Tokyo Monorail (東京モノレール Tōkyō Monorēru), officially the Tokyo Monorail Haneda Airport Line (東京モノレール羽田空港線 Tōkyō Monorēru Haneda Kūkō sen), is a monorail system connecting Haneda Airport in Ōta, Tokyo, Japan, to Hamamatsuchō Station in Minato, Tokyo.
The Tokyo Monorail serves eleven stations and operates from 5:30 AM to
midnight
Often cited as the busiest and most
profitable monorail line in the world, it carried its 1.5 billionth
passenger on January 24, 2007[3][4], it has recently become somewhat less popular through competition from the Keikyū Airport Line.
The trains operate along an elevated line that follows the coast of Tokyo Bay. The trip from the airport to Hamamatsuchō costs ¥470 each way.
The line opened in 1964 to coincide with the 1964 Summer Olympics.
Tokyo Monorail was originally one of the only "private" railways to use JR East's Suica fare card system. The Monorail is now fully integrated with both Suica and the new Pasmo fare card.
31.5.13
Ōda City: Nima Sand Museum (World's Largest Hourglass) and Nakisuna (Singing Sand of Kotogahama and Nima Beach)
Ōda (大田市 Ōda-shi) is a city located on the coast of the Sea of Japan in Shimane Prefecture, Japan.[1]
On October 1, 2005 the towns of Nima and Yunotsu, both from Nima District, were merged into Ōda, and Nima District was dissolved as a result of this merger.
The Nima Sand Museum museum features a large hourglass mechanism that automatically rotates from December 31 to January 1. It is designated the largest hourglass in the world, but is not officially registered in Guinness World Records. This museum officially opened in March 1991.
Built in 1991[5] and located in the Nima Sand Museum, this hourglass is 5.2 metres high and contains around 1 ton of sand.[6]
Singing sand, whistling sand or barking sand is sand that produces sound. The sound emission may be caused by wind passing over dunes or by walking on the sand.
Certain conditions have to come together to create singing sand:
Singing sand dunes, an example of the phenomenon of singing sand, produce a sound described as roaring, booming, squeaking, or the "Song of Dunes". This is a natural sound phenomenon of up to 105 decibels, lasting as long as several minutes, that occurs in about 35 desert locations around the world.
On October 1, 2005 the towns of Nima and Yunotsu, both from Nima District, were merged into Ōda, and Nima District was dissolved as a result of this merger.
The Nima Sand Museum museum features a large hourglass mechanism that automatically rotates from December 31 to January 1. It is designated the largest hourglass in the world, but is not officially registered in Guinness World Records. This museum officially opened in March 1991.
Built in 1991[5] and located in the Nima Sand Museum, this hourglass is 5.2 metres high and contains around 1 ton of sand.[6]
Singing sand, whistling sand or barking sand is sand that produces sound. The sound emission may be caused by wind passing over dunes or by walking on the sand.
Certain conditions have to come together to create singing sand:
- The sand grains have to be round and between 0.1 and 0.5 mm in diameter.
- The sand has to contain silica.
- The sand needs to be at a certain humidity.
Singing sand dunes, an example of the phenomenon of singing sand, produce a sound described as roaring, booming, squeaking, or the "Song of Dunes". This is a natural sound phenomenon of up to 105 decibels, lasting as long as several minutes, that occurs in about 35 desert locations around the world.
Chinsukō
Chinsuko (ちんすこう Chinsukō) is a traditional sweet often sold as a souvenir (miyagegashi) on Okinawa, Japan.
It is a small biscuit made of mostly lard and flour, with a mild and sweet flavor very similar to shortbread.
Chinsuko was introduced to Okinawa some 400 years ago[when?] from China.[citation needed]
It is a small biscuit made of mostly lard and flour, with a mild and sweet flavor very similar to shortbread.
Chinsuko was introduced to Okinawa some 400 years ago[when?] from China.[citation needed]
30.5.13
Bōnenkai and Shinnenkai
A bōnenkai (忘年会 literally "forget the year gathering") is a Japanese drinking party that takes place at the end of the year, and is generally held among groups of co-workers or friends.[1][2]
The purpose of the party, as its name implies, is to forget the woes
and troubles of the past year, and hopefully look to the new year,
usually by consumption of large amounts of alcohol. A bōnenkai does not take place on any specific day, but they are usually held in December.[1]
A shinnenkai (Japanese 新年会, literally "new year gathering") is the Japanese tradition of welcoming the arrival of the New Year, usually by the drinking of alcohol.
A shinnenkai is generally held among co-workers or friends in January.
Like the many festivals (matsuri) and celebrations that the Japanese are known for, a shinnenkai is their way of getting together to celebrate a new year and to make promises to each other to do their best for this year while wishing each other good luck and fortune.
A shinnekai is similar to a bōnenkai in several ways with just a few exceptions. Both are observed by parties of friends or co-workers or sponsored by a company for their employees. Bōnenkai and shinnenkai are not part of the New Year Shogatsu celebration which lasts until the 3rd of January; they are instead a way of ending and beginning the year through a group celebration.[1] At a shinnenkai however, some of the Shogatsu festivities can carry over to the New Year’s party like the making of mochitsuki by pounding sweet steamed rice or kagamiwari which is the breaking open of sake barrels with a wooden hammer and drinking together.[2][3]
A shinnenkai (Japanese 新年会, literally "new year gathering") is the Japanese tradition of welcoming the arrival of the New Year, usually by the drinking of alcohol.
A shinnenkai is generally held among co-workers or friends in January.
Like the many festivals (matsuri) and celebrations that the Japanese are known for, a shinnenkai is their way of getting together to celebrate a new year and to make promises to each other to do their best for this year while wishing each other good luck and fortune.
A shinnekai is similar to a bōnenkai in several ways with just a few exceptions. Both are observed by parties of friends or co-workers or sponsored by a company for their employees. Bōnenkai and shinnenkai are not part of the New Year Shogatsu celebration which lasts until the 3rd of January; they are instead a way of ending and beginning the year through a group celebration.[1] At a shinnenkai however, some of the Shogatsu festivities can carry over to the New Year’s party like the making of mochitsuki by pounding sweet steamed rice or kagamiwari which is the breaking open of sake barrels with a wooden hammer and drinking together.[2][3]
Family Inada (Inada): Robotic Massage Chairs
Family Inada (Inada) is a Japanese manufacturer of robotic massage chairs. Based in Osaka, Japan, Inada was founded in 1962 by Nichimu Inada[1] and invented the first automatic shiatsu massage chair.[2] Mr. Meishoku Kim is Inada's director of development.[3]
Robotic massage chairs were first brought to market in 1962 by the Family Inada company.
Much of their technological development comes from a secretive skunk works located in their main headquarters in Osaka. The main factory is located in Nawa, a small town located in the Tottori prefecture of Japan.
A robotic massage chair is a chair that contains internal electronic motors and gears designed to massage the person sitting in them. Most robotic massage chairs have some form of controller to vary the type, location, or intensity of massage.
Massaging chairs vary tremendously in price, style and intensity, from cheap "vibrate only" chairs to full intensity Shiatsu models for people who require as close to a real invigorating massage as possible.
Massaging chairs most frequently resemble recliners. There are many different types and brands, including office-style chairs that operate from internal batteries. A less expensive option is a separate massaging pad that may be used with an existing chair.
Some of the available brands include Fujiiryoki, Family Inada, iRest, Masse, Omega, One Life, Kyokei, Masseuse, Back Doctor, Human Touch, NEOX, Sanyo, Panasonic, SHSS, OSIM, OTO, VGO, OGAWA, Homedics, and Oregon Scientific.
