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OKINAWA/AMAMI
FOLK / CITY POP
TECHNO- POP
SHM-CD Traditional Music Best
COLUMBIA UHQCD Traditional Music
TRADITIONAL ENTERTAINMENT BEST SELECTION SERIES
TAISHO AND SHOWA KAYO POP 1920s-50s
MINYO AND SHOWA ERA FOLK SONGS 1920s-50s
NIPPON MODERN TIMES SERIES
KING ARCHIVE SERIES
COMIC BANDS
ARTIST EXPLORER (JAPAN)
HARUOMI HOSONO
YUKIHIRO TAKAHASHI
THE BEST OF GOLDEN BEST
GREATEST EVER JAPANESE POP
GREATEST EVER JAPANESE ROCK
OKINAWA Traditional
OKINAWA Contemporary Roots
OKINAWA - Ryukyu Classical
OKINAWA compilations
OKINAWA rock / pop / reggae / dub / folk
Contemporary Roots
SEIJIN NOBORIKAWA
RINSHO KADEKARU
TETSUHIRO DAIKU
SHOUKICHI KINA
YASUKATSU OSHIMA
GREATEST EVER OKINAWA ALBUMS
Shanghai Hits of 1930s-40s
Ancient & Modern Traditional
Contemporary Rock & Pop
Peking Opera DVDs
Traditional and Folk
Roots Crossover / Collaboration
Pop/Rock/Trot
Ponchak
HONG KONG/ TAIWAN/ MACAU
Roots and Pop
NEW AGE / AMBIENT
JIANG JIAN HUA
1960s,70s PSYCHEDELIC ROCK & POP
SUNDANESE GAMELAN / TEMBANG SUNDA
POP SUNDA
JAIPONG
VINTAGE 1920s-60s
GREATEST EVER SOUTH EAST ASIA
PAN ASIA
SAMBASUNDA
HUONG THANH
MALAYSIA/SINGAPORE
Roots & Pop
P.Ramlee & Saloma
Traditional Vocal
Traditional Instrumental
Traditional Bac Ninh Folk Songs
Contemporary Instrumental
Baichasong
1970s Morlam Lukthung Funk Psychedelic
Pompuang Duangjan
Jintara Poonlarp
Siriporn Ampaipong
1960s-70s Roots & Pop
Modern Khmer Roots, Khmer Surin
Khmer Pop
JVC WORLD SOUNDS
KING WORLD ROOTS MUSIC LIBRARY
COLUMBIA ARCHIVE WORLD MUSIC COLLECTION
SMITHSONIAN FOLKWAYS CUSTOM CDs
NONESUCH EXPLORER SERIES
West Asia / Middle East
AUDI-BOOK
RESPECT RECORDS
HAWAII & THE PACIFIC
Yuki Yamauchi
Hawaiian & Pacific Artists
MONGOLIA/CENTRAL ASIA
WORLD MIXTURES & COMPILATIONS
NATURAL SOUNDS
AUDIOPHILE CD
SHM-CDs
Vintage Pop & Jazz
JVC World Sounds Premium (SHM-CDs)
UHQCD, HQ
From Vintage Pop to Modern Jazz
Rock, Folk, Pop
BLU-SPEC CD, BLU-SPEC CD2, BLU-RAY AUDIO
SACD- Super Audio Compact Disc
Western Artists, SHM-CD, HQ-CD, BLU-SPEC
HQ - HiQuality CDs
BLU-SPEC CDs
Western Artists SACD SHMC
NOH THEATRE & KYOGEN
BUYO & OTHER TRADITIONAL DANCE
FAR SIDE / RICE
FAR SIDE LABEL
FAR SIDE ARTISTS
RICE RECORDS
Far Side Music
Far Side Radio
Artist Booking
Japan Overview
China Overview
THE HISTORY OF JAPANESE MUSIC
Please click on any of the links below to jump to a particular section
pre meiji
JAPANESE MUSIC BEFORE MEIJI (1862)
pre meiji instruments
BEFORE THE MEIJI PERIOD - Instruments
the meiji period
THE MEIJI PERIOD (1862-1912)
folk songs - Minyo
FOLK SONGS - MIN'YO
BON ODORI AND ONDO - Festival Music
okinawa history
OKINAWA- History
shima uta
SHIMA UTA (ISLAND SONGS)
JAPANESE MUSIC BEFORE 1945
AFTER THE SECOND WORLD WAR - the birth of Kayokyoku
chindon
group sounds
GROUP SOUNDS AND THE EMERGENCE OF ROCK
ROCK, POP AND CONTEMPORARY MUSIC TODAY
modern japanese
MODERN JAPANESE ROOTS MUSIC
modern okinawan
MODERN OKINAWAN ROOTS MUSIC
JAPANESE MUSIC- THE WORLD VIEW
The precise origins of the Japanese people are not known although since ancient times waves of migrating cultures have added their influence to what was already there. Even today, the Japanese absorb foreign culture in a unique way, but maintain a strong independence. As well as Chinese, Mongolian, Korean and Southeast Asian influences, there appears to be something that is indigenously Japanese. It is generally believed that the Yamato people were the first to develop the concept of an imperial clan, the Yamato clan originating in Kyushu the southernmost of Japan's main islands, from there gradually spreading throughout the islands. Any music during this period was largely primitive, essentially working and 'folk' songs. More complex music is believed to have come from China or Korea, and indeed it is from China that ancient Japanese music originated. The first documented evidence of Chinese music entering Japan relates back to the third century. The Nara period, (710-794) is the first major historic period in Japan, and the first international period in Japanese music history. Court music came from China, Korea and India, and was mostly played by foreign musicians. Folk music had continued to develop in it's relation to dance and festivals in villages throughout Japan, while Buddhist ritual music became well known during this period.
Chinese influences were beginning to be assimilated and modified during the Heian period (794-1185). Instruments were still essentially Chinese, but the musicians were Japanese, and the music gradually developed Japanese characteristics. The Kamakura period (1185-1333) was the era of the Shogun. The international characteristics had largely disappeared, and court music was declining. Instead there was an emphasis on Buddhist chants, vocal and dramatic music. Dramatic and theatrical music continued to flourish during the Muromachi period (1333-1568), preparing the way for noh drama. At the same time, shakuhachi bamboo flute began to be heard, played by wandering priests. Noh continued to flourish during the Azuchi-Momoyama period (1568-1600), also noted as the era during which the sanshin (lute) was introduced to Okinawa, soon to arrive on the Japanese mainland and transformed into the shamisen. The Edo period (1600-1868) marks a period of status quo, and the development of a bourgeois art and the development of the pleasure quarters of the bigger cities. Shamisen, koto and shakuhachi all flourished during this period.
There are three important and representative Japanese traditional instruments. The 3 stringed shamisen is thought to have derived from the middle east and arrived in Japan in the 16th century. It's predecessor was the Okinawan sanshin, which itself arrived from China. The shamisen is the backbone of kabuki music, is played by geishas, and is the main instrument of most folk music. The body (do) is made of four pieces of wood, covered in catskin or in cheaper models dogskin or plastic. The neck is also made of wood, it's thickness varying with the type of music performed. The shamisen has a unique tone with a drum like snap.
The shakuhachi is an end blown bamboo flute, with it's origins also in ancient China. The modern shakuhachi is a product of the Edo period, (early 17th to mid-19th centrury) it's development largely due to komuso, a kind of wandering priest. Even today, these basket hatted men can occasionally be seen on the streets of Japan, their ranks filled by ronin, masterless samurai who had lost their orignal rank during the violent struggles of the sixteenth century. These ex-samurai even enlarged the instrument to make it double up as a weapon. In the late Edo period the shakuhachi was used in koto ensemble music. This perhaps saved the shakuhachi during the early Meiji period, when Japanese music was considered uncivilised. As a fairly western sounding instrument, the shakuhachi has been involved in many new experiments in new music. Shakuhachi ensembles have developed, shakuhachi has been used in jazz music, many foreigners have learnt to perform it. Ironically, the foriegn players have increased interest, but the real aesthetic center of shakuhachi music is in personal and private performances. The instrument and music are best designed for introspection.
In contrast to the theater tradition of the shamisen, the koto developed out of a court tradition for daughters of the rising classes and nobility. The koto has origins in China as well, specifically the seven stringed zither, the qin. One of the biggest developments in koto music occured at the end of the 17th century, with the founding of a new style of koto music, based on existing shamisen forms. Koto was combined with shamisen to emphasize the instrumental part more than the vocal. Up until this time, the koto had largely been a vocal accompanying instrument. In the twentieth century, koto music has largely been based on western compositions. Michiyo Miyagi's compositions satisfied those who were yearning for a new Japanese music, his pieces often compared to likes of Debussy.
During the Meiji period the floodgates opened and Western culture inundated the previously closed country. The samurai was crushed, the shogun displaced by the emperors rise to power. The first Western music in the Meiji era was brass band military music, as Japanese music was drowned out. Japan changed into an industrial country. Nationalism flourished, as did patriotic songs and marches. The sense of national pride eventually began to have a positive effect on traditional music. Court music opened to the public for the first time, and traditional music showed some resurgence of strength. Throughout history musicians have adapted foreign influences to eventually make something uniquely Japanese. Today is no different. Much so called Japanese 'roots' music is a mix of Japanese traditions with all kinds of extraneous influences, not only from the West, but from throughout the world.
Before Westernization, popular songs in Japan were known as zokuyo. These songs had no western influences. The most popular songs were known as hauta (small song) Iyobushi (song of Iyo region) and Otsu-e bushi (songs on the picture of Otsu) Until around 1850,popular music was regional, hauta being one of the first national musics.
The term for regional music, or folk songs is min'yo. Farmers planting their rice crops, fishermen pulling in their nets and lullabies are constant themes. Modern folk songs often refer to nostalgic references to these ways of life. Songs of one district can be very different to those of an adjoining district. Urban popular music with traditional elements has mostly been kept alive in Okinawa, while the Ainu, the indigenous Japanese who now live in the northern most island of Hokkaido also have their own unique songs and music. Min'yo was originally sung by non-professionals, just ordinary people, but developed through the performance of professional female singers, (geisha), with a shamisen accompaniment. The social status of folk songs was raised with the introduction of the shakuhachi at the beginning of the twentieth century.
Although mass communication is thought to be generally harmful to traditions, it had some positive effect on min'yo. Japanese radio broadcasts of folk singers began in the 1920s. Radio singers could reach a much wider audience, and traditions only previously only known in a particular area were now broadcast nationwide. Some of the singers became some of Japan's first national 'stars'. New songs or shin min'yo have been composed since this time to attract tourism and greater national awareness of a particular area.
However, the real meaning and spirit of min'yo, is believed to have somehow gotten lost during the Meiji period of modernization in Japan in the second half of the 19th century. The government strove hard to root out traditional culture, deemed not suitable for a western style nation. Many min'yo songs were re-written and only government approved min'yo came to be recorded or played on the radio. Pockets of true min'yo survived however in rural regions.
