POP USIC JAPAN 1111111111111111111111111111 22101133940036 JAPANESE POP CULTURE & LANGUAGE LEARNING Henes XJapan Blue Hearts Major Force ShOnenKnife Pizzicato Five The Boredoms Sadistic Mlka Band Shang ShangTyphoon Yellow Magic Orchestra Southern All Stan Kome Kome Club Street Sliders TheBoom Nelories Nahki Tigers 2-3's B'z .Japanese ABeginner's Guide " . . . there has been an evolution in Japanese rock and pop away from slavish imitation of foreignmodels toward music that 'smore confident and prof essional." Bv STEVE M cCLURE I fi had I 0for every time I've heard some-thing like, "Japanese pop music? It's just abunch of no-talent idols and bad imitators of foreign bands," I'd be rich. Such comments are dead wrong-not that there isn't a lot of egregious Japanese pop. TakeHikaru Genji (1t Genji), an "idol" act of the eighties. This squeaky-clean group isbest knownfor the abi lity to lip-sync while whirling about on roller skates. This is the dreck you're likel y to see on prime-time TV, causing many peopleto conclude that 90 percent of Japanel>e pop music is rubbish. Big deal. The same can be said of pop inany country.If you take time to separate the wheat from the chaff, you 'II discover Japan has produced some great pop music and boasts musicalvisionaries like Kina Shokichitn, Nakaido Reiichi(i'!Jtf JiJlinl) and Sakamoto Ryiiichi(:lfi*ffl!- ). Japanese popular music, as opposed to court or aristo-craticmusic, originated in rninyo (R;mf\)regional folk songs, music played at sum-mertime bon odori (tJ;:f.!fl1J) festivals and local styles such as Osaka's kawachi Yellow Magic Orchestra, pioneering rock group of the 1970s. ondo (iPJP'.lif.lii{) songs. Echoes of these and other traditional styles can be found in Japan' s pop music, but it was the introduction of Western music after the Meiji Restoration ( 1868) that really set theball rolling. Styles of popular music thatflourishedinthe1868-1945periodincludedmili-tary and brass band music, Osaka's rokyoku (Uttl),also known as naniwabushi oa 1Em'i) narrative songs, chan-son, Asakusa opera, the show music of the Takarazuka all-girl revue, jazz (in the broad, prewar sense of the term, en-compassing dance music and straight pop . ongs), tango and Hawaiian music. Japan's defeat in1945 and the ensuing Occupation by victorious Allied forces ( 1945- 1952) resultedinmore foreign musicbeing heard in Japan, especially through the US armed forces'Far East Network (FEN)radio ser-vice. Many Japanese musi-cians and music fansgot a taste of genres like country, rockabilly and modern jazz thanks toFEN.At the time the mainpopular stylewas kayokyoku a loosely defi ned term that one authoritativeguideto Japa-nese pop music describes as "Japanese MOR (middle of the road)." Thelate Koga Masao is recog-nized as the greatest squeaky-clean"' c "( (! jH'jJillj:totemo seiketmna dreck =(i '/ (t.!. t, 'tv ' 4ilJkuwlkudaranai mrmo chaff = n'TkasLVkokumot.wno kara narralive;;l'jQ)lJj( kataricilo 110 11/a Allied forces= !!l!fr11Irengogu11 loosely dell ned = tLt.;teigi no bakuzento silita 14Mangajin kayokyoku songwriter. Important singers right af-ter the war included Kasagi Shizuko ;(-=f), whose1948 release, "Tokyo Boogie-Woogie," was a huge hit.Misora Hibari '0' li I)) was a major star whose untimely death in 1989 sent the nation into mourning. Misora's forte was enlw att:). a type of melancholy lwyokyoku bal-lad that leans to themes like 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. Enlw's biggest fans are middle-aged salarymen, who croon along to favorite tunes in Japan's 280,000 lwraoke machine-equipped bars. The only Japanese artist to have anyimpact in the West in the post-war period was the late Sakamoto Kyu (:tii:tedi-tion in less than s ix months, it shattered the conventional wisdom that no oneisinter-eted in Japanese computing. Most