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。

Heal your heart and body with FYE workshops: Find Your Element in Fall 2018

Tokyoites, as much as we love Japan, it’s a stressful place. If you don’t know the language, even more so. And actually, sometimes knowing the language makes it even worse. If you’re looking for some spiritual healing, relaxation, leadership skills and/or guidance try attending the  Find Your Elements Workshops already underway this fall .

Find Your Element Workshop ’18 Fall Season〜 A 12-Week Program for Inner Discovery and Inspiration will feature some great speakers, teachers, and philosophers. Unmask your true self! Learn to be a pirate! Get some tips on healthy eating for sound mind and body.

 

Why the Japanese Media Would Rather Not Talk About Brett Kavanaugh

By Kaori Shoji

The Japanese media has been eerily calm about the Brett Kavanaugh hearings, or if you want the truth, ‘downright reticent’ is more like it. Kavanaugh’s confirmation as Supreme Court justice was covered by major news outlets but otherwise, mainstream media seems more interested in Tokyo’s biggest fishmarket moving from Tsukiji to Toyosu.

“I’m really not interested in American politics,” said 28-year old Ayumi who works for Asahi Shimbun, one of Japan’s four major newspapers. “Since Trump became President, I’ve kind of lost faith in the US. I still love American music and culture but the politics just seems crazy over there.” Before the confirmation, Asahi carried a few articles on the Kavanaugh hearings, but nothing beyond a short description of what was happening. No in-depth analysis or outraged editorials, just brief, straightforward reporting. “You can’t really blame the Japanese media for avoiding the Kavanaugh case,” said an Asahi journalist who spoke on condition of anonymity. “It’s not our battle. Personally though, I think that Dr. Blasey Ford was courageous in coming out like that. I can’t imagine a Japanese woman ever doing the same thing, at least not at that age.”

The journalist was inadvertently (or perhaps deliberately) voicing the opinion of Japanese society in general–that Japanese women of a certain age will rarely if ever, go public about a personal grievance that happened decades ago. A couple of years maybe, and if the woman were under 35. Otherwise, it would be like stumbling upon a blue rose in the desert.

His words remind me of another interview I did when the #MeToo movement was in full swing here, with a woman in her 40s. She had confessed to her husband about a sexual harassment incident that happened when she was 28, and when she tried to say how hurtful it was and ask what steps she could take now to lessen the damage, her husband scoffed. “He said no one was willing to listen to an old woman. He told me not to make waves, and that I shouldn’t embarrass our family.” She said this with a forced, self-deprecating grin but five minutes later she was in tears. Enraging, yes, but I was well aware of how typical the husband’s reaction was. Don’t make waves. Don’t embarrass the family. You’re too old. Don’t come to me with this, I’m tired.

The Japanese media traditionally sucks when it comes to covering issues related to women and sex –primarily because newsrooms have always been dominated by over-worked men too tired to deal with their womenfolk, from their mothers to girlfriends, daughters and wives. “Maybe it would be different if there were more women editors,” said the aforementioned journalist.

No, that’s not really it. It’s more an issue of empathy and the willingness to understand. It would also help if this society were not so youth-obsessed, especially when it comes to women trying to voice their opinions. An American (female) photographer once said to me that no man in her agency ever voluntarily made conversation with an older woman unless she was a foreigner. “So I guess I should be grateful for being 40 and getting attention, but I’m not,” she said derisively.

If the Japanese media is reluctant to discuss Kavanaugh, SNS show that the Japanese public is interested. Right after the confirmation, a large number of tweets expressed fear over America’s swing to the ultra-right, and what this may mean for Japan. “Abe will be executed,” was a familiar comment. But there is almost no mention of Dr. Ford and her ordeal and the ones that touch upon Kavanaugh’s accuser are far from positive. “I guess she went out on a limb for nothing,” said one anonymous tweet. “And then she was shot down like a dog.” Another said, “How can a woman of that age accuse a guy of something that happened so long ago and expect to be heard? She’s probably telling the truth, but at her age she should have known it wouldn’t work.”

At this point, such words feel like a slap in the face, and it’s hard not to feel the pain from old wounds that tend to flare up in bad weather. There are millions of women on the archipelago who have been assaulted, groped, raped, harassed and discriminated against. There are probably thousands if not more, of Kavanaugh equivalents in positions of power. As in the US, the elite boys club network in Japan is seemingly invincible.

