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Contributing writer
A hush descends over a crowd gathered in the yard outside the Higashi-Nakano Civic Activity Center. The silence is broken only by the sound of camera shutters.
Keisuke Nakanishi punctures the rim on a bulging red-and-yellow can of surstromming. It does not explode, and the crowd collectively breathes a sigh of relief. He slowly pries it open. Those of us at the front catch a whiff of its contents: harsh, acrid and fecal, like stepping into a music festival port-a-potty.
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