Exclusive: Former Prosecutor Says, “If Ghosn is rearrested, NISSAN CEO should be arrested as well”

Nobuo Gohara (郷原信郎元検事)

Note: We met with former prosecutor Nobuo Gohara, last week, to discuss the arrest and prosecution of Carlos Ghosn. Mr. Ghosn has been accused of financial crimes, and has now been detained 23 days and rearrested. With Gohara’s permission, we are publishing his translated observatiosn about the case, written prior to the re-arrest of Mr. Ghosn today (December 10th 2018). *Portions of this were previously published in Japanese on Yahoo! News. 

The Arrest of President & CEO Saikawa is Inevitable if  Mr. Ghosn is Re-arrested based on Fake Statement made in the Last 3 Years

The End of The Myth of The Special Prosecutors is one book that Mr. Gohara has written on Japan’s prosecutors going off the rails.

Today (December 10) was the last day of the extended detention of Mr. Carlos Ghosn, who was arrested by the Special Investigation Unit of the Tokyo District Court on November 19 and was removed from the Representative Directorship of Nissan 3 days thereafter at the extraordinary board meeting, as well as Mr. Greg Kelly.

The suspected offense of his violation of the Financial Instruments and Exchange Act turned out to be the fact that he did not describe the “agreement on payment of compensation after his retirement” in the securities report.  However, given that the payment had not been determined and that it cannot be considered as a fake statement of an “important matter”, there are serious concerns about considering this non-description a crime.

The End of The Myth of The Special Prosecutors is one book that Mr. Gohara has written on Japan’s prosecutors going off the rails.

There has been an increasing skepticism about the method of prosecutors’ investigation who suddenly arrested Mr. Ghosn at Haneda Airport inside his personal aircraft when he just returned to Japan.  As I have pointed out in my article (“Ghosn Can Only Be Indicted if Prosecutors Follow Their Organizational Logic”), since the prosecutors have arrested him based on their unique decision, it is impossible for them “not to indict Mr. Ghosn”, as it would be self-denying and contrary to the “logic of the organization”.  It had thus been fully anticipated that the prosecutors would indict Mr. Ghosn today.

However, the facts that have newly been revealed through the subsequent media reports are raising even more serious concerns with respect to his arrest based on the “agreement on payment of compensation after his retirement” (although various media organizations report that those facts constitute the ground of his indictment by the prosecutors).

Could this herald the possible “collapse” of the prosecutor’s case

There is Virtually No More Possibility that Mr. Ghosn will be Re-arrested with the Crime of Aggravated Breach of Trust or the like

First of all, it has been reported that the prosecutors intend to re-arrest Mr. Ghosn on the ground that he has “underdescribed his executive compensation of 4 billion yen for the last 3 years”.  The facts that constituted the ground of his arrest and detention to date had been the fake statement around the “agreement on payment of compensation after his retirement” for the period of 5 years up to March 2015 term.  The prosecutors, however, are intending to re-arrest him based on the same fake statement but for the last 3 years up to March 2018 term.

“When The Thinking Processes Of The Organization Stop” discusses the implications of an infamous case in which a prosecutor forged evidence and dysfunctional organizations in general

There had been a speculation that the fake statement in the securities report was merely a ”starting point” and that the Special Investigation Unit was contemplating to pursue some “substantive crime” such as aggravated breach of trust.  However, had they been able to pursue the crime of aggravated breach of trust, they would have re-arrested him based on that.  Given the overloaded investigation lineup of the Public Prosecutors Office, which has been accepting prosecutors dispatched from the District Public Prosecutor Offices, as the year end approaches when they need to send the dispatched prosecutors back to where they belong, they would want to avoid arresting him based on the new facts on and after December 10 unless extreme circumstances arise, because the period of detention of 20 days would then extend to the year end.  This means that the only “charge” based on which the prosecutors intend to indict Mr. Ghosn is the fake statement of his executive compensation.  On the basis that they will re-arrest him based on the same fake statement as the facts constituting his initial arrest and detention, it is highly probable that the investigation will end there.

This is a scenario which I have predicted, as I have repeatedly stated since right after the arrest.  That is, based on the facts that have been reported, it is unlikely that Mr. Ghosn will be indicted for the aggravated breach of trust (“Ghosn Case: Yomiuri Beginning to Ditch Prosecutors while Asahi Cling to Them”).  However, for those who firmly believe that the “justice always lies with prosecutors” and because of that believe “Mr. Ghosn, who was arrested by the prosecutors, is a villain”, it would be hard to accept that the investigation would end by only charging him with such a trivial crime as fake statement and not criminally pursuing any “substantive crime”.

Serious Issues Concerning Procedures of Detention

Of further significance is a “serious issue concerning the legality of detention” in relation to the re-arresting of Mr. Ghosn and Mr. Kelly based on the “underdescription of Mr. Ghosn’s executive compensation of 4 billion yen for the last 3 years”.

A securities report is something which is prepared and submitted each business year.  As such, there is supposed to be “one independent crime” for each business year, totaling to 8 crimes, if there are fake statements in all securities reports for the period of 8 years from March 2010 term to March 2018 term.  However, the charge against Mr. Ghosn with respect to the “agreement on payment of compensation after his retirement” is different from a standard fake statement in the securities report.

An “MoU” was said to have been made between Mr. Ghosn and the Head of Secretary Office every year with respect to part of the executive compensation payable after his retirement under the pretense of some other payment, which had been kept secret to the Departments of General Affairs and Finance of Nissan and had been kept confidentially.  The securities report for each year had been prepared and submitted without regard to the agreement made in such “MoU”.  Since the acts of preparation of the “MoU” for 8 years had been repeated every year under the same intent and purpose, they constitute “one inclusive crime” provided that they do constitute a crime.  They should effectively be interpreted as “one crime” as a whole.  “Dividing” these acts into those conducted during the first 5 years and those during the last 3 years for the purpose of repeating the arrest and detention means arresting and detaining based on the same facts, which is a significant issue in terms of due process of detention.

On top of that, if the prosecutors intend to re-arrest them based on the acts in the last 3 years after completing their investigation and processing of the fake statement for the first 5 years, it would be that they had “reserved” the acts of the last 3 years for the re-arrest.  This is an unjustifiable detention which deviates the common sense of prosecutors.  Inevitably, Mr. Ghosn and Mr. Kelly would file a quasi-complaint with respect to the detention or a special appeal with the Supreme Court, claiming that it is an unjustifiable detention in violation of due process under Article 31 of the Constitution.

It Would Be Difficult to Deny Criminal Liability of President Saikawa

“When The Thinking Processes Of The Organization Stop” discusses the implications of an infamous case in which a prosecutor forged evidence and dysfunctional organizations in general, which could apply to Nissan at present.

A more significant issue is that it has been reported by Asahi, Nikkei, and NHK that Hiroto Saikawa, President and CEO of Nissan, has also signed the “document agreeing on the post-retirement compensation”. It has been reported that Mr. Saikawa has signed a document titled “Employment Agreement”, which describes the amount of compensation for the agreement prohibiting Mr. Ghosn to enter into any consulting agreement or to assume office as an officer with any competing companies after his retirement.  It has also been reported that, apart from the above, a document was prepared which specified the amount of compensation which should have been received by Mr. Ghosn each term and the amount which had actually been paid, as well as the balance thereof, and that it was signed by Mr. Ghosn the ex-Chairman and the executive employees as his close aides.

The prosecutors and media may be denying the criminal liability of Mr. Saikawa  for his fake statement of the executive compensation based on the reason that, although he had been aware of the payment of compensation as consideration for the prohibition of Mr. Ghosn’s entrance into any consulting agreement or assumption of office with competing companies after his retirement, he had not recognized it as a payment of executive compensation under some other pretext, and because of this, he did not know that it should have been described in the securities report as “executive compensation”.

