Jen Wang (Miyagi, 2008-09) created the alias “Hibari-sensei” for her Japanese pop culture blog, Gaijin Teacher Otaku, after her students called her by the name of a character she cosplayed.  She also writes for J-music website Purple SKY.

Tokyo-born songwriter Mio Soul makes her debut with In My Skin.  The EP contains the heavy drum beats and smooth melodies of contemporary R&B with flavors of pop, dance, and jazz.  Simple yet candid, the lyrics are in English, except for the rap in “Let’s Party” where Mio effortlessly flows in and out of her native language.  “Promise” chronicles Mio’s pursuit of her dreams in New York City and features sensual vocals complemented by airy piano trills.  The final track, “Out of My Life”, takes a complete 180 from the sweetness of “I Wish” in the beginning.  Mio engages an ex-lover in a showdown with passionate vocals and sexy Spanish guitars.  Even though she sings that her “story’s ended” for that person, it has only just begun in the music world.

I had the opportunity to ask my fellow biologist via email about her career change, the “I Wish” PV, and her involvement with music-related charities.

What made you change from being a biologist to a musician?

When it comes to biology, I had a huge influence from my father. My mom, however, is a pianist, so music was always around me as a child.  In college I was so curious about the connection of brain function and soul (heart)…I enjoyed all of the field work. I did, however, want to do music more than anything else.  I started performing more and attending singer and dancer showcases, and these live performances just really fueled me to continue pursuing music.

Science is a real academic thing.  You use instruments and theories to find the truth.  When it comes to music, singing or making beats is the art of using your own instrument (your body and soul) to express your truth.

Did you have any formal vocal training?

Yes, I had two amazing vocal coaches since moving to NYC: Stacey Penson and Jamelle Jones.  The best vocal training was…wait, should I mention this secret?  I can give a hint: it has to do with going to church on Sunday.

Click here to read the rest of the interview

 

By Rick Ambrosio (Ibaraki-ken, 2006-08) for JQ magazine. Rick manages the JET Alumni Association of New York (JETAANY)’s Twitter page and is the creator of the JETwit column Tadaima!

It’s probably happened to you over the last few years; you’re sitting at work, or maybe at home and an old buddy of yours from JET forwards you a link. You open it, and it’s a hilarious comic about life as a JET skillfully drawn with a mix of humor and nostalgia that pretty much makes your day. Life After the B.O.E. by David Namisato (Aomori-ken CIR, 2002-04) has given many a JET Alum a good laugh. If you’re anything like me, you’ve thought, “If this was a book, it would be a perfect Christmas present for those guys I still keep in contact with.” Well, David is happy to oblige.

David has now published a book of those comics, and we were lucky enough to catch up with him and pick his brain about it. With his comics popping up on other sites, it seems even a wider audience is getting into David’s work. In this exclusive interview, we ask him about his time on JET, his inspirations, and what he’s looking to do in the future.

What made you decide to publish this book?

I wasn’t planning to do a book initially, but a conversation with Lynn Miyauchi, JET Program Coordinator at the Consulate-General of Japan in Seattle, about the benefits of having a printed book (having something to read in your hands, something you can give as a gift) changed my mind.

So how did you get into art?  Were you inspired at all by Japanese art/manga/etc.?

I drew a lot throughout childhood and dreamt of being a comic book artist. I grew up on a healthy diet of manga.

What brought you to Japan?

I was in the process of dropping out of animation school, and didn’t want to do anything art-related. I thought of some of the other skills I had, and I thought that the JET Programme would be an excellent way to transition myself in to a completely different career path.

Read More

 

By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his page here for related stories.

The winner of five AVN Awards (like the Oscars, but without Cuba Gooding, Jr.), Asa Akira returned to the East Coast last weekend for a rare promotional trip. In the spirit of intensifying relations between our nation and Japan, I spoke with the scintillating 25-year-old superstar/native New Yorker about her Japanese roots, her favorite anime films, and the deeper cultural points that America and Japan can swap with each other.

Regarding your Japanese heritage, where is your family originally from?

My mother’s side of the family is from Osaka and my father’s side is from Tokyo, but they live in Yokohama.

You went to an American school growing up.

I did, a very prestigious American private school. It was nice.

