Event For Lee Kerry And After Having A Couple Of: Fill & Download for Free

Analysis of whole Y-chromosome sequences reveals the Japanese population history in the Jomon period, by Yusuke Watanabe, Izumi Naka, Seik-Soon Khor, Hiromi Sawai, Yuki Hitomi, Katsushi Tokunaga & Jun Ohashi, Scientic Reports, Published 17 June 2019:AbstractThe Jomon and the Yayoi are considered to be the two major ancestral populations of the modern mainland Japanese. The Jomon people, who inhabited mainland Japan, admixed with Yayoi immigrants from the Asian continent. To investigate the population history in the Jomon period (14,500–2,300 years before present [YBP]), we analyzed whole Y-chromosome sequences of 345 Japanese males living in mainland Japan. A phylogenetic analysis of East Asian Y chromosomes identified a major clade (35.4% of mainland Japanese) consisting of only Japanese Y chromosomes, which seem to have originated from indigenous Jomon people. A Monte Carlo simulation indicated that ~70% of Jomon males had Y chromosomes in this clade. The Bayesian skyline plots of 122 Japanese Y chromosomes in the clade detected a marked decrease followed by a subsequent increase in the male population size from around the end of the Jomon period to the beginning of the Yayoi period (2,300 YBP). The colder climate in the Late to Final Jomon period may have resulted in critical shortages of food for the Jomon people, who were hunter-gatherers, and the rice farming introduced by Yayoi immigrants may have helped the population size of the Jomon people to recover.IntroductionArchaeological studies have shown that the Japanese prehistory is divided into three periods: the Paleolithic period (older than 14,500 years before present [YBP]), the Jomon period (14,500-2,300 YBP), and the Yayoi period (2,300-1,700 YBP)1. One of the most important events in Japanese history is the transition from subsistence food production activities such as hunting and gathering to farming rice at the beginning of the Yayoi period. The advanced rice farming is thought to have been introduced to mainland Japan (we use the term “mainland Japan” to distinguish Honshu, Shikoku and Kyusyu from Hokkaido and Okinawa in this paper), inhabited by the Jomon people, by the Yayoi immigrants who came from the Asian continent.At present there are two minor populations and one major population in the Japanese archipelago: the Ainu who mainly live in Hokkaido (a minor population); the mainland Japanese (the major population); and the Ryukyuan who mainly live in Okinawa (a minor population). The prevailing hypothesis on the origins of the Japanese is “the dual structure model,2 ” where the present-day Japanese population is formed by an admixture between indigenous Jomon people and Yayoi immigrants who migrated from continental East Asia (Fig. 1). According to this model, modern mainland Japanese should have genomic components derived from both the Jomon people and those originating from the Yayoi immigrants. Genetic studies, using genome-wide single nucleotide polymorphism (SNP) data, basically supported the above model3,4,5,6. A recent study of ancient DNA extracted from the remains of Jomon individuals who had lived in mainland Japan (Fukushima Prefecture) 3,000 YBP suggested that (1) the Jomon people were strongly divergent from the current East Asians (Fig. 1), (2) the Ainu people are most closely related to the Jomon people among the three Japanese populations, and (3) ~12% of the genomic components of the modern mainland Japanese were derived from the Jomon people7. Genetically, the mainland Japanese are closely related to Koreans, followed by Han Chinese, and finally by other Continental East Asians3. These findings suggest that a large number of Yayoi immigrants came mainly through the Korean Peninsula to mainland Japan, and the mainland Japanese still retain genomic components from the Jomon people. Thus, there is a possibility that the historical change in the population size of the historic Jomon people, who lived in mainland Japan, could be estimated from genomic data from the modern mainland Japanese.Figure 1Overview of the currently accepted demographic model of the mainland Japanese population.Full size imageIn the current work, we estimated the change in population size of the Jomon people in the Late to Final Jomon period by using whole Y-chromosome sequences of Japanese males living in mainland Japan. Specifically, we identified a phylogenetic clade (hereinafter called “clade 1”) specific to Japanese Y chromosomes and largely divergent from ones attributable to the continental East Asians. Y chromosomes in clade 1 appeared to be derived from the Jomon people. The population frequency of clade 1 Y chromosomes was estimated to be ~70% in Jomon males. The Bayesian skyline plot (BSP)8 for Y chromosomes in clade 1 allowed us to infer the historical change in population size of the majority of the Jomon people. Our results suggested that the Jomon people underwent a major decrease in population size at the end of the Jomon period, with a recovery occurring soon after the beginning of the Yayoi period….DiscussionThe present mainland Japanese have two ancestral populations: the indigenous Jomon and the Yayoi immigrants. In order to examine the demographic history during the Jomon period (14,500-2,300 YBP), we conducted a population genetic analysis using Y chromosomes of present-day mainland Japanese. In this study, a monophyletic group (named clade 1), consisting of only Japanese Y chromosomes, was identified in the phylogenetic analysis. Clade 1 was found to correspond to the Y– chromosome haplogroup D1b. This haplogroup, characterized by the insertion of an Alu element called YAP, is frequently observed in Japanese and Tibetans but is absent from other East Asians12,15. Although the lineages of haplogroup D1b in Japanese and Tibetans must have a common ancestor, the absence from Korean and Chinese populations suggests that the divergence of haplogroup D1b occurred before the ancestors of the Jomon people reached the Japanese archipelago. Y chromosomes in clade 1 are considered to have originated almost exclusively from the Jomon people who had inhabited the Japanese archipelago a long time before the Yayoi immigrants arrived. A simple computer simulation suggested that ~70% of the Jomon people carried the Y chromosome belonging to clade 1.In BSP for Y chromosomes in clade 1, we observed significant decreases in the effective population size of the Jomon people at the end of the Jomon period (Fig. 5). In the Final Jomon Period, there was a cooling trend in Japan with a sea level 1–3 m lower than the present level1. For the first time, we provide genetic evidence that the number of Jomon people decreased simultaneously with the cooling in the Final Jomon Period. Since the Jomon people were hunter–gatherers dependent on wild food, the number of the Jomon people might have decreased due to the shortage of food resources in the colder Final Jomon Period. A previous study16 had reported that a dietary change occurred along with climate change during the Late to Final Jomon period. It has been revealed that the density of archaeological sites declined in the Late to Final Jomon period17, suggesting that a sizeable population decline had occurred in Japan. Our results strongly support the archaeological finding. The effective population size of the Jomon people was estimated to have increased after the beginning of the Yayoi period (i.e., 2,300 YBP) (Fig. 5). The livelihood of the mainland Japanese shifted from nomadic hunter-gatherer to settled agriculturist in the Yayoi period. The rice farming introduced to mainland Japan by Yayoi immigrants, therefore, may have helped the Jomon people to procure food stably and recover their population size.Since it is known that effective male and female population sizes are different in general18 and the contributions of men and women are often unequal when admixture of two populations occurs19, the population history of Jomon females may be different from that of Jomon males. The ancient mtDNA analysis for Jomon people will add much to our understanding of historical changes in the effective female population size during the Jomon period.The evolving Japanese: the dual structure hypothesis at 30, by Mark J. Hudson1* , Shigeki Nakagome2 and John B. Whitman3, Evolutionary Human Sciences (2020), 2, e6, page 1 of 13:AbstractThe population history of Japan has been one of the most intensively studied anthropological questions anywhere in the world, with a huge literature dating back to the nineteenth century and before. A growing consensus over the 1980s that the modern Japanese comprise an admixture of a Neolithic population with Bronze Age migrants from the Korean peninsula was crystallised in Kazurō Hanihara’s influential ‘dual structure hypothesis’ published in 1991. Here, we use recent research in biological anthropology, historical linguistics and archaeology to evaluate this hypothesis after three decades. Although the major assumptions of Hanihara’s model have been supported by recent work, we discuss areas where new findings have led to a re-evaluation of aspects of the hypothesis and emphasise the need for further research in key areas including ancient DNA and archaeology.Media summary: The ‘dual structure hypothesis’ of two genetic layers in the population history of the Japanese archipelago still remains widely accepted after three decades, but new research is starting to suggest more complex social relations between Neolithic (Jōmon) and Bronze Age (Yayoi) peoples.IntroductionThe population history of Japan has been one of the most intensively studied anthropological problems anywhere in the world. European interest in Japanese origins dates back to the first contacts with the country in the sixteenth century (Kreiner 1993). The introduction of anthropology and archaeology in the late nineteenth century provided new ways of studying the peoples of the archipelago and growing attention was paid to the so-called ‘Ainu problem’ (Sternberg 1929), which stemmed from the then widespread view that the Ainu were a ‘lost race’ of Caucasoids who had somehow ended up as an isolated island (Rasseninsel) within a Mongoloid sea (Koganei 1894; von Baelz 1911). For many Western visitors of the late nineteenth and early twentieth centuries, Japan’s rapid success in modernisation seemed at odds with its non-European racial identity but, through the Ainu, writers such as W.E. Griffis (1843–1928) ‘claimed the Japanese for the Caucasians, creating in them a white tribe of Asia’ (Low 1999, p. 210).Western insistence on the ‘mixed’ roots of the Japanese came as a shock to native scholars, who quickly developed theories emphasising the uniqueness of the Japanese race (Oguma 2002). By the 1970s, although a few Western anthropologists such as Howells (1966) and Turner (1976) continued to argue for ‘replacement’ theories, the ‘transformation’ approach – whereby the Neolithic Jōmon people evolved into the modern ‘mainland’ Japanese without significant immigration – was widely accepted (Hasebe 1940; Suzuki 1969, 1981; cf. Nanta 2008). Over the 1980s, however, several new developments in biological anthropology made it increasingly difficult to ignore an important role for immigration in the Bronze Age Yayoi period (900 BC to AD 250). The growing use of both cranial and dental nonmetric traits in biodistance analyses was significant because such traits are thought to be under less environmental selection than metric ones (Dodo and Ishida 1987). Somatometric and classical genetic markers had long suggested an east–west cline in the Japanese archipelago consistent with immigration from the west, and this was now further supported by new genetic work, including studies on dogs and mice (Horai et al. 1989; Hanihara 1991). Another influential analysis supporting immigration was Hanihara’s (1987) demographic modelling which estimated a contribution of between 400,000 to over 1 million immigrants into Japan from the beginning of the Yayoi to the eighth century AD. By the early 1980s, Kazurō Hanihara (1927–2004), the leading Japanese physical anthropologist of his generation, was already writing about a ‘new’ theory of Japanese origins. Hanihara (1984a) emphasised the difference between two physical types in Japan, which he termed ‘Palaeo-Mongoloid’ and ‘Neo-Mongoloid’, admitting that this classification had similarities to earlier work by von Baelz (1883, 1885, 1911). Here, Hanihara managed to combine classical morphotypological approaches with new techniques, a merger which without doubt led to the wide acceptance of his hypothesis. According to Nanta (2008, p. 42), Hanihara (1984b) had already used the Japanese term nijū-kōzō moderu, which was later translated as ‘dual structure model’. While the essential conclusions of the dual structure hypothesis were found in writings such as Hanihara (1985), it was not until 1991 that the theory was presented in an integrated way under the English label ‘dual structure’.Figure 1 summarises Hanihara’s dual structure hypothesis with two major amendments to the original. First, while Hanihara described Yayoi-period migrants as deriving from ‘modern’ Northeast Asians, the meaning of ‘modern’ in this context is unclear. The source populations for post-Jōmon immigration to Japan are better described as ‘Bronze Age and early historic NE Asians’. Secondly, while Hanihara emphasised migration to Japan in the Yayoi period, it is clear from historical records that substantial population movements from the Korean peninsula continued during the following Kofun and Nara periods (250–794 AD) and we have thus described these as ‘Yayoi and early historic period migrants’. While this figure per se refers only to the human biological history of the archipelago and not to linguistic or cultural phenomena, the dual structure hypothesis has been enormously influential in Japanese studies as a whole. In this paper we discuss the reception of this theory in Japan before looking at how new research has confirmed or changed Hanihara’s original model.The dual structure hypothesis and national discourse in modern JapanHanihara (1991) is the most highly cited scientific paper on the population history of Japan by a Japanese scholar. According to Google Scholar (accessed 7 January 2020), Hanihara (1991) has been cited 399 times and a 1994 Japanese translation of the same paper on a further eight occasions. Since Google Scholar does not include many books and journals published in Japanese, the actual total is likely to be higher. The article has been cited in research in a wide range of disciplines, including (in order of citation) biological anthropology, genetics, Japanese studies and medical research. It is important to note the influential role of the paper in broader debates over Japanese origins. The dual structure hypothesis included several significant changes from previous research. Controversy over whether the Ainu were the original Stone Age inhabitants of the archipelago had begun with the first archaeological excavation in Japan in 1877 (Darwin and Morse 1880; Dickins 1880a, 1880b; Nishioka and Schenck 1937). Early studies regarded the Ainu as a Caucasoid isolate, unconnected to the Japanese and, even as late as the 1960s, it was believed that ‘the participation of the Ainu was relatively insignificant in the ethnic formation of the Japanese people’ (Ishida 1963, p. 6). One of Hanihara’s major contributions was to argue that ‘the population history of the Ainu had an intimate relationship to that of the non Ainu Japanese’ (Hanihara 2000). Hanihara also expanded the problem of the ‘origins of the Japanese’ to a much wider geographic scale and later research used this insight to investigate how the dual structure hypothesis relates to human dispersals in Asia and the Americas (e.g. Brace et al. 2001; Matsumura and Hudson 2005; Adachi et al. 2011; Matsumura et al. 2019).With its emphasis on immigration, the dual structure hypothesis can be seen as a critique of nationalist theories of Japanese racial homogeneity. At the same time, however, Hanihara followed a long tradition within Japanese anthropology of emphasising racial and, by implication, cultural amalgamation (kongō) and assimilation (dōka), terms which signify the process by which the diverse roots of the Japanese came, over time, to form one ‘unique’ (koyū) whole (Pai 1999). Although Hanihara used the translation ‘dual structure’, the original Japanese nijū draws on the concept of stratigraphic layering, reflecting a central problem in Japanese thought since the early twentieth century of how to understand the coexistence of old cultural forms within a rapid lurch towards modernity. Perhaps the most influential response to this problem was the concept of jūsōsei, or ‘stratigraphic layering’, developed in the 1930s by philosopher Tetsurō Watsuji (1889–1960). In this scheme, new layers were placed on top of the old but did not replace them. In an attempt to ‘overcome’ the contradictions of modernisation, Watsuji emphasised how ‘jūsōsei made possible a structure that housed all of the layers [of Japan’s past] in the same space even though they signified different temporalities’ (Harootunian 2000, p. 254). This question of ethnic/cultural ‘layering’ has been central to anthropological discourse in Japan and folklorist Kunio Yanagita (1875–1962) was one of the first to recognise the importance of older ethno-cultural layers. Yanagita saw that ‘cultural unevenness, what he called ainoko bunmei (mixed civilisation), was not a temporary stage in an evolutionary narrative but a permanently entrenched condition that could be found throughout East Asia’ (Harootunian 2000, p. 31).Against this background, archaeologists debated whether the Stone Age came to an end more or less simultaneously across Japan, or whether pockets of Stone Age Jōmon culture remained in eastern Japan as late as the Middle Ages (Darwin and Morse 1880; Dickins 1880a, b; Barnes 1990). The underlying question here was, to what extent were ‘primitive’ elements retained as Japanese culture evolved into ever higher forms? However, Hanihara’s dual structure theory circumvented this whole debate by arguing for an apparently seamless integration of native and newcomer – although he did accept that the degree of admixture was lower in the extreme north and south of archipelago (see Nanta 2008). Philosopher Takeshi Umehara (1990) used Hanihara’s work to define Japanese culture as an integrated ‘oval culture comprised of the harmonious opposition of two focal points, the forest culture that is Jomon and the paddy field culture that is Yayoi’, an influential conceptualisation which built on Nietzsche’s opposition of Apollonian and Dionysian elements in Greek culture. While earlier researchers had usually seen the Japanese nation as beginning with the Yayoi (e.g. Ishida 1974), by the 1990s the Jōmon had been widely – yet uncritically – incorporated into a much longer Japanese tradition (Ikawa-Smith 1990, 1995; Hudson 2003; Kobayashi 2018), even though that argument contradicted the dual structure hypothesis in many respects. As discussed below, these assumptions about the seamless layering of admixture in prehistoric Japan have hindered Japanese scholarship from understanding the social processes behind the dual structure hypothesis.Evaluating the dual structure hypothesisBiological anthropologyThe first critique of the dual structure theory came from Okinawa. Hanihara had argued that Ryukyuans retain significant Jōmon genetic heritage with little Yayoi/Japanese admixture. However, Hudson (1994) noted that since the Ryukyuan languages of Okinawa are closely related to Japanese, there must have been language replacement in the Ryukyu Islands in the post-Jōmon period. Given that demic expansion seems to have been the primary cause behind the spread of Japonic in mainland Japan, Hudson (1994, 1999) proposed that a similar process had been at work in the Ryukyus. Support for this suggestion came from anthropologists who found that Ryukyuan populations cluster more closely with mainland Japanese and are rather distant from the Ainu in cranial analyses (Dodo et al. 1998, 2000; Pietrusewsky 2010). The genomic analysis by Jinam et al. (2012) supports both perspectives under an assumption that the Ainu are direct descendants of the Jōmon. Jōmon ancestry may be less prevalent in Ryukyuans as compared with the Ainu but it is still large enough to characterise Ryukyuans genetically compared with mainland Japanese. Recent ancient genomic studies have directly confirmed this by showing that Ryukyuans have much higher Jōmon ancestry than mainland Japanese (Kanzawa-Kiriyama et al. 2017, 2019; McColl et al. 2018). Furthermore, even within the people living in the Ryukyu Islands, there is population stratification (i.e. differences in frequencies of genetic variants between the populations at a genome-wide scale) between Okinawa and the Miyako Islands, which is unlikely to be due to gene flow from Aboriginal Taiwanese to Miyako Islanders (Sato et al. 2014). Rather, this pattern was more likely shaped by isolation with a weak but continuous migration between the populations for the last 2000–3000 years. Therefore, the amount of Jōmon ancestry possessed by people living in the Ryukyu Islands still remains unclear, although this can be addressed in the near future with the increasing scale of whole-genome data.Another important re-evaluation of the dual structure hypothesis came from proposals of significant intermarriage