Attention to Akeni Carolyn Todd SFM's newest addition to the writing staff takes an in-depth look at akeni, their history and production techniques Rikishi of Old Joe Kuroda Joe Kuroda slides former yokozuna Minanogawa under his SFM microscope Eric Evaluates Eric Blair Eric's wit scythes through the SML and makes clear his opinion of where the future lies for online sumo forums. Eternal Banzuke Phase II Lon Howard Stats, equations and mathematics all lead to a list of sumo's most prolific up and downers Matta-Henka: Another View Lon Howard A row that will never be fully decided but Lon gives his impressions on it all the same Heya Peek Mark Buckton Mihogaseki, former home of Estonian sekitori Baruto is toured (and peeked at) by SFM's Editor-in-Chief SFM Interview Mark Buckton Mark interviews shin-komusubi Kokkai Photo Bonanza See the Nagoya basho and Akeni photo bonanzas Nagoya Basho Summary Lon Howard Lon gives us his Nagoya basho summary, along with the henka sightings results Lower Division Rikishi Mikko Mattila Mikko Mattila casts his watchful eye over lower division goings on in makushita and below. Aki Ones to Watch Carolyn Todd Carolyn takes over the job of rikishi job performance prediction for SFM as she looks at those to keep an eye on come September Kimarite Focus Mikko Mattila Our man Mikko's latest trio of kimarite get thrown about the SFM literary dohyo Amateur Angles Howard Gilbert Howard returns with the second of his columns on the amateur sumo scene. Sumo Game SFM's very own quiz comes in for a bit of self scrutiny by our secretive man of questions. We'll call him 'X'. Sumo in Print Barbara Ann Klein SFM’s Editor reviews “The Little Yokozuna”, a book for “young” (and older) adults Kokugi Connections Todd Lambert Check out Todd's bimonthly focus on 3 of the WWW's best sumo sites Fan Debate Facilitator - Lon Howard Keri Sibley and Eduardo de Paz  ponder the concept of ‘to pay or not to pay’ makushita salaries SFM Cartoons Stephen Thompson Sit back and enjoy the offerings of one of sumo's premier artists Lets Hear From You What was it that made you a sumo fan? SFM’s own Todd Lambert details his path into sumofandom Readers' Letters See what our readers had to say since we last went out Sumo Quiz The Quizmaster Answer the Qs and win yourself next basho’s banzuke.

A central broker sold them to rich clients such as kimono companies or tea manufacturers. There was a strict hierarchy among the workshops; even if a craftsman could make beautiful boxes he couldn’t sell directly to consumers, but had to go through these centralized brokers because direct sales were prohibited in Kyoto. After WWII, life was difficult and craftsmen saw an opportunity to sell their services and/or workshops to make money. This explains why the number of craftsmen fell dramatically after the war. Mr. W left school at 12 years of age, just after the war, without graduating from junior high school because his father thought that the children of craftsmen didn’t need education and junior high school wasn’t compulsory at that time. He delivered newspapers and milk while he picked up the craft of bamboo weaving from his father. This was the normal life of children of his generation who often went with their parents to buy and sell on the black market for money. Mr. W’s parents asked him to take over the workshop and he really had no choice because young people were expected to obey their parents. He claims that he’s never thought about what else he could have done with his life because he didn’t have the education to give him a choice. In 1963, he married a woman named Fukuko, with whom he later had a son. When he saw his son’s face, he wanted life to be easier for him, but he knew that if the workshop continued as before, he and his family would never be financially comfortable because the production line method was restricting the development of

craftsmen. This gave him the idea to learn each stage of the construction process, so he went against his father’s wishes, and he and his wife studied at night after work.

to come back and join the business -  and so, the workshop was established at the family home. Despite the previously thriving box

Mrs Watanabe in Action

In 1970, he stopped the traditional division of work in an effort to make boxes himself, from bamboo to consumer. A kimono company employee was surprised by the quality of the work and Mr. W offered him an enterprising 3 for 2 discount if his company would buy finished boxes directly from him. The broker complained, saying that Mr. W should stick to his own step in the process, and so, he was forced to stop. However, through word of mouth, the kimono makers in the Nishijin textile area of Kyoto became aware of his skill and began to order boxes from him. The broker system was dismantled and he became the first craftsman to acquire the full range of skills. By 1989, Mr. W’s workshop was thriving, but his son wasn’t interested in taking over the business and left to work for a regular company. Mr. W intended to convert a space in his house to rent out so that he could retire. However, before he could arrange it, he had a heart attack and his son decided

industry in Kyoto, only two children took over workshops from their parents – Mr. W and another. The other craftsman had no children and moved to a small house with no bamboo storage so his workshop also closed, leaving  Mr. W as the only tsuzura maker in Japan. Tsuzura and akeni boxes have been made since the Edo period and, if you catch the right revolving exhibition, sometimes you can see old akeni and kesho mawashi in the sumo museum at the Kokugikan in Tokyo. If you find that a specific exhibit includes akeni, be sure to go before or after a basho because the museum isn’t open to the general public during the basho unless you are a ticket holder for the day’s bouts. Akeni used to be made by two producers in Tokyo and Shikoku but these men worked alone and Next