There seems to be no antidote to the sorrow and injustice, apart from installing women-only train cars and hotel floors. Because harassment is so rampant here, gender segregation has become a luxury. I was in a hotel in Osaka where the male receptionist presented me with a key to the women-only lounge on the women-only floor, saying, “there are absolutely no men in the area so you can feel completely safe and relaxed.” Wow, um, thanks.

Still. We DO live in a world where it’s possible for an older woman to speak up about a traumatic episode that happened in her teens, and get the world to listen. There’s grounds for hope in that, even in Japan. If nothing else, the Kavanaugh hearings have gotten women talking and sharing about their own experiences of harassment and assault in this rigidly patriarchal society. Not in the scope and scale that’s happening in the US, of course. But a small, precious flame is flickering in the wind.

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/

 

Sayonara, Robuchon-san: A Eulogy to Japan’s Beloved French Chef

The news shook the world of Tokyo’s French cuisine, but the iconic Chateau Restaurant Joel Robuchon in Ebisu, was open for business. Diners clinked their glasses in honor of the late Joel Robuchon, the world famous chef who took “nihonno furenchi (French food in Japan)’ to a new level. In early August, Joel Robuchon succumbed to his battle with cancer. He was 73 years old – young by Japanese standards and way too young for people like Kazunari Mizuki, who had studied under the great master for 2 years before working as an entree chef at the Hotel Okura. “I never got a chance to say goodbye,” he said, his eyes getting moist. “Many of us in this business revered him so much. Without Joel-san, the French restaurant scene in Tokyo would never have gotten to this point.”

The finest coffee ice cream dessert ever.
Every dish, delicious and beautiful. A feast for the eyes and the palette

Indeed, Robuchon’s famed Chateau Restaurant (opened in 1994) was one of the first establishments in Tokyo to earn Michelin’s 3-star rating and the Chateau building itself has come to represent the wealth and glamour of Japan’s capital city. It’s also a pilgrimage site for Japanese couples. In a city notorious for workaholic singles and a rapidly aging population, the Chateau is the one place where men confer with the restaurant staff weeks in advance to orchestrate the perfect marriage proposal and the presenting of the ring. No woman can possibly say ‘no’ to a Robuchon proposal. The very fact that the occasion happened HERE of all places, makes her that much more precious, or at least worthy of a 80,000 yen dinner course and a sizable bling.

The food – though formidable, is almost beside the point. Joel Robuchon taught the Japanese that French cuisine wasn’t about food per se, but the experience as a whole. Everything from the decor to the lighting and wine selection to the impeccable service, should be a reflection of Robuchon’s personal philosophy: never settle for anything less than state of the art.

Presentation matters

He also had a deep respect for Japan and Japanese cuisine. He lauded the soy sauce as “one of the greatest culinary miracles” according to an interview he gave on Fuji Television, and even developed a special shoyu to accompany western dishes. Four months before his death, he had collaborated with sake maker “Dassai” to open a Japanese/French restaurant in Paris. One of his best friends was Jiro Ono, sushi master extraordinaire and owner of “Sukiyabashi Jiro’ in Yurakucho.

Before Joel Robuchon arrived on the scene, the Japanese and French cuisine had an amicable if overly polite, relationship. In prewar days, it was customary for master chefs of the Imperial Household to train in Paris, working their way up from scullery boy to line chef at various establishments. The young Emperor Hirohito was said to have treasured his chef, and counted on him to produce French dinners that would melt the hearts of visiting western dignitaries, even in the midst of rising political tension that preceded WWII.

Back then, only the top tier of the elite could hope to sit down to a full course French dinner and many Japanese had no idea what a fork and knife even looked like. It wasn’t until after the Japanese surrender and the late 1950s, that well-to-do families began dining in Tokyo restaurants, cautiously tasting dishes that vaguely resembled French cuisine.

Fork and knife, not needed, the meat is so tender.

