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could offend the
Japanese entertainers as well as Japanese visitors. They needed, therefore, a Japanese agent to oversee the entertainments section and to liaise between the Company and the entertainers; a Japanese expert on setting up a Japanese Village in international exhibitions, Kushibiki Yumeto, was employed by the Company as a supervisor on the recommendation of the Japanese Commission. Kushibiki was instructed by the Japanese Commission to oversee the general welfare of the entertainers, including the provision of handsome returns after the completion of their services. Although his initial contract ran only until June, the Japanese Commission found his work indispensable and, supported by a plea from the Japanese entertainers themselves, his contract was extended until the end of the Exhibition. Rented houses near the Exhibition site had to be found to accommodate most of the entertainers, except for a few who wished to stay at the site. Although there were some occasions when misunderstandings between the Company and the entertainers occurred, disaster was averted with the help of Kushibiki.
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manager." They were also surprised to find that
Kushibiki had featured Sadayakko as the troupe's main attraction. "There was no getting out of it, concluded Yakko. She was going to have to be an actress." Kushibiki's choice of manager proved disastrous: within weeks Mitsuse had driven the troupe into bankruptcy through mismanagement and outright theft. But their eventual success was largely the result of Kushibiki's promotion of Sadayakko as actress. By the time they returned to Japan she was recognized as a major international star.
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569:, set to open on December 1, 1901. "A Japanese rock garden, complete with Bonsai trees, waterfalls, and bridges, was recreated inside the Fair Japan concession. A typical tea house with quaint booths was attended by geisha girls. There was also a theatre where actors, jugglers, and tumblers entertained fairgoers. Price of admission was 15¢; admission to the theatre was 15¢ extra." The exposition continued until June 20, 1902.
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263:. Kushibiki worked well with both American and Japanese associates, with excellent collaboration skills and little need for recognition. It was five years before they received any attention in the American press, but five years after that, Kushibiki was declared "undisputedly the best Japanese showman in America."
757:
Kushibiki generally received little official credit for his exposition organizing role. Twenty-six members of the Japan
Commission at the St. Louis exposition—a president, vice-president, eleven commissioners, six experts, three secretaries, and four attaches (for the most part, government officials,
1165:
The
California expositions marked the end of Kushibiki's American exposition organizing efforts. Returning to Japan, he reversed his usual strategy and sought to bring exotic American attractions such as aviators and famous baseball players to Japan. His success was limited. He served as manager for
766:
held in
Portland, Oregon the following year—Kushibiki was appointed as one of Japan's three Commissioners. In an unusual honor, he was also appointed Second Vice-President of the Executive Commissioners' Association, making him the only non-American member of the exposition's executive committee. By
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Some members of the
Japanese Commission were apprehensive about leaving it entirely in the hands of the Exhibition Company to organize the Japanese entertainments, since they feared that as the Company would be ignorant of Japanese culture and customs there might arise some sort of misconduct which
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worked as a curio-seller, “doing a pretty good business, selling things between 7 and 12 dollars a night,” and stayed through the summer, as it was “awfully jolly to do such a thing upon the roof full of fresh air and music.” Kushibiki's third New York project was a set of
Japanese-style buildings
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set in, a second operation was performed. "At first it was thought he stood but small chance of recovery," but "a strong constitution pulled him through." At the end of August he was still hospitalized; "his partner, Mr. Arai, has had charge of the
Japanese village, and a monster benefit has been
250:
Aside from the names and dates of expositions in which they participated, there are few descriptions of what sorts of work
Kushibiki and Arai actually did at the expositions they organized, but it can be surmised that they operated as independent entrepreneurial managers or contractors in a style
495:
The
Kawakami troupe arrived in San Francisco on May 21 to find that "Kushibiki was not there to take care of them as he promised. He had had a major loss in his business and could no longer afford to sponsor them. So he handed them over to a Japanese lawyer named Kosaku Mitsuse, who became their
160:, either in 1859, as most Japanese sources claim, or 1865, as he stated on several occasions while in the United States. Little is known of his early life. A brief Japanese biography from the Aomori Prefectural Library states that he went to Tokyo with the intention of entering
176:, which proved highly successful, both as an instructive and popular exhibition and as a financial venture." Kushibiki's name does not, in fact, appear among the main organizers of that exposition, but within a few years he would become known as the "Japanese Exposition King."