Robotic massage chairs were first brought to market in 1962 by the Family Inada company.
Much of their technological development comes from a secretive skunk works located in their main headquarters in Osaka. The main factory is located in Nawa, a small town located in the Tottori prefecture of Japan.
A robotic massage chair is a chair that contains internal electronic motors and gears designed to massage the person sitting in them. Most robotic massage chairs have some form of controller to vary the type, location, or intensity of massage.
Massaging chairs vary tremendously in price, style and intensity, from cheap "vibrate only" chairs to full intensity Shiatsu models for people who require as close to a real invigorating massage as possible.
Massaging chairs most frequently resemble recliners. There are many different types and brands, including office-style chairs that operate from internal batteries. A less expensive option is a separate massaging pad that may be used with an existing chair.
Some of the available brands include Fujiiryoki, Family Inada, iRest, Masse, Omega, One Life, Kyokei, Masseuse, Back Doctor, Human Touch, NEOX, Sanyo, Panasonic, SHSS, OSIM, OTO, VGO, OGAWA, Homedics, and Oregon Scientific.
Senninbari
A Senninbari (千人針 thousand-person-stitches) or Thousand stitch belt is a strip of cloth, approximately one metre in length, decorated with 1000 stitches each made by a different woman,[1] given as an amulet by women to soldiers on their way to war as a part of the Shinto culture of Imperial Japan.
Senninbari were most commonly made from white cloth, but yellow, red, green, and blue were also used. Stitches were usually red, but again a range of other colours were sometimes used. The stitches were usually arranged in multiple rows but might also be placed in patterns creating images of flags, patriotic slogans and tigers. The most common slogan was bu-un cho-kyu for "eternal good luck in war". Tigers were popular as they were known to be able to roam far away from home and then return safely.
The custom of producing senninbari originated during the First Sino-Japanese War of 1894-1895. As stated earlier, the red colour of the stitches was considered a “lucky” colour, and the belts were believed to confer courage, good luck and immunity from injury (especially bullets) upon their wearers. Some Japanese soldiers rejected the belief that the senninbari could protect them from harm. Instead, they felt that this good luck item would simply allow them to be in the position to inflict the greatest damage upon the enemy before offering their life up in battle. Others in the military wore the senninbari as a devotional to the women back home.
Senninbari were most commonly made from white cloth, but yellow, red, green, and blue were also used. Stitches were usually red, but again a range of other colours were sometimes used. The stitches were usually arranged in multiple rows but might also be placed in patterns creating images of flags, patriotic slogans and tigers. The most common slogan was bu-un cho-kyu for "eternal good luck in war". Tigers were popular as they were known to be able to roam far away from home and then return safely.
The custom of producing senninbari originated during the First Sino-Japanese War of 1894-1895. As stated earlier, the red colour of the stitches was considered a “lucky” colour, and the belts were believed to confer courage, good luck and immunity from injury (especially bullets) upon their wearers. Some Japanese soldiers rejected the belief that the senninbari could protect them from harm. Instead, they felt that this good luck item would simply allow them to be in the position to inflict the greatest damage upon the enemy before offering their life up in battle. Others in the military wore the senninbari as a devotional to the women back home.
29.5.13
Dance Dance Revolution (DDR) Arcade Machines
Dance Dance Revolution, abbreviated DDR, and previously known as Dancing Stage in Europe and Australasia, is a music video game series produced by Konami. Introduced in Japan in 1998 as part of the Bemani series, and released in North America and Europe in 1999, Dance Dance Revolution is the pioneering series of the rhythm and dance genre in video games. Players stand on a "dance platform" or stage and hit colored arrows laid out in a cross with their feet to musical and visual cues. Players are judged by how well they time their dance to the patterns presented to them and are allowed to choose more music to play to if they receive a passing score.
Many news outlets have reported how playing DDR can be good aerobic exercise; some regular players have reported weight loss of 10–50 pounds (5–20 kg). In one example, a player found that including DDR in her day-to-day life resulted in a loss of 95 pounds (43 kg).[13]
A standard Dance Dance Revolution arcade machine consists of two parts, the cabinet and the dance platform.
Some DDR cabinets are equipped with Sony PlayStation memory card slots, allowing the player to insert a compatible memory card before starting a game and save their high scores to the card.
Dance Dance Revolution has been released in many different countries on many different platforms.
Due to the success of the Dance Dance Revolution franchise, many other games with similar or identical gameplay have been created.
Tournaments are held worldwide, with participants usually competing for higher scores or number of Perfects (referred to as "Perfect Attack" tournaments). Less common are "freestyle" tournaments, where players develop actual dance routines to perform while following the steps in the game.[12]
Bodaiji
A bodaiji (菩提寺 lit. "bodhi temple"),
in Japanese Buddhism is a temple which, generation after generation,
takes care of a family's dead giving them burial and performing
ceremonies in their soul's favor.[1]
The name is because in Japan the term bodai (菩提), which originally meant just Buddhist enlightenment (satori), has also come to mean either the care of one's dead to ensure their welfare after death or happiness in the beyond itself.[1]
Several samurai families had their bodaiji built to order, for example the Tokugawa, while others did like commoners do, and simply adopted an existing temple as family temple. Families may have more than one bodaiji. The Tokugawa clan for example had two, while the Ashikaga clan had several, both in the Kantō and in the Kansai.
The name is because in Japan the term bodai (菩提), which originally meant just Buddhist enlightenment (satori), has also come to mean either the care of one's dead to ensure their welfare after death or happiness in the beyond itself.[1]
Several samurai families had their bodaiji built to order, for example the Tokugawa, while others did like commoners do, and simply adopted an existing temple as family temple. Families may have more than one bodaiji. The Tokugawa clan for example had two, while the Ashikaga clan had several, both in the Kantō and in the Kansai.
Sōtai-hō (操体法)
Sotai or Sotai-hō (操体法 Sōtai-hō) is a Japanese form of muscular or movement therapy invented by Keizo Hashimoto (1897–1993), a Japanese medical doctor from Sendai.
The term So-tai (操体) is actually the opposite of the Japanese word for exercise: Tai-so (体操).
Dr. Hashimoto conceived Sotai as an antidote to the forceful and regimented exercises of Japan, that anyone could practice easily to restore balance and health.
Sotai is different from regular exercise because it distinguishes between balanced movements that are natural and beneficial and those that are unnatural and cause strains and physical distortions.
Dr. Hashimoto held that Sotai was not just a system of exercises or a method of therapy, but that it was part of a deeper broader principle that embraced all of life. Health is the natural result of right living, and its improvement and maintenance is the responsibility of each individual. Most human beings go through life without much awareness of the essential processes of life until there is some dysfunction or disease. These essential functions are breathing, eating/drinking, moving, and thinking. These four functions are interrelated and help keep our body in balance or otherwise cause imbalance and disease.
Most imbalances begin small and barely perceptible but gradually increase to eventually produce pain, physical distortion, and organic disease.
The aim of Sotai is to help the body restore and maintain its natural balance. Sotai works with the basic structure of the human body and its natural capacity to move and maintain balance. Sotai Therapy is a systematic method for introducing easeful movements from the extremities to the spine to facilitate a functional balance.
Dr. Hashimoto developed a model of treatment based on restoring structural balance that works with the breath and movements toward comfort (or away from pain). He developed Sotai Therapy from traditional East Asian medicine (acupuncture, moxibustion, bone setting (Sekkotsu), Seitai Jutsu[1]) in concert with his knowledge of modern medicine.
