Umami Mart Pours Fresh, Raw Sake at NamaFest in Oakland
Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All
Wim Wenders’ ‘Perfect Days’ Is a Sublime Meditation on Gratitude
Seiji Oda Celebrates the Lunar New Year With a Ride Through Japantown
Her 1970s Japanese Folk Masterpiece Was Almost Lost to History
How Jazz Drummer Akira Tana Built a Musical Bridge Across the Pacific
Students Help Okinawan History Come Alive in UC Santa Cruz Exhibit
'Comfort Women' Statue Strains 60-Year San Francisco-Osaka Alliance
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You can hear her work on \u003ca href=\"https://www.npr.org/search?query=Rachael%20Myrow&page=1\">NPR\u003c/a>, \u003ca href=\"https://theworld.org/people/rachael-myrow\">The World\u003c/a>, WBUR's \u003ca href=\"https://www.wbur.org/search?q=Rachael%20Myrow\">\u003ci>Here & Now\u003c/i>\u003c/a> and the BBC. \u003c/i>She also guest hosts for KQED's \u003ci>\u003ca href=\"https://www.kqed.org/forum/tag/rachael-myrow\">Forum\u003c/a>\u003c/i>. 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Prior to joining KQED, Rachael worked in Los Angeles at KPCC and Marketplace. 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He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. 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And they’ve done exactly that.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13955219,arts_13935854,arts_13954939']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Providing one of the Bay Area’s largest selections of Japanese craft beers and spirits, owners Yoko Kumano and Kayoko Akabori — who met while growing up in Cupertino — have \u003ca href=\"https://www.kqed.org/bayareabites/95914/japanese-craft-beer-comes-to-oakland-and-heres-what-you-should-try\">successfully imported Japan’s cheerful “kanpai” culture to the East Bay\u003c/a>. If you’ve ever wandered around their quaint brick-and-mortar outpost on Broadway & 40th, you’ve certainly discovered their lo-fi bar at the back, where whiskey highballs and shochu (a Japanese grain- and vegetable-based spirit) are served with a generous hand.\u003c/p>\n\u003cp>On Saturday, April 13, they’ll be upping the ante with their annual \u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">NamaFest\u003c/a>. A “nama” — an abbreviation for namazake, or raw, unpasteurized sake — is the most freshly pressed iteration of sake you can find. Every spring, the seasonal sakes are ceremoniously made and bottled. In honor of the tradition, Umami Mart has held a small-scale NamaFest celebration at the bar each spring, but this year’s event will be the biggest one yet — the first time they’ll be hosting a full-on outdoor festival with 16 sake makers, both local and international, pouring up for the Bay Area’s most avid rice wine lovers.\u003c/p>\n\u003cfigure id=\"attachment_13955492\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-scaled.jpg\" alt=\"an outdoor event where patrons sit and dine on a sunny afternoon\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Umami Mart’s back lot has been used for events in the past, but never a full-on outdoor sake fest until now. \u003ccite>(Courtesy Umami Mart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event will take place in the shop’s back lot and will also include bites from pop-up \u003ca href=\"https://www.instagram.com/casadekei/?hl=en\">Casa de Kei\u003c/a>. With a one-ticket-gives-you-access-to-drinking-everything model, visitors can rotate through each glass of undiluted sake — including offerings from \u003ca href=\"https://sequoiasake.com/\">Sequoia Sake\u003c/a>, \u003ca href=\"https://www.sipfifthtaste.com/\">Fifth Taste Sake\u003c/a>, \u003ca href=\"https://www.jotosake.com//\">Joto Sake\u003c/a>, \u003ca href=\"https://www.takarasake.com/\">Takara Sake\u003c/a> and, for the non-sake drinkers, \u003ca href=\"https://www.suntory.com/beer/premium/en/\">Suntory malt beer\u003c/a>.\u003c/p>\n\u003cp>Afterwards — or better yet, beforehand, while you still have your wits about you — festival-goers can peruse the shop and snag a miniature ceramic ghost or cat-themed can of beer. In my experience, Umami Mart sells top-shelf Japanese goods and beverages I’ve otherwise only ever seen while visiting Tokyo. Except this is in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">NamaFest\u003c/a> will take place in Umami Mart’s back lot (4027 Broadway, Oakland) on Sat., April 13, from 1–5 p.m. \u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">Tickets are $55 and include a tasting of all 16 sakes\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The sleek boutique is the Bay Area's go-to spot for stylish Japanese things.","status":"publish","parent":0,"modified":1712342171,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":461},"headData":{"title":"Umami Mart Pours Raw Sake at NamaFest in Oakland | KQED","description":"The sleek boutique is the Bay Area's go-to spot for stylish Japanese things.","ogTitle":"Umami Mart Pours Fresh, Raw Sake at NamaFest in Oakland","ogDescription":"","ogImgId":"","twTitle":"Umami Mart Pours Fresh, Raw Sake at NamaFest in Oakland","twDescription":"","twImgId":"","socialTitle":"Umami Mart Pours Raw Sake at NamaFest in Oakland %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Umami Mart Pours Fresh, Raw Sake at NamaFest in Oakland","datePublished":"2024-04-05T18:36:11.000Z","dateModified":"2024-04-05T18:36:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955436/umami-mart-raw-sake-oakland-namafest","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over a decade ago, when the owners of \u003ca href=\"https://www.instagram.com/umamimart/\">Umami Mart\u003c/a> — the sleek Japanese boutique that sells hard-to-find liquor and high-end barware like 24-karat gold bar spoons and diamond-cut mixing glasses — first arrived in Oakland, they hoped to celebrate Japan’s diverse beverage offerings. And they’ve done exactly that.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955219,arts_13935854,arts_13954939","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Providing one of the Bay Area’s largest selections of Japanese craft beers and spirits, owners Yoko Kumano and Kayoko Akabori — who met while growing up in Cupertino — have \u003ca href=\"https://www.kqed.org/bayareabites/95914/japanese-craft-beer-comes-to-oakland-and-heres-what-you-should-try\">successfully imported Japan’s cheerful “kanpai” culture to the East Bay\u003c/a>. If you’ve ever wandered around their quaint brick-and-mortar outpost on Broadway & 40th, you’ve certainly discovered their lo-fi bar at the back, where whiskey highballs and shochu (a Japanese grain- and vegetable-based spirit) are served with a generous hand.\u003c/p>\n\u003cp>On Saturday, April 13, they’ll be upping the ante with their annual \u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">NamaFest\u003c/a>. A “nama” — an abbreviation for namazake, or raw, unpasteurized sake — is the most freshly pressed iteration of sake you can find. Every spring, the seasonal sakes are ceremoniously made and bottled. In honor of the tradition, Umami Mart has held a small-scale NamaFest celebration at the bar each spring, but this year’s event will be the biggest one yet — the first time they’ll be hosting a full-on outdoor festival with 16 sake makers, both local and international, pouring up for the Bay Area’s most avid rice wine lovers.\u003c/p>\n\u003cfigure id=\"attachment_13955492\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-scaled.jpg\" alt=\"an outdoor event where patrons sit and dine on a sunny afternoon\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/img_6419-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Umami Mart’s back lot has been used for events in the past, but never a full-on outdoor sake fest until now. \u003ccite>(Courtesy Umami Mart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event will take place in the shop’s back lot and will also include bites from pop-up \u003ca href=\"https://www.instagram.com/casadekei/?hl=en\">Casa de Kei\u003c/a>. With a one-ticket-gives-you-access-to-drinking-everything model, visitors can rotate through each glass of undiluted sake — including offerings from \u003ca href=\"https://sequoiasake.com/\">Sequoia Sake\u003c/a>, \u003ca href=\"https://www.sipfifthtaste.com/\">Fifth Taste Sake\u003c/a>, \u003ca href=\"https://www.jotosake.com//\">Joto Sake\u003c/a>, \u003ca href=\"https://www.takarasake.com/\">Takara Sake\u003c/a> and, for the non-sake drinkers, \u003ca href=\"https://www.suntory.com/beer/premium/en/\">Suntory malt beer\u003c/a>.\u003c/p>\n\u003cp>Afterwards — or better yet, beforehand, while you still have your wits about you — festival-goers can peruse the shop and snag a miniature ceramic ghost or cat-themed can of beer. In my experience, Umami Mart sells top-shelf Japanese goods and beverages I’ve otherwise only ever seen while visiting Tokyo. Except this is in Oakland.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">NamaFest\u003c/a> will take place in Umami Mart’s back lot (4027 Broadway, Oakland) on Sat., April 13, from 1–5 p.m. \u003ca href=\"https://umamimart.com/collections/events/products/namafest-2024\">Tickets are $55 and include a tasting of all 16 sakes\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955436/umami-mart-raw-sake-oakland-namafest","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_1297","arts_2627","arts_21673","arts_21732","arts_1143","arts_585"],"featImg":"arts_13955493","label":"source_arts_13955436"},"arts_13953066":{"type":"posts","id":"arts_13953066","meta":{"index":"posts_1591205157","site":"arts","id":"13953066","score":null,"sort":[1709060752000]},"guestAuthors":[],"slug":"new-shogun-series-review-fx-james-clavell","title":"Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All","publishDate":1709060752,"format":"standard","headTitle":"Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The original \u003cem>Shōgun\u003c/em>, on NBC, aired in 1980, when miniseries were the hottest things on television. ABC’s \u003cem>Roots \u003c/em>had broken all ratings records just three years before — and three years later, the star of \u003cem>Shōgun\u003c/em>, Richard Chamberlain, would score another massive miniseries hit with ABC’s \u003ca href=\"https://www.npr.org/2014/03/06/286876905/for-a-sheltered-teen-thorn-birds-was-a-much-needed-eye-opener\">\u003cem>The Thorn Birds\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Even then, adapting James Clavell’s sprawling story of an English sea pilot’s adventures in Japan in the year 1600, was quite a gamble. The original version avoided subtitles, for the most part, to reflect the confusion the newly arrived pilot, John Blackthorne, felt when encountering Japanese culture and its people.\u003c/p>\n\u003cp>[aside postid='arts_13953000']Except for occasional narration by Orson Welles, who sometimes threw in some radio-style acting by interpreting what a warlord was saying, most viewers in 1980 were as clueless as the sailor in the story. Eventually, things became a bit clearer when one of the Japanese rulers, Lord Toranaga, appointed a trusted translator: Lady Mariko, to whom the pilot became increasingly, and dangerously, attracted.\u003c/p>\n\u003cp>Part of the great appeal of that miniseries was the powerful performance by Toshiro Mifune as Toranaga. Foreign film fans at the time knew him as the star of the original \u003cem>Seven Samurai. \u003c/em>But the chemistry between Chamberlain as Blackthorne, and the Japanese actor Yoko Shimada as his translator Mariko, was a big part of it, too.\u003c/p>\n\u003cp>This new, 10-part interpretation of \u003cem>Shōgun\u003c/em>, adapted for TV by the married writing team of Rachel Kondo and Justin Marks, uses subtitles throughout — a choice that makes the narrative more immediately understandable. It also focuses just as strongly, and just as effectively, on the same three central figures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lord Toranaga is played by Hiroyuki Sanada, who’s so imposing that even his silences are powerful. The translator, Lady Mariko, is played by Anna Sawai, who brings to her character even more strength, mystery and charisma than in the 1980 version. And instead of the matinee-idol-handsome Chamberlain as pilot Blackthorne, we have Cosmo Jarvis — an actor who looks more ruggedly handsome, and sounds a lot like Richard Burton. It takes a while for the three characters, and actors, to share the screen — but when they finally do, it’s entrancing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yAN5uspO_hk\u003c/p>\n\u003cp>This new \u003cem>Shōgun \u003c/em>has other strong performances as well, but they’re not the only things that make this 2024 version so successful. Special and visual effects have improved exponentially in the almost 45 years since the original \u003cem>Shōgun \u003c/em>was televised, and it shows here: Every storm at sea, every battle scene and, especially, every earthquake is rendered with excitement and credibility.\u003c/p>\n\u003cp>And finally, there’s the overarching story, which has Toranaga employing Blackthorne as his secret weapon in a deadly civil war. The power grabs among the five rulers are like the hostilities in \u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\">\u003cem>The Game of Thrones\u003c/em>\u003c/a> — except instead of a Red Wedding, there’s a Crimson Sky.\u003c/p>\n\u003cp>[aside postid='arts_13952691']I went back and rewatched the original \u003cem>Shōgun\u003c/em> to see if it holds up. It does. But the several directors who worked on \u003cem>Shōgun \u003c/em>for FX deliver a new version that looks much more stunning. It’s sexier, more violent, and even more thought-provoking and illuminating than the original … all of which, in this context, are meant as compliments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first two episodes of \u003cem>Shōgun \u003c/em>are televised on FX opening night, and streamed the next day on Hulu, with the remaining episodes presented weekly. Don’t miss it: With this \u003cem>Shōgun\u003c/em>, as with the original, the TV miniseries is alive and well.