Thursday, April 7, 2011

05/04 The TV Column: News stations weigh whether to cover Gauguin’s ‘Tahitian Women

The TV Column: News stations weigh whether to cover Gauguin’s ‘Tahitian Women’

So how does a local TV station cover a breaking news story about an $80 million Paul Gauguin masterpiece that was attacked at the National Gallery by a woman declaring that the painting’s semi-nudity is evil?

Well, if you’re Fox-owned-and-operated station WTTG, you blur out the nipples on the two semi-clad Tahitian women portrayed in the famous late-19th-century oil painting.

Only then, it kinda appears that Gauguin painted the women to be anatomically incorrect.

(The station did show viewers that Gauguin, in fact, had a better command of female anatomy, in its late local news, The Post’s Emily Yahr reports.)

And if you’re Allbritton-owned ABC affiliate WJLA, you go with the Bouncing Banner.

That is, you push up that banner of type that usually runs at the bottom of the screen, so it serves a dual purpose: conveying the salient point “Gauguin Painting Attacked,” while also modestly covering the native women’s breasts.

If you’re the Gannett-owned CBS station WUSA, you don’t show the painting at all in your promos, but you do let your viewers see the actual painting in your news coverage, by way of more clearly explaining the story to the audience.

And if you’re the NBC-owned WRC, you show a cropped version of the painting in your promos, so viewers only see the women from the shoulders up; but you let your viewers see the work of art, as Gauguin intended it, during your newscast.

What we appear to have here is yet another illustration of that old gag about how one man’s masterpiece is another man’s dubious taste.

“Two Tahitian Women,” valued at $80 million,sustained no damage in the attack. It’s the property of the Metropolitan Museum of Art in Manhattan, and it’s on loan as part of the National Gallery’s exhibit “Gauguin: Maker of Myth,” which opened in late February.

The painting, completed in 1899, depicts two women; one is bare-breasted, the other has a cloth draped over one breast.

TV stations are understandably very wary of women’s breasts ever since Janet Jackson showed us hers, by way of breaking up the monotony of CBS’s broadcast of Super Bowl XXXVIII in 2004.

Remember, it was the CBS stations that the Federal Communications Commission slapped with those hefty fines when the aging pop star experienced her wardrobe malfunction.

And it was NBC stations that stood to get socked in the wallet when organizers of the 2004 Athens Summer Olympics decided to expose the opening-ceremonies audience to classical Greek statues, and mythological gods and goddesses, in various states of undress so fashionable in days gone by. That inspired some to write nasty notes to the FCC, demanding to know whether it was going to let NBC subject the flower of American youth, watching at home, to such a wanton display of Greekness.

Non-fans of women’s breasts were very well represented among those who communicated with the FCC about that Olympics’ opening ceremonies, causing the FCC to ask NBC to turn over the tapes, sending chills down the spines of NBC station suits nationwide.

“My children saw an exposed breast during the opening ceremonies,” one complainant said, as if he or she meant it to sting.

“First we had to be subjected to the breast of Janet Jackson in the [Super Bowl and] now an even more gratuitous display of pornography an [sic] indecency during what was suppose [sic] to be another family viewing event,” chimed in another in writing.

On the Gauguin painting, “We are comfortable that showing the portrait as the artist intended was central to the telling of this story,” WUSA general manager Allan Horlick and news director Fred D’Ambrosi said in a statement, in response to our query.

WUSA, however, did not show the painting in its promos for the news story. But promos, of course, fall under “marketing,” not “news reporting.”

On the flip side, WJLA general manager Bill Lord told The TV Column of the Bouncing Banner: “I probably spent under 10 seconds making this decision.”

“I didn’t agonize about it. It seemed like the most tasteful thing to do on television,” he said. “I didn’t spend a great deal of time thinking about what the FCC would do or anything like that. “

He noted that the station did show the painting in full on its Web site.

“It really seemed like, given the audience of the two media, which was seemingly the correct answer for television.”

A museum visitor, identified in documents filed with the D.C. Superior Court as Susan Burns, 53, of Alexandria, allegedly grabbed the Gauguin painting by its frame Friday afternoon and tried to pull it off the wall. She then tried to bash the painting with her fist, but it was protected by a plexiglass shield, court papers said.

Word of the attack hit the press Sunday afternoon, and the local TV stations talked about it Monday in their newscasts.

Burns has been charged with second-degree attempted theft.

According to court papers, Burns told an investigator: “I feel that Gauguin is evil. He has nudity and is bad for the children. He has two women in the painting and it’s very homosexual. I was trying to remove it. I think it should be burned.” She also said she was from the CIA and has a radio in her head, according to Post reporting.

