In Celebration of Community: 2024 East Coast Taiko Conference
What an unforgettable experience! Today marks one month since Yamatai began driving towards Brown to attend the first post-pandemic 2024 East Coast Taiko Conference organized by Gendo Taiko. To commemorate, here are some reflections on the event from two Yamatai members.
As a freshman who just started studying and playing taiko in September, going to a huge conference alongside professionals and seasoned performers certainly seemed intimidating. Leading up to the conference, I had no idea what to expect and was feeling a mix of emotions, including excitement, anticipation, and nervousness.
Arriving early to Brown, everyone in our car (Chris, Emily, Autumn, and me) got the opportunity to watch the screening of Finding Her Beat, an award-winning documentary about the organization of a groundbreaking all-female/non-binary taiko showcase (featuring Tiffany Tamaribuchi, Kaoly Asano, Chieko Kojima, Megan Chao-Smith, and Jennifer Weir). The room was packed, all eyes glued to the screen; everyone's attention was captivated by the riveting story. Now imagine my complete shock when the people who we were just watching on-screen appeared in front of us onstage for a Q & A. I was star-struck, realizing that I would get the chance to learn from and engage with absolute legends over the next few days of workshops and performances.
The documentary not only inspired me, but also educated me on the background of many workshop leaders and the monumental impact that they have had on the taiko world. It made me understand the sheer magnitude of what ECTC represents and how lucky I was to be a part of a collegiate taiko group attending and performing at this conference, especially within my first year of being introduced to taiko.
My first workshop was with Chieko Kojima, who is a wonder to behold. Learning Hana Hachijo from the creator herself is a memory I will cherish forever. Her elegant yet playful style is truly unlike anything I have ever seen before. What's extra special is that she got to sign my bachi and I got to talk with her more at the marketplace the day after (thank you Chris for translating)!!!
Yeeman “ManMan” Mui was the facilitator for the next workshop I had, which was "Quitiplas in the Pocket." We worked a lot with body percussion and syncopation, which gave me lots of useful food for thought on soloing and how I could incorporate more diverse rhythms into my future compositions.
On Saturday night, after a jam-packed day filled with workshops, taiko talks, and marketplace visits, Yamatai got to perform Hero, which was so thrilling! The energy was through the roof! Fun fact: it was me and Sydney's Hero debut and third time ever playing through the entire piece with the group :0
Finally, on the third day, at my last workshop with Michelle and Toru Watanabe, we were tasked with an intriguing challenge. We could only solo using a very limited total number of sounds, meaning that we had to get creative with our expression and storytelling. In particular, I loved watching this one beautiful uchiwa duet between two members of the same performance group. Their dynamic was amazing!
Time flew by so fast. We were only there for 2-ish days (Friday evening - Sunday afternoon), but even in this brief weekend, I experienced so many new and wonderful things that strengthened my passion for taiko. I can't wait for the next ECTC :)
~ Claire Wu '27
I’m incredibly grateful for the opportunity to attend ECTC. It was a rare chance, after 5 years, for the entire East Coast taiko community to come together, reconnect, and gain knowledge from each other and professionals who gathered. I was overjoyed to meet old and new faces from across the coast at my first and last ECTC as a collegiate taiko player.
From Toru and Michelle Watanabe’s uchiwa workshop, I not only learned how to play the uchiwa but also how to use taiko and form as a means to honor the hard work put in, such as embodying the strength of pulling a fish out of the ocean.
Young Park's workshop made me more aware of my body than I have ever been in my entire life. I experienced the vulnerability and peacefulness of moving my body however I wanted and expressing it to music. Mirroring others in our exercises expanded to new moves. Thank you to the workshop group for creating a safe environment and helping each other expand to new horizons.
In Joe Small’s workshop, I became more familiar with the relationship between dance and taiko, and the concept of utility versus cosmetic form. Moontides was a wonderful piece.
