Spring Healing: An Art Exhibit–last day March 28th

Tokyo Art Studio Launches ‘Spring Healing’ Joint Art Exhibition

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 established artists 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

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

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

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

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.

About Tokyo Art Studio

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

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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.

“Nothing says love like menstrual blood.” In Japan, V-Day chocolates are really special

Japan has a unique way of celebrating western holidays. On Christmas Eve, men and women check into Japan’s ubiquitous, pay by the hour, slightly kinky boutique hotels, also known as  “love hotels” and celebrate the event with raucous but tasteful intercourse.

On Valentine’s Day, the women buy chocolates for men. The men reciprocate a month later on White Day, a candy industry invented holiday, by saying thanks for their expensive chocolate gifts with cheap white chocolates.

On Valentine's Day in Japan, women give chocolate to men. And some women put a little blood and sweat into making home-made chocolates for their true love. Metaphorically and literally.
On Valentine’s Day in Japan, women give chocolate to men. And some women put a little blood and sweat into making home-made chocolates for their true love. Metaphorically and literally.

The whole holiday is a huge headache for many Japanese women who not only buy chocolates for the most important lover in their life, which may not necessarily be their boyfriend, or husband, or even a man at all–but they also have to buy and give chocolates to work acquaintances and close male friends. The chocolates that you give to your lover are called 本命チョコ (true love chocolates). Those you give out of obligation (義理) are called giri-choco (義理チョコ).

Love, blood, chocolate and a love hotel is all you need. Happy Valentine's Day in Japan!
Love, blood, chocolate and a love hotel is all you need. Happy Valentine’s Day in Japan! Hey and the costume rentals look amazing. Notice the lovely Disneyesque fonts.

 

Well, some women in Japan, and probably a very small number of them,  in order to spice up their home-made chocolates with a little extra something, or give their store bought chocolates  something really special--are reportedly (self-reportedly) putting a little of their own blood and sweat into the cooking of gooey sweets. Literally. Sometimes body fluids such as blood, sweat, and spit are the secret ingredient in chocolates given by Japanese girls to the boy of their dreams. If they aren’t really doing it, they are at least certainly tweeting about it.  One sneaky chef recommends that people use frozen raspberry puree in their home made chocolates to disguise the blood’s taste and appearance. (I always knew there was something about raspberries I didn’t like.)

Japanese girls and women have been tweeting about mixing blood, spit and other bodily fluids in the chocolates for their "true loves" as a sort of magic. How many really have? Who knows?
Japanese girls and women have been tweeting about mixing blood, spit and other bodily fluids in the chocolates for their “true loves” as a sort of magic. How many really have? Who knows?

Obviously, some of this self-reporting is dubious and simply black humor but it’s not altogether an unknown practice and reports of it date back at least to 2011.

There seems to be a primitive belief in Japan that one’s blood or parts of the body have magical powers of attraction and that by having your true love consume it, that they will become a part of you or inseparable. In other words, if you are the one in love but not your partner (片思い), having him drink your blood is believed to make you fall in love with each other equally. (両思い).

The insertion of bodily fluids into chocolates is considered to be a sort of black magic (黒魔術) or a spell/majinai(呪い). Or perhaps, women just do it because a popular website reported it as new trend. In Japan, what is reported to be a trend, often becomes a trend based on that report. The news makes the news. Of course, one respondent to JSRC explained her reasons for putting her blood in the chocolate as simply, “I thought it would make the chocolate taste better.”  (血液を入れたら美味しくなるかと思ったから)

Ideally, says the blogosphere, if you are going to lace your true love’s chocolates with blood, menstrual blood is the most powerful. For those women to be having their period during Valentine’s Day is an auspicious sign.  Women are advised that if they don’t have blood to give, to try fingernails, skin, or other materials from their own body.

We agree that the “bloody valentines” are not a trend, and  probably only made only by a fringe element in Japan but there you go. Japan apparently isn’t the only place where the magical attractive powers of a woman’s blood in the food of her man are supposed to to make him a love slave. This is allegedly a common voodoo belief as well. However, in Japan they seem to be more methodical in how to do it, including recipe suggestions—even if some of that is in jest.

It goes without saying that consuming the blood of another person is probably not healthy. And the jury is out on the efficacy of chocolate’s sterilization of harmful viruses in the red elixir of life.  So for you lucky guys in Japan getting a box of chocolates from your “true love” or would be “true love” ; be sure to get vaccinated first and consume carefully. If you suddenly find yourself feeling strongly for your lover in what was once a one-sided relationship, well then you’ll know something magical is happening.

Happy Valentine’s Day.

Note: This article was originally written without one tasteless pop-culture reference to horror/slasher film “My Blood Valentine.”  Angela Kubo, food writer, gracefully contributed to this report. 

 

Woman Under The Sand (short story)

by Kaori Shoji

Japan Subculture Research Center is proud to present the latest addition to a series of short stories, by our resident book reviewer and social commentator, Kaori Shoji, on the often tragically mismatched marriages of foreign men and Japanese women–The Amazing Japanese Wife. If you see echoes of someone you know or yourself in this story, be rest assured that you’re a cliche—but take solace in the fact that misery is universal. This new story is apocryphal in the sense that the protagonist is unmarried–but seeking to be married.

“Kimie felt as if her insides had dried out and her blood vessels were clogged with sand. Did the woman in the novel die in the end? Kimie couldn’t remember but neither could she recall when she had her last period.” 