impor-tantly,thebookisfullofhard-to-find information about Japanese computing pre-'' lay-flat"bi ndingmeansreaderswon't haveto use somethingheavyto keepthe pages from flipping. Readerswillquicklyfindoutwhy thebookisnot entitled " Introduction to Japanese Computing." The main thrust of thebookisJapaneseinformationpro-cessing. so when it discusses how certain things, such akana-to-kanji conversion, are done, it te nds to describe how they are handledbehindthescenes(orscreens) rather t.hanhow users can take advantage of these processes. Al so, though chapters one and two are dedicated to the bas ics of theJapanesewritingsystem.thebook assumes a certain level of familiarity with computing. entedin an easy-to-understand way. Typical of thefine computing books publishedbyO'Reill yandAssociates. UJIPiswell-organizedandvisuallyap-Understanding Japanese Information Processingisapproximately440pages long-nearly one-halfof that being charts and tables. Some of the majortopicsin-Free kana-learning programs for the Mac Power Macs run KanjiTalk, JLK KazumiHatasaahdhis colleaguesatPurdueUni-versityhaveputtogethera pairofexceptionalkana-learningprogramsforthe Maci ntosh. " HiraganaandKata-ka na"version1.0usesvi -sualandverbalmnemonics tointroduce thepronuncia-tion of Japanese. Theintro-ductorylessonsincludean Engli sh phrase to set the con-textforthevisualcue;the indi vidualkanaispro-nouncedwithanEnglish wordthat containsthe pro-nunciationof thekana;the shapeof thekanaishigh-24Mangajin lightedinthegraphic;and finally, the kana appears in a normal typeface. The student isaskedtoinputthekana usingHe pburnorKunre n romani zation;thekana.if correct,appearsonanad-joiningscreen.Thestudent can chooe to go through the kanachartrow-by-rowor large combination of rows. Thereis no attempt to intro-duce the writing ofthe forms. There are also exercises forpractice.One canuse a flashcardfunction as wella kana guessing game in both sections.Inthekatakana (rominued on pofle 56) InMarch, amidmuch fan-fare,AppleComputerde-buted its ne w Power Macin-toshline,basedonthesu-per-fast PowerPC micropro-cessor. The Power Macs de-servethehypethey are re-ceiving- theyares ignifi-cantlyfasterthanprevious Macintosh computers, which arebasedontheMotorola 680XOmicroprocessorse-ries.Eventually,allPower Macsoftwarewillbewrit-tenspecificallyforthe new PowerPC chip.(Thesepro-grams will be called ''native mode" applications.) But un-tilnative mode applications becomewidelyavai lable, Power Macscan still run vir-tually all existing Macintosh applicationsviaemulation of the 68LC040 chip. Evenso.uponhearing of thenew computer, many usersof KanjiTalkandthe Japanese Language Kit im-mediatelyquestionedhow welltheir Japanese systems would run on the new plat-form.Theansweris"very well." The Power Macs ship with theMacintosh System 7.1.2operatingsyste mand built-inemulationofthe 68LC040.TheJapanese (conlinued 0 11 page 56) Though this slant may frustrate some readers, the information they need is there if they look for it. Those interested in using the book as a reference for programming Japanese applications will find this struc-ture perfect for their uses. Readerswi thsome experiencewith Japanesesoftware- this includes anyone who haslearnedtousea Japaneseword processing program with any proficiency-will find that UJIP is thick with the infor-mation they need to understand how their Japanesesoftwareworks- orwhyit doesn' t.This information canhelpusers get to thenext level of Japanese comput-ing, from word processing to Japanese e-mailand desktop publishing. Chapter eightis a listing of selected software applications. Though the li sting isnotasexhaustiveasMangajin'ssoft-ware special (Mangajin #29), it does offer longer productdecriptions and i ncludes software for the UNIX. NeXT, and Amiga platforms, aswell as IBM and