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sex%2C+violence%2C+%27Game+of+Thrones%27-style+power+grabs+%E2%80%94+the+new+%27Sh%C5%8Dgun%27+has+it+all+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"FX’s remake is even more thought-provoking than the 1980 ‘Shōgun’ miniseries about an English sea pilot’s adventures in Japan. ","status":"publish","parent":0,"modified":1709060752,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":638},"headData":{"title":"‘Shōgun’ Review: Sex, Violence and Power Grabs Galore | KQED","description":"FX’s remake is even more thought-provoking than the 1980 ‘Shōgun’ miniseries about an English sea pilot’s adventures in Japan. ","ogTitle":"Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All","ogDescription":"","ogImgId":"","twTitle":"Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All","twDescription":"","twImgId":"","socialTitle":"‘Shōgun’ Review: Sex, Violence and Power Grabs Galore %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All","datePublished":"2024-02-27T19:05:52.000Z","dateModified":"2024-02-27T19:05:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Katie Yu","nprByline":"David Bianculli","nprImageAgency":"FX","nprStoryId":"1233992898","nprApiLink":"http://api.npr.org/query?id=1233992898&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/02/27/1233992898/shogun-review-fx?ft=nprml&f=1233992898","nprRetrievedStory":"1","nprPubDate":"Tue, 27 Feb 2024 13:24:00 -0500","nprStoryDate":"Tue, 27 Feb 2024 13:17:36 -0500","nprLastModifiedDate":"Tue, 27 Feb 2024 13:17:50 -0500","nprAudio":"https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/02/20240227_fa_b91eced5-937d-4e91-a8fb-ed0d9c8e8feb.mp3?orgId=427869011&topicId=1163&d=412&p=13&story=1233992898&ft=nprml&f=1233992898","nprAudioM3u":"http://api.npr.org/m3u/11234232746-cbebab.m3u?orgId=427869011&topicId=1163&d=412&p=13&story=1233992898&ft=nprml&f=1233992898","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13953066/new-shogun-series-review-fx-james-clavell","audioUrl":"https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/02/20240227_fa_b91eced5-937d-4e91-a8fb-ed0d9c8e8feb.mp3?orgId=427869011&topicId=1163&d=412&p=13&story=1233992898&ft=nprml&f=1233992898","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The original \u003cem>Shōgun\u003c/em>, on NBC, aired in 1980, when miniseries were the hottest things on television. ABC’s \u003cem>Roots \u003c/em>had broken all ratings records just three years before — and three years later, the star of \u003cem>Shōgun\u003c/em>, Richard Chamberlain, would score another massive miniseries hit with ABC’s \u003ca href=\"https://www.npr.org/2014/03/06/286876905/for-a-sheltered-teen-thorn-birds-was-a-much-needed-eye-opener\">\u003cem>The Thorn Birds\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Even then, adapting James Clavell’s sprawling story of an English sea pilot’s adventures in Japan in the year 1600, was quite a gamble. The original version avoided subtitles, for the most part, to reflect the confusion the newly arrived pilot, John Blackthorne, felt when encountering Japanese culture and its people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953000","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Except for occasional narration by Orson Welles, who sometimes threw in some radio-style acting by interpreting what a warlord was saying, most viewers in 1980 were as clueless as the sailor in the story. Eventually, things became a bit clearer when one of the Japanese rulers, Lord Toranaga, appointed a trusted translator: Lady Mariko, to whom the pilot became increasingly, and dangerously, attracted.\u003c/p>\n\u003cp>Part of the great appeal of that miniseries was the powerful performance by Toshiro Mifune as Toranaga. Foreign film fans at the time knew him as the star of the original \u003cem>Seven Samurai. \u003c/em>But the chemistry between Chamberlain as Blackthorne, and the Japanese actor Yoko Shimada as his translator Mariko, was a big part of it, too.\u003c/p>\n\u003cp>This new, 10-part interpretation of \u003cem>Shōgun\u003c/em>, adapted for TV by the married writing team of Rachel Kondo and Justin Marks, uses subtitles throughout — a choice that makes the narrative more immediately understandable. It also focuses just as strongly, and just as effectively, on the same three central figures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lord Toranaga is played by Hiroyuki Sanada, who’s so imposing that even his silences are powerful. The translator, Lady Mariko, is played by Anna Sawai, who brings to her character even more strength, mystery and charisma than in the 1980 version. And instead of the matinee-idol-handsome Chamberlain as pilot Blackthorne, we have Cosmo Jarvis — an actor who looks more ruggedly handsome, and sounds a lot like Richard Burton. It takes a while for the three characters, and actors, to share the screen — but when they finally do, it’s entrancing.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yAN5uspO_hk'\n title='//www.youtube.com/embed/yAN5uspO_hk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This new \u003cem>Shōgun \u003c/em>has other strong performances as well, but they’re not the only things that make this 2024 version so successful. Special and visual effects have improved exponentially in the almost 45 years since the original \u003cem>Shōgun \u003c/em>was televised, and it shows here: Every storm at sea, every battle scene and, especially, every earthquake is rendered with excitement and credibility.\u003c/p>\n\u003cp>And finally, there’s the overarching story, which has Toranaga employing Blackthorne as his secret weapon in a deadly civil war. The power grabs among the five rulers are like the hostilities in \u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\">\u003cem>The Game of Thrones\u003c/em>\u003c/a> — except instead of a Red Wedding, there’s a Crimson Sky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952691","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I went back and rewatched the original \u003cem>Shōgun\u003c/em> to see if it holds up. It does. But the several directors who worked on \u003cem>Shōgun \u003c/em>for FX deliver a new version that looks much more stunning. It’s sexier, more violent, and even more thought-provoking and illuminating than the original … all of which, in this context, are meant as compliments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first two episodes of \u003cem>Shōgun \u003c/em>are televised on FX opening night, and streamed the next day on Hulu, with the remaining episodes presented weekly. Don’t miss it: With this \u003cem>Shōgun\u003c/em>, as with the original, the TV miniseries is alive and well.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sex%2C+violence%2C+%27Game+of+Thrones%27-style+power+grabs+%E2%80%94+the+new+%27Sh%C5%8Dgun%27+has+it+all+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953066/new-shogun-series-review-fx-james-clavell","authors":["byline_arts_13953066"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_8237","arts_2627","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13953067","label":"arts_140"},"arts_13951641":{"type":"posts","id":"arts_13951641","meta":{"index":"posts_1591205157","site":"arts","id":"13951641","score":null,"sort":[1707242460000]},"guestAuthors":[],"slug":"perfect-days-movie-review-wim-wenders-koji-yakusho","title":"Wim Wenders’ ‘Perfect Days’ Is a Sublime Meditation on Gratitude","publishDate":1707242460,"format":"standard","headTitle":"Wim Wenders’ ‘Perfect Days’ Is a Sublime Meditation on Gratitude | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Wim Wenders’ \u003cem>Perfect Days\u003c/em> is set among the crowded skyscrapers of Tokyo and the quiet urban parks that Hirayama (Kôji Yakusho) traverses daily in his job cleaning public toilets. But where the movie resides, really, is Yakusho’s face.\u003c/p>\n\u003cp>In this gently sublime film, Hirayama steps outside his humble apartment each morning and gazes up at the sky with a smile radiating gratitude. Hirayama says little throughout the course of Wenders’ quiet, quotidian film. Little happens. Yet Yakusho’s warm presence speaks volumes in a film where less can mean profoundly more.\u003c/p>\n\u003cp>[aside postid='arts_81994']Wenders, the 78-year-old German filmmaker, has long had a preference for troubled loners. Think of Harry Dean Stanton’s dusty drifter in \u003cem>Paris, Texas\u003c/em>, or Bruno Ganz’s terminally ill man in \u003cem>The\u003c/em> \u003cem>American Friend\u003c/em>. But the Wenders’ movie that \u003cem>Perfect Days\u003c/em> most recalls is \u003cem>Wings of Desire\u003c/em>, where melancholy angels watched over Cold War-era Berlin and spoke of testifying “day by day for eternity.” \u003cem>Perfect Days\u003c/em> has no such supernatural element, but its gaze is likewise attuned to what’s beautiful and meaningful in everyday living.\u003c/p>\n\u003cp>Each morning, Hirayama wakes, puts on his blue sanitation jump suit and neatly drapes a white towel around his neck. He drives his van from public toilet to public toilet, where he takes remarkable care in his work. He uses a small mirror to see the underside of a toilet bowl.\u003c/p>\n\u003cp>“How can you put so much into a job like this?” says Takashi (Tokio Emoto), Hirayama’s younger, less scrupulous coworker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hirayama’s days are rigorously routine but lively with variation. While driving through the elevated highways of Tokyo, he selects a cassette tape from a rack above the sun visor. Patti Smith, Lou Reed, the Kinks, the Animals or Nina Simone play as he rides. Usually, Hirayama, analog through and through, is driving against the traffic.\u003c/p>\n\u003cp>[aside postid='arts_13951535']He’s a lover of trees, and each day on his lunch break takes a photograph of the branches above him, with light pouring through. With the care of a surgeon, he plucks a tiny seedling, places it in a small paper sack, and adds it to his nursery at home. At night, he reads Faulkner.\u003c/p>\n\u003cp>Eventually, a niece (Arisa Nakano) turns up, followed by Hirayama’s estranged sister (Yumi Aso). But Wenders’ film, which is nominated for best international film at the Oscars and opens in theaters Wednesday, is largely uncluttered by plot or exposition. Instead, we’re invited to ponder Hirayama’s serene, monastic existence — to admire the joy he finds in the mundane and the attentiveness he gives to the things he values.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HTgWYojq-z8\u003c/p>\n\u003cp>Is he running from the world or in its thrall? Wenders, who co-wrote the film with Takuma Takasaki, is a longtime admirer of Japan; in his 1985 documentary \u003cem>Tokyo-Ga\u003c/em>, Wenders traveled to Japan to pay homage to the great filmmaker Yasujiro Ozu. Much in \u003cem>Perfect Days\u003c/em>, filmed in boxy academy ratio, radiates with a similar spirit of minimalistic wisdom.\u003c/p>\n\u003cp>[aside postid='arts_13951078']That’s a great credit to Yakusho, the great Japanese actor, whose soulfulness fills the empty spaces of \u003cem>Perfect Days\u003c/em>. It may sound like an art house enterprise but anyone could connect with Wenders’ film. My 8-year-old daughter accompanied me on my second watch; that she hung with the movie from start to finish, I think, is because Yakusho’s Hirayama is a character to love.\u003c/p>\n\u003cp>Wenders was initially drawn to the project by Tokyo’s exquisite public toilets, which are light years more artfully designed than the few you can even find in most American cities. In that way, they’re a symbol of civic good. And so is Hirayama, who in his life and work, in plant life and cassette tapes, fully encapsulates the definition of custodian.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Perfect Days’ starts screening at San Francisco’s \u003ca href=\"https://www.amctheatres.com/movies/perfect-days-75242/showtimes/perfect-days-75242/2024-02-15/amc-kabuki-8/all\">AMC Kabuki 8 Theater\u003c/a> (1881 Post Street) on Feb. 15, 2024. Other Bay Area theaters will follow.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Kôji Yakusho stars in this Tokyo-based film where less can mean profoundly more.","status":"publish","parent":0,"modified":1707242460,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":702},"headData":{"title":"Movie Review: Wim Wender’s New Film ‘Perfect Days’ Is Sublime | KQED","description":"Kôji Yakusho stars in this Tokyo-based film where less can mean profoundly more.","ogTitle":"Wim Wenders’ ‘Perfect Days’ Is a Sublime Meditation on Gratitude","ogDescription":"","ogImgId":"","twTitle":"Wim Wenders’ ‘Perfect Days’ Is a Sublime Meditation on Gratitude","twDescription":"","twImgId":"","socialTitle":"Movie Review: Wim Wender’s New Film ‘Perfect Days’ Is Sublime %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Wim Wenders’ ‘Perfect Days’ Is a Sublime Meditation on Gratitude","datePublished":"2024-02-06T18:01:00.000Z","dateModified":"2024-02-06T18:01:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jake Coyle, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13951641/perfect-days-movie-review-wim-wenders-koji-yakusho","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wim Wenders’ \u003cem>Perfect Days\u003c/em> is set among the crowded skyscrapers of Tokyo and the quiet urban parks that Hirayama (Kôji Yakusho) traverses daily in his job cleaning public toilets. But where the movie resides, really, is Yakusho’s face.\u003c/p>\n\u003cp>In this gently sublime film, Hirayama steps outside his humble apartment each morning and gazes up at the sky with a smile radiating gratitude. Hirayama says little throughout the course of Wenders’ quiet, quotidian film. Little happens. Yet Yakusho’s warm presence speaks volumes in a film where less can mean profoundly more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_81994","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Wenders, the 78-year-old German filmmaker, has long had a preference for troubled loners. Think of Harry Dean Stanton’s dusty drifter in \u003cem>Paris, Texas\u003c/em>, or Bruno Ganz’s terminally ill man in \u003cem>The\u003c/em> \u003cem>American Friend\u003c/em>. But the Wenders’ movie that \u003cem>Perfect Days\u003c/em> most recalls is \u003cem>Wings of Desire\u003c/em>, where melancholy angels watched over Cold War-era Berlin and spoke of testifying “day by day for eternity.” \u003cem>Perfect Days\u003c/em> has no such supernatural element, but its gaze is likewise attuned to what’s beautiful and meaningful in everyday living.\u003c/p>\n\u003cp>Each morning, Hirayama wakes, puts on his blue sanitation jump suit and neatly drapes a white towel around his neck. He drives his van from public toilet to public toilet, where he takes remarkable care in his work. He uses a small mirror to see the underside of a toilet bowl.\u003c/p>\n\u003cp>“How can you put so much into a job like this?” says Takashi (Tokio Emoto), Hirayama’s younger, less scrupulous coworker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hirayama’s days are rigorously routine but lively with variation. While driving through the elevated highways of Tokyo, he selects a cassette tape from a rack above the sun visor. Patti Smith, Lou Reed, the Kinks, the Animals or Nina Simone play as he rides. Usually, Hirayama, analog through and through, is driving against the traffic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951535","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>He’s a lover of trees, and each day on his lunch break takes a photograph of the branches above him, with light pouring through. With the care of a surgeon, he plucks a tiny seedling, places it in a small paper sack, and adds it to his nursery at home. At night, he reads Faulkner.\u003c/p>\n\u003cp>Eventually, a niece (Arisa Nakano) turns up, followed by Hirayama’s estranged sister (Yumi Aso). But Wenders’ film, which is nominated for best international film at the Oscars and opens in theaters Wednesday, is largely uncluttered by plot or exposition. Instead, we’re invited to ponder Hirayama’s serene, monastic existence — to admire the joy he finds in the mundane and the attentiveness he gives to the things he values.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HTgWYojq-z8'\n title='//www.youtube.com/embed/HTgWYojq-z8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Is he running from the world or in its thrall? Wenders, who co-wrote the film with Takuma Takasaki, is a longtime admirer of Japan; in his 1985 documentary \u003cem>Tokyo-Ga\u003c/em>, Wenders traveled to Japan to pay homage to the great filmmaker Yasujiro Ozu. Much in \u003cem>Perfect Days\u003c/em>, filmed in boxy academy ratio, radiates with a similar spirit of minimalistic wisdom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951078","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>That’s a great credit to Yakusho, the great Japanese actor, whose soulfulness fills the empty spaces of \u003cem>Perfect Days\u003c/em>. It may sound like an art house enterprise but anyone could connect with Wenders’ film. My 8-year-old daughter accompanied me on my second watch; that she hung with the movie from start to finish, I think, is because Yakusho’s Hirayama is a character to love.