Shopping, lifestyle, and business district in Tokyo, Japan, known for upscale shops
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This week, we dive into the biggest manga first printings from Kodansha, Shogakukan, and Shueisha. Ohayocon 2026 is officially on despite a legal dispute with Sekaicon. We cover a wave of anime announcements, including JoJo's Bizarre Adventure: Steel Ball Run, Devil May Cry Season 2, To Your Eternity Season 3, and more. Plus, Ufotable is opening a Demon Slayer-themed mocktail bar in Tokyo's Ginza, and My Happy Marriage teases a new anime project after its second season. Don't miss updates on the Kodansha Manga Award nomineess. and new anime adaptations like Agents of the Four Seasons and Tenkaichi.Call to Action:
Es de noche, llueve. En el último piso del Sony Building de Ginza, Akio Morita discute con Ohga y Kutaragi. El aire está cargado de ópera y humo de cigarrillos. Afuera, el horizonte centelleante de Tokyo...
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.
Become a Patreon Member / Instagram Subscriber / YouTube Membership for $5 a month and Daniel will answer your questions on SUPER GREAT TIME TOKYO.patreon.com/DanielYWilsonYouTube Video Podcasthttps://youtu.be/MZ3kTOjGM_cThis week Daniel walks around GINZA, Tokyo.He explains when experienced J Cougars target young virgin boys for their V cards in Japanese, and answers several questions while sanpo-ing around.EVERY THURSDAY 9:00PM JAPAN TIME
S5 Episode 43 - Tokyo, le quartier de ShimbashiAprès une looooongue pause, nous vous souhaitons à retardement nos bons vœux pour cette nouvelle année ! On a eu des emplois du temps très chargés dernièrement ce qui nous a obligé à espacer les enregistrements et les publications mais nous voilà bien de retour !Dans ce nouvel épisode, on vous invite donc à Tokyo et plus particulièrement dans le quartier de Shimbashi. Laureline, qui vient de passer trois semaines au Japon avec sa mère, nous raconte une partie de son périple. Après une pause shopping à Ginza dans la superbe librairie Tsutaya, les visites commencent avec la découverte du magnifique jardin Hamarikyu, un havre de paix au cœur de la métropole. Beau en toute saison, c'est surtout un spot incontournable pour profiter d'un bon matcha.Direction ensuite la majestueuse Tokyo Tower, petite sœur rouge et blanche de notre tour Eiffel. Le chemin qui permet de la rejoindre est digne des plus grands romans de SF. Coincé entre plusieurs niveaux d'autoroutes, de trains, de monorails et serpentant au milieu de buildings de verre, on se croirait dans une mégalopole dystopique. C'est vraiment l'image rêvée de la ville futuriste comme on peut parfois imaginer Tokyo (manque plus que les voitures volantes !). Et au milieu de ce paysage ultra moderne, Laureline trouvera des sanctuaires confidentiels cachés absolument charmants pour se reconnecter au passé. On vous conseille bien sûr d'y retourner de nuit pour profiter des lumières de la ville ! L'arrivée grandiose sur le temple Zozoji avec la tour de Tokyo terminera ce splendide circuit, avec un dernier sanctuaire caché pour la route bien entendu ^^.On espère que cet épisode vous apportera une nouvelle pièce du puzzle fascinant qu'est Tokyo. Nous on n'en a jamais assez, et vous ?************************************ Chapitrage :00:50 – Bonne année !02:00 – Intro05:50 – La librairie Tsutaya09:49 – Pause déjeuner : des sobas !12:12 – Le sanctuaire Karasumori 15:05 – Le jardin Hamarikyu20:37 – Point de vue sur une Tokyo futuriste !23:50 – Le grand temple de Zozoji et la tour de Tokyo26:30 – Grimpette au sanctuaire Atago29:27 – Seconde grimpette de nuit dans la Tokyo tower33:45 – Le coup de cœur d'Olivier 37:22 – Le coup de cœur de Laureline42:52 – Le mot de la fin************************************ Liens utiles : notre carte pour retrouver toutes les adresses citées dans cet épisode.************************************ Le coup de cœur de Laureline : les livres Tokyo Windows et Tokyo NobodyLe coup de cœur d'Olivier : les figurines en céramique du nouvel an de l'entreprise Yakushigama ************************************* Nous remercions Yannick de La Feuille - production sonore & sound design qui a créé notre générique et nos jingles, et pour son aide précieuse au cours des premiers enregistrements.Suivez-nous en images sur le compte Instagram du podcast : @podcast.tabibitoHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
1966年から50年以上にわたって親しまれたきた、銀座・数寄屋橋交差点に面したソニービルを建て替える「Ginza Sony Park」プロジェクト。ついに、1月26日に、グランドオープンします！ソニー企業株式会社代表取締役社長の永野大輔さんにお話伺いました！
「GINZA SIX」が新規13店舗をオープン、どう変わる？。 2025年4月に開業8周年を迎える「GINZA SIX」（東京都中央区）は、1～5月にかけてリニューアルを実施する。2017年の開業時より掲げる「Life At Its Best 最高に満たされた暮らし」を追求し、今春は新たに旗艦店化を図るブランドや日本初出店、銀座エリア初出店など、ブランドの世界観を体現する13店舗がオープンする。
THE Sales Japan Series by Dale Carnegie Training Tokyo, Japan
Japan loves the Devil they know over the Angel they don't know. Change here is hard to achieve in any field, because of the inbuilt fear of mistakes and failure. This country takes risk aversion to the highest heights in business. There are no rewards for salaried employees to take risk. There are massive career downsides though, if things go wrong, due to an initiative they introduced. Personal accountability is not very popular here. The decision-making system here is also a nightmare in this regard. Who is the decision-maker? Probably no single person. The meeting we attend may have one to three people present in the room, but they are the tip of the iceberg. An iceberg we will never get to meet by the way. Behind the walls of the office, sit their other colleagues who will have to sign off and agree on the change. The checks and balances of Japanese organisations guarantee a few things. One is it makes for good communication internally. No one faces an unpleasant surprise. I have found most Japanese, as individuals, are not good at dealing with the unexpected. The sudden emergence of something that had not been previously factored in, has these staff rushing for emergency exits in fear. The other thing this system supplies is the opportunity for all the vested interests to have their say. Fast action is not viewed as a plus. Reaching a consensus is very important in Japan and people expect to have input into any new arrangements. The piece of paper suggesting the change physically moves around the section head's desks and each one applies their hanko or stamp to the document, indicating they are okay with the change. Nothing will happen until all of those stamps are there. Turning up and finding the buying team are already quite happy with their current supplier, means a lot of work has to be done internally by the people we are meeting, to make a change away from the known and established order. Who wants more work? No one in Japan, that is for sure. When you are dealing with small to middle size firms the supplier arrangements can be even trickier. They often have a strong owner running the show. They make a lot of the key decisions and then everyone else does the execution of the decision. You may not get to meet with the dictator directly. In many cases, the current supplier company was supplying their grandfather who started the business. Many a good time was had on the golf course, being entertained in the Ginza by geisha and visiting expensive cabaret clubs together in the good old days. Gifts flowed thick and fast as well, to cement the relationship. The current generation of the heads of the respective businesses may have been at school together, have marriage links between their two families or belong to special clubs as members. I see these connections at my very exclusive Rotary Club here in Tokyo. These are successful families who move in the same circles. The third generation of family business heads have deep links together built up over the last generations. Why would they change their trusted supplier to you? Be it a big corporate or a smaller concern, there are a lot of barriers to change in supplier relationships in Japan. Frankly, we have few levers at our disposal as a result. The one thing that companies fear in common though is getting left behind by their competitors. The globalisation of business has meant these harmonious relationships between supplier and buyer are getting shaken up. Just explaining the details, benefits, quality and pricing advantage of the solution you provide are not enough. We need to lob some dynamite into their current cozy little supplier arrangements, by bringing up their exposure to being blindsided by a competitor. We need to remind them that the best solution will win in the market or at least reduce their market share. We need to point out that in a competitive industry, no one cares about the depth of the existing relationships, because they are fully focused on their survival. Rivals will make key supplier changes and these will trigger changes across the industry, as everyone else has to adjust accordingly. By getting ahead of the curve, they can win time to adjust and win market share for themselves, vis-à-vis their rivals. Price and quality differentials only become meaningful in this light in the current market. Just talking about price or quality in isolation won't move the buyers to make any changes. The effort to make new or change supplier arrangements needs a strong reason in Japan or else everyone just defaults to a “do nothing” stance. This requires we come armed with examples of where a change in supplier arrangements wiped certain companies out. The best option is relating changes in their industry, but even if we don't have that, we need to show evidence of how dangerous it can be to avoid change. The drivers of change are plain to see: globalisation changing supply options, Japan's declining population driving companies to take desperate measures to stay afloat, technical advances challenging existing business relationships, currency movements impacting pricing, etc. We say fear and greed drive behaviour. Well in Japan, the fear factor is certainly more pronounced than the greed factor, so lead with the downside of non-action rather than the upside of a new initiative. Paint a picture of how the advantages of your solution could become dangerous in the wrong hands, that is to say, their competitors. Advise them to not give an unfair advantage to their rivals by not making the change today. Express the importance of urgency, the time factor exigency to take action right now. We need to do this to drive the imperative of all those characters sitting behind the wall of the office, to get their hanko out and stamp the recommendation, showing their support for it. The people we are meeting are not the final decision-makers, so we need to arm them with the required nuclear harpoon to break through all the inertia and resistance to change, that is the hallmark of business in Japan.
We're back with a whole new season. In our first episode back, we discuss everything from the wonderful to the wacky of Japan.You'll hear about an epic art island, specialty coffee and konbini (AKA convenience store food), 100+ year-old businesses, the philosophical ideas that make Japan such a distinct place, and much more.In our next episode, we get tactical and break down exactly how we would plan a future trip to Japan, in case that's something you've got on the horizon.Resources discussed:Full list of Japan recommendations
The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT One of the particularly interesting things about Outform is how a company that's been doing digital in retail for 20-plus years is not all that well known in digital signage circles. Not that it's hurt the Miami-based company, which has offices and manufacturing facilities all over the world, and has delivered countless tech-centered shopper engagement solutions for some of the world's biggest brands. I'd been operating mostly with the impression that Outform designed nice-looking digital fixtures for retail, but there is a lot more to the company than that. They do the whole nine yards of retail from idea through execution. I had a great chat that could have gone on for a few hours with Outform founder Ariel Haroush. We started with the company's roots and how Haroush kind of fell into scalable digital solutions for retail. We get into how the company works and the state of things like retail media. Then we spend quite a bit of time talking about Haroush's ambitious new venture, called Future Stores. It takes the notion of pop-up stores, and gives it the scale and digital experience demanded by big global brands. The first location opens in central London on October 30th. Subscribe from wherever you pick up new podcasts. TRANSCRIPT Ariel, thanks for joining me. For those who don't know, can you give a rundown of what Outform does and their background? Ariel Haroush: Outform is a retail marketing company in essence. We've been referred to as an innovation agency because we are very much on the cutting edge of retail, experiential, and innovation in retail. The company does everything from design all the way to execution, which is quite unique because we have the ability to ideate and strategize like a typical agency that you would expect. But we are transitioning seamlessly into the execution room. So everything we ideate, we engineer, we prototype and we manufacture. So while the business has a very, I would say appeal of an agency, we are, in essence, a manufacturer at scale, and we have manufacturing facilities all over the world in three main regions in Europe, in Asia, and in the States alone, we have two manufacturing facilities, both in Chicago and in San Francisco. Did you start as a manufacturer and evolve into an agency or vice versa, or none of the above? Ariel Haroush: My journey as the founder of Outform was quite unique. My passion for the industry actually started when I watched the movie Back to the Future. I'm sure you remember Marty flying all the way to the future with the DeLorean and then you see this billboard transform into a shark, and I was just mesmerized by it, and there's something in it that made me say, “oh my God, this is what I want to do.” So when I started my career, I was always very much leaning to the visual aspect of things. I had an office in Times Square and I was looking at all the signage there and I went, geez, why no one is doing it on a commercial level, and that was the seed of founding Outform. So I started really with no manufacturing background, but with a lot of passion towards how spectacular signage should be, and I was able to convince one customer to give me an opportunity. Back in the days it was Siemens and I had done this huge mobile phone replicas in, one of the biggest trade shows called CeBIT and that was an experience, and one thing led to another, the second customer was Samsung, and I was moving from one customer to another, creating those experiences. As things evolved, one of the biggest opportunities that I've got was a customer, in the United States, in Chicago that said, “Hey, are you doing all this massive, spectacular signage. Would you mind doing something smaller in scale?” I said what do you mean by that? He said, we don't need giant signage. We need something that we can fit into a retail store, and I said, okay, what do you have in mind? He said, I need 20 mobile phone replicas in a size of, not bigger than a meter or three feet. And I said, gee, that sounds like a lot of units, and back in the days I used to do those things in the Philippines, and he called me about two weeks later and he said oh, by the way, it's not 10 units, it's 500, and I was like, what? So the factory owner in the Philippines said, “Hey Ariel, we cannot do 500.” I said, so what do I need to do? He said, you need to fly to China and look for someone to do injection tools for molds. So I took my backpack and I went into China and the guy called me again and said, it's not 500. It's actually 2000, and I'm like, what's going on? I discovered retail in essence and the scale that you have within retail. That time was actually the launch of the Razor phone. I don't know if you remember that Motorola phone. It was a massive success. I've done, in a period of about, I think it was 12 months, I did 70,000 units that went to every single store globally, because there was just a smart way of how we design it, in a way like it's cutting the ceiling or the wall or the floor. So you just apply it, and it seems like the phone is so sharp that it's cutting whatever surface you place it on. So everyone wanted to have it, and then, I realized retail is where the scale is, and the manufacturing aspect of it is what gives the business model way more substance. So with that in mind, I started to invest in factories, and one thing led to another, and I started to get into a place that, we're now buying factories, and we started to scale the business from there, and here I am today with more than a thousand people at Outform in various regions, doing what I enjoy the most, which is shaping the future of retail. Wow. Maybe there's not a when moment, but, I'm curious how you evolved into doing the agency ideation through the execution side of it as you did these things, you realized, the best people to actually manage this and deploy it and so on are my own people as opposed to trying to sub this out? Ariel Haroush: Part of the journey of working with customers, I worked with a very big tech company in Cupertino and you can guess who, and they were so secretive about everything, and we could not outsource anything in terms of the thinking side of things, and I just needed to bring people in house and I always had a tendency to creative, and I was very involved in that side and one person and then another person, and then you find yourself with a creative team and you start to conceptualize and bring in ideas, and because a lot of the stuff that we do had a highly fused tech integration, we started to create our own kind of R&D team to deal with those things. Many times I face situations where clients come to me and say, " Oh, my agency created this and they could not deliver on that, and we are super disappointed how we can ensure that it's not going to happen with you guys”, and that's always been a differentiator because everything we design we actually do. So we just start building up on those experiences, and one of the things as I built the company that I never really liked when customers or people refer to us as the vendor because the vendor is something very, in essence, commoditized type of a description, right? But I really enjoyed it when I was a partner or an agency, and I invested heavily in that because I felt this is where we create value, and every time I had a conversation with clients, which was on the C-level. It was more about how we can win in retail. It wasn't about how we're going to make it exactly, and what's the engineering and how many screws and the thickness of the material and all that good stuff, it was more about how we can influence the shopper? That's always been the passion. So investing heavily into that, and that was a differentiator for Outfrom, because, in essence, if you think about the industry in a nutshell, and you ask yourself why advertising agencies became so big as they grew, like the Ogilvy, the Y&R, the Saatchi & Saatchi, they had a really unique business model. They competed heavily on the pitch, right? And they put everything in front of it. Design, planners, strategy, and once they win the pitch, in essence, the reward was the media buying. So if you compete on a Coke pitch, you know that they're going to spend 300 million on advertising, which you buy media on and you're getting a commission on that. So that was the scalable business model. For Outform, it's been the manufacturing side of it. That's the scalable part, but you have to put all the upfront investments to have a seat at the table, and to me, that was a model to replicate. When I look at our industry, it was very fragmented to mostly moms and pops type of operation, and they always looked at it in terms of, “I'm a manufacturer. Tell me what you need to do, and I'll make it for you.” But that's not really the conversation customers want to have. They want to know how they can best win in retail, and they come into those experts to help them craft the proposition, and when you think about our industry, as it's getting more and more technology fused, you have to rely on people that understand the different disciplines in terms of manufacturing. So it's not just cutting wood or bending metal or using plastic. It's a combination of all of the above, including tech, including data, including how you can learn and optimize your offering as you move forward. So there's just so much built into that, and Outform was very eager to play in that area. Yeah, I've certainly through the years seen no end of companies who manufacture things. They've invented something and they're very proud of their features and specs surrounding that thing, but they go in selling that thing as opposed to, as you were describing, talking about the objective and selling a solution and providing a solution and you can see how the industry has evolved that way and how more and more, particularly large clients who are saying, I don't want to cherry pick all the components that I need for this thing. I want a partner who's going to help me hold my hand through this whole thing and execute it and, be cohesive as opposed to, ending up with a lot of finger pointing when there's a problem. Ariel Haroush: Exactly, and if you think about it, every customer has different types of challenges. When you look at the likes of Google, and they need to educate the customers about what Google Home is all about. That's one type of challenge, and when you look at Estee Lauder trying to maximize the shelf efficiencies, that's a different type of challenge. You also many times find yourself depending on where you actually have been deployed, the mindset of the shopper from a Home Depot to a Best Buy is completely different. When you're in Home Depot, you want to know how easy it is and how much time it'll take to install. When you're in Best Buy, you want to know the technical specs and the mindset really shifts between the retailers that you're in. So the emphasis on how you maximize the conversion is different. There's just so many opportunities. Of engaging and I'm not even going and discussing the Gen Z behavior and shift in behavior that's really challenging a lot of retailers and a lot of brands, because if you think about it, the type of consumers that we have, the call it the shoppers of tomorrow, they're so different in mindset. I always like to give the examples that I have five kids by the way, my oldest one is 16 and we're driving in Miami and he said, “Hey, dad, can you change the song?” And I'm looking at him and say, it's the radio. You can change it, and he's giving me this weird look. He said, what do you mean by changing the song? I said, you can't do this on radio. He said I don't get it. So what if you don't like the song? I said, you wait, and he said, if you don't like the next one, I said, you wait. I said, dad, it makes no sense, and he's right because he's using Spotify. It makes no sense. You got to get him a rotary dial telephone. Ariel Haroush: Amen. Amen. So we are talking about a different type of shoppers and those shoppers, if you look at the attention span generally of Gen Z compared to millennials, compared to baby boomers. I just see my kids, I would say that their attention span is on the length of a TikTok story. They're instantly getting bored, and man, it's a science. How do you get them not to flip this TikTok story or the Instagram story? And you're trying to make sense of it and to understand what actually captured their attention, and if you're in a retail environment, that's not different than your TikTok story moments, right? You have so many offerings, and you need to make sure that the shopper is actually giving attention so you can tell your story so you can potentially convert. This is what we're dealing with, and we have to be super efficient in the way we are crafting the proposition to our clients. So who are your typical customers or Outform's typical customers? I'm guessing it's much more brands than retailers