are finished you get onto another one quickly via Fastpass and can then activate another Fastpass once you have used your old one. All told, in the American parks, even on a really busy day, you can probably ride everything thank to the Fastpass system. <br />
<br />
In Tokyo, however, the Fastpass doesn't work.<br />
<br />
When we get there, Disneysea is packed. Ride waiting times are 70 minutes to over two hours. OK, so we need to Fastpass. But even at 10am the earliest Fastpass available is for 5pm. Do the maths. This means that we get on a total of two rides - one of which we had line up to seventy minutes for. We chose to stand in the queue for Raging Spirits - a rollercoaster which turns out to be snore-worthy. Despite being built in 2005 it chugs along and does very little, with a bog standard track and a tiny loop-the-loop. I'm unsure of what the theme to this even is. Disneysea is (you guessed it) based around the ocean and its many mysteries. Fuck knows what Raging Spirits is doing then - no fish, no water, no nothing... just a crappy, exhausted, boring rollercoaster that you could take your grandmother on.<br />
<br />
Disneysea actually does not feel very Disney.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdQcKxMVJQdquFC53EgDhIqCHYZsEWb2CmqHDXgy1V8vBxhreK5KnrnI3kdoQHRwzDCXewkUb2wRjYewRMgAJa5uvHFF-PwcjiRfU5akB7yF5yrXU1Ll8Bcv0x8HL72-8AN41GXlSJg3UA/s1600/td2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1413" data-original-width="1063" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdQcKxMVJQdquFC53EgDhIqCHYZsEWb2CmqHDXgy1V8vBxhreK5KnrnI3kdoQHRwzDCXewkUb2wRjYewRMgAJa5uvHFF-PwcjiRfU5akB7yF5yrXU1Ll8Bcv0x8HL72-8AN41GXlSJg3UA/s320/td2.png" width="240" /></a></div>
<br />
<br />
Neither does it feel very Japanese. It just feels... odd. Tacky but not in the way<a href="https://en.wikipedia.org/wiki/Akihabara"> Akihabara</a> feels 'tacky'. It just feels... sullen. The same rocky mountains and coves everywhere but without any sense of exploration or imagination. Or maybe Raging Spirits just made me feel like I had lost 70 minutes of my life and it would be better drinking beer rather than lining up for two hours to experience Indiana Jones and the Temple of the Crystal Skull (not sure what this has to do with sea either, but Wikipedia explains that it is a near carbon copy of the Disneyland Calfiornia ride, which is admitedly first class). Yes, okay, so this is something Tokyo does do - it sells alcohol. The cynic in me believes that this is because the park is awful and the rides are tragic but, either way, it means you can at least have a beer or two before finally making use of your solitary Fastpass. In this case it was to ride something called Journey to the Centre of the Earth.<br />
<br />
<b><i>Woohoo... </i></b>only had to wait seven hours to ride this one (during which I think we circled the park in boredom about sixty times)... apparently one of the best attractions in the park...<br />
<br />
And it's crap. Good Lord it's crap. If Tommy Wisseau made theme park rides it would be this. A big plastic mass of garbage that finally picks up some speed and ends. It lasts about 90 seconds and it feels half-finished. I am not even sure what happened on this thing. The effects were of a 1950s Roger Corman movie level. In Kirkcaldy (my hometown) we have something every year called <a href="https://en.wikipedia.org/wiki/Links_Market">The Links Market</a>. It's Europe's longest running street fair and it takes place every April. It lasts a week and lots of travelling old carney families come in and set-up rides - ghost trains, waltzers, whatever... The crowd for The Links Market is a mixture of young people, mums and dads with an exciteable kid, alcoholics and junkies seeking to pick pockets (to be fair, this is the entire population of Kirkcaldy).<br />
<br />
Man, I'm telling you, as low-rent as most of the offerings at the Links Market are, had anyone erected Journey to the Centre of the Earth, there would be moans and complaints. It's that rubbish.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbZJM9_YQOVr2g3Lhyp7a3AhRMmSUcwiVoeVKCrGfOJu1BljowsInZnolTy5zAtktTHeUI0E5LhbZQOlBs0bLASAIonyLCSVeyAun2yATpToecISecP0biuBTTsq-BgH5EJTfJRjnvbaQA/s1600/td3.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1437" data-original-width="1039" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbZJM9_YQOVr2g3Lhyp7a3AhRMmSUcwiVoeVKCrGfOJu1BljowsInZnolTy5zAtktTHeUI0E5LhbZQOlBs0bLASAIonyLCSVeyAun2yATpToecISecP0biuBTTsq-BgH5EJTfJRjnvbaQA/s320/td3.png" width="231" /></a></div>
<span style="font-size: xx-small;"> Beer is indeed sold at Tokyo Disneyland!</span><br />
<br />
So with rides stretching towards the two-and-a-half-hour mark, we opted to leave Tokyo Disneyland. Disappointingly, even the merchandise was diabolical. Then a kind lady came up to us and asked if we wanted two fastpass tickets to the Finding Nemo simulator. It was an act of fluke and we accepted. But the simulator was boring too. Sorry Tokyo Disneysea, but you are officially the dregs of all the Disney parks.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaJmCFbYdUSF1IRigrwD2_eWFVDMSMq6c-RdDx7CHA7RJ-IJ5kXFvYghAOwFtde2ouiDmi_dGfnFhGwXnZR0acBSM7fqLPEYjT6g3sWmDniWGd1kwdqJzsCef-FSdqvDTnW9VBfL1-m7t0/s1600/td.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1409" data-original-width="1025" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaJmCFbYdUSF1IRigrwD2_eWFVDMSMq6c-RdDx7CHA7RJ-IJ5kXFvYghAOwFtde2ouiDmi_dGfnFhGwXnZR0acBSM7fqLPEYjT6g3sWmDniWGd1kwdqJzsCef-FSdqvDTnW9VBfL1-m7t0/s320/td.png" width="232" /></a></div>
<span style="font-size: xx-small;"> Male cosplayers as Disney Princesses in the Tokyo Park. The highlight!</span><br />
<br />
Opening in September, 2005, Hong Kong Disneyland was the second Disney park in Asia. It is easy to access thanks to Hong Kong's excellent monorail system and, obviously, it is the most English-friendly of all three Disney parks. The rides that require any kind of narration are given in English <b>and not Cantonese</b>. The designers have also played it remarkably safe - the solitary park, The Magic Kingdom, is a carbon copy of the ones in California and Florida, albeit far smaller than both. In a way this might make sense - Hong Kong being so densley populated, for instance - but, on the other, it makes the attraction feel like a half-day option at best. In truth, when we attended on a week day, with hardly anyone in attendance, it was possible to get around the park and on every ride we wanted within just two hours. Now this need not be a bad thing. I still remember going to Singapore's excellent Universal Studios back in 2012, finding that no one was there, and still filling up most of the day thanks to some A+ attractions. Unfortunately, Hong Kong Disneyland doesn't have a single ride that is worth doing a second time...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxSCD1SqYae8Kr79ORSbEx7tz29wbdNcLmEiMi0_jqURWqMUtpcjJk6N5KGh01IPfI-IBNDkESqYwlvJGo38HhkOHHZK_8lb5goDXynIj_fxGFQF6EwKvd6u3HDDT0dCxyiEWdkc4g2B9v/s1600/hkd.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1349" data-original-width="1063" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxSCD1SqYae8Kr79ORSbEx7tz29wbdNcLmEiMi0_jqURWqMUtpcjJk6N5KGh01IPfI-IBNDkESqYwlvJGo38HhkOHHZK_8lb5goDXynIj_fxGFQF6EwKvd6u3HDDT0dCxyiEWdkc4g2B9v/s320/hkd.png" width="252" /></a></div>
<span style="font-size: xx-small;">My only pic of Hong Kong Disney and I have to be pulling a very unplanned goofy face! </span><br />
<br />
For a start, and this might be Disney-wide, but Space Mountain is now a mess. Re-dubbed Hyper-Space Mountain it has been reborn as a Star Wars ride with the soundtrack booming at full volume and scenes from the original trilogy playing on giant screens. Alas, this means Space Mountain (sorry, <i>Hyper-Space Mountain</i>) is no longer a dark ride. Instead, you can see each and every turn and, in the full blaze of light, Space Mountain is actually remarkably boring. Slow hand clap to Disney. The other rollercoaster (of sorts) at Hong Kong Disneyland is Big Grizzly Mountain Runaway Mine Cars. This ride is a spin-off from the Big Thunder Mountain ride that typified the 'old West' theme of Disneyland's Critter County and Disneyworld's excellent Frontierland. Hong Kong has a 'Grizzly Gulch' which is, again, like a minature version of the latter two 'lands' and it is not especially visually impresive. The Big Grizzly Mountain Runaway Mine Cars is fairly fun but it won't do much to impress the hardcore thrill-seeker. The only other rides I bothered with in Hong Kong were Mystic Manner, a Haunted Mansion style attraction which is unique to this park, and the Iron Man Experience. The former was the best attraction at Hong Kong Disney and, in its own way, just as good as The Haunted Mansion. The attraction takes in elements of British colonialism, which are obviously especially relevant to Hong Kong, and the thieving of foreign riches (with one item releasing spirits which create havoc in an old colonial house). With this said, Hong Kong and the Opium Wars are not mentioned by name (there is still a lot of pro-British sentiment on the island among native Hong Kongers - and it is interesting to note that the Union Jack flies over the Jungle River Cruise, something that would be unthinkable in the Shanghai park. The flag has oddly been reborn as <a href="http://www.scmp.com/news/hong-kong/article/1085626/scmp-debate-what-do-appearances-colonial-era-flags-recent-protests">a sign of protest against Mainland adminstration</a> in Hong Kong, as uncomfortable as many of us - myself included - might feel with it being flown).<br />
<br />
As for the Iron Man ride - hmmm, call me a purist but I hate seeing Star Wars and Marvel at Disneyland. They are not part of the Disney lexicon and I would much rather they were kept apart or at least designed as elements of a secondary theme park. Iron Man is never going to feel 'Disney' to me and the ride itself is lightweight. It is a 3D simulator ride, but unlike the excellent and hair-raising <a href="https://en.wikipedia.org/wiki/Transformers:_The_Ride">Transformers variant a</a>t Universal Singapore, this is really tame and one never feels as if they are really 'part of the action'. Whilst the visuals are not bad, and the designers do set the action in Hong Kong (predominantly on Hong Kong Island, which is the area most tourists will be familiar with I guess), I felt that the small screen and the drab 3D effects were positively B-grade. In comparison, I rode Transformers three times over - despite detesting the films - because it is absolutely absorbing and even quite hair raising.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSJMm-y7Ss0pkQQdLty8XZdpq8Pdw8nhyRH9jynnBGUkXUf1Yv7X0XNqYgWIX55u1rfREfhW2L9boJenPLkdunhaGsjAYJn0sIrLStAeNyc6Mdc-Zioxc6NvdqXf8sbEesdd5oxcfPQyii/s1600/479091_10150557433356747_809116849_o.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSJMm-y7Ss0pkQQdLty8XZdpq8Pdw8nhyRH9jynnBGUkXUf1Yv7X0XNqYgWIX55u1rfREfhW2L9boJenPLkdunhaGsjAYJn0sIrLStAeNyc6Mdc-Zioxc6NvdqXf8sbEesdd5oxcfPQyii/s320/479091_10150557433356747_809116849_o.jpg" width="240" /></a></div>
<span style="font-size: xx-small;">Michael Bay might make terrible films but this ride outdoes Hong Kong's Iron Man simulator by a country mile</span><br />
<br />
All in all, Hong Kong Disneyland is a huge letdown. For the entrance price I doubt many adults could find much to do and the merchandise shops and layout are minimal. The park feels unfinished and it has a strangley grubby feel to it (the restuarants are nasty, for instance). When we attended there was only a small crowd - and, perhaps, for very young children there will be a few more things to take in. But this is the least Disney-ish Magic Kingdom park I have been to.<br />
<br />
Still better than Tokyo Disneysea though.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjViqap57Q5GhUZsefrO2ieUvGASQlouabcIBIZg3-KuogoQsYAe7EUOLxVuAW5h7TH3Rsb6A1oAgQZWzd30_DJUHEVyZZfDO-7Qq2qJS7h5c3v5mcIP0_aB8TUZAmVI66Bm6AsoNeyfDro/s1600/td4.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1425" data-original-width="1049" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjViqap57Q5GhUZsefrO2ieUvGASQlouabcIBIZg3-KuogoQsYAe7EUOLxVuAW5h7TH3Rsb6A1oAgQZWzd30_DJUHEVyZZfDO-7Qq2qJS7h5c3v5mcIP0_aB8TUZAmVI66Bm6AsoNeyfDro/s320/td4.png" width="235" /></a></div>
<br />
Next up, and I was surprised by this, is the best of the three: Shanghai Disneyland.<br />
<br />
Just opening a year ago, Shanghai Disneyland has no Main Street and offers a radical rethink of how a Disney park should look and lay itself out. It works well and points to a far more assured Disney experience than Hong Kong or Tokyo. Unfortunately, the same problems that hampered the Tokyo park are in evidence here.<br />
<br />
First of all, once again the Fastpass system does not function. In fact, the park offers only two or three chances to get a Fastpass during the day and once these chances are exhausted no more are offered. The third Fastpass opportunity arrives at about 1pm - so you basically have a Fastpass opportunity at, say, 9am and the 11am and then 1pm. After that - none. And as Disney park buffs will be well aware, you cannot get another Fastpass until you have used your original. Does this mean pacing yourself? Not at all. Instead, Shanghai Disney simply rolls all three Fastpass opportunities back-to-back meaning that if the 9am Fastpass opportunity runs out at, say, 9.15am you then get your chance for the 11am and then the 1pm - meaning that all Fastpass opportunities for a given ride can be exhausted and unavailable after 9.30am. To put this into perspective, we got there early and grabbed a Fastpass for the TRON rollercoaster and were then unable to get any other Fastpass for any other ride that day. To add insult to injury as soon as the park clocked about noon the ride waiting times were stretching to three hours.<br />
<br />
That's some ill-thought out insanity right there.<br />
<br />
I don't understand why the Fastpass system is so badly utilised and misunderstood in Shanghai and Tokyo but it clearly is.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE-u4MFS9CCgI4TgZyrzJeew9WgCZ_o2ARuAmOjfB8y23HYXTaCsrdCm226OhmWaeWeqZiboNRnX8o9uxS7WVl-_WezyAcUcWB_hXolOUkzT_VTM0sRmTmgY904egBj27FRwMGnkYa7KJE/s1600/sd1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1393" data-original-width="1037" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE-u4MFS9CCgI4TgZyrzJeew9WgCZ_o2ARuAmOjfB8y23HYXTaCsrdCm226OhmWaeWeqZiboNRnX8o9uxS7WVl-_WezyAcUcWB_hXolOUkzT_VTM0sRmTmgY904egBj27FRwMGnkYa7KJE/s320/sd1.png" width="238" /></a></div>
<br />
As such, we only got on two rides in Shanghai Disney - TRON (an excellent but far too short rollercoaster-in-the-dark ride which, were it a minute longer, might well be the finest Disney ride of all time) and Pirates of the Carribean. Now the Shanghai Pirates of the Carribean is a totally new imagining of the film franchise and nothing to do with the ride you might be familiar with from the American parks. And indeed it poops all over its now-dated American counterparts from a very high height. This is truly state of the art stuff and points to the future of theme park ambitions. It is breathtaking, frankly, sending viewers on a trip under and over water that totally immerses and amazes, although the entire experience is voiced in Mandarin.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9yVKxzJ6zmh2jyKxDrT7Zqe9hC8RmhF8YzprvYz1U5vEJSjapxNvUasK5NWozvAf92n7uFPE7fJI4jJv2-byMrc89B8HqWw04ieb9g8s_yFnb7LVi0ZubWl9LRVfkvTDRnAe2YlvtNvWk/s1600/sd3.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1409" data-original-width="1065" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9yVKxzJ6zmh2jyKxDrT7Zqe9hC8RmhF8YzprvYz1U5vEJSjapxNvUasK5NWozvAf92n7uFPE7fJI4jJv2-byMrc89B8HqWw04ieb9g8s_yFnb7LVi0ZubWl9LRVfkvTDRnAe2YlvtNvWk/s320/sd3.png" width="241" /></a></div>
<br />
And that was that. With enormous waiting times, there really was not much more to do at Shanghai Disneyland. It looks beautiful by night, though, and it has a lovely Disney-ish feel - far more so than its other Asian counterparts. Merchandise is also pretty good - including a range of classic Oswald the Lucky Rabbit stuff for the ultimate Disney nerds (such as myself).<br />
<br />
The most amusing thing for me was wandering around and looking at this little slice of Americana in 'Communist' China and thinking of Uncle Walt spinning in his grave and the youth of Shanghai and Beijing mulling over how normal everything seems: they have their Disneyland, their <a href="https://www.setlist.fm/setlist/metallica/2017/mercedes-benz-arena-shanghai-china-43f8a3c7.html">Metallica concerts</a>, their Starbucks, their McDonalds, Harry Potter, Victoria Secret, Louis Vutton and multiplex cinemas...<br />
<br />
Nothing is missing in 21st century China.<br />
<br />
<b><i>Right?</i></b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSUhAv44bTc9pKeV9N40knwW1zoqZfv63gf1QZ21XaT-Vj9N1LQjLQvJIVVTE48cPhidXi4MB0k8Pfowr07OvAOYDLfDZzjRsl_l3oZchsSebTaKB0Xf-1nxSgt9u5SNPJbn8lIOhcMVoO/s1600/sd2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1381" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSUhAv44bTc9pKeV9N40knwW1zoqZfv63gf1QZ21XaT-Vj9N1LQjLQvJIVVTE48cPhidXi4MB0k8Pfowr07OvAOYDLfDZzjRsl_l3oZchsSebTaKB0Xf-1nxSgt9u5SNPJbn8lIOhcMVoO/s320/sd2.png" width="241" /></a></div>
<br />
<br />Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-38257166914337007682016-12-25T13:54:00.001-08:002022-09-11T12:26:25.716-07:00TOP 20 K-POP SONGS OF 2016OK so my blog on Asia seemed to have run its course a bit (no update in over a year) but being that DAZED magazine once again posted their <a href="http://www.dazeddigital.com/music/article/34018/1/the-20-best-k-pop-tracks-of-the-year">Top 20 K-Pop Tracks of 2016</a> I thought I may as well offer my own again. Especially since I felt their list was actually pretty disappointing and missed out most of the year's standouts. Sorry chaps. This list may well change in time, especially since <a href="http://calumwaddellcontinent.blogspot.co.uk/2015/12/the-top-20-k-pop-songs-of-2015.html">last year</a> I totally failed to have <a href="https://www.youtube.com/watch?v=rFfBqu6vG6s">Oh My Girl and Closer </a>as my number two. Despite the fact it is uniquely beautiful.<br />
<br />
I also missed out <a href="https://www.youtube.com/watch?v=Sa7QfiKGvfk">History and Right to Die</a>. Which fucking rocks (Warning: features six-packed Korean men dry-humping the floor). <br />
<br />
Anyway, 2016 was a strange year for K-pop - 4Minute, Miss A, KARA and (most shockingly) 2NE1 called it quits, whilst CL once again failed to make leg-way in the USA. Yet, 2016 also delivered some of my favourite songs to date. I already struggled with who would and would not make this list. Songs as good as Luna's house anthem <a href="https://www.youtube.com/watch?v=lpwG8f9nt4s">Free Somebody</a>, 2PM's thunderous <a href="https://www.youtube.com/watch?v=dfEyn_LikFU">Promise (I'll Be)</a>, Red Velvet's quirky <a href="https://www.youtube.com/watch?v=ZfcWmKLrtD8">Russian Roulette</a>, Oh My Girl's ridiculously poppy <a href="https://www.youtube.com/watch?v=LNZKqhXCv5c">Liar Liar, </a>T-ara's unexpectedly whispy <a href="https://www.youtube.com/watch?v=LNZKqhXCv5c">Tiamo</a>, Fiestar's bouncy <a href="https://www.youtube.com/watch?v=3BpnB47Fxts">Apple Pie</a>, Dia's insanely catchy <a href="https://www.youtube.com/watch?v=0KGHiRo2apM">Mr Potter</a>, Hyuna's club-conquering <a href="https://www.youtube.com/watch?v=y882AFjrSOM">How's This?</a>, Sistar's Bollywood-inspired beauty <a href="https://www.youtube.com/watch?v=LJVUjmNMF8c">I Like That</a> and Shinee's pop-tastic 1 x 1 (<a href="https://www.youtube.com/watch?v=WJua7KEP_oE">odds on for video of the year</a>) even miss my Top 20. And Shinee's <a href="https://www.youtube.com/watch?v=nchkAmc49p4">Tell Me What to Do</a> is pretty much spot-on as well. See entry number six for my explanation.<br />
<br />
That this level of creativity is not present below only indicates that, taken in pure quality, this might have been the best year yet for Seoul-sounds.<br />
<br />
And 2016 also demonstrated that the genre - if we can even call it such - is still producing the most exciting music on the planet. Having seen many of the acts listed here live over the past year too (including a trio of Girls' Generation concerts) it is really thrilling to also be able to confirm that fan business is as hysterical as it has ever been. Being in the midst of the K-pop boom has been, for me at least, more exciting than my youth, and led to a lot of new discoveries, which I really enjoy sharing here.<br />
<br /><br />
<br />
<b>WINNER - SENTIMENTAL</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/OV9NJGTLm-4/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/OV9NJGTLm-4?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
It was a tough year for YG's <i>other </i>hit boy band - with leading man Nam Taehyun quitting the band due to 'mental health issues'. Exactly where Winner go now is anyone's guess but this hit single is one of the band's standout tunes to date with an indie-pop chorus that is absolutely infectious. Ignore the clueless pundits who described Shinee's 1 of 1 as a 'Britpop' throwback. Sonically it was nothing of the sort. But this is the real deal and it wouldn't sound totally out of place sandwiched somewhere between Menswe@r and Stereotypes-era Blur. <i>Really</i>. And no prizes if you can spot the Stone Roses nod in the video.<br />
<br />
<b>AOA - GOOD LUCK</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/sno_genwMz8/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/sno_genwMz8?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
AOA continue to push the primetime Korean censors whilst drumming up excellent pop music. Ignoring the swimsuits, bum-wiggling and long legs (yes, yes I know that is hard), this is a great slice of vamped-up vaudeville which seagues from stop-start repetition to a violently pronounced chorus that is sheer genius. The accompanying EP, which also highlights the <i>utterly gorgeous</i> eighties throwback <a href="https://www.youtube.com/watch?v=78HA0jvi_B4">10 Seconds</a>, is one of the year's finest short plays and proof that AOA are not just one of the K-pop's biggest bands because of their skin-flauting... (I even paid double to get an autographed copy of this puppy for fuckssake). Indeed, if 10 Seconds had been the A-side in 2016 I think I'd have pushed AOA into my top ten...<br />
<br />
<b>HYOYEON - MYSTERY</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/nQxJFZk4APU/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/nQxJFZk4APU?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
The SM Station, which promised a new weekly tune from one of their artists (most of them as download only) seemed like an ambitious offering but it certainly gave us some absolute gems. Surely the most unexpected of all was the first single from Girls' Generation member - and 'Dancing Queen' - Hyoyeon, a charismatic, charming and often unfairly sidelined (at least vocally) part of the eight-piece supergroup. Even more leftfield was this Middle-Eastern tinged masterwork which compliments her vocal range just perfectly. A solo debut to treasure, Mystery is indication that Hyeyeon's delightfully distinctive husky voice will have a life after the eight-piece band reaches its conclusion.<br />
<br />
<b>BLOCK B - TOY</b><br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/JtjxZoa_LHM/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/JtjxZoa_LHM?feature=player_embedded" width="320"></iframe><br />
<br />
This is Block B's best single so far. A more gentle and (whisper it) romantic offering than the band usually opts for (I still recall<a href="https://www.youtube.com/watch?v=kJGcO5Une-g"> this weirdie</a> making my brain contort when I first came across it during a trip to Seoul in December 2013. Forgive me. I was new to K-pop at the time and it was stuff like that which felt like a neon-tinged <i>injection of awesomeness</i> that my mind could not quite compute... I came home, went to a Cribs concert and felt... <i>dismayed</i>... as if I was on a drug-downer and the drunken colourful world of Gangham clubs and pubs was now as far away as the Moon itself). Toy gave us a far more human side to the group and they played it well. The epic chorus, which changes tempo at the last moment, is danceable but also skillfully emotive. Whilst the accompanying album failed to live up to Toy's excellence, this standout slice of melancholia was one of the most rotated options on my own iPad during 2016.<br />
<br />
<b>BIG BANG - LAST DANCE</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/--zku6TB5NY/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/--zku6TB5NY?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
As T.O.P prepares for military service, Big Bang completed their 'Made' album with three new tracks - of which Last Dance is the easy standout (and god knows what they were thinking with the <a href="https://www.youtube.com/watch?v=EVVv98Zg-BE">other</a> <a href="https://www.youtube.com/watch?v=iIPH8LFYFRk">two</a>). The Made endeavour is, obviously, now a very clear concept LP - and one of the most striking achievements in K-pop history (even the faults, such as that aforementioned twosome, can be seen as honourable failures in the context of the bigger whole). It was Big Bang, in effect, saying their goodbyes and weighing up the pros and cons of life as thirty-something military grads with lots of cash but a likely inability to reclaim their past success. Made was, quite tenderly, the fivesome proclaiming - 'yeah, this <i>was</i> as good as it gets'. The smart thing might have been for label YG to send them all into the military together, thus allowing for a two year hiatus, but with each artist having such a dominating solo career it is at least understandable why they have opted not to. Last Dance has one of T.O.P's most heartbreaking vocal performances as he admits 'one last smile' and 'It’s not like the world, that I’ve seen and felt'. Buckle up, big guy - you'll break a lot of hearts in that squaddie uniform.<br />
<br />
(As a side note, Last Dance and Taemin's <a href="https://www.youtube.com/watch?v=GkdzFbQqVnQ">more mature Soldier</a> indicates that South Korea's celebrity youth are now, finally, <i>actually</i> allowing themselves to <i>not-entirely-subtly-but-still-carefully </i>vocalise what that impending military service feels like. For anyone unfamiliar with the nation's culutre, this is <b><i>inifintely more </i></b>taboo breaking than you might think - far more so than The Sex Pistols mindlessly bellowing 'God Save the Queen' - and if Taemin's tune doesn't touch your heart you might well be made of stone. It was one of the year's edgiest and most thematically groundbreaking songs).<br />
