J a p a n e s e    C u l t u r e

As mentioned previously, faeces are less taboo in Japan and Japanese people are more likely to discuss their faeces with members of their immediate family for instance. Presumably to encourage discussion and awareness of faeces, the Japanese Toilet Research Association has released a song and promotional video called "The Poo Poo Song" (or "faeces excercise dance") for which this image is a screen shot of the promotional video, which can be seen on Youtube.

The realease of the music was announed in this news article.

The music can be purchased here.　I have ordered a copy at ten dollars plus postage.

Where there is an English version, which can be previewed here. The English words are

How's your tummy, hows your poopy
Dr. Poopalot has this to say,
Chew your breakfast, chew it chew it
After breakfast poopy do,
Shiny poopy, rocky poopy, skinny poopy, slimy pooh
Shiny poopy, rocky poopy, skinny poopy, slimy pooh
Shine pooh is very healthy
when you....


The full Japanese words are listed here.

A back-translation of a T shirt, with English-like writing on it, sold in Japan.

The original has

"Impact attack never give up
Hope wonderful woeld.　
And Peaceful.　
All peopel keep smiling　
Everyday.　
More & More.　
Fatastic.
Peace World."

Imagine if all the Tshirts on sale in clothes shops in the US or the UK had designs like the above. That is the situation in Japan. A large proportion of the Tshirts being worn and in the shops have English-like writing on them if they have any sort of print or patter at all. No one seems to think that it is in any way notable. It seems to me to be indicative of the fact that Western, particularly US, culture has become so desirable that Japanese people want to put its signs on their bodies. That the Japanese wear T-shirts like this suggests to me that Western culture is valued so highly that the same people probably also import Western culture into their minds.

イギリスかアメリカの店に入って、そこにあるTシャツの全てがこのようなデザインだったらどう思われるでしょう。日本人が着ているTシャツのほとんどは、上のようなものです。日本では特別視される事態ではありません。欧米、特にアメリカの文化がその表彰を体に一杯付けたいほど高く評価されていることを示唆していると思います。また、このようなTシャツを着ているのであれば、ここまで英語圏の文化が高く拝められるものであれば、欧米の精神的な文化（思想・価値観など）を心の中にも輸入していると思われるでしょう。

About 25 percent of 71 cars in my university car park this morning had cute dolls on the dashboard. This percentage increased to 49 percent for light cars - which are often driven by women and are themselves cute - and 47 percent for those that also had a Shinto amulet on or near the dashboard of their car.

Shinto amulets are in a sense thought to be alive, containing the spirit of shrine at which they were purchased. They are for safety on the roads. It is thought that they somehow act as a "double" or "dummy" (migawari) in the sense that they draw the misfortune that the bearer would otherwise have experienced and bear that misfortune for them, a little like a material version of Jesus or Ambithaba both of whom are said to bear our sins.

It is not clear why it is those that like amulets also like dolls. Are the dolls also sacrificial? Do dolls contribute to road saftey? It would not seem to be due to an indirect effect of gender, since the amulets were found spread equally between the (more often male) non-light cars and the more often female light cars. Is it just that the those people that do not mind cluttered dashboards clutter them with dolls and amulets since it is these that are cultural favoured in Japan.

This phenomenon deserves further research.

You can see the dolls in the following photographs in my photostream.

"Nodo-chinko" or "throat-willy,"is the informal Japanese word for uvula, the small pink dumbell that hangs down at the back of the throat; due its resemblance to the male organ.

The medical name is "口蓋垂" Kougaisui. "Nodo-chinko" does not appear in even a large only English-Japanese dictionary. There are however more than 12,000 hits on google for the Japanese word.

Another word is "nodo-chinpo" where chinpo is wang.

Of course, both men and women have nodo-chinko.

I can't imagine a British doctor using the simile even if a patient were not able to understand uvula.

Doctor: You seem to have an infection of your uvula.
Patient: I am sorry, Doctor, but what is an uvula?
Doctor: You know, your throat-willy.
Patient: My what?!
Doctor: The little pink wang shaped thing at the back of your throat.
Patient: [Exeunt]

I think that this is another illustration of the fack that the male organ is not as taboo in Japan as it is in Europe.

This image is from Wikipedia, relased under the GNU licence and was uploaded by KLEM.