One of the most fertile areas is the Tsugaru region in the north east of Honshu. In the past songs were sung by blind people as a means to earn a living. Singers would visit farms and houses, wandering the villages to sing and play the shamisen. When the Meiji government was established many musicians moved to Hokkaido, or traveled around as seasonal labourers. Tsugaru shamisen, and it's most representative song, Jonkara was one of the first instances of a folk song and music becoming well known throughout the country. The exciting style of playing Tsugaru shamisen has a long tradition, although it was only in 1925 that a solo part was introduced into Jonkara. The most important and virtuosic performer was Chikuzan Takahashi, the last of the blind artists. He died in 1998 aged 88.
Ondo is a generic term for folk songs that are often used to accompany the dances of the obon festival. During obon, it is said that the souls of ancestors return from the dead. Traditionally obon falls in the middle of July, but according to the modern calendar it falls in the middle of August. People return to their hometowns to visit their ancestors graves. At night they dance in a circle to comfort the souls. Today it is more of a form of entertainment during the summer evenings. Older dances used no instrumental accompaniment, instead a chorus of singers. Pieces from the Edo period use flute, drums, shamisen or cassette recordings. Dancers hold fans and with hand gestures, leg and arm movements in unison move in a circle around the musicians, who are often on a tower covered in a red and white cloth. One of most spectacular types of Ondo, is Kawachi Ondo from Kawachi in the south east of Osaka, formerly a farming district. The lyrics often describe current events and stories, and has been sung in this style since the Edo period. In the early Meiji period, a new song from Shiga prefecture 50km north of Kawachi became popular, it becoming necessary to distinguish between the older and newer songs. The later songs became known as Goshu ondo. Generally there is one similar song used for Kawachi ondo, as the younger dancers prefer faster rhythms and electric instruments, the sound has developed in recent years to include reggae and other rhythms, with the most famous singer of the genre being Kawachiya Kikusuimaru.
The Okinawan version of Obon is the Eisa festival. It is one of Japans' most colourful festivities, when hundreds of people parade down the street and dance the katcharsee, a wild dance to the sound of big booming taiko drums, echoed by the rattle of the hand held parlanque drum and the incessant cry of Eisa". While Japan's musical traditions have been largely forgotten or 'preserved' by societies, Okinawa is the country's only surviving enclave with a thriving and living local music rooted in a tradition. The 73 sub-tropical islands of Okinawa Prefecture stretch for over 700 km from Kagoshima (mainland Japan's southernmost Prefecture) almost to Taiwan. Situated at roughly mid-point is the largest island of Okinawa, a name sometimes used to encompass the whole archipelago, which is otherwise known under it's original kingdom name, the Ryukyu islands. The sub-tropical Ryukyu islands are some of the most beautiful to be found anywhere in the world; a paradise of white sand beaches, coral reefs and luscious tropical vegetation. Music is in the heart and blood of Okinawans. Their traditional music shima uta meaning 'island songs' can be heard everywhere; on the beaches, in shops, restaurants and bars. It seems all Okinawans love to sing and dance.
The early history of Okinawa is shrouded in mystery and it's not known for sure where the Okinawan people came from. It's believed some came through Japan from northern Asia, some through the Korean peninsula from Mongolia, and others from Southeast Asia through The Phillipines. The Ryukyu Islands have always been an important trading link between Southeast Asian countries and Japan, China and Korea. This strategic position has resulted in a history of dominance from Okinawa's neighbours and feuding for it's control.
After an initial period of battling warlords and tiny kingdoms, in the 13th century the first Okinawan dynasty was established, after which the Ryukyu islands remained essentially independent, although at various times split into separate kingdoms. By the late 14th century a unified Ryukyu Kingdom emerged, and in the 15th century the capital was moved to Shuri, near to today's largest city and port of Naha on the main island. Throughout this time, the country traded with China, Japan, Korea, and southeast Asia, and developed in language and culture in relative isolation. The kingdom later expanded to include the four island groups, of Amami in the north, through to the centrally located Okinawa main island, to Miyako in the west and Yaeyama to the south, each combining it's local culture with those of the many they came into contact with.
The reign of Sho Shin between 1477 and 1525 is considered especially important for the development of Okinawan culture and craft, remembered as 'the golden age of Chuzan'. (Chuzan being the name given to Okinawa in the 15th century). The sanshin, the three stringed snake skinned lute at the heart of all modern Okinawan folk music, is derived from the Chinese sanxien, and arrived in Okinawa during this time. Originally, it was an instrument of the Ryukyu nobility who would play it as a court music for visiting Chinese envoys.
The islands were later invaded by the Satsuma province in southern Japan in 1609, and effectively became a colony of Japan until 1879. During this period however, local culture and music thrived. After Commodore Perry arrived in Naha in 1853, Britain, the US, France and Russia all tried to establish trading links with Okinawa. Japan, not wishing to lose it's share of the cut, sent a force to invade the islands in 1879, afterwhich Okinawa was made a prefecture of Japan proper.
With the disbandment of the Okinawan government, the nobility were forced to pay their own way, and as many had become competent musicians, some moved to different areas of the islands to teach the local communities. Folk traditions were given a new lease of life and the songs a sanshin accompaniment. On the outer islands, such as Yaeyama, formerly vocal only working songs, Yunta and Jiraba were set to sanshin, or the oldest of all, sacred songs called Aoyo. In this way too, original songs were composed, which gave rise to what's known today as shima uta -island songs.
Regarded as the first major figure of folk music, Choki Fukuhara was born in 1903 and composed many, now classic, songs and established Marafuku Records, the most important local label. It's a position which Marafuku still holds today, run by his son Tsuneo Fukuhara, himself a top composer and producer. Another influential figure of 'shima uta' was Rinsho Kadekaru born in 1920 in Goeku, central Okinawa. He learnt to play at his village's all night revelries known as mo-ashibi. Here, young people would sing, dance and drink, usually on the beach, often until dawn, do a full day's hard labour in the fields, then party again the next night. In the pre-war years there are stories of parents encouraging their children to take part in the mo-ashibi every night, in the hope they would fail the medical for military conscription due to exhaustion!
Despite attempts to ban them, mo-ashibi flourished until just before the second world war, although following the war and the US occupation, they were outlawed for good. In the wake of the second world war, when up to a third of the population had died, musicians such as Rinsho Kadekaru, who had been in exile in Saipan during the war, and Shouei Kina (father of Shokichi Kina) were a source of inspiration in restoring the pride of the people. Kadekaru went on to record over 250 songs for local labels, more than any other musician, before his death last year. The greatest living musician is now Seijin Noborikawa, who was featured in the hit film 'Nabbie no Koi' in 1999, and has recently enjoyed his highest ever profile in Japan.
Traditional shima uta or island songs are accompanied by the sanshin, a three stringed lute with a resonance box covered in snake skin. The sanshin, at the heart of traditional music, came from China some 500 years ago. These days Okinawan instrument makers commonly use a synthetic snake skin, although skins are still imported from Indonesia. The Okinawan pentatonic scale (do-mi-fa-so-ti) is identical to that used in some areas of Indonesia and related to scales used in Polynesia and Micronesia. The song texts are based on the ryuka metrical structure comprised of four lines of 8-8-8-6 syllables, as opposed to the Japanese 26 syllable structure.
The upbeat dance songs are known as katcharsee. Taiko drums, the big shima daiko and the hand held parlanque accompany the sanshin. Singers and dancers add to the rhythm with their castanets called sanbas. It's to the katcharsee numbers that Okinawans love to sing and dance. Arms are raised and hands waved wildly to the infectious rhythm.
Shima Uta is very much alive on Okinawa today, a part of everyday life. Unique within modern day Japan.
During the first half of the 20th century, rokyoku, a form of narrative song became popular throughout Japan. Featuring the shamisen, it was a kind of street music that emerged in the Kansai region. During the jubilations that followed the Russo-Japanese war, Kumoemon Tochuken and Naramaru Tochuken became Japan's first recording stars. Rokyoku was seen as a means of spreading nationalistic ideology until the , but after the war gradually faded into obscurity. In the 1960s, two other singers, Hideo Murata and Haruo Minami came out of the rokyoku scene to gain great popularity. At the end of the 1980s, the beginning of the world music scene in Japan, Takeharu Kunimoto, the son of two rokyoku singers mixed rokyoku with African, rock and other genres, gaining success in Japan and attracting attention overseas.
Before the second world war, Japan embraced music from around the world. In the 1920s and 30s, French chansons were first sung in Japan, and French influenced composers such as Kunihako Hashimoto enjoyed great success. An arty image of chanson was combined with a Japanese worship of Western culture around this time. Especially Paris was considered a centre of chicness and fashion.
Jazz was imported into Japan from the end of the 1920s, mainly in the form of dances such as the foxtrot and rumba. Dance halls opened in the big cities, and American contemporary dances replaced European waltzes. As an increasingly xenophobic atmosphere developed, most of the dance halls had closed down by 1940. After the war the dance halls reopened, with jazz popular among the occupying American forces
A tango boom hit Japan around 1937 that started in the dancehalls. Japanese musicians composed new tango tunes, beginning with 'Tango wo Odoroyo' (Let's Dance Tango). From 1940 Tango was outlawed, but following the war continued it's popularity. Ranko Fujisawa recorded in Buenos Aires with her husband Shimpei Hayakawa, as tango reached it's peak of popularity in the 1950s and 60s. Today a young bandoneon player, Ryota Komatsu continues this trend by performing Piazzola and other Tango classics once again making tango a trendy music for the young.
