No More Hiroshima – No More Nagasaki – No More Fukushima!

Hiroshima Peace Dome 2011

Yesterday, my partner landed in a hot and an oppressively humid Tokyo. She called and asked if there has been much press on the events surrounding the commemoration of the 66th Anniversary of Hiroshima. As a habitual early morning on-line news reader I had to reply, “Not that I’ve seen.”

She was shocked. It was wall to wall coverage on Japanese TV and so, thinking I’ve missed something, decided to check. The Google search was shocking. Forget the BBC, forget the Guardian and The Independent. Apart from the Mail online which ran a powerful photo-story, the only news agency to do the anniversary justice, and in depth. was Aljazeera.

Over 50,000 people gathered in Hiroshima on the 6th August to commemorate the atomic bombing of Hiroshima which destroyed most of the buildings within 2km of the hypocentre and resulted in a death toll, by the end of 1945, that was estimated at about 140,000 people. Another 70,000 + people perished as a result of another atomic bomb attack on the port of Nagasaki on the 9th August 1945.

Hiroshima: August 6th 1945

No More Hiroshima. No more Fukushima

Japan has lived with the radioactive legacy of those atomic bombs and it’s not surprising that in 2011 thoughts quickly have turned to those evacuated from the within the 20k exclusion zone and those who continue to live in the shadow of the Fukushima Nuclear Plant left crippled by the devastating March earthquake and tsunami.

In Hiroshima, Japan’s Prime Minister Naoto Kan renewed his pledge to work towards a nuclear-free Japan. However, his performance post March 11th has been poor and to any outside observer it’s clear that he is up against both a powerful local nuclear lobby and the global nuclear industry which has undoubtedly had a hand in shunting the disastrous Fukushima power plant from the global headlines.

As I felt ill informed amid a conspiratorial whitewash of half truths and downright lies I went off in search of news. It was not good. In fact it was horrendous. If you thought this situation was under control, you are so wrong.

Thanks to Aljazeera journalist Dahr Jamail we have been given access to the observations of three serious voices:

Arnold Gundersen, a former nuclear industry senior vice president , a licensed reactor operator with 39 years of nuclear power engineering experience, managing and coordinating projects at 70 nuclear power plants around the US.

Dr Shoji Sawada, a theoretical particle physicist and Professor Emeritus at Nagoya University in Japan.

Dr MV Ramana, a physicist with the Programme on Science and Global Security at Princeton University who specialises in issues of nuclear safety.

Basically, I’m going to refer you all to the Aljazeera report – http://english.aljazeera.net/indepth/features/2011/06/201161664828302638.html – but will leave you with a few quotes that are guaranteed to get you there.

According to Gundersen, “Fukushima is the biggest industrial catastrophe in the history of mankind. Fukushima has three nuclear reactors exposed and four fuel cores exposed. You probably have the equivalent of 20 nuclear reactor cores because of the fuel cores, and they are all in desperate need of being cooled, and there is no means to cool them effectively.”

“They (TEPCO) are pouring in water and the question is what are they going to do with the waste that comes out of that system, because it is going to contain plutonium and uranium. Where do you put the water?”

“The fuels are now a molten blob at the bottom of the reactor. TEPCO announced they had a melt through. A melt down is when the fuel collapses to the bottom of the reactor, and a melt through means it has melted through some layers. That blob is incredibly radioactive, and now you have water on top of it. The water picks up enormous amounts of radiation, so you add more water and you are generating hundreds of thousands of tons of highly radioactive water.”

“We have 20 nuclear cores exposed, the fuel pools have several cores each, that is 20 times the potential to be released than Chernobyl. The data I’m seeing shows that we are finding hot spots further away than we had from Chernobyl, and the amount of radiation in many of them was the amount that caused areas to be declared no-man’s-land for Chernobyl. We are seeing square kilometres being found 60 to 70 kilometres away from the reactor. You can’t clean all this up. We still have radioactive wild boar in Germany, 30 years after Chernobyl.”

Gundersen’s assessment of solving this crisis is grim.

“Units one through three have nuclear waste on the floor, the melted core, that has plutonium in it, and that has to be removed from the environment for hundreds of thousands of years,” he said. “Somehow, robotically, they will have to go in there and manage to put it in a container and store it for infinity, and that technology doesn’t exist. Nobody knows how to pick up the molten core from the floor, there is no solution available now for picking that up from the floor.”

