The following is from Masayuki Takayama’s column in the latter section of today’s Shukan Shincho.
This article also proves that he is the one and only journalist in the postwar world.
A long time ago, an elderly female professor of the Royal Ballet School of Monaco, highly respected by prima ballerinas worldwide, visited Japan.
At that time, she spoke about the significance of an artist’s existence.
She said, “Artists are important because they are the only ones who can shed light on hidden, concealed truths and express them.”
No one would dispute her words.
It is no exaggeration to say that Masayuki Takayama is not only the one and only journalist in the postwar world but also the one and only artist in the postwar world.
On the other hand, Ōe, I don’t want to speak ill of the deceased, but (to follow Masayuki Takayama’s example below), Murakami and many others who call themselves writers or think of themselves as artists are not even worthy of the name of artists.
They have only expressed the lies the Asahi Shimbun and others created rather than shedding light on hidden truths and telling them.
Their existence is not limited to Japan but is the same in other countries worldwide.
In other words, there are only a few true artists.
This paper is another excellent proof that I am right when I say that no one in the world today deserves the Nobel Prize in Literature more than Masayuki Takayama.
It is a must-read not only for the people of Japan but for people all over the world.
It is a must-read not only for the Japanese people but for people worldwide.

Foreign dispatches are plotting.
I was surprised at how the Asahi Shimbun newspaper was organized the other day.　
From the top of the front page to the general section, society section, and even Tenseijingo, Johnny Kitagawa reported the news as if it were “Stalin’s death.　
As one might expect, there was no story as good as Stalin’s.
In the general section, “Boys numbering at least several hundred,” Johnny was described as “stroking their bodies and genitals from behind,” “oral sex,” “ejaculation,” “forced anal intercourse,” and many other terrible things.　
Tenseijingo reveals the reason for the lewd crimes that have come to light.　
The story began in March this year when “a courageous accuser testified” in a BBC documentary program.　
It triggered new witnesses to come forward, and the crimes of “absolute power” (Asahi’s headline) that continued “from the early 1970s to the mid-2010s” were exposed in the light of day, Asahi concludes.　
It is not even close to the homosexual male scandal of Academy Award-winning actor Kevin Spacey.
The Asahi is trying to say that it is the same as Stalin’s because it is the great scandal of the century.　
It’s all good to be so puffed up, but for all that, isn’t the story, like the one about the comfort women, too full of lies?　
For example, the incident was discovered by a “BBC program.”
That is obviously a lie, and already in the Showa period (1926-1989), Koji Kita of Forleaves wrote, “I was taught about men before I knew about women.”　
Ten years later, Weekly Bunshun published a series of articles accusing Johnny of victimizing many boys.
All of the gruesome sex scenes introduced by Asahi were in that series.　
In contrast, Johnny sued Bunshun for defamation but lost, and his appeal was dismissed in 2004.　
Johnny’s misdeeds had all been exposed 20 years earlier.　
However, the trial’s outcome was ignored by both newspapers and television.　
Johnny’s talents continued to appear on TV, TV stations continued to visit Johnny’s office, and Johnny himself continued to be a victim of children who aspired to become stars by letting them stay at his house.
In other words, the BBC was not the first.
On the contrary, the BBC program depicts “Predator Johnny” through interviews with reporters involved in the trial 20 years ago, a boy who was sexually assaulted, and a lawyer who confronted Johnny in court.　
The story, which the Japanese media had neglected for 20 years, was reported by Foreign dispatches over time.　
Then, the Japanese media started making a big fuss.
They are unable to evaluate the story by themselves.
Or perhaps they lack independence.　
But there is no reflection on that.
In an editorial, Asahi scolded, “Why did Johnny’s office leave an old man with a bad habit unattended even after the verdict?”　
Asahi is also guilty of the same crime, but there is no way to say that.　
This whole thing gives me a sense of déjà vu.
It was the Kakuei money crime.　
When Kakuei appeared on the scene, and Japan became somewhat cheerful, Bungeishunju magazine reported on “Tanaka’s financial supporter”.
Newspapers and TV stations passed over the story, as did Johnny’s judgment, but things changed when the Foreign Correspondents’ Club of Japan called Kakuei.
They hung Kakuei, which was reported by foreign dispatches from Tokyo.
The Japanese newspapers turned around and began to make a big deal about it, and a month later, Kakuei resigned.　
The Foreign Correspondents’ Club of Japan has another face: it was an agency of the U.S. State Department.　
Before Hatoyama Ichiro, who condemned the atomic bombings, took office as prime minister, the Foreign Correspondents’ Club of Japan called him out and hung him as a “Nazi sympathizer.”
Hatoyama was ousted from politics on the pretext of the foreign dispatches reporting it.　
Mark Gain wrote in his “Nippon Nikki (Nippon Diary)” that “it was an order from a general at GHQ,” and he was very good at it.　
Kakuei set out to revive the Greater East Asia Co-prosperity Circle.
It angered the U.S. State Department.　
So, the U.S. State Department used the Foreign Correspondents’ Club of Japan to skillfully exploit the “Japanese media, which is weak against foreign news,” and successfully ousted Kakuei.　
Is there something behind the Johnny rumors that originated from the foreign dispatch this time?　
The UN Human Rights Council took the lead in the uproar.　
Meanwhile, Ambassador Emanuel was slammed for interfering in domestic affairs, and the LGBT law was castrated.　
The Asahi won’t discuss it, but that’s probably a clue.