Podcasts about nobuko

It's 1972 and Singer Nobuko “JoAnne” Miyamoto and her partner Chris Ijima get “the call.” It's Yoko Ono and John Lennon inviting them to sing on national TV. What happens next is musical history. And a young massage therapist in Miami Beach gets the business offer of a lifetime. So he shakes hands with the devil and hopes for the best.STORIESWe Are Not Yellow PearlIt's 1972 and Singer Nobuko “JoAnne” Miyamoto and her partner Chris Ijima get “the call.” It's Yoko Ono and John Lennon inviting them to sing on national TV. What happens next is musical history.This story contains strong language and references to Japanese Internment and racism against Asians and Asian Americans. Sensitive listeners, please be advised.Thank you, Nobuko, for sharing your story with Snap!After their first and last TV performance, Nobuko and Chris recorded “Yellow Pearl,” “We Are The Children,” and other songs on their 1973 album A Grain of Sand: Music for the Struggle by Asians in America. And while Chris, unfortunately, passed away in 2005, Nobuko is still making music to this day.For more, check out Noboku's recently released memoir: Not Yo' Butterfly: My Long Song of Relocation, Race, Love, and Revolution. And go to Noboku's website to see what she's working on next!Produced by David Exumé, original score by Daniel RieraThe Accidental Arms DealerA young massage therapist in Miami Beach gets the business offer of a lifetime. So he shakes hands with the devil and hopes for the best.Big thanks to David Packouz for sharing your story. If you want to find out the dirty, dirty, gritty, gritty behind this piece, check out the book written by Guy Lawson; it's called “Arms and the Dudes.”Produced by Anna Sussman & Julia DeWitt in collaboration with Guy Lawson. Original score by Renzo Gorrio. Artwork by Teo Ducot.Snap Classic - Season 16 - Episode 1