\u003c/p>\n\u003cp>Wenders was initially drawn to the project by Tokyo’s exquisite public toilets, which are light years more artfully designed than the few you can even find in most American cities. In that way, they’re a symbol of civic good. And so is Hirayama, who in his life and work, in plant life and cassette tapes, fully encapsulates the definition of custodian.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Perfect Days’ starts screening at San Francisco’s \u003ca href=\"https://www.amctheatres.com/movies/perfect-days-75242/showtimes/perfect-days-75242/2024-02-15/amc-kabuki-8/all\">AMC Kabuki 8 Theater\u003c/a> (1881 Post Street) on Feb. 15, 2024. Other Bay Area theaters will follow.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951641/perfect-days-movie-review-wim-wenders-koji-yakusho","authors":["byline_arts_13951641"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_2627","arts_585","arts_21918"],"featImg":"arts_13951644","label":"arts_140"},"arts_13924014":{"type":"posts","id":"arts_13924014","meta":{"index":"posts_1591205157","site":"arts","id":"13924014","score":null,"sort":[1674576035000]},"guestAuthors":[],"slug":"seiji-odas-anri-city-pop-003-celebrates-lunar-new-year-with-a-ride-through-japantown","title":"Seiji Oda Celebrates the Lunar New Year With a Ride Through Japantown","publishDate":1674576035,"format":"standard","headTitle":"Seiji Oda Celebrates the Lunar New Year With a Ride Through Japantown | KQED","labelTerm":{},"content":"\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Of all the music genres associated with the Bay Area, \u003ca href=\"https://pitchfork.com/features/article/the-endless-life-cycle-of-japanese-city-pop/\">Japanese “city pop” might not be one that comes to mind for most. \u003c/a>Yet for Oakland rapper \u003ca href=\"https://www.instagram.com/seijioda/?hl=en\">Seiji Oda\u003c/a>, the internet-influenced style was the driving inspiration for his latest single, “ANRI (city pop 003).”\u003c/p>\n\u003cp>“The reason I started including [the city pop label] in my music was because I got into it and I loved it, and I wanted to share that with others,” he says. “City pop sounds to me like a combination of Bay slaps and tempo with an anime vibe.”\u003c/p>\n\u003cp>The emerging artist released his newest track — which pays homage to Anri, a Japanese vocalist whom he credits with introducing him to the genre — on Lunar New Year. Oda says he chose the day of Asian American celebration because it represents the heritage and traditions that have allowed him to become the artist he is today.\u003c/p>\n\u003cp>“It’s a way for me to show my appreciation for the culture, really,” he says. “Without that, I don’t have shit.”\u003c/p>\n\u003cp>https://youtu.be/v7h_QDXezKM\u003c/p>\n\u003cp>Having grown up reading manga and watching animes like \u003ci>Samurai Champloo\u003c/i> — \u003ca href=\"https://www.youtube.com/watch?v=Eq6EYcpWB_c\">famous for its Nujuabes-produced score\u003c/a> — Oda makes music with a soundscape that is at once familiar and fresh. His exposure to a variety of influences and flavors emerges naturally on the upbeat single, with references that range from Vietnamese sandwiches to Japanese singers from the ’80s: “Yeah I need my bread, baby, bánh mì, sliding through Japantown slappin’ Anri.”\u003c/p>\n\u003cp>Filmed in San Francisco’s Japantown, the video features Oda rocking an A’s dad hat while wandering around clothing shops like \u003ca href=\"https://www.instagram.com/chameleonvtg/?hl=en\">Chameleon Vintage\u003c/a>, dapping up his folks and rap-singing about childhood summers, family and remaining true to his roots: “I always do my own thing I never assimilate… I’m from the soil so you know I gotta innovate.”\u003c/p>\n\u003cp>The catchy hook, melodic delivery and hints of Japanese pop mixed with sprinkles of Bay Area funk are trademark textures for Oda, whose recent projects include \u003ca href=\"https://www.youtube.com/watch?v=yBJkcxcKYkM\">\u003ci>lofi // HYPHY\u003c/i>\u003c/a>. Oda credits local influences like P-Lo, HBK’s \u003ca href=\"https://www.instagram.com/azuresworld/?hl=en\">Azure\u003c/a>, \u003ca href=\"https://www.instagram.com/hokagesimon/?hl=en\">Hokage Simon\u003c/a> and \u003ca href=\"https://www.instagram.com/_futurejames/?hl=en\">Future James as multi-talented artists who are shaping the scene.\u003c/a>\u003c/p>\n\u003cp>“Asian Americans aren’t always seen as creative people. But it’s important for us to see we are setting that example and being outside the box and just doing what we want to do,” he says. “I’m also not trying to be anything other than myself. I’m just showing the regular-ness of my life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Seiji Oda’s EP ‘wading in shallow water’ is\u003c/em> \u003ca href=\"https://seijioda.bandcamp.com/album/wading-in-shallow-water\">\u003ci>available now\u003c/i>\u003c/a>\u003ci>. You can also catch him giving \u003c/i>\u003ca href=\"https://www.youtube.com/watch?v=sPkgBf6Mk8Y\">\u003ci>ramen tutorials on YouTube\u003c/i>\u003c/a>\u003ci>. For information about upcoming Lunar New Year events and resources for addressing anti-Asian hate, visit the \u003c/i>\u003ca href=\"https://ccsjsf.org/\">\u003ci>Coalition for Community Safety and Justice\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"'It’s a way for me to show my appreciation for the culture,' says the Oakland artist of his latest single.","status":"publish","parent":0,"modified":1705005946,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":541},"headData":{"title":"Seiji Oda Celebrates the Lunar New Year With a Ride Through Japantown | KQED","description":"'It’s a way for me to show my appreciation for the culture,' says the Oakland artist of his latest single.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Seiji Oda Celebrates the Lunar New Year With a Ride Through Japantown","datePublished":"2023-01-24T16:00:35.000Z","dateModified":"2024-01-11T20:45:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Pass the Aux","sourceUrl":"https://www.kqed.org/passtheaux","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13924014/seiji-odas-anri-city-pop-003-celebrates-lunar-new-year-with-a-ride-through-japantown","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Of all the music genres associated with the Bay Area, \u003ca href=\"https://pitchfork.com/features/article/the-endless-life-cycle-of-japanese-city-pop/\">Japanese “city pop” might not be one that comes to mind for most. \u003c/a>Yet for Oakland rapper \u003ca href=\"https://www.instagram.com/seijioda/?hl=en\">Seiji Oda\u003c/a>, the internet-influenced style was the driving inspiration for his latest single, “ANRI (city pop 003).”\u003c/p>\n\u003cp>“The reason I started including [the city pop label] in my music was because I got into it and I loved it, and I wanted to share that with others,” he says. “City pop sounds to me like a combination of Bay slaps and tempo with an anime vibe.”\u003c/p>\n\u003cp>The emerging artist released his newest track — which pays homage to Anri, a Japanese vocalist whom he credits with introducing him to the genre — on Lunar New Year. Oda says he chose the day of Asian American celebration because it represents the heritage and traditions that have allowed him to become the artist he is today.\u003c/p>\n\u003cp>“It’s a way for me to show my appreciation for the culture, really,” he says. “Without that, I don’t have shit.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v7h_QDXezKM'\n title='//www.youtube.com/embed/v7h_QDXezKM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Having grown up reading manga and watching animes like \u003ci>Samurai Champloo\u003c/i> — \u003ca href=\"https://www.youtube.com/watch?v=Eq6EYcpWB_c\">famous for its Nujuabes-produced score\u003c/a> — Oda makes music with a soundscape that is at once familiar and fresh. His exposure to a variety of influences and flavors emerges naturally on the upbeat single, with references that range from Vietnamese sandwiches to Japanese singers from the ’80s: “Yeah I need my bread, baby, bánh mì, sliding through Japantown slappin’ Anri.”\u003c/p>\n\u003cp>Filmed in San Francisco’s Japantown, the video features Oda rocking an A’s dad hat while wandering around clothing shops like \u003ca href=\"https://www.instagram.com/chameleonvtg/?hl=en\">Chameleon Vintage\u003c/a>, dapping up his folks and rap-singing about childhood summers, family and remaining true to his roots: “I always do my own thing I never assimilate… I’m from the soil so you know I gotta innovate.”\u003c/p>\n\u003cp>The catchy hook, melodic delivery and hints of Japanese pop mixed with sprinkles of Bay Area funk are trademark textures for Oda, whose recent projects include \u003ca href=\"https://www.youtube.com/watch?v=yBJkcxcKYkM\">\u003ci>lofi // HYPHY\u003c/i>\u003c/a>. Oda credits local influences like P-Lo, HBK’s \u003ca href=\"https://www.instagram.com/azuresworld/?hl=en\">Azure\u003c/a>, \u003ca href=\"https://www.instagram.com/hokagesimon/?hl=en\">Hokage Simon\u003c/a> and \u003ca href=\"https://www.instagram.com/_futurejames/?hl=en\">Future James as multi-talented artists who are shaping the scene.\u003c/a>\u003c/p>\n\u003cp>“Asian Americans aren’t always seen as creative people. But it’s important for us to see we are setting that example and being outside the box and just doing what we want to do,” he says. “I’m also not trying to be anything other than myself. I’m just showing the regular-ness of my life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Seiji Oda’s EP ‘wading in shallow water’ is\u003c/em> \u003ca href=\"https://seijioda.bandcamp.com/album/wading-in-shallow-water\">\u003ci>available now\u003c/i>\u003c/a>\u003ci>. You can also catch him giving \u003c/i>\u003ca href=\"https://www.youtube.com/watch?v=sPkgBf6Mk8Y\">\u003ci>ramen tutorials on YouTube\u003c/i>\u003c/a>\u003ci>. For information about upcoming Lunar New Year events and resources for addressing anti-Asian hate, visit the \u003c/i>\u003ca href=\"https://ccsjsf.org/\">\u003ci>Coalition for Community Safety and Justice\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13924014/seiji-odas-anri-city-pop-003-celebrates-lunar-new-year-with-a-ride-through-japantown","authors":["11748"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_11374","arts_10278","arts_831","arts_6975","arts_2627","arts_14294","arts_13164","arts_2624","arts_1143","arts_13240"],"featImg":"arts_13924049","label":"source_arts_13924014"},"arts_13862834":{"type":"posts","id":"arts_13862834","meta":{"index":"posts_1591205157","site":"arts","id":"13862834","score":null,"sort":[1564770791000]},"guestAuthors":[],"slug":"sachiko-kanenobu-misora-lp-reissue-interview","title":"Her 1970s Japanese Folk Masterpiece Was Almost Lost to History","publishDate":1564770791,"format":"standard","headTitle":"Her 1970s Japanese Folk Masterpiece Was Almost Lost to History | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In 1972, Sachiko Kanenobu had barely finished recording her first album when suddenly, she left Japan and moved to America.\u003c/p>\n\u003cp>The album, \u003cem>Misora\u003c/em>, was released in Japan with no concerts to promote it. It slipped into obscurity almost immediately. Kanenobu likens it a child that was abandoned.\u003c/p>\n\u003cp>“But later, the child wants to find out who its mother is,” Kanenobu says today, sitting in the kitchen of her small Sonoma County home. “\u003cem>Misora\u003c/em> keeps finding me, and comes to me.”\u003c/p>\n\u003cp>That reconnection may be due to the passionate following \u003cem>Misora\u003c/em> has obtained in the 47 years since its release. Original copies of the record regularly sell for $300–$400. She’s been asked to perform its blissful, yearning folk songs at sold-out concerts from California to New York. And last month, the tastemaking Seattle label Light in the Attic \u003ca href=\"https://lightintheattic.net/releases/4903-misora\" target=\"_blank\" rel=\"noopener\">reissued \u003cem>Misora\u003c/em>\u003c/a>, earning praise it in the \u003cem>New York Times\u003c/em> and bringing Kanenobu’s folk masterpiece to a new generation of fans.\u003c/p>\n\u003cp>For Kanenobu, now 71, the sudden attention is welcome, if a bit disorienting.\u003c/p>\n\u003cfigure id=\"attachment_13862846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-800x500.jpg\" alt=\"Sachiko Kanenobu in her Glen Ellen backyard.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu in her Glen Ellen backyard. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the East Coast, she performed at Central Park Summerstage with post-punk band Parquet Courts, and at the Brooklyn hipster bar Union Pool. On the West Coast, she’s set to \u003ca href=\"https://www.eventbrite.com/e/calico-2019-with-allah-las-more-love-field-pt-reyes-station-saturday-august-3-2019-tickets-61939846749\" target=\"_blank\" rel=\"noopener\">play at the Calico festival\u003c/a> in Point Reyes on Aug. 3, and open for indie veterans Yo La Tengo in Big Sur. And while Japanese folk music from the 1970s is in the zeitgeist, thanks to various reissue compilations and the new frontier of streaming, \u003cem>Misora\u003c/em> has an emotional impact that sets it apart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a recent show in Los Angeles, she had an interaction typical of the sorts of fans who thought she’d disappeared.\u003c/p>\n\u003cp>“One of the DJs there,” she says, “he saw me, and he said, ‘I never thought I was going to meet you, and you’re still alive, and you’re able to play \u003cem>Misora\u003c/em>. That’s fantastic.’ And he started crying. \u003cem>Both\u003c/em> of us cried!”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘I worked so hard struggling in the men’s world, and finally got a chance.’ \u003ccite>Sachiko Kanenobu\u003c/cite> \u003c/aside>\n\u003cp>Kanenobu has lived in this same small house since 1976, a modest cottage on a main street in Glen Ellen, with wood paneling in the kitchen and wicker furniture in the living room. On a nearby shelf, \u003cem>The International Bill of Human Rights\u003c/em> sits next to a photo of Ghandi. It’s a quiet place that she came upon circuitously: after flying from Japan to San Francisco, she and her fiancée, the late \u003cem>Crawdaddy\u003c/em> magazine editor \u003ca href=\"https://www.nytimes.com/2013/04/01/arts/music/paul-williams-father-of-rock-criticism-is-dead-at-64.html\" target=\"_blank\" rel=\"noopener\">Paul Williams\u003c/a>, often hitchhiked together while Kanenobu was pregnant. They moved to Seattle, then married in Boston before living in New York City.\u003c/p>\n\u003cp>Williams had befriended the science-fiction author Philip K. Dick, who suggested he and his wife move to Sonoma. On a visit, Williams’ car broke down in Glen Ellen in front of a real estate office.\u003c/p>\n\u003cp>“So he ran into that real estate office,” Kanenobu says, “and asked, ‘Are there any houses selling in this area?’ And they said, ‘That house across the street is for sale.'”\u003c/p>\n\u003cfigure id=\"attachment_13862882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-800x396.jpg\" alt=\"Sachiko Kanenobu with husband Paul Williams and her first child (L); Kanenobu performing in the 1970s (R).\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-1200x594.