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Monday, 25 December 2023

David Sutton, editor


I interviewed David Sutton, the editor of "The Fortean Times," by email in March and April, 2008, for an article I was working on about Japan's paranormal. Mr. Sutton was extremely helpful and informative, but, unfortunately, because the interview wasn't 'live,' much of the psychological data that is normally revealed by people's speaking patterns is missing. On the plus side I was spared the burdensome task of transcribing.

Liddell: Many people won't understand the concept of Forteana and will mix it up with folklore, urban myths, crank journalism, pseudo-science, and, indeed, even real science. What is your working definition of Fortean phenomena and how do you differentiate Forteana from the other categories I've just mentioned?

Sutton: Well, strictly speaking, forteana would only refer to the kinds of anomalies and strange phenomena recorded by Charles Fort in his four published books – most notably falls of objects from the sky, mysterious lights, appearances and disappearances of people and objects, poltergeist phenomena, weird weather and so on. Obviously, Fort died some three-quarters of a century ago, so the categories of what we would now consider as ‘fortean phenomena’ have broadened quite a bit: creatures unknown to science, like Bigfoot and the many other ‘man-beasts’ reported from around the world; UFOs and alien abductions; millennial beliefs and cults; out-of-place animals, like the big cats sighted on an almost daily basis here in the UK, and many others that Fort might not have recognised or viewed in quite the same way.

I’d be loath, though, to say that there’s necessarily an absolute difference between what we’d regard as forteana and the other categories you mention. After all, the phenomena we study shade in and out of folklore and urban legend with some regularity. Many people, for instance, would argue that most of the strange creatures encountered around the world are precisely folkloric – or born out of folklore’s modern equivalent, the urban legend. And, indeed, they often are – but that doesn’t mean they aren’t also out there in the woods, where people run into them in flesh and blood. Which is where the conflicts between ‘real science’ and so-called ‘pseudo-science’ begin. Is cryptozoology – the search for unknown creatures such as lake monsters and manimals – a ‘real’ science or something practised solely by misguided amateurs and cranks? The answer will depend on your position vis a vis the scientific establishment and method.

In the end, I think forteana has more to do with an attitude that distinguishes it both from mainstream science and from the other kinds of belief that surround, say, UFOs or Atlantis: we simply remain curious – and encourage others to do so – bringing open minds to such evidence as there is, looking for more, and avoiding the exclusionism and rejection of the anomalous that often, unfortunately, characterizes mainstream science.

Liddell: How important is culture and social history in influencing perceptions of Fortean phenomena? For example, people in a country, say, with certain folkloric archetypes or political traditions might be susceptible to having their perceptions shaped by that. One Japanese example I can think of is the Aum Shinrikyo cult that recycled some of the anti-freemasonry/ anti-Semitic theories popular in Japan in the 1930s and 1940s.

Sutton: Our experience would suggest that they are vital. I’d go so far as to say that no phenomena lie wholly outside of the fabric of cultural and social practice and belief – which is not to say that they’re not real, only conditioned by our inability to step outside our cultures and histories. In the past, most anomalies were either interpreted in explicitly religious terms – as signs and portents of God’s pleasure or displeasure – or in those of folkloric belief systems. Since the modern era, of course, the tendency is rather to attempt to explain them – or explain them away – in terms of scientific knowledge; which is itself, as we know, subject to change over time. And with specific types of phenomena, we can see how interpretation takes place in the light of contemporary social and cultural beliefs. Encounters with the ‘little people’ in Europe were traditionally interpreted as meetings with fairies; in the industrialised culture of the post-war world, with its fears around invasion and nuclear weapons, and its emergent pop-culture of flying saucers and little green men, the same types of stories mutated into close encounters and later alien abductions.

Liddell: Different countries produce different types of Fortean phenomenon. I would imagine that the USA is big on UFOs. The UK seems to have a lot of big cat sightings and crop circles, etc. From the material you encounter in your job as editor, what sort of Fortean profile does Japan have? What sort of phenomenon tend to be reported a lot in Japan?

Sutton: Ha – not enough! In fact, I wonder whether the kinds of stories that do get reported in the West actually tell us more about certain preconceptions held here concerning Japanese culture. I’m thinking of the amount of coverage (including much by us) given in particular to cults – like Aum Shinrikyo or Panawave – the Internet suicide pacts of recent years, or the Pokemon panic in which kids supposedly had epileptic seizures as a result of watching a cartoon on TV. These are all, in a way, stories about a highly pressurised, highly technological society in which individualism is felt to be somehow under threat from corporate cultures, militant belief systems or technology itself. This strikes me as something of a Western image of modern Japan and I wonder if this is why such stories We hear much less about, say, Japanese ghosts, mystery creatures or UFO sightings, although we do cover them when we get wind of such things. If any of your readers would like to help, by alerting us to local stories that we may be unaware of, we’d encourage them to do so, either by sending us newspaper clippings (preferably with translations!) or emailing us stories. They can get details from our website: www.forteantimes.com

Liddell: Is there a characteristic Japanese Fortean phenomenon?

Sutton: The particular Fortean phenomenon reported in a place may reveal (a) an actual real thing or (b) something about the culture, mindset, preoccupations, etc. of the people living in that area. I've always thought that the UK's crop circles were tied in, in some way, with British people apparent love of circular forms - ranging from stone circles to modern day roundabouts. Assuming that Japan's reported Fortean phenomena are not actual, what do you think they reveal about the country? I would say they reveal, on one level, the same thing that reports of strange phenomena reveal the world over: that despite everything that science, and indeed common sense, tells us about the nature of our existence, extraordinary things are constantly happening to ordinary people and forcing them to re-examine their basic assumptions. Whether we’re talking about seeing a UFO, encountering a mysterious entity or witnessing fish falling from the sky, these encounters with the unknown can change peoples’ relationship with the world – both positively and negatively.

In the case of Japan – as with many other countries – they probably also reveal tensions between traditional belief systems and customs and the rapid industrial and technological expansion of the post-war years, as well as perhaps the country’s relationship with the West, particularly America. Kitsune and UFOs are both found in Japan, but the latter are to some extent an American global export, while the latter are an indigenous form of a possibly universal set of mythic archetypes. I do wonder whether one generation of Japanese would favour one over the other… these are the sorts of questions that would be interesting to explore from a Japanese perspective.

Liddell: Regarding Japanese cryptids, how would you rank the following in terms of probability of existing: The Lake Ikeda Monster - "Issie," the Hibagon, the Tsuchinoko, Kappa, fox-women, giant squid?

