Podcasts about french japanese

Passover and Easter are here — and we have food ideas for both holidays. Hèléne Jawhara Piñer unravels the thread connecting the Spanish Inquisition to modern Jewish food practices In a new memoir, Joan Nathan reflects on her life through the lens of food Jeff Chu abandoned his career as a journalist to work the land and attend seminary, tilling up life lessons as well as a sense of calm Great British Bake Off alum Giuseppe dell-Anno celebrates a sweet Easter with Italian desserts Chef Nestor Silva plucks leaves from the fava plant for a new dish at French Japanese bistro Camélia You can listen to every Good Food episode here. And don't forget to sign up for our newsletter.

In questo secondo episodio speciale, vedremo come l'Impero nipponico, per la prima volta dopo la modernizzazione, abbia gettato uno sguardo oltre i propri confini. Per ottenere il predominio in Asia Orientale ed essere trattato alla pari dalle potenze occidentali, il Giappone dovrà confrontarsi militarmente con la Cina.Seguimi su Instagram: @laguerragrande_podcastSe vuoi contribuire con una donazione sul conto PayPal: podcastlaguerragrande@gmail.comScritto e condotto da Andrea BassoMontaggio e audio: Andrea BassoFonti dell'episodio:Michael R. Auslin, Toshihiko Kishi, Hanae Kurihara Kramer, Scott Kramer, Barak Kushner, Olivia Morello, Kaoru (Kay) Ueda, Fanning the Flames: Propaganda in Modern Japan, 2021 Rosa Caroli, Francesco Gatti, Storia del Giappone, Laterza, 2007 Chonin, Encyclopaedia Britannica L. M. Cullen, A History of Japan, 1582–1941: Internal and External Worlds, Cambridge University Press, 2003 Giuliano Da Frè, Storia delle battaglie sul mare, Odoya, 2014 John W. Dower, War Without Mercy: Race and Power in the Pacific War, Pantheon, 1986 Peter Duus, Modern Japan, Houghton Mifflin, 1998 Peter Duus, The Abacus and the Sword: The Japanese Penetration of Korea, University of California Press, 1998 Bruce Elleman, Modern Chinese Warfare, 1795–1989, Routledge, 2001 Gabriele Esposito, Japanese Armies 1868–1877: The Boshin War and Satsuma Rebellion, Osprey Publishing, 2020 David Evans, Mark Peattie, Kaigun: strategy, tactics, and technology in the Imperial Japanese Navy, 1887–1941, Naval Institute Press, 1997 Allen Fung, Testing the Self-Strengthening: The Chinese Army in the Sino-Japanese War of 1894–1895, Modern Asian Studies 30, 1996 Hane Mikiso, Modern Japan: A Historical Survey Sue Henny, Jean-Pierre Lehmann, Themes and Theories in Modern Japanese History: Essays in Memory of Richard Storry, A&C Black, 2013 James Huffman, Modern Japan: An Encyclopedia of History, Culture, and Nationalism, Garland Reference Library of the Humanities, Routledge, 1997 Marius Jansen, The Making of Modern Japan, Harvard University Press, 2002 Kim Jinwung, A History of Korea: From "Land of the Morning Calm" to States in Conflict, Indiana University Press, 2012 Philip Jowett, China's Wars: Rousing the Dragon 1894–1949, Bloomsbury Publishing, 2013 Donald Keene, Emperor of Japan: Meiji and His World, 1852-1912, Columbia University Press, 2002 Liu Kwang-Ching, The Cambridge History of China, Late Ch'ing, 1800–1911, Cambridge University Press, 1978 James McClain, Japan, a modern history, Norton, 2001 Naotaka Hirota, Steam Locomotives of Japan, Kodansha International Ltd, 1972 Piotr Olender, Sino-Japanese Naval War 1894–1895, MMPBooks, 2014 Christopher Paik, Abbey Steele, Seiki Tanaka, Constraining the Samurai: Rebellion and Taxation in Early Modern Japan, International Studies Quarterly 61, 2017 Sarah Paine, The Sino-Japanese War of 1894–1895: Perceptions, Power, and Primacy. Cambridge University Press, 2003 Pebrina, Treccani Christian Polak, Silk and Light: 100-year history of unconscious French-Japanese cultural exchange (Edo Period – 1950), Hachette, 2001 Richard Ponsonby-Fane, Kyoto: the Old Capital of Japan, 794–1869, 1956 Mark Ravina, To Stand with the Nations of the World: Japan's Meiji Restoration in World History, Oxford University Press, 2017 Edwin Reischauer, Storia del Giappone, Bompiani, 2013 Chris Rowthorn, Giappone, EDT, 2008 Michael Seth, A History of Korea: From Antiquity to the Present, Rowman & Littlefield Publishers, 2010 John Sewall, The Logbook of the Captain's Clerk: Adventures in the China Seas, Chas H. Glass & Co., 1905 Lawrence Sondhaus, Naval Warfare, 1815–1914, Routledge, 2001 Henry Van Straelen, Yoshida Shoin Forerunner Of The Meiji Restoration, Brill, 1952 Conrad D. Totman, Japan before Perry: a short history, University of California Press, 1981 Trudy Ring, Robert M. Salkin, Paul E. Schellinger, Sharon La Boda, Noelle Watson, Christopher Hudson, Adele Hast, International Dictionary of Historic Places: Asia and Oceania, Taylor & Francis, 1994 Jacopo Turco, Come ha fatto il Giappone a diventare così ricco?, Nova Lectio, 2024 Howard Van Zandt, Pioneer American Merchants in Japan, Tuttle Publishing, 1984 Arthur Walworth, Black Ships Off Japan: The Story of Commodore Perry's Expedition, Read Books, 2008In copertina: Nessun nemico resiste dove noi ci rechiamo: la resa di Pyongyang, stampa di  Migita Toshihide, 1894, Metropolitan Museum of ArtIshikari Lore di Kevin MacLeod è un brano concesso in uso tramite licenza Creative Commons Attribution 4.0. https://creativecommons.org/licenses/by/4.0/Fonte: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100192Artista: http://incompetech.com/

Send us a textJim and Steve review the first episode of the series, La Grand Maison Tokyo. Do you often think, I'm just not getting better at something so I should quit? But, you still want a prestigious award for that skill you just quit. Well then, you may enjoy this French-Japanese cooking show mash-up. It also has a fun soap opera kinda vibe...there's a lot going on. Keep watching the shows!

Il Giappone rappresenta un esempio unico di come un paese possa modernizzarsi in un lasso di tempo estremamente breve e senza grandi sconvolgimenti all'interno della propria società. In questo primo episodio speciale, vediamo quali sfide il paese del Sol Levante abbia dovuto affrontare a partire dal XIX secolo, a causa della penetrazione delle potenze occidentali.Seguimi su Instagram: @laguerragrande_podcastSe vuoi contribuire con una donazione sul conto PayPal: podcastlaguerragrande@gmail.comScritto e condotto da Andrea BassoMontaggio e audio: Andrea BassoFonti dell'episodio:Michael R. Auslin, Toshihiko Kishi, Hanae Kurihara Kramer, Scott Kramer, Barak Kushner, Olivia Morello, Kaoru (Kay) Ueda, Fanning the Flames: Propaganda in Modern Japan, 2021 Rosa Caroli, Francesco Gatti, Storia del Giappone, Laterza, 2007 Chonin, Encyclopaedia Britannica L. M. Cullen, A History of Japan, 1582–1941: Internal and External Worlds, Cambridge University Press, 2003 Giuliano Da Frè, Storia delle battaglie sul mare, Odoya, 2014 John W. Dower, War Without Mercy: Race and Power in the Pacific War, Pantheon, 1986 Peter Duus, Modern Japan, Houghton Mifflin, 1998 Peter Duus, The Abacus and the Sword: The Japanese Penetration of Korea, University of California Press, 1998 Bruce Elleman, Modern Chinese Warfare, 1795–1989, Routledge, 2001 Gabriele Esposito, Japanese Armies 1868–1877: The Boshin War and Satsuma Rebellion, Osprey Publishing, 2020 David Evans, Mark Peattie, Kaigun: strategy, tactics, and technology in the Imperial Japanese Navy, 1887–1941, Naval Institute Press, 1997 Allen Fung, Testing the Self-Strengthening: The Chinese Army in the Sino-Japanese War of 1894–1895, Modern Asian Studies 30, 1996 Hane Mikiso, Modern Japan: A Historical Survey Sue Henny, Jean-Pierre Lehmann, Themes and Theories in Modern Japanese History: Essays in Memory of Richard Storry, A&C Black, 2013 James Huffman, Modern Japan: An Encyclopedia of History, Culture, and Nationalism, Garland Reference Library of the Humanities, Routledge, 1997 Marius Jansen, The Making of Modern Japan, Harvard University Press, 2002 Kim Jinwung, A History of Korea: From "Land of the Morning Calm" to States in Conflict, Indiana University Press, 2012 Philip Jowett, China's Wars: Rousing the Dragon 1894–1949, Bloomsbury Publishing, 2013 Donald Keene, Emperor of Japan: Meiji and His World, 1852-1912, Columbia University Press, 2002 Liu Kwang-Ching, The Cambridge History of China, Late Ch'ing, 1800–1911, Cambridge University Press, 1978 James McClain, Japan, a modern history, Norton, 2001 Naotaka Hirota, Steam Locomotives of Japan, Kodansha International Ltd, 1972 Piotr Olender, Sino-Japanese Naval War 1894–1895, MMPBooks, 2014 Christopher Paik, Abbey Steele, Seiki Tanaka, Constraining the Samurai: Rebellion and Taxation in Early Modern Japan, International Studies Quarterly 61, 2017 Sarah Paine, The Sino-Japanese War of 1894–1895: Perceptions, Power, and Primacy. Cambridge University Press, 2003 Pebrina, Treccani Christian Polak, Silk and Light: 100-year history of unconscious French-Japanese cultural exchange (Edo Period – 1950), Hachette, 2001 Richard Ponsonby-Fane, Kyoto: the Old Capital of Japan, 794–1869, 1956 Mark Ravina, To Stand with the Nations of the World: Japan's Meiji Restoration in World History, Oxford University Press, 2017 Edwin Reischauer, Storia del Giappone, Bompiani, 2013 Chris Rowthorn, Giappone, EDT, 2008 Michael Seth, A History of Korea: From Antiquity to the Present, Rowman & Littlefield Publishers, 2010 John Sewall, The Logbook of the Captain's Clerk: Adventures in the China Seas, Chas H. Glass & Co., 1905 Lawrence Sondhaus, Naval Warfare, 1815–1914, Routledge, 2001 Henry Van Straelen, Yoshida Shoin Forerunner Of The Meiji Restoration, Brill, 1952 Conrad D. Totman, Japan before Perry: a short history, University of California Press, 1981 Trudy Ring, Robert M. Salkin, Paul E. Schellinger, Sharon La Boda, Noelle Watson, Christopher Hudson, Adele Hast, International Dictionary of Historic Places: Asia and Oceania, Taylor & Francis, 1994 Jacopo Turco, Come ha fatto il Giappone a diventare così ricco?, Nova Lectio, 2024 Howard Van Zandt, Pioneer American Merchants in Japan, Tuttle Publishing, 1984 Arthur Walworth, Black Ships Off Japan: The Story of Commodore Perry's Expedition, Read Books, 2008In copertina: suonatrici tradizionali, fotografia di Felice Beato, anni '60 del XIX secolo, colorizzata a mano.

