Our local bar is a small Irish pub, a two-floor place converted from a traditional soba noodle restaurant that generally attracts only those living in the vicinity. It lets us bring our dog in, so we often end up there for quiet drinks. One recent night, we headed upstairs and there, sat in the corner, were four new people, two Japanese women and two British men, one heavily tattooed. The guy with ink looked like a dubstep producer or some other sort of young creative, new in town and here for a limited time, getting shown around by assistants that would later take him to his gig. The Japanese women were behaving like assistants.

When we sat, our dog, Baz, kept wandering over to be fussed, and it became clear they were not creatives in town for a gig, or whatever, but tourists, plain and simple. The women had met them in a bar in Shibuya, presumably a Hub, and invited them to go for a drink in an area off the general tourist circuit. Here they were, in what I assume the women thought tourists would consider the Real Japan … a suburban place for foreigners to drink in an Irish or British sort of atmosphere.

Me and my wife kept to ourselves as the evening continued. The other guy, the one who didn’t look like a dubstep producer, became increasingly vocal, in an accent that can only be described as student — definitely British, but of an indefinite place, with elements of northern, southern and public school, likely the result of the diversity of kids from all over the country who get together at the same time at the impressionable age of 18 or so.

His voice grew in proportion to the number of pints he had drank. He began describing his favorite comedy to the two women, complete with quotes of parts of the script he had memorized. We had a warning against this in the late 90s, when the Fast Show’s I’m an Alien Guy made everyone aware of the dangers of quoting their favorite TV shows. Tragically, by 2016, the Fast Show’s message has been lost. These are the dark times we live in.

Tourists such as those I endured in my local have brought to me revelation: I have given in to the sort of Not In My Back Yard thoughts that I once associated with only Daily Mail reading Brits and the whitest of white America. Those conversations I once sneered at, about saving the British sausage and serving only the freedom fry, I am now having. The tourists have arrived in Japan, and they brought me out in a rash of nimbyism.

We left the bar, commented on how annoying the tourist was and wondered what motivated the women in bringing the two guys there. Would a Japanese place not be better? Whatever. We were moaning about tourists coming into our area and disturbing the peace and quiet. We are not alone. Japan is finally on the tourist map, not somewhere that simply talks about attracting visitors without ever bringing them in, and all residents face the consequences.

About 20 million or so visitors are coming through Japan’s airports annually, and that is the beginning. The government aims to attract 40 million tourists a year by 2020. This is having effects that with hindsight should have been predictable.

Ginza, once a shopping district for the well-healed, today throngs with Chinese seeking out bargains; coaches for shipping the tourists in and out line the bottom of its main drag. Other areas face a similar fate. Golden Gai, which has been a “secret” place to go for a drink since at least 2002 when I arrived (do people think because the bars are small they are secret?), increasingly is talked about by long-term expats lamenting the decline of the area. Business hotels, once the refuge of stinky middle-aged businessmen in town for short stints, are now tourist spots as beds at higher-end places are snapped up early.

Dragging out the old cliche that Tokyo is changing really isn’t enough to explain what is happening this time. Tourists are revolutionizing the city. This is touted as one of the few policy successes for the current government. That’s fine, but if the rise to 40 million is to happen, there are a number of areas where improvements in policy will be needed.

In tandem with the growth in tourist numbers, Airbnb and other minpaku (unlicensed short stay accommodations) have emerged. They operate in a legal not-so-gray area. Any residence in Japan accepting people to stay for fewer than 30 days needs to get a license by law. Most landlords are ignoring this rule, which has led to a problem of enforcement: How do you shut down so many places, or choose which ones to put out of business? Do you want to be the person that does that? Where will all the people staying in these places sleep instead? Osaka recently prohibited one apartment from accepting tourists. Weather balloons fielded to the Japanese press have suggested that Airbnb residences will be able to operate legally for 180 days per year. 

Other issues include the use of credit cards. When and where can they be used and when is cash necessary? Most of us long-term Japan residents know to carry a couple of ten thousand yen notes if going out for a big night, but tourists do not. They are used to living in places where cash long ago lost out to plastic on Friday night drinking sessions. One moaning person on the Internet was berated by most of Japan’s foreign social media community when he complained about a bar in Kyoto not accepting credit cards nor his foreign currency. Of course, the guy comes across as a stupid tourist, trying to hand over dollars to pay for a bill in Geisha Central, but his problem is real. How many times have I come unstuck over the years because of the weird rule that bans ATM transactions on Sunday nights? And the reality is, the increasing number of tourists in no way means that small and medium size businesses will be moving over to plastic payments any time soon. They will still be run by the same older people. And tourists will still feel uncomfortable wandering around with hundreds of dollars in yen stuffed in their wallets. Old habits die hard.

Tourists also face issues with communication and accessibility. Shibuya Station was in the last couple of years refurbished and now is as difficult to navigate as a complicated level of Donkey Kong or an MC Escher painting. Locals find it difficult to get around the station, and despite apps offered, tourists also struggle. Taxi drivers often do not know their way around the city as well as their London counterparts, strictly tested on The Knowledge, do. This is all on top of the language barrier that is impossible to overcome during a year or two in the country, never mind a short stay. I wrote about recent efforts to improve accessibility and the potential for going further here and here. Still, the city is not there yet though. It can, and will, do more to open up to tourists, but as it does, the intangible contours of Tokyo will change and residents will feel the effects.

Back to the bar and my nimbyism. I was a douche. Anyone should be able to drink where they want. But we all feel it when our places are visited by outsiders. Is it the start of a coming invasion? And like me, we all know we need to calm down when we start fretting about these things.