When Japanese students relocate to America, it can be difficult adjusting. How was it for you relearning the way of life here?

I was born in New York City and I moved to Japan when I was six, so I already had a little America experience, but it was definitely a huge culture shock. Kids in Japan are really good, even American ones. So coming to New York was like, “Oh my God, these kids are 12 years old and they’re doing drugs!” It was definitely a huge culture shock, and I totally bought into it for a little bit (laughs).

You’ve got an incredible personality…

Thank you.

What do you attribute this to?

I grew up around boys; I think that has a lot to do with my sense of humor. Me and this other girl were always the only two girls in this group of boys, so I think we grew up with a really good sense of humor, you know?

So are you kind of like an otemba (tomboy)?

Yeah (laughs).

That’s my type, by the way.

Oh, good (laughs).

Regarding Japanese culture, what things do you like the most about it? Are there any films or other things that you point to as an inspiration?

I think I have a lot of Japanese culture ingrained in me. Just from being from a Japanese family, living in Japan. The whole “respect your elders,” that, to me, is the main thing that’s different between America and Japan. People in America treat old people like [expletive].

I love my grandmother, but I know what you’re talking about.

(Laughs) And they just don’t listen to older people. I think that’s weird. So that would be the main thing.

For the rest of the interview, click here.

 

By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his page here for related stories.

To celebrate the 15th anniversary of its English-language debut, Dragon Ball Z is coming to Blu-ray for the first time in America. The November release of Dragon Ball Z Level 1.1 contains the first 17 episodes of the anime series that dominated Japan’s pop culture scene in the 1990s and later, the rest of the world. This newly remastered collection restores the original, director-approved color scheme and 4:3 aspect ratio in stunning 1080p HD, and each volume will include rare never-before-seen special features.

In this exclusive interview conducted at New York Comic Con/Anime Festival (where I also talked with Stan Lee), I spoke with three of the English dub cast members: Christopher Sabat (Vegeta/Piccolo/Yamcha/voice director), Justin Cook (Raditz/Super Buu/ADR engineer), and Sean Schemmel (Goku/King Kai/Nail) about the release, their favorite Dragon Ball memories, and the proper context for discussing one’s favorite cartoon crush.

Regarding your approach to the characters’ voices, how much of the original Japanese voice work did you watch? For the voices you replaced, how much of that did you take into consideration?

Chris: At the start, a lot of consideration was taken to the original voices, and when I say original voices, I mean the Canadian cast [whose English dub work aired from 1996-98], because at the time [Dragon Ball’s North American producers] FUNimation had decided for a multitude of reasons that it was just physically impossible for them to record in Canada any longer. It was difficult to keep the actors consistent on the roles, because a lot of the Canadian actors were cast in other things, and sometimes it would make their job difficult. In fact, they had to recast Goku several times in Canada; they didn’t want to do that anymore. And it also made more sense to be closer to the parent company, so they moved it all down to Fort Worth.

We tried to take a lot of care at the beginning to match the Canadian cast, only because we didn’t want it to be too much of a shock, and when I say “we” I guess I mean the people who hired me—they didn’t want it to be too much of a shock to the American culture when they changed out these voices. And to be honest, when we first started recording this, we didn’t really have access to the Japanese versions of the show; we were dubbing off the Spanish version of Dragon Ball Z. So if we ever listened to the original language on the tape, it was like (speaks in a rapid mock Spanish): “Goku! Dragon Ball Zeta!” [Goku’s wife] Chi-Chi’s name was Milk.

We were just trying to keep it consistent to the first 68 episodes, and it wasn’t until later that we were redubbing the show that we actually started getting in the real Japanese versions of the show and had the technology to be able to quickly preview the Japanese files. We didn’t even have digital files yet, and sometimes we didn’t even get all the original materials that had the Japanese track on it; sometimes we were lucky if it had any sound on the tape at all…the [original] Japanese wasn’t an option.

Have you been to Japan before? If not, what would you want to do there?

Sean: I have plenty ideas about what I want to do in Japan. I have not been to Japan; I really want to go. My goal is to become a background character in an anime, so I can say this (with mock surprise): “Nani?!” (what) and that’s it. I want it to be one line, to be a Japanese seiyū [voice actor]. Give me something longer than that (in a gruff voice): “Ware ware…” (we) something, but just one line; that’s my goal. And, to meet  Masako Nozawa [the original voice of Goku] and maybe, if I were lucky, [Dragon Ball creator] Akira Toriyama, but that’s probably never going to happen.

