Mar 29

JQ Magazine: From JET to Japan-Related Jobs – New York Edition

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By Brett Rawson (Akita-ken, 2007-09) for JQ magazine. Brett is a writer, translator, and volunteer. He currently lives in New York, where he is pursuing an MFA in creative writing at The New School and is the professional development chair for the JET Alumni Association of New York. If you have job opportunities for JET alums, an interest in presenting at JETAANY’s annual Career Forum, or want to collaborate on professional endeavors, contact him at career@jetaany.org.

If you listen closely, the age-old JET adage every situation is different can be heard echoing around the world. This is because it’s said so frequently, but that’s because there is truth to the takeaway: Paths to JET, experiences in Japan, and adventures thereafter run in every direction. But when the stories sit side by side, a greater context for, character of and meaning to the program and participants, takes solid shape.

Below are features on three New York City-based JET alumnae. Each carved a unique path to, on, and from the program, but they share one incredible thing in common: they are working at three of the largest Japan-related non-profit organizations in the world. For those interested in following in their professional footsteps, JQ would like to introduce to you them and share their advice about entering the world of Japan-related non-profits.

Meet Christy Jones, Director of Special Events at Japan Society

ALT, Shimabara-shi, Nagasaki-ken, 1995-98

Born and raised in Upstate New York, Christy received a degree in cultural anthropology and a certificate in Asian and African Languages and Literature from Duke University. That was the closest she could get to a degree in Japanese, but it wasn’t the closest she got to Japan: Her junior year, she studied abroad at Kansai Gaidai University in Osaka. But that stint didn’t quite quench her thirst for the cuisine and culture. The following fall, she applied to JET, got accepted, and returned to Japan—but this time for three years.

Christy served as an ALT at an academic high school in Shimabara-shi in Nagasaki. Thinking back, she has very fond memories of her time on JET: “As this was the pre-Internet era, I didn’t know much about Nagasaki beyond the atomic bomb,” she says. “I came to appreciate the rich international history of the area, along with the stunning natural beauty. Some of my happiest moments were traveling around Kyushu, visiting fellow JETs in their own towns, checking out the local onsens, cafes, and izakayas, and taking thousands of photos. I was befriended by a number of local residents, which allowed me to have some uniquely Japanese experiences: delivering mail as an honorary ‘Postlady for a Day’; making yakimono in a backyard pottery studio and kiln; watching a bonfire-lit Noh performance at the base of a castle; and marching in the city’s annual parade dressed like a Portuguese missionary.”

When Christy returned home, she let her experience settle. “Eventually,” she recalls, “I visited NYC to attend JETAANY’s annual Career Forum, which happened to be held at Japan Society that year.” She connected with a couple of headhunters and landed a job working as an administrative assistant for a subsidiary of Sumitomo Chemical for two years, but the work itself didn’t fulfill her: “My workday ended at 5:30 sharp, so I started volunteering at the nearby Japan Society events as an usher and ticket-taker,” which is when everything began to change.

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Mar 15

JQ Magazine: JQ&A with Jim Breen of Monash University on WWWJDIC

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“I just spent several weeks in Finland and Sweden, where the level of English speaking is extremely good. No JET Programmes there. You can’t even argue that they are related languages—Finnish is just as foreign as Japanese, and probably has fewer gairaigo (borrowed words). How do they do it? By teaching it properly in the first place, with trained and qualified teachers.” (Courtesy of Jim Breen)

By Tim Martin (Fukui-ken, 2006-08) for JQ magazine. Tim is a neuroscience researcher and swing dancer based in New York City. He runs a blog called The Floating Lantern, where he writes about humanism and other things that matter. Lately he is trying to learn more about effective altruism and the science of applied rationality.

Jim Breen is the man behind a resource that probably every English speaker trying to learn Japanese has used: the massive WWWJDIC online dictionary. In the 1980s, Breen developed an interest in Japanese that led to him programming a Japanese dictionary for DOS as a hobby. While a professor of digital and data communications at Monash University in Melbourne, Australia, Breen continued working on the dictionary, until eventually it bloomed into an interface that connects and cross-references hundreds of thousands of entries for words, names, and kanji.

