Ten Cents a Ticket in My Double Bed Blanket (a New Music Video!)

Who would have thought it: me the wannabe writer, the wordsmith, I've gone and done something completely left-field, and become a music video producer! It was never something I imagined I would be good at, or even able to attempt... but for the past couple of weeks, I have not only been making videos, but getting paid for it! Exploiting skills honed over many years of manipulating images on Gimp or Online Image Editor, and expanding my savvy to encompass Windows MovieMaker, and YouTube. I know I am not going to win any awards for these clips, or infect the world with a virus, much as my sponsor might hope so. I'm certainly not going to get rich, and neither, probably, will he. I don't really care, and I've never really gone for the viral success thing anyway. Ever since I hit "rock bottom" last month I have been looking for any excuse to escape, and clamber goat-style back up the slope which by definition must rise (since I am at rock bottom), somewhere around me, if only I can find it. One day last month, sunk deep in my funk, stranded on my desert island, I received a message from one Sam Evangelidis, an associate of Garnet Mae, asking me if I could help him out. Sam was the famous milk truck investor for Meat Pie, if my memory serves me right, and lives in the Blue Mountains west of Sydney. He wanted me to produce some videos for his songs. He has a lot of them, and most of them are pretty good.

Slaving over a hot keyboard, working for Sam Evangelidis (Australia, 2013)

This joyride here, is the third video I have made for Sam. Called Ten Cents a Ticket in My Double Bed Blanket, this is hip hop with a suburban Sydney twist. Not quite MC Kerser, but it's mean enough. Samples and a bassline which sound like something on a Drum&Bass track. Drums and bass and a delicious diva... what could be better than that? What could be better than the fact that I am involved in it?

Pham Luc, North Vietnam's Soldier-Painter, and Living Legend

I received an email yesterday from a certain Mr Phuc (of Vietnam Pathfinder Travel) in Hà Nội which read: "I found your website and contact at Crowded World and would like to sell some paintings of Pham Luc Artists in my collection (at attached files). Pham Luc artist live in Hanoi, Vietnam. He is around 70years old now and some of my paintings bought from him that was painted during Vietnam war time (60-70)."

Nude with flowers, by Pham Luc (courtesy Vietnam Pathfinder Travel)

In a land which reveres patriots, Phạm Lực occupies a particularly hallowed position among the pantheon of heroes: he served in the North Vietnamese army as a painter-propagandist, using art not just as a witness, but as a weapon. That said, his paintings don't appear particularly militaristic: nudes, still lifes and pastoral idylls are among his most common motifs. While the Americans and other counter-revolutionary forces that he confronted brandished state-of-the-art cameras to record their side of the war, Phạm had to make do with good old-fashioned paint, canvas and brush. When canvas dried up, he reverted to painting on burlap rice sacks, as one foreigner who visited his home in Hà Nội remarked. "The paintings from the war are rat-eaten and shrapnel-ridden but embody an irrepressible spirit," the visitor wrote. "They are darker in composition and content than his later works, which are equally fine. The painting which I call Forbidden was painted in 1974 at the close of the war. This painting of a beautiful woman during wartime conditions was against socialist dictum of the time. Phạm Lực hid the work for over a decade before he could display it." (Note: this is not the nude painting depicted above, which I received from Mr Phuc, but there is doubtless some resemblance between the works. It all goes to show that despite being a nationalist and patriot, Phạm was no stooge. In his mind, perhaps, the revolution could never be curtailed by dogma, or realpolitik. As Trotsky famously proclaimed, the revolution should be eternal! But that is my take on the story, so it ought to be disclosed as such.)

Flowers with lamp, by Pham Luc (courtesy Vietnam Pathfinder Travel)

The picture above is a still life, one of the literally thousands of paintings Phạm Lực has produced over the years. If you are in Hà Nội and have the chance, you can visit the artist at his home, and perhaps even have your portrait painted by him. He has become something of a celebrity in the northern art scene, something of a living legend. Ambassadors from other countries own his works.