The final concert was exhilarating, from performing our energetic piece to a fully taiko-knowledgeable audience, to being in a room with the all-stars of the taiko world and being inspired by each person's passion and unique styles. The smiles backstage and joyful cheer of the audience in Lindemann Hall will forever reside in my heart. I'm inspired, grateful, and blessed by this life-changing weekend. I have so much love for the entire taiko community. Thanks to Gendo for hosting and planning for the past 2 years to bring all of us together. I’m still riding high from the selflessness, kindness, and support of the community. I wish we had more time together and that last weekend never ended! I can’t wait to continue the growth and celebration of taiko—despite the lack of sleep, I would do it all over again. Much love.♥️
~ Elisha Wang '24
What an unforgettable experience! Today marks one month since Yamatai began driving towards Brown to attend the first post-pandemic 2024 East Coast Taiko Conference organized by Gendo Taiko. To commemorate, here are some reflections on the event from two Yamatai members.
As a freshman who just started studying and playing taiko in September, going to a huge conference alongside professionals and seasoned performers certainly seemed intimidating. Leading up to the conference, I had no idea what to expect and was feeling a mix of emotions, including excitement, anticipation, and nervousness.
Arriving early to Brown, everyone in our car (Chris, Emily, Autumn, and me) got the opportunity to watch the screening of Finding Her Beat, an award-winning documentary about the organization of a groundbreaking all-female/non-binary taiko showcase (featuring Tiffany Tamaribuchi, Kaoly Asano, Chieko Kojima, Megan Chao-Smith, and Jennifer Weir). The room was packed, all eyes glued to the screen; everyone's attention was captivated by the riveting story. Now imagine my complete shock when the people who we were just watching on-screen appeared in front of us onstage for a Q & A. I was star-struck, realizing that I would get the chance to learn from and engage with absolute legends over the next few days of workshops and performances.
The documentary not only inspired me, but also educated me on the background of many workshop leaders and the monumental impact that they have had on the taiko world. It made me understand the sheer magnitude of what ECTC represents and how lucky I was to be a part of a collegiate taiko group attending and performing at this conference, especially within my first year of being introduced to taiko.
My first workshop was with Chieko Kojima, who is a wonder to behold. Learning Hana Hachijo from the creator herself is a memory I will cherish forever. Her elegant yet playful style is truly unlike anything I have ever seen before. What's extra special is that she got to sign my bachi and I got to talk with her more at the marketplace the day after (thank you Chris for translating)!!!
Yeeman “ManMan” Mui was the facilitator for the next workshop I had, which was "Quitiplas in the Pocket." We worked a lot with body percussion and syncopation, which gave me lots of useful food for thought on soloing and how I could incorporate more diverse rhythms into my future compositions.
On Saturday night, after a jam-packed day filled with workshops, taiko talks, and marketplace visits, Yamatai got to perform Hero, which was so thrilling! The energy was through the roof! Fun fact: it was me and Sydney's Hero debut and third time ever playing through the entire piece with the group :0
Finally, on the third day, at my last workshop with Michelle and Toru Watanabe, we were tasked with an intriguing challenge. We could only solo using a very limited total number of sounds, meaning that we had to get creative with our expression and storytelling. In particular, I loved watching this one beautiful uchiwa duet between two members of the same performance group. Their dynamic was amazing!
Time flew by so fast. We were only there for 2-ish days (Friday evening - Sunday afternoon), but even in this brief weekend, I experienced so many new and wonderful things that strengthened my passion for taiko. I can't wait for the next ECTC :)
~ Claire Wu '27
I’m incredibly grateful for the opportunity to attend ECTC. It was a rare chance, after 5 years, for the entire East Coast taiko community to come together, reconnect, and gain knowledge from each other and professionals who gathered. I was overjoyed to meet old and new faces from across the coast at my first and last ECTC as a collegiate taiko player.
From Toru and Michelle Watanabe’s uchiwa workshop, I not only learned how to play the uchiwa but also how to use taiko and form as a means to honor the hard work put in, such as embodying the strength of pulling a fish out of the ocean.
Young Park's workshop made me more aware of my body than I have ever been in my entire life. I experienced the vulnerability and peacefulness of moving my body however I wanted and expressing it to music. Mirroring others in our exercises expanded to new moves. Thank you to the workshop group for creating a safe environment and helping each other expand to new horizons.
In Joe Small’s workshop, I became more familiar with the relationship between dance and taiko, and the concept of utility versus cosmetic form. Moontides was a wonderful piece.
