Monthly Archives: September 2016

Kamakura, For Sure-a

Kamakura is a scenic shrine- and shop-laden town of 175,000 apparently very religious souls, located about an hour and a half drive southwest of Tokyo. It is particularly famous for the Giant Buddha, which is exactly what it sounds like: a 44-foot tall Buddha, dating from the year 1252, located at the Buddhist (obviously) temple of Kōtoku-in. The statue sits in a courtyard in the middle of the temple, apparently as Buddha himself or some equally influential deity intended, since every few centuries the monks try and construct a building around it, only to have said building destroyed by hail, or a tsunami, or what have you. So now it looks like this:

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Notice the grayness and the umbrellas. “Ah,” you say, “it was raining while you were there.” If only. It was in fact pouring, a cyclonic downpour that left our shoes squishy and our pants soggy, despite our having had the foresight to bring umbrellas. So despite the fame of the statue we did not linger worshipfully, or at all. That said, I will note that this guy was having a great time in the rain. His parents, not so much.

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Continuing with our Buddhist theme — and hoping that eventually the guy upstairs would accept our touristic devotion and ease up on the goddamn rain — our next stop was the Hokokuji Temple, which is famed for its serene and beautiful bamboo gardens. We learned more about bamboo than anyone this side of a panda needs to know, e.g., the fact that Chinese bamboo is better to eat, but Japanese bamboo is better for weaving and construction. Remember this when you are bamboo shopping. But in any case, here are some shots of the temple and the bamboo grove.

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It is traditional to have one’s picture taken among the bamboo, and so of course we did. We then moved on to the Jomyoji Temple, a serene little place (“little” in comparison to the others) that is known for offering a tourist-level tea ceremony. Obviously we were not going not pass that up, and so we and about 20 others gathered at low tables in a quiet, severe room, all wooden floors, tapestries, and bamboo, and watched as a silent young woman moved fluidly through the rigidly prescribed process of wiping the utensils, mixing the tea, rotating the bowl in her hands, and other highly symbolic gestures whose significance was unsurprisingly lost on us. The drink itself was a very bitter green tea, a green powder (“matcha”) mixed with a bamboo whisk into hot water poured from an earthenware pot. The ritual was very…..precise.

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They do not have Lipton’s, so don’t ask.

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Our smiles belie the fact that the stuff tastes terrible.

By now the rain had finally let up, Buddha apparently having been mollified by our visits to three temples, so we decided to push our ecumenical luck by shifting theological gears and visiting a Shinto shrine. The major one in Kamakura is Tsurugaoka Hachimangu, which is dominated by a large traditional dance hall at the top of a long flight of stone stairs. The hall has a commanding view of the grounds and indeed much of the town and is not in fact used for dances (though it was once used for a ritual dance) but rather for other religious ceremonies. Before you approach it you must purify yourself at a hand washing station, like so:

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As with many Shinto shrines, the grounds include a number of locations where you can buy the Shinto equivalent of a fortune cookie: a scroll that, when you open it, reveals your predilections in areas of health, career, relationships, and so forth. You pay your money, and you are given a cylindrical shaker about the size of an oatmeal tin with the scroll inside. You shake, shake, shake the container, then open it and remove your scroll, which you then unwind to read your fate. If you like what you see — and you don’t always — you hang it on a sort of clothesline next to the shrine, along with everyone else’s wishes, like this:

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Many people — young women in particular — visit the shrine wearing traditional clothes, and it is quite delightful seeing groups of them strolling around, giggling over their fortunes.

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I should add that the other structure dominating the grounds is a huge wall full of sake casks, each about the size of a beer keg.

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In the immortal words of Slim Pickens in Doctor Strangelove, “Hell, a fella could have a pretty good weekend in Vegas with this stuff!”

By this time it was 3 PM or so and we were pretty much templed- and shrined out. We walked around the shopping district for a while so that Alice could ogle pottery, then boarded the bus for the drive back to Tokyo. It was starting to get dark by the time we arrived, and since the bus had dropped us off at the Ginza railway station, we took advantage of the hour and the lack of rain to walk around that famously energetic shopping district before finding some dinner. After a day of cultural immersion we decided that having a Western meal would not compromise our touristic integrity, and so found a surprisingly good and reasonably priced Italian restaurant on a side street.

[Tourist Tip: when dining in Ginza, “side street” becomes an important restaurant selection criterion. The main drags are filled with Prada, Tiffany, Dior, Gucci, et cetera, et cetera stores, and consequently the restaurants on those streets have prices suitable for people who shop at Prada, Tiffany, Dior, and Gucci stores. Prices drop by about a factor of four when you move a block away.]