Leaving the final word to Dr Sawada: “Until we know how to safely dispose of the radioactive materials generated by nuclear plants, we should postpone these activities so as not to cause further harm to future generations,” he explained. “To do otherwise is simply an immoral act, and that is my belief, both as a scientist and as a survivor of the Hiroshima atomic bombing.”

Check this CNN interview from June 21st: Incredible! Why have we not been told?

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SHAPE OF THINGS TO COME … Pt. 3 – Baloji – The Sorcerer

Why was innovative Congolese rap star, Baloji, not on the billing for WOMAD 2011.? Check these videos. This man is hip. Born in the Congo but raised in Belgium, a pan African exile, who declares “My story is made up of fragments… broken like my timbre”.

Baloji means sorcerer, a fitting name for a man with a razor sharp mind who has transformed himself from one of the most successful MCs on the French scene into an all round producer, musician, rapper. His acclaimed first solo-album ‘Hotel Impala’ featured the likes of Amp Fiddler and was Baloji’s response to a question posed by his birth mother over the phone in 2005: “What have you done for the past 25 years?”

When Baloji finished ‘Hotel Impala’ he maintains he had no choice but to return to the Congo. Fortune smiled upon him as the album won him an invite to do a creative writing workshop and performance in Zaire. When he accepted Baloji knew his first stop was the recording studio.

The result was the 2010 album “Kinshasa Succursale” – an in-situ re-recording of ‘Hotel Impala’ that organically turned into something completely different. It features a trio of balafons, a host of voices – all shades and colours, the whole of Zaiko Langa Langa and Konono No 1. Baloj had only dreamt of those Congolese guitars – the ghost of Franco and Dr Nico – urban music but that dream came true and as he says, “No two bars are the same, no need for a metronome, effects are superfluous, everything is all done acoustically, even the distortions of the guitars are natural…”. The dynamics of these sessions burst from the grooves.

The first supersonic single was ‘Karibu Ya Bintou’ (Welcome to Life in Limbo) features the inimitable Konono N°1 and it has to said that his version of Kabaselle’s classic, ‘Independence Cha-Cha’ is faithful to the original and pure elegance!

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SHAPE OF THINGS TO COME … Pt. 2

Here’s one to check out. Name: The Bullitts. Forthcoming album: ‘They Die By Dawn And Other Short Stories’.

Defined by Jeymes Samuel, its creator and former Gorillaz collaborator, as “a 5D project” that you can watch, read and listen to, this is a collaborative ‘Movie’ project that tells the tale of a murderess on the run. The character of Amelia Sparks is played by Lucy Liu who starred in Tarantino’s Kill Bill as Tokyo yakuza boss O Ren Ishii.

The first “single” from the project, ‘Close Your Eyes’ appeared in April and the song combined Liu’s voice with the Jay Electronica, who Samuel regards as “the dopest MC on the planet”, over footage from Dali’s classic short film Un Chien Andalou (the one with then razor and the eye ball!). Another film with shades of Sixties Jean Luc Goddard accompanies ‘Run & Hide’, a song that combines Jay Electronica with Samuels singing over a Ryuichi Sakamoto like melody.

Basically, this is a work in progress where characters in the story are also making short films and keeping daily Twitter diaries! Samuel sees the possibilities as endless. Actress, singer, painter… whatever… there’s potentially a place for that person in his story. Other collaborators already in the mix include Mos Def, Tori Amos, Idris Elba and supa-ill dancer Storyboard P and it appears that Samuel would love to enlist actor Ronnie Corbett to recite Jay Electronica’s lyrics (!). Word is, this boundary busting project will all come together when they perform it live at the end of the summer.

Tune to The Bullitts’ Youtube site ( http://www.youtube.com/user/TheBullittsTV#p/u/5/nYMN82IvE6I) & check Samuel re-imagining the themes to Magnum Force, The Pursuaders and Taxi.

Bullits Live in the BBC studio: http://www.bbc.co.uk/programmes/p00jlk6b (Thanx Kam!)

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SHAPE OF THINGS TO COME … Pt 1.