Rising tensions in the Middle East are adding new global economic uncertainties. The pound, while recovering slightly on Friday, remained set for its worst week in more than a year - as oil heads for the biggest weekly price increase since 2023.It came as Israel intensified strikes on Lebanon following Iran's missile barrage and ongoing Hezbollah rocket attacks. The Standard podcast is joined by Dr James Meadway, economist at the Progressive Economy Forum, to examine the financial forecast.In part two, hear some of the soundscapes visitors to a high-tech immersive art installation at Lumen Studios close to Tower Bridge can experience.Spanning over 1,000 square metres, the ticketed Eclipse show by French-Japanese visual art duo Nonotak explore the boundary between art and technology as visitors step into a show filled with darkness, light beams and sound. Jen Roebuck, chief executive of Bermondsey's Lumen Studios, discusses the installation and our growing appetite for IRL immersive art. Hosted on Acast. See acast.com/privacy for more information.

Camille is Sentosa's premier French-Japanese restaurant, located in the charming 1-Flowerhill establishment. Named after Claude Monet's lover and muse, Camille offers a unique and romantic dining experience that beautifully blends French elegance with Japanese simplicity. On Culture Club, Hongbin Jeong and Roshan Gidwani speaks to Lamley Chua, Executive Chef - Head of Asian Cuisine Development, 1-Group, to share more. Presented by: Hongbin Jeong and Roshan Gidwani Produced and Edited by: Alexandra Parada (alexparada@sph.com.sg) and Aaron Lam Want to get featured on our show? Drop me an email today!See omnystudio.com/listener for privacy information.

Today's podcast is a restaurant review of Bansho, a French-Japanese restaurant in Melbourne's Armadale. Sitting in a horseshoe booth in a sleek, moody dining room, the microphone sneaks out course by course. https://www.banshodining.com/ Read Dani's Good Weekend review here https://www.theage.com.au/goodfood/melbourne-eating-out/a-little-japanese-a-little-french-but-a-lot-to-love-at-this-armadale-passion-project-20240502-p5foi2.html Follow Dirty Linen on Instagram https://www.instagram.com/dirtylinenpodcast Follow Dani Valent https://www.instagram.com/danivalent Follow Rob Locke (Executive Producer) https://www.instagram.com/foodwinedine/ Follow Huck (Executive Producer) https://www.instagram.com/huckstergram/ LISTEN TO OUR OTHER FOOD PODCASTS https://linktr.ee/DeepintheWeedsNetwork SUBSCRIBE TO OUR NEWSLETTER https://deepintheweeds.us6.list-manage.com/subscribe?u=d33e307cf7100cf947e2e6973&id=d17d8213f5 Dirty Linen is a food podcast hosted by Australian journalist Dani Valent. A respected restaurant critic and food industry reporter in her home town of Melbourne, Dani is a keen, compassionate observer of restaurants and the people who bring them into being. Whether it's owners, waiters, dishwashers, chefs or members of ancillary trades from tech to pottery, Dani interviews with compassion, humour and courage. Dirty Linen goes deep, both in conversations with individuals and in investigating pressing issues.  Dirty Linen is an Australian food podcast produced by the Deep in the Weeds Podcast Network.

Atsushi Tanaka is the chef of restaurant A.T in Paris. He was born in Japan and grew up in Kobe. As child, his interest for cooking started after he watched the Iron Chef tv show, and at 16, he decided to become a chef after reading the avant garde cookbook of French chef Pierre Gagnaire. He worked in Tokyo, Paris, Spain, Copenhagen and Stockholm, and ten years ago opened his own restaurant, A.T, in Paris. In his podcast, he will talk about the similarities between the Japanese and French cuisines and which restaurant destinations he loves the most. The recommendations mentioned in this podcast and thousands more are available for free in the World of Mouth app: https://www.worldofmouth.app/ Hosted on Acast. See acast.com/privacy for more information.

We're Getting Candid with Soran about his mission to make music that his late mother would have loved, how he deep dives on the intricacies of different genres to learn the techniques of music creation, and why he has never listened to an entire album in his life. Soran is a Montreal based French-Japanese singer-songwriter & producer. He's back with hypnotic, groove-laden lead single ‘Diamond', the first look at his upcoming album, set to be released in 2024. Learn more about your ad choices. Visit megaphone.fm/adchoices

a couple of live dogs doing… whatever it is they do in this movie. In 2001, Luc Besson, having conquered the known universe of Eurotainment, turned his eye to the last uncracked nut: the French-Japanese procedural family comedy “what if Chunking Express went insane” co-production. In everyone's movie library, there's one that we foist on others in order to initiate them into the circle of cursed viewership. Wasabi is Adam's cursed movie. Aidan has seen it, and now, he will never be the same. Find us on your podcast of choice or listen below!

Fancy having some French cuisine at a fraction of its usual cost? Nice Rice is a stall that sells French-Japanese rice bowls located at a coffee shop on Telok Ayer Street. Shawnrick Hu gives us his review on the food stall and what to order there. See omnystudio.com/listener for privacy information.

From his bilingual experience (French-Japanese) as a kid in France to learning other languages as an adult and much more, today I welcome Bong to the show❗ Welcome to a new episode of my "Language Input" podcast, and the latest of many interviews to help you understand that YOU TOO can learn ANY LANGUAGE while enjoying the process. Follow me on all my social media for new daily content related to language learning, especially if you're looking to learn my native language Spanish. 🎬 Youtube: https://www.youtube.com/channel/UC5VQO82Gf2c-bmiTPI2h7fA 💻Twitch: https://www.twitch.tv/spanishnaturalanguages 📹 Instagram: https://www.instagram.com/spanishnaturalanguages/ 📱 Tik Tok: https://www.tiktok.com/@naturalanguagesspanish ✍️Twitter: https://twitter.com/NaturaLanguages

Automakers Renault and Nissan formalized their reboot of a relationship that had grown rocky, culminating in the spectacular fall of top executive Carlos Ghosn, who had led successful turnarounds at both companies before his arrest and daring escape. The boards of both companies approved equalizing the stake each automaker holds in the other to 15%, bringing a better balance in the French-Japanese alliance, which also includes smaller Japanese carmaker Mitsubishi Motors Corp. The uneven shareholdings had been viewed at times as a source of conflict. Until now, Renault Group of France owned 43.4% of Nissan Motor Co., while the Japanese automaker owned 15% of Renault. “We have been waiting a long time for this moment,” Renault board Chairman Jean-Dominique Senard said at a news conference in London, calling it a “new era." The long-speculated changes to the carmaker alliance were announced in January. Shares equivalent to a 28.4% stake will be transferred to a French trust, according to the companies. Renault, whose top shareholder is the French government, and Nissan agreed on an orderly sale of that stake, although there will be no deadline. Nissan Chief Executive Makoto Uchida vowed to take the alliance to “the next level of transformation” to adapt to a new era. “This is not a choice but a need,” he said. In theory, partnerships are a good way for automakers to cut costs by sharing parts, production and technology, especially when the industry is going through such dramatic change with EVs. That also means that, once formed, ending an alliance can be difficult because the companies' development, manufacturing and products get so closely tied together. Still, partnerships can stumble because of the different corporate cultures of the automakers, especially when it involves a meeting of the West and East. This article was provided by The Associated Press.

Welcome Back to the Great Derelict This week Andy is joined by Anne-Marie and Zarich to take a look at the French/Japanese re-imagining of the Greek Epic Poem, Ulysses 31 (Or Ulysse 31 in its original French) We look back fondly at this oh so rare 1980's cartoon that wasn't trying to sell us toys! And if you haven't seen it before, you can watch it all right now on Youtube https://www.youtube.com/playlist?list=PLYPFJYTtiTzYkprQK51NpV9skegBtvJUd You can find more from Peter and Ann-Marie on the Borgcast https://borgcast.libsyn.com/ and Borgcast Galactica and now Borg Rogers at http://galactica.libsyn.com/ Ann-Marie on Twitter https://twitter.com/bOrgCastAMO You can hear more from Zarich on her own Podcast the Realm of Nerdgard which you can find here: https://nerdgard.libsyn.com/ And you can find more of Andy on Twitter - https://twitter.com/Andy3E and his other casts over at Rogue Two Media - http://www.roguetwomedia.com/ - https://twitter.com/GreatDerelict - https://www.facebook.com/groups/GreatDerelict/