Tokyo though, is made up of tens of millions of people who manage to get by in spite of the complicated nature of the urban space they reside or work in. I love the city in part because the way it manages to function defies the odds. But tourists are slowly eroding Tokyo’s smooth operation and leading many areas of the country to show an uglier side. Handbooks teaching foreigners what not to do are among the worst manifestations so far of the increasingly difficult relationship between locals and visitors (it is noteworthy the plenty of Japanese people violate the national etiquette and always have, just as people do anywhere in the world). Complaints about bakugai — the act of buying up everything in sight — come a close second. Improve your logistics and leave the tourists alone. 

Japan’s bureaucrats have an answer: omotenashi. This catch-all term describes the way Japanese are supposed to act around tourists. Roughly, it translates as a combination of politeness and hospitality. A celebrity called Christel Takigawa used the term to describe why Tokyo should host the Olympics, media spread the word and bureaucrats decided it was a solution.

What is omotenashi in real life? The mind boggles. Officials have tried to explain it to me, in both English and Japanese, and ended up confused themselves. But as one admitted, Tokyo does not have the cash to become the sort of accessible city that the Olympic Games and tourist boom require without all chipping in and helping others in need. Public transport facilities outside the center of Tokyo cannot all be upgraded, for example. So omotenashi it is.

The omotenatshi solution has a problem. At root, it relies on the majority of Japanese accepting a request from officials and following it blindly for as long as the tourists keep coming. It needs people to buy in to the idea of a visitor-heavy Japan and accept that this comes with duties. It also requires people to look at what their government has done by attracting the tourists in droves, and view it is good for them and good for the country. Even in their own back yards.

Japan is by no means Afghanistan, tourists here face no Taliban. The police are not going to start asking backpackers for bribes. And the pickpockets of Europe are unlikely to emerge. But as visitors grow in number, so will the nimbyism. More and more will tire of being welcoming to tourists as they effect their everyday lives.

One of the most tedious aspects of managing a rotation curation account for Tokyo, as I help to do with this Twitter feed, is the age-old controversy of what foreign people are doing as a community, what they should be doing and how they are treating each other.

It is a subject with no real end that does not appear to serve much of a purpose. However, it is a subject that bitchy expats like to discuss all over the world.

In Japan, one term comes up again and again when discussing the non-Japanese community: gaijin. Coming from the kanji 外 (soto or gai) and 人 (hito or jin)*, the term means foreigner. However, there are a couple of points of controversy.

Firstly, the two kanji read literally mean “outside person” and can thus be take to mean something a lot more pejorative than is perhaps intended when used in certain contexts. Secondly, the need to Anglicize this word is questionable. “Non-Japanese” works just as well. “Foreigner” is also fine, though it is worth pointing out that this term comes from the latin for… *drumroll*… outside.

When the term is used, most of the time those causing offense are doing so unintentionally. And those being offended are perhaps on the oversensitive side. The term does not bother me, per se, but it annoys many so I try to avoid it.

Adding a further complication to the issue is the huge number of non-Japanese that have some involvement with the country and use the term to describe themselves and others within the community.

So what should be done? Probably not a lot, but if you are thinking of using the term, be aware that it offends some people and try to justify using the word to yourself. If there’s no justification, don’t use it. This should not be difficult, so why is it?

Possibly, the answer lies in the society we are becoming, globally, in which identity politics is taking on an increasingly powerful role and social media has led to a sort of “policing” of attitude and language. This has not all been for the bad, but it has had some negative effects.

In comedy, Chris Rock has spoke of how this plays out in comedy, where often performers will be publicly shamed for crossing lines in their acts:

The thing about comedians is that you’re the only ones who practice in front of a crowd. Prince doesn’t run a demo on the radio. But in stand-up, the demo gets out. There are a few guys good enough to write a perfect act and get onstage, but everybody else workshops it and workshops it, and it can get real messy. It can get downright offensive. Before everyone had a recording device and was wired like fucking Sammy the Bull, you’d say something that went too far, and you’d go, ‘Oh, I went too far,’ and you would just brush it off. But if you think you don’t have room to make mistakes, it’s going to lead to safer, gooier stand-up. You can’t think the thoughts you want to think if you think you’re being watched.

Does this have much to do with using the term gaijin? Rock’s example — and please take the time to read his entire, brilliant interview — may be extreme, but there are instances of people on social media arguing, refusing to talk to each other and closing off discussions over the word. That means less conversation. And that’s never a good thing.
* Most Japanese kanji characters can be pronounced in at least two ways, depending on the context they appear in.

Me and Adrian Storey launched a podcast last week. It was much more difficult than you would expect. Actually, probably not.

Here are some of the issues and ways they have been resolved:

Sound: Making a podcast sound nice is tough for a number of reasons. You need a nice microphone, a nice studio and decent production software and knowhow. Adrian has handled the production and has both the software and hardware. The problem was, before our first guest, Matthew Downs, spoke to us via Skype, we couldn’t get the microphone to work. So we just went through the computer and Adrian then touched up the sound in post-production. The sound is not bad, but it isn’t perfect. Is this being anal? Probably. But hopefully the sound will improve in future shows.

In terms of a studio, we are also aware that we are going to have to be quite agile. Sometimes we will be on Skype, sometimes with guests in my office and sometimes outside. So there are plenty of headaches to come there.

Finding guests: This is also going to be a challenge. We do not just want to get on our mate Trevor who is a wicked laugh. We want to talk to people who have interesting relationships with Japan and do something different to the norm. We have quite a few people in mind, but the logistics of recording with them, doing pre-production and post-production are all hurdles that will have to be dealt with all the time. And both myself and Adrian work full time, even if we are not going into an office every day. So do our guests. As such, for now we are sticking to a loose one-podcast-a-month schedule.

