Sushi and Sake Magazine Oct 2011

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COVER STORY 07

OCTOBER

The History of Sushi -Enjoy Fresh Ingredients and Craftmanship-

EDUCATION

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Living Treasure -Genki Living Expo and 50th Anniversary Celebration Keiro Senior Health Care Jet Alumni Association Ganbare Nihon!

by Sally Kikuchi

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Let’s Learn Japanese -Autumn is said to be the appetite-stimulating seasonBy Natsumi

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Story of Amino Pure / Episode No. 1 -What role do supplements play in maintaining health?-

ENTERTAINMENT 04 05 05 06 11

Event Calendar Photography Exhibit by Nobuyuki Okada -71th Nisei Week Japanese FestivalJapanese Food Festival 2011 -Enter the Unknown Regions of Japanese CuisineHere & There

by Andrea Rademan “Arigato” Thank you for Supporting Japan. Appreciation Event held -Japan will return Strongerby Hiroshi Kawabata

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Hurray! J-POP: Future idols to emerge from VOCALOID!

by Yumiko Hughart

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The Art of Sushi and Sake : -Pacific Standard Timeby Nancy Uyemura

FOOD & RECIPES 15 25 28

Recipe Corner: Green Tea Omelet / Tofu Fried with Miso and Cheese Shifting from Making Delicious Sake to Sake-Making With A Purpose

by Yuji Matsumoto Little Tokyo Japanese Restaurant Map

TRAVEL 13

Tokyo Report: -Visiting the Museums of Tokyoby Toshi Oyamada

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Vol. 11, No. 11

by Hiroshi Kawabata

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OCTOBER 2011

-JCHA’s 21th Nursing Scholarship Award Ceremony held - Aomori Prefecture Product Exhibition held in Little Tokyo

STAFF EDITORIAL Executive Editor Hiroshi Kawabata EDITOR Andrea Redeman Erika Jones Toshi Oyamada COLUMNIST Andrea Redeman Keiko Azuma Izumi Sunaoka Natsumi Yumiko Hughart Nancy Uyemura Yuji Matsumoto CREATIVE Art Director Amazing Graphics BUSINESS Director of Sales David Kudo HONORARY ADVISORY BOARD Takashi Abe Luis Diaz (Chinois on Main) Andrea Guerrero (Max) Akira Hirose (Maison Akira) Yujean Kang Toshi Kihara (Hamasaku) Nobu Matsuhisa Shunji Nakao (The Hump) Kimmy Tang (Michaelia) Tommy Tang

COMMUNITY ADVISOR Frances Hashimoto Shige Higashi Tim Itatani Tom Kamei Noritoshi Kanai Nancy Kikuchi Joanne Kumamoto Howard Nishimura Nobuyuki Okada Pat Seki Yoshinori Takamine Satoru Uyeda Bill Watanabe Koichi Yanagisawa

For advertising information, call (213) 680-0011. Sushi and Sake is distributed throughout Little Tokyo, Greater Los Angeles, South Bay, Orange, Ventura and San Diego Counties. Sushi and Sake does not assume responsibility for the accuracy of or opinions expressed in its contents. Sushi and Sake is always welcomes new products, films, music, etc. for review. Please contact us at the address above for consideration.

PUBLISHER All Japan News Inc. 222 S. Hewitt St. #10 Los Angeles, CA 90012 P: (213) 680-0011 F: (213) 680-0020 Sushiandsake2010@live.jp

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ENTERTAINMENT

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2011

October 2 Kosetsu Minami Aurora Benefit Concert The Aurora Foundation promotes Japanese culture to mainstream Americans interested in Japanese language and culture by providing scholarships and grants through the Aurora Foundation’s Scholarship Programs.

Net proceeds from the event helps fund the Aurora Japanese Language Scholarship, the Aurora Challenge Grant, the Aurora Speech Contest, and the Aurora Endowment Fund along with Aurora Program activities.

Aurora Benefit Concert is at El Camino College-Marsee Auditorium. 16007 Crenshaw Blvd. Torrance, CA. Tickets are available at Aurora Foundation 323-882-6545, All American Tickets 1-888 507-3287, Kinokuniya Bookstores - Little Tokyo Store 213-687-4480, Costa Mesa Store 714-662-2319, and Sanuki no Sato 310-324-9184. For more information, contact Aurora Foundation at 323-882-6545.

October 9 Tea & Chamber Music The JACCC is pleased to present the The Colburn Academy for this special On the Veranda program featuring live chamber music accompanied by light refreshments and tea-tasting. The Colburn Academy, the newest division of The Colburn School, offers highly gifted, pre-college age musicians a comprehensive curriculum of music courses. The Academy seeks to refine, enhance and develop performance skills and musicianship at the highest of levels. As space is limited, reservations are highly recommended. $20 General Admission, $15 JACCC Members.

JACCC Garden Room, 1-3pm / 244 S. San Pedro St. LA CA 90012. For more information or to make a reservation call (213) 628-2725 ext. 133.

October 7 -23 Utsuyaka The JACCC is excited to present an exhibition by one of the most versatile, in-demand photographer Taka Kobayashi. Kobayashi’s internationally celebrated work span from iconic ad designs to artistic stills and landscape pieces. Titled utsuyaka, a word in the Kyoto dialect meaning “beautiful and graceful,” the US premier of his latest work explores thr mystic beauty of maiko from Kyoto. The exhibition features the U.S. premier of his latest work, in which Koabayashi explores the beauty of maiko, or apprentice geisha, from Kyoto.

Kobayashi’s fresh and modern take on the maiko is a juxtaposition of tradition in the digital age. Free Admission. Special Gallery Hours: Tues.-Sun., 11am-5pm / Extended Gallery Hours: Wednesday, 10.12 & Sunday, 10.16, 11am-10pm. Closed Mondays and Holidays. George J. Doizaki Gallery South Gallery, 244 S. San Pedro St. LA CA 90012. For more information 213-628-2725

October 15 Genki Living Expo In conjunction with Keiro’s 50th Anniversary celebration, Keiro will hold a one-day Expo featuring informative presentations, “Ask the Experts,” cooking demonstrations, fitness and dance demonstrations, wine and sake tasting, a community bookshop, and 80+ exhibitors to nurture an active, healthy lifestyle! This is a sponsored event, and will be open/free to the public.

Genki Living Expo is at Pasadena Convention Center, Exhibit Hall A. 300 E. Green St., Pasadena, CA 91101. For more information. Visit Keiro’s Genki Living Expo www.keiro.org/genki-living-expo or call (323) 980-7583

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October 22 LA Daiku presents -An Autumn Harvest of Choral Music An unprecedented musical event in the LA Japanese Community occurred on July 10, 2009. A chorus of 380 Japanese American and Japanese singers, mostly inexperienced but had rehearsed over eight months, sang Beethoven’s Symphony No. 9 at the Walt Disney Concert Hall. The audience was impressed, awed, even stunned. The LA times music critic. Mark Swed commented that “the forthright mega-chorus was exceedingly well drilled” and exciting to hear. “This marvelous monster chorus…sounded the fervid, disciplined voice of a community.” Even more affected were the singers.

Some who shared the emotional high of the glorious No. 9 wanted to continue singing and formed a chorus called L.A. Daiku. Daiku means No. 9 in Japanese, but more specifically it means Beethoven’s Ninth, which is endeared among Japanese to the extent that over 300 performances given annually all over Japan. Officially established in September, 2009, L.A. Daiku has weekly rehearsal of Beethoven’s No. 9, Handel’s Messiah and others from its expanding repertoire at the Hollywood Japanese Cultural Institute. L.A. Daiku welcomed Dr. Bernstein as its director/conductor. Dr. Bernstein is also the director/ conductor of Hollywood Master Chorale and Pasadena Master Chorale as well as associate conductor of Grendale Symphony. In addition, Ms. Lauren Buckley leads L.A. Daiku’s group and individual voice lessons. L.A. Daiku “An Autumn Harvest of Choral Music” is at Sunday, October 22, 2011 at Mission Valley Free Methodist Church / 1201 S. San Gabriel Blvd, San Gabriel, CA 91776. For more information at LADaiku@aol.com or 310-625-4222

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71th Nisei Week Photography Exhibit by Nobuyuki Okada This exhibition will explore the 71th Nisei Week Japanese Festival. Such as opening ceremony, Queen coronation, Grand Parade, Nebuta, Tanabata Festival and more. It all takes place at the Little Tokyo Koban & Visitor’s Center on through November 30. From Monday to Saturday at 10:00 a.m. – 6:00 p.m. Closed on Sunday. More information at nokada@hotmail.com. Little Tokyo Koban & Visitor’s Center is at 1st St and San Pedro St. Nobuyuki Okada Profile 1941 Born in Tokyo, Japan 1965 - 1967 Studies at Tokyo Art Photography School 1973 Moved to USA 1991 Current Japanese American National Museum (JANM) - Volunteer Photographer 1991- Current Documented the Nisei Week Japanese Festival 2007- 2011 Nisei Week Japanese Festival Photography - Exhibit at Little Tokyo Koban (Every Summer-5years) 2008 – Current Lantern of the East Los Angeles Member 2010 August “Kabuki” Photo Exhibition at JACCC sponsored by The Japan Foundation *Documented Japanese Community Events. Photos Published in local and International Japanese Media

Japanese Food Festival 2011 -Enter the Unknown Regions of Japanese Cuisine-

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he 12th Annual Japanese Food Festival hosted by the Japanese Restaurant Association of America (JRA) will be held at the Kyoto Grand Hotel & Garden in Little Tokyo on Sunday November 13 from 11:00 a.m. to 3:00 p.m. The Japanese Food Festival held annually this time of the year is now a “fall tradition” in Little Tokyo.

