Sakura and the Quests

2008-10-07 | Cedric Sam

Semaine du 7 octobre 2008 / Week of October 7th, 2008

- Get the songs from the WFMU blog.

This week at the show, I’m presenting Sakura and the Quests. They’re from Singapore and the late 60s, and are in fact a pop singer (Sakura Teng 櫻花) and the band with whom she was playing for the time of this recording. In the album (that you can get from here-above url), you will find a cover of Michelle, and various other covers of English songs from that period. Why is it so interesting? The kitschy feel of the sixties in Chinese, of course!

(On the picture, Rita Chao and Sakura Teng lying down.)

Turbid, a film by George Fok

2008-10-06 | Cedric Sam

Turbid / A movie by George Fok

I was browsing the Nouveau Cinéma festival programme, and noticed this film by Hong Kong-born Montrealer director George Fok. It looks like an indie film (see trailer) on teenage trashiness in Montreal (shot in Mtl - you will recognize at least the hallucinogenic-anyways Ville-Marie tunnel and Métro). Opening song of the trailer might be from the SS Cardiacs. See synopsis.

It’s on my list, somewhere between a Korean cowboy film, an odd Moulin Rouge-esque Singaporean film and of course a Manuel Foglia doc that follows two MPP.

Plays at Ex-Centris, Monday Oct 13th at 7:15PM and Tuesday Oct 14th at 3:30PM.

Cheer Chen 陳綺貞

2008-09-30 | Cedric Sam

Cheer Chen on a scooter / poster

Semaine du 30 septembre 2008 / Week of September 30th, 2008

Cette chronique hebdomadaire sur la musique indépendante chinoise est diffusée à Radio Centre-Ville (102.3FM), les mardis entre 22h30 et 23h30. L’émission complète est disponible sur ce fichier MP3, à partir du lendemain de l’émission.

This weekly segment on independent Chinese music is broadcasted every Tuesday between 10:30PM and 11:30PM on Radio Centre-Ville (102.3FM). The full-length show is available at this MP3 file, starting from the day following the show.

***

1. Let’s go to Paris (Live in Kenting - Spring Wave)
2. Small steps dance
3. Child

It was my birthday last weekend, so this is a little treat for myself!

Cheer Chen is a singer from Taiwan, and she is the queen of this brand of folk rock. I made a trip to Kenting to listen to her (as well as other bands), and biked in the dark countryside just to get to the venue, at the Maobitou park, closeby (10-15km) the main town of Kenting. In fact, the whole experience afterwards was quite memorable: going down a slope in the dark towards the sea, then encountering some village straight out of one of those slow Japanese movies (because Taiwan, at many respects, resembles Japan a lot) with old folks hanging out or playing some local game at the roadside outdoor bar or seafood restaurant…

The Spring Wave festival, a more commercial festival (sponsored by big labels and featuring Taiwanese music stars like Mayday), was nothing like Spring Scream and not my cup of tea. I recorded the first song tonight from Cheer Chen’s performance at some point past 10pm. It was a song called Let’s go together to Paris, that doesn’t feature on any of her albums, and which only release is sung by a Taiwanese artiste.

This poster here above was a reproduction bought in a shop called Mackie Study in Causeway Bay, Hong Kong. There is another shop nearby that had a large advertisement panel. Comparatively speaking, Cheer Chen is relatively unknown, and a singer that indie kids tend to like.

(And, thanks Ly for saving the segment!)

Pas comme les Chinois

2008-09-29 | Cedric Sam

Canada Votes / on Google Earth

What have I been up to? Promoting democracy, of course. Here is a project that I did in Google Earth, a map of all Canadian electoral districts that integrates data on past elections, current candidates, etc.

C’est bilingue:
http://earth.smurfmatic.net/canada2008/

De retour à la programmation habituelle dès le 15 octobre…

Freckle 雀斑

2008-09-23 | Cedric Sam

雀斑 - 我不懂搖滾樂

Semaine du 23 septembre 2008 / Week of September 23rd, 2008

Cette chronique hebdomadaire sur la musique indépendante chinoise est diffusée à Radio Centre-Ville (102.3FM), les mardis entre 22h30 et 23h30. L’émission complète est disponible sur ce fichier MP3, à partir du lendemain de l’émission.

This weekly segment on independent Chinese music is broadcasted every Tuesday between 10:30PM and 11:30PM on Radio Centre-Ville (102.3FM). The full-length show is available at this MP3 file, starting from the day following the show.

***

1. 太陽餅 (live) “Sun cake” (live at Kafka Cafe, Taipei)
2. 小美人魚 “Beautiful little mermaid”
3. 阿呆 “Ah-dull”

We’re once again going for cute Taiwanese band who like to think that they’re Japanese! In fact, it’s not surprising that the Taiwanese take so much from the Japanese, since they were a colony of the former for almost half of the past century… Taiwan looks a lot like Japan.

This band is also recently deceased, since the end of August, while remaining a one-woman band. They’re the Freckle 雀斑, from Taipei, a band that I like, but which I should better consume in small doses. The female lead-singer’s voice is high-pitch on purpose and can destroy your sense of listening if too much of it is taken at once.

I guess that they were a big thing for the year since releasing their only full-album, which you see here above. The first song that I am offering comes in fact from a live album that I bought on Indievox, while the second comes from 像星星一樣 Like a Star, a compilation made by a Kaohsiung rock festival.

Ah, les élections !