between Okhotsk and Ainu populations in Hokkaido (Sato et al. 2007). This is partially supported by Jeong et al. (2016), who found that the phylogenetic position of the Hokkaido Ainu forms an outgroup with respect to all East Asian populations. Furthermore, the Ainu exhibit a closer genetic affinity to people of northeast Siberia, such as the Itelmen and Chukchi, than to people of central Siberia, who have genetic affinity to all other East Asians. This suggests that the Ainu share ancestry with people living in northeast Siberia, who in turn share ancestry with Native Americans. Another mechanism that can explain this observation is recent gene flow between the Hokkaido Ainu and northeast Siberians. Ancient DNA data on Okhotsk people may shed further light on cultural interactions between Okhotsk and Ainu, as well as on the origins of the Okhotsk people.Until recently, no genetic evidence had emerged to support Hanihara’s (1991) hypothesis that the Jōmon people originated in Southeast Asia. In 2018, McColl and colleagues generated whole-genome sequence data from a 2500-year-old skeleton belonging to a Final Jōmon context in central Japan. An early divergence of the Jōmon lineage, coupled with high genetic affinity of the Jōmon individual with ancient Southeast Asians, provides strong support for a Southeast Asian origin of the Jōmon people (McColl et al. 2018). These results are also consistent with those from Jeong et al. (2016), suggesting that ancient and modern genomics can further facilitate our understanding of the complex population history of the East Asian continent and the Japanese archipelago.With respect to the Jōmon–Yayoi transition in the central islands of Japan, Hudson (1999) attempted to reconcile Hanihara’s hypothesis of a substantial (in fact dominant) continental contribution to the Japanese population with the farming/language dispersal hypothesis (Bellwood and Renfrew 2002). It is notable that other researchers who have attempted to relate the Yayoi expansion to farming dispersals have been less willing to accept Hanihara’s view of a major movement of population from the continent (e.g. Miyamoto 2009). Hanihara was well aware of this resistance, noting that ‘Most … anthropologists and archaeologists used to believe that the number of migrants was very small or almost negligible. However, if we adopt various current evidence showing a large impact of migrants upon the indigenous Japanese people, this idea is hardly acceptable’ (Hanihara 1991, p. 247). With recent advances in genetic analysis, we are now in a position to assess which of these views is correct. What can we expect to see in genetic data if the dual structure theory is true? One point would be a close genetic relationship between Ainu and Ryukyu Islanders; those two populations should share a common ancestor earlier than the ancestor shared with modern Japanese. Classic genetic markers, including mitochondrial DNA, blood groups, cell enzyme, serum protein systems and Y chromosomes, all support this expectation (Hammer and Horai 1995; Horai et al. 1996; Omoto and Saitou 1997; Tanaka et al. 2004; Hammer et al. 2006; Matsukusa et al. 2010; Koganebuchi et al. 2012). The admixture proportion in the Japanese population as a whole has been estimated to be 65% from the Yayoi people and 35% from the Jōmon people (Horai et al. 1996). However, this interpretation is subject to the caveat that these classical data were derived from only a small number of genetic markers. In contrast, genomic data include hundreds of thousands of independent genetic loci, each of which has its own unique history shaped mainly by random genetic drift and demography. Therefore, such large genetic datasets enable reconstruction of population histories at finer scales, shedding light on evolutionary processes that have shaped patterns of genetic variation under complex demographic histories.Population stratification between Ryukyu Islanders and other Japanese (i.e. differences in allele frequency between the local populations) was first confirmed by genome-wide data with approximately 140,000 single nucleotide polymorphisms that were collected from 7003 individuals (Yamaguchi-Kabata et al. 2008). A following study by Jinam et al. (2012) genotyped Hokkaido Ainu and Ryukyu Islanders, as well as mainland Japanese, with 1 million single nucleotide polymorphisms, and demonstrated different population clusters where the Ryukyu cluster is located in between the Ainu and mainland Japanese. Therefore, genome-wide data also support the dual structure hypothesis. However, the same population clusters of Ryukyu Islanders and the other Japanese shown in Yamaguchi-Kabata et al. (2008) could be explained by an alternative model in which all modern Japanese evolved from a single Jōmon ancestor and the following long-term isolation of the Ryukyuans could have developed their own genetic characters owing to strong genetic drift.Although Hanihara (1991) has been the most influential theory on the origins of the modern Japanese over the past three decades, historically three main hypotheses have been proposed to explain this question: (a) transformation (Hasebe 1940; Suzuki 1969, 1981); (b) replacement (Howells 1966; Turner 1976); and (c) hybridisation (Kiyono 1949). The dual structure theory can be placed in the third category. Nakagome et al. (2015) applied an approximate Bayesian computation approach for genome-wide scaled datasets, and, for the first time, quantitatively evaluated the fit of these three models to the genomic data used in Jinam et al. (2012). Their results provided support for the hybridisation model, although, interestingly, better statistical support was given for a complex scenario that includes population stratification within the Jōmon rather than a simple model of a single Jōmon lineage. This raises new questions of the extent to which Jōmon people were geographically differentiated and whether the impacts of Yayoi migration were uniform across the Japanese archipelago. Earlier studies of cranial morphology had suggested regional and chronological diversity within Jōmon populations (Kondo et al., 2017), but differing regional impacts of Yayoi-period migrants remain poorly understood.Historical linguisticsA major question raised by the dual structure hypothesis from a linguistic standpoint is the continental affiliation, if any, of the Japonic language family. Notwithstanding some dissenting voices such as Vovin (2010), evidence for a genealogical relationship between Japanese and Korean is gaining acceptance among linguists (Whitman 1985, 2012; Robbeets 2005; Unger 2009; Francis-Ratte 2016). It has long been understood that the relatively shallow time-depth of the Japanese–Ryukyuan or Japonic family is not consistent with a scenario where Japonic diversification began at the outset of the Jōmon period (c. 14,500 BC). The traditional comparative method, applied to Old Japanese and Ryukyuan, indicates a date for the divergence of proto-Ryukyuan somewhat prior to the eighth century. Hattori’s (1953) glottochronological study estimated a date of AD 500 for the divergence of the ancestors of Early Middle Japanese and Shuri Ryukyuan. More recently, Lee and Hasegawa (2011) used a Bayesian phylogenetic analysis to arrive at a median date of 2182 BP for the initial divergence of the Japonic languages. All of these dates vastly postdate the beginning of the Jōmon and are significantly later than recent archaeological dates for the inception of the Yayoi period. In fact, given new dates for the beginning of Yayoi (see below), none of these dates correspond to an event (or cluster of events) in the archaeological record. However, this is not surprising: linguistic techniques track when populations become sufficiently separated to innovate independently. The range between Hattori and Lee and Hasegawa’s dates seems likely to reflect the probable gradual expansion of the proto-Japonic speaking population out of north Kyushu, an interpretation which may be supported by recent archaeological research discussed in the next section.Linguists have developed hypotheses that parallel the transformation, hybridisation, and replacement scenarios described above. A linguistic counterpart of the transformation hypothesis was proposed by Kamei (1973), who claimed that Japonic originated as a Jōmon language in Kyushu and spread with the Yayoi expansion. Kamei’s hypothesis was consistent with the then current view that the Yayoi involved little or no demic diffusion from the continent, but it has difficulty explaining the toponymic evidence for a ‘para-Japonic’ language or languages spoken on the Korean peninsula. A counterpart of the hybridisation model is Maher’s (1996) ‘North Kyushu Creole’ hypothesis. According to this view, proto-Japonic is the result of contact between a continental population and indigenous Jōmon groups. The weakness of Maher’s hypothesis is that there are few, if any, examples where the classical model of pidgin formation followed by creolisation applies to linguistic interactions between agricultural and hunter–gatherer populations. More typical of such interactions is the formation of ‘mixed’ languages such as Michif or Chinook Jargon (Thomason and Kaufman 1988), but such languages are often drastically simplified (as in the case of Chinook Jargon) –far beyond anything evident in the proto-Japonic lexicon or grammar – and do not outlive protracted contact between the two populations.The whole field of archaeolinguistics has been missing from Japanese scholarship and naive comments about language prehistory in the archipelago are common in the literature. Environmental archaeologist Yoshinori Yasuda (2010, p. 169), for instance, claims that, ‘The area of distribution of Jōmon pottery means that a shared culture and language existed there’. Building on the ideas of the eighteenth-century nativist scholar Motoori Norinaga, Jōmon specialist Tatsuo Kobayashi (2018, p. 132) also argues that the Japanese language was already present in Jōmon times, insisting that ‘Japanese is not something that came from some other, distant region. Japanese was born on the stage of the Japanese archipelago. The Jōmon Yamato kotoba was already in existence in the Jōmon period and has been nurtured [here] for more than ten thousand years.’ Hudson (1994, 1999, 2002) was the first to apply archaeolinguistic theory to Japan, proposing that proto-Japonic arrived in the archipelago together with a Bronze Age migration from the Korean peninsula resulting in the development of Yayoi culture, and then spread with the Yayoi expansion (the latter point is in agreement with Kamei). The current absence of any non-Japonic language on the archipelago other than Ainu is due to language shift, that is, the replacement of Jōmon languages by Japonic. The important point here is that, while the genetic hybridisation model represented by the dual structure hypothesis is not incompatible with linguistic replacement, linguistic hybridisation is much rarer than genetic hybridisation. Creoles and mixed languages do arise, but only in specialised socioeconomic circumstances; in cases of demic diffusion, language shift is the norm.Research in historical linguistics has continued to explore the farming/language dispersal hypothesis for the East Asian region (Robbeets and Savelyev 2017; Whitman and Hudson 2017). As our archaeological understanding of agricultural expansions in the region has become more detailed (Stevens and Fuller 2017; Leipe et al. 2019), it has become possible to develop more detailed correlations between language and farming dispersals (Whitman 2011; Miyamoto 2016; Robbeets 2017a, b; Li et al. in press; Nelson et al. in press; Robbeets et al. in press). However, while the broad outlines of the farming/language dispersal hypothesis applied to the Japanese Islands remain well understood, the case of Japan is complex, in part because the transition to full-scale farming occurs much later – already well into the Bronze Age – than the rest of Northeast Asia (Hudson 2019, in press).Estimates of the date of the dispersal of proto-Ainu also give a date which is not consistent with the much older arrival of Jōmon culture in the archipelago. Hattori and Chiri’s (1960) glottochronological study gave a date of 1050 BP for the divergence of proto-Ainu, while Lee and Hasegawa’s (2013) Bayesian study arrived at a date of 1300 BP. Vovin’s (1993) reconstruction of proto-Ainu includes both cultural and basic vocabulary that are loans from Old Japanese (eighth century AD), such as *kamuy ‘god/bear’ < OJ kamwi ‘god’, *pasuy ‘chopsticks’ < pJR *pasuj, as well as *pone ‘bone’ < OJ pone and *sippo ‘salt’ < OJ sipo. At the same time, Vovin’s (2009) study of Ainu place names indicates an earlier broad distribution of proto-Ainu, ranging at least as far west as the Noto peninsula. These facts tell us that Ainu language is not the ‘pure’ survival of a localised Jōmon language. It is, in part, the product of contact with Japonic and was spoken over a wide area, suggesting that it may have had the nature of a contact language, spoken on the frontier between Yayoi and Jōmon cultures. The shallowness of the protolanguage that linguists are able to reconstruct must reflect some relatively recent event leading to the loss of cognate varieties that would have, had their descendants survived, allowed reconstruction of an older ancestor. Candidates for this event that match the dates proposed for proto-Ainu are the advent of Satsumon culture around the eighth century and the slightly later movement of that culture to Hokkaido (Crawford and Whitman 2019). The late Satsumon/early Ainu period expansions across Hokkaido and into Sakhalin around the twelfth century may have also been associated with the spread of a central or standard Ainu language variety (cf. Hudson 2018).ArchaeologyThe dual structure hypothesis models the biggest period of discontinuity in Japanese history, the Jōmon–Yayoi transition. However, Hanihara (1991) did not discuss how the biological admixture proposed in his hypothesis might have been achieved in social terms. While this should have been a job for archaeology, Japanese archaeologists rarely discuss Hanihara’s model, in part because the whole topic of ‘ethnic’ origins became taboo in the postwar era (Hudson 2006), but also because Japanese archaeologists are suspicious of macro-scale models, preferring to focus on the diversity of regional trajectories. The ‘transformation’ theory of Suzuki (1969, 1981) and others was used by archaeologists such as Akazawa (1986), who analysed the origins of Yayoi agriculture as an extension of the varied adaptive processes of Jōmon culture, arguing that rice farming enabled Jōmon populations in western Japan to achieve a stable food supply. This essentially teleological approach continues to be employed in the literature, recently for example by Temple (2019) and Watanabe et al. (2019).Hudson’s (1999) social archaeology of the dual structure theory used the farming/language dispersal hypothesis to link agricultural expansions with the spread of Japonic and immigrant Bronze Age populations. However, archaeological research over the past two decades has necessitated a number of important changes to previous understandings of the Jōmon–Yayoi transition. The first is provided by radiocarbon dates which shift the beginning of the Yayoi period back to around 900 BC (Shoda 2010; Fujio 2011; Miyamoto 2018). This longer time span means that the social processes behind the spread of Yayoi populations need to be re-evaluated. While in the 1990s it was assumed that the Yayoi spread very quickly at the expense of Jōmon culture (Hudson 1990, 1999), a much more gradual and contested expansion now seems more likely. The idea – inherent in Hanihara (1991) but made explicit by popular writers such as Umehara (1990) – that the Yayoi spread quickly to admix with the Jōmon and form a Japanese culture essentially identical to that known from the premodern historical record needs to be completely re-assessed. Contrary to earlier accounts, the shift from Jōmon to Yayoi was slow and involved complex historical processes whereby Jōmon populations developed new economic niches which enabled them to retain some degree of autonomy from Yayoi farmers (Hoover and Hudson 2016; Segawa 2017; Hudson 2019, in press). For instance, the Hizen Fudoki, an eighth-century gazetteer, noted that in the Gotō islands of Nagasaki, ‘The facial features of seafarers living on these islands resemble those of the hayahito [Hayato]. … They speak an entirely different language from the other local residents [of Hizen Province]’ (Aoki 1997, p. 265). This text suggests that more than 1600 years after the start of the Yayoi, there were still populations in northwest Kyushu who retained a Jōmon language and phenotype. Similar groups were probably found in southern Kyushu as well (Hudson 1999). Such peoples were not, however, isolated and passively awaiting the arrival of rice and civilisation. The Hizen Fudoki notes that, in addition to exploiting fish and other marine products, the Gotō islanders also raised cattle and horses. As recently argued by Segawa (2017) and Hudson (2019), the transition from Jōmon to Yayoi involved a radical re-structuring of economic practices in the Japanese Islands. While immigrant farming populations did expand across the archipelago as predicted by Hanihara, native Jōmon groups also developed new niches based on trade, specialised fishing and maritime hunting, and even pastoralism. Thus, while it may still be possible to follow Hanihara in modelling biological admixture in terms of ‘Jōmon’ vs ‘Yayoi’, cultural interaction did not follow the binary framework suggested by the dual structure hypothesis. In fact, rather than a dual structure, the archaeological evidence suggests a much more diverse, multicultural context for the admixture between post-Jōmon and Yayoi. Furthermore, we have no reason to assume that the immigrant ‘Yayoi’ populations focused solely on agriculture; for various reasons, including a desire to escape the growing power of the state (cf. Scott 2017), many such individuals or groups may well have participated in post-Jōmon non- or paraagricultural practices.The diversity of Yayoi culture has been increasingly emphasised by archaeologists over the past decade or so, yet there remains a reluctance to re-define the Yayoi beyond a Childean framework (Hudson 2019). For instance, Fujio (2013) explains the Yayoi as a culture which adopted irrigated wet rice cultivation as its basis of production and which engaged in ‘Yayoi rituals’ to maintain that production. However, this leads him to conclude that less than half of the Japanese archipelago fits his own definition. Like Fujimoto (1988) before him, Fujio links rice with a ‘central culture’ zone and dismisses the north and the south – regions of great importance to the dual structure hypothesis – as ‘blurred’ or ‘fuzzy’ cultural zones surrounding the Yayoi. Discussing the Neolithic transition in Europe, Robb (2013) has called this the problem of ‘cowboys and Indians’ – the assumption that there were two separate (‘Mesolithic’ and ‘Neolithic’) peoples. Although historians of colonial North America have written extensively about the ‘Middle Ground’ (White 2010), the concept of ‘fuzziness’ proposed by Fujimoto and Fujio represents a reluctance to consider any sort of pluralistic middle ground whatsoever.On one level, the dual structure hypothesis is a broad-brush model and probably few Japanese archaeologists would deny its central claim that there was ‘admixture’ between Jōmon and Yayoi populations. Yet those same archaeologists typically produce highly detailed analyses of changes in pottery and other material culture over the Jōmon–Yayoi transition – sometimes at the level of decoration on individual pottery sherds (Okita 1993) – without referring explicitly to models such as Hanihara (1991). Based on continuities in material culture, archaeologists often make claims that, for example, in west Kyushu ‘almost no interbreeding occurred with travelers [sic] from the Korean peninsula during the Yayoi period’ (Nakazono 2011, p. 57). As noted above, there were important Jōmon continuities in the Yayoi period in western Kyushu yet, as has recently become clear in Europe (Shennan 2018), this does not mean that we can rule out gene flow from immigrant farmers. A recent aDNA analysis of two Late Yayoi individuals from the Shimomotoyama site (Nagasaki) has shown significant gene flow from immigrant populations in this region (Shinoda et al. 2019). The ancient DNA ‘revolution’ is shining new light on how the lack of integration between archaeological research and models of population change means that the archaeology of the dual structure hypothesis remains poorly explored even after three decades.ConclusionsPublished in 1991, Kazurō Hanihara’s dual structure hypothesis successfully crystallised a range of new research in Japanese biological anthropology in the 1980s. Since then, the hypothesis has provided a foundation for a variety of disciplines to model the population history of the Japanese archipelago, although both archaeologists and linguists in Japan have made few attempts to engage directly with Hanihara’s work. With its emphasis on immigration, the dual structure hypothesis was in certain respects a radical departure from previous work, yet it is this very aspect which has been most controversial – and largely ignored by Japanese archaeology. Within biological anthropology, research over