Mukade Venom
These things can be dangerous. To be safe, I recommend you seek medical attention if you are bitten by a mukade.

The American Trantula Society says
"Much has been alleged on the toxicity of centipede venom, but very little material on the subject has made its way into the scientific literature. As with tarantulas, this vast lack of medical reports on them more than likely indicates they are not medically significant. Like tarantulas, their perceived repulsive appearance by most people is probably the reason they are widely viewed as somehow dangerous and toxic. We do know that some of the larger centipedes, especially in tropical areas, can administer a painful stab, but none are known to be dangerous. All we can say for sure on the subject is that some can cause a painful bite, but that's absolutely all."

The English Wikipedia page says that there has only been one centipede fatality - a child was bitten on the head in a pacific island and even the Scolopendra gigantea (Giant centipedes) found in the Amazon and trinidad, are rarely fatal, only painful according to this case study paper. They seem to suggest (by extrapolation from mice) that the fatal does in humans is 1000 venom glands. Even if there are two venom glands per centipede, this would require being bitten by 500 of them. If you did not die you would probably want to. They summarise the effects as follows

"The most common scenario includes moderate to severe local symptoms associated with mild systemic symptoms. Local symptoms include pain, erythema, edema, lymphangitis/lymphadenitis, weakness, and paresthesias. Skin necrosis may occur at the site of envenomation during the weeks following the sting, but rarely becomes extensive and heals spontaneously. Systemic symptoms may include anxiety, fever, dizziness, palpitations, and nausea. "

and conclude

"Despite the striking appearance of the offender and the significant pain associated with a sting, treatment for centipede envenomation is essentially pain control and routine wound care."

However, most of the cases being that of one of the (centipede rearing) authors and none of the centipedes were mukade. There is however, at least one paper about mukade bites which reports that they can cause Korsakoff's syndrome!

You know they mean business when, unlike any other bug, they show no fear, and walk towards you.

I was putting on my wetsuit one chilly December afternoon when I felt a movement next to my thigh, my inner thigh. I knew what it was.

And it bit me. The pain was not so great as my panic as I felt it crawl down (could have been worse!) my leg, towards where the wetsuit was tighter and I thought it would bite me more. I used a knife to slit open the wetsuit to my calf, and when it escaped my friends dispatched it.

At first I thought that it had only given me a nibble. I had experienced a mukade nibble in the past, when I awoke to find one on my upper torso. Two red bite marks were all that were left. It did not hurt all that much nor had any ill after effect (Partly perhaps because I used alkaline - ammonia - on the wound).

And neither did it hurt all that much on that day, when a mukade shared my wetsuit.

I continued to wakeboard. The thrill of wakeboarding made me forget the pain. No worse than a bee sting I thought. But I was wrong.

The next day, or the day after that, my left thigh had swollen to about 1.3 times it size. This is no mean feat. I do not have thin thighs.

All the same I thought I would brave it out, and went jogging (I do this a lot). I thought I would flush the poison out with a good pump of blood with a little adrenaline. The leg around the bite became hard. By the third day I had a fever and was feeling generally weak.

I went to the doctor. They gave me antibiotics and antihystamines I think. They told me that had I come immediately after the bite I would have saved myself a lot of bother.

I was a 37 year old 70 Kg male. The mukade was not as big as the one in this picture. If your child gets bitten by one of these things, or if you get bitten on the neck, go a hospital immediately. Go to a hospital immediately anyway if you do not want to have serious swelling and general malaise. Who knows what would have happened had I not gone to the hospital at all.

I was only after I had posted the first draft of this that I realised that Todd Baker << technowannabe had kindly linked to another rendition of this story.

ASIDE
I find that incecticide does kill mukade if you douse them in it. But they do not die immediately.

This is hearsay but, I believe that a lot of incecticide uses the same active ingredient which is a nerve gas to bugs. It does something to their nerve receptors or somesuch, such that they loose, or gradually loose, muscular (if that is the right word) coordination. Flies sprayed with bug spray also go beserk in a way, changing course at even more regular intervals, bumping into things, flying upwards, dowards, upside down.

I seem to remember a mukade sprayed with bug spray loosing the coordination of its legs which, instead of moving in a controlled ripple, started to work all at once. The berserking mukade would probably have died. But in the meantime it went beserk.

