Podcasts about soichiro

Step into a treasure trove of rare stories, photos, and audio clips as Bill Scherkenbach shares his decades with Dr. Deming. From boardrooms to sleigh rides, discover the moments, minds, and memories that shaped modern quality thinking, told by someone who lived it. A powerful blend of insight, humor, and history you won't want to miss. (You can see the slides from the podcast here.) TRANSCRIPT 0:00:02.4 Andrew Stotz: My name is Andrew Stotz, and I'll be your host as we dive deeper into the teachings of Dr. W. Edwards Deming. Today, I'm continuing my discussion with Bill Scherkenbach, a dedicated protégé of Dr. Deming since 1972. Bill met with Dr. Deming more than a thousand times and later led statistical methods and process improvement at Ford and GM at Deming's recommendation. He authored 'The Deming Route to Quality and Productivity' at Deming's behest and at 79 is still championing his mentor's message. Learn, have fun, and make a difference. Bill, take it away.   0:00:41.2 Bill Scherkenbach: Well, thank you. Thank you, Andrew. It's an honor to be asked back. Many places don't.   0:00:48.7 Andrew Stotz: I really enjoyed our first discussion, and particularly towards the end of it, it got a little personal and emotional, and I appreciate that you shared your journey. That was amazing.   0:01:00.9 Bill Scherkenbach: Thank you. Thank you. It is personal.   0:01:05.2 Andrew Stotz: Yeah.   0:01:05.4 Bill Scherkenbach: But today, along that wavelength, I brought some pictures or photos and letters and audios of my association with Dr. Deming. So, if you might bring them up, we can start the commenting.   0:01:27.9 Andrew Stotz: Wonderful. Well, hopefully you see a screen now up.   0:01:34.8 Bill Scherkenbach: Yes. Yep.   0:01:35.8 Andrew Stotz: Okay. And for the audience, just to let you know, for the listeners, we're going to show these and I'll try to explain a little bit about what we're talking about because you're not going to be able to see the pictures. But the first thing is the title is An Insider's View of Deming. Learn, have fun, make a difference. And we see a great picture on the left-hand side, and then I threw in a picture of a Lincoln Continental, which we're going to talk about later, which is kind of fun. But maybe you can take it from there, Bill.   0:02:07.2 Bill Scherkenbach: Yeah. Well, we can talk a little bit later on on that, but this is a picture of me and my wife, Mary Ellen, with Dr. Deming having fun. We were at a restaurant in Northville called Elizabeth's, and it's something that he enjoyed to do just about every evening.   0:02:31.3 Andrew Stotz: Great. Well, what a kickoff. So let's go to the next one. And you guys all look great in that photo.   0:02:38.2 Bill Scherkenbach: Thank you. Thank you. Thank you. Yeah. This is a letter that I received from Dr. Deming back in May of '85, auspicious because the letter dated 13 May, that's my birthday. But for those who cannot read it, should I read the letter for you?   0:03:05.2 Andrew Stotz: Either you or I can read it for you. You tell me.   0:03:08.3 Bill Scherkenbach: Okay. Well, yeah. Why don't you read it?   0:03:10.9 Andrew Stotz: Okay. So, the letter is addressed to a particular person. It says, this is written by Dr. Deming, this acknowledges your kind letter of the 29th April. He that depends solely on statistical process control will be out of a job in three years. The record is clear, the record is clean, no exceptions. A whole program of improvement of quality and productivity is necessary, and it requires that top management learn what their job is. No part of the program will by itself suffice. Your letter does not describe your program, hence comment is difficult. I am happy to learn that Bill Scherkenbach will work with you. His achievements are renowned. He is excelled by nobody. I am sure that you will follow his guidance, not only while he is there with you, but from that then on out. I send best wishes and remain yours sincerely, W. Edwards Deming.   0:04:19.2 Bill Scherkenbach: Yes. I did spend a week with this organization, and as Deming said, and in many, many cases, the local management or local part of the organization get very enthusiastic, but the top management did not buy in. And so very little happened there, unfortunately.   0:04:53.9 Andrew Stotz: Yeah. And I missed that the top right-hand corner in handwritten, it says Portland, 20 May 1985. Dear Bill, I neglected to hand this to you in San Francisco, W. E. D.   0:05:08.1 Bill Scherkenbach: Yeah. We went to, we. Dr. Deming and I were in San Francisco to meet with Shoichiro Toyoda and his wife. It was a social call. Shoichiro was in town. I don't know where his brother Tatsuro was. Tatsuro headed up NUMI, but Shoichiro was head of it all and was in the US. And wanted to just have a dinner with Dr. Deming. I'm embarrassingly cloudy. We met in a hotel and I can't tell you which one, but it was a nice, relaxing dinner. The English was a bit stilted, but Soichiro wanted to have a dinner with Dr. Deming and to express his appreciation.    0:06:31.3 Andrew Stotz: And he was a titan of industry at the time and in 1985 was really making a beachhead and a real expansion into the US market. Why did he want to meet with Dr. Deming? What was the connection there? Maybe for those that don't know.   0:06:55.2 Bill Scherkenbach: He was in town and Deming was nearby in town and just wanted to express his appreciation. I guess, Tatsuro, his brother wasn't there, and Tatsuro headed up NUMI, the partnership between GM and Toyota. But Shoichiro was there and just wanted to express appreciation.   0:07:35.1 Andrew Stotz: Great. Okay. So shall we continue on?   0:07:40.0 Bill Scherkenbach: Yeah. We have a Where is Quality Made? Famous talking from Dr. Deming, and hopefully the audio translates well.   0:07:55.3 Andrew Stotz: Yes, we'll see. Let's go.   0:07:59.5 Speaker 3: Where is quality made, Andrew, in the top management? The quality of the output of a company cannot be better unless quality is directed at the top. The people in the plant and in the service organization can only produce and test the design a product and service prescribed and designed by the management. Job security and job are dependent on management's foresight to design a product and service to entice customers and build a market.   0:08:31.6 Andrew Stotz: So where did that come from? And tell us more about that.   0:08:36.2 Bill Scherkenbach: Well, I'm not exactly sure which particular seminar or meeting that was, but over the years I have, have, we've made a number of audio recordings and videos of Dr. Deming in his meetings. And so we're looking to get them to the Deming Institute so they can process them and distribute.    0:09:11.8 Andrew Stotz: And why is this so important? He's talking about quality is made at the top where we can see many people think that quality is made by the worker. Do your best. Quality is your responsibility. Tell us more about why you wanted to talk about this.   0:09:32.9 Bill Scherkenbach: Well, it's a common, it's a common, very common mistake. He learned back in 1950, and I think I mentioned it in our first talk, that he gave a number of courses at Stanford during the war and people learned SPC. But when the war was over, over here, because management didn't buy in, nothing really happened. And he learned in his visit in 1950 when he was able, as we said, Mr. Koyanagi was able to get a meeting, a number of seminars done with top management in Japan after the war. And he thought that that, he saw that that actually did make a difference, that management was absolutely key. And in every one of his seminars, he would make, he would make  this point, that quality is made at the top.   0:10:54.0 Andrew Stotz: And what was interesting is that, of course, the Japanese senior management, were very receptive. It's many times the case that Deming may have interacted with some senior management at the top of a company, but they weren't receptive or willing to implement what he's talking about.   0:11:12.6 Bill Scherkenbach: Yeah. I think I mentioned last time that you need maybe a significant physical or logical or emotional event. And Ford lost a few billion dollars and was then looking, is there a better way? Japan lost a war, and the tradition over there is to perhaps listen to the conqueror. But MacArthur was very astute, my understanding, that you're not going to go in and replace the emperor and really mix the place up from what their culture is, which is very, very, very astute, in my opinion.   0:12:11.4 Andrew Stotz: Okay. So let's continue. And we see a document now up on the screen and a diagram. And maybe you can explain this one.   0:12:24.8 Bill Scherkenbach: Yeah. This is one of the foils, as he called them, that he wrote on his lantern, which is the overhead projector for all the young people. And making another very, very important point. And that is, he's quoting John Tukey, "the more you know what's wrong with a figure, the more useful it becomes." And he also, at various times, would, would, would talk about George Gallup. And Gallup was his friend. And George Gallup would say that unless you've gone through the slogging of collecting data, you shouldn't be too quickly using data or analyzing data. Because if you go to collect it, you know that some people just aren't there. And this is primarily survey stuff that Gallup was talking about. But Tukey was talking about anything. And Deming, along the way, with his learnings from Shewhart, what I've developed is based on Deming's questions come from theory, created a theory, question, data, action cycle, similar to a PDSA. And so that you need to know what the question was before you can use the data. And Dr. Deming's example was you can't use manganese dioxide for just anything. If it's really, really critical work, then you need to know what's in it that could contaminate it or interact with the other chemicals that you're trying to mix it with. Hugely important in chemistry, hugely important anywhere. And he talked, yes, we do have some audio from Dr. Deming talking about another analogy, on I can't even wash the table unless you tell me what you're going to use it for.   0:15:24.0 Andrew Stotz: I remember watching a video of this with him, with Robert Reich, I think it was, being interviewed. And it was such an impactful thing because I always thought you just tell people what to do and they go do it. And so let's listen to the audio. I'm going to play it now. One second.   0:15:42.6 Speaker 3: I can teach you how to wash a table, teach you how to rub, scrub, use brushes, rags. I'd be pretty good at it. But you know, I could not wash this table suppose you told me my job is to wash this table. I have no idea what you mean. There's no meaning to that. You must tell me what you're going to use the table for. I want to see a flow diagram, work moving. Here I am. My job is to wash this table. I do not understand what you mean. Wash this table. There's no meaning to that. I must know what you're going to use the table for, the next stage. What happened to the table, next stage, in the flow diagram? You want to put books on it? Well, it's clean enough for that now. To wash the table, I just go through it from just here, make a look at it. If I work a little, good enough. If I clean enough to eat off of it, well, it's good enough now. Or use it for an operating table? Oh, totally different now. Totally different. Now I scrub it with scalding water, top, bottom, legs, several times. I scrub the floor underneath for some radius. If I don't know the next stage, I cannot wash the table.   0:17:28.8 Andrew Stotz: Tell us your thoughts on that.   0:17:31.5 Bill Scherkenbach: Yep. Yep. Well, again, my theory, question, data, action cycle, if you're asking a question, you, you, if you can, and there are some confidential considerations, but if you can, you need to tell the people who are trying to answer the question what you're going to do with it. And so if you want the table washed, tell them you're going to just eat off of it or assemble microchips on it. If you, so that's the responsibility of the manager or anyone who is asking the question. So if you want to improve your questions, you got to go back up and think of, well, what's my underlying theory for the question? If this, then that, that prompts a question and the circle continues. And if you, the only reason to collect data is to take action. Both Eastern and Western philosophers absolutely have said that for centuries.   0:18:55.2 Andrew Stotz: Yeah. What's interesting, I didn't hear him say it in any other cases when he was talking about the next stage. I did hear him say before, like, what's it going to be used for? But you could hear when he's talking about the next stage, it's saying to me, that's saying the responsibility of management is looking at the overall system and communicating that and managing that, not trying to, you know, just give some blind instruction to one group, one team, one person without thinking about how it all interacts.   0:19:29.9 Bill Scherkenbach: Absolutely. Absolutely. But in the local aspect of, well, some question answers are not so local, but it's what the question asker's responsibility to let the people know what they're going to use the data for.   0:19:51.9 Andrew Stotz: Yep. Great lesson. All right. So now I've got a interesting picture up on the screen here. We have Dr. Deming and there's John Turkey, Tukey how do you say his last name?   0:20:05.6 Bill Scherkenbach: John Tukey, T-U-K-E-Y, yep. George Box and Sir David Cox. Anyone in the statistics arena knows them. We also had Stu Hunter and I believe John Hunter was there. They're not in the picture. I took the picture. But we were at Meadowbrook, which is, which is, on the old Dodge estate where Oakland University is near Detroit. And had a, we called the meeting to discuss the importance and the various perspectives of enumerative and analytic. Now, each of these men, Box, Tukey, and Cox, and all of them, all of us in the university, quite honestly, were brought up with enumerative methods. And so your standard distributional stuff and T-tests and whatever. And Deming and Tukey realized the importance of being able to not just take action on the sample, but the cause system, the system that caused the sample, or the process term, in process terms. So yeah, John Tukey was strangely enough, well, not strangely enough, but came up with a graphical method to look at data called the box and whiskers plot, with George Box standing next to him, but it's not that George didn't shave. But Tukey, very, very well known for graphical methods.   