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  • Sunrise / Hidemi Woods

    Sunrise / Hidemi Woods

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    Sunrise
    
     Worked so hard
     Did my best
     Yet my life
     Never got better
     Tell me when
     I can rest
     So much I don't know
     Doesn't matter
     Life is cruel
     Full of pain
     Whom would I
     Call for a helper?
     Will it shine?
     Will it rain?
     So much I don't know
     Doesn't matter
     Worries are around me always
     In any ways
     Let wind dry away the tears
     To clear my eyes
     Even through this lonely, dark night
     I'll be all right
     'Cause there will come
     Another sunrise
     Did I win?
     Did I lose?
     Where should I
     Look for the answer?
     Am I rich?
     Am I poor?
     So much I don't care
     Doesn't matter
     Problems wait and see how I face
     in any case
     Bad thinks fall upon me sometimes
     Good ones may likewise
     Even toward this dreary, bleak sight
     I'll be all right
     'Cause there will come
     Another sunrise
     Worries are around me always
     In any ways
     Let wind dry away the tears
     To clear my eyes
     Even through this lonely, dark night
     I'll be all right
     'Cause there will come
     Another sunrise
     Going slow
     It's my walk
     Feel no need
     Ending up faster
     People talk
     Let them talk
     So much I don't care
     Doesn't matter
     Doesn't matter
     Another sunrise
     Sunrise 

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  • A Picture-Card Show

    A Picture-Card Show

    I was absorbed in one kind of play when I was about seven years old. It was paper play called ‘kamishibai’ in Japan. It’s a picture-card show in which a performer tells a story while showing a picture that corresponds to it. A performer impersonates the characters to say their lines and flips a picture to the next one when the scene changes. It’s a sort of street performance that is hardly seen these days. But when I was little, an old picture-card showman came to the small park near my house every two weeks or so. He would walk around my neighborhood while ringing a bell to let children know the show was coming.

    When I heard the bell, I would spring toward the park clenching small change in my hand. The show was free, but the performer sold cheap snacks and candies before the show. His theater was his bicycle. On the back of the bicycle, a big wooden box was fixed that contained both the pictures and candies. Once the show started, the box transformed into the picture holder. By tacit agreement, children who had bought candies stood in the front and those who hadn’t stood on their toes in the back to get a view.

    Although the story itself didn’t interest me so much, I loved the experience that I saw a live performance while eating delicious snacks. It was a luxury to me. Probably because I liked it too much, I asked my parents and got a picture-card show play set. The play set was available at a bookstore and came with a sono-sheet. A sono-sheet was a very thin flexible vinyl record on which the story, the lines of the characters and the sound effects all that corresponded to the picture cards were recorded. The instruction for the timing to flip the pictures was also recorded. The story and the pictures were from a popular TV animation program for kids.

    Unlike the picture-card show at the park, with this play set, I was a performer. Since there was a vinyl to be played along with it, I could sit in front of the picture holder and watch it as a lone audience while listening to the record. Only, I wasn’t interested in being the audience. I’d rather stood behind the picture holder and flipped the pictures according to the instruction played on the record. The characters’ lines were printed on the back of each picture and I read them along with the record. The number of the picture cards were over twenty and I practiced flipping each one of them in the perfect timing and reading the lines with emotions by imitating the voice actors on the record. That was my favorite play of my childhood and I spent a lot of time and energy every day.

    The funny part was, I didn’t need any audience. I practiced intently not to show the play but to perform perfectly. And I performed exclusively for myself. This play couldn’t be accomplished without the record player that sat in the guestroom of my house. I would sneak in there to play with the set because I couldn’t concentrate on my performance if someone heard or saw it. In case my younger sister asked me to play it to her, I drove her away. Not to be bothered by anyone, I didn’t even turn on the light of the room. I would play the show along with the record alone in the dark, and relish satisfaction and joy when I thought the performance went perfectly.

    Recalling my favorite childhood play now, it awfully looks similar to the way I engage in my work of music. I guess I make my songs strenuously for perfection not for audience’s reception. I always thought I pursued people’s attention and stardom, but it wasn’t true as long as I remembered how I felt happy in my childhood. That explains why my songs don’t ever sell. I perform to no audience. It seems that’s the way I liked, and the way I’m destined for…

    Episode from

    Cats, Dogs and Kyoto, Japan by Hidemi Woods

    Kindle and Audiobook available at Amazon.com

  • The Dog with An Eternal Life

    The Dog with An Eternal Life

    There was a small old cemetery near the house where I grew up. As the Japanese law hadn’t been changed to cremation until I left home, all of my ancestors were buried there when I was a child. A patch of land was allocated to each family in our hamlet of an old city Kyoto, and a family would divide the patch into individual graves for the deceased. Our family’s patch had about ten small graves each of which was marked with a few small insignificant stones. It was a very primitive burial site that young people nowadays wouldn’t believe.

    My grandmother used to accompany me when she visited there twice a year. We would bring incense sticks, a box of matches, stale cookies and a tin kettle filled with water. She would stick lighted incense into the ground of each grave, put a cookie beside it and spilled some water from the kettle onto the ground. Since the stones didn’t bear names, who was, or were, under the particular grave depended on my grandmother’s memory and what she was told. After we finished praying to each grave, she always said, “Now, the dog,” sounding like the most important event remained. And she would stick the last incense and spill the rest of water along with the last cookie onto the foot of a weed-grown mound that was beside the narrow trail to our family graves. Under the mound was the place where our family dog had rested in peace.