Macintosh. Probably the book's greatest strength, from an experienced user 's standpoint, is itsexcellentdescriptionsof thevarious ComputerCorner types of Japane. e output. Ken Lunde. the author. is an employee of Adobe Systems. which developedPostScript.Ashe has an excellent grasp of font technology. Somereadersmayquestionhi sopen-mindednesstothevirtuesof competing systems. Nonetheless. describing Japanese font sandcharactersetsisthebook s strength. and the chapter on Japanese out-putshould answer allconceivableques-tionsaboutPostScript.TrueType.and bitmapped fonts. AnyonewhobuysUnderstanding Japanese Information Processingfor use as a reference for creating Japanesesoft-ware will not be disappointed. The pages arefilledwith charts.tables, and li sts.In fact,thebookhas nearlytwice asmany appendixes as chapters. It also includes C language sample routines of several Japa-nesecharacter handling functions for those readersinterestedincreatingthei rown Japanese application. Some of themostuseful listsinthe bookarethosethatpointreaders toward more sources of information. Publica! ions, corporations,associations,andInternet news groups andfile archives are listed. However, it is hard to imagine when some of the book's charts and tables would ever be useful to readers.For example, dozens ofpages are devoted to I istings ofthe many Japanese character sets and other data that even most programmers will never need to reference. The vast majority of readers wi II sim-ply skip past these sections-though they do improve the book's performance asa doorstop. But there is little chance of thi s book being so employed.It is usefuland well- worththeprice.Readersi nexperi-encedwith Japanese may need a while to grow imo it, but once they gain a grasp of the baics, they will find themselves turn-ing to Understanding Japanese Informa-tionProcessingfor along time to come. Whenyouthinkaboutit,that'sthebest comment anyone can make about a refer-ence book. Douglas Horn is a free-lance writer and com-puter consultant livinginSeatt le. Canon Wordtank OVER80LANGUAGES Dictionaries - Word Processors - Tutorials - Fonts Translators - Spell Checkers - Keyboards Japanese Windows 3.1&Dos V Use JAPANESE in all English Window Applications only $29Six Language Translator $294-;.rif World's Best Source for PC 'll'anslation Software JAPANESE PC Translator CAllBi-directional English-JapaneseCAll Bi..tL:?-t!? c:t (f):; 1- / IJi T o.1i'liv' -c J;.t.: "' e: .:f3 ?t.: 1vJ: ot.: t!. ;-'r-w:7 / tf t 1Lo>?LA,ld t' -::Jt.: A-"1. , l' 1" tJ. o-c , i!Hii\A- t.:t 1. '-:::>tI :::::J; J t: u.A. D lt./EI. .: (J)7- - 7t\.'?,.. iY.>1J'v -r,tn t::M-tv t-:>(f) Nt.: t MfR 'v "l d: 0'v 1. 'O.I.II!t'-tn1l2 !>1!. ,, !>I! -lf. 7 -b.l:: t.i :d.: A, C' T't c,t?-lf. -:7"- b.l:: t.i '? l,;,;y. A.1.!\Y''-A. .tJ td.. .1; LHl f.: t 1-'? C1) tl !3 ?H:: t'? l"::k:3ffii8 1- 'A, C'"t o G1:: J:: @ t TV 7' =j.tGl\, \tf.)>Bl-1 \, \ lt-sI )* T t.>" 0 Abiko:-t-? "t"T o-t -?"t"To Schodt: C' t,tn t.: t t C' l;t t.i 1- ' A, C' TJ::, '? to

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t.i 1- 'tJ t1- '? tJ"G l" 1- '*"t t.>.,. o I t" ( Abiko:-t? "t"TP.,lt..:htt"t"Cit.n'1 11( lv t:."ft tot:..i t:. i-m0)8:)U: lv t'-'1-?1i tJq,-c ,{& n' -rv t:: 1:r -7. n \. L1t? IJ:I)I.L..:.'H{ it'sJ:.A Tli know 0) [j t:t. -0 knowO) ;h c 1:ih o 0) Yonen-kiueseijin-kiof ukai ni surutame niarunosa. childhood(quote)adulthood(obj.)spoil/ruinin order toexist(s)(explan.)(colloq.) :.l:'t:lt t.c t'-!P\JS"\N() 'flint r>U.. \\IS M\()HT, 0\r.l..S 1\\. G\GI\NT\C "Calvin has mysteriousiWtshrunk to the size of an insect!" 'fJJv "/1:..