473:"Kushibiki," according to Joseph Anderson, "had been looking for his next Japanese novelty. He proposed a tour to Kawakami that would 'introduce the New Theatre to American ladies and gentlemen.'" Kawakami hoped to travel to Paris to perform with his troupe at the
1214:, Kushibiki "was known in the United States, France, Italy and England as the 'Japanese Exposition King,' and was one of the first Japanese in America and Europe to introduce Japanese tea gardens and gardens." He was also "the first Japanese to introduce the
492:, and an 18-member troupe. Before their departure, Kushibiki "left suddenly for San Francisco ahead of the Kawakami company with the explanation that he was called back early because his Atlantic City enterprise was in trouble and he was not feeling well."
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In another part of the grounds was "Fair Japan on the 'Pike' ... a private concession controlled by the Fair Japan Company, which was organized by Y. Kushibiki, S. Arai, and several prominent business men of St. Louis." Visitors passed through a large
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prepared in behalf of Kushibiki." Finally, on September 26, Kushibiki, making his first appearance at the Exposition since the accident, "hobbled through the Midway on crutches. In spite of his misfortune he was as philosophic and debonnaire as ever."
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described him as "an interesting personality," and called him "the Japanese Barnum." "His shrewdness is a tincture of Japanese acumen and very modern business methods of the big Western Republic, which the Japanese as a nation love to emulate." The
511:
that ran from May to November. On the morning of July 27, running to catch a moving trolley car to the Exposition grounds, he had a tragic mishap. Slipping, his left leg caught under the wheels, and had to be amputated just below the knee. The
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and hoped for international recognition. But the stratagem failed. "The Japanese Village, though located in another part of the park, may be considered a part of the anthropological display of the Midway group," wrote a local historian.
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at Nashville were omitted from its official guidebook, they were at least spared the indignity of the racist depiction of the Chinese Village with its "queer creatures that are almost savages" and theater of "crude acting and dancing."
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Kushibiki's success owed much to his collaboration with another Japanese organizer at the Columbian Expo, Arai Saburō (1867-1951). In subsequent years, "Kushibiki and Arai organized Japanese villages and tea gardens at the
693:, which began on February 8, 1904, remained in progress through the whole of the exposition. In April, Kushibiki announced that thirty geisha had embarked from Yokohama and were expected to arrive about April 25.
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farmers to the region. During the St. Louis Expo, he visited Houston, the center of the rice industry. "His report was favorable, and there was divided among the Japanese colony at St. Louis a rice plantation in
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Parts of some of the buildings and gardens organized by Kushibiki and Arai are still in existence, though most have been lost due to age, fire, war, vandalism, and changing tastes. The gardens and tea-houses at
342:) for wealthy Philadelphia siblings John and Lydia Morris. "To create the distinctive subterranean grotto ambiance, Morris hired Japanese garden makers Kushibiki and Arai to arrange one hundred tons of local
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felt like a journey through a personal terrarium." The garden contained "about one thousand ferns, representing 523 different varieties," and was considered "one of the finest displays of filmy ferns (
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into rockery formations resembling a cave or mountain cliff accented by delicate waterfalls, a flowing stream bed, and a goldfish pond. Once the plants took hold on the rocky surfaces, entering the
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the time the exposition opened on June 1, just days after the Japanese navy destroyed the remains of the Russian fleet in the Tsushima Straits, Japan was celebrating imminent victory in the
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organizing fireworks and "installing an extensive exhibit of the art goods of Japan." The following year, he was in Virginia, serving as Commissioner General of the Japanese exhibit at the
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from April 30 to December 1, 1904. The St. Louis Exposition received unprecedented support from the Japanese government: $ 400,000, plus $ 50,000 from the Japanese colonial government of
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910:
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2 (1916): 344, in line with his claim that he was 35 when hospitalized in Buffalo in 1901, and 46 years, 10 months when he passed through Ellis Island on November 5, 1912.