I got good with chopsticks and developed an ability to drop them in a jar of oil. When I gave up on the oil (see the other post linked above), I just chopsticked them out of my house. Do not attempt to chopstick a mukade unless you are very confident with chopsticks.

Japanese infants, especially young boys love Anpanman. Anpanman is a cartoon character whose face is made of "Anpan," meaning bread (pan) fill with sweet brown bean paste (an). Anpanman is a generally nice guy and superhero in the sense that he can fly, punch, and if the people he is helping are hungry, he can feed them his face, as shown in the illustration above.

Japanese boys can become quite Anpanman obsessed. There is a boy in my son's kindergarden that refers to himself as Anpanman when asked his name. I knew a boy that repeated an "Anpanman" chant in an obsessive complusive fashion when he was nervous perhaps.

What is this Japanese obsession with Anpan man?

Is there some connection with caniblaism, sacrifice, self sacrifice? Possible Anpanman has connections with all these things, even with , and or the transubstatiantion of Christ, the Eucharist and Mass, after all Anpanman is made of Western import, bread, and not rice.

However, I would like to suggest that the popularity of Anpanman in Japan may have something to with Japanese boys wishing to identify with their mother and to symbolically suckle (give breast milk to) others. I got the idea for this because a certain Japanese male infant that I know does want to give breast milk to his father. This is not so strange in itself since young children tend to wish to copy their significant others. The boy in question likes to spoon feed his parents, brush his parents teeth, and carry a briefcase all in imitation of his parents.

I suggest that Anpan provides the male infant with a imaginary means of identifying with his mother even after he becomes aware of the fact that his nipples do not give milk. He can imagine that in some sense he is, like his mother is, in some sense edible. By this manouvre the Japanese infant manages to identify with his own corporeal objectification as body and image.

But wait, a little Lacan. Lacan argues that infants tend to have two sorts of self-concept: imaginary and symbolic. While it may be doing some injustice to Lacan, I understand these as being visual (imaginable) and linguistic. That is to say that infants come to identify with images that they have of them selves, and with the linguistic referent to which they refer to themselves, "I", or their own name. Lacan further argues that the latter type of identification is preferable and normal in Western culture - that we should grow up from identifying with our self image to indentifying with our self narration. A great number of other "narrative psychologists" working independently, claim that it is intrinsically human to narrate oneself into existances as the imagined hero of a novel of ones own self telling.

Lacan futher argues that this movement from imaginary to symbolic self identification is motivated in part by the social dynamics of the (Western) family. Mother is the imaginary parent, the visible parent, the parent with which the child identifies (before perhaps even with images in the mirror) visually. Father is the symbolic parent. Often absent, but somehow very important, father is the parent that is narrated into existance for the child through such statements as "this is your father."

In the West the father wins. Lacan argues that children would like to maintain a strong relationship with their mother (to the point of merging even) and in this relationship father gets in the way. The child finds itself repeated alone at night, left with only the the statement "I am going to, I have to sleep with daddy." I am daddies. The name of the father "daddy," becomse the prohibition of the father (Lacan makes a cheesy pun on Nom - name - and Non "no!") in that the arrivale of an awaress of daddy, also signifies an arrival of an awareness that baby will never be what mother really wants, the object of her desire. Instead, daddy, father is a signifier that refers to something that mother really wants.

After fretting around for a while, the Western boy gives up on being a baby, gives up on trying to be bundle of cuteness that might almost have been the apple of his mother's eye, and instead, identifies with the winner in the triangle of love, daddy, the signified, daddy the linguistic entity. The child starts to identify with his or her name and the first person pronoun in the hope that this signifier also refers to an entity which has, or will one day have, that special something that can make mummy (or a surrogate mummy) mine.

In the West, that special something that daddy has is sexual. While insiting that it is not a penis, Lacan calls it a phallus. And it is the subject of taboo. If penises were more visible in Christendom, they would not be raised to the status of the ultimately desirable object that attracts mothers so effectively.

The above may (or may not) be useful when trying to understant out why Westerners identify with their self speech, or why sexual love is held in such high esteem, and yet taboo at the same time.

Freud and Lacan hold that the child is "castrated," through the awareness that
1) Mother does not have a phallus
2) Neither does the child have a phallus now
3) That dad has a phallus
The child comes to think that the object of the mother's desire is elsewhere, hidden, daddy's.

