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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 on APEX Express, Host Miko Lee is going Beneath the Surface — with two incredible artists, Margaret Cho and Masaki Fujihata. Both artists have been working in their fields for decades. Margaret Cho — stand-up comedy, sitcom, filmmaking, writing. Masaki Fujihata — a pioneer in new media art.And here's what they have in common: they've both shifted with the times… but never lost their own voice. Their vision has stayed singular, even as the world around them changed. Listen in to APEX Express   Check out: BeHere / 1942: A New Lens on the Japanese American Incarceration at the Oakland Museum from Friday, September 18, 2026—Sunday, December 27, 2026 Masaki Fujihata website Choligarchy at Berkeley Rep, September 15-19th, 2026  Margaret Cho website Interweaving: Indo-Persian Exchanges Interweaving: Indo-Persian Exchanges at Oakland Asian Cultural Center, September 11, 2026 7pm Artists featured: arjun-verma.com www.pezhham.com  MazdakAlipour.com emanhashimi.com   Show Transcripts [00:00:00] Opening: 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.   [00:00:34] Miko Lee: Tonight on Apex Express, I'm going beneath the surface with two incredible artists, Margaret Cho and Masaki Fujihata. I'm your host, Miko Lee.   [00:00:57] These are two artists who've been working in their fields for decades. Margaret Cho, stand-up comedy, sitcom, filmmaking, writing, and Masaki Fujihata, a pioneer in new media art. And here's what they have in common. They've both shifted with the times, but they never lost their own voice. Their vision has stayed singular, even as the world around them have changed. So stick with me. First up, my conversation with Margaret Cho   [00:01:29] Welcome Margaret Cho to Apex Express.    [00:01:32] Margaret Cho: Thank you.    [00:01:34] Miko Lee: I wanna start with my question I ask most of my guests, which is who are your people and what legacy do you carry with you?    [00:01:41] Margaret Cho: I think my people are Asian American, my people are queer, my people are all ages, my people are progressive, my people have hope for the future. That's what I'm hoping. I think that's it, and that's who I am too.    [00:01:56] Miko Lee: Thank you. You started stand-up so young in this very Bay Area, and I think you started at age 14. I'm wondering what's your earliest childhood memory of being a performer?    [00:02:08] Margaret Cho: My earliest childhood memory of being a performer was I was actually a singer. I was a singer in a band of children, and I was probably maybe five years old. We were on a show on KTVU. I believe it was called Asia Now, and it was filming in the studio and I wouldn't stop waving at my mother, who was just off camera. And after the performance the band leaders asked me not to come back. Aw. I remember that because I could not stop waving at my mother and so I kept breaking that fourth wall. That was my first memories of performance.   [00:02:47] Miko Lee: And what did that feel like to you?    [00:02:50] Margaret Cho: I didn't really get the idea. I didn't really understand television exactly quite. I didn't understand why we were performing. I didn't understand why I couldn't say hi to my mother while I was performing. I didn't have a real comprehension of like even like rejection of what that meant or even performance or what that meant or television. So all these things that I come to learn about very well, rejection, performance, and television is my whole life. But back then I didn't understand the importance of all those things.    [00:03:22] Miko Lee: But there must've been some kind of zhuzh for you that you said, “Ooh, I wanna keep doing this,” right?    [00:03:28] Margaret Cho: Yeah, I think so. Much later though, you know, I did perform as a pianist. I was a classical pianist. I was also a ballet dancer. So those things required performance, which actually would make me really, really nervous, I think because in piano you're playing a classical piece. You're playing Beethoven, you're playing Mozart. So if you make a mistake, everybody's gonna know. Also with ballet you're choreographed and you're in as a troupe. If you're doing choreography with a bunch of other people- If you make a mistake, everybody's gonna know. But with comedy, mistakes are a little bit more of, something you can gloss over a bit. There's a little more control there, a little more room for chaos, which I absolutely need, I think, as a performer.   [00:04:22] Miko Lee: Mm, this is interesting. You've already described some of the different types of performance that you do, and you've also done so many things in your life. But I'm wondering if there is a type of art form that still makes you nervous.    [00:04:34] Margaret Cho: Music. I think playing an instrument in front of people, I think because when I was a child and would perform these recitals, I would be so nervous. There were a couple of times in recitals where I had to start over, you know? When you're, like, eight or nine years old and you make a mistake and have to start over, and this audience is, like, hundreds of people, it's, like, really mortifying. I still carry that. I play m- numerous instruments, and I really dread playing them in public. What helped me a little bit is busking, which I did quite a lot of over, over the years because when you're playing out on the street, there's a… I don't know. It's like people are not really paying attention to you, and therefore you're kind of in this divide of I'm in performance, but I'm also kind of not. So that helped. In general, I refrain nowadays from when I do music, I don't usually play my instrument along with the band. I usually just focus on singing. Even that is quite nerve-wracking. Singing and doing music still, even though I've been doing it really my whole life, there is something about it that, that quite, um… because when you're singing, you're actually also the instrument. So there's a bit of more required. That's why I always prefer comedy. Your quality of voice doesn't matter because the music you're making doesn't have to sound pleasing.    [00:05:59] Miko Lee: And when you were busking, what instrument were you playing?   [00:06:02] Margaret Cho: Guitar. Ah. So I would play guitar, sometimes a six-string banjo, sometime, I'd play all manner of sort of guitar-necked instruments, which can go from, guitar to mandolin to a cello that's, it has a guitar neck, so I can play- Ah that as well. So all those things, I cheat at everything 'cause I have a guitar neck.    [00:06:21] Miko Lee: I love that. The improv just comes out of you in all different ways, I guess.    [00:06:27] Margaret Cho: Yeah.   [00:06:27] Miko Lee: So you have been a path maker, rule breaker in so many aspects of your life, from comedy obviously, and producing and starring in the first Asian American TV show, actor, fashion maven, author, rapper, podcast host, and out and proud queer role model. I'm wondering, what's a career dream that you aspire to?    [00:06:46] Margaret Cho: Ooh, well, I wanna be an old lady crime show, like Murder She Wrote. I wanna just solve crimes. I love, like, a British crime show, like an old lady solving crime. Like a Prime Suspect, like a Helen Mirren. I love that kind of genre of television, and so I would love to mature in that 'cause, like, it's so interesting and also so rich and, I feel really drawn to it. So that's something that I haven't… I'm a participant in a lot of those types of shows. I'm on a show called Bull Trent, which is very much that, which is really cool. And then I've been on Law & Order, which is the ultimate, SVU is the ultimate sort of crime show. So I would love to engage in that genre more.   [00:07:31] Miko Lee: Ooh, are you developing that on your own?    [00:07:34] Margaret Cho: I'm not, but I am participating in lots of other people's versions of it. They're not out yet, so they will be coming, forthcoming.    [00:07:44] Miko Lee: Coming soon, and then your own version starring you. Yes. The- Yeah … modern Murder She Wrote. I would love it. In what town would this be? In San Francisco or in-    [00:07:53] Margaret Cho: Oh, San Francisco would be great. Yeah. San Francisco or, like, Marin.    [00:07:56] Miko Lee: Oh, God. That would be really funny.    [00:07:58] Margaret Cho: Sausalito. Sausalito would be so fun. You know, Napa Valley. You know, something, like, very, like, th- this community that looks very, like Saint Helena, like Calistoga, s- community that's very quaint and peaceful and, like, kind of like foodie oriented and, like, very, you, you know, you think very upscale, but actually there's a lot of dirty dealings going on underneath the surface.   [00:08:20] Miko Lee: The wine country Murder She Wrote.    [00:08:23] Margaret Cho: Yes, I love it.    [00:08:24] Miko Lee: I would watch that. That's fun. So you also have expressed your art in so many ways. Your body is filled with so many tattoos. I think you have over 70. Which of your tattoos evokes the strongest emotion for you?    [00:08:38] Margaret Cho: Well, right now I'm in this, like, trend only getting art from Korean artists, and these are guys. People from Korea who are tattooing now are really the best in the world. They are the state of the art. Like, their eye and their talent is just so innovative. There it's semi-illegal, so they do it under duress, you know, and they have to sort of do all these different things to do it. But their ability to just visualize things that are just, that seemed impossible, you know, these miracles on skin that they can do. The art now I'm really resonating with. There's an artist now that works exclusively in Dancheong, which is a kind of the color scheme of Korean temple art. And so all of his tattooing reflects that. And so I'm working on a very, very large piece on my leg that is, all Dancheong, which you know, for me, like having had lots of different kinds of tattoo, like I had sort of Japanese traditional and a lot of American traditional, and a lot of just kind of different kinds of art. Now to just really delve into the art of my ancestors is quite powerful, and by being done by very young, very skilled tattoo artists from Korea. You know, so I get to speak in Korean to them. We communicate in a language that is shared, that's ours, which is very different from the way that I've communicated with all of the other artists that I've had over my time as a tattooed person. So, um, yeah, tattooing for me, it's, it's all about Korea right now.    [00:10:21] Miko Lee: And what inspired your first tattoo?    [00:10:25] Margaret Cho: My first tattoo was done by Don Ed Hardy, who is a legendary Bay Area tattooer, also, an amazing guy and he was a friend of the employees of my father, who, my father owned Paperback Traffic, which is his gay bookstore just going in the 1970s. And so a lot of people were getting tattooed by Don Ed Hardy. They were getting full body suits in the '70s and '80s, and the, the, um, images, like, so on our refrigerator as a… When I was a child, my father would put up, um, the full body tattoos of these guys that worked for him. So that's what I would see every day. Instead of, like, our graded papers or, like, stuff that you usually have on a refrigerator, it was photographs of completely tattooed people. Um, and that really stayed with me. And so when I was ready to be tattooed, and this is, like, 2002, um, my father's employees and all of our, like, old friends took me down to see Don Ed Hardy, who was doing these body suits, and, he gave me my very, very first very large Japanese-inspired piece on my stomach and back. And that kind of started it off. I got the most painful, most difficult place in your body tattooed first, which is, like, basically your stomach, and your sternum, your chest. All those areas are really, like, those are the worst, and I got that over with. And so I realized, oh, I could actually keep on doing this. And I always knew that I would be heavily tattooed because of that.   [00:11:59] Miko Lee: So your first one you chose really big, not just like a small something. You got a really big one.    [00:12:03] Margaret Cho: Yeah.    [00:12:04] Miko Lee: Wow. Yeah. Just jump in, girl. Just jump in.    [00:12:07] Margaret Cho: Well, I just knew that was right, and I knew also this was probably, like, the only time that I would be able to get a very large piece from Don Ed Hardy, you know? Yeah. People know him, of course, from the clothing line- That's right … and the sort of Y2K influence. But he is so much more than that. His influence on tattooing is really significant. That was towards the end of his tattooing career. He didn't have many years where he kept doing it after, 'cause he explained to me that he absorbs the pain of people. Wow. And so he realized, like, that probably wasn't so good for him physically as he aged, I was really lucky to get what I got from him, which is a very, very large piece and a very important piece.   [00:12:51] Miko Lee: Amazing. And as you're talking about your childhood and growing up in the bookstore, it just makes me reflect on how your childhood was so unique and so interesting. Mm-hmm. And I'm wondering if today you were to make a television show about your childhood, how very different… With, with more artistic freedom. It would be so fun. It would be so fascinating. There's so many more streaming options than just the three networks that we grew up with. Yeah. So, what would that be like for you to do a TV show on your childhood now?    [00:13:23] Margaret Cho: I would love it. I mean, I would love to create that world, recreate that world, because, you know, we had the influence of, like, people who were doing a lot of very early body modification, meaning these full, full body tattoos, and, like, body piercing, which was such a different thing. I mean, in the 1970s we had the rise of Harvey Milk you know, and his assassination.    [00:13:44] Miko Lee: Mm-hmm.    [00:13:44] Margaret Cho: We also had the devastation of the People's Temple, which was all San Francisco people.    [00:13:50] Miko Lee: Yep, yep.    [00:13:51] Margaret Cho: It happened in Guyana, people don't realize this originated in San Francisco and came from there. All the people who died were San Franciscans, and Oakland, Bay Area people. This is our people. My parents actually rented the recently vacated People's Temple for my grandparents' 50th wedding anniversary. Wow. Like, crossing the police tape. To go in and have a Korean party, and then my mother's, “Lot of ghosts.” She saw all the ghosts.   [00:14:19] Miko Lee: Yeah, I'm sure.   [00:14:21] Margaret Cho: “Ghosts, ghosts, lot of ghosts. Well, ghosts don't really do anything. They just make food get cold very fast.” You know, like that kind of a thing. So it would be a great TV show, I think.    [00:14:32] Miko Lee: Ugh, I would watch that too. We're talking about your new show, Choligarchy, which is gonna be at Berkeley Rep, and I read that you said it brings you back to your roots as a political comedian. Can you share more about this?    [00:14:44] Margaret Cho: Well, I had the luxury of the Obama administration where I didn't feel like I had to fight so hard to be heard and seen as a queer Asian American woman, 'cause I worked on the Obama campaign, I worked on, getting people registered to vote in 2008 in Philadelphia. I worked on all these different things with Cal Penn in 2008 to assure a kind of future where we are gonna have something different, and then we did. And then so I got to spend about eight years where I could do dance, I could do music, I could kinda like drift into these other arenas of work that I hadn't been able to do because, before, had been, like, so much about fighting the Bush administration, so much about fighting what was going on. So now to be able to return to a thing that I'm very used to, like political commentary, where I'm really focused on using my voice to affect change and to create change, and it's really profound, you know? I love doing this show. It's got me thousands and thousands of death threats, which is also really terrifying and bizarre. I've always had a kind of very confrontational relationship with conservatives, but now it's escalated to the point of, like, oh, I actually do fear for my safety. But I think that it's worth it. The message is worth it, and I'm proud to do this show, and I'm very, very excited to bring it to very progressive Berkeley, which they're gonna hear it better than anyone. I do think Berkeley is even more progressive than San Francisco. So it's exciting.    [00:16:27] Miko Lee: Well, San Francisco is filled with tech bros now, so it's a very- Yeah … different vibe than when we were-   [00:16:32] Margaret Cho: That's right.   [00:16:32] Miko Lee: growing up. I'm wondering, I heard you say about how different it was during the Bush regime, which is actually relatively tame in retrospect compared to the fascistic times we're living in now. I'm wondering how different, now that you're going back to the kind of political roots, how different is it from that Bush time in your approach to your comedy?    [00:16:51] Margaret Cho: Well, Bush never descended into a cult. Bush never had the sort of magnetism as a person, to demand the cult-like sort of atmosphere that sort of exists now, where we have a leader who will gladly let all of his followers be on a decoy plane while he rushes away in a catering van. We think the decoy plane, that's really America. Like, the decoy– we are all, as a nation, on the decoy plane. He's happily content to let us all die to ensure his safety. It's like they're, and they're still gonna follow him after that. So that's a cult, you know? This is a different beast than we're dealing with just sort of patriotism or the idea of like xenophobia or the idea of wanting this kind of America that Bush wanted. Bush couldn't create that because he was not a cult leader, whereas now we have a bona fide cult and cult leader on a path to destruction.    [00:17:57] Miko Lee: So given this time that we're living in and how complicated it is, I'm wondering, especially as you're going on tour with this show, what brings you comfort and makes you feel connected to home when you're on tour or when you're away?   [00:18:10] Margaret Cho: Well, my dog is with me all the time, so that's really special. She'll be there at Berkeley. She's really, really amazing. I'm a big fan of social media. It's connecting with people on there, and people are encouraging me through there. There's a lot of points where I carry home with me. I'm also, at home on the road, because I've been traveling and performing for over 40 years, so it's a place that I feel a great deal of comfort in.    [00:18:35] Miko Lee: Because you mentioned social media, I'm just wondering, isn't that where the death threats are coming from, though, is social media? Or are you getting them in—   [00:18:42] Margaret Cho: Yes. But I'm also get, I get them on my phone. I get them, like they—   [00:18:45] Miko Lee: Oh, you, they- Yeah … find your cellphone and contact you—   [00:18:47] Margaret Cho: Yeah.   [00:18:48] Miko Lee: directly? Wow.    [00:18:49] Margaret Cho: Yeah, I get them, like, you know… I'm also concerned about, I've been doxxed, you know, they threatened to kill my dog, and I'm like, “She's white. She's one of you. Why would you kill her?” It's kind of funny.   [00:19:01] Miko Lee: But you don't respond to any of these folks, right?    [00:19:04] Margaret Cho: No, you can't, because you just don't know what… I always think about, like, Melissa Hortman. They killed her dog. I don't wanna be another example of, like, MAGA lunacy. When you speak out and you are a symbol of what they don't want. They don't want women, they don't want people of color talking. When you are that you're really in the line of fire. That's why traveling works for me, I get to be very, very stealth and hidden. Um, and that's kinda also why I travel so much, is to be stealth. Mm. I get so much encouragement from social media. I don't wanna cut myself off from it. But yeah, you have to be careful.    [00:19:42] Miko Lee: So you feel like that balance outweighs it?    [00:19:45] Margaret Cho: Yeah, for sure.   [00:19:45] Miko Lee: And I'm wondering if you think there's something that's misunderstood about you?    [00:19:49] Margaret Cho: When I'm talking and people don't like what I'm saying, they will say, “Oh, look at this has-been talking again.” And I'm like, “I'm not talking because I think I'm a celebrity. I'm talking because I am alive, and everybody who is alive has the right to speak.” I think this is really important. I don't talk because I feel like I have a responsibility to talk because I represent anything. No, I talk because we should all be talking. We should all have a voice. I don't have a sense of importance about myself or who I am or what I do. I think that everybody should be talking, and now we should all be talking because now we are all on that decoy plane, and he will leave us to die. So I'm going to say something about it. People have a myth about celebrity that somehow it involves our ego, and that's why we feel compelled to have a voice. But I think we should all have a voice no matter who we are.    [00:20:41] Miko Lee: I've heard you call yourself the patron saint of outsiders. Can you talk about what that means to you?    [00:20:47] Margaret Cho: I think for me it means to be able to have, my queerness front loaded, my Asianness front loaded, my gender front loaded, all these things that I want to be able to talk to those who feel like they don't feel represented by mainstream culture, by white supremacy. If you have felt rejected or even just not included by society at large, I wanna hear your voice. I wanna hear your opinion, and I wanna know you.    [00:21:15] Miko Lee: And last question, why should folks go and see Oligarchy at Berkeley Rep?    [00:21:20] Margaret Cho: Oh, it's Choligarchy.   [00:21:20] Miko Lee: Choligarchy.   [00:21:22] Margaret Cho: It's my nation. It's my dictatorship. In my dictatorship, we have universal healthcare. In my dictatorship, we have a universal living wage. If we actually made the billionaires pay their share, if we actually stopped supporting Israel and Argentina, other countries which I don't know why we give them so much money, but we do, if we stop doing that, we stop supporting the billionaires, if we stop giving corporations handouts, we could actually have a universal living wage where everybody in this nation would just be able to just live. We could just live because we are American. We could just live. And then your work could be what you really wanna do. That would be such an important change to the way that we exist as Americans. And we could do that if we actually stopped giving b- bailouts to corporations, actually made billionaires pay their share, and stopped giving money to countries that are not ours. That's what my platform is. That's what I run on, and that's what I plan to do.    [00:22:35] Miko Lee: And folk can find out more by going to see the show at Berkeley Rep, and we'll put a link in our show notes. Thank you so much, Margaret Cho, for joining us on Apex Express.    [00:22:45] Margaret Cho: Thank you.    [00:22:46] Miko Lee: Next up, get a preview of an upcoming unique performance at Oakland Asian Culture Center. Listen to Sawaal Jawaab    MUSIC   [00:24:01] Miko Lee: That was Sawal Jawab with Arjun Verma, Eman Hashimi, and Pezhham Akhavass in Interweaving: Indo-Persian Exchanges, a one-night-only performance on Friday, September 11th at the Oakland Asian Culture Center. The concert's a rare opportunity for Bay Area audiences to experience the interplay of some of Asia's richest classical music traditions from India, Iran, and Afghanistan. Next up, we hear from two voices, multimedia artist Masaki Fujihata and Carin Adams, senior curator at the Oakland Museum. Masaki Fujihata is a world-renowned sound, installation, interactive, and new media artist. He's also a professor at Keio University. His work has been shown all around the world, and now it's coming to the Oakland Museum, opening September 18th and running through the end of December. The piece is called BeHere / 1942, A New Lens on the Japanese American Incarceration, and it's a new augmented reality work. So tune in to my interview with Masaki and Carin Welcome to Apex Express, multimedia artist Masaki Fujihata and Carin Adams, senior curator at Oakland Museum.    [00:25:13] I'm so happy to have you both with me, and we're talking about the new exhibit BeHere / 1942: A New Lens on the Japanese American Incarceration, which opens at the Oakland Museum from Friday, September 18th to Sunday, December 27th. So thank you so much for joining me. I wanna start with a question I ask all of my guests. I'm gonna start first with you, Carin, and then I'll go to Masaki, and the question is, who are your people, and what legacy do you carry with you?    [00:25:53] Carin Adams: Oh, wow. I think there are lots of different facets of my family and who I think of as my people. Um, I think in, in this work in particular, I'm really, um, thinking a lot about my grandparents, my, my mother's parents, and, um, my mom, who's turning 91 in, um, October, and, um, her and her siblings' experience, um, being incarcerated in Tule Lake. So- Mm … that, I think has, has a lot to do with wh- why I'm here, and thank you so much for having me.    [00:26:36] Miko Lee: Mm-hmm. Thank you so much. And Masaki, what about you? Who are your people, and what legacy do you carry with you?    [00:26:43] Masaki Fujihata: Yeah, in my case, my, career started with the computer graphics long time ago in the '80s, so I came in, uh, Bay Area and, uh, West Coast quite frequently to join a big, uh, conference and so on. But then in '90s, I was very many times to be invited to be in Europe, so-called media art, i- is so dominant. So my curiosity is about the visual arts plus computer technology. Then nearly 10 years ago, I started to play with augmented reality. I recognized AR is a very good technology to put the history in actual moment. So the title Be Here 1942 means, I try to call the people in the past in the present. After one of my friend, the professor at UCLA invite me to be in Los Angeles, then we started to focus onto the Japanese Americans' history. That was the first, a kind of coincidence, but it was, very interesting to me because, I was born in Tokyo and grew up here in Tokyo, so usually I didn't think about who is a Japanese. [00:28:10] Along with this production, I studied a lot, not only the racial problems, but also the identity, , not only the personal identity, but also identity of Japanese and also American. It's really difficult to understand what's is the identity in the America because so many different people are living together and of course there are several conflicts. This is very good study for me, through the new media technology and, through the meeting with the people. Some of them really had, severe experience inside the camp. I never had a chance to think about these opportunities. Then I really want to recreate what had happened in the 1942. That was my point of view for this project.    [00:29:08] Miko Lee: I'm wondering when you were growing up in Japan, did you learn about the Japanese American incarceration?    [00:29:15] Masaki Fujihata: Maybe, maybe, but a tiny. Most of the young students just thought, oh, this is the history, not mine    [00:29:27] Miko Lee: And did you… Were there kibei that were there? Cause I know there were a lot of Japanese Americans that had been pushed out and repatriated to Japan. Did you grow up knowing any of those people?    [00:29:39] Masaki Fujihata: Mm, not, not really. Not really. Um, how can I say? Mm, maybe this is the education, the Japanese education. They didn't talk much about the history. The first part is an ancient moment, is very, very, you know, impressive. But, at the end of the term, so the modern age usually passing very, very fast.    [00:30:10] Miko Lee: Oh, interesting.    [00:30:11] Masaki Fujihata: Yeah, so n- not only about, history between America and Japan, but also China and Japan.   [00:30:18] Miko Lee: Mm-hmm.    [00:30:19] Masaki Fujihata: We have very few knowledge in, on the context of, uh, history education. I mean—   [00:30:24] Miko Lee: So sort of World War II- I mean- and forward? From World War II—   [00:30:27] Masaki Fujihata: Yeah, yeah …   [00:30:28] Miko Lee: You didn't really learn about it?   [00:30:28] Masaki Fujihata: Yeah, modern age. Modern age. I believe this is very big problem in the education.    [00:30:35] Miko Lee: That's so interesting. So the first that you really learned about the Japanese American incarceration was during, when you started this project at UCLA? Is that right?    [00:30:44] Masaki Fujihata: Yeah, yeah. I know something about the history in the US, but when I started to do research, there are many details, and every people's history is very, very different. So the textbook of the history is just the surface- So that's why I wanted to show more the detail through a new media technology.    [00:31:16] Miko Lee: I read a quote from you that said, “My aim was to peer deeply into photographs to derive from them more than was visible on the surface.” Can you talk a little bit more about what that means to you?   [00:31:29] Masaki Fujihata: Yes, because, I started to think about to focus on the moment when they ride the bus. So then, of course, I did some research to read some oral history, but, most of them didn't tell about the moment because I think this was just one hour or two hours for waiting. I suppose they usually don't want to remember, and also they thought that this is not important day, then they forgot.   [00:32:04] Miko Lee: What was it about the bus that you were curious about?    [00:32:08] Masaki Fujihata: We planned to realize our project, to think about the beginning. What is the beginning? There, there are quite many novels and writings about the life in the camp because of, of course, this is so heavy. Four years in the camp is unbelievable. According to my research, some people said they thought the war will ends in three months. But in there they spend in the camp, over four years. So of course, this is a heavy story and also while in the inside the camp. There are some conflict between the first generation, second generation or American side or Japanese side. The beginning is, of course, the Pearl Harbor raid, but, the bus, suddenly one day the bus came into your town and you were asked to ride the bus, and before riding they didn't tell them where they are going. So so if it happened now, how can we behave? So this is my question. This is the beginning, and they didn't know what will happen in the future. And then in parallel, I did some research to see the photographs because, there are many documentary photographs were in the archive, in National Archive, and also Library Congress. I tried to, see the photography, but as I said, when see the picture, you know, the detail is telling a different story, against the comment. The comment is just they are lining up for riding a bus or something, or Japanese American families get together and waiting. Of course they have some name card. At last I found through one of small girl's eye, there is a reflection of the photographer. But, not only the photographer, there are two, three, or four more people standing with the cameraman. Then, of course I understand they are all Caucasians. They are not Japanese American people. So for the little lady, for the little girl, when she was surrounded by, white officer, perhaps military police, she has nothing to do. But on the surface of the photography, she's smiling. So this contrast is the beginning. So this is a problem about media, visual media. So then I really want to share this experience with the other audiences through the exhibition. That was my intention.   [00:35:18] Miko Lee: And had you seen the photographs from Dorothea Lange and Russell Lee prior to working on this project?   [00:35:25] Masaki Fujihata: Of course, I know these names because they are very famous,, documentary photographer, the magazine Life started to publish from the year 1933, it was hit, so popular. I was really surprised because they did the job to make a document for Japanese Americans, and there is over 4,000 pictures left in the archive. I saw all of these so many times, so I can tell each picture. I can tell what is the difference, between the Dorothea and Russell Lee. So each photographer has, different characteristics. But I really surprised because, Dorothea Lange's photography is very different from others. And—   [00:36:18] Miko Lee: And the government didn't like them. They locked them away for years because they were too real.    [00:36:25] Masaki Fujihata: Yeah, and because, Dorothea's photography is always associated with the object inside the photography. She tried to understand who is she, who, who is—-    [00:36:38] Miko Lee: Mm-hmm …    [00:36:39] Masaki Fujihata: and try to have a good relationship with the object. Most of the photographer, like a press cameraman, it's just go there, “Hey, smile,” and shot is their, you know, way of business. But Dorothea's way is very different, so sometimes, I can tell she is always calculating the distance from her to the object. I enjoyed very much to have a chance to see all of these details. Of course, another luckiness because all of these photograph were shot by the government, then all of these are now public domain. Even me from Tokyo, I can see so many photographs with high resolution. I think those are made after year 2000 because of the technology came in. Then now they are supplying 3,000 by 4,000 pixels. That's why I could enlarge and to see the reflection on the girl's eye. It's a coincidence, but also it's the evolution of computer technology from analog photography. So this is also interesting part to share with the audience.   [00:38:01] Miko Lee: Thank you. Carin, I wonder if you could talk about what an audience will see when they come in to see the exhibit.    [00:38:08] Carin Adams: The exhibition is going to happen inside and outside the gallery. So if people are visiting the museum coming up through our entrance on Oak Street, they will have an opportunity to enter the augmented reality application that Masaki has designed where they're, standing there grounded in, the architecture of the Oakland Museum. But they're also seeing people, dressed as if they were in 1942, waiting with their belongings and their family members. They'll be able to see the buses that lined up on Oak Street in '42. There was a civil control station that was across the street, and Dorothea Lange took some very famous photographs of people waiting with their belongings in front of their houses that, on the museum side of the street. Masaki has adapted the augmented reality that he first developed for Los Angeles for Oakland. So people on entrance onto our campus will have that experience, and then if they come into the gallery, then they'll really be entering into the gaze of these eyes. They'll be surrounded by very high resolution images that Masaki has blown up, to mural size. You're forced to encounter the people that were reflected in the eyes of the subjects that Lange photographed.    [00:39:45] Miko Lee: Thank you, and I know that in the collection, you've had these Dorothea photos for a long time, right, in the Oakland Museum's—   [00:39:53] Carin Adams: Yeah. The Oakland Museum is the holder of the Dorothea Lange archive, including some of her images of the incarceration. The Bancroft Library also has extensive holdings of her work and material , related to this history. And of course, Masaki did lots of research in the National Archive and Library of Congress.   [00:40:16] Miko Lee: Masaki, I know this is the second version of the show since you have opened it first at JAMM and at UC, with UCLA. Yeah. What was it like for you to recreate it for the Oakland Museum? How has that experience been?   [00:40:30] Masaki Fujihata: I'm very, very lucky to find OMCA. Mm-hmm. We started to think about the production in OMCA. I made a research through, of course Dorothy Lang's photography. Then there is a number of the street, 1117 Oak Street is the place where people apply their address and family name. The Civil Control Station is that address. I was very surprised because this is a street in front of the museum, and actually the other side of the street was the Civil Control Station where the bus came in. So this is exact place I really wanted to put my augmented reality models. So I was very shocked because I never think about the museum is a real place.   [00:41:24] Miko Lee: So it's truly a place-based piece of art because that is the history coming alive in that very spot.    [00:41:31] Masaki Fujihata: Yes. Yeah. So, all the projects start from the realization of augmented reality.    [00:41:39] Miko Lee: Mm-hmm.    [00:41:40] Masaki Fujihata: So augmented reality is a kind of tech term, but augmentation is adding some information rather than the first wa- surface or rather than the display. In this case, we are putting the happenings in the 1942 in present, and then try to make a contrast between now and the past. The exhibition inside the gallery is showing a kind of process of the research to make this augmented reality piece because for making the 3D model data, we invite many volunteers into a special studio. I have to direct them. I have to prepare some scenario for them. In some cases, you are the university students. Coincidentally, you met the professor, while waiting for the bus. This is a fiction I made. When I need to make a scenario, I really need a research what is possible, what is not possible. So then the photography help me a lot to make a small scenario.    [00:43:01] Miko Lee: How many volunteers worked with you on this?    [00:43:04] Masaki Fujihata: I think totally 64 volunteers.    [00:43:08] Miko Lee: Wow. That is amazing.    [00:43:10] Masaki Fujihata: Each one was asked to walking towards the point where the bus would come, and then the second part is waiting, and then the third part is just lining up for the bus. So there is three different scenario. Then each person appears three times. Then totally you will see nearly 200 people.    [00:43:37] Miko Lee: Wow. And I understand that you use, in order to utilize the AR, you use cameras that kind of replicate those used during the incarceration, and I'm wondering what made you decide to choose that?   [00:43:53] Masaki Fujihata: So I try to know the core idea of each technology, because the technology is usually used for capitalism. My manifest is liberate technology from capitalism. So technology has another dimension, not only for serving for the capitalism to make money for your life more rational, but the technology also can give you a chance, who are you? What is life? What is the world? So I really want to use the technology another dimension of the technology usually used by the companies, and capitalism. In this case, this project is really good because very nice photography was left in the archive. But imagine in the 1942, photography was a high technology. Very few technicians or rich people could have the camera. Now so popular everybody has a camera inside their mobile phone, but it was high tech. And now augmented reality is somehow popular technology, but no one didn't use the AR technology to think about what we are doing as an art. So I wanted to use augmented reality to, to think about what is our life    [00:45:32] Miko Lee: Ooh, that is so interesting. I really appreciate that. And I'm wondering because you've seen audiences go through the first exhibit, I'm wondering if anything surprised you by audiences that have seen it and what, what you'd like people to walk away with after going to your installation.    [00:45:51] Masaki Fujihata: I was really surprised because this was my first case the audience had a tear. So after they saw the augmented reality, some of the person said, “Masaki,” I suppose, she suppose that, “Perhaps my grandfather was here.” Could feel the same impression or imagine, she could imagine what had happened on her grandfather So it's a bit like a cinema, but there is no written story, so each person can explore the images through a tablet. But, uh, maybe five minutes later, uh, the user will feel inside the scene. So In another words, I can say you are going to feel you are inside a cinema studio. You will be captured by the camera. And also another, okay, another interesting aspect because, I could develop this project because the photographs were left made by Dorothy and other people, uh, professional documentary photographer made these photography. So photography was left. And then, um, while you are using iPad in the entrance plaza of, Oakland Museum, you will see many Japanese people wearing the costume and, waiting for the bus. But now you are the cameraman. You believe you are seeing what had happened through the display, but, imagine for them inside the image were looked by you. So this is the viewer you are going to see, but also from them, from the object, you are the cameraman.   [00:48:04] Miko Lee: So you want people to feel both sides, both being the watcher but also in it—   [00:48:09] Masaki Fujihata: Yeah.   [00:48:10] Miko Lee: Immersed in the experience.    [00:48:11] Masaki Fujihata: Yeah, hunter.    [00:48:13] Miko Lee: Mm.    [00:48:13] Masaki Fujihata: Image hunter, yeah.    [00:48:15] Miko Lee: Image hunter, mm. I, I feel like you're saying utilizing technology as a tool for your emotions as opposed to a capitalistic gain. I'm wondering if you're working with AI at all, and your thoughts about it. Because you've really been on the forefront of so much multimedia since the '80s and I'm just wondering now people are just talking about AI and the impact of artists  and I wonder what your thoughts are about that.   [00:48:39] Masaki Fujihata: I, I think, uh, it's too early to, uh, work with AI as an artist because, uh, e- even the developer of, uh, AI didn't know what happened inside, so it's a black- totally black box. So that's interesting part of AI. Uh, maybe you know some, some story about this. Very recently, uh, the AI ju- just hack the connection, then they escape from the inside the laboratory to go outside the internet. So this could happen. Uh, that's why, because a human couldn't imagine. So the AI doing something different, and it's really a black box. Then, uh, that's interesting point. If I can be inside the development company as an artist, I can make something interesting hacking software, but it's a huge business, and, uh, I think this is not the moment for the artist. And also, as you know, all the data inside the AI is, uh, happenings in the past.    [00:50:02] Miko Lee: Right.    [00:50:04] Masaki Fujihata: And then, right, the present is important for the humans. What is the role of the artist? There is some, uh, sentence, artist is the person who is creating something new which has not exist before. so, uh, we are not AI, so w-we have to know who, what we should do in contrast to AI is the important moment    [00:50:37] Miko Lee: Thank you so much. I wonder if you would want to just reflect briefly on how this, this piece that you're presenting at Oakland Museum is very resonant right now in America because of the current politics of incarceration of peoples and you know, we're at the same, at the exact same concentration camps where Japanese Americans were held. Immigrants are being detained and put there right now. I'm wondering how this piece speaks to the moment that we're living in in the United States right now.   [00:51:13] Masaki Fujihata: Um, please do not make more mistakes that American government did before in 1942. So Our project can be a kind of reference what the American government did after the Pearl Harbor.    [00:51:39] Carin Adams: Masaki, would you wanna talk a little bit about the new piece that you're making?    [00:51:45] Masaki Fujihata: Oh, I see, I see. I think- That's a good idea. I, I totally forgot. Yeah. Thank you, Carin. Because I proposed to Carin and museum about to make a new piece. The idea is about, uh, the poster. The, that they… So the, in Okura case, maybe, uh, to l- late April in 1942, the poster paste on anywhere, everywhere inside the town, and talking about the, at the certain day, you cannot be stay here. You will be criminal. So, so this is the s- starting point. Then they need to come to the civil control station to sign up, and then one week later, the bus came in, then they need to go to the camp. Then the poster is now very famous, but, uh, usually, people didn't read it Then I, I asked to, collect volunteers to ask read this text on the poster, uh, several different locations inside the Oakland. So when you see the final result, the view of the people reading the text aloud is very peaceful, very bright, California sunshine and there is a lake behind and sometimes, you know, the buses came and stop and go there. So this is very peaceful, but the content is very strong- strongly contrast- co- contrasted. So it's a command from the government. I really wanted to, to make this contrast through this new production. So you, you will see three vertical monitors, and, 25 different group of people. I think there was nearly 45 people helped me to realize this   [00:54:02] Miko Lee: What is it you hope to evoke by adding this new piece of the relocation poster?   [00:54:08] Masaki Fujihata: I really wanted to involve some of the young generation and family and also, known Japanese American people. So all of these people, of course, have some fear against the, this moment, and then try to, uh, send messages. So they helped me to realize this.   [00:54:39] Carin Adams: The video is really going to provide the soundtrack for the exhibition. There is no sound in any of the other film elements or in the AR other than what visitors bring in conversation into the space. But they'll be able to hear the local volunteers that Masaki assembled reading the exclusion order text and we're expecting that to be very profound- impactful. And yes, some of the people who volunteered for this new video element were incarcerated themselves, others are descendants, and then there are just people who are representing different immigrant experiences who wanted to participate. So it's a very local production, and it really cites us in the present moment with this really chilling text from the past.    [00:55:33] Miko Lee: Thank you so much for joining me and chatting with me about the exhibit BeHere / 1942. I'm really excited to check it out, and I hope our audience gets a chance to go and see it all the way through the end of December at Oakland Museum.   [00:55:48] Carin Adams: Thank you so much for having us.    [00:55:50] Miko Lee: Please check out our website, kpfa.org/program/apexexpress to find out more about our show and our guests tonight. 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, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preti Mangala-Shekar and Swati Rayasam. Tonight's show was produced by me Miko Lee, and edited by Ayame Keane-Lee. Have a great night.   The post APEX Express – 9.3.26 – Beneath the Surface with Margaret Cho & Masaki Fujihata appeared first on KPFA.