I wonder, however, how President Saikawa had recognized the consideration for the prohibition concerning the consulting agreement and non-competitive agreement.  If he had signed the document based on his understanding that it was a legitimate and lawful payment, it would mean that the agreement has its basis and that Mr. Ghosn has an obligation to refrain from entering into any consulting agreement and competing in return for the payment.  It would thus be considered a “legitimate contractual consideration” rather than a “deferred payment of executive compensation”.

Above all, why did Mr. Saikawa think it was necessary to enter into an agreement that prohibits Mr. Ghosn from entering into any consulting agreement or competing after his retirement when there was actually no specific sign of his retirement?  We can never understand the reason unless the agreement is explained as an “alternative for reducing the executive compensation by half”.  In the end, we cannot help but think that Mr. Saikawa had almost the same recognition as Mr. Ghosn and others with respect to the agreement.

The offense of the crime of fake statement in the securities report is constituted not by “making a fake statement” but by “submitting” the securities report with a fake statement on an important matter. The person who has an obligation to ensure accurate description and “submission” is the CEO in the case of Nissan, which is Mr. Saikawa from and after March 2017 term.  If, as mentioned above, Mr. Saikawa had largely the same recognition with Mr. Ghosn with respect to the “post-retirement payment of compensation”, we have to say that it is Mr. Saikawa who would primarily be criminally liable for the last 2 years (apart from the severity of the ultimate sentence).  That is, if the prosecutors are to pursue the indictment of the fake statement of the securities report for the last 3 years, it is inevitable to charge Mr. Saikawa as well.

Can Mr. Saikawa Withstand Criticism of being Involved in “Backdoor Agreement” with Prosecutors?

This is when the idea of plea bargain occurs to us—that is, whether or not there is a possibility that Mr. Saikawa has agreed to a plea bargain with the prosecutors by cooperating in the investigation on the “crimes of others” (i.e., of Mr. Ghosn and Mr. Kelly), thereby being exempted from criminal punishment.

It is possible that there is a “backdoor agreement” between the prosecutors and President Saikawa “targeting” Mr. Ghosn and Mr. Kelly.  However, if such agreement exists, where it is agreed not to charge President Saikawa, what was it all about that he criticized Mr. Ghosn at the press conference immediately after his arrest, going so far as to say that he “felt resentment (toward Mr. Ghosn)”?  There is likely to be severe criticisms against such agreement as well as against Mr. Saikawa domestically and internationally.  Furthermore, if this is the case, it is likely that Mr. Saikawa falls under the “party with special interest” in relation to the extraordinary board meeting where he served as the chairman and determined the removal of Mr. Ghosn from his position of the Representative Director and Chairman. This may affect the force and effect of the vote (““Serious Concern” over Plea Bargain between Executives of Nissan and Prosecutors” – Are Directors Involved in Securities Report able to Participate in Voting relating to Removal of Ghosn?).

Given all of the above, if the prosecutors are to re-arrest Mr. Ghosn and Mr. Kelly on the ground of a fake statement in the securities report for the last 3 years, there is no other choice than to arrest Mr. Saikawa and hold him criminally liable.  However, this would virtually mean the collapse of the current management team of Nissan which executed a coup d’etat at the initiative of President Saikawa and upset the Ghosn Regime.  The investigation of the prosecutors, which has been conducted in close cooperation with the management team of Nissan, is also at a risk of “collapsing”.

*Translation was provided by Mr. Gohara’s office, with some minor editing by JSRC staff for clarity based on the original Japanese text.

Japan Ten Years From Now. The Truth May Sort Of Be Awful But The Movie Is Great

by Kaori Shoji

We’re nearing the end of the world but there’s a sliver of a chance that we may be able to go out in style.


That pretty much sums up the message behind “Ten Years Japan (十年)” part of a film project in 4 Asian locales (Honk Kong, Taiwan, Thailand, Japan) to imagine the future of their nations, 10 years from now. “Ten Years Japan” is a 5-story omnibus, showcasing the talents of five directors – three of whom are women. You can see it in the way they grapple with themes like aging, nuclear fallout and a mother-daughter relationship. Gender comparisons are always dangerous but in the case of “Ten Years Japan,” these women directors clearly offer more wiggle room for hope and emotions like heartfelt gratitude, wrenching nostalgia and love. In the bleakest moments of their stories you sense that love will show up, eventually; a much-awaited guest late for the planet’s last dinner party.

The launch force behind “Ten Years” was Hong Kong in 2016. Hong Kong’s “Ten Years” played to wildly enthused audiences at home and went on to the international film festival circuit, but the contents were viewed as “problematic” by Beijing and banned in mainland China. Inspired by the Hong Kong team and their stories, the Thailand version came out in May this year. And now we have our own, here in Japan, which has been playing in a few Tokyo art house theaters for a limited 3 week release from November 3rd. Which is way too short to do this film justice but given the current political climate, maybe we should be thankful it’s being released at all.

“Ten Years Japan” was creatively supervised by Hirokazu Koreeda whose name and international repute has become on par with if not replaced, that of Takeshi Kitano. Koreeda is now the film critics’ darling in Cannes and London and when he speaks, his words become news print.

Koreeda shows a side of Japan that rarely makes it to the international stage. No samurai, geisha or yakuza splash guts and sex  in his vehicles. Instead, he wants to tell stories about quietly dysfunctional families. Or a mom who abandoned her four kids and never told anyone, until one of them dies. In his latest triumph “The Shoplifters” Koreeda addressed the problem of poverty and child abuse and was snubbed by none other than Prime Minister Abe when the latter said that Koreeda was perhaps, exaggerating a bit and that poverty in Japan is practically non-existent. Cue: sad laughter.

Koreeda has repeated said that he’s interested in the here-and-now of Japan, and working with performers that can transport and translate the urgency of our times onto the screen. This is probably why Koreeda demonstrates a flair for working with child actors. In his stories, they are sharp observers of adult sins and tellers of inconvenient truths as at the same time they are victims in a world over which they have no control.

A stark example of that is seen in “Itazura Doumei (Mischievous Alliance),” a tale directed by Yusuke Kimura. In this, elementary school education has become all about relentless surveillance, as the pupils are made to wear command devices on their heads, obeying instructions on where to go next, what to study and how to interact with classmates. They also receive “suggestions’ to consider this career or that, and how they can optimize their studying choices. Sort of like push notifications on a much more pushier level. The teachers fare no better. Only the school janitor (played by the always reliable Jun Kunimura) seems to enjoy a modicum of independence. The janitor takes care of an aging horse (part of a school experiment), soon to be exterminated on the whim of a digital authority. He can’t help but side wth the rebellious Ryo (Seiya Ohkawa) when the latter breaks the key to the stable and sets the horse free.

Another tale of childhood helplessness is “Sono Kuukiwa Mienai (You Can’t See This Air),” directed by Akiyo Fujimura. In this, the stage is an underground nuclear shelter inhabited by a small community of survivors. Mizuki (Ririya Mita) nurses a growing obsession with “the world above” as her anxious mother (Chizuru Ikewaki) warns there is nothing but danger “up there.” Mizuki longs for sunshine and rain until she can’t stand it anymore. The audience is left to surmise the consequences of her escape to freedom.

Utsukushii Kuni (美しい国) is a sharp poke in the ribs of Prime Minister Abe, who authored a book of the same title. The episode depicts in subdued tones, the ultimate outcome of Japan’s militaristic leanings as the Ministry of Defense puts a mandatory draft into place. The episode centers around an up and coming advertising executive who must inform a famous artist that her propaganda poster design, just isn’t quite what the ministry wants. It ends with a subtle twist, reminiscent of a Twilight Zone episode, that leaves the viewer with a tiny chill–in a moment of quiet understated dread.

