Ged Carroll

Category: culture | 文明 | 미디어와 예술 | 人文

Culture was the central point of my reason to start this blog. I thought that there was so much to explore in Asian culture to try and understand the future.

Initially my interest was focused very much on Japan and Hong Kong. It’s ironic that before the Japanese government’s ‘Cool Japan’ initiative there was much more content out there about what was happening in Japan. Great and really missed publications like the Japan Trends blog and Ping magazine.

Hong Kong’s film industry had past its peak in the mid 1990s, but was still doing interesting stuff and the city was a great place to synthesise both eastern and western ideas to make them its own. Hong Kong because its so densely populated has served as a laboratory of sorts for the mobile industry.

Way before there was Uber Eats or Food Panda, Hong Kongers would send their order over WhatsApp before going over to pay for and pick up their food. Even my local McDonalds used to have a WhatsApp number that they gave out to regular customers. All of this worked because Hong Kong was a higher trust society than the UK or China. In many respects in terms of trust, its more like Japan.

Korea quickly became a country of interest as I caught the ‘Korean wave’ or hallyu on its way up. I also have discussed Chinese culture and how it has synthesised other cultures.

More recently, aspect of Chinese culture that I have covered has taken a darker turn due to a number of factors.

  • State of the Union

    State of the Union seems to be BBC Radio 4’s way of replacing the late Alistair Cooke’s Letters From America. Replacing Letters from America is a really tough role to fill. State of the Union has got really big shoes to fill.

    The 15-minute slot from 20h50 – 21h00 on a Friday and repeated from 08h50 – 09h00 on a Sunday is hosted by a different American journalist each week. You can have a listen here. I was a relatively recent convert to Alistair Cooke; but the short time that I experienced his programmes immediately made me realise what I had missed out on. Cooke was an institution and a relic of when Britishness meant life as a character in an Agatha Christie novel and acting like Cole Porter show tunes were still all the rage. State of the Union is very now, and a good way of ensuring that the presenter doesn’t get unfavourably compared to Mr Cooke’s legacy. It won’t be cult listening, but listenable all the same.

    The BBC’s own spiel: In this US election year, a new series, State of the Union tells the stories that define the American nation. Drawn from the Pacific and the Atlantic coasts, the deep South and the mid-West heartland, each week a distinctive American broadcasting voice reflects on everyday America.

    The first one was done by Betty DeRamus, a Pulitizer prize winning columnist from the Detroit News. State of the Union will continue until November. It will be followed by Letter, first-person reports from Beijing, Delhi, Johannesburg, etc, which already goes out on the World Service at 05h30 on Sundays. More related content here.

  • Spray can revolution

    If you live in London or have been to Shoreditch you’ve probably came across the spray can stencilled graffiti art of Banksy. Talent, anger, political statement and a black sense of humour via Andy Warhol to create provocative stencil art.

    In the interest of spreading spray can derived revoluton here is Banksy’s guide to creating creative grafitti:

    A guide to cutting stencils- First off, stencil anything. If you wait for the perfect idea you will be waiting for ever. Cleverness is never as entertaining as blatant stupidity, failure and public humiliation

    • Obtain a fucking sharp knife. Blunt knives result in fluffy pictures and make the whole process long and boring. Snap off blades of British steel are best.
    • Draw your artwork on paper, glue onto some card then cut straight through the both. Acetate is apparently quite good but any sort of free cardboard is okay. Stiff 1mm to 1.5mm board is ideal.
    • Get a small roll of gaffa tape, pre-tear small strips and stick them on your shirt inside your coat.
    • Find a suitable piece of card to act as a folder. For instance when using red paint cut the stencil into the bottom of a pizza box so when you get paint all over your fingers its not so suspicious.
    • Leave the house before you find something worth staying in for.
    • Spray the paint sparingly onto the stencil from a distance of 8 inches.
    • If you’re in a place with lots of security cameras wear a hood, move around the city quickly and act like a sad old drunk if you attract attention.
    • Be aware that going on a major mission totally drunk out of your head will result in some truly spectacular artwork and at least one night in the cells.
    • When explaining yourself to the Police its worth being as reasonable as possible. Graffiti writers are not real villains. I am always reminded of this by real villains who consider the idea of breaking in someplace, not stealing anything and then leaving behind a painting of your name in four foot high letters the most retarded thing they ever heard of.
    • Remember crime against property is not real crime. People look at an oil painting and admire the use of brushstrokes to convey meaning. People look at a graffiti painting and admire the use of a drainpipe to gain access.
    • The time of getting fame for your name on its own is over. Artwork that is only about wanting to be famous will never make you famous. Any fame is a bi-product of making something that means something. You don’t go to a restaurant and order a meal because you want to have a shit.