At this Food Festival, various traditional dishes that one normally doesn’t try often is offered, along with Japanese foods considered to be American favorites, such as sushi, tempura, sashimi, beef bowl, unadon soba, yakitori, yakisoba, ramen noodles, okonomiyaki, and deserts. The stage set at the main festival

grounds will showcase the Big Tuna Filleting Show, Sushi Eating Contest, Mega Roll, and Sushi Chef Contests. The professional sushi chefs will vie with one another in exciting duels played out right in front of you.

You may be asked to help select the winner of the contests. The third floor features a Japanese garden with live jazz performances, ensuring an enjoyable relaxing evening for visitors.

The festival will also showcase koto (53rd

Grammy Awards winner Yukiko Matsuyama, and Saeko Kujiraoka performances this year) and taiko performances and other traditional Japanese arts. By purchasing an admission ticket $50 per person, visitors can sample all foods and drinks. However, popular dishes are sure to disappear right away, so checking the availability in advance is highly recommended.

For tastings of Japanese sake, beer, and shochu, visitors over age 21 must remember to bring their ID. On November 13, why not bring family and friends for a fun evening at the Japanese Food Festival? For more information, please contact the JRA office at (213) 687-4055 or visit at www.jraamerica.com

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ENTERTAINMENT

In with Fall and out with Fuhyo (bad rumors)

by Andrea Rademan According to the Japan National Tourism Organization (JNTO), although there was a huge drop in the number of visitors after the tsunami, things are pretty much back to normal outside the 50-mile radius of Fukushima. It’s time to stop the fear and fuhyo (bad rumors) that claim Japan is unsafe. This is an excellent time to visit. In Los Angeles it’s also an excellent time to dine on Japanese cuisine. In the 2012 Zagat Survey, three of the five top food ratings went to Matsuhisa, Asanebo and pricey but perfect Urasawa, which also picked up the award for Service for “meticulous” hospitality.

With the lobbying effort to ban shark fin soup, and polling showing overwhelming support from Chinese Americans, the Monterey Bay Aquarium released a recipe for faux shark fin soup that is sustainable and less expensive, showing that we can respect ancient traditions in a way that preserves endangered species. http://www.montereybayaquarium.org/cr/cr_seafoodwatch/recipes/sharkfin_pahk.aspx Culinary Tour to Southern India January 15-25, 2012 Joan Peterson, PhD, is a world traveler and author of the EAT SMART guides to the cuisine of Brazil, Turkey, India, Indonesia, Mexico, Poland, Morocco, Peru, and Sicily, who leads culinary tours to Europe, Asia, and Africa. Southern India differs from northern India in people, languages, food, culture, temples, clothes, and fashion. The region has traditionally been somewhat detached from the rest of the country, mostly due to its geographical location. India’s culture is a rich mosaic whose myriad elements have ancient roots and foreign influences. It is vibrant and chaotic, a land of incredible contrasts and paradoxes. Info: Joan@EatSmartGuides.com Sept. 29 - Oct. 2 The first Singafest Asian Film Festival happens at Bigfoot’s Majestic Crest in Westwood, a 3D capable theatre that presents Hollywood first-run movies as well as sneak previews, premieres and specialty programming. The festival promotes various Asian cultures, each with their own world view and methods of storytelling, merging Eastern and Western cultures to showcase films from the U.S. and Asia (shorts, docs, 3D and animation), plus guests and seminars with visiting filmmakers and Hollywood professionals. Judges include: Ted Kim; Teddy Zee; Kenneth Bi; and Rosa Li. Oct. 1 Japanese action star Sonny Chiba (THE STREETFIGHTER; KILL BILL: VOL. 1) and daughter Juri Manaseto will conduct a live martial arts demonstration. Chiba’s 1981 film SAMURAI REINCARNATION (MAKAI TENSHO) stars him as the oneeyed master samurai Jubei Yagyu. BATTLE ROYALE director Kinji Fukasaku’s very first film as director in 1961 co-starred a young Chiba. Specially-discounted tickets are available from Visual Communications.

For the last 40 years, Visual Communications has created a space for Asian Pacific American media artists, cultivating emerging filmmakers such as Justin Lin (BETTER LUCK TOMORROW, FAST FIVE) and Chickie Otani, whose humorous short, WHAT’S UP IN THE FUTURE! was showcased at the annual Los Angeles Asian Pacific Film Festival. The Armed With a Camera Fellowship has mentored 72 filmmakers and the Digital Histories program has empowered over 100 senior artists. If you believe in the power of film and media to achieve a world free from cultural ignorance, join or renew by October 28 for a chance to win one of four $50 gift certificates to Little Tokyo’s Lazy Ox Canteen or Aburiya Toranoko. www.vconline.org/membership.

Oct 7 BENDA BILILI ! follows an unlikely group of musicians in Kinshasa, capital of the war-torn Democratic Republic of Congo. The band, Staff Benda Bilili — in English, “look beyond appearances” — is composed of four paraplegics and three able-bodied men. The French film directors encountered them in 2004 and began documenting their struggles to survive, through music, in the volatile city. The resulting film follows their journey from the streets to the world’s stages, culminating in the 2009 release of their first acclaimed album. Laemmle Monica.

October 7-13 TOAST Based on the amusing memoir of British food writer, Nigel Slater, whose culinary interests were inspired by his adored mother (Victoria Hamilton)’s disastrous cooking.

Toast, the only dish she mastered, rescued them from many an inedible supper. When she dies prematurely he is devastated, and when his lonely dad (Ken Stott) hires Mrs. Potter (Helena Bonham Carter) to cook and clean, he is soon bewitched by her sensuous charms and sumptuous lemon meringue pies. When they move to the country, Nigel (Freddie Highmore) shines at his school cooking class and he and Mrs. P. competitive cooking duel, vying for Dad’s affections. Landmark’s Nuart Theatre.

October 12 to 17 The Bel-Air Film Festival will screen 36 films at the Luxe Sunset Hotel and the UCLA James Bridges Theater. Tickets: www.belairfilmfestival.com. Good bets: My Fa-

ther’s Will; Summertime; and Challenging Impossibility, the odyssey of spiritual teacher Sri Chinmoy, who at the age of 53 took up weightlifting, inspiring people to transcend their personal limitations and to abandon their concepts of the restrictions of physical age.

Film Independent at LACMA launches Thursday, October 13, presenting classic and contemporary narrative and documentary films, artists, auteurs, international showcases, guest-curated programs, plus conversations with artists, curators and special guests. Curated by film critic Elvis Mitchell with LACMA Film Coordinator Bernardo Rondeau and Film Independent’s programming team. October 13 – The Rum Diary; October 16 at 8:30pm – Martha Marcy May Marlene; October 18 – Modern Times (1936); October 20 – Live Read of The Breakfast Club; October 27 – Accattone (1961). Tickets: www.lacma.org or 323-857-6010.

October 13 - 14. Japanese and Japanese Americans: Racializations and Their Resistances including resistance to oppression from initial immigration of the Issei to the present. December 10 Speaking out for Personal Justice. Community activist and scholar Aiko Herzig-Yoshinaga shares her experiences compiling evidence for the Commission on Wartime Relocation and Internment of Civilians (CWRIC) hearings of the Japanese American Redress movement. Info: Mengning Li at MLI@aasc.ucla.edu or 310-8252975 October 21 at the Royal. Aki Kaurismäki’s LE HAVRE, named for the French harbor city, is Finland’s entry for Best Foreign Language Film and it’s already won a slew of prizes. A young African boy, Idrissa (newcomer Blondin Miguel), winds up in Le Havre when the container of illegal immigrants he’s in is accidentally diverted from London, where he is going to unite with his dying mother. Escaping, he meets Marcel Marx (André Wilms), a former Parisian bohemian who now shines shoes for a living. Marcel and his neighbors protect the boy from the officials who want to deport him, hoping to raise the money to send him to her. Aki deserves an Oscar.