themselves. Ariel Haroush: It's a combination of both actually. We're working with many brands. We've been super active for the past 20 years dealing with the brands because in essence, they need to deploy whatever they do and not only one retailer, but multiple retailers, and we need to do it on a global basis. So the challenge around it, it's quite enormous, and we've been excelling in that landscape, but we also have a lot of retailers coming to us. We realize that we as well need to change, and if we're not going to change, we're going to end up like the Sears and the other retailers that went under, so what do we need to do? And you can start seeing a shift in the way retailers are operating. They used to be super passive, by the way. They'd say, “We shouldn't worry. The brand will figure that out.” But the brand also realized that they can get sales online. So the retailers now need to start asking, “Am I just a showroom type of a facility? No, I need to add more value.” So how do you do that and what's the proposition for the shoppers? So everyone is challenged around what's the future of retail. Yeah, that's interesting because I've heard endlessly for years and had some experience myself that retailers are interested in the digital stuff and experiential and everything else, but they want the brands to put it in and they want the brands to pay for it. As Chris Riegel for Stratacash says, “They're like T Rex's, very large, but very short arms.” Ariel Haroush: You're right, but there is a shift here because if you look at Best Buy as an example, they're realizing that a big component of the revenue is coming right now from what you refer to as retail media, which is an online terminology. If you want to get good placement on the Best Buy website, you're paying for it, and there is a big revenue contribution to their bottom line coming from that. So everyone understands that retail media is on a meteoric rise. Now, the retailers are looking at it, so if I can generate this amount of income from my website, wait a minute, I have all this fleet of stores that can generate revenue for me and that's an opportunity that I don't necessarily want to give away to the brands. So we started to see a tremendous amount of conversations happening around how we can utilize our stores as a component of the retail media. So you're going to see a shift in terms of how retail is starting to look into it and say, there is an opportunity and untapped opportunity that we want to materialize on. Are a lot of retailers over excited about retail media because they see the big numbers, but that they maybe don't understand that 99% of that dollar figure is going to mobile and online and not a hell of a lot of it goes into in store display. Ariel Haroush: The online numbers are staggering, right? I think by 2027, it's going to be as big as social media. So it's just huge. Now people ask: will the retail media in real life will be the next big thing? Now it's really a matter of eyeballs and a matter of conversion. Because all you're really getting when you are putting it online, you're getting X amount of eyeballs that are able to be converted and the percentage of conversion is actually a lead to sales and that's why it's such a hype right now. But if you get X amount of millions of people passing through your store and brands are competing in your stores on conversion, they are willing to be the one spending money on getting those eyeballs. You basically just got yourself a new revenue stream. Now one should ask whether the traditional retailer just being transactional is the future, because in essence, we are living in a place. It used to be called Omnichannel, right? Omnichannel, for the listeners here, I'll use the analogyof a highway. Think about the highway with different lanes and every lane represents the different side of the Omnichannel. But we all drive today and we are crossing lanes all the time. So in essence, Omnichannel is no longer the right way of phrasing it, I call it more of a unified commerce because you can walk in the store, but you are with your phone, so you are constantly connected and you can compare prices on your phone in the store, and you can make a decision to click the button on your phone And it's gonna wait for you on your doorstep. So what is an Omnichannel anymore? It's more unified commerce and in a world of unified commerce It doesn't matter where the purchase actually happens. So yes, you have your stores because you need to have a presence. It's almost like a business card of your brand. But in essence, the metrics of how much I'm selling in the store should not be the most applicable way of doing your KPIs if you get a halo effect that happening outside of the store, it doesn't matter. It's a unified conference. So where are you at with the company now with Outform? Because you started this new entity that I want to talk about called Future Stores. When we chatted, oh God, back in the spring or something like that, you had mentioned that this thing was coming and that you were continuing to be the CEO of Outform, but maybe perhaps winding that down. Ariel Haroush: No, Outform is my true love. It's a company I founded. I enjoy every moment of it because every day is a new day. But when I see what's the future of retail and when I'm asking myself, and this is something I've always been extremely passionate about, one of the things that I've seen time and time again, that many times we work with the brands and we're doing something, it doesn't really get the big bang that we all hope for, and I ask myself why. If you want to do, for example, a pop up, and let's say you want to do a pop up because you want to tell the story, and you have a product to launch. By the time you're designing the pop up, you need to design it, you need to engineer it, you need to prototype it, you need to spend three to four months and then you need to find a location that you can actually host, but the landlords are not waiting for you. So securing a location six months in advance is super difficult. So many times we do all this effort and we end up compromising and we find ourselves in a shopping mall, and there's so much work, sweat and tears built into that, that when you're actually launching it, you don't get the big bang that you expect. And to me, that was always a missed opportunity, and every investment was one off, and if you do something which is very analog driven and things change, context change, the market change, competitive landscape change, you're not unable to react. So to me, I felt there must be a better solution, and when I look at the high street, it doesn't matter where you go, whether you're in 5th Avenue, Oxford streets, Champs-Élysées, Ginza in Tokyo, in essence, you're seeing the same old brands time and time again, and you've seen Zara in one location, you've seen them probably in every location, so nothing really drives you to step inside, which is a real shame. I ask, given everything we spoke about that TikTok story mentality, I said, what if the high street can be as dynamic as our social feed and I had this vision of creating a space that can be almost like the sphere in Vegas for retail, that is fully immersive and brands can come in without the worrying of engineering and prototyping and manufacturing and finding the spot, they actually know the size and they get the best location ever because it's one of those high street flagship locations and everything is digitized and everything is immersive and they get the big bang for their investment. I said, wow, that's actually something if you're going back to the Marty moment, flying to the future, that's the moment for me where the billboard becomes a shark, where you notice something and you can not miss it. That's really the thesis behind Future Stores. Those futures stores are set on prime locations. We're talking about the best of the best. Oxford Street, 5th Avenue, where brands can do global activations in multi-cities at the same time without all the hustle and bustle of creating specific, tailor-made, manufacturing, analog driven for a specific site and when content can change from the weekend to the workdays, from the morning to the evening, when it's fully immersive, and we are launching it on October 30th. so this is about 30 days from today. Our first client will be a massive CE brand, and oh my God, people will see it in the media for sure, I'm telling you it's mind boggling. Just the storytelling, the possibilities. someone that's seen it said I feel like it's the iPhone for retail because there's just so many options, So if I'm a massive CE brand, and I book future stores, what am I getting and what are the parameters? Do I have to book for a month? Can I book it for a day? Is it staffed for me or do I have to bring in staff? How does all that work? Ariel Haroush: You can book it in slots of a week to two weeks to four weeks. We don't want the brand to come in and take it for six months because that's going against kind of the thesis of a high street is constantly being dynamic and we don't think the shoppers would care if it's not changing all the time. You get everything basically. It's a full retail operation that you don't have to invest in the time in, because all the walls and the ceiling and everything, all the tech components are already built up. All you need to do is explain your content and we can help you with that as well, and you have the back of the house. So what do you basically need is basically your decision. If you need security at the door because people are going to queue outside, we can provide your security guard at the fee. But the rest is everything is okay. It's ready for usage. So the huge project plan with the endless Gantt charts and everything else you would have to do, if you were leasing the space on your own and staffing it and designing it in the whole nine yards, that's covered off. A CE brand can just say, I want this for two weeks. Is it available in this time window? There's obviously some planning they still have to do, but 90% of it is gone. Ariel Haroush: Exactly. You're really getting a turnkey solution and the beauty about it is that you can say, “Hey, I know I'm going to launch a product in late March and I need to be in an extra X amount of cities. Can I book it now?” Knowing that it's going to wait for you and knowing that you have the possibility to use your own content for it is just, I think it's the future. Now, this is my thesis, of course, but time will tell. I wrote about this the other day and I said it's about two blocks away from Outernet London and very reminiscent of that, but there's some very big differences as well that's mostly about public art and so on, but it's the same kind of experience, right? Where you walk in, you've got LED on the walls, you've got LED on the ceiling, and everywhere else. Ariel Haroush: Yeah, and Outernet, good friends of mine, they did phenomenally well. Frankly speaking, it's becoming the number one destination in London and well deserved by the way, because it's people just coming in and getting inspired and I love that. I love the people getting inspired just by walking in the street, and they do amazing content, but yes, it's a different proposition because they are more of a public arts media component. We are all about future retail, while they provide a sense of awareness, we are providing the awareness piece, but also the consideration and the conversion. So there is an ROI component to it that is very clearly measured. We spoke about retail media, in essence, it is retail media in the real world because we're enabling you as a brand to get all the eyeballs, but you convert the eyeballs to people getting into the store experiencing the product with also the option to buy What is technically in there? Is it fine pitch LED on the walls and ceiling? Ariel Haroush: That's correct I mean we have the highest resolution of LEDs anywhere installed in London. So if you compare it to Outernet, the density of our pixel rate is much, much more advanced. That's a given because we started way later than they did, so they had to commit to a technology that is probably three years old. We have amazing brightness. You're not going to be able to see the pixels, it's just as much of a high resolution, millions of pixels around the stores, which is super impressive to see. I think on October 30th, when we launch, people will really grasp the magnitude of it. Who is behind this? Ariel Haroush: Myself and two other partners that I have, but I'm the driving force behind the concept. So you have an extremely vested interest in making this work. Ariel Haroush: Yeah, absolutely, and it's weird to say it because I am a businessman and obviously the financial world is a metric, but my reasoning for doing that was not for financial gain. I'm really passionate about where I can take this industry forward, and there's just so many possibilities. I'm 50 years old this year, so I took three weeks in India and I was trying to look for my Zen and one of the random meetings that I had in India, I met this very nice lady from the Richmond group and she was doing a one year tour. She wanted to retire and she said, you know what, I'm just going to go on my own, we had dinner and she asked me, “Ariel, tell me about your business” and I decided to speak about Future Stores versus Outform, which is a much more mature business, and she said, “okay, I get it, it sounds exciting, but what's your gain? Do you really want to just make money?” And it really poked me in an interesting way, and I said, why do you ask that in the sense that the way you asked it. She said, no, I'm just trying to understand. I said there is a motive that I'm trying to do that I'm not describing to many people, but, given how you frame it, I want to describe it to you and she said,well, go ahead. I said, one of the things that I'm really passionate about is, I'm not going to use a big statement, but democratizing the high streets, if you think about it, it's something that I'm really passionate about and you ask why. Because frankly speaking, if you think about the high street is kept to the typical candidates that you can already list down without me even need to say it. It's those big brands that you see everywhere and they occupy all the time the high street and it's not like we're not going to engage with them, on the contrary we will, but I want to be in a position that I hold at least 25% of the time of future stores into new brands, innovative brands, brands that are not necessarily going to get the time of the day to be on the high street, but they are the up and coming brands. So we are talking right now with a couple of brands that I'm super excited about that people are going to learn about. There are celebrity launches. There are other people that really have amazing stories to tell in the high street, and they just don't get the visibility to be on the high street. So that's another motivation that I have outside of just the financial aspiration that this concept has, and this concept, should it be successful? It will scale to a variety of different locations across the globe. London, obviously it's an advanced build or probably ready to go, but other cities you mentioned like Champs-Élysées, Tokyo, are these ones in the pipeline or are these ideas of what could happen? Ariel Haroush: Tokyo is what could happen. But obviously, if you think about where would be the most relevant cities to start with, it's not a secret that New York, London and Paris are going to be the top three at least from my lens. Asia is a bit far away at this stage. We still need to prove the business model. But yes, we have active engagement in the other cities that I mentioned, and we are just vetting the final sites as we speak. This is the sort of thing that is very clever and everything else without question, but it's also something that a commercial property developer could look at and go, “Yeah, I'm going to build that too and I'll give it a different name and I'll tweak it just enough to make it mine.” How do you deal with that? Ariel Haroush: I'll say good luck with that. The level of complexity in storytelling and working in collaboration, I would never even dream to do that if it wasn't for my experience in Outform. I have so much experience in Outform, doing it for 20 years. I understand what it takes and how to tell stories in retail. Landlords want to be landlords, and many of them are already approaching. I said, why don't we partner? And that makes sense in order to scale it faster. But yeah, you need a certain level of expertise to know what you're doing. This is not just a typical media play. It's much more than that. This is not just slapping up, some fine pitch LED and renting a high profile space. Ariel Haroush: No, there is so much more built into that, because you need to think about it in a retail operation mindset, you need to think about it in a media mindset, you need to think about it from a storytelling perspective, and you really need to maximize what we call the funnel. Because if you think about the marketing funnel, it's built in such a way that you spend money on awareness and that's usually going out of home media or TV or whatever, then you spend money on consideration, which is experiential, pop ups, you name it, and then you have the conversion piece, which mostly kept to retail stores. And last but not least, the royalty component. That's the marketing funnel. We are, in essence, trying to flatten the funnel so you get your awareness, consideration and conversion all in one location, but there is also a huge component that I don't think people understand the value of it, but they will, which is the amplification. If you look at Outernet as an example, for every campaign that they're running, they have tens of millions of views of people who have never even been to Outernet, and if you look at every single thing that the Sphere did in Vegas, they have hundreds of millions of shares of something. People have never even been to Vegas, but they know about the Sphere. This has an additional impact Future Stores will be able to deliver. If you ask me, Ariel, people tried before. Why would that be any difference? Scale and also inmindset, because when I moved to the States, someone said to me, go big or go home. And I asked, what do you mean by that? And he said, if you're not putting everything in, then it's just not good. That's what we're trying to do. You cannot compromise the location. You cannot say, let me bring this huge brand for a store that looks like a mobile store. They just are not going to do it. So if you want to get people to take you seriously, you have to go all in and that's what we've done here. So we're talking about a huge investment that we're putting into the high street. Probably if you think about London outside of the Outernet, it's probably the biggest investment ever done in a retail store, and that's what we're going after, we're going after something that is quite impactful and if it's going to deliver the amount of eyeballs that we think it would, then people will notice it, and if people will notice it, then brands will start to see the value in it. I'm looking forward to seeing it at some point. I'm kicking myself now. I traveled through London to get to ISE in Barcelona, but I just did an overnight booking. Ariel Haroush: Oh my God. I'll be very happy to host you there. I'm going there every now and then. It's still in a kind of a installation mode, but all the screens are up, we're now doing the testing. It's a site. The ceilings are super high, so you get the full immersion and without telling who is the first client, all I can say is that, once you see the first execution, it's mind boggling. It's really above and beyond what I ever imagined it to be. So I'm super pumped and excited about where this is going to go. October 30th, right? Ariel Haroush: Yep. All right. Thank you, Ariel. I think you're onto something. Ariel Haroush: I hope so. Thank you for taking the time.
This week we're going back to postwar Tokyo with Godzilla Minus One! Join us as we learn about the rebuilding of Ginza, war orphans, sea mine removal, how Godzilla stands upright in the water, and more! Sources: "Ginza," Tokyo Official Website: https://www.ginza.jp/en/history/2#:~:text=As%20early%20as%20April%2C%201946,Ginza%20%2Ddori%20during%20this%20festival.&text=In%20addition%20to%20the%20regular,goods%20to%20the%20US%20troops. "Post-war Ginza," Old Tokyo, available at https://www.oldtokyo.com/post-war-ginza-1945/ "The Lost Metropolis: 1930s Tokyo Street Life in Pictures," The Guardian available at https://www.theguardian.com/cities/gallery/2019/may/17/the-lost-metropolis-1930s-tokyo-street-life-kineo-kuwabara-in-pictures US Naval Institute, "Success Meant Death: An Interview with Kaoru Hasegawa," available at https://www.usni.org/magazines/naval-history-magazine/1995/october/success-meant-death-interview-kaoru-hasegawa Richard Lloyd-Parry, "Survivor Shame," The Independent, available at https://www.independent.co.uk/news/survivor-shame-1592965.html Roger B. Jeans, "Victims or Victimizers? Museums, Textbooks, and the War Debate in Contemporary Japan," Journal of Military History 69, 1 (2005) Lili van der Does-Ishikawa, "Contested Memories of the Kamikaze and the Self-Representations of Tokko-Tai Youth in Their Missives Home," Japan Forum 27, 3 (2015) John W. Dower, Embracing Defeat: Japan in the Wake of World War II. WW Norton, 2000. Mariko Asano Tamanoi, "The Origins and Plight of Sensō Koji (War Orphans) In Postwar Japan," APJIF, 18, iss. 13, no.1 (2020). https://apjjf.org/2020/13/tamanoi Robert Efirt, "Japan's "War Orphans": Identification and State Responsibility," The Journal of Japanese Studies 34, no.2 (2008): 363-88. http://www.jstor.com/stable/27756572 Mariko Asano Tamanoi, "Memory Map 3: Orphans' Memories," Memory Maps: The State and Manchuria in Postwar Japan (University of Hawai'i Press, 2009), 84-114. https://www.jstor.org/stable/j.ctt6wqrg5.7 Sheldon Garon, "Operation STARVATION, 1945: A Transnational History of Blockades and the Defeat of Japan," The International History Review 46, no.4 (2024): 535-50. Michael Sturma, "Mopping Up," in Surface and Destroy: The Submarine Gun War in the Pacific (University Press of Kentucky, 2011). https://www.jstor.org/stable/j.ctt2jcr03.13 John S. Chilstrom, Mines Away! The Significance of U.S. Army Air Forces Minelaying in World War II (Air University Press, 1992). John S. Chilsstrom, "A Test for Joint Ops: USAAF Bombing Doctrine and the Aerial Minelaying Mission," Air Power History 40, no.1 (1993): 35-43. https://www.jstor.org/stable/26279445 Lieut. Commander Arnold S. Lott, USN, "Japan's Nightmare--Mine Blockade," U.S. Naval Institute, Vol. 85/11/681 (November 1959). https://www.usni.org/magazines/proceedings/1959/november/japans-nightmare-mine-blockade https://japannews.yomiuri.co.jp/society/general-news/20231003-140471/ https://www.state.gov/dipnote-u-s-department-of-state-official-blog/investing-in-the-future-of-the-pacific-u-s-assistance-continues-to-address-wwii-era-explosive-hazards/ https://www.asahi.com/ajw/articles/15088407 RT: https://www.rottentomatoes.com/m/godzilla_minus_one Wiki: https://en.wikipedia.org/wiki/Godzilla_Minus_One https://variety.com/2024/artisans/news/godzilla-minus-one-visual-effects-water-scene-610-shots-1235891768/ Oscar win: https://youtu.be/h3q7SaXhCPE?si=dSEUEIhlPD9g2xEU
音楽家/文筆家の菊地成孔がお届けするTOKYO FM SUNDAY SPECIAL「From Q presented by Aston Martin Ginza」月１回、日曜の夜に、東京・銀座の１角にあるウルトラ・ラグジュアリーな空間、アストン・マーティンのショールームからお送りしています。今回のゲストは、武井壮さんです。
お知らせ）ながら日経・ヤング日経リスナーアンケート ながら日経、ヤング日経では、『リスナーアンケート』を実施中です。 アンケートにご協力いただいた方の中から抽選で20名様に「Amazonギフトカード1000円分」をプレゼントします。アンケートはこの番組の『番組説明欄』にあるリンクをクリックし、ラジオNIKKEIwebサイトのアンケートフォームから回答をお願いします。 締め切りは9月11日(水)。 当選者の方には9月末までにメールにてギフトをお送りいたします。 たくさんのご応募・ご協力、お待ちしています！ https://www.radionikkei.jp/form/survey-nagarayoung-2408.html ◾️月曜担当：久保 光代 大学院1年生。ラジオのパーソナリティ、企業紹介の番組のフィールドキャスター、めざましテレビのリポーターとして活動している。好きなこと：茶道、弓道、小型船舶1級、スキー
Japanese electronics and entertainment giant Sony Group Corp. completed its new building in Tokyo's posh Ginza district in August, expecting the structure, standing at a corner facing the famous Sukiyabashi crossing, to be a new symbol of the area.