Perhaps the most harrowing is the first story: “Plan 75” directed by Chie Hayakawa. It’s about our super-aged society: the most urgent and costliest problem facing Japan today. Hayakawa imagines a near future in which the government launches the titular program: people over 75 are offered a quick and painless euthanizing. The public service announcement advertising this expedited exit, sponsored by the Ministry of Health and Welfare, is such a dead-on parody of  Japanese PSAs that it almost seems real. Those urged to cross over to the other side, of course, are the low-income elderly or the infirm. But there are perks; those who agree to die even get a cash reward of 100,000 yen, so they can go out in relative style. There is an unforgettable death scene where an old man lays prostrate on a clinical cot – there are sounds of another man groaning nearby. The old man is visited by an intense loneliness and just as he’s about to burst into tears, a pair of female hands reach out to clasp his own. His face relaxes and there’s a wave of joyful relief. Cliched as it sounds, “Plan 75” confirms the old adage: all we need out of life is someone to hold our hands when we die.


“Ten Years Japan”

1) “Plan 75” Directed by Chie Hayakawa.
Starring: Satoru Kawaguchi, Kinuo Yamada, Motomi Makiguchi

2) “Mischievous Alliance” Directed by Yusuke Kimura.
Starring Jun Kunimura

3) “Data” Directed by Ai Tsuno
Starring: Hana Sugisaki, Tetsushi Tanaka

4) “Sono Kuukiwa Mienai” Directed by Akiyo Fujimura
Starring: Chizuru Ikewaki

5) “Utsukishii Kuni” Directed by Kei Ishikawa
Starring: Taiga, Hana Kino

“Hey you grubby kids, get off my fashion runway!” Minami Aoyama Vs The Ruffians

by Kaori Shoji 

Who would have thought a plot of land in a Tokyo neighborhood could cause such a ruckus? The construction of a Child Consultation Center (Jidousoudansho  児童相談所) in prestigious Minami Aoyama has its residents up in arms and the Japanese media is depicting their anger as petty and narrow-minded. There’s an old adage: “Rich folks never argue” but in this case, it looks like those folks are ready for more than a little arguing over what they see as their own, precious turf.

Minami Aoyama is the creme de la creme of posh Tokyo neighborhoods, famed for its sky-high COL as it is for the number of brand boutiques and high-end restaurants. Among the noted institutions in the area are the high fallutin’ Nezu Art Museum, the snarky Prada building, the Comme des Garcons flagship store and Tessenkai Noh Theater. Even the tourists strolling the streets here seem to have a loftier agenda.

Minami Aoyama is located in Minato-ku, Tokyo’s most expensive ward and home to many foreign embassies including the United States. Last month they announced plans to build a Child Consultation Center on a plot of land just minutes away from Omotesando metro station. Slated for completion in April, 2021, the Center will be a much-needed facility in Tokyo’s 23 Ward Area, functioning as a safe house for abused children, single mothers and victims of domestic abuse. Minato-ku bought the 3211 square meter plot from Tokyo for 7.24 billion yen and will proceed with construction in August, 2019.

Under other circumstances, this is a laudable move. There were over 130,000 cases of child abuse reported last year in Japan – the highest ever recorded, and the tragic death of a 5-year old girl in February heightened public awareness of a real and urgent problem. It also shed light on an inconvenient truth: Japan’s social system sucks when it comes to dealing with dysfunctional families and general child support. As it stands, there are only 7 such facilities in Tokyo’s 23 ward area, a number that’s dismally low compared to cities like London and Paris. You could say Minato-ku was making an effort to catch up to global standards.

But Minami-Aoyama residents opened fire during the 2-day meeting with the Ward office, saying that such a building is “unsuitable to the cityscape of Aoyama,” and will “disappoint in-bound travelers hoping to experience the exclusive atmosphere of Aoyama,” “lower the value of local real estate and give the entire area a bad name.” The media immediately honed in on their chorus and news reports televised an anonymous resident (a disembodied voice directed at an official in a conference room) expressing her distaste at seeing “children who can’t even attend the local elementary school,” daring to show up on pristine Aoyama streets. She was gently reprimanded by an official who explained that the objective was to help children in need. “They have done nothing wrong,” said the official. “The fact that they can’t go to school is the reason why these facilities are necessary in the first place.”

Cute dogs, okay, but poor kids, no way.

Social commentators, academics and even comedian Hitoshi Matsumoto went on the air to say that the real disappointment here was the “snooty narrow-mindedness of Minami Aoyama residents.” Indeed, the whole fiasco revealed an unpleasant side to Aoyama locals, long thought of as liberal fashionistas with cash to burn. “Actually, they’re demeaning their own town and themselves,” said a newscaster.

Though the controversy has calmed down, it has definitely left claw marks on Aoyama’s glossy image. The term NIMBY (Not In My Back Yard) was batted around by both the media (as something negative and petty) and the locals (as a way to defend themselves). Tweets to the tune of, “only happy, well-off people should live in Minami Aoyama. The residents here pay high taxes so they have a right to protect their streets from unhappiness,” are still floating around.

Ah, the right not to feel unhappy. Along with NIMBY, the debate over this right has gone viral, not least because it figures into real cash flow in the Tokyo real estate market. Housing journalist Atsushi Sakaki pointed out online that while “everyone understands the need for social welfare facilities, there is a strong local undercurrent of resistance to those facilities. For the privileged residents in Minami Aoyama, it’s hard to admit that unhappiness and tragedy exists, and harder still to have to live with a problematic institution in their own neighborhood.”

On a real estate market level, those emotions immediately translate into hard cash. “In the real estate world, there’s what’s called an antagonizer,” said Sakaki. “The antagonizer could be a prison, a juvenile correctional institution, or an industrial waste plant. In any case, the presence of an antagonizer lowers the image of the locale, which in turn has a negative effect on real estate prices. Given the current state of the Tokyo real estate market, that plot of land in Minami Aoyama should have been slated for a tower mansion.” Certainly Minami Aoyama’s top realtor Green Seed, would agree. It’s rumored that Green Seed is the secret instigator behind Minami Aoyama’s NIMBY anger-mongering, and that they’re planting fake tweets to discourage Minato-ku from going ahead with the project. Sakaki commented that for a local realtor, letting a choice plot of land go to a public works project implies hundreds of millions of yen in potential losses.

Both Tokyo and Minato-ku seems saturated by tower mansions but developers say they want to build more. Real estate prices are soaring, side by side with newly constructed condominiums of steel and glass that tower ever higher into the sky. In Minato-ku neighborhoods like Aoyama and Roppongi, newly erected high-rise condominium units start at an average 100 million yen for a modest 45 square meters and are snapped up immediately by IT moguls and Chinese developers.

Market pundits warn that the real estate bubble will burst once the Tokyo Olympics – now a little over 18 months away – packs up and skips town. But right now that’s as hard to imagine as the next Big Earthquake that could turn the capital into mountainous piles of rubble or hurl the city into a blackout nightmare, leaving many tower mansion residents helpless inside their high-in-the-sky chambers. Whether that would count as distasteful unhappiness remains for now, a mystery.

“I Know Your Name….” Sex-work and blackmail in Japan

“I know your name.”

photo by ©Jake Adelstein

I shuddered while reading the first line of this email on my mobile, I remember dropping it on my bed in disbelief. This wasn’t the usual time-waster, this wasn’t the usual sex pest abusive messages that escorts usually got.

“I know your name it’s ______ and you’re a student at _____ University”.

My heart stopped. I don’t use my first legal name anywhere online, nor do I tell people it. The only person who would know my entire legal name would be someone with access to official documents about myself. Like a professor.