If you met Toriyama-sensei, what would you ask him?

Sean: I would just thank him, because when you think about it, here’s this guy that draws this comic book, there’s this massive explosion—that I’m on the periphery of, if you think about it—[that] radically changed my life forever. So I’d be extraordinarily grateful to that guy.

Read the complete story here.

 

By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his page here for related stories.

For the past several years Adam Pasion has been living in Nagoya, which he calls “Japan’s best kept secret.” An editor and illustrator for RAN magazine, he is also a co-owner and English teacher of SpeakEasy Language School. As the creator of his own comic diary series Sundogs, the San Jose native was profiled in The Japan Times earlier this year, and the strip has since been collected into three books, providing a daily document of Pasion’s life in Nippon with his growing family from 2008 through 2010.

His latest project is Aftershock: Artists Respond to Disaster in Japan, a global response to the combined disasters of this year’s Tohoku earthquake, tsunami and nuclear meltdown. Edited and complied by Pasion and representing over 35 contributors from five continents, including Jeffrey Brown, Ben Snakepit, and JET alum Lars Martinson (Fukuoka-ken, 2003-06), the book shares their thoughts and feelings about a freshly devastated Japan in manga form. In this exclusive interview, Pasion reveals the inspiration for this unique project, his favorite Sundogs moments, and what’s next on his plate.

Tell us about your history with Japan. How did it cross your radar growing up?

My hometown had a pretty big and vibrant Japantown, and we would often go there and eat or go window shopping as a kid, but beyond that Japan was just a point on a map for me. In college I worked with a Japanese girl who tried to get me to go to some club for Japanese exchange students. I reluctantly went and was surprised by how much I enjoyed it—tons of delicious Japanese food and lots of cute girls. I started going regularly, and that is where I met my wife. I started taking a Japanese class, and through that class I got offered a position working in Japan for a summer. After spending a summer working here, I fell in love with the place. Several years later, my wife and I found out that we were going to be having a baby, and we decided to come have the baby close to my wife’s family here in Nagoya. Four years, two kids and a couple belt sizes later, and we are still here.

How did Aftershock come together following the earthquake and tsunami of March 2011?

Like most people out there who have any sort of connection to Japan, I felt paralyzed by the whole thing. Here were all these terrible events unfolding just a few hundred miles up the coast and there was nothing I could do about it. I had a sort of “survivor’s guilt” by proxy. When the medical teams and disaster relief groups started to come in I felt even more uneasy, realizing that it was in fact possible to help, just impossible for me to help. Every place I looked told me “just donate money for now.” I felt like I was sitting in the waiting room, waiting for the doctors to do their job. All I could do was wait, and offer to help with the hospital bills.

Then one night my brain was racing as I was trying to go to sleep, and the idea occurred to me to find a way to help out within my own skill set, which is where the idea for this book came about. I jumped out of bed and immediately fired off about 10 e-mails to the cartoonists I knew personally, and the response was 100 percent positive. I contacted Top Shelf Productions after that on a whim and they were into the idea right away. I still felt like any moment it would vanish in smoke until out of the blue I started getting tons of requests to join the project and submissions from people I had never met. The word had gotten out and was spreading quickly, and at that point I knew we were on to something. When things with Top Shelf didn’t pan out, the project already had way too much momentum to give up, which is why I decided to self-publish it. When the book was funding on Kickstarter, I actually had people thanking me for the chance to pledge money to the project. I still can’t wrap my head around that.

What are your goals with releasing Aftershock?

This has been a major point of misunderstanding from a lot of people. The main goal of this project is not fundraising for a charity. That is certainly a big part of it, but the distinction is that even if it fails to make a lot of money, I think it is incredibly meaningful in its own right. From the beginning I have described this book as a kind of “open letter” to the nation of Japan from the international comics community. It is supposed to communicate how far-reaching the influence of Japan has been on cartoonists all over the world, and how we feel in a moment like this. I guess more than an open letter, it’s a get well card. It is also a timepiece that encapsulates the popular sentiment of the world at one moment. I want all the contributors to look back on this book and remember exactly where we were and how we felt while we were still in the thick of it. I think we have succeeded in this goal. We have created a lasting piece of art that captures an important moment in time and the zeitgeist that goes along with it.

