As I sit here in the Tokyo Olympic Stadium press section, the seats are vibrating from the music and bass blasting out of the speakers. Even before the opening ceremony began, all the Paralympians seated on the stadium field were celebrating.
The United Kingdom and Peruvian teams were ecstatically encouraging their international peers to take advantage of their circular seating arrangement to complete a whole wave. The wave would make it through 2/3 of the Paralympians before losing momentum in the last 1/3 section adjacent to the flag poles. After each attempt would die out on its final leg, the particularly invested athletes from Peru and the U.K. would stand up and urgently “gesture” to the responsible section.
Finally, when the wave accomplished a full lap “around the globe,” so to speak, you could hear the whole stadium, including those of us in the press booths which have been following the wave’s progress, cheer and clap at this spontaneous game. The wave’s informal and collective nature lent it an intimacy that elevated our joy at its success.
Now, it has been early 30 minutes since the wave experienced a natural death. And yet, despite the pageantry and impressive stage production of the closing ceremony, I don’t believe anything that has transpired on the field has made me and my fellow reporters laugh and smile as it did. At least, that was the case with the two Japanese reporters flanking me at my table.
20:51 Representatives from each participating Paralympic team have been adding circular mirrors to a miniature figure of Tokyo Skytree, the world’s tallest free-standing tower. Just now, the final paralympic deputy for the Japanese team attached the last piece to complete the model. The mirrors represent the windows and natural skeletal gaps on the tower.
Upon its completion, the current focal point of the Tokyo skyline was raised, “Flags of Our Fathers” style by the ceremony’s performers. Who knew relations between the United States and Japan were so tight? (Indulge me in my humor readers. I am both Japanese and American, and that gives me permission to make such dry jokes.)
21:00 The first Paralympic I’mPossible Awards are being presented to the first five recipients of the recognition. For further information on the I’mPossible Award, click here.
Best host country School: Kizarazu Municipal Kiyomidai Elementary School in Chiba, Japan
Best overseas school: Lilongwe LEA School, Malawi
Excellence host country school: Chiba Prefectural Togane (I could not catch the end. I believe it was Chiba Prefectural Togane Special Education School)
Best (Male) I’mPossible Paralympian Award: Lassam Katongo from Zambia. He is a track and race Paralympian and secondary school teacher.
Best (Female) I’mPossible Paralympian Award: Katarzyna Rogowiec from Poland. A three-time Paralympian and two-time Paralympic gold medalist in cross-country skiing. She is also a former ITC anti-doping committee member.
The awards for the two Paralympians were accepted by their respective national Paralympic Committees on their behalf.
21:23 The Tokyo Skytree “miniature,” which must be roughly five meters tall, accompanies other notable architecture that shapes the city’s skyline, including Rainbow Bridge. You guessed it, the “Rainbow” Bridge is not actually colored in seven distinct shades. However, after numerous complaints that the bridge’s namesake made little sense, a night-time illuminating feature was added.
The closing ceremony’s similarity to a Disneyland parade is as prominent as the August 24 opening ceremony. The fluorescent animal costumes adorned by dancing performers and the musical production remind me of the Mermaid Lagoon Theatre from The Litte Little Mermaid area at Tokyo DisneySea.
“The Tokyo 2020 Paralympic Games have not just been historic. They have been fantastic,” Andrew Parsons, the president of the International Paralympic Committee, said in his closing speech. He said that despite the games’ accomplishments, the world has flaws with accessibility that no mask can cover.
“As we build back better, 15% of the world’s population cannot be left behind,” Parsons said. “People with disabilities should not have to do exceptional things to be accepted.”
Following a WeThe15 campaign commercial, a Japanese singer seated in his wheelchair sang “What a Wonderful World” by Louis Armstrong with a powerful voice would have made the raspy icon proud. The song’s second half was sung by a female singer with a visual impairment. The two voices converged in the final part of the ballad accompanied by a children’s choir.
As a piano player in the center of the stadium played the last notes of the iconic song, the egg-like encasing of the Olympic and Paralympic flame closed, extinguishing the fire that has burned since July 23.
And with that, the Tokyo 2020 Paralympic Games had ended.
Thank you for following me and Jake Adelstein throughout our coverage of the Olympic and Paralympic Games! It has been a true privilege and honor.
Early on July 23, hours before the Tokyo 2020 opening ceremonies, a Senegal musician posted on Facebook that he had been dismissed from performing at the event because a member the Tokyo Olympic Organizing Committee questioned, “Why is an African is here to perform?” He was dismissed unilaterally in May, he asserts, even though he had been scheduled to perform.
The ceremony, that surprised the world by having Naomi Osaka, a biracial Japanese tennis champion, light the Olympic flames, may have an underbelly that yet places great emphasis on looking “Japanese enough” to succeed in this country. There are already many who question if the theme of “diversity” is really understand by the organizers who have employed for the opening ceremonies an abuser of the disabled, a comedian who joked about the holocaust, and despite all warnings, used the music of an notorious homophobe who also denies Japan’s war crimes.
Latyr Sy is an accomplished percussionist that has appeared alongside Japan’s top artists in concerts and television programs, including the December 2020 FNS song festival. He has also performed at events attended by Prime Minister Shinzo Abe, who was “the face of the Tokyo Olympics” and instrumental in making sure Japan won the bid in 2013. (Of course, the several million dollars worth of bribes helped).