Sutton: Taking them in order: Issie, like most lake monsters, seems to be problematic in terms of thinking of it as a real creature. My understanding of Lake Ikeda is that it has no rivers flowing into it, so the question of how a sizeable beast got there in the first place is a little tough to answer. The natural ‘explanations’ – such as eels in the lake – are as debateable as in any other lake monster case, but shouldn’t be dismissed. In its way, Issie has probably become as clouded by rumour, commerce and peoples’ fondness for such stories as has Nessie here in the UK, with tourist boards offering rewards and such like. I guess we’ll wait for a truly convincing photo that can’t be explained away. The Hibagon – have there been further reports since the original 70s sightings? Although the region around Mt Hiba was described back then as remote, I don’t know how far man has since encroached on any potential habitat. It’s hard to believe that a large unknown man-beast in a country as heavily populated as Japan – although they have been reported from all over the world, not just areas of large wilderness in, say, North America or the Himalayas. The sheer ubiquity of such tales suggests that we are either dealing with genuine creatures or a mythic idea so powerful that it is really a form of archetype that cuts across quite disparate cultures and has a good deal of meaning for people with very different backgrounds and belief systems. The Tsuchinoko – although rather odd-sounding, could indeed be a real creature, perhaps as our own Dr Karl Shuker once suggested, some kind of mutant pit viper. It’s also possible, of course, that the Tsuchinoko is merely the product of a persistent body of stories coupled with misidentifications of other creatures, whether snakes after a meal or larger lizards. Kappa – I’d love to see one! They are like some unholy hybrid of what we in the West would recognise as fairy lore – whether aiding or hindering humans they have a lot in common with the little people – and the terrifying water-folk of HP Lovecraft’s The Shadow Over Innsmouth! They are scary as hell, so I’m quite glad that I feel I can safely banish them to the realm of the folkloric – despite the occasional sightings that have been reported over the years. Fox Women – Again, the kitsune are a venerable element of Japanese folklore and art rather than ‘real’ creatures. But they are also an example of the power of myth – the reality of the mythic, if you like – in the sense that stories of ‘possession’ by fox spirits have also been the basis for genuine experiences, although these would of course be described as instances of mental illness. The question is, though, does the illness simply make use of available cultural materials to express itself – in this case the idea of fox spirits – or does the kitsune myth express something that has been known about ‘human nature’ for a long, long time. Is it an archetype, with a life of its own? And can it, then – as Jung would have argued – indeed ‘possess’ us? Giant Squid – Well, the giant squid – despite having its own legends and sailors’ tales attached to it – is undeniably real. It’s nice for us to see a creature that was often dismissed as a myth finally being accepted as a genuine creature – and largely due to the efforts of Japanese scientists and researchers who have brought us the incredible pictures and video of the living squid in its natural environment. We still have an awful lot to learn about these amazing creatures, and that is something we greatly look forward to; as well as seeing what other mysteries the oceans will yield up to us in the future. So, in descending order of probable flesh-and-blood reality (although some forteans would claim that such a term can’t do justice to the kinds of weird critters reported from around the world…): Giant Squid, The Tsuchinoko, The Hibagon, Issie, Fox-women, Kappa.

Liddell: One of the most interesting Fortean phenomenon that Japan may be connected to is the connection between the WWII 'Fugu' balloon bombs and early UFO sightings in the Pacific NW. Is it possible to say that Japan kicked off the UFO mania of the 40s and 50s?

Sutton: Well, we’ve seen phantom airship panics dating back to the late 19th century, the Swedish ghost rockets of 1946 and the whole Flying Saucer mythos growing out of Cold War fears of Communist invasion, so it shouldn’t surprise if there was a connection between wartime US fears of Japanese invasion and weird things being seen in the sky. And, of course, we’ve seen plenty of supposed UFOs explained as weather balloons and so on. Having said that, the Fugo balloon bombs do predate what we’d normally identify as the dawn of the ‘UFO age’ with Kenneth Arnold’s 1947 sighting, so their influence on subsequent developments of UFO lore might be marginal. What seems most likely to me is that the secrecy the US military attached to the bombs may have meant that some people who encountered them at the time – with no knowledge of what they were dealing with – may then have remembered them at a later date and interpreted them as Ufos in the light of the emergence of that particular mythos as it emerged in the late-40s and through the 1950s.

Liddell: One of the problems that Fortean world faces is that legitimate areas of investigation are closed off because those institutions capable of financing and supporting research are afraid of gaining a reputation for pseudo-science that might harm their other activities. A good example is the Sony ESP lab. Although the research was interesting, it nevertheless created an image that could have damaged Sony's share price. Does this kind of perception create a false barrier between things that big companies and universities are prepared to research and those they aren't, simply because it's bad for their image.

Sutton: Yes, it’s increasingly a problem. The golden age of psychical research – when eminent scientists and philosophers took an active interest in what we’d now call the paranormal seem a long way off, and institutions – even, for instance, the Koestler Unit in Edinburgh, set up specifically to study parapsychological phenomena – seem increasingly under pressure to reach sceptical conclusions and avoid making claims that might rock the funding boat or attract derision from the scientific community. There would be some truth in the argument that, often, the results obtained don’t justify sustained funding, but many so-called ‘mavericks’ – Dr Rupert Sheldrake or Dr Michael Persinger – would strongly disagree and produce strong evidence to back their research claims. But these are just the kinds of researchers who struggle to find funding and end up on the receiving end of sometimes quite vindictive attacks from the scientific establishment or evangelical sceptics like the ghastly Richard Dawkins.

Liddell: How can this be overcome?

Sutton: I wish I knew. I suspect the only way that it would happen is for someone to come up with some truly repeatable and incontrovertible experimental evidence for psi or whatever. Trouble is, with the lack of current finding and hostility to such research, that’s unlikely to happen anytime soon. It’s a rather vicious circle, isn’t it?

Liddell: Lastly, what is the most interesting Fortean phenomena from Japan that you have encountered? Why?

Sutton: I’m particularly fond of the story that the village of Shingo, in Aomori Prefecture, was where Jesus decided to spend the remainder of his days after pulling a last-minute crucifixion-swap and escaping to Japan. Apparently, he lived to 103, enjoying a quiet life, and is buried in the village.


Sunday, 17 December 2023

Ethan Scheiner, political scientist


In 2008, in the wake of the economic crisis, I was working on an article on Japanese politics with a focus on the prospects of the Japanese Communist Party and decided to pull in some quotes from an "academic expert."

After a bit of searching, I came up with the name of Ethan Sheiner, a Professor of Political Science at the University of California, Davis. The interview was by e-mail.
__________________________

Liddell: There's a widespread belief that a "competitive" two-party system is the way towards greater representation, and Japan's electoral reforms of the 1990s were designed to facilitate this. But, unless reflecting class or race groups, doesn't a two-party system merely lead to the two parties becoming increasingly identical as they compete for uncommitted centrist voters in a few marginal areas?