In today's episode, I talk to Honolulu native, Chef Chris Kajioka. His French-Japanese inspired restaurant Miro Kaimuki and his more casual concept Papa Kurt's have quickly become popular local institutions in Hawaii.  You'll hear him share his passion for Japan, his experience attending the Culinary Institute of America in Hyde Park, and what it was like coming up next to some of the greatest chefs in the business. He shares his unique Japanese-Hawaiian culinary influences and reveals his favorite food spots in Honolulu. What we learned from chef Chris Kajioka Where the name Miro Kaimuki originated (3:11) The concept behind the menu (4:49) His experience in culinary school (5:56) Why the discipline at CIA was good for him (7:37) Why he prefers to hire cooks with no experience (9:03) What it's like to work with Thomas Keller (10:57) The important role Roy Yamaguchi played in his career (13:22) The city he can't stop returning to (18:08) The Japanese influences in his food (18:28) The flavors he's infusing with his Dashi (19:39) Why the menu at Miro is vague (21:51) Where to find the “best” bread in the country (22:55) A peek into his creative process (24:14) What makes Hawaiian food stand out (25:55) Why ingredients matter (26:47) Why technique wins over creativity (27:20) The list that shaped his career (30:29) What longevity can teach you (31:26) The challenges he faced during the pandemic (33:33) Where the name Papa Kurt's comes from (35:33) The secret ingredient that gives their mayo a punch of flavor (38:05) A restaurant tour of Honolulu (38:58) His kitchen pet peeve (43:24) A goal he's aiming for one day (44:08) Series of rapid-fire questions. Link to the podcast episode on Apple Podcast  Links to other episodes in Hawaii Interview with chef Sheldon Simeon Conversation with chef Roy Yamaguchi Conversation with chef Jean-Marie Josselin in Kauai #gallery-1 { margin: auto; } #gallery-1 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 25%; } #gallery-1 img { border: 2px solid #cfcfcf; } #gallery-1 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */ Ahi Brioche/ Taro Paillasson with aged maple, Kaluga caviar by chef Chris Kajioka Kusshi Oyster, seaweed mignonette by chef Chris Kajioka Panisse Spanish octopus. saffron. by chef Chris Kajioka Butternut squash. black sesame. urfa. golden raisin, and sourdough. salted butter. “za'atar” at Miro Click to tweet The older I get, the more I'm inspired by Japan. I'm Japanese and I've been traveling there now off and on for about eight years, pretty religiously.
 Click To Tweet I always think that the only time that you really grow is when you're uncomfortable.
 Click To Tweet I hire on attitude. And that's pretty much it. We can teach people the basics, we can teach them skills. You can't teach a good attitude.
 Click To Tweet The way we print our menu is very vague. Normally we just state a protein and a few flavor profiles. It doesn't lock us into a specific ingredient necessarily. If a farmer grows only so much, then that's what we'll use, and then we'll change it. That flexibility is really what has made the restaurant a little bit more dynamic.
 Click To Tweet If you don't start with good ingredients, no matter what you do to it, it's not going to work out.
 Click To Tweet This generation wants instant gratification. They want to work in five different places in five years, and then open their own restaurant when they're 26. You're building a resume, but you're not really becoming a good cook. Click To Tweet Social media Chef Chris Kajioka Instagram Facebook

Hello Language Lovers! Thank you for joining me for this episode of Speaking Tongues- the podcast in conversation with multilinguals. I'm so happy to have this conversation with my guest this week, Danielle , the host of Young, Gifted and Abroad podcast about her languages of French and Japanese. In this episode, Danielle talks about how her interest in Japanese and French grew starting from the classroom through Anime theme songs and French language cartoons. She tells us how she went to college intending on having a study abroad experience and ended up at an immersive program in Japan one year and in another year at a summer internship in Paris. We talk about what the immersive language experience is like and how being in this situation can be both humbling and emboldening. Danielle talks to us about how she is able to maintain a connection with French and Japanese while here living in the US and we talk about being black language learners and how an Afro Japanese singer had an impact on her wanting to learn Japanese. Big thank you to Danielle for sharing your language journey with us and if you're interested in a study abroad experience, please be sure to listen to the Young, Gifted & Abroad podcast for inspiration! If you enjoy this episode of Speaking Tongues, don't forget to subscribe, rate and review the Speaking Tongues Podcast on Apple Podcasts or like and subscribe on YouTube so that other language lovers like ourselves can find the show! And, If you've been a long time listener of the show or a recent listener, you can now support the show on Buy Me a Coffee dot com. Links to all platforms are in the show notes! Ok! let's chat! To Listen to Young, Gifted & Abroad wherever you get your podcasts Soundcloud: https://soundcloud.com/younggiftedandabroad Website: https://www.younggiftedandabroad.com/ IG: https://www.instagram.com/younggiftedandabroad/ Facebook: https://www.facebook.com/younggiftedandabroad/ Twitter:https://twitter.com/ygabroad -----> Speaking Tongues listeners receive a special 10% off all languages with our friends at NaTakallam! NaTakallam pairs displaced people with learners worldwide for online language learning & cultural exchange. With NaTakallam, you can support these individuals & their host communities by working with them as online tutors, teachers, translators, & cultural exchange partners – regardless of their location & status. Use the code SPEAKING10 at www.natakallam.com to redeem your discount. NaTakallam -- Learn a Language, Make a Friend, Change a Life. Speaking Tongues Podcast: Follow on IG: @speakingtonguespod Follow on Twitter: @stpodcasthost Like our Facebook Page: @speakingtonguespod Subscribe on YouTube: https://www.youtube.com/channel/UCJFOPq3j7wGteY-PjcZaMxg Did you enjoy this episode? Support Speaking Tongues on Buy me a Coffee: https://www.buymeacoffee.com/speakingtongues --- Send in a voice message: https://anchor.fm/speaking-tongues/message

Host Anne Lee sits down with Executive Chef and culinary visionary behind Mugen at Espacio, Chef Jason Yamaguchi. Fueled by a deep desire to create a culinary experience unlike anything previously found in Hawaii, he helped establish Mugen, presenting thoughtfully prepared dishes using only high-quality locally and globally sourced ingredients. Then, Anne heads over to Hawaii's premier rooftop destination, SKY Waikiki Raw & Bar to enjoy a special meal with CEO & Co-Owner, Hide Sakurai. Located in the heart of Waikiki, their wrap-around rooftop deck features stunning panoramic views of Diamond Head, Waikiki Beach, and the city lights glittering 19 stories below. Mugen is a French-Japanese dining concept that is elevating Hawaii's status as a destination for culinary travel. Executive Chef Jason Yamaguchi assembled one of the strongest restaurant teams found on the island to create an intimate and unforgettable experience filled with personal touches and memorable interactions with its chef. With Mugen's open-kitchen concept, Chef Jason invites guests to interact and watch him and his team work their magic in the kitchen. He returns to Hawaii after 22 years spent on the continental United States feeding his love for cooking alongside culinary greats such as Joachim Splichal, Michael Mina and Chris Garnier. Most recently, he was the lead chef at Driftwood Kitchen in Laguna Beach, California, where he elevated the restaurant's ocean-to-table experience. Hide Sakurai recently acquired SKY Waikiki and reinvented the restaurant's concept to SKY Waikiki Raw & Bar featuring a unique combination of fresh seafood, refreshing champagne, handcrafted cocktails and Aloha. As Hawaii's premier rooftop destination, you cannot beat their stunning panoramic views of Waikiki. Hide is a well-known Hawaii based Restaurateur, Chef and Entrepreneur. He is the brainchild and founder of a number of restaurants in Hawaii, including his flagship Shokudo Japanese and Buho Cocina y Cantina. In 2016, he was awarded 1st Restaurateur of the Year by Honolulu Magazine and in 2017 became the Vice Chairman of Hawaii Restaurant Association. He also owns a consulting and marketing firm to support other businesses especially in Hawaii, the mainland U.S. and Japan. To find out more information on these local chefs, restaurants, and recipes visit wherehawaiieats.com For more videos like this, stay tuned! Be sure to subscribe to our channel and click the bell icon so you will always be alerted of new videos. Where Hawaii Eats supports our local restaurant industry and features all the best food destinations Hawaii has to offer!

We watched the French-Japanese animated series Oban Star-Racers, about a girl who tries to reconnect with her absent father after he left her behind for his career managing starship races. He's been approached by a cosmic entity to represent Earth in a race where the winner will be safe from impending galactic attack. His daughter, too scared to reveal herself as the forgotten child and pretending to just be an unrelated aspiring racer, is swept along to become part of the crew.    We talk about podracing, nobody having a nose at any angle, how the only girl on the team is of course underestimated just because she's a girl, and whether or not an elevator is considered "transportation."     Jams: @JamsWilk Melissa: @WilkyWit Questions or Suggestions: Email us!: SaturdayMOpod@gmail.com DM us!: @SaturdayMOpod

In the seedy underbelly of Dark Meat City, Patrick discovers an alien plot to dub the French/Japanese co-production M*F*K*Z into English and must enlist the help of Amon and Noah in order to expose it. Can our plucky heroes get the word out in time? Just what are these alien creatures? Is this dub worthy of the title of luchadore, or is it just roach food? How is Vinz able to survive with his head on fire? Find out tonight! ...except maybe the part about Vinz. That one's got us stumped too. AUDIO PLATFORMS: Spotify: https://open.spotify.com/show/47LMCAgEW0BAOy9BnKYmLv Apple Podcast: https://podcasts.apple.com/ca/podcast/dub-talk/id1514880122 Like what we do? Support us on Patreon! https://www.patreon.com/dubtalkpodcast Or consider buying us a Ko-fi! https://ko-fi.com/dubtalk DUB TALK SOCIAL MEDIA Twitter: @DubTalkPodcast Instagram: @dubtalkpodcast Twitch: dubtalkpodcast Tumblr: dubtalkpodcast Host: @rootsofjustice Panelists: @AmonduulUS @NoahClue Episode Editor: @AmonduulUS (Audio) @rootsofjustice (video) @NoahClue (Disclaimer) Music: "Grave of Broken Dreams" by Mat Bastard "Acelera" by Angel Miro Romero "Que No Sie Tiren" by Hector Luis Delgado Selections from the M*F*K*Z OST by Guillaume Houze and The Toxic Avenger