“If you don’t send me nudes, and whatever the hell else I might want. I’ll expose you. I’ll tell everyone at University about you. I’ll tell your talent agency about you.”

Plenty of people within the entertainment industry moonlight as sex workers, including now famous A-list Hollywood actors. The difference between myself and them was that I was an idol. An idol in Japan is a young person active as a singer, as a dancer and most importantly a talent, whose biggest attribute is Disney’s Mickey Mouse Club-esque squeaky clean nature and hopefully manga-like cute cuddly shining eyes, perpetually open wide.

“If you don’t send me nudes, and whatever the hell else I might want. I’ll expose you. I’ll tell everyone at University about you. I’ll tell your talent agency about you.”

In Japan, I had come to meet a few idols who worked jobs as hostesses, girls bar work, erotic massage and for escort services. I even knew a guy who knew a guy who claimed to be the Papa-San or “sugar daddy” of a lesser known ***48 member. As common as this tends to be, it obviously is a liability for talent agencies.

For lack of more eloquent words, I was scared shitless. Whoever this person was had leverage on me as a student, as a migrant and as someone in the entertainment industry. However, I was more afraid that if I heeded his orders it would quickly elevate to more unscrupulous demands.

So, I ignored it. I ignored it for as long as I could. Until two weeks later he sent information about fan event I would be holding with something threatening along the lines of:  “It would be a shame if I came here and showed everyone your ad. You’re a dirty whore! Muahahahahah” The original email was worded differently, but the meaning was clear.

He was trying to exploit my latent feelings of shame around the sex work I was doing at the time  and the stigma society has around sex workers and migrant sex workers. As dumb as this is, I ended up sending him a few recycled lewd photos. I was too afraid of the repercussions…or maybe I have a humiliation kink I can’t admit yet. Even though I can dryly laugh about the situation now, it was horrifying when it was happening to me.

He predictably took it up a notch. “Go to coordinates _____ and there’s a vending machine. Put ¥20,000 (roughly $180) under it. Don’t look around or ask questions. If you don’t want this option you can give me blowjobs every week but you will remain masked the entire time”

20,000 yen it is, I decided. I kept being urged by friends to report this to the police. Despite what I said in my twitter post in Japanese, I didn’t. Well technically I didn’t. I’ll get back to that. I couldn’t report it to the police because what I was doing to earn money was probably way outside of the kind of work my visa would allow.

Later that day I looked up the coordinates to the vending machine where I was instructed go leave the cash. I wanted to sarcastically reply, “which vending machine” because in Japan there’s a vending machine on every street corner, sometimes on every floor of a building. The coordinates were smack dab deep in Dougenzaka, Shibuya’s red light district, also known as “Love Hotel Hill’.. It’s a bit like all of Roppongi but without drunk expatriate asshole merchant bankers. It’s also a bit like the East side of Ikebukuro but without the old men holding hands with high school girls openly. It’s a bit like Ueno but Dougenzaka doesn’t reek of piss. You get the idea. Dougenzaka is a red light district. It has the neon lights, beat cops, happening bars, love hotels and all the trimmings. But it tends to be a bit quieter than the others. Somewhere nicely in between the gaudiness of Kabukicho in Shinjuku and the tawdry sleaziness of Uguisudani.

He wasn’t the most intimidating guy to bring along, however he had a penis and he was Japanese.

I decided, that I would pay him once but no more after that I told myself. Going with me was a male friend. By friend, I meant a guy who was a part-time host at a host club and part time nursery school teacher who I had friend-zoned. I don’t like host clubs or hosts, both are painfully boring to me. I’ve never understood the appeal to the host system. I’ve had this theory, since most of the women patrons of host clubs are also sex workers, who have to deal with assholes all day, hosts allow them to try their hands at the dynamic themselves. Something like “reverse sexism”. As I said, I don’t like hosts but this guy was different. He was a total geek.

He was a Kaiju (怪獣) and Kamen Rider (仮面ライダー) nerd, totally into the world of Japan’s  superheroes and super monsters, and quite small in stature. He wasn’t the most intimidating guy to bring along, however he had a penis and he was Japanese. If the situation became out of hand, those two important factors would be all that would matter with having an ally on my side.

As we toddled down the dark Dougenzaka alley trying to find the exact location of the vending machine from the email, Kaiju-host told me “I don’t feel so well about this.” Well no shit Sherlock. Neither did I, but in my mind if I gave this guy money he’d lay off for enough time for me to figure something clever out.

“I think this is it!” We walked near a vending machine similar to one I had seen on Google maps. The location was a far cry from the neon lights and drunks bumbling out of Izakayas. The only illumination about was from that vending machine; the neon glow lit the alley like a lighthouse far in the distance. I wish I could say something more meaningful or prolific about that, but I can’t. Just know the place was really damn dark and the only light was from a metal box with drinks inside of it. I would definitely feel more afraid being alone there. I remembered the line from the email: “Don’t look around or hang about too long!” I wondered whether or not this idiot was hiding somewhere in the darkness with a trench coat on and a seventies porn mustache ready to pounce.

I slid the envelope containing the ¥20,000 under the vending machine.

“Man! T–t-this is crazy!!!”

As Kaiju Host whimpered I wondered to myself why I brought him, of all people, as some sort of security. Then I quickly reminded myself he was Japanese with a penis, and the professor harassing me was most likely American or Canadian, based on his writings. In my mind if the police had any questions, providing this idiot actually did pounce in a trench coat, me being a whore was cancelled out by having a Japanese person with me and maybe I would have a fair chance.

I went home that night and emailed the idiot professor who somehow thought 20,000 yen was a lot of money to blackmail someone for.

“I’ve given you the money. Please leave me alone”

I stupidly assumed all was well the next day when he responded,  “Great. I’ve got it. I won’t bother you anymore.”

And then silence. I assumed silence was great in this case, until two weeks later when I was contacted again. I know the readers are probably wondering where this story ends, if it’s fake or if I’m really all that stupid for continuously giving into his demands. I’d say a bit of the latter is true.

“You know…I’m starting to think you should um, come to a love hotel once a week or so and give me a free blow job, while wearing an eye mask so you won’t know who I am.”

And I ignored them. The emails got more and more harassing with every day, with about fifty or so emails sent every single day over a week’s time.At this point, I confided with a few friends about what I should do. Whether Japanese or not they all had a theme

“Go to the police. He will lose his job, everything. It’s illegal!”

“Dude this is how people get killed. You need to tell the police or I will!”

As much as I wanted to, as much as I told myself to do so- I couldn’t. I knew the score. Women are stalked in Japan all  of the time and police often do nothing until it’s far too late for the woman. Women have been stalked, beaten and even murdered with the Japanese police and media blaming her post-mortem for “leading him on”. It wasn’t until 2014 that Japan’s stalking laws drastically changed, society will take longer however. So to say I was hesitant on contacting authorities at all in an understatement.

So I did the best next thing.

I impersonated a police officer. This guy seemed like an idiot, so I figured it wouldn’t be too hard to fool him. I searched online for Japan’s laws on stalking and internet harassment. “Bingo!” I found a long bill of text and decided to use it. There was a lot of complicated wording in it, but it didn’t matter as long as it looked official to scare him.

I took time to translate the text, because I imagined this guy as one of those Western men in Japan who took zero time to learn anything beyond “Areegatoe” and broken pick up lines to use on obviously resisting Japanese women.

“Haha” it was so funny how official the penal code looked. I even added in Japanese and English: THIS IS AN OPEN POLICE INVESTIGATION. LAW ENFORCEMENT ARE LOOKING INTO YOUR ACTIVITIES AND HAVE TAKEN CONTROL OF THIS ACCOUNT.

He responded almost instantaneously, “I’m sorry can we reverse this somehow? I was just kidding.”