Scheiner: I know that this is not what you mean, but we should be careful about what "greater representation" means. In many ways, the center is the most "representative." A majority made up of the left would prefer the center to anything to the right of the center. And a majority made up of the right would prefer the center to anything to the left of the center. That said, there is nothing about 2 party competition that says that it need lead to 2 parties that are identical and at the center. Few would say that the 2 parties in the US have been the same in recent years. And the long history of the 2 leading parties in the UK would certainly not suggest that they are the same. Much of the issue in Japan is that elections are not fundamentally about "issues," but rather are at least as much about things like pork barrel and especially local concerns. Japanese elections are usually less nationalized and more focused on each local election.

Liddell: Isn't a 2-party centrist stalemate actually less representative than a 1-party dominated system, like the old LDP, because at least a single dominant party can change the direction of legislation in the interests of the people?

Scheiner: I'm not sure why the 2 party system you suggest here is less representative than a 1 party system. But, and I think this is more important, the "stalemate" you are talking in Japan about is not a problem of a 2-party system. It is a problem of having 2 branches of the legislature, each with roughly equal power and each controlled by a different party.

Liddell: As Japan faces increasing economic stress and restructuring, what is the likelihood of social divisions developing and expressing themselves in political affiliation? I am thinking in particular about those within the full-time employment system and those on temporary contacts, as well as the growing gap between rich and poor.

ScheinerLDP typically has had the support of many of the weaker groups - for example, rural areas that are so vulnerable to the global economy, small & medium sized businesses - for a long time. And it is such groups that are among the most hard hit by the changes in Japan today. The LDP continues to try to help them, but is limited by budget constraints. To answer your question more directly, there are important divisions especially within the LDP about whether to help the more modern parts of the economy and whether to support the rural areas, etc. that are so hard hit. The DPJ used to focus on supporting the former, but in recent years has been appealing more to the latter. It is possible that there could be a real split, leading to parties to break apart and reform along those lines. (Because of the nature of the splits I just noted, I don't see it being about the types - fulltime or contract - of employment.) I don't see either party appealing more to one of these groups than the other.

Liddell: Because of the similarities between the DPJ and the LDP, there is a possibility that they might merge later. Is this likely? And, in such a case, would the JCP benefit from occupying the position of largest de facto opposition (especially as the Komeito is likely to be within any ruling coalition)?

ScheinerMost likely, if they merge, it won't be the entire DPJ with the entire LDP. Most likely, the groups would have more in common - for example, politicians with more of an urban, modern focus from each party coming together. I find it pretty unlikely that there would be just one giant DPJ+LDP party. Think of it this way: If the DPJ & LDP merge, that means that in many, many districts the new party will have 2 candidates that want to contest elections. They won't be satisfied staying in the same party. The 2-candidate competition in most districts will force 2 large-ish parties to continue to exist at the national level. So, I don't see the JCP occupying a role as the major opposition.

Liddell: The Japanese government seems to finance Japan's own exports to the USA by buying up dollars and doing all it can to keep the yen low despite the enormous trade deficit. Isn't this effectively a state of economic vassalage with Japan as producer and America as consumer (although it may even be in the best interests of such an overcrowded island)? Isn't this economic system supported politically in campaign donations from the big exporting corporations to the main parties who then support continuing this economic relationship?

Scheiner: At least as important as the support of big business to the LDP is the support of small & medium size business, agriculture, construction and the like - all things that are not internationally competitive. I don't see the LDP or Japanese government as simply working on behalf of big competitive business.

Tuesday, 12 December 2023

Junko Hama (浜 順子), hotel public relations


Back in 2012 I was working on a story about hotels and architecture or something. One of the buildings I wanted to focus on was the iconic Tokyo Station hotel so I got in contact, hoping to speak to the General Manager only to get fobbed off with teh PR lady, a Ms Junko Hama (浜 順子). After a flurry of emails, I sent her a few questions that I hoped with generate a few useable quotes. Here they are. Enjoy! (Note I haven't corrected her English).

Liddell: Why was it necessary to close the hotel for so long?

Hama: The Tokyo Station hotel is in the Tokyo Station Marunouchi Building. 
Due to preservation and restoration of Tokyo Station Marunouchi Building, our hotel was temporary closed since 2006.

Liddell: What is the biggest change made to the hotel?

Hama: Our hotel will be fully remodeled and reopen for business on October 3, 2012. 
Before hotel closed, hotel’s total area space are was 5,600 square meters, and will be 20,400 square meters since Oct 3. The hotel offers 150 rooms (before closing, 58 rooms) and 10 variety venue, fitness & spa, banquet rooms and others.

Liddell: What kind of market will the hotel be focusing on? Why?

Hama: We welcome serve not only Japan but also overseas. Tokyo Station Marunouchi building was opened in 1914. Over the century, Tokyo Station was designated by the Important Cultural property of Japan in 2006 and fully reservation and restoration since Oct 1. 
We aim that Tokyo Station Marunouchi Building will be very important sightseeing spot in Japan.


Liddell: The Hotel is very much part of the original "Iccho London" area. What is the appeal of British style and atmosphere for Japanese people? Why is it so popular?

Hama: Our hotel is not part of the original “Iccho London.” 
We aimed our hotel décor blends sophisticated elements of Tokyo Station Marunouchi Building. Interior design by the respected British firm Richmond International Ltd., hailed for numerous successful renovations of historic properties, honors the history of the station building while incorporating the functionality and facilities demanded of a modern hotel.

Liddell:
How does the Hotel fit into the Otemachi-Marunouchi-Yurakucho Area Management Plan? Is it the centerpiece? What do you think of this area plan?

Hama: We will have a good relationship Marunouchi developer with our owner company, JR east railway company. 
The Tokyo Station Hotel is part of the hotel of Nippon Hotel corporation. Nippon Hotel corporation is associated company of JR east railway company.

Liddell: What makes this part of Tokyo special?

Hama: We aim our hotel and Tokyo Station Marunouchi Building will be important part of sightseeing spot and symbol of central city, Tokyo.



Wednesday, 30 August 2023

Mitch Ikeda, photographer


In January 2003, I interviewed the Japanese photographer Mitch Ikeda, famous for taking pictures of the Manic Street Preachers and Oasis. The interview consists of questions emailed, translated into Japanese, then with answers returned in Japanese. Despite 'hanging out' with British rock bands, it seems that Mitch's English is pretty non-existent, while his Japanese answers suggested some of the surly insouciance of the rock stars he snaps had rubbed off on him.


Liddell: I saw your exhibition at Proud, Camden, in London. Are you going to have a similar exhibition in Japan?

