"For the Sake of Society" Isn't Just a Fad! (Part 2)

Susumu Namikawa of Dentsu Business Creation Center and Michihiko Yanai of "Kaze to Rock." Though their approaches differ, both have thrown themselves into recovery support activities since the Great East Japan Earthquake. They gradually came to know each other, collaborating on projects like last year's NHK Kohaku Uta Gassen and this year's Fukushima Prefecture commercial. Recently, opportunities to work together have increased.
More young people want to work in advertising with a perspective of "for society." However, turning that desire into a career remains challenging. Against this backdrop, two individuals whose work is "for society" discuss their starting points and the relationship between themselves, their work, and society. Here is the second part of their conversation.

 

The Kohaku Uta Gassen was the "most powerful commercial slot" for conveying Fukushima's current reality

Namikawa: When did you feel the switch flip for you after the disaster, Mr. Yanai?

Yanai: Probably when Fukushima Central Television asked me for a video message to the people of the prefecture. I said, "I won't just do this now, I promise I'll keep doing this support work forever." Before that, I just wanted to live rock 'n' roll, thinking it wouldn't matter if I died tomorrow. But at that moment, I realized this promise would be completely meaningless if I didn't live a long life. I used to hate making promises like that.

Namikawa: That's rock too, isn't it?

Yanai: Nobody's rock 'n' roll by nature. Rock people don't call themselves rock (laughs).

Namikawa: With " I love you & I need you Fukushima," you made your debut on the 2011 Kohaku Uta Gassen, right?

Yanai: I desperately wanted to be on the Kohaku. It's the stage that captures the nation's attention the most. I thought it was like an unattainable, powerful commercial slot, even if you begged an ad agency. I approached it with a sense of mission to absolutely convey Fukushima's present. When I saw the script, there was a scene where I talked with a member of Arashi. I thought, "This is it!" The script had all the lines written out in advance, but I decided to say something different. I calculated it to fit the character count, trying to avoid getting in trouble. I decided to say "It's frustrating," and the moment I actually said those words, I felt the entire country, which had been buzzing with excitement on New Year's Eve, go completely silent. You can feel that kind of thing through the camera.

Namikawa: I was on set too. After Lake Inawashiro's performance, everyone watching from the wings—staff and reporters alike—applauded. Mr. Yanai says he promotes Fukushima without permission, but speaking on the Kohaku stage itself was advertising for him.

 

Just pour your genuine feelings into the advertisement.

Namikawa: Since the disaster, I've constantly pondered how much truth advertising can convey. When I first met Mr. Yanai in a 2012 interview, he was working on a Zexy commercial featuring Kirin Kiiki and Yuya Uchida. He told me that even though he wasn't married himself, searching for his own answers was what truly conveyed the truth. I believe conveying the truth is incredibly difficult, but I think it's possible if you genuinely do something. That's why I'm developing projects where companies take action. The Zexy commercial is both the company's message and something he truly believes in – that's what makes it so great.

Yanai: I once declared on NHK's "Top Runner" program that I only advertise things I genuinely like. Tower Records because I love music, and the Hi-Chew commercial was fun because my family ran a confectionery shop. I said I'm bad at advertising unrelated products and don't want to make them. But then came some turning points: the Onward 23 District women's clothing ad, the Glico Bisco ad, and then the Zexy ad job came along. These three were epoch-making. Because none of them had any direct connection to me. I have no plans to wear women's clothing, I'm not a mother, and I'm not married. But while working on the Onward 23 District job, I realized how connections are made. It's not just things I use, buy, or like that relate to me. To put it extremely, even "not understanding" is a connection. Not understanding, wanting to know, feeling grateful... When I realized all of that is a connection, most products suddenly became relevant to me. With women's clothing, I feel grateful to the women who strive hard, I'm inspired by them, and I want to support them. I just needed to pour that feeling into the ad.

 

Working for society naturally becomes your job

Namikawa: I think the skill of finding connections even in things unrelated to oneself is unique to advertising people. When we spoke before, you also mentioned how great it would be if advertising people could bridge gaps between opposing sides, acknowledging "that's true too" on both sides. And this year, you became the Creative Director for Fukushima Prefecture.

Yanai: Ever since the Inawashirokozu days, I've always considered myself one of the prefecture's residents. But four years after the disaster, I felt increasingly that the gap that had formed between the prefecture and its people couldn't be left as it was. That became my motivation to step into the prefecture's inner circle.

Namikawa: In Fukushima Prefecture, Mr. Yanai is promoting the prefecture's agricultural products through "Fukushima Pride," and I'm helping with that. It's a project that boldly communicates the truth that Fukushima's agricultural products are packed with deliciousness and the pride of their producers, conveying that sense of pride.

Yanai: There are all these terms – radiation, safety standards – but producing and shipping safe agricultural products under these conditions is incredibly difficult. Even after tremendous effort, the produce gets labeled as "dangerous" based on perception. But we discussed, Namikawa-san and I, that the "people" making it are absolutely undeniable.

Namikawa: During our talk, you mentioned that you consider not just companies, but Fukushima, Japan, and the world as your clients—that you act independently but share the same mindset. Watching you, Yanai-san, I realized that rather than forcing "doing good for society" into your work, acting for society naturally becomes your work. Finally, could you give advice to young people on how to turn "acting for society" into their work?

Yanai: I think it's good to start by considering whether you can connect your skills and connections to your hometown or current local community. My current work base is Harajuku, and next April, we're launching a radio station called "Shibuya Radio." If anyone finds it interesting and wants to join, please get in touch.

Namikawa: I run something called "Social Good Morning" every Thursday at our company cafe. It's similar to your "Monthly Kaze to Rock" (free paper). Why do you think doing things you genuinely want to do like this naturally leads to work opportunities?

Yanai: Of course, it's because you're taking initiative. But surprisingly, the most basic and important thing is not slacking off in your efforts to make your work partners like you, right? I think we shouldn't be too shy about that.

Namikawa: That's right. Even when it's "for society," most people feel shy about it, but we don't feel shy at all.

Yanai: But it's not about being thick-skinned. It's embarrassing and scary, and I still hesitate when stepping into the spotlight. It's one thing if I'm the one being attacked, but it's another when the attacks hit the very people I'm trying to support. I wish everyone could be a little more gentle.