Thankfully, I never heard from him ever again. But it still haunts me. My legal name isn’t public knowledge and it isn’t something I even used within university. This was someone with access to my legal documents, my Instagram, my twitter and was most likely a lecturer, as he claimed himself. Everyday at University from that point, I wondered, “Is it him?”

The university I went to wasn’t renowned for having a great administration or anything. There were so many strange people there. I had far too many theories on who it might have  been and far too many unusual suspects.  Maybe you don’t have sympathy for me because you don’t like sex-workers and don’t believe people should have the right to full autonomy of their bodies. But the sin of having consensual sex, for money shouldn’t be one that has so much shame attached that it could lead to someone in authority blackmailing a student.

A part of me laughs a bit though, at the entire experience and wondering if he was scared shitless for a few months worrying if it was the day law enforcement would come question him. Or maybe he didn’t care at all.

At least he left me alone.

 

The Eternal Outsider :Ten Years Black in Japan–a book review

by Kaori Shoji

Trevor David Houchen was an expat in Nagoya for about 8 years before getting divorced from his Japanese wife. He tried to get joint custody of his two young children but was defeated in court and went the way of other divorced dads in Japan i.e., a six-hour long, unsupervised meeting once a month. After some mental health issues and a string of failed relationships, Houchen decided that he was through with Japan and vice versa. He boarded a plane back to the US and in LA, started writing what would become “The Eternal Outsider – Ten Years Black in Japan,” and remarried another Japanese woman. (Editor’s note: The book bears some similarity to Black Passenger, Yellow Cabs, previously reviewed here).

Houchen and his wife now live in Atlanta. His book – a hefty 508 page volume packed with explosive sex scenes and lengthy, soul seaching monologue, came out this month via a self-publishing company in New York. Houchen hopes the book will provide a passage back to Japan that will lead to a reunion with his kids. He hasn’t seen or heard from them since leaving Nagoya nearly five years ago.

Houchen’s story is by no means unique – an interracial marriage gone sour followed by an exit out of the archipelago is a tale oft-told by foreign men. Ditto the separation from the children which has become a huge problem in the past 5 or so years, despite the Hague Convention. Barring extreme and/or extenuating circumstances, Japanese courts favor Japanese mothers when it comes to child custody rights. And foreign-born parents are almost always banned from taking their kids out of the country.

Houchen’s plight is sad but “The Eternal Outsider” isn’t out to invite reader sympathy, not least from the presumed target audience of American males interested in Japan. Many will pick up the book, just from the photo of the Japanese-looking young woman wearing that classic Japanese expression which can be both a come-on and a signal of distress. Once they dip into the pages though, resentment may come bubbling up like coffee in an old-fashioned percolator. Houchen is black American, and through the book he inducts the reader into a whole other world of foreigner male entitlement that exists in East Asia. For many Japanese (and other East Asian) women, dating a white man equals romance and prestige. But dating an African American – now that brings some SERIOUS cache. Among other things, it broadcasts that the woman is earthy, sassy and adventurous enough to try dreadlocks. It also means she rocks – mainly in the sack which is the most important place to rock anyway. A friend of mine who once dated Kevin-from-Bushwick gleefully declared: “I feel like my butt is now 10 centimeters higher than it used to be!” To get that effect the rest of us would have to spend 100 hours in a Cross fit class.

Which is part of the reason why Houchen was able to experience what he describes in the book – never saying no to a bevy of Nagoya beauties who literally break his door down in order to share his bed. Sometimes, he has to do the work and actually ASK a woman out, but hey, why bother when the answer is ‘hai (yes)’ every single time? Most of them have the good grace to proffer their bodies and ask nothing in return. Many of them pay for his meals and clothes or in one case, gifts him an electric piano. One lover whom he refers to as ‘H,’ plonks down her own cash to support his magazine and music business and picks up the check for everything else.

Houchen’s success rate is phenomenal and you almost imagine him grinning with nostalgia for those golden days or shaking his head in pity at the sorry state of dating in his own USA. Guys not getting any? Guys sending hopeful dick pics to Tinder dates? Seriously, Dudes, just hop on a plane to Japan!

The other part is that Houchen – for all his self-absorbed, sexual predator asshole-ness, is actually a stand-up kinda guy with a real love for this country. He’s nice to his numerous girlfriends, nice to his ex-wife, obviously loves his kids and even tries to get along with his in-laws. This is Nagoya we’re talking about, a region famed for its ultra-conservative attitude towards dating and relationships. Nagoya parents are known for laying down the law when it comes to their children’s marriages and will meddle in everything from baby names to the color of the bath mat in a newlywed’s home. Most of them are NOT thrilled by the idea that their precious offspring could be involved with a foreigner. The fact that Houchen was able to swing a marriage at all is a miracle but as he writes in the book, “No, I’m not Japanese. But I tried. So hard….I tried my best to be invisible, to compact myself into a smaller, paler, less amped and less woke version of myself.”

That worked for awhile until it didn’t. “International Marriages,’ as they’re called in Japan, is still frowned upon by many in the older generation and according to “The Eternal Outsider,” Houchen’s in-laws looked upon him as a sort of disease to which their vulnerable daughter fell victim. There’s a hilarious account of how one day, his mom-in-law showed up at Berlitz, where Houchen was in the middle of teaching, and demanded to see him. Houchen had to excuse himself from class to go out and placate an older Japanese woman who suspected  that he was unemployed and came to check if he was lying. The incident rattled Houchen and he couldn’t recover enough to keep teaching the student. Berlitz ended up firing him.

“The Eternal Outsider” is an engrossing read but speaking as a Japanese woman, many of the pages was torture to get through. Somehow, it reminded me of a news story that was floating around in the mid 1990s, about how easily Japanese women capitulated to foreign men. It goes like this: Six Japanese college students – all young women, went on a holiday trip to Rome. In a restaurant, they were picked up by a local man who invited them all back to his apartment. They went, and he proceeded to have his way with them – all at once, and all on his own. These women weren’t tied up. They simply lay there on their backs while the man whizzed his way from one to another, all through the night. How’s that for stamina?  Houchen talks about how humiliating the divorce was for him, but hello – there’s a sizable amount of humiliation on this end too, except no one wants to talk about it. Houchen’s book certainly doesn’t.

Speaking of humiliation, Houchen fell apart when he discovered that his ex-wife had installed a Japanese man in the apartment they had shared and who was “a good five inches shorter” than Houchen. She had her parents, their kids and this new man who was already being referred to as “Papa.” He describes her united front as “a team” whose very existence drained all joy out of his life in Japan. In the meantime, he never stopped sleeping with any woman who happened to drop in, including a former student whom he used to teach at a local junior high school.

On the one hand, this stuff could be fodder for a hit series on Netflix. On the other hand, you could shrug and say “shouganai (it can’t be helped)” – he got what was coming to him.

Still, I’m uncomfortable about leaving it like that. The book reveals in a deeply observant way how ultimately, Japan and Japanese women refused to be messed around with, particularly by a foreigner. And in the end, Houchen’s wife and copious lovers all vanish like smoke from a pack of Seven Stars: Houchen’s preferred cigarette brand in the land of the rising sun. Sure, he had the time of his life but it was just that – a time. And now it’s gone.

Hey Fellas, Wanna be a “Guyjin” Idol In Japan? Read the story so far and then think on it…

by James Collins

On a typical day in December 2016, while drinking beer and eating yakitori in a smoke-filled Izakaya somewhere outside of Tokyo, I confessed my idea of creating Japan’s first all foreign male idol group to my girlfriend. Fashioned after the ubiquitous AKB48 idol group, I called the group Guyjin48, a play on the Japanese word gaijin, which means foreigner. The group would have members from all over the world, which would sing songs entirely in Japanese. The idea had struck me shortly after moving to Japan in 2013 while surfing for Japanese music on the Internet. It was my first time being introduced to the concept of Japanese idol music, but for some reason I felt compelled to try and create a group of my own, regardless of the fact that I had absolutely no experience in music production. My girlfriend liked the idea and the next day we created a logo, wrote out the concept, and created our first help-wanted ad looking for future foreign idols of Japan.

