WEBVTT - Organized Crime on the Hanshin Expressway

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<v Speaker 1>Causer Media. You're listening to the Away Days podcast on

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<v Speaker 1>the ground outside reporting from the underbelly with me Jake Hanrahan.

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<v Speaker 1>To watch Awaydays documentaries, go to YouTube dot com slash

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<v Speaker 1>at Away Days TV. This is part three Speed Tribe

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<v Speaker 1>twenty five, Episode two. This podcast is a production of

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<v Speaker 1>H eleven Studio and Call Zone Media, Osaka. At night,

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<v Speaker 1>the city is lit up like an led Christmas tree.

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<v Speaker 1>Small street stools and larger family restaurants keep each side,

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<v Speaker 1>street and back alley busy. The sound of drinking, conversation

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<v Speaker 1>and cash red at every corner. There's something to spend

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<v Speaker 1>money on if you want to. Vending machines, hole in

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<v Speaker 1>the wall, bars and red light private clubs. Large halogen

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<v Speaker 1>bulbs light up garish advertisements on every square foot of

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<v Speaker 1>free space. We're in a blue collar district where no

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<v Speaker 1>one takes card and everyone is sick of the inflation.

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<v Speaker 1>I'm on my way to meet with the head of

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<v Speaker 1>a Canjo racing crew to negotiate access. I want to

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<v Speaker 1>film a real multi car civic race on the loop,

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<v Speaker 1>not just a few here and there, A proper race.

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<v Speaker 1>I've been told one is planned soon, and I want

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<v Speaker 1>in You can't understand the culture behind all of this

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<v Speaker 1>properly if you don't see it firsthand. I don't think

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<v Speaker 1>so anyway, Yes, I get it. It's dangerous, but it

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<v Speaker 1>is what it is. We get to the location this

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<v Speaker 1>is where the Kanjo crew told us to meet, and

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<v Speaker 1>with two guys from my team and John, who's still

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<v Speaker 1>helping us negotiate this clandestine world of illegal street racing.

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<v Speaker 1>The location is a really cool independent Korean restaurant. It's busy, cluttered, perfect.

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<v Speaker 1>Just as we get to a table, the Kanjo crew arrives.

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<v Speaker 1>Now I can't go into too many details due to

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<v Speaker 1>various legalities, but it's a small crew of four or

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<v Speaker 1>five people. The boss man stands out for his size.

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<v Speaker 1>He's about six foot two and built like a brick shitouse,

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<v Speaker 1>an unusual frame in downtown Asaka. His number two is

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<v Speaker 1>a skinny chainsmoking mechanic with greasy hair and a crooked smile.

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<v Speaker 1>The others are quiet and unassuming. Everyone is dressed in

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<v Speaker 1>an assortment of trendy Japanese streetwear. The boss man greets

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<v Speaker 1>us with a firm handshake and we exchange pleasantries. I'm

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<v Speaker 1>eager to give him the present are boring. In Japan,

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<v Speaker 1>bringing gifts of people is an important tradition. It's rooted

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<v Speaker 1>in the country's strong etiquete culture. It's not just about

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<v Speaker 1>giving a present, it's kind of a ritual. It shows respect, gratitude,

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<v Speaker 1>and the careful maintenance of relationships. Presentation is key. Wrapping

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<v Speaker 1>is considered almost as important as the gift itself. I

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<v Speaker 1>wish I had known that. There's apparently an art to it.

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<v Speaker 1>Handing over a nicely wrapped box with both hands and

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<v Speaker 1>a bow tied on top shows proper etiquet. When visiting

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<v Speaker 1>someone's home, bringing a small gift is standard, even if

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<v Speaker 1>it's just snacks or a souvenir from your hometown. And

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<v Speaker 1>when someone gives you a gift, you're generally expected to

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<v Speaker 1>return the favor later, sometimes with a return gift known

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<v Speaker 1>as okashi, often worth half the value of the original present.

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<v Speaker 1>There are unspoken rules to this. Importantly, gifts are usually

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<v Speaker 1>given modestly. You don't open them in front of the

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<v Speaker 1>giver unless invited to. Doing so might be seen as greedy.

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<v Speaker 1>Lavish gifts can make people feel uncomfortable or feel obliged,

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<v Speaker 1>so everyone keeps it simple now. Japanese gifting isn't about

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<v Speaker 1>the object. It's about maintaining balance, recognizing relationships, and expressing

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<v Speaker 1>thoughtfulness in a way that keeps the social fabric smooth

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<v Speaker 1>and intact. Now, with all this in mind, my contact

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<v Speaker 1>in Japan told me to bring some gifts before we arrived. Obviously,

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<v Speaker 1>I want to respect the customs of the country. Generally,

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<v Speaker 1>I do that anyway if I'm going somewhere. It's been

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<v Speaker 1>taught to me in my family. You bring gifts to

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<v Speaker 1>new people that you meet. That's just how it is. Obviously,

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<v Speaker 1>I was not going to turn up empty handed, so

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<v Speaker 1>I asked the contact, what the hell do I bring

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<v Speaker 1>as a gift to illegal street racing petrol heads in

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<v Speaker 1>the gritty suburbs of a Sakka. His response, Max Power magazine.