It does not apply to Japan however. The Japanese identify with visual self representations, with the imaginary rather than the symbolic and the Japanese place taboo on female sexuality rather than upon coitus. A reversal is going on.

It occurs to me now that the awareness that the child does not have breasts, that work, that can feed others may represent a sort of castration, or mastectomy. This mastectomy would not necessarily result in an alienation from identification with the object of the mother's desire. (Lacan stresses the child's desire to be the object of the mother's desire.) A child in a Japanese family could continue to feel, and bearing in mind the love and affection that is lavished upon Japanese children, may often continue to feel that they are still the prime object of their mothers desire.

However the child may feel alienated from direct identification with the mother as desiring subject. The realisation of his or her own mastectomy, forces the child to realise that he or she is not the mother, distanced, other. I can not feed. I have no breasts. Much as the child may attempt to identify with Anpanman, and imagine ability to feed himself to others the realisation is going to come sooner or later.

At this point the father may emphasise this seperation and offer a compromise.

As far as seperating mother and infant goes, the role of the father is weak. The child sleeps between mother and father in "the river character" (the Japanese ideogram for river is three verticle lines with the shortest in the middle) so if anything the child represents a rupture in the relationship between father and mother rather than the other way around. However, the father is not completely without this function, and the Japanese family is not entirely without oedipus, since the father reiterate the subjective-alienation of the child from mother. While basking in, that is being the object of mothers and father's love, the child will also become aware that those two (mummy and daddy) are parents, whereas I am not. By forming a linguistic and even visual category ("parents," the-large-bodied) to which the child does not fit, the father serves to emphasise the fact that mother and child are not the same.

The compromise?

According to Lacan, compromise that the Western child reaches is to believe that he or she one day may have or get the "phallus", the object of mother's desire.

The compromise that the Japanese child may reach is to believe that they may eventually be subjectively united with mother by eventually being able to be edible. As children grow up they gradually become aware that parents are both in a sense edible. Mother breast feeds and father produces food through work.

Anpanman is a step in this direction.

As an aside, the Japanese obsession with cooking programs, such as the Iron Chef is perhaps all part of the same compensation for the infantile mastecomy: "one day I will be able to feed people".

According to most sources, including the wikipedia article this photo was taken the morning of John Lennon's death. While I am a wikipedia fan,“taken in 1980 the morning before Lennon’s death,”doesn't sound quite right. I think that the interview for Rolling Stone may have been the day of his assasination, but was the photo?
I doubt the wikipedia assertion only because I also think that John Lennon commented on the photograph saying that it was great because summed up his relationship with Ono perfectly.
So unless Lebowitz also took a instant polariod too it is difficult to see how Lennon could have commented on the photo if it were taken on the morning of his death because the photograph would have not yet been processed (unless he was just commenting on the pose).
The pose says a lot. Lennon is like a foetus or at least a infant, stuck to, almost suckling, and anyway dependent upon Ono. Ono has her arms raised above her head - almost blase' of Lennon's affection - and her eyes slightly open (I think) while Lennon's are shut. This suggest something along the lines of rather absolute trust on the part of Lennon, and "looking out for us both" on the part of Ono.
Lennon was parted from his mother at an early age and raised by his maternal aunt. His mother lived not so far away but Lennon did not know that at first, presuming that the infrequency of her visits was because his mother lived a long way away.
In fact, after the disappearance of Lennon's father (a 'listless' sailor) his mother found another man, and just did not feel able to keep a child from a previous marriage with her new man.
I think that Lennon became aware of this truth (that his mother had chosen a relationship with a new man over himself) before his mother's death.
I think perhaps that Lennon's mother died in sight of Lennon in a automotive accident (hit by a bus??) as she left after one of her visits.
These circumstances, it seems to me, may have produced in Lennon a far bigger than usual oedipus complex in the Lacanian sense.
Freud argued that male children naturally want to have sex with their mothers. This seems silly to me, living as I do in Japan where children share the parental bed. (My son does not try to hump his mother.)
Lacan (an obscurantist twerp at times I think, but also brilliant) argued that (Western) upbringing results in the formation of the oedipus complex. That is to say that because (Western) mothers reject their infants and (mixing in Richard Schweder's "Who sleeps by whom") go and sleep in another room, infants gain the impression that the 'thing that daddy can do' must be wonderful, and wish that they could do it too. This, Lacan argued, results in the oedipal/sexual desire.
In the 'normal' Western household this is predominantly a result of bedroom arrangements, but in Lennon's case his mother opted for a sexual relationship to the extent of not just another bedroom but living completely apart, even to the point of death.
It is no wonder then that early Lennon was super Western and, echoing the pan-sexual-theorist Freud, was fond of saying "It's all dick (according to the movie "Back Beat" at least)."
Indeed, the Beatles, with their songs of sexual love, chanted the Western mantra big-time. "All you need is love." Or perhaps, all you need is a, or many, coital relationships.
But then John Lennon found Yoko Ono who, Japanese as she is, did not idolise sexual love. Even after all the bed-ins and the Ono arranged affair still loved him. This was the mother he always wanted. She was his rock, she looked out for the both of them, his trust was eyes wide shut.
Personally, I thin that Ono was a smidgeon upwardly mobile and don't believe in pure love myself. But I can appreciate Lennon's point of view.
Here is love. A beautiful photo.