竣工した「ＧｉｎｚａＳｏｎｙＰａｒｋ」ソニーグループは８月、東京・銀座の数寄屋橋交差点のシンボルだった複合商業施設「ソニービル」の建て替え工事を終え、新たに「ＧｉｎｚａＳｏｎｙＰａｒｋ」を完成させた。 Japanese electronics and entertainment giant Sony Group Corp. completed its new building in Tokyo's posh Ginza district in August, expecting the structure, standing at a corner facing the famous Sukiyabashi crossing, to be a new symbol of the area.
音楽家/文筆家の菊地成孔がお届けするTOKYO FM SUNDAY SPECIAL「From Q presented by Aston Martin Ginza」月１回、日曜の夜に、東京・銀座の１角にあるウルトラ・ラグジュアリーな空間、アストン・マーティンのショールームからお送りしています。今回のゲストは、俳優の高橋一生さんです。
【怖い】経緯を読んだらガチの国際クライムサスペンスだった→フリーのエンジニアを狙ったサイバー攻撃が増加中 「海外サイト(WeWorkRemotely)で良さげな案件を探していて、出会ったクライアントとビデオ通話した後「早 […]
音楽家/文筆家の菊地成孔がお届けするTOKYO FM SUNDAY SPECIAL「From Q presented by Aston Martin Ginza」月１回、日曜の夜に、東京・銀座の１角にあるウルトラ・ラグジュアリーな空間、アストン・マーティンのショールームからお送りしています。今回のゲストは、ファションデザイナーの菊池武夫さんです。
We're Back! This time we are talking to Maksim Polkin of Imadeya, one of the most well known sake distributors in Japan. He is usually at their Ginza Six location, but helps introduce people to the wonders of sake all around Tokyo. Sebastien Lemoine and Chris Hughes talk with Maksim about how he found himself in Japan and in Sake. Their conversation also winds through the forest of sake retail, the needs of different markets and how Imadeya sees itself in the industry. You can follow Makism on his instagram and he helps manage the Imadeya Ginza instagram as well. Kanpai!Sake On Air is made possible with the generous support of the Japan Sake & Shochu Makers Association and is broadcast from the Japan Sake & Shochu Information Center in Tokyo. The show is brought to you by Export Japan. Our theme, “Younger Today Than Tomorrow” was composed by forSomethingNew for Sake On Air.
音楽家/文筆家の菊地成孔がお届けするTOKYO FM SUNDAY SPECIAL「From Q presented by Aston Martin Ginza」月１回、日曜の夜に、東京・銀座の１角にあるウルトラ・ラグジュアリーな空間、アストン・マーティンのショールームからお送りしています。初回のゲストは、演出家のテリー伊藤さんです。
Il mio nuovo remix è fuori! Un mashup che unisce la nuova hit "Paprika" di Ghali con la super hit del 2015 "Ginza" di J Balvin! Enjoy & Share Free download link premendo il tasto BUY
I can't tell you how excited I have been for this trip and to be recording our first “On Location” episode of Luxury Travel Insider. While I love all my trips, this one is really special because Japan is brand new for me! Yep - I've been to over 100 countries and all 7 continents twice or more, but this is my first time here. I was supposed to visit in 2020 but of course the Pandemic had other plans. Now all of a sudden, Japan is one of our top destinations this year at Bell & Bly Travel, so I just needed to see it for myself! This week I'll be recording some of my impressions of the country, my favorite experiences, and answering some of your questions too. Pour a glass of your favorite Japanese whisky and join me on this adventure to Tokyo & Kyoto! Learn more at www.luxtravelinsider.com Connect with me on Social: Instagram LinkedIn
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!
Welcome Weebs to Nelson's take over! Join us as Jon experiences GATE and Nelson finally gets to make him look silly... This week we did episodes 1-3 and I hope that you guys enjoy the show as much as us! let us know what you guys think about the JSDF and our friends in the Special Region! (This is Nelsons first edit so sorry if there's any weird spots in advance)Next week the guys will be continuing GATE with Nelson leading the charge. The boys are watching it on Hulu and are watching episodes 4-6 so make sure to catch them in order to Weeb-Along for next week!!Make sure to keep up with the boys on reddit at r/theweebalongpodcast and follow us on TikTok and Instagram at @weebalongpodOpening Track: "Smoke Break Valedictorian" https://get.slip.stream/2wSuBMAd Track: "Big Luck" https://get.slip.stream/Xv9zVIClosing Track: "Yolo Times Two" https://get.slip.streamC00wn7
In this episode, I talk about Nike's marketing and shitty products problem. I also talk about my trip to Japan, how Instagram is a key for vacation planning, what I wore and what Japanese were wearing. I also talk about shopping and a give a brief history Ginza, the birthplace of Japanese Fashion. Other topics include the Bode Astrograbber release and how Hidden NY has no point of view. Timestamps 00:00 - Newsradio Cold Open 00:21 - Intro 03:09 - Pickups / Skips / Misses 04:54 - Skips 06:35 - Misses 08:47 - Bode Astrograbbers 13:19 - Hidden NY Asics 20:42 - Nike and Goat 24:51 - Nike's Marketing and Shitty Products Problem 29:41 - Nike's AI Designed Sneakers 31:39 - Nike and MLB Fanatics Deal 33:35 - The Sword of Donahue 37:08 - Big in Japan 41:09 - Picking a Travel Sneaker 42:02 - Clothing for Japan 45:01 - Initial Thoughts in Japan 48:42 - Cash Money 49:42 - Language 50:51 - Food 54:12 - Transportation 57:07 - Sneakers Japanese Wear 59:52 - Clothing Japanese Wear 1:01:36 - Shopping 1:08:37 - Ginza and the History of Japanese Men's Fashion 1:15:19 - Closing Thoughts Buy Sockjig Socks https://shop.sockjig.com/
Fluent Fiction - Japanese: The Chopstick Chronicles: A Culinary Journey in Tokyo Find the full episode transcript, vocabulary words, and more:fluentfiction.org/the-chopstick-chronicles-a-culinary-journey-in-tokyo Story Transcript:Ja: 東京の雑踏が心地よく聞こえるある日、ユキとハルトという二人の友人が寿司屋に行きました。両方とも初めての日本訪問で、楽しみにしていたのは新しい文化体験だったのです。彼らの顔には旅の興奮が浮かんでいました。En: One day, amidst the soothing sounds of the bustling streets of Tokyo, two friends named Yuki and Haruto went to a sushi restaurant. Both were on their first visit to Japan, looking forward to a new cultural experience. The excitement of their journey was evident on their faces.Ja: 彼らが選んだのは、銀座のにぎやかな通りにある小さな寿司屋で、店の中には香ばしいシャリと新鮮な刺身の匂いが漂っていました。寿司シェフが彼らに向かって笑顔で手を振っており、キラキラと輝く刺身が並んだカウンターに彼らを案内しました。En: They chose a small sushi restaurant on a lively street in Ginza, where the air was filled with the fragrant scent of vinegared rice and fresh sashimi. The sushi chef greeted them with a smile, guiding them to the counter adorned with glistening pieces of sashimi.Ja: "お箸でどうぞ。” 寿司シェフは丁寧に言いました。ハルトは、箸の使用は苦手だがトライすることにしてました。彼らは幾度となく箸を使い、それが絶対的なものだと言われてきました。En: "Please use chopsticks," the sushi chef politely said. Although not skilled with chopsticks, Haruto decided to give it a try. They had always been told that using chopsticks was a must.Ja: ハルトは勇敢にも箸を取り上げ、おそるおそるネギトロ巻きに向かって伸ばしました。しかし、彼の不器用な手つきは寿司を弾んでしまい、それは大きな弧を描いて店の反対側に向かって飛んでいきました。紛れもなく、それは恥ずかしい瞬間でした。En: Determined, Haruto picked up the chopsticks and tentatively reached for a Negitoro roll. However, his clumsy attempt caused the sushi to spring off, making a large arc and landing on the opposite side of the restaurant. It was undoubtedly an embarrassing moment.Ja: 皆が驚く中、シェフはただ笑うだけでした。彼は静かに室を横切り、地面に落ちた寿司を拾いました。そして笑顔でハルトに向かって、"これは箸のミステリーです。毎日練習すれば上手になりますよ。”と優しく言葉をかけました。En: Amidst the surprised onlookers, the chef simply laughed. Quietly, he crossed the room, picked up the fallen sushi from the floor, and with a smile, said to Haruto, "This is the mystery of chopsticks. Practice every day, and you will improve." Kindly, he encouraged him.Ja: そして、シェフは箸の正しい使い方を教え、皆は楽しげに食事を続けました。ユキとハルトは初めての日本体験がこれほど楽しく、親しみやすいものになるとは思っていませんでした。En: The chef then taught them the proper way to use chopsticks, and everyone continued to enjoy the meal with laughter. Yuki and Haruto never expected their first experience in Japan to be so enjoyable and welcoming.Ja: この日の終わりに、二人だけでなく、店の全員が新たな友情を感じていました。そしてハルトは確信しました、彼が日本で得た最高の贈り物は、新鮮な寿司以上のものだと。それは、友情と、絶えず新しいことを学ぶという冒険への開放さだったのです。En: By the end of the day, not only the two friends but everyone in the restaurant felt a sense of new friendship. Haruto was convinced that the best gift he received in Japan was more than just the fresh sushi. It was the openness to friendship and the adventure of constantly learning something new. Vocabulary Words:one: ひとつday: 日amidst: 〜の中でsoothing: 心地よいsounds: 音bustling: にぎやかなstreets: 通りfriends: 友人excitement: 興奮journey: 旅evident: 明らかfaces: 顔sushi: 寿司restaurant: 寿司屋visit: 訪問looking forward: 楽しみにしているcultural experience: 文化体験lively: にぎやかfragrant: 香り高いscent: 匂い
J-WAVEとGINZA編集部がタッグを組み、NOLLEY'Sのタイアップ記事およびポッドキャスト「小川紗良と甲斐まりかのファッショントーク」を制作しました。今日はこのニュースを紹介します。
Domino's Pizza is apparently the latest chain to experience backlash over violence in the Middle East. A little-known sushi chain has plans to go public. And, are food costs actually, finally, going down?
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
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「文で名詞を修飾する」です。 Hi everyone, it's Kanako. Today's shadowing is “Qualifying Nouns with Sentences”. You can use this to add more details to the noun. For example, “The coffee I had in Ginza yesterday was delicious.” “昨日銀座で飲んだコーヒーは美味しかったです。” The verb in the qualifier sentences has to be in the short form. それでは はじめていきましょう！ Let's get started！ ***************************************************** Follow me on Instagram→ https://bit.ly/KANAKOIG Subscribe to my YouTube channel→ https://bit.ly/KANAKOYOUTUBE Support my show→ https://bit.ly/KANAKOpaypal Get your Genki textbook→ https://amzn.to/3Z5ShSz ***************************************************** These are sweets that my friend gave me. これは友達がくれたお菓子です。 This is a sweater I recently bought. これは最近買ったセーターです。 I want to stay at a Ryokan that has a hot spring. 温泉がある旅館に泊まりたいです。 I stayed at a hotel that has a pool. プールがあるホテルに泊まりました。 The tofu I had in Kyoto was delicious. 京都で食べた豆腐は美味しかったです。 The fried chicken my mom makes is delicious. お母さんが作る唐揚げは美味しいです。 The most recent musical I saw was Chicago. 最近見たミュージカルはシカゴです。 I want to live in a town where there is an ocean. 海がある町に住みたいです。 I want to live in a house that has a backyard. 庭がある家に住みたいです。 The food I often eat is Oyakodon. よく食べる食べ物は親子丼です。 The place I often go to is a cafe. よく行く場所はカフェです。 ***************************************************** 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. おつかれさまでした。いかがでしたか？ That's all for today's shadowing. I hope you enjoyed it. また つぎの レッスンで あいましょう！ See you in the next lesson! --- Send in a voice message: https://podcasters.spotify.com/pod/show/japanese-with-kanako/message
Joe got pre-empted by NFL football, so he's bringing you an emergency edition of the podcast. This week: Godzilla may have not won in the box office, but it certainly won over Joe Escalante's heart.
Having been born and raised in rural Ohio in the United States, Melissa Finkenbiner has now lived and created art in the US, Myanmar, Armenia, Zimbabwe, and Japan. As a cross-disciplined fine artist and metalsmith, all of Melissa's work is linked by recycled and sustainable materials with earthy elements. In her work as a metalsmith, she repurposes vintage silver and copper, or uses recycled metals, including brass. In other works, Melissa uses a variety of materials, sometimes combining ink with plant-based acrylic, undiluted watercolor, conte, and pastels. Most notably, she uses discarded surfaces from glass bottles to tree bark, or sustainable papers from bamboo and recycled pulp. Sustainable practices are at the heart of her process and her packaging. Over the past 12 years, Melissa has had 21 gallery exhibitions including her 2023 solo show “Elements of Nature Between Skyscrapers” in Ginza, Tokyo. In 2019, the U.S. State Department's Art in Embassies program purchased three of her mixed media portraits for U.S. Embassy Harare in Zimbabwe. https://www.melissafinkenbiner.com https://www.instagram.com/melissafinkenbiner Do you have a question for the Ask Us Anything segment? Any topic is fine, we love to hear from all our listeners. Email us here and we will do our best to answer your question in one of the episodes. thecreativitycafe21@gmail.com Paige Baldwin Ando https://www.wholeselfcreative.com https://instagram.com/wholeselfcreative Jordana Matsuda https://instagram.com/jordanaillustration --- Send in a voice message: https://podcasters.spotify.com/pod/show/thecreativitycafe/message
In this video I discuss the story of Salem Avenue Elementary school. This school has 100% of their students in poverty is in a town ravaged by opioids, yet due to the fact that they don't treat the students like victims the school is performing better than most schools in the stateWebsite: https://www.actualjusticewarrior.com/https://linktr.ee/ActualJusticeOdysee: https://odysee.com/@actualjusticewarr...Rumble: https://rumble.com/ActualJusticeWarriorInstagram NEW: https://www.instagram.com/actualjustice/Twitch: https://www.twitch.tv/actualjusticewa...Utreon: https://utreon.com/c/ActualJusticeWar...2nd Channel: https://www.youtube.com/ajw2dreamscom...TeeSpring Store: https://teespring.com/stores/actualju...New Store: https://actualjusticewarrior.myspread...Gettr: https://gettr.com/user/iamsean90Parler: https://parler.com/profile/Actualjust...https://www.minds.com/actualjusticewa...Support me on Patreon: https://www.patreon.com/SeanFitzgeraldPaypal: https://www.paypal.me/Iamsean90Venmo: https://venmo.com/iamsean90Support me on Subscribe Star: https://www.subscribestar.com/seanfit...Gab: https://gab.com/Iamsean90Twitter https://twitter.com/iamsean90 Backup Twitter https://twitter.com/AJWSeanBitchute: https://www.bitchute.com/actualjustic...Discord: https://discord.gg/c7PGFFp3rd: https://www.youtube.com/user/DudeMonk...Get Storable Food: https://www.preparewithajw.comGet Pocketnet: https://pocketnet.app/actualjusticewa...Podcast Links:Spotify: https://open.spotify.com/show/1o0q86A...Apple: https://podcasts.apple.com/us/podcast...Google Podcast: https://podcasts.google.com/feed/aHR0...Sources:Full Segment: https://youtu.be/rP295TsMIvc?si=GInzA...Video On Baltimore Lowering Standards: https://youtu.be/fHgutRRx5bg#Education #Maryland #IamSean90FAIR USE NOTICEThis video may contain copyrighted material; the use of which has not been specifically authorized by the copyright owner. We are making such material available for the purposes of criticism, comment, review and news reporting which constitute the 'fair use' of any such copyrighted material as provided for in section 107 of the US Copyright Law. Not withstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work for purposes such as criticism, comment, review and news reporting is not an infringement of copyright.