The term So-tai (操体) is actually the opposite of the Japanese word for exercise: Tai-so (体操).
Dr. Hashimoto conceived Sotai as an antidote to the forceful and regimented exercises of Japan, that anyone could practice easily to restore balance and health.
Sotai is different from regular exercise because it distinguishes between balanced movements that are natural and beneficial and those that are unnatural and cause strains and physical distortions.
Dr. Hashimoto held that Sotai was not just a system of exercises or a method of therapy, but that it was part of a deeper broader principle that embraced all of life. Health is the natural result of right living, and its improvement and maintenance is the responsibility of each individual. Most human beings go through life without much awareness of the essential processes of life until there is some dysfunction or disease. These essential functions are breathing, eating/drinking, moving, and thinking. These four functions are interrelated and help keep our body in balance or otherwise cause imbalance and disease.
Most imbalances begin small and barely perceptible but gradually increase to eventually produce pain, physical distortion, and organic disease.
The aim of Sotai is to help the body restore and maintain its natural balance. Sotai works with the basic structure of the human body and its natural capacity to move and maintain balance. Sotai Therapy is a systematic method for introducing easeful movements from the extremities to the spine to facilitate a functional balance.
Dr. Hashimoto developed a model of treatment based on restoring structural balance that works with the breath and movements toward comfort (or away from pain). He developed Sotai Therapy from traditional East Asian medicine (acupuncture, moxibustion, bone setting (Sekkotsu), Seitai Jutsu[1]) in concert with his knowledge of modern medicine.
Oharame
Oharame (大原女 or おはらめ) are women from the village of Ohara near Kyoto, Japan, who travelled into the city & nearby towns & villages, to sell agricultural products. Bundles of firewood, flowers, herbs, vegetables, etc.
known for balancing/carrying their wares on their head; particularly bundles of firewood, sometimes with other items on top.
Oharame are a familliar genre-character depicted in traditional Japanese art.
The term Oharame has become somewhat bifurcated in meaning; it can also refer to modern-day females from Ohara, who market agricultural products using modern methods & wearing modern styles of clothing.
known for balancing/carrying their wares on their head; particularly bundles of firewood, sometimes with other items on top.
Oharame are a familliar genre-character depicted in traditional Japanese art.
The term Oharame has become somewhat bifurcated in meaning; it can also refer to modern-day females from Ohara, who market agricultural products using modern methods & wearing modern styles of clothing.
28.5.13
Biwa Hōshi
Biwa hōshi (Japanese: 琵琶法師), also known as "lute priests" were travelling performers in the era of Japanese history preceding the Meiji period. They earned their income by reciting vocal literature to the accompaniment of biwa music. Often blind, they adopted the shaved heads and robes common to Buddhist monks. This occupation likely had its origin in China and India, where blind Buddhist lay-priest performers were once common.
The biwa hoshi are considered the first performers of the Tale of the Heike (平家物語), which is one of Japan`s most famous epics. It details battles between two powerful clans, the Minamoto and the Taira around the 12th century. The Taira were eventually annihilated by the Minamoto (sometimes called the Genji), who systematically killed every male descendant of the Taira.
Their musical style is referred to as 平曲 (heikyoku), which literally means “Heike music.” Although these performers existed well before the events, they eventually became famous for narrating.
The biwa (琵琶) is a Japanese short-necked fretted lute, often used in narrative storytelling.
The Tale of the Heike (平家物語 Heike Monogatari) is an epic account of the struggle between the Taira and Minamoto clans for control of Japan at the end of the 12th century in the Genpei War (1180-1185).
The biwa hoshi are considered the first performers of the Tale of the Heike (平家物語), which is one of Japan`s most famous epics. It details battles between two powerful clans, the Minamoto and the Taira around the 12th century. The Taira were eventually annihilated by the Minamoto (sometimes called the Genji), who systematically killed every male descendant of the Taira.
Their musical style is referred to as 平曲 (heikyoku), which literally means “Heike music.” Although these performers existed well before the events, they eventually became famous for narrating.
The biwa (琵琶) is a Japanese short-necked fretted lute, often used in narrative storytelling.
The Tale of the Heike (平家物語 Heike Monogatari) is an epic account of the struggle between the Taira and Minamoto clans for control of Japan at the end of the 12th century in the Genpei War (1180-1185).
Bic Camera and Sofmap
Bic Camera Inc (株式会社ビックカメラ Kabushiki-gaisha Bic Camera) is a consumer electronics retailer chain in Japan. Currently, it has 39 stores in Japan. It has a 15% stake in Best Denki[1] and a wholly owned subsidiary, Sofmap.[2]
Sofmap Co., Ltd. (ソフマップ, Sofumappu) (TYO: 2690) is a Japanese retailer which sells both new and used electronics. It is a subsidiary of Bic Camera.
Sofmap Co., Ltd. (ソフマップ, Sofumappu) (TYO: 2690) is a Japanese retailer which sells both new and used electronics. It is a subsidiary of Bic Camera.
Otariiman
An interesting recent phenomenon is the otaku salaryman, sometimes called otariiman (オタリーマン). The 2000s has seen the rise of this type of salaryman, who appears perfectly ordinary at work, but is actually an intense otaku in his private life. It is currently not uncommon for salarymen to have a wide range of hobbies, but the “otaku as salaryman” is still treated as a relatively new entity in Japanese culture.
Otaku (おたく / オタク) is a Japanese term used to refer to people with an obsessive interests, particularly (but not limited to) anime, manga or Japanese video games.
Otaku (おたく / オタク) is a Japanese term used to refer to people with an obsessive interests, particularly (but not limited to) anime, manga or Japanese video games.
27.5.13
Tōkaidō/Sanyō Shinkansen: Nozomi (Fastest), Hikari and Kodama
The Tōkaidō Shinkansen (東海道新幹線) is a Japanese high-speed Shinkansen line, opened in 1964 between Tokyo and Shin-Ōsaka. It is the most heavily travelled high-speed rail route in the world by
far; its cumulative ridership of 4.9 billion passengers dwarfs all other
systems and lines worldwide.[1]
Nozomi (のぞみ) is the fastest train service running on the Tōkaidō/Sanyō Shinkansen in Japan.
The service stops at only the largest stations, and along the stretch between Shin-Osaka and Hakata, Nozomi services using N700 series equipment reach speeds of 300 km/h (186 mph).
The trip between Tokyo and Osaka, a distance of 515 kilometres, takes 2 hours 26 minutes on the fastest Nozomi.[1]
The trains stop at fewer stations than the Hikari trains.
The Nozomi train service is not covered by the Japan Rail Pass.
The word nozomi in Japanese means "hope" or "wish".
Hikari (ひかり, "Light") is the name of a high-speed train service running on the Tokaido and Sanyo Shinkansen "bullet train" lines in Japan. Slower than the premier Nozomi but faster than the all-stations Kodama, the Hikari is the fastest train service on the Tokaido and Sanyo Shinkansen that is covered in the Japan Rail Pass.
The Sanyō Shinkansen (山陽新幹線 San'yō Shinkansen) is a line of the Japanese Shinkansen high-speed rail network, connecting Shin-Ōsaka in Osaka with Hakata Station in Fukuoka, the two largest cities in western Japan.
Nozomi (のぞみ) is the fastest train service running on the Tōkaidō/Sanyō Shinkansen in Japan.
The service stops at only the largest stations, and along the stretch between Shin-Osaka and Hakata, Nozomi services using N700 series equipment reach speeds of 300 km/h (186 mph).
The trip between Tokyo and Osaka, a distance of 515 kilometres, takes 2 hours 26 minutes on the fastest Nozomi.[1]
The trains stop at fewer stations than the Hikari trains.