Some people have misunderstood the purpose of the project as a way to donate to the disaster. It certainly is [all proceeds from Aftershock will be donated to relief efforts in northeast Japan—Ed.], but if your main purpose is to make a donation, then there are much more direct ways to do it than to buy this book. I want the book to be successful in its aim to raise as much money as possible to help in the rebuilding process, but I also want people to actively become involved. Read the stories and see why we care so much. I want it to motivate people to join the process of rebuilding and I want it to help people feel like we are all in this thing together.

For the complete story, click here.

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Here’s a link to a nice article on Canada’s CBC News website titled, “Repairing Japan’s image, one teacher at a time:  20 former teachers return to view progress in Japan six months after the earthquake and tsunami.” (By Amber Hildebrandt)

“Japan is employing an unusual method in its attempt to rejuvenate its faltering international image after a massive earthquake and tsunami devastated the country exactly six months ago on March 11.

It comes in the form of a petite, brunette teacher from Canada: Tanya Gardecky, 25, of Aurora, Ont.

Or rather in the form of 20 foreigners from around the world who once taught English in the devastated regions and now have gone back, on Japan’s dime, to view the progress for themselves.

Each was once a teacher with the government-funded JET Programme and taught in the public school system.”

CLICK HERE to read the rest of the article

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Thanks to JET alum Mark Flanagan for sharing this article:

“Taking over a daughter’s dream to bridge Japan and U.S.”

By HIROSHI ITO / Correspondent
September 3, 2011

Andy Anderson never expected he would find himself trying to fill his daughter’s shoes by acting as a bridge between the United States and Japan.

 

 

By Renay Loper (Iwate-ken, 2006-07) for JQ magazine. Renay is a freelance writer and Associate Program Officer at the Japan Foundation Center for Global Partnership. Visit her blog at Atlas in Her Hand.

Mike Maher-King (Fukui-ken, 2006-11), originally from Shoreham-by-Sea, UK (near Brighton) and founder of Smile Kids Japan, which was created with the mission to have every orphanage in Japan visited regularly by a volunteer team in an effort to provide children with mentoring, cultural exchange and a newfound sense of trust.

Having making several Japanese friends while attending Royal Holloway, University of London, Mike eventually traveled to Japan and while there, fell in love with the people, the language, the culture, and most of all…the food! After working for a couple years in the UK, Mike returned to Japan as an ALT and eventually went on to create an organization that would touch the lives of thousands of Japanese children.

Recently, Mike took a few moments away from his hectic schedule to share with us a little about his organization, the emergence of volunteerism in Japan, and the impact the 3/11 earthquake and tsunami have had on his work.

When you first began Smile Kids Japan, did you realize you were introducing the concept of mentoring to the Japanese you were working with?

I didn’t actually realize that there are not as many opportunities for people to volunteer here in Japan as there are in the UK, USA, Canada. etc. until I started looking for a way to volunteer. I think with the cultural senpai-kohai (seniority based relationships) system here in Japan, the idea of mentoring isn’t at all new. However, this application of it is relatively new.

What challenges did you encounter doing volunteer work in Japan, where volunteerism isn’t as popular as it is in countries such as the UK or U.S.?

Setting up the very first meeting took a few months and lots of Japanese bureaucracy skills. But it was definitely worth the prodding! That and the initial 10 minutes of shyness, and walking into a room 1/4 of the size I expected with 10 more kids than we thought would choose to come meant all our planning wasn’t quite right! Further, it was also a little tricky to explain to some of the children’s homes what we wanted to do.

What do you think Smile Kids Japan has done for volunteerism in Japan?

There are so many people who do not realize the need for volunteers until they see it with their own eyes. I think that we are [now] approaching the tipping point. However, it is still a work in progress. We have provided an outlet for many people that want to help but didn’t have a channel for their energy. The [recent] earthquake initially transformed things with a huge amount of people volunteering. It will be interesting to see if this is carried back to people’s towns all around Japan.