    This reminded me a lot of the golden rules we used to have whilst fly posting for events. More related content here.

  • Barcode turns 30

    The Boston Globe online has a mildly interesting article about the UPC (universal product code) or barcode that graces all our groceries. They give a potted history of the code and mention the various urban myths that rose around it including:

    • Some considered that the barcode represented the Anti-Christ
    • Others considered that the barcode was a corporate plot against consumers (though the lack of technology before the bar code had not stopped collusion).

    The article goes on about the inventory savings items, but neglects to mention other add-ons that came out of it including:

    • Near-real time sales data, which could be datamined for purchase paterns, this allowed Walmart to famously increase beer sales by putting a six pack and nappies (US Eng: diapers) together for stressed fathers
    • Increasing the power of retailers who can provide research companies and suppliers with data on product sales faster, fattening the coffers of AC Neilsen
    • Dramatically altered store design by being able to trial changes in layout or promotion and see the results through the tills, this was as dramatic as the spreadsheet allowing senior business folk to run what if scenarios
    • Loyalty cards, when you can analyse purchase patterns and inventories, match them both together to decide how to influence consumer behaviour

    A less documented feature of the barcode is that it revolutionised kick-backs for music shop workers. Record labels have been hot beds of interesting accounting practices at the best of times, which is why these practices could happen. When I DJ’ed far more (and had more time); I used to hang with a number of record shop assistants who worked in ‘chart shops’.

    Being a DJ meant tapping into a number of sources. I was signed up to promo agencies for white labels, but that wasn’t that great and a lot of the quality was pretty awful.

    I was also connected to the specialist shops for my imports, promos that I didn’t have access to and underground vinyl.

    The small chart shops was where I got some of the best British dance music cuts. The smaller independent chart shops got a lot of support from the major labels:

    • Cheaper records to sell on to the public
    • Items often arrived in their stores first, before the big chains
    • Exclusive access to limited edition remix records
    • Instore band signings (again often at the expense of big chains like HMV)
    • Promotional record label items: jackets, bags, gig tickets, artwork
    • One high selling record for free with every two hype items they put through the scanner (note that I did not say sell)

    I used to occasionally drive with friends to Fox’s Records in Doncaster, one of the largest chart shores. Closer to home I had a good relationship with Jez and Tony who used to run Penny Lane Birkenhead. Tony had been with the firm for time and had risen to be the store manager at this branch. Tony was a seasoned ligger. His assistant, Jez was a quiet dreadlocked skater kid who used to work in a secondhand dance vinyl shop in the Palace – at that time a trendy shopping complex on Wood Street in central Liverpool.

    This barcode revolution did not happen overnight, I still remember being in primary school in Liverpool and seeing sticky price tags and the guns being used in the local Tesco and Asda supermarkets. Bargain bucket department story chain TJ Hughes, only implemented a stock management system utilising bar codes less than five years ago after new owners discovered stock in their warehouses that may have been over ten years old. The local supermarket to my Uncle living in rural Western Ireland still uses sticky price labels with no barcode scanner in sight, a nod to our modern times came when the labels changed colour from white to fluorescent yellow. More related content can be found here.

