Apologies to anyone trying to access the pre-2010 archives the last few days or stumbling into dead links from search returns. The old news.imagethief site, where all pre-2010 posts live, is offline for some reason. I’m looking into it.
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Apologies to anyone trying to access the pre-2010 archives the last few days or stumbling into dead links from search returns. The old news.imagethief site, where all pre-2010 posts live, is offline for some reason. I’m looking into it. Our ongoing exploration of the bizarre furnishings of Beijing apartments has entered what appears to be the “oriental love nest” phase. Surely we must be getting close to the end. Today my eye-sockets were cauterized by this: As you’d expect along with a tiger bedspread, this apartment also came with a toddler-friendly free-standing glass cabinet full of top-notch imported liquor: I’m not sure if the liquor was included in the rent. Maybe they would have checked it off when moved out, like a mini-bar. Still, you have to admire the innovative rethink of the old, American “fresh-baked cookies” gambit. Combine a tiger bedspread, glass master-bathroom and liquor supply and you’re damn close to the apartment of China Bounder’s dreams (apropos of this week’s Sinica podcast on the evolution of the China blogging scene). Actually, it was in many ways a very nice apartment. But there’s always that question of the accessories. Previously on The Great Apartment Hunt: The latest Sinica podcast is now live. In this edition, Kaiser Kuo, Danwei editor Jeremy Goldkorn and I discuss the state of English language China blogging. The title and blurb are actually a bit alarmist. Our conclusion is that the sense of community around the China blogs has changed as the main discussions have moved from blogs to Twitter, Facebook and elsewhere, but there is still excellent English language blogging about China to be found. The podcast might better be called, “The China blog is dead. Long live the China blog.” The blurb (which wasn’t written by me!): The China blog is officially dead, moribund, cadaverous, extinct, buried, bereft of life, defunct and totally-and-utterly-inert. It could even be said to be resting in peace, save for the fact that Will Moss drove a silver stake through its heart before recording this podcast. “We single-handledly made the China blog obsolete,” he joked in our studio after further sawing off its head. But he has a point. Because who reads blogs these days? Does anyone even remember the China blogs of days past? Back then there were greats like Peking Duck, Imagethief, Sinosplice and Danwei, and you could even indulge in a little China-bashing at Talk Talk China. Then came Sinocism and EastSouthWestNorth, and then the mainstream media blogs from magazines like Time and journalists like Malcolm Moore, Peter Foster and Tom Lasseter. And then the explosion of blogs like the Shanghaiist, China Geeks, China Hearsay, ChinaSmack, ChinaHush and CNReviews, not to mention the more eclectic and academic writings of China Youren, Jottings from the Granite Studio, In the Footsteps of Joseph Rock and The China Beat? Well… we’re sorry to be the bearer of bad news, but all of these blogs are dead. Or that’s the opinion of the curmugeons in our studio this week: Kaiser Kuo, Will Moss and Jeremy Goldkorn, veteran bloggers in China who’ve seen the ups and downs of social media and are prepared to tell it like it is. So join us this week on Sinica for a dissection of the Chinese blog scene. And then get the hell off our lawn. What is it with kids these days anyway? Download the podcast from the Sinica site, hosted by Popup Chinese. It will also be available on the Popup Chinese page on iTunes, but it’s not there yet. Two follow-up notes to the podcast. First, it was impossible for us to name all the blogs we like and read, so if you find yourself left out please don’t take it personally. I am happy to take other mentions or suggestions in the comments, below. Also, there is one blog we agree we should have mentioned when we were discussing China business blogs, but somehow neglected to include: David Wolf’s Silicon Hutong. Well worth your time. Continuing my exploration of the zaniest fixtures and furnishings in China, this weekend I looked at a lovely apartment in Greenlake Place (Guanhu) that was thoroughly trashed by this living room set: When I finally get around to overthrowing that small, African nation like I’ve been planning, this is the furniture I’ll want in my throne room (although perhaps re-upholstered in leopard or zebra skin). Until then, a bit too grand for my entirely modest ass. Oh, and whether I’m god-king of Botswana or not, that telephone will have to go. I’ve been paying pretty close attention to the long-running BP disaster. As a PR professional, most of my reactions to the spill boil (or refine) down to the following: Better them than me. Still, while I am mindful of the vast human and environmental toll of the disaster, I am not without sympathy. Or free advice. Stand by for the latter. What’s with the oil industry’s ship names? The “Discoverer Enterprise” I kind of get, if only because as a Star Trek fan since childhood I cut a certain amount of slack to any ship named “Enterprise”. But the “Q4000″? The “Helix Producer”? I presume that these names are supposed to suggest technology and intrepidity, but in the current circumstances they also suggest, “Greetings, Earth creatures!” The oil industry needs to stop christening its ships like they were commissioned by Galactus or launched to fight Godzilla. Remember the “Super X”? If you do, give yourself a nerd-biscuit. Given the amount of coverage these ships are getting, there’s an image burnishing opportunity here. Short of selling the naming rights for cash to cover the cleanup costs (eg. the Gillette Q4000), I suggest that BP and Transocean rechristen the “Q4000″ the “Fluffy Bunny” and the “Helix Producer” the “Fairies and Unicorns.” Let’s conduct a small experiment and see how that might affect the press coverage, using a paragraph from today’s New York Times article on the spill: Before:
After:
See? Don’t you feel better about the spill already? I certainly do. If nothing else, I have the urge to eat a lollipop. Sure, some roughneck types might object to working on ships with wuss names, but they’ll get over it. And it still doesn’t stop them from flaring an apocalyptic, six-story hellfire annulus off the side of the ship, as the Q4000 Fluffy Bunny is currently doing. Eat that, Motörhead. Also, let’s hear it once again for Wikipedia, advancing the frontiers of human knowledge with 1200 words on the Super-X series of Godzilla-fighting aircraft (linked above). This article should be read just to appreciate the earnest, deadpan prose. Wikipedia does, however, chide the authors for not citing any references or sources, thus implying that Godzilla scholarship as a field is still academically wanting. Photo from Greenpeace’s oil spill Flickr set. Last week I had the pleasure of co-hosting Sinica with Kaiser as we discussed China’s environment with Guardian journalist and author Jonathan Watts and Alex Wang, director of the China Environmental Law project at the Natural Resources Defense Council. That means that, as usual, Kaiser produced the podcast and did all the hard work, and I just helped ask questions rather than answering. Nevertheless, a good discussion. I’ve been reading Jonanathan’s new book, “When a Billion Chinese Jump”, which I started in prep for the podcast. I’ve not finished it yet, but what I’ve read has been excellent. More on that in the podcast. The show’s blurb:
The Podcast is online here, or on iTunes. ![]() So long, and thanks for all the fish... Imagethief used to do a lot of dive photography back when he lived somewhere conducive to scuba diving. Beijing is not conducive to scuba diving. It’s not that you can’t do it, it’s just that your options are limited to the Blue Zoo (fun but claustrophobic and repetitive), the local lakes (yuck) or the reservoirs (illegal). Oh, sure, you can go to the coast, but from what I hear the Bohai’s omission from the list of spectacular, global dive areas is pretty well deserved. Purely by accident, I was reading a great article from the CDNN diving news site –something I discovered on the excellent Instapaper home page– when I happened to notice an ad for Puerto Galera dive operation at the top of the page. It featured an image of a dolphin in mid leap, with its beak just breaking the water. It looked like this: Huh, I thought. Reminds me of a photo I once took. And then I looked a bit closer and realized that it reminded me of an image I once took because it is an image I once took, nine or ten years ago: A leaping dolphin with two submerged wingmen (wing-dolphins?) in the glass-smooth waters off of peninsular Malaysia. Here’s the original (click for a larger version): The black border is because this is a scanned slide. (Kids: in the old days we used to use something called “film” in our cameras. This was a strip of plastic covered with chemicals that changed color when exposed to light and then bathed in chemicals. Seems fiddly, I know. Uncle imagethief used to have to wait seven anxious days to get his slides back from processing, and then examine each slide with a loupe. How archaic is that?) This picture was taken from the top of the wheelhouse of Vidar Skoglie’s MV Empress, to this day my favorite dive boat of all time, and the boat from which I did many of my most exotic dives. I used to spend hours on the roof with a camera waiting for opportunities just like this. They rarely worked out as well. This photo has long been a favorite of mine, and used to hang on the wall of my house in Singapore. Yes, there’s a little motion blur, but you try taking a panned shot with a pre-VR 300mm lens from the top of a moving boat with 100ASA film and see how well you do. It also used to be on my old and now defunct www.imagethief.com website, which is presumably where it was discovered. Action Divers is also using it on their website. I’m flattered they like it enough to use it. Would have been nice to get an e-mail (maybe I did, but I can’t find anything in my archives). At any rate, it inspires me to shift that gallery back online, perhaps on my Flickr account. Stay tuned. Previously on imagethief:
It’s time to move. We’ve been in the same place for nearly three years. It’s been good, but Mrs. Imagethief’s business is growing, I’m spending some of my time working at home, and let’s not even get into the whole child-number-two discussion. The upshot is that we need a bigger place. I hate almost everything about moving. It’s disruptive. It’s a pain in the ass. It’s expensive (although less so in China than elsewhere). There is the great mystery as to whether you’re trading your current decent landlord (I’ve been lucky) for Empress Wu. There’s the great computational axis of price vs. commute vs. school vs. amenities vs. could our ayi get here? The only good things about moving are being able to slough off a layer of useless house-cruft — all that stuff at the backs of closets– and the feeling you get when you finally have the new place set up the way you want, before the cats have salted everything in summer cat hair and little, scattered pills of cat litter. I have many miles to go before I have my feet up on that particular ottoman of satisfaction. Until then, I must endure the great drudgery of plodding through empty apartments. The other day I had to reel in an agent who was about to take us to look at some places renting for RMB40,000 a month. Hold on there, tiger. I know you’re paid based on the rent, but if I could afford that kind of ticket my personal flunky would be taking the first look. Not me. Our budget is decent, but we’re still squarely in the making-some-compromises bracket. It says something about China that our current leading-candidate apartment had an unflushed toilet full of shit and yet our conclusion was still, say, not bad. In the US realtors tell you set out fresh cookies when people are coming to look at the apartment. In China you get a bog full of crap. But you also get new floor boards, so take the bad with the good, I guess. I don’t want to complain at length about all the miseries of hunting for an apartment in China. Well, strictly speaking, that’s not true. I do in fact want to complain about them and I have done so at length. But I also want to focus on just one thing that gets up my nose every time I tour apartments in China. It is not, despite what you might think, piles of human waste. It is the light fixtures. To gather all my complex feelings about this into just three words, what the f***? It’s true, many Chinese apartments have appalling furniture. My solution to that has been to buy my own furniture and look for unfurnished or partly-furnished places. I’m completely willing to have redundant crap dragged out of the apartment as a condition of rental. That couch that I wouldn’t sit on without wrapping my ass in saran-wrap and sunscreen? Adios, muchacho. But lights are built in. There is wiring, and screws and god knows what. And if I unplug this wire, this being China and all, there is a chance, however small, that all the stop-lights in the neighborhood will turn green at once or the neon sign on the restaurant across the road will spell out a dirty word and my visa will be canceled for gross disturbance of public order. None of which would matter if the light fixtures weren’t so consistently awful. I’m not talking some rarefied, well that’s a bit unsightly thing. I’m talking full-on psychotic awful, like having Damien Hirsch Hirst* as your interior decorator and coming home to find pickled sharks lined with halogen bulbs hanging from your ceiling