The guyjin idol band that could have been

The concept of the Guyjin48 project evolved over a period of three years, mostly from observing Japanese society and learning about the many pressing issues the country is dealing with, i.e. their greying population and the dire need for foreign labor. So the group went from being simply an act of curiosity to having an actual message and becoming more of a conduit for creating meaningful conversation, even if at surface level it appears to simply be only a bunch of foreigners singing idol music. Japan needs diversity. Japan needs to learn how to play nice with their impending deluge of foreign immigrants. Not exactly the most popular conversation right now, but one that must be had in my opinion. Like medicine-coated in sugar in order to make easier to swallow, I thought pop music might make the conversation a little easier to have.

A couple weeks after announcing the project, Crunchyroll, a widely used Japanophile website created an article based on the little information we had on the internet, and within hours the article had been translated into several languages. Other articles popped up here and there and it seemed there was a thirst amongst niche groups of foreigners who relished in the idea of finally being able to become a real idol in Japan. We began receiving multiple applications a day from people all over the world wanting to join the group, mostly from Indonesia. We also got our first bit of negative attention from the western community who claimed I was a disgusting racist for using such an offensive word as the group name.

It has almost been two years since starting the project with absolutely no experience and very little money. We have since changed the name to COLORFUUUL, we were able to team up with DJ Shinnosuke from the hip-hop group Soul’d Out, and I have finally been able to meet people in the industry and have started to see support from certain media outlets.

Despite all of this, and despite the fact that we have been able to create an album, created original dances, and already have multiple performances and interviews lined up, we recently have had a pretty big setback. Three out of the five original members of the group decided to leave, all within a matter of a few days. So we are once again looking for people to help us make this project a reality.  (Editor’s note, there has been at least one successful foreign idol in Japan, Ms. Amina Du Jean) who retired last year.)

So lonely….

If you think you can dance, sing, and have what it takes to be a foreign idol in Japan, then you might be what we are looking for. Auditions will be held at the end of October, so if you are interested please send applications to:

contact@jamtinpro.com

This is a chance to not only be part of a project attempting to pave the way for the foreign idol community but also to do your part in spreading a message of diversity and acceptance in Japan. Then maybe one day we can all hang out at that one place in Golden Gai that still doesn’t allow foreigners at the moment.

 

 

COLORFUUUL: 日本初全メンバーが外国人男性の

アイドルグループは募集中。

 

2016年12月、東京を離れてある居酒屋で私は焼き鳥と酒を堪能しながら、日本初全メンバーが外国人男性のアイドルグループを作りたいという思いを彼女に明かした。近年人気を博した国民的アイドルグループAKB48と同じように、グループの名前をGuyjin48にしようということも決めていた。Guyjinは外人という言葉をもじっており、外国人と英単語の男子という二つの意味がかけられている。日本に住んでいる各国からのメンバーを集めて、日本語の曲を歌わせるという構想を持っていた。2013年に来日してから当分の間日本の音楽シーンについて調べていたのだが、AKB48の存在を知ってからは、彼らの外国人バージョンのグループを作りたいと強く思うようになった。なぜそのようなアイディアをとっさに思いついたのかは今でもよく覚えていないが、プロデューサーとしての経験ゼロの私であったがすぐに挑戦する気持ちがみなぎっていた。彼女に相談すると、「いいアイデアだね。やってみよう」と賛成してもらい、次の日からすぐにロゴやコンセプト、求人告知を製作することに一緒に取り組んだ。

 

Guyjin48のコンセプトは3年間ずっと磨き続けてきた。最初は面白半分のような計画であったが、日本社会を観察し日本が今直面している色々な問題を知っていく中で、もっと社会貢献を目的にしたものにしようと考えるようになった。表面的にはただの外国人アイドルグループに見えるかもしれないが、彼らの活動を通して、日本社会の問題を提起することができる有意義な会話を生むことができることを目標とした。日本はもっと多様性に寛大な社会になるべきである。近年増え続けておりこれからもその数の増加が予想されている、日本国内の外国人労働者を含めた在日外国人と日本人がより仲良く,お互いのことを理解し合える環境を作っていくべきである。なかなか取り掛かりずらい問題ではあるが、東京オリンピックの開催やグローバル化が進む昨今の世の中で、早急に取り組まなきゃいけない問題であるのではないかと個人的に思う。堅苦しい話題であるかもしれないが、だからこそGuyjin48のようにポップな音楽を通して問題提起をすることが効果的であると信じている。

 

Guyjin48のコンセプトを発表した2週間後、「Crunchyroll」という英語圏の日本マニアの方向けのウェブサイトにグループのことを取り上げて頂き、数時間のうちに色々な言語の記事があちこちに拡散された。その時点で、日本で本格的なアイドルになりたいという夢を抱く外国人の数はとんでもないことが分かった。それから絶対グループに参加したいとアピールする応募者たちから毎日たくさんのメールを受け取り、また興味深いことに過半数はインドネシア人であった。Guyjin48のコンセプトへの反響は大半がポジティブなものであったが、そうでないものも少数ではあったが存在した。「外人」いう言葉は、一部の西洋人には非常に攻撃的に受け取られてしまい、彼らからの反応は喜ばしいものではなかった。このような反応は最初から危惧していた要素ではあったが、一部の人からは予期していなかった厳しい言葉も浴びせられてしまった。

 

経験とお金を全く持たずしてGuyjin48のコンセプトを発表してからほぼ2年が経過した。誰のことも傷つけないようにグループの名前をCOLORFUUULに変更して、元SOUL’D OUTのShinnosukeさんに作詞作曲をして頂き、業界の方とも顔を合わすようになり、メディアにも時おり出して頂けるようになった。

 

順調にみえたグループであったが、最近大きな挫折を経験することになってしまった。初のアルバムを製作し、三曲分のダンスも作り、ライブやインタビューもこれから何本も入っていたのだが、5人いるメンバーのうちの3人が突然脱退してしまった。したがって、日本初の全メンバー外国人男性アイドルグループを実現するにはまた新たなメンバーを募集しなくてはならないことになってしまった。

 

そこで歌とダンスに自信があり日本でアイドルになれる資質を持ち合わせていると思う方は、ぜひメンバーに応募していただきたい。10月下旬にオーディションを行う予定があるので、応募したい方はcontact@jamtinpro.comまでメールを送ってください。日本に住む外国人にとっては、日本のアイドルの世界への扉を開くムーブメントに参加するだけではなく、日本国内の多様性と日本に滞在している外国人への寛容性を高めようというメッセージを広めるチャンスでもある。興味がある方はぜひ応募してください。よろしくお願い致します。

We’re Stuck With ‘The Last Samurai’ While Everyone Else Gets Crazy Rich

by Kaori Shoji

In high school, the girls around me had one wish–to have a different nationality, preferably American, and to trash our drab school uniforms for the outfits in “Beverly Hills 90210.” Being Japanese was just no fun, though it did seem better than hailing from other Asian countries. After all, this was the 1980s and the Japanese economy was gearing up to enter the bubble era. The Equal Employment Law for women kicked in. Chiaki Mukai was training to be Japan’s first woman astronaut. Takako Doi was rumored to become the future Prime Minister. Things were happening here, albeit minus the fun, sophistication and glamour we so coveted.