The final concert was exhilarating, from performing our energetic piece to a fully taiko-knowledgeable audience, to being in a room with the all-stars of the taiko world and being inspired by each person's passion and unique styles. The smiles backstage and joyful cheer of the audience in Lindemann Hall will forever reside in my heart. I'm inspired, grateful, and blessed by this life-changing weekend. I have so much love for the entire taiko community. Thanks to Gendo for hosting and planning for the past 2 years to bring all of us together. I’m still riding high from the selflessness, kindness, and support of the community. I wish we had more time together and that last weekend never ended! I can’t wait to continue the growth and celebration of taiko—despite the lack of sleep, I would do it all over again. Much love.♥️
~ Elisha Wang '24
A New Noob Beginning: Thoughts on an Initiation to Taiko
Felix Shen
After hitting the last hit of Gaifuu in Noob initiation, I looked into the audience and saw some familiar faces. Then I just realized it has been almost three months since first played Gaifuu finale with these people during the last round of tryouts, and now we are on the stage. It's been a surreal time. With the help of all the Yamatai members, especially that of our dear training officer Chloé, our noob class really grew a lot. I still remember the time when I was struggling to compose the solo part for odaiko, and how Chloé talked to me in detail about how a good solo composition should tell a story. It did take some time to learn, to correct, and to internalize Gaifuu and Poseidon (and sometimes we still mess up) but nevertheless, we noobs have intrinsic excitement to ignite the whole vibe: we always have tons of energy during performances! In fact, we are ready to bring that energy we have from performing into our daily lives and through future years simply because of how much we love taiko.
Howard Fu
Noob initiation was a fantastic experience. We could not only show off the pieces that we've been working on, but also demonstrate our growth as players in the short few months since we have joined the group. It's truly amazing what one can accomplish in the barely 3 months since we have joined. Moreover, having friends and alumni come out just to see us really adds to feelings of belonging, that "I am part of this group". Noob initiation really feels like a launchpad or inciting incident that really pushed us to become full-fledged members of Yamatai.
Grace Gu
Kodo. The Japanese word for heartbeat is also the sound that a taiko drum makes when you strike it. And when I hit the drum, I can certainly hear, and more importantly feel, my heart beat in synchronization. Ko-do. For me, this phenomenon happened the very first time I laid hands on a taiko drum. I had plenty of musical experience in the past, but I had never tried playing the drums. Watching videos of Cornell’s resident taiko group, Yamatai, I instantly felt an attraction so strong that it made gravity appear weak in comparison. There was just something about taiko that I couldn’t turn my eyes, ears, and heart away from. So I decided that I would try to find out what it is.
During tryouts, my intuition was confirmed. Despite my fledgling form and technique, I could feel each hit that I played resonate inside me. I hoped with my whole heart that I would be good enough to join Yamatai. And when I got accepted to the group, I felt the warmest feeling in my chest, warmer than the thawing of spring, than the radiance of the sun; I felt truly happy. Since then, that joy has only grown exponentially, and with every time I improve, with every time I learn something new, with every time we play together as a group, I can feel that same wonder and sensation in my heart as my very first time on a drum. Yamatai really helped my heart realize that my heartbeat beat for taiko. I had awakened my pulse, I had found a passion, and I had truly discovered what it feels like to be alive. And as I continue to play taiko, I will continue to perceive the convergence of my pulse with the heartbeat of my drumming.
Felix Shen
After hitting the last hit of Gaifuu in Noob initiation, I looked into the audience and saw some familiar faces. Then I just realized it has been almost three months since first played Gaifuu finale with these people during the last round of tryouts, and now we are on the stage. It's been a surreal time. With the help of all the Yamatai members, especially that of our dear training officer Chloé, our noob class really grew a lot. I still remember the time when I was struggling to compose the solo part for odaiko, and how Chloé talked to me in detail about how a good solo composition should tell a story. It did take some time to learn, to correct, and to internalize Gaifuu and Poseidon (and sometimes we still mess up) but nevertheless, we noobs have intrinsic excitement to ignite the whole vibe: we always have tons of energy during performances! In fact, we are ready to bring that energy we have from performing into our daily lives and through future years simply because of how much we love taiko.
Howard Fu
Noob initiation was a fantastic experience. We could not only show off the pieces that we've been working on, but also demonstrate our growth as players in the short few months since we have joined the group. It's truly amazing what one can accomplish in the barely 3 months since we have joined. Moreover, having friends and alumni come out just to see us really adds to feelings of belonging, that "I am part of this group". Noob initiation really feels like a launchpad or inciting incident that really pushed us to become full-fledged members of Yamatai.