Ikeda: Thank you for coming. In Japan they won't have the same exhibition. It'll be one third the size and only for one night.

Liddell: I saw the book, Forever Delayed in the U.K. Has this book been released in Japan? Will it?

Ikeda: They are not going to sell it in Japan, so people will have to get it as an import.

Liddell: Do you have any activities planned to coincide with the Manics' tour of Japan this month?

Ikeda: I haven't thought of it yet?

Liddell: How did you get to become the Manics' official photographer?

Ikeda: It was destiny.

Liddell: What is your approach to photographing the Manics? What do you look for or focus on?

Ikeda: I've never thought of it. Always natural.

Liddell: What are the problems photographing a rock band?

Ikeda: None.

Liddell: You have been photographing them for a long time. How has the band changed in that time?

Ikeda: They've got older.

Liddell: How aware were you of Richey cracking up? How did his disappearance affect the other three?

Ikeda: Laugh. Please ask the 'other three' about Richey.

Liddell: There are a lot of Japanese touches in the pictures, e.g.: James Dean Bradfield's Mishima crucifixion pose; Nicky with a kanji ring, wearing 'Super Lovers' clothes, and posing with a noren; Sean wearing 'Final Home' clothes, etc. How much of this is due to you?

Ikeda: There's no influence from myself.

Liddell: Do you think Sony tried to make the band appeal to Japanese audiences by appointing a Japanese as the official photographer?

Ikeda: I've never thought of that. This is very stupid question.

Liddell: The Manics often come to Japan. How do they react to Japanese culture and society?

Ikeda: Laugh. I don't think they come that frequently. I think it might be the opposite. Incidentally, doesn't Paul Weller come many times? Maybe both don't come enough. Are they reacting to Japanese culture and society? I don't really know.

Liddell: Which is your favourite picture?

Ikeda: I love them all because they are mine.

Liddell: I particularly liked number 165, the picture of Richey jumping with a guitar. It's a truly iconic image of him, suggesting crucifixion and suicide. How did this shot happen?

Ikeda: I took this photo at a photo shoot.

Liddell: What did you think of this picture later? Did you feel there was a kind of prophecy of his self-destruction in this image?

Ikeda: No!

Liddell: Do you think the camera is capable of sometimes catching mysterious aspects of a person, things that we can't normally see, like their ghost, spirit, or a prophecy of their future?

Ikeda: No!

Liddell: Which photographers have influenced you the most?

Ikeda: Ken Domon, Eiko Hosoe, Kishin Shinoyama, Daido Moriyama, Penny Smith.

Liddell: How much time do you normally spend with the Manics every year? What do you do when you are not with them?

Ikeda: Every year it's decreasing. Though I used to live in London, now I've got children. It's decreasing more and more because of children.

Liddell: How was the trip to Cuba? What was your impression of Fidel Castro?

Ikeda: It was the best. He's a totally wonderful person.

Liddell: What did Nicky and Castro talk about?

Ikeda: After the concert, they met Castro. Nicky asked Castro, was it loud? Castro replied, the sound of battle is louder.

Liddell: When my brother interviewed James Dean Bradfield earlier this year, he told him that he was hoping to cut back on his smoking and climb Mt. Fuji with you. Did he?

Ikeda: Laugh. No, he hasn't said that yet. I would definitely do it. Perhaps he's the kind of guy who can see the god.

Sunday, 6 August 2023

Jiro Kondo, Egyptologist


Back in 2012, I had to crank out an article for the Japan Times on an exhibition of ancient Egyptian artefacts that was touring the nation. This brought me into contact with Professor Jiro Kondo, a director of the Institute of Egyptology at Waseda University who was curating the exhibition. An exchange of emails followed creating the following interview. The point was to get a rather pedantic and "dry" academic to say something interesting for the article, after which he could be suitably quoted out of context.

Liddell: Why is this exhibition being held now? Does it follow on from the exhibition held at the British Museum in Autumn 2011?

Kondo: This exhibition is following on from the special exhibition titled 
Ancient Egyptian Book of the Dead” held at the British Museum, from 4 November, 2010 to 6 March 2011. This exhibition will tour to Fukuoka.

Liddell: What changes have been made for 
the exhibition in Japan? Why?

Kondo: The collection is exclusively from the British Museum. The papyrus of Ani and 
other eminent papyrus collections are not coming for the consideration of the conservation. On the other hand we are including other items such as jewellery and mummies and so on.

Liddell: Does the exhibition present the results of new research?

Kondo: 
No.

Liddell: Egypt is an extremely remote civilization for modern people, 
but it remains one of the most popular. How do you explain this popularity with modern audiences?

Kondo: Death is a permanent theme that human beings face. It seems 
that images and ideas related to the afterlife of the Egyptian people attract modern audiences with their uniqueness, beauty, and details; the modern audience can also find ideas and features familiar to them in the funerary philosophy of this remote civilization.

Liddell: 
Why did death feature so prominently in their culture? Was there an element of morbidness?

Kondo: It is far from being morbid. On the surface, the Egyptian 
Civilization is a culture of death, but if we look into their thought deeply, it reflects their strong desire for life, and it is full of energy.

Liddell: Some theories state that the ancient Egyptian attitude to 
Death was influenced by the sharp contrasts between the desert and the fertile river, and also the regularity of the rise and fall of the Nile, with its symbolism of a cycle of life and death. How important was the environment in influencing ancient Egyptian culture and customs?

Kondo: The fact that our culture is influenced by our environment is 
universal, and it is not limited to Egypt.

Liddell: The other key point about the customs connected to The Book 
of the Dead and the rituals dealing with death is that they are very elaborate. Such elaborate rituals, it seems to me, are much more likely to develop in a society that is isolated and which develops slowly. Once Egypt became connected to the wider world through the Ptolemies and the Roman Empire, these customs faded and disappeared. How important was Egypt’s relative isolation and conservatism is creating these very elaborate customs?

Kondo: In the long history of Egypt, Egyptian civilization had always been 
influenced by outer cultures such as Mesopotamia, Syria, Anatolia and so on.

Liddell: How does this exhibition compare with previous exhibitions on 
ancient Egypt in Japan?

Kondo: This is the first time the Book of the Dead is the main theme of 
exhibition. Also, this is the first time that the theme is very much focused on one single book.

Liddell: The exhibition is notable for featuring the 37-meter-long 
Greenfield Papyrus. What light does this item throw on our understanding of ancient Egypt?

Kondo: The Greenfield Papyrus is one complete papyrus that illustrates the 
funerary beliefs of the Egyptian; it also shows the scale of the Book of the Dead. It includes various scenes of the underworld through which a deceased has to go in order to attain eternal life.