One


In high school, Kimie read a novel about a woman who lived in a shack that was sinking into a sand pit. One day, sheer chance leads a man–an outsider–to wander into the woman’s shack. Initially, she’s kind and welcoming but she takes steps to ensure that the man can’t leave. Soon she sets him to work shoveling the ever-present sand out of her door, which she herself has been doing everyday for years. Otherwise, the sand will claim the shack completely and the woman will have no place to live. 


At the time, Kimie was sixteen and was reveling in the power of her sexuality. She didn’t need to trap a man in the sand to get him to do anything–most of them were putty in the hands of a girl in a school uniform. When she stood on the platform of the train station she could feel the particles in the air around her change and shift, as men craned their necks to get a better look at the back of her knees and her neck and her long, perfect hair. A man in a neat, expensive-looking suit once gazed at her intently and pressed a 10,000 yen bill in her hand. “This is so you can kiss me later,” he whispered, before striding rapidly away. 


For all that, the woman in the shack that was sinking into the sand, haunted Kimie. As she grew older it seemed she was turning into this woman, shoveling out sand alongside the man she had trapped. She knew exactly how this woman felt, and how earnestly she needed the man in her sand blown life. After she hit her forties, Kimie identified more with the man. She could picture him, desperately clawing at the sand, eyes darting wildly as he searched for a way to escape. 

Two


Kimie had turned 47, and was living with her mother in the same house she had lived in since childhood. 


Three weeks into the pandemic shut-down, Kimie felt her synapses fraying, and then unraveling. Her hair was falling out in chunks and her skin was clammy to the touch in some places, while in others it was dry and chilly. The soles of her feet had the texture of old, cracked rubber. She would get up in the morning, and too distracted to open the curtains, would immediately turn on the news, mentally preparing for the day’s dreary horrors as if they were a mere extension of her fitful nightmares. 


“Kimi-chan, Kimi-chan!” After half an hour of staring at the screen, the calls of her mother from the kitchen downstairs, would alert her to the fact that she had procrastinated long enough. It was time to face her mother at the table, over coffee and toast with synthetic butter and cheap jam. 

The sight of her mother, aged 77, instilled a sense of silent panic deep within Kimie’s soul. This is where I’m going, this is what I’ll look like. She knew such thoughts were vain and unworthy but she had decided long ago that it was okay to have them. Until five years ago when her father was still alive, Kimie could convince herself that she valued her parents because they brought her up and sacrificed much for this life of hers. In her youth, this life had seemed to be the most enticing item in the whole shop. She had pointed to it with her finger and it became hers, gift-wrapped and bow-tied. The bill had been sent round to her father, who paid without complaint. But now the sand was getting into the nooks and nannies and crevices of her pretty little life. 

On good days, Kimie would tick off her milestones in her mind, if only to remind herself that she was special, and her life was, if not completely wonderful then surely presentable. A semester in a high school in Missouri, courtesy of a school-sponsored home stay program. She had called her father collect to ask for 500 extra dollars to spend on a prom dress, subsequently torn in three places by her geeky, fumbling boyfriend as he frantically groped her in his parents’ car. A year in Pennsylvania during university because she had insisted to her father that she needed to improve her English in order to land a good job. Her father had wired 800 dollars into her account every month so she could eat well, go to parties and well, improve her English. (Which she did! She scored 900 on TOEIC!) A trip to Italy and France as a graduation present. At the time, all these things made enormous sense to her, and besides, her mother had encouraged her every step of the way.  “I want you to have the life that I could never have, Kimi-chan,” she intoned, the closest thing her mother ever came to a prayer. She would also say, “The world is so different from when I was young. I had no choices, no options, nothing but the life that was put in front of me.” This was her mother’s mantra, pulled out whenever she got into a fight with her husband or daughter, knowing it would make them feel guilty enough to shut up and back off. 

Kimie had allowed herself to buy into the myth that her mother, comfortably ensconced in their house in a Tokyo suburb purchased with a 30-year mortgage, had been abused and victimized by the Japanese social system. By embracing that myth Kimie took it upon herself–the brilliant girl who had studied in the US, could speak English and got a job in a bank–to be happy and successful. This would compensate for her mother’s apparently miserable and downtrodden existence. 
Kimie had believed she was doing the right thing, only to realize in middle age that she was trapped, a prisoner in the cell of her own bedroom. 

Three

Kimie’s younger brother had always rebelled against their parents and left home at the same time he chose a university in the northern tip of Japan–as far away from Tokyo as he could get without going abroad. Relatives had pitied her brother, he chose a national university with low tuition and turned down their father’s offer of a loan so he could rent an apartment. Instead, Kimie’s brother Youki spent four years in a cramped, filthy college dorm. Occasionally, he called to let his family know he was all right. After graduation, he stopped by to say he had found a job at a mid-sized electronics manufacturer. Youki had none of the privileges Kimie had taken for granted but he gained the kind of strength and freedom she couldn’t even fathom. Now, Kimie found it hard to wrap her mind around the fact that her brother had his own house, a family, even a dog–an elegant Dalmatian named Sabu whom she had seen only once. Youki had left and never came back. She had been the cosseted, dutiful daughter who stayed, and stayed and stayed at home. “At least I have you, Kimi-chan,” her mother liked to say. “As long as you’re still here, I have nothing to complain about, really.” 


Kimie felt as if her insides had dried out and her blood vessels were clogged with sand. Did the woman in the novel die in the end? Kimie couldn’t remember but neither could she recall when she had her last period. 