0:22:24.2 Bill Scherkenbach: George, well known for experimental methods. One of the Box, Hunter and Hunter book on statistical design of experiments is legendary. And Sir David Cox, logistic regression, which is hugely, strangely, well, not strangely enough, but huge nowadays, very important in AI, in how you would be looking to teach or have your model learn what it is that you would like them to learn to look for. So each of these gentlemen, very, very much a pinnacle of the statistical career. We were very, in a large company like Ford, we were very lucky to be able to make big meetings like this, or meetings with very influential people happen.   0:23:38.9 Andrew Stotz: Yeah. That's got to be amazing because I think when most of us listen to Dr. Deming and all that, we get a lot of what he says. But I would say that the statistical aspect and his depth of statistical knowledge is what many people, you know, it's hard for many Deming followers to deeply connect with that. And I think even myself, having, you know, read everything, listened to him, learned as much as I can, the best that I probably come up with is the idea that once I started understanding variation, one of the things I started realizing is that it's everywhere and it's in everything. And I didn't understand...   0:24:27.3 Bill Scherkenbach: Well, I still have the cartoon of a popcorn maker that was very surprised when he said, "They all popped at once." And his popcorn stand has blown up. So yeah, variation is everywhere, a lot or a little. And the thing is that you need to be able to take appropriate action. Sometime, I can remember, I can remember Bob Stemple asking me, "What did I think of the Shainin methods, Dorian Shainin, and technical approach?" And I wrote back to him and I said, "It's no better or worse than any of the other methods we don't use here at GM." The point is, all of these methods are better than Bop-A-Mole. And one of the things, well, one of the things that concerns me is that in these tool areas, and Deming's counsel to me long ago was he remembers the fights that the technical people, the statisticians in the quality profession, would have over which one is a tenth of a percent better or more effective doing this and that. And they would publicly argue, and Deming said, "Stop. It confuses management because they don't have a clue and they're staying away from all forms of quality." So, you, and I don't know the solution in this day and age where everyone is connected. But all of these methods have their strengths and weaknesses, but you have to have the savvy to figure out which one to use to help you improve. All of, each of these four were great teachers, and I have a comment from Dr. Deming on that.   0:27:11.7 Andrew Stotz: And just in wrapping this up, it's like, I think one of the things that you realize when you see this one and what you're talking about, what I realize is what a powerhouse Dr. Deming was in the area of statistics. And in some ways, it's kind of like seeing a rock star that you love to listen to and that rock star is great. And then one day on a Sunday, you go to the church and you see he's a reverend and a very solemn man who is a very, very devout devotee of Christianity and something. In some ways, that's the way I feel when I look at this, like, wow, just the roots of the depth of that is so fascinating.   0:28:03.2 Bill Scherkenbach: As you mentioned that, I'm thinking back, we were in Iowa and one of the professors there, and I forget his name, but you're right. Deming was held in awe and he was riding in the backseat. I'm driving and this professor is beside me and Dr. Deming said something and I said, how do you know? And the guy thought the world was going to come to an end that I dared ask the master, how did he know? Well, it, it, it ended up fine.   0:28:52.9 Andrew Stotz: That was the question he was trying to teach you to ask.   0:28:55.3 Bill Scherkenbach: Absolutely. You don't accept it at face value.   0:29:02.2 Andrew Stotz: So we got this other slide now. It says, what do you mean by a good teacher? Maybe you want to set this up and then I'll play the audio.   0:29:10.7 Bill Scherkenbach: Yeah. This was one of his favorite stories when he studied under Ronald Fisher, who is the big godfather of statistics, well, relatively modern stuff. So, Fisher was there at University College, as Deming will describe, and Deming wanted to know, and this is where a number of you will have recognized, he wanted to know what great minds were thinking about.   0:29:56.7 Andrew Stotz: All right. I'm going to play the clip right now.   0:30:00.2 Speaker 3: What do you mean by a good teacher? I taught with a man, head of a department. The whole 150 students spellbound him, teaching him what is wrong. And they loved it. What do you mean by a good teacher? Holding students spellbound around him. What do you mean teaching them something? I've had a number of great teachers. One was Professor Ronald Picker, University of London, University College I should say, part of the University of London. In London, 1936, no teaching could be worse. A lovable man, if you tried to work with him, could not read his writing, could stand in the way of it, room was dark and cold, he couldn't help the cold, maybe he could have put some light in the room, make mistakes, Professor Paul Ryder in the front row always helped him out. He'd come in with a piece of paper in his hand the ink not yet dry, talk about it. Wonder why the room was full of people from all over the world. I was one of them. Made a long trip, at my own expense, to learn, and we learned. We learned what that great mind was thinking about, what to him were great or important problems today.   0:31:45.9 Speaker 3: And we saw the methods that he used for solutions. We saw what this great mind was thinking about. His influence will be known the world over for a long, long time. He would rated zero by most people that rate teachers. Another teacher that I had was Ernest Crown at Yale, very poor teacher. We'd get together afterwards, some of us, and try to figure out what he was teaching us. He was not even charismatic the way Ronald Fisher was, but we learned. We learned what that great mind was thinking about, what he thought was the problem. We learned about perturbation. His work on lunar theory will be a classic for generations. We learned. Worst teacher there could be, but we learned.   0:32:49.0 Andrew Stotz: Wow. Tell us more about that.   0:32:53.6 Bill Scherkenbach: Well, he also had a similar story because, from great teachers at NYU, and that's where I first met him and learned from him. He was my teacher, but NYU had a, they had nominations for great teachers. And Deming was able to convince, and I forget who was the, Ernest Kurnow was the dean, and he convinced the dean to wait 10 years before you survey any of the students. And the question was, did any teacher you have really make a difference in your life? And he was able to get that done or get that process agreed to, and it was for the better because in, and I don't want to... I mean, every generation has said this new generation is going to hell in a handbasket, I mean, that for forever. That's nothing new. But what's popular, it's great to be entertained, and as he said, teaching what is wrong. And so did someone make a difference in your life? And not surprisingly, Deming was one of the people selected as a great teacher from NYU Graduate Business School.   0:35:15.4 Andrew Stotz: So that's your review after 50 years after the course, huh?   0:35:21.6 Bill Scherkenbach: Yeah.   0:35:24.5 Andrew Stotz: Yeah. And so the point is that, let's separate popularity from original thinking. And also he highlighted the idea that some teachers may not come across very organized, very polished. They may need assistance to help them clarify what they're trying to get across. But just because they're kind of a mess in that way, doesn't mean they're not thinking very deeply. In fact, it may be a sign that they're thinking very deeply about it.   0:36:01.9 Bill Scherkenbach: Yeah. Now, again, remember, and I know it's a broad brush, but Deming was eminently logical. Crosby would have loved it. Wine and cheese parties showed Juran more physical. And so I think Deming's preferences there, the key to his statement is teaching what was wrong. Some people get excited in class for a variety of reasons, but the key is what are you teaching? The method depends on the ability of the teacher to connect to the students and actually teach. So it gets you back to physical, logical, and emotional. But for Deming, Fisher struck a chord with him.   0:37:09.9 Andrew Stotz: Yeah. And I think for the listener, the viewer, think about some teacher that really made an impact on you. And it could be that there was a teacher that was able to connect with you emotionally.   0:37:25.2 Bill Scherkenbach: Absolutely.   0:37:26.7 Andrew Stotz: So there's different ways. But I think of Dr. Deming wasn't a teacher of mine in university, but at the age of 24 to learn from him was definitely a teacher that left me with the most to think about. And I would say there was one other teacher, a guy named Greg Florence that was at Long Beach City College who taught me argumentation and debate. And he also really encouraged me to join the debate team, which I really couldn't because I didn't have time because I didn't have money and I had to work. But he really saw something in me, and now I love to teach debate and helping young people construct arguments. And so for all of us, I think this idea of what do you mean by a good teacher is a great discussion. So, love it. Love it. Well, we got another picture now. Speaking of teaching, the City University of New York is in the backdrop. Maybe you can set this one up.   0:38:27.0 Bill Scherkenbach: Yeah. This was a one-day, maybe one and a half with some pre-work, but essentially a one-day meeting in New York that was able to gather some of the top educators in the US, the head of the schools in California. There were some folks from Chicago. We had, as I mentioned, Albert Shanker, who was head of the American Federation of Teachers, was sitting right beside me. Other teacher organizations and education organizations. And we got together for a very meaningful thing. We got together to try and determine what is the aim of education in America. And it turned out that everyone was looking for their mic time, and we couldn't even agree on an aim for education in America. And if you can't agree on an aim, your system is everyone doing their best, and it's all, there's not too much progress, except locally or suboptimally.   0:40:02.3 Andrew Stotz: Yeah. That's a good illustration of the concept of best efforts. Dr. Deming often talked about best efforts. And here you're saying, without an aim, everybody's going to just go in their own direction. And it reminds me of a story I tell people in relation to management, which was that I had a really great boss many years ago in the field of finance research in the stock market. He was very brilliant, and he hired really good analysts. I was surrounded by the best. But he never once really brought us together to say, this is our aim. And so what ended up happening was that each person did their best, which was very good as an individual, but as a group, we never were able to really make an impact. And I explain that to my students nowadays, that I believe it's because he didn't set an aim and bring us together for that.   0:41:09.1 Bill Scherkenbach: Now, one of the, I mean, one of the things Deming very predictably talked about, as I recall, is the grades and gold stars, which were part of his forces of destruction. And the education is the way we approach education here was part of that, even before people get to get beat further down by corporate and other organizational stuff. And the grading and gold stars, I don't know how much that was, that criticism was appreciated. But everyone had a chance to talk. And in my opinion, not too many people listened.   0:42:09.3 Andrew Stotz: Now, the next one is titled Mongolian Rat. What the heck, Bill?   0:42:17.1 Bill Scherkenbach: Well, this is part of teaching what good teaching would be. You've got to listen. It's one of my favorite stories of his.   0:42:30.3 Andrew Stotz: Well, let's roll the tape.   0:42:33.3 Speaker 3: I met a professor in New York. He was a surgeon, professor of surgery. He did gave out some marble, had plenty. One student in the class, he told them describe the surgical procedure on the jaw in which a certain breed of Mongolian wrap was very helpful. The rat, the flesh right down the bone cleaner than a surgeon could do it. Very important wrap. Describe it in details to the listeners and students. On examination, one, the question was to describe the surgical procedure by use of the Mongolian rat. Plenty of students gave him back the same marbles that he doled out. He described it in exactly the same words that he described it. He flunked them all, all the time. One of them said, my dear professor, I have searched the literature. I've inquired around in hospitals and other teachers, I can find no trace of any such procedure. I think that you were loading us. He laughed. He had to take a new examination. He gave them back the same marbles he doled out to them. He wanted to think.   