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www.sens-company.com S.E.N.S. (センス) is a Japanese new-age instrumental group formed in 1988, originally with two members. The name stands for " Sound, Earth, Nature, and Spirit " based on their spiritual policy.
Jeff Yang (Chinese: 楊致和; born c. 1967/1968) [1] is an American writer, journalist, businessman, and business/media consultant who writes the Tao Jones column for The Wall Street Journal. [2] Previously, he was the "Asian Pop" columnist at the San Francisco Chronicle.
A. Magazine was an Asian American–focused magazine published by A.Media, Inc., and headquartered in midtown Manhattan with offices in Los Angeles and San Francisco. [1] [2] Geared towards a young audience, its mission was to "report on the developments, address the issues, and celebrate the achievements of this [Asian] dynamic new population."
A wonton font (also known as Chinese, chopstick, chop suey, [1] or kung-fu) is a mimicry typeface with a visual style intended to express an East Asian, or more specifically, Chinese typographic sense of aestheticism. Styled to mimic the brush strokes used in Chinese characters, wonton fonts often convey a sense of Orientalism. In modern times ...
Henry Cho (born December 30, 1962) is an American stand-up comedian.His work can be heard nationwide several times weekly on SiriusXM Radio's Channel 98, Laugh USA, Sirius Radio's Jeff and Larry's Comedy Roundup Channel 97, and Pandora Radio's PG Comedy Radio Channel.
Sen-Sens were available in small packets or cardboard boxes. Similar to a matchbox of the time, an inner box slid out from a cardboard sleeve revealing a small hole from which the tiny Sen-Sen squares would fall when the box was shaken.
The SENS Research Foundation is a non-profit organization that does research programs and public relations work for the application of regenerative medicine to aging. It was founded in 2009, located in Mountain View, California, US.
G. Allen Johnson of SFGate called it "an informative and extremely entertaining look at how Asian American men have been portrayed by Hollywood." [6] Marilyn Moss wrote in The Hollywood Reporter that the documentary was "a no-nonsense, humorless trek through much footage, without much context and without a large idea."