Grace Gu
Kodo. The Japanese word for heartbeat is also the sound that a taiko drum makes when you strike it. And when I hit the drum, I can certainly hear, and more importantly feel, my heart beat in synchronization. Ko-do. For me, this phenomenon happened the very first time I laid hands on a taiko drum. I had plenty of musical experience in the past, but I had never tried playing the drums. Watching videos of Cornell’s resident taiko group, Yamatai, I instantly felt an attraction so strong that it made gravity appear weak in comparison. There was just something about taiko that I couldn’t turn my eyes, ears, and heart away from. So I decided that I would try to find out what it is.
During tryouts, my intuition was confirmed. Despite my fledgling form and technique, I could feel each hit that I played resonate inside me. I hoped with my whole heart that I would be good enough to join Yamatai. And when I got accepted to the group, I felt the warmest feeling in my chest, warmer than the thawing of spring, than the radiance of the sun; I felt truly happy. Since then, that joy has only grown exponentially, and with every time I improve, with every time I learn something new, with every time we play together as a group, I can feel that same wonder and sensation in my heart as my very first time on a drum. Yamatai really helped my heart realize that my heartbeat beat for taiko. I had awakened my pulse, I had found a passion, and I had truly discovered what it feels like to be alive. And as I continue to play taiko, I will continue to perceive the convergence of my pulse with the heartbeat of my drumming.
Kazoku Means Family Nathan Abel
Like all good music, taiko has the ability to bring people together. But there is something different about taiko: a feeling of unity that is not duplicated in many other forms of musical ensemble. A taiko ensemble is not a band; it’s a unit whose parts are usually unique, yet complementary, on styles that are different, yet tonally comparable. This became immediately clear to me when I joined Yamatai in fall of 2017, as I played through Bonten’s songs Gaifuu and Poseidon as a young taiko drummer. I learned that taiko was written not as separate parts that simply sound good, but more like a puzzle with every part contributing in a necessary way. Learning other parts of the same song was like filling in the gaps rather than memorizing a whole new rhythmic compilation beat by beat. To me, this was a newfound respect, an inspiring perspective, and ultimately, a challenge.
I knew very early on that I wanted to write a song for Yamatai. I also knew that it would be very different from what I was used to. As a songwriter of more contemporary music, I went into this project aware of the differences and challenges, but I underestimated these severely. I have always loved improvisation, but finalizing rhythms was an entirely different ballgame. On top of that, I needed structure, visual considerations, catchiness, and a story to tell.
I decided to begin with the concept and a performance vision. Yamatai does not have many upright Odaiko style songs, and I knew I wanted power, so that was an easy style choice. I also love the contrast of different taiko drums, so I decided to add beta-style nagado, as well as shime, to be played in seiza. With this set up visualized, I realized I had three distinct physical levels – a hierarchy of height and power, if you will. I saw differences in size, power, and authority, and yet the idea of unity remained: a family. Thus, Kazoku was born.
The concept had been solidified into the story of two bickering brothers upbraided by their stern father. The structure follows a storyline: the younger brother plays innocently on his own, only to be bothered by the older brother, leading to a slight verbal altercation between the two. You know, classic family stuff*. The father then appears and scolds them for fighting, and the three end up coming together in agreement briefly, only for the brothers to continue fighting and building tension up until the eventual climax.
Now I had to write the song. Ohhhh boy, easier said than done. I began with a base rhythm which counted accented notes in a pattern of 1, 2, 3, 4 (sorry, hard to describe, check out the song!), and then based every other rhythm around this counting theme. The song’s parts began to coalesce as I fit these rhythms into each other to create an interlocking effect. The puzzle was coming together! I’m most proud of the 7/4 section, which created a unique feeling, but was surprisingly simple to play. Yamatai member Lindsay Fei cited this section as her favorite part to play in upright odaiko. Thanks Lindsay.
December 2018: I sent the song to our Musical Director, Meghan, in the form of a very cluttered and confusing sounding mp3 file. I was still in the process of fleshing out certain sections, had never played any of the rhythms on an actual drum, and honestly did not know 90% by heart. However, I knew that at its core there were a lot of great ideas embedded within it and fortunately Meghan was able to realize that.