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in 1898, where "the German Village, the Streets of Cairo, the Temple of Palmistry, the Japanese Tea-Garden, and a hundred others, offer their various tempting delights."
1043:
The impact of the work of Kushibiki and Arai on American perceptions of Japan was enormous. Hundreds of millions of people visited the expositions they organized.
270:, September to December 1895, Japanese commissioner M. Fujisawa requested and received a place off the Midway for a "high class" attraction. Japan was winning the
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about "a grand pleasure ground to be called the 'American Park.'" The editor concluded that "the report seems rather doubtful so far as its plans are concerned."
1773:
901:
892:
605:, a popular ride debuted at the Buffalo Exposition two years earlier. The second was a "Japan by Night" installation and concession for the rooftop garden at
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189:
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ran simultaneously for most of 1915. Kushibiki helped organize the San Francisco Exposition, assisted by a $ 50,000 subsidy from the Japanese Government.
996:. San Francisco, a much larger city, won federal and state support, but San Diego pushed on by raising private funding. The resulting similarly-titled
638:
446:
In 1896 Kushibiki and Arai returned to Japan, to recruit talent for current and future projects, and bringing along two of what would be Japan's first
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1:3 (10 Dec. 1910): 52-3, states that it was opened "in 1896 with a capital of approximately $ 3,000," and closed in 1902. In 1902 it was replaced by
228:
168:, he "came first to America in 1884." The beginnings of his entrepreneurial career are similarly undocumented. According to the 1916 profile, "At the
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279:
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reported that "K. Kushibiki, a show man, well known among Americans and Japanese, died at Kamakura today." According to his obituary in the
1015:. Most of its buildings and grounds, including Kushibiki's Japanese installations, were subsequently dismantled, among them, replicas of the
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Kushibiki had at least three New York projects underway in the summer of 1903. The first was a Japanese Village and Japanese Gardens for
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662:, and over $ 250,000 in Japanese commercial and regional government investments. A large garden featured a replica of Kyoto's famous
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described him as "an exceedingly intellectual Japanese, and highly popular among all his brethren of the amusement world. "
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In addition to their exposition work during this period, Kushibiki and Arai also ran a Japanese tea garden and nursery in
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In February 1899, Kushibiki visited the Kobe hospital where Kawakami was convalescing after an illness. On March 1, the
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854:. The exposition ran from June 1 to October 16. The extensive Japanese architecture at the Expo included a Japanese
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518:, reporting the story, described Kushibiki as "one of the best known among the Pan-American concessionaires." When
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Kushibiki's popularity in St. Louis was mentioned in the local press both before and during the exposition. The
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477:. "At the very least, such a trip could help pay Kawakami's expenses for getting to the exhibition in Paris."
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1368:, 7 June 1903, I:8, states it ran "from 1895 to 1900." "The Story of Atlantic City's Japanese Merchants ,"
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Bird's Eye View of "Fair Japan" as Reproduced on The Pike, After drawing by T. Hasegara, Tokio, Japan
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responsible for organizing many international exhibitions in the late 19th and early 20th centuries.
1739:
447:
1719:
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Hoshi also claimed the original gate had been "erected about 300 years ago ... in the Province of
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1338:
The Official guide to the Tennessee Centennial and International Exposition and City of Nashville
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temple at Kyoto. But several structures, including a pagoda and a temple gate, were moved to the
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252:
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describes one garden party he organized for the Franco-Japanese Society on 10 May 1912, with
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1649:(San Antonio: University of Texas Institute of Texan Cultures at San Antonio, 1987), 124-27.