------------------------------- 強化英語課程資訊 ------------------------------- 「社會人核心英語」有聲書課程連結：https://15minsengcafe.pse.is/554esm ------------------------------- 15Mins.Today 相關連結 ------------------------------- 歡迎針對這一集留言你的想法： 留言連結 官方網站：www.15mins.today 加入Clubhouse直播室：https://15minsengcafe.pse.is/46hm8k 訂閱YouTube頻道：https://15minsengcafe.pse.is/3rhuuy 主題投稿/意見回覆 : ask15mins@gmail.com 商業合作/贊助來信：15minstoday@gmail.com ------------------------------- 以下有參考文字稿～ 各播放器有不同字數限制，完整文稿可到官網搜尋 ------------------------------- 每日英語跟讀 Ep.K632: Tokyo's Nightlife Struggles to Recover Despite Global COVID Rebound Tokyo's nightlife is still struggling to regain its vibrant glow even as the global economy recovers from the impact of COVID-19. NASA's luminosity data reveals that the city's nighttime brightness remains at 90% of its pre-pandemic levels in 2019, while cities like Paris and London have fully regained their nocturnal radiance. 儘管全球經濟正從COVID-19的影響中恢復，東京的夜生活仍在掙扎著恢復其活力的光芒。NASA（美國國家航空暨太空總署）的亮度數據顯示，該市的夜間亮度仍然保持在2019年疫情前的水平的90％，而巴黎和倫敦等城市已完全恢復了他們的夜間亮度。 According to data processed by the Colorado School of Mines using NASA satellite images, Nikkei, a Japanese news source, has calculated the nighttime brightness of various cities during the April-October period of 2022. The findings show that Paris experienced a 3.2% increase in illumination levels and London saw a 1.4% rise from 2019 averages. However, Tokyo's luminosity dropped by 11.6%. 日本的新聞來源《日本經濟新聞》根據美國科羅拉多礦業學院使用NASA衛星圖像處理的數據，計算了2022年4月至10月期間各個城市的夜間亮度。結果顯示，巴黎的照明水平增加了3.2％，倫敦則增加了1.4％，而東京的亮度下降了11.6％。 This decline in Tokyo's nighttime radiance is largely attributed to the slow recovery of its central business districts, which were once bustling hubs for after-work socializing. The decrease in luminosity is more pronounced in entertainment districts than residential areas. Nightspots like Roppongi, Shinjuku, and Ginza saw light levels drop by over 15%. Downtown foot traffic in February was about 20% lower than three years prior, according to mobile location data from Docomo Insight Marketing. Labor shortages are exacerbating the situation, making it challenging for understaffed eateries to operate late into the night. 東京夜間亮度的下降主要歸因於其中央商業區恢復的緩慢，這些地區曾經是下班後繁忙的社交中心。亮度的下降在娛樂區比住宅區更為明顯。六本木、新宿和銀座等夜生活熱點的燈光水平下降超過15％。根據電信公司Docomo Insight Marketing提供的行動設備定位數據，2月份市中心的人流量比三年前少約20％。勞動力短缺也加劇了這種情況，使得人手不足的餐廳難以經營到深夜。 The decline in business hours has affected consumption patterns. According to TableCheck, customer traffic at Tokyo eateries in March was 14.9% below the 2019 average. Declines were steeper during late hours, with a drop of 44.8% between 6 p.m. and 10 p.m. and 57.9% between 11 p.m. and 2 a.m. 營業時間的減少影響了消費模式。根據TableCheck網站的數據，2023年3月，東京餐廳的客流量比2019年平均水平低了14.9％。在深夜時段，下降更為明顯，例如下午6點至晚上10點之間下降了44.8％，晚上11點至凌晨2點之間下降了57.9％。 Takahiro Saito, representative director of the Japan Nighttime Economy Association (JNEA), emphasizes the need to attract different customer groups, such as families and foreign visitors, to revitalize the sector. He suggests increasing the number of downtown theaters and social events. 日本夜間經濟協會（JNEA）的代表董事Takahiro Saito強調了吸引不同客戶群的必要性，如家庭和外國遊客，以振興該領域。他建議增加市中心劇院和活動的數量。 Although an increase in foreign tourists is expected with COVID-19 restrictions being lifted, Tokyo faces challenges like limited public transportation at night. Despite these hurdles, this situation presents an opportunity for Tokyo to not only boost its economy but also rejuvenate its urban culture. 儘管預計隨著COVID-19限制措施的解除，外國遊客的數量將有所增加，東京仍然面臨著夜間大眾運輸有限的挑戰。儘管存在這些困難，但這種情況為東京提供了一個不僅提振其經濟，還能同時使城市文化得到復興的機會。 Reference article: https://asia.nikkei.com/Spotlight/Datawatch/Tokyo-nightlife-still-not-fully-lit-despite-global-COVID-recovery
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
เป็นที่รู้กันดีว่า การออกกำลังกายนั้นสร้างความแข็งแรงให้ร่างกายของเรา แต่แท้จริงแล้ว การออกกำลังกาย ยังสร้างการเปลี่ยนแปลงต่อ “สมอง” ด้านการพัฒนาสติปัญญาได้อีกด้วย ทำให้เรามีภาวะทางอารมณ์ที่ดี มีสมาธิมากขึ้น รวมถึงสามารถจดจำสิ่งต่างๆ ได้ในระยะยาว . ใน EP. นี้ เราจะมาชวนคุยถึง การ “ปกป้อง” สุขภาพสมอง ด้วยการออกกำลังกาย ซึ่งสามารถเริ่มต้นได้ตั้งแต่วันนี้! . . #newyouresolution #missiontothemoon #missiontothemoonpodcast
The Mayor of Hiroshima Kazumi Matsui and the U.S. Ambassador to Japan Rahm Emanuel signed a sister park agreement between the Hiroshima Memorial Peace Park and the Pearl Harbor National Memorial in Hawaii. The Japanese government issued a power-saving request for areas served by TEPCO. The Nakagin Capsule Tower Building in Ginza is given a new lease of life with one of its modular capsules added to the permanent collection at the San Francisco Museum of Modern Art. And while the Enmusubi Wind Chime Festival opened yesterday in Kawagoe, Saitama, the annual Uwajima Ushioni Festival arrives in the port city of Uwajima for three days later this month. Learn more about your ad choices. Visit megaphone.fm/adchoices
Well it has been a minute since we had a chance to catch up and record a podcast but in this episode Tamara shares her insights and experience from her recent family trip to Japan. Kim and Tamara also share their love for Scottsdale, Arizona and some of the things they did on a girls' trip together. Read more at: Scottsdale girls weekend Reasons to visit Scottsdale in summer Best Scottsdale Arizona resorts for girlfriends trips Scottsdale weekend itinerary Tamara also talked about her time in Paso Robles, California. You can read her Paso Robles itinerary to get inspired to visit this wine region. Kim attended conferences in Walt Disney World (read her tips for using DVC points to save money on a Disney World vacation), Disney Land, and San Antonio. She also took a family cruise to Alaska aboard the Norwegian Bliss, which was different from her Alaska cruise on Holland America last summer. Kim also took a quick press trip to Iceland, where she was able to explore Reykjavik and visit the Sky Lagoon. We really dug into Tamara's 2-week trip to Japan which included: 5 Days in Tokyo 5 Days in Kyoto 3 Days in Osaka If you are planning a trip, be sure to read Tamara's Japan travel tips! When talking about how great Google Maps can be to figure out transportation in Japan, Kim also mentioned her post about using Google Maps to plan a trip. Tamara was also just back from a short press trip to Waterton and Glacier National Parks. We will be traveling a lot over the summer so expect to hear another episode in the late summer. Then you will hear about Tamara's trip to Scotland & Wales, her river and barge cruises in France, and Kim's amazing trip to Kenya. Full Episode Transcript [00:00:00.000] - Kim Today, we're journeying to the land of the rising sun. [00:00:14.520] - Tamara Welcome to Vacation Mavens a family travel podcast with ideas for your next vacation and tips to get you out the door. Here are your hosts, Kim from Stuffed Suicase and Tamara from We Three Travel. [00:00:29.740] - Tamara Kim, I can't believe the last time I really talked to you was when we were together in Scottsdale in April. [00:00:34.670] - Kim I know. It's been a crazy travel season for us. Good. I love that travel's back and everything, but it's also crazy because I thought we would be talking more and we've seen each other so much at the beginning of the year. And then all of a sudden it's like, Oh, summer is almost over. [00:00:47.920] - Tamara Not quite. That was our intent was to have this monthly. We're struggling, guys. So if anyone is still listening and subscribe to us, which I hope that they are, we're going to do a quick little rundown of some of our recent travels. Now you'll see why we haven't been able to connect and record an episode. [00:01:07.600] - Kim Yeah, exactly. It's been insane. The last time you guys heard from us, we were headed to Scottsdale, which was middle of April, and we both, I think, had an amazing trip there. We both published our articles, so you can always head to Wee 3 Travel and Stuff Suitcase and see the stuff that we covered. But I loved Scottsdale. It was great. [00:01:25.720] - Tamara Yeah. I think Scottsdale just continues to be a place I want to go back to because there's so many beautiful resorts and hotels, so there's always some place new to check out. There's amazing spas. Then this time, we did a lot of really cool activities. [00:01:41.370] - Kim I loved how it was really I think Scottsdale is a great destination a combination for being able to do outdoorsy things. We did hot air balloons, horseback riding, a few different things. But we also did wine tasting and shopping and went to some museums. Then, like you said, went to an amazing spot, the Phoenixion. Scottsdale, if you are a spa person, that's where you want to go. [00:02:03.230] - Tamara I've been watching our friend, Colleen, that lives out in Scottsdale. She seems to be hopping around another spa every day. I'm like, Wow, I want to come be your friend right now. [00:02:12.830] - Kim I think everyone's been saying that, I want your job. [00:02:15.790] - Tamara I'm sure. I would definitely say romantic getaway, girlfriend get away. Scottsdale is amazing for that. There's plenty to do with the family as well because of all those outdoor activities. But definitely check out. I know I have an itinerary. You have some great suggestions on things to do in the summer and how to manage the heat out there. D efinitely check those out on our websites to see more. [00:02:39.620] - Kim So where did you head after Scottsdale? [00:02:41.800] - Tamara I went right from Scottsdale to T uson to see Hannah for a little bit. And then the following week, I went to Paso Robles, which I'd learned. [00:02:51.090] - Kim I always said it was Paso Robles. Oh, it's Robles. [00:02:52.980] - Tamara Yeah. And it's actually Robles. And I'm like, I feel silly saying Robles. [00:02:57.270] - Kim Yeah, it sounds like Marbles. [00:02:58.630] - Tamara But that is a wine region in central California near San Louis Biscoe. I just love it. I was there, I think it was nine or eight years ago with the family, and we were checking out some family friendly wineries there. But it has just exploded in terms of the number of wineries, but also really good food now. The downtown has expanded. I stayed in a new boutique hotel that was just I loved it, which was so cool. It has a rooftop bar. It had a wine, actually a champagne vending machine in the lobby. Oh, I saw that. I saw your story on that. Yeah. So I had a great time out there. And I definitely think anyone that's into wine, put that on your radar as a region to visit. You can easily spill a long weekend. I had a couple of really wonderful spots that I went for wine tasting, just those perfect, incredible views, great food, wonderful wine. I think where many, many years ago it was newer to the scene or it was well known for J. L oor, some of the bigger names. There's just so much going on out there. [00:04:02.940] - Tamara Where did you go next? Because I know you were really busy right after our. [00:04:06.130] - Kim Scottsdale trip, too. I had three trips back to back. I did go to Disney World for a conference and I got to ride the new Tron ride. I also checked out a new hotel, which was the Contemporary Hotel, which I had never been to. I loved that. I really do love the splurging on those Disney World hotels that have the monorail access and the ones we've been at Revere too with the Skyliner because, man, it's amazing how much easier it is just to get into and not have to deal with the bus system because then whenever I have to wait for a bus to one of the parks and it's like, inevitably I get there and I'm the last one, I've got to wait for 20. [00:04:39.400] - Tamara Minutes or something. I will say that's what I liked the most about Disneyland because I've never stayed on park at Disney World. I've only stayed at partner hotels and by hotels. [00:04:50.150] - Kim Yeah, it is a big splurge for sure. I have a great article about that, though, because we splurged and used... We rented DVC points to be able to stay, and it's still not cheap. It was for the graduation trip and stuff, and this one does a conference hotel rate. I'm definitely not saying it's cheap, affordable, but if you do want to splurge, renting DVC points, and I have a link, so if anyone wants it, or you can look up the how I saved $2,000 plus dollars at Disney World. I have how we did that in there. I actually just tried to do it for Disneyland, but they didn't have any availability because Disneyland only has one property, almost two. Anyways, I did that. But then right after that, I also went on another Alaskan cruise, which you and I have talked about a few times. I'll soon have a couple of articles updated, but this was more of just a family cruise, so I didn't actually treat it like a work trip, which was nice to. [00:05:39.930] - Tamara Just relax. Which cruise were you on this time, though? Because I feel like was it last summer that you did celebrity? [00:05:44.310] - Kim Holland last August, which I absolutely loved. I loved Holland. I haven't done celebrity in Alaska yet, but Holland America was awesome. This time we did Norwegian because my family has status with there, and so they like to book Norwegian. We did the bliss, which we have been on the bliss before for a little media sailing when they started it. [00:06:02.560] - Tamara That's the one that we took. [00:06:03.920] - Kim To Alaska. Yeah, exactly. Family trip. Yeah. Anyway, so that was that. Then I had one other conference, then back to Disneyland. I hit both the parks within about three weeks of each other, but that was a lot of fun and just... [00:06:17.460] - Tamara You should have really had a Disney. [00:06:19.000] - Kim Cruise in the middle. I should have. That would have been perfect. Yeah, exactly. But anyways, that was a wrap up for me. My final trip that I did was I went at the end of May and went to San Antonio for another conference. It feels like most of mine were conferences. I was just conference out. But San Antonio is a cool city. It's been a while since I've been there. I went there for one day when I went to school in Texas for a little while. It was fun checking out San Antonio. But I know you've done a lot of other travels that did not involve conferences. [00:06:51.170] - Tamara Yeah, I'm like, Have I? I guess. You forget by now. Yeah, that's for sure. Well, I went back to T uson a week and a half later to pick up Hannah and bring her back from school. Then we were home for a week. Then we did our two week trip to Japan. Then I was home for, I don't know, two weeks. Then I just did a real quicky trip to Glacier National Park area. [00:07:14.290] - Kim Right. I forgot you went to glacier and I went to Iceland. I forgot to mention that. Oh, yeah. I'm blanking on June. I forgot June even existed. Sorry, I was just focusing on up to May, but yeah, definitely. I didn't get to experience the Iceland you got to experience because we stuck around Reykjavik and just explored a couple of attractions that were around there. So it was a quick, quick trip. But Mia is quite the little outdoor lover and cultured lover, so I definitely want to go back to Iceland with her because I know she'll just love to do some of the exploration that you've done. [00:07:48.850] - Tamara I was going to say, I'll meet you there. Yeah, definitely. I'm always ready to go back there. Yeah, well, I'll definitely put all of these links to articles in our show notes so you guys can read more. But I think. [00:08:00.800] - Kim That's a good way to do it. But I think we should dive into Japan because it is a very hot destination. I'm still so sad because ours was canceled. We were supposed to be going in April 2020, so we switched off and now you got to finally live the vacation that I was dreaming about back then. I think we should give everyone just a really quick rundown because I know that you have done an amazing job of writing a whole bunch of articles that are really going to be useful for people who are planning a trip to Japan. Let's just start off and give you an idea of how many days were you there and how maybe did you break up your itinerary? [00:08:36.480] - Tamara Yeah, absolutely. We took two weeks because especially coming from the East Coast, it's just such a long trip. Honestly, it's been on the top of our bucket list for so long, but we just haven't had two weeks where we felt comfortable to go that far knowing we're going to deal with jet lag on the way back. And then the flights are just always so expensive. But at least I was able to use points for one of our flights. So we took two weeks. I flew out on a Saturday morning. Yes, I got there on a Sunday, and then we were supposed to come back on Saturday, but we came back on Sunday because of a weather delay. But anyway, so I did five days in Tokyo, five days in Kyoto, and then three nights in Osaka. When I first started planning the trip, a lot of people told me that I would only need two or three days in Tokyo. But as I was looking at everything that we wanted to do, I was like, I really feel like I could easily spend a week here. It's just a fascinating city. There's just the ultra modern, and then there's the more traditional and each neighborhood is so huge. [00:09:42.570] - Tamara I think what many people don't realize is just how large the cities are. It's funny, I was talking to my mom before I left, and I don't think she's kept up on modern times as much. There's no way she's listening to this podcast, so I can say it. But she was like, Oh, I showed a picture when we went. She's like, Sky scrapers? I wasn't expecting that. I'm like, What do you think? It's rural villages. But this is the biggest city in the world. [00:10:09.310] - Kim Yeah, for sure. [00:10:11.080] - Tamara So it's so huge. And I'm used to going to Europe where even though the cities can be really large, we always stay in that historic, more central area where you're mostly walking. You're taking the metro, but you're primarily walking around a lot. And you may pick a neighborhood, I think about Paris. You pick a neighborhood each day. But in Tokyo, to get to a certain neighborhood, it might be 45 minutes on the couple of connections with the subway and stuff. So I'm glad that we did five days. That's crazy. I could end that was within without doing the Disney stuff, which I know many people like to do when they go there. [00:10:49.630] - Kim I do know that as a Disney person, it would be hard for me to go to Tokyo and not do Disney, at least Disney Sea, because it's considered a really unique park. [00:11:00.330] - Tamara Yeah, that's what everyone says. It's unlike any of the others. I get it. But we're not as. [00:11:06.430] - Kim Into the. [00:11:06.990] - Tamara Theme parks. Glenn was like, I am not going around the world to go to theme parks. [00:11:11.590] - Kim Exactly. When you have limited, yes, it's totally valid. I mean, it's very hard to figure out. I agree. I get what he's saying, but I also have that side of me that's like, Oh, but how can you be this close and not do it? So it's very hard to balance that. So, yeah, it sounds good. So you were saying, I know you guys... So I'm picturing Tokyo for my own planning. So you guys were in the Northwestern side of where you look at the downtown to the... [00:11:38.990] - Tamara Right. The Shizuku neighborhood, which some people were like, oh, do you want to stay there? It's like Times Square. And the area right around the train station is lots of neon, lots of crazy, especially at night. But we were honestly within a 10 minute walk to that, but where we were was more like, business, like government buildings, things like that. So it was really quiet, peaceful. It was great. And we stayed at the Hilton, Tokyo, and it was basically on top of... You could go just down an escalator and connect to two different subway stations. Plus they had a free shuttle if you wanted to the Shinkoku train station. So it was really very accessible. It felt very convenient. And there was plenty of restaurants and things around, but it wasn't super expensive. I don't know how expensive, really, but the Ginza area is much more high end. And then the Shiboya would be nice. But it totally. [00:12:43.620] - Kim Worked for us. We were happy with it. Nice. That's perfect. Yeah. I had looked at staying in the ginza area because of a few... I was also liked that it was closer to the Disney side, so it was a little easier to get out there. For those of you planning Genza area is basically opposite, diagonal across from where tomorrow states. I've heard the same thing from my research. You really have to allow a lot of time to transfer if you're going to different sides of what you consider the downtown center, 45 minutes to get across sometimes. Kind of crazy. Great. Well, what were some of the highlights then that you guys did when you were in Tokyo? [00:13:17.970] - Tamara We did a sushi making workshop with True Japan, and we really enjoyed it. The ladies were just really friendly and funny and nice. And so it was fun to see what goes into making sushi. And you probably know that I'm not a sushi eater, really. And we can talk about food later because it worked out better than I expected, except for a couple of times. But it was just fun. It's such a huge part of the culture. So I enjoyed that. We didn't do a whole lot of tours and things. We did a lot of exploring on our own. But the one thing that everybody has to do, which was as amazing as you would think, was the team lab planets, which