Watch the SUNDANCE SELECTED short film here: https://www.nytimes.com/video/opinion/100000007247238/tears-teacher.html TEARS TEACHER "Yoshida is a self-proclaimed 'tears teacher': he makes people weep." The documentary “Tears Teacher” screened at Sundance and Hot Docs, and was acquired by the New York Times. It was featured on The Japan Times, Thrillist, etc and has already played in more than 25 festivals. Writer/Director NOEMIE NAKAI - Twitter: @NoemieNakai - https://www.instagram.com/noemienakai/ - https://noemienakai.com/ Noemie is a Japanese and French writer/director, whose short films were shown in numerous festivals worldwide - Sundance, Hot Docs, Short Shorts Asia, Exit6... - and were acquired by The New York Times and Film Movement for distribution. She has been selected for the Sundance / NHK lab, the Berlinale-ran Talents Tokyo and the BFI x BAFTA crew programs. Her feature in development received the main award at Busan film festival's Asian Project Market, following in the footsteps of Hou Hsiao Hsien, Kurosawa Kiyoshi and Bong Joon-ho to name a few. DP SHEN LIN - Twitter: @TheShenCA - https://www.instagram.com/the_shenger/ - https://www.the-shen.com/ Shen Lin is a Chinese-Canadian Cinematographer currently based in Japan. Upon graduating from the University of Toronto, the Vancouver Film School and Capilano University, Shen worked as a camera assistant in Canada. He then moved to Tokyo, where he's been working as a cinematographer on multiple international productions ranging from commercials and music videos to documentaries and features. His clients include Apple, Lexus, Paramount, Yamaha, Dazed China, Samsonite, Redbull, HITACHI, Haier, etc. Some of the notable talents he has collaborated with include Ed Sheeran, Henry Golding, Fan Bingbing, etc. Composer KYO ACERBIS KITAYAMA - Twitter: @kyoakmusic - https://www.instagram.com/kyoak/ - http://www.kyoakmusic.com/home-.html Kyo Acerbis Kitayama is a French-Japanese film-composer residing in Japan. He graduated from Berklee College of Music in Boston, where he studied Film Scoring and Conducting. Singer-songwriter and arranger, his musical interests range from traditional Japanese music, electronic composition to orchestral music. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/bravemaker/support

On today's update, we have the latest coronavirus figures, the UAE urged citizens and residents to book appointments for the Covid-19 vaccine and Apple issued an iPhone 11 recall in the Emirates due to a screen problem. The RTA awarded a Dh542m Dubai Metro contract to a French-Japanese consortium and holidays abroad are "highly unlikely" for Britons despite UK's vaccine success. Thoraya Abdullahi joins us for what's trending including London protests, a US-China climate group and the Brazilian Covid-19 variant.

On this episode we pay tribute to the recently retired Daft Punk and dive into their album length music video for their second album Discovery - Insterstella 5555. We dig into the background of the film, as well as the context of the French-Japanese cultural exchange, and the history of Western artists making anime music videos for their songs. Beyond Ghibli on I5555: https://www.youtube.com/watch?v=-hKV267vaSQ The Armchair Auteur on I555: https://www.youtube.com/watch?v=JiIwzlHc7Ao Credits Email: yetanotheranimepodcast@gmail.com Twitter: https://twitter.com/YetAnoAniPod iTunes: https://podcasts.apple.com/us/podcast/yet-another-anime-podcast/id1508245942 Spotify: https://open.spotify.com/show/4lg3YfrdsSaXNKfXVXrcof Google Play: https://play.google.com/music/podcasts/portal/#p:id=playpodcast/series&a=225689717 Podchaser: https://www.podchaser.com/podcasts/yet-another-anime-podcast-1149686 A Ninjaboi Media Production Email: ninjaboimedia@gmail.com Patreon: https://www.patreon.com/ninjaboimedia Twitter: https://twitter.com/NinjaboiMedia Twitch: https://www.twitch.tv/ninjaboi333 MyAnimeList: https://myanimelist.net/animelist/ninjaboi333 Episode Music "true" by Sakagami Souichi - https://www.tandess.com/en/music/ Find out more at https://yet-another-anime-podcast.pinecast.co This podcast is powered by Pinecast.

American and Japanese animation is known around the world, but how are other countries telling their own stories through animation? The animation industry is growing in India and Ghana, allowing for new perspectives and styles to reach a global audience. We speak to Sharad Devarajan, producer for the Indian animated TV series The Legend of Hanuman, and Cycil Jones Abban, the director of Ghanaian animated film 28th the Crossroads, about representation and upcoming trends and challenges. When Latvian director Ilze Burkovska-Jacobsen was seven, she discovered what she thought were the bones of a World War II soldier in her sandbox. In her animated documentary My Favourite War, Ilze remembers a childhood living under the Soviet regime of the 1970s, where she was forbidden to discuss difficult aspects of the past. She tells us about the lasting trauma of living through that time and the healing power of animation. Can animation be a tool for activism? Over recent months in Poland, demonstrators have taken to the streets protesting against a new ruling which makes nearly all forms of abortion illegal in the country. Students from Łódź Film School decided to create a piece of protest animation against the ban. We hear from artist Weronika Szyma, who co-organised the short film Polish Women's Resistance. All aboard the Mugen Train! French-Japanese animator Ken Arto describes the art of Japanese animation - anime, and his recent work on a scene in Demon Slayer: Kimetsu no Yaiba the Movie: Mugen Train, the record-breaking anime that's become Japan's highest-grossing movie ever. Presented by Sophia Smith Galer (Photo: Still from Ilze Burkovska-Jacobsen's My Favourite War. Credit: Bivrost Films)

Sophie Thomas teaches Japanese to people who speak French — but there’s nothing “standard” about her courses because Sophie has a distinct niche. There are hundreds of channels teaching English/Japanese, and fewer that teach French/Japanese. But, if you speak French and want to travel around Japan, then Sophie has the market cornered. Indeed, she’s possibly the only person currently teaching French speakers what they need to learn before going to Japan. What you’ll learn in this interview: - Sophie’s story - How to make big money with a small audience - Involve your audience in your course creation - Stand out with a point of difference - Market the result instead of the pathway - Hints for streaming on Twitch - Sophie’s tips for Langpreneurs For the full article go to: https://langpreneur.com/cours-de-japonais Sign up for the newsletter and join one of our future events: https://langpreneur.com/ Discover our coaching programmes: https://langpreneur.com/coaching Our course - Learn to build your own successful online language business: https://langpreneur.com/lbb - Do you have an online education business that’s making over 6- or 7-figures? - Want to know how we can help you scale?
 Send me a DM on IG @langpreneur

In our inaugural episode, we're talking Ulysses 31, a space opera version of The Odyssey! In this 1981 French/Japanese animated adaptation, Ulysses angers Zeus and is cursed to fly around in space and find the Kingdom of Hades before he can return home. His only companions are his son Telemachus, a handful of robots, a young alien girl, and a giant room full of the floating bodies of the rest of the ship's crew stuck in suspended animation. Every ship's gotta have a floating body room! We talk about the soundtrack to O Brother Where Art Thou, bringing your kid to work, and pets who can swim. Warning: Clipping audio for the first 2 episodes.   Jams: @JamsWilk Melissa: @WilkyWit Questions or Comments: Email us!: SaturdayMOpod@gmail.com DM us!: @SaturdayMOpod

Mika Oki is an expert in spatial design, whether through the music she makes or the sculpture she creates. The French-Japanese visual artist works with video, sound, and electro-acoustics to create abstract textures and mental imagery that perfectly intersect the worlds of club rhythm and ambient experimentation. In the past she has been behind 24 hour performance pieces involving dancers, performers and poets, has played high concept festivals such as Atonal and Nyege Nyege and recently served up 'As Clean As I Was,' a debut production for a forward looking compilation on Metaphore Industrie. On top of this, she also opened up the Brussels branch of LYL radio and hosted a fundraiser for the vital community station. Her mixes are never less than faultless and this week she crafts one such trip which balances many opposites: heady ambient synth work and rugged drums, busy acid workouts and sparse, bass heavy rhythm tracks, cathartic passages of musical mindfulness with brutal drum assaults. Artists like Pq, Sirio, Low End Activist, Simo Cell, Aphex Twin and Hanz all feature to make for a selection that tugs you in many different directions at once, both physically and emotionally, and for that reason we cannot get enough.

We're going Greek -- Ancient Greek, that is -- in this week's nostalgic cartoon review with Ulysses 31. This early 80s animated series aims to retell Homer's epic poem "The Odyssey" set in the far-flung outer space of the 31st century. It's one part Saturday morning cartoon, one part classic literature, and 100% good, old-fashioned animated insanity. Shout-out to our longtime fan, friend, and regular contributor Bobby Anthem for recommending this one! Ulysses 31, a French-Japanese production that hails from DIC Audiovisuel and TMS Entertainment, sees the 31st century Ulysses and his crew attempting to find their way home to Earth after Zeus cursed them for destroying a gigantic robot cyclops. If that logline doesn't get you interested in this series, I don't know what will. But you'll have to tune in to see how this series holds up! - Support the Show through Patreon: https://www.patreon.com/saturdaymourningcartoons - Want to find our cohosts online? Dave Trumbore collider.com/author/dave-trumbore Twitter: https://twitter.com/DrClawMD Buy the book 'The Science of Breaking Bad' - https://mitpress.mit.edu/books/science-breaking-bad Sean Paul Ellis IG and twitter @seanpaulellis Performer at Washington Improv Theater where you can find tickets and times. The Bureau podcast: https://tunein.com/podcasts/Comedy-Podcasts/The-Bureau-p1290704/ If you are digging our show and want to help you out, then you can do so in the following ways: 1. Recommend a cartoon to us: Call us and leave a message at 202-681-4406. If you call then we will 100% review you recommendations if we haven't watched the cartoon yet. 2. Leave a review on iTunes with the following message titled "YOU-LEE-SEAS!“ with the review, “YOU-LEE-SEAS!" 3. Like our Facebook page https://www.facebook.com/SaturdayMourningCartoons/ 4. Follow us on twitter @MourningToons 5. Check us out on Instagram @SaturdayMourningCartoons

We're going Greek -- Ancient Greek, that is -- in this week's nostalgic cartoon review with Ulysses 31. This early 80s animated series aims to retell Homer's epic poem "The Odyssey" set in the far-flung outer space of the 31st century. It's one part Saturday morning cartoon, one part classic literature, and 100% good, old-fashioned animated insanity. Shout-out to our longtime fan, friend, and regular contributor Bobby Anthem for recommending this one! Ulysses 31, a French-Japanese production that hails from DIC Audiovisuel and TMS Entertainment, sees the 31st century Ulysses and his crew attempting to find their way home to Earth after Zeus cursed them for destroying a gigantic robot cyclops. If that logline doesn't get you interested in this series, I don't know what will. But you'll have to tune in to see how this series holds up!