2008-09-21 | Cedric Sam

May Chiu

Non, à ce que je sache, May Chiu ne se présente pas à nouveau aux élections… Mais vous pouvez lire l’entrevue que j’avais réalisé avec elle plus tôt cette année.

Pour ce qui est des élections, c’est dommage car on entend jamais parler des candidats d’origine chinoise, ou même asiatique qui ont une vraie chance. Parmi les Canadiens d’origine chinoise, je connais Raymond Chan (LIB) à Richmond, en C-B, et Olivia Chow (NPD) au centre-ville de Toronto, et Michael Chong (CON), dans la région de Toronto. Rien du tout au Québec. [Ah, j'oubliais que Meili Faille (BLQ) dans Vaudreuil-Soulanges est à moitié d'origine taiwanaise, d'où son prénom à consonance chinoise. Fait d'armes: a battu Marc Garneau en 2006.]

En 2004, on avait alors balancé des faces asiatiques contre les chefs respectifs des Libéraux et du Bloc, avec Chiu contre Paul Martin dans Lasalle-Émard, et Soeung Tang (Chinois du Cambodge?) contre Gilles Duceppe dans Laurier-Ste-Marie.

Sans recherche exhaustive, mais juste en filtrant les nouvelles, il n’y aura pas de faces asiatiques au Québec, même pas dans une circonscription où elles n’ont pas la chance de se faire élire. C’est dommage, mais je dirai même plus que c’est certainement des deux bords : on ne leur donne pas la chance, et il n’y a pas vraiment personne pour saisir la chance.

En tout cas, c’est aussi pour dire que des entrevues réalisées il y a déjà quatre mois devront en attendre un autre, car les élections me garderont certainement occupé comme ça se peut pas d’ici là!

Hot and Cold

2008-09-16 | Cedric Sam


Photo published in the McGill Daily.

Semaine du 16 septembre 2008 / Week of September 16th, 2008

Cette chronique hebdomadaire sur la musique indépendante chinoise est diffusée à Radio Centre-Ville (102.3FM), les mardis entre 22h30 et 23h30. L’émission complète est disponible sur ce fichier MP3, à partir du lendemain de l’émission.

This weekly segment on independent Chinese music is broadcasted every Tuesday between 10:30PM and 11:30PM on Radio Centre-Ville (102.3FM). The full-length show is available at this MP3 file, starting from the day following the show.

***

1. Rabies + Dance to this Motherfucker (zipped)

This week’s band is in fact not really Chinese, but its band members live in China during the off season. Brothers Joshua and Simon Frank form the Hot & Cold, a sometimes-Montreal, sometimes-Beijing, sometimes-Shanghai “experimental” rock band.

Le parc Belmont et la mort du parc d’attractions ailleurs dans le monde

2008-09-14 | Cedric Sam

Adieu parc Belmont!
(Archives de Radio-Canada, diffusion originale: 1963-09-06)

Le site des Archives de Radio-Canada recèle de nombreux petits trésors, dont ce clip vidéo sans narration de sept minutes, datant de 1963 et qui traite du parc Belmont. Le célèbre parc d’attractions était situé à Cartierville au nord-ouest de Montréal et ferma définitivement ses portes en 1983, après 60 années d’existence.

Les problèmes du parc Belmont débutent dès la création de La Ronde, lors de l’exposition universelle de 1967. Malgré une année record, en 1972, de 750 000 entrées, le nombre de visiteurs diminue progressivement. Même l’arrivée de nouveaux manèges ne suffit plus à maintenir l’achalandage. En 1979, l’accident du manège « paratrooper » blesse deux enfants et ruine l’image de l’institution. Elle vieillit mal. L’été avant sa fermeture, le parc Belmont n’obtient que 316 000 entrées.

Avec les plaintes d’un voisinage résidentiel, une descente de police, qui nuit à sa réputation, et une hausse des taxes, le parc Belmont est condamné à fermer ses portes le 13 octobre 1983.

Je n’ai aucune mémoire du parc Belmont, étant né que quelques années avant sa fermeture finale. Des lieux comme le Belmont exercent une certaine fascination chez moi, peut-être parce qu’ils témoignent d’une époque révolue, celle de l’amusement par des moyens technologiques qui ont peut-être fait leur temps, comme la maison hantée et les montagnes russes, maintenant remplacées par un bon jeu vidéo à la Half-Life, ou le dernier Indiana Jones.

Old Amusement Park / Kaiping 开平 / Changsha Park 长沙公园

Ailleurs dans le monde, on peut aussi à l’occasion rencontrer des parcs d’amusements abandonnés sur son chemin. Cette photo fût prise au début du mois de mai, et provient du parc Changsha (长沙公园) dans la ville de Kaiping, province du Guangdong, dans le sud de la Chine. Le Changsha est un parc boisé de la taille de notre Carré St-Louis, en plein centre-ville (deux blocs à l’est du terminal de bus inter-cité), et qui a maintenant l’air de servir de parc public.

Parmi les manèges abandonnés (ça m’étonnerait qu’on les époussète juste à chaque année l’été venu) - un carrousel, des navettes rotatives, et une arène d’autos tamponneuses, sans autos tamponneuses - se trouvait aussi un centre d’activités municipal dont on se servait encore, vu les jeunes qui en sortaient, alors que nous passions dans le parc.

群展香港观记-王禾璧

Lors d’un voyage précédent en Asie, au printemps 2005, cette fois-ci à Hong Kong, j’avais été à une exposition photographique intitulée « Hong Kong Four-Cast » au Musée de l’Université de Hong Kong et dont un recueil fût publié à la suite.

