Podcasts about Asakusa

The Krewe is kicking off a 2-part series on Japanese soccer! In Part 1, journalist Dan Orlowitz joins the Krewe to break down Japan's domestic soccer scene — the J.League. From league structure and top teams to standout players making waves right now, this episode is your perfect deep dive into the beautiful game, Japan-style. Whether you're new to Japanese soccer or a longtime fan, you'll come away with fresh insights and maybe even a new favorite club! Don't miss Part 2, where we go global with Japan's national teams and international impact!------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Support the Krewe! Offer Links for Affiliates ------Use the referral links below & our promo code from the episode!Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season!Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan! ------ Past KOJ Sports-Related Episodes ------Kendo: The Way of the Sword ft. Alexander Bennett, 7th Dan in Kendo (S4E16)The Life of a Sumotori ft. 3-Time Grand Champion Konishiki Yasokichi (S4E10)Talking Sumo ft. Andrew Freud (S1E8)------ About Langston Hill ------Dan's Socials & Writings------ JSNO Upcoming Events ------JSNO Event CalendarJoin JSNO Today!

Ever wondered what it's like to study Japanese in Japan? This week, the Krewe sits down with Langston Hill — administrator at a Tokyo-based language school and Japanese language content creator — to dive into opportunities to learn in Japan via dedicated Japanese language schools. We explore the benefits of language schools, how they compare to traditional academic settings, and Langston's journey as a creator (plus his own textbook series!). Whether you're a beginner or a seasoned learner, this episode is packed with insight, inspiration, and a few laughs along the way.------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Support the Krewe! Offer Links for Affiliates ------Use the referral links below & our promo code from the episode!Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season!Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan! ------ Past KOJ Language Learning Episodes ------Japanese Self-Study Strategies ft. Walden Perry (S5E4)Learn the Kansai Dialect ft. Tyson of Nihongo Hongo (S4E14)Heisig Method ft. Dr. James Heisig (S4E5)Prepping for the JLPT ft. Loretta of KemushiCan (S3E16)Language Through Video Games ft. Matt of Game Gengo (S3E4)Pitch Accent (Part 2) ft. Dogen (S2E15)Pitch Accent (Part 1) ft. Dogen (S2E14)Language through Literature ft. Daniel Morales (S2E8)Immersion Learning ft. MattvsJapan (S1E10)Japanese Language Journeys ft. Saeko-Sensei (S1E4)------ About Langston Hill ------Langston aka @TheJapaneseGuy101 on IGThe Japanese Language Manual (2 Book Series - Kindle)The Japanese Language Manual Vol 1 (Paperback)------ JSNO Upcoming Events ------JSNO Event CalendarJoin JSNO Today!

The Krewe gets an exclusive inside look at Expo 2025 Osaka with Sachiko Yoshimura, the Director General of Public Relations & Promotion! We dive into the massive planning behind the event, Japan's rich history with World Expos, what to expect at the event, best times to travel, & of course... the story behind the viral mascot, Myaku-Myaku! A must-listen for potential Expo-goers!------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Support the Krewe! Offer Links for Affiliates ------Use the referral links below & our promo code from the episode!Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season!Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan! ------ Past KOJ Travel Episodes ------Checking Out Miyagi ft. Ryotaro Sakurai (Guest Host, William Woods) (S5E5)Explore Matsue ft. Nicholas McCullough (S4E19)Travel Hiroshima ft. Joy Jarman-Walsh (S4E4)Travel Aomori ft. Kay Allen & Megan DeVille (S3E17)Hungry For Travel ft. Shinichi of TabiEats (S3E15)Henro SZN: Shikoku & the 88 Temple Pilgrimage ft. Todd Wassel (S3E12)Border Closures Couldn't Stop These Visas! ft. Rob Dyer & Allan Richarz (S3E11)Natsu Matsuri Mania: Summer Festivals in Japan (S3E3)Off the Beaten Path: Kansai ft. Rob Dyer [Part 2] (S2E12)Off the Beaten Path: Kansai ft. Rob Dyer [Part 1] (S2E11)Japan Travel Destination: Hokkaido ft. Kay Allen (S2E7)Japanese Theme Parks ft. Chris Nilghe of TDR Explorer (S2E4)Navigating Nippon: Where to Go in Japan? ft. Kay Allen of JNTO (S1E11)Matsue & New Orleans: Sister Cities ft. Dr. Samantha Perez (S1E2)------ About Expo 2025 ------Expo 2025 WebsiteExpo 2025 on IG------ JSNO Upcoming Events ------JSNO Event CalendarJoin JSNO Today!

Season 6 kicks off with laughter, tradition, and international flair! The Krewe sits down with Katsura Sunshine, a Canadian-born rakugo performer bringing Japan's 400-year-old comedic storytelling art to audiences around the world. In this episode, we explore what makes rakugo so unique, how Sunshine became one of the few non-Japanese rakugo-ka, and how this traditional form of entertainment is finding new life on the global stage. Plus, hear about the possibility of a rakugo event in New Orleans this fall!Whether you're a longtime fan of Japanese culture or just curious about this captivating performance style, this episode is the perfect way to kick off Season 6 of the Krewe of Japan Podcast!------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Support the Krewe! Offer Links for Affiliates ------Use the referral links below & our promo code from the episode!Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season!Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan! ------ Past KOJ Traditional / Historical Japan Episodes ------The Castles of Japan ft. William de Lange (S5E19)Foreign-Born Samurai: William Adams ft. Nathan Ledbetter (Guest Host, Dr. Samantha Perez) (S5E17)Foreign-Born Samurai: Yasuke ft. Nathan Ledbetter (Guest Host, Dr. Samantha Perez) (S5E16)The Thunderous Sounds of Taiko ft. Takumi Kato (加藤 拓三), World Champion Taiko Drummer (S5E13)Yakuza: Past, Present, Future ft. Jake Adelstein, Author of Tokyo Vice (S5E12)The Real World of Geisha ft. Peter Macintosh (S5E7)Inside Japanese Homes & Architecture ft. Azby Brown (S5E6)Kendo: The Way of the Sword ft. Alexander Bennett, 7th Dan in Kendo (S4E16)The Life of a Sumotori ft. 3-Time Grand Champion Konishiki Yasokichi (S4E10)The Intricate Culture of Kimono ft. Rin of Mainichi Kimono (S4E7)Shamisen: Musical Sounds of Traditional Japan ft. Norm Nakamura of Tokyo Lens (S4E1)Henro SZN: Shikoku & the 88 Temple Pilgrimage ft. Todd Wassel (S3E12)Natsu Matsuri Mania: Summer Festivals in Japan (S3E3)Exploring Enka ft. Jerome White Jr aka ジェロ / Jero (S3E1)The Chrysanthemum Throne ft. Dr. Hiromu Nagahara [Part 2] (S2E18)The Chrysanthemum Throne ft. Dr. Hiromu Nagahara [Part 1] (S2E17)Yokai: The Hauntings of Japan ft. Hiroko Yoda & Matt Alt (S2E5)The Age of Lady Samurai ft. Tomoko Kitagawa (S1E12)Talking Sumo ft. Andrew Freud (S1E8)------ About Katsura Sunshine ------Katsura Sunshine on IGRakugo.lol------ JSNO Upcoming Events ------JSNO Event CalendarJoin JSNO Today!

LET THEM COOK! Over the last 5 months, the Krewe has been hard at work cooking up a massive Season 6 line-up. While the main course will begin being served on May 16, how about an appetizer? Just like the carb-loaded instant yakisoba, this preview is CHOU CHOU CHOU Gigamax packed with sneak peeks at what's to come in Season 6. Some snippets include:- Laughing & learning about the world of Rakugo with master storyteller Katsura Sunshine- Prepping for Expo 2025 with Sachiko Yoshimura, Director General of Public Relations & Promotion for Expo 2025- Studying Japanese via language schools with Nihongo enthusiast Langston Hill- Bridging New Orleans & Japan through music with Jazz Trombonist Haruka Kikuchi- Kicking off 2 episodes on Japan's soccer footprint domestically & worldwide with journalist Dan Orlowitz- Exploring vegan cuisine in Japan with Leonore Steffan of ItadakiHealthy- Diving into social media's role in establishing perceptions of Japan - Revisiting Matsue with Sister City Exchange participants Katherine Heller & Wade Trosclair- Brewing up some craft beer with Chris Madere of Baird Brewing & Chris Poel of Shiokaze BrewLab- Restoring some abandoned homes with Akiya enthusiast & YouTuber Anton Wormann of Anton in JapanThis is only HALF of what's to come this season... the 2nd half is top secret! So stay tuned for our season 6 premiere on May 16, 2025 and stick around for the rest of the season to find out what else we have in store on Season 6 of Krewe of Japan Podcast!!------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Support the Krewe! Offer Links for Affiliates ------Use the referral links below & our promo code from the episode!Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season!Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan! ------ JSNO Upcoming Events ------JSNO Event CalendarJoin JSNO Today!

En 2024, le Japon a accueilli un nombre record de 37 millions de touristes étrangers, du jamais-vu. C'est en grande partie dû au cours du yen qui, depuis deux ans, a dégringolé à un niveau plancher, historiquement bas. Mais – revers de la médaille – au Pays du Soleil levant également, le sur-tourisme pose de plus en plus de problèmes. À Kyoto notamment, ainsi que dans les localités proches du Mont Fuji, où la pratique de tarifs différenciés en fonction de la nationalité des clients se répand dans l'archipel. Dans un nombre grandissant de restaurants, d'hôtels ou de musées, par exemple, les touristes étrangers sont priés de payer davantage que les Japonais. Et cette évolution ne fait pas l'unanimité. L'an dernier, les touristes étrangers venus au Japon y ont dépensé la somme faramineuse de 8 000 milliards de yens – près de 50 milliards d'euros –, soit davantage que le montant des exportations de semi-conducteurs nippons ou des recettes générées à l'international par le « cool Japan », comme l'on dénomme le secteur du manga, des films d'animation et des jeux vidéo.Le Japon 10% plus cher pour les étrangersUne manne providentielle donc, pour une économie nationale qui ne va pas bien. Pour autant, Kotaro ne culpabilise pas d'avoir instauré des tarifs différenciés : dans son restaurant, les clients étrangers paient 10% de plus que les Japonais. Car, ne parlant pas un mot d'anglais, il a dû engager une serveuse bilingue et faire traduire et imprimer des menus en plusieurs langues. Et puis, à ses yeux, ce système offre un grand avantage : « Sans cette petite contribution que je demande gentiment aux clients étrangers, j'aurais dû répercuter la hausse du prix des produits alimentaires sur mes tarifs, et donc proposer des menus moins abordables, au détriment de mes clients japonais. »À Asakusa, le quartier le plus touristique de Tokyo, les avis divergent. Pour cet homme, « en termes d'hospitalité, je trouve ça moyen. On devrait remercier, et pas pénaliser, tous ces touristes qui nous font l'honneur de leur visite ». Une femme estime que « quelques yens en plus ou en moins, ils s'en fichent. Ils roulent sur l'or grâce au taux de change ».« Je ne suis pas du tout sûre que les Japonais en vacances à l'étranger apprécieraient de devoir payer plus que les locaux », confie une autre. Et pour cet habitant de Tokyo, « trier les clients en fonction de leur origine, on a beau dire, mais, au bout du compte, cela relève du délit de faciès. C'est très délicat. Le cliché de ''l'infinie courtoisie japonaise'' va en prendre un coup ».À lire aussiJapon: avec 36,8 millions de touristes étrangers en 2024, le pays fait face aux défis du surtourismeLes touristes étrangers, eux, sont tout autant partagés. Un premier confie : « Si cela devient vraiment difficile pour les Japonais en raison de la hausse du coût de la vie, c'est peut-être une bonne idée de pratiquer de tels tarifs différenciés. » Un autre déclare : « Ces prix majorés pour les visiteurs étrangers, selon moi, automatiquement, ça va les dissuader. Certains vont trouver inéquitable de devoir payer plus. »Certains commerçants vont encore plus loin. À la devanture de ce minuscule restaurant de nouilles, par exemple, un écriteau rédigé en anglais informe que l'accès est réservé aux clients parlant le japonais. Son gérant se justifie : « Je suis nul en langues étrangères, n'ai pas les moyens d'engager du personnel bilingue et suis tout seul à la fois en cuisine et au service. Donc les dialogues improbables en français, en espagnol ou en swahili via des applis ou 'Google Translate', désolé, mais non merci : je suis beaucoup trop débordé pour cela. »Le droit japonais tolère de telles restrictions d'accès fondées sur la nationalité ou la langue, considérant qu'elles relèvent de la liberté commerciale.À lire aussiJapon: les experts mettent en garde contre une éruption du mont Fuji

En 2024, le Japon a accueilli un nombre record de 37 millions de touristes étrangers, du jamais-vu. C'est en grande partie dû au cours du yen qui, depuis deux ans, a dégringolé à un niveau plancher, historiquement bas. Mais – revers de la médaille – au Pays du Soleil levant également, le sur-tourisme pose de plus en plus de problèmes. À Kyoto notamment, ainsi que dans les localités proches du Mont Fuji, où la pratique de tarifs différenciés en fonction de la nationalité des clients se répand dans l'archipel. Dans un nombre grandissant de restaurants, d'hôtels ou de musées, par exemple, les touristes étrangers sont priés de payer davantage que les Japonais. Et cette évolution ne fait pas l'unanimité. L'an dernier, les touristes étrangers venus au Japon y ont dépensé la somme faramineuse de 8 000 milliards de yens – près de 50 milliards d'euros –, soit davantage que le montant des exportations de semi-conducteurs nippons ou des recettes générées à l'international par le « cool Japan », comme l'on dénomme le secteur du manga, des films d'animation et des jeux vidéo.Le Japon 10% plus cher pour les étrangersUne manne providentielle donc, pour une économie nationale qui ne va pas bien. Pour autant, Kotaro ne culpabilise pas d'avoir instauré des tarifs différenciés : dans son restaurant, les clients étrangers paient 10% de plus que les Japonais. Car, ne parlant pas un mot d'anglais, il a dû engager une serveuse bilingue et faire traduire et imprimer des menus en plusieurs langues. Et puis, à ses yeux, ce système offre un grand avantage : « Sans cette petite contribution que je demande gentiment aux clients étrangers, j'aurais dû répercuter la hausse du prix des produits alimentaires sur mes tarifs, et donc proposer des menus moins abordables, au détriment de mes clients japonais. »À Asakusa, le quartier le plus touristique de Tokyo, les avis divergent. Pour cet homme, « en termes d'hospitalité, je trouve ça moyen. On devrait remercier, et pas pénaliser, tous ces touristes qui nous font l'honneur de leur visite ». Une femme estime que « quelques yens en plus ou en moins, ils s'en fichent. Ils roulent sur l'or grâce au taux de change ».« Je ne suis pas du tout sûre que les Japonais en vacances à l'étranger apprécieraient de devoir payer plus que les locaux », confie une autre. Et pour cet habitant de Tokyo, « trier les clients en fonction de leur origine, on a beau dire, mais, au bout du compte, cela relève du délit de faciès. C'est très délicat. Le cliché de ''l'infinie courtoisie japonaise'' va en prendre un coup ».À lire aussiJapon: avec 36,8 millions de touristes étrangers en 2024, le pays fait face aux défis du surtourismeLes touristes étrangers, eux, sont tout autant partagés. Un premier confie : « Si cela devient vraiment difficile pour les Japonais en raison de la hausse du coût de la vie, c'est peut-être une bonne idée de pratiquer de tels tarifs différenciés. » Un autre déclare : « Ces prix majorés pour les visiteurs étrangers, selon moi, automatiquement, ça va les dissuader. Certains vont trouver inéquitable de devoir payer plus. »Certains commerçants vont encore plus loin. À la devanture de ce minuscule restaurant de nouilles, par exemple, un écriteau rédigé en anglais informe que l'accès est réservé aux clients parlant le japonais. Son gérant se justifie : « Je suis nul en langues étrangères, n'ai pas les moyens d'engager du personnel bilingue et suis tout seul à la fois en cuisine et au service. Donc les dialogues improbables en français, en espagnol ou en swahili via des applis ou 'Google Translate', désolé, mais non merci : je suis beaucoup trop débordé pour cela. »Le droit japonais tolère de telles restrictions d'accès fondées sur la nationalité ou la langue, considérant qu'elles relèvent de la liberté commerciale.À lire aussiJapon: les experts mettent en garde contre une éruption du mont Fuji

This is a field recording that I made in 2014 of the ringing of the Senso-ji Temple bell. What is heard is walking on traditional gravel path up to the bell, hearing the monk approach and ring the bell which has been rung at 6:00am for 400 years. During the Edo period at the heritage site of the Senso-ji Temple time was announced with bell chimes.  These were “official” time bells called toki no kane (時の鐘) or “Bells of Time". This was an announcement that people were able to hear far away. The well-known poet Matsuo Bashō, who lived in Fukagawa actually thought he heard it and wrote about it as "sounding through clouds of flowers." A monk still rings this bell every day, at 6 o'clock in the morning. But since the bell is now surrounded by buildings, few people can still hear it. UNESCO listing: Senso-ji Temple bell Recorded by China Blue. IMAGE: Zairon, CC BY-SA 4.0 , via Wikimedia Commons ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

After an unforgettable journey, we're back in Tokyo for our Northern Honshu Road Trip Japan conclusion! Our last few days in Japan were all about luxury, sightseeing, and shopping, making for the perfect way to conclude this epic road trip. For our last stop, we checked into the Conrad Tokyo, an incredible luxury hotel in the heart of Ginza. With breathtaking city views, impeccable service, and easy access to some of Tokyo's best shopping and dining, it was the ideal place to unwind before heading home. We then spent our final days in Japan taking in some of the best sights and shopping experiences the city has to offer such as strolling through Ginza, shopping in Ikebukuro, and walking tours of the Imperial Palace and Sensoji Temple in Asakusa. After our extensive self-drive adventure through Tohoku, we made sure to return our rental car on time—because, as we've mentioned in previous episodes, punctuality in Japan is taken very seriously - and made our way back to Haneda for our return flight back to the U.S. As we reflected on our journey, we couldn't help but appreciate all the unique experiences, breathtaking landscapes, and cultural discoveries that made our road trip Japan conclusion one for the books. If you're planning a trip to Tokyo and looking for the best shopping spots, must-see historical sites, and a top-tier luxury hotel recommendation, this episode is a must-listen! For more behind the scenes on all our amazing journeys through Tohoku and Japan, be sure to check out our Destinations and Japan pages.