<br />
<b>B.A.P - SKYDIVE</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/7VEZuvy0-cc/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/7VEZuvy0-cc?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
And <i>this</i> is the best Bond track since Tina Turner. Or maybe Gladys Knight. Shame that no one at Eon is ever likely to hear it. Sadly, after their 2015 return from <i>that</i> notorious lawsuit, B.A.P. had another rough year (with member <span class="st">Bang Yong Guk taking a hiatus for the same 'mental health problems' that Winner's press release also maintained). But <i>holy shit</i> if this doesn't rock. This is B.A.P. at their heaviest and, complete with its ridiculously ambitious ten minute music video, this was one of 2016's most bombastic and brilliant comebacks. </span><br />
<span class="st"><br /></span>
<b><span class="st">HISTORY - QUEEN</span></b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/m03Y0PdDUvA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/m03Y0PdDUvA?feature=player_embedded" width="320"></iframe></div>
<br />
<span class="st"><br /></span>
<span class="st">The sound of <i>decadence</i>. Sexy. Provocative. Even a little... <i>sinister</i>? <i>Boom, boom, boom</i>... History are one of Korea's least known and most underrated boy bands. Although as with anything Korean the description of 'boy band' doesn't do them justice because One Direction <b><i>this is not</i></b>. This is exactly what you want from a new K-pop song. Join the fandom before History <i>really</i> break out - and on the sonics of something as superb as this, that time can only be soon...</span><br />
<span class="st"><br /></span>
<b><span class="st">EXID - L.I.E</span></b><br />
<span class="st"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/RnDSODY7bVE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/RnDSODY7bVE?feature=player_embedded" width="320"></iframe></div>
<span class="st"><br /></span>
<br />
Bubblegum at its best, Exid had a huge 2015 and have never looked back since. Another dance floor anthem that builds into two choruses - one wrapped up in lavishly produced and richly indulged high notes and another that slows down into an extended EDM chant. The two sides, however, work perfectly and after the second or third listen some of the other parts also come together brilliantly - including a token rap from LE and a nice collapse into balladry. Exid also slammed out the more sexually forthright (and outright clubby) <a href="https://www.youtube.com/watch?v=qKW0_BiW_50">Cream</a> in 2016, shot in the shadow of Shanghai's iconic Oriental Pearl, but I'm going with L.I.E as their annual best. And the video is proof positive of why Hani has fast become one of Asia's foremost sex symbols. Just saying (for the curious, she's the one with the short hair who starts the song).<br />
<br />
<b>NCT 127 - FIRE TRUCK</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/_psXn_VJ_AE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/_psXn_VJ_AE?feature=player_embedded" width="320"></iframe></div>
<br />
I don't really get SM's NCT project. I suspect it is their attempt to establish somewthing that is a little like <a href="https://www.youtube.com/watch?v=lkHlnWFnA0c">Japan's continent-conquering AKB48</a> (warning: that previous link is <b><i>not</i></b> work friendly) as a similarly Asia-wide thing and with interchangeable males (but actual good music). But K-pop is not J-pop and fans become far more attached to a group than the more 'meat in a skirt' thing of AKB48 which rotates members - and nationalised spin-offs - at an alarming rate. Either way, NCT 127's Fire Truck is indier than anything you will hear in any supposed 'indie' bar this year. NME writers, having had to hype years of soundalike Arctic Monkeys albums, would doubtlessly have a mind-melt trying to describe exactly what this sounds like and what it is even doing. At least one thing is for sure: turned up loud this positively<b><i> burns</i></b>... And the amazing thing is that this is not even the best song from the NCT experiment. For that... wait until number two...<br />
<br />
<b>YURI & SEOHYUN - SECRET</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/ZRPgtoEO6OM/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/ZRPgtoEO6OM?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
This is how I want my dance music. Ear-rattling, seductive and <i>nasty</i>... I don't know if this is the sort of thing I would even have dared tackle back in my days of Morrissey-love but this, <i>this</i>, is the sound of too much alcohol. The sound of 'time to go home'. The sound of attempting to recover from a night on a dancefloor. It makes me feel ten years younger. Oddly. Because ten years ago there is no way I would have listened to this. Maybe I am running low on descriptions at this point - but I loved this so song so much a little bit of my heart was chipped away when I learned it played with a Pantene advert in South Korea. <i>Fuckssake</i>. The impossibly perfect Yuri and Seohyun, of course, are two members of Girls' Generation - but hopefully you did not need me to tell you that.<br />
<br />
<b>BTS - FIRE</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/ALj5MKjy2BU/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/ALj5MKjy2BU?feature=player_embedded" width="320"></iframe></div>
<br />
BTS are the heirs to Big Bang and EXO as Korea's biggest thing right now and after storming K-Con in America this year there were even some rumblings about a world tour. Would this also equate with Stateside airplay? To be honest, I'm not sure if the band is ever, much like Big Bang and EXO, going to grab a genuinelly international audience but Fire<i> is</i> that rare thing - an indie-rock anthem that you can honestly imagine playing on Western radio stations (moreso even than Gangham Style). It is certainly far more accessible than a lot of K-pop whilst still rocking <i>way </i>harder than the last stadium trudge-anthem you heard blaring out from a stuffed suit's BMW. Purely hypothetically, if I <i>was</i> going to spend eight (nine?) figures launching any Asian band in the English-speaking world I would, on the strength of this puppy, probably go for BTS... Give this one a twirl and see if you agree.<br />
<br />
<b>4MINUTE - HATE </b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/D_F9HUTYnl0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/D_F9HUTYnl0?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
How the hell did this flop? But flop it did and soon 4Minute were no more - with only Hyuna remaining on record label, Cube Entertainment, as a signed performer. The break-up was ugly but as far as swansongs go this is one of the very best from any band in any genre, ever. Kicking off as a tragic ballad this evolves into a really in-your-face dance thumper welcomed by Hyuna's should-have-been-iconic squeal of '<i>I hate you</i>'... A brilliant work of pop-art there is no excusing bad taste - and in an alternate world 4Minute are heading into 2017 as arena-headlining heroines and one of the most commercial acts in Asia. Alas, as 2016 taught us, terrible judgement was everywhere...<br />
<br />
<b>TIFFANY - HEARTBREAK HOTEL</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/zQ6u3FO-aRM/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/zQ6u3FO-aRM?feature=player_embedded" width="320"></iframe></div>
<br />
Girls' Generation member Tiffany had a troubled 2016 - although posting the symbol of the Japanese Imperial Army on your Instagram during South Korea's liberation day will, generally, get you into the sort of hot water that - say - Nazi regalia encourages in the West (unless you are Lemmy). A few fawning, begging apologies later and Tiffany made a sort-of comeback with the Far East Movement, and the excellent <a href="https://www.youtube.com/watch?v=Ze92U600Y0s">Don't Speak</a>, but otherwise the Californian-born Valley Girl stayed wisely quiet. Earlier in 2016, though, she came out with this dreamy widescreen wistful amalgamation of early 90s house and Tori Amos/ Boys from Pele-era road music. It was <i>outstanding</i> and showed the full range of Tiffany's vocal talents too - so much so that future solo projects from the American expat (who, by now, must have had some rush-history lessons on her adopted country and its past) should be anticipated by just about everyone...<br />
<br />
<b>WONDER GIRLS - WHY SO LONELY</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/PYGODWJgR-c/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/PYGODWJgR-c?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
Raggae has never had the easiest transition in K-pop - the sound of dance halls and anti-imperialist ethos in the Carribean has been, largely, reappropriated via lots of beautiful Korean men and women as a sexy soundbite which encourages much boobs and bum shaking. At its very worst, we have seen Korean men in dreads pictured pretending to smoke the sort of narcotic that, in Seoul, would get them a spell in chokey, a finality to their career and largescale media and public disgust (yes, weed <b><i>is</i></b> taken that seriously). The Wonder Girls, however, take the form and respectfully and expertly intergrate it into a flawless 3.34 minute pop song that chops, changes and surprises at all turns. Still one of Korea's A-list bands, JYP's most enduring act looks unlikely to falter if they continue to serve-up comebacks as mind-blowing as this. And the music video is excellent. <br />
<b><br /></b>
<b>TAEMIN - SAYONARA HITORI</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/WQQJ7zBzYJs/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/WQQJ7zBzYJs?feature=player_embedded" width="320"></iframe></div>
<br />
Taemin, the franchise of Shinee, had a phenomenol 2016 with a superb solo album and such breathtaking indigenous singles as <a href="https://www.youtube.com/watch?v=XsOGiTSZ_cg">Press My Number</a> and <a href="https://www.youtube.com/watch?v=Oz3mm3tPKfg">Drip Drop</a>. Nevertheless, it is his Japanese shortplay - Sayonara Hitori - that gets the nod here. One of the most spine-tingling numbers to come from SM Entertainment - this is Taemin at his heartfelt best and redefines his image as a mature and sensitive songwriter and performer, something that his output throughout the year consistently cemented. At this stage, in fact, the Taemin image now feels as if it has even outgrown the mammoth of Shinee. And that is no mean feat. But listen to Sayonara Hitori (as well as the above-linked Soldier) and it is nearly impossible not to hear the emerging of a possible 'voice of a generation'. Hopefully SM can give the sexually ambigious - and androgynous - artist enough freedom to continue to explore increasingly more adventurous soundscapes (and themes). With this said, <a href="https://www.youtube.com/watch?v=nchkAmc49p4">Shinee's really fantastic Tell me What to Do</a> really did deserve a place on this list. So pardon my cheating...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/nchkAmc49p4/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/nchkAmc49p4?feature=player_embedded" width="320"></iframe></div>
<br />
I've opted for a Taemin solo instead - and besides, I don't want my Top 20 to seem like too much of an SM love-fest.<br />
<br />
Speaking of which...<br />
<br />
<b>TAEYEON - 11:11</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/ulr0muQKjk0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/ulr0muQKjk0?feature=player_embedded" width="320"></iframe></div>
<br />
At this point Taeyeon is so iconic it feels pointless even writing anything here. Her gorgeous <a href="https://www.youtube.com/watch?v=Q4xFVKwyd1g&t=10s">performance of Rain</a> at the MAMA Awards in December only instigated how her very presence sends an audience into a respectful and perfect hush of admiration. When I began this list I opted for one artist and one song because someone like Taeyeon makes it otherwise difficult not to list their other achievements (for anyone curious, <a href="https://www.youtube.com/watch?v=Ri6wvGjuoOg">summer single Why</a> is an easy 10/10 too). I have gone for 11:11 for the simple reason that it is Taeyeon stripped down, vulnerable, at her most expressive but without the stadium-filling lungs that she is all-too-frequently expected to show (for anyone who remembers <a href="https://www.youtube.com/watch?v=4OrCA1OInoo">last year's solo debut</a>). The only question left for the Girls' Generation leader is exactly where she goes from here. As with Yoona, she has already slayed an entire continent (to the point it feels odd coming back to the UK and not seeing her image, or hearing her music, anywhere) but whether or not her delicate, even virginal, and certainly insanely shy, personality can break further is anyone's guess...<br />
<br />
<br />
<b>YOUNHA (FEATURING HA: FELT FROM WONDER GIRLS AND CHEETAH) - GET IT?</b><br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/aeo_nWsu5cs/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/aeo_nWsu5cs?feature=player_embedded" width="320"></iframe></div>
<br />
Punky foul-mouthed feminist anthem that subverts the image of the 'crazy' girlfriend (including with a hilarious video). This is forthright and angry, atmospheric and antagonistic with one of the best choruses of the year. Probably should have been one of the year's biggest hits but it wasn't - even in spite of three superior vocal performances (with Yenny from The Wonder Girls already making me ache for her next solo album) and, by K-pop standards, a more 'alternative' approach to the production (just <i>listen</i> to that low-fi but absolutely <i>sublime </i>opening). <br />
<br />
<b>BLACK PINK - STAY </b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/FzVR_fymZw4/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/FzVR_fymZw4?feature=player_embedded" width="320"></iframe></div>
<br />
With four singles to date the most challenging thing was concluding on which Black Pink number to put in here. Stay gets the placement for its understated acoustic beauty - although the tubthumping instant-classic <a href="https://www.youtube.com/watch?v=bwmSjveL3Lc">Boombayah</a>, the midnight-hour rouser <a href="https://www.youtube.com/watch?v=9pdj4iJD08s">Playing With Fire</a> and the more experimental <a href="https://www.youtube.com/watch?v=dISNgvVpWlo">Whistle </a>are all tremendous. Then again, they had to be: with YG's 2NE1 calling it quits, Black Pink had to be something special. Whilst the four beauties (with dyed-blonde Lisa offering a slight exoticisim by hailing from Thailand) fit the physical perfection that detractors of K-pop often focus upon - as opposed to the more ragtag glamour of 2NE1 - the songs speak for themselves. As Black Pink go forward, it will be up to the foursome to cultivate the same dedicated fan worship that each charismatic 2NE1 personality managed to grab - but, at the very least, with debut hits as brilliant as this, they have a far stronger start than their YG compatriots were initially afforded.<br />
<br />
<b>NCT U - WITHOUT YOU</b><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/y6OcvS54KYQ/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/y6OcvS54KYQ?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
NCT U (not to be confused with NCT 127 or, uh, <a href="https://www.youtube.com/watch?v=fwmvF5ffmhg">NCT Dream</a>) introduced SM's latest brainfart with the sort of epic guitar anthem that makes pretty much any other guitar anthem from 2016 seem fairly... shite. Ultimately, this sounds so freaking <i>massive</i> that NCT U's follow-up number, <a href="https://www.youtube.com/watch?v=3UGMDJ9kZCA">The 7th Sense</a>, which in itself is really quite great, was given a pitiful task in even attempting to come on the heels of this <i>outstanding</i> rush of sexual infatuation (cheesy or sleazy? Make your call). It still sounds unbeatable, confident, crooning and totally uplifting - making the decision for further NCT sub-groups seem pointless. After all, SM has pulled off the impossible - a band of pretty boys that sound nothing like flagships EXO, Shinee or Super Junior. Do they really need to make it any more complicated than that?<br />
<br />
<b>EXO - MONSTER</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/KSH-FVVtTf0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/KSH-FVVtTf0?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
EXO had so <a href="https://www.youtube.com/watch?v=tbe3pe2BtwA">many</a> <a href="https://www.youtube.com/watch?v=73QzQYN8FtE">good</a> <a href="https://www.youtube.com/watch?v=4EiNsoTc9kk">songs</a> <a href="https://www.youtube.com/watch?v=Y2gM1vQ6MQw">this</a> <a href="https://www.youtube.com/watch?v=AOzVyVv1HtQ">year</a> it beggars belief that a band this brilliant remains so unknown outside of Asia (where they are bigger than boiled rice). Even after losing another member, reducing the once-twelve piece to a fit-as-fuck ninesome, their comeback with Monster was lean, mean and - right from the song's siren-fuelled start - sounded like pure unadulterated<i> danger</i>. And with eye-opening lyrics of sexual frustration, that one might not have expected to drool from the mouths of the EXO lads ('I’ll steal you and indulge in you/ I’m gonna mess you up/ I’m engraved in your heart/ So even if I die, I’ll live forever'), this is a testosterone-fuelled dance-rock mash that - at the year's end - plays as a deliberate 'fuck you' to any band even thinking of touching their K-pop crown. Having seen EXO live twice in 2016 I am personally tempted to go so far as to crown them as the best living band on the planet. From their remarkable and varied output over the past year, it is mouth watering to think where this group might be headed to in the next couple of years - providing SM can keep them healthy and manages to retain what's left of the band.<br />
<br />
<br />
<b>SPECIAL MENTION</b><br />
<br />
If we are including album tracks... Well, Luna's
'Breathe' from her 'Free Somebody' album might be second only to EXO in 2016 achievements.
It is so effortlessly stunning you can escape right into every perfect second.<br />
<br />
<i>Close
your eyes and turn off the lights...</i><br />
<div class="composeBoxWrapper OYKEW4D-U-i">
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/OvQ3I_mf_GQ/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/OvQ3I_mf_GQ?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
<br />
<br /></div>
Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-57972403918256415232016-09-15T04:53:00.009-07:002016-09-16T04:04:01.576-07:00Harare in Zimbabwe: The Dark Rhodesian Past Rots into a Depressing Post-Colonial Present"No, no, no you see I am <i>British"</i><br />
<br />
This was the insane clarion call of an old friend of mine during Scotland's independence referendum in our conversations. The person in question, who writes books set in American states he has never and will never visit (inspired, in turn, by American blockbuster films), insisted - despite having never lived anywhere outside of Glasgow - that he was utterly, utterly <i>British</i>. My old acquaintance, however, seemed to know very little about what 'British' meant - at least insofar as it referenced an old Empire of <a href="https://www.theguardian.com/world/2015/jul/12/british-history-slavery-buried-scale-revealed">colonial slavery</a>, <a href="https://www.theguardian.com/world/2015/apr/20/malawians-seek-compensation-for-nyasaland-massacre-during-british-rule">exploitation</a>, <a href="https://www.theguardian.com/news/2016/aug/18/uncovering-truth-british-empire-caroline-elkins-mau-mau">brutality</a>, <a href="https://www.theguardian.com/world/2001/dec/09/paulharris.theobserver">concentration camps</a>, <a href="http://www.enoughproject.org/blogs/sudan-brief-history-1956">hurried independence</a> for the colonies (and <a href="https://en.wikipedia.org/wiki/Nigerian_Civil_War">ensuing chaos</a> and/ or <a href="https://en.wikipedia.org/wiki/Zanzibar_Revolution">genocidal mayhem</a> - or <a href="https://en.wikipedia.org/wiki/Idi_Amin">trained-up military vets taking power</a>) and propping up dictators throughout the 20th century (I'll get to Mugabe). Describing this was pointless: "Liam Neeson, David Bowie and Tom Jones are part of my country" he would insist - as if name-checking wealthy pensioner-aged white men somehow indicated a national identity.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-RG1YjfgZS-kRB1RYlG5E5IeizVGShgKI76GP2icKhCcwE9QgX1mx_Sis3QKNxFcySiGNYTr3IdaN0Xdk6JFi9h_tcO5Q5dB9JdrUgoNLkeuN0x_M7qNIP6LUoNAKME6tVKOUzWmbg2Kv/s1600/IMG_0145.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-RG1YjfgZS-kRB1RYlG5E5IeizVGShgKI76GP2icKhCcwE9QgX1mx_Sis3QKNxFcySiGNYTr3IdaN0Xdk6JFi9h_tcO5Q5dB9JdrUgoNLkeuN0x_M7qNIP6LUoNAKME6tVKOUzWmbg2Kv/s320/IMG_0145.JPG" width="320" /></a></div>
You must visit Victoria Falls. You<b><i> must</i></b>.<br />
<br />
The thing about white people desperately hanging on to being 'British' is that very few of them, as I discovered, know much about the sheer insanity of what the term relates to. The fella in question, for example, was in favour of the war in Iraq but couldn't tell you a single thing about the post-World War 1 meddling in the country by the good old (go on, guess) British Empire, who <a href="https://en.wikipedia.org/wiki/Kingdom_of_Iraq">paved the way for the clusterfuck</a> that eventually led to the Ba'athist regime. And for those who voted against Scottish independence... well, congratulations - your desire to put your fingers in your ears and cry <i>'nananananana'</i> instead of weighing up exactly <a href="http://www.historyandpolicy.org/opinion-articles/articles/the-imperial-legacy-of-the-scottish-independence-referendum">what "British" even means</a> in this <a href="https://www.theguardian.com/commentisfree/2015/may/09/did-end-of-british-empire-make-death-of-union-inevitable">post-colonial era </a>now makes your country a laughing stock across the world.<br />
<br />
Believe me, I know, <i>I travel</i>, I get it firsthand...<br />
<br />
In a country <a href="http://www.dailymail.co.uk/news/article-2143618/Sun-sets-museum-dedicated-British-Empire-nations-dislike-colonial-past.html">without a single museum dedicated to its Empire</a>, Frankie Boyle has at least pointed out the<a href="https://twitter.com/frankieboyle/status/576523814785425408"> absurdity of how Comic Relief presents African poverty. </a>We all like a good cause but can someone offer some context to the often harrowing images? Too much to ask? Until someone does, clueless cretins - such as the fella I am referring to - will unashamedly think a democratic will to self-government is 'ugly nationalism' (damn those Kenyans! Fuck that lot in East Timor!) and associate that fictional 'British' identity with nothing more radical than Tom Jones shaking his arse to pensioners.<br />
<br />
So it is, then, that the former Rhodesia, and in particular its capital of Harare (Salisbury until 1982), was high on my list of places to visit. Britain's last outpost in Africa. You owe it to yourself to go and visit. It should be a Mecca-like trip for everyone with a UK passport, actually, because oh how quickly we forget our presence in this continent. And the likes of Comic Relief are not exactly eager to remind anyone. Yet the paw-print of Empire is everywhere in the city of Harare. Even today.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXYltfZkcfBQt3bgDlmRn78Rc0h8os2mfp2_5RRiByEMemYY9xeagpyDoYAh5YMNlejHcbtLwqCtEnpGSTQ5arGP4_gcTlXNWBk5WuOo8pqWgufz_4zMK1BFGP2lHhFrdxaY_gU4__W3MR/s1600/mmexport1473339841409.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXYltfZkcfBQt3bgDlmRn78Rc0h8os2mfp2_5RRiByEMemYY9xeagpyDoYAh5YMNlejHcbtLwqCtEnpGSTQ5arGP4_gcTlXNWBk5WuOo8pqWgufz_4zMK1BFGP2lHhFrdxaY_gU4__W3MR/s320/mmexport1473339841409.jpg" width="320" /></a></div>
Harare, est. 1982<br />
<br />
<br />
The current Zimbabwe was granted its independence from the UK in 1980 after the fabled <a href="https://en.wikipedia.org/wiki/Lancaster_House_Agreement">Lancaster House Agreement</a> and 15 years of government <a href="https://en.wikipedia.org/wiki/Rhodesia%27s_Unilateral_Declaration_of_Independence">under an unrecognised UDI</a>. The latter allowed a wily Robert Mugabe, who had fought a guerilla war with - in particular - the support of former Portuguese colony Mozambique, to bully his way into power. The 1980 elections were... bothersome to say the least. In fact, few at the time felt they were <a href="http://messagefromafrica.com/2010/08/09/thatcher-refused-to-annul-mugabes-1980-violent-election/">without violent intimidation</a>. The result, <a href="https://www.youtube.com/watch?v=SjmZuvNbBTc">celebrated even by a visiting Bob Marley</a>, left behind a re-named capital city that, seen today, is an interesting mess. There might <a href="https://www.theguardian.com/commentisfree/2007/nov/23/comment.zimbabwe">still be some</a> who will defend Uncle Bob (or 'Comrade Bob' as the great Nelson Mandela referred to him). He was, after all, a freedom fighter, imprisoned and tortured by the illegitimate Ian Smith regime of Rhodesia - and he had also long rallied against the mass land ownership by the so-called white colonialists (an understandable anger which, sadly, resulted in economic collapse for the agriculturally rich country when the haphazard and hurried farm evictions took place in the late 1990s/ 2000s). But Mugabe's apologists are few and far between these days. Most telling about the last link is that the author resides in Britain. In the old colonialist city of London.<br />
<br />
Mugabe's Zanu-PF party, which owns national paper <a href="http://www.herald.co.zw/">The Herald</a> (among others), is long out of ideas... still blaming stuff on the leftover whites (of which there are few), <a href="https://www.youtube.com/watch?v=pxH_Rp9VIj8">homosexuals</a>, Western sanctions, Tony Blair - <a href="https://www.theguardian.com/world/2002/jan/16/zimbabwe.chrismcgreal">who reneged on The Lancaster House Agreement well aware that Mugabe was not redistributing farmland to anyone but his own corrupt army goons </a>- and most recently <a href="http://www.ibtimes.co.uk/zimbabwe-who-pastor-evan-mawarire-man-behind-thisflag-subversive-protest-movement-1569674">Pastor Evan Mawarire</a>... Evan was the man who, <a href="http://nehandaradio.com/2016/07/15/thisflag-evan-mawarire-flees-zimbabwe-seeks-asylum-america/">after causing a social media explosion</a>, fled to America out of fear for this own life - and who can blame him? Add to this a cash shortage (after inflation went wild, Zimbabwe adopted the US dollar in 2009), a 90% unemployment rate, war veterans who are now teaming-up against the regime and numerous fixed elections and you have a huge mess that 92 year old Mugabe cannot possibly hope to crawl out of. To get into the country you now have a 'guilt tax' of $55 - and it is more for a double entry VISA (which almost everyone wants so they can cross to Botswana or Zambia). No guessing whose pockets your cash is going into.<br />
