Alban Sciascia - Nationality: French

PhD candidate and researcher in politics with focus in conflict in South East Asia/United States, previously lived in Bangkok for 3 months and currently resides in Yogyakarta.
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W: Thailand has always been a considered a peaceful place. People go about living with no fear. But all order broke loose and mayhem occurred during April – May. What do you think are the roots of this conflict?

A: The first thing I can say is perhaps that I’m not really surprised by the events of April-May 2010. Since several years, tensions increased between two main clans, the Bangkok society and the rest of the country. If the red people are often considered as coming from Issan area, they can count on more supporters from other regions of Thailand. The Bangkok society – symbolized by the yellow – then multicolored – shirts always seems to be oblivious about the reality that the rest of the country have to face. Election of Thaksin was considered as a change for countryside people. We all know what happened after that.

Concerning the roots, we can talk about the dissimilar economic development known in Thailand, the increase of poverty – without any real public policy for countryside people, etc. But I remember an editorial on the web version of the Bangkok Post. The journalist ask in his article on “What is the real meaning of being Thai?” Since years, successive governments try to develop what they called “Thai-ness”, trying to create and consolidate a national identity and unity which is totally artificial. In his article the journalist asked: don’t we see that there’s no much different than a man from Issan than a man from Bangkok? In southern Thailand, Thai people leaving in South Islands have more in common with farang (foreigners) than with people of Chiang Mai. And what about people in Pattani and Yala province? This situation – I hope you won’t take the wrong way – made me draw a parallel with the Indonesian unity: a central power centered on one kind pf population who owns the political power (Bangkok Society/Javanese Society) and several ethnicity/populations who are politically ruled by a central power who develop different aspirations concerning policy making and populations needs.

Of course, like in Indonesia, Thailand unity has been “protected” by nationalist politics and reference to an emblematic leader (The King of Thailand). Last, but not least, the different parties who struggle for power in Bangkok has surely played a huge role.

W: A lot of floating terms are coining the situation as a civil war, would you considered it to be so?

A: It depends on what we refer as civil war. Of course, we have seen urban battles scenarios during the riots.

W: What are the effects of the riot towards maintaining and enhancing a secure community in Tha iland as well as in the Asia-Pacific region?

A: The violence of the riots surprised a lot of observers. I remember how the information was treated by western medias. Of course, they all sell Thailand as the perfect destination for tourism. During first days, they did not talk about what happened. I remember that I received more accurate information from a friend in Bangkok who sent me a lot of pictures of the riots and the army deployment in Silom. It was totally different with what I can see on CNN, BBC or LCI (French Information Channel).

I think that the main consequence for Asia Pacific region was the increase of tourists in Indonesia and Malaysia. We can take the example of Bali, who became the great winner of the Thai riots.

To get back on a political perspective, a lot of observers have been surprised. indeed, Thailand still is considered as one of the more stable country of the area (as Vietnam and Singapore). For the Thai secure community, you can go back to my first answer: unity of the country has been hit hard.

Concerning other consequences, the effects could be a decrease of foreign investments in Thailand ( Malaysia and Vietnam could win a lot on this side), a loss of trust for Thailand partners. On a security view, effects are limited. Even the Southern insurgents in Thailand stayed quiet during the riots. I don’t think the security balance of the area could be really by the events. If the enhancing of a secure community in Asia Pacific is a long process, it is not really disturbed by internals problems. In my opinion, regular tensions between Indonesia and Malaysia are more threatening events.

Being a self-proclaimed food enthusiast, my common day of leisure and ‘free time’ revolve around the act of eating. My plans of trying a new restaurant/coffee shop/food stall are always the first to be realized over any of my travel plans. So having heard about the Underground Secret Dining about a year ago, the concept of dining in secrecy was unfamiliar, but anything with the theme of food I thought should not be passed with a rejection. With a direct invitation from a friend, an aspiring chef who has been involved in the past Underground Secret Dining project, I finally fed both my curiosity and my hungry stomach.

