Category Archives: media

NHK is your direct line to Japanese news

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The recent 72nd anniversary of the bombing of Hiroshima went by quietly on American news (in part because there’s just so much news to cover exploding out of our own White House). So on Aug. 6 I turned to the one place I knew would give the commemoration of the bombing its due coverage: NHK World, Japan’s English-language public television network.

NHK World didn’t disappoint. The network aired live the annual solemn ceremony at the Hiroshima Peace Memorial Park that included dignitaries including Kazumi Matsui, the Mayor of Hiroshima, and Japanese Prime Minister Shinzo Abe. The speeches were translated into English, and the dolorous seriousness of looking back at the horror of atomic war and looking with hope to a future without war were that much more powerful to be able to watch it live.

Sure, there are other ways to keep up with news from Japan. I have a digital subscription to JapanTimes.com , the website of the respected English-language newspaper. An aggregator called JapanToday.com compiles news from various sites and is a helpful stop to catch up on the headlines at a glance. The Asahi Shimbun’s English-language website (asahi.com/ajw) is also good.

But NHK has been the bridge to Japan for a lot of people in the US.

My mom watches the Japanese language programming via satellite exclusively, which means she never even tunes in another channel, even though she pays for a full service and the extra to get NHK. If she home, the TV is on, blasting do-rah-ma (dramas, or soap operas), wacky game shows, talk show, music and comedy variety shows, sumo tournaments and even children’s programming. The network also broadcasts news, of course, with its low-key and understated anchors (the game show hosts, on the other hand seem as if they’ve just downed a gallon of cold-brew coffee before the cameras turned on).

My mom loves the samurai doramas and pastoral nature shows, but gets puzzled watching the news. I’ve visited her when the news is on and she has no idea what many contemporary words that Japanese use mean. Having come to America in the mid-sixties, she never learned more modern terms like “pasocon” (personal computers) or “poppu musicu” (pop music). Even though I have limited Nihongo ability, I can pick out the “katakana words,” as she calls them, and end up telling her what the report is about. Katakana is the alphabet that’s used for foreign words.

For years whenever I traveled to other cities, I’d check the hotel television menu to see if they carried NHK World, the English version of the network my mom watches.
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Vincent Chin’s murder 35 years ago galvanized a pan-Asian movement

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Vincent Chin rally in Detroit, 1983 (Photo by Victor Yang, China Times)

On the night of June 19, 1982, 27-year-old Vincent Chin was celebrating his bachelor’s party with friends in a Detroit strip club. He got into an altercation with two white men, and both groups were thrown out. The two men tracked down Chin with the help of a third man and brutally beat him with a baseball bat.

Their reason? They blamed the downturn of the Detroit auto industry on Japanese cars, which were at the time overtaking American models in popularity. They thought Chin was Japanese. He was Chinese American.

Vincent Chin was left in a coma and died four days later, on June 23 — a few days before his scheduled wedding. The two men from the club (one of them was the killer while the other held Chin) were charged with second-degree murder but the charge was reduced to manslaughter and neither served any jail time. They were ordered to three years probation and to pay $3,000 in fines.

A young Asian American journalist, Helen Zia reported on the murder, then led the efforts to bring federal civil rights charges against the men. In the end, the accused murderers settled a civil suit out of court. Ronald Ebens, the man who beat Chin, was ordered to pay $1.5 million, but Chin’s estate has never received any payment.

It was national news when it happened, but it’s faded from memory for most people.
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Why do people still hold hateful feelings for Japan from WWII?

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I wasn’t surprised that anti-Japanese sentiments were expressed when Takuma Sato, a Japanese driver, won the Indianapolis 500 race — he is the first driver from Japan to take the flag. But I was shocked, and disappointed that the hateful sentiment was blurted by a journalist. In Denver, where I live. And that it was someone I had worked with.

Terri Frei, a veteran sports writer for The Denver Post whose main beat was the Colorado Avalanche hockey team, tweeted shortly after Sato’s historic victory, “Nothing specifically personal, but I am very uncomfortable with a Japanese driver winning the Indianapolis 500 during Memorial Day weekend.”

The comment sparked a social media furor, and within 24 hours, on Memorial Day, The Denver Post announced that Frei no longer worked for the newspaper.

I didn’t know Frei well, but I worked with him, when I managed the DenverPost.com website. I was bewildered that he would post such a blunt, ethnically charged statement.
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Is China’s economic domination coming to an end?