the past three decades has generally supported the dual structure hypothesis, with the important qualifications discussed above. To what extent Hanihara’s hypothesis will be affected by new analyses in ancient DNA remains to be seen. Outside Japan, research in historical linguistics has provided growing evidence of the long-range genetic relationships of Japonic and the expansion of that family has been successfully modelled by the farming/language dispersal hypothesis, two areas of research which also support the dual structure hypothesis.Jōmon people - WikipediaLate Jomon male and female genome sequences from the Funadomari site in Hokkaido, Japan, by HIDEAKI KANZAWA-KIRIYAMA, TIMOTHY A. JINAM, YOSUKE KAWAI, TAKEHIRO SATO, KAZUYOSHI HOSOMICHI, ATSUSHI TAJIMA, NOBORU ADACHI, HIROFUMI MATSUMURA, KIRILL KRYUKOV, NARUYA SAITOU, KEN-ICHI SHINODA, Anthropological Science, 2019 年 127 巻 2 号 p. 83-108:AbstractThe Funadomari Jomon people were hunter-gatherers living on Rebun Island, Hokkaido, Japan c. 3500–3800 years ago. In this study, we determined the high-depth and low-depth nuclear genome sequences from a Funadomari Jomon female (F23) and male (F5), respectively. We genotyped the nuclear DNA of F23 and determined the human leukocyte antigen (HLA) class-I genotypes and the phenotypic traits. Moreover, a pathogenic mutation in the CPT1A gene was identified in both F23 and F5. The mutation provides metabolic advantages for consumption of a high-fat diet, and its allele frequency is more than 70% in Arctic populations, but is absent elsewhere. This variant may be related to the lifestyle of the Funadomari Jomon people, who fished and hunted land and marine animals. We observed high homozygosity by descent (HBD) in F23, but HBD tracts longer than 10 cM were very limited, suggesting that the population size of Northern Jomon populations were small. Our analysis suggested that population size of the Jomon people started to decrease c. 50000 years ago. The phylogenetic relationship among F23, modern/ancient Eurasians, and Native Americans showed a deep divergence of F23 in East Eurasia, probably before the split of the ancestor of Native Americans from East Eurasians, but after the split of 40000-year-old Tianyuan, indicating that the Northern Jomon people were genetically isolated from continental East Eurasians for a long period. Intriguingly, we found that modern Japanese as well as Ulchi, Korean, aboriginal Taiwanese, and Philippine populations were genetically closer to F23 than to Han Chinese. Moreover, the Y chromosome of F5 belonged to haplogroup D1b2b, which is rare in modern Japanese populations. These findings provided insights into the history and reconstructions of the ancient human population structures in East Eurasia, and the F23 genome data can be considered as the Jomon Reference Genome for future studies.IntroductionThe origin of modern Japanese populations has been debated among anthropologists, archaeologists, and human population geneticists. One of the main issues lacking clarity is the origin of the Jomon people. The Jomon period lasted from about 16000 to 2900 years ago (Habu, 2004; Fujio, 2015), and the Jomon people were the prehistoric natives of the Japanese islands during that period. It has long been debated whether the ancestors of the Jomon people migrated from Southeast Asia or from the northern part of East Asia.From morphological studies of human bones and teeth, the Jomon people are thought to have originated in Southeast Asia (Turner, 1987; Hanihara, 1991; Matsumura, 2007; Matsumura and Oxenham, 2014; Matsumura et al., 2019), whereas morphological analyses (Hanihara and Ishida, 2009) and genetic studies of contemporary Japanese populations (Nei, 1995; Omoto and Saitou, 1997) have suggested that the Jomon people originated in northern Asia. However, the genetic characteristics of the Jomon people have been indirectly inferred from modern populations in Ainu and Okinawa, who were considered to have retained more Jomon ancestry than any other populations (Hanihara, 1991).Since the 1990s, DNA retrieved from ancient human remains offer an approach that complements morphometric analysis and modern genetic data for understanding the relationships among past populations. DNA of the Jomon people was first analyzed by Horai et al. (1989). In earlier studies, mitochondrial DNA (mtDNA) was analyzed due to technical limitations of investigating low copy number DNA of ancient samples (Adachi et al., 2009). However, mtDNA is maternally inherited as a single unit without recombination. Therefore, mtDNAs are subject to chance events, such as random genetic drift, as well as gene flow and positive selection. The amount of information we can infer about social systems, such as kinship, origin, and the formation of past populations, using only mtDNA sequence data is limited.As methods for analyzing ancient DNA have improved, whole-genome sequencing studies have become feasible (e.g. Green et al., 2010; Rasmussen et al., 2010). Next-generation sequencing technology (NGS) has enabled reconstruction of the nuclear genome of ancient human individuals. Genome-wide analysis of single nucleotide polymorphisms (SNPs) provides a powerful tool for estimating population ancestry, and many studies (e.g. Japanese Archipelago Human Population Genetics Consortium, 2012; Lazaridis et al., 2014) have shown that SNPs can be used not only to infer the geographic origin of a specific population but also to obtain information on the formation of regional groups with great accuracy. In addition, high-quality sequences of ancient nuclear genomes have enabled the inference of population size changes, social systems such as pedigree structure, risk of disease, and physical characteristics of ancient humans (e.g. Keller et al., 2012; Olalde et al., 2014; Sikora et al., 2017; Moreno-Mayar et al., 2018).Kanzawa-Kiriyama et al. (2017) reported the first successful partial nuclear genome sequence of the Jomon people. The genome-wide analysis of ancient DNA data has provided a new source of information regarding the origins of the Jomon people. Our findings clarified that the Jomon people are phylogenetically basal to modern East Eurasians and that their DNA was inherited by modern Japanese populations. However, the depth and breadth of the nuclear genome coverage of the DNA sample analyzed in our previous work were not sufficient to fully understand the genetic characteristics of the Jomon people.Here, we report the high-quality nuclear genome sequence of a Jomon female and a low-coverage genome sequence of a Jomon male obtained from the Funadomari site on Rebun Island, Hokkaido, Japan. The results of morphological and mtDNA analyses of the skeletal remains excavated from this site have already been reported (Matsumura et al., 2001; Adachi et al., 2009). Although Rebun Island is located at the northernmost tip of Hokkaido, the morphological characteristics (metric and nonmetric cranial traits) and dental measurements of these skeletons are similar to those of other Jomon skeletal remains from the geographically distant Honshu and Hokkaido (Matsumura et al., 2001). Additionally, the mtDNA haplogroups were also typical for Jomon individuals (Adachi et al., 2011). To obtain more detailed information about the demographic histories of the Jomon people and their relationships with contemporary human populations, we applied multiple population genetics tests using high-confidence SNPs extracted from the Funadomari Jomon DNAs. Additionally, we used functional SNP assessments to assign possible phenotypic characteristics to our sample. Analysis of Y-chromosome polymorphisms in the Funadomari male sample has also shed light on the male genealogy of the Jomon people….DiscussionThis study is the first report of a high-quality genome sequence and Y chromosome haplotype in the Jomon people. Our data provide clear evidence of phenotypic characteristics and phylogenetic relationships among the Jomon, other anatomically modern human populations, and archaic humans. Morphological studies of bones and teeth have shown the unique characteristics of the Jomon people, namely diminutive stature (Suzuki, 1969), smaller teeth than immigrant Yayoi farmers (Brace and Nagai, 1982), prominent glabella, low and broad face with a high nasal bridge (Yamaguchi, 1992), and more frequent non-shovel-shaped teeth than modern East Asians (Matsumura, 1995). Other physiological and morphological traits of Jomon people unidentified from skeletal remains, e.g. alcohol tolerance (Koganebuchi et al., 2017), Rh-blood type, and ear wax (Omoto, 1992), have been inferred indirectly from the geographical distribution of variants in the Japanese archipelago. Recent ancient DNA studies also uncovered phenotypic traits of Jomons, such as ear-wax and ABO blood type (Sato et al., 2009b, 2010). Most of these anthropological traits were observed in F23. One allele of her ABO blood type, Ax02 allele, is rare in modern mainland Japanese (Iwasaki et al., 2000) and other populations; for example, the frequencies of Ax0201 and Ax0202 are 0.006% and 0.015%, respectively, in Germans (Lang et al., 2016). C261del and C297G variants classify her another allele, O-type, into O0201, and the subtype is more frequent in Ryukyuan than in Mainland Japanese (Nakamura, 2008).Importantly, we detected some medically relevant variants relating to disorders. The p.Pro479Leu variant in CPT1A was homozygous in F23. Since this variant was also observed in F5, it is likely that this variant had a high allele frequency in the Funadomari Jomon population. CPT1A is essential for fatty acid metabolism, and the p.Pro479Leu variant in CPT1A is strongly associated with various disorders, such as hypoketotic hypoglycemia and high infant mortality, and with reduced insulin resistance and smaller body size, including weight, lean mass, height, and body mass index (Clemente et al., 2014; Andersen et al., 2016; Skotte et al., 2017). The frequency of this variant is about 56% in Koryak; more than 70% in indigenous arctic populations, including Southwest Alaska Yup’ik, Inuit from Greenland, and Canadian Nunavut Inuit; 90% in Chukchi; and more than 95% in Nunavik Inuit; but is absent elsewhere (Greenberg et al., 2009; Rajakumar et al., 2009; Lemas et al., 2012; Clemente et al., 2014; Zhou et al., 2015; Skotte et al., 2017). Clemente et al. (2014) showed evidence of strong selective sweeps in this variant within the last 6–23 ka in Arctic populations, despite the associated deleterious consequences, and they suggested that this was a result of a selective advantage for either a high-fat diet or a cold environment. Moreover, this amino acid change provided a metabolic advantage for high-fat diet. Hokkaido Jomon people engaged in hunting of not only land animals, such as deer and boars, but also marine fishing and hunting of fur seal, Steller’s sea lions, sea lions, dolphins, salmon, and trout (Nishimoto, 1984). In particular, many relics related to hunting of ocean animals have been excavated from the Funadomari site. A marine reservoir effect was also observed in F23 (77.6%) (Supplementary Table 1). Therefore, it seems reasonable to conclude that they depended on sea animals as a main food source. The presence of the p.Pro479Leu variant seemed to be highly related to their lifestyle. Although Funadomari Jomons shared this rare variant with modern-day arctic populations, suggesting a genetic link between Funadomari Jomons and ancient northern populations, this finding does not necessarily imply that the ancestor of Funadomari Jomons originated from northern East Eurasia since we did not find strong signals from IBD, F-statistics, and fine-STRUCTURE tests. Further studies with more Jomon genomes are needed to determine when and how the variant arose, whether selective sweep occurred independently, and whether this variant was common in (northeast) Jomon people.Our data supported the divergence of the northern Jomon people before the split of the ancestors of Native Americans and East Asians. Moreno-Mayar et al. (2018) estimated that the Native American and East Asian split occurred more than 25000 YBP. Our MSMC results showed that the Funadomari Jomon divergence with Han occurred between 18000 and 38000 YBP. This deep divergence was consistent with the detection of mtDNA haplogroup N9b1 and Y chromosome haplogroup D1b2b. Haplogroups N9b and D1b are localized to the Japanese archipelago, and the ages of the most recent common ancestors of N9b and D1b were estimated to be 22000 (Adachi et al., 2011) and c. 19400 YBP (Hammer et al., 2006), respectively. Evidence of deep divergence supports the idea that northern Jomon people were the descendants of Upper Paleolithic humans in the Japanese archipelago, although it is still possible that Neolithic continental East Eurasians who did not contribute to any present-day East Eurasians may have migrated and become the ancestor of the northern Jomon. Yang and Fu (2018) showed that present-day East Asian populations exhibit remarkable homogeneity relative to ancient samples from other regions and suggested that there was very little diversity in Asia during the Neolithic period, or that this is difficult to find when analyzing only present-day populations. The high genetic similarity between modern populations from the Amur Basin and 7700 year old individuals from Devil’s Gate on the border between Russia and Korea implied that there may have been a high level of genetic continuity in this region during the Neolithic period (Siska et al., 2017), and the distinctive lineage of Neolithic northern Jomon people supports the existence of genetic diversity during the Neolithic period in East Asia.We also found a considerable genetic affinity between Funadomari Jomons and coastal and marine East Asians (Japanese, Ulchi, Korean, Ami, Atayal, and Hezhen). A recent ancient mtDNA study supported the affinity between Ulchi and Hokkaido Jomon populations, who shared mtDNA haplogroups N9b (4.4% and 64.8%), M7a2 (0.6% and 1.9%), and D4h2 (2.5% and 16.7%) (Adachi et al., 2018); among these, N9b and M7a are considered as Jomon genotypes (Adachi et al., 2009). One Jomon genotype, M7a, is also shared with Korean (3.4%) and Philippines (9.4%) (Tanaka et al., 2004). There are two possible explanations for the affinities: (1) sharing the earliest migration into coastal area of East Asia; or (2) gene flow with neighbors after the divergence of the Jomon lineage from other East Asians. The latter is likely in the Japanese and Ulchi because these populations share significantly longer IBD segments with F23 than Korean and other populations. No signals of affinity between Funadomari Jomons and Devil’s Gate, who are likely ancestors of Ulchi, also supported the latter model. However, it is difficult to judge which explanation is the best fit for the history of Korean, Ami, and Atayal in the current data. More genome data from these populations are necessary.In contrast, Funadomari Jomons exhibited less affinity with southeast Asians (e.g. Thai, Cambodian, and Burmese) than for Han Chinese, indicative of the genetic diversity and heterogeneity in Neolithic East Asians. We consider three simple models to explain the relationships between F23, Han, and Southeast Asians (Supplementary Figure 17): (a) unknown populations, who are phylogenetic outgroups of Funadomari Jomon, admixed with the ancestor of Southeast Asians; (b) a gene flow occurred between the ancestor of Funadomari Jomons and an ancient population related to the Han Chinese after the first divergence of the Hokkaido Jomon lineage; and (c) after the ancestor of Funadomari Jomons and continental Northeast Asians split from ancient Southeast Asians, the ancient Southeast Asians strongly admixed with continental Northeast Asians. Pickrell and Pritchard (2012) inferred that Cambodians could trace approximately 16% of their ancestry to a population ancestral to other extant East Asian populations, who are equally related to both Europeans and other East Asians (while the remaining 84% of their ancestry is related to other southeast Asians). If Cambodians are the admixed population between southeast Asians and an unknown Eurasian population, the first model can plausibly explain our results. However, the second and third models may still be valid and should be examined further. In addition, the genetic affinity between Jomons and two Hoabinhians from Pha Faen, Laos, and Gua Cha, Malaysia, is in contrast to these models (McColl et al., 2018). The genetic affinity with Aboriginal Australian in Funadomari Jomons compared with other East Asians also complicates our understanding of the formation of East Eurasians if the affinity is correct. Further analyses of the genomes of continental Neolithic East Eurasians and comparisons among these genomes are necessary to elucidate the detailed structure of the Neolithic population.The deep divergence of the Funadomari Jomon lineage from other populations older than at least 18000 YBP is an indicator of the timing of gene flow between populations. Lazaridis et al. (2014) showed that Finns, Mordovians, Russians (from northwest Russia), Chuvash, and Saami were more related to East Asians than to other Europeans due to East Eurasian gene flow into the ancestors of these northeastern European populations; this event was estimated to occur 1500–2000 years ago. Friedlaender (2005) and Friedlaender et al. (2008) also suggested that Bougainville people admixed with migrants of the more recent Lapita culture 3000 years ago. These estimations are consistent with our results because these populations share more alleles with modern East Asians than with Funadomari Jomons. Yang et al. (2017) showed that 24000 year old MA1 exhibited evidence of gene flow from a population related to East and Southeast Asians. The result of this study supports that the gene flow occurred around or before the split of the Funadomari Jomon lineage.The demographic history of the Northern Jomon people was reconstructed from the genome data in this study. Funadomari Jomons experienced consistently small effective population size after 50000 YBP, with some increases after 25000 YBP. To infer more recent population size changes (<10000 YBP), we need to accumulate more Jomon genomes; however, the high total HBD length in F23 and in southern Native Americans may indicate their small population size during this time. In contrast to southern Native Americans, F23 did not have long HBD fragments, and this and our simulation did not support consanguinity in the Jomon people of Rebun Island. This is consistent with the community structure and network of the Jomon culture. Matsumura et al. (2001) reported that both the morphological similarities and the common custom of tooth ablation suggest biological as well as cultural connections/exchanges between the Jomon people of the northernmost and southwestern regions of Hokkaido. We surmise that the population size changes in the Jomon populations (Koyama, 1978) differed according to region because the Japanese archipelago stretches over 4000 km from north to south and there are various environments. High-quality genomes from southwestern Jomon people will shed light on the relationships between population size changes and different environmental adaptations within the Japanese Archipelago.Previous morphological studies (Matsumura et al., 2001), ancient mtDNA studies (Adachi et al., 2009), and autosomal DNA studies (He et al., 2012; Japanese Archipelago Human Population Genetics Consortium et al., 2012; Kanzawa-Kiriyama et al., 2017) have suggested that all three Japanese populations, i.e. Mainland Japanese, Ainu, and Ryukyuan, inherited Jomon DNA, with the latter two populations retaining more Jomon ancestry. The results of HLA alleles, Y-chromosome haplogroup, and autosomal DNA analysis of Funadomari Jomons are consistent with the previous studies. HLA class I alleles observed in F23 were frequent in the Ainu and Ryukyuan compared with that in the mainland Japanese. Y-chromosome haplogroup D is common in Andamanese (D*), Tibetan (D1a), and Japanese (D1b) populations (Thangaraj et al., 2003) and is rare or absent in other populations. Haplogroup D1b is observed at high frequencies in three Japanese populations: Ainu (87.6%), Mainland Japanese (36.6% and 27.8% in Honshu and Kyusyu, respectively), and Ryukyuans (55.6%) (Tajima et al., 2004); and this Y chromosome haplotype is thought to have contributed to the formation of the Neolithic Jomon males or their ancestral groups in prehistoric Japan (Hammer and Horai, 1995; Tajima et al., 2002). The classification of the F5 Y-haplogroup as D1b2b supports this hypothesis. Intriguingly, 32.7% of Japanese individuals belong to D1b1, whereas only 6.1% belong to D1b* (Naitoh et al., 2013). The frequencies of haplogroup D1b1 and D1b* are consistent with the number of individuals classified into D1b1 (n = 17) and D1b2 (n = 3), which were used in the Y chromosome trees. Because the majority of modern Japanese individuals belong to D1b1, F5 had a rare type. Autosomal DNA analysis also shows the affinities, and the proportions of Jomon DNA in mainland Japanese and Ryukyuan were estimated to be 9–13% and 27%, respectively, which were within the range of ratios reported by Jinam et al. (2015). The current mainland Japanese and Ryukyuan are widely accepted to be a result of admixture of indigenous Jomon and later migrants. The latter were agricultural people who migrated from continental East Asia to the Japanese archipelago probably via the Korean peninsula during and after the Yayoi era. We identified the geographic origins of the agricultural people as populations related to Korean, She, or Han, as previously described by Jinam et al. (2015) and Takeuchi et al. (2017). Additionally, previous studies on nonmetric cranial traits (Shigematsu et al., 2004) and modern/ancient DNA analysis (Tajima et al., 2004; Sato et al., 2007, 2009a, b; Adachi et al., 2018) suggested the considerable genetic influence of the aboriginal people of the Lower Amur/Sea of Okhotsk region on Ainu. In the current study, the Ainu was genetically closest to the Funadomari Jomon, but also received gene flow from ancestral populations that inhabited Kamchatka, Lower Amur River region, and far northeast Siberia. Jeong et al. (2016a) suggested that only the Ainu show a close affinity with the Itel’men, whereas most East Asians are genetically closer to Nganasan from central Siberia, corroborating our f3-statistics results. However, it should be noted that f3-statistics are less sensitive if both source populations are genetically related, e.g. when Ulchi and F23 are used as source populations for Ainu, and it is difficult to recognize Ulchi as a source population. The addition of other ancient genomes (e.g. epi-Jomon, Satsumon, Okhotsk, ancient Sakhalin, and southern Siberian people) and new statistical methods should provide further insights into the genetic history of Ainu.In conclusion, in this study, we characterized a high-quality Jomon genome, which we consider the “reference Jomon genome.” The information presented herein will provide a solid foundation for future genomic studies of additional Jomon individuals excavated from various sites. The addition of new Jomon genome sequences to the current data may provide insights into shared features and/or local adaptations across the Japanese archipelago. In the current study, genome sequences of Sanganji, Ikawazu, and Funadomari Jomon were found to share a common lineage, although the data were not sufficient to identify geographical variations. Based on craniometric data, Kondo et al. (2017) demonstrated that the Jomon people exhibit a discernible level of northeast-to-southwest geographical cline across the Japanese archipelago, placing the Hokkaido and Okinawa Jomons at extreme ends. We hope that more genomic data from various Jomon sites spanning a wider time frame will allow us to elucidate more details of their population history.Yayoi people - Wikipedia:The Yayoi people (弥生人, Yayoi jin) were an ancient ethnic group that migrated to the Japanese archipelago mainly from the Korean Peninsula during the Yayoi period (300 BCE–300 CE). Radio-carbon evidence suggests the Yayoi period began between 1,000 and 800 BCE.