zasshii #2 by zasshii

hot

r e h t d l o here, c

design photography

music

food art events

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If you missed out on Spexsavers reunion party earlier this month in Tokyo. Donʼt worry, cause you can check out thier dope new mix online. The ﬁrst 40mins is by Sugar Shoulder (Brass Foot) and the second 40 by Mr.Tikini. Deep analogue house, tech house with a touch of soulful house >>> soundcloud.com/sugar-shoulder/thespexmosphere

Cold Cuts puts its own spin on the traditional New York barber shop by linking it to a global network of barbers, musicians and artists. As the ﬁrst New York style barber shop in Tokyo, Cold Cutsʼ mission is to revolutionize barber shop culture in Japan by creating not only a destination place for top level grooming services but also a hub for converging cultural movements.

Grooming and Beyond

www.uptownluxurydowntownattitude.blogspot.com +81 03 5458 0308

K.A.N.T.A RAPPER/PRODUCER/CREATOR

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http://kanta.me www.youtube.com/KANTALAND info@kanta.me

Editor, art director Leslie Leung Contributors Thomas Beswick Genie de Wit Jesse Freeman Reuben Cape Chihiro Tani Jin Sugahara Woland Societe Paul Richardson Kouichi Okamoto Ayako Okamoto Kai Glover Darren Okot Maya Gold Wooseok Lee Squash Squad Biankah Bailey K.A.N.T.A ANDSUNS Jamie S Nick Clark

contents Design 12 Kyouei Design / Japan Art 40

Paul Richardson / US

Photography 26 Thomas Beswick / UK 46 Jesse Freeman / US Food 60 Genie de Wit / New Zealand Film 66

Jesse Freeman / US

Music 70 Darren Okot / UK Travel 74 Wooseok Lee / New Zealand Events 80

* Reproduction of Zasshii in whole or part without permission is strictly forbidden.

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Editor’s letter Welcome to my personal project that has recently kept me sane. After nearly two months of sending/recieving emails, editing, and laying out pages, here it is, issue two of zasshii. Itʼs been two years since the ﬁrst issue and again zasshii II is a homage to some of the talented people and brands. The world is a big place and to encounter like-minded individuals that move you with their work, their philosophies and thoughts is a rare thing. When I cross paths with these individuals I tend to learn, sympathsise and respect what they have to say. Artists and creatives, whether it be graphic design, product design, photography, fashion, music, culinary or anything else, we all tend to thrive on our commonality, which is the creation of interesting things. Itʼs an awesome environment to be in and Iʼm very fortunate. Being based in Tokyo one tends to be stuck with whatʼs happening locally and sometimes forget whatʼs happening creatively elsewhere. Which is why I chose the theme Hot here, Cold there. The concept is a play on the opposites in seasons on either hemisphere. Therefore, Iʼve asked contributors to loosely base their submitted work on this and itʼs worked very well. I want to thank all those (people and brands) that have contributed and supported this project. The quality of work is simply amazing, and it blows my mind to see such awesome stuff being produced. Remember that this was made for you and without your work, this magazine simply would not exist. Finally, I hope that the people and products in this magazine help to inspire and to make you (the readers) think that fresh creations is a possibility. Also, if you are interested in contributing for the next issue, please email me. Sit back, enjoy and help spread the word. Thanks. Leslie Leung

bigdog36@gmail.com

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Do you have dreams, precious memories, or beliefs you treasure? Wolfangel can create these into original silverware and jewelry using silver or other metal. Made to order from JP짜30,000. wolfangel-en.jimdo.com

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>>> design

Kouichi Okamoto Kyouei Design

Kouichi is a sound producer and product designer from Shizuoka, Japan. Him and his wife Ayako are some of the nicest people you will ever meet. Kyouei Design creates really interesting products that are minimal, fun, playful with a very human aspect to them. Just looking at his vast range of products one can see he likes to experiment with materials, tactility as well as sound. www.kyouei-ltd.co.jp

>>> design

Can you tell us about Kyouei Design and how it started?

Do you have any famous designers that inﬂuence your work?

I established my own design ofﬁce, Kyouei Design, in 2006. Before that I was working as a sound producer. One day, I decided that I wanted to try and create ʻvisibleʼ things. Thus, my ﬁrst product (the Balloon Lamp) was born. This is how Kyouei Design started.

Gijs Bakker and Ingo Maurer. I take good advice from them.

How would you describe your design style?

For the Musical Table - one of my creations was ʻRandom CDʼ which was released in 2005. The musical table and the random musical box are products based on this CD, where they recreate the sound in an analog way. I am impressed by the sound played at random and the melody produced by chance.

Iʼve gotten a lot of inﬂuence from music. Also I get inspired by many things in my life; favorite items, style, colors and sound ... I try to remember these, and mix them with something that Iʼm interested in, whether putting them together or cutting them up. All of your products are very unique. What inspires them? In my design process, the total balance is the most important thing for me. I always ask myself ʻwhat is necessaryʼ? It gives me satisfaction when I produce something which has a nice total balance. Iʼve liked creating things since my childhood. So, thinking about design and creation are very natural for me. I get inspiration from everywhere because itʼs necessary to keep my mind ﬂexible.

The Musical Table, Pendulum Sound Machine, and the Lighting Chair experiments with sound and lighting. How did the idea for these products come about?

