Synonyms for wakare or Related words with wakare

inochi              tsukiyo              shinjitsu              hajimari              futatsu              tameni              hanayome              koibito              darake              tabidachi              maboroshi              kanashimi              yakusoku              nanatsu              tsuma              chikai              tatakai              musuko              unmei              tsuioku              kakera              hitotsu              susume              kannazuki              danshi              itoshi              hajimete              okurimono              omoi              shiawase              hoshizora              yoake              kekkon              jikake              otona              shikaku              hatachi              kimochi              hitobito              ichizoku              onnatachi              kamisama              omoide              barairo              rakuen              ashita              chinmoku              jikan              kajitsu              tsugi             

Examples of "wakare"
The third stanza, starting with "Wakare no hi wa kita", can be translated:
Ude Gaeshi is considered to be a variation of Yoko Wakare.
The heroine of "Ariake no Wakare" is similar to Himegimi, and like Himegimi, she has romantic relationships with other women.
Two songs "Gogatsu no Wakare" and "Make-Up Shadow" were released as a single prior to the album, and the latter became a massive hit.
The live disc was recorded at Natsukawa's Uta Sagashi no Tabi concert at the Chukyo University Culture Meeting Hall (中京大学文化市民会館) on December 23, 2008. Two exceptions are "Amazing Grace" and "Toki no Wakare ni Mi o Makase," which were recorded at the Machida town hall (町田市民ホール) on October the 24th, 2008.
"Cold Farewell (Tsumetai Wakare)," released as a single in 1985, was the first song she produced in countries outside Japan. The top 10-charting song features a lengthy harmonica solo performed by Stevie Wonder. He also played the synthesizer on Nakajima's subsequent single "Atai no Natsuyasumi," released the following year.
While Fishmans received only scarce international recognition during their active years, "98.12.28 Otokotachi no Wakare" has become lauded among several online music communities. User ratings on the website RateYourMusic (RYM) have made the album chart as the 131th greatest album of all time, as well as the second-best album of 1999. The high ranking is despite significantly fewer ratings than most of the other albums on RYM's top chart.
In 2011, she co-starred with Katsuya Kobayashi and Masatou Ibu in "R60 Snake Man Show", put together by Moichi Kuwahara. The show aired on the cable TV channel WOWOW. In 2012, the limited edition of Nakano’s debut, "Zurui Hito" was released as an album. In April, she made a guest appearance on the timbales player Willy Nagasaki’s album "Midnight Rumba"; the song on which she featured, “Wakare no Mambo”, reached number 1 in the USEN Weekly Indie Chart.
Michiya Mihashi, who originally sang Japanese folk "min'yō" music and learned "tsugaru-jamisen", released his debut single "Sake no Nigasa yo" as a recording singer in 1954. Mihashi's "Onna Sendō Uta" was a hit in 1955. Funamura's friend Kimio Takano, the lyricist of "Wakare no Ippon-sugi", died in 1956 at the age of 26. Hibari Misora's music turned to enka when she was no longer regarded as a teen idol.
A part of Ryoichi Hattori's Western-style music during that period remained in Western-style classical music of Japan and was transvalued in 2000s. His tribute album was released on October 17, 2007. Various musicians such as Hideaki Tokunaga (for "Wakare no Blues"), Kazumasa Oda (for "Suzhou Nocturne"), Masaharu Fukuyama (for "Tokyo Boogie-woogie") and Tokyo Ska Paradise Orchestra (for "Aoi Sanmyaku") took part in the album. The tribute album debuted at the number-ten position on the Japanese Oricon weekly album charts.
Fraser's detachment, meanwhile, intercepted a 25-man mounted party accompanying Te Rangihiroa through a narrow pass at Petane. Heavily outnumbered, the Ngāti Hineuru party was quickly stopped in its tracks: Te Rangihiroa and 11 others were killed, one was wounded and three taken prisoner. The remainder escaped. One of Fraser's men was wounded in the attack. Most of the prisoners in the campaign were transported without trial to the Chatham Islands to be held in harsh conditions for the next two years. In January 1867 the government confiscated the so-called Mohaka-Wakare district under the New Zealand Settlements Act as punishment for the "rebellion" in the Omarunui and Petane areas.
The stories of her mature period (1894–96) were not only marked by her experience living near the red-light district and greater concern over the plight of women, but also by the influence of Ihara Saikaku, a 17th-century writer, whose stories she had recently discovered. His distinctiveness lay in great part in his acceptance of low-life characters as worthwhile literary subjects. What Higuchi added was a special awareness of suffering and sensitivity. To this period belong "Ōtsugomori" ("On the Last Day of the Year"), "Nigorie" ("Troubled Waters"), "Wakare-Michi" ("Separate Ways"), "Jūsan'ya" ("The Thirteenth Night") and "Takekurabe" ("Child's Play"). The last two are considered her best work.