[1][2][3] They interacted, killed off and/or mixed with the remaining Jōmon people to form the modern Japanese people. Most modern Japanese people have primarily Yayoi ancestry (more than 90% on average, with their remaining ancestry deriving from the Jōmon).[4]OriginThe terms Yayoi and Wajin can be used interchangeably, though "Wajin" (倭人) refers to the people of Wa and "Wajin" (和人) is another name for the modern Yamato people.[5]There are several hypotheses about the origin of the Yayoi people:The most popular theory is that they were the people who brought wet rice cultivation to Japan from the Korean peninsula and Jiangnan near the Yangtze River Delta in ancient China.[6] This is supported by archeological researches and bones found in modern southeastern China.[7]Another view is that they are from the northern part of the Korean peninsula. This is because the human bones of the Doigahama ruins resemble the ancient human bones of the northern part of the Korean peninsula, and pottery is similar to the "Engraved band sentence pottery", that is widely used during the Yayoi period and was also discovered in the Sini-Gai culture in the southwestern coastal province of Primorskaya Oblast.[8]The theory that Yayoi people have multiple origins has also been suggested and is influential.[9][10]The historian Ann Kumar[note 1] presented genetic and linguistic evidence that some of the Yayoi people were of Austronesian origin.[11]According to several Japanese historians, the Yayoi and their ancestors, the Wajin, originated in the today Yunnan province in southern China.[12] Suwa Haruo[note 2] considered Wa-zoku (Wajin) to be part of the Baiyue (百越).[13]The Yayoi were present on large parts of the Korean Peninsula before they were displaced and assimilated by arriving proto-Koreans.[14][15]Similarly Whitman (2012) suggests that the Yayoi are not related to the proto-Koreans but that they were present on the Korean peninsula during the Mumun pottery period. According to him, Japonic arrived in the Korean peninsula around 1500 BCE and was brought to the Japanese archipelago by the Yayoi at around 950 BCE. The language family associated with both Mumun and Yayoi culture is Japonic. Koreanic arrived later from Manchuria to the Korean peninsula at around 300 BCE and coexist with the descendants of the Japonic Mumun cultivators (or assimilated them). Both had influence on each other and a later founder effect diminished the internal variety of both language families.[16]GeneticsIt is estimated that Yayoi people mainly belonged to Haplogroup O-M176 (O1b2) (today ~36%), Haplogroup O-M122 (O2, formerly O3) (today ~23%) and Haplogroup O-M119 (O1) (today ~4%), which are typical for East- and Southeast-Asians.[17][18] Mitsuru Sakitani suggests that haplogroup O1b2, which is common in today Koreans, Japanese and some Manchu, and O1 are one of the carriers of Yangtze civilization. As the Yangtze civilization declined several tribes crossed westward and northerly, to the Shandong peninsula, the Korean Peninsula and the Japanese archipelago.[19] One study calls haplogroup O1b1 as a major Austroasiatic paternal lineage and the haplogroup O1b2 (of Koreans and Japanese) as a "para-Austroasiatic" paternal lineage.[20]The modern Yamato people are predominantly descendants of the Yayoi people and closely related to other modern East Asians, particularly Koreans and Han Chinese.[21][22][23] It is estimated that the majority of Japanese people around Tokyo have about 12% Jōmon ancestry or less.[24] A genome research (Takashi et al. 2019) confirmed that modern Japanese (Yamato) descend mostly from the Yayoi people. Mitochondrial DNA analysis of Jōmon and modern Japanese samples show that there is a discontinuity between the mtDNAs of people from the Jōmon period and people from the Kofun and Heian periods. This finding implies that the genetic conversion of the Japanese people may have occurred during or before the Kofun era, at least at the Shomyoji site.[25]Recent studies have revealed that Jomon people are considerably genetically different from any other population, including modern-day Japanese.—Takahashi et al. 2019, (Adachi et al., 2011; Adachi and Nara, 2018)Another genetic study (2019) estimated that modern Japanese (Yamato) share more than 90% of their genome with the Yayoi people and less than 10% with the Jomon.[26] A more recent study by Gakihari et al. 2019 estimates that modern Japanese people have on average about 92% Yayoi ancestry (with the remainder being from the Jomon) and cluster closely with other East Asians but are clearly distinct from the Ainu people. A geneflow estimation by Gakuhari et al. suggests only 3,3% Jōmon ancestry in modern Japanese.[27]Japonic languages - WikipediaPeninsular Japonic - Wikipedia

Japanese anime not set in Japan:1. Carole & Tuesday - Wikipedia: 2019 Japanese TV anime series produced by Japanese animation studio BONES, best known for the classic Japanese 1998 TV anime series, Cowboy Bebop. Bones’s Shinichirō Watanabe, who directed Cowboy and other Bones anime classics Samurai Champloo and Space Dandy, is the supervising director for Carole & Tuesday, which celebrates the 20th anniversary of Bones and the 10th anniversary of record label FlyingDog.Carole & Tuesday is set in the future on a partially terraformed Mars. The two main characters are Carole Stanley, a black teenage girl, and Tuesday Simmons, a white teenage girl, both of whom are aspiring singer-songwriters and musicians. It features a diverse cast, with one character I can find who has a Japanese (last) name, Katy Kimura, who is only a minor character.2. Arte (manga) - Wikipedia: Japanese TV anime series (2020) adaptation of a seinen manga (young men’s comic) about a young woman, Arte Spalletti, and her dream and struggles to become an artist in 16th-century Florence (Firenze in Italian), the Italian city-state where the Renaissance began, Venice (Venezia in Italian)…3. Nadia: The Secret of Blue Water - Wikipedia: 1990–1991 Japanese TV anime series by Gainax, directed by Hideaki Anno set in an alternate universe on Earth, starring 14-year-old Nadia, a girl on mysterious origins (from Africa, though she has straight anime hair), and Jean, a young French inventor. Originallly conceived by Hayao Miyazaki, and directed by Hideaki Anno, also known for Gainax’s other anime projects, the Gunbuster OVAs and Neon Evangelion TV anime series and Evangelion anime movies.4. Heidi, Girl of the Alps - Wikipedia: 1974 Japanese anime TV series based on the famous Swiss novel, Heidi, by Johanna Spyri; worked on by a number of famous anime figures, e.g., Isao Takahata (the director), Yoshiyuki Tomino (Gundam), and Hayao Miyazaki. Set in Switzerland, of course.5. Candy Candy - Wikipedia: 1976 Japanese TV anime series based on a shōjo manga (girl’s comic). The main character is Candice "Candy" White Ardley, who lives in the United States.6. Hans Christian Andersen's The Little Mermaid (1975 film) - Wikipedia: 1975 Japanese anime film adaptation by Toei of the tragic tale of unrequited love, The Little Mermaid, by the Danish writer Hans Christian Andersen:Hans Christian Andersen's The Little Mermaid (アンデルセン童話 にんぎょ姫, Anderusen Dōwa Ningyo Hime, lit. "Andersen's Fairy Tales: Princess Mermaid") is a Japanese anime film based on Hans Christian Andersen's 1837 eponymous fairy tale, released in 1975 by Toei Animation. Unlike the Disney adaptation released 14 years later, this film is closer to Andersen's story, notably in its preservation of the original and tragic ending. The two main protagonists are the youngest daughter of the royal merman family, Marina, and her best friend Fritz, an Atlantic dolphin calf. In Japan, this film was shown in the Toei Manga Matsuri (Toei Cartoon Festival) in 1975. The film was later released in the United States, dubbed into English by United Artists, on February 4, 1978.[1]Original Japanese VersionEnglish Dub VersionFor the 1975 The Little Mermaid anime film, the original opening theme song, Akogare (あこがれ, Yearning), and the original insert song, Matteita Hito (待っていた人; The One I’ve Waited For), Marina’s Song in English, both sung by J-pop/anison (anime song) artist Kumiko Ōsugi, the “Queen of Anime Song,” and both with lyrics by Tokiko Iwatani, and music and arrangement by Takekuni Hirayoshi:Akogare (Andersen Dowa: Ningyo Hime) La Princesa Sirena:Matteita Hito (Andersen Dowa: Ningyo Hime) La Princesa SirenaMatteita Hito (Original Japan Song) Ningyo HimeWhile The Little Mermaid is the literal translation into English of the original Danish title, Den lille Havfrue, the Japanese title for The Little Mermaid is Ningyohime (人魚姫 or にんぎょ姫), which means, The Mermaid Princess. In Andersen’s tale, the Little Mermaid is indeed a mermaid princess:Toshiki Kadomatsu is one of the most prominent artists in Japanese city pop music, a musical genre popular in Japan during the late 1970s, the 1980s, and the early 1990s, and which has gained new interest since the 2010s in not only in the West, but also in the East - e.g., South Korea; along with other nationals, South Koreans are uploading Japanese city pop music videos on YouTube for South Korean and other viewers - with city pop hits like “Plastic Love” by Mariya Takeuchi. It has seen a resurgence in its native Japan as well. City pop songs have been frequently sampled in vaporwave and in future funk.Future funk and electronic dance music artists sampling Japanese pop music and being influencing by it include South Korea’s Night Tempo, Russia’s Desired (Artem Voloshenko), Mexico’s マクロスMACROSS 82-99 (Gerald “Mookie”), the Philippines’s Mark Redito, and the United States’s Yung Bae (Dallas Cotton).Night Tempo describes his love for 1980s Japanese pop music and anime, K-pop Indie Gem: Night Tempo Talks Aesthetic and Future Funk, Seoulbeats, April 2018, mentioning Mariya Takeuchi and Toshiki Kadomatsu.Another Japanese influence on global music is Nujabes - Wikipedia:Jun Seba (Japanese: 瀬葉 淳, Hepburn: Seba Jun, February 7, 1974 – February 26, 2010), better known by his stage name Nujabes (ヌジャベス, Nujabesu), was a Japanese record producer, DJ, composer and arranger who produced atmospheric instrumental mixes sampling from hip hop and jazz and released three solo studio albums: Metaphorical Music (2003), Modal Soul (2005) and Spiritual State (released posthumously in 2011). Seba was the founder of the independent label Hydeout Productions and released two collection compilations: Hydeout Productions 1st Collection (2003) and 2nd Collection (2007).[1] Additionally, Seba collaborated on the soundtrack for Shinichirō Watanabe's anime series Samurai Champloo (Music Record: Departure and Impression) in 2004.On February 26, 2010, Jun Seba was killed in a traffic collision.[2]How Nujabes Influenced Lo-Fi Hip-Hop | Genius NewsRelating to the subject matter of The Little Mermaid, here is a 1985 Toshiki Kadomatsu song, “Mermaid Princess”:I don’t have the lyrics for “Mermaid Princess,” but it sounds like at the end of the song, Toshiki Kadomatsu is repeatedly singing in English, “You are the lonely girl… You are my maid (mate?)… My angel… I’ll never let you die…” This particular version of the song also contains an emotional “Oh my love!” occasionally sung by Kadomatsu in chorus. I could be wrong, though.EDIT: 中瀬真典 (Nakase Masanori?) provided an English translation of the Japanese lyrics for Toshiki Kadomatsu’s song, “Mermaid Princess” (though they don’t include the English lyrics that I mentioned above):While the waves are sighing, you throw away your memories one after another into the ocean. Then, you seem to be going away without saying goodbye to anyone. The love that began to grow in his heart on that day came straight from your kindness. But nobody knew the truth, and your deepest love was returned.Though you pretend to be insensitive to the news of his wedding, your forced smile looks so sad. Even though you imagine a fairy tale, you cannot be the Little Mermaid.The days you and he spent together were too beautiful to regard as an illusion. You are attempting to recollect every sweet word he said to you, and to put it into the storage of time, in spite of knowing that you won't be able to meet him again. Whether you accept his happiness or not, the memories keep your spirit in prison.Instead of dissolving into foam you can have a natural way, just once more. Unless I'm apart from you, I'll prevent you from being the Little Mermaid.This is a 2014 live performance of “Mermaid Princess,” celebrating the 30th anniversary by Toshiki Kadomatsu:Here is the full version of “Ningyo Hime” (“Mermaid Princess”; written in katakana as ニンギョヒメ instead of the usual kanji), which serves as the second ending theme song for the 2002 Chobits TV anime series (based on a seinen manga, or young men’s comic, by the all-female manga team, Clamp), sung by Chii and Freya’s Japanese voice actress, Rie Tanaka:Here is a 2007 song about the Little Mermaid by one of Japan’s most beloved singers, songwriters, and musicians, Yumi Matsutoya:松任谷由実 - 人魚姫の夢 [Matsutoya Yumi - Ningyo Hime no Yume (Dream of the Mermaid Princess)]And here is a 2016 song, “Ningyo Hime” (“Mermaid Princess”), by the J-pop girl group, Flower:Toshiki Kadomatsu sings to the sad, lonely, tearful Little Mermaid, that he misses her…Rie Tanaka’s Little Mermaid song is about yearning and loneliness…Yumi Matsutoya’s song on the Little Mermaid is about a sad dream and loneliness and tears…Flower sing as the sad, lonely, tearful Little Mermaid, doomed to be foam on the sea and saying farewell to the one she loves…These are no Disney sugarcoated, bastardized versions of Hans Christian Andersen’s tragic tale of unrequited love.Even though Disney is popular in Japan, the Japanese people have not been tainted by Disney’s animated bastardization of The Little Mermaid, being taught for generations when children the real true poignant story of Hans Christian Andersen’s The Little Mermaid.The simple reason why the Japanese have preserved the original Hans Christian Andersen”s The Little Mermaid, alongside the Disney one?In Japanese, as stated before, Hans Christian Andersen’s The Little Mermaid is known as Ningyo Hime (人魚姫 or にんぎょ姫), or Mermaid Princess.In Japanese, Disney’s The Little Mermaid is known as… Little Mermaid (リトルマーメイド). It is almost the same as the English name.One of the things I recall from the Hans Christian Andersen tale is that the mermaids have no tears, and therefore, they suffer more.But in Japanese entertainment media, mermaids usually can cry and shed tears.There is something about the sad, bittersweet, or happy beauty in tears (涙; namida) which greatly appeals to Japanese aesthetics and sensibilities.Another terrifying part of Andersen’s tale is that upon gaining legs, every time the Little Mermaid walks, it would be like walking on sharp blades or knives.Japanese voice actresses, musical actresses, and singers singing Ariel’s song, “Part of Your World,” in Japanese and in English, from Disney’s The Little Mermaid animated film (1989)…Japanese voice actress Mayumi Suzuki, speaking and singing voice of Ariel in the 1989 and 1997 Japanese dubs of Disney’s The Little Mermaid, singing “Part of Your World” in Japanese:Japanese musical actress Shion Tanihara (Tanihara is actually South Korean, a native of South Korea; Tanihara’s replacement, Yumeko Aki, is from China) from the Japanese version of Disney’s musical, The Little Mermaid, singing “Part of Your World” in Japanese:Mayumi Suzuki singing “Part of Your World” from the Japanese version of Disney’s The Little Mermaid Movie Original Soundtrack:Japanese singer Rin Oikawa, from the electronic band Q;indivi, singing Ariel’s song from Disney’s The Little Mermaid,, “Part of Your World,” in the original English:Oikawa lived in the United States as a child, before returning to her homeland of Japan.Mayumi Suzuki sings “Part of Your World” as Ariel in the short Mickey's PhilharMagic 4-D film at Tokyo Disneyland:Triva information: Donald Duck’s Japanese voice actor is the well-known versatile male seiyū, Kōichi Yamadera:Kōichi Yamadera** (山寺 宏一, *Yamadera Kōichi*, born June 17, 1961) is a Japanese actor, voice actor (Voice acting in Japan - Wikipedia), singer and narrator from Shiogama (Shiogama - Wikipedia), Miyagi Prefecture (Miyagi Prefecture - Wikipedia).[1] (Kōichi Yamadera - Wikipedia)[2] (Kōichi Yamadera - Wikipedia) He graduated from Tohoku Gakuin University (https://en.wikipedia.org/wiki/Tohoku_Gakuin_University)'s economics school and is currently affiliated with Across Entertainment (Across Entertainment - Wikipedia). Before that, he was affiliated with the Tokyo Actor's Consumer's Cooperative Society (Tokyo Actor's Consumer's Cooperative Society - Wikipedia).[1] (Kōichi Yamadera - Wikipedia)His nickname is **Yama-chan** (山ちゃん).[1] (Kōichi Yamadera - Wikipedia) As a radio personality, he is known as **Bazooka Yamadera** (バズーカ山寺, *Bazūka Yamadera*)[1] (Kōichi Yamadera - Wikipedia) among other things. He is best known for his roles in *Ninja Scroll* (Ninja Scroll - Wikipedia) (as Jūbei Kibagami), *Cowboy Bebop* (Cowboy Bebop - Wikipedia) (as Spike Spiegel (Spike Spiegel - Wikipedia)), *Dragon Ball Super* (Dragon Ball Super - Wikipedia) (as Beerus (Beerus - Wikipedia)), *Ghost in the Shell* (Ghost in the Shell - Wikipedia) (as Togusa (Togusa - Wikipedia)), *Neon Genesis Evangelion* (Neon Genesis Evangelion - Wikipedia) (as Ryoji Kaji (List of Neon Genesis Evangelion characters - Wikipedia)), *Anpanman* (Anpanman - Wikipedia) (as Cheese), *Ranma ½* (Ranma ½ - Wikipedia) (as Ryōga Hibiki/P-chan and the Jusenkyō Guide) and the current voice of Koichi Zenigata (Koichi Zenigata - Wikipedia) (*Lupin III* (Lupin the Third - Wikipedia)).[3] (Kōichi Yamadera - Wikipedia) He is also known for voicing Jim Carrey (Jim Carrey - Wikipedia) and Eddie Murphy (Eddie Murphy - Wikipedia) in the Japanese language releases of their respective films,[4] (Kōichi Yamadera - Wikipedia) as well as being the official dubbed voice of Donald Duck (Donald Duck - Wikipedia) in Japanese. He also voiced Batman in the Japanese version of the film *Batman Ninja* (Batman Ninja - Wikipedia).Even though Disney’s The Little Mermaid is a bastardization of the original Hans Christian Andersen tale, it still has wonderful music and one of my favorite songs, “Part of Your World” -whether it is sung in English, Japanese, or some other language - from all of the 1980s and 1990s Disney animated feature musicals, when Disney was still doing hand-drawn animation.Hans Christian Andersen’s The Little Mermaid originally had a very dark, sad, tragic ending. The Little Mermaid dies: Unhappily Ever Afters | Storytime Magazine | Fairy Tales; Andersen's "The Little Mermaid" and Modern Telling of Disney; A Summary and Analysis of Hans Christian Andersen’s ‘The Little Mermaid’ Fairy Tale - Interesting Literature; Pain, Humanity, and Ascension: Hans Christian Andersen’s “The Little Mermaid”; etc.Dadline: Fairy-tale endings not always as happy as the movies, by Ralph Berrier Jr., The Roanoke Times, March 23, 2015:When my 8-year-old daughter got to the end of Hans Christian Andersen’s original version of “The Little Mermaid,” she was shocked when the mermaid did not marry her true love and become human (as she does in the Disney animated film version). Instead, the prince marries another girl and the mermaid dies and dissolves into the sea. The end.