Last time we spoke about the Fall of Manila. General LeMay's B-29 bombers wreaked havoc on Japan, targeting key factories at a high cost. On February 19, US Marines landed on Iwo Jima, facing fierce Japanese resistance and heavy casualties. By February 23, after relentless fighting and harsh conditions, they raised the American flag atop Mount Suribachi, marking a hard-won victory. This moment inspired a legacy for the Marine Corps, as battles raged on in the Pacific. Meanwhile troops attacked General Kobayashi's defenses at Mounts Pacawagan and Mataba, struggling to gain ground. Reinforcements arrived, leading to coordinated assaults, but progress was slow. Meanwhile, General Yamashita reorganized his forces in response to increased guerrilla activity. As American divisions advanced, they faced fierce resistance but gradually secured key positions. Guerrilla leader Volckmann disrupted Japanese supply lines, significantly impacting their operations. Amidst the chaos, a daring rescue mission freed over 2,000 internees, though it provoked brutal reprisals against civilians. This episode is the Great Tokyo Air Raid Welcome to the Pacific War Podcast Week by Week, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about world war two? Kings and Generals have an assortment of episodes on world war two and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel you can find a few videos all the way from the Opium Wars of the 1800's until the end of the Pacific War in 1945.  Today we are continuing with the ongoing battle over Iwo Jima. By the end of February, Colonel Liversedge's 28th Marines had successfully secured Mount Suribachi, while the other regiments from the 3rd, 4th, and 5th Marine Divisions advanced toward the O-2 Line, situated beyond Airfield No. 2. This location was where General Kuribayashi maintained his primary defensive positions, which were heavily fortified with caves, tunnels, and traps. On March 1, General Rockey continued his offensive on the left flank as the fresh 28th Marines moved through the weary 27th Marines, led by Colonel Wornham, and launched an assault on Hill 362A and its adjacent positions. The corps' 155mm howitzers and 5th Division artillery commenced firing a preparation at K-minus 45 minutes. One battleship and two cruisers from the gunfire and covering force added their heavy fires from 08:00 to 08:30. Aircraft from the support carrier group delivered strikes throughout the day, but did not participate in preparation for the attack. This proved one of the busiest days for Task Force 54 since D-Day as fire support ships dueled with enemy shore batteries until late afternoon. Shortly after dawn enemy guns in the northern part of the island opened up, and at 07:25 the destroyer Terry took a direct hit by a 6-inch shell, suffering heavy casualties. The battleship Nevada immediately engaged these hostile installations, and after completing their mission in support of the landing force, the cruisers Indianapolis and Pensacola shifted to counter battery fire. At 10:25 the destroyer Colhoun was hit by a major-caliber projectile, and soon after this enemy shells straddled the destroyer Stembel. Counter Battery fire continued throughout the day with the Nevada destroying one casemated gun and starting a fire in another emplacement, while the Pensacola's batteries accounted for a third Japanese gun. Following the robust aerial, naval, and artillery bombardment, Liversedge's forces achieved some initial success, including capturing the hilltop, but were ultimately halted by intense machine-gun fire from Nishi Ridge to the north. However, the 3rd Battalion along the coast managed to advance approximately 350 yards against lighter resistance. In the center, General Erskine also pressed forward beyond Airfield No. 2, with Colonel Withers' 21st Marines advancing north and northeast about 500 yards into the incomplete Airfield No. 3. At the same time, General Cates continued to send his troops into the fray. Colonel Jordan's 24th Marines replaced Colonel Wensinger's exhausted 23rd Marines on the left and fought to dislodge the enemy from Hill 382. They succeeded in advancing about 100 yards along the division's left boundary and 50 yards on the right, establishing a foothold on elevated terrain overlooking Minami village. Further south, Colonel Lanigan committed only his 1st Battalion to eliminate the salient around the Amphitheater and Turkey Knob, but this assault was again met with fierce Japanese gunfire. This relief enabled Erskine to initiate a late two-regiment offensive, with the 21st Marines on the left and Colonel Kenyon's 9th Marines on the right, although this effort did not achieve any significant progress. The following day, the assault persisted, but the 9th Marines made minimal headway against a strong enemy position on the right, while the 21st Marines advanced toward the base of Hill 362B and the southern edge of Airfield No. 3. Concurrently, Liversedge's 28th Marines successfully cleared Hill 362A and moved toward Nishi Ridge, where they repelled a fierce counterattack by 150 Japanese soldiers. Colonel Graham's 26th Marines were once again deployed to fill the gap between the 3rd and 5th Marine Divisions, managing to gain approximately 500 yards to the north. Jordan's 24th Marines finally captured Hill 382 and advanced about 300 yards on the left flank. Meanwhile, Lanigan's 1st Battalion made another unsuccessful attempt to infiltrate and take the high ground north of Turkey Knob. As described by an intelligence officer with the 4th Marine Division “As a result of a close study of the enemy's recent defensive action, aided by observation from OP's and air reconnaissance, the following explanation is suggested of the enemy's defense in this Div's Z of A. The enemy remains below ground in his maze of communicating tunnels throughout our preliminary arty fires. When the fire ceases he pushed OP's out of entrances not demolished by our fires. Then choosing a suitable exit he moves as many men and weapons to the surface as he can, depending on the cover and concealment of that area, often as close as 75 yards from our front. As our troops advance toward this point he delivers all the fire at his disposal, rifle, machine-gun, and mortar. When he has inflicted sufficient casualties to pin down our advance he then withdraws through his underground tunnels most of his forces, possibly leaving a few machine gunners and mortars. Meanwhile our Bn CO has coordinated his direct support weapons and delivers a concentration of rockets, mortars and artillery. Our tanks then push in, supported by infantry. When the hot spot is overrun we find a handful of dead Japs and few if any enemy weapons. While this is happening, the enemy has repeated the process and another sector of our advance is engaged in a vicious fire fight, and the cycle continues.”  Meanwhile the remainder of the 25th Marines managed to advance 300 yards along the coast without facing any opposition. On March 3, the capture of Hill 362A enabled flame-thrower tanks to assist in the advance northward. The 5th Marine Division prepared to press on with its assaults through Nishi Ridge and Hill 362B. The majority of the 28th Marines faced strong resistance as they moved forward over 200 yards. Liversedge's 1st Battalion and Graham's 1st Battalion executed a coordinated attack to take the main enemy positions ahead of them. Meanwhile, the remainder of the 26th Marines surged forward, achieving a gain of over 500 yards, which allowed them to relieve Kenyon's 3rd Battalion and secure the summit of Hill 362B. In the center, the 9th Marines remained in a stalemate, while the 21st Marines launched a vigorous attack to the northeast, successfully capturing the summit of Hill 357 at the eastern edge of the Motoyama Plateau. They then attempted another assault southeast toward Hill 362C, which resulted in a modest gain of about 250 yards. Meanwhile, in the 4th Marine Division's sector, Wensinger's 23rd Marines were deployed in the center, where determined Japanese defenders continued to thwart intense American assaults, despite the partial reduction of the Turkey Knob blockhouse. To the left, the 24th Marines resumed their offensive southeast, advancing up to 350 yards in the center. During the eight days of deadlock and fierce conflict in the Hill 382 and Turkey Knob areas, the weather had been generally favorable. Mild temperatures and fair skies predominated, although early in the morning ground haze combined with smoke to limit observation, and on a few days light showers fell in the afternoon. Night temperatures sometimes went below 60°F, and it was then that tired Marines were grateful for the characteristic subterranean heat of the island that warmed their foxholes. The next day, March 4, dawned gray and sullen, and intermittent showers fell from the overcast skies. Visibility was so limited that all air strikes were canceled and aerial observation seriously curtailed. On the right, Cates' Marines pressed the attack southeast but could only gain 150 yards against the defenders' fierce resistance. To the left, after a failed Japanese infiltration attempt overnight to gather food and water, both the 9th and 21st Marines made no progress with their costly eastward assaults. Finally, supported closely by flame-throwing tanks and combat engineers, Rockey's Marines fought fiercely but achieved only minor advances, prompting Wornham's 27th Marines to be thrown back into the battle to reinforce the two battered assault regiments. March 5 was then dedicated to reorganizing and resupplying the three Marine Divisions in preparation for a renewed effort the next day. Additionally, the reserve 3rd Marines, led by Colonel James Stuart, were sent back to Guam without having landed on Iwo Jima. The three divisions accordingly resumed the offensive on March 6 after a terrific artillery and naval gunfire bombardment. First, on the left, Erskine attacked with his three regiments abreast yet failed to make any significant advance. Then, in the center, the 9th and 21st Marines likewise unsuccessfully attacked towards Hill 362C, though the latter managed to clear the entire Hill 357 area. Lastly, Wensinger's 23rd Marines passed through the 24th on the division left and pressed on forward against heavy opposition, successfully gaining between 150 and 350 yards while Jordan's battalions gained up to 150 yards in their front. Additionally, the 25th Marines mopped up in its area and Cates' Provisional Battalion kept hammering against the Amphitheater-Turkey Knob area. In the knowledge that the battle was swinging irrevocably in favor of the Americans, General Kuribayashi radioed Tokyo: "Our strongpoints might be able to fight delaying actions for several more days. I comfort myself a little seeing my officers and men die without regret after struggling in this inch-by-inch battle against an overwhelming enemy...". The General's predictions were, if anything, on the pessimistic side as his garrison would prolong the battle for another three weeks. Although the fighting was dragging terribly, on this day Brigadier-General Ernest Moore successfully landed on Airfield No. 1 alongside 28 P-51s and 12 P-61s of the 15th Fighter Group to take over control of island air activities. The following day, the Island Commander, Major-General James Chaney, assumed responsibility for base development, air defense, and operation of the airfields. Meanwhile, Schmidt was continuing his coordinated offensive, with the 28th Marines meeting only scattered resistance as it pushed 500 yards north; the 26th Marines overrunning the enemy defenses and gaining about 150 yards before resistance stiffened once again; the 27th Marines attacking on a narrow front but likewise gaining only 150 yards; the 21st Marines achieving tactical surprise to reach Hill 331 and then pushing 250 yards more to Hill 362C, which was ultimately seized as well; the 9th Marines ferociously attacking east but gaining only 200 yards before a rain of fire stopped them; the 23rd Marines recovering from a savage Japanese night counterattack and then pushing around 150 yards against strong resistance; the 24th Marines only progressing over 50 yards as it neutralized a number of enemy defenses; and the 25th Marines and the Provisional Battalion continuing secondary operations against the Amphitheater-Turkey Knob area. On March 8, Rockey pressed on toward the northeast coast, with the 28th Marines advancing against minimal resistance, gaining between 300 and 500 yards along the shoreline. Meanwhile, the 26th Marines faced a complete stalemate against the intricate network of pillboxes and interconnected caves that had once comprised the village of Kita. The 27th Marines managed to advance approximately 150 yards with tank support. In the center, the 21st Marines shifted northeast again, successfully gaining 300 yards through the last organized resistance in the area, while the 9th Marines captured Hill 362C and continued their eastward assault, reaching the edge of the plateau overlooking the beach and initiating a flanking maneuver south of Hill 331. On the right flank, the 23rd and 24th Marines continued their attacks but made little headway against the enemy's formidable defenses. That night, General Senda launched a strong counterattack that caught the Americans off guard. Two of Senda's orderlies would survive and report what occurred during the daring counterattack. Many of his troops believed that Inoue was a superior leader who inspired his men to perform outstanding feats of bravery; others thought he was a maniac. The sight of the Stars and Stripes flying on top of Mount Suribachi had filled him with increasing rage. He is quoted as saying: "We shall destroy their banner, we shall replace it with ours in the name of the great Emperor and the great people of Japan." Inoue was in charge of the Naval Guard Force who manned the shore guns that sank and damaged many of the US warships and landing craft, and was described as a bombastic and temperamental character, a fine swordsman, heavy drinker, and womanizer. His bizarre plan almost beggars belief. The Captain was certain that the airfields would be lightly defended by service troops. He and his men would move southward, destroying B29 bombers as they passed; climb Mount Suribachi and tear down the Stars and Stripes; and replace it with the Rising Sun as an inspiration to all Japanese troops on the island.  However this never came to be. The determined defenders, bolstered by heavy artillery and machine-gun fire, repelled the assault, resulting in approximately 800 Japanese casualties. Under relentless pressure in a shrinking area where most critical terrain features had been seized, the disorganized Japanese forces saw a fleeting opportunity to escape destruction, raid American-controlled airfields, and reclaim Mount Suribachi with this counterattack. However, its failure effectively depleted Senda's remaining strength and chances for continued resistance. The following day, Cates resumed the offensive, with the 23rd Marines making minor gains along their front, while Jordan's 3rd Battalion achieved a notable breakthrough of 300 yards. Furthermore, the Provisional Battalion was disbanded, and Lanigan's 2nd Battalion assumed control of the Amphitheater-Turkey Knob region. In the center, Erskine persisted in his advance toward the sea, with patrols from the 9th and 21st Marines successfully reaching the beach as American forces continued to secure the area. Meanwhile, to the left, Rockey faced significant resistance, with his troops soon coming under intense and precise fire from elevated positions extending southeast from Kitano Point. Consequently, the 26th and 27th Marines remained in a stalemate while the 28th Marines moved forward. On March 10, Liversedge's men advanced approximately 40 yards across extremely challenging terrain and against fierce opposition, while Graham's 2nd Battalion gained an additional 75 yards, with the rest of the 26th and 27th Marines still held in place. Over the past 14 days, Rockey's 5th Marine Division advanced 3,000 yards along the west coast, ultimately pushing Kuribayashi's forces into a final pocket at the northern tip of the island.  In a dispatch to Tokyo on March 10, General Kuribayashi summed up the Japanese situation in this manner: “Although the attacks of the enemy against our Northern districts are continuing day and night, our troops are still fighting bravely and holding their positions thoroughly… 200 or 300 American infantrymen with several tanks attacked "Tenzan" all day. The enemy's bombardments from one battleship (or cruiser), 11 destroyers, and aircraft are very severe, especially the bombing and machine-gun fire against Divisional Headquarters from 30 fighters and bombers are so fierce that I cannot express nor write here.” Not until 15 bloody days later did Marines eliminate the last pocket of organized enemy resistance in the northern end of the island. By D+19 all that remained for the enemy force was to fight and die for the Emperor. This advance came at a significant cost, with Rockey suffering 1,098 men killed and 2,974 wounded during this time. In the center, the 21st Marines reported that all organized resistance in their area had been eliminated, while the 9th Marines moved toward the beach, facing harassment from enemy fire from a resisting pocket on their right. Nevertheless, Erskine's 3rd Marine Division successfully secured the airfield areas and only needed to eliminate this last remaining pocket in their zone. However, personnel losses during this 14-day campaign were substantial, with Erskine losing 831 men killed and 2,241 wounded. Finally, Cates took over from the 24th Marines as he initiated his final offensive eastward. Consequently, the 23rd Marines advanced southeast with minimal resistance, covering approximately 700 yards before stopping at a strategic high ground about 500 yards from the beach, while patrols moved toward the coast near Tachiiwa Point. Simultaneously, Lanigan's 1st and 3rd Battalions pushed 600 yards southeast against stronger opposition and successfully occupied the key terrain southwest of Higashi. Meanwhile, the 2nd Battalion advanced northeast to join them, effectively driving the remaining enemy forces into a small pocket in that area. Over the last 14 days, Cates' 4th Marine Division engaged in relentless assaults, fighting fiercely from Charlie-Dog Ridge past Hill 382, the Amphitheater, Turkey Knob, through Minami, and the formidable defenses northeast of Hill 382, nearly reaching the coast.  The Japanese conducted an astute defense in this sector. General Kuribayashi had planned well, but much credit for execution of the plan in the 4th Marine Division zone must go to General Senda, who commanded the 2nd Mixed Brigade and exercised tactical control during the battle. Enemy weapons and minefields were well placed to take maximum advantage of terrain features, fire control was excellent when judged by Japanese standards, and camouflage discipline outstanding. Machine-gun positions controlled draws, while mortars were disposed to deliver fire on routes of approach, including the crests, forward, and reverse slopes of ridges. The one obvious mistake made by the Japanese in this long, grueling defense to the death was the night counterattack of March 8. This action cost them many lives and gained no advantage. Even this rather hopeless plunge can be somewhat justified, however, when the situation that existed then is seen from the Japanese point of view. By March 8, the enemy was under heavy, constant pressure in an ever-shrinking area where most of the critical terrain features had been captured. He was quickly becoming dispossessed and disorganized, with few courses of action remaining. Because communications were undoubtedly badly disrupted, it is possible that the Japanese facing the 4th Division did not realize just how hopeless his cause appeared and therefore harbored some hope that the counterattack might not be in vain. The cost was significant, with Cates suffering 848 men killed and 2,836 wounded.  While the battle raged on Iwo Jima, General LeMay was also preparing for a major raid on Tokyo, known as Operation Meetinghouse. After a precision strike by 192 B-29 bombers against Musashi on March 4, which resulted in minimal damage due to heavy cloud cover, a decision was made to move away from the 21st Bomber Command's traditional focus on precision bombing. This eighth fiasco at Musashi marked the end of a well-defined phase of 21st Bomber Command's operations. The effort to knock out the Japanese aircraft industry by high-altitude, daylight precision bombing of carefully selected targets had failed. Production of aircraft engines, not grossly off scheduled programs when 21st Bomber Command came to the Marianas, fell off sharply during the last two months of 1944 and production of aircraft declined slightly during the same period. In neither case, however, could the shortages be accounted for by destruction wrought by the B-29's; indeed, the output of Franks at Ota had decreased from 300 a month to 100 before the first air strike. Not one of the nine high-priority targets had been destroyed, although Akashi had been effectively crippled and production had been slowed down at Mitsubishi's engine and assembly plants at Nagoya and at Nakajima-Ota. Musashi had suffered only 4% damage after 835 B-29 sorties had been sent against it; Navy planes had done more harm in a single strike. Probably the indirect effects of the B-29 raids were most important: with the fall of Saipan, Japanese industrialists had begun to lose confidence in their supposed immunity from air attack. Although under governmental pressure for increased production, they began, with the first attacks on Nakajima and Mitsubishi, to hunt for underground or forest cover, and the official directive for dispersal issued in mid-January merely served to quicken a process already well under way. This radical change in manufacturing techniques, never as efficiently conducted as the similar movement in Germany had been, explains in part the slowdown in production in late 1944 and early 1945.  In 22 missions comprising 2,148 sorties, the command dropped 5,398 tons of bombs on Japan targeting the Imperial aircraft industry, but only about half of the bombers hit primary targets. Losses were substantial, largely due to fierce enemy interceptors and the lengthy overwater journey from the Marianas to Japan, which lacked any friendly bases for refueling or repairs. As a result of the high costs associated with unescorted daylight missions, the susceptibility of Japanese cities to incendiary attacks, and the minimal impact of precision bombing with high explosives, General Arnold ultimately opted for a comprehensive incendiary campaign. In preparation for the forthcoming assault on Okinawa, LeMay was tasked with initiating a series of intensive incendiary strikes from low altitudes. This lower bombing altitude would enhance accuracy, increase bomb load, and prolong the lifespan of B-29 engines. Although this approach carried risks, LeMay believed that the intense Japanese anti-aircraft fire was not overly threatening, as only two B-29s had been lost due to flak alone. He also decided to conduct these missions at night, which would decrease the likelihood of heavy cloud cover and strong winds, simplify navigation, and enable the bombers to reach the two new emergency airstrips at Iwo Jima by dawn. The first mission was set to commence immediately, with 334 B-29s from the 73rd, 313th, and 314th Bombardment Wings taking off in the late afternoon of March 9, carrying approximately 2,000 tons of bombs. The target was a rectangular area in northeastern Tokyo known as Zone I, measuring about 4 by 3 miles and encompassing most of Asakusa, Honjo, and Fukagawa Wards. After a turbulent journey, the initial pathfinders successfully identified their targets under favorable weather conditions and marked them shortly after midnight with fires However LeMay's decision came late. With the first mission set for the night of March 9, the field orders were not cut until the 8th. Although operational details would vary significantly from normal practice, there was no time to consult Washington as was so frequently done. Arnold was not even informed of the revolutionary plans until the day before the mission. The decision to attack at night ruled out the command's standard technique of lead-crew bombing. Formation flying at night was not feasible, and with flak rather than enemy fighters the chief danger, a tight formation would be a handicap rather than a source of defensive strength. With planes bombing individually from low altitudes, bomb loads could be sharply increased, to an average of about six tons per plane. Lead squadron B-29s carried 180 x 70-pound M47s, napalm-filled bombs calculated to start "appliance fires," that is, fires requiring attention of motorized fire-fighting equipment. Other planes, bombing on these pathfinders, were loaded with 24 x 500-pound clusters of M69s. Intervalometers were set at 100 feet for the pathfinders, 50 feet for the other planes. The latter setting was supposed to give a minimum density of 25 tons (8333 M69s) per square mile. Late reports indicated widespread fires that forced formations to search extensively for targets, with visibility severely hampered by smoke and bomb runs complicated by turbulence from intense heat waves. During the three-hour assault, a total of 279 B-29 bombers targeted Tokyo, successfully dropping 1,665 short tons of bombs on the primary objective. Additionally, 19 Superfortresses, unable to reach Tokyo, attacked alternative or last-resort targets. The Japanese were taken completely by surprise by this tactical shift, resulting in only moderate resistance; intense anti-aircraft fire destroyed 14 B-29s and damaged another 42, while enemy interceptors had no significant effect. The fires were so intense that they nearly extinguished themselves by mid-morning, only halted by wide gaps like rivers. Subsequent photographs revealed that 15.8 square miles had been devastated, including 18% of the industrial sector, 63% of the commercial area, and the core of the densely populated residential district. Tokyo's highly effective firefighting system was also caught off guard, leading to the destruction of 95 fire engines and the deaths of 125 firefighters, while lightweight buildings were completely consumed along with their contents. Little rubble remained; only a few fire-resistant structures, marked by heat damage, stood in the devastated areas. In total, 267,171 buildings were destroyed, 83,793 people lost their lives, 40,918 were injured, and 1,008,005 were left homeless. Moreover, it took 25 days to recover all the bodies from the debris. Radio Tokyo referred to the raid as “slaughter bombing,” with one broadcast stating that “the sea of flames engulfing the residential and commercial districts of Tokyo was reminiscent of the holocaust of Rome, caused by Emperor Nero.” The attack significantly undermined the morale of Japanese civilians, and along with other firebombing raids in March, it led many to believe that the war situation was worse than their government had acknowledged. In response, the Japanese government implemented a mix of repression, including severe penalties for those accused of disloyalty or spreading rumors, and launched an ineffective propaganda campaign aimed at restoring confidence in the nation's air and civil defense efforts. Meanwhile, LeMay and Arnold viewed the operation as a considerable success. As Tokyo mourned its losses, another 313 B-29s were sent on the afternoon of March 11 to execute a similar strike on Nagoya; however, due to minimal wind to spread the fires from the widely dispersed bombs, the results were less impressive. Nonetheless, only one B-29 was lost during the raid, with another 20 sustaining damage. It became evident, as LeMay had predicted, that the Japanese lacked effective tactics for nighttime interception. Now, attention shifts to Burma to report on the ongoing Chinese-British-Indian offensives. On General Slim's primary front, General Stopford's 33rd Corps continued its vigorous advance toward Mandalay, while General Cowan's 17th Indian Division successfully made its way to the Meiktila area in the Japanese rear. In response, Generals Kimura and Katamura sent several reinforcements to this crucial area, but only the 1st Battalion, 168th Regiment, led by Colonel Yoshida, managed to arrive in time to establish some defenses in the town, quickly transforming buildings in Meiktila into bunkers and strongpoints. On February 28, Cowan dispatched the 63rd Brigade to launch an attack from the west and the 48th Brigade to advance from the north along the Mahlaing-Meiktila road, while the 255th Tank Brigade executed a wide flanking maneuver to approach from the east. As a result, the 63rd Brigade secured Kyaukpyugon and set up a roadblock southwest of Meiktila; the 48th Brigade advanced to a bridge over a chaung approximately a mile from the town; and the 255th Brigade fought its way to Kyigon and Khanda, successfully destroying several bunkers near Point 860. On March 1, following a heavy air and artillery bombardment, Cowan's three brigades began to push into Meiktila despite fierce resistance. The 48th Brigade, bolstered by a tank squadron, advanced down the Mandalay-Meiktila road, quickly clearing Kyigon before entering the town, where they reached within 100 yards of the railroad line before the attack was halted in the late afternoon. To the east, the majority of the 255th Tank Brigade captured Point 860 and began clearing the camouflaged bunkers along the ridgeline, while a combined force of tanks and grenadiers advanced to within 200 yards of the railroad station before being recalled. Meanwhile, the 63rd Brigade, supported by a tank squadron, cleared the village of Kanna and continued past it to secure the railroad line and the main Kyaukpadaung-Meiktila road. The following day, the 17th Indian Division tightened the encirclement around Meiktila, inflicting significant casualties on the outnumbered defenders and destroying numerous enemy bunkers. On March 3, the three brigades commenced the task of eliminating the last remaining Japanese forces in and around Meiktila. They faced intense sniper and machine-gun fire from every building. However, due to the tanks' superior firepower, the Japanese strongholds were systematically taken down one by one. By the end of the day, the town was cleared, with an estimated 2,000 Japanese troops killed, including Colonel Yoshida. Additionally, 47 field pieces and anti-tank guns were captured, and the supply dumps surrounding Meiktila were secured. Cowan now needed to organize the town's defenses, anticipating a swift and fierce Japanese counterattack. Immediately after the town's capture, Kimura ordered the 18th Division to work with the weakened 49th Division to reclaim Meiktila, while Katamura reinforced General Naka with the majority of the 119th and 214th Regiments, a strong artillery unit, and the battered 14th Tank Regiment. Following the capture of Meiktila, Cowan's forces spent the next few days clearing the area of any remaining snipers and stragglers. For the town's defense, Cowan assigned each brigade and the divisional infantry to four sectors, each featuring a heavily fortified redoubt. He also tasked the 99th Brigade with defending Kyigon and Meiktila's airfield. To maintain the initiative for the 17th Division, Cowan aggressively deployed strong mobile columns of tanks, mechanized artillery, and infantry to disrupt the Japanese formations as they approached Meiktila. Consequently, while the 18th and 49th Divisions advanced, Ywadan and Nyaungaing were secured on March 5. In the following days, the main roads leading to Mahlaing, Kyaukpadaung, Pyawbwe, Thazi, and Mandalay were cleared, and the enemy units of the 214th Regiment at Thangongyi and Yego were successfully repelled on March 8. General Naka was now prepared to initiate his primary assault on Meiktila, instructing his units to concentrate their efforts north of the town, while the 214th Regiment made an unsuccessful attempt to move southwest to connect with the 49th Division. In response to these movements, on March 10, Cowan sent a robust tank-infantry force along the Mahlaing road to escort a previously dispatched column back to Meiktila, successfully inflicting significant casualties on the 56th Regiment as the British-Indians secured the Leindaw-Kyanngyagon area. However, the troops faced harassment from artillery fire originating from south of Myindawgan Lake, prompting Cowan to launch another armored sweep on March 14 to eliminate this threat. Although the 55th Regiment managed to capture the hill north of Meiktila after Cowan's tanks and infantry withdrew, the Japanese forces were unable to prevent their return, which resulted in further heavy losses. Concurrently, other tank-infantry units disrupted the advance of the 49th Division, effectively delaying the assembly of Japanese forces to the south and east of Meiktila until March 18. Additionally, a strong raid by the Komatsubara Unit was successfully repelled on March 14. In Stopford's sector, the 19th Division was preparing to launch its final offensive southward toward Mandalay, while the 2nd and 20th Divisions, after fierce fighting to expand their bridgeheads, were advancing east to assault the southern approaches to Mandalay. With close support from artillery and aircraft, General Rees' forces successfully breached the primary defenses of Lieutenant-General Yamamoto Kiyoe's 15th Division, reaching the northern outskirts of Mandalay by March 7. As the assault continued, British-Indian forces were set to enter the city on March 9. However, the determined defenders clung to Mandalay Hill and Fort Dufferin, aiming to extend the conflict and fight to the death. While Mandalay was under siege, the 62nd Brigade stealthily advanced east to Maymyo on March 11, catching the garrison off guard. The next day, Mandalay Hill ultimately fell while Fort Dufferin was being heavily bombarded within the city. By mid-March, the 2nd Division was nearing the capture of Ava, and the 20th Division was steadily advancing east to sever the supply routes from Mandalay to the south. In northern Burma, General Sultan was also pursuing his offensive. After establishing a bridgehead at Myitson, General Festing's 36th British Division faced minimal resistance and successfully took Mongmit on March 9 before continuing southward to Mogok. To the east, the 38th Chinese Division encountered only weak delaying positions as it moved towards Lashio, which was successfully occupied by March 7. At this point, the 56th Division, now independently commanding this area, was gradually retreating towards Hsipaw and Kyaukme. Although General Sun paused his advance until the Generalissimo granted permission to resume the offensive later in the month. Mountbatten feared that if more Chinese troops were withdrawn from Burma it might not be possible to take Rangoon before the monsoon rains began. This was an unpleasant prospect, so Mountbatten went to Chungking on March 8 for two days of conference with the Generalissimo. When the conference of March 9 concluded, the Generalissimo, according to the American minutes, said that he would recapitulate his decision of halting the Chinese advance at Lashio. In so doing, he remarked that the details of withdrawal would be settled later and that no final decisions would be made before General Wedemeyer was able to take part in them. Then he stated that unless there was a simultaneous amphibious attack on Rangoon, operations would stop at Lashio and Mandalay and the Allies would assume the defensive. The Chinese would stop at Lashio, but details of their operations between Lashio and Mandalay would be settled later between the staffs. The misunderstanding became quite apparent in mid-March when General Sultan, under whose command the Chinese were, received conflicting orders. Mountbatten ordered Sultan to move his forces southwestward toward Mandalay, yet the Generalissimo directed that the Chinese divisions stay in the Lashio area. As a compromise and to avoid having the Chinese wait idly around Lashio, Sultan suggested that a smaller task force be directed to proceed south. But the Generalissimo and his American advisers stood firm, lest the shift of troops to China be delayed. This in turn caused the British to believe that if the Chinese were not going to advance they should be withdrawn forthwith and end the burden on the line of communications. The 50th Chinese Division began to push south after securing the Namtu region and by mid-March reached Hsipaw. Meanwhile, in South Burma, the 82nd West African Division had taken Dalet, while the 25th Indian Division engaged in a struggle for control of the Ruywa-Tamandu area. Additionally, the 2nd West African Brigade was advancing inland toward An, posing a significant threat to the Japanese rear areas. Due to the rapid advancement of Slim's offensive, Admiral Mountbatten had to prioritize air supply for the 14th Army. This situation soon compelled General Christison to send the 25th Indian Division back to India, as his logistical support was becoming increasingly strained. Capturing Tamandu and establishing a Forward Maintenance Area there became essential. After successfully clearing Dokekan, the 74th Indian Brigade crossed the Me Chaung on March 4 to circumvent the main enemy defenses. The British-Indians pressed on, launching attacks on Tamandu in the following days, but the determined defenders put up strong resistance. Eventually, General Miyazaki withdrew most of the 111th Regiment and ordered it to attack the 2nd West African Brigade from the rear, which was finally contained by March 17. With the 25th Division scheduled to withdraw to Akyab by the end of the month, the 74th was reassigned to the 82nd West African Division and launched a final assault on Tamandu on March 11, successfully capturing the abandoned objective. The British-Indians then began to advance towards Kolan, reaching the vicinity of the town by mid-March. Simultaneously, the 154th Regiment counterattacked the West Africans at Dalet, successfully halting the enemy's advance beyond the river. Meanwhile, the 4th Indian Brigade landed at Mae near Letpan on March 13 from Ramree Island and established a roadblock to prevent enemy escape. In response, the 121st Regiment sent several companies to conduct a delaying action aimed at slowing the enemy's southward advance. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. The battle for Iwo Jima intensified as the Marines advanced against fortified Japanese positions, facing heavy resistance and suffering significant casualties while capturing key terrain over several weeks of fierce combat. Meanwhile General LeMay shifted from precision bombing to incendiary raids on Tokyo, resulting in significant destruction and civilian casualties, while Japanese morale plummeted amid military setbacks.  

