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My 19-year-old is in no rush to get her driver's license. I've had to learn to be OK with that.

My 19-year-old is in no rush to get her driver's license. I've had to learn to be OK with that.

Getting a driver's license has long been a quintessential American milestone — right up there with prom, first jobs, and graduation. I remember itching to get mine, practicing in empty parking lots, and counting the days until I could drive myself to school. But things have changed. My oldest daughter, now 19, still doesn't have her license.
She has her permit. We're practicing. Slowly.
She's learned to be independent without driving
We live in Nashville, and when she was 16 and 17, I stopped driving her to school. She and her sisters took the city bus. At the time, it felt like the right decision — an exercise in independence, a way to avoid the madness of morning and afternoon car lines, and a reminder that we lived in a city with resources, even if they weren't always convenient. She navigated the schedule, the transfers, and the occasional delays with a surprising amount of grace.
Then she went to college in a different city three hours away, where she learned a new kind of self-sufficiency: public transit maps, rides from friends, and even the occasional Greyhound bus home. All of this worked well enough that driving never felt urgent to her. She moved through the world just fine without it.
But this summer, we're back to practicing again. At 19, she's old enough to take the road test without logging official hours. But she doesn't feel ready; she wants to feel more confident before she gives it a shot. And so we practice — slow drives through parking lots, left turns that still make her nervous, short and longer stretches on familiar roads, and stints on the interstate.
I have conflicting emotions about her waiting to get her license
As her mom, I've cycled through every emotion about her delayed driving timeline: frustration when I have to rearrange my day to get her somewhere, concern for her safety and independence, relief that she's not out there on the road before she's ready — and then, yep, more frustration.
Because the truth is, her driving would help all of us. She could drive her younger sister to camp, run to the store for the one ingredient I forgot, or take herself to meet friends without coordinating rides. But more than the logistics, I want her to feel the independence I felt when I first slid into the driver's seat alone — the freedom, the possibility, the ability to say yes to things without needing to ask for help.
At the same time, I've had to reckon with the fact that our experiences are different, and it turns out, these days, she's not an anomaly. According to federal census and highway data, only 25% of 16-year-olds in the US got their licenses in 2022, the year my daughter turned 16, compared to 51% in 1991, the year I got my license.
Some of this is due to cost, access, and changes in urban planning. Some of it is generational. Teens are now growing up in a world where connection doesn't always require movement. They can hang out over FaceTime. Order dinner via an app. Work from home. Driving just isn't as essential to their social lives as it was to mine.
And while our town does have a public transportation system, it's far from ideal — especially in the heat of summer. Walking or biking from her job in July isn't always practical, and I see how it limits her. That's why we keep practicing.
Learning to drive, it turns out, is more than just a rite of passage. It's a complex dance of timing, readiness, and motivation. My daughter will get there — on her own schedule. And I'm learning to trust that, too.
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'This is something I could never achieve alone. Collaboration and teamwork are essential values that I hold dear.' Collaboration with outside firms is a big part of FJ's ethos, too. Its videogame-inspired guitars – Final Fantasy and Monster Hunter among them – attract headlines outside of the guitar world. Multiple fashion designers have had their way with the Telecaster. And, of course, there are the now-iconic Hello Kitty models. Nothing is off limits. A uniquely Japanese mindset But Fender Japan's designs are known for more than breaking the mold. They're praised for their craftsmanship, too. At this stage, it's important to note that MIJ guitars are produced in two factories: as of 2020, products planned for the US and global market are manufactured at Fujigen. But guitars made primarily for the Japanese market are built 'in a trusted factory in Nagano' (Fender does not publicly disclose the factory name). It's these models, produced in this secret factory, that are whispered about in guitar circles, perhaps now more than ever. But what exactly sets a Fender Japan guitar apart? Cole says the differences between MIJ and MIA Fenders are small – but as guitarists know, these add up. 'The Japanese seem to love the way we finish the necks here,' he says. 