“Kimi-chan, are you working today?” Her mother, chewing toast, tossed the question in the air and Kimie nodded with a small grunt. There was a Zoom conference at 3PM for which she planned to turn the camera off. Until then she could pretend to do some paperwork, answer some emails, make a few calls. How long would that take? Maybe a couple of hours. Even with the Zoom conference slotted in, there were still ten or more waking hours that had to be whiled away somehow, secluded in her prison cell. Putting her dishes in the sink for her mother to wash, Kimie plodded to the bathroom to brush her teeth and wash her face. She saw no reason to change out of her pajamas, it wasn’t like she was going anywhere. 

Kimie didn’t like life under the pandemic. At times, the strain of being cooped up inside a small house with her mother felt intolerable. But she hated her pre-Covid life even more, with a ferociousness that had her contemplating suicide at least three nights a week. 

In late 2019 Kimie had an epiphany: instead of dying she would get married! Marriage would at least, enable her to leave her mother and the wretched house. In January, she signed up with a ‘konkatsu (marriage agency),’ dutifully paying the 300,000 yen registration fee and answering each and every match-up question. She understood from the hour-long meeting with the agency’s ‘counselor’ that these days, it was quite common for women in their 40s and 50s to look for partners, but the road to an actual wedding could take longer than expected. The 300,000 yen fee would cover her match-ups for up to one year. “What happens when a year goes by and I’m still single?,” Kimie had asked and the counselor, intimidating with her glowing skin and sleek hair, had chirped that most women found someone within 6 months. “Our advice is: try them out. Most of our clients haven’t dated in awhile and they’re all a bit rusty. We find that when the woman takes the lead, everything tends to fall in place. So don’t say no until you’ve tried them out!” 

After screening a half dozen applicants, Kimie settled on the 56 year old Yamanishi-san, whose portrait photo reminded her a little of her father when he was that age. Yamanishi-san’s texts were charming; he seemed to know how to strike just the right tone between elaborately polite and paternally friendly. They agreed to meet for lunch in a kaiseki restaurant (his choice) in the posh district of Ginza, where he had booked an alcove facing a Japanese garden. “I love gardens in the winter. They’re so calm and soothing,” he texted, and Kimie felt a little thrill of anticipation. It had been a long time since she had been courted, on any level, by a man. Maybe she really was about to get a ticket out of the sand shack–her private nickname for home. 


Exactly 24 hours before the appointed time, she had her roots done at an expensive salon in Aoyama. Two weeks prior to that, she had bought a dress at a department store, along with a fresh pair of panty hose and brown leather pumps. On the day, she scrutinized herself in the mirror and decided she didn’t look a day over thirty-nine. Saying nothing to her mother, Kimie went to the restaurant with as little anxiety as she could manage. If this worked out, she would break the news to her mother gently, and suggest moving to a house in the immediate vicinity so they could visit often. 

Yamanishi-san turned out to be a bit heavier than his photo, and with noticeably less hair but Kimie was willing to overlook these minor flaws. What was much more jarring, was the rift between his digital texts and his real life persona. Yamanishi-san didn’t even look at the garden but kept his gaze firmly on Kimie’s chest, as if he were a chef contemplating the char marks on a grilled steak. “You have a good body for a woman of your age,” he said. “Have you done much sports in school? I like a woman with good muscle tone.” Kimie smiled and said no, not really, she had been too busy studying English.

“Ah, yes! I read that in your resume. You’re not some idiotic female with zero skills, you’ve been out in the world and you can speak English! My mother would like that. She used to be a teacher in her day. She likes women with knowledge and work experience. She can’t stand dumb girls.” 

The conversation went on in this vein and Kimie could hardly bring herself to sample the meal, made up of exquisite morsels of food artistically displayed on polished lacquerware. All she wanted to do now was go home, and slip into bed with her phone. She stopped listening to Yamanishi-san altogether and thought about Spotify. She really should update her playlists. 


Suddenly, in the middle of wresting a thin piece of radish from a tiny portion of soup, Yamanishi-san fixed her with an intense stare and said, “Okay, I seriously have to ask you this question if we are going to take this relationship any further. What color is your that?” 

Kimie could feel her cheeks tingle, and then burn, and could only mimic the last word in his question. “That?” she blurted, like a fool, she thought. Yamanishi-san nodded vigorously and said, “Yes, your that. You know, I can almost tolerate black nipples though I would much prefer them to be a lighter color. But a woman’s, you know, that–should never be dark. If we are to have sex, I don’t think I can perform very well if your that is a dark color.” 

After a full ten seconds of silence in which Kimie sat there, her face turned desperately to the winter garden which struck her as being dull and ugly, Yamanishi san said in a gentler tone, “I’m sorry to have to ask you. But this is…not love, it’s not dating, don’t you see? This is an arrangement preceding marriage. I think that you are a smart, modern woman and maybe we could come to an understanding, the two of us. But neither of us is young, and there’s no time for beating around the bush. I have my priorities and I am being honest about them. Won’t you give me an answer?” 

“I don’t know. I don’t usually look.” With that, Kimie stood up, clutching her handbag, and walked clumsily to the reception area where she asked for her coat. As soon as she was out of the restaurant, she grabbed her phone and blocked Yamanishi-san’s number after deleting all his texts. 

Finis

Kimie’s thoughts often wandered back to that lunch, but the memories were not of Yamanishi-san. Indeed, within hours of that experience he had felt like a figment of her imagination, spawned as the result of the meeting with the chirping counselor and her stupid advice. 