Liddell: The exhibition also includes many amulets. Ancient Egyptians 
seemed to believe greatly in the importance of amulets. What do these tell us about the mindset of the average people in those days?

Kondo: The idea of amulet also universal.  It is natural for Japanese 
people to get amulets when we visit temples or shrines. Amulets were daily items for the Egyptians.

Liddell: What is the significance of ancient Egypt? What does their 
civilization teach modern people?

Kondo: Its eternity.  No modern buildings have exceeded the strength and 
duration of the pyramids which have stood in the land of Egypt for 5000 years.

Liddell: In your view, what differences and similarities are there 
between the ancient Egyptians and the modern Egyptians? Has there been any significant continuation from the period of the pharaohs and the periodof the Arab Spring

Kondo: Except for the religious concept, I do not see great 
differences. Modern Egyptians have the same roots as ancient Egyptians. They were farmers in the fertile lands by the Nile, and, though they may have had difficulties, their life may 
have been richer materially and spiritually than it is now.

Thursday, 27 July 2023

Fumio Nanjo, curator


On the 20th of February, 2011, I interviewed Fumio Nanjo by telephone. He is a well-known curator and the Director of the Mori Art Museum. I talked to him for about 25 minutes about Roppongi Art Night, which was scheduled to take place on the night of the 26th to 27th of March. This was for Metropolis Magazine. The event and my article were both cancelled when the Great Tohoku Earthquake struck Japan on the 11th of March. The interview, properly edited, was eventually published as an on-line "sidebar" article in September to accompany my article "Decontructing Tokyo".

Nanjo: Hai?

Liddell: Hello.

Nanjo: Yes?

Liddell: Is that Mr Nanjo?

Nanjo: Yes.

Liddell: This is Colin Liddell from Metropolis magazine.

Nanjo: Oh, I see.

Liddell: And, well, basically I want to get a much fuller picture of what people can expect at this year's Roppongi Art Night.

Nanjo: Yeh, yeh, OK.

Liddell: OK, so first of all, can I ask you how will this year's Roppongi Art Night differ from last year's Roppongi Art Night? What similarities and what differences will there be?

Nanjo: Since last time we try to expand art in the town and we spread many small works in the town of Roppongi between Midtown and Roppongi Hills but this time we cannot spread so many...

Liddell: Why not?

Nanjo: ...so we make a rather bigger scale works. I mean, y'know, that's a little bit difference but, how can I describe? Um, similarity and what difference? Mmm, main artist is different of course.

Liddell: Yes.

Nanjo: And also, em, what can I say? Artists are all different y'know.

Liddell: Well, the interesting point is that you can't spread the artworks around anymore. Why did that change?

Nanjo: Well, we do, we do it, but not [coughs] Sorry! – not so many in many spots in the town. We focus on certain [coughs] …sorry…

Liddell: You have a cold I think?

Nanjo: This is cedar something, y'know.

Liddell: Hayfever maybe.

Nanjo: Yeh.

Liddell: Yeh.

Nanjo: Uh, because the small works in the town were not so effective for many people, last time, so we focus on a fewer spot and bring bigger work.

Liddell: So, it's becoming more like a show than it was before.

Nanjo: What do you mean by show?

Liddell: Like a performance, like in a theatre that kind of style.

Nanjo: Uh, I don’t understand.

Liddell: Well, I mean, well, ur, um, Roppongi Art Night, it's concentrated in terms of time – it happens over one weekend – and now it's becoming more concentrated in terms of space, so if you concentrate something in space and time it becomes like a performance.

Nanjo: But it's only for one night. It's same thing.

Liddell: Yeh.

Nanjo: Even if it's fewer spots with a little big bigger works, still it's same thing I think.

Liddell: Moving on to the artists this time, how do you think, eh, the artists this year will differ from last year? What, what kind of themes or, eh, insights will they bring compared to the previous year's artists?

Nanjo: The main artist is Yayoi Kusama and she made a… She's going to make a huge, um, image of, ur, little girl, which is actually her, herself of the childhood.

Liddell: Umhu.

Nanjo: So…And with some dogs.

Liddell: Yes.

Nanjo: So, the idea is that she goes back to her childhood and walking around in Roppongi with her dog, her pet dog, so this is like, uh, walking in Roppongi with Yayoi Kusama.

Liddell: So it's a kind of nostalgic note?

Nanjo: Uhhh, her strong message is, uh, how can I say it in English, the, um, "Tomorrow is Mine," something like that, so she's really looking forward to tomorrow, I mean the future, a very positive message she brings, so she's not looking back her past. She's trying to capture the moment of children who are always, y'know, expecting the, uh, positive future soon.

Liddell: Uhuh.

Nanjo: So she, she said tomorrow is important…

Liddell: Isn't that very ironic because y'know she's obviously very old now? [NOTE: Yayoi Kusama was born in 1929.]

Nanjo: Ah, you think so?

Liddell: I mean physically.

Nanjo: I think that's why she wants to bring… Still she wants to say that still there's the future for her and also for many Japanese who always listen to… who always are talking about, uhrr, the kind of recession and going down, sinking Japan.

Liddell: Yeh.

Nanjo: But she wants to say, "no but you have to think positively."

Liddell: So it's a kind of symbol of rebirth through a kind of return to nostalgic innocence?

Nanjo: Return? But you have to think about the children, a lot of children now, it's not only her past. She's talking about children, y'know children have a future and tomorrow... They are looking for... at tomorrow, so people should look at tomorrow as a positive image. Y'know, It's not only her own matter, She wants to extend it to many people.

Liddell: Yeh. So she want's to kind of live on in the, em, future generations, through her art... The reason I mention this, em, kind of, em, return to innocence and almost naivety is also because of the other, one of the other important artists, Antenna, strikes quite a similar note with his, I think it's called Jappy, caricature.

Nanjo: That's also talking about a kind of utopia, you mean?

Liddell: Yes.

Nanjo: Mmm.

Liddell: So that's, that's a similar thing. I mean a lot of people will see, ehh, Kusama's art as, nhnn, having a mood of childish innocence and also Antenna's art would have a similar kind of, em, almost manga-esque quality.

Nanjo: Mmm, I don't know if it's nostalgia but both of them are talking about trying to create something positive, I think. Um, last year and the year before, two characters, main characters were somehow monsters, y'know. It’s like a boy's toys.

Liddell: Yeh.

Nanjo: One was a robot and the other one was like a huge em how can I say inflated, inflatable balloon, as how do you say [unclear], so this [unclear] boylike image we shifted to a little bit more soft feminine image as well.

Liddell: Uhu.

Nanjo: [unclear]...look so much images children and soft and pink and y'know more human and, urh, how can I say, more, as you said, nostalgic maybe but more human.