Our guest is Kakuho Aoe https://www.instagram.com/kakuhoaoe_nakamichi0316/ who is the chief Buddhist priest of the Ryokusenji Temple in Asakusa, Tokyo.Kakuho Aoe joins me to discuss why food is important in the Buddhist practice and beyond, why the Buddhist diet called Shojin Ryori is great diet for vegan, vegetarian and sustainable-minded people regardless of their religion, the eye-opening dinner events “Kuayami Gohan” (Dining in the Dark) and much, much more!!!

Fluent Fiction - Japanese: New Year's Bonds: Friendship and Resilience in Asakusa Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ja/episode/2025-01-05-23-34-01-ja Story Transcript:Ja: 浅草の賑やかな通りは、新年の喜びに満ちあふれていました。En: The bustling streets of Asakusa were filled with the joy of the New Year.Ja: 色とりどりの装飾が風に揺れ、お祭りの活気が人々を包み込んでいました。En: Colorful decorations swayed in the wind, and the lively festival atmosphere enveloped everyone.Ja: その場所には、ハルカ、リョウ、そしてアイコの三人の友達がいました。En: In that place were three friends: Haruka, Ryo, and Aiko.Ja: 彼らは毎年恒例の初詣を楽しみにしていました。En: They were looking forward to their annual first shrine visit of the year.Ja: ハルカは少し不安を感じていました。En: Haruka was feeling a bit anxious.Ja: 彼女には慢性的な病気があり、時々症状が出てしまいます。En: She had a chronic illness, and sometimes her symptoms would flare up.Ja: しかし、今年の彼女の目標は、健康のことを気にせず友達と新年を楽しむことでした。En: However, her goal this year was to enjoy the New Year with her friends without worrying about her health.Ja: リョウはいつも彼女を気にかけていましたが、ハルカは自分の体調のことを言いたくありませんでした。En: Ryo was always concerned about her, but Haruka did not want to mention her condition.Ja: アイコはいつも元気で、みんなに笑顔をもたらしてくれます。En: Aiko was always energetic and brought smiles to everyone.Ja: 寒い冬の風が吹く中、三人は浅草寺の周りの屋台を見て回りました。En: In the cold winter wind, the three of them wandered around the stalls near Sensoji Temple.Ja: たくさんのお店があり、美味しそうな匂いが漂っています。En: There were many shops, and a delicious aroma wafted through the air.Ja: お好み焼きやたこ焼き、甘いお菓子がたくさん並んでいました。En: There were okonomiyaki, takoyaki, and many sweet treats lined up.Ja: ハルカは食べ物を楽しみ、祭りの雰囲気に浸りながら、病気のことを忘れたいと思っていました。En: Haruka wanted to enjoy the food and immerse herself in the festival atmosphere, hoping to forget about her illness.Ja: しかし、人混みでたくさん歩いたせいか、ハルカの体調は徐々に悪化してきました。En: However, because of the long walk through the crowd, Haruka's condition gradually worsened.Ja: 彼女は息切れを感じ、少しふらふらしてきました。En: She felt out of breath and a bit dizzy.Ja: でも、友達に心配をかけたくなくて、黙って歩き続けました。En: Yet, not wanting to worry her friends, she continued walking silently.Ja: 突然、ハルカは立ち止まり、顔色が悪くなりました。En: Suddenly, Haruka stopped and turned pale.Ja: リョウとアイコはすぐに気づき、彼女の側に駆け寄りました。En: Ryo and Aiko immediately noticed and rushed to her side.Ja: 「大丈夫？」リョウが心配そうに尋ねました。En: "Are you okay?" Ryo asked with concern.Ja: ついに、ハルカは友達に自分の状態を話すことに決めました。En: Finally, Haruka decided to tell her friends about her condition.Ja: 「ごめん、少し休みたいの。少し具合が悪いかも。」En: "Sorry, I need to rest a bit. I might not be feeling well."Ja: リョウとアイコはすぐに彼女を理解しました。En: Ryo and Aiko understood her right away.Ja: 「無理しないで、どこかで休もうよ。」アイコが明るく言いました。En: "Don't push yourself, let's find somewhere to rest," Aiko said cheerfully.Ja: 三人は近くのベンチに座り、熱いお茶を飲みながらしばらくのんびりと過ごしました。En: The three of them sat on a nearby bench, enjoying some hot tea and relaxing for a while.Ja: お正月の音楽が背景でかかり、空は美しい冬の青に染まっていました。En: The New Year's music played in the background, and the sky was painted a beautiful winter blue.Ja: ハルカは友達に微笑み、「ありがとう。皆と一緒にいることが本当に楽しいわ。」と静かに言いました。En: Haruka smiled at her friends and quietly said, "Thank you. I really enjoy being with you all."Ja: リョウとアイコも微笑み返しました。En: Ryo and Aiko returned her smile.Ja: その日、ハルカは大切なことを学びました。En: On that day, Haruka learned an important lesson.Ja: 自分の限界を正直に伝えることが重要だと。En: It is crucial to honestly convey her limits.Ja: そして、友達も彼女の状態を理解し、支え方をしっかり学びました。En: And her friends learned how to understand her condition and how to support her well.Ja: 新年を迎えるとともに、彼らの絆はさらに深まりました。En: As they welcomed the New Year, their bond deepened even further.Ja: 新年を祝う浅草寺の鐘の音が響き、三人はそれぞれの願いを心に抱きました。En: The sound of the New Year's bell at Sensoji Temple echoed as the three of them each held their wishes in their hearts.Ja: この瞬間、彼らは一緒にいる喜びと、支え合うことの大切さを感じていました。En: In that moment, they felt the joy of being together and the importance of supporting each other. Vocabulary Words:bustling: 賑やかなdecorations: 装飾swayed: 揺れenveloped: 包み込んでanxious: 不安chronic: 慢性的なillness: 病気flare: 出てしまうconcerned: 気にかけてenergetic: 元気でstalls: 屋台wafted: 漂ってimmerse: 浸りながらgradually: 徐々にworsened: 悪化してdizzy: ふらふらsilently: 黙ってpale: 顔色が悪くrushed: 駆け寄りましたrest: 休みたいcomfort: 微笑みbond: 絆convey: 伝えるlimits: 限界understand: 理解support: 支えcrucial: 重要bench: ベンチaroma: 匂いfestival: お祭り

When it comes to immersing oneself in the understanding of mokuhanga, Jacek Machowski is dedicated to constantly deepening his knowledge and practice of the art form. His exploration of mokuhanga is both inspiring and dynamic, as he continually shares, creates, and evolves his expertise and approach to this wonderful art form.   I speak with mokuhanga printmaker, educator, and mokuhanga explorer Jacek Machowski. Jacek's work is a blend of experimentation, tradition, and excitement. We discuss his journey into mokuhanga, his deep dive into its history, techniques, and philosophies, and how he has dedicated himself to uncovering the intricacies of the art form. Jacek also shares insights into his process of making and testing his own tools, continually pushing their boundaries. Additionally, we explore his own mokuhanga prints, the choices behind his artistic methods, and the workshop he leads.   I would like to thank Jacek's translator , Małgorzata Ptasiński, for her invaluable help with translation. In this episode, you'll notice that Jacek's voice is intermittent, with Gosia speaking for most of the discussion. This approach was chosen to ensure smoother listening and a better flow.   Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at andrezadorozny@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Jacek Machowski - wesbite,  Etsy, Instagram YouTube  Sakeda - Senjafuda (2023) 1.97" x 5.90"  senjafuda - are votive slips attributed to Buddhism in Japan. This slips of paper were pasted on temples in Japan. The worshippers name was written on the senjafuda in order for people to see that they had visited said shrine. The paper senjafuda were popular in the Edo Period (1603-1868). Tokyo and Kyoto senjafuda had various differences.  ex-libris - a decorative label or stamp placed inside a book to indicate its ownership. Usually features the owner's name, initials, or a personalized design, often with artistic or symbolic elements that reflect the owner's personality, interests, or profession. MI Lab - is a mokuhanga artists residency located in Kawaguchi-ko, near Mount Fuji. More info can be found, here.  nori - is a type of paste made from starch. It is used when making mokuhanga. You can make nori from any type of material made from starch. For instance, paste can be made with tapioca,  rice, corn, even potato. You can purchase nori pretty much anywhere but making it is more environmentally friendly. Laura Boswell has a great recipe, here.  binder - refers to the substance which holds pigment particles together and adheres them to a surface, such as paper, wood, or canvas, for prints or paints. The binder transforms dry pigments into a usable medium and also makes them more durable. embossing - refers to a technique where the paper is pressed into the carved woodblocks, creating a raised or textured effect on the printed surface. This technique adds a three-dimensional quality to the print by making certain areas of the paper slightly elevated. linocut -A linocut is a relief or block print type, similar to woodblock printing. The artist carves an image into a linoleum block, printing what's left.  intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.   mica - in mokuhanga, mica (kirazuri) is used to add a shimmering, reflective effect to prints. Mica powder is typically mixed with glue and applied to the surface of the print in areas where a subtle sparkle or luminous texture is desired, often to highlight details such as clothing, water, or the sky. This technique gives the print a luxurious quality and enhances the visual depth. Historically, mica was used in ukiyo-e prints to elevate the status of the work, and it continues to be used by contemporary printmakers for its unique aesthetic appeal. kirazuri -  is a technique in woodblock printing using mica to add a sheen to the print. Mokuhanga artist Marcia Guetschow has written about kirazuri on her website, here.  David Bull - is a Canadian woodblock printmaker, and educator who lives and works in Japan. His love of mokuhanga has almost singlehandedly promoted the art form around the world. His company, Mokuhankan, has a brick and mortar store in Asakusa, Tōkyō, and online, here.  Forest In Spring (2008)  Wojciech Tylbor-Kubrakiewicz - a part of the Faculty of Graphics of the Academy of Fine Arts in Warsaw. His work focuses on everyday life, travel and memory. His works are in intaglio, relief such as mokuhanga, and serigraphy.  Augenblick 70 x 100 cm (2023) linocut Tomasz Kawełczyk - is a mokuhanga artist and deputy dean at the Faculty of Fine Arts of the Academy of Fine Arts in Łódź, Poland. He is also a lecturer and organizer of workshops. Tomasz has also worked in mokuhanga as well as holding workshops accompanying the "Road to Edo," held at the National Museum in Warsaw from February 25 - May 7, 2017. His work in mokuhanga has been focused on creating prints by using local tools and materials found in Poland.  Dariusz Kaca - is a relief printmaker and professor at the Academy of Fine arts  in Łódź, Poland. He works in linocut and mokuhanga.  Nocturn I - 40cm x 40cm, linocut Marta Bożyk - lecturer and researcher at the Academy of Fine Arts in Krakow, Poland.   © Popular Wheat Productions opening and closing credit -Ruby My Dear as performed by Roy Hargrove, originally by Thelonius Monk. (1990) RCA  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)  Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***        

In questo episodio ti portiamo alla scoperta del fascino di Shitamachi, il cuore storico e autentico di Tokyo.

Fluent Fiction - Japanese: Souvenirs of the Soul: A Heartfelt Journey in Asakusa Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ja/episode/2024-11-11-23-34-02-ja Story Transcript:Ja: 浅草の秋、文化の日。En: Autumn in Asakusa, Culture Day.Ja: 仲見世通りは賑やかだ。En: Nakamise Street is lively.Ja: 紅葉の飾り物で色どられた道を歩く人々の会話が風に乗る。En: The conversations of people walking along the street, decorated with autumn leaves, ride the wind.Ja: 焼き芋や寺院から漂う線香の香りが空気を満たしている。En: The air is filled with the scent of roasted sweet potatoes and incense wafting from temples.Ja: 春樹は、明るく光る現代的な土産と控えめな伝統的な品々の間で思案に暮れていた。En: Haruki was pondering over the dilemma between bright, modern souvenirs and modest traditional items.Ja: 故郷に戻る彼の心は、懐かしさと共に大切な何かを探し求めていた。En: As he prepared to return to his hometown, his heart, tinged with nostalgia, was searching for something important.Ja: 実は、それは思い出以上のもの、文化への絆を象徴する品だった。En: In truth, it was something more than memories, a symbol of his ties to culture.Ja: 彼はふと、仲見世通りの一角にある雪の店に立ち寄った。En: He suddenly stopped by Yuki's store, which is tucked away in a corner of Nakamise Street.Ja: 幼なじみの雪は手仕事の職人で、伝統の保存を志す真心を持っていた。En: His childhood friend, Yuki, is an artisan dedicated to preserving tradition with sincere earnestness.Ja: 「何を探してるの？」雪は彼の悩ましい表情に気づき、微笑んで問うた。En: "What are you looking for?" Yuki noticed his troubled expression and asked with a smile.Ja: 「特別な土産をね」と春樹は答える。「でも、何がいいのか分からなくて」En: "A special souvenir," Haruki replied. "But I can't figure out what would be best."Ja: 雪は彼を店内に招き入れ、一つ一つの品に込められた意味を語り始めた。En: Yuki invited him inside the store and began to explain the meaning embedded in each item.Ja: 染物、食器、藍染の布。En: Dyed goods, dishware, indigo-dyed fabrics.Ja: どれも深い物語を持っていた。En: Each one held a profound story.Ja: 最後に、雪は特別な布巾を手に取り、その家族に代々伝わる話をし始めた。En: Finally, Yuki took a special cloth in hand and began recounting the tale passed down through her family.Ja: 布巾は彼女の祖母から受け継がれ、大切に使われてきたとのことだ。En: The cloth was inherited from her grandmother and had been cherished and used with care.Ja: それは、ただの物ではなく、家族の絆そのものだった。En: It was not just an object, but the bond of the family itself.Ja: 春樹はその話を聞き、心が揺さぶられた。En: Listening to the story, Haruki was deeply moved.Ja: 彼が本当に探していたものは、心に響く伝統の力だった。En: What he had truly been searching for was the resonant power of tradition.Ja: 「これだ」と春樹は心を決め、伝統的な手作りの品を取り上げた。En: "This is it," Haruki decided, picking up the handcrafted traditional item.Ja: その重みは彼の心に宿り、失われることのない想いとなった。En: Its weight nestled in his heart, becoming an enduring feeling.Ja: 帰り道、春樹の手にはしっかりと布巾が握られていた。En: On the way home, Haruki's hand held the cloth tightly.Ja: 彼は自分の文化を新たに見つめ直し、守るべき価値を痛感した。En: He had a renewed perspective on his culture and realized the values he must protect.Ja: 紅葉の下、浅草の風は彼の心に深い感動を残し、帰路につく彼を優しく包んだ。En: Beneath the autumn leaves, the wind of Asakusa left a deep impression on his heart, gently enveloping him as he set off on his way back. Vocabulary Words:autumn: 秋lively: 賑やかpondering: 思案dilemma: 暮れnostalgia: 懐かしさsymbol: 象徴preserving: 保存earnestness: 真心embedded: 込められたindigo-dyed: 藍染profound: 深いinherited: 受け継がれたcherished: 大切にbond: 絆resonant: 響くhandcrafted: 手作りenduring: 失われることのないperspective: 見つめ直しvalues: 価値enveloping: 包んだconversations: 会話wafting: 漂うmodern: 現代的なmodest: 控えめなhometown: 故郷artisan: 職人dyed: 染物dishware: 食器tale: 話moved: 揺さぶられた

Mokuhanga can be approached in many ways. For some, a hands-on approach is the most appealing, as it places full responsibility on the artist to carefully craft each step—designing, carving by hand, and printing—to achieve the best possible result. However, other mokuhanga artists take a more experimental route, where the possibilities are limitless, and innovation leads to unique outcomes. On this episode of The Unfinished Print, I speak with printmaker Mike Lyon, who has been creating mokuhanga for nearly 30 years. We delve into his philosophy on mokuhanga, his innovative use of a CNC machine in printmaking, and his inventive spirit. We also explore his own mokuhanga prints and the Lyon Collection of Japanese woodblock prints.  This interview was conducted while Mike was at the Mokuhanga Project Space in Walla Walla, Washington, and he reflects on his real time experiences during the interview. One other note; there is reference to an accident Mike had as a young man regarding his fingers. Listeners be warned.   Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Mike Lyon - website Shotokan Karate - is a traditional Japanese martial art that emphasizes powerful, linear movements, strong stances, and precise techniques. Developed by Gichin Funakoshi (1868-1957) in the early 20th century, Shotokan blends self-defense, physical fitness, and mental discipline. It is characterized by its deep stances, focus on kata (pre-arranged forms), kihon (basic techniques), and kumite (sparring). Practitioners strive for mastery of body and mind, aiming to improve both physical strength and inner calm through rigorous practice. Shotokan is one of the most widely practiced karate styles worldwide. Zen Buddhism - is a school of Mahāyāna Buddhism that emphasizes direct experience, meditation (zazen), and mindfulness as paths to enlightenment. Originating in China as Chan Buddhism and later flourishing in Japan, Zen focuses on achieving insight into the nature of existence through meditation rather than reliance on scriptures or ritual. Central to Zen practice is the concept of "no-mind" (mushin), which seeks to quiet the mind and transcend dualistic thinking. Through sitting meditation, koans (paradoxical questions), and the guidance of a teacher, Zen practitioners aim to awaken to their true nature and the interconnectedness of all things. Hiroki Morinoue - is a mokuhanga printmaker and artist living in Holualoa, Big Island, Hawai'i. He is a co-founding member of the Holualoa Foundation For Arts & Culture, the establishment of the Donkey Mill Art Center and Studio 7 Fine Arts. Hiroki's interview with The Unfinished Print can be found, here.  Kitchen Fosit (2012)  Gotō Hidehiko (b.1953) - is a mokuhanga printmaker and tool maker based in Japan. He makes and teaches seminars about the construction of the mokuhanga tool, the baren.  From The Window (2017) 15" x 12" Anderson Ranch Arts Center - since the 1960s, Anderson Ranch Arts Center, located in Colorado, has been a beacon for the arts in the United States. The Ranch offers master classes, workshops, artist-in-residence programs, and more. For additional information, please click here. registration - there are several registration methods in mokuhanga. The traditional method is called the kentō registration, where you carve two notches, straight another an "L." There is also a "floating kentō," which is where the notches are cut in a piece of "L" shaped wood and not on the wood where you are cutting your image, hence "floating." Lastly, there are removable "pins," such as ones made by Ternes Burton.  The Fisherman and His Wife (1996) 15" x 10" International Mokuhanga Conference - is a bi-yearly conference dedicated to mokuhanga which started in 2011 by the International Mokuhanga Association. Each conference is themed. The latest conference was in 2021, delayed a year because of the pandemic. More information can be found, here. Prussian Blue - is a dark blue pigment, which has been used by painters, and mokuhanga printmakers. The pigment has been used in Europe since the 18th Century, and in Japan since around 1820, having been imported by Europeans into Japan. More information about Prussian Blue can be found in my interview with Professor Henry Smith, here.  reduction printmaking - is a process in printmaking where the printmaker cuts away on a piece of wood, or linoleum. After every carving, the printmaker makes an impression with pigments, beginning with lighter colours, gradually using darker colours. William H. Mays has a fine description of reduction on his website, here.  CNC Machine - A CNC (Computer Numerical Control) router is a machine used to cut, carve, or engrave materials like wood, plastic, metal, and foam with high precision, guided by a computer program. The router is controlled by pre-programmed software that dictates the movement of the cutting tool along multiple axes (typically three to five), allowing for complex shapes and designs to be created with great accuracy. CNC routers are commonly used in manufacturing, woodworking, sign-making, and prototyping because they can produce detailed and repetitive cuts that would be difficult to achieve by hand. Friends of Baren Forum - is a Facebook group dedicated to those interested in mokuhanga and woodblock printing in general. it can be found, here.  David Bull - is a Canadian woodblock printmaker, and educator who lives and works in Japan. His love of mokuhanga has almost singlehandedly promoted the art form around the world. His company, Mokuhankan, has a brick and mortar store in Asakusa, Tōkyō, and online, here.  River In Spring (2009)  shihan - is a title in Japanese martial arts, often translated as "master instructor." It is an honorific title given to highly skilled and experienced practitioners who have demonstrated knowledge, expertise, and commitment to a particular martial art over many years. A shihan is not only a technical expert but also a role model and leader, responsible for preserving and passing on the traditions and philosophies of the martial art to future generations. The title is typically granted in arts such as karate, aikido, judo, and kendo, and it is often reserved for senior instructors with a rank of 5th dan or higher. aizuri-e - (藍摺絵) are woodblock prints made entirely with shades of blue. This style gained popularity during the Edo Period.  yakusha-e - (役者絵) is the Japanese term for actor prints in mokuhanga.  bijin-ga - (美人画) is the Japanese term for beautiful women in mokuhanga.  Ezoshi - is a mokuhanga focused art gallery and store located in Kyoto, Japan. It was established in 1978. More info, here.  Tōshūsai Sharaku (dates unknown) - was a Japanese ukiyo-e printmaker active during the late Edo period, primarily from 1794 to 1795. He is known for his portraits of kabuki actors, capturing their dramatic expressions and movements with remarkable realism and emotional depth. Sharaku emphasized individuality and personality in his subjects, using bold colors and strong contrasts to create a distinct style. Despite his brief career, lasting only about ten months, his innovative approach had a lasting impact on the ukiyo-e tradition, making him one of the most significant printmakers of the Edo period. The true identity of Sharaku and the reasons for his sudden disappearance from the art scene are still unknown. Otani Oniji III as Edobei (1794) 14 15/16" × 9 7/8" ōkubi-e (大首絵) -  are woodblock prints of close-up human heads, which came into prominence in the late 19th Century. For me, the best mokuhanga designer of okubi-e is Toyohara Kunichika (1835-1900). His okubi-e of kabuki actors is unparalleled, showing the actors in various positions with intricate backgrounds and poses. Kamigata - is a region of Japan which refers to the area encompassing the cities of Kyoto and Osaka, located in the Kansai region. During the Edo period (1603–1868), Kamigata became a significant cultural and artistic center, known for its contributions to theater, literature, and the arts, particularly ukiyo-e  mokuhanga. The term "Kamigata," meaning "upper region," reflects its geographical position relative to Edo (modern Tōkyō), which was considered the "lower region."  Photoshop - is a powerful graphics editing software developed by Adobe Systems, widely used for image manipulation, photo editing, and digital art creation. It offers a variety of tools and features for tasks such as retouching images, creating graphics, applying effects, and designing layouts, making it an essential tool for photographers, graphic designers, and artists. Benjamin Selby - is an artist who works in mokuhanga, as well as serigraphy and installations. More information about Benjamin's work can be found, here. His interview with The Unfinished Print can be found, here.  Crushed (2024) Fudezaishiki - Hand Colored With Brush Mokuhanga 9" x 12" Mokuhanga Project Space - is a mokuhanga residency located in Walla Walla, Washington, USA. It was established in 2016 and is led by printmaker Keiko Hara. More info can be found, here.  coding - also known as programming, is the process of writing instructions for computers using programming languages. These instructions, or code, enable computers to perform specific tasks, solve problems, or automate processes. Coding involves creating algorithms, which are step-by-step procedures for carrying out a task, and translating these algorithms into a language that a computer can understand, such as Python, Java, C++, or JavaScript. Coding is essential in developing software applications, websites, and systems that power various technologies in everyday life, from mobile apps to complex databases and artificial intelligence systems. HP-25 - is a scientific calculator introduced by Hewlett-Packard in 1975. It is notable for being one of the first pocket-sized programmable calculators, featuring a unique Reverse Polish Notation (RPN) input system, which allows users to enter calculations in a more efficient manner than traditional algebraic notation. The HP-25 is equipped with a 49-step program memory, enabling users to create and store complex calculations. It has a 2-line display for showing both the program and the results, and it can perform a variety of functions, including trigonometric, logarithmic, and statistical calculations. The HP-25 is recognized for its durability, design, and the pioneering role it played in the evolution of personal computing and calculators. subroutine - also known as a function, method, or procedure, is a set of instructions designed to perform a specific task within a larger program. Subroutines allow programmers to break down complex problems into smaller, manageable pieces, promoting code reusability and organization. When a subroutine is called, the program temporarily transfers control to that subroutine, executes its instructions, and then returns control to the main program or calling code, often providing a result or output. This modular approach makes it easier to debug, maintain, and understand code, as well as to share functionality across different parts of a program or between different programs. Echizen - is a region in Fukui Prefecture, Japan, known for its long history of papermaking. The area is home to many paper artisans. One notable figure is Iwano Ichibei. He is a Living National Treasure in papermaking and the ninth generation of his family still making paper today. More information can be found here.in English, and here in Japanese.  baren - is a mokuhanga tool that typically consists of a round, flat disk with a bamboo base, covered with a layer of cord or cloth, often wrapped in a spiral pattern made from various materials such as cotton or hemp. Additionally, there are baren made from ball bearings and other materials, including plastic and metal. Linda in Black (2019) 41" x 29.5" - for more information on how this print was made you can find that on Mike Lyon's website, here.  rectangular spirals -  are a pattern which Mike Lyon uses a lot in his mokuhanga. Here is a posting on Mike's website in which Mike discusses his ideas on these spirals and how he uses them through coding. It can be found, here.  Guerra & Paint Pigment Corp. - is a brick and mortar store located in Brooklyn, New York that sells artists pigments. More info, here.  CMYK colour model - stands for Cyan, Magenta, Yellow and Key which are the colours used in the printing process of whichever work you are making. More info, here.  rasters - or raster graphics, are a type of digital image composed of a grid of individual pixels, each containing colour information. This pixel-based format is commonly used in digital photography, web graphics, and image editing, with resolution defined by the number of pixels in each dimension (width x height) and measured in dots per inch (DPI) or pixels per inch (PPI). While raster images can capture detailed and complex visuals, such as photographs, they can lose quality and become pixelated when enlarged, as the individual pixels become more visible. Common raster file formats include JPEG, PNG, GIF, and BMP. Unlike vector graphics, which use mathematical equations to represent images and can be scaled infinitely without loss of quality, rasters are less suitable for images requiring resizing or scaling. Shotbot code - typically refers to programming or scripting used to automate tasks in photography, particularly in photo booths or photography studios. It may involve controlling camera settings, managing image capture, and organizing files, allowing photographers to streamline their workflows and enhance productivity. Often associated with the ShotBot app, this code enables remote triggering of cameras, capturing images at set intervals, and integrating with other software for efficient image management. By utilizing Shotbot code, photographers can achieve consistent results and improve the overall efficiency of their photography projects. Madz - Portrait of the artist Madeline Cass. 31"x32" for more information regarding the process of how this print was made can be found on Mike Lyon's website, here.  Post Digital Printmaking - is printmaking using Computer Numeric Control (CNC) devices, including laser cutters and CNC routers, that are used for matrix production in lithography, intaglio, and relief printing. closed-loop controller -is a type of control system that continuously monitors and adjusts its output based on feedback from the system it is controlling. In this system, the controller receives information about the current state or output and compares it to a desired setpoint or target value. This feedback allows the controller to make real-time adjustments to the input or control signal to minimize the difference between the actual output and the desired output, enhancing accuracy and stability. Closed-loop controllers are commonly used in applications such as industrial automation, robotics, temperature control, and motor speed regulation, and they are contrasted with open-loop controllers, which do not utilize feedback and rely solely on predefined input commands. The feedback mechanism in closed-loop systems improves performance, allowing for better handling of disturbances and changes in system dynamics. MDF - or Medium-Density Fiberboard, is an engineered wood product made from wood fibres, wax, and resin that are compressed under high pressure and temperature. It is known for its smooth surface, uniform density, and versatility, making it a popular choice for furniture, cabinetry, moldings, and decorative applications. MDF can be easily cut, shaped, and painted, allowing for intricate designs and finishes. Unlike solid wood, MDF does not have knots or grain patterns, providing a consistent appearance. It is often used as a cost-effective alternative to solid wood and plywood, although it can be more susceptible to moisture damage and may require sealing for certain applications. Foundry Vineyards - based in Walla Walla, Washington is a vineyard and art space. It has been hosting artists from all types of media such as painting and printmaking since 2010. It has exhibited The Mokuhanga Project Space, printmaker Mike Lyon,  and the International Mokuhanga Print Exhibit. More info about this space and the good it does for the art community at large can be found, here.  The Wichita Art Museum - located in Wichita, Kansas, is the largest art museum in the state. Established in 1935, it features a diverse collection of American art, with a particular focus on works from the 19th and 20th centuries. The museum's permanent collection includes paintings, sculptures, and decorative arts, highlighting notable artists such as Georgia O'Keeffe, Edward Hopper, and John Steuart Curry. In addition to its collections, the museum offers rotating exhibitions, educational programs, and community events that engage the public and promote an appreciation for the visual arts. The museum's architecture, designed by the renowned architect Edward Durrell Stone. More info can be found, here.  The International Block Print Renaissance: Then & Now - was a woodblock exhibition held at the Wichita Art Museum from February 26 - August 7, 2022. It was an exhibition which exhibited prints from around the world as well as printmakers from Wichita, Kansas, USA. It described various print making techniques from Japan, Western and Eastern Europe, as well as the United States.  Secret Garden [Clover] (2017) 36" x 36", a video on how Mike Lyon printed this particular print can be found on YouTube, here.   © Popular Wheat Productions opening and closing credit -There Is No Greater Love by Chet Baker (1928-1988) from the album City Lights (2024) UMG Records.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)  Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***    