For the Pendulum Sound Machine Not only are there forms, colors, and functions in the objects found in our daily surroundings but there are also sounds. Also if a

familiar object changes to an unfamiliar object we usually become more conscious of it. The idea behind the Lighting Chair is pretty similar. Being used for this lighting is a colander, a gas pipe, a switch, an electric socket and a chair, these are objects in our daily lives. Iʼve tried to create a sense of incongruity which usually doesnʼt exist when these objects are not put together. What does the relationship between design, music, and culture mean to you? Hmmm...this question is really difﬁcult for me ... sorry no comment.

How do you see Japanese design? ʻJapanese designʼ is mainly simple and conceptual in terms of colour and form. I think this comes from living on a narrow island country where the way is to be courteous which associates and our manners reﬂects being rubbing against each otherʼs shoulder. Without giving away too much, what projects have you got coming up? This year, in 2012. I did my solo exhibition at the Pola Museum Annex and also those works were exhibited and showcased at the V&A museum in London. There are many projects coming up as these days I think I can create and show works which I want to create. Last question, what is your favourite food? Meat, french fries, coca cola and MEAT!! haha.

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>>> photography

www.tkbmedia.com info@tkbmedia.com

Thomas hails from England. During our various conversations I discovered that he had a profound love for photography as well as having studied cinematography. After seeing his prints I could tell that he had a different way of seeing things through the camera. Thomas creates images that are emotional and dramatic with a cinematic feel about them.

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What initially got you into photography? Initially it was through skating. I used my first video camera while making skating edits for friends. From then on I guess Iʼve been working backwards through technology and away from skating media. I later studied film at college and university and became very interested in cinematography and directing. Using 16mm for my projects taught me a great deal. Around the same time I became equally interested in printing my own photos. I constructed a darkroom with my father and began to learn everything I could. Cinematography is the most important influence to my photography, so I guess you could say that it was cinematography that introduced me to serious photography.

Looking at your body of work, I can see that film and cinematography has a strong influence. How do you try to bring this into your stills? Its probably from habit. With cinematography, you have to think about shots as parts of the bigger picture. Later in edit, something that might not be visually pleasing could be the vital link to making it flow. A still photo must carry the feeling of a whole scene in one frame, or at least suggest it. What is important to remember is that you are not trying to fit as much into the frame as possible, but selecting a moment which gives you a feeling of a scene. Photography is a lot freer in the sense that you can use exotic framing without the fear that it might not cut together afterwards. My photography is an attempt to capture things using my subconscious and instinct rather

than being too concerned about story and coinciding shots. Whether this makes it easier or more difﬁcult I do not know. On which part of the imaging process do you spend the most time on? On an abstract level I spend most of my time just wondering and not taking any pictures at all. For a lot of the time, photography is not posed, so I either miss things or look too hard. I believe time no taking photos is equally as important as actually taking them. Recently I am not very productive and it can take up to 2 months to shoot one roll. Sometimes I think to myself that Iʼm losing my edge, but then my negatives seem to be full of photos that I want to print. On the technical side, I would say I spend the most time in my darkroom. I enjoy printing and

making discoveries in my negative collection. I believe its good practice to spend more time looking at photos, rather than taking them. Also, if you intend to print your photos, your standard of selection becomes higher. Printing

your own images give you full creative control, and it can feel almost like you are taking the photo again.

More people seem to be moving away from film and towards digital media these days. Did you ever shoot in digital? Of course! My first SLR was digital. I learned all the basics of photography through it. After a year or two of using it, my fatherʼs friend gave me a 35mm camera because someone had died in his family. I shot one roll at a family get together and became hooked. There was something more exciting and magical about film. Things like blur or mistakes with exposure actually seemed to look good, so I couldnʼt lose. I started really thinking about my exposure and what effects it had on what negative I was using. I started taking less and thinking more. We live in a digital age with digital tools. People use computers and social media to promote their work, so the obvious choice is to shoot

digital and simplify your workﬂow right? Well, not for me. I have been through a lot of phases, and Iʼve found that my most favoured process is to develop my negatives, my prints, and then use a scanner to scan the actual print. A nice picture deserves to have a physical existence as well as a digital one. Just look at your childhood photos. Your mum and dad might not have been that good of a photographer, but if you look through the nostalgia you will see that they are much better than the snaps you see today. Over-exposed people in the foreground or out-of-focus photos which would otherwise be immediately deleted these days, was not possible because they were shot on ﬁlm. Sometimes it is the photos that arenʼt perfect that are more interesting, we just need more time to see it. I think that every photo shouldnʼt be pristine like a catalogue photo or something.

Digital will always serve a purpose and continue to improve, but film negative contains a timeless aesthetic which cannot be rivalled in my opinion. Tokyo is swamped with photographers. What is your unique approach to shooting a city that has been shot to death? I think the longer you spend here, the more the gimmicks begin to fade. When I first got here, I was shooting the bright lights and colourful side of Tokyo which every foreigners envisages the city to be. Donʼt get me wrong, I still like those types of photos, and I like to think my initial photos of the city still hold up too. The only thing is, I feel that it gives a false impression of Tokyo. Yes, there are bright lights and people that are dressed differently, but thatʼs not everything and it shouldnʼt define

the city. I think that nowadays I try to ďŹ nd moments that people can connect with, rather than just giving them a photo that makes them want to visit here. The way I feel I do this is by again simplifying things and zeroing in on one speciďŹ c

subject at a time. I donĘźt think my style is particularly unique, but I think that the city is yet to be mastered. This is what drives me to look for something new and a new way of capturing it. I guess you could say that I shoot for myself

and hope other people like it.