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2016-03-22_9-56-25

I follow news from all over Asia. Primarily, I pay attention to all the news happening in Japan, from the goofy stuff to the serious headlines. But the world is so interconnected these days, that Japan can easily be affected by news developments — political, economic, cultural — in other parts of the globe, and especially Asia. The crazy dude in North Korea, Kim Jong Un, for example, has been shooting missiles into the sea to flex his weak muscle and try to scare Japan and it allies, like the U.S. and South Korea, whenever the U.S. conducts military exercises in the region.

The most important news from Asia is often about China. China is the 800-pound economic gorilla of Asia. A more appropriate description might be a slinky Asian tiger or dragon, but the enormity of China’s outsized impact is like a gorilla: brute strength sometimes flailing about like King Kong beating his chest and romping through Manhattan — Wall Street, to be exact.

For years, China’s economy was growing so fast that it attracted laborers from rural regions (of which there are many) to the cities where good paying manufacturing jobs were available. For years China invested huge amounts in building cities and the infrastructure to reach those cities. For years, China’s growth and spending was a windfall for the rest of the world, which was happy to supply the raw materials and technology to help China become the second largest economy in the world, overtaking Japan.

The whole world got richer as China got rich, and the Chinese got rich too, relatively speaking. A middle class developed in the cities, and China became one of the biggest markets on Earth for cars. Hollywood studios regularly court China’s humongous audience, these days flush with disposable income and able to go see the latest theatrical releases. Luxury goods and Western brands are all the rage with the nouveau riche, and Chinese tourists, who now have the cash to travel all over the world, are visiting Japan in droves and returning with modern rice cookers and fancy heated toilet seats.

The downside to all this growth is captured in the nervous joke that’s been making the media rounds: “When China sneezes, the world catches cold.”
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George Takei’s “Allegiance” is a timely historical musical for today

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AllegiancePlay

After a November performance at the Longacre Theatre in New York’s fabled Broadway district, AARP members were invited for a “talkback” with George Takei and other cast members answering questions about their powerful musical, “Allegiance.” (NOTE: This post was riginally uploaded to the AARP AAPI Community Facebook page.)

“I remember we started the school day, each day, with the Pledge of Allegiance to the flag. I could see the barbed wire fence and the sentry tower right outside my school house window as I recited the words, ‘with liberty, and justice for all.’”

Takei recalled his experience as a child, sent with his entire family to a concentration camp along with more than 110,000 people of Japanese descent – including, like Takei, half who were born in the US and therefore American citizens – during World War II.

Now, at age 78, Takei is pledging again, making his Broadway debut in “Allegiance,” which tells the story of Japanese American incarceration inspired by Takei’s childhood. The parallels between the 1940s incarceration and the national mood today are striking. The news is filled with politicians speaking out against accepting refugees from the Middle East, and some are stoking a palpable fear within the public over Muslims.

Takei has spoken out eloquently on his vast social media networks in response to the hate-filled climate – he even invited David Bowers, the mayor of Roanoke, Virginia to come see a performance of “Allegiance” after the mayor announced he didn’t want any Syrian refugees in his city, and cited the Japanese American incarceration as a model. The mayor said the threat from ISIS via refugees is “just as real and serious as that from our enemies then.”

Takei criticized the mayor for his “galling lack of compassion” and added, “…one of the reasons I am telling our story on Broadway eight times a week in ‘Allegiance’ is because of people like you. You who hold a position of authority and power, but you demonstrably have failed to learn the most basic of American civics or history lessons. So Mayor Bowers, I am officially inviting you to come see our show, as my personal guest. Perhaps you, too, will come away with more compassion and understanding.”

Educating the public about what happened to Japanese Americans during World War II, when 120,000 people of Japanese heritage (half were US-born American citizens) were removed from the West Coast and sent to nine concentration camps as far east as Arkansas, is one of Takei’s lifelong goals. His family spent the war years in Rowher, Arkansas.

“I’m always shocked when I tell the story (of Japanese American incarceration) to people that I consider well-informed,” he said, “and they’re shocked and aghast that sometime like this could happen in the United States. It’s still little-known. So, it’s been my mission to raise the awareness of this chapter of American history.”

“Allegiance” accomplishes Takei’s goal with Broadway grandeur that matches any hit musical, with songs that soar and tug at heartstrings, tight choreography and a storyline that is familiar to many Japanese Americans, but not to the public at large.
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