Broadcasted on Radio Relativa in Madrid on May 5th 2026. For complete tracklist visit: https://individualactiviti.es
 Buy okuraEuropa here: https://okuraeurope.bandcamp.com

En este episodio de El Dollop, exploramos la increíble historia de Albert Okura, un emprendedor obsesivo que pasó de amar las hamburguesas a crear su propio imperio de pollo rostizado: Juan Pollo. Desde la expansión de McDonald's, estrategias de marketing absurdas, hasta comprar un pueblo entero en el desierto y convertirlo en su proyecto personal, esta historia mezcla el sueño americano, comida rápida, ambición desmedida y decisiones completamente surrealistas. Síguenos y visita nuestro sitio oficial: https://www.instagram.com/eldollop https://twitter.com/eldollop https://www.facebook.com/eldolloppodcast Los Dollops: @ninguneduardo @bryanthemachine http://eldollop.com

An episode showcasing musicians who meet the listener in a place of honesty, where they can explore creativity in complete freedom. The playlist features Dominique Fils-Aimé; Meg Okura [pictured]; Brian Marsella, Sae Hashimoto; Ben Wendel; PDuRN, Ralph Alessi, Manuel Caliumi. Detailed playlist at https://spinitron.com/RFB/pl/22103632/Mondo-Jazz [from "Life Remains" to "Zermula"]. Happy listening! Photo: Tara Harkness

Broadcasted on Radio Relativa in Madrid on March 24th, 2026. For complete tracklist visit: https://individualactiviti.es
 Buy okuraEurope music here: https://okuraeurope.bandcamp.com

Frank got to sit down with Okura Taiji of Gekkeikan Sake to talk about the whole swath of Gekkeikan’s existance. Our conversation covers its rise to prominence in the late 1800s to its creation of a brewery in America to what’s going on in Gekkeikan Studio, the experimental arm of the brewery. We ae trying out a new video format which you can find on YouTube: https://www.youtube.com/watch?v=pgCm-m_-1_I. Let us know what you think! As always, if you have questions or comments, please do share them with us at questions@sakeonair.com or send us a message on our Instagram, Facebook, or Substack!We'll be back very soon with plenty more Sake On Air. Until then, kampai! Sake On Air is made possible with the generous support of the Japan Sake & Shochu Makers Association and is broadcast from the Japan Sake & Shochu Information Center in Tokyo. Sake on Air was created by Potts K Productions and is produced by Export Japan. Our theme, “Younger Today Than Tomorrow,” was composed byforSomethingNew for Sake On Air.

Frank got to sit down with Okura Taiji of Gekkeikan Sake to talk about the whole swath of Gekkeikan’s existance. Our conversation covers its rise to prominence in the late 1800s to its creation of a brewery in America to what’s going on in Gekkeikan Studio, the experimental arm of the brewery. We ae trying out a new video format which you can find on YouTube: https://www.youtube.com/watch?v=pgCm-m_-1_I. Let us know what you think! As always, if you have questions or comments, please do share them with us at questions@sakeonair.com or send us a message on our Instagram, Facebook, or Substack!We'll be back very soon with plenty more Sake On Air. Until then, kampai! Sake On Air is made possible with the generous support of the Japan Sake & Shochu Makers Association and is broadcast from the Japan Sake & Shochu Information Center in Tokyo. Sake on Air was created by Potts K Productions and is produced by Export Japan. Our theme, “Younger Today Than Tomorrow,” was composed byforSomethingNew for Sake On Air.