<br />
But give Mugabe credit for avoiding the chop for this long. He is a smart man. Even at age 92 he is feted by <a href="http://www.myjoyonline.com/news/2016/August-10th/president-mugabe-to-visit-ghana-next-week.php">other African states</a> - largely for waging a war against Smith that many did not think he could win. He was, at his prime, a gifted orator. Well-read about history, he could have been - at the very least - a <a href="https://en.wikipedia.org/wiki/Kenneth_Kaunda">Kenneth Kuanda figure</a>: right place, wrong approach, right exit. Zambia today has little (at least at governmental level) of the language of racism that Mugabe has attempted to provoke against the ex-Rhodesians and their kin. <a href="http://www.newstatesman.com/politics/2014/10/zambia-s-new-president-white-and-we-need-get-over-it">Just ask Guy Scott</a>.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhydYwZS5xii0EWm6zYJn3XCGjRZ7-sfjfkPYEtTjC7ZyfvXuubgEj6oAHTUtS2FPn2bd1DShTW7nebvjjwpLlspRV6-xa-Mcj1oTmG8o388VsWv9b_XX-Bp5jT7K8_TYI-UNBEEv3IxY_/s1600/mmexport1473339721836.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhydYwZS5xii0EWm6zYJn3XCGjRZ7-sfjfkPYEtTjC7ZyfvXuubgEj6oAHTUtS2FPn2bd1DShTW7nebvjjwpLlspRV6-xa-Mcj1oTmG8o388VsWv9b_XX-Bp5jT7K8_TYI-UNBEEv3IxY_/s320/mmexport1473339721836.jpg" width="240" /></a></div>
Cathedral of the Sacred Heart, Harare, Built 1927<br />
<br />
Peter Godwin, who has written three books on Rhodesia/ Zimabwe (including the notorious 2008 elections, in which South African President Thabo Mbeki <a href="https://en.wikipedia.org/wiki/2008%E2%80%9309_Zimbabwean_political_negotiations">shamefully propped up corrupt ballot results</a> to avoid a furthering refugee crisis in Pretoria) argues that Mugabe won't step down because he faces The Hague. But what is often not mentioned is that the now-notorious - but then-ignored - <a href="https://en.wikipedia.org/wiki/Gukurahundi">Matabeleland Massacre of 1983</a> - was carried out, in part, to protect the interests of the same white farmers Mugabe would eventually allow his Bush War vets to violently evict from their land (and in some cases kill). Discovering that lone, random dwellers - associated with Joshua Nkomo's rival ZAPU party - were trespassing, and instigating violence, on white farms was enough for Mugabe to use the 'armed resistance' excuse and go into Matabeleland with all guns blazing. At that point, with white ownership still totaling 48% of Zimbabwe proper, and the country boasting the second biggest economy in Africa, everyone - all across the world - wanted to believe in the man in charge. He got away with genocide - sending his North Korean-trained military to wipe out the Shona majority's historic enemies in Matabeleland. In 1984 he spoke at the Whitehouse with Ronald Reagan looking on. Britain continued to honour him too. He was<a href="https://www.quora.com/Why-was-Robert-Mugabe-knighted-by-Queen-Elizabeth-II-in-1994"> Knighted in 1994</a> - just over a decade after 20,000 people were slaughtered and post-1987 elections had been rigged in his favour. Edinburgh University gave him an honourary degree that year as well. He even socialised with Prince Charles and Margaret Thatcher. Fuck, they even filmed <i>Cry Freedom</i> in Zimbabwe. A film opposed to oppression. Our own Dicky Attenborough. Was he also smitten by one of the worst living dictators?<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivqkjo1anucir3uiZLS4MNMvaV9P9ZxKj4wef2GdiVZYSFfxxFmI88Fgux3PzZOU2RYqD9Vp2_T5i233HUPQURQciijEoRO7PS2xN_cqhM1vUux2HoIqaXKTzpX-q0sABTRpsx0NQnKdqc/s1600/mmexport1473339755264.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivqkjo1anucir3uiZLS4MNMvaV9P9ZxKj4wef2GdiVZYSFfxxFmI88Fgux3PzZOU2RYqD9Vp2_T5i233HUPQURQciijEoRO7PS2xN_cqhM1vUux2HoIqaXKTzpX-q0sABTRpsx0NQnKdqc/s320/mmexport1473339755264.jpg" width="320" /></a></div>
Harare countryside from atop the National Heroes Acre<br />
<br />
All of this was in my head as our plane - an Air Zimbabwe flight (which despite popular reputation was on time, clean and offered a lovely in-air snack) - touched down into Harare. I had come from Victoria Falls where people were evidently desperate. A short taxi journey cost $10 - even with haggling - and people on the street would tail you for blocks, begging to sell you tat or asking for shampoo, spare notes or coins, clothes... anything that you could give. An entertainer at the hotel I was staying begged me to buy him lunch the next day (and I had already tipped him $20). I spoke to an old Rhodesian - a white lady who was out with her grandchild. "Don't you plan to leave?" I asked. "Where would I go? It's beautiful here" she replied. <i>And she is correct.</i> Victoria Falls - wrapped in a perpetual clingfilm as if being preserved from moving on from 1920 - and cleaner than you would ever have any right to expect - is gorgeous. Zimbabwe is gorgeous. In his books Godwin explains the colours and terrain that exist in his home nation and you have to see them for yourself to understand that words do not do this jaw-dropping country justice. The sky at night, the foliage, the wild animals, the smell and the sights, <i>Victoria fucking Falls</i> itself... outside of Vietnam I do not think I have ever seen such natural beauty.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6f1JeGH1xR8lsCdnfy_MTT2TdUudkjn-_3VPNpIBPlCtMwdHIhxija_djoNFji2C3x5D67C2CfKijV8goRG6jKoTr4lWIP8MoLe2RCcIjav2fn0F0hYDXjxFFum9DKnJB0hUnNW0Kz5Ff/s1600/mmexport1472667633442.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6f1JeGH1xR8lsCdnfy_MTT2TdUudkjn-_3VPNpIBPlCtMwdHIhxija_djoNFji2C3x5D67C2CfKijV8goRG6jKoTr4lWIP8MoLe2RCcIjav2fn0F0hYDXjxFFum9DKnJB0hUnNW0Kz5Ff/s320/mmexport1472667633442.jpg" width="320" /></a></div>
Zimbabwe at nightfall, over the mighty Zambezi River<br />
<br />
And for all of Mugabe's anti-colonial gusto, the man who David Coltart claims still loves Cliff Richard records has kept Victoria Falls, and to some extent Harare, as colonial as it comes... from the old buildings to the pictures of Royal visits that adorn the top hotels. There is even an oversized painting of the Queen Mother in The Victoria Falls Hotel. It is all there... the scars of Rhodesia's past, highlighted but stripped of context.I overhear a lady ask if the pictures of old Rhodesia have 'something to do with the Boers'. Tourists coming and going - <a href="https://en.wikipedia.org/wiki/Geneva_Conference_(1976)">bungee jumping from the exact sight of the 1976 negotiations</a>, unaware of the importance of where they are standing... that's the new Zimbabwe. Tourist cash is needed but museums are in short supply. For your cultural fix a trip to neighbouring Zambia (Northern Rhodesia) offers better education about the bad old days of white rule. Ian Smith, today, is someone the white water rafters who come to Victoria Falls in their tens of thousands will never hear about and never know existed.<br />
<br />
Harare itself is, well, a dump.<br />
<br />
The pomp of Salisbury past still lingers - you can see it in the old buildings and the decaying old railway station, which barely even functions anymore. "How many trains come here?" I ask someone at the station. "Maybe one or two... every few hours. In four hours maybe you will see a train." Nothing is happening in Harare now except the protests - but the Zimbabwe court, under Zanu-PF pressure, has declared them illegal. I go out for a walk on the Friday morning that a protest was scheduled to take place - starting in the African Unity Square - and riot police charge up to the area. It is about 10am sharp. People begin to flee. Just another indication of the power of the regime. Zimbabwe might well be becoming a police state. There is no action today. Just a (literal) car crash in the city centre. It attracts a lot of onlookers until the cops arrive and wave everyone on.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZNaRk7QzflSzUEZeBDfvAfN7ERODqgeK-jWM7UZzoKqmdkC9WXzipburElY2KGKNqXHFtITmlU5ZiV6f3RfHMxQkEe21QswISyUXtX9oHjAei5t2LyG_tfdh4Z_pdJMvQQILjgnKbC-I1/s1600/mmexport1473339715791.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZNaRk7QzflSzUEZeBDfvAfN7ERODqgeK-jWM7UZzoKqmdkC9WXzipburElY2KGKNqXHFtITmlU5ZiV6f3RfHMxQkEe21QswISyUXtX9oHjAei5t2LyG_tfdh4Z_pdJMvQQILjgnKbC-I1/s320/mmexport1473339715791.jpg" width="320" /></a></div>
The ghosts of Cecil Rhodes and his demented dreams<br />
<br />
The train station in particular is a depressing sight. It looks like a rundown outlet that you might see in a small town in the UK. A Rhodesian Railways carriage sits stranded a few lines up. Rhodesia is a name you don't see anywhere but on the trains. Another, more modern locomotive doesn't move either. I am told it is broken and won't be repaired. It was only built in 1999. On the streets people look defeated. We are the only two white faces I see but no one even makes eye contact. Harare has a reputation for being one of the safest Southern African cities. I am told by the famous <a href="http://www.meikles.com/">Meikles Hotel</a>, itself a shadow of its former self (the nobs in the bathtub screw off at the slightest of touch), not to leave at sundown. "It is probably not safe for you out there". Certainly, there does not seem to be much street lighting. I know that if I was in the situation everyone outside is in I sure as fuck would want to mug me too.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEovtY6P05xkPcKeywhio3RjlduYncpeiXnEM6j1F4onskPSf7FQZNBN48YJ2oDUiYEGxdbzrfBkvfNPVC4MMDxE7r5cFe064C1j4GTNdmxiHSdAs_Uc8oEIrpFPo8kcfT9BLK1DSxbHrJ/s1600/mmexport1473339899499.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEovtY6P05xkPcKeywhio3RjlduYncpeiXnEM6j1F4onskPSf7FQZNBN48YJ2oDUiYEGxdbzrfBkvfNPVC4MMDxE7r5cFe064C1j4GTNdmxiHSdAs_Uc8oEIrpFPo8kcfT9BLK1DSxbHrJ/s320/mmexport1473339899499.jpg" width="320" /></a></div>
Railway station, Harare<br />
<br />
I take a taxi to the top of the city - looking out over the view that I have become familiar with from book after book on Rhodesia/ Zimbabwe. Harare has not changed so much, I think, at least from a distance, since its Salisbury days. You can tell there is a beautiful old town in there somewhere. The dirty, cracked, broken pavements and roads need fixed. The litter needs lifted. Some buildings look ready to collapse. Civil servants need paid and employed - the refuge is in piles in some street corners. Maybe when Mugabe goes, when sanctions are gone, inward investment returns... maybe then Harare can return to fruition. I see two young female students at the top of the hill, reading their course books, talking about theory. "What are you studying?" I ask. "We are majoring in communications". Mugabe educated his people well. Zimbabwe has the highest literacy rate in all of Africa. He could have been one of the greats but yet here we are... a city that houses derelict buildings, pawn shops, rubble and garbage and people trying to flog old Zimbabwe dollars for US currency. "<i>Look, you can be worth a trillion dollars</i>" laugh the peddlers. I already have some. They will look good on my office wall. <br />
<br />
Coke looks out everywhere in Harare. They are all over the billboards. Emirates as well. The dream of escape. I think about how cruel it is to tease a nation of <a href="http://www.worldlifeexpectancy.com/zimbabwe-life-expectancy">jobless youngsters with a shitty life expectancy rate</a> with the dream of foreign getaways. Zimbabweans are fleeing into South Africa. Many are taking up space in the already decrepit townships that are leftover from apartheid. You ask a waiter in Cape Town where they are from and there is a good chance they will say Zimbabwe. And everyone is so fucking nice. Maybe the years of the Bush War, or the memories that came with it and were passed down, have stopped a civil war. Maybe no one wants another Angola: a seemingly never-ending body count built around political leaders fighting for control and shooting a tonne of shit up in the process. Angola still hasn't recovered. Who knows if it will. The world doesn't remember. I would wager my 'British' pal couldn't find that county on the map.<br />
<br />
Who will come to Zimbabwe's aid if armed fighting kicks off?<br />
<br />
There is a saying in Zimbabwe that everyone has to have a back-up plan. Hardly anyone alive has known a leader other than Mugabe or Ian Smith. And the irony is that <i>The Herald</i>, on the day I arrive, is still banging on about Smith. Fuck man, <a href="https://www.theguardian.com/commentisfree/2007/nov/25/comment.zimbabwe">he died in 2007</a>. He stepped away from politics in 1987. Let the old racist rest. Who still blames Scotland's problems on Ted Heath? Blaming everything on Smith is surely Zanu-PF's continuous back-up plan. 'Don't look at us - the old dead guy is still at fault'. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieN5HRGWmy_IfcgExYx-8KZk2Q08DOb8asF_yws9f9C4R8M0avjNH_90Efj7XoUx2J4vhiWi7K-03D7f_LES-e22CNNiXxkd-pdzXJtu0jOuVlHXSD4QEq2oXEt-TniqsDxUdNxKNHrKqx/s1600/mmexport1473339728102.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieN5HRGWmy_IfcgExYx-8KZk2Q08DOb8asF_yws9f9C4R8M0avjNH_90Efj7XoUx2J4vhiWi7K-03D7f_LES-e22CNNiXxkd-pdzXJtu0jOuVlHXSD4QEq2oXEt-TniqsDxUdNxKNHrKqx/s320/mmexport1473339728102.jpg" width="320" /></a></div>
The entrance to Ian Smith's old farm. Now not a farm at all.<br />
<br />
Then it is onto <a href="https://en.wikipedia.org/wiki/National_Heroes_Acre_(Zimbabwe)">National Heroes Acre</a>. As far as dictators go, Mugabe has been remarkably uninterested in building marquees or statues to himself. His face is on a total of one billboard in Harare. And aside from a solitary road sign, you would be forgiven for not even noticing him. True, one of the highest buildings in the city is the Zanu-PF headquarters, but with that aside, the old man does not linger at every twist and turn. Unlike Mao there are no grand paintings of him meeting foreign dignitaries or smiling as his people take to the farms, apparently in awe of his ability (re: stash of guns) that 'encourage' such diligence. Instead there is just his framed picture, peering out from hotels and tourist hubs ("it has to be there" someone tells me, with a frustrated groan), and also this ridiculous monument, constructed by Zimbabweans with the assistance of North Koreans, which looks straight out of Pyongyang. One of the 'oppressing' white people on the monument even has an Asian appearance. It is a mess. A ridiculous sign which indicates that, even upon taking office, Mugabe was fast losing his marbles. Standing in its gloriously daft shadow, all you can do is laugh. What can be said, after all, about someone who bemoans colonial influence but holds tight to that not-at-all-European Marxist ideology? Or who builds an expensive nod to the many Africans who perished to gain independence from Ian Smith but turns it into a symbol of Jouche ideology which, in itself, would never ever <i>ever </i>let a single black person reproduce with a local? Shit, North Korea is <i>even more</i> racially homogeneous than its neighbour to the South, which is no mean feat.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1ydVdxcuzAs3bePkOXERRYyTv-beKeoXG6RqrQVTP6unOdLs1QABG-3ImSCrDYmEzwnyjRwoJE_mbGW_XUyg7fa_Ie0aod91M0GU0OfHY625b-Oa3sjlX4724YYGa4AZK4G3t04Wuvymk/s1600/mmexport1473339735861.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1ydVdxcuzAs3bePkOXERRYyTv-beKeoXG6RqrQVTP6unOdLs1QABG-3ImSCrDYmEzwnyjRwoJE_mbGW_XUyg7fa_Ie0aod91M0GU0OfHY625b-Oa3sjlX4724YYGa4AZK4G3t04Wuvymk/s320/mmexport1473339735861.jpg" width="320" /></a></div>
'White Rhodesians' beating up the locals. As imagined by North Korea.<br />
<br />
Inside the small museum, there is some Zanu-PF propaganda about Smith. This time it is his government's use of chemical agents. No one doubts that the Rhodesian Bush War was horrible. An ugly, ugly, <i>ugly</i> conflict fought by a white supremacist government hell-bent at resisting black majority rule. Still, there is no chance Mugabe, who appears chiselled into the wall at Heroes Acre, is going to fess-up to any of the atrocities his Zanu-PF party was, and continues to be, responsible for - including the <a href="https://en.wikipedia.org/wiki/Air_Rhodesia_Flight_825">targeted deaths of civilians</a>. The fact that Smith was so bad is what made Mugabe, at least initially, seem so good. The sad irony now is spelled out when I grab a taxi and my driver wants to know where I am from...<br />
<br />
"Scotland" I say - albeit quickly clearing up I no longer live there. "Ah, Scotland... Livingstone... first white man in these parts..." It is not uncommon. In (former protectorate) Botawana and Zambia the drivers are quick to tell you that Britain was once here. One gentleman rattles off all the British Prime Ministers to me. He wants to know my opinions. "Horrible" I reply to everyone that comes after Harold Wilson. Everyone is shocked if you know about British colonialism. I am told that few of the tourists are even aware.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFXGReaJ9xSMvAfCYGZmj13h2Ntp0nu99x4LGmwLDiGLzKdnFifM6jw7XBoAGyJEHaKnSexZAXVKhrNKykOJLn4jaUm8aRW1RtkfSl1_1zcaFCJ5dvNRHT_pFrIck3FBInTsUrocOVka49/s1600/mmexport1473339750225.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFXGReaJ9xSMvAfCYGZmj13h2Ntp0nu99x4LGmwLDiGLzKdnFifM6jw7XBoAGyJEHaKnSexZAXVKhrNKykOJLn4jaUm8aRW1RtkfSl1_1zcaFCJ5dvNRHT_pFrIck3FBInTsUrocOVka49/s320/mmexport1473339750225.jpg" width="240" /></a></div>
<span style="font-size: x-small;">Atop Heroes Acre is the flagpole where the Union Jack was taken down in 1980</span><br />
<br />
I ask the driver about Ian Smith. Why is he still such a live topic here? In the newspapers? Among the Zanu-PF rulers? "Ah... Ian Smith. Well here is the thing... Ian Smith was not so bad," he says. <i>"Really?"</i> I ask. "Well, he was a racist and everything, but... you know... things are worse now. At least the British built our roads and our infrastructure." <br />
<br />
<i>Shit man.</i><br />
<br />
That's the state of affairs right now. And as you leave the beauty of Zimbabwe it is all you can think about. Could history have been different and can the future recover from the past 36 years? A white racist dictator in Ian Smith leading to a promising, but ultimately just as bad - and now worse - dictator in Mugabe.<br />
<br />
One thing is for sure, the chap - my old friend - who believed British was all about ageing celebrities, would probably still be in shock to find out that the UK once had this place, all within living memory. It really is not long ago. And as long as that ignorance is true of most Brits, Mugabe and his successors can continue to draw upon the fact that their one-time oppressors - who just voted for Brexit <i>no less</i> to 'take <i>our</i> country back' - are just as ignorant about themselves, and their identity ("you keep your Great Britain and I will keep my Zimbabwe" he once intoned) as he is about running an economy or respecting basic human rights.<br />
<br />
In the meantime, Zimbabwe continues to be a place that will inspire and enlighten. Beautiful people, a beautiful country, but a tragic situation. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggLR56vgSuHGkaOrnP9ndFFT7fm_4kCgt36kgtje_JvQIEu_Np4M8jwQdYr_u1AyoPNimv25j7Tmb9S2sbWJqTPPHVMhESBoZl0zZUffj6agM1fQbNz8AV0LOKRrGpJAD6rBvsLSyEB6xa/s1600/mmexport1473339784794.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggLR56vgSuHGkaOrnP9ndFFT7fm_4kCgt36kgtje_JvQIEu_Np4M8jwQdYr_u1AyoPNimv25j7Tmb9S2sbWJqTPPHVMhESBoZl0zZUffj6agM1fQbNz8AV0LOKRrGpJAD6rBvsLSyEB6xa/s320/mmexport1473339784794.jpg" width="240" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdGWt0hgdnwTz0jooFlBPvkL75ATmx-z0RvHwsW_63Kpg1yqICfh7xGxEtfLgE0R3oqPaAvpqjer4s04vjzei5Absr-iej8nM5wp_uZ0bcbWRr298-2udiTMB5v3Wqe-dLEfU5yY4ElLU-/s1600/mmexport1473339792521.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdGWt0hgdnwTz0jooFlBPvkL75ATmx-z0RvHwsW_63Kpg1yqICfh7xGxEtfLgE0R3oqPaAvpqjer4s04vjzei5Absr-iej8nM5wp_uZ0bcbWRr298-2udiTMB5v3Wqe-dLEfU5yY4ElLU-/s320/mmexport1473339792521.jpg" width="320" /></a></div>
Uncle Bob: the only monument you'll find<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<br />Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-84940323150968002902015-12-21T12:11:00.000-08:002016-04-26T04:18:37.646-07:00THE FORCE AWAKENS IS A TERRIBLE FILM<b> </b><br />
<br />
<i>(Warning: this review contains spoilers so please do not read any further if you have not yet seen The Force Awakens. Whatever my criticisms of the film, I do appreciate the fact that - wherever you are in the world - nothing 'unites' across cultural and national boundaries quite the way Star Wars does)</i><br />
<br />
I was there.<br />
<br />
Well, sort of.<br />
<br />
I saw <i>Return of the Jedi </i>first. I was a little boy and absolutely loved every second of it - even (especially!) the Ewoks. I was too young to question the inherent silliness of a vast expansive evil Empire failing to stomp all over a few pint-sized furry woodland critters. In fact, I was so taken by <i>Return of the Jedi </i>that I began buying into the merch - and my poor mum eventually even searched high and low for a Yoda figure, to no avail, in an attempt to complete my collection of figures (my older sister, then a nanny in West Germany, finally found him in Berlin! It is a gift I cherished beyond words).<br />
<br />
I managed to rent the original movie on VHS - not long out of diapers. <i>The Empire Strikes Back</i> as well. Even back then I knew <i>Empire</i> was the shining light of the three. I adored Luke's training, the snow-Yeti and Cloud City and Han's blossoming chemistry with Leia. Hell, Mark Hamill, who I eventually met and interviewed in 2010 (and who told me 'just call me Mark' at the end of our chat), was the first and only fan letter I ever wrote. He sent me back an autograph and I was over the moon. I lost count of how often I watched that trilogy of films - Carrie Fisher was even my first love. I adored her. And <i>Star Wars </i>was everything to me: I dreamed about new movies and new stories, featuring - naturally - Luke, Han and Leia. I recreated sequel after sequel with the toys I had.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijeJpFVpAulm7DLZTLhnUvLaz2dlbPKGVHd_q2QKO0ovdgB8i6XiIezzQZP4zEfOujs_aHbR3EFOiZ21ctbIibFTpoHVThTCnfD0Gzo-W62U5SLTKgDl66MQDCuY25HyTGClctQfBQLMpM/s1600/markhamill.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijeJpFVpAulm7DLZTLhnUvLaz2dlbPKGVHd_q2QKO0ovdgB8i6XiIezzQZP4zEfOujs_aHbR3EFOiZ21ctbIibFTpoHVThTCnfD0Gzo-W62U5SLTKgDl66MQDCuY25HyTGClctQfBQLMpM/s320/markhamill.jpg" width="320" /></a></div>
<div style="text-align: center;">
Yes, once I met and interviewed Mark Hamill. Life-affirming!</div>
<br />
In time, though, the figures were collected and put away in carrier bags, handed into charity shops or just chucked out (doh!). I grew into my teens where girls, university, history, Hong Kong cinema and other new discoveries held my attention. The time when I discovered Santa Claus didn't exist because I found a boxed AT-AT fighter under my mum's bed in primary three passed into distant memory. The euphoria of the Christmas that I awoke to find myself unwrapping a present that turned out to be a much saught after Jabba the Hutt set also faded - as did the Halloween where I dressed up as C3PO, clad in an uncomfortable costume that was far from friendly to a bout of heavy Scottish rain.<br />
<br />
Of course, it took until 1999, when I was in university, for a new <i>Star Wars</i> movie to emerge. As with most fans, I saw <i>The Phantom Menace</i> on opening weekend and naively hoped for something that would stimulate my then-adult desire for nostalgia and the comfort of childhood. It had also not yet sunk in for me that <i>Star Wars</i>, as I knew it, was already dead. I had been amused by some of the changes to the first three films in 1997 and I snapped up the widescreen VHS releases but I did not suspect that George Lucas was <i>never </i>going to give us his initial theatrical versions ever again. And when <i>The Phantom Menace</i> did roll around I was already suspect about how <i>Star Wars</i> could really be 'Star Wars' without Luke, Han and Leia. The trailer, to me, looked very CGI-heavy and nonsensical but I wanted this prequel to be amazing. I hoped I would fall in love with it. Instead, I just exited the cinema thinking it looked like a video game. I was largely nonplussed by <i>The Phantom Menace</i> but I didn't feel it 'raped my childhood' as so many others did. I just thought it was a boring sci-fi blockbuster with bad acting, Jar Jar Binks, a lousy child thespian and too much happening on the screen. Anyway, what did I care? I was going through a break-up with my first girlfriend and trying to score tickets to a comeback gig from Pulp and also an Edinburgh Film Festival preview of a new horror flick called <i>The Blair Witch Project</i> (I succeeded with both). I was also doing some stand-up comedy and hosting a little bit of the Edinburgh Fringe on Princes Street (yes, really). I had other things on my mind - my studies, my private life, my future... <i>The Phantom Menace </i>was just a rubbish Hollywood movie and there were plenty of those around.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi04jDWQBCPvWuj1AK-oETY7-jlixksv-ZNIQRF8c51UOC43IGp2KjN5fv4ifa1vh98VzOtorekQ9afVDnTWDbHxyJcQDQUR6vTHHJx1x3n6Xc3gpn6njMJFPAKE96bpk7g604FJpNexGCj/s1600/force.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi04jDWQBCPvWuj1AK-oETY7-jlixksv-ZNIQRF8c51UOC43IGp2KjN5fv4ifa1vh98VzOtorekQ9afVDnTWDbHxyJcQDQUR6vTHHJx1x3n6Xc3gpn6njMJFPAKE96bpk7g604FJpNexGCj/s320/force.jpg" width="320" /></a></div>
<br />
Inevitably, I went to see <i>Attack of the Clones</i> - with low expectations - about a week after it hit cinemas, with a group of <i>Star Wars</i>-savvy friends, and this time I just felt exhausted. If <i>The Phantom Menace</i> was a giant bore, <i>Attack of the Clones</i> was headache-inducing. Big CGI blobs blasting or interacting with other big CGI blobs in cluttered landscapes of nonsense characters and awful acting. My brain couldn't digest what was going on most of the time and nothing interested me - even Christopher Lee. I was now resigned to the fact the prequels were awful and mildly amused when blockbuster-championing magazine <i>Empire</i> gave it a rave review. I still cannot believe anyone would mistake <i>Attack of the Clones</i> for anything approaching a halfway decent film.<br />