Now a recognized authority on lexicography and the Japanese language, Breen continues to work on his “hobby,” and is pursuing a Ph.D. in computational linguistics. In this exclusive interview, JQ spoke with Breen to find out how it all began, his thoughts on language teaching and the JET Programme, and how he thinks technology will affect our experiences with foreign language in the future.

How did you develop your interest in, as you say on your website, “things Japanese”? Is there a specific part of Japanese culture or media that got you hooked?

I guess my interest in Japan over other foreign countries began around 1977 when my eldest daughter, then six years old, began to study the violin using the Suzuki Method. My wife, a musician and music teacher, had heard about the Suzuki Method from a lecture and demonstration, had been extremely impressed, and had expressed an interest in our children studying in the method. From that point on Suzuki began to play an increasingly bigger part of our lives as our second and third children began to study within that method. Also, my wife began to explore teaching in the Suzuki Flute Method.

None of this interest was particularly focussed on Japan itself. In 1980, I took most of the year off work to complete my MBA (I was a budding junior executive in Telecom Australia in those days). A fellow student in our classes had studied Japanese, and impressed me by translating some of the titles of pieces in the Suzuki books. Also among the visiting lecturers was a former trade commissioner in Japan, who spoke eloquently about the importance of Japan and the need for people trained in Japanese. I recall going home that night and saying to my wife: “I think I’d like to study Japanese eventually.” She didn’t think much of the idea, and I concentrated on other things like finishing my MBA and completing a music performance diploma.

In mid-1981, my wife said one day that she thought she really should go to Japan to study teaching Suzuki flute with Toshio Takahashi at the Suzuki headquarters in Matsumoto, as there was no one in Australia teaching Suzuki flute. I liked the idea, and we agreed to go the following December and January, which is Australia’s summer period when schools are closed. Our kids, then aged ten, seven and three, could easily miss a couple of weeks school in December. I arranged two months’ Long Service Leave from Telecom (LSL is a employee right in Australia after you have worked more than 10 years with an employer), and after struggling for a short while with Teach Yourself Japanese (all Kunrei-shiki romaji), I also arranged to have weekly Japanese lessons with Brian Drover, who trained as a Japanese linguist in the Australian army during WWII.

So, in late November 1981, five Breens arrived at Narita, made our way into Tokyo, were popped on a Chuo-sen train to Matsumoto by people from the Suzuki organization, and later that day found ourselves being greeted by a welcoming party from the Nagano Girl Scouts(!). (My eldest daughter was a Brownie, so we had set the international tom-toms working.)

We spent two months in Matsumoto living in two tiny six-mat apartments rented to us by the mother of some local Girl Scouts. My wife had piano and flute pedagogy classes, my kids had lessons in violin and piano (the former with Shinichi Suzuki himself), and I did the housework, shopped, minded kids, tried to study Japanese, etc.

I guess I don’t have any particular parts of Japanese “culture” I concentrate on—my tastes are rather catholic in this regard.

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Mar 1

JQ Magazine: JQ&A with Cade Mosley on His Return to Japan with Rotary International

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“In my experience, Japan is going through an interesting evolution these days. It’s starting to take a more assertive role in international affairs and taking more of a stand for human rights, development, and peaceful relations. This also makes it a very interesting time for Westerners to be engaged in Japan more than ever before.” (Courtesy of Cade Mosley)

By Mark Flanigan (Nagasaki-ken, 2000-04) for JQ magazine. Mark is a program director at the Japan ICU Foundation in New York City and was also a Rotary Peace Fellow at ICU from 2010-12, during which time he volunteered for a tsunami relief mission in Ishinomaki after the terrible 3/11 tragedy. In addition to his JET and Rotary service, Mark has also been a U.S. Army officer, Presidential Management Fellow, Pacific Forum CSIS Young Leader, Eisaku Sato Memorial Essay Contest prize winner, and Aspen Institute Socrates Program Seminar scholar. His interests lie in international education, disaster response, and post-conflict peacebuilding. He can be contacted at mflanigan[at]jicuf.org.