at face level. I’m talking 1970s Disco Inferno throwback nasty that makes me think of lime green shag carpets and Ford Econoline vans with bubble windows and airbrushed paintings of topless space-vixens deflecting lightning bolts with Gibson “Flying V” electric guitars. If you’ve ever wanted to see what it would look like if the space-ship from the end of Close Encounters of the Third Kind landed in your living room, I’ve got the apartment for you. If you want to know what it would look like if Louis XVI had escaped the guillotine, sneaked out of France disguised as un ouvrier Chinois (quelle humiliation!) and wound up in a downtown three-bedroom in Beijing on a middle-class Chinese salary, I’ve got the apartment for you. What is this fascination with chandeliers? Listen: If you’ve got a stately pile in the countryside with forty acres (or, this being China, 240 mu) of grape vines and a grand hall with a thirty-foot ceiling that requires banquet illumination, then fine. Get a chandelier. I’m not saying it’s a good decision, but it’s at least technically defensible on some kind of inbred, blue-blood clause. But if you’ve just bought an urban pre-fab concrete box with eight-foot ceilings, a three-foot chandelier is simply not going to work unless you’re renting your apartment to Wee Man from the “Jackass” movies. Sooner or later, someone is winding up in the hospital having bits of Swarovski shrapnel irrigated out of their eyes. Plus, if you are renting your apartment to Wee Man, a stack of turds in the hall bathroom is likely to be the least of your problems when he moves out. Make sure you get the deposit in cash. Lights, dude. How hard can it be? It’s the illumination that counts, not the number of fronds on the fixture or getting it exactly the same shade of pink as Aphrodite’s hemorrhoids. A big factor in choosing our current apartment was that it had naked bulbs in the ceiling. All we had to do was hang shades on them. Less is more. Think minimal and simple. Especially –and I cannot stress this enough– if you want to rent to foreigners. We’re weak. Our eyes bleed if we see too much brass filigree at any one time. Easy test: if your light fixtures make my son either giggle or cry, I’m not renting your apartment, even if the fridge is colossal and the toilets just came out of an autoclave and the bathrooms smell like a strawberry muffin factory. It’s that simple. When I stagger home from work late and flick on the living room light, I don’t want my first reaction to be cardiac arrest. I don’t want to feel compelled to place a panicky phone call to SHADO. I don’t want to crack my head into the goddamn thing when I stumble into the kitchen in the middle of the night for a biscuit. I don’t want to find freaking bats hanging from it. I don’t, in a word, want this: Now, really, is that too much to ask? Previously in the Imagethief apartment-hunting annals:
*You can see how up we are on our modern art. I read many things and enjoy them. I don’t read many things and say, man, I wish I had written that. Man, I wish I had written this. Forbes Beijing Bureau chief (and fellow Sinica repeat-offender) Gady Epstein with a wicked what-if take on China and the BP oil spill:
It continues from there. Read the whole thing, even through the annoying, slide-at-time navigation. Also, I gather Gady will be giving a reading of this in the next Sinica. Can’t wait. What is it with YouKu this week? It’s like Kaiser leaves and the whole thing goes to pot. I tried three times to upload “Imagethief and the lost apartment of Qin Shihuang” to YouKu, which I’ve used in the past without any problem. Total failure with 188mb and 100mb versions of the file in .mov and .mp4. It uploads, looks done and then…nothing. I don’t know if they don’t work with the latest version of Firefox or what, but I switched to Tudou instead and everything worked fine. But if it’s any consolation to YouKu, I still have the great “牛年更牛叉” coffee mug that they sent me for Chinese New Year in early 2009. So, following yesterday’s post, which included a YouTube embed, here is a China-friendly version of the video tour of China’s strangest apartment.* There are some frame-rate conversion or compression issues that make this a bit jumpier than the YouTube version, but such is the price of cheap-ass convenience and you don’t need a VPN to watch it. *Probably not literally true, but it’s at least a contender. Recently Imagethief and family went to Xi’an for a weekend. As everyone does, we went to see the terracotta warriors. That was fine, but the real highlight of the trip was the apartment we stayed in, which was decorated top-to-bottom in replica terracotta warriors and had a working Chinese-style guillotine. But, hey, it also had free Internet, a fridge full of very cheap beer, and was a five minute walk from the downtown ethnic Hui area, which has awesome food. At 500RMB a night, what wasn’t to like? A video tour of the apartment below. It was shot on a phone camera, so it’s not exactly Cinemascope, but it does include a guillotine demonstration! (This is a YouTube version. YouKu version coming as soon as YouKu gets around to publishing one of my two uploads. See below.) For those reading this on Facebook (which does not import the YouTube videos), the video is here. Photographs from the trip, including those in the video, are on Flickr here. The apartment was one of four owned and rented out by the day by a guy named Clarence Guo. Clarence used to be a taxi driver. After a few years shuttling tourists to and from the terracotta warriors he realized he could do better as a tour-guide and provider of what we shall call “themed lodging”, so he taught himself the history, wrote a book about the warriors, and bought and refurbished the apartments. We also hired him as our tour guide, which worked out pretty well although he’s clearly a bit burned out on the whole warrior thing after ten-odd years. I had only one complaint about the apartment. Despite having a toddler in tow, it was not the guillotine. It was that Clarence’s creative renovations left zero noise isolation between the apartments and there was an extremely loud family of Israeli tourists staying next door to us. But all in, it was a pretty good deal. E-mail me for Clarence’s phone numbe if you’re ever planning a trip to Xi’an and have no issues with guillotines or sleeping in a bedroom full of terracotta warriors, you can. More comments from customers on TripAdvisor. Update – China friendly version now online: China-friendly Tudou version now online since YouKu, my usual Chinese option, went into some kind of weird suck-fit and refused to let me upload — three times. Never happened before. For those not used to it, Tudou has a pre-roll ad and a heavily spangled presentation. You’ve been warned. Previous travels with Imagethief on video: Links open into blog posts with embedded video or links to the videos.