Les pièces les plus marquantes pour moi furent celles du défunt Lai Chi Kok Amusement Park, ou Lai Yuen (荔園) pour les intimes. La photographe hongkongaise Wong Wo-bik avait alors pris des clichés du parc d’attractions et zoo à la veille de sa destruction en 1997, alors qu’il était déjà abandonné depuis quelques mois.

Lai Yuen était encore au début des années 80 le château des illusions et de l’épouvante où des milliers d’enfants et d’adultes se pressaient. Wong Wo Bik a ainsi recueilli ces vestiges et a par juxtaposition ou autres procédés recréé ces images : Des lieux éphémères plein d’imagerie populaire qui ont compté dans la vie des Hongkongais et ont disparu sans laisser aucune trace. C’est un passé recréé pourrait-on arguer, mais tout passé est recréé par la mémoire humaine qui le transforme continuellement en fonction du présent.

(Suite au site de l’Alliance Française de Hong Kong)

Situé alors dans le Nouveau Kowloon, autrefois loin des principaux centres urbains de Hong Kong, le Lai Yuen était un des endroits favoris des excursions de fin de semaine des Hongkongais. Les développements résidentiels se succédèrent, jusqu’à ce que le Lai Yuen lui-même se fasse gober par un projet d’habitation.

Cet article fût publié le 17 juin 2008 dans Spacing Montréal.

Brown Note Collective

2008-09-09 | Cedric Sam

Folktales From Many Lands

Semaine du 9 septembre 2008 / Week of September 9th, 2008

Cette chronique hebdomadaire sur la musique indépendante chinoise est diffusée à Radio Centre-Ville (102.3FM), les mardis entre 22h30 et 23h30. L’émission complète est disponible sur ce fichier MP3, à partir du lendemain de l’émission.

This weekly segment on independent Chinese music is broadcasted every Tuesday between 10:30PM and 11:30PM on Radio Centre-Ville (102.3FM). The full-length show is available at this MP3 file, starting from the day following the show.

***

1. Mini-compilation for Folktales From Many Lands

I met some members of the Brown Note Collective while I was touring Hong Kong on this activity called Folktales From Many Lands, an initiative by a one-time Montrealer Canadian-born Chinese and colleague artists to make people re-discover their town. The BNC was the band accompanying us on the whole tour, dressed in flashy green lime.

Listen to the first track, and you will never see dessert tofu the same way.

INDIEVOX: DRM-free MP3 music from Taiwan

2008-09-07 | Cedric Sam

As I was looking for songs to download from Kaohsiung band Orange Doll 橘娃娃 (some v. obscure band - but I fell in love at Spring Scream 2008), I found the most remarkable website for Chinese indie since Neocha.

This website is INDIEVOX, based in Taiwan. Unlike Neocha, Indievox is also (and foremost) an online music store, on top of being a community-based website à la MySpace (also just more well-designed). According to the infos that I am able to parse, the site was founded by Pochang WU 吳柏蒼 (see his Indievox page), a lead singer and guitarist for a band called echo 回聲樂團, and a one-time NYU computer science student.

Its most interesting feature is certainly that it offers MP3s free of DRM, which you can buy with domestic methods of payment (a Chunghwa phone, the 7-Eleven payment system), but also through internationally recognized means like Paypal. I live in Canada, and had no trouble “adding money” to my account.

I got the lowest increment, which seems to be 5 USD, or 157.6 NT, or 5.25 CAD. Most songs will cost 15 NT, which is 50 cents. Considering that Taiwan has a similar cost of living to Canada, this is definitely a steal. I saw full-length MP3 releases of albums published by big labels, like this Cafe Kafka Unplugged Volume 2, for the expected price of 300 NT (about 10 CAD).

According to these posts, Indievox seems to have been launched in March 2008. Just browsing the site, I managed to find many big names of Taiwanese indie like Nylas and Freckle 雀斑, Bearbabes 熊寶貝. I found one Hong Kong artist, aniDa, and there is also a whole range of Western pop to choose from.

To the IT professional in me, even the choice of technology is commendable, with the Linux-Apache-MySQL-PHP combination, and generous use of URL rewriting.

Kenneth Cheung, activiste et homme d’affaires montréalais, disparaît à l’âge de 71 ans

2008-09-04 | Cedric Sam

Centre Chinatown, 1984

Cette photo est probablement tout ce que je savais de Kenneth Cheung, décédé le 1er septembre 2008 des suites d’une attaque cardiaque à l’Hôpital Royal-Victoria à Montréal. Promoteur immobilier, il a été candidat à la mairie de Montréal en 1986, pour attirer l’attention sur le manque de représentation des minorités visibles dans les instances politiques (ce qui est encore totalement vrai aujourd’hui chez les personnes d’origine chinoise, ou asiatique en général).

Voici un extrait de la lettre de Victor Wong du CCNC qui m’a informé de la nouvelle:

It is with sadness that I inform you of Kenneth Cheung’s passing. Kenneth skillfully managed to advance numerous social causes for three decades. I’ve known of Kenneth since the late 80’s when he was helping Chinese students who were stranded here after June 4, 1989. He was very passionate in his advocacy on numerous community and human rights issues. In November 2003, Kenneth was elected as CCNC National Chairperson and his appointment triggered the regional realignment at CCNC. Kenneth was very firm about the principles of redress even though he and his family were not affected by the Head Tax and Exclusion Act. In 2004, Kenneth walked out on our meeting with Hon. Raymond Chan when the Minister insisted that we agree to the Government’s preconditions of “no apology, no individual financial redress.” It was this resolve that steeled many of us to mobilize the head tax families and the Chinese Canadian community to fight back against the 2005 Government-imposed ACE program.

