Tetsugaku Translation Project

This site holds the English translation of Tetsugaku. This English translation was undertaken by me, Natalie Arnold, better known around the internet as Nanani. The site was designed and created by Ilán Terrell.

As of March 19th 2006, this project is complete. Every chapter of the book is availble in English for your reading pleasure. Thank you to all those who helped and supported me along the way.

Before jumping in and reading everything, take note of these RULES :

1)I am not in any way associated with tetsuya, and this is not an official translation in any sense.

2)I am doing this of my own initiative, without checking or assitance, which means there may be mistakes left in the work here and there. Please be understanding.

3) NO STEALING! This is a time-consuming project that I am putting a lot of work into, so do NOT steal my work.

4)Do not repost these translations anywhere. Ever.

5) Lastly, please support tetsuya and buy the book yourself, even if it's just to look at the pretty pictures inside. Notably, it is available from Amazon.co.jp.

This website was put together and maintained by Ilán Terrell. He also pays for the hosting. Do thank him some time.

The graphics, including the banner above, was made by Myriam. Thank her, since without her services this site would be much uglier. Needless to say, the graphics are not to be taken either.

All the images from the book itself, from the covers through the photo galleries, were scanned by macgirl_13. Many thanks to her for letting me use the scans.

The book you are about to read is really a collection of interviews. Therefore, they are written as conversations. As such, the level of language sometimes slips into the less formal, all the way down into Osaka-ben, tetsuya's hometown dialect. I'm trying to keep this translation as true to the original as possible, while not making it sound too weird, but it may help to keep the above in mind while reading this.

Writing tetsu in lowercase is not a typo. That's how he wanted his name written at the time this book was released. Same applies for writting TETSU69 in capitals.

The title, Tetsugaku, is a bit of a play on words. It is written with two kanji. The first, tetsu, besides being in his name, also means philosophy. The second, gaku, means the study of something. Taken together, they are usually read to mean the study of philosophy. The English subtitle of the book reads tetsu's philosophy, but it could also be taken to mean 'a study of tetsu' which is just as telling.

The book was published in March 2004, just before the release of SMILE. This will be useful to know when he mentions things about the upcoming album.

The content has not been updated to reflect his name change. It will remain as printed, with his old tetsu/TETSU69 name.

Occasionaly, the subject will mention something that non-Japanese people aren't likely to know about. To the best of my ability, I will footnote these mentions to clear things up.

Your humble translator is Canadian, so expect Canadian spellings throughout this translation.

Tetsugaku 01 : 1969

- 1969 is the year you were born, right, tetsu-san. Do you have particularly strong feelings towards that year? [That's to be expected. I've thought "1969 was pretty cool, wasn't it?" ever since I first started getting into music. In Japanese, you can say the "69" in "1969" as "ro-ku" (1). Also, 1969 was the year Woodstock happenned. Apollo 11 landed on the moon for the first time. Humanity successfully reached the moon's surface. There were a lot of meaningful things happenning that year, I'd say that's pretty cool. So many wonderful things happenned, didn't they, in 1969. Also, I like that number a lot, so I like the year too.]

- By the way, which sign(2) was it? [It was the year of the rooster. I don't like that very much. (laughs)]

- Were you thinking "I want to hurry and be a grown up!" since all the way back then [Absolutely not! Not even once. That's something that a kid, because they're young, would say alot, isn't it? I think it's pretty common. But that line, "I want to hurry and be a grown up" isn't something that I thought. It's because it's inevitable. Even if you ignore it, even if you don't like it, you can't do anything about growing up. On the other hand, at that age, there are still a lot of things you can't do, so I think it's understandable to be a bit envious of adults.]

-Interviewer : Toujou Sachie
Translated by Natalie Arnold.



1. The digits 1 through 9 are often shortenned when said in rapid succession, such as when giving out a phone number. 6, roku, becomes simply ro and 9, kyuu, is shrunken down to ku. Roku is also how the Japanese would pronounce rock, as in rock music. Go back.

2. Signs of the chinese zodiac, mythology well known in Japan. Go back.

Tetsugaku 02 : Favourite Sayings

[Favourite sayings? I don't really know any sayings. None! "One good deed a day" (1) or something...... Or at least one good meal a day. Yeah right. (laughs) "Tomorrow is another day." (2) "The child matures even without the parent." (3) Am I wrong? What kind of thing is that, a favourite saying? ......Oh, I like books that are a collection of sayings and things like that. I like a book that can be read all in one shot. The kind of book you can pick up and leave off any time.]

- Those collections of sayings, are they something you read just in case you need them? [Yeah. I do that when I want to get a few hints. The ones I read and respond to end up influencing me quite a bit. It's because I'm the kind of person who listens to other people's opinions a lot. Though, I end up thinking "I don't like that phrasing" pretty often, don't I? But, phrasing is only one side of things. I can rearrange that, and the content's still OK, right? Most Japanese say phrasing is very important. They think saying things at the right time, in the right order, in the right situation controls things, so they say not to speak if you can't keep track of all that, and to blend in whenever possible. I have times when I think "I don't want to say that to him," or "This is a nasty way of putting things," but I get things said anyway. I like to hear as many different opinions from as many different people as possible. I look at things calmly and judge for myself. I think it's wrong to reject a perfectly good idea just because it was phrased badly.]

- That's a great thing to say, but it must be very hard to do sometimes. [It is hard. I can't always do exactly what I intend to do. I'm only human.]

- "Favourite sayings" doesn't really sound like a very concrete term, but more of a basis for judgement of thoughts or actions, wouldn't you say so? [I don't think that sounds quite right. Lately I've applied "Keep it simple, keep it simple" to things, like my thoughts. I'm making everything simple. When I've got too many things piled up, I get rid of some to keep it simple. After that, I think I'll make it simple inside my head too, starting with my feelings.]

- Is that becoming important to you now, as tetsu the artist? [Is it? Well, I think I'm making recording itself simpler. In the physical sense. For example, I've got over 100 bass guitars now. Playing every one of them just to find the one that goes best with a tune would be too much. Plus, I'd have to find the right amp to go with that bass too, wouldn't I? And then what about the speakers? Testing all that out would be a huge workload. Rather than spending all that time, I've started feeling that I'm better off focusing on just recording a good take. A while back, I spent a lot more time on producing the sounds. I kept about 50 instruments ready in the studio. Now, though, I've got my priorities straight. I feel like I really know what's more important now.]

- For an artist, "Keep it simple" is a good motto to live by, isn't it? [Yeah. It applies to everything, really. It applies to making music, it applies to machines. I've always been able to simplify things. But now, I've made simplifying into a priority. I think it's becoming a bit of a my boom (4)for me.]

- But do you feel you've had a "my boom" with sayings in general, or is that something different? [Let's see...... A "sayings boom"...... Well, I guess "Tomorrow is another day" isn't it?]

- Are you that type, then, tetsu-san? I can see you as a "Tomorrow is another day, so let's leave things be for now" type. [I'm probably not a "Tomorrow is another day" type of person. I'm more of a "Hit a stone bridge running" (5)type. (laughs) In my late teens and early 20s, even now, a lot of people have said that to me. I think it's because of my positive way of thinking about things. I go around thinking everything is good, so then even when I don't know what to do next, I carry on that way, using it to my advantage. So, there might be times when it would be too weird to carry on happily, but I wouldn't bet on it.]

- You have such a positive way of thinking, but do you ever think that you aren't really that optimistic on the inside? [No way. So, I don't really know about that "Tomorrow is another day" thing from before. I think more like "Do what you want to do the way you want to do it."]

- Is there a particular instant when you felt that way? [An instant... Well, there was the time I went to a friend's funeral. I had never experienced anything like that before. There hadn't been any funerals in my family at all. So, the first funeral I ever went to was for that one classmate. I thought about how strange it is, seeing a dead person. As in, "Why won't he wake up? Why won't he move?" Then I realized how incredibly fragile humans are when it comes to death. So that's why I think it's important to do what you want, how you want, before you die.]

- So that was a turning point for you? [Way back, when I was in elementary school, I already knew I didn't want to be another ordinary salaryman (6). That friend of mine died just a bit before graduation, when I was in third year of high school. That's when I thought hard about doing exactly what it was I wanted to do, which was to start up a band. I got really serious about it for the first time. But, I wasn't especially trying to go pro with it yet.]

- Well, this last question isn't related to favourite sayings at all, but what's your goal for 2004? [Goal? ......Well, I guess it's Reset and Next. For both my work and my private life. There are a lot of things I'd like to go back to square one with, look at them with a fresh eye. I'm turning 35 this year, aren't I? I think I've finally reached a typical 25 year old's mentality (laughs). I think I'll follow some good advice, and take shortcuts where I can find them, since I'd like to be more efficient.]

-Interviewer : Kikuchi Keisuke
Translated by Natalie Arnold.




1. A proverb, written with the kanji meaning 'one day one good'.Go back.



2. Literally, tomorrow's wind will blow tomorrow. Means, we'll see what happens tomorrow, or just let it be until tomorrow. Go back.



3. This one means "Kids don't require parents to grow up". Possibly misquoted, as I couldn't find it anywhere else. Go back.

4. My boom is a strange bit of engrish slang that means being really, really into something. Crazy over it, even. Go back.



5. tetsu's making a play on the saying "To hit a stone bridge while crossing." This means being very cautious, as in periodically checking the bridge by hitting it. The tetsu version implies pretty much the opposite, because it's not very cautious to just dash across, hitting or no hitting. Go back.



6. A salaryman is just a business man, an office worker, a white-collar job person. It's a pretty common term in Japanese. Go back.

Tetsugaku 03 : Bass

- When did you have your first encounter with the bass? [It must have been my first or second year of middle school. I had been playing guitar before that, though. I used to play a lot at one senpai's (1) house, nearby. I played guitar there. I didn't especially plan it. It just happened. ken-chan, who also came to that senpai's house, said to me "tetsu, how about you try the bass?" so I asked "What's a bass?" and found out it's like a guitar with four strings instead of six. I thought with four strings, it must be easier, so I bought one. I got it through a catalogue, but when it came I was shocked by how big it was! It's huge! (laughs)] - You can't see that from a catalogue, right? [Right. I had no idea. So, even back then, ken-chan was taller than me. I was the little one. I remember thinking "How come I get stuck with the gigantic instrument?" (laughs) But really, instead of both of us playing guitar, I was better off with the bass.] - How was it when you actually started playing? [I didn't normally play by myself. That's no fun! (laughs) Really, guitar was more interesting. I felt like they'd tricked me into it. I started playing the bass more and more when we got together at that senpai's house. Since around the time I bought that first bass, I've been playing it. I say that now but, even though I thought "why don't you guys play this thing instead?" a lot, it really grew into a part of me. Even though it was boring at first (laughs). Normally, when I get something new, I end up getting bored. But, the other senpai, whose house we were at, he played the drums. I played with him and ken-chan. They started out as a drum and guitar duo, and then I came along. We had lots of fun together, it was great. That's how it all started. Back in second or third year of middle school.] - What did you play back then? [Covers, of Scorpions' "Big City Nights" or of Michael Schenker's stuff. (2) I remember, that drummer senpai was really very good. I don't think he reached that level just by goofing around with us. That's also the time when being in a band started to appeal to me. I wanted to start up a band of my own, so I started looking for members. More than just playing the bass, I wanted to play in a band. If my senpai had pushed me toward playing drums, I'd have been happy with that. If I'd stayed with guitar, I'd have been happy with that too. I just wanted to be in a band. If skateboards had been popular, I'd have bought one, gotten everyone together, and had us all skateboard together. I almost ended up being a skateboarder. It was another one of my hobbies. At that time, I really wasn't thinking about going pro with any of it, though.] - But as you played, the bass became more interesting, didn't it? [Well, I didn't really practice that much. I've almost never spent much time practicing, over my life.] - To be able to play the way you do without practicing much, that must be proof of your talent, right? [I guess my fingers just move right. But even now, I'm still a bassist. It's really a quite recent thing for me to really feel an appreciation for the bass. Since around the recording of SMILE (laughs). Until then, I just kept on doing it without really thinking too deeply about it. That's why now, I think the older stuff I've done is terrible. I didn't know anything. I wasn't looking at it properly, so now it sounds like a car wreck to me.] - But you didn't get where you are now without accidents, did you? [They might have been what carried me along. So, sometimes some aspect of the music I make will turn out badly. It's only lately that I've started seeing that as a way to move forward (laughs). Recently, I've wanted to set myself apart as a bassit. I want to be an awesome bassist.] - Set yourself apart? So, what kind of bassist would be an ideal example? [There haven't ever been any bassists I particularly liked. I don't know very many by name. I've never said "I want to be a bassist just like this guy" or anything. Lately, I finally found a bassist I liked. I don't know his name, but he's the new bass player for Jane's Addiction. (3) He's messy, but it's in a cool way. I don't like Jane's Addiction's music that much, but I'll listen to it just for the bass. There are a lot of talented people out there, but raw skill has never been what I'm aiming for. But, that guy from Jane's addiction does something like what I want to do. To put in words, it's a splattery sort of playing.] - Personally, I think your bass work is quite lyrical, but what are you particular about when you're performing? [I guess I can't help but be picky, but I don't really know what's particular about my own preformance.] - But I've heard that your preformances can't be reproduced. [Even I can't perfectly reproduce them (laughs).] - Could you say a little about the instruments themselves, as in maker, shape, or colour? [I've got quite a collection of them. I have a lot, but one favourite is my rare Fender Jazz Bass. It's got some value as an antique, and I like vintage stuff like that. I used to have a preference for more hyper, ultra-fine ones though.] - How many do you own now? [Over 100. Most are in storage. There are some that I've never played after I bought them. I like rare things, so it's fun for me to have this collection. Over the years, I've hesitated less over buying new ones, especially when I might not get a second chance. I do use them for recording once in a while. I like my instruments, so when I do record with them, I make sure it ends up on a CD. I think they're happier being bought by me than by some layman (laughs). It's like a rescue, but for instruments.] - How many do you keep ready? [Less than 10, usually. The rest go into storage, unless I go pick them up for a recording.] - What exactly is a bass to you, tetsu-san? How do you feel about that instrument? [Nothing that special. There are some people who keep on playing an instrument until it's down to the last string, right? Personally, I'd rather replace it. That might just be because I have so many. If there's a day for a four-seater, there's also a day for a sports type. (4) I don't squeeze that much out of a single one. I'm not the type who gets that fixated on a single one. There might be some merit in using the same one down to the last string, you'd get used to the neck, for example, but I can't bring myself to go that far. I have a more "try a bit of everything" type of personality. Or maybe try a bit of a few things (laughs).] -Interviewer : Hasegawa Makoto Translated by Natalie Arnold.

1. Senpai is a senior in school or work. The opposite word for junior is kouhai. Go back. 2. Scorpions were a german metal band from the 1980s. Micheal Schenker was their guitarist, who then did a lot of solo stuff and work with other bands. See : Michael Schenker Himself Go back.

3. See : Jane's Adiction Go back.
4. It sounds like he's making an analogy to different kinds of cars here. Go back.

Tetsugaku 04 : Guitar

- You also play the guitar on your TETSU69 solo album, right? [Only a little bit, but I did play all the guitar solos.] - You said you had started guitar before bass; how long ago was that? [Back in middle school, they had guitars in music class, so that's where I started. I wasn't especially thinking that I wanted to play guitar at that time, though.] - When you play the bass, how does that make you view the guitar as an instrument? [It's lighter than the bass, isn't it? I think during lives, it must be so much easier (laughs). Also, the guitar stands out a lot more, right? There are lots of guitar heroes, but there aren't really any bass heroes, are there? I own some guitars too, and I end up playing them at home more than I do the bass.] - So, could you say that you like the guitar more than the bass? [Nah, I play the guitar, but sometimes I feel more like playing the bass. I can be a bit bratty like that. Sometimes I play the bass as if it was a guitar, just to see. But really, there's a way to play guitar, and a way to play bass. Well, back when I didn't even own a single bass, I somehow got a hold of a bunch of guitars. I had about five.] - Have you ever thought about becoming a guitarist instead? [Nah. Looking at it as a thing, it's just easier to buy guitars, kinda like buying toys. For the bass as a thing, there aren't many that strike me as cool. But I will go "Ah, this guitar is cool, I want it, I'll buy it." I still do that now. There are a lot more cool guitars, so there are a lot more I want.] - So, do you have a lot of guitars now? [I have some. Probably less than 20.] - What do you think are the interesting points of the guitar? [I've never thought about it in that much detail. I just play.] - tetsu-san, when you were in middle school, the guitarist ken-san lived nearby, right? What did you think of him as a guitarist? [By middle school, ken-chan was already incredibly good. He was by far the best around. That's why I thought he was cool. I wanted to be like that, too. Then, I was trying to be as good as him. Back then, there was more emphasis on technique than on whatever type of music it was, especially for hard rock and heavy metal. It mattered how fast you could play. You had to practice a lot, or you'd regret it.] - In your activities for TETSU69, when you played guitar, what were you being picky about? [I guess when I play guitar, I try to make it delicious. What I play has to be simple, and yet stand out at the same time. I make guitar solos and main themes so that they'll get stuck in your head. I have fun making a lot of delicious bits like that. I'm a slut for them (laughs). I don't think any part of me but Melody Maker (1) can really connect with the guitar.] - From now on, what do you think will happen with your guitarist side? [I have no idea. How far can I take the guitar? I might not even play it anymore. I made the first album by trial and error, just one song at a time. I worked with lots of different people. So, I can't see what the next thing will be, yet. If I think it'll be fun, I'll probably do it, but even I can't tell if I will or not. Oh, yeah, on L'Arc's new album, I played one of the guitar solos (laughs). I might end up doing more guitar for L'Arc. It's one of my own songs, so at the demo stage I temporarily put in my own guitar solo. At the actual recording, ken-chan kept on playing the intro instead, so I said I'd show him how it's done. I just meant "it should be like this" but when we gave it a listen, we decided to keep mine. We used it just like it was. I had a guitar the technicians hadn't even adjusted. I guess I played it just right.] - Is it because of that relaxed feeling that you were able to do such a good a take? [I never know if a take was good or not. It's not that important. It's not that I actively wanted to play the guitar part. ken-chan's playing is fundamentally right for L'Arc~en~Ciel. It's just an occasional kind of thing.] -Interviewer : Hasegawa Makoto Translated by Natalie Arnold.

1. Melody Maker is one of tetsu's 'characters' or 'personas'. Others are mentionned in the booklet for Suite November, such as TERRY TETZ and TETSUKO. Go back.

Tetsugaku 05 : Influential Music

- When did you first start liking an artist, and who was it? [I liked Julie (Sawada Kenji) (1). I think it must have been around third year of elementary school. I did a lot of singing in school. At break time, I'd go up on a platform with my friends (laughs). I wouldn't do it by myself, I couldn't go alone. I was shy. Still, I sang with one of my friends. But everyone else was doing their own thing, so it felt like nobody was watching (laughs)] - Which of Sawada-san's songs did you sing back then? [[Katte ni shiyagare], or [Casablanca Dandy], or [TOKIO].] - The performances too? [That's right. I didn't have the parachute though (laughs). I had the hat for [Casablanca Dandy] that he throws. I tried throwing mine, too. I tried the trick where he drinks bourbon and then makes it come out his mouth, only I used water (laughs)] - Was it because of TV music programs that you started to like him? [I think so. I guess I saw it on TV and it drew me in. Oh, I also did an imitation of Judy Ong, with the school curtain. I really liked the song [Miserarete] (2). I liked singing it. But I had absolutely no interest in the music world. Time kind of flies after that. Around sixth year of elementary, I liked stuff like YMO (3)or Ippudo (4). YMO was popular, so it was only natural. I think the first things I noticed were looks and hairstyles. I had a techno cut, too (laughs). I think I heard Ippudo before [Sumire September Love] was a hit. Tsuchiya (Masami)-san did audio advertisements, and wore armour-ish stuff, I thought that was cool. I must have gotten into Tsuchiya-san for his looks. Back then, I was kind of a conceited kid, and I made fun of my classmates a bit. People around me listened to whatever was popular, so I'd make fun of them for listening to such childish stuff.] - Were you interested in instruments back then? [No, not at all. I honestly didn't do anything with instruments. I didn't give a single thought to playing them or to making my own music. Then, in middle school, I started listening to more western music.] - What kind of western music did you start with? [First was Billy Joel. After that, I listened to a ton of British music. Duran Duran was incredibly popular. I was into the New Romantics Boom (5) people, like Duran Duran, Kajagoogoo, Culture Club, and so on. I probably got started because of their looks, too. There were quite a lot of cases where I got interested in artists because of looks. If I watched a singer, a performer, who was plain, it left me cold (laughs). On the inside, I thought it should be required for a performer to look cool before they were allowed to appear on TV. I used to watch western music shows like [MTV] or [Best Hit USA] and tape them so I could check better. By the way, whenever I watched those shows, heavy metal was guaranteed to be on (laughs). And I hated distorted guitars. I used to watch the taped shows over and over every day until the next week's show, so I gradually learned all those metal songs. Then, from hearing them so much, I gradually got to thinking they were pretty good (laughs). I started making more friends who were into metal, because metal was big in Kansai. (6)] - Indeed, many bands came out of Kansai, didn't they? [It's because Loudness came out with [Young Oh! Oh!]. Everyone saw that, and it made a comeback. And so metal came in, gradually.] - Who were the first metal artists you thought were good? [Ozzie Osbourne, Mötley crüe. Also, when Quiet Riot came out with [Cum On Feel the Noize], I heard it on the radio and thought it was a great song. Even though it's distorted (laughs). After that, I lost my prejudices and listened to more heavy metal and hard rock. In first and second year of middle school, my senpai lived right across from my house, and I always went over to play. ken-chan also went over there a lot. The three of us always listened to music. They got me into Micheal Schenker, Scorpions, Whitesnake, (7) stuff like that. They both liked heavy metal and hard rock. They'd say "Duran Duran? Fuck it, that's what girls listen to." and I was all "Oh, is that so..." (laughs). So that was how I got immersed in the world of heavy metal and hard rock.] - So you started listening to a lot of it. [That's right. Then there was the LA Metal Boom (8), and I started listening to Loudness, 44 Magnum, Earth Shaker, (9) and other Japanese metal bands and indie bands. I started growing my hair out. I remember saying to myself "rock starts with long hair."] - Of course, appearance is important. [Yeah.] - Would you say you were influenced by any artist's lifestyle, or by the content of their lyrics? [That didn't really happen. I was more influenced by fashion. Well, in middle school I was just starting to want a band, then from the time I started high school, having a band became my main focus. I started up a cover band of Dead End. (10) Around then, there were only three patterns for bands; either copies of Laughin'Nose, copies of BOOWY (11) or copies of overseas metal bands. Our band was a copy of a Japanese indie metal band. I really loved Dead End.] - What was it you liked about them? [At first, it was just MORRIE-san and CRAZY COOL JOE-san's (12) looks, but the more I listened to their music, the more I thought it was cool. I listened to other music too. I even listened to U2. I tried to get a feel for a little bit of everything. At one point, I even joined Oosawa Yoshiyuki-san's (13) fanclub. That was back in middle school, but I was member number 90. I thought it was cool to be a bassist. That was about Okano Hajime-san (14) though. And then, I listened to TM Network. I still have their debut single, [Kinyoubi no RAION] (15).]

- So you had no problem with either local music or foreign music. [Yeah. I just listened to music without paying attention to whether it was local or foreign. There are some people who stop listening to anything Japanese once they get into Western music, right? They get so full of themselves because they listen to Western music. They make the mistake of thinking they're better than people who listen to Japanese music. I called those guys idiots. "There's no way -you- can be better" (laughs). I even liked stuff like PuriPuri (Princess Princess)] (16). ]

- What made you start to like PuriPuri? [Around third year of high school, I had a part-time job at a record store. The manager of the record shop I was at had metal hair, and that store would always get a hold of the newest information. When I came in to work, he'd tell me things like "This just came in, give it a listen." He put thought into his business, so he didn't deal only in metal. He sold normal CDs too. The store had both Japanese music and Western music. So, I was surrounded by all sorts of music. The store played a lot of samples, so customers got to hear them. Back then I liked (Street)Sliders, and Personz, Junska(Jun Sky Walkers), Echoes, and Barbee Boys.] - You were still working at the record store when L'Arc formed, right? [Around when L'Arc formed, I worked at a different record store. It was more of a maniac store, and rock was the main thing. They wouldn't carry Enka (17). The first store did have Enka, but it didn't like to deal with the Enka customers. When someone asked "Where can I find So-and-So?" they'd just answer "I dunno." Back then, I wouldn't have minded if Enka vanished off the face of the Earth. The next store I worked at never carried Enka in the first place, so when someone came looking for it we could reply "We don't have Enka around here." It was fun (laughs). You know how there's stuff that isn't Enka, but sounds a lot like it? It's all the same to me; I don't let it near my ears. If I heard any Enka, it might influence me a bit without my noticing it. I don't want it's input, I don't want to know it (laughs).] - What do you think of the classics? [I really haven't paid attention to classical music, but I like it. I like Bach and Beethoven. I have a CD from a project to compile the delicious parts of all the major tunes in only three minutes. It's good. Even though I never listen to them, I think I've been influenced by the classics. I think even the melodies I write have classical elements to them. Oh, and since I like movies so much, I think I've been influenced by movie music too.] - Since you've become a pro, someone who creates music, do you interpret it differently now? [No, nothing like that's happened.] - Is L'Arc~en~Ciel stimulated by other artists at all? [Are we? Who could it be? I guess you could say, early Radiohead. Or Smapa (Smashing Pumpkins). I stopped working at record stores ever since we went pro, so I'm starting to neglect it (laughs). Later, I somehow started liking Oasis, so I guess I might have been influenced by them, too.] - Your common point must be writing such pretty melodies. [But I don't listen to The Beatles. I know I've said that a lot. My bassist side might have been influenced by Paul McCartney, because I have heard The Beatles. But I never really listened to them. The part of their music that I do know is what happenned to make it to my ears. Very little, really. When I became a pro, I borrowed some from the director and listenned. It didn't fit in with what normally makes me think "Hey, that's pretty good." On the other hand, I do think Oasis is good. There seems to be a trend in the Japanese music industry where every pro listens to The Beatles. I really hate trends like that. I don't think listening to The Beatles is necessary to become a pro, or to write music.] - That's where your own personality comes out, tetsu-san. [I hate it when everyone says everyone needs to do something one particular way. Oh, lately it's been No Doubt, Garbage, or Linkin Park. And my big hit last year was Good Charlotte. It was my thing the year before last, but it was only released in Japan last year. I started liking it around fall, two years ago, when I heard it in America.] - They have good melodies, don't they? [Good Charlotte's melodies are the greatest.] - When do you listen to music, these days? [I guess I might not be listening to music at all lately, besides what I make myself. Despite my lifestyle, I don't go to CD stores, and even if I watch music programs, sometimes nothing I like will play, and it's boring. You could say I don't care for most of the music going around the world, these days. I think there are few good melodies in me. I have a habit of not taking in worthless information, so when I have no interest in an artist, I really mean zero interest. It's a pain to have to go through so much music I don't like in order to find something I do like. I can buy a lot of CDs and only find one that's honestly good. I think it might just be a bad era.] - As you listen to different music, tetsu-san, as a songwriter yourself who gives life to melodies, do you feel self-conscious at all about that connection? [The music I listenned to in the past is still inside me, so I think that music must naturally come out and influence me.] -Interviewer : Hasegawa Makoto Translated by Natalie Arnold.

1. Nicknamed Julie because he really liked Julie Andrews. Started out as a singer in The Tigers, then had a long solo career. He also did a lot of acting. See his filmography or this site for other info. He is still quite popular. Go back.

2. Judy Ong was originally from Taiwan, but she was a huge pop star in Japan in the 60s and 70s. She also appeared in a few movies and dramas. Miserarete means "Bewitched" and was one of her greatest hits. Go back.

3. YMO stands for Yellow Magic Orchestra. The were a very influential techno/electronic group in the 70s. See their official Sony listing. Go back.
4. Ippudo was a New Wave/Techno Pop group from the 80s. They were hugely popular, and some of their stuff was released worldwide. Sumire September Love (sumire means violet) was their best known hit. Tsuchiya Masami is a member of this group. Not to be confused with the popular ramen restaurant chain of the same name. Go back.

5. The New Romantics Boom was a musical trend. It came out of England, after punk was popular. It combines keyboards and very emotive and unusual guitar sounds. The bands mentioned are good examples of this style. Go back.

6. Kansai is the western side of Honshuu, Japan's largest island. Major cities included in that region are Kyoto, Kobe, and of course, tetsu's hometown, Osaka. Go back.

7. Scorpions (German) and Whitesnake (American) are both best described as hair metal. See the-Scorpions.com and Whitesnake.com. Go back.

8. The LA metal boom is essentially the birth of thrash, which in turn is non-hardcore(ie, no screaming), fast, metal-punk fusion music. Go back.

9. All Japanese metal acts. See LOUDNESS ON SITE, EARTHSHAKER.JP. Go back.

10. Dead End were a J-rock group who will be mentionned quite a lot from now on. Seems they were very influential on tetsu, as well as the rest of L'Arc. For instance, in the "Zombies" special live, they did a cover of the Dead End song Spider In The Brain. See DEAD END for a discography. Go back.

11. Both of these were J-Rock acts, though Laughin'Nose tends more towards punk. See Laughin'Nose and BO0WY Go back.


12. Two members of Dead End; the vocalist and bassist respectively. Go back.


13. Oosawa Yoshiyuki was a solo vocalist, and his work can still be found in online CD stores. Little other information seems available. Go back.

14. Okano Hajime had quite an active career. He was the bassist for the bands Pink, Pugs, Tokyo Bravo, and Cioccolata, did some vocal work, and eventually went on to produce other artists. Go back.


15. TM Network are actually still around and active. See TM NETWORK. The song name means [Friday's Lion]. Go back.


16. Princess Princess were an all-girl rock band formed via audition. See this site . Go back.

17. Enka is a traditional style of Japanese music, though something similar exists in China and Korea. The vocal style is unique and hard to describe. The lyrics are typically written in very formal style. Overall, it is not a genre typically loved by the young. Go back.

Tetsugaku 06 : Memory

- tetsu-san, you give the impression of having a good memory. Like a walking chronology. [In the past, my memory was awesome, wasn't it? I memorized the exact year, month, day, and place of every single live we did since the debut. But lately, my memory sucks. Probably because I have too many things to remember. It's gotten to the point where I don't remember playing my own bass yesterday. Then, at practice, I'll be all "What's this?!"] - Eh?! You forget things so cleanly. Then, I guess you must subconsciously remember how to play? [It's not subconscious at all. I have to think hard and practice playing. My memory... it might really be fading.] - Conversely, you could wonder how you were able to remember so much in the past. [It could be a question of capacity, maybe. It's completely stuffed now, I bet. I'm going to have to delete a few things. But it's pretty bad, I keep forgetting my office postbox PIN number. So there are days when I can't get into it at all. "Can't help it..." (laughs). Well, I usually remember it by the next day. I've totally given up on those other days.] - I guess this goes back to that "Tomorrow is another day" thing from the "Favourite Sayings" talk. [You know, I never know what's on my schedule until the day before, so I guess it fits. There are times when I go to bed wondering "What time do I need to get up tomorrow?" and I'll answer "But I can't ask anyone this late."] - So what do you do!? And what if you needed to get up early....... [Yeah, I get in trouble. That happens a lot.] - It feels like days go by so fast, one after the next. A year, or a month, or a week. [They do fly by, so fast. Sometimes I think "This is bad!" to myself, and "I haven't done anything yet, this year!" Well, I actually do get things done. I somehow get sound out every year. But, I often think "I don't have any more in me." I can't tell my work, fun, and hobbies apart anymore. I get to make a living having fun and playing.] - I'm a little jealous (laughs). [Isn't it nice? (laughs) After all, beyond becoming a pro, there are lots of things that just gotta be done. But I really do it all for my own sake. Above all, I won't have anything to do with halfway measures. Not for releases and not for lives. So, it all might get to be a bit of a pain, but I never really mind.] -That's a very good lifestyle. [A good life. Back in elementary school, I didn't have a dream for when people asked "What do you want to be when you grow up?" so I vaguely answered "I don't want to be a salaryman." Back then, I didn't play music or anything, but that dream did come true since what I'm doing now is nothing like a salaryman's life.] - Going back to the topic, do you ever think "I gotta improve my memory" or "I need to do something, this is getting bad" or anything....... [No, not really. Sometimes, it's convenient to forget things (laughs). That way I can be impressed. I can listen to my own bass the next day and go "The hell?! This is awesome!"] - I guess that could be seen as a good thing. [Yeah, but I, well, can't remember words. In lives. I kinda... can't remember(laughs).] -Interviewer : Honma Yuuko Translated by Natalie Arnold.

Tetsugaku 07 : Perfectionism

- tetsu-san, you're not quite what they call a "perfectionist," right? [I'm not, but I do think perfectionism makes a good theme.] - There's what they call "Easy on others, strict with yourself," right? What are you like, tetsu-san? [In the past, the people I knew told me "You're strict with others, but that's because you're also strict with yourself." I was told "That's what makes things so hard."] - Did you really think things were hard? [Hard? Well, sure, for the things I was particular about and for the people I was particular about. Being picky takes up a lot of time. When things take too long, I might say "It's tiring" or "I'm exhausted" or something like that. But if I get down to the line where I can think "Now this is OK," it's much more fun, isn't it?] - Yes, I think so. [When I decide "This will be OK," it makes me happy, and if that time comes by quickly, then I'm lucky, right? That level is high, and it takes a long time for me to give my OK, so that's when I'll complain that it's tiring.] - So, what kind of person do you think of as a perfectionist? [Perfectionist? A perfectionist is someone who strives for perfection, right? (laughs)] - But what sort of thing is that, really? Not just "Making it in this field is perfection!" Try projecting onto different genres. For example, is a collector of figurines or something a perfectionist? [Take our producer, Okano (Hajime)-san. (1) He's the type to try and complete sets of figurines and gashapon (2), but I don't think of Okano-san as a perfectionist. He's really funky, his rough sides are rough, and of course, he has things he's particular about as a professional. Actually, I don't think I've ever met a real perfectionist. People eventually change what they're particular about. I think everyone has their own thing to be picky about.] - For you, tetsu-san, in your daily life, have you ever said "This is the one thing I'll be picky about" about something? For example, "If this isn't that brand, I don't want it" or "This is the only brand that should be making this" about things. [No, not really. If I like something, it's enough that I think it's good. I'm 100% confident about recommending everything I have at home to other people, and they're not all functional things or designer things or wonderful things, either.] - Oh, I see. Listening to you talk, I thought you might have some thoughts such as "This is how the interior should look" or particular tastes in clothes. [You can call it pickyness, but I won't wear clothes I don't like. Anyway, I always have to wear something, right? Since I can't go outside naked, I need to wear some kind of clothes, and of course I always have this slight urge to wear the clothes I really like. Everyone has that.] - But, it seems like the part of you that won't say "Well, whatever" about that sort of thing is stronger than it is in most people. [Maybe, but I don't especially think so.] - I suppose. Well, it might be another of your interests, but are you particular about cars? [Just that I want to have things nobody else has. I just hate having the same thing as someone else. Other than that, it has to be one I find cool.] - You say you hate having the same things as others. Why might that be? [If I bump into someone in town with the same clothes as me, I think "This sucks." It's the same idea. I don't want the same thing as someone else. In fact, it applies across the board, for clothes, and for accessories. To say "This is what's being sold now" or "This is the most popular" is common in the general public, kinda like saying "I mostly bought this to fit in." I think there are people who follow that selling method, that buying method. But me, I want different stuff. Stuff that I think is cool. Even with the most popular things, I'll only buy it if I actually want it, too. Everyone might have it, but if I buy it, it means "I think this is good." But then, there are things that are like "Nobody has this because nobody wants it"... and I don't want it either (laughs).] - Ahahahaha! That's right. Yet, there aren't so many other people who have such a strong aesthetic consciousness. That might not have made you feel your best. (3) [It's normal, coming from me. If I think something is special, it's a bad sign. As normal as a guy who thinks "I might be a bit of an oddball~" can get (laughs). I don't really think I'm normal. Around the world, everyone called "artists" think of themselves as normal. I'm probably as normal as the ones who think "I'm an oddball" or "I'm an artist, so I'm a little different" to themselves.] - Kuhahahaha...... That's not cool. [Since I was a kid, I always thought "I don't want the same things as everyone else" but I can't say I thought I was "special." I just thought "Those other guys can buzz off."] - Ahahahaha! Right, right, I'm sure that's the right sense. If you thought of your own feelings as normal, then you wouldn't sway. I always have thought that artists get their own way of doing things. [But, I don't actually know that many other artists (laughs). I really don't know much of anyone besides the members of L'Arc, and the members of my own solo band. But they're all normal (laughs)] -Interviewer : Honma Yuuko Translated by Natalie Arnold.

1. Quite possibly the same person mentionned back in chapter 05, as a bassist tetsu admired who is now a producer. Go back. 2. Gashapon are those little toys you get from vending machines, encased in a hard plastic bubble. See Gashapon. Go back.


3. Please read the next few paragrpahs keeping in mind the stong Japanese tendency towards conformity. The interviewer seems to think tetsu had some bad experiences because he doesn't like to fit in, which is rare in Japan. Go back.

Tetsugaku 08 : Love of Novelty

- It seems from your image that you keep up with details about new products and such. [Relatively, yeah. But I don't think that's the case as much as it used to be.] - As an example, what genre of thing might particularly captivate you? [Electronics...... or drinks.] - Among those, are there any that are hits, or that you're totally taken with? [Hmm, not really...... except maybe {Namacha}.] (1) - Ah, so {Namacha} was a hit. [{Namacha} was...... well, I still drink it once in a while. At first, it made quite the big impact. That was before all the commercials started.] - So, basically, what kind of drinks do you like? Other than water, I mean, like tea-based drinks, or juices. [Well, basically, I've gotten to like a lot of things that are good for me, but I still drink cola and stuff once in a while. That doesn't really get me anywhere...... I mean, I'll be drinking it and thinking "This stuff is bad for me," but keep on drinking it.] - Could you say you casually check out other new things? [New magazines and stuff, yeah. But only when right that second I'm wanting to know what's going on in the rest of the world. Especially since I work in entertainment, not keeping up is bad. But way back when, I had the release dates of new magazines memorized.] - On that note, do you get any newspapers or anything? [I get a newspaper, but just the one. Mainly for the arts, and for ads. I check out all the ads. Some days, I look at nothing but the ads. Somehow, it's proportionally closer to being in real time, compared to magazines.] -That "wanting to know" makes me think you might have a bit of a curious side to you, or something like that. That would tie in well with your "love of novelty" image, I'd say. [But that's a part of my personality I've had ever since I was born. You see, I'm a type A Libra (2), so that's the only reason for it. I don't think it's special to just me or anything.] - But, you seem to be ahead of the trends, even before people start saying something is cool. That's very special, a talent...... with that power, you can catch a lot of things. [I guess so. Hmm, well, with the kind of work I do, it can't hurt me any.] - tetsu-san, what's the new product most on your mind right now? [Nothing in particular, really.] - How about cell phones? [Not cells, either. I don't change (units) as much as I used to. Even though the one I use now expired a little while ago. That doesn't sound like a novelty lover, does it?] - Do you use many of your cell's different functions? [Nah, I don't use them much. Of course, it has a camera, so I take pictures, but it doesn't seem like I've taken too many. Sometimes I'll put memos in it. I think I used the features a bit more, before, but really, they ended up being a pain (laughs). I'd rather have it be simple.] - Do you think that's strange, eccentric of you at all? [Well, basically, I thought they were a pain right from the start. Back in elementary school, when I was faced with the school lunch, I didn't say anything when part of it sucked. Then, once, I said to my teacher "Isn't it a pain to have to eat the school's lunch?" and the answer was "Don't eat it." Since then, that's how I deal with annoying things.] - Oh, I see. So, I guess it's similar to not liking having to wear the aprons when on lunch duty, or something like that. As if getting changed is a bother. [Nah, I kinda liked obeying the rules. Hm, or rather, I like going as far as I can while still staying within the rules. "There's no point in just breaking the rules," I say. I mean, it's so much more interesting my way.] - But I think you might have a lot of annoyances. [That's cause they are annoying. Maybe because I'm so totally different from my public image. I'm such a slob. But it kind of makes me responsible, for instance as a leader, I have to tell myself "Gotta hold on!" and when I'm working, I have to keep up appearances for it, right? But if I wasn't leader, I'd slack off. I'd tell the leader "You decide, I don't care."] - So then, you think about what it would be like if you weren't the leader? [I think it would be so much easier if I wasn't leader, and my good will would probably go up more.] - Ahahahaha! That's a bit unexpected. Back to novelty, you like moving into new rooms, don't you? [Moving? I've liked it. Moving into a new place, there's a fresh sort of feeling to it, until you get used to the new place. That goes for everyone, doesn't it?] - But, tetsu-san, you've been called a sort of moving demon, haven't you? As if you're always seeking out new scenery, or something. [Well, I do get bored easily, so I get into circumstances where I need to move a lot. That's right, speaking of new scenery, I only move into the higher buildings in town, right? But they're rented, always. Even though the rent is pricey, it's a waste to always live in just one place. Well, thinking financially, it might be more of a waste to move, but from the perspective of experiencing different things in life, it's a waste to live in only one place.] - You have an interesting definition of "waste". [But if you live in several places, you'll get to see lots of different rooms. It's a faster way of getting different scenery, too.] - It's good how you can be so decisive about that sort of thing. [Oh, no, I'm really not that good at it. I can't ever toss things out. Really toss it for good, I mean. I'm not decisive enough, so I don't toss anything.] - You might toss something and end up saying "I needed that after all," often. [That can't happen. If I really needed it, it'd be enough to go buy another one. However, I do have a lot of keepsakes, so once in a while I'll have a nostalgia trip. With the stuff I got. Although, I try not to get too attached to things if I can help it.] - Were you especially good about changing class? (3) I wanted to ask when we were talking about "new scenery," since it is a form of changing scenery. [I don't remember (laughs). It didn't matter who my classmates were; I never hung out with them much, so changing classes...... wasn't something I dwelled on, really.] - What about when you left Osaka to come to Tokyo? [Ah, I didn't like that. Tokyo's late-night programming was boring...... and I didn't have a car back then, so it sucked.] - I see (laughs). Being separated from your friends, or from the scenery you'd gotten used to living with is difficult, is it not? [Mm, it wasn't the people. I'm rather unaffected by that.] - Indeed, that must make that sort of thing easier. I get the feeling you didn't want to cling to things, so that you wouldn't exclude new possibilities, right? [Yeah, it's similar to how I don't want to let useless information stay in my head.] - Mm hmm. So, you have to make sure the information you need is always renewed. [But then, there's no way I can just erase everything that comes from the past. To keep only what I need, I'd have to start by forgetting everything I don't need...... and I can't think that deeply. New things, necessary things, even uncertain things, getting good at selecting between them is part of life, I think. It's seeing what kind of life you can choose to have, out of all the possible choices. I think life means making choices.] - So, making choices while going on ahead? [As long as you're alive, time keeps advancing. That in itself means going forward, even if you choose not to do anything, or not to think about anything.] - tetsu-san, you don't have many regrets? [No, though I know I've screwed up a lot. I'm not always sure the path I've chosen is entirely correct, so of course when things go wrong, I'll think "I would have been better off choosing a different method," but there isn't any real meaning to regret. "Regrets are meaningless," that's what Shirley said.] - Wahahahahaha! Is that from Garbage? (4) [And I don't even read interviews that often (laughs).] - Then, for instance, if you think "Ah! I messed up!" you can go straight to thinking "Then, what do I try next?" It lets you do things over, to a degree. [Do over...... Yeah, that's right. When I do, I don't want to keep on repeating the same mistakes again. That's why first, I ask myself "How come it went wrong?" and investigate the cause. If there's a cause, there are effects, so you need to follow up on the cause if you want to avoid repeating the same mistakes...... I do that, but, I'm only human, so sometimes it can get pretty difficult.] - Indeed, if you don't know the cause, you can't understand why things went wrong. [The way I see the world, there are lots of people who won't stop scratching at the causes of their failures. But I think there are also a lot of people who are unsure, vague about it, but advance anyway, and lots of others who keep repeating the same mistakes over and over. Especially in Japan, we have a Giri-Ninjou (5) sort of world. That makes us aware of how that sort of ambiguity can be beautiful.] - I think your point of view is very rational, tetsu-san. [Well, it's not like I'm German or something.] - Wahahahaha! So practical? Talking to you, tetsu-san, I've been thinking "If there were more people who thought like this, we'd be able to understand the world a bit better." [Maybe so. I think this way because I experience the world as an artist. If I'd entered a normal business, I wouldn't see the world like this (laughs).] - Then, as an artist, you want to create new things, produce something new yourself, move the world? [There are no limits to new things, but I think only a few of them can impress people.] - As in something no one else has done until now. [No, that's not what really interests me. If no one's ever done it before, then it will surprise people, and if it was a really good idea then, of course, I think it's great to have done it first, but I won't not do something just because it's been done before. Then again, "No one's ever tried it before" isn't a good reason to try something if it isn't a good idea to start with.] - Mm, hahaha, I see. [There is such a thing as "No one would ever want to do that" (laughs). I don't always remember reading something or seeing something so "Ideas get used over and over throughout the world," I say. Everything does. It's just a matter of arranging them differently. That's something I've always thought, because even "the one who thought of it first" must have gotten most of the idea from somewhere else, already. It just gets changed a little. Applied and developed. Even with new things, there are always some that make me think "I figured someone would do that," or "I was wondering when that would come out," right? Really, there isn't much of anything that makes me go "EH?!" anymore.] - I see. Nothing makes you say "I'd have never imagined it." [Even before they had much transportation, people knew we'd be able to fly someday. And doesn't everyone think "Someday we'll get to the space travel era," too? Even with new technology, it all comes from the accumulation of tiny, minute inventions. New inventions, new discoveries, they can only happen because we've gobbled up all the inventions, discoveries that came before until the knowledge seems obvious to us.] - tetsu-san, are you the type who won't hesitate to buy something secondhand, or used? Old clothes, for example. [No, I don't really like buying used clothes. Furniture, either. It's just that I can't stand the smell of used clothes. Used clothes stores stink. It's calmed down since, but you know how a bunch of years back there was this "old clothes = cool" thing happening? I wanted nothing to do with it (laughs). There's a reason people aren't wearing those clothes anymore, so why go out of your way to wear used clothing?] - Ah, I see. So which used items would be OK? [Instruments. And cars are OK, too. Things that aren't made anymore and rare items are OK. For cars, I buy them as soon as they cease production. I always have a lack of interest in things that are being made now. It's like "They aren't making this anymore... guess I'll go buy it." If the mileage is reasonably low, getting a used car is OK. Any vintage instrument is OK.] - That isn't so much a "love of novelty" as a love of having things other people don't. [Yeah, I like rare stuff.] - One more thing I want to ask : "New songs." How does it feel to perform them? [New songs are lots of fun, it's a very nice feeling.] - Does that go for the creation, giving life to the song as well? [It's fun, creating something new out of nothing. Even though I never used to think I could make music by myself.] -Interviewer : Honma Yuuko Translated by Natalie Arnold.