<br />
Then came <i>Revenge of the Sith</i> in 2005. I actually almost knocked George Lucas over at the Cannes Film Festival that year - I was exiting from the wrong door of the Carlton Hotel just as he was on the way in. He gave me a bemused look which I will always remember. To be fair, <i>Revenge of the Sith</i> attempts to 'right' the 'wrongs' of the previous two pictures. It has a dramatic core and a relatively (careful now, I said <i>relatively</i>) smooth narrative casuality that actually allows each plot point to lead into the next. I still didn't buy Vader's transformation. Was he just naive? Bi-polar? Easily led? Who knows. At least we finally got an end to the whole debacle and the final fight between Obi-Wan and Vader. It is not that <i>Revenge of the Sith </i>is a good film - <i>it really, really isn't</i> - but it feels a bit more <i>Star Wars</i>-ish than the two that came before it.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNgg1l9QEFxZfp9GLwUD5BT6MN00dEEFMtwjMsNxltzZ-nXdTJfi7ZUohZutMYMMZPidnVlXMnrPKo_CZOW0GWfI367qkDAdgA0KNdjvhXVtlQxRlaWhrYmEs-HRq5_L2i_x8Z5heNXfrn/s1600/bb8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNgg1l9QEFxZfp9GLwUD5BT6MN00dEEFMtwjMsNxltzZ-nXdTJfi7ZUohZutMYMMZPidnVlXMnrPKo_CZOW0GWfI367qkDAdgA0KNdjvhXVtlQxRlaWhrYmEs-HRq5_L2i_x8Z5heNXfrn/s320/bb8.jpg" width="320" /></a></div>
<br />
Still, it is easy to conclude that we didn't need these three prequels. We really didn't need to know about the Clone Wars or how Darth Vader was once a little kid or that Boba Fett is basically a robo-sperm-bank-Kiwi baby. We didn't need to visit the Chewbacca planet or see CGI Yoda or learn about Obi-Wan and his (generally boring) early years. It all added nothing to the <i>Star Wars</i> mythology except to put Hayden Christensen into the end of <i>Return of the Jedi</i>, give us Samuel L. Jackson as a jedi (still the best thing about these movies) and to forever make us aware that Darth Vader is a whiny blonde haired American underneath the dark armour. When you damage your own villain you are in deep shit, and Lucas achieved that - which is a testament, in a way, to his utter hopelessness at expanding his own universe. The prequels put serious dents in the proverbial <i>Star Wars</i> armour because they altered everything - midichlorians, 'Annie', Obi-Wan the bore, Yoda the CGI kung-fu sprite, trade federations, clones, Natalie Portman as Luke and Leia's mum. <i>Of course</i>, you can pretend these films don't exist but <i>1)</i> as long as you only have those wretched special editions they most certainly do and <i>2)</i> let's not be naive: you are never going to erase the fact Darth Vader is Hayden Christensen is Darth Vader.<br />
<br />
Slow hand clap to George Lucas right there.<br />
<br />
<i>The Force Awakens</i>, of course, brought back Han Solo. Which was the first indication this might be something to get excited about. I was psyched. No one wanted to be Obi-Wan when we first saw <i>Star Wars</i>. We wanted to be the nerfherder - the handsome, arrogant, charismatic badass with the blaster who counts a seven foot arm-ripping monster as his best friend and gets the girl. It didn't matter that the prequels were terrible - this was going to be a new Han Solo flick for fuckssake. Moreover, the trailers looked tremendous and J.J. Abrams knows his way around a blockbuster: I actually enjoyed his 2009 reboot of<i> Star Trek </i>and <i>Super 8</i>, from 2011, was just delicate enough to hit the right notes.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiaWMRkSHe89FwDYOBoAa31lA0Umw5x_QlLZcne0WagN6tiN19jHb-7ZS2rYsX1jZVVMmzXXEyCkIz7KLlbu3_sq0OvzRepSVwvisbXcYqpEly-qvcT2ntgqgZppZLcMKhiwRRqtCk5Zfg/s1600/force.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiaWMRkSHe89FwDYOBoAa31lA0Umw5x_QlLZcne0WagN6tiN19jHb-7ZS2rYsX1jZVVMmzXXEyCkIz7KLlbu3_sq0OvzRepSVwvisbXcYqpEly-qvcT2ntgqgZppZLcMKhiwRRqtCk5Zfg/s320/force.jpg" width="320" /></a></div>
<br />
Of course, I also suspected Han Solo was probably going to croak in <i>The Force Awakens</i>. It is no secret that <a href="http://www.cinemablend.com/new/Why-Harrison-Ford-Wanted-Han-Solo-Die-Return-Jedi-100887.html">Harrison Ford wanted the character to die in <i>Return of the Jedi</i> </a>and he was front and centre of the advertising for the new <i>Star Wars</i> at the clear expense of Fisher and Hamill. So that bit was no great shock. It was rubbish (I'll get to that) but not shocking. Even so, I went into <i>The Force Awakens</i> after managing to avoid everything about it and, naturally, eager to find out if this really would be the <i>Star Wars</i> movie we had all been hoping for since 1983.<br />
<br />
Come the crawl and the first signs are promising - the idea that Luke Skywalker has gone missing ala Obi-Wan is, whilst hackneyed, at least a way to keep the narrative moving forward and a simple one at that. <a href="https://en.wikiquote.org/wiki/Star_Wars_Episode_I:_The_Phantom_Menace">Go back and read the opening crawl to <i>The Phantom Menace</i></a> - no wonder people were so confused. On the other hand, <i>The Force Awakens </i>gets straight to the point: from the ashes of Darth Vader and company has come The First Order and Luke is missing but needed. Okay, fine - let's get this monster rolling.<br />
<br />
We meet Max Von Sydow as Lor San Tekka - a wise old resistance fighter on the planet of Jakku. His brief appearance in <i>The Force Awakens</i> is excellent. Christopher Lee, whilst never Laurence Olivier (or Alec Guiness), at least added an old classic screen presence to the prequels and Von Sydow does the same here. We really believe in his nonsense dialogue and the fact new droid character BB-8 houses a map to Skywalker which his keeper, Poe Dameron (the dull as dishwater Oscar Isaac) must rush to get to the Resistance. We are also introduced to Kylo Ren, the new Darth Vader-ish villain who slaughters a village full of Jakku people just so we know he is really, really mean. His methods of torture include tying up characters such as the stinky Dameron and giving them a slightly bloody smack around the face before using mind control to obtain their secrets. Okay, look, I know this is <i>Star Wars</i> but after the Jakku slaughter I was becoming concerned: <i>why</i> was this even happening? For what purpose does The First Order exist? Remember how interesting Darth Vader's Gallactic Empire was in<i> Star Wars</i>? We began with all out crisis on a massive space-liner where Vader was seeking to crush a rebellion that was up against his cruel dictatorship. Vader was brilliant because he was fighting a civil war and <i>his</i> leadership, power and credibility depended on his ability to infiltrate and annihilate Leia's apparently democratic front. Han Solo was great because, during a time of civil conflict, he did not give a flying fuck - he was going about his life and making money as a smuggler and swindler. Why should he care who was fighting who? And, anyway, Vader was not just randomly slaughtering people - what was the point in that? He wanted to rule the planets, not wreck them (I will get to Alderaan). He didn't blow up Tatooine because it would have been pointless. Luke was even about to go to pilot school. People lived normal lives under Vader. His beef was with Leia and her rebellion.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilv_igfnvkX04miq5dfwlGa5glWIOWgNKErETkbD2sQTfXejbeqlNQt9pjRyCOR9pF0Rbj53N8aaZZ1NwksN5d9lWLB1IL3Iq6HO7XOnmBXaYgmGvTOYkoav9TZpyh7sEUPo1bOQsIli3R/s1600/force.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilv_igfnvkX04miq5dfwlGa5glWIOWgNKErETkbD2sQTfXejbeqlNQt9pjRyCOR9pF0Rbj53N8aaZZ1NwksN5d9lWLB1IL3Iq6HO7XOnmBXaYgmGvTOYkoav9TZpyh7sEUPo1bOQsIli3R/s320/force.jpg" width="320" /></a></div>
<br />
So I was expecting that The First Order would become more grounded - we would know who they were and what they wanted. Alas, all we find out is that Kylo Ren is the son of Han Solo and Leia. He trained under Skywalker but rebelled and embraced his dark side (obviously passed down in his genes). He and his English-accented men do really shitty things because they want to rule. But rule what? And why? They blow up four planets because they have a big new Death Star that allows them to blow up four planets. They talk about ruling everyone - but for what means? And how can they rule anyone if they keep exploding planets and killing all the inhabitants? <br />
<br />
Why does Kylo speak to a big CGI Gollum?<br />
<br />
Why is it the new Death Star channels all the energy from the Sun but everyone in other planets is still alive anyway? Wouldn't everybody be dead?<br />
<br />
Why does Kylo take off his mask and reveal himself to be a shaggy-haired emo? The sort that once followed My Chemical Romance on tour and seemed awfully dour and introverted on the back of the number 10 bus from the city centre?<br />
<br />
Seriously: what<i> the fuck</i> is even going on in this film?<br />
<br />
Okay, so The First Order have no purpose. I have seen some people online argue they represent ISIS which makes no sense because <i>1)</i> As one of my best friends so eloquently stated, they are not riding around beheading anyone who doesn't believe in the Force <i>2)</i> They have and accept women to their high command and <i>3)</i> Kylo and company embrace modernity and all of its flashy accomplishments - there is no attempt to unite everyone under an impoverished collectivist mindset based around ancient teachings. If anything, they seem to represent the Cold War era - all raising up their fist and walking in unison with no indication of individualism. This factor would, in a way, make sense (hear me out here) as we are in a post-conflict environment in this <i>Star Wars</i> and the idea of two new orders taking shape - democratic and hardline authoritarian - would mirror the Cold War itself. Unfortunately, even this reading makes no flipping sense because after the fall of the Gallactic Empire wouldn't Leia, Han and Skywalker have had the bulk of the universe's riches and support ala the United States after 1945? If The First Order is Stalin's USSR - which benefited from being allied with the Western powers anyway - then how have they risen from the ashes of an impoverished movement? More to the point, why has Luke Skywalker passed into myth after thirty years? This is like someone asking you if Live Aid actually happened - '<i>Status Quo. Did they really open the event? I heard it was a myth. No one would have been that stupid surely?</i>'<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsNUFSXwh9cFkZCDIh1IQr_ei_3adIxVhndvD-PtowOT8X9voDG62uz6Q6PwKrJ7VmpSE2sfH9xzyGU_BJG4NLaPPa7Yu1CnlNbKx85xG_xqhIHfVBM233lRAhOTG783CC4NgMIvLwrtJg/s1600/force.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsNUFSXwh9cFkZCDIh1IQr_ei_3adIxVhndvD-PtowOT8X9voDG62uz6Q6PwKrJ7VmpSE2sfH9xzyGU_BJG4NLaPPa7Yu1CnlNbKx85xG_xqhIHfVBM233lRAhOTG783CC4NgMIvLwrtJg/s320/force.jpg" width="320" /></a></div>
<br />
I think The First Order idea could have been salvaged too - all it would have taken is for some characters to establish that life was better for many people under the rule of Vader and his men. This is how all draconian parties maintain power. Look at North Korea. If you are an elder and you remember the Korean War you remember the <a href="https://en.wikipedia.org/wiki/Bombing_of_Pyongyang">utter obliteration of your capital city</a>. Now you have a big new Pyongyang that has risen from the ashes thanks to the apparent will of 'The Great Leader' Kim Il-sung and his children. The North Korean propaganda machine tells its people that life in Seoul is a lot worse than life in Pyongyang - <i>they</i> have unemployment and <i>you</i> have work, <i>they</i> have 30,000 American troops stationed there and <i>you</i> have a closed-off, self-sufficient society. That is how you crush any revolution - you inform your people they have it good and the alternative is much, much worse. Moreover, even now,<a href="http://www.spiegel.de/international/germany/homesick-for-a-dictatorship-majority-of-eastern-germans-feel-life-better-under-communism-a-634122.html"> you have plenty of people who miss the old Eastern bloc in Europe</a>. Why wouldn't life have been better for a lot of the population under Vader and why wouldn't others have embraced that way of ruling the galaxy? It could even have raised questions about the benefits of democracy - say Leia being the popular option but her rule, however well intentioned, not really supplying to all of the people so authoritarianism is becoming more popular. Okay, look, so that's a shitty idea but then I am not paid to write this stuff. Besides, instead of <i>any</i> explanation for the rise of The First Order (does anyone even know Vader became redeemed at the end of his life?) we just get the drippy son of Han Solo and another whiny Skywalker brat but this time he is doing lots of nasty, nasty deeds for no reason at all. It is all rubbish.<br />
<br />
Lucas mentioned the evil Empire in <i>A New Hope </i>was symbolic of Johnson, and later Nixon,<a href="http://nypost.com/2014/09/21/how-star-wars-was-secretly-george-lucas-protest-of-vietnam/"> foreign policy in Indochina</a>. It is a factor that still seems to <a href="http://edition.cnn.com/2015/12/18/opinions/garrett-star-wars-storm-troopers/index.html">disturb some American critics</a> (obviously oblivious to the fact that American policy in Vietnam, Laos and Cambodia was among the most reprehensible acts of the 20th century). Naturally, others see the Nazi imagery in <i>A New Hope</i> - the indoctrination, the Stormtroopers, the ending which evokes <i>Triumph of the Will</i> (quite clumsily given it is supposed to be a celebration of Leia's Republic) and the wealth and military-first policy of Vader's regime. Yet neither analogy really works. Whilst the Vietnam symbolism can be argued as obvious - the film even begins with the crawl 'it is a time of civil war' and Ho Chi Minh's Việt Minh were resistance fighters - the conflict in Southeast Asia was about a postcolonial battle for self-government and national freedom. <a href="http://historymatters.gmu.edu/d/5139/">It never began as a battle of Cold War ideology.</a> To equate Luke's farmhand and Leia's order-restoring Princess as the Việt Minh - assisting in building a never-say-die resistance to a well-armed (yet totalitarian?) superpower - is cute but ridiculous. Aside from that opening crawl (which mentions Leia's will to 'save her people') there is no quest for national identity in <i>A New Hope</i> and there is little evidence that Vader's stormtroopers are comitting acts of genocide against a specific race. The destruction of Alderaan may evoke the American bombing of Hanoi, Laos and Cambodia, but in the context of <i>A New Hope</i> it is less genocidal, or even political, as it is about getting Leia to speak and to understand the power of the Empire. Likewise, the Nazi thing is too obvious - right down to the Stormtroopers and, again, genocide (and I use that word in the case of the Indochina War in the context of events <a href="https://en.wikipedia.org/wiki/My_Lai_Massacre">such as My Lai</a>) does not become a part of these films until, curiously, <i>Attack of the Clones</i>.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivktNtWhnanLJot2w3aW5DqhoXgCV68HC2_W7fDyLaRQq7m7MH2iH-dIFgMOxhm5BbXt_L_K7UMC1qqHvkklR6fzqwReAZYXWQX8oWOGgdqe0bcf-Qvv_GGg7U5r0Wq0CV_3LdgVz8jxI8/s1600/force.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivktNtWhnanLJot2w3aW5DqhoXgCV68HC2_W7fDyLaRQq7m7MH2iH-dIFgMOxhm5BbXt_L_K7UMC1qqHvkklR6fzqwReAZYXWQX8oWOGgdqe0bcf-Qvv_GGg7U5r0Wq0CV_3LdgVz8jxI8/s320/force.jpg" width="320" /></a></div>
<br />
Instead, the <i>Star Wars </i>films seem to me to be about American exceptionalism and the dangers of military expansionism. They were Cold War movies. Leia as democratic against the totalitarian one-party Gallactic Empire. Lucas did not need to be a genius political mind - although he tries: after all <i>The Phantom Menace</i> begins with some discussion <a href="http://starwars.wikia.com/wiki/Star_Wars:_Episode_I_The_Phantom_Menace">about a blocade of trade routes and taxation</a>. It could actually have worked well, despite the naysayers - the idea that harmony in a galaxy could be thrown into turmoil because of a dominant superpower with more export than import bullying its neighbours to the point where peaceful trade emerges into all out war. However, <i>Star Wars</i> never needed to be about anything except democracy vs. dictatorship. When the Berlin Wall went down and we all became more international maybe these films just fell into irrelevancy too. The First Order is that problem - it symbolises nothing, it has no purpose, it just does really shitty things for no other purpose than to be really shitty. I don't need J.J. Abrams and writer Laurence Kasdan to be channeling live political events - like a lot of obscenely rich people it is quite possible they don't give international conflicts and disputes much thought - but, Jesus, <i>can we get something</i>? A mere soundbite for why the bad guys are doing their bad things?<br />
<br />
Without a reason to be villainous, though, Kylo finally gets his stripes when he kills his dad. In a scene telegraphed about three minutes ahead of its conclusion and which no one in their right mind could have been shocked by. It succeeds only in giving Han Solo a dreadful farewell - undignified and indicating that the coolest character in all of the <i>Star Wars </i>universe is nonetheless apparently unable to comprehend that getting too close to a certified psychopath, even if it is his own brat, is an unspeakably stupid idea. What was Han thinking? 'Oh I know he just blew up four planets but maybe he will make an exception for his dad?' Maybe Greedo did shoot first after all.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5XPBcniOpSMDHqgYJZtacz-PloQ536HbjIQ1om_IcVSNcqetAcRQAB_LrannTQilBDHta29QCkksIfB6OkFru3yFR5Yw8M_BzYsQT8TU5Wzb5TyiLgwhd9ynTDmYmkY3vwfoXmHTlGLu-/s1600/force.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5XPBcniOpSMDHqgYJZtacz-PloQ536HbjIQ1om_IcVSNcqetAcRQAB_LrannTQilBDHta29QCkksIfB6OkFru3yFR5Yw8M_BzYsQT8TU5Wzb5TyiLgwhd9ynTDmYmkY3vwfoXmHTlGLu-/s320/force.jpg" width="320" /></a></div>
<br />
Kicking Carrie Fisher's appearance in this film feels like a lowblow. Botox has made sure her mouth can barely move, the poor thing, and she will always be Princess Leia, who wore a gold bikini, so we will let that one slide. Except her part is confusing too - why does she operate out of a tiny base? Again, why has Kylo the Emo got all the money to build a huge whopping Death Star and not the Rebels? Who would be called upon, post-war, to rebuild the universe? Oh, hang on, is that a Scottish guy speaking to Han Solo? Why would he call in The First Order? Doesn't The First Order blow up everyone? How come people want to snitch to them? Two different personalities in the film say 'tell The First Order we have found the droid' - one of whom then faces the indignity of her planet being engulfed in brutal fighting and destruction. How does this make <i>any sense</i> whatsoever?<br />
<br />
Right, the other characters.<br />
<br />
Daisy Ridley's Rey is fine. She goes from idiot to Jedi in five seconds. I don't know - look, I am just a guy with a blog and Disney made a shitload of cash from this garbage so who am I to say this sudden character arc makes no sense? I hated it - I still don't get it - but, hey, whatever, the critics are loving this.<a href="http://www.theguardian.com/film/2015/dec/20/star-wars-the-force-awakens-observer-review-mark-kermode"> Even Mark Kermode</a>, whose agent once sent me a most angry email because I dared to ask him his five favourite sci-fi films in an interview and list them in an issue of <i>The Star Wars Insider</i>. 'Don't you know Mr. Kermode has no love for <i>Star Wars</i>?' went the email, obviously ignoring the fact I mentioned this in the very piece and just quoted Mark's top five sci-fi films. And as if believing <i>The Exorcist</i> is <a href="http://www.theguardian.com/theobserver/2004/feb/29/features.review7">some kind of life-affirming spiritual experience</a> and <a href="http://www.timeout.com/london/film/mark-kermode-interview-1">serious story about magical sky genies</a> is less embarassing than being featured in a <i>Star Wars</i> journal. <br />
<br />
Regardless, Kermode - who I rate highly, as a critic and writer - loved this. Honestly, I don't get it. I don't.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDJRBXwrDlq5D5SuYfkkcKXAwa9ezpE0MVvfJFnFJQW9F6YuM-vRLUeQPkOCKJHWD0xE8tmwxmiAXhRMptndTCZ8peVt_n4GX1DsIV46PRfBIlSd9Ig6Ti46ii_Bnmu7iAMyF_2hroeyB2/s1600/force.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDJRBXwrDlq5D5SuYfkkcKXAwa9ezpE0MVvfJFnFJQW9F6YuM-vRLUeQPkOCKJHWD0xE8tmwxmiAXhRMptndTCZ8peVt_n4GX1DsIV46PRfBIlSd9Ig6Ti46ii_Bnmu7iAMyF_2hroeyB2/s320/force.jpg" width="320" /></a></div>
<br />
Ah, that's the other thing I forgot to mention. I also write for <a href="http://starwars.wikia.com/wiki/Star_Wars_Insider"><i>The Star Wars Insider</i></a>, the official Lucasfilm magazine on the series. I even have <a href="http://starwars.wikia.com/wiki/Calum_Waddell">a Wookieepedia page</a> which is tragically under-documented when it comes to the huge amount of stuff I have done for the publication including exclusive interviews with the late, great <a href="http://starwars.wikia.com/wiki/Empire_Builder">Irvin Kershner</a>, actor <a href="http://starwars.wikia.com/wiki/The_Executor_of_the_Empire">Kenneth Colley</a> and effects genius <a href="http://starwars.wikia.com/wiki/Tippett_Talks">Phil Tippett </a>(among loads more not documented on the web site). You see, <i>I really do love</i> that original trilogy. So if you hate this review, at least accept it is being written out of a genuine fondness for three of the seven movies.<br />
<br />
Right, back to the <i>The Force Awakens</i>...<br />
<br />
Rey is a gimp character. Ridley is decent enough, she probably has a great career ahead of her but, oh man, idiot to Jedi in seconds? Yuck. On the other hand John Boyega as Finn I liked more. I thought the idea of Stormtroopers being raised from birth for the purpose of military strength was interesting but, again, confusing - wouldn't the Rebel Alliance know about this? And why would they, presumably just a few years after <i>Return of the Jedi</i>, not shut those camps down? I am confused. Again. Also, why would he not know they were going to kill lots of people? Regardless, I know, this is a terrible movie so we just have to accept characters suddenly chop and change and Boyega is good enough to keep us mildly invested in him even if his whole premise is just 'huh?' Indeed, if he had been so fiercely loyal to Kylo and the Gollum then why would he ever have taken any interest in where the new Death Star's weak spot was? Does Kylo include this in Stormtrooper training: 'Listen up guys, if ever you intend to bring this big piece of equipment down, and we all trust you are very, very loyal, then you need to deactivate this section of the ship and fire into this area... but obviously forget we just told you that because we don't want anyone to know.'<br />
<br />
Come to think of it, why did no one learn from the events of <i>Return of the Jedi</i>? Building a Death Star with a huge vulnerable area is a bit silly really isn't it?<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVARK1GyWwGEqvcJZIzo9FH8oimK3Ad44VsRZIhv-Z7IwFEiUgjgsAHm9WGTVg332LY2IPeoQyAv4evJ3QFZFSrE59uIoeftPQRcEYERUk_bnUF1iC9WcnISMp0zW-gVZQBqO9pyrKo4CP/s1600/force.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVARK1GyWwGEqvcJZIzo9FH8oimK3Ad44VsRZIhv-Z7IwFEiUgjgsAHm9WGTVg332LY2IPeoQyAv4evJ3QFZFSrE59uIoeftPQRcEYERUk_bnUF1iC9WcnISMp0zW-gVZQBqO9pyrKo4CP/s320/force.jpg" width="224" /></a></div>
<div style="text-align: center;">
This poster got my inner child insanely excited.</div>
<br />
By now you can probably tell that<i> The Force Awakens</i> is more or less a rehash of <i>A New Hope</i> - same parent/ son dynamic, same death of a beloved elder, same young scavenger and droid expert - this time with a gender swap - and same reluctant hero. Han Solo even says 'I have a bad feeling about this' in case you had any doubts.<br />
<br />
Okay, another question - if Luke knows that all of his friends are coming a cropper at the hands of this new evil Empire why has he gone into seclusion in Ireland? It just makes him seem like a bit of an asshole. 'Okay guys, I tried, and I know you are all looking for me, but I like the fish and chips down my local and the cheap Guiness so fight this battle yourself, alright?'<br />
<br />
What else, what else?<br />
<br />
How come Rey also kicks Kylo's ass in a lightsaber battle? And then she sees the image of the crucifix in his eyes and says something spiritual (which I cannot remember off-hand)? Have we gone from midichlorians to not-so-subtle Jesus evocations? Also, why has Luke's lightsaber been kept in a box for three decades in a dusty old cantina? Wouldn't Han have known at the very least? Did everyone just go their seperate ways at the end of <i>Return of the Jedi</i>? Why has Kylo got Darth's helmet? Who gave him it? Why is it in this massive universe people keep bumping into each other and into important things? Finn <i>just happens </i>to bump into Rey five seconds after landing on Jakku by <i>complete coincidence</i>. The Millennium Falcon just <i>happens</i> to be deserted on Jakku by <i>complete coincidence</i>. Rey <i>just happens</i> to be able to fly it by <i>complete coincidence</i>. She<i> just happens</i> to land it on Han Solo's ship by <i>complete coincidence</i>. Han <i>just happens </i>to stumble across Kylo on the huge Death Star by <i>complete coincidence</i>. Finn <i>just happens</i> to be a dab hand with a blaster and lightsaber by <i>complete coincidence</i>. Rey <i>just happens</i> to suddenly learn the Force when she most needs it by <i>complete coincidence</i>.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQtds8TGndVr3hi4fLQienibrmpRrsiNpZLX2QHxECOlrhTE3knHCbHV8ESe5HKEf6nsaqhAdFrF1b0BSMmU1GBdBPSqihRfTYc5ufBKI9Vp3EMwJY9-Hv2pvRSPJxWvZ_4_rJw9noqExC/s1600/force.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQtds8TGndVr3hi4fLQienibrmpRrsiNpZLX2QHxECOlrhTE3knHCbHV8ESe5HKEf6nsaqhAdFrF1b0BSMmU1GBdBPSqihRfTYc5ufBKI9Vp3EMwJY9-Hv2pvRSPJxWvZ_4_rJw9noqExC/s320/force.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
And why is it every character says they will not do something only to do it five minutes later? Finn - 'I am getting out of this battle and going to escape' 'Aw please stay' 'No I am leaving' [five minutes pass] 'Guys I am back to help, you were right.'<br />
<br />