“She died!” my kid told me later, her eyes bulging. Then she offered this critique of the author: “That guy is mean!”Kathryn Graham has seen this reaction before, not only from children, but also from college students. Graham has taught children’s literature at Virginia Tech for more than 25 years, and her Disney-raised students never fail to be as stunned as 8-year-olds at the conclusion of “The Little Mermaid.”“They’re horribly distressed,” Graham said. “They’re plunged into horror and depression. It’s such a shock.”If your experience with fairy tales comes from Disney movies and modern, sanitized children’s books, get ready for a surprise. Classic fairy tales ain’t kids’ stuff. They’re filled with death, mutilations and quite a bit more cannibalism than I would have expected from medieval Europeans.( Andersen later revised the ending to be a “happy ending,” in which the Little Mermaid has a chance for a soul and heavenly salvation. The original ending by Andersen for The Little Mermaid is far more dark and depressing than the final revised ending.)It has been written that much like the main character in The Ugly Duckling, the Emperor of China in The Nightingale, and the main character in The Steadfast Tin Soldier, the main character in The Little Mermaid represents Hans Christian Andersen himself: Was Hans Christian Andersen an Ugly Duckling?; and The Queer, Unrequited Love Story That Inspired 'The Little Mermaid'.Like Alice in Wonderland by the 19th-century English author Lewis Carroll, Hans Christian Andersen has left an indelible mark on Japanese pop culture, including anime.Why do sad foreign stories like The Little Mermaid and A Dog of Flanders have so much appeal in Japan, where they are taught to children? Because Japan has a longstanding tradition of sad stories which do not have a happy ending, such as the “Cinderella Story of Japan,” the 10th-century Japanese folktale Taketori Monogatari, or The Tale of the Bamboo Cutter, commonly known by the name of its main character, Kaguya Hime, the Moon Princess.Kaguya Hime has been adapted into a 2013 Japanese animated feature by Studio Ghibli and directed by the late Isao Takahata, The Tale of the Princess Kaguya; and it is featured prominently in the story of the 1989 Sesame Street TV special, Big Bird in Japan :Till death do us unite: Japan's dark tales of love | The Japan Times, by Michael Hoffman, The Japan Times, March 17, 2018.Love suicides - SamuraiWiki:Other Names: 相対死に (aitai jini)Japanese: 心中 (shinjuu)"Love suicides," or shinjû, are a popular romantic tragic theme in Edo period theater and literature, inspired by numerous real events. Though popularly known as shinjû ("between/within hearts"), such cases were known in the official legal record as aitai jini (towards one another, or together, in death)[1]It is said there were nine hundred cases of love suicides in Kyoto and Osaka in 1703-1704 alone.[2]In the most typical, or stereotypical, form, love suicides took place between a prostitute and her lover, who could not be united in life, due to the woman's contract to the brothel, and thus choose to be united in death. Often, the man would slit his lover's throat before stabbing himself, though in some of the most famous stage depictions of such acts, the man hangs himself. To avoid it looking like a murder-suicide, the couple would often leave a letter explaining their feelings, and their decision, confirming that it was something they both chose. Courtesans sometimes also showed their love for someone, a protest against their fate, and desire for monogamous marriage, by mutilating themselves (e.g. by pulling out her own fingernails), in an act also known as shinjû.[1]Such acts inspired many puppet and stage plays, including Sonezaki shinjû ("Love Suicides at Sonezaki"), and Shinjû ten no Amijima ("Love Suicides at Amijima"), two of the most famous works by Chikamatsu Monzaemon, and two of the most famous works of the bunraku puppet theatre form as a whole. These two plays premiered on the puppet stage in 1703 and 1721 respectively, were both soon adapted to the kabuki stage, and have been referenced or recreated in numerous other theatrical works and films. They were preceded in 1683 by what is said to have been the first ever kabuki shinjû play, inspired by the deaths of the courtesan Yamatoya Ichinojô and her lover Goze no Chôemon in Osaka in that year. This first-ever love suicides play starred Uemura Kichiya II as the courtesan. The shogunate attempted to ban shinjû plays on several occasions, most notably in 1723 following the popularity of Amijima two years earlier, on the grounds that such works romanticized and thus encouraged suicidal act; these bans were never very effective, however.7. Emma (manga) - Wikipedia: 2008 Japanese TV anime series based on a seinen manga (young men’s comic) a historical romance by female manga artist Kaoru Mori, set in Victorian London, England, near the end of the 19th century. It stars Emma, an English maid, who comes from a poor family, who falls in love with William Jones, the eldest son a of very wealthy family of the middle class.An admitted Anglophile, Kaoru Mori also uses mono no aware storytelling:Mono no aware (物の哀れ), literally "the pathos of things", and also translated as "an empathy toward things", or "a sensitivity to ephemera", is a Japanese term for the awareness of impermanence (無常, mujō), or transience of things, and both a transient gentle sadness (or wistfulness) at their passing as well as a longer, deeper gentle sadness about this state being the reality of life. "Mono-no aware: the ephemeral nature of beauty – the quietly elated, bittersweet feeling of having been witness to the dazzling circus of life – knowing that none of it can last. It’s basically about being both saddened and appreciative of transience – and also about the relationship between life and death. In Japan, there are four very distinct seasons, and you really become aware of life and mortality and transience. You become aware of how significant those moments are.”[1]This also kinda reminds me of Japanese-born British novelist, screenwriter, and short story writer, Sir Kazuo Ishiguro (1954-), who won the 2017 Nobel Prize in Literature. Ishiguro was born in Nagasaki, Japan, and at the age of five, emigrated with his parents to the UK. Ishiguro grew up in England and became a British citizen.Ishiguro, who has been described as a British Asian author,[7] explained in a BBC interview how growing up in a Japanese family in the UK was crucial to his writing, enabling him to see things from a different perspective to that of many of his English peers.[8]In 1989, Ishiguro’s novel, The Remains of the Day - whose protagonist is an English butler, Mr. Stevens, who falls in love with an English housekeeper, Miss Kenton - won the UK’s Booker Prize, one of the most prestigious awards in English-language literature. It was adapted into a 1993 movie, The Remains of the Day, starring Sir Anthony Hopkins and Dame Emma Thompson, and was nominated for eight Academy Awards. (Unfortunately, it ran against Steven Spielberg’s Schindler's List that year, which won seven Academy Awards.)The Japaneseness Within The Remains Of The Day:[Sir Kazuo Ishiguro]: “…long before I’d ever thought to create fictional worlds in prose, I was busily constructing in my mind a richly detailed place called ‘Japan’ – a place to which I in some way belonged, and from which I drew a certain sense of my identity and my confidence. The fact that I’d never physically returned to Japan during that time only served to make my own vision of the country more vivid and personal.Hence the need for preservation. For by the time I reached my mid-twenties – though I never clearly articulated this at the time – I was coming to realise certain key things. I was starting to accept that ‘my’ Japan perhaps didn’t much correspond to any place I could go to on a plane; that the way of life of which my parents talked, that I remembered from my early childhood, had largely vanished during the 1960s and 1970s; that in any case, the Japan that existed in my head might always have been an emotional construct put together by a child out of memory, imagination and speculation”.8. Michiko & Hatchin - Wikipedia: A 2008–2009 Japanese anime TV series set in the fictional Latin American country of Diamandra. Many of the characters, including the protagonists, appear to be Latin Americans of Japanese or mixed Japanese descent, reflecting real life, the Japanese diaspora in South America, particularly in Brazil, and the racial and cultural mixing of European, African, Native American, and Asian in that Portuguese-speaking South American nation.9. Baccano! - Wikipedia!: 2007 Japanese TV anime series, based on a light novel series, set mainly in a fictional United States.10. Black Butler - Wikipedia: 2008–2010 Japanese TV anime series, based on a shōnen manga (boys’ comic). Set in London, England, UK.11. Spice and Wolf - Wikipedia: 2008 Japanese TV anime series based on a light novel series. Set in a fictional, European-style world, it revolves around Kraft Lawrence, a traveling merchant, and Holo, a female wolf harvest deity.12. Kingdom (manga) - Wikipedia: 2012–Japanese TV anime series based on a seinen manga (young men’s comic), set during the Warring States period of ancient China.13. Monster (manga) - Wikipedia: 2004–2005 TV anime series based on a seinen manga (young men’s comic) by Naoki Urasawa (e.g., Master Keaton). Although the main character, Dr. Kenzō Tenma, hails from Japan, the story takes place mainly in Germany.14. Black Lagoon - Wikipedia: 2006 Japanese TV anime series and 2010–2011 Japanese original video anime (OVA) series based on a seinen manga (young men’s comic) by Rei Hiroe. Gun-toting co-protagonist Revy (born Rebecca Lee) is a Chinese American woman in her 20s from Chinatown, Manhattan, New York City, New York, USA. Most of the story takes place in Southeast Asia during the 1990s.15. Tiger & Bunny - Wikipedia: 2012 Japanese TV anime series about superheroes set in a fictional version of New York City, New York, USA.16. Jormungand (manga) - Wikipedia: 2012 Japanese TV anime series based on a seinen manga (young men’s comic). The story takes place all over the world.17. Gunslinger Girl - Wikipedia: Two Japanese TV anime series (2003–2004; 2008) based on a shōnen manga (boys’ comic) about young cybernetic girls and their adult male handlers who use them as assassins. Set in Italy.18. Gankutsuou: The Count of Monte Cristo - Wikipedia: 2004–2005 Japanese TV science-fiction anime series based on French author Alexandre Dumas’ famous 1844 novel, The Count of Monte Cristo. Set in the year 5053, far in the future, in France.19. Hellsing - Wikipedia: 2001–2002 Japanese TV anime series and 2006–2012 Japanese original video animations (OVAs) based on a seinen manga (young men’s comic) by Kouta Hirano. Set in England.20. Secret of Cerulean Sand - Wikipedia: 2002 Japanese TV anime series based loosely on a couple of books by the famous French science fiction author Jules Verne, Facing the Flag (1897) and The Barsac Mission (1919; published posthumously). It stars Jane Buxton, a 15-year-old English girl, who journeys to the Near East to find her older brother. The anime is a Japan/South Korea co-production.21. Mischievous Twins: The Tales of St. Clare's - Wikipedia: 1991 Japanese TV anime series based on the St. Clare’s books by British children’s author, Enid Blyton. Set in England.22. The Rose of Versailles - Wikipedia: 1979–1980 Japanese TV anime series based on a shōjo manga by Riyoko Ikeda. Set in France before and during the French Revolution, and featuring number of real-life historical characters, including the Austrian-born Queen of France, Marie Antoinette, one of the leading characters in the manga and anime, it revolves around Oscar François de Jarjayes, a girl raised as a man. (The heavey influence of “Ribon no Kishi”, or “Princess Ribbon” {“Princess Knight” in English} by the “God of Manga” (“Manga no Kamisama”} Osamu Tezuka, can be felt here.)23. 三国志 (日本テレビ) - Wikipedia (三国志 (日本テレビ) - Wikipedia): Sangokushi (Romance of the Three Kingdoms), Japanese TV anime specials (1985, 1986), based on a manga by Mitsuteru Yokoyama, manga creator of Tetsujin 28-go (known as “Gigantor” in the US), Sally the Witch (1st magical girl anime series and 1st shōjo anime series), Giant Robo, etc., set in ancient China. It has been dubbed in Arabic and subtitled in Korean - but it appears not to have been subtitled or dubbed in English.Sangokushi II (Ending) Theme Song (and Insert Song), “miss dreamer,” sung by J-pop artist Kiyotaka Sugiyama:This poignant song - centering on the tragic heroine Princes or Lady Reika(麗花; Lìhuā), who in the anime becomes the wife of the protagonist, Ryūbi Gentoku (劉備玄德; Liu Bei Xuande), and who is voiced by Fumi Hirano. City dreamer is one of the first Japanese city pop songs I recall hearing in my life, during the heyday of city pop in the 1980s.24. 三国志 (アニメ映画) - Wikipedia (三国志 (アニメ映画) - Wikipedia): Sangokushi (Romance of the Three Kingdoms), a set of Japanese anime films (1987–1991) set in ancient China.25. Sangokushi (manga) - Wikipedia (Sangokushi (manga) - Wikipedia): Japanese TV anime adaptation (1991) of a manga by Mitsuteru Yokoyama, manga creator of Tetsujin 28-go (known as “Gigantor” in the US), Sally the Witch (1st magical girl anime series and 1st shōjo anime series), Giant Robo, etc. Set in ancient China:26. Ristorante Paradiso - Wikipedia: 2009 Japanese TV anime series based on a manga by Natsume Ono. It revolves around the daily lives of a staff in a restaurant in Rome, Italy. The protagonist is a young woman, Nicoletta.27. Little Women (1981 TV series) - Wikipedia: 1981 Japanese TV anime series based on American author Louisa May Alcott’s famous novel, Little Women. Set in the United States.Tales of Little Women - Wikipedia: 1987 Japanese TV anime series based on American author Louisa May Alcott’s famous novel, Little Women. Set in the United States.28. Little Women II: Jo's Boys - Wikipedia: “Little Women II: Jo's Boys, also known as Wakakusa Monogatari Nan to Jō Sensei (若草物語ナンとジョー先生, "Tale of Young Grass: Nan and Miss Jo") is a 1993 Japanese animated television series based on Louisa May Alcott's Little Men, produced by Nippon Animation. The title is taken from Jo's Boys, the title of the sequel to Little Men.”Now we know where Kiki from Hayao Miyazaki’s 1989 animated feature, Kiki's Delivery Service, from Studio Ghibli ended up in. :)29. Anne of Green Gables (1979 TV series) - Wikipedia: 1979 Japanese TV anime series based on Canadian author Lucy Maud Montgomery’s famous novel, Anne of Green Gables, directed by Isao Takahata, with Hayao Miyazaki providing scene setting and layout. Set in Canada.30. Kon'nichiwa Anne: Before Green Gables - Wikipedia:”Konnichiwa Anne: Before Green Gables (こんにちは アン 〜Before Green Gables, Konnichiwa An 〜Bifō Guriin Gēburusu, lit. "Hello Anne: Before Green Gables"), is the 26th series in Nippon Animation's World Masterpiece Theater anime. The series is an adaptation of Canadian children's literature author Budge Wilson's 2008 prequel novel Before Green Gables, which was translated into Japanese as Konnichiwa Anne (こんにちは アン) by Akiko Usagawa. It chronicles the early years of main character Anne Shirley as she loses both her parents and is adopted by Matthew and Marilla Cuthbert.”31. The Bush Baby - Wikipedia; 1992 Japanese TV anime series based on the 1965 novel The Bushbabies by Canadian author William Stevenson. In 1964, 13-year-old British girl Jackie Rhodes living in Kenya travels the savannah in the area of Mount Kilimanjaro, Kenya, where her father is an Animal Protection / Wildlife Officer.32.The Dog of Flanders - Wikipedia: 1997 Japanese anime film based on the 52-episode 1992–1993 Nippon Animation series, The Dog of Flanders, itself based on a novel by English novelist Maria Louise Ramé, known by her pseudonym, Ouida. Set in Belgium.33. Fushigi no Kuni no Alice (Alice in Wonderland) - Wikipedia: 1983–1984 Japanese TV anime series based on English author Lewis Carroll’s famous 1865 novel, Alice’s Adventures in Wonderland.Alice in Wonderland (1983) Intro/Opening Multilanguage [UPDATED]Alice in Wonderland (1983) - Intro (Multilanguage) (Christian Bruhn Version)In addition to the original Japanese version, the 1983–1984 Japanese animated TV series of Alice in Wonderland has Dutch, English, Italian, French, Canadian French, German, Hebrew, Arabic, Portuguese, Slovak, Ukrainian, Hindi, Finnish, Korean, and probably more versions. (One would think they would have European Spanish and/or Latin American Spanish versions in the two videos above, given Japanese anime’s longstanding popularity in Spain and Spanish-speaking Latin America. Oh well.)According to the first video, most international versions of the Japanese Alice in Wonderland opening theme song are instrumental, indicating that this Japanese anime has been seen in even more countries and lands than the number of different languages it is sung in implies.I think we who live in Anglophone Western countries, especially the United States, have a skewed, narrow, tunnel vision view of Japanese animation’s global popularity - i.e., we who live in Anglophone Western nations vastly underestimate Japanese anime’s global popularity in non-Anglophone Western nations, non-Anglophone nations in general, and non-Western Anglophone nations like India) before its recent exploding popularity, including its recent explosive growth in gross revenue - on media platforms Netflix, Amazon, Hulu, Crunchyroll, Funimation, etc., and on media and entertainment platforms and movie theaters in China.Tencent Targets Japan Anime, Manga to Jump-Start Global Growth by Takashi Mochizuki and Zheping Huang, Bloomberg, June 9, 2020:Tencent Holdings Ltd., spurned in years past by Japan’s guarded entertainment industry, is rekindling its courtship of the country’s fabled anime and manga houses.The Chinese social media giant has in recent months scooped up slices of two prominent local studios: the brains behind smash hit Nier: Automata and Marvelous Inc. Those outlays are just the start of a spending spree designed to extend Tencent’s foothold in a key creative hub while imbibing Japan’s expertise in console game-making and hit franchise creation, according to people familiar with its strategy. The Chinese firm is in negotiations with several other studios regarding potential investments, they said.Tencent has long regarded Japanese entertainment exports as an area ripe for optimization, where better distribution and marketing strategies can generate vastly greater revenues. Having cut its teeth on multibillion dollar acquisitions of the likes of Clash of Clans developer Supercell Oy and Fortnite creator Epic Games Inc., the Chinese publishing powerhouse has been repeatedly rebuffed when trying to take over developers and studios in Japan. Its new approach is to spend on becoming a favored partner instead, buying board seats and priority access to new content, said the people, who asked for anonymity because the plans are not public.Tencent’s gaming division declined to comment.Commonly abbreviated to ACG, Japan’s anime, comic book and gaming franchises are already popular in Tencent’s domestic market, the world’s biggest mobile gaming arena. They’ve fueled the rise of services such as streaming platform Bilibili Inc. and provided the characters for many of the country’s favorite games.But Japanese creators, loath to cede control of their prized assets, have preferred ad hoc licensing deals, leading to bidding wars between publishers such as Tencent and TikTok owner ByteDance Ltd., who each have competing Naruto games in China. ByteDance is preparing for a big push into gaming this year, and NetEase Inc., the other big games publisher in China, has just announced it’s opening a game development studio in Tokyo.