みなさんこんにちは、かなこです！今日のシャドーイングは「～間（あいだ）に」です。今回のPodcastは、デニスさんの提供でお送りします。 Hi everyone, it's Kanako. Today's shadowing is “B takes place, while A.” You can use “A間（あいだ）にB” when the event B takes place in the middle of another event A. Most often, the event A is described with the continuous “～ている” or “～いる”. A can be a Noun such as “学生” and “休み”. For example, if it rained while I was sleeping, it would be like this.「寝ている間に、雨が降りました。」 Before we get started, I want to thank Denis for supporting my show. ありがとうございます!   それでは はじめていきましょう！ Let's get started！ ***************************************************** ▼Subscribe to my YouTube channel ⁠⁠⁠⁠https://bit.ly/KANAKOYOUTUBE⁠⁠⁠⁠ ▼Buy me a coffee  ⁠⁠⁠⁠⁠https://bit.ly/KANAKO-Coffee⁠⁠⁠⁠ ▼Get your Genki 2 textbook ⁠⁠⁠⁠⁠https://amzn.to/3VIRHKP⁠ ***************************************************** I will study a lot while I am a student. 学生の間に、たくさん勉強します。 I will study abroad while I'm a student. 学生の間に、留学します。 I read a lot of books while on vacation. 休みの間に、本をたくさん読みます。 I am going to eat a lot of sushi while I am in Japan. 日本にいる間に、たくさん寿司を食べるつもりです。 I want to improve my English while I am in England. イギリスにいる間に、英語が上手になりたいです。 I would like to take my parents to Asakusa while they are in Tokyo. 両親が東京にいる間に、浅草に連れて行きたいです。 I will clean the kitchen while my parents are out. 両親が出かけている間に、キッチンを掃除します。 I do laundry while the kids are sleeping. 子供が寝ている間に、洗濯します。 While I was in the shower, a friend called me. シャワーを浴びている間に、友達から電話がありました。 I eat lunch while the baby is sleeping. 赤ちゃんが寝ている間に、昼ご飯を食べます。 While I was asleep, there was an earthquake. 寝ている間に、地震がありました。   ***************************************************** では もういちど、さいしょから ぜんぶ いってみましょう。 Let's try shadowing the whole thing again from the beginning.

In this episode of TWTT, Simone and Julian chat with Giulia Maglio. Giulia was born and raised in Italy and moved to Japan in 2015. From then she worked in the tourism industry focusing on Japanese food culture which led to her growing interest in sake.  She went on to receive qualifications in sake from SSI (Sommelier of Sake - International kikisake-shi) and the SEC (Sake Education Council) and also became a certified SSA Sake Educator.  Wanting to further her knowledge and understanding of sake, she worked at Itakura Shuzo, a sake brewery located in the Shimane Prefecture for 4 seasons and is now brewing at Konohanano, a small craft sake brewery located in Asakusa, Tokyo.  We chat to Giulia about her time at Itakura Shuzo, her work at Konohanano, making doburoku, the craft sake world and Singapore's first sake brewery: Orchid Craftworks. We hope you enjoy listening to this episode as much as we enjoyed making it. Follow Giulia on Instagram: @jijisake TWTT Podcast ⁠⁠@tastewiththetoji⁠⁠ Our hosts: Simone ⁠⁠@sakemistress⁠⁠ Julian ⁠⁠@sakeadvocate⁠⁠ Maki ⁠⁠@sake.amata⁠⁠ This episode was recorded on 22 August, 2024.Thank you to our subscribers at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ More information about Taste with the Toji - The Podcast and The Project can be found on our website: ⁠⁠https://tastewiththetoji.com/⁠⁠ Music by Kazuyoshi Sato (Koikawa Shuzo) Thanks for listening! Some useful links from this episode: Itakura Shuzo - Tenon Konohanano Orchid Craftworks SSI SSA SEC Hozuki fruit

Hideo Harada là một người đàn ông trung niên đang làm nghề viết kịch bản truyền hình. Hideo đang trong tâm trạng rất mỏi mệt, chán chường và cô độc sau khi li dị vợ. Một ngày họ, anh chuyển tới sống ở tầng 7 của một căn hộ thuộc chung cư cho thuê, gần đường quốc lộ, nhìn ra đường số 8 xe cộ nườm nượp qua lại. Vào đêm sinh nhật, Hideo bỗng dưng hoài niệm về tuổi thơ cơ cực, mồ côi của mình, anh bèn leo lên tàu điện ngầm để quay về Asakusa, nơi ở cùng bố mẹ anh trước khi họ qua đời vì một tai nạn đột ngột. Khi ấy, anh mới 12 tuổi. Tại nhà hát của thị trấn, một sự kiện kỳ lạ đã xảy ra với Hideo khi anh bắt gặp một người đàn ông giống hệt cha mình. Anh theo người đàn ông đó trở về nhà và gặp một người phụ nữ cũng giống hệ mẹ mình lúc mất. Và lạ thay, họ cư xử với anh như thể họ là bố mẹ anh. Hideo đã rất vui vì điều đó. Nhưng rốt cuộc, họ là ai? Linh hồn hay chỉ là sự hoang tưởng của anh do nỗi cô độc cùng cực gây nên. Và Kei người phụ nữ trẻ tuổi, bí ẩn sống cùng tầng có giúp anh thoát khỏi ra tất cả những sự kiện kỳ lạ này? “Mùa hè cùng người lạ” của tác giả Taichi Yamada là một trong những áng văn đậm chất Nhật Bản khi đề cập tới những vấn đề: sự cô độc, hoài niệm, đầy triết lý nhân sinh... Được sự cho phép của công ty sách Bách Việt, Trạm Radio trích đọc phần mở đầu cuốn tiểu thuyết "Mùa hè cùng người lạ" của Taichi Yamada. Bản quyền tiếng Việt thuộc về Bách Việt. __________ Để cam kết với bạn nghe đài dự án Trạm Radio sẽ chạy đường dài, chúng tôi cần sự ủng hộ của quý bạn để duy trì những dịch vụ phải trả phí. Mọi tấm lòng đều vô cùng trân quý đối với ban biên tập, và tạo động lực cho chúng tôi tiếp tục sản xuất và trau chuốt nội dung hấp dẫn hơn nữa. Mọi đóng góp cho Trạm Radio xin gửi về: Nguyen Ha Trang STK 19034705725015 Ngân hàng Techcombank. Chi nhánh Hà Nội.

I'm just off the heels of a phenomenal trip to Japan. It was precious time, two weeks with the whole family. And though I did not pack my podcaster hat, I couldn't help but immerse myself in the country, the culture, and sought off the beaten trail places where ancient history was kept alive right next to mega-modern skyscrapers. I had to share some of my favorite stories, and moments, with you, and am doing a deep dive into the clay figurines I saw first hand at the Tokyo National Museum that are fixtures on History Channel's Ancient Aliens, dedicating an entire episode to dogus and the connection I feel they have with an ancient spiritual creature from Japan.Let's get into it! Stories from Japan 2024!General comments about the gift of travelWe travel for a myriad of reasons, to reconnect with people; to stretch out of our comfort zones, to shift or expand our perspectives; and at least temporarily to suspend the bellybutton-close vision we have of reality, yes zooming out on that miopic point of view.My recent trip did just that. 6000 miles by plane, Japan is a country that spent most of its history isolated from the western world. Tokyo is a city that is as large as New York City and London COMBINED, which is hard to wrap my mind around. Japanese culture is calcitrant in its manners, formalities, customs, and timeliness. Yes, even in the midst of modern times where everyone is plugged into social media; their culture remains intact. Though I did catch a few moments, slips of some pushing for this steadfast culture to change, subtle glimpses from the youth. Teeny tiny acts of rebellion; anarchy in a sense, but in order to spot them my vision had to become microscopic. And part of my vision came from being confronted by an officer at a baseball game.But more on that later.Sources and MaterialsAsakusa's Sensoji TempleIf you wish to see the objects found in the burial mound I climbed click hereGreat blog post about the place I went on my solo adventure - Todoroki ValleySetagaya - a place of art and literature - guideDid you hear the good news? Curious Cat Podcast is in the TOP TEN of Supernatural podcasts. Hooray! That's ALL thanks to you. I am ever grateful.Curious Cat Crew on Socials:Curious Cat on Twitter (X)Curious Cat on InstagramCurious Cat on TikTokArt Director, Nora, has a handmade, ethically-sourced jewelry company!

Mokuhanga today can be made in so many ways. So many inspirations, so many people creating beautiful pieces from all over the world. Coming to you from Obihiro, Hokkaido, I have been traveling around Japan for over a month. Coming back to Japan is always an inspiring act and it is already like a second home to me. What brought me back to Japan this time around was the 2024 International Mokuhanga Conference held in Echizen City, Fukui, Japan. Meeting with so many mokuhanga artists, carvers, and printers inspired me and makes me want to be a better artist and to make a better podcast. On this episode of The Unfinished Print I speak with one of the mokuhanga artists who also attended the 2024 IMC. Jason Fujiwara. Jason lives and works in Tokyo, Japan where he creates his mokuhanga. Jason and I speak together about how he approaches his work, his inspirations, the idea of cultural identity in his prints , his time at the 2024 International Mokuhanga Conference, and Jason even asks me some questions. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Jason Fujiwara - website, Instagram Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here.  Ōiso: from the series The Tōkaidō Road - The Fifty-three Stations (1851-52) Katsushika Hokusai (1760-1849) - is one of the most famous Japanese artists to have ever lived. Hokusai was an illustrator, painter and woodblock print designer. His work can be found on paper, wood, silk, and screen. His woodblock print design for Under The Wave off Kanagawa (ca. 1830-32) is beyond famous. His work, his manga, his woodblocks, his paintings, influence artists from all over the world.  Poem by Sangi Hitoshi :  the series One Hundred Poems Explained by the Nurse (n.d.) David Bull - is a Canadian woodblock printmaker, and educator who lives and works in Japan. His love of mokuhanga has almost singlehandedly promoted the art form around the world. His company, Mokuhankan, has a brick and mortar store in Asakusa, Tōkyō, and online, here.  The Forest In Summer: From the Series "My Solitudes." (2007-9) Ema Shin - Based in Melbourne, Australia, Ema Shin hails from Niigata, Japan. She pursued her education in printmaking at Tama Art University in Tokyo. Currently, her work spans across various mediums including papier-mâché, embroidery, tapestry weaving, bookmaking, urauchi, collage, and mokuhanga. For more information, visit here.  Soft Alchemy (Fertile Heart) Woven tapestry, cotton, wool, 21" x 31" x 2.3", Matthew Stanton photography. (2019)   Terry McKenna -  is a mokuhanga printmaker and teacher residing in Karuizawa, Japan. He received guidance in the art form from Richard Steiner, a prominent mokuhanga printmaker based in Kyoto. Terry established the Karuizawa Mokuhanga School, a renowned residency dedicated to mokuhanga education. For further details about Terry and his school, here. Additionally, you can read Terry's interview with The Unfinished Print, here and Richard Steiner's interview here.    Beauty (2010)   mokume - is a woodblock printing technique where, by using heavy pressure on wood which contains a heavy grain, the artist can reveal the grain in their work. Below is a fine example of mokume technique by Osamu Sugiyama:     10 Views of Mt. Fuji - Moonlight over Shinobino Moor (13"x16.9")   bokashi - is a mokuhanga technique, where the pigment fades from a heavy colour to a softer, broad colour. Made famous by prints designed by Hokusai and Hiroshige, this technique is, for me, the most popular technique utilized by  mokuhanga printmakers. There are various types: Ichimoji-bokashi or straight line graduation, used in the above mentioned Hiroshige and Hokusai prints. Ichimoji-mura-bokashi or straight line gradation with uneven edge. Ō-bokashi or wide gradation, Ate-nashi-bokashi or gradation without definition. Futa-iro-bokashi or two tone gradation, and ita-bokashi or softer-edge gradation, where the block is cut in a specific way to achieve this style of gradation. All of these styles of bokashi technique take practice and skill but are very much doable. Below is a fine example of bokashi by Paul Binnie:     Flowers of a Hundred Years: Bubble Era [of 1990] (18.5"x13") (2024)   ukiyo-e - is a form of multi-color woodblock print and painting  primarily associated with Japan's Edo Period (1603-1867). Originating in the 17th century with prints featuring only a few colors, it evolved into a sophisticated system of production and technique by the Meiji Period (1868-1912). However, with the emergence of photography and other printmaking methods, traditional ukiyo-e production ceased by the late 19th century, leaving behind a rich legacy in Japanese art history.    Procreate - is a popular digital art app designed exclusively for iPad and iPhone. It offers a wide range of tools and features that allow artists to create digital illustrations, paintings, and designs with ease. Some of its key features include a variety of brushes, layers, blending modes, and advanced editing options. Procreate has gained popularity among digital artists due to its intuitive interface, powerful capabilities, and ability to produce high-quality artwork.   A2 - is a paper size part of the ISO 216 standard and is commonly used for posters, architectural drawings, and other large format prints. Its dimensions are 594 x 420 millimeters or approximately 23.4 x 16.5 inches.   Pansion paper - is a medium-heavy kozo paper, varying in size  and weight and is predominantly used in printmaking.    Ralph Kiggell (1960-2022) : was a highly influential figure in our world of mokuhanga printmaking. Originally from England, Ralph resided and practiced his art in Thailand. Renowned for his innovative approach, Ralph pushed the boundaries of mokuhanga through his creation of exceptionally large pieces, intricate jigsaw carving techniques, and vibrant color palettes. He also played a pivotal role in promoting mokuhanga globally through his involvement with the International Mokuhanga Conference. His legacy will be deeply felt and cherished by the mokuhanga community. You can explore Ralph's work, here. You can read his obituary in The Guardian here and his interview with The Unfinished Print, here.     White Orchid (n.d.)   Keiko Kobayashi - is a mokuhanga printmaker and administrator of the International Mokuhanga Conference. She lives and works in Tokyo, Japan. More information can be found, here.    花喰い(6) 蝋梅に四十雀 (2024) 4"x4"   nengajō -  (年賀状) what began as a way for Japanese nobility to communicate with faraway friends and family during the New Year festive period, has become a way for all people to send New Year greetings to their own friends and family. More info, here.   Kay Watanabe - is an artist located in Brisbane, Australia. Her creative endeavors span across various mediums, including mokuhanga and other printmaking techniques, painting, drawing, and photography. For further details about Kay and her artistic journey, visit here.      Heaven And Earth (2019) etching on paper    Roslyn Keane -  is a mokuhanga printmaker and baren designer situated in Sydney, Australia. Her artistic creations lean towards abstraction and often feature large-scale pieces crafted using a diverse range of techniques. For additional insights into Roslyn's work, her KBB barens, and her The Stables Print Studio, visit, here.     Transition (2019/20)    © Popular Wheat Productions opening and closing credit - eating in an izakaya in Himeji, Japan with friends recorded live in 2024.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                

In this episode, we dive into the vibrant heart of Tokyo, exploring the top areas to stay in Tokyo that promise unforgettable stays. Whether you are looking for bustling streets filled with shops, towering skyscrapers, or the tranquil and traditional beauty of old Japan, Tokyo offers some amazing neighborhoods - or wards - that are sure to indulge your senses and immerse you in unforgettable experiences. This episode not only focuses on some of our favorite spots but also dives into areas of significance for tourists and locals alike, ensuring an immersive experience for first-timers as well as more seasoned travelers to Tokyo. Join us as we explore Shinjuku, Shibuya, Ginza, Asakusa, Akihabara and Roppongi, highlighting each neighborhood's distinct personality and attractions, ensuring travelers can choose the perfect base for their adventures in Japan's dynamic capital. To dive deeper, be sure to check out our Japan and Destinations pages. Cheers!

In this enlightening episode, the Top Areas to Stay in Tokyo, we dive into the vibrant heart of Tokyo, exploring the top neighborhoods that promise unforgettable stays. Whether you are looking for bustling streets filled with shops, towering skyscrapers, or the tranquil and traditional beauty of old Japan, Tokyo offers some amazing neighborhoods - or wards - that are sure to indulge your senses and immerse you in unforgettable experiences. This episode not only focuses on some of our favorite spots but also dives into areas of significance for tourists and locals alike, ensuring an immersive experience for first-timers as well as more seasoned travelers to Tokyo. Join us as we explore Shinjuku, Shibuya, Ginza, Asakusa, Akihabara and Roppongi, highlighting each neighborhood's distinct personality and attractions, ensuring travelers can choose the perfect base for their adventures in Japan's dynamic capital. To dive deeper, be sure to check out our blogs and pictures of Tokyo for our destinations page. Cheers!