Christopher Cade Mosley (Nagasaki-ken, 2000-01) is a current Rotary Peace Fellow at International Christian University (ICU) in Tokyo and previously served as a JET for one year. Born in Texas and raised mostly in Fort Worth, Mosley attended the University of Texas at Austin, majoring in government and philosophy. He also spent a semester abroad in Haifa, Israel and interned for Congressional House Majority Leader Dick Armey in Washington, D.C. He was also on student government for their department (Liberal Arts), chairing the committee on study abroad. In this exclusive interview, JQ caught up with Mosley to discuss his lifelong interest in politics and international affairs.

Thanks for your time and for answering our questions, Cade! Would you please tell everyone about your time on JET?

I was a JET in 2000-01 on a long, thin island called Tsushima in Nagasaki, but physically closer to the city of Fukuoka, nestled in the strait between the cities of Pusan and Fukuoka. Tsushima is famous for a decisive sea battle Japan won against Russia in 1905 that first put Japan on the map as a world power and set its course into the 20th century. There’s a massive Russian battleship sunk just off the coast from my apartment there! (Too deep to see, though.) I taught for the second largest district, called Mitsushima, on the south end of the island.

What was your JET role?

I was an ALT at four schools in my district, spending a week in each so that I would rotate through all four in a month. I spent Monday through Thursday assisting the teacher with the lesson, usually coming up with some creative activity or role play to complement the lesson, and Fridays at our BOE.

Did you have any previous background in Asian languages and cultures?

I actually was accepted to JET while I was teaching English in Seoul, South Korea, and my friends there insisted I take the opportunity. Before Seoul, I didn’t have any experience. My whole reason for going to Seoul and applying to JET were because I had zero experience with Asia and thought it would be a good chance to get to know the region, since I was already interested in international affairs at that time.

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Feb 16

Let’s Talk Japan, Episode 20 – Occupied Kyoto

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Let’s Talk Japan is a monthly, interview format podcast covering a wide range of Japan-related topics.  Host Nick Harling (Mie-ken, 2001-03) lived in Japan from 2001 until 2005, including two great years as a JET Program participant in Mie-Ken.  He practices law in Washington, D.C., and lives with his wife who patiently listens to him talk about Japan . . . a lot.

In this episode, Nick sits down with Washington, D.C. native Jan Evans Hauser to discuss her experience living in Kyoto, Japan during the American occupation following WWII.  

At the time, Jan’s step-father was Brigadier General Eugene Harrison, who was the Chief of Staff to Major General Joseph Swing, the commander of the U.S. Army’s 1st Corps.  During the occupation, 1st Corps was headquartered in Kyoto and responsible for administering the Southern half of occupied Japan. 

Together Nick and Jan discuss what life was like in Japan immediately after the war and how Kyoto captivated her imagination, just as it has so many others.

If you have not already done so, be sure to “Like” the podcast on Facebook, and follow the podcast on Twitter @letstalkjapan.  Additionally, please consider leaving a positive rating and/or review in iTunes.

Feb 1

JQ Magazine: JQ&A with Photographer Wei Yuet Wong on ‘The Fukushima Project’

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“Though people have told me no one wants to see disaster photos anymore, I think it’s a good reminder because it’s barely three years, and already people are forgetting. Not only outside Japan, but within Japan itself, people are forgetting. It’s true that people need to move on and rebuild their lives, but there’s still so much more work to be done in Tohoku.” (Courtesy of Wei Yuet Wong)

By Nathalie Ng (Shizuoka-ken, 2010-11) For JQ magazine. A member of JETAA Singapore, Nathalie was an inaka JET and her time in Japan has taught her to appreciate the flowers by the roadside and how to snowboard.

Wei Yuet Wong (Nagano-ken, 2008-10) left his home in Singapore to join JET following a summer homestay in Hiroshima. He went there because of the history as he’d learnt about the devastation during World War II, and he was particularly interested in seeing how the city had progressed since then. The relationship formed with his homestay family inspired him to join JET.