The Nozomi train service is not covered by the Japan Rail Pass.
The word nozomi in Japanese means "hope" or "wish".
Hikari (ひかり, "Light") is the name of a high-speed train service running on the Tokaido and Sanyo Shinkansen "bullet train" lines in Japan. Slower than the premier Nozomi but faster than the all-stations Kodama, the Hikari is the fastest train service on the Tokaido and Sanyo Shinkansen that is covered in the Japan Rail Pass.
The Sanyō Shinkansen (山陽新幹線 San'yō Shinkansen) is a line of the Japanese Shinkansen high-speed rail network, connecting Shin-Ōsaka in Osaka with Hakata Station in Fukuoka, the two largest cities in western Japan.
"Linda Linda"
"Linda Linda" (リンダリンダ) was a single by the Japanese rock band The Blue Hearts that was first released on May 1, 1987.
The song has made many appearances in popular culture, including being central to the plot of the 2005 Japanese movie Linda Linda Linda, which is about a high school girls' band which plays covers of The Blue Hearts.[1]
It remains one of the groups most popular songs and was included on many albums. It was rereleased as a single on February 6, 2002.
The song has made many appearances in popular culture, including being central to the plot of the 2005 Japanese movie Linda Linda Linda, which is about a high school girls' band which plays covers of The Blue Hearts.[1]
It remains one of the groups most popular songs and was included on many albums. It was rereleased as a single on February 6, 2002.
Umaibō
Umaibō (うまい棒) or "delicious stick" is a small, puffed, cylindrical corn snack from Japan.
It is produced by Riska and sold by Yaokin.[citation needed] It has a suggested retail price of 10 yen, but because profit margin is so slim, its length can change without a notice.[citation needed] Its consistency is similar to Cheetos.[original research?]
The wrapper features a cat, Umaemon, whose name is a pun of a popular animated character, Doraemon.[citation needed]
There are many flavors of Umaibō available, including savory flavors, such as salad, mentaiko, takoyaki and cheese; and sweet flavors, such as cocoa, caramel, and chocolate. Some flavors were discontinued after a brief period, while others became a staple. Some flavors are only sold in specific locations, such as tourist spots.[citation needed]
It is produced by Riska and sold by Yaokin.[citation needed] It has a suggested retail price of 10 yen, but because profit margin is so slim, its length can change without a notice.[citation needed] Its consistency is similar to Cheetos.[original research?]
The wrapper features a cat, Umaemon, whose name is a pun of a popular animated character, Doraemon.[citation needed]
There are many flavors of Umaibō available, including savory flavors, such as salad, mentaiko, takoyaki and cheese; and sweet flavors, such as cocoa, caramel, and chocolate. Some flavors were discontinued after a brief period, while others became a staple. Some flavors are only sold in specific locations, such as tourist spots.[citation needed]
26.5.13
Tottori Prefecture's Shan-Shan Festival and the legend of the Kasa Odori
The Kasa-odori is very popular in the eastern part of Tottori Prefecture. According to a legend in Kokufu, in the Edo Period (1603–1868) during a drought, an old man named Gorosaku danced with an umbrella for the village god praying for rain.
Gorosaku danced with the umbrella until he died, and the drought ended.
These days, the dance is performed with ornamented paper umbrellas and Japanese swords, which represent the beautiful but gallant local culture of Tottori.
The Japanese Parasol Dance (Kasa Odori) is an example of a simple Japanese dance that uses an umbrella.
The dance is suited for girls making use of shuffling steps that is basic to a typical Japanese.
The Parasol Dance is from Kabuki.
The song played during the dance is called Mikado (a song in 4/4 time).
Costume: Bright colored Kimono, a parasol (umbrella), and Japanese wooden shoes. Similar to clogs.
The Bon-odori, a Japanese dance which is part of the Obon Festival, is widely enjoyed by the people in Tottori during the summer. There are various bon-dances throughout Japan, and the dances in Tottori can be categorized as Kasa-odori (a dance with a paper umbrellas) and te-odori (hand dance).
Kokufu (国府町 Kokufu-chō) was a town located in Iwami District, Tottori, Japan.
The Japanese Parasol Dance (Kasa Odori) is an example of a simple Japanese dance that uses an umbrella.
The dance is suited for girls making use of shuffling steps that is basic to a typical Japanese.
The Parasol Dance is from Kabuki.
The song played during the dance is called Mikado (a song in 4/4 time).
Costume: Bright colored Kimono, a parasol (umbrella), and Japanese wooden shoes. Similar to clogs.
The Bon-odori, a Japanese dance which is part of the Obon Festival, is widely enjoyed by the people in Tottori during the summer. There are various bon-dances throughout Japan, and the dances in Tottori can be categorized as Kasa-odori (a dance with a paper umbrellas) and te-odori (hand dance).
Kokufu (国府町 Kokufu-chō) was a town located in Iwami District, Tottori, Japan.
Kumihimo
Kumihimo is a Japanese form of braid-making. Cords and ribbons are made by interlacing strands.[1] Kumi himo is Japanese for "gathered threads".
Kumihimo cord was first created by a form of finger-loop braiding. Later tools such as the marudai and the takadai were employed to make more complex braids in shorter time.
The most prominent historical use of the cords was by samurai as both a functional and decorative way to lace their lamellar armour and their horses' armor (barding). Kumihimo cords are now used as ties on haori jackets and obijimes, which are used for tying on an obi (kimono sash).
A marudai (丸台 marudai) is a frame used for making kumihimo, a type of Japanese braid.
A takadai (高台), also called kōdai, is a frame used for making kumihimo, a type of Japanese braid.
Kumihimo cord was first created by a form of finger-loop braiding. Later tools such as the marudai and the takadai were employed to make more complex braids in shorter time.
The most prominent historical use of the cords was by samurai as both a functional and decorative way to lace their lamellar armour and their horses' armor (barding). Kumihimo cords are now used as ties on haori jackets and obijimes, which are used for tying on an obi (kimono sash).
A marudai (丸台 marudai) is a frame used for making kumihimo, a type of Japanese braid.
A takadai (高台), also called kōdai, is a frame used for making kumihimo, a type of Japanese braid.
Jiji Press Ltd.
Jiji Press Ltd. (株式会社 時事通信社 Kabushiki gaisha Jiji Tsūshinsha) is a wire service in Japan. Headquartered at Ginza, Chuo, Tokyo,
Jiji has 82 branch offices, general bureau and bureau in Japan and 28
general bureau globally. Yutaka NISHIZAWA (西沢 豊) is the current
President of Jiji Press.
Kōchū Ōja Mushikingu (Mushiking)
Mushiking: The King of Beetles (甲虫王者ムシキング Kōchū Ōja Mushikingu) also called Mushiking: Battle of the Beetles, is a Japanese combination of an arcade game and collectible card game developed by Sega.
The game involves battles between cards describing various beetle species. The cards can be scanned in by a Mushiking arcade machine, which will both carry out battles and dispense new cards.
The game has started a craze in Japan, where about 20,000 official tournaments have been held, and over 160 million Mushiking cards have been shipped. [1] A Game Boy Advance Mushiking game has also been released, which has sold over 569,000 copies in Japan. [2] There was also a Mushiking anime, broadcast by TV Tokyo, from 2005 until 2006. Mushiking was also referenced in the first chapter of Shugo Chara!, in which a boy saves his money to buy the game.
The game involves battles between cards describing various beetle species. The cards can be scanned in by a Mushiking arcade machine, which will both carry out battles and dispense new cards.
