Going Back to Distant Memories


From December 26, 2010 to January 9, 2011,
two months before 3.11. Around 1996, a friend of mine with a music connection invited me to see the movie “The Hopi Prophecy” in Nishiogikubo, and under the influence of this movie, I made a road trip with my sons, who were to live separately from me, to the land of the Hopi, an American minority tribe with a very long history as Native Americans.


My companion on that trip was Asano-kun, who had been producing music videos and other works for me for several years.
He was originally from Osaka, but was living alone as businessman in Tokyo at the time. Whenever I made a business trip from Fukuoka to Tokyo, I would go to his house every month, and we would talk about social and political issues until morning.


I don’t think he had yet seen “The Hopi Prophecy” itself at that time, but through mutual exchange of information, he became interested in the oldest Native American myth involving the tribe of Hopi.


It has much to do with the Mayan civilization, and two tribes escaped from the Maya just before the collapse of that civilization.
One tribe is the Hopi, and the other is the Kogi.


The Hopi, as displaced people, settled in Arizona, the very center of the United States, which will be conveyed in photographs later, after moving long distances to a remote area that is hardly fertile, scorching hot in summer and extremely cold in winter.


The Kogi also fled by boat from the Mayan dynasty to an island now known as Colombia, where, like the Hopi, they desired to live in the deep forest, separated from the world and cut off from communication with the lower world.


Why did they stay away from ‘civilization’ that far?
It recalls a world and story that once collapsed, similar to the manga and movie “Nausicaa of the Valley of the Wind,” which we are all familiar with.


I believe that the information that rolls around on the Internet is often unaccountable and transient, but the information that makes it to book publication has a little more credibility than that.
Even so, only the person who is writing the book can know the “real truth,” and if my history is written by people I don’t know, there is no way that the truth will be told there.


Still, we gather information to know the truth and facts.
Then we go there and try to feel something fragmentary.


This trip was exactly that, and the purpose of the trip was to answer the myths and information related to the Hopi in Asano and myself.
Personally, I wanted to see the Midwestern landscape with my children, which I had never seen before (although I had experienced the desert in LA around 1996), and to use it as a source of inspiration for the future.


First, to review the movie “The Hopi Prophecy,” which led me to know the Hopi,
the Four Corners is located in the southwestern United States, where four states-Utah, Arizona, New Mexico, and Colorado-junction into one.
Surrounded by the Colorado Plateau, a desolate desert, and the Grand Canyon and other huge canyons, it has long been a space isolated from the so-called modern West, a land protected as a sacred place by the Hopi and Navajo Indians who live there.


It is said to be the backbone and heart of the Americas, and like the Himalayas, it is the epicenter of the earth’s natural energy. They have believed that if this site were destroyed, it would cause natural changes not only in the Navajo and Hopi, but also on a global scale.
That is why the Hopi, in particular, have maintained this place as the guardian of the land since the dawn of history, as it was given to them by the Great Spirit, Marthau in their language, and as a sacred place for all life on the earth.
While most American Indian tribes have been forced to leave their ancestral lands, the Hopi have lived on this sacred land for at least 2,000 years, enduring all kinds of discrimination and persecution to preserve their traditional way of life and the prophetic tablet they say was given to them by the Great Spirit.
The tablet was given to the Hopi as a universal plan, marking the beginning of this world, called the third world in their language, and the beginning of the new world, called the fourth world, after the day of purification. They have always looked at the changes that occur in the Hopi clan themselves and the changes that occur on this planet by comparing them with the tablet.

世界がこのまま進めば、地球を破壊しかねない危険な時代に入ってしまうことを、警告として一刻も早く世界に伝えるため、その予言を世界に公開するべきかどうかを討議するために、その会議は開かれたのだ。そして、さらに4日間の会議で予言が検討されたのち、キクモングイたちは、その解読された重大な教えと予言を外の世界に伝えるために、特に3人のメッセンジャーを選んだ。だが現在、2人のメッセンジャーはすでに他界し、ただ一人、トーマス・バンヤッケが残された(1999年2月没 90歳)。そして、それ以後、彼はキクモングイたちの目となり、口となり耳となって、ホピの予言を世界に伝えることを自らの仕事としてきた。