Comedians Dave Anthony and Gareth Reynolds examine Albert Okura SOURCES TOUR DATES OFFICIAL MERCH Hims Helix Sleep Squarespace - use code: Dollop

Meg Okura is an award-winning Jazz composer and brilliant Grammy-nominated violinist, and the leader and founder of the  Pan Asian Chamber Jazz Ensemble. This episode features several excerpts from Meg's wonderful recent duo album “Lingering” with the Grammy Award-winning jazz pianist and composer  Kevin Hays. This  was a wide-ranging conversation, including Meg's musical tribute to Ryuichi Sakamoto, her experiences playing for Cirque du Soleil,  some of the challenges she's faced, and about her search for a new spiritual community.  She shared with me her thoughts on mentorship and the power of music to create real understanding and connection.   Like all my episodes, you can watch this on my YouTube channel or listen to the podcast, and I've also linked the transcript to my website: https://www.leahroseman.com/episodes/meg-okura Album Lingering: https://megokurakevinhays.bandcamp.com/album/lingering Meg Okura Website https://www.megokura.com/home Phantasmagoria: https://open.spotify.com/track/4YG1HjeJF3qgK2AsmiqcXh Original Merch for sale: https://www.leahroseman.com/beautiful-shirts-and-more Can you buy this independent podcaster a coffee? ⁠https://ko-fi.com/leahroseman⁠ Complete Catalog of Episodes: ⁠https://www.leahroseman.com/about⁠ Newsletter sign-up: ⁠https://mailchi.mp/ebed4a237788/podcast-newsletter⁠ Linktree for social media: ⁠https://linktr.ee/leahroseman⁠ Timestamps:  (00:00) Intro (02:19) meeting Kevin Hays, album “Lingering” (06:49) Again and Again (10:18) intro to Maim Korim  (11:25) Maim Korim (15:07) Meg's classical training, early interest in composing was discouraged, Pan-Asian Youth orchestra experience (19:56) commentary on Will You Hear My Voice  (21:56) excerpt from Will You Hear My Voice  (23:06)  finding her own path into jazz in New York, influences and opportunities (27:41) BMI Jazz composers workshop (29:30) founding the Pan Asian Chamber Jazz Ensemble  (40:38) excerpt from Tomiya Pan Asian Chamber Jazz Ensemble from album Ima Ima (42:09) Ryuichi Sakamoto tribute project (47:02) Michael Brecker, new album with Randy Brecker (48:54) ISJAC prize, Silent Screams: an Anthem for the Unheard  (50:18) commission to write trio Phantasmagoria for Tasha Warren and Dave Eggar, writing for classical ensembles (56:00) excerpt from Phantasmagoria  (57:23) parenting decisions, importance of education and community, decision to convert to Judaism (01:08:42) changes with education and music online (01:11:36) coommentary on Shamaim  (01:13:28) excerpt from Shamaim (01:15:50) different ways you can support this independent podcast (01:16:43) the importance of intuition and emotion in musical composition and improvisation (01:23:06) commentary on Lingering, nostalgia and changing sense of self as we age (01:26:10) excerpt from Lingering (01:28:02) use of electric violin as a tool for composition and in performances (01:29:54) Scorchio Quartet, David Bowie, Sirius quartet, Pharaoh's Daughter (01:35:10) Cirque du Soleil, decision to return to New York, marriage to Sam Newsome, learning jazz (01:43:19) the importance of mentorship, community, the healing power of music

Wie schafft es ein Hotel, seine Gäste jeden Tag aufs Neue zu beeindrucken? In dieser insights!-Folge ist Niek Hammer, General Manager des Hotels Okura in Bangkok, zu Gast. Er teilt seine Erfahrungen, wie man im Hotelgewerbe mit Herz und Hingabe herausragenden Kundenservice bietet und eine Kultur der kontinuierlichen Verbesserung schafft. Du erfährst, warum ein menschlicher Führungsstil den Unterschied macht, was hinter ihrem kontinuierlichen Verbesserungsprozess steckt und welche Rolle die Mitarbeiterführung dabei spielt.

In this episode we speak with Tokyo born, New York based Jazz violinist and composer about her new album, "Lingering," with pianist Kevin Hayes, how her conversion to Judaism has informed her life and music, her journey from Julliard to free improvisation, and how she's managed to turn labels and stereotypes into assets along her career path. Show notes: Meg's website https://www.megokura.com Listen/Purchase "Lingering" https://megokurakevinhays.bandcamp.com/album/lingering Stream "Lingering" on Apple Music https://music.apple.com/us/album/lingering/1737319248 Stream "Lingering" on Spotify https://open.spotify.com/album/26Xn8ZzKI0mzStvnSorUQ5 Scores & Parts for some of Meg's compositions https://www.megokura.com/scores-parts ~~ Host Laurel Thomsen's info and links: For more information and info about my performances, recordings, and teaching, please visit my website ⁠⁠⁠⁠⁠⁠⁠⁠https://www.laurelthomsen.com⁠⁠⁠⁠⁠⁠⁠⁠ To check out my Violin Geek Blog, the companion to the podcast, sharing tips, insight and inspiration since 2007, please visit ⁠⁠⁠⁠⁠⁠⁠⁠https://www.laurelthomsen.com/violin-geek-blog⁠⁠⁠⁠⁠⁠⁠⁠ If you have a violin, viola, fiddle, music biz, or practice related question or topic you'd like to have covered on the Violin Geek podcast or in the blog, have someone you'd like me to interview, or have a  story or insight to share, please send me an email at ⁠⁠⁠⁠laurel@laurelthomsen.com⁠⁠⁠⁠. Also, please reach out if you'd like to inquire about online violin, viola, or fiddle lessons with me via Skype, FaceTime, or  Zoom. You're also welcome to post your success story, comments, or suggestions to ⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/laurelthomsenmusic⁠⁠⁠⁠⁠⁠⁠⁠. Happy Practicing! --- Send in a voice message: https://podcasters.spotify.com/pod/show/violingeek/message Support this podcast: https://podcasters.spotify.com/pod/show/violingeek/support

M

This podcast episode delves into advanced estate planning and asset protection strategies for individuals with a net worth of several million dollars, exceeding the basic approaches like LLCs. The discussion features attorney Ethan Okura from Hawaii, covering topics like irrevocable trusts, the implications of the Corporate Transparency Act, and handling of beneficiary ownership agreement forms despite legal disputes. It also touches upon the psychology of predicting economic recessions, the merits of investing in gold, real estate vs. stock investments, and the nuances of real estate's economic impact. Moreover, the episode explores complex estate planning tools, including various types of irrevocable trusts designed for tax benefits and asset protection, strategies for avoiding gift tax, and the value of generational skipping trusts. Insights on handling estate taxes, probate vs. trust benefits, and considerations for special circumstances like non-citizen spouses or disability trust provisions are also discussed. The importance of financial education, passing values along with wealth to prevent mismanagement by future generations, and the potential of a dynasty trust to maintain family wealth across generations are highlighted.00:27 Understanding the Corporate Transparency Act02:05 Predicting Recessions and Investment Strategies03:10 Real Estate vs Stocks: A Comparative Analysis04:41 The Challenges and Rewards of Being a Landlord05:32 Exploring Commercial Real Estate Opportunities06:16 Invitation to Connect and Learn More06:31 Deep Dive into Estate Planning with Ethan Okura07:52 Understanding Probate and the Importance of Trusts13:06 The Intricacies of Irrevocable Trusts20:59 The Role of Settlor, Trustee, and Beneficiary in Trusts25:05 Exploring Different Types of Trusts34:50 Understanding Different Types of Trusts35:31 Exploring the Concept of Irrevocable Life Insurance Trust36:45 The Role of Trusts in Estate Planning37:13 The Importance of Grantor Trusts38:10 Tax Implications of Trusts39:24 Strategies for Asset Transfer and Tax Avoidance41:12 Understanding Estate Taxes42:12 The Impact of Changing Estate Tax Exemptions51:06 Planning for Incapacity and Long-Term Care57:56 The Power of Generation Skipping Trusts01:01:38 Final Thoughts on Estate Planning and Trusts Hosted on Acast. See acast.com/privacy for more information.

Satomi Yamamoto Sakaguchi, director-marketing for The Okura Tokyo, talks with James Shillinglaw of Insider Travel Report about why her more than 500-room property is the perfect choice for your Tokyo-bound luxury clients. Sakaguchi describes the accommodations, the multiple dining options and other amenities that make her property a city unto itself. For more information, visit https://theokuratokyo.jp/en. If interested, the original video of this podcast can be found on the Insider Travel Report Youtube channel or by searching for the podcast's title on Youtube.

Ohayooo Cette semaine, je vous présente 8 mangas à commander ou demander pour Noël sur le thème de l'inclusion ! Homosexualité, non-binarité, transidentité, acceptation de soi, ... des sujets importants, auquel tout le monde devrait se sensibiliser.

La capital de la prefectura de Hokkaido, la más septentrional de las islas de Japón, es una ciudad joven. Sapporo nació en 1869, fruto del plan de colonización ideado durante la era Meiji. Para su construcción se requirieron los servicios de arquitectos y consejeros estadounidenses y europeos, lo que explica el estilo occidental de la mayoría de sus edificios históricos. Nuestro paseo comienza en el céntrico parque Odori, sede principal del célebre Festival de la Nieve, de la mano de una pareja de pianistas: la japonesa Atsuko Shimada y el español Juan Galiardo. Nos acompañan además tres guías oficiales de de la zona: Hiromi Asada, Hajime Okada e Hiroko Suzuki. Visitamos el ayuntamiento, la torre del reloj, subimos al mirador de la Torre JR y a los montes Okura y Moiwa. Con el director de la oficina nacional de turismo de Japón para España (JNTO), Hajime Kishi, accedemos a la primitiva factoría de la cerveza Sapporo, hoy convertida en museo de la famosa marca. También nos acercamos al museo dedicado a la cultura aborigen de la isla, el pueblo ainu, y visitamos la Villa Histórica de Hokkaido. Por último, después de conocer la costa en la cercana ciudad portuaria de Otaru, el experto en turismo de nieve Juan Carlos Pérez repasa los mejores lugares para la práctica del esquí, deporte que vive una interminable edad dorada desde los Juegos Olímpicos de Invierno de 1972, los del oro de Paquito Fernández Ochoa. Escuchar audio

Ohayoooo ! Je vous parle de mes lectures de ces dernières semaines.

Benjamin en Willem zijn terug van weggeweest en hoe! Ze dineren in Ciel Bleu op de 23e verdieping van het Okura-hotel in Amsterdam. Aan tafel Director Food & Beverage van Okura Jeroen Taillie en Honorary Gastronomy Sommelier Noël Vanwittenbergh. Met hen bespreken we o.a. -          Drie gerechten, waaronder een wel heel bijzonder “signature dish” met blauwvintonijn; -          Diverse ingrediënten zoals wagyu, umeboshi en trekdrop (?!); -          Bijpassende wijnen met prachtige verhalen. En niet te vergeten… de vakantie!   Word nu vriend van de show Word nu vriend van de show voor 2,99 per maand. Hiermee help je ons de podcast nog beter te maken. www.vriendvandeshow.nl/ditmoetjeproeven Heb jij ook een culinaire vraag of tip?   Heb jij een culinaire vraag tip? Wij zijn altijd op zoek naar culinaire avonturen. Stuur jouw culinaire/ tip naar vraag@ditmoetjeproeven.com  

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Weer terug met een 'standaard' show: aflevering 29 van Bekt Lekker de podcast met Maartje Nelissen en Gijsbregt Brouwer.Met:ons eigen eetnieuws: Maartje en Gijsbregt blikken even terug op de zomer. Wat is bijgebleven van de zomerserie over festival food, terrassen en zomerdrankjes?Gijsbregt was in Berlijn en at eggs benny met kaviaar bij Früstück 3000 en Maartje werkt aan een anti-hipster all day concept: CanCanteen.Eerst even dit: Er komt een miniserie aan, waarbij Bekt Lekker samenwerkt met Entree Magazine. 5 korte afleveringen over horeca trends. Eind oktober in je favo podcast app.Meedoen aan eerst even dit? Stuur Maartje of Gijsbregt een (spraak)berichtje of stuur een DM/PM op Instagram of LinkedIn.foodnieuws: Welk gerecht staat echt ALTIJD op de kaart? Burrata. Maartje en Gijsbregt leggen uit waar dit vandaan komt en waarom ze wel genoeg burrata gegeten hebben. De saaie romige bol mag wel eens vervangen worden. Maar wat worden de opvolgers?foodnieuws: Er is een ontbijt renaissance. Gijsbregt schetst zijn favoriete ontbijtplek (al meer dan 12 jaar) Picknick. Maartje gooit hem er maar even in 'ontbijten is het nieuwe lunchen'. De oorzaak ligt zoals vaker in de VS, waar de grote ketens al jaren in een ontbijtoorlog verwikkeld zijn. McDonalds doet het goed daar. Hoe veel van de dagomzet zou daar van het ontbijt komen? Meer dan je denkt. Waar komt deze renaissance vandaan? Je favo food duiders duiden de trend.Gijsbregt heeft drie tips: 1 in Berlijn, 1 in Londen en 1 in NYC. Berlijn dus Frühstuck 3000; Londen: Caravan; New York Brooklyn Bagel & Coffee Company. Hij tipt in Rotterdam naast Picknick, Wolly en By Jarmusch. Maartje heeft een lekkere high end tip: ontbijten bij het Okura.foodnieuws: het is niet bij te houden, maar sinds chefs de nieuwe rocksterren zijn, zien we ineens overal food tattoos en het worden er steeds meer. We hebben een paar getuigen die zelf onder de tattoeages zitten: Marnix Benschop van Brasserie de Eenling en Matthijs Ursem van de Food Line-up en er is een luisteraarsvraag van Wouter Stern. En wat zouden Maartje en Gijsbregt zelf eigenlijk laten tattoeëren? #kermisinjebek: Maartje, Faysal en Gijsbregt proeven gember shots. G'inger, Innocence en AH huismerk. Welke wordt de winnaar? En krijgen de drie food avonturiers de shots wel weg?waar kijken we naar uit (TIPS): Maartje gaat naar Zwier in Vinkeveen, een havenhuisje om tot rust te komen. Gijsbregt trekt er ook op uit. Hij gaat naar Texel waar hij in de jury zit van Texel Culinair met onder meer Miljuschka samen.Dank aan onze producer Faysal, BUNK voor de studio en Goldkimono voor de tune.Volg ons op Instagram, Twitter of LinkedIn. En schrijf je in voor onze onregelmatig verschijnende nieuwsbrief.