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. Tonight's show Powerleegirls hosts Miko Lee & Jalena Keane-Lee highlight the annual Day of Remembrance. They speak with Chair Jeff Matsuoka and youth leader KC Mukai. APEX Express is a proud member of Asian Americans for Civil Rights & Equality – AACRE. APEX EXPRESS TRANSCRIPT 2/15/24 SHOW Day of Remembrance 2024: Carrying the Light for Justice – Finding Our Way Home 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. Jalena Keane-Lee: [00:00:34] Good evening. You're tuned in to Apex Express. We are bringing you an Asian and Asian American perspective from the Bay and around the world we're your hosts, Miko Lee and Jalena Keane-Lee, the PowerLeeGirls, a mother daughter team. Tonight we're focused on the annual Day of Remembrance. February 19th is a significant date for the Japanese American community. On this day in 1942, president Franklin D. Roosevelt signed executive order 9066, which gave the United States army the authority to remove civilians from their homes during World War 2. Over 120,000 Japanese Americans and 3,000 Japanese Latin Americans were forced into concentration camps scattered in desolate, remote regions of the country. No Japanese Americans or Latin Americans wherever charged of espionage or sabotage against the United States. Yet they were targeted, rounded up and imprisoned for years. Every February, the Japanese American community commemorates Executive Order 9066 as a reminder of the impact the incarceration experience has had on our families, our community and our country. During this present time of genocide in Palestine, it is critical to educate others on the fragility of civil liberties in times of crisis and the importance of remaining vigilant in protecting the rights and freedoms of all. Never again, means never again for anyone. Jalena Keane-Lee: [00:01:59] Next up, listen to “Kenji” by Fort minor, the band created by Linkin Park's Mike Shinoda. This is a song about Mike's father and his family that was incarcerated at Manzanar. SONG Jalena Keane-Lee: [00:05:42] That was Mike Shinoda's “Kenji” based upon his family story at Manzanar. Miko Lee: [00:05:47] Welcome Jeff Matsuoka, chair of the San Francisco Bay Area Organizing Committee of the Day of Remembrance. Welcome to Apex Express. Jeff Matsuoka: [00:05:56] Thank you very much, Miko. It's great to be here. Thanks for inviting me. Miko Lee: [00:05:59] For people that don't know, can you give an overview about what the Day of Remembrance is all about? Jeff Matsuoka: [00:06:07] Sure. Yes. The Day of Remembrance is an annual event that we've been holding actually now for 45 years. This would be our 45th Day of Remembrance event and really what it's commemorating is the signing of EO9066. This is an executive order signed by President Franklin Dela Roosevelt on February 19th, 1942. And essentially what this did was it essentially empowered the military authorities, the US Army authorities, to essentially evict all Japanese Americans living in what's called the West Coast Evacuation Zones. So once again, this is right after Pearl Harbor, and what what was happening was the government feared basically Japanese Americans as collaborators with, of course, the Japanese and of course, there's no evidence as it turns out that was true, but nonetheless what happened was all citizens are all really inhabitants of Japanese ancestry, whether they were citizens or not, were evicted from their homes on the West Coast and sent to concentration camps deep in the Midwest or certainly very far away from the coast. And they said it was for our own safety, but of course there are a lot of factors there that were probably beyond safety that caused all this to happen. Of course, there's a lot of racism and a lot of also discrimination against Japanese Americans. And the bombing of Pearl Harbor and, of course, the signing of Executive Order 9066 resulted in the evacuation of our community, and it served many different purposes. One of, one being that, of course, it created, it served economic purpose for the people who did not want to see Japanese workers, Japanese American workers, for instance, competing for jobs. So there's a lot of, there's a lot of factors behind that, but the end result was that the civil rights of Japanese Americans were trampled on and they were evicted from their homes and they essentially spent the rest of the war sitting in these concentration camps far away from home. And of course, is this injustice that we want to remember every year for the Day of Remembrance. Of course, the other factor of the story as well is that, of course, we also celebrate redress. Of course redress didn't happen until, the 70s and 80s, but eventually Japanese Americans gained redress through the signing of the Civil Liberties Act of [1988], and by that, time, of course, many of the evacuees had passed away, but nonetheless, for those who were still alive at the time, they were entitled to a, to monetary compensation and a apology, actually, from the government for their unjust incarceration during the war. So we also want to lift that up as well, in that it was a celebration, it's a commemoration of the fact that we were in fact compensated by the government for that injustice. Miko Lee: [00:08:46] Jeff, can you share a little bit about your personal connection with the incarceration? Jeff Matsuoka: [00:08:52] My mother's family actually were Japanese Peruvians. They actually lived in Lima, Peru, which of course is the capital of Peru. And a little known, part of the whole sort of Japanese evacuation. I also reached down to South America and my mother's family, I predict my grandfather was actually taken by by the FBI from Peru, and they, were interned in a, separate system of camps called the Department of Justice camps, and they ended up in Crystal City, Texas, which was a maximum security concentration camp run by The Immigration Naturalization service. So my connection is a little bit different from those whose ancestors were born or who lived here in the United States itself. Since my family actually were, From peru. And they only spoke Spanish and Japanese. They didn't really speak English when they came here. Miko Lee: [00:09:39] Jeff, thank you so much for sharing a piece of the story of Japanese Latin Americans that were incarcerated. I talked about that at the beginning of the episode, over 3,000 Japanese Latin Americans, and we actually have a whole episode and a curriculum that's based on that in our series, Never Again. So I'll put a link to that in the show notes. Jeff, can you also talk about your experience growing up with the Day of Remembrance? What was the first one you attended? Now you're the chair and you've been the chair for a bit, but what was your first Day of Remembrance and how does that stick in with your family history? Jeff Matsuoka: [00:10:17] I actually attended what's called the Peru Kai Reunions. These were reunions of many of the Peruvian Japanese who were kidnapped from their countries, and they had reunions, interestingly enough. But my first really day of remembrance didn't really come until maybe around, 2010, our San Francisco Bay Area Day of Remembrance, the, one of the, one of the groups that are always represented is the Japanese Latin Americans, that's how I got involved with learning more about the Bay Area Day of Remembrance. I got involved somewhat late but nonetheless, after I understood about what's going on, what happened basically in the United States itself that really piqued my interest to see whether, we could tell the story, to the American public, because I think this is a really, very important, story that Japanese Americans and Japanese Latin Americans can tell to the American experience here. Miko Lee: [00:11:06] Every year there's a different theme, and in every area there's a different theme. This year we're focused on the Bay Area with you, and the theme for this year is Carrying the Light for Justice – Finding Our Way Home. Can you share a little bit about where that theme came from, and what does it mean to you? Jeff Matsuoka: [00:11:23] Yes. We want to actually talk about the injustices that were wrought on Japanese Americans, as well as, the redress which was a, which tried to correct those injustices. I think another part of DOR is, our experience as Japanese Americans having been, incarcerated unjustly and having also won redress from the government for those injustices gives us kind of a unique platform from which we can, also illuminate some of the struggles of our sisters and brothers, who have also suffered similar injustices in the United States. When October 7th happened, and the war in the Mideast between Israel and the Palestinian people flared up again, the committee members realized that this was something that our community had to come to grips with. So our sub theme this year, Finding Our Way Home you know, has to do with the fact that we need to try to understand a little bit more I feel about the plight of the Palestinian people who, in fact, had their homes essentially taken from them. There is a parallel there, obviously, with the Japanese American experience here, where many people lost their homes or had their properties expropriated taken over by the government or by other people. We feel that we need to have a better understanding, basically, and we need to also stand in solidarity with the Palestinian people, because, and we also need to educate our, audience, which are mainly Japanese Americans, as to the, as to the parallels, between the plight of the Palestinian people that are, that they are undergoing right now, and plight of our people who, you know, who were definitely very much discriminated against and, had their human rights trampled on during the war. So this is another Aspect of DOR I believe that we need to also emphasize. DOR is many things, but I think what it really is, it really is a commemorative and educational event, certainly, but also, it does have an advocacy function as well. The theme kind of embraces that idea of home. We all want to go home and that's what certainly the people in the concentration camps felt during World War II and I'm sure that's what the Palestinian people are feeling as well. Miko Lee: [00:13:23] And how will this support and understanding of what's going on in Palestine show up at the event this year? Jeff Matsuoka: [00:13:32] We're very fortunate to have as our keynote speaker, Reverend Michael Yoshi. He's a retired minister of the Buena Vista United Methodist Church. Michael, for many years he's had a ministry with a village in the West Bank Wadi Fukin, and actually in past DORs, he has reported about his experiences there, and he's also invited members of the villagers of Wadi Fukin to come and visit the United States. He, I believe, is uniquely positioned to speak about these parallels that I'm talking about between the JAA incarceration and what's going on in Palestine, in Gaza and the West Bank today. And also he's uniquely, I think, respected in our community, and he has, he's worked very diligently, he's very highly respected in our JAA community, and I believe that he will be a really great speaker to help us educate to fulfill our educational function of, trying to try to tell us what's going on really there in Palestine. We have, I think, in the United States, a very kind of blinkered view of what's going on, and I think, I believe we need to rectify that view. And I believe, as I say, Reverend Yoshi, who has had, he's been there, he has talked to people there. I believe he is really the best speaker that we could have imagined for our theme this year. So we're really happy to have Reverend Michael Yoshi to be our keynote speaker. Miko Lee: [00:14:53] That sounds great. One of the things I've been really Noticing is how young folks in our community are really vocal about their support for the Palestinians. I'm wondering if you've noticed a difference In the young people that are part of the movement and how they organize and how they utilize their activism versus folks of our generations. Jeff Matsuoka: [00:15:15] Yeah, so of course it's very interesting, of course, the younger generation, they certainly have a proficiency with technology, in particular, social media. And that's something that I think our generation lacks, or we're not as proficient at, using those tools, they're actually able to amplify their message in a way that our generation really at least don't think we really can do. Their reach is much more widespread, I believe, as a result. What really impresses me about the young people, though, is, how as you mentioned, how fervent their advocacy is. Thing is, they're, some of them are really much more ardent, in my opinion, on this cause than people of my generation have shown. So I believe we can learn something from them and I'm really happy that we have some young people on our committee who are really helping us try to try as oldsters to try to understand how best we can bring out this message to the American community and to our community for that matter. Miko Lee: [00:16:11] That's great. And we'll hear more about that later in the episode with KC Mukai, who actually developed a youth organizing committee that's part of the work of JACL and DOR, I believe. So I'm excited to hear more about that. Can you tell us about this Year's Clifford I. Uyeda Peace and Humanitarian Awardee? Jeff Matsuoka: [00:16:32] Yes, our awardee this year is Dr. Rabab Abdulhadi, and, she is actually a professor at San Francisco State University, and, she has for many years actually been very supportive of our JA Advocacy. She's been a candle lighter at our, at our, at previous, of Remembrance events. She is the Director of Arab and Muslim Ethnicities and Diaspora Studies at San Francisco State And she has won many awards. One thing that we really want to emphasize for this year's award is the fact that, we are talking about, the situation in Palestine. The committee felt that it was appropriate to have Dr. Albdulhadi be the awardee given all the work that she's been doing basically to promote Palestinian understanding, both in the educational aspects as well as in advocacy as well. So we feel that she's very well deserving of the Clifford I. Uyeda. Peace and Humanitarian award. And we're very happy that I understand that she will be there in person to accept the award. So we're very, we're looking forward to seeing her at our event. Miko Lee: [00:17:37] Can you give us a little background about the award and what it represents? Jeff Matsuoka: [00:17:44] Yes, the Clifford I. Uyeda award is named after Dr. Clifford I. Uyeda, actually. He was a San Francisco pediatrician, he was also an activist, a lifelong really activist in the Japanese American community. He was active in the JACL. He was very instrumental in starting the, one of the, one of the founders of the redress movement when he was president, actually, the national JACL. Also Dr. Clifford was a man who, you know really was a person of tremendous, I think, courage in the sense that he was man of principle. He took positions, which I think, could have alienated him from even other Japanese or Japanese Americans. For instance, he was very much an advocate for recognizing the Japanese government's involvement or complicity in the rape of Nanking, for instance. And he was very, yes, he was definitely very courageous in taking positions that other people in our community really felt uncomfortable actually taking positions on. When he passed away in 2004, the Day of Remembrance Committee decided to create the Clifford I. Uyeda Award to honor his memory as well as to commemorate or to honor individuals who are activists in the same vein as Dr. Uyeda was. Courageous path breakers basically in our community and also outside of community for social justice and inclusion and yeah, we're very happy that Dr. Albdulhadi is this year's Clifford I. Uyeda award winner. Miko Lee: [00:19:12] I hear what you're saying about how important it is for our community, for Japanese Americans to understand this history and to recognize it and connect it with things that are happening today. Why is it important for non-Japanese Americans to understand about the Day of Remembrance? Jeff Matsuoka: [00:19:29] First of all, I'm sorry to say this, most non-Japanese don't even know about EO966 or the internment of Japanese Americans. As time goes on the American public sort of forgets things, and this is one of those things that really can't be forgotten because obviously what happens when you forget history is you repeat history, and that's what's happening. I think, for the non Japanese community, the lessons that were learned from the incarceration of Japanese Americans, in the sense that, it was an unjust incarceration that civil rights were, in fact, trampled on, and that, in fact, the government apologized for those injustices and they actually compensated, our community. These are things that I think the American public needs to know because if they forget, and unfortunately I believe they are forgetting, then those same injustices will be perpetrated again among other, to other communities and the cycle will continue. So this is a very valuable lesson and particularly now given the political atmosphere here in this country. This is a very important lesson that needs to be taught and understood as to what the implications of government actions like this have basically on people, if our, of our certainly has affected our community but we can look at other examples of other communities that have been similarly impacted. And I believe those lessons have been lost or forgotten in those cases. The Day of Remembrance is really more important than it ever has been. Miko Lee: [00:20:56] Thank you so much Jeff Matsuoka for joining us. We will put a link in our website to the Day of Remembrance events that are happening all over the country. But Jeff, can you give us more details about the Bay Area Day of Remembrance that's happening February 17th from 2 to 4? Where is it and what will people experience when they go to it? Jeff Matsuoka: [00:21:14] Yes, thanks, Miko. Yes, the San Francisco Bay Area Day of Remembrance will take place as you mentioned on Saturday, February 17th from 2 to 4PM. It's going to be at the AMC Kabuki 8 theaters. That's 1881 Post Street in San Francisco's Japantown. And we'll have, of course, the keynote speaker, Reverend Yoshi, but, another important part, a very commemorative part of our, Day of Remembrance is the candle lighting ceremony, where we actually honor the internees of the ten War Relocation Authority camps, as well as the DOJ Department of Justice camp, with a candle lighting ceremony, and that's always the highlight of the event. A very you know, commemorative and contemplative and very actually emotional, event where we commemorate the all the internees who were unjustly incarcerated and, following the event we're actually going to have a procession through Japantown, going from the theater to a reception, which should be held at the Japanese Cultural and Community Center of Northern California and that's on Center street. So we hope you can join us. It should be should be a really, meaningful and important event Miko Lee: [00:22:18] And that candlelight procession is quite beautiful. It is wheelchair accessible so people can leave the Kabuki theater and basically walk around the corner. And it's a lovely commemoration and recognition of a horrible event that happened in these United States. But we're working to remember them so that we can make sure that they don't happen again. Thank you so much, Jeff, for joining us on Apex Express. Jeff Matsuoka: [00:22:42] Thank you very much for having me. Jalena Keane-Lee: [00:22:46] Next up listen to Nobuko Miyamoto's “Gaman.” MUSIC Jalena Keane-Lee: [00:29:07] That was “Gaman” from Nobuko Miyamoto's Smithsonian Folkways album, 120,000 Stories. Nobuko was one of the many women's stories that haven't been highlighted until now. Miko Lee: [00:29:19] You are listening to 94.1 KPFA and 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno, 97.5 K248BR in Santa Cruz, 94.3 K232FZ in Monterey, and online worldwide at kpfa.org. Jalena Keane-Lee: [00:29:48] All right. Welcome KC Mukai to Apex Express. I think this is the first time that we've had the reigning Cherry Blossom Queen on our show, so it's so great to have you here. Thank you so much for joining us. KC Mukai: [00:30:02] Oh my gosh, yes, thank you so much for having me. It's an honor. Jalena Keane-Lee: [00:30:07] So can you tell us a little bit about being the Cherry Blossom Queen, like what did it feel like to win that honor, and how did you find out about the pageant? KC Mukai: [00:30:16] Well, I've always been involved in the Japanese American community growing up, going to Buddhist temples and participating in Girl Scouts. But when I came to the Bay for college, I was really searching for community. So I got involved with an internship program called Nikkei Community Internship in Japantown, and then that put me in contact with the Northern California Cherry Blossom Festival. And from there, I decided to apply for the Queen Program, because it really valued female leadership, especially within the community. And it's been an amazing, amazing year so far, and I'm actually almost rounding out the end of it for the next court to come in in April. But, yeah, it's truly been such an amazing and beautiful journey with the court. Jalena Keane-Lee: [00:31:02] That's so wonderful. What are some of the highlights of your year with the court so far? KC Mukai: [00:31:09] Yeah, I would definitely say some of the highlights have been