0:43:55.0 Andrew Stotz: Marbles. I haven't heard that expression. Tell us a little bit more about what you want us to take from this.   0:44:02.6 Bill Scherkenbach: Well, I think it's pretty self-explanatory. His comment on education that teachers are handing out marbles and pieces of information, not necessarily knowledge, and the testing, you're expected to give them back what the teacher said instead of how can you process it and put it in the context of other things, as well as, I mean, maybe not in the early grades, but in the later ones, you need to be able to look at various perspectives to see who has this opinion and that opinion. And unfortunately, today, that discourse is nicely shut down.   0:45:07.3 Andrew Stotz: At first, when I heard him saying marbles, I thought he was kind of using marbles as a way of kind of saying pulling their legs, but now I understand that he was trying to say that he's giving something and then the students give it back.   0:45:24.1 Bill Scherkenbach: Yeah. Yeah. Yeah.   0:45:26.0 Andrew Stotz: Okay. Mongolian rats.   0:45:31.0 Bill Scherkenbach: Yep. Yep. So we go from learning to having fun, and here's a picture of our statistical methods office at Ford.   0:45:48.1 Andrew Stotz: And you're sitting in a sleigh? Is that what's happening there?   0:45:50.0 Bill Scherkenbach: We're sitting in a sleigh, yes, at Greenfield Village, which is where the Henry Ford Museum is, and it happened to snow, so we've got the, we've got the horse-drawn sleigh, and I was listening to your first interview of me, and I want to deeply apologize. It's Harry Artinian, and so from the left, you've got Ed Baker and Bill Craft and Pete Jessup, Harry Artinian, Narendra Sheth, Dr. Deming, Debbie Rawlings, Ann Evans, my secretary, uh ooooh, and the gentleman who worked with Jim Bakken, and then me. So, we were working and decided to have a good lunch.   0:46:58.5 Andrew Stotz: And it's a horse-drawn sleigh. And I wasn't sure if you were pulling our leg here because you said, I'm second from the far right. First from the far right, to me, looks like the horse.   0:47:09.0 Bill Scherkenbach: Yes. That's the horse's ass. Yep.   0:47:14.6 Andrew Stotz: That's a big one.   0:47:16.1 Bill Scherkenbach: It is what it is.   0:47:18.7 Andrew Stotz: Yep. Okay. Next one. Who's Sylvester?   0:47:22.3 Bill Scherkenbach: Sylvester is my son's cat. And this is one of the times Dr. Deming was in my home. And he sat down in my office at my home. And Sylvester saw a good lap and he jumped up on it and took it. And as I said, I couldn't tell who was purring louder. They both were content.   0:47:52.7 Andrew Stotz: Yeah. That looks beautiful.   0:47:55.4 Bill Scherkenbach: Yeah. It was very, very peaceful. Another fun thing, after a long day of work at Ford, we would go to Luigi's restaurant in Dearborn. I think there was a Dearborn Marriott, a big hotel. I don't know if it's there now. But that's Larry Moore, director of quality, next to Dr. Deming and me. I had a mustache back then.   0:48:30.4 Andrew Stotz: Yes. And we all loved soft serve ice cream.   0:48:34.0 Bill Scherkenbach: Soft serve ice cream. Yep.   0:48:38.0 Andrew Stotz: Yep. All right. Star-Spangled Banner.   0:48:40.9 Bill Scherkenbach: Yep. Now we're at one of my earlier houses in Northville. And Dr. Deming had written a new tune for the Star-Spangled Banner because it was an old English drinking song, Anna, the what? The Anacrocronistic Society. And he thought it was just too bawdy. I mean, you're an unsingable, except if you're drinking. So he rewrote the music for the Star-Spangled Banner. I have a copy of it here. But he, my son Matthew, my oldest son Matthew, we had just gotten one of those first Macs from Apple, Macintosh. And it had a very elementary music thing. So he put the notes that Deming had handwritten. And we put it in there and it played the tune. And so Deming was playing on our piano the Star-Spangled Banner.   0:50:04.7 Andrew Stotz: So he had a musical talent.   0:50:10.8 Bill Scherkenbach: Oh, yeah. He was a very serious study of, a student of music. Very much so. He wrote a complete Mass. He was a high church Episcopalian. And he wrote a complete Mass of the Holy Spirit with all parts. So, very much a student of music.   0:50:41.8 Andrew Stotz: And how did his religious beliefs, like Episcopalian, as you mentioned, how did that come across? Was he a person who talked about that? Was he a person that didn't talk about that? Like, how did that come across?   0:50:59.2 Bill Scherkenbach: It was more of a private thing. But then again, on every one of his books, he would begin a chapter with some quotation from different books. And many of them were from the Bible. I can remember one time in London, I'm Catholic, and so we were celebrating the St. Peter and Paul that Sunday. But he was in London and he was at St. Paul's and they weren't giving Peter any traction. But he looked up and he said, yep, you're right. It was both of those saint days.   0:51:58.3 Andrew Stotz: All right. Next one, Drive Out Fear.   0:52:01.8 Bill Scherkenbach: Oh, yeah. This was Professor Arnold. And we were having lunch in the Ford dining room, one of the Ford dining rooms. And Dr. Deming wasn't too happy of what Professor Arnold was talking about. And Professor Arnold didn't look too happy either. So, I framed the picture and put Drive Out Fear underneath it and hung it in my office. And Deming came and looked at it and smiled.   0:52:46.5 Andrew Stotz: And what was the background on Professor Arnold? And in this case, did they have opposing views or was it a particular thing or what was it that was...   0:52:58.4 Bill Scherkenbach: I don't remember the particular conversation, but Professor Arnold was head of the statistics department at Oakland University. And Ford had an agreement with Oakland University that we established a master's degree in statistics, according to Dr. Deming's viewpoint on enumerative and analytic. And no, he was very, very capable gentleman. I mean, one of the things Dr. Deming mentioned to me is if the two of us agreed all the time, one of us is redundant. So there were always discussions. This is just a snapshot in time.   0:53:52.3 Andrew Stotz: I love that quote, that one of us is redundant. That's powerful, powerful.   0:53:59.4 Bill Scherkenbach: Absolutely. Yep. This is another having fun after learning in... There were a number of restaurants we went to. He particularly liked Elizabeth's,   0:54:16.1 Andrew Stotz: And how was their relationship? How did he treat your lovely wife?   0:54:22.5 Bill Scherkenbach: Oh, I mean, very lovingly. I mean, I don't know how to describe it, but one of the family.   0:54:36.2 Andrew Stotz: Yeah. He seemed from my observation, like a true gentleman.   0:54:42.5 Bill Scherkenbach: Absolutely. Absolutely.   0:54:46.0 Andrew Stotz: Well, here we come to the Lincoln that we started off with. This is a great picture too.   0:54:51.4 Bill Scherkenbach: Yeah. That's a picture I had. It wasn't a Hasselblad, but it was a two and a quarter frame. And I had black and white film in it, but this is one of a number of pictures I took of him at the Cosmos Club. I think it was a very good picture. And in any event, it was blending learning and having fun.   0:55:19.7 Andrew Stotz: Yeah. And the Cosmos Club was near his house?   0:55:22.5 Bill Scherkenbach: Yeah. Well, it was depending on who drove. I mean, it was just, it was down a few blocks and then a number of blocks on Massachusetts Avenue. I enjoyed the drive from his house because you'd pass the Naval Observatory, which for years was the home of the chief of naval operations here. But a few decades, a few, I don't know how long ago, the vice president pulled rank on him. And so the Naval Observatory, beautiful, beautiful old house. So, the vice president lives there now. And a lot of people think Massachusetts Avenue in that area is Embassy Row. So you're passing a number of embassies on the way. And the Cosmos Club, anyone can look up. I mean, it's by invitation, members only, and Nobel laureates and Pulitzer Prize winners and a very distinguished membership, let's say.   0:56:39.3 Andrew Stotz: Here was another one, Making a Difference with Don Peterson.   0:56:43.0 Bill Scherkenbach: Yep. Yep. We're, we're, this is one of the meetings we had with Don. And it wasn't this meeting, but we were in one of them. Okay. You have it on the right there. That we periodically would have, Dr. Deming and I would have breakfast with Jim Bakken in what was known as the Penthouse at Ford. There are 12 floors, and then there was the 13th and 14th, which were private quarters, essentially. And so we were having breakfast one morning and finishing breakfast, and I'm walking a little bit ahead, and I run ahead and press the elevator button to go down one floor, and the door opens, and there's Henry Ford II in cowboy belt buckle and boots, no hat. He's going to a board meeting, he says, and Jim shied away, said, "Oh, I'm sorry, Mr. Ford." He said, "Shut up, Jim, get in here." And so we got in the elevator, and it was the small elevator. And so we're back to back, belly to belly, and Jim introduces Dr. Deming to Mr. Ford, and Ford said, "I've heard of you, Dr. Deming. God, we really need your help." And Deming had the presence of saying, "I heard of you too, Mr. Ford." It was the longest one-floor elevator ride I've ever had in my life.   0:58:49.1 Andrew Stotz: That's fascinating. All right. Next one, talking with workers.   0:58:54.1 Bill Scherkenbach: Yep. Yep. He made it a point. And this is a fine line, because you want to be able to have workers say, how, how, are they able to take pride in their work? And are there any problems and all of that? But you don't want to be in a position of then going to management and telling them because of fear in the organization. So, Dr. Deming was very good at listening and getting people to talk about their jobs and their ability to take joy and, well, pride in their work. So we had many, many meetings, different places. And this next one is with the Ford Batavia plant, I think.   1:00:01.2 Andrew Stotz: Yep.   1:00:02.4 Bill Scherkenbach: Yeah. We're riding on the tractors and having a good time.   1:00:11.3 Andrew Stotz: Who's driving?   1:00:14.2 Bill Scherkenbach: The plant manager, Ron Kaseya, was driving.   1:00:16.9 Andrew Stotz: Okay.   1:00:17.9 Bill Scherkenbach: And so I absolutely do not recall what we were laughing at, but we were having a good time. And the Batavia transaxle plant, a number of people will recognize as where Ford, it really made the point that doing better than spec is really what the job is. And it's a very powerful video that's been out there and people would recognize it as well, because we were producing the exact same transaxle in Mazda. And Mazda was influenced a lot of by Genichi Taguchi and looked to reduce variation around the nominal and not just be happy that we made spec. And John Betty, who was head up of powertrain operations and then went to the Department of Defense as assistant secretary of defense for procurement, I think, because of the quality expertise. Betty is in the front of the video saying he's absolutely convinced that this is a superior way to look at manufacturing, to look at the management of any process. You want to get your customers to brag, not just not complain.   1:02:10.3 Andrew Stotz: Yeah. Courage.   1:02:11.8 Bill Scherkenbach: And all of this takes courage. And especially in his seminars in London say, the Brits had the advantage. You guys can take courage every day. We can't get that in the US anymore. Or it's very rare to be able to buy it here.   1:02:36.3 Andrew Stotz: For the listeners, there's a logo of the John Courage beer, premium beer.   1:02:45.7 Bill Scherkenbach: Yes. Yes. It's an amber pills.   1:02:49.8 Andrew Stotz: Okay.   1:02:52.4 Bill Scherkenbach: And last but not least, well, not last, but we're looking for, and I ran across this quote from Yogi Berra, and it's very applicable right now. And Yogi Berra said, I never said... Well, what did he say?   1:03:19.2 Andrew Stotz: Never said most of the things I said.   1:03:21.4 Bill Scherkenbach: Most of the things I could have said. I never said most of the things I said. Yeah. And every day online, I see people saying Dr. Deming said this, and he said that. And if he did, I've never heard him say it. And not that I've heard him say everything. But if he did say something like, if it's not measurable, you can't manage it. He would have followed it with, that's not right. The unknown and unknowable. And so you've got a lot of people misunderstanding what Dr. Deming said. And you've got to go with, I never said most of the things that I said.   1:04:24.0 Andrew Stotz: Well, that's the great thing about this discussion is that we're getting it from the horse's mouth, someone that was there listening and being a part of it.   1:04:32.1 Bill Scherkenbach: Well, I'm glad you saw the other end of the horse.   1:04:37.5 Andrew Stotz: Yeah. So, I'm going to close out this by just sharing a little personal connection. And that is, I'm showing a picture of me in my 1963 suicide door Lincoln Continental, which I owned for 10 years in beautiful Bangkok, Thailand. And much like being kind of wild taking a ride to the Cosmos Club with Dr. Deming driving his Lincoln Continental, you could imagine how odd it looked seeing this American guy driving this 1963 Lincoln Continental on the streets of Bangkok. But I just thought I would share that just to have some fun. So, yeah.   1:05:14.3 Bill Scherkenbach: That's beautiful. Absolutely. Yeah. I didn't think the streets were that wide.   1:05:22.1 Andrew Stotz: It gets stuck in traffic, that's for sure. But wow, there's so many things that we covered. I mean, I just really, really enjoyed that trip down memory lane. Is there anything you want to share to wrap it up?   1:05:36.1 Bill Scherkenbach: No. As I said, our last conversation, we've just scratched the surface. There's so much, so much more to talk about and preserve, I think.   1:05:48.9 Andrew Stotz: Yeah. Well, I really enjoyed it.   1:05:52.1 Bill Scherkenbach: I have done my best.   1:05:53.6 Andrew Stotz: Yes, you have. You have. I've enjoyed it, and I'm sure the listeners and the viewers will enjoy it too. So, on behalf of everyone at the Deming Institute, I just want to thank you for taking the time to pull that together and to walk us through it. And for listeners out there, remember to go to Deming.org to continue your journey. And of course, go to LinkedIn to find Bill and reach out and share your interpretations of what we went through. And maybe you have a story that you'd like to share also. So, this is your host, Andrew Stotz, and I'm going to leave you with one of my favorite quotes from Dr. Deming. And that is, “people are entitled to joy in work."