The game has started a craze in Japan, where about 20,000 official tournaments have been held, and over 160 million Mushiking cards have been shipped. [1] A Game Boy Advance Mushiking game has also been released, which has sold over 569,000 copies in Japan. [2] There was also a Mushiking anime, broadcast by TV Tokyo, from 2005 until 2006. Mushiking was also referenced in the first chapter of Shugo Chara!, in which a boy saves his money to buy the game.
25.5.13
Yukigassen Competitions
Yukigassen (雪合戦) is a snowball fighting-competition from Japan.
Today there are annual tournaments in Sobetsu, Hokkaidō in Japan, Kemijärvi in Finland, Vardø in Norway, Mount Buller, Victoria in Australia, Luleå in Sweden in Anchorage, Alaska, and Jasper, Alberta and Saskatoon, Saskatchewan in Canada.
The World Championship is in Sobetsu, Hokkaidō, Japan
The word Yukigassen consists of the Japanese words yuki (snow) and kassen (battle). Hence Yukigassen means snow(ball) battle.
Yukigassen is a game between two teams with seven players each. The game is played on a court with certain measurements, and the winner is determined through rules made by the Japan Yukigassen Federation.[1] It is similar to capture the flag; players are eliminated when hit with snowballs. Players wear special yukigassen helmets with face shields, and a set number of snowballs (90) are made in advance.[2]
Today there are annual tournaments in Sobetsu, Hokkaidō in Japan, Kemijärvi in Finland, Vardø in Norway, Mount Buller, Victoria in Australia, Luleå in Sweden in Anchorage, Alaska, and Jasper, Alberta and Saskatoon, Saskatchewan in Canada.
The World Championship is in Sobetsu, Hokkaidō, Japan
The word Yukigassen consists of the Japanese words yuki (snow) and kassen (battle). Hence Yukigassen means snow(ball) battle.
Yukigassen is a game between two teams with seven players each. The game is played on a court with certain measurements, and the winner is determined through rules made by the Japan Yukigassen Federation.[1] It is similar to capture the flag; players are eliminated when hit with snowballs. Players wear special yukigassen helmets with face shields, and a set number of snowballs (90) are made in advance.[2]
Asazuke
Asazuke (浅漬け) (literally: shallow pickling) is a Japanese pickling method characterized by its short preparation time. The word asazuke can also refer to the items pickled in this manner.
Asazuke has become a very popular method of pickling in Japanese households due to its ease of preparation.
Because of its short preparation time, asazuke generally lacks the pungency created by other, more lengthy pickling methods but retains more of the fresh taste of the vegetable. Commonly used vegetables include daikon, hakusai, cucumbers, or eggplant.
Asazuke is usually prepared by rubbing the cut vegetables with salt and placing in a sealed bag or other sealed container along with such items as sliced kombu or chili peppers. Instead of salt, asazuke can also be prepared with vinegar, nuka, or a pickling solution that is sold in stores. Sufficient pickling times range anywhere from 30 minutes to several hours.
Asazuke has become a very popular method of pickling in Japanese households due to its ease of preparation.
Because of its short preparation time, asazuke generally lacks the pungency created by other, more lengthy pickling methods but retains more of the fresh taste of the vegetable. Commonly used vegetables include daikon, hakusai, cucumbers, or eggplant.
Asazuke is usually prepared by rubbing the cut vegetables with salt and placing in a sealed bag or other sealed container along with such items as sliced kombu or chili peppers. Instead of salt, asazuke can also be prepared with vinegar, nuka, or a pickling solution that is sold in stores. Sufficient pickling times range anywhere from 30 minutes to several hours.
Marriage in Japan
Japanese wedding customs fall into two categories: traditional Shinto
ceremonies, and modern Western-style weddings.
In either case, the couple must first be legally married by filing for marriage at their local government office, and the official documentation must be produced in order for the ceremony to be held.
Traditionally, marriages were categorized into two types according to the method of finding a partner—miai, meaning arranged or resulting from an arranged introduction, and ren'ai, in which the principals met and decided to marry on their own—although the distinction has grown less meaningful over postwar decades as the proportion of miai matches has dwindled.[1]
The Japanese bride-to-be may be painted pure white from head to toe, visibly declaring her maiden status to the gods.
Two choices of headgear exist. One, the watabōshi, is a white hood; the other, called the tsunokakushi, serves to hide the bride's 'horns of jealousy.' It also symbolizes the bride's intention to become a gentle and obedient wife.
Traditional Japanese wedding customs (shinzen shiki) involve an elaborate ceremony held at a Shinto shrine.
Japanese weddings are being increasingly extravagant with all the elaborate details placed into thought. However, in some cases, younger generations choose to abandon the formal ways by having a "no host party" for a wedding.[2] In this situation, the guests include mainly of the couple's friends who pay an attendance fee.
Couples are officially married once they have successfully submitted the required documents to the city hall registrar to change their status in their family registries. No ceremony of any kind is required under Japanese law.[3][4]
In either case, the couple must first be legally married by filing for marriage at their local government office, and the official documentation must be produced in order for the ceremony to be held.
Traditionally, marriages were categorized into two types according to the method of finding a partner—miai, meaning arranged or resulting from an arranged introduction, and ren'ai, in which the principals met and decided to marry on their own—although the distinction has grown less meaningful over postwar decades as the proportion of miai matches has dwindled.[1]
The Japanese bride-to-be may be painted pure white from head to toe, visibly declaring her maiden status to the gods.
Two choices of headgear exist. One, the watabōshi, is a white hood; the other, called the tsunokakushi, serves to hide the bride's 'horns of jealousy.' It also symbolizes the bride's intention to become a gentle and obedient wife.
Traditional Japanese wedding customs (shinzen shiki) involve an elaborate ceremony held at a Shinto shrine.
Japanese weddings are being increasingly extravagant with all the elaborate details placed into thought. However, in some cases, younger generations choose to abandon the formal ways by having a "no host party" for a wedding.[2] In this situation, the guests include mainly of the couple's friends who pay an attendance fee.
Couples are officially married once they have successfully submitted the required documents to the city hall registrar to change their status in their family registries. No ceremony of any kind is required under Japanese law.[3][4]
Aīn! or Aiin! (アイーン！)
Aīn (アイーン) (pronounced ah-EEN or AIEEN) is a Japanese pop culture word originated by comedian Ken Shimura for his Bakatono character (a fool/clown
in white makeup and Japanese garb).
Usually, it's said while making a slicing motion under the chin and grimacing.
The word was further popularized by the popular all-girl quartet Minimoni (ミニモニ。), who features the character in two of their promotional videos ("Aiin! Dance no Uta" and "Aiin Taisō").
What the word means has been a matter of debate. One source suggests it means, "Enough!", and the slicing gesture makes this a reasonable if not completely credible definition. Most seem to feel that Aīn is a nonsense word, used primarily for comic effect.
Usually, it's said while making a slicing motion under the chin and grimacing.
The word was further popularized by the popular all-girl quartet Minimoni (ミニモニ。), who features the character in two of their promotional videos ("Aiin! Dance no Uta" and "Aiin Taisō").
What the word means has been a matter of debate. One source suggests it means, "Enough!", and the slicing gesture makes this a reasonable if not completely credible definition. Most seem to feel that Aīn is a nonsense word, used primarily for comic effect.
24.5.13
Takemikazuchi and Namazu (Ōnamazu)
Takemikazuchi (建御雷 or 武甕槌, "Brave-Awful-Possessing"[2] or "Thunder-God")[3] is a deity in Japanese mythology, considered a god of thunder[4] and sword god.[5] He also competed in what is considered the first sumo wrestling match recorded in mythology.