Burns had been scheduled for a “mental observation hearing” Tuesday, according to court papers. That hearing was postponed and has been rescheduled for Wednesday afternoon.

demoraesl@washpost.com

07/04 注入海水の塩害に懸念 米の報告書 福島第一原発

2011年4月7日15時2分

 東日本大震災で被災した福島第一原子力発電所について、米原子力規制委員会(NRC)がまとめた報告書が、原子炉内に注入した海水の塩が炉を厳しい状況に陥らせているという認識を示していることがわかった。東京電力は炉内の核燃料を冷やすため、緊急措置として近くの海から一時的に消防車のポンプで海水を注入していた。

     ◇

 NRCの報告書(3月26日付)で強く示唆されているのが、海水を原子炉の核燃料の出す熱(崩壊熱)を冷やすのに使う弊害だ。

 報告書では、1~3号機では、原子炉の圧力容器の底に、燃料が壊れてたまっていると分析。燃料は、一時注入していた海水に溶け込んでいた塩分が結晶化したものに覆われており、冷却水の流れが妨げられている、とみている。

 注水ノズルも塩分で妨げられており、十分に機能していない可能性があるという。そのため、核燃料から出る熱をどれだけ冷やせているか、測るのが難しかったという。

 さらに、1号機の圧力容器の温度は今でも200度以上の計測値を示し、なかなか下がらない。2、3号機よりも結晶化して核燃料を覆った塩分の量が多く、冷却をより難しくしていたと推定される。

 その上、報告書によれば海水は真水(淡水)に比べて、核燃料の出す放射線の影響で水素ガスを発生させやすい。海水には酸素も含まれるため、水素と酸素がまじって、水素爆発する危険性も高まる。

 報告書は海水注入が格納容器の中に「危機的な状況を作り出す」としている。そのため窒素の注入と、格納容器内から外部にベント(排気)をし、格納容器内の圧力を下げることを提案している。そうすれば「最大限の注水ができるようになる」という。

 福島第一原発では3月11日の地震後に停電や非常用発電機が止まった影響で、1~3号機で、原子炉の核燃料を冷やす冷却機能を失った。

 そのため、地震翌日以降、応急措置として消防車のポンプを使って近くの海から海水の注入が続けられていた。

 ベントされれば周辺に格納容器内の放射性物質も放出されることになる。関係者にとっては避けたい措置だが、そうしてでも炉心を冷やす作業を続けざるを得ない状況にある。

 通常は、原子炉内で純水に近い真水を循環させて冷却に使っている。海水を入れると、不純物や塩の影響で原子炉の配管や弁をつまらせたり、傷めたりすることにつながる。廃炉になる可能性が高まる。

 だが、熱が発生し続けると核燃料が過熱して壊れたり、発生した蒸気の圧力で原子炉が壊れたりして、大量の放射性物質が漏れ出すおそれがある。海水は近くの海に豊富にあるため、塩分の害より冷却を優先した緊急避難的な決断だった。

 海水注入は3月25日から26日にかけて次々に真水に切り替えられた。日本側は25日、真水を注入するのに使うため、米軍から真水を積み込んだ「バージ船(はしけ)」も借り受けている。

 北沢俊美防衛相は「切り替えを早くすべきだと米側から強い要請があった」と25日の記者会見で明かしていた。

 海水から真水への切り替えは、NRCの報告書がまとめられた時期に重なっており、背景にはこうした分析があったとみられる。

 また、報告書では2、3号機の原子炉は、注水しているのに思ったより水位が上がらないため、圧力容器の一部が壊れて水が漏れている可能性も指摘した。

 外側の格納容器に水があふれている場合、地震の余震が起きた場合に水の重さに耐えられず、壊れる可能性もあげている。

 こうした大まかな見積もりは、NRCが日本原子力産業協会や経済産業省原子力安全・保安院などから得た情報をもとにまとめている。(香取啓介、ワシントン=勝田敏彦)

06/04 Amid nuclear crisis, Japan’s Tepco planned new reactors

Amid nuclear crisis, Japan’s Tepco planned new reactors

Gallery: Massive rescue, cleanup efforts underway in Japan: After the earthquake and tsunami, entire towns in Japan have been destroyed. But search-and-rescue teams are fanning out in what will be a lengthy, complex endeavor.

FUKUSHIMA, JAPAN — Even as it struggled to contain the world’s worst nuclear disaster in a quarter-century,Tokyo Electric Power Co. late last month quietly set out big plans for the future: It proposed building two new nuclear reactors at its radiation-spewing Fukushima Daiichi power plant.

Tokyo Electric, known as Tepco, informed Fukushima prefecture on March 26 of its desire to start building the reactors as early as next spring, local officials said. That was just two weeks after an explosion at the utility’s tsunami-crippled complex set off a cascade of catastrophes.

The proposal was then included in a formal report submitted to authorities in Tokyo on March 31 as part of an annual process designed to assess Japan’s future electricity supply.