In 1978, 33 years after the Japanese surrender, Joel Robuchon was appointed master chef at the Hotel Nikko de Paris (now the Novotel Paris Centre Tour Eiffel) Coincidentally, Robuchon himself was 33 years old, a still-young chef on the brink of success. That he chose a Japanese hotel to work his magic before opening his own restaurant (the legendary Jamain) three years later, speaks of his enduring love for this country. Robuchon opened restaurants all over the world but has said in numerous interviews that he genuinely enjoyed working with the Japanese, because “we share an innate respect for food and nature.”
Merci, chef. We shall miss you.

New Movie “The Trial” (審判)Shows The Kafkaesque Side Of Japan’s Often Criminally Unjust Justice System

If you are unlucky enough to be indicted for a crime in Japan, you’ll find that the system actually works on the presumption that you are guilty until proven guilty. The conviction rate is 99%.  If Franz Kafka was alive today, he’d find that Japan’s courts provided ample material for his pessimistic work. The recently released film The Trial (審判)based on Kafka’s famous work, and directed by John Williams, thus seems tremendously disturbing.

The Trial (審判) is a new film which updates Franz Kafka’s classic nightmarish novel to modern Japan–with great effect.

John Williams is that rare western filmmaker who has chosen to live and work in Tokyo, though he originally came to Japan in 1988 with the intention of saving enough money to go to film school in the US. “I’ve wanted to be a filmmaker since the age of 14,” he said, in the offices above the Eurospace Theater in Shibuya, where his latest work The Trial (Shinpan) is showing. It’s not everyone who keeps a promise made in their teens, but John Williams did just that, albeit in a place very far from his native England.

John Williams is from South Wales  and back in the mid 1980s when he graduated from university, the British film industry wasn’t what you’d call thriving, in fact it was rather gomping. “Actually it was at a very low ebb,” laughed Williams. “Of course in the 90s, works like ‘Trainspotting’ changed the landscape but we couldn’t see that coming just yet. There were practically no film schools for young students and the average age at the National Film School – the only institution for aspiring filmmakers, was 27.” So John Williams decided, like many others before and after him, to study movie-making in the US, specifically at NYU film school. To that end, he needed to get some cash together and Japan seemed like the place to earn it.

Fast forward 30 years and with the completion of “The Trial,” Williams has 5 films under his belt. He also teaches film production/European films at Sophia University’s Foreign Languages Department. But he never did get to NYU since, just like in the Lennon song, life is what happens to you while you’re busy making other plans. By the time Williams got the funds together for New York, he was deep in the throes of life in Japan and travels in Asia. “I was in India when the acceptance letter came and didn’t even see it till I got back. And, well, going to the US seemed to me like a conventional, boring choice. Staying here seemed much more interesting.”

Listening to Williams say that in the Eurospace office, the moment felt like a movie scene all by itself. Eurospace is an iconic Shibuya theater, famed for showcasing indie gems from around the world. There was Wayne Wang’s “Smoke.” Francois Ozon’s “Criminal Lovers.” More recently, it put on “Frances Ha” when few Japanese were even aware of the now Academy award contender Greta Gerwig. And now Williams’ “The Trial” is being shown as a limited release, it will currently be running as the late show every night until the 20th. Given the story (based on the Kafka novel) and weird but intriguing vibe, “The Trial” and the Eurospace venue seem to be made for each other. (Please check with Eurospace website for movie times as they may change).

Eurospace – situated in Maruyamacho, and sandwiched between two love hotels. In fact, every square meter of land in the area is occupied by love hotels. Couples sheepishly stroll around, checking on room prices and curiously eyeing the movie theater. “The Trial” – a film about a young Japanese salariman suddenly condemned for an unnamed crime, and who has a weakness for women and sex.

Otherwise the movie is an invitation to match and compare. Williams does a superb job of superimposing Kafka’s most famous character Josef K., a 30-year old German banker in 1914, onto the life of Yosuke Kimura, a 30-year old banker in present day Tokyo. “It’s present day, but I deliberately made the time frame abstract, almost non-technological,” said Williams. Indeed, Kimura’s hand isn’t welded to his smartphone the way everyone’s is these days, and he almost never looks at a computer screen. Kimura’s main interest seems to be women, as he tries to hook up with every female who crosses his path. His success rate is dismal however, and there’s clearly no emotion or chemistry involved. “I thought about Japanese women a lot when making this movie,” said Williams. “They’re trapped in a society controlled by men. They get so much encouragement to please men and become good wives and mothers, and practically no support when it comes to voicing their opinions or carving out careers.”