Un obituaire paraîtra dans le Montreal Gazette de demain. Les funérailles de M. Cheung auront lieu ce samedi à la maison funéraire Aaron, au 1031 St-Denis (angle De La Gauchetière).

Regarde les Chinois : Paul Zimmerman 司馬文

2008-09-04 | Cedric Sam

Paul Zimmerman
Photo by Robert Olsen

Dans ce prochain Regarde les Chinois, j’ai fait la rencontre en mai dernier de Paul Zimmerman, un Hongkongais d’origine néérlandaise depuis 1984. M. Zimmerman fait partie de l’organisation à but non lucratif Designing Hong Kong qui fût à l’avant-garde d’un débat sur l’espace ouvert public qui fit rage depuis le printemps dernier. Directeur-général de Jebsen Travel, il se présente comme candidat du Parti Civique pour le siège de représentant au tourisme du conseil législatif de Hong Kong lors des élections du 7 septembre. Dans l’entrevue, M. Zimmerman a beaucoup parlé de politique en développement urbain à Hong Kong, un sujet qui le passionne depuis son implication avec divers groupes, et de l’univers particulier de la Région administrative spéciale.

In this next Regarde les Chinois, I met (in May 2008) with Paul Zimmerman, a Hongkonger who came from the Netherlands in 1984. Mr. Zimmerman is part of Designing Hong Kong, which was at the avant-garde of the debate on open space that raced through Hong Kong since last spring. Executive director of Jebsen Travel, he is running as the Civic Party candidate in the tourism functional constituency of Hong Kong’s LegCo (legislative council) on the September 7th election. In this interview, we talked a lot about the politics of urban development, a topic that he is passionate about since his involvement with various groups, and the unique universe of the Special Administrative Region.

***

Paul Zimmerman: I was born in Holland, and arrived in Hong Kong in 1984, and ran a graphic design company, which I sold in ‘98. I worked as a consultant for a while, and one of the projects I worked on as a consultant was Design(ing) Hong Kong Harbour District. It was a research project into why, or what we can do better in the harbour front. Because we realized there were only two places you could eat and drink: it was the York Club, where you could drink a beer if you were a private member, and there was the Fleet Arcade, that’s where the American Navy arrives - there was a McDonald’s there.

Comme les Chinois: Ok.

So these were the only two places on the hundred kilometres of waterfront that we have in Hong Kong that you could eat and drink. And the government had just announced West Kowloon, and we felt that West Kowloon…

CLC: West Kowloon, the landfill… (reclamation project)

Yeah, well, the West Kowloon project is the cultural district project where they were going to build sixteen venues on a forty-hectare piece of land, or at least some twenty hectares of it…

CLC: When was that announced?

The discussion had been on since 2000, around 2000, and we looked at it, and we thought it wasn’t such a good idea to build such a large complex with one goal, and all these cultural venues when we knew that people in Hong Kong don’t have, want the experience to build a nice waterfront, and they don’t have the experience to build lots of new venues or managing venues that they are promising. Because it’s always been a very bureaucratic management.

So we thought that that was going to be a bit of a white elephant. So, we started this research, to kind of like say, what can we do better about our harbour front. At the same time, we kind of look at how we can break open the Kowloon West project, move the things around the harbour, and so on.

CLC: Who’s “we”?

“We”. Well, there was a certain number of people that were very concerned about urban planning at that time, around the waterfront… There were Mr Po Chung (CHUNG Po-Yang 鍾普洋), who was the founder of Creative Initiatives, who used to be the owner of DHL International here - he just sold it. He was concerned. Christine Loh was concerned, Nicholas Brooke was concerned. I mean there were a lot in the property industry that were concerned. We have found as we… the small group kind of grew, people who were concerned and so on.

There were lots more people that came in the project. They started to come to seminars and so on. That group has now grown - we have maybe a mailing list of about 5000 names.

CLC: That group’s Designing Hong Kong…

Designing Hong Kong, yes. People that are concerned with the urban environment in general… maybe coming from different directions, in what they are concerned about, but they are concerned about the shape of the urban environment.

And so, that’s how we started. From that project, I didn’t know anything about urban planning. I had just run my own company. During the project, we became aware of a couple of fundamentals in Hong Kong, one is that the topography is very very difficult, you know, where any other city has a city centre, we have a harbour; every other city has ring roads, we get mountains. There are narrow strips of lands - it means there’s not much land around the core areas, so you have to go outside if you want to grow. People want to be in the core area, so you have a high-density, in very narrow strips. So, how are you going to manage that.

With the agreement to not do any more reclamation, in 1997, there was certainly a finite (amount) of land. Previously, for 150 years, Hong Kong, when it needed something, it just reclaimed land. So, they would always increase the land mass by reclaiming the harbour, for 150 years. From the first piece of land sold, that’s how it operated, because people were building piers, and then warehouse… they always run further into the water.

So soon, it was no longer the case. So, that was a big change in the government, it was very much dependent on premiums. So, land, creation of land created income for the government. 40% of its annual revenues come from land-related incomes, premiums, rates, rentals. So, in terms of planning, the government tends to plan for their financial gain, rather than for the public good.