Getting the podcast out there: We are doing this podcast on a shoestring, and the cost in time is high. But at some point, it’s likely that we will have to pay for hosting services if we wish to continue podcasting. Initially though, figuring out how to deliver the podcast to iTunes and get it onto a free WordPress site was much more time consuming than it was supposed to be. And our system is not perfect. But here it is: Upload the podcast to Mixcloud, which offers free hosting for audio, then embed the link to the WordPress site. Then, upload the podcast to Podomatic, which offers a limited free service. After that, apply to iTunes using the RSS feed from your Podomatic account. As I said, not perfect, but free for now at least. When (or perhaps if) we start paying for hosting etc. getting the audio out from a centralized audio file would be nice. It’s difficult to track who is listening to the podcast as things stand.

Social media: This is a nice problem to have. On the YNFRH website, our first podcast has been shared 100 times via Facebook, according to the button at the bottom of the post. Is that right? Who are you people? Speak up! We would like to know what you think!

Funding: Really, this is the biggest issue. If we are to continue running the podcast we will need to either put our hands in our pockets or get sponsors. Or… what? We have discussed the idea that the podcast could get us noticed among people looking for people to write/produce or whatever. And that appears to have happened already. Within 12 hours of uploading the podcast, we had both received emails asking about rates for our respective fields, writing for me and camerawork for Adrian. But the truth is, I am already stretched workwise (I’m back freelancing for my sins. Here’s what happened last time.)

Neuroticism is a specialty of mine, and reading through the post to now, anybody would think I am hating podcasting. The experience so far has been quite the opposite. Getting to talk to Matthew was a privilege and an honor, the feedback to the first episode has been positive and this looks like being a really fun project. From now, changing this from being an experiment to learn new skills (and for now, that’s what it is), into something that we do, will be a challenge. Will there be a point where I can say “I write and podcast”? Maybe. Maybe not. I hope there will be though.

Just a couple of last things: The website for You’re Not From ‘Round Here is here. The Twitter account is here. Please follow and comment to that account. It would be nice if that became a place where we could identify exactly who is listening to us. And finally, please subscribe to us on iTunes at YNFRH.

And please, ignore the extensive moaning and fretting above, and look at the solutions. We’ve solved a lot of problems to get the first episode out. Solving more in the coming few months will be a lot of fun.


Everybody by now knows that David Bowie has died. And everybody knows this was a global event. Everything that can be written about Bowie by now probably has. I don’t have much to add, anyway.

One string of questions keeps going through my mind though: Who expected the outpouring of love, respect and grief that Bowie’s death caused? Who has caused that level of mourning before? Who will do so in the future? And what is the quality that these people possess?

Within my lifetime, the standout people that have died and led to outpourings of grief are Steve Jobs and Princess Diana. I felt no grief for either and still get a bit irritated about their effect on people. It isn’t jealousy, I bear no ill will to either. I just get annoyed that people loved them. I did not.

I see what was there. Diana managed to convince the British, and later global, public that a “commoner” could enter royalty. After divorce, she became the underdog until her death, when she inspired conspiracy theories (yawn). Jobs, meanwhile, played an instrumental part in the IT revolution we are now experiencing. But I always felt Evgeny Morozov got his character down better than our popular consciousness ever managed to.

Bowie, though, was different. At least for me. He represents something a little like a superhero. I feel shocked by his death because he felt transcendent of us all, immortal. His body of work led to me feeling like that. All the generations of my family love him. My grandmother remembers her daughter’s loud music, and how she learned to love some of his more accessible tunes. My mother and father remember being there at the time, seeing the effect Bowie had on their peers, and feeling and sharing it themselves. I just don’t remember life without Bowie. He was there and he was good. As I got older, I listened to his records more carefully and found a lot of value in them. And now he is dead.

Who remains in our cultural royalty after Bowie? Who commands the respect Bowie did? Who has his back catalog? Some people have to have the credentials to match Bowie’s, surely? So who are these people? Bob Dylan? Quentin Tarantino? Madonna? Dr. Dre? Thom Yorke?

If Bowie is irreplaceable, what does that tell us about our culture and the place we have arrived at? Is it an Internet thing? Do our stars no longer have the cultural power they once had? I don’t know, but life without Bowie is strange, the reaction to his death was strange, and that huge gap he has left behind is strangest of all.

It has been a strange year in music for me. At 35, I seem to have admitted to myself, at last, that I am maybe getting a little too old to be going to clubs on a regular basis. Hopefully, something will happen that brings the sort of DJ bars to Tokyo that made England such a pleasure to visit earlier this year, but for now, my vinyl is gathering dust and my disco trousers are at the bottom of the wash basket.

This year also brought streaming to Japan in a big way. As a subscriber to Apple Music, I have found myself wondering what people are talking about when they sow disdain for the service. It’s great for listeners and can hopefully help revitalize the music industry. Having access to basically any album I want to listen to has reacquainted me with a lot of indie, jazz and rock sounds that had sort of fallen of the radar in favor of techno in the last few years.

I also started listening to Gilles Peterson regularly, because my dog loves the show. The Awl’s daily music recommendation has also been a pleasure to follow.

Anyway, in short, my music taste sort of changed. So I made a list of favorite albums and a mix of favorite songs. Here they are:

This album started off unlistenable and irritating, but for some reason I kept listening to it. It has shades of Frank Zappa, and I feel like it should still bug me as some sort of hipster homage to earlier music, but it doesn’t. I really like it.

It’s always nice to see a band revisit their older music and come up with something new. Here, Mercury Rev have made an album that sounds like “Deserter’s Songs,” but in 2015, and by an older and wiser group of musicians.

It’s probably my age, but a lot of the directions electronic music has taken in recent years strike me as self-indulgent noise with little evidence of melody. This album, though, is full of nice pop music, which is what most of the electronic scene was about at one time.

A good stoner album. I have heard people say they find it repetitive and bland. I don’t at all.

There’s not much groundbreaking about this album, but it has some very danceable jazz tracks on it. Sometimes sticking to standards works.

The two tracks on here appear to have been fully sampled from sounds off of YouTube, as that’s what this guy usually does. It’s a quality afrobeat/funk EP, but as it lasts about half an hour, I decided to call it an album.