Do you have ideals that you adhere to or things that you search for through photography? I donʼt think I am searching for anything in particular, but I feel photography gives me a thirst to see more places and go to areas which I would otherwise have no interest in. I guess itʼs similar to skating in that respect. I donʼt think my ideals are different from anybody elseʼs really. I am strict with myself and try to keep a high standard. I also try to avoid gimmicks and recreation of things that I have already seen. I hear people say photography is a form of self expression, which it is, but I also think that it is a celebration of stolen moments that you can share. I hope when people look at my photos, they can imagine themselves in the situation of taking the photo, as well as simply

appreciating the image. Finally, the most important thing is that I like it.

One last question. Indian Curry or Japanese curry?

What projects are you working on at the moment?

Indian curry! Japanese curry is good, and kastu curry is even better, but it still feels like it came from a packet or something. With Indian curry you can taste the culture and each one tastes different. In England, Indian curry is very popular and we eat it with naan, rice and chips.

As everyone in Tokyo knows, having a job here takes up a lot of time. For this reason I often find too many excuses to put off projects. I have many ideas for projects, but I have yet to shoot them. I have several ideas storyboarded and ready to go. One idea is to use solely primary colors. Another is a portrait collection, and the others are short films Iʼm trying to shoot on 8mm. One is an art film about the city, and the other is about a dancer on the streets of Tokyo. Sorry to be so vague, but I donʼt want to give it all up just yet.

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Paul Richardson Los Angeles > Tokyo

www.pcstudio.me blog.pcstudio.me

Paul is from LA. He has a good eye for form, proportions, and exceptionally good drawing skills. Paul studied under famous ceramicist Philip Cornelius. His attention to details is amazing.

Can you tell us about yourself as an artist?

What was it like to study under Philip Cornelius?

I know itʼs a cliché, but I am a Jack-of-all-trades. I doodled a lot as a kid and when I found my grandfatherʼs power tools in junior high I started making things like tables, shelves or chairs out of wood. It wasnʼt until High school that I found an art community and started taking things a bit more seriously. I entered the art world from the Renaissance and came out somewhere around Surrealism. I was working primarily 2D until I discovered ceramics. That then evolved into sculpture where I experimented with bronze casting and various welding techniques. My artwork isnʼt very deep as Iʼm more into form and technique. I was becoming a resident student at Pasadena City College until I got my act together and transferred to The School of the Art Institute of Chicago where I received my BFA in 2002. Although SAIC is my alma mater I consider PCC as the school where I got my education.

It was scary at times. Phil had a no bullshit approach to life and teaching. He was assertive and conﬁdent in his actions. A lot of people misunderstood his attitude as being an angry old man. Well, he was angry, but it was because of his passion. He had so much love for what he was doing and conﬁdence in what he taught that it exploded out of him. Heʼd even spit on you when he talked. I only had two teachers that truly shaped me and Iʼll forever hear their advice in my ear in my art making and daily life. One is my drawing teacher Elaine Moore and the other is Phil Cornelius. The one thing I didnʼt listen to him about was that he told me to choose only one art medium and stick with it. I couldnʼt and canʼt do that because I guess Iʼm too curious.

Do you have any artists that you aspire to or anyone that has inﬂuenced your work? It really depends on what Iʼm into at any given moment. While I was painting I got off on Dali and Hieronymus Bosh. When I was working clay it was Peter Volkus and of course Phil Cornelius. When I was sculpting it was Tony Craig or Martin Puryear. These days Iʼm really involved in illustrating childrenʼs books and coming full circle as Iʼm primarily drawing these now. Of the many illustrators I like (whoʼs names I canʼt remember), thereʼs one, a Georgian artist, Anuk (Ann Baratashvili) whom I respect for her attention to detail, playful style and technical ability.

You use a vast array of mediums, which do you prefer? I prefer working in clay. Not

only does it offer me the hands on tactile experience, it opens up senses stimulating a communication between my hands and my mindʼs eye. Iʼm able to utilize many of the skills Iʼve acquired over the years. I draw, paint, sculpt, engineer and meditate while working with clay. Working with it really taught me how to enjoy the process of making art. Sometimes I had projects that were assignments or commissions that I wasnʼt going to be keeping when they were done, so I couldnʼt get too attached to the final product. Other times I had situations where I really liked a finished piece and some dumbass came along and knocked it onto the floor. I used to get pissed, but now Iʼm more about the appreciation of the process. How do you keep your style consistent with each medium? Well, I think thereʼs an aspect of my art making that is prevalent in whatever medium I am using. Detail. I like detail. It can be a

handicap at times if I forget to stand back once in awhile to look at the whole picture. The illustrations in this series are very random in terms of subject matter and theme. How did you come up with them? There are many ways that I create images and objects. Sometimes Iʼm asked to make something specific or, in the case of this series, the images are strictly intuitive. However, external elements influence the subject matter. For example, while listening to music I might let it drive my pen. Other times I look around and may see only elements of an object that I admire for their design that trigger my imagination. I try to observe the world from the perspective or a fly on the wall

to see the ordinary as the extraordinary. How have you found the art scene in Japan compared to the States? In general, I think the art scene is a bit more conservative than LA or Chicago. Yet, Iʼve never been a really artsy fartsy person, so my perspective may be a bit unconventional and lean more on the side of craft. When I ﬁrst came to Japan I was doing ceramics. I noticed how Japanese people had an overwhelming appreciation for hand made items, more so than that of people back home. Craftsmanship was still respected and produced through the continuation of traditional methods. Because of these traditions I think people here

tend to strive for a particular style rather than individual expression. In any case, I think there are a lot of galleries here and opportunities to have oneʼs art seen. What projects have you got in the pipeline? My career as a moonlighting childrenʼs book illustrator is beginning to blossom. As a member of SCBWI (Society of Childrenʼs Books and Illustrators) Iʼve been fortunate to have some additional artistic exposure in Japan. Through an exhibit I participated in last year, an editor of a major publishing company in Tokyo picked me up. Theyʼve thrown me a couple bones so far and the ﬁrst book with my illustrations came out