Liddell: More feelings?

Nanjo: Yeh, feelings maybe, and another one is a, mem, of course the story of the character is like that but actually it is very how you say it's kind of mikoshi. Mikoshi dakara sono... How can you say? This kind of chai… This kind of shrine they go round.

Liddell: Oh yes. The omikoshi, yes?

Nanjo: Omikoshi dessho, so it's it's really try to make society genki.

Liddell: Yeh, the omikoshi's carried round to kind of purify spiritually the area involved isn't it?

Nanjo: Originally yes, but people don't think that it's purifying. I think people just uh… It's like a festivity. People enjoy and participate.

Liddell: Yeh.

Nanjo: So we try to design the things for people to participate.

Liddell: Yeh, now in Japan, uh, the, the audience that goes to exhibitions tends to be usually a bit older, middle aged people...

Nanjo: Exhibition, I mean, uh…

Liddell: Yes, yeh, I'm talking about the, the major exhibitions in Japan because Japan often ranks very high in the biggest exhibitions per, eh, y'know, visitor every year, and so the main audience tends to be a much older audience, but I notice with Roppongi Art Night, because it's set late – or it's a all might event, it basically excludes older people and it, it draws in younger people.

Nanjo: It does not exlude. They just go back. [laughs]

Liddell: Uhm?

Nanjo: They just go back because if it's late they want to sleep

Liddell: Yes.

Nanjo: Y'know, it's their choice.

Liddell: Yeh, it's their choice but of course…

Nanjo: If it's chosen, it's not discrimination or whatever.

Liddell: I'm not saying you're trying to exclude them but the result of the timing…

Nanjo: If we choose young people then it's discrimination but we are open to anybody.

Liddell: Yeh, I'm just wondering…

Nanjo: It's their choice, y'know.

Liddell: Yeh, I know, but I'm just wondering about how young people think because a lot of young people don't want to, heh, go to exhibitions because maybe they see it as a kinda older people's culture.

Nanjo: Oh, but are you talking about… What kind of exhibition y'know. Did you go to the media art exhibition in National Art Center? S'full of young people.

Liddell: Mmhh.

Nanjo: It all depends on the contents.

Liddell: Yeh, yeh, that's the point I'm making. There are a lot of, em, exhibitions that draw a specific audience so that sometimes, y'know, I feel like a… Also with um, a lot of museums now have very late…

Nanjo: What kind of exhibition you talking about? If it's traditional Japanese art, of course there are many old people.

Liddell: Yeh.

Nanjo: If it's Impressionism mainly ladies.

Liddell: Yeh.

Nanjo: It's all different.

Liddell: Well, look, just for example, now at NACT there's a Surrealism. Now surrealism has got appeal across the board – a lot of older people like it, a lot of younger people like it.

Nanjo: Still, those who have a dream on European art, right?

Liddell: Yeh.

Nanjo: So there are maybe that's the majority of the audience but, I don't think we cannot generalize. It all depends on the contents.

Liddell: But…

Nanjo: If we design the contents for young people, young people will come

Liddell: But, yeh, there are some, em… There is art which is, uh, across the board and y'know, something like Yayoi Kusama could, could be seen in those terms, as something which has a lot of appeal for different generations because she's a very old artist herself but she also has an appeal to young people.

Nanjo: Uh.

Liddell: But, but, y'know the exhibition of Surrealism, ewh, the older people tend to go earlier in the day and then a lot of museums have late Fridays now and that tends to be... I think that's an attempt to try to bring younger people into the exhibitions and, y'know, sometimes Roppongi Art Night seems like an extension of "Late Fridays."

Nanjo: Oh, of course.

Liddell: Which means, "young people, come here and there won't be any older people around." That is the kind of note I feel that is being sounded.

Nanjo: I don't know if it's only for young people because if older people want to stay they can stay, but usually they want to sleep.

Liddell: Yeh.

Nanjo: But we're not designed for, for that purpose. We're trying to be open as much as possible.

Liddell: Yeh.

Nanjo: Right. And also there are many restaurants and bars are going to open until late, so if they want to stay they can stay. If... The Mori stay until five o’clock last time.

Liddell: That leads me to another question. How conscious are you of the Roppongi Art Night competing with the existing nightlife in Roppongi, because Roppongi's already got a very high profile entertainment nightlife of its own.

Nanjo: Yeh.

Liddell: How does that effect the Art Night?

Nanjo: But the contents is different isn't it? So we brought art into the night life of Roppongi. Before there was nothing like that, so your… It is actually, how can I say, Roppongi Art Night core time is from the sunset to the next morning, sunrise, but actually other event, which is good for children or old people or whatever, is also going on in the daytime.

Liddell: Yeh.

Nanjo: So it’s actually 24-hour event, not only 12 hours.

Liddell: Yeh.

Nanjo: So, urrr, if they want to enjoy those things, like workshops with children, they can join. Old people can maybe go for some shopping or whatever.

Liddell: Yeh.

Nanjo: We can, we can, em, they can do that, so the point is, I think, urh, Rop… We are trying to open the museum very late at 10 in the evening all day usually.

Liddell: Yeh.

Nanjo: But together with other museums, the... Y'know [unclear] were open till the next morning, but the others are just till ten or 11 o'clock, but we open the museum then, ahh, also we ask many shops and restaurants to open it until late.

Liddell: Yeh.

Nanjo: So they follow. So, it's only one night. We should get together and enjoy the night life of Roppongi. Uh, it just the beginning of spring time

Liddell: Yeh.

Nanjo: ...just the cherry blossom is blooming, so they have, they have been inside, inside the house for long time in the winter...

Liddell: Yeh.

Nanjo: ...but now the message, now you can go out, y'know, you come out and stay outside. Enjoy cherry blossom, enjoy art. If you want you can go to some bar to drink with your friends, chat, and stay very late.

Liddell: Umh.

Nanjo: So that's a message, y'know.

Liddell: So...

Nanjo: If you want to join it, you can join it.

Liddell: So, umh, can I ask you personally what are you looking forward to the most and also what are you most worried about?

Nanjo: Worried about?

Liddell: Yeh, positives and negatives, so what are you looking forward to the most and what are you also most worried about?

Nanjo: Looking forward is that kind of to view the image of Roppongi not only for drinking place but a place for enjoying art and culture, right? So it's not just drunk people at night. There are young people old people enjoying art, chatting, talking, walking together, even family can walk around.

Liddell: So, kind of area rebranding?

Nanjo: I think so.

Liddell: So, do you think Kabukicho could use an art night in that case?

Nanjo: Kabukicho should have a different strategy.

Liddell: Any suggestions?