What Kimie recalls is how, as soon as she had gotten home and climbed the staircase to her room, she stripped off her coat and dress and peeled off her pantyhose. She took a mirror from her make-up drawer and held it close to her vagina. For several seconds, she had to struggle to see, but when she got a good enough view, she let out a sigh of relief. Her ‘that’ wasn’t black. In fact, the color could even be described as being on the light side. “If we are to have sex,” she whispered to herself. Then she had put the mirror away, pulled up her panties and got into bed. She could hear her mother calling her name from the kitchen but she shut her eyes tight and willed herself not to hear. The sand was seeping into her room, gathering in mounds all around her bed, lulling her to sleep. She would shovel it out later. 

Note: Ms. Shoji should be credited for coining the word WAM (Western Anglo-Saxon Men) also (White American Men)–a more understandable term for the Charisma-man type of entitled self-important foreigners that once flooded these shores but now mostly live in Hong Kong, Beijing, or Singapore. Also, it should be noted that Ms. Shoji has always been an equal opportunity misanthrope, as evidenced in her book review entitled 21 Reasons Why Japanese Men Suck.

TOTAL RECALL: REMEMBERING JAPAN’S TEMPLE OF SPEED

An iconic photo taken by Joe Honda

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 exhibition brings to life memories of motorsport’s golden age through a series of historic and rare photographs from Joe Honda’s rediscovered archive. It offers 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.

www.joehonda.com | https://www.facebook.com/joehondahisworks | https://www.shashinkosha.co.jp/english/about_us.html

Arrangements: Members of the public who wish to see the exhibition can get in touch with Emiko Jozuka, the director of the Joe Honda Archive, who is organizing a limited number of private tours.

For more information, interview or image requests, please contact:

Emiko Jozuka email: emiko.jozuka@gmail.com

Mobile: +85298562017   | WhatsApp: +85298562017  | LINE: emi337

Curator bio and additional comments

Emiko Jozuka, director of the Joe Honda Archive

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’ 

Award-winning indie Japanese film, STAY, showing tonight in Tokyo, prior to Amazon Japan release

TOKYO – November 6, 2020 The award-winning independent motion picture STAY by 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 STAY to 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..

NEWSFLASH: Japan calls the US Election by issuing “President Biden Burger”

IT’S OFFICIAL! A Japanese diner, TSUNAMI NAVY BURGER, located near the US military base in Yokosuka, calls the election for Biden w/ release of the Biden Burger: 600 grams, full of Philadelphia Cream Cheese (thanks Pennsylvania) and ¥1980 ($18). The diner might retire its predecessor, the fatty, artery clogging Trump Burger–but the jury is still out.

This gourmet delight was modeled on the Philadelphia Cheese steak sandwich. It contains a generous thick patty of beef, onions, peppers, paprika, sautéed mushrooms, lots of Philadelphia cream cheese–in a nod to Biden’s home state, Pennsylvania, which may have ensured his victory, and sprinkled with potato chips for a salty accent and a better mouth feel. It’s the taste of victory.

The Trump Burger which has been served since 2016, is a heart-clogging blend of peanut butter, soft-boiled egg, two bacon strips, Sloppy Joe sauce (ahem), cheddar cheese, lettuce, onion, tomato with a tiny USA flag on top (probably made in China).

The deadly Trump Burger. It may taste good going down but the heartburn lasts four years.

Head down to TSUNAMI NAVY BURGER to celebrate if you’re a Democrat or to cheer yourself up if you’re a Trumper. Bon Appetit!

Face savouring food
The Election of the 46th US President Commemorative Biden Burger. The secret to its deliciousness are the old-fashioned potato chips, solid beef, and liberal amounts of Philadelphia Cream Cheese and brotherly love.

Take A Riverboat Cruise To Snarky Japan–You’ll laugh, learn, possibly get seasick. It’s the podcast you shouldn’t miss…or the boat you shouldn’t miss. Maybe both.

The Japan By River Cruise podcast will take you on a wonderful snarky journey through current Japanese events and the culture. Laugh and also grow wiser.

Japan By River Cruise presented by comedians Ollie Horn and Bobby Judo, is a weekly podcast about the surprisingly fascinating, tumultuous, and often cutthroat world of the modern river cruise industry in Japan, as well as its 1200-year history–and current events.  Each week, the show invites guests with particular insight into Japanese culture, politics, or history to talk about all of the latest developments in the Japanese news, but also river cruises*.

(Editor’s note: As of November 2nd, 2020, almost all river cruises are currently suspended due to the outbreaks of COVID19 that took place on yagatabune (屋形船) which were considered hotbeds of infection, until the foreigners were blamed, and then even after Governor Yuriko Koike tried to blame all infections on ‘the night village’ aka people working in the adult entertainment industry–host clubs, massage parlors, hostess bars–these boats still got a bad rep. River cruises are expected to pick up again when Japan finds a way to test as few people for the virus as possible while raising the capacity of people they could test, if they actually wanted to test them).


Past episodes have delved into the Suga and Abe administrations with investigative journalist Jake Adelstein and former LDP aide (and alleged sycophant–just kidding, he’s not) Derek Wessman. We looked into the behind the scenes of being a pop-idol in Japan with former-idol Amina Dujean, talked about the Japanese reception of BLM with author and activist Baye McNeil, and also discussed river cruises.


Whether it’s business culture with consultants like Rochelle Kopp, Japan-based travel influencing with YouTuber Currently Hannah, language learning with Japanese teachers like Akiko Kitamura, or river cruises with all of the guests, the show explores topics that Japan residents, tourists, and admirers alike can enjoy. It’s all done in a light, comical format that will make you laugh, and also might get you a ten percent discount on your next Japanese river cruise. Plus, many of the speakers are eloquent and would never write a run-on sentence.