1. Namacha is a brand name tea drink, made by the Kirin company. The name means "Raw Tea." Go back.

2. Type A blood. In Japanese superstition, blood types are said to influence personality. And of course, Libra refers to the zodiac sign. Go back.

3. Changing class here refers to going from one grade to the next and getting a new classroom with new classmates. In Japan, middle and high school students stay in the same class with the same people all day, while the teachers switch rooms. Going from one grade to the next means a much bigger change than it otherwise would. Go back.

4. They are talking about Shirley Manson, the vocalist for Garbage Go back.


5. Giri-Ninjou is a very Japanese term, referring to the conflict between social obligations, or duty (Giri) and human nature, or emotion (Ninjou). The concept is at the core of many Kabuki plays and Samurai dramas. The idea is that the two must be balanced in order to lead a good, fulfilling life. Go back.

Tetsugaku 09 : Writing Music

- Is Melody Maker a consciousness that you have? [It is. I think writing beautiful melodies that can be called such is a duty that was bestowed upon me.] - How long have you been aware of that part of your self? [As long as I've been part of L'Arc~en~Ciel.] - Do you remember the first time you wrote a song? What kind of tune was it? [The first song I ever wrote was Satanic Metal (laughs). I called it writing music, but all I did was make guitar riffs, really. Because I thought the main melody of a song should be the vocalist's job. That's why there weren't any songs where I had decided the general run of how each part would sound. Of course, now, when it comes to writing music, I create 100% of the melodies involved in my songs. Because if I didn't, I couldn't say I was the one who wrote it.] - When is a melody born? [Generally, my melodies don't come out of any instrument. They just pop up from anywhere. Anytime, anywhere. To a certain extent, I can feel a chord take over my body, so that when I hum the melody, I can feel that chord at the same time.] - So that's when the song begins? [No, it didn't happen like that at first. You could say I've gotten used to it. I feel like I have a knack for this music writing thing now. In fact, way back when I was in high school, I kind of thought I'd never be able to write good melodies on my own.] - Why did you think that? [Well, I would hum to myself a lot, and think "Wow, this is pretty catchy!" (laughs). But I thought anybody could do that. Everybody can hum, right? Even people who can't play any instruments can hum, so I didn't think it was anything special. But as I got into the band, I wound up trying to write proper tunes, so I found I had a lot of good ones, after all (laughs). There's good music to be found in practically everything around me, so that's probably how my Melody Maker came to be.] - Do you find a particular mood will get your music moving? As in, you can write more during sad times, or write more during happy times. Is there any sort of trend? [I can compose any time, in any circumstances. I could write a bright song on a sad day, or write a dark one instead. I can make up to two of them in one day. It's a bit hard to explain, but the order has an effect on the tunes I write. If the first one I composed was kind of a dark tune, for instance, then I'll want to make the next one a bit happier. A song can give me ideas for the tempo of the next one, so the order is important. I might make slight changes to my songs based on the timing of other members' songs, too. Someone else will bring in a new song, then I'll listen to it with overall balance in mind. Like, we don't have any songs like this yet, so I'll make my next one fit.] - Let's say you have a particular type of image in your head. Can you make a song that fits that image? [I can. Whatever song comes out, what I make, will be the one to fit.] -What about slumps? [Slumps, well, I've never had a slump where I couldn't write any songs at all. Just, sometimes my songwriting speed will go down. Like, I couldn't even write a single song today, or, I couldn't write a single song for three days.] - Isn't that usually called a slump? (laughs) [It's not a slump even if I can't write a single song in a week or two.] - What's the shortest time it's taken you to compose one? [The shortest was three minutes (laughs). I started with the A melody and the rest was done in three minutes. Putting it all together later, I think the structure only changed a tiny bit. A five minute song can be done in two, three minutes. Repeat this part, put in a guitar solo there; once the chorus is made up, I can make a five minute song pretty quickly.] - Let's say you're walking down the street when a melody pops into your head. What do you do? [I usually have an IC recorder (1). Or, to make sure I don't forget it before I get my hands on an instrument, I'll keep on singing it in my head, non-stop (laughs). If a melody comes while I'm in the bath, I'll run to my guitar in the living room, still wet, without bothering to dry off. But sometimes, I'll be trying to work out the chords, and it's like I've left them in the bath.] - Giving shape to your melodies must make you pretty happy. [It does make me happy, it's fun, and it's strange. There are no words for the feeling I get from creating something out of nothing. At first, I thought there was no way something could take shape if it only existed inside my own head. Music isn't something you can see with your eyes, but the music I make ends up as part of a CD, and that's something visible, and if that song gets picked for a promotion video (2), then that extra level of tangibility is born. That's incredible to think about. Things that started out in my own head alone can go out and reach people I've never even met. I think that's wonderful.] - I think that writing good melodies, composing music, must be a natural gift. Do you think there is any room for the element that might be termed your own effort? [No, I'm not so sure it's effort. I don't really think it's something that happens just because you worked hard on it, is it? You need some kind of musical talent. When it comes to studying music, you can be very knowledgeable about musical theory, and perform beautifully with your instruments, but still not be able to write a good melody. I listen to all sorts of music, and I think it's all connected somehow. Myself, I like pretty melodies. Of course, I hear a lot of good melodies, and I think they make for good stimulation. Then again, I don't want to let weird music get inside me. This is Japan, so the moment I get careless, some strange music is sure to get at me. Normally, in London or somewhere like that, when I get in a taxi, the driver, some old man, will be listening to Oasis or something. Then, just when I start thinking it might be the radio, it'll turn out to be a cassette after all. That never happens in Japan.] - What do you think makes a melody be good? [A good melody is hard to define. It somehow squeezes my chest, strikes right at my heart. It has to get an immediate reaction upon being heard. That's the kind of melody I can call beautiful. I don't recall when I started applying that to my own melodies.] - Certainly, the melodies you write are characteristically pretty and pop-ish, tetsu-san. [When it comes to melody, I think anybody can write a rotten one. The only way to tell if an amateur is any good or not is by their melodies. Anybody can go la la la. A pro has to go beyond that and make especially beautiful music, or else the word has no meaning. A beautiful melody requires beautiful composition and beautiful expansion in order to touch people. I think that must be what's called the melody sense. I think that as Melody Maker, I can't help but make pretty music.] - tetsu-san, when you compose music, are there differences in your methods depending on whether it's for L'Arc~en~Ciel or for TETSU69, or differences in your awareness of your work? Or perhaps not? [It's really the same thing. There aren't too many differences in key between hyde and I, so that's the same. hyde's more or less higher, but I think my falsetto is higher than his. Anyway, the key doesn't change, so my composing isn't affected.] - Does the melody you create change depending on the image of the singer you have in mind? [Sometimes it does. There are times when the image of hyde's voice will give me something to hum. But, well, I don't know if this will make you go "Wha-?" when I say it, but hyde's voice and mine are similar. Sometimes when I listen to the rough tapes from way back, I find myself saying "Huh? Who's singing this?" and I can't tell the difference. Especially for lalala singing. When there are lyrics, it's much easier to tell which parts are hyde and which parts are me. When it's the lalala rough versions, I can't always tell us apart.] - You could say your voices are of similar quality. [Mine is bit narrower though. Some people might think that's a lie, but it really is true.] - That's for L'Arc~en~Ciel's music, so how is TETSU69's music different? [That's mostly timing. Sometimes I had to submit my songs for L'Arc in a hurry, or they wouldn't be released. If the timing didn't work out, I'd keep the song for my solo, where that isn't an issue.] - What do you think characterises the songs you write melodies for? [I don't think many people sing them. They're really difficult. The melody will move a lot between low points and high points. I was once asked to write a song for a female singer, but the results never made it to a CD. I couldn't get the voice right, so I had to change the key from my demo. I shifted it an octave, but it was a useless change in the end, and hard to do, too.] - You could say many songs have their own requirements for being sung well. [When I compose for TETSU69, I try to surpass my own ability as a vocalist, and it's difficult. They aren't simple tunes for a newcomer to sing.] - The hurdles are rather high? [Aren't they? (laughs)] - In what aspects do you refuse to yield? [As a writer of music, it's essential that I create good melodies.] - When you listen to music written by other people, does is stimulate you? [It happens.] - The other three members of L'Arc~en~Ciel also write music. How does that influence you as Melody Maker? [That's a huge influence. Even overlooking the fact that we're in a band together, and that I know them well, I still think they're incredibly good composers.] - The four of you write music together, but still your individual personalities come out. [So then it's only natural that I get stimulation from them. "That's a good tune, I wanna make one too," I'll say. I'm sure there are common features to what each of us likes. Looking at our solo projects, they seem completely different at first glance, but I think there's a common point that can be expanded upon. I think we all have some similarities, and that's what allows us to come together as a band. We can understand each other's goals and respect each other.] - In what form would you say the other members have influenced you? [They've influenced what I think is cool. But I don't think I'll be writing music that sounds like what other members have written.] - Is there a melody you have in mind now that you'd like to create? [No. At the recording of SMILE, I used them all up, so I don't have any in mind now.] - Do you want to create a melody that will be passed on to the next generation? [It's hard to say. Like I've said, anyone can hum a tune, so what I think is good might not be passed on. There are lots of tunes that make me wonder how they got to be popular. "This isn't any good, there's nothing to this song," I'll say. There are a lot of songs in the world that pass for famous music, but really aren't (laughs).] - Passing for famous music, that's quite the expression (laughs). [I find myself thinking "This song is nothing!" quite a lot. Whether it's the arrangement's atmosphere, the lyrics, or that person's way of doing things, there are quite a few famous songs that I don't think are any good. So, everyone might not agree with me that the melodies I've written, the ones people are likely to end up humming, are actually good.] - You don't have any particular desire to pass your music on? [Music that gets passed on, in the end, turns out to be the songs that were hits, doesn't it? So then, you could say that passing on our music has always been one of the principles behind our songwriting. Even now, I can still listen to our first song and think it's pretty cool. It's only natural that I want to write good music. I always squeeze it out (laughs).] - Is there any sort of definite state you have to be in so you can squeeze it out, as you put it? [It comes right after I'm about to give up, for me. First I'll decide that it's time to quit, then as soon as I start doing something else, the ideas come pouring out.] - It sounds like you make it intentionally difficult. [However, just because I can squeeze it out doesn't mean I have the confidence to sell it. I don't necessarily reach that point. Sometimes a song suitable for selling can be written by going cha cha cha. 'Suitable' might not be the right word, but I mean something that would get a good reputation in a situation where the strength of my shoulder didn't matter and I could just go on playing. Oh, you're saying "Huh?" (laughs). "Ok, here it comes, this is absolutely great," sometimes I can put my all into it like that and the song still won't be a much of a hit. It's difficult when that happens.] - As a creator, which would you rather make : something you yourself think is good, or something that many people will think is good? [Since I have no way of knowing what people will think is good, I have no choice but to create something that I personally like. Part of the creating process is not knowing what other people are going to think. In the end, I can't help but create all sorts of music. By driving myself to create song after song, I end up with some that don't have much emotion to them. Of course, by creating so many, I also end up with a few good ones.] - Do you intend to write music your whole life? [I think I'll stick with it. And, if people want to hear it, then I'll be happier. Giving shape to what I have in my head brings me joy all by itself, but I think it's better for the song's own sake to be heard by more people than just me. That's happiness.] -Interviewer : Hasegawa Makoto Translated by Natalie Arnold.

1. IC recorders are digital voice recorders that can be conveniently used anywhere. Most of them can be clipped for hands free use, and they're easily compatible with computer formats. Expensive little devices, though. Go back.


2. Promotion video, often abbreviated PV, is what they call music videos in Japan. Go back.

Tetsugaku 10 : Writing Lyrics

- You've taken charge of writing many songs for L'Arc~en~Ciel, and you also take care of every TETSU69 song, so what do you think of the lyric writing side of yourself? [No, I don't think I have much of anything to say about myself as a lyric writer.] - When did you first start writing lyrics? [The very first song I wrote the words to was for the band known as D'Ark~en~Ciel (1). It was for a song called INSANITY. But I only wrote them out of necessity. I've always thought lyrics were something a vocalist should write. I was the vocalist for D'Ark~en~Ciel, so I had no choice but to write them (laughs).] - What sort of theme did that song have? [Death. Darkness and Death. It was dark, anyway. Absolutely gloomy (laughs).] - How about your next song? [That would be L'Arc~en~Ciel's milky way, wouldn't it?] - Why did you write the lyrics for it even though you thought that was the vocalist's job? [That's because hyde casually asked "Wanna write the words?" and I figured I'd give it a try. Also, I thought it must be tough for hyde to write the words to every single song. I thought I'd give him a hand. "Yeah, I'll write some and see," is how it started.] - When you tried it, did you find you had some talent for writing lyrics? [No, I don't have talent, do I? (laughs)] - Does it take a lot of time to do? [Yeah. I'm fast about writing music, but when it comes to the lyrics, I'm slow (laughs). Sometimes I can do it in one night, but I'm still slow. Time flies without my noticing it.] - What about for TETSU69? You write the melodies first, and then the lyrics? [Yeah, that goes for both L'Arc and TETSU69.] - When it comes time to write lyrics, what do you base yourself on? Personal experience, feelings, your present reality, echoes, something the melody stirs up, fiction, all sorts of things like that? [All of that. And sometimes whatever's my boom (2) at that time will insist on coming out. Some parts are fiction, and some parts are non-fiction. It's just that while I'm actually writing, I can't tell where it's coming from. It's like echoing words and numbers get put into proper words. That's why writing lyrics can be like a puzzle.] - Then, the interesting part is putting it all together. [It's great when it's done. It's the same feeling as finishing a puzzle. Yay! I'm done! (laughs). I'm the kind of person who always writes the melody before the lyrics, so I don't want to change the music to fit the words. I start by deciding how many words should go in, and I don't change that, so it can be tough. I don't want to have too many words. More than the meaning of the words, or their content, I give priority to their sound. The music itself becomes more prominent with age (3), so I'm going to want words that are easy to remove. That's hard to do. I worry about the gap between the words I want to use and the sound I want to have. It troubles me.] - Some of L'Arc~en~Ciel's songs that you wrote the lyrics for, such as Perfect Blue or bravely (4), paint quite a severe picture of the world, tetsu-san. [That's a technique I use a lot, taking a very pop, refreshing, pretty melody, and then inserting a black element via the lyrics. It's a pattern I like, and I think highly of it. The result is a pretty melody which crosses the heart that much more. That's the result I wanted for those songs.] - I thought the lyrics for TETSU69 communicated a lot of loneliness, loss, and pain. [The first album Suite November does certainly have some of that.] - How did those elements come to dominate the feel of the album? [My schedule was really tight around then, writing three, four songs in the space of one week, not just the lyrics but making the whole song in that schedule. In the end, I might as well have written all the lyrics on the same date. I think that's why the themes all ended up resembling each other. If I get around to making a second album, I think the contents of the song lyrics will be completely different. Even a new song from summer and a new song from winter turn out completely different. Also, sometimes, when there's a movie I like, part of me will become the main character and write a song that way. The movies I like, the manga I like, their settings take hold of me. However, the people listening don't realize that, so when I tell them, "Oh, really?" is the answer I usually get.] - Could you give an example? [The song TIGHTROPE, well, in Yazawa Ai's manga Kagen no Tsuki (5), there's a setting where a lost cat wanders up to a mansion. I wrote the song to hint at that scene. Then I got mail from Yazawa-san saying "That's my favourite song." (laughs). She caught me (laughs). This is bad (laughs). It might have been a coincidence, but I got really nervous when I thought I'd been caught. Don't tell that to Yazawa-san. But it isn't really a direct connection. That image persistently stuck out. It didn't stick neatly to that one song, either. It got scattered among the other ones too, without my noticing.] - I think that pieces of yourself are spreading into the music world, tetsu-san. Is there anything specific you're conscious of sending out with Suite November as a whole? [This sort of thing can't be substantially explained in words. What could it be? I'm sure there must be something, but even I'm not fully aware of what it is.] - I thought the overall sensation was a prominent feeling of loneliness. [As far as my public image goes, I write pop songs, I wear pop clothes, and even within the band I take on that sort of character, but I have dark roots (laughs). No, it's not quite right to say I have dark roots. I like being alone. I can't say I really get lonely.] - You're a lone wolf. [No, I don't think it's anything that cool. I just like being alone. Alone, I can indulge in my hidden thoughts (laughs).] - Are you a romantic? [I do have a romantic side. And a great imagination.] - So then are you able to channel that imagination into creativity? [Yeaaah. Sorta. But I think lyrics take a lot of getting used to. I've only written about ten songs so far, but if I can get a bit more practice at it I should get faster. As it is, I like the songs I've written. I do think some changes and improvements could be made to my earlier ones, but it was an experience I needed to have.] - What do you think defines good lyrics? [Good lyrics? That's hard (laughs). But there are some songs I like because of the lyrics. "Ah, these are nice lyrics," or something. Mostly, they need to fit the music well, have a nice ring to them. Sometimes I won't look at the lyric card even once, then I'll be carried along by the melody and suddenly think "Hey, these are good lyrics," and notice them. But overall, melody is more important to me than lyrics. I say that, but it's not an absolute rule. Of course, there are times when I'll listen to a song because I noticed it's nice lyrics first.] - What sort of theme do you think will be expressed in TETSU69's lyrics from now on? [I really don't know, but it's good that some people are concerned about the lyrics. I'm kind of embarrassed when people draw attention to them, so I just sort of go with the flow. I'm still not very confident about that aspect of my work. I do like what I've done, but I've always given more praise to music than to lyrics, and I kind of regret that now (laughs). I want to write good music, with good lyrics.] - Is there a message you want to send in your lyrics? [There isn't. I just wanted my lyrics to support the world view created by my music.] -Interviewer : Hasegawa Makoto Translated by Natalie Arnold.

1. D'Ark~en~Ciel is the predecessor to P'UNK~EN~CIEL, from back when sakura was still in the band. The most important difference though is that D'Ark played original compositions, all of which were ultra-heavy death metal. Go back.

2. As explained in Chapter 02, my boom is slang for something you're really, really into. Go back.

3. The actual term used was sabi, which is a Buddhist term for the beauty that can only come from age and experience. In other words, the more his songs age, the more music comes to matter instead of the words. Go back.

4. In the book, the song title is written "bravely" but on the album it's spelled "bravery." Seeing as how they're pronounced the same in Japanese, take it up with the original publisher. Go back.

5. This manga was recently made into a movie, which just so happens to feature HYDE as one of the major characters. Yazawa Ai is also the author of the popular NANA manga, for which TETSU69 later did a tribute song. Go back.

Tetsugaku 11 : Rival

- When you were a student, the particular incidents don't matter anymore, but did you ever have someone you thought "I absolutely refuse to lose to this guy!" about? A rival? [I didn't, but my friend did.] - How about for music and bands? Have there been any since you started playing music? [I've never had any. But, I understand how easy it can be to call someone your rival.] - What do you mean by that? [It's so simple to compare things. That's why businesses and brand names make rivals out of each other. In their case, when they have someone to view as a rival, they can easily gain a sense of fulfilment from the entire situation. As if they were booming just from doing better than the rival. In general, isn't it easy to look at things thinking "Which is better?" and compare them? So it's the same for selling things. Take selling accessories for example. In such a case, beyond calling attention to what you're selling, you want to make other designs look bad. No one would seriously consider the other guy's rotten design (laughs). If someone is wondering "Which one is better?" and you've already shown them that the other design sucks, they'll look at yours and think "This one is better," right? It's all used as a selling strategy. I think the results are the same when a business makes itself a rival.] - I see. So then forcing people to compare things in such a way is playing on a prominent human tendency. [Relating back to the music scene, once you succeed at getting people to think of your genre as "new" you immediately get people who are opposed to it, right? Then once that's set up, people start saying "That's going to be the next boom. For the scene. And I bet so-and-so is the next big name." To sell the artist you want to promote most, you intentionally want to set up that situation. That's one of the strategies. Although, I've explained all that meaning, but I've never viewed anyone as a rival or had anyone to compete with like that. So, I think it's something created by your environment. Rivalry.] - You didn't look for one yourself, and your environment didn't send you one. [Right. The people around me find someone else to compete with. I normally walk at my own pace, by myself. But sometimes I won't realize that the person next to me is jogging, trying to compete with me, or something. But my answer is "I'm not racing against you." Or something along those lines.] - I see. What about when it comes to relationships? Have you ever experienced rivalry in love? [Basically, if I get turned down, I'm the type who isn't going to keep up the pursuit. My stance is "If you prefer the other, then do as you please."] - You've never had a competition with another guy to see who could get a particular girl? [I haven't... Never anything like trying to steal away a girl.] - Would you want to experience that situation at least once? [Rather than stealing her away, I think it's more admirable to help make her fall for the other guy.] - Hohoo... There aren't many people who would go against their own raging emotions to help an opponent find love. [Maybe so....... I don't think I could love someone with conditions attached. Or have another person love me. Without the basic premise that they only have eyes for me, it's not love. So, let's say for example the girl is cheating on me? That's enough to make me hate her. I don't have it in me to forgive that kind of betrayal. That's why I can't love a girl who has conditions. I won't even like her.] - I wonder when you started taking that stance about relationships. [Oh, no, I've always been like that. My parents must have drilled it into me. If you behave, you get a reward, if you don't behave, you don't get anything. Not loving someone who cheats is the same as that. But, doesn't everyone hate to be cheated on? Those who can be forgiving enough to say "You're still a good person," must really be in love. I've never experienced that. Even with the people I've liked so far. That's the form my love takes. But, anyone who's been cheated on won't forgive it, right? Am I wrong? Ah, but it might be different for men and women. For example, with your own parents, if your dad cheats you think "Oh well," but if your mom cheats, it's a huge shock, right? Maybe men and women have a different outlook on it.] -Interviewer : Toujou Sachie Translated by Natalie Arnold.

Tetsugaku 12 : Face

- When did you first start being conscious of your own face? Did you like it or hate it? [No, I've never really liked my own face. I don't really look in the mirror and go "Ugh," or anything though (laughs). I wonder if anyone says "I like my own face!"] -There are quite a few people who look at glass just to see their own reflections, though. [But it's not something they say in public (laughs). "I love it enough to stare at the mirror every day," or something like that.] - Well, no one says that (laughs). So then, do you not like to look at mirrors, tetsu-san? [Just a little. I've talked about it wih Chako-san (hair and make-up artist, Ms. Araki Chako) She said I'm probably the one who looks at mirrors the least during work. It's like I just let them stick garbage on my face then go stand in front of the cameras without caring.] - Wow, you don't seem like it. That's a bit unexpected. You might be a bit too indifferent. [I think I come across as a bit of a narcissist, in my public image. But I'm nothing like that.] - So, for example, if it weren't for work, the only time you'd see your face in the mirror would be when you wash it first thing in the morning. [No, if I don't have work, I don't wash my face (laughs). I really stay the way I woke up (laughs). The way I slept. If I don't think I'll be going out that day, I won't bother washing my face, or even changing clothes. Really.] - Seriously? How...... unexpected. People who don't care about their appearance really do exist. [Right? Oh, but I look in the mirror when I brush my teeth. But some days I'll brush my teeth and still not wash my face. I hate doing it. It's such a pain. I hate washing only my face. Why not just take a bath instead? (laughs)] - Why is that? Why do you dislike getting your face wet so much? [It just feels wrong. For example, when we finish a photo shoot, everyone washes off their make up and goes home, but I'd rather get completely drenched, even if it's just in the studio's bathroom or something. It's not easy. It's pretty bad. So yeah, it's difficult to get a chance to soak every time, so I at least use a towel. That's why my bathroom at home is incredibly clean. The mirror and floor, too. Even the faucet handles sparkle. I mean, I soak there all the time, so I wipe it clean every time. So it always stays clean.] - Ahahahaha. But that's a good thing, isn't it? [But when I wash my face, I need to wipe things off, and it's another little round of cleaning. That makes it a bother, so I don't wash it.] - I see. But you have such lovely skin, tetsu-san. [I'm told that a lot, and I answer "How!?" I don't think I have especially nice skin. It makes me think "If you're going to give me compliments, I want them to be about something else," or "Maybe there's nothing else about me to compliment," or something like that.] - That's not true. It's so nice it seems like you must take extra good care of it. [But I don't. Except, maybe it helps that I don't smoke.] - That could be. But, considering you're a man in your thirties, I think it's ok to be proud of your beautiful skin. [Eh? I'm not going to take that from you. You liar. (both crack up laughing)] - I'm not lying! (laughs) Let's look at the "face of the band" now. What's your interpretation of that? [The face is hyde. Don't people say "I know who hyde is, but who is tetsu?" a lot?] - Ah, is that so? I think you're the face too, tetsu-san. [A lot of people only know hyde......and tetsu (laughs). But you're only saying that because you're dealing with me right now. I bet if you were talking to yukkie, you'd say "People know hyde and yukkie," wouldn't you? But, you know, people ask "tetsu, that's the guitar player, right?"] - (laughs) That certainly goes back to knowing the "face". [Well, really, normally people only know hyde, don't they? His name and his face. Isn't that part of being a band? I think that's ok. Well, ideally, I think it would be great if everyone knew all our names and faces, like SMAP (1), but in the end, we're a rock band so of course that won't happen. That's how it is. It's kinda cold. It's as if the vocalist has to be the face of the band, and it's wrong to have it be any other way. When I was looking for members to start up the band, I didn't want the guy on vocals to stand out less than I did. I really wanted to start a band with a vocalist who had more shine than I did. The vocalist spends more time in the spotlight, so I had to (pained laugh). It's like with Amuro and Shinji (2), just because the main character has the best position.] - Indeed. Well, this might seem like a strange question, but is there any face you've seen that made you wish you had been born with that face instead? [Lessee......... I can't think of any, cause they all turn into me (laughs)] - Good point! You already have it, too! (laughs) [But, doesn't everyone think that? Think sort of like this. "Well, mine's good," or something.] -Interviewer : Honma Yuuko Translated by Natalie Arnold.

1. SMAP is an incredibly famous Japanese all-boy pop band. Besides making music, they also appear in commercials, dramas, host their own shows, and have tons of merchandise. A Western analogue would be the Backstreet Boys, but SMAP is probably bigger than the BSB ever were. Go back.

2. He's referencing his two favourite anime, Mobile Suit Gundam and Neon Genesis Evangelion. Amuro (Ray) and Shinji (Ikari) are the respective main characters of these series. Go back.

Tetsugaku 13 : Tears

- tetsu-san, you're really a crybaby, aren't you? [I am. I even cry when I watch movies and dramas.] - Which dramas have made you cry recently? [Lately......"Ai nante iranee yo, Natsu" (1) wasn't it? (laughs) I'm watching the late-night reruns, and since they play every day, it feels like more of a series. I get home around 2 or 3 am, so I usually just watch whatever's on when I come in. "Ai nante iranee yo, Natsu" drew me in. The last one's already out on video, too (laughs). Now, I keep wanting to imitate Reiji (Watabe Atsurou). A little while ago, I went to a year-end party full of musicians, and everyone was doing it. We had a room full of Watabe Atsurou (laughs)] - Wow, now I want to see that show (laughs). [It's at a time slot when musicians are awake. Everyone who watches it wonders "Does tetsu-san watch this, too?" (<- said in mimicry tone) or something (laughs).] - But then the contents must be pretty complete. It's an overachieving program. [Right. There are parts in the show where I don't see Hirosue Ryouko anymore and just think "She's dirty!" instead. I'd call it a tearjerker. Also, when it was first playing, I saw the ads for it once in a while. I was captivated by that voice. I wished I could speak with a voice like that.] - Is that what made you want to watch? [It made me want to imitate it.] - Ahahaha! And imitating gives you more empathy. [It made me cry. I cried at the last episode. I cried throughout the series.] - I kind of want to see that (laughs). [(laughs) No way! I cry way too easily, even at movies. I cried at "Hachikou Monogatari" (2) for sure. After that, Tamori-san told me "It really wasn't such an emotional story." I forced myself to say "Yeah, you're right......"] - Ahaha! That's another shock. [But lately, I haven't cried at any movies. Unexpectedly, I don't cry at things everyone says made them cry. There's a bit of a gap between me and most people.] - tetsu-san, did you cry a lot when you were a kid? [I cried a ton when I saw "Nihyakusan Kouchi" (3) during elementary school. Barking dogs made me want to cry. It did make me cry. But when you're a kid, there isn't the same emotion behind it. Kids cry when they're angry, right? And if the parents say things like "It's ok to cry," the kid will cry without really thinking about it, right? I really regret that. "Don't cry just because it's ok to cry!"] - You regret crying so much, but you still cry, don't you? [Yeah, I still cry. I cry whenever I'm sad.] - Mmhmm. And tears of joy? [I don't have many of those. Things that make me happy enough to cry haven't happened too often in my life. That's why I can't think of any.] - How about tearful memories? Perhaps a situation where you cried after parting with a friend? When you were in school? [No way~ I'm a man (laughs). Graduation wasn't that sad a time, was it? Only the girls cry, right?] - Really? But there were boys saying things like "We'll always be friends, right?" and crying. [None of my friends were like that (laughs). Besides, I didn't like school that much. I got to graduate. What's sad about that? Then again, I didn't go "Fuck school!" or anything like that (laughs), around high school. A bit before high school graduation, I was told to get a haircut. I didn't cut it. My school didn't have any actual rules about hair length. I didn't ride motorcycles and I didn't smoke, in fact I still don't. "I'm not doing anything wrong, so why should I cut my hair!?" I didn't feel anything special about graduation.] - That could certainly all be related. [One time I did cry out loud was at my friend's funeral.] - That incident might be what led you to do things the way you do them now. [That's saying too much (laughs). I remember thinking "People can die so simply." He died without doing everything he wanted to do...... I don't know when I'm going to die, but I want it to be after I've done everything I want. That's what it made me think about.] - It was a turning point, then. [Well, as far as going for what I want goes.] - So, then, you really don't have any more memories of crying when you were a child? [I guess I had tears of anger? And later, "Nihyakusan Kouchi" (laughs). And when I saw "Ginga Tetsudou 999" (4). The movie version. Maetre, Maetre, Maetre, I called out for Maetre so many times. It really made me cry.] - Hearing that these things made you cry makes them more interesting. [I didn't cry because I wanted to. It made me cry. I think crying easily or not is a question of predisposition. It's the same as sweating easily or not, it just means your tears have an easier time getting out. I don't think it's a matter of "They cry because they're sensitive" or "They don't cry because they're cold" or anything like that. I really think it's a matter of predispositition.] - That's a simple way of putting it. Desperately plain (laughs). [But it's true. That's why I can say "I'm a crybaby" the same way I can say "I sweat." It's sweat from the heart.] -Interviewer : Honma Yuuko Translated by Natalie Arnold.

1. This title translates to "Don't need any love this summer." Reiji is a character from the series, played by the actor Watabe Atsurou. Go back.

2. This translates to "The tale of Hachikou." Hachikou was a faithful dog who waited for his master every day at Shibuya station. Eventually, Hachikou passed away and a statue was built near the station, and is now a famous area landmark. Go back.

3. This title means "Two hundred and three Plateaus" and is a Japanese war movie from 1980. Go back.

4. This is a rather famous anime series, known in English as "Galaxy Express 999". Maetre is one of the more recognizable major characters; she's the woman with flowing blond hair. Go back.

Tetsugaku 14 : Food

- This is a very ordinary question, but what are your favourite foods? [Basically, I like Japanese food. Such as sushi and fish. All sorts of Japanese-style culinary productions. After that, maybe Italian.] - Conversely, is there anything that you absolutely refuse to eat? [Anything involving internal organs. I've always hated that. When I was a kid, I wouldn't eat onions. Now, I love them, though.] - How did you overcome your dislike of onions? [It's not that I particularly tried to overcome it, I just happened to eat them once in a while and naturally got to like them. By the way, I used to hate Japanese food. So when my family took trips to onsen (1) or something, I didn't have anything to eat (laughs).] - (laughs) And now, what are your typical eating habits like? [Let's see... My wake-up time varies a lot, and I don't usually eat right after I get up. Only after four, five hours. Eating two meals a day is plenty for me. And sometimes I only have one meal.] - Do you sometimes go without eating? [I don't do that. I've always been against not eating. Same goes for not sleeping.] - tetsu-san, you certainly don't cook for yourself, do you? Do you not take coffee or tea, either? [I don't. When I'm at home, I usually drink mineral water, and sometimes carbonated water. And sake, when it's late. I don't usually drink coffee or tea. Only a few times a year. How to put this... it doesn't taste good enough to make any myself. Also, if I pour myself a drink from the kettle, I know I have to clean it afterwards, and that's too much trouble for me. I'm the type to solve a problem with money when it's possible (laughs). If I feel like having tea, I can just go to a café, and when I'm hungry, I just go pick something up. So, I usually eat out.] - So, you don't have your meals delivered? [Sometimes I do. Like for Chinese or for pizza. They don't bring servings for one, so I take what I have left and parts of my next meal, and then mix them. For example, parts of my lunch and dinner. I combine my options. When I'm relaxing at home, I end up not wanting to go out to eat. Ultimately, it's a pain.] - (laughs) Haven't you ever tried to cook? [I haven't done any that can really be called cooking, but I've made meals. Like making prepackaged curry where you just need to add hot water.] - Oh, so you eat that sort of thing. That's a bit surprising. [Yeah, but only when it's an emergency. If I don't want to go out, and it's too late at night for delivery, but I'm huuuungry, that's the only time I'll eat it. I always keep something ready to eat around. Like a packed lunch or something. Once I even ate raw rice. But how long ago was that? It's like, there was absolutely nothing else left (laughs).] - Somehow, you give the impression of being quite a gourmet, tetsu-san. [Is that so~. I'm a gourmet? I'm certainly happy when I get to eat delicious things. It's one of life's little pleasures. But ever since I started living on my own, I've thought convenience store bentou (2) was "good". Since I was in my teens. Now I don't eat convenience store bentou quite so much. Even though they should be making much tastier ones now than back then.] - When did your tastes start to broaden? [I must have been around the time I turned pro. I was taken to all sorts of receptions, and I got to eat great food at every tour location. I think that's what made me broaden my taste a bit.] - Do you remember any foods that made you exclaim "This is great!" when you first tried them? [Let's seeee... there was the sushi from that sushi place in Aoyama. Someone from the record company took me there not long after the debut. It was so good that I thought it was the only thing deserving to be called sushi. It was a great piece of information. I didn't like sushi much until then, but that made me love it. I didn't have much money at the time, so I only had that. Then, when I went to Kouchi, I had katsuo no tataki (3), and tonkatsu ramen (4) in Fukuoka. Later, in Osaka, there was this little food shop near where I used to live that had a set meal called "Denbee". It's a tiny little store where you have to sit at the counter, run by an old couple. There was a looong delay before my order came out. It must have taken more than 30 minutes (laughs). Their food was delicious. But they've gone out of business since then.] - Did they make something exceptionally delicious? [Their katsudon (5) was the best. I've yet to find better katsudon anywhere. I think the reason it took so long was that they were preparing it very carefully. Their prices were a bit high. Still lower than 1000 yen though.] - Well, it sounds like a nice memory. After all, food is important to you, isn't it, tetsu-san? [That's right. It's part of why I try so hard at work. It's a fundamental human desire. You know, I haven't eaten anything yet today. ...... Ah~ I want some yummy shabu-shabu(6) (laughs).] -Interviewer : Harada Sachi Translated by Natalie Arnold.

1. Onsen is usually translated as hot springs. Japanese onsen resorts are usually in rural/mountain areas and are typically very traditional, including elaborate traditional meals. Go back.

2. Bentou is the archetypal Japanese box lunch. Usually contains rice, some sort of meat or fish, and maybe something vegetable, all packed together in a pleasant and convenient way. Go back.

3. Lightly boiled bonito. Bonito is a type of fish. Often served with ginger and radish. Go back.

4. Long noodle soup with pork cutlets.Go back.

5. A contraction of tonkatsu (pork cutlets) and donburi (rice bowl with toppings). Go back.

6. Shabu shabu is thinly sliced meat, cooked only slightly, and usually served with vegetables. The name comes from the sound it makes while cooking. Go back.

Tetsugaku 15 : Blood Type

- tetsu-san, do you believe in fortune telling, such as for blood types?(1) [Hmm, there are so many different kinds of fortune telling, so as a general rule I don't. I'm more likely to believe something with figures behind it. Blood types are like that, right? I only found out my blood type about five years ago, though.] - That recently? [It was the first time I had a complete physical. When sakura got arrested for drugs. Of course, we were all suspected too, the band members. So they had us take a physical examination. Well, part of the physical was taking a blood test, a urine test, and so on. That's when I first discovered I had type A blood.] - So you never got tested as a kid. [They didn't do that in my area. Wonder why not?] - What were your thoughts when you found out you were type A? [My parents' children are all either A or O, so I had thought I'd be type O.] - Why was that? [It's just... I kinda don't like type A (laughs).] - Ahaha! Because it's the most frequent in Japan? [Yeah. Besides, they're said to be methodical and precice, right? I don't like that description.] - Which blood type would you rather have? [Type B (laughs).] - Ahaha! I think I understand. [Well, I'm not really sure what they say about type B, but to me type B means being able to say and do as much you want, that sort image. I've been envious of that.] - I see. But if you were type B, then that would mean you weren't one of your parents' children. [That's true. That might actually be kind of cool. There'd be a reason for it? Or something. (laughs)] - Ahahahahaha! I can kind of relate to that. So then, since you found out what blood type you are, are you more aware of blood types than you used to be? [I guess I am. There was something I saw on TV before, where kids were sorted out by blood type by letting them play freely and seeing if any characteristics popped out. And then, as expected, the type A kids played politely, lined up everything in neat rows whether it was their toys or their shoes (2). Compare that to the type B kids, who tossed their shoes wherever, scattered their toys, and were generally the noisiest. That's pretty much what their blood types predict, isn't it? I thought it was quite accurate. I don't have any reason to criticize type B, do I?] - You've admired it so long, too. [I did. I like the concept of type B. It's interesting in ways that type A isn't. Type A and type B don't generally get along, right? I think I can get along with type B people. I've got a lot of type B people around me. That might mean type B people are more fun. If I think "Oh, this guy must be type B," then I'll say somewhat intense things around him (laughs).] - That sounds a bit worrisome (laughs). [Yeah, yeah. I must say about twice, three times as much stuff, and it's more fun that way.] - By the way, what do you think of type O? [I don't really know. To me, type O and type A aren't that different.] - How about type AB? [It's a mystery. Because it's a combination of type A and type B traits. They change every day. They probably change every three minutes.] - Is there anyone like that? Around you. [But, maybe AB people aren't all like that. All the type AB people I know are, though. A lot of them are friendly, so they're easy to approach.] -Interviewer : Harada Sachi Translated by Natalie Arnold.

1. It's a common superstition in Japan that a person's blood type is a predictor of their personality type. Roughly, Type A (the most common in Japan) people are detail-oriented, studious, and orderly. Type B people are creative, unconventional, and sensitive. Type AB people are imaginative, natural leaders, and organized. Lastly, Type O people are entusiastic, good at sports, and idealistic. For more info, see ABO World. Go back.

2. In Japan, one is expected to change shoes a lot. Kids have school shoes, outdoor shoes, slippers for home, and most homes even have different slippers for the bathroom. Go back.

Tetsugaku 16 : Automobiles

- You love cars, right? [Can I say I love them? Well, I do like them a lot. But does it fit with what most people call love? Oh yeah, I loved them when I was in elementary school. I watched "(Taiketsu!) SUUPAA KAA KUIZU" (1) every week. On the way back from school, I could identify any car I saw at a glance.]