“So ashamed. I feel good that I’m no longer performing at the Tokyo Olympic Opening Ceremony…Though I’ve been contributing to the Japanese music industry since 1995…They completely violate the Olympic principles of human rights and diversity.” Sy wrote in English in his social media post. He also wrote eloquently of his plight in Japanese. (See below)
The Japan Subculture Research Center is scheduled to speak with Sy later today. We are also reaching out to the Tokyo Organising Committee of the Olympic and Paralympics as well as the International Olympic Organization for comment,
The Tokyo 2020 Olympics and Paralympics are turning into a coronavirus spreading festival of bullies. Despite allegedly having a theme of harmony and diversity, the Olympics appear more and more to be symbolic of cruelty and callousness. The latest case in point: this week, composer Keigo Oyamada, 52, who is the composer for the opening and closing ceremonies was revealed to have brutally tortured and bullied special needs students through elementary to high school. He said on record to two separate magazines in the 90s that he forced his victims to eat feces and masturbate in public. He ridiculed them, beat them, and egged on other accomplices. His gleeful retelling of these hate crimes resurfaced a day after his role in the Olympics was announced.
He issued an apology on Friday (July 16). He won’t step down and the Tokyo Olympic Committee issued a statement late in the evening the same day that they won’t fire him.
However, as we have already seen in the long history of Tokyo Olympic debacles, when the tone-deaf organizers finally hear the voices of dissent, they will probably eat their previous words, but unlike Oyamada’s victims—they won’t literally have to eat shit.
“I’d strip (one disabled kid) naked and roll him up in cords and make (him) masturbate. I made him eat shit and then performed a belly- to-back-drop wrestling move on him.”
That’s too bad.
The Tokyo 2020 Olympics Organizing Committee announced on July 14 that musician and composer, Keigo Oyamada, would be overseeing music at the Tokyo opening ceremony. He is a world-famous musician, also known by his moniker, Cornelius. However, it didn’t take long for his ugly past to emerge, and the hashtag “Boasting About Bullying” began to trend the next day, racking up over 10,000 retweets. The original tweet cited two interviews in the past in which he appeared to be proud of his younger years as a bully. The interviews appeared in the January 1994 issue of music magazine, Rockin’ On Japan, and the March 1995 issue of subculture magazine, Quick Japan.
In the interviews, Oyamada confessed to bullying classmates from a nearby special needs school from elementary school all the way through high school. In Rockin’ On Japan, he describes what he did as follows: “I’d strip (one guy) naked and roll him up in cords and make (him) masturbate. I made him eat shit and then performed a belly- to-back-drop wrestling move on him.” In the interview with Quick Japan, he admitted that he also made gleefully fun of kids with Down’s Syndrome attending a nearby school. He alluded to spurring others to bully the special needs children, “providing ideas”. Also, in another interview he seems to have admitted to what could be construed as attempted murder*, “Remember that case where kids rolled up another kid in a mattress and killed him? We did that sort of thing (to the special needs kid) and stuffed them in the vaulting horse…”
*A boy died in Japan Jan. 13, 1993, after being rolled up in a mattress in the school gymnasium’s storeroom by bullies. The mattress was placed vertically in the storage area and he was placed in it upside down; he died of asphyxiation and/or suffocation.
One of the magazines followed up Oyamada’s interview by contacting the family of his victims, who told the reporter that the bullying had nearly driven their son to suicide.
Here is the truth. Oyamada has confessed to committing sexual assault, assault, forcible indecency, public indecency, and attempted murder.
The actions Oyamada took would normally be crimes in Japan, but the statute of limitations has long passed.
In a statement released to the press Friday (July 16), the composer admitted that he did not show any regret when he spoke to the magazines years ago and he deserved the criticism he was receiving. He said that he would not step down and implied would atone for his past by contributing to the Olympics.
Ironically, the unifying concept of Tokyo 2020’s opening and closing ceremonies are “Moving Forward,” something the formerly respected musician must be praying for. The theme of the opening ceremony, which he is responsible for, is “United by Emotion.” The overarching disgust of the Japanese public at his criminal past has achieved exactly what the Olympic and Paralympic committee wanted. The entire country is united by repulsion.
“I am deeply sorry for how my words and actions hurt my classmates and their parents. I regret and take responsibility for taking the role of an antagonizer rather than a friend during my school years, a time that should be filled with fond memories,” Oyamada wrote in his Twitter apology essay on July 16.
However, in his sincere apologies to the world, and to the victims he traumatized, the singer clarified that not every heinous act recorded in the interviews were factually accurate.
“Regarding the contents of the article, as I was not able to confirm the final draft before it was published, there are many parts that deviate from the truth. However, there is no doubt that my classmates were hurt by my words and conduct. Therefore, I felt personally responsible, and chose at the time to not point out any mistakes or exaggerations in the story,” he defended himself in his Twitter post.
Perhaps the first magazine article published in 1994, followed up by a 22 page Odyssey retelling of his psychotic escapades in 1995, contained some factual errors that made it to copy. Instead of forcing a fellow student with a disability to eat feces, maybe he presented it to them on a clean plate with napkins.
What Oyamada did not do in his lengthy apology was resign as an Olympic and Paralympic ceremony composer.
“In hindsight, I should have declined the position offer considering some people would be displeased by my participation for various reasons. However, in these difficult times with its numerous challenges, I consulted the creators of the opening ceremonies who were making strenuous efforts to build the best event possible. After much thought, I chose to accept the job out of a hope that my music would bring some good to the ceremony,” the singer explained his noble self-sacrifice.
“In addition, I have invested considerable effort into this musical project,” he continued. Whether the Paralympians competing in this year’s games will be so forgiving is not certain.