October 21 The Cult of Hatsune Miku In July 2011, Japanese pop idol Hatsune Miku performed to a sold-out Nokia Theater in Downtown LA. But Miku isn’t real: she’s the combination of computer software and the online contributions of thousands of people. Alex Leavitt looks at how Miku epitomizes the success of networked, peer-produced media and illustrates the potential for new forms of youth identity in Japan. Pacific Asia Museum: 626-449-2742 Opens Oct. 22 James Hiroyuki Liao and Linda Park play the Deavers in the multi-ethnic cast of Arthur Miller’s All My Sons about partners in a machine shop during World War II who turned out defective airplane parts. The Kellers are black, white and bi-racial and their neighbors are white and Latino. This non-traditionally cast, multi-racial production sheds new light on Arthur Miller’s powerful story about social responsibility and business success. The Matrix Theatre (7657 Melrose Ave. LA; 323-960-7773; $25).

October 22 to 30 The 24th Tokyo International Film Festival (TIFF) will be held at Roppongi Hills and other venues in Tokyo. Kyoko Kagawa will receive the FIAF award on October 24, announced Hisashi Okajima (Chief Curator, National Film Center of Japan). All nine of her films will be screened, including the digitally remastered version of “Tokyo Story” (1953). A total of 975 titles from 76 countries and regions were submitted. Aside from the 15 films in the Competition Section, represented by director Shuichi Okita and actor Koji Yakusho, around 200 films will be screened.

DRIVE Director Nicolas Winding Refn’s opening sequence introduces an anonymous movie stunt man (Ryan Gosling) whose real talent is driving getaway cars with the skill of the speed racer he’s like to be. He falls for Irene (Carey Mulligan), a single mom with whom he’d like to find happiness but will a botched robbery and a slew of violent murders stand in their way?

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The History of Sushi -Enjoy Fresh Ingredients and Craftmanshipby Hiroshi Kawabata

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apanese cuisine has reached the heights of gourmet fare, and there are many epicureans who recognize it as the finest food. It is a cuisine that uses the freshest ingredients with a feeling for the season, which is what is at the bottom of that evaluation, and the craftsmanship of the workers who create it is outstanding. Entering the 1980s, there was an explosive “sushi boom” that spread widely, and that made up the foundation of Japanese cuisine. Then, Japanese cuisine penetrated America with sushi as the representative component, and “sushi bars” are a brilliant stage on which to appear, are they not?

Sushi is a traditional Japanese cuisine representative of Japan, dating back to the Edo period. When asked, “What is the most famous food from Japan?”

Almost anyone will surely respond, “Sushi!”

Today, the general public is interested in low-fat, low-calorie foods in the U.S. and abroad, and sushi has spread worldwide. Thanks to the expanded distribution routes, fresh seafood is available daily not only from Japan, but from various countries all over the world.

Here in Los Angeles, various sushi restaurants using only fresh seasonal ingredients serving traditional, authentic sushi rivaling sushi served in Japan fills the city. Polite and humble sushi chefs work his magic transforming fresh colorful ingredients into great sushi!

Sometimes, I can’t help but wonder, “Am I really in the states?” Some say, “Real sushi is only available in Japan,” but this isn’t true. There are various sushi restaurants all over Los Angeles that serves sushi that is just as good as sushi in Japan with reasonable prices. Diners can choose from a wide variety of authentic, Edo-style sushi to the latest fusion dishes.

Origins of Sushi Sushi used to be a food for celebrities, and ordinary people did not have much experience with it. In particular, it was thought that “eating raw fish is something barbarians do.”

Even in urban areas during the 1970’s eating raw fish was seen as something

strange. Forty years later, sushi is a part of the language. Starting with the American-born California Roll, numerous rolls of many types have appeared in the U.S. The naming and “topping” of many of these rolls are colorful, reflect the local feeling, and are available not only at sushi counters, but also in the deli section of

supermarkets and convenience stores.

In this article I will try to retrace the footprints of the past to discover, “What is sushi?”

It is said that sushi originated around the Fourth Century B.C. in Southeast Asia. In those days, in order to supply all-important protein, the way of preserving fish was to soak salted fish in rice and allow it to ferment. The guts were removed from the fish, salt and vinegar were added, and the fish was soaked with rice. It was a food that was preserved well through the fermentation of the rice.

This sushi was called “nare zushi” (a name given at the start of the era in which it was introduced), and after a period of several days to several months the fish was taken out and eaten while the rice was discarded.

Sushi later came to Mainland China and around the Eighth Century it was brought to Japan. Eventually,

since the Japanese people liked rice, they began to eat the fish along with rice, and sushi known as “namanari zushi” appeared at the end of the Muromachi Period (1333-1573).

The half-raw fish and the rice were eaten together.

In another version of the story, “narezushi,” which still exists in the Shiga Prefecture area, is said to be the origin. Another version has it that “funazushi” in the Otsu area, for example, and other foods still remaining around the Lake Biwa area inherited the current of sushi as it went from preserved food to non-preserved food.

The Transformation of Sushi In the beginning, rice was only for helping the fermentation process and its purpose was only for preservation. At the start of the Edo Period (1603-1867), other foods began to be eaten with this very same rice that

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was unique to Japan, and the structure of sushi was transformed.

Unlike today, there was no technology for freezing food; to preserve sushi ingredients, a method of soaking them in “soy sauce” or “vinegar” was used. Because of that, items such as tuna are said to be typical and even in the present day, if you order at a sushi restaurant by saying, “give me the soaked stuff,” an order of tuna will be served. In those days, when sushi was made, sushi chefs sat Japanese-style, the place was called “a soaking place,” and if you didn’t have calluses on your feet from sitting, you were not considered to be a full-fledged sushi chef.

The reason it was called “Edo-mae sushi” is because fish caught in the Ocean around Edo (today’s Tokyo) were used at that time; and since the ocean and the town were close to each other, it was easy to preserve the fish.

Instead of waiting for fermentation, vinegar was added to the rice; and not only fish, but also vegetables and dried foods were used as well. This method is strongly connected to the local products of a given location, and even now there are still special products or “local specialties” in many regions of Japan.

Birth of Quick Sushi and Nigiri Sushi Around 1700 in Japan, “sushi” restaurants appeared and “pressed sushi” and “inari zushi” were born.

In about 1800, during the Edo Period, eateries centered on street stalls were popular in the towns. For the food lifestyles of ordinary people the thinking was, “if it’s quick and fulfilling, it’s good enough” and what is today known as fast food flourished.

Among those foods, “quick sushi” appeared, and this was to be the origin of nigiri sushi. However, there was no official record of “by whom, when, and where it was started.”

What is almost established is that at the beginning of Edo Period culture (1803-1830), “quick sushi” was invented at “Matsu no Sushi,” a high-end restaurant in a place known as Fukagawa Rokken-bori, and one of the chefs from that restaurant, Hanaya Yohebei, made further innovations and spread “nigiri sushi” throughout Edo from his own restaurant in Ryogoku.

At first, it was called “quick sushi.” However, other sushi chefs presented an opinion of “this isn’t real sushi”, and a huge uproar ensued;

however, it had a good reputation for being quick and delicious, and it started gaining acceptance around Edo. At that time, preservation technology was not yet developed, so once it sold out, patrons were told, “ojare zushi, ” meaning “come back in a few days.” Also, “machare sushi” was so named because of its meaning: “wait a second.”

In those days, it was said: “If you steal ten ryou [a current value of one million yen], you will get the death penalty.” Yet, high-quality tastes became popular among the populace of Edo and “three ryou sushi” sold very well. This was at a time when if a sumo wrestler managed to get “ten ryou,” his salary would be that “ten ryou,” and it was said that he could live for one year on that amount of money.

From that time and through the Meiji Era (1868-1912) and Taisho Era (1912-1926), there were a lot of street stalls doing business next to public bathhouses, and the size of the sushi was as the same as the present day “rice balls” - even for adults it was said “if you have two, you will be full.” Around the Yoshiwara district in Edo, businessman-type chefs appeared who had balance bars with hanging tubs containing a rice tub

on one end and sushi ingredients on the other. The style whereby a towel is wrapped tightly around the head was called “Yoshiwara Maki” and it came to have a good reputation for being “smart and cool.”

Moreover, by the end of the Edo Period, sushi styles were divided into “Kanto-style” and “Kansai-style.”