Aptly, “The Trial” is wintry and bleak, steeped in various shades of black and gray. Kimura (played with studied excellence by Tsutomu Niwa) even lives in a monotone apartment, devoid of color, clutter or any human warmth. On the morning of his 30th birthday, Kimura wakes up to find two strange men in his bedroom, and they inform him that his “case” is coming up for trial. Kimura has no idea what they’re talking about but in a few days, he receives an envelope summoning him to court the following Sunday. It doesn’t say what time or where exactly and when Kimura finally arrives, the Judge (Ichiro Murata) informs him that he is one hour and 26 minutes late. Kimura is incensed by this, and tries to argue that he cannot be late for an event that doesn’t specify the time. While this is going on, a woman (Shizuko Kawakami) has loud sex with a man in a dark suit in a back room. When Kimura returns to court the next day, the woman crudely seduces him and Kimura is ready to fall for it, until they’re interrupted by the janitor (Ichi Omiya) who tells Kimura that the woman is his wife. Later, Kimura encounters a group of people who are all awaiting trial, and no one seems to have any answers, either to the nature of their crimes or the system that seems convinced of their guilt. Yes, I know – surreal, right?

“For me, it was less about Japan’s judicial system than it was about dealing with the bureaucrats in Tokyo,” said Williams. “And what I’m seeing in Japan right now – the secrecy law, changes in the constitution, the rise of the nationalistic, quasi religious groups – I find all that very creepy. But at the same time, life goes on here. The Japanese don’t seem to paying much attention to this shadow creeping across the country. The metaphorical message of ‘The Trial’ works really well for what we’re seeing in Japan at this point.”–John Williams (photo by Kaori Shoji)

On another level, “The Trial” shows up the very Kafka-esqueness of Japan’s judicial system – the long, grueling process of scrutiny between arrest and indictment, and how, once indictment kicks in, it’s impossible to overturn it*. “For me, it was less about Japan’s judicial system than it was about dealing with the bureaucrats in Tokyo,” said Williams. “And what I’m seeing in Japan right now – the secrecy law, changes in the constitution, the rise of the nationalistic, quasi religious groups – I find all that very creepy. But at the same time, life goes on here. The Japanese don’t seem to paying much attention to this shadow creeping across the country. The metaphorical message of ‘The Trial’ works really well for what we’re seeing in Japan at this point.”

And how. Watching Kimura’s expression shift from incredulity and contempt to finally – defeated resignation, a kind of dread washes over me like a wave in a polluted ocean. The whole thing is maybe a little too close to home.

Editor’s note: One of the dark secrets of Japan’s criminal justice system is that the prosecution in Japan will punt (fail to prosecute) any case that is not a slam-dunk for fear of losing. Sexual assault cases have a particularly low prosecution rate and politicians or high-ranking bureaucrats are often allowed to walk free–including the 39 bureaucrats involved in forging, deleting and altering documents in a dubious land deal involving a right-wing school and the Prime Minister of Japan. The prosecutor who dropped the cases was recently promoted. 

Child Abuse In Japan. Why Japan Keeps Returning Abused Kids To Their Parents Until They Are Killed

What causes a 5-year old girl to write in her notebook, “Please forgive me,” just a few days prior to her death from abuse? “Please forgive me” is ‘onegai, yurushite,’ in Japanese, and the phrase made headlines after 5-year old Yua Funato was found dead in her apartment home in March. According to news reports, Yua had been beaten by her father and starved by her mother. The direct cause of her death was sepsis, brought on my poor nutrition and untreated pneumonia. Asahi Shimbun reported that Yua was ordered (by her mother) to practice writing Japanese at 4 in the morning everyday and was punished when she made mistakes, usually by being forced to sit for hours on the concrete veranda of their apartment, in the dead of winter.

“Better to light a single candle then curse the darkness a thousand times.”

According to Nippon.com, Yua’s treatment is pretty much standard among the growing number of child abuse cases in Japan. The father beats the child in places were bruises can’t be seen (in her case, injuries were confirmed on her upper thighs and back) and the mother stops feeding them. Verbal abuse, beating s and starvation form the unholy trinity of Japanese abuse cases and Yua, apart from everything else, was told by her mother Yuri that she shouldn’t have been born into the world, and that she was hated by everyone. Yua had to sleep in a tiny room with no heating, away from her parents and younger brother who occupied a bigger room with an air conditioner. At the time of her death, she was 8 kilos lighter than the average 5-year old and her digestive tract was clotted with vomit.