- fp1:b ct'if-::>-r:f- o A,chotromatlene. (interj.)alillie/a momentwait-(request)(colloq.) .:f -r "I+ ;t; /-/){A. -::> t.:.!l) o Kyatchi-hongahaitrano. callwaiting/another call(subj.)came in(explan.) ''Oh, wait just a second, okay? I received a callwaiting (signal)." " Ohwajjjust a second, okay? I've got another call." (PL2) a is essentially an interjection of recognition/making a connection.It canbe used as aninformal ''hi" when reaching someone on the phone or running into them in the hall/on thestreet: it canalso be usedl ike 'oh'' to express a sudden thought/realization/awareness of something. hima refers to "free/idle/leisure time," and nara makes a conditional mean-ing, so hima nara =''if you arefree." matre i s the-reform of ma/Sit ("wait"), here being used to make aninformal request. neis like the colloquial tag, "okay?" which expects him to agree/consent. kyarchi-hon.from English "catch phone." is one of the names usedfor "cal l waiti ng" i n Japan.Aless polite term used sometimes is warikomi denwa, from the noun form of warikomu ("force/push one's way in/butt in on [some-thing]") pl us denwa (''phone !call)"): roughly. "a butt-in phone call." Man: ti,fPJilLv'-rJut.!.J:- o Juwakimafiamama. naninaite11 dayo. handsetholdingas iswhatare crying(explan.) (emph.) "What're vou (.standing there) with the phonein ):OUrhand crying for?"(PL2) Koichiro:-?0-?... U1 U Sob sob(effect of being choked up/crying) Narration:.:f -ry+ * / ':. J:-::>-r-f (J)ff:fKvatchi-honni yo11esonosonzaio call waitingby/owing tothat's/hisexistence(obj.) _tt::h.C,:h.f.:.!'1.l,::J-17-D- l'""0 -::> f.:. o wasureraretaowko,Koiclrir(}de ana. was forgoncnman(name)was This was KOichiro: the man whose existence had been f!!rg9tten on account ofcaJlWaitini(PL2) juwaki literally refers to the " telephone handset/receiver," and motta i s the pl ain/abrupt pastform of mmstt ("hold"). The particle o. to mark juwaki as the direct object of moua, has been omitted. mama =asis/unchanged,'" so moua mama means "with thehandset held in your hand and doing nothing else"- in this case referring to the fact that he' s just hol ding thephone and crying. instead of talking, ashe would nor-mally be expected to do. naite n is a contraction of naire-iru no, the progressive ("i s/are - i ng") form of naku ("cry'') plus the explanatory no. indicating he wants an explanation of the situation. sono =''that's" in the sense of "bel onging to that/of that," but in this case "that'' refers to Kiiichirii, soit means "his.'' wasurerarera is the plain/abrupt past form of wasurerareru ("beforgotten"), the passi ve of wasureru ("forget"). Sonzai o wasurerareru =''have one's ex-istence forgotten: kyatchi-hon ni yo11e sono sonzai owasurerare/a is a complete thought/sen-tence ("[he] had his existence forgotten on account of call waiting") modify-ing otoko ("man"). de alia i s thepl ain/abrupt pastform of de aru, a more formalt'literary" equivalent of da/desu ("is/are''). Mangajin45 mIY! 1-t m Jl Zusetsu Gendai Yogo Benran A Visual Glossary of Modern Terms Deluxe Company. All rights reserved.) First publishedin Japan in1993 by Futabasha, Tokyo. English translation rights arranged through Futabasha. 46Mangajin by 7 7-;;7"AtJ/;"\..:::.-Deluxe Company Sound FX:I!-t!r{ Pipopape (sound of dialingtouchtonephone) Man: t.:.-IJ' J:,i-:> t.:.< ... Motarusukayo.mauaku ... againabsent fromhome(?)(emph.)(exasp.) "Is sheout Sheesh!"(PL2) msu refers to one's absence from home. mauaku (literally "completely/entirely"). i s often used as an exclamation of exasperation. Narration:-f (f) Sonokoro that'supproximatc timeMeanwhile Sound FX: Jv Jv Jv... Jv Jv... Jv '"' To ru ru ru ... 10 ru ru . . .roruru Rinnng .. rinn2 ... rinng._._.(sound of telephone ringing) Sound FX:;f. 1;t! 1(effect of tosing/throwingrelati vely Poipoismall andli ght things aside) Woman:7j: It' ,7j: "' ! Ri!i?.if7j: 1.- '! Nai.nailJuwakigonail is not hereis not herehandset(subj.)is not here " I can' tfind !hi can' tfindit!I can't findthe hand-set."(PL2) SoundFX:71-+t-:::!') Gasagoso(effect of moving paper/objects around) Woman:a?