me participating in, you know, events that I grew up with, such as Obon getting to go to San Jose Obon and also Concord. Really being a part of the community there. I would also say a highlight has been just going to different community organization fundraisers the JCCCNC and Japantown as well as Kamochi and other organizations that, you know, are really critical for keeping Japantown thriving. It's been an honor to meet leaders from there and be able to see, you know, the blood, sweat and tears that really goes behind producing and helping the community thrive. And then I think, of course, getting to meet just such wonderful, wonderful and amazing women in this community not only from my current core, but also Hawaii and Nisei Week have similar festivals and programs. And so getting to meet and bond with them and just really seeing that, you know, women are the cultural keepers of our community the Japanese American community and it's really important to keep those ties close and really, really help them to grow. Jalena Keane-Lee: [00:32:26] Oh, I love that. What are some of the things that sparked your interest in Japanese American community organizing and culture bearing? KC Mukai: [00:32:39] Some of the things that inspired me, particularly in my organizing sense is definitely having, being part of the Japanese American community and I have grandparents and great grandparents and family that were among the 125,000 people of Japanese descent that were incarcerated during World War II because they were deemed a national security threat. And so because of that tie to incarceration and injustice and the fact that, you know, my great grandparents lost their livelihood and my grandparents lost their youth and kind of that community sense lost a grasp of their identity and security I ground my organizing work in kind of a lot of making sure that that injustice doesn't happen to other communities today or at least advocating for that. And I think being a cultural keeper it's growing up and being part of temples and community spaces. I got a chance to see how the women of my community and like the Obachans or the grandmas would come out and dedicate so much of their lives to keeping our temples and organizations afloat in terms of, you know, coming out early and bringing food staying till late hours cleaning up, leading the organizations on the board and stepping up for leadership positions. And it's because of those role models and that ancestral history that I continue to feel today, like, it's important to get involved in my community and also speak up for injustice. Jalena Keane-Lee: [00:34:18] Thank you so much for sharing that. Tonight's show is focused on the Day of Remembrance. Can you share a little bit about how the Day of Remembrance has been recognized in your family? KC Mukai: [00:34:30] Yeah, so in my family I'm half Japanese and half Chinese, and my Japanese side, my family has always. recognized Day of Remembrance as an important holiday within our community, specifically because of its importance to recognizing incarceration and what happened to Japanese Americans during World War II. I grew up in the Central Valley in Fresno area and the surrounding towns and being able to recognize the Day of Remembrance and kind of tie it back to my own, personal tie with this, and then also connecting it to what is happening in the world today, that's always been kind of an important keynote of, of the time. So my family, in particular, my Japanese side was incarcerated at Poston and Gila River and then they resettled back in the bay, but then my pod moved out to central California to live on a cherry farm. We always understood that despite this being kind of a historic event, the themes of injustice and exclusion, and human rights are still very much applicable to what we see happening in the world today. Jalena Keane-Lee: [00:35:55] Can you talk with us about the theme of this year's Bay Area event for Day of Remembrance, Carrying the Light for Justice – Finding Our Way Home? KC Mukai: [00:36:04] Yeah, so the theme for this year's Day of Remembrance has to do with Palestine and what we see happening in the Middle East. We chose Palestine to be your theme because we think that it's an important moment to not only share and educate what is happening with our community, but also to bring our community in and raise consciousness. We chose this topic because of course it's very urgent and very timely as, as we speak, there is still not a ceasefire in Palestine and we wanted to do all we could to really highlight the issue and center the Palestinian community and really be an ally. Japanese Americans, we know from our own history, the importance of protecting human rights and civil rights and civil liberties, since these were, of course, stripped away from us during America's World War II incarceration camps. And so, seeing then the destruction of, you know, Palestinian communities really speaks to us as Japanese Americans because we also faced the destruction of our own communities, you know, in our homes and our businesses and our farms are taken away. And also we were denied our education, our health care, our cultural rights and of course, other infringements of civil rights and basic human rights. We very much see this, and recognize the same things happening in Palestine. However, with that being said, I think our DOR committee also recognizes that not all of our community is in the same place in terms of education and understanding of this work and we want to be cognizant of that. So part of our programming is we're inviting Reverend Michael Yoshi, who's a very respected pastor within the United Methodist Church who has been doing work alongside an allyship with Palestine for a while. And we're inviting him as a respected member of our community to come and speak and share a bit about why he sees the Japanese American experience aligning with the Palestinian experience. On top of having Reverend Michael Yoshi, we're also inviting a few of our Nikkei organizations in the community to come and table and just be there to help educate. There's a growing collective called Nikkei for Palestine that has recently formed that has been trying to push our community to be more active and organized. So Nikkei for Palestine, alongside Tsuru for Solidarity is hoping to show up and also just help bring our community into the work. Jalena Keane-Lee: [00:38:46] That's so great. Thank you so much for doing that. And I feel like it really brings the phrase of never again into the present and also emphasizing that never again doesn't just mean for our own community, but it means for anyone and everyone in the world. So thank you so much for making those intersectional connections. And I know you mentioned Nikkei for Palestine and Tsuru for Solidarity. And so I was just curious if you could talk a little bit about the different kind of community organizing groups that you're a part of. KC Mukai: [00:39:21] Yeah, sure I'd love to share. So I think importantly is probably Nikkei for Palestine collective that I have been doing work in and we are a growing collective that formed out of a kind of initial meeting held by Nikkei resistors in the Bay Area that sought to kind of gather others who were really seeing the destruction and loss of life happening in Palestine and really wanting to organize around that.And so Nikkei for Palestine has been doing several things, including trying to push the JACL or the Japanese American Citizens League to speak up. We've also been holding weekly power hours for our Nikkei community to call on our Japanese American representatives to speak up. We've also been doing educational work, and putting together packets and toolkits and so that's Nikkei for Palestine. Other than Nikkei for Palestine, I'm of course involved as the Queen of the Northern California Cherry Blossom Festival and on top of that, I also do work with Tsuru for Solidarity as their current fundraiser chair. And alongside doing my fundraising role in Tsuru, I'm also on the Police, Prisons, and Detention Working Group, and currently in Tsuru for Solidarity is actually planning for a big action in Tacoma, Washington. We're organizing, to shut down the Northwest Detention Center, which, is a detention center, holding individuals that have been facing very bleak, human rights violations, in terms of not getting adequate food, having, water pipes burst in the detention center and they've actually been going on hunger strike, the individuals within this detention center have been trying to strike in their own way, and so we're hoping to do a big protest upcoming on our Day of Remembrance, actually, for February 16th. And then past that, we're also doing a big action at the end of April, in the last weekend of April. Yeah, those are some of the groups that I organize with today. Jalena Keane-Lee: [00:41:32] That's great. Thank you so much for sharing. And when it comes to, you know, growing up and becoming a woman in the world today and just everything that we're faced with when it comes to genocide and mass incarceration, both in the present and in the past, I'm curious, what are some of the things that that bring you hope and that remind you that You know, there is so much to fight for and to work for. KC Mukai: [00:42:03] I think some things that give me hope are intergenerational conversations. I think oftentimes within organizing work and can get. We tend to pigeonhole ourselves within like this one moment without realizing that we're part of a larger landscape and in a larger history of people that have been doing this work for a long time. So it makes me very hopeful and grateful to see elders that have been in this work for a long time getting involved and sharing their knowledge as well as younger folk and children also sharing and being part of the movement today. Recently I went to a ceasefire banner drop at the Buddhist Church of Oakland and there they had some of their Dharma school students actually speak up and share why ceasefire is important to them and they were leading the chants. And, as you know, going out to protest today, we often see young children out there right there with us. And I think that is so inspiring that despite all of the violence and that we see in the world today, that we're still able to have these moments of true community and true passing down of knowledge and being able to see that there is a future. I think something else that also gives me hope is cultivating spaces like some of the community groups I've been a part of, I think, especially like Tsuru and Nikkei for Palestine. Being able to have honest conversations with each other — I think it can be hard to organize especially when you're organizing against something that seems so insurmountable and then conflict often comes to that, but it's been hopeful to see the ways in which my community is able to push past, I guess, the ties of what bounds us to punitive and carceral measures in terms of like, if I don't agree with you, I'm going to shun you. And it's been encouraging to see spaces where this is rethought and how can we creatively work in and organize together in a space without and recognize that we may have differences, but that we're all in this work together and push forward from that. And so I think those have definitely kept me going in these moments. Jalena Keane-Lee: [00:44:34] And yes, we love intergenerational connections and organizing and activism, and I was wondering if you see any differences in organizing amongst our generation and our parents and our grandparents generations. KC Mukai: [00:44:48] Wow, that's a great question. Yeah, I would say something, like, I would definitely say something that I've noticed is different is that kind of abolitionist look at relationships in terms of, I feel like, in my parents and grandparents generation, there's often, and especially within the community, there's often this need to, like, disagreement is never completely dealt with, or it's definitely like more shamed upon or kind of the ways that we treat each other are, you know, not as like creative as we want it to be. And so what I see in this future generation is this. It's kind of, you know, hope to be more intentional with each other, especially under an understanding, like the work needs to be done and how can we get past this small moment of conflict and be able to see the larger picture. I would also say like in terms of organizing itself I think it's been cool to see how, I guess social media plays a role in our organizing spaces. Especially I was just on a call with an elder last night and she was sharing about her work getting involved in the Vietnam War and how from their perspective, they weren't able to get like the real time information about the atrocities happening during war like we are during this time, and being able to see, you know, the amount of destruction happening in Palestine. So I think that, you know, the social media part of it and how fast media can move is playing to our benefit, but also, you know, also our demise in some way. And so, yeah, I think those two things are definitely some differences I see in our generations. Jalena Keane-Lee: [00:46:45] Thank you. If there's someone out there listening who's not sure how to get involved in community and community organizing, and maybe not sure that their voice matters or could make any sort of impact, what would you say to them? KC Mukai: [00:47:04] Yeah, if there's someone, I think if there's someone out there listening that, you know, is maybe struggling with, seeing how their voice and their position in this matters, I would say to them that it's important to think about yourself, not just as an individual, but as part of a whole. I lean on the practice of interdependence, which is a teaching in Buddhism, which teaches us that we are all connected to each other and what I say and what I do has an impact upon others around me. And I think it's important to understand that movements get started because of a person and another person and another person joining and thinking about the, I guess, vastness of organizing work. It's important to really, while as complicated as it is, it's important to sometimes simplify it for yourselves and just say that, hey, like, I can start my own movement in my own way. I recently heard or was reminded of the way that, redress or redress for the Japanese American community kind of got steam within our community and eventually got passed in Congress. And it started with, you know, one person just keeping standing up at these JACL meetings. And for 10 years, he came to JACL National Convention and he kept arguing that we as Japanese Americans need to bring redress into Congress and because of his work, it eventually passed as a national resolution in JACL and that's when JACL got involved and really helped to push it with Congress, and that's how we got redress and that was such a long timeline and I think it's important to remember stories like that and stories of how movements are started to encourage us. Jalena Keane-Lee: [00:49:15] Absolutely. And speaking of JACL, could you talk with us about your development of a district youth board for JACL? KC Mukai: [00:49:26] Yeah, so I started the district youth board of the NCWNP district youth board, two years ago because I became the NCWNP, which is the Northern California, Western Nevada Pacific District, youth rep.And because of that position, my governor asked if I could, you know, really get a hold on this, this youth leadership. And so with her guidance, and my, I guess, ambition and drive, I brought together 6 of us, to form the 1st District Youth Board in the JACL, and we were able to build out programming and youth events and intergenerational events and get a grant to help send people to national convention as well as other projects all within our first year. And so it was very, very, very great especially for building the leadership pipeline within JACL we were able to help some of our youth members get on to leadership positions within our district council and also as chapter presidents and because of that, it helps to diversify, I guess, the outlook of of JACL in terms of what JACL is passionate about what it's able to speak on. And so I'm very, very proud of that district youth board. But since then, I have stepped off as one of the founders and so my co-founders Bruce Arao and Halle Sousa have been really, really doing such a great job with district youth board. And taking it to places I never thought I would go. So I think it's all been great getting to watch them do that. Jalena Keane-Lee: [00:51:27] That's wonderful. Thank you. Is there anything else that you'd like to add about the Day of Remembrance or about anything else that you have going on? KC Mukai: [00:51:38] Yeah. So I'd like to add, I'm also involved in a growing organization that we just founded called JAYA, which is the Japanese American Youth Alliance. And our goal is to connect all of the Nikkei youth organizations within the Bay and NorCal and Northern California together to help do like youth programming and also kind of serve as a bridge between collegiate organizations and then young adult organizations. And so because of that work with JAYA, we're actually holding our own Day of Remembrance event, and it's in conjunction with the Bay Area DOR. But it will be happening right before Bay Area DOR's, which will be in the morning around 11 AM, and we're holding it at the JCYC in San Francisco, Japantown, this event will, be more of an opportunity for youth to come together to talk about why Day of Remembrance is important. We'll also be talking about Palestine and solidarity with Palestine and so if there's any youth listening who are interested in coming, we definitely would like to see you there. And then afterwards, after our youth one, we'll be joining the Bay Area DOR one at Kabuki Theater. Jalena Keane-Lee: [00:52:26] That's great. Thank you so much for sharing. And we will link to more information on that in our show notes too. KC Mukai: [00:53:02] Okay. Wonderful. Jalena Keane-Lee: [00:53:06] Is there anything else that you'd like to add or share? KC Mukai: [00:53:08] Just thank you so much for having me. And this was such a great opportunity to share a little bit about my work, but also the larger work of the Japan town and Japanese American community. So thank you so much. Jalena Keane-Lee: [00:53:19] Thank you so much. It was so lovely getting to talk with you and it's really inspiring all the different work that you're doing and, uh, Nikkei for Palestine sounds really awesome too. KC Mukai: [00:53:29] Thank you, thank you. Miko Lee: [00:53:31] There are events happening this weekend for Day of Remembrance, all over the country. So for the community calendar, I'm going to give you a little bit of an update. To find out more about what's happening for Day of Remembrance in your community check out the Japanese American Citizen League's website to look at the regional events at JACL.org. In the Bay Area where many of us are located. This Friday night from 6 to 9:00 PM there's going to be a day of remembrance student celebration at UC Berkeley's Stephen's Lounge. And then the next day on February 17th in the Bay Area will be the Bay Area Day of Remembrance that we talked to both of our guests tonight about. It's called Carrying the Light for Justice – Finding Our Way Home to commemorate the Executive Order 9066. It will be at AMC Kabuki 8 theater on 1881 Post St, and then a beautiful candlelight procession through the streets of Japantown to a reception at the Japanese Cultural [and Community Center] on 1840 Sutter. Everyone is welcome and it's wheelchair accessible. Also February 17th from 2 to 4, if you are in Los Angeles, the Day of Remembrance is called Rooted in Resistance: Fighting for Justice during World War II, reinforces the importance of standing up for justice in times of great moral crisis. From the draft resisters and the No-No Boys to those who protested through quiet hunger strikes or chanting crowds, resistance has taken many forms since World War II and we will hear truth and testimony from those who remember and honor these stories. Some of the speakers include Diana Tsuchida, Kyoko Oda, Tak Hoshizaki, and Soji Kashiwagi. On Monday, February 19th from 10:00 AM to 4:00 PM is the Day of Remembrance in San Jose. And then the following weekend, Saturday and Sunday, February 24 and 25, there will be films all about the Day of Remembrance at the Kabuki and San Francisco. And then in San Jose at the Betsuin Buddhist church. Again, to find out more what's happening in your community check out JACL.org. And remember so that we don't repeat the harms of the past. Thank you very much.   Jalena Keane-Lee: [00:55:54] Next up we hear “Summer of '42” by Kishi Bashi from the album Omoiyari. Even though Kishi and his family immigrated to the US post-World War II, he created this album to address the current political climate. He felt that the talk of walls and bans on immigrants recalls the same sort of fears that sparked the internment camps after Pearl Harbor in 1941. Jalena Keane-Lee: [00:56:18] That was “Summer of '42” by Kishi Bashi. Miko Lee: [00:59:14] Please check out our website, kpfa.org to find out more about the Day of Remembrance and the guests that we spoke to. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Hien Nguyen, Jalena Keane-Lee, Miko Lee, Nate Tan, Paige Chung, Preti Mangala-Shekar, and Swati Rayasam. Tonight's show was produced by Miko Lee and edited by Ayame Keane-Lee. Have a great night.           The post APEX Express – 2.15.24 – Carrying the Light for Justice appeared first on KPFA.