Imagethief has had a gnawing emptiness in his soul since homespun donut-maker Beijing Guilt packed it in a year or two ago. Our friend Maya brought a box of those donuts to us in the hospital when Zach was born, and I can taste them to this day. AmCare catered from Annie’s, which put its dining a notch above garden-variety hospital food, but you can’t beat the home-made sweets. Since Guilt took down its shingle there has been plenty of institutional high end patisserie to be found, but not so much of the craft stuff. But this week I ordered cupcakes from Carol Chow’s CCSweets for a regional meeting I convened. They were awesome. She reduced the sugar a bit to make them more appealing to my Chinese colleagues, and she delivered them to our office which, if you read this blog regularly, you will recall is in the back-of-beyond’s back yard. If you need cakes, cupcakes or cookies for an event, give CCSweets a try. Everything you need to know is on the website. Now the disclosures: First: Carol is the wife of a friend of mine whom you may know as ultra-high-value twitterer and blogger Niubi. I paid retail for these cupcakes and would cheerfully do it again. I don’t do many endorsements on this site, and I never do paid ones. But if you’re going to endorse something, seriously, why not cupcakes? Second: I have a raving sweet tooth. I think it’s because my father is English. ![]() Oh, mama! Let Imagethief escort you into the wayback machine and take you back nearly three decades to the tumultuous and magical year of 1983… A first-term Ronald Reagan is staring down the Evil Empire. M*A*S*H is coming to the end of its legendary run. American troops invade the island of Granada and win. Michael Jackson’s “Billie Jean”, Duran Duran’s “Hungry Like the Wolf” and Phil Collins’ “You Can’t Hurry Love” are monster hits, but a brash, young woman implausibly named “Madonna” is raising eyebrows with poodle-skirts and a song called “Lucky Star.” Spy Hunter, Gyruss and Mario Brothers hit the arcades. Apple Computer brings forth its masterpiece: The Lisa, yours for only $9,995. And your correspondent is a fifteen year-old sophomore at Palo Alto High School. Buffeted by the triple-whammy of pop culture, hormones and nerdiness, my friends and I reacted to this foment in the only way possible: We made a zombie movie. Every nation and tribe has its rite of passage into manhood. In the Amazon, youths of the Xicrin tribe subject themselves to wasp stings. Young Masai men have to kill a lion. If you were an American suburban youth in the 1980s, you filmed a home-made zombie movie. Or, anyway, that’s what I and my main collaborator Mark Murnane did. Thus 1983 will be remembered for introducing audiences to two horrifying movie creatures: The Ewoks and the teenage zombies of Metro Circle. It wasn’t easy. 1983 was also the year of the first consumer camcorder, but they were about as common as private submarines. Even VCRs were still magical. My friend Colin was the only person I knew who had one, because his dad was an anesthesiologist who could afford rarefied luxuries. It was top-loading and had clunky, old-fashioned tuner knobs on the front that went chunk! chunk! when you turned them. I thought it was awesome. Colin’s dad also had a Kaypro computer. I’m convinced to this day that’s why the chicks used to cling to Colin. The upshot was that if you wanted to film something you had to be old-school and actually film it. Fortunately, I had somehow finagled my dad into buying a used Super-8mm sound camera. It had some German name like Braunschweig or Schtüpphammer and was the second coolest object I ever owned. The coolest was my giant Millennium Falcon play-set, purchased before the Ewoks destroyed the magic. I made a lot of idiotic movies while I owned this camera. I hurled a dummy off the top of my dad’s four-story Victorian for the death scene in a gangster piece. I recreated a news set and called myself “Dan Rather” to do a bunch of news satires (highlight: throwing a cupful of flour into the face of my friend Dan Terdiman to simulate the ash from Mt. St. Helens). I put my brother in a brown bedsheet and latex monster mask and had him irradiate me with pin-scratch death rays shot from his eyes. I set fire to every conceivable object –including, in a moment of Ewok rage, my Millennium Falcon play set– in the name of special effects research. But none of that stuff was as involved as the zombie flick my friends and I put together that year. The working title was “Solstice of the Dead” (“Night” and “Dawn” already being taken by that poser, Romero). For one thing, it wasn’t cheap. Super 8mm sound film cost nearly $20 a roll after processing. If you shot on the slower 18fps speed you got a shade more than three minutes out of a roll. Once you shot something, it was in the can and there was nothing to do but pray you nailed it. No videotape do-overs or instant-reviews. If you blew a shot, that was irreplaceable inches of film stock pissed away. We might as well have been running dollar bills through the sprockets. In some small, adolescent way I understood the stress of a professional film producer watching the sun set on a working crew costing him hundreds of thousands of dollars a day. In 1983, even in Palo Alto, $60 of film amounted to roughly the same thing to me. It was also a major creative undertaking for a bunch of teenage geeks. We had lights (or rather, one light). We had a vehicle for the opening shots. We had separate houses for the exterior and interior shots. We had props (guns) and makeup (zombies). We shot day and night. We had stunts. We wrote a script, blocked our scenes and shot reverse angles. We edited the raw footage on a manual editing block with tape. The reason why I am taking this monster detour into my misty teenage memories is that about a year after we filmed “Solstice”, the reel vanished into a box in Murnane’s house, never to be seen again. At least, until three days ago when Murnane posted it on YouTube, having finally recovered the reel from the bottom of whatever shoebox it had been living in and digitized it. This was the first time I’d seen this film in 26 years. To oversimplify a complicated set of emotions, it made me nostalgic. It’s strange to watch the fifteen year old version of myself romping around in the glow of suburban, American youth, and to be reminded of the things I imagined for myself when I was that young. It’s strange to see first-hand something I’ve reminisced about for nearly three decades. And I wanted to share it. Sorry for that. Don’t get your hopes up. This is not the work of prodigies. For one thing, it’s the roughest of rough cuts. Sixty seconds of a four minute movie is dedicated to one triage scene. Also, the location sound didn’t survive the transfer, so you’ll have to imagine what we’re saying to each other. It’s not that hard. “You take the back, I’ll go in the front!”