Little did we know that one day, Singapore and China would trump (pun intended) the US in many things regarding money, or that Asian women would come to rank among the richest in the world. These women would book first class flights on the five-starred Singapore Airlines to chill in the gaze of the Mer-Lion, and immerse themselves in gossip, shopping and spas with unlimited supplies of yuzu-scented sheet masks.

No yakuza, geisha, or Matt Damon here.

For that’s what the ladies in the movie “Crazy Rich Asians” do. On the occasions that they haul themselves off the mani-pedi bed or tear themselves away from the mahjong table, they reach for their phones to tap a few keys and murmur a few instructions, to put extra padding on their already bursting bank accounts. After that, they’re off to dinner parties where a billion orchid petals pave the paths and splendid fireworks explode in the background. Who do these people think they are, clones of Daisy Buchanan from “The Great Gatsby”?

Speaking of which, “Crazy Rich Asians” is the kind of insular, extravagant love story that would have made Scott Fitzgerald weep with envy. Director Jon M. Chu, who hails from Palo Alto and attended USC, has been working in films and TV since 2002 and this time, he literally hit the jackpot. Somehow the man knew that the world needed the sight of well-heeled Asians with perfect teeth, flinging their cash around at the same time they’re being swooningly romantic.

Chu dares to tread where no Hollywood movie about Asia ever has. There is no poverty or war. No samurai conflict. No appearance of Matt Damon (The Great Wall)  or any white saviors to save the day. No immigration issues.  Most importantly, there are no mothers crying about the sacrifices they made, to give their children a bright future in America. The mother in “Crazy Rich…” (played by a gorgeously frosty Michelle Yeoh) is the type who, when running up against a racist manager at a London hotel, calmly takes out her phone and makes arrangements to buy the hotel then and there. Minutes later she strides away, leaving the manager to get down on his knees and scrub the mud off the carpet from her son’s shoes.

When Hollywood does Asia, it goes for the jugular, like “Joy Luck Club” and “Sayuri” and “The Last Samurai.” Hollywood executives hear the word ‘Asians’ and immediately conjure an image of sweating maidens in rice paddies, or yakuza with swords in Shinjuku, or maidens and yakuza hooking up in Shinjuku, or all of the above. But in “Crazy Rich..,” Asians get to do what white people in movies have been doing for centuries. It’s about time.

In the US, “Crazy Rich Asians” was the movie sensation of the summer and it’s easy to see why. Apart from the endlessly entertaining antics of the Asian one percent “Crazy Rich…” knows how to entice an American audience. The characters have American names like Nick (Henry Golding), Eleanor (Michelle Yeoh), Rachel (Constance Wu). They speak perfect English and hold engrossing conversations about love and family. They take their entitlement completely for granted. And they’re never weird. If they are, they’re weird in ways that Americans understand. Like in one scene, a bunch of catty woman put a dead fish in a girl’s bed as a bullying tactic, and it’s straight our of  “Desperate Housewives.” Or if you want to be authentic about it, “The Godfather.”

Meanwhile, over here in the Land of the Rising Sun, people’s names are adamantly Japanese. Women are told to shut up and bear children, or shut up and work until 50 after which they must quit to care for elderly parents. Prime Minister Abe, now firmly ensconced in his third term, has promised the nation’s women that “things are going to change.” Seriously? They ain’t changing fast enough. All over Asia, Asian women are liberating themselves from tradition and antiquated family values to get a lot richer a lot faster than the Japanese ever did. Japan had its five minutes in the economic spotlight in the late 1980s but the 20-plus year recession combined with the notion of “seihin (清貧・clean poverty)” just about did us in. Evidence to that is seen in the way “Crazy Rich Asians” completely ignores Japan. China, Taiwan, Hong Kong – these places all get mentioned but Japan? Nada. True, Japan-born actress Sonoya Mizuno is in the cast but she plays a filthy rich Chinese woman. Go figure.

We’re a tad miffed, to be honest. But that really shouldn’t stop Japan from savoring every single frame of “Crazy Rich Asians.” From the sleek, precision make-up on the women to the bared torsos of the males (firm, slender and hairless – God’s gift to Asia) to the decor and wardrobe to the food and cocktails, “Crazy Rich…” is one huge, glittering monstrosity of a sweet, sweet treat. No wonder that for an increasing number of Japanese who will never be crazy rich, Singapore has come to represent the unattainable Japanese dream.

HodoBuzz: New York-based Japanese Filmmakers Tackle Japan’s Sexism and Press Freedom With Crowdfunding

As Japan spiral downs the gender equality rankings each year with impressive speed(114th out of 144 countries), progress, on the other hand is being made at a snail’s pace in every corner of society.

But Japan’s death spiral towards the bottom isn’t just the status of women, it’s also with freedom of the press. Japan ranked 11th in the Reporters Without Borders (RSF) annual world press freedom survey in 2010, this year (2018) it came in at 67.  The only reason it wasn’t lower was that under the influence of President Donald Trump, press freedom has taken a punch in the gut all over the world—Japan remains essentially just awful.  The media here has never been much of a watchdog, but Prime Minister Shinzo Abe has turned much of the press into simpering lapdogs. NHK has become Abe TV thanks to political appointments.  Japan’s few investigative news programs have been cancelled or so neutered they no longer have bark or bite.

But what if….there were still some journalists, fighting the good fight. and what if, it was a woman?

A crowdfunded Japanese drama “Hodo Buzz” depicts a female reporter trying to get real news out while battling all the obstacles inherent in Japan’s media machine.

A new show “HodoBuzz” made by Japanese filmmakers based in New York City takes on these very topics and JSRC is excited to support and watch a show about Japanese people who aren’t afraid to speak the truth and champions a tenacious and outspoken woman(!) who will not be silenced.

Read on to learn more and support their fundraiser campaign!

Derrrrruq!!!, a New York-based Japanese filmmaking team, launched a Kickstarter campaign last month for its new journalism drama HodoBuzz. The campaign seeks to raise $30,000 by September 4th to complete post-production, release, and promote the show.

HodoBuzz Kickstarter Page

http://kck.st/2u8rx8o

The project will only be funded if it reaches its goal of $30,000 by Tue, September 4 2018 11:59 PM EDT.

The creators have a good reason as to why they had to turn to crowdfunding. The show focuses on issues that the Japanese entertainment industry tends to avoid discussing: media sexism and press freedom in Japan. You can check out the series trailer made for the Kickstarter campaign. Don’t forget to turn on the subtitles!

Link: https://youtu.be/TxRQt5vA83g

HodoBuzz is a story about Asuka Wada, a Japanese female reporter. Tired of sexism and objectification in Japan’s TV industry, Asuka quits her job as a game show host in Tokyo to pursue her long-time dream: becoming a news anchor. 

A Japanese version of The Newsroom would be a thrill to watch.

Asuka moves to New York City, the world’s leading journalism center, to work for HodoBuzz, a digital news company.

The first sensitive issue HodoBuzz deals with is the rampant sexism in the Japanese media. In Japan, female TV reporters are constantly objectified. They are often referred to as “joshi ana”, or “girl announcers,” whereas male reporters are called simply, “announcers”. Female reporters have to dress up in a way that entertains the male audience. It is not uncommon for some female reporters to be assigned sexually charged assignments, such as reporting from a beach in a bikini. However, the most obvious point regarding the sexism female journalists face in Japan is that hard news or more “serious” topics are almost exclusively reported by male journalists.

Even at HodoBuzz, which is based in New York, Asuka’s boss, colleagues, and several viewers underrate her skills, because of her past as a game show host. Asuka will experience intense online harassment and bullying, due to the belief that she was hired for her looks, not her abilities.