Nanjo: The worry of... I think... I guess the people in Roppongi used to live here was worrying about Roppongi becoming Kabukicho.

Liddell: Mmh.

Nanjo: But now we have a different business, y'know, office, uh, café, uh, shops and even museums, galleries now, y'know four galleries just opened last week.

Liddell: Uhuh.

Nanjo: In the Piramide Building and one gallery in our museum shop opened so five galleries.

Liddell: Are those galleries moving from Ginza or somewhere?

Nanjo: Different places. Ginza and also from Shinjuku. They open a new gallery here so now we have business of daytime, y'know, uh, very light café and then dinner spot and then drinking place, bar, but also we have those different things so Roppongi became not only a town for night but also for day – people enjoy – so 24-hours city, so the Roppongi Art Night symbolizes Roppongi changed and you can enjoy daytime to night time and also with the family with your friends, y'know, not, you don’t kick the drunk guys and make a conflict as made before y'know. It used to be only that image but now we have to change.

Liddell: Yeh. Yes, so it's moving from a kind of monoculture to a more kind of multiculture?

Nanjo: Multiculture, yeh.

Liddell: And of course that can sometimes cause problems because you might have drunk people, eh, fighting with artists for example.

Nanjo: Yeh, yeh. If those people come up to the museum it's a big problem.

Liddell: Umhu.

Nanjo: Y'know then we have to shut them out.

Liddell: Yeh, sounds like something you have to worry about.

Nanjo: Yeh, we have to, we have to be aware of [unclear] to protect artworks too.

Liddell: So, what, what are you most worried about because you've obviously had a lot to think about and to arrange and to organize.

Nanjo: Uh, the logistics, I mean the management of the people like, y'know, if too many people come to one spot it's dangerous so I'm hoping that all the events become, make the things even, the time and the place, y'know, I hope people spread in a wide area and an even way.

Liddell: Yeh.

Nanjo: Otherwise dangerous, y’know.

Liddell: But, em, the centrepiece will be Kusama's, eh, sculpture. That's going to be very very large.

Nanjo: Yeh.

Liddell: How about, well, well, how is it being constructed, what sort materials are being...

Nanjo: It's inflatable.

Liddell: Mmh?

Nanjo: Inflatable.

Liddell: Inflatable?

Nanjo: So easy to carry but it becomes big.

Liddell: Yeh, uhu, well that makes sense. Very easy to do, No problems there, unless of course it has a puncture.

Nanjo: Well, some people might do it, but I hope it doesn't happen.

Liddell: Yeh.

Nanjo: Yeh.

Liddell: Well, that's a lot of information so I'll thank you for that.

Nanjo: Yeh.

Liddell: And, ah, well, we'll send you a copy of the article when it appears. Thank you very much.

Nanjo: OK, thank you.

Liddell: Bye bye!

Nanjo: Bye.

Friday, 5 May 2023

Angus Young & Brian Johnson [AC/DC]


Angus Young & Brian Johnson

In February 2010, I "interviewed" the biggest rock band on the planet AC/DC by proxy. The way this works is quite simple. Rather than scheduling slots for individual journalists, the promoters collect questions from a pool of hacks then send a proxy interviewer to present these to the interviewees in one sitting. This saves the musicians lots of time, but leads to a lot of disjointed questioning, dropped points, and bland answers, as questions are not pressed and follow-up questions are lacking or lame. Four of the six questions I submitted were used: numbers 2, 3, 4, and 5. The interview took place at the Park Hyatt in Sydney on the 7th of February, 2010. Later had a great time at the gig when the band reached Japan.

QUESTION ONE: The current music scene has CD sales falling and more and more people downloading rather than going to stores. AC/DC is not following that trend. What kind of reasons do you have for emphasizing physical releases in this current day and age?

ANGUS: For us it’s probably a different market. On the digital side they kind of concentrate more on the pop music, and pop music - it’s very fast. They kind of have a single every month or something, but, from our background, we were always a band that tried to make a good album. We concentrated on that. So, for us, it’s been two different things. But it’s been that way from the beginning. Where other bands made pop music or changed their direction, we always stuck to what we do best, which is rock music.

QUESTION TWO (my question): What distinguishes Black Ice from all the other albums you’ve done over the last four decades?

ANGUS: I wouldn’t say you reinvent the wheel when you do something. You just try to get better song craft. You just to put a bit more craft in what you do, and hopefully you come up with something a little bit different than the album you did before.

BRIAN: I think it’s just a natural progression. It happens naturally with the band and the boys, and it’s just a different time and a different feeling.

ANGUS: And we’re lucky - over the years we’ve managed to get a lot of new fans to plug into us.

QUESTION THREE 
(my question): In one interview you did the title of Black Ice was explained as a reference to a Scottish weather forecast. While AC/DC is typically seen as an Australian band, how important are those British and Scottish roots?

ANGUS: Well, black ice was always a term you heard a lot in that part of the world, Australia is always warm but other parts of the world, like Scotland, you get the four seasons, spring summer, autumn winter, and snow. So, when you got snow, for me it was always unusual. When you get out there in Britain, and they talk about Black Ice for me it was a whole new term.

BRIAN: It’s dangerous, y’know. On the radio if they announced “tonight there’s going to be black ice on the road,” you know it’s just lethal stuff, and Scotland and the North of England that’s where’s it’s prevalent. It was just a dangerous word, black ice. You know you took your life in your hands when you went out on the motor bike!

QUESTION FOUR 
(my question): From your millionaire mansions, what do you think of impoverished music press hacks who consistently slag off every AC/DC album as being “unoriginal re-treading of the same old rawk-and-roll cliches”?

ANGUS: Well, we’ve outlived a lot of them haven’t we!

BRIAN: Put a few in the ground too, didn’t we?

ANGUS: We outlived a few record deals as well… You’re not supposed to do that.

QUESTION FIVE 
(my question): AC/DC’s international appeal has consistently grown over four decades. What do you think is the REAL reason so many people in so many places love this band?

ANGUS: I think it’s because we stick to what we do best, and probably every few years, there’s a change where people say “oh we like rap” or “we like indie”, but for us we always stick to what we do best, and it probably goes back to our roots. At the time, music was very soft and we wanted something that was more popular, y’know. When you’re in the bar, the music people liked most and would get up and dance and have a good time to was loud rock music. I always thought, there’s something going on here, because when they put on a love song people sat out, but when you put on a rock track people get off their feet. I think that our music was both the kind of stuff that we wanted to be playing, and also something that the people were looking for. I’m not a psychologist, but I think there’s something of a primal beat that sits inside us all, and the public seems to like music when it has more energy.

BRIAN: It just makes you want to move, basically.

