2X — | JAPANESE @ | bo. POP CULTURE B= & LANGUAGE Bi. LEARNING ea oson (ABH 922 FA) AUN. there has been an evolution in J a a nese slavish imitation of foreign models toward music that’s more confident and professional.” By Steve McCune: Thad ¥10 for every do (e119 #0 songs. time I've heard some: Echoes of these and other thing Tike, “Japanese traditional styles can be Pop music? I's just a bunch found in Japan's pop music ‘of no-talent idols and bad bot it was the introduction of imitators of foreign bands,” Western music after the Pde rich. Meiji Restoration (1868) that Such comments are dead really set the ball rolling, \wrong—not that there isn’'ta_—__Styles of popular music lot of egregious Japanese that lourished inthe 1868- pop. Take Hikara Genji (1945 period included mili- Genji, an “idot” act of the tary und brass band music . Dex cites. Tis squeaky-clean — Osaka'srakyoke StH), also A Beginner's wiser" wee Whirling about on roller son, Asakusa opera, tl ° dines This stbe deck show musi ofthe Gu i d e you're likely o see on Takarazuka (338) all-pil Yimecime TV causing reve ja the boa Ina people conclude prevarsens of te term, thar Sd perce ofdapunesecompasing dance musi and popes bch rae pop song) go Bigea! The sae can he and Hwan muse saidot pop in any county. If Japan's defeat in 1948 and Yoaake ine tosepratethe the ering Occupation by Xeat from thecal youl yetonous Allied forces Gicover pana produced (1988-1952) reset more tome seat op cand foci si beg heard in Seusemustal visions Japan especially through the like Kina Shokichi (#48 2 US armed forces’ Far East Hy, Naaigo Reich (34 Network (FEN) rao ser FIRE) and Sakamoto vice, Many Japanese us rytich OB) Sian and use fans go Tapanove popu music, as tate of gee ike county, ppotedo coun oars: reckablly and moder jars Cruicmusiorghated in hanks FEN. atthe ime nin UE) regional folk the mln popular syle was Songs, music played at sum- _kaykyoku (IIB), a mri bor odor GERE) Josey dened te that one festivals and local syle authoritative guide to Japa hi nese pop music desribes as “Japanese MOR (middle of the road).” The late Koga 4 Yelow Magic Orchesta, Pioneering rock group ofthe Masao (SNE) is recog tre nized asthe greatest such as Osaka’s kaw fwdaranal ino,» shail = 27 SORE karwkokuomot no kare yibtined = ERO E U7 ign blac o she iM treme seiketw na «deck = "yD atriho no ate Allied Tors i engogu » 14 Mangainkaydtyoku songwriter. Important singers right af ter the war included Kasagi Shizuko (ERY XF), “Tokyo hhuge hit. Misora Hibar (36 EE) ) was a major star Whose untimely death in 1989 sent the nation into mourning. Misoras forte was enka (8), a type of melancholy kaydhyoku bal- Jad that leans to themes lke doomed love affairs and ‘painful separations Traditionally based on the Japanese minor pentatonic scale, enka occupies a place in Japan similar to that of country music in the United States. Enka’s biggest fans are middle-aged salarymen, ‘who eroon along to favorite tunes in Japan's 280,000 karaoke machine-equipped bars The only Japanese artist to hhave any impact in the West inthe post-war period was the late Sakamoto Kya CH HL), whose “Ue 0 Muize EEC known overseas as “ Sukiyaki") made No. 1 on the Billboard singles chart in KOME KOME Club started as a rockitunk group but is now ‘moving toward MOR, 1963—a feat no other Japa- nese artist has achieved. Crucial to the develop. ment of Japanese pop was the “group sounds” phenom- enon of the 1960s. Japanese ‘musicians, inspired by West: tem groups such as the Ven tures (who stil tour Japan every year) and the Beatles, formed bands such as the Ti- ‘gers and the Jaguars where the electric guitar was the main instrument, Since then there's been an evolution in Japanese rock and pop away from slavish imitation of for- eign models toward musie that's more professional and self-assured. Pioneering rock groups of the 1970s included Flower ‘Traveling Band, led by Uchida Yuya (AEH tH), considered one of the “gou- fathers” of rock in Japan; Happy End, whose alumni include Yellow Magic Or- chestra co-founder Hosono Haruomi (#4271), whose excellent 1993 ambient a bum, Medicine Compilation, is available in the United States on the TriStar label Zand Keisatsu (UBER, “Brain Police”); Sugar Babe, from which emerged solo artists Onuki Tacko (APU F) and Yamashita Tatsurd (LUFBBB, one of the ge niuses of Japanese pop); the Sadistic Mika Band and RC Succession. RC Succession produced solo stars Nakaido Reiichi, whose live shows are unrivaled for intensity, and Imawano Kiyoshird (= Wea Ee Japanese Pop Music in the US ‘The US rock & roll market seems to be a tough one for imports. Promoters of Japa- nese pop music in the past hhave mainly pushed the top acts from Japan, but have ‘met with litle success. Terri MeMillan and partner Tom Toeda, who together make feel that some of the Japa- nese groups and artists Who have loyal followings in Ja- ppan, but are not atthe top of the heap, might actually be better received in the US. (One group that caught their attention was Pizzicato Five (see main story page 48). After hearing their CDs while screening acts for the New Music Seminar Japan concert, Psycho Nite, Terri and Tom “fell in love” with Pizzicato Five and decided to devote efforts to bringing | them to audiences in the US. Apparently they have been successful: Pizzicato Five's first US album, Made in USA, a compilation of mate- Fial from various Japanese albums, will be released by Matador records in June. ‘The three members of Pizzieato Five are all enthu- siasts of American R & R, especially the “classical” (60s, and they have selected the material forthe album themselves. ‘The next act Tom and Terri have their eyes on is vocalist Gao. Like Pizzicato Five, Gao has a following in Japan, but might be a litle 100 distinctive for her home market, Mangain 15FeaturesStory ———— Pzzicato Five, a three-mem- ber group, is releasing its first US album this June, FEB), whose new group, the 23's (or "Ni sans”~—older brothers), is very much in the RC Sueces- sion hard-rock tradition “The 1970s" ‘boom saw singer/songwriters seh as Nakajima Miyuki (* Fst &) and Matsutoya Yumi (EH, aka “Yuming”) gain popularity with a sophisticated, personal approach, Nakajima's songs ate often dark and moody, and her style could be termed “Japanese chanson,” with its emphasis on the dramatic. ‘Matsutoya’s image of the self-reliant, mature woman helps make her a favorite ‘among young working women, Her music has a smooth, West Coast sound, In the late seventies three things had a major influence ‘on Japanese pop. First was “It pays to shop around to find the gems that exist in the midst of the pop pabulum.” EEE) the “idol boom,” which saw performers lke Matsuda Seiko (187% F), Yamaguchi Momoe (1l1-1 Ei 28, Go Hiromi aD 2 3) and Saijo Hideki (PRA) ‘capture the hearts and wallets of millions of teenagers. Under the idol system, new artists sign a contract ‘with a production company, ofien when they're as young as 12, Ten-year contracts are not uncommon. The potential ido is then groomed and educated under company su- A show by sixememberin- ‘dustrial trash metal group the Boredom Is less # con cert than an al-out attack on the senses. —_—"e, pervision before making a debut. When the time is ripe, the production company makes a master recording and starts talking to record labels. ol stars are usually paid a salary by the production company. ‘When their shelf life ex pites atthe ripe old age of 20 (0 $0, they're usually let go in favor of the next cop of tarento (“talents”). The use of the term rarento is ironic, to say the least, since most Idols’ appeal is based on looks and certainly not on singing skill. "The second big event in Japanese pop in the late sev: enties was the Yellow Magic Orchestra a three-man group (Hosono Haruomi, Sakamoto Ryfichi and Takahashi Yukihiro (25 16°F'42)) whose brilliant synthesizer-based style of music had an enor ‘ious influence on musicians worldwide. After leaving YMO, Sakamoto composed ‘music for several movie soundtracks, including co! laborating on the score for The Last Emperor. ‘The third big development ducing this era was the debut ‘of Kina Shokichi and his band Champloose (7° 77 y= 2), which brought the ‘music of Okinawa, Japan’s southernmost prefecture, 10 the attention of mainstream pop fans. Champloose’s ‘unique sound was based on the combination of electric ‘instruments with the ‘Okinawan sanshin, a three- stringed instrument similar to ‘mainland Japan's shamisen but witha shorter neck and snakeskin instead of eat or dog skin strung over the reso nance box. ‘The group's first hit was 1974" “Haisai Ojisan” 094 TOMAS sodatendanren rare + SET “aka = (also known as) BI betrume’ + groom = iad veteat sure Mangajn 16 Fe ein jay + colaborate = aTShang Shang Typhoon's music draws on Japanese folk songs, ‘musie rom Okinawa and China, plus a dash of rock. Beauty. Since then, bands hn” stylings have othe fore. 4 USA), abright tune that alvays gets the usin crowd dancing at com Champloose's exuberant ‘The most interesting group concer. Highly recom 10 come out of Oki ‘ended isthe group's 1980 album Blood Line, which in cludes my all-time Favorite panese song, a ballad tiled calize ina captivating blend two kokoro ni of Okinawan folk music and AD-isI= contemporary pop. Their Flowers for Every third. album, Ashabi (2 LO ear”), usually refered to Okinawan dialect for “pay- as Hana." The orginal ver- ing" or“nelaxing”), includes sion features Ry Cooderon_traditiona-style songs such slide guitar. This beautiful as “Akabana," (352124), sn covered by & pop tunes like “Bye Bye ty of artists especially Okinawa," and a haunting in Southeast Asia. cover of Bob Marley's “No Woman No Cry." All orig nal songs on Ashi were composed by China Sadao e wasnew inter. (125295), one of in Okinavra’s best-known mu sn and the man who Tate isthe Nenes ( %. pronounced “nay nays", et who spe With the popularity of “world” music in the late eighties th fest among the Japat their musical heritage. si YMO's Sakamoto used ‘Okinawan musical styles in brought the Nenes together. “Young people in (Okinawa show no interest in his superb 1987 alburr 237) searerrona baba jon) al a py y fe tren Ls GLOBAL MANAGEMENT WITH A.. Tel: 808.395.2314 ‘Toll free (US only): 800-54.JAIMS. Fax: 808-396-3826/808-396-7111 “_CoorenaiveProctaus oF JAMS ANO Margaje 17CPN [ag SS) _7RSeHRRE =< ABRIVTAN exLamskoacikbe keeusze ORR EY aPBOOKUSUS en) and Shirosaki Emi (CUSBRIE), has existed in various forms since 1980 when it was founded by the enigmatic KOryu (&LA, “red dragon’). ‘Koryu's instrument of choice is @ banjo strung with shamisen strings. Playing a shamisen, he says, is too ‘much to expect from someone with no formal training in traditional Japanese “1 grow up listening to American rock, but [als listened to Japanese folk songs,” says Koryu. “I wondered why Japanese pop music couldn’ traditional chythms, which most Japa: nese people are familiar with.” In concert, Shang Shang Typhoon ‘presents one of the best shows on the circuit. Nishikawa and Shirosaki, bright, flowing robes, alternate between ‘energetic, high-pitched vocals during up-tempo numbers and delicate, beautie fully phrased singing for slower songs. Karyu leads the rest of the band—bass, drums, keyboards, percussion—chug- ging along with his banjo-cum-shamisen seiting the pace White Kina and other Okinawan musi ‘cians like the Rinken Band (!) 1} 47S » F) update their musical heritage, at the other end of the Japanese archi pelago there's Moshiri (% 71) ), {group of Ainu and Japanese musicians based in Hokkaido. Several nes on the ‘group's 1991 album, Kamuychikap (7 A477, “God's Bird”) feature the makkuri (2s 2"), a0 Ain instrume which sounds like Jew's-harp, as well as beautiful, haunting vocals in the Aina language. These days, the Japanese group best known internationally is Shonen Kafe (HF 47), who got their startin the ‘Osaka indies scene of the early eighties. The three women who comprise Shonen. ‘Shonen Knife sings ‘about tying jelly beans, household cleaning liquid ‘and insect collecting. The Iyncs on the US version Of thoir Rock Animals al- ‘bum are ailin English 7 ie. 4 an” - is ndeKnife—Nakatani Michie (P2397) and sisters Yamano Naoko (IIIS) and Yamano Atsuko (lIBP#F)—got together to play music asa hobby after staning work as “office ladies.” Their goal was modesto play one live date. Shien Knife's simple bass-guitar drums music is a strange but endearing amalgam of the Ramones, the Ronettes and the band's own comically kitsch sensibility. Who else sings about sub- Jets like flying jelly beans, household leaning liguid and insect collecting? ‘Over the years Shonen Knife has moved from so-bad-they’re-zood ama teurism toa polished style without los- ing their charm or sense of humor, as seen on their latest album, Rock Ani ‘mals, released in the United Stats in carly 1994. The Japanese version ofthat album contains songs in English and in Japanese, while the US version is all ies from “Fruit Loop Dreams”: There's big bird named Toucan Sam With a pretty colored beak like a candy eane Twonder if he'd be so nice As to take us to fruit loop paradise The ones blend ‘Okinawan ok music ‘and con- temporary lar appeal isthe Nelories, who come from Nara, Comprised of college stu- ddonts Kirihara Jun (1%) and Kubo Kazumi (A $8403), the Nelories’ ‘quirky, English-language songs are reminiscent of Shonen Knife's material English, Here's a sample of Shonen Kai But instead of a garage-band sound, the ‘Neloties favor a minimalist style, which lyr Another Kansai girl group with simi- (continued on page 48) PEER 1H coluaturne gelitctmono + prope bard Sound wdfno wand * Use your current English-language inclows 3.1 system. * Print to any Windows compatible printer * Import and export text files for use with other Japanese word processors. * Enter Japanese words } phonetically and convert | to Kanji * Bilingual screens and documentation support $249 - Demos available for $20 Pacific Software Publishing, Inc. 14405 SE 36th St., Suite 300, Bellevue, WA 98006 1-800-232-3989 fax 