Okay, look, <i>we</i> deserved this. <i>I</i> deserved this. We wanted the three original characters united on the screen. This never happens (unbelievably) but we do get them 'back in action' and it really, really sucks. Han Solo is iconic and now he is no more thanks to a really pitiful death sequence. We will all watch <i>Return of the Jedi </i>and think, 'Ah man, they can't celebrate for too long because soon Luke is going to retire to Ireland and grow a beard and Han is going to die at the hands of his own emo-brat.' Looking back, I didn't need to know what happened after<i> Return of the Jedi</i>. None of us did, really. Just as we didn't need to know that Darth Vader is Hayden Christensen is Darth Vader. It doesn't help those three original classics one iota.<br />
<br />
Things have changed, though.<br />
<br />
I am not a kid (and the child in front of me was bored enough to be playing with his light saber whilst I was bored enough to notice). I don't need to spend my money on more <i>Star Wars</i> movies. I don't want to see <i>Episode VIII </i>or a Han Solo spin-off. These new expanded universes just muck up the 'good movies' that came out in the 70s and early 80s. I, for one, have had enough. It is impossible to deny, of course, the power of <i>Star Wars</i> on so many of us. Read this rant for one - you can see the effect that George Lucas had on so many of us. He taught us young 'uns that cinema could be a great source of escapism - but he also birthed the modern Hollywood blockbuster which is, most of the time, a crass, ugly, vulgar thing that exists as part of a crass, ugly, vulgar capitalist studio system. In his book <i>From Vietnam to Reagan</i>, the late, great Robin Wood writes:<br />
<br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-GB</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:DontVertAlignCellWithSp/>
<w:DontBreakConstrainedForcedTables/>
<w:DontVertAlignInTxbx/>
<w:Word11KerningPairs/>
<w:CachedColBalance/>
</w:Compatibility>
<w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]--><i>'Spectacle – the sense of reckless, prodigal extravagance, no
expense spared – is essential: the unemployment lines in the world outside may
get longer and longer, we may even have to go out and join them, but if
capitalism can still throw out entertainments like Star Wars (the films’ very
uselessness an aspect of the prodigality), the system must be basically OK,
right? Hence as capitalism approaches its ultimate breakdown, through that
series of escalating economic crises prophesied by Marx well over a century
ago, its entertainments must become more dazzling, more luxuriously unnecessary'</i> (p166)<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggdg8rI6XiL0UJHSjZCfGXAnPu19F7M_JLg6BLxMJtMwRINpTMMdT9LCMn46Y5_3ntniyv-aGi-0FSovXZeuQR82lauyCl0wFJxMSW8ABVyougU8W7nMkySNP0qwW3M5p2CmZqwKG6OnBz/s1600/force.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggdg8rI6XiL0UJHSjZCfGXAnPu19F7M_JLg6BLxMJtMwRINpTMMdT9LCMn46Y5_3ntniyv-aGi-0FSovXZeuQR82lauyCl0wFJxMSW8ABVyougU8W7nMkySNP0qwW3M5p2CmZqwKG6OnBz/s320/force.jpg" width="224" /></a></div>
<br />
I like Wood's writing a lot and I agree with his assumption - as Baudrillard's writing on hyper-reality also aptly suggests, we are all stimulation junkies today: living for big interactive 3D event films that can be channeled on our phones, fast food, merchandise, gadgets, video games, whatever. I sat through half an hour of tie-in advertisements and lookalike Hollywood blockbusters prior to <i>The Force Awakens</i> and felt more and more uncomfortable as each one showed itself. I kept thinking, 'Man, this just isn't me' - and it isn't. I always made an exception for<i> Star Wars</i> and I allowed myself to get caught up, reminded myself, 'Aw come on, if Lucas did kill cinema and corporate capitalism is the way of the day, at least embrace a little part of it - otherwise we need to accept it has all been for nothing'.<br />
<br />
I wanted to love <i>The Force Awakens</i>, to think of it as something more than just a business deal where lots of rich white men get even richer at the expense of those of us stupid enough to be suckered into a nostalgia-fest of wookies and Han Solo and botox-Leia. And the reviews, the 95% favourable at Rotten Tomatoes, none of whom even mention the fact The First Order - you know, merely the villains of the film - <i>have no motivation for anything they do</i>, are lapping this shit up. You expect it from the likes of <i>Empire</i>, don't get me wrong, but from everyone, everywhere? Honestly, 95% for a movie which has an <i>entire plot </i>based around recurring coincidences?<i> </i>Where in the opening five minutes BB-8's name is repeated exhaustedly so the kids know what to ask their parents for when it comes to Christmas? Really guys? <i>Really?</i><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXyWxZGSiyciX50PMbJJ1eNJECOzDyKr4-RDYkM7bkoWD-hqzyHE2aO_H4dga_4Y3oE8BIjm3t6K1bSSBfz_B_HGYu8DmTmI-HFzRb_AxH37kkDgaDscTcxIlthOj3JpOFMiOimx11WwcK/s1600/force.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXyWxZGSiyciX50PMbJJ1eNJECOzDyKr4-RDYkM7bkoWD-hqzyHE2aO_H4dga_4Y3oE8BIjm3t6K1bSSBfz_B_HGYu8DmTmI-HFzRb_AxH37kkDgaDscTcxIlthOj3JpOFMiOimx11WwcK/s320/force.png" width="320" /></a></div>
Every Star Wars article owes it to themselves to show Leia in a gold bikini<br />
<br />
I know the first film was <a href="http://www.cracked.com/blog/5-ways-star-wars-broke-hollywood-forever/">not exactly original</a> but it was new. It made space look grimy and dusty. The set design and special effects were incredible. The characters were invigorating. It didn't matter if the acting and dialogue was occasionally ropey, these personalities captured the imagination of children and adults across the world. With<i> The Force Awakens</i> we get a terrible send-off for a great character, some slick filmmaking, beautiful scenery, excellent art design and a couple of curious new characters. However, it isn't enough to make me come back for <i>Episode VIII</i>.<br />
<br />
I am of the age now where <i>Star Wars</i> can remain as these horrible A/V quality three films that I own on the old DVDs. Watching these wretched-looking things is the sole way I ever experience the oldies and putting myself through them, badly upscaled onto a new flatscreen TV, is tough. But maybe it is for the best. I am less inclined to revisit the originals thanks to that - and it means, finally, my childhood memories of<i> Star Wars</i> have - over time - remained in my childhood. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb1YfNw2u4PN9xmHRKoohprwAHJSjhLMRNHmxN1cVpjsafygK3Y2V5Vng91Eu4KeK0ZMBhI6XnkVU3hA1jAfx7XRkHKixgtdL0lnORLGjjvWNpQf7PNcYfCPPIewyM6wPBZkn1mlHKK9Su/s1600/force.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb1YfNw2u4PN9xmHRKoohprwAHJSjhLMRNHmxN1cVpjsafygK3Y2V5Vng91Eu4KeK0ZMBhI6XnkVU3hA1jAfx7XRkHKixgtdL0lnORLGjjvWNpQf7PNcYfCPPIewyM6wPBZkn1mlHKK9Su/s320/force.png" width="320" /></a></div>
<br />
<br />Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-42974516259950150652013-07-21T10:37:00.001-07:002013-07-21T17:47:36.768-07:00SOME PEOPLE SHOULD NOT HAVE PASSPORTSIf there's one thing I try and save for (and on the meagre wages of a
freelance film journalist and occasional producer of Blu Ray supplements
that means <i>a lot</i> of saving) it is travel. I remember John Waters - and it
may have been in his book <i>Shock Value</i>, which I don't have handy at this very second - mentioning that it is impossible for him to be bored at an airport. To which I would suggest the poor bugger has never been stranded at LAX, but - regardless - it is a solid point: when you know you are going somewhere, how can you not be excited?<br />
<br />
A passport is a thing to <i>cherish</i> and I am still baffled when I meet people who have the means to travel but choose not to. I'm sure I'll die penniless, I doubt I will ever be able to afford a car (I can't drive anyway) and goodness knows if I might ever be permitted a mortgage but if, on my deathbed, I've ticked off all of the places on my bucket list I will pass away happy. Travel opens your mind - to new languages, cultures, attitudes, religions... I would wager that the more you travel, the less patriotic you get - whilst still appreciating the best of your homeland. Or at least that is my experience.<br />
<br />
However, just because you have <i>the right</i> to go somewhere does not mean you should act like a douchebag when you clear customs and set foot in your latest exotic destination. And this is the reason behind my new blog: asshats and passports. Take a look at the picture below:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZouWzzspijrPFgoE0qwwovCr6NeqaUo5T8uYSqXDbaEV60cAMKWf781fU5sM_11ws1nRb_oRhMudfY4AvW-Gpfdo2FBOaUH4rUl8VpcQ7w32O5gRENSWiyeMQBBVnIuqdEVgbSDAUQO7I/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZouWzzspijrPFgoE0qwwovCr6NeqaUo5T8uYSqXDbaEV60cAMKWf781fU5sM_11ws1nRb_oRhMudfY4AvW-Gpfdo2FBOaUH4rUl8VpcQ7w32O5gRENSWiyeMQBBVnIuqdEVgbSDAUQO7I/s320/blog.jpg" width="240" /></a></div>
<br />
This is a picture of The Bridge on the River Kwai, located in Kanchanaburi, Thailand. The story behind the building of this bridge is harrowing - allied POWS, from numerous nations, forced - under slave labour conditions and stuck in disease-ridden camps in the South East Asian jungle - to build a connecting train line between "neutral" Thailand and Japanese-controlled Burma (then a British colony and now known as Myanmar). Over 100,000 people died constructing this hellish project. <br />
<br />
And in the above image you can see that some tourists have arrived here and decided the only sensible thing to do is to scribble graffiti on it.<br />
<br />
Now look at this image: <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuZX1ePzRdSI3dzAAEn70kRXdNPeF4dIxzhyKCZF1ShyphenhyphenPGxOsyrxs6rSLTiKuxSgLiO6UVZcNUv7toN1vzurXhuXNoZ40bIWjoWnMHHzimi2JKjnTM1-ePq7w3QuA-59YPTPAjdSGnpEC3/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuZX1ePzRdSI3dzAAEn70kRXdNPeF4dIxzhyKCZF1ShyphenhyphenPGxOsyrxs6rSLTiKuxSgLiO6UVZcNUv7toN1vzurXhuXNoZ40bIWjoWnMHHzimi2JKjnTM1-ePq7w3QuA-59YPTPAjdSGnpEC3/s320/blog.jpg" width="320" /></a></div>
<br />
This is Angkor Wat. Yes, <i>the</i> Angkor Wat. You know, the Hindu Temple (eventually becoming a Buddhist place of worship) that has awed people for centuries and centuries? You know, the ancient civilisation that can be traced back to over 1000 years? Located within a short driving distance of Siem Reap in Cambodia, Angkor Wat is one of the wonders of the world. The many temples which are located there are a must-see destination for millions of people. They withstood even Pol Pot's Khmer Rouge (indeed, prior to the Vietnamese liberation of Cambodia, ol' <span class="st">Saloth Sar himself - the man who had closed his own country and executed nearly a third of his people - was giving tourists from Thailand the opportunity for day trips to this incredible site - such was the obvious interest that Angkor Wat still held. Not to mention the obvious monetary benefits that come with it). </span><br />
<span class="st"><br /></span>
<span class="st">But none of this is good enough for the above tourist - "Vanna" - who decided that, despite standing for over ten centuries - what Angkor Wat really needed was her name chipped into one of the pillars.</span><br />
<span class="st"><br />Unfortunately, immortalising herself as an ignorant asshole is not just Vanna's goal in life. It is the goal of plenty of other people. In fact, there is graffiti all over Angkor Wat and its neighbouring temples:</span><br />
<span class="st"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd8-ybHgJPLwR3NCwlz8Syc6BbWIIXVRasa0vecXciKyuH2PResuxNOafe7VHxDxTZhx8QhqjbrEsMuqG59runNxnlU_QxMLADZuTqab1KEik1_RfFfV7CVhRJrJAKMoCDbJC_iMw8e4lP/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd8-ybHgJPLwR3NCwlz8Syc6BbWIIXVRasa0vecXciKyuH2PResuxNOafe7VHxDxTZhx8QhqjbrEsMuqG59runNxnlU_QxMLADZuTqab1KEik1_RfFfV7CVhRJrJAKMoCDbJC_iMw8e4lP/s320/blog.jpg" width="320" /></a></div>
<span class="st"></span><br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf-j-Aj0UiFE70Vm0830yIwB3kH_3rM8DuZHipdbFJ8plynr90C4dNEJolN3kpWxpAMFeqZaoGhI0JQkLZ7BBZKV8axCNdhLwou-bWzml0HM7yRyS7Fs4KPYfgOG1LBun4K7YAgeeRCp28/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf-j-Aj0UiFE70Vm0830yIwB3kH_3rM8DuZHipdbFJ8plynr90C4dNEJolN3kpWxpAMFeqZaoGhI0JQkLZ7BBZKV8axCNdhLwou-bWzml0HM7yRyS7Fs4KPYfgOG1LBun4K7YAgeeRCp28/s320/blog.jpg" width="320" /></a></div>
<span class="st">Depressing isn't it?</span><br />
<br />
<span class="st">And here's another thing: Angkor Wat is still
considered a place of great religious respect by both Buddhist and Hindu
people alike. No matter what time of day it is, you will</span><span class="st"> see young Buddhist scholars walking around
the various temples:</span><br />
<br />
<span class="st"></span><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8OORP4wBYkBEKTMxqEKQkDnjikfqux-459984IrV8eDuqXcReIM1Ofji8WQ6C5KBxKQ0uMEl9sFnWbMk-kLQuOFE9PH2zDus_-lwZzgJMhIWi6XVaVFK8rBa1Qy0YbZ7LBiSZxQtNJnz8/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8OORP4wBYkBEKTMxqEKQkDnjikfqux-459984IrV8eDuqXcReIM1Ofji8WQ6C5KBxKQ0uMEl9sFnWbMk-kLQuOFE9PH2zDus_-lwZzgJMhIWi6XVaVFK8rBa1Qy0YbZ7LBiSZxQtNJnz8/s320/blog.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="st">Guesthouses, hostels and hotels all across Siem Reap ask visitors to Angkor Wat to <i>show respect</i> and <i>cover up</i>.
I am a firm believer that men should not wear shorts and sandals anyway
so that is never a problem for me. I don't care how hot it is (and Siem Reap is <i>hot</i>) - I don't want to inflict my man-legs on anyone. </span></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="st">I understand it is a little trickier for women who, on holiday in a roasting hot climate, will want to show a little skin. But rules are rules. You don't like them? Go to Ibiza. </span></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="st">Naomi, my travelling companion, was quick to respect these rules. Did she sweat lots? Yes. Did she get respect from the local people? Yes. It makes all the difference:</span></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNvw83NTBn2FZQyv8Tg_ookRkSe_BALjW6vdT2cT66lBxwdFBpBO9sGkhU79lqwj_HUmo1HZ4UfwLSkKQih1craGqnmEBxsZ0y_yOVqKg5l0cAnzdkJef6ifHFlmAVGn12BumLpKnBdHLv/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNvw83NTBn2FZQyv8Tg_ookRkSe_BALjW6vdT2cT66lBxwdFBpBO9sGkhU79lqwj_HUmo1HZ4UfwLSkKQih1craGqnmEBxsZ0y_yOVqKg5l0cAnzdkJef6ifHFlmAVGn12BumLpKnBdHLv/s320/blog.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<span class="st">But, mostly, this 'ask' seemed like too much for many white tourists. Take a look at this lot (and this is just three pictures that I took, knowing - at the time - I'd need some examples for the blog I was then writing in my head):</span><br />
<span class="st"></span><br />
<span class="st"></span><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWzL-pX5fQzZUJPU6jUclan9ad3d7sfYPB0pZwu6EJj-zd1PgGHGUmvVUeUWwYMJbyxhinoOsSVFtAcN8eDPQ_m7Xp7egofFvcAB_Kgl0KwcMR8J5KN8L2dos4Qp_B42m7zS3yYsmGPddl/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWzL-pX5fQzZUJPU6jUclan9ad3d7sfYPB0pZwu6EJj-zd1PgGHGUmvVUeUWwYMJbyxhinoOsSVFtAcN8eDPQ_m7Xp7egofFvcAB_Kgl0KwcMR8J5KN8L2dos4Qp_B42m7zS3yYsmGPddl/s320/blog.jpg" width="239" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2gyZHKPPmNjO4jXPcHPCzQ4QIFRtjB7mAz5oyRQC7VnWARzvHS7PBpscOYAWhVNCzI_mFk7AuZ7GL82wy7XbU5-C3ZYdn6XnDivgmdiaWQCZMc7oZcGUyP47cYbAkujKViWr3naAkN0Ur/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2gyZHKPPmNjO4jXPcHPCzQ4QIFRtjB7mAz5oyRQC7VnWARzvHS7PBpscOYAWhVNCzI_mFk7AuZ7GL82wy7XbU5-C3ZYdn6XnDivgmdiaWQCZMc7oZcGUyP47cYbAkujKViWr3naAkN0Ur/s320/blog.jpg" width="240" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW_McWqzEjhZblEeR__F4XokaHzXR436B6cRwCPwB_HmfqmJNyKshHkzTagwVK4r-p2fq2_I7eJBruKp7gIofUS7LQW4UBczL-cJQQypJOiNFvTrqps1CJfQtHBy0Jg9K7I1fac1zAZWQs/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW_McWqzEjhZblEeR__F4XokaHzXR436B6cRwCPwB_HmfqmJNyKshHkzTagwVK4r-p2fq2_I7eJBruKp7gIofUS7LQW4UBczL-cJQQypJOiNFvTrqps1CJfQtHBy0Jg9K7I1fac1zAZWQs/s320/blog.jpg" width="240" /></a></div>
<span class="st"></span><br />
<span class="st">Well, at least they didn't dress like that when they were visiting a mosque. Oh hold on, that actually did happen. It was in Kuala Lumpur. And once again, some of the tourists seemed shocked they were expected to cover up. <i> </i></span><br />
<br />
<span class="st"><i>Sigh...</i></span><br />
<span class="st"><br />And here's the <i>very clear</i> entrance to the Royal Palace (and temple) in Pnomh Penh:</span><br />
<span class="st"></span><br />
<span class="st"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrfQV3FxNP6D4nJeoO2Wun-c8j9cpxG7KE_G9A-FlRNqTBXhTIYPukRfpP-M9D3LpAxHUTjeM40ay3pgEzyw5c87B2C6z_2HR2_CXapO5q-stjTQ2ogyg5lBhr6PQPFNGTWi1v8W3zojvC/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrfQV3FxNP6D4nJeoO2Wun-c8j9cpxG7KE_G9A-FlRNqTBXhTIYPukRfpP-M9D3LpAxHUTjeM40ay3pgEzyw5c87B2C6z_2HR2_CXapO5q-stjTQ2ogyg5lBhr6PQPFNGTWi1v8W3zojvC/s320/blog.jpg" width="320" /></a></div>
<span class="st"><br />You see that? Is this clear enough? NO FREAKING SHORTS!!!!!</span><br />
<span class="st"></span><br />
<span class="st"><br />Here's the people in line in front us mulling over the likelihood of them being turned away:</span><br />
<span class="st"></span><br />
<span class="st"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVJmuxfrfBTKgQhfMZ47XmuRwlLEkN4IE8B8WIA3PNfjdZTDggmECv4EBO6FapiG13elKbxmy1nPYVF6UiygdZwmzCfj_kXI_FH4grz-tEyjvimIy2MDHkWOIQNPrj13Lc6tUFs4D6c9Nd/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVJmuxfrfBTKgQhfMZ47XmuRwlLEkN4IE8B8WIA3PNfjdZTDggmECv4EBO6FapiG13elKbxmy1nPYVF6UiygdZwmzCfj_kXI_FH4grz-tEyjvimIy2MDHkWOIQNPrj13Lc6tUFs4D6c9Nd/s320/blog.jpg" width="320" /></a></div>
<br />
<span class="st">Perhaps even worse was the graffiti I found on the walls of the <a href="http://en.wikipedia.org/wiki/Tuol_Sleng_Genocide_Museum">Tuol Sleng Genocide Museum</a> - a place where the Khmer Rouge murdered and slowly tortured thousands of people (up to 20,000 seems to be the rough estimate). I didn't take any pictures here (I don't think there's a reason for a camera to be out in a place like this) but there were tourist scribblings on the walls of places where bloodstains remain - where people, in agony you and I can never, ever comprehend - were starved for months and tortured for extended periods of time. A place so horrific, Naomi would not even walk into one of the cells. <br /><br />Suffice to say, my faith in humanity crumbled even further when I saw people's scribbles all over Tuol Sleng - a place which still personifies an almost unthinkable terror.</span><br />
<br />
<span class="st">Cambodia, and to a lesser extent Thailand, are both countries where the locals will attempt to sell you<i> anything</i>. You might haggle for something only to find you've been ripped off when, a few stalls later, someone has the same thing for $1 instead of $10. It's not so much dishonesty as it is the result of having no welfare state and a huge gap between rich and poor. Cambodia, in particular, is what would happen if Ron Paul's Randian lolbertarian ideal ever took place - mothers and children sleeping homeless, kid beggars, a lack of police on the street, unsafe roads and pavements, litter everywhere and mansions next to makeshift cardboard homes. </span><br />
<span class="st"><br />So, no, I don't blame anyone in these developing nations for trying to get money any way how. I do, however, find it depressing seeing white men with young prostitutes on their arm in Phnom Penh or in Bangkok. I think it is disgraceful that tourists in the Thai capital and Phuket think it is acceptable to pay to see a women from a developing nation pull razor blades or <a href="http://bleakdaysandgloomynights.blogspot.co.uk/2011/11/ping-pong-show-funeral-and-bangkok.html">live animals</a> out of her nether regions or blow a <a href="http://www.guyswhotravel.com/entry/superpussy-our-night-at-a-ping-pong-ball-show-in-bangkok">whistle</a> or fire <a href="http://www.adventurouskate.com/adventurous-kate-goes-to-a-bangkok-ping-pong-show/">ping pong balls</a> at your spoilt, arrogant little tourist mug from the same bodily area. I can't even begin to explain my hatred for third world sex tourists (or any kind of sex tourist) who has not the slightest concept of the politics involved in this <a href="http://www.huffingtonpost.com/wires/2009/08/14/thailand-the-worlds-sex-t_ws_259562.html">hateful industry</a>. Go ahead and defend your <a href="http://www.guyswhotravel.com/entry/superpussy-our-night-at-a-ping-pong-ball-show-in-bangkok">idiotic actions</a> but your sexual curiosity, or gratitude, is what gives tourists to Thailand and other South East Asian nations such a bad name. It is also what makes some of the locals see us as nothing more than a walking dollar sign - to be shamelessly exploited. Given the circumstances I cannot say I blame them.</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Q50eT2sgFLRtYFb_yPlRhbi2vMGiM9Ogi9Qbs4SgK9M4CThZXmETshQOw-XWLDsrR696DFG1nJDL7n1QnpZaxbiUQdwDV8FobTthr-zc1ovP5UVPEsHzEWdOz46OjMu0S8TVFgToRjMN/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Q50eT2sgFLRtYFb_yPlRhbi2vMGiM9Ogi9Qbs4SgK9M4CThZXmETshQOw-XWLDsrR696DFG1nJDL7n1QnpZaxbiUQdwDV8FobTthr-zc1ovP5UVPEsHzEWdOz46OjMu0S8TVFgToRjMN/s320/blog.jpg" width="240" /></a></div>
<br />
<span class="st">Another thing that bothers me is idiots and animals in these countries.</span><br />
<br />
<span class="st">In Patong I spent an evening drinking some Tiger Beers (<a href="http://beerbeer.org/wp-content/uploads/2010/03/tiger-crystal-launch-02.jpg">Tiger Crystal Lite</a> is now my alcoholic beverage of choice) and watching tourists having their pictures taken with exotic animals. How about a pic with a baby leopard? Or an iguana? Or a lemur? That would be cute wouldn't it? Nothing <a href="http://www.nocturama.org/the-sad-new-trend-in-phukets-tourist-areas-slow-lorises-as-photo-props/">dodgy</a> going on <a href="http://www.thephuketnews.com/pitfalls-of-catching-phuket%E2%80%99s-animal-touts-37620.php">there</a>. I can only mention my utter horror as person after person lined up to be pictured with a baby leopard which, after they scattered, was roughly hit by its handlers. And why wouldn't they hit it? It's a <i>fucking wild animal</i>. It's not a play thing for pricks with passports.</span><br />
<span class="st"><br /></span>
<span class="st">The worst offender of this has to be the various tiger "temples" that are all over Thailand. </span><br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvp7lp_kZLa7IJoaUw0RYI-m2qzTE2Zwuvf15nzpCOLdP96cJ8VId6tRVTGriBB1Gf_lZSgXAxaoMPBk5YaCLQMW8zeYbCZeewmdpBjZO5XTzqoAcNInmoutvO5tLss9ZuMWB8Gg6rBJdP/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvp7lp_kZLa7IJoaUw0RYI-m2qzTE2Zwuvf15nzpCOLdP96cJ8VId6tRVTGriBB1Gf_lZSgXAxaoMPBk5YaCLQMW8zeYbCZeewmdpBjZO5XTzqoAcNInmoutvO5tLss9ZuMWB8Gg6rBJdP/s320/blog.jpg" width="320" /></a></div>
<br />
<br />
<span class="st">Now I love tigers. I'm sure you do too. But something is a bit fishy about paying to sit on their backs, or at their sides, or snuggling up to them. I mean, imagine if Edinburgh or London Zoo offered that? They would make a fortune! So why don't they, right? Well, maybe it is because the tigers in these Thai establishments are <a href="http://www.careforthewild.com/what-we-do/campaigns/previous-campaigns/tiger-temple-the-truth/">badly treated</a> and even <a href="http://www.thesun.co.uk/sol/homepage/news/4532530/footage-of-tourists-teasing-drugged-tigers-animal-rights-groups.html">drugged</a>. There are <a href="http://www.bangkokbeyond.com/blog/tiger-temple-dont-go">reports</a> all over the internet about the <a href="http://www.responsibletravel.com/copy/why-we-should-all-boycott-the-tiger-temple-thailand">bad</a> <a href="http://www.wildlifeextra.com/go/news/tiger-temple013.html#cr">treatment</a> given to tigers in these places and, rest assured, if my old, beloved, late, great tabby cat of 17 years was consistently petted for 10 hours a day by strangers, it would attack your hand and leave you with some nasty gnaw and scratch marks. And that is a tabby cat. So the excuse that these tiger temples give - that the animals are just "tired" and used to human contact - is really quite ridiculous but, hey, some tourists will <a href="http://leaveyourdailyhell.com/2012/09/06/tiger-tourism-thailand-ethical-issues/">believe</a> <a href="http://abcnews.go.com/International/AmazingAnimals/story?id=6479393&page=1">anything</a>. Unfortunately, we saw a lot of people lining up to plan trips to these centres of reported big cat brutality whilst we were in Thailand. Depressing.</span><br />
<span class="st"><br /></span>
<span class="st">I've not even started on the abuse of elephants - from <a href="http://www.dailymail.co.uk/news/article-1326182/Circus-cruelty-Adult-elephants-forced-walk-metal-tightropes-Thailand-tourist-attraction.html">idiotic circus shows</a>, to <a href="http://www.eleaid.com/index.php?page=streetelephants">street begging</a> to <a href="http://journals.worldnomads.com/responsible-travel/story/81053/Thailand/Why-Elephant-Riding-Should-Be-Removed-from-Your-Bucket-List">riding on their backs</a> - but there is one final positive. It is called the Elephant Nature Park and it is a rescue centre based in Chaing Mai:<br /><br /><a href="http://www.elephantnaturepark.org/">Elephant Nature Park</a></span><br />
<span class="st"><br /></span>
<span class="st">The subject of documentaries on National Geographic and Animal Channel, the owner is a wonderful woman called Ek, and her husband, who also save stray dogs and cats. The elephants in this incredible retreat range from animals blinded by circus lights or cruel owners to battered and bruised creatures who have spent their lives on the streets of Bangkok to gain money from tourists wanting a photo opportunity. The animals in Lek's park are well treated and, as a tourist, your money goes towards her amazing conservation efforts. <br /><br />You might not be riding on their backs, but you can pat these amazing mammals and even feed them.</span><br />
<span class="st"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzvcYSb_sPAx97e2qH8uhco8CPaZVqD5cJvejyk2CsbYIWESpfjSiHiBURYgyHqBZhP3kqI6Di1itmFvIWbzW-rqOMSBwX7hbwN9_NGPhHIOzM7JDkqPLA73LmRj_-2KSVGS2y0FbjKLcz/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzvcYSb_sPAx97e2qH8uhco8CPaZVqD5cJvejyk2CsbYIWESpfjSiHiBURYgyHqBZhP3kqI6Di1itmFvIWbzW-rqOMSBwX7hbwN9_NGPhHIOzM7JDkqPLA73LmRj_-2KSVGS2y0FbjKLcz/s320/blog.jpg" width="320" /></a></div>
<br />