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early this October. That was a success (in the sense that they liked my work) and have since asked me to create illustrations for the next book in this series due to be in stores this November. I have a childrenʼs ebook available on Amazon and iTunes called Snatch That Cat. This fall it will be released in Japanese, so those Japanese folks out there can look for that in the Japanese Amazon and iTunes. Check my website/blog for updates on my current picture book, Dai-kun. That and an upcoming collaborative picture book called, Toby Twinkle. Last question, American or Japanese cuisine? I canʼt actually remember hearing the word “cuisine” and American” together. Iʼm even

a little embarrassed that I canʼt really tell you what “American cuisine” is. That being said, Iʼd choose Japanese. Not only did I eat more than my share of fast food in the States, I didnʼt exercise much. Eating Japanese food now as my main diet I feel healthier and youthful. Now, Japanese food isnʼt just sushi and rice. Thanks to my Japanese wife, Iʼm eating a wide variety of mushrooms, potatoes, vegetables, ﬁsh, and tofu just to name a few. Iʼm extra fortunate to have a wife that has a license in the ﬁeld of vegetable selection and preparation.

WWW.ANDSUNS.NET

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Jesse Freeman

Jesse is from the States. He is knowledgable in good literature, movies (see pages 66-69), music and photography. His photographs are compositionally based that have a certain quirkiness about them.

Baltimore > Tokyo

www.ďŹ&#x201A;ickr.com/photos/imnothinginparticular jessefreemanportfolio.tumblr.com

How did you become interested in photography? I became interested in photography because I wanted to get into film directing. I didnʼt have many opportunities and by chance I was given a GR1s and instantly started mimicking directorʼs shot styles, and from there I became hooked. It then became ironic because my first shot I ever took with the GR1s, I based my first short film off it, beginning my film with the same exact shot.

You are interested in film and cinematography, how does this influence your still photography? Well great auteur directors shoot in their own styles. Ozu Yasujiro sacrificed cinematic rules for the sake of a sound low angle composition. John Ford, Jean Renoir, and Akira Kurosawa utilized deep focus layering all their shot compositions with action wasting nothing and at the same time creating a great sense of depth and energy. Jean-Luc Godard used color to a point where ever shot was filled with all the primary colors and even his sparse black white films carried awkward shot compositions that I liked and reflected. There is a lot to be learned from the great directors... Can you tell us a little about this series? This was a series that started in the summer of 2011. I always go back home to the US from Tokyo splitting time in Baltimore where I am from and Nebraska where my mother currently lives. My grandmother owns a lot of land in town with a population of 70 outside of Omaha. I was thinking of a fun way to explore this and noticed my auntʼs old tricycle. Thinking of William Eggleston, I initially shot the tricycle

in the same low angle matter that he did and saw the futility right away. I stepped back and used my normal approach to photography of seeing something for what it is and then for what else it is or could be. My grandmother has an ATV so I threw the tricycle in the back and drove around town looking for compositions. It was all shot with a Leica M6 and a half roll of Fujiﬁlm 160 C and I got a great response to it on Flickr . I went back to the US in the summer of 2012, this time to a relativeʼs farm in South Dakota, where there happened to be a tricycle and an ATV also. This time I shot it in medium format with a Mamiya 6 using Fujiﬁlm 400 H. Guess for me the fun was in seeing how the shot compositions vary in the year span. I will say this time around it all came to me a lot easier and I was done in 30 minutes.

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Does your photography work come naturally, or do you set up a story or theme before shooting? It comes more naturally I think. I usually realize themes after developing my photos and scanning negatives. Or a theme comes to mind as I am photographing, i.e. this series and even the second time shooting,

easy to spot as it would be in their character.

because I didnʼt plan to do a second tricycle series it just happened to be there and it made sense.

As a photographer, what is the philosophy that you hold most important? That photography is a mode of self expression and who you are is reﬂected through photography. Interesting people I ﬁnd take good photos and the opposite is true too. I love Instagram, Facebook, tumblr, and Flickr etc just as much as I love my photo book collection and exhibitions because it gives me a chance to see what people want to say, even if it isnʼt always important or especially beautiful. Then the only error a photographer can make is to shoot subjects that are important to them and are done for reasons of popularity. It is

On which part of the imaging process do you spend the most time on? Well because of its nature, I would say ﬁlm scanning. I have a cheap scanner and that actually takes up the most time. But in real terms I spend the most time actually taking pictures! I donʼt do any photo editing other than cropping, and I donʼt like to dwell on past work, I always like to keep moving forward. So really the hours spent walking around and exploring with a camera is the part I spend the most time on. You grew up in the digital photography era, what makes you want to shoot in analog? Well I learned on analog with the GR1s and havenʼt owned a digital camera till recently; a GR digital III that I use only

to shoot parties professionally. It is the aesthetic of it though, jazz on record, Dostoevsky on paper back, and photography on film. It is cumbersome as is flipping records is, but there is warmth to it that modern technology lacks. There are a lot of sensual things going on when light hits photographic film that canʼt be copied. Plus I am horrible with technology, so all the options on digital cameras and post editing software stifle me.