Assigned to three different schools in Ueda City, during his first few months he was often left feeling clueless and dependent on his supervisor due to the language barrier and the office hierarchy, but he soon got better at it by keeping an open mind and adapting. He is particularly proud that he was able to inspire in his students that they didn’t have to speak English with an American accent to be understood, and this has helped them to be more confident, speaking out during and outside of classes. (In fact, one of Wong’s former students even visited him and his family during the Chinese New Year.)

Since returning from Japan Wong has been working as a corporate warrior, but since last year he has finally taken the leap to pursue his photography interests. His work is now on display in a new exhibition called The Fukushima Project, which runs through 14th February at Select Books in Singapore on 51 Armenian Street. Through special postcards available for sale, visitors can write messages to the people of Hisanohama in Iwaki, which will then be collected and sent to them to let them know that their story has not been forgotten.

In this exclusive interview, JQ spoke with Wong about his visits to Fukushima before and after the 2011 Tohoku earthquake and tsunami, and the relationships he’s made with the locals through his numerous community activities.

You were posted to Nagano-ken and you lived there before the quake happened. What was your motivation for this exhibition?

I felt awed and hopeless when I first looked at the videos of the earthquake, perhaps like so many people around the world. Then why Fukushima? I think there may be three explanations. One, I first visited Fukushima in 2009 to visit friends, so I got to see Fukushima before the disaster. It was quite a different place.

Two, I have friends in Fukushima, and they live in Koriyama city, about 45 km away from the Fukushima No. 1 nuclear power plant. I was concerned about them. I was curious to know how they felt on the day of the earthquake, and then during the subsequent confusion about the nuclear power plant. I also wanted to see how they are doing when most other parts of the world, and Japan, starts forgetting about them.

Lastly, I wanted to experience how it would be like to venture into the disaster zone. I have a need to see things for myself. To touch the soil. Walk on the sand. Smell the salty air on the Japanese east coast, and try to imagine how people felt that day.

Why did you choose this particular town of Hisanohama?

It was by chance that I discovered this town. It’s quite a story, one thing leading to another, with some fortunate chance encounters. But, the best summary is: I met a friend at Koriyama Station to listen to her account, and her experiences. After that I wanted to visit the coast, so she told me that Iwaki is where I should go. With my ticket bought, I hopped on the bus for the 1.5 hour journey to Iwaki. Once at Iwaki, I went to the local tourist office, and asked for directions to the coast. The person at the office looked quite surprised, and she pulled out a map, studied it for a moment, and said, “Maybe you shouldn’t go. We used to have nice beaches, shrines, and attractions. But now, nani mo nai (there’s nothing).” I was not put off, and she finally realised that I would still go no matter what, and she suggested why don’t I go to Hisanohama, where I can have a nice walk, and just look around. So, there I went.

In the international media, most people know about Kesennuma, Rikuzentakata and Minamisoma, but Hisanohama remains unknown. So, I think it’s nice that I visited Hisanohama. It’s a town just 31 km south of the Fukushima No. 1 nuclear power plant, along the Pacific Coast, and has suffered great damage in the tsunami.

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Jan 6

Let’s Talk Japan Podcast, Episode 19 – Japanese Translation & Interpretation

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Let’s Talk Japan is a monthly, interview format podcast covering a wide range of Japan-related topics.  Host Nick Harling (Mie-ken, 2001-03) lived in Japan from 2001 until 2005, including two great years as a JET Program participant in Mie-Ken.  He practices law in Washington, D.C., and lives with his wife who patiently listens to him talk about Japan . . . a lot.

In this episode, Nick speaks with Stacy Smith about the joys and challenges of working as a professional Japanese translator and interpreter.  Stacy worked as a Coordinator of International Relations (CIR) for the Japan Exchange Teaching (JET) Program in Kumamoto prefecture before eventually returning to the United States and turning her love of Japanese into a career.  When not on the road with work, Stacy lives in New York City.