New episodes stream every Friday and the show is available on all major podcast platforms, including Spotify, iTunes, and Google Podcasts.
Upcoming shows will discuss the “invention of the Samurai Way,” developments in Japanese cuisine, Japan’s struggles with Western-style diversity and inclusion training, and….boats. 
You can listen to a short collection of the highlights of previous episodes here: https://jbrc.link/trailer

And find new episodes every week at Japanbyrivercruise.com

Japan’s Death Wish Resurges Like A Plague

by Kaori Shoji

Suicides in Japan are like wildfires in California: tragic, inevitable and seemingly unsolvable. According to the National Police Agency, 1805 people killed themselves in September and suicides amongst women were disproportionately rising.

Still, cases of people offing themselves had gone down in the past 10 years, and 2019 closed out the year with 20,169 cases – the lowest number of deaths since 1978 when the government first started keeping records, and minus 10,000-plus cases during the early naughts. Strangely enough, though the Japanese government is secretive and reticent about almost every other glitch found in the archipelago, they’ve always been upfront about the nation’s suicide rate. Few countries in the world are so ready to reveal the numbers but not in Japan. 

Suicide has never been taboo here. Back when Tokyo was called Edo and the nation was closed off to foreigners, the suicide rate in this city was said to be twice what it is now, among a population of a mere one million, which is one-fourteenth of what it is today. 

There was a collective mentality that dying by one’s own hand is the best and most effective way to make a statement or erase problems, and the legacy still holds. 
Popular belief has it that every Japanese person goes through life knowing at least one person who committed suicide. (I myself have known six, but that’s fairly common.) 

This year, suicides were low until June, but from July to August, the figures kept climbing. This was more or less in the cards – some experts had predicted as early as March that under the Covid-19 pandemic, more people will kill themselves than be killed by the virus. In August alone, 1854 people took their own lives of which 119 were women under 30 years old. This figure is alarming, but mainstream media seems too distracted to shed much light on why this is happening. Those who bothered however, tracked down Dr. Toshihiko Matsumoto, a psychiatrist who works almost exclusively with suicidal patients. According to Matsumoto, there had been an increase in young women with suicidal tendencies since Golden Week (early May), and those who couldn’t make it through the spring drove themselves over the edge during the summer. 

Matsumoto said that in Japan, women commit suicides for different reasons from men. “Men’s problems almost always stem from work or the workplace, whereas women are much more social and are apt to encounter snags in their personal relationships. In pre-pandemic days girls could meet their friends for coffee, and just vent. But they were deprived of this pastime during the stay-home period. When the only people you see are family, there’s a lot of material for depression.” He has a point. Most Japanese daughters are diligent and dutiful, but they’re not ready to discuss life problems with mom and dad. “They don’t want to let their parents down,” explained Matsumoto, a logic that in itself is a breeding ground for suicidal thoughts. 

Another factor triggering the suicides of young women could be the recent wave of self-inflicted deaths among actors/performers. These were celebrities who seemingly had everything to live for, and still chose death as a way out. In late May, professional wrestler Hana Kimura (22) was found dead in her home after being plagued by social media bullying. In July, the body of Haruma Miura (30) – one of the most popular actors in the industry, was found in his kitchen. After Miura came the death of actress and model Sei Ashina (36). The most recent shocker is the death of Yuko Takeuchi (40), an A-list actress whose career spans 25 years, and who had just remarried a co-star in February. There are five deaths so far, and only one of them left a note – actor Takashi Fujiki (80), whose body was found in a cheap, tiny apartment in Nakano ward.

Media analysts have mostly steered clear of the topic, fearful of stepping on the landmines strewn about on social media. Even a polite statement may be construed as offensive, hurtful or most damning of all – inspire others to die by their own hand. 

Misako Noguchi, who has worked as a casting director for the past 30 years, says that she has never seen anything like it. “No matter how bad things got in the real world, it was very rare for performers to die of their own accord. The repercussions of something like that on the larger society would be enormous, and most stars were aware of that.” Noguchi says she blames Covid-19 – “when a performer is forced to stay home for weeks and months on end, it takes a huge toll on their mental health. I myself was going crazy, trapped inside the four walls of my apartment, broke and depressed. Imagine how a big star like Yuko Takeuchi would feel. She was used to being under the spotlight 12 hours a day, surrounded by cameras and people. Then suddenly, bang! Work dried up. She couldn’t even go outside.” 

At this point, most Japanese have struck a deal with Covid-19. We’ll wear masks, disinfect vigorously and try to avoid crowds. Just please let us return to a semblance of normalcy. But for some Japanese, it may be too little, too late. Now mental health professionals fear that suicide rate will soar again in December – traditionally a month when many Japanese seek escape from year-end financial troubles by taking their own lives. Unemployment and failed businesses could push more people over the edge, and unlike the summer months, the deaths are expected to occur among people in their 40s to 60s.  

It seems mind-numbingly strange that in a country famed for longevity and its super-aged society, suicides should be a leading cause of death. As Dr. Matsumoto says, “maybe what this society needs now isn’t protection measures but far less social distancing and more non-essential excursions.” 

Maybe non-essential excursions are what we really need in life?
Artist:Utagawa Kokunimasa
Title:Beach Party (1893)

*****

If you’re considering suicide or know someone who is, this site in Japanese offers a number of ways to get counseling.

https://www.mhlw.go.jp/mamorouyokokoro/

In case of an emergency, please call 119 in Japan for immediate assistance. The TELL Lifeline is available in English for those who need free and anonymous counseling at 03-5774-0992. You can also visit them at telljp.com. For those in other countries, visit www.suicide.org/international-suicide-hotlines.html

The (Homoerotic) World of Tom of Finland: Reality and Fantasy opens September 18th. First time Tom shows in Japan!

