
If you talk to anyone who watched Japanese programs that aired on KIKU-TV (from the late 1960s to the early 2000s), I guarantee that person will speak fondly of at least one or more shows. Back then, people in Hawai‘i were fortunate to have access to programs that captured our hearts and inspired our imaginations. It was a special time; shows like Abarenbo Shogun, Soko ga Shiritai, and Kikaida became household names due to the brilliance and dedicated efforts of an extraordinary woman named Joanne Ninomiya.
Family Ties
Joanne, the daughter of Sueto and Kimiko (née Honda) Ninomiya, was born and raised in Kalihi on the island of O‘ahu. Both sides of her family came from Kumamoto Prefecture in the early 1900s. Her father, an Issei, and her mother, a Nisei, raised her and younger sister Amy within a large extended family. Joanne recalled, “I was surrounded by my mother’s sister, her husband, and six of my mother’s brothers. There was always laughter in the house.”
Joanne’s maternal grandparents, who owned a small tofu factory in Wahiawā, doted on her, their first grandchild. Unfortunately, her grandparents had to give up their factory when her grandfather was confined in the Honouliuli Internment Camp on O‘ahu during World War II.
“I was too young to understand what was going on,” said Joanne, “but every now and then we’d go to Wahiawā to send off a Honda son. I thought we were having a party, not understanding the severity of the situation.” Five of her uncles went to war; fortunately, all of them returned home.
From a young age, Joanne was influenced by her auntie, Kiyoko Honda Nishioka, who had big dreams for the future. Joanne credits her auntie for teaching an important lesson to her when she was three years old. “I used to hear Auntie Kiyoko say, ‘Don’t do a half-assed job.’ ” To this day, those words have been a guiding principle in Joanne’s life.
A New Direction
Joanne originally planned to major in education at the University of Hawai‘i, but halfway through her coursework, she changed her major to Japanese because of a newfound interest in the language and culture. After graduation, she took her first trip to Japan with her auntie in 1963. When their tour ended, she stayed eight months longer in Japan to travel and to audit classes at Keio University. Living in Tokyo, Joanne came to realize that “there were cultural differences between the Hawai‘i Japanese and Japan Japanese.”
In May 1964, Joanne returned to Hawai‘i without a clear career plan. On the day of her return, however, she received a call from KZOO, the local Japanese radio station. Before she realized it, she had accepted a job as an announcer for the Driving Home Show.
History in the Making
Joanne left KZOO in 1966 when she was offered an exciting opportunity to launch KIKU-TV (kiku for chrysanthemum), the first Japanese language TV station in the US. But from the start, problems arose in obtaining the license required to broadcast Japanese language programming in Hawai‘i.
Due to the stalled plans, Joanne found a job elsewhere. The following year, good news arrived and KIKU was given the green light to proceed. “The owner, Richard Eaton, kept on calling me to return,” said Joanne. “My family was against my going back, except for one uncle who said to do what I want. So I did, and I never regretted it.” At KIKU, Joanne worked in tech, traffic, and sales, learning everything from scratch. With her experience, sharp business skills, and knowledge of the industry, she was appointed general manager within two years.
Switch On! The Premiere of Kikaida
In 1974, Kikaida was a phenomenon that swept Hawai‘i when it aired on KIKU. Hawai‘i’s keiki (children) were captivated by Jiro, portrayed by Ban Daisuke, the android that changed into Kikaida to fight DARK’s Destructoid monsters.
When I asked how she discovered such a gem, Joanne replied, “I happened to see Kikaida on TV in Japan when it first aired and knew immediately that this show would do well in Hawai‘i.”
Effective Communication is The Way
KIKU was sold in 1980, and the call letters were later changed to KHNL. Joanne left in 1981 and founded her own media company called JN Productions (JNP). She started with four employees and bought four hours of airtime per week on Oceanic Cablevision for Japanese programming. Now approaching forty-four years in business, JNP has evolved into a full-service media production house with a diverse client base throughout the Asia Pacific region.

Joanne’s commitment to her work has not gone unnoticed. She is the recipient of several prestigious awards: 1989 Broadcaster of the Year (Hawaii Association of Broadcasters), 2004 Lifetime Achievement Award (Japanese Cultural Center of Hawai‘i), and 2007 Order of the Rising Sun Kunsho (Japanese government).
I recently had the honor of interviewing Joanne, and she graciously let me ask questions to my heart’s content.
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Lois Kajiwara (LK): What were your biggest challenges and how did you overcome them?
Joanne Ninomiya (JN): My biggest challenge when running the original KIKU-TV (VHF Channel 13) was the antiquated equipment which would frequently break down. KIKU, far from the United Broadcasting Company (UBC) headquarters in Washington, D.C., was like a forgotten child. The owner would send KIKU “hand-me-downs” in terms of videotape machines, and we were still broadcasting in black and white while all of the other TV channels were running in color. I forgot what year it was, but I finally convinced the owner to send us color videotape recorder (VTR) machines, and the first program we aired in color was a Misora Hibari special.
Another problem was KIKU, being the first full-time Japanese TV channel in the US, was not trusted by the Japanese networks. Program acquisition in the late 1960s was one of my biggest headaches. No TV network in Japan was willing to sell to KIKU due to mistrust. Plus, UBC wanted to buy the programs for cheap. The only station who was willing to sell was NET-TV (now TV Asahi).
Once I started JN Productions, the program acquisition problem was fixed to a degree because I was in charge and actually paid for the shows myself. The best reward came in 1993 when I was asked to run KHAI (UHF Channel 20) which I later renamed KIKU. The owners allowed me to buy Japanese programming freely, and by then, major stations such as TBS, NHK, and Nippon Television began trusting me.
LK: Why do you think Kikaida had such a huge impact with the local viewers?

