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How Radio Gymnastics Conquered Japan

(Author)

@Glennis Dolce: Thank you for your kind words, Glennis. I love how you have found a Pokemon version of Rajio Taisō for your 5 year old grandson, and that you did the exercises together! That alone makes my work worth it.

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Great article on rajio taiso. I must have missed this one but found the link on Hiroko’s blog. We had many opportunities (and obligations) to enjoy rajio taiso growing up in Yokohama but I didn’t know all the history of it.
I have my 5 year old grandson with me this weekend and it inspired me to look up one on YouTube for kids.
We found a pokeman one which we both did together.
I love that you have the sheet music for it.
I’m going to send it to my son so he can do a version on the marimba.

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Tea Field and Toji Pagoda

(Author)

@James Saunders-Wyndham: Yes, the outskirts of the city were a bit closer than they are today… Thankful indeed that Toji itself still stands! I used to visit the temple market here a lot, and even found some lovely portraits of women from the 1930s, including this one.

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A tea field near Toji!!! Sadly, that part of Kyoto is not so pretty these days. Surrounded by major roads and local office buildings. I used to drop my wife off to work everyday across from Toji. At least Toji and the pagoda still stand representing old Kyoto.

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The Burden of Youth (1)

(Author)

@Melinda Wheeler: Thank you, Melinda. And apologies for the slow response. I am slowly getting back to work.

Sometime between 1915 and 1919, Nobukuni Enami (his real name) shot over 700 stock photos. These are likely the photos that you are referring to. For these photos he did indeed use a portable camera. He used a very casual manner and no tripod, allowing spontaneity. Many of his subjects smile.

Rob Oechsle—the researcher who discovered almost everything that we now know about Enami—believes that Enami used No.126 roll film and a No. 4A Folding KODAK Camera, Model B for these stock photos. No.126 roll film gave six, 4 1/4” × 6 1/2” negatives.

Rob told me several years ago that I likely own the largest collection of these stock photos. Currently I have about 600.

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Shinjuku’s Lost Paradise (4)

With the current destruction of Hibiya Park and upcoming destruction of Jingu Gaien, the pattern of unashamed conversion into built-up places of entertainment to satisfy worldly desires at the expense of natural beauty seems to continue through the centuries.

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The Burden of Youth (1)

Hello Kjeld,
I have very much enjoyed reading your fascinating articles on the komori. I have looked at a number of photographs of Komori by T. Enami and noticed that they are not studio shots and maybe not all posed. This must mean he took them with some sort of portable camera, I would guess? I’m used to seeing 19th century Japanese photographs that are all posed studio shots. You don’t know what sort of camera he was using do you? Thank you, Melinda

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Shinsaibashi Bridge

(Author)

@James: Indeed. Thanks for sharing, James!

I actually mentioned this in an earlier article about Shinsaibashi Bridge. During the 1980s and early 1990s my head office was in Shinsaibashi and I crossed this bridge all the time. Special memories.

In those days when we saw a foreigner in the Shinsaibashi arcade we would tell each other. It was that rare!

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The current Shinsaibashi river bridge still exists….sort of. For the international Expo in the 1970’s Osaka added highways and other city improvements. The Shinsaibashi river was drained, dug out and an underground shopping center was put in (crysta nagahori shopping). The remains of the bridge were kept and put in concrete as part of the road. So people still cross the street and walk over the bridge.

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How do you Wash a Kimono?

(Author)

@Kristin Newton: I love these little tidbits of historical memory. I hope a more beautiful and natural way against flooding can be found. Concrete is not very kind to the life that used to flourish in and around waterways…

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I live by the Marukogawa river in Futakotamagawa. The lady across the street knows the history of the whole neighborhood and informed me that the original family who lived here were kimono dyers. They used to wash the kimono fabric in the Marukogawa. Now the river is a walled by concrete but when my neighbor was young it was a natural river which often overflowed its banks.

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Tea Field and Toji Pagoda

(Author)

@Noel: I looked at the digital files I have of Yokoyama Matsusaburo’s work, and this image fits in quite well. But in 19th century Japanese photography one can never really be 100% sure, of course…

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I still don’t know much about Yokoyama Matsusaburo’s works, so it was more or less a guess. Following Terry Bennett’s “Photography in Japan” I assumed that this specific “framed” caption might be Yokoyama’s, but from what I’ve seen there are 2 or 3 different styles of said caption and I’m not sure all of them were used by his studio.

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(Author)

Yes, that is the original print by Yokoyama. It also confirms that Toji is the correct location. Many sources place this scene incorrectly in Uji. Now this photo is two decades older… Amazing observation, Noel! Thank you very much. I will adjust the captions.

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It seems the photo at the top of the page is a copy with erased caption that might have been from Yokoyama Matsusaburō’s atelier. See the reference photo

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Bridge on the Tōkaidō

(Author)

@Noel: I am a little confused. Isn’t your Feb 27 comment basically saying what I also wrote on Feb 21? Bridges built at different times at locations very close to each other?

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(Author)

@Ted Taylor: I don’t think I was familiar with that bridge, Ted. Thanks! It reminds me a little of the Hozu Kobashi Bridge that you cross under when doing the Hozugawa Kudari from Kameoka.

Looking forward to reading about the Chinkabashi!

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Oiran Courtesan

(Author)

@Glennis Dolce: Heartrending, isn’t it. The woodblock prints make Yoshiwara look glamorous, but the behind the scenes stories show a very different place. Thankfully, there were also many women who managed to escape by marrying a client who would pay off their debts.

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How did I miss this one? Ohh… the pitiful & sadly descriptive narrative of the death of the woman.
?

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