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu with husband Paul Williams and her first child (L); Kanenobu performing in the 1970s (R). \u003ccite>(Courtesy Sachiko Kanenobu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kanenobu has been here ever since. She and Williams divorced, and she raised her two kids. Dick remained a close friend, and when he first heard \u003cem>Misora\u003c/em>, he told her she needed to return to music.\u003c/p>\n\u003cp>“He told me, ‘You shouldn’t stop writing. You should go back to writing, because you have a gift,'” Kanenobu says. “He became my guiding angel. He produced a single with me, and then he wanted to produce an album.”\u003c/p>\n\u003cp>It hadn’t been easy for Kanenobu. She’d established herself in bands in Japan, but her Japanese label initially dismissed her solo material until Harumi Hosono, who later founded Yellow Magic Orchestra, came on as a producer for \u003cem>Misora\u003c/em>. Joni Mitchell had been an influence, as had British artists like Donovan and Pentangle, but \u003cem>Misora\u003c/em>‘s songs were singular, capturing Kanenobu’s distinct youthful innocence, her fascination with nature, and a longing for inner peace.\u003c/p>\n\u003cp>Dick died suddenly, before that second album was made, in 1982. Kanenobu followed the author’s advice, though, and eventually joined a modern rock band, Culture Shock, which recorded and toured in the late 1980s and early nineties. But \u003cem>Misora\u003c/em> kept calling.\u003c/p>\n\u003cp>“\u003cem>Misora\u003c/em> to me is my first child, and I worked so hard struggling in the men’s world, and finally got a chance, and I delivered the child,” she says. “But I had a real child in my body, and that’s the reason I decided to leave \u003cem>Misora\u003c/em> in Japan. So this child is really missing me. That’s what I feel.”\u003c/p>\n\u003cfigure id=\"attachment_13862843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862843\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-800x500.jpg\" alt=\"Sachiko Kanenobu in her Glen Ellen home, where she's lived since 1976.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu in her Glen Ellen home, where she’s lived since 1976. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Kanenobu, the timing couldn’t be better. For years, she worked as a caretaker for IHSS, helping clients with dementia, diabetes or multiple sclerosis. She retired last month, the very day that \u003cem>Misora\u003c/em> was reissued. It was a coincidence, she says. Honest.\u003c/p>\n\u003cp>“I didn’t decide for it to be the same day, it just somehow became the same day,” she says. “See? \u003cem>Misora\u003c/em> is still controlling me!”\u003c/p>\n\u003cp>In retirement, Kanenobu hopes to concentrate on writing songs and performing as long as her voice and fingers can keep up. When I mention the complex fingerpicking on the album, and sing a portion of “\u003ca href=\"https://www.youtube.com/watch?v=dIrlgPhxvrk\" rel=\"noopener\" target=\"_blank\">Anata Kara Toku E\u003c/a>,” she lights up with recognition.\u003c/p>\n\u003cp>“You want to hear that one?” she asks, and then without waiting for an answer, begins strumming her 1964 Martin guitar—the same one she used in the recording of \u003cem>Misora\u003c/em>—and sings the song in its entirety for an audience of one. It’s just as spellbinding as it is on the album, and I begin to think that Kanenobu is right when she says that \u003cem>Misora\u003c/em> has a life of its own.\u003c/p>\n\u003cp>“She’s come back several times,” she says, as our visit winds down. “And I’m not doing anything, but \u003cem>Misora\u003c/em> is calling me, saying, ‘Come on Sachiko, wake up. Why don’t you play me? Play me.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sachiko Kanenobu performs as part of the Calico 2019 Festival in Point Reyes Station on Saturday, Aug. 3. \u003ca href=\"https://www.eventbrite.com/e/calico-2019-with-allah-las-more-love-field-pt-reyes-station-saturday-august-3-2019-tickets-61939846749\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Sachiko Kanenobu's 'Misora' has been a brilliant obscurity for 47 years. Now, at her home in Sonoma County, she discusses its long road to rediscovery.","status":"publish","parent":0,"modified":1705022413,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1137},"headData":{"title":"Her 1970s Japanese Folk Masterpiece Was Almost Lost to History | KQED","description":"Sachiko Kanenobu's 'Misora' has been a brilliant obscurity for 47 years. Now, at her home in Sonoma County, she discusses its long road to rediscovery.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Her 1970s Japanese Folk Masterpiece Was Almost Lost to History","datePublished":"2019-08-02T18:33:11.000Z","dateModified":"2024-01-12T01:20:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13862834/sachiko-kanenobu-misora-lp-reissue-interview","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1972, Sachiko Kanenobu had barely finished recording her first album when suddenly, she left Japan and moved to America.\u003c/p>\n\u003cp>The album, \u003cem>Misora\u003c/em>, was released in Japan with no concerts to promote it. It slipped into obscurity almost immediately. Kanenobu likens it a child that was abandoned.\u003c/p>\n\u003cp>“But later, the child wants to find out who its mother is,” Kanenobu says today, sitting in the kitchen of her small Sonoma County home. “\u003cem>Misora\u003c/em> keeps finding me, and comes to me.”\u003c/p>\n\u003cp>That reconnection may be due to the passionate following \u003cem>Misora\u003c/em> has obtained in the 47 years since its release. Original copies of the record regularly sell for $300–$400. She’s been asked to perform its blissful, yearning folk songs at sold-out concerts from California to New York. And last month, the tastemaking Seattle label Light in the Attic \u003ca href=\"https://lightintheattic.net/releases/4903-misora\" target=\"_blank\" rel=\"noopener\">reissued \u003cem>Misora\u003c/em>\u003c/a>, earning praise it in the \u003cem>New York Times\u003c/em> and bringing Kanenobu’s folk masterpiece to a new generation of fans.\u003c/p>\n\u003cp>For Kanenobu, now 71, the sudden attention is welcome, if a bit disorienting.\u003c/p>\n\u003cfigure id=\"attachment_13862846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-800x500.jpg\" alt=\"Sachiko Kanenobu in her Glen Ellen backyard.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu in her Glen Ellen backyard. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the East Coast, she performed at Central Park Summerstage with post-punk band Parquet Courts, and at the Brooklyn hipster bar Union Pool. On the West Coast, she’s set to \u003ca href=\"https://www.eventbrite.com/e/calico-2019-with-allah-las-more-love-field-pt-reyes-station-saturday-august-3-2019-tickets-61939846749\" target=\"_blank\" rel=\"noopener\">play at the Calico festival\u003c/a> in Point Reyes on Aug. 3, and open for indie veterans Yo La Tengo in Big Sur. And while Japanese folk music from the 1970s is in the zeitgeist, thanks to various reissue compilations and the new frontier of streaming, \u003cem>Misora\u003c/em> has an emotional impact that sets it apart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a recent show in Los Angeles, she had an interaction typical of the sorts of fans who thought she’d disappeared.\u003c/p>\n\u003cp>“One of the DJs there,” she says, “he saw me, and he said, ‘I never thought I was going to meet you, and you’re still alive, and you’re able to play \u003cem>Misora\u003c/em>. That’s fantastic.’ And he started crying. \u003cem>Both\u003c/em> of us cried!”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘I worked so hard struggling in the men’s world, and finally got a chance.’ \u003ccite>Sachiko Kanenobu\u003c/cite> \u003c/aside>\n\u003cp>Kanenobu has lived in this same small house since 1976, a modest cottage on a main street in Glen Ellen, with wood paneling in the kitchen and wicker furniture in the living room. On a nearby shelf, \u003cem>The International Bill of Human Rights\u003c/em> sits next to a photo of Ghandi. It’s a quiet place that she came upon circuitously: after flying from Japan to San Francisco, she and her fiancée, the late \u003cem>Crawdaddy\u003c/em> magazine editor \u003ca href=\"https://www.nytimes.com/2013/04/01/arts/music/paul-williams-father-of-rock-criticism-is-dead-at-64.html\" target=\"_blank\" rel=\"noopener\">Paul Williams\u003c/a>, often hitchhiked together while Kanenobu was pregnant. They moved to Seattle, then married in Boston before living in New York City.\u003c/p>\n\u003cp>Williams had befriended the science-fiction author Philip K. Dick, who suggested he and his wife move to Sonoma. On a visit, Williams’ car broke down in Glen Ellen in front of a real estate office.\u003c/p>\n\u003cp>“So he ran into that real estate office,” Kanenobu says, “and asked, ‘Are there any houses selling in this area?’ And they said, ‘That house across the street is for sale.'”\u003c/p>\n\u003cfigure id=\"attachment_13862882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-800x396.jpg\" alt=\"Sachiko Kanenobu with husband Paul Williams and her first child (L); Kanenobu performing in the 1970s (R).\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-1200x594.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu with husband Paul Williams and her first child (L); Kanenobu performing in the 1970s (R). \u003ccite>(Courtesy Sachiko Kanenobu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kanenobu has been here ever since. She and Williams divorced, and she raised her two kids. Dick remained a close friend, and when he first heard \u003cem>Misora\u003c/em>, he told her she needed to return to music.\u003c/p>\n\u003cp>“He told me, ‘You shouldn’t stop writing. You should go back to writing, because you have a gift,'” Kanenobu says. “He became my guiding angel. He produced a single with me, and then he wanted to produce an album.”\u003c/p>\n\u003cp>It hadn’t been easy for Kanenobu. She’d established herself in bands in Japan, but her Japanese label initially dismissed her solo material until Harumi Hosono, who later founded Yellow Magic Orchestra, came on as a producer for \u003cem>Misora\u003c/em>. Joni Mitchell had been an influence, as had British artists like Donovan and Pentangle, but \u003cem>Misora\u003c/em>‘s songs were singular, capturing Kanenobu’s distinct youthful innocence, her fascination with nature, and a longing for inner peace.\u003c/p>\n\u003cp>Dick died suddenly, before that second album was made, in 1982. Kanenobu followed the author’s advice, though, and eventually joined a modern rock band, Culture Shock, which recorded and toured in the late 1980s and early nineties. But \u003cem>Misora\u003c/em> kept calling.\u003c/p>\n\u003cp>“\u003cem>Misora\u003c/em> to me is my first child, and I worked so hard struggling in the men’s world, and finally got a chance, and I delivered the child,” she says. “But I had a real child in my body, and that’s the reason I decided to leave \u003cem>Misora\u003c/em> in Japan. So this child is really missing me. That’s what I feel.”\u003c/p>\n\u003cfigure id=\"attachment_13862843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862843\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-800x500.jpg\" alt=\"Sachiko Kanenobu in her Glen Ellen home, where she's lived since 1976.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu in her Glen Ellen home, where she’s lived since 1976. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Kanenobu, the timing couldn’t be better. For years, she worked as a caretaker for IHSS, helping clients with dementia, diabetes or multiple sclerosis. She retired last month, the very day that \u003cem>Misora\u003c/em> was reissued. It was a coincidence, she says. Honest.\u003c/p>\n\u003cp>“I didn’t decide for it to be the same day, it just somehow became the same day,” she says. “See? \u003cem>Misora\u003c/em> is still controlling me!”\u003c/p>\n\u003cp>In retirement, Kanenobu hopes to concentrate on writing songs and performing as long as her voice and fingers can keep up. When I mention the complex fingerpicking on the album, and sing a portion of “\u003ca href=\"https://www.youtube.com/watch?v=dIrlgPhxvrk\" rel=\"noopener\" target=\"_blank\">Anata Kara Toku E\u003c/a>,” she lights up with recognition.\u003c/p>\n\u003cp>“You want to hear that one?” she asks, and then without waiting for an answer, begins strumming her 1964 Martin guitar—the same one she used in the recording of \u003cem>Misora\u003c/em>—and sings the song in its entirety for an audience of one. It’s just as spellbinding as it is on the album, and I begin to think that Kanenobu is right when she says that \u003cem>Misora\u003c/em> has a life of its own.\u003c/p>\n\u003cp>“She’s come back several times,” she says, as our visit winds down. “And I’m not doing anything, but \u003cem>Misora\u003c/em> is calling me, saying, ‘Come on Sachiko, wake up. Why don’t you play me? Play me.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sachiko Kanenobu performs as part of the Calico 2019 Festival in Point Reyes Station on Saturday, Aug. 3. \u003ca href=\"https://www.eventbrite.com/e/calico-2019-with-allah-las-more-love-field-pt-reyes-station-saturday-august-3-2019-tickets-61939846749\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13862834/sachiko-kanenobu-misora-lp-reissue-interview","authors":["185"],"categories":["arts_69","arts_235"],"tags":["arts_1118","arts_2415","arts_2627"],"featImg":"arts_13862845","label":"arts"},"arts_13837420":{"type":"posts","id":"arts_13837420","meta":{"index":"posts_1591205157","site":"arts","id":"13837420","score":null,"sort":[1532444448000]},"guestAuthors":[],"slug":"how-jazz-drummer-akira-tana-built-a-musical-bridge-across-the-pacific","title":"How Jazz Drummer Akira Tana Built a Musical Bridge Across the Pacific","publishDate":1532444448,"format":"standard","headTitle":"How Jazz Drummer Akira Tana Built a Musical Bridge Across the Pacific | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.akiratana.com\">Akira Tana\u003c/a> doesn’t like to wait around for other people to make things happen. As a bandleader, producer and internationally acclaimed jazz artist, the Palo Alto-reared drummer has quietly waged a one-man campaign to make Bay Area audiences aware of the exceptional jazz talent coming out of Japan, particularly the thriving but little-known scene in Osaka.\u003c/p>\n\u003cp>Focusing on musicians from Japan’s second largest city might seem strangely specific, but, for reasons no one can quite explain, Osaka has produced a conspicuously gifted string of Hammond B-3 organists, including \u003ca href=\"https://www.akikojazz.com\">Akiko Tsuruga\u003c/a>, \u003ca href=\"http://www.savannajazz.com/musicians/midori-ono/\">Midori Ono\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Atsuko_Hashimoto\">Atsuko Hashimoto\u003c/a>. Tana has performed with all three women around the Bay Area over the last decade (concerts abetted by B-3 champion \u003ca href=\"https://www.doodlinlounge.com\">Pete Fallico\u003c/a>). Hashimoto returns to the region this month for a series of gigs with Tana and special guest vocalist Kenny Washington at Saratoga’s \u003ca href=\"https://cafepinkhouse.com/events-calendar/\">Café Pink House\u003c/a> (July 26), \u003ca href=\"http://www.piedmontpiano.com/concerts/180727akiraandfriends.html\">Oakland’s Piedmont Piano \u003c/a>(July 27), San Jose’s \u003ca href=\"http://www.cafestritch.com\">Cafe Stritch\u003c/a> (July 28) and the historic \u003ca href=\"http://7milehouse.com/calendar/2018/7/30/akira-tana-with-friends-from-osaka-japan-featuring-atsuko-hashimoto-hideki-kawamura-and-yutaka-hashimoto\">7 Mile House\u003c/a> in Brisbane (July 30).