Tom of Finland (1920-1991) was a pioneer in LGBQT and homoerotic art, blazing a trial in Finland and his works have been shown all over the world. From today September 18th, his work will be exhibited for the first time in Japan (ever) at Parco Shibuya. In a country where alternative sexuality is still barely recognized and some politicians spew homophobic bile, it’s a small accomplishment that the show is being held.

The exhibition will only last until October 5th.

The show has taken nearly years to put together, was delayed by COVID19, and ran into numerous obstacles along the way; thanks to the collective efforts of all involved, including the Embassy of Finland, the show is finally taking place. The whole story behind the curtains is told eloquently in this piece by Justin McCurry in The Guardian

I almost gave up’: Tom of Finland exhibition to finally open in Japan

Be sure to try the Tom of Finland vodka. The hard stuff.

The exhibition will show that his work was a catalyst for social change and acceptance of homosexuality while celebrating sensuality and the beauty of the male body. The curator of the exhibit and director of The Container, Mr. Shai Ohayon points out that Japan is still very much behind in the recognition of gay and LGBQT rights.

(From the press release) “Historically, the images highlight milestones and artistic stylistic developments in Tom’s life and practice—starting with his 1940s and ‘50s paintings in gouache, of men in stylish attire and uniforms, such as sailors, soldiers and policemen, in fantastic and romantic compositions, influenced by his army service in Finland—to his stylized depictions of leathermen and muscle men in the ’60s and ’70s”

The exhibit is being sponsored by: The Finnish Institute in Japan. Finnish Institute in Japan. The Container (art gallery) and PARCO.

The exhibition was designed to coincide with Tom’s 100th birthday anniversary and features a selection of 30 historical works, ranging from 1946 to 1989. They span the artist’s entire professional career, and highlight both his artistic versatility and present his identity as an LGBTQ legend who paved the way for LGBTQ rights worldwide and helped to shape gay culture.

2020/09/18~2020/10/05 Reality & Fantasy: The World of Tom of Finland at GALLERY X (B1F, Shibuya PARCO) https://art.parco.jp/

Open hours 11:00-21:00 *Last entry time 30mins before close *Close at 18:00 in 10/05 Admission is 500 yen.

*Pre-school child not allowed in

A documentary on the importance of Tom of Finland and the meaning of his art will also be shown at at two different theaters during the exhibition. “Award-winning filmmaker Dome Karukoski brings to screen the life and work of one of the most influential and celebrated figures of twentieth century gay culture: Touko Laaksonen, a decorated officer, returns home after a harrowing and heroic experience serving his country in World War II, but life in Finland during peacetime proves equally distressing. He finds postwar Helsinki rampant with homophobic persecution, and men around him even being pressured to marry women and have children. Touko finds refuge in his liberating art, specialising in homoerotic drawings of muscular men, free of inhabitations. His work – made famous by his signature ‘Tom of Finland’ – became the emblem of a generation of men and fanned the flames of a gay revolution.

Movie Screenings:

Tom of Finland (2017), directed by Dome Karukoski

from 2020/09/18~2020/09/24

White Cine Quinto

(8F, Shibuya PARCO)

https://www.cinequinto.com/white/

From 2020/09/25~2020/10/08

Shibuya Uplink

安倍総理の”辞任劇”の真相。勇退ではなく訴追からの逃亡

この記事は米最大級のニュースサイト「The Daily Beast」(ディリー・ビースト) に8月28日掲載。日本語版に当たり有志の協力に感謝。なお原文の直訳ではないのでご了解下さい。

日本国首相・安倍晋三総理は8月28日、辞任を発表しました。健康上の理由とされるが、もう一つ、理由がある。劣悪で不健全な環境の刑務所暮らしを思って怖気づいているのだ。

記者会見で安倍総理は辞任の理由として潰瘍性大腸炎の辛い病状に言及したが、支持率が急落し、自らの関わる刑事事件の捜査が進む中での辞任である。それ以外の事件の再捜査を求める世論も高まっている。

安倍総理は辞任したのではなく、逃亡したのだ。

安倍総理は、公職選挙法違反で検察の捜査下にある。そして同様の公職選挙法違反で、安倍総理が自ら抜擢した前法務大臣(河合克行被告)は目下、東京地裁において公判中である。この公判では、安倍総理がこの事件にも関与していたことを示す証言も出るかもしれない。

辞任に追い込まれるまで刑事捜査の手から自分を守ろうとする安倍総理の骨折りは水泡に帰した。

ある自民党の重鎮が匿名を条件にデイリー・ビーストに語った。「安倍総理が検察庁に自分の選んだ検事(黒川弘務元検事)を送り込めていれば、今も権力にしがみついていただろう。安倍総理が警察庁の次期長官に選んだ中村格(元警視庁刑事部長)は今月になって候補を外されたから、安倍総理は検察にも警察にも検挙される可能性があると恐れている。辞任することで疑惑の目から逃れることができる」中村氏は安倍総理と親しいの伝記作家による強姦事件の捜査を打ち切らせた警察庁の高官である。

法務省の情報筋がデイリー・ビーストに語った。「手打ちがあった模様だ。安倍総理は『社会的制裁』に甘んじて辞任し、数々の刑事事件に関与する安倍総理への取調べは終わる」元特捜検事の郷原信郎氏は「安倍総理の関与が争点となるであろう刑事事件の公判が始まったその週に辞任するのは偶然とは思えない」と言う。