Like a lot of women's fashion all over the world, from Kimono to coursets and at the extreem lilly feet, thick soled shoes are designed to show off and incapacitate the wearer to give her that gentile air of a valued product rather than a person. While not as painful as lilly feet, tendency to crush the feet of women in China in the past, I believe that there has been at least one fatality due to a fall from a pair of thick soled shoes.

As Suviko points out both these boots and the "ganguro" (sun tanned face to the point of being "black") style of some young girls over the past decade is going out of style. Why is this?

Perhaps it is an example of a reverse hemline rule. The hemline rule in economic theory states that the hemlines of women's skirts move up and down as the state of the economy moves from boom (hemlines up) to depression (hemlines down). This is perhaps because when the economy is good, women can afford to give away their booty, or at least a glipse of it for free, but when times are hard they must demand more dedication, more platonism, more love before they even show their knees.

The ganguro fashion was populare during the long period of depression in Japan from the late nineties to the early two thousands. On the face of it (no pun intended) having a heavily tanned, almost black face, made the fashion victims less attractive in a country that has valued the whiteness of women's skin (partly because white means that one does not have to work in the fields, partly because of a Western influence, as argued in a previous post). Thus Ganguro would seem to be making themselves *overtly* unattractive. The ganguro style was thus a very flamboyant defiance of norms of beauty, and may have been a demand for men who (as with a long hemline) are more dedicated, more loving. Perhaps also the platform shoe was an attempt to put the female form on a pedastle without excentuating sexuality that again demanded care and attention paid to the wearer.

This theory is unlikely to be popular since the long hemline is associated with a lady like purity whereas ganguro is associated with a radical lack of purity, but...this is Japan.

Hounen Tsukioka, The Ghost with Open Arms (1882), in the National Musemu of Japanese History.

Maruyama Oukyo was a Japanese painter known for realism and occasionally painting ghosts. The painter is rumoured to be the originator of representations of ghosts with no legs but I suspect that the tradition is far older. Ths shows the artist being shocked as a female ghost appears out of one of his own paintings, with the image coming to life.

I have two theories about Japanese culture
1) The internalised other of the Japanese self looks rather than listens - it is the imaginary other, an eye in the sky rather than the symbolic ear of the Other. Hence, the Japanese self is in the visual, rather than linguistic plane.
2) The tabu (and perhaps the tabooed other) of Japanese culture is upon the feminine rather than the masculine. Hence Japanese horror focuses upon horrible women, while Western horror largely focuses upon horrible men.

This photo, "The Ghost with Open Arms" links the two theories together.

It shows a horrible woman coming out of the imaginary plane, female horror coming out the image. This theme is surprisingly popular in Japanese horror.

Ringu, probably the most famous Japanese horror film of recent years features Sadako, a ghost or monster that emerges from the screen of a television set when playing a particular, haunted video tape.

Izakayayurei ("Ghost Pub", 1994) is the story of a publican who promises his dying wife never to remarry, and then when he does his first wife returns as a ghost. In an attempt to have the first wife's ghost return to the other world, they are entrusted with a traditional Japanese scroll drawing of a ghost (as is being drawn in the picture above can be viewed here) which is said to be a portal to the other world.