'I would say that there's more finishing, which gives them a glassier finish and coating.' 'One of the hallmarks of Japan-made instruments is the precise fit of the neck pocket, Fujikawa adds, 'leaving no gaps and providing a seamless connection. This level of attention to detail reflects a uniquely Japanese mindset and craftsmanship.' Unless they're specifically aimed at replicating vintage specs, the pickups, too, receive a distinct treatment that sets them apart from the US models. By thoroughly understanding the unique qualities of US-made pickups, we can create something slightly different Masato Fujikawa 'We also make deliberate adjustments to ensure the pickups used in Japan-made models have distinct characteristics from those made in the US,' Fujikawa confirms. 'By thoroughly understanding the unique qualities of US-made pickups, we can create something slightly different, giving our instruments their own identity.' Cole describes the sound as slightly brighter than western Fenders, but from my own experience with a range of current MIJ Fenders, I'd describe it as more transparent, too. Like the aesthetics of the guitars themselves, the sound of the instruments are less dogmatically rooted in Fender's past. They're more neutral and contemporary, with less of the distinctive treble spike or quackiness that you might find in certain pickup positions on a conventional Strat or Tele. That won't win over traditionalists, but many players will appreciate that they're usable without any tweaking – and that goes back to Fujikawa's criteria for the guitars he works on: functionality and ease of use. The build quality, too, contributes towards these aims. The attention to detail on MIJ Fenders is meticulous, from the finishing down to the playability. It's the reason why series such as the Made in Japan Traditional Collection and Hybrid II exist; while they are more conventional in appearance, their construction and specification is inspired by that lauded original era of Fender Japan – and given that legacy, Fujikawa is aware he has a reputation to uphold. 'Each [guitar] is crafted by skilled Japanese artisans in local factories,' he says. 'The precision, delicate finishes, and exceptional quality have earned high praise from musicians both in Japan and around the world. 'I am fully aware of the responsibility that comes with carrying the Fender name, and while there is always pressure to build a product lineup worthy of that legacy, I also find it incredibly rewarding.' Going global Outside of Japan, even within Fender, there's a feeling that Fender Japan is very much a separate entity, operating outside of the US firm's orbit. But Cole says the international divisions speak more often than you would think. 'There's not a guitar that we've ever made here in Japan that our product team, our marketing team, and I'd like to think our sales team, wasn't aware of,' he says. 'But by the nature of the fact it was made specifically for this market, it was never going to get outside of Japan, unless people travelled over here – and I urge people to do it, because it's such a wonderful place.' There's a limited amount of products that we can make for made-in-Japan right now. And we hope that will increase over the years Edward 'Bud' Cole Any MIJ guitars that do make it outside of their country of origin are planned from the outset. 95 percent of the models manufactured in Japan are sold there, so anything that gets shipped over to the US, Europe or Australia will have been planned out years in advance. Fender US is very much in the loop. Given the surge of interest in MIJ guitars, and Fender's own expansion in Asia, we wonder what's holding the company back from bringing more over to the rest of the world. Cole is candid on the current limitations of the company's shared Nagano factory – but hints towards a 'watch this space' development. 'We're just constrained by how much we can actually make in this market for Japan and for the rest of the world,' he explains. 'There's a limited amount of products that we can make for made-in-Japan right now. And we hope that will increase over the years, because we know that there are people all around the world [who want these guitars].' Fender Japan's Monster Hunter Series – a tie-in with the popular videogame – is a rare example of a Japan-designed project that was made available globally on March 20, and could mark the beginning of a new unified release schedule for the firm. But for now, it's the passion and vision from Fujikawa and his team that keep guitarists in the west hooked to Fender Japan's social accounts, eager to see what's on the horizon from this parallel Fender universe where you never quite know what's coming next. 'Made in Japan models are designed with a strong focus on balancing respect for Fender's tradition with modern interpretations that resonate with today's players,' he says. 'Leo Fender himself was always pushing the boundaries of design and innovation. We are committed to carrying that spirit forward.' Solve the daily Crossword

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