What projects have you got in the pipeline? Looking to exhibit some of the sets I have accumulated in the last year. As of now I have about four that I would like to have exhibited in the current year. One last question. Whatʼs your favourite Japanese food? That is a tough one. I am actually allergic to seafood which cuts out the majority of Japanese food. Although I have only had it

once, taking the bullet train to Kobe and having Kobe beef was my favorite. The price is quite high, but everyone should try it at least once in their life if you are in Japan.

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Soft, flat & pungent Genie De Wit is from New Zealand. Like me, we have been around food since we were little kids. Her dishes show a deep understanding of the ingredients she experiments with. So for this issue I decided to ask her to send a recipe based on Hot here, Cold there. She sent me two recipes. A wintery recipe but from a hot climate and a summer one. Enjoy.

bunnyeatsdesign.wordpress.com/category/eats/recipes/

>>> food

Hot here. Flounder

is an underrated and economical white fish with a beautiful sweet flavour which probably comes from the small crabs and other creatures they feed on. While salmon is probably my all time favourite fish, flounder is right up there.

Neither do I. Flounder can be quite delicate especially after the skin is removed so the ﬂour and butter acts as a delicious shield and protects the meat.

This flounder dish is inspired by a demonstration by David Schofield (NZʼs Chef of the Year 2011) at the Grey Lynn Farmersʼ Market. The way he quickly dealt to the fins with scissors and peeled the skin off in one piece really made an impression on me. David makes no secret of his love for butter.

Buttery Golden Pan-Fried Flounder Allow 1 flounder per person Ingredients. 1 flounder A knob of butter Another knob of butter 1/2 cup of flour sprinkled onto a dinner plate (this is enough flour for several flounders) Salt Pepper Lemon wedges

Preparation. 1. Using sharp kitchen scissors, cut all the fins off the edges of the flounder. Be generous rather than erring on the side of caution. Slice them off! 2. On the dark skinned side of the flounder, make a small cut through the skin with a sharp knife at the base of the tail. Prepare a little flap of skin that you can pull. Sprinkle salt generously on the cut. The salt will give you a good grip on the slippery skin and carefully peel the skin away from the fish. The skin should come off in one complete piece. Some flesh might start to come up with the skin, if it does,

stop. I used a sharp knife to cut and push the offending bits back down. 3. Cut the head and tail off the flounder. Remove the liver if you wish. 4. Sprinkle salt and pepper onto the floured plate to make a basic seasoned flour. 5. Lay the flounder on the plate of flour and dust liberally on both sides. This will turn golden and crunchy later. 6. Melt a knob of butter in a large frying pan. Add the flour coated flounder. I found I could comfortably fit 2 fish in my pan. Fry the flounder for about 5 minutes each side on medium heat until golden. Add more butter if you love butter. 7. Serve with lemon wedges.

Cold here. When I

saw Hugh Fearnley-Whittinstallʼs curry goat episode on River Cottage Iʼve been obsessed with trying it for real. Curry goat is curry goat. Do not call it goat curry. Thereʼs a difference. Iʼm not sure what the difference is, but asking for goat curry at any Jamaican eatery is sure to have you ridiculed and marked as a noob. I tried a delicious Carribean curry goat over the summer at Splore Festival in Auckland, New Zealand. The food stall was run by a catering company Jamaican Me Hungry and the goat was divine. I couldnʼt wait another 2 years to

have curry goat again so I made curry goat at home.

trims away excess fat on lamb, then goat is ideal.

Goat Meat. Goat meat isnʼt popular here in New Zealand. No, our prized beast here is lamb. But as tasty as lamb is, it can can be expensive and reserved for special occasions. I have never cooked with goat meat and I canʼt say Iʼve eaten it many times, but Iʼve enjoyed it every time. Growing up in my family didnʼt harbour any love for goat meat – the Cantonese, consider goat (and even lamb) to be smelly and pungent. Goat is a cheap alternative to lamb and it is much leaner too so if you are the kind of cook who

I looked online for goat meat and found a halal butcher close to my parents house. I put in a request for Mum to by me a kilo of goat meat ... which reminds me now, I owe her some cash for the meat she bought! Oops! Sorry Mum! ... she ended up buying goat meat at a supermarket, which surprised me. At $10 per kilogram, the goat pieces are quite economical. They were chops, bone in, with no fat or grisle. Chillies. I couldnʼt ﬁnd Scotch Bonnet

>>> food chillies so I used birdseye chillies which I believe are slightly milder than the Scotch Bonnet pepper.

pounded spices and the pre-ground stuff. No contest. Donʼt skip this step for a pre-ground spice blend.