Together they discuss how Stacy became interested in the Japanese language; how she went about deciding to become a professional translator & interpreter; the impact of technology; and tips for improving your own Japanese study habits

To learn more about Stacy,  check out her website as well as her blog posts for JETwit.  Also, here’s a great article about Japanese translation and interpretation.

If you have not already done so, be sure to “Like” the podcast on Facebook, and follow the podcast on Twitter @letstalkjapan.  Additionally, please consider leaving a positive rating and/or review in iTunes.

Jan 4

JETAA Ottawa Newsletter – December 2013

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Via JETAA Ottawa. Posted by Gemma Villanueva (Fukushima 2008-11), the past editor for the JETAA Ottawa Newsletter.

The latest digital issue of the JETAA Ottawa Newsletter can be viewed here: http://us4.campaign-archive2.com/?u=4d0d4aa436ad87ff44921adec&id=80f9a73363

What’s in this issue?

AMBASSADOR OKUDA | AGM AND BOUNENKAI | JAPANESE LANGUAGE TRAINING | AN ALUMNA’S RETURN TO JAPAN | MUSIC AS AN INTERCULTURAL EXPERIENCE | FUKUSHIMA STUDY TOUR

Download past issues here:
http://us4.campaignarchive2.com/home/?u=4d0d4aa436ad87ff4492
1adec&id=13d4251245

Dec 15

Let’s Talk Japan, Episode 18 – Aikido

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Let’s Talk Japan is a monthly, interview format podcast covering a wide range of Japan-related topics.  Host Nick Harling (Mie-ken, 2001-03) lived in Japan from 2001 until 2005, including two great years as a JET Program participant in Mie-Ken.  He practices law in Washington, D.C., and lives with his wife who patiently listens to him talk about Japan . . . a lot.

In this episode, I speak with Michael Veltri, the owner and chief instructor at DC Aikido in Washington, DC.  Together we discuss the history, philosophy and benefits of Aikido.

Enjoy!

Nick

If you have not already done so, be sure to “Like” the podcast on Facebook, and follow the podcast on Twitter @letstalkjapan.  Additionally, please consider leaving a positive rating and/or review in iTunes.

Dec 14

JQ Magazine: The Steady Riser – A Conversation with Tokyo Musician Nelson Babin-Coy

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“The Japanese market is a very unique market; it’s very closed. It is kind of frustrating when I try to introduce Western ideals in my music or introduce how I feel live music should be enjoyed at gigs or live venues. If you want to dance, dance. If you want to move, move.” (Lisa (paint with stars) www.paintwithstars.com)

By Sheila Burt (Toyama-ken, 20010-12) for JQ magazine. Sheila recently returned to America after living in Japan for three years (two years in Namerikawa with JET and one year at a private school in Ehime-ken). She is currently looking for a job and welcomes all leads. View more of her work at www.sheilaburt.com.

The first time Tokyo-based musician Nelson Babin-Coy visited Japan, he was a 15-year-old high school student from the suburbs of L.A. who knew next to nothing about Japan. Interested in learning more about Japanese music during his stay in Gunma Prefecture, he started listening to what other teenagers his age were into, including the idol group Morning Musume. Yet when he first heard one of the band’s songs, he cringed a bit. “I wasn’t disgusted, but I was like, ‘This is music in Japan?’,” he laughs.

Thankfully, his host sister introduced him to the Battle Royale theme song by Dragon Ash, and he was hooked. The two weeks Babin-Coy spent in Gunma were enough to give him a new dream to follow.  He wanted to live in Japan, though he had yet to figure out the how and what to do.

“I love Japanese music and lyrics,” he says.  “I think Japanese artists are more artistic in the way they form their stories.”

Now 28, Babin-Coy is a rising singer-songwriter who primarily sings in Japanese and works with several native artists trying to break into the Western market. He has toured the mainland three times with his band, nothing ever lasts (currently on hiatus).