The hand-to-hand bout between the two deities (Takeminakata and Takemikazuchi) is considered the mythical origin of sumo wrestling.[10]
He is otherwise known as Kashima-no-kami, the chief deity revered of the Kashima Shrine at Kashima, Ibaraki (and all other subsidiary Kashima shrines).[4][6] In the namazu-e or catfish pictures of the Edo Period, Takemikazuchi/Kashima is depicted attempting to subdue the giant catfish supposedly dwelling at the kaname-ishi (要石 "pinning rock") of the Japanese land-mass and causing its earthquakes.[4][6]
In Japanese mythology, the Namazu (鯰) or Ōnamazu (大鯰) is a giant catfish who causes earthquakes.
He lives in the mud under the islands of Japan, and is guarded by the god Kashima who restrains the catfish with a stone. When Kashima lets his guard fall, Namazu thrashes about, causing violent earthquakes. [1]
Catfish are depicted on pictures of emergency earthquake preparedness activities in Japan.
For example, the Earthquake Early Warning (Japan) logo by the Japan Meteorological Agency utilizes pictures of the catfish on devices capable of issuing an early warning.
The hand-to-hand bout between the two deities (Takeminakata and Takemikazuchi) is considered the mythical origin of sumo wrestling.[10]
He is otherwise known as Kashima-no-kami, the chief deity revered of the Kashima Shrine at Kashima, Ibaraki (and all other subsidiary Kashima shrines).[4][6] In the namazu-e or catfish pictures of the Edo Period, Takemikazuchi/Kashima is depicted attempting to subdue the giant catfish supposedly dwelling at the kaname-ishi (要石 "pinning rock") of the Japanese land-mass and causing its earthquakes.[4][6]
In Japanese mythology, the Namazu (鯰) or Ōnamazu (大鯰) is a giant catfish who causes earthquakes.
He lives in the mud under the islands of Japan, and is guarded by the god Kashima who restrains the catfish with a stone. When Kashima lets his guard fall, Namazu thrashes about, causing violent earthquakes. [1]
Catfish are depicted on pictures of emergency earthquake preparedness activities in Japan.
For example, the Earthquake Early Warning (Japan) logo by the Japan Meteorological Agency utilizes pictures of the catfish on devices capable of issuing an early warning.
Sumobots
Robot-sumo, or pepe-sumo, is a sport in which two robots attempt to push each other out of a circle (in a similar fashion to the sport of sumo). The robots used in this competition are called sumobots.
The engineering challenges are for the robot to find its opponent (usually accomplished with infrared or ultra-sonic sensors) and to push it out of the flat arena. A robot should also avoid leaving the arena, usually by means of a sensor that detects the edge.
The most common "weapon" used in a sumobot competition is an angled blade at the front of the robot, usually tilted at about a 45-degree angle towards the back of the robot. This blade has an adjustable height for different tactics.
Sumo robots are built from scratch, from kits or from Lego components, particularly the Lego Mindstorms sets. Some sumo bots are built with only wood and motors for more of a challenge.
The engineering challenges are for the robot to find its opponent (usually accomplished with infrared or ultra-sonic sensors) and to push it out of the flat arena. A robot should also avoid leaving the arena, usually by means of a sensor that detects the edge.
The most common "weapon" used in a sumobot competition is an angled blade at the front of the robot, usually tilted at about a 45-degree angle towards the back of the robot. This blade has an adjustable height for different tactics.
Sumo robots are built from scratch, from kits or from Lego components, particularly the Lego Mindstorms sets. Some sumo bots are built with only wood and motors for more of a challenge.
Honbasho and Ryōgoku Kokugikan (aka Ryōgoku Sumo Hall)
A honbasho (本場所) is an official professional sumo tournament. There are six held each year, a system established in 1958.
Ryōgoku Kokugikan (両国国技館 Ryōgoku Kokugi-kan), also known as Ryōgoku Sumo Hall, is an indoor sporting arena located in the Yokoami neighborhood (bordering to the Ryōgoku neighborhood) of Sumida, one of the 23 wards of Tokyo in Japan, next to the Edo-Tokyo Museum. It is the third building built in Tokyo associated with the name kokugikan.
The growing popularity of Sumo during the Meiji period led to the building of the original Kokugikan in Ryōgoku in 1909.
The current building was opened in 1985 and has a capacity of 13,000 people. It is mainly used for sumo wrestling tournaments (honbasho) and hosts the hatsu (new year) basho in January, the natsu (summer) basho in May, and the aki (autumn) basho in September.
It also houses a museum about sumo.[1]
The venue is also used for other indoor events, such as boxing, pro wrestling, and music concerts. In past years, it has hosted the finals of the G1 Climax, an annual tournament held by New Japan Pro Wrestling.
Ryōgoku Kokugikan (両国国技館 Ryōgoku Kokugi-kan), also known as Ryōgoku Sumo Hall, is an indoor sporting arena located in the Yokoami neighborhood (bordering to the Ryōgoku neighborhood) of Sumida, one of the 23 wards of Tokyo in Japan, next to the Edo-Tokyo Museum. It is the third building built in Tokyo associated with the name kokugikan.
The growing popularity of Sumo during the Meiji period led to the building of the original Kokugikan in Ryōgoku in 1909.
The current building was opened in 1985 and has a capacity of 13,000 people. It is mainly used for sumo wrestling tournaments (honbasho) and hosts the hatsu (new year) basho in January, the natsu (summer) basho in May, and the aki (autumn) basho in September.
It also houses a museum about sumo.[1]
The venue is also used for other indoor events, such as boxing, pro wrestling, and music concerts. In past years, it has hosted the finals of the G1 Climax, an annual tournament held by New Japan Pro Wrestling.
Earthquake Early Warning (EEW)
The Earthquake Early Warning (EEW) (緊急地震速報 Kinkyū Jishin Sokuhō) is a warning issued just after an earthquake in Japan is detected.[2]
The warnings are issued mainly by the Japan Meteorological Agency (JMA), and they issue tips on how to react to the warnings.[3][4]
The JMA has two Earthquake Early Warning schemes; one is for advanced users, another for the general public.[8]
The timing of a warning depends on conditions when a warning can be issued and received. After receiving a warning, a person may have a few seconds or in some cases significantly longer to take action, but if the epicenter is very close there may be cases in which strong tremors come ahead of any warning.[10]
The Earthquake Early Warning is set up to enable people to mitigate damage from an earthquake: people may protect themselves at home, at the office, and near cliffs. Railway workers may use this warning to slow down trains, and factory workers may use it to stop assembly lines prior to an earthquake.[2]
Format of EEW broadcasts: Television, Mobile phone networks, Radio, Internet.
The warnings are issued mainly by the Japan Meteorological Agency (JMA), and they issue tips on how to react to the warnings.[3][4]
The JMA has two Earthquake Early Warning schemes; one is for advanced users, another for the general public.[8]
The timing of a warning depends on conditions when a warning can be issued and received. After receiving a warning, a person may have a few seconds or in some cases significantly longer to take action, but if the epicenter is very close there may be cases in which strong tremors come ahead of any warning.[10]
The Earthquake Early Warning is set up to enable people to mitigate damage from an earthquake: people may protect themselves at home, at the office, and near cliffs. Railway workers may use this warning to slow down trains, and factory workers may use it to stop assembly lines prior to an earthquake.[2]
Format of EEW broadcasts: Television, Mobile phone networks, Radio, Internet.
