Podcasts about japanese english

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Powerleegirl hosts, the mother daughter team of Miko Lee, Jalena & Ayame Keane-Lee speak with artists about their craft and the works that you can catch in the Bay Area. Featured are filmmaker Yuriko Gamo Romer, playwright Jessica Huang and photographer Joyce Xi.   More info about their work here: Diamond Diplomacy Yuriko Gamo Romer Jessica Huang's Mother of Exiles at Berkeley Rep Joyce Xi's Our Language Our Story at Galeria de la Raza     Show Transcript Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.    Ayame Keane-Lee: [00:00:46] Thank you for joining us on Apex Express Tonight. Join the PowerLeeGirls as we talk with some powerful Asian American women artists. My mom and sister speak with filmmaker Yuriko Gamo Romer, playwright Jessica Huang, and photographer Joyce Xi. Each of these artists have works that you can enjoy right now in the Bay Area. First up, let's listen in to my mom Miko Lee chat with Yuriko Gamo Romer about her film Diamond Diplomacy.    Miko Lee: [00:01:19] Welcome, Yuriko Gamo Romer to Apex Express, amazing filmmaker, award-winning director and producer. Welcome to Apex Express.   Yuriko Gamo Romer: [00:01:29] Thank you for having me.    Miko Lee: [00:01:31] It's so great to see your work after this many years. We were just chatting that we knew each other maybe 30 years ago and have not reconnected. So it's lovely to see your work. I'm gonna start with asking you a question. I ask all of my Apex guests, which is, who are your people and what legacy do you carry with you?    Yuriko Gamo Romer: [00:01:49] Oh, who are my people? That's a hard one. I guess I'm Japanese American. I'm Asian American, but I'm also Japanese. I still have a lot of people in Japan. That's not everything. Creative people, artists, filmmakers, all the people that I work with, which I love. And I don't know, I can't pare it down to one narrow sentence or phrase. And I don't know what my legacy is. My legacy is that I was born in Japan, but I have grown up in the United States and so I carry with me all that is, technically I'm an immigrant, so I have little bits and pieces of that and, but I'm also very much grew up in the United States and from that perspective, I'm an American. So too many words.    Miko Lee: [00:02:44] Thank you so much for sharing. Your latest film was called Diamond Diplomacy. Can you tell us what inspired this film?   Yuriko Gamo Romer: [00:02:52] I have a friend named Dave Dempsey and his father, Con Dempsey, was a pitcher for the San Francisco Seals. And the Seals were the minor league team that was in the West Coast was called the Pacific Coast League They were here before the Major League teams came to the West Coast. So the seals were San Francisco's team, and Con Dempsey was their pitcher. And it so happened that he was part of the 1949 tour when General MacArthur sent the San Francisco Seals to Allied occupied Japan after World War II. And. It was a story that I had never heard. There was a museum exhibit south of Market in San Francisco, and I was completely wowed and awed because here's this lovely story about baseball playing a role in diplomacy and in reuniting a friendship between two countries. And I had never heard of it before and I'm pretty sure most people don't know the story. Con Dempsey had a movie camera with him when he went to Japan I saw the home movies playing on a little TV set in the corner at the museum, and I thought, oh, this has to be a film. I was in the middle of finishing Mrs. Judo, so I, it was something I had to tuck into the back of my mind Several years later, I dug it up again and I made Dave go into his mother's garage and dig out the actual films. And that was the beginning. But then I started opening history books and doing research, and suddenly it was a much bigger, much deeper, much longer story.   Miko Lee: [00:04:32] So you fell in, it was like synchronicity that you have this friend that had this footage, and then you just fell into the research. What stood out to you?    Yuriko Gamo Romer: [00:04:41] It was completely amazing to me that baseball had been in Japan since 1872. I had no idea. And most people,   Miko Lee: [00:04:49] Yeah, I learned that too, from your film. That was so fascinating.    Yuriko Gamo Romer: [00:04:53] So that was the first kind of. Wow. And then I started to pick up little bits and pieces like in 1934, there was an American All Star team that went to Japan. And Babe Ruth was the headliner on that team. And he was a big star. People just loved him in Japan. And then I started to read the history and understanding that. Not that a baseball team or even Babe Ruth can go to Japan and prevent the war from happening. But there was a warming moment when the people of Japan were so enamored of this baseball team coming and so excited about it that maybe there was a moment where it felt like. Things had thawed out a little bit. So there were other points in history where I started to see this trend where baseball had a moment or had an influence in something, and I just thought, wow, this is really a fascinating history that goes back a long way and is surprising. And then of course today we have all these Japanese faces in Major League baseball.   Miko Lee: [00:06:01] So have you always been a baseball fan?   Yuriko Gamo Romer: [00:06:04] I think I really became a fan of Major League Baseball when I was living in New York. Before that, I knew what it was. I played softball, I had a small connection to it, but I really became a fan when I was living in New York and then my son started to play baseball and he would come home from the games and he would start to give us the play by play and I started to learn more about it. And it is a fascinating game 'cause it's much more complex than I think some people don't like it 'cause it's complex.    Miko Lee: [00:06:33] I must confess, I have not been a big baseball fan. I'm also thinking, oh, a film about baseball. But I actually found it so fascinating with especially in the world that we live in right now, where there's so much strife that there was this way to speak a different language. And many times we do that through art or music and I thought it was so great how your film really showcased how baseball was used as a tool for political repair and change. I'm wondering how you think this film applies to the time that we live in now where there's such an incredible division, and not necessarily with Japan, but just with everything in the world.   Yuriko Gamo Romer: [00:07:13] I think when it comes down to it, if we actually get to know people. We learn that we're all human beings and that we probably have more in common than we give ourselves credit for. And if we can find a space that is common ground, whether it's a baseball field or the kitchen, or an art studio, or a music studio, I think it gives us a different place where we can exist and acknowledge That we're human beings and that we maybe have more in common than we're willing to give ourselves credit for. So I like to see things where people can have a moment where you step outside of yourself and go, oh wait, I do have something in common with that person over there. And maybe it doesn't solve the problem. But once you have that awakening, I think there's something. that happens, it opens you up. And I think sports is one of those things that has a little bit of that magical power. And every time I watch the Olympics, I'm just completely in awe.    Miko Lee: [00:08:18] Yeah, I absolutely agree with you. And speaking of that kind of repair and that aspect that sports can have, you ended up making a short film called Baseball Behind Barbed Wire, about the incarcerated Japanese Americans and baseball. And I wondered where in the filmmaking process did you decide, oh, I gotta pull this out of the bigger film and make it its own thing?    Yuriko Gamo Romer: [00:08:41] I had been working with Carrie Yonakegawa. From Fresno and he's really the keeper of the history of Japanese American baseball and especially of the story of the World War II Japanese American incarceration through the baseball stories. And he was one of my scholars and consultants on the longer film. And I have been working on diamond diplomacy for 11 years. So I got to know a lot of my experts quite well. I knew. All along that there was more to that part of the story that sort of deserved its own story, and I was very fortunate to get a grant from the National Parks Foundation, and I got that grant right when the pandemic started. It was a good thing. I had a chunk of money and I was able to do historical research, which can be done on a computer. Nobody was doing any production at that beginning of the COVID time. And then it's a short film, so it was a little more contained and I was able to release that one in 2023.   Miko Lee: [00:09:45] Oh, so you actually made the short before Diamond Diplomacy.   Yuriko Gamo Romer: [00:09:49] Yeah. The funny thing is that I finished it before diamond diplomacy, it's always been intrinsically part of the longer film and you'll see the longer film and you'll understand that part of baseball behind Barbed Wire becomes a part of telling that part of the story in Diamond Diplomacy.   Miko Lee: [00:10:08] Yeah, I appreciate it. So you almost use it like research, background research for the longer film, is that right?    Yuriko Gamo Romer: [00:10:15] I had been doing the research about the World War II, Japanese American incarceration because it was part of the story of the 150 years between Japan and the United States and Japanese people in the United States and American people that went to Japan. So it was always a part of that longer story, and I think it just evolved that there was a much bigger story that needed to be told separately and especially 'cause I had access to the interview footage of the two guys that had been there, and I knew Carrie so well. So that was part of it, was that I learned so much about that history from him.   Miko Lee: [00:10:58] Thanks. I appreciated actually watching both films to be able to see more in depth about what happened during the incarceration, so that was really powerful. I'm wondering if you can talk a little bit about the style of actually both films, which combine vintage Japanese postcards, animation and archival footage, and how you decided to blend the films in this way.   Yuriko Gamo Romer: [00:11:19] Anytime you're making a film about history, there's that challenge of. How am I going to show this story? How am I gonna get the audience to understand and feel what was happening then? And of course you can't suddenly go out and go, okay, I'm gonna go film Babe Ruth over there. 'cause he's not around anymore. So you know, you start digging up photographs. If we're in the era of you have photographs, you have home movies, you have 16 millimeter, you have all kinds of film, then great. You can find that stuff if you can find it and use it. But if you go back further, when before people had cameras and before motion picture, then you have to do something else. I've always been very much enamored of Japanese woodblock prints. I think they're beautiful and they're very documentary in that they tell stories about the people and the times and what was going on, and so I was able to find some that sort of helped evoke the stories of that period of time. And then in doing that, I became interested in the style and maybe can I co-opt that style? Can we take some of the images that we have that are photographs? And I had a couple of young artists work on this stuff and it started to work and I was very excited. So then we were doing things like, okay, now we can create a transition between the print style illustration and the actual footage that we're moving into, or the photograph that we're dissolving into. And the same thing with baseball behind barbed wire. It became a challenge to show what was actually happening in the camps. In the beginning, people were not allowed to have cameras at all, and even later on it wasn't like it was common thing for people to have cameras, especially movie cameras. Latter part of the war, there was a little bit more in terms of photos and movies, but in terms of getting the more personal stories. I found an exhibit of illustrations and it really was drawings and paintings that were visual diaries. People kept these visual diaries, they drew and they painted, and I think part of it was. Something to do, but I think the other part of it was a way to show and express what was going on. So one of the most dramatic moments in there is a drawing of a little boy sitting on a toilet with his hands covering his face, and no one would ever have a photograph. Of a little boy sitting on a toilet being embarrassed because there are no partitions around the toilet. But this was a very dramatic and telling moment that was drawn. And there were some other things like that. There was one illustration in baseball behind barbed wire that shows a family huddled up and there's this incredible wind blowing, and it's not. Home movie footage, but you feel the wind and what they had to live through. I appreciate art in general, so it was very fun for me to be able to use various different kinds of art and find ways to make it work and make it edit together with the other, with the photographs and the footage.    Miko Lee: [00:14:56] It's really beautiful and it tells the story really well. I'm wondering about a response to the film from folks that were in it because you got many elders to share their stories about what it was like being either folks that were incarcerated or folks that were playing in such an unusual time. Have you screened the film for folks that were in it? And if so what has their response been?    Yuriko Gamo Romer: [00:15:20] Both the men that were in baseball behind barbed wire are not living anymore, so they have not seen it. With diamond diplomacy, some of the historians have been asked to review cuts of the film along the way. But the two baseball players that play the biggest role in the film, I've given them links to look at stuff, but I don't think they've seen it. So Moi's gonna see it for the first time, I'm pretty sure, on Friday night, and it'll be interesting to see what his reaction to it is. And of course. His main language is not English. So I think some of it's gonna be a little tough for him to understand. But I am very curious 'cause I've known him for a long time and I know his stories and I feel like when we were putting the film together, it was really important for me to be able to tell the stories in the way that I felt like. He lived them and he tells them, I feel like I've heard these stories over and over again. I've gotten to know him and I understand some of his feelings of joy and of regret and all these other things that happen, so I will be very interested to see what his reaction is to it.   Miko Lee: [00:16:40] Can you share for our audience who you're talking about.   Yuriko Gamo Romer: [00:16:43] Well, Sanhi is a nickname, his name is Masa Nouri. Murakami. He picked up that nickname because none of the ball players could pronounce his name.   Miko Lee: [00:16:53] I did think that was horrifically funny when they said they started calling him macaroni 'cause they could not pronounce his name. So many of us have had those experiences.   Yuriko Gamo Romer: [00:17:02] Yeah, especially if your name is Masanori Murakami. That's a long, complicated one. So he, Masanori Murakami is the first Japanese player that came and played for the major leagues. And it was an inadvertent playing because he was a kid, he was 19 years old. He was playing on a professional team in Japan and they had some, they had a time period where it made sense to send a couple of these kids over to the United States. They had a relationship with Kapi Harada, who was a Japanese American who had been in the Army and he was in Japan during. The occupation and somehow he had, he'd also been a big baseball person, so I think he developed all these relationships and he arranged for these three kids to come to the United States and to, as Mahi says, to study baseball. And they were sent to the lowest level minor league, the single A camps, and they played baseball. They learned the American ways to play baseball, and they got to play with low level professional baseball players. Marcy was a very talented left handed pitcher. And so when September 1st comes around and the postseason starts, they expand the roster and they add more players to the team. And the scouts had been watching him and the Giants needed a left-handed pitcher, so they decided to take a chance on him, and they brought him up and he was suddenly going to Shea Stadium when. The Giants were playing the Mets and he was suddenly pitching in a giant stadium of 40,000 people.    Miko Lee: [00:18:58] Can you share a little bit about his experience when he first came to America? I just think it shows such a difference in time to now.    