Pastoral landscape by Pham Luc (courtesy Vietnam Pathfinder Travel)

The landscape above has something of a pastoral dimension. As with the two other paintings featured on this page, it is available from Vietnam Pathfinder Travel in Hà Nội. If you represent an artist or gallery in Vietnam and would like to promote your works on this site, please let me know. Leave a comment below, contact me on Facebook or Soundcloud or YouTube or Quora or Twitter or whatever, or just send me an email. I am always keen to make new friends!

Fouling the Nest

During my Australian life (realUniverse#1990s) I was employed as a journalist for Cumberland Newspapers and worked at many of their titles in Sydney and on the NSW Central Coast. One of my gigs was at the North Shore Times where, as well as being general office shitkicker, I served as the resident restaurant reviewer. I didn't understand why all of my colleagues thought it was a shit job, I myself assumed it would be something of a prized position, and definitely a lurk... anyway, as soon as I lobbed up at their office in Chatswood, one of the first things I got asked was: "Can you do the restaurant reviews?" Some female reporter there had been doing it but she was more than happy to let me take over if I didn't mind, and anyway she was going to be far too busy from now on with her new brief (which was writing about real estate, or something like that). Being the new guy, I was kind of obligated to oblige, and help her out. Being the new guy, I was expected to take on the tasks that others didn't want; I had to be a shitkicker, at least temporarily. I shifted in my seat, smiled, said, "Yes, of course I can!" and then the job was mine, just like that. Possibly the other journalists there regarded it as a waste of time, not "serious" enough for them, or an impediment to their career... but while the guy I sat next might have dreamed of being a Rugby League reporter at the Sydney Morning Herald, I was after nothing more than a free feed! And nothing is better than getting free food, than being paid to eat it! Of course, nothing is really free in this world, and I had to work for those meals, I had to fawn and flatter for them, and write nice things in print. I had to spend the odd evening in a drafty restaurant somewhere with the staff photographer mopping up curry with naan and making small talk, when I could have been at home. Naturally, I wasn't allowed to write anything negative should the food disappoint because the restaurants were also advertisers, and advertising was the name of the game at Cumberland Newspapers, it was their bread and butter you might say. In any case, even if the food was good, and it usually was, the restaurant review system didn't seem like a fair way to go: as the establishment in question always knew I was coming, they naturally laid on a good spread, waiters buzzing around like moons and all the rest. Had I visited incognito, guerrilla-style, it might have been a different story, a more honest story! That's why websites like urbanspoon are so much more honest, and so much more candid... they're democratic, and tell it how it is. I wasn't allowed to do that in my reviews (or in any of my "harder" stories, to tell you the truth.) And maybe that's why, in their wisdom, my fellow journalists at The Times hated writing the reviews... they knew it was just glorified copywriting. They had places to go, and bigger fishes to fry. They were aiming for the top, which left me the bottom to colonize.

The United Colors of Crows Nest, near North Sydney (Australia, 2011)

Journalistic ethics aside, I was on a roll at the North Shore Times, and as well as scoring lunches at French and Swiss bistros that I would not ordinarily be able to afford, I scoffed Korean bulgogi, bowls of pasta, gourmet hamburgers, and plenty of good Chinese. It was mighty convenient that I was living a 10 minute walk away, across the highway from the Royal North Shore Hospital, just past St Leonard's railway station near Crows Nest. I had a Hong Kong girlfriend and a leafy backyard... what could be better than that? Okay, my Trekkie flatmates were kind of anal, and they had a psycho cat to boot (and boot it I did, from time to time, when they weren't watching!) I split up with my Hong Kong girlfriend after just a month or two together, and the sea monkeys she gave me when we started out together died, dissolving into a milky cloud. But anyway, I had Crows Nest, just a matter of blocks away! Back then, before I had moved to Japan, I used to think Crows Nest was kind of sophisticated, exotic even, but not really that edgy. There were gorgeous multicultural treats in easy walking range, Italian pizzerias run by guys with names like Vince, or Dino (or Pino), and Thai takeouts with humorous/sarcastic names. In due course, I reviewed many of these establishments for the North Shore Times. I was totally spoiled for choice: North Indian, Japanese, Korean, there was even a Mongolian place in which I lunched with the Cumberland crew (I had to pay for this one). When I was off-duty, there were two bottleshops in roaming range, and for harder fare, my mate Jimmy (of Pablo Velasquez Shoeboarding fame) lived up the road, on Ernest Street. Whatever you needed, he could supply. The majesty of Sydney Harbour was also just a short stroll away, anyway really... whichever way you headed, you were destined to run into it. The water seems to be all around you, in this part of the world.