I will close with some shots of the Ginza, so that you can see exuberant consumerism at its energy-intense finest.

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Categories: Japan | Tags: , , , , , , , , , , , , , , , | 3 Comments

Giants in Diapers

We are talking about sumo, of course. It is Japan’s national sport, 1500 years old with roots in the Shinto religion. Indeed, many of sumo’s rituals are religious, including sprinkling salt around the ring and that peculiar one-leg-at-a-time stomp that is so often parodied. Both are purification rituals designed to demon-proof the proceedings. (And there must be a lot of demons in the vicinity, judging by the amount of salt these guys throw around. More on that in a moment.)

We were lucky to get tickets. There are only six matches a year held throughout the country, and only half of those are in Tokyo. Each match is 15 days long, which means that there are only 45 days during the year when you can see professional sumo in Tokyo. Happily, one of those 15-day windows falls in mid-September, so here we are. We booked a sumo-plus-traditional dinner tour and were fortunate to have a knowledgeable, enthusiastic, and generally adorable guide named Nao to give us the skinny on the fat guys. Nao was something of a sumo groupie, so she even had cheat sheets made up for us with the names and stats of the players, plus some handicapping information in the bargain. It is all a very big deal, and the players themselves — of whom there are only 660 in the country — are highly venerated as a result.

This led us to our first bit of surrealism, in fact, as Nao lectured us on the unapproachability of these 350-pound demigods. We might see one of them in his robe outside the arena, she cautioned. If we do, do not approach him! (What, will they attack unprovoked?) I’ll do the talking, said Nao, and if we are very, very lucky and very, very polite then he may consent to have his picture taken with us. She proudly added that she had last succeeded in this quest a week ago.

Well, we exit from the train and who is wandering around the station in his bright yellow robe but one of the behemoths in the flesh. Nao approaches him as obsequiously as possible — and in Japan that is very, very obsequious — and after a few moments of conversation the giant consents to a photo op, to everyone’s delight. He does this gamely for a few minutes and most of our group — but not us — managed to get into a shot by the time he turns away to buy a train ticket. Our bad luck, it seems, until Nao imparts out of the blue the biographical nugget that this particular guy is originally from Hawaii. That’s all I need.

As Nao looks on in horror I march over to the ticket machine next to him and say, “Hey, I hear you’re from Hawaii! I used to live there!” It turns out that he is, well, just a guy after all and he says, “No kidding. Where?” So we chat for a minute or two and shake hands and I ask if we could squeeze in one more shot of Alice and me. He says, “Sure,” and here is the result:

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So we are once again officially awesome.

The sumo arena is square and holds roughly 4000 people. The sign at the ticket window said that the match was sold out, but as you can see from the photo below it seemed far from that while we were there.

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That’s Nao on the far right. In the corridors outside the seating area there are a number of snack bars selling a rather interesting variety of stuff: ice cream and popcorn like stadiums the world over, but also bento boxes and alien Japanese snacks.

After some preliminary bouts the big-time players marched in for the top-of-the-card matches. The overexcited announcer named them one by one as they formed a circle, clad in ornate, colorful upscale loincloths, and the crowd went wild. Here are the top-ranking champions on display.

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Speaking of “alien” this is probably a good time to note that it was only in 1993 that a Hawaiian fellow named Chadwick Haheo Rowan broke the “nation barrier” by becoming — amidst an enormous amount of controversy and hand-wringing — the first non-Japanese yokozuna, the highest-ranked sumo wrestler. His sumo name was Akebono Taro, and he pretty much opened the floodgates for non-Japanese participants. Today, in addition to our Hawaiian guy at the train station, we saw wrestlers from China, Georgia (the country), Brazil (which has a large ethnic Japanese population), and a veritable Mongol horde. (Literally: a disproportionate number of the top ranked guys are from Mongolia.)