How, then, did this prophecy come to be transmitted from the traditional Hopi community to the outside world?
In 1948, the Kikumongui gathered in an underground meeting place called “Kiva,” where they held an ancient ritual in the village of Chongopabi, and held an emergency meeting. The Kikumongui were in a state of emergency, for they had discovered that the prophecies had been inscribed with symbols of the first and second world wars and the atomic bombings of Hiroshima and Nagasaki. In the words of the Hopi, the atomic bombs were described as “gourds full of ashes.”
The meeting was held to discuss whether the prophecy should be made public to the world in order to convey to the world as soon as possible as a warning that the world was entering a dangerous era that could destroy the planet if it continued on its present course. And after four more days of meeting to consider the prophecy, the Kikumongui chose three messengers in particular to share their deciphered and significant teachings and prophecies with the outside world. However, two of the messengers have now passed away, leaving only one, Thomas Vanyakke (died February 1999, age 90). And since then, he has made it his business to be the eyes, mouth, and ears of the Kikumongui to tell the world about the Hopi prophecy.


This film is a spiritual document designed to inform all people of the planet about the current crisis facing the Four Corners region, the sacred place of all life, through the Hopi prophecy as told by that Thomas Vanyakke himself.
The Four Corners region is now said to be the largest uranium belt on earth, containing vast quantities of coal, oil, and uranium, with most of the U.S. uranium resources under its feet. And it has been transformed into the heart of the U.S. nuclear program, with the world’s uranium capital, GRANZ, and Los Alamos, which is also known as the U.S. Nuclear Energy Command Center.
The origin of nuclear development, be it nuclear weapons or nuclear power generation, began with the mining of uranium ore, and the mining of that origin has already produced atomic bomb survivors.
The sacred lands have been transformed into a huge nuclear waste dump for this purpose, and development has been pushed forward by multinational corporations while exposing Hopi and Navajo to radiation under the name of the National Sacrifice Zone. A percentage of the uranium used to fuel Japan’s nuclear power generation comes from this sacred land.
In other words, we are destroying the sacred Hopi sites, which are considered the source of all life, and consuming them in the name of peaceful use.
The Hopi, the traditionalists who have kept the ancient prophecy alive, now recognize that such a civilization has bombarded Mother Earth and made it difficult for her to breathe. They reject all technology, from uranium mining to nuclear weapons and nuclear power plants, and believe that the Hopi way of life is the only way to heal the ills of the earth, and they continue to pray in the desolate desert for peace and purification of all the earth and all life in the world.
Hopi—, which means “people of peace and contentment,” or those who follow the path according to the teachings of the Great Spirit.

• 監督 : 宮田 雪  
• 製作 : 鈴木雅子、宮田 雪、飯岡順一  
• プロデューサー : 田畑祐已
• 音楽 : 伊藤 詳  
• 翻訳 : 北山耕平 他  
• ナレーター : 佐藤 慶
解説引用は:ランド・アンド・ライフ(代表責任者 辰巳玲子)

Movie “The Hopi Prophecy”
1986 film / 16mm / Color / 75 min

  • Director: Yuki Miyata  
  • Production: Masako Suzuki, Yuki Miyata, Junichi Iioka  
  • Producer: Yuji Tabata
  • Music: Ito Suguru  
  • Translation: Kohei Kitayama, etc.  
  • Narrator: Sato Kei
    Explanatory citation: Land and Life (Representative Director: Reiko Tatsumi)


I know many people can’t follow the story because it’s too heavy and too spiritual at this point lol
I was 22 years old at the time I saw this movie, and I already had the premise that I was shocked by a book I found in one of my dad’s books when I was 14 years old.
That is this book.


This was my first encounter with the writer Takashi Hirose, and I would go on to read more than 50 of his books, learning stories that were not published in the so-called media and could not be learned in school.


As mentioned above, even what is called fiction has an author’s intention, and whether it is true or not remains a mystery.
However, I sympathize with his love for music, especially Jazz, and the depth of his formative experience with film and literature, which becomes clear as I read his books, and that is a point of personal credibility.


I believe that people who truly love the arts have a deep respect for people (others) deep within them.
(Especially one who has respect for black music cannot possibly be racist)


Anyway, as a prerequisite to this “Hopi Prophecy”, I list the books as reference material.


There are many books on nuclear power and nuclear power related issues, but it has been more than 10 years since the nuclear power plant explosion. Do they think that the heat has been turned off, or has the cozy relationship between corrupt corporations and the government, which is still trying to build nuclear power plants, not changed at all?