Now three months later, neighbors and sympathizers continue to place incense, candy and flowers outside the Funato family’s apartment in Tokyo’s Meguro ward. Social commentators have sighed and shook their heads with pity. Even Prime Minister Abe has been moved to comment that child abuse “cannot be overlooked.” But all that sympathy came too late for the 5-year old. The whistle had been blown on Yua’s parents several times over two years before the tragedy but the authorities had done nothing to help. Japan’s infamous child consultation centers (notice it’s consultation and not welfare) are hindered by an antiquated rule that favors parents’ rights over children’s, parents’ testimonials over children who, like Yua, had cried to a social worker that she didn’t want to live at home because her father beat her. Japan’s social workers mainly consult with the adults, and the first thing they ask the parents of a child perceived to have been beaten, is: “Are you abusing your child?” Yeah, right, like the parents are going to come clean and admit it. In the case of Yua, the parents had been “cautioned” and invited to attend a parents seminar, designed to help adults become better carers of offspring. The Funatos never showed up.

The damning, daunting fact is this: As of 2016, there were well over 100,000 cases of child abuse reported in Japan, up 100 times since 1990. In the US, that number  is something like 67,000. And before Yua, there was Riku and Takumu and many other children of pre-school age who had been beaten, abused, starved or outrightly murdered by their parents. In spite of the government’s pledge to build more day care facilities and put families first, Japan is a place that’s not very nice to kids. Daycare is one thing, but public schools – once the bastion of a legendary educational system, is rife with problems from bullying to underpaid, overworked teachers who are mostly too tired to notice that a kid is showing up to school with bruises, or haven’t had a square meal in days. As the media keeps reminding us, one out of six Japanese children live in poverty, and go to school (if they are able) on empty stomachs.

As for children blessed with a stable home life, they often feel crushed by a tremendous pressure to succeed, i.e., get into a good university that will ensure a well-paying job 15 years down the line. Many kids start going to cram school as early as second grade, studying for entrance exams that will ensure at least a partial foot in the door of a prestigious university.

The experience of being born a Japanese national used to be described as following the ‘Bathtub Curve,’ meaning the best years of a Japanese life came at the beginning, between 0 and 12 years old, and in the end, between 65 and 75. My high school politics teacher taught us that, and I still remember the shock of seeing the long, flat line that supposedly represented the years between adolescence and retirement. Equally shocking was that upward curve representing babyhood and primary school. Were those years really so glorious? In primary school, summer vacation lasts just over a measly month and even that was tempered with shitloads  of homework that had to be completed and submitted on September 1st. School lunches were for the most part, awful rations laid on prison-like tin trays. At home, dads returned on the last train, stressed to the very core of their beings and moms were equally tired from chores and childcare.

Dismal as it often is, there’s no comparing a normal Japanese childhood to what Yua, and tens of thousands of children like her, are going through on a daily basis. Some commentators have lamented that there are simply not enough social workers to go around. True, every time a child dies from abuse, the Ministry of Health, Welfare and Labor (Koseirodousho) issues a statement about labor shortage being the definitive problem in the service industry. There are just not enough Japanese to do the work of caring for children, the elderly or the sick and diseased. When a staff member of a senior home was arrested last year after killing one of his charges, the reason given was fatigue. He was fed up with having to care for helpless people, and his work chart showed he had been pulling 12-hour shifts with almost no days off.

With Yua, the social workers who had been in charge of her case had also been understaffed, which led to carelessness and cutting corners. Yua’s parents moved the family from Kagawa prefecture to Tokyo, after a neighbor blew the whistle on Yua’s father. The child consultation workers in Kagawa then neglected to pass the full bulk of the paperwork from Kagawa to Tokyo, and Yua’s case was never reviewed in her new locale. Add to that the fact that child abuse facilities are notoriously crowded. Barring extreme circumstances, abuse victims are often returned to their parents, and the cycle of violence begins all over again. This was certainly true of Yua, who spent 3 months in a child care center in Kagawa but was not allowed to stay.