Chef Roy Yamaguchi is the father of the Hawaii Fusion cooking style. In 2018 he celebrated the 30 year Anniversary of Roy’s restaurants. In 2020, he will celebrate the 10 year Anniversary of the Hawaii Food and Wine Festival. He was the co-founder back in 2010. Chef Roy Yamaguchi explains to us what Hawaii fusion is and how you came to create it. What we covered in this episode Chef Roy Yamaguchi was born in Japan. His father was from Hawaii, his grandfather lived on Maui, and his mother was from Okinawa.He grew up on an US military base in Japan.Every other summer he spent time with his family in Hawaii and Chef Roy Yamaguchi discovered the flavors from Hawaii. Chef Roy Yamaguchi remembers two important dishes that he grew up with: Chicken Hekka and Beef Stew that his father would turn into a Japanese curry.His father would take them to the Tomashiro fish market in Honolulu.Chef Roy Yamaguchi's inspiration to become a cook came from his father and his school counselor.He went to the Culinary Institute of America in Hyde Park in New York to learn the foundation of cooking.Out of school, Chef Roy Yamaguchi want to work at a French restaurant and went to Escoffier and L'Hermitage in Los Angeles.Chef Roy Yamaguchi first restaurant  was 385 North  where he started his own style which at that time was French-Japanese. in 1988 Chef Roy Yamaguchi created Roy's restaurant that not only served the flavors of his past, which was French and Japanese but he wanted to add the local ingredients from Hawaii.2020 is the 10 year Anniversary of the Hawaii Food and Wine Festival that Chef Roy Yamaguchi created with Chef Alan Wong.Link to the podcast episode on Apple Podcast  Links to other episodes in Hawaii Chef Jean Marie Josselin - JO2 #gallery-3 { margin: auto; } #gallery-3 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 25%; } #gallery-3 img { border: 2px solid #cfcfcf; } #gallery-3 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */ Starter’s at Roys Honolulu Kai Cocktails at Roys Honolulu Kai Roys Honolulu Kai Menu Honolulu Kai, Oahu Submitted questions from podcast listeners What is Roy Yamaguchi's swordfish recipe?Whether it would be a piece of fish, like a "opakapaka" or whether it be "moi" or whether it be kind of a reef fish, I look at the ingredients and then I try to figure out, how can I best present that. Whether it be steamed or, seared or whether it be grilled depending on the fat and the leanness of the fish itself. And then at the same time, do I want it more refreshing or do I want it as an appetizer and serve raw or do I want it cooked and more meaty? A good example might be, the local, swordfish. It's called "shutome". I try to look for the smaller eye, meaning that I look for the filets from the swordfish to be not a huge piece of swordfish where the loin could be five, six, seven, eight inches in diameter. Maybe look for a swordfish that's smaller, that may have a three or four inch diameter and use that as a presentation. I want to make a steak. So some of those thought process comes out like that. And then do I want to do a hard sear or a soft sear or do I want to put a crust on it, or no crust, whether it would be a macadamia nut crust and then salt and pepper, then cooked all the way or maybe a medium rare. I want a sauce that's a lot lighter, it could be a vinaigrette, utilizing, you know, maybe, the local lilikoi (passion fruit) or I want more of a richer sauce that may have some cream in it or maybe Chardonnay or do I want a more of a hardy sauce to make it completely different for someone to eat it with a red wine. So making a sauce made with demi-glace, or could decide for a Chinese style where, you know,