23.5.13
Gakutensoku: "Japan's First Robot!" and Kabura-ya
Gakutensoku (學天則, Japanese for "learning from the laws of nature"), the first robot to be built in Japan, was created in Osaka in 1929.
The robot was designed and manufactured by biologist Makoto Nishimura (1883-1956, father of actor Ko Nishimura). Nishimura had served as a professor at Hokkaido Imperial University, studied Marimo and was an editorial adviser to the Osaka Mainichi newspaper (now the Mainichi Shimbun).
Gakutensoku could change its facial expression and move its head and hands via an air pressure mechanism. It had a pen-shaped Signal arrow in its right hand and a lamp named Reikantō (霊感灯, Japanese for "inspiration light") in its left hand. Perched on top of Gakutensoku was a bird-shaped robot named Kokukyōchō (告暁鳥, Japanese for "bird informing dawn"). When Kokukyōchō cried, Gakutensoku's eyes closed and its expression became pensive. When the lamp shone, Gakutensoku started to write words with the pen.
Gakutensoku was displayed at some expositions in Japan, but was lost while touring Germany in the 1930s.
An asteroid, 9786 Gakutensoku, was named after the robot.
A modern version of Gakutensoku was produced in 2008 by the Osaka Science Museum where it is now on display.
Signal arrows, kabura-ya (鏑矢) (turnip-headed arrow), a type of arrow used by the samurai class of feudal Japan. Kabura-ya were arrows which whistled when fired [1]and were used in ritual archery exchanges prior to formal medieval battles. The sound was created by a specially carved or perforated bulb of deer horn or wood attached to the tip.
In battle, particularly around the time of the Heian period, kabura-ya would be fired before a battle, to alert the enemy. The whistling sound was also believed to chase away evil spirits, and to alert friendly kami to lend their support.
The robot was designed and manufactured by biologist Makoto Nishimura (1883-1956, father of actor Ko Nishimura). Nishimura had served as a professor at Hokkaido Imperial University, studied Marimo and was an editorial adviser to the Osaka Mainichi newspaper (now the Mainichi Shimbun).
Gakutensoku could change its facial expression and move its head and hands via an air pressure mechanism. It had a pen-shaped Signal arrow in its right hand and a lamp named Reikantō (霊感灯, Japanese for "inspiration light") in its left hand. Perched on top of Gakutensoku was a bird-shaped robot named Kokukyōchō (告暁鳥, Japanese for "bird informing dawn"). When Kokukyōchō cried, Gakutensoku's eyes closed and its expression became pensive. When the lamp shone, Gakutensoku started to write words with the pen.
Gakutensoku was displayed at some expositions in Japan, but was lost while touring Germany in the 1930s.
An asteroid, 9786 Gakutensoku, was named after the robot.
A modern version of Gakutensoku was produced in 2008 by the Osaka Science Museum where it is now on display.
Signal arrows, kabura-ya (鏑矢) (turnip-headed arrow), a type of arrow used by the samurai class of feudal Japan. Kabura-ya were arrows which whistled when fired [1]and were used in ritual archery exchanges prior to formal medieval battles. The sound was created by a specially carved or perforated bulb of deer horn or wood attached to the tip.
In battle, particularly around the time of the Heian period, kabura-ya would be fired before a battle, to alert the enemy. The whistling sound was also believed to chase away evil spirits, and to alert friendly kami to lend their support.
Ichimon and Sumō-beya
An Ichimon is a group of related heya.
There are six groups: Dewanoumi, Nishonoseki, Takasago, Tokitsukaze,
Isegahama, and Takanohana. Until 1965, wrestlers from the same ichimon did not fight each other in tournament competition.
In sumo wrestling, a heya (部屋, lit. "room"; here as sumō-beya, usually translated into English as stable or training quarters[1]) is an organization of sumo wrestlers where they train and live. All wrestlers in professional sumo must belong to one. There are currently 47 heya (as of November 2012), all but four of which belong to one of five ichimon (groupings of heya).
They vary in size, with the largest heya having over thirty wrestlers and smallest just two. Most heya are based in and around the Ryōgoku district of Tokyo, sumo's traditional heartland, although the high price of land has led to some newer heya being built in other parts of Tokyo or its suburbs.
Most heya have a network of scouts, who may be former wrestlers themselves, friends of the head coach, or supporters of the heya, who keep a look out for any powerful or athletic young men and follow the results of local sumo (and judo) competitions. Most new recruits join at the age of 15 or 16, straight from junior high school.
A wrestler is expected to stay with the heya he joins until the end of his career. There is no transfer system in sumo. The only exception is if the coach who originally scouted him leaves to found a new heya, in which case he might be permitted to follow him.
Also attached to a heya are tokoyama (hairdressers), gyōji (referees), and yobidashi (ushers).
Ryōgoku (両国) is a neighborhood in Sumida, Tokyo. It is regarded as the heartland of professional sumo. Most training stables or heya are based there.
In sumo wrestling, a heya (部屋, lit. "room"; here as sumō-beya, usually translated into English as stable or training quarters[1]) is an organization of sumo wrestlers where they train and live. All wrestlers in professional sumo must belong to one. There are currently 47 heya (as of November 2012), all but four of which belong to one of five ichimon (groupings of heya).
They vary in size, with the largest heya having over thirty wrestlers and smallest just two. Most heya are based in and around the Ryōgoku district of Tokyo, sumo's traditional heartland, although the high price of land has led to some newer heya being built in other parts of Tokyo or its suburbs.
Most heya have a network of scouts, who may be former wrestlers themselves, friends of the head coach, or supporters of the heya, who keep a look out for any powerful or athletic young men and follow the results of local sumo (and judo) competitions. Most new recruits join at the age of 15 or 16, straight from junior high school.
A wrestler is expected to stay with the heya he joins until the end of his career. There is no transfer system in sumo. The only exception is if the coach who originally scouted him leaves to found a new heya, in which case he might be permitted to follow him.
Also attached to a heya are tokoyama (hairdressers), gyōji (referees), and yobidashi (ushers).
Ryōgoku (両国) is a neighborhood in Sumida, Tokyo. It is regarded as the heartland of professional sumo. Most training stables or heya are based there.
Gendai-geki
Gendai-geki (現代劇) is a genre of film and television or theater play in Japan.
Unlike the jidai-geki genre of period dramas, whose stories are set in the Edo period, gendaigeki stories are contemporary dramas set in the modern world.
Unlike the jidai-geki genre of period dramas, whose stories are set in the Edo period, gendaigeki stories are contemporary dramas set in the modern world.
22.5.13
Kakigōri
Kakigōri (かき氷) is a Japanese shaved ice dessert flavored with syrup and condensed milk.[1]
Popular flavors include strawberry, cherry, lemon, green tea, grape, melon, "Blue Hawaii," sweet plum, and colorless syrup. Some shops provide colorful varieties by using two or more different syrups. To sweeten kakigōri, condensed milk is often poured on top of it.
It is not like a snow cone: It has a much smoother fluffier ice consistency, much like fresh fallen snow, and a spoon is almost always used to eat it.
The traditional way of making kakigōri uses a hand cranked machine to spin a block of ice over an ice shaving blade. Even though electric ice shavers are most often used, street vendors can still be seen hand-shaving ice blocks in the summer.
In addition to the streets, kakigōri is sold in festivals, convenience stores, coffee shops, and restaurants. During the hot summer months, kakigōri is sold virtually everywhere in Japan. Some shops serve it with ice cream and sweetened red beans and/or tapioca pearls. Often condensed milk is used to cap it.