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in Seattle had been originally planned for 1907 but postponed to avoid conflicting with the
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Arai Saburo was not among the Portland commissioners. In 1904, he had become interested in
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8:
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reported that "a man giving his name as Kushibiki Yumindo" was in talks with the city of
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And they took on private landscaping commissions. In 1899 they were hired to construct a
1602:
Official directory of the Louisiana Purchase Exposition, World's Fair, Saint Louis, 1904
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389:
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484:, a Kyoto newspaper, reported that Kawakami planned to leave in 20 days with his wife
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824:. His Genoa nursery proved successful, and he remained in the business for decades.
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470:. Kawakami's meeting with Kushibiki at the event would have far-reaching effects.
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diplomats, and experts with academic credentials)—are named in the exposition's
1364:"Kushibiki, the Japanese Barnum, Will Import Nippon Art for the World's Fair,"
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157:
69:
1672:
The Japan-British Exhibition of 1910: Gateway to the Island Empire of the East
466:, a modern Western-style theater opened the previous year by actor-playwright
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to Japan in 1920 did not happen. Nor did a planned American tour for popular
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310:
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in 1893 he presented his first conception of an exploitation of Japan on the
20:
762:, but Kushibiki and Arai are not among them. But at his next exposition—the
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Kushibiki had little time to lose in organizing his next "Fair Japan" in
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935:. The Exhibition, which ran from 14 May to 29 October 1910, was run by
859:
489:
145:
1183:
1324:
The Cotton States and International Exposition and South, Illustrated
1247:我こそが博覧会キング！ (The Exposition King!), Aomori Prefectural Library, 2016
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In 1910 Kushibiki was offered an opportunity to participate in the
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1413:
Enter a Samurai: Kawakami Otojirō and Japanese Theatre in the West
835:. By January 1908 he had moved the Jamestown Japanese exhibits to
689:
The exposition would prove to be especially important because the
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24:
674:-style gate, said to be a "reproduction of the famous portal at
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Nor could Kushibiki attract much attention on the Midway at the
1753:
1616:
Official Directory of the Lewis and Clark Centennial Exposition
1389:(Princeton, N.J.: Princeton Architectural Press, 2000), 49-50.
843:, where he held the prestigious position of Director General.
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855:
1387:
Crystal Palaces: Garden Conservatories of the United States
992:, proposed expositions celebrating the 1914 opening of the
462:. In March Arai arranged screenings at the Kawakami-za in
1402:, ed. Nick Deocampo (Bloomington: Indiana UP, 2017), 131.
1398:
Daw-Ming Lee, "How Cinema Arrived and Stayed in Taiwan,"
948:
After the exhibition ended, Kushibiki went to Paris. The
939:'s Exhibition Company, but as Ayako Hotta-Lister writes,
1482:, 24 Aug., 27 Aug., 30 Aug. 26 Sept. 1901, reprinted in
1540:
Handbook of Japan and Japanese Exhibits at World's Fair
1525:
Handbook of Japan and Japanese Exhibits at World's Fair
964:
and refreshments. (Due to insufficient time, the final
774:
1234:
His birth year is given as 1865 in “Japan Beautiful,”
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Race and the Atlanta Cotton States Exposition of 1895
1033:
California Midwinter International Exposition of 1894
567:
South Carolina Inter-State and West Indian Exposition
433:
223:
190:
South Carolina Inter-State and West Indian Exposition
164:
but was unsuccessful. According to a 1916 profile in
1455:
Madame Sadayakko: The Geisha who Bewitched the West
812:county, Tex., covering 8,000 acres." Arai moved to
1604:, (St. Louis: Woodward & Tiernan, 1904), 61-2.
302:Atlantic City, gardens, nurseries, and landscaping
1218:and the Edison moving picture machine in Japan."
1059:, San Francisco still bear traces of their work.