Jackson Bliss is an assistant professor of creative writing at BGSU. His genre-bending fiction focuses on being mixed-race in a global world. This episode features a conversation about exploring identity through writing and a reading from his forthcoming novel, The Amnesia of June Bugs.   Transcript: Intro: This podcast features instances of explicit language. If you are listening with children, you may want to save this conversation for later. Intro: From Bowling Green State University and the Institute for the Study of Culture and Society, this is BG Ideas. Musical Intro: I'm going to show you this. It's a wonderful experiment. Jolie Sheffer: Welcome to the Big Ideas Podcast, brought to you by the Institute for the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. I'm Dr. Jolie Sheffer, associate professor of English and American culture studies and the director of ICS. Jolie Sheffer: Today I'm joined by Dr. Jackson Kanahashi Bliss. Bliss is an assistant professor in the creative writing program here at BGSU. He's published in The New York Times, The Boston Review, Ploughshares, Tin House, and many other publications. He earned his MFA from the University of Notre Dame and his PhD in literature and creative writing from the University of Southern California. Today we have the pleasure of hearing him read from his new work, Amnesia of Junebugs. Thanks for joining me today, Jackson. Jackson  Bliss: Happy to be here. Jolie Sheffer: You are both a creative writer and a literary scholar. How do you think of your creative writing as being shaped by scholarship on Asian American literature? Are there other ways in which you see your work as interdisciplinary? Jackson  Bliss: Yeah, it's a funny marriage, actually, and I think it's an accidental one, because, in the beginning, I wrote most experimentally, and then when I started studying Asian American studies, I realized there was a sort of strong bent towards experimentalism and activism and how it connects to ethnic nationalism, ethnic studies, academic studies, and academic centers and universities. So this was completely accidental. I didn't intentionally sort of imitate the preferred genre of activist-minded APIA literature. It just sort of happened that way. But the more I studied Asian American studies, particularly works like Immigrant Acts by Lisa ... What's her last name? Jolie Sheffer: Lowe. Jackson  Bliss: Lisa Lowe. Yeah. It sort of made me realize there's a strong sort of push against the stylistics of the empire, which tends to be connected to linear narratives and coming-of-age stories. That made me want to write that story, particularly because I found it a little bit both historically informed, but also generically arbitrary that a particular sub-genre of fiction would supposedly work so well, right, in something that we are actively trying to deconstruct. Jackson  Bliss: I feel like writers like Viet Thanh Nguyen are perfect examples of people who said, "No, you can have a narrative arc and do a lot of important work instead of deconstructing standardized, sort of imposed European models of narrative." Jackson  Bliss: So I think all of those things appealed to me a lot. So it became much more conscious the more I wrote fiction, I think. Yeah. But in the beginning, it was totally accidental and organic. Jolie Sheffer: Your peace Dukkha, My Love is an experimental hypertext novella, created for the web. Can you describe our audience, what that term means? What is an electronic novella, and what can people expect when encountering a text like that? What were you hoping to explore, both formally and thematically? Jackson  Bliss: I think part of it is that there is a very tiny archive of electronic writing, just in general. If you go to the standard places that catalog experimental writing, for example, they're really small. They're highly limited. A lot of writers that write experimentally or create online hypertext don't even publish through them. They just publish on their website. So it's highly decentralized in a way that can be really frustrating for, for example, scholars in new media, because there is no clearinghouse for someone to find all the works. Jackson  Bliss: I think the thing that new readers of hypertext, which is online experimental writing, have to sort of keep in mind is a lot of it is about the ability to create your own narrative, sort of on your own terms. This is sort of the burden, but the beauty of reading. In Dukkha, My Love, essentially, readers click on hypertext, not knowing where it takes them. So they have control, but they're doing it blindly, right? So there's a lot of that going on. It's highly immersive, but it's also indeterminate in terms of where your freedom and control as a reader will take you. Jackson  Bliss: Eventually, as readers start reading more and more, they sort of participate in the cyclicity of the three intersecting narratives, which is absolutely part of the point of reading it, which is the ways in which there is a historical cycle that would repeat, the ways in which we repeat sort of certain cultural modalities of xenophobia and fear against the other, the ways in which our own understanding of reality sort of goes in these continuous cycles of knowledge and awareness and denial, and the proof of this as well is on the first page, when readers click on one of the destinations, where you can basically pick where you want the story to go. It'll even say, "My life is a circle," right, sort of reinscribing this idea in the reader that they are participating in it, but they are not necessarily aware of where they're going, which I think is kind of a fitting cultural analogy of sort of our own conceptualization of history, right? So we sort of have an idea of where it's going, but we're sort of blind as to where exactly it lands. Jackson  Bliss: So yeah, it took me about probably four years of doing research and writing the excerpts and about four months of teaching myself how to code enough to learn how to strip audio files off of YouTube videos and then basically take my own music and sort of record it and then time it and cut it in such a way where it worked with the videos, which I basically ripped off from the Learning Channel and someone else. God bless all of you. Thank you for your fine work. Jackson  Bliss: Yeah. But I was learning as I was creating. That particular genre was something I had never done before, and that's why I wanted to contribute to the discourse, because I felt like it's pretty emaciated, in terms of a genre, right, but also highly accessible. Those two things really appealed to me. Jolie Sheffer: That project in particular, you set yourself a set of hurdles that were challenges you had to then work within, right? So you make something that is, by nature, through coding, deeply linear and kind of limit certain pathways. It is not an endlessly, right? You have to create a set of possibilities, which means foreclosing others, and yet your work itself and the things that interest you are all about the chaotic, the unpredictable, the messy. So how did you kind of respond to the challenge that you set for yourself? Did you feel like you'd handcuffed yourself, or was it liberating, in some sense, to have to work within these limitations? Jackson  Bliss: To be honest, I thought the limitations were there to keep me sane, because I think I would have lost my (beep) mind if I had literally created a work of infinity, because, originally, the idea was I was going to create [inaudible 00:06:50] Book of Sand, right? You could almost make that argument, but if you read Dukkha, My Love enough, you will eventually hit the same narrative strand. So you do sort of touch on finitude at some point. It's impossible to avoid that textual finitude. Jackson  Bliss: But the constraints ended up being lifesavers for me, because this project otherwise could have gone on forever. Let me give you an example. When I was trying to keep track of all the three separate narrative strands and then create a separate stub for each one on my website, this required a level of organization that, frankly, I don't like to have in my art. That goes against my entire ethos as a multimodal, mixed-race, experimentalist-leaning, voice-driven, stylized writer. Yet here we were, where I basically had to control my choices, one, so that I could finish this product before the next semester started and, two, to sort of create a bottleneck, I guess, a narrative bottleneck, where, at some point, everything does have to go through certain sort of narrative choices. Jackson  Bliss: That's both because of the limitation in my coding skills, frankly, but also because there are certain sort of narrative strands I want readers to go through, and I don't want them to necessarily be negotiable. So, for that reason, the index page is, in and of itself, a sort of delimitation of the narrative choices, right? Readers only have basically 10 to 15 places to choose, and then they only have 4 to 10 actionable links on that page. So it sort of starts and ends with finitude. Jackson  Bliss: There is, believe it or not, those of you that have read this, a goodbye page, an acknowledgement page, but, as it turns out, it's incredibly (beep) difficult to find. I mean, I can't even find it, and there's other details that I put that I think were just a little too [inaudible 00:08:41] for themselves. There was an asterisk next to certain narrative strands, letting readers know, "Hey, this is it. This is about to take you to the final page," and I hope that readers would note that this was connected to the theme of the star colonies. That's why the asterisk's there. But you have to scroll down, and if you don't scroll down, you don't see it, and then it doesn't take you to the final page. Jackson  Bliss: But I'm not upset about this. I don't hate myself. I have accepted that there are limitations to reading, and you really can't predict, unless you're into analytics, what your readers are going to do. To me, that's the beauty of it, is that it gives readers, essentially, some blind power to decide how the story is told, which, frankly, isn't done very often in speculative fiction. So that's why it appealed to me. Jolie Sheffer: Much of your work deals with being hapa, or mixed race. How do you see your identity playing a role in your creative work, or, conversely, how has your fiction played a role in your understanding of your own identity? Jackson  Bliss: It's interesting you ask me that, because, in the beginning, when I look back to my earliest fiction, all my characters were white, and this is for a couple of reasons. One, because, at that point, I was definitely passing as white. Two, it's just simply easier for me and my mom, who's hapa as well, my brother, who's also hapa, to just not push the mixed-race button. I was born in Northern Michigan. I didn't live in a community where we celebrated, right, sort of any sort of multicultural, multiracial identity. Jackson  Bliss: There was a lot of survival going on. I mean, even my obachan would not speak to me in Japanese unless I begged her. This was partially because she had a sort of assimilationist paradigm, when it came to living in America. So she thought she was helping me by just making me only speak English. Jackson  Bliss: So, ironically, as I got older and started realizing I have two very different racial and cultural modalities, I mean, I'm literally the son of Japanese immigrants on my mom's side, and that's how close that side of the genealogy is. It's insane I'm never writing about that. It's bizarre that I don't talk about that. I think part of it's because I didn't know how to. There's a lot of things I love about growing up in the Midwest, but it's culturally not the most progressive place to examine your racial hybridity, and I think if I had grown up in SF or New York City, a place where there are strong multicultural identities as the centering of the urban ethos, I probably would have found myself a lot earlier. So it took me a long time. Jackson  Bliss: So I realized at one point that my racial hybridity, in a lot of ways, sort of mimicked my generic hybridity, right, where I like to write in a lot of different genres. I sort of pick and choose. I don't feel like I should be pigeonholed. I sort of embrace this idea that I can almost pick the concept of the neutral, in terms of what it means and [inaudible 00:11:35]'s notion of you don't have to pick one side or other. You can choose to not pick between two options, especially when they're highly binary and deeply delimiting, existentially. Jackson  Bliss: So these things sort of coincided. My desire to sort of subvert genre conventions and just find whatever's the right genre and voice for me coincided with my realization that I had a lot I wanted to understand and investigate about my own mixed-race identity, as someone who's French, British, and Japanese. So it's really my PhD years where I really started fully embracing this and really interrogating it. Jolie Sheffer: What kinds of research do you do for your creative work? You alluded to some of that. What scholars or authors have shaped your work and worldview? Jackson  Bliss: The first people to influence my voice, Junot Diaz and then JD Salinger, and the third one is Zadie Smith. These three writers really informed my whole conception of voice and textual and racial hybridity. So the thing I liked about JD Salinger as a teenage boy was the authenticity of someone questioning authenticity, right? That sort of self blindness, I found really compelling, right? Jolie Sheffer: All his talk of phoneys, right? Jackson  Bliss: Yeah, phoneys. Right. Jolie Sheffer: Yeah. Jackson  Bliss: In many ways, he's [Salinger] the phoniest of all. But, on the other hand, there's a tender side to him that often gets ignored, where he's deeply concerned about preventing trauma to people, because he himself appears to be traumatized, in a way that Holden Caulfield was incapable of sort of working out. So that was powerful to me, and the stylization of the voice was really powerful. Jackson  Bliss: But then when I read White Teeth by Zadie Smith and then Drown by Junot Diaz, I suddenly realized that there was space for my voice, this sort of multicultural urban realism combining with almost sort of Creole sort of language, patois, right, in English. I didn't know that you could do that. I didn't know we were allowed to put the language of our other identity into English. It sounds really crazy when I hear it, but yeah, it was sort of a revelation to me that we could have a stylized voice that sort of embraced and sort of interrogated and was a product of a multicultural identity. Jackson  Bliss: With White Teeth, I think I was just so invested in the ways in which she sort of did these portraitures of different racial and historical and cultural communities and gave each of them a sort of majesty and humanity and an interrogation that I found really amazing and actually rare and then combine it with a sort of these moments of maximization, where the language just explodes off the page, right? Jackson  Bliss: I realized these writers were doing a lot of important work that I myself wanted to do, that I needed to understand better and also, at the same time, that they were giving me permission to sort of figure out my own narrative modality, my own stylized voice, because it's easy to feel like you have to basically come off as neutral, which is code for sounding white. A lot of writers of color I'm friends with feel the same way. They feel this invisible constraint all the time to write in a way where Ivy League-educated, East Coast white readers will understand and connect with. Jackson  Bliss: The problem is there's things that that demographic cannot connect with, and if we write for this imagined, embodied, universal voice, we can give up a lot of the most vital parts of our own sort of unique lyricism and our own techniques for storytelling. So that was a huge revelation for me. Jolie Sheffer: You recently published an essay in TriQuarterly called The Cult of Likability, or Why You Should Kill Your Literary Friendships. In it, you talk about how readers frequently criticize characters for their likeability, or lack thereof. Do you see this as a racialized or gendered criticism, and what qualities do you think are important to make characters compelling? Jackson  Bliss: I do think it's heavily racialized, and I think it's heavily gendered. I think it works in a really sort of sinister, unconscious way for a lot of people. There's still this notion of universal literary merit. When something's amazing, it has this broad appeal. But universality in literature, at least in the 21st century, is mostly code for literature that appeals to a massive white readership. What I've noticed in my workshops, but also in a lot of book reviews, is that works that are written with characters of color or by authors of color or both, especially when they're women, are much more heavily criticized than when they are, for example, white narrators or white female narrators, right? Jolie Sheffer: Yeah. You don't hear people complaining that Humbert Humbert wasn't likable enough in Lolita. Jackson  Bliss: Right. Exactly. Yeah. Jolie Sheffer: That's not the criticism, or that Rabbit Angstrom isn't likable. Jackson  Bliss: Right. That's right. So one of the arguments I made in this essay is, first of all, some of the most important works that I think have shaped, in a positive way, a sort of expanding sort of foundational text canon in America comes from books that weren't necessarily fun to read, with characters who we didn't necessarily like at all, who are important. I mean, Native Son has Bigger Thomas, I think his name is, and that's a crucial character, right? To say, "I don't like this, because I didn't get him" or "I didn't like him" or "He didn't appeal to me" is so essentially irrelevant to the importance, both culturally and historically and racially, that that voice sort of incarnates. Jackson  Bliss: I'm noticing a tendency now where liter agents and now MFA students and a lot of readers are using love and infatuation as this sort of literary metric for determining the value of something. "I didn't love it. I didn't love the voice. I didn't love the character," as if we are now given permission to not consider the literary value of the work, the importance of the marginalized voice, for example, because we realize we don't like the character. Jackson  Bliss: I think it's connected, partially, to cancel culture. But I also think it's partially connected to reality TV, because, with reality television, when we saw a character we didn't like, we would vote them off. So, essentially, likability had consequences, right? Jackson  Bliss: What I think is happening now is people are reading texts that decenter them or ask them to do work or research. Suddenly, they will just decide, "I don't like this character," and that's the end of it. Jolie Sheffer: It also seems to me, though, related to what you were talking about before, which is that if you don't recognize, if you're encountering a new voice, a new perspective, that is not one that you have been taught to recognize because of literature and because of established kind of genres of reading, that first impulse might be, "I don't like this person," and it takes time to actually get used to new voices. Jackson  Bliss: That's right. Yeah, and I think that sort of discomfort maybe at being de-centered is a completely understandable, very normal one. Everyone feels that way. The problem is communities of color and marginalized communities have felt this their entire lives. They go into any room, they go into any white space, and they are always de-centered, all the time. I think this is something that, in general, white readers are a lot less capable and patient and willing to deal with, in part because they've never had to, right? Jackson  Bliss: So for this to happen in the sort of sacred American pastime of reading I think rubs people the wrong way, but I feel there is a silver lining, which is these readers can sit in that lack of comfort and know, at the end of the day, that it's going to be okay and that they will work it out and they will start to slowly understand these characters and potentially empathize with them. But that takes time, and if we don't learn to learn about people and sort of enter into their space, we will never get there. Jackson  Bliss: That's actually one of the arguments I make in this essay, which is not only would we erase some of the greatest literature written by writers of color if we decide we don't like the characters, but, more importantly, we lose our critical thinking skills and our empathetic ones, because this requires us to learn from the other, whoever the other is for us. Jackson  Bliss: I think that's my issue with likability, is it's become this eroticized literary metric, as if infatuation is actually a legitimate metric to analyze the literary value of a work. Frankly, I don't give a (beep) whether someone loves a book of mine or not. What I care about is if they can enter into it, if they can learn from it, if they can go someplace new, from the end of the book to when they started. To me, that's, in some ways, almost more important. Jackson  Bliss: Whether I'm friends with a character, whether we're besties or not is ... I could give two (beep) about that. But it's becoming a sort of standard comment to make in workshop, and I do my best to sort of interrogate that a little bit. But I feel like we have now reached a point in our culture where not liking something, in our eyes, gives us permission to essentially dismiss it. Jolie Sheffer: We're going to take a quick break. Thanks for listening to the Big Ideas Podcast. Intro: If you are passionate about big ideas, consider sponsoring this program. To have your name or organization mentioned here, please contact us at ics@bgsu.edu. Jolie Sheffer: Hello, and welcome back to the Big Ideas Podcast. Today I'm talking to Dr. Jackson Bliss about fiction, form, and mixed-race identity. You prepared a reading for us called The Amnesia of Junebugs. Can you tell us a bit about the piece you're going to read and where it fits into the work as a whole? Jackson  Bliss: Sure. So this is a tiny excerpt from one of four principal characters. This character's name is Winnie Yu, and he's essentially a culture jammer. So he creates political graffiti, and/or he takes ads from companies and essentially turns the ads against themselves by adding different color, texture to essentially make the ad self-indict itself. It's a very sort of critical novel, as a whole, on capitalism and sort of begs for the role that public art plays in a sort of taking back of streets that are essentially corporatized, in a lot of ways. Jackson  Bliss: So this tiny part here is just a tiny sort of backstory of Winnie describing the first time he realized he did not live in Asia, but that he actually lived in New York City, a tiny secret he didn't realize at the time because he had never taken a train to another borough. So that's sort of like the context for this work. Jackson  Bliss: Winnie had lived off of the Bowery his whole life. Didn't even know that New York was in America until he was six. His parents spoke Cantonese, Taiwanese. Everyone in his fam did. The market signs on Grand Street, where his mom bought her groceries, were written in simplified Chinese characters. His neighbors watched Cantonese soap operas in the afternoon. Old men hung out at Mr. Chang's corner store at night, playing dominoes and drinking ginseng tea and Viper Whiskey, cracking jokes in Wu. His super was Fujian, the cheapest mother (beep) he'd ever seen, who tried to fix everything with duct tape, tinfoil, and DAP. Jackson  Bliss: For the longest time, Winnie believed he lived in Asia. He thought white people were the tourists. But in one day, Mama changed the rules of his storytelling. By taking the subway together for the first time to Brooklyn, she thought it would be cool for them to go over the Manhattan Bridge, and it kind of was. He'd never ridden over a bridge before, didn't understand that New York City had islands or that they were connected together by bridges, the vertebrae of the urban body. It took him a long time to see that subway lines are veins; the major subways, arteries; the streets, capillaries. Jackson  Bliss: Until that fateful and transformative day, Winnie didn't know he lived in a fractal world, in a city of billboards, insects, damaged vascular systems and wandering spirits. He didn't know that New York is an ethnographic sponge, silently absorbing the screenplay of immigration. He didn't know that New York is a megapolis, its streets, highways, and bridges resembling the human nervous system. NYC is an urban hive imploding with refugee stories, diasporic longing, bustling multiculturalism, and inherited fortune, a collapsing urban space where culture dances between neighborhoods and history intersects ethnicity, creating abstract forms that interact, but don't touch each other, like a kaleidoscope. Jackson  Bliss: Until that day, Winnie thought New York was only ten blocks, from Mr. Chang's bodega all the way to Good Times Dry Cleaners. He thought New York was the unofficial capital of Taiwan, a nation and an island and a freaky global village. He was half right, actually. Jackson  Bliss: The straight (beep) is that the day they took the train over the Manhattan Bridge, Mama was showing him the way to St. Ursula's School, were Asian, Latino, and black kids wore unforgiving white polo shirts with stiff colors that dug into their necks like plow yokes and old man pants with creases running down their legs like highway meetings that resisted wrinkles and clumps and refused to be rolled up at the ankles at a school were Asian, Latino, and black girls were forced to wear skimpy plaid skirts, even in the spring, where poor students of color pretended they were rich, rich white students pretended they were gangsta, and all the teachers spoke Midtown English. It was an academy of impersonations and a theater of the restless mind. Jackson  Bliss: The day Mama enrolled Winnie in Catholic school and filled out the paperwork for a St. Martin de Porres Scholarship for Immigrant Students, a detail and a reference he wouldn't even understand until he was in high school, when he realized his mom had accidentally taken away his fixed identity and shoved him into a chrysalis of his own making. As they passed over the Manhattan Bridge again, he didn't understand how the whole world he'd seen that day could all be one city, didn't understand why all the Asian people disappeared, or so it seemed, why no one spoke his family's languages anymore. Jackson  Bliss: Even now, as a 30 something, he still couldn't figure out how his parents had managed to sequester him from the class struggle, the racial conflict, and the spatial tension of inner-city life for as long as they did. What he did know is that after Mama had enrolled him for classes, smoothed his hair back for a school ID, bribed him with feng li su cakes from a Taiwanese Baker he'd never seen before to celebrate his enrollment, and then led his (beep) back to their apartment, pineapple paste caramelized in his teeth, Winnie realized that he didn't know (beep) about his American life anymore, except he wasn't living in Asia, and he certainly wasn't Catholic. Jackson  Bliss: As far as birthdays went, turning six (beep) sucked, the worst thing to happen to him, at least until explosive acne in 10th grade, at least until his Ba peaced out of his life for good too soon. Jolie Sheffer: You really set the scene of this world within a world, where a child could grow up in New York's Chinatown without realizing they were even in the US. You've lived in the Midwest, on the West Coast, in Japan, Argentina, and Burkina Faso. How do you approach the idea of setting a sense of place, in this story in particular and generally in your work? Jackson  Bliss: One thing is that I think places are characters. I have felt this way pretty much ever since, I think, I watched my first Bertolucci film. It's something I learned very early on, and I feel, as a writer who considers himself to be a sort of stylized urban maximalist, it's impossible for me to define or construct characters without understanding the sort of cultural context in which they grew up and evolve, because that's true for me, and that tends to be true for them. So, for me, setting and place are interconnected with voice and identity. Jolie Sheffer: What kind of research did you do for that piece? Jackson  Bliss: Mostly just walked around Chinatown a million times. I wrote a lot of this novel when I had an editorial internship at Hachette Books in New York City. I also visited in the fall of 2006. So I spent a lot of time just walking around New York City, taking the subway, looking for sort of famous graffiti that people were talking about. I spent a lot of time eating vegan dim sum in Chinatown. I feel like sometimes the best way to do research for cities is simply live in the city and see how it breathes. So a lot of it, yeah, was simply walking around, observing, taking notes, talking to my New York friends, asking them questions, asking my Chinese American friends questions. But most of it was just walking, breathing, living, eating in those places. Jolie Sheffer: Your characters always have very distinctive voices. You were just talking about character, but in the characters in your stories, how do you think about approaching developing their particular patterns of speech? Jackson  Bliss: I feel like, a lot of times, the verbal tics, they take time, because who I think a character is in the beginning when I write them is almost never who they are at the end, and then it's sort of up to me to go back and sort of reconcile the voice, so to speak, because there's this implicit rule in fiction where a character's voice has to actually be more consistent than people's voices in real life, right? Because in real life, we, for example, especially people I know who work in different sort of social, professional, racial, and cultural spheres, they code switch all the time, and this can seem inauthentic to people, but it's very normal. But in fiction, you actually have to have a more sort of reconciled voice that readers won't see as too contradictory. Otherwise, they won't think it's the same person. Jackson  Bliss: So this is one of those sort of secret constraints that most fiction writers I know struggle with. How do I keep a voice? How do I construct it, and then how do I maintain it? So I think a lot of times, I will read my dialogue out loud, and I'll just basically understand the character through their orality first, right? How do they sound? How do they feel? Jackson  Bliss: Then, I think, from there, I make modifications, especially when these characters make important sort of plot decisions that might alter their voice or their modulation in some way. For example, I once wrote a character, and then I realized halfway through, "Oh, this character isn't going to be Portuguese-Japanese. They're going to be" ... I don't know. I don't know what I decided, French-Japanese or something, and that changed some of the vocabulary, right? That changed some of the sort of place names and cultural references. Jackson  Bliss: I have another novella that's actually interconnected with this novel, and, for the longest time, it was written from a Senegalese American point of view, because I had spent a decent amount of time in West Africa. Then I realized I was interested to see what would happen if I changed the character and made him mixed-race and made him Japanese Senegalese American. I did that, and it suddenly transformed his voice. There were certain beats that didn't work anymore, right? There's certain slang that doesn't make sense anymore, and there are other things that had to sort of have a presence. Otherwise, it was just a whitewashed mixed-race character. Jackson  Bliss: I think that's the general process, but it always begins and, I think, ends with me simply speaking, because I need to literally hear the voice to understand it on the page. Jolie Sheffer: Lots of creative writers read their work in public, right? That is a kind of professional part of the job. You have a very particular kind of performative approach. How do you think about preparing what you're going to read, how you read, and how do you think that shapes your readers' or listeners' perception of the work? Jackson  Bliss: Yeah, I'll confess right now I'm a speech and debate geek, so in high school and even college, I was a debater, and I was one of those extemporaneous speakers. So I have a long history of sort of seeing the value that public speaking makes. Jackson  Bliss: But I also think that most of my important characters, the ones I'm really invested in emotionally, almost always have some level of identification with their language. So that's where the voice will end up being so sort of important and sort of fleshed out, and I've noticed in the past couple of years that when I give readings, I tend to read either the character or passages from a longer work that allows me to sort of take a very performative, language-driven sort of role in my reading. Jackson  Bliss: For that reason, if I've written a really difficult extemporaneous-feeling work that's actually highly edited and revised, that is really prolix, I guess, and heavily language-driven, I may not read it, especially if, for example, I can't find space to breathe. I have certain work that was pretty much meant to be read, even though I didn't realize it. Jackson  Bliss: So, for me, I think a lot about reading as performance, I think a lot about performance as text, and I think one of my big complaints with a lot of readings I go to is they tend to fall in a couple camps, which is, one, either they just read in this really monotone voice and they have this kind of arrogant idea that work should speak for itself. But the problem with that is what if you suck? What if you're awful? What if everyone's falling asleep? In that case, shouldn't they just stay home and read the book? Why did they waste their time to go out to this reading, where you became the greatest American sleep aid? But on the flip side, I've also seen people who sort of take it really far, and they act like they're basically unpaid beatniks. Jackson  Bliss: So I feel like every writer who ends up becoming a sort of social public figure on some level, which is inevitable once you start publishing, they have to negotiate the sort of reading ethos. For me, it's always been really important. I want readers and listeners to hear the rhythm, because musicality informs a lot of my writing, and that's from my music days. But I also want them to be transported, on some level, by my reading. I want them to feel the language and the cadence and the emotion. Jackson  Bliss: I used to get shamed when I was younger for my performances. People would be like, "Yeah, that was really something." Then you would go to their reading, and half the people were on their iPhones, fiddling away. So, for me, I see my readings as a performance, and I think that to ignore the audience is to be incredibly deceitful and to be delusional. You aren't reading to yourself. You're not reading to your partner. You're not reading to your little Shitzu. You're reading to people, and their experience should be something you think about, because that process is dialectical. It's not just about you, and it's not just about them, but there's an interplay that I honor and that I love. Jackson  Bliss: So yeah, I think a lot about how to read, when to read, and I always practice my readings because of that. Jolie Sheffer: Thank you so much, Jackson, for joining me today and sharing your work. Jackson  Bliss: Oh, it was my pleasure. Jolie Sheffer: You can find Dukkha, My Love and more of Jackson's work at his website, jacksonbliss.com. Jolie Sheffer: Our producers for this podcast are Chris Cavera and Marco Mendoza, with sound engineering by Jackson Williams. Research assistance for this podcast was provided by ICS intern Taylor Stagner, with editing by Stevie Scheurich. This conversation was recorded in the Stanton Audio Recording Studio in the Michael and Sara Kuhlin Center at Bowling Green State University.  