Also a bit shorter than an album, this includes a couple of songs — “Lone Wolf and Cub” and “Nobody Knows” that are among my favorites of the year. Thundercat became more prominent because of his work with Kendrick Lamarr (see below) and deservedly so. Can’t wait to hear new stuff by him this year.

“Don’t Take My Soul” released in 2014 was beautiful. The entire album takes a similar line, with shoegazy guitar and electronic beats. Hardly anyone seems to have heard of Jane Weaver, which is a shame, because she deserves commercial success.

The keyboard/organ guy from Kendrick Lamarr’s album, Bilal has a bit of a Money Mark feel: His album is at times a bit inconsistent in tone, but somehow it works. Another artist who feels like he is at the start of a flourishing career.

Four Tet is Four Tet. He is good. Listen to him.

Most of these sort of lists I have seen do not have “To Pimp a Butterfly” as the No. 1 album, which is weird. Maybe everyone thought everyone else would put it at the top. It will probably end up being the album of the decade. Hip hop had hit a bit of a dead end because of people such as Kanye West, who seemed to think it was some sort of comic book style genre in which people had to be parodies of themselves and show off. The old ways of rap (Guru, KRS-ONE, Tribe called Quest etc.) seemed dead. Lamar brought them back. He put together an album that musically and lyrically is deep, textured and stands up to repeated listens. And thankfully, there is not a single EDM sample on there.

Two 20-year-old women, twins, are behind this album. The songs are just joyous. The simple beats, minimal jazz, beautiful voices and innocent lyrics suggest Ibeyi are having a good time without a care in the world. It’s just nice, which seems rare these days.

There’s also a mixtape of some of my favorite songs from 2015 here.

Sometimes you get lucky. Researching a story on bitcoin, I went to a meeting in Roppongi to meet enthusiasts. Vitalik Buterin, who is central to the Ethereum project, happened to be there. After his speech at the meeting, he then happened to come and sit with me. He also allowed me to record the 45-minute conversation we had about Ethereum, cryptocurrencies and the direction in which the Internet is heading.

Others were present while I spoke to Buterin, and one person in particular changed the subject of the conversation quite dramatically. That part of the conversation is marked with a “*.”

Here are three things to know about Buterin:

  1. He is not the most outgoing person. Read the words on his T-shirt in this picture. He was wearing this to the meeting, where he delivered a speech.
  2. He is much less of an evangelist for cryptocurrencies than most of his peers in the community.
  3. He was, at the time, very much involved with Chinese developers. He had been staying in China for around 50 days at the time of the bitcoin meeting, which took place April 30.

Here is the conversation I had with Buterin unedited and in full:

How would you personally describe Ethereum?

It’s a blockchain for anything.

In general, you can think of a blockchain as being a computer. In bitcoin’s case, it’s a very specific computer, with Ethereum, it’s a fully decentralized computer.

The simplest practical use is crowdfunding, Kickstarter style. You launch a campaign and set a goal, and if you reach your target, you get the money, if not, everybody gets their money back. Theoretically, that could all be decentralized in Ethereum.

Even with things like Kickstarter and so fourth, there’s a lot of human effort goes into those applications, particularly if it is financial and you care about security. You need a lot of people to be involved, because lots of stuff has to be done over and over again. Here, you just have one platform and it’s already done. You can assume that everything on the computer is just going to keep on going. There is a lot of labor that can be saved and particularly a lot of monopoly profit that can be taken out.

How is cryptocurrency technology going to change the world? I’m not asking for a doom and gloom scenario, but more an agnostic assessment of the possible disruptions.

Up until now, technology has replaced menial jobs with high skilled jobs; its replaced jobs with unemployment; and its replaced jobs with jobs that involve interacting with people. The reason restaurants hire people is working in them requires a skill for dealing with people and you cannot replace that with robots. You can think of blockchain technology as part of that larger context, but it is somewhat different. Instead of just replacing factory jobs, this technology happens to also replace management to a substantial degree. It is also unemploying the rich people, instead of just the poor people.

What’s stopping Ethereum from doing that today?

Ethereum has to be released, get to the point where it is stable and get to the point where there are lots of interesting applications for it.

How about bitcoins and cryptocurrencies in general? We see a lot of evangelizing but I’m not sure I see much to suggest that they are about to go mainstream.

For blockchains, there are still technical improvements that still need to be made for them to become competitive. The specific ones that I am concerned about are first of all scalability. The way centralized systems work are one person reads a thousand books, with bitcoin, a thousand people read a thousand books. And once a thousand people turn into a million, it just becomes inefficient. Transactions in bitcoin cost 3 cents right now. People in the U.S. venture capital industry are in a bit of a dreamland right now, because they think bitcoin is better because PayPal charges 30 cents. Well, guess what? In China, you have AliPay that charges zero cents. The fact is, each payment transaction costs zero cents to process. At some point, if bitcoin gets anywhere, Mastercard and Visa are just going to drop their fees by 80-90% and they are going to squash it. Fundamentally, every node processing every transaction is just not the sort of paradigm that can go up to tens of millions of people.

Bitcoin right now pays $300 million a year for secure mining. At some point, that subsidy is going to run out. So either transactions are going to go very high or network security is going to drop off.

And transactions take 10 minutes to confirm. There is this concept of instant confirmation for bitcoin transactions right now. But when you buy something off a website now, there are ways to revert those transactions with maybe 5-10% effectiveness. Theoretically, you can even bribe miners to revert, and there’s no security against that at all. The reason why instant confirmations exist is because they are not actually confirmed. The reason merchants are willing to accept them is that even if we cheat them within 10 minutes, they can just cancel all your products.

There’s a chance for large-scale fraud then*?

The fact is, if you are in a restaurant, it is easy to run out without paying. It is very easy to cheat. Even still, people don’t cheat. It’s the same with bitcoin, people generally don’t cheat.