Sometimes, family is the most horrendous aspect of a child’s life. If Yua had been separated from her parents, chances are she would have lived. But Japanese tradition dictates that families must stick together, and what goes on within that circle is sacrosanct. More than the labor shortage, or parents seminars, we need to rethink the Japanese family, and take a long, hard look at its dysfunctions.

****

Editor’s Note: The Japan Times in a recent editorial , What is lacking the fight against child abuse, had some suggestions on how to prevent further tragedies. 

“A 2016 revision to the child abuse prevention law simplified the procedure for officials of such centers to carry out on-site inspection of homes where child abuse is suspected without the parents’ consent. The Health, Labor and Welfare Ministry says that protection of children should be prioritized and that officials should not hesitate in the face of parents’ objections to take abused children under protective custody. However, it is believed that many welfare officials balk at resorting to such action out of concern that support for the family may not proceed smoothly if the action is taken over the parents’ opposition.

Japan’s efforts to stop child abuse are weak when compared with the systems in many Western countries. For example, in the United States, where efforts to prevent abuse of children started much earlier than in Japan, far greater numbers of child abuse cases are reported to and handled by child protection service agencies. Such agencies are staffed by far larger numbers of experts per capita than in Japan, and the police and the judiciary are more deeply involved in the effort against child abuse. What’s lacking in our system to stop child abuse should be explored so that similar tragedies will not be repeated.”

Help Support Japan Subculture Online. Reporting on the strange side of the Rising Sun since 2007!

Gentle reader,




Welcome to our semi-annual pledge drive. Japan Subculture Research Center (@japankenkyu) was founded in 2007 by Jake Adelstein and many contributors to expose the hidden side of Japan – its underground economy, its transient and strange trends, its robust sex trade, wacky politics, corruption, social issues, many subcultures, yakuza, host clubs and hosts, Japanese cinema and all the other intriguing and seedy aspects that keep the country running. Balancing commentary, reporting and dark humor–we’re the kakekomitera (駆け込み寺) aka “last resort” of some news stories that no one else will touch. We’ve covered rebel graffiti artists, crusading lawyers, and some real heroes.

Click on the camera if you already feel inspired to donate.

Over the years, articles posted on this website have become books, like Outsiders Among Outsiders and we are pleased to also feature the witty essays and review of Ms. Kaori Shoji, including her seminal short-fiction series, The Amazing Japanese Wife

We would like this summer to support two interns so that we can post more original material and also revamp the layout. We’d like to add a current events section, more book reviews, more informative and provocative essays about Japan, and fund some investigative journalism. Ambitious yes, but we have lofty goals here at JSRC. Please read our manifesto: If you love Japan, make it better. Our mission statement.

Meanwhile, as part of this year’s pledge drive, we are giving away to the lucky two readers who donates before Thursday (drawing by lottery) free tickets to to see Shoplifters with English subtitles and a Q & A, by the director Hirokazu Kore-eda. Your contributions are greatly appreciated, however small or large.

The business friendly Japanese government fails to deal with preventing Death By Overwork. In January, the Labor Ministry did put signs saying” Stop Karoshi” urging an end to death by overwork, “for a society where people can continue to labor”.

If your motto in life is “one good deed a day” (一日一善), here’s your chance to get those good karma points.

Your humble, acting editor-in-chief

Jake

宜しくお願いします!

“The more the sage gives, the more they are rewarded”–Lao Tzu Click on the Zen master for a chance to en-lighten your wallet and enlighten others.

Please donate here! ↘

 

 

 

HOW TO BE ICONIC: Onitsuka Tiger’s World Domination Strategy

 

image001

It was the summer of 2004, a blistering humid day in August when we touched down in Kansai Airport in Osaka, Japan. I was 12 and it was my first time in a foreign country, accompanied by my twin sister and father. Exhausted from the thirteen hour flight but elated that we had finally arrived, we waited excitedly in the sterile white paneled baggage claim area to collect our luggage and see this land of the rising sun for ourselves.

Bags came out of the shoot. A lopsided one, a pink one, those hard cases which Americans haven’t caught onto and only seem to be owned by East Asian travelers. One after another they came toppling out and then finally, a diminutive black suitcase dropped out with a small thud. The belt continued to move for a few more moments whirring until coming to a sudden complete and final stop. A lot of suitcases and bags. None of them appeared to be ours.