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<v Speaker 1>I laughed, but he was serious. It's the perfect gift

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<v Speaker 1>for a brit to bring if you're interested in kanjo zoku,

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<v Speaker 1>he told me. Growing up, I remember seeing Max Power

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<v Speaker 1>on the shelves of every news agent in Britain. It

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<v Speaker 1>was a monthly car magazine. Launched in May nineteen ninety three,

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<v Speaker 1>Max Power quickly became the go to publication for what

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<v Speaker 1>was then a rapidly growing buoy at racer culture. In

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<v Speaker 1>the UK, the peak circulation around two hundred and forty

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<v Speaker 1>thousand copies of Max Power was sold every single month.

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<v Speaker 1>In its early years, Max Power showcased modifications such as

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<v Speaker 1>engine swaps, body kits and huge wheel conversions, not too

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<v Speaker 1>far from what the Canjo race is here in Asaka

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<v Speaker 1>Get up to Now, And like the model Civics themselves,

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<v Speaker 1>the visual esthetic of Max Power was very much in

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<v Speaker 1>your face. I wasn't remotely interested in cars back then

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<v Speaker 1>when it was on sale in the UK, but the

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<v Speaker 1>magazine's style would always catch my eye. I remember it.

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<v Speaker 1>I think probably everybody else does. What made Max Power

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<v Speaker 1>unique was its indulgence in car culture contra reversy. The

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<v Speaker 1>magazine would often have coverage of illegal cruise events and

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<v Speaker 1>public burnouts. This drew criticism from police and safety advocates,

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<v Speaker 1>but it also sealed the magazine's notoriety in the underground.

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<v Speaker 1>Despite the haters, Max Power played an outsized role in

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<v Speaker 1>shape and a community and industry tuning shops, aftermarket suppliers,

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<v Speaker 1>custom showers the lot. Reflecting on its cultural legacy, the

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<v Speaker 1>former Max Power editor described this era as a uniquely

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<v Speaker 1>vibrant British car subculture. It wasn't just about horsepower. It

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<v Speaker 1>was about mass individuality, diy creativity and youthful defiance. Now

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<v Speaker 1>surely that rings a bell. The Max Power aligned world

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<v Speaker 1>of British car culture mirrored some aspects of Japan's Kanjo zoku.

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<v Speaker 1>John tells me that racers would even import the magazine

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<v Speaker 1>in English, even if they couldn't read the articles. So

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<v Speaker 1>me to bring over a stack of old Max Power issues.

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<v Speaker 1>I got a load off eBay for about thirty quid

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<v Speaker 1>and stuffed them into my suitcase. Now Here I am

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<v Speaker 1>in Osaka with them all sat in a plastic carrier

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<v Speaker 1>bag as a gift for what is the boss of

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<v Speaker 1>a notorious Kanjo crew in Japan. Suddenly it doesn't feel

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<v Speaker 1>like the good idea it did when I was back home.

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<v Speaker 1>Either way, Once we're all seated, I hand the stack

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<v Speaker 1>of magazines over and we explain the gift. The boss

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<v Speaker 1>band holds them in his hands, briefly looks at the

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<v Speaker 1>first issue on the pile, and hands them off to

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<v Speaker 1>his chainsmoking sidekick. He doesn't even look at them. Neither

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<v Speaker 1>of them are remotely interested. I look at John like

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<v Speaker 1>what the fuck? John shrugs at me and orders a

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<v Speaker 1>round of pints for the table. I can't go into

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<v Speaker 1>exactly what was said at this meeting, but we all

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<v Speaker 1>eventually get chatting about Kanjo. I explain what we're trying

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<v Speaker 1>to do with the award As project, and the boss

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<v Speaker 1>Man likes it a lot. After he gets a little

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<v Speaker 1>more comfortable, he makes a comment about some visible tattoos

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<v Speaker 1>me and one of my guys have on our arms.

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<v Speaker 1>He says he likes them. He grins. This is a

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<v Speaker 1>bit unusual, as tattoos in Japan are seen very differently

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<v Speaker 1>to how they are in the West. Here in Japan,

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<v Speaker 1>there's a complicated and often negative stigma attached to them. Historically,

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<v Speaker 1>they've been associated with criminality, particularly the Yakuza, Japan's most

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<v Speaker 1>notorious organized crime syndicate. Full body tattoos called irazumi, were

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<v Speaker 1>used by Yakuza gang members as a sign of loyalty

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<v Speaker 1>and defiance, making them a visual marker of the underworld.