1-206-562-0811 FEL Mangajin 19Notable new book: Understanding Japanese Information Processing reviewed by Douglas Hom There aren't a whole lot of sources for information about Japanese computing, and if you're lucky enough to find a bit here or there, odds are i's written in Japa nese. Even so, when Ken Lunde wrote Understanding Japanese Information Pro cessing no one could have predicted the suecess it would encounter. Afterall, the ymcomputerindustey sony now beginning torealize that people do, in fact use Japanese computers outside the Tokyo city limits, Why all the Fuss over one book? First, UIP sone of the frst books about Japa nese computing to be published in En lish. Second, by selling out its first edi= ton in lessthan six months, it shattered the conventional wisdom that no one is ested in Japanese computing, Most tantly, the book is full of hard-to information about Japanese computing pe: sented in an easy-to-understand way, ‘Typical of the fine computing books Published by O'Reilly and Associates, UJIP is. well-organized and visually ap pealing. Ken Lunde’s style is easy but concise, and wherever there is a poten tially confusing subject, you can bet that there will bea table or illustration to clear up any doubts. What's more, the book's [ iets sone eer, pes ornare seen ebRmie SSccee eaeas den a98 oases BARBUS “lay-flat” binding means readers won't have to use something heavy to keep the pages from Nipping. Understanding Japanese Information Processing is approximately 440 pages Jong—nearly one-half ofthat being charts and tables. Some of the major topics in- clude Japanese character sets and encod- ing methods, Japanese input and output, Japanese e-mail, and Japanese informa: tion processing techniques. As the topies indicate, the book is skewed towards the ntermediate or professional user of Japa nese. Even so, readers of all experience levels will find the book useful, though Japanese computing neophytes may be frustrated by the absence of some topics Readers will quickly find out why the book is not entitled “Introduction to Japanese Computing.” The main thrust of the book is Japanese information pro ‘cessing, So when it discusses how certain things, such as kana-to-kanji conversion, are done, itends to describe how they are illed behind the scenes (or screens) rather than how users can take advantage of these processes. Also, though chapters ‘one and two are dedicated to the basies of the Japanese writing system, the book assumesa certain level of familiarity with computing Free kana earning programs for the Mac Kazumi Hatasa and his colleagues at Purdue versity have put together a pair of exceptional kana Teaming programs for the Macintosh, “Hiragana and Kata kana’ version 1.0 uses vi sual and verbal mnemonics to introduce the pronunci tion of Japanese. The intro- ductory lessons include an English phrase tosetthe con- text for the visual cue; the individual kana is pro: nounced with an English word that contains the pro- nunciation of the kana; the shape of the kana is high- lighted in the graphic; and ini- finally, the kana appears ina normal typeface. The student is asked to input the kana using Hepburn or Kunren romanization; the kana, if correct, appears on an ad- joining screen. The student canchoose to go through the kana chart row-by-row or large combination of rows. ‘There is no attempt to intro: duce the writing of the forms. Therearealsoexercises for practice. One can use a flashcard function as well kana guessing game in both sections. In the katakana (continued on page 86) Power Macs run KanjiTalk, JLK {In March, amid much fan- fare, Apple Computer de- bute its new Power Macin- tosh line, based on the su per-fast PowerPC micropro: ‘cessor. The Power Maes de serve the hype they are re~ ceiving—they are signi cantly faster than previous Macintosh computers, which are based on the Motorola ‘680X0 microprocessor se- ries. Eventually, all Power Mac software will be writ- ten specifically for the new PowerPC chip. (These pro: ‘grams willbe called “native mode” applications.) Butun- til native mode applic become widely available, PowerMacscan stillnun vir- ‘ually all existing Macintosh applications via emulation of the 681.CO40 chip. Even so, upon hearing of the new computer, many users of KanjiTalk and the Japanese Language Kit im- ‘mediately questioned how ‘well their Japanese systems would run on the new plat- form. The answer is “very well.” The Power Maes ship with the Macintosh System 7.1.2 operating system and built-in emulation of the 68LC040. The Japanese (continued on page 36) 24 Mangajn“Though this slant may frustrate some readers, the information they need is there if they look forit. Those interestedin using the book as a reference for programming Japanese applications will find this struc- ture perfect for their uses. Readers with some experience with Japanese software—this includes anyone who has learned to use a Japanese word processing program withany proficieney— ‘will find that UITP i tick with the infor imation they need o understand howe their Japanese software works—or why it ‘doesn't. This information can help users {get tothe next level of Japanese comput ing, from word processing to Japanese e mail and desktop publishing. Chapter cight is a listing of selected software applications. Though the listing is not as exhaustive as Mangajin’s soft- ware special (Mangajin #29), it does offer longer product descriptions and includes software forthe UNIX, NeXT, and Amiga platforms, as well as IBM and Macintosh, Probably the book's greatest strength, from an experienced user's standpoint, is its excellent descriptions of the various Comput ————— types of Japanese output. Ken Lund author, isan employee of Adobe Systems, ‘which developed PosiSeript. As such, he hasan excellent grasp of font technology Some readers may question his open: ‘mindedness to the virwes of competing systems, Nonetheless, describing Japanese fonts and character sets is the book’s strength, andthe chapter on Japanese out put should answer all conceivable ques- tions about PostScript, TrueType, and bitmapped fonts. ‘Anyone who buys Understanding Japanese Information Processing for use as a reference for creating Japanese soft ‘ware will not be disappointed. The pages are filled with charts, tables, and lst. In fact the book has nearly twice as many appendixes as chapters It also includes C language sample routines of several Japa- nesecharacterhandling functions for those readers interested in creating their own Japanese applications ‘Some of the most useful lists in the book are those that point readers toward ‘moze sourcesof information. Publications, ‘corporations, associations, and Internet ‘news groups and file archives are listed However, itishard to imagine when some fof the book's charts and tables would ever be useful to readers. For example, dozens ofpagesare devoted olistings ofthe many Japanese character sets and other data that sill never need 10 ‘even most program reference. The vast majority of readers will sim- ply skip past these sections—though they {do improve the book's performance as a ‘doorstop, But there is little chance of this book being so employed. I is useful a well-worth the price. Readers inexperi- ‘enced with Japanese may need a while to grow imo it, but once they gain a grasp of the basis, they will find themselves turn- ing to Understanding Japanese Informa tion Processing for along time to come. When you think about it, that’s the best comment anyone can make about a refer: ence book, Douglas Horn isa free-lance writer and com puter consultant living in Seattle JAPANESE, OVER 80 LANGUAGES Dictionaries - Word Processors - Tutorials - Fonts ‘Translators - Spell Checkers - Keyboards Japanese Windows 3,1 & Dos V Use JAPANESE inallEgligh Window, x Applications ony 46" six Language Translator $29 ey?” ISG DLEC 20 1LONDED S64 ‘World’s Best Source for PC Translation Software ¥S"Windows JAPANESE PC Translator CALL Bi-directional English-Japanese CALL ‘Bi-directional English-Chinese or Korean translators ish Japanese Dicionuy $29. English-German Trans $69 FEngish GEM OC, MAM ERECTA LB bS O & imenki tte” seifirki 0 fukoinisura tameni ‘are no sa Sb Gg) Aid oy “para” reac expen een) «+ chtdhood Ik ECRO AE). CRIMPRITC 5 aduthood & FAA@ERI FR AEHEEL 34 Mangajn The Dw Av J Packed cpyigh © 1998 Une Pes Syeate.Alighs raced Rpinedlvasalby prison f Eton Pes Serve, NYCANIN WAS MYSTERIOUSLY | [HIS ONKY HOPE ISTO CAL ] [TTS RINGING! HE RUNS | [ B22 Bz! Y CALVIN, THS ‘SHRUNK TO THE SIZE OF |]FOR HELP! PUSHING WTIKAL | | To THE MOUTHPIECE! WL |] 82727" | WAD BETTER AN INSECT? iS MIGHT, CALVIN DUS THE | | ANYONE BE ABE TO //822 872" | NOT BE YOO. GIGANTIC TELEPWONE! WEAR Hint? Catig has mysteviguslyshrgnk tothe egg ofan rect Se ere ne eb Bec mL cL got Bt 2 Aaelatnime tesckt ard no ih’ “chin shana ee Banfi, Meee me eine ee + these ofaninsest (2 [AK HE COMORES 5 ght Calin dls the gigantic een hone™ ee ee Calvin: “His oly ppe io el for help] Pushing with a hig aa ¢ % RDS WL, BA 1k Ur. See ews clones GAM imam! we tu’ Zeer 9 fwtiony, Prone th hep (ob) ask fovock offer than (a) ope aor not exis all(one's night (0b) sdueze outer WNYty it ke BM OSAYLe ft Karwin ~ a Kyodai-na denwa no daiaru 0 mawasu! Calin” aston’ age phous “sal” (obj) Spina « weal ernp ib Sens 20 eHEy 2 + with all one’s might (t [AWwoik, HERE LT) o Calvin “Wt ringing). He runt the mouthpiece! Wil anyone beable to hear him?” ‘Hesogra > Boca! AVI 7 ik Lae O BL 3! Fe ee aut” Kerwin” oe fea no sbeauch fash! ome (8h) ‘seeing Cavin, ator bande "s mouthpiece ran HE ot OM A EMRE KAIaM Ate wa kare no hoe ga kikitorer dard ka “her pany avfor ben "vee (ub) Beableto ear Twonder Calvin: “Bzz 82! Bzzz2) Bzz Bzz| Bzzz Bz!" PITY TA TAA IFAT THY TY) Bubus, bunt“ Buen? “Buar, bun! Bun,” bunt Father: “Calvin, this had better not be you.” SANIT BER NORGE T i TEA &. Karwin, > omae” danara toda dea suman cain you “ie ing ha wonton (emp) «Bee TY 77 RRR ERT RMI, 2B, ARC itu Lillo C. Kil, MBE LH We + had better not (REM) 2 FL | Hv %5 HELE had beter... TL Ze I HLWCAVI HE) PE ve oMEe TS eS MEW o The Eval Cabin & Heber, cppngh © 1988 Univeral rs Spice: Alighs sewel Repinealvalaed by prison of Edis es Seve, NY Mangain 35,PESACH att 18 Se Zusetsu Gendai Ydgo Benran A Visual Glossary of Modern Terms + * 3h 3 Be Pad At ze ® b FIPRAAYRA- y Deluxe Company 4-u- ch. MN mS BHD, A. bolas Koiehird—— desu. Avhita hima nara lneriy Vine name ‘e somorro i ree “Hi this Is Kolchiro, If you're free tomorrow — PL) Lady Friend: 5a fioc A ‘chon mate ne. ince) ativita moment waitragues) lag) # hak O a Paina no. (sj) came (estan) ell waagvaoter ‘Oh, wait justa second, okay? I received a call waiting (signal).” “Oh, wait just a second, okay? I've got another call.” (Plz) + ais essentially an interjection of recognition/making a connection, t can be ‘sed as an informal “hi” when reaching someone on the phone or runing {nto them in the allon the ste can also be used like "oh to express Stulden thoughv/ealrationfawareness of someth + hima refers to "fewidlefeisure time,” and nara makes a conditional mean ing, so hima nara ="it you ae fee, + mare isthe te form of mats (*wait), here boing used 19 make an informal reques + ne's lik the colloquial tag, “okay?” which expects him to agrociconsent * Aste: hom. from English “catch phone,” Is one of the names used fr “call ‘waiting in Japan, A less polit term used sometimes ts vankomt dena, {rom the noun form of warikona Torce/push one's way iVbut io [some thing)" plus densa (“phone [eal roughly, "a butein phone cal VT ae 2% TUR TE Hi _ Toe PHY s8ulR f & Fe sll t c® oen Me A Lay fe ene | Sy Mt: Boe i 3 5A Be Coes 5 cane Compan, Allies reser ‘First published in Japan in 1993 by Futabasha, Tokyo. English wanton igs ranged though Fuabhs Man: 2UM Hor $2. c OAR EM fnwali mona mama, nani “naite da” 90, iandsct folding "os what arc eying (pln) (rh) ‘What're you (standing there! with the phone in your hand crying for?” (PL2) uw Sob sob (effect of being choked up/crying) Narration; #4 9FRY GLoT ZO fh Koatchi-honnivote sono soncai_ 0 Eallaling””—bylorg to aie estes eb) EASAe Y. a—tFu- Chor trasurerareta o1oko, Koichird de ata Seasforgoten “man nana) “ This was KDichird: the man whose existence had been forgotten on account of call waiting. (PL2) + juwcki tray refers to the “elephone handseUrecever.” and motta is the infabrupt pst form of morse (ok). Te patil o 0 mak jak as the dtect object of morta, has been emit, ‘+ mama =" sfunchanged.” so motta mama means “withthe handset held in Sour hand and doing nothing in this eae refering vo the fact that he's just holding the phone and crying, instead of talking, 2 he would m0" mally be expected to do, + naite ns 3 contaction of naite-iru no, the progressive (“isfare—ing") form of ra ("pas th expan nadine want explanation o + sono = "it’s" inthe sense of “belonging that relrs to KOichitO so means "is, + seasurerareta i the planfabrupt pas form of aswrerarern (be the pasive of wasurer (Torget") Sonat o wasurerarer istene forgosten, + Kyatchishom ni sot sono sonsaio wasurerarea isa complete thoughts tence (“he] had his existence forgotten om account of call waiting”) modi ing otoko man”), + de ana is the planiabrape pas form of de aru, a mone formalteray equivalent of tafdesn sate) otha ha,” but in his case Mangan 453) BUCH ae ES Zusetsu Gendai Yogo Benran A Visual Glossary of Modern Terms io OTN AS SOT UN VU rth bs (om { Deluxe Company, Alt rghs reseed, is public i apne 1993 ty utah, Tyo, Englvhwansaion gs ranged trough Puta, 46 Mangaj CU) Soundex: 2 FIT RON YRAM yy Deluxe Company Pi po pa pe (sound of dialing touch phone) Man: g7: 0 Ok, Bok Mata rus kar “yo,mattaku 0 absent fom home 7) (engin) ™onasp) ‘s'she out again? Sheesh!” (PL2) ‘+ musa refers to one's absence from home 5 mata (erally “competelyfentiely”), is often used as an exclamation of exasperation Narration, 22 if Sono boro ‘tats approximate ime Meanwhile Sound FX: bi. Rw. Bibi Torrent. -torane... torune Rinnng...rinng...rinng... (sound of telephone ringing) Sound EX: #4 24 (effect of tossing/throwing relatively Poi ‘poi small and light things aside) Woman: fi, 0! SB ev Nat, rai! Jawai ga ait Fens ner isnot ere fandsct (sth) is ot here “Tean't find it, can’t find it! I can’t find the hand- set Sound FX: 4} 77 Gasa gos (effect of moving paperfobjects around) Woman: > /:!! Ana! xed here “Lfound it?” (PL2) Sound FX: vm, Fy Ru rar pul (Ginging followed by effect of the sound suddenly breaking offfbeing cut off) Woman: 1} 2 Yob eof Kedo bichata hn hang up-c) “But they hung up.” (PL2) Narration, Y=I¥ ka- FUR PC WE EES Rimokon to. Kodoresu wa yok maigo mi nar feanse cont and. “cordless ator ofen lwatay eee (Television) remotes and cordless (phone handsets) often go astray. + ata is he plain/abeupt pas form of ar (“exist”) 0 it's tray the state tment [I] existed." Is often used idiomatcally a an exclamation for when ‘one finds what one i loking fr, like English" found i” + itehama i contraction of kite shimaita, the efor of kira (Yet. or in the case of a phone, “hang up") pus the piain/abrapt past form of sma (Cend/insh/put away") A form of hima after thee form ofa ver im plies the action or is result i regretable/undesirable. The subject ofthis Yet isthe party on the other en. + rimokon is abbreviated from rimsto kontordra, the cumbersome kaakans rendering of "remote contol” Kadoresu is a katakana rendering of “cordless + yokiris the avert form ‘Guenter than "we! + Inaigo is writen with kanji meaning “be confused/so astray” and “cil” so ‘algo ni nara iterally refers a child "becoming lst” Adult speakers are more likely to use the verb mayou when speaking of becoming lost, bu they ‘can informally use maigo nf nara without it sounding particularly Funny. Us ing the expression for inanimate objects, though, is distinctly humorous. {yo €“gooaine"), here meaning “oftenDb EA CH ne BS by TIIP AMER Zusetsu Gendai Yogo Benran ene Company, AVisual Glossary“ a ee of Modern Terms Cag ee aes iy m just starting home now.” (PL2) + avis an imerjection of recognition that’s often used as an informal “hi,” when feaching someone on the phone of meeting them inthe halon the strest + oreisarougivmasculine wort for “Vine Sound FX: + » Ge Creak (a dull and very brief “creak” from opening door, a more sustained creak would be gii) Man: Fe “Whew” (sigh of fatiguelrelief) Sound FX: <> Packt Click (flicking ight switch on) Message: 5, Ll, FS HB A. “ore jong dara kaeru 9 {Gareja Toes soe hoes Will mtre bee (CA SHi,it’s me, I'm just starting home now.” (PL2 Sound FX: 2» Pi Beep (beep after final message on answering machine) Man: @ 012 40H Ld hotoey Yappari ‘ore no koe shika —~ haiteina tals expected Ue" vonse ‘only (nt) record Ac expected, only Tay own voive is recorded.” “As usual, my own message isthe only one,” (PL2) Narration: #56 WER 0 ASG Bit, | Dare karamo rasuroku no hairanai—_otoko we, ot fom anyone mestape (sb) net comefbe seconded man a or ILT bok MLC BS O THote In this way, the man who received messages from no one came to feel even lonelier. (PL2) + appara collogial yahari implies that something fits one's expectations. 1 Shika works together with a negative (-nai Tater in the sentence to mean “nly.” Haite-Inal is the negative form of halte-ir literally, “is inside”), which inthe context ofa tape-recorderZnswering machine means “is ‘corded. The phrase ~shikar hate-inai means “only ~ is recoded + dare by ses the question word “who,” but followed by mo + nogaive it ‘means “no onelnot anyone" Inserting kara ("rom") between dare and mo ‘makes i "not from unyere + ras teers ta petson's absence from home, ad roku refers to a “record recording.” so rusuroku implies a recording made during one's absence fe, a message om an answering machine. Telephone answering machines are KEnown ay runudon denvar in Japanese. Rusu i the traditional word wsed for the task of guarding/ watching the house while everyone else i ay. 50 a ‘asuban densi tleph takes phone messages while you are a, and rasrokc isthe term for referring to those message + hairanai the wegative of haira (hterally, "entergo income i"), so rasuroku no {=9a) hairanai = "messages don’t come in.” This comple thowghusentence modifies ofoko man”) "the maa for whoe messages «don’t come in from anyone.” The subject marker goften changes tomo in ‘modiying clauses. + Tabishia isthe adver orm of sabishi (“lonely”). The adver form of an Audjetive pls mare "become" implies ether “becomes that quai.” ot | become) even more hat quality” this case mite mene eps nd cae the latter meaning de ata i the planfabrupt past form of de ary, a more formaliterary valent of dafdesu sare). 1 nia USASOUACH Crud Ac BO >OREDD Mangain 47tory is dominated by Kirihara’s accordion and backed by Kubo’s guitar pilus bass and drums ‘Vocalist Kirhara’s Iyries are surreal meditations on subjects from Japanese tourists shopping overseas to the depressing urban landscape of “No Love Lost”: “Broken bicycle/Crushed fruit on the streevTMhe clouds in the sky don’t seem nice at all.” ‘The Nelories have gained a loyal cult following in Bri they played live gigs in addition to recording a session for Radio (One's John Peel. The duo have released four CDs. Their firs full length album, Mellow Yellow Fellow Nelories, was recently released in the United States on the Hello Recording indie label, Pizzicato Five (2 F-71— be? 7 4%) is another Japanese act that has set its sights on the American market. Last year the band appeared atthe New Music Seminars “Psycho Nite” Japan show- case, and Matador Records will release their US debut album in June. This delightfully bizare trio (never mind the “Five”) is fronted by fashion plate Nomiya Maki, Deseribing P's music {sot easy. Nomiya, Konishi Yasuharu, and Takahashi Keitaro are obviously keen students of "60s pop culture, which they refract through their Japanese sensibility. The result is gems like “Twigey vs. James Bond,” which immediately conjures up images of sports cars chasing each other along the Riviera, or tongue-in-cheek er- satz psychedelia like “Magic Carpet Ride” (not the Steppenwolf chestnut), which appears on the band’s latest Japan album, Bossa Nova 2001, as well as on their US album, Made in USA. What could be Pizzicato Five's strongest selling point outside Japan is their brilliant use of videos, in which Nomiya adopts an amazing variety of pop personae “The Boredoms hal from Kansai, but their industrial thrash metal ‘bears no resemblance to the pop of Shinen Knife and the Nelores. Boredoms’ lead singer Eye Yamatsuka achieved notoriety inthe early "80s withthe band The Hanatarashi (+9 95 7), known for violent performances. One legendary Hanatarsshi gig featured a backhoe which the band used to chase audience mem bers around until they smashed it into a wall ‘A show by the six-member Boredoms is less a concert than an all-out attack on the senses, The songs have ttle like “Greathorefull Dead” and “Cory & the Mandara Suicide Pyramid Action or Gas Satori.” The mosh pit in front of the stage resembles a mixmaster set on Tiquefy, full of fans bent on causing andlor sus- taining gross bodily harm, ‘The Boredom” latest album, Pop Tatari, was released by ‘Warner inthe United States last fall and they are expected to take part in this summer's Lollapalooza concert tour. The group is part, ‘of a Japanese underground scene that manages to survive in the face of massive public indifference. This is rebellious musi. but not inthe narrow. political sense. The extreme, over-the-top music of the Boredoms, Daihakase, Captain Condoms, UFO or Die and Dowser is designed to disrupt the complacency of what they see as conformist society. rained om pe 50) sit folowing = BUS 7 > meoeretn a fin (0 swe {ps0 shailfrom = 1180) shashiv nn resemblance = BBL raf» nto koe 7 9 (AAC EERT otk ch HEM LHI L A SIs A Visual Glossary of Modern Terms pe) bi DAC i PE oe Zusetsu Gendai Yogo Binran Bc ea gin bea 2 YUORS SR ESE eR ee8 oS Sc =U none uOR i u 8 CI epee BBES BURT $ea0 Bead Stce ks tes = SE 5 < 4 OTR Tro AUS a 8 ie D ray BR uy ’ hy E ih ranston rhs ranged hrby 799 7 Ae wy <= —IDeluxe Company Narration Ai WH GLO fil Pb EMEKE SMO Wa eh Nvisha ——sanmen.ame shite Kaisha kara shikyitsareta nengan no Kevia densa jnming company thtd your iavng bscome company from "wasted longed for mobile plone ‘The long-awaited mobile phone, finally sued by my company in my third year of employment. (PL2) Narration: Shc G7) BRD BM Kore de ‘ore mo —_baribarl nd eigytsmum sa! The the a cipingenretic FX) flees emp) Now Tytoo, ana bardalriving salesman. (P12) + the martin inthe fit hres panels epresents the ms interior monologue 5 Mhz combines the Ran Tor ete” and "company." co refer oa prso's hiring by/oiing” a company. 5 Sine indicates places m sequence. So smnen-me "Wind yet." The phase». shite plays many different role igre ean fe hough of ava famey ni Cin” ei the id year” emphasing the tie fame) oraseauvalent | tom nate (having become” fom mark "becoms"—~ 1c. "having becomenteacheartived atthe hid yea”) «hi sare tthe past frm OF sik saver, passive of shit sure ("ksaeSuppy"). Nha sannenome ni shite Kaisha kara shy sores fa complete sentence ("was sud by my company tm my third year of employment”) ‘modiyingnengan mo Kell denna Clong awaited mobilephone”. The lines merel a micd noe, nota Complete SSmence I esenialy sets the topic fr wha allows «+ arthor is an FX word bot for “eatinghipping” and fr working “vigorouslyfenergetialy.” + Gentypiclly refers toa company's “sslesarkting.” 30 eg-an fan employes engaged in droming up Bus ness forthe company 2] | Naration tl. 2o2< tek @ Cb MLC ARF Hoshi sao ano. ni_ demo dona te mina dll igh rah'nay iit toorsrmsone make pone al bly Albright {will ight sway ty calling my girlitend for someone). know. 1M try it out hy calling my gieriend, (PL2) Narration; FE, LAt ATI OH Le BTHLY & Mate ‘ye, Kenna Kiogomi no naka ja hacatashi na Ca cel nino "erond” "ie itis icembaratine (clog) ‘Wait x minute, I'd be embarrassing (to make the call ina crowd ike this. (PL2) + soshis an exclamatoryfinerjectory form af the adjestive ot goodMine) 1s ten used show tha one i Feady to befin an ation kaya High I'm gonna do Wet's dof) bere he feeling mote ike "Alia Low ‘what Go «emo tery ineans “or somehingsomeonetsomeplaceee.” bu t's on used merely asa “sotener” without cat- | ‘si meaning He would aot se dew thre ween" anyother possibilities, but hes not ell thinking ie might cal someone ese «denna = “eleponephone cl” and dena sure (shite she te form of sa sone way to ay “make a phone call.” 5 uve vltiona het shall form of mr ook"), which after thee form oF anor Yer mkes a expres Son meaning“ doing ie ation). + rate the pain rapt command form of marae (wait, 5 nom = "crowding of people” and itogomi na naka =n a cow” Narration: #E03C AR MN DS HE WhHES F BbnS Katine. koghi foie kara dato tkoreara hen ni omonarern Rin aa fe hcl eu fam ere! sage Tol hog ‘On the other hand, if (I call) from a public toilet and people hear me, they'll think I'm weird. (P12) Man tL. tl, EM? for ore! Genki? tras ne esi fees 1° merits me. How're ya doin'?™ (PL2) Narration, 58153, Homo PITMIE Ow At 29 tH + tatoiteisanespresion Chi, dno tara ater th na? Sl for Shaving sald that feapen) ther om i mae pone cll fen fap? hat nay is though tat ay be the Dama, where am I supposed to call from? Oh, Lknow! (PLI.2) coset the other ha” +i 6 normaly ead Beno, ne of many word foe "it" oie aKaakana rendering of lt” (iret eeu aly tae) ned test rently as bef today + sna uncommon for dor dec Mare” to standin Fr anotber ver. Here itesentialy substitutes for densa tar Ccmae a phone call sha ore har demva suru t= i eal rom api ile «+ itaretara a Gondional when” form of tikareru be heardoverear™. passive form of kia (ists) + omowarers isthe passive form of ome (Nnk") hn a omowarera be thought sang" + Ghtksno ia vanatton of chiasha erally meaning “bess” and oen used sv an expletive of chagrin: ‘Dama 5 Genoa oer another wat Si "nike phne call” Kakerebarhee fs coninaliwhen™ fo of ker The eee form... ha im a question typically asks What a person "is 4 Man: 705 ek, BR. FHS Srpestcdnupposed "do Aris-chan, "one. yo + Sd titraly "it fs Sothat way) ofen an exclamation eee) Une today teollog.) ‘expressing a sudden realization/thoughvidea, TAR Ara, 1. toy, ee, Sang ees aealntoneat (Hil) Arisa, guess what I got today.” (PL2) "Oh, Mangain 49- Featuresstory Pop Music wed from page 48) That urge to break out of the mold also powered Ozaki Yutaka, 85 8)'s music. But Ovaki's medium of choice was stripped- down, old-school rock 'n’ roll, which gave it mass audience ap- eal. His 1983 debut, Seventeen’s Map, contained songs that gave 10 young people's frustrations with society, especially school In 1987 Ozaki was found guilty of possessing amphetamines but hhe managed to continue his career. He died atthe age of 26 in 1992, after he was found drunk and naked on a Tokyo street at AM the same day. Official cause of death was pulmonary edema—excess accumulation of fluid in the lungs. ‘In the late eighties the late-night TV program “Tkaten’ featured amateur and semi-pro bands and spawned the “band boom.” This blast of raw rock °n’ rol frightened people in the business who were accustomed to dealing with packaged talent, The band boom hha litle lasting impact, however, withthe odd band such as Tama (SE) managing to carve out a career despite the boom’s col- lapse ‘The eighties also saw the “live house” club scene produce great ‘no-nonsense rock bands like the Blue Hearts (whose material is, available from Portland, Oregon's Juggler Records) and the Street Sliders, The cramped, smoky confines of the myriad of live houses in major Japanese cities ae the best place to check out new talent before the producers smooth out the rough edges. ‘The tendency toward a bland, anonymous sound remains one of ‘mainstream Japanese pop’s biz weaknesses. Hor sections are wimpy and there’s too much emphasis on computer-programmed ‘music, esulting in music with a smooth veneer but little sub- stance. It pays to shop around to find the gems that exist in the ‘midst of the pop pabulum, These days, artists who dominate the Japanese hit chars are those who manage to get their songs used