A match begins, as you probably know, by the contestants strewing salt around the wring, then stretching and stomping around for a bit, then finally squatting down and facing each other. At this point you expect the referee to say “Go!”, and the guys go at it, but no. The referee does not start the bout; the players do, and only when they’re both damn well ready. So after squatting and glowering at each other for a few seconds, one or both will get up, walk around, towel off the sweat (from what?), and throw around more salt. Then they’ll squat down and face each other again, and one will decide, “Nah, not yet,” and the whole cycle starts again: stretching, salt, towel, a stomp or two, maybe a quick mani-pedi. This can go on for half a dozen cycles until there’s enough salt in the ring to de-ice your driveway next winter. At this point the audience is ready to storm the ring and finally things get serious…

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…for about ten seconds, until something like this happens:

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That “ten seconds” remark is not an exaggeration; many of the bouts are indeed that short. The rules state that a bout may last a maximum of four minutes, but it is hard to imagine that happening given what we saw today. A couple of the very top-ranked matches lasted noticeably longer, the longest being perhaps two minutes. Most of that time was spent with the guys locked together, leaning into each other like a rigid triangle, absolutely unmoving: the irresistible force meeting the immovable object.   Sometimes things get slightly out of hand, e.g.:

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The deadly 350 lb Atomic Wedgie

…but mostly it’s wham, bam, sayonara.

The players are famous, of course, but not terribly rich. There are ten ranks of player and only the top five are paid at all; the lowest of these makes about $120K a year, the highest about three times that. Sponsorships provide a little extra money, though nothing on the scale of American athletes. In fact, it works rather differently. Companies will choose to sponsor particular bouts — generally the ones with the best known players — and pay into a sponsorship pool to do so. When that bout comes up the company reps get to march around the ring holding their company banners, and whoever wins the bout gets the pool. Bouts with top-ranked players will get a dozen or more sponsorships, leading to a scene like this:

sumo-009 …while bouts with low-ranked players will get no marching banners at all.

At the end of the bout, the referee hands the winner an envelope containing the sponsorship cash, right there in the ring. We should definitely adopt this system at home: when the Yankees are playing, at the conclusion of the game a pickup truck drives onto the field, filed with $50 million in cash from all of Alex Rodriguez’s sponsors, and the coach of the winning team gets to drive off with it.

You are now a sumo expert, and I have retired a minor bucket list item.

 

Categories: Japan | Tags: , , , , , , | 6 Comments

Sailor Moon Vs the Dancing Corpse

I’ll bet that title got your attention. All in good time….

Because the weather was drizzly (and would get a whole lot worse, though we didn’t know that yet), we decided that seeing Tokyo from indoors would be our best starting point. And so with little difficulty we Metro’ed our way to one of the city’s best-known museums, the Edo-Tokyo Museum. “Edo” refers to the so-called Tokugawa Shogunate era, when the shoguns ruled the land for over two centuries and provided enough material to script generations of TV mini-series starring Richard Chamberlain. The nominal start of the Edo era was in 1603 when 260 samurai pledged their fealty to the shoguns and basically started keeping everybody in line. It was a period of significant economic prosperity and extreme isolation from the rest of the world: no foreign influences of any sort were allowed, including books and people. Things started to falter economically in the 1800’s and the system was already tottering when Commodore Matthew Perry sailed into Tokyo Bay with a fleet of gunships in 1853 and announced that he had heard so much about the place and really, really wanted to pay a visit. And so the negotiations went along the lines of:

Shoguns: “Sorry, we just closed an hour ago. No one is allowed in. Ever.”

Perry: “Please re-check your reservation list. It’s under the name “gunboats”.

Shoguns: “Ah, um, yes, we see. Please come in and make yourself loud and intrusive.”

And that was the end of the Edo era. It is remembered as a time of great cultural richness, driven in part by a great expansion of education. The Edo-Tokyo Museum is a large blocky structure with most of the exhibits on two large floors divided into open galleries. There is some summary signage in English, enough to actually learn something without being overwhelmed by detail, of which there is a great deal in Japanese: the walls are covered with all sorts of graphs and charts, showing things like the change in life expectancy correlated with the size of the rice harvest, as well as assorted block diagrams and organization charts showing how the local governments functioned. I was secretly grateful not to be able to read any of it.

But the highlights of the museums are the artifacts and the many really cool models of villages and royal compounds, huge (20 x 30 feet) platforms at waist height populated by wonderfully detailed buildings surrounded by hundreds of miniature people going about their business. Each model has a few sets of binoculars around the perimeter so you can scan the setup as though you were spying on a real village.

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At the risk of compromising historical accuracy, these things definitely need little electric trains running around them.

Besides the models and the pie charts, there are the expected assortment of beautiful artifacts: samurai armor, tapestries, that sort of thing. Some are interactive: models of water buckets and peddler sample boxes that you can pick up (all ridiculously heavy), and a palanquin (sedan chair) that you can climb into as you wait for your underlings to carry you around.

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I couldn’t find any volunteers to carry her around, so she’s still there.