-:>t.: !! Ana! existedlis here ' '1foundit!"(PL2) Sound FX:Jv Jv Jv,7' "I Ru ru ru,pu! (ringing followed by effect of the sound suddenly breaking off/being cut oft) Woman:(t t'l;JJ-:>-1?t.: o Kedokirchaua. buthung up-(regret) " But they hung up."(PL2) Narration: 1)-'E :J/t:J - r v :J..liJ:< r1: 7j: o Rimokon10kodoresuwayokumaigoni naru. remote controlandcordlessas-for oftenlost/astraybecome (Television)remotesand cordless (phonehandsets) often 20 astrav. aua i s the plain/abrupt past form of aru ("exist"), so it's literally the state-menr "[It] existed." It"s often used idiomatically as an exclamation for when one finds what one i s looking for, like English " I found it!" kircharrais a contraction of kiue shimaua, the -re form of kiru ("cut." or i n the case of a phone, "hang up") pl us the plain/abrupt pastform of shimau ("end/finish/put away''). Aform of shimau after the-re form of a verb im-plies the action or its result i s regrettable/undesirable. The subject of this verb is the party on the other end. rimokon is abbreviated from rimoto komororu, the cumbersome katakana rendering of " remote control. Kodoresu is a katakana rendering of "cordless." yoku is the adverbform ofiilyoi ("good/fine''). here meaning "often/fre-quently" rather than "well. maigo is written with kanji meaning "be confused/go astray" and "child,'' so maigo ni naru literallyrefers to a child "becoming lost." Adult speakers are more likely to use the verb mayou when speaking of becoming lost, but they can informally use maigo ni naru without it sounding panicularlyfunny. Us-ing the expression for inanimate objects, though. is distinctly humorous. Zusetsu Gendai Yi5go Benran A Visual Glossary of Modern Terms Deluxe Company. All rights reserved. Fin;t publishedin Japanin1993 by Ftllabasha, Tokyo. English translation rights arranged through Futabasha. by 77-:;7:A tJ/;"\..::..-Deluxe Company Man :JiJ,:t v,4- iJ'1m J.>J::o A,ore,imakarakaeruyo. (interj.)UmenowFromwill return home(emph.) " Hi,it's me. I'm justs tartinghomenow."(PL2) ais an interjection of recognition that's often used as an informal "hi," when reaching someone on the phone or meeting them in the hall/on the street. ore isa rough/masculineword for ''lime." 0Sound FX:.: ;; G., I. Creak(a dull and very brief "creak" fromopening door; amore s ustained creak would be gii) Man:b-? Fii " Whew"(sigh of fatigue/relief) Sound FX: Pachi Click(flicking light switch on) GJ JiJ,:t v ,4- iJ'1fff -0J::o A,ore,imakarakaeruyo. (interj.)Umenowfromwill return home(emph.) " Hiit's me. l'mius t s tartinl! homenow."(PL2) Sound FX:t: ;; Pi! BeeR(beep afterfinalmessage on answeringmachine) Man:-t-'-:>,i'IJ:;f v(!)J!iiL.. i.PA-:>"lv'Jj:v' o Yappariorenokoeshikahaitte-inai. after all/as expectedUme'svoiceonly(not) recorded "As expected, onlymy own voice is recorded." "As us ualmv own message istheonly_one."(PL2) Narration:mt iJ'bfi1 (!)A1j: It' ';t, Dare kara mo rusuroku110hairanaiotokowa, not from anyonemessage(subj.) not come/be recordedmanas-for .:.-?L..-rt-:>t;f,XL..(!)1: JiJ-:>t.:. 0 koshitemottosabishikunarunode ana. inthis waymorelonelybecomes(explan.)was In thiswav. theman who receivedmessal!es from no one came tofeel evenlonelier .(PL2) yappari, a colloquial yahari, implies that something fits one's expectations. shika works together with a negative (- nai) later in the sentence to mean "only." Haille-inai is thenegative formof haitte-iru(literally, "is inside"). which inthe context of a tape-recorder/answering machinemeans "is re-corded." The phrase- shika haitle-inai means 'only- is recorded." dare by itself isthe question word "who,"but followedby mo + negative it means "no one/not anyone." Inserting kara("from") between dare and mo makes it "not from anyone." rusurefers to a person' s absence fromhome, and roku refers to a "record/ recording," so rusuroku implies a recording made during one's absence -i.e., a message on an answering machine. Telephone answeringmachines are known as rusuban denwa in Japanese. Rusuban is the traditional word used for the task of guarding/watchingthe housewhile everyone else is away, so a rusuban denwa is a telephone that takesphone messages whi leyou are away, and rusuroku is the term for referring to those messages. hairanai is the negative of hairu (literally, "enter/goin/come in"), so rusurokuno (=ga) lwiranai ="messages don't come in. " This complete thought/sentence modifies otoko ("man"): "theman for whom messages don't come in fromanyone." The subject marker ga often changes to no in modifying clauses. sabishiku is the adverb form of sabishii ("lonely''). The adverb form of an adjective plus naru ("become'') implies either "become(s) that quality,'' or 'become(s) even morethat quality." In this case motto ("more") helps indi-cate the latter meaning. de alta is theplain/abrupt past form of de aru, amore formal!'' literary" equivalent of da/desu ("is/are"). Mangajin47 Pop .\fusi c page19) F e atur e S t o r y i;;dominated by Kirihara's accordion and backed by Kubo's guitar plus basand drums. \ 'ocalitKirihara' slyrics are surreal meditations on subjects from Japanese tourists shopping overseas to the depressingurban landscape of "No Love Lost": " Brokenbicycle/Crushed fruit on the street!The cloudsinthesky don' t seem niceat al l." Theelories havegained aloyal cultfollowinginBritai n, where theyplayedli vegigsinadditiontorecordingasessionforRadio One's JohnPeel.The duohavereleasedfour CDs. Their firstfull-length album, Mellow Yellow Fellow Nelories, was recently released in the UnitedStates on the He lloRecordingindielabel. Pizzicato Fi ve (!! -T 7J- r 771is another Japanese act that has setits sights on the American market.Last year theband appeared at the New MusicSeminar's " Psycho Nite"Japan show-ca e. and Matador Recordswillrelease thei r US debut album in June.This delightfullybi zarre tri o (never mindthe" Fi ve") is frontedby fashionplateNomiya Maki.DescribingPS's music isn't easy. Nomiya,KonishiYasuharu, and TakahashiKeitaroare obviouslykeen students of '60s pop culture, which they refract throughtheir Japanese sensibility. Theresultis gemslike "Twiggy v. James Bond," which immediately conjures up images of sports cars chasingeach other along theRi viera, or tongue-in-cheek er-satz psychedelia like " Magic Carpet Ride" (not the Steppenwolf chestnut), which appears on theband's latest Japan album, Bossa Nova 2001, as wellas on their US album, Made in USA. What could be Pi zzicatoFive's strongest sellingpoint outside Japan is their brilliant useof videos, inwhich Nomiya adopts an amazi ng variety of pop personae. The Boredoms hail fromKansai,but their industrial thrashmetal bears no resemblance to the pop of Shonen Kni feand theNelories. Boredoms' lead singer Eye Yamatsuka achieved notorietyin the early '80s with the band The Hanatarashi (-if I\ T-97:/ ). known for violent performances. One legendaryHanatarashi gig featured a backhoe which the band usedtochase audience mem-bers around until they smashed it into awall. A show by thesix-member Boredomsisless a concert than an all-out attac k on thesenses. Thesongs have titles like 'GreatborefullDead" and "Cory &theMandara SuicidePyramid Action or GasSatori." Themoshpitinfront of the stage resembles amixmaster set on liquefy, fullof fans bent on causing and/or sus-taininggross bodil y harm. The Boredoms'latest album, Pop Tarari, was re leasedby Warner in theUnited Stateslast fall, and they are expectedtotake part inthi s summer's Lollapalooza concert tour. Thegroup ispart of a Japanese underground scene that manages to survi ve in the face of massive public indifference. Thisis rebelliousmusic, but notin thenarrow, political sense. The extreme, over-the-top music of the Boredoms, Daihakase, Captain Condoms, UFO or Die and Dowseris designed to disrupt thecomplacency of what they see as aconformist society. (co111inued 0 11 J>af:e 50) c uhfollowing= ?.!