\u003c/p>\n\u003cp>The Osaka project performances also feature Hashimoto’s husband, the gifted guitarist Yutaka Hashimoto, and tenor saxophonist Hideki Kawamura, who hails from Kobe, which is part of the sprawling Keihanshin metropolitan region with Osaka and Kyoto. Tana can’t account for the city’s profusion of prodigious organists, but he’s been duly impressed by the depth of jazz knowledge held by its top players.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pgn6iIp7uhU\u003c/p>\n\u003cp>“They’re seasoned veterans, and really know the tradition,” says Tana, 66. “Atsuko is the first one to really break out. She’s the matriarch. When you listen to her play, her lines are so much in the bop tradition. She’s not really showy, but she really knows the instrument. And when you listen to Hideki, you hear Coleman Hawkins and Sonny Rollins. Yutaka comes out of Wes Montgomery and Kenny Burrell.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seasoned veteran is the best way to describe Tana, who spent two decades on the New York scene accompanying many of jazz’ greatest improvisers, including saxophonists Sonny Rollins, Stan Getz, James Moody, Zoot Sims, Jimmy Heath, Warne Marsh and Sonny Stitt. He established himself as a bandleader with TanaReid, a group he founded with Sacramento-raised bassist Rufus Reid. During the 1990s, the group toured internationally, released six CDs and boosted the profile of brilliant young players like saxophonists Ralph Moore and Mark Turner (a member of the SFJazz Collective from 2010-2012).\u003c/p>\n\u003cp>That same decade, Japan’s economy was in a massive bubble. Tana started producing albums for Tokyo-based King Records, which expanded his connections to a scene he’d gotten acquainted with as a touring player. “I’d put these sessions together pairing Japanese and American musicians,” he says. “I’ve never consciously pursued any kind of agenda forging relationships with Japanese musicians. It just kind of happened.”\u003c/p>\n\u003cp>The bridge that Tana has built has also taken him back over the Pacific with the singular \u003ca href=\"http://www.otonowa-usa.com\">ensemble Otonowa\u003c/a>, a group focusing on a strikingly beautiful body of music interpreting traditional Japanese melodies through a modern jazz lens. Created in the aftermath of the 2011 earthquake and tsunami that devasted northeastern Japan, the concept first came together for a tsunami relief fundraiser at Fairfax’s Elsewhere Gallery in the summer of 2011. Featuring Bay Area bassist \u003ca href=\"http://www.otonowa-usa.com/about/ken\">Noriyuki “Ken” Okada\u003c/a> (who was born in New York and raised in São Paulo, Brazil and Yokohama, Japan) and Japanese-born San Francisco \u003ca href=\"http://www.otonowa-usa.com/about/masaru\">flutist-saxophonist Masaru Koga\u003c/a> (who grew up moving between Europe and the United States), the trio played jazz arrangements of traditional Japanese songs, some dating back centuries.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8JM7L3CqoDM\u003c/p>\n\u003cp>Convinced they were onto something special, Otonawa ended up bringing the music to stricken communities in Japan the following year, performing “at temporary shopping centers and housing units,” Tana recalls. In 2013, San Jose-raised pianist Art Hirahara expanded the ensemble to a quartet and Tana documented the group on an eponymous album for his label, Cannatuna.\u003c/p>\n\u003cp>Otonowa isn’t the first group to turn Japanese songs into vehicles for jazz improvisation. Trumpeter Lee Morgan arranged the folk song “Desert Moonlight” on his hit 1965 Blue Note album \u003cem>The Rumproller\u003c/em>, and saxophonist Benny Golson interpreted “Tombo” (or “Red Dragonfly”) by the great composer Kosaku Yamada with his New Jazztet in the early 1980s. Pianist, composer, orchestra leader and NEA Jazz Master Toshiko Akiyoshi spent much of her brilliant career finding inspiration in Japanese folk idioms. Otonowa takes a different approach, hewing closely to the sublime folk-derived melodies.\u003c/p>\n\u003cp>“Otonowa is kind of the reverse of the Osaka concerts,” Tana says. “We’re going over there, mostly Americans, and the material is all Japanese stuff that bridges the communication gap. They know all this music, which I didn’t until we did this.”\u003c/p>\n\u003cp>The music has continued to evolve, and while subsequent tragedies and disasters have pulled the world’s attention to other regions, Tana and Otonowa continue to raise funds for Japan’s northeastern Tohoku region. The group reunites for a series of concerts, performing at Palo Alto’s Mitchell Park Community Center (Oct. 6), Half Moon Bay’s \u003ca href=\"http://www.bachddsoc.org/calendar.html\">Bach Dancing & Dynamite Society\u003c/a> (Oct. 7) and Berkeley’s California Jazz Conservatory (Oct. 10), presented by Jazz in the Neighborhood.\u003c/p>\n\u003cp>In addition to Koga, Hirahara and Okada, the fall performances feature Bay Area koto master Shoko Hikage, San Francisco vocalist Saki Kono, and the young Japanese trumpeter Takehiro Dai, “who was separated from his family for two days after the tsunami,” Tana says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You realize what a healing force music can be,” he reflects, “and it reminded me of why we got into doing this stuff.”\u003c/p>\n\n","blocks":[],"excerpt":"As a bandleader, producer and internationally acclaimed jazz artist, Tana has waged a one-man campaign to make Bay Area audiences aware of the exceptional jazz talent coming out of Japan.","status":"publish","parent":0,"modified":1705027457,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1018},"headData":{"title":"How Jazz Drummer Akira Tana Built a Musical Bridge Across the Pacific | KQED","description":"As a bandleader, producer and internationally acclaimed jazz artist, Tana has waged a one-man campaign to make Bay Area audiences aware of the exceptional jazz talent coming out of Japan.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Jazz Drummer Akira Tana Built a Musical Bridge Across the Pacific","datePublished":"2018-07-24T15:00:48.000Z","dateModified":"2024-01-12T02:44:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13837420/how-jazz-drummer-akira-tana-built-a-musical-bridge-across-the-pacific","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.akiratana.com\">Akira Tana\u003c/a> doesn’t like to wait around for other people to make things happen. As a bandleader, producer and internationally acclaimed jazz artist, the Palo Alto-reared drummer has quietly waged a one-man campaign to make Bay Area audiences aware of the exceptional jazz talent coming out of Japan, particularly the thriving but little-known scene in Osaka.\u003c/p>\n\u003cp>Focusing on musicians from Japan’s second largest city might seem strangely specific, but, for reasons no one can quite explain, Osaka has produced a conspicuously gifted string of Hammond B-3 organists, including \u003ca href=\"https://www.akikojazz.com\">Akiko Tsuruga\u003c/a>, \u003ca href=\"http://www.savannajazz.com/musicians/midori-ono/\">Midori Ono\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Atsuko_Hashimoto\">Atsuko Hashimoto\u003c/a>. Tana has performed with all three women around the Bay Area over the last decade (concerts abetted by B-3 champion \u003ca href=\"https://www.doodlinlounge.com\">Pete Fallico\u003c/a>). Hashimoto returns to the region this month for a series of gigs with Tana and special guest vocalist Kenny Washington at Saratoga’s \u003ca href=\"https://cafepinkhouse.com/events-calendar/\">Café Pink House\u003c/a> (July 26), \u003ca href=\"http://www.piedmontpiano.com/concerts/180727akiraandfriends.html\">Oakland’s Piedmont Piano \u003c/a>(July 27), San Jose’s \u003ca href=\"http://www.cafestritch.com\">Cafe Stritch\u003c/a> (July 28) and the historic \u003ca href=\"http://7milehouse.com/calendar/2018/7/30/akira-tana-with-friends-from-osaka-japan-featuring-atsuko-hashimoto-hideki-kawamura-and-yutaka-hashimoto\">7 Mile House\u003c/a> in Brisbane (July 30).\u003c/p>\n\u003cp>The Osaka project performances also feature Hashimoto’s husband, the gifted guitarist Yutaka Hashimoto, and tenor saxophonist Hideki Kawamura, who hails from Kobe, which is part of the sprawling Keihanshin metropolitan region with Osaka and Kyoto. Tana can’t account for the city’s profusion of prodigious organists, but he’s been duly impressed by the depth of jazz knowledge held by its top players.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Pgn6iIp7uhU'\n title='//www.youtube.com/embed/Pgn6iIp7uhU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“They’re seasoned veterans, and really know the tradition,” says Tana, 66. “Atsuko is the first one to really break out. She’s the matriarch. When you listen to her play, her lines are so much in the bop tradition. She’s not really showy, but she really knows the instrument. And when you listen to Hideki, you hear Coleman Hawkins and Sonny Rollins. Yutaka comes out of Wes Montgomery and Kenny Burrell.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seasoned veteran is the best way to describe Tana, who spent two decades on the New York scene accompanying many of jazz’ greatest improvisers, including saxophonists Sonny Rollins, Stan Getz, James Moody, Zoot Sims, Jimmy Heath, Warne Marsh and Sonny Stitt. He established himself as a bandleader with TanaReid, a group he founded with Sacramento-raised bassist Rufus Reid. During the 1990s, the group toured internationally, released six CDs and boosted the profile of brilliant young players like saxophonists Ralph Moore and Mark Turner (a member of the SFJazz Collective from 2010-2012).\u003c/p>\n\u003cp>That same decade, Japan’s economy was in a massive bubble. Tana started producing albums for Tokyo-based King Records, which expanded his connections to a scene he’d gotten acquainted with as a touring player. “I’d put these sessions together pairing Japanese and American musicians,” he says. “I’ve never consciously pursued any kind of agenda forging relationships with Japanese musicians. It just kind of happened.”\u003c/p>\n\u003cp>The bridge that Tana has built has also taken him back over the Pacific with the singular \u003ca href=\"http://www.otonowa-usa.com\">ensemble Otonowa\u003c/a>, a group focusing on a strikingly beautiful body of music interpreting traditional Japanese melodies through a modern jazz lens. Created in the aftermath of the 2011 earthquake and tsunami that devasted northeastern Japan, the concept first came together for a tsunami relief fundraiser at Fairfax’s Elsewhere Gallery in the summer of 2011. Featuring Bay Area bassist \u003ca href=\"http://www.otonowa-usa.com/about/ken\">Noriyuki “Ken” Okada\u003c/a> (who was born in New York and raised in São Paulo, Brazil and Yokohama, Japan) and Japanese-born San Francisco \u003ca href=\"http://www.otonowa-usa.com/about/masaru\">flutist-saxophonist Masaru Koga\u003c/a> (who grew up moving between Europe and the United States), the trio played jazz arrangements of traditional Japanese songs, some dating back centuries.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8JM7L3CqoDM'\n title='//www.youtube.com/embed/8JM7L3CqoDM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Convinced they were onto something special, Otonawa ended up bringing the music to stricken communities in Japan the following year, performing “at temporary shopping centers and housing units,” Tana recalls. In 2013, San Jose-raised pianist Art Hirahara expanded the ensemble to a quartet and Tana documented the group on an eponymous album for his label, Cannatuna.\u003c/p>\n\u003cp>Otonowa isn’t the first group to turn Japanese songs into vehicles for jazz improvisation. Trumpeter Lee Morgan arranged the folk song “Desert Moonlight” on his hit 1965 Blue Note album \u003cem>The Rumproller\u003c/em>, and saxophonist Benny Golson interpreted “Tombo” (or “Red Dragonfly”) by the great composer Kosaku Yamada with his New Jazztet in the early 1980s. Pianist, composer, orchestra leader and NEA Jazz Master Toshiko Akiyoshi spent much of her brilliant career finding inspiration in Japanese folk idioms. Otonowa takes a different approach, hewing closely to the sublime folk-derived melodies.\u003c/p>\n\u003cp>“Otonowa is kind of the reverse of the Osaka concerts,” Tana says. “We’re going over there, mostly Americans, and the material is all Japanese stuff that bridges the communication gap. They know all this music, which I didn’t until we did this.”\u003c/p>\n\u003cp>The music has continued to evolve, and while subsequent tragedies and disasters have pulled the world’s attention to other regions, Tana and Otonowa continue to raise funds for Japan’s northeastern Tohoku region. The group reunites for a series of concerts, performing at Palo Alto’s Mitchell Park Community Center (Oct. 6), Half Moon Bay’s \u003ca href=\"http://www.bachddsoc.org/calendar.html\">Bach Dancing & Dynamite Society\u003c/a> (Oct. 7) and Berkeley’s California Jazz Conservatory (Oct. 10), presented by Jazz in the Neighborhood.\u003c/p>\n\u003cp>In addition to Koga, Hirahara and Okada, the fall performances feature Bay Area koto master Shoko Hikage, San Francisco vocalist Saki Kono, and the young Japanese trumpeter Takehiro Dai, “who was separated from his family for two days after the tsunami,” Tana says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You realize what a healing force music can be,” he reflects, “and it reminded me of why we got into doing this stuff.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13837420/how-jazz-drummer-akira-tana-built-a-musical-bridge-across-the-pacific","authors":["86"],"categories":["arts_69"],"tags":["arts_1118","arts_2627","arts_1420","arts_596"],"featImg":"arts_13837615","label":"arts"},"arts_13814125":{"type":"posts","id":"arts_13814125","meta":{"index":"posts_1591205157","site":"arts","id":"13814125","score":null,"sort":[1510668054000]},"guestAuthors":[],"slug":"students-help-okinawan-history-come-alive-in-uc-santa-cruz-exhibit","title":"Students Help Okinawan History Come Alive in UC Santa Cruz Exhibit","publishDate":1510668054,"format":"audio","headTitle":"Students Help Okinawan History Come Alive in UC Santa Cruz Exhibit | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>During the time Army Captain Charles Gail wandered Okinawa with his box camera in 1952, his intention was artistic. But his slice-of-life photos — along with his detailed notes about each scene — serve as precious documentation of a way of life that’s gone now.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcr/2017/11/OkinawanHistoryMyrow.mp3\" title=\"Okinawan History\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/RS27905_Photo-Oct-05-4-768x432.jpg\"]\u003c/p>\n\u003cp>So when UC Santa Cruz was offered a trove of photos that Gail took while stationed on Okinawa, History Professor \u003ca href=\"https://history.ucsc.edu/faculty/profiles/singleton.php?&singleton=true&cruz_id=achristy\" target=\"_blank\" rel=\"noopener\">Alan Christy\u003c/a> jumped on it. Then, he took 15 students on a couple of international field trips to the island, to research and write history themselves.\u003c/p>\n\u003cp>“By working with me on the research,” he says, “they’ll learn how history is done.”\u003c/p>\n\u003ch2>Much of Okinawa’s historical record destroyed\u003c/h2>\n\u003cp>The epic battle on Okinawa, depicted in this 1945 newsreel, was devastating. About 90,000 soldiers were killed on both sides. More than 110,000 Okinawans died.