“It was just unbelievable,” said Yoichi Nozaki, director general of Fukushima’s Planning and Coordination Department, which oversees energy matters here in the capital of the region most blighted by the biggest nuclear debacle since Chernobyl.

When Tepco notified Fukushima’s energy department of its new reactor plans, Nozaki immediately told Fukushima’s governor, Yuhei Sato, who reacted with fury. “What is going on?” he fumed. Nozaki met the head of Tepco’s local branch and told him “we definitely cannot accept” the building of new reactors. A Tepco team from Tokyo was given the same “no way” message. The electricity company, said Nozaki, was told by prefectural officials “to sort out problems on the ground first and stop thinking about new reactors.”

Tokyo Electric pressed on, declining to alter its plans and submitting them to the Ministry of Economy, Trade and Industry, or METI, in Tokyo.

With its reputation and its finances already shredded by the events at Fukushima Daiichi, Tepco now has another fiasco to contain. Its proposal for new reactors, first reported Sunday in a Fukushima newspaper, has caused horrified dismay — and significant backpedaling by the utility.

“It was a mistake,” Hiroshi Aizawa, a Tepco official in Fukushima, said Monday. He said the company had been too busy trying to get Fukushima Daiichi under control and avoiding power cuts to revise a plan that took shape before the March 11 earthquake and tsunami.

The disarray — on full view just as BP seeks to restart drilling in the Gulf of Mexico, the scene of a spectacularblowout last year on a rig leased by the oil giant — has sharpened a question that has dogged Tepco since the tsunami slammed into its Fukushima plant: Has the scale of the disaster triggered a managerial meltdown, or is the world’s largest private electric utility simply sticking to the aloof, heedless habits of a corporate behemoth accustomed to getting its way?

“I don’t know what they’re doing,” Nozaki, the Fukushima planning chief, said of Tepco’s executives. “Ask them!”

‘Totally unacceptable’

The idea of building two new reactors at a facility that is still leaking radiation into the air and sea “is of course totally unacceptable,” Nozaki said. He now meets each morning with other senior officials to hear the latest figures on the radiation being spread by Tepco’s crippled plant.

Tepco announced last week that four reactors at the center of the crisis at Fukushima Daiichi will never go back into service. At the same time, it submitted its report to METI that included a proposed timetable for constructing and commissioning two reactors — No. 7 and No. 8 — at the same complex.

“We regret that we submitted the report as it was, considering the feelings of the local residents in Fukushima,” said Hiro Hasegawa, a Tepco spokesman in Tokyo. He said the company will revise its plans as soon as it has had time to analyze the effects of the quake.

A Tepco vice president, meanwhile, went on television and declared the construction of the proposed reactors “impossible.”

The company is in shambles, its share price and credit rating plunging, its leadership disabled by ill health. Its president, Masataka Shimizu, checked into hospital a week ago, and Tepco is now being steered by its chairman, whose own reputation was tarnished by an earlier, though far less serious, nuclear accident.

Tokyo Electric has dreamed for more than 15 years of adding two reactors to the six-reactor Fukushima Daiichi complex but has been repeatedly thwarted.

Nozaki said he knows that Tepco has long wanted to build the reactors but could “not understand how it could submit such a request in these circumstances.” Talking about new reactors when “so many people are scared and in difficulty . . . is completely out of the question,” he said.

Residents’ rage

More than 80,000 people have fled their homes in the coastal areas of Fukushima prefecture for fear of contamination by Tepco’s existing reactors. Farmers cannot sell their goods, and entire towns have been abandoned.

Aizawa, the Tepco official in Fukushima, said his office has been bombarded with calls from angry residents, particularly farmers. The company is now so reviled that it has covered up its name on some buildings to spare employees abuse. To try to soften the hostility, it is handing out gifts of $240,000 to towns most at risk from contamination. At least one town, Namie, said “No, thanks.”

Radiation levels in Fukushima are now declining somewhat, but Tepco’s decision over the weekend to start dumping large quantities of radioactive water into the sea has added a new source of alarm in Japan and beyond.

“Tokyo Electric may want to ignore the feelings of Fukushima residents, but this is definitely not acceptable,” Nozaki, the planning department chief said.

higginsandrew@washpost.com

Staff writer Michael Alison Chandler in Tokyo contributed to this report.

30/03 Teenage cartoonist lampoons Brazil's elite

Teenage cartoonist lampoons Brazil's elite

Gallery: Teenage cartoonist lampoons Brazil’s elite: Joao Montanaro, a ninth-grader, has become the editorial cartoonist known simply as Joao M.


Like any Brazilian boy of 14, Joao Montanaro loves soccer and video games, graphic violence and all.

But he also reads the newspaper for two hours a day and leafs though magazines at the local kiosk, his eclectic tastes running from Mad magazine to Le Monde Diplomatique. Then there’s his never-ending doodling — on loose pieces of paper, in his sketchbook and, lately, at Folha, Brazil’s biggest daily newspaper.