Yuriko Gamo Romer: [00:19:07] Yeah, no kidding. Because today they're the players that come from Japan are coddled and they have interpreters wherever they go and they travel and chartered planes and special limousines and whatever else they get. So Marcie. He's, I think he was 20 by the time he was brought up so young. Mahi at 20 years old, the manager comes in and says, Hey, you're going to New York tomorrow and hands him plane tickets and he has to negotiate his way. Get on this plane, get on that plane, figure out how to. Get from the airport to the hotel, and he's barely speaking English at this point. He jokes that he used to carry around an English Japanese dictionary in one pocket and a Japanese English dictionary in the other pocket. So that's how he ended up getting to Shea Stadium was in this like very precarious, like they didn't even send an escort.   Miko Lee: [00:20:12] He had to ask the pilot how to get to the hotel. Yeah, I think that's wild. So I love this like history and what's happened and then I'm thinking now as I said at the beginning, I'm not a big baseball sports fan, but I love love watching Shohei Ohtani. I just think he's amazing. And I'm just wondering, when you look at that trajectory of where Mahi was back then and now, Shohei Ohtani now, how do you reflect on that historically? And I'm wondering if you've connected with any of the kind of modern Japanese players, if they've seen this film.   Yuriko Gamo Romer: [00:20:48] I have never met Shohei Ohtani. I have tried to get some interviews, but I haven't gotten any. I have met Ichi. I did meet Nori Aoki when he was playing for the Giants, and I met Kenta Maya when he was first pitching for the Dodgers. They're all, I think they're all really, they seem to be really excited to be here and play. I don't know what it's like to be Ohtani. I saw something the other day in social media that was comparing him to Taylor Swift because the two of them are this like other level of famous and it must just be crazy. Probably can't walk down the street anymore. But it is funny 'cause I've been editing all this footage of mahi when he was 19, 20 years old and they have a very similar face. And it just makes me laugh that, once upon a time this young Japanese kid was here and. He was worried about how to make ends meet at the end of the month, and then you got the other one who's like a multi multimillionaire.    Miko Lee: [00:21:56] But you're right, I thought that too. They look similar, like the tall, the face, they're like the vibe that they put out there. Have they met each other?    Yuriko Gamo Romer: [00:22:05] They have actually met, I don't think they know each other well, but they've definitely met.   Miko Lee: [00:22:09] Mm, It was really a delight. I am wondering what you would like audiences to walk away with after seeing your film.   Yuriko Gamo Romer: [00:22:17] Hopefully they will have a little bit of appreciation for baseball and international baseball, but more than anything else. I wonder if they can pick up on that sense of when you find common ground, it's a very special space and it's an ability to have this people to people diplomacy. You get to experience people, you get to know them a little bit. Even if you've never met Ohtani, you now know a little bit about him and his life and. Probably what he eats and all that kind of stuff. So it gives you a chance to see into another culture. And I think that makes for a different kind of understanding. And certainly for the players. They sit on the bench together and they practice together and they sweat together and they, everything that they do together, these guys know each other. They learn about each other's languages and each other's food and each other's culture. And I think Mahi went back to Japan with almost as much Spanish as they did English. So I think there's some magical thing about people to people diplomacy, and I hope that people can get a sense of that.    Miko Lee: [00:23:42] Thank you so much for sharing. Can you tell our audience how they could find out more about your film Diamond diplomacy and also about you as an artist?    Yuriko Gamo Romer: [00:23:50] the website is diamonddiplomacy.com. We're on Instagram @diamonddiplomacy. We're also on Facebook Diamond Diplomacy. So those are all the places that you can find stuff, those places will give you a sense of who I am as a filmmaker and an artist too.    Miko Lee: [00:24:14] Thank you so much for joining us today, Yuriko. Gamo. Romo. So great to speak with you and I hope the film does really well.    Yuriko Gamo Romer: [00:24:22] Thank you, Miko. This was a lovely opportunity to chat with you.   Ayame Keane-Lee: [00:24:26] Next up, my sister Jalena Keane-Lee speaks with playwright Jessica Huang, whose new play Mother of Exiles just had its world premiere at Berkeley Rep is open until December 21st.    Jalena Keane-Lee: [00:24:39] All right. Jessica Huang, thank you so much for being here with us on Apex Express and you are the writer of the new play Mother of Exiles, which is playing at Berkeley Rep from November 14th to December 21st. Thank you so much for being here.   Jessica Huang: [00:24:55] Yeah, thank you so much for having me. It's such a pleasure.   Jalena Keane-Lee: [00:24:59] I'm so curious about this project. The synopsis was so interesting. I was wondering if you could just tell us a little bit about it and how you came to this work.   Jessica Huang: [00:25:08] When people ask me what mother of Exiles is, I always say it's an American family story that spans 160 plus years, and is told in three acts. In 90 minutes. So just to get the sort of sense of the propulsion of the show and the form, the formal experiment of it. The first part takes place in 1898, when the sort of matriarch of the family is being deported from Angel Island. The second part takes place in 1999, so a hundred years later where her great grandson is. Now working for the Miami, marine interdiction unit. So he's a border cop. The third movement takes place in 2063 out on the ocean after Miami has sunk beneath the water. And their descendants are figuring out what they're gonna do to survive. It was a strange sort of conception for the show because I had been wanting to write a play. I'd been wanting to write a triptych about America and the way that interracial love has shaped. This country and it shaped my family in particular. I also wanted to tell a story that had to do with this, the land itself in some way. I had been sort of carrying an idea for the play around for a while, knowing that it had to do with cross-cultural border crossing immigration themes. This sort of epic love story that each, in each chapter there's a different love story. It wasn't until I went on a trip to Singapore and to China and got to meet some family members that I hadn't met before that the rest of it sort of fell into place. The rest of it being that there's a, the presence of, ancestors and the way that the living sort of interacts with those who have come before throughout the play.   Jalena Keane-Lee: [00:27:13] I noticed that ancestors, and ghosts and spirits are a theme throughout your work. I was wondering if you could talk a little bit about your own ancestry and how that informs your writing and creative practice.   Jessica Huang: [00:27:25] Yeah, I mean, I'm in a fourth generation interracial marriage. So, I come from a long line of people who have loved people who were different from them, who spoke different languages, who came from different countries. That's my story. My brother his partner is German. He lives in Berlin. We have a history in our family of traveling and of loving people who are different from us. To me that's like the story of this country and is also the stuff I like to write about. The thing that I feel like I have to share with the world are, is just stories from that experience.   Jalena Keane-Lee: [00:28:03] That's really awesome. I guess I haven't really thought about it that way, but I'm third generation of like interracial as well. 'cause I'm Chinese, Japanese, and Irish. And then at a certain point when you're mixed, it's like, okay, well. The odds of me being with someone that's my exact same ethnic breakdown feel pretty low. So it's probably gonna be an interracial relationship in one way or the other.   Jessica Huang: [00:28:26] Totally. Yeah. And, and, and I don't, you know, it sounds, and it sounds like in your family and in mine too, like we just. Kept sort of adding culture to our family. So my grandfather's from Shanghai, my grandmother, you know, is, it was a very, like upper crust white family on the east coast. Then they had my dad. My dad married my mom whose people are from the Ukraine. And then my husband's Puerto Rican. We just keep like broadening the definition of family and the definition of community and I think that's again, like I said, like the story of this country.   Jalena Keane-Lee: [00:29:00] That's so beautiful. I'm curious about the role of place in this project in particular, mother of exiles, angel Island, obviously being in the Bay Area, and then the rest of it taking place, in Miami or in the future. The last act is also like Miami or Miami adjacent. What was the inspiration behind the place and how did place and location and setting inform the writing.   Jessica Huang: [00:29:22] It's a good question. Angel Island is a place that has loomed large in my work. Just being sort of known as the Ellis Island of the West, but actually being a place with a much more difficult history. I've always been really inspired by the stories that come out of Angel Island, the poetry that's come out of Angel Island and, just the history of Asian immigration. It felt like it made sense to set the first part of the play here, in the Bay. Especially because Eddie, our protagonist, spent some time working on a farm. So there's also like this great history of agriculture and migrant workers here too. It just felt like a natural place to set it. And then why did we move to Miami? There are so many moments in American history where immigration has been a real, center point of the sort of conversation, the national conversation. And moving forward to the nineties, the wet foot, dry foot Cuban immigration story felt like really potent and a great place to tell the next piece of this tale. Then looking toward the future Miami is definitely, or you know, according to the science that I have read one of the cities that is really in danger of flooding as sea levels rise.   Jalena Keane-Lee: [00:30:50] Okay. The Cuban immigration. That totally makes sense. That leads perfectly into my next question, which was gonna be about how did you choose the time the moments in time? I think that one you said was in the nineties and curious about the choice to have it be in the nineties and not present day. And then how did you choose how far in the future you wanted to have the last part?   Jessica Huang: [00:31:09] Some of it was really just based on the needs of the characters. So the how far into the future I wanted us to be following a character that we met as a baby in the previous act. So it just, you know, made sense. I couldn't push it too far into the future. It made sense to set it in the 2060s. In terms of the nineties and, why not present day? Immigration in the nineties , was so different in it was still, like I said, it was still, it's always been a important national conversation, but it wasn't. There was a, it felt like a little bit more, I don't know if gentle is the word, but there just was more nuance to the conversation. And still there was a broad effort to prevent Cuban and refugees from coming ashore. I think I was fascinated by how complicated, I mean, what foot, dry foot, the idea of it is that , if a refugee is caught on water, they're sent back to Cuba. But if they're caught on land, then they can stay in the us And just the idea of that is so. The way that, people's lives are affected by just where they are caught , in their crossing. I just found that to be a bit ridiculous and in terms of a national policy. It made sense then to set the second part, which moves into a bit of a farce at a time when immigration also kind of felt like a farce.   Jalena Keane-Lee: [00:32:46] That totally makes sense. It feels very dire right now, obviously. But it's interesting to be able to kind of go back in time and see when things were handled so differently and also how I think throughout history and also touching many different racial groups. We've talked a lot on this show about the Chinese Exclusion Act and different immigration policies towards Chinese and other Asian Americans. But they've always been pretty arbitrary and kind of farcical as you put it. Yeah.   Jessica Huang: [00:33:17] Yeah. And that's not to make light of like the ways that people's lives were really impacted by all of this policy . But I think the arbitrariness of it, like you said, is just really something that bears examining. I also think it's really helpful to look at where we are now through the lens of the past or the future. Mm-hmm. Just gives just a little bit of distance and a little bit of perspective. Maybe just a little bit of context to how we got to where we got to.   Jalena Keane-Lee: [00:33:50] That totally makes sense. What has your experience been like of seeing the play be put up? It's my understanding, this is the first this is like the premier of the play at Berkeley Rep.   Jessica Huang: [00:34:00] Yes. Yeah. It's the world premier. It's it incredible. Jackie Bradley is our director and she's phenomenal. It's just sort of mesmerizing what is happening with this play? It's so beautiful and like I've alluded to, it shifts tone between the first movement being sort of a historical drama on Angel Island to, it moves into a bit of a farce in part two, and then it, by the third movement, we're living in sort of a dystopic, almost sci-fi future. The way that Jackie's just deftly moved an audience through each of those experiences while holding onto the important threads of this family and, the themes that we're unpacking and this like incredible design team, all of these beautiful visuals sounds, it's just really so magical to see it come to life in this way. And our cast is incredible. I believe there are 18 named roles in the play, and there are a few surprises and all of them are played by six actors. who are just. Unbelievable. Like all of them have the ability to play against type. They just transform and transform again and can navigate like, the deepest tragedies and the like, highest moments of comedy and just hold on to this beautiful humanity. Each and every one of them is just really spectacular. So I'm just, you know. I don't know. I just feel so lucky to be honest with you. This production is going to be so incredible. It's gonna be, it feels like what I imagine in my mind, but, you know, plus,    Jalena Keane-Lee: [00:35:45] well, I really can't wait to see it. What are you hoping that audiences walk away with after seeing the show?   Jessica Huang: [00:35:54] That's a great question. I want audiences to feel connected to their ancestors and feel part of this community of this country and, and grateful and acknowledge the sacrifices that somebody along the line made so that they could be here with, with each other watching the show. I hope, people feel like they enjoyed themselves and got to experience something that they haven't experienced before. I think that there are definitely, nuances to the political conversation that we're having right now, about who has the right to immigrate into this country and who has the right to be a refugee, who has the right to claim asylum. I hope to add something to that conversation with this play, however small.   Jalena Keane-Lee:[00:36:43]  Do you know where the play is going next?   Jessica Huang: [00:36:45] No. No. I dunno where it's going next. Um, exciting. Yeah, but we'll, time will   Jalena Keane-Lee: [00:36:51] and previews start just in a few days, right?   Jessica Huang: [00:36:54] Yeah. Yeah. We have our first preview, we have our first audience on Friday. So yeah, very looking forward to seeing how all of this work that we've been doing lands on folks.   Jalena Keane-Lee: [00:37:03] Wow, that's so exciting. Do you have any other projects that you're working on? Or any upcoming projects that you'd like to share about?   Jessica Huang: [00:37:10] Yeah, yeah, I do. I'm part of the writing team for the 10 Things I Hate About You Musical, which is in development with an Eye Toward Broadway. I'm working with Lena Dunham and Carly Rae Jepsen and Ethan Ska to make that musical. I also have a fun project in Chicago that will soon be announced.   Jalena Keane-Lee: [00:37:31] And what is keeping you inspired and keeping your, you know, creative energies flowing in these times?   Jessica Huang: [00:37:37] Well first of all, I think, you know, my collaborators on this show are incredibly inspiring. The nice thing about theater is that you just get to go and be inspired by people all the time. 