Japanese tour guide, Ms Nobuko Matsuda told us about Kandinsky's life, art and how to enjoy his work - NSW州立美術館の日本語ガイド、松田延子さんにカンディンスキーの人生、作品、そして鑑賞のポイントを聞きました。

Analysing materials from literature and film, this book considers the fates of women who did not or could not buy into the Japanese imperial ideology of "good wives, wise mothers" in support of male empire-building. Although many feminist critics have articulated women's active roles as dutiful collaborators for the Japanese empire, male-dominated narratives of empire-building have been largely supported and rectified. In contrast, the roles of marginalized women, such as sex workers, women entertainers, hostesses, and hibakusha have rarely been analyzed. This book addresses this intellectual lacuna by closely examining memories, (semi-)autobiographical stories, and newspaper articles, grounded or inspired by lived experiences not only in Japan, but also in Shanghai, Manchukuo, colonial Korea, and the Pacific. Chapters further explore the voices of diasporic Korean women (Zainichi Korean woman born in Japan, as well as Korean American woman born in Korea) whose lives were impacted, intervening ethnocentric narratives that were at the heart of the Japanese empire. An appendix presents the first English translation of a memorable statement on comfort women by former Japanese propaganda actress, Ri Kōran / Yamaguchi Yoshiko. Nobuko Ishitate-Okunomiya Yamasaki's book Prostitutes, Hostesses, and Actresses at the Edge of the Japanese Empire (Routledge, 2021) will appeal to students and scholars of Japanese literature and film studies, as well as gender, sexuality and postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Analysing materials from literature and film, this book considers the fates of women who did not or could not buy into the Japanese imperial ideology of "good wives, wise mothers" in support of male empire-building. Although many feminist critics have articulated women's active roles as dutiful collaborators for the Japanese empire, male-dominated narratives of empire-building have been largely supported and rectified. In contrast, the roles of marginalized women, such as sex workers, women entertainers, hostesses, and hibakusha have rarely been analyzed. This book addresses this intellectual lacuna by closely examining memories, (semi-)autobiographical stories, and newspaper articles, grounded or inspired by lived experiences not only in Japan, but also in Shanghai, Manchukuo, colonial Korea, and the Pacific. Chapters further explore the voices of diasporic Korean women (Zainichi Korean woman born in Japan, as well as Korean American woman born in Korea) whose lives were impacted, intervening ethnocentric narratives that were at the heart of the Japanese empire. An appendix presents the first English translation of a memorable statement on comfort women by former Japanese propaganda actress, Ri Kōran / Yamaguchi Yoshiko. Nobuko Ishitate-Okunomiya Yamasaki's book Prostitutes, Hostesses, and Actresses at the Edge of the Japanese Empire (Routledge, 2021) will appeal to students and scholars of Japanese literature and film studies, as well as gender, sexuality and postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Analysing materials from literature and film, this book considers the fates of women who did not or could not buy into the Japanese imperial ideology of "good wives, wise mothers" in support of male empire-building. Although many feminist critics have articulated women's active roles as dutiful collaborators for the Japanese empire, male-dominated narratives of empire-building have been largely supported and rectified. In contrast, the roles of marginalized women, such as sex workers, women entertainers, hostesses, and hibakusha have rarely been analyzed. This book addresses this intellectual lacuna by closely examining memories, (semi-)autobiographical stories, and newspaper articles, grounded or inspired by lived experiences not only in Japan, but also in Shanghai, Manchukuo, colonial Korea, and the Pacific. Chapters further explore the voices of diasporic Korean women (Zainichi Korean woman born in Japan, as well as Korean American woman born in Korea) whose lives were impacted, intervening ethnocentric narratives that were at the heart of the Japanese empire. An appendix presents the first English translation of a memorable statement on comfort women by former Japanese propaganda actress, Ri Kōran / Yamaguchi Yoshiko. Nobuko Ishitate-Okunomiya Yamasaki's book Prostitutes, Hostesses, and Actresses at the Edge of the Japanese Empire (Routledge, 2021) will appeal to students and scholars of Japanese literature and film studies, as well as gender, sexuality and postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Analysing materials from literature and film, this book considers the fates of women who did not or could not buy into the Japanese imperial ideology of "good wives, wise mothers" in support of male empire-building. Although many feminist critics have articulated women's active roles as dutiful collaborators for the Japanese empire, male-dominated narratives of empire-building have been largely supported and rectified. In contrast, the roles of marginalized women, such as sex workers, women entertainers, hostesses, and hibakusha have rarely been analyzed. This book addresses this intellectual lacuna by closely examining memories, (semi-)autobiographical stories, and newspaper articles, grounded or inspired by lived experiences not only in Japan, but also in Shanghai, Manchukuo, colonial Korea, and the Pacific. Chapters further explore the voices of diasporic Korean women (Zainichi Korean woman born in Japan, as well as Korean American woman born in Korea) whose lives were impacted, intervening ethnocentric narratives that were at the heart of the Japanese empire. An appendix presents the first English translation of a memorable statement on comfort women by former Japanese propaganda actress, Ri Kōran / Yamaguchi Yoshiko. Nobuko Ishitate-Okunomiya Yamasaki's book Prostitutes, Hostesses, and Actresses at the Edge of the Japanese Empire (Routledge, 2021) will appeal to students and scholars of Japanese literature and film studies, as well as gender, sexuality and postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Analysing materials from literature and film, this book considers the fates of women who did not or could not buy into the Japanese imperial ideology of "good wives, wise mothers" in support of male empire-building. Although many feminist critics have articulated women's active roles as dutiful collaborators for the Japanese empire, male-dominated narratives of empire-building have been largely supported and rectified. In contrast, the roles of marginalized women, such as sex workers, women entertainers, hostesses, and hibakusha have rarely been analyzed. This book addresses this intellectual lacuna by closely examining memories, (semi-)autobiographical stories, and newspaper articles, grounded or inspired by lived experiences not only in Japan, but also in Shanghai, Manchukuo, colonial Korea, and the Pacific. Chapters further explore the voices of diasporic Korean women (Zainichi Korean woman born in Japan, as well as Korean American woman born in Korea) whose lives were impacted, intervening ethnocentric narratives that were at the heart of the Japanese empire. An appendix presents the first English translation of a memorable statement on comfort women by former Japanese propaganda actress, Ri Kōran / Yamaguchi Yoshiko. Nobuko Ishitate-Okunomiya Yamasaki's book Prostitutes, Hostesses, and Actresses at the Edge of the Japanese Empire (Routledge, 2021) will appeal to students and scholars of Japanese literature and film studies, as well as gender, sexuality and postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Analysing materials from literature and film, this book considers the fates of women who did not or could not buy into the Japanese imperial ideology of "good wives, wise mothers" in support of male empire-building. Although many feminist critics have articulated women's active roles as dutiful collaborators for the Japanese empire, male-dominated narratives of empire-building have been largely supported and rectified. In contrast, the roles of marginalized women, such as sex workers, women entertainers, hostesses, and hibakusha have rarely been analyzed. This book addresses this intellectual lacuna by closely examining memories, (semi-)autobiographical stories, and newspaper articles, grounded or inspired by lived experiences not only in Japan, but also in Shanghai, Manchukuo, colonial Korea, and the Pacific. Chapters further explore the voices of diasporic Korean women (Zainichi Korean woman born in Japan, as well as Korean American woman born in Korea) whose lives were impacted, intervening ethnocentric narratives that were at the heart of the Japanese empire. An appendix presents the first English translation of a memorable statement on comfort women by former Japanese propaganda actress, Ri Kōran / Yamaguchi Yoshiko. Nobuko Ishitate-Okunomiya Yamasaki's book Prostitutes, Hostesses, and Actresses at the Edge of the Japanese Empire (Routledge, 2021) will appeal to students and scholars of Japanese literature and film studies, as well as gender, sexuality and postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Analysing materials from literature and film, this book considers the fates of women who did not or could not buy into the Japanese imperial ideology of "good wives, wise mothers" in support of male empire-building. Although many feminist critics have articulated women's active roles as dutiful collaborators for the Japanese empire, male-dominated narratives of empire-building have been largely supported and rectified. In contrast, the roles of marginalized women, such as sex workers, women entertainers, hostesses, and hibakusha have rarely been analyzed. This book addresses this intellectual lacuna by closely examining memories, (semi-)autobiographical stories, and newspaper articles, grounded or inspired by lived experiences not only in Japan, but also in Shanghai, Manchukuo, colonial Korea, and the Pacific. Chapters further explore the voices of diasporic Korean women (Zainichi Korean woman born in Japan, as well as Korean American woman born in Korea) whose lives were impacted, intervening ethnocentric narratives that were at the heart of the Japanese empire. An appendix presents the first English translation of a memorable statement on comfort women by former Japanese propaganda actress, Ri Kōran / Yamaguchi Yoshiko. Nobuko Ishitate-Okunomiya Yamasaki's book Prostitutes, Hostesses, and Actresses at the Edge of the Japanese Empire (Routledge, 2021) will appeal to students and scholars of Japanese literature and film studies, as well as gender, sexuality and postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