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=ZUbDw84ouok]\u003cbr>\nAfter World War II, the US military moved in and established several bases, whether the Okinawans wanted them or not. Civilian photography was restricted. Christy explains, “WWII in Okinawa was immensely destructive of the heritage landscape: archives, images, not to mention, of course, people.”\u003c/p>\n\u003cp>As part of Christy’s project, UC Santa Cruz students were asked to seek out the exact places where Gail shot his photos, and found some of the people he photographed are still alive, or at least remembered by people alive today.\u003c/p>\n\u003cp>“Crowds would gather around the photo — all the old folk, particularly, because these are photos from 70 years ago — and argue about where this photo was or wasn’t,” Christy says.\u003c/p>\n\u003cfigure id=\"attachment_13831450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note1-800x450.jpg\" alt='Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: \"This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together...You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.\"' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: “This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together…You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.” \u003ccite>(Courtesy of UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Ah, I remember those people, the people were were selling fish like that.’ You’d just get these great conversations and sit there and soak it in,” Christy says.\u003c/p>\n\u003cp>Gail focused his camera on long-suffering peasants carrying goods to market, fishermen hauling their catch onto the beach, and adorable children everywhere.\u003c/p>\n\u003cp>Now, a selection of his photos, as well as photos shot by students in the same locations, are on display at the \u003ca href=\"http://art.ucsc.edu/galleries/gail-project-okinawan-american-dialogue\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> at UC Santa Cruz.\u003c/p>\n\u003cfigure id=\"attachment_13831452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13831452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the little children are now elders on Okinawa. Detail of photo by Charles Eugene Gail; c. 1952. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Gail Project: An Okinawan-American Dialogue\u003c/em>, which includes 50 digital prints reprinted from the original 200 black and white photos, is being developed into a traveling exhibition.\u003c/p>\n\u003cp>The current exhibit also includes an online archive, with oral histories from Americans and Okinawans, as well as undergraduate research and writing.\u003c/p>\n\u003ch2>No “us” and “them” when the subjects are your relatives\u003c/h2>\n\u003cp>Among the student historians: Alexyss “Lex” McClellan, who’s majoring in history and critical race and ethnic studies. McClellan is also part Okinawan.\u003c/p>\n\u003cp>“Most of my family’s worldly possessions were destroyed during the battle, so photos are rare,” McClellan says. Her grandmother married an American serviceman and moved to San Diego.\u003c/p>\n\u003cfigure id=\"attachment_13831454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note3-800x1108.jpg\" alt=\"Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go.\" width=\"800\" height=\"1108\" class=\"size-medium wp-image-13831454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-520x720.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This project has been a blessing to me because it’s given me an opportunity — to talk to my grandmother, her sisters, her brother and the rest of my family on a level they empathize deeply with — and so for them to tell stories that I had never heard growing up,” McClellan says.\u003c/p>\n\u003cp>McClellan and her family are also enjoying an upwelling of pride at the attention UC Santa Cruz is paying to Okinawan culture. Outside of Japan, many people are not aware the islanders don’t consider themselves Japanese. Their neighbors to the north only took over Okinawa in 1609.\u003c/p>\n\u003cp>Okinawans speak different languages. Or rather, they did. After years of Japanese and American occupation, less than 10,000 people now speak some form of Okinawan. It’s just another way a distinctive indigenous culture fades into history.\u003c/p>\n\u003cp>McLellan says Gail wasn’t thinking about history when he took his photographs. “He was just taking pictures he thought other Americans might find anomalous or interesting. But to us, these are a gold mine.”\u003c/p>\n\u003cfigure id=\"attachment_13831455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note4-800x450.jpg\" alt='Detail of \"Tattoos,\" by Charles Eugene Gail; c. 1952. \"Notice tattoos on her wrist, an old marrying custom,\" Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Tattoos,” by Charles Eugene Gail; c. 1952. “Notice tattoos on her wrist, an old marrying custom,” Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Geri Gail, a former employee of UC Santa Cruz who always knew her dad was a talent, it’s a thrill to see his pictures archived in excellent company alongside prominent 20th century photographers in the university’s growing collection.\u003c/p>\n\u003cp>“It just gives me goose bumps. I’m so proud,” she says, looking at her father’s photos up on the wall at the Sesnon Gallery.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Gail Project: An Okinawan-American Dialogue’ is on view at the The Mary Porter Sesnon Art Gallery through Dec. 2, 2017. For more information, \u003ca href=\"https://gailproject.ucsc.edu\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"UC Santa Cruz uses an American soldier's photos of Okinawa in 1952 to launch a dynamic history project.","status":"publish","parent":0,"modified":1705029122,"stats":{"hasAudio":true,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1039},"headData":{"title":"Students Help Okinawan History Come Alive in UC Santa Cruz Exhibit | KQED","description":"UC Santa Cruz uses an American soldier's photos of Okinawa in 1952 to launch a dynamic history project.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Students Help Okinawan History Come Alive in UC Santa Cruz Exhibit","datePublished":"2017-11-14T14:00:54.000Z","dateModified":"2024-01-12T03:12:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/tcr/2017/11/OkinawanHistoryMyrow.mp3","sticky":false,"path":"/arts/13814125/students-help-okinawan-history-come-alive-in-uc-santa-cruz-exhibit","audioDuration":204000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the time Army Captain Charles Gail wandered Okinawa with his box camera in 1952, his intention was artistic. But his slice-of-life photos — along with his detailed notes about each scene — serve as precious documentation of a way of life that’s gone now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"src":"https://www.kqed.org/.stream/anon/radio/tcr/2017/11/OkinawanHistoryMyrow.mp3","title":"Okinawan History","program":"The California Report","image":"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/RS27905_Photo-Oct-05-4-768x432.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So when UC Santa Cruz was offered a trove of photos that Gail took while stationed on Okinawa, History Professor \u003ca href=\"https://history.ucsc.edu/faculty/profiles/singleton.php?&singleton=true&cruz_id=achristy\" target=\"_blank\" rel=\"noopener\">Alan Christy\u003c/a> jumped on it. Then, he took 15 students on a couple of international field trips to the island, to research and write history themselves.\u003c/p>\n\u003cp>“By working with me on the research,” he says, “they’ll learn how history is done.”\u003c/p>\n\u003ch2>Much of Okinawa’s historical record destroyed\u003c/h2>\n\u003cp>The epic battle on Okinawa, depicted in this 1945 newsreel, was devastating. About 90,000 soldiers were killed on both sides. More than 110,000 Okinawans died.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZUbDw84ouok'\n title='//www.youtube.com/embed/ZUbDw84ouok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nAfter World War II, the US military moved in and established several bases, whether the Okinawans wanted them or not. Civilian photography was restricted. Christy explains, “WWII in Okinawa was immensely destructive of the heritage landscape: archives, images, not to mention, of course, people.”\u003c/p>\n\u003cp>As part of Christy’s project, UC Santa Cruz students were asked to seek out the exact places where Gail shot his photos, and found some of the people he photographed are still alive, or at least remembered by people alive today.\u003c/p>\n\u003cp>“Crowds would gather around the photo — all the old folk, particularly, because these are photos from 70 years ago — and argue about where this photo was or wasn’t,” Christy says.\u003c/p>\n\u003cfigure id=\"attachment_13831450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note1-800x450.jpg\" alt='Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: \"This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together...You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.\"' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: “This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together…You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.” \u003ccite>(Courtesy of UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Ah, I remember those people, the people were were selling fish like that.’ You’d just get these great conversations and sit there and soak it in,” Christy says.\u003c/p>\n\u003cp>Gail focused his camera on long-suffering peasants carrying goods to market, fishermen hauling their catch onto the beach, and adorable children everywhere.\u003c/p>\n\u003cp>Now, a selection of his photos, as well as photos shot by students in the same locations, are on display at the \u003ca href=\"http://art.ucsc.edu/galleries/gail-project-okinawan-american-dialogue\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> at UC Santa Cruz.\u003c/p>\n\u003cfigure id=\"attachment_13831452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13831452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the little children are now elders on Okinawa. Detail of photo by Charles Eugene Gail; c. 1952. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Gail Project: An Okinawan-American Dialogue\u003c/em>, which includes 50 digital prints reprinted from the original 200 black and white photos, is being developed into a traveling exhibition.\u003c/p>\n\u003cp>The current exhibit also includes an online archive, with oral histories from Americans and Okinawans, as well as undergraduate research and writing.\u003c/p>\n\u003ch2>No “us” and “them” when the subjects are your relatives\u003c/h2>\n\u003cp>Among the student historians: Alexyss “Lex” McClellan, who’s majoring in history and critical race and ethnic studies. McClellan is also part Okinawan.\u003c/p>\n\u003cp>“Most of my family’s worldly possessions were destroyed during the battle, so photos are rare,” McClellan says. Her grandmother married an American serviceman and moved to San Diego.\u003c/p>\n\u003cfigure id=\"attachment_13831454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note3-800x1108.jpg\" alt=\"Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go.\" width=\"800\" height=\"1108\" class=\"size-medium wp-image-13831454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-520x720.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This project has been a blessing to me because it’s given me an opportunity — to talk to my grandmother, her sisters, her brother and the rest of my family on a level they empathize deeply with — and so for them to tell stories that I had never heard growing up,” McClellan says.\u003c/p>\n\u003cp>McClellan and her family are also enjoying an upwelling of pride at the attention UC Santa Cruz is paying to Okinawan culture. Outside of Japan, many people are not aware the islanders don’t consider themselves Japanese. Their neighbors to the north only took over Okinawa in 1609.\u003c/p>\n\u003cp>Okinawans speak different languages. Or rather, they did. After years of Japanese and American occupation, less than 10,000 people now speak some form of Okinawan. It’s just another way a distinctive indigenous culture fades into history.\u003c/p>\n\u003cp>McLellan says Gail wasn’t thinking about history when he took his photographs. “He was just taking pictures he thought other Americans might find anomalous or interesting. But to us, these are a gold mine.”\u003c/p>\n\u003cfigure id=\"attachment_13831455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note4-800x450.jpg\" alt='Detail of \"Tattoos,\" by Charles Eugene Gail; c. 1952. \"Notice tattoos on her wrist, an old marrying custom,\" Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Tattoos,” by Charles Eugene Gail; c. 1952. “Notice tattoos on her wrist, an old marrying custom,” Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Geri Gail, a former employee of UC Santa Cruz who always knew her dad was a talent, it’s a thrill to see his pictures archived in excellent company alongside prominent 20th century photographers in the university’s growing collection.\u003c/p>\n\u003cp>“It just gives me goose bumps. I’m so proud,” she says, looking at her father’s photos up on the wall at the Sesnon Gallery.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Gail Project: An Okinawan-American Dialogue’ is on view at the The Mary Porter Sesnon Art Gallery through Dec. 2, 2017. For more information, \u003ca href=\"https://gailproject.ucsc.edu\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13814125/students-help-okinawan-history-come-alive-in-uc-santa-cruz-exhibit","authors":["251"],"categories":["arts_1","arts_235"],"tags":["arts_2627","arts_822","arts_4642","arts_1028","arts_2747","arts_3038"],"featImg":"arts_13814127","label":"arts"},"arts_13809651":{"type":"posts","id":"arts_13809651","meta":{"index":"posts_1591205157","site":"arts","id":"13809651","score":null,"sort":[1506646197000]},"guestAuthors":[],"slug":"comfort-women-statue-strains-60-year-san-francisco-osaka-alliance","title":"'Comfort Women' Statue Strains 60-Year San Francisco-Osaka Alliance","publishDate":1506646197,"format":"image","headTitle":"‘Comfort Women’ Statue Strains 60-Year San Francisco-Osaka Alliance | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>This year, San Francisco and the Japanese city of Osaka celebrate 60 years of their sister city alliance. But a new statue in San Francisco has angered Osaka officials, and endangers the cities’ long friendship. \u003c/p>\n\u003cp>Last Friday, a statue memorializing the “comfort women” of the Imperial Japanese Army was unveiled in San Francisco’s Chinatown. The statue, called \u003ci>Column of Strength,\u003c/i> features three girls standing on a pedestal, holding hands. They represent the hundreds of thousands of young women from China, Korea, the Philippines, and other countries that were forced into sex slavery by the Japanese military in the ’30 and ’40s. A fourth, much older woman stands before the column looking up at the girls, exemplifying the age at which the surviving comfort women finally began talking publicly about the horrors they experienced. \u003c/p>\n\u003cp>Calling the statue “Japan-bashing,” Osaka mayor Hirofumi Yoshimura said this week that if San Francisco officials continue with plans to integrate the statue into a public park, he will push to end Osaka’s sister city relationship with San Francisco. \u003c/p>\n\u003cp>“If San Francisco were to accept the donation, it will mean the city has expressed its wish to accept it in a public space,” \u003ca href=\"https://japantoday.com/category/politics/Osaka-may-end-San-Francisco-sister-city-ties-over-%27comfort-woman%27-statue\" rel=\"noopener\" target=\"_blank\">Yoshimura told reporters\u003c/a> at a press conference earlier this week. “It would be the same as the city erecting it. Therefore, I will terminate our sister city relations.”