Much to the surprise of Brazil’s political establishment and the loyal readers of the 90-year-old broadsheet, the ninth-grader is the newest member in the paper’s stable of irreverent cartoonists. Joao Montanaro, spindly teenager, has become the editorial cartoonist known simply as Joao M., which is how he signs the cartoons appearing on Folha de Sao Paulo’s editorial page every Saturday.

“Everybody draws when he’s a kid but stops,” said Joao, who is thin and tall and still very much a kid. “But I continue, and it’s natural for me to draw.”

At Folha de Sao Paulo, or the Sao Paulo Journal, tradition holds that politicians exist to be skewered, whether they are the regional bosses in Brazil’s outback or the wildly popular former president Luiz Inacio Lula da Silva. Speaking in workable English, Joao said that since he was old enough to understand Folha’s mission, he had been driven by the hope that he, too, could lampoon the powerful from the paper’s most important perch, the editorial page.

“I make comics, cartoons, comics strip, too, and I like political cartoons,” he said on a recent day in his studio in his parents’ house. “You can joke about somebody bigger than you, and I like this.”

In a sense, Joao’s arrival on this city’s scrappy media scene is not a surprise.

Brazilian journalists say political cartooning in their country has a rich, colorful history, its golden age coming during a 21-year military dictatorship, when the ambiguity of a cartoon could get a political message past censors in a way an article could not. Brazil is now a thriving democracy, but circulation has contracted dramatically at major newspapers, even at the once-mighty Folha, which sells about 300,000 copies daily.

Folha’s editors saw an opportunity to make a splash — and perhaps appeal to younger readers — by bringing on Joao, who at 12 had begun doing illustrations for the children’s version of the newspaper, Folhinha. In May, shortly after turning 14, he joined the paper’s battery of cartoonists, with his work displayed on the editorial page.

“We had the idea of calling him to the most important place of the newspaper,” Mario Kanno, Folha’s art director, said of the editorial page, “to show that papers are not only for old people. It has things for young people.”

Joao’s father, Mario Barbosa, said he has encouraged his son since he was barely 7 or 8. Back then, Joao would climb onto his father’s lap to leaf through books, some heavy with illustrations, others offering the works of Brazil’s best-known cartoonists.

Joao said that he was too young to understand the messages but that he was hooked by the artistry.

“It was just the images, because I don’t understand the ideas,” Joao said. “So I copied the drawings to learn how to draw.”

The naturally inquisitive Joao would later delve into the works of cartoonists and illustrators far from Brazil, including Charles Schulz, creator of “Peanuts,” and the commercial illustrator Jim Flora, whose edgy work is well known among advertising professionals in New York.

But Joao said what really inspired him most was the work of Brazilian political cartoonists, particularly Arnaldo Angeli Filho, perhaps the country’s most celebrated political cartoonist. “I say, ‘Oh, my God, I want to do that, too,’ ” Joao said, recalling a book of caricatures by Angeli and others.

Working from a small studio next to the kitchen in his family’s compact home, Joao veers from strips about the complexity of modern life in Brazil to satirical one-pane drawings about the tumult in the Middle East.

He sketched one particularly well-received cartoon last year, when Lula, who was president at the time, was being criticized for the amount of time he spent campaigning for Dilma Rousseff, his former chief of staff, ahead of presidential elections. In the cartoon, Lula’s tongue — with “Dilma” written on it — sticks out of his mouth, dwarfing his body.

In another, published just days ago after the earthquake in Japan, Joao took the famous Japanese artist Katsushika Hokusai’s 19th-century print “The Great Wave of Kanagawa” and showed it tossing around houses and cars.

“For a 14-year-old,” said Kanno, the Folha art director, “it is very sophisticated.”

foreroj@washpost.com

06/04 Mumbai attacks in 2008 still divide India and Pakistan

Mumbai attacks in 2008 still divide India and Pakistan

Rafiq Maqbool/ AP - An Indian policeman patrols outside the Mumbai High Court in Mumbai, India.

    ISLAMABAD, Pakistan — Even as Indian and Pakistani officials make high-profile efforts to repair relations, the nuclear-armed neighbors remain sharply at odds over the fate of seven Pakistanis accused of having a role in the 2008 terrorist attacks in Mumbai.

    ISLAMABAD, Pakistan — Even as Indian and Pakistani officials make high-profile efforts to repair relations, the nuclear-armed neighbors remain sharply at odds over the fate of seven Pakistanis accused of having a role in the 2008 terrorist attacks in Mumbai.

    “Ninety percent of evidence required for successful prosecution is already with Pakistan,” said B. Raman, an Indian security analyst. “They may say India has not given more, but they are not sincerely interested in pursuing it.”