Fluent Fiction - Japanese: Tokyo's Upside-Down Adventure: Unveiling Hidden Gems Find the full episode transcript, vocabulary words, and more:fluentfiction.org/tokyos-upside-down-adventure-unveiling-hidden-gems Story Transcript:Ja: 村からじゃない場所で、ユキ、ハルカ、ダイキの三人組は今日見たこともないまたの混雑に立合していました。地図が逆方向になった。En: Amidst the hustle and bustle of Tokyo, the trio of Yuki, Haruka, and Daiki were facing an unprecedented level of chaos today. The map was upside down.Ja: "だけいいよユキ、地図の向きや地図の向上はすでに大いいじゃね？"ハルカが言いました。En: "But Yuki, isn't the important thing the directions, not the orientation of the map?" Haruka pushed, stating.Ja: "うー、でも逆の場合は何でも分かりませんよう！"ユキが逆近くしている地図を見なしてジェストャおきました。En: "Well, but when it's reversed, I can't understand anything!" Yuki gestured while looking at the upside-down map.Ja: 他は簡易な旅の予定だったのです。東京駅からあさぎふりまで移動して、このやりに食べるはずだったのです。しかし、ユキのミストにより地図が逆落したため、くらいの場所を明るいわけでもなくなったです。En: Their plan was for a simple trip. They were supposed to travel from Tokyo Station to Asakusa, enjoy lunch there. However, due to Yuki's mistake, the map was turned upside down, and they even lost track of where they were.Ja: そして、ここでは逆落の地図を読み解決して東京を旅してみます。新しい冒険が三人を彼女すべります。En: So, they decided to decipher the upside-down map and travel around Tokyo. A new adventure awaited the three of them.Ja: 次の方向は、東京の現役においてばりました。当たり前に格安に地図を読みまくった。実際に右に建物を見たとき、逆落の地図では左だった。しため、逆落の地図内には実際に幸せな記憶が録音されていました。En: Next, the direction they headed took them to unusual places in Tokyo. They earnestly read the map and moved forward step by step. When they saw a building on their right, on the upside-down map, it was on the left. And within the upside-down map were actually pleasant memories recorded.Ja: ハルカの最初の発言は、雨魚の中の青い公園ですって。他の的な人が雨魚を光る公園で休める作業をしました。En: Haruka's first discovery was a tranquil park in the midst of the crowd. They took a break in the park before heading to the next location.Ja: ダイキは雑量関係に似ているカフォを見つけました。いつからかきますが、おいちゃんはお品いたいケーキとコーヒーで休めました。次の場所へと続きさせる前に、他のシンボルに来ました。En: Daiki found a café that resembled a hideaway. They took a break with delicious cakes and coffee before continuing to the next place.Ja: 最後に、ユキはその地方すべての人すべてに知れる食品カートを見ました。この地方でも美味しい玉握手を楽しみました。En: Finally, Yuki found a food cart known only to locals. They enjoyed delicious yakitori there.Ja: 天下が起き始める頃には、あさぎふり到着しました。そして他を顔として、思わずに起こした冒険をしました。しかし、それは終わりやってみた時には、みなさんと笑みを共有しようとしていたのでした。En: By the time the sun began to set, they finally arrived in Asakusa. They faced challenges, embarked on unexpected adventures. But when it was all over, they were able to laugh together.Ja: "はつ、ただの地図は一定の向きにしてほしいんですよ"ダイキが言ったが、こちらはたちが爽引にきく新しい体験と記憶を当たることにしていました。En: "You know, we should really look at the map right way up after all," Daiki said, but they each carved new experiences and memories into their hearts.Ja: ドランの発明ドガイテスを見に図観された友達とも遊みの中で過ごした一日。これからのやり方をどうか、ユキ、ハルカ、ダイキは重要な体験を得ましました。できかねば、その日の体験は弱い装備に混ざって、後生的な豆知識となっていました。En: A day spent with friends surrounded by the sights of Tokyo. Through their topsy-turvy journey that day, Yuki, Haruka, and Daiki learned something important. It was that "experiences, not plans, enrich the journey." The experience of that day was deeply engraved in their hearts, becoming a lifelong memory. Vocabulary Words:Asakusa: 浅草Tokyo: 東京Yuki: ユキHaruka: ハルカDaiki: ダイキmap: 地図directions: 道順plan: 予定trip: 旅adventure: 冒険building: ビルpark: 公園cafe: カフェbreak: 一息つきcoffee: コーヒーfriends: 友達sights: 景色experience: 体験challenge: 困難laugh: 笑うmemory: 思い出journey: 旅行enrich: 豊かにするlifelong: 一生のchaos: 混乱unexpected: 予想外delicious: 美味しいreverse: 逆important: 大事upside-down: 逆さま

Fluent Fiction - Japanese: Tokyo's Vending Machine Saga: A Tale of Friendship and Unexpected Connections Find the full episode transcript, vocabulary words, and more:fluentfiction.org/tokyos-vending-machine-saga-a-tale-of-friendship-and-unexpected-connections Story Transcript:Ja: 都会のビーコンとして立つスカイツリーの影から、東京の喧噪がこだまする朝が始まっていた。キラキラと太陽が映るガラスに囲まれた隅田川。そこでは、3人の友人：ユキ、ハルト、アオイが待ち合わせをしていた。En: From the shadow of the Tokyo Skytree, standing tall as a beacon in the city, the bustling morning of Tokyo began. The Sumida River surrounded by sparkling sunlight reflecting off the glass. There, three friends – Yuki, Haruto, and Aoi – had arranged to meet.Ja: ユキは、ハルトとうきうきした話をしている。同時に、自動販売機で飲み物を買おうとしている。手元が滑り、意図せずコインを落としてしまう。恥ずかしさで、自動販売機に丁寧にお辞儀をした。En: Yuki was excitedly chatting with Haruto as they stood there. At the same time, she was trying to buy a drink from a vending machine. Her hand slipped, accidentally dropping a coin. Feeling embarrassed, she politely bowed to the vending machine.Ja: "ユキ、自動販売機に謝るんじゃないよ、笑"ハルトが言いながら笑った。En: "Yuki, don't apologize to the vending machine, ha-ha," Haruto chuckled, teasing.Ja: "だって恥ずかしいんだもん！"ユキが弱々しく反論した。アオイがそっと笑って、ユキの頭を軽くたたいた。En: "But it's embarrassing!" Yuki weakly protested. Aoi gently laughed and lightly tapped Yuki's head.Ja: 事件はそこから始まった。彼らは当然、自動販売機からお返事が返ることはないと思っていた。そして、それは、築地市場で新鮮な寿司を食べながら、浅草の雷門を探索し、秋葉原の電化製品店を見て回るといった一日の計画の一部に過ぎなかった。En: That's where the incident began. Naturally, they had never expected any response from the vending machine. It was just a part of their plan for the day – to eat fresh sushi at Tsukiji Market, explore the Thunder Gate in Asakusa, and browse the electronics stores in Akihabara.Ja: だが、その日の終わりに、再びその自動販売機の前を通ったとき、予想外の事が起こった。ユキの前に、一枚のコインが落ちていた。ユキがその自動販売機にお辞儀をしてから一日経っていた。En: However, at the end of that day, when they passed by the vending machine again, something unexpected happened. There was a coin lying in front of Yuki. A whole day had passed since Yuki bowed to that vending machine.Ja: 彼女は驚いて"これって、自動販売機がお返事してくれたのかな？"と尋ねた。ハルトとアオイは驚いた表情を見せ、笑いながら彼女の頭をはたいた。En: Surprised, she asked, "Could it be that the vending machine responded to me?" Haruto and Aoi showed surprised expressions, laughing as they playfully tapped her head.Ja: それ以降、ユキ、ハルト、アオイの3人は、自動販売機に敬意を表すという新たな習慣が生まれた。彼らにとって、それはただのお辞儀ではなく、友情の新たな形となったのだ。これは、見る人によって違う意味を持つ東京の物語から生まれた一つのエピソードだ。それは東京という街、そして3人の絆を強く表している。En: From that moment on, a new tradition emerged for Yuki, Haruto, and Aoi – showing respect to vending machines. For them, it became more than just a gesture; it symbolized a new form of friendship. It was an episode born from a Tokyo story that carried different meanings for different viewers. It highlighted the city of Tokyo, the strong bond between the three friends. Vocabulary Words:beacon: ビーコンcity: 都会bustling: 喧噪morning: 朝river: 川friends: 友人chatting: 話vending machine: 自動販売機drink: 飲み物coin: コインembarrassed: 恥ずかしいapologize: 謝るlaughed: 笑うprotested: 反論incident: 事件expected: 予期plan: 計画surprised: 驚いたresponded: お返事respect: 敬意gesture: お辞儀symbolized: 表すbond: 絆episode: エピソードcarry: 牽引するhighlighted: 強調different: 違うmeanings: 意味emerged: 生まれるtradition: 習慣

27 lutego 2024 w Tokio było bardzo wietrznie, bardzo czuć, że Japonia jest wyspą na oceanie. Na ten dzień zarezerwowaliśmy sobie około miesiąca wcześniej zwiedzanie Pałacu Cesarskiego, następnie odwiedziliśmy buddyjską świątynię Senso-ji w dzielnicy Asakusa i wjechaliśmy na wieżę Tokio Sky Tree.Zwiedzanie Pałacu Cesarskiego "Imperial Palace" wymaga wcześniejszego zarejestrowania, bo wpuszczają w ciagu dnia limitowana ilość osób. Można to zrobić przez internet na stronie Agencji Dworu Cesarskiego. Zwiedzanie po wcześniejszej rejestracji odbywa się z przewodnikiem i jest bezpłatne, ale to nie oznacza wejścia do pałacu, w sensie wejścia do budynku, tylko podejście trochę bliżej pod pałac reprezentacyjny, przejście przez plac na którym odbywają się różne oficjalne uroczystości, czy zobaczenie z bliska budynków administracyjnych. Cała wycieczka z przewodnikiem trwa około godziny. Większa część terenu pałacowego jest zamknięta dla zwiedzających. Pałac Cesarski jest szerzej dostępny tylko dwa dni w roku: w urodziny cesarza oraz z okazji Nowego Roku (2 stycznia). Rodzina cesarska ukazuje się wówczas na oszklonej werandzie Pawilonu Recepcyjnego Chōwa-den. Pawilon Recepcyjny, pod który podeszliśmy z przewodnikiem jest największym budynkiem na terenie pałacowym. W jego wnętrzu jest kilka sal i pomieszczeń, które służą celom recepcyjnym i ceremonialnym. Największa z nich, Shunjū-no-Ma, ma charakter wielofunkcyjny, służy m.in. jako sala audiencjonalna. Tu cesarz odbiera listy uwierzytelniające od nowo przybyłych do Japonii ambasadorów.Rezydencja Cesarska, która jest siedzibą mieszkalną cesarza Naruhito, cesarzowej Masako oraz ich córki księżniczki Aiko, znajduje się na terenie ogrodów Fukiage, gdzie już nie wpuszczani są zwiedzający. My doszliśmy do tzw. podwójnego mostu, popularnie nazywanego Nijū-bashi.W dniu 1 maja 2019 roku starszy syn cesarza Akihito, Naruhito, został 126. cesarzem Japonii i w tym dniu rozpoczęła się nowa era o nazwie Reiwa. Jej nazwa została podana do publicznej wiadomości przez rząd Japonii miesiąc wcześniej, a oficjalne tłumaczenie nazwy nowej ery Reiwa w języku angielskim to: „Beautiful Harmony” („Piękna Harmonia").Prosto z Imperial Palace pojechaliśmy do dzielnicy Asakusa, gdzie mieści się najstarsza w mieście świątynia buddyjska Senso-ji. Do światyni wchodzi sie przez okazałą bramę „Kaminari-mon”, co tlumaczy sie jako brama grzmotow. Na lewym filarze zobaczymy posążek boga blyskawic, a po prawej boga wiatru. Obok swiatyni jest tez piekna, 5-piętrowa Pagoda. W swiatyniach szintoistycznych (shrine) mamy kapłanów, a w buddyjskich (temple) mnichów. Ponadto uklony i klaskanie w dlonie to tylko w światyniach szontoistycznych. Żona naszego kolegi Michała, ktora jest Japonką, powiedziała, ze teraz w Japonii te dwie religie sa połączone i pomieszane, i ludzie wierza w obie, każdy w sobie wiadomych proporcjach.Na zachód słońca zaplanowaliśmy wyjazd na Tokio Sky Tree, wiec kupilismy bilety na 5 pm. Jednak ten straszliwy wiatr sprawil, że ze wzgledow bezpieczenstwa kursowala tylko jedna z czterech wind, wiec na wyjazd czekalismy 2 godziny, a potem na zjazd 1 godzine. Dzieki temu zobaczylismy z góry Tokio nocą. Na górze Tokio Sky Tree jest kawałek szklanej podłogi, na której można stanąć i popatrzeć w dół. W Tokio jest kilka wież i wiele wieżowców z tarasami widokowymi. Jak dla mnie wystarczy wybrać jedną w dzień, a drugą w nocy, żeby zobaczyć Tokio z lotu ptaka w dziennej i nocnej scenerii.Na górze Tokio Sky Tree mieliśmy też pewną, nerwową sytuację. Padały nam już komórki po całym dniu robienia zdjęć, wiec Paweł podłączył telefon do gniazdka za filarem i poszliśmy obejść w koło ten punkt widokowy. Po powrocie, czyli po około 5-10 minutach telefonu i ładowarki nie było. Nie wydawalo nam się, że Japończycy są zdolni do kradzieży, dlatego pozwoliliśmy sobie pozostawić telefon bez opieki. Okazalo się, że obsługa zabrała Pawła telefon, bo nie wolno używać w wieży w publicznych gniazdek. Dlaczego? Nie wiemy, ale tu wiele rzeczy się po prostu nie robi, np. wychodząc ze świątyni idzie się bokami, nigdy środkiem - środkiem chodzą tylko nie znający japońskiej kultury turyści, czyli my. Nam na to grzecznie zwróciła uwagę żona kolegi, która powiedziała, że turystom Japończycy wiele wybaczają, ale sobie nie - więc pewnie chodziło o to, że ona Japonka wychodząc z nami ze świątyni powinna zadbać o to, żebyśmy zachowywali się zgodnie z ich zasadami.

Nos vamos hasta Shibuya, Tokio, de la mano de la nueva película de Wim Wenders, Días perfectos o Perfect Days.  Esta película nominada al Oscar en la categoría de mejor película extranjera, se centra en el día a día de un limpiador de baños públicos interpretado por el actor Koji Yakusho. Los baños públicos que aparecen en la película son una localización real y forman parte del llamado Tokyo Toilet, un proyecto de obras públicas que ha hecho que nos entraran ganas de volver a visitar la capital japonesa. Te contamos cómo encontrar estos baños, diseñados por arquitectos galardonados, y cómo dar con el resto de localizaciones de la película: desde el izakaya al que va su protagonista, hasta el puente que cruza en bici a menudo o la tienda de discos donde se puede ganar una fortuna vendiendo cintas de cassette. The Tokyo Toilet: https://tokyotoilet.jp/en/Visitas guiadas a los baños públicos de Shibuya: https://campaign.nearme.jp/thetokyotoilet/enLos baños públicos donde se baña Hirayama en la película: https://denki-yu.studio.site/El centro comercial subterráneo de Asakusa: https://asakusachikagai.comEl izakaya Fukuchan: https://g.co/kgs/SNavKXQEl puente peatonal Sakurabashi: https://maps.app.goo.gl/5yHSGRWNKnGJ8BbP6Tienda de discos Flash Disc Ranch: https://maps.app.goo.gl/AsTuifhwAbxZeiJ68La web de la película: https://www.perfectdays-movie.jp/en/¡Síguenos en redes!Instagram @vuelodeidapodcastYouTube @vuelodeidaTikTok @vuelodeidaX @vuelodeida

Fluent Fiction - Japanese: Urban Wanderlust: Navigating Tokyo's Transit Treasures Find the full episode transcript, vocabulary words, and more:fluentfiction.org/urban-wanderlust-navigating-tokyos-transit-treasures Story Transcript:Ja: 異なる車両が行き交う地下深く、そこは東京のメトロ、その中でも最も雑踏が絶えない人の川、渋谷駅で一人の若者が立ち尽くしている。その名はハルカ。まさに都会の真ん中に飲み込まれ、それがどこへ通じているのかを知らない。En: Deep underground where different vehicles come and go, in the bustling river of people at Shibuya Station in Tokyo Metro, a young man named Haruka stands still. He is swallowed up by the heart of the city, not knowing where it leads.Ja: その脇でタカシという名の男性が静観している。ハルカの迷走を見たタカシは一つの物審らしい解決策を思いつく。彼が指差したのは、各駅へのガイドを表示するロボット型の自動販売機。タカシはハルカにその機能を指南する。En: Standing next to him is a man named Takashi, quietly observing Haruka's confusion. Takashi comes up with a practical solution, pointing to a robot-type vending machine that displays guides to each station. He instructs Haruka on how to use its functions.Ja: 「何処へ行きたいか聞いてみるといいよ、この機械には駅への行き方から、近くのレストランまで教えてくれるんだ」と彼は教えてくれた。En: "It's good to ask where you want to go. This machine can guide you to the station and even nearby restaurants," he explains.Ja: ハルカは自分がどう行動すれば良いかを理解し、自動販売機に向かって進んで行く。彼女が目指すのは東京タワー。彼女が尋ねた起点は、彼女が立っている駅、つまり渋谷駅。ロボットは冷静に、しかし役に立つ情報を提供する。「東京タワーへは、ここから銀座線に乗って浅草方面へ行き、新橋駅で下車してください。徒歩約15分です」と情報を提供した。En: Haruka understands what she needs to do and approaches the vending machine. Her destination is Tokyo Tower. The starting point she inquires about is Shibuya Station where she stands. The robot calmly provides helpful information, "To go to Tokyo Tower, take the Ginza Line from here towards Asakusa, then get off at Shimbashi Station. It's about a 15-minute walk."Ja: ハルカは委ねられた指示通りに進む。女の子は、熙めく東京の地下鉄で道を尋ねるロボットに感謝する。「ありがとう、ロボットさん！」と微笑む。En: Following the given directions, Haruka proceeds. She expresses gratitude to the robot guiding her through the bustling Tokyo subway, "Thank you, Robot-san!" she smiles.Ja: やがて彼女の目の前に立つのは、壮大な東京タワーだけだった。ロボットの自動販売機が広げてくれた冒険の扉は、彼女に一つの経験と、大きな達成感をもたらした。この日から、ハルカは都会の駅でも道を尋ねることに怯えることはなかった。そしてその物語は、タカシとハルカ、そしてロボット自動販売機の三者三様の日常を凡例とした都会の物語へと続いていく。En: Eventually, she stands before the magnificent Tokyo Tower. The door to adventure opened by the robot vending machine brings her an experience and a great sense of accomplishment. From that day on, Haruka no longer fears asking for directions in city stations. And so, the story continues into an urban tale featuring the everyday lives of Takashi, Haruka, and the robot vending machine. Vocabulary Words:deep underground: 地下深くvehicles: 車両bustling: 雑踏people: 人young man: 若者station: 駅name: 名前city: 都会standing: 立っているman: 男性quietly: 静かにobserving: 観察confusion: 迷走practical: 実用的solution: 解決策robot-type: ロボット型vending machine: 自動販売機guides: ガイドfunctions: 機能destination: 目的地inquire: 尋ねるhelpful: 役に立つinformation: 情報expresses: 表現するgratitude: 感謝subway: 地下鉄experience: 経験accomplishment: 達成感fears: 恐れ

“Asakusa” is a response to my first visit to Japan in February of 2023, staying in the Asakusa neighborhood of Tokyo, with its river and elevated highway and frenetically busy temple. I don't know why I chose Asakusa for my first visit, but then again, why not? Knowing nothing about the layout of Tokyo, it made as much sense as anything for a place to start. The piece is composed first from field recordings from the area, arranged to form a narrative structure, then layered with acoustic/electric guitar and noise from a Landscape Stereo Fields device. Given that the base layer of field recordings is in discrete movements, the more conventionally musical elements follow this, making the piece more a suite of short chapters that form a whole than a single, durational piece, as I'm more typically prone toward. It captures, I think, some of the chilly brightness of late winter in that part of the city, heard through the naiveté of an enthusiastic, if somewhat exhausted, first-time visitor. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit briancshort.substack.com

Embarking on the journey into the world of mokuhanga, each of us starts with a unique desire. It begins with early prints, guided by exploration, and the innate desire to create something—anything—all viewed through the prism of mokuhanga, shaping our voices in this captivating journey. In this episode of the Unfinished Print, I speak with the burgeoning mokuhanga printmaker Jack Moranetz. We discuss how he got involved in the art form, his early prints, his visit to Japan and meeting David Bull, collaborations, and how he approaches his printmaking.   Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Jack Moranetz - website, YouTube, Etsy  Awagami -  is arguably the largest paper making company in Japan at the moment. With a large International name, Awagami sponsors, and promotes its paper all over the world. More information can be found on its website, here.  Dick Blick Art Supplies - is an art supply store with various brick and mortar stores throughout the United States, as well as online. Founded in 1911 by Dick Blick in Galesburg, Illinois, BLICK, as it's more commonly known, sells various types of art supplies, much like Jerry's Artarama. More info, here. linocut -  is a printmaking technique in which a design is carved into a sheet of linoleum with specialized cutting tools. The carved linoleum surface is then inked, and paper is pressed onto it to create a print. Linocut is a relief printing method, similar to woodcut, but it uses linoleum instead of wood as the printing surface. Linocut is popular for its versatility and is used in both fine art and craft applications. Michael's Art Supplies - is a big box art supply store located throughout North America. More info can be found, here.  brayer - is a roller with a handle used to apply ink to a printing surface. It typically consists of a cylindrical rubber roller attached to a handle. Printmakers use the brayer to evenly distribute ink over the surface of a printing block, such as linoleum or wood, before pressing it onto paper or another substrate. The brayer ensures a smooth and uniform ink coverage, allowing for clear and consistent impressions during the printing process. Artists can control the amount of ink applied by rolling the brayer over an ink slab or palette before transferring it to the printing surface. Brayers are an essential tool in various printmaking techniques, including linocut, woodcut, and monotype. Bender - is a fictional character in the animated television series "Futurama," created by Matt Groening. Bender is a robot with a humanoid appearance and a distinctive metal body. He is known for his irreverent and sarcastic personality, as well as his love for bending girders and other metal objects. He serves as one of the main characters in the series. David Bull - is a Canadian woodblock printmaker, and educator who lives and works in Japan. His love of mokuhanga has almost singlehandedly promoted the art form around the world. His company, Mokuhankan, has a brick and mortar store in Asakusa, Tōkyō, and online, here.  Chapter 9 - The Seacoast In Winter, from the My Solitudes series (2007) Twitch - is a widely-used live streaming platform, initially focused on video game streaming and e-sports, but later expanding to include diverse content like music and art. Acquired by Amazon in 2014, Twitch allows users to broadcast live video content, interact with viewers through a real-time chat feature, and offers features such as e-motes and subscriptions. Streamers create communities around their content, and viewers can engage by subscribing to channels for exclusive benefits. Twitch has become a prominent platform for live content creation, fostering a sense of community among its users. sumi - is a rich black stick or liquid used by artists, calligraphers, and traditional Japanese horimono tattoo artists. Sumi is made from the soot of burnt lamp oil. Sumi is used predominantly in key blocks in traditional mokuhanga and to mix pigments. Pigment Tōkyō conducts a great interview with their chief of pigments, Kei Iwaizumi, about sumi ink, here. shina - is a type of Japanese plywood used in mokuhanga. Not all shina is made equally, buyer beware. McClains Woodblock Print Supply Co.  - based in Portland, Oregon, McClain's is the go-to supplier of woodblock print tools in the United States. Their website can be found here. The Unfinished Print interview with Daniel Jasa of McClain's can be found here. Disk Baren - crafted by Akira Kurosaki (1937-2019), is a plastic baren which features a replaceable disc with small surface bumps that ensure uniform pressure application across the paper during the printing process. murasaki baren - is a mid-range mokuhanga baren. “murasaki” meaning “purple” , come in two types of weight (medium and heavy), and two types of sizes (10cm and 12cm). They are a reasonably priced baren.  bokashi - is a mokuhanga technique, where the pigment fades from a heavy colour to a softer, broad colour. Made famous by prints designed by Hokusai and Hiroshige, this technique is, for me, the most popular technique utilized by  mokuhanga printmakers. There are various types: Ichimoji-bokashi or straight line graduation, used in the above mentioned Hiroshige and Hokusai prints. Ichimoji-mura-bokashi or straight line gradation with uneven edge. Ō-bokashi or wide gradation, Ate-nashi-bokashi or gradation without definition. Futa-iro-bokashi or two tone gradation, and ita-bokashi or softer-edge gradation, where the block is cut in a specific way to achieve this style of gradation. All of these styles of bokashi technique take practice and skill but are very much doable.  Laura Boswell ARE - is a renowned British printmaker recognized for her expertise in linocut and woodblock printing. Her artistic repertoire includes creating intricate and detailed prints inspired by nature, landscapes, and everyday life. Notably, Boswell is known for her adept use of a bold and vibrant color palette in her prints. Beyond her artistic pursuits, she shares her knowledge by teaching printmaking techniques, conducting workshops, and authoring instructional books on the subject. Her commitment to both creating and educating adds depth to her contributions in the field of printmaking. More info can be found on her website, here. Her interview with The Unfinished Print can be found, here.  Long Grasses up by Westerdale 18"x 7"  Kitsune Prints - is a mokuhanga printmaking studio located in Monsano, Italy. More info can be found, here.  Atelier Sentō - is an art collective located in Biarritz, France. They design images for companies, bookstores, publishers, and mokuhanga. The print that Jack refers to is a print called, The Unseen World: After The Rain, a print published by Shinji Tsuchimochi and the publisher Miyakadori. More info about Atelier Sentō can be found, here. The print mentioned can be purchased from Mokuhankan, here.  11" x 8" (2021) Karen Pittman - is a mokuhanga printmaker based in Austin, Texas. She continues to make beautiful mokuhanga, and explores the craft through her blog Vivid Laboratories. Karen's interview with The Unfinished Print can be found, here. Katherine's Mora River 9" x 6.75" (2023) Daryl Howard - is a mokuhanga printmaker base in Austin, Texas. She apprenticed with Hodaka Yoshida (1926-1995). Her work has been shown around the world. More information about Daryl can be found, here. Daryl's interview with The Unfinished Print can be found, here.  an eternal teardrop...descending from love 15"x20" (2019) Ocooch Hardwoods - is a wood supplier based in Wisconsin. More info can be found, here.  Jackson's Art - is a brick and mortar and online art supply store located in London, England founded in 2000. More info can be found, here.  © Popular Wheat Productions opening and closing musical credit - Television Funeral by Mononegatives (2023)  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***              