I tried to get a lot of information from other writers and books about financial conglomerates and other stories that do not appear in the media, which I learned from Takashi Hirose’s books.

Considerably heavy, but..


The above story about the Emperor is too DOPE for me, but those who are somewhat interested in the “underworld” know that I recognized the Rockefeller and Rothschild conglomerates when I was 14 years old.

そのまた前提で小学2年生頃、当時爆発的に人気だったテレビ番組のCMにスポンサーとして資金を提供していることで毎回見ていた老人、笹川良一というジイさんは『一日一善 お年寄りを大切に!』と楽しそうにしているのもあり、漠然といい人なんだろうと思っていたら、親父が後ろから『こいつが悪の親玉だからな』とボソっと言われた時、一瞬意識がぐらついたことを今も覚えている。

On another premise, there was an old man, Ryoichi Sasakawa, whom I used to see every time I was in the second grade because he sponsored and funded a commercial for a TV program that was exploding in popularity at the time. He would say, ‘One day at a time, one good deed, take care of the elderly!’ and seemed to be enjoying himself, and I vaguely thought he must be a nice guy, but I still remember my consciousness wobbling for a moment when my father blurted out from behind me, “He’s the head of evil.
At the same time, I was also taught that the unprecedented boom in professional wrestling was completely manipulated, and I became aware that television was full of lies.


With these assumptions in my mind, I can recognize that I will be deceived if I do not actively obtain information about this society and politics from a different angle.


Apart from these social problems, Indian jewelry became popular among delinquent boys in Shibuya when they were about 15 years old. The first of these brands was GOROS, and expensive necklaces, bracelets, and rings, which could not be bought with the allowance of junior high and high school students at that time, became very popular with the involvement of black market ticket money.
Personally, I have been a part of the skateboarding culture since kindergarten, so I have only seen these trends from the side, but there was still something about the design and the very spirit of Indian jewelry that attracted me to it.


At that time, I did not know that Native Americans were of Mongoloid descent like us, and I usually recognized them as gaijin, but I still felt a sense of affinity with them for some reason, and I read and felt a bit of that kind of culture featured in magazines like POPEYE at that time.
This magazine is from 1999, though not from that time.


These two elements (the nuclear industry and its conglomerate structure as a social issue, and Native American culture as a people nearly destroyed(?) by Westerners at the time of the American settlement) were the premise for watching the film “The Hopi Prophecy”.


So when I finished watching it, I was quite skipped over. It was as if the world had changed before and after I saw it.


The screening took place at Hopittomura, an existing cultural facility(?) in Nishiogikubo. At the bookstore in the facility, I learned about “macrobiotics” for the first time that day and purchased the book.

元々『食事』に関しても関心が深く、動物愛護的観点から14歳くらいでベジタリアンになろうとして失敗したが、この本の中に眠る叡智は今も自分の生活の基礎となっているし、現在はいわゆるセレブの人たちの間で話題と なったのこともあり、ポピュラーにはなっている。

As an aside, in a sense, this is a story that does not appear in the common media and is not taught in schools.
Although I have always been deeply interested in “food” and tried unsuccessfully to become a vegetarian at the age of 14 from an animal welfare perspective, the wisdom contained in this book is still the basis of my life, and it has become popular now that it has become a hot topic among so-called celebrities.


To return to the topic at hand, my search for information on the Hopi tribe in Japan was somewhat biased, and I was unable to obtain information that satisfied me, so I decided to go there and confirm the information.