“Kanto-style” is the mainstream of current sushi styles and is based on “nigiri” sushi. “Kansai-style” is based on “pressed sushi.” It is a style made by a square-shaped mold, and even today “battera” and “kera sushi” continue to convey the tradition. After the Great Kanto Earthquake of 1923, sushi chefs in Tokyo who were victims returned to their own hometowns and spread “nigiri sushi” all over Japan. “Nigiri sushi” was a part of “local Tokyo food” but misfortune turned into a blessing and it spread nationally.

Why Sushi is Served in Two piece?

When you order sushi at the sushi restaurant, most places will serve two pieces at a time. The reason for this actually comes from religious origins. Since ancient times, “rice” was something very important and it was respected as

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both “a god” and “Buddha.”

Once upon a time a customer requested, “Please make a smaller piece of sushi because this one is too big,” so the sushi chef cut the sushi in half. It was said that two pieces of sushi being created from one began thusly; however, because of the implication of “cutting the precious god and Buddha,” the rice portion remained small, and could still be used for just one piece. Depending on the sushi restaurant, therefore, some still serve only one piece per one order. Generally “high quality” restaurants employ this system.

Accordingly, these sushi restaurant owners say: “It is good that customers can order one or three pieces - or as much as they want per order.” By way of example, with regard to naming ingredients, “a sushi chef calls squid legs ‘geso.’ But if you don’t know the name, you can just order ‘squid legs.’ It is the chef’s job to serve sushi in ways that make customers happy. Making comments if a customer doesn’t know the name of the ingredients, or making an unhappy face if there is a strange order of one or three pieces - these are not the actions of a real sushi chef.”

I asked around at sushi restaurants in Los Angeles, and in the last two or three years there have been cases of American customers ordering one or three pieces. This is due to the influence of setting up happy hour events with “one dollar sushi” and promotional sales of certain ingredients. Some restaurants say that there is only one person in a hundred who orders in such a way.” Incidentally, restaurants and sushi chefs answered: “We would accept such orders.”

Japanese customers, meanwhile, think, “one order equals two pieces,” and orders of “one piece each, please” are “nearly zero.”

Currently, the price for “one order of two pieces” of sushi averages from four to six dollars. The price at

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cheaper restaurants ranges from three to five dollars.

Sushi of Today Around the 1960’s, in order for “common people to be able to eat sushi more easily,” revolving sushi appeared in Japan. Nowadays, it has spread all over Japan and not only do revolving sushi establishments have cheap prices, but quality and quantity have also improved as sushi has grown into a major industry.

Because fish and rice are good for one’s health, sushi has boomed in America since around the 1980’s, and sushi bars have spread. The first revolving sushi restaurant, moreover, appeared in Japantown in San Francisco in about 1985.

At that time, the method for revolving was not a conveyor belt; there was a narrow channel of water between the counter and the customer, and small boats were tied together with a chain and made to float in a revolving fashion. The health department here in America had never seen such a facility and spent a lot of time

checking the sanitary conditions and the restaurant had a hard time before it could open. Once it opened, the idea and the unique way of serving dubbed “boat sushi” - gained a good reputation, and it was said that so many customers came every day that the chefs had no time to look up from making sushi.

Later, Los Angeles and other big cities in each state came to have revolving sushi restaurants. The freshness of the sushi on the conveyor belt diminished after a while, and to avoid that, the restaurants added covers or tags to the plates, removed the plates after a certain time, and made efforts to keep the sushi fresh all the time.

Sushi chefs used to stand in the center of the revolving conveyor belt to make sushi, but recently there is a new method of standing on the outside and placing the sushi on the

oreno-yakiniku.com

conveyor belt. Not only is sushi served with this method, but there are also fried foods such as tempura, a variety of side dishes, desserts, and “anything that can be put on the conveyor belt and delivered to the customer.” On the whole, however, the saturation level of the revolving sushi market has not yet been reached, and it is said that “the market still has plenty of room for development.”

Revolving sushi has become popular in European countries such as France, and it is considered to be one of the developing industries. In Europe, they have a custom of eating “raw” or “nearly raw” fish, so sushi was easily accepted. Not only are there skillful sushi chefs, but sushi machines have also appeared. Sushi has become popularized, and the boom has spread not just to America, but also to all over the world.

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OCTOBER 2011

COVER STORY

l Popular

Toppings for Sushi l

Tuna

Yellowtail

l l The contrasting red and white colors and the elegant shape are pleasing to the eye.

The prawns are boiled, then slit open. Traditional Edo-mae sushi used boiled pawns.

Gizzard Shad

l Sea

Octopus

l l There are different ways to prepare abalone, depending on the variety: raw, steamed or simmered. The crisp, chewy texture, when taken from the shell and eaten raw with salt and lemon, is very pleasant.

Salmon Roe

l Giant

l l Each part of this fish has a different l l The meat has relatively taste. The red lean flesh (used for this serving) has a high fat content and the taste is close to fatty tuna nice fragrance, while the fatty toro flesh offers a richer or salmon. A Yellowtail is a “shusse-uo” a variety flavor. of fish that as they grow larger, acquire different names.

Conger

l l Becomes very tender after simmering. This is become each restaurant has its own individual way to simmered, cook and steam the Conger. Tokyo Bay is to be the best.

l l The more skillful the sushi chef, the better he or she will adjust the tang of the vinegar and the bite of the salt. Kohada fry, called shinko, are only eaten in summer.

l Fluke l

l l The Edo-mae recipe calls for pieces to be boiled in salted water. They are not popular with Americans because they are hard to chew. They are good for digestion and the taste actually becomes better as you chew.

After raw slices are placed on clumps of rice, soy sauce and sudachi citrus juice are dribbled on too. Has a refreshing taste. Living up to the appearance of the semitransparent flesh. The portion near the fin is called “engawa” and is popular.

Jack Mackerel

l l Rinsed a moment in vinegar to improve the flavor of the fatty fish. They are best eaten with scallions and ginger.

l l The eggs are harvested from the winter until the beginning of Spring, and are preserved either in salt or soy sauce.

Their use as an ingredient of sushi if fairly recent.

Mesmerizing rich and salty flavor with the fragrance of the seashore.

Shrimp

Urchin

l Mesmerizing sweet flavor with the fragrance of the seashore. Served as a topping on gunkan-maki (sushi rice wrapped in seaweed). Purple Sea Urchin is harvested from the west coast. House Dung Sea Urchin is harvested from the east coast.

Abalone

Clam

l A luxury item, partly because so few are available. When firmly slapped against the working surface during preparation, the flesh constricts and becomes firmer, giving the clam a chewy texture.

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ENTERTAINMENT

OCTOBER 2011

11

“Arigato” Thank you for Supporting Japan.

Appreciation Event held -Japan will return Strongerby Hiroshi Kawabata

O

n September 7, “Arigato: Thank you for Supporting Japan. Appreciation Event” was held at the Noguchi Plaza of

Little Tokyo with approximately 300 attendees. This event was held to express gratitude to the outpouring support received from Los An-

geles County and suburbs following the Great East Japan Earthquake. Seven Japanese American organizations cooperated to hold

this event: Consulate General Japan, Japan Business Association, Japanese Chamber of Commerce of SC, Japan Prefectural Association of SC, Japan Foundation LA, Japan External Organization LA, and Japan National Tourism Organization LA. The event started with a moment of silence by all members dedicated to the innocent victims of the disaster.

Consul General Junichi Ihara expressed gratitude for the many support received and commented, “As September 11, 2001 changed the U.S., March 11, 2011 changed Japan. However, we received much support from people worldwide, which we would like to cherish this bond of friendship for a very long time. As we have been given support, we will also do the same for others in the future.

Japan will overcome this disaster and become even stronger as a nation to contribute globally to other nations upon our recovery.”

Attendees for this event included Mayor Ronald Loveridge of the City of Riverside, who started to gather public donations for afflicted sister city Sendai immediately following the disaster; Jan Perry, city council member who stopped cars coming and going near the downtown city hall to ask for donations; and Irena Adams, deputy mayor for the City of Los Angeles, etc. At the venue, Miyagi Prefecture, Iwate Prefecture, and Fukushima Prefecture, each region afflicted by the disaster put out a booth, exhibited photos of the aftermath and served regional sake from their prefectures to guests.

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OCTOBER 2011

ENTERTAINMENT

Hurray! J-POP

Future idols to emerge from VOCALOID!

by Yumiko Hughart

W

hile anime and video games is representative of Japanese culture expanding into the U.S. market, a Japanese idol now active in the U.S. is a recent unexpected addition to this trend.

The largest animation festival in North America was recently held with this Japanese idol’s debut concert as the main event. The band is on stand-by with over 5,000 fans waiting when a virtual 3D idol with green hair emerged on stage.

Her name is Hatsune Mino, a voice synthesis software to create songs, developed in Japan in 2007.