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<v Speaker 1>Because of this, many public places like bath houses, swimming pools,

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<v Speaker 1>and even weights gyms still ban visible tattoos to this day.

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<v Speaker 1>The perception is gradually shifting, but there is still very

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<v Speaker 1>much an uneasiness about people with tattoos in Japanese culture. So,

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<v Speaker 1>considering the boss Man's comment about our tattoos, I ask

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<v Speaker 1>him if he has any. Honestly, I might half joking

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<v Speaker 1>when I say this, but he nods, looks me right

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<v Speaker 1>in the eye, and rolls up both of his sleeves.

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<v Speaker 1>Traditional irizumi tattoos completely cover his ants your cusa. Suddenly,

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<v Speaker 1>the secrecy of some of this scene begins to take

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<v Speaker 1>on another purpose. I get it some level of organized

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<v Speaker 1>crime is involved with some of these teams, not all

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<v Speaker 1>of them, not the majority, but it's there. The boss

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<v Speaker 1>Man's friends suddenly feel like a bit of an entourage.

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<v Speaker 1>None of them even blink when he pulls out the tats.

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<v Speaker 1>I guess is they all have something similar? Wow? Nice,

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<v Speaker 1>I say. The boss Man grins again, pulls down his sleeves,

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<v Speaker 1>and orders Korean barbecue for all of us. He loosens,

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<v Speaker 1>and after we eat, for some reason, he pulls out

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<v Speaker 1>a little tool he has attached to a set of

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<v Speaker 1>his keys and fiddles with it for ages. It's a small,

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<v Speaker 1>but sharp, spring loaded metal spike, like a flick knife,

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<v Speaker 1>but it's a spike, not a blade. It's hardly a

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<v Speaker 1>massively serious weapon, but if you stuck it in your neck,

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<v Speaker 1>I dare say you'd know about it. Seems an unusual

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<v Speaker 1>thing just to whip out at the table, but what

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<v Speaker 1>do I not. At the end of the night, we're

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<v Speaker 1>all getting on great and the boss Man takes us

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<v Speaker 1>to see his cat. I can't even tell you what

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<v Speaker 1>it is, specifically to protect his identity, but it is

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<v Speaker 1>a very very nice and very unique Conde civic. Let's

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<v Speaker 1>just say that he agrees that we'll join him and

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<v Speaker 1>his crew on the Candor Loop late one night this week.

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<v Speaker 1>Perfect he even gives us a gift. He takes his

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<v Speaker 1>little stabber off his keys and hands it to one

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<v Speaker 1>of our team Max Power magazines for a little keyring

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<v Speaker 1>stabber Yakuza weapon. Not a bad exchange at all. A

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<v Speaker 1>few days past and we've heard absolutely nothing from the

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<v Speaker 1>boss Man. Honestly, I'm regutted. He seemed completely genuine about

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<v Speaker 1>the access and rapport we'd built with them. None of

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<v Speaker 1>us really give a shit that he's Yakuza. The whole

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<v Speaker 1>world runs on crime, after all. Some of it's just

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<v Speaker 1>legal because governments do it. It seems unlikely that he

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<v Speaker 1>suddenly got cold feet, as if we'd inform on him

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<v Speaker 1>or something. But here we are, and so we take

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<v Speaker 1>up the famous journalists past time. Of waiting around, we

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<v Speaker 1>spend the day enjoying a Saka. We rented a tiny

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<v Speaker 1>house in an area we're told is quote unquote kind

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<v Speaker 1>of the hood. It doesn't feel like that. Though the

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<v Speaker 1>streets are clean, everyone is nice, and crime is largely

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<v Speaker 1>non existent. People don't even change their push bikes up here.

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<v Speaker 1>Each day we go to this little family run cafe

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<v Speaker 1>near the house and we order eggs on toast and

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<v Speaker 1>black coffee. The family there get used to us, and

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<v Speaker 1>we communicate through Google Translate. Tinny Midi style music plays

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<v Speaker 1>in the background from a tape. Every space on the

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<v Speaker 1>wall is covered with something unique and homely. It's one

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<v Speaker 1>of the calmest places I think I've ever been to

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<v Speaker 1>in my entire life. I love it here in the cafe,

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<v Speaker 1>in the Nishinari ward. It is the total opposite of

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<v Speaker 1>the high octane madness of the Osaka street racers. The

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<v Speaker 1>next day there's news there's a reason the boss man

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<v Speaker 1>we met with recently has ghosted us. He's been arrested.