Read More

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Ottawa based JET alum Brent Stirling (Fukushima-ken, Fukushima-shi, 2006-10) is one of only 2 Canadians out of 20 JET alumni selected to return to the Tohoku region to volunteer, engage and share their experience for the benefit of others, according to an article in the Ottawa Citizen.

(Note:  This post previously repeated the error in the Ottawa Citizen article that Brent was the only Canadian participating.  But it turns out that Toronto-based Tanya Gardecky (Miyagi-ken, Shiogama-shi) will also be participating.)

Stirling, who writes on his blog ForYourBrentertainment and was actively involved in the creation of Quakebook following the Tohoku Earthquake and Tsunami, submitted a proposal which was accepted by the program established by the Ministry of Foreign Affairs together with the Japan Tourism Agency to bring 20 Tohoku-area JET alums back to Tohoku to play a role in helping their communities and then spread word of their experience afterwards.

Read the full Ottawa Citizen article here:   “Months of blogging leads to trip to Japan: Kanata teacher will help with disaster relief in the country he writes about”

 

 

 

Thanks to JET alum and Inuyama City Council Member Anthony Bianchi (Aichi-ken, Inuyama-shi, 1988-89) for sharing the video below (in four parts) taken by his son Matthew of a panel discussion from the JETAA USA National Conference held in Washington, D.C. July 14-17.

The panel featured Bianchi along with fellow JET alums Laurel Lukaszewski (Kagoshima-ken, 1990-92) (sculptor artist and former Executive Director of the Japan-America Society of Washington, D.C. as well as former President of Pacific Northwest JETAA) and Jim Gannon (Ehime-ken, 1992-94), Executive Director of the Japan Center for International Exchange (JCIE/USA), and was moderated by JETwit publisher Steven Horowitz (Aichi-ken, Kariya-shi, 1992-94).

Part 1

 

Part 2

 

Part 3

 

Part 4

 

By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his page here for related stories.

One of the most respected bassists and gentlemen in the music world, Billy Sheehan is back with Mr. Big, the Los Angeles-based rock band he formed in 1988 best known for the hit ballad “To Be with You,” which shot to number one in 15 countries, including the U.S., in 1992. After splitting a decade later, in 2009 the original lineup reformed, followed by the release of What If…, the first album in 15 years from the original lineup.

Now, American fans are finally going to get a chance to see Billy, Paul Gilbert, Eric Martin and Pat Torpey together on stage since their ’90s heyday for a month-long American tour beginning Saturday (July 30) at San Diego’s 4th & B. In this exclusive interview, I spoke with Billy on Mr. Big’s current jaunt around the world, their triumphant return to Japan (where the band is revered), and the possibility of another album from the guys.

So far this year Mr. Big has played all over Europe, Asia and South America. What have your highlights been?

Japan is always amazing. The most difficult thing about touring is getting to and from the gigs…once we’re onstage, there’s no trouble at all, and in Japan, it’s just a breeze. We don’t fly in much, and take a lot of bullet trains, which are super convenient and easy and clean and safe and fast and everything. So Japan is always easy. The rest of Southeast Asia was actually pretty cool, too. We were supposed to do two shows in China, but the Shanghai show got cancelled because the promoters had the wrong visa for us. The shows in Korea, Taiwan and the Philippines were unbelievable, and in Taiwan we actually had to speed away from the venue in a van with literally crowds of people chasing after us (laughs). It was hilarious.

Mr. Big toured Japan less than one month after the earthquake and tsunami, and even did gigs in Iwate and Miyagi Prefectures, the areas most affected by the devastation. What was that experience like?

Really touching. There was a [camera] crew meeting us at the airport and then following us around, and we didn’t know, but they went out in the crowd and interviewed a lot of people, so later on we saw that they had interviewed a guy…I think he was from Sendai. They interviewed him for television, and we didn’t see it until we saw the show. He’d lost everything, and a couple of friends and family, and he’d lost his entire Mr. Big collection, so he actually came to the show to start his collection over again. And I’m telling you, it was so touching, this poor guy, that in his life, the important thing was to come and get his music back together again, really amazing. We had raised about $100,000 for the earthquake relief, and there’s still more to be raised, too—I just saw another $22,000, and I have to see what the figures are for the downloads of the special song we did [“The World Is on the Way”], also, so there’s a bunch more, too.