The concept is that anyone who type in their original lyrics and melody into the software can have Miku Hatsune sing their songs. Users who created songs using this software uploaded them one after another to websites using video clip distribution service “Niko Niko video clips,” which lead to its big break. This software was developed by Crypton Future Media in Hokkaido, released as Desk Top Music (DTM) software for Windows that synthesizes singing voices used by voice synthesis system “VOCALOID 2” developed by Yamaha.

In the DTM software genre where 1,000 software sold in a year is considered a major hit, this

software sold an unprecedented 70,000. Also, when an album is released with songs created using this software, the album was so

popular it ranked among the top on the Oricon weekly album chart above major artists. This year, her popularity crossed the ocean and expanded into the U.S. The concert organizers prepared 4,000 seats that quickly sold out.

Over 1,000 seats were hastily added, but they quickly sold out as well. According to the organizer, this was the first time a concert sold out. Also, Miku Hatsune’s popularity wasn’t limited to the

anime festival and emerged in a commercial for Toyota Motor North America, Inc., who announced the reason for using Hatsune was due to the “commonality we share: a compact package that contains a large dream.”

Hiroyuki Ito, CEO of Crypton Future Media who developed the software stated, “I believe the human race experienced 3 revolutions: first, an agricultural revolution; second, the Industrial Revolution; and third, informational revolution. The informational revolution is currently underway with anyone able to transmit information into the world using the web, twitter or ustream, and dramatic reduction in communication costs. The conventional pattern for artists having to move to Tokyo to pursue a music career is now broken, with anyone with the chance to obtain opportunities as an artist, even from Sapporo.

Music created by the software ‘Miku Hatsune’ developed by a company in the countryside topping the music chart. We’d like to capitalize on this chance to encourage music to be contributed from Sapporo, Hokkaido, and other rural areas.”

Future successes to be expected from Miku Hatsune, a software that became widespread among large corporations is unlimited.

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Tokyo Report -Visiting the Museums of Tokyo-

S

urprisingly, Tokyo is home to over 200 galleries and museums. For those who love the arts and culture, Tokyo offers a wealth of places you can visit to see world renowned paintings and artifacts. Why not decide on a theme and areas of interests for a visit? While we can’t possibly introduce every venue in Tokyo, we can definitely give you some great recommendations for a museum tour in Tokyo for your next visit!

Bridgestone Museum of Art 1-10-1 Kyobashi, Chuo-ku. Tokyo 03-3563-0241 10am – 8pm General Admission \800, Student \500, Senior \600 “For the welfare and Happiness of all mankind” was the personal motto of our founder, Ishibashi Shojiro.

And his phrase sums up the core ideals of the Bridgestone Museum of Art to this day. Since it opened in 1952, the Bridgestone Museum of Art has added to its collection on a continuous basis; it has held exhibitions on a wide variety of themes, organized lec-

tures and education programs, and published art-related texts. All the Museum’s activities are designed to provide people with the opportunity to encounter, enjoy, and learn about masterpieces of art. In the future, the Museum is aiming to widen the range of its collecting activities and its exhibitions to cover a greater variety of periods and regions. The Museum also plans to engage more with contemporary movements in the art world.

Mitsui Memorial Museum 2-1-1 Nihonbashi-muromachi, Chuo-ku. Tokyo 035777-8600 10am – 5pm General Admission \1,000, Student \800, Senior \500 The Mitsui Memorial Museum opened in October 2005 in Nihonbashi, a site closely related to the Mitsui Group. The collections from the Mitsui Bunko Museum in Nakano ward, with many treasures of Japanese and Asian art, will move to the new museum. Members of the Mitsui families have assembled the art works in the collection over the past three centuries and their preservation as a collection make these art works a preeminent element of Japanese cultural heritage. Display of the “beauty of functionality” in the selection of tea ceremony utensils will be contrasted with the display of Japanese and Asian art works in a western architectural setting. These galleries will allow visitors to rediscover the “beauty of form.” Viewers will be encouraged to explore the true meaning of art and culture.

TNM & Toppn Museum Theatre 13-9 Ueno-koen. Taito-ku. Tokyo 03-5777-8600 Fridays, Saturdays, Sundays, and national holidays: 10am – 4pm / Free of charge (The admission fee for the Tokyo National Museum is needed to enter the theater.)

The TNM & Toppan Museum Theater is at the TNM Research and Information Center. The theater gives visitors a new way of viewing cultural assets and artworks. The 30-seat theater features a super-high-resolution projector and 240-inch screen. The theater navigator explains about the featured artwork to enable viewers to appreciate them more deeply. Works designated as National Treasures or Important Cultural Properties are selected for virtual reality presentation due to their age and fragile condition, which do not permit them to be publicly viewed for long periods. The first work presented - the “Illustrated Biography of Prince Shotoku” - is an example. Brilliant colors in the internal space of the building where entry is prohibited for tourists can be closely viewed in addition to many artifacts used for the ceremony.

Yamatane Museum of Art 3-12-36 Hiroo, Shibuya-ku, Tokyo. 03-5777-8600 10am – 5pm General Admission \1,000, Student \800 Yamatane Museum of Art was founded in 1966 by Taneji Yamazaki who has donated his numerous collection of Japanese art. The ex-chairman of the Yamatane Art Foundation, Tomiji Yamazaki collected 105 works of Hayami Gyoshu known as one of the most respected Japanese artists among scholars and collectors. The Museum displays 6 to 7 exhibitions throughout the year by selecting paintings according to the respective topics. The collection mainly focuses on Kindai Nihonga (Modern Japanese paintings after Meiji era). The Museum also has collections of oil paintings, Ukiyoe, and Ancient Japanese Calligraphy. The wide variety and the level of the collection has a very high reputation among experts in Japan.

The Railway Museum 3-47 Taisei. Ohmiya. Saitama 048-651-0088 10am – 6pm General Admission \1,000, Student \500 The Railway Museum was built in Onari, Saitama City as the centerpiece of the JR East 20th Anniversary Memorial Project. This is a railway museum, and it preserves both the physical elements and heritage of railways in Japan and abroad. It also preserves materials relating to JR East and the JNR privatization reforms.

The Railway Museum also conducts research and development. This is a historical museum that tells the industrial history of the development of the railway system while introducing the historical background of each period with displays of actual models.

It is also an educational museum. Children can learn about and experience railway principles, systems, and the latest technologies (including future plans) through models, simulations, and play equipment.

TRAVEL

OCTOBER 2011

13

by Toshi Oyamada The Baseball Hall of Fame and Museum 1-3-61 Koraku, Bunkyo-ku. Tokyo 03-3811-3600 10am – 6pm General Admission \500, Student \300 The Baseball Hall of Fame and Museum, first of its kind in Japan, was opened in 1959 next door to Korakuen Stadium, the mecca of professional baseball in Japan. The stadium gave way to the Tokyo Dome in 1988. In the same year the museum moved to the present site within the Tokyo Dome. The new museum is twice as large as the old one. Its purpose is to contribute to the development of baseball in Japan through dedication of baseball greats—players, executives, and umpires— as Hall of Famers and the exhibition and collection of as many memorable baseball materials as possible, including various kinds of baseball literature.

NHK Museum of Broadcasting 2-1-1 Atago, Minato-ku, Tokyo 03-5400-6900 9:30am – 5pm Free Admission The NHK Museum of Broadcast opened in Atagoyama, dubbed “the birthplace of Japanese broadcasting”.Japan’s broadcasting history started in 1925. Since then, broadcasting has greatly progressed from radio to television, to satellite broadcasting, to High-Vision (HDTV), and to digital broadcasting. The Museum houses various exhibits on broadcasting history, including original items used in actual programs, and has an on-demand video library and a reference library, opened to public for free.

9.30 a.m. on March 22, 1925, Japan’s first radio broadcast was transmitted from a temporary studio of the Tokyo Broadcasting Station in Tokyo’s Shibaura district. “J-O-A-K”, the announcer pronounced the station’s call sign as if he were calling to someone afar. The sign-on was followed by an address from the first governor of the station, Goto Shimpei. Mr. Goto expressed his expectations towards the potential of radio broadcasting, stressing on four aspects: equal access to the benefits of modern culture, higher quality of family life, promotion of public education, and invigoration of the economy. Then, in July of the same year, regular radio broadcasts began in Atagoyama, which came to be known as “the birth place of Japanese broadcasting.

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OCTOBER 2011

WHAT’S NEW

WHAT’S NEW W E N S ‘ TAH W

JCHA’s 21th Nursing Scholarship Award Ceremony held

A

medical volunteer organization, Japanese Community Health Association.

(JCHA)’s Nursing Scholarship Award Ceremony was held on Sunday September 18 at the Miyako Hybrid Hotel in Torrance.