I think that there are a lot of ways that this might be explained. Freud, Mead and others claim that we must internalise the view of another in order to have self at all. The other of the self has to be hidden, for the self to be the object of identification. It is enevitable therefore that something needs to be hidded in the plane, domain, or medium of self-identification, but what? A hidden eye or ear? I don't think that there is any need for an image of the other but I am not sure.

I think that the tabu bears upon the medium, image or language, itself.

In order for there to be a human self, we identify with a self-represenation. But if we were aware that the self is only a representation, then we would not be able to identify. Hence, we must forget that it is only a representation. We achieve this by a tabuu on the medium of self represenation, pretendind that our favoured medium is essence in itself.

Hence Westerners are inclined to claim that self is the dialogue that the self holds with itself, that ideas (not words) exist in minds, that words cut nature at the joints, and that grammar can not be doubted (e.g. "I think therefore I am" is indubitable).

I wonder if Japanese people are similarly unaware of "the veil of perception." To what extent is everything that we see merely ourselves? This is a knotty question, and I don't think that there is a right answer. But those that see essence as idea, are inclined to believe that the world of vision ("res extensio") is a internal sensation and not "the thing in itself." Similarly in Japan perhaps, the word is seen as that chit-chat, and perhaps (a hypothesis) the image is seen to be out there and shared.

Thus the return of the medium, the return of the image in Japan, and the return of the phoneme in Western culture, might be felt ot be horrible. The Japanese are not afraid of images as entities, but of the return of the image as veneer or the horrible "tain of the mirror".

Does this form of horror also exist in Western culture, in the linguistic field?

Recently I watched the American horror film, Emily Rose about a woman possesed by demons. It bears a strong resemblance to "The Excorcist." However I did notice that a central feature of the excorcism ritual was the attempt to find out the names of the entities that were possesing the woman. They were all men of course. But what was the significance of finding out their names? Till then they had been voices. Perhaps by finding out their names, perhaps, the horrible voice (phoneme) can be returned to the realm of language. This naming of the beast, theme can also be seen in the animation of the Wizard of Earth Sea.

Perhaps there are also a prevalence of proffecies (language) coming true, horribly, in Western horror?

The Shining is a good example of the horror of words in the Western tradition. I was truly horrified to find that Jack's book was simply made up of "All work and no play makes Jack a dull boy" written over and over again. I think that the repitition of the single phrase made the medium (the ink, the paper) return, allowing us to see it for what it is: a medium and not idea. And similarly at the climax, just before Jack says "Wendy, I'm home," his sun writes r3drum on the wall in blood, which is murder written backwards. This "redrum" may in a sense be the equivalent of Sadako in the ring, at first only "noise" a pattern of sound and images, becomes real...enter Jack with his axe.

The word God (some prefer to write G_d) is often tabuu, and that the ancient Jews wrote it without any vowels YWH (Yaweh) so as to make it more difficult to pronounce. Some people write G_d, to thise day. Do not use the lords name in vain, for fear that you may realise that he is but a name? And then of course there is John, dear John.

In the beginning was the word, and the word was with God, and the word was God....And the word became flesh and dwelt amongst us, says John. But this was far from horrible. Perhaps the realisation that Jesus is the word e.g. Jesus as myth hypothesis, is this sort of horror.

Labels: culture, female, horror, image, japan, lacan, logos, male, ring, ringu, shining, tabuu, theory

This shows the side of a small street in Tokyo opposite an off licence (liquor store). I suspect that the corner of the road may be the private property of the shop even though it is covered in tar mac. The shop keeper is using this area as a place to keep his and his wife's scooters, and about 100 crates, each containing four empty shouchuu (see below) bottles.
I think that if someone left a large quantity of bottles on a street in London then some young men, returning from the pub would find it amusing to knock over the tower of crates and smash some of the bottles.

　Shouchuu is Japanese vodka. Containing only about 25% alcohol it is considerably weaker than Russian vodka. It is a distilled white spirit made from wheat, rice or sweet potatoes.

In the past Shouchuu was a working mans intoxicant. It was consumed with hot water for, the maximum bang per buck. More recently however the existance of a great number of provincial shouchuu distilleries with a low volume of production, has created a new market, rather that which exists for "fine wines" made up of customers who covet the distinctive flavour and aroma of the various provincial brands.

Would you be able to leave crates of bottles on a street in London?