In the end, we raised a bunch of money, and we got a special letter from the Japanese Embassy in Washington, D.C. [signed by Ambassador Ichiro Fujisaki] thanking us for being there. We didn’t know how it would go when we went there, was it too soon or not, but [remember] after 9/11, where after the dust cleared, all the playhouses and restaurants were going out of business because nobody was going to New York City, so what helped was that going to see a show and having dinner to help the economy rolling again, so we were hoping to get that idea happening. We heard from saké dealers that were going out of business because nobody was drinking because they were all in mourning, you know? It’s a shame that so many lives were lost, but one of the most important things after anything like that is to get back up on your feet again. So I think we helped a bit—I’m cautiously optimistic to say I think we helped a bit. And from the tone of the e-mails and speaking with people after the show, we’re very pleased. So it all ended good.

Was there any hesitation at all about playing those gigs because of the radiation?

For me, no. A couple of the guys in the band were a little concerned about it. I fly transoceanic all the time [across] the Pacific, and you get a dose of radiation every time you do that. I think it’s equivalent to—I forget the figure—one, two or three chest X-rays just by flying over the ocean. And I do know that radiation, to incite fear in people, is almost second to none, you know? It’s invisible, and you don’t know it’s there and the next thing you know, you’ve got a problem. So I knew that there was probably some elevated degree of danger, but I also know that most things of that nature are over-exaggerated, in my experience with my own personal catastrophes of earthquakes and whatever else. They really do overblow it.

So I wasn’t worried personally, but we were more concerned for the fans, and I know that the Japanese government is very conscientious with their safety and rules. I remember I was in Tokyo one time, and there was a typhoon warning for everyone to stay inside. This was years ago, and I was out with a friend of mine, we were walking around, and the streets were deserted; there was nobody anywhere…the people in Japan are really in tune with the warnings and such. And I found out the government wouldn’t have allowed [us] to go on if we were to put a crowd of people in danger, so there was that factor, as well. So a couple of the guys in the band were a little worried about it, but I was okay with it, and in the end, all of us are glad we did it.

For the complete interview, click here.

For Justin’s February 2011 interview with Billy, click here.

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Just saw this MSNBC video and article by NBC News correspondent Ian Williams that mentions JET and volunteerAKITA founder Paul Yoo as well as several other volunteers who seem to be JETs along with the good work being done by All Hands Volunteers.  The article was posted to the Pacific Northwest JETAA Facebook group today.

“Young Americans take center stage in Japan tsunami cleanup”

http://www.msnbc.msn.com/id/43637669/

 

Visit msnbc.com for breaking news, world news, and news about the economy

 

By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his page here for related stories.

Examiner’s note: The following interview was conducted at New York’s Japan Society on March 10, 2011, hours before the Tohoku earthquake and tsunami would ravage eastern Japan. I was there to chat with guest lecturer Jake Adelstein, whose twelve-year career as a crime reporter for the Yomiuri Shinbun was chronicled in his acclaimed 2009 book Tokyo Vice. Adelstein is currently working on his second book, and as the editor of the Japan Subculture Research Center blog he continues to report on all the intriguing and seedy aspects that keep Japan running. In this exclusive interview, I spoke with Adelstein during an ominous cloudburst.

Thanks for meeting in this gloomy weather.

I used to like rainy weather, but my bodyguard, who’s an ex-yakuza, hates rainy weather. And I asked him once—I wish I hadn’t asked him—“What’s your deal with rainy weather? Why do you always not want to go out of the house and discourage me from going out?” And he’s like, “Oh, you know, when a yakuza kills another yakuza, they almost always do it on a rainy day, because first of all: bad visibility. The sound of the rain blurs the sounds of what’s going on, and the rain washes away all the trace evidence.” And ever since then, I haven’t been able to enjoy rainy weather as much as I used to.

I read that your birthday is coming up.

Well, let’s see. I’ll be 42. If all goes well, I will be ordained as a Soto Zen Buddhist priest on my birthday. I’ve got about a week of training left—if I could just remember that damn sutra. I had a talk with the priest and told him that I didn’t believe in the metaphysics of Buddhism, and he was like, “It’s all right. You just have to pretend that they’re true.” So as long as you uphold the precepts, it’s not belief; it’s deeds. I’m comfortable with that, the Episcopal King James version of Buddhism.