“Japanese ACGs are world class, while their Chinese counterparts are years behind. Even Tencent cannot cultivate sophisticated IP (intellectual property) expertise internally fast enough,” said Tokyo-based games industry analyst Serkan Toto. “It’s all about quick international expansion, access to established ACG properties, and insight into creating top-notch IPs from scratch.”Significant SliceGames based on anime and comics make up more than a tenth of the Chinese marketSource: Game Publishers Association Publications Committee (China)Note: Figures for quarter ending March 31Read more: Ninja Naruto Leads Tencent’s March into China’s $31 Billion Anime MarketSerkan Toto: “Dr. Serkan Toto is CEO & Founder of Tokyo-based Kantan Games Inc., an independent game industry consultancy focused on the Japanese market. He is sept-lingual, holds an MBA and is a PhD in economics.”In the U.S., we have had a thriving, vibrant animation industry which has dominated the U.S. domestic animation market for decades. Most other countries do not have that. And even it they did, they do not have the global reach and appeal of American animation and Japanese animation.While China and India - the countries which the No. 1 and No. 2 largest populations in the world, respectively (each have over 1.3 billion people) - are developing local animation industries to supply their domestic markets - they do not enjoy the global appeal and popularity that American animation and Japanese animation do. Both Chinese animation and Indian animation have been influenced by Japanese animation, especially the former - Japanese comics, animation, (and video games) and very popular in China and have greatly influenced their Chinese counterparts and related media - while Japanese anime titles like Doraemon remain hugely popular in India and have influenced local animation production there.34. The Jungle Book (1989 TV series) - Wikipedia: 1989–1990 Japanese TV anime series, a Japan/Italy anime co-production based on both the original collection of stories, The Jungle Book (1894), by the Indian-born English writer Rudyard Kipling, as well as the 1967 Disney theatrical animated feature based on Kipling’s work, The Jungle Book. Set in India.The Jungle Book anime was dubbed in Hindi, as well as in many other languages, and became especially popular in India.35. Swan Lake (1981 film) - Wikipedia: 1981 Japanese anime film adaptation by Toei of the famous ballet, Swan Lake, by Russian composer Pyotr Tchaikovsky. A Japan/Soviet Union (when that country still existed) co-production.Original Japanese VersionGerman Version36. Twelve Months (1980 film) - Wikipedia: 1980 Japanese anime film by Toei based on a fairy tale by Russian/Soviet Jewish author Samuil Marshak. “God of Manga” (“Kamisama no Manga”) Ozamu Tezuka provided the character designs. A Japan/Soviet Union co-production.Original Japanese VersionEnglish VersionRussian Version37. Princess Sarah - Wikipedia: 1985 Japanese TV anime series set in late 19th century England.Princess Sarah (小公女プリンセスセーラ, Purinsesu Sēra) is a 1985 Japanese Anime series produced by Nippon Animation and Aniplex, based on Frances Hodgson Burnett's 1905 novel, A Little Princess.[1]Spanning 46 episodes, it originally premiered in 1985 across Japan on Fuji Television as the 11th series of Nippon Animation's World Masterpiece Theater.It was also later aired across Japan by the anime television network, Animax, who also later broadcast the series across its respective networks worldwide, including its English language networks in Southeast Asia and South Asia, dubbing and translating the series into English under the title Princess Sarah. Animax's adaptation was the series' only English translation, and the series has yet to be commercially released in the United States. The series has also been selected as one of the best 100 Japanese anime series of all time by viewers of TV Asahi.In the Philippines, Princess Sarah was aired on ABS-CBN in 1993 with some rebroadcasts since then. Its popularity inspired a live-action film Sarah... Ang Munting Prinsesa, and a primetime TV drama series. The show was also a huge success among Arabic viewers and widely popular. The show was dubbed to Arabic by a Jordanian company. Sarah’s character name was changed to (sally, سالي) which is the show’s name too.38. Strain: Strategic Armored Infantry - Wikipedia: “Strain: Strategic Armored Infantry (奏光のストレイン, Sōkō no Sutorein)[1] (stylized as http://Str.A.In.: Strategic Armored Infantry) is a mecha anime series by Happinet and Studio Fantasia. It premiered across Japan on WOWOW from November 1, 2006. A manga adaptation is being serialized in the Dragon Age magazine. The concept of the series is loosely based upon Frances Hodgson Burnett's novels, most notably A Little Princess (1905), but also Little Lord Fauntleroy (1886) and The Secret Garden (1911). The series also draws some elements from the Gundam franchise. On May 15, 2008, Texas-based licensor FUNimation Entertainment announced its licensing of Strain: Strategic Armored Infantry. The anime was available in a complete DVD[2] release on January 27, 2009 across North America[3][4]”39. Story of the Alps: My Annette - Wikipedia: “Alps Story: My Annette (アルプス物語　わたしのアンネット, Arupusu Monogatari Watashi no Annetto) is a Japanese anime series by Nippon Animation. It is based on the children's book Treasures of the Snow by Patricia St. John and set in the Swiss mountain village of Rossinière.[1]”40. The Adventures of Tom Sawyer (1980 TV series) - Wikipedia: “The Adventures of Tom Sawyer (トム・ソーヤーの冒険, Tomu Sōyā no Bōken) is a Japanese anime series, directed by Hiroshi Saitô which was broadcast in 1980.[1][2] It is based on the well-known and popular 1876 novel The Adventures of Tom Sawyer by Mark Twain.[3]”41. The Swiss Family Robinson: Flone of the Mysterious Island - Wikipedia:The Swiss Family Robinson: Flone of the Mysterious Island (家族ロビンソン漂流記 ふしぎな島のフローネ, Kazoku Robinson Hyōryūki Fushigi na Shima no Furōne) is an [1981] anime series produced by Nippon Animation.The story is loosely based on the novel Swiss Family Robinson by Swiss author Johann David Wyss. As such it exhibits the same geographically impossible array flora and fauna.The character of Flone is not present in the original novel, in which the Robinson family consists of only a father, a mother, and four sons (no daughters). Fione was likely introduced by Nippon Animation as a new character for the anime version to attract more girls as viewers. Also in the anime version, the oldest of the Robinson children, Fritz, is named "Franz" (though his name is changed back to Fritz in the English dub), and the character of Jack is a three-year-old rather than a ten-year-old.Very popular in Europe, this anime is one of the few World Masterpiece Theater series to have been dubbed into the English language for the American market. An English dub by PMT, Ltd, titled simply Swiss Family Robinson, aired on The Family Channel cable network in the U.S. in 1989. This dub renames Flone "Becca" as well as her older brother Franz "Fritz". It can currently be seen on the Smile of a Child network and Amazon Prime video.[1]42. Famous Dog Lassie - Wikipedia: “Famous Dog Lassie (名犬ラッシー, Meiken Rasshī) is a 1996 Japanese anime television series animated by Nippon Animation as the 23rd entry of the World Masterpiece Theater staple.[1] The anime is based on the 1940 novel Lassie Come-Home by Eric Knight and also the second animated Lassie series ever produced, since Lassie's Rescue Rangers.”43. Piccolino no Bōken - Wikipedia: “Piccolino no Bōken (ピコリーノの冒険, Pikorīno no Bōken, lit. "Adventures of Pinocchio") is a 52 episode anime series by Nippon Animation first aired in 1976 which was created in coproduction with the ZDF and ORF. The story is based on the novel The Adventures of Pinocchio (1881-1883) by Italian author Carlo Collodi.”44. Romeo's Blue Skies - Wikipedia:Romeo's Blue Skies (ロミオの青い空, Romio no aoi sora, "Romeo's Blue Skies") is a [1995] Japanese anime series by Nippon Animation. Although "Romeo's Blue Skies" is the literal translation of the Japanese title, the official English name given by Nippon Animation is "Romeo and the Black Brothers". It is known in Arabic as "عهد الأصدقاء" (literally "Friends' Covenant") and in the Philippines as "Mga Munting Pangarap ni Romeo" (literally "Romeo's Simple Dreams"). It was first shown on April 14, 1997 on ABS-CBN.It is based on the novel Die schwarzen Brüder ("The Black Brothers") written in 1941 in Switzerland by author Lisa Tetzner.45. Princess Tutu - Wikipedia:Princess Tutu (Japanese: プリンセスチュチュ, Hepburn: Purinsesu Chuchu) is a Japanese magical girl anime series created by illustrator and animator Ikuko Itoh. Inspired by ballet and fairy tales, particularly The Ugly Duckling and Swan Lake, the story follows a duck who is transformed into the mythical ballerina Princess Tutu in order to save the shattered heart of a storybook prince come to life.The first season was broadcast in Japan in 2002 and the second in 2002 and 2003. It was also adapted into a two-volume manga. Both the manga and anime series were licensed by ADV Films in 2004 for distribution in North America, then by AEsir Holdings when ADV Films closed in 2009, while Sentai Filmworks distributed the Blu-Ray release of the show, as the latter two are parts of Section23 Films. The series explores the concepts of destiny and free will. Reviewers point out that although Princess Tutu is nominally a magical girl series, it is more of a "fairy tale set to ballet with a few magical girl elements mixed in," and its use of dance in lieu of violence to solve conflicts carries "surprisingly effective emotional appeal."[4]46. Les Misérables: Shōjo Cosette - Wikipedia:Les Misérables: Shōjo Cosette (レ・ミゼラブル 少女コゼット, Re Mizeraburu Shōjo Kozetto) (literally "Les Misérables: Little Girl Cosette") is a Japanese anime series by Nippon Animation, and is the first installment in the famed World Masterpiece Theater series in ten years after Remi, Nobody's Girl. It is an adaptation of Victor Hugo's classic 1862 novel, Les Misérables, and the fourth anime adaptation of said novel (following two adaptations from the Japanese television program Manga Sekai Mukashi Banashi, and a 1979 TV special produced by Toei Animation).It premiered across Japan from January 7, 2007 on Fuji TV's BS Fuji broadcast satellite network, and contains fifty-two episodes; of twenty-six each. It also aired in Japan on Animax from April 2007….Set in nineteenth century-era France, the series begins with Cosette, a three-year-old girl, traveling with her mother Fantine, who is trying to find a job and a place to live, but have always been shunned away due to few employers hiring single mothers. When her mother is promised with the prosperity of working in the big city, Cosette is separated from her in the hopes a caretaker named Thénardier will watch over her while her mother earns some money. Unfortunately, this was a trick and the caretaker is a corrupt man who makes Cosette his indentured servant, or more precisely: his slave. Then, the kind mayor—formerly a convict named Jean Valjean—of the town that Cosette makes her new home in, sees how winds of change are so detrimental for children and families, and decides to do something about it, but forces Cosette to go on the run to escape his returning, difficult past47. Porphy no Nagai Tabi - Wikipedia:Porphy no Nagai Tabi (ポルフィの長い旅, Porufi no Nagai Tabi, lit. Porphy's Long Journey) is a Japanese anime series by Nippon Animation, as the 2008 installment of the famed World Masterpiece Theater series. It is an adaptation of Paul-Jacques Bonzon's novel, Les Orphelins de Simitra (The Orphans of Simitra).It premiered across Japan from 6 January 2008 on Fuji TV's BS Fuji broadcast satellite network, and also aired in Japan on Animax. It spanned 52 episodes….Focuses on a Greek boy named Porphyras Patagos (more fondly known as Porphy) and his sister Mina, who have been orphaned after a devastating earthquake which destroyed their home in Greece. The two decide to travel through Europe in search of a new home rather than being put in a foster home and split apart, but things turn bad when they are separated. Now Porphy must travel across Europe to find his little sister.48. Little Lord Fauntleroy (TV series) - Wikipedia:Little Lord Fauntleroy, also known as Shōkōshi Ceddie (小公子セディ, Shōkōshi Sedi, trans. Little Prince Cedie), is a Japanese anime series produced by Nippon Animation in 1988 and was broadcast on the World Masterpiece Theater, an animation staple that showcased each year an animated version of a different classical book or story. The series is based on Frances Hodgson Burnett's 1886 book, Little Lord Fauntleroy.In the Philippines, it was aired by ABS-CBN in the early 1990s (with some rebroadcasts at the 21st century) under the title of Cedie, Ang Munting Prinsipe, with the spin-offs live-action film of the same title by Star Cinema. The film adaptation of Little Lord Fauntleroy starred former child actor Tom Taus Jr. as the eponymous character.Plot[edit]The story concerns an American boy named Cedric Errol (more fondly known as "Cedie"[1]), who at an early age finds that he is the sole heir to a British earldom and leaves New York City to take up residence in his ancestral castle. After some initial resistance, he is joined by his middle-class mother (whom Cedie calls "Dearest"), widow of heir James Errol. His grandfather, the Earl of Dorincourt, intends to teach the boy to become an aristocrat, but Cedie inadvertently teaches his grandfather compassion and social justice, and the artless simplicity and motherly love of Dearest warms the old man's heart.49. Sinbad (film series) - Wikipedia:Sinbad (シンドバッド) is a series of Japanese animated family adventure films inspired by One Thousand and One Nights and produced by Nippon Animation and Shirogumi. Made in celebration of the former company's 40th anniversary, the trilogy of films were directed by Shinpei Miyashita and written by Kaeko Hayafune and Hiroyuki Kawasaki.[5] Miyashita died during the production of the third film, which was later dedicated to him. The film was finished by his student, Terumi Toyama.[6]The first film, A Flying Princess and a Secret Island (空とぶ姫と秘密の島, Sora Tobu Hime to Himitsu no Shima), was released in Japan on July 4, 2015 by Aeon Entertainment.[5][7] Pony Canyon released it on DVD on December 16, 2015.[8] The second film, The Magic Lamp and the Moving Islands (魔法のランプと動く島, Mahō no Lamp to Ugoku Shima), was released theatrically on January 16, 2016 and on DVD on May 3, 2016.[9][10]The third and final film, Night at High Noon and the Wonder Gate (～真昼の夜とふしぎの門～, Mahiru no Yoru to Fushigi no Mon), was released theatrically as part of a compilation with the two others films on May 14, 2016.[11][4] It was later released individually on DVD on December 21, 2016.[12] The three films were released in Japanese with English subtitles and with an English dub by Ocean Productions on Amazon Video in the United States and the United Kingdom in April 2017.[13][14]50. Jeanie with the Light Brown Hair (TV series) - Wikipedia:The Girl in the Wind: Jeanie with the Light Brown Hair (風の中の少女 金髪のジェニー, Kaze no Naka no Shōjo: Kinpatsu no Jenī) is a Japanese anime television series produced by Nippon Animation which ran for 52 episodes on TV Tokyo in 1992–1993.[1]It is based on the 1854 song "Jeanie with the Light Brown Hair" by Stephen Foster. The story begins in a small town in Pennsylvania in 1838. Jeanie MacDowell is a cheerful and beautiful girl with light brown hair (although this could be perceived as being blonde hair). Jeanie enjoys playing the piano and loves taking piano lessons from her mother.Steven, a good harmonica player, and Bill, a boy who is very good at playing the banjo, are great friends of Jeanie's. They enjoy playing music together like a small band.However, Jeanie's happy life changes dramatically after her mother suddenly passes away.Experiencing many difficulties and learning the importance of life, she decides to devote her life to helping many people suffering from illness.The series is a love story about the relationship between Steven and Jeanie - clearly[citation needed] a reference to Stephen Foster and his wife Jeanie.51. Trapp Family Story - Wikipedia:Trapp Family Story (トラップ一家物語, Torappu Ikka Monogatari) is a 1991 Japanese animated series by Nippon Animation, based on the story of the real-life Austrian singing family the Trapp Family. It is a part of the World Masterpiece Theatre franchise, which adapted classic works of literature into animated TV shows. 40 episodes aired on Fuji TV.[1]It was based on the memoir The Story of the Trapp Family Singers by Maria von Trapp, which has also inspired the world-famous musical The Sound of Music.While many things were changed from the original story, unlike other adaptations such as The Sound of Music, the children's names are all correct in this version.52. Katri, Girl of the Meadows - Wikipedia:Katri, Girl of the Meadows (牧場の少女カトリ, Makiba no Shōjo Katori) is an anime series based on the Finnish novel Paimen, piika ja emäntä (The Shepherd, the Servant Girl, and the Hostess) by Auni Nuolivaara. The series was broadcast originally in Japan in 1984 as part of the children's anthology series World Masterpiece Theater, also known simply as "Meisaku" from Nippon Animation. The anthology had before and after produced a great variety of animated series based on different children's novels from around the world; among them were My Annette: Story of the Alps (1983) and Little Princess Sara (1985). In Europe, where World Masterpiece Theater series have found huge success, Katri, Girl of the Meadows made its way to different countries, including Spain, Italy, France, and Germany. Despite the series taking place in Finland, it has never been published or broadcast there, and most Finns have never heard of it.The first and last episodes were broadcast English dubbed in the UK on Channel 4 as Little Girl on the Farm and Little Girl goes to School as part of 1987's Japanese Autumn season.[1][2]Plot[edit]It has been three years since little Katri's mother left for Germany leaving her daughter behind in Finland, where she now lives with her grandparents. With Finland still under Russian domination, the inhabitants of these lands have had little or no news from the outside and no one knows if little Katri will again see her mother. To make matters worse, things in the Katri's grandparents' farm are not going well, the harvest had been a small one, their only cow had been killed by a bear and the family confronts great monetary problems. Katri wants to help and finds work in a neighboring farm; for a girl of hardly nine years of age the work of a farm is hard and tiring even with all of her enthusiasm and good moods, which is what keeps her standing.53. Lucy-May of the Southern Rainbow - Wikipedia:Lucy-May of the Southern Rainbow (南の虹のルーシー, Minami no Niji no Rūshī, "Lucy of the Southern Rainbow") is a Japanese anime series by Nippon Animation. This 1982 adaptation is part of the studio's popular World Masterpiece Theater franchise, based on the 1982 novel Southern Rainbow by Australian writer Phyllis Piddington (1910–2001), and tells the story of a young girl named Lucy and the hardships and excitement she and her family encounter when they move from England to Adelaide in Australia to start a farm.The anime has been dubbed into French, Italian, Arabic, Spanish, German and Persian.Another adaptation of the story, written by Ken Wakasaki as a tie-in to the anime, was also published in Japan in 1982.54. My Daddy Long Legs - Wikipedia:My Daddy Long Legs (私のあしながおじさん, Watashi No Ashinaga Ojisan) is a 1990 Japanese animated television series based on the 1912 novel Daddy-Long-Legs by Jean Webster. The show was part of the container World Masterpiece Theater produced by Nippon Animation studios and was awarded the Excellent Movie Award for Television by the Japanese Agency of Cultural Affairs for Children in 1990.Judy Abbott is an orphan who has been given the opportunity to study at the prestigious Lincoln Memorial High School by a mysterious benefactor whom she only knows as "John Smith". She has only seen his shadow once, and because of his long legs, she calls him "Daddy Long Legs". The only payment she is to give her benefactor is that she write him letters every month, with no expectation of them being responded to.The anime covers three years of Judy's life, starting with her leaving the John Grier Home orphanage, and ending with her finishing high school.55. Magi: The Labyrinth of Magic - Wikipedia:Magi: The Labyrinth of Magic (Japanese: マギ, Hepburn: Magi) is a Japanese fantasy adventure manga series written and illustrated by Shinobu Ohtaka. It was serialized in Weekly Shōnen Sunday from June 2009 to October 2017, with the individual chapters collected and published into 37 tankōbon volumes by Shogakukan.An anime television adaptation by A-1 Pictures aired in Japan from October 2012 to March 2013 and a second season titled Magi: The Kingdom of Magic aired from October 2013 to March 2014.In North America, the manga has been licensed for an English-language release by Viz Media and the anime series by Aniplex of America. It has also been licensed by Kazé in United Kingdom and by Madman Entertainment in Australia.A spin-off series titled Magi: Adventure of Sinbad, written by Ohtaka and illustrated by Yoshifumi Ohtera, began serialization in Weekly Shōnen Sunday in May 2013, before being moved to Shogakukan's website Ura Sunday, where it was published from September 2013 to April 2018.In 2014, Magi: The Labyrinth of Magic received the 59th Shogakukan Manga Award for the shōnen category. As of April 2016, the manga had over 23 million copies in circulation.The series is largely based on numerous stories from 1001 Arabian Nights, most notably the tales of Aladdin, Ali Baba, and Sinbad the Sailor.