Last month I jetted down to Australia on Vietnam Airlines, and had the opportunity to revisit some of my roots. Two days after Christmas, a somewhat overcast day, I met up with Chris Mae, my old partner in crime from Japan, and his brother Garnet, the renegade film-maker, and cruised around the lower North Shore for a while, looking for mischief. Chris had just got a new skateboard for Christmas, and he was very pleased with himself.





After a nice round of lawn bowls we went over to Cremorne to eat some Mickey D's, and then Garnet suggested we drop in to have a chat with Jimmy, who still lived in his original crib, on Ernest. Back in the day Jimmy's was the place to hang, and if you were lucky he might get out his projector and show you Bladerunner on the big screen, or something from the Star Wars saga. Unfortunately Jimmy was out, but he told us to hang tight, and wait an hour or two. We decided to go for a walk, and look for some good grub. This was Crows Nest, after all: there ought to be plenty of fine dining selections at hand! 

Mumu, a grill joint, on Alexander Street, Crows Nest (Australia, 2009)

So, we went for a walk, looking for something promising. The sun came out, birds were flapping around, and all was well with the world. We walked up the road, to Alexander Street. Church was in session, and all the faithful were dressed up for the occasion. Looking around, it seemed like every second restaurant was a grill joint. MUMU (70 Alexander Street) was a case in point, and promised "grill,  tapas and bar"... who could imagine a better combination? According to my beloved North Shore Times, this place has the largest al fresco dining space in Crows Nest. It might have been nice, but Garnet is a vegetarian, so it wasn't really appropriate. Damn!

Grill'd, another grill joint, on Willoughby Road, Crows Nest (Australia, 2009)

We moved on, to Willoughby Road, to pass another grill joint, Grill'd (49 Willoughby Road). Nobody out to eat yet; perhaps it was too early. According to Menufest: "The Grill'd concept was born when Simon Crowe, the company founder, decided to do something about the lack of a decent, healthy hamburger in the Australian market." Lamb, chicken, beef and vegie burgers are on the menu here, which should have pleased Garnet. But, for some reason, he wasn't going for it. We walked on, passing Wrapido, and a Commonwealth Bank branch. Then we stumbled upon a place which is apparently renowned in this part of town: Pino's Pizzeria. We all agreed we could do with a good pizza, so we pulled up a seat outside.

Garnet Mae prepares to dine, at Pino's Pizzeria (Australia, 2009)

Postscript: who would have thought that I would go all the way to Australia to get a dose of the runs? I have been to Vietnam six times in the last three years and even though I often dine on the streets there, I hardly ever get an upset stomach... nothing too bad anyway, maybe an overdose of fibre. I have lived in Japan for nine years and eaten raw chicken, raw horse and canned whale meat and felt none the worse for wear, accrued bad karma notwithstanding. It took returning to my native Australia to get a really intense case of diarrhea, one that lasted for nearly a week, and followed me all the way to my love nest in Ho Chi Minh City... and I believe it all started at Pino's Pizzeria. Mind you they were good pizzas that we quoffed there, me and the Mae brothers and their two halfJapanese descendents... mine were heavy on the anchovies. It was probably the anchovies that unsettled me. If I had been like Garnet and limited myself to the Vegetariana (artichokes, mushroom, onion, olives and capsicum) I would probably have been okay. Probably. Anyway, at least I have a chance to provide a really honest Sydney restaurant review, after faking it for so long. Incidentally, urbanspoon rank Pino's as one of the top restaurants in Crows Nest. Don't listen to my sad gripe; the majority can't be wrong!