Of course, you could say that everything they always did was for the public good: they were building warehouses, more housing, and more roads, and so on, but it was never aimed at building a nice living environment, which in a very highly dense area means that you have to make decisions not to build, to build less, or to create more space. And that is where it costs money in their calculation. They could’ve sold it, and built things or built roads so that they could sell all the lands, y’know.

CLC: Is it the same situation in the rest of China?

… In fact, there is a some comparison with the rest of China that you could make. The topography is easier in China, because it is small city surrounded by agricultural lots, and everyone is very happy to sell their agricultural land when you get a lot of money for it. Quite often the ownership of agricultural lots might already be in government’s hands or there might be… there are various ownership forms that makes it easier.

So, people can go outwards quite easy. The comparable really is the fact that government quite often makes money out of land sale. Often the village or the town make the money when the lands are sold. Therefore, there is a planning gain in terms of financial income that’s there. But in terms of the topography: probably not. Because they are pancakes, when we are squeezed onto small pieces of land.

We can’t go outside. Shanghai keeps growing, Pudong, you know, it’s farmland…

CLC: Yeah, Beijing…

Everything just keeps growing on the outside.

CLC: So Hong Kong is pretty unique.

In essence it’s pretty unique. And it’s confined by its topography, more than anything else, because if we had a flat piece of land, then maybe we would’ve just grown out into the New Territories much more. But because there are mountains in between and so on, and there was historical aspect in that the New Territories came in later.

CLC: I was told that transportation routes are very important. Every time they built a new subway line in Hong Kong, they develop a whole new area.

Well, that’s how they did that. New town development and rails was combined. There was a decision to build a new town, and at the same time you provided the rails. So, it was always a joint decision. And it was good, because the rails was financed by building a new town, and you had people to use the rails because of the new town. It all worked together.

There a problem there now. It means that rails decisions have always been made on the basis of: What’s the patronage? How many people do I have live near the station? If I get enough people living at the station, then I build the station. It was never based on, like, I build rail because I can avoid people from using their car. And I subsidize it because even if there are even ten people, I don’t want them to use their car. Therefore, I subsidize it because there is public benefit, not only a financial benefit - they pay for their trip - but also a public benefit - less pollution, less road use, I can use other space in the city for other uses. That calculation is not really there.

So, one of the problems that we have now is in urban areas, we tend to build roads before we build rails. That’s another issue.

And now, in the built-up areas, to say, well, can you put more rails. And they say, well, how are we going to finance it? Because normally you finance it by building on top of the station, but if you put stations under existing buildings, then who pays for those stations, and who finances those rail? Because there are certainly still no more development to finance the stations, so the public will have to subsidize it - that’s not an easy decision.

The history, legacy of rail, town building, is somewhat of a problem right now. I’m sure we can get over it.

*** Mr. Zimmerman’s assistant brings us some oranges at this point.

CLC: So what has your organization done so far?

Well, we’ve done the… various things. We did a research in Designing Hong Kong Harbour District, we’ve organized seminars and conferences, we participated in the Harbour-front Enhancement Committee, which is a government organization. We’ve made submissions to the town planning board. We’ve made submissions to Legislative Council (LegCo), submissions to the District Councils.

CLC: Did it have any tangible effect?

Um, yeah. We’ve moved people’s mindset. But, you know, with this type of stuff, if we can move the outside by a metre, we may be moving the inside by a millimetre. So, the tangible effect… and also, the impact of those tangible benefits are not immediately measurable or see-able. Most of these infrastructure and development projects will take ten years, fifteen years before people can see them. So, in that sense, it’s not all that easy.

But there are tangible impacts. There is now a little dock park on the waterfront in Wan Chai. There’s a temporary park in West Kowloon… I mean, there are things, things are improving. And the government has focused on it. The way they talk about it - now they talk about the waterfront as an asset, previously it was not - it was like development potential.

So, I think things have changed in that sense. But it’s not as tangible yet, because it won’t be until fifteen years that we can walk around the harbour-front, and areas that we can go. We talked about twenty years ago, that’s why it’s now this way, you know! (laughs) These things take time, and it’s hard for people to see.

Maybe by that time, people will have forgotten what would have been if we hadn’t. So, in that sense, it’s hard to add one and one.

CLC: Are there precedents of these sorts of activities in Hong Kong?

Well, I guess so. More immediate ones, in Hong Kong. Of course, in Designing Hong Kong, we’ve done other things, not only the harbour-front, also we worked with Heritage… the Heritage Watch, so, trying to save Queen’s Pier and the Star Ferry. Now, both have been removed but Queen’s Pier will be rebuilt, it’s been saved.

We’re trying to save the street markets in Graham Street. Now, we have a commitment that it will happen. How will it happen, and will it happen on time, are issues. We’ve set up a Save the Street Market -dot- com (savethestreetmarket.com). We got a whole group running, people who are fighting to save the street market. There are all sorts of activities that these people are organizing, from fashion shows in a street market, to an artist live impression show, all kinds of things to try to get attention for the market.

Again, we made lots of submissions. Now we have the activity on open space, two seminars that really sparked a debate in public…

CLC: Was it your organization that initiated the whole debate (currently taking place in Hong Kong on public space)? What happened - I didn’t really follow the beginning of it.