We spent an enjoyable couple of hours at the museum, then decided to head over to Akihabara, the electronic district, to ogle the consumer goods and find some lunch. Akihabara is legendary, and rightly so. It is an area about four blocks on a side, and it all looks like this:

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The thing that you have to understand is that nearly every single one of those establishments is selling electronics of one sort or another. Some are in a well-lit, upscale department store setting; others are literally back-alley vendor stalls, and it is these that are particularly fascinating. You duck into a storefront and are instantly in a 21st century Japanese version of an Arab souk: dimly lit passageways lined with stall after stall of vendors selling the most ridiculously specialized electronic goods. This one sells only network cables; that one only connectors; another one only power bricks. It goes on and on, and you have to wonder how this sales model is economically viable. I mean, how many feet of CAT-5 ethernet cable do you have to sell every day to pay the rent? And yet, somehow it works, and has worked for quite a while: when I was here 20 years ago the same vendors were no less specialized, this one selling resistors, that one capacitors.

It is not strictly correct to say that every building is an electronics store. There are some restaurants as well, but the remaining retail establishments fall into two categories: pachinko parlors and manga action figure stores. Both are weird enough to merit discussion.

You may have heard the word, but in case you have never seen the device, a pachinko machine is a cross between a slot machine and a pinball machine. It is about the size of a slot machine and stands vertically. You sit in front of it and feed a large number of ball bearings into the top; these bounce around inside, eventually landing in slots that reward you with…..more ball bearings. You do this until you either die of smoke inhalation (these places are not smoke free), go deaf (each machine pounds out techno music at Who concert decibel levels, and there are hundreds of machines), or redeem your accumulated collection of ball bearings for dubiously-valuable prizes. In other words, it’s like Chuck E. Cheese for grownups, but much less subtle.

When I was hear twenty years ago, pachinko parlors were noisy, smoky, dirty, somewhat primitive and (to me) sad places. Now they are noisy, smoky, clean, digital, and still sad. Which is to say that they are better lit than twenty years ago, and now each machine has an animated digital display in the center showing a variously writhing or kiss-blowing nymphet. Progress!

Which brings us to the manga action figures. I am not quite sure how to begin because the concept is so uniquely Japanese that the weirdness quotient is astronomical. So let me begin with this photo of one of the display cases:

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Each case is jammed with an assortment of plastic homages to every anime character in existence, a large fraction with more than a passing nod to the uniquely Japanese take on what we might call crypto-pedophila, e.g.:

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Sailor Moon, call your office. And Child Protective Services.

Now I need you to imagine not just a small store full of these things, but a multi-story emporium. The particular one that we were in was at least three stories high. And the items are not cheap. The very smallest ones, perhaps 5 inches tall with minimal detail, start at $20 or so. The prices goes up rapidly in proportion to the size of the figure — the size of her boobs in particular — and in inverse proportion to how much clothing she is wearing. The almost-pornographic ones cost hundreds of dollars. Who buys these things? This guy, for one:

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“Don’t tell Mom I shop here or she’ll kick me out of the basement.”

I am being a little unfair here, of course. (Hey, that guy can write his own blog.) But only a little. These models are very big business here, and they are not all semi-naked schoolgirls with 50-inch breasts. Those are only about 65% of the inventory. The rest are determinedly-scowling muscly guys with flames instead of hair, and variations on Godzilla. I feel much better now.

After leaving the manga store and hosing ourselves down, we ate lunch at another uniquely Japanese establishment, which I have come to call the Vertical Food Court. This is a great concept that I would love to see back home. Typically, such a place is a several-story building, each floor of which houses one or two regular sit-down restaurants. At the entrance to the building is a display showing photos of each restaurant and offering a sample menu. You then step into the elevator and pick your floor/restaurant. Since the information was all in Japanese we chose essentially at random — we picked floor 8 out of a possible 9 — and ended up at a good Korean restaurant. (We didn’t know it was Korean until we sat down and were given English-language versions of the menu. Who knew?)

Our penultimate stop of the day — it was now getting on towards about 4 PM and the wind and rain were worsening — was a kabuki performance. A kabuki play and a sumo match have both been on my bucket list — no remarks about having an odd bucket list, please — so I was finally going to check one off. (And we’ll see the sumo match this afternoon!) Kabuki, as you may know, is a very traditional formal style of Japanese drama; there is a well-known kabuki theater in Tokyo and tickets are much sought-after. The thing is, full kabuki performances are 4-5 hours long, and so the theater wisely caters to tourists by offering single-act tickets in the nosebleed seats, available very cheaply on a first-come basis at the box office on the day of the performance. We opted for the second act, which would take 45 minutes to perform. We figured that since we were there mainly for the atmosphere, we would not bother paying for one of the handheld translation devices. I’m not sure whether this was a good idea or not, since we had almost no idea what the hell what was going on.