So what’s the problem?

Once you move away from just payments — to transactions in retail stores, to financial transactions, to running lotteries — people just expect a response time that’s faster than 10 minutes.

Anonymity is a big draw with bitcoin.

The state of bitcoin right now is basically an arms race, where on the one hand you have people coming up with clever algorithms that deanonymize transactions, on the other hand, you have people creating things like mixers that anonymize better. Ethereum 1.0 will be slightly less anonymous than bitcoin… fine, that’s a trade off. The one interesting project I’m looking at is Zerocash, which uses zero-knowledge proofs where you can agree to transactions but there is no linkage at all to where it came from.

When we look at the Snowden revelations, we can see that anonymity is becoming more difficult. Can cryptocurrencies deal with the sort of surveillance we live with today?

I want to see the zero-proof technology to let the big data people see the results of aggregation without ever actually seeing any of the intermediate data. It turns out that is possible in a lot of cases.

How did you end up where you are today? Was it a political thing that drew you to bitcoin or did you just like the technology?

I was initially interested in part in the politics and in part because it is cool technology. I was particularly interested in combining cryptography and information to get as close as possible to the perfect information economy, even though that is obviously as impossible as zero friction. But just like zero friction, people will try and get as close as they can.

What do you think happened at Mt. Gox*?

The theory that seems most credible to me is that Mt. Gox at some point in 2011 lost 200,000 or 300,000 bitcoins and Mark Karpeles decided this was really embarrassing and he was just going to try and make it back in fees. When the bitcoin price went up, it started running away from them. They may have started to speculate internally to make the money back; they got into very serious trouble at the end of 2013, and that’s when they started trying to manipulate the markets…

What evidence do you have that they manipulated the markets*?

Well, technically, I don’t. But they delayed withdrawals from Mt. Gox for four to six weeks in mid-2013. What that did was it incentivized people to throw bitcoin into the exchange because there was a price difference between Mt. Gox and the other exchanges. And at some point in February, the amount of bitcoin they had in storage at some point hit zero and they decided to blame transaction malleability.

What do you think of Mark Karpeles*?

As a guy who runs a company he is a complete failure. If my theory is true, that implies he acted extremely unethically. He wrote Mt. Gox in .php, which generally has a very bad reputation. It’s a language that is designed to make it easy to pop together a lab application in 10 minutes. By itself, that’s a good thing, but it also makes it [susceptible to problems].

There was one point after the big spike in April 2013, where the price dropped by about 70%. During that whole time there were a large amount of transactions and Mt. Gox basically just shut down… there technical infrastructure just broke. To some degree, this was extremely unprofessional because they should be able to handle 10 or 100 times what their current volume is, that’s just standard practice. It just seems that it didn’t really hire people to improve the code base. It could easily have been a one man job right up to 2013, when he probably hired a couple of developers.

So what are you doing with Ethereum to make sure similar problems don’t occur?

Our security policies inside Ethereum are incredibly paranoid. We have a three out of four multisig wallet, where two of the keys are in cold storage. One is inside a laptop inside a locked safe inside a locked house. To be honest, one of the things we learned is we optimized way too heavily for security against theft and not enough for security against losses. We had one semi-serious incident where if a couple more things had broke we would have lost access. Fortunately, we had a lot of redundancy and the redundancy did its job.

So you cannot say you are 100% secure? Is it even possible to be 100% secure?

It’s always a trade off between security against loss and security against theft and convenience. You can improve the trade-off curve with better technology and better interfaces. With Ethereum, we are going to try to launch with a really good multisig wallet and make it default. But still…

If this tech is to really take off, surely it needs to be like Facebook, where these days you have grandmas and grandads using it. Will that happen?

We’re trying to design Ethereum to be maximally grandma friendly. The point is that grandma, she isn’t using Ethereum, she is using some wallet or chat application or whatever else. And each of those applications, it’s their responsibility to make themselves user-friendly.

We are going to try and make as easy to use as possible is our security policy. What you have now is a system where you download applications and giving them root permission to run software. We are trying to get as far away from that as possible.

How about surveillance? Will you be NSA-proof?

We are trying as hard as we can to be NSA-proof. Our peer-to-peer protocol already has wire protocol-level encryption.

* Questions asked by someone else

A lot is written today about Japan’s media, particularly because of accusations that the administration of Prime Minister Shinzo Abe is trying to silence critics. It’s fair enough, but media in Japan is much more complex than many give it credit for. And press freedom is still by and large in tact.

As well as traditional media, there’s an entire weeklies system that deserves attention. There’s also a vibrant social media scene and plenty of online only news sites. All sort of depend on each other. I recently interviewed Kosuke Takahashi of the Huffington Post Japan for the ACCJ Journal on the role that online media plays in Japan. Below is the full interview.

Are you able to cover stories like the Kawasaki murder and compete with more mainstream outlets?

We haven’t been to the site of the incident (murder in Kawasaki), but we carried a lot of stories and blogs. We don’t have enough people to send a reporter there. But we interviewed professionals and wrote blogs.

How many of you are there?

Including sales and editorial, we have 15 people. Including assistants, there are 11 people in editorial.

You’re just operating during the Japanese work day?

We run the site from about 7 a.m. to 10 p.m. If big events happen though, people will work. During, for example, the terrorist attack in Tunisia. So one editor worked overnight.

We run about 50 stories a day. About half of them are original news written by our editorial staffers. The rest of them are blogs and a handful of reprint of wire-service articles written by Reuters and Asahi. Thinking about the number of staff we have, 50 is a lot. We are terribly busy. If you don’t put up that many stories every day, you will not get enough traffic.

What’s your vision for the Huffington Post Japan?

When I became the editor-in-chief, I put the priority on civic journalism. In Japan traditionally, the government and authorities have been very strong. People tend to trust the government, the emperor, authority figures such as teachers, but civic society is not so strong. Japanese media tends to follow the government’s resources, which are sent to the press clubs.