Offerta di ESCLUSIVA NORDVPN: Vai su https://nordvpn.com/dentrolastoria per acquistare NordVPN + 4 mesi Extra + 6 mesi da regalare a chi vuoi +30gg soddisfatti o rimborsati Il nostro canale Youtube: https://www.youtube.com/channel/UC1vziHBEp0gc9gAhR740fCw Sostieni DENTRO LA STORIA su Patreon: https://www.patreon.com/dentrolastoria Abbonati al canale: https://www.youtube.com/channel/UC1vziHBEp0gc9gAhR740fCw/join Il nostro store in Amazon: https://www.amazon.it/shop/dentrolastoria Sostienici su PayPal: https://paypal.me/infinitybeat Dentro La Storia lo trovi anche qui: https://linktr.ee/dentrolastoria 11 agosto 1991: all'Hungaroring Ayrton Senna vince il Gran Premio di Formula Uno e, sul podio, decide di omaggiare una persona scomparsa appena sei giorni prima. Soichiro Honda, fondatore dell'omonimo colosso giapponese che in quel periodo produceva anche i motori delle McLaren guidate dal campionissimo brasiliano, era stato il simbolo della rinascita economica e produttiva del Sol Levante dopo i disastri della Seconda Guerra Mondiale. Figlio di un fabbro, innamorato della meccanica e della velocità, Soichiro rivoluzionò il mondo col primo ciclomotore, poi con la CB750Four. Egli guidò la riscossa sulle strade, nelle piste e nelle fabbriche di un Paese militarmente sconfitto ma desideroso di tornare a recitare un ruolo preponderante nell'economia globale. Learn more about your ad choices. Visit megaphone.fm/adchoices