The theater was large and beautifully architected in wood. The stage was very wide and the set simple and elegant, a Japanese house a la “Teahouse of the August Moon”. There were about five actors, apparently well-known judging from the applause with which each was greeted upon walking on. The plot was incomprehensible, but I will quote for you the English summary sheet that we were given for our particular act:

“A petty gang member called Rakuda has died after eating blowfish. Hanji, one of his evil companions, wants to hold a wake but has no money, and the neighbors will not contribute. Hanji threatens Kyuroku, the waste paper collector, to go to the landlord’s house to collect some money, but the landlord turns down the request. Hanji forces Kyuroku to break into the landlord’s house again, this time carrying Rakuda’s body and make it look like it’s dancing. The plan works, and they buy some sake. They start drinking together but as they become drunk the hapless Kyoroku becomes surprisingly aggressive.”

That’s it. The play ends with everybody drunk and dancing with the corpse. This is a comedy. (Yes, really.) Dancing with a corpse is apparently a particular laugh riot in these parts, judging from the audience reaction.

Well. That was different. The acting was rather broad, the actors sort of barking their lines in that Japanese way, as all the while a shamisen – that tradition Japanese stringed instrument — goes plink-plink-plink in the background. Particularly important moments are underlined by clopping wooden blocks.

We were glad we went. We were also glad that it was only 45 minutes.

By the time we left the theater, Tropical Storm Godzilla (I have renamed it) was in full cry. Driving rain, howling wind, peoples’ umbrellas being turned inside out, the works. But we still needed dinner, and Alice had identified a particular shabu-shabu restaurant in the area that she wanted to try. Unfortunately we couldn’t find the place, and after passing about a half dozen inviting-looking sushi bars, all the while being pummeled by the weather, we realized that we were being, well, stupid. So we gave up and popped in to one of those sushi bars, where we had an excellent meal. We rolled the dice and went with the “chef’s choice”, which worked out well: there was only one completely unidentifiable object, and it tasted OK. And I only humiliated us once by dropping a piece of sushi onto the counter when my chopsticks slipped. (Unusual for me, actually, as I am normally gratifyingly adept with them.) I offered to kill myself but they said not to bother. My family will simply have to live with the shame instead, but they’re used to that.

This afternoon: sumo match. Stay tuned.

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Land of the Rising Sun and Falling Rain

alice-metaOur flights to Tokyo began in Philadelphia but since I’m in charge here and I’m writing about airports I feel compelled to open with an image of Alice on meta-display at Baltimore-Washington International Airport, close to where we live. This doesn’t have anything to do with Japan but all our friends thought it was pretty cool. (I took the photo of Alice in a waterfall in New Zealand and wrote a blog post about it here. I submitted it for display at the airport about a month ago.)

Our actual journey to Tokyo was unremarkable, taking 5,211 hours — at least it felt that way — and arriving on schedule with our desiccated corpses in row 19. The trans-Pacific leg of the flight was on a 787, the Boeing “Dreamliner”, which is as advertised a pretty nice plane: noticeably quieter than most and with much better air quality. The snazzy part, though, were the windows: the shades are electronic, not physical, and you can dial in the opacity to turn them a lighter or darker shade of blue. Most people opted to do this — it being rather sunny at 38,000 feet — consequently bathing the cabin in a tropical oceanic blue light. It is rather like flying inside an aquarium.

The downside of this is that when you do fly over something interesting — and we overflew some truly spectacular Alaskan glaciers — it becomes difficult to find a place from which to look out and admire the view. Everyone’s windows are dark blue, and it feels like looking at the Arctic landscape as through it had been relocated underwater in the Bahamas.

Narita airport is in the hinterlands about 40 miles outside of Tokyo, so after flying all that distance you get to enjoy a whole new journey into town. There are several ways to do this, one of the easiest being an express train line that runs directly from the airport to the Tokyo main rail station. It takes about an hour. We bought tickets immediately after clearing customs but had to wait about half hour until the train left. Notice that I say “until the train left“. The train arrived almost immediately but the cleaning crew — one man to a car — spent the rest of the time cleaning in that fastidious Japanese way that reflects either an advanced aesthetic or culturally-ingrained OCD. By the time we were allowed to board  you could have performed open heart surgery in that rail car.