Huffington Post Japan is trying to follow ordinary people to foster democracy, by giving people a chance to hear ordinary people’s voices and opinions. We provide a forum for readers, where they can discuss what the government has to do.

You seem more fearless than traditional media. For example, you guys were pretty critical of Ayako Sono and the story ended up getting picked up internationally.

We carried a lot on Ayako Sono. Traditional Japanese media tends to hesitate to criticize rivals. We do not. We do not have strong ties with other media, there’s no reason for us to restrain ourselves from criticizing the Sankei.

But that sort of stuff is not enough for you?

The U.S. Huffington Post was established in 2005, 10 years ago. It first reported on the so-called low-brow stories. High-brow stories are on politics, economy and that sort of thing. Low-brow stories are on entertainment, cats and dogs etc. Huffington Post in the U.S. first carried only low-brow stories, but now, they have a Pulitzer Prize. They already shifted to a balance between low-brow and high-brow stories. At HuffPost Japan, we were just established two years ago, so we still need to focus on low-brow stories. We have a limited number of staff, and monetization is important.

Are you profitable?

We are monetizing. We have four salespeople. We are still not in the black yet but we will make it.

How are you making money?

We offer the usual banner advertising and also native advertising. More than half of our readers come from smartphones, the rest come from PCs. The revenue from smartphones is still much lower than for PCs. As you can see, advertising banners are small on smartphones, compared to PCs. Although we get much more people from smartphones, it is difficult to make money, so we do native ads. If Toyota pay us money, we will write them a sponsored article. This doesn’t totally rely on traffic, they just trust our brand.

Japan’s media is always rumored to be giving in to advertising demands. The massive companies such as Dentsu are said to lean on newspapers to make sure, say, Tepco is treated gently. Do you get pressure from advertisers?

So far we have had no pressure from advertisers. Why? I don’t know. Maybe we are still too small for Dentsu or something? Maybe it’s because we focus on ordinary people’s lives?

Another point for us is that we focus on minorities. We write about LGBT issues, foreigners, women, the handicapped, those that tend to be less represented in Japanese society.

How many hits are you getting?

We focus on unique users. We have 15 million a month. That’s a lot right? If you want to just get page hits, you just put up more slide shows. We focus on unique users instead.

That’s interesting. It seems a bit different in the U.S. these days. All about hits maybe. You must have seen that Dress article, about the different colors. It got about 80 million hits from Buzzfeed and they seem to be monetizing. But your model is different… 

We got lots of hits. But those kind of stories [The Dress] do not help us to get native ads. We need to enhance our brand image to get native ads from big clients. So we have a dilemma. We need traffic, but those stories don’t help our brand. People want international news, local issues, environmental issues, stories about how local people are suffering … that’s civic journalism. The Dress is less important, but our traffic is very good, that is true.

But you need the cash for the civic journalism…

We are half way there. We had a scoop, but we need more. About a year ago we got one, about the Diary of Anne Frank. One of our reporters, Chika Igaya, had been covering Japanese libraries, and she heard about the damage to the diaries, so she investigated. The report became international news, it was a big scoop.

A libraries correspondent?

Among the 11 editorial staff we have, two came from the Asahi. Maybe they will return there in a few years. They are juniors to me, I am 46, they are fourthsomethings. We have a few people in their 20s, most are in their thirties. They come from Rakuten, the Sankei, some IT media, they have different DNA, come from many quarters of the Japanese media. We are always fighting… well, discussing what to do a lot.

I guess the former Sankei people didn’t follow the Sankei line? I had a friend work there and he was… sane.

Haha. I used to work for the Wall Street Journal Japan, and the staff said they didn’t like the editorials.

So where does the HuffPo fit into the Japan media landscape?

Our rivals are Toyo Keizai online, Blogos and Yahoo online. But Toyo Keizai online is our main rival, they have almost the same editorial line. It’s a friendly rivalry. I am good friends with their editor.

Are you able to grow any further? There has to be a limit to the size a Japanese blog can reach.

We expand by about 3 million unique users a quarter. We still have a long way to go, and can get a lot of new users. Many Japanese do not know the Huffington Post. My staff will call local governments and say who they are. The people at the other end will say ‘Huh?! Washington Post?’” Only people active on the net know our name, not ordinary people.

If we expand our social influence by getting scoops and delivering important news then we will attract more ordinary people.

Do you follow the same method as the HuffPost in the U.S.? Grabbing onto stories and firing out as many posts as possible on them to get traffic. Things like the death of Kenji Goto must be good for traffic. I saw that from the traditional media and online media sides, and there’s no way the papers can keep up.

We got lots of traffic in January when Goto-san was killed. It happened at 5 a.m. One of my staff was connected to a chatroom on his phone. He woke up because his phone started buzzing a lot. He saw Goto-san was killed and got straight to work. If you wait for traditional media’s reporting on this, it can be too late. On the other hand, the traditional way of reporting, hearing rumors, confirming them and publishing stories [can be safer].

So are you trying to outpace traditional media?

We don’t focus much on breaking news. If we focus too much on that we would lose because we don’t have enough staff. For example, the other day we wrote about “hakko icchu,” the wartime government slogan Junko Mihara said in the Diet. Many young people don’t know the phrase, so we summarized its meaning and the story proved a megahit. Then three days later, Asahi politics did the same thing. We also did a slideshow of Mihara, because she is very popular… she’s beautiful. People from my generation like her, and they just want to see her photos.

Young people don’t read newspapers as much as they used to. So if they want explanations, they come to our site. Newspaper circulations are declining a lot. So people lack basic knowledge of the news. So if we can summarize, and explain the background of what is going on, we get people coming to our site.

But you need traditional media then? If they weren’t covering Mihara, you couldn’t follow that story. But at the same time, traditional media revenue is declining. How can journalism sustain itself?