‘Algiers’ by Austin Peralta feat. Sam Gendel on bass clarinet….
Deathgasm: Live at Futura – Eagle Rock Arts Center, Friday February 11, 2011
The band: Miguel Atwood-Ferguson (viola), Sam Gendel (alto sax), Ryan McGillicuddy (bass), Zach Harmon (drums & tabla), Earnest Blount aka Ian Simon (laptop)
Video by Ben Olsen.

Check: Austin Peralta’s ‘Endless Planets'(Brainfeeder)

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Late nights & Kung Fu classics….

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OPENING THE GATES

A MODEST TRIBUTE to a former US Marine and CIA operative, Robert W. Smith’s whose pioneering writings gave us access to the complex and thrilling world of Chinese martial arts from Monkey Boxing and White Crane to Pa-Kua Chang.

Robert W. Smith & C.C. Chen

BACK IN THE LATE 70’S AND EARLY 80S, my brother adopted the ethics and principles in Miyamoto Musashi’s Book Of Five Rings and then progressed to Bruce Lee’s Jeet Kun Do before ending up in Master Toddy’s gym in Manchester practicing Muay Thai. I, however, ended up opting for the more mysterious and relaxed practice of Yang Cheng Fu’s t’ai chi ch’uan. While I liked the idea of this “Supreme Ultimate” art of self defence, a hint of skepticism as to its effectiveness in a real fight combined with natural curiosity always ensured I was on the lookout for info beyond what my teacher was letting off.

Books on Chinese martial arts were few and far between. You had to seek them out at shops like the Guanghwa Bookstore in China Town or Compendium in Camden Town. One of the first books I snapped up was the late Robert W. Smith’s now classic Chinese Boxing: Masters and Methods, large because it contained a chapter on the much celebrated acolyte of Yang Cheng Fu, the Master Of Five Excellences, Cheng Man Ch’ing.

First published in 1974 this book was based on the books, photos, films, translations and notes that Smith amassed while researching and practicing martial arts in Taiwan during the early Sixties. As I was focused on t’ai chi chu’an, the nartial arts of other masters were designated interesting but a complete mystery. Thankfully, that’s not the case today. While the Cheng Man Chi’ng short form I learned has slipped into memory I now find myself referencing the other martial arts masters in this book like Wang Shu Jin, Chen Pan Ling and Hung I’hsiang. In fact, I have to thank Robert W. Smith for introducing me – and thousands of others – to the concept of Nei Jia – the so called internal schools of the Chinese martial arts which embrace the triumvirate of t’ai chi ch’uan, hsing I ch’uan and pakua ch’uan.

Smith was skilled third degree Japanese Judo practitioner and his first book focused on this art. In 1969, he co-authored with Donn Draeger the definitive Asian Fighting Arts and, prior to the Shaw Brothers kung fu films he introduced the West to The Secrets of Shaolin Temple Boxing. Ironically, this ex-marine was also a CIA operative in Taiwan and according to one of my teachers, Marnix Wells, an academic, author and student of Wang Shu Jin, Robert Smith’s CIA status undoubtedly gave him access to some of the most accomplished martial artist in Taiwan who had fled the mainland with Chiang Kai-Shek.

Smith’s books were published the Japanese publisher Charles E Tuttle. An initial book on the circle walking art of ‘Pakua – Chinese Boxing For Fitness & Self Defense’ appeared in 1967 and was succeeded by a similar size volume entitled ‘Hsing-I – Chinese Mind-Body Boxing’ in 1974. Smith joined forces in the late 8o’s with a young Allen Pittman to produce two more books that explore the fighting arts of Pa-kua and Hsing I. Smith’s books were undoubtedly ground breaking and are the perfect written complement to the Taiwan episodes of the classic TV documentary, ‘Way Of The Warrior’.

His extensive writings include dozens of magazine articles, book reviews and even some poetry. Under the pen name of John F. Gilbey, he wrote “Secret Fighting Arts of the World,” a fictitious send-up of the many completely outrageous martial arts stories he had collected. Some gullible readers swallowed these over the top tales whole and even quoted Gilbey in subsequent publications.