In an interview last year, you said you were going to have the opportunity to meet with yakuza boss Goto Tadamasa…

I might still have the opportunity, if he’s in good health. He’s been in and out of the hospital.

That’s his current status?

Yeah. He is still a priest. I’ve had some issues with his autobiography that was published last year, which had the equivalent of a yakuza fatwa on me. If you understand how the yakuza order people to be killed, you can read the lines very well. He refers to the attack on the director Itami Juzo in his memoirs and says, “Of course he deserved to be attacked, because he wrote a movie that was unpleasant about the yakuza,” and he refers to my writing as unpleasant. And then he has these two lines about, “I don’t know who this guy is, but even as an ex-yakuza, if I ever met him he would go from someone being targeted for death to someone being dead, ha-ha-ha.”

When a boss wants someone whacked in the yakuza, what he does is, he never gives an order, because then he could be held responsible. He just says, you know, “Johnson-san is a real pain in the ass; I don’t really like Johnson-san very well.” And his cohort immediately knows that he’s been asked to whack the guy. He whacks him and goes to jail, and comes out and gets a cash bonus from the organization. That’s how it’s done.

There’s talk that a film version of Tokyo Vice is in the works.

John Lesher, who produced No Country for Old Men, is signed on as the producer. There have been two or three actors who have expressed interest in playing the role. J.T. Rogers, who is a very good playwright—he’s got a play opening at Lincoln Center this year called Blood and Gifts—he is the principal screenwriter, and I am the co-writer. J.T. and I went to the same high school together. Actually, it’s interesting: he’s a very successful playwright, writes about Afghanistan and foreign countries. Peter Hessler, who is a China expert, he and I also hung out in high school at the same time.

What are your thoughts on the JET Program?

I think the JET Program is a wonderful thing. Many people who have become scholars of Japan and have settled down in Japan begin on the JET Program. It is a wonderful way for the Japanese to get to understand Americans, and Americans to get to understand Japan. Like any program, it has problems. I think it’s a great thing, and I hope it continues to be supported by both sides.

 

By Rick Ambrosio (Ibaraki-ken, 2006-08) for JQ magazine. Rick manages the JET Alumni Association of New York (JETAANY)’s Twitter page and is the creator of the JETwit column Tadaima!

Casey Novotny (Kochi-ken, 2005-08) gave us the inside scoop on 100 Yen, a film about the Japanese arcade scene coming this fall. Casey, who’s currently a program coordinator at Asia University in Tokyo, and director/JET alum Brad Crawford first met as JETs from Canada, and years later collaborated on this original project. Find out what inspired Casey and listen to his predictions for the future of the arcade scene.

How did you find yourself originally interested in Japan? Was it through games?

Yeah, I guess since when I was a child my interest in Japan started through video games, anime and such. The real thing that interested me those things, and thus Japan, was the gaping cultural differences. I really couldn’t grasp how the Japanese way of thinking could be so similar yet so different to ours. There was some weird stuff out there! I mean, there still is, but I think living here for over six years has kind of desensitized me to most of it.

How has Japan influenced your career and personal goals?

The first time I was an exchange student in Japan was when I was seventeen for half a year. That experience definitely changed my life, and I knew I wanted to make a career where I was going to use the Japanese language skills I was learning. At that point I wasn’t sure what kind of career, but I knew I had to improve my language skills and cultural understanding, and so I made a lot of my personal goals   related to that. It seems I may be here for the long run, so it will probably continue that way!

How did your experience on JET lead you to where you are now?

I was a CIR in rural Kochi for three years. After enjoying life in the countryside and wanting to continue a similar career somewhere in Japan, I left for Tokyo and worked with a recruitment firm for more than a year and a half. It was a great experience and great place to work, but I realized that my place was with international education and exchange programs. I’ve been working with Asia University in Tokyo since then as a program coordinator for their America Program, which is the largest exchange program of its kind in Japan and probably one of the biggest in the world. I can definitely say I owe the experience that got me to this point to my time working as a CIR, and working with enthusiastic young students who want to study abroad during that time has motivated me to continue working in this field.

How long have you been playing games?