\?.!!77/11ersttretsu-11a fangil( =Ill i!i!Jii,!-i #slmtme11/ hail from= ,'t',,UC7) shusshinno resemblance ='l!!fU rtti).i notoriety = :11::r, akWII\'6/:/l.':,if akultro backhoe= 1 < /7:t. 7( no kus,,-c;kuki) mosh pit =77/i..., "(.j1jlL. 7..i" - ;; liil C7) A-" Damn, wher e amI SJ!PJlOSedto call from? 0!!, Iknow!(PL I ; 2) is normally read be11jo, one of many words for "toilet"; wire, a kat akana rendering of "toilet'' (loirello occurs only rarely). is u\ed at least asfrequemly as be11jo today. it's not uncommonfor da or desu ("i fJ'? Ano.Yamakawa-sanirasshaimasuka? (interj.)(name-han.)is present(?) ' 'IsMr. Yamakawa in?"( PL4) OL:LIJIIIli 9HI:I'i'l:t"o Yamakawawaradaima gaishursu-cluldes11.Go-de11gongago::.aimashiraraukeramauarimasuga. (name)as-forright nowou!lawayis(hon.)-message(subj.)if havewill hear/takebut " Mr.Yamakawa is awayright now.Would XQU liketoleave amessage?"(PIA) a11ois a hesitation word similar to"uhh/um." except that itsounds muchmore polite. In aface-to-face encounter it is oftenlike"Excuse me,.. but thatEngli sh phrase doesn' tseem quitenatural in thissituation. irasshaimasu isfromthe intrinsicall ypolite/honorificverbirasslwru ("ispresent/comes/goes"). since theworkersin a company allbelongtothesame"group."Japanese refer totheir co-workers without the honorific-san("Mr./Ms.")when speakingto someoneoutsi dethe company, even when they wouldnormally use -saninaddressingtheperson directly. orwhen referringtohim within the company. gaishursuis anoun referringtotheact of "goingout ," andthesuffi x -clulmeans "during/in themidst or: so gaislwrsu-chii = "in themidst of being out' '"is out." gozaimashirarais a conditional " if'' form of thePL4verb gozaima.w. equivalent to ant ("exists/has/have"). ukewmmvarimasuis thepoliteform of thePL4verb ukewmawaru, equi valent to kiku ('' hear/listen to").She literallysays "If you haveamessage I willli sten toit(but )""Wouldyouliketo leave amessage?" 0Other lliJII(!)*r*l"Z"T't c'tAlii3t)it""Z"l .1:. 7n'? Yamakall'a110kanaidesukedoslwjinwaorimasudesluJ ka? (name)swifeisbuthusbandas-forispresentI wonder if/is perhaps? "ThisisMrs. Yamakawa. I wonderif mhus band isin?"(Pl4) OL:iTollJIIIli -r-t"tl{,"'n'IJhed in Japanin1991byKodnnsha Lid., Tokyo.translation rights arranged throughKodanened?I' m sorry, okay?"(PL2) :,/ a - '7 /t.!.J:- o;t - 1 o Jod{llrdayo.Vi! jokc/je!.lis(emph.)hey/yo "It wasjust aioke. Heyl"(PL2) the OL is desperately searchi ng for the proper way of handling Mr. Kawasaki's unexpected response. Since o-sewa 11inaue-iru is a stockfor-mula/greeting, one never actually asks what sewa ("favors") the speaker is referring to.was playing a practical j oke on thenervous newbie. iii,with a longvowel,isused for trying to get the attentionof someone rela-tively far away - appropriate inthis case because she is away from the phone.It 's informal. but does not have the abrupt/rough feel of the short oi. which is used to get someone's attention in cloeproximity. are (or are) is an interjection of surprise/bewilderment at something unex-pected. gomen. from the honorific prefi x go- and menjiru (''exempt/excuse"), has become an informal word for apologizing/begging pardon. lengtheni ng the e mphati c yo simply gives itmore emphasis. 0OLShinkaron Aki1uki Risu. Allrightsre,crvcd.liiN puhlished in Japanin1991 by Ltd .. Tokyo.English tran,latinnarrangedthrough Ltd. byf:k fol T IAkizuki Risu [QMan:A,/'!f(!)tali B.1:lrn'f..:l'? Kondo nodoyobi.eiganiikanai? Saturdaymovietonot go? " Won't you go to a movie ( with me) thi s Saturday?" " Wanna_gQJo amovie Saturda_y'l"(PL2) OL:Hill B -