- Honestly, that period really was the "Super Car Boom" (2). Of course, back then it wasn't as common to see those kinds of cars on the road as it is now. [That's true. But I sometimes saw a Porsche in my neighbourhood. What colour was it again? Greenish, I think. Also, the engine's sound was easy to identify. "A Porsche is coming!" with that tottotto sound. Someone in my neighbourhood drove a Porsche. For some reason, it had a Shinagawa number (3).] - Eh!? Really? [Really! Seriously!! "How come he's got a Shinagawa number?" I used to wonder. That might be why I wanted a Shinagawa number. The first foreign car I ever bought was a Porsche. At the time, I was living in the area for Nerima plates. I didn't want that; I wanted to have Shinagawa plates no matter what, so I moved just so I'd be able to get them.] - You went that far?! (laughs) [I got my license right after my 18th birthday (4). In high school, the place where my band had rehearsal was easier to get to by car. All our band members lived really far apart. In high school, we had rehearsals until the middle of the night, so of course there were no trains, and we couldn't get home, right? So the guy who had a car gave the rest of us rides. If we'd had two members with cars, we could each drive one other person. That's why I absolutely wanted to get my license.] - Did getting your license go smoothly? [It was all straightforward. Reserving a spot at the driving school was tough, wasn't it? Sometimes a lady from my neighbourhood would give the lessons. That's how I managed to get a spot for lessons right after school let out.] - Then you got your license smoothly, and immediately got a car!? [There's no way I had that kind of money! I used cars from home. At first, it was always my mom's car. The first woman I had ride next to me once I had my license was my old lady. I'm a mama's boy. That's been settled.] - That's a very nice story. When you drive around, what sort of mood are you usually in? [I compose music in my car pretty often. So, without a car, I get steamed. Even for the indies album Dune, I composed in my car on the way to rehearsal. For the indies era in Osaka, I was constantly living in my car, but when I went pro and moved to Tokyo I didn't have a car. I was steamed for a while. Without a car, you get around by train, right? I hate taxis, but I hate trains even more. I didn't have the money for a car, so I wanted to go back to Osaka~ (laughs). I really did want to go back for a while. About two years. I think I probably thought like that until I bought a car.] - Do you still make music in your car now? [I still do. I wrote STAY AWAY like that, and Driver's High too. For STAY AWAY I had decided to compose music in the car, so I went out for a drive. I decided on my itinerary first. I usually do this in the middle of the night, so the roads are clear, right? Clear roads make you notice how cramped Tokyo really is. A trip that takes an hour during the day can be done in 10, 15 minutes. Anyway, that time I went out for a good two or three hours before coming back. I had already gone around the downtown core, and then I went over to Yokohama. STAY AWAY was made up while driving by Yokohama harbour. I think it was around 2 or 3 AM.] - That's interesting. The story, I mean. [Driver's High was done on the Kannana (Kanjou Nanagou-sen)(5).] - It sounds very dream-like, or maybe not (laughs). How do you manage to keep track of the songs? [Lately, with an IC recorder (6). Sometimes, when I'm stopped at a traffic light, the person in the car next to me notices and it's super embarrassing (laughs). That's why I got an IC recorder that looks like a cell phone. That's my technique (laughs).] - You don't drive out very far, right? [No, I don't go all that far. Oh hey, you know we had the 1999 GROUND CROSS TOUR (7), right? That was around August. Later, in October, I went back to Ariake and wrote a song there.] - Hoo. That sounds like a rather profound story. When you went back in the fall, it had turned back into an empty lot. [That's right. It's kinda sad. Fall, that is. That's the kind of song I ended up with. At the time, I had made up the song properly, but I've lost the data. So it won't be finished any time soon. The melody is still in my head though, so if I ever feel like redoing it, it'll come out.] -Interviewer : Kikuchi Keisuke Translated by Natalie Arnold.

1. The show's title is "Clash! Super Car Quiz" in English. It was a car-themed quiz show for kids that aired weekly in the late 70s. Go back.

2. The Super Car Boom refers to the end of the 70s when high-powered sports cars (Ferrari, Lamborghini, Maserati, Porsche, etc) were a huge craze with Japanese boys. There were tie-in TV shows, pop songs, model kits, and so on available to further the boom. Go back.

3. Japanese license plates are registered with the local (prefectural) government, and are supposed to match the prefecture where the car is most used. The plate has the prefecture name as well as a number on it. Shinagawa is a prefecture in Tokyo, and so is Nerima. Bear in mind that tetsu grew up in Osaka. Go back.

4. Age 18 is the minimum age for obtaining a driver's license in Japan. Go back.

5. Tokyo's Kanjou (meaning "ring road") is a major highway that goes around the city. Different parts of it are numbered, making it somewhat easier to give directions. So, Kanjou Nanagou-sen is section seven of the Kanjou. Go back.

6. Footnoted back in Chapter 9. Go back.

7. It's actually called GRAND and not GROUND, as most people know, the obvious exception being whoever typed up this interview for the book's publication. Go back.

Tetsugaku 17 : Hairstyle

- You have very pretty, fluffy hair, but to what extent do you concern yourself with hair care? [No, I don't do anything in particular. I do nothing. I've had very pretty hair since way back, if I do say so myself. Go ahead and touch it. It's really soft.] - So it is. I'm jealous! It's perfectly soft. [Isn't it? It feels softer than it looks. When I was a kid, the hairdresser lady would always say "You have hair like a girl" or something like that to me. But I didn't like it all that much. It's easy to style, but it's damaged hair, isn't it? It never curls anymore, you know? Except for bed hair (laughs).] - (laughs) Do you think it's a good idea to play around with it a lot? [Yeah. Back in middle school, I admired the kids with curly hair, thinking "Must be nice." But then again, they'd tell me how they would rather have my hair. "It sucks when it rains," they said.] - How about different hairstyles, or messing around with different hair colours? What's your reaction to that? [Ah, but I'm not as particular about it as I was in middle and high school. It only matters because of the kind of work I do, probably. It doesn't matter how my hair looks when I'm on my own time. In the end, it's for work...... For lives or for photos, I just leave it to the hair and make-up people. Then they do the best they can with the haircut and length I have. Besides, when I go out, I usually wear a hat, right? So it really doesn't matter what my hair looks like.] - I see. So you spent rather more time on it in middle school? [Yeah, yeah. "Hey you! You gonna go onstage like that?!" I spent 30~40 minutes styling it every morning.] - When there was a hairstyle you liked, did you worry a lot about whether it would be too hard to reproduce? [Sometimes, I did. Those days, I had a lot of tension. "Today, I decide my hairdo!" or something like that.] - Somehow, your saying that is adorable (laughs). [Well, that's how it was for guys in middle and high school. I had to get up a bit early because of it. In the morning, my dad would be in front of the mirror, and I'd be thinking "Who cares what Dad looks like? Hurry up already!" (laughs).] - (laughs) Well, that's adolescence. What's the best hairstyle you've had out of your days with L'Arc? [1998, probably, when I had that brownish-red hairdo.] - You were blond for a while too, right? In 1999. Why did you go blond? [I wanted to experience it at least once in my life. Being blond. My 20s were ending and I didn't think it was right to go blond past age 30.] - Haha, I'm sorry! (<- She dyed her hair blond at age 30. Pained laugh) [Hahahaha! You're in your thirties? (laughs). No, you see, a guy has to worry more about preserving it at this stage in life, right? So it was probably my last shot.] - I see, so it was your symbol of rebellion. How did it go? [It drew in a lot of dogs, that hairdo (laughs). Of course, for work, it wasn't a problem. For my work on stage, it's good to stand out, but that's not the case for my private time. I had to wear a hat whenever I went out, because just being blond draws attention, doesn't it? So, it would give me away. That sucked.] - How about now, do you have any challenges when it comes to your hair? [No, I'm carefree, about my hair. I always leave it up to Chako-san (Araki Chako) from hair and make-up.] - Ah, I see. You must have a lot of faith in her. [Yeah, but it's lots of fun. Before, I'd be asked "How do you want it today?" and think "I dunno, just make it look cool. You're the pro." Hair and make-up artists are supposed to be able to say "For this person, with this type of hair, this length and this colour are best suited. Looks cool" and then make it happen. So don't ask me what to do. Chako-san can do that easily. All I have to do is say "I'd like it cut" when I feel like cutting it.] - So then, you aren't especially picky about anything hair related, tetsu-san? [......If I were, it would be about my bangs. I don't feel right without bangs. I don't think having my hair all back is good for me.] - Ah, maybe it isn't. You feel uncomfortable showing your forehead? [Kind of, since it doesn't really have a peak. It's like I don't have the confidence to put all my hair back. It exposes the whole head, doesn't it? I don't have that much confidence in my own head, so I can't do it. That's just my personal opinion though. But I think it's great when people go with the all-back style. That's why if I tried that style, it would mean I had gotten more confident. "Don't I look cool?" Ahaha!] - Yeah. Maybe when you start to go gray, you'll look incredibly cool with all-back hair. [No, I probably won't be able to do it, after all. I don't want to show everything, so it's like I hide behind my bangs.] Interviewer : Honma Yuuko Translated by Natalie Arnold.

Tetsugaku 18 : Influential Personalities

- You've mentioned that when you were in high school, your band played covers of Dead End (1). What was it about them that drew you in? [I really loved Dead End. It started with their looks, but I loved all their music too. Their lyrics and everything. They were perfect! To me, anyway. I first saw them in a magazine, in a monochrome picture this big (3cm x 3cm), you know? "Wow! This band is awesome!" I said.] - Even though it was such a tiny picture, you knew there was something to them. [That's right. When I first saw MORRIE-san's (2) haircut, I thought "That's so cooool~!" (laughs). The original members all had pretty cool looks too. And I bought their album called Dead Line.] - So at first, you were mesmerised by their looks. [Everything starts with looks for me (laughs). Bad looks don't score any points with me. If the interior was also good, I'd think "That's great," only after the fact. Even on that point, Dead End was perfect. Back in the day, I really liked occult movies. Dead End had a kinda creepy atmosphere to them, right? Their sound was completely different from any other band in Japan at the time. "They're really polished, that's incredible!" I thought.] - Do you think Dead End was a major influence on you? [They were a huge influence early on, when I started to want a band. I've liked lots of other bands, but the one I liked the most was Dead End.] - How do you think you were influenced by them? [Mostly musically.] - What about your favourite Dead End album? [The first one I had was Dead Line, but my favourite one is Shambara!] - Did you go to their live shows, too? [I did. I went to the "Shiki Yakou" (3) show at Osaka Mainichi Hall. Mephistopheles (4) was the opening act. I went to the show in my school uniform (laughs). I was in high school. That was one incredibly cool concert! It was the best thing I experienced in that period. I went to lots more Dead End concerts after that one.] - Then could you say that Dead End influenced your image of the ideal band? [They certainly did. Back when we were putting out DUNE, one magazine article said "This album is more Dead End-like than Dead End." I was impressed, since I took those words to be high praise. I was really thrilled (laughs).] - Other than Dead End, have you met anyone else who has had a large influence on your life? [Probably Kimura-kun. He was my senpai when I worked part-time at a variety store. Kimura-kun was hardcore. He had tattoos all over his body. He drew them himself, since he was a tattooist. He was really good at drawing. He'd lived in America for a few years, so he could speak English, and he taught me a lot of slang. One phrase I still use a lot, "SUCK MY ASS HOLE!" was actually taught to me by Kimura-kun. He had a violent look to him. He had long, one-length hair and always wore engineer boots (5). He wore leather jackets and leather pants, too. He always had dangling chains around his waist, so you could hear him coming from far away (laughs). However, his personality wasn't like what you'd expect from looking at him. He was easygoing; a really nice guy. Like a well-bred slasher.] - A well-bred slasher, that's good (laughs). How do you think this Kimura-kun influenced you? [He'd been working at the variety store longer, and we all had to be able to draw for the shop window. He was really good at doing that. He would draw really cute pictures and then write in English "Shoplifters will be murdered" so that it looked like graffiti. He had a good sense for those things. I think that influenced me a lot. So, from working at that variety store, at least I got good at window drawing (laughs). Other than Kimura-kun, one of the girls at the store would draw things, too. She wrote "If you steal, you will die tomorrow!" and stuff (both laugh). They'd also sneak in black jokes, inconspicuously. That made things pretty interesting, at that store.] - In other areas, has there ever been anyone who has been an influence on your philosophy of love, or on your values? [I don't have anyone like that. Does anyone? Normally, anyway.] - So you're the type who isn't easily influenced by others? [I'm simple, so after I watch a movie, I become the movie's main character. For a day or so. That sort of thing happens pretty often. Same goes for when I watch TV.] - However, there haven't been any encounters with a person that completely changed your life? [At this point, I can't say there's ever been anyone like that. But when it comes to people having an influence on me, everyone I meet does that, don't they? I'm sure everyone I've ever met has had some sort of influence on me. Sometimes great, sometimes small. But I can't pinpoint anyone in particular.] - Wasn't there ever anyone you wanted to be like, a sort of role model you had in mind? [From when I started playing music, maybe CRAZY COOL-JOE(Dead End's bassist)-san? But my current playing style is nothing like JOE-san's. So I can't really say he was an influence, can I?] - Along those lines, even though you turned out completely different from your model, what were you aiming at? What was it you were following? [That's an odd concept. I really just live my life by looking ahead, and I go on keeping my head up.] - So you aren't following anyone else? [That's not what life is about. Wanting to be like someone else.... with that kind of life, nothing you do will eeeeever be enough. As long as you're doing that, you aren't really living. Time flows differently for each person, so if there are people who feel it flows regularly from left to right.... they must be different from those who look forward and advance while looking up. There must also be people who stand still, thinking time goes too fast. In the end, I don't think it's necessary to have a specific goal in mind, as long as you're advancing.] -Interviewer : Toujou Sachie Translated by Natalie Arnold.

1. Dead End were a Japanese rock band that tetsu admired very much. Please look back at previous chapters where they were mentioned. Go back.

2. MORRIE was the vocalist for Dead End. Go back.

3. This name translates to Four Nocturnal Demons. Go back.

4. A Japanese power-metal band. See MEPHISTOPHELES Go back.

5. Better known in some places as Biker boots. Effectively, heavy leather boots suited to riding motorcycles. Go back.

Tetsugaku 19 : Girls

- When you were a kid, did you take notice of Valentine's Day or anything?(1) [I hated Valentine's Day. In elementary school. That day depressed me. I didn't like the idea of going to school and expecting to be given something. I took that day off. Maybe I was too self-conscious. And of course, any guy who got chocolate would be made fun of by the ones who didn't. So I hid whatever I got.] - Sounds like you were one of the tough kids. So, did you ever run around flipping up skirts? [I've never flipped a single skirt. And I never pick up girls either.] - Is it because your aesthetic sense won't permit it? [No, it's just that I've never met a girl who makes me want to hit on her. It's not that I think it's wrong or anything. But really, if I happen to run into someone I want to get to know better, I think it's enough just to talk.] - Sometimes you only get one chance, though. But even if you don't normally flirt, I'm sure you must at least notice girls. [Yeaaah, of course I do. Even though I don't totally understand myself. I like cute people, you know? More than just what's done with the face, I think full body balance is important. Body shape too; knowing when to lose weight is part of that balance. I think thinner is better.] - Are there certain mannerisms or facial expressions you find cute in a girl? [A sulky look, maybe......] - Doesn't that face usually come when a spoiled girl doesn't get what she wants? [No (laughs).] - tetsu-san, when you think someone is cute, do you tell them "You're cute" at all? [I tell them.] - Is that so? That's good. And then, once you find a girl you like, her fashion sense becomes an important point, right? [It does matter. When I look at someone, I hate seeing obvious brand names on them, and I don't like to see them carry easily recognisable bags or purses. From the moment I spot the brands, I turn a bit cold. Well, I don't hate brands, personally. I just refuse to buy anything too obvious.] - Then it's better not to wear that sort of thing, but still not look like you're poor. If you can do that, you can relax. [That's right. The concept is cheap (laughs). If you really think something is nice, then go ahead and wear it.] - (laughs) So, what kind of fashion do you like to see? [Nothing in particular. If it suits that person, then it's good. There's no need to buy imported brands, and it's ok even if it's not expensive. I like both pants and skirts. It's kind of hard to put into words... Clearly, there's fashion I like, and fashion I hate. Not konsaba (2), not gal (3) ... Ah, I got it! I think it's best if she looks good in cute overalls.] - That's pretty specific. [Before, at Prada in Aoyama, I watched a girl doing a talent show, and she was wearing incredibly cute overalls. I like clothes, so I can usually tell more or less where things were bought, but that time I was thinking "Where did you get that? Tell me!" The design, the shape, the colour, the fabric, they were all very cute. And it suited her. I don't know anything else about that girl, and it's been more than half a year since then, but she's burned into my mind. If she hadn't been dressed like that at the time, I don't think I'd have been so captivated.] - She left quite an impression on you, indeed. How about for personality? Which type do you like : someone talkative, or someone quiet? [I'd rather have a talkative girl. Since I don't talk much myself. I like people who have a lot to say. I'll talk if someone talks to me. That way we could have fun together.] - If you spot a girl you get a good feeling from, do you take the initiative and approach her? [Hmmm, that really goes case by case, doesn't it? Well, I guess it naturally happens pretty often. I don't persistently pursue a person or anything like that, though.] - Ah, I understand. So, have you ever had your life bogged down by a huge heartbreak, or any experiences like that? [I don't let it get me down, but I've experienced many heartbreaks. After all, I'm already 34 (laughs).] -Interviewer : Harada Sachi Translated by Natalie Arnold.

1. Valentine's Day is celebrated a bit differently in Japan, compared to Western countries. Only girls give presents, usually chocolate, to guys they like. A month later, on March 14th, the guys have a chance to reciprocate on what is termed White Day. Go back.

2. Konsaba is derived from the English word 'conservative' and refers to modest, body-concealing clothing. Go back.

3. The 'gal' style, also called ko-gal, refers to girls who go out of their way to look cuter and younger than they are. They often wear school uniforms in public, even past the age where they use them, modified to be extra cute. Heavy makeup is also common, as is following the latest hair trends. Go back.

Tetsugaku 20 : Mobile Suit Gundam

- tetsu-san, let's talk about Gundam. Do you remember when you first watched Mobile Suit Gundam?(1) [I think it was a rerun, or a re-rerun. Around fifth year of elementary school, I think? I was a bit late. In my class, they'd already been talking about Gundam for a month or two. At first, I made fun of them. "You know, it's a childish anime," and stuff like that (laughs). Actually, seeing the Gundam's colours left me cold. White, or blue, or yellow. How can that be a weapon? If it was, it wouldn't have those colours.] - That's putting quite a lot of thought into it, for someone in 5th grade. [I've always hated that sort of thing. Until that point, I hated robot anime. I made fun of it a lot. It's meant for kids, right? All the clanging while they piloted and stuff. And the cockpit was always where the robot's head was. There's absolutely no reason to put the cockpit there. It's childish.] - You were quite the cold kid. [I've always been cold, ever since I was little. Saying things like "Yeah, right. That's impossible." I wanted chogokin (2) too, but I kept pointing out that it was a toy. I wanted stuff that was closer to reality. At first, I thought I'd never get into Gundam. But everyone kept going on and on about it, and I eventually heard enough that it started to sound interesting.] - Anyway, the series is highly realistic. For example, at first Amuro(3) had to read the manual while piloting the Gundam. [It is kinda surprising that there would be a manual, isn't it? I said "Wow." Until then, anime had incomprehensible villains, like monsters and ghosts, right? And the characters all seemed to be Japanese. "How come it's full of Japanese people, except for that one random monster?" I thought, and I didn't like it at all. That was cold of me, wasn't it? But in Gundam, the villains were human, too. It was war. I thought it was completely different from any other anime before it. I got into it instantly. And then, running down the school hallways, there would be lots of "Jet Stream Attack, go!" going on. From me and two friends. "Jet Stream Attack!" then "Go! Ortega and Mash!" or something (laughs). Gundam has a lot of quotable lines, you know? There were lots of catch phrases, so we used them. "Gotcha!" or "You won't get away!" and so on (laughs)] - "That's something I won't accept," too (laughs). tetsu-san, if you had a Gundam, you would want Char's (4), right? [Yeah, Char's. I liked him from the start. At first, I liked his voice. Later, his way of thinking. Everything, I guess. About Char.] - Once, when you talked with Yasuhiko Yoshikazu-san, (he was in charge of character design for Mobile Suit Gundam), you said "I look up to Char, he's my model," correct? [Yeah. I said a lot to him. For instance, when I was lost, I asked myself "If Char were in this situation, what would he do?" My lucky colour is red, too. But I liked red even before I heard it was his lucky colour.] - That still covers the "Red Comet." You picked a colour you liked, and it was already lucky for you. Like it's luck was already taking effect. [I admired Char. But lately, I'm finding out that more and more musicians also like Char, and I've got mixed feelings. "Not you, too?" (laughs)] - Yet after continuing to love Gundam so long, you finally have your own original figures, tetsu-san! (5) [Isn't it awesome? I never would have thought it possible, back in grade 5. What would my old self think of this, what with Jet Stream Attack and Ortega and Mash and all? (laughs)] - Originally, was it Bandai that approached you about producing these figures? [Bandai came to me. A fan of mine had talked to Bandai about me. I've sent out lots of postcards about it, so they can see. It's all thanks to my fans.] - That's a wonderful story. How did you react when you first heard about this? ["Hooray! Finally!" and so on. But, it took about a year to complete. That was awful. Also, it was the first time I had to work with people who weren't in the music business, so it took time to make myself understood, because there were a lot of things that Bandai's staff couldn't really grasp. I get the feeling there are some things I tried to communicate to them that they still haven't grasped (laughs).] - That must have made the work difficult. [Yeah, it did. I wanted them to use more matted colours. They made the Gundam's blue parts and red parts a bit lighter, but I wanted the colours to be more muted. And make the markings silkier. But Bandai did do that. Hmm, I think I'm the only musician they've done a collaboration with. Just me. Linkin Park has a Gundam figure in one of their promotional videos, but Linkin Park hasn't done a collaboration. It's only me!] -Interviewer : Kikuchi Keisuke Translated by Natalie Arnold.

1. Kidou Senshi Gundam, known in English as Mobile Suit Gundam, was an anime released in 1979 by Bandai. It was so popular that it spawned many sequel series and movies, as well as numerous model kits representing the giant robots featured in each instalment. See GundamOfficial for more info. Go back.

2. Chogokin are metallic versions of model kits. Typically, the lower priced model kits will be made of plastic, but the higher priced ones are die-cast metal. These are the only ones referred to as chogokin, whereas the more common plastic model kits are called puramoderu (plastic model). Go back.

3. Amuro Ray, the main character of the series. Go back.

4. Char Aznable, Amuro's greatest enemy. Easily recognized by his trademark mask and red uniform. He was nicknamed "Red Comet" because his mobile suit is red. Go back.

5. The figures in question can be seen here. They come with a stand marked "tetsu toys" and were sold in big-name music stores. Go back.

Tetsugaku 21 : Neon Genesis Evangelion

WARNING!
This chapter contains spoilers for Neon Genesis Evangelion, both the TV series and movies. If you have not yet seen the series and plan to do so, you might want to save this chapter for later. If you don't plan on seeing it, you might want to read up on it nonetheless.

- How did you first encounter Neon Genesis Evangelion?(1) [I think that was a rerun too, just like with Gundam. They're on in the middle of the night, the reruns. It was the first rerunning. I think it was in the winter or spring of 1997. I ran across it late at night and said "What the heck's this?" (laughs). There's no way those things are angels, right? "What the hell? This is weird," and I kinda made fun of it. I didn't clue in to the fact that the Evangelion is a robot right away. Once I found out it was called an artificial human, I started to understand, including why those things were called angels, but when I was watching without knowing anything, I kept going "Huh?"] - You started from the beginning? [I must have. I happened to catch episode 1 or 2 and watched it from there, making the people around me get into it, too. Then, at a toy store, they had a figurine of Ayanami Rei. I spotted it and thought "Ah, it's Rei-chan." The show had already been popular for a while, but like I said, I was watching reruns. There really aren't many people who first saw it with the reruns. I only know three people who did, myself included.] - What was it about the show that captivated you? [Which aspects? ...... (L'Arc~en~Ciel's activities were on hiatus at the time) I didn't have much to do in 1997. I had nothing to do, and the company had told me not to go out too much. I always had to stay secluded at home. Also, even though I had nothing to do with it, what had happened was blamed on me since I'm the leader. It was the perfect time to watch Evangelion, since it synchronized with my mental state.] - Did you have a high sync ratio? [Yeah (laughs). I felt close to Asuka. I mentally dubbed myself into her place. That girl acts strong, but in reality, she's a fragile, nice girl. However, she won't let herself show weakness to others. But people can only see what's on the surface, so she can't help but be thought of as a selfish brat. I've had similar experiences, so I see myself in Asuka.] - When you think of Asuka, red comes to mind. Char is red, Asuka is red. [That's true, Asuka's red, isn't she?] - tetsu-san, is there a scene from Evangelion that particularly stuck with you, or that you particularly like? [Scenes I like... For the TV series, when Touji pilots Unit 05 (2), fights Shinji, and at the end you see the Entry Plug get crushed. Then, they show Unit 05's Entry Plug, and Shinji spots Touji and screams "AAAAAAH!" right as it ends. That whole scene. That's my pick. For the movies, Asuka's "I'll kill you, I'll kill you, I'll kill you, I'll kill you......" part. "I'll kill you," in an anime (laughs). It's awesome. Oh, you know Misato-san's blue Renault?(3) In some scenes the handle is on the right, and in others it's on the left. That's sort of annoying. "Make up your minds!" Also, it's in 2014, right? But they still have the same public phones as we do now. I thought "There's no way they're still gonna be using 1997's phones in 2014!" while I was watching.] - As usual, you watch with a cold eye. [When they don't bother with the details, it leaves me cold. For anything. But when it comes to Evangelion, I can call myself cold, but compared to some other people, I'm crazy about it. Especially since I've brought it up on stage.] - But of course, you kept supporting the series until the end. [Yeah. I went to see the movie three or four times in the theatre. I've bought a lot of merchandise, too. I even got up early to go buy the limited edition figures they were only selling at the theatre in Ginza (laughs).] - What year was it released, again? [It played in 1997, in the summer and fall. Also, L'Arc~en~Ciel's first comeback single, Niji, was touched by Evangelion.] - Is that so?! Was it your idea, tetsu-san? [Not really. The jacket for Niji has an Eva sort of sense to it, doesn't it? Also, in the lyrics, the phrase "Subete wa Shinjitsu to tomo ni aru" (4) appears. That was one of Kaji-san's lines that I suggested we use. Using that quote was a sign of respect, and it became a sort of motif.] - I see. I never knew that before! This has been a very interesting talk. [Really? I'd have thought everyone would notice. I wonder if anyone will lose interest when they find out?] - tetsu-san, did you run out to buy the Evangelion DVD box that came out recently? [Ah, that's right. It came out last March, right? But I already have all the laserdiscs and DVDs, so even if they have extras with the box, I don't think I really have a reason to go buy it. "You want me to buy it again?!" I haven't bought it, but I've heard a lot of talk about how it's worth buying just to have the case. I thought "Uh oh, I should go buy it," but they aren't selling it anymore. I searched a lot, but there's nothing. I might be able to find it in an auction, but that comes at a premium. I don't want to pay extra for it...... Aah~ I want it!] -Interviewer : Kikuchi Keisuke Translated by Natalie Arnold.

1. Shin Seiki Evangelion, released in English as Neon Genesis Evangelion, was an anime series by Gainax that originally aired in 1995. This site has a lot of information for anyone who has not seen the show, but familiarity with the series is strongly recommended since the discussion is too in-depth to footnote every mention. Go back.

2. This was a mistake in the original Japanese publication. It should actually read Unit 03 each time it's mentioned. See episode 20 of the series. Go back.

3. Her car, specifically an Alpine Renault A310. Go back.

4. This line translates roughly to "Everything is with the truth" or "Everything can be found where the truth is." The line is sung at the end of the second chorus, just before the bridge. Go back.

Tetsugaku 22 : About Love

- About love : is it something you think about regularly? [I do. Love...... Whether it's people or my work, love is what makes everything come together. It's something I feel coming from my staff, my parents and friends, and from my fans, too. But as an individual, I don't get much love. Love is all-encompassing; it's a big, important thing.] - I get the impression it takes a long time before you express your love, tetsu-san. [That's the case when it comes to my co-workers and friends. But it's not the same when it comes to women. Sometimes I can get quite lovey-dovey.] - How about with your family? [There isn't much to say about that. I only see them once every few months. And my mom isn't the type to call constantly, either.] - She doesn't say things like "Have you been eating breakfast?" at all? [It used to mean "Do you have enough money to afford breakfast?" but these days there's no need to ask. I don't think I'll run out of money for food any time soon (laughs). Really, I only call her when I need to.] - So it's a rather distant relationship? [Well, you know, I'm an adult, and a man. Even if we just wonder "I hope you're doing well," about each other, I still think it's love. Parents and children need to part, eventually. There are many parents who can't let go of their kids, right? I think once a kid is about 18, they need to let go. Even though it's tough.] - In order to become independent? [Yeah. They should at least pay to keep living with their parents. That way they'll have less of an adjustment to make once they move out and start living on their own. And they shouldn't keep living with their parents after getting married. By that age, parents retire, so the kids shouldn't still be bothering them. Be independent! Strike out on your own! That's how it should be. For businesses as well as households (laughs).] - (laughs) So that's the kind of parent you'll be in the future, tetsu-san. [I'd turn out that way. Besides, cutesy, goody-goody children go bad once they're big, right? Then they always rely on their parents to bail them out. Normally, the parents expect to die first. It's only human for them to worry about what's gonna happen to their kids after they're gone, but those kids should learn to be responsible for themselves, right?] - It's a compromise between love and dignity. [A certain degree of dignity is necessary. Otherwise, if you experience nothing but family life and school life, you won't be cut out for the working world.] - So it's a rite of passage. This is changing the subject, but have you ever had any pets? [I had a dog during all of elementary school. It was my parents' dog, but I don't have any particularly cute memories of it. I haven't had a pet since I've been on my own. It's because I'm away from home a lot. Musicians who say "I've got a pet," usually think it's good to have someone to live with (laughs). At least, that's what I've seen.] - Ahaha! Do you think you'd like to get a pet? [Yeah. If I were to get married and live in a house with a yard, I think I'd get a huuuge dog. See, if I were married, my wife would be there to take it for walks and look after it (laughs). No, it's not that I don't want to take care of it, but with the type of work I do it would be physically impossible.] - You don't think you'll get a pet as long as you live in an apartment? [Right. In an apartment, it would annoy the neighbours. Like by stinking up the elevator, or making lots of noise. My building doesn't allow pets, and I never thought I'd be getting one anyway. I'm not interested in getting a pet unless I have a house with a yard and someone to take care of it.] - What are your thoughts on love for a pet? [Lots of people buy pets lightheartedly, as if they were children, right? Going "Aaah~ it's cute!" without really thinking. I think that's just wrong. It's a living thing, so don't just buy it because it's cute, you know? You have to be sure to feed it, take it for walks, and clean up when it goes to the bathroom. In the end, pets that go to careless people get horribly neglected. I feel sorry for those pets.] - It really is irresponsible. [After all, love requires "responsibility." Not just for people or for jobs, it applies to pets too. They really do require a lot of love, so I think you shouldn't get a pet unless you're prepared to take care of it until the very end. I don't think I can handle all those responsibilities, so I don't have one. I haven't got enough love to spare. Right now, I'm giving all my love to my work.] -Interviewer : Harada Sachi Translated by Natalie Arnold.

Tetsugaku 23 : Songs

- You sang for the band you were part of during high school, right? [Just for fun. All of it was for fun, really. We did do a live show once. We didn't really have any songs to play, so we just did two or three covers. They were metal songs, so the key was high. I had to shout; it wore out my voice, so I thought it must be awful to be a vocalist (laughs).] - tetsu-san, your voice definitely isn't suited for metal vocals. [Right. Especially since I don't shout much, normally. I do everything I can to avoid straining my throat.] - Did you sing a lot when you were a kid? [Just humming, really.] - Did you sing at karaoke? [Karaoke was in around the time I was in high school, so I'd go on the way home from school. I didn't especially like it or dislike it. When I didn't feel like singing, I'd just hum along or something. It's only recently that I've started to like singing. I guess it's because I've done some for the band.] - You didn't do any singing other than with your high school band? [I didn't sing much. I didn't especially want to be the lead vocal. Back when I was putting L'Arc~en~Ciel together with hiro, we were having a hard time finding a good vocalist, and hiro said to me "tet-chan, you do the vocals," but that kind of worried me so I said "I don't wanna." (laughs)] - How come? [I've always thought writing lyrics was the vocalist's job. I'd never written any lyrics, and it looked like such a tough job to do (laughs).] - Since L'Arc~en~Ciel became active, as far as lyric writing goes, you've written provisional ones, right? And of course, you do the backing vocals. Even though it's not on stage, it's fair to say you do quite of bit of singing. [That's true. I like singing my provisional lyrics. I get a lot out of them (laughs)] - How so? [To describe a song I'm composing to other people, the fastest way is to sing my temporary lyrics. It's easier to communicate the song that way rather than with a synth or piano.] - Do the temporary lyrics go lalala? [Yeah, I use lalalas. Using random English words makes it harder to write the real lyrics. It's like it becomes all I can hear, so the random English becomes the real lyrics. In order to get a plainer feel for the song, I use lalalas. But it isn't all about the temporary lyrics anymore, I love normal singing too. Whether it's for lives or for recording, I've been asking "Wouldn't it be OK if I didn't just do back-up?" (laughs)] - When did you start to like to sing? [I really started to enjoy singing around the time I started my solo work.] - What was it that made you want to sing for your solo? [When my solo work came around, I figured solo meant that I would be doing the singing. I was definite on that point. I never once considered working with another vocalist. I was absolutely going to sing.] - Even though, formerly, you didn't want to write lyrics or do any vocals. [That was more than ten years ago. I thought I'd do something progressive for my solo work, so that's how it came about. That's the best way of describing it, rather than just saying I felt like doing it. I was never the one who had solo ambitions. I didn't have even the slightest intention of going solo. Up to half a year before my solo work started, I would have said there's no way I'll ever sing for a solo project. But it came around anyway. The other members wanted to do solo work, so I had the time, and I was so bored I needed to do something, so I started writing songs, and then I had to write lyrics for them, and so I wound up singing them.] - So then, once that process began, you discovered that you could enjoy singing? [Well, I already liked to sing, but little by little I got to like it even more. I think I became a good singer because of my work with L'Arc~en~Ciel. From doing the back-up vocals. I think I was a lot worse in high school. By doing back-up vocals at recording sessions, and doing them during lives, I must have naturally figured out how to do it well. Similarly, from being in the band, even though I don't practice with the drums, I've gained a degree of knowledge about playing them. If the rhythm is simple, I can play it.] - Doesn't that show you have an aptitude for it, tetsu-san? [No, I think anyone can learn to play that way. hyde can play that type of rhythm, too. I don't think hyde practices much, either. It's the same for me. Of course, I can't play anything complicated. But if it's a normal 8-beat(1), I can play it. It's something I don't normally do unless we're all together. Singing started out that way, but little by little I learned to do it well.] - So without realising it, you used hyde-san as a model? [People who are in bands doing back-up vocals tend to imitate the main vocalist's singing patterns, or at least that's what my voice trainer told me. When I had my first lesson, I was told "Wow, you sing exactly the same way hyde-san does." So the lessons started by building on the habits I'd already formed. That's also when I heard about that tendency.] - How did you go about picking up proper techniques? [We started with basic voice projection. I had never been taught the proper way to project my voice while singing before. My way doesn't quite agree with what my voice trainer teaches, so at first I had to adapt to another way of doing things, as if I were starting lessons from scratch. Once that was done, I could go on using my old habits.] - You went to a voice trainer because you were going to be doing solo work, and wanted to make sure you had the proper foundation? [Before I started the lessons, I had already damaged my throat a lot. The type of voice I used for singing in D'Ark~en~Ciel was really more of a shout, and it made me lose my voice, which was bad for my throat. It made me kind of anxious. Doing the vocals for all of my solo work meant I'd be singing a bunch of songs in any future lives. When I'm recording, I can take a break if I feel like it, whenever I feel like it, but that doesn't work during lives. I'd be singing for a long time, so my initial goal was to make sure my throat would last that long. That's why I went to a trainer for lessons.] - Have you been seeing results? [Yep. By the second or third lesson, my voice wasn't giving out any more. Now, I can sing for hours on end.] - You must be a fast learner. [No, I'm really slow. I keep messing up the most basic things. When I was learning on my own, I picked up some bad habits. Then, everything I'd done before was D'Ark~en~Ciel type of music, so I kept trying to sing with that kind of voice. I had the hardest time learning to use my voice correctly. But I've always been a bad student. I never do my homework (laughs).] - You have homework? [For example, we'd record the lesson on a tape or an MD (2), and I would be supposed to redo the same thing and bring in my own recording, but I didn't do it (laughs). At first, when I was asked to make those recordings, I did, but we never ended up using them (laughs).] - Are you not doing your homework because you don't need the practice? [No, just because it's a pain (laughs). Mostly because I let it pile up when I thought I was already good enough. Like, I was already good with pitch.] - Since you started singing for your solo work, has there been a vocalist in particular you've wanted to emulate? [No, I don't have any particular image in mind. For voice quality, I like Deguchi Masayuki-san's voice, from GRASS VALLEY (3). I use him as a reference when I find aspects of my own singing that need a bit of tweaking. Though really, I might have picked the people I use as a reference because we already sound alike. For example, if you have a short athlete who wants to become a professional, they'll find a short professional athlete to identify with, thinking they want to be like that person. It's the same sort of thing; if I can find someone who already sounds like me, that's the person I'll try to be like.] - I see. It certainly makes things easier. Now, tetsu-san, you compose your own music, write your own lyrics, and sing your own songs. Is there anything you've paid particular attention to as a singer-songwriter? [What do you mean? I don't quite understand.] - Let's take lives, then. What did you pay the most attention to? At Danger II (4), (Held at Budoukan in December 2003, this event was held by the company behind L'Arc~en~Ciel) you moved around aggressively even though you were singing. [I do move around a lot during lives. I'm an expert bassist, so I'm used to moving around holding my bass, but I wasn't sure I'd be able to move the same way as a vocalist. I talked about that with my voice trainer. During my lessons, I practiced moving while I sang. But, I was told "That's enough, this studio is already cramped with just us in it. Make sure you do it right at the show." That voice trainer came to the show, and praised me with "You've become a splendid vocalist," afterwards.] - If it were to go to a different event, would you see it differently? [I think I'm the type who takes every event seriously.] - How do you think your singing has improved? [Practically speaking, I've been taking lessons, so I can't help but accumulate lots of new tricks and techniques. I learn from my recording sessions, I learn from my lives, and then when I take a break I can look back and notice all the changes.] - Has singing songs gradually become more interesting? [Well, I don't really know.] - Some would say you've raised expectations. [I guess we'll see about that.] - Playing bass and singing songs : how do you think you'll be combining those two aspects? [I don't really know that, either. When I play bass, I'm holding and playing it, and when I sing, I'm looking past the mic and projecting my voice from my throat; clearly they're completely different things. Even if you were to point out similarities, I don't know how they can really be combined.] - Lastly, do you think you'll always continue to sing? [I wonder. I'm the type who doesn't like to say too much about what's coming up. I mean, right now, if I were to say I want to always sing and always stay with the band, I'm sure all the readers would be relieved. "Ah, then L'Arc~en~Ciel will never break up and tetsu-san will keep going with his solo work." I don't want them thinking that. I don't want to say much about the future because I don't know what will happen. Back when I was first starting up L'Arc~en~Ciel, I had no idea when our next live would be, so I learned to treasure each one of them and make them special. I've kept that perspective. I don't want to just be listened to. That's why I want to do as many lives as possible. I don't want people to say "I'm busy so I'll skip this one and just go to the next tour." I don't like that they always expect a next time.] -Interviewer : Hasegawa Makoto Translated by Natalie Arnold.

1. Music normally follows measures with four beats in them. This would usually be shown as 4/4 time. With drums, it is much more common to see eight beats in a measure. Since this is more common, tetsu has an easier time playing 8-beat time than, say, a 16-beat time. Go back.

2. MD stands for mini-disc, effectively a small CD. Go back.

3. GRASS VALLEY were a Japanese band active from 1987 to 1992. Their vocalist, Deguchi Masayuki, then moved on to solo work. See GrassValley for more information. Go back.

4. The 2003 show included as guests TETSU69, S.O.A.P., and Acid Android, as well as a special L'Arc~en~Ciel performance of Ready Steady Go that was included on the SMILE DVD. See the set list here. Go back.