Hawaiian music too has always been popular in Japan. Japanese emigration to Hawaii began in 1885, and by 1922 Japanese (Nisei) Hawaiians, the Haida Brothers returned to Japan as the country's first Hawaiian band. During the 1920s and 30s Hawaiian music reached a peak in popularity, with first generation Hawaiians regular visitors. In 1944 the steel guitar and banjo was outlawed and Hawaiian music was banned along with all other 'western' music. In recent years, Japanese 'Nisei' Herb Ohta, ukulele player and a disciple of Hawaiian legend Eddie Kamae has become popular in Japan, and indeed ukulele as an instrument is enjoying unprecedented popularity. Meanwhile the slack key guitar style has been championed by Yuki 'Alani' Yamauchi.
After the war the general term for popular songs that came into usage was kayokyoku. In general, kayokyoku is the music somewhere between western pop and enka, which features strong Japanese and Asian characteristics. At the beginning, these two elements were struggling for supremacy, with the American side winning out on "Tokyo Boogie Woogie", honours shared on "Shamisen Boogie Woogie", while the Japanese elements winning out on "Tonko Bushi" in 1949, which still retained a feeling of the Edo period. In the late 1960s, 'group sounds' initiated the use of rock rhythms in kayokyoku. Throughout the 70s, 80s and 90s, any new western trend was assimilated into kayokyoku songs, the boundaries becoming ever more blurred. These days, pop idols, boy and girl bands, who although for the most part are singing western music can still be classified as 'kayokyoku'.
The term 'enka' came into use from the early 1970s. It was a slow type of kayokyoku, heavily influenced by Japanese elements. Enka is sometimes called 'the Heart of Japan'. It's sentimental lyrics concentrate on themes such as the separation of lovers, memories, despair and hope. Singers still usually wear kimono, it's most characteristic vocal style being the warbling crescendo at the end of sentences. The most important enka singers are Saburo Kitajima, Harumi Miyako, Shinichi Mori and Keiko Fuji and most of all Hibari Misora. Enka usually includes saxophones, trumpets, electric guitar and bass, piano and strings. Enka is still an extremely popular form of music today, the only national music to rival Japanese pop in the charts. It is often sung at karaoke, and although it's listeners are mainly from the older generation, recently some young singers have attracted a younger audience too.
While Japan is the only eastern country to have so readily absorbed western music, street performances of wind and percussion instruments can be found all over the world. As an 'unmilitarized' street music, chindon is related to Jewish klezmer music, New Orleans brass bands and wind and percussion ensembles from China and south east Asia.
Chindon bands date back to the 1910s, whereby groups were employed by advertising companies to open stores and entertainment halls. However, commercial brass bands can be traced back to the beginning of the Meiji period, when the government, keen to demonstrate their 'westernization' used military bands at ceremonies to open railroads and banks.
Brass bands were the first western music formally imported into Japan. Military brass bands not only played marches but western classics, to demonstrate a 'civilized' music, because to import and teach western music, and ignore and forget domestic music was the national policy at the time.
Private companies soon followed suit, and by 1910 street bands employed by big companies were a common sight throughout Japan. When the government instituted public nuisance laws, and these companies switched their advertising revenue to newspapers and magazines, street music became more localized for smaller businesses.
At first it the brass bands were a high culture, but it didn't take long to find it's cheap imitators. Most of those commercial bands were thought of as vulgar, but some became popular in local areas. People called those bands jinta, one of the predecessors of chindon.
Military musicians were replaced by those who had played in silent movie theaters, who found themselves out of work since the arrival of 'talkies' and variety hall performers. Only those street bands with the loudest and most original repertoire survived, and some, who had used only traditional Japanese instruments, combined western instruments, originating the chindon sound.
Chindon had no original repertoire of it's own. The musicians played the popular music of the day, even today's 'traditional' tunes being mostly pre-war popular songs and variety hall songs from the Edo period. They would dress in colorful, outlandish costumes as if they had come straight off a movie set, would gather an audience and make their advertising pitch, while carrying a large banner emblazoned with the name of their sponsor.
Chindon is an onomatopoeic word, relating to the characteristic high 'chin' and lower pitched 'don' of the chindon drum. In the 1910s or 1920s metal percussion and two wood and skin taiko drums were combined within a wooden frame, to enable a player to perform alone, even when marching. The chindon is almost exclusively played by women, sometimes with a colorful umbrella draped over the top.
Accompanying the chindon are western instruments, a big 'goros' drum (from the French 'gros') plus clarinet and saxophone, played usually by men, that gradually replaced the Japanese shamisen (lute) as the main instrument. Noticeably, there are no bass instruments, being melody and rhythm driven, resulting in a music that gives a sense of both Japanese popular tunes and festival music, with even the western instruments played in a distinctive Japanese vain.
During the second world war, chindon along with other street activities was banned, although in the post war reconstruction period, chindon bands reached their peak in demand. During the 1950s there were over 5000 active chindon players, but by the early 1960s, as a form of advertising, was virtually extinguished by the new medium of television.
Those who champion Japanese traditions have never considered chindon to be significant, and it has never been honored by national institutions or preservation societies. In instrumentation and repertoire it was considered too modern to be labeled as 'traditional'. To old and some middle aged people, chindon is still familiar, but it has been completely ignored in the official history of Japanese music.
Most of it's players today come from the older generation and struggle to keep chindon alive as a profession, mainly advertising the opening of pachinko parlors in Tokyo suburbs and small shops in Osaka. Nevertheless it remains one of Japan's most unique, colorful, exciting and accessible musical styles, only being kept alive by a few 'revivalists', during the 1980s. The most noticeable chindon bands, or groups influenced by chindon music are Compostella, Cicala Mvta and Soul Flower Mononoke Summit.
Jazz, blues, country and folk have all been and remain popular to a section of Japanese society. All these genres have Japanese musicians popularizing the music, and adding a touch of Japanese elements to them. In the 1960s popular music was greatly influenced by groups such as the Ventures, the Beatles and the Animals. In particular the Ventures spawned a whole new movement of similar sounding groups, such as the Tigers and the Jaguars. Even today the Ventures enjoy an iconic status in Japan. The 'group sounds' boom had subsided by 1969, as Jimi Hendrix, Led Zeppelin and others became the main influences. 'Folk' singers and groups drew their inspiration from Bob Dylan. Japanese group Happy End became one of the most influential groups, successfully singing rock music in Japanese, featuring Haruomi Hosono, who would later be at the forefront of several other music movements. Another influential group was the Rolling Stones influenced RC Succession, while every rock development in the UK and USA, such as progressive rock was mirrored in Japan. Kitaro and his group Cosmos Factory originally emulated synthesizer groups such as Tangerine Dream. Southern All Stars have been Japan's most durable rock groups, singing Japanese with an English like pronunciation. Kraftwerk and electronic music spawned another influential group, Yellow Magic Orchestra, featuring Haruomi Hosono and Ryuichi Sakamoto who in turn influenced a wave of techno pop in the 1980s. The emergence of punk, especially the Clash changed the rock scene again, with groups such as the Blue Hearts following a similar course to their UK counterparts. The live scene in the cities boomed, while in a street in Harajuku in Tokyo on a Sunday, hundreds of groups would gather every Sunday to entertain pedestrians becoming one of Tokyo's best known tourist spots until the street was opened up to traffic again at the end of the 1990s.
The independent rock scene is thriving, and challenging a music industry traditionally dominated by the majors and their marketing powers. Indeed majors are these days creating 'indie' labels within their organisations to compete. It's these, often quirky rock acts that have enjoyed some success oversees. Following in the wake of Shonen Knife and The Boredoms are other all girl bands Buffalo Daughter, (signed outside Japan to Grande Royal) and Chibo Mato (signed to Warners in the US). More bands in the 'indie' genre making waves oversees include The Pugs, Thee Michelle Gun Elephant, and Zoobombs who play hard rock with a funky edge.
The other genre to gain some exposure oversees is the 'modern club pop' of Pizzicato Five, Cornelius, Towa Tei, all known as the 'Shibuya Sound', after an area in Tokyo and disciples of Hosono and the YMO. Cornelius is currently garnering the biggest amount of press, particularly in the US.
Aside to Okinawa, another area that comes up with more than it's quota of successful artists is Osaka. Blues inspired outfit, Ulfuls, after several years suddenly became massive sellers. The best however is UA, plucked from a jazz club her first album 11 was a spectacular success. Her soulful voice, set to some of the catchiest tunes, over a cool backing, being the winning formula.
In the mid 1980s, when 'world music' became a generally accepted term, some Japanese started to look at themselves and wonder what their own country had to offer. There was traditional music, but this had mostly been preserved and held little connection to most Japanese people. Pop music on the other hand, had lost virtually any trace of anything inherently Japanese. Japanese musicians found themselves attracted to the music of Okinawa, even though to many Japanese, Okinawa can seem quite distant and even foreign.
Japanese groups began to be influenced by the groups emanating from Okinawa, such as Shokichi Kina and Champloose and Rinken Band. One of the first groups to look to Okinawa, but create an original Japanese 'roots' music with other world influences were Shang Shang Typhoon. Shang Shang Typhoon didn't just update traditional music, or add Japanese instruments to pop music. Instead, they created their own sound, probably closest in style and attitude to post-war kayokyoku, the Japanese version of pop music, that mixed elements of Western, Hawaiian or Latin music with Japanese traditions and humorous words. In their music was fragments of ondo ( festival music), min'yo (folk) and rokyoku (storytelling). These were combined in varying degrees with an eclectic array of music from Okinawa, Korea, China and Latin America, to pop, rock and reggae. Later Hawaiian, Irish, African and Indian music were added to an already blazingly vivid palette of sounds.