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Dec 7

JQ Magazine: JQ&A with Manga Translator Zack Davisson on Shigeru Mizuki

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“All of JET is fond memories for me. I loved it. Kansai was the perfect area. Nara, Osaka, and Kyoto were all in easy reach so I had the best of everything. I lived in ancient and traditional Japan, but had wild and modern Japan nearby anytime I wanted. I did everything I could possibly do, went everywhere, tried everything—it changed my life.” (Courtesy of Zack Davisson)

By Julio Perez Jr. (Kyoto-shi, 2011-13) for JQ magazine. A bibliophile, writer, translator, and graduate from Columbia University, Julio is currently seeking opportunities with publications in New York. You can follow his enthusiasm for Japan, literature, and board gaming on Twitter @brittlejules.

Nov 3

JQ Magazine: JQ&A with Marco Lienhard, Artistic Director of Taikoza

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“I always seem to discover new things and different aspects of the music when teaching people from different backgrounds. When trying to explain some of the music, some things seem to come back to mind that were deep inside myself.” (Courtesy of Marco Lienhard)

By Rashaad Jorden (Yamagata-ken, 2008-10) for JQ magazine. A former head of the JETAA Philadelphia Sub-Chapter, Rashaad currently studies responsible tourism management at Leeds Metropolitan University. For more on his life in the UK and enthusiasm for taiko drumming, visit his blog at www.gettingpounded.wordpress.com.

Marco Lienhard has been involved in Japanese music for more than 30 years, first as a member of Ondekoza and then as the artistic director of Taikoza. When building his reputation as a professional taiko player in Japan, Lienhard also mastered the shakuhachi, eventually peforming at four major shakuhachi festivals around the world. He is also the founder of shakuhachi and koto group the East Winds Ensemble.

Lienhard has also released several albums, and his music can he heard on the score of the Nintendo Wii games Red Steel and Red Steel 2. His music has also appeared on ESPN, the History Channel and PBS. In this exclusive interview, Marco discusses his efforts to expand taiko’s global audience, the biggest influences in his career, and his personal highlights among 6,000 performances (and counting).

Where are you originally from and what sparked your interest in Japan and its traditional music?

I originally came from Switzerland, the French part. I went to Japan when I was 18 on some exchange program. I was very interested to go to Japan, but did not know much about it. Once there, I discovered the shakuhachi and the taiko. I had been studying the flute, but that sound of the shakuhachi just was amazing and I decided to study the instrument and master it. The first time I heard it was when I saw Ondekoza. There was taiko, too, and that was just so exciting to see. I did not know that I could play taiko too, but the flute seemed more approachable at the time.

I joined Ondekoza a few months later thinking I would stay just a few months, but it turned into 18 years.

For me, the sound of the shakuhachi was what drew me into it, though I fell in love with the traditional art forms as well. I enjoyed the theater as well as the music. I would go see two to three plays a month, noh or kabuki.

What drew you to taiko in the first place and to become a performer? What are the most important lessons it has taught you?

When I went to Japan, I had been studying piano and flute for many years. To become a performer was just a natural progression from studying with Ondekoza and becoming a member of the group. One thing led to another—studying with them and getting into the whole practice and running aspect of the group.

Marathon running was part of the training, and before long I was running marathons. I joined in August but by November they had me run a full marathon. My first performance was in January for the Imamiya Ebisu Festival on Dotonburi Street in Namba, Osaka. Once I started performing, I got the bug and just wanted to get better at it and study the shakuhachi as well. I was the only one who studied the shakuhachi so I was put on stage very quickly. Taiko has taught me a lot. It is sort of a college or university if not more—a life lesson.

Mr. [Tagayasu] Den, who was the founder of Ondekoza, [influenced] what taiko is now. He was a great influence in the development of modern taiko, though he never really played taiko. He was the brain and the force behind the group. He would lecture us on everything. He would turn a book into lessons for us to learn and apply to stage or performing or taiko. His vision as a director also influenced me on staging of a show

You were a professional taiko player in Japan. How does one become a professional taiko player?