is that immersive art experience where there's water and flowers and reflections. It's just unlike anything else. And it's really cool. And we've done the traveling, like van go immersive experience. But this was turning that up times 10 or more. And Hannah really loved it. It was really cool. The thing about it is you definitely have to book your tickets well in advance because just one of those things you have a timed entry. [00:14:30.970] - Tamara It's super popular. And honestly, when it comes to planning Japan, you really need to plan really far in advance. I mean, if you want to get restaurant reservations, some of them book up a month in advance. I think because some of them are so small that if they could take reservations, it might be for eight seats. And so they just go really quickly. And we weren't even there during cherry blossom season or golden week in early May when it's extra busy. difficult to do that. It was amazing. But I would say those are definitely highlights. I just loved exploring different areas. We did go, surprisingly, I liked this, but we went to a sumo wrestling tournament. Yeah, I wonder if I saw that. Which sometimes when people are there, they can see a practice. But there was actually a tournament going on while we were there. So that was something that I had figured out ahead of time. And when the tickets went on sale, I was able to book those the day that they were released. And it was a very cool thing. You don't want to spend hours and hours there because you don't know who the guys are. [00:15:33.160] - Tamara But just like you could see how excited everyone was to cheer for their favorite, the local person or whatever. And it's just such a dramatic theatrical type of sport. It was interesting. Yeah, for sure. Those are some of my highlights. [00:15:48.770] - Kim That's awesome. Because I know I saw some of the restaurant experiences you had. It seemed like sometimes you guys went simple and basic, but other times you went really over the top. Anything in Tokyo that you think somebody should splurge on or any savings tips for food or eating in Tokyo other than the restaurants making the reservations? [00:16:08.160] - Tamara Yeah, we did mostly the casual places in Tokyo. What I was trying to do, because I'm not a sushi eater, is have a variety of foods. And in Japan, all the restaurants really specialize in one thing. They do ramen, they do tempura, they do soba noodles, different things like that. So there's so many different styles of food to try within Japanese cuisine that we just booked a different style of food each night. And honestly, in some of them, we had to line up for the first night that we got there, we went to a place where it opened up five, and we got there at 445, and there was already probably 40 people in line for a 10 seat little place. And you basically you would wait till there was enough space in line. There was people sitting at the counter eating and then people standing behind them waiting for the second that they got up to sit in. [00:16:56.790] - Kim Their seat. Oh, my goodness. [00:16:57.810] - Tamara Oh, wow. And you had a vending machine, which is typical. Yeah, a vending machine to order from. So it's typical in a lot of ramen shops. So there's pictures and you just hit the button of what you want. You put in the money, you get a ticket and you hand. [00:17:11.650] - Kim The person the ticket. That's like McDonald's. [00:17:13.780] - Tamara Yeah. I'm just kidding. Those. [00:17:16.820] - Kim Screams in the middle. They have one at Tim Horton's as well. So of. [00:17:20.940] - Tamara Course, I made a mistake the first time because I saw people with a broth, which I thought was a ramen, and then a bowl of noodles. And I'm like, oh, that's so I saw on the machine that they had dipping noodles and they had ramen. And then you could add extra things, but only if you could tell what the picture was because it was otherwise in Japanese. And so I ordered dipping noodles because it looked really good and ramen because I thought that that's what people had. And then when I handed the girl the ticket, she was like, for one person? [00:17:51.710] - Kim Oh, no. And she was like, you. [00:17:53.890] - Tamara Want small or large? Because I was like, oh, is that not what they have? And she was like, no, they have. Because the dipping noodles come with a broth, so I thought it was that they had two. [00:18:02.980] - Kim Different things in front of them. Oh, and bologna. [00:18:04.650] - Tamara Yeah. Okay, got you. But I'm really glad that I did it because both were delicious. So I'm happy to sample both. But then Glenn ordered on his ramen, Scallions, and it was covered. It was like a mountain of Scallions because I was like extra. But it was like, if you get extra cheese on a pizza, it's like extra. [00:18:23.110] - Kim Extra extra. Oh, my goodness. Crazy. I mean, I love Scallions, but I don't know if I could handle the mountain of them. [00:18:27.560] - Tamara It was crazy. So you make those little mistakes. But we did a lot of the more casual things. And the hard thing is that honestly, I kept saying this, but there's very little in between. So there are the places where you... First of all, Japanese people love to line up, which is really hard when you're visiting and you're tired and you want to be able to eat with a certain time. People wait for two hours to get into this little ramen place or whatever. Oh, my goodness. Yeah, because you're like, I'm tired. I've been running all day. We were running like 5 to 9 miles. We were doing a lot of walking every day. So I'm like, I just want to sit down. So that's why we tried to do some reservations. But there were the really casual, inexpensive, really inexpensive places. And then there's the crazy, crazy high end... Some of the Sushi places, I'm like, there's no way. Because some of them charge up to like $500. [00:19:19.820] - Kim A person. Oh, my goodness. [00:19:21.930] - Tamara Insane. That's crazy. So there's just not a lot of middle ground is what I found. Okay, good to know. But the low end, not low end, but the inexpensive stuff is really good. [00:19:31.970] - Kim Yeah, of course. You just have to go on to wait for it. [00:19:35.440] - Tamara Yeah, exactly. And honestly, one day... So we had a bit of a rough start because Glenn had a stomach bug the day before we left. So the whole flight over and everything, he basically didn't eat for a couple of days. And then I had a really bad cold the day before we left. And for two days, I was so nervous, I'm testing. I'm like, Please. [00:19:57.490] - Kim Don't let it be. [00:19:58.350] - Tamara And it was. And it was just a cold, but I was still super congested, so it was just hard. And in Japanese society, you can't blow. [00:20:06.290] - Kim Your nose. [00:20:06.970] - Tamara In public. So I'm trying to be so discreet, going outside and blowing my nose and sanitizing and tucking it into my pocket know, like very... Like trying to be really conscious of that and trying to be super sanitary. But Hannah did end up getting a cold also. One day she was just not feeling up to going out and doing a tour and stuff. So we're like, just stay here and sleep. It was going to be the day that we toured one neighborhood and then we went to the sumo wrestling, and she wasn't super into that anyway. So we're just sleep. And then she went out on her own and she found a 7 11 because just like everybody says, 7 11 has amazing convenience food. So you can buy these really good sandwiches and all that stuff. So there's definitely plenty of ways that you can eat cheap there. [00:20:56.090] - Kim That's good to know. So then from Tokyo, you went to Kyoto? Yes. Kyoto is such a different vibe. Yeah, the bullet train, right? [00:21:05.570] - Tamara Yeah. So a couple of things to know about the bullet train is that we had gotten the JR pass, which allows you to use all the JR trains. We got the national ones, so you could use bullet trains as well, except the super fast ones weren't included. And we had gotten one that allows us to make seat reservations. And you also, if you're bringing luggage on the train, you now need to make a reservation for the luggage. And this is for more of a checked bag size luggage, not the carry on size. But we were there for two weeks, so we had checked bags. So you can make a reservation for the last row of seats where the luggage can go behind you, or there's a couple of spots on a luggage rack, but they're really cutting down on luggage on trains. Or you can ship your bags ahead, which we ended up actually a couple of times just shipping our bags ahead. And it only costs $20 a bag. It's waiting for you in the hotel when you get there. It takes 24 hours. So you need to have a small bag with all your stuff for. [00:22:06.140] - Kim Then one day. Yeah. [00:22:07.320] - Tamara But we took the bullet train and that worked really well. We saw Mount Fuji because it was a nice day out. So and we ended up like, we got to Kyoto and we just put our bags in a locker and then we took a local train out to Nara, which is about a half hour away or so, maybe 45 minutes. And there's a really beautiful, huge temple out there. But also it's known for their deer park, which Glenn, years ago, because we both work for a Japanese company, so he's been to Japan many times, but 25 years ago. And so he would always tell us about the deer in Nara that bow to you to get fed. Oh, right. And the deer have changed a bit in the last few years. [00:22:53.320] - Kim Yes. I've heard about this stuff. They have this issue at the monkey place, too. [00:22:57.310] - Tamara They were so aggressive. That's too bad. They were grabbing my shirt and pulling on my shirt. They nipped my butt. I'm like, Whoa. I feel like all these videos of Glenn and I trying to run away from the deer and we're like, Oh, no. Let's just get away from where the food is so that the deer are calmer. But it's funny because later in the trip, we went to the island of Miyajima, and they have wild deer there also. And one of them followed me into the visitor center, went over to the desk, grabbed a brochure, and then ran out. [00:23:29.250] - Kim Because they like to get the paper. [00:23:31.240] - Tamara And so the person comes running out behind the desk, yelling at the deer. And then there's three people in the street trying to wrestle the paper away from the deer. [00:23:39.390] - Kim Oh, my goodness. [00:23:40.590] - Tamara And I'm like, You think of deer in the headlights, these gentle creatures. [00:23:45.240] - Kim Yeah, exactly. It's sad when humanity is like, Yeah, I won't get there. [00:23:51.560] - Tamara No, it's definitely because there's too many tourists now. They're being fed. Definitely not a great situation. But we did enjoy the day trip out there. Yeah, for sure. I love everything about Japan. It's just so clean and orderly and polite and easy to figure out. My type A personality just really appreciates the order of things. I would like that too. The fact that everybody stands in a line and waits and then you get on when you get on. I love that because in a society where everyone's pushing or whatever, I get. [00:24:27.400] - Kim Super stressed out. Oh, my gosh, I hated it. We were on a cruise, a European cruise, and that attracts a lot of Europeans. I thought, Oh, you wait in line for your turn to go get your food that you want served. But no, people just come up from other directions and just walk right up. There's no line concept. I'm like, Oh, I like lines. What am I supposed to do? So sorry. [00:24:49.240] - Tamara I get that. You would love Japan. I think it's such a wonderful place to visit. I think there must be challenges if you live there within the culture. I recognize that I used to work for a Japanese company. I'm aware of many of those issues, but as a visitor, it makes it so pleasant. But anyway, I was going to say that they have lockers where you can store things. Everything is just easy. The trains, everything is in Japanese and English. [00:25:19.260] - Kim I know they did a big push with that before the Olympics were going to be there. They were trying to... [00:25:25.180] - Tamara And all of the trains have signs that say what the next stop is. Because sometimes you're on a subway and you're trying to look and you're like, Oh, yeah. They might not answer, but you're like, What was that? [00:25:36.320] - Kim What did they say? [00:25:37.460] - Tamara That's Charlie Brown's. [00:25:38.740] - Kim Teacher talking to you. Exactly. I've had that happen so many times. [00:25:43.040] - Tamara So that part was great. And Kyoto is just very different. So it is more traditional in the architecture. They preserved a lot of the traditional architecture. There's tons of shrines and temple s o that's the thing is that you could get a little shrine and templed out, but the architecture is so beautiful. There is a downtown center city that's more city like, but it's nothing like Tokyo. [00:26:09.310] - Kim Or Nagasaki. I remember when we were looking to stay in Kyoto, I seem to recall because we were going to go during... We were hoping for cherry blossom season, but I seem to recall there it's still pretty spread out and there's little neighborhoods in Kyoto even. It's like, okay, this one has more of this vibe and this one I can't remember where we were staying, but I was looking at the different things and getting the bamboo forest, like, oh, well, I'd have to leave here and we want to be near a train station. [00:26:32.970] - Tamara All those plans. Yeah, you do want to be near a train station because the metro system is not as well developed there. So we took a mix of busses, GR trains, private trains that you paid for the same way you'd pay for a subway. But when we stayed at the Hyatt Regency, which was probably about a 10 minute walk to one of the train stations, but there was a bus that stopped right outside that then went to the main Kyoto station, which is where we would get on to go to the bamboo forest. And then, yeah, so it was conveniently located, but you definitely needed to plan your travel because some of those destinations, especially many of them were taking slower local trains, and they could still take 45 minutes to. [00:27:26.150] - Kim An hour. That was one of the things in my planning that was the hardest is recognizing that there are so many different train lines, like brands, and you might have a pass with one, but it doesn't necessarily mean you can go on every train that's coming in. So it's an interesting thing that I've never... I'm sure maybe it's in other places around the world, but it's not something we think about in the states at all. [00:27:49.420] - Tamara The nice thing, though, is that we had our JR pass, which, by the way, I don't even know if they're going to be that useful after this fall because the price is almost doubling. It's going up. It's having some. Unless ticket prices are going up a lot also, you might just want to buy individual tickets. [00:28:04.190] - Kim Individual. [00:28:04.600] - Tamara Ticket, yeah. But we bought, as soon as we got, we had ordered the JR passes ahead, so we had our voucher that we had to turn in to get the actual pass. Then we went to an ATM because you needed cash for a lot of things. We have to also use cash to get an IC card. So this is the rechargeable card that you would use to get on the metro or the bus or something like that. But the nice thing is that unlike, Oh, I'm going to New York, I need a metro card. I'm going to this place, I need that card for their. [00:28:32.660] - Kim Subway system. Yeah, like Long Island Railroad and Metro card. [00:28:35.370] - Tamara Yeah, exactly. This card worked for all of them. And it also works for a lot of vending machines. [00:28:41.990] - Kim Some convenient stores. [00:28:42.850] - Tamara Yeah, the vending machine. [00:28:43.690] - Kim I forgot. And you reload it always with cash, though? You always have to reload it only cash. You can't reload it with cash. [00:28:48.300] - Tamara Yeah, which is so bizarre. It's like this is a digital payment system and I'm loading it with cash. [00:28:53.590] - Kim I wonder if it's because they want to make sure that you're actually paying for it. They don't want you to just be able to dispute it and have gotten the ride for free or gotten the food for free. You know what I mean? I wonder if it's a culture thing. [00:29:04.840] - Tamara I do know that it used to be, before COVID, a very cash based society. Now more and more places will take a credit card. And if you have, there's a lot of... Not many places take Apple Pay, but a lot of them do take a tap payment system, but more one that they have in Asia. I don't know if it's really worth signing up and trying to figure that out. Got you. I just basically used my. [00:29:28.420] - Kim Chip credit card. The IC card and. [00:29:30.030] - Tamara The card anytime for that. And the IC card for the metro, the bus, some vending machines, some required cash still. But yeah, it's just super convenient. So even though there are different trains, so yeah, maybe you can't use your free pass, not for you because you. [00:29:44.710] - Kim Paid a lot for it. [00:29:45.480] - Tamara But it's still pretty easy to get around. [00:29:49.930] - Kim Yeah, it's good. That's great. And I do want to quickly, before we jump over to finishing up Kyoto and going to Asaka, I did want to mention something that you did that I think was brilliant because I even had looked into doing it when we were planning our trip. And that was you had someone meet you at the airport, right? [00:30:05.450] - Tamara Yeah, I did. And don't do it. At least not for the company that I did. Okay, here we go. You and I had talked about it. I think it was about $75 to $100. It was the company that I bought the JR Pass from. I also arranged to rent a mobile hotspot, so that was taken care of ahead of time to pick up at the airport. And I arranged to have a greeter meet us after customs. And then what I was told was that that greeter would then take me to do the things I need to do at the airport, which would be pick up my mobile hotspot, exchange my JR Pass, get my IC card, find where I need to go to get my transfer. [00:30:45.390] - Kim Get the train. [00:30:46.220] - Tamara I figured, hey, it's not a lot of money in the grand scheme of things. [00:30:51.800] - Kim And especially. [00:30:52.310] - Tamara After traveling. [00:30:52.820] - Kim For 20 hours. [00:30:53.250] - Tamara And I want to be jet lived. Yeah, exactly. This will be useful. It was such a waste of money because first I'm trying to talk to the guy, I'm like, okay, we need to go to an ATM, and he's not even understanding what I'm saying. I'm like, You're a greeter. I'm not coming in there with like, everyone should speak English, but his job is. [00:31:11.680] - Kim To meet people. When you pay people. Yeah, exactly. I know a lot of times they'll have if you want to in English or if you want to in... You can specify a language, but. [00:31:20.330] - Tamara It seems like it's... Yeah. So one person had my name up and then she called this guy over. So it's like a service they do for multiple people. They had multiple greeters there. I don't know if I just got an inexperienced person, but I went to the counter of the mobile WiFi hotspot place and that person spoke perfect English, no trouble communicating at all. [00:31:40.320] - Kim And it was easy to find. And you were able to easily find everything. [00:31:42.690] - Tamara Yeah. I mean, he led me there, but I could have found it on my own, no problem. And then I was trying to explain that I wanted to go to the JR ticket office to get our pass, but also see if he could help us make reservations. Yeah, exactly. Because I wanted to make the reservations as soon as I had my pass because I wanted to try to get the luggage reservations. And he was just like, Oh, no, they don't do reservations here. And I'm like, Oh, well, that's part of why I wanted to pay for this service because I wanted somebody to help me translate what my need was. And meanwhile, we were back and forth, just not understanding each other. So then I get in line at the JR ticket office. I get up there, perfect English from the person that's behind the desk, completely easy to talk to. They didn't make the reservations there. They told me where to go in the Tokyo station or Shinchu station, whatever, which I did the next day. That person also spoke really good English, was able to communicate no problem. And then I was trying to explain that I want to get an IC card. [00:32:38.620] - Tamara And he was like, Well, you can get the one that requires a deposit or not a deposit. I'm like, I don't care? Can you just tell me where? And he didn't know where to go. Finally, the guy that was behind me in line at the JR ticket office was like, Oh, you want this line right here. And I'm like, Thank you. Then I'm like, What? Then I had arranged for an airport limo bus to take us from the airport directly to our hotel. I just thought first day, and it's really, it's inexpensive. Taxis there are very expensive, but this is inexpensive. And instead of having to drag some bags on multiple trains and subways, I thought it's easy. And so I was like, I thought all that would take us an hour and a half, maybe, from the time we arrived. So I had booked a later bus, but it was really quick to do all of it. So I was like, Oh, maybe