[3]The story is set in an alternate recreation of the ancient Old World with several regions and nations having some resemblances with real-life counterparts from that time. In this world, all living beings possess an essence known as Rukh (ルフ, Rufu) and when they die, this essence returns to the huge flow (also known as "guidance") of Rukh that gives life to all subsequent beings in an eternal cycle of rebirth called "Fate". Once a person is overcome with sadness, anger, and hopelessness, their Rukh becomes corrupted, unstable, and black, and deviates from the main guidance in a process known as "Fall into Depravity" (堕転, Daten)….After being secluded for his entire life, a boy called Aladdin travels the world with his "friend" Ugo, the Djinn contained within Aladdin's flute, until he meets Alibaba Saluja, a young man aiming to one day explore the nearby dungeon Amon and claim its treasures. Aladdin and Alibaba eventually become friends, and conquer Amon together, despite facing the opposition of the ruthless Jamil and his slave warriors: Morgiana and Goltas. After a desperate fight, the two protagonist fend off Jamil and assist Morgiana in breaking the mental chains that bind her to her former master. Alibaba claims the dungeon while the Djinn Amon appears in front of Aladdin to briefly explain that he is a Magi and that Alibaba is his king's candidate. However, they are interrupted by an outside force trying to close the dungeon off. Alibaba, Aladdin, and Morgiana escape the dungeon while Goltas resolves to die to atone for his sins along with broken former master, but not before cutting Morgiana's shackles. For some reason, Aladdin ends up teleported to a distant land, far away from the others, where he learns what a Magi is, and that he is one. Having no news of his friend, Alibaba uses the treasure he obtained in Amon to free all slaves in the city, including Morgiana and returns to Balbadd, his homeland….56. Tico of the Seven Seas - Wikipedia:Tico of the Seven Seas (七つの海のティコ, Nanatsu no Umi no Tiko) is a Japanese anime series by Nippon Animation. It is about an 11-year-old girl and her best friend Tico, a female orca.Unlike the other series in Nippon Animation's World Masterpiece Theater line, Tico of the Seven Seas is an entirely original story. An English dub of the series, entitled Tico & Friends, was produced by Ocean Studios. The dubbed series makes two significant alterations to the original Japanese series; the secondary protagonist Tico and the main antagonist Adrienne Bennex, survive while their original counterparts die. Some violent, bloody and death scenes are also edited out.Nanami Simpson is a young Japanese-American girl. Having lost her mother when was young, she now lives with her marine biologist father, Scott Simpson, on board his research vessel, the Peperonchino. Scott has been in search of a creature known as the Luminous Whale, a whale that can glow brightly underwater, for many years and is determined to eventually see it and preserve it's exsistence. Nanami also is close friends with an orca named Tico, who was rescued as a baby just before Nanami was born. The two have an unbreakable bond and swim with each other every day. As a result, Nanami gradually learns to hold her breath longer and swim deeper than other humans can.Scott's search from the Luminous Whale soon puts him at odds with the Gaiatron Corporation, a greedy research conglomerate led by the ruthless and ambitious Adrienne Benex, who wishes to exploit the creature for a rare element it seemingly carries in its body. Aiding Benex are her right-hand man, Gaulois, and Dr. Charles LeConte, an old acquaintance of Scott's who is obsessed with the Luminous Whale.Together, Nanami, Scott, and Tico, along with Scott's first-mate and right-hand man, Al Andretti, seek to locate the Luminous Whale before Benex and Gaiatron can. Over time, they are joined by a few new crew members:Cheryl Melville, an English-American heiress looking for adventure.James McIntyre, Cheryl's loyal butler.Thomas LeConte, Dr. LeConte's introverted and lonely, but intelligent son, who wishes to prove himself capable in the real world.Junior, Tico's calf, born nearly halfway through the series.As their journey goes on, the crew of Peperonchino encounter and make both new friends and enemies, and form bonds with each other, as they race against the corrupt Benex and Gaiatron to find the Luminous Whale first.57. The Adventures of Peter Pan - Wikipedia:The Adventures of Peter Pan (ピーターパンの冒険, Pītā Pan no Bōken) is an anime series by Nippon Animation, directed by Yoshio Kuroda, which first aired in Japan on Fuji Television between January 15, 1989 and December 24, 1989. An adaptation of the classic Peter Pan novel by James Matthew Barrie, the series spanned a total of 41 episodes. It was scheduled to start on January 8, 1989, but due to the death of Emperor Shōwa, the premiere got postponed for a week.It was part of the World Masterpiece Theater, a famed animation staple by Nippon Animation, which produced an animated version of a different classical book or story each year. The anime, while adapting material from the original novel, also adds numerous original story arcs.The series was also later translated and released in several international audiences worldwide in 1990, sometimes under the name Peter Pan: The Animated Series. In Europe, it was broadcast on the television networks: Telecinco (Spain), SIC (Portugal), RTL Television (Germany), KiKA (Germany), Italia 1 (Italy), TV3 (Sweden) and Fox Kids (Sweden), Yleisradio (Finland) and TVP 2 (Poland). It also aired in numerous other countries, such as Israel (on IETV and Fox Kids), Brazil, New Zealand, Brazil (Rede Globo), Mexico (XHGC), Philippines (ABS-CBN), Sky One's Fun Factory (United Kingdom) and the From 2009 to 2012 Indonesia (Spacetoon).Plot[edit]The anime starts with Wendy having a dream about Peter Pan rescuing her and having a sword fight with Captain Hook. Wendy and her two brothers, later on in the episode, go to Never Neverland and Wendy becomes the 'mother' of the Lost boys. Throughout the series, a romance blooms between Peter and Wendy, as they go on fights with pirates. The last half of the series deviates from the original story line, and also introduces a new character (Princess Luna), who becomes an important part of the last episodes.58. Mary and the Witch's Flower - Wikipedia:Mary and the Witch's Flower (Japanese: メアリと魔女の花, Hepburn: Meari to Majo no Hana) is a 2017 Japanese animated fantasy film directed by Hiromasa Yonebayashi, produced by Studio Ponoc founder Yoshiaki Nishimura, animated by Studio Ponoc, and distributed by Toho in Japan. Based on the 1971 book The Little Broomstick by Mary Stewart, this is Studio Ponoc's first feature film.[4]The film tells a story of a girl named Mary Smith who finds "fly-by-night", a mysterious flower that can give her the power to become a witch for only one night.[5][6] The film was released in Japan on 8 July 2017.[7] In the English-language version of the film, which was concurrently released with a subtitled version in the United States on 19 January 2018, the film features the voices of Ruby Barnhill, Kate Winslet, and Jim Broadbent.59. Ronja, the Robber's Daughter (TV series) - Wikipedia:Ronja, the Robber's Daughter (Japanese: 山賊の娘ローニャ, Hepburn: Sanzoku no Musume Rōnya) is a Japanese cel-shaded computer-animated[4] television series, based on the novel Ronia, the Robber's Daughter (Ronja Rövardotter) written by Astrid Lindgren[5] The series is directed by Gorō Miyazaki and animated by Polygon Pictures, and co-produced by Studio Ghibli.[6]Miyazaki stated, "Ronja, the Robber's Daughter is a story not just about a girl who grows into adulthood, but it is also a story about the love and growth between a parent and a child, and a story about the bonds between friends. My goal is to create a work that everyone, from children to adults, will be able to enjoy."[7]UK-based distributor Serious Lunch has acquired the worldwide distribution rights, except for Japan and Scandinavia. It sought English-language broadcasters and brought the series to potential backers at the 2015 Annecy International Animated Film Festival.[1] Amazon began streaming the series on its Amazon Prime streaming service on January 27, 2017.[8] GKIDS will release the series in the United States on August 20, 2019 (distributed by Shout! Factory),[9] and additional licenses were sold in China (UYoung Media) and Taiwan (PTS).[10] The English dub is narrated by Gillian Anderson.[8]Storyline[edit]Ronja, the only child of a bandit chief, grows up among a clan of robbers living in a castle in the woodlands of early-Medieval Scandinavia. When Ronja grows old enough she ventures into the forest, exploring and discovering its wonders and dangers like the mystical creatures that dwell there. She learns to live in the forest through her own strength, with the occasional rescue by her parents. Ronja's life begins to change, however, when she happens upon a boy her own age named Birk, who turns out to be the son of the rival clan chief.60. Maquia: When the Promised Flower Blooms - Wikipedia: “Maquia: When the Promised Flower Blooms[3] (さよならの朝に約束の花をかざろう, Sayonara no Asa ni Yakusoku no Hana o Kazarō, lit. "Let's Decorate the Promised Flowers in the Morning of Farewells"), officially abbreviated as Sayoasa (さよ朝),[4] is a 2018 Japanese animated high fantasy drama film written and directed by Mari Okada, and produced by P.A.Works.[1][5] The film marked Okada's directorial debut and the first standalone feature-length film of P.A.Works.[4]”World Masterpiece Theater - Wikipedia:World Masterpiece Theater (世界名作劇場, Sekai Meisaku Gekijō) was a Japanese TV Anime staple that showcased an animated version of a different classical book or story each year on 7:30 p.m. on Sunday. It originally aired from 1969 to 1997 and from 2007 to 2009.The first several series were produced by Mushi Production and then by Zuiyo Eizo, and then by Zuiyo's successor Nippon Animation, which was officially established in June 1975 during the run of A Dog of Flanders. In both cases, the series originally aired primarily on Fuji Television. Hayao Miyazaki and Isao Takahata both worked on several of the series. World Masterpiece Theater as produced by Nippon Animation lasted for 23 seasons, from A Dog of Flanders in 1975 to Remi, Nobody's Girl (家なき子レミ, Ie Naki Ko Remi, Sans Famille) in 1997. Nippon Animation restarted the series in 2007 with the release of Les Misérables: Shōjo Cosette, which premiered on BS Fuji on January 7, 2007, with Porufi no Nagai Tabi (The Long Journey of Porphy) subsequently airing on the same network beginning on January 6, 2008, making it the 25th World Masterpiece Theater series. The most recent and 26th series is Kon'nichiwa Anne: Before Green Gables (lit. Hello Anne ~ Before Green Gables).To date, only seven series were ever dubbed in English for the North American market: Fables of the Green Forest (1973), Tom Sawyer (1980), Swiss Family Robinson (1981), Little Women (1987), The Adventures of Peter Pan (1989), The Bush Baby (1992), and Tico & Friends (1994). The anime satellite television network, Animax, who also aired numerous installments of the series across Japan, later translated and dubbed many of the series' installments into English for broadcast across its English-language networks in Southeast Asia and South Asia, such as Princess Sarah (小公女セーラ, Shōkōjo Sēra), Remi, Nobody's Girl (家なき子レミ, Ie Naki Ko Remi), Little Women (愛の若草物語, Ai no Wakakusa Monogatari), and others. The serials also found success in Europe, with Anne of Green Gables (1979), Miyazaki's last work for Nippon Animation before leaving the studio), Heidi, Girl of the Alps, as well as the aforementioned Princess Sarah.The series has been known by various names over the years (as shown below), but "World Masterpiece Theater" is the name most commonly used by viewers. Nippon Animation's official English name for the series is "The Classic Family Theater Series".[1]Starting in 2017 Amazon Prime Video made various series available in HD quality, but cropped for 16:9 displays[2][3]in the US and UK markets. However Amazon did not utilize the "World Masterpiece Theater" label and only kept the subtitle for each series.History of World Masterpiece Theater (1969-2009)61. Anne no Nikki - Wikipedia:Anne no Nikki (アンネの日記), also known as The Diary of Anne Frank, is a 1995 Japanese anime film based on Anne Frank's The Diary of a Young Girl. It is a feature film by Madhouse, was directed by Akinori Nagaoka and released August 19.Production[edit]Nagaoka's film features new character designs by Katsuyuki Kubo and features a score composed by Michael Nyman, including two songs, "If" (which incorporates "Time Lapse" from A Zed & Two Noughts) and "Why," which have become concert works. The former also appeared in an altered form in the film, The Libertine. The singer is contralto Hilary Summers. "Candlefire" as well as piano-only versions of "If" and Why" appear on Nyman's 2005 release, The Piano Sings.Release[edit]The Nagaoka film was released with an English language adaptation, via a DVD release in French (as Le Journal d'Anne Frank) with English subtitles. A release in North America was set for 2015, but went unreleased for several years.[1] The English version was finally released for free[2] on the official Youtube channel on May 3, 2020.[3]Soundtrack[edit]"If" and "Why" have become staples of Michael Nyman's concerts and were rerecorded as piano solos on The Piano Sings.Il Diario di Anna Frank sub ITA [The Diary of Anne Frank - Original Japanese language version, but with NO Italian subtitles, nor subtitles in any language]ANNE FRANK'S DIARY - An animated feature film [English dub version based on Anne no Nikki]Awarded the Children’s Jury Award at the Chicago International Children’s Festival.« The Film has moved me and I want to congratulate you for the high standard and sensibility in producing this film. I am sure it will be successful not only with the young audiences, but also for the elder generations.» Buddy ELIAS, President, ANNE FRANK FONDS, 1998A LETTER BY Simon WIESENTHALI have now viewed the English version of your film based on the Diary of Anne frank.Thank you for sending me the tape. I must admit that at first had my doubts whether an animated film could do justice to Anne Frank’s Diary. I was therefore pleasantly surprised upon viewing it that the film doesn’t trivialize the story of Anne Frank and makes for exciting viewing. This depiction of the growing up of a vivacious young girl in very difficult and extremely threatening surroundings will touch the hearts of young viewers--and will hopefully lead them to be wary of all signs of collective hatred, racism and anti-Semitism. It is good that with such well-done animated film more young people can be reached than would be the case with the book alone.With best regards,Sincerely,Simon WIESENTHAL"No previous adaptations of Anne Frank's Diary have done so with the imagination and sensitivity that characterize the animated film ANNE FRANK'S DIARY. The attendant music manages to be both unobstructive and haunting at the same time. This inspiring and poignant film is a remarkable tribute to Anne Frank."-Carol Ann Lee (Historian, author of 'Anne Frank: A biography')"...The highly realistic animation offers suspenseful touches and unusual points of view, and the music by Carine Gutlerner is excellent: spare and evocative."-Reader, Chicago" An animated version of Anne Frank's famous diaries that makes her story easily accessible for a new generation without losing the power of the original text.(...) Most moving is Anne's internal life, her reaction to their persecution, and subsequent life of total isolation, silence, terror and ultimately the positive and humanitarian attitude she is able to maintain. Complemented by cutting edge animation, the film's most significant success is its ability to use the diary entries to create an Anne Frank who is compelling and endearing without being maudlin. "Yoshua Ford, Washington Film Festival“ Animated "ANNE FRANK" retells story superbly". The movie is an achievement on several levels. Its aesthetic scheme is simple and unadorned enough to remind us that is a story of ordinary people thrust in into extraordinary circumstances, yet it's also gorgeous enough to carry us through its feature length. Its slab of colors and simple but inviting composition suggest paintings of Edward Hopper."Betsy Sherman, BOSTON GLOBE"This animated feature will undoubtedly remain the most beautiful adaptation of the most widely read work in the world. The city of Amsterdam is depicted very realistically sometimes making viewers think they are really there. The violin music moves our souls with its nostalgic air. The constantly latent emotion grows within us. Like the Diary, the movie ends when the attic occupants are arrested and the few lines that appear thereafter bring tears to our eyes and make us say: “Never again!”.YAHOO FRANCE"By adapting the Diary of Anne Frank in animated form, you have proven your great talent for teaching by successfully producing strong and moving animated images. I am convinced your movie will not only contribute to making the Diary of Anne Frank better known but it will also spur the awareness of young people and adults, and send a universal message of respect for human beings."EUROPEAN JEWISH CONGRESS"The animation is superb, the settings exquisite. It is true to life. The director documented his research, worked on the basis of photographs. It is a true setting of the time. It made me want to go to Amsterdam. The tone of the Diary isn’t hopeless. Anne Frank is neither a view of the camps or of destruction. We know the family will die so there is great underlying emotion as we watch but the dialogue is full of humanity. I prefer this movie to Schindler’s List or Life is Beautiful."Annette Wievorka (Historian), interviewed by L'EVENEMENT===Most Japanese anime are based in Japan because they are based on what Japanese creators know best, namely their own country, just like most American TV shows are set in the United States - even ones that are based on foreign shows. List of American television series based on British television series - Wikipedia lists dozens upon dozens of American TV series which have been remakes of earlier British series, usually swapping US locations in place of the original UK locations, eg., Scranton, Pennsylvania, USA for the American remake of The Office (American TV series), which was originally set in Berkshire County, England, UK in The Office (British TV series).On the other hand, Japanese anime titles usually preserve the original locations of their foreign source material.

Ted Arthur Haggard (/ˈhæɡərd/; born June 27, 1956) is an American evangelical pastor. Haggard is the founder and former pastor of New Life Church in Colorado Springs, Colorado and is a founder of the Association of Life-Giving Churches. He served as President of the National Association of Evangelicals (NAE) from 2003 until November 2006.Haggard made national headlines in November 2006 when male prostitute and masseur Mike Jones alleged that Haggard, who had advocated against the legalization of same-sex marriage, had paid him for sex for three years and had also purchased and used crystal methamphetamine. After initially denying the allegations, Haggard claimed to have purchased methamphetamine and thrown it away without using it. Haggard resigned his post at New Life Church and his other leadership roles shortly after the allegations became public. Later, Haggard admitted to having used drugs, participated in some sexual activity with Jones, and engaged in an inappropriate relationship with a young man who attended New Life Church.In 2010, Haggard and his wife, Gayle, founded St. James Church in Colorado Springs; as of September 2018, Haggard continues to serve as founding pastor at St. James Church.Ted Haggard - WikipediaAmerican minister Ted Arthur Haggard (; born June 27, 1956) is an American evangelical pastor . Haggard is the founder and former pastor of New Life Church in Colorado Springs, Colorado and is a founder of the Association of Life-Giving Churches . He served as President of the National Association of Evangelicals (NAE) from 2003 until November 2006. Haggard made national headlines in November 2006 when male prostitute and masseur Mike Jones alleged that Haggard, who had advocated against the legalization of same-sex marriage, had paid him for sex for three years and had also purchased and used crystal methamphetamine . After initially denying the allegations, Haggard claimed to have purchased methamphetamine and thrown it away without using it. Haggard resigned his post at New Life Church and his other leadership roles shortly after the allegations became public. Later, Haggard admitted to having used drugs, participated in some sexual activity with Jones, and engaged in an inappropriate relationship with a young man who attended New Life Church. In 2010, Haggard and his wife, Gayle, founded St. James Church in Colorado Springs; as of September 2018, Haggard continues to serve as founding pastor at St. James Church. Early life and education [ edit ] The main entrance of New Life Church in Colorado Springs Haggard was born in Indiana . [1] His father, J. M. Haggard, a practicing veterinarian in Yorktown, Indiana , founded an international charismatic ministry, which was featured in a PBS Middletown documentary series. [2] Haggard has stated that he was molested when he was seven years old. [3] [4] In 1972, at age 16, Haggard became a born-again Christian after hearing a sermon from evangelist Bill Bright in Dallas , Texas, and becoming acquainted with the Christian apologetics of C. S. Lewis . [2] As a co-editor of his high-school newspaper in 1974, Haggard published frank articles that described services that were available to prevent and deal with increasingly prevalent pregnancies and STDs . These articles scandalized his small town and embroiled him in a free-press lawsuit. [ citation needed ] Haggard describes feeling the call of God on his life after his first year in college while he was in the kitchen at home. He had been a telecommunications major with a minor in journalism, but after this experience he believed he had been called to be a pastor. [5] Haggard subsequently attended Oral Roberts University , a Christian university in Tulsa, Oklahoma , graduating in 1978. [6] New Life Church [ edit ] According to Haggard, in November 1984, when he was an associate pastor of Bethany World Prayer Center in Baton Rouge, Louisiana , his confidant and mentor Danny Ost, a missionary to Mexico City , had a vision of Haggard founding his church in Colorado Springs. Accordingly, Haggard moved to Colorado shortly afterwards, and founded New Life Church. Initially, the 22 people who met in the basement of Haggard's house formed his church, which then grhttps://en.wikipedia.org/wiki/Ted_HaggardJimmy Lee Swaggart (/ˈswæɡərt/; born March 15, 1935) is an American Pentecostal evangelist.Swaggart's TV ministry, which began in 1971, has a viewing audience both in the U.S. and internationally. The weekly Jimmy Swaggart Telecast and A Study in the Word programs are broadcast throughout the U.S. and on 78 channels in 104 other countries, and over the Internet.