For Japanese patients who speak Japanese as their primary language, the challenges in communication when one is sick are cause of great anxiety. Due to this reason, JCHA provides scholarship annually to bilingual nursing students in the hopes of increasing Japanese-speaking nurses.

JCHA is a California non-

profit organization dedicated to the promotion and advancement of health related matters in the Japanese American Community of Los Angeles and its environs. The physicians, nurse, and other professionals who volunteer in JCHA are active in the following areas within the community.

Scholarships for bilin-

gual nursing students.

JCHA free medical consultations in Japanese and English.

Health exams for atomic bomb of Hiroshima and Nagasaki.

Clinical and financial support of various community health fairs.

Providing current health information for the Japanese speaking community.

At this Scholarship Award Ceremony, six students Eriko Suzuki, Keiko Kanzaki, Chika Pichardo, Ryoko Kawasaki, Mark Kumagai and Emi Fuyuki were awarded the scholarships.

Fred Sakurai, President of

JCHA asked for support, “Thanks to all of your support, I am pleased to announce the six new bilingual nursing students. We were able to award scholarships to more than 66 students to this day. JCHA provides free medical consultation in both English and Japanese, and supports blood tests for Japanese American Health Fairs, medical examinations for atomic bomb survivors, disseminates information on the latest medical care in Japanese, and provides a wide variety of medical volunteer services. Please help us by continuing to provide your generous support.”

Aomori Prefecture Product Exhibition held in Little Tokyo

T

he Aomori Prefecture Product Exhibition was held at Woori Market of Little Tokyo on September 17 from 12:00 noon. The event featured a Tuna Filleting Show which delighted over 1,000 attendees.

Also, attendees from Japan include Yoshihiro Tanaka, Director of JETRO Tokyo branch; Shinichiro Kasiwazaki, Chairman of Aomori Black Garlic Association; Toshisada Kushibiki, Kanesho Corporation; and Kiyoshi Takada, Kanesa Co. Ltd. Musical accompaniment by Nebuta Preservation Association from the local branch of the Association of Aomori Prefecture that started at 4:00PM added excitement to the festivities.

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FOOD & RECIPE

OCTOBER 2011

15

Pour, Dip and Cook. Spice it up! atu A ll N

P YUZU

r al

EPPER

SAUCE MIYAKO ORIENTAL FOODS INC. customerservice@coldmountainmiso.com Tel. 626-962 9633

Green Tea Omelet ( or Sandwich )

ingredients 1 medium potato 3 oz sausages vegetable oil for frying 1 oz processed cheese, any kind 4 eggs 2 Tbsp milk 1 tsp tencha or sencha salt and pepper to taste 2 Tbsp butter 4 – 8 cherry tomatoes a few leave of fresh mint, fresh basil, or any other herb Matcha Sauce 1 tsp matcha + 1 Tbsp warm milk 4 Tbsp mayonnaise 2 Tbsp plain yogurt (low sugar)

directions 1. Cut the potato into 1/2 inch cubes and cook 2 minutes in a microwave oven until soft. Set aside.

2. Cut the sausages into 1/2 inch segments. Pour a little oil in a fry pan and fry sausages over low medium heat until cooked. Set aside.

3. Cut the cheese into 1/2 inch cubes.

4. Beat the eggs. Add the milk and tea, season with salt and pepper, and mixwell. Combine the potato, sausages, and cheese with the eggs.

5. Heat the butter in a fry pan. Over medium-high heat cook, the eggs quickly, stirring all the time. Shape into an omelet and put on a serving dish.

6. Make the matcha sauce by mixing matcha and warm milk and stirring until the paste becomes smooth.

7. Combine the mayonnaise and the yogurt, and add the matcha paste.

8. Pour the sauce over the omelet and serve with cherry tomatoes and any fresh herbs.

Note: Omelet with green tea sauce is also excellent served on a slice of any kind of bread. Together with a few lettuce leaves.

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FOOD & RECIPE

OCTOBER 2011

17

Tofu Fried with Miso and Cheese

directions ingredients Ingredients 1 cake momen tofu Dash of salt and pepper Wheat flour 1 2/5 oz Mozzarella cheese Flavorings 2 Tbsp miso 1 Tbsp sugar 1/2 Tbsp sake 2 tsp salad oil 1 oz broccoli

1. Drain the tofu in a bamboo colander.

Cut it into 4 cubes. Coat it with wheat flour and sprinkle with salt and pepper. Break the broccoli into florets and boil.

2. Combine the flavorings and place them in microwave safe container.

Heat them in a microwave for about 50 seconds to 1 minute to make miso paste.

3. Heat the salad oil in a frying pan and fry both sides of the tofu.

4. Place the tofu and broccoli in a microwave safe dish. Spread the miso paste over them and top with cheese. Heat them in the microwave until the cheese is melted.

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OCTOBER 2011

EDUCATION

Ganbare Nihon!

By Sally Kikuchi, JET participant 2008-2010, Yamanashi City

M

y red and white wristband, which says “Ganbarou Nihon (Let’s pull through, Japan!),” means more to me than just remembering the March disaster. It embodies what I’ve come to appreciate all over again as I visited Japan this summer.

Before I left for Japan, I was asked repeatedly whether I was concerned about radiation or what foods were safe to meet. Although I was determined to go, I, too, had no idea what to expect.

I first noticed the Ganbare Nihon posters upon my arrival at Narita Airport, encouraging Japanese residents and international visitors alike. But as the days went by, I began to wonder if the same signs plastered throughout Tokyo had simply become a coined saying. The more people I talked to, the more it seemed that people were cautious and anxious. Waiting for the government to do more, some compared the economic state to that of America, while others mentioned having changed their

diet or awaiting another earthquake. But it was also at this point that I began to notice more than what I had been told.

Despite the sense of uneasiness surrounding Tokyo, the sentiment of ganbarou was evident.

Everywhere I went, there was no air-conditioning, limited elevator use and appliances normally taken for granted, like hand dryers in the bathrooms, shut off. While it may seem superficial, it was simply amazing to see how much everyone was contributing to the con-

servation effort. I also started to notice different signs: those thanking volunteers or thanking tourists who contribute to Japan’s future of recovery and hopeful success.

Everyone I had talked to either personally volunteered in Tohoku or knew of someone who had volunteered. I couldn’t help but think anymore that perhaps it is only the international community that has begun to lose faith in Japan’s progress, wrapped up in the fears and worries created by the media.

One day in August, I was waiting for a friend in Shinjuku station when I noticed a group of new JETs wandering through Tokyo after their orientation. It made me smile to know that the program continues to draw those who represent the world in their support of Japan and their commitment to fostering better ties with a country in need. As a firm believer that long term rewards come from continued investment, I am hopeful that former JETs will stay invested in Japan and in the people who taught us about a beautiful culture and values. I am even more hopeful, however, that future JETs will relay to friends and family back home that Japan is in fact addressing its current situation and has a bright future ahead – so as long as the world continues to believe in Japan.

Here’s to hoping that everyone has an invisible wristband of their own and that our support remains strong for a country that has given us so much.

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EDUCATION

OCTOBER 2011

21

“Autumn is said to be the appetite-stimulating season”

⑺ߩ㘩ߴ‛ OKAERI NASAI MESHIAGARU OKOME KURI TAKU KOUKA SHOKUZAI AKI SHINSEN

WELCOME BACK ATE RICE CHESTNUTS COOKED EXPENCIVE INGREDIENTS AUTUMN / FALL FRESH

ko

Tom: Welcome back, Mr. Suzuki ! How was Kyoto Suzuki san, okaerinasai. Kyoto wa ikaga ? deshitaka ? ࠻ࡓ㧦 ߔߕ߈ߐࠎ ߅߆߃ࠅߥߐ޿‫ߚߒߢ߇߆޿ ߪ ߣ߁ࠂ߈ޕ‬㧫 Suzuki: We had a good time. We ate many good Suzuki: Tanoshikatta desu. Oishii mono wo takusan ߔߕ߈㧦ߚߩߒ߆ߞߚ ߢߔ‫ ࠎߐߊߚ ࠍ ߩ߽޿ߒ޿߅ޕ‬ ߚߴ߹ߒߚࠃ‫ ޕ‬ things. tabe mashita.

Tom: What did you eat ?

Tom: Nani wo meshiagari mashitaka ߹ߒߚ߆㧫 ? ࠻ࡓ㧦 ߥߦ ࠍ ߼ߒ޽߇ࠅ Suzuki: We ate sushi, Shabu-shabu, Sashimi, KuriSuzuki: Sushi desyo, Shabu-shabu ni Sashimi, Kuriߔߕ߈㧦ߔߒ ߢߒࠂ‫ޔࠎߪߏߌߚߟ߹ ߿ ࠎߪߏࠅߊޔߺߒߐ ߦ ߱߾ߒ߱߾ߒޔ‬ gohan, Matsutake-gohan and many other gohan ya Matsutake-gohan ߶߆ߦ߽ foods.