\u003c/p>\n\u003cp>[contextly_sidebar id=”nO1Yiy29IOpgLRVsXSjtBCtNZegBLMkC”]\u003c/p>\n\u003cp>Many conservatives in Japan dispute the prevailing narrative of comfort women, and many others feel the continuing campaign to recognize these atrocities is divisive — including Jun Yamada, the Consul General of Japan in San Francisco. In a public statement released the day the San Francisco memorial was unveiled, Yamada released a statement \u003ca href=\"http://www.sf.us.emb-japan.go.jp/itpr_en/17_0921.html\" rel=\"noopener\" target=\"_blank\">condemning the campaign\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The difficulty of this issue lies in the fact that there are wildly conflicting views, even today, as to what actually happened. Unfortunately, the aim of current comfort women memorial movements seems to perpetuate and fixate on certain one-sided interpretations, without presenting credible evidence, in the form of physical statues.\n\u003c/p>\u003c/blockquote>\n\u003cp>But activists like Lillian Sing and Julie Tang of the \u003ca href=\"http://remembercomfortwomen.org/\" rel=\"noopener\" target=\"_blank\">Comfort Women Justice Coalition\u003c/a> don’t see their work as being one-sided. They spent over two years raising money and pushing for the installation of the \u003ci>Column of Strength\u003c/i> in San Francisco’s St. Mary’s Square. To them, the statue represents a truth that won’t be denied.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The more Japan wants to tear down memorials, the more I want to put them up,” Sing said.\u003c/p>\n\u003ch3>Comfort Women — the Secret No One Wanted to Recognize\u003c/h3>\n\u003cp>\u003ca href=\"http://www.unc.edu/news/archives/feb97/comfort.html\" rel=\"noopener\" target=\"_blank\">Documents show\u003c/a> that in 1932, Japanese Gen. Okamura Yasuji ordered the army to establish comfort stations to alleviate the growing incidents of rape and sexually transmitted diseases amongst units fighting in China. Initially, the women were Japanese prostitutes and locals who were tricked into the work with promises of a factory job. But as the invasion of China and Korea ramped up, women were abducted and taken to stations by soldiers guided by the “Three Alls Policy”: kill all, burn all, loot all. At the comfort stations, the women were raped dozens of times a day. If they did not submit, they were beaten and tortured.\u003c/p>\n\u003cfigure id=\"attachment_13809835\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg\" alt=\"'Column of Strength,' taken at the unveiling ceremony on Sept. 22, 2017\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Column of Strength,’ taken at the unveiling ceremony on Sept. 22, 2017. \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exact number of stationed comfort women is unknown. The most commonly accepted estimate is around 200,000, but researchers at \u003ca href=\"http://news.xinhuanet.com/english/2017-07/05/c_136419954.htm\" rel=\"noopener\" target=\"_blank\">Shanghai Normal University\u003c/a> updated the number in 2012 to between 360,000 and 410,000 women. They were mostly Korean and Chinese, but some were Filipina and Dutch. Their average age was 15 years old. \u003c/p>\n\u003cp>Stories of the comfort women and the horrors they faced didn’t reach the rest of the world until the early ’90s, when some Korean survivors began speaking out. But there were few survivors. Tang says that around 87 percent of comfort women died while in captivity, mostly from suicide.\u003c/p>\n\u003cp>“If I were a 15-year-old girl in captivity, being raped 30 to 40 times a day, I would die in a week,” Tang said. “They were commodities; they were not human beings. They were provisions that the Japanese military required.”\u003c/p>\n\u003cp>Those surviving and able to speak out about their experiences had to first overcome the shame that came from living as comfort women. Lee Yong-Soo, who was kidnapped at the age of 16 and forced into sexual slavery for two years, said she couldn’t talk about it until others began speaking out.\u003c/p>\n\u003cp>“I thought I was worthless. I didn’t talk about it, and nobody asked me,” Lee told the \u003ca href=\"https://www.washingtonpost.com/local/70-years-later-a-korean-comfort-woman-demands-apology-from-japan/2015/04/22/d1cf8794-e7ab-11e4-9767-6276fc9b0ada_story.html?utm_term=.bc9412260c3d\" rel=\"noopener\" target=\"_blank\">\u003cem>Washington Post\u003c/em> in 2015\u003c/a>. “My right to be happy, to marry, to have a family, it was all taken from me.”\u003c/p>\n\u003cp>For decades, Japan denied forcing women into sexual slavery. In 1991, Lee and other remaining comfort women demanded recognition and an apology from the Japanese government. Two years later, following a study confirming reports of coercion, Yōhei Kōno, Japan’s Chief Cabinet Secretary, \u003ca href=\"http://www.nytimes.com/1993/08/05/world/japan-admits-army-forced-women-into-war-brothels.html\" rel=\"noopener\" target=\"_blank\">released a statement\u003c/a> acknowledging the study’s findings, along with an official apology. \u003c/p>\n\u003cfigure id=\"attachment_13809919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg\" alt='South Korean former \"comfort women\" Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean \"comfort women\" and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. ' width=\"800\" height=\"512\" class=\"size-medium wp-image-13809919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-520x333.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">South Korean former “comfort women” Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean “comfort women” and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. \u003ccite>(Jung Yeon-Je/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, both a conservative backlash against the Kono Statement and empathetic attempts to memorialize the comfort women have gained momentum. In 2007, while serving his first term as Japan’s Prime Minister, Shinzō Abe \u003ca href=\"http://www.telegraph.co.uk/news/worldnews/1544471/Japanese-PM-denies-wartime-comfort-women-were-forced.html\" rel=\"noopener\" target=\"_blank\">refuted the Kono Statement\u003c/a> and continues to do so today. And though it was Abe who reached an \u003ca href=\"http://www.bbc.com/news/world-asia-35188135\" rel=\"noopener\" target=\"_blank\">agreement with South Korea\u003c/a> to provide financial support to the 46 comfort women still living there, the Korean Government was made to remove a statue near the Japanese embassy in Seoul as part of the settlement.\u003c/p>\n\u003cp>“Japan and South Korea are now entering a new era,” Abe said at the time. “We should not drag this problem into the next generation.”\u003c/p>\n\u003cp>Now, the revisionist backlash has come the United States. In 2014, the pro-Japan \u003ca href=\"http://gaht.jp/\" rel=\"noopener\" target=\"_blank\">Global Alliance for Historical Truth\u003c/a> (GAHT) sued the southern California city of Glendale to stop the installation of a comfort women memorial. The legal battle went on for three years and finally ended when the U.S. Supreme Court \u003ca href=\"https://www.nbcnews.com/news/asian-america/supreme-court-declines-case-over-lawsuit-remove-comfort-women-memorial-n740996\" rel=\"noopener\" target=\"_blank\">refused to hear the case.\u003c/a>\u003c/p>\n\u003cp>Tang later said that the Glendale suit was “to intimidate and chill the local grassroots efforts to build ‘comfort women’ peace memorials.” But the opposition hasn’t succeeded. Since 2010, eight comfort women memorials have been erected in the United States, in smaller cities like Southfield, Michigan; Union City, New Jersey; and Fairfax, Virginia. On Sept. 22, San Francisco became the first major city to host a comfort women memorial. \u003c/p>\n\u003ch3>San Francisco Versus Osaka\u003c/h3>\n\u003cfigure id=\"attachment_13809833\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg\" alt=\"The fourth woman in San Francisco's comfort women memorial, 'Column of Strength.'\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The fourth woman in San Francisco’s comfort women memorial, ‘Column of Strength.’ \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of its 18 sister city alliances, San Francisco’s relationship with Osaka is its oldest. Established in 1957 under San Francisco Mayor George Christopher, the alliance not only allowed the fostering of commercial relationships but cultural ones as well, such as a long-running \u003ca href=\"http://www.sf-osaka.org/modules/scholarship/index.php?content_id=3\" rel=\"noopener\" target=\"_blank\">student ambassadorship\u003c/a>. In 2007, San Francisco celebrated the 50th anniversary of the alliance by re-naming a block of Buchanan Street “Osaka Way.”\u003c/p>\n\u003cp>The relationship began to fray in 2013, after Tōru Hashimoto, then mayor of Osaka, \u003ca href=\"https://www.japantimes.co.jp/news/2012/08/23/news/no-evidence-sex-slaves-were-taken-by-military-hashimoto/#.Wc1B7bKGOM8\" rel=\"noopener\" target=\"_blank\">declared that\u003c/a> “there is no evidence that people called comfort women were taken away by violence or threat by the [Japanese] military.” After an international uproar, Hashimoto \u003ca href=\"https://web.archive.org/web/20130609070505/http://ajw.asahi.com/article/behind_news/politics/AJ201305130131\" rel=\"noopener\" target=\"_blank\">updated his statement\u003c/a> to admit that there were comfort women, but that they were “necessary” so the soldiers could “rest” during the war. \u003c/p>\n\u003cp>In response, an unnamed San Francisco city official \u003ca href=\"https://www.japantimes.co.jp/news/2013/06/12/national/san-francisco-spurned-hashimoto-amid-sex-slave-outrage/#.Wc1DxrKGOM-\" rel=\"noopener\" target=\"_blank\">sent a message\u003c/a> to Hashimoto asking him to cancel a scheduled visit to the city, stating, “The people of San Francisco do not, at present, welcome Hashimoto’s trip to the U.S.” Hashimoto abandoned his travel plans. The San Francisco Board of Supervisors followed up with a resolution \u003ca href=\"http://www.nichibei.org/2013/06/s-f-board-of-supervisors-condemns-hashimotos-remarks-about-wwii-brothels/\" rel=\"noopener\" target=\"_blank\">condemning Hashimoto’s statement\u003c/a> a month later. \u003c/p>\n\u003cp>In 2015, San Francisco reignited the debate when it \u003ca href=\"https://www.japantimes.co.jp/news/2015/09/23/national/politics-diplomacy/san-francisco-unanimously-adopts-measure-to-build-comfort-women-memorial/#.WcxL-bKGOM8\" rel=\"noopener\" target=\"_blank\">unanimously approved\u003c/a> the installation of a comfort women memorial in the city’s Chinatown area. \u003c/p>\n\u003cp>With each major step in the two-year process to design and build the memorial, the city endured pushback from Osaka officials and others. For example, when the Board of Supervisors approved sculptor \u003ca href=\"https://www.facebook.com/stevenwhytecarmel/\" rel=\"noopener\" target=\"_blank\">Steven Whyte\u003c/a>‘s design for the memorial back in January, Osaka Mayor Yoshimura \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Ltr-of-Osaka-mayor-opposing-CWM-2-1-2017.pdf\">sent a letter\u003c/a> to San Francisco Mayor Ed Lee expressing concern “whether the [the statue] will negatively affect the exchange between our cities.” \u003c/p>\n\u003cp>Whyte later told the \u003ca href=\"http://www.sfchronicle.com/news/article/Memorialize-wartime-sex-slaves-known-as-12189721.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a> that he’s received over 1,000 emails demanding the project be aborted.\u003c/p>\n\u003cfigure id=\"attachment_13809933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg\" alt=\"Steven Whyte's drawings for 'Column of Strength'\" width=\"800\" height=\"545\" class=\"size-medium wp-image-13809933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-520x354.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Whyte’s drawings for ‘Column of Strength.’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Battle Continues\u003c/h3>\n\u003cp>This week, when asked by reporters about plans to have San Francisco representatives visit Osaka in celebration of the 60th anniversary of the sister city alliance, \u003ca href=\"http://www.scmp.com/news/asia/diplomacy/article/2113015/it-japan-bashing-osaka-may-sever-sister-city-ties-san-francisco\" rel=\"noopener\" target=\"_blank\">Yoshimura responded\u003c/a>, “If San Francisco accepts [the statue] at the municipal government level, then we cannot shake hands with them and smile.”\u003c/p>\n\u003cp>On Tuesday, the Osaka City Assembly \u003ca href=\"https://headlines.yahoo.co.jp/hl?a=20170927-00000057-mbsnewsv-l27\" rel=\"noopener\" target=\"_blank\">considered a resolution\u003c/a> ending the sister city alliance, but rejected it. For Sing and Tang, the rejection was not surprising. \u003c/p>\n\u003cfigure id=\"attachment_13809934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg\" alt=\"Lillian Sing and Julie Tang celebrate the unveiling of the 'Column of Strength'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13809934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lillian Sing and Julie Tang celebrate the unveiling of the ‘Column of Strength’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The people of Osaka are our greatest supporters,” Sing said. Tang says that over 25 organizations based in Osaka support their work.\u003c/p>\n\u003cp>For Sing and Tang, the San Francisco memorial is just the beginning. Both are former judges who retired from their jobs to dedicate their time to the Comfort Women Justice Coalition. They plan to push for more memorials honoring the comfort women, in the hopes that rape will stop being accepted as an inevitable result of war. \u003c/p>\n\u003cp>“I look forward to the day when there’s a memorial to the comfort women in Tokyo, Japan,” Sing said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"San Francisco's memorial to 'comfort women' — young girls forced into sexual slavery during the 1930s and 1940s — has angered the city's allies in Japan.","status":"publish","parent":0,"modified":1705029441,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":1797},"headData":{"title":"'Comfort Women' Statue Strains 60-Year San Francisco-Osaka Alliance | KQED","description":"San Francisco's memorial to 'comfort women' — young girls forced into sexual slavery during the 1930s and 1940s — has angered the city's allies in Japan.