Well, in the beginning, we organized a conference on this, one in January, and one in March. And there was lots of different groups of people involved in those two conferences. And it’s kind of stimulated debate among some people, to the point that one of the radio stations set up a program in the morning and they talked about open space - because there was some people that knew about Times Square, the Times Square piazza. But there were already lots of other open space, individual issues pending like, or simmering in the background. Like, I knew that IFC had an open space, and that somebody had been fighting IFC and had been already () the government for one and half year.

We knew of some of them out there, that there were discussions. So, when we came up with the topics for the seminars, we were aware of those. By having the seminars, it sort of galvanized the idea in some people’s mind, and then, Commercial Radio Two do their program, and bang-bang-bang, it was this fire that went on, race very very quickly. We put in our submission in LegCo, which sort of formalized the debate.

So, did we start it? It was something that was ripe. It was just a little match that we put in there.

CLC: Basically (to recapitulate), it was that the government gives tax benefits to companies to develop a land, and in exchange they build open spaces, public spaces…

Well, for the government, again, they’d rather sell the land available for sale that they have to developers. But on the other hand, the government has an obligation to create public open space - it’s for the health and benefit of the public. There is a standard of about 2m² per person that you need to provide in every district. So, for the government to provide that by having to develop or create or reserve some space within their development and designate it as public open space. And in that way, the government can try to meet that requirement.

Basically, there’s a shortfall of public open space in almost every urban district. So, because of this shortfall, the government is under pressure, they gotta find solutions… and the developers are pretty happy with that because, one, if the government were to put a park in front of their building, then they (the developers) would have no control of the park.

But if they can put the park, say, inside their building, they can design it to what they like, they can put the security into what they like, they can basically manage and control that space to their benefit and their style. So the developers are happy.

And then in some cases, if they provide the public space, they get compensation for that, an additional gross floor area. They like that too.

So, it’s a great one for the developers, although they can complain about it, because of course, there are lots of controls, and the government wants all kinds of things and wants them to do it. So it kind of force them into accepting some of these deals. So the developers are not always necessarily happy with it.

But, you know, they have a benefit, and the government has a benefit - but the public loses out dramatically. What we need is public open space at street level, proper parks, space for people to breathe. We need wider sidewalks!

We need street widening. Every time you build a building, you should widen the street because, y’know, there was an old building that was only two stories, and now you put a fifty-story building there! You should widen the street around the building. You are going to have a hundred times as many people coming in and out of that building! The street should be wider, but the government doesn’t do that. They consider that a loss when you do that.

Also, basically, it’s the final plot ratio, so this is the side, and times… it means you can build as many in that block. If you say, you gotta setback, is it still plot ratio 10? Well, it means a smaller building. And the developers are not happy with that, and the owners of the building are not happy with that… the government doesn’t like it because they get less premiums.

So those two on that side are against it, but as a result the city is dying because we don’t have enough circulation space in the streets. It’s getting too crowded. And we don’t have proper open space that is healthy, accessible, open, good amenities, and is free. It means it’s truly open, truly public, not that there is a security guard that tells you that you can’t eat here. “‘xcuse me, it’s public open space, I want to eat, I eat!” It’s the street, it’s public!

CLC: Well, I notice in the newspapers that these property owners, they changed the signs from “You can’t sit here” to “Be careful of the flowers”…

Well, they did, because now they have more pressure. The fact that they have more pressure doesn’t mean that the situation has really improved. It’s still, there’s this obvious problem: we are not dedicating enough of our lands for public open space. And there is a collusion of interests, not necessarily “collusion”, as in illegal working-together, but a collusion of interests - government has an interest to sell the land, rather have it (the public space) inside the buildings. Property owners are just happy to take the inside of building (open space). Both of them win, public loses and they have no voice in the game.

CLC: Do you think they mind? Maybe they like living in a place that’s super-dense…

Well, there are things that the public of course finds nice and interesting about Hong Kong, you know. Just take this the other way around: if I am going to buy a flat in a building, I want that building to have playgrounds for the kids, have a park and a sit-out area for me as a resident. But that’s a different things. In the old days, there were buildings put up here in Hong Kong that didn’t have enough of a lobby space. They didn’t have enough space for the lift lobby, y’know. Buildings were just built to maximize the sellable area, or the rentable area.

So then they had to develop a building code. Basically you had to do a minimum standards. Sure! Maybe that in these very large complexes, the minimum standard should be that there is a park inside the building. If there is 10,000 people living in a complex, then maybe there should be a park inside a complex rather than have 10,000 people looking for a park outside the complex. So, you know, that kind of makes sense.

The question is, whether that park is a residential open space or whether the park is an public open space. I you say that the park is a residential open space for the people who live there, fine. You know, the piazza at Times Square, if you say it’s for circulation space, because I’ve got this building, 200,000 people walking through here, fine, yeah you need that. But that doesn’t make it a public open space where people can have passive recreation. It’s circulation space. Residential open space, circulation space, they are not counted as public open space. I still need my 2m² of public open space outside! But if I start counting all these things as public open space and not build any park, then I have a city that does not have enough space.

So, you have to be quite clear about that, the distinction…

CLC: How do you see the future of…

Well, I mean, this debate is fantastic of course! Times Square this morning are going into the newspapers advertising about their deed, saying that it’s private lands. They say, its allocation as public land occupied by a private (inaudible) is misleading! You know. It says clearly that it is private property! So they are making it clear!

So, that’s a good start. Because that means that if the government then says that public open space under private control… Well excuse me, if you have public open space, on private land, that ain’t very good! Can we have public open space on public land. Because obviously when we put public open space and private land, we’ve got serious problems! Because there’s all these controls and management issues.