Hokanimi iroiro ޿ࠈ޿ࠈ tabe mashita.ߚߴ ߹ߒߚ‫ ޕ‬ Tom: ߥࠎߢߔ߆㧫 Kuri-gohan ? Matsutake-gohan ? What are Tom: Kuri-gohan ? Matsutake-gohan ? Sore wa ߘࠇߪ ࠻ࡓ㧦 ߊࠅߏߪࠎ㧫 ߹ߟߚߌߏߪࠎ㧫 they ? nan desuka ? ߔߕ߈㧦ߊࠅߏߪࠎ ߪ ߅ߎ߼ ߣ ߊࠅ ࠍ ޿ߞߒࠂ ߦ ߚ޿ߚ ߽ߩߢߔ‫ ޕ‬ Suzuki: Cooked rice together with chestnuts is “KuriSuzuki: Kuri-gohann wa okome to kuri wo issho ni ߅ߎ߼ ߣ Matsutake ߹ߟߚߌ ࠍ ޿ߞߒࠂ ߦ ߚ޿ߚ ߽ߩ ߇ rice ߹ߟߚߌߏߪࠎ gohan”.

Cooked together with matsutake taita mono desu. to issho ni taita mushrooms is “Matsutake-gohan”.

Matsutake mono ga Matsutake-gohan desu.

Nihon ߢߔ‫ ߩ ࠎ߶ߦޕߔߢ ޿ߑߊࠂߒ ߥ ߆߁ߎ ߪ ߌߚߟ߹ ߪߢ ࠎ߶ߦޕ‬ mushroom are expensive ingredients in dewa Matsutake wa kouka na syokuzai ޽߈ ߦߪ ߢ ߒࠂߊߑ޿ ߇ ߚߊߐࠎ Japan.

There are ޽ࠅ߹ߔࠃ‫ ޕ‬ many fresh and good ingredesu.

Nihon no akiߒࠎߖࠎ niwa shinsen de ࠃ޿ yoi ߊࠅߏߪࠎ ߿ arimasuyo. ߹ߟߚߌߏߪࠎ ࠍ ߚߴࠆ ߩߪ ޽߈ ߇ ޿ߜ߫ࠎ ߢ Fall is the dients available in autumn in Japan. shokuzai ga takusan best season to eat Kuri-gohan and MatsuKuri-gohan ߔ‫ ޕ‬ ya Matsutake-gohan wo taberu take-gohan. nowa aki ga ichiban desu.

Tom:

⑺ߩ㘩ߴ‛

࠻ࡓ㧦 ߔߕ߈ߐࠎ ߅߆߃ࠅߥߐ޿‫ߚߒߢ߇߆޿ ߪ ߣ߁ࠂ߈ޕ‬㧫 ߔߕ߈㧦ߚߩߒ߆ߞߚ ߢߔ‫ ޕࠃߚߒ߹ߴߚ ࠎߐߊߚ ࠍ ߩ߽޿ߒ޿߅ޕ‬ ࠻ࡓ㧦 ߥߦ ࠍ ߼ߒ޽߇ࠅ ߹ߒߚ߆㧫 ߔߕ߈㧦ߔߒ ߢߒࠂ‫ޔࠎߪߏߌߚߟ߹ ߿ ࠎߪߏࠅߊޔߺߒߐ ߦ ߱߾ߒ߱߾ߒޔ‬ ߶߆ߦ߽ ޿ࠈ޿ࠈ ߚߴ ߹ߒߚ‫ ޕ‬ ࠻ࡓ㧦 ߊࠅߏߪࠎ㧫 ߹ߟߚߌߏߪࠎ㧫 ߘࠇߪ ߥࠎߢߔ߆㧫 ߔߕ߈㧦ߊࠅߏߪࠎ ߪ ߅ߎ߼ ߣ ߊࠅ ࠍ ޿ߞߒࠂ ߦ ߚ޿ߚ ߽ߩߢߔ‫ ޕ‬ ߅ߎ߼ ߣ ߹ߟߚߌ ࠍ ޿ߞߒࠂ ߦ ߚ޿ߚ ߽ߩ ߇ ߹ߟߚߌߏߪࠎ ߢߔ‫ ߩ ࠎ߶ߦޕߔߢ ޿ߑߊࠂߒ ߥ ߆߁ߎ ߪ ߌߚߟ߹ ߪߢ ࠎ߶ߦޕ‬ ޽߈ ߦߪ ߒࠎߖࠎ ߢ ࠃ޿ ߒࠂߊߑ޿ ߇ ߚߊߐࠎ ޽ࠅ߹ߔࠃ‫ ޕ‬ ߊࠅߏߪࠎ ߿ ߹ߟߚߌߏߪࠎ ࠍ ߚߴࠆ ߩߪ ޽߈ ߇ ޿ߜ߫ࠎ ߢ ߔ‫ ޕ‬

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OCTOBER 2011

ENTERTAINMENT

The Art of Sushi and Sake PACIFIC STANDARD TIME

“Drawing the Line” at the Japanese American National Museum

by Nancy Uyemura

P

acific Standard Time is a collaboration of more than 60 cultural institutions across Southern California telling the story of the birth of the Los Angeles art scene and how it became a major force in the art world.

The significance of the crucial post WWII years through the dif-

ficult times of the 60’s and 70’s are showcased through a multitude of simultaneous exhibitions and programs.

Drawing the Line: Japanese American Art, Design and Activism in Post-War Los Angeles, curated by Kris Kuramitsu and opening at the Japanese American National Museum, this October, will explore the cultural resonance of several key Japanese American

artists in Post-World War II Los Angeles. By situating the work of a diverse group of creative figures in the context of resettlement and a subsequent shifting sense of cultural identity, the exhibit will bring to light a complex story that interweaves art and community as part of the same fabric. While this story is specific to the unique circumstances of Japanese Americans from the 50s to the early 80s, it also resonates with other social and cultural movements, like the Civil Rights, Black Power, and Women’s Movements. The Japanese American National Museum show is taking a broad view of activism and art to create a nuanced reading of politics in the creative work that crosses the generations with a focused view of the times and with specific focus to the Japanese American community.

Works of industrial and graphic design will be seen side by side with paintings and photographs; performances, theatrical and musical, will be shown with performance art and film. The show includes works by artists such as painter Matsumi “Mike” Kanemitsu; musician and dancer Nobuko Miyamoto, founder of Great Leap; photographer and filmmaker Bob Nakamura; performance artist Linda Nishio; painter and printmaker Ben Sakoguchi; automobile designer Larry Shinoda; the art of Gidra; graphic designer Qris Yamashita; filmmaker and visual artist Norman Yonemoto; and visual artist Bruce Yonemoto, among others.

The Getty Foundation and

Getty Research Institute has been working on Pacific Standard Time for a decade in the documentation and presentation of works of art that is representative of Southern California’s vibrant artistic culture from 1945 to 1980. With Getty support, over a period of nine months, more than 60 museums and galleries, from Santa Barbara to San Diego and out to Palm Springs, will present exhibitions, performances, symposia, lectures, and publications that tell the story of Southern California’s key role as a center of artistic production in the mid-20th century.

Drawing the Line is part of Pacific Standard Time and for six months beginning in October 2011 it will give a glimpse of how Los Angeles evolved, giving birth to the L.A. art scene and where Japanese American artists were a part of this vibrant and diverse history. Hopefully you will be able to take advantage of some of the many events going on at JANM as well as some of the many other participating institutions. When you experience PACIFIC STANDARD TIME, you will gain a greater understanding and appreciation for Los Angeles’ important contribution to the art world and see the rich fabric that is woven with all the creative energies that were present at the time.

“Drawing the Line” is made possible by a lead grant from the Getty Foundation. The Japanese American National Museum is located at: 100 North Central Avenue • Los Angeles, CA 90012 janm.org • janmstore.com

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EDUCATION

OCTOBER 2011

23

AMINOPURE -Episode No. 1 -What role do supplements play in maintaining health?-

T

his statement is common sense, but the base of our health is what we consume.

Unfortunately, people aren’t equipped with the ability to create our own nutrients through “photosynthesis,� so in order to maintain our health daily, we must consciously consume necessary nutrients. In terms of meals, this wouldn’t be difficult if all we had to do was to consume what we wanted to. However, when we consider meals to create health, then we it’s a challenge to consume the appropriate amount of necessary nutrients at the appropriate time.

While it’s up to the individual lifestyle to feel that this task that requires much brain power is bothersome compared to photosynthesis or to take joy in this choice in our lives, if we have to consume nutrients either way, it’s best to enjoy the process to continue a healthy lifestyle for the long-term.