February 2019: Pulse Prep began. I began teaching Kazoku to the assigned players and the song finally took on its full form. Parts evolved as I made minute adjustments for fluidity and memorability. I’ll never forget the first time that we shakily made it through the entire piece in Lincoln B21; it finally felt real.
April 2019: One week before Pulse was our guest performance with BreakFree, also in Bailey Hall, also in front of over 1,000 audience members. This was a test run for Kazoku. How would it hold up on the big stage? Did people actually know how to play it? Was it going to fail completely? All of these questions went through my head as we walked on stage. Next thing I remember, it was over. People clapped! Wow!! It was even better than what had been in my head 5 months prior. Everything seemed to fit together: each part had its time to shine, and contribute to this 5-minute long family discussion which ended in tight unity. The set up looked better than I could have ever imagined on stage. One week later we did it at Pulse with a Shime Trio prelude.
It’s crazy seeing something you came up with in your room performed in front of over 1,000 people. This is especially crazy with taiko. I did not write this song to be ‘my song’ where I do flashy solos, effectively coercing my fellow Yamatai members to play back up. I wrote Kazoku where every member is as important and relevant as the next. Each part plays in unison, and each part fits into the others in a calculated way. No one is replaceable and everyone’s part can be heard as loud as the others’ no matter the size or style. That is family.
*I’m an only child I have no idea what y’all do
A Personal Look Into 2019 PULSE Meghan Chen
It’s already been two months since PULSE 2019, but I’ve finally found myself ready to reflect on my experiences as this year’s musical director. My goal as the director was to have the team perform in a way that inspired our audiences to do as we do - to step out of their comfort zones and pursue what they love. This goal was driven by my own love for taiko after being introduced to it just three years ago.
I’ve been practicing something music-related since I was 4, tinkering on a mini keyboard at a summer camp or singing in my pre-school class concert. I’ve taken lessons for piano, flute, oboe, guitar, voice, marimba, etc., ranging from either 2 weeks or 7 years, and I’ve quit every single one of them because I always found myself bored and unmotivated to practice.
Taiko was different. Taiko required both musical capability and physical endurance, as well as a sense of artistic flair to cohesively bring the two together - something I called "performance energy". Through this energy, we were able to form bonds with both each other and the audience, and communicate in an entirely new language that we all could suddenly understand. Taiko also introduced me to a new aspect of Japanese culture that has grown to be hugely popular all over the world, allowing me to interact with those who have also fallen in love with it. Taiko gave me the opportunity to step into a leadership position where I could truly see the results of the decisions I made, both positive and negative, and develop myself for the better. Taiko was the focal point of my college experience, friendships, and true love. Taiko was fun, and I wanted to show everyone. So, I became the musical director.
This past year of directorship was truly a roller coaster of emotions. Though I knew I had people to support me, I was the primary source for direction and I felt consistent pressure almost every day. It was overwhelming at times, but when the day of PULSE came, I felt it again - my love for taiko. I let myself drown in the beats of the drums and felt the energy surge through me. I was able to look around and finally feel that performance energy that I’d been craving from others, letting ourselves enjoy the moments together. It was inarguably the most significant and memorable two hours of my life.
At the end of the show, I was sitting on the edge of the stage of Bailey Hall with another member, closing my eyes and taking in the raw emotion we’d just experienced. I heard my name and saw that someone had approached us. I don’t remember the exact words so I can’t quote him, but he told me that he’d been following Yamatai for a few years now, going to our shows around campus and to the last few PULSEs. He said that he was inspired by our performances and our energy, and that I specifically had inspired him to pursue his passions and the things he loves.
My goal as the director was to have the team perform in a way that inspired our audiences to do as we do - to step out of their comfort zones and pursue what they love. The fact that this had truly come to fruition makes me so grateful to have had this experience and be able to impact someone’s life in such a positive way. Though I had to make sacrifices, I believe that I came out stronger and more aware of my impact on people.
To my team: I’m extremely thankful to have had the team that I did, and I’m so proud of what everyone’s accomplished. You guys honestly and unknowingly broke me down and built me back up, but I stand taller now thanks to you.
It’s already been two months since PULSE 2019, but I’ve finally found myself ready to reflect on my experiences as this year’s musical director. My goal as the director was to have the team perform in a way that inspired our audiences to do as we do - to step out of their comfort zones and pursue what they love. This goal was driven by my own love for taiko after being introduced to it just three years ago.