Tetsugaku 24 : Recording

- Do you enjoy recording? [It depends on the studio. There are studios I could stay in forever, and there are others where I can't wait to be done so I can go home.] - What makes for a good environment in a recording studio? [It's best if there's a lot of space to relax in. Having a sofa is crucial. Sofas that are uncomfortable to sit and sleep on are the worst. Cause, sometimes I start thinking I'd like a nap, so I want to be able to get a good nap in at the studio. I don't lie down to sleep, I just sleep while sitting. So uncomfortable sofas tire me out. I guess that's a weird thing to be picky about.] - Is that because your work takes such a long time? [I can fall asleep anytime, anywhere. Hearing so much sound makes me sleepy, you know? Doesn't going to lives make you sleepy? (laughs) It's a great feeling, sleeping through explosion noises. I sleep a lot when I go to concerts. But, let's not talk about that (laughs).] - What makes recording sessions interesting? [The process of slowly, progressively giving shape to something new is lots of fun. Songs, they come from a variety of different sounds, but gradually turn into something entirely different. Even I don't always know what I'm going to contribute, but when it turns out even better than I'd imagined, it's incredibly fun. The same goes for when we do the dubbing for things I came up with myself, and then the other members give their input, new sounds go into it, and there's another transformation.] - Does recording go any differently depending on whether it's for L'Arc~en~Ciel or TETSU69? [For my solo work, I make 100% of the decisions, so things get done a lot faster. With L'Arc, there are four of us in the band. We each have our own songs, and I participate as the bassist, giving my own opinion, but it's comparatively not as simple. But our differences make it interesting.] - L'Arc~en~Ciel's first album 'DUNE' was released in 1993, over ten years ago. Have your recording methods changed over that period? [Technology has advanced a lot, and that's changed things, but I don't think it's only that. I think it feels different than it did back then. There were periods when we scrutinized everything carefully, others where we let it sound rough, we've had all sorts of different periods, so I think this is just another time around. If I had to compare, I'd say this one was simpler, probably.] - When you're doing vocals at a recording, what sort of condition do you have to be in? [For my physical condition, it helps a lot to get as much sleep as possible the day before, and right before the recording, I warm myself up, because that helps keep my body relaxed.] - Do you give yourself an emotional boost? [I wouldn't say I get very emotional, but being in the right mood helps me get my throat into the best possible condition.] - Do you like the lighting to be dim, or the mics to be set up a certain way, or have any particular preferences like that? [Not really, no.] - When you sing, do you let yourself get pulled into the world of that song, or do you take a more instrumental approach, or perhaps something else entirely [I think my approach is more instrumental, rather technical.] - How many takes do you need to record something? [The normal amount, I think. I don't use too many takes to record, but not that few either. Well, I think my voice sounds smoother in the earlier takes. After singing the same thing too many times, my voice starts to loose its luster, but that happens to everyone, doesn't it? But my throat is surprisingly strong, so I can sing for a long time and not get all that hoarse. Though, sometimes I can sing the part over and over and still not get a good take. Usually, I get a certain number of takes done, then listen to them all and select the one that turned out best. But lately, for recording, it hasn't been getting the takes that drags on, I think it's mostly been the editing.] - Could you explain some points about the editing? [That really varies from part to part, so I can't say there's any constant rule to it. For example, the vocal nuance from some part would fit better in a different part. It changes from place to place. Like, the pitch in this part will be a little high, but it sounds good, and the rhythm in another part would be better off standing out more. It all comes down to going through the song piece by piece and deciding what would suit that song best. I mean, recording a song is kind of similar to producing something in a factory. That's how I'd like to think of it (laughs). Of course, when listening to the finished product, that process isn't even remotely detectable, but that's because it's had finishing touches put on by professionals. Singing by getting wrapped up in emotions... that might not apply exclusively to Enka. Today's recording techniques, and post-recording too, have done a lot to raise the level of polish we can achieve. I think it's only natural that we constantly aim to produce better things. I think it applies to recording, too. If you think of it the same way as a live show, it won't work. I think a live performance and recording studio work are completely different things. Recording work is different from lives because you can try it over and over again, you can take your time, and if you don't like how it turns out, you can just start over. As long as you have the time and budget. You get the chance to build something. Of course, it's always possible that it'll be a rough process. With the help of technology, all sorts of creations are possible. It's not like lives, where you have to be able to apply your judgement every instant. You can sleep on it, then come back the next day with a better idea. That's what recording is all about.] - However, you also need the ability to judge which takes are good, because you'll have problems if you don't have that sense of what's OK, right? [That's right. In the end, I think it's crucial to be able to do it all over until I can listen to it without feeling like something's off. No compromises. Naturally, that means being able to listen to the piece from beginning to end without finding any worrisome bits, bits that need work, or bits that are no good at all. But before you can do any of that, you need that judgemental sense. You need to have a good ear, the same way you need an artist's heart to paint. It's not just a matter of using the right pitch for a given song. There are always cases where you might find that something a bit sharper or flatter works better. To fit the music, that is. Similarly, you can play around with power levels, handle your strings differently, modify your picking a little, and the sound will vary. If you want a certain part to sound stronger, you can try playing a little bit ahead of the rhythm, which speeds it up so it sounds cooler, but you can't do that without a good sense of composition and structure, and you also need perseverance. Because recording is a process that gradually evolves, you need to be able to change your methods. I think being an artist, giving such precise attention to every piece of work feels like Sennin's work secluded in the mountains (1). Because there's still so much to do after the recording itself. And there are budget and timing considerations too. And it can happen that as the song progresses, rougher bits turn out to fit better. It's like how you never want to eat nothing but French cuisine. Sometimes you want to eat junk food. If you feel like making junk food, that's what you'll be aiming for. That sort of thing happens with recording. That's why I don't think I get particularly wrapped up in the emotion behind a song.] - But once it is completed, don't you find yourself getting pulled back into the song because of the emotion being communicated through it? [Well, of course, when it's a human being singing, I don't think it's possible to never feel anything from it. But consciously, I don't think I quite get pulled into its emotions, as you say. The phrase "I love you" can be in the lyrics, but thinking "I love you" isn't the same thing as singing it. It doesn't mean as much to me.] - But for instance, if you were to sing "white snowflakes falling," and got a sad feeling from picturing a scene with that falling snow, wouldn't you expect that feeling of sadness to colour your singing voice? [No, I don't think that's emotion, but rather the power of language. The soul of the words. When a voice utters the words "white snow," somehow it brings the soul of those words to life. So I don't think its necessary to put any human emotion into singing "white snow"; it's enough just to sing it and the words will evoke that scenery on their own. That happens once the words are heard. The end result can accomplish that every time someone listens to it. Even if there was no emotional input while singing, those feelings will come through upon listening.] - So then, aren't you effectively saying you don't get emotional at all about what you're singing? [When Kitano Takeshi-san(2) makes a movie, I've heard that he doesn't explain what kind of acting he wants to see for each scene, but just tells his actors to perform. So actually, the actors just go along with the setting and do what they can without really knowing what he expects of them. When they get to see the results, they go "Wow, so that's what kind of scene it was!" Even though they didn't originally think their acting would turn out that way. Sometimes, I think that's a good way to go about things. Just going along with the sounds, instead.] - Because focusing too much on the goal makes it harder to actually reach. [But sometimes it can go wrong, right? If you purposely drift off, you'll start to mess up, and next thing you know you're singing Enka. And getting emotional isn't such a good thing when playing the music, either. It's like that for bass and for singing. But sometimes I'll space out, and next thing I know someone's telling me "OK, we're done." When that happens, even though I wasn't paying attention at all, I'm told "Wow, that was awesome." That happens to me a lot.] - It might be a state of self-effacement (3). [Somehow, whenever I talk about music, it ends up turning into philosophy (laughs).] -Interviewer : Hasegawa Makoto Translated by Natalie Arnold.

1. Sennin is a figure from Japanese mythology. He was a sage who lived as a hermit in the mountains and acquired the skill to perform miracles, as well as the ability to live forever. Go back.

2. Kitano Takeshi, aka Beat Takeshi, is a well known Japanese actor and director, and much else besides. See his IMDB page for more information. Go back.

3. In Buddhist philosophy, self-effacement is a state of being in which one's consciousness is "at one with everything" and able to glean more comprehension of the universe as a whole. Go back.

Tetsugaku 25 : Idols

[If I've ever had an idol, it would have to be Billy Idol.] - (laughs) Really? [Really. But my first idol was probably Julie (Sawada Kenji)(1). From back when I was in elementary and middle school. On the way home from school, I'd pass a place where they had movie posters on display. They had posters for 'Makai Tenshou'(2) with Julie as Amakusa Shiro on them. I remember thinking "Wow! Cool! I want that poster!" But they wouldn't give me one.] - Did you have posters of Julie in your room? [No, I only had posters of (Lambourghini) Countachs (laughs).] - Ahaha. What did you like about Julie? [Of course, it was mostly his appearance. I liked men who wore make-up. That androgynous style.] - Who were you interested in after Julie? [Tsuchiya Masami-san (3), I think. And after him, Duran Duran. Their looks were cool, and I liked the music, too. I liked JAPAN's (4) looks too, but I listened to their music and didn't care much for it.] - I bet you took a lot of those full-size portraits out of 'Music Life'. [Yeah, I did! And in 'Young Guitar' they had life size shots of guitarists' hands. I used to compare my own hands to those. But showing their actual heads...... that was a great idea (laughs).] - Later on, how did you progress? [In middle school, it was Oosawa Yoshiyuki (5). The first time I saw the PV for his debut single, [Kanojou ni wa Wakaranai], I thought he was really cool. I liked the song, too. Later on it was Honda Yasuaki. (6) The Kyoukyoku boy he played in [Nerawareta Gakuen] was cool~. And after that I got into Billy Idol.] - At last, the star's grand entrance (laughs). But doesn't he kind of deviate? From the rest. [He is a little different. But I think that's pretty cool, he's my "anti-idol." I thought the guitarist Steve Stevens was cool too. ....... Maybe I was more into him than Billy Idol (laughs). In middle school, I used to take a broom and pretend to play guitar like Steve Stevens. They're a matched set. After that, I didn't have any more idol-ish idols. I was never really the type to call myself a fan of someone, anyway.] - Didn't you ever have any female idols? [Not a single one. Anyone you could name, I hated. They're nothing but puppets acting like children. "You don't write your own music! You don't write your own lyrics!" I always thought.] - You didn't even think any of them were cute? [No, I didn't. I thought Kyonkyon (Koizumi Kyouko)'s type was cute, though. Asaka Yui, too. (7) But I still didn't like them enough to consider myself a fan.] - But tetsu-san, you don't feel the same way about idol products, right? [Ah, yeah, I do check out their products. Oh, I like Yazawa Ai's manga [NANA], especially the band with Reira, Trance. (8) I wanna see something from that~. If I get the chance, I'd like to make a band exactly like that one.] - That sounds very interesting. [But I don't want to do it if I'm not 100% sure there will be people listening to it (laughs).] - (laughs) Out of all the people we've covered during this interview, is there anyone in particular you'd still like to meet? [Not really. I don't think there's anyone I want to meet. That's all from the past.] - I'm sure there are a lot of younger musicians out there who have you as an idol, tetsu-san, and would like to meet you. What do you think of that? [Well, it makes me very happy. A lot of young musicians tell me "I listen to L'Arc all the time," or "My band does covers of you." I'm getting old (laughs). It feels kinda strange.] - How does it make you feel, knowing those people exist? [Let's see... I guess it feels cool, like I've really accomplished something.] -Interviewer : Harada Sachi Translated by Natalie Arnold.

1. Please see the old footnote from Chapter 05.Go back.

2. Makai Tenshou was an action/horror/samurai film from 1981, starring not only Julie, but also other big names of the time, such as Sonny Chiba. The title translates to 'Samurai Reincarnation'. This movie was also the inspiration for the video game 'Samurai Shodown' which was also made into an anime. Go back.

3. Tsuchiya Masami was a member of the famous techno-pop group Ippudo. Again, please refer back to Chapter 05 where they were first mentioned. Go back.

4. JAPAN were a British group popular in the 70s. They were an immense success in Japan, especially early on. Later, they did collaborations with many artists, some of whom were Japanese. More information can be found here. Go back.

5. Oosawa Yoshiyuki was a solo singer. As above, he was previously mentioned in Chapter 05. The song title means 'She doesn't understand'. Go back.

6. Honda Yasuaki was a rock singer who later became an actor. He was a rather versatile idol. 'Nerawareta Gakuen' translates to 'Targetted Academy' and was the name of a TV drama he appeared in, which aired in 1982. His character was the 'Kyoukyoku boy', a term that only has meaning in the context of the program itself. Go back.

7. Koizumi Kyouko, nicknamed Kyonkyon, and Asaka Yui were both actresses and singers. They mostly appeared in TV dramas and just a few movies. Go back.

8. The manga [NANA] features two bands in its main storyline, Trapnest (aka Trance) and Black Stones (aka Blast). Actually, TETSU69 later did a song for the NANA tribute album, which was indeed for Trance. Also, this manga is being made into a movie at the time of this translation. Go back.

Tetsugaku 26 : Early Childhood

- Do you remember anything about preschool? Also, did you walk to preschool from home? [No, I got a ride. On a bike.] - With your mom? [By my grandma, actually.] - How long did you go? [One year. Most people go for two, but I only went for one. I don't really remember, but I probably didn't like it much. So, I only went for the year right before I started elementary school.] - What kind of preschool was it? [A normal one. It was next to an elementary school.] - Was there anything from your preschool days that left an impression on you? [I had a friend who was really good at drawing. He was constantly giving me drawings of Mazinger Z (1). But I told him "Draw for me! Draw for me!" a lot.] - You were probably in a class play, too. [I think I was. I kind of remember seeing pictures of something like that.] -Interviewer : Toujou Sachie Translated by Natalie Arnold.

1. Mazinger Z was a children's robot anime, with your typical giant robot piloted by teen who must save the world from evil demons type of plot. The show ran in the mid 70s and inspired a few movies, like most anime aimed at children do. Go back.

Tetsugaku 27 : Elementary School Era

- When you were in elementary school, what did you want to be when you grew up? [Growing up... everyone has to be something when they grow up, right? We all need to get a job and live independently. The only thing I knew was that I didn't want to become another salaryman. Since the very beginning of school.] - What could have made you think that way? [Ever since I was little, I didn't want to have the same stuff as everyone else, I didn't want to look like everyone else, I didn't want the same haircut as everyone else....... I didn't like any of the big trends. Somehow, I did things differently. But I wasn't exactly trying to get attention. Actually, I'm pretty shy. But, for some reason, it was natural for me not to gently go along and agree with what everyone else said. I had different tastes, compared to the people around me. I wasn't choosing to be different so that I'd stand out, I just naturally always preferred different things. So I didn't want to have a job that followed that salaryman pattern, getting up at a set time every day, going to work, coming home at a set time, and repeating the same cycle every day until the weekend. I didn't have anything in particular in mind as a goal for when I grew up, but I was absolutely sure that I didn't want to be a salaryman.] - You said you weren't trying to stand out, but you also said you knew you were making different choices than everyone else. When did you first start being conscious of that [I noticed it in elementary school. My pencil cases, shitajiki (1), notebooks... I wouldn't use anything except the ones I liked enough to pick for myself.] - Did you choose what to buy for yourself at that age? [I can't say I shopped for myself, because at that age, your parents have final say in what gets bought, don't they? But, if I didn't like something, I'd say "No! Don't want that." (laughs) My parents, they were just glad I was studying. "This kid won't use what we buy if he doesn't like it, so we might as well let him choose." Sometimes, they'd buy something they thought I would like. I just wound up repeating "No! I'm not gonna use that."] - Did you go to school in a group? [Yeah. I walked to school with the other kids.] - What style was your uniform? [The top was a blazer. I think the bottom was shorts.... There were long pants, too, but I only remember wearing the short ones.] - Somehow, I can imagine that! (smiles) [I wore jeans, too (laughs).] - Whaaat? You went to school in jeans? [I think jeans were OK, at that school. I think as long as you were wearing the blazer, they didn't really care what pants you wore with it. Oh, and when I wore the jeans, I told everyone "I want you all to call me the undercover cop." (both laugh). And I always wore red underpants when I went to school. But my parents said "Don't wear that, it's too flashy." That made me upset (laugh).] - Why did you want to wear red underpants? [Because Toshi-chan (Tahara Toshihiko) (2) wore them on TV! (laughs) I must have seen that and thought "Red underpants are cool!" or something like that. But my parents said "No, it's too flashy," right? But it's not like there was anything in the school rules that said "You may not wear red underpants," so I was upset.] - I see. Did you enjoy the elementary school life? [Well...... I guess so (laughs). At that age, going to school every day is fun, isn't it?] - Did you start going to cram school (3) during that period, and do you remember anything you learned back then? [I did go to cram school. I think I went to two, over that whole period. I went to Kumon. Even though I thought "This is pointless," I went anyway. "All they do is pass out printouts! Easy cram school." (laughs) I mean, they just expected us to learn from printouts. All the teacher did was mark them. Really, really! (laughs) So even though I went to cram school, it really felt more like after-school playtime. I don't remember a single thing I learned~. The teacher was a hysteric old lady. I really didn't like her. But, I only went there for one or two years. The cram school I went to later on had a much better teacher. Did the job properly. That teacher put enthusiasm into teaching. Also, the school was run by just that one teacher. We got to hear a lot of stories that weren't related to studying. That made it more interesting. But, that teacher passed away. A little while ago. I kept going to that same cram school past the end of elementary school, into middle school. It was around middle school that I started wanting a band. When I was busy with band practice, I'd say "I've been kinda busy, so I didn't do my homework~" or something. But the teacher at that cram school really was a good one. That teacher even started calling me "Tamasaburou." (4) Because, I was growing my hair out and it was getting long. I must have looked so girly (laughs).] - I can imagine a voice saying "Tamasaburou, did you do your homework?" (laughs) [Yeah, yeah (laughs). No one but that teacher ever called me Tamasaburou.] - Going back to elementary school, when you went with your parents to buy clothes, did you choose everything they bought for you? [That's right. I thought that was the obvious way to do things. But isn't that how all kids are these days? When I see my nephews or my friends' kids, when they don't like something they say "Don't want it!" Even two and three year-olds do that, don't they? I think kids today choose for themselves.] - Now about your parents. Parents buy things for their kids that they would like if they were kids themselves. They imagine "If I buy this, they'll be surprised, they'll be happy," when they buy those treats. [That's just the parent's ego, isn't it? It's the same as with a pet dog or cat. If you decide to dress them up, it's because you wanted to. I think it's the same thing with the parent's ego.] - I see. So, what kind of games did you play when you were in elementary school? Boys like to make forts and things... [Yeah, yeah, I built secret bases! I also did rollerskating, and was in a gang of bikers, with bicycles.] - That's the first time I've ever heard of bikers on bicycles. (laughs) [We were the bicycle biker gang. And I was the leader! We took our bikes to the smaaaaallest alleys we could find and zoomed around as fast as we could. With lots of squeaky noises. ......That was kinda dangerous, wasn't it? (laughs). Looking back now, I don't think we had too many accidents. Still, we were pretty reckless. We mostly crashed into ditches and gutters. It was still a dangerous game, though. That's why I wound up with a ton of little injuries. I bled a lot (laughs).] - Where did you make your secret bases? [In the places where they kept construction materials, or in vacant lots.] - Did you keep your secret treasures there? [Yeah, I did (laughs). But I can't talk about it to anyone except that group of friends.] - Were you the type who was serious about schoolwork? [Not really. But there was a time when I was really fired up about studying. Around third grade. It was like studying became my hobby, at least for that little while (laughs). It was a short phase, but it was intense! I went through tons of pencils and erasers! Cause I was studying so much. During that phase, a new eraser would last me about a week. You could say it was my studying boom, that one moment in my life. (laughs)] - What was it that triggered your studying boom? [I'm not sure what started it, and I'm not sure what stopped it, either (laughs). But that could very well be the time I studied the most in my entire life (laughs).] - Summer vacation is longer for elementary schools, so they gave a lot of homework, didn't they? Did you do your homework and assignments at the times you were supposed to do them? [No way! Either I wouldn't do it, or I'd just barely do it. Or I'd cram it all into the last three days of August. That's how I was.] - Which subjects did you like most? For example, what did you think of phys ed? [I didn't hate it... but I did hate having to get changed for it (laughs).] - I thought you'd have been good at phys ed. [I had good reflexes, so I was one of the fastest runners in my class. And I was especially good at those floor exercises we did in gym class. There was a lot of gymnastics involved in those, right? Sometimes the teacher said "Go show everyone how it's done," to me, and I went up in front of everybody. I guess my form was pretty. For the vaulting horse, it wasn't so much my jumping, but rather my landing form that was nice, or so I was told.] - Even though you weren't taking gymnastics lessons? [Yeah. I guess it's one of my talents. It wasn't something I learned to do by practicing a lot.] - Were you on any class committees? [Only in high school. Not in elementary or middle school.] - One of the fun parts of elementary school is that they provide lunch. How was your school lunch? [It was good. But, I was pickier about food back then. Fish, onions, peppers... I hated bitter food, so I'd eat everything I liked but leave that part. But I had a mean teacher. After lunch, it's supposed to be recess, but that teacher made us stay in our seats until we'd eaten everything. I felt sorry for the girls who couldn't eat any more. There were always kids like that. But then again... was it really mean spirited? These days, doing something like that would cause trouble. But back then, lots of teachers did it, didn't they? Lots of teachers would be considered a bit crazy these days. I don't think today's teachers are better, but there used to be a lot of bad teachers.] - Do you remember what your favourite lunch was? [Curry noodles. I think I liked that.] - Oh, and where did you go for your end of elementary school trip? [We went to Ise.] - What kind of student were you, in the classroom? [The kind that doesn't stand out, probably. I didn't really want to stand out, but I guess I stuck out inconspicuously (laughs). I wasn't first, but I liked coming in second or third.] - Which of the anime you saw in elementary school left a lasting impression on you? [I hated [(Uchuu Senkan) Yamato]. I liked Matsumoto Leiji's [(Ginga Tetsudou) 999], but [Yamato] left me cold (5). I didn't get it. "This is stupid!" "There's no way anyone would do that!" I'd say (laughs). I liked the movie version of [999] more than the TV series. Other things I liked in elementary school was [(Dr. Slump) Arale-chan] and [Pataliro] (6). I loved those! Now that I think about it calmly, Arale-chan is my ideal woman!] - She's small, smart, has a sense of humour, and she's cute, too. [I have a glasses fetish, so I like girls who look good with glasses.] - Looking back on [Pataliro], it was a surrealistic anime, wasn't it? [It had gay characters way back then (laughs). But there were a lot of old anime like it. [Sasuke] and stuff like that scared me (7). I saw it in the early years of elementary school, so maybe it was just the theme music that scared me.] - What did your room look like? For example, did you have posters of idols you liked, or just wallpaper instead? [I had posters of anime I liked. But, you know, there really weren't any idols I liked.] - Did you have puramoderu for decoration? (8) [I had GunPura (Gundam Puramoderu) here and there, for decoration. I wasn't really collecting them, but I did end up with quite a few of them.] -Interviewer : Toujou Sachie Translated by Natalie Arnold.

1. Shitajiki are usually called pencil boards in English. They're boards of plastic, smaller than most sheets of paper, used under pages in order to have something stiff to write on. Often, they are printed with images, so some people even start shitajiki collections. Go back.

2. Tahara Toshihiko was an actor/singer who got his start fairly early in life. His official site has more information. Go back.

3. Cram schools, called juku in Japanese, are prep schools aimed at getting students better prepared for entrance exams later on in their education. At the elementary school level, they mostly focus on giving kids extra tutoring. There is no negative stigma associated with this tutoring. In fact, it's usually the smarter kids who take these lessons. One of the best-known juku in the world is Kumon, which has expanded its service to most of the globe. Go back.

4. Tamasaburou was the name of a kabuki actor famous for his convincing portrayals of female characters. The name has come to be associated with long-haired pretty boys, and many such characters in anime and manga are thus called Tamasaburou. Go back.

5. In English, Space Battleship Yamato. It and Galaxy Express 999 were both directed by Matsumoto Leiji and were quite popular series. Go back.

6. Dr. Slump Arale-chan was the first anime series to be based off Toriyama Akira's manga. Later, better known ones, are the various Dragonball series. Go back.

7. Pataliro was a romantic comedy aimed at girls, often credited with being the first anime to feature homosexual characters. Sasuke was a ninja anime that would have aired earlier than the other titles mentioned. Go back.

8. Puramoderu comes from the English "Plastic Model". They're those plastic model kits based on various robot anime. Gundam ones are probably the most common kind. Go back.

Tetsugaku 28 : First Love

- About your first love : what kind of girl was she? [First love......? What do you mean by first love?] - I mean, the first time you had a crush on a girl. [Ah.... Um, well, I don't remember~ (laughs). I think the first time I thought a girl was cute was back around preschool or elementary school, though.] - Did you have a crush on your teacher? [I had no interest in my teachers. Even the youngest teachers are at least in their twenties, aren't they? To me, at that age, a woman in her twenties was already an "old lady," you know? (laughs) I had no interest in those old ladies.] - Do you remember what kind of girl you found cute? [She was a short girl. Short was cute for me.] - Between elementary school and high school, behaviour towards crushes starts to change, right? Was it around then that a girl first confessed her feelings to you? [I got Valentine's Day chocolate. But, it wasn't really a confession, more like just a gift (laughs). In year four or five of elementary school, things don't develop beyond that, do they? (laughs) I didn't hate getting the chocolate. Also, I kinda bragged to guy friends "Check it out! I got some." On Valentine's Day, I forget if it was inside my desk or something, but I found the chocolate. When I brought it up, one guy who hadn't gotten any said "You bought that yourself, didn't ya?" (Both laugh). I said "Nope! See, there's a letter," and showed it to him (laughs). At the time, a lot of kids didn't get any chocolate. Only some of the guys did.] - And you were one of those few. [(Smiling and nodding) Yup!!] - Around that age, boys and girls start to get interested in the opposite sex, right? In the lower grades, most boys absolutely refuse to hold a girl's hand or anything like that. Were you that type of kid? [No, I wasn't. I was always perfectly fine with holding hands. There would be folk dances in gym class sometimes, right? Sometimes the girls would refuse to hold hands, too. If I was partnered with one of them, I'd just grab her hand and go "It don't mean nothing!" (both laugh). To me, holding hands was normal.] - So when you were partnered with that kind of person, you just went ahead and grabbed their hand. Boys like that are an incredible minority, but they do exist (laughs). [Guess so. I didn't like to just barely hold hands, where it's only the fingertips that actually touch each other. It's unnatural, isn't it? Personally, I thought "I don't feel anything special towards you. It's just holding hands." (both snicker)] - I seee~. Were you the type who would discuss love and relationships with your friends? Like a relationship counselor or something (laughs). [I played cupid sometimes. I liked doing that sort of thing. I guess I started doing that around middle school. I was a pretty good cupid, but it didn't always work out. I'd say "I'll go talk to her," but then it would be me who would end up getting closer. To the girl (both laugh).] - Then you weren't a cupid, but more like a devil (laughs). [Girls would come to me and say "I think OO-chan likes XX-kun," and we'd discuss it, you know? But then, I'd gradually start becoming close to the girl who came to talk to me. There was a pattern like that. ........ Does that mean I'm evil? (laughs)] - That could drive friends apart, eventually. (laughs) [I was the bad guy (laughs).] - Around middle school, guys and girls start to mix more...... [That's true. I went out with a girl who looked like Eru-chan from [The Kabocha Wine](1). And she was taller than me.] - What made you want to go out with her? [It just sort of happened. That's all (laughs).] - Well, that doesn't sound very mature~ (laughs). [No, really! I've always been like that (laughs). That's how it's been for everyone I've dated. It just happens. Either it happened naturally, or we were set up by friends. I date people I happen to notice, that's all. That's why when people ask "Do you really love her?" I don't know how to answer (laughs bitterly). It's because of my casual approach.] - I see. What did you do with girls when you were in middle school? [We had an exchange diary (laughs). We'd trade it after school. I kept it in the basket on my bike, or ask my friends to hide it, or keep it in my desk and make sure everyone else left class before me. That's how it was.] - What kind of things did you write in the diary every day? [Normal diary stuff (laughs). What happened today, and how it turned out. I don't really remember. But, writing in it ended up being a pain (laughs).] - Did you write "I love you" or any other love notes? [No, I didn't.] - Did you go to the movies for your dates? [Yeah, we did! We went to see [High Teen Boogie](2) (Both snicker). We went with another couple, though.] - Did you date any girls that you had liked first and confessed to yourself? [I've never confessed to anyone. Like I said, I just happened to date people naturally. But, I still remember everyone I've ever gone out with. I'm grateful to all of them. I'm where I am because of them (laughs).] - Did you still keep exchange diaries in high school? (laughs) [No, I didn't (laughs).] - Were you pretty popular in high school, since you had your band? [I don't really understand how being in a band makes anyone popular. Popularity had nothing to do with my wanting a band. I don't understand people who say "I wanna be in a band so I'll be popular." (laughs). Specifically, I was in a Dead End cover band, so only people who knew about them would get it, right? I remember a lot of people saying "Ew, I don't like this music." Maybe we would have been popular doing a BOOWY cover band. I didn't listen to BOOWY. Wanting to be in a band for the popularity, that never applied to me at all. It wasn't until I got into the music world that I found out "guys in bands are popular." So, I don't think any of the girls I dated in high school wanted to go out with me just because I was in a band.] - What did you do for fun on your dates during high school? [We went to arcades, or to the park, or to the movies. And shopping! We'd go shopping for clothes together. And sometimes we went to concerts, too. Since we had the same interests, we could have fun together. On our dates. So, my high school girlfriend was a huge fan of Dead End, too.] - You were together because you had the same interests, then. [Liking Dead End was the biggest factor (laughs).] - Of course, she must have come to your live shows, right? [Yep. She put my stage outfits together (laughs brightly).] -Interviewer : Toujou Sachie Translated by Natalie Arnold.

1. The Kabocha Wine was a romantic comedy anime from the early 80s. Eru-chan (or L-chan) was the lead female character. Kabocha means pumpkin. Go back.

2. High Teen Boogie is a Japanese movie from 1982. It seems to be a bit of a classic, and featured many songs, some of which are still occasionally covered by new artists. Go back.

Tetsugaku 29 : Middle School Era

- By middle school, did you know what you wanted to be later on? [In middle school, well...... I remember kinda wanting to run my own store. It would have been either a toy store, or a fancy goods store. Fancy goods, that has an old-sounding ring to it (laughs). I didn't want to be a salaryman, but in middle school I didn't have any other ideas besides maybe running a store.] - Was your middle school somewhere you could walk to from home? [I went on my bike. But, actually, I was close enough that I was supposed to come on foot, so I'd ride my bike halfway, find somewhere to park my bike while I was at school, and then walk the rest of the way.] - What kind of clubs did you join during that time? [I didn't join any. Just the go-home club(1). At one point, I did join the baseball club. I didn't have a choice. The soccer club had gotten disbanded. So I tried the baseball club, but I didn't go much. Soooometimes I'd say "I'm bored, maybe I'll go to the batting center," so I'd go borrow a bat from the baseball club. Besides that, I never practiced, but I was a great hitter (laughs). Even got home runs. When I did that, the teacher in charge of our club couldn't find anything to say to the guys who practiced to exhaustion every day. Since the guy who only showed up once in a while, for the hell of it, was hitting better than the guys who put everything they had into the sport. I must have been a problem for that teacher. Besides, I was already putting all my youthful energy into dashing home as soon as classes were over.] - What was your reason for rushing back home so quickly? [I actually don't really remember what I did when I came home (laughs). What I do remember is that a senpai, two grades above me in the same middle school, lived across the street. I used to go over there to play. I'd come home from school, dump my stuff in my room, and then head over there right away. Sometimes I didn't even bother going home after school, I'd just go straight there. And, ken-chan came over to that house, too (laughs). During middle school, me and that senpai and ken-chan hung out together. Around supper time, we'd each head back to our own homes, or something like that.] - When the three of you got together in that room, what did you do? [We hung out and listened to records. When something new came out, one of the three would buy it. We'd all listen to it, talk about it, then go "Who's gonna buy the next one?". With the three of us buying different things and borrowing each other's records, we got to hear a lot of stuff, didn't we? And we took turns going out to buy them. It was an effective way to use our pocket money.] - What was the new music you were buying back then? [Scorpions were huge back then. Micheal Schenker (Group), Whitesnake(2)...... That was a good time for heavy metal and hard rock.] - You could say that you are the way you are now because you had gone through that lifestyle of collecting and listening to music. [That has some truth to it. But I liked to listen to music even before that, ever since fifth or sixth year of elementary school. It was around middle school that I got into hard rock and heavy metal, though. The first time I touched an instrument was at that senpai's house. He played guitar.] - Was that the first time you were in a band? [That was in middle school. But that was just friends playing together rather than coming together as a band. The most we did was put on a show at the school bunkasai (3)] - How were your study habits during middle school? [Besides school, I went to cram school, and I had a private tutor. I guess that covered it.] - A private tutor! Did you get good grades? [Not really. I hardly studied at all, in middle school. But I had to get ready for high school entrance exams somehow, so my parents got me the tutor.] - I see (laughs). In middle school, you start new subjects, like English. Did you take much interest in learning English? [English, well, I hated my English teacher~ (bitter laugh). Since I hated my teacher, I ended up hating the subject, and I really regret that now. I wished I'd tried harder with English, so now I find myself wishing I'd had a better teacher. That school's English teacher was a person I couldn't accept anything from. Also, that teacher wasn't originally from Kansai, so I never got any of his jokes(4). It was a man. I must not have been very humane with him.] - Then, your teachers had a huge influence on whether you liked a class or not. [Absolutely. That's why I think people should think carefully before becoming teachers. How are you going to go about teaching?] - But before becoming a teacher, you need to take education courses at a university and successfully graduate in order to get a teacher's certificate. Furthermore, you need to pass the teacher's qualification test, and then find a school that has an opening. [You can get through that whole process just by studying. People can still become teachers without a shred of human personality! If you're a little brainy, you can probably get far by studying, but I think a lot of teachers do that and still fall into the "Not good with people" category.] - On the other hand, have you had any teachers that charmed you into thinking they were wonderful people? [My cram school teacher, and one of my regular school teachers. And my high school homeroom teacher was good, too.] - How was that impressive teacher from middle school? [It wasn't my homeroom teacher or anything; I hardly had any contact with him. But, he was interesting and came during recess, for fun. He was a male teacher, but he really fit in with the students (laughs). So much that we'd ask "Are you really a teacher?!" I liked that about him. He did lots of extracurricular work and clubs after school. Those activities were linked to classes, so everyone had to participate in something. Whenever that teacher was there, I went to club meetings (laughs). Like I was following him. I think it was in third year of middle school? That teacher started a volunteer club. When I asked "What's a volunteer club for?" he said "It's dumb! I really wanted to call it the 'walking club', but if I made a club like that, the other teachers'd be pissed off, so the volunteer club walks around town picking up trash. That's just what it's called. Really, all we do is take walks!" (Both laugh hard). So, I went for walks with that club every time. We'd pick a path for the walk, like around the school, or to the train station. And if we happened to find trash along the way, then soooometimes we'd pick it up (laughs). The teacher said "That's good enough!" (both laugh). Great volunteer club, isn't it?] - Was your middle school uniform a normal school uniform? [It was. I wore the short jacket. And slim pants. I was picky about that.] - I can imagine (laughs). What about your bag? [It was thin, but didn't always look that way.] - Of course, you didn't take your textbooks home, did you? [I left them all at school, probably (laughs).] - Where did you go for your end of middle school trip? [We went to Kyuushuu. On the Shinkansen (5). We stayed next door to this lady's house. She came over to talk with the girls, saying things like "It looks like XX has a crush on ya." (both laugh) "Whaddya mean?" "Well, it's hard to explain..." and so on (laughs).] - What were you like in class, during middle school? [A plain kid. I didn't stand out.] - Was bullying ever a problem for you? [It was never anything serious, but I did get teased a bit.] - Do you think bullying in schools had a different meaning then compared to how things are now? [I think serious bullying was a problem then, same as it is now. But at my school, we never had a problem serious enough to lead to someone's death.] - Would you say it was a pretty severe era for school violence? [There was some regular violence in my school. It was normal to see broken windows. I contributed to some of it, actually. But, I've been on the receiving end, too. Looking back now, it really wasn't much. But, the way it happened was that a group of people ganged up on me, specifically intending to pick on me. I don't think it was all that unusual. I guess it can't be helped. So, I don't think there's been much change since then in the degree of violence and bullying that goes on in schools. I think the shady stuff that happened back then still goes on these days. Anyway, I can't say I've never been picked on. I did some bullying, and on the other hand, I got bullied. Maybe that's part of what makes people stronger....... That's why I can understand what both sides go through.] - These days, lots of kids suffer because they get picked on. Now that you're an adult, are there any words of advice you could offer them? [Hmm...... First of all, don't ever consider suicide. Taking your own life is the one thing you should absolutely never do. Maybe your situation seems so horrible that you're contemplating doing that, but even so, you absolutely cannot give up and die.] - So your message is that no matter how bad things get, never commit suicide. [There are always excuses for why bullies pick on people, and there are reasons why their victims are the ones being picked on. I can't offer any explanations for it, though. I really think bullying is a case by case thing. Some kids will kill themselves anyway, even if you say "Don't die over something this trivial." Other people get the same treatment and only go as far as saying "The bastards doing this to me are too cruel to be called human." It's case by case, so I don't think it can be solved so simply. Still, I think you should never go as far as taking your own life.] - That goes for everyone, not just people who get bullied, right? [That reminds me, I saw something on TV about bullies who actually killed someone, by lynching. The victim's parents were on TV, too. There were a lot of people involved in the incident. Those kids are adults, by now. They committed murder, but since it happened when they were underage, they can live a normal life, going about their business as if nothing had ever happened. But that means they're going about life without having had to make up for what they did to that kid; they didn't even have to present themselves to his butsudan (6). The assailants' parents moved on, too. Their excuses were even worse. "It's already happened, so there's nothing we can do about it," they said. That's what they said to the victim's parents. "Your kid will have another life, now. Don't keep bringing up the past and dragging our kid down." And they just murdered someone, didn't they? Can you believe that?] - I would have to say that's crazy. [So, if the parents are like that, it figures they raised that kind of kid. The parents were responsible, and so were the teachers. They didn't raise a human being. That's why I think you shouldn't have kids thoughtlessly. Honestly, don't have kids if you aren't going to dedicate yourself to raising them. I don't think unprepared people should have kids.] - In reality, it's difficult to realize the extent of the responsibilities involved in raising a child. [That's true. But I think that if you don't raise your kids properly, it'll come back to haunt you when they're older. When raising a kid, I think their education until about age three is critically important. If you neglect that, there will be a cost, and I think it will manifest itself in that child's future life. I think that if I were ever to become a father, I'd shower the child with love.] -Interviewer : Toujou Sachie Translated by Natalie Arnold.

1. In Japan, middle and high school students have tons of after-school club activities available to them. These can range from sports to student politics to volunteering and even more. Almost every student joins at least one club. Those who choose not to are said to be in the go-home club, because they go straight home after classes. Go back.

2. All these artists were mentioned and footnoted back in Chapter 05. Go back.

3. Bunkasai, which translates as "cultural festival," is a yearly event in Japanese schools. Students put on shows, either with friends, with their clubs, or with their classmates. People living near the school are invited to attend and enjoy the student's shops, decorations, and performances. Go back.

4. Kansai, the western side of Honshuu, Japan's main island, contains Osaka, Kobe, Kyoto, and many smaller cities. It has its own distinct dialect, which is especially prominent in Osaka itself. Also, it's often said that people from Kansai are better comedians than any other Japanese. Go back.

5. Also known as the bullet train, these incredibly fast trains can reach speeds of 300 km/h. They connect Tokyo to all of Honshuu and even to the north tip of Kyuushuu. Go back.

6. A butsudan is a Buddhist altar kept in one's home. They serve to commemorate deceased family members. Offerings to the Buddha can be placed there, as it serves as a place of prayer. Keep in mind that the Buddhist faith believes in reincarnation. Go back.

Tetsugaku 30 : Encountering Music

- Was there always music in your home, growing up? If your parents liked music and constantly had records playing, maybe that had an influence on you. [It wasn't like that at all. My parents were the kind of people who never listened to any music. They're still like that.] - Did you take any music lessons, like for the organ or piano or something? [No, I didn't. We had a piano at home, but I could never play anything beyond 'Nekohunjatta'(1).] - I think you would have been in fifth or sixth grade when when music programs like 'The Best Ten' were becoming popular. [That was earlier, actually. When I was starting elementary school, I watched 'Best Ten' every week. Rather than say I watched it, it's more like that's what was playing on our living room TV. I moved forward with music on my own, when I started listening to radio and buying records around fifth and sixth grade. Before that, I only heard about music shows when they naturally made their way to me.] - A lot of popular songs were very typical of that era. Of the popular songs you heard back then, are there any that left a lasting impression on you? [I like Sawada Kenji, Julie, a lot. That was probably around third or fourth grade. After all, his looks were awesome!] - Was the first record you bought one of Julie's? [I don't think I got as far as buying his records.] - Did you ever sing one of Julie's songs in front of an audience? [In elementary school, during a recess, I got up on stage and did a Julie impression (laughs). I didn't go alone though. A friend came with me.] - Did you enjoy your music classes in school? [I hated music class. Music isn't something you can appreciate that way.] - So, around fifth and sixth grade, you began to actively seek out music to listen to. What was the first music you had an opportunity to listen to? [It was probably YMO. Or Ippudo or something. They were on TV or radio; back then everyone listened to the radio, didn't they? And YMO and Ippudo were popular then, right? So of course, it was normal that their music would get to me, too. Until then, all the music I heard came from idols who were on TV alot, or from checking the hits on the radio. When I first heard YMO and Ippudo, I felt they were refined, or polished. Even though I was a kid. In terms of fashion, and of the music they made too, they still seem different from anything else out there, don't they? Then, around the start of middle school I gradually bought more and more records. That time was the New Romantics Boom, so that's the kind of music that was in. I listened to Duran Duran and stuff, I think.](2) - Duran Duran certainly were exemplary of that boom. Also, they were the most popular. [After that, there was a metal boom around the world. Ozzie Osbourne and the like would play regularly on 'MTV'. We had the L.A. Metal Boom, too(3). With Mötley crüe and Ratt and stuff. That sort of music was getting to be common, and it played on 'MTV', which made it more popular. I listened to that kind of music. That's what got me to listen to hard rock and heavy metal. At first, it was all western music, but then I found out there were Japanese bands like that, too. I got into Japanese metal, like Loudness, Earthshaker, or 44Magnum. Then, I eventually found out about the world of indie music, and started listening to some of that. That must have been around my first or second year of high school. Then I discovered Dead End. Dead End wasn't one of those popular bands that were on TV.] - Did you ever encounter any music that had more impact on your life than Dead End? [Not by a long shot. Knowing them has put me through more emotions than anything else.] - Do you feel encountering music has caused big changes in your own life? [It has. Once I encountered music, I started playing some myself, and that led to making my own music. And so, that's why I do this kind of work now. Of course encountering music changed my life. It's the one thing in my life I'm passionate about. The one encounter I feel so strongly about ...... I'm incredibly glad... that I can say it was music.] - Even though it was such a powerful encounter, you couldn't have known if it would ever stop being a hobby, if you would ever turn pro. What do you think it was that made things turn out the way they did? [A little effort and luck. It's probably a bit different than in sports. There, you can probably make it on pure skill. But in music, skill alone won't be enough to make you a pro. Being cool won't be enough. In the end, it's a question of balance between many things, especially talent and luck. Even if you're lucky enough to become a pro, you could get stuck with very controlling, restrictive people. I think that's where luck is most important.] - What advice would you give to people who are currently trying to become pro musicians? [Nothing. It's not like what you're dreaming about. How about "Give up"? (bitter laugh). It's just that if you don't have the skill, it'll be harder than getting into Toudai(4). Getting into Toudai, you can pull that off just by studying, studying, and studying, right? But with music, you have to practice and practice, even after you become a studio musician.] - It's about as likely as winning the lottery, right? The odds of success, I mean. [That's right. That's why I'm deeply grateful, even for the stormy parts (laughs).] - Hold on to that sentiment. [So, you know, I don't let myself get too wrapped up in ecstasy. It's the entertainment business. I'm extremely happy that I've been able to get this far with music. There are people I want to make music for, and that motivates me. I'm truly happy.] -Interviewer : Toujou Sachie Translated by Natalie Arnold.

1. Nekohunjatta means "I stepped on the cat". It's the title of a simple piano tune that serves as an easy piece for beginners. Go back.

2. All these artists were mentioned and footnoted back in Chapter 05. The New Romantics Boom was also explained there. Go back.

3. The L.A. Metal boom was thrash music, which is essentially any fast metal-punk fusion with no screaming. Mötley crüe and Ratt were typical of the style.Go back.

4. Toudai, short for Tokyo Daigaku, is the name of Japan's most elite university. It has an extremely difficult entrance exam, and only admits the brightest of high school graduates. Go back.

Tetsugaku 31 : Tobacco

- You don't smoke at all, right? [That's right. I never have.] - Isn't that rather unusual? For a man. Do you have smokers around you? [I do. Quite a few. Until recently, ken-chan didn't smoke either. He took it up about five or six years ago. ken-chan and I grew up together, and we've been in the band together for a long time, too. For the longest time we were the only two out of all the members who didn't smoke. Also, the drummer we had in the past didn't smoke, and neither does the president of the record company L'Arc is associated with.] - How unexpected. tetsu-san, does anyone in your family smoke? [Nobody smoked at our home.] - I suppose that must have been a large influence, right? [It might have been, but basically, I hate the smell of it. I don't even like perfumes. Especially since the scent of tobacco clings to clothes and hair, it really stinks doesn't it? I hate that.] - So then tetsu-san, you'd be a bit harsh with a girl who smokes, wouldn't you? [I fundamentally hate it. I don't think it's cool, and if I had a girlfriend who was a smoker, I'd want her to quit. Otherwise, she'd have to go smoke somewhere else, where I'm not around. Doing that would make it painful to be together. If she didn't quit, it would mean she likes smoking more than she likes me.] - But, I'd have thought that by the time you got to middle school, some of your friends would have started experimenting with smoking. Didn't they ever tell you "Have a smoke?" [It happened, but even though they said things like that, I just refused. Eventually, they got the message that "This guy don't smoke" and stopped asking. One thing I hated was how everyone hid their smoking. From their parents and teachers. I never saw anything cool about it, at all. Also, everyone who started smoking always said that it tasted horrible, right? I'd ask "Is it good? How's it taste?" and they'd say something like "I can't stand the flavour, but I'll smoke cause it's cool." To me, that was incredibly uncool. They were doing that just to look good. That sort of thing isn't cool, don't bother with it. So, I've never ever wanted to smoke.] - I understand completely. [And then, the school toilets would be full of smokers in hiding. Those guys were like "Hey, you smoke too?" to anyone who came in...] - Ah, so they were the Nobita-kun(1) type of kids, weren't they? [Yeah yeah yeah, actually, that's insulting for Nobita-kun (laughs). Yeah, and wasn't it mostly the kids no one wanted anything to do with who tried to be cooler by smoking? And then those kids were happy teacher's pets. But actually, they were smoking in secret. "The hell? You smoke too?" or something. Seeing that sort of scheme didn't make me think smoking was cool.] - There aren't many kids who see things as objectively as you do, tetsu-san. [That's not true~, there might be some who take the simple approach about what's cool. In some ways, I've been warped, and I approach things diagonally. There are things the world considers right that I simply don't agree with, and there are things considered cool that I simply don't agree with, either. Whatever it is, I start by questioning it. "Is this really cool?" "It it really fun?" I can only respond to things that make it through my personal filter.] - You've been that way since you were quite young, haven't you? [Yeah. I don't like letting people lead me astray. You could say smoking doesn't count as leading astray because people say it's alright, but try asking the non-smokers who have to put up with smoke. How many cigarettes does a non-smoker inhale just by being in the same room as smokers? Having the smell cling to your clothes, bags, and hair is bad enough, isn't it? And it's dangerous to walk and smoke. Right now, in Japan, the mentality is that the non-smokers should shoulder the burden, but I think it should be the other way around. Smokers should take non-smokers into consideration when they're going to smoke.] - You'd like to see more non-smoking areas in Japan, then. [That's right. I think that's the way developed countries are heading. It used to not even be prohibited in hospitals, right? It's nothing like that in America. A lot of Japanese think they're acting like Americans by smoking everywhere, but actually they're ahead in banning it. Right now in America, it seems not smoking is being promoted, so non-smokers are the cool ones. I think I'd like Japan to learn a lesson from America as far as that goes.] -Interviewer : Harada Sachi Translated by Natalie Arnold.