The media that conquers smartphones in Japan will win. It’s happening in other fields too. Look at the Nintendo-DeNA deal. As I said, more than half of our readers come from smartphones. So if you cannot make a smartphone-friendly news site, you cannot win. The U.S. is now redesigning to make a smartphone focused site.

Are you following the U.S. in doing this?

Japan and South Korea have good WiFi systems. In the U.K., people still read free newspapers on the train because they can’t get a signal, for example. Arriana Huffington says Japan and South Korea are experimenting in the media world. They are following us, in a way. So we need to focus on mobile video. People are good at PC video, but we are now changing to mobile video. We will launch a service this year, but the details have not been decided yet. But we will launch video in the in May or June.

So you have total independence from the U.S. site?

Since I joined the Huffington Post in September, I have been to company conferences in London and Munich. We have 13 editions, so twice a year, people get together and discuss what we will do globally. This year, we will launch in Australia, Mexico and an Arabic edition. This helps the group. We can use each other’s articles.

Do you do the U.S. thing of getting celebs to blog to pick up hits?

We use around 300 bloggers. Maybe Shigeru Ishiba gets the most hits. Or Taro Kono or Takafumi Horie. These people allow us to reprint what they wrote on their blogs. HuffPost Japan is a liberal media platform, but we still need to carry conservative views for readers to create a good opinion forum.

How are your readers? I have a rule to never read comments under stories…

We get a lot of Facebook comments. Some are crazy and some are not. People comment from all corners of Japan.

Most of our readers are in their 30s and 40s. Gunosy targets people in their late teens and early 20s. SmartNews targets early 20s to early 30s. HuffPost and Toyo Keizai online readers are in their late 30s and 40s. HuffPost’s selling point is international news, so we get people in their 30s and 40s, company workers.

What about the Japanese news? Does that get translated for the U.S. site?

On the March 11 anniversary, the U.S. site translated two of our stories into English. The Korean site also translated a piece into hangul.

So what’s next?

What I want to do here is… Many places have a digital-first policy. We are digital only. We have to be strong on social media, and on smartphones. And we need to target young people. Elementary school students today are shooting their own videos on smartphones. They are our future readers. And we also need to be strong with visual elements … video and slideshows.

There’s a lot you can do beyond video. I remember one story on the New York Times that felt like a completely new way of publishing…

We are looking at doing global stories. For example, on environmental issues, we can make a world map, an infographic, and if you click, say, Brazil, you can get information from that country. Each edition can contribute the facts. We have COP21 in November, so we decided to do it. We also decided to do a global story on the rise of the right wing. In developed countries, there are fewer children and more immigrants. And the right wing don’t like it. So we will cover this story in each country. At the same time, we will look at good examples of positive immigrant integration.

Sounds like you are going to become a media empire. Totally worldwide.

The Huffington Post Group is trying to establish in China. But the country is sensitive to media, so Arriana Huffington said we will start with a focus on lifestyle and then expand.

How do you perform compared to other Huffington Post sites?

Globally speaking, the U.S. site is the most read, then the U.K.; we are No. 3. We just overtook Canada. We have some bloggers overseas, there’s one in Munich. That must mean there are some overseas Japanese reading us.

Back in early 2011, I had the chance to meet Phillippe Cohen Solal of Gotan Project. The story based on this interview was never run, due to a series of unfortunate events. Gotan Project’s promoter in Japan was not able to bring the band over to perform because of financial difficulties, most importantly. And then the quake struck on March 11, and the article ended up getting lost amid the chaos that followed.

Below is a Q&A with Solal that I wrote before the ill-fated article.

Are Gotan project looking for commercial success? Or something else?

On the first record, there was one tune that was a little bit more housey and written for the dancefloor. My friends all said ‘this is the one, this is the one that will make you guys big,’ but it didn’t make the album. I wasn’t completely happy with the song and so we did not put it on there. Every song on every album we have released is a work I am satisfied with, I do not particularly care if we make the charts.

I would love to work with, say, Madonna or Lady Gaga, though. That could be a lot of fun.

When did you realize you had “made it”?

I remember after we released our first record and my girlfriend came into the bedroom and told me Gilles Peterson was on phone. I told her to go away, I did not believe her. But since then he has been very supportive of us.

What would you consider your main influences?

Actually, I have been DJing since the early 90s, so there are a lot of influences in our records. Of course, disco and the house of Paris – Daft Punk – and then there is tango. We spent time in Buenos Aires and that was a wonderful city, full of music, one of those special places that you cannot help but feel affected by.

You are French, and have a lot of ethnic influences. How do you balance that with your government’s treatment of immigrants?

Of course, what is happening to French politics makes me uncomfortable. Sarkozy will go home at night to his beautiful wife and dance to the music of gypsies, yet he does not want them in his country, and now they are suffering. But on the other hand, we hear about gangs from overseas exploiting immigrants and so that makes the question a difficult one. But from a musician’s perspective, it certainly seems hypocritical.

Do you think Japan has an environment conducive to original music?

There is a lot of diversity in Europe that you cannot see in Japan. And the cities are very … strange. There are so many people and so many huge buildings, and these things can also be an inspiration that can make music sound unique.

The record shops here are special, I can spend hours, days in them. But I do not have the time. I have not had 30 minutes to sit down yet on this visit. If people bought records like I do, then there would be no crisis for the industry. Record labels would probably be bigger than the military industrial complex.

Anything out there musically that you are impressed with at the moment?

Music is always moving forward. When we look at the charts we can sometimes be a little disheartened, but there is always something going on. After we became popular, there were many bands that were imitating our sound, but they did not interest me. In South America now though, there are bands doing really exciting things with tango, movements like this will always push music.

One of the main policies Japan’s Prime Minister Shinzo Abe said he would push upon assuming office was the reform the country’s employment law. As things stand, companies that grant seishain permanent status basically find it impossible to fire their employees. Sound great? In some circumstances it is. By giving employees jobs for life in the postwar period Japan Inc. boomed, instilled a loyalty in its workforce and created the salaryman.