So how does this Underground Secret Dining work? First of all, Underground Secret Dining is a food cultural experience dissecting the pleasures of Indonesian cuisine. As the name imply, it is a secret event limited to the first 50 people who are quick in making their reservation. The secret is not in the event itself, especially with the recent exposures from the media, but more on where you will eat and what you will eat. And that is where excitement lies, the gastronomy delight will only be revealed on site. As if being assigned on a treasure hunt, the invitation by email includes hints and riddles on the specific cuisine and a final reveal of the location address one day before the event.

With high hopes in reaching an exotic location, I was surprised to find out that my first experience of Underground Secret Dining was held at a restaurant near my office – a place that happens to be one my office’s regular lunch joint – luckily I was quick to realize that the food served would be custom-made, without being disheartened, my friend and I arrived on site welcomed by an interesting choice of Ternate cuisine. Ternate; a city in the Maluku Island. (Moluccas)

My interest was ultimately piqued by the crowd itself as I gather in a conversation of my friend and a guest who were discussing their recent culinary trip in Vietnam; they were in deep conversation over the delicious crisp of bread in Vietnam in

comparison to the ones available here. This seriousness over bread I thought defined what the whole event was about; it is simply passion, an amazing passion for food.

Having enjoyed the ambiance of the people, the food and the love for it, I invited my fellow food enthusiast friend for a second round of the gastronomy tour, which this time took more effort to reach the location. Passing by a lot of alleys and narrow street to finally arrive to an outdoors setting by the side of a Bali temple in Jakarta  with the food being no other but a  Balinese food platter from Singaraja.

The whole concept is a thrill and quite addictive, no one can deny that food is the perfect medium for anyone to bond over with. In the present times, food is no longer a tool to fill your empty stomach, it is an exploration of culture and a means of communication. With the diversity of Indonesia’s culture hides so many layers of food ’stories’ to be uncovered and devoured.

Since this is one of my “dessert island” albums, the search then continued to find out what other works Mizell Brothers had done. After years of in and out of the record stores and record fairs, I found out that the Mizell names always appeared as the mastermind of the must have jazz-funk LPs known out there. And the list looked like a classic rare groove 101 with an amazing production and song writing on heavy albums such as Bobbi Humphrey’s Blacks and Blues (1973), Johnny “Hammond” Smith’s Gambler’s Life (1974), and Gary Bartz Music is my Sanctuary (1977).

Place and Spaces was not the first time they worked with Donald Byrd, in fact it was the 3^rd time they have done so with the jazz trumpeter. The first one they did was Black Bird (1972), Street lady (1973), Stepping into Tomorrow (1974), and Caricatures (1976). All of these were a Blue Note Joint. Before working with the Mizell Brothers, Donald Byrd’s sound leaned more towards traditional jazz with Mizell Brothers alchemist touch, Donald Byrd blows tunes that defined the great era of jazz fusion bringing jazz back to the dance floor.

The Mizell Brothers consist of Larry and Alphonso (Fonce) Mizell, 2 brothers originally from Englewood, New Jersey-USA. Larry Mizell was born 17th February 1944 and his older brother Alphonso (Fonce) Mizell was born 15th January 1943.

Both of them went to Howard University, a prominent black college in Washington DC, where they become acquainted with their teacher Dr. Donald and Donnie Hathaway

They managed to run a record label while studying at Howard University called HOG and their only release at the time was THE MOMENTS Baby, I Want You. Though it was not a great success by any means what so ever, but this is currently one of the sought after 45 in the market and will definitely fetch a fortune. After University, Fonze moved back to Los Angeles with his childhood music partner Freddie Perren to write and produce music. Their first known gig was for an independent label LARCO (Los Angeles Recording Company). And they both had a strong tied with Barry Gordy’s Motown and help wrote Jackson 5’s I Want You Back and ABC.

After Howard University, Larry accepted an engineering researcher position in Long Island and supposedly, one the research he did was on liquid crystals, which today are used for sample in displays (LCD). Larry moved back to Los Angeles, California in the 70’s to regroup with Fonce and at this time they teamed up with their old teacher Donald Byrd, who was working on his album Ethiopian King for Blue Note Records.They struck a chord, bought themselves an ARP Soloist synthesizer and began making music as their own production company, Sky High Production.