The Tweet of Defeat  (政権打倒のツイート)

同情を買うように辞任することで、「安倍晋三物語」は美談として語られるが、一冊の本でも読めばいかに腐敗した政権が一目瞭然です。

今年に入り、世論調査で安倍政権の支持率は27パーセントまで下がった。これからしばらく日本国内の報道では、なぜ安倍総理の権力掌握と世論の支持が衰えたのか様々に論じられるだろう。今年は確かに失態続きだった。安倍総理は五輪開催の願望に取り憑かれ、東京が安全だと見せるために新型コロナウイルスの脅威を無視した。各家庭に2枚のマスクを配るという政策は、マスクが足りないときに計画されたが、高くついた失敗に終わった。マスクは小さすぎて汚れており、配られるのも遅かった。このマスクは日本語でアベノミクスのように聞こえる「アベノマスク 」として嘲笑された。アベノミクスとは金融緩和と財政再建という想像上の「矢」から成る安倍総理肝煎の財政政策であったが、再建は成らず政策は完全な失敗だった。

安倍総理は日本の「検査しなければわからない」というコロナ対策が素晴らしく上手くいったと主張したが、その後この対策は失敗し、感染率は再び急増した。これはGo To Travelという間違った英語名の旅行促進キャンペーンの実施を安倍総理が頑なに推進したことで拍車がかかった。このキャンペーンは結局、感染流行が再燃して多くの人がGo To Quarantine (検疫へ)という意味になってしまった。

安倍総理の人気を損なったのはコロナウイルス感染症流行への対応の失敗ではなく、感染症流行の最中に自分の権力を固めようと試みたことだった。ツイッターでは数ヶ月前に#さよなら安倍総理 というハッシュタグがトレンド入りした。

安倍総理時代の終わりの始まりは5月のとあるツイッター投稿だった。日本の主要メディアをコントロールすることにあれほどの労力を費やした首相がソーシャルメディアによって引き摺り下ろされたのは皮肉なことだ。

5月9日の夜、35歳の会社員の女性のツイートが世論の異議申し立てに火をつけた。普段は政治に関わらない日本のセレブや元検事らによってツイートの嵐は激化し、自民党員さえも異議を表明した。

ツイートの内容は些か単調なものだった。しかしその「検察庁法改正案に抗議します」というハッシュタグで、5月14日までに800万ものツイートが投稿された。

ここに至る伏線はこうだ。

アベノミクスは失敗に終わり、大手企業が儲かり、庶民への「ドリップ」は無かった。

安倍総理は徐々に政府機関や公共放送のNHK、そして報道機関に統制を加えるようになった。2014年には内閣人事局を設置し、何百人ものトップ官僚の任命に内閣が権限を持つようになった。野心的な政府職員は注意深くなり、以来、安倍総理の機嫌を損ねず気に入られるように努めてきた。安倍総理は直接自分が頼まなくても公務員が醜聞をもみ消すよう奨励した。またメディアに飲み食いの接待をして機嫌をとり、気に入らないことがあると容赦無く締めつけてきた。日本の報道の自由ランキングは安倍総理が首相になった当時は世界22位だったが、現在では66位だ。

コロナウイルス流行が始まった頃、安倍総理と自民党は非常時に内閣が絶対的権力を掌握できるような憲法改正に向けて画策した。その動きは失敗し、保守系雑誌の『プレジデント』でさえこれを火事場泥棒のようなあざとさと書いた。この夏、安倍総理が検察庁を支配下に置こうとしたのは、やりすぎもいいとこだったのだろう。

Fatally Wounded  瀕死の重症

検察官らに対する動きは1月31日、安倍総理内閣が日本で検事総長に次ぐ検察ナンバー2である黒川弘務検事長の定年延長を決定したときに始まった。黒川は安倍総理および菅義偉内閣官房長官に非常に近いと言われていた。報道は黒川を「安倍総理政権の守護神」と呼んだ。

検察官の大多数は法によって63歳で退官するよう求められているが、黒川は留任を許された。安倍総理はこれについて、定年延長を可能とするよう法律の解釈変更を行ったので問題なしと説明した。野党や法学者に加え、世論もこれには猛反発した。

行政は一歩も引かなかったが、後になって検察庁法の改正案を提出した。これが黒川を留任させ、検事総長を交代させるための道を開くことを後付けで正当化する措置とみなされた。

松尾邦弘元検事総長ら検察OBは法務省に対し、意見書を提出し、その中で、今回の法改正は安倍総理政権が検察を政権の意のままに動く組織に改変させようとする動きであると明確に表明した。意見書は「法が終わるところ、暴政が始まる」というジョン・ロックの言葉を引用していた。

安倍総理はこの法改正案を国会で擁護し、「内閣によって恣意的な人事が行われるという懸念はあたらない」と述べたが、世論調査ではわずか16パーセントの人しかその言葉を信じなかった。

例によって安倍総理は、これまでの評判の悪い法制定の時と同じように法案を強行採決するつもりだった。

5月18日には、安倍総理内閣の支持率は34パーセントにまで急落した。同じ日に自民党はこの法案審議を延期することに同意した。

その夜、600人を超える弁護士らが、桜を見る会のパーティー開催に公的資金を不正使用したとして、安倍総理に対する告発状を東京地検に提出した。

安倍総理の拙い判断には不運が続いた。週刊文春が黒川が記者と明らかに違法である賭け麻雀を常習していたことを報じた。黒川は訓告を受け、辞表を提出して辞職を認められた。

8年近く政権が続き、安倍総理は思い上がり、昨年には国会で「私が国家ですよ」と宣言した。安倍総理は長い間勝ち続けているが、運が永遠に続く人はいない。検事らを堕落させようとするこの法改正の企ては、戦争映画の大作のタイトル『遠すぎた橋』をもじると「遠すぎた法案」ということだろう。この法案は後に丸ごと廃案となった。

Already on Trial?  すでに公判中?