…”Argh!” and so on. If I get a version with sound I’ll post that, too (take that as a threat). Plus there is some random junk at the end, including a very brief shot of my brother, who is an actual professional filmmaker today. Still, it’s pretty good fun, and comes with a dramatic Butch-and-Sundance style charge-into-the-unknown at the end. Also, you can play “spot Imagethief.” Try to guess which skinny punk is me. For those who can’t tell, here are a couple of captures. This one is just me, and I’m packing (a toy gun, admittedly). In this one Murnane is on the left and I’m on the right. While I’m still in touch with a few of the people in this film thanks to Facebook, I don’t think I’ve actually seen any of them face-to-face since we all graduated in 1985. My 25th high school reunion is this summer. I’ve never been to any of my reunions, and I doubt I’ll make it to this one for the usual reasons. But seeing this old film again takes me at least part of the way there. The Players (in order of appearance)
Note: I’m not positive we made this 1983, but it was thereabouts and I would have found as much goofy trivia from any year. Note 2: Title of this post with the deepest of apologies to Lt. Gen. Harold G. Moore and Joseph Galloway. After a few weeks out of the studio I rejoined Kaiser Kuo for the latest installment of the Sinica podcast. This week’s topic was a discussion of the best English language China books, and should be a good listen for anyone who wants to put together a China reading list or expand their current one. We discuss many of the classic China books and authors, but also get into some things you may not have heard of. I like popular history, so some of the books that I submitted for discussion were:
There is much, much more in the discussion, including Peter Hessler, Philip Pan, Orville Schell, Ian Johnson, Sang Ye, Tim Clissold, Li Zhisui, Ma Jian, Liao Yiwu, Richard McGregor, Ma Jun, Jonathan Spence and others. If you’re interested in China it’ll be an hour of your time well spent. I promise. In the studio with Kaiser and me were Forbes Beijing bureau chief Gady Epstein and Qing Dynasty historian and Jottings from the Granite Studio blogger Jeremiah Jenne. Contributing recorded segments were Guardian journalist Jonathan Watts, Bureau of National Affairs and Global Post reporter Kathleen McLaughlin, and Danwei.org editor Jeremy Goldkorn, and Academic Director of CET Beijing, David Moser. The blurb: Looking for a little summer reading? This week Sinica sorts the wheat from the chaff with a massive review of books on China. Our discussion touches on a everything from Chinese fiction to non-fiction academic works on Chinese politics, economics and history. There’s a good selection here and a combative discussion: we’ll tell you what we love, and what we hate and why…. Sinica is also available through iTunes podcast subscriptions. Search “Sinica”, or use iTunes to subscribe to the Sinica feed. Update: The Sinica page now has a nearly complete list of the books discussed, with Amazon links. ![]() Read all about it. In the grip of my darkest and most bourgeois moments I actually considered buying a car and hiring a driver. So, it’s come to this… I thought, as I hovered over a digital map of Beijing. I have to get one of those Buick vans. No matter how I traced the route or arranged the useless layers of meta-data in Google Maps I had to face up to reality. My new office was in the sticks. More specifically, it was in Wangjing. North Wangjing, hard against the Fifth Ring Road. The Fifth is commonly accepted as the dividing line between the frothy, urban Beijing of Apple Stores and upscale dining and the great void of the Chinese hinterland where all is windswept grist for broody New York Times articles about how miserable the rest of the world has it. Well, and also Tongzhou. Never mind that when I moved to Beijing the Fourth Ring Road was that line. You can tell the office is in a neighborhood that didn’t exist three years ago. The building is as gorgeous and new as a space station and just as isolated from amenities and comforts. The nearest Starbucks is at least two kilometers away. In Beijing in 2010 more than two kilometers from Starbucks is the qualification for a rural hukou. I brought a French press to office. I am strong enough to confront my flaws (although weak enough wrap that confrontation in a layer of prickly humor). By the standards of my Chinese colleagues this is, I admit, jello-kneed schoolgirl bitching. Many of them live outside the Fifth and have commutes that sound lifted from the darker pages of Jack London novels, where people die freezing for want of a twist of jerky somewhere on the track from Fort Yukon to Unalakleet. Just substitute a bendy-bus for the dog sled. Against this, even the commute from Dawang Rd. to Wangjing is lower middle-distance at best, like one of those mid-range Olympic track races that is too long to be exciting but too short to be impressive and that nobody remembers who won. I, however, have been spoiled. For six years my distance from the office has ranged from a five minute walk to a five-stop straight shot on subway line 1. Even the latter is the Beijing commute equivalent of schlepping from the couch to the fridge during a commercial break for a half-full can of Duncan-Hines frosting and a Pabst Blue Ribbon. Although I toyed seriously with the idea of either buying a car or hiring a car and driver, in the end my socialist* pedigree won out. For my first day at the new job I decided to take public transport. Man, was that stupid. It looked good on the map, though. From my house I can take the line 1 subway one stop to Guomao. Then it’s a straight shot north on line 10 to the Shaoyaoju interchange and one more stop on line 13 to Wangjing West. From there a short bus ride. Simple! If you read the New York Times you probably scan the occasional Tom Friedman column where he hyperventilates about how fast the Chinese are building infrastructure for which Americans have lost the blueprints. Subways, for instance. The statistics for Beijing are magnificent: Thirty lines planned, totaling over 1000 kilometers of track. Everyone living within the Fourth Ring to be able to walk to a station in fifteen minutes. Sounds like The