The Nest is the new Sunday night drama on BBC1 that raises questions around the ethics of surrogacy as a wealthy couple invite a young woman whose past is not known to them into their lives. The Truth is a French/Japanese production directed by Hirokazu Kore-eda who won the Palme d'Or at Cannes in 2018 for his film Shoplifters. It stars Catherine Deneuve and Juliette Binoche in the story of an ageing actress who publishes her memoirs and is confronted by her daughter. Evie Wyld was named as one of Granta's Best of Young British Novelists in 2013. Her new novel, The Bass Rock, tells the story of three generations of women whose fates are linked. Two exhibitions at Compton Verney that have sadly had to close because of coronavirus are kept alive by our critics: Cranach: Artist and Innovator and Fabric: Touch and Identity. And we suggest some culture that might already be on your shelves or on a screen near you to enjoy if you're stuck indoors. Tom Sutcliffe's guests this week are Charlotte Mullins, Bob and Roberta Smith and Laurence Scott. Podcast Extra recommendations Bob: Paul Klee, On Modern Art Certain Blacks, album by The Art Ensemble of Chicago The Letters of Van Gogh Charlotte: The Gallery of Lost Art - as she explains, what's left of it can be found at galleryoflostart.com and via Tate website The West Wing Laurence: Star Trek: the Next Generation, all 7 seasons Tom: Contagion and, as always, Call My Agent Presenter: Tom Sutcliffe Producer: Sarah Johnson Image: Emily (SOPHIE RUNDLE) in The Nest Credit: Mark Mainz / Studio Lambert / BBC