For 26 years, Robert W Smith held a free Saturday morning t’ai chi ch’uan practice in the Bethesda, Maryland, YMCA, parking lot and also offered formal instruction in t’ai chi ch’uan, pa-kua Chang and hsing-i ch’uan. His writings are based on hands on experience and reflect both his character and a full life which he attributed to both “humility and luck”. He gave us template that was of its time. He gave us new directions to explore and in conclusion I quote Ted Mancuso, a respected Californian martial artist and the man behind Plum Publications, “I believe Robert W. Smith has left a footprint that will not soon wash away.”

Note: I’ve used Robert W. Smith’s spellings of T’ai Chi Ch’uan, Hsing I Ch’uan and Pa- kua Chang rather than my preferred spelling – Taijiquan, Xingyiquan & Baguazhang

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GHOSTFUNK… savour the latest project from NYC’ wayward re-mixer, Max Tannone

OK people, make some noise and hit that download button ’cause here comes ‘Ghostfunk’– the latest episode from wayward NYC based remixer Max Tannone. His latest venture is to pair one of his favorite hip-hop artists, Wu-Tang member Ghostface Killah, with vintage African funk, high-life, and psychedelic rock music. Nice.

GHOSTFUNK : Artwork by Joe Dichiara.

Max Tannone is responsible for crafting a batch of seriously unique remix albums. He burst onto the scene in early ’09 with ‘Jaydiohead’, combining the sounds Jay-Z and Radiohead. Catching the ears of MTV, NBC, hundreds of blogs, music news sites, and vinyl bootleggers, the project had Jay-Z himself tweeting – “There are 3 or 4 real gems on Jaydiohead.”

Following ‘Jaydiohead’, the Beastie Boys contacted Max for a special remix within a remix to promote the re-release of their seminal ‘Check Your Head’ album. Entitled ‘Doublecheck Your Head’, Max rose to the challenge, deftly weaving together a bunch of Beastie’s tracks to create a feisty re-interpretation of the punk-rap classic.

Max followed that with the vibesin’ ‘Mos Dub’ which dropped in spring 2010. Merging the lyrical styles of Brooklyn legend Mos Def with dub-wise masters like King Tubby and Lee ‘Scratch’ Perry, ‘Mos Dub’ is simply a 10 track gem that rocks! A sequel, ‘Dub Kweli’, featuring Mos Def’s oft-partner in crime, Talib Kweli, surfaced in late August of 2010, just prior to ‘Selene’, a five song EP inspired by the science fiction movie Moon.

So, for you musical pleasure, you can download ‘Ghostfunk’, ‘Mos Dub’ et al, free of charge, on Max’s website. http://www.maxtannone.com/

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Japan 011: Lest we forget…

Following up the piece I did on July 3rd I’ve just been checkin’ in on Toshio Matsuura’s blog and copied off a little post he dropped on the 26th July while still reeling from the impact of another quake. The ever diligent marathon running DJ/producer/broadcaster is off to help lift the spirits of the people in the devastated Tohoku region.

“I’m sure there were many people in Tokyo who were awaken by the
aftershock early this morning. It was still dark, but I dashed to the
record room to make sure my records were safe.

Since it was the biggest aftershock since the earthquake in March,
I’m sure the tremor felt in Miyagi prefecture was worse than in Tokyo.
All of you in the Tohoku region, please take care.

The month of July is coming to an end and this weekend will mark four
and a half months after the quake. I will be visiting the Tohoku region
again this weekend.

In mid April, I saw on TV how soccer players of my generation were
visiting the stricken area. That triggered me to tweet “I will DJ for charity
in the Tohoku area” on twitter. 3 months since then, my Tohoku tour will
finally take place.

I will participate in events throughout the Tohoku region for 3 nights in a
row. First will be “Tohoku Jazz Meeting” which is an important event
where DJs from the 6 prefectures of the Tohoku region will come together
in Akita. Also, I will appear at Vinyl Diz, a great store in Sendai that I visited
on my previous trip to the Tohoku region, and Players Café in Morioka
which I haven’t visited in years.

Mainly I’ll play jazz, but also new and old songs that I think is fresh.
I truly want to bring music and love to the region.

I hope local residents as well as people traveling or visiting their homes in
the Tohoku region can come to the event.