In this episode of The Unfinished Print, I speak with Henry Smith, Professor Emeritus in the Dept. of East Asian Languages & Cultures at Columbia University.  Together we delve into the scientific aspects of Meiji woodblock prints, exploring the trajectory of Nishiki-e during the late Edo and Meiji eras. Additionally, we examine the significance of cochineal and naphthol dyes, and scrutinize particle sizes. Henry's scholarly contributions include groundbreaking articles on subjects such as Hokusai and the Blue Revolution, with the introduction of Prussian Blue to the Japanese woodblock aesthetic during the mid to late Edo Period.  Join me in discovering how Henry's passion drew him into the enchanting world of Meiji woodblock prints, as we navigate the influence of Western collectors in Meiji Japan, exemplified by figures like English s urgeon William Anderson. Henry helps me in understanding the rich palette and the science behind Meiji prints, shaped by the infusion of imported dyes and pigments. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Publishers are given if known. The funeral procession of Meiji Emperor at Nijubashi designed by Yasuda Hanpo (1889-1947) Columbia Academic Commons  Professor Henry Smith's article on the Japanese Student movement, here. Peter Gluck - is an American architect who has won multiple awards and has designed buildings all over the world. He is the principal of GLUCK+, an architecture firm based in New York City.  Professor Carol Gluck - is a Special Research Scholar and George Sansom Professor Emerita of History, Department of History at Columbia University. She has written multiple books and articles on Japanese history.  Jane Jacobs (1916-2006) - an American-Canadian journalist, activist who had written extensively on the life and death of North American cities such as New York City, and Toronto. Her book The Death And Life Of Great American Cities, is considered a classic in urban planning for the modern city and its subsequent decline.  Robert Venturi (1925-2018) -  was an American architect and theorist known for his contributions to postmodern architecture. He, along with his partner and wife Denise Scott Brown, played a key role in shaping architectural discourse in the late 20th century. Venturi challenged the modernist principles that dominated architecture at the time, advocating for a more inclusive and eclectic approach. His book, Complexity and Contradiction in Architecture (1966) was where he critiqued the rigidity of modernist architecture and championed a more diverse and contextual approach to architecture.  Metabolism (Japan) - The Metabolism movement was characterized by a group of young Japanese architects and designers who sought to address the challenges of rapid urbanization and rebuilding after World War II. Key principles and concepts of Metabolism in Japanese architecture are megastructures, prefabrication and modularity, biology and organic growth, and technological innovation. One special notable example of Metabolist architecture was the now demolished Kisho Kurokawa's Nakagin Capsule Tower in Tōkyō. Shinjuku: The Phenomenal City - was the exhibition Henry Smith discussed in this episode. It was exhibited December 16, 1975 to March 7, 1976 at the Museum of Modern Art, New York City. More info, here. a+u magazine - also known as architecture and urbanism magazine, is a Japanese/English architecture magazine first published in 1971. More info, here.  Kōji Taki (1928-2011) - was a Japanese author, architectural critic, editor, and key figure in the Metabolist movement. He played a significant role in shaping the discourse of contemporary architecture in Japan and was instrumental in promoting the ideas of the Metabolists. Kappabashi - located in Tōkyō's Asakusa district, is a renowned destination for kitchenware and restaurant supplies. The street is lined with stores offering a diverse range of products, including traditional Japanese knives, sushi-making equipment, and unique culinary gadgets. Kappabashi is especially popular for its sampuru shops, where visitors can buy realistic food replicas commonly displayed outside restaurants. The area features a mix of large retailers and specialty stores, creating a charming atmosphere with its traditional Japanese architecture. It's easily accessible from Tawaramachi Station on the Tokyo Metro Ginza Line. fūkei hanga - are landscape images. These paintings and prints represent the natural world such as mountains, rivers, waterfalls. You can find these types of prints from the golden age of nishiki-e to shin-hanga, to today.  Sunset at Tomonotsu (1940, 9"x14") by Tsuchiya Koitsu (1879-1942) and published by Watanabe.  Mitaka - is a city located in the western part of Tōkyō, Japan. A very pretty and quiet part of the city it is famous for the Ghibli Museum, and Inokashira Park. 100 Views of Edo (名所江戸百景) - is a series of nishiki-e prints designed by Utagawa Hiroshige (1797-1858). It was published between 1856 and 1859 and consists of 118 or 119 prints, each depicting various scenes of Edo (Tōkyō). The prints show the beauty, diversity, and everyday life of Edo, capturing different seasons, landscapes, landmarks, and activities. Hiroshige's use of color, composition, and atmospheric effects contributes to the series' enduring popularity. The scenes range from bustling urban areas and landscapes to rural views, often incorporating elements of nature and traditional Japanese culture. Suruga-chō (1885) Thirty Six Views of Mount Fuji - one of Hokusai's most iconic series, known for its various depictions of Mount Fuji in different seasons, weather conditions, and different vantage points. The series includes "The Great Wave off Kanagawa." Published between 1830-1832 the series portrays Mount Fuji in different perspectives, everyday life, as well as the special importance of Mount Fuji in Edo culture. The series had a large impact on Western artists and thinkers, including the Impressionists and Post-Impressionists. Umezawa Hamlet-fields in Sagami Province (1830-31) Santa Barbara Museum of Art - is an art museum located in Santa Barbara, California, USA. Its collection contains art works from all over the world, focusing on paintings, sculpture, and paper works. More info, here.  Kobayashi Kiyochika (1847-1915) - was a painter and woodblock print designer famous for his war prints on the First Sino-Japanese War (July 25, 1894- April 17, 1895). Kiyochika captured the transitional period in Japanese history as the country underwent rapid modernization and Westernization during the late 19th and early 20th centuries. Onoguchi Tokuji Destroying The Gate at Jinzhoucheng (1895 14 3/4" x 28 9/16") published by Daikokuya. Utagawa School - was a school of print designers starting with Utagawa Toyoharu (1735-1814). He employed one point perspective (vanishing point) in his print designs, being influenced by Western perspective. The influence of the Utagawa school goes far in Japanese print history and one of its most successful. This schools print designs of kabuki portraits, beautiful women (bijin-ga), and landscapes are excellent. Some famous names attributed to the Utagawa school are Utamaro (1753-1806), Utagawa Kunisada (1786-1865), and Ando Hiroshige (1797-1858). A fine description of this school can be found, here at Artelino.  Newly Published Picture of the Battle of Jiuzan-shan in China (9 3/16" x 13 1/8") attributed to Utagawa Toyoharu Okumura Masanobu (1686-1784) - was a Japanese nishiki-e artist and print designer who lived during the Edo period. He is credited with pioneering the use of full-color printing and is considered one of the early masters of the art form. Okumura Masanobu was known for his contributions to bijin-ga and yakusha-e (actor prints). He played a role in the development of nishiki-e as a popular art form. More information can be found at Viewing Japanese Prints, here.  Large Perspective Picture of Evening Cool by Ryōgoku Bridge (ca. 1748) hand coloured Sumida River - is a major river that flows through Tōkyō, Japan. It plays a significant role in the history, culture, and landscape of the city. The Sumida River flows for approximately 27 kilometers (about 17 miles) through Tokyo, originating from Kita City and flowing into Tōkyō Bay. It passes through several wards, including Kita, Adachi, Sumida, Taito, Koto, and Chuo. The river has been portrayed in nishiki-e prints for generations, along with its bridges.  Kobayashi Kiyochika the Sumida River at Night (9.76"x14" - est. 1881) Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs. Yamayoshi Genba no jō Chikafusa (14 5/16" x 9 15/16" - 1848/49) published by Sumiyoshiya Ike no Taiga (1723-1776) - was a Japanese painter of the mid-Edo period, known for his skill in the Nanga style, which was influenced by Chinese literati painting. He is best remembered for his role in promoting a cross-cultural exchange of ideas between Japan and China in the realm of art and aesthetics during the Edo Period. Landscape with Pavilion (1750) Akita ranga painting - a style of Japanese painting that emerged in the late Edo period, particularly during the 19th century, in the region of Akita in northern Japan. The term "ranga" literally translates to "Dutch painting" and reflects the influence of European painting styles, particularly Dutch and Western techniques, which were introduced to Japan through trade with the Dutch during the Edo Period. More info, here.  Satake Shozan (1748-1785) - Pine Tree and Parakeet (68.11" x 22.83") est 1700's, painting. Shinobazu Pond - is a large pond located within Ueno Park in Tōkyō, Japan. Ueno Park is a spacious public park that is home to several museums, a zoo, temples, and beautiful green spaces. Shinobazu Pond is one of the central features of Ueno Park, and it is renowned for its scenic beauty and historical significance. hanmoto system - is the Edo Period (1603-1868) collaboration system of making woodblock prints in Japan. The system was about using, carvers, printers, and craftsmen by various print publishers in order to produce woodblock prints. The system consisted of the following professions; publisher, artist, carver, and printer. William Anderson (1842–1900) was an English surgeon and collector with a significant impact on the appreciation and understanding of Japanese art in the late 19th century. Anderson became a passionate collector of Japanese art, amassing a vast and diverse collection that included nishiki-e, ceramics, textiles, and other traditional artworks. His collection grew to be one of the most significant and comprehensive of its time. His bequest laid the foundation for the development of Japanese art studies in the West, influencing subsequent generations of scholars, collectors, and enthusiasts. ezōshiya - is a type of Japanese bookstore that specializes in selling "ehon" or picture books. Ehon are valued not only for their storytelling but also for the quality of illustrations. These books played a role in promoting visual literacy and appreciation of art in Japan. Nishiki-e had been sold at these book stores during the Edo Period.  Utagawa Kunisada (1786-1865) is widely regarded as one of the most significant woodblock print designers in Japanese history. His diverse portfolio includes prints ranging from landscapes and books to erotica and sumo. Kunisada worked during the vibrant era of nishiki-e alongside notable artists such as Andō Hiroshige (1797-1858), Katsushika Hokusai (1760-1849), and the aforementioned Kuniyoshi. This period represents a rich and abundant chapter in Japanese woodblock print history. Ichikawa Danjurō VIII as Hanzaemon published by Tamaya Sōsuke (1852) 13 9/16" x 9 3/16" cochineal - known as yōko in Japanese, is a red dye taken from the dried bodies of female cochineal insects. These insects are native to Central and South America, where they feed on the sap of prickly pear cacti. Cochineal has been used for centuries as a natural dye, valued for its vibrant red color. An article about synthetic pigments and cochineal in Japanese woodblock prints and co-written by Henry Smith can be found, here.  William Sturgis Bigelow (1850-1926) - was an avid collector of Japanese art. His extensive travels to Japan from 1882 to 1889, coupled with a close friendship with Ernest Fenollosa, enabled him to amass a remarkable collection. Bigelow's acquisitions played a pivotal role in promoting Japanese art in the Western world. World Of The Meiji Print - is a book published by Weatherhill in 1991 and written by Julia Meech-Pekarik. It describes how nishiki-e developed and evolved during the Meiji period.  Roger Keyes (1942-2020) - was a distinguished scholar of Japanese woodblock prints. His expertise was showcased in his 1982 dissertation, a comprehensive study of Tsukioka Yoshitoshi (1839-1892). Additionally, Keyes authored the book 'Ehon: The Artists and the Book in Japan' in 2006, further solidifying his significant contributions to the understanding of Japanese printmaking. Amy Reigle Newland - is a Japanese print scholar who has written various articles and books upon the subject. One of my favourite books by Newland is her book about Toyohara Kunichika, Time Present and Past: Images of A Forgotten Master (1999).  Bruce Coats - is Professor of Art History and the Humanities at Scripps College, Claremont, California. He has contributed to several books on Japanese woodblock prints, one of my favourites is Chikanobu: Modernity and Nostalgia in Japanese Prints (2006).  James A Michener (1907-1997) - was a Pulitzer Prize-winning writer, scholar, and esteemed academic known for his extensive contributions to various literary genres. Beyond his celebrated literary achievements, Michener also delved into the world of Japanese prints, demonstrating a multifaceted curiosity and intellectual versatility. His exploration of Japanese prints added another layer to his diverse body of work, reflecting a deep appreciation for Japanese art and culture. Honolulu Academy of Arts - founded in 1922 by Anna Rice Cooke, evolved into the Honolulu Museum of Art (HoMA) in 2012. Rice-Cooke's vision for a multicultural art space led to its creation, with an endowment and land donated by the Cooke family. The museum's architectural style blends Hawaiian, Chinese, and Spanish influences. Over the years, HoMA expanded, adding educational wings, a cafe, and more, while its permanent collection grew to over 50,000 pieces. In 2011, The Contemporary Museum merged with HoMA, unifying as the Honolulu Museum of Art. More info, here.  shinbun nishiki-e - the Meiji Restoration of 1868 marked a pivotal moment in Japan's history, prompting significant societal upheavals. Tōkyō, formerly Edo, became the new centre of Imperial Japan, and by 1871, the traditional feudal class system had been abolished, accompanied by compulsory education laws. This era of profound change spurred creative responses to economic challenges. Starting in the summer of 1874, innovative individuals introduced shimbun nishikie, vibrant single-sheet woodblock prints that served as colorful souvenirs. These prints, produced until 1876, were not just visually striking but also narratively engaging, recounting news articles in a format ideal for oral storytelling. Renowned artists like Ochiai Yoshiiku and Tsukioka Yoshitoshi, both students of the celebrated Utagawa Kuniyoshi, played a key role in illustrating these captivating snapshots of an evolving Japan. An excellent article on shinbun nishiki-e can be found here, from All About Japan.  Fighting Off A Wolf by Sadanobu II (1848-1940) from the Nichinichi Shinbun (9 1/2" x 6 3/4")  Satsuma Rebellion -  occurring in 1877, was a last stand against the modernization policies of the Meiji government by disaffected samurai from the Satsuma domain. Led by Saigō Takamori (1828-1877), a key figure in the Meiji Restoration. The rebellion sought to restore imperial power and resist the centralization efforts of the government. The conflict ended in a decisive government victory at the Battle of Shiroyama, where Saigō met his end, marking one of the final samurai-led uprisings in Japan's history. Suzuki Harunobu (1725-1770) -pioneered the art of nishiki-e, becoming the first to craft multi-color woodblock prints. Renowned for his exquisite designs, Harunobu's subjects often revolved around the portrayal of beautiful women, shunga (erotic art), and classical poetry. His innovative techniques and thematic choices significantly influenced the genre during the Edo period in Japan. Lovers Walking In The Snow (1764-1772) (11 1/4"x8 1/8") Emperor Meiji born Mutsuhito (1852 – 1912), was the 122nd Emperor of Japan, reigning from 1867 until his death in 1912. His reign, known as the Meiji Era, marked a transformative period in Japanese history. The Meiji Restoration of 1868 saw the end of the Tokugawa shogunate and the restoration of imperial rule, with Emperor Meiji playing a central role in Japan's modernization and westernization efforts. During his era, Japan underwent significant political, social, and economic reforms, propelling the country into the ranks of major world powers. Emperor Meiji's reign is often associated with Japan's rapid modernization and emergence onto the global stage. sōsaku-hanga -  also known as creative prints, is a printmaking style primarily, though not exclusively, characterized by prints created by a single artist. Originating in early twentieth-century Japan, alongside the shin-hanga movement, this style emphasizes the artist's direct involvement in the entire printmaking process — from design and carving to printing. While the designs, especially in the early stages, may appear rudimentary, the concept of artists producing their own prints marked a significant departure from the traditional model where a select group of carvers, printers, and publishers collaborated in the creation of woodblock prints. shin hanga - is a style of Japanese woodblock printmaking that emerged in the early 20th century, marking the end of the nishiki-e period. Originating around 1915 under the direction of Watanabe Shōzaburō (1885-1962), the art form responded to the foreign demand for "traditional" Japanese imagery. Shin hanga artists focused on motifs like castles, bridges, famous landscapes, and bamboo forests. The style was initiated when Watanabe discovered Austrian artist Fritz Capelari (1884-1950) and commissioned him to design prints for Watanabe's budding printing house. This collaboration led to the evolution of shin hanga into a distinctive new style of Japanese woodblock printing. The shin hanga movement thrived until its inevitable decline after the Second World War (1939-1945). fan print (uchiwa-e) - are crafted in the form of flat, oval fans using materials such as rice paper or silk. These prints are designed to be functional fans, allowing for practical use while showcasing artistic designs. Amy Poster - is the curator emerita of Asian Art at the Brooklyn Museum. aizuri-e - are woodblock prints made entirely with shades of blue. This style gained popularity during the Edo Period.  Keisai Eisen (1790-1848) - was a nishiki-e print designer and author during the Edo Period. His print designs are famous for beautiful women and large head prints (ōkubi-e).   surimono (date unknown - Edo Period) Hiraga Gennai (1729-1779/80) - was a versatile Japanese polymath and rōnin during the Edo period. His diverse talents spanned pharmacology, rangaku (Dutch learning), medicine, literature, painting, and invention. Notable creations include the erekiteru (electrostatic generator), kankanpu (asbestos cloth). Gennai authored satirical works such as Fūryū Shidōken den (1763) and Nenashigusa (1763), along with essays like On Farting and A Lousy Journey of Love. He also wrote guidebooks on male prostitutes, including the Kiku no en (1764) and San no asa (1768). Employing various pen names like Kyūkei and Fūrai Sanjin, he is most recognized by the name Hiraga Gennai. Yokohama-e -refers to a genre of Japanese woodblock prints depicting scenes from Yokohama, a pivotal port city during the late Edo and Meiji periods. These prints showcase the influx of international influences, featuring foreign ships, traders, and cultural exchanges. Yokohama-e captures the dynamic transformation of Japan as it opened to the world, portraying a vivid visual narrative of the city's bustling trade and encounters between Japanese and Western cultures. View of Foreigners' Houses on the Beach Street Seen From Yokohama Port (ca. 1873) by Hiroshige III (1842-1894) Sadahide Utagawa (1807-1878/79) - was a designer of nishiki-e during the late Edo and early Meiji Periods. He trained under Utagawa Kunisada and depicted medieval Japanese scenes, collaborating on the 53 Stations of the Tōkaidō, and prints related to Yokohama-e.   Battle of Ōei (ca.1848) Sir William Henry Perkin (1838–1907) was a British chemist who is renowned for his accidental discovery of the first synthetic dye, known as mauveine or mauve. This significant breakthrough occurred in 1856 when Perkin was attempting to synthesize quinine, a treatment for malaria, from coal tar derivatives. Instead, he obtained a purple-colored substance while working with aniline, leading to the creation of the vibrant purple dye. napthols - are special dyes used in making colourful fabrics on handlooms. They get their name from a specific part in their makeup called an azo group. These dyes are known for making colors really bright and long-lasting on fabrics. They help create fabrics in lots of different colors, like orange, brown, yellow, scarlet, golden yellow, black, red, violet, and more.  orpiment -  sekiō in Japanese, is a bright yellow to orange-yellow mineral composed of arsenic trisulfide (As2S3). It has been historically used as a pigment in painting and for other decorative purposes due to its vibrant color. Often found in association with realgar, another arsenic sulfide mineral, orpiment has also been employed in traditional medicine and alchemy. However, its toxic nature limits such applications, and it's crucial to note that handling orpiment, especially in powdered form, poses health risks due to the presence of arsenic. Marco Leona PhD - is the David H. Koch Scientist at Large at the Metropolitan Museum of Art. He has written several articles on Spectroscopy and art.  Estée Lauder (1906-2004) - was a pioneering American businesswoman and the co-founder of the renowned cosmetics company Estée Lauder Companies. Alongside her husband Joseph Lauder, she established the company in 1946, starting with a few skincare products she developed herself. Estée Lauder's hands-on approach to marketing and emphasis on quality turned her brand into a symbol of luxury. Initially selling to friends, she built a global beauty empire with a diverse product line including skincare, makeup, and fragrances. Today, the Estée Lauder Companies remain influential in the beauty industry, with a portfolio of well-known brands. Estée Lauder's legacy is marked by her significant contributions to the cosmetics world and her establishment of an enduring and iconic beauty brand. The Adachi Institute of Woodblock Prints - is a print studio located in Tōkyō. Established in 1994 in order to promote and preserve the colour woodblock print of Japan. More information, in English and in Japanese.  The 47 Rōnin of Akō - were a group of samurai who sought revenge for the unjust death of their master, Lord Asano Naganori, in 1701. After Asano was forced to commit seppuku (a form of ritual suicide), his loyal retainers, the 47 Ronin, meticulously planned and executed the revenge, successfully avenging their lord's honor. The story is a celebrated example of bushido (samurai code) and loyalty in Japanese history and folklore. smalt - is a deep blue pigment that has been historically used in art and ceramics. It is composed of finely powdered glass, often colored with cobalt oxide to achieve its distinctive blue hue. Smalt was popular during the Renaissance and Baroque periods as a substitute for expensive blue pigments like lapis lazuli. Artists would mix smalt with binders to create blue paint for their artworks. Smalt has some drawbacks, including a tendency to fade over time and a vulnerability to darkening when exposed to certain environmental conditions. Keiji Shinohara - is a Japanese mokuhanga printmaker who apprenticed under Uesugi Keiichiro in Ōsaka. He is the artist-in-residence at Wesleyan University in Connecticut. More info about Keiji can be found here, and here. Yamado-ike from the series Eight Views of Hirakata (2006) 11"x15": gum arabic - is a sap from two types of Acacia tree. In art it is used as a binder for pigments which creates viscosity (depending on how much or little is applied to your pigments) for your watercolours and oils. Rachel Levitas has a fine description on how she uses gum arabic in her work, here.  Bakumatsu Period -  refers to the final years of the Edo period, specifically from the mid-19th century to the early 1860s. The term "Bakumatsu" can be translated as "end of the shogunate." This era was characterized by significant political, social, and economic changes that eventually led to the overthrow of the Tokugawa shogunate and the restoration of imperial rule in the Meiji period. Bunsei Period - was a period in Japanese history which lasted from April 1818 - December 1830 CE © Popular Wheat Productions opening and closing musical credit - The Shadow of Your Smile by Dominic Farinacci, G@ Records (2023)  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                                          

We were on our way to the city's main station to board the bullet train to Kyoto. Travelling on the Asakusa underground line towards Ikebukuro, we had just passed through Kasumigaseki and arrived at Ginza station. We were nearly there. It was Next Station: Tokyo by Matthew Dunstan from Blue Orange. Read the full review here: https://tabletopgamesblog.com/2024/01/20/next-station-tokyo-saturday-review/ Useful Links Next Station: Tokyo: https://blueorangegames.eu/en/games/next-station-tokyo/ Rulebook: https://blueorangegames.eu/wp-content/uploads/2023/05/NextStationTokyo-Rules-EN.pdf Blue Orange: https://blueorangegames.eu/en/ BGG listing: https://boardgamegeek.com/boardgame/380165/next-station-tokyo Next Station: London review: https://tabletopgamesblog.com/2023/06/17/next-station-london-saturday-review/ Intro Music: Bomber (Sting) by Riot (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/audiolibrary/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) Sound Effects: bbc.co.uk – © copyright 2024 BBC Music: I Feel It (instrumental) by Sascha EndeWebsite: https://filmmusic.io/song/422-i-feel-it-instrumentalLicensed under CC BY 4.0: https://filmmusic.io/standard-license If you want to support this podcast financially, please check out the links below: Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/tabletopgamesblog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Ko-Fi: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/TabletopGamesBlog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tabletopgamesblog.com/⁠⁠⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/tabletopgamesblog/message