For us, it’s great. But then all these developers get upset about, and the government finds out… Then the public says it’s inferior open space, and then the government will have to provide superior open space, which is public lands used for public open space!

That’s all we need! And it takes time and effort, and the government says that we have limited land, and that I dispute entirely, because the government has many properties throughout Hong Kong that they are demolishing: the Central Market, all the reclaimed areas, cargo bay working areas that they are no longer using. There are lots of government properties all over Hong Kong that are taken away, and that they are trying to sell. They don’t have to sell it: make it public open space!

Every time that there is a redevelopment, there should be a good setback rule, so the street is widened. But they don’t do anything, still aren’t doing anything. We’re fighting, we’re fighting…

CLC: How did you personally get interested in urban development?

I decided to stay here. I had sold my business, and I decided to stay here in Hong Kong because I thought about leaving, just because I’ve been here for a long time and I come from Holland, originally.

CLC: When was that?

2000. After I sold my business, done my earn-out. So, sold it in ‘98, earn-out 2000, finished. I had a chance to leave and I look around, and thought, do I go to Holland, do I go to Australia, do I go to China, do something different? In the end, I came to a conclusion and I want to stay here. Because I think it’s a great city.

Hong Kong has the potential - as for me, Hong Kong is the most beautiful city in the world, except for the urban environment. Because we got our mountains, our reservoirs, our seas, our islands, our coastlines, natural coastlines… I mean also, look at our biodiversity here, in terms of wildlife, birds, marine life, whatever, it’s there. We got more different types of corals than anywhere else in the entire area. There’s not much of a life right now, because we destroyed a lot. But if we let it come back, it will all come back. There are more insect species, more bird species…

I mean, really, Hong Kong is a very unique… Topography-wise is unique, but also the location is unique. The climate, where we are… so Hong Kong has lots of it going for it. So if we can fix our urban environment… For me, fixing the urban environment is like, you know, I bought a house, I fix it, I make it nice. I make my balcony nice, then I want my building and my neighbours to have a nice building. So, we fix up the building. Then I want my street nice. Here it’s like, then I want my street nice. Here I like the place where I live, I like it to be a nice place! I don’t like it to be ugly.

So that was my pure motivation and it was also, somebody has said to me, after I sold my business, what do I do next with my life? And then he had this very simple rule. He said: the first part of your life you learn, the second part of your life you earn, and the third part of your life you serve! I serve… Hey, (so) you do something for the community! You know, you do something different. You make some money and now you do something different!

So I never was involved with NGOs or anything like that. So now I got involved in Creative Initiatives and started to do some NGO work, and this project comes out out, didn’t make me any money. (laughs) But, you know, I thought it was a very nice project about how to make a nicer harbour-front! So, that’s how I got involved.

But as I got involved… then, you know, I am a passionate person, but I’m also, I run my own business. So, in business, it’s very simple, if you see something that is good, you get it done! You get everybody to do the things right. But when you work with this harbour-front issue, then I found everybody to know exactly what needed to be done. But we still can’t get it right!

And then you find that the government is working against you, you know… for land premiums reasons, for the fact that they’ll have to change internal procedures, which is really tough, it’s hard work for them - for the fact that they’re not be concentrated on it, they’ll have other things to do, they don’t think it’s important. Or just because _you_ came up with the idea and they didn’t come up with the idea… So it’s not invented here. So it’s your idea, not their idea, why touch it, we’re not going to support you because then we look like weak government.

You know, there’s all kinds of psychological things, all kinds of reasons why the government certainly is not doing it. But then I am a tough bastard! (laughs) You know, if people start pushing back at things that I know are right, everybody tells me it’s right, and everybody keeps telling me, everybody I meet! Doesn’t matter, if we’re working with government, their own property (?), the general public, all these people agree with you, that these are the kinds of things that we need to do. But we can’t get them done because we got this push-back from government, then I push harder, so you get more determined, you do another thing, you keep going.

CLC: Well, thank you Paul.

Cheers!

The Marshmallow Kisses : a-la-pa-ti / I Always Love The One Who Doesn’t Love Me / I Wonder Why My Favorite Boy Leaves Me in the Rain

2008-09-02 | Cedric Sam

The Marshmallow Kisses - I wonder why my favourite boy leaves me an EP

Semaine du 2 septembre 2008 / Week of 2nd September, 2008

Cette chronique hebdomadaire sur la musique indépendante chinoise est diffusée à Radio Centre-Ville (102.3FM), les mardis entre 22h30 et 23h30. L’émission complète est disponible sur ce fichier MP3, à partir du lendemain de l’émission.

This weekly segment on independent Chinese music is broadcasted every Tuesday between 10:30PM and 11:30PM on Radio Centre-Ville (102.3FM). The full-length show is available at this MP3 file, starting from the day following the show.

***

1. a-la-pa-ti
2. I Always Love The One Who Doesn’t Love Me
3. I Wonder Why My Favorite Boy Leaves Me in the Rain

Aujourd’hui, je m’en vais faire un tour du côté de Hong Kong, avec le band indiepop ultra-cute The Marshmallow Kisses.

Song titles such as “I Always Love The One Who Doesn’t Love Me”, and “I Wonder Why My Favorite Boy Leaves Me in the Rain” say a lot on The Marshmallow Kisses’ style of music: extremely cute lyrics, matching the equally cute melody (with French words inserted here and there). In an issue of HK-based free English culture publication BC Magazine, the Kisses (Edine and Peter, a non-couple, they say) tell us that Shibuya-kei is one of their common inspiration. I guess that it was _the_ 2005-06 indie album to get in Hong Kong, as three of my friends (two of which live(d) in Montreal) bought a copy, despite what I suppose to be an independent release and limited print. Small world?