I hope to enjoy music and discuss about “the future of the Tohoku region”
with all of you.

See you all this weekend in Tohoku.”


http://blog.honeyee.com/tmatsuura/archives/2011/07/26/weekend-in-toho.html

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SOON COME!

Just a quick piece to follow up the Tomorrow’s Warriors meet Steve Williamson story….

Steve Williamson: On a Journey to Truth.

Saturday night at the Purcell Room was a touch special. First of all, I need to give Gary Crosby a heads up for the work that he’s doing, as an artist in residence at the RFH, with the Tomorrow’s Warriors orchestra. The impressive pieces played in the first set, orchestrated and conducted by young players like pianist Peter Edwards, James McKay and saxophonist Binker Golding, took in Wayne Shorter’s ‘Dance Cadaverous’ alongside their own bold compositions and illuminated a deep rooted affinity to the tradition and a startling confidence. However, this was a game in two halves and as they launched into Jason Yarde’s arrangement of Steve Williamson’s ‘Soon Come’ you immediately became aware of a different, more radical and modern rhythmic sensibility at work. ‘Mandy’s Mood’, ‘How High The Bird ‘ and ‘Sweet Love of My Likeness’ followed and that left this listener with a lingering taste of Steve Williamson’s compositional depth. The set culminated with ‘Waltz For Grace’ – a moving song that reflects on the premature passing of Steve’s sister – and it brought onto the stage the elegant Studio 1 vocalist and JA’s “First Lady of Jazz”, Myrna Hague, along with the saxophonist himself. As Steve teased his soprano into the tune and Myrna sought out a point of entry, an inevitable element of improvisation crept into the proceedings and, much to their credit, it was deftly integrated into the Warriors’ complex arrangements. Following a riot of applause the night drew to close with just Gary and Steve refreshing a long-time musical friendship by dueting on Coltrane’s ‘Equinox’. Enough said!

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Aint Nobody Here But Us Chickens…

While passing through Euston last Friday I chanced upon one Kazumi Taguchi, a ninja and a former Frank Chicken, who I have not seen for at least a decade. Disguised as a music grad student from SOAS and dressed in regular attire, Kazumi courteously explained she would love to chat but was already late for a Frank Chicken rehearsal in preparation for an appearance at the Barbican’s Extraordinary Voices. A little confused and a sense of déjà vu ensued before she informed me that the session is scheduled for 4pm on Saturday, on the free stage and with that vanished in a puff of smoke.

Now, Frank Chickens and I go way back to the early Eighties when I penned the first major interview/feature on them for the NME. Both Neil Spencer (NME editor) and I were partial to a couple of beers and a touch of alternative comedy on a Sunday night and had been blown away by these largely unknown but super feisty and quirky women from Japan. Musically, the Chickens had hooked up with Stoke Newington based improv duo Steve Beresford and David Toop, both of whom were obsessed with NYC electro, and the most excellent results of that encounter can be found on those early records.

At 4pm on Saturday the Barbican was alight with energy and following a riotous performance by a promenading choir we elbowed out a space for oncoming appearance of Frank Chickens. It was busy and there was clearly a host of Frank Chickens fans in the house. Maybe their winning the Foster’s Edinburgh Comedy God Award in 2010 – a fortuitous event, appropriately based on a viral rebellion – has provided a little added momentum to their rep. However, as the electronic beats – which still sound remarkably fresh – kicked in and they hit the stage, the thrill that I experienced first time round still exists. The humour is priceless, the choreography fittingly anarchic and the innovative costume changes endless. There were classics like ‘We Are Ninja’ and ‘Blue Canary’ along with a bunch of new numbers and as their set gathered momentum so more and more younger members appeared. As Kazuko explained, “We even have Irish man in the group… Ray… we follow old English tradition of cheap labour!”

Not happy with being labeled a “national disgrace” Kazuko maintains their expanded membership now allows them to be an “international disgrace” and it’s clear from this show that the youthful energy, irreverence and humour which underpinned their original performances is firmly intact and guaranteed to carry them into the future. Basically, it’s as they say, “We are not what you expect… doron doron!”

Pics – Top: Kazuko Hohki / Bottom: Kazumi Taguchi

Someone disabled the vid I posted so here’s some links:

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