Yama no Ue no Okura; Hase Tsukabe no Inamaro

Kijk voor meer informatie over de Masterclass Klantgericht Leiderschap op https://www.sydneybrouwer.nl/masterclassIn deze aflevering ga ik op bezoek bij een icoon van Amsterdam, zowel als het gaat om de skyline, als om gastvrijheid. Ik neem deze aflevering namelijk op op de 20e etage van het Okura Amsterdam, het bekende 5-sterren hotel. Van cruciaal belang voor de gastbeleving van Okura is de Omotenashi filosofie. De Japanse visie op gastvrijheid. General Manager Michiel Roelfsema neemt ons mee in een kijkje achter de schermen bij dit bekende hotel! Luister mee

Karima Okura works with Loveismore, Blazing Grace's ministry partner in Austria. In this episode, Karima calls in from Loveismore's office near Vienna, Austria, to share about their ministry and stories of healing and redemption they have seen in Europe. She also shared that when a group of teenage girls were asked if they were viewing pornography, every hand went up. This should be a warning to every parent.

As resources are stretched and hotels are recovering post-pandemic, alignment between internal teams has never been more important. Understanding the roles of your peers and how teams can strategically pool resources, work towards the same goals and collaborate is crucial for this. In this episode of The Hotel Marketing Show, we talk with Rebekka Berger, Manager of Revenue and Business Performance from Hotel Okura Amsterdam about demystifying the role of Revenue Managers. We dive into a day in the life of a Revenue Manager and hear how the commercial teams at Hotel Okura Amsterdam work together to achieve their goals, plus we learn that Revenue Management is so much more than just maths! Get in touch with us via email: welcome@hotelchamp.com Or follow Hotelchamp on your favourite social media channels: https://www.linkedin.com/company/hotelchamp https://www.facebook.com/hotelchamp https://twitter.com/Hotelchamp_com https://www.instagram.com/hotelchamp/ https://www.youtube.com/@hotelchamp

Translation - Pastor Ichibei Honda   Video 動画 - https://youtu.be/G51cRHkMpic?t=2983

Masafumi Okura is a freelance software developer focusing on Ruby on Rails. He joined RubyKaigi 2022 as a helper staff and the chief organizer at Kaigi on Rails 2022 which took place last October. He joins the Rogues to share his experiences and some pointers on arranging a successful Conference amidst the pandemic. Topics discussed How Technology took part in creating a virtual event Recruiting and Inviting speakers for the conference Approaches used to make the process smooth and hassle-free for the speakers joining the event Obstacles experienced in organizing the event and how to overcome each one.  Sponsors Chuck's Resume Template Developer Book Club starting with Clean Architecture by Robert C. Martin Become a Top 1% Dev with a Top End Devs Membership Links mrubykaigi 2022 SpatialChat Fukuoka.rb ruby-jp.slack.com okuramasafumi/gem_to_mgem GitHub - okuramasafumi/reversible GitHub - okuramasafumi/rspec-current.vim GitHub: okuramasafumi Picks Charles  - Irish Gauge  Charles - Ruby Remote Conference Charles - I Don't Want to Kill You  John - GitHub - rootstrap/yaaf John - Leather Coasters Masafumi -  Fukuoka mruby Kaigi 2022 EN Masafumi - GitHub - okuramasafumi/rspec-current.vim Valentino -  LunarVim

Masafumi Okura is a freelance software developer focusing on Ruby on Rails. He joined RubyKaigi 2022 as a helper staff and the chief organizer at Kaigi on Rails 2022 which took place last October. He joins the Rogues to share his experiences and some pointers on arranging a successful Conference amidst the pandemic. Topics discussed How Technology took part in creating a virtual event Recruiting and Inviting speakers for the conference Approaches used to make the process smooth and hassle-free for the speakers joining the event Obstacles experienced in organizing the event and how to overcome each one.  Sponsors Chuck's Resume Template Developer Book Club starting with Clean Architecture by Robert C. Martin Become a Top 1% Dev with a Top End Devs Membership Links mrubykaigi 2022 SpatialChat Fukuoka.rb ruby-jp.slack.com okuramasafumi/gem_to_mgem GitHub - okuramasafumi/reversible GitHub - okuramasafumi/rspec-current.vim GitHub: okuramasafumi Picks Charles  - Irish Gauge  Charles - Ruby Remote Conference Charles - I Don't Want to Kill You  John - GitHub - rootstrap/yaaf John - Leather Coasters Masafumi -  Fukuoka mruby Kaigi 2022 EN Masafumi - GitHub - okuramasafumi/rspec-current.vim Valentino -  LunarVim

In deze aflevering vertelt Benjamin alles over het maken van kimchi. We delen onze ervaringen, recepten en helpen we je op weg om je eerste eigen kimchi te maken. Verder vertelt Benjamin over zijn het bijzondere feestje dat hij had in het Okura-hotel. Wij dronken: - Alcoholvrije Playground IPA van Van De Streek

Chefkok Arjan Speelman (twee Michelinsterren) woont in Vleuten en kookt in Amsterdam, bij Ciel Blue in het Okura. Tijdens de lockdown speelde hij illegaal restaurantje met zijn buren, zo vertelde hij laatst in een interview. We proeven zijn verrukkelijke zeebaars en vragen hem naar zijn liefde voor Utrecht, zijn favoriete plekken en wat ervoor nodig is om de Utrechtse horeca naar een hoger niveau te tillen. ------------- Op zondag 26 en maandag 26 september vindt in het Utrechtse restaurant Karel V het evenement 24H Chefs plaats, waarin de allerbeste chefs van Nederland een etmaal lang koken om zoveel mogelijk geld op te halen voor het Prinses Máxima Centrum, het grootste onderzoeks- en zorgcentrum in Europa voor kinderen met kanker. Vanuit de keuken van Karel V doet Eten wat de podcast elk uur verslag, 24 uur lang. Je kunt deze actie op twee manieren steunen:
 - koop voor 15 euro een lot op https://24h-chefs.com/loterij - Doe een éénmalige donatie op Vriend van de Show. Alle opbrengsten hiervan gaan volledig naar het Prinses Máxima Centrum. https://vriendvandeshow.nl/etenwatdepodcast

Sweat and Soap on Kintetsu Yamadan toimistotyöntekijöistä kertova parisuhdesarja, joka kertoo heikon itsetunnon parantamisesta ja avoimen kommunikoimisen tärkeydestä. Ajankohtaisina aiheina puhumme uudesta omien sarjakuvien julkaisualustasta Manga Plus Creatorsista, Tokyopopin muinaisen Rising Stars of Manga -kisan henkiinherättämisestä sekä piirtäjästä, joka ei ollut myynyt ensimmäisessä Comiketissaan yhtään omakustannetta. Lukujonossa on tänä vuonna alkanut nouseva Jump-tulokas, rakugoteemainen Akane-banashi. --- Kommentoi | Twitter | Instagram --- - Anastasia-musikaali Tampereen Teatterissa - Don Bluthin Anastasia - Suoraan VHS-jakeluun tehty spinoff-leffa Bartok Suurenmoinen - Ei tämä Anastacia - Jakso 21, jossa puhuimme alkukuulumisissa Tampereen Teatterin Notre Damen kellonsoittaja -sovituksesta - Once upon a December (YouTube) - Journey to the Past (YouTube) - In the Dark of the Night (YouTube) - Joutsenlampi-kohtaus (Quartet at the Ballet) (YouTube) 13:54 – SWEAT AND SOAP: ESITTELY - Sweat and Soap - Sarjan julkaisuhistoria (kuva) - Päähenkilöiden hahmoprofiilit (kuva) - Kotaro tykkää haistella Asakoa (kuva) - Mysterious Girlfriend X 18:06 – SWEAT AND SOAP: SUKUPUOLINÄKÖKULMA - Manic Pixie Dream Girl -tropee - Jakso 27, jossa puhuimme sarjasta Everyone's Getting Married - Tässä sarjassa miehen tehtävä ei ole demonstroida miehekkyyttään kantamalla vastuu kaikesta ilman että asioista puhutaan yhdessä (kuva) - Kaoru Mori ja jakso 8, jossa puhuimme hänen sarjastaan Aron morsiamet - Asakon kurvikkuus on paljon esillä, mutta ei ällösti (kuva, NSFW) 24:24 – SWEAT AND SOAP: TEEMAT - Konfliktit selviävät puhumalla ja avoin kommunikointi on ratkaisu ongelmiin (kuva) - Ei mitään yllätyskosintoja (kuva) - Asakon koulukiusaamiskokemukset (kuva) - Traumaattinen uusi kohtaaminen kiusaajan kanssa… (kuva) - …saa Asakon sulkeutumaan uudestaan… (kuva) - …mikä uhkaa pitemmän päälle parisuhdetta (kuva) - Asako suhtautuu hikoiluunsa neuroottisesti (kuva) - Kaikki tajuavat heti, että Asakolla on treffit töiden jälkeen (kuva) - Kotaron kanto (kuva) 36:14 – SWEAT AND SOAP: PARISUHTEEN ETENEMINEN - Miksi muutatte yhteen ettekä suoraan mene naimisiin? (kuva) 42:18 – SWEAT AND SOAP: IHMISIÄ KAIKKI MUUTKIN OVAT - Asako ajattelee ensin, että Kotaro elää ihan eri maailmassa… (kuva) - …mutta myöhemmin selviää, että Kotaron työkaveri Ichisekin on ihaillut Asakoa (kuva) - Ensitapaaminen Asakon perheen kanssa on Asakon isälle ihan yhtä jännä paikka kuin Kotarolle (kuva) 45:08 – SWEAT AND SOAP: KOTARO - Kotaron aiemmat parisuhteet eivät ole kestäneet (kuva) 47:58 – SWEAT AND SOAP: YKSINUOTTISUUS 53:34 – SWEAT AND SOAP: SIVUHAHMOT - Asakon osastopäällikkö Okura, sarjan paras poika (kuva) - Floristigaijinjäbä aiheuttaa vähän konfliktia, vaikka onkin lopulta ihan hyvä tyyppi (kuva) - Juonitteleva asuntovälittäjä (kuva) - Tulisieluinen hääsuunnittelija näyttää Go Nagai -hahmolta (kuva) - Asakon entinen koulukaveri näyttää Titaanien sodan Ymiriltä (kuva) - Asakon isän yksinäisyys (kuva) - Kotaron äiti on sokea (kuva) 01:04:38 – SWEAT AND SOAP: KULTTUURIOPPEJA - Nana - Fly Me to the Moon - Jakso 16 ja jakso 69, joissa puhuimme Takane & Hanasta 01:08:33 – SWEAT AND SOAP: TAIDE - Veikeitä ilmeitä ja eleitä (kuva) - Mangakan ohjeita avustajille (kuva) - Kintetsu Yamadan Twitteristä löytyy timelapse-videoita digitaalisesta työskentelystä ja ulkomaalaisten julkaisujen ihmettelyä - Kintetsu Yamadan K-18-Twitter (ei erityisen tuhma) - Joskus näyttää siltä kuin nännit olisi pyyhitty pois jälkikäteen, ehkä? (kuva, NSFW) - Yllättävän komeaa liikkeenkuvausta (kuva) 01:14:41 – SWEAT AND SOAP: YHTEENVETO - Kintetsu Yamadan uudempi sarja Kasane to Subaru - Jakso 67, jossa puhuimme Genshikenistä 01:20:28 – MANGA PLUS CREATORS - Manga Plus - Manga Plus Creators - ANN:n uutinen Manga Plus Creators -alustasta - Horion Manga Plus Creators -alustalla - Sword Princess Amaltea - AIIOSWAND: The Witchery of Mana Manga Plus Creators -alustalla (ensimmäinen luku on nauhoittamisen jälkeen lisätty Creatorsiin, mutta kakkoslukua ei edelleen tämän jakson päivämääränä näytä löytyvän Creatorsista eikä Mangadexistä) - Manga Moguran twiitti siitä, miten Manga Plus Creatorsiin oltiin ladattu skanlaatioita 01:28:43 – RISING STARS OF MANGA - ANN:n artikkeli Rising Stars of Manga -kisan paluusta - Rising Stars of Manga Wikipediassa - ANN:n artikkeli TokyoPopin vanhasta Manga Pilot -sopimuksesta - The Beatin artikkeli TokyoPopin vanhasta Manga Pilot -sopimuksesta - Tammen Hokuto Manga -kilpailun voittajatyöt julkaistiin kahdessa pokkarissa - Mainittuja länsimaisia mangatyylisiä sarjoja: - Bizenghast - Divalicious - Peach Fuzz - Mark of the Succubus - The Dreaming - Dramacon (jonka tekijä Svetlana Chmakova tunnetaan nykyisin Berrybrook Middle School -sarjakuvasarjastaan) - Schmakovan Yen Pressille tekemä Nightschool - MBQ, jonka tekijä Felipe Smith teki sittemmin Peepo Choo -mangan Japanissa Kodansha-kustantajan Morning Two -lehteen - Goldfisch - Erica Friedmanin Twitter-ketju 01:44:21 – EKAA KERTAA COMIKETISSA - SoraNews 24 -sivuston artikkeli - Ryoumein twiitti - Jakso 67, jossa puhuimme Genshikenistä 01:49:53 – HAMPAANKOLOSSA - Jakso 72, jossa puhuimme ajankohtaisosiossa animesovitusten uskollisuudesta - Baccano! - The Melancholy of Haruhi Suzumiya - Jakso 67, jossa puhuimme ajankohtaisosiossa mangan kääntäjien kreditoimisesta - My Love Mix-Up -sarjan kääntäjä Jan Cash kommentoi kääntäjien kreditoimista Twitterissä - Jakso 44, jossa puhuimme ajankohtaisosiossa siitä, miten My Hero Academian kääntäjä Caleb Cook kiusattiin ulos Twitteristä 01:58:09 – KUULIJAKOMMENTTI: KUOLEMANPELI-ISEKAI - Jakso 72, jossa puhuimme kuolemanpelisarjoista - My-Hime - The Weakest Contestant of All Space and Time - Isekai Death Game ni tensou sarete tsurai 01:59:38 – KUULIJAKOMMENTTI: CORNERED MOUSE - Jakso 71, jossa puhuimme: - pääaiheena sarjasta The Cornered Mouse Dreams of Cheese ja sen jatko-osasta The Carp on the Chopping Block Jumps Twice, - ajankohtaisosiossa Japanin eniten myydyistä mangasarjoista vuonna 2021, ja - kuulijakommenttiosiossa jenkkinäkökulmasta esilläpitämisestä podcastin keskusteluissa 02:07:31 – KUULIJAKOMMENTTI: TOKYO REVENGERS - Runon Twitter-kommenttiketju - Jakso 64, jossa puhuimme sarjasta Poissa - Erased - Jakso 20, jossa puhuimme sarjasta The Case Study of Vanitas - Jakso 50, jossa puhuimme sarjasta Kuroshitsuji - Jakso 66, jossa puhuimme ajankohtaisosiossa Ranskan mangamarkkinasta vuonna 2021 02:11:05 – KUULIJAKOMMENTTI: JENKKINÄKÖKULMA JA SHOW NOTET - Anni K:n Twitter-kommenttiketju - Anni K:n Sandman-Muumi-fanartti, jonka Neil Gaiman retweettasi 02:15:17 – KUULIJAKOMMENTTEJA: HARRASTUSKUPLAT - Jakso 70, jossa puhuimme: - alussa suomalaisesta harrastusskenestä, ja - ajankohtaisosiossa siitä, miten ranskalainen mangakustantaja Kaze uudelleenbrändätään Crunchyrollin alle - Jarmon Twitter-kommenttiketju - Anni K:n Twitter-kommentti 02:28:46 – KUULIJAKOMMENTTI: CRUNCHYROLL JA MANGA - Marumujun Twitter-kommentti - Crunchyrollin tiedote kuluttajien mahdollisuudesta tilata keskeneräisten mangasarjojensa pokkareihinsa uudet Crunchyroll-brändin irtokannet (ranskaksi) - Kazen Twitter-ilmoitus siitä, että lukijoiden huoli on kuultu ja asiaa mietitään (ranskaksi) 02:36:49 – LUKUJONOSSA: AKANE-BANASHI - Akane-banashi Manga Plus -palvelussa - Klassinen rakugo-tarina Shinigami Kyotaro Yanagidan esittämänä (YouTube) - Descending Stories: Showa Genroku Rakugo Shinju - Act-Age ja jakso 32, jossa puhuimme sarjan lopettamisesta kesken ahdistelutapauksen vuoksi - Jakso 70, jossa puhuimme lukujonossa RuriDragonista - Suurin osa rakugo-tarinoista kertoo elämästä Edo-kaudella, ja piirrostyylin vaihtelu auttaa kuvittamaan sitä (kuva) - Akanen on opittava, että rakugo on yleisön miellyttämistä, joten yleisö pitää ottaa huomioon (kuva) - Kun tämä on opittu, Akane onnistuu esiintymään jo vanhuksillekin (kuva) - Jugemu on vaikea tarina kerrottavaksi, koska kaikki tietävät sen, eikä se ole erityisen hauska - mutta juuri siksi sillä naurattaminen on haaste (kuva) - Jugemun moderni, siistitty versio englanniksi esitettynä (YouTube) - Jakso 57, jossa puhuimme Blue Periodista 02:55:02 – LOPETUS