The Tokyo Olympic Committee issued a statement acknowledging a failure to screen Oyamada properly, adding that, “We would like him to continue to do his utmost in preparation until the very end,” expressing no desire to have him resign or fire him. They also added in his defense, “Oyamada clearly regrets his past words, has reflected on them, and is currently maintaining a high moral standard while dedicating himself to creative activities.” One might note that the Committee recognizes that Oyamada regrets speaking about his inhumane activities but is vague about whether they believe he really regrets what he did. Words are cheap. The Olympics are inevitably, “Moving Forward.”
The reaction of the Japanese public has been overwhelmingly negative, calling the decision to employ him for the Olympic music “a fatal mistake in the selection process.” One twitter user, posting an article about Oyamada’s past bullying, noted wryly, “Well, after all, it’s like the Olympics itself is making the public eat shit.” A few days ago International Olympic Committee President Thomas Bach appeared to be the most hated man in Japan, but in the low-bar race for a gold medal in unpleasantness, Oyamada may now be the leading contender.
Mark Bookman, a historian of disability in Japanese and transnational contexts, and Postdoctoral Fellow at Tokyo College, part of the esteemed Tokyo University, emailed us, his understanding of the problem, taking time to explain the significance of the games. “The Olympic and Paralympic Games provide activists, policy makers, and members of the public opportunities to reflect on the past, present, and future of disability rights on local and global scales. They have helped catalyze change and lead to improvements in accessibility and social welfare for diverse demographics of disabled people in multiple countries, including, but not limited to, Japan.”
But he also points out there is a downside to the games.
“However, the games do not always lead to positive results. On many occasions, their spectacle has shifted public attention away from the needs of ‘ordinary’ disabled people in favor of elite athletes. Indeed, the games have helped to perpetuate harmful stereotypes and foster unfavorable outcomes for many individuals, in part due to awareness issues and lack of resources for carrying out reforms.”
Bookman warns that ‘going forward’ with Oyamada may actually roll back advances for the disabled in Japan, and more.
“While stakeholders involved in the games, myself included, have worked to mitigate such negative consequences and use the games as a platform to promote inclusivity, one cannot help but question the Tokyo Olympic Committee’s decision to ‘move forward’ with Oyamada Keigo as a key figure. By elevating (him), who has confessed to committing harmful acts against disabled individuals, the committee is (perhaps unwittingly) creating a space for people who sympathize with his actions. As rates of abuse against disabled persons continue to climb in Japan due to stresses on the nation’s care economy (tied to its rapidly aging population, declining birth rate, and shrinking labor force), one cannot help but wonder what kind of future might come from the Tokyo Committee’s decision. Indeed, as conversations about ‘selecting lives,’ eugenics, and equitable distribution of resources continue to unfold around us in relation to COVID–19, their decision may have dire consequences.”
Michey Peckitt, who runs the blog, Barrier Free Japan, had this to say. “I’m only disappointed. Obviously I did not grow up or go to school in Japan, but Oyamada’s behaviour does not surprise me at all. At school in Britain I was treated in a similar fashion. Being made to eat sh*t is pretty standard bullying behaviour in my experience, although being made to masturbate in public is a new one. I’m glad I didn’t have to do that as it’s difficult to masturbate when your hands don’t work because you have cerebral palsy. As a disabled person living in Japan I’m sad Oyamada’s music is being used in the Olympics, but ultimately nothing surprises me about the Tokyo Games now.”
The large-scale Self-Defense Forces vaccination center near Otemachi, Tokyo, doesn’t open for another 70 minutes, and there is already a line of people looping around the large, brown, 16 story building. It is not only the elderly waiting for their first dose. The majority of people in the last section of the line are adults, ranging from their twenties to fifties. Most people are sitting on the ground or a chair they brought from home.
The sun, unobstructed in the cloudless morning sky, shines directly onto the line. Its rays are hot enough to irritate the exposed back of the neck in under a minute. Men and women take shelter under umbrellas and wide-brimmed hats as they check their phones, read a book, or doze off to pass the time. Some have pulled out their feet from their shoes and rest them on compact picnic tarps.
“The people in line, please confirm that this is your first vaccination dose. If this is your second dose, we cannot vaccinate you at this facility today.”
A security officer reminded the queue through a megaphone so muted it was barely audible.
In the past 20 minutes, three more adults join the back of the line with over one hundred waiting ahead of them. There’s no telling when the person at the very front arrived.
A sign posted in front of the vaccination facility asks entrants whether they are over 18 years old, have a form of identification and their vaccine ticket with them.
People with 8 a.m. to 10 a.m. reservations rest on chairs they brought to or borrowed from the facility. The sun feels warmer than the 23 degrees Celsius temperature, and queue use hats and umbrellas to keep cool.
Officers begin to collect the chairs they lent to the line and place them back into an outdoor collection bin beside an entrance to the building. Everyone stands up, and the line begins to move.
“The facility will momentarily open at 7:30. Please move slowly down the line while maintaining a distance with the person in front of you,” a security guard called out.
“Be sure to check your belongings, so you don’t leave anything behind,” another guard said.
The line moves forward in 10-meter increments as the clinic begins processing the first groups of people.
Around the corner at the back of the building, businesses, including the Nippon Travel Agency, are vaccinating their employees.
At 7:30, a Self-Defense Forces truck pulls up and parks by the end of the line. It is rare to see a military-grade vehicle around civilians in a nation with no army and a small self-defense force.
Two SDF soldiers get off the truck and walk toward the back of the building, away from the line.
The line moves for the second time, progressing less than 10 meters before halting. At this pace, it could be another hour before the last group step through the facility’s doors.