JN: Until 1974, when I brought Kikaida to KIKU, superheroes were conceived and made in Hollywood, so naturally kids were accustomed to seeing Caucasian or non-Asian faces. I think Kikaida was the first Asian superhero that Hawai‘i kids could relate to. There was Kaze Kozo in the late 1950s, but though it left an impression on kids at the time, Kikaida was different because it was live action played by contemporary actors. What impressed me the most about Kikaida were the primary colors, the music, and the cast of characters. The story, of course, was easy to follow as in good versus evil.
LK: Is there an episode of Kikaida that you like the best?
JN: I like “Gold Wolf Howls in Hell” (episode 11) because of the pathos. Dr. Komyoji installed a mechanical part with a conscience in Gold Wolf, but he becomes evil during the full moon. Kikaida knew this, and in the end had to fight off Gold Wolf, shedding tears upon defeating him. I also like “Pink Tiger Attacks the Amusement Park” (episode 13). Jinbei, the broken-down old android who worked at Yokohama Dreamland, is about to be destroyed because of his age. Professor Gill needs an old circuit which was installed in older robots, and Jinbei happens to have that circuit.
LK: What are your thoughts on K-dramas?
JN: At first, I was intrigued and was an avid fan of K-dramas, probably because of the unavailability of Japanese dramas. After watching for several years, I’m turning back to Japanese dramas, mainly on Netflix. The TV scripts for Japanese dramas are well researched and have a lot of depth, so I wish that more would be released internationally.
I give the Koreans credit for being so generous with sharing their productions with the rest of the world. They hit the global market big time by allowing their top dramas to be seen. Releasing media content to the world is an excellent way to win over allies through the promotion of their culture.
LK: Who are your favorite celebrities?
JN: Since I’m back to watching Japanese dramas, I tend to choose my favorites from the current shows on Netflix. I look for dramas starring Kimura Takuya, Ninomiya Kazunari, and Ayano Go. Going way back, my favorite actor was Tsuruta Koji, and I also admired Yamaoka Hisano in Arigato (1970, TBS). The Korean actor I’m following now is Kim Seon Ho.

LK: Regarding anime and manga, what are some of the projects you’ve done for VIZ Media, one of your major clients?
JN: Over the years, we've translated and subtitled anime for streaming and DVD/BD (Blu-ray) like Bleach: Thousand-Year Blood War, Naruto and Naruto Shippuden, Boruto, Inuyasha, Hunter x Hunter, Captain Tsubasa, and Yashahime.
We've done subtitlng for home entertainment DVD and BD for Sailor Moon and Pokemon. We do the regular subtitles as well as for the deaf and hard of hearing. We've also done manga translation since 2001. Current titles we’re working on are Queen’s Quality, The King’s Beast, Yona of the Dawn, and Mujina into the Deep. Overall, we have contributed to VIZ products consistently since 1999.
LK: Can you share a fun fact about yourself?
JN: My maternal grandfather, Eizo Honda, was very monozuki (curious about new and unusual things which may not be of interest to others). My mother said that they had the first flushing toilet and Model T car in their Wahiawā neighborhood. I think I inherited the monozuki trait, where I want to know the history and origins of everything I see around me.
LK: What are your proudest achievements?

JN: I guess a proud moment happened when my company began managing the new KIKU. With bigger budgets, I could finally show the people of Hawai‘i an array of current Japanese programs. I also set up a graphics department, and we came up with glossy advertising proposals. We managed KIKU until early 2004.
And of course, Jinzo Ningen Kikaida which I revived in 2001. Backed by a gung ho crew and willing sponsors, we got to promote the character and hold many events.
LK: Any advice for the readers?
JN: If you can afford the time, stick to what you believe in.
LK: Last question, what do you love the most about your work?
JN: I love writing scripts for local documentaries and doing the research. I also get to meet people from all different backgrounds.
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Down Memory Lane
When I was in elementary school, I loved watching J-pop singers and martial arts shows on KIKU with my grandparents and parents. Those programs sparked my interest in Japan and influenced my decision to study Japanese, which led to a path of learning about Japanese culture. Along the way, I taught English in Japan, made lifelong Japanese friends, and worked for companies that have ties to Japan. I don’t believe I would have done any of this if not for Joanne and her pioneering work at KIKU.
I am grateful to have this opportunity to say a heartfelt thank you to Joanne, whose incredible vision and work ethic have touched the lives of people around the world.
© 2025 Lois Kajiwara