as themes for TV com Imereials or dramas. This “tie-up” phenomenon has resulted in huge growth in the CD singles market (CDs—albums and singles—account for over 90 percent of prerecorded music sales in Japan) and has helped the Japanese record business grow despite the recession, For the record (no pun intended), production of audio software in Japan in 1993 totaled 417-73 million units, up 12% over 1992, with a wholesale value of 513,68 billion yen ($4.89 billion) up ‘7%. Japan isthe second-biggest music market in the world, An: other interesting bit of data is that foreign music accounts for roughly a quarter of the market The most successful pop act in Japan at present is undoube edly the trio Dreams Come True, whose 1992 album, The Swing- ing Star, s Japan's all-time top-selling album at over 3.2 million copies. While the production style is slick, Yoshida Miwa (BBE Al)’s vocals are strong for a mainstream pop act. Other Japanese rmega-acts these days include Chage & Asuka (F 4 & fe#5), ‘who likewise favor a smooth, pop sound, and Kome Kome Club Dy fetta OL Shinkaron aw sk ol = Shien) fara ried an ISHED CP: kim i shia 50 Mangajn © Abivaki Ris, AM igs served Sapam 1991 by Kelana 1st published in) hyo. English on ria arranged hough Koda Ld.by 4k)) 9-97 Akizuki Risu “Mother: New OL: ae EE Mae mur Kaisha mi wa narea hai? Company to avfor became aceaniomed 0) “Have you gotten used to your new job?” (PL2) Sho wh” (PL2) aisha is iterally “company/fim,” but it’s often used in situations where an English speaker would more Iikely say "workthe office” Here it's a question having to do with new employment, so “new job” seems ‘more appropriate. hnareta ithe plaivalbrupt pas form of narer (“grow accustomed to") Kai makes a softerless abrupt question than ka i's reserved for informal use Mother: New OL: Eb Se RR kh tue iwarwna senpaitoka inal? feat semre_peepletike sat exis” No senpai who are mean to you?” (PL2) Vu be ALE RELY ey Iraq, itm yusastd 90 ftexit cinph,) everyone, kiafice (empals) (0, everyone's nice.” (PL2) senpai refers to anyone who is one’s “senior” ina given group — here, the group of OLs at her workplace — hy virwe of having entered the group before oneself. oka = "things/peoplefplacevete ike.” ina isthe negative Torm of iru ("exist for people and other animate things). The mother speaks the word with the intonation of a questo in informal situations, the emp especially in female speech i particle yo by itself cam function a desu yo (*islac/will be" + emp.) Mother 2709 00 43 OF (25, kal ® wealy +R LED Sekuhara “new no? Hora, jshi_ ga iyarshii_— mane sitar. SiN Romer Ge) syed tan) (ce) sapenor (ce) dasrsbisaeceat baer hinge [eit calcd sesual harassment? You know, where your superiors behave indecently +». (PL2) NewOl: s. & Nai nai Nos mo (here's nothing like that)” (PL2) + seluhara’ he Japanese adaptation of English “sexual harassment” abbreviated rom the full katakana ren ering. susan harasemeno «+ hora ten used tcl a person’ tention to somethin, like “erelookisef atch” but his uses more tike"you know" «josh tlerswo's person's superior in the corporate hierarchy. especialy the boss he/she repost direct { narashi lke iofona) from which it comes, means "disagrecablciotfesiv.” but iyarasha isthe preferred form when the ofensvenes i of an “indecenvssiviousfamorous" nate + mane by itself means “imitationmimicry,” but an adjective followed by mane o) suru makes an expression teaming “behave (inthe described manaer)." Sura bere cccurs i start form, star; the tri form of & ‘ce implies thatthe acon one of several possible ations. Mother; £0 8,7... 707 DAVIN ED Ja Se, fics fin no happurs toh wa? arnt case ogy minsclty” ofa pope ik for “SThen (how about) couples who are having affairs?” (PL.2) NewOL: BO- EA, DELTCRTS bi Ce BU A Ki? hasan, shinpai shite hurete-ru wake “janai nda ne? trotber ‘Rorying forme sivation “het (expan jek? [Cs not (really) that you're worried about me, sit, Mother?” (PL2) “J (or a) is 2 conteaction of dewa (“in that caselthen”) $a (or sometimes sd) is particle used colloquially asa kind of verbal pause. furin immorality") commonly refers to extramantal affairs Kappurcisabatakana rendering of English “couple.” Itcan refer to any “couple.” as opposed to fa whieh is used only for marred couples. Shinpai 4 noan meaning “worrylconcernfea.” and shina shite isthe ote form ofthe ver shinpa suru Ihurete-rais «contraction of kuret-ir, fom kureru (“give [to me"). Kurerw after ae form implies that an action done by someone else henefisis done on behalf of the speaker or subject, wake fa nai (or de wa nai) i ike English “it's nt that...” Inda's contraction of explanatory no da used here because she's stating the “explanation” that she has her ‘eit figured out regarding her mother's questions. Ne is like a tag seeking confirmation from the listener Seight snc it's not Mangain 51Featuresstory Pop Music (C&R CLUB), who have moved toward MOR recently but whose roots ar in the rock/funk style Other contemporary stars include pop songstress Nakayama Mio (|; Kubota Toshinobu (ZAI BU(), who favors a black American style; the duo B'z; the veteran Southern All Stars, ‘whose frontman, Kuveata Keisuke (41H (2 Hi, is one ofthe Japan's true showmen; former idol Nakamori Akina (#46589), ‘whose ups and downs are chronicled by Japan's lively weekly magazines: the pop/rock band Wands; the dance act tr: and hheavy-metal/glam band X Japan, whose leader, drummer Yoshiki (usually written in sSmaji), recorded an album of orchestral music with Beatles producer George Martin, ‘The Tokyo and Osaka club scenes continue to produce some of Japan's most interesting musie. The cool acid jazz sounds of United Future Organization’s latest, eponymously titled album swas released in March in the United States on the Talkin’ Loud label. There's Major Force, Cool Spoon, the pop-oriented Original Love, the ambient house of acts known as Dark-Eyed Kid, the Scha Dara Parr rap group. Takagi Kan ((iiA%¢) Vibrastone and Zingi, andthe reggae sounds of vocalist Nahki (7 ~ +), Tokyo ‘Ska Paradise Orchestra and PL (Closer to mainstream, one interesting trend has been for Japa- nese artists to put more non-Japanese “ethnic” flavor in their work. Singer Sandii Suzuki, formerly of Sandi and the Sunsetz, ludes to good effect material in Malay and Indonesian on her latest album, Dream: Catcher. The poplrock band The Boom flirted with reggae, bhangra and Southeast Asian styles in an ligent, inspired way that steers clear of clich ‘And in a move totally out of left field, kawachi ondo artist, Kawachiya Kikusuimara (i 90494 A.) collaborated with UK- ‘based bhangra remixer/producer Bally Sagoo to produce an in spired album, Hore Hore Hare Hare (7 Vai L\ WL), which recently came out on Nippon Columbia, While we're tit let's ‘mention classicalrock crossover group Kryzler and Company ‘whose takes on the classics are decidedly different Is difficult to keep track of all the music coming out of Japan, Japanese fans rely on a variety of music magazines to keep track ‘of what’s happening. Key titles include Rockin’ On Japan, Music ‘Magazine and Remix. Foreign publications such as Billboard and. Spin often introduce Japanese music in their pages as well “The point is: don't be afraid to plunge into the wild and wacky world of Japanese pop music, Find an artist or band you like and take it from there. You might strike out a couple of times, but the thrill of discovering real talent makes it worth the trouble. You'll ‘pick up more than a bit of non-textbook Japanese and insight into Japanese pop culture along the way. Steve McClure is Tokyo Bureau Chief of Billboard magazine. mcr 52 Mangain D tei OL Shinkaron iraslaton sighs arangd troagh Kodama Liby (8) F/ Akizuki Risu Of LD) other Party: 50 Ana, WEA Who Lends m7 Yamokawarsaniusshaimasa ka? (ney) “canehon) ameen MisMr, Yamakawa in2” (PLA) OL: Wil AE Ml CH. SH CRM ELEB AE EDD aT a Yamakawa ws sadcima goishusuchd desk, Go-dengon ga gocaimashitara uketanaverinast gd (io acc ighnow "cedaony ie" Gem metage ty) ithe Srittertae Ea “Mr. Yamakawa is away right now. Would you like to leave a message?” (PL4) 0 “uhhfam,” except that it sounds much more polite. In a face-to-face encounter itis often lke “Excuse me,” but that English phrase doesn't seem quite natural in this situa + rasshaimasu is trom the intrinsically polterhonoriic verb iassharu is presenticameslgoe® ) + since the workers ina company all belong to the same “group.” Japanese refer to their co-workers without the honorific -sa7 (*Mr/Ms.") when speaking to someone outside the company, even svhen they would normally tase -san in addressing the person dreetly. of when referring to him within tae company + gaishusu sa noun refersing to the act of "going out.” and the suffix -ch means “duringyin the midst of.” 50 falshursu-cha= "in the midst of being out" "is out” ozaimashitara isa conditional “if” form ofthe PLA verb gocaimase, equivalent to ar (“enistshas/bave") (tamarvarimasu is the polite form ofthe PLA verb ukeiamawarn, equiaent to kis Chearisten tO") She erally says “I you have a message Twill isten toi but)” + “Would you like to leave a message?” + ands a hesitation word simi 2) [Other Party: ilo RH TF HY EA BNRT Clade Yamakawa no kancl desu tedo sn, wa orimasn dela? team) Sete SURGE thas ator Sepresent_sgader ie petaps? his is Mrs. Vamakawa, [wonder if my husband isin?" (PL) OL: vo6 BHI o THD ET. Ul ik SH CTA, MA OELEL ED. | seme’ o-sewa ni natte-orimasi. Yamakawa wa gaishusu-chi desu g3, —ikaga— itaxhimashd fans “hon are eceving fiers (game) av for calaway ie but wha wayfow shal do. “Thank you for all your kindness. Mr. Yamakawa is away. How can T be of assistance?” (PL4) + orimasu is the polite form of the PLA (humble) verb oru, equivalent to fra exists present”), ddeshd ka asks a question, "I wonder if (iUhelshe) sl ivbelshe) perhaps... 7" Using the PL3 ‘Grnasu) form before deshz is avery polite style. °Normai® politeness would be "=. shujin wa oru deshd ka?” + lisumo o-sewa ni natre-orimasu sa polite greeting that essentially thanks the listener for patronage’ services oF any kindness he/she may have done forthe speaker. Sewa means “help/aid/lavon.” and sea ni nar ts a0 &X pression meaning "receive favor/aidhlp.” Naite-orimasu isa PLS equivalent of natteiru the progressive (Cansfare -ing") form of nar, s0 o-Sewa ni nate-ru (or ovimasu) literally means “Vive ae (always) eceiv- ing your favor.” An OL saying this fo a colleague's wife implies the wife's actions indirectly benefit the com pany: a wife might also say it to an OL because she knows the OL helps her hushand inthe course of his jo. ‘haga is a PL4 equivalent of dé "whatwhat way/how"), and itashimasha iste polite vaitional it" shall”) form of the PLA verb iia, equivalent to suru ("do"). Ina question the vaitional form becomes “what Shall we. who shall I. ete.” so aga itashimaset ka = "wht shall live do?” ERIC ET. * beter OL is simpy practicing at random a umber of Srorerimase Stock pias wed on fe phone “i'm very much obliged.” (PL4) * ac wch i inlet sommes ta t cone wed OL tay ccEVatey ROkS tiher aan apology or an cepeson of ge Sond goonies ha? /_ Basa ba + Sy i ermal Suan of 30 Cin way") and de Beta Et” “cgectaf menting onan on). gocima ton PLA egal of attese (War) 30 Sis tht so? et. etey” (PL) siya de goonimase =a desu" ssn Wa). The Os BE oe BS BEBUALES Dated gar tral eae simmd fected, Ft Ham Mem gna aeron atari ry «ch ely eas “Ais strc" en ox Eigglizpa beck inter” (4) toed ana aeertse ee fae Se TiLhave him return yourcalllater.” (PLA) fore cncselionc sown aumpaay, Dependingon con. tenis emcee tld ese cele Borie ‘Sicor tte seen paso ml a rea ace eiphomate alin ee keno he takin dete ues are apnea 7 OL: HN BESAL bF OEE Arigaio, " okdian. MO iyo, hens” “nuther_avenly_goodiay (ctwh) “Thanks, Mom. That'll be enough.” (PL2) Mother: 24H. WYor- BbLAROE Ol, Nanda. Kelis omoshirokata no mi mo is iterally “already goodine.”idiomatically ati? quielbomaderbly wa unenjoyahie even hough meaning thats enough [Ok Even though it was quit fun + nan da by itsel implies eithor disappointment o elie “Already? Iwas having fun.” (PL2) here the former Book: OL 0 v+— + omoshirokata isthe past form of omoshiroi is fund = njyabefineresti Siestaiy “o seoms + nan even thaghialthough”), especially atthe end OL Etiquette ‘of sentence, can expres regreVsapponimen Mangayn 53a Dy ists OL Shinkaron by HJ UP) Akizuki Risu NewOL: EL. 7 OIE Bers Z ieshi| oniki sak mi denwa suru. Ai igh smetion target 0 gece) “Albright! I'm going to call the client.” (PL2) 2g Goku Sound FX: (effect of swallowing hard) chb 9 e+ Denwa mo Mand ‘Telephone Manners + yoshi isan exclamatory/intejectry form ofthe adjective iat (“good Tine"), I'soften used 0 show that one i ready to begin an ation ("okay right I'm gonna do iets do it), + torial stem erring wo one's business clients/contrators, from toriiki ('ansactons/dealings") and sak (iterally "tpypoine,” but also having many idiomatic meanings, including "destinaion/target) masculine particle for emphasis that female speakers use only Book Title TamRb tO in very informal stustions oF When speaking 1 themselves NewOL iEe Chm vob BEMeo TRO ET. Kavasali-sama dest ka? ltsumo o-Sewa ni natte-orimast Frame ie always “thon pare receiving for ‘js this Mr, Kawasaki? You are always doing us kind favors, (Thank you.) (PL4) Kawasaki: pr b fini? Howat sailed maer “in Sin swhat way” “How so?" (PL2) + o-sewc ni narte-ovimast is polite greating used among people doing busi- fess with one another essenlly thanking the listener for is services oF po Tronage. Here we use a rather tral ansTaion because ofthe line that fol lows, + dora (lierally “whavbow say") means “what kindof ‘and fr means “man- henstyle", 30d fin = "in what manneciway’”—* “how $07" Sound FX ‘Ba ha bal (effect of flipping pages roughly/violently) New OL: : Hit (eam) * (exclamation of dstress/panic) Kawasaki: $— 1! 