we can get an earlier bus. So I was trying to get him to help us with that. No. So I ended up just doing it on my phone. But then he had to come down and he was like, No, I have to wait. [00:33:42.890] - Tamara Because I was like, Okay, we're all set. Thank you. Bye. And he's like, No, I have to wait till you get on the bus. I'm like, All right, well, can you just stand over there? Because I'm like, I'm done. [00:33:52.120] - Kim Yeah, exactly. You did not help me. Wow. Okay, well, that's good tip. Good to know. [00:33:56.970] - Tamara What not to. [00:33:58.150] - Kim Do, I guess. What not, yeah. No, I mean, it's good because I had considered that too because I was thinking the same thing like, Oh, my gosh, how am I going to get my pass? I was thinking all that same stuff. [00:34:07.930] - Tamara Cool. I think a lot of things with travel, it feels so overwhelming. But once you're there, you're like, Oh, this is not as bad as I. [00:34:13.260] - Kim Thought it was going to be. Well, especially in a country that you can't even get around with. It's like, Oh, I speak a little Spanish. I speak a little French. It's just like, None of that's going to help you. You don't want to go in being a ignorant traveler who's just like, Oh, why don't you speak my language in your country? Exactly. I can't stand people like that. But anyways, okay, good to know. Anything else about Kyoto you wanted to mention? I did think it was awesome, your little tip about the bamboo forest. It wasn't really a tip, but I was so happy that you had that experience because I heard the same thing. [00:34:44.990] - Tamara When I was there, even, I saw some people on Instagram that seem to be there at the same time, but a couple of days before me. And they showed just this mass of people walking through. Because the word is out that for many of these things, you need to get there early. And so even if you show up at 7 AM, there's still this massive crowd of people funneling through this little area. And I don't want to do that. It was an hour away. No one's getting up at 5 AM to get to a place by 7 or whatever just to take a photo. My family doesn't roll like that. They're like, I don't really care about your photo. We just want to see it. And so we decided to sleep in a little bit. We went, we had lunch, then we went to the monkey forest. And I will say the whole Arashima area is, for a touristy area, so much nicer than I expected. It was really lovely. And there's a really pretty river that runs along that on some days you can run boats. It was really nice. Anyway, so we went to the monkey park first because Glenn loves monkeys, although it's such a steep climb up there, he was like, This better be worth it. [00:35:53.700] - Tamara Actually, there was a fan of it that was like, This better be worth it for your monkeys. But it was cool. We saw a lot of baby monkeys. The monkeys were not aggressive at all. They just hung out as long as you followed the rules. You weren't staring at them in the eyes to challenge them or something. Then we went to a temple, then we went to the forest. So we got to the Grove, not really a forest. It's much smaller than you think it's going to be. We got there maybe like 2.30, 3 o'clock, and it was fine. There was people there, but no crush of crowd and plenty of space to have a photo. Yeah, there's people in the background, but that's fine. Honestly, we just wanted a couple of family photos. I'm not going to win an Instagram competition over it, but it was nice. And it's really beautiful. It's really pretty. But sometimes I think doing the opposite of what everyone says. [00:36:47.700] - Kim You should do and work out. Especially when it's been around for so long, people are saying do that because it's very much like, oh, the gates open at seven. And so everyone who's built up, it's just like Disneyland. People say, oh, rope drop, rope drop. And you get there. And if you get there late, there's such a long line to get in. And then people come 30 minutes after opening and they walked right up to the turnstiles. There's something about that. [00:37:10.900] - Tamara Yeah. And I looked at Google Maps is wonderful. It was so helpful for the travel, figuring out the trains because it would say what platform, but also what car to get on if you were transferring. And then when you were leaving the station, what exit to take because those train stations are huge. So you're like, you don't know where you are when you come out. So it was really, really helpful. And it would tell you like eight minutes, 3 stops, here's the name of your stop. This is how much it's going to cost. It was really very helpful. But you can also look for attractions, and it'll show you the busiest times, like a little graph. [00:37:47.100] - Kim Yes, for sure. [00:37:47.990] - Tamara I was like, Okay, it looks like 10 to 2 is super busy. Who knows how accurate it is, but let's go. [00:37:53.690] - Kim After it. I have a good article about how I use Google Maps and you can make a custom and saver on map to help you with your planning to help see stuff for not just road trips, but also when you're planning a city vacation. But that's a good thing. I always forget about how they have that busy season section. I should add that to my post because. [00:38:11.540] - Tamara That's a. [00:38:12.160] - Kim Useful thing. [00:38:13.300] - Tamara When you're trying to figure out, especially for public transportation, many times the night before, I would look like, Oh, how long is it going to take? Because we need to know what time should we be done breakfast? What time do we need to leave? I like that there's a little drop down where you can say when you're departing or when you want to arrive because it changes. Especially public transportation may not have as many trains when you're looking late at night versus when you're going in the morning. [00:38:42.000] - Kim Totally. That's awesome. I always worry about the train, the car thing, because even in New York, sometimes I've been like... Because I'm not used to using trains often. When I first started going to New York and doing that, the Long Island Rail Railroad and stuff, they have certain cars they don't open the doors to all the time. During different hours of the day. I'm always like, Oh, how do I know what car I'm in? It's definitely one of those Charlie Brown teacher's voices. Sometimes I'm like, I have no idea where I'm at. [00:39:10.980] - Tamara That's the other great thing. In Japan, it's like, on the avement on the platform, it has numbers. So it's like, you know exactly what car that's going to be. Oh, man. And then everyone lines up single file behind those on either side of the. [00:39:26.830] - Kim Door for. [00:39:27.350] - Tamara Everyone to come out and then they go on. [00:39:29.780] - Kim It's lovely. Lovely. Nice. Okay, so then your last little stop was OSAKA. So why don't you tell us a little bit about that? Because I had planned that we were going to fly into Tokyo and out of OSAKA, but you ended up going back to Tokyo to go home. But what did you do in Osaka? [00:39:45.130] - Tamara Yeah, flying out of OSAKA would be ideal, but for us, Delta doesn't do that. So we had to go back to Tokyo. So OSAKA is known as the Japan's Kitchen, so it's known for its street food. So I knew I wanted to take a food tour when we were there because it's just that's really one of the things it's well known for. So I ended up... We actually got there, we explored a little bit. We did the... You made a sky building, which actually Glenn did not do. No surprise that when we went up high, especially there's these glass enclosed elevators that go between two towers on the 39th floor. And he was like, Are you kidding me? No way am I doing that. So Hannah and I did that. And then that night we actually went to a baseball game, which was really fun because Japanese culture is really into baseball. And it was like being at a college game in a way because they were playing Hiroshima, so that's not far away. Half the stadium were Buffalo fans and half the stadium were carp fans and they all sat on the right side. [00:40:49.140] - Tamara So it's like one half was red, one half was white. And they each had a cheering section in a band. And so you felt like you were a little bit at a college game with the marching band thing. It was a lot of fun. But then the next day we took a food tour with Arrogato Travel, and they have food tours in multiple cities. If you want to do a food tour in any of the cities, I would definitely recommend them. The guide was amazing. [00:41:13.870] - Kim It seemed like you had a really good time. [00:41:15.920] - Tamara Yeah, she was really wonderful. She had lived in the US for a little bit. I think she went to the University of Wisconsin. She lived somewhere else in the Midwest, too, but it's just such a funky, fun city. We toured this area called Shenzakai. It was built after World War II to attract Westerners and has more of a Coney Island vibe is what they were going for. It has carnival games and all these street food things. It's just so funky and retro. I think anywhere else I would have been like, Oh, this is cheesy. But it was actually really cool. And all throughout that area and the Dontambury area of Osaka, all of the food places, it's like Vegas for food places because they all have these three-dimensional facades with a giant octopus or a giant crab, and they're moving and lit up, and it's just so funky. There was one place where you could fish for your own fish, and then they cook it for you. It's almost hard to describe, but it is just bright lights, really funky, interesting, but lots of street food, lots of fried food on a stick, or like. [00:42:30.660] - Kim A fair. [00:42:31.420] - Tamara No, I'm just kidding. And the takeyaki octopus balls is like, that's where that's from. So that's like really huge. Afterwards, we went to the Don Donburi and we had Okonomiyaki. My family always laughs at me because for some reason I could never get this out. And Hannah and Glenn are like, Why can you not say this word? But Okonomiyaki, so it's like the Pancake type of thing with egg and cabbage and other things thrown in that they make on a griddle in front of you. So they have it in Kyoto and other places, but it's really known there. And in Hiroshima also, they have slightly different versions. That was just fun. So to do all the street food stuff, to have the good food tour, we really loved that. And then on our last, what was supposed to be our last day, we went to Hiroshima and we did a tour. I have a whole itinerary where it has a link to the tour company that I booked. Our guide was really sweet. He was wonderful. I highly recommend that. So we did the whole atomic bomb dome and museum, which was really heavy, obviously. [00:43:36.130] - Tamara And you have very confused feelings. [00:43:39.080] - Kim About it. Yeah, being. [00:43:40.620] - Tamara A member. Our role in that. But then we went to Miyajima Island, which is just a short, like, ferry ride. And it is just beautiful. We were there, it was raining. So there was all these mist and clouds on the mountains. And it just had this magical feel to it. But it was such a... I would love to spend a night there. It wasn't overcrowded, but when the people left, have. [00:44:07.840] - Kim It more to. [00:44:08.650] - Tamara Yourself type of thing. But there's a really famous Tori Gate that's in the water that looks high tide like it's floating, or when we were there during low tide, so you can walk out to it. And just a shrine. It's just a really pretty lush... That's one thing that really, I don't know why it surprised me, but Japan, outside the cities, it's so lush. You're like, Oh, right. These are islands. [00:44:34.300] - Kim Yeah. [00:44:35.380] - Tamara And that's why I liked about Kyoto too, because it's like a city that's nestled in a valley surrounded by these lush mountains. Not like towering. [00:44:43.150] - Kim Mountains, but these really lush. And it has a nice little river or stream or something through it too. [00:44:47.450] - Tamara So that was how we finished. I loved that. And then unfortunately, then we got stuck in a delay on a train coming back because there was a lot of rain. And then we found out our train for the next day to get back to Tokyo in time for our plane was canceled and we were hoping it was going to be all fixed by the morning. But Glenn woke up at five and he said it wasn't. And so then we were up for a couple of hours trying to figure out, what are we going to do? Because we were like, oh, we'll fly up to Tokyo. And by then, all the planes were booked until 3 PM. But we had a 625 flight and we would have had to get our luggage, get to another terminal, recheck it. We're like, that's never going to work. If we get there at 415 or I don't know, it was 435 o'clock or something is when we would have arrived. Never would have worked. So we're like, all right, let's see if we can stay an extra night here and let's book stuff for tomorrow. And let's call Delta and see if they can switch us. [00:45:40.700] - Tamara So then we had such a long travel day home because we flew from Osaka to Tokyo. And then we had to do Tokyo to LAX instead of Tokyo. We were booked on a Tokyo to Atlanta. So then at least the last little leg is short. Then we're in LAX for four hours. [00:46:00.110] - Kim Then you had a six hour flight. [00:46:02.380] - Tamara Well, and then it ended up being delayed. So we came out, we were luckily at the lounge and we actually went on the patio. The Delta Lounge in LAX has a patio, so it's loud but it was really good. It was just nice to get fresh air. [00:46:16.400] - Kim After all. [00:46:16.980] - Tamara That time. I actually went and I took a shower. I didn't even have any clothes. We had even checked everything, so I didn't even have any clothes to change into. But I'm like, I'm just taking a shower anyway. Yeah, for sure. And so then we came out of the lounge. We're like, Go to the gate. They're like, Oh, we're waiting on a crew member still. We're going to wait to board you. And then they started boarding us. We're like, Okay, I guess everything's all set. And then we're sitting on the plane and an hour later, they're like, Okay, the pilot's now in the parking lot. [00:46:42.550] - Kim And we're like. [00:46:43.320] - Tamara Oh, my gosh. Seriously? It was the pilot. They weren't even on premises when you boarded us. So we were delayed a couple hours. So we ended up... We got home at 315 in the morning. We'd been going for 30 hours, I think, or more, like 33 hours maybe. [00:47:02.380] - Kim That one did you have? Did you have any of the upgraded seating for any of those legs? [00:47:06.890] - Tamara Luckily, because we had booked our tickets in premium select, which if you know Delta, there's like Delta 1, which is like the nice pod lay flat thing. Then there's premium select, which has like a footrest that comes out and it reclines, but not like all the way, but it reclines some. Then there's comfort plus, which is basically like a regular seat with a little. [00:47:26.290] - Kim More leg room. Like me coming. [00:47:28.590] - Tamara So the reason we went through LAX is that's what we could get for premium economy. Oh, good. Okay. I mean, premium select on that, the longest leg from Tokyo to LAX. Then LAX to Boston doesn't have that. So I think we were in, I think, we were in Comfort Plus. I don't even know at that point. I was uncomfortable, that's for sure. But yeah. And then we flew into Boston, which we had flown out of Providence. So my car is still in Providence. So I had to get a car service to pick us up, bring us back. T he next day I'm like, Hannah, can you drive me down to get my car? Whatever. That's a. [00:48:03.840] - Kim Whole long story. It worked out. It sounds like you guys had an amazing trip and it was awesome. I know, like I said already and mentioned, Tamara has quite a few blog posts and she'll link them in the show notes, but you can also just go to Wee 3 Travel. I'm sure it's pretty easy to find them, but I know she has all of her itineraries that are if you guys know Tamara, they're very in-depth with a lot of detail. So super helpful if you're thinking of planning a trip. I think it was great. I'm glad you guys had a good time and glad I got to hear about it a little more. [00:48:31.780] - Tamara Yeah, it was definitely a bucket list trip. I think being there and being together as a family was wonderful. I think we all acknowledged, we don't know when we're going to have that opportunity again. Just know Hannah is going to be very busy the next few years. S he's going to be more than happy to take a trip with us when she can. We might just know when that will be. [00:48:52.240] - Kim Exactly. [00:48:52.840] - Tamara I'm glad. [00:48:53.360] - Kim We got to do it. Yeah, that's awesome. Perfect. [00:48:56.710] - Tamara What's next? [00:48:58.290] - Kim I don't even know. You're like, What day is it? What month is it? Exactly. The big thing on my agenda, I'm trying to take the summer off a little bit. We do have a trip up to Canada to visit family coming right up for Canada Day. Happy Canada Day to those of you Canadians that might be listening. Then happy fourth of July to the US Americans that are listening. We are doing that. Then I have a fun trip. You'll be moving Hannah back to school, but I am going to be flying to Kenya and doing a Simara J. W. Marriott stay, which I just got a steal on points for. I'm using points to fly some nice flights as well. That's what's coming up for me. My fall is going to be crazy and booked again, but at least I have. It looks like I'm trying to keep my summer a little more calm. Although that Africa trip, I cannot wait. It's during the Wilder Beast migration. That's a pretty big trip to be. I'm really excited. It's going to be during the Wilder Beast migration, too. So hopefully we'll get some amazing pictures. I got to rent a lens, it reminds me. [00:50:04.360] - Tamara I was telling somebody about the points deal that you got on that. Everyone just can't even believe it. What a lucky straw. [00:50:11.400] - Kim That was. Oh, my gosh, it was amazing. I don't know if this would work always, but I'm just a little tip for you guys, if you guys are points people. If you know of any future opening hotels that haven't opened yet, that are opening in the future, just maybe keep an eye on their points rates because that's what happened. This hotel hadn't opened yet. It was opening in April, and in February or something, I saw someone mentioned, Oh, my goodness, they've got nights for 20,000, 20 ish thousand points a night. With Marriott, if you book five nights with points, you only pay for four nights. So it's like book five nights, get one free thing. I don't know how to. [00:50:49.500] - Tamara Explain it, but you get it. And it's an all inclusive property. [00:50:51.920] - Kim It's all inclusive property. So all the game drives are included, all the meals are included, everything. I'm paying 93,000 points total for five nights for two people. [00:51:00.640] - Tamara That's like one night at a nice city hotel. [00:51:04.320] - Kim Yeah, I know. I was looking at a Fairfield Inn in New York in January, and there were like 65,000 points. So it gives you a little idea there. But anyways, so that's what's up for me. But what about you? [00:51:14.810] - Tamara As you hear this, I will probably either be in Scotland or Wales, depends on how quickly I get this out. So I leave shortly for a week with a couple of other travel writers, a week in Scotland, a week in Wales, and then I'm going to be home for a couple of weeks. And then I'm actually going to have two weeks in France, which I don't think I've even had a chance to tell you about. But I'm going to do... Glenn and I are going to go to France. We're doing the Taste of Bordeaux River cruise on Amman Waterways. Oh, nice. And then something else that came up. I was invited to do a press trip on European Waterways, which does hotel barge cruises. And I was trying to look at dates in the fall, but they didn't have any availability. But they're like, Well, how about this one on August sixth, which would have been the day I was flying back from France. I was like, Well, I will already be in France. It's to an area that I've been to before. So I was hoping to see something new, but I think it just works out for me to do this back to back, a more traditional river cruise versus a hotel barge cruise just to have these new experiences because I'm not a big ship person, but I'm definitely been wanting to try some of these other types of things. [00:52:28.570] - Tamara And my friend Michelle is going to come join me for that one because Glenn can't stay for the two weeks. [00:52:33.830] - Kim Take off that whole time. [00:52:34.800] - Tamara That's awesome. And then as soon as I get back, Hannah will come back and we have one day at home and then we fly her to Arizona. [00:52:43.570] - Kim Okie dokey. Well, thank you guys for tuning in again. If you're still with us and still listening, as you can see, we have a few trips on the agenda, so we're not quite sure when we'll make another episode. But as always, we always appreciate you guys tuning in and we'll try to share again soon. [00:52:58.280] - Tamara Yeah, hopefully, maybe the end of the summer. [00:53:00.250] - Kim Talk to you later. [00:53:01.640] - Tamara All right, bye bye.