The thought of hearing Ucok Harahap’s shriek of hedonism, Harry Roesli and his gang’s jabs at the government or the screams of Deddy Dores in Freedom of Rhapsodia on a Now-Again produced record (and indirectly, Stones Throw) is surreal yet definitely exciting.Not least because Now-Again’s parent label have been releasing alternative, progressive, quirky and forward thinking hip-hop (not to mention spaced out jazz, retro soul, boogie funk, electro-hop, and prog rock) for over 10 years now with proof in the form of Madlib and his many guises, Mayer Hawthorne’s motown-era soul, the nu-prog of Mars Volta’s Omar Rodriguez Lopez, J Dilla’s magnum-opus ‘Donuts’ and Dam-Funk’s Toeachizown boogie-funk series to name a few.

While Now-Again themselves have released ‘new’ records from funkateers and post hip-hop heads such as The Heliocentrics, Karl Hector & The Malcouns, Mr.Chop, Dimlite and the Whitefield Brothers, heir audio and visual work on compilation re-issues and re-packaging is perhaps what they’re best known for.The meticulous research and great artwork that goes into gems such as Forge Your Own Chains -Heavy Psychedelic Ballads and Dirges 1968-1974, Calfornia Funk,
P.E. Hewitt Jazz Ensemble – Winter Winds and Black Man’s Cry – The Inspiration of Fela Kuti makes the prospect of an Indonesian compilation an intriguing one.

Whiteboard Journal recently sent Egon a few questions with regards to his role in Stones Throw, his visions for Now-Again and a little chitchat about Indonesian records as well as the up coming compilation.

E: Well, I’m not sure if I was ever “head of A&R.” That was a hotly contested title with, at points, Madlib, myself and Jeff Jank wearing the title for some weeks or maybe months. Chris Manak, also known as the DJ Peanut Butter Wolf, who founded and owns Stones Throw is the head of A&R at Stones Throw – he most loves and is passionate about artistic development.So, in the past, where Madlib might have been on a streak for six months where he just did anything he wanted to do, or if Jeff went in and re-edited J.Dilla’s “Donuts” album, Wolf has always been the boss.

Stones Throw, although it’s been accommodating of other artistic preferences over the years, is solely Chris’. Now the administrative side – Chris will tell you he has little care for any of that! So when I first came on, even though I was tasked with, say, the Breakestra’s album or putting together The Funky 16 Corners, I always had free reign to set up the business as I saw fit, as long as I didn’t bother anyone or lose any money. Thank god for that, or we would have ended up like Factory Records or something like that. I guess I just have a knack for it. Or I was able to make enough mistakes when no one was looking or paying attention and thankfully learn from those mistakes!

Tell me about the reason why you established Now-Again records. How does it differ to the work you do for Stones Throw?

E: I started Now-Again to focus on the reissues I had been working on since I was in college; in 2001 Madlib had basically taken a long break from making hip hop music, Wolf was focusing on his Dj-ing and we weren’t signing many acts, and Stones Throw was in danger of releasing only records I’d marked for reissue.

Both Wolf and Jeff were a bit upset with this – not because they didn’t respect the music, but because they didn’t want Stones Throw to be known as a reissue label. I guess I didn’t either – but I was, being the business guy, being pragmatic. We needed records coming out to fill our release schedule.

For any inquiries regarding our product, please contact us at store@whiteboardjournal.com or you can visit these selected stores to take a close look at our products.

Accupunto Store – Jakarta
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A DECADE IN ROCK • Sekilas Konsumsi Music Rock Era Soeharto