2-2 SHA 05 ‘Are? Gomen ne eyo. dnes,) sey allog) “Yo! What happened? I'm sorry, okay?” (PL2) Ja-¥v KE, tf, Jadan "da yo. Ot jelie Sk (eng) beylyo Tt was Justa joke, Hey! (PL2) + the OL is desperately searching foe the proper way of handling Mr Kawasaki's unexpected response Since o-sewa mi nare-ie i a stock or mula/geeting, one never actully asks what sewa (Tavors) the speaker is Fefering to. Kawasski was playing a practical joke on the nervous newbie. «+ brvitha long vowel, used for trying to get the attention of someone rela tively faraway — appropriate in this case Because se i away from the ‘hone It's informal but does not have the abruptrough feel ofthe shor of, {which s used 10 et someone's attention in close proximity. «+ le (or aye isan interjection of surprisefbewildermen at something unex: © Aviva Risa, Allis eserved,_ Post publiched a Sayan 1991 by Kedansha LidTokyor English {tamlton ght ranged tough Kovansha Lig 54 Mangan peste. + omen, fom the honorific prefix g0- and menjiraYexempuexcuse”), has “informal word for apoiogzing/begeing pardon the emphatic yo simply eves it mare emphasis,Opietcae OL Shinkaron [Man Fo me. RA Hee by fA) 37 Akizut isu Kondo no dovohi, eiga mi thanai? then”? Srardsy movie to ‘hago “Won't you go fo a movie (with me) this Saturday?” “Wanna go toa movie Saturday?” (P12) ~o, EMRE? Doyobit? Sty Saturday?” (PL2) + kondo (his imefoccasion") can mean ether “recenurecenty” or “the up comingsoon"” Kondo mo + 8 weekday is aways the latter meaning. 30. Enndo'no dovobt= "this (coming) Saturday" + ihanai is the negative form of ie ("20"), here spoken with the intonation of a question, Negative question are offen used when making initatioavsug- gestions. Depending on context, they correspond to English expressions like "Won't you (have/gofcomedtryete).. "Wouldnt you like (t0) P'soe*Why nowy don’t you." + E“Fexpresses strony surprise or even alarm, as if she's being asked to do something unreasonable a on too short notice OL: 3~~A, URRY HE ED ES Pe un. ititai—edo-,” 7 somo hid hana? inet wattage” "ha day. how fit wonder “Hmm, I'd like 1, but T wonder how that day is?” “Hmm, Vd like to, but I'm not sure I ean,” (PL2) brok fot bh, FM RTAS Chote ‘mate ne. Techs mite mine Altdemoment wait request) (log) dtchook try lokinghecking “Wait a second, okay? I'll check my datebook.” (PL2) + fnindicates she is ponderingconsidering how to answer + ikita isthe “want 1" Form of hr 20"). + da ka na? i iterlly “I wonder hove 1 8.” bu i often caries the idiomatic ‘meaning of “I wonder ifs posible” -+“T wonder ean or inthis eon iT don't know/'m not sure if Tan” + chotto mate (ne) isthe standard expression for “Wait @ minate/second, {okay?)" i informal situations. More formally you would sty Chor mate dasa, Chto o-machi hus, Shoshao-mach hdase + tech refers to any kind of small pocket notebook for taking notes, keeping track of dates nd addresses, ec. The particle v, to mark the diect objet, has Been omitid after tec. + mites the te form of mire Clooksee"), Mir after the te form of a verb ‘means “ty (doing the ation.” $0 mite mira = "ity looking» “check.” Sound FX: 779777 Fun fan fun (etfeet of humming) OL: &! Hebi sm AR OK AL Daijobu mit 7 tn. ue) okayfine fo ike ls fuhies ‘Oh! It looks okay, Uh-huh.” (PL2) OL: ERM OVIAY th ODE LTS dH (© Akira Ris. AI gts ecerved Few pablo) Japan in 1091 by Kesiniha Lt, Tokyo nels irislton sighs ranged thenagh Rela 11 Flava ne ressin maemo Mi mise mora ‘tara Exgemv-of enum Se of day t wfc trade fectie ‘hecause) PIF have my English conversation lesson switched to the day before.” (PL2) + ita (dates afer nouns, adetves, and verbs pies “tats the way it Teokvicens to be «ress ste katana rendering of English lesson The pate t0 ark the diet objects heen ced ro afer es + mae = "tora mce no =the day before a shite marae rom sunnah expresson meaning “make (sone hing) nw.” Jchange soning) t= Morava thee form ofa ‘ver ver implies having the ation done by scone else In hs case she ines she will have hr teacher such the lesson o Fay Mangain 55Power Macs Language Kit will run on any Macintosh operating system tater than System 7.1. and it performs very well on the Power Macs. Power Macs began selling in Japan on March 3tst, bundled with KanjiTalk 7.1.2, a native-mode version of KanjiTalk for the PowerPC. Native mode applications utilize all the new technology of the PowerPC chip. and ran much faster than current applications. KanjiTalk users who Upgrade to Power Macs will have to upgrade to this newest version of KanjiTalk. Japanese Language Kit users who choose t0 upgrade to the Power Mac can still use theit existing version of JLK on the new hardware platform. Those buyers who wait to upgrade their system will get access to some of the next-generation PowerPC chips due in the second half ofthis year. These new PowerPC chips, the 603 and 604, (current Power Maes Use the 601 chip—there is no 602) will allow future Power Macs to run ceven faster than those just released, and should eliminate some of the bugs that always fend to show up in new technology. —Doug Horn Kana-learning programs Sack tere ae also exercises ullizing sports andthe slates of the union. There are some difficulties of course. The use of English words to describe a Japanese sound often causes problems—rabbit for ra, ribbon fori for example. Navigation in and out is accomplished by using the typical Mac arrows, but movement sfinear and slow. There is nothing ‘on the menu bar that allows quick movement between stacks. Also, the ca program only covers the nial 46 kan ‘But in areal sense, who cares? These mate with the shortcomings they ate better conceived and executed than some programs available commercially The second program. "World Geography" version 1.0, is just what you'd expect it 10 be—a katakana leaming program based on world feography. Its well conceived, focusing exclusively on the names of Countries thoughout the world. Like the other programs. this onc permits a variety of activities to practice kana through listening and writing. My only complaint is that there are no lists to help students compare their English pronunciation with the written Japanese equivalent Both programs ace available on the Internet from the FTP site FTPaAmerseasuhua.aejp. Tis wll be the prefered way to receive the programs. If you have no accesso Internet, then they are available from Prof. Karumi Hatasa, Dept. of Foreign Languages and Literatures, Stanley Coulter Hall, West Lafayette, IN47907. Send wo formatted HDI DD disks foreach program and please figure out the postage in advance id include it on a self-addressed disk mailer. Ifyou area developer ora teacher, also consider looking, at Devel ‘opment Tools for Japanese Version 2.0 and Autogloss, version 1.0. Both wvailable from the als are free, and even will be extremely useful and also free. They t0o are suba FTP site ‘These programs represent the very best in what educational soft ware should be. They are well conceived, nicely programmed, and shared in the best way—as freeware. The Purdue group is to be thanked, and I hope others will follow suit and make their materials available in the same spirit —Fred Lorish 55 Margajn Fit published napa in 199 hy Engin onlton ih ranged hy ron, A igh FarahTake’emon-ke no Hitobito / The Take’emon Clan by (£ER TTA MPI / Sato Take’emon New Emph t: 25 2—./ 20 FAX OCS Arrow: iA. Het Shinn shan ely eed company merbeerpheyee New Employee Cb fit MTAB]F, | cbATS E Racha,” 7 kono fathusu tara 'ntte mo ato kara deiehichan Kowaretecru ye ection chief “thie ta how mach send sferwands comes out eg) ihren ep “Chief, this machine keeps spitting the fax back out afterwards ho matter how many ti 0) send it. I's broken.” (PL2) + acho means "section chief.” 1,5. equivalent to “manager” in US. corporate structure I's standard fr Japa nese employees to refer to and ates thei superior by tile rather than by name ‘hur ("how mch”) + aver in the ie mo pattem makes a expression meaning, “ne matter how much (V¥0u) so the action.” Okute i thee Ton of okie ("send"), 0 ura okurte mo = "a0 matter How mucluhow many times send (i). dete ithe te form of de (“comefgo out), and ichau is contraction of kite hima, the te form of kur (Ccome”) plus shimaw (emi/inshiput away”), which after ate for implies the ation ov ts ests tegettble! unwanted + Kovsarete-rv is contraction of kowarete-iru "is broken” from konarene ("beak") Litry NewEmp.2 =i 97357 & ba RAE bh BRAGW ka, BE Kore Famiton 10 eltgau ‘nda mom Wakanna wi Koch hs Tai compatevNES from diferent expan) because no understndlinow how (cap) sen het “Because this is different from 4 Famikon, T don’t know how (to run i, Chief “But this is different from a Nintendo, I don’t have a clue, Chief.” (PL2) + Famikon isan abbreviation of famiri Lonp the fll katakana rendering of “Tanily computer” tis the regs ‘ered trade name used in Japan forthe Nintendo Entertainment System, 1 chigaa = "is different fon ‘nda mon is conraction of no da mono, which altogether can be thought of as “because ‘kana is colloquial contraction of wakeranai New Empl 3: yo 82-0 fa (2 acho Dt Ae BC Got abe Physial condone.” Guat (sa oral (vara is Hach 7 Ge eG oe 27° che aver fxm of warhol Iva pnen phrase or the nezaive form ot waar can] understand pretend), + the lengthened vowel on the emphatic particle yw» suggests a whiny tone here and in the nex frame Kaicho! —— Densea Seton chief telephone 10 come/go crus SChiet!" Pick up this phone call, will you? “Chief, take this eal, will you." (PL2) [os i BEM MH) GAT. heme Bh OO. 347 oT It. “Uchi wa otokutsama da” ante." namaik-na foo" itte-yan nd, oitsw tea. ur co/we avfor scaly custdhon) Ware (quote) azen ing is saying evo.) Caplan) ti uy (qu) (cap) “He's being uppity and calling himself a ‘favored customer,’ this guy.” (PL2) + denwa = “telephone” and dete i thee form of dene ("comelgo out"), Dena ni deru means “come/g0 10 the ‘hone oF “take/pick up (a call,” The te for is being used aan informal request. + tucht literally means “insidewithin” bu is Used frequently to refer to one's own house/amily, company, or other troup. Here itis the way the party on the other end refers to his oven company /shoporgnization, ‘+ Tokuc refers toa person's “fortepecial skis,” but o-tokui-sama isa word Tor “steady/Tavored cusiomer.” The ‘ew recruit thinks t's hrazen/audaciows of the other party o use this honorific wor instead Of the neta folut- sali, but he va probably the frst one 1 be rude: in 4 sitation where a steady customer thinks he ie being rated sadly he might wel refer to himself by the honoditic toll semana bristling tone as away of impressing ‘onthe offender that he expects tobe treated eter {+ ante isa colloquial equivalent of nado 10, erally “things like pls the quottive particle ro + namaiki-na = “razen/oudaciousirude.” and namaiki-na koto = ‘Brazenfrade things.” The particle o, to mark the ‘iret objec, has ben omit after koro + itteyan ia contraction of ie-ivagar rom ite:ir (progressive form ofa, *say") + the derogatryfinsulting suffix yaar. No shows he is making an explanation. The combination, nantehe-yan no thus hecomes is saying things like..." and inserting namaikia kot makes i "is saying braze things ike + Koitsn isa contraction of kono varsu "this guyiellow!thing") rahe rough way of referring io aaxher person, tte ba here ishest thought of as an emphatic, colloguial equivalent ofthe qaottive phrase, timo wa. whichis ell ten just fancy wu ("as-for,for sting the topic. Normal syatax would pu hia the Beginning bit feels more erp when agen thee kets pon SIN IO | us ener esi _guai refers to “condition/state,” in t ise the kac' saying one fels unsell in some way. L ner) condition "tad isbecoming tere) me way SOR rm starting to feel ska eens + nate thee form of nara (ecome") and kichata is . the past form of kchau, sen in pane 1. implying a e- FX he _relable/undesirable action. The adverb form of a Fur Jestive followed by a form of mate kur means the sb (effect of lightheadedness) Jeet "begins to hecomeybecomes more (tht quality.” Mangan 37FIs, Furiten a 7) BGOO il Ueda Masashi’s kun 58 MangainTitle: RUHL Mae * yobidashi comes from yobu (“call/summon”) and Say catty har Pa Fae p er mets Sound EX: 119 cere i Ne a cai eoneon mms nes eee enor eae ee eins Be wae, WEY oe ee ee ii RES eee oh sieeee oot fel ar, owner Fae’ ibMnas ParorRotson* 3) b ba GE SOL hot db. ‘+ warui literally means “bad,” but it's often used as an be oe eat feo Sa a ete re “Yelk Fnsrs wutbiesusbt uid! "So Sta sheen ma ee moisten ae eS gy AE ec waaay orsneriac cat the semence denen Proprietor: (UHH 22347 ™ nan is the question word "what" here filling in the | Yamade nan sn? Place ofthe given name ina full nme, asa ay of Se eon cnny tsking wha the man's given name Cale ZF, BVO GA © Hak ol} &, ili FAY... dar Foto,” in man te ina tke nt. Yamada Telashi Takao ptr ty Sh ot aks ean cl an) (enn od Met's see, what was he called? Vamada Takashi. +. Takao -- b 7hes, WIDE. A” “Tatahiko. Yamada Tatahio, diaeciy goer Cormeen na) “On, Takahike. (t's) Yamada Takahiko.” (PL2) + ait shortened from ano yas, erally “hat gy/ellow.” {man ears the past vense of the expression an te (or 0) fu = “called what”(rom ia “Say «Kee expresses an effort to recall something thats vague inthe speaker's memory Proprietor: i? ent wa? Sis age?™ (PL2) Caller: he C5 Witago gure. — Bo owe pximately * choos rally aie” barre "about 25!" (PL2) Slso used as an itexjetion when tjecting to something that was Proprietor Rd? Sido done ke "now at Sokugy® ne? ‘rinatelookherefisen here” patna + nes sled form ofthe nga "His occupation?” (P12) ma. kankeiné= kak’ na beokn, Zht 2k RS a? Chis no relatonconnection” or Como,” sora toto kankeine dare? “is ielevan) Siti nat of tng teen shul hs sey “Justa minute, here. What's that got to do with 12" (PL2) [+ haat isthe adver form of haya Cah) shite these form Galler: ERS LCKH bf cobe— WEBLO AR of une ("fake and tare ater Haake site kare ‘yo, ~ Kotcha, —isogoshit nde Ste form makes a fei abrupt re {cely dovtequcs (sgh asf seldeesion amy tpn) questo gentle command, so sha “Dot quickly, will you Fm busy." “Hurry up, will you, T haven't got all day!” (PL2) wil you?