504:In 1901, Kushibiki organized "Fair Japan" at the
280:Tennessee Centennial and International Exposition
1765:
1684:Bulletin de la Société franco-japonaise de Paris
950:Bulletin de la Société franco-japonaise de Paris
609:, created to accompany a Japanese-themed play,
184:(1895), Atlantic City (1896-1900), the Buffalo
151:
1774:American entertainment industry businesspeople
361:Japanese Tea Garden Atlantic City, N.J Booklet
125:
1300:(Santa Barbara, Botchan Books, 2019), I: 323.
1734:"'Japanese Exhibition King' Dies in Tokyo,"
1340:(Nashville: Marshall & Bruce, 1897), 90.
1283:"'Japanese Exposition King' Dies in Tokyo,"
827:In January 1906 Kushibiki could be found in
816:, grew oranges and figs, and moved again to
1674:(Richmond, UK: Japan Library, 1999), 69-70.
1501:(Charleston: Arcadia Publishing, 2001), 75.
1486:, ed. Susan J. Eck (accessed 25 Apr. 2020)
1326:(Atlanta: Illustrator Company, 1896), 90-1.
650:Kushibiki's major project for 1904 was the
278:Although the Japanese exhibits at the 1897
1313:(Athens: U of Georgia Press, 2010), 123-4.
1011:took place in what is now San Francisco's
290:Japanese Tea Garden, Omaha Exposition 1898
268:Cotton States and International Exposition
156:Kushibiki Yumindo was born in the town of
51:
633:
458:and began screening in early February in
261:Japanese Village at Knightsbridge, London
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1784:Japanese theatre managers and producers
1415:, 2 v. (Tucson: Wheatmark, 2011), 1:84.
1009:Panama–Pacific International Exposition
998:Panama–Pacific International Exposition
858:gate design at the south entrance with
214:Panama–Pacific International Exposition
1766:
1577:"Kushibiki, the Japanese Barnum'" I:8.
1148:
366:Japanese Tea Garden Atlantic City, N.J
212:(1915)," along with the San Francisco
1527:(St. Louis: Hajime Hoshi, 1904), 112.
862:style pillars with illuminated eyes.
764:Lewis and Clark Centennial Exposition
192:at Charleston (1902), Coney Island’s
1553:Giobu-Tayu in memory of his father."
1457:(New York: Gotham Books, 2003), 102.
1035:, which still remains in operation.
775:Jamestown, Jacksonville, and Seattle
1736:Japanese American Commercial Weekly
1212:Japanese American Commercial Weekly
960:and violin music, art, acrobatics,
918:
13:
1720:"Noted Show Man Dies At Capital,"
1038:
434:Arai's films and the Kawakami tour
224:Chicago, Atlanta, Nashville, Omaha
14:
1815:
1747:
1752:
1298:Yone Noguchi: The Stream of Fate
1174:in 1916-17. But a plan to bring
1134:
1120:
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1064:
971:
909:
900:
891:
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841:Florida International Exposition
723:
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678:," built at a cost of $ 25,000.
552:
543:
534:
528:Pan-American Exposition, Buffalo
424:
415:
406:
397:
388:
379:
370:
182:Atlanta Cotton States Exposition
106:exhibition organizer, impresario
1728:
1713:
1700:
1691:
1677:
1664:
1652:
1639:
1629:"Mme. Wong Buys a Plantation,"
1623:
1609:
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1504:
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1405:
1392:
1379:
1358:
1345:
867:Alaska-Yukon-Pacific Exposition
848:Alaska-Yukon-Pacific Exposition
202:Alaska–Yukon–Pacific Exposition
170:Columbian Exposition at Chicago
1331:
1316:
1303:
1290:
1277:
1268:
1253:
1241:
1228:
442:Kawakami Otojiro and Sadayakko
44:
1:
1779:People from Aomori Prefecture
927:Paris garden party invitation
699:Louisiana Purchase Exposition
652:Louisiana Purchase Exposition
601:whose feature attraction was
198:Louisiana Purchase Exposition
1370:The Oriental Economic Review
1002:Panama–California Exposition
803:Chamber of Commerce invited
620:Frederick William Vanderbilt
454:and a dozen films" from the
206:Panama–California Exposition
152:The Japanese Exhibition King
130:, 1859/1865 – July 28, 1924)
57:Kushibiki Yumindo circa 1915
7:
499:
259:, or Tannaker Buhicrosan's
10:
1820:
588:F.W. Vanderbilt's Tea Room
204:in Seattle (1909) and the
18:
1618:(Portland, 1905), 40, 41.