While it’s hard to believe, with the theme of their songs always being about innocent love, the two band members, Edine and Peter, are not in fact a couple in life. Well, hey, why not eh?

The first song was a-la-pa-ti, which was released in Harbour Records’ We Wish You An Indie X’mas web album released during the Xmas 2007 period. It contains approximate French. Then, the second song (gloomier than usual, we say) comes from In The Name Of AMK, a sampler released by Harbour, and the last song is the band’s first EP.

葛岸 / Ge’an / Got’ngon : my ancestral village in Guangdong province

2008-09-02 | Cedric Sam

Photo of Ge'an by jpsam on Flickr

Such a post, I am torn between doing it in English (larger audience) or French, because I am venturing the guess that many descendants of the village I will be talking about have immigrated to France, Canada, or another French-speaking country. This is because this village, Ge’an in Putonghua or Got’ngon in Cantonese dialect (葛岸 in Chinese characters), is where my paternal grandfather was born, before he left China for Antananarivo (Tananarive), Madagascar, where my father grew up before immigrating to Montreal, Canada. Like it’s frequently the case with immigration patterns, many of my grandfather’s fellow villagers settled in Madagascar and then moved on to somewhere else (just like how the Taishan wikipedia page claims that 75% of all Overseas Chinese in North America came from that small locality of now 1 million).

In 2005, I visited the village accompanied by one of my dad’s cousins living in Hong Kong. My first impression was that I would probably be willing to fork out a few thousand dollars to renovate the house, if I could make it into some sort of out-of-town chalet, if I were to live in Hong Kong one day (with as many “ifs”, you aren’t getting nowhere). The village is surrounded by fields, but outside the village proper, passes a highway. A few kilometres out, it was the city, and the Pearl River Delta Region, one of China’s most dynamic economic zone (because of Hong Kong, and money/influence from Overseas Chinese). We had late lunch in a restaurant in nearby town Lecong (樂從/乐从)

Cedric in 隔岸 (Ge'an / Got'ngon) in 2005

After the visit, I did not think of looking for the village again. Last spring, when I visited China, and Hong Kong, I ventured with the possibility of just dropping by. I did not, and went to Kaiping instead, on my three-day visit to Guangdong, and then the Shenzhen/Dongguan area.

Why I did not? Probably because it was just too much hassle asking relatives to show you around, and how to get there. This is certainly until I found out that Google Maps released detailed maps in China, sometime in July 2008, when Google teamed up with Chinese firm MapABC.com. It was the first time that users of Google Maps could see more than cities with no streets (with no names).

Ge'an temple by jpsam on Flickr

When my father went to China for the first time ever last year, he also snapped a picture in Ge’an of a public announcement board with the village name’s Chinese characters. With a little character-engineering with Zhongwen.com (don’t know any site for breaking down Chinese characters yet), I managed to find the pinyin for Ge’an (which I knew just approximately as “Cot’ngon”), and figured out how to input the characters on my computer. At that time, a year ago, I found a website at geanren.org (URL means basically “People of Ge’an”) that may not always be up, but which is a lousy-looking Java-backed site run by a dude whose last name is the same as mine…

Before then, we were always generally told that we came from Shunde (Seondak in Cantonese), a city of roughly 1.1 million, according to 2002 census data.

Incidentally, my maternal grandfather, who immigrated to Vietnam, came from a csomewhere in the city of Foshan, which is today the same administrative mega-city that gobbled up Shunde, a county-level city until 2002, and now a “district” of Foshan.

Thanks to Google Maps, I may now show the rest of (English-speaking) world where I come from and perhaps go back to with my own means.


View Larger Map

Specifically, Ge’an is a small village, in the district/city of Shunde, which is part of the prefecture-level city of Foshan.

From what I gathered in 2005, as my father’s cousin chattered with the relative leaving nearby, the idea of building a nice big house in the village is nothing new, as other “villagers” now actually live in villas that they built within the village.

New villas by the pond, by jpsam on Flickr

Except the 2005 photo of myself, the photos on this post were taken by my father.

« Chine Cinéma » at the Cinémathèque québécoise

2008-08-30 | Cedric Sam

Chine Cinéma à la Cinémathèque québécoise

From September 2rd until November 30th, the Cinémathèque québécoise, on De Maisonneuve corner of St-Denis, will be presenting Chine Cinéma, a sort-of festival (but not really, because it spans three months…) of movies from the Chinese Mainland. Jia Zhangke will be particularly celebrated during the season, with all of his movies, including early short films that he made, such as Pickpocket (Xiao Wu), being shown.

I’d see all of them, if I could afford it (in time and money), but I’ve noted a couple of must-see films. In no particular order: All Tomorrow’s Parties (Mingri tianya) (which is by Nelson YU Lik-wai, not Diao Yinan, as noted in the online guide), a sort of dystopian future film, Summer Palace, some romantic film on backdrop of the 1989 near-revolution, She Is Automatic (a New Pants music video, ha-ha!), which is part of a series of animated shorts, Mid-Afternoon Barks, Fujian Blue, and Taishi Village, a documentary by Ai Xiaoming on one of the well-known cases of “mass incidents” in China.