1. Nobita-kun is the main character of the incredibly long-running children's series Doraemon. The basic premise of the show is that Nobita-kun was so incompetent in life that his future descendants sent a robot back in time to help make him into less of a failure. Go back.

Tetsugaku 32 : High School Era

- What criteria did you use to choose a high school? [Nah, I just went. Educationally (laughs).] - What sort of clubs were you in once you started high school? [None. Just like in middle school, I was in the go-home club.] - What sort of changes were there in your lifestyle, going from middle school to high school? [I got more serious about wanting to start up a band. The rest didn't change. The "must cram" feeling got even stronger, in high school. It felt like I was constantly at cram school.] - You felt like high school and cram school were merged together, then. [I didn't spend that much time thinking about "school" in general. I remember wondering why I was supposed to worry about it so much. Education until middle school is required by the national government, but after that, you're free to choose whether to go to high school or not, aren't you?] - Certainly, that's the case for high school. [I decided on my own. Still, it felt like it was all cram school. Personally, I figured that since I chose to go to high school, I would stick with it until the end. Basically, I didn't think that I'd need what I was studying at all once I got out into the world on my own. Especially so during high school. So then, the reason I willingly chose to stay in high school until the end, even though I thought it was useless, was that I wanted to see if I had enough perseverance.] - It wasn't to test your learning abilities, but rather to test your perseverance. I don't think there are many people who go to high school with that kind of mentality. How did you come to think that way? [Because, if you go to high school and say "I hate this! I quit!", you'll find that once you start working in a business, there's lots more to hate. In school, it's still safe to say "I hate this, I hate that, I'm gonna quit,", but in business, I don't think you can do anything about it. Then as soon as you find something slightly disagreeable at work, you'll say "I quit!" right away. And then, you won't do any work. So, even though I hated high school, I stayed in just so I could test my own willpower and perseverance. For instance, if a teacher I hate says something nasty to me, and I can endure it, well, when I get a job somewhere, there will probably be people like that, there, too. I think that treating high school as training for that kind of thing is a good way to look at it. Lastly, when it comes to having graduated high school, I don't think you can do anything if you don't at least have that academic background, can you?] - I see. You made the decision while looking ahead at your ultimate goals in life. Then with that in mind, you started high school. What was your homeroom teacher like? [The homeroom teacher for my first class was a male. He was young, so he was close to our age, and he was easy to talk to. And he had a sense of humour. Without that, we couldn't have had fun, right? He wasn't the kind of teacher who taught anything out of the ordinary though, so after graduation I forgot everything I learned from him. In the end, it's the humourous teachers you remember more, isn't it?] - Did your homeroom teacher give you any advice about your wanting to start a band? [His stance was to neither discourage me nor encourage me.] - Since you wanted a band that badly, surely you must have met some opposition? [I didn't. There wasn't any, but some people did see me badly. "There's no way you're ever gonna pull it off," they said. When I used "I have band practice" as an excuse not to do something or go somewhere, the usual reaction was "That's totally pointless. You ain't gonna feed yourself with a band!" and things along those lines.] - In your high school days, did you still go to your senpai's house after school, where you, the senpai, and ken-chan would hang out listening to records? [By the time I started high school, we weren't doing that anymore, really. Senpai and ken-chan both went to a different high school. They were in a different grade, and they couldn't spend so much time goofing off the way we did in middle school. We each ended up in separate bands. With our respective school buddies. So, it was only occaaaaasionally that I'd play music with my childhood friends.] - Holding band practice and renting studios costs money, doesn't it? Were you already working part-time jobs by high school? [I was. In fast food. Making taiyaki and yakisoba (1). Japanese fast food places. I always followed a manual, so if you asked me to make some now, I wouldn't be able to (laughs).] - Your high school allowed part time jobs, then (2). [It was against the rules, actually (laughs). But my parents were the type to say "Get a job. Never mind their rules." (laughs). In the end, the Japanese constitution is more important than the school rules. As long as it's within the law, little things like breaking one school's rules don't really matter, do they? Would they have arrested me for that? In my family, we did things our own way. I think that might be why I go against the stream (laughs). I didn't do anything legally wrong. I didn't smoke, I didn't shoplift, I didn't even ride a motorcycle. I mean, I just had a job, and what about those guys who were smoking?] - Who were the members of the band you had in high school? [We had members who came from a different school. You know how they have amateur nights in live houses sometimes? I'd go to watch my friends' bands on those nights, when they played. I had lots of opportunities that way. That's how we ended up forming that band.] - By the way, what name did you use for that band? [Byston Well. I picked it. I took the name from an anime I liked. Anime fans will get it right away.] (3) - What kind of band was it? Both stylistically and in terms of people. [We were a group of four. The life of that band was doing covers of Dead End. We had a few original songs, later.] - Did you write any songs, back then? [I wrote a few tunes. But what I wrote was really second string stuff for this band. Strictly speaking, I had changed the band's name. At first, it was called Prisoner. Then, their bassist quit, and I joined the band. Until I joined, they had been doing covers of Reaction(4). And some of Sniper! too, but then I said "I like Dead End" and pretty soon we started covering Dead End instead (laughs). And, "Since I'm in now, wanna change the name?" Then I got the band name changed to Byston Well. In that band, even though I was the last member to join, I ended up becoming the leader (Both share a big laugh), before I knew it.] - You don't feel you took over the band, now do you? (laughs) [So anyway, our guitar player wrote songs. I still think they were pretty good. There really weren't many high school bands around who were playing original stuff. Around there, anyway. That band had good tunes, and good technique too. That's why I joined them. Until then, I thought I was going to have to manage my members. "You be drums" or something like that. But I didn't have to (pained laugh). "You guys are great doing what you've always done." That's what I figured when I met them. We became good friends. It started with "We're lookin' for a member" and "I do bass." And then a little while later we had a talk on the phone. "Our bass just left, so you wanna join?" was the gist of it. I went "Lucky~!" (laughs). Really, I was, suddenly finding a bunch of talented people, and doing a band with them. I think that was in first or second year of high school.] - Were the members classmates of yours? [Actually, they were a grade or two below. But when I first met them at a live house, I thought they were older. Cause they were so good. They were doing covers of Sniper and sounded exactly like them! I figured they were young looking university students. Oh, and they had blond hair, even (laughs). And they were using incredible equipment. I think the drum kit had a double bass; anyway it was an expeeensive looking drum kit. And the guitarist was using a Marshall (amp) too. Looking at that equipment, and at their technique, you wouldn't have thought they were in high school. I thought "They gotta be older," but they turned out to be younger (laughs). But I still felt lucky to get to join their group.] - And once you were in, before they knew it you were injecting them with your own chosen colours (laughs). [Yeah, yeah (laughs). Maybe that's why the members left (both laugh). Since they didn't like my way of doing things, two members left at once. The guitarist and drummer. So then, I got ken-chan to come be the guitarist.] - Wha! You were in a band with ken-chan back then? [Yep. But my asking ken-chan to come join that band wasn't the beginning of L'Arc (laughs).] - Is that so? That's the first time I've heard this story. [Yes! Well, I am telling it more politely than usual (laughs).] - But how did the incident where two members left at once come about? [Well, they'd been in a quitting sort of mood for a while before that. Before, there was sort of two-against-two atmosphere. Then they said "As soon as we're done here, we quit." The last thing we did was enter a contest, and we were the winners. We appeared in the next Kansai-Shikoku-Okinawa rally (laughs). And they put us on TV too. There was a misunderstanding concerning that. It was an hour long program, but in the end credits, they had a close-up of me, only (both laugh). Why did they use a shot of me? Don't they usually take close-ups of the vocalist? But instead of showing our vocalist, they picked me. And they only did that to our band.] - It's impressive that you won that contest, and even more impressive that you got that close-up shot. [Anyone who saw it must have wondered who it was! (laughs)] - Yes, yes, I understand your feelings. ["They're turning me into a representative of Japan, next they'll be wanting me to go to the World Cup."] - Suddenly, the topic jumps to soccer (laughs). [Well, soccer's a good example, since you can get the same sort of misconception. "Without doing much work, you can somehow get turned into a pro." In the end, no one's going to be cheering (laughs). That's the misconception. I think I'm happy with the results, though. If we had really become pros that way, I think we would have ended up as rotten people. Besides, none of us had been serious about becoming pros, yet. But looking back on it now, the people who'd been doing the image editing were incredibly good. That boy they did a close-up of turned out to be tetsu of L'Arc~en~Ciel (laughs). And so, once the contest was over with, the two of them left, our drummer and our guitarist, who had also been the main song writer, and then ken-chan joined us. And then we got a good, reckless drummer to join. They called him the local Higuchi Munetaka (5). After winning that contest, I wanted us to power up even more. With ken-chan and the new drummer there, we were able to pull it off ideally. Powering up the band. ken-chan was writing songs, so we started playing those, too. Somehow, a few songs from back then turned into songs that L'Arc used to do (giggles). Which songs, again? ........ They're songs we played a long time ago, and I've forgotten the titles.] - Wow! Do you really have songs from so long ago? [We do. That band was the prototype phase. Then ken-chan had to go off to school, so he quit. Left that band. It's not that we had serious discussions about him quitting or not, I think it was just that he was going to be busy with school (laughs). And that band was just a hobby. So, we changed guitarists again. I think we went through two other guitarists after ken-chan, and neither one was any good at writing songs (bitter laugh). That's how it was. Since it was necessary, I wrote a few songs, too. That was around third year, or maybe right after the end of high school. "I could write better songs than what he's making." That was my first opportunity to write songs. Until then, we were doing hard rock, heavy metal music, so in my view writing songs was something the guitarist is supposed to do. On most of the albums I was listening to at the time, the guitarist wrote the music. Though sometimes, one or two songs on the album would have been written by the bassist. But I always figured those were on the part of the album that no one cared about (both laughed). That's generally how it was.] - How did you go about writing that first song? [I started with the guitar riff. The first one I made went "Gaaga, gagagagah!" with the sound of a black metal riff. It was a crawly feeling song (laughs).] - When you composed that song, did you also write the lyrics for it? [I didn't. I thought that the vocalist had to write the lyrics, at the time.] - What happened to that band, later on? [Eventually, nobody wanted to play guitar for us. The music wasn't the same anymore. In terms of technique, we couldn't get anyone who played as well as our first guitarist. "No good." Naturally, we split up. After that, I decided I wanted to start a band from scratch and started looking for members. That would turn into L'Arc~en~Ciel.] - You said your band naturally split up. Was that around your high school graduation? [I think it was. A bit after graduation. I don't remember much of what happened. In the later days, we weren't doing many lives anymore. But when we did do lives, we pulled in a few customers. My face was well known, locally (laughs).] - Before you graduated, what were your plans for after high school? [Back then, I didn't have any specific goal for my future. Any sort of job, at least. I just remember that I didn't want to give up on my band. I still wanted to be in a band, so I graduated with the idea of being a freeter (6) while working on that.] - Then you mean that you went through your high school graduation without having any idea where you were going to end up working? [That's right. I was the only one who graduated in that situation (laughs). Everyone else had decided on a career, or picked out a school. I was the only one who hadn't decided anything. I'd had a part time job the whole time. So, after the ceremony, after high school graduation, I wasn't just working after school, so I put myself on a job rotation, so my "morning come-in time" would always change. That was the biggest change in my life after graduating.] - Since you were the only one with no plans for a career, didn't your teachers talk your head off about it? [They talked to me. My homeroom teacher never said anything, but other teachers said "There's no way you can live on your music. Try a bit harder. After graduating, you need either more school or a real career." They were always telling me things like that.] - What did you answer when your teachers gave you that talk? ["First of all, I can't decide right now what I want to do for a living. I'm going to be a freeter while I look for what I want to do, and that's good enough for me." is what I said. I figured if I found a part-time job I wanted to stick with, I'd do that. Or if I discovered something I wanted to study, I could go back to school. While doing that, I was also searching for new band members, and that's when I met hyde. L'Arc started up, and that leads us to the present (laughs) or that's how it feels.] - You can't suddenly skip to the present (laughs). When you were thinking about your life after high school, you had no interest at all in going the way of higher education and applying to university? [Hm. Somehow, I didn't like the idea of doing something that would have me living off my parents after graduating from high school. Whether it's university or trade school, the student life is pretty fun, isn't it? Calling yourself a student is a sweet title. I realised it would be the most fun, but I didn't think my parents would accept that explanation. And I didn't like the idea of them wasting money on me. But looking back on it now, I realise my parents probably thought that my being a freeter was worse (laughs). But even if I had gone to another school, I probably wouldn't have studied. And if I'd stayed at home, I'd have done nothing but band stuff. So I concluded that moving out and being a freeter was the best path, for me.] - You decided on your own that you would live as a freeter, but how did your family react when you first told them what you were going to do? [We're pretty laid-back at home, so they didn't say anything. But, if by age 23-24 I still hadn't reached any sort of conclusion about my future, it would be too late. Whether it's studying or getting a job, the older you get the harder it becomes. It was like "Make sure you decide what you're going to do with your life before you turn 23." Or something like that. My parents said that, and I felt age 23 was a good target. At the time.] - You weren't going to be a freeter forever, you had decided yourself that it was only for a set period. [That's right. .....To tell the truth, until graduation I had been thinking about more school.] - Ah, did you? [Going to school would have been easier. However, it was around then that my friend died. That's when I thought "No waaay am I going to another school." Also, once in a while I'd run into my senpai, who was in university at the time. When he told me "I think you should come to my school," I told him "No way." "I'm not going to waste my parent's money on it." And so, I gave up on schooling.] -Interviewer : Toujou Sachie Translated by Natalie Arnold.

1. Taiyaki is a fish-shaped pastry usually filled with sweet bean paste, though sometimes it can be made with other fillings. Yakisoba is a fried noodle dish that can include all sorts of toppings, but in plain form only includes noodles and sauce. Go back.

2. In Japan, many high schools have rules against students taking part-time jobs, based on the principle that these jobs can prevent them from spending enough time on their studies. Go back.

3. Byston Well is taken from the anime Aura Battler Dunbine. It's the name of the world where the series is set. Go back.

4. Reaction were a rock group active in the 70s. Sniper were a rock band from the 1980s. Go back.

5. Higuchi Munetaka was the drummer for the famous Japanese band LOUDNESS, who were referenced in earlier chapters. Go back.

6. A freeter is a strange engrish word that refers to someone who is not a student yet who has no real career path other than part time work, in shops and the like. Go back.

Tetsugaku 33 : Fashion

- You like clothes, don't you? [Let's see~, I do like them, but I wouldn't go as far as to say they're one of my interests.] - But you seem to be well aware of what looks good on you. [No, I just buy what I like. But the thing is, I don't make good use of what I wear, really. I have a habit of buying tons of clothes. As soon as I hand over my money, something a little different will catch my eye. Not a colour like black, but a rare colour. That's what I'm after when I shop.] - Speaking of which, when you were little, you must have been a trendy kid? [Well...... I ended up being trendy. People around me told me I was.] - Also, when your mom bought clothes for you and you didn't like them, were you quick to say so? [Hmm, yeah, that sort of thing did happen. Early on in elementary school? When I went shopping with my mom, I picked things out myself. By the time I started middle school, I was only wearing what I chose for myself.] - What kind of clothes did you like when you were in middle school? [I don't think it was that different from what I like now. Pop-ish things, cute things. Well, the times have changed, so different things are out now, but the style of things I like hasn't changed. I was flashy, in middle school. Leopard prints, animal prints, I had lots of those. And fake fur coats and jackets, too.] - You certainly made a gorgeous middle schooler (laughs). Did you wear rubber soles back then? [In first year of high school.... or third year of middle school? They were expensive for me, back then. So, I wore battamon ones, not George Cox ones or anything like that(1). You know, if you only have one of the real thing and you wear it every day, it'll wear out fast (laughs). Genuine rubber soles wear out really quickly, believe it or not. Battamons take longer. Their soles are made stronger.] - Oh! I didn't know that! You used your allowance to buy those, right? [That's right. I didn't have anything but my monthly allowance, basically. I'd save my New Years gift money, then get by on that. Oh, and I worked a little, too. I did some newspaper delivery.] - When you were that age, tetsu-san, was anyone a sort of fashion leader for you? [I guess the first were Duran Duran? During the New Romantics phase(2). That was in middle school, first and second year. By the end of second year, I was in a band myself, and I was into hard rock and heavy metal. I wore tons of skin tight, slim pants. It was the style, really~. Glam (rock) style.] - Now you aren't caught up in those things, you have your own original fashion sense. [No, that's not right. Its just that the brands I like change with each era, just like what's popular in the world changes. I think that's more or less it.] - Do you keep up with what's popular? [I wouldn't say I keep up, but to a certain degree I have to read up on the era, so I think I want to know what's going on. It's not that I actively work at it, at knowing what's going on; I make my own choices.] - Then... please tell me more about how the brands you like have changed. [Let's see, when I was in high school, Hysteric Glamour (3) was a big thing, I rather liked it. And Vivienne (Westwood) (4) too. But it was expensive for me, in school. Then, my early 20s were bad, weren't they? Luna Matiino, Arrston Volaju, Gaultier and so on(5). Expeeeensive foreign stuff. All black, dressed like a host or something (laughs). In my teens, I had an eye for expensive things, even though I couldn't buy them. Once I had a chance to dress like that, I started liking more casual clothes. I went back to Hys and the like. For the last two, three years, I've liked Number (N)ine, UNDER COVER, Dior (Homme), RAF SIMONS, D&G (6). And of course Vivienne. That sort of thing~] - It seems you've gone back to taking it lightly, now, compared to high school. Do you still have any of your old clothes from that time? [I kept some things. There are clothes I bought ten years ago that I still wear once in a while.] - Do you think you'll always buy the same kind of clothes as you do know? [Hmm, I don't think ahead like that. I think I'll just pick out what I like at that particular time.] - What do clothes mean to you, tetsu-san? [The way I see it, wearing clothes you like is a way of bracing yourself. It affects your mood. Even though it's said that "Appearances don't determine a person," it's a fact that a lot of the time, you're judged on how you look at the moment. For example, you can be sloppy on the inside, but if you dress yourself up a little you'll be seen as a neater person (laughs). As an unexpected twist, I think that's a good thing when used effectively.] Interviewer : Harada Sachi Translated by Natalie Arnold

1. George Cox is a brandsof shoes. George Cox is a more internationally famous brand. Battamon is a Kansai dialect word for an imitation product, meant to cheaply replicate a brand name. Go back.

2. The New Romantics Boom and Duran Duran were first footnoted back in Chapter 5. Go back.

3. Hysteric Glamour is originally a Japanese brand, started in the mid-80s, but is now popular overseas too. They make glam punk type clothing. Go back.

4. Vivienne Westwood is a British brand named after it's first designer, who is moslty responsible for starting modern punk and new wave fashions. Her fashion, jewelry and perfumes are very popular around the world. Go back.

5. Luna Matiino was a brand of men's clothes, typically worn by the long-haired gothic type. It doesn't seem to exist anymore. Arrston Volaju is a Japanese brand. Gaultier, short for Jean-Paul Gaultier, is a French designer. Go back.

6. Number (N)ine is a Japanese brand. So is UNDER COVER. Dior Homme is French. RAF SIMONS is based in Belguim. D&G stands for Dolce & Gabbana, an Italian brand. Go back.

Tetsugaku 34 : Osaka Era

- After graduating from high school, I understand you immediately started your search for band members while working part time jobs. Was that period difficult, in terms of lifestyle? [No. Not really. I had all sorts of jobs. I went to band practice at night, and other than that, I was always working, so around then...... I had money. So, I don't remember much hardship (laughs). It didn't feel like I was a poor guy (laughs).] - What kind of places did you work at? [Record... no, CD stores, these days. And a variety store that sold lots of accessories and things like that. That was a really interesting shop. All the employees were either musicians, or they were girlfriends of guys in bands. Nobody else worked there (laughs), so that store was a little different.] - It seems it drew in music lovers. How did you come to have the opportunity to work in that eccentric shop? [That was because the CD shop I had worked in before was in the same fashion mall as that variety store. Saying fashion mall sounds so old (laughs). The stores were close to each other, so I met the other employees, knew who they were. That sort of thing. But eventually, fans of my band started coming to that CD shop and that variety store. So after a while it got a bit hard to work there. I worked away from the customers for the last two or three months. Going to factories, or killing time changing the light bulbs (Both snicker). It was all just to cover my lifestyle expenses.] - Killing time by changing the light bulbs (laughs). You said you worked to finance your lifestyle, so wasn't it hard on you before, when you had to work in places that didn't have any relation to music whatsoever? [Well, when I could get away with not working, I didn't work. I always wanted to sleep, or goof off. But I had to make enough money to live on, so I worked.] - When you worked in the CD shop and the variety store, you did customer service in both, right? When you actually did that sort of work, was it harder than you had thought it would be? [It wasn't any worse. I'm short tempered (laughs). I had lots of fights with the customers who came to where I worked. I never forgive a shoplifter. If I spotted someone shoplifting, anyway, I'd chase them down and drag them back yelling "The hell you doing?!" (laughs). But seeing how things are now, I wouldn't be allowed to do that, right? That's a slap in the face.] - Why did you feel so strongly about shoplifting, to the point of putting yourself at risk? Of course, stealing is wrong, but as a part-time employee, you could have thought "What a pain..." and pretended not to notice. Yet, you wouldn't let yourself do that. [Yeah, but, if merchandise went missing, it's us who'd get replaced. For instance, at the CD shop, I think these days they manage everything by computer, but when I worked there during high school, they didn't have computers, so we had to wrap the CDs individually in transparent bags and put a card in. That card had all sorts of fine print on it. If we lost it, we had to start writing up the card from scratch again, and it was just awful. We had to write it correctly. It was even worse when we didn't realise something was missing, because we couldn't always order more of that product. All that happened was that when we took inventory, the numbers didn't match up. Anyway, when I had those jobs, shoplifting pissed me off. So whenever I spotted someone stealing, I dashed like mad, so lots of people got caught at that store.] - Like a hot-blooded thief killer. That's kind of cool (laughs). [First, if I spotted someone shoplifting inside the store, I'd loudly say they were gonna get caught the moment they left. Because some people try to dash out of the store and run away. Then I'd follow them and catch them. It was fun using teamwork to catch the shoplifters, too (laughs). The other staff, my friends, would keep an eye open and let me know "Ah! He's back!" or "They're about to leave!" We caught them by working together (laughs). Now that I think about it, work was pretty fun~ (laughs). Working at the CD shop and the variety store, I didn't only get to know the other employees. I ended up making friends with people working at the other stores in that fashion mall, too. Ah! That's right. It's not as amazing now, but, that CD shop had "The highest amount of Dead End sales in the nation," they said. Still, I worked there. And then, we even had MORRIE-san come by. Lots of musicians came, since that store was used as a stop on promotional campaigns.] - When you met a member from your beloved Dead End (1), how did you feel? Your heart must have been pounding. [Actually, the first one of them I met was (CRAZY COOL-)JOE-san. It was while I was working the counter in that CD shop. All of a sudden, he was in front of me (chuckles). Someone I'd thought "He won't ever come~" about, suddenly showing up in front of me. At the time, I said "I'm a fan" to him. And later, MORRIE-san came. And YOU-chan came into the shop when I was working the video concert section. I think that must've been the time I went out for drinks with YOU-chan (laughs). Since I was working in that kind of store, I also went to a lot of live shows and stuff. Once the show was over, I'd go backstage and get to know people. Of course, I went to see Dead End. sakura was backstage, too (laughs). Of course, we didn't know each other back then, so we didn't recognize each other. Then later, when we were talking, I asked "sakura, was that you backstage?" and he said "Yeah, yeah!" So even before we knew each other, we'd actually been in the same places.] - While you were leading this kind of life at work, you were also searching for band members. What kind of people did you originally have in mind, when you started that search? [Good looks, and also a certain degree of technical talent. That kind of person.] -Right from the start, you had atrociously high standards (laughs). How did you go about recruiting people who had those qualities? [I passed through all kinds of live houses. Then, I sounded out the people I'd gotten friendly with. And they introduced me to people they knew. Then, when someone caught my eye, we'd go to a studio and have a session together.] - You must have done that many times before you found the members of L'Arc~en~Ciel. Please tell me about how you found them. [When I first met the guitarist, hiro, we were introduced by Sammy-kun, from Billy & The Sluts(2). I don't remember how I got to know Billy, though. One day, Sammy-kun spontaneously came to the CD shop while I was working and said "Still lookin' for a guitar? Cause I know a good one." He gave me a memo with the kid's phone number on it. So I tried calling. That's how we met. And then, how did I meet the drummer, pero.......? Ah! I went to a Zi:KILL(3) live. To watch the show. I was arm wrestling backstage with other band guys, when I mentioned "I'm starting a band, myself." or something like that (laughs). I was always doing that sort of thing. When I was at that Zi:KILL live, one of the guys next to me asked about my band, and we started talking. We talked quite a bit, and he told me "The band I'm in now is breaking up, so I'm looking for a new one." It went like "What do you play?" "Guitar." "I'm bass." And we exchanged phone numbers. Then eventually, on the phone, we planned to meet up at a studio, right? I can't remember if I asked him or if he asked me. Anyway, we went to a studio. That kid brought another guitarist with him. They had the twin guitars, and they were looking for people to do the bass, vocals, and drums. That kid was. pero-chan came to that studio, too. A lot of different bassists and drummers showed up. We just played around a bit, that's all. Then we decided to come back to the studio another day. The next time I went, that kid had brought two people : pero-chan and hyde (laughs softly).] - You had gone to the studio for a session, and unexpectedly met hyde-kun. [Yeah. There were five of us at the studio. By then I had already recruited hiro into my band. Our vocalist was going to be a guy called MATAROU, but now he's the drummer for The Willard (laughs). He played drums for test-No. too. (4)] - From vocalist to drummer, that's quite a change (laughs). [He started out as a drummer, though. So, I got that group into the studio a few times, but things never really took off. Musically, and just in general. And then, hiro and I started saying "Let's go with a different band." I thought "You know, those guys who came to the studio, the vocal (hyde) and drum (pero-chan) are pretty good," so I talked to them. But pero-chan and hyde were already in a different band. So I went to see their show, thinking "Wouldn't they be better off working with us?" It was impolite of me (both laugh). Again, I said "Come join my band." Until that band was over with, hyde couldn't say "Okay." It was hyde's band. Even if he had joined us, there would have been too many things to organize and plan for. But then, after many months, we finally got together. Me, hiro, pero-chan and hyde came together with the name "L'Arc~en~Ciel."] - Naming your band L'Arc~en~Ciel, that isn't exactly something that jumps to one's mind when it comes to thinking of band names. How did you think of it? [The four of us got together, and we had to think of a name before we could start doing shows, so we used the name I came up with. I thought hard about whether a simple name would be best or not. At first, I tried to find a simple name, but I didn't find anything that worked. It's long, but seeing it written out has an impact that makes it memorable. That's part of why I thought L'Arc~en~Ciel was a good name. With brands of clothing, too, intricate names work because they're recognizable. I felt that L'Arc~en~Ciel was a long word to remember, but I thought that was all right. Written down, "L'Arc~" jumps out at you, right? Because of the balance between the capitals and lowercase letters, and because of the "'" and "~" (laughs).] - I can see why you think so. Certainly, those symbols catch the eye. If you were to do things over, what do you think would make a good band name? [Hmmmm..... I still hear people say "Shell" (5) (Both laugh). Shell as in shellfish, or Shell as in the gas company. It isn't an English word, it's "Ciel" in French. The closest approximation of the French word would be "Sieru," and I don't think anyone would misread that as "Shell." But when you type in katakana, the "e" in the font itself looks small. Even when you make sure it's full-sized, it still looks like a small one. That's why even now, some people pronounce it "Shell." Isn't that incredible? We've sold millions of CDs, been on NHK's Kouhaku(Utagassen)(6) three times, and still people can't say our name right. Does that happen to anyone else?] - Probably not. [Why can't they learn the proper way to say it? It's kinda sad (bitter laugh). Just sad. We even made commercials about it, you know? We hate that enough to spend money on commercials, telling people that "It's L'Arc~en~Ciel," but they still say "L'Arc~en~Shell." Lately, I've found that to be annoying, but what can I do about it? (laughs). I try not to let it bother me too much.] - Now, when your activities began under the name of L'Arc~en~Ciel, you must have wondered what would become of this band, and if you would ever take it to Tokyo. What definite goals were you working towards? [Nothing. I didn't put much thought into it, at the time. Really, that wasn't until two or three months later (laughs). I guess just drawing lots of people to us at live houses, that sort of thing.] - How did it feel when the four of you first started making music together? [Well, everyone's technique was at a level that exceeded my standards, so I wasn't worried.] - Did you feel a premonition that this band was going to become something incredible? [No, I don't remember any. But this was more than ten years ago (laughs).] - Back then, who took care of booking venues and the like? [Me and hiro. hyde made the fliers and stuff. I made a few of those, too.] - Was it easy for you to mobilize everyone for live shows? [It was. Right from the start, we drew in crowds for our shows. Our first live as L'Arc was on May 30th, 1991. We came on after another band, but about 130 people came in just to see us. From the next live onward, we always managed to bring in at least a hundred people. Then, around October, we started doing shows on our own. Three hundred people came, then. In Osaka, getting that many people means you've got a reputation. Our reputation spread all the way to Tokyo, and major labels started approaching us around then.] - And it had only been half a year since your formation! How did you react when you started getting approached by major labels? [I was so thrilled~! I said "We don't want to go major." (laughs) Rather, we went out for fancy yakiniku(7), and once we were done eating, I told them so (Both laugh hard). "First of all, we have no intention of going major at the moment. We're going to make an indie album first. We want to see how far we can get on our own, and we can't find that out if we sign with a major label." That really is how we felt.] - You had major labels extend invitations to you, yet you went up to them and said "We're going to make a CD first, then become pros." You kept calm. [No, no. We hadn't put enough songs together yet. We weren't ready to make an album yet, at that point. I thought it was still too soon even for an indie album. Really, we'd only formed half a year earlier. But how long did they think we'd been active? We were giving out free videos at our gigs. At Nanba Rockets and Shinjuku Loft. We made Rockets into our homeground. Rockets had it's own label. For indies. They said to us "You won't leave, will you?" As we got to be better known, we never heard anything like "Well, we can't quite..." from the people at our homeground (laughs). We told them "Once we have a few more good songs, we're leaving," and took off from that place. But, they wouldn't give up. Next time, they said "Fine, why don't we put out a video for you?" and made us that offer. However, we didn't like the idea of selling things, so we said "We don't want you to sell anything, but if you make it a free video then it's okay," and tried to get away from them that way. They made a free video of one of our gigs. They were kinda restrictive, so it was hard to get along with them, in the end.] - So those were the circumstances behind the making of that free video. [Right. We didn't want it made at all. We absolutely didn't feel like we had to release something quickly. You know how you can feel "It's too soon" about normal things? Our music just wasn't ripe yet. We wanted to release something only after it was ripe enough.] - You had been approached by major labels. Had you come up with a vision of how your major debut was going to go? [No. It's not that I was avoiding the thought, I just wasn't thinking much about it. Besides, our music still had quite a way to go, so I wasn't looking that far ahead. Not even imagining it. And I was just in my early twenties.] - Moving on, how did ken-chan come to join the band? [That was later, as our music was just about ripe. We started talking about putting out an indie album, and we were going to do the recording for it. It was with a label called Night Gallery. That's who Dead End made their indie records with. So, I definitely wanted to work with Night Gallery (Both laugh). And then, right before we were going to do the recording, about a week before, our guitarist, hiro, quit. So I went to ken-chan, saying "My guitarist quit. Wanna join my band? We have a recording to do soon, so come on!" (laughs)] - So, he joined you when you were in quite an awful situation. But how did you invite ken-chan? [How indeed...... It was the day of our last live show with hiro. After the show, that was the day I called ken-chan! And after the show that day, at dinner with the other members, we talked about what to do about our guitarist. hyde knew about ken-chan, too. We'd talked about how I had someone like him for a childhood friend. I played a demo tape or something that ken-chan had made, and hyde said "ken-chan's pretty good!" So, we kept talking about it until the middle of the night. Of course, this was all before cell phones (laughs). ken-chan was an ordinary university student at the time, and if I'd called him in the middle of the night, he would've sleepishly said "I don't wanna," so I waited until morning. In the restaurant. Then, around 8 or 9 in the morning, I thought "He must be awake by now" and called him. "My guitarist quit, so do you wanna join? We have a recording to do," I told him. ken-chan was going to university in Nagoya, so he was living in Nagoya. Of course, we talked about how joining L'Arc = moving back to Osaka. "I don't think you can make up your mind right away, so think about it for a day or two before answering," I said. I called him back two days later. "Did you think about it?" I asked. "I know. Let's do this together," is what he answered me with. ken-chan came back to Osaka. Before he got back, I tried desperately to find him a place to stay (both laugh hard). Then I said "It's settled, ken-chan."] - You had until he arrived to find a place for him. It must have taken incredible effort to pull that off. [I was looking for a place that was better than what I had! (laughs) For ken-chan.] - Just because you had such high expectations for ken-chan. [Actually, ken-chan had just about decided on a job, at that point in time. So, there were big changes going on in his life, probably.] - Such as deciding to join L'Arc. And so, ken-chan returned to Osaka. Did you go record that album as soon as he joined? [We started the recording. And we almost finished it. We worked on recording it until only the mixing was left to do. Lots of stuff happened before the recording, and we had all sorts of problems during the recording itself. Eventually, I started feeling rather anxious about putting out an album with Night Gallery, to the point that I was saying "I don't want to release this album." However, we had made plans to release a single before the album was supposed to come out. Then, the discussion turned into "The magazines are already printed. We paid this much for the advertisement. It's cost us this much for the recording we've done so far. What are we going to do about that?" But I kept saying "I don't want to release it." The company replied "Then, we will no longer deal with you. Send in an attorney." "If you are willing to pay for everything described in our agreement, you do not have to release anything, but otherwise we will retain the rights to sell it," they said. And so, we couldn't help releasing the single. Rather than have it be sold, I think I would have prefered to pay for everything in the contract, but there was no way we could pay for that. That must have been around October. Then they told us "If you do not have the remainder paid for by the end of this month, we will hold the rights to the album and begin selling copies." I had no idea what to do. Financially, this was in the range of two to three million yen. "There's no way we can pay that much. We might be done for......" This was on the 28th, 29th of October. I remember those days quite clearly. Especially one evening. I was at home, sinking into despair, when the phone rang. The phone rang, and I answered it. "This is Ooishi from Danger Crue (the company L'Arc is affiliated with)."] - Wow~! What incredible timing. Had you been contacted by Danger Crue beforehand? [Not at all. But, of course, I knew who Danger Crue were. I didn't know that this Ooishi guy was the boss, though, so I wondered "Who is this guy, anyway?" (laughs). Earlier, Matoba-san from 'Rockin f' (A specialised music magazine) had talked with me. Matoba-san and I had become quite good personnal friends. At the opening of the AION (8) exhibition hall, that Matoba-san asked me "Lemme hear your music~." There hadn't been a single L'Arc demo tape sold yet, so I had him promise "Make absolutely sure you don't let anyone else hear it," and I mailed one of our demo tapes to him. But Matoba-san did let other people hear it (Both snicker). Ooishi-san heard that tape, and called me, saying "I heard some of your music, and your sound interests me. Would you like to meet with me?" Me, I was just thinking "Lucky~!!" I said "Absolutely. I'll go to Tokyo in the morning." My car flew all the way there.] - Being able to say "This is it!" and have the insight to make that decision on the spot must also be a part of your talent. [That time, the day after the phone call from Ooishi-san, the whole band piled into my car and ran off to Tokyo. There, we explained everything about the situation we were in. We told them "We're in trouble." It turned out Ooishi-san was originally from Kansai, and so he knew Night Gallery's president. Ooishi-san worked everything out. Everything was smoothed over, and then we signed with Danger Crue.] - ...... (Speechless). Such incredible timing, coincidence, and luck. It really seems as though fate itself was changing everything for the better. [It was incredible. Dramatic. It was by amazing coincidence that I met the other members, and that we started this band together. Then, when we were in horrible trouble, we happened to meet Ooishi-san. Matoba-san, too. Even though I made him promise not to play that tape for anyone else, I'm glad he did (laughs). So many important coincidences. It's so dramatic!] - That kind of sweet coincidence makes for impressive drama. It can be felt that this band named L'Arc possesses a certain "destiny." [Doesn't it~? I really think we do.] - When you arrived in Tokyo and showed your face at the Danger Crue offices, what was your first impression? [First, Ooishi-san and Kadoma-san came out to the front office. They were wearing black suits, and drove the same Benz SL as now. I thought "Woah! Yakuza!!(9) They tricked us. This sucks!" to myself, at first (both laugh). Then, Ooishi-san asked us "Why don't we start things off with a meal?" I drove the L'Arcmobile, a little bucket of bolts with all of us crammed in, right behind that huge Benz. We were going "Now what? Wanna run away? Where are they gonna take us?" and stuff (Both laugh hard) the whole way there. And then, we end up at this totally normal family restaurant (laughs). It was called Forks. I remember. Anyway. Once we got there, Kadoma-san got in first. He was singing "Tatatataa~," taking small steps as he went to get us some seats. While he did that, we were waiting by the entrance to Forks, and I bumped into another customer. I yelled "Ah!" (his eyes go round, as if he's just heard a gunshot) and my eyes went wide. Seeing that, it's like "So they ARE Yakuza!" (Both crack up laughing). Kadoma-san was a celebrity. I'd gone to Anthem (10) lives and stuff, so I knew he was nicknamed "Death." "This guy is Death! He's Death!" I said. Then, during the meal, we explained our situation. We also talked about why we didn't want to release the album. Then Ooishi-san offered "Why don't you try recording the same songs over again?" That's how it went, which led us to recording it for good.] - Might you be talking about DUNE? [That's right (laughs). But just as we were getting ready to record the good version of DUNE, our drummer quit.] - After that, the new drummer you found was sakura-kun. [Right. In October, I was in Tokyo talking with Ooishi-san. We were planning to do the recording just after New Years. So, for the rest of that year we were rehearsing in Osaka. We were going to come to Tokyo after New Years just for the recording itself. At that point, everybody knew who sakura was. He was with Harem Q (11), as a support drummer for them, so I thought "Since he's not an official member, maybe he'd be willing to join us if I invite him." (laughs). I forget how I managed to find out how to contact him, but I gave sakura a call. We talked, and he said "I'll be in Osaka for two or three days helping out with this band, so let's meet up while I'm there."] - See, there's another marvelous timing coincidence. You called him and he just happened to have a show in Osaka right around the corner. It really is dramatic, how events played out. [So, four of us went to see that live. Me, ken-chan, hyde, and Kadoma-san. After the show, we went out for dinner and decided "First, let's try going to the studio together." And so, the next day, we went to the studio right away. If I remember right. We played together a bit, and everyone was saying it sounded good. Then we talked, and he said "I'm with you." From New Year's onwards, we were living in a Tokyo Weekly Mansion (12) and recording DUNE.] - Considering how much trouble you had already gone through, you must have been thrilled to finally finish DUNE, right? [Yeah, we were. We went through a lot to get that far.] - From the point where you started going back and forth between Osaka and Tokyo, like when you were trying to find your new member, didn't you think it would be easier to shift your base of operations to Tokyo? [Not at all. Cause, there was no point in doing that. As far as we were concerned. We weren't particularly trying to become pros. DUNE was released as an indie album, so whatever happened we could think "Wow, great," and then maybe think about the possibility of making a career of it. Releasing DUNE wasn't a specific goal, and I don't think we were talking about going major during the DUNE period.] - It wasn't one of your ambitions to work towards becoming pros. [During that phase, I personally wanted to make our situation a bit better. That kind of feeling, you know? That's how I felt. When we first formed, we could only have shows in tiny little live houses. So, then, I was thinking that it would be nice if we could get enough spectators to fill up an entire hall. For recording studios, too, at first we didn't have much money, so the timing was tight. And so, I wanted to be able to schedule more time at the studio to make better recordings. And I thought it would be nice to get a better studio, too. That's not really restrained to the music life, is it? If you live in a small place, you want to get a bigger place next time. I think it's the same sort of thing.] - Rather than run off with the first major label that caught your eye, you wanted to be sure of things, looking over each step carefully before progressing to the next one. [Like I said, I wasn't at all thinking that I wanted to become a pro. It was only when I personally felt ready to take a step up that I did so. That is how humans think, isn't it? I did realise that the way things were going, if I kept taking these steps, I would end up being a pro musician. I think humans are creatures who constantly seek to improve their own situation. I think that's what I was doing.] - Of course, every human being wants to progress. However, in the story of L'Arc you've told so far, the people you met, the unbelievable timing and coincidences, the way incidents were so perfectly connected, the result of it all led you to progress in ways that others cannot. It truly seems that above and beyond your own efforts, something else was at work. [I've always been lucky. I got as far as I did in life because of that "luck." Lots of luck, and the rest was effort. It feels like that's how I got where I am now.] - Ooishi-san called you with excellent timing, your fortunate meeting at the AION opening, it really does seem like luck is what ties all of it together. [But, like I said before, there's a certain amount of effort required, too.] - Concretely speaking, what do you mean by that? [To have Ooishi-san listen to that demo tape, and have him take an interest in our music because of it, I had to put together some bass work, first. I went to AION shows, and even to the opening of that hall. If I hadn't met Matoba-san from 'Rockin f' there, that demo tape never would have been passed along. There was luck involved in my going there, but I worked at it, too. To a certain degree, some people are lucky and others aren't. That applies to people, and to places too, I think. So, it's possible to work on improving your luck a little. I can't give any concrete examples of how to do that, though. In my case, for example, I went to a lot of lives and got to know a lot of people that way, and that kind of effort ended up leading to good results. Back then, I was doing all the management work for the band. I got another phone, in addition to my private home line. I called it the "L'Arc~en~Ciel contact" office. Of course, that's the phone number Ooishi-san called me on. I had a seperate mailbox set up for it, too. Having the mail forwarded to my home wasn't cool, because then the fans found out where I lived. So it wouldn't be cool to have the same phone for the band and for private use, right? I wouldn't know which way to answer it, either. Act as if I had a lot of staff? I was doing it all on my own. That was another kind of effort. Because I worked on that aspect of things, I think I made some important connections. Besides, however many demo tapes we made, no matter how great the music on them is, we're not constantly making music. If people could just go ahead and contact us directly, like for example, at a member's home, we wouldn't really want to answer the phone, right? I had a phone just for that, and an answering machine and fax, too. Because of that, I didn't have to worry about answering the phone wrong. When I answered the contact phone, I always got a chill down my spine, and answered saying "What is it?" or something (laughs). Not a good way to answer, is it?] - I see (laughs). Has your opinion on luck and effort stayed the same, or has your viewpoint changed since that era? [It's still the same.] Interviewer : Toujou Sachie Translated by Natalie Arnold

1. Dead End has been mentioned in many previous chapters. The four members are MORRIE (vocal), YOU (guitar), CRAZY COOL JOE (bass) and MINATO (drums). Go back. 2. Billy & The Sluts were a Japanese indie heavy metal band who were successful enough to release an album. Go back. 3. Zi:KILL were quite a famous band from the early 90s, who have since disbanded. Interestingly enough, yukihiro's debut as a drummer was with this band. Go back. 4. The Willard are a rock band still active today. test-No., who MATAROU also did some drum work for, includes RYO and DEN as guitar and bass, respectively, as well as sharing the vocals. These latter two are members of ZIGZO, formed by sakura after he left L'Arc~en~Ciel, with that group's vocalist being TETSU of Malice Mizer's early days.Go back. 5. In Japanese, L'Arc~en~Ciel sounds like "Raruku an Shieru" when read from katakana. The "Shie" part is often misread as "She" leading to the "Shell" mispronunciation. The "Sieru" version is written with a katakana combination that does not naturally occur in Japanese. The sounds "She" and "Sie" are both written by combining the symbols for "Shi" or "Su" with a small "e" that transforms the vowel sound. A normal sized "e" is not always easy to tell apart from a small one, hence the possible confusion. Go back. 6. Kouhaku Utagassen, meaning "Red White Song Battle," is a New Years special broadcast annually. Famous artists are split into two teams, red and white, and their performances are judged by other celebrities. Being one of the artists on a team is considered a sign of incredible success. Go back. 7. Yakiniku, also known as Korean Barbecue, is a meal where cuts of meat are grilled at the table, as one is about to eat them. The fancier the meat, the more expensive the meal.Go back. 8. AION is a company based in Osaka that makes industrial materials, such as sponges. Go back. 9. Yakuza are the Japanese mafia. Black suits and driving expensive cars, like the Benz, are sterotypical Yakuza traits. Go back. 10. Anthem were a Japanese power metal band that started in the 80s and were successful for a long time. They went through many member changes, but have been active intermittently during the 90s and even during the last few years.Go back. 11. Harem Q actually released an album while sakura was drumming for them. This album was called 'opium'. Go back. 12. Weekly Mansions are pre-furnished apartments, often quite costly. They are rented out on shorter terms than regular apartments, hence the name 'weekly'. Note that in Japanese, a mansion refers to a large apartment rather than a large house.Go back.