1499:The Charleston Exposition
797:Southern Pacific Railroad
618:for railroad millionaire
448:motion picture projectors
200:at St. Louis (1904), the
126:
110:
102:
94:
84:
76:
62:
50:
43:
36:
1376:'s bicycle racing track.
1250:(accessed 25 Apr. 2020).
1221:
1017:Great Buddha of Kamakura
933:Japan–British Exhibition
257:Imperial Japanese Troupe
251:somewhat reminiscent of
218:Japan–British Exhibition
1697:"Japan Beautiful," 344.
1563:"Geisha Girls on Way,"
1351:The Omaha Exposition,"
1274:“Japan Beautiful,” 344.
984:Two California cities,
597:, an amusement park on
509:Pan-American Exposition
450:. Arai had "bought two
196:(opened May 1903), the
186:Pan-American Exposition
1708:Japan Weekly Chronicle
1427:, quoted in Anderson,
1322:Walter Gerald Cooper,
1204:On July 28, 1924, the
1166:air shows by aviators
1162:
981:
946:
928:
788:
754:
686:
647:
634:St. Louis and Portland
622:'s summer camp in the
590:
580:
443:
362:
324:
314:
291:
247:
236:
98:Yumeto, Yumeto, Yumeno
1761:at Wikimedia Commons
1706:"Local Recreations,"
1589:World's Fair Bulletin
1355:8:3 (Nov. 1898): 262.
1262:California’s Magazine
1236:California’s Magazine
1156:
979:
941:
926:
793:Texas rice production
783:Kushibiki, far left,
782:
749:
741:World's Fair Bulletin
684:
641:
607:Madison Square Garden
586:
575:
475:1900 Paris Exposition
441:
360:
320:
309:
289:
242:
231:
166:California's Magazine
1686:(June 1912): 127-28.
1670:Ayako Hotta-Lister,
1631:Iowa County democrat
1480:Buffalo Evening News
1411:Joseph L. Anderson,
1400:Early Cinema in Asia
1385:Anne S. Cunningham,
980:San Francisco (1915)
968:had to be omitted).
852:Jamestown Exposition
833:Jamestown Exposition
628:Upper St. Regis Lake
579:, Coney Island, 1903
515:Buffalo Evening News
1799:19th-century births
1647:The Japanese Texans
1633:, 14 July 1904, 2.
1260:“Japan Beautiful,”
1149:Last years in Japan
1025:Japanese Tea Garden
354:) in cultivation."
16:Japanese impresario
1738:, 9 Aug. 1924, 10.
1661:, 11 Jan. 1906, 7.
1659:Los Angeles Herald
1591:5:6 (Apr 1904): 48
1565:St. Louis Republic
1497:Anthony Chibarro,
1366:St. Louis Republic
1287:, 9 Aug. 1924, 10.