Then came the bursting of the bubble, economic ennui and the “Japan in crisis” that we have come to know through media over the last two decades. The scale of Japan’s crisis and role of permanent work in exacerbating it are points for debate. But the risks of permanent employment are there. Here are six:

An illiquid job market

Many Japanese go to university, search for work, enter companies and that’s it. Those that choose a different path often suffer. The nation’s biggest corporations believe in the jobs-for-life structure of the workplace, and therefore mass hire every April. This means grabbing the grads fresh out of university and keeping them.

The cost for this on an individual level for Japanese youth will be clear to anyone that has traveled or partied as a part of their adult development. For society, it has the additional cost of creating generations unable to compete in a globalizing world.

A stagnant workplace

If a person has permanent employment, that person is under no obligation to do their best. They can do as they choose in the workplace, with little fear of the consequences. This is obviously not a problem with younger, ambitious workers.

But what happens when a person gets overlooked for a position they feel they deserved? How do people react to being transferred to positions they do not want? When departments become tense because of personality clashes, is everybody expected to react with a professional attitude?

Of course, these problems are rampant in Japanese companies, and have been for decades. That has led to tense offices, stress and a lot of people working at less than 100%. Job satisfaction falls.

In such circumstances, many will lose their ambition and coast. Those coasting along have a negative effect on the more ambitious young employees and a downward cycle starts.

Falling wages

Recessions in countries without a jobs-for-life system lead to dismissals and employment falls. In places where permanent employment exists, wages stagnate or fall during difficult economic circumstances. If prices rise, that adds a further problem. The seishain, in other words, move through their careers without seeing any reward for experience gained or skills learned unless the national economy is in good shape.

New employees are often paid less than those in companies, which creates a further problem: Those unfortunate to have had to join the workforce during testing times cannot expect to receive the same compensation for hard work as those lucky enough to have entered the company during good economic times.

A two-tiered society

One of the ways Japan has coped with the end of the bubble era is to loosen labor law and allow companies to employ temporary workers. These staff who are not guaranteed employment give companies an opportunity to hedge against the possibility of a recession. When shockwaves from the bankruptcy of Lehman Brothers hit Japan, companies didn’t hesitate to lay off temps, leading to suffering for many in this new underclass of contracted workers.

In better times, there are other problems. In workplaces, temps may be treated differently to permanent workers because of their job status. They shouldn’t be, and this shouldn’t happen, but society being what it is, a contract can be as much of a status symbol as a sports car in certain circumstances.

HR ennui

Japan’s work system guarantees jobs for life, making the work of those in human resources looking to dodge hard graft easy. People that enter companies are likely to be there a while. The consequence tends to be the erosion of meritocratic company HR policy in favor of a seniority system.

One clear advantage of that system for the lazy is that it means nobody has to think about performance. But the disadvantage, that those with the best skills go ignored, is much more worthy of attention. Koichi Tanaka of Shimadzu Corp. was promoted to management only after winning a Nobel Prize.

Service values get eroded

Japan has long been admired for its service. And any resident will tell you there are still problems. The restaurants and shops are great: They employ people on loose contracts. The Internet providers, cellphone networks and manufacturers supplying products? Not so much.

Sony’s struggles over the last few years are well documented. Reverence to the boss was all too clear when Michael Woodford blew the whistle on his fellow executives at Olympus. Tepco’s lack of reverence to the customer should be obvious.

In an initial office environment where the person sat next to you will probably spend more time with you in the coming decades than your spouse, how can the customer always be right?

This post originally appeared on Medium

An essay that appears to have been written by Japanese rock icon Kiyoshiro Imawano a few years ago has been popular on the Internet today. He discusses life after earthquakes, Shintaro Ishihara, corruption, the constitution and Japan in general. I thought I’d translate it as it shows the issues being discussed today are nothing new, at least among the more Internationally minded Japanese. And it obviously became popular because of the election. Over to you, Kiyoshiro:

“After a Big One, there will be war. To revive public spirit, the politicians will want something big to talk about on TV. The idiots will try to push the people into a frenzy. Snobbishly, they will try to get all to follow them.

It’s five years since the Kobe Earthquake. I woke up in a room flooded on that day. On the TV I saw there were fires in five areas. I thought soon things would be safe, and closed my eyes again. When I woke up six hours later, Kobe was a sea of fire.

After the Kobe earthquake, what did my country do? It helped big firms do big construction jobs. It did so with money to support the rebuilding of Kobe. The carpenters in the area applied for recovery money, and were ignored. This is my country.

There is one politician. A special politician. He likes to talk about his movie star brother that died. He likes to claim that because he supported his brother, one of the greats of the screen, that he also has a rock n roll aura. He is against America. The more reality pushes against his beliefs, the more he pushes back. He cannot turn around from the place he is staggering toward.

This man is capable of banning rock, and rhythm and blues shows. Politicians, after all, really love law enforcement. I want to enforce a peaceful world.

I sound like a communist, but I am just a rocker. I make music that cannot be bought. It’s not a music that can be studied, I just do what I want. I do not do what I do with personal gain or a plan in mind. I am different to those cheap bastards in politics.

What do they want, betraying and tricking people? What will happen to our budget? Who will decide? If for 100,000 yen you can get so done knocked off, what happens when you are talking about people forking out 10 trillion yen or 100 trillion yen?

That’s this country. That’s Japan. That’s the country I was born and raised in. That’s the country you were born and raised in.

But this country also has a constitution. And in Article 9, can we not see the same beliefs as we saw in John Lennon? It says we should give up war for peace. Are we not like John Lennon? End war. Spread peace. Bring happiness.”

Note: Any comments on issues with the translation would be appreciated, as would any ideas on the essay’s origin.