<span class="st">Those who do engage in some sort of ethical travel would be well advised to spread the word to others about respecting the countries we choose to visit and even recommend, as I'm doing, places such as the Elephant Nature Park. And if you see someone scrawling graffiti on a famous landmark? Don't be afraid to tell the relevant authorities. Remember: wherever we go in this world, <i>we are the guests</i>. Let's try and act like respectable and responsible ones because, as I said at the start of this blog, a passport is something to cherish. But some people don't deserve one. </span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaJAsbKGJu4sSxDzp-jw3atVtmDi8bVDudKzrjs9X8j_tMhXY-ht7z10DBSkPiiNcPCUXpcKvFWs8E_a1m_e3NsgCcf3Hf6TpBKnlk7vGmEEN4kOeqSXjISbNQSdZFFpipsDD6VqDGr2o6/s1600/blog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaJAsbKGJu4sSxDzp-jw3atVtmDi8bVDudKzrjs9X8j_tMhXY-ht7z10DBSkPiiNcPCUXpcKvFWs8E_a1m_e3NsgCcf3Hf6TpBKnlk7vGmEEN4kOeqSXjISbNQSdZFFpipsDD6VqDGr2o6/s320/blog.jpg" width="320" /></a></div>
<span class="st"><br /></span>
<br />
<div id="stcpDiv" style="left: -1988px; position: absolute; top: -1999px;">
The
tigers are badly maltreated to make them compliant and perform for
visitors, for example, it was observed that Temple staff would drag
tigers into appealing photographic positions by pulling their tails or
punching and beating the animals. Staff also controlled the tigers by
squiring tiger urine from a bottle into the animal’s face, an act of
extreme aggression in tiger behaviour. - See more at:
http://www.careforthewild.com/what-we-do/campaigns/previous-campaigns/tiger-temple-the-truth/#sthash.pxbzpEXJ.dpuf</div>
<br />
<span class="st"><br /></span>
<span class="st"><br /></span>
<br />
<div id="stcpDiv" style="left: -1988px; position: absolute; top: -1999px;">
The
tigers are badly maltreated to make them compliant and perform for
visitors, for example, it was observed that Temple staff would drag
tigers into appealing photographic positions by pulling their tails or
punching and beating the animals. Staff also controlled the tigers by
squiring tiger urine from a bottle into the animal’s face, an act of
extreme aggression in tiger behaviour. - See more at:
http://www.careforthewild.com/what-we-do/campaigns/previous-campaigns/tiger-temple-the-truth/#sthash.pxbzpEXJ.dpuf</div>
<div id="stcpDiv" style="left: -1988px; position: absolute; top: -1999px;">
The
tigers are badly maltreated to make them compliant and perform for
visitors, for example, it was observed that Temple staff would drag
tigers into appealing photographic positions by pulling their tails or
punching and beating the animals. Staff also controlled the tigers by
squiring tiger urine from a bottle into the animal’s face, an act of
extreme aggression in tiger behaviour. - See more at:
http://www.careforthewild.com/what-we-do/campaigns/previous-campaigns/tiger-temple-the-truth/#sthash.pxbzpEXJ.dpu</div>
<span class="st"><br /></span>Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com3tag:blogger.com,1999:blog-8268714093667264843.post-35500291516735367952013-03-21T10:48:00.002-07:002013-04-13T13:39:23.800-07:00<h2 style="text-align: center;">
THE PREMIERE OF THE CRYSTAL SKULL</h2>
<br />
<div style="text-align: center;">
Life lessons from a critic-proof sequel... that really sucked<a href="http://www.blogger.com/%3Cblockquote%20class=%22twitter-tweet%22%3E%3Cp%3E@%3Ca%20href=%22https://twitter.com/megabusuk%22%3Emegabusuk%3C/a%3E%20After%2010.5%20hours%20of%20hell%20I%20have%20left%20your%20bus.%20I%20hope%20your%20driver%20suffers%20from%20eternal%20premature%20ejaculation%20for%20being%20so%20useless%3C/p%3E&mdash;%20Calum%20Waddell%20(@CalumWaddell)%20%3Ca%20href=%22https://twitter.com/CalumWaddell/status/322509676359086081%22%3EApril%2012,%202013%3C/a%3E%3C/blockquote%3E%20%3Cscript%20async%20src=%22//platform.twitter.com/widgets.js%22%20charset=%22utf-8%22%3E%3C/script%3E"><br /></a></div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHb6tld_YR6aT-6Kk3hX6vO5zG1tsa_jKBmm2uazDZ54Ko95C-8mtXWWaN9sVTzmoRYVtWwt0oldhU4Nv-0ou4mybL9ZmW-TaBxtC_LmIbBXIKCra_3ZCkzJwDSeNph3ZuCsyw3hyphenhyphenOFDPP/s1600/indy4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHb6tld_YR6aT-6Kk3hX6vO5zG1tsa_jKBmm2uazDZ54Ko95C-8mtXWWaN9sVTzmoRYVtWwt0oldhU4Nv-0ou4mybL9ZmW-TaBxtC_LmIbBXIKCra_3ZCkzJwDSeNph3ZuCsyw3hyphenhyphenOFDPP/s320/indy4.jpg" width="216" /></a></div>
<div style="text-align: center;">
<br /></div>
<br />
When Titan's<i> Dreamwatch</i> folded it became <i>Total Sci-Fi</i>, a web site presided over by my friend Matthew McAllister and a bloody good income source for yours truly as well (sadly Titan called it a day with their online presence in 2009). I was once asked by someone why I had only utilised a short number of words on a review of something (I forget what). The answer to that is simple: the difference between <i>Total Sci-Fi</i>, as an off-shoot from an actual newsstand publication, and many other genre-related web sites, is that Titan still paid by the word. This meant strict word counts on their reviews - usually between 200 and 300 words.<br />
<br />
I miss <i>Total Sci-Fi</i> a great deal - as does my wallet!<br />
<br />
My proudest moment on <i>Total Sci-Fi</i> was when I became one of the first people in the world to have their <i>Indiana Jones and the Kingdom of the Crystal Skull</i> review online.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7nCQ6lz_l4fBTSmNH0rGHvWfNGUikKwckm-NMJt8NLDIifLUDFiVhlJ6BdbqWU7pWsagM8OwKbcn-1gwUTzjrWhyphenhyphenouercZYrK2f3rZeDTrdJygGaQlip8tYar5cOtDxnL4P6lIClTFvLB/s1600/indy4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7nCQ6lz_l4fBTSmNH0rGHvWfNGUikKwckm-NMJt8NLDIifLUDFiVhlJ6BdbqWU7pWsagM8OwKbcn-1gwUTzjrWhyphenhyphenouercZYrK2f3rZeDTrdJygGaQlip8tYar5cOtDxnL4P6lIClTFvLB/s320/indy4.jpg" width="320" /></a></div>
<br />
<br />
Here was my email to Matt, accompanied by my review [below], which I sent about an hour after getting out of the Cannes world premiere:<br />
<br />
<i>I waited 90 minutes in the baking sun to get into this<br />monster so you can get this sucker up right away!<br /><br />Sadly, it's pants. I know I know - I wasn't the only<br />one though. Think this is going to get a rough time<br />from critics. It got boos at the end credits in<br />Cannes (along with some cheers to be fair) and some<br />REAL boos for LeBeouf's character. He's AWFUL in it.<br /><br />Walk outs before the end credits too. A lot of<br />deflated journalists and filmmakers.<br /><br />Speak soon!<br /><br />C</i><br />
<br />
And how right I was<i>.</i><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdOE1Cloz3Sb52ywovITmFBGVpcem1gCQDpV42tb6UZn6OzFk6biCHvVvz1-Z9qt5QZhTYZxgPyWw2ZhqMOXYp45fwlSvRAj_auBwusZKt8Du2zJ4QQ5_Xr1cmpZhLOm2gr3V9tTOmnlyp/s1600/indy4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdOE1Cloz3Sb52ywovITmFBGVpcem1gCQDpV42tb6UZn6OzFk6biCHvVvz1-Z9qt5QZhTYZxgPyWw2ZhqMOXYp45fwlSvRAj_auBwusZKt8Du2zJ4QQ5_Xr1cmpZhLOm2gr3V9tTOmnlyp/s320/indy4.jpg" width="320" /></a></div>
<br />
<br />
My <i>Indiana Jones</i> review got a record number of views on <i>Total Sci-Fi</i>. Interestingly, the other critics - for far loftier (and better paying!) outlets than Titan - swallowed their pride and, doubtlessly worried about risking being alone in their disdain, sucked-up to ol' Steven on this one. A bit like how I imagine some of these enthusiastic <i>Skyfall</i> reviews have come about. The initial reviews from <i>Variety</i>, <i>The Hollywood Reporter</i> and elsewhere hailed <i>The Crystal Skull </i>as an outright masterpiece, with one of the trades (and I forget which one) even claiming the film met with an estactic ovation.<br />
<br />
That's the way the trades try and re-write history for their Hollywood over-lords. In this case it didn't happen, wasn't happening and, five years later, <i>Indiana Jones and the Kingdom of the Crystal Skull</i> is rightly seen as a disaster. A byword for ill-advised sequels.<br />
<br />
Not to pat myself on the back or anything but I was the first voice of criticism out there. My only regret is going with 5/10. I wobbled about this - going back and forth between 4/10 and 5/10. I really did want to think that, maybe, I might want to watch this again sometime but, alas, I've never had the urge to go back and re-evaluate <i>Kingdom of the Crystal Skull</i> . Unlike <i>Raiders of the Lost Ark</i>, my memories of it are of mind numbing boredom, disappointment and that <i>really</i> stupid bit where the main cast keeps falling down massive waterfalls in a small boat, just like a Looney Tunes cartoon, but remain unharmed each time.<br />
<br />
Anyway, with 300 words to spare here is the review I typed up immediately after getting out the screening...<br />
<br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-GB</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:DontVertAlignCellWithSp/>
<w:DontBreakConstrainedForcedTables/>
<w:DontVertAlignInTxbx/>
<w:Word11KerningPairs/>
<w:CachedColBalance/>
<w:UseFELayout/>
</w:Compatibility>
<w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="0" Name="HTML Preformatted"/>
<w:LsdException Locked="false" Priority="0" Name="HTML Typewriter"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if !mso]><img src="//img2.blogblog.com/img/video_object.png" style="background-color: #b2b2b2; " class="BLOGGER-object-element tr_noresize tr_placeholder" id="ieooui" data-original-id="ieooui" />
<style>
st1\:*{behavior:url(#ieooui) }
</style>
<![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]-->
<br />
<div class="MsoNormal" style="text-align: center;">
<b><span style="mso-ansi-language: EN-GB;">Indiana</span></b><b><span style="mso-ansi-language: EN-GB;"> Jones and the Kingdom of the Crystal Skull</span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-ansi-language: EN-GB;">Directed by: Steven
Spielberg</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="SV" style="mso-ansi-language: SV;">Starring: Harrison
Ford, Cate Blanchett, Karen Allen, Shia LeBeouf</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="mso-ansi-language: EN-GB;">Indiana Jones
returns to action in 1957, where he becomes involved in a Soviet plot to locate
the secrets behind the Akator – an ancient race of space aliens who hold the
key to human mind control.</span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-ansi-language: EN-GB;">Oh dear, where to even
start? If you hoped that the new Indiana Jones movie would feature
extraterrestrial beings, comic relief meerkats and an obnoxious leather jacket
wearing, rock ‘n’ roll lovin’ teenaged son for our title hero then this is the
summer picture for you. However, if that brief description fills you with dread
then prepare to be broken hearted.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-ansi-language: EN-GB;">Sure, Indy 4 comes up
trumps with a small handful of set pieces but the plot is
so daft, and the supporting characters so forgettable, that this long-awaited
sequel soon becomes a drag to endure. Worst of all is Spielberg’s decision to
bring back Allen as a love interest. Although the star of <i>Raiders of the Lost
Ark</i> has aged well her performance in this boils down to nothing more than
smiling like an 18 year old in love and mugging knowingly at the camera.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-ansi-language: EN-GB;">Likewise, LeBeouf as
Indy Jnr. is too cocky and smug to be endearing and the sequence where he
swings through vines in the Amazon wilderness (complete with “hilarious” CGI
monkeys) is so cartoon-like that its very inclusion serves only to drag the
viewer out of the plot at hand. Lead villainess Blanchett should be comedy gold
as the flick’s sultry Soviet megalomaniac but, onscreen, she radiates a
likeability and sexiness that makes her no threat at all to our hat-clad hero. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-ansi-language: EN-GB;">The end result is to
the original<i> Indiana Jones</i> trilogy what <i>Alien Resurrection</i> was to its franchise
– a tired, preposterous and, ultimately, pointless attempt at cash-fleecing
from a group of Hollywood royalty that really
should know better.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="mso-ansi-language: EN-GB;">Verdict: 5/10</span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-ansi-language: EN-GB;">Back to blockbuster
101 class for you Mr. Spielberg!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-ansi-language: EN-GB;">Calum Waddell</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2nqFUInKwmEU6n7ZWj0b5Ss7TH9-A6yqzNuNZitU17jM-YsncAr-yxaGw_0EMOe6R1v6m8N-9h8gPyGX-irIKUvZZD1jpN2YzEqioY1ToaZ_YyHhHJjqH9KoI64gX6HI42jb47fv_N8Ot/s1600/indy4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2nqFUInKwmEU6n7ZWj0b5Ss7TH9-A6yqzNuNZitU17jM-YsncAr-yxaGw_0EMOe6R1v6m8N-9h8gPyGX-irIKUvZZD1jpN2YzEqioY1ToaZ_YyHhHJjqH9KoI64gX6HI42jb47fv_N8Ot/s320/indy4.jpg" width="214" /></a></div>
<div class="MsoNormal">
<br /></div>
Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-56068071227699038132013-03-21T10:20:00.003-07:002015-12-26T08:30:50.172-08:00Another one from the Dreamwatch archives: My interview with author Iain Banks, one of Scotland's most significant and sensational sci-fi minds. My own discovery of <i>The Wasp Factory</i>, during my first year at university, was game-changing: an indication that locally created horror fiction could be addictive, intelligent and terrifying. If you have to read this, it is highly recommended: a true contemporary classic! <br />
<br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-GB</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:DontVertAlignCellWithSp/>
<w:DontBreakConstrainedForcedTables/>
<w:DontVertAlignInTxbx/>
<w:Word11KerningPairs/>
<w:CachedColBalance/>
</w:Compatibility>
<w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="0" Name="HTML Preformatted"/>
<w:LsdException Locked="false" Priority="0" Name="HTML Typewriter"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if !mso]><img src="//img2.blogblog.com/img/video_object.png" style="background-color: #b2b2b2; " class="BLOGGER-object-element tr_noresize tr_placeholder" id="ieooui" data-original-id="ieooui" />
<style>
st1\:*{behavior:url(#ieooui) }
</style>
<![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]--><br />
<pre style="line-height: 14.4pt; text-align: center;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Banking some Culture</span></b></tt></pre>
<pre style="line-height: 14.4pt; text-align: center;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></b></tt></pre>
<pre style="line-height: 14.4pt; text-align: center;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Iain M Banks Interviewed</span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Famous for his creation of the Culture (a facet of many of his sci-fi novels, beginning with 1987’s <span style="mso-spacerun: yes;"> </span>Consider Phlebas) </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">and for shocking even the most jaded of horror readers with 1984’s The Wasp Factory, Iain M. Banks remains one of the </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">genre’s most cherished authors. Calum Waddell caught up with him at the Edinburgh International Book Festival for the </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">following exclusive interview. </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">First off, care to give us a definitive answer on what is happening with the much rumoured film version of The Wasp </span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Factory? </span></b></tt></pre>
<pre style="line-height: 14.4pt; tab-stops: 114.6pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span></span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Well, it is still rumoured! As they say in Hollywood, “don’t hold your breath.” The whole long, ghastly and - as it turned </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">out – very expensive saga of The Wasp Factory not getting made into a film is one I long since stopped caring about, </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">largely through despair. Litigation can do that.</span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU5tnbFyS8VbqHLQxyZ1upDwj5WDnMu3wpOp2zZ7zZXXDqBBTGvZO_gk01ldd7-YgwF3AywINABjw_GL9ci5YoTdbfAnggqTl86dkhRXfSghVMrOC4v0J-e2lQhcghXUiYyJtXa1-F8al4/s1600/waspfactory.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU5tnbFyS8VbqHLQxyZ1upDwj5WDnMu3wpOp2zZ7zZXXDqBBTGvZO_gk01ldd7-YgwF3AywINABjw_GL9ci5YoTdbfAnggqTl86dkhRXfSghVMrOC4v0J-e2lQhcghXUiYyJtXa1-F8al4/s320/waspfactory.jpg" width="203" /></a></div>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">All the same, if it theoretically did take place, who would be your ideal person to star as youthful killer Frank Cauldhame </span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">and who would be your choice of director?</span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">I have no idea who would make the best Frank. As for a director... well, I have always said I would love the Coen brothers </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">to make a book of mine into a film so I think I will stick with that. But the likelihood of any of this happening is, well, did I </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">mention that thing about not holding one’s breath?</span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii6XbBIW3Ciefq_l9gFlSNhs-GnIJARspFTTTw7_gl90LQiLE14pQWQnzqZBHps4IHXfzQeZaWvcV7IBIr5Kv2tm1qMCfdpoIh23eVOldMpY7SWLs6jMV-94DXnWORd7_HzfQcTwmZKSQe/s1600/iain1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii6XbBIW3Ciefq_l9gFlSNhs-GnIJARspFTTTw7_gl90LQiLE14pQWQnzqZBHps4IHXfzQeZaWvcV7IBIr5Kv2tm1qMCfdpoIh23eVOldMpY7SWLs6jMV-94DXnWORd7_HzfQcTwmZKSQe/s320/iain1.jpg" width="320" /></a></div>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Of course some of the initial reviews of The Wasp Factory were quite scathing – with some critics being somewhat </span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">offended by the book. How do did you react to this?</span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Oh I thought it was a hoot (<i style="mso-bidi-font-style: normal;">laughs</i>). I was a complete unknown and had hoped to get maybe a handful of short, careless </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">reviews, perhaps just enough to make sure I’d get a second book published. It was entirely a case of “any publicity is good </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">publicity” with The Wasp Factory. So being reviewed everywhere by everybody and finding them all disagreeing about it, </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">and the controversy itself leaking out from the book reviews into the news sections of papers and magazines, was </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">something I hadn’t even dreamed of.<span style="mso-spacerun: yes;"> </span>And, frankly, I thought the more knickers-in-a-twist notices were just hilarious. I still </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">take a slightly guilty delight in upsetting precisely the sort of people who started frothing at the mouth because The Wasp </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Factory featured cruelty to animals or a young protagonist who went about cheerfully murdering other children!</span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Does the Culture represent your own notion of an ideal utopia - i.e. a future where government is almost irrelevant?</span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Yup; it is my own secular heaven. It is where I want to go when I am still alive.<span style="mso-spacerun: yes;"> </span>Never going to happen, of course, but a </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">chap can dream...</span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">And do you believe science fiction is a good place to explore personal politics?</span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Potentially it is the ideal genre, because you can control every variable in the story, including the history that leads to the </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">set-up at the start, whereas, in reality, we are kind of stuck with the history we have; irregardless of the efforts of revisionists. </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj57lmzYp7qbF-Y5WahvSl-jpugImJNdqQWsV0R9soHWmppBoLF7j777rvo2z3529tBf27V2VRy-wbC5MbO5S8To0wNJixyiEXGWy0EWR51zzrRu3w5ttsG-WnGMouVduO7Wy3Maa-RePc6/s1600/iain2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj57lmzYp7qbF-Y5WahvSl-jpugImJNdqQWsV0R9soHWmppBoLF7j777rvo2z3529tBf27V2VRy-wbC5MbO5S8To0wNJixyiEXGWy0EWR51zzrRu3w5ttsG-WnGMouVduO7Wy3Maa-RePc6/s320/iain2.jpg" width="255" /></a></div>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">As someone whose work commonly explores the great unknown, do you believe in life on other planets?</span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">I think it would be a quite bizarre standpoint not to be open to the possibility of life on other planets. We live on one small </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">planet in an unremarkable solar system within a galaxy filled with between two and four hundred billion other stars. </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Moreover - as our<tt><span style="font-family: "Times New Roman","serif";"> </span>t</tt>elescopes and techniques improve – we have just started to spot solar systems almost everywhere we </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">look. Plus there are as many galaxies in the universe as there are stars in our galaxy. So, for a person, now, in our current </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">state of ignorance, just to decide that there isn’t life anywhere else, in amongst all of that, would appear perverse to say the </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">least.</span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Both The Wasp Factory and Complicity are set in unassuming areas of Scotland, perhaps indicating that the most </span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">shocking terror does not have to emerge from the most obvious of locations and scenarios. Can you comment on this?</span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Well, I guess terror can come from almost anywhere. You know - people have died tripping on the kitchen floor and falling </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">onto a knife sticking up in the dishwasher! In fact, I heard - just the other day - of a guy who died after a camel sat on him! </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Believe it or not, he wasn’t discovered for six hours and they reckon he took four and a half of those to die. Can you </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">imagine?<span style="mso-spacerun: yes;"> </span>So a bit of imagination and you can conjure almost any emotion out of almost any setting – be it horror, humour or </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">anything else… But, to be honest, I can’t take supernatural horror seriously at all and the rest I just don't get. I seem not to </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">possess the circuitry that processes disgust or fear into a pleasurable experience (<i style="mso-bidi-font-style: normal;">laughs</i>).<span style="mso-spacerun: yes;"> </span></span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMeA6HVpVWPvhWsLH4BkbcPVp7MbvJ597YvpZIi2r-85em3ZIje3LS7uC2pomy_vVis-2BbiitScgN9CcziSR_be7GhnclkXsRDH_aiA5x8jZe64nRHVDS_9Dunku4l9fKv3eDnTazdl17/s1600/iain3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMeA6HVpVWPvhWsLH4BkbcPVp7MbvJ597YvpZIi2r-85em3ZIje3LS7uC2pomy_vVis-2BbiitScgN9CcziSR_be7GhnclkXsRDH_aiA5x8jZe64nRHVDS_9Dunku4l9fKv3eDnTazdl17/s320/iain3.jpg" width="254" /></a></div>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Do view your novel Complicity as a work of horror?</span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">No, it is meant to be a thriller. I mean, there is some pretty horrific stuff in there, certainly, but the intention wasn’t to write a </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">horror novel. But, in the end I don't really mind what terms get attached to the books. If people want to think of Complicity </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">as a horror novel, that is fine by me.</span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Your 1994 book Feersum Endjinn indicates a suspicion, maybe even dislike, of technological advance. Is this a fair </span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">reading?</span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Nope, I didn’t mean that at all. In fact, I love technological advance; as a species, in a sense, we now are our technology. I </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">would say it is what we do with it that is the problem.<span style="mso-spacerun: yes;"> </span>I think it tells you a lot about us that the first question asked of any </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">advance is “What are the military applications?”</span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Finally, an inevitable question: Can you name some of your favourite authors and books? </span></b></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">In the last few years I have been very impressed with Alan Warner and David Mitchell. I also think that Alan Moore's Voice </span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">of the Fire is one of the great underrated novels of our time.</span></tt></pre>
<pre style="line-height: 14.4pt;"><tt><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;"> </span></tt></pre>
Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-82291393455840981252013-02-13T08:43:00.002-08:002013-02-14T03:14:35.768-08:00The Genius of Joffe<h2>