Although "Otomi-san" was popular, Kasuga himself was not completely satisfied with it and recorded the song by Toru Funamura. The song was released in 1955 and was later regarded as a true enka song. The song, ironically, was also influenced by tango music's rhythm because Funamura felt that tango seemed similar to enka in its local color. "Wakare no Ippon-sugi" was later covered by singers as diverse as Michiya Mihashi, Hideo Murata, Keiko Fuji, Hibari Misora, Saburō Kitajima, Takashi Hosokawa, and Hiroshi Itsuki. Kasuga was later called the first enka singer.
The song "Otomisan" was made for being sung by Haruo Oka, but was eventually sung by Hachiro Kasuga and became a major hit in Japan in 1954. The single sold over one million copies. The song was composed by Masanobu Tokuchi, who came from the Ryukyu Islands. Kasuga's 1955 song "Wakare no Ipponsugi", composed by Funamura, also became a hit song. Funamura also composed Michiya Mihashi's 1955 song "Anoko Ga Naiteru Hatoba". "Ryōkyōku" singers such as Haruo Minami and Hideo Murata joined Japanese popular music. Hachiro Kasuga, Michiya Mihashi and Hideo Murata went on to form their genre later called "enka".
On February 5, 1975, about two months before Kaguyahime's farewell concert, Kaze's first single "22-Sai no Wakare" was released. A month after, it topped the chart and eventually became one of the best-selling singles on the Japanese chart of that year with sales of over 700,000 units, making the group's only top-ten entry there. The song itself was a remake version of Kaguyahime's fan-favorite tune penned by Ise, which was originally appeared on the trio's "Sankaidate no Uta" album released in 1974. It became Kaze's signature song and has been one of the standard Japanese pop songs from the 1970s, later released cover versions by artists including Kozo Murashita, Akina Nakamori, Cool Five, and Kei Yasuda with Mari Yaguchi from Morning Musume. At first, however, composer hesitated to release a previously released effort as the duo's debut single. Therefore, he appealed to record label for excluding the song from their first album, despite of its success.
He composed Noriko Awaya's hit song "Wakare no Blues" (lit. "Farewell Blues"). Awaya became a famous popular singer and was called "Queen of Blues" in Japan. Due to pressure from the Imperial Army during the war, the performance of jazz music was temporarily halted in Japan. Hattori, who stayed in Shanghai at the end of the war, produced hit songs such as Shizuko Kasagi's "Tokyo Boogie-Woogie" and Ichiro Fujiyama's "Aoi Sanmyaku" (lit. "Blue Mountain Range"). Hattori later became known as the "Father of Japanese "poppusu"". The United States soldiers—who were occupying Japan at the time—and the Far East Network introduced a number of new musical styles to the country. Boogie-woogie, Mambo, Blues, and Country music were performed by Japanese musicians for the American troops. Chiemi Eri's cover song "Tennessee Waltz" (1952), Hibari Misora's "Omatsuri Mambo" (1952), and Izumi Yukimura's cover song "Till I Waltz Again with You" (1953) also became popular. Foreign musicians and groups, including JATP and Louis Armstrong, visited Japan to perform. In the mid-1950s, became a popular venue for live jazz music. Jazz had a large impact on Japanese "poppusu", though "authentic" jazz did not become the mainstream genre of music in Japan. In the late 1950s and early 1960s, Japanese pop was polarized between urban "kayō" and modern "enka".
During the years of her long career, Mina re-recorded most of the songs of this album. In 1965, she covered "Un anno d'amore" in other three languages: in Spanish ("Un año de amor" with lyrics written by Gaby Verlor), in Turkish ("Dön bana") and in Japanese ("Wakare"), plus a second Spanish version in 2007 (lyrics by Pedro Almodóvar) for "Todavía", in a duo with the flamenco singer Diego El Cigala. "Tu farai" was recorded in Spanish with the title of "Qué harás", as well as "È l'uomo per me" ("Mi hombre será"), "Città vuota" ("Ciudad solitaria"), "Io sono quel che sono" ("Yo soy la que soy"), "Se piangi, se ridi" ("Si lloras, si ríes") and "Un buco nella sabbia" ("Un hoyo en la arena"). While these last two were also recorded in Japanese (respectively with the titles "Kimi ni namida to hohoemi wo" and "Suna ni kieta namida"), "Io sono quel che sono" was also sung in Turkish ("Mesvim bahar"). In 1978, Mina made a sort of disco version of "Città vuota", issued on CD only twenty years later for the album compilation "Mina Studio Collection". All the other songs were collected, during the 1990s, in unofficial compilation albums, such as "España, mi amor...", "Mina latina" and "Mina in the world".