Os traemos la prueba de la última versión de la Africa Twin, seguiremos con la historia personal de Soichiro Honda y conoceremos a Gabriel Marcelli, piloto oficial del Repsol Honda Trial Team.

Keisyu, Kento and Soichiro are Dokkyo Medical University students and in this podcast series called 'idioms' they are giving an example of using one. In this situation, they are going to demonstrate the idiom "Over the Moon".

Pada tahun 1946, Jepang berkutat dengan kesulitan-kesulitan pasca kalah Perang Dunia II. Kelangkaan makanan, ketiadaan sumber energi dan bahan bakar, serta banyak warga yang kehilangan tempat tinggal. Berbagai perusahaan juga gulung tikar. Namun, di masa-masa sulit sering kali ide brilian lahir. Mari sambut Soichiro Honda. Dialah orang yang dalam kesulitan pasca perang, memasangkan mesin generator bekas dipakai tentara Jepang pada sepeda kayuh – menjadikannya sepeda dengan mesin – yang kini kita kenal sebagai sepeda motor. Setelah mesin-mesin bekas makin langka, Soichiro akhirnya membuat mesin sendiri yang menjadi awal dari lahirnya brand sepeda motor Honda. Saat ini, Honda adalah perusahaan sepeda motor terbesar di dunia. Yess, di dunia. Di Indonesia saja, brand ini menguasai 70-80 persen pasar sepeda motor nasional. Mereka juga memproduksi mobil dan kendaraan lainnya. Tapi, mungkin belum banyak yang tahu kisah awal Soichiro yang merupakan anak orang miskin dari pelosok yang bertaruh nasib melamar pekerjaan di usia 15 tahun, mendapati dirinya bekerja sebagai baby sitter dulu, lalu sempat jadi pembalap juga, dan pernah juga loh mengalami masa-masa sulit dalam hidupnya. Namun semangatnya membuat Honda kini dikenal sebagai salah satu brand paling terpercaya di dunia lewat sepeda motor, mobil, perlatan perkebunan, generator, bikin jet pribadi, bahkan di dunia AI dan robotic lewat robot ASIMO. Penasaran seperti apa kisahnya? Let's find out, this is Brand Story!

Here at Dokkyo Med. we're trying to motivate our students to be more active and productive by challenging them to make a podcast. In this podcast Kento, Keisyu and Soichiro were given three questions to answer and discuss: 1. What is your wish for the future?  2. What do you really regret doing in the past and wish you could change? 3. What situation would you like to change?