Pop the tomatoes into some boiling water for 30 seconds, drain and then plunge into cold or ice water. The tomato skin will then Rice. Curry goat. peel off easily. Roughly chop the I mixed 3 cups of white long grain tomato and put into a large mixing rice with 1 cup of red rice. This Adapted from Hugh bowl. resulted in a beautiful, slightly Fearnley-Whittinstallʼs recipe 4. Add the garlic, onion, herbs chewy rice. The red rice is quite and chillies to the mixing bowl. I similar in texture to brown rice Serves 4 recommend using 2 chillies for a which Iʼm not a fan of, but milder dish. Use more if you and combining it up with white rice was Ingredients. your guests are more daring. Add a good experience. 1 tablespoon of HP sauce. Add 2 For the Jamaican curry blend tablespoons of the freshly ground Spice Blend spice blend and mix in the goat I had fun toasting and then 1 teaspoon coriander seeds meat. pounding the spice blend. It smelt 1 teaspoon peppercorns 5. Combine all the ingredients amazing. I canʼt recommend the 6 cardamom pods well until thoroughly mixed. Take difference enough between fresh 1 teaspoon fenugreek seeds your time with this. Cover and 1 cinnamon stick refrigerate overnight or if youʼre 1 teaspoon ground ginger doing this on the same day, 1 teaspoon ground turmeric marinade for 6 hours or more. 6. 3 or more hours before you 1 kilogram goat meat (chops) want to eat, preheat the oven to 2 tomatoes, skinned and roughly 120°C. chopped 7. In a large, hot frying pan cook 2 garlic cloves, bashed, then the meat (shaking off most of the roughly chopped onion and tomato marinade) in a 1 onion, finely chopped little oil until it is nice and brown. 2 to 4 birdseye chillies deseeded Do this in about 3 batches, taking and finely chopped care not to overcrowd the pan or 2 sprigs of thyme, finely chopped the meat will start to stew. Transfer 1 bunch of coriander, roughly the meat to a dutch oven or large chopped casserole dish. 1 tablespoon HP sauce (optional but 8. Fry the leftover marinade until very authentic) the onions are soft. Add to the 2 tablespoons cooking oil dutch oven. 1 teaspoon salt 9. Deglaze the pan with a cup of water and a teaspoon of salt. Add to 1. Dry roast the first 5 spices of the dutch oven with extra water so the curry blend in a hot, dry frying that the meat is covered. Bring to pan. Remove from heat and pound the boil and then cook at 120°C in in a mortar and pestle. Mix with the the oven for 3 hours, stirring once ground ginger and turmeric. and checking for seasoning at the 2. Cut the goat pieces in half, same time. quarters or thirds depending on 10. Serve with rice and a sprinkle size. You donʼt want the pieces too of chopped coriander leaves. small, aim for about 4 pieces per person. My pieces didnʼt have any Tips: excessive fat, but if yours does, 1. Taste the sauce during the trim it off. You donʼt want the curry cooking process when you take goat to be too oily. it out to stir. Extra salt will really 3. Skin the tomatoes using a sharp bring out the aromatic flavours. knife by cutting a shallow cross 2. Freeze extra portions for a across the bottom of the tomato. delicious dinner or weekday lunch.

>>> film

Yasujiro Ozu Review written by Jesse Freeman

Tokyo Twilight

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In many great works of art, the four seasons is a profound theme. The films of Japanese director Ozu Yasujiro being of no exception. With film titles such as Early Spring, Late Spring, The End of Summer, and An Autumn Afternoon, seasons are certainly a preoccupation of his that serves as a springboard: setting each filmʼs tone. With that said, only one of his films has ever been set in winter and being such, it is no coincidence that Tokyo Twilight is his darkest film. It is also his most heavily criticized film from his later years when he was in full control of his art. In terms of cinematography, Tokyo Twilight is no different from many of his other films, complete with all of Ozuʼs aesthetics: scenes that include absolutely no camera movement, low-angle shots, and attention to composition that often defies cinematic rules; such as how Ozu broke the 180-degree rule entirely for the sake of composition. Coming off the heels of Early Spring, this is by far Ozuʼs most melodramatic film and remains important because it shows a shift in his focus towards the younger generation. Before this, all of his films had always been from the parentsʼ point of view. Ozu starkly rejected this criticism and insisted this film was about the older generation. Truth is, the first twenty minutes of the film begins in this manner but once the shift is made it never looks back. The narratives of the two sisters take over and we begin exploring their yearning for independence. However, the interesting thing is that their independence is ironically always stifled by old morality. Tokyo Twilight tells the story of two sisters and their father. The

father, while working long hours attempts to involve himself in his daughtersʼ lives. The eldest is separated from her husband with an infant, while the youngest is a college student who has fallen in with the wrong crowd. We find out the youngest is pregnant and secretly goes through with an abortion while the eldest daughter attempts to fill the role of a motherly figure to her, while at the same time playing housewife to her father. Things are complicated by the appearance of their absent mother. Thus the ending is certainly the most tragic of any mature Ozu film. Because the story is set in winter attention to the cold is prevalent from the opening line, “Itʼs turned quite cold.” Setting the atmosphere, topics of conversation include hot sake and skiing. The famous understated quote of downplaying an emotional climax by saying “ii tenki desu ne” is a replaced with “sure is cold.” This really is the only instance that still manages to resonate with the same gentle sadness as Ozuʼs other films. Another stand out feature of Ozuʼs films that emphasizes the four seasons can be seen in his transitional pillow shots. Ozu never used traditional transitional shots in between scenes, opting instead for static poetic shots of the location and the next scene is set up with upbeat music. Always selected very carefully, there is coldness to the pillow shots here, composed mostly of raw cement architecture, stark dead trees, cold train rails, and other compositional sources that are composed of cold hard lines. Other pillow shots include shots of clocks that are essentially