1163:
982:
929:
829:Venice, California
789:
769:Russo-Japanese War
760:Official Directory
755:
735:St. Louis Republic
691:Russo-Japanese War
687:
648:
613:. Japanese writer
603:A Trip to the Moon
591:
581:
444:
363:
344:Wissahickon schist
325:
315:
292:
255:and his so-called
248:
237:
1794:Japanese amputees
1759:Kushibiki Yumindo
1757:Media related to
1645:Thomas K. Walls,
1567:, 9 Apr. 1904, 13
1172:Katherine Stinson
506:Buffalo, New York
338:(now part of the
272:Sino-Japanese War
144:, was a Japanese
121:Kushibiki Yumindo
118:
117:
111:Years active
38:Kushibiki Yumindo
1811:
1756:
1741:
1732:
1726:
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1216:Curtis aeroplane
1188:Yoshida Naramaru
1142:Golden Gate Park
1138:
1128:Golden Gate Park
1124:
1110:
1100:Morris Arboretum
1096:
1082:
1068:
1057:Golden Gate Park
1055:, Philadelphia,
1031:created for the
1029:Golden Gate Park
919:London and Paris
913:
904:
895:
886:
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869:, Seattle (1909)
751:Portland, Oregon
727:
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468:Kawakami Otojirō
428:
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352:Hymenophyllaceae
340:Morris Arboretum
322:Morris Arboretum
296:Omaha Exposition
266:For the Atlanta
253:Professor Risley
132:, also given as
131:
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95:Other names
55:
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1442:Enter a Samurai
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1429:Enter a Samurai
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1180:New York Giants
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1039:American legacy
1013:Marina District
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1748:External links
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103:Occupation(s)
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80:July 28, 1924
79:
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21:Japanese name
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1512:Yone Noguchi
1511:
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1353:Self Culture
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1164:
1157:Curtiss 160
1086:Jackson Park
1072:Jackson Park
1049:Jackson Park
1045:
1042:
1006:
994:Panama Canal
983:
966:tea ceremony
949:
947:
942:
937:Imre Kiralfy
930:
845:
837:Jacksonville
826:
790:
759:
756:
740:
733:
731:
688:
668:
649:
615:Yone Noguchi
610:
599:Coney Island
592:
560:
513:
503:
494:
481:
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472:
445:
333:
326:
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277:
265:
249:
188:(1901), the
178:
165:
155:
141:
137:
133:
120:
119:
66:1859 or 1865
28:
1804:1924 deaths
1789:Impresarios
1587:"Various,"
1184:naniwabushi
1051:, Chicago,
697:St. Louis:
624:Adirondacks
216:(1915) and
210:Balboa Park
162:Keio Gijuku
114:1890s-1910s
85:Nationality
1768:Categories
1722:Nippu Jiji
1440:Anderson,
1207:Nippu Jiji
860:totem pole
795:after the
642:Geisha at
563:Charleston
452:Vitascopes
146:impresario
1190:in 1917.
1176:Babe Ruth
1168:Art Smith
1021:Kinkakuji
986:San Diego
846:The 1909
810:Matagorda
664:Kinkakuji
656:St. Louis
644:St. Louis
595:Luna Park
577:Luna Park
486:Sadayakko
194:Luna Park
29:Kushibiki
1549:by Lord
1514:, I:324.
1466:Downer,
1444:, I: 44.
1178:and the
1019:and the
839:for the
814:El Campo
805:Japanese
799:and the
654:held in
565:for the
520:gangrene
500:New York
488:, niece
220:(1910).
89:Japanese
19:In this
1547:Hidachi
1538:Hoshi,
1431:, I:40.
1186:singer
962:bonseki
954:jujitsu
801:Houston
785:Seattle
660:Formosa
460:Asakusa
348:fernery
336:fernery
233:Chicago
25:surname
1551:Satake
1542:, 125.
1510:Marx,
787:(1909)
753:(1905)
701:(1904)
672:Niōmon
646:(1904)
530:(1901)
313:(1896)
246:(1898)
235:(1893)
174:Midway
142:Yumeno
140:, and
138:Yumito
134:Yumeto
23:, the
1470:, 94.
1222:Notes
1199:Osaka
856:torii
822:Genoa
818:Alvin
676:Nikko
611:Otoyo
490:Tsuru
464:Kanda
244:Omaha
1170:and
1007:The
1000:and
988:and
958:koto
820:and
127:櫛引弓人
77:Died
63:Born
45:櫛引弓人
1027:in
626:at
27:is
1770::
1159:hp
956:,
771:.
666:.
630:.
331:.
136:,
1636:.
124:(
31:.
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