Ironically, the Okinawan roots music boom in the 90s, probably owes more to a Japanese band than to any Okinawan group. In 1993, the biggest selling single (1.5 million) was The Boom's 'Shima Uta', an Okinawan melody and sanshin combined with rock guitar and drums. The Boom captured the Japanese version of a Grammy for best song, and now is considered one of the classic Japanese songs of the decade. Japanese musicians such as Haruomi Hosono and Ryuichi Sakamoto had already covered Okinawan traditional tunes as early as 1978, but the impact of the Boom was far greater on the general and young population of Japan. The Boom subsequently did much the same with Indonesian music, and then Brazilian music with the albums Far East Samba and Tropicalism, the latter a mix of all the elements in the Boom's music thus far. In 1998 the group's singer Miyazawa released two solo albums. 'Sixteenth Moon' recorded in London and 'Afrosick' recorded in Brazil.
In 2002, he has released his third self titled album, Miyazawa, released in Brazil and Europe.
If there is a song to rival the Boom's 'Shima Uta' as the best Japanese song of the decade, perhaps that would be Mangetsu no Yube ( A Full Moon Evening), composed by Takashi Nakagawa of the rock group Soul Flower Union and Hiroshi Yamaguchi of Heat Wave, for the victims of the Kobe earthquake. The Soul Flower Union version, with Okinawan sanshin, and an acoustic 'chindon' accompaniment even spurred a new acoustic unit of Soul Flower called Soul Flower Mononoke Summit. The group played tunes popular in Japan before and after the second world war, with Okinawan Tetsuhiro Daiku's albums a big influence. Soul Flower Union's output also seemed to improve, with Mononoke Summit acoustic sound, combined with a rockier approach, especially with the superb 'Electro Asyl- Bop'.
Min'yo singer Takio Ito expanded the realms of min'yo and was one of the most successful of the early attempts to update a tradition. He incorporated jazz and rock plus other Asian and Japanese traditional elements, while bass, guitar, violin, piano and drums were combined with shamisen, shakuhachi and taiko.
During the 1990s, producer Makoto Kubota and singer Sandii attempted to create a kind of pan-Asian music by recording Indonesian and Malaysian songs, as well working with musicians from south east Asian countries. They then turned their attention to the music of Sandii's birthplace Hawaii, releasing three superb Hawaiian albums. All feature Kubota's trademark mixture of sounds, including an Asian feel, and have done a lot to restore an interest in Hawaiian music in Japan.
Ainu music has also made a comeback as a living tradition in recent years, largely due to the efforts of singer and tonkori player Oki. Oki updates traditional Ainu tunes, composes his own songs and has also recorded an elder Ainu singer, Umeko Ando.
The taiko drum is one of the most primitive instruments which can provide straightforward emotions such as joy, hate, anger and harmony. To this end, Ondekoza were formed in 1969 on Sado Island, to lead a communal life, aiming for harmony and physical fitness. Through their sound they hoped to evoke these emotions within the listener. Young men and women, until then unassociated with Japanese traditional performing arts, underwent vigorous physical training of marathon and technical training of the Japanese Giant drums in communal life on the island.
The group later split into two, with one half, the Taiko drummers group Kodo, continuing to hold the ' Earth Celebration' event every year on Sado, and invite a number of foreign artists. Today, Kodo have become one of Japan's most famous musical exports and collaborate with musicians from around the world on record and in concert.
Okinawa remained governed by the US until 1972, during which time a new music scene developed around the military bases, especially the wild years of the Vietnam war. Most Okinawan groups played western music in the nightclubs, until Shokichi Kina and his family group, Champloose, mixed Okinawan local songs with rock, and electric guitar and drums with sanshin in the mid-70s. After hearing Kina, Japanese musicians such as Haruomi Hosono and Makoto Kubota started to play Okinawan influenced music at this time. At the end of the 1980s the Okinawan 'boom' started throughout Japan, as their answer to the wealth of music being produced elsewhere in the world with it's root in a tradition. From the same generation as Kina, Teruya Rinken formed Rinken Band, and made several excellent albums. Sadao China formed the female quartet, Nenes, whose first album Ikawu in 1991 was a seminal album of Okinawan folk and pop. Nenes recorded the exceptional Koza Dabasa in Los Angeles in 1994 with guests including David Lindley, David Hidalgo and Ry Cooder. At the end of the decade, the four current singers departed to be replaced by four new singers.
The influential Shokichi Kina's career meanwhile has been littered with long periods of musical inactivity, during which time his albums have consisted of mostly re-recordings and re-mixes of older material. Probably, his former guitarist Takashi Hirayasu, blooming after leaving Champloose, is making the more interesting music these days, his collaborations with American Bob Brozman becoming the best selling Okinawan music outside of Japan.
Music from the Yaeyama islands, much nearer to Taiwan is fundamentally different to that of the main Okinawan island. The music, originally only vocal, developed in the fields, as workers would sing eachother songs with call-and- response phrases. After the feudal period, the sanshin became freely available on Yaeyama and local music developed at speed, still out on the fields, while back on the main island of Okinawa, the sanshin remained the privilege of the Samurai. The working songs called Yunta and Jiraba, give the music an earthy quality. Tetsuhiro Daiku is today one of Okinawa's most respected musicians and one of Okinawa's world ambassadors, having travelled to Europe, Asia, South America and Africa. Daiku is a disciple of Yukichi Yamazato, an elder Yaeyama musician who has recently himself benefited from the success of Daiku. The master stroke for Daiku came in his mixing of Yaeyama Yunta with Japanese chindon (street music). Some of the other songs were old Japanese ones, popular just after the second world war, that had sunk into the consciousness of many Japanese, but at the same time were almost forgotten. Tetsuhiro Daiku's albums proved to be a big influence on the acoustic unit of Osaka rock band Soul Flower Union, Soul Flower Mononoke Summit.
A student of Daiku, Isamu Asato, a fisherman now living on Taketomi island, but originally from Yaeyama, recorded his first album at the age of 51. A traditional album of Nasake Uta, the slow tragic songs of Yaeyama in contrast to the more usual working songs.
Japanese, but Okinawan resident musician Kenji Yano was a member in the 80s of Rokunin Gumi who built up a cult following in Okinawa but never released an album. In the 90s Yano released three innovative albums with singer Sachiko Shima, under the pseudonyms of Sons of Ailana, the Surf Champlers and Sarabandge, which mixed Okinawan with Hawaiian, Surf and Trance music respectively. In 2002 he released the equally excellent Sanshin Cafe Orchestra, acoustic chill music.
Two other groups from the mainland who are taking Okinawan music in new directions are An-Chang Project and 'sister' group Shisars. They mostly perform traditional songs, but sing them in harmony, whereas traditionally the vocals are sung in unison. Underpinning those vocals is some searing, psychedelic guitar parts, and different types of percussion. Both An-Chang Project and Shisars are kind of 'underground' classics of Okinawan and Japanese roots music.
It's within the twenty-something bracket that there arguably there seems to be a lack of musicians interested in Okinawan music enough to either play the traditional or take 'shima uta' in new directions. Yukito Ara and his group Parsha Club were once called leaders of the 'new wave' of Okinawan music but rather declined in popularity by the end of the 1990s.
From the same small town as Yukito Ara, Shiraho on Ishigaki island, Yasukatsu Ohshima, now in his early 30s, has a voice that drips with the tradition of Okinawa, and is perhaps the best of the young musicians. Probably the island where the tradition is kept most alive is these days not part of Okinawa at all, Amami, which has it's own style of shima uta with falsetto vocals, it's music reflecting it's geographical location, half way between Okinawa and Japan. Female singer Rikki has been championed by Makoto Kubota, who produced her first album, while teenagers Mizuki Nakamura and Kousuke Atari have both released promising albums
Through the 1980s and 1990s the holy grail for Japanese pop and rock musicians was success in the US or Europe. Despite attempts and heavy marketing by major record companies nobody however has broken into a western foreign market. Roots musicians from Okinawa, such as Nenes, Shokichi Kina and Takashi Hirayasu have enjoyed success within the larger 'world music' market, with album releases and tours. From Japan, Miyazawa and The Boom have toured and had albums released in Brazil and Europe. Instrumental musicians, Kitaro and Ryuichi Sakamoto have had most impact, while some 'indie' rock groups have achieved some cult following. However, the biggest selling pop music has remained largely for the domestic market, until Japan's Asian neighbours also discovered Japanese pop culture. in Taiwan, TV channels broadcast Japanese dramas and Japanese music videos. In Hong Kong, despite some anti-Japanese sentiment it's much the same story, as it is in Thailand. Even in Korea as restrictions on Japanese culture are lifted, and the past history between the two countries is forgotten, young Koreans are discovering Japanese music.
The entertainment industry in Japan is the most developed in the region, and Asians have increasingly more strongly identified with Japanese pop culture. The young are looking towards Japan for the latest trends, not America, where songs and stars have a common Asian appeal. Perhaps in the future, Japan will take the leading role in establishing an Asian musical identity. Influenced by the west, but reshaped as uniquely Japanese.
Hochono House (LP Vinyl)
Non-Standard Collection - Non-Standard no Hibiki (4 CDs plus Extensive Booklet) (Limited Edition)
Uchu Nihon Setagaya (2 LP Vinyl, Limited Edition)
Daegeum World of Han Joo-Hwan (2 CDs)
Kanasu Uchinaa - The Traditional Music of Okinawa, 1960s
All Kinds of People Love Burt Bacharach-Produced By Jim O`Rourke
Dalam Irama Rock and Blues Vol. 2
Me to Me
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Tsudayu Takemoto III Gidayu Masterpieces (5 CDs)
Asage- Selected Re-mix & Re-arrangement Works 1
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Naughty Boys- Instrumental (Standard Vinyl Edition)
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Collections of Korean Contemporary Music by Ahn HyunJung Vol.3 'Sing The Nature'
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Deadly Drive (x2 Vinyl LP)
Shakuhachi Rock - Groovy Bamboo Flute (7" Vinyl EP)
Kori no Sekai (UHQCD)
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Home Features PLANTATION MANAGEMENT NEEDS TO BE DYNAMIC AND INNOVATIVE