During the early days of the COVID-19 Pandemic, being at home with my thoughts, I kept busy by researching mokuhanga. And one of my many discoveries was the exhibition at the Portland Art Museum held from September 24, 2020, to June 13, 2021, called Joryū Hanga Kyøkai, 1956-1965: Japan's Women Printmakers and curated by Japan Foundation Associate Curator of Japanese Art and Interim Head of Asian Art Jeannie Kenmotsu. It was an exhibition of mokuhanga, etchings, and lithography of a group of printmakers I didn't know much about. Individually I may have heard their names but as a group? I needed to learn more. History is an essential part of mokuhanga; to search out those printmakers who have come before us to understand what they did and how they did it. I have learned so much from the past that I can use it in my own work for my present and future. On this episode of The Unfinished Print, I speak with Jeannie Kenmotsu, Ph.D., about the Joryu Hanga Kyokai and, the road to this exhibition, the work that went behind it. We explore how the Joryu Hanga Kyokai showed a different face of printmaking in Japan. We discuss Tokyo during the 1950s and 1960s, the mokuhanga and print culture of the time, internationalism, and how this exhibition could catalyze more research on this incredible group. 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. Joryū Hanga Kyōkai, 1956-1965: Japan's Women Printmakers - was an exhibition curated by Jeannie Kenmotsu from September 24, 2020 - June 13, 2021, at the Portland Art Museum. It is the first step in understanding and education on the subject of women in Japanese printmaking in modern Japan. Members of the group were Romanesque Architecture - is a style developed in the north of Italy, parts of France, and the Iberian Peninsula in the 10th century. Evolving from thick walls, no sculpture, and ornamental arches into towering round arches, massive stone and brickwork, small windows, thick walls, and an inclination for housing art and sculpture of biblical scenes. For more information abbot Romanesquwe architecture you can find that, here. Portland Art Museum - established in 1892, the PAM has established itself as one of the preeminent art musuems on the West coast of the United States. The musuem has 40,000 pieces of art and art objects. More information about PAM can be found here. The Royal Ontario Museum - also known as The ROM, is an art, world culture, and natural history museum in the city of Toronto, and is one of the oldest museums in the city. More info, here. mokuhanga in the 1950's and 1960's - Japanese woodblock printmaking became quite popular after World War II. With Japan growing exponentially post war, through industry and art, the independent philosphy that the West perpetuated began to filter into the Jpaanese art world. Sōsaku hanga became increadingly popular where there is only one carver, printer and draughtsman. These prints touched on various themes, but especially in the abstract. Artists such as Shigeru Hatsuyama (1897-1973), and Kiyoshi Saitō (1907-1997) spring to mind, who created a new kind of mokuhanga by using various techniques, colours, and sizes that were unique and expressive. Oliver Statler's book, written in 1956, Modern Japanese Prints : An Art Reborn, was published because the art form was growing so quickly. It is a great summary on the sōsaku hanga movement during that time. Edo Period prints - woodblock prints of the Edo Period (1603-1867) were predominantly of kabuki actors (Sharaku), and courtesans (Harunobu) beginning in the middle of the 18th century. The traditional system of production came into play when making ukiyo-e of this period, designer, carver, printer, and publisher. Famous designers of the day were Hiroshige (1797-1858), Hokusai (1760-1849). Lewis and Clark Centennial Exposition - was an international fair in 1905 held in Portland, Oregan, USA from June 1 - October 15 and attracted over 1 million visitors. It helped to showcase Portland and its environs, promoting the movement and expansion West by settlers. The Portland Art Museum began shortly after the Exposition as The Portland Art Association needed its own space to showcase art pieces from the Exposition. The Metropolitan Museum of Art - is the largest art museum in North and South America. It began to be assembled by John Jay (1817-1894) in the late 19th century. Incorporated in 1870, the museum has collected many essential pieces, such as the works of Henri Matisse (1869-1954) and Pierre-Auguste Renoir (1841-1919). For more information about the MET, you can find it here. Adolphe Braun (1812-1877) - was a German-born photographer who helped to establish photography as an art form. His work with the reproduction of art furthered art history throughout the world. Chizuko Yoshida (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Rain B (1953) 14 3/4 x 9 7/8" Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925. Osaka Castle (1935) Fujio Yoshida (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio. Yellow Iris (1953) Hodaka Yoshida (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures. Dawn At Sea (1969) - silkscreen 25 5/8" x 19 3/8" (AP) Tōshi Yoshida (1911-1995) - was the second child of Hiroshi Yoshida and Fujio Yoshida, although the first to survive childhood. Beginning with oil paintings and then apprenticing under his father with woodblock cutting. By 1940 Tōshi started to make his mokuhanga. After his father's death in 1950, Tōshi began to experiment with abstract works and travel to the United States. Later travels to Africa evolved his prints, inspiring Tōshi with the world he experienced as his work focused on animals and nature. Irises and Ducks - 19 5/8" x 11 3/4" Ayomi Yoshida - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. Ayomi's lecture referred to by Jeannie at PAM can be found here. She teaches printmaking and art. You can find more info here. Black Marks (1999) 20 1/2 × 20 1/8 in (AP) Guide to Modern Japanese Woodblock Prints: 1900-1975 - is a book published by the University of Hawai'i in 1995. It is a reference book describing artists, publishers, and carvers. It contains no images but is a valuable resource for the mokuhanga academic. Uchima Toshiko (1918-2000) - was a Manchurian-born Japanese artist who worked in mokuhanga, liothography, assemblages and collage. She was one of the founders of the Joryū Hanga Kyōkai in 1955/56. She lived most of her life in the United States, specifically New York City. Package From Italy - collage 19.8"x16.8" in Ansei Uchima (1921-2000) - was a mokuhanga printmaker in the sōsaku hanga style of Japanese printmaking. He was the translator for Japanologist Oliver Statler (1915-2002). Way For Hakone (1966) 13 3/4 x 21 in Oliver Statler (1915-2002) - was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” Iwami Reika (1927-2020) - was a Japanese-born artist and one of the founders of the Joryū Hanga Kyōkai. For a short video about Iwami Reika's work, check out Artelino.com. Round Shadow C (1957) 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. Yoseido Gallery - is a fine print gallery located in the Ginza district of Tōkyō, Japan since 1953. More information can e found, here. Francis Blakemore (1906-1997) - was an American-born artist, writer, philanthropist and curator of modern Japanese mokuhanga. She lived in Japan for over fifty years and helped to support the burgeoning sōsaku hanga print movement of the 1950s. Blakemore worked in mokuhanga (collaborating with Watanabe Shōzaburō) and making self-printed and carved prints. She also worked in oils. Far Eastern Madonna (1939) white line woodblock print Japanese Economy of the 1950's - from 1945-1991 Japan had its most prosperous period of economic growth. By 1955 the economic began to grow twice as fast as prior to '55. According to The Berkley Economic Review the advancement of technologies, accumulation of capital, increased quantity and quality of labor, and increased international trade were the main reasons that strenghtend Japan. For more information regarding the begining of this growth you can find the BER article here. 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. Minami Keiko (1911-2004) - was a Japanese-born artist and a founder of the Joryū Hanga Kyōkai. Keiko's work is abstract, whimsical and youthful. She lived mainly in Paris, France, where she studied aquatint etching under Johhny Friedlaender (1912-1992). More information about Minami Keiko's art and life can be found here. House With Sun and Trees : watercolour and gouache 14 3/4x11 in. Yōzō Hamaguchi (1909-2000) - was a Japanese-born mezzotint printmaker who lived in Paris, France, for most of his life. He was the husband of Minami Keiko. Bottle With Lemons and Red Wall (1989) mezzotint 30 x 24 in. mezzotint - is a style of printmaking which uses a copper plate, “rocked” with a tool called a rocker, and then burnished with various devices. A good video showing the entire process from start to finish of a mezzotint print can be found here by the artist Julie Niskanen Skolozynski. Kobayashi Donge - is an aquatint etching artist who's subject is generally women and literature. Roses Go Well With Mount Fuji (1993) etching with hand colouring on paper Tokyo University of the Arts (Geidai) - founded during the merger of the Tokyo Fine Arts School and the Tokyo Music School in 1949, TUA offers Masters's and Doctorate degrees in various subjects such as sculpture, craft and design as well as music and film. It has multiple campuses throughout the Kantō region of Japan. More information regarding the school and its programs can be found here. 担当者 - is a Japanese word which means “person in charge." Nihon Hanga Kyōkai - is the Japanese Printmakers Association. It was created in 1918, focusing on the new sōsaku hanga print movement. It evolved into a modern print organization covering various types of printmaking, such as relief, intaglio, planographic (lithography and offset printmaking), and stencil. You can find more information on their website in Japanese and English here. First Thursday Society (一木会) - was created by printmaker Onchi Kōshirō (1891-1955). The group brought artists and collectors to discuss the growing sōsaku hanga (creative print) movement to collaborate, share their work, and it acted as a mentorship program. Un'ichi Hiratsuka (平塚 運一) - (1895-1977) - was one of the important players of the sōsaku hanga movement in mokuhanga. Hiratsuka was a proponent of self carved and self printed mokuhanga, and taught one of the most famous sōsaku hanga printmakers in Shikō Munakata (1903-1975). He founded the Yoyogi Group of artists and also taught mokuhanga at the Tōkyō School of Fine Arts. Hiratsuka moved to Washington D.C in 1962 where he lived for over thirty years. His mokuhanga was multi colour and monochrome touching on various subjects and is highly collected today. Landscape (1934) College Women's Association of Japan - was started by the alumnae of Mount Holyoke College from Massachusetts. Later expanding to other universities and colleges in the US, the CWAJ established Japanese women to study abroad through travel grants and scholarships, thereby promoting Japanese culture. What began as a fundraising program from 1956 onward, the annual print show has become one of the most essential print shows in the world, showcasing prints of all types. It is the largest juried print show in Japan. More information about the CWAJ and its print show can be found here. Kantō (関東地方) - is a region located on the main island of Honshu, Japan, which encompasses the Prefectures of Gunma, Tochigi, Ibaraki, Saitama, Tōkyō, Chiba and Kanagawa. The Kantō Regional Development Bureau of the Ministry of Land Infrastructure, Transport and Tourism oversees these prefectures. More information can be found here. Kansai (関西地方) - is a region located on the main island of Honshu, Japan, which encompasses the Prefectures of Nara, Kyoto, Wakayama, Osaka, Hyōgo, Shiga and Mie. It has the most UNESCO world heritage sites in Japan. For tourist information about Kansai, see here. Jun'ichirō Sekino (1914-1988) - was a Japanese mokuhanga printmaker of the sōsaku hanga creative prints movement. Sekino's works are landscapes and portraits and are black and white and colourful. Sekino studied under Onchi Kōshirō. He was invited to the United States several times as a visiting professor at Oregon State University, the University of Washington, and Penn State University in 1963, where he taught classes on mokuhanga. You can find more information about Sekino and his work and life on his website here. U.S Army Officer (1948) 24"x18.8" in. Munakata Shikō (志功棟方) - (1903-1975) arguably one of the most famous modern printmakers; Shikō is renowned for his prints of women, animals, the supernatural and Buddhist deities. He made his prints with an esoteric fervour where his philosophies about mokuhanga were just as interesting as his print work. Night Birds (The Fence of...) 7.4"x11.5" in. Aomori (青森県) - is a prefecture in north Japan. Located about an hour and a half from Tōkyō, Aomori is known for its incredible nature, festivals, sports and outdoor activities in all four seasons. More information can be found here. Kobe, Japan - is the capital city of Hyōgo Prefecture in Japan. One of the few ports open to Western trade, Kobe has always had a great vibe. With a lot to visit and see, Kobe has many attractions, such as its harbour, Mount Rokkō, and various museums and mansions on the hill; its proximity to Osaka and Kyoto makes it an ideal place to visit. For more information about Kobe, Japan, see here. Shirokiya - was a department store company which started in Japan with various stores throughout Japan and Hawai'i. It was founded in Tōkyō in 1662 and went out of business in 2020. The store was famously depicted in a Hiroshige print, View of Nihonbashi Tori-itchome 1858. Sarah Lawrence College - is a liberal arts college in Yonkers, New York. Founded in 1926, Sarah Lawrence has been dedicated to the education process and inclusivity of its student body since its inception. For more information about the school and their work can be found here. Pratt Institute - is a private university located in Brooklyn, New York. Established in 1887 and founded by American business magnate Charles Pratt (1830-1891), the Pratt Institute focuses on the liberal arts such as architecture, art and design, shaping leaders of tomorrow. For more information about TPI, you can look here. Elise Grilli (d.1969) - was an art critic and author who wrote for the Japan Times. She lived in Japan throughout the 1940's into the 1960's. Her book The Art Of The Japanese Screen is considered a classic. Charles Terry (1926-1982) - was an author and translator of Japanese in Tōkyō for Harry J. Abrams. James A Michener (1907-1997) - a Pulitzer Prize winning writer, scholar and academic who wrote on Japanese prints, amongst many more topics. Shima Tamami (1937-1999) - was a mokuhanga printmaker who joined the JHK when they had already established themselves. Her career was short, moving to the United States in the 1960s. Her mokuhanga depicts Japanese aesthetics and themes producing still lives. Her work was featured in James Michener's book, The Modern Japanese Print: An Appreciation, in 1962. For more information and images of Tamami Shima's work, please check out the Viewing Japanese Prints site here. Bird B (1959) 11.9"x16.3" in. Noriko Kuwahara - is a scholar, curator, and author of Japanese art in Japan. PoNJA-GenKon - is an online listserve group which means Post-1945 (Nineteen Forty Five) Japanese Art Discussion Group Geidai Bijutsu Kondankai. It was established in 2003 to bring together specialists in Japanese art in the English speaking world. For more information about what PoNJA-GenKon does search here. Philadelphia Museum of Art - originating with the Centennial Exhibition of 1876, the PMA has over 200,000 pieces of art and objects and is one of the preeminent museums in the US. More information can be found here. Sakura City Museum of Art - is a fine art museum located in Sakura City, Chiba, Japan. It is dedicated to the arts of those form Sakura City and Bosho. More information in Japanese here. Ao no Fūkei (Landscape in Blue) - is a mokuhanga print created by Chizuko Yoshida in 1972. Futurism - is an art movement which began in Italy. It was established in the early 20th Century by artists Filippo Tommaso Marinetti (1876-1944), Umberto Boccioni (1882-1916), and Carlo Carrà (1881-1966), amongst others. The idea of Futurism was to reject the past and celebrate the speed and power of the present, of industrialization and modernity through art. Futurism influenced other artistic communities around the world. The Endless Manifesto - Started by Tommaso Marinetti's original manifesto on Futurism called Manifesto of Futurism, the Futurists wrote many manifestos about their ideas on art, history, politics, literature, music, among other topics, until 1914, as well as books, articles in literary journals, magazines and newspapers. The MoMA has written a good article on the Futurists and their manifestos and writings here. © Popular Wheat Productions opening and closing musical credit - Joe Chambers "Ruth" released on Blue Note 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.***
Ambition and confidence are two concepts that make an artist. These ideas can take different forms and trajectories, but artists can accomplish anything with talent and a supportive community. In this episode of The Unfinished Print, I speak with one artist who exudes ambition and confidence. Daryl Howard is a mokuhanga printmaker and artist who lives and works in Austin, Texas. What drew me to Daryl's work is her desire to maintain the mokuhanga tradition, putting both body and soul into her mokuhanga. Daryl speaks with me about her evolution as a mokuhanga printmaker, her travels, her community, and her time with Hodaka Yoshida. 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. Daryl Howard - website, Instagram Time Of Smoke That Thunders (2022) Sam Houston State University - is a public research university located in Huntsville, Texas, USA. Established in 1879 to educate teachers for Texas public schools, SHSU has evolved into a school which offers subjects in criminal justice, Texas studies, and is known for its athletics. 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. lithography - is a printing process which requires a stone or aluminum plate, and was invented in the 18th Century. More info, here from the Tate. serigraphy - is another word for the art of silk screen printing. Silk screen printing can be in on various materials, silk, canvas, paper. Stanley Lea (1930-2017) - was a Texas printmaker and teacher of printmaking at Sam Houston State University in Huntsville, Texas. Texas A&M - established in 1876 as the Agricultural and Mechanical College of Texas, Texas A&M is a research University in College Station, Texas which has a variety of subjects and programs, more info here. Yokota Airbase, Tōkyō (横田飛行場,) - established in 1940 as Tama Airbase for the Japanese Air Force, converted in 1945 as an American military base used in the Korean War and the Cold War. Dr. Richard Lane (1926-2002) - was a collector of Japanese prints. He was also an author and dealer in Japanese art. Tsukioka Yoshitoshi 1839-1892 (月岡 芳年) was a mokuhanga designer who is famous for his prints depicting violence and gore. His work is powerful, colourful, and one of the last vibrant moments of the ukiyo-e genre of woodblock prints. More information about Yoshitoshi's life and his copious amount of work can be found, here. Yūten Shami - Fudō Myōō threatening the priest Yūten Shami (1867) 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). Tachikawa, Tōkyō - 立川市 - is a city located in the metropolis of Tōkyō. It had an American military presence until 1977. For some tourist info, you can find it here. surimono (摺物)- are privately commissioned woodblock prints, usually containing specialty techniques such as mica, and blind embossing. Below is Heron and Iris, (ca. 1770's) by Andō Hiroshige (1797-1858). This print is from David Bull's reproduction of that work. You can find more info about that project, here. Kunitachi - 国立市 - is a city located within the metropolis of Tōkyō. Originally a part of the 44 stations Kōshū Kaidō (甲州街道), a road which connected Edo to Kai Prefecture (Yamanashi). Hodaka Yoshida (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures. White House O.J. From My Collection (1980) lithograph Fujio Yoshida (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio. Red Canna (1954) Chizuko Yoshida (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Butterfly Dance (1985) zinc plate and mokuhanga Ayomi Yoshida - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. She teaches printmaking and art. You can find more info here. Spring Rain (2018) University of Texas at Austin - is a public research university in Austin, Texas, USA. Founded in 1883, the University of Texas at Austin has undergraduate and graduate programs. You can find more information here. Lee Roy Chesney III (1945-2021) - was a printmaker and professor at the Universitty of Texas at Austin. William Kelly Fearing (1918-2011) - was an award winning painter, printmaker, and artist who was professor Emiritus at the University of Texas at Austin. His work focused on landscapes, religious imagery, and the human figure. Abstract Figure in Oil (1947) oil on canvas Ban Hua: Chinese woodblock prints - There is a lot of information regarding Chinese woodblock printing. The history of Chinese woodblock goes back centuries, longer than the Japanese method. Modern Chinese printmaking began after Mao's Cultural Revolution, strongly connected by the writings and work of philosopher, academic, and artist Lu Xun (1881-1936), who established the Modern Woodcut Movement. First, check out the work of the Muban Educational Trust based in England. More info can be found here and here at Artelino; for Lu Xun's history, you can find more information here. Victoria Falls - is a large waterfall located on the border of Zambia and Zimbabwe in South Africa. It is also known as Mosi-oa-Tunya or "The Smoke That Thunders" in the Bantu language of Sotho. The falls are 1,708 meters and 108 meters high. Wacom -Wacom - is a Japanese company that began in 1983. It produces intuitive touch screen display tablets. It has offices in the US and Europe. Photoshop - is a raster graphics editor created by Adobe. It allows the user to create and edit images for graphic design, typography, and graphic design. Akua - are water-based pigments used in intaglio, mokuhanga, and monotype. Winsor & Newton - is a British artist supply company, started in 1832, which sells artist materials such as pigments, brushes, paper, etc. You can find more info, here. Guerra & Paint Pigment Corp. - is a brick and mortar store located in Brooklyn, New York that sells artists pigments. More info, here. Dallas Museum of Art - is an art museum established in 1903 and contains art collections from all over the world and from many periods of history. Some of the collections on the DMA are African, American, Asian, European, Contemporary, and Pre-Columbian/Pacific Rim. More info can be found here. Impressionism - is an art movement founded by Claude Monet (1840-1926), Edgar Degas (1834-1917) and other artists in France. The movement was from 1874-1886 and focused on suburban leisure outside Paris. The Impressionist movement launched into the public consciousness in 1874 at the Anonymous Society of Sculptors and Painters and Printmakers exhibition. More information about the Impressionist movement can be found here at The Met. Blanton Museum of Art - founded in 1963 at the University of Texas at Austin. It houses collections of European, modern, contemporary, Latin American, and Western American Art. You can find more information here. Albrecht Dührer (1471-1528) was a painter and author famous for making detailed devotional works with woodcuts. You can find out more from The Met here for more information about his life and work. The Great Wave off Kanagawa - is a woodblock print designed by Katsushika Hokusai in 1831. It is very famous. Pop Wave Orange by Daryl Howard (2021) Bridge In The Rain (After Hiroshige) - was a painting painted by Vincent Van Gogh (1853-1890) in the style of woodblock print designer Utagawa Hiroshige (1797-1858). baren - is a Japanese word used to describe a flat, round-shaped disc, predominantly used in creating Japanese woodblock prints. It is traditionally made of a cord of various types and a bamboo sheath, although the baren has many variations. Sharpening brushes on shark skin are traditionally used on mokuhanga brushes that were “sharpened” or softening the brushes bristles rubbing up and down on the shark skin. But today, you can use very fine sandpaper made of silicon carbide (dragon skin). Mokuhanga printmaker John Amoss has a beautiful write-up about using shark skin and its uses 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 still making paper today. You can find more information in English, and in Japanese. kizuki kozo - is a handmade Japanese paper with many uses. Of a moderate weight and cooked with caustic soda. It is widely available. Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here. Itoya - is a stationary store in the Ginza district of Tōkyō. It has been in business for over 100 years. They have stores in Yokohama, in various malls throughout Japan and at Haneda and Narita airports. More info can be found on their web page (Japanese) and their Instagram. Bunpodo - is a stationery store located in the Jinbōchō district of Tōkyō. It was established in 1887 and is considered the first art store in Japan. More info here. Matcha Japan has a walkthrough of the store here. 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. Wood Like Matsumura - is an online and brick and mortar store, for woodblock printmaking, located in Nerima City, Tōkyō. Cocker-Weber - is a brush manufacturing company based in Philadelphia, Pennsylvania, USA. It was established in 1892. You can find more information here. Philadelphia Museum of Art - originating with the Centennial Exhibition of 1876, the PMA has over 200,000 pieces of art and objects and is one of the preeminent museums in the US. James A Michener (1907-1997) - a Pulitzer Prize winning writer, scholar and academic who wrote on Japanese prints, amongst many more topics. Mokuhanga Artists Using Laser - many mokuhnaga printmakers today are exploring using laser engraving for their woodblocks rather than hand cutting. Printmakers who use this method are Cal Carlisle, Endi Poskovich, Shinjji Tsuchimochi, and Benjamin Selby. If you know of others, please let me know! Illustrator - is an Adobe product which creates two-dimensional pieces for artists and illustrators. James A McGrath - is an educator and artist who served as Director of Arts for American Schools in Europe; he taught design, painting and poetry at the Institute of American Indian Arts and was the Arts and Humanities Coordinator for the US Department of Defence School in Southeast Asia. He also worked on the Hopi Indian Reservation and returned to the Institute of American Indian Art as dean of the college and Museum Director. He is now retired. You can find some of his work and writings here at The Smithsonian. Hopi Mesa - is the spiritual and physical home of the Hopi tribe in Arizona. It is a group of villages (pueblos) on three mesas. Mesa are flat-topped ridges surrounded by escarpments. More information can be found on Visit Arizona here. National Endowment For The Arts - was established by the US Congress in 1965 and created to fund arts and education in the United States. You can find more information here. Dawson's Springs Museum - is an art museum located in an old bank and was established in 1986 in Dawson's Springs, Kentucky. Karoo Desert - is a semi-desert located in South America and distinguished by the Great Karoo and the Little Karoo. A great article about the Karoo Desert by The Guardian can be found, here Chobe River - also known as the Kwando, is a river which flows from Angola and Namibia. It is known for its wildlife and runs through various National Parks. Kachina - these are the religious beliefs of the Hopi, Zuni, Hopi-Tewa, and Kerasan. It incorporates the supernatural, dancing, and dolls through Ancestor worship. bas relief - is a sculptural technique where figures and designs are carved or moulded onto a flat surface, only slightly raised above the background. Bas relief has been used in art and architecture for thousands of years and is found in various cultures, such as the Egyptians, and Assyrians, during The Rennaisance, until today. Bas relief is used today to decorate buildings, monuments, tombs, and decorative objects such as plaques, medals, and coins. In bas-relief, the figures and designs are typically carved or moulded in shallow relief, with only a few millimetres of depth, creating a subtle, three-dimensional effect that is less dramatic than the more deeply carved high relief. Bas relief can be made from various materials, including stone, wood, metal, and plaster. sepia - is a reddish brown colour. Can be found in various pigments. Duomo di Firenze - is the Florence Cathedral, finished in the 15th Century, using some of the finest architects from Italy. It is associated with the Italian Renaissance. Boston Printmakers - is an organization of international printmakers started in 1947. It holds a Biennial every two years. You can find more information here. The National Gallery of Art - is a free art gallery in Washington D.C. Founded by financier Andrew W. Mellon. The gallery houses more than 150,000 pieces dedicated to education and culture. Construction finished for the West building in 1941. More info can be found here. © Popular Wheat Productions opening and closing musical credit - I Got It Bad And That Ain't Good by The Oscar Peterson Trio (1963) on Verve 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.***
Our guest is Noriko Okubo who is the co-owner and chief operations officer of Ginza Nishikawa U.S.A. Ginza Nishikawa opened in 2018 in Ginza, one of the poshest areas in Tokyo, to sell high-quality Shokupan bread. Shokupan is also called milk bread and is gaining popularity worldwide for its distinctively soft and fluffy texture with a pleasantly sweet taste. Ginza Nishikawa's Shokupan bread earned accolades very quickly and now it operates over 130 shops throughout Japan. The huge success spread to the U.S. and the bakery opened its first overseas location in L.A. in July 2022, which Noriko co-owns and manages. In this episode, we will discuss what shokupan is, why shokupan has become so popular in Japan and increasingly overseas, the secrets of Ginza Nishikawa's shokupan that sells out within a few hours of being baked in L.A., and much, much more!!!Photo Courtesy of Courtesy of Ginza Nishikawa.Japan Eats is nominated for a viewer's choice TASTE AWARD. Cast your vote before February 17th.Heritage Radio Network is a listener supported nonprofit podcast network. Support Japan Eats by becoming a member!Japan Eats is Powered by Simplecast.