Future! Sure. It’s Logan’s Run. But with the subway system from The Warriors. There are two reasons for this. First, adding more lines and interchanges has certainly made the entire system more useful. But the number of people riding has gone up as something like a cubic function of the number of track kilometers. In the course of two years my old line 1 commute went from crowded but tolerable to needing to lubricate yourself with Astroglide and use a prybar to get on or off the train. Combined with the casual Chinese disdain for off first, on second it’s a miracle the platforms aren’t entirely covered with bits of scalp and shards of broken teeth. Second, the planners of the Beijing subway system haven’t really figured out the whole idea of the subway interchange. In Singapore, subway interchanges are designed such that trains that make the most natural connections pull up on opposite sides of the same platform. Walk thirty air-conditioned feet, get on the next train. Now that’s the future! But why build an actual subway interchange when you can just build a long, sweaty tunnel between stations in adjacent neighborhoods? Changing trains in Beijing is a little bit like changing airport terminals, right down to the surprising number of people dragging luggage. Add the rush hour crowds and idiotic security screening chokepoints and it’s almost (though not quite) as bad as checking in at JFK. It took me an hour to get from my house to Wangjing West station. When I finally staggered off the third train I was ready to bail on the bus and head for a taxi. Except that Wangjing West apparently serves as the informal transportation hub for the entire Wangjing new town, which means that at any given moment there are zero authorized taxis and about fifty black cabs. I don’t generally like taking black cabs, although I do it from time to time, so I reverted to the bus. Big mistake. Should have taken the black cab. Beijing subway platform minders are good at cramming an apparently limitless number of people onto a train, but they have nothing on the bus drivers. Beijing’s bus drivers have taken that skill and extended it into a rarefied art form of otherworldly magnificence. The driver of the bus I took used a combination of eye-watering verbal abuse, physical bullying and backyard-steel-furnace socialist will power to get people stacked three deep in the bus. Mine was the Very. Last. Stop. Except that I accidentally got off a stop early and had to walk the last kilometer. There isn’t much in Wangjing and they space out the bus stops like railroad towns. An hour and twenty minutes after leaving the house I got to the office, late and looking like I had been caught in a kitchen fire at a Bob’s Big Boy. I felt virtuous, but exhausted and dumber than a chicken on roofies. Some of my colleagues do this daily. In both directions. This, not the threat of cyberwar, is why America should be scared of China. So I’ve been taking the taxi. I did the math. Sure, it adds up, but it’s still way cheaper than a regular car and driver, let alone buying my own car. About 25% of the taxi cost is offset by my having to brew my own coffee (which says something about the magnitude of my coffee habit). And it gave me the gossamer thin rationalization I needed to justify my iPad (thus instantly cancelling out something like two year’s worth of coffee savings). A quiet half-hour each way alone with my electronic newspapers. Well, quiet except for the ubiquitous radio story teller who makes wet lightning-and-thunder noises with his mouth. I’ve come to terms with the cost. I’ve come to terms with my increased contribution to global warming. The only thing that really worries me is the feeling that a taxi-based commute in Beijing is actuarial equivalent of moving to Detroit and developing a habit for convenience store robbery. After all, few Beijing taxis have seatbelts and most are driven by people with the patience and deliberation of a fox terrier that has been whipped with car antennas. If you hear of a pileup on the fourth ring and a white man being whisked to hospital to have an iPad removed from his abdominal cavity that’ll be me. If you hear of a taxi driver being whisked to hospital with an iPad embedded in his skull and an angry white man being questioned by police, that will also be me. *by American standards. A good post from Bill Bishop, aka @niubi, arguably the most indispensable China-Twitterer (who I hope forgives me for pigeonholing him this way). Bill points out that much of the recent discussion of China’s soft power strategy has focused on traditional media, and wonders where the new media strategy is: There are no domestic Chinese Internet firms that have a shot at developing the global impact of a Facebook, Google or even Twitter. First, the language barrier is a real issue; maybe the Confucius Institutes will eventually teach decent Chinese to millions, but that will take decades and even then there will still be vastly more people outside of China more capable of reading English than Chinese. Second, none of the top Chinese Internet firms-Baidu, Tencent, Sina, Sohu, Shanda, Netease-have either the DNA or the credibility to succeed materially in major overseas markets. In most markets they will face the same kinds of difficulties that Western Internet firms face in China. They may gain share, especially in gaming, in parts of the developing world, but not in any significant way that would have a meaningful impact on the overall soft power goals. China’s soft power push is likely a boon to western media consultants, cable channel and radio station owners, and advertising sales people, but is the currently strategy flawed to the extent that worries about China’s media soft power efforts are overblown? Personally, I’d day yes. I agree that the Internet is a big hole in the soft power strategy. As much of a net geek as I am, however, my personal bugbear with China’s soft-power efforts is pop-culture. I think they’d make much better headway by unchaining their popular culture industries from state management and working harder to help them export. But, hey, tie that to a solid Internet strategy and then you’d be talking. Chinese movie stars on Facebook. Solid gold. Bill includes a bunch of good links to other articles as well. Links: Sinocism: Can China Successfully Build Soft Power Without a Global Internet Strategy? Previously on Imagethief: Unsolicited advice for Xinhua’s new CNC TV outfit (May, 2010) For sheer surreality you gotta love Hollywood. And I’m not even talking about the films. Two PR-worthy Hollywood moments to remark upon today. First, the imminent arrival of the needless remake of cold war teen action flick Red Dawn has finally caught the attention of the Chinese press. Western media are reporting that the chest-thumping Global Times has published not one but two editorials slamming the movie:
Well, maybe. Imagethief prefers to think that the remake of Red Dawn is rooted less in Americans’ “fear of China’s rise” than in Hollywood’s lack of imagination and desire to make a buck. But there may be some relationship between the two. I also understand the knee jerk instinct to issue fierce denunciations of the film in the interest of national pride, global harmony, etc. And considering that there was some chatter about this film here in China last March I’m actually kind of surprised it took this long. Nevertheless, once again the best PR advice in this situation would have been to shut up. From Hollywood’s point of view, having the nationalist cousin of the People’s Daily rail against the film is better marketing than getting a picture of Connor Cruise with an assault rifle and one of those tractor-pull girls stamped on the forehead of every teenage boy in America. The US press is bound to report on it and it will do nothing but stoke the buzz of the movie back home. This is yet another classic example of “PRing the problem”. Even assuming the objective is to show domestic audiences that the powers-that-be are appropriately outraged, it’s counterproductive on some level. But Imagethief isn’t just here to criticize. Like all good consultants (or, former consultants), I come bearing solutions! There is a far, far better way for the Chinese to combat these kinds of silly, sinophobic movies. A way that would make Sun Tzu himself stroke his beard in appreciation. That is for the Chinese to seed their spies throughout Hollywood, use blackmail and honey-traps to build influence in the great Hollywood talent agencies and, whenever they get word that a project they don’t like is going into develop, use their leverage to ensure that Kevin Costner gets attached to it. Problem solved. Speaking of Kevin Coster, who has apparently invested heavily in the development of a technology for helping to clean up oil spills, that brings us to our next topic: The great oil spill. (Imagethief is good for artful segues, if little else.) For some reason, this spill has been bringing the Hollywood technologists out of the woodwork. James Cameron, director of a relentless string of uber-hits and serial inventor of motion picture technologies, recently offered his expertise to BP, who are currently wrestling with a small problem at the bottom of the Gulf of Mexico. In fact, BP’s string of recent failure is something like the mirror-world reflection of Cameron’s own success. From the New York Times:
Well, after calling them “morons”, he’s not likely to be invited back. Nevertheless, as the article points out, Cameron’s involvement is not as totally ridiculous as it appears at first 3D look. The guy has backed a lot of underwater R&D. Arguably, investing in the development of remotely operated vehicles for filming is not quite the same as remotely operated vehicles for capping runaway oil wells, but nevertheless it wasn’t totally zany. If you think of him as an “underwater documentarian” it all makes much more sense than if you think of him as “director of Avatar“. Forgive me, but I’m a PR man. This is how my mind works. I can, however, understand why BP turned the guy down. This is Jim Cameron we’re talking about, after all. Whatever you think about his movies, the guy is a force of nature. I mean, what if he actually fixed it? Headline: Hollywood director rescues flailing oil firm. BP would be finished. Forever. The ocean be damned, that was a PR risk they just couldn’t take. See also:
![]() I'll fix your pipe, pinheads. Two interesting articles today, both having to do with Chinese Internet culture, and both leading into an ethical question that came up in a conversation recently. The question was this: Is it OK to put out “viral” videos that embed brands or have some kind of commercial message, but not identify the company behind them for a couple of weeks? (I put “viral” in quotes because the sole viral aspect of most would-be viral videos is their ability to create feelings of lethargy and disgust.) I’ll answer question that from my point of view in a moment. But first, there were two related articles in the last day or so I thought worth mentioning. One was a post on the always useful China Media Project providing a brief overview of the history and significance of the bulletin boards (or “forums”) in China. The persistence of the forums as agenda setters is one of the defining characteristics of the Chinese Internet. It’s also a major thorn for ethical PR people because the forums can be difficult for companies to engage with and the easiest (and laziest) solution is often to pay off commenters to promote your brand or disaparage your rivals. The rationalization is something like this: It’s relatively cheap, it seems to work and, hey, even the government uses paid commenters to manage public opinion, so why shouldn’t we? Well, to paraphrase something my mom used to say, if the Chinese government jumped off a bridge, would you? (In my case, it depends. Is the government wearing cool shoes?) Call me naive, but I continue to believe that the best long-term approach is transparency and respect for customers, fans and Internet users in general. But as long as companies operating in China don’t want to feel like they’re fighting asymmetrical battles against companies willing to employ such tactics, or feel like this is the easiest route to buzz or managing issues, the temptation will be there. The second article is a long Xinhua piece on the phenomenon of cyber-celebrity in China. This has been another defining aspect of the Chinese Internet. It’s not unique to China –America, after all, gifted the world with Gary Brolsma and the Numa Numa Dance– but I don’t think we can compete with China in terms of color, consistency, or cynical appropriation for marketing purposes. This article gets into a discussion of forum ethics and promotion of Internet celebrities. Perhaps more interesting, however, is the pathos that seeps out of the article. One thing China and the US have in common is the degree to which people will humiliate themselves by publicly attempting to demonstrate that they have talent despite vast evidence to the contrary. There’s a surprisingly bitter appearance by the formerly impervious-to-self-doubt Furong Jiejie. So, by