Fluent Fiction - Japanese: Sakura's Serendipity: A Cherry Blossom Love Story Find the full episode transcript, vocabulary words, and more:fluentfiction.org/sakuras-serendipity-a-cherry-blossom-love-story Story Transcript:Ja: 都心から少し離れた東京、下町のエリアで暮らすさくらは、毎年楽しみにしている桜祭りの時期がやってきました。そこは路地裏にまで桜の花びらが舞い踊り、店々が出す特制料理が空腹のお祭り客に胃袋を喜ばせる醍醐味があるのです。En: In Tokyo, a little away from the city center, living in the downtown area, Sakura eagerly awaited the arrival of cherry blossom festival season every year. Even in the backstreets, cherry blossom petals danced in the air, and the special dishes served by the shops delighted the hungry festival-goers.Ja: さくらが祭りに参加するために一年間大切に保管していた着物を手にとりました。その着物は祭りの開催地でもある浅草の仲見世通りで買ったもので、クリーム色の地に淡いピンクの桜柄が施されていて、まさに名前の通りのさくら色だったのです。En: Sakura carefully took out the kimono she had been keeping for a year in preparation for the festival. She had bought the kimono on Nakamise Street in Asakusa, the venue of the festival. It had a cream-colored base with a pale pink cherry blossom pattern, truly living up to its name Sakura color.Ja: さくらは朝から準備にはじまり、着物の裾さばきから帯の結び方まで手際よくこなして、とうとう出かける準備を整えました。しかし、その着物の着こなしには、予想外のミスがあったのです。En: Sakura started preparing in the morning, skillfully handling the kimono's hem and tying the obi, and finally, everything was ready for her to go out. However, there was an unexpected mishap in the way she wore the kimono.Ja: 社長の息子であり祭りのメインイベントである桜の木下での舞踊の一員、イケメンのリュウに会うことを心待ちにしていたさくらは、ドキドキしながら会場に向かいました。しかし、会場に着くと周りから指を指され、さくらは混乱した表情を浮かべました。En: With a heart full of anticipation to meet Ryu, the son of the company president and a member of the main event, the cherry blossom dance under the sakura tree, Sakura went to the venue with a pounding heart. But when she arrived, people around her pointed at her, and Sakura's face turned into one of confusion.Ja: 「裏返しに着てるよ、さくら！」とお茶屋さんのおばあさんが叫びました。さくらは慌てて着物を見下ろし、確認すると本当に裏返しで着ていました。とても恥ずかしくて途方に暮れたさくらは、リュウには絶対見られたくないと思い、一旦家に引き返しました。En: "You're wearing it inside out, Sakura!" cried an older lady from a tea house. Sakura hurriedly looked down at her kimono and confirmed that she was indeed wearing it inside out. Feeling extremely embarrassed and at a loss, Sakura decided that she absolutely did not want Ryu to see her and temporarily went back home.Ja: しかし、家に戻ると、リュウの姿を見つけたさくらの心は躊躇しました。急いで着物を正しく着直し、再度祭りに参加する決意をしました。リュウに笑顔で話しかけられ、初めて彼の笑顔を見た瞬間、ウサンクサイなエピソードなんて吹き飛びました。En: However, when she returned home, Sakura hesitated upon seeing Ryu. She quickly corrected her kimono and made up her mind to rejoin the festival. When Ryu approached her with a smile and spoke to her, the moment she saw his smile for the first time, all the embarrassment melted away.Ja: そして、最終章の舞踊の時間になり、側にいたリュウが申し出た驚きの提案により、桜の下で一緒に舞うことになったのです。彼女の心地よい重みを感じながらリュウと舞踊を楽しみ、幸せな時間はあっという間に過ぎていきました。En: And so, as the final chapter of the dance came, Ryu, who was beside her, made a surprising proposal, and they ended up dancing together under the cherry blossoms. As they enjoyed the dance, Sakura felt the pleasant weight of his presence, and the happy time passed by in the blink of an eye.Ja: さくらはこの日を忘れることはないでしょう。それこそが、東京の下町でのひとつの桜祭りの物語だったのです。En: Sakura will never forget this day. It was a story of one cherry blossom festival in the downtown area of Tokyo. Vocabulary Words:Tokyo: 東京city center: 都心downtown area: 下町cherry blossom festival: 桜祭りbackstreets: 路地裏cherry blossom petals: 桜の花びらspecial dishes: 特制料理hungry festival-goers: 空腹のお祭り客kimono: 着物Nakamise Street: 仲見世通りAsakusa: 浅草cream-colored: クリーム色pale pink: 淡いピンクcherry blossom pattern: 桜柄Sakura color: さくら色preparation: 準備hem: 裾obi: 帯mishap: ミスRyu: リュウcompany president: 社長main event: メインイベントsakura tree: 桜の木confusion: 混乱inside out: 裏返しembarrassed: 恥ずかしいtemporary: 一旦hesitated: 躊躇proposal: 提案dancing together: 一緒に舞う

Lured Up Podcast 292 - It Needs Seasoning Record Date - 11/25/2023 Publish Date - 11/26/2023   Use code: BALLCHECK20 at https://www.manscaped.com/ for 20% Off and Free Shipping! You can still help out by using our code through the Black Friday Sale!   Is it just us or does it not feel like the latest Season of Pokémon GO is coming to a close? As we enter the final week of Adventures Abound, the theme of the Season and the overall narrative seem to not be a part of the current zeitgeist. Niantic has delivered an onslaught of events and multiple new, game defining updates, but in terms of narrative we haven't had much. It poses the question of does Pokémon GO even need a story at all? Do players actually have any idea what is going on with the narrative or is it all just about catching everything they see?   We recap the last week of gameplay including Mareep Community Day, which paired very nicely with the Party Up Event. Players that got together in person for Community Day were able to play in parties and wrap up their Timed and Special Research for Party Up. Some even used the time to complete some Routes. One thing is for certain, IRL Pokémon GO is alive and well, and Niantic has the numbers to prove it.   While we covered the financial impact that a GO Fest Event can bring to a region last week, this episode we talk about the attendance across those events. With 180,000 Trainers playing in those events, it proves that those saying the game is dead are simply blowing smoke. With new and creative events like the Akasuka Route in Japan, the future is looking strong. We think that sponsored routes may just be the secret sauce that takes this game to a new level. It brings a dynamic that blends travel, entertainment, art, and nature. Asakusa may be on to something.   The Black Friday Pokécoin Sale has the Community split, with some simply thinking this is a desperate attempt by Niantic to grab our money. Consistent spenders on the game are all smiles as their hard earned money that they have budgeted towards the game, will get them a little bit more this week. A win-win for those that consume items.   Finally we wrap up with a Terrakion Raid Guide and Battle Party, and put together our teams that we will be bringing out. Terrakion is definitely the most popular of the Swords of Justice, and for good reason. For those that know the lore, this may be a fun time to bring out Keldeo to play.   With Adventures Abound closing out this week, how did this Season perform for your play and entertainment styles?   Mareep Community Day - https://bit.ly/LU290Mareep  Party Up! - https://bit.ly/LU291PartyUp  PokéCoin Sale - https://bit.ly/LU292PokeCoins  Asakusa Route - https://bit.ly/LU292Asakusa  GO Fest Attendance - https://bit.ly/LU292GOFest  Terrakion Battle Party - https://bit.ly/LU292Terrakion  Closing out the Season Recap - https://bit.ly/LU292November    Use code FULLHEAL at https://tgacards.com/ for 10% off your order!   Support the show by bookmarking and shopping at TCGPlayer.com using this link - https://bit.ly/TCGPlayerAffiliate    LuredUp@PokemonProfessor.com     Voicemail, Text, and Picture Line - 732-835-8639    https://linktr.ee/PokemonProfessorNetwork    Hosts Ken Pescatore Adam Tuttle   Writer and Producer Ken Pescatore   Executive Producer  Paul Bhatt   Show music provided by GameChops and licensed through Creative Commons   ▾ FOLLOW GAMECHOPS ▾ http://instagram.com/GameChops http://twitter.com/GameChops http://soundcloud.com/GameChops http://facebook.com/GameChops http://youtube.com/GameChops http://www.gamechops.com   Intro Music Lake Verity (Drum & Bass Remix)  Tetracase GameChops - Ultraball http://gamechops.com/ultraball/ https://soundcloud.com/tetracase  https://soundcloud.com/MegaFlare0   Break Music National Park Mikel & GameChops GameChops - Poké & Chill http://smarturl.it/pokechill https://twitter.com/mikel_beats   Outro Music Vast Poni Canyon CG5 & GlitchxCity (Future Bass Remix) GameChops - Ultraball http://gamechops.com/ultraball/  http://soundcloud.com/cg5-beats https://soundcloud.com/glitchxcity Pokémon And All Respective Names are Trademark and © of Nintendo 1996-2021 Pokémon GO is Trademark and © of Niantic, Inc. Lured Up and the Pokémon Professor Network are not affiliated with Niantic Inc., The Pokémon Company, Game Freak or Nintendo.   #pokemon #pokemongo #podcast  

[✐3.Moderato] Conditional: -eba 〜ば いいですか、i-adjective, noun：〜nara 「リクエストがあれば、おしえてください。」“If you have a request, let me know.”[00:08]Hello, everyone. We begin with reviewing 3 forms; Masu-, Jisho- and Jouken(conditional)-Kei(forms).Repeat after me[00:17]1.  eat2.  see/watch/look3.  be4.  fall(rain, snow)5.  read6.  go7.  hear/listen8.  meet/see9.  buy10.  call11.  do12.  come[01:38]There are Jouken(conditional)-kei(form) of na- and i-adjectives.  Note that “〜nara” follows after adjectives and nouns.Repeat after me[01:51]1.  good2.  bad3.  high/tall/expensive4.  cheap5.  clean/beautiful6.  free/disengaged/leisure7.  quiet8.  rain9.  snow10.  spring[02:45]Now let's practice with sentences.Repeat after me[02:48]1.  If you walk, it's about 20 minutes to the station.2.  If you go to that 100-yen shop, you can buy almost anything.3.  If you have a question, ask me.4.  If you eat this, you'll be fine.5.  If it's clear on weekend, I will play tennis.6.  If it snows, it's “White Christmas”, isn't it?7.  If you read this, you will understand it well.8.  If you take the medicine, you will get better.9.  If you call the police, they will come soon.10.  If you buy two, the third one is half price.11.  When it comes to coffee, I recommend you that café.12.  Where should I write my name?13.  I'd like to go to Asakusa, but how can I go(get) there?14.  I don't know how to use this. What should I do?[05:31]Make a sentence as follows;For example,Tomorrow rain, cancel→  If it rains tomorrow, it will be cancelled.Here we go.Support the show=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=Become a patron: More episodes with full translation and Japanese transcripts. Members-only podcast feed for your smartphone app. Japanese Swotter on PatreonNote: English translations might sound occasionally unnatural as English, as I try to preserve the structure and essence of the original Japanese.

[✐all levels] 「(N)なら、(N)です」: in the case of, then, in the event that, if it is, if so〜, when it comes to[00:07]Hello, everyone.“Sushi nara Wasabi desu” would be; “If it is Sushi, you eat with Wasabi (not with Ketchup)”, for example. This translation is just one of many.“〜nara,〜desu” means;  in the case of, in the event that, if so, when it comes to etc, and the meaning varies with different contexts. We use only nouns to construct this pattern today. So it's easy.Repeat the sentence and think about the meaning. Then check my sample translation.  I say “sample”, because there could be more possibile translations.  Here we go.(There may be different translations depending on the context or background. )Repeat after me[00:59]1.  If you want to visit Japan, you should go in Spring.My favourite season in Japan is Spring.If you want to know when is the best season in Japan, it is Spring.2.  If you want to visit Japan, you should go to Kyoto.When it comes to Japan, Kyoto is the most popular city.If you go to Japan, you should visit Kyoto.3.  If you are in Tokyo, you should go to Asakusa.If I were asked which area in Tokyo to visit, I would say Asakusa.One of the most popular touristic area in Tokyo is Asakusa.4.  If it is Anime,  (I recommend) Doraemon.5.  If you ask me which movie I like, it is French movies.In case you want to watch a film, I recommend a french film.6.  If it rains on weekend, the barbecue will be cancelled.7.  If it is tomorrow, I have time.8.  In terms of alcohol, if it is a little bit, I'm OK. (=I can drink a little alcohol).9.  When it comes to smartphone, this model should be the one. (= I recommendthis model. )10.  If it is only Hiragana, it is fine.  (=I can read/manage if it is written only inHiragana.)[02:31]Now, make a sentence.For example;Sushi, toro(tuna)→ If you eat Sushi, try Toro(Tuna).(Again, those are sample translations.)Are you ready?[02:40]1.→ If you eat Sushi, eat with Soy source and wasabi.2.→ If you want to know where to go skiing, I'd say Hokkaido.3.→ When it comes to shopping, I suggest to go to Shinjuku.4. → If it rains heavily, I will take a taxi.5.  → If asked who will be the next prime minister, I'd say Tabe san.Dialogue (Plain Style)[04:02]A:  ah I'm hungry.B:  If you are thinking of a packed lunch, you should try department store's basement food floor. It's amazing. Lots of choices!A:  But I feel like eating Ramen, though.B:  ah, Ramen?.  If it's Ramen, the Ramen shop in front of the station is good.  If my memory is correct, the name of the shop is…..Repeat after me (in Masu Style)[04:25]1.  → I'm hungry.2.  → If you like a packed lunch, try a department store's basement food floor.3.  → I feel like eating Ramen.4.  → If it's Ramen, the ramen shop in front of the station is good/delicious/worth going.[05:13]That's all for today.  It was fun, ne.If it is Podcast, you can practice speaking in the bed, right?See you again!Support the show=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=Become a patron: More episodes with full translation and Japanese transcripts. Members-only podcast feed for your smartphone app. Japanese Swotter on PatreonNote: English translations might sound occasionally unnatural as English, as I try to preserve the structure and essence of the original Japanese.

Fluent Fiction - Japanese: Subway Game Show: Haruki's Journey of Rediscovery Find the full episode transcript, vocabulary words, and more:fluentfiction.org/subway-game-show-harukis-journey-of-rediscovery Story Transcript:Ja: 東京、喧騒と閉塞が共存する巨大都市。都会人の空間と時間が交差する地下鉄の中で、一人の男が目を覚ます。名前は春樹。鰹の刺身のように淡泊だが、根深く人懐っこい性格の彼は、自分がどうやってここに来たのか、という記憶を失っていた。En: Tokyo, a massive city where bustling and stagnation coexist. In the underground subway where urbanites' space-time intersects, a man awakens. His name is Haruki. He has a mild and unassuming personality, like sashimi of bonito, but deep down, he is friendly. He had lost his memory of how he came to be here.Ja: 彼の周りは無数の人々で溢れ、ラッシュアワーの音が耳に近づいて来ていた。しかし、その混衆の中には知り合いの顔は一つも見つけられない。人々は皆、機械的に時間に追われ、無表情に目的地に向かっていた。春樹が心の中で囁いた。「おい、皆、どこへ行くんだ？」En: Surrounded by countless people, the sound of rush hour was approaching his ears. However, among the crowded people, he couldn't find a familiar face. Everyone mechanically chased after time, expressionless as they headed towards their destinations. Haruki whispered in his mind, "Hey, where is everyone going?"Ja: 「キノコが好きなのは何の動物ですか？」不意に、車内アナウンスが機械的に問い掛ける。彼は振り返り、管制室の方向に目を向け、そして、初めてその存在に気付いた。これは地下鉄ではなく、なんと、テレビゲームショーの現場だった。En: "Suddenly, the subway announcement mechanically asked, "Which animal likes mushrooms?" He turned around, directed his gaze towards the control room, and finally noticed its existence. This was not the subway, but rather, the set of a television game show.Ja: 質問が鳴り響き、客席からは手が多数挙がる。しかし、春樹だけは別に何も手に持っていない。「キノコが好きな動物……」彼はよく考えた末、何気なく口に出した。「それはリスだ」。瞬間、スポットライトが春樹の方へと向けられる。彼はかくして参加者に選ばれた。En: Questions echoed, and many hands were raised from the audience. However, Haruki had nothing in his hands. "Which animal likes mushrooms..." After thinking for a moment, he casually said, "It's a squirrel." Instantly, the spotlight turned towards Haruki. And so, he was chosen as a participant.Ja: 帰路を失い、疲れ果てていた春樹にとって、これは思わぬ展開だったが、彼は諦めることなくアナウンサーの質問に沿って答えていった。疲労と混乱、そして緊張が次第に晴れていく。そして遂に、最終問題へ。En: For Haruki, who had lost his way and was exhausted, this was an unexpected turn of events. But he continued to answer the host's questions without giving up. Fatigue, confusion, and nervousness gradually disappeared. And finally, it was the final question.Ja: 「東京の名地、浅草にある観光名所は？」春樹はためらいもせずに答えた。「それは雷門だ」 瞬間、周囲は沸き立った。春樹は見事に優勝し、賞品として得たのは一つの地図だった。地図を手にした彼は、混乱の中から逃れ、安堵の笑みを浮かべた。彼の帰路がそこに繋がっていた。En: "What is the famous tourist spot in Asakusa, a famous place in Tokyo?" Haruki answered without hesitation, "It's the Kaminarimon gate." Instantly, the surroundings erupted. Haruki won splendidly, and the prize he received was a map. Holding the map, he escaped from the chaos and had a relieved smile. His route home was right there.Ja: ふと見上げると地下鉄の窓には「浅草」の駅名が映し出されていた。誰もが日常の中を何気なく過ごしていても、生活の中には必ず驚きと冒険が待っている。春樹の日常も、また一つ、特別な一日を迎えたのだった。En: Looking up, the subway window displayed the station name "Asakusa". Even if everyone goes about their daily lives casually, surprises and adventures are always waiting in life. Haruki's ordinary day had also welcomed a special day. Vocabulary Words:Tokyo: 東京massive: 巨大city: 都市bustling: 喧騒stagnation: 閉塞coexist: 共存するunderground subway: 地下鉄urbanites: 都会人space-time: 空間と時間intersects: 交差するawakens: 目を覚ますname: 名前Haruki: 春樹mild: 淡泊unassuming: 謙虚なpersonality: 性格sashimi: 刺身bonito: 鰹deep down: 根深くfriendly: 人懐っこいlost: 失っていたmemory: 記憶surrounded: 周りはcountless: 無数のpeople: 人々sound: 音rush hour: ラッシュアワーears: 耳crowded: 混雑したfamiliar face: 知り合いの顔mechanically: 機械的にchased after: 追われるtime: 時間expressionless: 無表情なhead towards: 向かうdestinations: 目的地whispered: 囁いたmind: 心where: どこへeveryone: 皆going: 行くんだSuddenly: 不意にsubway announcement: 車内アナウンスasked: 問い掛けるanimal: 動物likes: 好きなのはmushrooms: キノコturned around: 振り返りdirected: 向けgaze: 目を向けcontrol room: 管制室finally: 最後にnoticed: 気付いたexistence: 存在game show: ゲームショーquestions: 質問echoed: 鳴り響きhands: 手raised: 挙がるaudience: 客席nothing: 何もthinking: 考えたmoment: 末casually: 何気なくsquirrel: リスinstantly: 瞬間spotlight: スポットライトchosen: 選ばれたparticipant: 参加者lost his way: 帰路を失いexhausted: 疲れ果てていたunexpected: 思わぬturn of events: 展開continued: 続けたhost's: アナウンサーのgiving up: 諦めることなくfatigue: 疲労confusion: 混乱nervousness: 緊張gradually: 次第にdisappeared: 晴れていくfinal: 最終question: 問題famous: 名tourist spot: 観光名所Asakusa: 浅草gate: 門answered: 答えたwithout hesitation: 躊躇いもせずにerupted: 沸き立ったwon: 優勝しsplendidly: 見事にprize: 賞品received: 得たmap: 地図holding: 手にしたescaped: 逃れchaos: 混乱relieved: 安堵のsmile: 笑みroute home: 帰路right there: そこにLooking up: ふと見上げるとwindow: 窓displayed: 映し出されていたstation name: 駅名Asakusa: 浅草daily lives: 日常の中casually: 何気なくsurprises: 驚きadventures: 冒険waiting: 待っているlife: 生活ordinary: 日常welcomed: 迎えたspecial: 特別な

E86 - Extrait Dans cet épisode, Adeline nous raconte leurs 5 jours à Tokyo. Pour écouter l'épisode en entier : 2 semaines eu Japon avec un bébé  ****************************************************************************************************************************** ✅ Mon blog Famille & Voyages https://familleetvoyages.com ✅ Et si tu me taguais sur un de ces réseaux

We're back with a chat about Sam's 2023 summer trip to Japan. 0:34 Overview: 14 days, spent as follows: 5 nights in Kyoto at Mimaru Apartment hotel. 430 square foot. Not spacious but good for a family of 4. 2 nights in Hiroshima at the Hilton Hiroshima: One bedroom suite booked with points (90k per night). Very new hotel, opened in 2022. 5 Nights Ishigaki island near Yonehara beach. Car rental 2 nights in Tokyo at another Mimaru in their pokemon room Robert's previous trip report (required listening) 04:37 Travel: JL from LAX nonstop to Kyoto Pickup from the airport (Booked on Klook.com) worked really well Used the "Visit Japan Web" site to generate QR codes before landing. Be sure to make a QR code for each person (for immigration) and one per family for customs. 08:09 Kyoto: Transit was difficult Not easy for us. Lack of numbers and signage really chewed us up. BUSY stations with people who definitely knew what they were doing. Helpful staff–but still difficult to execute train to train transfers Local vs. Express was not well signed. Got easier when we limited ourselves to busses + a single train. Busses in general were easier and better in Kyoto (can see the city as they Drive). Would take a cab directly to the bus stop. 15:51 Universal Studios: Brutal to get to. Issues with kids and trains. But once there, small size and express pass made the day a complete success. Conflicting information about swapping rides–but we were able to swap for different rides than those listed on our express passes (but not different times) Lines are crazy long, express pass is a must. We bought a 4 ride pass due to height restrictions limiting possible rides, but 7 ride passes were not much more. The Mario Water party parade was fantastic and over the top. Japanese to the max and loved by my kids. Super Mario World is incredible. The kids had a blast, we spent about 6 hours at the park, just enough time in my opinion. Getting home to Kyoto was equally brutal. The train line leaving Universal encountered a full stop due to a train on the loop hitting a passenger. 30:10 Cabs: We took so Many and They Saved Us Combination of lots of walking and young kids meant we needed to use cabs. We were 'close' to multiple train stations and bus stops. But the walking before, during and after sightseeing meant cabs were the way we extended days. Uber app worked well in Kyoto/Hiroshima to call cabs. In Tokyo we had to be careful--there was a 300-500 yen pickup fee plus the meter -- lots of times the uber black fare was less. Uber black cars are the nicest possible car I've ever been in. Loved these in Tokyo. 38:40 Kyoto to Hiroshima with Luggage: Train travel Gion Matsuri in Kyoto made the train station packed. Train runs nearly every 20 minutes. Amazing. Kiosk did not work with CC and I couldn't get 3 seats together (with luggage access). Pivoted to a desk agent who quickly got us on the next train and split us up. With large size suitcases it is recommended to book a luggage seat. Non-reserved seating is apparently not possible and if you do book non-reserved there's a 1000 yen fee if your bag is big Meant we were split up, but only for part of the ride. Fast train ride and cell coverage even in tunnerls, but wifi was terrible and completely unusable 45:52 Hiroshima: Not enough time, kids are to young JR Trains to Miyajima vs high speed ferrey, by taking the ferry from Hiroshima Port we saved significant time. Miyajima was loved by the kids for the deer and by us for the hiking and national park. Time is for sale in Japan. This is a great example Peace park was a highlight of the trip as well. Kids were too young for the museum, we had to skip it Data only SIM saved the day Got two of these from Airalo. Esim, and phones supporting dual eSIM make this a quick way to get online in foreign countries. 5GB, $11. Really was wonderful to be connected everywhere, saved the day many times. Wifi is good but not enough places had it. Ishigaki especially. Hilton Hiroshima: Very nice Hotel. Brand new, opened in 2022 (was previously a police station) Lobby: Booked a 1 Bedroom Suite for 90,000 points per night. Had called and emailed prior to arrival but no additional upgrade was offered due to space issues. Hotel was indeed 100% full our second night, with monday being Marine Day in Japan. View from the Living room to the bedroom: Hotel says it is full most weekends with Japanese who come to the city. Full breakfast in either the restaurant or the lounge. Very good, full buffet but lines for things started backing up if you arrived late. Really puts US Hilton properties to shame. Wish I stayed one more night. 52:43 Highlights from Ishigaki island Getting to HIJ airport: Airport Limousine Bus worked out very well. Car Rental: Just worked! The island has a busy southern side, quiet Northern shore and is ringed by reefs All the comforts of mainland Japan are on this island. It really is amazing how the grocery store stocks everything at nearly identical prices to the stores in Kyoto/Tokyo. The beef raised on the island is fantastic. So good we went twice to a local Yakiniku. Beaches were very good--with no waves anywhere on the island the kids were able to swim out very far and I felt they were safe the entire time. Activities we did: lots of snorkeling, glass bottom boat tour of the bay, Traditional Okinawan village, Hike to and swam in a waterfall, Stargazing. Really relaxing island. Wish it was closer. Can't replace Hawaii but nice that it is less than 3hrs from Tokyo. Food on the island was varied enough and easy to get to. Times listed when places were open were often completely wrong, but we stumbled on two great restaurants when the places were wanted to go to were closed. Farmer's market on Ishigaki stocks most tropical fruit but pricing was high still. The availability is the draw here, but spoiled with CA/Hawaii style fruit and farmer's markets. 1:06:06 Flight to Toyko Mind-blowing that you can wake up, have a few hours on the beach in Ishigaki and then hop a flight to Toyko and be eating an early dinner there. ANA domestic 787, very full. Short flight time, domestic travel in Japan is interesting, no liquid restrictions, no ID checks, free checked bags. Like flying in the 90's here. From the airport we did the monorail to a single JR train. Worked really well. Plenty of space for luggage on the monorail. 1:17:33 Tokyo Highlights City still seems to wake up late. Breakfast at 7am was a little tough to find, found a great little cafe in Asakusa that opened at 6:30. Lots of shopping. Loved the multi-story department store/malls. Ueno streets had so many great food options, but the area is loud and has smoke/adult themes to be aware of. Shibuya was even busier than Ueno, but with more polish. Checked out Ginza, really amazing how close it is to both of the other districts and just how really sharp looking the streets are there. Ueno Zoo was perfect for my kids 4/8. Animals seem to be out in the mornings, so go early. Line to see the baby pandas was too long for us, so we skipped them and saw their parents instead (no line). Started getting homesick a little. Travel with kids: how we made it work. Cabs (Uber worked, didi is another) Naps Sugar (Ice cream really, at convenience stores) Food was well received by my kids but options for all kids might be harder 1:24:39 Is a Return Trip in the Cards? Overall thoughts? Yes, but maybe not our next trip Long 14 day trip let us see a lot, but still left a LOT unseen. Would like to wait for my kids to be a bit older to be able to do more