Cohosts Ashley, Danielle, and Sora discuss the first volume of I Think Our Son is Gay, a manga series by Okura. Topics discussed include discovering your sexuality, supportive family members, and negotiating those friendships that blur the platonic-romantic line. If you're interested in reading I Think Our Son is Gay after listening to this episode, consider borrowing it from your local library or purchasing it from an independent bookstore! Public library locator (USA): https://bit.ly/3FudXPV Independent bookstores (USA and Canada): https://bit.ly/3FifJ6u

On this episode of The Marriage Life Coach Podcast, Rachel Joy Okura, a client that completed two rounds of The Marriage MBA, joins me to talk about cultivating inner safety and dismantling internalized patriarchy   Rachel is a Life and Business Coach, and the co-founder and co-owner of Illume Life Solar, a solar panel company. She is also an attorney, a realtor, and a real estate investor. Plus, she is currently engaged and the mom of a blended family of six kids.   Join us as we talk about her concept of “loveset,” how The Marriage MBA helped her determine that she wanted to get married again after a divorce, and her journey to cultivating safety and trust in her relationship.   Find full show notes, transcript, and links to resources at http://maggiereyes.com/podcast/109

Translation - Pastor Ichibei Honda 通訳 - 本多一米牧師   先週、テキサスの小学校で起きた事件を思う時に心が押しつぶされそうです。これまで私はいつも子供達を学校にドロップオフする時に「今晩、彼らと食卓を囲むことができるように」と祈り続けてきました。私は戦場に子供をドロップオフしているのではないのです。 私達はいつ自らの命を失うのか分からない異常な世界に生きています。主にある皆さん、最近、愛する者達を抱きしめましたか。あなたと共にいることができて嬉しいと、その気持ちを言い表していますか。彼らのアルバムの中にあなたはいますか。あなたの笑顔が彼らのアルバムの中にありますか。 明日のことが分からぬ人生。限りある人生。その中で私達がすべきことは多くはありません。彼らを愛し、彼らに愛される生涯、彼らとの思い出を一つでも多く、心に持つ。彼らの思い出の片隅に自分を置いてもらう、私達を思い起こす人達が笑顔になってくれる、そんな思い出を一つ、そして、また一つ作ることができたら、これ以上、この人生に何を求めましょうか。  

Dog trainer Wendy DeCarlo talks about puppy classes and dog training methods, but first we share our hope for a beloved dog trainer, Karen Okura who has serious health challenges. Karen was the head trainer for many years at the Anti Cruelty Society, demonstrating support for adopting homeless dogs with behavior problems only using positive […]

Rachel shares so many great insights about life and real human evolution. She chose to not become a victim of her painful circumstance but rather to thrive and create new possibilities. She has now created a successful solar company here in Utah alongside her fiancé Chris. They both share big dreams and a mission about bringing something special to the community. Check out her story!

通訳 Translation - 本多 一米 牧師 Pastor Ichibei Honda 『あなたは義に過ぎてはならない。また賢きに過ぎてはならない。あなたはどうして自分を滅ぼして 　よかろうか』（伝道の書７章１６節） 去る９月、さいとうたかおという漫画家が亡くなりました。この方の代表作に「ゴルゴ１３」という作品があります。この漫画の主人公は東郷デュークといい、彼はスナイパーとして裏社会に生き、日本のみならず、世界中から仕事を請け負います。そんな彼にある日、ある国の「軍事顧問にならないか」というオファーがきます。それは「国の秩序や正義が他国によって侵害されている。それを守るために力になってくれないか」というオファーです。その時に東郷はこんな言葉を言います・・・。『その“正義”とやらはお前達だけの正義じゃないのか？』（『ゴルゴ１３』１４８巻より引用）  

通訳 Translation - 本多 一米 牧師 Pastor Ichibei Honda   ある父親に四人の息子がいました。父はその子達に遠くの地に生えている梨の木を見てくるようにと、最初の息子は冬に、二番目は春に、三番目は夏に、四番目は秋に送り出し、それぞれがそこに生える同じ木を見て、帰ってきました。父は四人を呼び、見てきたものについて一人一人の話を聞きました。 冬に行った息子は言いました「私が見た梨の木には葉が一つもなく、その姿は醜く、ところどころの枝が折れていました」。春に行った息子は、その言葉が信じられないように「自分が見た木には一面、新緑が覆われていて、その木はやがてくる約束で満ちていた」と言いました。夏に行った息子は、その通りだと言わんばかりに「自分の見た木にはたわわに実がなり、甘い香りがし、木は命で満ち溢れていた」と言いました。秋に行った息子は「緑の葉」ということが理解できないかのように、「その木には実などはなく、しかし、その葉は真っ赤で、しかし、その葉は次々と地に落ちていっていた、ある意味、その木は大切な役目を成し 遂げたような姿だった」と言いました。 四人の話しを聞いていた父は彼らに言いました。「お前達の見た光景はどれも全て正しい。お前達が見た木は全く同じもので、その木の中に全ての季節があったのだ」と言い、さらにこう言いました。「お前達は自分の一つの季節だけに捕らわれて、結論を出してはいけない。もし、お前が冬にギブアップしたら、春の約束、夏の美しさ、秋の収穫を見ることはできない」・・・。  

通訳 Translation - 本多 一米 牧師 Pastor Ichibei Honda   『私達は「おもしろきことなき世をおもしろく」というテーマのもと、伝道の書から御言葉をみています。今日はその伝道の書２章１節から１１節を見ていきたいと思います。ここには主に三つのことが書かれています。すなわち「酒」と「仕事」、そして「異性」について書かれています。 そこからうかがい知れますことは、かつてソロモンは自らを元気づけようと酒を求め、生きがいを見つけようと大きな事業を成し、人生を楽しもうと女性を求めたということです。 このソロモンの言葉は今から約３０００年も前のものですが、人は今も変わらず、同じことに関心を抱いているということは、説明するまでもありません。特にコロナ下において、極度にストレスフルな日々を送っている私達は、現実から逃れられる一時の慰めや刺激を求めようとすることがあるかもしれません。今日は伝道の書を通して、そんな私達の足元を確認したいと思います。  

While editing this episode, I watched what might be known as "beltgate." Baseball is just weird. This episode, we're talking about Dento Hayane's The Cat Proposed published by Tokyopop and Okura's I Think Our Son Is Gay published by Square Enix. The song you heard in this episode was "Make Me Feel" by Janelle Monáe. As always, you can find me on Twitter @ImpassionateK, and my co-hosts Helen (@WanderinDreamr) and Apryll (@manjiorin) on Twitter at those places in the parenthesis. You can find both of their writing at The Organization of Anti-Social Geniuses, more of Helen's writing at Narrative Investigations, and my writing at the Fandom Post. Listen Show notes: 0:40 - We talk about The Cat Proposed! 11:39 - We talk about I Think Our Son Is Gay! Next time is After the Rain and Kageki Shojo!

通訳 - 本多 一米 牧師 Translation - Pastor Ichibei Honda   『ドラゴン桜』という漫画があり、ドラマにもなりました。元暴走族の弁護士・桜木建二が経営破綻状態となった「落ちこぼれ高校」と呼ばれている高校の運営を請け負うこととなり、経営を回復するために進学実績を上げようと、５年後に東大合格者１００人を出す計画を考案するというドラマです。 なぜこの異色の教師が生徒たちに「東大に行け」というのかといいますと「東大卒の者達が日本の官僚となり、この国のルールを作っているからだ」と彼はいいます。少々、無理のある論理ですが、確かに「ルールを造るものがその場を治める」ということはあながち間違ってはいないと思われます。桜木はこの国のルール、すなわち法律を作る者達が日本を治めていくのだと生徒に語っているのです（その方達が本当に相応しいかどうかは別として・・・）。 それでは「万物のルール」を造られたのは誰なのでしょうか。そう、その存在を私達は「神」と呼んでいます。その神はこの世界の万物の法則に対して、どのように向き合えばいいのかを知り尽くしており、その御思いが書かれているものが、私達の手元にあります「聖書」なのです。そうです、そこには私達に必要不可欠な「真の知恵」が書かれているのです。  

English Translation 英語通訳 - Pastor Ichibei Honda 本多 一米 牧師   かつて幕末の時代、高杉晋作という侍がいました。彼は奇兵隊という武士と庶民から成る部隊を組み、外国艦隊からの攻撃に備え、江戸幕府との戦いに臨みました。しかし、その彼は２８歳の若さで結核により亡くなり、その病床で「おもしろきことなき世をおもしろく」という辞世の句を詠みました。 高杉のこの詩に私達は深い共感を覚えます。外国の脅威を受け、幕府の圧政のもとに暮らし、その志（こころざし）半ば、２８歳の若さで、倒れてしまう人生、それは「おもしろくない人生」と私達には思われます。しかし、高杉はその自分の人生を受け止め、その人生を「俺はおもしろく生きてきたぞ」と最期に詠ったのでしょう。 私達は今もコロナという「おもしろくないもの」に向き合っています。これから、この先も私達の向かう先に何が待ち構えているのか私達は知りえません。生きていくことは大変なことです。「生きていこう」という思いを持ち続けることが難しい時もあります。「よかった」と思うのも束の間、次には「どうしたらいいのだ」ということの連続、それが人生です。 そして、このことは今、始まったことではなく、古の昔から人はこの思いを抱えて生きてきました。聖書の中には高杉のように自分の人生に対して「おもしろくないな」と何度もつぶやいた人が出てきます。その彼は「伝道の書」という書を私達の手元に残しました。これからの日曜日、この伝道の書から「おもしろきことなき世をおもしろく」というテーマのもと、メッセージを取り次がせていただきます。  