I’ve been practicing something music-related since I was 4, tinkering on a mini keyboard at a summer camp or singing in my pre-school class concert. I’ve taken lessons for piano, flute, oboe, guitar, voice, marimba, etc., ranging from either 2 weeks or 7 years, and I’ve quit every single one of them because I always found myself bored and unmotivated to practice.
Taiko was different. Taiko required both musical capability and physical endurance, as well as a sense of artistic flair to cohesively bring the two together - something I called "performance energy". Through this energy, we were able to form bonds with both each other and the audience, and communicate in an entirely new language that we all could suddenly understand. Taiko also introduced me to a new aspect of Japanese culture that has grown to be hugely popular all over the world, allowing me to interact with those who have also fallen in love with it. Taiko gave me the opportunity to step into a leadership position where I could truly see the results of the decisions I made, both positive and negative, and develop myself for the better. Taiko was the focal point of my college experience, friendships, and true love. Taiko was fun, and I wanted to show everyone. So, I became the musical director.
This past year of directorship was truly a roller coaster of emotions. Though I knew I had people to support me, I was the primary source for direction and I felt consistent pressure almost every day. It was overwhelming at times, but when the day of PULSE came, I felt it again - my love for taiko. I let myself drown in the beats of the drums and felt the energy surge through me. I was able to look around and finally feel that performance energy that I’d been craving from others, letting ourselves enjoy the moments together. It was inarguably the most significant and memorable two hours of my life.
At the end of the show, I was sitting on the edge of the stage of Bailey Hall with another member, closing my eyes and taking in the raw emotion we’d just experienced. I heard my name and saw that someone had approached us. I don’t remember the exact words so I can’t quote him, but he told me that he’d been following Yamatai for a few years now, going to our shows around campus and to the last few PULSEs. He said that he was inspired by our performances and our energy, and that I specifically had inspired him to pursue his passions and the things he loves.
My goal as the director was to have the team perform in a way that inspired our audiences to do as we do - to step out of their comfort zones and pursue what they love. The fact that this had truly come to fruition makes me so grateful to have had this experience and be able to impact someone’s life in such a positive way. Though I had to make sacrifices, I believe that I came out stronger and more aware of my impact on people.
To my team: I’m extremely thankful to have had the team that I did, and I’m so proud of what everyone’s accomplished. You guys honestly and unknowingly broke me down and built me back up, but I stand taller now thanks to you.
2019 Trip to Japan: Travel Journal Chloé Le Moing
3 January
Looooooong plane ride to Narita. All the babies took turns crying for the majority of the flight. But the tint-changing windows were p cool.
4 January
Took the train to Shinagawa to drop luggage off at the hotel. Kalen, Meghan, Judy, and Paul ended up leaving me, Andrew, Calvin, and Jackson to go see a taiko show since the line at the shrine was taking too long. I gave a coin and prayed at the shrine, plus bought a little handmade boar bell and a fortune ticket.
5 January
Met up with the others and headed to Shibuya. Calvin and Meghan bought vegetable Pokémon drinks from a cute vending machine. Went to the arcade where Andrew spent like ¥1400 trying/failing to win a stuffed penguin from a claw game.
6 January
Got breakfast with my new roommate Carina, Paul is not a fan of the bidet. Took a beautiful chair lift and hiked around Mount Tokou til 3, with a seiza-table lunch break in the middle. Got wonderful pork cutlets (sorry Judy) at Sabotan.
7 January
Met up with Kobayashi-sensei at Daikaayama. Played at his tiny studio on muted drums. Tried some difficult Bonten warm-ups. Played Crimson, learned some Kuu, jammed to Hero. Got lunch at Jonathan’s, sat with Calvin, got a real good BLT (soft bacon, Japanese mayo). Took metro all the way to Asakusa, i.e. the other side of Tokyo. Went to a taiko shop called Miyamoto Unosuke and saw how taiko are made, which was awesome (and loud). Went to a beautiful temple, inhaled some intelligence-boosting incense, found out Jackson’s future involves a lucky lady. Walked through a market of food and fashion, passed many beautiful ladies in kimonos. Kobayashi-sensei bought us cute little red bean-filled sweets. Went to a costume store and saw some dog mannequins wearing happi. Saw the golden turd of the beer factory as well as the Thunder Gate, got a cute pic with Kobayashi-sensei. Went back to the hotel with Meghan+Judy+Andrew while the others went to the Pokémon center at the Skytree. Tried to buy fluffy cheesecake but the guy ahead of us got the last slice. Bought some snacks and beverages (including a cheesecake-flavored that tasted like cheese, not cake). Played sushi roulette, Meghan picked the one full of wasabi but made Calvin eat it (he suffered), then Andrew felt bad so he ate the other one (he also suffered).