“I got here before 7 a.m. But my husband arrived at a later time to get vaccinated two weeks ago, and he was further ahead in the line,” a woman in front of me said. “I saw on television that there are people who line up in the middle of the night to receive their shot as early as possible.”
From the 28th, the center will switch to administering the second dose of the vaccine, making it nearly impossible for those seeking their first dose to reserve a slot online. Furthermore, this facility, which can administer up to 10,000 doses a day, and its sibling in Osaka, capped at 5,000 doses a day, will no longer administer doses meant for a canceled reserved patient to those who came without an appointment.
In the beginning, a Ministry of Defense executive said the department “does not want to turn away senior citizens who came and waited in line,” even if they didn’t have a reservation. As Japan lowered the vaccine qualifying age to 18 and up, the younger demographic began to form lines throughout the night, hoping for a lucky shot. According to a report by Asahi Shinbun, this increased the number of repurposed doses from 100 up to 300 per day. In response, to complaints about people lining up late at night, disturbing the peace of his usually empty office building island, the ministry announced it would cease this no-appointment immunization process from the 28th. However, it appears this policy is already in practice at the Otemachi facility, as multiple signs in English and Japanese reminded those in line that they would not receive a shot if they didn’t present proof of reservation.
The last group in line for the 8:00 to 10:00 a.m. slot arrived at the first checkpoint stationed within multiple outdoor tents. Inside, an extensive volunteer force patiently guided people through bag inspection, temperature checks, documentation review, and relocation to the next checkpoint facility inside the building.
A freshly vaccinated woman passes the main sign in front of the first checkpoint reminding entrants that they need their vaccination ticket, photo ID and pre-screening form to receive their shot. The display screen on the left says the staff is currently seeing people reserved for the 8 a.m. to 10 a.m. slot.
Inside the first outdoor checkpoint, entrants are greeted with a sign saying their temperature and baggage will be checked. The male volunteer in the blue shirt, center, positions people in front of a screen that records and prints their temperatures. As far I could tell, everyone who had lined up got their shots.
“Everyone was just really wonderful, and that is one point I wanted to emphasize,” British reporter Phoebe Amoroso, who was vaccinated at the Otemachi facility on the 25th, said. “You went through many different stages, rooms and checkpoints. Up an elevator, down the elevator, honestly. And I was never once confused or uncertain about where to go, and I felt really completely welcome.”
Amoroso arrived at the clinic at 3:45 a.m. the day after the ministry announced it would cease vaccinating on-the-day arrivals without reservation from the 28th. She said personal accounts posted on facebook’s COVID-19 Japan discussion group of people arriving hours before their appointment and still settling at the back of the line prompted her to go as quickly as possible. Despite her concerns about the facility’s staff not permitting early arrivals from forming a line, she said everyone waiting for the vaccine was treated with excellent care by the two security guards on duty.
“The man was like, ‘oh, thank you, everyone, for your patience. If you want to go to the toilet,’ and periodically he’d be like, ‘let me tell you where the toilets are again everybody. You need to go out to the road and turn left for the public toilets. Be sure to tell the person behind you that you are going to the loo so they’ll save the spot for you,’” she said.
Two volunteers wait to direct people who have received their shots to the shuttle bus headed for Tokyo station.
Two volunteers wearing vests labeled “Free shuttle bus staff” wait for the next vaccinated group to exit the facility.
A female volunteer gives directions to people who just got off at a bus stop near the clinic.
“The government’s whole setup is crazy. A million shots a day? They should have done that sooner. There’s a lot of inefficiencies, but that’s a whole different conversation. The people on the ground were so wonderful,” Amoroso said.
According to Amoroso, a volunteer checking her paperwork told her that all staff had been vaccinated.
If you want to make a reservation for a vaccine dose at the Otemachi clinic, click here. Note that from today, the facility is only accepting people applying for their second shot.
Yesterday, June 23rd, marked one month before the opening of the “cursed” Tokyo 2020 Olympics and hundreds of residents marked the occasion by holding a protest in front of the Tokyo Metropolitan Government Headquarters. As the delta variant of the novel-coronavirus spreads rapidly and public health concerns are rising, the clamor to call-off the Olympics is increasing. Tokyo Governor Yuriko Koike was not there to hear the voices of protest yesterday; she is in the hospital due to “fatigue.” The government swears it’s not due to COVID-19 and of course, we believe them.
(Update) The protest will begin at 18:00 by the front entrance on the second floor of the Tokyo Metropolitan Government Building No.1, and will migrate to the Shinjyuku ALTA building at 19:00. Further guidelines for the protest can be found at the hangorin group’s (anti-Olympics) tumbler page. The organization will also livestream the protest on YouTube from 18:00.
In collaboration with this domestic demonstration, international anti-Olympic organizations in Los Angeles, U.S., Pyeongchang, South Korea, and ironically Paris, France, where the IOC was born, are scheduled to hold simultaneous protests.
😭 Records* is an agency that specifically targets singers outside of Japan who have a passion for anime with hopes of releasing music in Japan. Most of the music released are famous anime song covers. All artists must pay for their own recording and album cover photos.
Once you join 😭 many promises are made to you including performing at their festival, living in Japan, performing on TV in Japan, releasing songs in video games in Japan, etc.
I joined 😭Records when there were just a couple of artists working with the label. I was lied to on what companies the label worked with. So I believed the company to be legit. I was promised by the CEO Hiroaki Usotsuki** that if I record an anime cover album of 5 songs, I could perform at their festival in Japan. This was the main reason why I recorded with them. I’ve performed in Japan before booking my own gigs and thought this would be the same situation. I recorded the five songs and wanted to stop there before moving forward. But the CEO kept asking me to record more. They told me it would be better to have a full album to debut at the festival. I was hesitant but decided to move forward. At the end of my time with 😭 Records I had recorded 20 songs.