Listen in on James, Will and Steven as they talk all about the final chapters of Death Note, discussing their favorite tricks that the characters utilised and more. What was your favorite trick? But beware! there are spoilers of both the 2006 Japanese two-part movie as well as the manga and the anime! Otherwise come and listen in! Skip synopsis @ 5:02   Email: WeAppreciateManga@Gmail.com 099: Death Note vol. 12 ⁓ Finis Story by Tsugumi Ohba Art by Takeshi Obata Translation by Tetsuichiro Miyaki Lettering by Gia Cam Luc   Light Yagami, the boy gifted with the magical and powerful Death Note was able to reshape the world as the god like Kira. A battle of wits began with Light and the prodigy detective L but Light successfully kills L and becomes the “the second L”; four years pass only for Light to be faced by the arrival of L's heirs, Near and Mello. Both of L's heirs know of the existence of Light's murder weapon, the titular Death Note. Near and Light agree to meet each other at a warehouse, where Near claims to have proof of who the serial killer known as Kira is. Near knows that Japan's NPA (National Police Agency) has had no leads on Kira upon L's death, he also knows that they acquired a death note before L's death and had acquired a second death note upon losing the first to Mello. Near also knows that Kira has made no threat or demand in order to retrieve the existing death note from the NPA branch. And finally, one actual god of death, Ryuk resides amongst the NPA task force. These facts support that Kira has planted himself among the task force. Mello revealed to Near the existence of the fake 13-day-rule, and NPA task force agent Aizawa revealed to Near that Light was a suspect until the discovery of this 13-day-rule. These facts support that Light is Kira. Before their meeting Mello abducts one of the two Kira proxies, Kiyomi Takada. Mello dies from Takada's hidden death note scrap and soon Takada along with any evidence of the death note is killed off by Light's own hidden death note, since you can rip pieces from the note book and still use them to kill. Near has organised the warehouse meeting so that the last living Kira proxy, Teru Mikami can be tricked into secretly writing all names down in a fake copy of Kira's death note. If Teru is arrested and Light's name is absent from this fake death note. Then Near wins, having all the evidence he needs on Light/Kira. The only issue for Near however is that Light already knows about Near's fake death note plan. Comparisons from how the ending of the anime differs from that of the manga: Teru Mikami dies on screen, after Light is caught by Near in the Yellow box warehouse, Mikami, whilst under arrest, grabs a pen and stabs himself in the chest with it. The image of Near's finger puppets being reflected in Light's eye is absent in the anime. Ryuk is not in the warehouse after Light is shot and injured, Ryuk is alone outside when he writes Light's name in the Death Note. Misa attempts suicide by jumping, the implication that she intuitively knows that Light has now been caught as Kira. Light flees the warehouse; he runs past an apparition of a schoolboy walking in the opposite direction. It is himself as a teenager, before he became Kira. When Light finds a place to hide, he soon dies. Possibly alone if it were not for L's ghost appearing in the same room. The final scene of the manga makes no appearance in the anime, the one where a large cult of Kira followers making a candle light vigil. Notable differences from the manga and the 2006 movie adaptations:   The first movie covers the events of volumes 1 to 3 and the sequel covers volumes 4 and 7. L is seen stirring his tea with a small lollipop. Near's mask resembles L but in the 06 movie L did wear a mask, the mask of the Hyottoko. Lind L. Tailor pronounces Kira, with the R syllable replaced entirely with the letter L and a slight emphasis on the first vowel. As in saying the word “killer” but with “ah” replacing “er”. Raye Penber is Japanese and has the surname changed to Iwamatsu. This is due to the movie casting local actors, as is usually the case for most film studios. Foreign agencies do exist, but finding an actor who is both a good performer, bilingual and foreign is a challenge for most, with actors like Anupam Tripathi (famous for Netflix's Squid Game) being an outlier. In the first movie Naomi Misora confronts Light Yagami, this proves to be her undoing as she reveals to Light that she is Raye's fiancé. And in a late plot twist, Light tells Ryuk that he sought out and found her name on a church's register. The climax in the first movie ends with a more dramatic version of Naomi's death. Kiyomi Takada appears in the second movie, she fulfils the role of Higuchi with an abridged version of the events in the Yotsuba arc. Takada never attends university with Light and Light never dates her. Takada is a news anchor who kills her rival in order to become a fully-fledged news presenter. As she raises suspicion the task force bugs her home and use Matsuda to blackmail her. Matsuda does not fake his death, instead when confronting the Higuchi/Takada character he presents himself with a fake business card and name whilst wearing a disguise. This leads to the bait-and switch-tactic of using the TV broadcast, which in turn forces Takada to make the eye trade and kill a policeman whilst making her way to the TV station. The conclusion to the sequel ‘Death Note: The Last Name' is perhaps the biggest difference in comparison to the manga, the anime adaptation and even the Netflix movie. As with the manga, L suggests having Americans on death row test the Death Note rules, however once a trend in Kira deaths occur L tells Soichiro that he has written his own name in the death note and has decided to test the 13-day rule on himself, by doing this he is invulnerable to an attack from Rem and L has Soichiro pretend to leave for America so to make a surprise ambush on Light. Facebook Instagram Twitter Official Website   Email

James tells Steven all about the Netflix Death Note movie whilst sharing opinions on volume 9 of the manga. And some talk around the effects of the Death Note and the how it functions as a magical almost Lovecraftian object of cosmic or psychological horror. Skip synopsis @ 4:25 Email: WeAppreciateManga@Gmail.com   096: Death Note vol. 9 ⁓ Contact Chapters 71 and 79 ‘Contact' and ‘Lies' Story by Tsugumi Ohba Artwork by Takeshi Obata Translation by Alexis Kirsch Lettering by Gia Cam Luc Light repeats his tactic of controlling one of Mello's gangs in order to gain information on Mello's hideout.  This time, he sends Ryuk with a spare Death Note and tells him to work with the Japanese task force in order to help them find and kill Mello as well as return Mello's Death Note to Sidoh, the original owner and death god. During this point onward Light decides to hide Misa's Death Note on his person and banks on Matsuda making the Shinigami eye deal, instead Soichiro makes the deal, with Light himself prepared to kill Soichiro so to support the belief in the fake 13-day rule that he fabricated so to maintain his innocence. After a conflict with Mello and his men, Soichiro learns of Melo's real name and recovers a Death Note but soon dies of his injuries. Light returns the Death Note to Sidoh and sends him away. Soon the U.S. Government pardons Kira and officially disbands Near's team, the SPK.  Mello, having survived the conflict with Soichiro, holds SPK agent Hal as a hostage and intrudes on Near's Headquarters. Near gives Mello his photo and in return Mello gives Near clues by telling him of the existence of Shinigami and saying that there is a fake Death Note rule. Near works with Light (who he knows as the new L) over Kira- and Mello-related matters while suspecting Light is Kira. Near determines the 13-day rule written in the Death Note is fake and suspects Kira is the new L. Then Mello contacts the Japanese task force agent Mogi, managing to get Mogi under Near's interrogation but also leaking Near's headquarters to Light. Afterwards, Light spreads the information to Kira worshippers so to orchestrate an attack on Near.   Topics: Because of how Syndar was manipulated by Light in the previous volume we are seeing Light use the same tactic again. Clearly the Death Note has the power to change fate but it seems like it can also inflict insanity on the target, as we have seen with Kal Snydar and Naomi. The powers of the Death Note along with the Shinigami are Lovecraftian in nature. Meaning Ohba leaves it to our imagination where ever we want to rationalise their actions or take the Death Note on face value. Also, if you are to go by James' analysis that the mind itself is a box not unlike that of the Schrodinger's Cat experiment then the Death Note has the power to either change minds or be a catalyst for a pre-destined fate. In strange ways memories can often rewrite reality and as of the year 2022 CE we cannot prove what goes on inside someone's head metaphysically, and we cannot prove, certainly not to the layman, if you can hold multiple thoughts at one time. It is important to note that James only states theories as to what Naomi and Syndar was thinking whilst under the Death Note's influence. Mello has been vocal on how stupid he thinks the Japanese police are and as of volume 9 Near suspects that Kira is working under the Japanese police as L. The events after Death Note arguably take a turn for the implausible since Light suspiciously leads the Kira case as a part of the NPA, even after being suspected of being Kira. Ergo he should remain a suspect in terms of real-world logic. Additionally, Soichiro Yagami and Light lose the Death Note to Mello in order to protect Sayu Yagami. A demonstration of their biases due to having a personal involvement in the Kira case. It is most certainly a bad idea to have Light on the Death Note case, however for reasons that are actually known in the manga Light becomes the new L despite these fallacies. Major differences between the manga and the Netflix live action movie. Light Yagami is named Light Turner, an interesting translation since it keeps to a pun, in the manga Light spells his English sounding name “Raito” with the Kanji for Moon, this creates a dual meaning of his name being “Moonlight” but Moon can be read as “Tsuki”. With his surname being Yagami and when you spell out the individual Kanji it sounds very much like Yorukami Tsuki, or “Loving Night God” or “Loving Dark God” But the implication is that Light's name refers to moonlight or night. The Kira killings are outlandish and gory spectacles disguised as accidents, a la 2000's Final Destination. How anyone deduces that Kira is a person from this is not explained, where as the manga clearly outlines the Kira Modus Operandi as a heart attack, meaning Kira wants to be recognised for his killings and is successful in doing so. Misa Amane, is named Mia and is played by Margaret Qualley. Mia is a cheerleader who attends the same school as Light and has a love for horror movies. Both Mia and Light establish their relationship after Light gets the Death Note but before news of Kira becomes viral. Meaning both Mia and Light are culpable in the creation of Kira. Where as the manga clearly had a one-sided relationship where Light was the more manipulative one out of the two, and was a lot more secretive of the Death Note in the manga. Ryuk says how his name is pronounced, it is not “Raiuk” or “Rook” he is the only Shinigami who makes an appearance and there is no Rem. The Shinigami eyes are mentioned but no such deal is made throughout the movie. Light himself creates the term Kira and spreads that name using the internet and such forums (obviously this makes him suspicious but that matter is not addressed by L). L discovers Light as a suspect by deliberately leaking information of criminals. (This is flawed logically because if L is responsible for the leaks he cannot stop the proliferation of such information, meaning any supporter of Kira or amateur sleuth would be a suspect by this logic)   In the movie there is no Lind L. Tailor, which is a notable plot point in the manga because L needs to determine if Kira wants him dead before he can deduce wherever or not Kira can kill him. However, L does address Kira through a live broadcast and public press event. Unlike the manga he makes his statement L is in public wearing a mask, and does not hide behind a monitor. But like the manga L uses this event to determine that Kira can not kill without knowing the targets name and face. But again, L's logic in the movie is flawed. Although it is a correct hypothesis that Kira does indeed need a name and face to kill, L, has not determined a motive or a reason for Kira to choose him as a target. L is flawed because he does not factor in wherever Kira wants him dead or not, this is because Kira has not killed law enforcement at this point. L is merely guessing that Kira wants him dead because he antagonised Kira and lived. Whereas the manga has Lind L. Tailor antagonising Kira, as L, only to die in doing so. This is how L proves that Kira is not only willing to kill law enforcement but would kill L if he could do so. L does not show his reasoning on how he is able to deduce that Light is Kira, we are never privy to L's thought process as an audience. And there is no voice over.   Light threatens Ryuk with the Death Note. And Ryuk entertains the thought. Saying “there are four letters in my name, most anyone ever gotten were two” this is not possible to do in the manga. It is also unusual because a message in Light's Death Note clearly reads “Don't trust Ryuk”. Perhaps it was a misspelling? Or maybe Ryuk is bluffing? Light writes Watari's name in the Death Note, manipulating him to acquire L's real. This means that Watari is the real name of L's representative, instead of it being Quillish Wammy like the manga. A new rule exclusive to the Netflix movie is that you can burn a page of the Death Note effectively making any name written down in the destroyed page null and void to the effects of the Death Note. Another Netflix movie only rule is you can write someone's name in the Death Note and only have them die once the target's actions meet a set of pre-conceived requirements. E.g. “Mia dies upon touching the Death Note”. This obviously disregards the first rule “whoever's name is written in this note shall die” because so long as you do not meet the requirements, you can still live a long life without any passive effect of the Death Note.   By breaking and entering L finds a Death Note, or at least usable scraps of it. The implication is that L has evidence on Light, although how L can deduct that the note is the murder weapon is never explored.     Feel free to follow us through the following links: Facebook Instagram Twitter Official Website   Email