PLANTATION MANAGEMENT NEEDS TO BE DYNAMIC AND INNOVATIVE
21 October 2014 05:57 am - 0 - {{hitsCtrl.values.hits}}
It is believed in business circles that the plantation industry is no longer a dominant force in Sri Lanka's economy. The primary issue is therefore, how to prepare managers and professionals for full participation in a rapidly changing business environment requiring innovative strategies for new opportunities and fresh challenges?
Tea industry
Although Sri Lanka's Tea production in 2013 had been 340,229,030 MT, yet Sri Lanka will continue to be in rank 04 in global scenario ( table 1). While still considered a producer of superior-quality tea, it is evident that Sri Lanka's competitive position in the global tea arena has been slipping. Heightened competitive pressures in the global market, coupled with several internal supply issues, have eroded the country's competitiveness. For instance, Sri Lanka's cost of production remains among the highest in the world, a result of lower labour productivity and relatively inferior yields.
Inadequate focus on replanting and fertilising due to financial constraints has dampened yields in comparison to its global peers. Meanwhile, continued focus on orthodox and bulk tea could further affect the country's competitive position as global consumption patterns increasingly tilt towards more convenient forms of this beverage.
To ensure the continuity of Sri Lanka as a dominant force in the global tea market, it is crucial that productivity-enhancing measures, innovative processing and value-addition technologies, exploring new markets etc are implemented .
On a related note, most plantation companies generally face financial constraints due to the reluctance of banks to provide loans to this relatively volatile sector. Given the current buoyancy of the equity market, however, it is opportune for such companies to start tapping the stock market.
On a more macro level, it is evident that a cohesive policy to promote the production of value-added forms of tea is essential - to arrest the trend of declining competitiveness. In this regard, Sri Lanka could consider the partial liberalisation of tea imports to enable multi-origin blending while balancing the impact such a move would have on the domestic industry.
Tea marketing
At present the world tea market is rapidly growing with emerging customer needs. The importance of a change from bulk tea exports to value added tea products to face the challenges in an increasingly competitive beverage market, is known. Therefore, companies failing to address the competitive forces by developing innovative marketing strategies will lose out to competitors.
It is also accepted that brand building, niche marketing, product differentiation, cost leadership, and customer focus are few of the most prominent strategies that should be adopted by the companies. Opening up new markets abroad, fair trade, environmental sustainability, and faster delivery are also important.
A selection of the top 10 Tea in the world in January, 2014
It been recently reported that a Sri Lankan tea was only one among the top 10 teas in a ranking by an International Tea marketing organization, in January, 2014. The top 10 grades are given below:
1. Adagio Golden Yunnan
This complex, golden-tipped tea boasts a rich, warm aroma and a nice smoky flavor. The bold, black brew hails from the Yunnan province of China.
2. Elemental Tea Kenya Black Dryer Mouth
This organic offering is robustly flavored and full-bodied but very low in caffeine. They also like its almost bitter aftertaste and hint of spice. It's particularly high in antioxidants, because it was not sorted (graded) after it came out of the mouth of the dryer (hence its name: Dryer Mouth).
3. Golden Moon Rasa Sinharaja Black Tea
Dubbed the "scholar's cup," the full-bodied, molasses-like Golden Moon tea is grown in the Sri Lankan rainforests. It is rich and strong with nice floral notes.
4. Kusmi Tea's Anastasia Black Tea
Kusmi Tea dates back to 1867 in St. Petersburg, where it was sipped by Russian czars. It's surprisingly light, offering a smoother take on classic Earl Grey, with notes of bergamot, lemon and orange blossom.
5. Novus Tea Sapphire Earl Grey
In addition to bergamot, this black tea melange also features whole blue malva flowers, which add a nice pop of color and light floral note to the brew. We love it paired with dessert.
6. PeLi Teas Lapsang Souchong
Lapsang Souchong is one of the oldest black teas. After being picked, the leaves are rolled and smoked, the latter imparting a strong — almost meaty — jolt of smoky flavor. The profile of this smooth but full-bodied brew is certainly unique. Give your taste buds a kick!
7. PG Tips
We keep coming back to this beloved British import (which has been around since 1869) whenever we want a good cup of black tea without spending a fortune. As its name implies, only the tips are used in their blend. PG Tips is sustainable and, as of 2012, certified by the Rainforest Alliance.
8. SerendipiTea Guranse Estate Organic Black Tea
Spicy, with the slightest hint of sweetness, SerendipiTea's second flush Guranse Estate offering hails from the oldest organic tea garden in the foothills of the Mahabarat Mountains in Nepal. It is fair trade-certified.
9. Teas Etc Golden Monkey Organic Tea
This light, delicate black tea from China's Yunnan province features golden twisted leaves that unveil green and grassy notes on the palate. It's surprisingly strong but without bitterness.
10. TeaVivre Yun Nan Dian Hong Black Tea
TeaVivre is group of international tea lovers who live in China. Yun Nan Dian Hong comes from China's Yunnan province, which lies in the southern part of the country, bordering Burma. It is golden in color and light in taste, and offers a delicious, rounded flavor.
Another area of importance is innovativeness. Innovation is a new idea, device or process. Innovation can be viewed as the application of better solutions that meet new requirements, in-articulated needs, or existing market needs This is accomplished through more effective products, processes, services, technologies, or ideas that are readily available to markets, governments and society. The term innovation can be defined as something original and, as a consequence, new, that "breaks into" the market or society.
Innovation differs from invention in that innovation refers to the use of a better and, as a result, novel idea or method, whereas invention refers more directly to the creation of the idea or method itself. Innovation differs from improvement in that innovation refers to the notion of doing something different rather than doing the same thing better.
Mobile tea bar – an innovation
Patrons at the Byram Shop Rite got a surprise recently, when they pulled in to see a customized 1977 Air Stream travel trailer parked in the center of the plaza. The silver trailer has been retrofitted to welcome the pubic into the world of Bigelow Tea as the company celebrates its 70th anniversary.
The Mobile Tea Bar began its 2014 cross-country tour with stops in Boston, New York and more recently, in Byram.
"We're hitting various events including marathons and festivals," said Timothy Richmond, Marketing Project Manager for Bigelow. "We're also visiting grocery conglomerates such as Renetco Shop Rite because we greatly value our relationship with them."
The relationship between Renetco was underscored by the posing of the two entities mascots: Bigelow's large cup of tea mascot named Biggie, and Shop Rite's bear mascot named Scrunchie. The two posed together with visitors for photo ops. At the retro Tea Bar, customers were able to order complimentary tea from a large, canopied window, or venture inside where there are several stools and a back section which paints Bigelow's history.
"The Tea Bar tour exemplifies Bigelow's entrepreneurial spirit that has made the tea the number one leader in specialty tea," it has been said, "The cross-country tour aims to meet and inspire tea drinkers across the country with Bigelow's story and a chance for them to sample the plethora of flavors the company has to offer".
"We're very excited for this opportunity to offer consumers fresh-brewed samples of some of our most popular teas such as "Constant Comment", in a fun, new way", said Cindi Bigelow, third generation president and CEO. "We are also looking forward to introducing new flavors and sharing the unique Bigelow family story and our passion for tea with tea lovers across the U.S.".
The Bigelow Mobile Tea Bar will open doors at street fairs and festivals in major market cities across the country. After several stops in New York last weekend, the tour will continue to Minneapolis, Chicago, Seattle, Portland, San Francisco, Los Angeles, Austin, Houston, Atlanta and Tampa.
"It's an awesome way to meet our customers and introduce flavors to them", Tour Manager Chris Cassinelli said. "Ninety percent of the public know our name and about 10 percent have our tea in their cupboard but didn't realize it".
Richmond has added that, "The history of how Bigelow has progressed is fascinating."
He cited a tea tin dating back to the 40s.
"David Bigelow found it to be not too exciting in black and white so he hand painted each and every tin adding color," Richmond has said.
That's one example of the passion the family has always had for the business which was started in the kitchen when Ruth Campbell Bigelow created her first cup of tea. The business has spanned three generations with Cindi Bigelow now serving as president and CEO. Prior to this, she spent 20 years in practically all areas of the company that her grandmother founded.
Along with its public appearances, the Bigelow Mobile Tea Bar will make appearances at retailers along the way.
We know that management is like an indicator that exits between work and results. Without a proper indicator one would have been in disarray. Due to fast technological changes and innovations, high competitions, spread of education and knowledge, change in the nature and attitude of customers etc, managing an organization increasingly complex and challenging today and hence calls for professional skills of high caliber.
It depends a great deal on how well a professional manager intelligently act on a particular situation, develop his ideas, thoughts imaginations, creativity, maintain discipline in every respect, communicate effectively, hold back his personal ego for the larger interest of his/her fellow colleagues and his organization. In short he/she is to make proper planning well in advance, organizing his task systematically with minimum cost, time and effort, directing all individuals to make proper execution of the tasks, co-ordinating all facilities and finally controlling all activities in conformance to the plans of the organization.
Professionalism and innovativeness are the immediate need of the plantation industry for it to prosper. Governmental support is also vital. But, Worker wages should not be considered as an issue, when ever plantation profitability is discussed. To be fair by all the workers, a performance based wages system for tea pluckers should be successfully implemented as part of a wider package involving a parallel development of the field to generate a bigger crop for the system.
(The writer can be contacted at treecrops@gmail.com)