'cause it's this big collaboration, you don't have to do it all by yourself. So that would be the first thing I would say. I haven't seen a lot of theater since I've been out here in the bay, but right before I left New York, I saw MEUs . Which is by Brian Keda, Nigel Robinson. And it's this sort of two-hander musical, but they do live looping and they sort of create the music live. Wow. And it's another, it's another show about an untold history and about solidarity and about folks coming together from different backgrounds and about ancestors, so there's a lot of themes that really resonate. And also the show is just so great. It's just really incredible. So , that was the last thing I saw that I loved. I'm always so inspired by theater that I get to see.   Jalena Keane-Lee: [00:38:36] That sounds wonderful. Is there anything else that you'd like to share?   Jessica Huang: [00:38:40] No, I don't think so. I just thanks so much for having me and come check out the show. I think you'll enjoy it. There's something for everyone.   Jalena Keane-Lee: [00:38:48] Yeah. I'm so excited to see the show. Is there like a Chinese Cuban love story with the Miami portion? Oh, that's so awesome. This is an aside, but I'm a filmmaker and I've been working on a documentary about, Chinese people in Cuba and there's like this whole history of Chinese Cubans in Cuba too.   Jessica Huang: [00:39:07] Oh, that's wonderful. In this story, it's a person who's a descendant of, a love story between a Chinese person and a Mexican man, a Chinese woman and a Mexican man, and oh, their descendant. Then also, there's a love story between him and a Cuban woman.   Jalena Keane-Lee: [00:39:25] That's awesome. Wow. I'm very excited to see it in all the different intergenerational layers and tonal shifts. I can't wait to see how it all comes together.   Ayame Keane-Lee: [00:39:34] Next up we are back with Miko Lee, who is now speaking with photographer Joyce Xi about her latest exhibition entitled Our Language, our Story Running Through January in San Francisco at Galleria de Raza.    Miko Lee: [00:39:48] Welcome, Joyce Xi to Apex Express.    Joyce Xi: [00:39:52] Thanks for having me.    Miko Lee: [00:39:53] Yes. I'm, I wanna start by asking you a question I ask most of my guests, and this is based on the great poet Shaka Hodges. It's an adaptation of her question, which is, who are your people and what legacy do you carry with you?   Joyce Xi: [00:40:09] My people are artists, free spirits, people who wanna see a more free and just, and beautiful world. I'm Chinese American. A lot of my work has been in the Asian American community with all kinds of different people who dreaming of something better and trying to make the world a better place and doing so with creativity and with positive and good energy.   Miko Lee: [00:40:39] I love it. And what legacy do you carry with you?   Joyce Xi: [00:40:43] I am a fighter. I feel like just people who have been fighting for a better world. Photography wise, like definitely thinking about Corky Lee who is an Asian American photographer and activist. There's been people who have done it before me. There will be people who do it after me, but I wanna do my version of it here.   Miko Lee: [00:41:03] Thank you so much and for lifting up the great Corky Lee who has been such a big influence on all of us. I'm wondering in that vein, can you talk a little bit about how you use photography as a tool for social change?   Joyce Xi: [00:41:17] Yeah. Photography I feel is a very powerful tool for social change. Photography is one of those mediums where it's emotional, it's raw, it's real. It's a way to see and show and feel like important moments, important stories, important emotions. I try to use it as a way to share. Truths and stories about issues that are important, things that people experience, whether it's, advocating for environmental justice or language justice or just like some of them, just to highlight some of the struggles and challenges people experience as well as the joys and the celebrations and just the nuance of people's lives. I feel like photography is a really powerful medium to show that. And I love photography in particular because it's really like a frozen moment. I think what's so great about photography is that. It's that moment, it's that one feeling, that one expression, and it's kind of like frozen in time. So you can really, sit there and ponder about what's in this person's eyes or what's this person trying to say? Or. What does this person's struggle like? You can just see it through their expressions and their emotions and also it's a great way to document. There's so many things that we all do as advocates, as activists, whether it's protesting or whether it's just supporting people who are dealing with something. You have that moment recorded. Can really help us remember those fights and those moments. You can show people what happened. Photography is endlessly powerful. I really believe in it as a tool and a medium for influencing the world in positive ways.   Miko Lee: [00:43:08] I'd love us to shift and talk about your latest work, Our language, Our story.” Can you tell us a little bit about where this came from?   Joyce Xi: [00:43:15] Sure. I was in conversation with Nikita Kumar, who was at the Asian Law Caucus at the time. We were just chatting about art and activism and how photography could be a powerful medium to use to advocate or tell stories about different things. Nikita was talking to me about how a lot of language access work that's being done by organizations that work in immigrant communities can often be a topic that is very jargon filled or very kind of like niche or wonky policy, legal and maybe at times isn't the thing that people really get in the streets about or get really emotionally energized around. It's one of those issues that's so important to everything. Especially since in many immigrant communities, people do not speak English and every single day, every single issue. All these issues that these organizations advocate around. Like housing rights, workers' rights, voting rights, immigration, et cetera, without language, those rights and resources are very hard to understand and even hard to access at all. So, Nik and I were talking about language is so important, it's one of those issues too remind people about the core importance of it. What does it feel like when you don't have access to your language? What does it feel like and look like when you do, when you can celebrate with your community and communicate freely and live your life just as who you are versus when you can't even figure out how to say what you wanna say because there's a language barrier.    Miko Lee: [00:44:55] Joyce can you just for our audience, break down what language access means? What does it mean to you and why is it important for everybody?   Joyce Xi: [00:45:05] Language access is about being able to navigate the world in your language, in the way that you understand and communicate in your life. In advocacy spaces, what it can look like is, we need to have resources and we need to have interpretation in different languages so that people can understand what's being talked about or understand what resources are available or understand what's on the ballot. So they can really experience their life to the fullest. Each of us has our languages that we're comfortable with and it's really our way of expressing everything that's important to us and understanding everything that's important to us. When that language is not available, it's very hard to navigate the world. On the policy front, there's so many ways just having resources in different languages, having interpretation in different spaces, making sure that everybody who is involved in this society can do what they need to do and can understand the decisions that are being made. That affects them and also that they can affect the decisions that affect them.   Miko Lee: [00:46:19] I think a lot of immigrant kids just grow up being like the de facto translator for their parents. Which can be things like medical terminology and legal terms, which they might not be familiar with. And so language asks about providing opportunities for everybody to have equal understanding of what's going on. And so can you talk a little bit about your gallery show? So you and Nikita dreamed up this vision for making language access more accessible and more story based, and then what happened?   Joyce Xi: [00:46:50] We decided to express this through a series of photo stories. Focusing on individual stories from a variety of different language backgrounds and immigration backgrounds and just different communities all across the Bay Area. And really just have people share from the heart, what does language mean to them? What does it affect in their lives? Both when one has access to the language, like for example, in their own community, when they can speak freely and understand and just share everything that's on their heart. And what does it look like when that's not available? When maybe you're out in the streets and you're trying to like talk to the bus driver and you can't even communicate with each other. How does that feel? What does that look like? So we collected all these stories from many different community members across different languages and asked them a series of questions and took photos of them in their day-to-day lives, in family gatherings, at community meetings, at rallies, at home, in the streets, all over the place, wherever people were like Halloween or Ramadan or graduations, or just day-to-day life. Through the quotes that we got from the interviews, as well as the photos that I took to illustrate their stories, we put them together as photo stories for each person. Those are now on display at Galleria Deza in San Francisco. We have over 20 different stories in over 10 different languages. The people in the project spoke like over 15 different languages. Some people used multiple languages and some spoke English, many did not. We had folks who had immigrated recently, folks who had immigrated a while ago. We had children of immigrants talking about their experiences being that bridge as you talked about, navigating translating for their parents and being in this tough spot of growing up really quickly, we just have this kind of tapestry of different stories and, definitely encourage folks to check out the photos but also to read through each person's stories. Everybody has a story that's very special and that is from the heart   Miko Lee: [00:49:00] sounds fun. I can't wait to see it in person. Can you share a little bit about how you selected the participants?    Joyce Xi: [00:49:07] Yeah, selecting the participants was an organic process. I'm a photographer who's trying to honor relationships and not like parachute in. We wanted to build relationships and work with people who felt comfortable sharing their stories, who really wanted to be a part of it, and who are connected in some kind of a way where it didn't feel like completely out of context. So what that meant was that myself and also the Asian Law Caucus we have connections in the community to different organizations who work in different immigrant communities. So we reached out to people that we knew who were doing good work and just say Hey, do you have any community members who would be interested in participating in this project who could share their stories. Then through following these threads we were able to connect with many different organizations who brought either members or community folks who they're connected with to the project. Some of them came through like friends. Another one was like, oh, I've worked with these people before, maybe you can talk to them. One of them I met through a World Refugee Day event. It came through a lot of different relationships and reaching out. We really wanted folks who wanted to share a piece of their life. A lot of folks who really felt like language access and language barriers were a big challenge in their life, and they wanted to talk about it. We were able to gather a really great group together.    Miko Lee: [00:50:33] Can you share how opening night went? How did you navigate showcasing and highlighting the diversity of the languages in one space?    Joyce Xi: [00:50:43] The opening of the exhibit was a really special event. We invited everybody who was part of the project as well as their communities, and we also invited like friends, community and different organizations to come. We really wanted to create a space where we could feel and see what language access and some of the challenges of language access can be all in one space. We had about 10 different languages at least going on at the same time. Some of them we had interpretation through headsets. Some of them we just, it was like fewer people. So people huddled together and just interpreted for the community members. A lot of these organizations that we partnered with, they brought their folks out. So their members, their community members, their friends and then. It was really special because a lot of the people whose photos are on the walls were there, so they invited their friends and family. It was really fun for them to see their photos on the wall. And also I think for all of our different communities, like we can end up really siloed or just like with who we're comfortable with most of the time, especially if we can't communicate very well with each other with language barriers. For everybody to be in the same space and to hear so many languages being used in the same space and for people to be around people maybe that they're not used to being around every day. And yet through everybody's stories, they share a lot of common experiences. Like so many of the stories were related to each other. People talked about being parents, people talked about going to the doctor or taking the bus, like having challenges at the workplace or just what it's like to celebrate your own culture and heritage and language and what the importance of preserving languages. There are so many common threads and. Maybe a lot of people are not used to seeing each other or communicating with each other on a daily basis. So just to have everyone in one space was so special. We had performances, we had food, we had elders, children. There was a huge different range of people and it was just like, it was just cool to see everyone in the same space. It was special.    Miko Lee: [00:52:51] And finally, for folks that get to go to Galleria de la Raza in San Francisco and see the exhibit, what do you want them to walk away with?   Joyce Xi: [00:53:00] I would love for people to walk away just like in a reflective state. You know how to really think about how. Language is so important to everything that we do and through all these stories to really see how so many different immigrant and refugee community members are making it work. And also deal with different barriers and how it affects them, how it affects just really simple human things in life that maybe some of us take for granted, on a daily basis. And just to have more compassion, more understanding. Ultimately, we wanna see our city, our bay area, our country really respecting people and their language and their dignity through language access and through just supporting and uplifting our immigrant communities in general. It's a such a tough time right now. There's so many attacks on our immigrant communities and people are scared and there's a lot of dehumanizing actions and narratives out there. This is, hopefully something completely different than that. Something that uplifts celebrates, honors and really sees our immigrant communities and hopefully people can just feel that feeling of like, oh, okay, we can do better. Everybody has a story. Everybody deserves to be treated with dignity and all the people in these stories are really amazing human beings. It was just an honor for me to even be a part of their story. I hope people can feel some piece of that.    Miko Lee: [00:54:50] Thank you so much, Joyce, for sharing your vision with us, and I hope everybody gets a chance to go out and see your work.    Joyce Xi: [00:54:57] Thank you.   Ayame Keane-Lee: [00:55:00] Thanks so much for tuning in to Apex Express. Please check out our website at kpfa.org/program/apexexpress to find out more about the guests tonight and find out how you can take direct action.   Apex Express is a proud member of Asian Americans for civil rights and equality. Find out more at aacre.org. That's AACRE.org.   We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.    Apex Express is produced by  Miko Lee, Jalena Keene-Lee, Ayame Keene-Lee, Preeti Mangala Shekar, Anuj Vaida, Cheryl Truong, Isabel Li, Nina Phillips & Swati Rayasam. Thank you so much to the team at KPFA for their support and have a good night.       The post APEX Express – 11.20.25 – Artist to Artist appeared first on KPFA.