    The case has consumed more than 80 closed-door hearings in a Pakistani anti-terrorism court at Adiyala jail in Rawalpindi city, inviting “the impression that they are avoiding real action,” Raman said.

    Prosecutors here declined requests for interviews, but in brief comments after hearings, they have expressed frustration at the delays and at their lack of access to Kasab, who was videotaped carrying an assault rifle through the mayhem of Mumbai. Last week, the judge rejected a request to issue an arrest warrant for him, saying that because he was in Indian custody, he could not be considered a fugitive. Last May, an Indian judge sentenced Kasab to death.

    An influential detainee

    Efforts to prosecute a far more important detainee, Zaki-ur-Rehman Lakhvi, have been bedeviled by the influence he wields as a leader of Lashkar-i-Taiba. Indian investigators say he was operations chief of the Mumbai assault. Pakistani police arrested him in 2009 under international pressure, but experts said his religious influence and fame in Pakistan as a combatant in the disputed territory of Kashmir have made authorities reluctant to put him on trial.

    “This is a very difficult fish for them to fry,” said one Western analyst, speaking on the condition of anonymity. He described the Pakistani government as wanting to show that it is tough on international terrorism but also wanting to remain “engaged” with the group in hopes of maintaining some control over it.

    Intimidating presence

    Now reincarnated as Jamaat-ud-Dawa, a religious charity, Lashkar-i-Taiba enjoys a large following among Muslim youths and poor Pakistanis because of its work in crises such as last summer’s floods. Its longtime leader, Hafiz Sayeed, has been repeatedly arrested but then released by Pakistani courts, and he can be heard on many Fridays preaching anti-American sermons at his mosque in the city of Lahore.

    Yahya Mujahid, a spokesman for Sayeed, denies that his organization had anything to do with the Mumbai attacks and often points out that Sayeed has never been convicted of a crime in Pakistan.

    “All of our problems are because of American pressure. They don’t distinguish between violent and nonviolent organizations,” Mujahid said in a recent interview. Arriving several hours late, he said he had been organizing assistance to victims of a rural dust storm.

    Despite its benign new identity, Pakistani analysts said Lashkar-i-Taiba is still an intimidating presence here in Punjab province, where judges and politicians tend to appease religious extremists. And although the federal government has a strong anti-terror law and a well-trained federal investigative service, it often lacks the resources and support to win in court.

    A cordial meeting between the Indian and Pakistani prime ministers at a cricket match last week was the latest in a series of diplomatic overtures. Pakistani and Indian officials agreed to open a terrorism “hotline,” and Pakistan said it would allow Indian investigators in the Mumbai case to visit Pakistan for the first time. But no dates were set, and there was no progress on Indian officials’ requests to meet the Pakistani detainees or test their voice identities against cellphone calls to the attackers from their alleged handlers in Pakistan.

    Pakistani officials, while insisting they want to get to the bottom of the Mumbai attacks, acknowledge that they are not in a strong position to crack down on Lashkar-i-Taiba, and they express resentment over continuing U.S. pressure on the issue. They note that Pakistan has been victimized by terrorism for years and has provoked public antagonism by allowing U.S. cross-border missile attacks on suspected militants.

    “Mumbai must have been terrible, but we have suffered many Mumbais,” said Foreign Secretary Salman Bashir. “All of us want to free the region of this lethal virus, but it does not help to stigmatize us.”

    constablep@washpost.com

    Correspondent Rama Lakshmi in New Delhi contributed to this report.


    06/04 New York City Ballet’s illuminating program of black and white

    By Sarah Kaufman, Wednesday, April 6, 10:02 PM

    As women were tearing off their bras in the 1960s and ’70s, George Balanchine was tearing off their tutus. You can get a full dose of the effect at the Kennedy Center Opera House this week, where the New York City Ballet is performing a series of Balanchine’s black-and-white ballets — so called because the dancers, liberated from the staid trappings of classical dance, wear little more than the tights and leotards of their daily workouts. In so much of Balanchine’s choreography as on the fashion runways, the look of the era was unadorned and uncorseted.

    ( Jahi Chikwendiu / THE WASHINGTON POST ) - Sterling Hyltin, left, Ana Sophia Scheller, Robert Fairchild and Tiler Peck of the New York City Ballet perform “Apollo” at the Kennedy Center.

    So much so, in fact, that Tuesday’s handsome opening-night program could have been a Richard Avedon photo shoot. The whole evening was minimalist, stark, intimate. To list the five works — “Monumentum Pro Gesualdo,” “Movements for Piano and Orchestra,” “Duo Concertant,” “Apollo” and “Symphony in Three Movements,” all with music by Stravinsky — is to clutter up a sentence more than any one of them cluttered the stage.

    The marvel of these elegantly pared-down works is how much gorgeous movement they contain, sifting through in unexpected ways — and the surprises still shine, all these years later. These are not unfamiliar works to ballet regulars, but grouped together as they were, they make as resounding a statement about the enduring appeal of modernism as any Danish furniture line or Russel Wright crockery collection.