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<v Speaker 1>Nothing to do with racing, not from what we're told,

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<v Speaker 1>at least he was taken in on weapons charges, not

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<v Speaker 1>because of his spring loaded spike, but apparently firearms in

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<v Speaker 1>Japan that is a very big deal. A legal guns

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<v Speaker 1>in Japan are exceptionally rare. The country has some of

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<v Speaker 1>the strictest firearm laws in the world, and as a result,

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<v Speaker 1>gun crime is almost non existent. In an average year,

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<v Speaker 1>the number of shootings across the entire country can usually

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<v Speaker 1>be counted on one hand. Most Japanese citizens will go

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<v Speaker 1>their entire lives without ever even seeing a real firearm

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<v Speaker 1>or even hearing gunshots. Even the yakuza tend to avoid

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<v Speaker 1>using guns because the legal consequences are extremely harsh and

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<v Speaker 1>police raids into their businesses become extremely relentless. Japan's firearm

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<v Speaker 1>and sword possession control laws strictly limits gun ownership to

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<v Speaker 1>shotguns and air rifles under tight regulation. Even those require

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<v Speaker 1>a lengthy licensing process, including written tests, mental health evaluations,

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<v Speaker 1>background checks, and regular police inspections. Handguns are completely banned

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<v Speaker 1>for civilians forget about it. The general public is culturally

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<v Speaker 1>and legally distanced from firearms at all times, and gun

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<v Speaker 1>ownership carries a significant social stigma. If you're call in

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<v Speaker 1>possession of an illegal firearm in Japan. To put it bluntly,

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<v Speaker 1>you are fucked deep trouble. You're potentially looking at ten

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<v Speaker 1>years in prison. Sentencing gets harshit if the gun was

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<v Speaker 1>used in the commission of a crime or is linked

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<v Speaker 1>to organized crime. I hope, for the boss Man's sake,

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<v Speaker 1>he was just collecting somehow, though I doubt it either way.

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<v Speaker 1>Needless to say, we will not be seeing him for

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<v Speaker 1>a while. Even just owning bullets without a gun can

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<v Speaker 1>lead to prison time in Japan, and the judges rarely

0:14:42.520 --> 0:14:47.280
<v Speaker 1>show leniency to anything. Japanese police also have the power

0:14:47.320 --> 0:14:51.360
<v Speaker 1>to investigate aggressively when it comes to gun related offenses.

0:14:51.960 --> 0:14:55.840
<v Speaker 1>As I said, it's raids, surveillance and forensic checks. All

0:14:55.880 --> 0:14:59.800
<v Speaker 1>this is common. People generally do not mess around with guns.

0:15:01.240 --> 0:15:05.000
<v Speaker 1>The system is so airtight that even Japan's underworld mostly

0:15:05.040 --> 0:15:07.880
<v Speaker 1>steer clear of them. So what has happened with the

0:15:07.880 --> 0:15:11.720
<v Speaker 1>boss Man is completely beyond me. If I had to guess,

0:15:11.840 --> 0:15:14.600
<v Speaker 1>seen as he was pretty young and trendy but also

0:15:14.720 --> 0:15:18.080
<v Speaker 1>involved in organized crime. Maybe he wanted a gone just

0:15:18.120 --> 0:15:20.920
<v Speaker 1>for status. I don't know, though. The whole thing is

0:15:20.960 --> 0:15:25.440
<v Speaker 1>a bit mad, so as you can imagine, our contacts

0:15:25.440 --> 0:15:30.800
<v Speaker 1>in this race, crew went cold for now anyway. Luckily

0:15:30.840 --> 0:15:34.320
<v Speaker 1>for us, Kanjo Zoku is not the only street racing

0:15:34.400 --> 0:15:38.520
<v Speaker 1>counterculture here in Japan. Far from it, John happens to

0:15:38.560 --> 0:15:42.400
<v Speaker 1>have contacts with a very different style of underground racing.

0:15:42.960 --> 0:15:45.360
<v Speaker 1>One night, he randomly calls ahead and tells us we're

0:15:45.400 --> 0:15:48.080
<v Speaker 1>going to the outskirts of a Saka. It's about an

0:15:48.080 --> 0:15:50.920
<v Speaker 1>hour's drive away to a smaller town where the mountains

0:15:50.960 --> 0:15:53.480
<v Speaker 1>and nearby. He comes to pick us up in his

0:15:53.760 --> 0:15:56.960
<v Speaker 1>honestly immaculate civic and tells us we're going on a

0:15:57.080 --> 0:16:02.920
<v Speaker 1>drive potentially into the world of toga. To understand the

0:16:03.000 --> 0:16:07.000
<v Speaker 1>Japanese togay scene, you've got to picture the country's spine.