Salut à tous ! Pas de MUTEKI cette semaine en direct en FM. A la place, comme à chaque fois, on vous propose un petit mix d'environ 1h autour d'un thème particulier. Et quoi de plus... particulier que les relations franco-japonaises ! Une attirance réciproque qui s'est traduite par de nombreux échanges artistiques, dont des chansons, beaucoup, beaucoup de chansons. Voici donc le 4e Mix "FrancoJap" depuis 2013. Bonne écoute !! Hi everybody ! No MUTEKI live on air on FM this week. Instead, as always, we have prepared a 1-hour mix focused on a particular topic. And this one is part of a long series (that won't end with that one): French-Japanese relations ! A mutual attraction which has been the theatre of numerous artistic exchanges and dialogues, including songs, many, many songs. So this is already our 4th "FrancoJap" Mix since 2013. Mata raishu !! 1- SIZEMEN - Musashi Vs Orochi 2- LIQID - Tsukuba Express (feat. Isaka Yuichi) 3- SHINDEHAI - Epic Pixel Battle: Sacha VS Yugi 4- TA TI & KARMAWIN - Atarimae 5- NATURETONE - Akihabara Lights 6- G.NOVA - Genbaku 7- TAKU IWASAKI, MAÏA BAROUH - Akame Ga Kill - Le chant de Roma 8- YANN CLEARY - NES my BFF 9- JOE DASSIN - Les Champs Elysées (Japonais) 10- LES 5-4-3-2-1 - Un-Deux-Trois 11- France Gall - Yume miru chanson ningyo (Poupée de cire, poupée de son) 12- LOLITO - Choose Me 13- PINKU SAIDO - Aruku mujun (Gojira) 14- ULTRA VOMIT - Takoyaki 15- KUMISOLO - Rice Burger 16- WINK - Eien no Lady Doll (Voyage Voyage) (Desireless) 17- LES FATALS PICARDS - Goldorak est Mort 18- LOVELIN TAMBURIN - Pokemon (français)

We three brothers are back to spray some wisdom about the French/Japanese created bidets before heading back to the Old West to see what kind of trouble miners can get into with pocketfuls of dynamite. Then we dive back into Jack and Jimmy for a ridiculous potion duel, compare a couple of zombie shows, and talk about the multitude of stupid articles that constitute "news" these days. We end with some stories about sleepwalking before signing off with the realization that we need to prep our song lyrics for the future. Hope you enjoy.

On this episode, I took a long look at the complicated racial history in Germany with Nine Yamamoto-Masson. I was first introduced to Nine by Carol Zou, who I interviewed on Episode 12, which I will link in the show notes. Nine is artist, practicing theorist, researcher, translator, radio maker, activist and community organizer. Growing up in southern Germany and going to France for university before ending up Berlin, Nine has a unique lens through which she views Europe through her French-Japanese identity. Throughout our conversations, Nine demystifies the idea of a liberal progressive Germany and questions the power structures embedded in an English-centric and capitalistic art world. Our discussion is long, but I thought it was necessary to setup the stage for a history that I am not familiar with as an American. As a warning, some of the topics we discussed contain intense and disturbing language. I also must apologize for my occasional coughing, as I was getting over a cold at the time of this recording. There was also some work being done in the apartment next door. I did my best to fix it all up in post-production. Lastly, for my next episode, I will be releasing it a week from now, as opposed to the usual two week increments, due to scheduling reasons. So keep an eye out for it. In any case, I hope you enjoy this. Links Mentioned: Nine’s Website My interview with Carol Skin (Skunk Anansie) A Bag of Marbles by Joseph Joffo Asian Dub Foundation Mumia Abu-Jamal Things Fall Apart An Image of Africa: Racism in Conrad's Heart of Darkness Oury Jalloh The NUS murders The New Nazi Party Ralph Northam’s blackface incident Chemnitz Global South Follow Seeing Color: Seeing Color Website Subscribe on Apple Podcasts Facebook Twitter Instagram

On the season premiere of Japan Eats, host Akiko Katayama is joined in the studio by Chef Tadashi Ono Tadashi Ono was born and raised in Tokyo, where he first began chef training, at age sixteen. Inspired by the mentorship of celebrated Japanese chef, ceramicist, and author, Rosanjin, Ono decided to further pursue his culinary career. He moved to Los Angeles in the eighties, cooking at the innovative French-Japanese fusion restaurant Le Petite Chaya and the legendary L'Orangerie. Relocating to New York, he became the executive chef of La Caravelle, one of America's top French restaurants. In 2003, Ono opened his signature restaurant, Matsuri, in the basement of New York’s Maritime Hotel. Ono also co-authored the cookbook Japanese Hot Pots, and is an accomplished potter and avid student of Japanese food culture.

Mark and Emma hit up the pre-Heyward DiC cartoon "Ulysses 31" today, and are pleasantly surprised by it! The French-Japanese animation was based off the story of Homer's Odyssey, wherein Odysseus travels a long journey back home after the ten year battle of the Trojan War. Except here they sci-fied the heck out of it and now it's a story of a bloke called Ulysses (the latin name for Odysseus) who, after a run-in with Zeus, now has to travel to the Kingdom of Hades in order to restore life to his entire ships crew, who have become as lifeless as stone. Not lifeless enough for them all to conveniently travel into the cargo hold, but hey. Fascinating ship designs, awkward voice acting and brilliant hair package up this little 80s oddity quite nicely. But what did we think of it? Well my dear friend, listen and find out!For those curious of the current ranking of what we've seen thus far: 1. Where's Wally? / 2. Inspector Gadget / 3. Dinosaucers / 4. Super Mario Super Show. http://mostlykobolds.com

On this week's thrilling instalment, strangeness occurs. The Boss is kinda reviewed but it mainly involves tangents, Ian gets nostalgic about a French-Japanese cartoon he used to watch at 6 in the morning, one of the hosts' mother appears and Marc goes on quite the football tangent. It's a fun one though admittedly maybe not the best for first timers. Sound quality isn't the best at times either, Ian's on a somewhat slow wifi connection and it sounds it at times. @dudeandamonkey @ianloring @dudefozz dudeandamonkey@gmail.com

My Peaceful Family Podcast Vol 58 features Ms.Sayumi Nakano. She is married to french husband and has beeng living in Paris for 7 years. This episode's keyword is "consistency". This episode is in Japanese.   ***** 皆さんこんにちは。 国際結婚カップルと多文化環境での子育てを支援するMy Peaceful Familyの塚越悦子です。 My Peaceful Family ポッドキャスト第58回では、フランス人のだんなさん、お子さん3人のご家族と一緒にパリにお住まいの中野砂裕美さんにお話を伺いました。   今回のエピソードでは、フランスでの子育てや、バイリンガル教育についてお聞きしました。 どうぞお楽しみください！   ***** My Peaceful Family ウェブサイト 成功する国際結婚の秘訣！「国際結婚一年生」著者：塚越悦子公式ブログ My Peaceful Familyのウィークリー・メルマガにはこちらからご登録いただけます。