    “Apollo,” created in 1928, launched it all. This was Balanchine’s eureka moment — where he discovered, as he once wrote, “that I could dare not use everything” — and he continued refining the sketch of the young sun god’s life through the years. In fact, it wasn’t truly a black-and-white ballet until the 1960s — before then, the god and his three muses were clothed in various iterations of Greek attire. But as the Space Age gave us sleek new designs and Jackie Kennedy defined class with her youthful, streamlined shifts, Balanchine finally settled on the simplest of miniskirts for his muses and a chest-baring sash for their leader.

    Tuesday night was full of debut performances. In “Apollo,” the entire cast was dancing the ballet for the first time, and not without a few stumbles. But though he wasn’t yet fully authoritative in the title role, Robert Fairchild showed promise — here was recklessness brought slowly in line, true to the character. If his performance didn’t bear shadings of the immortal, its human dimension was compelling.


    Certainly, not everything Balanchine created was distilled to the extent of the works on this week’s series — think of his full-length ballet “Jewels,” from 1967, so drenched in color, glitz and finery. But in 1972’s “Symphony in Three Movements,” which closed Tuesday’s bill, Balanchine brought it all together, achieving a massive modernist synthesis of his twin loves of simplicity and showmanship. Emptiness and quantity live side by side here, as do airy calm and the energy of jet travel. Its opening picture of 16 women in white leotards and high ponytails, standing motionless on a diagonal line, is so confidently chic it prompted cheers and applause. Later, dancers jog around with balled-up fists or jump with cheerleader zest, and their blunt energy recalls the Rockettes, the frenetic culture of the ’60s and the jangled nerves of that age — which feel all too familiar now.

    If you’re going to listen to a full evening of Stravinsky — not the easiest on the ear — the musicianship had better be top-notch, but in its opening assay, the New York City Ballet Orchestra couldn’t quite gets its arms around either “Monumentum” or “Movements.” Maria Kowroski’s cool command in both works — created in the 1960s, perhaps as antidotes to that decade’s freneticism — was almost enough to overcome this rockiness.

    “Duo Concertant” featured the highly successful debuts of Megan Fairchild (Robert’s sister) and Chase Finlay and the onstage support of violinist Arturo Delmoni and pianist Cameron Grant. Fairchild is an especially sparkling dancer — light and quick, every pose perfectly shaped, like a living sculpture. Exactly what this sleek tribute to style, romance and music demands.


    kaufmans@washpost.com

    This program repeats Friday evening and Sunday afternoon. New York City Ballet performs two more programs of Balanchine works through Saturday evening.

    Global nuclear debate heats up

    Governments around the globe question the use of nuclear power as Japan’s attempts to avert a meltdown at one of its plants erode confidence in nuclear energy.

    The San Onofre Nuclear Generating plant in north San Diego County, Calif. Californians have long had an uneasy relationship with their two nuclear power plants, and the crisis in Japan, after the earthquake and tsunami on March 11, 2011, raises new doubts about how long nuclear power will survive in the earthquake-prone state.
    REUTERS

    07/04 Near Tokyo Disneyland, liquefaction turns town into a grim funhouse

    By David Nakamura, Wednesday, April 6, 8:43 PM

    URAYASU, JAPAN — Nearly four weeks after Japan’s great earthquake, most of the 100,000 residents of this low-lying seaside town still have no plumbing. They relieve themselves in plastic bags — mixing in chemicals to harden the waste and hide the smell — and throw the bags into the garbage. Fortunately, trash collection, unlike sewage, water and gas services, has not been disrupted.

    Located about 200 miles south of the earthquake’s epicenter, Urayasu should have been well beyond the danger zone. There was no tsunami wave. No buildings fell. Rather, what happened here March 11 seemed straight out of a science-fiction movie: As the ground shook, muddy sludge oozed up, gurgling out of newly formed cracks and swallowing what it could.

    Today, the mud is dried and gone, but Urayasu, the home of Tokyo Disneyland, resembles a town reflected in a funhouse hall of mirrors: severely warped streets and fences, tilted houses and police booths, sunken utility poles and pushed-up manhole covers resting on three-foot-high piles of dirt. At Disneyland, the parking lot rippled and buckled, a ride the 68,000 patrons at the park that day hadn’t counted on.

    To the list of destructive forces that have wracked Japan — earthquake, tsunami, radiation from a crippled nuclear power plant — can be added liquefaction, a phenomenon that occurs when the earth’s violent shaking forces sand particles, once packed tightly, to shift apart and allow water to seep in.

    Moments after the quake, Urayasu literally began sinking into the ocean.

