Among the Koreans who tuned in was filmmaker Woo-Sang Park, who got it into his head that he and Kim could help each other out.
#MIAMI CONNECTION TV#
Word of his work popularizing tae kwon do in the States filtered back to South Korea, and Kim was invited to go on TV back home to talk about the project. The really interesting part of Kim’s tale begins in 1986, though, when he was first and foremost a martial arts missionary. The latter is Kim’s main gig these days, although he did keep control of his original kwan when he sold off the rest of the franchise to concentrate on giving pep talks to wannabe captains of industry. That eventually led him to write a book on business management, which led in turn to a second career as a motivational speaker. As his kwan grew into a regional franchise, Kim naturally began to spend more time administering his little empire than teaching combat techniques, but he never lost that urge to share with others the benefit of his learning and experience. Kim also worked hard to raise American awareness of tae kwon do as something distinct from karate, founding a national outreach organization for his fellow instructors and practitioners in the mid-1980’s. Settling in Orlando, Florida, Kim supported himself as a tae kwon do instructor, eventually opening a kwan (or school) of his own. What he did have was an impressive mastery of tae kwon do, at a time when the people of his adopted country were becoming weirdly infatuated with the Asian martial arts. When Kim emigrated from South Korea to the United States (with a detour through Argentina, of all places, along the way) in 1977, he had next to no money, next to no command of the English language, and no friends or family on this side of the Pacific. Kim’s is one of those heartening stories which demonstrate that America’s corporate overlords have not yet succeeded in closing off every avenue of advancement for ordinary people- except that “ordinary” doesn’t seem like quite the right word for him. But before we can properly take up the subject of Miami Connection, I must first introduce you to Y. Eventually, Miami Connection won enough converts among people I trusted that I gave it a try myself, and now I aim to pass the memetic contagion on to you. Fortunately, however, I have friends whose tastes in cinematic garbage run in exactly that direction, who watched Miami Connection hoping for a dire “Miami Vice” knockoff, and went proselytizing on its behalf when it turned out to be something far more exciting.
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Say “ Miami Connection,” and I immediately think of some no-talent goat pizzle trying with wearying desperation to impersonate Michael Mann, and that’s not something I ever care to see. Especially in conjunction with a 1986 copyright date (although the film apparently didn’t assume its current form until the following year), it conjures up visions of Andy Sidaris, of Albert Pyun’s crime movies, of the very worst that Concorde-New Horizons had to offer.
#MIAMI CONNECTION MOVIE#
You may not be able to judge a book by its cover, but you frequently can judge a movie by its title, at least to the extent of predicting its overall tenor and subject matter, and Miami Connection is an inauspicious title indeed for my purposes. I would never have watched Miami Connection if left to my own devices.
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