Translation 通訳 - Pastor Ichibei Honda 本多 一米 牧師   Zoomになり、スーツが売れなくなったと言われています。そうでしょう、それを着て出社したり、セールスに出たり、結婚式すらも制限されたのですから。オンラインのビジネスミーティングに出席する時に、上着だけボタンシャツを着て、下は半ズボンという方達がきっと大勢いたことでしょう。 教会と自宅の往復の時間に小一時間かかる方もいるでしょう。それに比べ、オンライン礼拝はベッドルームから歩いて１０秒あれば出席できます。その気楽さを喜んでいる方もいるかもしれません。しかし、今日はあえて「私達は教会に戻らなければならない」ということをお話します。  

I think our guest is a translator! Oh, who am I kidding? You already know he is! Leo McDonagh is a multimedia translator who's worked on innumerable projects, including two incredible standout queer manga, Okura's heartwarming I Think Our Son is Gay and Keito Gaku's empowering Boys Run the Riot! It's a rare occasion that two remarkable and resonant queer manga such as these both come out within weeks of each other, much less sharing the same translator, and we really wanted to celebrate the occasion by spotlighting these works and getting Leo's intimate insights on them! Leo shares his career journey as a translator, and his perspective on both series as their translator and as a gay transman who can appreciate and relate with both series in different ways. We talk in-depth about how both works explore and speak to real-world struggles queer youth face with optimism and encouragement, defying heteronormative social structures with community and validation, and how resonant and important these messages are for young queer readers and are so cathartic to older queer readers who can relate with these experiences. There's a lot to love about these series, and we had a wonderful time discussing them with Leo. There's no shame in our game, it's a riot! For a complete list of links and shout-outs included in this episode, check out this podcast's webpage at: http://all-comic.com/2021/manga-mavericks-ep-164-manga-mavericks-run-the-riot/ PODCAST BREAKDOWN: 00:22 - Intro 03:16 - Interview w/Leo McDonagh! 39:09 - I Think Our Son is Gay 55:28 - Boys Run the Riot 1:28:03 - Leo's Favorite Moments to Translate 1:31:13 - What Do We Hope Readers Take Away From These Series? 1:35:14 - Leo's Favorite Chapters 1:37:05 - Leo's Plugs 1:38:38 - Community Shout-Outs 1:48:14 - Wrap-Up Enjoy the show, and follow us on twitter at @manga_mavericks, on tumblr at mangamavericks.tumblr.com, and on Youtube! You can also follow the hosts on Twitter at @sniperking323 and @lumranmayasha. If you'd like to help support the show financially you can pledge to our Patreon and receive some awesome rewards like our Patreon-exclusive Bonus pods! If one-time donations are more your speed you can donate to Colton's Ko-fi here and LumRanmaYasha's Ko-fi here, and if you want to support LumRanmaYasha's art and other projects you can follow them @siddartworks on Instagram and Twitter and donate to their personal Patreon. Don't forget to also like and subscribe to us on Youtube and iTunes and leave us reviews to help us curate the show and create better content!

Masafumi Okura is the organizer of Kaigi on Rails and the author of the Alba--a JSON serializer library. The Rogues dive in and get the details on Kaigi on Rails and discuss how to serialize data into JSON within your application. They also discuss why we need another JSON serializer library and which options Alba offers. Panel Dave Kimura Darren Broemmer Luke Stutters Guest Masafumi Okura Sponsors Dev Influencers Accelerator Links Ruby Galaxy v0.1 Okura Masafumi - Kaigi on Rails - YouTube okuramasafumi.com CFApp GitHub | procore/blueprinter GitHub | okuramasafumi/alba Exploring de-serialization issues in Ruby projects GitHub | amatsuda/jb Twitter: Kaigi on Rails ( @kaigionrails ) Twitter: OKURA Masafumi ( @okuramasafumi ) Picks Darren- GitHub | adomokos/light-service Dave- AirTag - Apple Luke- rdm6300 | RubyGems.org Masafumi - esa Masafumi- GitHub | mruby/mruby Contact Darren: Twitter: Darren Broemmer ( @DarrenBroemmer ) Contact Dave: Ruby on Rails Screencasts Twitter: Dave Kimura ( @kobaltz ) GitHub: David Kimura ( kobaltz )

Masafumi Okura is the organizer of Kaigi on Rails and the author of the Alba--a JSON serializer library. The Rogues dive in and get the details on Kaigi on Rails and discuss how to serialize data into JSON within your application. They also discuss why we need another JSON serializer library and which options Alba offers. Panel Dave Kimura Darren Broemmer Luke Stutters Guest Masafumi Okura Sponsors Dev Influencers Accelerator Links Ruby Galaxy v0.1 Okura Masafumi - Kaigi on Rails - YouTube okuramasafumi.com CFApp GitHub | procore/blueprinter GitHub | okuramasafumi/alba Exploring de-serialization issues in Ruby projects GitHub | amatsuda/jb Twitter: Kaigi on Rails ( @kaigionrails ) Twitter: OKURA Masafumi ( @okuramasafumi ) Picks Darren- GitHub | adomokos/light-service Dave- AirTag - Apple Luke- rdm6300 | RubyGems.org Masafumi - esa Masafumi- GitHub | mruby/mruby Contact Darren: Twitter: Darren Broemmer ( @DarrenBroemmer ) Contact Dave: Ruby on Rails Screencasts Twitter: Dave Kimura ( @kobaltz ) GitHub: David Kimura ( kobaltz )

Masafumi Okura is the organizer of Kaigi on Rails and the author of the Alba--a JSON serializer library. The Rogues dive in and get the details on Kaigi on Rails and discuss how to serialize data into JSON within your application. They also discuss why we need another JSON serializer library and which options Alba offers. Panel Dave Kimura Darren Broemmer Luke Stutters Guest Masafumi Okura Sponsors Dev Influencers Accelerator Links Ruby Galaxy v0.1 Okura Masafumi - Kaigi on Rails - YouTube okuramasafumi.com CFApp GitHub | procore/blueprinter GitHub | okuramasafumi/alba Exploring de-serialization issues in Ruby projects GitHub | amatsuda/jb Twitter: Kaigi on Rails ( @kaigionrails ) Twitter: OKURA Masafumi ( @okuramasafumi ) Picks Darren- GitHub | adomokos/light-service Dave- AirTag - Apple Luke- rdm6300 | RubyGems.org Masafumi - esa Masafumi- GitHub | mruby/mruby Contact Darren: Twitter: Darren Broemmer ( @DarrenBroemmer ) Contact Dave: Ruby on Rails Screencasts Twitter: Dave Kimura ( @kobaltz ) GitHub: David Kimura ( kobaltz )

For our second week of Pride Month Spectacular, we're doing a LGBTQ+ themed Triple Dip! We'll be looking at the first volumes of Boys Run the Riot, Even Though We're Adults, and I Think Our Son Is Gay! Also Darfox finally read Perfect World and dakazu learned about real Japanese communal bath houses in Nyuuyoku Yankees!!! Send us emails! mangamachinations@gmail.com Follow us on Twitter! @mangamacpodcast Check out our website! https://mangamachinations.com Check out our tumblr! http://mangamachinations.tumblr.com Join our Discord! https://discord.me/mangamac Timestamps: 00:00:00 - Intro Song: “Massara” by KANA-BOON from Sarazanmai, Opening, Introductions, The oxymoron of Death Stranding Director's Cut 00:02:20 - Listener Email: Appreciation for reviewing Amazing Agent Luna 00:07:29 - Whatchu Been Reading: Transition Song: Dragon Ball Z OST “Prologue”, Darfox read Perfect World and discusses the use of disability in fictional entertainment 00:21:48 - Volume 5 of Chainsaw Man hypes up Darfox for the rest of the series 00:25:33 - Delinquents enjoy real-life sentos in Nyuuyoku Yankees 00:29:45 - News: Nominees announced for 2021 Eisner Awards 00:38:18 - Gege Akutami will be taking a hiatus from Jujutsu Kaisen to recover his health 00:50:56 - Yoko Kanno to create new soundtrack for live-action Cowboy Bebop 00:54:51 - Next Episode Preview and Rundown: One Shot on I Love You So Much, I Hate You, We'll be reviewing yuni's single volume yuri series about an office romance between superior and subordinate 00:55:43 - Main Segment Triple Dip: Even Though We're Adults/Boys Run the Riot/I Think Our Son Is Gay, Transition Song: “White-Collar Elegy” by Akio Ootsuka from Africa Salaryman, we read the beginning of each LGBTQ+ themed manga for discussion and see if we'd continue reading it before picking our favorite of the three, including: 00:56:40 - Even Though We're Adults by Takako Shimura 01:11:01 - Boys Run the Riot by Keito Gaku 01:36:06 - I Think Our Son Is Gay by Okura 01:50:52 - We picks our favorite out of the three manga 01:52:26 - Next Week's Topic: I Love You So Much, I Hate You, Social Media Rundown, Sign Off Song: “wish men” by sunbrain from Beet the Vandel Buster

Welcome to the start of our Pride Month Spectacular! We're kicking things off with a One Shot on the excellent Our Dreams at Dusk: Shimanami Tasogare by Yuhki Kamatani! We also discuss *SPOILERS* for BEASTARS volume 12!!! Send us emails! mangamachinations@gmail.com Follow us on Twitter! @mangamacpodcast Check out our website! https://mangamachinations.com Check out our tumblr! http://mangamachinations.tumblr.com Join our Discord! https://discord.me/mangamac Timestamps: 00:00:00 - Intro Song: “Massara” by KANA-BOON from Sarazanmai, Opening, Introductions, Starting our Pride Month Spectacular 00:01:17 - Listener Email: Which manga artist would we be the editor or assistant to? 00:11:26 - Jocelyne Allen follows up on Nagata Kabi's fictional series Happy Birthday 00:12:49 - Whatchu Been Reading: Transition Song: Dragon Ball Z OST “Prologue”, Morgana has read Lovesickness: Junji Ito Story Collection 00:17:23 - *SPOILERS* We discuss the contents of BEASTARS volume 12 00:31:33 - News: Paru Itagaki's Bota Bota to be published internationally in 5 languages 00:32:51 - Rumiko Takahashi starts Twitter and Naoki Urasawa starts a YouTube channel 00:35:36 - Romi Hoshino gets guilty verdict over his involvement with Mangamura manga piracy site 00:41:07 - Next Episode Preview and Rundown: Triple Dip, We will read the beginning of three different LGBTQ+ manga to see if we'd keep reading them and also pick our favorite, including: Boys Run the Riot by Keito Gaku, I Think Our Son is Gay by Okura, and Even Though We're Adults by Takako Shimura 00:42:18 - Main Segment One Shot: Our Dreams at Dusk: Shimanami Tasogare, Transition Song: “White-Collar Elegy” by Akio Ootsuka from Africa Salaryman, We review all 4 volumes of Yuhki Kamatani's beautifully drawn series about a closeted gay teenager who finds a Drop-in center with a LGBTQ+ community 01:18:13 - Breaking News: Star Fruit Books licenses Hideshi Hino's The City of Pigs 01:19:21 - Next Week's Topic: Boys Run the Riot/I Think Our Son is Gay/Even Though We're Adults, Social Media Rundown, Sign Off Song: “wish men” by sunbrain from Beet the Vandel Buster

私達は今、これからの見通しが全くかない状態の中におりますが、コロナウイルスはいつか必ず終わります。このことが終息するまでに私達にはそれなりに打ちのめされると思います。悲痛な思いで申し上げますと、このウイルスの終わりを見ずにお亡くなりになる方達も大ぜいいます。もしかしたら、私自身もその一人となるかもしれません。 しかし、ここで私達はいつかこのウイルスの終わりを見届けることを信じて、皆さんに語りかけたいのです。それはこのことが終わった後に、私達はどう生きるべきかということを今から考えておきましょうということです。 私はあのイスラエルの賢者の言葉を今、思い起こしています。 『順境の日には楽しめ、逆境の日には考えよ』（伝道の書７章１４節）

Als tiener kwam Mark Reiman in het speciaal onderwijs terecht. Hier werd hem snel duidelijk dat als hij zijn gedrag zou aanpassen hij veel meer kon dan tot dan toe naar voren kwam. Als bijbaantje kwam hij in de horeca terecht en ging studeren aan de Middelbare Hotelschool. Hier ontwikkelde hij een passie voor hospitality. Tijdens zijn stages kwam hij erachter dat als hij hard genoeg werkte, het ook echt werd gewaardeerd. Hij kreeg stage kansen bij grote namen zoals het Krasnapolsky en het Okura hotel in Amsterdam en tijdens zijn studie aan de Hogere Hotelschool ook nog bij de Librije. Mooie namen voor op zijn CV. Aan het einde van zijn studietijd kreeg zijn vriendin (die inmiddels zijn vrouw is), die dezelfde studie deed, de kans om stage te lopen op Aruba. Dat was het moment dat Mark ervoor koos om met haar mee te gaan en in de horeca te gaan werken op dit prachtige eiland. Na bijna 3 jaar was het tijd om terug te gaan naar Nederland. Daar vond hij vrij snel een goede baan bij een hotel in Apeldoorn, maar ondertussen had hij wel de wens om zelfstandig te ondernemen, maar nog geen concreet idee. Totdat hij via zijn schoonvader in aanraking kwam met 2 projectontwikkelaars die de soutterain beschikbaar hadden van een voormalige bank met ook echt de bankkluizen er nog in, in het hart van Apeldoorn. Ze hadden ideeën om van die locatie een plek te maken waar ondernemend Apeldoorn elkaar kon treffen, maar die ideeën wilden ze niet zelf uitwerken, dus ze waren op zoek naar een jonge ondernemer die in dit avontuur wilde stappen. Die ondernemer werd Mark en dat is het begin van City Lounge Apeldoorn. Mark vertelt in dit interview uitgebreid hoe hij van voormalige bankkluizen een prachtige meeting & event locatie heeft gemaakt. Daarnaast vertelt hij over het leven van 2 ondernemers, zijn vrouw is namelijk ook ondernemer, die binnenkort hun eerste kindje verwachten. Hoe gaan ze om met financieel lastige momenten, hoe houden ze vertrouwen en wanneer vieren ze de mooie momenten? Luister snel naar deze aflevering! Wil je meer weten over Mark en/of zijn bedrijf City Lounge Apeldoorn, neem een kijkje op zijn website of volg hem via zijn social media: https://www.citylounge.nl/ https://www.linkedin.com/in/mark-reiman-523236a/ https://www.instagram.com/citylounge.apeldoorn/ https://www.facebook.com/cityloungeapeldoorn/

Successful businesswoman Rachel Okura was our guest for the 7th episode of the Victory Lap. She is a mother to 3 boys, an attorney, a fitness competitor, and the Director of Stringham Real Estate School. She talks about her influential upbringing, personal hardships, and how it's possible to achieve your goals when it seems impossible to do so.