After I started recording, over 100 artists were signed to the label. It happened very fast!That’s when I knew I made a big mistake. He started saying that I had to now compete with all the other artists. I had to be a top 10 selling artist to perform at their festival, he said. The festival never happened again. Hiroaki only had the festival a couple times out in Japan and was using it to get people to record.
Because 😭 Records signed so many artists they had to make this website where you sign in to see what songs you can record with them and how much money you were making. The system was never up to date on payment or songs. That very system that they created was recently hacked and a mass email from the hacker was sent warning people of Hiroaki. In that system breach all the banking information of the artists was leaked. I was lucky to have never given them that information.
After the hack occurred many artists contacted each other about it and found out that most of the singers were not getting paid at all. Many artists at this point were with 😭 Records for over five years with no royalty payment.
Once the hack occurred it was also exposed that 😭 Records is not an official company in Japan. They were never registered as a company in Japan.
😭 Records is still accepting applications from foreigners online today. Even though they have never paid their past singers any royalties whatsoever.
This info was also released that 😭 Records also has another company called H●● Agency. H●● Agency is an outsourcing company that brings people to Japan like teachers, construction workers, etc.
This info was exposed that these employees also were not getting paid the proper amount of money or not paid at all. But these employees actually came to Japan with promises of housing arrangements, visa, etc. But all found out very soon that they were stuck in Japan with no place to go. Many had to sleep in the park to figure out a way back home. They also sell the workers to their clients with an outsourcing system with the CEO of H●● taking most if not all of the money.
Hiroaki owns multiple companies with many different names. He will probably get rid of H●● Agency due to everything getting exposed. But he can easily move on to his other companies he has and continues taking advantage of foreigners looking to find a home in Japan.
*Due to vague threats of legal actions and the failure of getting a response from the company in question, we have reluctantly not named the firm here. Within the arts community it is becoming infamous.
**This is not the CEO’s real name. See information above.
I grew up in Missouri, next to McBaine, Missouri, where I rode Bus 57 to school. On Bus 57, there is no Missouree–there is only Mizzou-rah. Riding this bus required learning to understand a little bit of rural Missouri redneck culture—to survive. If there is anything good to be said about redneck rhetoric, it’s that straight talk was generally appreciated and valued. Indeed, Missouri is still called “The Show-Me State” referring to the native demands for actual evidence to back up any far-fetched claims.
I bring all this up because The British Journal of Medicine published an amazing editorial Reconsider this summer’s Olympic and Paralympic games on why Japan should not be hosting the Olympics this year. The editorial goes into clinical detail and is backed up by multiple sources. It’s a brilliant essay but slightly obtuse and the people who should read it, won’t, and the British fondness for diplomatic wording detracts from the message.
So, in order to make the points a little more palatable (easy to understand),, I have channeled my inner redneck to bring you their excellent editorial in plain American, with only slight transgressions from the main text. I am not a 100% real redneck so please pardon any inauthentic phrasing here. I’ve done my best.
The original article is above and the “translation” is below. I hope that you find this elucidating and if you don’t, you are probably just an ignoramus (dumb-shit).
Reconsider this summer’s Olympic and Paralympic games
Serious questions remain about managing the games safely
The government of Japan and the International Olympic Committee are determined to hold the Olympic Games in Tokyo this summer. In February 2021, G7 leaders also supported Japan’s commitment to holding the Olympics and Paralympics in Tokyo (Tokyo 2020) “in a safe and secure manner … as a symbol of global unity in overcoming covid-19.”1 While the determination is encouraging, there has been a lack of transparency about the benefits and risk, and international mass gathering events such as Tokyo 2020 are still neither safe nor secure.
Tokyo Olympics? You can’t fucking do it–No way. Don’t be an asshole
The Japanese or rather their government and the IOC which stands for international Olympic Committee are hell-bent on holding Olympic Games in Tokyo this summer, no matter what, not matter how dangerous, come hell or high water or a tornado or a volcano or this deadly fucking virus. It sounds pretty goddman dangerous to me. The leaders of G7 which are the really wealthy countries, that includes the USA (U-S-A!) they support Japan’s efforts to hold the Olympics and I’m quoting here, “in a safe and secure manner”– as a symbol of global unity and overcoming COVID19. Yada Yada.
Well that gung ho spirit is mighty fine but it’s totally unclear if this is going to be a clusterfuck or whether or not its actually going to be safe. A big international gathering event like the Olympics is “neither safe nor secure” and I’m not sure what the differences between these words is but in other words, it’s pretty goddamn dangerous. It would be like fucking Fern Granger without a condom while everyone knows that Fern will sleep with anyone and she’s not particularly careful and God knows if she had an STD test in the last year. Also I’m not slut-shaming here, because there are guys like Dave down at the Redhill Lounge that are total sluts and bad news, and sexually-transmitted diseases are serious problem and one should always use a condom before engaging in casual sex. I hear you can also get the rona from fucking which I guess makes sense. These Olympics needs a condom and Japan wants to ride raw.