Tetsugaku 35 : Hating to Lose

- tetsu-san, you're a bit of a sore loser, aren't you?
[I don't think I am, though. A sore loser...... partially, I am, but in other ways I'm not. Typically, I'm not. Of course, if I lose at something, I'll feel bad. "Sore losers" are usually people who lost after putting in a lot of effort, right? So they could win. I'm not a hardworking person though (laughs). It's just that first of all, I think "I'm not even competing." "I wasn't fighting from the start." (laughs)]

- You've been in a different arena, right? Since the start. So it doesn't matter if you win or lose.
[Right. I don't think it's about winning or losing.]

- Do you rather dislike competition, to an extent?
[Competition, well, there hasn't been much of it in my life.]

- I see, I thought there would have been. Such as fights and the like.
[No, I'm an adult now, so I don't get into fights. That's not what "sore loser" means, is it? I think feeling bad about losing is different. Doesn't everyone feel bad when they lose?]

- Then, what is a "sore loser?" A hardworking person?
[Isn't it someone hardworking?]

- I understand. Let's take a more practical example, relating to your work in music. Perhaps you can connect the topic to something there.
[Hm, when I can't play something myself, I feel bad, and it makes me want to learn to play it. Is that what is means? "To hate to lose." "I can't play this part. Since I can't do it, I'll work hard until I can." That sort of thing is "hating to lose" isn't it? But it doesn't mean I've lost to the people who can already play it, really. So it's not a question of winning or losing, is it? It's not a competition.]

- Ah, right. Do you have a "mind of a rival?"
[The "mind of a rival?" No, I don't. I don't have anyone to view as a rival.]

- This might sound odd, but do you concern yourself with the charts?
[When it comes to the charts, sometimes you can sell 100,000 copies and be number one, and other weeks you could sell 500,000 copies and only make it up to number three, so I think part of it is timing and luck. There are talks behind the scenes where the staff members who decide a CD release date take into consideration when other artists are releasing their work. The average person doesn't know about that, right? Still, that's how it is. We aren't involved, but I don't think there's anything wrong with that. They plan the order by noticing "We're being talked about," or "Our popularity is currently shooting up," and that makes it easier to get into magazines and on TV, honestly. It's pure propaganda. Spending money on that, or spending it on other things, well...... there's a lot of talk about whether or not that's right. So, anyway, even if release dates are set that way, thinking only about sales, the times are always going to have an effect. Compare with just five years ago; CDs were everything to the music business. But now around the world, they're selling less and less, so its not a simple question of counting the number of discs sold anymore.]

- That's true. The current social situation is influencing things.
[Right now, copying is a problem. Young people spend their money on cell phones and stuff, so they aren't buying CDs...... that's one of many elements. And it's not something you can solve with "If I lose, I'll work harder." It's a business, and so there are record company politics involved, too. So, all I can do as a musician is to make good music. We don't think about anything beyond that.]

- I understand. Perhaps you mean that it's not the artists themselves, but clearly the people they work with who compete and complicate things with their schemes.
[But, I think that's a natural part of selling things. Take electronic appliances. You have companies A, B, and C. When company A makes a new product, companies B and C try to make something better, something cheaper, and they compete that way. So, you can just imagine the same thing when it comes to selling CDs. Because it's a "product." I don't think it's a bad thing, from a sales point of view it's only natural.]

- Of course.
[And so, you know, I can't help but think coolly about everything, and this talk has really gotten completely off the topic of "hating to lose."]

- Well, tetsu-san, you wouldn't consider "sore loser" to be a good description of your personality......?
[I don't know whether I am or not. People have called me a "sore loser" before, but I've never sat down calmly and thought to myself "I really am a sore loser." Though I don't really think I'm not one, either. I think I'm quite normal...... That is all. (laughs)]

- No, no, we're not done yet (laughs). tetsu-san, do you ever look at a person and think "This must be someone who doesn't give up," about them?
[Not really. You know, it's unthinkable to me that I would be thought of that way. I think giving up is important.]

- It's important to give up? Ah, but what could you be implying?
[For example, even after 40 rejections, I still see musicians growing their hair out and saying "I'm gonna be a pro!" painfully. "Give it up, you don't have a chance." I think giving up is important, and I think it's bad to lose track of reality. Having a dream is very important to people, but I think there are a lot of people who make the mistake of fleeing reality.]

- There are many who accept that "If you wish for your dreams, they'll come true" ?
[Even I say "If you really wish for it, it'll definitely come true" about dreams. I say that because, if you make it come true, then it will become reality. But I don't know if people I've never met or seen will appreciate that. The feeling that you need to do something for it is incredibly important. But then there are people in the world who wait for everything to happen, and awful things happen to them, right? So, to those who say "I wanted it so badly, but it didn't work out," I think there's something slightly wrong with how you wished for it. I think, "Don't you think something went wrong while you were wishing so hard?"]

- That's saying a lot.
[And so, I think giving up is important. I'm not all that hardworking, I'm not very persistent, so I can't possibly be what people consider to be someone who "hates to lose." I'm more or less normal. Or rather, I probably lean more towards being careless. It's just that all my dreams came true even though I wasn't all that persistent. I've been amazingly lucky, lucky in finding the members, arranging lives, and debuting within two, three years. And selling out Budoukan (1) within two, three years of debuting, even.]

- Even so, I don't think it's true that you didn't work hard.
[I worked more or less as hard as any human being does, in their lifetime. But doesn't that go without saying? It's nothing I'd go around saying "I worked so hard!" about. It's just typical.]

- It's typical, normal, anybody could do it.
[Anyone, normally. If you're a taxi driver, you'll typically know the roads. If you were to say "I don't know the way," then you wouldn't be a pro at all, and I think you'd be ashamed of yourself. So, if I were a taxi driver, I'd have Tokyo's streets perfectly memorized. Yeah, hard work. But it isn't especially something to go around saying "Aren't I great?" about, really. I'm just saying it's typical. There are a lot of people in the world who typically can't do typical things, and I'm not enough of a sore loser to go around saying "I hate losing!" and I'm a typical human being.]

- Interviewer : Honma Yuuko
Translated by Natalie Arnold

1. Budoukan is one of the most famous venues in Japan. It seats 13 449 people. L'Arc sold it out in 1995, effectively within two years of their debut. Go back.

Tetsugaku 36 : Weak Points

- tetsu-san, please tell me your weak point.
[It's probably that I'm short tempered. I get really rude. I think I've hurt a lot of people that way.]

- Let's say you're supposed to meet someone. How long are you willing to wait for the other person to show up?
[I don't wait for anyone. I don't know if I do it to others, too, but I absolutely despise being kept waiting. Either they come see me or I go see them. Sometimes I'll arrange to meet up with someone, but its rare for me to do that.]

- Have you always been like that?
[I used to be even stricter when it came to time. Let's see...... I've gotten more casual, haven't I?]

- Casual? Perhaps a part of you has come to think "Well, whatever," when it comes to these things?
[But I don't think "Well, whatever." Even though I think "This is bad," I do things for speed when I'm going to be late. Normally, the only things I don't rush with are washing my face and changing my clothes. So it takes me the same amount of time to do it regardless of whether I'm in a hurry or not (laughs).]

- Of course, arrangements to meet someone bring about a certain pressure.
[Meeting someone, deciding "Which day, what time," and the like, always feels like work to me. Even if it's arranging to have fun with friends on my own time. I don't know how I'm going to be feeling on that day, at that time. By then, I might not even feel like going anymore, so I don't make promises like that. Even if something sounds like fun on the day it's being planned, I don't know if I'm going to end up being in a depressed mood by the time that day comes around, so I really don't want to make plans. It's like I don't want to keep too strict a schedule. I prefer something like "So call me on that day and we'll see." Or "I'm usually not working around that time, so call me and we'll figure something out."]

- Does that mean that cancelling at the last minute doesn't suit your personality?
[Nah, sometimes I do bail out. Like "I'm sorry! I forgot!" (laughs). "I forgot" has got to be the worst thing I can say to a person. I've never talked about this before, but once I promised to go out for dinner with a friend, even going as far as making reservations in a restaurant, and then I completely forgot. I had dinner on my own, then after I finished, the phone rang, "Shit!" (laughs). I didn't mention I'd eaten, I just said "Sorry! I forgot! Even though I made time for it!" or something like that.]

- (laughs) Yeah, that is pretty awful.
[It's horrible. I'm so sloppy. From my public image, I seem like a strict, picky person don't I? Well, since I'm a type A (1), I can't say I'm not like that. But I'm sloppy. So much that it surprises people.]

- Although when it comes to work, you return to being strict, don't you?
[Not really. It's just that it often occurs to me that things would work better if I were strict about them. Lately, I've been thinking that I might be better off not being so strict. It's not that I don't want to be strict anymore, or that I'm being forced to change, but I really do think it would be better that way. Before, I followed "Hard on others, hard on oneself." Lately, I'm going easier on others as well as on myself.]

- But isn't that a good thing? Though it would be awful if you went "Hard on others, easy on oneself," (laughs).
[You know, these thoughts I've had don't really sound like they come from me, maybe someone's been planting ideas in my head (laughs).]

- Ahahahaha. Do you have any others? Weak points. Even just things you aren't good at.
[My social disposition. I'm rather shy, so I don't often start talking to people of my own initiative. But if someone else talks to me first, I'll talk quite freely. It might be a weak point. Just a little. But I like myself the way I am.]

- I see. So, how are you with things like horror?
[I like horror movies. I watch a lot of them. I used to make time to watch at least one horror movie every night. But then when L'Arc got started, I met hyde. He puts on a character, you know? Yet he likes horror movies even more than I do. Given how he acts, I hadn't thought hyde could beat me that way; I didn't think horror movies would appeal to him at all.]

- When you go to amusement parks, how much do you scream?
[I like screaming. I'm good at it. I think my record is riding the same roller coaster five times in a row. Isn't it heart-pounding? Because it's so much fun. When I was little, I really wasn't afraid at all, but now that I'm older and wiser I'm a little scared.]

- Thinking "It might break!" "What if we get stuck?" and the like. But it's OK if you scream. What else?
[...... Weak points...... Mentally, I don't think I'm very strong. I'm easily hit. I fall for things easily, maybe, too.]

- Could that be why you're the type to stay cooped up at home?
[I've always stayed cooped up at home, so that's normal for me. I like being alone. I like being noisy with people, too, but I also like my solitude. I don't dislike that aspect of myself. I'm not the type who can't handle being alone. Sometimes I have more fun by myself.]

- If you're weak, mentally, maybe you should work on toughening up......
[No, I wouldn't say I'm "weak." I think I'm just "not very strong." I only said it so I'd have another answer to "What are your weak points?" Well, I guess I'm not very mentally strong, or something. I think this is the first time I've asked myself "Weak points? What are they?"]

- Interviewer : Honma Yuuko
Translated by Natalie Arnold

1. Type A as in blood types. According to Japanese superstition, blood type determines one's personality. See chapter 15 for more. Go back.

Tetsugaku 37 : Strengths

- When asked to name a strong point, something you can say "I'm better at this than other people" about, what comes to mind?
[Let's see, I'm relatively quick about making changes, aren't I? Even I think "I've changed!"]

- That takes a lot of strength, doesn't it? Even when it requires something you hate doing, you don't let it drag on much?
[Hmmmm...... Well, it doesn't really matter if I let it drag on or not. I get the change made. When your needs are pressing, you have to change. Even if I formerly held a certain opinion, if I think there needs to be a change, I'll contradict it. Not moving forward is a waste of time. Well, that just means I'm "sloppy" about going back on my word (laughs).]

- You call yourself sloppy? tetsu-san, you aren't the stubborn type?
[Deep down, I really don't want to be stubborn. I want to have a soft head (1) (laughs). Of course, I think I do get stubborn sometimes... But I remind myself that I don't want to be stubborn.]

- Mmhmm. Now, please elaborate on your other good points, things you like about yourself.
[My good points? It's when I'm asked a question like this that I don't want to say what my good points are, you know? It's time to say "No comment" (laughs). Not to brag, but I have good aesthetics, don't I? Probably.]

- Is this because when you see someone bursting in with "Me, me, me!" you think "How uncool," about them?
[Actually, no, I think it's impressive. "I wish I could say things like that." Usually, I think about balancing all sorts of things.]

- That might be it. Perhaps, tetsu-san, your strong point might be "not worrying" or something?
[That's a strong point? (laughs) But, there are a lot of people who don't worry about things. In this line of work, especially.]

- On the other hand, there are also a lot of people who get incredibly nervous, aren't there? Going into their room an hour before the show starts, and so on.....
[That's worrying too much. Thinking about only that. So, I'm sloppier (laughs). I think I'll make myself into that kind of character, from now on. Because, I've got this image as a "hard to please, picky person" and I want to change that. I'm sloppy! (laughs) No, really. Before a show, I'm going "Uh oh! Only ten minutes left, I gotta get ready!" While I'm getting ready, I don't have time to be nervous.]

- (laughs) Other than going on stage, do you get nervous about anything?
[Besides going on stage? When a lot of staff or band members are around, I get nervous about stating my own opinion. I get embarrassed. So, making an announcement in front of a school classroom makes me more nervous than performing at Tokyo Dome does...... Well, I don't have to do that anymore, but before, I did, whenever I raised my hand in class to share my opinion...... but it wasn't really nerves, just that I didn't like it. When I don't need to stand out, I don't like to.]

- For example, when you state your opinion, you might be told "Fine then, you do it,"......
[Ah, it's easier to follow instructions. It's tiring to be the one giving instructions. "Ah, they might do it all wrong," or "I can't let them handle it"... I don't like looking after others like that.]

- But don't you have to, because of your position?
[Since I'm the leader, there are things I have to look after, and things I need to do or say even though I don't like to. Also, sometimes it won't be my own opinion, but something we all agreed on, but it has to be me who passes on the message, and no matter what I do, I'm made out to be the bad guy, I'm misunderstood. Like they're thinking "Why does tetsu get the last word?" That's very hurtful, for me personally.]

- But don't you think that's a strong point, too? You have persuasive power, like "Since tetsu-san said so, let's do it that way."
[No waaaay, but it would be nice if that were true.]

- Also, it's a strong point for you, tetsu-san, to be able to think "That's how it's going to be" and stick with it as you move forward. For instance, since you thought "hyde's best on vocals!" and pushed for that, ken-san's energy was directed towards guitar when he joined.
[Well, when I'm that confident about something I can stick to it unwaveringly. I do have confidence in myself, and once I reach a certain degree of certainty about my own answer, I can argue for it. It's just that, I have to reach the point where I'm sure "This is absolutely the right thing to do." That is, it has to be best for me as well as for everyone else involved. When I say things like that, I seem like a very self-confident person, so I don't want to do it very often.]

- Is that so? I think that kind of strength is a very important quality in you.
[Nah, for me to think "This is absolutely the best way to go," doesn't happen all that often. Most of the time, I'm unsure. "This is good, that's good, they're both good..." is a lot more common. A clear cut "This is the best way" only happened a few times in my life.]

- So it's even rarer for you to be confident about something and actually advance it?
[Guess so. I don't understand myself, anymore. So I don't want to talk about strong points. I'm sloppy!]

Interviewer : Honma Yuuko
Translated by Natalie Arnold


1. In Japanese, someone stubborn is said to have a "stone head," much like the English term "hard-headed." So, tetsu is saying he wants to be the opposite of stubborn, hence soft-headed. Go back.

Tetsugaku 38 : Feeling and the Four Emotions

(1)

- Recently, has anything touching happened to you?
[Touching?...... Nope (laughs)]

- tetsu-san, you aren't moved by much?
[Yeah. That's typical, isn't it?]

- Oh, yes. But sometimes, things happen that make you go "Woah!" don't they? When does that happen? When do you react like that?
[When I watch movies, or documentary programs, sometimes.]

- Then you don't actually experience it often?
[It's rather unnatural when I do.]

- But doesn't that sort of situation come by rather often? In your work as a musician. A song could set it off; the song itself could be touching when you finish it.
[I wouldn't go as far as to say it's touching, but working on a song day after day, there's something like a sense of achievement when it's finally finished. Although, I think bringing that up to the level of "feeling" used in this theme is going a little far.]

- It would be exaggerating.
[It would be (laughs). Besides, the process of recording itself ends up being rather diluted. It really isn't all that intense. Of course, the final product is meant to be worth getting emotional over, and so those watered-down days of work add up and are compressed into it.]

- So then for you, tetsu-san, something touching has to be something terribly intense, doesn't it?
[That's what the "touching" experiences I've had have been, isn't it? Intense, having something unexpected happen, that sort of thing.]

- Then, everyday, trivial things don't count.
[Like "Today's sunset was pretty," you mean? I'll personally think that it was pretty, but I don't think it's anything to go "How moving!" over. But I think everyday things can be moving, too. What's a good example...... When a puppy gets caught in car headlights, seeing someone save that puppy would be touching. "Wow, amazing!" But sunset happens every day (laughs). "Hey, wasn't today's sunset pretty?" "Last night's was prettier." That sort of difference can happen, and sometimes you do see an exceptionally pretty one, but it happens every day, so going "How touching!" over every single one would be strange, wouldn't it? (laughs) But seeing someone rescue a puppy, although it happens every day, it's exceptional every day, so isn't it moving? If you saw it happen every single time, it wouldn't be moving anymore, though. It would be like "It's nothing to get worked up about since you save it all the time." (laughs)]

- I see. And now I'd like to know all the more what you think is touching, tetsu-san. Could you bring up a memory......
[I don't remember anything like that. That level of emotion! (laughs) It was touching enough to forget about.]

- That means you're being difficult. tetsu-san, what would be a good way to make you feel moved?
[A simple way to move me would be to give me a sad movie to watch. That'll move me, probably about two hours later (laughs). Isn't that easy? That means you can buy my emotions for just 2800 yen. Maybe you could even get it cheaper, like 1500 yen (laughs).]

- That must not work all the time~
[So just try again.]

- Ahahahaha. How is it for you, tetsu-san, knowing that you have moved many people yourself?
[Well, that's just part of making music. Also, at lives, there will be girls crying. That part of it might be what it means to send out emotion.]

- So you do think about sending out your emotions, then?
[Yeah, I do. In that case.]

- More than saying this or that with words, you want it to be felt through your work.
[Nah, it's not that big a deal. Cause, even though they're watching me, we're not feeling the same way. Like at a live, when I'm forced to do an MC (2), they're all looking at me and I fall short. "Cold!" (3) (laughs). It's so embarrassing. For example, in an interview, I'll say something incredibly cool, but actually hearing it doesn't sound cool at all, so I think it'd be good if I could make it sound cool in the first place, but that's just not how I want to be. Anyway, I don't want to say rotten stuff.]

- However, you are confident that you can touch people, and that you can create something good.
[I am. Creating, that isn't only about "moving" people. I think it usually ends up being the ballads that get called touching. I think that's different from calling it "Cool!" or "Awesome!"]

- But isn't that also a way to be moved?
[In my opinion, you shouldn't go as far as to call it moving. "Wow, this is cool!" The end. (Laughs). I don't call that moving, in my mind.]

- tetsu-san, what does "touching" mean to you?
[Just about what it means in the movies (laughs).]

- Something touching has to make you cry, then.
[Right. Cooool! is an emotion too. For example, watching soccer championships, when they win with an incredibly amazing goal, that's moving. But, listening to a song, even if it's an incredibly cool song, it's exaggerating to go as far as to call it touching. "This is really cool!" Isn't that enough by itself? If you asked "Did you find it moving?" I'd think "Moving......? Can you really go that far?" But, watching a touching movie, that's moving! I say. During a movie insert song or the ending, while the song is playing, I might possibly cry especially hard.]

- You must not be moved by things people say, either.
[Well, when I'm close to tears, sometimes I say things like "If you keep on talking I won't be able to hold back my tears." Sometimes I'll say something like "Don't talk about happy things right now." ...... But I think it's best not to make every single thing so dramatic (laughs).]

- Roger. So, let's not go overboard talking about feelings, let's move on to the four emotions now. First, "joy". What made you happy recently?
[Lately? Aah, you know that "hanetobi" (haneru no tobira)(4) program? That got popular all over the country, so they changed the broadcast to something a little earlier, right? But, I had a recording that day.]

- They changed the broadcast time rather recently.
[And I even forgot to set my recorder. I forgot to ask a friend to tape it, too. After (the show) was over, it occurred to me "Ah! It was on today~" So I called my friend, who said "I taped it!"]

- No way, that's amazing. Great minds think alike.
[Exactly! I was touched (laughs). That was moving for me. I remember now.]

- Don't you?
[But, I was trying to remember "being happy" when that came up. So, I couldn't think of something moving when I was on the spot, but now I can find something "touching".]

- Let's call it moving. So, now talk about something that made you even happier.
[.................. Nothing (laughs)]

- Hahahahahahaha! Then how about a time where you made someone else happy, instead.
[Probably nothing.]

- Do you enjoy making others happy?
[If it's a matter of liking or hating, then I'd say I like it, but it depends on the time and place. Doing that kind of thing constantly...... sucks.]

- Don't some people like receiving presents?
[Yeah. Even though it's not their birthday, kids like getting lots of stuff. I'm...... pretty embarrassed, actually, when I receive things myself.]

- Perhaps (laughs). So, the next one is "anger". tetsu-san, do you get angry much?
[Yes, I do. I'm short tempered. I'm quick to snap (laughs). When I was a kid, we didn't say it that way, though.(5)]

- The word itself didn't exist at the time. What has made you angriest, lately?
[When you ask me that, I can't think of anything. I don't get that angry every day. In the past, I got really angry at work, very often. Lately, I haven't gotten mad at all.]

- Might that be because you've become more broad-minded?
[I'll accept that meaning. This might sound negative, but it is negative. I used to be so serious about everything. "I'm putting everything I have into this, so work with the same intensity as me," was how I thought, directed at the staff. But in the end, they're salarymen. There's no way they'll feel the same way I do. That's only partly true; of course some staff members are wonderful. But within the company, around 80 to 90 percent of the people there just don't care. But they do have that 10 - 20 percent that are wonderful people, at the company. And so, my sense of values has changed, regarding people at different degrees of intensity. I understand that it would be stupid to demand that they give their all just for this project, and I don't get angry anymore.]

- Perhaps this means that anger isn't worth wasting your energy on.
[It's not worth it. That means I've become cold, doesn't it? In the past, I had expectations, and got angry over living up to them. I said it was for their own good too, but, in the end I was bothering them, making them uncomfortable, and they just hated me. It turned out to be better for them not to get so much advice from me. If they asked me for some, then it really was for their own good. I've been mean lately, too (laughs). When I realize I'm doing it, I stop myself. And so, I don't get mad anymore.]

- Maybe that's the case.
[Before, I was stupidly straightforward even though I was trying to be nice, but I was hated. So there was a lot of retribution.]

- I think they were extremely shallow, hating you just for that.
[When they were irritated with me, they'd say "tetsu from L'Arc is picky, isn't he?" or "Isn't he annoying?" and the ones saying that were the ones not doing an equal share of the work. The ones who were going around saying that sort of thing about me were, of course, the same people who said they couldn't get their work done. But then, the people who did get their work done were the ones I could get along with. I could actually understand those people.]

- However, those people who weren't doing their work, the ones who were badmouthing you, could it be that they didn't realize what they were doing?
[Well, a business, like a government office or a school, there's no way it can always have that kind of people managing it. One of these years, someone will come in and change things, like a teacher that even the principal hates.]

- tetsu, personally, nothing makes you get mad does it?
[Particularly, well, it does happen to a certain degree, but since I'm 34 I'm rapidly running out of people who make me mad. I think that's sad. I make mistakes too, maddening things make me mad, and I think that when something about me needs improving, I have to improve it. To become arrogant and refuse to hear out a proper exchange of opinions would be dangerous. I intend to avoid becoming like that.]

- Now for "pathos," sadness. Have you been sad lately?
[I think it's sad that CDs don't sell anymore, these days.]

- That is very serious. You must feel it affecting you?
[The music industry as a whole feels it, to put it plainly, don't you think? There's no vitality, and even when I'm not especially focused on making money, there are things I want to do but can't, and I hate that the most. Even though all I want to do is create something good, I'm told "There's no money" and I hate having that limitation. It's sad.]

- Even on the charts, nothing has been selling but compilations...... On the Western music ranking, when that's all the top five have been, it's very disappointing.
[It's so sad. Back when I was working odd jobs, we'd tell people "Please leave the store, OK?" and even sent them off with samples (laughs). It barely occurred to anyone to charge money for giving those out.]

- It was probably thought that no one needed to pay for one song by itself.
[Probably not, no. It's like, just getting a hold of a hit song that way was fine. You'd listen to it in one situation, like while chatting in your room with your sister, or while you were on a drive, and that's the only reason to use it, nothing else (laughs).]

- Are you becoming pessimistic, thinking "Even if we make an album, it won't reach anyone," or the like?
[But I don't think the number of people who listen to music has gone down. It's just the form, I think people just don't go out to buy CDs anymore. The songs, the music itself, I think they all still listen. Differently than before. I mean, they make copies, and then give the copies to their friends, right? High school kids do that, now. Well, anyway, I think it's obvious if you think about it.]

- When I was a kid, we used to say "Make a tape of that for me."
[Yeah. But, with a tape, you lose a lot of sound quality in the transfer, so if you listen to a tape and like it, you'll think about buying the album, but with a CD-R you already have a perfect copy. If you like what you hear, I don't think you'll be bothered to go out and buy a proper copy.]

- Maybe you would if you wanted the jacket, but you have to like it quite a lot for that. By the way, I do buy the music I like.
[But, even the fans don't buy it anymore, these days. It's surprising, for me. I have a mobile site, and charge about 300 yen a month for it, but some of them tell me "I don't have the money so I won't subscribe." But 300 yen? When they tell me "I can't afford it" it makes me think "I'm not even worth that much, even to my fans," you know?]

- That is quite sad. For artists.
[So, I think the fans all need to learn more about how the flow of money works, in the world; I think they need it to be taught to them. When we musicians sell a CD, it's the profits from that CD that will allow us to make the next album, you know? Going to extremes, I think our lives basically depend on whether the CD sells or not. If it doesn't sell, we'll get our contracts cut off before the next one, because we're musicians. "I love you! I'd do anything for you!" If you think like that, then you could do a lot by just buying a CD. Don't write fan letters every day or send presents. Of course, those things are great, but some people send letters every day, writing "I still haven't bought your album." (laughs).]

- Reporting that to you, directly...... how complicated (laughs). It really is. Do you have any more "pathos" ?
[Nope. (<- immediate reply)]

- Mhahaha. You don't have any moments where you think "How sad!" do you? As part of your everyday life.
[Hmmm, only if I watch a sad movie...... (laughs)]

- Of course, movies. So, now "humour". What do you think of as amusing? "Fun" is okay too.
[Amusing, is it? Fun, let's see... watching an interesting TV show, I guess (laughs). Watching 'Hanetobi' DVDs (laughs). Also, shopping. Shopping is fun, too.]

- How about when L'Arc is about to release a CD, or when you start a tour?
[Yeah, right before a release, it's fun. I get excited.]

- What is it that gets you so excited?
[It's because it's unknown at that point, you know? The sound is. The ban is lifted right when we go on air. Until then, "Nobody knows." (laughs)]

- As in "Nobody knows but me."
[It feels like having a mini time machine, knowing it two or three months ahead of time. In two, three months, this is the song that's going to be playing all over TV and radio, but right now we're the only ones who know.]

- Ah, that must be rather exciting. Do you also get worked up over how the song will be received, once it's released into the world?
[Yeah, that too.]

- But that mini time machine sensation sounds very cool.
[I can see one step into the future.]

- Of course, that happens because you're confident in telling yourself "I've created something good," doesn't it?
["I've created something good," you say, but I've made nothing but good stuff, since way back.]

- Mmhmm. You have, definitely. How about before a tour? That must be fun too, isn't it?
[It is fun. I get excited. But, it's most exciting when the tour dates get decided. After that, there's so much work to do until the tour actually begins. We go into tour rehearsal starting a month before. Once the rehearsals start, it's hard work memorizing all the songs.]

- Hahahahaha! So rather than have it be fun, you see how much work is actually waiting for you.
[Right. Then once we're on tour, there's lots of "This part wasn't so great, let's change it," and "Let's try this," and the like. There are minor changes every day until the finale, and that's tough, just horribly tough. And we move during the tour. It's nice having days that are just travel, but since we have a show the next day, we can't drink much, and we can't go out too much.]

- So, is finishing up incredibly fun? When it's all over.
[Finishing it all, at the very end, yeah, that's the greatest. Having the tour finale be a good show is the best thing ever.]

- Interviewer : Honma Yuuko
Translated by Natalie Arnold


1. The four emotions are joy, anger, pathos, and humour. The kanji for each of these, when written together, form a word which means all human emotions with this set of four as fundamentals.Go back.


2. MC refers to the breaks in a concert where the artist will address the audience. Go back.


3. In Japanese, when a joke or other stage act fails to get a reaction from the audience, it is said to be cold. Go back.


4. Haneru no tobira is a sketch comedy program. Since the title is written in hiragana, it can be interpreted either as "knocking on the door" or "the jumping door". Go back.


5. The exact phrasing was "kireyasui" which means "easy to snap" where the kire part means "snap". This word, kire, seems to be a relatively new addition to the language. In addition, it is written in katakana, suggesting it is in fact an imported foreign word. Go back.

Tetsugaku 39 : Destiny

- Over the course of all these talks, tetsu-san, I've come to think that you have some kind of power to draw important things close to you. Such as encountering the other members; when something becomes important to you, perhaps a power like destiny is involved in drawing it nearer. As if the connection had been arranged ahead of time. Whatever it is, it's dramatic. It might not make for much of a talk though.
[It is dramatic, isn't it? Really. I typically think this one thing : there are so many people in the world, and I can only meet a limited number of them, but they're predetermined. The characters of the drama that is my life are predetermined.]

- Wow, cool! That sent a little shiver down my spine! (laughs)
[Really? I feel that way very strongly. I mean, in Tokyo, there are unbelievably many people right? Still, I bump into people I know all the time. It's highly probable, I think. But, the way I see it, they're the characters in my drama, so of course they're going to show up.]

- Ohhhh! Yeah, that could be it.
[So, no matter how close to them I might live, I'm never going to meet the people I won't meet.]

- Ah, that too. There's people you won't see at all even though they tell you "I live right next to you," and there are people living nowhere near you who you'll see a lot, by coincidence.
[Right, exactly. In my case, that means I run into the other members, over and over again. It happens with all of them.]

- Ah? There must be a strong power between all of you.
[Before yukkie had joined L'Arc, I was shopping in Shibuya. My car was in an underground parking lot, so I was done shopping and on my way back to the parking lot, I pushed the elevator button, then the door opened. It opened but, you know how they have pamphlets and fliers next to the elevators? Those caught my eye, so I was checking them out, oblivious. Then, I put the flier back and pushed the button again, and when the door opened yukkie was there.]

- Woah! (laughs) That sort of thing happens. It seems you really are connected. Really strongly connected.
[That was just before yukkie joined L'Arc. This sort of thing happens with ken-chan, too. I was drinking in Shibuya with a friend, who said "Let's go someplace else for a bit!" When we got to the second place, it was a bar-like café, I thought "Hey, that looks like someone I know," and I spotted sakura. Thinking "Oh, it's sakura!" I got closer and realised all of S.O.A.P. was there.]

- Coincidentally?
[Coincidentally. That was right when ken-chan was doing S.O.A.P. About a year ago, I guess. It was the first time I went to that café, too. If it was somewhere I went all the time, somewhere I knew the other members also went, that would be another story, but I really didn't know the place, it was my first time there.]

- That's amazing. I think it's really incredible.
[That kind of thing happens to me a lot. Really. With hyde, too. So, this stuff is what makes me think that the main characters of my life might be predetermined. Oh, yeah, I've met Ishiki Sae-chan (1) about five times now. Oh, but sometimes I only caught a glimpse of her.]

- No way. So, she's in the cast, too? Oh, that's right, she was in a CF (2) that used NEO UNIVERSE, wasn't she? Ishiki Sae-chan.
[Mmhmm. But, five times (laughs). "We meet a lot," you'd think.]

- How amazing! Five times, that doesn't normally happen by chance.
[That's why it's predetermined.]

- And so, tetsu-san, I think this goes to show the threads of fate tied around you are thick and numerous.
[Meeting the people I meet. Never once meeting the people I don't meet. It's obvious, but it sounds cool to say it! (laughs)]

- Hahahaha! Certainly, you don't meet the people you don't meet. But out of the billions of people on Earth, the ones you do meet, and who then become an important part of your life, there's only a handful of them, isn't there? Meeting those people, and even meeting them by coincidence, I think that's incredible.
[That's right. For example, there are some fan girls who really love L'Arc, right? "I ran into so-and-so in town!" To meet one of us, never mind meet all of us that way, that probably won't happen, will it? But it happens to me. Isn't that cool?]

- Cooler than the fans (laughs). It's something to be proud of (laughs).
[Isn't it? (laughs) Especially since it doesn't happen when we're on a day off together, or in stores we all go to a lot. It's at totally unrelated times.]

- Affinity or fate, those are the words we can't help but describe it with.
Do you believe in destiny?
[Yes, I do. Also, I have high chances of seeing celebrities.]

- Because you have an affinity for that world, right?
[Yeah, I think so. But, celebrities always disguise themselves, right? Everyone else around them won't notice, it's like I'm the only one who realises who it is. "How come nobody else notices?" Maybe I detect their smell...]

- "Something stinks!" (laughs).
[Hahaha!]

- I understand. Destiny varies. About yukihiro-san, didn't you encounter him a decade earlier? Back before you had L'Arc, when you were searching for members, tetsu-san, you said you'd gone to see a Zi:KILL (3) live. Looking back on that now must seem strange. He was just another person you'd met back then and yet he was set on the path to being a current member of L'Arc. That sounds like an affinity.
[Isn't it strange? For yukkie, too, at that live, he never would have thought that in the future, he'd join a band with a guy who came to that show, right?]

- It was coincidence, but it was inevitable.
[That's right. I think that if I don't have any sort of fateful connection to them, I'm not going to meet someone.]

- It must be nice to have everything be so dramatic.
[Dramatic...... Aren't a lot of things dramatic? But. If there's too much, it kinda starts seeming normal, to me.]

- Wahahahaha! Like, even sensational things make you go "Oh, that," or something? (laughs)
[What, what do you mean......?]

- You must have the power to draw things to you after all. It's an unconscious part of you, more of an instinctive ability.
[But that's kinda creepy, really. Because, a lot of good things come with a lot of bad things. Though, if that weren't the case, I probably wouldn't be where I am now.]

- Of course, you also need to have the power to determine whether those encounters have any meaning or not. Even if destiny makes them happen, when you don't notice, I think those people end up being absorbed into the mundane.
[No, I think that's wrong. Strong-willed people end up succeeding. So the people who don't notice, I think they're weak in that department.]

- Ah, of course, of course.
[It doesn't take much effort.]

- However, it does take effort not to waste money on luck. Such as on gambling and the like, right?
[Yeah, don't do that. But, I think you can gamble even if you're a strong person.]

- Are you aware of the strength of your own fortune?
[I am.]

- But isn't that a talent that you've had since you were born?
[Isn't it? I think it means I have a talent.]

- Interviewer : Honma Yuuko
Translated by Natalie Arnold

1. Ishiki Sae is an actress who appears primarily in dramas. Go back.

2. CF stands for commercial film, essentially a long commercial or TV spot. Go back.

3. Zi:KILL was yukihiro's first band. They were quite famous in the early 90s.Go back.

Tetsugaku 40 : Friends

- Back when you were in your teens, in your high school days, the group of friends you hung out with must have been overwhelmingly composed of band friends, wasn't it?
[As far as the band lifestyle went, once I started living it, the group of people that I'd call friends turned into a group of guys with the same hobby pretty quickly. Guys who were in bands, or guys who were into music. I noticed that before long, I was surrounded by people with the same hobby as me.]

- In your middle school days, although you were interested in music, you hadn't yet begun to direct yourself towards that lifestyle. What kind of friends did you spend time with back then?
[Guys who liked music, and I also had a group of anime buddies. Guys who were into anime. But, after I started high school, I only got involved in music related stuff, so pretty soon I wasn't spending time with my old anime buddies at all.]

- To you, what kind of traits does a friend need to have? Do they have to have the same interests as you, so that you can relate to each other that way and enjoy the same things?
[That's right. So in my case, music had to be important to them. The topic of conversation would turn to music all the time, so unless it was someone who played an instrument, or someone who knew a lot about music, we'd have nothing to talk about. Of course, I still had some friends from middle school that I kept in touch with. After school, when class let out, we'd go to the arcade or go see a movie, or we'd go bowling together. I usually had friends to do that sort of thing with. But then, in high school, I always had band practice on the weekends, and sometimes a live show. I had no time for my school friends other than right after class. Among my school friends, though, there wasn't anyone in my class who could talk about music with the same level of interest I did.]

- If there was no one in your class who was as interested in music as you were, how did you manage to find friends who could discuss that topic with you?
[I went to live houses. "You in a band?" "Me? Bass." Talking like that, I made friends with people in other bands.]

- By going to places where music lovers gather, you gave yourself the opportunity to actively call out to them and speak with them.
[Right. In places like that, even if I only made one friend with the same interests as me, my network of friends would still expand from there, you know? Meeting friends of friends, and so on. Even just going to my friend's shows; their other friends came, too. It feels natural to progress that way.]

- Are there any of your former band mates, or any of your old music friends, who you've maintained a relationship with until now?
[There are. Quite a few. Out of all of us, I think the only ones who work in music for a living are me and ken-chan, though. Some of them still play an instrument as a hobby, though. Some of them even have indie CDs out.]

- Interviewer : Toujou Sachie
Translated by Natalie Arnold

Tetsugaku 41 : Mass Media

- Radio, television, newspapers, etc. To what extent do you like appearing in the mass media?
[I don't hate it. I do like it somewhat.]

- Is there any one media you like more, or one where you have more of an interest in transmitting your message?
[I don't like it or hate it, but the most effective media is definitely TV. It's the most influential, and also the easiest. With the same amount of labour, people can see and hear a lot more than they can with other media, so I think it's the easiest.]

- But sometimes, you don't have the chance to appear on TV.
[No chance to appear... Well, I'm a musician, so I'll end up on TV and in magazines every time a promotion comes around. But when there's nothing going on, even if I say "I want to go on a music show," there's no way they'll let me. Without a release. Recently, we released the first single in two and a half years, so our offers have gone up.]

- Speaking of going on TV, I heard about an incident where you were on TV and the program host used the term "visual kei" in reference to you, at which point you left the show midway through broadcast.
[No, the truth about that incident has gotten pretty twisted, so I guess I'd better clear it up right away. First of all, not once have we, L'Arc~en~Ciel, said "We are visual kei." Honestly, when I was putting L'Arc together, I didn't use the word "visual kei" at all. But I do realise that it's been a popular term, so we have called ourselves something similar to that (laughs). Among musical genres, rock is a genre, so are pop, punk, and so on, but visual kei is not a musical genre, isn't it?]

- That's certainly true.
[I think it's a discriminating term used by people who judge only by appearances, so I said "Please don't use the term visual kei," to the office, and to the record company staff, so by the time we went on that show, they'd been told. However, I've been told that it hadn't been passed on to the host of Bakushou Mondai (1). They hadn't been informed, so the hosts, in order to make that segment interesting or funny, thought they'd use those words. Right before that, the four of us, L'Arc, had appeared in a newspaper ad with our heads shaved. In relation to that, they had bald wigs, topknot wigs, all sorts of wigs prepared, and they were going to use them in the talk. "You're visual kei, so what do you think of these, please try some of these wigs on," that was how the talk was going to go. But then, it turned out differently. First off, they weren't even going to let us do that talk, saying there's no way it would be interesting. And they had to get the stylists and the hair and makeup staff to set it up, then have us wear the wigs, and having us perform after all that wasn't exactly a low-tension set up. If they had planned it out right, they should have organised things better with our staff, but they couldn't do that. When our staff met up with NHK's, they didn't arrange much. And no one passed on the message "They aren't visual kei," to the show host. I think that was a mistake by the staff on our side, though. NHK and Bakushou Mondai weren't at fault, that is. We aren't the slightest bit angry at Bakushou Mondai, either. I mean, they're supposed to make people laugh so of course they think of strange, interesting things to say. Deep down, I really think it was our staff that should have gone to greater lengths to get things going properly. Also, we were supposed to play two songs but only did one, so reportedly it looked like we just quit performing, abandoned our instruments and left, but that's absolutely not what happened. Although they did announce that we'd be doing two songs, it wasn't two songs in a row; we were supposed to do one song at a time in totally different parts of the show. So, we performed the one song, then when we went back to our dressing room, there was some talking along the lines of "While we do feel like doing this kind of show, the circumstances aren't working out, and so we'd like to cancel for the day." We addressed it with them, talking it out properly with Bakushou Mondai, then went home. Just like sports news or something, it should only have been of interest to people in the business. And still, without any problems, we still appeared on Kouhaku (2) that year. We really didn't have a problem with the station. It wasn't a big deal at all. But, in this business, there are always lots of people out to trip you up, that's just how it is. And so, the story turned into something completely different, getting blown out of proportion.]