Mikhail Tank interviews Lead Engineer Masaki Takamura and Assistant Engineer Soshi Takeda of Onkio Haus, a top level recording studio in Ginza, Tokyo (since 1976).
learn about Ginza in Japan
This week, join the Krewe as they explore the summertime festival scene in Japan. What are some essentials to enjoy at any given summer festival? What is the Japanese government doing to help support the preservation of these cultural traditions? Find out this, along with a month-by-month breakdown of some of the top festivals to check out while in Japan. Who knows what's in store for international tourists in 2022, but it never hurts to be prepared for festival season, even if it's for summer 2023... BUT LET'S HOPE FOR SOONER!! ------ 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, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Festivals ------June: Yosakoi Soran Festival (Sapporo, early June), Atsuta Festival (Nagoya, June 5), Sanno Matsuri (Tokyo, mid-June)July: Gion Matsuri (Kyoto, all throughout July), Tenjin Festival (Osaka, July 24-25), Shirakata Tenmangu Festival (Matsue, July 24-25), Sumidagawa Fireworks Festival (Tokyo, last Saturday in July), Soma Nomaoi (Soma, last week of July)August: Nebuta Matsuri (Aomori, August 2-7), Awa Odori (primarily Tokushima, mid-August), Bon Odori (nationwide, mid-August), Tanabata (Sendai, August 7; elsewhere, July 7)
One's mokuhanga journey takes many twists and turns. One can begin that journey at any age, at any time. For Andrew Stone that journey began at the age of 40, where in the last fifteen years or so, Andrew has done a deep dive into the nuances of the art form, from technique, to tools. His exploration into what makes mokuhanga, mokuhanga, is fascinating and important. On this episode of The Unfinished Print, I speak with mokuhanga printmaker and baren maker Andrew Stone. We speak about his Florence Baren Project, his own mokuhanga, his life in Italy, his meeting with baren maker Hidehiko Gotō. We discuss his philosophies on mokuhanga and baren making, what it takes to make such a beautiful tool like the baren, and how they function and work. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Andrew Stone - Lacrime di Rospo blog April Vollmer - is a mokuhanga artist based in New York City. She has been working in the medium for over thirty years. Her book, Japanese Woodblock Print Workshop, is a classic of the genre and a fantastic instructional book to begin mokuhanga. Andrew's wine label prints - here is one such print Andrew describes in his interview. David Bull/Mokuhankan - David Bull is a Canadian mokuhanga printmaker and business owner based in the city and Prefecture of Tōkyō, Japan. His company, Mokuhankan, has promoted the making of mokuhanga via the hanmoto or collaboration system of making woodblock prints, where the image begins as a black and white copy, evolving into a multi-layered colour woodblock print through a series of designers, carvers, and printmakers. etegami - meaning image letter, etegami is a style of calligraphy which was created by Kokei Kunio in the 1960's, by writing his own distinct style of calligraphy on New Years postcards. Although, sending postcards on New Years has been a tradition in Japan since the 700's. By using watercolours on washi, Kunio creates beautiful postcards which lend a hand to the ephemeral nature of the season and the medium. lithography - is a printing process which requires a stone or aluminum plate, and was invented in the 18th Century. More info, here from the Tate. 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). Pop art - is a an art movement generally connected to post war America and commodification. Artists such as Andy Warhol (1928-1987), and Roy Lichtenstein (1923-1997) are well known pop-artists. Rebecca Salter - is a British artist who focused on mokuhanga early in her career, and painting in later life. She is the President of The Royal Academy of Arts, London. Her book Japanese Woodblock Printing is a classic of the genre. Her interview with The Unfinished Print can be found, here. International Mokuhanga Conference - is a conference conducted by the International Mokuhanga Association for Japanese woodblock printing. It is held every two years and is themed. More info can be found, here. Mara Cozzolino - is a mokuhanga artist, based in Turin, Italy. Mara's subjects tend to be landcapes and trees. Mara is also the IMC Publicity Advisor. Her interview with The Unfinished Print can be found, here. Annie Bissett - is a mokuhanga artist and designer based in Rhode Island, USA. Annie's subjects vary, from landscapes, politics, and even tarot. You can find her interview with the Unfinished Print, here. California forest fires - The State of California in the United States, has dry, hot weather. Because of climate change, this has been exacerbated by a higher population, deforestation, and heavy use. Forest fires have become common yearly events. Impressionism - is a 19th Century art movement where the art is defined by visible brushstrokes, pastel colour, and the depiction of natural light. Artists associated with his movement are, Paul Cézanne (1839-1906), Edgar Degas (1834-1917), Claude Monet (1840-1926). Fauvists - a group of artists and an art movement of the early 20th Century who focused on the painterly and lasted only a short time, 1904-1908. It is influenced by the Impressionists and is also considered a break from that. A few artists of this short movement are Henri Matisse (1869-1953), André Derain (1880-1954), Jean Puy (1876-1960), amongst others. Secessionists - is an independent art movement, and historical break of the avante garde from the conservative ideals of European art. This period was from the late 19th to the early 20th Century. Started in Germany (Munich Secession) and then onto Vienna led by Gustav Klimt (1862-1918). The several secessionist movements of the late 19th century (Munich, Vienna, Berlin) was grouped as one movement in the 1970's by art scholars. hanashita - is a thin sheet of gampi paper that is pasted, reverse side, on a piece of wood. This is a guide, carved onto the block and is generally used for the key block and subsequent colour blocks. Methods such as acetate with water based pigment, can also be used rather than the thin gampi paper, which can cause misregistration if not pasted correctly. Biomass plants in the EU - biomass is a form of energy which uses trees as energy. Large biomass plants can be found and subsidized by federal governments in Europe. They take in biological materials such as wood residue, energy crops and other agricultural residues and convert these items into energy. There are both pros and cons for this type of energy generation. shina - is a type of wood used in mokuhanga. It is part of the linden family of trees. This wood is produced in various parts of the world, such as Japan and Russia. Not all shina is created equal so buyer beware. basswood - is a type of wood from the linden family of trees, soft and generally grainless. Can be used in mokuhanga. Florence, Italy - the capital of the Tuscany region of Italy. Famous for its renaissance architecture, and culture. Large art galleries, such as the Bargello National Museum, and the Uffizi Gallery, are located here. fabriano artistico - is a machine made Western watercolour paper, which can be purchased in rolls and sheets. Guerra Pigment - is a family run pigment store located in Brooklyn, New York. Holbein - is a pigment company with offices located in Japan, The United States, and Canada. They offer high end gouache, watercolour, and pigment pastes. Paul Furneaux - is a Scottish mokuhanga artist based in Edinburgh, Scotland. He makes abstract mokuhanga, mixed with wood and other mediums. sizing recipe - sizing is a term used for a recipe, containing animal glue, alum, and water. It is used to coat your paper, dried, and then remoistened and printed with, to keep your pigments from bleeding in the paper. Sizing, in the short term, keeps your prints bright and colourful, although over time it has been proven that heavy sizing can deteriorate the print. Some recipes can be found, here, and here. McClains - is an online, and brick and mortar store located in Portland, Oregon, USA. It sells mokuhanga tools, books, and educational items. McClain's interview with The Unfinished Print can be found, here. takenogawa bamboo skin - is a bamboo skin, made from a bamboo leaf, which covers the coils on your baren. You can wrap them yourself or have them sent to Japan to be wrapped professionally. Be sure to buy more than a few baren skins as you'll go through a few when wrapping your own baren. Gotō baren clinic Ginza - called Baren Juku, and located in the Ginza, Tōkyō. It was started in 2012. tannin - are a class of molecules which are found in amino acids and alkaloids. They are found in tree bark, wood, leaves, fruits, seeds, plants. They protect the tree from bugs and other infections. Gotō Huidehiko's book on baren - Mia-0 - is a mokuhanga artist based in Tōkyō, Japan. Her work can be found, 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. John Moss - is a mokuhanga artist based in Atlanta, Georgia, USA. His work focuses on landscape. His work can be found here. His interview with The Unfinished Print can be found, here. 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 reasonably priced baren. gomazuri - is a mokuhanga technique where slight pressure is used with pigments too make a “spotty” image, what look like sesame seeds. It can add depth to your prints. baren suji zuri - is a Mokuhanga technique used with the baren and by the baren to create a circular design and can be layered with various colours. Paul Binnie's Black Storm (2016) is a fine example. Yuki baren - is a heavy ball bearing baren made in Japan. It is used to print large flat colours. Padua, Italy - is a city in the North of Italy, the Veneto region. It is famous for its frescoes and religious heritage. More info can be found, here. 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. © Popular Wheat Productions opening and closing credit music - Rob Swift, A Turntable Experience, from trhe album Soulful Fruit (1997) 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.***
每日英語跟讀 Ep.K372: About Japan - Asia Welcomes Travelers, but Japan Says, Not Yet In a normal year, this would be peak season for tourism to Japan. But as the cherry blossoms burst into bloom along Kyoto's ancient, temple-lined alleys and boat tours ply the waters of Tokyo's flower-lined rivers, Japanese tourists largely have the spectacular display to themselves. 在正常情況的年份，此時正是日本旅遊旺季。但隨著櫻花盛開於古剎林立的京都巷弄，以及遊覽船往返花卉夾道的東京河川的水域，這些盛況大抵上僅限日本的遊客獨享。 The country sealed its borders to most foreign travelers early in the pandemic and has only recently begun to allow a slow drip of students and business people to return. 該國在武漢肺炎疫情大流行之初就對大多數外國旅客封鎖邊境，直到最近才允許留學生與商務客慢慢回流。 Those hoping to visit Japan for fun, shouldn't hold their breath. Despite the national tourism organization's wishful thinking, Koichi Wada, the head of Japan's tourism agency, told parliament last month that“it's exceedingly difficult to forecast the long-term trends for inbound tourism.” 那些希望能赴日觀光旅遊的人可有得等了。儘管日本國家旅遊局想得很美，日本觀光廳長官和田浩一上個月告訴國會，「很難預測入境觀光的長期趨勢。」 Next Article Dismantling work begins on iconic Nakagin Capsule Tower 代表性的中銀膠囊塔開始拆除 Built a half-century ago as a futuristic architectural marvel that would permanently house tenants, the Nakagin Capsule Tower in Tokyo's Ginza district failed to stand the test of time. 建於半世紀前、以容納承租客為宗旨的未來主義建築奇蹟的（日本東京）銀座區的「中銀膠囊塔」，沒能挺過時代的考驗。 Dismantling work started on the aging structure on April 12, much to the sadness of the building's legions of fans across the world and former tenants. 拆除這幢老舊建築的工作在4月12日展開，令該大樓在全球各地的粉絲與過去的房客深感哀傷。 The building, designed by famed architect Kisho Kurokawa (1934-2007), looks like a jumble of blocks stacked at odd angles high in the sky. 該大樓由知名建築師黑川紀章（1934-2007） 設計，看似有如一堆亂七八糟的積木以奇怪的角度堆疊聳天。 The tower has been known as a representative work of the “Metabolism” architecture movement, which started in 1960. The building was designed to evolve further by replacing spaces and functions in accordance with societal changes. 這座塔以作為始於1960年代的建築運動「代謝派」的代表作而聞名，被設計成能根據社會變遷來替換空間與功能以進一步演化。Source article: https://features.ltn.com.tw/english/article/paper/1511719 ; https://features.ltn.com.tw/english/article/paper/1514361
Lynita Shimizu's prints are ambitious, colourful; and most importantly, bring the viewer into their fantastic world. On this episode of The Unfinished Print, I speak with mokuhanga printmaker Lyniyta Shimizu, about her history as a mokuhanga working printmaker, her teachers from Japan as well as her experiences in that country. Lynita speaks on her varied print subjects, her materials and her mokuhanga process. Please follow The Unfinished Print and my own print work on Instagram @andrezadoroznyprints Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Lynita Shimizu - website, Instagram, New Leaf Gallery video. Chinese University Hong Kong - is a public research university based in Hong Kong, and established in 1963. more, info here. JET Programme - a teaching programme created in 1978, which is sponsored by the Japanese government, and various Japanese ministries. This organization brings people from around the world to teach English to Japanese students in grade school, junior high, and high schools throughout the country. More info, here. 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. Books Kinokuniya - is a Japanese chain of bookstores located throughout every Prefecture in Japan and around the world. More info, here. Tomikichiro Tokuriki (1902-1999) - was a woodblock printmaker based in Kyōto, Japan. His prints were considered sōsaku hanga (creative prints), and shin-hanga prints (new prints). More info, here. David Stones - was a student of Tokuriki in Japan. His woodblock prints are bright in colour and have traditional Japanese themes. His website has more information, as well as this really well produced video that came out late last year. Margaret Stein Nakamura - is a designer and illustrator who studied three years under Tomikichiro Tokuriki in the 1970's. Her Tumblr of her projects can be found, here. sizing/dosa - is a liquid form (prepared) animal glue which is brushed onto your washi, hanji, or other natural papers to stiffen the paper and prepare it for keeping the colour in your woodblock print. It has come to pass that size tends to be acidic and will break down the print over time. It's a bit of a double edged sword. Recipes for size can be found, here. Yoshisuke Funasaka - is a woodblock printmaker in the sōsaku hanga style of printmaking. His work revolved around colour, fruit, and abstract shapes. More info, here. Sho Kidokoro (1934-1988) - was a woodblock printmaker from Tōkyō, Japan. His prints were colourful, abstract, and he too focused on fruit, such as apples and pears. reduction printing - is a method of printing where one block is used and is subsequently carved little by little and printed every time, until there is nothing left to carve. Cameron Bailey's recent prints are in this style. floating kentō - is a removable registration system attached to the block when printing. As the kentō isn't affixed to the block; blotting, and very clean borders are one of the positives of using this method of registration. Annie Bissett - is a woodblock printmaker based in the United States. Her work focuses on themes of sexuality, magic, politics, and nature. Her work can be found, here. Her interview with The Unfisnihed Print can be found, here. Artelino - is an online woodblock print repository run by Dieter Wanczura. It is a website that educates about woodblock prints, as well as sells and buys. More info, here. Hankyu-Ōsaka-Umeda Station - is a train station located in the city of Ōsaka, Japan. It is a major transit hub which connects Ōsaka City, to Kobe, Kyōto, Nara, as well as the rest of Japan. In my opinion it's one of the busiest stations in the country. More info, here. kabuki theatre - is a traditional Japanese theatre begun in Kyōto in the 17th Century. It has always been considered, much like Japanese woodblock prints, as a lower form of art in Japan. Over time kabuki theatre has developed into a very sanitized theatre run by the Shōchiku Entertainment Company. For more information about its rich history please check out Kabuki21.com. I wrote (write) a blog about kabuki called Kabuki Live, and that can be found, here. Kabuki-za - is a kabuki focused theatre located in Tōkyō, Japan. It has been at the same spot in the Ginza, in different constructions, since 1889. More info can be found, here. Linda J. Beeman - is a mokuhanga printmaker based in Michigan. Considered an environmental artist, Linda's subjects are of the environment through landscape representation. More info, here. luan wood - is a type of hardwood native to the Philippines and other parts of South East Asia. More info can be found, here. magnolia wood - a straight grained hard wood located in North America and Asia. more info, here. katsura wood - is a straight grain hard wood from China and Japan. It is pretty good for fine line cutting in mokuhanga and is cheaper than cherry wood. More info can be found, here. Sennelier pigments - created by Gustave Sennelier in Paris, 1887, Sennelier has become a seller of pigments of all types. More info can be found, here. Jerry's Artarama - originally founded in 1968 Long Island, New York, and now based in Raleigh, North Carolina. Jerry's Artarama sells various art supplies at reasonable princes. More info, 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. tokonoma - is an ascribed area in a Japanese home which is used as a way to make visitors and guests appreciate the home they are visiting, even more. It usually displays scrolls or other forms of art, flowers, or other ephemera connected to those living in the home, the seasons, or general likes. More info, here. yamaka paper - is a type of fusuma paper, soft and textured and quite thick, around 40g-60g New Leaf Gallery - is a brick and mortar, relief print focused gallery located in Keane, New Hampshire. It was created by Taryn Fisher and Matt Brown. more info, here. Matt Brown - is a mokuhanga printmaker based in Lyme, New Hampshire. He has been making woodblock prints for over thirty years. Matt's interview with the Unfinished Print can be found, here. His website can be found, here. Kunisada/Kuniyoshi Exhibit - was an art exhibition held at the Museum of Fine Arts Boston from August 11 - December 10, 2017. There was also an excellent catalogue printed for this show and would add to any woodblock print fan's library. more info, here. manga - is a style of comical imagery that started in and around the 19th Century in Japan. Hokusai's manga has made a resurgence as of late and has inspired artists of all types, around the world. Other artists who made manga in Japan and are worth a look at are, Osamu Tezuka (1928-1989), Kawanabe Kyōsai (1831-1889), Naoko Takeuchi, and Eiichirō Oda, amongst many others. More info, here, and here. Sumi-Fusion - was the theme of the 2021 International Mokuhanga Conference where entries, into the juried exhibition, created works that used sumi ink in their mokuhanga. More info, here. opening and closing credit music - Time's Up (Instrumental) by O.C (2022) © Popular Wheat Productions 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.***
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