Pages
Monday, 25 December 2023
David Sutton, editor
Sunday, 17 December 2023
Ethan Scheiner, political scientist
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.
Tuesday, 12 December 2023
Junko Hama (浜 順子), hotel public relations
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

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
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
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]
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!