Send me a message!Why do some English conversations feel natural…while others feel uncomfortable or confusing?It's not grammar.It's not vocabulary.It's communication style — and today, you're learning the 4 color system used by confident English speakers.In this first episode of the series, you will:

This episode was originally broadcast as an episode of Ichimon Japan. On this episode of Ichimon Japan we ask: What is wasei eigo? (Funny "Japanese" English) Topics Discussed What wasei eigo is About English sounding words made in Japan tenshon ga takai pākā How SNS is not English arubaito nōtopasokon buraindotacchi misu misesu rippukurīmu hocchikisu OL sararīman (salaryman) shīchikin interi haiso furonto hōmu chakku majikkutēpu majikku majikkumirā Gpan jampāsukāto wagomu atakku faito charenji And much more! Listen to Ichimon Japan on [btn btnlink="https://podcasts.apple.com/us/podcast/ichimon-japan-a-podcast-by-japankyo-com/id1492400997" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]Apple Podcasts[/btn] [btn btnlink="https://podcasts.google.com/?feed=aHR0cHM6Ly9pY2hpbW9uamFwYW4ubGlic3luLmNvbS9yc3M" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]Google Podcasts[/btn] [btn btnlink="https://www.stitcher.com/podcast/japankyocom/ichimon-japan-a-podcast-by-japankyocom" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]Stitcher[/btn] [btn btnlink="https://open.spotify.com/show/1ZVgnljVM8gcR1ar98eK0D" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]Spotify[/btn] [btn btnlink="https://www.iheart.com/podcast/263-ichimon-japan-a-podcast-by-59510504/" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]iHeartRadio[/btn] [btn btnlink="https://www.podbean.com/podcast-detail/mv3zr-ad2df/Ichimon-Japan-A-Podcast-by-Japankyo.com" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]PodBean[/btn] [btn btnlink="https://tunein.com/podcasts/Arts--Culture-Podcasts/Ichimon-Japan-A-Podcast-by-Japankyocom-p1290988/" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]Tunein[/btn] [btn btnlink="https://ichimonjapan.libsyn.com/rss" btnsize="medium" bgcolor="#0568bf" txtcolor="#ffffff" btnnewt="1" nofollow="1"]RSS[/btn] Support on Patreon & Ko-fi If you enjoy Ichimon Japan and want to ensure that we're able to produce more episodes, then please consider becoming a patron on Patreon.com. You can join for just $1 a month and that comes with perks like early access to episodes, a shout-out at the beginning of a future episode, bonus content, and discounts to Kimito Designs. For $3 a month you get all that plus access to Japanese Plus Alpha, a podcast produced by me (Tony Vega) that focuses on the Japanese language and its many quirks. Whether you are studying Japanese or just enjoy learning about language and linguistics, you'll enjoy Japanese Plus Alpha. And it goes without saying that if you sign up, you'll also get my undying gratitude. Thanks in advance! Support on Patreon If you would just like to do a one time contribution, then please go to our Ko-fi page. Support JapanKyo on Ko-fi Links, Videos, Etc. No links. We Want Your Questions Is there something about Japan that confuses you? Is there something about Japanese culture that you would like to learn more about? Is there something in Japanese history that you would like us to explain? We're always looking for new questions about Japan to answer, so if you have one, please send it to ichimon@japankyo.com. Special Thanks Opening/Closing Theme: Produced by Apol (YouTube, Twitter, Facebook, Fiverr) Ichimon Japan cover art: Produced by Erik R. Follow Japankyo on Social Media Facebook (@JapanKyoNews) Twitter (@JapanKyoNews) Instagram (@JapanKyoNews) Full Show Notes https:///japankyo.com/ichimonjapan  

Sanseito, Junglia, Pronunciation, and more! 参政党、ジャングリア、発音など！ Today we talk about Sanseito, the party that gained the most power in the most recent House of Councillors election and what they stand for. Sanseito political measures: https://sanseito.jp/political_measures_2025/specific_policies/ Send us questions at:  lazyfluency@gmail.com Join the Community: Discord: https://discord.gg/VGSd94Tp4P Book Club! https://ko-fi.com/i/IF1F01EWI60 Support on ko-fi:  https://ko-fi.com/lazyfluency Follow us: Main channel:  https://www.youtube.com/channel/UC-8_djC5_aV4Mi3o3fuLPLA Instagram:https://www.instagram.com/lazyfluency/ Twitter: https://twitter.com/lazyfluency  

Eighteenth episode of Pro.Gnosis, with NK as a guest and SaYo as an interpreter.NOTE: My guest NK does not speak English, so SaYo participated as a Japanese/English interpreter. NK's YouTube Channel: https://www.youtube.com/@nk-channel2020Auto-Dubbing Translation Chrome Extension (to translate videos to English): https://www.youtube-dubbing.com/en/

Japan's Lottery System, Extremism in Japan, Diminishing Returns of Pronunciation, and more! 日本の抽選システム、日本の過激化、発音の収穫逓減など！ Join our Discord: https://discord.gg/VGSd94Tp4P Join our Book Club! https://ko-fi.com/i/IF1F01EWI60 Support on ko-fi:  https://ko-fi.com/lazyfluency Main channel:  https://www.youtube.com/channel/UC-8_djC5_aV4Mi3o3fuLPLA Send us questions at:  lazyfluency@gmail.com  

Blue Zones, Taiwan Trip, Real Time Translators, and more! ブルーゾーン、台湾旅行、リアルタイム翻訳機など！ Join our Discord: https://discord.gg/VGSd94Tp4P Join our Book Club! https://ko-fi.com/i/IL4L31BPSH3 Support on ko-fi: https://ko-fi.com/lazyfluency Main channel: https://www.youtube.com/channel/UC-8_djC5_aV4Mi3o3fuLPLA/featured Send us questions at: lazyfluency@gmail.com  

Beware, this podcast might be a mimic! Or maybe it melts clothing? Either way, Himmel the hero would have loved it. Austin forms a party with three adventurers, Sarah, Ryan, and Will, to hunt for grimoires and help old ladies in our review of Frieren: Beyond Journey's End. 00:00:00 - Introduction and brief pre-show yapping 00:19:03 - Frieren manga/anime background and creative staff 00:31:59 - Japanese/English cast breakdown and sub/dub discussion 00:44:09 - Frieren series discussion and review 01:44:03 - Wrap up and "most iconic scene" discussion 01:55:04 - Social media plugs and outro If you enjoy this or any other episode, leave us a Rating and Review on Apple Podcasts, Spotify, or elsewhere! Show notes are available on our website: www.thirdimpactanime.com More helpful links: https://beacons.ai/thirdimpactanime Follow us on Instagram at instagram.com/ThirdImpactAnime Follow us on Bluesky at thirdimpactanime.bsky.social Follow us on Twitter at twitter.com/TI_Anime Listen & Subscribe on Apple Podcasts | Spotify | YouTube | Podbean Support us on Ko-Fi | Patreon

MISSING PARTS by Diana B. RobertsIn Missing Parts, a powerful and thought-provoking novel, the unbreakable bond of friendship is tested when Lacey Pierce encounters her childhood best friend, Mimi Faraday, in a Boston homeless shelter. The story delves into the complex factors that contribute to resilience in the face of mental illness and life's challenges, exploring why some individuals thrive while others struggle.Lacey and Mimi's story begins in a charming New England town during the transformative 1960s and 70s, where they attend a prestigious prep school. After Mimi's wedding to Chapin, the couple embarks on a life of community service in Newfoundland, while Lacey joins the Peace Corps in Africa, all young, idealistic, and full of promise.Fast forward to the summer of 1995, when Lacey's world is shaken by the discovery of Mimi among the homeless at a soup kitchen in a Boston cathedral. After a quarter-century in Newfoundland, Mimi has returned to Boston, destitute and living in a halfway house for abused women in Cambridge. The novel masterfully traces the parallel journeys of these two women over the intervening decades, revealing the twists and turns that led them to their current circumstances.Missing Parts is a standalone fiction that explores the enduring power of friendship, the impact of life's choices, and the resilience of the human spirit in the face of adversity. Through Lacey and Mimi's story, readers are invited to contemplate the complex interplay of factors that shape our lives and the lives of those we hold dear.Diana has been a professional fundraiser for many years serving major non-profits in the Boston area.  Earlier in her career she served in the Peace Corps in North Africa and later as a speech writer in Washington, DC.  She worked for several years on Tokyo as a feature editor of Yomiuri Shimbun, the major Japanese English newspaper.    https://www.amazon.com/Missing-Parts-Diana-B-Roberts/dp/B0D56NMNF7/ref=sr_1_1?crid=2Q55LPNMAFA3&dib=eyJ2IjoiMSJ9.QHmkkAB1Em_3sXth80uLOw.d8hssqrpPkNMV4KX5Yte7LOiaPtp42RHayXErca9ceU&dib_tag=se&keywords=Missing+Parts%2C+Diana+B+Roberts&qid=1723208388&s=books&sprefix=missing+parts%2C+diana+b+rober%2Cstripbooks-intl-ship%2C625&sr=1-1http://www.KingPagesPress.com   www.dianabroberts.com    http://www.bluefunkbroadcasting.com/root/twia/81524kpp1.mp3 