Analysing materials from literature and film, this book considers the fates of women who did not or could not buy into the Japanese imperial ideology of "good wives, wise mothers" in support of male empire-building. Although many feminist critics have articulated women's active roles as dutiful collaborators for the Japanese empire, male-dominated narratives of empire-building have been largely supported and rectified. In contrast, the roles of marginalized women, such as sex workers, women entertainers, hostesses, and hibakusha have rarely been analyzed. This book addresses this intellectual lacuna by closely examining memories, (semi-)autobiographical stories, and newspaper articles, grounded or inspired by lived experiences not only in Japan, but also in Shanghai, Manchukuo, colonial Korea, and the Pacific. Chapters further explore the voices of diasporic Korean women (Zainichi Korean woman born in Japan, as well as Korean American woman born in Korea) whose lives were impacted, intervening ethnocentric narratives that were at the heart of the Japanese empire. An appendix presents the first English translation of a memorable statement on comfort women by former Japanese propaganda actress, Ri Kōran / Yamaguchi Yoshiko. Nobuko Ishitate-Okunomiya Yamasaki's book Prostitutes, Hostesses, and Actresses at the Edge of the Japanese Empire (Routledge, 2021) will appeal to students and scholars of Japanese literature and film studies, as well as gender, sexuality and postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Analysing materials from literature and film, this book considers the fates of women who did not or could not buy into the Japanese imperial ideology of "good wives, wise mothers" in support of male empire-building. Although many feminist critics have articulated women's active roles as dutiful collaborators for the Japanese empire, male-dominated narratives of empire-building have been largely supported and rectified. In contrast, the roles of marginalized women, such as sex workers, women entertainers, hostesses, and hibakusha have rarely been analyzed. This book addresses this intellectual lacuna by closely examining memories, (semi-)autobiographical stories, and newspaper articles, grounded or inspired by lived experiences not only in Japan, but also in Shanghai, Manchukuo, colonial Korea, and the Pacific. Chapters further explore the voices of diasporic Korean women (Zainichi Korean woman born in Japan, as well as Korean American woman born in Korea) whose lives were impacted, intervening ethnocentric narratives that were at the heart of the Japanese empire. An appendix presents the first English translation of a memorable statement on comfort women by former Japanese propaganda actress, Ri Kōran / Yamaguchi Yoshiko. Nobuko Ishitate-Okunomiya Yamasaki's book Prostitutes, Hostesses, and Actresses at the Edge of the Japanese Empire (Routledge, 2021) will appeal to students and scholars of Japanese literature and film studies, as well as gender, sexuality and postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Analysing materials from literature and film, this book considers the fates of women who did not or could not buy into the Japanese imperial ideology of "good wives, wise mothers" in support of male empire-building. Although many feminist critics have articulated women's active roles as dutiful collaborators for the Japanese empire, male-dominated narratives of empire-building have been largely supported and rectified. In contrast, the roles of marginalized women, such as sex workers, women entertainers, hostesses, and hibakusha have rarely been analyzed. This book addresses this intellectual lacuna by closely examining memories, (semi-)autobiographical stories, and newspaper articles, grounded or inspired by lived experiences not only in Japan, but also in Shanghai, Manchukuo, colonial Korea, and the Pacific. Chapters further explore the voices of diasporic Korean women (Zainichi Korean woman born in Japan, as well as Korean American woman born in Korea) whose lives were impacted, intervening ethnocentric narratives that were at the heart of the Japanese empire. An appendix presents the first English translation of a memorable statement on comfort women by former Japanese propaganda actress, Ri Kōran / Yamaguchi Yoshiko. Nobuko Ishitate-Okunomiya Yamasaki's book Prostitutes, Hostesses, and Actresses at the Edge of the Japanese Empire (Routledge, 2021) will appeal to students and scholars of Japanese literature and film studies, as well as gender, sexuality and postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Analysing materials from literature and film, this book considers the fates of women who did not or could not buy into the Japanese imperial ideology of "good wives, wise mothers" in support of male empire-building. Although many feminist critics have articulated women's active roles as dutiful collaborators for the Japanese empire, male-dominated narratives of empire-building have been largely supported and rectified. In contrast, the roles of marginalized women, such as sex workers, women entertainers, hostesses, and hibakusha have rarely been analyzed. This book addresses this intellectual lacuna by closely examining memories, (semi-)autobiographical stories, and newspaper articles, grounded or inspired by lived experiences not only in Japan, but also in Shanghai, Manchukuo, colonial Korea, and the Pacific. Chapters further explore the voices of diasporic Korean women (Zainichi Korean woman born in Japan, as well as Korean American woman born in Korea) whose lives were impacted, intervening ethnocentric narratives that were at the heart of the Japanese empire. An appendix presents the first English translation of a memorable statement on comfort women by former Japanese propaganda actress, Ri Kōran / Yamaguchi Yoshiko. Nobuko Ishitate-Okunomiya Yamasaki's book Prostitutes, Hostesses, and Actresses at the Edge of the Japanese Empire (Routledge, 2021) will appeal to students and scholars of Japanese literature and film studies, as well as gender, sexuality and postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/korean-studies

We explore the Windsor Free Festival, Sunday Head, Albion Free State milieu of hedonist, individualist, libertarian (and decidedly anti-communist) radicalism in 1970s Britain, led by figures like Ubi Dwyer, Sid Rawle, and Paul Pawlowski, as well as scions of elite families like Heathcote Williams and Nic Albery—in light of the fact that, as we have already seen, Nic Albery and his movement appear in Nobuko Albery's semi-autobiographical novel merged together (and not-so-subtly equated) with Mishima Yukio and his far-right Shield Society, with whom Nobuko and Ivan Morris were also closely associated. Hosted on Acast. See acast.com/privacy for more information.

Episode #207: Seeking a way to satisfy a growing internal discontent, Nobuko Nakano turned to psychedelics and other drugs, and hard partying in her youth. It was hard for her to stop, even after taking her first vipassana meditation course in the tradition of S.N. Goenka. Finally, though, she felt she had come to a fork in the road, and made the commitment to spend an extended period of time sitting and serving courses at Dhamma Aloka. Becoming more grounded in the practice, she traveled on to India and stayed at the Dhamma Giri, where she also took an extended Pāḷi course.Around that time, she and her partner enrolled in a 45-day vipassana course in Dhamma Sindhu in Gujarat. They had plans of returning to Australia and becoming more committed in their relationship, but on this course, something fundamental shifted in Nobuko; she realized that a relationship commitment in lay life was no longer for her.She ended up in Burma, where she decided to ordain as a nun. The ceremony was surprisingly emotional for her, and even nine months into wearing robes, the pain of having let go of her relationship with her boyfriend was still so acute that one day she decided to disrobe and go back to him, until a senior nun talked her out of it.She dedicated her time in robes to pariyatti study and intensive meditation practice, until several issues started bubbling over from under the surface. First was the disparity in how male and female monastics were treated in Burma. Yet even more egregious was the growing, anti-Muslim propaganda that was starting up (and eventually led to the Rohyinga crisis). She couldn't reconcile how a community that had been so supportive and generous towards her, and was so committed to following the Buddha's teachings, could become so hateful and paranoid. Nobuko realized that it was time for her to move on from Myanmar.Nobuko had still not disrobed when she finally returned to Melbourne, and her mother confided to her that she wanted her to return to lay life. She said, “I hadn't lived in the world for nine years, so I gave it some thought, and I decided, ‘How about I give it a shot being back in the world, and try to be a good, wholesome, dhammic person in the lay life, a contributing member in society?'”

From the semi-autobiographical novel of Ivan's second Japanese wife, Nobuko Albery (née Uenishi), we have some very sardonic portraits of the Morrises and their upper-crust left-wing milieu in France, as well as a fascinating subplot involving a drug-trafficking, blue-blooded hippie cult leader character who seems a fusion of Mishima Yukio and Nic Albery, the son of Nobuko's elderly second husband and a pioneering figure in post-left radical politics and early internet-style social experimentation in 1970s Britain, and who is here connected to an attempt on the life of a certain Labour prime minister—with the Ivan Morris character giving wry and knowing commentary on these antics throughout. Hosted on Acast. See acast.com/privacy for more information.

This episode has EVERYTHING: gay haircuts, yearning, rage against the patriarchy, they were *roommates*....let's talk about the magical world of Yoshiya Nobuko, girls' culture, and lesbian fiction in Taishō era Japan! Leigh is joined by guest host Erica Friedman, speaker, editor, researcher and an expert on all things Yuri. Yoshiya Nobuko was an extremely popular writer in 20th century Japan who lived with her beloved female partner for 50 years and her legacy continues today as “the Grandmother of Yuri.”. The tropes and storylines established in her writing can still be seen today in queer girls stories in and outside of Japan– get ready to learn all about modern Japan's very own Sappho. After all, it's all in the yearning.   Erica Friedman writes about Yuri anime, manga and related media on her blog Okazu, and can be found on Twitter as @okazuyuri, Bluesky as Okazu and @EricaFriedman@mastodon.social   Erica's book By Your Side: The First 100 Years of Yuri Anime and Manga is the first in-depth study of Yuri in English. Outline 0:00 Introduction 7:29 Socio-Historical Context 24:00 Who Were They? Bio Time 41:36 - 43:42 Content Note: discussion of WWII  48:37 Why Do We Think They're Gay?: Some More Socio-Historical Context 50:12 - 55:30 Content Note: discussion of pathologizing of homosexuality 55:30 - 58:00 Content Note: discussion of suicides in the news at the time 58:34 Word of The Week: “S Class” 1:06:56 Why Do We Think They're Gay?: Yoshiya's Life 1:17:47 Queer Themes in Yoshiya's Fiction 1:21:30 -1:22:39 Content Note: brief reference to suicide 1:30:07 Pop Culture Tie-Ins 1:36:00 How Gay Were They? 1:37:15 Conclusion and Sign off  Want to help us continue to make the show? Support us on Patreon and get awesome goodies, behind-the-scenes access, special minisodes, and more! We have a Discord server for everyone to hang out in, exclusive O.G. Lesbian Sappho t-shirts, Pop-Culture Tie-In movie watches, and some really fun extras coming your way! You can also get merch in our store! Shirts, hoodies, totes, mugs, magnets, and other neat things!  If you'd like to help us transcribe the show for our d/Deaf and hard-of-hearing fans, please head on over to www.historyisgaypodcast.com/transcribe to join the team of volunteers!  Find our full list of sources and bonus content at www.historyisgaypodcast.com. Find us on Twitter, Instagram, and Tumblr, and subscribe wherever you get your podcasts! Don't forget to rate and review so more folks can see the show!  

Nobuko Yoshiya (1896-1973) was a writer whose work helped pave the way for the popular Japanese illustrated genre of shōjo manga. We're celebrating Pride Month with Icons: supreme queens of queer culture. Some are household names... others are a little more behind the scenes. All of them have defied social norms and influenced generations of people to be unapologetically themselves. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures.  Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Liz Smith, Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Ale Tejeda, Sara Schleede, and Abbey Delk. Special thanks to Shira Atkins. Original theme music composed by Miles Moran. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

This week, your host Valorie Clark is covering Nobuko Yoshiya, one of modern Japan's most famous and beloved female novelists. In addition to living a publicly queer life in early 20th century Japan, she was a pioneer of Class S fiction and a foundational writer for today's popular shōjo manga. As always, you can get ad-free versions of the episode, and much much more on the Unruly Figures Substack: http://unrulyfigures.substack.com That's always where you can find transcripts of each episode, photos of each episode's subject, and behind-the-scenes goodies. So come join us! --- Send in a voice message: https://podcasters.spotify.com/pod/show/unruly-figures/message Support this podcast: https://podcasters.spotify.com/pod/show/unruly-figures/support

Raquel Valle entrevista a Carla Nobuko Pérez Díaz. Pedagoga experta en derechos humanos, interculturalidad y desarrollo. Ha realizado proyectos de voluntariado en España, Portugal y África. Esta noche en no me cuentes cuentos nos contará su experiencia y su historia para despertar.

This is a very short 5 minute excerpt of the conversation with Nobuko Okamoto about Kintsugi, the Japanese art of repairing broken pottery using gold - we reflected on what it might mean for each of us and our lives and parts that might be broken.   "The thing that strikes me about this technique of Kintsugi is that if we think about our lives, so often there are broken parts in our lives - and it is easy to push them aside and say "I don't want to deal with that brokenness" or that pain or whatever it is.  And the model that you are using is to say, "we can repair things and we can regognise that there is brokenness but that there can be beauty in the brokenness" - and by using Gold it is actually emphasising the places where the pottery was broken - and sometimes in our lives, well we don't want to talk about the broken things but in the same way we can be repaired, we can be fixed as well, and it can be something that even is celebrated, that it actually leads to some new life for this object ... or this person. It is a beatiful thing." Facebook for more by Nobuko: https://www.facebook.com/nobu.kintsugi/  Photos by Nobuko Okamoto of work she has done - visit her instagram for many more amazing ones. https://www.instagram.com/nobu.kintsugi/?hl=en  For more interviews visit www.theseeds.nz 

Nobuko is an artist who uses the Japanese method of Kintsugi to repair broken pottery.  In this interview we talk about the process of doing that but also what it represents about us as humans as well.  We also go into her background and life in Japan, being a professional snowboarder and what brought her to New Zealand as a teenager and then later in life as well.  If you have any broken items of pottery that is special then she is the best person to reach out to!  If you enjoy this conversation then have a listen to some of the almost 300 others in the back catalogue.   Nobuko Okamoto kintsugi.825@gmail.com Instagram : nobu.kintsugi  Facebook: https://www.facebook.com/nobu.kintsugi/  Stuff article: https://www.stuff.co.nz/life-style/homed/decor/300444143/the-slow-art-of-giving-broken-objects-a-second-life www.theseeds.nz 

For our final guest of Season 1 of Golden Hour, we wanted to take it back to a time when the term "Asian American" was only just being born. In the late 60s and early 70s, a new political consciousness was forming amidst the Civil Rights Movement and the Vietnam War. It was out of this time period that a trio of musicians recorded a singular album in 1973 called A Grain of Sand, widely considered to be the first recording of Asian American music. On this episode, Charlene talks with the album's co-writer and singer, Nobuko Miyamoto, who is now in her 80s. They talk about her recent autobiography entitled Not Yo' Butterfly and her solo album released on Smithsonian Folkways called 120,000 Stories. Nobuko shares her experiences living in a Japanese internment camp during World War 2, how she and Chris Iijima formed their partnership that led to A Grain of Sand, and what happened when she got a phone call from one of the most famous Japanese American artists. --- Send in a voice message: https://anchor.fm/goldenhourwithkaye/message Support this podcast: https://anchor.fm/goldenhourwithkaye/support

Nell'episodio di oggi vi presentiamo "Storie di fiori", una raccolta di racconti sull'amore fra giovani donne di Yoshiya Nobuko, edita in Italia da Atmosphere Libri Casa Editrice nella traduzione della nostra Paola Scrolavezza.