    “It was like we were surfing,” said Chiharu Asami, 58, who operates a newspaper delivery service. “We could see the ground shaking and the telephone pillar sank two meters. The muddy water came right away, up to my ankles. Even when the water went away, the mud stayed for a week.”

    ‘Tomorrow comes’


    At City Hall on Wednesday, Mayor Hideki Matsuzaki was working from an emergency command center on the ground floor, where a call center operates around the clock. City employees from the gas, electric, sewage and water departments were huddled around computers. A large town map, highlighted in various colors to mark different problem areas, dominated a conference table.

    Behind Matsuzaki, a poster read: “Tomorrow comes.” He has been so busy dealing with the here and now, however, that he failed to collect ballots for the prefecture council elections, prompting a rebuke from Chiba Gov. Kensaku Morita.

    “He hasn’t even visited here,” Matsuzaki scoffed. “We have to repair the lifelines before we have an election.”

    He noted that Japan had dealt with significant liquefaction after the Kobe earthquake of 1995, but “nothing of this vast size.”

    As much as 85 percent of the town — an area of almost 1,000 acres — had been submerged in mud, Matsuzaki said. He estimated it would take several years and cost $890 million to repair the infrastructure and reinforce it — an amount far exceeding the town’s $743 million annual operating budget.

    Susumu Yasuda, a civil engineer from Tokyo Denki University, said that Urayasu is highly susceptible to liquefaction because the town, built after World War II, sits on reclaimed land made from a mix of volcanic ash, garbage and sand dredged from Tokyo Bay.

    Although the Japanese government had enacted stricter liquefaction building codes for factories after a 1964 earthquake, most residential homes were built without 60-foot underground steel reinforcement poles, which were considered too expensive, Yasuda said.

    He said he worries that Urayasu officials are rebuilding too quickly, noting that the ground remains vulnerable to repeated liquefaction if a major aftershock occurs. In Christchurch, New Zealand, a February aftershock from an earthquake in September sent mud oozing 20 inches above ground — higher than it had piled during the initial quake.

    “If you rebuild without improving the ground, that’s not enough against an aftershock,” Yasuda said.

    Repairing, rebuilding

    The people of Urayasu have not complained too loudly about their misfortunes, which pale in comparison with the hardship along Japan’s northeastern coast. So far, one person has been killed in the town: a repair worker who was crushed by a steel beam Tuesday.

    Still, hundreds have left their homes, taking rooms at the Disneyland hotels, which reduced their rates and allowed residents to use their hot springs baths. (Disney officials said they have repaired the parking lot, although the amusement park remains closed because of the nation’s energy shortage.)

    Urayasu’s streets are filled with dump trucks, cement mixers and workers wielding hoes and pickaxes. There are also hundreds of sandbags filled by residents sweeping the mud out of their yards. One town official estimated the amount of sand collected at 195,000 cubic yards.

    Ichizo Mase, 85, who lives with his daughter in a modest two-level house on a quiet street, said he tried to run outside when the earthquake struck, only to find his front door jammed. He escaped out the back and came around front to find the concrete steps pushed up several inches by mud.

    But Mase considers himself lucky: His neighbors’ house had sunk by 20 inches, forcing all six family members to move out.

    “People can’t live there,” Mase said. “Their floor is leaning at an angle. They said they feel unsafe.”


    nakamurad@washpost.com

    Special correspondent Kyoko Tanaka contributed to this report.

    06/04 Kinh tế Nhật Bản sẽ phục hồi trong quý 3 năm nay

    Kinh tế Nhật Bản sẽ phục hồi trong quý 3 năm nay

    EMAILPRINTCỠ CHỮ A A A
    Kinh tế Nhật Bản sau động đất. (Nguồn: AFP/TTXVN)
    Tổ chức Hợp tác và Phát triển kinh tế (OECD) nhận định, kinh tế Nhật Bản sẽ chịu tác động mạnh sau thảm họa động đất và sóng thần vừa qua, song sẽ tăng trưởng trở lại trong quý 3 năm nay nhờ động lực từ hoạt động tái thiết đất nước.

    Mặc dù thừa nhận rằng, đánh giá đầy đủ những thiệt hại từ thảm họa động đất-sóng thần và cuộc khủng hoảng hạt nhân tại Nhật Bản tại thời điểm này là một việc làm khó khăn, song OECD ước tính tăng trưởng kinh tế Nhật Bản có thể giảm 0,22-0,6 điểm phần trăm trong quý 1 và tiếp tục giảm 0,5-1,4 điểm phần trăm trong quý 2, bao gồm những tác động từ thảm họa đối với hoạt động sản xuất, tình trạng thiếu điện, chuỗi cung ứng gián đoạn cho đến lòng tin sụt giảm.

    Hoạt động tái thiết có thể bắt đầu khá nhanh và sẽ đem lại động lực tăng trưởng kinh tế sớm nhất trong quý 3/2011.