A special day indeed! I'm joined by my long time friend Wade sharing his love for a cute sound in VGM that cannot be fully explained. Prepare for tangents, laughter and general silliness as a couple Wacky Wonkers just have fun! Tracklist – Cultural Festival (Theme) – Aitakute… your smiles in my heart – Soichiro … Continue reading "Episode 39: An Inexplicably Cute Sound with Wade"

This is the latest series by another one of my favorite manga authors and I'm so glad it's being released in English. I had read the web comic on the artist's twitter from pretty much the beginning and loved it. It's even getting an anime next year! So uh, just go read it. It's cute and fun! Manga Recommendation: When Will Ayumu Make His Move? by Soichiro Yamamoto Here's a link to my new business if you like tea at all: mainichiteas.com Music Orbiting A Distant Planet by Quantum Jazz Eclosion by Salmo Check out my website. It has links to all my stuff: dokupe.com Follow dokupied on podcast.dokupe.com, subscribe and review wherever you listen to podcasts!

I love this series. It's adorable, funny, endearing, and just comfy. Maybe you've seen the anime adaptation? Well, here's my recommendation for the manga! Manga Recommendation: Teasing Master Takagi-san by Soichiro Yamamoto Music Orbiting A Distant Planet by Quantum Jazz Eclosion by Salmo Check out my website. It has links to all my stuff: dokupe.com Follow dokupied on podcast.dokupe.com, subscribe and review wherever you listen to podcasts!

Episode 252: Finally a spotlight on an older romance! Nick and Dannie pop off on this romance anime that led them to be...disappointed? The class rep Yukino might be hiding some secrets from Soichiro, the male rep in her class. Love secrets? Sexy time secrets? Listen to Nick and Dannie yell about the manga and the ending to this 90s romance. 05:45 RIP Zac Bertschy 09:00 Listener Question of the Week 14:30 Waifu and Husbando 16:00 Main Topic: His and Her Circumstances 1:00:30 Final Thoughts and Scores --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/anime-summit/message

This episodes talks about the true definition of stay persistent and being commited in whatever you do by using the story of Soichiro.

İş kurmanın da iş bulmanın da kolay olmadığı, gerçekten fakirleştiğimiz, hayatın çok pahalı olduğu, paralarımızın hızla eridiği zor bir dönemden geçiyoruz ülkece. Honda'nın hikayesi, güçlü bir vizyonumuz, tutkumuz ve çalışma azmimiz olduktan sonra bu zorlukların hayallerimizi ve isteklerimizi gerçekleştirmeye engel olmadığını anlatıyor bize.

A preview of Death Note Super Dope, our Monday - Friday podcast on our Patreon page. That's right. You get a Super Dope podcast once daily, Monday through Friday.  Sneak peek at Episode 1-11: https://bit.ly/2VcIuxa  To sign up for the $5 Tier: https://bit.ly/2GuUSAu Subscribe on Apple Podcasts Subscribe on YouTube Follow on Spotify Subscribe on Stitcher Patreon: https://www.patreon.com/dragonballsuperdope   Twitter: https://twitter.com/DBSuperDope1  Instagram: https://www.instagram.com/dbsuperdope/  Voicemail: 401-213-9596  Email: DBSuperDope@gmail.com 

Matt and Zack discuss how Honda became a motorcycle Juggernaut, an automotive perfectionist, and somehow found time to be the best mediocre car company out there. All by building their future out of the dreams of one very awesomely uncool guy. --- Support this podcast: https://anchor.fm/mzcarguys/support