ON A MISSION WITH BRITISH CINEMA'S ONCE GREAT HOPE...</h2>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">By Calum Waddell</i></b> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I conducted this interview at the 2008 Cannes Film Festival. It has never been seen before. oland Joffe was in town to promote <i>You and I</i>, a film which stars Mischa Barton and the girl-pop group t.A.T.u. The film was finally released a year ago and has been seen by practically no one. It is a shame that Joffe ended up directing a movie based upon the years-after-the-sell-by-date appeal of one-hit-wonder pseudo-lesbian chart moppets t.A.T.u (whose 'one hit' was, to be fair, actually really good) given that he was once hailed as the future of the British film industry. Acclaimed after his first two movies, 1984’s <i style="mso-bidi-font-style: normal;">The Killing Fields</i> and 1986’s <i style="mso-bidi-font-style: normal;">The Mission</i>, as the darling of our national cinema, the filmmaker nevertheless saw his career hit hard times. For instance, 1992’s follow-up drama - <i style="mso-bidi-font-style: normal;">City of Joy</i>, failed to set the box office on fire and met with a lukewarm critical reception, whilst 1993’s disastrous video game adaptation <i style="mso-bidi-font-style: normal;">Super Mario Bros.</i> is rightly forgotten about. 1995’s Demi Moore vehicle <i style="mso-bidi-font-style: normal;">The Scarlet Letter</i> was an attempt to return to artier material, but proved dead on arrival, whilst 2000’s black comedy <i style="mso-bidi-font-style: normal;">Vital</i> met with similar commercial silence. His entry into the 'torture porn' horror genre with 2007's occasionally stylish <i style="mso-bidi-font-style: normal;">Captivity</i> saw Joffe back in the headlines for all the wrong reasons. His film was slammed for its misogynistic advertising campaign and, even worse, the Elisha Cuthbert-starring slasher picture failed to illicit even the sleazy shocks that its marketing promised.<br />
<br />
It is a curious story but, unlike most of the bored press hacks I came across ("Just doing this to meet t.A.T.u really") I was fascinated by the prospect of speaking to Joffe. For a start, he made one of the greatest, and most important, films of all time in <i>The Killing Fields</i>. Ask yourself how many filmmakers make even one great feature. Very few. But Joffe has. Moreover, anyone who has read my blog on Hamburger Hill will know that the Vietnam War is a personal interest of mine - and there is no discussing that torrid period in US foreign policy without speaking about Cambodia and its fall to the Khmer Rouge.<br />
<br />
<i>The Killing Fields</i> remains the best [fictonal] feature to date about Pol Pot's attempt to create "year zero" and its star, the actual genocide survivor Haing Ngor, who wrote the essential book "Survival in the Killing Fields", won an Oscar for his role in Joffe's production. Unfortunately, Ngor - whose wife and unborn child lost their lives under the Khmer Rouge - would be shot on the streets of Los Angeles in 1996. A tragic end to a tragic life.<br />
<br />
Naturally, I spoke to Joffe about Ngor - and I am happy to finally have these words available. For anyone who has not seen <i>The Killing Fields</i>: shame on you. It comes highly recommended, along with T<i>he Mission</i> - evidence of an artist at the prime of his power and someone who, by rights, should have gone on to form a legacy of provocative and thought provoking productions...<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhWszjIYB5iwij7pKBEX1GBNVTdEzgk9LGJ-624DIZwJTnp9AIcab5FkaJnCMEp1I7b6gUiJtplfEtuQLhPOOpkRH1b41SQ0WnNlrL1RO_UAsHV6UCkXTk2cBb1DvYHs_KlNOrMfFZ61ux/s1600/ngor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhWszjIYB5iwij7pKBEX1GBNVTdEzgk9LGJ-624DIZwJTnp9AIcab5FkaJnCMEp1I7b6gUiJtplfEtuQLhPOOpkRH1b41SQ0WnNlrL1RO_UAsHV6UCkXTk2cBb1DvYHs_KlNOrMfFZ61ux/s320/ngor.jpg" uea="true" width="210" /></a></div>
<br />
<b>What was it that attracted you to your new movie, <i>You and I</i>?</b><br />
<br />
There are a couple of things that drew me to this film and I am unsure which was the most attractive. However, first of all there was the idea of making a film in modern day Moscow. If someone asked me what Moscow looked like before I actually went there then I could describe the Kremlin and a couple of other things, but it really lives in your head in the way that other cities do not. You see, life is so frenetic in modern Moscow, and so brutally different for different groups of people, that you are not quite the same person when you leave. So the more time you spend in modern Moscow the more you see a city in total change. I think that the Russians are trying to work out who they are right now and they are going through an incredible crisis over this and what part they have in the world. I believe that part of this is also related to their relationship to capitalism. Does capitalism mean that you only make money and that is the most important thing? You know, the more money you make the more powerful you are? Or does capitalism mean that you give everyone the chance to makes some money? Or does capitalism mean that you turn everyone into a consumer so that those who have the money hold the power and everyone else is stuck like flies to flypaper just being consumers? Perhaps that is a hell of a lot smarter than trying to hold fixed elections as a communist country. All of these things are being debated right now by people in Moscow and that was one part of the story which I really loved. But I when I was doing The Killing Fields it was, primarily, a story of friendship because you can only understand war if you understand friendship. As long as you understand that then you can understand the price of war – otherwise it is just “bang, bang, you’re dead.” <br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUS0gS1eSzhKmHJj5K1xf1iv-a98lkz-CUpfmR820dTD8tPhyphenhyphenfm8sJcbKWIlx7msO1sutlFv01BRBzV53jSyYDFIjYK6s3voTQ3gu3AJh_C-noivupH_pRU83_G5floATHYrk_BgJ2fzPo/s1600/tatu.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUS0gS1eSzhKmHJj5K1xf1iv-a98lkz-CUpfmR820dTD8tPhyphenhyphenfm8sJcbKWIlx7msO1sutlFv01BRBzV53jSyYDFIjYK6s3voTQ3gu3AJh_C-noivupH_pRU83_G5floATHYrk_BgJ2fzPo/s320/tatu.jpg" uea="true" width="218" /></a></div>
<br />
<b style="mso-bidi-font-weight: normal;">Yeah, I want to touch upon <i style="mso-bidi-font-style: normal;">The Killing Fields</i>. Can you talk about your memories of the late Haing Ngor?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Haing was a very exceptional man because of the life that he had led. He never thought that he was a very nice person. He was a bit of a playboy when he was young and he felt dreadful about what happened to his own wife. I think that Haing could never expiate this terrible conundrum that life had given him but he never shrank from it. <br />
<br />
<b>He had never acted when you put him in <i>The Killing Fields</i>...</b><br />
<br />
One of the reasons I wanted him to be in <i style="mso-bidi-font-style: normal;">The Killing Fields</i> was because he was telling me all about his own ordeal one day and I thought “I cannot put an actor in this film.” I turned to him and said, “Haing, why don’t you tell me that story again? But act it.” He said “Oh no, I can’t act.” So I told him to go and stand at the window and to tell me about when the Khmer Rouge came and he began to act. At a certain point he turned to me and he said “you have to leave now!” He began crying after that. I said to him, “Haing, I am sorry about this but I have to blackmail you – for the sake of your country you need to play this part because no one else can do it better.” He didn’t speak any English, really, mainly French – so I had to lie to Warner Bros. and then, during the filming, run around the floor underneath the camera and say all kinds of terrible director things to get his emotions going. But I loved him very much. He had tremendous grace and was very, very giving. When he died they found his Oscar in his room. All the gold had been wiped off it because he treasured it so much. And that was a big thing.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAzkEkMgtaBDsdMCtqb81A-fiqMG2e823LNs-mRYkJHx0mWYQQlJ4o64-luXNmC2K9X9ed3hYrhKWJmOsUmsq6j61AR-eSa5jYY0sXx_DyNdRxHDxMUXKAX4sO-c7yGdQ0TNRfSYzA-WPi/s1600/ngor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAzkEkMgtaBDsdMCtqb81A-fiqMG2e823LNs-mRYkJHx0mWYQQlJ4o64-luXNmC2K9X9ed3hYrhKWJmOsUmsq6j61AR-eSa5jYY0sXx_DyNdRxHDxMUXKAX4sO-c7yGdQ0TNRfSYzA-WPi/s320/ngor.jpg" uea="true" width="210" /></a></div>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">At the time Cambodia was operating under Pol Pot, Noam Chomsky, perhaps surprisingly, expressed considerable denial about the genocide that was taking place under the regime. He would later blame the Khmer Rouge's rise to power on the Vietnam War and America's bombing of Cambodia and infiltration of her borders - something that I would largely agree with. That said, this in no way justifies slamming the press reports, of the time, which rightly indicated the Khmer Rouge was murdering hundreds of thousands of people. I am surprised that Chomsky has not been more vocal in apologising for his, let's say, soft-handed approach towards a form of government that was as cruel as the National Socialists... (For a solid report on this see: <a href="http://www.mekong.net/cambodia/chomsky.htm">Chomsky and the Khmer Rouge</a>)</b><br />
<br /></div>
<div class="MsoNormal">
Yes, I was offended by him. It comes back to something I feel about belief. Noam Chomsky reminded me of it actually. When I agreed to do <i style="mso-bidi-font-style: normal;">The Killing Fields</i> I got a visit from two members of the WRP (<i style="mso-bidi-font-style: normal;">note: Worker’s Revolutionary Party</i>) who told me I should not do the movie because I would be attacking a young socialist state that was only trying to find its feet. I said “Well yes, but can you see the shortcomings of this argument?” they told me they could not. I said “You want me to gloss over what happened in order to do what?” And they told me “to protect socialism.” I said, “I am sure socialism is strong enough to take the criticism.” I then said, “I don’t think I am betraying socialism at all, but if I am then I will live with it.” Chomsky had the same problem. <br />
<br />
<b>Right, I also fail to see why criticising the gross inhumanity of the Khmer Rouge - which owed little to the ideals of Marx and Engels anyway - is attacking any sort of left-wing order. Chomsky is a great mind, but he really should have known better...</b><br />
<br />
Chomsky is a very, very bright man but you have to ask, “Why did he go blind in that area?” Well he went blind in the area that we all go blind in and that is why I have never tried to make a movie about a specific political point of view. Belief and personality is so interwoven that we are often deformed by them. They become us. So Noam Chomsky, who could be so observant about language, could not bring himself to see what had happened in Cambodia. He could only read it as propaganda. I don’t think he was bad – but his comments did make me think, “If Noam Chomsky is that smart and he can’t get out of that trap then why would you believe you could?” That is why I have not tried to make my career as a movie director attached to politics. Rather it has been as a movie director attached to people.<br />
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">You mentioned there that you do not make movies with a specific point of view but, judging from what you said earlier about <i style="mso-bidi-font-style: normal;">You and I</i>, you seem to be a little taken aback by Russia’s open armed acceptance of free market capitalism. Is that a fair statement?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Well if you can take this from a very ignorant human being… If we accept that capitalism is just a system in the same way that our bodies are just a system and the movie industry is just a system… For me, if we lay aside any criticism of it and look at how the system operates – no system operates without checks and balances. The body checks that your liver doesn’t turn into your spleen for example… So capitalism, of itself, is not necessarily bad, but it is designed to make profits and we need to ask what the profits should be. You see, of itself it won’t stop – it is like cancer, it wants to keep growing, but when cancer grows it eventually kills the body. Capitalism is exactly the same – it will just keep growing. <br />
<br />
<b>I agree. I think we can see by the exhaustion of our natural resources, global warming and the life opportunities afforded to those in developing nations - illustrated by sweatshop labour and so forth - that unregulated market capitalism is of benefit to only a small minority of people who have little interest in the morality of how they are making their millions or billions. </b><br />
<br />
I think that Milton Friedman’s idea of an unregulated market was totally banal and utterly, utterly immoral and disgraceful. Yet the Victorians, who we criticise, at least had the balls and the guts to know that was a mistake and Teddy Roosevelt, who was a Republican, at least understood that if you don’t put checks and balances on those train and coal barons the country would fall apart. But here we are 70 years later running around thinking that free market trading is the answer to everything and it can’t be, because if you allow capitalism to run wild it becomes a cancer in its own right. Human beings love to trade and to banter and capitalism is based on trading and banter. Human being also like power – we like it because it makes us feel safe but too much power is a nightmare. Russia is totally dedicated to power and committed to using capitalism for that means in a way that no one in the West has dared to do since the days of the old train and coal barons. It is a throwback to the way capitalism was and that is very scary… They think they are ahead of the curve and they are not.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-style: italic;">According to the excellent book <i>My Indecision Is Final: The Spectacular Rise and Fall of Goldcrest Films</i> you were told during the making of <i>The Mission</i> that if your movie failed to make a profit Goldcrest would go under. What kind of pressure did that put you under? (<i>Note: The Mission failed to go into profit during its initial release and Goldcrest folded</i>)</span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It was very strange in a way <i style="mso-bidi-font-style: normal;">(laughs</i>). I recall being told, in the middle of shooting, “we need to cut $5 million out of the budget and the movie still has to work,” and everyone at Goldcrest was very distressed. I said to them, “Right now Jeremy Irons and Robert DeNiro don’t like each other, I am working with a waterfall which does what <i style="mso-bidi-font-style: normal;">it</i> wants, not what <i style="mso-bidi-font-style: normal;">I</i> want, and I am responsible for group of Indians - who I have flown over 235 miles across Colombia - and who have a rat infestation in their village. And now I have to add Goldcrest to the list?” I thought to myself, “Well if it really comes down to it, I have to protect the Indians first, DeNiro and Jeremy second and Goldcrest third.” It had to be in that order. I just had to get on with making the movie and you never know if a film is going to work. It is an exercise in faith and trust.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu1A7EH-PTP3FxLmcpsoCMJ0OSoCiPILaZuNwGR2t7aySL56P5vnLtr3d1lRdP8EKVTMHtCIylqxdhAutWThbeSWGhzGDYr4qmbnF2bgWz938r_aRiTz5LANb2iLw0ewnn-70rso9-oe4j/s1600/goldcrest.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu1A7EH-PTP3FxLmcpsoCMJ0OSoCiPILaZuNwGR2t7aySL56P5vnLtr3d1lRdP8EKVTMHtCIylqxdhAutWThbeSWGhzGDYr4qmbnF2bgWz938r_aRiTz5LANb2iLw0ewnn-70rso9-oe4j/s320/goldcrest.jpg" uea="true" width="213" /></a></div>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Why didn’t DeNiro and Irons get along?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
They came from very, very different acting areas. Bobby is very interior – he finds his way outside by going in and Jeremy finds his way inside by having been out. He wants to know what his costume is, what his clothes are, where he is going to do and what he has done. But Bobby doesn’t want to know anything. He wants to find his interior. So I had to be the bridge between them both. But that is what I am paid to do.<br />
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">You shot the movie in Colombia, in the rain forest, what were the conditions like?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The conditions varied. We also shot it in the middle of an area used for coke trafficking, which led to some problems because we were in their way. I remember we had to leave the set one weekend for that reason. However, because I am not a sadist, and I didn’t want the crew to have a bad time we all stayed in hotels. In truth, when I was scouting the movie and I went down the river by boat and lived in an Indian village for two weeks, it was pretty fascinating to me but also tough in its own way. I tried to locate the set somewhere that we could reconstruct all of that, but also be near a hotel so that we could always go back and relax at night. If you really, really look at the end battle scene you can see, under camouflage netting, the main Transamerica highway with things going backwards and forwards on it. That was also the highway where the coke trafficking was going on.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPePSPQenv4wvkCRWeGPvOTCS-7KUzfNS3LE167X-FDbi0kKApTTt-rgluvO8I2K0DGos-fnOxeSS4Kt0WHEn1KrsIjzkEzK4uviQSde8F8oH6EjUtiBLmSLb8jXhiu4MrWB_SulyOEtBe/s1600/goldcrest.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPePSPQenv4wvkCRWeGPvOTCS-7KUzfNS3LE167X-FDbi0kKApTTt-rgluvO8I2K0DGos-fnOxeSS4Kt0WHEn1KrsIjzkEzK4uviQSde8F8oH6EjUtiBLmSLb8jXhiu4MrWB_SulyOEtBe/s320/goldcrest.jpg" uea="true" width="224" /></a></div>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>How did you feel about the accusations of misogyny that greeted <i>Captivity</i>? </b><br />
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
(Sighs) Whatever people say about you, you have to live with it but if it is not true then it should not worry you. <i>Captivity</i> is not a misogynistic film at all but I had a different end to it. At the end of my version of the movie you see a vigilante killing and it turns out that the character played by Elisha Cuthbert had actually done this before she was kidnapped. So in my version of the movie the message was “if you treat women with violence then they will become violent back.” Personally I was furious that they changed the end. I just could not come out and say anything at the time but I can now. So the misogyny in that film was not my fault. I don’t believe it is a misogynistic movie but, on the other hand, you cannot fault the press for coming to something with an attitude. You hope that some journalist will say it is not misogynistic – and some did – but if you adopt any kind of public persona then you have to take the knocks. I spent a lot of my life with people saying I was a moralist and I was too emotional so it was quite funny to be labelled as something else entirely.<br />
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<b>The marketing for <i>Captivity </i>also came under scrutiny because it highlighted a series of very visceral advertisements with women being tortured…</b><br />
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
Again, it all got sucked it into some kind of marketing system that I had no control over. I said to them “if you show this movie to women with my ending then they will say that it does raise some serious issues.” If a woman is raped is she not entitled to be angry? A lot of women have written that when they were raped, people were angry at them for being angry. They would say “I want to kill this man and castrate him” and they were told that they could not have those feelings. That argument kind of fell on deaf ears - although I made it to the press as much as I could and as often as I could… Eventually, however, I had to shut up because I didn’t feel like I should sabotage the movie. I didn’t realise that they had changed the end, which I thought would justify everything, but what can you do?<br />
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7MAfFJ6nuG1D-7Ba847Q4p6kcPzAL7dK1SxqeIPRMkTpGhKpmZqvHyW26hq9Y5YjdGqHxSAgTJbv8wBjF0ZyZWLY1W5-viJzhw1E4zzrZYIQnj50xOCsR6coO0K9pGL1LC9EVpOOs-pc6/s1600/captivity.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7MAfFJ6nuG1D-7Ba847Q4p6kcPzAL7dK1SxqeIPRMkTpGhKpmZqvHyW26hq9Y5YjdGqHxSAgTJbv8wBjF0ZyZWLY1W5-viJzhw1E4zzrZYIQnj50xOCsR6coO0K9pGL1LC9EVpOOs-pc6/s320/captivity.jpg" uea="true" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-36466686427175160862013-02-09T11:01:00.000-08:002013-02-10T08:35:30.426-08:00<div class="articletitle">
<h1>
Looking Back at A Nightmare on Elm Street</h1>
</div>
<div class="intro">
<i>(Note: this was originally published in Dreamwatch magazine, issue 146, from 2006. I figure that offering some oldies from my archives at least preserves them online. Plus, A Nightmare on Elm Street is one of my favourite films of all time!)<b><br /></b></i></div>
<div class="intro">
<b><br /></b></div>
<div class="intro">
<b>Calum Waddell gets dreamy-eyed over the fright-film which
gave a generation of teens sleepless nights and developed into the
horror genre’s most reliable franchise…</b></div>
<div class="intro">
<br /></div>
<i>One, two – Freddy’s coming for you… Three, four – better lock your door… Five, six – grab your crucifix…</i><br />
<br />
Back in 1984 horror director Wes Craven had yet to break into the mainstream. Dismissed by no less than Stephen King (in his book Danse
Macabre) as a purveyor of “porno-violence”, Craven’s reputation lay
entrenched with a couple of down and dirty, but nonetheless profitable, exploitation films – 1972’s
Last House on the Left and 1977’s The Hills Have Eyes. After these two
infamously nasty cheapies, the filmmaker had tried to enter the
mainstream with his comic-book adaptation of DC Comics’ super-vegetable
Swamp Thing (1982), but the resultant freak flick was a box office dud.<br />
<br />
Even worse, every studio in town was turning its back on a script
that was dear to Craven’s heart – A Nightmare on Elm Street. “The
studios kind of psychologically distance themselves from the genre,”
recalls Craven, adding, “although they love the fact that they can make a
lot of money from it. After you make one or two horror films your name
is kind of known with that genre but there’s also a personal thing where
you want to go into areas that are dark and hard to imagine.”<br />
<br />
Thankfully, a lowbrow independent outfit called New Line Cinema,
headed by Robert Shaye, finally agreed to finance Craven’s latest terror
offering and, as a result, the most important scary movie of the 1980s
was gorily birthed. Released to a then-stellar $26 million gross in the
US, A Nightmare on Elm Street spawned numerous imitators, put New Line
on the path to becoming the Hollywood player it is today and made star
Robert Englund the true heir to the throne of Bela Lugosi and Boris
Karloff.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRDFG7EOWOijqCgzGx3pHmXMowZYmLLbO_wo68Ya1p7Fh6El73JDXDQa1QNSgNE2-618xHW63AaOuc_zIjrbHIjkvQ5m4OZYGD_TiB4kpJa7SYc8Y9GU48RmBEXxs6B_AfqHqxe0W-4449/s1600/elmstreet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRDFG7EOWOijqCgzGx3pHmXMowZYmLLbO_wo68Ya1p7Fh6El73JDXDQa1QNSgNE2-618xHW63AaOuc_zIjrbHIjkvQ5m4OZYGD_TiB4kpJa7SYc8Y9GU48RmBEXxs6B_AfqHqxe0W-4449/s320/elmstreet.jpg" width="208" /></a></div>
<br />
<br />
“I would do anything for Wes Craven,” laughs Englund, who is
understandably grateful to the filmmaker for giving him such a prominent
and profitable, role. “I would sign up with him on anything because he
is such a gentleman and so easy to work for.”<br />
<br />
Englund maintains that, over 20 years since the release of the first
film, it continues to attract new admirers. “It’s really becoming a
certifiable classic now,” maintains the actor. “I remember being a
little boy in the mid-50s and when television happened we discovered the
golden age of horror from the 1930s. We would sit at home and watch
Dracula, Frankenstein and The Black Cat and even as young kids we would
love them. I think that is what has happened with A Nightmare on Elm
Street. Some films stand the test of time and because of the great hook –
the bad dream, which is universal – we keep catching new generations.” <br />
<br />
Craven agrees with his leading man, mentioning that Freddy Krueger
had a far more worldly appeal than his previous screen baddies – namely
the cannibalistic mountain dwellers of The Hills Have Eyes and David
Hess’s Krug Stillo from Last House on the
Left. “Everyone can relate to having bad dreams," states the director.
"Plus, a film really lives or dies by its actors [and] Robert Englund is
wonderful.”<br />
<br />
Craven also admits his own affection towards working in horror,
which, arguably, hit its peak with A Nightmare on Elm Street. “I think
that it’s a tremendously flexible and very vital form for the audience,”
he begins, “It’s kind of cathartic – there’s a certain amount of
affection, there’s a lot of intelligence and a bit of suspicion of the
establishment when you’re dealing with dreams and nightmares.”<br />
<br />
<b>Seven, Eight – Better Stay Up Late…</b><br />
<br />
A Nightmare on Elm Street introduced audiences to Freddy Krueger and
his nemesis Nancy Thompson (played by newcomer Heather Langenkamp).
Thompson is revealed as the daughter of two parents who took part in the
group slaying of a local child murderer after he walked free from court
on a technicality. After being burned to death by the irate parents of
Elm Street, Freddy returns years later to stalk and kill their children
inside their dreams whilst they sleep. Also starring a pre-stardom
Johnny Depp and Enter the Dragon’s John Saxon, the original flick kept
Englund’s burned bogeyman hidden away in the shadows, although his
trademark comical wisecracks are still present.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPV8OgtLndB9Vq7k6FBhqeG_z5w_t90TWSFd5xkVe9lfV2HDBCysoiD3iRW4Jk8M4-PteZq8OE1EDFOv6qW40Ws08pEdvov5oOYnp0kOt3VI0kiuoPrR6LJtGffrvSXVNJ7Rzgwz-naaG0/s1600/elmstreet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPV8OgtLndB9Vq7k6FBhqeG_z5w_t90TWSFd5xkVe9lfV2HDBCysoiD3iRW4Jk8M4-PteZq8OE1EDFOv6qW40Ws08pEdvov5oOYnp0kOt3VI0kiuoPrR6LJtGffrvSXVNJ7Rzgwz-naaG0/s320/elmstreet.jpg" width="320" /></a></div>
<br />
<br />
“I think one of the problems is that when you get too relentless
with a horror movie there is too much tension built up and eventually
you kind of emotionally short out,” states the actor. “However, if you
use humour to relieve that pressure eventually you can set the audience
up for a scare again.” Craven himself states that behind the scenes
there were a few laughs too. “It’s strange because when you’re shooting a
horror film you tend to be laughing a lot,” concedes the filmmaker.
“Part of it is because you’re dealing with these horrific subjects but
where you have some control over them.”<br />
<br />
Reflecting on the shoot of the first Elm Street, Englund admits that
– after playing Freddy in no less than eight films and a TV series –
his recollections of each feature have started to blur into one. “It’s
so long ago my memories get clouded with the other movies,” he laughs.