The world is still in the middle of a pandemic. SARS-CoV-2 variants are an international concern, causing a resurgence of covid-19 globally.2 We must accelerate efforts towards containing and ending the pandemic by maintaining public health and social measures, promoting behaviour change, disseminating vaccines widely, and strengthening health systems. Substantial scientific advancements have occurred over the past year, but vaccine rollout has been inequitable, reducing access in many low and middle income countries. Huge uncertainty remains about the trajectory of the pandemic.3
The whole world is in the middle of a pandemic which is like an epidemic that is a pansexual: it will fuck anyone, anytime, anywhere. Just when you thought you had kicked its motherfucking ass, it turns out to have some mean ass cousins that you didn’t know you have to deal with. We call these cousins “variants”. It’s like the Greenhills who live past the railroad near where there used to be a post-office. It’s all one family with different people and they’re all mean and will fuck you up. But in less metaphorical terms these variants keep bringing back the virus like a zombie.
The whole world is in the middle of a pandemic which is like an epidemic that is a pansexual: it will fuck anyone, anytime, anywhere.
Although a special scheme for vaccinating athletes—marshalled by the International Olympic Committee4—may help save lives, it could also encourage vaccine diplomacy, undermine global solidarity (including the Covax global access scheme), and promote vaccine nationalism. Full transparency and clear lines of accountability are critical in any scheme to vaccinate athletes. Furthermore, prioritising athletes over essential workers at high risk in low and middle income countries raises ethical concerns that must be addressed.
We gotta lockdown this sucker by thinking about public health and doing all that stuff we have been doing, like washing our hands, wearing a mask, not spitting at people and not chewing tobacco or blowing smoke in people’s faces, or going to crowded bars getting fucked up. And if you’re one of those no maskers and no vaxxers, fuck you. Fuck you and the station wagon you rode in on.
We have got to VAX as many people as possible. We have got to improve our healthcare. Thanks to science there have been a lot of great things done in the last year but the vaccine rollout has been piss pour and unfair. If you are a poor country, you are like white trash or a minority in the United States and you are not given that vaccine. Nobody knows how this pandemic thing is going to play out.
Although a special scheme for vaccinating athletes—marshalled by the International Olympic Committee4—may help save lives, it could also encourage vaccine diplomacy, undermine global solidarity (including the Covax global access scheme), and promote vaccine nationalism. Full transparency and clear lines of accountability are critical in any scheme to vaccinate athletes. Furthermore, prioritising athletes over essential workers at high risk in low and middle income countries raises ethical concerns that must be addressed.
The Internationl Olympic Committee could do a lot more than just vaccinating athletes but they don’t give a shit about ordinary folk. If you ask us, essential workers which is like doctors and nurses and farmers and stuff should be a priority in getting vaccinated. Giving these coddled athletes the vaccines before other people in poor and middle-class countries is pretty shady and pretty shitty. It’s an ethical problem. It ain’t right. In case you don’t get it, the IOC are a bunch of assholes.
Unlike other countries in the Asia-Pacific region, Japan has not yet contained covid-19 transmission.5 Despite its poor performance,6 Japan still invokes exceptionalism and continues to conceptualise covid-19 within previous planning for pandemic influenza.5 The second state of emergency in the Greater Tokyo area was lifted in late March7 despite early indications of a resurgence and an increase in covid-19 patients with variants of concern, which have now spread across Japan.89
The country’s limited testing capacity and sluggish vaccine rollout6 have been attributed to lack of political leadership.5 Even healthcare workers and other high risk populations will not have access to vaccines before Tokyo 2020, to say nothing of the general population. To properly protect athletes from covid-19, Japan must develop and implement a clear strategy to eliminate community transmission within its borders,5 as Australia did before the Australian Open tennis tournament.
Suga Couldn’t Even Drive A Tractor With Training Wheels
Unlike their Asian neighbors—hey Taiwan, nice job!—Japan has not licked this virus. In fact they are getting their ass kicked. Despite doing a shady job in handling the virus. Japan still thinks they are so so special and they keep treating this virus like it’s the flu which is pretty stupid. Stupid is as stupid does. Japan had a second state of emergency in the greater Tokyo area which is like Tokyo in places around Tokyo. It did not accomplish jackshit. They lifted the emergency while infections were rising and the weird mutant viruses were showing up all over Japan. Any dumbshit could see that there would be another resurgence like the Taliban in Afghanistan. Anyway, these killer mutant bad ass viruses are now all over Japan.
The leaders of Japan can’t tell there assholes from their mouths. Japan has a crappy capacity to test people for the virus. Their vaccine rollout is so goddamn slow that you would think the space time continuum in the country is in slow motion, like when you film something in slow motion on an iPhone, if you can afford an iPhone, or you have a friend who has an iPhone. Maybe you can also film things in slow motion on an Android phone but all i have is this old flip phone and that’s fine with me. Healthcare workers and old people and people who really need that vaccine are not going to get it before the Tokyo Olympics starts. And everybody else, they’re pretty much fucked. If Japan is going to protect the athletes that come there to play in these games, they need to get their shit together. They need to have a plan to stop the transmission, in other words, the spread of this virus within its own borders. You know who did this good? Australia did this. Australia did it before the Australian Open Tennis Tournament. They handled the virus really good if you don’t mind me saying.
Japan and the International Olympic Committee must also agree operational plans based on a robust science and share them with the international community. Waiving quarantine for incoming athletes, officials, broadcasters, press, and marketing partners10 risks importing and spreading covid-19 variants of concern. While international spectators will be excluded from the games,11cases could rise across Japan and be exported globally because of increased domestic travel—as encouraged by Japan’s official campaigns in 2020.51213Entrants will be asked to download Japan’s covid-19 contact tracing app,10 but this is known to be unreliable.14
The maximum allowable number of domestic spectators is still pending,11 but an overwhelmed healthcare system combined with an ineffective test, trace, and isolate scheme51213 could seriously undermine Japan’s ability to manage Tokyo 2020 safely and contain any outbreak caused by mass mobilisation.