[1] At its height in the 1980s, his telecast was transmitted to over 3,000 stations and cable systems each week.[2] He currently owns and operates the SonLife Broadcasting Network and Family Worship Center in Baton Rouge, Louisiana.Sexual scandals with prostitutes in the late 1980s and early 1990s led the Assemblies of God to defrock him. As a result of the scandals, Swaggart temporarily stepped down as the head of Jimmy Swaggart Ministries.[3]James Orsen Bakker (/ˈbeɪkər/;[1] born January 2, 1940) is an American televangelist, entrepreneur, and convicted fraudster. He hosted the television program The PTL Club with his then wife, Tammy Faye, from 1974 to 1989. He also developed Heritage USA, a now-defunct Christian theme park in Fort Mill, South Carolina.In the late 1980s, Bakker resigned from the ministry over a cover-up of hush money to church secretary Jessica Hahn for an alleged rape. Subsequent revelations of accounting fraud brought about felony charges, conviction, imprisonment, and divorce. Bakker later remarried and returned to televangelism, founding Morningside Church in Blue Eye, Missouri. He hosts The Jim Bakker Show, which focuses on the end times and the Second Coming of Christ while promoting emergency survival products. He has written several books, including I Was Wrong and Time Has Come: How to Prepare Now for Epic Events Ahead.Jim Bakker - WikipediaAmerican televangelist James Orsen Bakker (; [1] born January 2, 1940) is an American televangelist , entrepreneur, and convicted fraudster . He hosted the television program The PTL Club with his then wife, Tammy Faye , from 1974 to 1989. He also developed Heritage USA , a now-defunct Christian theme park in Fort Mill, South Carolina . In the late 1980s, Bakker resigned from the ministry over a cover-up of hush money to church secretary Jessica Hahn for an alleged rape. Subsequent revelations of accounting fraud brought about felony charges, conviction, imprisonment, and divorce. Bakker later remarried and returned to televangelism, founding Morningside Church in Blue Eye, Missouri . He hosts The Jim Bakker Show , which focuses on the end times and the Second Coming of Christ while promoting emergency survival products. He has written several books, including I Was Wrong and Time Has Come: How to Prepare Now for Epic Events Ahead . Personal life [ edit ] James Orsen Bakker was born in Muskegon, Michigan , the son of Raleigh Bakker and Furnia Lynette "Furn" Irwin. [2] Bakker attended North Central University (a Bible college affiliated with the Assemblies of God in Minneapolis ), where he met fellow student Tammy Faye LaValley in 1960. [3] He worked at a restaurant in the Young-Quinlan department store in Minneapolis; Tammy Faye worked at the Three Sisters, a nearby boutique. [4] The Bakkers married on April 1, 1961, and left college to become evangelists . They had two children, Tammy Sue "Sissy" Bakker Chapman (born March 2, 1970) and Jamie Charles "Jay" Bakker (born December 18, 1975). The couple divorced on March 13, 1992. [5] On September 4, 1998, Bakker married Lori Beth Graham, a former televangelist, 50 days after they met. [6] In 2002 they adopted five children. [7] [8] [9] Early career [ edit ] In 1966, the Bakkers began working at Pat Robertson 's Christian Broadcasting Network , which had an audience in the low thousands at the time. [10] They contributed to the network's growth, and their success with a variety show format (including interviews and puppets) helped make The 700 Club a company staple. [11] The Jim and Tammy Show , aimed at young children, was broadcast for several years from their Portsmouth, Virginia studio. [12] The Bakkers then hosted the first version of The 700 Club . In 1972 the Bakkers left Robertson's ministry and in 1973 joined with Paul and Jan Crouch to help co-found the Trinity Broadcasting Network . Jim and his wife then moved to Charlotte, North Carolina . In 1976 they first put The PTL Club on the air. [13] Heritage USA sign in 2007. The site is now mostly demolished. [14] From 1974 to 1987, the Bakkers hosted The PTL Club , which functioned like a late-night talk show . Guests ranged from religious figures such as Billy Graham and Oral Roberts to entertainers such as Mr. T and Mickey Rooney . Bakker founded the PTL Satellite Network in 1974, which aired The PTL Club and other religious television prograhttps://en.wikipedia.org/wiki/Jim_BakkerPat Robertson - WikipediaAmerican media mogul, former Southern Baptist minister and presidential candidate Marion Gordon " Pat " Robertson (born March 22, 1930) [1] is an American media mogul , televangelist , political commentator, former Republican presidential candidate, and former Southern Baptist minister. Robertson advocates a conservative Christian ideology and is known for his past activities in Republican party politics . He is associated with the Charismatic Movement within Protestant evangelicalism . He serves as chancellor and CEO of Regent University and chairman of the Christian Broadcasting Network (CBN). He appears daily on The 700 Club , CBN's flagship television program. On Robertson's own account, he was not a serious Christian until he underwent personal difficulty. He graduated near the top of his class at Yale Law School in 1955, but failed the New York bar exam. Failing the bar cost Robertson opportunities at post-graduate employment, and in the ensuing months of what he later described as disappointment, embarrassment, and unemployment, he became a born-again Christian and began a career as a minister. Spanning over five decades, Robertson has had a career as the founder of several major organizations and corporations as well as a university: The Christian Broadcasting Network (CBN), the International Family Entertainment Inc. ( ABC Family Channel ), Regent University , the American Center for Law & Justice (ACLJ), the Founders Inn and Conference Center, the Christian Coalition , an L-1011 Flying Hospital, Operation Blessing International Relief and Development Corporation , and CBN Asia . [1] [2] He is a best-selling author and the host of The 700 Club , a Christian News and TV program broadcast live weekdays on Freeform (formerly ABC Family) via satellite from CBN studios, as well as on channels throughout the United States, and on CBN network affiliates worldwide. [1] The son of U.S. Senator A. Willis Robertson , Robertson was a Southern Baptist and was active as an ordained minister with that denomination for many years, but holds to a charismatic theology not traditionally common among Southern Baptists. [3] [4] He unsuccessfully campaigned to become the Republican Party 's nominee in the 1988 presidential election . [5] [6] As a result of his seeking political office, he no longer serves in an official role for any church. His personal influence on media and financial resources make him a recognized, influential, and controversial public voice for conservative Christianity in the United States. [7] Life and career Family Marion Gordon Robertson was born on March 22, 1930, in Lexington, Virginia , into a prominent political family, the younger of two sons. His parents were Absalom Willis Robertson (1887–1971), a conservative Democratic Senator , and his wife Gladys Churchill ( née Willis; 1897–1968), was a housewife and a musician. He met Adelia "Dede" Elmer (born December 3, 1927, in Columbus, Ohio), [8] a fashion model and beauty queen in thttps://en.wikipedia.org/wiki/Pat_Robertson#Controversies_and_criticismsPredictionsSeveral times near New Year, Robertson has announced that God told him several truths or events that would happen in the following year. "I have a relatively good track record", he said. "Sometimes I miss."[86]1982: JudgmentIn the May 19, 1982 broadcast of The 700 Club Robertson stated, "I guarantee you by the fall of 1982 there is going to be a judgment on the world."[87][better source needed]In September 2011, Robertson and several others who incorrectly predicted various dates for the end of world were jointly awarded an Ig Nobel Prize for "teaching the world to be careful when making mathematical assumptions and calculations".[88][89][90]2004: Presidential electionIn January 2004, Robertson said that God told him President Bush will be re-elected in a "blowout" in the election later that year. "I think George Bush is going to win in a walk", Robertson told viewers of his The 700 Club program. "I really believe I'm hearing from the Lord it's going to be like a blowout election in 2004. It's shaping up that way."[91] Bush did in fact win re-election, but not in a landslide.[92] Kerry lost the electoral college vote by 14%, an outcome that did not signal a significant shift in the direction of politics.2006: Pacific Northwestern tsunamiIn May 2006, Robertson declared that storms and possibly a tsunami would hit America's coastline sometime in 2006. Robertson supposedly received this revelation from God during an annual personal prayer retreat in January. The claim was repeated four times on The 700 Club.On May 8, 2006, Robertson said, "If I heard the Lord right about 2006, the coasts of America will be lashed by storms." On May 17, 2006, he elaborated, "There well may be something as bad as a tsunami in the Pacific Northwest."[93]2007: Terror attackOn the January 2, 2007 broadcast of The 700 Club, Robertson said that God spoke to him and told him that "mass killings" were to come during 2007, due to a terrorist attack on the United States. He added, "The Lord didn't say nuclear. But I do believe it will be something like that."[94] When a terrorist attack failed to happen in 2007, Robertson said, in January 2008, "All I can think is that somehow the people of God prayed and God in his mercy spared us."[95]2008: Worldwide violence and American recessionOn the January 2, 2008 episode of The 700 Club, Pat Robertson predicted that 2008 would be a year of worldwide violence. He also predicted that a recession would occur in the United States that would be followed by a stock market crash by 2010.[95] However, there was a decrease in overall deaths for the period,[96] and the American economy had already entered a recession in 2007, with increased household debt[97] and the collapse of financial institutions.[98]2008: Mideast meltdownIn October 2008, Robertson posted a press release on the Georgian conflict speculating that the conflict is a Russian ploy to enter the Middle East, and that instability caused by a predicted pre-emptive strike by Israel on Iran would result in Syria's and Iran's launching nuclear strikes on other targets. He also said that if the United States were to oppose Russia's expansion, nuclear strikes on American soil are also pending. "We will suffer grave economic damage, but will not engage in military action to stop the conflict. However, we may not be spared nuclear strikes against coastal cities. In conclusion, it is my opinion that we have between 75 and 120 days before the Middle East starts spinning out of control."[99]2009: Economic chaos and recoveryOn the January 1, 2009 broadcast of The 700 Club, Robertson said, "If I'm hearing [God] right, gold will go to about $1900 an ounce and oil to $300 a barrel." He also suggested that Americans would broadly accept socialism. Despite these predictions, he also said that economically "things are getting ready to turn around."[100]2012: Presidential electionOn January 4, 2012, Robertson reported that God had spoken to him and he "thinks He showed me the next president" but would not name who it is. He did give an indication that it would not be President Obama since Robertson said God told him Obama's views were at "odds with the majority", but left some room for interpretation had the 2012 election expanded beyond a two-person race.[101] Closer to the election, however, he expressly stated that God had told him that Mitt Romney would win and would be a two-term President.[102] Obama was reelected for a second term.2020: Presidential election and asteroid strikeOn October 20, 2020, Robertson said, "But first of all I want to say without question Trump is going to win the election." Trump went on to be defeated by Joe Biden. Robertson also said there would be assassination attempts against Trump, and later an asteroid will hit that could destroy earth.[103][104] After Biden was certified the winner by the United States Electoral College in December, Robertson, after briefly supporting Trump's legal disputes seeking to overturn the results, said Trump should concede. He also said Trump running again in 2024 would be a "mistake" and offered Nikki Haley as an alternative.[105]Pat Robertson - WikipediaAmerican media mogul, former Southern Baptist minister and presidential candidate Marion Gordon " Pat " Robertson (born March 22, 1930) [1] is an American media mogul , televangelist , political commentator, former Republican presidential candidate, and former Southern Baptist minister. Robertson advocates a conservative Christian ideology and is known for his past activities in Republican party politics . He is associated with the Charismatic Movement within Protestant evangelicalism . He serves as chancellor and CEO of Regent University and chairman of the Christian Broadcasting Network (CBN). He appears daily on The 700 Club , CBN's flagship television program. On Robertson's own account, he was not a serious Christian until he underwent personal difficulty. He graduated near the top of his class at Yale Law School in 1955, but failed the New York bar exam. Failing the bar cost Robertson opportunities at post-graduate employment, and in the ensuing months of what he later described as disappointment, embarrassment, and unemployment, he became a born-again Christian and began a career as a minister. Spanning over five decades, Robertson has had a career as the founder of several major organizations and corporations as well as a university: The Christian Broadcasting Network (CBN), the International Family Entertainment Inc. ( ABC Family Channel ), Regent University , the American Center for Law & Justice (ACLJ), the Founders Inn and Conference Center, the Christian Coalition , an L-1011 Flying Hospital, Operation Blessing International Relief and Development Corporation , and CBN Asia . [1] [2] He is a best-selling author and the host of The 700 Club , a Christian News and TV program broadcast live weekdays on Freeform (formerly ABC Family) via satellite from CBN studios, as well as on channels throughout the United States, and on CBN network affiliates worldwide. [1] The son of U.S. Senator A. Willis Robertson , Robertson was a Southern Baptist and was active as an ordained minister with that denomination for many years, but holds to a charismatic theology not traditionally common among Southern Baptists. [3] [4] He unsuccessfully campaigned to become the Republican Party 's nominee in the 1988 presidential election . [5] [6] As a result of his seeking political office, he no longer serves in an official role for any church. His personal influence on media and financial resources make him a recognized, influential, and controversial public voice for conservative Christianity in the United States. [7] Life and career Family Marion Gordon Robertson was born on March 22, 1930, in Lexington, Virginia , into a prominent political family, the younger of two sons. His parents were Absalom Willis Robertson (1887–1971), a conservative Democratic Senator , and his wife Gladys Churchill ( née Willis; 1897–1968), was a housewife and a musician. He met Adelia "Dede" Elmer (born December 3, 1927, in Columbus, Ohio), [8] a fashion model and beauty queen in thttps://en.wikipedia.org/wiki/Pat_Robertson#Controversies_and_criticismsDisgraced Jerry Falwell Jr. invites students to party on his farmFalwell's tenure at the evangelical university in Virginia ended after a series of wild scandals involving him and his wife Becki last year.https://nypost.com/2021/05/01/disgraced-jerry-falwell-jr-invites-students-to-party-on-his-farm/Jerry Lamon Falwell Jr. (/ˈfɔːlwɛl/; born June 17, 1962) is an American attorney, former academic administrator, and prominent member of the Evangelical Christian community. Starting with his 2007 appointment upon his father's death, Falwell served as the president of Liberty University in Lynchburg, Virginia until resigning amidst controversy in August 2020.[2][3][4In late August, Reuters contacted Falwell and his wife with their initial reporting on his wife's alleged affair with the pool attendant they had met in 2012. Shortly after, on August 23, 2020, Falwell announced in a public statement that his wife had an "improper relationship" several years earlier with a man who later threatened to reveal the affair "unless we agreed to pay him substantial monies".[67] On August 24, Reuters published their report that the man was the pool attendant with whom Falwell had invested in the hostel. The man, now 29 years old, said he began a sexual relationship with the Falwells when he was 20. He claimed that the affair started the same month he met the couple, in March 2012, and continued into 2018.[5] He claimed to have had "frequent" sexual encounters with Becki Falwell while Jerry Falwell Jr. looked on, sometimes in the same room and sometimes remotely via camera.[13] The man shared audiotape, emails, and texts with Reuters as evidence for the veracity of his assertions about the relationship.[5]Jerry Falwell Jr. - WikipediaAmerican lawyer Jerry Lamon Falwell Jr. ( / ˈ f ɔː l w ɛ l / ; born June 17, 1962) is an American attorney, former academic administrator , and prominent member of the Evangelical Christian community. Starting with his 2007 appointment upon his father's death, Falwell served as the president of Liberty University in Lynchburg, Virginia until resigning amidst controversy in August 2020. [2] [3] [4] [5] Early life and education [ edit ] Jerry Falwell Jr. was born on June 17, 1962, the eldest son of Jerry Sr. and Macel Falwell (née Pate). [6] He attended private schools in the Lynchburg area, including Lynchburg Christian Academy (later renamed as Liberty Christian Academy ), from where he graduated in 1980. He then attended Liberty University , where he obtained a Bachelor of Arts in history and religious studies in 1984, [6] and the University of Virginia School of Law , where he obtained a Juris Doctor in 1987. [6] From 1987 until 2007, Falwell served in private practice in Virginia and as the lawyer for Liberty University and its related organizations. He joined the Board of Trustees of the university in 2000. [6] 2007–2020: Liberty University [ edit ] As part of a succession plan the elder Falwell laid out before his death, Jerry Jr. was to be entrusted with Liberty University while Jerry Sr.'s other son, Jonathan Falwell , inherited the ministry at Thomas Road Baptist Church . The decisions were rooted in each's personality: Jerry Jr. had aggressive business instincts, and Jonathan was more charismatic and interested in ministry. This succession plan took effect when Jerry Sr. died in 2007. [7] Under Falwell Jr., Liberty University came under scrutiny for its alleged authoritarian control over employees and students, nepotism toward Falwell family-owned businesses in the school's investments, and increasing influence of Falwell's wife Becki in school affairs. Beginning in 2001, Falwell had established two companies for the purpose of making property deals with Liberty-affiliated nonprofits, and his two sons and their wives were on Liberty's payroll. [8] A 2019 Politico article described the university as a "dictatorship" in which Falwell ruled through fear; it also reported that the university had sold merchandise promoting Donald Trump 's presidential campaign, and that Falwell Jr. had crude discussions about his sex life at work and had shown other Liberty employees provocative photos of his wife. [7] Falwell's leadership also came under fire in a letter signed by members of Congress , Andy Levin and Jamie Raskin , to Betsy DeVos , which claimed that Falwell personally blocked students from writing student columns critical of Trump. [9] [10] A Reuters investigation, published in August 2019, alleged that Falwell signed a real estate deal in 2016 that transferred the university's sports facilities to his personal trainer, who did not put down any money for the deal. [11] The publication reported that instead, Liberty immediately paid almost $https://en.wikipedia.org/wiki/Jerry_Falwell_Jr.Bunch of typical disgusting trailer trash, the lot of them , you can take the trash out of the trailer park, but you can’t take the trailer park out of the trash