Koffie, goed of slecht? Meer of minder? Ik zit aan tafel met brander, connaisseur, biohacker en allround koffienerd Jeroen Brugman. Jeroen houdt zich bezig met zowel de functionele aspecten van koffie, performance, focus, gezondheid, maar ook met hoe je gewoon een damn tasty bakkie maakt. Hij demonstreert dit zelfs live in de podcast. Koffie produceren doet hij voor veeleisende klanten zoals het Okura hotel, maar voor zichzelf zet hij ook gewoon een bulletproof koffie met adaptogene kruiden. Hij leert me welke koffie je moet vermijden als je geen schimmels en trillende handjes wil hebben, wat je kan toevoegen aan koffie om het nog effectiever te maken, kortom hoe je koffie als de ultieme legale performance enhancing substance kan gebruiken. Dus schenk jezelf een bakkie in en ga er eens lekker voor zitten. Of kijk hem met beeld op Youtube:  Schrijf je in op de nieuwsbrief voor iedere week geheel gratis waardevolle tips van jouw favo Olympiër: geef me die nieuwsbrief, snel! Check voor de shownotes: govertviergever.com

I usually reserve this space for my random ramblings about sports, but sports is pretty sad right now until my old flame the Chicago Bears start up, or until my new flame the Los Angeles Clippers start up. So I'll just drop in that I contributed to the OASG's AX, SDCC, and Otakon licensing round up, and you should check that out. This episode, we're talking about Yuhki Kamatani's Our Dreams at Dusk published by Seven Seas and Okura (story) and Coma Hashi's (art) That Blue Sky Feeling published by Viz. As always, you can find me on Twitter @ImpassionateK, and my co-hosts Helen (@WanderinDreamr) and Apryll (@manjiorin) on Twitter at those places in the parenthesis. You can find both of their writing at The Organization of Anti-Social Geniuses, more of Helen's writing at Narrative Investigations, and my writing at the Fandom Post. Listen Show notes: 1:01 - We talk about Our Dreams at Dusk! 14:20 - We talk about That Blue Sky Feeling! Next time is Assassination Classroom and Witch Hat Atelier!

I usually reserve this space for my random ramblings about sports, but sports is pretty sad right now until my old flame the Chicago Bears start up, or until my new flame the Los Angeles Clippers start up. So I’ll just drop in that I contributed to the OASG’s AX, SDCC, and Otakon licensing round up, and you should check that out. This episode, we’re talking about Yuhki Kamatani’s Our Dreams at Dusk published by Seven Seas and Okura (story) and Coma Hashi’s (art) That Blue Sky Feeling published by Viz. That song you heard at the top of the episode is “Juice” by Lizzo. As always, you can find me on Twitter @ImpassionateK, and my co-hosts Helen (@WanderinDreamr) and Apryll (@manjiorin) on Twitter at those places in the parenthesis. You can find both of their writing at The Organization of Anti-Social Geniuses, more of Helen’s writing at Narrative Investigations, and my writing at the Fandom Post. Listen Show notes: 1:01 – We talk about Our Dreams at Dusk! 14:20 – We talk about That Blue Sky Feeling! Next time is Assassination Classroom and Witch Hat Atelier!

Today is the first of a 2 part Episode with today's episode looking into the life of Chiune Sugihara. The savior of 1000's of Jews during the Holocaust. And for the poem this week, we have a haiku by Yamanoue no Okura. ~~ Review us over on: Podchaser. Check out our growing database on Japanese History over at historyofjapan.co.uk Twitter: @japanarchives Instagram: @nexus_travels Facebook: @japanarchives ~~ Intro and Outro music by The Kyoto Connection available on the freemusicarchive. ~~ Written by Thomas and Heather.

Scott Adamson joins us to talk about Tomatin for the second time in the Bar Jackalope! He's brought all new stories about the distillery along with four fantastic drams!--What we drank:Tomatin DualchisTomatin 12 YearTomatin 14 YearTomatin 18 Year--Follow us:spiritguidesocietypodcast.comfacebook.com/spiritguidesoctwitter.com/spiritguidesocinstagram.com/spiritguidesochttps://www.youtube.com/c/SpiritGuideSociety--From the Tomatin Website:Whisky production has been central to the way of life in this area most probably since the 15th century and certainly since 1897 when the first formal distillery on the site was established - the settlement of Tomatin was formed only as result of the wealth created by the distillery. The origins of whisky production in Tomatin are hard to be precise about - the formal distillery which operates today was established in 1897 but there is reason to believe that whisky production, albeit illegal, has been an important part of life in the area around Tomatin since the 1700s. The name itself gives an insight into this secret past: “Tomatin” translates to “Hill of the Juniper Bush”, as juniper wood gives off no smoke while burning it has long been a favourite of illicit distillers who must keep their practice secret. Today, a building known locally as “The Old Laird's House” still remains on the site of the current distillery and it is believed that this is the spot where the cattle drovers taking their livestock from the north of Scotland to the central markets would stop and fill their flasks from an illicit still. However, it was only in 1897 at the peak of the Victorian Whisk Boom that three men, John MacDougall, John MacLeish and Alexander Allan, along with a handful of investors, decided to open a formal distillery on the site and form The Tomatin Spey District Distillery Ltd.The chosen location may have been inspired by the history of illicit distillation on the site, however, despite being very isolated (Tomatin is over 1000 feet above sea level on the eastern edge of the Monadhliath Mountains), it was also a very practical location; next to a newly opened rail line, not far from a market- it lies just over 18 miles south of Inverness - and on the Alt na Frith (meaning ‘free burn') which provided a perfect source for soft, Highland water.Eighty per cent of our employees still live on site in the distillery houses, so working at Tomatin is more than just a job for our employees; it is a way of life. This in turn is reflected in the quality of whisky produced; every bottle of whisky we make is distilled with pride. The isolated location was perfect in almost every way, the only thing it couldn't offer was a workforce. So when construction at the distillery begun, the architect was instructed to build a number of houses to accommodate distillery workers. Over the years the number of houses onsite began to grow as did the distillery itself and there are now 30 houses on site which Tomatin continues to offer to its employees. At this time in 1897, demand for ‘Scotch' seemed to be unquenchable with more distilleries (eleven) being built in this year than any other while total production had been increasing significantly for some time.In 1956 the original two stills, which were capable of producing 120, 000 proof gallons, were joined by another pair. Only 2 years later another two stills were added. Once full capacity was realised it was again time to increase potential output and 1961 saw the total still count reaching 5 pairs with another single still joining them in 1964. 1974 saw the most significant boost to capacity with the total number of stills reaching 23 (12 wash and 11 spirit) requiring seven spirit safes and with the capacity to produce around 12 million litres of alcohol every year. At this time Tomatin was the largest distillery in Scotland. During this period Tomatin was considered amongst the most important producers in the market place and one of the few distillers to offer their make as a single malt - initially a 5yo then also at 10yo. The vast majority of the whisky made at Tomatin was sold in bulk to third party companies and was used in many famous blended whiskies such as J&B, Chivas Regal and Johnnie Walker. The success and size of Tomatin was, however, also its demise with the bust of the 1980s - retail sales of blended whisky decreased, and so did demand for Tomatin, forcing the company into liquidation for a second time. In the 20 years prior to going into liquidation the growing export of Scotch Whisky meant that Tomatin's biggest customer was Japan's largest drinks producer - TakaraShuzo Ltd. As Tomatin was forced into liquidation in 1984, Takara Shuzo joined forces with the respected trading company Okura and purchased the distillery, forming the Tomatin Distillery Company Ltd and thus creating the first fully Japanese owned Scottish distillery in 1986. Since that time, the focus has changed and the distillery has gone from strength to strength. There has been a change in strategy to grow the Tomatin brand in its own right. The range of single malts is currently sold in over 50 export markets, with additional markets being added all the time. We have gone from the biggest, to the best.tomatin.com--Music by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

The ASMR talk show hosted by Adam Papagan. This week, Adam talks about what he really wanted for his birthday. Then Juan Pollo founder Albert Okura discusses his beginnings in the fast food business, his management philosophy, and the Unofficial McDonald's Museum. . Subscribe to the podcast on YouTube: https://www.youtube.com/channel/UC5ai92I1SvymJ9Urg08CDeQ?view_as=subscriber

Yoko Okura of Mercy Corps discusses her recent visit to Cox's Bazar in Bangladesh, the site of a camp for 1 million Rohingya refugees. She learned every day, that 700 tons of trees--four football fields--are being cut down for firewood and construction, bringing an increased risk of landslides and floods. She also reflects on her visit to Manila with Carnegie Council and the advantages of traveling with a group from different disciplines.

Yoko Okura of Mercy Corps discusses her recent visit to Cox's Bazar in Bangladesh, the site of a camp for 1 million Rohingya refugees. She learned every day, that 700 tons of trees--four football fields--are being cut down for firewood and construction, bringing an increased risk of landslides and floods. She also reflects on her visit to Manila with Carnegie Council and the advantages of traveling with a group from different disciplines.

Angela and Kelly are talking about cartoons--the Saturday morning kind, and the late night anime kind. She-Ra, Marvel Rising, ThunderCats Roar, and Voltron (let's not get into it) are all on the table. Why is western animation still struggling to find an audience outside 6 year olds? What comes first, the manga or the anime? And why does Angela have to wait so long for a new season of Haikyu!!? Book Review (46:15): Curse Words by Charles Soule, Ryan Browne, Jordan Boyd; That Blue Sky Feeling by Okura and Coma Hashii Twitter: @onepanellater | Show notes: onepanellater.com

Yoshi Domoto/Japan-America Society of Georgia and JapanFest The Japan-America Society of Georgia (JASG) is a 501(c)(3) non-profit organization whose mission is to promote mutual understanding between the people of Japan and the state of Georgia through establishing and promoting ties and programs in the areas of business, culture, customs, education, commerce, politics, and social networking. One […] The post Yoshi Domoto with Japan-America Society of Georgia & JapanFest, Brittany Luiz with American Tombow and Masae Okura with Taylor English Duma appeared first on Business RadioX ®.

MEG OKURA is a distinguished violinist/composer who has been decorated with several awards.  Her latest album, Ima Ima, is a collection of well thought out and very well executed compositions that stem out of her role as a mother. Join Meg and Lorens as she talks about composing, motherhood, David Bowie, and other somewhat related things. (music credit: 'Black Rain’, 'A Summer in Jerusalem', 'A Night Insomnia’, 'Blues in Jade’) Follow Doing Jazz: twitter: https://twitter.com/doingjazz instagram:https://www.instagram.com/doingjazz/ facebook:https://www.facebook.com/doingjazz/ website: http://www.doingjazz.net/

The thirteenth episode of the Burning Ambulance podcast features a joint interview with violinist Meg Okura, who was born in Japan and recorded with David Bowie, and currently leads her own Pan Asian Chamber Jazz Ensemble, and her husband, soprano saxophonist Sam Newsome. Her newest album, Ima Ima, will be out in May. His latest, a solo record called Sopranoville, came out last year. They've also got an album with pianist Jean-Michel Pilc as the NPO Trio that's out now. In this conversation, we discuss their individual music, the work they do together, religion and spirituality, and much more.

Phil Freeman talks to soprano saxophonist Sam Newsome and violinist Meg Okura.

It’s a sad week in Tokyo as we bid farewell to one of the city’s most beloved architectural marvels, the Hotel Okura. We also hear from a company that specialises in bringing that cosy-home feeling to those who constantly find themselves on the move. And touching down in Singapore, we hear how the importance of community plays a central role in creating a cosy home. Plus: the final chapter of our interview with former Australian foreign minister Alexander Downer.

Un mix 100% Tech House by Julio Okura

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Kyogen is Japan's oldest form of theatre. It is closely associated with Noh drama and was originally performed between the acts of Noh theatre. But while Noh themes are mostly solemn, Kyogen presents a comical or satirical view of everyday situations. Orginating from the Muramachi Period of the 14th Century, the humorous stories in Kyogen theatre are derived from typical domestic quarrels and situations. The Shigeyama family has been performing Kyogen for over 400 years. During their North American tour, with shows at the Smithsonian Freer Gallery in Washington D.C. and at the University of Chicago's International House, the Okura School will perform "Kaki Yamabushi" (the Persimmon Theif). "Kusabira" (Mushrooms) and "Sanbaso" (Fertility, Good Harvest and New Year).

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Kyogen is Japan's oldest form of theatre. It is closely associated with Noh drama and was originally performed between the acts of Noh theatre. But while Noh themes are mostly solemn, Kyogen presents a comical or satirical view of everyday situations. Orginating from the Muramachi Period of the 14th Century, the humorous stories in Kyogen theatre are derived from typical domestic quarrels and situations. The Shigeyama family has been performing Kyogen for over 400 years. During their North American tour, with shows at the Smithsonian Freer Gallery in Washington D.C. and at the University of Chicago's International House, the Okura School will perform "Kaki Yamabushi" (the Persimmon Theif). "Kusabira" (Mushrooms) and "Sanbaso" (Fertility, Good Harvest and New Year).

Janice Katz, exhibition curator of the special exhibition Beyond Golden Clouds, introduces Kyoto-based artist Jiro Okura. Influenced by John Cage's ideas of chance, Okura's work pays homage to the natural materials that he uses and the natural environment from which they come. In this lecture Okura shares his philosophy and inspiration behind his 1990 screen installation, Mountain Lake Screen Tachi. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.