Creating mokuhanga can be a long journey. One reaches milestones within their artistic life where decisions are made, and questions asked. Can I do this for years to come? Does it make financial sense to continue working on making prints? Do I want to make this my career? Can mokuhanga sustain me financially, emotionally, and spiritually?  On this episode of the Unfinished Print, I speak with mokuhanga printmaker Stephen Winiecki, an artist who has explored mokuhanga through his experience in oil painting and linocut. Stephen is asking himself many questions like the ones mentioned above. We discuss Stephen's choosing to make mokuhanga a large part of his life and the desire to make it his career path. We talk process, his work with mokuhanga print designer and artist Jed Henry, planning a print, and how his passion for rock climbing motivates his work.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Stephen Winiecki - website, Instagram.  linocut -A linocut is a relief or block print type, similar to woodblock printing. The artist carves an image into a linoleum block, printing what's left.  David Bull - is a Canadian woodblock printmaker, and educator who lives and works in Japan. His love of mokuhanga has almost singlehandedly promoted the art form around the world. His company, Mokuhankan, has a brick and mortar store in Asakusa, Tōkyō, and online, here.  Dave Bull fox moon video  Awagami -  is arguably the largest paper making company in Japan at the moment. With a large International name, Awagami sponsors, and promotes its paper all over the world. More information can be found on its website, here.  reduction printmaking - is a process in printmaking where the printmaker cuts away on a piece of wood, or linoleum. After every carving, the printmaker makes an impression with pigments, beginning with lighter colours, gradually using darker colours. William H. Mays has a fine description of reduction on his website, here.  registration - there are several registration methods in mokuhanga. The traditional method is called the kentō registration, where you carve two notches, straight another an "L." There is also a "floating kentō," which is where the notches are cut in a piece of "L" shaped wood and not on the wood where you are cutting your image, hence "floating." Lastly, there are removable "pins," such as ones made by Ternes Burton.  McClains Woodblock Print Supply Co.  - based in Portland, Oregon, McClain's is the go-to supplier of woodblock print tools in the United States. Their website can be found here. The Unfinished Print interview with Daniel Jasa of McClain's can be found here. Jed Henry - is an American artist and graphic designer. His work with woodblock prints is as designer. He works with Mokuhankan, as well as various other mokuhanga artists who carve/laser, and print his designs. His work under the Ukiyo-e Heroes banner is very popular.  monotype print - is a unique print created from an image painted or drawn on a smooth surface, such as glass or metal, and then transferred to paper. Unlike most printmaking methods, where multiple copies of the same image can be produced, a monotype typically has a single, one-of-a-kind image. It's called a "mono" type because it is not part of an edition like traditional prints (e.g., lithographs, etchings), where you can make multiple copies.  Dick Blick Art Supplies - is an art supply store with various brick and mortar stores throughout the United States, as well as online. Founded in 1911 by Dick Blick in Galesburg, Illinois, BLICK, as it's more commonly known, sells various types of art supplies, much like Jerry's Artarama. More info, here. Cameron Bailey - is a mokuhanga woodblock printmaker based in Queens, New York. His work is predominantly reduction woodblock. Camerons work has shown around the world. You can listen to one of his earliest interview on The Unfinished Print, here. His work can be found, here.  Eruption, After D'Anna (2022) 17x23" Lake George, New York - Is a small town located in the Adirondack mountains in New York State. There are plenty of exciting things to do in an around the town and within the Adirondack mountains. More information can be found here.  Echizen - is a region in Fukui Prefecture, Japan associated with Japanese paper making. It has a long history of paper making. There are many paper artisans in the area. One famous person is Iwano Ichibei whom Megan mentions in this episode. He is a Living National Treasure in paper making, and the ninth generation of his family still making paper today. More info can be found here in English, and here in Japanese.  Kawase Hasui (1883-1957) - a designer of more than six hundred woodblock prints, Kawase Hasui, is one of the most famous designers of the shin-hanga movement of the early twentieth century. Hasui began his career with the artist and woodblock designer Kaburaki Kiyokata (1878-1971), joining several artistic societies early in his career. It wasn't until he joined the Watanabe atelier in 1918 that he began to gain recognition. Watanabe Shōzaburō (1885-1962) had Hasui design landscapes of the Japanese countryside, small towns, and everyday life. Hasui also worked closely with the carvers and printers of his prints to reach the level Hasui wanted his prints to be.  Yumoto Spa, Nikko (1937) 15x10" shin hanga - is a style of Japanese woodblock printmaking which began during the end of the ukiyo-e period of Japanese printmaking, in the early 20th Century. Focusing on the foreign demand for “traditional” Japanese imagery and motifs such as castles, bridges, famous landscapes, bamboo forests, to name just a few.  Shin hanga was born in 1915 by Watanabe Shōzaburō (1885-1962) when he found Austrian artist Frtiz Capelari (1884-1950) and commissioned Capelari to design some prints for Watanabe's feldgling printing house . From there shin-hanga evolved into its own distinct “new” style of Japanese woodblock printing. It lasted as this distinct style until its innevitable decline after the Second World War (1939-1945). Dahlia (1940) 10.5x15.7" by Kawase Hasui Seki Kenji - is a woodblock printmaker based in Tōkyō. He was head printer, and produced prints, for Doi Hangaten printing house as well as making his own pieces.  woodblock.com - is one of the first websites created by David Bull in order to describe the process of Japanese woodblock printmaking in English. It was and is an asset for those of us continuing the art form today.  Studio MDHR - is an independent video game developer based in Oakville, Ontario, Canada. They created the Cuphead character, which Stephen made a print on.  Cuphead Skullman 8x15" Cal Carlisle -  an American printmaker based in Cleveland, Ohio, who has sold his original prints and worked for print designer Jed Henry. He was also my first interview on The Unfinished Print, found here. You can find more information about Cal's work, here.  © Popular Wheat Productions opening and closing musical credit - No Woman, No Cry by The Fugees from their 1996 album The Score. Released by Columbia Records.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***            

Ever wonder what goes into the daily routine of a professional sumo wrestler? What kind of toll do tournaments take on the body? Well you're in luck! The Krewe sits down with 3-time Grand Champion & 1st foreign-born sumotori to reach the rank of Ozeki... Konishiki Yasokichi. In a candid conversation, Konishiki shares his origin story and discusses the day-to-day regiment of sumotori, the tournament lifestyle, how the pandemic impacted the sport, & so much more! Don't miss out on this massive episode!Transition Sound Effects by Zapsplat------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts. Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram:@kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ More Info on Konishiki ------Konishiki NetSumo By Konishiki (Naro TV)Konishiki on YouTubeKonishiki ShopKonishiki's World (Facebook)Konishiki on TwitterKonishiki on Instagram

June 10th 2023 Dan talks about Champions League footy, comedy in Asakusa, Pokemon, and teaches a Japanese phrase for when you accidentally nut too fast. The Dan Wilson in Tokyo Podcast Your one-stop podcast for everything Japan and Japanese culture...kind of. Dan Wilson is an American living in Japan working in the entertainment industry as a Japanese comedian in the trio らびっとビーチ (Rabbit Beach) signed to Watanabe Entertainment DM/Email with questions about Japan for Dan to read on his podcast. Title it with The Dan Wilson in Tokyo Podcast. Also DM/Email with sponsorship ads or any other comments. ポッドキャストでダンに読んでほしい質問や悩みはDMかメールで タイトルはThe Dan Wilson in Tokyo Podcast (英語で頑張って) Instagram/Twitter/TikTok = @danielywilson Sponsors: sarvermovers.com/quote Promo Code- Danielsan for 5% off your move (512-596-9696). brakechimps.com (512-525-8950).

CY: IG @tokyostationpens TikTok: tokyostationpens https://tokyostationpens.com/ Esther: IG @esthermolinart IG @wanderlustbytsl https://wanderlustbytsl.com/ Japanese for Stationery Lovers: 消しゴム keshigomu (eraser) Nerikeshi (kneadable eraser) Stationery Events in Japan: Kamihaku in Asakusa, Tokyo https://kamihaku.jp/202303tokyo/ Hosted by Tegamisha @tegamisha Some artists participating at Tegamisha:  Eric Small Things @eric_smallthings Masao Takahata @takahatakun WHOSMiNG @whosming shunshun @shunshunten Bungujoshi Haku  https://bungujoshi.com/ TAG Stationery https://store.tagstationery.jp/en Mitsukoshi Stationery Fair at Nihonbashi, Tokyo Hosted by Stationery Station @stasstationerystation Some artists participating at the Mitsukoshi Stationery Fair:  Alisa & Akamegane @alisa.akamegane Glass Pens Clarto @clarto102 Dip Pen Drillog @drillog_japan Sailor Ink Koubo The Nib Shaper @thenibshaper Yamamoto Papers @yamamoto_paper Lauretts Traveler's Factory Nakameguro x The Superior Labor Event at Nakameguro Shops, brands & products: Traveler's Company The Superior Labor T.S.L Kurashiki Hobonichi Wanderlust by T.S.L Kutsuwa Magnetic Erasers Uniball Mini Pilot Kakuno Mentions: Makoto Kawai: @nap_village Miho san: @_miho_hashimoto_ Iijima san: @atsuhiko_iijima Khuê: @miraikat

“The bond between Nezuko and me can't be severed by anyone.”  With Season 3's Swordsmith Village Arc of Demon Slayer: Kimetsu no Yaiba right around the corner – it premieres April 9th – we are re-releasing a series of episodes from our sister series, The Weekly Stuff Podcast, in which Sean and Jonathan review all of ufotable's extraordinary anime adaptation of Kyoharu Gotouge's hit manga up to now. In this first episode, we break down the first season of Demon Slayer, episodes 1 through 26, now known as the Unwavering Resolve Arc. From Tanjiro discovering his family slain and sister Nezuko turned into a demon, to training with Urokadaki and taking on the Final Selection, to the adventures in Asakusa and at the Tsuzumi Mansion, to the incredible, instant-classic battle with Rui on Mount Natagumo, this is the season that started at all, and cemented ufotable's status as one of the most popular and beloved anime studios all around the world.  Come back next Friday for our review of Demon Slayer: Kimetsu no Yaiba The Movie: Mugen Train, and continue listening to Season 2 – ufotable/Moon Works – premiering every Tuesday night at 7pm CT on YouTube!    Time Chart: Theme Song: 0:00:00 – 0:01:14 Intro: 0:01:14 – 0:04:23 Eyecatch: 0:04:23 – 0:04:32 Season 1 Review: 0:04:32 – 3:04:43 End Credits: 3:04:43 – 3:05:58    Support the show at Ko-fi ☕️ https://ko-fi.com/weeklystuff   Subscribe to The Weekly Stuff Podcast on YouTube: https://www.youtube.com/c/TheWeeklyStuffPodcast   Visit our website and subscribe to Japanimation Station on all podcast platforms: http://japanimationstation.com/   Subscribe to The Weekly Stuff Podcast on all podcast platforms: http://www.weeklystuffpodcast.com   Follow The Weekly Stuff Wordcast newsletter for regular updates and extra content!  https://weeklystuff.substack.com   “Welcome to Japanimation Station!” Lyrics by Sean Chapman, Music by Thomas Lack, featuring Hatsune Miku. https://www.thomaslack.com

When studying mokuhanga, whether you're an academic, a creator, or for general interest, there are some scholars and academics that are mandatory in your studies.  Claire Cuccio is that particular scholar. Currently based in Seattle, and working in international education for 20 years, Claire has been a resident in Asia as an Asian print and handcraft culture specialist and cultural heritage educator. While also working for the International Mokuhanga Conference and conducting research on Nepalese woodblock print culture, Claire has been an asset to the mokuhanga community for some time.  On this episode I speak with Claire about how she got involved in studying print culture in Japan and Asia. We talk on the sensibility of mokuhanga and how Claire is driven by her personal relationships. We also discuss the economics of mokuhanga history and her work with Nepalese printmaker, Kabi Raj Lama.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Claire Cuccio  - her International Mokuhanga Conference lecture from 2022 can be found, here. Claire's work with woodpaperhand can be found here which contains links to many of her projects and lectures.  The New Yorker -  is a weekly magazine which began publishing in 1925 in the United States. It is published by Condé Nast. It is a magazine that covers American and world politics, culture, and arts from around the world, and New York City.  Washington University in St. Louis - is an acclaimed private research university located in St Louis, Missouri, USA. It has an edownment of 13.3 billion. The school covers many subjects and career paths such as medicine and law. More information can be found on their website, here. Myōjō - (明星) was a monthly literary and arts magazine based in Japan. It began publication in 1900 but ended its run in 1908.  It was published by Shinshisha. It was revived twice from 1921-1927, and from 1947-49 by different publishers. The magazine was made famous because of the first sōsaku hanga print ever made by Yamamoto Kanae, “The Fisherman.”  Myōjō cover from February, 1901 Harpers - is a monthly magazine in the United States, published by Harper Collins and was founded in 1850. The magazine covers politics, culture, art, history amongst other subjects. More info can be found, here. Yosano Akiko (1878-1942) - was the pen name of Shō Hō, a Japanese poet, pacifict and feminist. Her work was in the tanka format of poetry, which is 5-7-5-7-7. The Masterclass website has an interesting article describing tanka poetry, here. Tekkan Yosano (1873-1935)- was the husband of Yosano Akiko. He too was a poet and activist in early Twentieth Century Japan. As Claire mentions in her interview, Tekkan founded Myōjō in 1900.  sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Fujishima Takeji (1867-1943)  - was a Japanese painter. He studied Western painting (yōga) in the Romantic and impressionistic styles, but also painted Japanese themes. He made mokuhanga during the sōsaku hanga period of Japanese printing, carved and printed himself.  Dawn Drizzle at Kawaramachi (1934) Ishii Hakutei (1882-1958) - was a Japanese painter who studied Western style painting. He became editor of the first incarnation of Myōjō in 1900, helping to publish Kanae's “Fisherman” print. Hakutei is famous for his Twelve Views of Tōkyō prints which he printed himself.  Twelve Views of Tōkyō: Yanagibashi (1910) Kyoto Consortium for Japanese Studies (KCJS) - located on the campus at Doshisha University, the KCJS is a fully immersive langauge school both culturally and linguistically. It has 13 member universities from the United States. More info can be found, here. Henry Smith II - is a professor emeritus at Columbia University. The article he wrote about the hanmoto system and Watanabe Shōzaburō (1885-1962) can be found, here.  Rebecca Salter - is the President of The Royal Academy of Arts, in London, England. She is also an artist who has written two books about Japanese woodblock printing, Japanese Woodblock Printing (2001), and Japanese Popular Prints (2006). She worked with the Satō Woodblock Print Workshop, documenting their process. Her interview with The Unfinished Print can be found, here.  shadow cast one (2015) Satō woodblock workshop - is a traditional Japanese woodblock production house based in Kyōto, Japan. Here is an article from The Journal of Modern Craft with Rebecca Salter regarding this workshop.  International Society for Education Through Art (InSEA) - is a non governmental, associated with the United Nations, organization which tries to promote creative education around the world via events. They work with 70 countries from around the world. Find out more about what they do at their website, here. Moya Bligh (1954-2009) - was an Irish mokuhanga printmaker based in Kyoto. She lived in Japan for 30 years, having moved there permanently in the 1980's. A graduate of Tama Art University, Moya studied with Akira Kurosaki (1937-2019) and regularly conducted mokuhanga workshops in Ireland and Japan. Ms. Bligh's legacy in mokuhanga continues to this day. Beyond Wood 1 (2002) Kyoto Seika University - is a private university based in Kyōto, Japan. It is a university focused on art and scholarship. More info, here.  Elizabeth Forrest - is an award-winning Canadian artist and mokuhanga prinmaker. She has been producing mokuhanga since the late 1980's when she lived and studied in Kyōto. She has studied with the late Akira Kurosaki. More info about Elizabeth's work can be found, here.  Glancing North II (2009) Keiko Kadota (1942-2017) - was the director of Nagasawa Art Park at Awaji City from 1997-2011, and then of MI Lab at Lake Kawaguchi from 2011 until her passing. Uchiwa fans - are a craft style of hand held fan commonly seen in the summer time in Japan. There are several types of uchiwa fans, according to Kogei Japan. First, is Chinese inspired, second, is Southern inspired, and lastly, Korean inspired. Uchiwa fans are shaped like a ping pong paddle. There are various styles of fans in Japan. More info about uchiwa fans and others can be found here at Japanobjects.com. New Year Card - called nengajo (年賀状) in Japanese, these cards have been traditionally passed from person to person since the Heian Period (794-1185). Mokuhanga practitioners make them as well, creating a new one every year focusing on the zodiac sign of the year as a theme. Kyōto Handicraft Center - opened  in 1967, it is a center dedicated to the traditional crafts of Japan. Located near the Heian Shrine in central Kyōto they offer work shops, food, a restaurant, and a bookshop for national and international tourists. On their website in English you can order from their online shop, shipping internationally. More info, here.  Kamigata Ukiyo-e Museum - is mokuhanga museum in Ōsaka that focuses on ukiyo-e era woodblock prints of actors. It is made up of four floors with a rotating exhibition and demonstration space. It's near the Dōntombori, a canal which runs from the Dōtonbori Bridge to Nipponbashi Bridge. It is a tourist hotspot in Ōsaka. More info, in Japanese, here.  Terry McKenna - is a mokuhanga printmaker based in Karuizawa, Nagano, Japan. He studied under Kyōto-based mokuhanga artist Richard Steiner. Terry also runs his own mokuhanga school in Karuizawa. His interview with The Unfinished Print can be found, here. Richard Steiner's interview with The Unfinished Print can be found, here.  Beyond Raging Waves (2017) David Bull - is a Canadian woodblock printmaker, and educator who lives and works in Japan. His love of mokuhanga has almost singlehandedly promoted the art form around the world. His company, Mokuhankan, has a brick and mortar store in Asakusa, Tōkyō, and online, here.  The Seacoast in Summer (2007-9) Doi Hangaten -  is a mokuhanga print publisher located in Tōkyō, Japan. Once a publisher of prints associated with the shin-hanga movement of the ealry twentieth century, the company continues to publish reproductions of famous Japanese prints, in the old ways. Most recently, the Doi family have collaborated with David Bull and Mokuhankan to publish new verions of some of the old blocks from almost 100 years ago. More info about the Doi Hangaten can be found here, here and here. The collaboration videos produced by Mokuhankan regarding the Doi family and the subsequant collaboration can be found, here.      Matsushima (1936)   Was designed by Tsuchiya Koitsu (1870-1949), and printed by Mokuhankan with Shun Yamamoto, who is himself an accomplished printmaker.  The Adachi Institute of Woodblock Prints - is a print studio located in Tōkyō. Established in 1994 in order to promote and preserve the colour woodblock print of Japan. More information, in English and in Japanese.  Narita, Chiba, Japan - is a city located roughly 70km from the city of Tōkyō. Known predominantly as the home to Narita International Airport. The city and its environs have a long and rich history unto itself. For tourist information,  here. For the history of protest in the area, here. Andy Warhol (1928-1987) was an influential artist and filmmaker who ushered in the genre of art, considered as "pop art."     Sunset Series (1972) screen-print   Kabi Raj Lama  - is a Nepalese printmaker based in Kathmandu, Nepal. He has lived and worked in Japan studying mokuhanga, has travelled the world involved in art residences, studying printmaking. Lama works in intaglio, screen-printing, lithography, and mokuhanga. See Claire's above video from the IMC about Kabi Raj Lama's life and history. HIs Instagram can be found, here.     Kabiraj 5 (2017)   The Kentler International Drawing Space - is an art gallery located in Red Hook, Brooklyn, New York. It has hosted several mokuhanga centred exhibitions. The most recent was Between Worlds as hosted by The Mokuhanga Sisters, from July 17 - July 31, 2022. More info, here.    The Mokuhanga Sisters - are a mokuhanga collective consisting of Yoonmi Nam, Mariko Jesse, Lucy May Schofield, Melissa Schulenberg, Kate MacDonagh, Katie Baldwin, Mia-O, Patty Hudak, and Natasha Norman. website,  Instagram   Between Worlds - was a mokuhanga specific show hosted by the Kentler International Drawing Space from July 17 - July 31, 2022.    Books Kinokuniya - is a Japanese chain of bookstores located throughout every Prefecture in Japan and around the world. More info, here.    Peter Ujlaki - is a gallerist and scholar based in Ashiya, Hyōgō, Japan. His website Osakaprints.com has been an asset when researching and discussing prints from the Kamigata (Kansai) region of Japan. His website buys and sells prints from the above region of Kyoto, Ōsaka, and Kobe. The history of woodblock prints from this region is different than of Tōkyō. You can find Peter's wesbite, here.   senjafuda - are the votive slips Claire brings up in her interview. These were hand printed slips pasted by the worshipper onto the Buddhist temple of their choosing. These slips had many different subjects such as ghosts, Buddhist deities, and written characters. Japan Experience has bit of history of senjafuda, here.   The Bai people - are an ethnic group located in Yunnan, Guizhou, and Hunan Provinces of China. The Bai people have unique festivals, foods, and architecture.    Nishiki-e (錦絵) - is the Japanese phrase for multi-colour woodblock prints, otherwise known as brocade pictures.    Sea of Japan - is a body of water which lies beteween Japan, the two Koreas, and Russia. It is predominantly referred to as the Sea of Japan but is also known as the East Sea or Korean East Sea. The dispute of naming rights is on going.    International Mokuhanga Conference - is a bi-yearly conference dedicated to mokuhanga which started in 2011 by the International Mokuhanga Association. Each conference is themed. The latest conference was in 2021, delayed a year because of the pandemic. More information can be found, here.     Tuula Moilanen - is a Finnish mokuhanga printmaker and painter based in Finland. She lived and studied in Kyōto from 1989-2012,  where she learned her printmaking at Kyōto Seika University and from printmaker Akira Kurosaki (1937-2019). Her work can be found, here.   Return To Home (2014)   geidai (芸大) -  is the Japanese word for “arts college.”    Lauren Pearlman Sugita - is the owner and operator of the Japanese paper educator and supplier, Paper Connection. Based in Rhode Island, USA, Paper Connection has been supplying artists and educators with paper from many countries for over thirty years. More info can be found, here.  Echizen - is a region in Fukui Prefecture, Japan associated with Japanese paper making. It has a long history of paper making. There are many paper artisans in the area. One famous paper maker is Iwano Ichibei. He is a Living National Treasure in paper making, and the ninth generation of his family is still making paper today. More info can be found here in English, and here in Japanese.  hosho paper - is a handmade and machine made paper from Japan used for printmaking. Some information can be found here. Ibe Kyoko -  is a Japanese artist who works with washi, Japanese paper. She produces installations, prints, stage art, and Japanese folding screens (byōbu). You can find more information about her work on her website, here. An interview with the artist can be found here, at the Noyes Museum of Art in Stockton.   Recycling Washi Tales - is a performance piece by Kyoko Ibe and playwright Elise Thoron,  made about Japanese paper making and with washi. It is four stories, narrated,  taking the observer through different parts of Japanese paper history. More info can be found here on PBS.    Vietnamese paper (dó) - a great video from Business Insider,  here, about the history and modern production of Vietnamese paper in Bac Ninh Province, Vietnam. Vietnamese paper goes as far back as the 13th Century with book making and folk art. Information regarding the Zó Project, a non profit for preserving traditional Vietnamese paper, mentioned in the video can be found, here.   BlueCat Paper -  is a paper company based in Bangalore, India. They make various handmade paper in India, different shapes and colours. They upcycle their paper, meaning that everything is reused in the making of their paper. More info can be found, here.   handmade paper from Laos - South East Asia has had a tradition of papermaking for 700 years. Laotian paper is made of mulberry. More info can be found, here   handmade paper from Bhutan -  Bhutan has a history of handmade paper using the Daphne plant. Stemming from the eighth century, papermaking in Bhutan is made throughout the country. In 1990 the Bhutanese Travel and Tourist Agency wanted to preserve Bhutanese handmade paper. They sent Norbu Tenzin to learn papermaking in Shimane Prefecture, Japan. More info can be found at thre North Bengal Tourism site, here.   Lokta paper - is a Nepalese paper which also uses the bark of the Daphne tree. It is usually sold with various prints and designs.  More info can be found at Paper Connection, here.   © Popular Wheat Productions opening and closing musical credit - Stakes Is High, the instrumental by James Dewitt Yancey [J Dilla] (1974-2006). This beat was used by De La Soul, and released on the record Stakes Is High (1996) released by Tommy Boy Records. RIP David Jude Jolicoeur [Trugoy the Dove] (1968-2023) logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***