Even though the original manga ended over a decade ago, Death Note has never really died. It has remained ingrained in the zeitgeist, transcending the status of merely being a popular anime series to being a story even those outside the community would recognize. Hence why it’s getting a Netflix live-action film adaptation, the newest in a series of attempts to cash in on the franchise since it concluded. So Death Note is an evergreen series everyone still talks about, but does it actually hold up? Was it really as tightly written and thrilling as you remember? Do its themes of justice, good and evil hold any actual weight? That’s what the Mavericks intend to find out as they re-read the series for the first time in nearly a decade. VLordGTZ also joins us to give his impressions of the series as a first-time reader, to see if the story could still grab the attention of modern fans. Together they discuss the good and the bad, and why Death Note still captures the imagination of fans nearly fifteen years later. PODCAST BREAKDOWN: 00:22 - Intro & Show Plans News: 03:30 - Detective Conan Surpasses 1000 Chapter Milestone 06:55 - Sankarea Author’s New Manga Gets Full-Length Series  07:35 - Ne Ne Ne Has Ended  09:05 – The Seven Deadly Sins Spinoff About Ban & Elaine Ends  10:35 - The Legend of Koizumi Returns with “Tyrant Trump" arc  12:50 - Yoshihiro Togashi Draws 2-Chapter Manga for Grand Jump Premium  15:25 - Shimabukuro Will Publish Two New One-shots in Grand Jump  16:20 - Kaitou Shonen Jokers & Yokai Watch Shadowside Launch  17:25 - Yen Press Simulpublishes The Witch’s House 18:35 - Kodansha USA Licenses Cosplay Animal & Beauty Bunny  21:25 - Viz Licenses Takane & Hana & The Young Master’s Revenge  26:35 - Cross Infinite World Licenses Obsessions of an Otome Gamer Light Novel Series  28:10 - Sekai Project Licenses The House in Fata Morgana Manga  29:20 - Weekly Shonen Jump’s Print Sales are Decreasing, but Digital Sales are Increasing  32:32 - The Live-Action JoJo’s Bizarre Adventure Film is a Bomb  39:20 - Film Critic Comments on Netflix’s Rise in Japan  Death Note Discussion: 44:35 - How We Got into Death Note 52:36 - The Appeal of Death Note 1:02:00 - Light is Evil  1:15:18 - Soichiro is Noble 1:21:52 - Matsuda is Earnest  1:29:05 - The Ending of Death Note 1:38:35 - Misa Deserved Better 1:46:40 - Sexism in Death Note 1:57:05 - Why the Second Half isn’t as Good 2:28:00 - Has Our Opinion of Death Note Changed Upon Re-reading it?  2:37:17 - Tonal Differences Between the Anime and Manga  2:41:25 - Thoughts on the Upcoming Netflix Live-Action Film  2:45:00 - Wrap-Up Enjoy the show, and follow us on twitter at @manga_mavericks and on tumblr at mangamavericks.tumblr.com, and the hosts at @sniperking323 and @lumranmayasha and special guest VlordGTZ at @VlordGTZ. 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! You won’t have to wait two weeks before the next show, because we’ll be putting out a special discussion out next week focusing on piracy in the anime/manga community. If you have any questions or topics concerning piracy that you’d like us to discuss, you can drop us a line in the comments below, comment in the Manga Mavericks thread on Animation Revelation, tweet at us, or send an e-mail! As always, thanks for listening!

Even though the original manga ended over a decade ago, Death Note has never really died. It has remained ingrained in the zeitgeist, transcending the status of merely being a popular anime series to being a story even those outside the community would recognize. Hence why it’s getting a Netflix live-action film adaptation, the newest in a series of attempts to cash in on the franchise since it concluded. So Death Note is an evergreen series everyone still talks about, but does it actually hold up? Was it really as tightly written and thrilling as you remember? Do its themes of justice, good and evil hold any actual weight? That’s what the Mavericks intend to find out as they re-read the series for the first time in nearly a decade. VLordGTZ also joins us to give his impressions of the series as a first-time reader, to see if the story could still grab the attention of modern fans. Together they discuss the good and the bad, and why Death Note still captures the imagination of fans nearly fifteen years later. PODCAST BREAKDOWN: 00:22 - Intro & Show Plans News: 03:30 - Detective Conan Surpasses 1000 Chapter Milestone 06:55 - Sankarea Author’s New Manga Gets Full-Length Series  07:35 - Ne Ne Ne Has Ended  09:05 – The Seven Deadly Sins Spinoff About Ban & Elaine Ends  10:35 - The Legend of Koizumi Returns with “Tyrant Trump" arc  12:50 - Yoshihiro Togashi Draws 2-Chapter Manga for Grand Jump Premium  15:25 - Shimabukuro Will Publish Two New One-shots in Grand Jump  16:20 - Kaitou Shonen Jokers & Yokai Watch Shadowside Launch  17:25 - Yen Press Simulpublishes The Witch’s House 18:35 - Kodansha USA Licenses Cosplay Animal & Beauty Bunny  21:25 - Viz Licenses Takane & Hana & The Young Master’s Revenge  26:35 - Cross Infinite World Licenses Obsessions of an Otome Gamer Light Novel Series  28:10 - Sekai Project Licenses The House in Fata Morgana Manga  29:20 - Weekly Shonen Jump’s Print Sales are Decreasing, but Digital Sales are Increasing  32:32 - The Live-Action JoJo’s Bizarre Adventure Film is a Bomb  39:20 - Film Critic Comments on Netflix’s Rise in Japan  Death Note Discussion: 44:35 - How We Got into Death Note 52:36 - The Appeal of Death Note 1:02:00 - Light is Evil  1:15:18 - Soichiro is Noble 1:21:52 - Matsuda is Earnest  1:29:05 - The Ending of Death Note 1:38:35 - Misa Deserved Better 1:46:40 - Sexism in Death Note 1:57:05 - Why the Second Half isn’t as Good 2:28:00 - Has Our Opinion of Death Note Changed Upon Re-reading it?  2:37:17 - Tonal Differences Between the Anime and Manga  2:41:25 - Thoughts on the Upcoming Netflix Live-Action Film  2:45:00 - Wrap-Up Enjoy the show, and follow us on twitter at @manga_mavericks and on tumblr at mangamavericks.tumblr.com, and the hosts at @sniperking323 and @lumranmayasha and special guest VlordGTZ at @VlordGTZ. 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! You won’t have to wait two weeks before the next show, because we’ll be putting out a special discussion out next week focusing on piracy in the anime/manga community. If you have any questions or topics concerning piracy that you’d like us to discuss, you can drop us a line in the comments below, comment in the Manga Mavericks thread on Animation Revelation, tweet at us, or send an e-mail! As always, thanks for listening!

Soichiro Fukutake presents the thinking behind his bold, far-reaching experiment on islands in Japan’s Seto Inland Sea. Benesse Art Site Naoshima comprises museums, permanent art installations and commissions on the islands of Naoshima, Teshima and Inujima. Recorded at Sherman Contemporary Art Foundation (SCAF), 22 April 2017, in association with SCAF Projects 34 & 35, The inventive work of Shigeru Ban.

This playlist is made up of all podcasts Jaian is a part of including Anime Podcasters & The JaianMusic Q&A Series. All of these are available on YouTube: http://www.youtube.com/jaianmusic

Manga Review for Maison Ikkoku Volume 14: Welcome Home by Rumiko Takahashi. Translated by Mari Morimoto. Adapted by Gerard Jones. This is for the first American edition printed in May 2000 by Viz in a flipped and slightly larger trade paperback size which sold for $16.95 which is out of print but still readily available used. The Maison Ikkoku series was reprinted unflipped in the now standard tankoban format by Viz with the addition of a fifteenth volume due to the differences in the page counts of the two editions. Rumiko Takahashi is known for letting the relationships between her romantic leads drag on for years or even decades without them ever evolving or being consummated (see Inuyasha), but as the last and concluding volume of Maison Ikkoku opens, Godai and Kyoko enter a love hotel. Godai should be in heaven, right? I mean, this is what he's always wished for. But things become a bit awkward when Kyoko says that she is thinking about Soichiro. Godai thinks she's talking about her dead husband, but Kyoko corrects him and says she meant her dog, which happens to have the same name. Is that the truth? Suffice it to say, Godai suffers from impotence at the moment of truth. Things get even more complicated when his ex-girlfriend, Kozue shows up wanting to talk about their relationship. She had already told him a guy proposed to her but she didn't want to say yes because she didn't want to hurt Godai's feelings. On top of all this Godai is going to find out how he did on the teacher certification exams. The only way he can ask Kyoko to marry him is if he passed, so there's a lot riding on the results. I have been reading this series off and on for a little over two years now and I have to admit I got a little misty eyed when I came to certain sections of this last volume. Simply because you never wish good things to come to an end. I used to have that experience a lot with anime and manga series, but it has become rarer lately, probably because there is so much product coming out that you don't have time to lament the end of one before you start another. Instead of just centering a review on this one volume, I'll just make some comments about the series as a whole because in terms of quality they were all about the same. The central conflict of the manga that lasted through the first to most of the last volume was the lack of courage Godai had to make Kyoko his. He bumbled his way through a relationship with Kozue and some childish competition with Mitaka the tennis coach but he was just never aggressive enough to pursue Kyoko with a single-minded determination. He was too wishy-washy. Kyoko too suffered a lot because she wanted to be pursued, hunted, and caught by an alpha male. While this kind of thing makes for a lot of heartache and tragedy in real-life, in the manga world it's the perfect tried and true setup for comedy. And boy was Maison Ikkoku funny!  One of the best comedies I've ever read. I've still never figured out how Takahashi was able to make such a masterpiece from such simple materials and operating mainly with character interaction rather than plot. To me, that's the hardest story to write. Making the lives of everyday people interesting and fun. It's also great to experience a relatively long manga series that has true resolution and ends on an upbeat and happy note. A great manga work. My Grade: A+