*—»"hury wp wil you" eS ae + Kove acomeution of oth rropristor; Li eo nyt Bask tray. "as for ths direction = eee Slashi Yamada Talakito jeer dale ja chono [Kochi often wed refer oon ta cane gennamc) Syed oa ais ie es a ech el bate “But if ts only Yamada Takahiko, age 25, it's a Hie (difficul).” “But it’s kind of (tough) if all [have to go on is Yamada Takahiko, age 25." (PL2) ‘Margain 59UFIs Furiten-kun f Title: ta Dena ‘Telephonets) DI) Other Party: ie EC SERA Demea yok filoenal mo ‘Bepone “eet Canter (clog) /Gan't hear (through) the telephone very wel “Tean't hear you very well?" (PL2) Furiten: 23 C+? So dew ka? La) “Is that so? + yok isthe adverb Form of i/o goodine), soit means “well” When it Inodifies a negative verb, it means not very wel «+ Lttoenat ts he negative form of ikoers (can hea). (J) Furiten: ote 25 oF He | Kore de a0. desula? ‘How's this?” “How is it now?” (PL3) Sound FX: Ey Pin ‘Twang (effect of being stretched tight) Colleague: HRMS Eee AR & hovdenva ——“janai nda 3. thrcsdtrine pho’ ot exp) ep), ts not a string phone, you kno + janai= de wa noi = "isnot 1 Sols used for emphasis then stating revealing something the listener particu Tarly needs to know be 11d * (PL2) to have devised a method of paying off that is reminiscent of the Matia's Widows and Orphans Society” of the 1920s and 1930s. I don't know about Tokyo or other cities, but I know from personal experience that, it’s being used in Osaka and Hiroshima In Osaka, for example, pachinko parlor owners have formed an “organization” euphemistically called JcI& 4 WE & U2 A Hit 2 (Osaka Shinshosha Mibojin Fukushi Jigyo Kyokai, “Osaka Welfare Association for Widows & the Physically Handicapped’. Tam told that the police ignore payoff windows bearing this sign, even when they are located immediately adjacent to the pachinko par lor. Whether the employees in these booths are either widows or physi cally handicapped is unclear; it’s difficult to tell when only hands can be seen, a {© Ueda Masashi, Alright seve. Fist published in Japan in 1992 by Take Shobd, Tokyo, English wansatio ight aranged though Take Sbobs. (60 MangajinCAUEF, @ OL Reiko-san HIAT Fit publihed in Japa i 1994 by Fabuka, Tokyo, { Enauthaslation rights arranged through Fatah [J by PHREH | yamada Sanpei Title: % 9% + of couse, all Mangajin readers are Karaoke aware that this word is not pro: Karaoke nounced “cary okie, + the Laraoke phenomenon has spread widely enough in the US. now thatthe activity involved no longer needs explaining, The term comes from kara (Cempey") and an abbreviated form of ~ 77 > Okesutond the katakan rendering of English “orchestr,"s0 Hessentilly means “empty orchestra ice, orchestal musie without ("empty of) singing. Originally, recording st dios and adio/TV stations used pre recorded musi o accompany singers ad eventually someone hit on th idea of making the same kind of pre-recorded sic available forthe muwal "enertaitment of bar and club patrons, et, Man: hUESA, 9 Reitosan wa uma itamechon) songusinging sil _(cll) “You're really a good singer, Reiko.” (PL2) tht =k fe.” soma foo no titi of thy “Oh, no, not at al Yh Reiko: (Play + ga, 0 mark ta (*SonglsHsnging”) 3s the subject has been omitted, + ne with along vowel expresses the speaker's impression strongly: "it «+ Sonna koto ike sonna Lovo mai (iterlly “that kind of thing does no exis), idiomatically meaning "that’s no true I's customary in Japan to humbly deny the th of any words of pris, at leas iil. If ou respond with straight-forward thank you” you lyis its key to give the impression that you're conceited Man: 1 Hv & £< Mote he Shikashi furai sta 0 yoku shite-ru ne hutemph)” old songs (oh) well" know” (cll) “You really know the old songs well.” ‘mamazed at how well you know the ol PL Reiko: 2... 22, 241 Br ES nat hah" yes (mer) “What? +. Yes, sort of, I guess.” (PL3) «sks eral “bahoncver een nee alent Strpie mlly ogocpkane esa af re « tour ae ale orn aver emeai'S Tio Bapmensth hefner scsi and meas warts | Koga pltebur nxt femal 3 + mile) ati ike vga “Yeah oof Levee yes, you're ah pose nen snowing igs at ttcn you unt tobe mee shes someting uae ten ees wk Reiko: 92 6 4 has a Iisumo chi de Aikasarete-ra “kara, ‘always. home ‘at am eng mado sen becuniso Hite} O bb oboechaw no 30. Team" (expan) (emp) (aoa) ‘Tm always being made to listen to them at home, so 1 can't help but learn them, “Lalways have to listen to them at home, so I ab- sorb them by osmosis.” (PL2) + ikasareteiru is from kik “hearlsten to") Aikase (*mae/let listen”) Aikasarera (be made o listen") *kikaxarete-ir (“am being made to listen + oboechaw is a contraction of oboeteshimau, the -te frm of oboern ("lea ‘memorizelacquie [a ski”) plus shimaw implying the ation i unintended ‘occurs willy-nilly ~+ "can't help but leam/absorb by osmosis.” + mo shows she is making an explanation, Mangain 61PERSE by Yamada Sanpei @ OL Reiko-san paAaTTitle Ea Coworker: Karaoke Ba, | MY ADEE bee Ne" kaeri ni karaoke hana? 2 wayhome oa Kae “ig “Say, on the way home won't you go to a karaoke (place with me? “Say, how about we go for karaoke on our way home?” (PL2) Reiko: C839. Ie hima “Vm on my way!” (PL3) Beit pynce £. Kanjarna ono wanrctert (30, clones thing re foracng (no “You're forgetting the most important thing.” (PL2) + ime kimasu (li. “il go and come") is the standard parting phrase when going on an erand Mor Jom. ‘dar csiyinagveneny arlessyiaavertnty “Lwasn’t thinking, I wasn’t thinking. rl) how bh Tanomu wa yo est (fem mph) Mother: Fm counting on you.” (PL2) (5) | Souna ex: 28989 Por por’ Crum eruneh Mother: (aH Kevan ont | the circular!” (PL2) “Bye, then.” (PL2) RAR Fa, ure-yare (sigh ofretiet) Gter-ofeet “Whew! G (PL2) + yare-yare iste verbal equivalent of a sigh of rele, typi «ally following something exasperating or worrisome. 16) |Shin-ehan: 22 GOTO AR ute Dolo ni motel mda Khe? whee to ake" expan) (recalletion “Where did you say I was supposed to take it?” (PL2) hw We. 4 AELET bbe Hai “hai, ima memo shimasu hare. sohay yesokay now, "mukea note Becselso "Okay, okay, now I'll write a note, so (wail) “Okay, okay, wait a second while I write it down (for you).” (PL3) EAHA A Dan dan dan Bam bam ham (effect of roughly slapping paper on table and writing note) Ley o BISA S onan’ no obasan chi ADLIAD ‘ra ira ira (effect of ivtation/annoyance) + otek = motte ik = lit. “carry and go” + “tae ‘+ Ke implies he's tying to recall something that e should ‘now But cant immediately remernber. Mangain 87+ crayon Shin-chan Op ew w (BIE 68 MargainRRR Ta ta w (effect of running) 2. 0. “Oh.” (PL2) a> Basa! Flop (effect of folder or similar fat and somewhat heavy object flopping down) era y By may Pinpon "pimpin Ding-dong ding-dong. (door chimes) 44+ Kya kya (squeals of glee/delight) ie Bo. Hai, Se Coming, coming.” (PL3) BR LASEK, FE Lit oO? Oya," Shin-ehan, do shita no? (ters) eame-dimin) whathow dd expla) “Oh, Shin-chan, whats the matter?” PL) Shin-chan: 2) 6 Leu. Ds mo shina. ‘taow even no do “Nothing's the matter.” (PL2) + oyais an interjection of mild surprise. + do shiva =a shita (it. “Sd howhwhat”), which asks for Sn explanation of something that seems Out ofthe ordinary ‘or unexpected: “what happened what's the matter"! whats [poing on?” Da mo shinat the negative Form ofthe same expression, a BEA Obusan ni naniha ‘mime 0 something HOTA TK HEA morte ite urea mn Jana no? Trowght tema expan) nati “Isn't it that you brought me something?” “Did you bring me something, muy?” Ly : BB, 6, Elam Neighbor: Leknor ate ‘dst. es) that way “ae “Oh, that’s Fight.” (PL2) ee Ce Gasa 050 le crinkle (sound of paper rinkling) + obasan (“aunvaunte”) can be used to refer to any woman pst her mid-twenties or 30, and such Women often Fefer themselves as obasan when speaking to children. + motte ites from motte kur lit. “cary and come” —+ rin”). Kureta isthe past form of kurere ("give [0 ret") which afr the te Torm of another verb means “do (the ation) for me.” “Te forms don't have tense, but kurera ‘makes the whole phrase pas tense: "brought for me.” Shin-chan: (300, 2b, Hot, hore. “Here, this.” (PL2) kth 0 BITEA S Tonari no obasan chi The lady next door On Paper: a pL aD LAB ©A + Crayon Shin-chan Fi OD R&IKT dwHSA. Kodomo no yare hott waharan ida) do as forthngs cant telvondertand ‘ou can't fathom What kids do. “The mysteries of what kids do.” (PL2) “+ yaru is an informal word for “do,” and kot i a eomtacton (foro ("things") + wa (4s for" mark the topic). ‘Kadomo no yaru kids do") msifies kor for the meaning “things kids do —+"what kids do.” + srakaran is eolloail contraction of wakaranat, the nega- tive form of wakaru (*Lcan] understandlcomprchend”) Neighbor: Father: HORT BSR HSTR Tadaima. — Michi nt kore ochte-ta 0, | ist ow roadieeton ‘is wa fallen (ep) i'm home. This was lying in the street. Lz) BUDA In Hand: Mother: Kairan (For) Circutati DO BI, Hoke BLEEK Ano “obaka. —“Kaetara oshiokt da that (hon foot retuped when punishment ts “That nincompoop. When he gets home, hhe’s gonna get it.” (PL2) Bo! (effect of fire igniting with a burst — here representing her burning rage)} + tudinal, “just now”) isthe stand greeting spoken when friving homefback atthe office: "I'm home’ m back" + ochiteia isthe paivabrupe past form of acitesru Cs falleyng onthe ground”) from ochinu (“something lly ‘iops"), Any relatively sll thing lying onthe ground that ‘doesnt belong there maybe described as chit, usally preceded by some indication of is location — te. in the Stet, over there in from ofthe house, ee. FX: Narration: = z & MBTLABEAR toma shiraca Shinchan wa Sat way quteeven not know (name dim) ator ‘Not knowing it was $0, Shin-chan was inaware (of what lay in store for him), in-chan was... (PL2) Shin-chan: LS ek BoM Bee tanbe Tochan to Kachan wa _tohidolt chi suru Das cra Mom” ae for sometimes is “My dad and mom smooch sometimes.” 2) Neighbor: 24 ¢, Zh cr Sore de,” sore de? iat ity an “Yes? Go on.” (PL2) Abe. RE fin, acu “nominel.” Kashi Kune julce ‘dink sacks eat ice. Have some cool (Play + is classical equivalent of negative nai, o shiraci = ‘hiranai oot koow") + chit represents the sound o ‘makes ita verb: chi suru = "to kisssmooch + Sore de, ieally “with that” is uses conjunc ‘mean “anand then/ad sofbecause ofthat" Here she's ‘essentially tying to encourage him to go on and tll more + hominis. a dialecustang form (usually masculine) of no: ‘mina, the shot Torn of nominasa, which is a gentle com mand form of nomue (“ink”) Similarly, kuet Ievinasai = a gentle command form of faa (an infor ‘word for "at. iss, and adding suru 40") Mangain 69Ears Warau Séerusuman BSOnIIAT-ih—Ib , ” Falko oFulo “a ii | i ii i * ¢ ty | esKosugi Shoten-Kai: Inshoku-gat Kosugi Shop Association: Tavern and Res taurant Distriet Other Signs: (clockwise from lower left) Pasuta Bon/ Soba 7 Chitka Tainan Pasta Bon / Noodles / Tainan Chinese Cuisine Yakitori Kuni Kuni's Skewered Chicken + shoten =“storefshop.” most typically refersing we tail shops, but a shoten-Sut ("shop association") ‘Would include restaurants taverns, and uter stall businesses as wel + inshoka i written with kanji meaning “rink” (On Awning Over Door: Karaoke Sunakkuc Karaoke Snack Bar Sig + sab isan bev ftom English “Snack Bar bt Japan the Suck Ako soe the image of & ‘Ako’s Snack BariGrill_—‘cnvely small nk ingestblishmenavays wth counter sting (ome tes wth few tables a wel, whore the pica iat are whiskey and beer ter ha sake [3] Onehis (singing) ‘As, Ame no fra yo wa tenki ga wart-i ‘Ohh, om nights when rain comes down the weather its bud ..." (PL2) Narration: ‘Onchi Hideshi (Yonjussai), Sarariiman ‘Onchi Hideshi (age 40), Salaryman + ame no for sa compete toughens falls/comes down" orci rains” ") modifying yo (night), Te subjat marker ga often changes 0 insentenes used ts modifi + thesingers name i pun on 4 onchi, which Onehis (singing) Hon-ni kono yo wa mama naranu— Truly this world does not g0 as wished.” “How true itis that in this world nothing goes your way.’ 12) + honsa isa colloquial equivalent of the adver hom ni relly uly") + Iam naan is 3 “tera” form of arma "oes not go acco Colleague 1: Oi, sorosoro. ye) it's about time.” “Hey, whaddya say we get outta here?” (PL2) Colleague 2: Un, 30 da na. Uh-huh, I suppose you're right. “Yeah, let's (PL) + sorasoro literally means “slowty/eradually?by and by." butts frequently used idioma wo imply t's aout ime for” some action — here the action of leaving. + the colloguil/masculine na slike the tag “Chas Fight), is 1M guess, [E] Proprietress: Wari ja nai no n ga anand notte wuatte-iPu no ni. “That's nt very nis ‘when dear Mr, Onehi i realy ‘getting into his singing like that.” (PL2) Colleague 1: Trnda yo. Ato wa Mama ni makaseru kara. IU okay. We'll eave the rest to you (to entertain him).” (PL2) + warn’ = “bad” + “not nice {inva contraction of explanatory no and another explanatory’ no replaces the question marker ka atthe end. Asking questions with no is common in informal speech, especialy that of women: using ka here would sound ‘ery abrupouh «+ “Shun isa diminutive equivalent of -san (°Me/Ms.") most typically used ‘with children’s names. But close Friends use it among themselves ata nos ay ape, and bar mamas and honteses often use itendearingly with astomners "dear Mr Onch + none trom nor erally “ride” but in the context of music the beatMow.” The -e form makes this an adverb for ing". tom utau sing" no nk = "even thowghiten + when Mangaim 71a Onchiz (Singing) U=, ame no fru yo wa ore hitor “Ooh, on nights when rain comes down, I'm all alone,” kakaete sake 0 nomu- “Hugging my knees to my chest and drinking sake.” (PL2 Sound FX: ‘Sord- (effect of sneaking away) a a He he he. Kore wa osore-irimasu ‘(Selt-satistied chuckle) You're very kind.” (PL4) + kaerareta isthe past of kaerarera.the PLA form of kaer (“po homefeav 1 hate (Jrasshart i the PLA equivalent of Kites, from kik (*hearfsten + nasa is: noun for of ua *goosin!skillfamaserul” * noresirinasu isthe polite form ofthe PLS ver oxore-iru, which ean ex: pres either prattude ("thank you'you're very kind/'m much obliged”) or Epology (hm somy/l bee your pirdon”) 1) Moguro: Dame, motaina! desu na, anata no uta 0 koko dake de wt “ut i seems like a wasie, you know, for you to be songs only here.” (PL3) {ole wa sng”) tures the entire preceding phrase into a noun: “sing ing