To be continued…

画像に alt 属性が指定されていません。ファイル名: JUZU-アー写0708.jpg

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東京出身。15歳からバンドとDJの活動を並行して始め、スケートボードを通して知り合ったメンバーで結成されたバンドEvilPowersMeの音源は、結成後すぐにアメリカのイラストレイターPusheadのレーベル等からリリースされる。DJとしてもその革新的でオリジナルなスタイルが一世を風靡し、瞬く間に国内外の巨大なフェスからアンダーグランドなパーティまで活動が展開される。 ソロの楽曲制作としても米Grand RoyalからのBuffalo Daughterのリミックスを皮切りに、Boredoms等のリミックス等メジャー、インディー問わず様々なレーベルからリリースされる。2003年にキューバで現地ミュージシャンとレコーディングツアーを敢行したのを皮切りに、その後世界各地で録音を重ね、新たなWorld Musicの指針として、立ち上げたレーベルCrosspointを始動。
音楽制作のみならず、映像作品、絵本や画集 のプロデュース、2012年には野外フェスOoneness Camp”縄文と再生”を企画するなど活動は多岐に渡るが、 2015年から始まった怒濤の9ヶ月連続ヴァイナルリリースは大きな話題になり、その影響でベルリン/イスラエルのレーベルMalka Tutiから新作がワールドワイドにリリースされる。2017年にはDJ TasakaとのHIGHTIME Inc.、2018年にはNitroMicrophoneUndergroundのMACKA-CHINとPART2STYLEのMaLとのユニットZEN RYDAZの活動もスタート。
同年、J.A.K.A.M.名義の楽曲がフランスのレーベルHardFistからアナログリリースされた流れで3万人の巨大フェスNuits Sonores Festivalでのライブを皮切りにヨーロッパ、イスラエル等のDJツアーが敢行される。そして2019年、世界的な支持を受けるMinilogue/Son KiteのMarcus HenrikssonとKuniyukiとのユニットMYSTICSの制作が始まり、今年2021年、待望のアルバムがリリースされるなど、そのオリジナルなヴィジョンがあらゆるジャンルをまたぎ、世界に広がっている。

Born in Tokyo, he started playing in bands and DJing at the same time when he was 15. As a DJ, his innovative and original style has taken the world by storm, and his activities have quickly expanded from huge festivals to underground parties both in Japan and abroad. In 2003, he went on a recording tour with local musicians in Cuba. In 2003, he went on a recording tour with local musicians in Cuba, and since then he has been recording all over the world, and started his own label, Crosspoint, as a new guideline for world music.
In addition to music production, he also produces video works, picture books and art books, and organized the outdoor festival “Jomon and Rebirth” in 2012. In 2017, he released HIGHTIME Inc. with DJ Tasaka, and in 2018, he released ZERO with MACKA-CHIN of NitroMicrophoneUnderground and MaL of PART2 STYLE. In 2018, he also started the unit ZEN RYDAZ with MACKA-CHIN of NitroMicrophoneUnderground and MaL of PART2STYLE.
In the same year, his music under the name of J.A.K.A.M. was released in analog form on the French label HardFist, which led to a live performance at the huge 30,000-person Nuits Sonores Festival, followed by a DJ tour of Europe and Israel. In 2019, the production of MYSTICS, a unit with Marcus Henriksson and Kuniyuki of the internationally popular Minilogue/Son Kite, began, and this year, 2021, the long-awaited album will be released. His original vision is spreading all over the world, crossing all genres.
He has been behind the decks at home and abroad with:
Acid Arab (FR) / Adam Ffreeland (UK) / Alex Patterson (The Orb, UK) Andy Baz (Background Records, Germany) / Asaf Sammuel (islael) / Dego (4Hero, UK) / Fabio (UK) / Francois K (NY) / Fred P(NY) / Foolish Felix (UK) / Grooverider (UK) / I.G.Culture (People, UK) / Jeff Mills (Chicago) / Joe Claussell (NY) Nick the Record (UK) / Moodyman (Detroit) / Panasea (Germany) PHOTEK (UK) / Storm(MetalHeadz, UK) / Suv (Fullcycle, UK) / Q-Bert & Inbisibl Skratch Piklz, Mix Master Mike with D-Styles, Yogafrog and Shortcut (US) / Theo Parrish(Detroit) / Terre Thaemlitz (US/JPN) / Tom Wieland (Vienna) /DJ KRUSH (JP) / Flying Lotus(US)/ / Boredoms (JP) / FAUST (Germany) / Dennis Bovell(UK) / Dillinger Escape Plan (NY) / Juno Reacter (UK) /Lee Perry (Jamaica) / LKJ (UK) / Lake Trout (US) / Mad Proffesor (UK) / Mala (UK) / Marcus Henriksson(SW) / Meat Beat Manifesto (UK) / Merzbow , MMW (US)/ Yakaza Ensemble(Turkey) etc. His style keeps evolving and defies categorization.

校正・英訳:編集部 中村、池上
Proofreading and English translation: Editorial department Nakamura, Ikegami