Popular flavors include strawberry, cherry, lemon, green tea, grape, melon, "Blue Hawaii," sweet plum, and colorless syrup. Some shops provide colorful varieties by using two or more different syrups. To sweeten kakigōri, condensed milk is often poured on top of it.
It is not like a snow cone: It has a much smoother fluffier ice consistency, much like fresh fallen snow, and a spoon is almost always used to eat it.
The traditional way of making kakigōri uses a hand cranked machine to spin a block of ice over an ice shaving blade. Even though electric ice shavers are most often used, street vendors can still be seen hand-shaving ice blocks in the summer.
In addition to the streets, kakigōri is sold in festivals, convenience stores, coffee shops, and restaurants. During the hot summer months, kakigōri is sold virtually everywhere in Japan. Some shops serve it with ice cream and sweetened red beans and/or tapioca pearls. Often condensed milk is used to cap it.
Japanese Cyberpunk and Akira
Japanese Cyberpunk is a genre of underground film produced in Japan starting in the 1980s.
It bears some resemblance to the high-tech and scientific Cyberpunk as understood in the West, however differs in its representation of industrial and metallic imagery and an incomprehensible narrative. The genre is primarily defined by the movie Tetsuo: The Iron Man.[1]
Japanese Cyberpunk generally involves the characters, especially the protagonist, going through monstrous, incomprehensible metamorphoses in an industrial setting.
Akira (アキラ, romanized as AKIRA) is a Japanese manga series, written and illustrated by Katsuhiro Otomo. Set in a post-apocalyptic Neo-Tokyo, the work uses conventions of the cyberpunk genre to detail a saga of turmoil.[1]
An eponymous animated film adaptation was released in 1988, shortening the plot, but with its structure and scenes heavily informed by the manga and its serial origins.[4] The manga takes place in a vastly larger timeframe than the film and involves a far wider array of characters and subplots.
Akira, like Otomo's other works (such as Domu), revolves around the basic idea of individuals with superhuman powers, especially psychokinetic abilities.
The series has won a great deal of recognition in the industry, including the 1984 Kodansha Manga Award for best general manga.[12]
The anime has been regarded as one of the greatest animated movies of all time and prompted an increase in popularity of anime movies in the US and , generally, outside of Japan. It is still admired for its exceptional visuals.
It bears some resemblance to the high-tech and scientific Cyberpunk as understood in the West, however differs in its representation of industrial and metallic imagery and an incomprehensible narrative. The genre is primarily defined by the movie Tetsuo: The Iron Man.[1]
Japanese Cyberpunk generally involves the characters, especially the protagonist, going through monstrous, incomprehensible metamorphoses in an industrial setting.
Akira (アキラ, romanized as AKIRA) is a Japanese manga series, written and illustrated by Katsuhiro Otomo. Set in a post-apocalyptic Neo-Tokyo, the work uses conventions of the cyberpunk genre to detail a saga of turmoil.[1]
An eponymous animated film adaptation was released in 1988, shortening the plot, but with its structure and scenes heavily informed by the manga and its serial origins.[4] The manga takes place in a vastly larger timeframe than the film and involves a far wider array of characters and subplots.
Akira, like Otomo's other works (such as Domu), revolves around the basic idea of individuals with superhuman powers, especially psychokinetic abilities.
The series has won a great deal of recognition in the industry, including the 1984 Kodansha Manga Award for best general manga.[12]
The anime has been regarded as one of the greatest animated movies of all time and prompted an increase in popularity of anime movies in the US and , generally, outside of Japan. It is still admired for its exceptional visuals.
Taiheiyō Belt
The Taiheiyō Belt (太平洋ベルト Taiheiyō beruto, lit. "Pacific Belt"), also known as Tokaido corridor, is the name for the megalopolis in Japan extending from Ibaraki Prefecture in the north all the way to Fukuoka Prefecture in the south, running for almost 1,200 km (750 mi).
The urbanization zone runs mainly along the Pacific coast (hence the name) of Japan from Kantō region to Osaka, and the Inland Sea (on both sides) to Fukuoka, and is concentrated along the Tōkaidō-Sanyō rail corridor.
A view of Japan at night clearly shows a rather dense and continuous strip of light (demarcating urban zones) that delineates the region.[1]
Although it contains the majority of Japan's population, references to it in Japanese are mainly economic or regional in nature.
The urbanization zone runs mainly along the Pacific coast (hence the name) of Japan from Kantō region to Osaka, and the Inland Sea (on both sides) to Fukuoka, and is concentrated along the Tōkaidō-Sanyō rail corridor.
A view of Japan at night clearly shows a rather dense and continuous strip of light (demarcating urban zones) that delineates the region.[1]
Although it contains the majority of Japan's population, references to it in Japanese are mainly economic or regional in nature.
21.5.13
Tetsuwan Atomu (Astro Boy) and Takadanobaba (Shinjuku, Tokyo)
Astro Boy (鉄腕アトム Tetsuwan Atomu, "Mighty Atom," lit. "Iron Arm Atom") is a Japanese manga series first published in 1952. The story follows the adventures of a robot named Astro Boy and a selection of other characters along the way.[2]
Astro Boy was adapted into the first popular animated Japanese television series that embodied the aesthetic that later became familiar worldwide as anime.[3]
It originated as a manga in 1952 by Osamu Tezuka, revered in Japan as the "God of Manga."[4]
After enjoying success abroad, Astro Boy was remade in the 1980s as Shin Tetsuwan Atomu, known as Astroboy in other countries, and again in 2003. In November 2007, he was named Japan's envoy for overseas safety.[5] An American computer-animated 3-D film based on the original manga series by Tezuka was released on October 23, 2009.
Takadanobaba (Japanese: 高田馬場 Takada-no-baba) is a neighborhood in Shinjuku, Tokyo, Japan.
Astro Boy, a fictional character created by Osamu Tezuka in 1952, was supposedly "born" in Takadanobaba on April 7, 2003. In commemoration, starting in 2003, the JR platform uses the theme music from the TV series to signal the departure of a train. Also, many lamp posts in the area carry pictures from the TV series, and two large murals depicting Tezuka's works are across the street of JR Takadanobaba station.
Originally, the area's name was read Takatanobaba and many Tokyo residents in their 50s or older pronounce it as such. However, younger Tokyoites and residents who have come from outside Tokyo[when?], use the pronunciation Takadanobaba. The area is also often referred to simply as "Baba".
Astro Boy was adapted into the first popular animated Japanese television series that embodied the aesthetic that later became familiar worldwide as anime.[3]
It originated as a manga in 1952 by Osamu Tezuka, revered in Japan as the "God of Manga."[4]
After enjoying success abroad, Astro Boy was remade in the 1980s as Shin Tetsuwan Atomu, known as Astroboy in other countries, and again in 2003. In November 2007, he was named Japan's envoy for overseas safety.[5] An American computer-animated 3-D film based on the original manga series by Tezuka was released on October 23, 2009.
Takadanobaba (Japanese: 高田馬場 Takada-no-baba) is a neighborhood in Shinjuku, Tokyo, Japan.
Astro Boy, a fictional character created by Osamu Tezuka in 1952, was supposedly "born" in Takadanobaba on April 7, 2003. In commemoration, starting in 2003, the JR platform uses the theme music from the TV series to signal the departure of a train. Also, many lamp posts in the area carry pictures from the TV series, and two large murals depicting Tezuka's works are across the street of JR Takadanobaba station.
Originally, the area's name was read Takatanobaba and many Tokyo residents in their 50s or older pronounce it as such. However, younger Tokyoites and residents who have come from outside Tokyo[when?], use the pronunciation Takadanobaba. The area is also often referred to simply as "Baba".
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