your songs only here” and we marks that um ashe topic. The sy {Ux is inverted: normal order woul be cnt mo aa @ Koko dake de wa si 72 Mangain Onchit Fie! Kokora de hito-kiireru ka? “Whew, hereabouts, shall I (ake a break?” ‘Whew, maybe this i a good time to take a break.” (PL2) earaboutsat about erally “one breath.” ins Itoh rer a “pat in/take “take a eek Onchi: Arya? Futari wa? (PL2) “Huh? (What happened t Proprietress: Fur tomo o-saki ni acta wa They both went home/left ahead of you,” “They both exeused themselves early.” (PL2) + kaetta isthe plainlabrupt past form of Kaeru ('goleome home,” or incase lke this, simply “Ieaveldepat) 0 Sak ni echoes the expression o-saki mi shitsuret sure ‘hima, “excuse oneself ahead of anotherothors (From. Sak ni, [do frsvacadearier than others), 0 0-saki ni kaeta slike “excused themselves to go ome e the other two?" Onchi ‘Nan da yo? Damattekie-yagaite! “What's with them? Disappearing without 2 word!” (PL1) Ore no ate-ra chit ni “Right in the middle of my singing! (PL2) + damatte is thet orm of dana al silent”), serving as an adver: “silenty/without saying anything + Ties the stem of err (*vanishldisappeat”), and vague isthe te frm of the derogstoryins ear ates =shas singing." toch ni = “inthe middle ofr Sound FX: Pachi pachi pachi Clap clap clap (applause) Moguro: Iya. o-j0eu desu na + ipa is a kind of “warm-up” word forexclamation of either consternation (PL) “Say, you're really good.” ordelighvapproval, Onehi: here the late Do- domo, “Th: thanks.” (PL3) Moguro: Saki ni kaerareta o-futari wa itsumo Kite-rasshara node anata no uta no umasa ga wakaranai n des “Those two who left early probably don't ap- preciate how fine your singing is because they hear it all the time.” (PL4)Rote +E + Warau Sérusuman [2] Moguro: Di des? Hitrsu basho 0 kate moto char-to shia su de wate minasenka? ow aut it? Wouldn't ou like to go some- ecloe an ty singing ona proper stage my Oneh BS Chan. shita sui? “What? A proper stage?” (PL2) + hat the form of here hang) and Ish kecra= change places: intasense mening heLS nepal miu Chowne whiter You uy (singing)? or "wouldn't you lik try (sing Moguro: So desu! Puro no yoni ishd 0 tukete choshit no ‘mae no sutgji ni agar no desu. “Yes. You dress up like a professional and get ‘up on a stage in front of an audience.” (PL) + tsuki thee form of tsukers(attahypat on”): the ‘te form essentially functions like“an” hd sukete puto costume and dressup and Moguro: ‘Anata wa supottoraito to chéshiino dai-hakushu ouukete wa You sing bathed ina spotlight and the audience's wunderous applause.” (PL2) | + uketeisthe-1e form of ukere("receive” +e bathed! audience's thunderous applause enveloped in”) the te form in this case makes what precedes i into an adver for wa (sing) Moguro: Sore wa sore wr i kibun desu yo. “Is really, really a great feeling.” (PL3) nna koto dekimasu ka? “Is something like that actually possible?” @Ls) Moguro: Watashi wa ko iu mono desi “Tam this kind ofa person. “Here's my card” (PL3) On Car (Koko ro no sukima Thll the emptiness. ume shimasie people's hearts (PLA) Moguro Fuku Moguro Fukuz5 to a“eracklopeningin a fence/wall/Joer! se, Using the word with Kokoro heart) is vane shiasais@ PLA form of umere (“ill i) + Moguro is written with kanji meaning “mourning” and “black.” while the Kanji foe Fukzo mean “happiness” and "makelereate” 1 seme eras, Ses hoe meats Angee ee Ateseue poner] mee { Onchis Kokoro no sukima o-ume shimasu, Moguro Fukucd. “fill the emptiness in people's hearts, Moguro Fuku Nan desu ka, kore? “What is this?” “What does it mean? Moguro: ‘Boraniia de o-yoku ni tateru to omoimasu vo. ‘As a volunteer I think I ean be of service to you. to Volunteer my services to you (at no charge): + o- is honorific, and yak ni tatera is the potential (earvable to”) form of Saki nau (be useilelpfulof Service). (Play Mangan 73Ree BYE A» Waray Sarusuman ” (PL2-3) Ma, tonikaku o-nori kudasa ‘Well, in any case, please get in.” “You'll see. Please get in.” (PLA) + mats wsed a a Kind of verbal warm-up.” that aps = Zi be? Ant toate coment: "wellSou know eames soo 7 + tonikaka = in any caseat any ate” 1 or dudasai i PLA equivalent of the request noite dasa. fom nora ("get omanto"). “Ww!” (PL2-3) Moguro: Usoku karaoke rimu dest yo. ‘I's a moving karaoke room.” (PL3) + the particle yo soften used to emphasize information that is new to the listener. ‘Sound FX: Ga ga ga~ Vrevr-vroom (sound of truck s (@PL2.3) + e marks the placo/destnation oward which a move ment occurs, so kta e="to the non -+ “northward + youisha combines yo night") and isha Cai ‘Shanges to « for euphons). a nya ie no akari ga ‘window, the lights from (nearby) over there” and... no muko =the otherop- posite side of "30 mado no muko = "the opposite ie ofthe window” —» "ouside the window.” + hc is a contraction of wt in Which marks the Placellocation where something is, and wr marks that place as the topic ofthe sentence (2) Mogur Dazo, kochira desu ‘Please (come) this way.” (PL3) =] Mogure: 12] Mare o yonde okimashita “Lealled for that a while + onde is the form of vob (*callummon”), and okimashita is the PLS past form of ot (seuplace/eave"), Oku ater the-te form ofa verb implies Shing the action beforehand/n aneipation of some future need. (PL 74 MangaiinEAST EA + Waray Serusuman ‘ugoku karaoke rtmu 10 iw no mo nakanaka ii desu na. “Boy-o-boy, this moving karaoke room is re- ally great, too!” (PL3) Ugoku rizumu ni awasete wraw to ne ‘(Especially) i you sing along with the rhythm. of the motion!” (PL3) Moguré Kokora de hito-iki iret kudasat. HO! ho! ho. | ‘Well nov, at this point, please take a break. Ho ho ho!” “Well now, why don’t you come over here and catch your breath a bit. Ho ho he.” (PL3) + fais a kindof “warm-up word for exclarations of either constation or deligh/appeval soteno mo is erly "ating elled «00. butt Cane thought of merely axa fancy mo Coaio") In English saying "ovaso" here ate awkward, but nots beter thn warn Japanese because mpi hat, the moving kaeoke room belongs among many “Te fly great things (ii oo i realy pret) whereas {sng would sound more ike he Was seth apa initsoumexclsivecaegory Us neontast ooh things, really peat) | «att nz bath th long vowels, give he feeing of j exclamation: itrelly ant + Pumas the katakan rendering of English “tythm. and vaste ste te form of vaseru ("matchleon {oem to) sium nt avasee implies eonforming) eeping inte with th hy." Thee formallows the preceding phrase to at san adver for ura Caine + To ater anon past ver can make & conditional “i ‘when meaning, ‘ints sed a3 kindof "erbl warm-up” tha ads {ofthe comextwellnow/youknow/ mea ses! ‘ot cousefl ig 2 hoo ho softens demure, feminine laugh, but rh he lengthener and lls, ad coming rom this character, we imagine shri almost gvtesque Taugh i's mas ikely nota warm, Santa Cas lh ©) oneni Demo, Moguro-san, anata wa tashika sutgji to chdshit ga ira t.asshatta no de wa? “But Mir. Mogaro, if Pm not mistaken, didn’t Yyousay there would bea stage and audience?” “This is merely) our transportation.” (PL3) Ly sure: Ma sugu mokuteki-chi etsukimasu yo. Me We will reach our destination sion.” (PL3) “¥es, that’s correct.” (PL3) + ida refers to a “movementiransertmigration” from one place to anothe tnd the suix sha means "sehicle "50 ‘ehicllmeans of transportation. + mokuteki = “goal” and -ch + tashika means “suelcertain,” and in means “exist, sha essentially means “transport there i” 80 task ir looks like “certainly exists But when a sed san uve without te pt eT ennai tile nf after it like this, cimplies a more tentative 'T— SOMeAMetchi= destination” thinkif 'm not mistaken/t'm peetty sure. ~ ets wae + normally sj an inanimate object, would require ar (Cexststhere i, but since he's speaking of he tage fand audience in combination, he omits aru and makes {do fr both with ru ("exist for people an other ani- ‘mate thing) + hata ithe plain past form of the honorific verb ‘shana ("sa"). + node wa’ implies something like node wa nai nakatta Teai)was itnot the case that (you said..)" + "did * sul is he plaiabrupt past form of rut arrive”) you not say o” + rn dafdesu = soomsiappears to be the ease that cographical) placelegion/ocality Tsuita yo desu. “We seem to have arrived.” (PL3) Mangain 75be aTEA © Waray Serusuman [ Mogures ‘aga desu? Koko ga yume no karaoke hora dest. ‘What do you think? This s the Karaoke Hall of Dreams.” (PL3) ne Hie~! Su- sugoit “Wow! It- it's incredible!” (PL2) + hagas a PLA equivalent of da how") s0 Raga desu? is desu? lage des (ka) ca imply either “How are Joultings?" or “How about i/How is (te specified Hem) in your opinion?” > "What do you think” + inasshaimae isa polite com tase.” mand form of the PLA verb (PL4) Jrasshara Ccome"). I's the standard expression for selcoming a visitor t0 one's ey or customers to one’s place of business. Se <) da\ ado. Kochira gesuto dest. e/a i a ed mans my guest.” (PL2) Hostess: Hai! Sore de wa do ka enjoi shite kudasaimase. “Okay! Well then, by all means enjoy your- selves." (PL4) fed i. katakana rendering of English “Tnember's card” > =membership card.” + kochira (teraly “this sideldirection”) isthe polite ‘vay to refer to someone YOU are introducing to an ther person «geno strom English “pues. ore de wa erally means i its that” ~¥ in that csethea/ Well then KI Yr tess: Dewa, Kosuchiimu rt ¢ doze. “Well then, please go to the costume room.” PL3-4) Onchi Kosuchiamu raimu?, ‘astume room?” (PL2) Moguro: Ho! ho! ho, Suki-na isha o kirw no dest. + erande isthe te form of erabu ("choose/slec"), and kudasai after ate ‘Mo ho ho. You put on a costume you like.” form makes & polite request “Ho ho ho, You dress up in the costume of ——— -your choice.” (PL?) Moguro Werashi wa enka o hi + dewais a conjunstion deriving from sore de wa seen ‘nthe previous panel "in that easehthen/well T (will sing) Ka " ) ies eet + kosuchitmu riimu is from English “costume room. ese rascal sees ©) Mogur: © oven dal “ ‘Well then, perhaps I'll do a sailor's song" (PL2-3) cooling 1 vo + sre jis aeontacton of sore de ma, sen above. Please select a costume to go with your orienta ach nts refering oasaoricaman®" These of tune” (PLA) {monolith -ting/ten jhe essential efersto agers goy” «Leon ely means oe something bole sed mee a8 + senkyok ig writen with kanji meaning “Select” and tune/ong” "your choice of tunelsong.” ST itn chee wehome rota dost mean Del gti yone Caton tlepending oe trying to make up his mind, He is in fact stating his decision. ‘per 76 Manganeeaten + Warau Sorusuman C1 Moguro: ‘Kowuchimu ga kimattara meiku o do “Once you'¥e setted on your costume, please (proceed with your) make-up.” (PL3) ‘ogushi kara ataraseteitadakimaste “First will have you let me undertake your hair. “PI start with your hair.” (PL3) Onehit Ty, nandaka suid ni nati ki ga shite Kita “You know, I'm beginning to feel like I've be- ‘come a star.” (PL2) Moguro: Sa desu. Koko de wa anata ga suta desu “That's right. Here, you are the star.” (PL3) + anarasete isthe causative *make/le)-t form of aan hte meaning “undertakclapply oneself "The caus alive-te form + tadakimast Isa roundabout and polite way of saying “I will (do the ation) FX: - ‘Jan Va daa (effet of striking pose: oftentimes the person will actually say jan, ike an English speaker might say “Ts daa.”) VFX: Pachi pachi Clap clap (applause) Moguro: Hy, kimatte-re-t “Wow! A dashing figure indeed!” (PL2) + imate. (hira i 4 colloquial expression meaning & person's appearance/mannerte atest righ. Hostess: Dewa Onchi-sama, mein hare e dio “Well then, Me. Onchi, please proceed to the ‘main hall.” (PL3) Moguro: Mein horu wa nakanaka torenai n desu yo “The main hal is very hard to get, ou know.” Ls) Onchi - A! “Oh no! Sound FX: Wa! (sound of cheering crowd) Hostess: Dewa minasama, o-matase shimashita. "Well then, everyone, se have kept you waitin. “AML right, ladies and ge thisis the mo- ment you have been Waiting for.” (PL3) Umino oroke no uta no nanba wan! Onchi Hideshi no 1oj0 desu! “Lis (now time for) the appearance of Onchi the number one singer of sailors’ @L3) + minasaoa = "everyone"; when the word is used 28 4 term of address before a arge group, i's often the ‘equivalent of "ladies and gentlemen, 7) neni: ‘Da dame da! Anna-ni kyaku ga ita ja wtaenai it's no good. If that many spectators are there, 1 can’t sing no! [can't sing in front of an audience that big.” (PL2) Moguro: ‘Shinpai irimasen yo. Are wa mina bacharw riariti mo o-kyaku desu kava. “There's no need to worry. They're all only virtual (reality) spee- tators.” (PLS) + aenai is the negative potential © Mogure (ean Van unable) form of ae Sora! “There!” (PL3) + Iyalir means “guestvistororin Sound FX: business content “cstonel Don nt” For 2 show/performan Boom (effect of pushing hard) | ah refers tothe “spectators (effect of pushing hard) | ember ofthe aience Onchi: Wa! “Yikes! —— + hachara rat akatakana en (riz) dering of English “vital reality. To be continued... Mangain 77ERIM (A) Ade mina rom pas 32) HALATHL, xy fete t= ATS ATBEMLEARIE, & > Bate CEC OMe oD y bares oTHSHC Aint coaee 92 9c HAM A BDIX, End ER hb, Polk) Hh, 2309 Bike = A-YaviELEATH. BECHROTLE, CMEPLAL ETAL WROF LE OT =A-YaykvjOid, BERET RROMALE, 2500 TORE, TH IZo% DC, f*Z a Sneed) 2 us3 FLAS. LEG v2) SEE (SAU BEAT HC 9 PA. a RAMBO = A—Y ave LTHot, RAIL. Db SATA, bbw RETA fra veEwj one it Aa Baee dw afr, ROFB RLTEOTSK Ey RUF A ‘ike Fujio (A) Interview strongest, and that’s why I chose him for the animation “This gets a little off the subject, but on Japanese TV until then, animation was used mostly in programming for kids. and it ap: peared during the 6 o'clock and 7 o'clock time slots. “Gimme a Break” was scheduled for a ‘much later slot, between 9 o'clock and 1 clock, so, of course, I animated the Salesman with an adult audience in mind. Actually, at first, I didn't think this kind of unconventional animation would go over all that well, but con trary to my expectations, it became a huge hit. ‘The animation of The Laughing Salesman! Out of all of “Gimme a Break,” Moguro’s ten min tutes got the highest ratings ren have abit SEL, BOTAAD [ELT RAV] LVI FHHD|C — w Schodt: Wow! So it must have been exactly Bao ost tla BMRA < ca, the Kind af sory oF theme soit as ok ing for. © Sched FECT, Bas ELBE TSU ORF He Ese | 2 AblMOrTsuppose so. And the great majority of et the fans were ween, This suk me el 2 AbKO EH Ch. BAT, EAL, 27a, etbaeea | NON (BhoPACH, CARPETS MELE RoteACH Ut | © Schodts That seems rather surprising. ce TH, Cnt; F< ET ATH ® Abiko: Yoo i mee 3 scot thus eo tHbieT © Sch ssrumed ml renders were a he @ Abiko: £5 TH. TI THo ® Abiko: Well, when I did it as a manga 20 years 28 sonar 6 pHoitiotrbeonwere. ENTIRE SSNS UA © Abiko: “20M EMIT 7 TCR OEEIL, BOULDILE AE there were ots more women. Wo Tr VABOKE CTE, sie: Fee ee orbit of oo loom ean. Sen Chih TEAM ya YOST 7 HBC Ce HALEY IOI Ges like The Laughing Salesman, whet al Broek, lb, Biber es ARDS B®. Rote kinds of people get done in by Moguro. BTEAI othe. VF Ate ADSI ET DEVECRIO © Schodt: But wouldn't women 25 years ago ta, +o SCHED AL ORCL EDD. have been the same? ce {® Abiko: Well mayhe, bat 2 Sehoa THIEHOKREC RUM EHH D RET TT —y cnsat ts there some special reson why @ Abiko: —. PS LAEVIS there are more women fans this time around? © Schodt: Sil. LHD I 7 HS EL dO ism GHEE AK? —% Abiko: don’t know. think it probably owes to @ Abiko: EF EATL EI. FLKEWIAT LT COMUZLE | Linens maarine called Manga Suny so he DATHB, ie Tair 71 waite zz, Hee audience was almost all men. Women probably BE ALEC LA: ao thiah mai poRhL EBV eo gene ae cats ERS ACHE, FLU 5 7 LAI ALIA | and think the high ratings show thatit received THAT, Chis, TIVIRHEIVEAL eee their approval. BOvVITVE, This interview will be continued in Mangajin No. 37, along with Part II of our manga story The Karaoke Hall of Dreams, from The Laughing Salesman. 