I remember playing arcade machines back when I was about four years old, and around that time my dad bought me my first console for Christmas–the Sega Master System. Looking back at it now, it was a much superior system compared to the Nintendo Entertainment System, but I nagged my dad to get me an NES anyways after that because it had so many more games! I was pretty hooked for most of my childhood.

Coming to Japan as an exchange student in high school blew my mind to the amount of games and consoles that were available in Japan, as well as the size and popularity of their arcades. While I haven’t been playing many games lately, I still like to check the stores from time to time to see what’s available out here and what the trends are.

How did you get involved in the 100 Yen project?

Brad Crawford and I became friends back in 2005 when we both came to Japan together from Winnipeg to participate on the JET Program. After finishing our time on JET, he was back in Winnipeg working hard on his film career, and I was in Tokyo for work. He mentioned that he was coming to Tokyo to shoot a movie on video games, and when we met up for dinner he asked me if he could ask me some questions about my experience with games and Japan—and that’s what you see in the trailer that’s out now. The response to the whole project has been really positive so far, and Brad is currently back in Japan with his team to complete his filming for the rest of the project.

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By Stacy Smith (Kumamoto-ken CIR, 2000-03) for JQ magazine. Stacy is a professional writer/interpreter/translator. She starts her day by watching Fujisankei’s newscast in Japanese, and shares some of the interesting tidbits and trends together with her own observation in the periodic series WITLife.

At a gathering of the Battenkai, or Kyushu-ite group here in New York City, I had the pleasure of sharing a mirthful moment with Mr. Masahiro Kozuma. We were taking part in “laughter yoga” with the guest teacher at the event, who paired us up as partners with the task of performing a laughing exercise together.  As we had just met this could have been a somewhat awkward activity to have to engage in, but thanks to Mr. Kozuma’s willingness I was able to ease into simulated laughter until it became real and I enjoyed the moment.

Later in the evening we continued our non-verbal communication with an actual conversation, where I learned that Mr. Kozuma serves as Director of the Japanese Children’s Society or New York Ikuei Gakuen (育英学園). This NPO established in 1979 provides Japanese education to youngsters with the motto of “Carefree Learning, Nurturing of Self-Training Children.”  I had the chance to talk further with Mr. Kozuma about his background and that of his school.

What brought you to Battenkai?

I decided to join as I am from an area of Fukuoka Prefecture called Chikuhou. Fukuoka is blessed with beautiful nature like the mountains and the sea, and the Chikuhou region is known for coal mining. My childhood memories are of playing all the time on the huge heaps of coal waste that could be found around where I lived.

What was your path to the States?

While in Japan I got my master’s in Special Education, and I decided to come to here for further study in this field. In Japan the extent of my work experience was a part-time job at a fish store during university, but my first job here in the States was being an elementary school teacher at Japanese (supplemental study) school. I was also a counselor at their summer camp.

And now you work as director of Ikuei Gakuen, which has several schools throughout the New York area. Can you tell us a little about your system of education?

As director, I am in charge of all the schools which include the main Manhattan one, one in Port Washington, Long Island and the New Jersey campus where my office is located. Our curriculum is based on the standards set by the Ministry of Education in Japan, but it is bilingual learning as we have daily English classes. The subjects we cover are Japanese, English, math, science, social studies, music, arts and crafts, calligraphy and physical education. We also have special seasonal events like Field Day and school festivals.  On the East Coast, we are the only full-time, integrated Japanese school for children ages 3 to 12.

In terms of supplemental study, we have Saturday and Sunday school as well for students who might attend regular school during the week, but still want to keep up with their Japanese education. We also do homeschooling for those who are unable to make the weekend classes.

Do you have to be Japanese to attend Ikuei Gakuen, or is it open to anyone?  What is the procedure for getting in?

It is not limited to Japanese people, but the fact that classes are conducted in Japanese means that your language skills must be up to a certain level. We do have some students who are not from Japan, but who have one parent who is Japanese, etc.  For all applicants we carry out screenings and a test, and provided they can pass and have developmental skills appropriate for their age they will be accepted. In circumstances where special individual treatment is necessary such as with learning disorders, we consider those on a case by case basis. Our school’s purpose is not preparing students for college entrance exams, as some might think.

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