For many Japanese people, life is divided into two distinctly historical time lines: before and after the ÕÑºÍÆÚ (³§³ó¨­·É²¹-°ì¾±, Showa Era, 1926-1989). ÕѺͤ΄ö¤¤¤¬¤¹¤ë (Sh¨­wa no nioi ga suru, ¡°This smells like Showa¡°), we say to each other, when talking about anything retro or ‘¯¤«¤·¤¤ (natsukashii, nostalgic).

Even the ¤æ¤È¤êÊÀ´ú (yutori-sedai, ¡°relaxed generation¡± ¡ª those in primary school during the education ministry¡¯s ¡°relaxed education policy¡°), who were mere babies or weren¡¯t yet born dig Showa, as witnessed by their love of Showa dishes like ¥¹¥Ñ¥²¥Ã¥Æ¥£¥Ê¥Ý¥ê¥¿¥ó (supaggetti Naporitan, spaghetti Napolitan) and ¥á¥ó¥Á¥«¥Ä (menchi katsu, deep-fried minced meat patties), and ÕѺͥݥåץ¹ (Sh¨­wa poppusu, Showa pop music) from Keisuke Kuwata and Ryuichi Sakamoto.

Any discussion of Showa precludes the presence of Emperor Hirohito, who in early 1989 succumbed to illness after a 64-year reign. The nation then mourned the passing of a beloved but controversial icon who symbolized both Japan¡¯s ill-fated entry into World War II in 1939 and its exit in 1945.