This episode is not about content creation, making money, or even really about entrepreneurship. It's about me and past, born and raised in a cult. If you're here for stories, tips and tricks on content marketing, then I'll save you the time and tell you to skip.If you're interested in my past, where I came from, and why I do a lot of what I do, then go ahead and listen to the most raw uncut podcast I've recorded to date. What it took was my sister, June, to ask me the questions nobody else could. What the fuck was our childhood about?She's a professional Japanese-English interpreter, and probably the best there is, working with world leaders and presidents at the UN and other global business leaders. But we have a shared history being raised in a cult that affected everything about us today.The impact on our lives is huge and it takes a level of incredible resilience for anyone to turn something like that around and build a life, a family, and a successful career despite having a dark past.Click play to enter the rabbit hole.Follow June Kato-Rider at:https://www.facebook.com/junie.balloonie/https://www.instagram.com/junekatorider/Follow Ken Okazaki at: https://www.instagram.com/kenokazaki/https://www.youtube.com/c/KenOkazakihttps://podcasts.apple.com/gb/podcast/the-content-capitalists-with-ken-okazaki/id1634328251https://open.spotify.com/show/09IzKghscecbI7jPDVBJTwContent Capitalists YouTube 

Dan has special guest Cyborg Joe from the rock band The Lethal Weapons on this weeks show. The two play futsal while talking about gyrating hips on stage, Japanese-English lyrics, what it means to be a Cyborg, what to pack to Japan, and finish off the episode by playing H-O-R-S-E...kind of. Instagram @cyborgjoe https://www.tlw80s.com/ The Lethal Weapons got a show July 12th 2024 at Line Cube Shibuya. Dan's going, and you should too. This podcast episode is most-enjoyed watched video-podcast link https://youtu.be/by1i2QJG9yQ Become a Patreon member for 5 bucks a months (that's like one tall boy) and Dan will give you a shoutout and read your questions on the podcast ⁠⁠⁠⁠patreon.com/DanWilsonUSAJPN⁠⁠⁠⁠ Become a sponsor and support the Dan Wilson in Tokyo Podcast Email: dan.yahola.wilson@gmail.com Current Sponsors: sarvermovers.com/quote Promo Code- Danielsan for 5% off your move (512-596-9696). brakechimps.com (512-525-8950). The Dan Wilson in Tokyo Podcast Your one-stop podcast for everything Japan and Japanese culture...kind of. Dan Wilson is an American living in Japan working in the entertainment industry in the comedy duo Badonkadonk | バドンカドンク Instagram/TikTok = @danielywilson

As a non-Japanese English teacher in Japan, there are a million ways to shoot oneself in the foot…or worse. We look at some of the pitfalls that lie in wait when dealing with administration, staff, colleagues, and students. Full notes can be found here: Two Teachers Talking: twoteacherstalking.com

POPeracast host Jennifer Miller Hammel does a deep dive with co-librettiests Josh Shaw and Eiki Isomura before the revival of POP's hit Japanese/English production of Madama Butterfly. Get your tickets now!  They are going fast because the Opera America annual conference is in Los Angeles during the run. JACCC's Aratani Theatre Saturday June 1, 2024 | 7:00pm Sunday June 2, 2024 | 3:00pm Friday June 7, 2024 | 8:00pm Sunday June 9, 2024 | 3:00pm   2024-25 Season Tickets on sale NOW!

In this episode, we speak with Brett Bull of the Tokyo Reporter. The Reporter is a Japanese English-language news website whose reporting is based on Japanese tabloid journalism. Founded in 2008, the website translates or adapts reports by Japanese tabloid media about such topics as crime, sex, and entertainment in Japan. For more info and news, visit https://www.tokyoreporter.com/ The Deep in Japan Podcast is completely independent and crowd-funded. If you like what you hear, please consider supporting the show. The outro was “Brainwashing” by AwichGot something to say? You can reach me at deep.in.japan.podcast@gmail.comAs always, thanks for listening! 

Chris interviews Program Director Eoin Jordan from St. Andrews University (Scotland) in-studio. The Lunchtime Series continues… Contacts: haswell247@gmail.com, LostInCitations@gmail.com

Ep.45 日常会話でよく使う日本語の中では、英語をはじめとする外来語を使うことも多いです。しかし、その中には英語の単語ではあるが、日本語の場合だと別の意味や使い方になる言葉も少なくありません。今回は、その独特な「和製英語」について話してみました！ We use lots of words that came from foreign countries in our daily Japanese conversations, especially English. But not every wordings are meaning the same in Japanese. Let's see how this "wasei-English" works in Japanese! ↓↓番組についての感想や話してほしいトピックがあれば、こちらまで↓↓ Email: ernestnaoya1994@gmail.com ↑↑ Share your thoughts and request to us through the email above! ↑↑ 個人SNS / Personal Social Media AC Ernest's Instagram: @ernest_mkc Naoya's Instagram: @japanese_teacher_n

In this episode, Yebu Ji speaks with Natsuyo Nobumoto Lipschutz, the founder and managing principal at ASPIRE Intelligence and she is also a professional public speaking coach. They discuss cross-cultural communication strategies, and how to effectively identify and embrace cultural and personal differences in work.  Natsuyo is a Japanese-English bilingual keynote speaker, and she works with global organizations that want to elevate cultural inclusion and have their leaders communicate effectively beyond differences. TEDx speaker, 5-time Toastmasters international speech contest winner, best-selling author, strategy consultant, cancer survivor, and ballroom Latin dancer, Natsuyo Lipschutz shares colorful stories behind her cross-cultural communication strategies. Through her dynamic keynote presentations, Natsuyo shows global organizations and their leaders the 3-step process to identify and embrace cultural and personal differences, so you can get your message not only clearly heard, but acted upon across cultures. For a full transcript of this episode, please email ⁠career.communications@nyu.edu⁠.

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

In this episode, we welcome back Professor Steve McCarty to discuss the book KUKAI THE UNIVERSAL by Ryotaro Shiba, translated by Akiko Takemoto.Steve McCarty was born in Boston and specialized in Japan at the University of Hawaii for an MA degree in Asian religions. He has been a full Professor for 22 years of his 40 years in Japan. He currently lectures for Osaka Jogakuin University and the government foreign aid agency JICA, briefing officials from around the world on Japanese People and society. He publishes on Japan, Asian studies, Buddhist syncretism, Japanese-English bilingualism, language teaching, and online education. See links to publications on Japan and to previous Deep in Japan podcasts at his website: Japanned.The outro was "Over the Mountain" by former podcast guest, ordained monk, and Buddhist hip-hop artist, Gomyo Kevin Seperic. If you would like to support Gomyo and his work, you can purchase his album or contribute to his wife's GoFundMe page. Got something to say? You can reach me at the following:www.facebook.com/groups/deepinjapan/ deep.in.japan.podcast@gmail.comAnd as always, thanks for listening!

Jonathan interviews Dr. Simon Humphries (Citation 7,  Citation 79) - Professor of Intercultural Communication, Faculty of Foreign Language Studies and Graduate School of Foreign Language Education and Research at Kansai University. Read the article here. Contacts: JonathanShachter@gmail.com, LostInCitations@gmail.com

Join us for an exciting episode of the Theatre Thoughts Podcast as we dive into the world of Slanted Theatre's production of Short Blanket. Recorded live during our Q&A session at the vibrant Meraki Arts Bar in Sydney's Darlinghurst, this episode offers a unique opportunity to hear from the talented minds behind this new play. Written by emerging Filipino-Chinese Australian writer, Matt Bostock, Short Blanket marks his Sydney debut as part of Meraki Arts Bar's highly anticipated 2023 Season. We are honored to have Matt Bostock alongside some of the cast of Short Blanket who bring the production to life. Sayuri Narroway, a Japanese-English actor and NIDA graduate, will delve into her experiences working across commercial and short films while sharing her journey into the world of theatre. Dominique Purdue, a talented Filipino-Australian actor and playwright, will discuss her training and the sold-out success of her play Misc., co-written by and co-starring Sophie Teo as part of the Panimo Pandemonium Festival. And finally, Joseph Tanti, originally from Yamaji Country in Western Australia and a graduate of WAAPA's Bachelor of Arts (Acting) course, will share his experiences in the industry and his excitement about making his debut with Slanted Theatre. They will share their insights into the inception of the play and the thematic core that drives its compelling narrative. During our lively discussion, we'll explore the inception of Short Blanket and the play's thematic core. We'll also dive into topics such as diversity in theatre, the evolving landscape of the industry, and the personal inspirations that drive our guests' passion for their craft. As always, we'll wrap up the episode with our signature "1 Minute Theatre Thoughts" segment, where our guests will reveal their favorite recent production, their go-to karaoke song, the early influences that inspired their theatre journeys, and much more! Don't miss this incredible episode of the Theatre Thoughts Podcast, filled with fascinating insights, inspiring stories, and a deep exploration of the theatrical art form. Follow us on Instagram (@ttpod_official) to stay updated on our latest episodes, and consider joining one of our three levels of Patreon support to help us continue bringing you engaging and thought-provoking content. Next Live Q&A - Tough Titties by Queen Hades Production - Tuesday 11th July Tickets: https://meraki.sydney/whats-on/ Theatre Thoughts Patreon and Episode Links - https://linktr.ee/ttpodcast Theatre Thoughts Supporter AU$3 / month Support our Theatre Thoughts Podcast to help our host, Justin, to produce high quality content and keep bringing new content and episodes to our audience! What's included Patron-only chat community You're a Supporter! Theatre Thoughts Investor AU$5 / month 7 days free trial You're invested in our content! Get podcast episodes earlier, full access to the behind the scenes videos and filming of our content as well as a Patron shoutout to get your name on the Podcast. What's included Patron-only chat community Exclusive content Patron shout-out Earlier Access to Episodes Theatre Thoughts Superfan AU$10 / month 7 days free trial You're a SUPERFAN of the podcast! This tier gets you early access to new episodes, shout outs on the podcast, full ad-free videos of our videos AND merch sent out to you to show your superfan stardom. We'll also add you onto our video system, Riverside, whenever we have an online recording so you can see the interviews as they happen. What's included Patron-only chat community Exclusive content Patron shout-out Earlier Access to Episodes Ad-free content Livestreams Merch! Exclusive Sticker  Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we welcome back Professor Steve McCarty to discuss the book KUKAI THE UNIVERSAL by Ryotaro Shiba, translated by Akiko Takemoto. Steve McCarty was born in Boston and specialized in Japan at the University of Hawaii for an MA degree in Asian religions. He has been a full Professor for 22 years of his 40 years in Japan. He currently lectures for Osaka Jogakuin University and the government foreign aid agency JICA, briefing officials from around the world on Japanese People and society. He publishes on Japan, Asian studies, Buddhist syncretism, Japanese-English bilingualism, language teaching, and online education. See links to publications on Japan and to previous Deep in Japan podcasts at his website: Japanned. The outro was "Over the Mountain" by former podcast guest, ordained monk, and Buddhist hip-hop artist, Gomyo Kevin Seperic. If you would like to support Gomyo and his work, you can purchase his album or contribute to his wife's GoFundMe page. Got something to say? You can reach me at the following:www.facebook.com/groups/deepinjapan/ deep.in.japan.podcast@gmail.comAnd as always, thanks for listening! Support the show

[4.Allegretto][5.Allegro] JLPT N4100本(ひゃっぽん)ノック! - Repeat After Me 100 Note: ノック(nokku) is a Japanese-English (kind of “fungo”), and one of the Baseball defensive exercises that repeatedly catches and throws back the ball. (Normally it's 1000 nokku, not 100).★★★★★ Note: English translations might sound occasionally unnatural as English, as I try to preserve the structure and essence of the original Japanese. I hope it also helps you to capture the pattern of the sentence structure. ★★★★★ [00:08] みなさん、こんにちは。お元気(げんき)ですか。今日(きょう)は１から100まで、ひたすらリピートします。いいですか。では、始(はじ)めましょう。Hello, everyone. Are you doing all right? Today, we simply repeat from 1 to 100. Let's get started. Repeat after me [00:19] 1. あきらめる[Vじしょ] あきらめます[Vます] → ぜったい あきらめません！ I will never give up! 2. あげる あげます → 母(はは)の誕生日(たんじょうひ)に何(なに)をあげるか、考(かんが)え中(ちゅう)です。 I'm thinking about what to give my mother for her birthday. 3. 編(あ)む 編(あ)みます → 趣味(しゅみ)はセーターを編(あ)むことです。 My hobby is knitting sweaters. 4. 謝(あやま)る 謝(あやま)ります → 奥さんにすぐに謝(あやま)ったほうがいいですよ。 You should apologize to your wife immediately. 5. 洗(あら)う 洗(あら)います → 今( いま)洗(あら)ったら、明日(あした)までに乾(かわ)くかな。 If I wash it now, I wonder it will be dry by tomorrow…? 6. 安心(あんしん)する 安心(あんしん)します → 試験(しけん)に受(う)かって、安心(あんしん)しました。 I passed the exam and felt relieved.. 7. 入(い)れる 入(い)れます → お金(かね)を入(い)れたのに、ジュースが出(で)ません。 I put money in, but no juice comes out. 8. 遅(おく)れる 遅(おく)れます → 30分(ぷん)くらい遅(おく)れるかもしれません。 I may be 30 minutes late. 9. 押(お)す 押(お)します → 危(あぶ)ないですから、押(お)さないでください。 It's dangerous, so don't push me/it. 10. 驚(おどろ)く 驚(おどろ)きます → 宝くじがあたって、驚きました。 I was surprised as I won the lottery.Support the show=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=Become a patron: More episodes with full translation and Japanese transcripts. Members-only podcast feed for your smartphone app. Japanese Swotter on PatreonNote: English translations might sound occasionally unnatural as English, as I try to preserve the structure and essence of the original Japanese.