0:16:07.480 --> 0:16:12.160
<v Speaker 1>The winding mountain passes, cutting through dense forests, blurry ridgelines,

0:16:12.200 --> 0:16:17.760
<v Speaker 1>and treacherous switchbacks where visibility often drops to zero. These

0:16:17.800 --> 0:16:22.360
<v Speaker 1>are the backbones of rural Japan. Originally the land of farmers, villagers,

0:16:22.480 --> 0:16:26.160
<v Speaker 1>and monks, but by the late eighties and nineties they

0:16:26.160 --> 0:16:30.200
<v Speaker 1>became the battleground for a specific breed of underground petrol head,

0:16:30.800 --> 0:16:38.480
<v Speaker 1>the Togay races. This is not a fast and furious

0:16:38.480 --> 0:16:43.120
<v Speaker 1>style drag racing scene. This is something much quieter hidden.

0:16:43.360 --> 0:16:47.000
<v Speaker 1>The Togay is onder wraps and is incredibly risky, a

0:16:47.120 --> 0:16:52.600
<v Speaker 1>dance between man, machine and nature. These drivers drift or

0:16:52.640 --> 0:16:55.800
<v Speaker 1>grip their cars down narrow mountain roads at full speed,

0:16:56.320 --> 0:17:00.480
<v Speaker 1>with drops of certain death just feet over the fence line.

0:17:00.640 --> 0:17:03.400
<v Speaker 1>One wrong move and the Togay cars are flying into

0:17:03.440 --> 0:17:08.280
<v Speaker 1>a jagged rock ravine. There is almost no chance of survival.

0:17:09.640 --> 0:17:12.440
<v Speaker 1>This all started when the big city boys of Tokyo

0:17:12.600 --> 0:17:16.680
<v Speaker 1>raised on the Wangang expressways and toll roads around Tokyo Bay.

0:17:17.960 --> 0:17:20.480
<v Speaker 1>The rural and suburban kids had to get their own

0:17:20.520 --> 0:17:23.520
<v Speaker 1>thing going. With no money for track days or toll roads,

0:17:23.840 --> 0:17:27.640
<v Speaker 1>they looked to the mountain passes nearby. These winding roads

0:17:27.680 --> 0:17:33.120
<v Speaker 1>were free, isolated and perfect for testing cornering skills, and

0:17:33.160 --> 0:17:37.120
<v Speaker 1>so togo racing was born. Not necessarily to see who

0:17:37.240 --> 0:17:39.760
<v Speaker 1>was faster in a straight line, but who had the

0:17:39.800 --> 0:17:42.720
<v Speaker 1>precision and the guts to thread the needle through tight

0:17:42.800 --> 0:17:48.160
<v Speaker 1>mountain bends at terrifying speeds. Also, the philosophy was different.

0:17:48.800 --> 0:17:51.959
<v Speaker 1>This was not about octane and speed. This was about rhythm,

0:17:52.400 --> 0:17:57.600
<v Speaker 1>flow and keeping your composure. There is no central Togay organization,

0:17:58.200 --> 0:18:02.000
<v Speaker 1>no league, no official hierarchy. It's different to canjo in

0:18:02.040 --> 0:18:06.560
<v Speaker 1>that respect. Small circles of trust among drivers keep the

0:18:06.600 --> 0:18:10.679
<v Speaker 1>scene active in the underground. In toga, you have to

0:18:10.720 --> 0:18:13.560
<v Speaker 1>prove yourself before you're even allowed to race on the

0:18:13.600 --> 0:18:17.320
<v Speaker 1>mountain pass. Not with money or care or gear, but

0:18:17.400 --> 0:18:23.359
<v Speaker 1>with consistency and commitment. Everyone knows the risks. A crash

0:18:23.400 --> 0:18:26.879
<v Speaker 1>in Togai is worse than a bent bumper or smashed windows.

0:18:27.560 --> 0:18:30.040
<v Speaker 1>If you fuck up here, you're rolling down a mountain

0:18:30.280 --> 0:18:33.840
<v Speaker 1>or slamming into a wall with no ambulances or hospitals

0:18:34.119 --> 0:18:37.960
<v Speaker 1>for miles around. Most Togay races happen in the dead

0:18:38.000 --> 0:18:43.680
<v Speaker 1>of night, no traffic, no witnesses, fewer cops. Walkie talkies,

0:18:43.760 --> 0:18:47.720
<v Speaker 1>burner phones, and encrypted apps are used to coordinate. A

0:18:47.840 --> 0:18:49.840
<v Speaker 1>century is placed at the top and bottom of the

0:18:49.920 --> 0:18:52.920
<v Speaker 1>course to warn if police or other vehicles are coming.