    I had never kept a dog but my father had. My grandfather reigned harshly over his family members and never allowed me to keep a dog. But he hadn’t started his hobby of growing chrysanthemums when my father was a child. No chrysanthemums meant an approval for a dog. When my father told me that he had kept a dog, I couldn’t picture that a dog was running freely in the yard of our house.

    From time to time, I visited the cemetery with my father. His main purpose there was to pull out the weed that easily gulped up the entire grave patch, rather than to pray. After clearing up the ground of our ancestors’ graves, he would pray to each grave shortly. And in the end, he prayed to the mound, for his dog. Although among our ancestors, there were his brothers who were twins and died shortly after birth, he prayed for his dog longer than for them. Seeing him do that every time, I knew how much he loved his dog. That also explained my grandmother’s ritual for the dog’s grave. He was an important member of the family back then.

    According to my father, the family never decided or even talked about keeping the dog. He was a stray dog that showed up one day from nowhere, and kept coming. Soon he stopped leaving and just began to stay in the yard. My father fed him and he slept under the eaves of our house. That was how they got to keep a dog. He was a big dog with long fluffy white fur. My father named him Maru, that means ‘round’ or ‘circle’ in Japanese, because he looked like a big white hairy ball. In those days, keeping a pet was so easy and casual that Maru didn’t wear a collar and wasn’t on a leash. They had never taken him for a walk because it was unnecessary. He was strolling and running around the yard all day. Although he had died long before I was born and I had never seen him, it was one of my customs to pray to Maru on a visit of our family cemetery.

    I had wanted to keep a dog all through my childhood but never been allowed because my grandfather filled the yard with his chrysanthemums. When I was a teenager, my first boy friend gave me a big white stuffed-animal dog for my birthday. My father looked at it affectionately and said, “It looked exactly like Maru.” Instead of to a live dog that I couldn’t have, I named that stuffed-animal dog Pon-maru by mixing my nickname ‘Hidepon’ and ‘Maru’. He became my official make-believe pet. A few years later, I left home. My grandparents passed away. The family house was demolished and the site was sold. The rest of my family moved out of Kyoto. The custom to visit the family cemetery was gone. Only, Pon-maru still lives with me in my apartment that is far from my hometown, in a shape of a big, a little-grayish fur ball.

    Episode from

    Cats, Dogs and Kyoto, Japan by Hidemi Woods

    Kindle and Audiobook available at Amazon.com

  • The Lousy Neighbor / Hidemi Woods

    The Lousy Neighbor / Hidemi Woods

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    Lousy Neighbor
    
     No matter where you move
     No matter which place you live in
     Right next to your door, they settle in
     You wish you could remove
     Only they will never give in
     Instead, to the end they dwell in
     Banging, stamping, drumming, clumping,
     They have got kids shrieking all day
     Laughing, yowling, shouting, howling,
     They have frolic every Friday
     Dancing, leaping, kicking, jumping,
     Why'd they set your anger to prime?
     Persistently, all the time
     The lousy neighbor's all around
     Bothering its neighbors with no ground
     The lousy neighbor's breathing on
     Until everyone else is all gone
     Love your neighbor,
     Lousy neighbor
     It could your snug room
     It could your lifetime dream house
     Right next to your door, war breaks out
     You wish them consume
     Everything to raise your eyebrows
     Instead, their bullets don't run out
     Beating, thumping, knocking, stomping,
     They know how to rub the wrong way
     Braying, calling, roaring, brawling,
     They know craft to stand in your way
     Crying, yapping, jawing, yelping,
     Why'd they drag you into this clutch?
     Consequently, hate so much
     The lousy neighbor's all around
     Bothering its neighbors with no ground
     The lousy neighbor's breathing on
     Until everyone else is all gone
     Love your neighbor,
     Lousy neighbor
     How could you teach
     Evil sinners
     Their out-of-reach
     Proper manners
     They are mad brutes
     Not worth two hoots
     Even so can you forgive?
     Is there mercy you should give?
     The lousy neighbor's all around
     Bothering its neighbors with no ground
     The lousy neighbor's breathing on
     Until everyone else is all gone
     The lousy neighbor's won't refrain
     From driving you completely insane
     The lousy neighbor's won't suspend
     Chasing after you to the world's end
     You, lousy neighbor
     You, noisy monster
     You, lousy neighbor
     You stick forever
     Love your neighbor 

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  • jackpot

    jackpot

    A dream I wish to have in the night most isn’t about dating a Hollywood star, or making a great hit with my song. It’s not about my parents saying to me with tears “We were wrong. We’re sorry.” either.

    It’s about numbers. I once saw a woman on TV who won 4 million dollars by the lottery with the numbers she had seen in her dream. Shortly after that, I myself saw numbers in my dream and began to buy a lottery ticket with those numbers. I won $10 for several times and $100 once, if not 4 million dollars.

    Since then, I’ve always waited for numbers to appear in my dream, the numbers for the jackpot. And the other night, new numbers appeared in my dream for the first time in months. I was convinced that the time had come. I rushed to the only lottery stand in this small town and got a ticket for five consecutive drawings with those numbers.

    I lost them all. I went out again in the snow with my partner for five more drawings. At the stand, he found that he had left an ATM card at home, which was necessary to get a lottery ticket. He acted as if he had lost 4 million dollars on the spot and looked up the sky with despair.

    I’d never thought the numbers from my dream gave him so much hope. I ended up coming back again to get a ticket before the next drawing day. While I rely on my dream numbers and keep meeting the deadline for each drawing rigidly, a possibility of the jackpot is practically none…

    Episode from

    Japanese Dream: Singer, Songwriter and Author from Kyoto, Japan by Hidemi Woods

    Kindle and Audiobook available at Amazon.com