78 Menon kbThe series: Kin ‘yado vy Aoki Yuji The title: Naniwa Kin'yido first appeared in Kodansha’s Weekly Comic Morning ( 2 E27 7 yin 1990. twas an immediate hit and has run continuously ever since. The appeal ofthis series seems to be a combination of the subje matter (the unethical dealings of an Osaka loan/finance com. pany), the gritty Osaka dialect used by most of the characters, h but oddly detailed style of drawing. The story: Naniwa (written here in katak ‘writen with the kanji 24 or ‘aka area, where this series is set. Kin'yit (4282) means “money/finance,” and the ending da (it) written with the kanji for “road/path,” can be thoug of ) is an old name forthe of as meaning “the way ven the content of the stories, the title could be rendered as “The Way of the Osaka Loan Shak In the beginning of the story, our re hero, Haibata Tatsuyuk, takes outa per sonal loan from a shady sarakin loan ccampany so his boss at the print shop can pay the shop's bills, Soon after he objains the loan, however. finanee company tomer goes bankrupt, and his boss, ia f= tisem nancial straits again, skips town, Haibara js let without a job—and probably in debe for the amount ofthe loan, After studying up on finance, Haibara applies to a loan company for a job and aces the written test, But his ap- plication is rejected when the company is hi last shot runs a eredit check and learns that he has taken out personal loans in the past The manager won't tel Haibara why he was {ok Yoj All ighis reseed Fit pubished in Japan in 1990 by Rodansa, Tokyo English iransation ted, but docs warn that he might have trouble getting hired ata legitimate ‘Sure enough, everywhere Halbara applies turns him down, Confused and dejected, he happens to notice an adver- nt for Empire Finance, Inc., on the back of a free packet of tissues he has been handed on the ste ‘and he decides to On his way up to the offie passes by two gangster types threatening & third man for having defaulted on Joan; then, at the door to overhears loud threats and abusive la guage coming from inside. Just ashe be- Bins to wonder about this pl ‘ap on his shoulder and is brought in for an interview The company This month’s installment opens with Haibara, Empire Finance's newest em ployce, performing the menial cleaning chores often expected of new hires Then he gets his frst real assignment: cold-calling Osa companies in an effort to lure them into h interest loans. Initially, Haibara meets with ridicule and hostility from , Haibara e office, he he feels those he calls, but then sarang trough Kesh, Mangajn 7980 Mangajn27 i + Naniwa Kin'ya Sign: BANK AS fw des kite Bank RusuchairudoKitahama, Shiten (an name) ‘place name) branch Bank Ruthschild, Kitahama Branch Sign: (iSt(F + HOP BME! + Nimmestly Cee Shin'yo Rashisuke, Jko Tegata Waribik, Fudésan Kashitsuke ——(Kabu) —Teikoku Kin'st Truwced fans rinse bila dscounts resent loans joint ck en. empire fiaance Credit Loans, Private Bill Discounts, Real Estate Loans” Empire Finance, Inc. “+ the bank's name is intended tobe close to, but no quite the same as, U2" 4 JY KF Roswchairudo = “Rothschild.” + shtten is literally “branch store,” but t's also used for bank branches and sometimes for other kinds of eoepo fate branch oies + ko = personalfrivate” and tegata refers to a variety of “billdnotesfrafs” of payment, ypieally with a due ‘ate sometime inthe future when the payment iso be made. Waniti= "discount." referring wo the practice ‘of selling” these billnotes to a Finance company aa discount inorder vo receive immediate payment, For ‘ore details, see our fist istallment ofthis story in Mangan No. 34 + thekanji % kabu (= "stock”) in parentheses before or after a corporate name denotes a Fis Zt Aabushit _gusha, or "joint stock (ype) company.” + the company apparently prefers 0 use the old kanji (hun: read Kok in combination) in ts formal name rather than the simplified I Sound FX: 29 Gut (Gvisting/squeezing effect—here of squeezing excess water out ofthe washrag) Quite common forthe newest employee(s) o be expected to take car of clean-up chores, BEES CREF. hay ~ gozaimasu “Good morning.” (PL3-4) BULIEA, LbRotvS & Ohayd-san Hartke: iru na. foal morning-on ) working arenibuiasic_ (clog) SG@'mornin’, You're raring to go, aren*t you!" (PL2) ‘haya gocaimasn ste traditional "good morning” erecting. Though gocaimasu generally belongs to PLS and Sounds very formal and polite, ts feeling in ohaso gozaimasucan ange down toa quite informal PL3 — or even Tower in various contracted forms. Ohayo-san isan informal shorthand forthe same greeting: i's best cons fered PL even though -san is the honorific tite used with names (°MrJMs.") and stall Belongs to PLA, Iarkite-inw the progressive (islare ing”) form of harikirs which ofers to being “emhstasticl7ealous) tung ho” st work or some oer aetivity {he colloquial mi, here a masculine equivalent of nZ, adds emphasis to make a mild exclamation Sound FX: a Eme vin ‘Vrooom (sound of vacuum cleaner) Mangajin 812 Mangajn7H + Nanin Kin'yado Kuwata: Haibara: BY, RMB, = ACK RBA? «yoshi ivan exclamatorsimerjecion form of the Haibara-iun, kochira eke kureruka? ‘adjective livol good Tine") I's interjectory tse lay gue ame tum) is ection to will youre” ypacally shows thatthe tne is right for some “Okay, Haibara, could you come over here?” action, ether by the speaker or he listener: (PL2) okayal ight (no's the time)” | itn, + kites the te form of kuru (“come”), and kureru ka aftr th te form ba ‘ofa verb makes alight Tess-abrupe request than using just kre. Tas ‘on-question form. Te kure and te rer kare both masculine. Vex sir” (PL3) + fat i used to express asseavcompliance with a requesdcommand, Kuwata: SOk e BE FAD HS. * araere essentially means “givefbestow” in the Kono hon 9 kimi ni ataere “hare Context of work to do i's often equivalent "a: the” book (0b) you _to wil gefalo becanlso Tovassign, “I'm going to give you this book.” (PL2) sara (“because/so is probably best regarded here asa ollogual “softener 10 make the end ofthe sentence less abrupt, Though, in effect, the thought continues 2 frames below (°S0 I want you to. ."eafterthe msertion of a parenthetical statement in the next irae, the grammar does aot really create continuous sentence ‘On Book Kuwata: nik AR 90 kh PF ke RE Kenseisu Methan Kyla Osaka fuka Keser Gyasha ‘onration detry ‘Osaka within prefecture conctioncorractrs 1990 Construction Directory General Contractors Lacated in Osaka Liam oe ae BWR BAR, Doken-ve ‘a mina donburikanj® ga suki man va. gene conracors af all ugh accountng subj) Tike (expan) "General contractors all like rough accounting.” “General contractors are all pretty slipshod in thelr aecounting.” (PL2-K) {firs the surf for “prefecture” used for Osaka and Kyoto Prefectures, and a (li. “under”) implies “within” (Le, under the administration of”). The Japanese word that encompasses all of the prefectures is IIB todafaten ‘one prefecture is known asa vo (Taky0-10) one as a do Hotbot fad 43 a8 Fen Chiba ken) toa = “within Tokyo"; fla = “within Osaka/K yt: Fenka = “within thie named) prefecture. sha literally means “industry tae perso; it refers to members of Whatever industry Is idicated. donburi kana refers to figuring by rough estimates and uispensing with any kind of peceise accounting, Te tem ‘comes from tradesmen who simply kept their money ina pouch (called donbur) i their work vests (called ‘haragake) and never bothered to keep rack of income or expenses. This donburi doesnot refer to the large bowls with lids in which tadtional Japanese eateries serve many a delectable dish with suki ke"), the liked object is marked with ga. and the person who likes ts marked w ‘han ya is Kansat dialect forthe explanatory nam(o) da the station i that.) Kuwata Haibara: 20 BE & RC. Hol bs EM & TE AM, Sono meikan oie. katappashi kara denwa 0 hakerw nye, Sha acy (bj) ook aad Tom lpn ll (oj) make (cp) “(So I want you fo) look at that directory and call every listing init.” (PL2) rt + happashi tara tral “tom one edgeend”mplyng"Yo the other.” an deve fal. ‘kedera means “make phn cll)” sobe s essen telling Haaratocall very ey umber inthe bok.» 73s Kans diet forthe explanatory m0) da Yessir (PL3) Following pla, non past ver win ya da can serve asa Sommand, Kuwata: Phone Books: Other Books: lok MELAS DeoT I~ ik Flodbo Tl bP Ippon dem cara, tanaron hither wa etre tara tora ‘a Cee re tiene, ent, te, Mebane eee ly “Uccamte) i you make a hundred calls youre sure to get or 2 places that take Whe bal” (PL2) es wu MEM) | PD YA—F | NO Y «hom (changes to -ppon or -bon wit Shays ter, Domine / Tan Pai” rare” * hak canes t-proo bn with repr ccd wighacis” Contacts’ ECE sae nm fen med Yellow Pages "Town Pages / Hello Pages Derma fo) shir 2 eontion ae ee ier ram of den ur Dina hints” /shmstota J Sharon Ge cstonally he sume as en ¢ Data Banks/Credit Directory Vol 1/ Credit Directory Vol,2 lalate “nate poses + ken (HF isthe counter sux for houses as wel as shoprestaurans and other busines establishments, + ikke i thee form of hikkakaru ("pet hooked” “take the bai); kuru Come") ster t-te form can be used to imply the action movestwill move toward the speaker. Taun Pej the name NTT (Nippon Telegraph and Telephone Corp.) has use since 1984 fr its “Yellow Pages, Formerly called Shokugyd-bersu Denvacho 0 either this office has kept & very old phone book around foe rte tence, or the artist has slipped up, The “Hello Pages.” are NTT's equivalent ofthe “white pages." the alpha betcal isting — or in the Japanese case, the kana-orde listing ‘0 volume books in Japan are ofen designated 0 and ge, literally the “uppee” and “lower” volumes. ‘Mangaiin 6384 Margain = 7 fei * Naniwa Kin'yado = ae Rearaery Guess cme for Sasa Raw He ne ee57 2m + Naniwa Kin'yOaS Kuvata: bLbl, He BY? fos moh shack de, “etto, is the owner in?” (PLA-informal) ‘moshi-mosht is the standard way forthe person initiating a phone cal to say “ello.” Le enacis combines the second Kanji of 3 Keisha company”) ith the suffix for indicating the “head ‘hietleaer"of a group, 12 ch, to give the meaning "company presiden/owner.” Sue ina PLA word thats stctly speaking a noun (°presence/arivaldepartare”) but is often beter thought of se Reb cis preseleomes/goes"), Here olde is shor for oide des ka or the slightly more polite ode devh En tise present?) The wor isnot Kansai dalet as such, but Kansai speakers probably use it place of Frasshar Coch has essentially the sume rage of meanings—see below) more than Tokyo speakers do. FRO MBL BENA oy BRC BECOLEREF A Tegata no warbiki omahen ba?” O-vasidie sasete tadakimasu 0. Toke OF ‘Sacrum narheve (2) (hon cheapo te willave you allow met make temp.) “Do you have any notes you'd like discounted? I'll give you a low rate.” (PL3-K) omaihen is Kansai dialect for arimasen, the PLS form of nai (“90 have/no exist"): omahen ka = arimasen ka do you ot have! ‘ensue from yes cheapvinexpensive” or when speaking of ineresscount rates, “low. Since the COktext fe regaua no wars he the “discounting of & promissory note (see frame 1) he s offering to keep {he eincount rate low, which i fo sty, pay move forthe Noe. Fasuku sun = "make (something) cheaplow in SsetetadaXimase is a roundabout and polite way of saying sur ( ‘Hon mentioned constitutes sn offer of favor/favorable treatment, flake”), fen used when the a: 2) tom. BH BRO Ho RERUTCOL A? <3 detha. Shin'sd yishi noha donal dessharo? may “hit Sere louse "s deeton ator LPO EF? © irasshaimasu is the polite form ofthe PLA verb irasshane Moshi-moshi, shack irasshaimasu? (Cis presenvcomes/goes"). Dropping the question particle Fe edendownes reser J and asking with just the intonation ofa question feels “Hello, is the owner in?” (PLA) slightly Tess formal than asking iasshaimasu ka bat it femains very polite Ty RR EBDEAD + wash a word for “Lime” used mostly by middle- Washi se ga. dochiasan? aged and older men. Vine is but which decion/uho thon) + atypically replaces de (“sare”) Tm the owner. (But) who is this?” (PL3-K) " towshi va is equivalent to washi da dochira literally means “which direction/way.” In formal/plite conversation, the direction words kochira, ‘hn dteetion”) and sochira tha diretion) often serve as polite personal pronouns, Live" and “you.” re- ‘Dochira isthe equivalent polite word for asking “who?” Adding -san is also polite, but using this instead ofthe fll sentence dochira-san desu ka lends a light note of informal | Mangaji 5