“Where are our bags?”

I turned to my father, perplexed and not quite understanding what this meant.

“I”m not sure let’s go check with the United customer service,” he replied with a hint of worry, gathering our carry-on baggage and belongings.

But the bags never came that day.

They hadn’t made the connecting flight and were still in Los Angeles.  “They will be on the next flight from LA, “ the United staff said.  “You should receive them sometime tomorrow.”

They handed us the yen equivalent of aboutt $300 US dollars to buy clothes in the meantime.

With only our carry-ons we clamored onto the shuttle bus which would take us from Kansai airport to Downtown Osaka.

What’s the first thing you do with apology money?

Go shopping of course! It was amazing wandering around the mall. It seemed familiar in many ways but still reverberated with that mystique which everything in Japan seems to be coated with in the eyes of a western foreigner.

We passed by one unfamiliar Japanese brand after another and there it was. A humble but sturdy bold sign that read Onitsuka Tiger. Surrounded by an array of familiar brands like Nike, Puma, and Adidas there stood out this very Japanese sounding brand with a fierce tiger as its logo. The shoes were flashy and bold but elegant at the same time.

“Pick whichever one you want!” my Dad said.

That day a pair of Onitsuka Tigers became my first and most useful souvenir from Japan.

What was it about these shoes that fascinated not only the 12-year-old bespectacled me but my 48-year-old father?

image003
IMAGE El Japatillaz Tio

For the past 50 years Onitsuka Tiger has been a worldwide powerhouse promoting athleticism from its inception. Arguably the most popular and recognizable Japanese shoe brand, Onitsuka Tiger, and the  parent company ASICS, traces its roots back to 1949. WWII had recently ended and Japan was in a state of rebirth. Former military officer Kihachiro Onitsuka took that mindset and ran with it creating a shoe he hoped would raise spirits and promote youth health through athletics.

The brand quickly grew in popularity through strategic athlete partnerships. In 1955, it partnered with 500 sports shops in Japan, with its first US sales occurring in 1963. The great ASICS stripe made its debut in 1966 at the pre-Olympic trials for the 1968 Olympic Games in Mexico – this was to be the start of their most famous line, Mexico 66. Today the once small Japanese athletics shoe company reports 428 billion yen (approximately 4 billion dollars) in  net sales for 2015 (reports for 2016 will be released in the coming months), growing year after year into a mecca for “Intelligent Sports Technology” and “highly functional products developed with human-centric science” (ASICS).

ONITSUKA  POPULARITY DECONSTRUCTED

The brand has the incredible ability of evoking reminiscence and at the same time a refreshing modernity.

What is the Onitsuka secret? How has this brand remained popular and hip in Japan while so many have fallen? Asahi Shimbun Digital back in 2015 published an article identifying four major secrets behind the Onitsuka success.

 

#1 Modern Retro Design Born from Performance

Onitsuka started with athleticism in mind and has kept that a core of its business. With its narrow long nose silhouette, thin sole, and striking color combinations, the Onitsuka retro design  is instantly recognizable. It’s a unique and understated recognizability that remains classic.

image005

#2 Limit Sales Channels to Maintain an Expensive Brand Image

 image007

Think about it. You’ve just put on your fresh straight out of the box Onitsukas and slipped into your freshly purchased and pressed outfit (that you paid a bit too much for).  You step out of your apartment, it’s a beautiful day. The sun is shining and you look amazing. You’re strolling head held up high with a knowing smirk, people are looking and suddenly out the corner of your eye you spot it. The end of your moment. The shock of an older gentleman completely lacking in any fashion sense, wearing the exact same pair of  your  beautiful shoes. Now that is a fashion tragedy. A tragedy that Onitsuka has strategically strived to avoid. It’s incredibly difficult to get your hands on a pair of Ontisuka Tiger shoes within Japan in today’s discount stores. They aren’t sold in outlets or warehouses. As soon as a shoe enters the discount world its brand image is immediately at risk of degradation. Onitsuka’s bold and daring strategy heralded by President Oyama in 1999 to avoid the tempting wholesale market ensured that Onitsuka Tiger would become a high-end brand. In addition to limiting sales channels, the heightened brand image would start from the construction of their products, putting high quality materials at the forefront. That’s an image to be proud of.