0:18:54.080 --> 0:18:56.760
<v Speaker 1>Some teams even use spotters half way along the route

0:18:56.760 --> 0:19:01.440
<v Speaker 1>with torches or laser pens to signal potential has The

0:19:02.320 --> 0:19:05.480
<v Speaker 1>roads are never really uniform. You can't exactly get used

0:19:05.520 --> 0:19:07.479
<v Speaker 1>to the feel of the road like you can with kanjo.

0:19:08.520 --> 0:19:11.919
<v Speaker 1>Some Togay runs are type technical, full of hairpins and

0:19:11.920 --> 0:19:16.440
<v Speaker 1>steep descents. Others, like the gun passes have more flow

0:19:16.520 --> 0:19:20.960
<v Speaker 1>and open corners, but all are narrow, blind and very dangerous.

0:19:22.400 --> 0:19:25.479
<v Speaker 1>Within the togay scene that there's a clear ideological split

0:19:26.000 --> 0:19:29.879
<v Speaker 1>the grip drivers versus the drifters. Generally, it's seen that

0:19:29.920 --> 0:19:33.840
<v Speaker 1>both come under the same umbrella of togai. Grip racers

0:19:33.880 --> 0:19:39.320
<v Speaker 1>believe in maximum traction, perfect apexes, and precision driving. Always

0:19:40.520 --> 0:19:43.679
<v Speaker 1>their goal is to maintain speed through corners using racing lines,

0:19:43.880 --> 0:19:48.800
<v Speaker 1>breaking points, and tire grip. These guys are usually quiet, disciplined,

0:19:48.920 --> 0:19:53.240
<v Speaker 1>methodical drifters, on the other hand, are all about style

0:19:53.400 --> 0:19:56.920
<v Speaker 1>and control in chaos. They throw the rear end out

0:19:56.920 --> 0:20:01.400
<v Speaker 1>into corners, intentionally breaking traction but keeping control through throttle

0:20:01.760 --> 0:20:07.480
<v Speaker 1>steering and counter steering techniques. It's actually not always the

0:20:07.520 --> 0:20:09.960
<v Speaker 1>fastest way through a corner, but it is definitely the

0:20:10.000 --> 0:20:13.480
<v Speaker 1>coolest way to do it, and to the drifting contingent

0:20:13.560 --> 0:20:18.200
<v Speaker 1>of togai, they feel it's the purest the truth. Many

0:20:18.240 --> 0:20:21.360
<v Speaker 1>togay racers do both. They can grip when they need

0:20:21.400 --> 0:20:23.400
<v Speaker 1>to win and drift when they want to show off

0:20:23.920 --> 0:20:27.879
<v Speaker 1>the best affluent in both dialects of speed. It can

0:20:27.960 --> 0:20:30.199
<v Speaker 1>even be argued that toga is just the place and

0:20:30.400 --> 0:20:46.240
<v Speaker 1>the whole scene, but both are interchangeable. Now, togay cars

0:20:46.280 --> 0:20:49.000
<v Speaker 1>are nothing like the quarter mile drag racing machines you

0:20:49.080 --> 0:20:54.120
<v Speaker 1>might see in places like America. The Japanese counterparts are light,

0:20:54.600 --> 0:20:58.560
<v Speaker 1>nimble and built for twisting roads. Weight reduction is key.

0:20:59.440 --> 0:21:03.960
<v Speaker 1>Like they can racing drivers got the interior, remove rear seats,

0:21:04.160 --> 0:21:07.920
<v Speaker 1>spare tires, and sometimes even replace the doors and bonnets

0:21:07.920 --> 0:21:12.919
<v Speaker 1>with fiberglass or carbon fiber. Popular choices of cars for

0:21:13.040 --> 0:21:17.240
<v Speaker 1>racing on Toge include Toyota A E eighty six, the

0:21:17.359 --> 0:21:21.240
<v Speaker 1>Mazda RX seven, the Nissan Silvia, the Honda Civic and

0:21:21.320 --> 0:21:26.560
<v Speaker 1>Integra type, and the Subaru Impretso Amtsubishi Evil. Engine swaps,

0:21:26.640 --> 0:21:31.160
<v Speaker 1>coil overs, strup bars, roll cages, LSD's, and grippy tires

0:21:31.160 --> 0:21:34.240
<v Speaker 1>are the norm when it can be afforded. No nos,

0:21:34.359 --> 0:21:38.199
<v Speaker 1>nothing flashy, just purpose built machines made to survive the

0:21:38.240 --> 0:21:43.640
<v Speaker 1>mountain's pass. Now, despite togate being highly illegal, the racers

0:21:43.680 --> 0:21:47.560
<v Speaker 1>live by a strict code of conduct. There are unspoken rules.