redpajama_set_name: RedPajamaCommonCrawl


Stimulus specific adaptation (SSA) is a phenomenon at the neural level, proposed as the neural correlate of novelty detection. In SSA a rare stimulus elicits a stronger response than a frequent stimulus. Novelty is an important component of stimulus saliency and has been linked with the ability of animals to abruptly attend to events that differ from their background. Because of its assumed importance in target selection the phenomenon of SSA has recently attracted much scientific attention. We have measured and analyzed responses of neurons, in three different brain regions, to probabilistic stimuli which were specifically designed to probe SSA. Our findings robust SSA in high brain areas related to decision and gaze control (the optic tectum and the frontal eye fields) but not in low sensory areas (the inferior colliculus). Remarkably, we have demonstrated similar SSA to four independent acoustic features (sound frequency, the two binaural localization cues and sound intensity) and one visual feature (spatial position). This is in contrast to most previous studies, which have focused on one sensory feature at a time. The manifestation of the SSA in such a wide variety of features supports the notion that the SSA in the gaze control centers is involved in sensory memory for novelty detection. Currently we are analyzing SSA to bimodal visual-auditory stimuli.
A. Reches and Y. Gutfreund (2008) Stimulus specific adaptations in the gaze control system of the barn owl The Journal of Neuroscience. 28(6):1523-33.


I get lots of press releases and campaigns that drop through my in box and whilst so many are worth highlighting I carefully select a few charities or campaigns that I totally support. I feel that this is the best approach. Obviously due to Erin's DDH story anything that is educating others about Hip Dysplasia is going to featured. There are not many that focus on DDH and the risk factors involved.
This important campaign by Ergobaby and Nikki Khan will hopefully contribute to raising awareness and with that I throw my support fully behind them.
Hip dysplasia (also known as Developmental Dysplasia of the Hip or DDH) affects up to 2-3 in every 1000 (approx. 2171 in UK) of all infants*.
The condition, which can affect babies from birth but which can also develop in childhood, means that the hip joint is completely or partially dislocated. Babies suffering the condition may have to have remedial treatment as a result.
Having seen more cases of misdiagnosed Hip Dysplasia come across her desk in recent months, Lawyer and Midwife Nikki Khan, along with Ergobaby, has launched an education drive to help inform and empower parents to look out for key symptoms of the condition that their baby might experience.
The "Is Your Baby Sitting Comfortably?" campaign aims to help educate parents, enabling them to make informed decisions and reduce any risks of DDH that are unrelated to genetics or birth and could be helped simply through a baby's seating position.
Research has shown that there are a variety of contributory factors that parents should be aware of, which include over-swaddling, seating positions in car-seats, carriers and play equipment.
"DDH is remarkably little reported and very little understood by a lot of parents. However, there are a series of steps they can take to dramatically reduce the risk, such as choosing a wider car seat, using an ergonomic baby carrier and avoiding forcing baby's legs together.
"It's also important for parents to keep an eye out for symptoms of Hip Dysplasia in their children. These include one longer leg, dragging a leg when crawling, hearing or feeling a click in the hip when changing the nappy, seeing a difference in the skin creases of the thighs and difficulty in moving a leg sideways when getting the baby dressed.
For parents who want more information about Hip Dysplasia Nikki Khan and Ergobaby have created an educational guide to the condition and how to avoid it on the Ergobaby Facebook page. Videos and an information sheet for parents are to be found here: www.facebook.com/ergobabyuk.
The implications of a late diagnosis for ddh.


An exact replica of the traditional butler's bell in nickel plated solid brass, centred with an elegant flower motif. This stunning bell is copied from Edwardian and Victorian antique originals. Typically used in large houses internally to summon servants they later became widely used in hallways and near front doors and entrances to notify the home owners of visitors. Mounted on an oval oak back plate this mechanical bell has a beautiful tone and would be a lovely addition to any period home.