“Sometimes I start to mention something that I did in part one but it
turns out it was part three. However, I do recall Johnny Depp telling me
a few stories about his beginnings and there was a big fiasco when we
did the exploding blood bed for his death scene; that took a while to
work properly [<i>laughs</i>]. I also remember Sean Cunningham doing some second unit work with us.”<br />
<br />
Indeed, Cunningham – who had produced Craven’s Last House on the
Left and directed 1980’s Friday the 13th – was given a “special thanks”
on the end credits of A Nightmare on Elm Street. However, as Dreamwatch
discovers, his involvement went a lot further than that. “I shot a whole
bunch of stuff over two or three days,” mentions Cunningham, who
remains close friends with Craven. “I shot one dialogue scene with
Johnny Depp and Heather and part of the alley scene with Robert chasing
the girl. I just did whatever Wes told me to do. What Wes had done was
he had mortgaged his soul to Bob Shaye to make it and Shaye was the only
person who believed in it as much as Wes. We were right behind schedule
and we were running out of budget. So, you know, Wes just wanted
whatever help he could get and I was fortunate to be in a position where
I could come in and help, walk around and tell people what to do for a
couple of days [laughs].”<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Fe6RvoAPE1wY4U_Co6QUFlowEzAvpnyM-E-_VWL3VBCUw2Zj9G8x6vsuXkUQwIAvhlINRdRzt3zSvrJdD0n-_2mIMGMzqiy4597Ewkgym52BRCCfgxxAC5Us5BP0MZp1Q80O-FP2TtUj/s1600/nightmare.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Fe6RvoAPE1wY4U_Co6QUFlowEzAvpnyM-E-_VWL3VBCUw2Zj9G8x6vsuXkUQwIAvhlINRdRzt3zSvrJdD0n-_2mIMGMzqiy4597Ewkgym52BRCCfgxxAC5Us5BP0MZp1Q80O-FP2TtUj/s320/nightmare.jpg" width="320" /></a></div>
<br />
<br />
<b>Nine, Ten – Never Sleep Again… </b><br />
<br />
For Englund, his success in the Freddy role was bittersweet –
largely due to the complex prosthetics that needed to be glued to his
face every morning. “Usually, the hell of Freddy is getting the make-up
put on every morning for four-and-a-half-hours,” he sighs. “But I don’t
want anyone else to do him because I feel proprietary towards the old
guy.”<br />
<br />
Of course, that might yet happen – especially given the rate at
which Hollywood is remaking classic horror flicks. “Yeah, I agree,”
replies the actor, “Although there is also talk about having John
McNaughton, the director of Henry: Portrait of a Serial Killer, come in
and do a prequel – which will be shot in a documentary style. I think
that could be very interesting. I don’t know if I’m too old now or not,
but I would love to be involved with that. When I first began doing
Freddy I was in my early 30s but I was playing him older – I was playing
him at about 48. So, currently, I feel like I’m the right age.”<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJXVsAss7zhvBCiwh-6CWEcXFXItwuE5NnaBxPcjqRgU6bzRBssB1AAA-PHO9B38Bebrb1UTVq5TiFaiv0KJ2bHu-zF3ZXCUkdcEScu97IXJmRY86E7eplehTa9-dRsVogXyCTXzitEfV5/s1600/nightmare.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJXVsAss7zhvBCiwh-6CWEcXFXItwuE5NnaBxPcjqRgU6bzRBssB1AAA-PHO9B38Bebrb1UTVq5TiFaiv0KJ2bHu-zF3ZXCUkdcEScu97IXJmRY86E7eplehTa9-dRsVogXyCTXzitEfV5/s320/nightmare.jpg" width="320" /></a></div>
<br />
<br />
As for the legacy of A Nightmare on Elm Street, Englund believes
that even the worst of the sequels has something to offer. “Of course
the first one is great and scary, but three and four are terrific as
well,” he says. “I also think that there is a lot of good stuff in part
five. I adore Wes Craven’s New Nightmare and obviously everyone
loves Freddy Vs Jason. So out of eight movies I would say that six of
them are great and there is even some good stuff in the other two. I
think Freddy – me and my silhouette and the glove and the posture and
the hat – stands up as a logo for the experience of all of these
movies, which are currently sitting on someone’s desk in a DVD box set.
They all hold up and always will.”<br />
<br />
<i>(NOTE: obviously this was written before the awful remake. Unfortunately, the prequel never did see the light of the day. Shame eh?)</i><br />
<br />
<b><br /></b>Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-90763759785331413282013-02-02T13:45:00.000-08:002013-02-09T10:49:41.034-08:00<h2>
THE FIRST BRITISH PEOPLE TO WALK UP HAMBURGER HILL IN VIETNAM</h2>
<br />
Well that was what we were told anyway.<br />
<br />
Last year I fulfilled one of my bucket list ambitions by backpacking from Ho Chi Minh City (Saigon) to Hanoi in Vietnam - accompanied by my girlfriend Naomi Holwill. I have long been interested in the 20th century history of Vietnam - from the rise of Ho Chi Minh after the post-war Japanese retreat from the country and the return of French rule to the gradual American involvement in Indochina politics and, of course, the outbreak (unofficially) of fullscale war.<br />
<br />
After the 1973 Paris Peace Accords, America left their self-created puppet state of South Vietnam. Inevitably - despite President Ford's failed last ditch attempt to gain financing for the re-introduction of American military - Saigon fell to the North on April 30th 1975. Even today, visiting Reunification Palace in Saigon is a moving experience - a site of liberation and the conclusion of a conflict which should never have been and, ultimately, achieved nothing outside of mass devastation, a body count (on both sides) which totalled seven figures and the relentless bombing of Laos and Cambodia. The latter of these may, depending on which history book you care to engage with, have led to the rise of the Khmer Rouge.<br />
<br />
The below picture has become iconic and the helicopter pad remains on Reunification Palace: a reminder of a time when Vietnam was at the centre of world attention and the combat seemed neverending.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizVi2fvzBh9cTHWzDCxHkuruu00RfU9tx9DFyBRNkNGXGi3VZU2SBh6H-i7Dr5u_hFr3YHLoUcYObJrKbvuGO-pNM_KoMjNedoGBD_yEhdg2S70jzHxAl-rz83i78Uyc-nJ8vA33Divtyr/s1600/reunificationpalace.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizVi2fvzBh9cTHWzDCxHkuruu00RfU9tx9DFyBRNkNGXGi3VZU2SBh6H-i7Dr5u_hFr3YHLoUcYObJrKbvuGO-pNM_KoMjNedoGBD_yEhdg2S70jzHxAl-rz83i78Uyc-nJ8vA33Divtyr/s320/reunificationpalace.jpg" width="320" /></a></div>
<br />
In visiting Vietnam there were certain sites that I wanted to get to - no matter how tricky they proved. I was determined to see My Lai, where Sargeant William Calley (now, despicably, a free man living in Atlanta and running a jewelery business) infamously ordered his soldiers to fire upon an unarmed village, rape the women and massacre the children. This may sound like 'dark tourism' and perhaps it is - I am not about to philosophise about what drives so many us to see places of genocide, from Auschwitz to Choeung Ek and so forth. All I can say is that I wanted to develop a greater image of what My Lai looks like and, although the recreated village that has been propped up in the area is surprisingly tacky, I have no regrets about going (well, except when some high school children came rushing in and thought the museum of bloody pictures was a laugh riot - the sole black spot of my entire Vietnam experience).<br />
<br />
As an aside, cameras should be banned from these places.<br />
<br />
The amount of
tourists who think nothing of posing, with big 'holiday' grins, in front of areas where people were
slaughtered is embarassing. It is bad enough when men in shorts and women in short skirts think this is suitable apparel for visiting Buddhist temples (or, in Malaysia, mosques) but pictures of your foreign mug in massacre sites is just ridiculous. I took one snap at My Lai - of the monument
which was erected to honour the dead. I've posted it below. Exactly why some visitors feel the need to stand in front of this with a smile on their face is puzzling - <i>what exactly are you celebrating with such an image</i>?<br />
<br />
For those who wish to visit the site the best place to be based is Hoi-An - a gorgeous town with nary a corporate logo in sight. Sheer heaven on earth. Tours can be organised via Viet Vision (<a href="http://www.vietvisiontravel.com/">http://www.vietvisiontravel.com/</a>) and take about three hours there and back by car (with a sidetrip to the temples of Mỹ Sơn).<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy0DmS_jFDePKT7PSedknVkyWPV8e3_qMtO9lq6WLvayaG-n_rQfvWHJyNOU4TWAW4275BJrl5u-l6lvtE_IaoMFtO5-42AUmOOLIdBkpjDJy9KkeDpXIzI4MhY4Yf1SdYV3n0YJgkrpZB/s1600/mylai.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy0DmS_jFDePKT7PSedknVkyWPV8e3_qMtO9lq6WLvayaG-n_rQfvWHJyNOU4TWAW4275BJrl5u-l6lvtE_IaoMFtO5-42AUmOOLIdBkpjDJy9KkeDpXIzI4MhY4Yf1SdYV3n0YJgkrpZB/s320/mylai.jpg" width="240" /></a></div>
<br />
<br />
Anyway, moving on - I was also interested in visitng Hamburger Hill.<br />
<br />
Put aside the rather rubbish movie of the same name from 1987 because the Battle of Hamburger Hill was so much more than this: it was a turning point in the war. The Tet Offensive of January 1968 had disorientated the US - even when, at the end of a raging fight with the North, Uncle Sam had still come out on top (the Tet Offensive, incidentally, is the fight which is documented in the latter half of Stanley Kubrick's Full Metal Jacket). Nevertheless, due to the clear evidence that the North was not about to back down, it was the beginning of the end for the US involvement in Vietnam and led to a number of quick-fix mini-battles which were designed to claim a large count of enemy bodies in the name of 'victory'. One such instance was Hamburger Hill (real title: Ap Bia Mountain) - so called because the mass amount of dead bodies looked like meat strewn across the muddy landscape. <br />
<br />
The Battle for Hamburger Hill raged between May 10th - 20th 1969. The Americans actually succeeded in capturing the hill from the North Vietnamese army - but at the cost of 72 brave infantrymen and over 350 wounded. On the Viet Cong side, an equally brave 675 (reported) were killed. <br />
<br />
And for what?<br />
<br />
Only 16 days later the hill was abandoned because it was considered of such little importance. A grand waste of lives on both sides - and an indication to the American public, and the world, that this was a war being fought with a wayward sense of longterm achievement.<br />
<br />
Hamburger Hill is located near the Loation border. A part of the country which is still thick with landmines. To get there seemed unlikely until I finally discovered a young history scholar online called Mr. Vu who specialises in trips to the former DMZ and areas of interest across central Vietnam (his web site is here: <a href="http://www.annamtour.com/">Mr. Vu Tours</a>). Despite the fact myself and Naomi were travelling across Vietnam during their New Year celebrations (which caused no problems at all despite some online forums stating that everything would be closed!), Mr. Vu agreed to pick us up and take us to Hamburger Hill.<br />
<br />
The place to be for this trip is the Emperial City of Huế: the site of the Tet Offensive and still a place which shows evidence of the conflict which once made it one of the most dangerous places in the world (see below):<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuQrFcE2Ek7OmuameEZZ31Usltwyv0C2wMAD_OfqO388515fdJAPSixlJi7-bnmOhEg2hQ1TN2LyyPaMswY7W9QC8CpiO_C_M5sfIiVFT-QJqliKDJmsBQJ98P6XXti9ZcxWwmJXkJAQTV/s1600/Hue.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuQrFcE2Ek7OmuameEZZ31Usltwyv0C2wMAD_OfqO388515fdJAPSixlJi7-bnmOhEg2hQ1TN2LyyPaMswY7W9QC8CpiO_C_M5sfIiVFT-QJqliKDJmsBQJ98P6XXti9ZcxWwmJXkJAQTV/s320/Hue.jpg" width="320" /></a></div>
<br />
<br />
That said, Huế (pronounced "Whay") is every bit as safe as any other part of Vietnam (i.e. very safe) and - as with everywhere else we visited - English is widely spoken, making you feel all the while like a dumb foreigner. Although not as picturesque as Saigon, Hoi-An or the utterly stunning city of Hanoi - there are still some fantastic things to see in Huế, including the <span class="st">Purple Forbidden City (below): </span><br />
<span class="st"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil8z-Wj75KWR9ar5fH57Mt8avFMhINljV1QsybHI99XCst5yuekr6YZteSuOKpnHzakofKKy1GNetjdjVYF173vXOREUc0nR9AJLNSSBvzvRXkxx5ElzLWqbMSoMr6hKu-x_t8V-E_j997/s1600/Forbidden+City.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil8z-Wj75KWR9ar5fH57Mt8avFMhINljV1QsybHI99XCst5yuekr6YZteSuOKpnHzakofKKy1GNetjdjVYF173vXOREUc0nR9AJLNSSBvzvRXkxx5ElzLWqbMSoMr6hKu-x_t8V-E_j997/s320/Forbidden+City.jpg" width="320" /></a></div>
<span class="st"><br />Three days, however, is probably plenty - and so I strongly advise taking one or more of Mr. Vue's tours - especially since he informed us that, yes, we were the first British people to ask for a tour of Hamburger Hill (I know we're Scottish and he knew this too - but I wanted to make sure that we were not just the first Scots but Brits as well!). He mentioned that very few people at all bother with this tour - it seems that many young people who visit Vietnam today do so as a sidetrip from the party hub/ beach resorts of Thailand or as part of a wider jog around Southeast Asia. Very few, we were told, engage with the immediate history of the nation - and this is an enormous shame because, even if your knowledge of the Vietnam War is minimal, the drive to the Laotian border and Hamburger Hill is absolutely stunning:</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEpFiPXd3kXqVjYzc00-eNizo7PiJhSkoUWimE_aI6WmwIVhwDoAX5VSOE4y2xZQr2r3YIxkmUU7fYL4D_m8feBpftNBsINqCkSjumSs9OS_XZ0BLc6Uc4D1QYBZAXlzk5xGHhhmf72CGI/s1600/hamburger9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEpFiPXd3kXqVjYzc00-eNizo7PiJhSkoUWimE_aI6WmwIVhwDoAX5VSOE4y2xZQr2r3YIxkmUU7fYL4D_m8feBpftNBsINqCkSjumSs9OS_XZ0BLc6Uc4D1QYBZAXlzk5xGHhhmf72CGI/s320/hamburger9.jpg" width="320" /></a></div>
<br />
<span class="st"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
With beautiful countryside and mountains, this is one of the most
spectacular trips I have ever taken. With a time of about two hours from
Huế, Hamburger Hill itself is not an especially gruelling car ride.
Moreover, the hill was paved in 2009 which means that, as long as you
are in fit shape, it is an easy jaunt to the top. That said, below is a small selection of just <i>some</i> of the stairs you will be expected to hike up (Mr. Vue is at the top) - so make sure you know just what your limitations are!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxcPhEkfLR93F6wMT7aeNY5-f1q_CVYNLWJkk0WqAd9nV3Y9u4KCvSU85LrKSBN1FQJfjfY-0r4eCEViXn5IlESjHgenJvaXTb024f5n_vt5AmZOGilLsvZKXkWgYRdCYk7qIkSQmTt94I/s1600/hamburger2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxcPhEkfLR93F6wMT7aeNY5-f1q_CVYNLWJkk0WqAd9nV3Y9u4KCvSU85LrKSBN1FQJfjfY-0r4eCEViXn5IlESjHgenJvaXTb024f5n_vt5AmZOGilLsvZKXkWgYRdCYk7qIkSQmTt94I/s320/hamburger2.jpg" width="240" /></a></div>
<br />
On the way up a reminder of the hill's past is evident in the impact wraught by bombs:<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1G2knEM3l-EGEjzvpkfJAz-hjO_nhURm4PWqdaswSq7EAPlr8PR9eEGSPokEPTJ-eizf6pyeNrkeso7OhYdN2lZRw_sD0z7ZdMWtqhDW93-fT0Pg0CqbpqbETfTshgw08qYIoE9pj6DCT/s1600/hamburger3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1G2knEM3l-EGEjzvpkfJAz-hjO_nhURm4PWqdaswSq7EAPlr8PR9eEGSPokEPTJ-eizf6pyeNrkeso7OhYdN2lZRw_sD0z7ZdMWtqhDW93-fT0Pg0CqbpqbETfTshgw08qYIoE9pj6DCT/s320/hamburger3.jpg" width="320" /></a></div>
<br />
<span id="goog_1554006600"></span><span id="goog_1554006601"></span>Hamburger Hill proved to be a peaceful hike - and upon reaching the top a new plaque has been erected. Mr. Vue explained that this was because returning American infantrymen, who survived the battle, have began to return to Vietnam and revisit the location. He told of one story where three ex-army men wanted to spend the night at the top of the hill: something that was unfortunately not possible because of the sensistive location near the Laotian border. I have included a picture of the plaque below:<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAWGl6xQI2xIgA-MoRk3uN-85AoQpQbNdLI0qeTktO0qzIPKOkBI1_L9hq4762qrVam8GNGz-WnpgM9J2RPCP5q_3JimlBw8rnIlxTTrMCk-iu9NG3NgLcI_v236fLonNZw0q-0VOFcptV/s1600/hamburger4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAWGl6xQI2xIgA-MoRk3uN-85AoQpQbNdLI0qeTktO0qzIPKOkBI1_L9hq4762qrVam8GNGz-WnpgM9J2RPCP5q_3JimlBw8rnIlxTTrMCk-iu9NG3NgLcI_v236fLonNZw0q-0VOFcptV/s320/hamburger4.jpg" width="240" /></a></div>
<br />
<br />
On the way down, Mr. Vue and one of his colleagues - who was the gent that erected the new steps himself and also joined us on the trek - told me about a cave which was used by the Viet Cong. I was asked if I wanted to visit and I agreed: although none of us could have expected to find yet another remnant of the war past - a small piece of material from a Viet Cong outfit. Of course, this was put back where we found it. <br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJTSlJ5Dz3AT3wDDYmNHvNvhxnmQlGKTPjG1kgVmshYGupknXmytfFuepXqjQhi1ObbL59uKzFdDEn3kQZfRiusELr8k3I4xuJGs5K92JMjtrFZEktBAZBZAS2GmFYL0-DLazH0eDhyZA0/s1600/hamburger5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJTSlJ5Dz3AT3wDDYmNHvNvhxnmQlGKTPjG1kgVmshYGupknXmytfFuepXqjQhi1ObbL59uKzFdDEn3kQZfRiusELr8k3I4xuJGs5K92JMjtrFZEktBAZBZAS2GmFYL0-DLazH0eDhyZA0/s320/hamburger5.jpg" width="240" /></a></div>
<br />
<br />
<br />
<br />
Hamburger Hill is an incredible place to visit. The wildlife has never recovered from this area so it is remarkably quiet - moreso than any large woodland should be. In itself this lends a haunting atmosphere to somewhere that is already ominous. The scenery is, as expected, amazing - especially from the top. Furthermore, Mr. Vu is a well educated historian himself and he can provide you with answers to any questions you may have. I was honoured when he praised my knowledge of the war - and I would love to, one day, return to Vietnam and see even more of the country. Aside from being full of friendly, hospitable people - it is also a progressive and industrious nation, moving forward but rightly proud of their fierce independence: something that we should never forget how hard they fought for.<br />
<br />
In closing, here are some more pictures - which rounds off my first ever piece of travel writing!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi11l-dFmnTtz5zv845Zg-zdqJN6T6XMCZj6N6RNevlWjWTkem1ElgZvRpTm1bZI4ntYeroN0ODhtH4QFsZg1WEWPMUSr70hmsSuB9AcJISO6mzHmC8kBdE0qRCQ6CMeSRrYeADDqRBxjBp/s1600/hamburger8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi11l-dFmnTtz5zv845Zg-zdqJN6T6XMCZj6N6RNevlWjWTkem1ElgZvRpTm1bZI4ntYeroN0ODhtH4QFsZg1WEWPMUSr70hmsSuB9AcJISO6mzHmC8kBdE0qRCQ6CMeSRrYeADDqRBxjBp/s320/hamburger8.jpg" width="320" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBLF9LjeTnuWe8LYdODp05TA7oADvVc-MFWemql255qfczmXptAKhmC4AhZ0sdje1E7aVEN_5S2IJz_z4FbotUSG5MiJtS7jCQ2cxH0t0YTGMmHRkLxpZqUkrYdHjsAwGG6xHCkMNf9Ij7/s1600/hamburger7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBLF9LjeTnuWe8LYdODp05TA7oADvVc-MFWemql255qfczmXptAKhmC4AhZ0sdje1E7aVEN_5S2IJz_z4FbotUSG5MiJtS7jCQ2cxH0t0YTGMmHRkLxpZqUkrYdHjsAwGG6xHCkMNf9Ij7/s320/hamburger7.jpg" width="320" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH1CM37qvKh_T6cKGm1oa0u6CHe1xT3dB9CBGO1QjglTnZm7qgFyg8Xx1n7Q0nddEND3SpRgNWIzeX08RQ4MUdW-TL18hgxR1KAmKR_qia4UDOcb0g8i6YC-CsLxhDLSHNA8dWK8cdJjzL/s1600/hamburger6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH1CM37qvKh_T6cKGm1oa0u6CHe1xT3dB9CBGO1QjglTnZm7qgFyg8Xx1n7Q0nddEND3SpRgNWIzeX08RQ4MUdW-TL18hgxR1KAmKR_qia4UDOcb0g8i6YC-CsLxhDLSHNA8dWK8cdJjzL/s320/hamburger6.jpg" width="240" /></a></div>
<br />
<br />Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com8tag:blogger.com,1999:blog-8268714093667264843.post-79588140499593044262013-02-01T08:49:00.000-08:002013-02-02T10:20:59.033-08:00<h2>
NEW MARK MILLAR INTERVIEW</h2>
<br />
For all you comic book fans out there!<br />
<br />
<a href="http://www.sfx.co.uk/2013/02/01/mark-millar-on-x-men-days-of-future-past-sentinels-and-kitty-pryde-fans-wont-be-disappointed/">Mark Millar SFX chat</a>Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-69803133692496432142013-01-31T07:52:00.000-08:002013-01-31T07:55:44.803-08:00<h2>
SLICE AND DICE IN GLASGOW</h2>
<br />
Our documentary, SLICE AND DICE: THE SLASHER FILM FOREVER, will be screening in Glasgow at the GFT on a double bill with Scott Spiegel's fantastic fear-flick INTRUDER on Sunday March 24th. The plan is to have some DVD giveaways, the usual aftershow drinks (hopefully at Nice 'N Sleazys) and a stall with some merchandise for sale... this time courtesy of 88 Films - who are releasing SLICE AND DICE UK-wide on DVD April 14th. The guests will be James Moran, writer of SEVERANCE and COCKNEYS VS ZOMBIES, and Norman J. Warren, the legendary Brit-director behind INSEMENOID, TERROR and many more. Both men appear in SLICE AND DICE and were valuable additions to a documentary which also includes Corey Feldman, Mick Garris, Adam Green, Tom Holland, Tobe Hooper, Felissa Rose, Christopher Smith and many more! The event will kick off at 6.30pm, we'll show some classic trailers, and tickets will be on sale soon (£8 conc. £10 full) at the GFT web site:<br />
<br />
<a href="http://www.glasgowfilm.org/">Glasgow Film Theatre</a><br />
<br />
<br />
Hope to see you all there!<br />
<br />
<a href="https://www.youtube.com/watch?v=3ekj9WzGL_0">Intruder Trailer</a><br />
<br />
<a href="http://www.youtube.com/watch?v=EkbWyOfPjUQ">Slice and Dice Trailer</a><br />
<br />
<br />Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0tag:blogger.com,1999:blog-8268714093667264843.post-7454120411207386492013-01-25T19:12:00.003-08:002022-12-13T12:05:15.522-08:00<h2>
HMV and the Dire Future of Physical Media</h2>
<br />
The news that HMV has been saved from Hilco will be of some relief to DVD labels around the UK. Where this leaves their sister shop Fopp I am unsure - and, even if some HMV stores continue to exist, it is doubtful that the chain will ever resort back to its old ways or become a juggernaut again in the future. The sad fact is that downloading, streaming and Netflix (as well as torrents) have killed the demand for physical media and, as austerity cuts continue and the economy risks a slide into a triple dip recession, the chances of increased sales in CDs, DVDs and Blu Rays feels like wishful thinking.<br />
<br />
The sad fact is that this is most likely to hit the indie labels, such as Arrow Video - whom I have freelanced for during a rewarding three and a half year period - and their various contemporaries such as Shameless, 88 Films and Second Sight. Even more threatened will be the labels releasing niche titles - foreign films, documentaries, underground efforts and cult flicks from the past. I have linked below to a recent article in The Guardian for some further views on this:<br />
<br />
<a href="http://www.guardian.co.uk/film/filmblog/2013/jan/25/hmv-british-indie-cinema">HMV and the demise of the indies</a><br />
<br />
Of course I can only speak for myself. Whilst HMV was never especially appealing to the little leisure funds that I had, Fopp was. Indeed, for scant outlay that little store, which had a presence in Edinburgh and Glasgow, offered me the chance to buy on a whim all number of obscurities for as little as £3 per DVD. I have spent a fair whack in Fopp and the idea that in the future I will have to know what I want to see, and then find it on Amazon, is depressing to say the least. Part of the fun of a shop stocking physical media is taking a chance - and I am sure that many film fans have picked up the Arrow releases that I have worked on as a consequence of this. Indeed, not so long ago Fopp had a shelf of Arrow discs reduced to a fiver including Inferno, Phenomena and Tenebrae. It made me really pleased to think that a young 18 year old film student, perhaps intrigued by Argento through the more mainstream patronage of an Eli Roth or Quentin Tarantino, would take the dive into picking up one of these editions and, thus, discover a whole new world of international genre filmmaking. At 18 I would wander into HMV and look for reduced prices on VHS (remember that?) copies of all number of Hong Kong movies and even such 'wow I really paid full whack for that' genre footnotes as The Dead Next Door (I got ID'd buying that one too!).<br />
<br />
Still, as profits remain slim this is clearly nearing the end for those of us who want to own evidence of our passion for music and films. So it is then that kudos should be afforded to the labels, such as Arrow, who continue to offer a bit of bang for your buck. Whatever happens, then, I am proud that - as late in the game as it is - I offered some sort of mark on the UK DVD market. And I guess in ten years time I, like many fans of my age, will hold my collection near and dear to my heart.<br />
<br />
<br />
<br />Calum Waddellhttp://www.blogger.com/profile/16343248681594572948noreply@blogger.com0