0:21:48.240 --> 0:21:51.040
<v Speaker 1>Never race in the rain unless you're preparing to die.

0:21:51.440 --> 0:21:54.840
<v Speaker 1>Never endanger civilians if a car is coming, stop the race.

0:21:55.320 --> 0:21:58.160
<v Speaker 1>If you crash, you fix your own mess. No trash

0:21:58.200 --> 0:22:01.240
<v Speaker 1>talking without skill to back it up, and respect the

0:22:01.320 --> 0:22:05.720
<v Speaker 1>mountain always. Togai is not a free for all like

0:22:05.840 --> 0:22:10.680
<v Speaker 1>other underground racing scenes. Here the mountain is sacred not

0:22:10.800 --> 0:22:13.480
<v Speaker 1>just as approving ground, but as a place of honor

0:22:13.560 --> 0:22:18.200
<v Speaker 1>for the racers. Whilst the togai scene is definitely still active,

0:22:18.400 --> 0:22:20.720
<v Speaker 1>as we'll see, it's nothing like it was in the

0:22:20.760 --> 0:22:25.919
<v Speaker 1>mid nineties. Back then toga racing had exploded. There was

0:22:25.960 --> 0:22:28.840
<v Speaker 1>even a whole manga series about it called initial D.

0:22:40.640 --> 0:22:42.800
<v Speaker 1>It's very cool. You might have heard of it. If not,

0:22:42.880 --> 0:22:47.119
<v Speaker 1>check it out. Initial D. Generally, message boards and forums

0:22:47.160 --> 0:22:50.919
<v Speaker 1>on the Internet helped u spread the culture internationally. But

0:22:51.000 --> 0:22:55.160
<v Speaker 1>with more eyes came more heat from the cops. As

0:22:55.200 --> 0:22:59.560
<v Speaker 1>with Kanjo, the Japanese police began cracking down hard night

0:22:59.600 --> 0:23:04.840
<v Speaker 1>patrols in togay areas. Increased penalties for illegal modifications got harsher,

0:23:05.200 --> 0:23:08.000
<v Speaker 1>and if you got court racing or even being associated

0:23:08.040 --> 0:23:11.480
<v Speaker 1>with it, you risk losing your license immediately, having your

0:23:11.480 --> 0:23:15.800
<v Speaker 1>car impounded, or getting a hefty fine. It got serious.

0:23:16.400 --> 0:23:20.119
<v Speaker 1>In some prefectures. A street racing conviction could even tank

0:23:20.160 --> 0:23:23.040
<v Speaker 1>your job prospects or get you kicked out of school.

0:23:24.160 --> 0:23:27.720
<v Speaker 1>Some local governments started installing speed bumps or roadblocks in

0:23:27.800 --> 0:23:33.240
<v Speaker 1>notorious Togay areas. Others set up permanent surveillance. As a result,

0:23:33.440 --> 0:23:38.720
<v Speaker 1>many Togay drivers faded into obscurity. Some moved to sanctioned motorsports.

0:23:39.080 --> 0:23:42.240
<v Speaker 1>Others just got older and stopped. But a few the

0:23:42.320 --> 0:23:47.200
<v Speaker 1>hard core They kept the torch burning. This hard core

0:23:47.240 --> 0:23:50.480
<v Speaker 1>element has endured till today, and there are still Togay

0:23:50.480 --> 0:23:54.280
<v Speaker 1>crews popping up around the country. John tells us we're

0:23:54.320 --> 0:23:57.119
<v Speaker 1>headed to meet a load of them right now, hard

0:23:57.119 --> 0:24:02.480
<v Speaker 1>core underground races adapted to Togay. Apparently they're interested in

0:24:02.560 --> 0:24:06.280
<v Speaker 1>speaking to us. First home, we have to go and

0:24:06.320 --> 0:24:13.680
<v Speaker 1>meet them at a garage on the outskirts. We drive

0:24:13.680 --> 0:24:16.560
<v Speaker 1>out of a saka at night. The more space we

0:24:16.600 --> 0:24:19.399
<v Speaker 1>put between us and the city, the less neon and

0:24:19.440 --> 0:24:23.719
<v Speaker 1>color days. Here, the roads are longer, flatter, and the

0:24:23.720 --> 0:24:26.399
<v Speaker 1>only thing keeping them lit top are led street lights.

0:24:27.640 --> 0:24:30.639
<v Speaker 1>A hazy orange glow every fifty feet points us in

0:24:30.680 --> 0:24:34.639
<v Speaker 1>the right direction. John says he knows these guys well.