So far this year, 15 games have ended with the winning pitcher having faced only one batter. Using Baseball-Reference.com's Play Index, I ran a search for those games to examine the trends. The most recent was Elmer Dessens, but the Mets' Pedro Feliciano leads the league with two.
The most interesting fact to me was that only one third of the games were won by left-handed pitchers (Feliciano twice, Eric O'Flaherty, Randy Flores, and John Parrish). That doesn't quite make sense because LHPs are more likely to come in for one batter than RHPs. (So far, 189 right-handers have games with one batter faced, compared with 198 lefties). That indicates that wins aren't distributed uniformly across appearances.
Also interesting is the efficiency shown by Jorge Sosa in the Marlins' May 31 game against the Brewers. He threw one pitch to pitcher Chris Narveson, who was doubled up along with catcher George Kottaras. Sosa ended up credited with 2/3 of an inning pitched and the win.


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The Agetur Kingmaker Chase Day
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Warwick Beer Festival coming to Warwick Racecourse
Press Release 30th June 2016 Warwick
The keepers of an ancient tradition in Warwick will be welcoming ale and cider drinkers to the town's annual beer festival at Warwick Racecourse in July.
Warwick Court Leet is once again staging this year's Warwick Beer Festival, which will be bigger and better than ever before.
Around 2,500 festival goers are expected to attend the two-day event which will boast more than 75 beers and ciders from across the UK.
Tipples from local breweries including Slaughterhouse Brewery in Warwick, Church Farm Brewery at Budbrooke, Byatt's Brewery in Coventry, Stratford-upon-Avon Brewery and Church End Brewery at Ansty will be available for tasting.
The event, being held at Warwick Racecourse on Friday, July 15 and Saturday, July 16, will also feature live music and hot food, with all proceeds going to Warwick charities.
Last year's event raised more than £12,000, and £2,000 of this has recently been donated to Myton Hospice.
Warwick Court Leet was established in 1554 to uphold law and order in the town which involved making sure food and drink in the town was fit for local people to consume.
Warwick Court Leet's Ale Taster still organises an annual ceremonial tasting at pubs in the town when landlords are presented with a certificate if their ale is declared fit to consume.
Alan Lettis, one of 24 jurors that make up Warwick Court Leet, said: "We are looking forward to staging this year's beer festival which will be bigger and better than ever.
"This year will feature even more beers and ciders, with quite a few of the beers being CAMRA championship winners.
"One of the beers we will have is a barrel of Black Voodoo by Fernandes Brewery, in Yorkshire, which only brews 16 barrels a month. We are particularly proud of this year's selection and reserve supplies will be on hand to ensure no one's glass is left empty.
"We would like to thank everyone at Warwick Racecourse for their help and are looking forward to welcoming General Manager Andre to his first beer festival."
Andre Klein, General Manager at Warwick Racecourse, added: "We are thrilled to be working with Warwick Court Leet to host this year's beer festival.
"It is a very popular event which raises thousands of pounds for charity, and with a larger selection of beers and ciders than last year, we are expecting more people than ever to be in attendance."
The festival will be open from 4pm to 10pm on July 15 and from 12noon to 10pm on July 16. Admission is £5 and includes a commemorative glass and copy of the tasting notes.
Advance tickets can also be purchased via our website.
For more information, visit click here.
Charitable groups in the borough of Warwick can bid for grants from the money raised at last year's event here.
Kimberlite Candy on course for the Grand National after Warwick success
Preview ahead of racing on Saturday at Warwick Racecourse
Warwick Racecourse prepares for racing highlight of the season
Racecourse Office: 01926 405560 Ticket Hotline: 0344 579 3013
Hampton Street Warwick Warwickshire CV34 6HN UK


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Q: Getting error installing custom build tensorflow 1.12 wheel with python 3.6 I am trying to install a custom tensorflow 1.12 wheel on ppc64le
IBM Power9 system with NVIDIA Pascal V100 but getting the following error:
gcc -pthread -B /ccs/home/shubhankar/miniconda3/compiler_compat -Wl,--sysroot=/ -Wsign-compare -DNDEBUG -g -fwrapv -O3 -Wall -Wstrict-prototypes -fPIC -DH5_USE_16_API -I./h5py -I/tmp/pip-install-d__8pdpg/h5py/lzf -I/opt/local/include -I/usr/local/include -I/ccs/home/shubhankar/miniconda3/lib/python3.6/site-packages/numpy/core/include -I/ccs/home/shubhankar/miniconda3/include/python3.6m -c /tmp/pip-install-d__8pdpg/h5py/h5py/defs.c -o build/temp.linux-ppc64le-3.6/tmp/pip-install-d__8pdpg/h5py/h5py/defs.o
    In file included from /ccs/home/shubhankar/miniconda3/lib/python3.6/site-packages/numpy/core/include/numpy/ndarraytypes.h:1821:0,
                     from /ccs/home/shubhankar/miniconda3/lib/python3.6/site-packages/numpy/core/include/numpy/ndarrayobject.h:18,
                     from /ccs/home/shubhankar/miniconda3/lib/python3.6/site-packages/numpy/core/include/numpy/arrayobject.h:4,
                     from /tmp/pip-install-d__8pdpg/h5py/h5py/api_compat.h:26,
                     from /tmp/pip-install-d__8pdpg/h5py/h5py/defs.c:657:
    /ccs/home/shubhankar/miniconda3/lib/python3.6/site-packages/numpy/core/include/numpy/npy_1_7_deprecated_api.h:15:2: warning: #warning "Using deprecated NumPy API, disable it by " "#defining NPY_NO_DEPRECATED_API NPY_1_7_API_VERSION" [-Wcpp]
     #warning "Using deprecated NumPy API, disable it by " \
      ^
    In file included from /tmp/pip-install-d__8pdpg/h5py/h5py/defs.c:657:0:
    /tmp/pip-install-d__8pdpg/h5py/h5py/api_compat.h:27:18: fatal error: hdf5.h: No such file or directory
     #include "hdf5.h"
                      ^
    compilation terminated.
    error: command 'gcc' failed with exit status 1

    ----------------------------------------
  Rolling back uninstall of h5py
Command "/ccs/home/shubhankar/miniconda3/bin/python -u -c "import setuptools, tokenize;__file__='/tmp/pip-install-d__8pdpg/h5py/setup.py';f=getattr(tokenize, 'open', open)(__file__);code=f.read().replace('\r\n', '\n');f.close();exec(compile(code, __file__, 'exec'))" install --record /tmp/pip-record-5_3ofwib/install-record.txt --single-version-externally-managed --compile" failed with error code 1 in /tmp/pip-install-d__8pdpg/h5py/

It breaks at the installation of h5py for some reason. It all starts with a warning message. I am not sure if it is related to it.
Cythonizing /tmp/pip-install-d__8pdpg/h5py/h5py/h5z.pyx
    /tmp/pip-install-d__8pdpg/h5py/.eggs/Cython-0.29.1-py3.6-linux-ppc64le.egg/Cython/Compiler/Main.py:367: FutureWarning: Cython directive 'language_level' not set, using 2 for now (Py2). This will change in a later release! File: /tmp/pip-install-d__8pdpg/h5py/h5py/h5z.pxd

And finally
Rolling back uninstall of h5py
Command "/ccs/home/shubhankar/miniconda3/bin/python -u -c "import setuptools, tokenize;__file__='/tmp/pip-install-d__8pdpg/h5py/setup.py';f=getattr(tokenize, 'open', open)(__file__);code=f.read().replace('\r\n', '\n');f.close();exec(compile(code, __file__, 'exec'))" install --record /tmp/pip-record-5_3ofwib/install-record.txt --single-version-externally-managed --compile" failed with error code 1 in /tmp/pip-install-d__8pdpg/h5py/

I am using miniconda3 for package management. The system installed gcc version is 4.8.5

A: You're installing tensorflow on a non-standard architecture (there are no precompiled wheels at PyPI) so pip has to compile everything (including dependencies, including h5py) from sources.
To compile h5py from sources you need to install HDF5 1.8.4 or newer with development headers. See http://docs.h5py.org/en/stable/build.html#source-installation for details.
Install libhdf5-dev using your OS' package manager if the package is available. Or install HDF5 from sources.