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Comfort Women' Statue Strains 60-Year San Francisco-Osaka Alliance","datePublished":"2017-09-29T00:49:57.000Z","dateModified":"2024-01-12T03:17:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13809651/comfort-women-statue-strains-60-year-san-francisco-osaka-alliance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year, San Francisco and the Japanese city of Osaka celebrate 60 years of their sister city alliance. But a new statue in San Francisco has angered Osaka officials, and endangers the cities’ long friendship. \u003c/p>\n\u003cp>Last Friday, a statue memorializing the “comfort women” of the Imperial Japanese Army was unveiled in San Francisco’s Chinatown. The statue, called \u003ci>Column of Strength,\u003c/i> features three girls standing on a pedestal, holding hands. They represent the hundreds of thousands of young women from China, Korea, the Philippines, and other countries that were forced into sex slavery by the Japanese military in the ’30 and ’40s. A fourth, much older woman stands before the column looking up at the girls, exemplifying the age at which the surviving comfort women finally began talking publicly about the horrors they experienced. \u003c/p>\n\u003cp>Calling the statue “Japan-bashing,” Osaka mayor Hirofumi Yoshimura said this week that if San Francisco officials continue with plans to integrate the statue into a public park, he will push to end Osaka’s sister city relationship with San Francisco. \u003c/p>\n\u003cp>“If San Francisco were to accept the donation, it will mean the city has expressed its wish to accept it in a public space,” \u003ca href=\"https://japantoday.com/category/politics/Osaka-may-end-San-Francisco-sister-city-ties-over-%27comfort-woman%27-statue\" rel=\"noopener\" target=\"_blank\">Yoshimura told reporters\u003c/a> at a press conference earlier this week. “It would be the same as the city erecting it. Therefore, I will terminate our sister city relations.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Many conservatives in Japan dispute the prevailing narrative of comfort women, and many others feel the continuing campaign to recognize these atrocities is divisive — including Jun Yamada, the Consul General of Japan in San Francisco. In a public statement released the day the San Francisco memorial was unveiled, Yamada released a statement \u003ca href=\"http://www.sf.us.emb-japan.go.jp/itpr_en/17_0921.html\" rel=\"noopener\" target=\"_blank\">condemning the campaign\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The difficulty of this issue lies in the fact that there are wildly conflicting views, even today, as to what actually happened. Unfortunately, the aim of current comfort women memorial movements seems to perpetuate and fixate on certain one-sided interpretations, without presenting credible evidence, in the form of physical statues.\n\u003c/p>\u003c/blockquote>\n\u003cp>But activists like Lillian Sing and Julie Tang of the \u003ca href=\"http://remembercomfortwomen.org/\" rel=\"noopener\" target=\"_blank\">Comfort Women Justice Coalition\u003c/a> don’t see their work as being one-sided. They spent over two years raising money and pushing for the installation of the \u003ci>Column of Strength\u003c/i> in San Francisco’s St. Mary’s Square. To them, the statue represents a truth that won’t be denied.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The more Japan wants to tear down memorials, the more I want to put them up,” Sing said.\u003c/p>\n\u003ch3>Comfort Women — the Secret No One Wanted to Recognize\u003c/h3>\n\u003cp>\u003ca href=\"http://www.unc.edu/news/archives/feb97/comfort.html\" rel=\"noopener\" target=\"_blank\">Documents show\u003c/a> that in 1932, Japanese Gen. Okamura Yasuji ordered the army to establish comfort stations to alleviate the growing incidents of rape and sexually transmitted diseases amongst units fighting in China. Initially, the women were Japanese prostitutes and locals who were tricked into the work with promises of a factory job. But as the invasion of China and Korea ramped up, women were abducted and taken to stations by soldiers guided by the “Three Alls Policy”: kill all, burn all, loot all. At the comfort stations, the women were raped dozens of times a day. If they did not submit, they were beaten and tortured.\u003c/p>\n\u003cfigure id=\"attachment_13809835\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg\" alt=\"'Column of Strength,' taken at the unveiling ceremony on Sept. 22, 2017\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Column of Strength,’ taken at the unveiling ceremony on Sept. 22, 2017. \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exact number of stationed comfort women is unknown. The most commonly accepted estimate is around 200,000, but researchers at \u003ca href=\"http://news.xinhuanet.com/english/2017-07/05/c_136419954.htm\" rel=\"noopener\" target=\"_blank\">Shanghai Normal University\u003c/a> updated the number in 2012 to between 360,000 and 410,000 women. They were mostly Korean and Chinese, but some were Filipina and Dutch. Their average age was 15 years old. \u003c/p>\n\u003cp>Stories of the comfort women and the horrors they faced didn’t reach the rest of the world until the early ’90s, when some Korean survivors began speaking out. But there were few survivors. Tang says that around 87 percent of comfort women died while in captivity, mostly from suicide.\u003c/p>\n\u003cp>“If I were a 15-year-old girl in captivity, being raped 30 to 40 times a day, I would die in a week,” Tang said. “They were commodities; they were not human beings. They were provisions that the Japanese military required.”\u003c/p>\n\u003cp>Those surviving and able to speak out about their experiences had to first overcome the shame that came from living as comfort women. Lee Yong-Soo, who was kidnapped at the age of 16 and forced into sexual slavery for two years, said she couldn’t talk about it until others began speaking out.\u003c/p>\n\u003cp>“I thought I was worthless. I didn’t talk about it, and nobody asked me,” Lee told the \u003ca href=\"https://www.washingtonpost.com/local/70-years-later-a-korean-comfort-woman-demands-apology-from-japan/2015/04/22/d1cf8794-e7ab-11e4-9767-6276fc9b0ada_story.html?utm_term=.bc9412260c3d\" rel=\"noopener\" target=\"_blank\">\u003cem>Washington Post\u003c/em> in 2015\u003c/a>. “My right to be happy, to marry, to have a family, it was all taken from me.”\u003c/p>\n\u003cp>For decades, Japan denied forcing women into sexual slavery. In 1991, Lee and other remaining comfort women demanded recognition and an apology from the Japanese government. Two years later, following a study confirming reports of coercion, Yōhei Kōno, Japan’s Chief Cabinet Secretary, \u003ca href=\"http://www.nytimes.com/1993/08/05/world/japan-admits-army-forced-women-into-war-brothels.html\" rel=\"noopener\" target=\"_blank\">released a statement\u003c/a> acknowledging the study’s findings, along with an official apology. \u003c/p>\n\u003cfigure id=\"attachment_13809919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg\" alt='South Korean former \"comfort women\" Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean \"comfort women\" and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. ' width=\"800\" height=\"512\" class=\"size-medium wp-image-13809919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-520x333.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">South Korean former “comfort women” Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean “comfort women” and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. \u003ccite>(Jung Yeon-Je/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, both a conservative backlash against the Kono Statement and empathetic attempts to memorialize the comfort women have gained momentum. In 2007, while serving his first term as Japan’s Prime Minister, Shinzō Abe \u003ca href=\"http://www.telegraph.co.uk/news/worldnews/1544471/Japanese-PM-denies-wartime-comfort-women-were-forced.html\" rel=\"noopener\" target=\"_blank\">refuted the Kono Statement\u003c/a> and continues to do so today. And though it was Abe who reached an \u003ca href=\"http://www.bbc.com/news/world-asia-35188135\" rel=\"noopener\" target=\"_blank\">agreement with South Korea\u003c/a> to provide financial support to the 46 comfort women still living there, the Korean Government was made to remove a statue near the Japanese embassy in Seoul as part of the settlement.\u003c/p>\n\u003cp>“Japan and South Korea are now entering a new era,” Abe said at the time. “We should not drag this problem into the next generation.”\u003c/p>\n\u003cp>Now, the revisionist backlash has come the United States. In 2014, the pro-Japan \u003ca href=\"http://gaht.jp/\" rel=\"noopener\" target=\"_blank\">Global Alliance for Historical Truth\u003c/a> (GAHT) sued the southern California city of Glendale to stop the installation of a comfort women memorial. The legal battle went on for three years and finally ended when the U.S. Supreme Court \u003ca href=\"https://www.nbcnews.com/news/asian-america/supreme-court-declines-case-over-lawsuit-remove-comfort-women-memorial-n740996\" rel=\"noopener\" target=\"_blank\">refused to hear the case.\u003c/a>\u003c/p>\n\u003cp>Tang later said that the Glendale suit was “to intimidate and chill the local grassroots efforts to build ‘comfort women’ peace memorials.” But the opposition hasn’t succeeded. Since 2010, eight comfort women memorials have been erected in the United States, in smaller cities like Southfield, Michigan; Union City, New Jersey; and Fairfax, Virginia. On Sept. 22, San Francisco became the first major city to host a comfort women memorial. \u003c/p>\n\u003ch3>San Francisco Versus Osaka\u003c/h3>\n\u003cfigure id=\"attachment_13809833\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg\" alt=\"The fourth woman in San Francisco's comfort women memorial, 'Column of Strength.'\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The fourth woman in San Francisco’s comfort women memorial, ‘Column of Strength.’ \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of its 18 sister city alliances, San Francisco’s relationship with Osaka is its oldest. Established in 1957 under San Francisco Mayor George Christopher, the alliance not only allowed the fostering of commercial relationships but cultural ones as well, such as a long-running \u003ca href=\"http://www.sf-osaka.org/modules/scholarship/index.php?content_id=3\" rel=\"noopener\" target=\"_blank\">student ambassadorship\u003c/a>. In 2007, San Francisco celebrated the 50th anniversary of the alliance by re-naming a block of Buchanan Street “Osaka Way.”\u003c/p>\n\u003cp>The relationship began to fray in 2013, after Tōru Hashimoto, then mayor of Osaka, \u003ca href=\"https://www.japantimes.co.jp/news/2012/08/23/news/no-evidence-sex-slaves-were-taken-by-military-hashimoto/#.Wc1B7bKGOM8\" rel=\"noopener\" target=\"_blank\">declared that\u003c/a> “there is no evidence that people called comfort women were taken away by violence or threat by the [Japanese] military.” After an international uproar, Hashimoto \u003ca href=\"https://web.archive.org/web/20130609070505/http://ajw.asahi.com/article/behind_news/politics/AJ201305130131\" rel=\"noopener\" target=\"_blank\">updated his statement\u003c/a> to admit that there were comfort women, but that they were “necessary” so the soldiers could “rest” during the war. \u003c/p>\n\u003cp>In response, an unnamed San Francisco city official \u003ca href=\"https://www.japantimes.co.jp/news/2013/06/12/national/san-francisco-spurned-hashimoto-amid-sex-slave-outrage/#.Wc1DxrKGOM-\" rel=\"noopener\" target=\"_blank\">sent a message\u003c/a> to Hashimoto asking him to cancel a scheduled visit to the city, stating, “The people of San Francisco do not, at present, welcome Hashimoto’s trip to the U.S.” Hashimoto abandoned his travel plans. The San Francisco Board of Supervisors followed up with a resolution \u003ca href=\"http://www.nichibei.org/2013/06/s-f-board-of-supervisors-condemns-hashimotos-remarks-about-wwii-brothels/\" rel=\"noopener\" target=\"_blank\">condemning Hashimoto’s statement\u003c/a> a month later. \u003c/p>\n\u003cp>In 2015, San Francisco reignited the debate when it \u003ca href=\"https://www.japantimes.co.jp/news/2015/09/23/national/politics-diplomacy/san-francisco-unanimously-adopts-measure-to-build-comfort-women-memorial/#.WcxL-bKGOM8\" rel=\"noopener\" target=\"_blank\">unanimously approved\u003c/a> the installation of a comfort women memorial in the city’s Chinatown area. \u003c/p>\n\u003cp>With each major step in the two-year process to design and build the memorial, the city endured pushback from Osaka officials and others. For example, when the Board of Supervisors approved sculptor \u003ca href=\"https://www.facebook.com/stevenwhytecarmel/\" rel=\"noopener\" target=\"_blank\">Steven Whyte\u003c/a>‘s design for the memorial back in January, Osaka Mayor Yoshimura \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Ltr-of-Osaka-mayor-opposing-CWM-2-1-2017.pdf\">sent a letter\u003c/a> to San Francisco Mayor Ed Lee expressing concern “whether the [the statue] will negatively affect the exchange between our cities.” \u003c/p>\n\u003cp>Whyte later told the \u003ca href=\"http://www.sfchronicle.com/news/article/Memorialize-wartime-sex-slaves-known-as-12189721.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a> that he’s received over 1,000 emails demanding the project be aborted.\u003c/p>\n\u003cfigure id=\"attachment_13809933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg\" alt=\"Steven Whyte's drawings for 'Column of Strength'\" width=\"800\" height=\"545\" class=\"size-medium wp-image-13809933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-520x354.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Whyte’s drawings for ‘Column of Strength.’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Battle Continues\u003c/h3>\n\u003cp>This week, when asked by reporters about plans to have San Francisco representatives visit Osaka in celebration of the 60th anniversary of the sister city alliance, \u003ca href=\"http://www.scmp.com/news/asia/diplomacy/article/2113015/it-japan-bashing-osaka-may-sever-sister-city-ties-san-francisco\" rel=\"noopener\" target=\"_blank\">Yoshimura responded\u003c/a>, “If San Francisco accepts [the statue] at the municipal government level, then we cannot shake hands with them and smile.”\u003c/p>\n\u003cp>On Tuesday, the Osaka City Assembly \u003ca href=\"https://headlines.yahoo.co.jp/hl?a=20170927-00000057-mbsnewsv-l27\" rel=\"noopener\" target=\"_blank\">considered a resolution\u003c/a> ending the sister city alliance, but rejected it. For Sing and Tang, the rejection was not surprising. \u003c/p>\n\u003cfigure id=\"attachment_13809934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg\" alt=\"Lillian Sing and Julie Tang celebrate the unveiling of the 'Column of Strength'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13809934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lillian Sing and Julie Tang celebrate the unveiling of the ‘Column of Strength’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The people of Osaka are our greatest supporters,” Sing said. Tang says that over 25 organizations based in Osaka support their work.\u003c/p>\n\u003cp>For Sing and Tang, the San Francisco memorial is just the beginning. Both are former judges who retired from their jobs to dedicate their time to the Comfort Women Justice Coalition. They plan to push for more memorials honoring the comfort women, in the hopes that rape will stop being accepted as an inevitable result of war. \u003c/p>\n\u003cp>“I look forward to the day when there’s a memorial to the comfort women in Tokyo, Japan,” Sing said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13809651/comfort-women-statue-strains-60-year-san-francisco-osaka-alliance","authors":["93"],"programs":["arts_1272"],"categories":["arts_235","arts_70"],"tags":["arts_1448","arts_2627","arts_596","arts_2628","arts_1146"],"featImg":"arts_13809834","label":"arts_1272"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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