While one idea to condense necessary nutrients for easy and efficient? Consumption is space food; meals aren’t strictly to consume the necessary nutrients. To enjoy the texture and color of each food ingredients with someone you enjoy spending time with greatly aids the psychological aspect of maintaining health. Separate from that idea, I personally feel it’s best to obtain nutrients from food prepared the most nat-

ural way possible. However, in this busy day and age, it’s difficult to take the time to prepare a wellbalanced meal for each and every meal.

If you feel at time you’re “I’m not consuming enough nutrients?� it’s appropriate at times to take supplements for convenience.

Supplements line the shelves sat any store, so please have a purpose in mind when taking choosing a product. Ask yourself, what am I lacking and what am I needing? Try to understand the amount of blended nutrients from the perspective of protecting your own health.

My recommendation AMINOPURE contains amino acids that produce proteins for the body and Lglutamine. While various results can be expected, one think I’d like to point out is

its role in enjoying sake. It doesn’t change the flavor of sake, but helps to prevent bad hangovers and sickness from intoxication

with no concerns for the aftermath of drinking. In other words, this is a supplement that aids the enjoyment of great food!

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VOL 42

FOOD & RECIPE

OCTOBER 2011

25

Shifting from Making Delicious Sake to Sake-Making With A Purpose Master Sake Sommelier

W

hen I spoke to a kuramoto recently, I suggested the necessity of a sales talk narrowed down to a defined purpose. He replied, “We want tens of thousands of people to sample our sake, so we don’t want to narrow down our sales pitch.” I wondered to myself, “Is there a more convenient product than sake?” For example, there are no clothes that’s suitable for ceremonies, sleeping, and dates; but even if there were such clothes, who would buy them? By narrowing down the sales pitch, vendors are forced to offer products that best suit consumer needs and stimulate demand for their product.

While Japanese sake tests the limits of various processing techniques to produce various flavors, the flavor of wine is largely determined by the flavor of grapes from which they’re made of; similar to produce. In other words, flavors of Japanese sake can be varied to some extent (through the selection of rice, the degree of rice polishing, processing and storage methods (such as Junmai Ginjo or Ginjo, according to the type of sake made), while the flavor of wine depends largely on the quality of grapes harvested that year (but varies to some extent according to how it’s blended, the fermentation temperature, processing

and storage methods).

In that case, the quickest way to understand Japanese sake is to learn the objective (design purpose) of the brewery. Unfortunately however, many breweries (including importers) don’t understand this fact. On the other hand, some do understand but doesn’t know how to implement this. Various marketing lingos such as “delicious sake,” “traditionally made,” “suits many cuisines,” “made with Yamadanishiki” (the ‘king’ of all sake rice), “Won the Gold Award in the XXX Collection,” “YY sake is made in great nature,” “Junmai Daiginjo,” etc. However, none of these marketing lingos are helpful for the con-

sumer to understand the flavors of sake when selecting a brand of sake.

Customers are left wondering, “What does delicious sake mean?”

“What does homemade sake taste like?” “What does sake made in great nature taste like?” It’s most important for the brewery to communicate their “principle and purpose of the flavor of sake” to their customers. For example, to capitalize on the water quality (hard water), to select XX rice for the best pairing with meat dishes, select YYY as the processing method, to produce an original flavor that’s competitive with wine and shochu, etc., and other marketing lingos would be more direct and recommended for consumers.

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ENTERTAINMENT

OCTOBER 2011

27

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28

OCTOBER 2011

FOOD & RECIPES

MAP 45 $8.50

$10.00

MAP 33

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FOOD & RECIPES

OCTOBER 2011

29

Little Tokyo Japanese Restaurant CAFÉ & BAKERY 2

CAFÉ TAKE 5 213-621-3004 1st St. Miyako Hotel 1F

8

FRANCES BAKERY 213-680-4899 2nd St. Honda Plaza

10 FUGETSUDO 213-625-8595 315 E. 1st St 28 MIKAWAYA 213-624-1681 panese Village Plaza 37 SALON DE CAFÉ FOCUS 213-680-3015 2nd St. #202 Little Tokyo Mall

62 MATSUI RAMEN 213-625-2111 3 CHIN-MA-YA 123 S. Onizuka St. #302 Weller Court 213-625-3400 S. Onizuka St. Weller Court

IZAKAYA 7 EBISU 213-613-1644 329 E. 2nd St 12 HARU ULALA 213-620-0977 368 E. 2nd St 16 HONDA-YA 213-625-1184 333 S. Alameda St. #314 Little Tokyo Market Place

39 SENKA CAFÉ 213-617-8699 123 S. Onizuka St. #103

17 ISSEN JYOKI 213-626-5780 333 S. Alameda St. #301 Little Tokyo Market Place

56 YAMAZAKI BAKERY 213-624-2773 123 Japanese Village Plaza

19 JOY MART 213-680-9868 137 Japanese Village Plaza

60 FOUR LEAF 877-797-4582 318 E. 2nd St

32 OIWAKE 213-628-2678 122 Japanese Village Plaza

CURRY

36 RAKU PLUS 213-625-1751 424 E. 2nd St. Honda Plaza

4

CURRY HOUSE 213-620-0855 123 S. Onizuka St. Weller Court

FAMILY STYLE RESTAURANT 1

AOI RESTAURANT 213-624-8260 331 E. 1st St

29 MITSURU CAFÉ 213-613-1028 117 Japanese Village Plaza 44 SUSHI & TERI 213-687-8368 Japanese Village Plaza 43 SUEHIRO CAFÉ 213-626-9132 337 E. 1st St 51 TOKYO CAFÉ 213-628-3017 116 Judge John Aliso 53 T.O.T 213-680-0344 345 E. 2nd St

55 YAGURA ICHIBAN 213-623-4141 101 Japanese Village Plaza 61 FUGA 213-625-1722 111 S. San Pedro St

KAPPO KAISEKI 15 HAZUKI RESTAURANT 213-626-6858 2nd St. #205 Little Tokyo Mall 18 IZAYOI 213-613-9554 132 S. Central Ave

ORGANIC JAPANESE

42 SHOJIN 213-617-0305 333 S. Alameda St. #310 Little Tokyo Market Place

5

DAIKOKUYA 213-626-1680 327 E. 1st St

14 HANA ICHIMONME 213-626-3514 333 S. Alameda St. #303 Little Tokyo Market Place 24 KORAKU 213-687-4972 314 E. 2nd St

30 MITSURU SUSHI & GRILL 213-626-4046 316 E. 1st St 33 OOMASA 213-623-9048 100 Japanese Village Plaza 35 R 23 213-687-7178 923 E. 2nd St. #109 45 SUSHI GEN 213-617-0552 422 E. 2nd St. Honda Plaza

31 MR. RAMEN 213-626-4252 341 1/2 E. 1st St

46 SUSHI 55 213-687-0777 333 S. Alameda St. #317 Little Tokyo Market Place

34 OROCHON RAMEN 213-617-1766 Onizuka St. #303. Weller Court

47 TAKUMI RESTAURANT 213-626-1793 333 E. 2nd St

38 SAN SUI TEI 213-613-0100 319 E. 1st St.

48 TAMON 213-617-7839 328 E. 1st St. Miyako Hotel 2F

SHABU SHABU

49 TENNO SUSHI 213-625-0602 207 S. Central Ave

20 KAGAYA 213-617-1016 418 E. 2nd St. Honda Plaza 26 KUSHISHABU 213-621-0210 Onizuka St. #306. Weller Court 40 SHABU SHABU HOUSE 213-680-3890 127 Japanese Village Plaza 41 SHABU SHABU YO 213-808-1211 356 1/2 E. 2nd St

SUSHI 9

FRYING FISH 213-680-0567 120 Japanese Village Plaza

13 HAMA SUSHI 213-680-3454 347 E. 2nd St 23 KOMASA 213-680-1792 351 E. 2nd St

52 TOSHI SUSHI 213-680-4166 359 E. 1st St 54 USUI RESTAURANT 213-680-1989 343 E. 1st St 57 ZENCU SUSHI & GRILL 213-687-7780 319 E. 2nd St. Little Tokyo Mall 58 ZIP FUSION SUSHI 213-680-3770 744 E. 3rd St 59 WAKASAYA 213-621-2121 104 Japanese Village Plaza

YAKITORI

22 KOKEKOKKO 213-687-0690 203 S. Central Ave 25 KOSHIJI 213-626-4989 123 S. Onizuka St. #203. Weller Court

27 MAKO SUSHI 213-613-0083 123 S. Onizuka St. #307. Weller Court

MAP 2

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30

OCTOBER 2011

ENTERTAINMENT

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