an indirect and rambling route (sorry, but you should be used to it by now) we come to the question I posed earlier. Is it OK to release a viral video with an in-obvious brand message and only disclose the identity of the brand after a week or two? Well it’s legal, and sometimes even successful, but I don’t think it’s a good idea. There’s an obvious question that arises in that you can do a print or TV ad campaign that doesn’t immediately identify the brand. So why not an Internet campaign? The problem is that a viral campaign requires people to be complicit in spreading your ad, while most other campaigns do not. For a funny video, most people might not care if they’re unwitting agents of advertising, but at a fundamental level it’s still deception. If there’s one thing we’ve learned from Facebook’s recent problems it’s that you can get yourself in trouble by overestimating the desire of people to be involuntarily coopted into marketing campaigns. Perhaps that reaction isn’t as strong in China, but I’m reluctant to bet a reputation on it. Personally I think that if someone is going to forward a link to their friends, they have the right to know who they might be promoting by doing so, and to weigh that in their decision. If you want to build a real and sustainable relationship with your community of customers, you should treat them with due respect. Part of that is not deceiving them, even as part of a joke that you will let them in on later. Finally, many of the most powerful viral videos I’ve seen have been completely clear about the brand behind them. It seems to me that if you’re sufficiently creative, you shouldn’t need to resort to deception, and take the risks that it entails. I have no doubt that there will be different opinions about this, especially as it relates to China. Sock it to me. ![]() Furong Jiejie. Who says China doesn't have soft power? It’s symptomatic of something that most of the regular comments to this blog now seem to come to the version that syndicates on my Facebook page. I mention this because in response to yesterday’s post on the worthy Chinfographics blog, I received this comment from an old and sharp-eyed friend, Bob: [T]he front page graphic at the time I’m writing this is a big yellow circle with two much smaller circles below it. It’s supposed to represent the population of China (1.3B) vs. the population of Beijing (12M) vs. the population of Dalian (2.3M) vs. the population of Qiqihar (1M). Problem is, the proportional difference in the cities’ populations is represented by the DIAMETER of the circle, not the area of the circle. Take a look. Beijing’s circle is not 1/100th the area of China’s, it’s 1/100th the diameter. Likewise with Dalian’s circle & Qiqihar’s circle. So the visual representation is that Beijing is 0.01% of China’s population, rather than 1%. This is what makes visual representations powerful, of course: what *I* mean by the visual representation of the data may not be what you interpret. Or it can be precisely what I WANT you to interpret. There are lies, damn lies, and statistics; and then there are visual representations of data. Come to think of it, PR firms and departments should really get behind this…” So, a few things. First, the graphic in question was in an objective sense wrong, applying a linear formula to a visual representation that was based on area. This was pointed out by a commenter on the Chinfographics site, and to their credit the guys have responded and are addressing it. Second, Bob, makes a good point. What an author means to communicate through a visualization may not necessarily be the same as how an audience perceives it. Sometimes they can be confusing. More insidiously, because of their power to communicate complex data in very simple ways, visualizations can be also be used to intentionally distort information. This is not a problem unique to data visualizations. As anyone who followed the Chinese response to CNN and BBC photographs of the Tibet unrest of a couple of years ago, the same thing can happen with the selection and cropping of photographs or video, or even in the editing and presentation of text. How often has a joke in an IM, e-mail or, ahem, blog comment been misunderstood because of missing context that was obvious to the author, but not to the recipient? But the same storytelling power that makes data visualization so powerful when used well makes them dangerous when inaccurate or distorted. That argues for caution and thoroughness. In the words of that great sage, Uncle Ben Parker, with great power comes great responsibility. Also, for what’s it worth, in addition to data visualizations there are very good storytelling infographics that are not data based. One now classic (though slightly controversial) example is designer Yang Liu’s “East vs. West” series showing differences in Asian and European culture. Another example is a Men’s Health article that explains the caloric impact of some beverages by showing them next to collections of other junk foods with the same calorie count. There are also various visualizations and infographics for the great Gulf oil spill. These include a Google Earth plugin that superimposes the spill’s area (an admittedly incomplete representation of a three-dimensional catastrophe) over various urban areas, and a complex infographic (large image) on the spill from a company that creates editorial infographics . I have a soft spot for really cool data visualizations and well-executed infographics. They are often wonderful ways to tell stories or help people truly grasp complex issues or statistics. That’s why I’ve long liked the very cool Information is Beautiful blog (their latest post, visualizing “touristyness”). Now China might be getting something like that for itself thanks to a new blog called Chinfographics, dedicated to visualizations of things Chinese. They’re off to a good start:
They also provide links to the raw data. I hope they can keep it up. There are obviously many things to be explored in China. One of the reasons why I like this site, and visualizations and infographics in general, is that I think they’re something that PR departments and agencies are often bad at. We’re in the business of telling stories on behalf of our clients or employers in ways that people can easily relate to. Unfortunately, all too often what we come up with is an impenetrably dull press release or stock photo ops. When we have the right kinds of stories, wouldn’t things like this be much cooler? Hat tip: Danwei. |
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