While I was in Japan, I joined Ondekoza and as a member of Ondekoza I studied and later performed professionally with Ondekoza, traveling around the world to perform. At the time, Ondekoza and taiko groups were still not that popular and they did not yet have an apprenticeship system. As a member, you learned the repertoire and practiced with the regular members until you were at their level and were performing among them. It took me about four months before I had my debut on shakuhachi, and taiko drummer Den, the director of Ondekoza, is the person who would decide who was playing and what instrument.

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Oct 19

JQ Magazine: JQ&A with Producer Jeron Moore on ‘The Legend of Zelda: Symphony of the Goddesses’

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Producer Jeron Moore on Symphony of the Goddesses: “We cater to all ages. You’ve got to remember that Zelda is 27 years old now. We’re seeing fans spanning three generations buying tickets to the show.” (Andrew Craig)

By Vlad Baranenko (Saitama-ken, 2000-02) for JQ magazine. Vlad is an avid photographer.

F. Scott Fitzgerald famously said, “There are no second acts in American lives.”

Fortunately, there are Second Quests.

Over 25 years after the blockbuster Nintendo video game series first hit the scene bearing its namesake in honor of Fitzgerald’s wife, The Legend of Zelda: Symphony of the Goddesses returns for an encore run in some of North America’s most distinguished theater halls (including, for the first time, a pair of dates in Mexico). Presented by Jason Michael Paul Productions, the show—currently on tour through December—presents the very best of Zelda’s lush symphonic scores paired with a live orchestra and visual effects.

In this JQ exclusive, producer and lead creative Jeron Moore sounds off what’s new about the show, the experience of working with Nintendo to bring the ultimate live experience to fans, and the evolution of Link throughout the saga’s rich history.

What was the inspiration for this installment of the show?

Well, if you’re a Zelda aficionado, you’ll recognize the term “Second Quest” from the New Game+ mode from the original 1986 entry, The Legend of Zelda, on the NES. It’s a mode you’d unlock once you defeated the game, and what it did was reorganize the game a little bit, made the dungeons a bit harder, made the items a bit more challenging to find, made the bosses a bit more difficult to defeat. We’ve taken the idea of visiting familiar places while encountering new challenges and applied that to the Second Quest, which has been revamped to include a half hour of new material while keeping all of the classics that make The Legend of Zelda what it is.

What surprises can we expect from the Second Quest?

They wouldn’t be surprises if I told you! But I will hint that we’re celebrating the 20th anniversary of a particular, very special handheld title. We’ve also finally included some music from one of the most recent Zelda games, which we steered cleared of with the first season program. And at the request of Mr. Eiji Aonuma, you can also expect to see a fully revamped Wind Waker segment, featuring gorgeous visuals from the game’s recent HD release on the Wii U. The Wind Waker has never looked better.

How did the idea for format of the show come about? The large screen, the orchestra?

It’s simple. There’s just nothing classier than a large orchestra tuning up, then performing powerhouse symphonic interpretations of your favorite music, no matter the genre. For The Legend of Zelda, we wanted Symphony of the Goddesses to be as accessible as possible. There’s nothing worse than sitting in a room and feeling left behind because you didn’t walk in with a prerequisite knowledge of the material. The music undoubtedly stands on its own, but incorporating visuals opens it up and informs the entire audience of context, not just those who’ve played the games before. Of course, being the fans that we are, we’ve carefully edited the footage into an entertaining narrative that, we feel, makes sense. With that, we’re able to hit on many of the important moments universally adored by fans, so yeah—lots of inside jokes, but we try not to let anything fall flat.

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Sep 21

JQ Magazine: JQ&A with Tom Byer on Life in Soccer, Japan

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“I believe we may see Japan win a World Cup within my lifetime, and I certainly think they will be the first Asian team to do so. They are the type of team that the current world powers would not like to have in their group during a WC tournament.” (Courtesy of K.K. T3)

By Lyle Sylvander (Yokohama-shi, 2001-02) for JQ magazine. Lyle has completed a master’s program at the School of International and Public Affairs at Columbia University and has been writing for the JET Alumni Association of New York since 2004. He is also the goalkeeper for FC Japan, a New York City-based soccer team.