安倍総理が直面する問題は現在行われている「桜を見る会疑惑」の捜査だけではない。

親しい友人であり支持者でもある人物の注目の公判に、安倍総理は引きずり込まれている。この6月、衆議院議員の河井克行被告(57)と妻で参議院議員の河井案里被告(46)は広島県で数百万円の現金を政治家や支持者に手渡した疑いで起訴された。これは2019年7月の参院選において票の取りまとめをした見返りであったとされている。安倍総理は2019年9月に河井克行被告を法務大臣に指名した。克行氏は10月31日に辞職した。

2人の公判は今週始まった。

自民党本部は河井案里の選挙運動資金として1億5千万円を提供しており、その一部は地元の政治家らが票の取りまとめをするよう買収するのに使われたのだろう。もし安倍総理自身が自民党総裁として巨額の資金提供を承認したのであれば、安倍総理は世間の注目を浴びるだろう。

元東京地検特捜部検事の郷原信郎氏はデイリー・ビースト紙に次のように語った。「河井夫妻の公判では安倍総理の関与が示されることは、検察側の冒頭陳述から明らかだ。安倍総理自身が抜擢した前法務大臣が他の政治家の買収に深く関わるというのは常軌を逸している。もし安倍総理が刑事責任を回避できるとしても、この件に関して道義的責任を負う。」

郷原は、安倍総理が首相の職に留まることができないのは、この公判に巻き込まれるのかどうか、巻き込まれるとしたらそれはいつなのか、分からないことのストレスも一因であると見ている。

安倍総理の足元では3番目の火種、すなわち森友学園問題もくすぶっている。2017年、9億5600万円相当と評価された国有地が右翼の学校経営者に1億3400万円で売却されたことが明らかになった。この取引には安倍総理首相と妻昭恵からの催促があったとされる。そもそもその学校は安倍総理晋三記念小学校と命名されることになっていた。

このスキャンダルが明るみに出たとき、財務省官僚は安倍総理関与を隠すために文書の改竄を行った。国家公務員の赤木俊夫氏は言いなりになることを拒絶して2018年3月に自ら命を絶って抗議した。赤木氏は告発文を残し、それを今年になって妻が公開した。日本の世論の70パーセント以上が森友加計問題の再調査を求めている。

He didn’t learn  安倍総理は学ばない

安倍総理はこの夏、記者会見や国会審議の一切を避けて事実上1ヶ月に渡って姿を消していた。そして今、安倍総理は自分を取り巻くスキャンダルについて論じることを容易に避けることができる。安倍総理は今週、汚職事件への自らの関与について質問が出ないように時期を見計って公然と病院を訪れた。安倍総理が河井夫妻の公判開始の前日である8月24日に慶應大学病院を訪れたことで、世間の注目は事件への安倍総理の関与から安倍総理が首相を続けられるかに移った。

安倍総理の大逃亡はカルロス・ゴーン前日産会長の高飛びほど劇的ではないが、勇敢な大奮闘だ。

安倍総理は日本の憲政史上最長在任の首相となったが、これほどの長期政権でこんなにも成果がないのは前代未聞である。もし安倍総理がなんらかのレガシーを残したとしたら、それは数々の評判の悪い法案を成立させ、それが今や地雷のように存在していて、いつの日か日本のはかない民主主義を吹き飛ばしかねないということだ。その中にはSF映画の『マイノリティ・リポート』から抜け出してきたかのような共謀罪法、報道と内部告発者を弾圧して黙らせるための、ジョージ・オーウェルの世界を思わせる秘密保護法、そして表向きは平和主義的な日本が戦争を遂行できるようにする安保関連法がある。

現安倍政権は2006年から2007年の惨憺たる第一次安倍政権に続く2度目の任期だった。安倍総理が返り咲くことができたのは、右翼の神道カルトである日本会議の支持によるもので、日本会議は安倍総理以後も末長く国会においても強力な威力を発揮し続けるだろう

歴史を忘れるものはそれを繰り返す羽目になる、と言われる。おそらく安倍総理の愚劣さの根源には、本人が有名な歴史修正主義者であり戦争犯罪者の孫であること、そして第二次世界大戦時に日本が行った残虐行為を決して認めることができないでいることが挙げられる。安倍総理が指名した政治家や仲間の多くがヒトラーを称賛していた。安倍総理は躍起になって過去を否定しようとしてきたあまり、自分自身の歴史からすら学ぶことができないようだ。だから安倍総理の人生は失敗の繰り返しにしかすぎないなのだ。

安倍総理は2007年に辞めた時とほぼ同じやり方で官邸を去る。自分の取り巻きがらみのスキャンダルに足をとられて政権運営が覚束なくなり、人気もなく、無能で的外れだとみなされて去るのだ。

惜しまれることもなく。

「晋ちゃん珈琲」は報道の自由・男女平等・人権・平等な社会などを大切にする人は毒。裕福な人及び晋ちゃんの友達に絶品。「美味しいコーヒー」は否めないが、日本社会の庶民なら後味が悪い