Japan and the international Olympic Committee must create plans that are based on solid science and they need to share them with everyone in the whole wide world. By not requiring quarantines for athletes officials broadcasters press and marketing partners, there’s a pretty good chance that they are going to import some nasty mutant killer viruses into Japan. That will really suck.
Sure there will be no spectators at the Olympic games, that don’t mean it’s safe. There are 8000 ways this could get fucked up. You could have the virus go crazy in Japan and be exported on a global level—like they did with Pokemon, but you don’t want to catch them all. You don’t even want to catch one of these Pokemon. Japan has done this sort of fuck-up before and they are going to do it again. Japan had this dumb ass domestic tourism promoting program in the middle the pandemic called Go To Travel and the country has Gone To Hell. Those who are participating in the event are asked to download Japan’s shitty contact tracing app but it doesn’t work and you can’t count on it and it’s doubling down on stupidity
Sure there will be no spectators at the Olympic games, that don’t mean it’s safe. There are 8 millions ways this could go sideways. You could have the virus go crazy in Japan and be exported on a global level—like they did with Pokemon, but you don’t want to catch them all. You don’t even want to catch one of these Pokemon.
Nobody knows how many people will be watching or participating in the games but when you have an healthcare system that is overloaded and a worthless system for tracking testing and isolating people with the virus, you have a recipe for disaster. When you got a lot of people moving around you got a lot of ways to spread this virus. That should be pretty obvious to anyone who doesn’t have their head up their ass.
Plans to hold the Olympic and Paralympic games this summer must be reconsidered as a matter of urgency. The whole global community recognises the need to contain the pandemic and save lives. Holding Tokyo 2020 for domestic political and economic purposes— ignoring scientific and moral imperatives—is contradictory to Japan’s commitment to global health and human security.
Assholes and Athletes First, Common Folk Can Suck A Donkey Dick
Is this really so-I’m-going-to-shit-my-pants-if-I-don’t-go-to-the-bathroom-now urgent do we have to have the Olympics this year? The whole world except the IOC and Japan cares about saving lives and kicking the ass of this pandemic. If Japan actually gives a shit about the health of the world and human beings in general, they should not be ignoring science and being nice to other people, just because a bunch of old bastards want some glory and some money. When you think about the whole spiel about Olympic values, world unity and the human spirit and all that, holding the 2020 Olympics is a bunch of hypocritical bullshit. Fuck that. When we say ‘reconsider’, we mean get your head out of your ass and postpone it or cancel it, you bloody bastards. Thank you! I hope you got that.
Featuring 14 Japan-Based Artists & Over 100 Pieces of Artwork
With Spring comes new beginnings! Tokyo Art Studios is thrilled to announce their inaugural exhibition, titled “Spring Healing”, which features over 100 artworks by 14 emerging and establishedartists based in Japan. The “Spring Healing” exhibition runs until March 28 2021.
The exhibition highlights artist experiences in Japan using varying aesthetics relating to their mediums, including oils, acrylic, watercolor, illustrations, silkscreen, and photography. The artists hail from Japan and around the world, but all call Japan home today. The themes of Japan’s nature, arts and society, are woven into all the pieces.
All artworks can be viewed online at a later date but come see them in person while you can. Some featured artists include:
Johnna Slaby is an abstract artist born and raised in Japan, and currently works between Japan, the UK, and the US. Utilizing various materials from acrylics to coffee, she creates abstract pieces that are reminiscent of a late-afternoon coffee or the golden hour near a river. Through the experiences and stories that she comes across during her travels and life, she works them into pieces to create memories people can see. From her large canvas pieces to her intimate paper studies, she dissects both mundane and profound moments of life, continuing to ask, What does it mean to be alive?
Shinjiro Tanaka is an artist who expresses the infinite possibilities of simple lines by combining contradictory elements such as calmness and passion, past and future, and life and death. His works are not limited to canvas painting, but also include murals, apparel, three-dimensional objects, and digital art. Born in CA in 1985, he graduated from Keio University in 2008 and moved to NYC after working for Dentsu. He brings a variety of experiences to his art, including working as a music producer’s assistant and Performing with Nile Rodgers and CHIC, launching the apparel brand BSWK, and performing at Heisei Nakamura-za in New York. After returning to Japan, he held his first solo exhibition “FACE” in 2018; at the end of 2018, he performed live art on the streets of New York for 30 days, and the following year held his solo exhibition “NYC STREET ART PROJECT”. The same year, he won the ART BATTLE TOKYO competition and has been working unconventionally in Japan and abroad, exhibiting at a gallery in London and creating murals on the streets.
Keiko Takeda’s practice allows her to express her favorite places and unknown corners of the world through colors and shapes. Each subject is made warmer with her brush as she believes that colors have feelings that embody our own emotions. Keiko has shown her work in many exhibitions, both solo and group shows.
Marie Ikura studied art, and more specifically painting, while at Tama Art University before becoming a professional artist whose signature style is based on live art. Often, Marie creates live paintings that share space, time, and music with the people present where her work is ever-evolving as the paint scatters, making sounds such as “voice of color”. In addition, she engages in participatory art like wearing art or consuming art. Her live work has taken her to regions in Europe and Southeast Asia.
A new Tokyo gallery which opened this March (2021) – Tokyo Art Studio strives to provide a platform for the global community of emerging artists based in Japan. Through exhibitions and programming, TAS encourages our community to creatively connect with one another through the power of art and dialogue. To learn more about Tokyo Art Studio
The Studio is located at 3-17 -12 Minami Azabu, Minato-ku, Tokyo
Visits outside of exhibit times are by appointment only.