utilized when the youngest daughter is introduced and ceases to be in the film. All very subtle, but the attention to clocks resonates most with her introduction scenes and her last scene in which we get a long ASL (Average Shot Length) pillow shot of the clock in the clinic. This all forebodes the daughterʼs fight against time and her subsequent death. With that said, the youngest daughterʼs narrative actually isnʼt introduced into the film until twenty minutes in. This would justify Ozuʼs defense that the film was based on the older generation, but the film only follows the fatherʼs narrative faithfully until twenty minutes in. Dialogue for Ozu, is never performed to rush to the next plot point but instead is the sole source for advancing events. One scene that comes to mind is when the father has a conversation with the oldest daughter, and towards the conclusion of the dialogue she casually mentions to the youngest daughter asking for a loan, of which we had no idea even existed in the first place, but is done so naturally that we never question it. A pillow shot of a train clock and we are introduced to the next scene. Dialogue advances events rather than visuals of the actual events themselves. It is here that the focus never really truly returns back to the father, but instead focuses on the plight of the two sisters. The overriding themes for both narratives are alienation and a yearning to belong. The two things that keep this interesting and still within the boundaries of an Ozu film are the symbolism and the fight for the

traditional. Symbolism is executed in a subtle manner. The loss of innocence is reflected using a childʼs toy. The father finds the childʼs rattle upon discovering he has no idea what is going on in the lives of his daughters. The youngest picks it up upon realizing she must have an abortion. They both share the same wry family smile before shaking off a moment of sadness, and both accept the reality of their situation. More obvious moments can be found in a scene of the youngest daughter coming home from the abortion clinic in time to see the babyʼs first steps, a joy she will never experience. These melodramatic elements are still done subtle enough in todayʼs terms, but obvious in a sense

when looking at an Ozu film. The fight for the traditional is more on an unconscious level that I think Ozu could have been personally fighting for, yet unwilling to recognize. Throughout the film there are attempts at the old that inevitably fail—

>>> film

This could already be seen in 1957 in the films of Suzuki Seijun and Ko Nakahira, and the movement exploded with Oshima Nagisa, Immamura Shohei, and other directors from Nikkastu along with other independent or B film companies. Because of this, the significance of Tokyo Twilight could be viewed as important because it was the old clashing with the new in which Ozu pits his own style against themes of the 60s that had become more prevalent.

evidence of his stance that this film is for the older generation. Middle class family dramas were the only films Ozu made and more often than not they dealt with the issue of marrying off a family member and the subsequent dissolution of the Japanese family. Despite the melodramatic elements of the abortion we still got the classic Ozu scenes of the family trying to find a suitor, yet they come off feeling stale and pointless. Even Hara Setsukoʼs role as a traditional character felt stale and worn here, which probably accounts for some criticism. This film was more pessimistic than Ozuʼs other films. Perhaps he felt his place in cinema was in question. He was a major money earner for his company,

Shochiku, until his death in 1962. The late 1950s going into the 60s saw a major shift in the type of Japanese ﬁlms being made and the audiences that went to see them. Coming to an end was the golden era of Japanese cinema with the Ozus, Kurosawas, Mizoguchis, and Naruses. In came the next generation of young directors of the Japanese New Wave. The new wavers resented much of the past and were set to blaze new trails in Japanese cinema.

In the end this was held as one of his greatest failures. Yet today I think it stands on its own. It is a major outlier from Ozuʼs later, mature period. It is an entirely new milieu, one that is dark, sinister, and coldly pessimistic. The film is filled with mahjong bars, shadowy back streets, postwar industrial sites, dimly lit interiors, and underexposed daylight shots. The coldness of winter can be felt throughout the entire film. Its major fault is in its melodramatic telling, which by todayʼs standards isnʼt so bad, but for Ozuʼs standards, this film was extremely so. And isnʼt this the curse of all the greats? They are no longer compared to other works but only their own in which growth and change is often seen as an admission to a weakness. Tokyo Twilight is a proud admission if taken in this sentiment, but really should stand on its own for its uniqueness at a time when Ozu was essentially in cruise control. This was his last black and white film.

>>> music

Darren Okot

London > Tokyo

Darren Okot (aka Slim Tikini Pickens), is a very talented individual. From humble beginnings of throwing small house/ underground parties to DJ始ing at the biggest night clubs in Tokyo, Japan. He has also graced the fashion magazines and newspaper tabloids in Japan for his diverse style, look and music.

Interview by Reuben Cape Photos courtesy of Darren Okot

soundcloud.com/mr-tikini/funktion-001-1

>>> music

Your face is really well known throughout a wide array of media here in Tokyo. Tell us how you got into modeling and how that ties in with your DJʼing/Music.

You have a really unique name. Whatʼs the meaning or inspiration behind that? I think I heard the word in a lyric but didnʼt understand the meaning, but for some reason it resonated. Slim Pickens The Tikini Technician. Tikini became all things that were exotically dope, but since those are all my perceptions/tastes they are connected to me, therefore I am Mr.Tikini, all things exotically dope (wacky). How and when did you initially start DJʼing? It became a secret obession when I was 16 I canʼt disclose the means ... but by any means necessary!

Modelling just happened, my friend Taro had a brand called Articalizm that he started back in London. He asked me to model for most of his catalogs and actually does for his new brand Ends & Means (www. theendsandmeans.com/). What can we expect from you in 2013? I donʼt know, it all depends on how much further the images in my mind keep growing. But music is the way! You used to be in Spexsavers. Are you guys still together as a partnership or are both concentrating on your individual paths? Brassfoot and I just reunited after 2 and half years of him being away from Tokyo and had a blast, I barely remember what happened! That being said, the Spexsavers connection goes way back further

then any name in the first place. Brassfoot has the Spiral Collective and sessions (Insert link here) and is building that up in the UK. While I hold down the forte here in Tokyo (JVB, Funktion and new things like Osiris, plus a multitude of other events.)! How does the London club scene and fashion trends influence your style and music? A simple result of my Roots and socialisation . Why did you come to Tokyo? What is the significance of this city in relation to what you do? Still trying to find out in answer to both of those questions, and just enjoying the ride in the meantime. If you could translate your thoughts and feelings into a particular sound what would that sound be?