Ibuku adalah anak terkecil dari 10 bersaudara sehingga dalam keluarga ibuku, aku adalah cucu terkecil. Kakak-kakak sepupuku mayoritas adalah generasi 70-an yang rata-rata berjarak 7 hingga 15 tahun lebih tua dariku. Masih segar dalam ingatanku, hal yang paling memesonaku sewaktu kecil. Bukan mainan, bukan juga hal-hal yang luar biasa. Hanya sebuah poster di kamar kakak sepupuku. Poster versi bajakan yang dicetak di atas karton dupleks ukuran A2, khas Indonesia pertengahan 70-an. Poster itu bergambarkan seorang pemuda bule, berambut gondrong dengan kemeja terbuka hingga perut dan celana jeans cutbrai yang terlihat sangat kotor dan lusuh. Dari pose tubuhnya, terkesan ia sedang dalam keadaan mabuk berat. Tangan kirinya memegang sebuah mikrofon. Di balik pemuda mabuk ini, terlihat seorang pemuda lain memegang gitar. Terlihat dari posenya ia sedang dalam keadaan bermain gitar dengan intens. Pertama kali melihat poster ini aku terbengong kagum. Aku menatapnya untuk waktu yang sangat lama, dan bertanya, “Siapa ini?” Kakak sepupuku menjawab, “Itu Robert Plant dan Jimmy Page.”

Untuk seorang anak usia 5 tahun, jawaban itu bagiku tidak bermakna apapun. Namun, image yang kulihat dari poster itu aku ingat terus hingga ketika aku melihat image yang sama pada sebuah sampul kaset di Aquarius, Aldiron Plaza, Blok M. Perlu waktu yang cukup lama bagiku untuk meyakinkan ibuku bahwa sebagai anak umur 5 tahun, aku memang harus dibelikan kaset itu. Sepulang dari Aldiron, hidupku pun sontak berubah. Itulah awal perkenalanku dengan Led Zeppelin dan musik rock pada umumnya.

Beberapa bulan kemudian, ketika berulang tahun keenam aku mendapat hadiah kotak makanan dari kaleng dan sebuah piringan hitam. Tidak ada yang istimewa dari kotak makanan tersebut, selain gambarnya: official photo dari Kiss. Bagiku mereka seperti dewa atau makhluk dari planet entah apa.

Seperti kotak makanan, piringan hitam yang kudapat juga bergambar sama: Kiss “Rock and Roll Over.”Dua pertemuan paling mengesankan inilah yang mengubah hidupku. Sejak dua kejadian itulah, aku mulai punya kebiasaan baru yang aneh bagi anak usia 6 tahun, yaitu mengumpulkan kaset dan piringan hitam rock. Aku jadi jarang bermain, bahkan tidak terlalu tertarik dengan mainan karena aku telah menemukan mainan baru: stereo set dan musik rock. Sejak itulah, aku ingat, aku punya cita-cita sederhana, menjadi rockstar. Dalam waktu singkat, aku berkenalan dengan banyak sekali sub-genre rock dari beberapa kakak sepupuku yang memiliki selera berbeda-beda. Merekapun seolah senang memiliki mainan baru, yaitu mencekoki pikiran anak kecil dengan musik kesukaan mereka. Sejak itu pula, aku selalu minta hadiah kaset atau piringan hitam di hari ulang tahunku.

Aku sungguh bangga dibesarkan di tahun 70-an akhir dan 80-an awal. Aku tumbuh bersama dengan raksasa-raksasa rock yang kini tinggal legenda. Aku melihat sendiri kegundahan penggemar Led Zeppelin ketika mereka membubarkan diri di tahun 1980. Di tahun yang sama, aku ikut mengalami kehebohan atas pembunuhan John Lennon melalui berita di TVRI.

Di tahun yang sama pula, aku mengalami kehebohan single-single rock terhebat sepanjang masa. Hampir seluruh momentum penting dalam hidupku, aku identifikasi dengan single rock sesuai jamannya. Lagu “YYZ” dari Rush, atau “You Shook Me All Night Long” dari AC/DC selalu menjadi pintu masuk bagiku untuk mengingat apapun di tahun 1980. Atau, album “Pyromania” dari Def Leppard menjadi pintu ingatanku akan seri rekaman video “Rock Concert” di tahun 1982-1983. Di masa itu, kami harus pergi ke penyewaan video untuk mendapatkan video rekaman lagu-lagu rock terbaru, yang ternyata beberapa tahun kemudian aku baru tahu bahwa sebenarnya video itu adalah kumpulan rekaman acara Headbangers’ Ball MTV.