Food, Fashion and Fetish in Newtown, the Swinging Soul of Sydney

Every major city in the world has a neighborhood where all of the local personality and lifeforce gets channeled, concentrated laser beam style, then finally ignited into a sun which is singular and eccentric, but also radiantly representative of the metropolitan ethos as a whole. Some cities, of course, have more than one such neighborhood -- in Tokyo there are for example at least two places where the Japanness of Japan gets pushed to its logical extreme, and beyond: one is the anime antnest of Akihabara, the other the Cosplay chickland of Harajuku, by Yoyogi Park. Some cities (eg, Reykjavik, Copenhagen, Amsterdam) are so far ahead of the times it is hard to find a precinct inside them which isn't progressive or kooky cool. Sydney, the capital of the south Pacific, is endowed with only one world-class Bohemia (in my opinion), but it is a brilliant Bohemia nonetheless. The place is called Newtown, and it was recently dubbed "Sydney's most creatively well endowed suburb" by the counterculture Sydney City Hub newspaper. For as long as I can remember, it has long been one of the food, fashion and fetish focal points of the city. The amazing thing is, Newtown is not reflected on any tourist/traveler radars, as far as I can see. Then again, the places which fly under the radar are usually the best places to explore, so perhaps it is fitting that Newtown remains a dark star, known only to the locals. If your aim is to get a feel for the gritty reality of modern Australian life, don't go to Darling Harbour or the Opera House, those places don't live. Newtown is the place to visit, it has a soul, and epitomizes the Australian personality! It won't disappoint you, I promise. I'll stake my reputation on that. Unlike other famous parts of Sydney (for example Bondi Beach), the ocean exerts little influence here. Instead, as in Melbourne, people turn to the streets for their entertainment. Restaurants, shops and pubs are the principal methods of diversion. You can shop for vintage clothes, or see a hard rock band, or have hot wax poured on your nipples at an S&M haunt. All the bands in Australia have names starting with the article "the", it has become something of a cliché. I've never really understood why.

Nonetheless: one thing you have got to keep in mind is that while Newtown is by far the most Bohemian district of Sydney, it is different from Bohemian communities elsewhere in the world. This is Australia after all, and the Australian personality still shines through -- perhaps even more blindingly than out in the Burbs. Along with Darwin, this is one of the last surviving outposts of the classic Aussie larrikin. Instead of openly rebelling against the basic Australian personality, as you might expect, Newtown folks caricature it, camp it up, and basically push that personality to its logical extreme, in the process transcending it. Take the issue of fashion, for example. Australians have always been decidedly daggy dressers, and many honestly don't give a damn how they look ("it is fashionable not to be fashionable," my mate Garnet Mae once complained). In rebelling against this, you might expect the subcultures of the inner-city to go the other way, and embrace European style haute couture, to prove they have more taste than the slobs out in the suburbs. That is indeed what happens, in some quarters (like Surry Hills). The Bohemians of Newtown, however, prefer the natural look -- sans shirt, bare feet, the potency of body odor. Whatever gets you closer to Mother Earth, that's what they go for. Now in an already laid-back society, one might think this is a strange way for a supposedly contrarian subculture to express its sartorial instincts. Like the anime addicts of Akihabara, like the Cosplay chicks of Harajuku, the Newtownians knows that the really contrarian way to rebel is not to oppose diametrically, but to mimic to the point of excess. Not just to ridicule, but to take ownership of the dominant culture, and live it the way it was supposed to be lived, before it got corrupted by The Man. Like the urban tribes of Tokyo, the Bohemians of Newtown know this is how you win the culture wars, this is how the real jihad should be waged. Once you stop attacking the dominant culture and start appropriating it, with a gleam in your eye which suggests you were never against it to begin with, the rules of the game are abruptly changed. You cease being silly freaks on the margins, bereft of influence and power, and recast yourselves as true disciples, the Guardians of the Way. Your way is not the alternative but in fact the Only Way: the Tokyo way, the Japanese way, the Australian way, whatever the paradigm that you are seeking to overthrow. In short, you subvert the system from within, by becoming the system, wearing it like an old coat. Or a pair of faded board shorts, if you happen to live in Newtown.