The ride into town passes through surprisingly rural countryside considering how vast and utterly urbanized Tokyo itself is: the metro area is 5,200 square miles with a population of 38 million. In other words, it is a city that itself is one-third the size of Holland with twice the population. With numbers like that it is surprising to see any grassland at all, let alone rolling fields. Gradually, of course, the landscape gives over to suburbia, small outlying towns that are surprisingly European in appearance, two story dwellings with tile roofs. The giveaway is that about 10% of those roofs curve slightly upwards at the eaves, giving them a distinctly (and deliberately) pagoda-like appearance.

The overall scene was on the gloomy side, mainly due to the weather. We arrived through drizzle and heavy overcast, and the towns — and Tokyo itself — were shrouded in low-lying clouds and a persistent light rain. We are in a tropical storm, it seems, and the rainy weather continued through today and will alas remain with us for at least another few days. Nothing to do about it but sightsee with umbrellas, which we had the foresight to bring. (I do not know the name of this particular storm, or even whether it has one. This being Japan, I would name it either Tropical Storm Sushi or Tropical Storm Manga, the latter if the storm has a big eye. Ha ha!  A little meteorological humor there!) Tokyo is in general a pretty rainy city: it gets 105 days of rain per year, about the same as London.

mustardWe arrived at our hotel, 24 hours after walking out the door and suitably exhausted, at about 5 PM. (We are staying at the Hotel Sardonyx, whose name, Alice observes, would make it the ideal pied-á-terre for me and my entire family.)  In the interest of mitigating the worst of our impending jet lag, we decided to tough it out for a few hours and have some dinner at the hotel before crashing into bed. That dinner was a little dose of surrealism of its own, the management having decided for some reason to serve almost exclusively some Bizarro-world simulacrum of what someone thinks American cuisine is. Everything you need to know about that meal is contained in this image of a mustard packet that I was served with my sandwich.  I did not have any “frank frutes” with my dinner, and if I had I assure you that I would not be looking for the “unique taste of plan sourness”, in part because I have no idea what that is attempting to mean.

And so to bed. Our room is small but comfortable, largely Western in appearance and feel but for a few very Japanese touches. One is an invisible rectangular heating coil behind the bathroom mirror, about 16 inches on a side, that keeps that area of the mirror fog-free no matter how long and steamy a shower you wish to take. The other is an intimidating toilet with onboard electronics, which is to say about a half dozen buttons of varied and uncertain function. At least two are related to some bidet-related butt-washing function; a third — which Alice mistakenly activated, to our delight — heats up the toilet seat. Our buttocks are now nice and toasty, thank you very much.

We slept well and long enough to at least partly counteract the 13-hour time difference, awakening at 7:00 AM or so, so we had some breakfast (vastly better than dinner) and struck out on the Tokyo Metro for our first round of exploration. As it turns out, that fact inspires me to close this post with a paean to the Metro.

The first thing you have to realize is that you need a big subway system to serve 38 million people.  How big?  This big:

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Leaving out the buses and trains, there are 13 lines containing 285 stations. It carries nearly 9 million people a day. But the system’s designers did something very clever that, astonishingly, does not seem to have occurred to any of their counterparts in other cities: they numbered the stations on each line. The stations all have names describing their location, of course — the one across the street from our hotel is Hatchibori — but on all the maps and signage they also appear as sequential numbers on their particular line. Hence our Hatchibori station is Hibiya-11, Hibiya being the name of the line that we’re on. The Ginza is Hibiya-8, which tells us immediately that if we want to go see those gazillion lights at night we need only hop on our own local station and travel for three stops.

How do you navigate transfers? In our case, with the help of my new favorite and exceedingly wonderful piece of software, the “Tokyo Subway Navigation” app, available for free at your favorite online app store. This little gem uses your phone’s GPS to tell you what station is nearby and how far away it is; lets you select start and destination points from a searchable database (e.g., your hotel and the Imperial Palace); and then tells you not only what stations to get on and off at, but how long each leg will take and how much the trip will cost. You can even eliminate that last concern altogether by shelling out ten bucks for a Metro 24-hour pass, which gives you unlimited usage on all 13 lines. Between that day pas, the app, and the intuitive station numbering, the city is basically at your feet; we bopped around all day with scarcely a thought. Next time I will tell you where we bopped to.  It involves sushi, kabuki, and manga action figures.

Categories: Japan | Tags: , , , , , , , , , , , , , , , , | 7 Comments

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