It's 1972 and Singer Nobuko “JoAnne” Miyamoto and her partner Chris Ijima get “the call.” It's Yoko Ono and John Lennon inviting them to sing on national TV. What happens next is musical history. And a young massage therapist in Miami Beach gets the business offer of a lifetime. So he shakes hands with the devil and hopes for the best. STORIES We Are Not Yellow Pearl It's 1972 and Singer Nobuko “JoAnne” Miyamoto and her partner Chris Ijima get “the call.” It's Yoko Ono and John Lennon inviting them to sing on national TV. What happens next is musical history. This story contains strong language and references to Japanese Internment and racism against Asians and Asian Americans. Sensitive listeners, please be advised. Thank you, Nobuko, for sharing your story with Snap! After their first and last TV performance, Nobuko and Chris recorded “Yellow Pearl,” “We Are The Children,” and other songs on their 1973 album A Grain of Sand: Music for the Struggle by Asians in America. And while Chris, unfortunately, passed away in 2005, Nobuko is still making music to this day. For more, check out Noboku's recently released memoir: Not Yo' Butterfly: My Long Song of Relocation, Race, Love, and Revolution. And go to Noboku's website to see what she's working on next! Produced by David Exumé, original score by Daniel Riera The Accidental Arms Dealer A young massage therapist in Miami Beach gets the business offer of a lifetime. So he shakes hands with the devil and hopes for the best. Big thanks to David Packouz for sharing your story. If you want to find out the dirty, dirty, gritty, gritty behind this piece, check out the book written by Guy Lawson; it's called "Arms and the Dudes." Produced by Anna Sussman & Julia DeWitt in collaboration with Guy Lawson. Original score by Renzo Gorrio. Artwork by Teo Ducot Season 12 - Episode 49

"When I grew up, there was no such thing as Asian-American studies, no such thing as black studies in the schools, no such thing as Latino or American studies. So we did not really know our own story." This week Julian talks to Nobuko Miyamoto about her art which spans all media and practices, and in which community plays a large role. In this episode Nobuko talks about how she came to understand her own position in American culture as a Japanese American women, how passing as Puerto Rican in Westside story made her look deeper into the culture and community in America, how the black panthers spoke for so many people, how the Vietnam war shaped her youth and her future, and about how Art threads through it all. The knowledge embedded in community is something that comes up a lot on this podcast and this episode is no exception, and Nobuko has such a deep understanding of community practice, and the benefits it brings. Nobuko Miyamoto Website, Twitter Great Leap LA Website Follow Survival of the Kindest on Twitter, Instagram and subscribe on Apple, Spotify or wherever you like to listen to get our episodes as they are released. Email us on sotk@compassionate-communitiesuk.co.uk

This week Julian talks to Nobuko Miyamoto about her art which spans all media and practices, and in which community plays a large role. In this episode Nobuko talks about how she came to understand her own position in American culture as a Japanese American women, how passing as Puerto Rican in Westside story made her look deeper into the culture and community in America, how the black panthers spoke for so many people, how the Vietnam war shaped her youth and her future, and about how Art threads through it all. The knowledge embedded in community is something that comes up a lot on this podcast and this episode is no exception, and Nobuko has such a deep understanding of community practice, and the benefits it brings. Nobuko Miyamoto Website, TwitterGreat Leap LA Website

The recent rise in documented anti-Asian violence—which saw grandmothers being punched on the streets, and a major shooting in Atlanta—has raised questions about the current status of Asian American identity and safety in the U.S.   How does “Asian” fit into the American racial taxonomy, which has for so long relied on a dichotomy of Black and white?   Helping us to sort out these questions and set the record straight are very special guests:·         Nobuko Miyamoto, actor, activist, singer and third-generation Japanese American whose work has blended art and activism since the 1960s. She's also the founder of Great Leap, a performing arts organization that promotes Asian American artistic works. She recently published a memoir, titled Not Yo' Butterfly: My Long Song of Relocation, Race, Love, and Revolution. ·         Dr. Claire Kim, professor of political science and Asian American studies at the University of California, Irvine. She has written two books—Bitter Fruit: The Politics of Black-Korean Conflict and Dangerous Crossings: Race, Species, and Nature in a Multicultural Age—and is currently working on a third book, Asian Americans in an Anti-Black World.  ·         Yang Huang, award-winning novelist and short story writer. She grew up in China's Jiangsu province and participated in the 1989 student uprisings before coming to the U.S. to study computer science. She's written two novels—My Good Son and Living Treasures—and a collection of linked short stories, My Old Faithful. Rate and review “On the Issues with Michele Goodwin" to let us know what you think of the show! Let's show the power of independent feminist media.  Check out this episode's landing page at MsMagazine.com for a full transcript, links to articles referenced in this episode, further reading and ways to take action. Tips, suggestions, pitches? Get in touch with us at ontheissues@msmagazine.com.Support the show (http://msmagazine.com)

Tune in to this week's episode featuring Dr Randall and Nobuko Miyamoto.Nobuko Miyamoto is an artivist who uses song, dance and theater to explore ways to reclaim and decolonize our minds, bodies, histories, communities, and to create solidarity across cultural borders. As part of the Asian American Movement she created with Chris Iijima and Charlie Chin the iconic album A Grain of Sand (1973, Paredon/Smithsonian Folkways). In 1978 she established Great Leap, creating musicals, concerts, albums, music videos and most recently FandangObon, a festival of art, cultures, earth.  Nobuko's new album 120,000 STORIES has just been released by Smithsonian Folkways, and in June 2021, her memoir, Not Yo' Butterfly: My Long Song of Relocation, Race, Love and Revolution is published by University of California Press.  Listen to these two powerhouses speak on a range of topics, including the fact that Asian American artists are still being invisible, unknown, foreign, even though some of then have been here for many generations.Hear Noboku's story as an activist and singer for the Asian American movement, and about first album of Asian American songs (Smithsonian).Don't miss it!

Aiko learned when Nobuko was drinking don't talk about wealth or something serious Lol 今回は訳あってざっくりな切り方させてもらいました笑笑

蓋を開けたらあいこの昔の恋バナやら今バナやらのぶこそっちのけで話してます

Nobuko has special event after this recording! 果たして春服は買えたのか？そしてあいこの最近のお気に入りやら、家の事？とか色々。

La charla de esta semana es con el Sensei Luis Lemos, 7 dan de Shorin Ryu Taishinkan, alumno directo y representante para argentina de la sensei Nobuko Oshiro, 8 dan, que reside en Okinawa. Conversamos de su historia, sus comienzos con el Sensei Benito Higa, la continuacion de sus practicas con el Sensei Oscar Higa, y posteriormente su acercamiento a Sensei Pedro Fattore, y finalmente a Sensei Nobuko Oshiro. Su experiencia en Okinawa, desde su primera llegada, sin tener idea a dónde ir, o como llegar a los dojos, hasta muy buenos cuentos y anécdotas de ese y posteriores viajes. Su interacción y relacionamiento con Minoru Higa Sensei, y sus experiencias en los dojos de Kyudokan de Okinawa. Y también de diversos temas, desde la forma de enseñanza japonesa, y contrastarla con la forma de enseñanza occidental, el tema deportivo, diferentes formatos deportivos, beneficios de la parte deportiva en los practicantes, temas politicos (de karate), la nueva organización del karate okinawense de Argentina (OKKOA) y un sin fin de otras cosas. Link a la pagina web del Sensei Lemos: https://okinawachikaradojo.blogspot.com Sus redes sociales: https://www.facebook.com/lemoschikaradojo/ https://www.instagram.com/luislemos.taishinkan/ https://twitter.com/chikaradojo/ Nos vemos en la proxima... Como siempre, en tu idioma y con café de por medio!!! Si te gusta mi contenido, no dudes en suscribirte, esto ayuda mucho a mi canal, también te dejo por acá las redes sociales y formas de contacto: Suscribite al canal y seguinos en las redes: https://www.youtube.com/c/YourKarateNews https://yourkarate.news https://www.facebook.com/YourKarateNews https://www.instagram.com/YourKarateNews/ ----------------------------------------------------------------------- Background Music Credits: Bellini by Atch, Coming Home by Atch, Daydream by Atch, Echoes by Atch, Escape by Atch, First Light by Atch, Found You by Atch, Freedom by Atch, Horizons by Atch, Journey by Atch, Memories by Atch, Over You by Atch, Places by Atch, Stuck In My Brain by Atch, This Feeling by Atch, Time Out by Atch, Voyage by Atch, Wondering by Atch, Your Love by Atch SoundCloud: bit.ly/AtchSoundCloud Instagram: www.instagram.com/atchmusic *For Instagram tag me @atchmusic ----------------------------------------------------------------------- --- Send in a voice message: https://anchor.fm/karatecafepodcast/message

Según Autor: Nemecio Nieto, Construcción de Edificios, Diseñar para contruir, ed. Nobuko

Según Autor : Nemecio Nieto, Construcción de edificios, ed. Nobuko

Conceptos técnicos, segun autor: NEMECIO NIETO, Construcción de edificios, Diseñar para construir, ed. NOBUKO

Según el Autor Nemecio nieto, ed. Nobuko, Construcción de edificios, Diseñar para Construir

Introducción de la obra, según Autor: Nemecio Nieto, Construcción de edificios, ed NOBUKO

Learn about the life, work, struggles, and achievements of Nobuko Tsuchiura. For show notes and more information check out our website https://www.shebuildspodcast.com/

Playlist: Gryphon Piano Trio - Lalo Piano Trio in A minor Op. 26 1st Mov Allegro AppassionatoMarc-André Hamelin, Joshua Bell, Pamela Frank, Nobuko imai , Steven Issertis - Franck Piano Quintet in F minor FWV 7: 3rd Mov Allegronon troppo ma con fuocoBeau Arts Tro, Lawrence Dutton - Faure Piano Quartet No. 2 in minor Op. 45 4th Mov Allegro MoltoBelcea Quartet - Debussy String Quartet in G mior Op. 10 L.91 2nd Mov Assez Vif et bien rhythmeEmerson Quartet - Ravel String Quartet in F Major M. 35 2 Assez Vif Tres RhythmeJoachim Trio - Saint Saens Piano Trio No. 1 in F major Op. 18, R. 113: 1st Mov. Allegro Vivace

Neste episódio, convidamos a Nobuko Murata e o Toshimitsu Kosaka para nos contarem um pouco sobre a rotina, os desafios e as graças de se dedicar ao hinokishin em Jiba, a terra parental.