Email and questions or request for interviews to contact@TokyoArtStudioGallery.com.
In 1967, Japanese photographer Joe Honda became the first Asian to capture the international motorsport scene.
More than 300,000 35 mm photographs and five decades later, Emiko Jozuka—Honda’s daughter—is reviving his legacy in an exhibition held at the Foreign Correspondents’ Club of Japan between December 5, 2020, and January 8, 2021. The show will move to Hong Kong in February 2021, in Honda’s first international exhibition in Asia, outside of Japan.
In partnership with award-winning Tokyo photography atelier Shashin Kosha, this exhibitionbrings to life memories of motorsport’s golden age through a series of historic and rare photographs from Joe Honda’s rediscovered archive. Itoffers an intimate glimpse into Japan’s emergence on the global automotive and motorsport scene.
“The October 1966 international Fuji Speedway race was a landmark event that changed my father’s life, the art of motorsport photography and Japan as a nation. It was the first global race in Asia that defined Honda’s work and paved the way for Japan’s golden age of motoring,” says Emiko Jozuka, director of the Joe Honda Archive.
To the Japanese cognoscenti, the American Indianapolis 500 was a celebrated race, and hosting the first international Indy event in Japan heralded their country’s arrival as an industrial power. One photo in Honda’s series captures British driver Jim Clark flanked by curious Japanese onlookers as he prepares his IndyCar. In another, we see motorsport legend Jackie Stewart racing around the precarious bends of the Fuji Speedway.
Born in 1939, Joe Honda graduated from the Nihon University Department of Fine Arts and trained with famed photographer Yuji Hayata before going freelance. He began his five-decade-long career at the October 1966 Fuji Speedway race, where he crossed paths with British racing stars such as Jim Clark and Graham Hill, who had come to Japan for the first time. In 1967, Honda travelled to Europe to capture the Formula One season, and became the regional representative of the International Racing Press Association (IRPA).
Over a prolific international career, Honda captured iconic 35 mm film shots of Formula One stars such as Bruce McLaren, Ayrton Senna, Niki Lauda, James Hunt, Michael Schumacher and Damon Hill. He documented Formula 1, 2, 3, NASCAR, Indy races, 24 Hours of Le Mans, Paris-Dakar rallies, motocross and classic car races. His work was also exhibited in major art galleries such as the Nikon and Canon Salons in Tokyo and published extensively in works and publications related to the Formula One and the automotive industry.
“Honda’s archive spans 50 years and travels from the grit and glamour of motor racing’s golden years through its evolution into a technological arms race funded by big business. His photographs represent the developments, people and culture that shaped the motorsport industry. Preserving and showcasing them is crucial as they document a pivotal period in history, showing major shifts in the automotive and photographic industries through one artist’s perspective and evolving practice,” says Jozuka.
Emiko Jozuka is a Japan-born multimedia journalist for CNN Digital Worldwide, who grew up in the UK. She has worked for WIRED and VICE Media Group in London and the Hurriyet Daily News & Economic Review and freelanced in Turkey. She holds degrees from the University of Cambridge, the University of Oxford and the Ecole Normale Supérieure de Lettres et Sciences Humaines in Lyon, France. In 2017 Jozuka founded the Joe Honda Initiative to share Honda’s collection with the broadest possible audience, attain support to catalogue and establish a foundation that democratizes access to art, photography and motorsports.
Takuji Yanagisawa, president of Shashin KoshaIn 1990 Takuji Yanagisawa became the second company president of award-winning Tokyo-based photography atelier Shashin Kosha. Since its founding in 1950, Shashin Kosha has merged tradition with innovation to support and showcase the work of Japan’s most outstanding photographers. In 1976, Shashin Kosha became the only photo atelier to win a special award for achievements and contributions to photography from the Japan Photographers’
TOKYO – November 6, 2020 The award-winning independent motion picture STAYby filmmaker Darryl Wharton-Rigby will screen at the Legacy Foundation Japan’s Legacy Lounge on Sunday, November 8 at 6pm prior to its November 17 release on Amazon Japan.
“I am excited to that STAY will finally be seen by audiences in Japan,” said Wharton-Rigby. “When I started filmmaking, I never imagined I would make a film in Japan. From Baltimore to Tokyo – What an incredible journey.”
STAY “a touching romance” follows the story of a couple who fall passionately in love over a weekend; Ryuu, a Japanese man who is a recovering addict, and Hope, an American enjoying her last days in Japan. The film features emerging Japanese star, Shogen and introduces British model/actress, Ana Tanaka.
Lensed by photographer Jeremy Goldberg and a score by Himaness, STAY, Wharton-Rigby’s second feature film, was shot on the Tokyo streets in 15 days, guerrilla style, a technique the filmmaker has used throughout his career.
“We have believed in this film and are excited to come home to Japan,” says Executive Producer, Christopher Rathbone. “Given the global festival acceptance and the awards won, STAY has been a real crowd pleaser. Audiences really like this film.”
“Shooting STAY in Tokyo on the BlackMagic Pocket Camera made us virtually invisible and allowed us to capture the city up close and personal. We shot on train platforms and trains, Tsukiji Fish Market, ramen shops… Everywhere,” explains Writer/Director Darryl Wharton-Rigby. Every day was something new and challenging. We were constantly on edge. I really wanted STAYto show Tokyo in a real and natural way.”
The Legacy Foundation Japan Legacy Lounge is located on the 9thfloor of 2-chōme-8 Azabujūban, Minato City, Tokyo 106-0045, which is above Soul Food House..