- Now that I've heard the story from you, tetsu-san, I think it sounds fair.
[Actually, when I first heard how far this story had gotten, I couldn't believe it had spread so much when that's not even what really happened. I really can't stand unreasonable stuff like that. Yes, we do unreasonable, irrational things sometimes; we're not always right. Even so, is that any reason to talk about us like this? Personally, as long as I'm putting everything I've got into something, there's a gap that forms between me and the people who aren't as passionate about it, then they tell me I'm selfish, picky, annoying, and so on. I can only take that sort of thing from people who do their jobs right.]

- Since you've been in the mass media, do you feel that misleading information about you has been spread, or that your privacy has been intruded on, or anything like that? If so, what do you think about it?
[I think it can't be helped.]

- Does it ever make you angry?
[Sometimes I do get angry over it. A lot of the time, something will be written about me that isn't true. But as far as entertainment goes, they're just trying to increase their ratings, improve their sales figures, so it can't be helped, right? It's their job to deal with a huge, unknown number of people, so I don't think they can stop doing it.]

- What's your impression of music magazines?
[Most music magazines are quite nice. They're rather friendly towards artists. They give artists a boost, you could say (laughs). Part of what they write gets spiced up, so to speak, in order to sell better, right? When they spice it up like that, it's cool, but still business like enough, although I do feel that they go to both extremes a bit too much sometimes.]

- tetsu-san, since you have your own homepage, do you ever think it would be nice to publish your own version of things from that website?
[Not at the moment. At one point, there were a lot of things I wanted to do with it, but they all require money, and the results don't make up for it. In the end, as far as promotions go, the conclusion I've reached is that it's better to schedule TV spots and get advertisements in magazines. Homepages cost a lot of money, more than I had been expecting. There still aren't enough kids in Japan owning computers. Working in Tokyo, you start to think "Of course everyone has one," so you come to expect big returns from a mobile site. But actually, most kids won't even hand over 300 yen. Before I can do what I'd like to do, I need to get a few more fans (laughs).]

- Interviewer : Hasegawa Makoto
Translated by Natalie Arnold

1. Bakushou Mondai is the name of the TV program where the incident in question took place. Go back.

2. Kouhaku Utagassen, NHK's famous New Year celebrity program. He is implying that if there had really been a severe problem with NHK, they wouldn't have been on that show. Go back.

Tetsugaku 42 : Outside and Inside

- Speaking of inside and outside, tetsu-san, what does it mean to you?
[I generally don't spend much time inside-out.]

- Ah, right, I can understand that.
[But I think I'm probably thought of as being that way a lot of the time. I don't keep that much on the inside. I can't say I don't have anything hidden at all, cause I don't think that's possible for anyone. I think the ones who say "I don't hide anything," are definitely hiding something.]

- Ahahaha! For sure. There's no way to not have anything like that.
[I'm human too, so I can't say I hide nothing, but sometimes I'm stupidly honest. I think that sort of thing ends up being the reason for a lot of misunderstandings, and in a way I think it's harmful. But, after all, in this business, even if I were to say "I'm saying this with the best possible intentions, you know?" or something, there are still people who'd maliciously twist my words.]

- There definitely are people like that, but I think that there are also plenty of people you don't need to worry about. In the end, you have to leave it up to the other person to take your words as they will.
[That's true. Like it or hate it. It just depends on if that person says they like me or says they hate me. Or maybe they can't stand me at all (laughs). Though, as long as the number of people who "like" me goes up, there's an increase the other way, too. But really, worrying about that sort of thing is no way to live.]

- But, don't you think it's better to have someone say "I don't care" than have them say they "hate" you?
[Mmhmm. I don't want to be hated, honestly.]

- Is it okay if they say "I'm not interested," even?
[But, you know, I totally don't understand people who go "I hate seeing your face," without having any reason to "hate" me (laughs). I have no way of knowing if they're going to twist what I say or if they have some hostility towards me. I genuinely don't understand the reason, the cause for that sort of thing. That even happens with people I've never met before. But if there really was someone who said "I hate you!" to me, then if I were to spend a day talking things out with that person, I don't know if they'll come out saying "You're okay after all," and start liking me, or if they'll do the opposite. There's no way for me to tell, and there's no end to it. Thinking mathematically, taking a population and finding out which percentage of them are anti-me would be a necessary evil. It's a 'Matrix' world. (1)]

- We left it, right? (laughs). But I agree with you.
[Even in a factory where things are built, there's a certain percentage that come out defective. Cause there's no way to make everything perfect. There's no way I can get a 100% approval rating (laughs).]

- In a sense, that might balance out your more impressive points, tetsu-san.
[A sense of balance, you say, but that's "What the world is all about," after all. Inside and outside, public attitude and true feelings, there's all sorts of things like that, obviously. Good things come bundled with bad things, that's how the world operates.]

- Then it's not a matter of picking one. For example, you can't have just peace, since there are people who live off war, and so this could lead to that sort of talk rather quickly.
[The exact definition of peace is ambiguous to begin with. Anyone can say that "wars are not good," but they happen anyway. To the people involved in them, it's always happening for a just cause.]

- In that case, what we all need is to share the same point of view.
[But, that's waaaay too simple. "If they'd just think about it a little, anyone could understand," but I guess too many people don't even bother to think about it. That there are lots of other ways. That's why you need to spend more time learning to look below the surface. Like when you watch TV or read a magazine. When you read something in the magazines and newspapers, you think it's true don't you? But a lot of the time they make mistakes or they lie to you.]

- Interviewer : Honma Yuuko
Translated by Natalie Arnold

1. In the movie "The Matrix" the whole world is run by computer programs, so mathematically determining which percentage of people hate him would be possible. At the end of the movie, the main characters leave that world, hence the interviewer's next line.Go back.

Tetsugaku 43 : Professional

- The world of musicians, professional ones, and who on top of that have attained such immense success, is a world open only to a handful of people. Professional actors are in that same kind of world, aren't they?
[Eeh! Is that so? So, actors make good money, do they?]

- For example, if it was America, after being in just a single movie, they could live as mega celebs, but the Japanese movies don't seem to have that sort of system in place. Actors think they can get by appearing only in movies, but it's not like America. They need to be in CMs, TV dramas and things like that too.
[Is that how it is? I only knew musicians, and you're telling me actors don't make all that much profit either...... Like I thought, the Japanese system is strange. It's like this for soccer players, too.]

- For soccer players, their lifespan as pro athletes is quite short, which makes it all the more terrible. What's more, after they retire, for instance, there really aren't many people who can make a living based on soccer. The ones who can't end up needing to start a second life, and so a lot of those people end up making a living with a delivery service or something.
[Oh, really~? That's so painful.]

- Baseball players at least have a longer active lifespan than soccer players do. In that area, how are things for pro musicians?
[I think we need to put more money into the system, or else some good people won't be able to survive.]

- It's a realistic problem, since you can't live off dreams alone. It's a harsh story.
[I only know about the music world, but the right to declare someone a musician is really restricted. Since only the record companies have it. Like for putting up buildings (laughs). Compared to Europe and America, Japan doesn't put much money into supporting its musicians. Relative to the past, we did catch up pretty fast but we're still behind the west. Among musicians, I think there are also people who say "Just becoming a pro would make me happy" or "I'll be happy if I can just release a CD". But it's not just that, it's more, as far as the music world goes, and sports figures, and actors...... It's just that, if there isn't more money put into the system for these people, there won't be anything good happening, no one will be able to produce anything good.]

- Following that, people with talent might give up on Japan, and then they'll quickly go overseas. We should make the system better, so that we can defend the worth of our own social aspirations.
[What would be the best way to make a system that makes sure Japan's professionals get money? (laughs)]

- Hmmm...... Make sure the people we call pros are in a position worth aspiring to, much as I said. It's not enough to tell them to do their best (laughs).
[But, if you think about the salarymen, one person could work for their entire lifetime, and they still probably won't make a high enough salary to affort to build their own house, right? So how about that? That's just madly maddening. The system is. Because, you have people saying "Our loan has a 35 year repayment plan," so you'll be paying for that loan until you're how old? Or something. I absolutely can't stand that. It means those people are already gamblers. 'Cause, you have no clue what your income's going to be thirty years from now (laughs). But even so, they take out those loans. That must be quite the sensation. Knowing that you're going to be working for the same company for your entire life, I mean.]

- How is the social rank of a musician in Japan?
[I think I'd like kids to want to be musicians, chart toppers when they grow up. A friend of mine told me that in places like England, lots of kids say they want to be soccer players or musicians when they grow up. Most parents will even tell them to go for it if that's what they want. In Japan, that doesn't really happen, does it?]

- If a kid were to say "I want to be a musician when I grow up," even these days, most parents would be opposed to it, after all.
[But in England, everyone has the idea that if they become soccer players or musicians, then they'll be rich. That's why I want Japan to be that way, too.]

- You want to give kids the dream of becoming a musician, then. Since the J-League(1) was formed, there's been a sudden increase in the number of kids saying "I want to be a soccer player when I grow up." But, there doesn't seem to be many kids saying they want to become ranking musicians. That must mean it still isn't seen as a major occupation.
[Yeah, there's still that image of how awful it is to be at the lowest rank(2), isn't there? And then, it seems like only a handful of people ever succeed at it. Wonder how come?]

- Perhaps if, like Nakata Hidetoshi did for soccer(3), there were to appear a musician who could compete equally at an international level, that point of view would change?
[A musician like that doesn't exist, and I think that can't be helped. It's the words, after all. In Japan, Japanese is the main language. Some people can sing in English, but really, hardly a handful have good pronunciation, right? Singing with badly pronounced English, I don't think that's going to make people overseas listen and pay you for it. So, as much as Japanese people might think "This sounds like Western music," "I bet this could be a hit overseas," it won't be successful there. That's because they already have plenty of that kind of music overseas. They won't go out of their way to buy a Japanese musician's products. I think if any Japanese music has a chance to be successful overseas, it's Japan-like stuff. Asiatic, exotic stuff. Besides, getting something Japanese to be a success overseas is mainly hard, isn't it? A softer success is something like animation right? But, when that animation goes overseas, they can dub over the dialogue. When athletes go overseas, the language they speak doesn't really matter. Since it's a world where you advance by applying a practical skill. Talking through music doesn't work the same way. Within Asia, Japan is the subject of admiration, so to an extent, people are more willing to listen to something that's in Japanese. Japanese is only used in Japan. In comparison, English is used in countries all over the world. It's the official second language in even more places. That means the market is worldwide. That isn't the case for Japanese. That means you have to focus on the Japanese population, don't you? And so, it means there's no possibility to broaden your market. I think if Japan had won the Second World War, history would have been changed. The Japanese language's sphere of influence would have grown. Also, the way I see it, it would have been better if Japan had adopted English after losing the war. Wouldn't it be easier that way? We'd all have been speaking English since we were born (laughs). We could have kept Japanese for historical, cultural things. It would be easier. The market would be bigger.]

- Interviewer : Toujou Sachie
Translated by Natalie Arnold


1. The J. League is Japan's professional soccer league. It was officially opened in 1993, which is recent by global professional sport standards.Go back.


2. In feudal Japan, social ranking was very strictly organised by occupation, and artists fell near the bottom. They were usually very poor and did not own land, instead having to pay high taxes to live on someone else's land. Part of this perception of artists as low ranking persons seems to have persisted into modern times.Go back.


3. Nakata Hidetoshi is undoubtedly the most famous Japanese soccer player active, if not the most famous player of all Asia. He has been playing in European teams for many years, and has been acclaimed for his great prowess while on Italy's team. Go back.

Tetsugaku 44 : Lives

- At the end of 2003, you performed as part of the event "Danger II" at Budoukan (1). What kind of sensation did you get from doing that show?
[Until then, there hadn't been any TETSU69 lives yet. There was that one acoustic show I'd arranged with piano and acoustic guitar, I'd done that show, but the band I'd organised for it was only meant to play together that one time, so having this second show at Budoukan was pretty cool (laughs). I took every shortcut I could, thinking of how interesting it would be. Last summer, I played at SHIBUYA-AX(2) too, but this was by far much easier than AX. I guess I prefer the big places, after all. Playing there feels great, and the bigger the venue the more natural it feels.]

- tetsu-san, you've played in huge places several times with L'Arc, so there must not be much left that can surprise you. You move quite excitedly here and there about the stage.
[Yeah, I do. I've never gone out there planning to move around so much. I start out thinking I'll stay in my prearranged spot and sing. But once I'm out on stage, completely subconsciously, I move around a lot. I get wrapped up in it, and it feels great. I think Budoukan's pretty nice.]

- Beyond the size alone, you must also have some feelings about the seating capacity.
[If you were to ask me about how big AX is, I'd say I don't find it all that big. Even from the audience's perspective, I think that's the case. Ain't it tiny? The year before last, when I went there to see Duran Duran, I was thinking about how small it was, and yet they played anyway, I thought. The first time I played at Budoukan I thought the same thing.]

- It's round, so that probably makes a difference.
[But it hasn't got that much depth.]

- Does it feel any different going on stage as the bassist of L'Arc~en~Ciel as opposed to going on stage as TETSU69?
[There are differences between being bassist and vocalist, so it's not a simple thing to compare. If I was bassist for both acts, I'd be able to understand the differences more objectively, but since my duties are so completely different, it feels completely different.]

- Did going on stage as a vocalist, a front man, seem smooth or was it uncomfortable?
[Well, all the members of L'Arc have taken up doing lead vocals. Thinking about it objectively, it's quite impressive, but all of us do it like it's an obvious thing to do, we just gotta, or else it'd feel kind of embarrassing. I mean, of course we can do that. Being with such high-level people, it paralyzes you in a way (laughs). All four of us write songs, all four of us take up lead vocals; looking on a global scale, I don't think there are any other bands who can scatter into musically active solo projects like this. I think L'Arc~en~Ciel is an incredible band.]

- When you participated in "Danger II", what did you make a point of?
[I'm quite sure people hadn't expected me to be the first act to go on stage, so first of all, since I was the top batter, I had to do a great job up front so I could pass the baton to the next person. I thought it was a heavy responsibility.]

- Were you nervous before the live?
[Nah, I wasn't nervous. It's like I didn't have time to be nervous. Mostly because I'm so noisy. Actually, I was pretty pressed for time in rehearsal, so I didn't get that much of it. It felt like the show came up right away.]

- Are you nervous when you go on stage as part of L'Arc~en~Ciel?
[With L'Arc, I'm even less nervous. When I'm up there as TETSU69, I have a bit more to take care of. Speaking of which, for the singing part, there are so many things I gotta do, since singing is so much more direct than playing bass, and there are so many more points I need to be careful about. With singing, there's pitch, rhythm, lyrics, tone of voice, all sorts of things to worry about, and yet I have to give plus alpha (3) to all of them; it's awful. I'm always afraid I'll mess up the lyrics. On bass, I can cover it up. I think I can cover it up no matter how often I mess up (laughs).]

- You say you mess up on bass, so what kind of mistakes do you make?
[I stop playing sometimes, just to go "Yaaaay!" or my slides will go buriririri, or it'll go buiiin by mistake (laughs).]

- tetsu-san, when was the first time you ever performed in front of other people?
[In third year of middle school, for bunkasai(4). We were doing a cover of Michael Schenker. I've played bass since the start. Just so I could be in the show, I tossed together a band with some classmates, so I don't really remember the members, I just remember that it was fun. I was unbelievably nervous, I must have been giggling in the middle of class (laughs). At the time, I was thinking I'd work on getting myself on stage. It feels great, it's fun, I've thought that since the beginning.]

- Which was more fun for you, playing music or getting people's attention?
[At the time, my playing wasn't crap anymore, but I still wasn't great at technique, so when I performed, that feeling of being in the groove wasn't there at all, but, I remember thinking that it felt great to be the focus of the crowd's attention.]

- tetsu-san, is it part of your personality to be the type to stand out?
[There is a part of myself that does stand out, but rather than stand out the most, I'd rather hang back a little; I prefer to be second or third in terms of standing out.]

- So out of the five Rangers, you'd rather be Blue than Red(5).
[That's right, beyond just colour preference (laughs), as far as position placement goes I think I'd rather be the Blue ranger.]

- During that bunkasai, how did it feel to be watched by the audience?
[Being on stage for the first time, you mean? Nah, I don't really remember, but first of all there were lots of people. Although, since there were lights on me, I couldn't see the audience, so I couldn't tell how many.]

- From then on after, you must have felt even more strongly about wanting to do live shows.
[Yeah, I guess so. But the first thing I started with was searching for other members. I wanted to have a proper band, since I was starting high school. In middle school, it was more just for fun. Being in the bunkasai, that was pretty much the only serious show we did. We had entrance exams to cram for.(6)]

- When did you start thinking that playing on stage was the epitome of performing?
[Once I was in high school, it came by pretty fast. Because I put together a band with some talented members. Our drums and bass were great, it was wonderful, and I don't understand how anyone can stand it when they don't have talented guys playing those parts(laughs).]

- As L'Arc~en~Ciel, you played your first live at Nanba Rockets in 1991. Did you get much of a response at that time?
[We did. We even managed to mobilize an incredible number of people into coming to see us. By ourselves, we could get about 130 people, and when we played with another band there would be around 200; it was full to bursting. So then that means our first live did get quite a response. But, we didn't have many songs yet, and it was the first time the audience heard us, the first time they saw us, and still we were part of the scene.]

- For a first live, mobilizing so many people, as you put it, is amazing.
[We knew that we would have a certain appeal for people who liked our kind of music. Also, ever since the beginning we knew we'd be in trouble if we couldn't bring in that kind of people. Cause, with 100~200 people, we could have just been catching the people hanging out in that area, and then we wouldn't ever grow any bigger than that. We wouldn't be able to grow, we wouldn't be able to move up.]

- Beyond doing lives with L'Arc~en~Ciel, what else were you intending to do?
[Back around the time of the first live, L'Arc had only been formed for about two, three months. We had very few songs at the time, so we could squeeze out one live per month, thinking we'd increase our song count little by little. So, we didn't want to do too many lives. Just one a month.]

- Why was that?
[So the crowd wouldn't get sick of us. Even if we didn't overdo it, they could get tired of us fast, so if we'd been doing two or three lives a month, we wouldn't have time to write new songs, or enough time to focus on the music. One a month seemed to be exactly the right pace. For starters, our first live got us 130 people, and even if we had lots of people already, we still needed to make it a good live or else there would be a lot less people at the next one. If we don't make every live a good one, we can't keep people coming, and we won't get any bigger. This is being picky but, every time, we wanted to be dressed differently. We never wore the same thing more than once. I used to be very particular about that (laughs). I get the feeling that recently, I might have worn the same outfit more than once. Oh yeah, and back then, we'd decided not to do any tours.]

- Normally, don't people want to go on tour as soon as possible?
[We didn't want to leave Osaka so soon. One of our goals was to light a fire for ourselves in Osaka. Actually, we didn't tour the country until after we signed with the company, and we didn't even do any lives in Tokyo until later on. It was more of a treat when we finally did. In the end, if you take a good look around you, there are already plenty of chances to hold lives, but there are overwhelmingly many bands who are hungry to go on a national tour right away. We're different from the bands who do that. We think about things more strategically.]

- However, it's difficult to be so objective in your judgment when you don't have much self-confidence.
[Like I said, we thought about it calmly and decided that was the best way to go.]

- Didn't you feel like doing more lives?
[Nah, it was enough, that one per month pace. And we couldn't afford to buy that many outfits, either (laughs).]

- You said that if you don't play a good live, half the audience won't come back, but what exactly is it that makes a show be one of those "good lives?"
[A good live? First of all, the people who come to see it have to think it's a good show, and if it makes them want to come back, then it was a good live.]

- Did you get a response when you first went on stage?
[At the time, there wasn't much response. The performance, the staging... looking back on it now, we were still immature. First off, we were making efforts so that our lives back then wouldn't decrease in value. We had to do the next one in a month. If we overlooked that, we wouldn't be able to see two months ahead. On top of that, if we had new songs ready every time, we'd be able to play a new song at every live. We thought it would be nice if doing that made the audience want to come back. For the first one, we still had no idea how to do the staging, how to put a face to the performance, and so I think we were lacking in that dimension.]

- As a band, did you have review meetings after your live shows?
[Review meetings, well, I think we had some kind of meeting after every live. I don't remember very clearly. We went out to eat after every practice, so we did have a lot of meetings. And then we never had any sort of closing, what we did was only with our own staff, we've been rather particular about that.]

- Why might that be?
[At that time, all the amateur bands used to invite their fans to closing parties. They'd say "3000 yen per person" and take money from their fans, then drink that money away. We never did anything like that. We kept a distance away from our fans. That's the same now as it was back then.]

- It sounds like you've consciously taken a professional approach ever since the beginning.
[I think it's just that we never wanted to be "the guys next door" or "familiar people". It was a strategy to maintain our charismatic appeal. After the lives, there would be fans crowding around in the front and back of the livehouse, and if we stopped to have light chats with them, that wouldn't get us anywhere, we thought. Doing that sort of thing would mean stopping. The reason is that then we'd get stuck with fixated fans. And so we chose our livehouses carefully. If the ready room wasn't right next to the stage, it was no good. You know how in some livehouses you have to go through the audience seats just to get to the stage, right? We avoided those places. In places like that, you're in the middle of the crowd with people all around you, walking in just like a pro wrestler, and you get touched, they get way too close to you, you know? We avoided those places and chose livehouses that were arranged so we could go straight from the ready room to the stage without having to get too close to the crowd. Then, when the live was over, the members weren't the ones putting the equipment away. It was all done by the roadies. We didn't want to let the fans see us cleaning up and loading our equipment into cars. We were much more thorough about that during the early days.]

- You don't see many amateur bands go so far.
[That's right. Since going pro, that's been the case even more. Ever since the beginning, we've had a rather high-handed way of doing things (laughs). Aesthetically, too, we were strategic about how L'Arc~en~Ciel would be branded.]

- Your strategy let you become a success, so of course that strategy itself granted you a certain foresight, but given that the band's own force is drawn from its substance, I think that both of these must drive you. In that respect, what did you make a point of doing for the sake of having the band make it big, as far as the lives were concerned?
[I certainly thought strategically, but beyond that, I didn't dwell much on what would come next. Anyway, at that time, we were just doing what we had to do. That strategic aspect, it seems so much easier ever since we signed with our current company. Their way of doing things is a lot like what our approach was, so joining them went smoothly. Until then, it felt like we'd done nothing but upgrade our method of doing things. Our previous company mostly gave us trouble for it.]

- Do you feel that you've always done things your own way?
[It's not something to exaggerate about. Well, we've somehow gotten this far doing things our own way. It's just that it isn't a question of having gotten so far because we always did things our way. We've had good relations with other bands, we've had relationships go bad and get talked about, and we've participated in closing parties several times.]

- Since your major debut, has there been a tour or live you would consider a turning point?
[No, I don't think there's any one show that could be elevated so much. Any show of any tour could be called a turning point in a way, couldn't it?]

- Have there been any lives you were personally unsatisfied with?
[I can't remember any bad lives, but now I remember one incident where we were playing in a rather large livehouse, and in the middle of the show, the people at the front of the crowd got stirred up, and then the head of my bass got grabbed. Right out of the blue. That messes up the tuning, you know. And so I have bad memories of not being able to play right. That's just lacking common sense, right? I understand why they touch my feet or grab at my clothes, but screwing up the tuning of my bass, that messes things up for the other members, and also for the rest of the audience, and I don't get to have a good time performing, either. Even now, I still remember that incident a little bit.]

- How do you feel you've developed over the course of doing so many live shows?
[Hmmm. I wonder. It's been accumulating since the start, and I think all of it is still with me.]

- For instance, as a live artist, are there any goals you feel you've accomplished?
[No, that's too vague, I don't quite know. I think it all accumulates. Our first time at a livehouse drew in 130 people, but that was with another band, so we wanted to headline the next one, which drew in 300 people, so we wanted to have the next one in a slightly bigger place, then we went to a bigger venue, then it sold out, that's what you mean isn't it? Well, we made it all the way to Tokyo Dome. But we might want to hold the next one in a small venue we haven't been to in a while. That's accumulation too.]

- Early on, was it one of your goals to someday be headlining at Tokyo Dome?
[Yeah. Playing in bigger venues is correlated with higher CD sales and popularity, though the number of people who don't buy tickets goes up, and I think that's just because we're playing in bigger places.]

- It felt good to play live as an amateur band, and you say it feels good to play on stage now, but is it the same kind of good feeling? Or is it different?
[It's basically the same thing. It never ends. However, early on I didn't feel good about singing on stage, as opposed to purely playing, but lately that aspect of it has become a plus.]

- When you go on stage for a live, what do you think about the audience? Is it more important that the people in the crowd have a good time or that you have fun yourself?
[Both, really. We think about the crowd's enjoyment when we choose songs, make up the sets, and go out on stage, but we also think about all that being fun for us. So it's a little bit of both.]

- Does the audience response stimulate your own performance?
[Personally, it really doesn't, these days. Maybe it did in the past, I don't know. Of course, whether I'm playing in an empty room or in front of a crowd clearly makes a difference, but getting a good or bad reaction doesn't affect me now.]

- As a pro, you shouldn't let it influence you?
[That's what I think. Actually, it just doesn't bother me.]

- Do you get stimulation from the other band members?
[I do. Being with such incredible members today makes me so happy. Also like, "Ah, we're out of order today." (laughs)]

- tetsu-san, are you the one who drags them down?
[No, I'm not. I'm just about average. Rather than have 120% days and 40% days, keeping up a steady 80 to 90% is ideal for me. I'm not really rock and roll (laughs). I'm the careful, precise craftsman type.]

- What is that makes L'Arc~en~Ciel's live shows interesting? Do you do something that other bands don't?
[Nah, since I've never been in any other band than L'Arc, I can't really tell.]

- tetsu-san, what is your personal position on lives? Do you live for lives, do you write songs so that you can perform them live, or do you not like lives much and simply prefer to write music?
[I like both recordings and lives. Though, I wouldn't say that I especially love live shows, and I don't want to do especially many. But I do think it's bad not to be able to play live. I don't want to be one of those bands, those artists who don't have live shows. CDs are great, but I don't want us to be one of those bands who says lives aren't interesting. I'd rather be an artist with good CDs who also has the greatest lives. Besides, I think that if our live shows stop being good, there won't be any good live artists left. Or rather, that they won't last long. Without lives, it's like, where does this all come from? The artist might be a fake.]

- Do you think you can judge that from a live?
[No, because even if they have lives, some people still just lip-synch. We're pros, so we can tell by looking, but sometimes I wonder if normal audience members can tell or not. Or maybe it's more fun because they're lip-synching. It's more of a show, maybe they watch and think of it the same way as a Tarazuka(7) show (laugh). It could be that they're not trying to understand it all but just out to have fun.]

- L'Arc~en~Ciel is starting another tour in May, so is there anything in particular you'd like to try to do in these shows?
[There are places we haven't been to in a while, so I'm looking forward to that. It's just that there are a lot of hard parts. A tour is a tour. We have to memorise all the new songs, as well as review a lot of old songs.]

- Do you train your body at all for the sake of a tour?
[For "Shibuya Seven days 2003" I went through a physical remodeling program, since I thought I'd need it before I could go on stage so much. If I hadn't, I'd be in crappy condition (laughs).]

- Since you're a pro, you had to face what was necessary.
[At the core, it's like what athletes go through. Going on stage, being on tour, that is. Even performing, it's your body that does most of the memorizing. Even when I can't remember a song at all, I can listen to it two or three times, then play it again completely naturally. That's a mysterious thing.]

- Interviewer : Hasegawa Makoto
Translated by Natalie Arnold

1. Previously mentioned in chapter 23, this 2003 show included as guests TETSU69, S.O.A.P., and Acid Android, as well as a special L'Arc~en~Ciel performance of Ready Steady Go that was included on the SMILE DVD.Go back.

2. Shibuya AX is a venue located, as the name suggests, in Shibuya. It seats around 1500 people, which is tiny compared to the immense Budoukan's 10000+. Go back.

3. This strange bit of phrase appears to be a Japanese slang used as a superlative.Go back.

4. As explained in chapter 29, bunkasai translates to "cultural festival" and is a yearly event in Japanese schools. Students put on shows, either with friends, with their clubs, or with their classmates. People living near the school are invited to attend and enjoy the student's shops, decorations, and performances.Go back.

5. This is a reference to Power Ranger type action shows, in which the Red ranger is usually the leader and center of attention. Go back.

6. The third year of middle school is the last one before high school, and so it is characterised by a lot of preparation for the entrance exams needed to get into high school. And so, tetsu is saying that they didn't have time to be a serious band since they were so busy at the end of middle school.Go back.

7. Takarazuka is a Japanese form of theatre in which all parts are played by women. The fake aspect of these shows lies in the fact that none of the male characters are actually played by men, so romantic scenes, for instance, tend to seem quite fake.Go back.

Tetsugaku 45 : The 30s

- Actually, it seems you're in your thirties yourself. Be honest : How does it feel?
[Mentally, I'm in my late teens, so not much has changed. I'm 34 now, turning 35 soon. Thinking about that is...... kinda scary.]

- Scary....... What's scary about it?
[What's so scary? Back in elementary school, when I was a kid, I used to think that 30-somethings were so old. I haven't changed that much since back then. Even though I'm that age myself. Am I allowed to be 30? I wonder (laughs). Of course, I have matured a little bit since elementary school (laughs). But in high school, at 16 or 17, I felt like I was done growing up. But that, doesn't everyone do that? Not change that much after reaching 16 or 17? If you think about it, it's a wide stretch of maturity compared to elementary school.]

- I think there certainly is a part of oneself that doesn't change after those days. But even so, now that you've passed into your thirties you must feel like you've changed somehow. In the mental sense, regarding maturity.
[Seriously?! I totally haven't (both burst into laughter). Nah, is that more or less maturing? Even for me. But in my case that stretch of maturity is really narrow. Until 16, 17 I grew up reaaaally fast, all at once. Ever since then, until now, it's been so much slower, I really feel like I'm only getting more mature a tiny little bit at a time.]

- Until the lower teens, there's a bodily aspect to it, a sudden rush of growth that doesn't happen anymore, that could have been scary too.
[Hmm...... Yeah, there was that too. You know, when I was little, I had this mental image of "adulthood". Adults work hard, they think the right way and they live by those thoughts, that's what I imagined. However, the way I am now, I haven't become anything even remotely like that mental image of adulthood I had when I was a kid, and I've come to realise that.]

- As a human being, you still have some maturing to do before you can really be an adult, perhaps you're afraid of that realisation.
[Right. Anyway, when I was a kid, I thought adults had to be something like "Sennin" (1) didn't I? I must have.]

- As if they had to keep themselves above everything?
[That's it. "Young people these days," that's a phrase adults use a lot, isn't it? But I wonder about adults these days. I think adults today are worse than the young people. Any way you look at it.]

- In what situations? When do you feel that way about today's adults?
[Take this for example, it happened just recently. I was in my car, at the high-speed tollgate, and there was another car diagonally in front of me. On this side of the tollgate, you slow down, right? That's when it was. They dumped an ashtray out the window. Dumped out still-smoking cigarette butts onto the road. It's an adult doing this, an adult! An old guy. "The hell you doin'?!" It was an "Eeeeh?" moment, I couldn't believe my eyes. I was so surprised. The point is, when I was a kid, I thought that adults did the right thing. But, there's a ton of adults who don't. Now that I'm an adult myself, I know. When you're a little kid, everything adults or seniors say sounds like the right thing, you get caught up thinking that. However, it turns out that's not the case, which you find out once you grow up. It's the same with schoolteachers. As a kid, you think "Teacher said it, so it must be right," don't you? I don't know why this makes me angry, but it's happened that I've thought maybe I was wrong. Actually, it wasn't me, it was probably the teacher saying something weird. Looking back now, I can think of a lot of instances of that.]

- When you were a child, you thought that "Adults are always right," but it was nothing more than an illusion. Now that you're an adult yourself, you can take a good look at the other adults all around you. How about this : Do you feel at all fascinated by the accumulation of years?
[I've never been fascinated by that. Because people have to get old, even though they hate it. There's no need to admire that necessity, is there? That's why there's no need to go "I wanna hurry and be a grown up!" either. Some people do say that, but even people who hate getting older will end up being adults someday.]

- So, do you have any idea of how you'll spend your thirties?
[No, not the slightest.]

- Is anything different from your twenties?
[There's nothing tangibly different but, it's just that knowing and thinking that I'm in my thirties feels a bit distasteful.]

- I wonder how you'll be in your fourties.
[The idea of being 40 is hard to grasp for me. At that point, I'll probably be better off accepting that I'm an "old guy." But at this point, I hate the thought. Actually, as I go about my life, I don't normally think that I'm 34.]

- Sometimes you don't feel like you really are your age, right?
[Yeah, that's for sure. Take this for example, I've got more physical strength than I used to have. Better concentration, too. Sometimes I'm more aware of those aspects of me.]

- What about other aspects? For example, do you sometimes feel like there's a generation gap between you and younger people?
[I don't. Ever since way back, I've been able to tell what's going to be fashionable and what isn't. That still hasn't changed.]

- Interviewer : Toujou Sachie
Translated by Natalie Arnold

1. As previously explained in chapter 24, Sennin is a figure from Japanese mythology. He was a sage who lived as a hermit in the mountains and acquired the skill to perform miracles, as well as the ability to live forever. So, tetsu thought that being an adult meant living a disciplined, detached life.Go back.

Tetsugaku 46 : Japan

- Do you like Japan?
[It's difficult to say if I like it or hate it, but I think it's an unusual country. For example, kanji and hiragana and katakana (1). We have three kinds of characters. Even for simple magazines. We can start either from the left or from the right, and in newspapers we even have it top-down. I think we should standardize it, already. I want to make things simple. Simplify, simplify. Besides, in the West it's always from the left, and anything in Arabic characters reads from the right. But in Japanese, you can write things top-down and still start from the left (2). I wouldn't get it, if I was a foreigner. I want to make it simpler, much simpler. Both the characters and the sentences.]

- But, with hiragana and katakana and kanji, many subtle nuances can be brought out, don't you agree?
[Nah, I don't go for that sort of thing. I'd like a simple global standard. For magazines, too, I think the western style, opening on the right, is based on human engineering. There are more right-handed people, so they'd open things on the right and flip through them that way. Reading words horizontally is less tiring, too; I think it's the proper path for the eye. Originally, Japanese went top-down but these days, it'd be good to standardize the horizontal system, wouldn't it? And open on the right. And then, our cars drive on the left. Here too, if you apply human engineering, there are overwhelmingly more right-handers, so it should be better to do the gear changing with the right hand. It doesn't matter so much with automatics, but in a manual one, it's better to use your dominant hand. This is how I think : Make everything simpler. Global standards and universal designs. Standardize the world standards. I mean, standardize to either centimetres or inches. Inch sizes and centimetre sizes might seem like a subtle distinction, but it really is a different size. I think there should be a world standard for voltage, too.]

- Doing so would certainly be logical, and probably much more convenient.
[So anyway, I think Japan's a terribly unique country. Even on a worldwide scale. Like how we've got all these foreign military bases here, but everyone thinks that's normal. However you look at it, the Self-Defence Force(3) is an army, but it isn't recognized as an army. I think it would be okay to call it an army, since it is one. Oh, and we don't have many patriotic people, do we?]

- tetsu-san, are you patriotic yourself?
[Me? I'm not (laughs). I don't think of it as a problem. To put it bluntly, I don't think anyone does. Not loving your own country. Even during the soccer world cup, there were incredibly many cheers for Korea. I don't think Japan should go that far. I think that's the reason Japan's representatives couldn't win against Korea.]

- It could perhaps be that we have a gentle national character. We have a deep rooted reverence for modesty. Something like gracefully accepting poverty.
[Hmm. Are those ideas the natural state of the Japanese? Is that Bushidou(4)? Is it really? I think that all that modesty was planted later into education about the Second World War. And so the nature of the Japanese probably isn't much to scream about. The people who are getting old now, they grew up in an era where they had nothing, they learned to treasure what they had by enduring that era, but are we mistaking that way of thinking for a Japanese tradition, I wonder? Am I wrong?]

- Then, you don't identify with a mentality like the one I mentioned?
[I just saw "The Last Samurai" and I couldn't identify with it at all. I thought that my way of thinking was nothing like the typical Japanese. From the beginning, when I saw the TV advertisements that said something like "He was touched by Bushidou, he wept," it occurred to me that we can only know as much about the ancient samurai as we were taught. Besides, during that era, most of the Japanese were peasants.]

- So, can you describe a time when you felt glad to be Japanese?
[Whenever I eat Japanese food. After all, food from other countries has such strong flavour, doesn't it? And in America, they overcook their meat, too. The Japanese have a delicate palate, they say, and so I think that means we have a highly developed sense of taste. And so, we get to eat all kinds of delicious food. You know, since I do this kind of work, I get to travel to all sorts of areas and sample the local delicacies, but in the end I think Tokyo's food is the tastiest. Of course, in rural areas, the ingredients might be fresher, but I think that when it comes to the skill of the cook, the more skillful people are found in Tokyo. The rural people take it easy. Just cause they've got the freshest materials, right? It's the same sort of thing, say, with Thai cuisine made in Japan. When you go to Thailand, Thai food doesn't taste as good (laughs). The Thai food you can get in Tokyo is the best. It's made to suit Japanese tastes, too.]

- That's certainly true. You could argue that it isn't really Thai food anymore.
[Right. It's like how curry originally comes from India, but Japanese-style curry tastes better because it's been adapted for Japanese taste. Since I'm Japanese, I prefer ours.]

- Listening to you speak so far, I thought you needed to take a little bit more pride in being Japanese, since you pointed out how much you're apart from your countrymen, but you mentioned universal designs and global standards, which brings to mind an image of a borderless nation. This might be something you're opposed to discussing, but tetsu-san, do you keep yourself highly aware of how this nation is going?
[Eh, opposed? Well, in the end, I want this to become a country I can love. How can I come to love it? That's hard to answer. A presidential system would be better, wouldn't it? Where the people decide in a presidential election. So, we'd have many more chances to pass judgement on how the president is doing, and that would be good, wouldn't it?(5)]

- Interviewer : Kikuchi Keisuke
Translated by Natalie Arnold

1. These are the three different kinds of characters used in written Japanese. You have to know all three to be fluent. There are 48 base hiragana and 48 base katakana, which are phonetic symbols, and several thousand kanji, which are ideograms adapted from written Chinese. Go back.

2. Traditionally, Japanese was written top-down with the first column on the right side of the page, and reading would progress toward the left. Also, I think it is worth mentioning that this entire book is printed western style, with text written horizontally and reading from left to right. It is, of course, still written in Japanese.Go back.

3. After the end of World War II, one of the sanctions on Japan was that it may not maintain a military force. However, the Self-Defence Force was established as a basic defence unit, strictly to preserve the country's independence and safety. It is truly minuscule compared to the military found in other countries.Go back.

4. Bushidou, usually translated as the way of the samurai, was the unwritten code of honour by which the samurai were supposed to abide. It included the idea that the warrior should be utterly devoted to his lord, even to the point of committing suicide if his lord was killed. Go back.

5. While Japan has had a democratic system with elected representatives since the post-war period, it functions quite differently than Western democracies. In Japan, the people can elect representatives for their local prefecture, affiliated to a political party. It is then these representatives who elect the Prime Minister. There is still an Emperor, but he is now a symbol rather than an important political figure. So, the national leader is not directly decided by the people. Also, it is worth noting that the same political party has been in power since 1958.Go back.

Tetsugaku 47 : Building Structure

[You know, I like architectural structures. Like, when I go to a friend's house, I like to look at the rooms, too. You know how after some years, there's a reform or a boom? I like observing the products of those reforms, too. Oh, and I like comparing the interiors of, say, a clothing store and a grocery store, too.]

- Do you think you'd like to try producing these things yourself?
[I'd like to give it a try. But I'm sure no one would let me. Getting a store of my own would be tough, but if it means the interior would be entirely up to me, I definitely want to try.]

- But, regarding architecture, I often hear it said that Tokyo's buildings aren't so great.
[Ah. Buildings are what makes a city, though. And of course the roads, streets. Aren't the streets so tiny? Tokyo's streets, well, Japan's streets are narrow. Originally, it seemed like Japan was going to cast off all the old stuff and put in new stuff in a hurry, and it looked like that would be cheaper. When they had to repair things because of earthquakes or air raids, they could've gone on to make the streets wider. But since they didn't go about it systematically in the past, now we're stuck going around in circles.]

- These days, they reopen all sorts of places, renaming Roppongi or Shiodome (1) for instance, but do you get the impression that they've only glossed them over?
[No, I think those are good developments, myself. However, it's not the nation that directed their construction, though. It was all done by private companies. It makes me wonder if the country couldn't do a little more. In places like California, there's a law saying houses have to be properly maintained, isn't there? If you don't maintain your garden and weeds get out of control, there are penalties. And then, in European countries, for instance, you can't build your house any way you want, it seems they've decided you can only build houses that are in harmony with the ones around it, but in Japan the atmosphere is more like if it's your land, you can build anything you want on it. I think the residents should make an effort to get them to pass a law or by-law that would prevent the scenery from getting ruined.]

- The scenery of the city as a whole should be a concern, then.
[Yeah. In London, too, there's a limit placed on billboards and neons in certain parts, right? Like around London's Piccadilly Circus. And in the neighbourhood right around Times Square in New York. There aren't many others, though. But in Tokyo, they're everywhere. Furthermore, some of these things make me doubt their senses. In terms of design. Still, there certainly are quite a few buildings designed by Japanese architects that are designed well. But, I can tell that any building other than those is just built at random. Looking around the world, I think there are some incredibly well-designed buildings, so I think it's a shame.]

- Can you think of an example of a building that struck you as cool, lately? One with architecture that you think should be the new standard for Japan.
[Out of the buildings in Japan? Roppongi Hills, maybe (2). That took quite a bit of money to build, didn't it? It was done by a French designer, but it's still cool. And then, even though it's old, I get a good feeling from the Shinjuku Shintoshin (3). Aren't the buildings in Shiodome kinda cheap-looking? I've never been there though. I only drove around it, but the surroundings had a cheap sort of feeling. It sorta feels fake. But, the most fake looking one of all is Yoyogi's NTT Docomo building (4). When I looked at that thing, I kinda flipped (laughs). At first, I was looking forward to it, wondering if they'd be able to mix the Empire State building and the Chrysler building, wondering when they'd finish, but then "Eh? It's finished?" "It's only temporary right?!" (laughs) It's kind of embarrassing.]

- What else do you think makes a cool metropolitan area, and do you have an opinion on the streets themselves?
[I like pretty streets lined with trees. Like Omotesandou or Purachina Dori(5). Cities with green spaces are nice. Compared to any other major world metropolis, Tokyo has extremely few of them. So, they should open up the Imperial Palace (6) (laughs), and have it be like New York's Central Park. If we did that, we'd be up to world standards. Oh, and these days, you hear a lot about rooftop gardens, but wouldn't it be nice if they stepped it up a little?]

- So then, tetsu-san, if you had the chance to fix up the design of Tokyo, what would you do?
[Remake it from scratch? If I was starting from scratch, I'd make it look like a Go board (7). Like New York's Manhattan. It would be a Go board with wide streets. And then the building coverage, the floor area ratio would be lower. Build things upwards, higher. Cause, I like tall buildings (laughs).]