0:24:35.040 --> 0:24:37.600
<v Speaker 1>Back in the day, John road around with them, back

0:24:37.600 --> 0:24:40.959
<v Speaker 1>when the car counterculture was widespread, violent, and a lot

0:24:41.040 --> 0:24:45.959
<v Speaker 1>less hidden. We move through the streets and eventually end

0:24:46.040 --> 0:24:49.600
<v Speaker 1>up at the garage. This area is kind of green.

0:24:49.960 --> 0:24:53.480
<v Speaker 1>I like it. There's an extremely loud main road running

0:24:53.520 --> 0:24:56.880
<v Speaker 1>through the town with angry traffic. Even at this time.

0:24:57.840 --> 0:25:00.960
<v Speaker 1>There's rubbish and car deburry gathered in the gutters, and

0:25:01.000 --> 0:25:03.040
<v Speaker 1>you can just feel that this is not the city.

0:25:04.280 --> 0:25:06.720
<v Speaker 1>I grew up in a place not too different from this,

0:25:07.359 --> 0:25:10.080
<v Speaker 1>a backwater that's not so far from the city but

0:25:10.240 --> 0:25:14.200
<v Speaker 1>has none of its poncey airs and graces. Halogen lights

0:25:14.200 --> 0:25:16.840
<v Speaker 1>from inside the garage beam out to the front. There

0:25:16.840 --> 0:25:19.440
<v Speaker 1>were probably one hundred cars here, all lined up next

0:25:19.480 --> 0:25:23.280
<v Speaker 1>to each other in the courtyard. Almost all of them

0:25:23.320 --> 0:25:27.320
<v Speaker 1>are Honda Civics or similarly adjacent Japanese street racing carts.

0:25:28.560 --> 0:25:31.719
<v Speaker 1>The air is thick with the smell of petrol and cigarettes,

0:25:32.440 --> 0:25:36.720
<v Speaker 1>not the best combination. A heavily deckaled civic is pulled

0:25:36.800 --> 0:25:40.439
<v Speaker 1>up out the front. It's been in a crash. The

0:25:40.480 --> 0:25:43.600
<v Speaker 1>marine blue of the chassis is torn through. It looks

0:25:43.600 --> 0:25:45.680
<v Speaker 1>as if a giant claw has attacked it and peeled

0:25:45.720 --> 0:25:49.480
<v Speaker 1>back its skin to the metal nerve endings. The passenger

0:25:49.520 --> 0:25:53.600
<v Speaker 1>door is folded inward, crushed like a cokecan. The windscreen

0:25:53.720 --> 0:25:56.439
<v Speaker 1>is a cobweb of broken glass and the front wheels

0:25:56.440 --> 0:25:59.800
<v Speaker 1>are bent sideways. Whoever drove this didn't die in the

0:26:00.640 --> 0:26:02.560
<v Speaker 1>but they most likely thought they would at the time.

0:26:03.359 --> 0:26:05.919
<v Speaker 1>As I examined the rest of the trash civic, we

0:26:06.000 --> 0:26:10.240
<v Speaker 1>hear voices approaching. Half a dozen young lads and one

0:26:10.280 --> 0:26:14.160
<v Speaker 1>young woman exit the garage. They've all got their faces

0:26:14.200 --> 0:26:18.919
<v Speaker 1>masked in nylon bandanas or straight top balaclavas. This is

0:26:18.960 --> 0:26:21.920
<v Speaker 1>the team we've come to meet. They'll be taking us

0:26:22.080 --> 0:26:37.440
<v Speaker 1>to the mountains next week. You'll hear how we drove

0:26:37.600 --> 0:26:42.040
<v Speaker 1>up a small ravine and drove down it very very fast.

0:26:44.000 --> 0:26:47.160
<v Speaker 1>You've been listening to the Away Days podcast. To watch

0:26:47.200 --> 0:26:51.720
<v Speaker 1>independent Away Days documentaries, subscribe to our channel at YouTube

0:26:51.800 --> 0:26:56.840
<v Speaker 1>dot com slash at away Days TV. Your Wait Days

0:26:56.920 --> 0:27:00.440
<v Speaker 1>podcast is a production of H eleven Studio for Cool

0:27:00.560 --> 0:27:06.760
<v Speaker 1>Zone Media. Reporting, producing, writing, editing and research by me

0:27:07.280 --> 0:27:13.359
<v Speaker 1>Jake Hanrahan, co producing by Sophie Lichterman. Music by Sam Black,

0:27:13.680 --> 0:27:17.680
<v Speaker 1>sound mixed by Splicing Block. Photography by Johnny Pickup and

0:27:17.800 --> 0:27:22.600
<v Speaker 1>Louis Hollis. Graphic design by Laura Adamson and Casey Highfield.