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That is a question I have to answer myself ďŹ rst since no one genre does it for me. What events/shows should we look out for over the next coming months? Osiris 11/9 Fri @ 27 Destiny in Shibuya. Mad Decent X Brick Bandits 11/6 Fri @ Trump Room THE BIG ONE AT AOYAMA FAI on Friday the 30th of November... Thats a secret HOT thing man!

>>> travel

BOSNIA and

HERZEGOVINA

Words and photos by Wooseok Lee

Wooseok is from New Zealand and he travels to the most random places every year. So I asked him to do a photo journal, he chose these two cities. When he travels he would write lyrics and then sing them with no music. So instead of a travel article, he wrote a poem. saltnvignette on Instagram.

>>> travel

Cold autumn evening. Smoke in the air Entered this city but no oneʼs there. Turned a corner and there they were An explosion of sounds and smiles In a place that was torn apart In recent history But its seem that chapter is now consigned To history. Thereʼs a lively and social atmosphere: The sounds of zdravo and laughter everywhere Feeling comfortable, light on my feet, Walking down random alleyways and streets And there it wasBullet-strewn buildings and bombed out Relics of what used to be. Sniper riﬂes, bombs, AK47s - the methods Of destruction employed were clear to see, And one hopes it will only remain a memory A lesson from history. Her people walk by, heads held high and headstrong, Walking with purpose and metaphorically moving on, The cemetery packed side by side with Memories of lives cut short Sobering thoughts and feelings of being distraught. Then an old lady walks by; she has seen better days Imagine what she has lived through. Then a father and son feeding pigeons calm the Dark feelings. The childʼs laughter and hope for a happy future Brighten the mood. The sun winds down for the day. Tomorrow will be another beautiful day.

>>> travel

EVENTS Design Tide Tokyo 2012 Design Tide Tokyo is a field to trade design, and to trade ideas. Oct 31 - Nov 4. Tokyo Midtown Hall and various locations throughout Tokyo. https://designtide.jp/2012/

Museum of Modern Art. 9-30-1 Tokiwa, Urawa-ku, Saitama-shi, Saitama-ken. http://momas.jp/en/

Tokyo Designers Week 2012 Oct 30 – Nov 5, Meiji-Jingu Gaien (Central Venue) and other metropolitan areas (satellite locations). http://www.tdwa.com/en/

John Sypal: Nebraska Until Nov 4. The founder of Tokyo Camera Styles’ own exhibition. Totem Pole Photo Gallery Daini Fujikawa Bldg. 1F, 22 Yonchome, Yotsuya, Shinjuku-ku, Tokyo. http://tppg.jp/

Daido Moriyama: Labyrinth. Features new works and new contact sheets. Until Nov 11. BLD Gallery SPP Ginza Bldg 8F, 2-4-9 Ginza, Chuo-ku, Tokyo http://bld-gallery.jp/

Good Design Exhibition 2012 This year featuring around 1,108 products. Nov 23 - Nov 25. Tokyo Big Sight 3-21-1 Ariake, Koto-ku, Tokyo. www.g-mark.org/gde/2012/index. html

The Photographers Who Made Magnum: Capa, Cartier-Bresson, Rodger, Seymour Exhibition Focuses on the work of the four founding photographers. Until Nov 30. Fujifilm Square West 1F, Tokyo Midtown, 9-7-3 Akasaka, Minatoku, Tokyo. http://fujifilmsquare.jp/en/ The 70s in Japan 1968–82 Exhibition Until Nov 11. This exhibition takes a retrospective look back at art, design, architecture, photography, theater, music and manga.

The Breakdown Every 2nd Sat of the month. underground,true-school hip hop and other funky beats, brought to you by the United Crates Crew. Coins Bar, 36-2 Udagawacho, Shibuya, Tokyo. 03-3463-3039 Heavy Rotation Every 4th Sat of the month. An eclectic mix of heavy tunes supplied by UCC, Spexsavers and Beat Respect. Coins Bar, 36-2 Udagawacho, Shibuya, Tokyo. 03-3463-3039 Tokyo Mad Decent x Brick Bandits Nov 16. B-more / Trap / R&B Club, Dancehall Reggae, UK Funky / Garage / 2 Step. Trump Room, 301, 1-12-14 Jinnan, Shibuya-ku, Tokyo. 03 3770 2325 TDHK Nov 22. A monthly Twitter meet-up led by @jmis and @hypercasey. www.tdhk.org ALIEN RADIO : MATTHIAS TANZMANN Nov 24. Sound Museum Vision, 2-10-7 Dogenzaka, Shibuya-ku, Tokyo. www.vision-tokyo.com

Rhythm and Vines 2012 Dec 29 - Jan 1. The award winning, world class 3 day music Festival located on the East Coast of New Zealand is celebrating its first decade. 75 Waimata Valley Road, 75 Waimata Valley Road, Gisborne, New Zealand. www.rhythmandvines.co.nz/ The Whistlebump New Years Eve 2012 Dec 31. XEX Nihonbashi, 4F Yuito Bldg, 2-4-3 Nihombashi-Muromachi, Chuo-ku, Tokyo. www.eggworm.jp

www.facebook.com/eggworm

Suicide Bounce by Squash Squad Produced by Dinero Music Video directed by Michael La Burt

www.youtube.com/watch?v=CDvP7XI3mwA

squashsquad.blogspot.jp/