Carlo & Jenna once again indulge in a big ol’ bowl of classic Japanese cinema with this in-depth look at the life and career of director Juzo Itami, along with his collaborator and wife Nobuko Miyamoto.

The Kitsukawa family lives just a few kilometres outside the port town of Takamatsu. The house and land belonging to the Kitsukawas are nestled on a mountainside from which wide-reaching views can be enjoyed across the hills of southern Japan’s Shikoku island. But this view isn’t so important at this very moment, because the man of the house, 77-year-old Shimpei Kitsukawa, is just about to open his garage door. Whenever he does so with strangers standing by his side, his wife Nobuko (70) holds her hand in front of her mouth to hide her grin in advance of this special moment: “For my husband, it’s like a sacred event.”

Nobuko Miyamoto, “Atomic” Nancy Sekizawa, and Mia Yamamoto In Conversation with Zen Sekizawa This week we bring you Music in the Asian American Movement: Interviews with Nobuko Miyamoto, “Atomic” Nancy Sekizawa, and Mia Yamamoto. Hosted by Zen Sekizawa, the episode takes a deep dive into the intersectionality of music, activism, identity, and culture in the United States. From a family’s return to Los Angeles after being removed to WWII Japanese Internment Camps, to working in the courts as a transgendered civil rights attorney, to fronting punk bands, their collective stories take us on a powerful journey that crisscrosses the country and spans generations. About our guests: Nobuko Miyamoto – Artivist, member of Grain of Sand and Founder of Great Leap Inc. “Atomic” Nancy Sekizawa – Owner and the heart and soul of the historic punk institution The Atomic Cafe. Mia Yamamoto – Transgender criminal defense attorney and civil rights activist. In Conversation is produced by dublab. Sound editing and music are by Matteah Baim. Due to rights reasons music from the original broadcast has been removed. To hear more, please visit dublab.com.

This episode details the life and times of Yoshiya Nobuko, a prolific and extremely successful Japanese author of the 20th century and possibly the first Japanese woman to own a racehorse. Listen on for flower metaphors, fifteen page love letters and '20s flappers from all over the globe. Transcript is now available here  

Download MP3 ８月の５週間は、恒例の「超濃縮！やさしい英語会話」です。この８年間に配信した259本の「やさしい英語会話」よりエピソードを厳選し、毎回４本分を濃縮してお届けします。ナチュラルスピードの会話をスクリプトとともにお楽しみください。 最近社会現象になったあのゲームなど、ゲームは世代を問わず人を夢中にさせるもの。今回は"Life Is a Game"をテーマに、パーティでのゲームや言葉のゲームも含めた、様々なゲームの会話を４本選びました。 Image credit: ぱくたそ. （初級〜中級）Drinking Games M: Chizuko! Do you want to go drinking tonight? W: Not really. Matt, you know I hate drinking. M: Come on. Alex is throwing a huge party. I bet lots of guys will come. W: Hmm. Nah. I think I'll pass on tonight. I don't really like drinking. And I hate drunk guys. M: Come on. I promise it'll be fun. If you don't have fun, you never have to come out again. There will be tons of games. W: Hmm. Games? What kind of games? Like Playstation games? M: Not exactly. W: Like Truth or Dare? Or I never? M: No way! Although those would be pretty fun, now that you mention it. There'll be drinking games. You know, like beer pong and flip cup. W: What? What are those? I've never played them before. M: What? I can't believe you never played those games. Every college student in America knows those games. W: Wait, I'm Japanese. I don't count. M: Still, you've been here for four months. W: Fine, tell me how to play. M: OK. Let's see. In beer pong, you try to throw ping pong balls into the other teams' cups. The losing team drinks. W: Yeah. That actually sounds pretty fun if I don't have to drink. OK, I'll go tonight if you're my partner and you drink all of the beers for me. M: No. You have to drink half of the beers. W: Fine. I'll just stay home. M: Fine, I'll drink all of your beers. Man, I'm going to get drunk tonight. W: What is that supposed to mean? Are you saying I'm going to make us lose? M: Maybe. But it's OK. You just have to deal with me after. W: Great. Just don't puke on me or try hitting on me. M: Sorry in advance. Sometimes, I just can't help myself. W: Maybe, I'll just stay home tonight. (Written by Kyle Kumashiro) How Do You Make a Game? M: Hey, Nobuko, how do you make a game? W: You mean a video game, I presume? Um, that's rather difficult. As difficult as creating a movie, maybe even more! Games contain images, sounds, plot, special effects. They also have interactivity. As well as goals, challenges, rewards… M: Whoa-whoa, cut the lecture. Can't you explain simpler? And a little closer to the actual thing? W: I see: no appreciation for the theoretical part? OK, well, basically a game is a compiled computer code together with images, sounds, and other resources it makes use of. M: Uh-huh, so I have to know how to write code? W: I see. No appreciation for the noble art of a software engineer! You don't have to know how to program. There are many game-creating software tools, such as Sploder and Stencyl. Such software already contains all the necessary game components - you only need to put it together in the way you want, like in a construction set. Of course, simplicity comes with a price of fewer possibilities. M: Oh, bummer. World of Warcraft and such are out of the question? W: Most definitely! In general, you won't be able to create anything complex or truly original unless you learn how to code. There are some exceptions to this rule, of course… Wait, actually I don't know any. M: It matters not! I will make my own game, which will be just like Super Mario, but with a cat instead of a plumber. It'll be a huge success. And being a famous game developer, I'll get money, fame, free lunches... you name it! W: I see. A couch potato with tacky dreams, and little respect for other people's intellectual property? Well, good luck! You'll need it. Ciao! M: I wonder why she would get so angry and call me names? It matters not! My fortune is just around the corner. Hey, wait! Isn't it time for my favourite TV drama? I guess I can leave game development for later! (Written by Dmitry Mamchur) Playing the "Would You Rather…" Game M: Hey, I have a good idea. Let's play the ‘Would you rather…” game! W: What's that? M: It's a game where I give you two really BAD situations, and you have to choose which one you'd prefer. W: Ah… That sounds like a horrible game. M: That's sort of the point, though! Alright, I'll start! Hmm… let me think… would you rather live in Antarctica or Death Valley? W: Oh, both are bad. OK… I'll choose Antarctica. At least I could build myself an igloo! Haha… OK. It's my turn now. Um… would you rather be trapped underground, or endlessly float through space? M: Um… I'm claustrophobic, so I choose ‘Endlessly floating through space'. W: I'd probably choose the same. Both are pretty crappy situations, though. M: I'd say! Alright… Would you rather… have a condition that made you sweat 10 times more than usual, or have really bad breath that was incurable? W: Bad breath! Most definitely bad breath! Can I use mints constantly? M: Mints don't work. It's an incurable condition, remember? W: Nooo! Alright, but I'm still sticking with bad breath. I'll just wear a mask for the rest of my life and will be known as the ‘masked beauty'. M: Haaaahhh, you DON'T need to wear a mask to be beautiful. W: Oh, how flattering… M: (laughs) OK, last one! Would you rather… go on a date with me, or go on a date with an old hairy lumberjack? W: Smooth… Um, I'll go with the old hairy lumberjack. M: Wow, what a lucky guy! W: Tomorrow at 7 pm. I'll be waiting outside my apartment. M: Hey, what are you trying to say? That I'm old and hairy? Anyway, I'm looking forward to it! (Written by Lauren Johnson) Are Game Arcades a Waste of Money? W: Hey Greg! What're you doing here? M: Eh? Oh hey Sarah. I just came here to try to win something for my girlfriend from one of these claw machine things. W: You mean UFO Catchers? You know those things are a huge rip-off, right? You really shouldn't be wasting your money on them. M: Ha ha. Yeah, I know they're a rip off, but I really need to win this figurine for my girlfriend! She told me she'd break up with me unless I got it for her for her birthday. W: Geez, why don't you just BUY the figure online if you need it so badly? You're gonna spend more money on this stupid machine than you would actually just buying it online. M: Trust me, I know that. It's just that I can't find this exact one online anywhere. It's a limited edition, and she's gotta have it. W: You know Greg, if I didn't know any better, I'd say your girlfriend is taking advantage of you. M: (Sigh) That may be true, but if I blow it with her, I may be alone for the rest of my life! (Greg begins shaking the machine vigorously) W: You know Greg, there's plenty of other girls out there who would date a guy like you. M: Really? Like who? (Continues to shake the machine as hard as he can) W: (blushes) Um, someone like-- (Sarah gets cut off as an alarm starts sounding from the machine.) Arcade Employee: Hey you! No shaking the machines! Get out of here! M: Ah! All I wanted was to win this stupid figurine! W: (sighs) (The two of them are ushered out of the arcade by a staff member.)　　　 (Written by David Shaner)