8 January
Went to the Tokyo Metropolitan Government Building in Shinjuku to see the city from above (plus Fuji!). Got tempura for lunch in our own little room. Went to some stores (tech, video games, books, etc). Went back to the hotel after buying fluffy cheesecake (SUCCESS), matcha red bean cake, and strawberry shortcake. All were delicious.
9 January
Group split up into many groups, I explored mostly with Andrew. Went to cool technology exhibit. Saw that cool robot Asibo or whatever it’s called. Watched it dance and hop on one leg. Went to a hole in the wall for dinner (minus Meghan) and ate some great okonomiyaki (cabbage and egg pancake with pork on top). Got back to the hotel and watched weird late-anime episodes.
10 January
Went to this beautifully gardened place to have a traditional tea ceremony. Got served sweets and tea in a small wooden hut by a little lady in a pink kimono. Watched Kalen suffer because he hates tea. Watched some thicc kois swimming around in the garden pond. Said goodbye to Carina. Got conveyor belt sushi for lunch (my favorites were the seared squid with lemon and the pufferfish).
11 January
Last day in Tokyo! Said goodbye to Jackson. Marvelled at our beautiful room, complete with tatami mats, sliding doors, and a garden with a view. Andrew made us tea, we sat at our tiny table and relaxed. Went to explore the town with Paul and Andrew. Returned to the room to find our tiny table had been replaced by cozy futons! Rolled around in futon bliss for many minutes before passing out.
12 January
Woke up at 6:30 to bathe and watch the sunrise. Took the bus to the train station, got there and watched the train leave before realizing it was in fact the train we were supposed to get on. Abandoned Paul with the luggage and my travel book to check out a nearby market. Ate some sweet buns steamed in hot spring water.
13 January
Wandered around JR station trying to find where to buy bus tickets. Took bus to the golden pavilion (Kinkaku). It was very large and very golden. There was much beautiful moss to be seen. Went to manga museum, then got beef bowls for lunch (literally a cheesesteak on rice; it was delicious). Then to holy water temple Kiyomizudera. Saw many beautiful Japanese girls in kimonos and many beautiful Korean boys with odd haircuts.
14 January
Bought more bread from that wonderful train station bakery. The melon bread was amazing. Took train to Nara where we pet and fed many deer, and stepped in many deer poops. One stole Andrew's map from his back pocket twice. Calvin seemed uncomfortable ("they seem a bit unsanitary"). Wandered around the shrines and all the stone lamps. Took the train back to Kyoto and went to the Kyoto Tower, which had a beautiful blue-lit observation room that gave a 360-degree view of the city.
15 January
Took the Shinkansen from Kyoto back to Tokyo. Stopped in Shinjuku to do some browsing after grabbing Sabotan for dinner. Saw some $300 melons. Checked into Narita hotel for the night. Drank, listened to music, talked about life.
3 January
Looooooong plane ride to Narita. All the babies took turns crying for the majority of the flight. But the tint-changing windows were p cool.
4 January
Took the train to Shinagawa to drop luggage off at the hotel. Kalen, Meghan, Judy, and Paul ended up leaving me, Andrew, Calvin, and Jackson to go see a taiko show since the line at the shrine was taking too long. I gave a coin and prayed at the shrine, plus bought a little handmade boar bell and a fortune ticket.
5 January
Met up with the others and headed to Shibuya. Calvin and Meghan bought vegetable Pokémon drinks from a cute vending machine. Went to the arcade where Andrew spent like ¥1400 trying/failing to win a stuffed penguin from a claw game.
6 January
Got breakfast with my new roommate Carina, Paul is not a fan of the bidet. Took a beautiful chair lift and hiked around Mount Tokou til 3, with a seiza-table lunch break in the middle. Got wonderful pork cutlets (sorry Judy) at Sabotan.