"I have a dream": Martin Luther King tribute in Newtown (Australia, 2007)

Earlier this month I was down in Sydney for a few days, catching up with old friends, and staying with the aforementioned Garnet Mae, slumlord and director of such no-budget movies as Meat Pie (the one in which a guy with a penchant for kitchen appliances goes too far, loses his organ, and requires an urgent transplant!) I used to run with Garnet back in our uni days, and he introduced me to a lot of Sydney's prized jewels, Newtown among them. This was impressive, as we went to university at Bathurst, 200 kilometers to the west. We had plenty of breaks, however, and I used to enjoy cruising around Sydney with Garnet and his crew on spare weekends, sneaking into concerts, jumping the back fence into raves and festivals, getting into general mischief. One weekend we traveled all the way from Bathurst to Newtown to visit The Kastle, which was becoming infamous back then. I don't know why they called it The Kastle. The Dungeon would have been more apt a name. Sinister looking entrance -- just an anonymous door on a graffiti-splattered backstreet. Kind of looked like an abandoned warehouse. Enter inside and suddenly it was warm and there were tonnes of guys with thick mustaches wearing black leather, dark techno on the decks (this being the early 1990s!), and girls in latex and fishnet stockings. I was expecting it to be a nightclub, but it was more a theater... a theater of cruelty to be precise. Name your vice, it was here: bondage, submission, punishment, BDSM. We were there with our Bathurst bro Stu Ridley and his girlfriend Fiona, and possibly our flatmate Katja, who had accompanied us on the long ride in the car, over the mountains. We were there mostly out of curiosity, but I suspected Stu might have had more questionable motivations. He seemed to be in too much of a hurry to get his shirt off out on the dancefloor, waving his hands in the air, sweat flying out from his orange hair. From time to time the music stopped and a little performance was put on by the staff, a tableau in our midst: there was a shirtless man strapped to a rack as a Dominatrix flexed her whip, waving its strands over his nostrils menacingly, or possibly a guy and two girls engaged in a threeway kiss. It might have been a freak show for Fiona, for Katja, and for Garnet and I, but Stu seemed to be taking an earnest interest in proceedings. He was getting into it a little too much, methought. Suddenly I realized: wasn't it his idea that we came here tonight? Somewhere in the early hours, quite a few drinks later, the music paused one last time and the curtains rose on the final act: a spot of candle wax play. This time around, they put out a call for volunteers. I dug myself back into the crowd ever so slightly, concerned someone might nominate me for the role. I needn't have worried; standing next to me, Stu stuck his hand up, and submitted gleefully for the ordeal. They strapped him up to the rig, handcuffed him, and fitted him with a blindfold. The crowd was going nuts, gay couples nodding their approval, Fiona looking a little embarrassed (or was that pride in her eyes?) A domme stepped forward, and with a theatrical flourish commenced dripping hot wax all over Stu's chest. He grimaced in pain, but there was still a smile on his lips. Where did that come from? I wondered. Who was that for? Looking back on it all, it seems obvious this moment marked a turning point in his life. The beginning of his descent, in fact. If only I could have predicted it at the time!

That was 1993, 14 years ago. I don't know if the Kastle is still around, or what Stu Ridley is doing these days. I'm walking on King Street, the spine of Newtown, whiling away some hours while Garnet is at work, hustling customers on the phone. It's a grey day; the sun is struggling to break through the clouds. At 305 King Street, I stop to admire an iconic piece of street art: the Martin Luther King mural painted by the anarchistic Unmitigated Audacity Productions in the early 1990s. Not quite Banksy, but it is as good as it gets in Sydney. I don't know if the Gothic typeface is appropriate, but it would probably make for a good tattoo. It's about lunch time, and I am feeling peckish. There is certainly no shortage of culinary choices in this vicinity, with Thai eateries, Turkish pide joints, and even an African restaurant all within spitting range. I am actually hankering for Bondi-style Portuguese chicken, which I find at Oporto, on the adjacent Enmore Road, the other side of the railway tracks. I know it's fast food, but I don't care. It's soul food to me, and you can't find anything like it in Japan. I eat a burger and chips, as the wind blows garbage around in a nearby parking lot, and diners watch sport on an in-restaurant TV. I would love to sit and chill, but I have things to do. Hunger satiated, I return to King Street, to take a walk on the wild side.