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text:
Rewari gangrape case: BJP MLA says 'frustrated, unemployed youth commit such crime'
Bharatiya Janata Party (BJP) MLA from Haryana's Uchana Kalan, Premlata, today sparked a controversy when she said that unemployment and frustrated among youngsters be blamed from the rising incidents of rape cases. She said that youths committing heinous crimes like rape is a very bad trend in the society.
"Youth who are frustrated, unemployed. They commit such crime (rape) which is a very bad trend in the society," news agency ANI quoted Premlata as saying.
The MLA made this remark while reacting to the Rewari gangrape incident wherein a 19-year-old young girl was allegedly kidnapped and raped by three men on Wednesday. The crime had taken place when the girl was on her way to coaching class.
Today, the police said that a SIT has been formed to nab the culprits and announced Rs 1 lakh reward to anyone for sharing information about the whereabouts of the accused. Nuh Superintendent of Police (SP) Nazneen Bhasin is heading the SIT. The officer today informed that she spoke to the victim and her condition is stable.
The state police have come under criticism from the victim's family and opposition as no arrests have been made even 72 hours after the incident.
The victim and her family had earlier alleged that police were not taking action in the matter and were dealing with it casually. However, the police on its part said that a zero FIR was filed and a manhunt was launched immediately to nab the accused.
According to the victim, she was kidnapped from the Kanina bus stand while she was on her way for coaching classes. She said that they gave her water to drink which was laced with a sedative. They then raped her in a room adjoining agricultural fields till she fell unconscious. They later dumped her at a bus stop near the village.
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What happens when you mix silky sweet vocals, a dash of enigmatic songwriting, a hint of awesomeness, and a whole lot of vibes? NoMBe's "California Girls," which will have you feeling some type of way. The LA-based producer/composer provides us with a winding down tune to ease you into your late night activities. Can't get enough of this.


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A Manchester student's final exhibition work has really gone down the pan - with her display in a portable toilet.
Art student Melanie Warner has designed what is believed to be the world's smallest art gallery to showcase her collection of pictures of toilet signs.
Ms Warner spent six weeks converting from portaloo to 'loovre'- now named The Bog Standard Gallery.
The metre-square mobile exhibition space will take to the streets of Manchester in the summer.
The 22-year old student at Manchester Metropolitan University said the idea has been in the pipeline for some time.
"It all started years ago when an ex-boyfriend bought me earrings which were the male and female toilet signs. Then my mum bought me a bracelet on a similar theme and then I started noticing the different signs everywhere," she said.
Ms Warner started taking pictures of lavatory signs wherever she went, from the Vatican to the Middle East.
She had amassed a collection of more than 600 photographs and felt it was time that her obsession should have its own very special exhibition space.
Ms Warner bought the portaloo from a hire firm in Eccles.
"I went to this compound, and there were literally hundreds of them all lined up. I chose this one - it was about 20 years old very battered and really dirty.
She said she really had to get her hands dirty to transform the former chemical toilet into a proper mini art gallery.
"It was completely disgusting at first. I had to take the toilet out, clean it of course. It took lots of scrubbing and I bleached it I don't know how many times - it was truly horrible."
After the art maverick had discarded her marigolds, an oak floor was installed and the walls painted a bright white and a skylight was installed to allow natural light in.
She said "It's a proper art gallery now with a wooden floor little blurbs by the pictures and even a fire exit sign - after all you can't forget health and safety."
The loo now houses a collection of 24 framed photos. It is on display at the Sha'are Hayim synagogue in Didsbury for a week before visiting venues across Manchester.
Ms Warner says after all the hard work she is now flush with success.
"The reaction has been brilliant - I think it's the smallest art gallery in the world and everyone wants to get their name in the visitors' book."
"People have even started emailing me their own pictures of toilet signs to add to my collection, which is great," she added.
But despite her success her project has caused some raised eyebrows among her friends.
"When I'm out taking pictures of toilet signs my friends try to disappear as it looks like they're with a weirdo!"


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Sahara was founded in 1978 by Subrata Roy, the son of a mill worker, in Northeast India with just 2,000 rupees (about $40). It began as a doorstep business, which offered shopkeepers, hawkers and cart pullers, savings opportunities for their spare change. It now owns satellite TV channels, an airline, a weekly newspaper, 33,000 acres of real estate and employs 700,000 people. Sahara attracts 32 million customers and Subrata Roy is a billionaire.
The modest rural savers are now funding Amby Valley, a lavish complex of swimming pools, hotels and villas; an hour from Bombay, and the Sunderbans project, a floating city near Calcutta with water sports and a Tiger conservation scheme.
The company has announced plans to expand into life assurance, and to capture the Indian expats in Europe and America, and ultimately the whole world.
Sahara means "support" and Pariwar "family" in Hindi.
"I believe I am the guardian of this family, who has the right to love and scold all members", Mr Roy told the Times of India recently. Sahara boasts that employees are not union members, and staff at Lucknow greet each other by placing their right hand across their chest saying, "Sahara pranam" - greetings Sahara.
For such a vast company there is a shortage of financial information. It is private, a family affair with "no owner", the profits re-invested or distributed to good causes. The website reports, "Our employees are not employees. They are family members. All belongs to Sahara and Sahara belongs to all".
To what extent can the leadership style used within Sahara be transferred to other types of organisation?
The leader's personality - for many this is set and unlikely to radically alter. So, a dominant individual will tend to be more autocratic than someone who listens carefully to others. If the business wants to change direction, then it will probably have to look for a new leader.
The leader's skills and abilities - much of what a leader can achieve will rest on their ability to illustrate sufficient skill and charisma. Respect and loyalty normally have to be earned and as we have seen in the styles of leadership section different individuals go about achieving these in different ways.
Circumstances - some rise during a crisis, whilst others are better in less chaotic circumstances.
Culture - the ways in which a business is run can also affect what style of leader it works best under. Some prefer a more open, consultative way of doings things, whilst other use a more autocratic way of running affairs.
Task - the nature of the task, such a highly technical one, might also determine who leads and how.
The workforce - if it is prone to laziness or poor standards then a more dictatorial style of leadership may be needed.
It is important to recognise that there is no appropriate style of leadership for all situations. It is common in IB examinations for candidates to state that democratic leadership is 'good' and autocratic leadership is 'bad', and, therefore, autocratic leaders should become more democratic and 'nicer'. In most circumstances individuals cannot simply change their styles (even with training), nor would their teams perceive a sudden change in style as genuine.


text:
Cleveland Senior Helps Pass Senate Bill for Native American Curriculum in Schools
By Kira Chan, Copy Editor
Senior Larae Ellenwood played a crucial role in the passing of a Senate Bill about Native American education through voicing her experiences to Oregon legislators. Senate Bill 13 requires Oregon schools to develop and teach a Native American education curriculum.
This bill was officially passed on August 7, 2017, largely due to lobbyists like Ellenwood. She began doing equity work at 11 years old when she testified for a bill that required Oregon sports teams with Native American mascots to change their names.
"I heard a lot of push back from coaches of these teams telling the representatives that they were '"honoring' Oregon tribes and that their mascot or team had had that name for years and changing it would break their traditions," she said. "Being able to have a voice over this issue made me realize how important I was as a native youth."
Ellenwood is Seneca, Blackfeet, and Nez Perce. Her mom has connections to the Native community in Portland, and as a group they were able to schedule a lobby day in April, 2017 and talk to legislators and representatives about implementing a Native American curriculum in Oregon schools.
Some of the concerns from legislators were about where they would find the curriculum, or how they would train educators to teach it. Ellenwood said that teachers not knowing how to approach teaching Native American education can often stand in the way of progression. "Instead of teaching it or trying to teach it, they would kind of avoid it overall." She shared with the legislators her past experiences with Native American education, which she believed help convince them to pass the bill.
Before moving to Portland her sophomore year, Ellenwood lived in Montana, where she received education about Native Americans in her public school curriculum. "I was invited to testify, and during that I talked about my experiences living in Montana. They have 'Indian Education for All,' and so it's taking all kinds of different subjects in school and integrating Native American curriculum into that certain subject," she said.
She described her biology class, and how they learned about native plants to Montana and how different tribes used them. At Cleveland, however, her experiences were different. "The only class that mentioned Native Americans at all [last year] was my U.S. history class, and the only thing we talked about was alcoholism…we talked about the stereotype that Native Americans are all alcoholics, but not why."
This year, she's had more exposure to Native American education. A class that she expressed gratitude for was her government class with Sarah Hardy, and discussed how they're learning about the Seneca tribe's government and how it influenced our government today.
"Being able to hear my tribe's history in a class that I'm in at Cleveland kind of shocked me, and it felt good to know that people around me were learning about my cultural background and values… I wanted to thank [Hardy]."
With the passing of Senate Bill 13, Native American education will now be required to be implemented for K-12 in public education. Ellenwood expressed that this is a step forward for Native American students. "It's nice to have that cultural presence in school, and to be able to know that kids in school know about your culture and history."
Ellenwood said she plans to continue equity work in the future. "There's no reason not to," she said. "I didn't ask to be a representative for my culture, but I have welcomed the responsibility. I've been a part of several panels advocating against Native American cultural misappropriation and voicing my experience of such misappropriation."
Larae Ellenwood
Senate Bill
Kira Chan, Editor in Chief
Hi! I'm Kira Chan, the co-editor-in-chief of the news section. This is my third year on the Clarion and I'll be graduating from Cleveland in 2019....
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