7 January
Met up with Kobayashi-sensei at Daikaayama. Played at his tiny studio on muted drums. Tried some difficult Bonten warm-ups. Played Crimson, learned some Kuu, jammed to Hero. Got lunch at Jonathan’s, sat with Calvin, got a real good BLT (soft bacon, Japanese mayo). Took metro all the way to Asakusa, i.e. the other side of Tokyo. Went to a taiko shop called Miyamoto Unosuke and saw how taiko are made, which was awesome (and loud). Went to a beautiful temple, inhaled some intelligence-boosting incense, found out Jackson’s future involves a lucky lady. Walked through a market of food and fashion, passed many beautiful ladies in kimonos. Kobayashi-sensei bought us cute little red bean-filled sweets. Went to a costume store and saw some dog mannequins wearing happi. Saw the golden turd of the beer factory as well as the Thunder Gate, got a cute pic with Kobayashi-sensei. Went back to the hotel with Meghan+Judy+Andrew while the others went to the Pokémon center at the Skytree. Tried to buy fluffy cheesecake but the guy ahead of us got the last slice. Bought some snacks and beverages (including a cheesecake-flavored that tasted like cheese, not cake). Played sushi roulette, Meghan picked the one full of wasabi but made Calvin eat it (he suffered), then Andrew felt bad so he ate the other one (he also suffered).
8 January
Went to the Tokyo Metropolitan Government Building in Shinjuku to see the city from above (plus Fuji!). Got tempura for lunch in our own little room. Went to some stores (tech, video games, books, etc). Went back to the hotel after buying fluffy cheesecake (SUCCESS), matcha red bean cake, and strawberry shortcake. All were delicious.
9 January
Group split up into many groups, I explored mostly with Andrew. Went to cool technology exhibit. Saw that cool robot Asibo or whatever it’s called. Watched it dance and hop on one leg. Went to a hole in the wall for dinner (minus Meghan) and ate some great okonomiyaki (cabbage and egg pancake with pork on top). Got back to the hotel and watched weird late-anime episodes.
10 January
Went to this beautifully gardened place to have a traditional tea ceremony. Got served sweets and tea in a small wooden hut by a little lady in a pink kimono. Watched Kalen suffer because he hates tea. Watched some thicc kois swimming around in the garden pond. Said goodbye to Carina. Got conveyor belt sushi for lunch (my favorites were the seared squid with lemon and the pufferfish).
11 January
Last day in Tokyo! Said goodbye to Jackson. Marvelled at our beautiful room, complete with tatami mats, sliding doors, and a garden with a view. Andrew made us tea, we sat at our tiny table and relaxed. Went to explore the town with Paul and Andrew. Returned to the room to find our tiny table had been replaced by cozy futons! Rolled around in futon bliss for many minutes before passing out.
12 January
Woke up at 6:30 to bathe and watch the sunrise. Took the bus to the train station, got there and watched the train leave before realizing it was in fact the train we were supposed to get on. Abandoned Paul with the luggage and my travel book to check out a nearby market. Ate some sweet buns steamed in hot spring water.
13 January
Wandered around JR station trying to find where to buy bus tickets. Took bus to the golden pavilion (Kinkaku). It was very large and very golden. There was much beautiful moss to be seen. Went to manga museum, then got beef bowls for lunch (literally a cheesesteak on rice; it was delicious). Then to holy water temple Kiyomizudera. Saw many beautiful Japanese girls in kimonos and many beautiful Korean boys with odd haircuts.
14 January
Bought more bread from that wonderful train station bakery. The melon bread was amazing. Took train to Nara where we pet and fed many deer, and stepped in many deer poops. One stole Andrew's map from his back pocket twice. Calvin seemed uncomfortable ("they seem a bit unsanitary"). Wandered around the shrines and all the stone lamps. Took the train back to Kyoto and went to the Kyoto Tower, which had a beautiful blue-lit observation room that gave a 360-degree view of the city.
15 January
Took the Shinkansen from Kyoto back to Tokyo. Stopped in Shinjuku to do some browsing after grabbing Sabotan for dinner. Saw some $300 melons. Checked into Narita hotel for the night. Drank, listened to music, talked about life.