Mayweather to stage ‘entertainment’ spectacle in Japan

Floyd Mayweather Jr. and Tenshin Nasukawa will meet in a three-round boxing exhibition at the Saitama Super Arena in Japan on Dec. 31. (AFP)
Updated 07 December 2018
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Mayweather to stage ‘entertainment’ spectacle in Japan

  • “It is all about the entertainment,” Mayweather said. “Nine minutes of entertainment .... I’m in the entertainment business.”
  • Mayweather came out of a two-year retirement in 2017 and knocked out mixed martial arts fighter Conor McGregor in the 10th round of a super-hyped boxing match

LOS ANGELES: Boxer Floyd Mayweather says his New Year’s Eve bout with Japanese kickboxer Tenshin Nasukawa will be “all about the entertainment.”
The nine-minute exhibition in Japan will have no official winner or loser if it goes the distance, and Mayweather said at a press availability at his training base in Las Vegas on Thursday that he was looking forward to the event as a chance to sample “something different.”
The contest will take place at the Saitama Prefecture Super Arena in Saitama, Japan, Mayweather said.
Saitama is 16 kilometers (10 miles) north of Tokyo.
Mayweather added that there and won’t be any judges present and the bout would not count on the combatants’ official fight records.
“It is all about the entertainment,” Mayweather said. “Nine minutes of entertainment .... I’m in the entertainment business.”
Besides three-minute rounds, the exhibition will take place at 67kg (147 pounds), feature “straight boxing rules” and eight-ounce boxing gloves.
“This will be full contact competition but the bout is not going on boxing or MMA records,” a Mayweather spokesperson said in a news release.
Nasukawa, also in Vegas Thursday, said he hopes his countrymen will get behind the show.
“There has never been a Japanese fighter to face Floyd Mayweather in the ring. I would like to make a big impression,” said the 20-year-old, who is 27-0 with 21 KOs as a featherweight kickboxer.
“I want to get the whole fight community, the whole country of Japan and the entire world involved in this fight.
Thursday’s press event came almost a month after 41-year-old retired welterweight champ Mayweather (50-0, 27 KOs) announced he had scrapped plans to stage a fight with Nasukawa, indicating he had been duped into agreeing to a contest.
“I want it to be clear that I, Floyd Mayweather, never agreed to an official bout with Tenshin Nasukawa,” Mayweather wrote on Instagram.
But on November 15, the CEO of mixed martial arts promoter RIZIN said a “misunderstanding” with Mayweather had been ironed out and the fight was on.
At that time, Mayweather described the match to TMZ Sports as “a little boxing exhibition” with no kicking involved.
There was no mention Thursday of a US broadcaster, an undercard, or how much money Mayweather would receive for the spectacle.
Mayweather came out of a two-year retirement in 2017 and knocked out mixed martial arts fighter Conor McGregor in the 10th round of a super-hyped boxing match.


Rarer than a Sumatran rhino: a woman composer

Updated 18 February 2019
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Rarer than a Sumatran rhino: a woman composer

  • “I was the only woman in all my classes in the Conservatoire, and it was fine,” said Pepin, who is now working on her first ballet score in her Paris apartment which doubles as a studio

PARIS: Camille Pepin is part of a very rare breed. She is a female composer.
Women have conquered space, risen in the military ranks, but some professions remain resolutely and bewilderingly masculine.
When Pepin turned up for her first day at the Paris Conservatoire — as usual the only woman in a class of men — an official told her that her name wasn’t on the list.
But when she insisted that she was and that he look again, he cried, “Ah, you’re a woman!“
Camille is also a man’s name in France.
“I would never have thought,” he apologized. “There are so many men...”
With so few female composers in the classical music repertoire, it was an easy mistake to make.
Pepin has never let everyday sexism get her down though, laughing it off like water off a duck’s back.
“One male composer told me I was getting commissions because I was a woman and not too bad looking,” said the 28-year-old, whose first album, “Chamber Music,” is released later this month.
After a concert of one of her more combative pieces, “a man came to tell me my music was ‘very fresh, flowery and sweet’,” she told AFP.
“I am a woman so clearly those three words” apply, she said wryly.
Pepin, whose music recalls both Claude Debussy and American minimalist composers like John Adams, said sometimes the sexist stereotypes which persist in the classical music world are hard to take.

One “old school” music professor insisted she sit on his right at lunch “because that was a woman’s place” and sent her off to make the coffee.
“I was the only woman in all my classes in the Conservatoire, and it was fine,” said Pepin, who is now working on her first ballet score in her Paris apartment which doubles as a studio.
Mostly the young composer, who made her breakthrough with the orchestral piece “Vajrayana” in 2015, said she was treated exactly the same as her male colleagues in classes with French contemporary composers like Guillaume Connesson, Thierry Escaich and Marc-Andre Dalbavie.
Beyond the classroom, however, progress is slow in the conservative world of classical music.
Pepin believes it will take generations for the forgotten work of female composers to get just recognition.
Beyond the casual unthinking sexism, she said the biggest problem for young female composers was “a lack of role models.”
A few woman such as the American composer Meredith Monk, Kaija Saariaho of Finland and Tansy Davies from Britain have managed to break the glass ceiling.

But even Pepin admitted that when she was younger she didn’t know of a single female composer.
“We never studied them,” she said.
Who has ever heard of Helene de Montgeroult (1764-1836), Louise Farrenc (1804-1875) or Fanny Mendelssohn (1805-1847)?
Fanny was the older sister of the more famous Felix Mendelssohn, with many at the time saying her work was more expressive.
But after she married she was limited to domestic duties and had to content herself with being her brother’s chief editor and muse, which led him to call her his “Minerva” of wisdom.
“Lots of female composers were crushed like Clara Schumann (the wife of Robert Schumann),” despite being one of the most distinguished composers and musicians of the Romantic era, said the pianist Celia Oneto Bensaid, who often performs Pepin’s work.
“You play my music,” Schumann once bluntly told his wife, a star of concert halls across Europe.

Born into a family in the northern French city of Amiens that wasn’t particularly musical, Pepin began to write her own melodies at 13.
But even at the age of five in her ballet class, her eyes were more drawn to the piano.
“I was so fascinated that I would forget to do my exercises,” she said.
Before settling on composing, Pepin thought about being a dancer. “I need to feel the notes physically,” she said.
Her first ballet will be choreographed next year by Sylvain pad for France’s Ballet du Nord.
Finally, she feels she is getting beyond the dreaded question — “But what do you do for a living?” — when she tells people she’s a composer.
“They thought it was just something I did to chill on Sundays,” she laughed.