Tom Byer (a.k.a. Tomsan) is an American soccer coach who has lived in Japan for nearly 30 years. The first professional American soccer player in Asia, he has been a major figure in Japan as a coach and educator. In fact, many people in Japan see him as a major catalyst behind the country’s rising status as a global soccer power. Byer is responsible for increasing soccer’s popularity and teaching fundamental skills to hundreds of thousands of children, including many of the nation’s most celebrated players. In the process, he has become a well-known media personality and has even extended his influence to China, where he signed a contract with the Chinese Football Association to be a technical director for youth teams.

Where are you from? Was soccer popular there when you were growing up?

I was born in the Bronx, New York City. I grew up in Rosendale, Ulster County, Upstate New York. Soccer was just becoming popular when I was a kid. I first started playing baseball and changed over to soccer after my brother and his friends started to play. But soccer was still a very minor sport.

How did you end up living and working in Japan?

I was introduced to Hitachi FC, which is currently playing in the J-League as Kashiwa Reysol, back in 1986 because my college coach at Ulster County Community College had some connections here. So I had a short stint with them, which gave me experience in Japanese soccer. And when I hung up the playing boots I decided to get into youth development. I also did many things on the U.S. military bases for kids playing soccer.

Can you tell us about your company T3, which aims to educate Japanese schoolchildren about soccer?

My company is called T3—the T stands for “Tom” and the 3 for “san,” Tomsan, because I am known by Tom-san throughout Japan from my appearances on daily television for 13 years. The name of the TV corner was, “Tom-san’s Soccer Techniques.” We try to help every child we come in contact with to “realize their potential.” We are technical specialists helping kids, coaches and parents understand the importance of developing technique. I have performed over 2,000 events for more than 500,000 people over the years. I established another company which I headed up for 16 years which established over 100 soccer schools throughout Japan. It’s difficult to find almost any player in Japan today who hasn’t been influenced in some way regarding our activities. This means either they’ve grown up watching my daily TV corner, read the monthly KoroKoro Komikku manga, or have played in one of our 100 schools, camps, or bought our DVDs or books.

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Aug 26

Let’s Talk Japan Podcast, Episode 15 – JET Alumni Bike Shikoku’s 88 Temple Pilgrimage

Books, Interview/Profile, JET Alum Artist Beat, JETs in the News, Photography, Travel/Tourism, Uncategorized, Writers Comments Off on Let’s Talk Japan Podcast, Episode 15 – JET Alumni Bike Shikoku’s 88 Temple Pilgrimage

Let’s Talk Japan is a monthly, interview format podcast covering a wide range of Japan-related topics.  Host Nick Harling (Mie-ken, 2001-03) lived in Japan from 2001 until 2005, including two great years as a JET Program participant in Mie-Ken.  He practices law in Washington, D.C., and lives with his wife who patiently listens to him talk about Japan . . . a lot.

In this episode, Nick speaks with JET Program alumni Chelsea Reidy and Elayna Snyder about their upcoming 900-mile bicycle tour of Shikoku’s famous 88 temple pilgrimage.  

Listen to hear them describe their creative “Temple by Temple Project,” which they are funding through Kickstarter, and how they plan to share their adventure with others.

To learn more, check out their website, www.bigricefield.com, and the Temple by Temple Project on Kickstarter. 

Enjoy!

Nick

Jul 26

Books: An English Language Guide to Crafting in Tokyo

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Interview by Rose Symotiuk (Hokkaido 2003-2005) with Angela Salisbury, author of the Tokyo Craft Guide:

As a JET, I keep track of my friends from my Japan days on Facebook.  I started seeing posts by my fellow JETs for this cool e-book about crafting in Tokyo.  Imagine my surprise when I realized that one of the authors, Angela Salisbury, was an old friend from high school!  

I reached out to her to find out more about the book, crafting in Japan, and the JET crafting scene….