On this episode of Ichimon Japan we ask: What is wasei eigo? (Funny "Japanese" English) Topics Discussed What wasei eigo is About English sounding words made in Japan tenshon ga takai pākā How SNS is not English arubaito nōtopasokon buraindotacchi misu misesu rippukurīmu hocchikisu OL sararīman (salaryman) shīchikin interi haiso furonto hōmu chakku majikkutēpu majikku majikkumirā Gpan jampāsukāto wagomu atakku faito charenji And much more! Support on Patreon & Ko-fi If you enjoy Ichimon Japan and want to ensure that we're able to produce more episodes, then please consider becoming a patron on Patreon.com. You can join for just $1 a month and that comes with perks like early access to episodes, a shout-out at the beginning of a future episode, bonus content, and discounts to Kimito Designs. For $3 a month you get all that plus access to Japanese Plus Alpha, a podcast produced by me (Tony Vega) that focuses on the Japanese language and its many quirks. Whether you are studying Japanese or just enjoy learning about language and linguistics, you'll enjoy Japanese Plus Alpha. And it goes without saying that if you sign up, you'll also get my undying gratitude. Thanks in advance! Support on Patreon If you would just like to do a one time contribution, then please go to our Ko-fi page. Support JapanKyo on Ko-fi Links, Videos, Etc. No links. We Want Your Questions Is there something about Japan that confuses you? Is there something about Japanese culture that you would like to learn more about? Is there something in Japanese history that you would like us to explain? We're always looking for new questions about Japan to answer, so if you have one, please send it to ichimon@japankyo.com. Special Thanks Opening/Closing Theme: Produced by Apol (YouTube, Twitter, Facebook, Fiverr) Ichimon Japan cover art: Produced by Erik R. Follow Japankyo on Social Media Facebook (@JapanKyoNews) Twitter (@JapanKyoNews) Instagram (@JapanKyoNews) Full Show Notes https:///www.japankyo.com/ichimonjapan  

All languages borrow words from other languages. These “loanwords” often come with fascinating historical backstories, their adoption the result of encounters by traders, scholars, and adventurers; and the result of colonialization, as was the case with Taiwan, 1895 to 1945, when many Japanese words came into the Taiwanese language. And because the Japanese are themselves such prodigious borrowers, many of these words were originally from other languages. Find out why English owes such a debt to Cantonese, why John loves “tea,” and why Eryk doesn't want to “kowtow.” Whether you're an “obasan” or a “joss-pidgin-man,” we think you'll enjoy our look at lovely linguistic loanwords.

What do bilingual children think about being bilingual? Children - from 8 to 38 years old - talk about the fun and not so fun sides of being bilingual, their favourite words, the language they use with their pets, and what language they will speak when they become parents themselves. In the first two seasons of Kletsheads, I talked to children about what it is like to grow up with two or more languages, our Kletshead of the Week. In this special episode, I bring you the best of, a compilation of my favourite bits from 'Kletshead of the Week'. Want to listen to the whole conversation with one of our Kletsheads? You can. You can find the link to the relevant episodes below: You'll find brothers Aiden and Quinn in the very first episode of Kletsheads on How to plan for a bilingual child. Christie, who spoke about the different personalities associated with her languages is in Episode 4, Season 1 (Should you worry about language mixing?). French-English bilinguals Loïc and Ella are in Episode 2, Season 1 (How much language does a child need to hear to become bilingual?) and Episode 6, Season 1 (Bilingual siblings), respectively. Katriina tells us about her struggles with Finnish in Episode 9, Season 1 (How to make the use of bilingual children's home languages in the classroom: Translanguaging), and South African Rehoboth talks about swearing in Episode 4, Season 2 (Trilingual with Xitsonga and Hot off the press). You can find Japanese-English bilingual Naia in Episode 3, Season 1 (How do you know if a bilingual child has a language delay?), and Italian-English-Arabic trilingual Sara in Episode 8, Season 2 (Language mixing and bilingual secrets). Thorwen talks about how his parents persuaded him to attend heritage language school in Episode 7, Season 1 (Does it matter if a bilingual child only actively uses one language?).

Watch this episode on Youtube Episode description What is the first thing that comes to mind when discussing Japanese work culture? It is respect, hard work, lifetime employment, and technology savvy for me. Every book I have read about cross-cultural communication and management has had a chapter on Japan. In my conversation with native Japanese Natsuyo Lipschutz, she explains the Japanese culture and how it is to work or manage someone from Japan. It is a fascinating conversation about one of the most exciting cultures to study workplace dynamics. About the guest Natsuyo Nobumoto Lipschutz is a cultural diversity and cross-cultural communications strategist She is a Japanese-English bilingual keynote speaker, and she works with global organizations that want to improve cultural diversity and have their leaders communicate effectively beyond differences. TEDx speaker, 5-time Toastmasters international speech contest champion, US-Asia business strategy consultant, and World Class SpeakingⓇ public speaking coach, Natsuyo Lipschutz shares compelling stories behind her cross-cultural communication strategies in her signature keynote. Natsuyo is also the bestselling author of The Success Blueprint, which she co‐wrote with world‐renowned business speaker, Brian Tracy. She is also the author of 20Ji Ni Sogiotose (“Say It in 20 Words”) in Japanese, Korean, and Chinese, as well as Story Ni Otoshikome (“Motivate with Your Own Story”) in Japanese. 20Ji Ni Sogiotose was awarded “the top 10 business books of the year” in 2021. ‍ Natsuyo began her career at a top Japanese trading company, ITOCHU International in New York. Natsuyo then received her MBA from New York University and held a management consultant position at McKinsey & Company. Today, Natsuyo is the managing principal of her strategy consulting firm, ASPIRE Intelligence, as well as an executive consultant for Breakthrough Speaking, a global public speaking consultancy. She also serves as the first Asian board of director at the National Speakers Association New York City chapter. Outside of work, Natsuyo is a competitive ballroom Latin dance national finalist, a proud mother of a pre-teen daughter who's a model and competitive figure skater, and a breast cancer survivor.

Tuesday, 21 February 2023, 1 – 2pm An 'in conversation' event featuring Visiting Research Fellow Dr Şebnem Susam-Saraeva in conversation with Dr James Hadley (Ussher Assistant Professor in Literary Translation, Trinity College Dublin) and organized by Trinity Long Room Hub. Şebnem Susam-Saraeva is a Senior Lecturer in Translation Studies at the University of Edinburgh, Scotland, U.K. Her research interests have included retranslations, research methodology in translation studies, internationalization of the discipline, and translation and gender, literary theories, popular music, social movements, maternal health and ecofeminism. She is the author of Translation and Popular Music. Transcultural Intimacy in Turkish-Greek Relations (2015) and Theories on the Move. Translation's Role in the Travels of Literary Theories (2006), and editor of Translation and Music (2008), Non-Professionals Translating and Interpreting. Participatory and Engaged Perspectives (2012, with Luis Pérez-González) and the Routledge Handbook of Translation and Health (2021, with Eva Spišiaková). Susam-Saraeva's literary translations into Turkish include Kazuo Ishiguro's The Remains of the Day (1993, 18 reprints by 2022). She is also the winner of PEN Wales Translation Challenge 2017 with her poetry translation from Küçük İskender. James Hadley is Trinity's Ussher Assistant Professor in Literary Translation. He is also the Director of the Trinity Centre for Literary and Cultural Translation and Director of the MPhil in Literary Translation. His particular interests are translation theory and practice, especially when it comes to the interaction between humans and machines. James' research also centres on human-machine interaction in Translation Studies. He champions empirical and Digital Humanities methodologies in the field, using computer technologies to answer questions related to literary translation that were previously unaskable. Currently, much of James' research attention is divided between the rapidly emerging fields of CALT (Computer Assisted Literary Translation), LMT (Literary Machine Translation), and the little researched topic of indirect translation (translations of translations). Much of James' research is not language-specific or traverses a wide range of language pairs. However, his main translation language pair is Japanese | English. In terms of translation practice, he has a particular interest in pre-modern and early modern Japanese literature. In 2021 he co-translated a collection of medieval Japanese poems.

What would you say "proverbs" in Japanese? Have you learnt any Japanese proverbs? How many do you learn? Enjoy this episode about Japanese proverbs. Website: https://www.sunshinejapanese.com.au/ Yasashii Nihon-go radio group: https://www.sunshinejapanese.com.au/group/sunshine-mates-from-yasashii-nihon-go-radio-podcast/discussion Instagram: https://www.instagram.com/sunshine_japanese/ Twitter: https://twitter.com/SunshineJapane1 Facebook: https://www.facebook.com/Sunshine-Japanese-in-Cairns-499492903574651 Survey result: Survey results | sunshinejapanese This episode's vocab list: 話題(わだい) a topic of conversation 私(わたし)の和英(わえい)辞典(じてん)によると according to my Japanese-English dictionary 誤解(ごかい)を招(まね)く to cause a misunderstanding はっきりclearly; distinctly 教訓(きょうくん) a lesson 助言(じょげん) an advice 含(ふく)まれているTo be included. 国語(こくご) Japanese language for Japanese native speakers 学(まな)ぶTo learn and study 問題(もんだい) questions 一般(いっぱん)常識(じょうしき) general knowledge 聞(き)かれる to be asked 小学校(しょうがっこう) primary school; elementary school ググるto google it この数(かず) this number 国(くに)の言葉(ことば)the language of your country 日常的(にちじょうてき)に in daily life 比較(ひかく) comparison にこにこしている to keep smiling 自然(しぜん)とnaturally 幸福(こうふく) happiness; well-being; bliss とても小(ちい)さいものでも even though each of them are very small たくさん集(あつ)まれば if a lot of them gather たとえ a metaphor You can see today's Japanese script on the Sunshine Japanese website: https://www.sunshinejapanese.com.au/group/sunshine-mates-from-yasashii-nihon-go-radio-podcast/discussion

The John Bishop Go Fund Me Japan Move and Explanation Building Fortunes Radio with Peter Mingils. https://www.gofundme.com/f/new-start-in-tokyo Here's more of whatr you will here Hi my name is John Bishop and I am fundraising to get help for my new start in Tokyo, Japan. I actually lived, worked and raised a family in Japan from 1988-1998. There I danced, taught and did ballet choreography for a number of companies and schools around Japan. I returned to the Washington in 1999 and founded my own ballet academy. For 21 wonderful years I was the Artistic Director for Northwest Ballet Theater and Academy bringing classical ballet productions like 'The Nutcracker', 'Sleeping Beauty' and 'Swan Lake' to audiences in NW Washington. Then the Covid-19 pandemic hit and two seasons of performances were cancelled and studio classes for my dancers could not be held. After many efforts to hold on through the pandemic, Northwest Ballet had to close our studios and end our productions. This left my wife and I without a permanent income. I am returning to Japan after 22 years as an Japanese-English interpreter and language coach for a small company. For MLM Leads, MLM Training, and Lead Management Systems, https://www.NetworkLeads.com Advertise on MLM Classified websites on the Youmongus Ad Network.  Peter Mingils owns MLM Charity https://mlm.charity and  MLM News https://mlm.news (386) 445-3585 https://www.buildingfortunes.com is the Affiliate Program