One of Sydney's entertainment icons, the Sandringham Hotel, at 387 King Street (Australia, 2007)

Newtown is packed with entertainment venues, among them the Bank Hotel, the Coopers Arms Hotel (221 King Street), the Enmore Theatre (52 Enmore Road), the Dendy Cinema, and the Sandringham Hotel (387 King Street). If you want find out what is happening in Newtown, click the Newtown Precinct Page for details. In a newspaper article quoted on the page, Pam Walker writes:

Newtown has long been home to large numbers of visual artists and writers. In the 80s it was the hub of independent music with many a band paying its dues in pubs like the Sandringham. 

Now the area has become the cradle for the performing arts, actively nurturing young playrights, actors and dancers. So exactly what is about Newtown that attracts the creatively endowed? 

The Enmore Theatre's Greg Khoury says that the suburb's artistic leanings go back a long way. In fact, Newtown has thrived since its inception as an artistic outpost to Sydney in the late 19th Century. 

It is too early in the day for a drink, so I walk on, past the pubs. Me being me, I decide to check out the herbal shops. I'm looking for a legal way to get stoned. It's been so long, and I always associate Sydney with smoking a bong. I go inside one business, and locate a pack of dubious goodies called "Tribal Trance", or something similar. The proprietor assures me it will do the trick, but I am not convinced. These synthetic marijuana products are always rubbish, in my experience. Still, I have money in my wallet from my new job in Japan, so I figure it should be worth a try! I buy a bag for AUS$20. And I think to myself: Why is everything in Australia so expensive these days?

U-Turn Recycled Fashion, at 2 Enmore Road, Newtown (Australia, 2007)

Along with herbal shops and their New Age cousins, there are plenty of fashion retailers in Newtown. Suitably enough, many of them specialize in the vintage/recycled/classic end of the market. As I discussed above: appropriate the dominant paradigm, and wear it like an old recycled frock. That's how the game should be played! Some of the boutiques to be found include Kita Vintage Clothing (Shop 2503 King Street), and the local outlet of U-Turn Recycled Fashion (2 Enmore Road).

Exclusive Vintage Clothing, at 383 King Street, Newtown (Australia, 2007)

Just a U-turn around the corner from U-Turn, back on King Street, sits one of the landmarks of the Sydney vintage clothing scene: Exclusive Vintage Clothing (383 King Street). As the Sydney Morning Herald newspaper reported in 2004: 

Sydney's hunger for vintage and secondhand clothes has fuelled a 15 per cent profit surge for the Salvation Army's retail stores in the last 12 months. 

The workers hit the clearing house floor, sorting the hundreds of thousands of tonnes of clothing that arrive each year. 

The best clothes are sent to the Salvation Army's inner city stores - in Darlinghurst, Glebe and Bondi Junction - where prices and turnover are higher.

Meanwhile each morning, between 20 and 30 wholesale buyers wait for up to an hour outside the Salvation Army's Minchinbury and St Peters factories. They buy damaged or stained clothes which are then cleaned up and sold at marked-up prices at the Paddington, Glebe and Bondi markets or in commercial second-hand stores in Surry Hills and Newtown...

RECOMMENDED WEBLOGS & WEBSITES
Painting the Bridge

Making Mochi, and Appeasing the Gods (New Year in Shikoku)

One of my goals for the Great Shikoku Sojourn of 2005/06 was to enjoy a traditional Japanese New Year. As reported earlier, I passed New Years Eve last year in a sleazedive Roppongi club and while there is nothing wrong with that, this year I wanted to do things differently. Luckily for me, my adopted family in Shikoku always celebrate New Years the traditional way -- unlike a lot of Japanese these days who opt out for a vacation to Hawaii, or spend New Years Day eating take-out sushi or even Domino's Pizza. Actually, Pizza Hut now deliver their own New Years Day family meal in Tokyo, which costs an astonishing US$120 (as I recently discovered.) But I didn't want to eat anything from Pizza Hut this Japanese New Year, or do anything US military-related socially-wise. I wanted to do things the old school way, Bushi "Way of the Warrior" style. Luckily for me, the gods of Shikoku were on my side. They granted me my wish, and so I will remain forever in their debt, eternally.