    Trong khi đó, OECD cũng dự báo, tăng trưởng kinh tế của nhóm bảy nước công nghiệp phát triển (G7), không tính Nhật Bản, sẽ nhanh hơn dự kiến trong sáu tháng đầu năm 2011 với tốc độ trung bình 3%/năm. Mặc dù thị trường lao động đã được cải thiện đáng kể, song tỷ lệ thất nghiệp trung bình trong khối OECD vẫn cao hơn 2 điểm phần trăm so với mức trước khủng hoảng.

    Ngoài ra, OECD cũng cảnh báo về một số rủi ro có thể ảnh hưởng tới kinh tế toàn cầu như tình trạng bất ổn tại khu vực Trung Đông, giá dầu mỏ leo thang và cuộc khủng hoảng nợ châu Âu (đặc biệt tại các thành viên yếu hơn trong Eurozone)./.

    Việt Khoa (TTXVN/Vietnam+)

    06/04 Sustainable living guru’s guide to life

    Sustainable living guru’s guide to life

    In 1988, Jeffrey Hollender co-founded Seventh Generation, one of the earliest brands of environmentally friendly and socially responsible household products. Last year it reported $150 million in revenue. Hollender split from the company in October and has since begun advocating for a “greater system of well-being.”

    His new book, “Planet Home” (Clarkson Potter, $20), details everything from eco-friendly condoms to fair-trade coffee while also serving as a call to arms to adapt a higher consciousness about sustainable living. His message is this: “What you do at home can impact the world around you, and the world around you can impact what you do at home.”

    The son of a wealthy businessman and an actress-turned-socialite, Hollender, 56, grew up on Manhattan’s Park Avenue and spent summers in the Hamptons. He drifted from Vietnam War protests in Southern California to a year at Hampshire College in Massachusetts to a brief stint in London before finally landing in Toronto.

    Eventually, after a string of nonprofit and for-profit ventures, he founded Vermont-based Seventh Generation with fellow entrepreneur Alan Newman and wrote a book called “How to Make the World a Better Place.” He has since become an avid blogger, a board member for Greenpeace and the Environmental Health Fund, and a co-founder of the American Sustainable Business Council.

    Today, Hollender is married with three children and splits his time between Burlington, Vt., and New York. He spoke to us by phone from Burlington about the effects of eating meat, meditation and the consequences of chlorine. Here are edited excerpts.

    If someone can do only one green thing in their home, what should it be?

    Buy less stuff! It is more important to buy less stuff than to buy green stuff. We as a society consume way too much, and the planet simply can’t bear the impacts. Try this: Go for 30 days and, other than food, toothpaste and gasoline, don’t buy anything new. You’ll see how addicting consumption is. Buying less stuff is something that everyone can participate in, whether you’re 8 or 80.

    What do you hope people learn from “Planet Home”?

    First, we wanted to help people navigate through the complex maze of making responsible and sustainable decisions, which meant thinking about what actions really matter.

    Second, it was an effort at introducing the systemic approach to green living. This effort begins when you put your 2-year-old in the bathtub and wash her hair with wonderful organic shampoo but forget that you cleaned the tub with a toxic chemical.

    How do you feel about the high cost of eco-friendly living?

    Historically, it has been true that green living is generally a wonderful thing for the most affluent and arguably does the least for those who need it the most. However, I think this is in the early stages of changing. Not only are large retailers like Wal-Mart, Target and Costco beginning to deal with the cost-premium issue, but other areas of green living that focus on the local economy, such as farmers markets, are really beginning to see some traction.

    What have you discovered about cleaning products that would surprise people?

    The dangerous effects of the chemicals in these products that we don’t think about, like chlorine, can be shocking. When you mix a chlorine-based cleaner with an ammonia-based cleaner, it produces a gas that will quickly send you to the hospital and possibly kill you. Products are way overpowered for the job they have to do, but we want immediate results so we pull out the heavy guns and don’t pay attention to the collateral damage. It’s like having a bazooka to kill a fly!

    What are the least sustainable activities Americans do today?

    The two things that come to mind are the cars we drive and the food we eat. By giving up meat, you can comfortably reduce your negative footprint on the planet by 25 percent. . . . We have food shortages and escalating food prices. Meat is a big, big issue.

    Where do you look for inspiration and information?

    Living in Vermont is endlessly inspiring. It’s hopeful, and balanced by spending time in Manhattan, which is inspiring in an entirely different sense. I’ve meditated daily for about two decades now. It slows me down, and I’m probably a nicer person to be around because of it!

    What advice would you pass on to the next generation?

    Perhaps most important is that we have the knowledge required to deal with the problems we’re facing. So it’s about asking ourselves, “Do we have the will to do what we need to do?” When I speak at colleges, I’m pretty heavy-handed about laying this responsibility on the next generation, because if they do what our generation is doing, it will not lead to a great end.