On this episode, I'm joined by Japanese-English translator, David Evelyn. David has worked on visual novels, games, manga, light novels, and other Japanese media. Currently, he translates for the shounen hit, Kaiju No. 8, and City Hunter. David walks me through how he fell "upwards" into translating and provides some behind the scenes on how the process works. We also talk about visiting Japan, overhearing conversations, those old 90s translations, and more! Follow David: Twitter Website Follow The Wonder of Anime: The Wonder of Anime Twitter TikTok Instagram YouTube The Anime Tea Video

In this episode, we're chatting with NSW-based Japanese & English teacher Kelly Harrison, the founder & director of Languages Roadshow. Languages Roadshow offers face to face events, online courses, creative resources and individualised support for teachers and schools, to empower educators to implement innovative teaching methods. Kelly tells us all about her journey and experience of learning Japanese and becoming a teacher, why she decided to start Languages Roadshow, the challenges that languages educators face across Australia in both metro and regional areas, and the impact that learning about language education and language development has had on her life professionally and personally. This episode is sponsored by Clozemaster - an app which aims to help bridge the gap from advanced beginner to native level content and help you to rapidly expand your vocabulary in another language. It's free to sign up and get started! The paid version, Clozemaster Pro, gives you more advanced features such as unlimited sentences, more stats and customised review - use the code LANGUAGELOVERS to receive 10% off your Clozemaster Pro subscription. If you are a language teacher who can identify with some or all of the things discussed in this episode, then we would love to hear from you! Let us know your thoughts. Episode Links Clozemaster - Download from the App Store | Google Play (use the code LANGUAGELOVERS to receive 10% off Clozemaster Pro!) Languages Roadshow - Professional Development for Languages Educators What is Content and Language Integrated Learning? (CLIL) - Pearson AFMLTA - Australian Federation of Modern Language Teachers Associations Australian Curriculum Language Disorder Australia Find out more about Kelly and Languages Roadshow on Instagram: @languagesroadshow / Facebook: Languages Roadshow / LinkedIn: Kelly Harrison Join our Facebook group Language Lovers AU Community to chat and share with other like-minded language lovers in Australia!

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こんにちは。 ジェニのピカピカ日本語へようこそ。 さて、あなたは和製英語って聞いたことがありますか？ カタカナで表記される日本語で日本人は英語と思っているけれども、英語話者には理解できないなんちゃって英語の事です。 今日の音声を聞いて和製英語とは何か学んでください。 さて、日本も少し涼しくなってきましたが、紅葉の季節にはまだ早いですね。 まだ寒くないこの時期には、曼珠沙華（または彼岸花）が見ごろになります。 FacebookPageでご覧ください。 Hello. Welcome to Jenni's Pika Pika Japanese. Have you ever heard of Japanese-English? It is a Japanese word written in katakana, which Japanese people think is English, but English speakers do not understand it. Please listen to today's audio to learn what Wasei-English is. Now, it is getting a little cooler in Japan, but it is still too early for the season of autumn leaves. At this time of year when it is not yet cold, manjushage (or higanbana) is at its best. Please take a look at our FacebookPage. Hola. Bienvenido a Jenni's Pika Pika Japanese. ¿Has oído hablar del inglés japonés? Es una palabra japonesa escrita en katakana, que los japoneses creen que es inglés, pero los angloparlantes no entienden. Escucha el audio de hoy para aprender qué es el inglés japonés. Está refrescando un poco en Japón, pero todavía es demasiado pronto para las hojas de otoño. En esta época del año, cuando aún no hace frío, el manjushage (o higanbana) está en su mejor momento. Véalos en la página de Facebook.

Hey there! If you are interested in listening to lighthearted daily conversations between Taki, a Japanese English-language learner, and Roz, a multilingual Filipina, then this is the perfect podcast channel for you! Taki's English progress is going great, so let's all give him our warm support

Today I talk about "Japanese English education" using easy Japanese mostly Genki 1 textbook.Support this podcast at — https://redcircle.com/japanese-with-shun/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

100本(ひゃっぽん)ノック! - Repeat After Me 100 Note: ノック(nokku) is a Japanese-English (kind of “fungo”), and one of the Baseball  defensive exercises that repeatedly catches and throws back the ball. (Normally it's 1000 nokku, not 100).[00:07]みなさん、こんにちは。お元気(げんき)ですか。今日(きょう)は１から100まで、ひたすらリピートします。いいですか。では、はじめましょう。Hello, everyone. Are you doing all right? Today, we simply repeat from 1 to 100. Let's get started.Repeat after me[00:19] 1.     遊(あそ)ぶ[Vじしょ]遊(あそ)びます[Vます]→ 今度、遊(あそ)びに行かない？Do you wanna hang out sometime? 2.     浴(あ)びる 浴(あ)びます→ シャワーを浴(あ)びながら、歌(うた)を歌(うた)います。 I sing a song while taking a shower.3.     謝(あやま)る 謝(あやま)ります→ 私(わたし)が謝(あやま)っても、妻(つま)は許(ゆる)してくれませんでした。Even though I apologised, my wife didn't fogive me.4.     歩(ある)く 歩(ある)きます→ 駅(えき)まで歩(ある)いて10分(ぷん)くらいです。It's about 10 inutes walk to the station.5.     急(いそ)ぐ 急(いそ)ぎます→ 乗(の)り遅(おく)れないように、急(いそ)いでください。Please hurry so as not to miss the train.6.     要(い)る 要(い)ります→ コインロッカーには小銭(こぜに)が要(い)ります。Coin lockers require small change.  7.     歌(うた)う 歌(うた)います→ カラオケで歌(うた)いすぎてのどが痛(いた)いです。I sing too much at karaoke and my throat hurts.8.     売(う)る 売(う)ります→ ネットで使(つか)わなくなったカメラを売(う)りました。I sold a camera that I no longer use online.   9.     運転(うんてん)する 運転(うんてん)します→ 私(わたし)はオートマしか運転(うんてん)することができません。→ I can only drive an automatic transmission (car).  10.  置(お)く 置(お)きます→ スーツケースはここじゃなくて、あそこに置(お)いてください。Please put your suitcase over there, not here.★★★★★Become a patron: More episodes with full translation and Japanese transcripts. You'll get access to the members-only podcast feed that you can subscribe to in your smartphone app. Japanese Swotter on PatreonNote: English translations might sound occasionally unnatural as English, as I try to preserve the structure and essence of the original Japanese. I hope it also helps you to capture the pattern of the sentence structure.Support the show

This week on the podcast we are doing something different. I wanted to share with you an interview I did with Andrew Hankinson from the first podcast that I ever recorded. Developing operations in Japan to be efficient and profitable can be a challenge when you run six top brands, over 30 retail shops, and a factory of the German company, Zwilling J.A. Henckels. For over 30 years, Andrew has been a true leader in Japan, a sales guru, and a business leader. He is undoubtedly one of the most exceptional business people I've had the honor to know. In this episode you will hear:How Andrew worked his way back to the Land of the Rising Sun after studying in Japan in high schoolThe importance of hiring people who really know how to sellWhy it's so important to really study resumes, and interview questions Andrew likes to ask when recruitingWhat quality good recruiters need to have and Andrew's own recruitment ‘hack'Why Andrew would choose lunch with his grandparents over Columbus and AristotleThe book Andrew recommends for every business professionalAbout Andrew: Andrew Hankinson is Senior Managing Director at ZWILLING J.A. HENCKELS Japan Ltd. Andrew has 27 years of professional experience in Business Development, Sales Training, and P/L Management. He has 17 years of managerial-level leadership skills as Director of Sales & Marketing, General Manager, and Managing Director. Andrew has a proven track record of surpassing target expectations, motivating both team-based management styles and start-up ventures, and managing budgets / forecasting. He has excellent bilingual (Japanese – English) communication skills honed through 20 plus years of sales / business presentations, negotiations, and public speaking, to Fortune 500 firms, industry conventions, and team building. Andrew has also had managerial experience in business alliance development, service/product rationalization, corporate/event planning, and Japan new market entry.Connect with Andrew: Website: zwilling.jpLinkedIn: linkedin.com/in/andrew-hankinson-09b89Podcast: https://www.nowandzen.jp/Links of things mentioned in this episode:The First 90 Days book by Michael D WatkinsConnect with David Sweet:LinkedIn: https://www.linkedin.com/company/focuscore/ Twitter: https://twitter.com/focuscorejpFacebook: https://www.facebook.com/focuscoreasiaDoin' the Uptown Lowdown,” used by permission of Christopher Davis-Shannon. To find out more, check out www.thetinman.co. Support independent musicians and artists.Mentioned in this episode:2024 Salary Guide

On this episode of the Japan Station podcast, we're talking about translation, learning Japanese and more with translator/podcaster Jenn O'Donnell. About Anna Lughezzani Jenn O'Donnell is a Japanese to English translator and podcaster. She lives in Osaka where she works as a Localization Director for a video game company. She also produces the podcasts The Translation Chat and Otafu Susume. Topics Discussed About how it was that Jenn began learning Japanese Working on farms in Fukuoka Learning Japanese as someone with dyslexia On the struggle to get work as a Japanese-English translator On becoming a freelance Japanese to English translator About some of the pitfalls often seen in media translation False friends in Japanese/English Denotation vs connotation Examples of some Japanese to English translations Jenn enjoys About the Miracles at the Namie General Store translation About the English translation of The Miracles at the Namiya General Store About the English translation of the All You Need Is Kill  novel About translating a novel vs manga/anime/light novels About The Translation Chat podcast About the Recommendation from My Otaku Spouse (Otafu Susume) podcast About The Faraway Paladin (Saihate no Paradin) And much more! Support on Patreon & Ko-fi If you enjoy Japan Station and want to ensure that we're able to produce more episodes, then please consider becoming a patron on Patreon.com. For a minimum pledge of $1 a month you'll get early access to all JapanKyo podcasts, bonus content, and more. And for $3 a month, you'll get access to Japanese Plus Alpha, a podcast produced by me (Tony Vega) that focuses on the Japanese language and all of its fascinating quirks. Also, all pledges get a shout-out on the show and my undying gratitude. Thank you in advance! Support Japan Station on Patreon You can also do a one time donation via Ko-fi. Support us on Ko-fi Links, Videos, Etc. To keep up to date with Jenn and her projects, make sure to follow her on Twitter. @JENTranslations Check out the list below for links to the websites, podcats, and articles mentioned in this episode. Japanese Talk Online Where Jenn writes about learning Japanese J-EN Translations Where Jenn writes about translation An article about Jenn's experiences participating in WOOF/working in farms in Japan An article about the English translation of the All You Need Is Kill novel The Translation Chat Podcast Recommendation from My Otaku Spouse (Otafu Susume) Check out the episode of Japan Station featuring Dr. Wesley Robertson. A Wonderful Mess: About the Japanese Writing System w. Dr. Wes Robertson | Japan Station 80 Don't forget to listen to the latest episodes of Ichimon Japan. What katakana words do you hate? (Funny/confusing/annoying katakana words) | Ichimon Japan 56 Why is Argentina “Aruzenchin” in Japanese? | Ichimon Japan 57 If you would like to support the show by picking up some merchandise, make sure to visit KimitoDesigns.com. KimitoDesigns.com Special Thanks Opening/Closing song: Oedo Controller (大江戸コントローラー) by Yunomi featuring Toriena (Used with permission from Yunomi) To listen to more of Yunomi's music, check out his Soundcloud page or YouTube channel. Japan Station cover art: Provided by Erik R. Featured image: Courtesy of Jenn O'Donnell Follow Japankyo on Social Media Facebook (@JapankyoNews) Twitter (@JapankyoNews) Instagram (@JapanKyoNews) Full Show Notes Get the full version of show notes at https://www.japankyo.com/category/podcasts/japanstation/

When Chad Zimmerman was 18 he sold everything he owned to buy a plane ticket to Japan. He knew barely any Japanese and didn't have a degree. Today at almost thirty he is a Japanese-English translator who has written books, he runs a popular YouTube channel and more. Chad wants to help others who don't want to be saddled with student debt that there are ways to make your dream of living in Japan happen, on your own terms.