QUESTION SIX: You were just nominated for the Grammy for “Best Hard Rock Performance.” Congratulations! What was your reaction when you first heard the news?

ANGUS: As you can see it was overnight for us! It was only for how long? Can’t even think, maybe 30 years?

BRIAN: A couple of ciggies and a cup of coffee!

PROXY INTERVIEWER [follow-up question]: So the public support is what you pay attention to more?

ANGUS: Yeah, we get our reward every time we go on stage.

BRIAN: The punters know best.

ANGUS: And we were never a band looking for that stamp of approval.

QUESTION SEVEN: Standing on the stage looking at an audience is a perspective and feeling that few people in this world know, what particular sight or sound from the stage can you remember from the shows on this tour?

BRIAN: Going deaf is what I remember most! No, but I think that this show is so good, and what the boys have put together in the production of the show, seeing the reaction to that each night is great. There’re certain shows of course, to give an example, the Stade de France or Wembley, where you get on the stage and it still takes your breath away. It’s always exciting though. Just the other night in New Zealand, there was a stadium where there was a hill in the back just covered with people, and it was surrounded by trees. Nothing’s the same and each night is an adventure, and that’s what keeps you going.

ANGUS: And when the lights go out, all you see is a sea of devil horns.

BRIAN: That’s right. Those devil horns, never seen anything like it. It’s just amazing some nights.

QUESTION EIGHT: What kind of daily things do you do to ensure that you can give 100% every time you take the stage?

ANGUS: I lift a lot of cigarettes. That’s my weight lifting program.

BRIAN: Well, if you’re on tour, I just stay in me room, and try not to talk! Angus is always fiddling on his guitar. I guess you just get yourself ready for the next gig. You could be traveling, but try to go to the gym to stay fit, but basically you just have to get ready. The gig bit is fine. It’s just the bits in between that takes years!

QUESTION NINE: We are now about one month away from your Japan tour. What are your thoughts and feeling s heading back to Japan?

ANGUS: It’ll be real good to be back to play in Japan. It’s always good, if you’ve not been in a while, to go back.

QUESTION TEN: What kind of places in Japan have stayed in your memory? Where would you like to go this time?

BRIAN: Yeah, well what I remember the first time I went to Japan, somebody said to us, “the Japanese audience will be very polite”, y’know. What a load of twaddle! It was fantastic. And I remember the shabu-shabu, that meat stuff. That was good. But it was just fun, a fun time. A very exuberant audience. It’s not that way for every band, so that really says something about what kind of band AC/DC is.

ANGUS: Yeah, savage! Here they come!

QUESTION ELEVEN: You have played at arenas and domes around the world, including the Budokan and Yokohama Arena in Japan. Now you will be playing at the Saitama Super Arena and Osaka Dome for the first time. Is there any kind of particular excitement or anxiety playing at a venue for the first time?

BRIAN: You try to channel.

ANGUS: I suppose over the years you try to bring that everywhere. You know for us it was even if you went from a small place to a big stage, you always tried to keep the same. I never felt the difference depending on where we were.

BRIAN: Everywhere we go we try to make it feel like a club.

ANGUS: If you can make everyone in the place feel one, tapping their feet in time.

PROXY INTERVIEWER [follow-up question 1]: And are there any venues around the world that particularly stand out in your memories?

ANGUS:
There’s lots of great venues.

BRIAN: That’s a hard one, that.

ANGUS: Usually the first show in a place you haven’t been for a while. Like Brian says we came on the other night in New Zealand and for us and the people there it’s almost as if you’ve jumped time. They’re right there in front of you and, it’s like the feeling that you were all there yesterday.

PROXY INTERVIEWER [follow-up question 2]:
 So, this is obvious, but for you it seems like the people in the venue are the key.

ANGUS: They’re the sixth member of the band.

QUESTION TWELVE: When big acts come to Japan, one universal concern for the fans is whether the show will be full scale, same as the USA or Europe, which they often cannot do because of transportation issues and the like. So, is AC/DC coming with the whole set up? Hearing it from you will be very exciting for the fans.

ANGUS: Everything’s with us. We’ve got the whole production.

BRIAN: Otherwise what’s the point?

ANGUS: They’ve got the whole production, they’ve got us, and we don’t come cheap!

QUESTION THIRTEEN: Your last Japan tour was 2001, and before that seems like ages ago. This leads many to speculate that this could be your final Japan tour. Is that something you have given thought to yourselves?

BRIAN: I’ve never thought about that.

ANGUS: I think it’s the same as when we started. People always ask us “did you realize you would be a big band when you started?” and you don’t. You just play and you go along and take each day as it comes along. And as I said before, we are after all just an overnight sensation! You too can be someone after 40 years!

QUESTION FOURTEEN: What are your upcoming plans?

ANGUS: Probably try and get in and start to get new tracks, get another good studio album. It never really stops, y’know. You get off the road and then you’re back doing what you do, writing tracks, so that never stops.

QUESTION FIFTEEN: You had to cancel some shows during the USA tour last year, and you have rescheduled them for this year. Is everything ok now?

BRIAN: Yeah that was me. I’ll put me hand up. I just had this cancer scare in my esophagus and had to have lots of tests and CAT scans and stuff like that. And the doctor wouldn’t really let us go until we were sure I didn’t have any of the nasty stuff. Thank god I didn’t, but a few sleepless nights, let’s just say that!

ANGUS: I thought my diagnosis was the best. “Lack of nicotine” I thought!

BRIAN: Yeah, they stopped me fags!

QUESTION SIXTEEN: Who is a person you particularly respect and why?

ANGUS: There’s a lot of people. One in particular I think of is Chuck Berry. He basically wrote the book on Rock N Roll. He was a great guitarist and a great entertainer, and I think everyone borrowed from his book. If you look at the Beatles , the Stones, even Elvis Presley, they all borrowed and took a leaf from Chuck Berry. Of rock n roll, he’s probably the Shakespeare.

BRIAN: For me I always liked, I still do, Eddie Cochrane. And then Jerry Lee Lewis, I used to get all excited and girly watching him because he was just…

ANGUS: The killer!

BRIAN: Crazy. With big shock of hair, y’know. He was real. He wasn’t kidding!

QUESTION SEVENTEEN: What would you say to your Japanese fans who have supported you for years who have been eagerly waiting for your return ?

ANGUS: Yeah, we’ll get along there when we come, and we’ll certainly show them that if you liked us last time you’ll love it again this time.

BRIAN: Tell them that we’ll be ready, so come on in.

QUESTION EIGHTEEN: What would you say to your new Japanese fans who are going to be seeing you for the first time?

ANGUS: Just be ready to rock.

BRIAN: We can’t give all our secrets away, y’know!