The second issue the show uncovers is the constant breach of ethical journalism standards in Japan. In HodoBuzz, characters discuss real news, cite actual political commentary, and refer to known false reports by existing Japanese TV networks and newspapers. This has never been done on a Japanese TV drama, due to the strong and complicated codependent relationships among the news industry, political parties, TV stations, sponsor companies, and major talent agencies.

The nature of HodoBuzz has made it very challenging for the creators to get enough investment and distribution support. And it’s safe to assume that HodoBuzz won’t get good coverage from Japanese legacy media, either. Due to the time-sensitive topics discussed, Derrrrruq!!! decided to turn to Kickstarter.

Kickstarter video Link: https://youtu.be/AuhIUjyFGUk

Their team name, “Derrrrruq!!!,” was inspired by the Japanese expression “the nail that sticks out gets hammered down”, which describes the conformist nature of Japanese society. Derrrrruq!!! aspires to be the nail that sticks out, a “disruptive” voice in the industry.

For the readers of Japan Subculture Research Center, Derrrrruq!!!’s three creators, Mari Kawade, Maho Honda, and Tsukasa Kondo, might look familiar. Their previous work, 2nd Avenue, was also a bicultural show set in Williamsburg, Brooklyn. The entire series of 2nd Avenue is available on YouTube to watch.

Link: https://youtu.be/9jbXtOYNS1w

Like 2nd Avenue, Derrrrruq!!!’s aim with HodoBuzz is to create a show that is hard to find in the Japanese entertainment industry. To learn more about HodoBuzz and to make a donation to the crowdfunding campaign by the September 4th deadline, please visit http://kck.st/2u8rx8o.

HodoBuzz Facebook page: https://www.facebook.com/derrrrruq/

Twitter: https://twitter.com/derrrrruq

Instagram: https://www.instagram.com/derrrrruq/

Website: https://www.derrrrruq.com/

 

STAY: An African American Film Director Works Towards Finishing A Feature Film in Japan With Crowdfunding

TOKYO – July 16, 2018 Filmsnoir Motion Pictures and Fusion For Peace Productions are proud to share their rewards-based crowdfunding campaign for the independent motion picture STAY, shot in Tokyo by award-winning filmmaker Darryl Wharton-Rigby. The campaign seeks to raise 1500000\ ($15K) to complete final post-production in preparation for distribution and to raise awareness of their collective efforts to change the landscape of the Japanese Film Industry, as Wharton-Rigby is only the second African American to produce a feature film in Japan, in its 100+ years history. To date the campaign has secured over 600000\ ($6K) from supporters on Makuake, the Japanese crowdfunding platform. With just 9 days remaining, in this all of nothing effort, the producers are urgently pleading with the public to support their efforts.

“We are extremely grateful for the contributions we’ve received in response to the crowdfunding campaign for our feature film Stay. Because of generous donations, we are currently close to reaching 40% of our objective,” comments Executive Producer, Christopher Rathbone. “We believe in this film and are excited by the possibilities. Given the global festival acceptance rate and the awards won, STAY has great potential. With continued support, we can maintain this momentum and raise enough funds to complete the project in preparation for distribution and the Japanese premiere.”

The campaign seeks to build a community committed to film diversity and offers a variety of rewards including chopsticks, key chains, posters, screenplay copies, digital downloads, film credits, invitation to private screening as well as lunch with the director and film and it’s star, Shogen.

STAY, a touching romance, the story follows a couple who fall passionately in love over a long weekend.  Ryuu is a Japanese man who is a recovering drug addict, and Hope, is 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, STAY, Wharton-Rigby’s second feature film, was shot on the Tokyo streets in fifteen days, guerrilla style. It’s a technique the former Homicide: Life on the Street writer has used throughout his career.

“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 STAY to feel like it was made by a Japanese filmmaker,” says Rigby.

For the black filmmaker, who lives with his family in Saitama, Japan, this story is personal as his father supervised recovery houses in Baltimore where he grew up. However, after reading aboutthe plight of those dealing with recovery in Japan, he decided that Tokyo would make an interesting backdrop for STAY, while simultaneously promoting diversity and inclusion in the Japanese film industry.

To learn more about Wharton-Rigby’s journey and to make a donation to the crowdfunding campaign by July 26th visit Makuake or go to the link here:https://www.makuake.com/en/project/stay/.

A Short History Of Aum Shinrikyo, their murders, and the failure to stop them

1984 — Shoko Asahara, a visually impaired yogi, forms “AUM Shinsen no Kai,” later renames it AUM Shinrikyo. It mixes elements of yoga, Buddhism, and other religions and begins recruiting college students and intellectuals.

AUM even used manga (comic books) to recruit members.

1987- AUM incorporates in New York City under the name Aum USA Company, Ltd. In the US it attempts to purchase military weapons, develop chemical weapons.

February 1989–AUM members strangle to death, 21-year-old Shuji Taguchi who had wanted to escape the group at its complex in Shizuoka Prefecture.

Nov. 4, 1989 — AUM members acting on orders from Asahara, kill the lawyer Tsutsumi Sakamoto, his wife and their 1-year-old son at their home in Yokohama. The lawyer had been part of growing vocal opposition to the group.

1990 — Asahara and 24 other disciples run unsuccessfully in a parliamentary election. The defeat spurs Asahara to begin plans to take over the country and began developing chemical weapons. The group also began manufacturing methamphetamines and small-scale incinerators  which they sell to the Yamaguchi-gumi and other yakuza groups to raise funds.

1993-AUM purchases a 500,000 acre sheep farm in Australia where they test out sarin gas, leaving behind 29 dead sheep.

AUM begins training helicopter pilots in the United States in hopes of eventually dispersing sarin gas over the Tokyo via helicopter.  Plans for launching an attack within the US are also considered.

June 1994-AUM purchases a helicopter from Russia

June 27 — AUM members test sarin nerve gas in a residential area of city of Matsumoto, Nagano Prefecture. Eight people are killed, 100 injured.

December 12–AUM members kill a member, Tadahito Hamaguchi, with highly toxic VX gas on an Osaka street. He was suspected of being an informant.

January 1,1995–Yomiuri Newspaper publishes on their front page a special report that the police had found elements of Sarin gas in the ground near AUM facilities in Yamanashi Prefecture, linking the cult to the 1994 attack.

February 28,1995-AUM members abduct Kiyoshi Kariya, 68, to find his sister who wanted to leave the group. He dies under interrogation and his body is incinerated in a cult-built microwave heating device. (This and the other murders were later referenced in the series Millennium episode 2, Gehena).

March 20,– AUM members release sarin gas on Tokyo subway system. Thirteen people are killed and over 6000 injured.  Police immediately suspect AUM.

April 23, AUM leader in charge of “Science Technology” and conduit to organized crime, Hideo Murai, is stabbed to death by a Yamaguchi-gumi members in front of the group’s headquarters, while reporters watch.  The spokesman for the group says, “I heard that Murai was killed by the Jews.”

May 5–AUM members plant a cyanide bomb in the bathroom of an underground passage connected to Shinjuku stations, near the ventilation system. The poisonous fumes would have killed thousands if the bomb hadn’t been found.

May 16 — Asahara is arrested.

2000-AUM officially disbands and reforms under the name Aleph.

Feb. 27, 2004 — The Tokyo District Court sentences Asahara to death.

Sep. 15, 2006 — Asahara’s death sentence is finalized.

2007–

Aleph splits into another faction, Hikari no Wa. Later, a third faction of the group emerges.

June 15, 2012 — The last fugitive former AUM member, Katsuya Takahashi, is arrested for his part in the subway attacks.

Jan. 18, 2018 — The Supreme Court rejects Takahashi’s appeal, ending all trials linked to AUM Shinrikyo cult.

July 6, 2018 — Asahara and six others are executed by hanging. Seven members remain on death rows while their cases are being appealed.