Download MP3 ８月の５週間は、恒例の「超濃縮！やさしい英語会話」です。この８年間に配信した259本の「やさしい英語会話」よりエピソードを厳選し、毎回４本分を濃縮してお届けします。ナチュラルスピードの会話をスクリプトとともにお楽しみください。 最近社会現象になったあのゲームなど、ゲームは世代を問わず人を夢中にさせるもの。今回は"Life Is a Game"をテーマに、パーティでのゲームや言葉のゲームも含めた、様々なゲームの会話を４本選びました。 Image credit: ぱくたそ. （初級〜中級）Drinking Games M: Chizuko! Do you want to go drinking tonight? W: Not really. Matt, you know I hate drinking. M: Come on. Alex is throwing a huge party. I bet lots of guys will come. W: Hmm. Nah. I think I'll pass on tonight. I don't really like drinking. And I hate drunk guys. M: Come on. I promise it'll be fun. If you don't have fun, you never have to come out again. There will be tons of games. W: Hmm. Games? What kind of games? Like Playstation games? M: Not exactly. W: Like Truth or Dare? Or I never? M: No way! Although those would be pretty fun, now that you mention it. There'll be drinking games. You know, like beer pong and flip cup. W: What? What are those? I've never played them before. M: What? I can't believe you never played those games. Every college student in America knows those games. W: Wait, I'm Japanese. I don't count. M: Still, you've been here for four months. W: Fine, tell me how to play. M: OK. Let's see. In beer pong, you try to throw ping pong balls into the other teams' cups. The losing team drinks. W: Yeah. That actually sounds pretty fun if I don't have to drink. OK, I'll go tonight if you're my partner and you drink all of the beers for me. M: No. You have to drink half of the beers. W: Fine. I'll just stay home. M: Fine, I'll drink all of your beers. Man, I'm going to get drunk tonight. W: What is that supposed to mean? Are you saying I'm going to make us lose? M: Maybe. But it's OK. You just have to deal with me after. W: Great. Just don't puke on me or try hitting on me. M: Sorry in advance. Sometimes, I just can't help myself. W: Maybe, I'll just stay home tonight. (Written by Kyle Kumashiro) How Do You Make a Game? M: Hey, Nobuko, how do you make a game? W: You mean a video game, I presume? Um, that's rather difficult. As difficult as creating a movie, maybe even more! Games contain images, sounds, plot, special effects. They also have interactivity. As well as goals, challenges, rewards… M: Whoa-whoa, cut the lecture. Can't you explain simpler? And a little closer to the actual thing? W: I see: no appreciation for the theoretical part? OK, well, basically a game is a compiled computer code together with images, sounds, and other resources it makes use of. M: Uh-huh, so I have to know how to write code? W: I see. No appreciation for the noble art of a software engineer! You don't have to know how to program. There are many game-creating software tools, such as Sploder and Stencyl. Such software already contains all the necessary game components - you only need to put it together in the way you want, like in a construction set. Of course, simplicity comes with a price of fewer possibilities. M: Oh, bummer. World of Warcraft and such are out of the question? W: Most definitely! In general, you won't be able to create anything complex or truly original unless you learn how to code. There are some exceptions to this rule, of course… Wait, actually I don't know any. M: It matters not! I will make my own game, which will be just like Super Mario, but with a cat instead of a plumber. It'll be a huge success. And being a famous game developer, I'll get money, fame, free lunches... you name it! W: I see. A couch potato with tacky dreams, and little respect for other people's intellectual property? Well, good luck! You'll need it. Ciao! M: I wonder why she would get so angry and call me names? It matters not! My fortune is just around the corner. Hey, wait! Isn't it time for my favourite TV drama? I guess I can leave game development for later! (Written by Dmitry Mamchur) Playing the "Would You Rather…" Game M: Hey, I have a good idea. Let's play the ‘Would you rather…” game! W: What's that? M: It's a game where I give you two really BAD situations, and you have to choose which one you'd prefer. W: Ah… That sounds like a horrible game. M: That's sort of the point, though! Alright, I'll start! Hmm… let me think… would you rather live in Antarctica or Death Valley? W: Oh, both are bad. OK… I'll choose Antarctica. At least I could build myself an igloo! Haha… OK. It's my turn now. Um… would you rather be trapped underground, or endlessly float through space? M: Um… I'm claustrophobic, so I choose ‘Endlessly floating through space'. W: I'd probably choose the same. Both are pretty crappy situations, though. M: I'd say! Alright… Would you rather… have a condition that made you sweat 10 times more than usual, or have really bad breath that was incurable? W: Bad breath! Most definitely bad breath! Can I use mints constantly? M: Mints don't work. It's an incurable condition, remember? W: Nooo! Alright, but I'm still sticking with bad breath. I'll just wear a mask for the rest of my life and will be known as the ‘masked beauty'. M: Haaaahhh, you DON'T need to wear a mask to be beautiful. W: Oh, how flattering… M: (laughs) OK, last one! Would you rather… go on a date with me, or go on a date with an old hairy lumberjack? W: Smooth… Um, I'll go with the old hairy lumberjack. M: Wow, what a lucky guy! W: Tomorrow at 7 pm. I'll be waiting outside my apartment. M: Hey, what are you trying to say? That I'm old and hairy? Anyway, I'm looking forward to it! (Written by Lauren Johnson) Are Game Arcades a Waste of Money? W: Hey Greg! What're you doing here? M: Eh? Oh hey Sarah. I just came here to try to win something for my girlfriend from one of these claw machine things. W: You mean UFO Catchers? You know those things are a huge rip-off, right? You really shouldn't be wasting your money on them. M: Ha ha. Yeah, I know they're a rip off, but I really need to win this figurine for my girlfriend! She told me she'd break up with me unless I got it for her for her birthday. W: Geez, why don't you just BUY the figure online if you need it so badly? You're gonna spend more money on this stupid machine than you would actually just buying it online. M: Trust me, I know that. It's just that I can't find this exact one online anywhere. It's a limited edition, and she's gotta have it. W: You know Greg, if I didn't know any better, I'd say your girlfriend is taking advantage of you. M: (Sigh) That may be true, but if I blow it with her, I may be alone for the rest of my life! (Greg begins shaking the machine vigorously) W: You know Greg, there's plenty of other girls out there who would date a guy like you. M: Really? Like who? (Continues to shake the machine as hard as he can) W: (blushes) Um, someone like-- (Sarah gets cut off as an alarm starts sounding from the machine.) Arcade Employee: Hey you! No shaking the machines! Get out of here! M: Ah! All I wanted was to win this stupid figurine! W: (sighs) (The two of them are ushered out of the arcade by a staff member.)　　　 (Written by David Shaner)

今回はビデオゲームに関するお話。しかし、ゲームを「遊ぶ」話ではなく「作る」話です。 現在はゲームセンターやパソコン、専用のゲーム機に加えて、携帯電話やタブレットでも手軽にゲームが楽しめる時代です。こうしたゲームの制作は、プログラマーをはじめとする多くの人手を必要としますが、簡単なオンラインゲームであれば自分で作ることもできるようです。そういうわけで会話の男性もゲームを自作する気になっているようですが、果たしてどのぐらい本気なのでしょうか。 今回の会話ではコンピュータ関連の用語もいくつか登場しますので、そちらの方も注目してみましょう。 今回お借りした素材 写真：Wikipedia Download MP3 （20:12　11.7MB　初級～中級）How Do You Make a Game? *** It's a Good Expression *** （今回の重要表現） to presume = 想像する、思う ※guessやsupposeと同じく、自分の考えを表明するのに使われるが、以下のような意味の違いがある。 guess：よくわからないので間違いかもしれない推測 suppose：自分の知識から判断しておそらく正しいと思われること presume：確証はないが正しいと考えること ちなみにpresumeを使った最も有名なフレーズは、19世紀後半、新聞記者H.M.Stanleyが消息不明の探検家David Livingstoneをタンザニアで劇的に発見した時の言葉"Dr. Livingstone , I presume?"（リヴィングストン博士でいらっしゃいますね？）。 plot = 物語の筋 interactivity = 双方向性 Whoa-whoa = Stop, stop. ※カウボーイが馬に言う「どうどう」から来た表現 no appreciation for〜 = 〜に対する理解がない to compile = 〜を集める、（コンピュータ言語を）コンパイルする to makes use of 〜 = 〜を利用する the noble art of 〜 = 〜のすばらしいわざ Sploder, Stencyl = オンラインゲームを作成できるサイトの名前 components = 構成要素 a construction set = 組み立てセット to come with a price (of 〜) = （〜という）代償を伴う (a) bummer = （俗語）残念なこと；「参ったなあ」 warcraft = 軍用機 an exception to the rule = 規則に対する例外 a plumber = 配管工（発音注意） ..., ..., you name it! ...とか...とか、何でも a couch potato = なまけもの tacky = 安っぽい、悪趣味な intellectual property = 知的財産 Ciao! = Hello! / Good-bye! ※イタリア語の挨拶 *** Script *** (Slow speed) 02:55-05:35 (Natural speed) 16:25-18:35 How Do You Make a Game? M: Hey, Nobuko, how do you make a game? W: You mean a video game, I presume? Um, that's rather difficult. As difficult as creating a movie, maybe even more! Games contain images, sounds, plot, special effects. They also have interactivity. As well as goals, challenges, rewards… M: Whoa-whoa, cut the lecture. Can't you explain simpler? And a little closer to the actual thing? W: I see: no appreciation for the theoretical part? OK, well, basically a game is a compiled computer code together with images, sounds, and other resources it makes use of. M: Uh-huh, so I have to know how to write code? W: I see. No appreciation for the noble art of a software engineer! You don't have to know how to program. There are many game-creating software tools, such as Sploder and Stencyl. Such software already contains all the necessary game components - you only need to put it together in the way you want, like in a construction set. Of course, simplicity comes with a price of fewer possibilities. M: Oh, bummer. World of Warcraft and such are out of the question? W: Most definitely! In general, you won't be able to create anything complex or truly original unless you learn how to code. There are some exceptions to this rule, of course… Wait, actually I don't know any. M: It matters not! I will make my own game, which will be just like Super Mario, but with a cat instead of a plumber. It'll be a huge success. And being a famous game developer, I'll get money, fame, free lunches... you name it! W: I see. A couch potato with tacky dreams, and little respect for other people's intellectual property? Well, good luck! You'll need it. Ciao! M: I wonder why she would get so angry and call me names? It matters not! My fortune is just around the corner. Hey, wait! Isn't it time for my favourite TV drama? I guess I can leave game development for later! (Written by Dmitry Mamchur)

今回はビデオゲームに関するお話。しかし、ゲームを「遊ぶ」話ではなく「作る」話です。 現在はゲームセンターやパソコン、専用のゲーム機に加えて、携帯電話やタブレットでも手軽にゲームが楽しめる時代です。こうしたゲームの制作は、プログラマーをはじめとする多くの人手を必要としますが、簡単なオンラインゲームであれば自分で作ることもできるようです。そういうわけで会話の男性もゲームを自作する気になっているようですが、果たしてどのぐらい本気なのでしょうか。 今回の会話ではコンピュータ関連の用語もいくつか登場しますので、そちらの方も注目してみましょう。 今回お借りした素材 写真：Wikipedia Download MP3 （20:12　11.7MB　初級～中級）How Do You Make a Game? *** It's a Good Expression *** （今回の重要表現） to presume = 想像する、思う ※guessやsupposeと同じく、自分の考えを表明するのに使われるが、以下のような意味の違いがある。 guess：よくわからないので間違いかもしれない推測 suppose：自分の知識から判断しておそらく正しいと思われること presume：確証はないが正しいと考えること ちなみにpresumeを使った最も有名なフレーズは、19世紀後半、新聞記者H.M.Stanleyが消息不明の探検家David Livingstoneをタンザニアで劇的に発見した時の言葉"Dr. Livingstone , I presume?"（リヴィングストン博士でいらっしゃいますね？）。 plot = 物語の筋 interactivity = 双方向性 Whoa-whoa = Stop, stop. ※カウボーイが馬に言う「どうどう」から来た表現 no appreciation for〜 = 〜に対する理解がない to compile = 〜を集める、（コンピュータ言語を）コンパイルする to makes use of 〜 = 〜を利用する the noble art of 〜 = 〜のすばらしいわざ Sploder, Stencyl = オンラインゲームを作成できるサイトの名前 components = 構成要素 a construction set = 組み立てセット to come with a price (of 〜) = （〜という）代償を伴う (a) bummer = （俗語）残念なこと；「参ったなあ」 warcraft = 軍用機 an exception to the rule = 規則に対する例外 a plumber = 配管工（発音注意） ..., ..., you name it! ...とか...とか、何でも a couch potato = なまけもの tacky = 安っぽい、悪趣味な intellectual property = 知的財産 Ciao! = Hello! / Good-bye! ※イタリア語の挨拶 *** Script *** (Slow speed) 02:55-05:35 (Natural speed) 16:25-18:35 How Do You Make a Game? M: Hey, Nobuko, how do you make a game? W: You mean a video game, I presume? Um, that's rather difficult. As difficult as creating a movie, maybe even more! Games contain images, sounds, plot, special effects. They also have interactivity. As well as goals, challenges, rewards… M: Whoa-whoa, cut the lecture. Can't you explain simpler? And a little closer to the actual thing? W: I see: no appreciation for the theoretical part? OK, well, basically a game is a compiled computer code together with images, sounds, and other resources it makes use of. M: Uh-huh, so I have to know how to write code? W: I see. No appreciation for the noble art of a software engineer! You don't have to know how to program. There are many game-creating software tools, such as Sploder and Stencyl. Such software already contains all the necessary game components - you only need to put it together in the way you want, like in a construction set. Of course, simplicity comes with a price of fewer possibilities. M: Oh, bummer. World of Warcraft and such are out of the question? W: Most definitely! In general, you won't be able to create anything complex or truly original unless you learn how to code. There are some exceptions to this rule, of course… Wait, actually I don't know any. M: It matters not! I will make my own game, which will be just like Super Mario, but with a cat instead of a plumber. It'll be a huge success. And being a famous game developer, I'll get money, fame, free lunches... you name it! W: I see. A couch potato with tacky dreams, and little respect for other people's intellectual property? Well, good luck! You'll need it. Ciao! M: I wonder why she would get so angry and call me names? It matters not! My fortune is just around the corner. Hey, wait! Isn't it time for my favourite TV drama? I guess I can leave game development for later! (Written by Dmitry Mamchur)

Kento & Nobuko take an in depth look at what the teachers at ICUHS are wearing! MP3 File