  • V and A

    On Saturday, I continued my sporadic tour of London’s cultural highpoints: Fabric, Smith of Smithfields, The End, Flying Records, Phonica, The Science Museum and now the Victoria & Albert Museum known informally as the V and A.

    The museum is very disorientating despite the map that they provide you with on the way in. In fact the map was an offence against design to my co-explorer Steve, a design agency owner who came along. The exhibits on Japan were very interesting and made Europe look like a bunch of savages. The Victorian silverware looked crass and tasteless, the plunder of robber barons from an empire that spanned a third of the world (sort of like Kenneth Noye on a grand scale).

    There were lots of activity areas and it should get a high rating for being child friendly. It was way cool and both Steve and myself took some time out for learning activities. The café wasn’t as swish as I had thought that it would be, however it is still very good. My expectations of the V and A had been distorted by the ‘V&A café with museum attached’ descriptions of it in the media. (Their 1 1/2 cup pot of coffee is actually good for two cups).

    In addition, they had The Other Flower Show art exhibition and Tracy Emin’s work in particular had a very dark sense of humour in it with a ouija board and knife in the centre of a children’s wendy house.

    One of the things I found out was that it was Architecture Week, judging by their materials and handouts both RIBA and the Arts Council had invested heavily in it. However beyond mentions in the design press about activity in Clerkenwell to celebrate the event we had not seen any press coverage. If you were involved in Architecture Week and want to get more publicity give me a call :-))

    The V&A area suffered from a dearth of fast food suppliers so Steve and myself had to decamp by foot to Leicester Square in order to support a heinous global corporation that tears down the rainforest and provides gainful employment to sociology graduates in the fast-food industry. More posts about getting out and about here.

  • Lollapalooza 2004

    Lollapalooza 2004

    US music festival Lollapalooza has a similar standing in the UK to Glastonbury or the Mean Fiddler events. It is best known to UK audiences for appearing in at least one Simpsons episode (where Cypress Hill jam with a symphony orchestra). Due the reaganomic policies of the Bush administration Lollapalooza 2004 will not be going ahead this year.

    A message from Perry

    The organisers wrote on their website “A MESSAGE FROM PERRY

    To all my Fellow Artisans, Activists, and Feverish Supporters,

    It is with heart gripped despair that I inform you of Lollapalooza’s disbandment for the summer of 2004. To say that you terribly miss something that never was born is somewhat odd, yet in this case, it is quite accurate.

    I hope you can accept my apologies for not providing you with the summer that you had your hearts set on. I tried very hard to keep us on course; heading straight into the most ferocious musical storm in history. We were not able to continue; we were taking on huge financial losses.

    And still, I want you to know that I fought for our lives into the final hour.

    Please know that I value your talents and look forward to meeting you again – a little later on to re-discover ourselves as friends. If it makes you feel any better, I am in the same boat as most of you; “Only loaded with talent.” But with talent like ours, they can’t hold us down for long.

    Upon reflection, I conclude there is a story here. It is the story of a musical community under the influence. No, silly, it’s not drugs. This is an influence far more damaging and threatening, as in: “They are threatening to sue us for damages.” My prayer is that we live to fight another day and walk together at the victory parade.

    We hoped for comfort but we’ve never felt too safe. And in these hard times, we’ve had to navigate through. Unexhausted; is our virtue,

    Peretz

    PS. I am still looking for a shining moment or two for us this summer. I hope you will receive me when I call.

    LOLLAPALOOZA 2004 CANCELS ALL DATES

    “You can imagine the dismay I share at this moment with the artists and musicians who were looking forward to the tour. Lollapalooza could no longer see fit to continue this year. Our plight is a true indication of the general health of the touring industry and it is across musical genres. Unexhausted is our virtue. We are taking Lollapalooza back and plan on rebuilding and recreating the festival in surroundings more conducive to the cultural experience we’ve become known for.”

    – Perry Farrell”

    More related posts here.