But the initials do not stand for the late Filipino movie icon Fernando Poe Jr., who portrayed the role of a gallant war hero mowing down scores of Imperial Japanese Army soldiers in his movies.
The initials of Poe, who succumbed to a massive stroke last Monday and whose death is being mourned by millions of fans and supporters in the Philippines, now represent the so-called "modern-day heroes" for their major contributions to the country’s economy through their foreign exchange remittances.
The initials "FPJ," so well-loved by the Japanese people, stand for "Filipinos Punta Japan," especially personified by the more than 80,000 overseas performing artists (OPAs).
While they are derisively called "Japayukis" in the Philippines, when OPAs go to work in Japan at various clubs, their Japanese audiences here fondly call them "FPJ," a take-off from Poe’s nickname.
Club-going Japanesemen,mostly executives wholove and indulge in nightclub entertainment after a hard day’s work, go to these clubs to unwind, watch and enjoy the shows put on by talented and friendly Filipina singers and dancers who are often the clubs’ headliners or featured performers.
The Japanese people dread the specter of losing the services of more than 90 percent of these "FPJs" now that the Japanese government is going to restrict the entry of OPAs to 8,000 a year by next month once the a new immigration law takes effect.
Yukihiro Iwata, vice president of the Society of Associated Promoters for OPA’s Welfare, told The STAR that his Japanese clients frown upon the term "Japayuki."
"Masakit sa tainga ang ‘Japayuki’ na sabi nila (the term "Japayuki" that they use is painful to hear)," Iwata said in broken Filipino.
"Kami tawag sa kanila ‘FPJ,’ Filipinos Punta Japan, para sila trabaho sa kanta, sayaw, magagaling silang lahat (We call them ‘FPJ,’ Filipinos who go to Japan, so they can find work singing, dancing, they are good at everything)," Iwata said.
The 45-year old Japanese businessman, who owns a string of nightclubs here in Kyoto and has been engaged in the entertainment promotions business for the past 25 years, deplored the derogatory "Japayuki" label applied these Filipina OPAs, whom he said earn good money as decent workers.
"Filipinas di trabaho dito para puta (Filipinas do not come here to work as prostitutes)," Iwata said bluntly.
Iwata rued that as Asians, the Japanese people could not understand why the United States’ State Department said industry and entertainment industry in Japan, which is estimated to be worth $2.2 billion, is a major source of "human trafficking" in the world.
Iwata said the Western concept of "hostesses" is applied in the Asian context as the typical hospitality of women who serve male customers by pouring their drinks and lighting their cigarettes.
"Ït’s not even escort services in the Western culture of sex being part of the services they pay for their American women doing this kind of work in the US," he said.
Iwata expressed full support for the efforts being made by OPAs, aided by the Philippine embassy in Tokyo, to ask the Japanese government to suspend the effectivity of the new immigration law pending the review of safeguard measures to conform with demands to protect foreign workers victimized by human trafficking syndicates.
In the meantime, Iwata said, the Japanese people would like the "FPJs" to continue to work and entertain them in Japan, where they earn at least 100,000 yen or $950 a month and receive full benefits and protection from employers. Japanese employers are required by both Philippine and Japanese laws to protect their workers.