My newly adopted grandmother and grandfather are certainly old school in how they live -- they're up every day at 4am to do all the chores that need to be done, like picking vegetables or making presentations to the gods which live all around their country house. I decided to emulate them while I was on their island, for a couple of days at least. Well, I knew I would never be able to get up at 4am, but I wanted to enjoy all the clean-living fun of rural Japan -- working in the fields, taking the dog for a walk in the bamboo thickets, drinking warm sake under the warm warm kotatsu. On my first full day in Shikoku, I was able to participate in another chore, a particularly sacred one -- the making of mochi rice cakes.

Before we go on, I ought to explain... what are mochi rice cakes, exactly, and what do they mean to the Japanese people? Let's go to one of the popular sources of modern times: Wikipedia! Wikipedia says: "Mochi (Japanese 餅) is the Japanese variant of Chinese rice cake, which, like its Chinese origin, is made of glutinous rice, pounded into paste and molded into shape; however, unlike the Chinese variety, it is molded right after it is pounded, whereas the Chinese variety is baked once again after to solidify the mixture as well as sanitize it. Traditionally in Japan, it is made in a ceremony called mochitsuki. It may also be made in an automatic mochi machine, similar to a breadmaker. In Korea, a nearly identical food is called duk (also spelled dduk, duek, d'uk, or tteok)." (Ed's note: those Koreans have a knack of giving the same basic food a million different names -- see my Korean Dog Soup Page for more comfirmation of this!)

On the subject of Mochitsuki, which is the ceremony I was blessed to participate in, Wikipedia continues: "Polished glutinous rice is soaked overnight and cooked (eds note: see first picture in the series below: the rice is being steamed in a traditional mushiki here.) The rice is pounded with wooden mallets (kine) in a traditional mortar (usu). Two people will alternate the work, one pounding and the other turning and wetting the mochi. The mochi must be kept wet to keep it from sticking to the mallet. The sticky mass is then formed into various shapes (usually a sphere or cube)."

That's making mochi in a nutshell: a lot of steaming, a lot of pounding, and a lot of kneading into the desired usually moon-like shape. What you end up with a lump of soft, sticky, gooey, glutinous goodness. They taste somewhat bland perhaps, although you can spice them up coating them with various substances, or stuffing them with red bean paste or even ice cream (that last item is not particularly old school though!) In the photo block beneath you can see another variant being made -- grass mochi! Kusa mochi (Japanese: 草餅), also known as yomogi mochi, is a Japanese sweet, and despite the name is made not from grass but rather mugwort.

Yes sirree, the Japanese love cooking and eating these rice cakes at New Years Eve, although they are often eaten elsewhere in the year. Japanese also love presenting the mochi to the gods, to thank and honor them and to ensure good fortune in the following year. It is interesting that throughout human history, all over the world people have felt compelled to offer sacrifices to the Higher Beings, in order to win their appeasement and their approval. I was reading Homer's The Odyssey last year, and what impressed me the most, apart from the brutality of the climax, was how on almost every second page one of the heroes burnt up a pile of bovine thigh bones, or a rack of juicy steaks, to satisfy Zeus and his ilk. Now they don't practice animal sacrifice in Japan, but they do have plenty of reverence for the gods -- and there are literally millions of gods in this country. They don't sacrifice animals, but they do sacrifice food, which must have meant a big loss of resources back in the old days when there were a lot of hungry mouths to feed.

One thing I ought to point out right here is that New Years Day is celebrated in a completely different way in the East than it is in the West. In Japan/Korea/China/Vietnam New Years Eve/Day is kind of similar to the western idea of Christmas in that it is a day for family get-togethers, quiet reflection and acts of religious devotion, the consumption of vast quantities of food, dozing off in armchairs, getting up late and basically taking it easily. Ironically, Christmas Eve is the time to party in Japan, and many couples ask each other out on dates on this day; going to Kentucky Fried Chicken is especially popular. Go figure! So in other words, the Japanese New Year is our Christmas, and our New Year is their Christmas, in a manner of speaking! One of the things Japanese people do on New Years Day, apart from eating and drinking a lot of substances themselves, is that they make offering to the gods. At the home of my adopted family in Shikoku, they honor and partake in a particular tradition, which I call making mochi trees. Actually, it is only one tree they make, a small typically Japanese bonsai style fake tree, basically a stick skeleton hung with colorful shiny baubles and -- get this -- little pieces of mochi, rolled up to make what are called mochibana (rice cake flowers). The little stick tree is then propped up in front of the household altar, in the belief that the gods will come and eat the flour flowers, while the humans are off enjoying themselves devouring osechi ryori and sinking sake elsewhere in the house.