This week, Teriyaki and her guest, Xavier, talked about their experience learning English as a foreigner as well as teaching English as a foreign language. Some of the topics they covered for this episode were whether or not people should master an English accent like a native speaker, different types of Japanese English learners, and 3 important aspects when learning a language. They also talked about the struggles as an English teacher. Listen in to get some insights for learning English! 今週のエピソードでは、ゲストのゼビアとテリヤキで、二人の外国語として英語を学んだ道のりと外国語として英語を教えることについて語ります。大きなトピックとしては、英語のネイティブ発音をマスターすべきか否か、英語を学ぶ色々な日本人について、外国語を学ぶときの３つの重要ポイントなどがあります。そして、英語講師としての苦労など。英語上達のためのキーを語ってます。 Teriyaki Chicken Nugget is a show run by a bilingual Japanese. The main theme of this podcast is learning English as a foreign language, and unique Japanese culture. Contact Teriyaki for any inquiries you have on Instagram (teriyakichickennugget), Twitter (teriyaki_eng), and Facebook (teriyakichickennugget). Email: teriyaki.english@gmail.com ! Teriyaki Chicken Nugget はバイリンガルの日本人が運営しているポッドキャストです。主なテーマとして英語学習や日本独自の文化を紹介しています。テリヤキのインスタ (teriyakichickennugget) とTwitter (teriyaki_eng) もフォローお願いします！インスタでは英語学習に役立つミニ情報を投稿しており、Twitterでは留学の話や私の個人的な意見も発信しています。質問があれば、DM,メール(teriyaki.english@gmail.com)まで。 guest: Xavier - Instagram (in_x_anity) --- Send in a voice message: https://anchor.fm/teriyakichickennugget/message

Today's guest has so far had a life and career that spanned the globe. Born in Wales, after graduating she left the UK to work as a language trainer in Japan assisting Japanese English teachers in elementary and junior high school.She then moved on to being a self-employed English teacher in Prague, capitol of the Czech Republic.For a while she moved back to Wales and the UK to work in — as she puts it — the ‘Happiness at Work' space.Realising that humanity needed more than ‘happiness at work' to survive this century, she left that space to become a coach trained in Six Seconds emotional intelligence work, The Work That Reconnects and more.I ‘met' her in the online space at a webinar for the Climate Coaching Alliance.Following her on LinkedIn I could tell she has a deep connection with Nature and helping people re-connect with her is an important part of Gwyneth's mission and work.Still working as a freelance language trainer, she is most passionate about her work as a coach, facilitator, teacher, writer and connector.She is the host of the podcast ‘The Way We Connect' on which she the way that we relate, date, and communicate.She also is the author of the GreenJoy travel blog where she writes about travel (obviously), healthy recipes, permaculture, the environment, positive psychology and sometimes endulges in a political rant.In 2016 she moved back to Prague again, where she's now learning all about gardening with her beautiful little allotment space.All this just to point out, she is a multi-talented person.-----You can find more extensive notes (including links to books, music and movies mentioned) on the episode page on the Dare Greatly Coaching website

Have you ever been in a situation where you didn't understand when a Japanese person said an English word? It might have been because of Pronunciation. And there are some English words that are used by Japanese people in day to day life. Let's find out how Japanese people pronounce English words differently so you will be able to understand what they are saying.

Note: Episode 20 is using Japanese-English! Great fun today with Yusuke Tanka, elite trail-runner part of team Salomon Japan, running coach and cross-training explorer talking about speed training, why do we need to include it in our training routine and how to train during the winter season, when the trails are not the safest option to train. We will see that there are many ways to maintain our aerobic base while having a great time exploring new sports.

We share some tips and pointers on learning Japanese and English, like shadowing, conversation, apps, and more!

Today, I picked up the news about the English education in Japan. If you think raising kids there or currently have kids, you must listen it. Every April for sixth-graders and third-year junior high school students is aimed at measuring students' basic knowledge of mathematics, Japanese and their ability to apply those skills to solve complex problems. Starting this year, the ministry included English in the assessment for junior high school students, in line with the government's plan to improve students' abilities in the language. The test results were disclosed last Wednesday. The Japan Times reported. The English test measures students' speaking, listening, reading and writing skills. The average score of 68.3 percent in the listening section and 56.2 percent in the reading section. But they scored only 46.4 percent in writing and 30.8 percent in speaking. When I was a third-year junior high in 2008, I had this test time first time in my life. Teacher told us not to study in advance. They explained that it doesn't affect our score in the school. I was in the public school then, and I was studying at the clam school after school. Neither of them have a writing nor speaking test. According to the Japan Times, In the speaking section, many students struggled with improvised speech on randomly chosen topics. In the writing section, many students had difficulty using their vocabulary and grammar skills or struggled with writing coherently, the results showed. For example, only 1.9 percent of students answered correctly when they were asked which of two pictographs best symbolizes a school and explain their decision in 25 or more words. “The test results confirmed that students have poor communication skills — in both writing and in conversation. … And we take it as reaffirmation of what has been long deemed a problem in English teaching in Japanese schools,” said Takeshi Hayashi, an official in charge at the education ministry's National Institute for Educational Policy Research. But Hayashi has high hopes that such problems will be addressed with the introduction of a new curriculum for junior high schools beginning in 2021 in which more focus will be put on speaking and writing. “Previously, English was only taught as an official subject to grades five and six but from 2020 this will extend to include third and fourth grade classes for primary school, as well.” Liam Carrigan wrote in the Gaijin Pot. “The new textbooks are titled We Can (for grades five and six) and Let's Try (for grades three and four). I think they are definitely a step up from the previous textbooks called Hi Friends. The activities are simpler, easier to explain to the students without having to revert to Japanese and designed around starting with single word responses. The books then build out to answering in full sentences before finally being able to converse and exchange questions and answers using their own vocabulary inputs. What is the phrases of these text books? Look into the Let's try. According to the bilingual Kokomo eigo.com For the third grade students, they learn such a phrase like: How are you? How many? I like blue. What do you like? What's this? Grade four students learn such a phrase like: Let's play soccer! I like Monday. What time is it? Do you have a pen? What do you want? These are used in daily conversation. Hopefully the new curriculum change Japan's English education better. The government should invest the money for the employment. As the result of the test showed, some of the school didn't have the writing and speaking test because of lack of employment. More native teacher needed after changing the curriculum, Japanese English teacher's English are hard to listen.

Hey guys! It is Aiko with Schwagirl. I am an American English pronunciation coach. Welcome to my podcast "The Voice of English" Season 2. Season 2 focuses more on communication. In each episode, I bring a guest and he/she will give us tips to become a better communicator as a person who speaks English as a second language. In Episode 20, I invited Erin from Peta-Eri based in Japan. Erin currently is an Assistant Language Teacher (ALT) in elementary and junior high schools in Japan. She plans lessons to instruct proper English pronunciation and grammar through fun and interesting activities that promote communication. In addition to ALT work, she aims to reach Japanese English-learners together with her husband, Peta (ペータ), through their English blog, http://peta-eri.com. She creates sentences using colloquial English and makes recordings for learners to hear the target phrase in use. Her goal is to show that learning a language doesn't have to be a boring and monotonous process; it can be fun and enlightening, too. In addition to teaching English, she finds introducing cultural differences to be an important aspect of her lessons. This coming April, she will be transitioning from her ALT position to a private English instructor. Erin and Peta's social media links: blog : ペタエリ英語（https://peta-eri.com） Twitter：@peta_eri（https://twitter.com/peta_eri） Facebook：ペータとエリンの毎日こつこつ英語(https://www.facebook.com/petaerienglish) YouTube : ErinGlish (work in progress) Here are my notes Everything is a learning opportunity! When you teach, you learn Output what you input Recognize your progress Enjoy the episode! If you have any questions regarding English learning or pronunciation, living in the US, working in the US, or if you would like to be a guest on this show, please contact me through http://schwagirl.com/contact Support me financially to be able to provide my podcast, youtube videos and FB live for free. Join my patrons on Patreon. You can donate from 1 dollar a month. https://www.patreon.com/schwagirl Don't forget to subscribe to my newsletter.

Hey guys! It is Aiko with Schwagirl. I am an American English pronunciation coach. Welcome to my podcast "The Voice of English" The purpose of this podcast is to encourage English learners and also English teachers. We all share tips and points of how we can improve our English and become better communicators. In Episode 11, I invited Miho Noguchi the bilingual MC and Coach based in Japan. Miho is an event host MC / interpreter based in Gifu, central Japan. She started her public speaking career as a Japanese-English bilingual radio news announcer and DJ in Nagoya and shifted into her event host career in 2010. She has hosted many international corporate events, congresses, as well as wedding receptions of international couples. She is also a home-based voice-over talent, and is known as the Japanese GPS voice behind Google Maps app. In 2016 her voice was replaced by a new synthetic voice system, which sparked a huge backlash on Twitter and other social media platforms. Later Google decided to put her voice back on the app and you can still hear her voice. And in 2017 she won the title of the Japanese delegate of Mrs. Globe beauty pageant and ran for the international competition in China with 70 other contestants from around the world. She also teaches English to those who want to become MCs or public speakers through workshops and also one-on-one online coaching. Here are my notes: Your voice is your asset!! It is amazing that a great English speaker like Miho says "I am still struggling with English" and she practices a lot! I hope that will motivate you. English and Japanese "good" voices have different pitches. Find yours in English and in Japanese by downloading a free PDF at http://bilingualmc.jp/ She coaches who want to become a bilingual MC for international events. Contact her to set up a trial session. Here are the links to her social media Website and newsletter signup link: http://bilingualmc.jp/ Facebook Page: htttp://www.facebook.com/bilingualmc.jp Instagram: mihonog Twitter: @mihonog Miho Noguchi & Emiko Rasmussen's Podcast: "Her Confidence Her Way" https://www.herconfidenceherway.com/ In Aug, I have a sponsor! She is Megumi the blogger based in Hawaii. She writes about Hawaiian life, English learning, and other interesting things. Check out her blog here: https://www.megumi711.com/ She operates Yes! サロン which is a community where you can output English so that you can improve English. If you are looking for an opportunity to output English, check out her twitter. https://twitter.com/MeginHawaii If you have any questions regarding English learning or pronunciation, living in the US, working in the US, or if you would like to be a guest on this show, please contact me through http://schwagirl.com/contact MUSIC: Artist: Nicolai Heidlas Title: Hawaiian Winter Support me financially to be able to provide my podcast, youtube videos and FB live for free. Join my patrons on Patreon. You can donate from 1 dollar a month. https://www.patreon.com/schwagirl Don't forget to subscribe to my newsletter. Aiko Hemingway's online pronunciation study material "American English Pronunciation for Japanese Speakers" is available on Teachable. Check out the link: https://hatsuonkyosei.teachable.com/

野口美穂|  Miho NOGUCHI   岐阜県在住のバイリンガルフリーアナウンサー。日本語、英語、フランス語のトライリンガル。名古屋のFM局のバイリンガルニュースキャスターや番組パーソナリティーを経て、現在は国際結婚の披露宴や、G7伊勢志摩サミット、COP10など政府主催の会議、またカンヌ映画祭、東京国際映画祭、フェラーリ、富士通をはじめとする民間イベントのバイリンガルＭＣとして活動中。2016年にはスマホ向けGoogleマップアプリのカーナビ音声の交代劇で、元声の主としてネット上で話題になる。昨年、既婚女性を対象としたビューティーコンテストのミセスクイーンコンテストでグランプリに選ばれ、ミセスグローブ2017日本代表として、12月に中国で行われた世界大会に出場。またバイリンガルMCを目指す人を対象に、ワークショップやオンラインでのコーチングも行なっている。   Miho is an event host MC based in Gifu Prefecture, central Japan.  She started her public speaking career as a Japanese-English bilingual radio news announcer and DJ in Nagoya and shifted into the event hosting career in 2010.  She has hosted many international corporate events, congresses, as well as wedding receptions of international couples in Japanese, English, and also in French.  She is also a home-based voice-over talent, and is known as the Japanese GPS voice behind Google Maps app especially since last year when her voice was replaced by synthetic voice system which sparked a huge backlash on Twitter and other social media platforms. Later Google decided to put her voice back on the app and you can still hear her voice.  And last year she won the title of Mrs. Queeen Contest in Japan, which is the prelim of Mrs. Globe beauty pageant and she ran for the international competition in China as one of the 70 delegates from around the world.  She also teaches Japanese women who want to become bilingual MCs through workshops and also one-on-one online coaching.   Let's Connect! Website:  http://bilingualmc.jp Facebook page:  http://www.facebook.com/bilingualmc.jp Instagram:  http://www.instagram.com/mihonog Twitter:  http://www.twitter.com/mihonog