#3 Establish Reasonable Pricing

Onitsuka Tiger manages to deliver high quality with the NIPPON MADE label at pretty economical prices. You can attain a heightened NIPPON MADE sensibility without the crazy price tag. Mostly all of the shoe models sell for less than 13,000 yen. The Serano which uses natural leathers is priced at 8,640 yen, the all natural leather upper Mexico 66 you can get your hands on for 12,960 yen.

#4 Surprise of A Mysterious Brand Name To Remember

 image009

From the name “Onitsuka” to the roaring tiger image the brand screams Japan to even those with the faintest familiarity with the country. It’s a striking brand image and this has definitely played in Onitsuka’s favor.  You look at it and think this is a Japanese brand. And that is enticing for the overseas consumer because along with it come all of the positive adjectives characteristics you would attach to a Japan-made product – quality, cutting edge, reliable, built to last, different. This is the “Cool Japan” that the Japanese government doesn’t get.

 

THE FUTURE OF ONITSUKA

This past year Onitsuka Tiger celebrated the 50th anniversary of the original Mexico 66, arguably the flagship and best-selling shoe from the storied Japanese brand — The company touts it as a fine footwear “discovered on the track, and later on, worn on the streets” . It has sought some of the most exclusive collaborations reaching and securing even the most obscure underground influencers and artists. Pop culture phenom homages, independent Japanese labels and exclusives marketing deals with high end shops like Barney’s New York.

The legend continues to thrive as they expand more and more, recently pushing for raising their presence in rugby. With a Vegan line, it’s riding the wave of eco-friendly animal-friendly fashion consumerism as well. (Editor’s note: The vegan line of shoes are not designed to be edible. Consume at your own risk)

image011 

They’ve reorganized the company to support globalization as well as acquiring technology company FitnessKeeper, Inc, and entering into the world of smart apparel and wearables.

Onitsuka has recently announced its introduction of shoes which are a step away from its iconic stripes but with the same motto paying homage to the past with a vintage feel and performance in mind.

image013 

The new line are Inspired by the Japanese “furoshiki” or the art of cloth packaging – The CHIYO. Available online and instore, it’s a refreshing take enabling the wearer to customize and create their own idea of beauty. The upper consists of soft cloth, like packaging cradling the top of the foot. The lucky owners  can knot and style the shoe however they wish according to the look they’re rocking that day. The line comes in 3 colors-  blue, black, and pink priced at 7,000 yen.

Onitsuka continues to take innovation and trends and instill them with a retro twist. It stays true to the spirit of a Japanese brand with refreshing relevance and distinction.

As you know, last year marked the 50th Anniversary of its iconic stripes logo and it’s looking like Onitsuka is here to stay.

The company that owns the line,  still known as ASICS “Anima Sana in Corpore Sano” or “A Healthy Soul in a Healthy Body.”, continually pushes the envelope looking for opportunities for constant growth. Can we call it world domination with retro class? I think so. However, the best way to appreciate Onitsuka shoes isn’t looking at them—it’s wearing them. Put on a pair and go for a run, you’ll catch on to what I’m saying.

 

 

要約:12歳のとき初めて降り立った日本。荷物を失くされた航空会社にもらった金券でお土産としてオニツカタイガーを購入した。以来すっかり私を魅了してきたオニツカタイガーは、外国人観光者に絶大な人気を誇っている。

オニツカタイガーの代表作Mexico 66 の50周年記念となった2016年。オニツカタイガーはなぜ支持されるのか?ほかと一線を画すブランディング、そして強力なセールス力の秘密とは?

これらの問いに関して朝日新聞デジタルで”アシックス快走、世界3位も射程内 海外で人気の理由は”という記事が掲載されている。そして人気の理由の次のように分析している。

1「性能追求の結果生まれた現代的なレトロデザイン」

2「販売チャネル限定、高いブランドイメージの維持」

3「リーズナブルな価格設定」

4「ミステリアスなブランド名の響き・イメージ」

限界に挑む会社として継続的な経済成長を達成し、グローバルリーチを支えるための構造を整備するオニツカタイガー。世界征服する日は近い。