In the photo bar above, you can see mochibana being applied to the branches of the fake tree, by my girl C. In the photo bar beneath, you can see the mochi tree in all its colorful glory, before the household altar. The final photos display more substantial fare for the gods -- a full tray of shrinkwrapped rice cakes ready for Divine Degustation. There are also some dried kaki (persimmon) and a whole salted fish, if any spiritual beings take a fancy to that.

The idea of leaving fish and dried foods on an altar in your house for invisible beings to eat might seem strange to us westerners, but we do have some similar practices of our own. In a lot of countries people leave out glasses of warm milk (or cold beer, in Australia) for Santa Claus to drink on his annual visit, and there is a carrot in every house for the Easter Bunny. In some countries, children who have lost teeth put them in a glass of water beside their bed, and in the morning they are transformed into money! Perhaps Santa and the Easter Bunny and the Tooth Fairy are all we left of our pagan animist past. In Japan in the animist past lives on. In Japan animism never died.

Like many other things in Japan, mochi plays a spiritual role in life. Every village or town has its own special ways of using it in its religious rites and customs. In the small town of Aratano (Tokushima Prefecture) in Shikoku, for example, a festival is celebrated in the early New Year called Mochi Nage, or "Thrown Mochi". The idea behind Mochi Nage is disarmingly simple: people turn up at the local Shinto shrine, some shrine workers come out with bags of cooked (and I assume blessed) rice cakes, wrapped in plastic for hygiene, and proceed to hurl them at the assembled crowds. Little kids dash about, catching or picking up as many of the rice cakes as they can bundle into their arms. Old ladies push younger countrymen/women aside in the mad melee. Perhaps some fire works are discharged. At the Mochi Nage festival I attended at Aratano, I got pelted by a couple of the thrown cakes, which are actually quite hard and could easily "take an eye out", if you were hit the right way. I also managed to collect a big bag full of mochi, and this bag was eyed enviously by some of the local kids in attendance there. The gods were on my side; I managed to do a good job.

In the photo bar above, you can see photos from the Mochi Nage festivities at Aratano. In this town's version of Mochi Nage, a colorful boat-like vehicle (actually a converted car) is first rolled through the streets, attracting a crowd of eager scavengers. Like a Pied Piper, the car led us on to the local shrine where the proper rice cake chucking and catching sessions began -- and as I already mentioned, I ended up scooping up much of the venerable little goodies (attribute that to luck, or perhaps to favor of the mochi gods!)

Mochi Nage celebrations are also held to bless the construction of a new house, according to some reports I have read on the Internet. As Amy Chavez has reported: "Japan must be the only country where throwing food is not only acceptable but encouraged. Whole neighborhoods gather to throw food at each other in a tradition called Mochi Nage or, throwing rice cakes. No ceremony in Japan is complete without mochi, a symbol of happiness. In the old days, they probably threw only rice cakes, but these days they throw anything from packaged store-bought bread to bags of chips and instant ramen -- modern symbols of happiness..."

Whether we be human or animal or vegetable or god, all we want is the same thing in life: recognition for our existence and our efforts, and perhaps a bit of love and respect served on the top. That is what mochi encapsulates, and celebrates: the awareness that life is a ritual in which everyone must play their part, and in which every part is glorious. Witness the life cycle of this critter: pounded out of generous grains nurtured by the Four Elements, molded into moon shapes, then offered to the local deities, or tossed to little kids and grandmothers at the shrine... isn't this all just a celebration of the earth, a celebration of what the Earth can offer? We take from the earth and give back to it, and then it gives back to us, etc. The cycle keeps on repeating, endlessly. Creating abundance out of scarcity, rebirth out of decay, a New Year from the Old. The cycle never ends. The gods of Shikoku taught me all this, and more. In time, I might teach them a thing or two! In a couple of lifetimes or so.