- Which is your favourite tall building in the world?
[That would be New York's Chrysler building.]

- What is it about tall buildings that you find so captivating?
[What do I like about them? It's kind of a mentality predictor, since tall buildings are a status symbol, so there's something admirable about them. Also, I like chairs, too, and I've been told it's the same principle. It's a trend present in my mentality.]

- An admiration of status, an admiration of power.
[Don't I sound horrible, just from hearing that? But that's definitely all at a subconscious level (laughs).]

- Interviewer : Kikuchi Keisuke
Translated by Natalie Arnold

1. Modern Tokyo boasts certain "cities within the city" that are newly redeveloped districts. Roppongi and Shidome are two well known examples of this development.Go back.

2. Roppongi Hills is one of those "cities within the city" mentioned earlier. It is a complex of buildings all united as one structure.Go back.

3. More properly "City Tower Shinjuku Shintoshin", it is a 37-story skyscraper in the heart of Shinjuku, a ward of Tokyo.Go back.

4. NTT Docomo is a cellular company. Their Yoyogi building is a skyscraper made to look like a merging of New York's Chrysler building and Empire State building. There is also a clock at the peak of the building.Go back.

5. Omotesandou is a long street in Harajuku mostly lined with cafes and upscale fashion boutiques. Purachina Dori, meaning Platinum Road, is located in Tokyo's Minato ward and is home to the same type of shops as the Omotesandou.Go back.

6. The Imperial Palace in Tokyo is the home of the Emperor and his family, but it and it's gardens are not accessible to the public except on two days of the year, namely New Year's Day and the Emperor's birthday.Go back.

7. Go is originally a Chinese board game that is now popular throughout Asia and increasingly elsewhere. The board is flat with lines painted on to form rows and columns of squares.Go back.

Tetsugaku 48 : Interior

- Are you pleased with the place you currently live in?
[It isn't perfect, but I like it. The view from the living room is incredibly good. It's good 24 hours a day. The windows are big, so I can see the Rainbow bridge(1). From the bedroom, I see the skyscrapers of Shinjuku.]

- How nice~.
[It's just a normal, simple place. All in white. The bath is all white too, with a glass door connected to the washroom(2).]

- Where do you spend the most time?
[That would be the living room, wouldn't it? I have a white leather-covered sofa, and in the corner there's a desk where my computer is set up, so between the Aeron chair(3) I have there and the sofa, I think I spend a lot of time sitting in that room.]

- How refined~. But, is everything really all white?
[Yes it is. I don't really like black, so there isn't a single piece of black furniture in my home. It's basically white. I also like wood, glass, and aluminium. My whole place has that sort of feeling. But you know, there are things in the world that only come in black. Like the Aeron chair I mentioned earlier, it's mostly black, but the netting on the back part is red. Generally they're all black, although they do normally sell the ones with red netting now, but when I bought mine it was the first custom order in Japan. That was seven or eight years ago though.]

- That's amazing~. So you live surrounded only by things you like?
[I just don't want to make room for things I hate. I don't want to have things I don't like within my sight.]

- Have you liked interiors since you were a child?
[Yeah, I did. I think I had an interest in architecture itself. When I was a kid, I'd look at cool buildings and my heart would beat faster. I liked model rooms too. In third or fourth year of elementary school, I reformed my parent's house. That is, I got to make my own room be how I wanted. I was picky back then, too. I talked with an old merchant. The wallpaper, the blinds, the door; I picked them all myself.]

- Very mature. What was the feel of that room you got to remake?
[Loghouse-ish (laughs). It was all wood patterned, totally different from the wood I like now. But for an elementary school kid, I think I was pretty blessed, being able to designed a satisfactory room.]

- How long did you live in that room?
[Uhmmm, until I was about 18. After high school graduation, I thought I should be independent, so I started living on my own.]

- You must have been picky then, too.
[Actually, that was amazing. The guy who played guitar in the band I was in back then decided on his own. He said "I'll go see a real estate agent," and then casually asked "Come check out my place too." Then he said "I picked one!" It was a different room in the same building as him. "I even put down the deposit for you~" he said. I just said Whaaat?! (laughs).]

- Ahaha! Was it actually a place you liked?
[Totally! (laughs) But the way I was back then, I had no money, and they don't give back deposits, you know. It would have been wasted. Well, whatever~]

- What kind of room was it?
[Tiny, profitable (laughs). Four and a half mats, no bath, shared toilet, public bath using. (4)]

- That's not quite what I'd pictured as a place where you'd live, tetsu-san.
[Me neither (laughs). I didn't care for it at all but lots of my musician buddies were invited there. By me. It had the spirit of that manga house, "Tokiwaso"(5). There was room for about twenty households in all, and by the end I had friends living in about half of them.]

- How long did you live there?
[Less than two years?]

- tetsu-san, that's a long time for you, isn't it?
[That's right, a lot of the time I don't even stay in the same place for a whole year. Well, I thought I'd move away as soon as I could, but my friends were right there, so it would be inconvenient to move away. In the end, within two years I moved into a normal one room mansion(6). I moved so many times after that, didn't I? I've never renewed a lease.]

- Of all the places you've lived in, is the one you have now the one you like most?
[Yeah, it is. But I still made some compromises.]

- But, compared to your memories of that four and a half mat place, it's superior, isn't it?
[Well, they're good memories...... they really are. But I wouldn't want to live in a place like that again (laughs).]

- Interviewer : Harada Sachi
Translated by Natalie Arnold

1. The Rainbow Bridge is a long suspended bridge that crosses Tokyo Harbour. It has two levels, one used as an expressway for cars and the other being an ordinary road with sidewalks.Go back.

2. In Japanese homes, the bath is usually in a room apart from what Westerners would consider bathroom fixtures, like a sink and toilet.Go back.

3. The Aeron chair is a designer office chair that is made to be comfortable for long periods of time in various positions.Go back.

4. Japanese rooms are often measured in tatami mats size. One mat is six feet by three feet. Four and a half mats is quite small indeed. Public baths are very common in Japan, dating back to when most houses didn't have baths of their own.Go back.

5. Tokiwaso, or Tokiwa apartments, was a cheap building of tiny apartments where many famous manga artists all lived back in the 1950s.Go back.

6. In Japanese, the English word mansion has come to mean a condominium rather than a large house.Go back.

Tetsugaku 49 : Movies

- Do you watch a lot of movies?
[I do. Basically, whenever work finishes early or I have a I day off, I'll watch a movie at home. I don't do rentals. Because it's a pain to go out and return them. I don't even have any rental memberships. I'm the DVD buying type.]

- Then, you own a fair number of DVDs, don't you?
[Yeah, I do~. I've never counted, but I have quite a few. I even have a bunch that I've never watched. I bought the [Dirty Harry] box (1) about two or three years ago and still haven't watched it (laughs).]

- What type of movies do you like?
[Something moving, or suspense, and sci-fi. Oh, and I like mafia movies too.]

- tetsu-san, you want to join the mafia, right? (laughs)
[Yeah, I do. Cause I love [The Godfather](2). One time, I had it playing at home like a background video. When the first box came out. I think that was three years ago? I've always liked it, so I bought it, but at the time it was my top favourite movie. For over a year, the 'love theme' from [The Godfather] was my ring tone (laughs). I loved Andy Garcia (3). I thought he was me.]

- Did you watch movies when you were little?
[I did, on TV. In my last years of elementary school, I liked war movies. Like [1941] or [Jigoku no Mokushiroku].(4)]

- Such a severe elementary schooler~. Did you voluntarily go see movies at the cinema?
[That would have been around middle school. I think I went there on dates.]

- Ah, the royal road. What did you go see?
[I don't remember what I watched on my first date. You know, I like anime quite a bit, but I don't like [Hokuto no Ken](5) at all. It's no good right from the artwork. The lines are fat. I prefer artwork that looks pretty, more like shoujo manga. I had no interest in the content, either, but a girl asked me to go see [Hokuto no Ken] with her...... and I went (laughs).]

- Ahaha! tetsu-san, what kind of movie did you like at that time?
[Let's see...... [Outsider] or [Rumble Fish]. Matt Dillon was so cool~(6). When I was in high school, I worked in a record store. It was combined with a video rental store, so after work I'd always borrow a movie. But at that time I was only into horror.]

- Could you list some movies you like at present?
[Yeah~, I like all kinds of movies, but I can't really think of one to name that I especially like. I get bored fast, so it's always changing. One I've always liked would probably be "The Godfather". Now, it's not just pure entertainment, I also watch from a work-like perspective.]

- It's not a fun release, like it used to be?
[That's right. Well, I can understand background situations better now, you know? Watching a movie, when a non-cute heroins appears, it's fun to wonder "Ah, where does she work? Ah, what kind of political forces are at work?" (laughs)]

- What's a recent hit with you?
[It's not a movie, it's a TV series, but [24-TWENTY FOUR](7) was interesting.]

- Ah~, that show makes my palms sweat. Did you watch it all at once?
[No, I didn't see it as a collection. It was a major topic in info magazines, so when I read about it, I went ahead to a video store to rent it. But, I didn't want to get a membership just for that, so instead I picked up volume one in an auction and waited for the next one to come out. After that, I went out to buy them on the release dates.]

- Then, the first volume managed to draw you in.
[Yep. It was as interesting as they said. I was in the middle of recordings, so I had a hard time. Watching it. I get home at 3 or 4 AM right? I'd watch it after that, until 7 or 8 in the morning. Ah, I gotta sleep, I have work tomorrow. Even so, I thought it was interesting enough to watch. They end it at a really good part every time, right? That's dirty, stopping here! It always made me want to watch the next one. It's thrilling, it develops fast, and it has a lot of major twists. There's no way all this stuff can happen in 24 hours! Kim shows her boobs too much! Going around like that is why you got abducted! I end up throwing out comments like that sometimes (laughs). But watching that show, no one would actually believe it. I'm wary by nature, but with this especially, its not good to be too uptight. I'm looking forward to the second season. I'll buy it quick.]

- Interviewer : Harada Sachi
Translated by Natalie Arnold

1. A classic American cop movie starring Clint Eastwood, made in 1971. Go back.

2. A trilogy of Mafia movies that was released in 1992.Go back.

3. An actor who appeared in the Godfather trilogy.Go back.

4. '1941' is an American war comedy about preparing for a Japanese invasion. Jigoku no Mokushiroku' translates to 'Hell's Revolution' and is the Japanese title of the American movie 'Apocalypse Now'.Go back.

5. In English, 'Fist of the North Star'.Go back.

6. Both movies are directed by Francis Ford Coppola, who also made The Godfather. Matt Dillon stars in both.Go back.

7. Known simply as '24' in the original English.Go back.

Tetsugaku 50 : Love of Beauty

- You have a strong image as a "lover of beauty," you know.
[I do have that image. In reality, I'm not like that though.]

- You can actually relax when your room is messy, you're that kind of person?
[No? I relax more when things are clean, but it doesn't have to be that clean, at my place. I have a lot of stuff, so it gets scattered. And so, even though I think having things be neat and pretty is admirable, I wouldn't call myself a lover of beauty. Really, living in a hotel would be ideal. Having only the minimal necessities...... that sounds ideal, but of course that's not sensible (laughs).]

- You actually admire a non-sensible lifestyle.
[Yeah, I do. It's something I think about sometimes. For work, I have a lot of baggage, right? I'd take it all, rent a bigger warehouse, and keep it there (laughs), then go live in a hotel, that'd be fun. I even calculated a way for it to be cheap, cheaper than my rent (laughs).]

- Really?! Wouldn't that be nice! So then, why don't you do it?
[Yeah? But, after all...... I won't throw stuff away, will I? I mean, if my stuff was in a warehouse, when I decide that "I don't want this anymore" I have to go get rid of it, right? That would be such a pain......]

- Wahahaha! I see, I see.
[But, if I thought it over calmly for a looong time, looked at everything I own one thing at a time, and asked myself "Do I really need this? Do I need it to live?" I'd find nothing but stuff I can live without. I could probably live with just a few instruments and my computer.]

- That might be so. All the more reason to try it (laughs).
[It's so simple. I wouldn't have to clean, and when I got hungry I could just call room service. If I had a bit less baggage I'd really do it.]

- By the way, don't you find it enriching to have things you like all around you?
[No, but, now, there are quite a few designer hotels, aren't there? I think that's not a problem at all.]

- The problem is baggage.
[But, well, I've moved so often, and I think from all that moving I've learned to cut down on luggage. This way, I wouldn't even move once...... It's been almost ten years since I came to Tokyo, and if I'd lived for ten years in the same place, I think it would have been awesome. I'd rent out the mansion next door to mine, and the next one down and so on.]

- So the whole floor would be yours, tetsu-san (laughs). How are your friend's homes? When you go over and things are messy, does it bother you?
[It does. When someone's house bothers me, it makes me want to clean their house.]

- It does! How come?
[I guess it's because I can judge it calmly. I don't get strange ideas, and I can see things calmly and ask "You don't want this, right?" or "Wouldn't it be neater if you did this that way?"]

- That means you could be irresponsible, too (laughs). But you don't actually do much of that for yourself, do you?
[That's why I'm not a lover of beauty. I'm a type A, so sometimes I have moments where I want to clean excessively, make everything pretty. Really, that happens several times a year.]

- If you start doing that, do you do it thoroughly?
[I do. But, that condition doesn't last long. Just two or three days.]

- Even though you seem like you do a bit of cleaning every day. Like hanging up your jacket when you take it off, putting things away, you seem like you normally do that.
[I'm good for nothing. When I take something off I just leave it on a sofa or chair that happens to be nearby. I try to hang things up in the closet, when I remember to. I have a walk-in closet at my place, and it's a pain to go in there (laughs).]

- Eeeh! (laughs) That's so extravagant! I'm jealous!
[It's inside my bedroom, but when I go into my bedroom I just leave things on the chair in there, like jackets or whatever. Opening that second door, going in there, I know I only have to walk a few steps extra, but it's still a pain. Oh, and there's a chair in my walk-in closet.]

- Ahahaha! I can see where this is going.
[Even when I go into the walk-in closet, I should put things up on hangers, but I just leave stuff on that chair instead.]

- Why not put things back where you found them? I understand. I'm the same way with CDs, but later when I feel like listening to a certain CD, I can't find it, so you probably can't find the clothes you want to wear, either.
[Yeah. And I forget, like "Oh, I have this CD?" Or I'll buy the same CD two, three times. "I had it! Damn~" (laughs)]

- Would you like to improve that aspect of yourself?
[How I'm so sloppy? ...... Mmmmm, well, that's how it is, right? At the moment, I'm thinking "I gotta do things properly" but there's no way I'm actually that horrible (laughs).]

- Interviewer : Honma Yuuko
Translated by Natalie Arnold

Tetsugaku 51 : Health

- tetsu-san, are you normally health conscious?
[Hmmm, I think I have to be, but I can't be.]

- In what ways do you have to be?
[I think meals are most important. One of the trainers at the gym I go to said so too, that although training and moving your body are important, meals are what's most important. I think my eating habits are rather poor.]

- To compensate for that, do you take supplements?
[I do, but I don't think it's very healthy. I think that eating nothing but health food products ends up being unhealthy instead.]

- But, even though you say that, you have beautiful skin. No acne or anything.
[People honestly tell me that, but I think it's totally not true. I get some~ Sometimes. But please don't say acne, I'm young. Say pimples (laughs).]

- Pimples are when you're under twenty (laughs). Actually, what do you do when you get a pimple?
[I fight. I crush them swiftly. It's bad for my skin but that's not a problem. I won't allow them! How dare these things come up on my face without permission! Or something (laughs)]

- (laughs) Since you're now into your mid-thirties, I expect you think about your age?
[I do. Even my going to a gym is connected to that sort of thought. Before, I went to a different gym sometimes, but since I switched to the one I go to now it feels much more genuine.]

- Well. You do know what's good for your body. How many times a week do you go to the gym?
[The trainer tells me to come in twice a week, but that's hard so I try to go once a week. But actually I'm not going that much (bitter laugh).]

- When you don't go, isn't your physical condition completely different?
[It is. It kinda feels like my muscles get dull. I don't have any equipment at home so I don't do anything.]

- Which machines do you like to work out on?
[I pretty much like all the machines. I hate running the most. Running is the only tiring part. I run for about 25 minutes. My heart rate is monitored, and a trainer is next to me, changing the speed after I've run for a certain span of time.]

- Sounds like something an athlete would do.
[That is what I do. I chose the course myself, and I didn't know it at first but I do the same thing as pro athletes. So, I was wondering why it was so tiring, and I told the trainer "The rest of the training isn't that tiring, but the running part is depressing," so he told me "That can't be helped. It's a program nobody but a pro athlete will do." You're kidding~! I thought (laughs).]

- But there have been results to your hard work, right?
[Yeah, I trained just before "Shibuya Seven days 2003" and I didn't get tired at all for the "Seven days". Amazing results. So, yeah, I think I'll keep it up.]

- Interviewer : Harada Sachi
Translated by Natalie Arnold

Tetsugaku 52 : Sports

- You're fairly secretive about it, but you keep up your physical strength, don't you?
[I do. I have a small body, so I get asked "Are you eating properly?" and people worry needlessly (laughs). I'm a big eater though. I eat so much but don't get fat, it's in my genes. I was never on any sports teams, so physical training isn't part of my image, and I think it surprises people, but I've always had good reflexes. I was born with good reflexes and fast feet. I thought I had a pretty tough body too, but then I started going to the gym and I was told it's actually soft. Before I started training, (the trainer in charge of massaging) said they were going to dig into me. Then, when I was getting stretched, they stopped at about the same angle a normal person could reach. It wasn't affecting me at all, so I said "Push me a little farther, please," and they answered something like "Eeeh?! Are you sure?!" They told me "Out of everyone we have here, no one else is this tender." I definitely don't get injured much. When your body is stiff, it's easy to get hurt. It's probably because mine's so tender that I've never gotten injured much.]

- You have the ideal athletic body. You don't put on weight, your body is soft, and you seem to have nice muscles.
[When I put my mind to building muscle, they built up right away. I could be a musician or a soccer player...... but I never wavered even once (laughs). That reminds me, yesterday I dreamed I was playing soccer. I screwed up wonderfully. It's embarrassing so I won't tell you the details (laughs). But it felt like the whole country was watching me.]

- (laughs) As an example, did you ever get into a sports club?
[No, not really.]

- Then, you're just good at everything?
[Well, to a degree.]

- In that case, did you simply never bother to get seriously involved with anything?
[I never thought my body was especially strong, ever. Even though I don't have a weak constitution or anything (laughs).]

- Well then, how do you feel about watching sports?
[Watching? I'll watch soccer sometimes. I always watch the international games, but don't watch the J-league much (1). As for sports shows, I'll watch a digest or something. I've never really cared much for watching sports. I hate baseball, and marathons too. There's nothing to watch, they're just running (laughs).]

- May I bring up the gym again? Do you visit the gym regularly?
[I haven't been going lately. Since the recording started, I've only gone once or twice. And it's been cold, too.]

- Then, it wouldn't be quite right to say you were going to the gym with regular physical activity as your goal.
[That might be true. But you know, if it suited my lifestyle rhythm, I think I'd go every day.]

- There's no extra room in your schedule where you can fit it in, right? How about before a tour?
[Before a tour, I have space for it, time wise. Promotions are paragraphs, so the work I have to do is substantially just reading. Basically, once I've finished that part of my day, I've got time to plan for things like going to the gym. Around then, I'm thinking of preparing my body for the tour, anyway.]

- You expose your body quite a bit during lives, right? Then, you're probably concerned about the lines of your body, too.
[Well, I don't really...... I don't want to build up too much muscle. So I'm persistently moderate.]

- Is that so? Even so, I think you have the figure of a boxer, tetsu-san.
[I'm not that cool.]

- But I really think so. Your body is slender with just the right amount of muscle.
[Oh, really? Well, there's no fat on me, so my muscles are visible.]

- You can eat a ton and not get fat, not put on any weight. I'm envious.
[I'm so lucky, being able to eat anything without getting fat. You know, being on stage takes more physical power than you'd imagine. Back during "Danger II" (An event put on by the record company responsible for L'Arc~en~Ciel. Held at Nihon Budoukan on December 26 2003, tetsu went on stage as both TETSU69 and part of L'Arc~en~Ciel), being both a vocalist and a bassist in the same day was quite the experience. That's when I realized bass is exhausting.]

- Is it?
[Being a vocalist is more mentally taxing, and you have to make sure you take good care of your throat and so on, but physically, in terms of physical strength, it's harder to be a bassist. First off, a bass is heavy, you know. Carrying that, plucking those thick strings, and moving around the stage while performing, it's quite the sport. Even thinking about being on stage for just under two hours is already tiring. People who aren't especially sportive wouldn't be able to stand being on stage that long. So that's why I go to the gym sometimes, and every day right before a tour, because I can't afford to lose my strength.]

- Interviewer : Kikuchi Keisuke
Translated by Natalie Arnold

1. The J-league is Japan's professional soccer league. It features only Japanese teams, as opposed to all-star teams from around the world competing on the international circuit.Go back.

Tetsugaku 53 : Seasons

[I like it when spring flows into summer. The weather is so light, too, and I feel a bit more open, myself.]

- Do you prefer heat or cold?
[Hmm, I guess I'd rather have heat. I don't do well with cold. But, I've never been the type to spend much time outdoors, throughout the year. So I don't really feel the seasons. You know, as soon as I get outside I just get into my car. Then, I move around, go into a building somewhere, so really, unless its for a shoot or something, I have no idea what the outside temperature is. And so, even though I know summer is hot and winter is cold, I don't really feel it. It's because I only ever go out for short distances.]

- Japan has four wonderful seasons, but you don't really take notice of them, do you?
[That's right, since way back. But I do think it's a good thing to have four seasons. Sometimes I hate being cold and sometimes I hate being hot, but it's not really summer if it isn't hot. When winter comes, I know spring is on the way, and that doubles the joy.]

- Then, how about I ask you about each of the seasons in turn? What does spring mean to you, tetsu-san?
[Spring? Spring... in Japan, spring is the time for new school years and graduations, so its the back to school season. But, why do we do that in April, in Japan? If you look around internationally, not many others do that. So why? Because the sakura are in bloom(1)? But, doesn't it make you feel like something is going to happen soon?]

- Certainly. Tied to having four seasons, once winter passes, more than the start of a new lifestyle, there's an amazing, exciting, warm feeling as the new season begins. tetsu-san, do you have any memories of spring?
[Memories of spring...... Let's see. My elementary school entrance ceremony? I'm not sure it was the ceremony itself, but on the way home, my mother was riding a bike and I was skipping down the road next to her, heading home. Down a straight road that went a bit past home. I was sort of skipping, keeping up with my mother's bike, and we both went all the way home like that.]

- That's a nice story. A lovely episode with spring as its backdrop; so wonderful. Now, how about summer?
[Summer is dangerous, as in "hito Natsu no Keiken" (2) (laughs). After all, a lot of kids change a bit when summer vacation comes around. By September, they've got different hair colours or something. I never did anything like that though. Because I thought it was "summer vacation-like" (laughs). To me, there was no point in changing just because it was summer vacation. Besides, it's only one month, how much can you really change? If you're going to change, you could just as easily do it gradually while you were still going to school. Does school really hold you down that much?]

- Now, tetsu-san, do you have a particular summer memory to share?
[A summer memory? If you mention summer, I think of "1999 GRAND CROSS TOUR". It was hot. It's a summer that remained in my memories. Actually, I don't remember anything else about that summer. Anyway, it was extreme. We had a live every Saturday during that period. On most of the Fridays before, we had rehearsal. No same-day rehearsals. We had cover bands do the opening act, right? At that point I'd think that if the audience didn't start coming in soon, it wouldn't work. It takes a while to let that many people in. So yeah, Friday rehearsals. And Saturday lives, right. On Monday we'd head back to Tokyo. Tuesday, Wednesday, Thursday were normal work days in Tokyo, but Friday we'd go to the next venue and have rehearsal, that was the cycle.]

- The set's construction was impressive, too.
[Put it up, break it down, move it, put it up again. It was like putting up a building every week. Must have been awful for the staff though.]

- Let's go on to autumn. What's autumn like for you?
[I don't like autumn. It's kinda sad, you know? Gradually getting colder. And it means my birthday is coming, too.]

- What, you don't like your birthday?!
[I hate it. I've always been like that. I never once thought "I want to grow up quick". Growing old one year at a time, it's not exactly depressing, but it is sad.]

- Autumn is the sad season. Do you have any memories of it?
[Bunkasai and sports day(3), I don't have any memories of those. I just goofed off (laughs). Hmm, let me think. I kinda regret that there's a spring break, a summer break, and a winter break, but there's no autumn break.]

- (laughs) But, autumn is probably the season with the most colourful scenery.
[Yeah, the autumn colours. I like watching the falling leaves dance in the wind while I drive around. Was it Hakone? Where they danced.]

- Lastly, winter. Your impressions and memories?
[Winter is, well, I like how cities light up before Christmas. I wish it could be like that all year. The atmosphere, the cold, the cool, it's all so pretty. At night, too, it looks pretty. That lasts until the new year, but then it's cold and I start hoping spring will come soon. By the way, some years ago we got a pretty big snowfall in Tokyo, you know? That time, I bought a remote-controlled hovercraft and played with it on the snow! It didn't have much power so it couldn't go very far, but it was fun. That was right during L'Arc's remote-controlled toy boom, when I bought that. The snow came down, so I thought "Snow! Hovercraft!" (laughs)]

- Interviewer : Kikuchi Keisuke
Translated by Natalie Arnold

1. Sakura are cherry blossoms. The sakura flower is Japan's national flower, and there certainly are tons of cherry trees there. The first day where the sakura bloom is usually a day off because everyone goes off to do some hanami : picnics while watching the flowers.Go back.

2. This is a song title that translates to "One summer experience." The song is by GO!GO!7188 and came out in 2002. Read the lyrics here. Go back.

3. Two special days that typify Japanese school life. The first is centred on cultural activities, the second on sports and physical fitness. Go back.

Tetsugaku 54 : SPROUSE

- How and why did you decide to make your own label in the first place?
[My motives were actually very simple : I was releasing my own solo work and wanted a label, a logo mark to go with it. At first though, it was a virtual label, a label in name only.]

- But now, a few more artists belong to it, right?
[Since I made it, it's taken on the form of a true label, but it still doesn't have much of a function. It's got three other artists besides TETSU69, and they've got indie releases but that's really a coincidence. Sometimes we met when recording, but it was by chance, it really feels like a natural flow of events. I never decided to collect artists, never held any auditions, but I knew some people who wanted to release stuff, and so I said "So, how about we work together for a bit?" Just casual offers like that.]

- Well then, do you have a vision for the kind of label colour you want to acquire?
[No way, I'm not thinking of it on such a large scale. It's going to take a long time before it gets to the stage where a real colour can be determined, and I think I'll need a lot more artists, too. It might never get that far. If I get a little bit more staff, then I might. Since I haven't got that much staff yet, I don't think the label can take such a big step right now.]

- The name SPROUSE is a word you made from "sprout" and "rouse" isn't it? How did you come up with that word?
[I thought that the printed trademark didn't suit the space it was taking on the releases, so I quit using it, then I was wondering what to use and checked a dictionary, looking for something. The first word I saw was "sprout" which means when a new bud starts to grow or something like that, and I thought it was perfect, but "sprout" was taken by someone else so I didn't take it as a registered trademark. Then, I looked in the dictionary again and saw the word "rouse," meaning to awaken, so the meaning worked well, and it sounded good, so I thought I'd try combining the two words. Since it's a made up word, it was sure to be available as a registered trademark. But, SPROUSE.com was taken by someone in America, so I figured there must be someone in the world who came up with the same thing.]

- Was the logo mark made to reflect your own inclinations, tetsu-san?
[Yes it was. I made it look like both a crown and an arrow. The top feels like it's stretching out, too. Oh, and since I like soccer, I made it look a bit like a soccer team's logo, too (laughs).]

- What's the best part of having a label? What's most interesting?
[There's more awful stuff involved than interesting stuff, actually. I started by getting a barcode, first. Then the CD numbers, I had to request them so that it would match up with the standard for all the CDs in the world. Each maker has a distinct number, so for instance Sony has SRCL, Ki/oon has KSCL and so on. I wanted SPROUSE to get SP or something, you know? But Sony had already taken SP. The first two letters represent the maker's name, then the third one, C, is C as in CD. Then, the last letter is totally up to the maker. If it's the first part of a series for instance, then you can use 1 then 2 or A then B, it can be anything you like. SPROUSE has LSCA-1001, and so on like that.]

- Why did you make it LS?
[There wasn't much else left. One of the available ones was LS, so the label SPROUSE is LS, and it has L like in L'Arc, so that's good. Then, I heard from the people in charge. They said to me "What are you going to do with all this once you have it?" "It'll be three figures, right?" and all that other reasonable stuff (laughs).]

- Concerning label management, have you experienced anything you hadn't before?
[Well, I made arrangements with the merchants who handle circulation. It's just that I got to understand the way finances work, but I had to study a lot to do it. As an artist, I don't speak as selfishly anymore (laughs). Before, I could only relate to how artists felt, but now I think I can also understand the staff's feelings. I understand their excuses, now, too. Even before that, though, I intended to be more understanding than other musicians. I thought about whether to sell something completely different or not, when not to release the results, and when not to say what I want to say.]

- Do you have an image of what you want to make the label into in the future?
[There are a lot of difficulties involved in implementing that sort of thing. First of all, if the artists don't want to sell their stuff, then there's nothing that can be done. Right now, the whole label revolves around making money for TETSU69, but if the other artists don't want to sell, then I can't do anything. In the end, it takes money to do what you want to do. Normally, as the number of staff increases, the first promotions are done properly, the products get completed and so on, but so far there hasn't exactly been an established system. We're in an era where CDs don't sell, too. I think the name SPROUSE will remain, but it might go back to being only virtual, I really don't know what's coming next.]

Interviewer : Hasegawa Makoto
Translated by Natalie Arnold

Tetsugaku 55 : Fans

- What do you think about the existence of your fans?
[The fan presence? I don't think they can all be lumped under the word fan. Cause, I think there are different degrees of it. There's some wildly enthusiastic fans, but there's also some who aren't really fans, but still fan enough to ask for an autograph or something (laughs). There are some people like that, you know. I think it's extremely dangerous to lump them all together with the word fan. Some kids have been cheering us on since many years ago, and I read fan letters from kids who've been sending them for years, now.]

- Do you ever get inspired by the words contained in those fan letters?
[That does happen. Only very occasionally, though. But, it has nothing to do with how long the person has been a fan. Some kids have a long history as fans but still don't understand me at all, and some do even though they've only been fans for a short time. Each person is completely different.]

- What kind of words do you like to read?
[There aren't any specific words in particular, but when I read a letter that makes it clear that the person understands me, that they're really seeing me, that they're paying attention to me, it makes me happy. Like, ah, so they know about that. But when it comes to most of them, it's like they're writing in their own diaries (laughs). That gets a little tiring. It's stuff I don't know about. A lot of the time it seems like they've totally got the wrong idea about me. I'm not that kind of guy of at all (laughs).]

- Do you get letters asking for advice?
[Yeah, I do. Oh, and sometimes people get mad at me for things I didn't even say. Like, when did I ever say that? It's surprising sometimes. In those cases, instead of copying out what I'm supposed to have said, clip it out and send it to me, and if it's something I said on TV or radio then send me the tape or video. In most cases, it wasn't even me who said it.]

- It's like a telephone game, since in many cases the piece of information has been repeated many times.
[Yeaaah. Makes me wonder what they're talking about.]

- During a live, what do you think of the fans sitting in the audience?
[Mostly, I'm just grateful.]

- Do you feel you want to live up to their expectations?
[I'm glad they support what we do, but I don't know what people like. And besides, their tastes change. If we were to restrict ourselves to what people want, if we did only what they want us to do, then we'd never improve, would we? But I am grateful. I just won't be pushed around by fan opinion. But I'm not saying that to be harsh with them. I think it's only natural that what I do ends up satisfying the fans. But, anyway, "I'm full of love for my fans" and sweet things like that, saying that sort of thing makes me sick.]

- On the other hand, saying those things might be healthy. For instance, there are artists who'll say things like "We're becoming one with all of you!" during their MC segments.
[That's impossible for people from Kansai(1) (laughs). If I went to see a show where they said that, I'd go "The hell're they sayin?" all bored-like. Cold~!(2) What's the point of that, it's not like they're starting a religion. You know, to be honest, when I'm on stage, I don't talk much during the MC parts. I don't have anything to say. "Thanks for coming to the show today," as an MC, isn't that boring? But, that's about all there is to say. And if I were to make my MCs serious, it'd be boring. So, isn't it better that I shake things up by throwing my bananas?]

- How do you feel when you read a fan letter that says, for instance, "I went to a L'Arc~en~Ciel show and it cheered me up", or "it helped me recover from something bad"?
[I'm glad to hear it. I think it's good that something I did helped somebody out. It's just that I don't explicitly aim to do that sort of thing. Of course, I'm aware that some of my activities are going to influence somebody, somewhere, in some situation, I think that's only natural. But, that doesn't mean it's a form of love, or anything like that. Talking like I am now, I must sound so cool, or cold even. I'm easily misunderstood. But, things like religion are what I hate the most. When someone tells me "I'll always follow you," that makes me happy all by itself. I think "Thank you." But I don't want to say "Come follow me." I apply 'Those who come will not be refused, those who refuse will not be chased' to everything.]

- You don't depend on anyone and aren't depended on by anyone. You're an individual, you need to keep your independence. That's what you mean, isn't it?
[Fundamentally, that's how I am. I'm not trying to be especially cold to my fans, in some ways I'm actually quite warm (laughs). It's just that saying you do it all for the fans, because you love them, that's hypocritical and I hate it. Cause, I think that when you do this professionally, it's a business. CDs and lives, those things are done to make money.]

- That is certainly correct. tetsu-san, I think you say many things that are obviously true.
[I think so too. I like things that make sense.]

- Interviewer : Hasegawa Makoto
Translated by Natalie Arnold

1. Natives of Kansai, where Osaka is located, are reputed to have a more down-to-Earth, sarcastic attitude than other Japanese.Go back.

2. When a joke fails to make people laugh, it is said to be cold. Go back.

Tetsugaku 56 : Communication

- tetsu-san, are you the type that prefers solitude or communication?
[I like solitude. I love being alone. Even when I'm alone I don't get lonely.]

- That's a bit unexpected. Then, what about meals? It's lonely to eat alone.
[That's true. Eating alone doesn't taste as good. It's like, I wanna have a conversation to enjoy while I eat. Eating alone, it ends up feeling like I'm just feeding myself. To be honest, going to eat with someone and then saying goodbye right after would be the most fun. But, inviting someone just to eat is kinda bad, somehow. Cause, after that you're supposed to date, right? Really, it's better to just eat. That's a very selfish thing to say, though.]

- I see. Now, these days, there are various forms of communication. Talking in person, or on the phone, or emailing, or writing letters. tetsu-san, which method do you use the most?
[I don't write letters. I barely even email. I only receive them. I'll answer one out of every two or three. It's cause I'm busy. Even just checking email takes a few minutes. Don't steal my time, I say. The phone too, since I'll only answer when I'm in a really good mood. If I'm in kind of a bad spot when the phone rings, I won't answer it. I'll check who it is and leave it, that's good enough. Oh, and I don't like making calls, either. It might not be a good time for me to call, they might be busy, I think of all sorts of things like that and don't call. So I'm passive about calls, too.]

- Ooh. But, tetsu-san, your image makes you seem as if you've always got lots of friends around to have fun with, though.
[Seriously!? Do I look like such a happy person? Well, I'm the type you should call with your voice. That's why I'll say things like "She won't look me in the eye," or "She doesn't talk at all," to a girl's friends. And then they answer "I guess she's not good with words," or "I guess she's nervous so she's trying not to talk too much," and stuff (laughs). I don't start talking on my own. But if someone talks to me, I'll talk a lot. I'm a little shy, you see.]

- For example, many people are very clever when it comes to finding things to say at a first meeting, right? Do you ever feel envious of those people?
[No, I never do. I don't really like talkative people. Though even I think I talk too much sometimes. I basically prefer quieter types of people. You know how some people will walk right into a person's heart with shoes on at a first meeting(1)? I don't like those people. Then again some people don't talk at all, even if you go over to them, and they won't ever go over to you, I can't communicate with those people either. It's a difficult balance. Also, I'm very careful about what I say, myself, since after all, I need to use the proper, polite way of speaking(2). I can't stand people who go straight to speaking roughly. It's like, the moment they do that the door to my heart closes halfway, all on its own. Probably, since the 69 in TETSU69 is the year I was born, lots of people look down at me now that they know my real age. In L'Arc~en~Ciel we didn't make our ages publicly known, so people who were clearly younger than us sucked up to us a lot. So, they strongly resisted the urge to speak roughly. I only forgive that sort of talk among my close friends. Oh, and if someone older speaks to me like that? That's not a problem at all.]

- I see. That was the hidden meaning of the 69 in TETSU69. This is a very interesting topic. When did this sort of thing start to bother you?
[A long time ago, it didn't bother me as much. Even if someone was older, I wouldn't call them 'san' (laughs)(3). When I was in high school, I had friends who were two, three years older, so they did the same to me. But when you're really friends, when you're truly close enough to have a honest, open communication, age doesn't matter and you can talk rudely if you want. It doesn't matter if they're above or below me. It's kind of a timing thing, if I see that person as part of my inner circle then it's OK. But that takes a long time. On the other hand, if it's someone I want to get to know well in a short time, I'll work up the courage to talk roughly with them right from the start. It was like that with yukkie (yukihiro). yukkie's been in this business longer, right? He's a school year above me too, so I really should have started out speaking politely, but I figured "We're gonna be in a band together now, so politeness is no good," and spoke roughly to yukkie. It took courage though, as if I were asking him on a grown-up date.]

- Now, how about communication with fans? I suppose the time you communicate with the fans most is during lives.
[I'm not sure when I started being this way, but I honestly can't tell how the fans who come to a concert are reacting. In the past, I could judge the audience's reaction, tell if it was good or bad. But, around the time I went pro, I think I started losing that. Even though it's our responsibility to give the crowd a good ride. When we do a bad job, we don't recognize the importance of being told "You guys give a bad ride," it's professional negligence. If we're giving a bad ride and we're not having a good time playing either, it's inexcusable to the people who were looking forward to coming to see us. Of course, the fun varies from person to person, I think some people stand up regardless of how much fun they're having. Lives are where I want to give 100%, present the best of myself.]

- Interviewer : Kikuchi Keisuke
Translated by Natalie Arnold

1. In Japan, one removes one's shoes before entering a home. Walking in with shoes on is very rude.Go back.

2. The Japanese language has distinct levels of politeness used for addressing different types of people, depending on your position relative to the speaker. For instance, you can't address a stranger the same way you would a good friend, since that would be rude. Also, you are supposed to be polite to anyone superior to you, in age or in social rank or in anything else.Go back.

3. Calling someone by name, without -san or any other suffix, is exceptionally rude unless you are close friends or family with reason to be so casual. Go back.
- Interviewer : Kikuchi Keisuke
Translated by Natalie Arnold

1. In Japan, one removes one's shoes before entering a home. Walking in with shoes on is very rude.Go back.

2. The Japanese language has distinct levels of politeness used for addressing different types of people, depending on your position relative to the speaker. For instance, you can't address a stranger the same way you would a good friend, since that would be rude. Also, you are supposed to be polite to anyone superior to you, in age or in social rank or in anything else.Go back.

3. Calling someone by name, without -san or any other suffix, is exceptionally rude unless you are close friends or family with reason to be so casual. Go back.

Tetsugaku 57 : Colour

[L'Arc~en~Ciel means rainbow, and there're seven colours in a rainbow, so that's how this theme starts right? (laughs)]

- Well, I suppose we can go about it that way (laughs). For the record, what are the seven colours that make up a rainbow?
[Oh, I don't know. But strictly speaking, a rainbow doesn't really have seven colours, does it? There's a bit more than that, right? There're some colours that you can't really pick out with the naked eye, for sure.]

- Is that so? I didn't know that.
[Then do you know why we say a rainbow has "seven" colours? It's because there're seven days in a week!]

- Eeh, is that really true!?
[No idea (smiles).]

- (laughs) By the way, tetsu-san, your favourite colour is red, right?
[Yes, I like red. A long time ago, a fortune-teller told me that my lucky colour was red. Yeah, well, I liked it even before that happened (laughs). I like Char (from Gundam) and I like Asuka (from Evangelion). Both of them have red for their image colour. However, there's a subtle difference between the reds I like and the reds I hate. It can't be just any shade of red. For different things sometimes a darker red is better, sometimes a lighter red is better, it varies like that.]

- Specifically, what kind of red do you prefer?
[Let's see~. For a while I liked the "Fiesta Red" colour from Fender. It's a bit scarlet-like, tinged with salmon pink. It's like the colour of sunset, only a little bit lighter. It's a vintage instrument, made over 30 years ago, so it seems natural for it to have that sunset colour. I really loved that colour, so I blew a lot of money on buying lots of Fiesta Red Fenders.]

- Conversely, which reds don't you like?
[For a while, I drove a Ferrari, and generally, they're red, right? But I hate Ferrari red, so I drove a blue one. The official name of that colour was "Blu Tour de France".]

- Ah, I think I understand what you mean. Now, how about clothing?
[When it comes to clothes, it's not a problem, I never wear red. Red, well, people's eyes are drawn to that colour, right? I don't usually dress so conspicuously. I do have some red casual wear though.]

- What do you think about girls wearing red?
[Let's see~. The design and the material and things like that matter a lot. It's kinda hard to say.]

- This is a bit abrupt, but... tetsu-san, what colour is most of your underwear?
[My underwear? Mine's pretty flashy. Flashy themed. Crazy underwear (laughs). I generally wear boxers, but I have some pink ones, and I have lots where the rubber part is rainbow coloured. The flashier the underwear, the better. ken-chan said something kinda like that, too.]

- I wonder why that is.
[It's true though, isn't it? Like, flashy lining for a school uniform! Or something kinda like that. I'm not sure. I have lots of underwear, at least 50 or 60 pairs, probably. I like Paul Smith brand. Lots of times, I'll think this pair's cute, that pair's cute, and buy them.]

- I see. But after all, tetsu-san, when it comes to colour you're best off being colourful, right?
[No, I think that's just my public image. Like I said earlier, I never wear flashy clothes. What I wear on stage, those stage outfits are in a completely different category. In a huge, open-air place, the people at the back can't see much more than a dot, right? On stage, it's not just the members, but there's also cameramen and staff running around, so this way they can tell if its a band member or a cameraman. I'm very conscious of that and so that's why I use lots of colours. Colourful outfits that reflect light easily, and even my hair and makeup. I never dress that way normally (laughs).]

- I see, I see. But, tetsu-san, the colourful look suits you well.
[Hmmm, I guess so. Well, it goes with my character.]

- Just seeing that colourful look cheers one up. Now, is there anything else you can think of that goes with the colour theme......
[Oh, I don't like colour contacts. I think it's okay for the stage or for photographs, though. People who wear them all the time are scary. Like, where they going? or something (laughs).]

- Interviewer : Harada Sachi
Translated by Natalie Arnold

Tetsugaku 58 : Shopping

- Speaking of shopping, you list it as one of your interests, don't you, tetsu-san?
[Not so much recently. But I used to, in the past. Um, this might be a bad way of saying it, but lately there hasn't been anything I want (laughs). Maybe I already have it all. Anyway, I have too much stuff, I want to cut back. Since I keep moving into bigger and bigger places, the amount of luggage I have keeps going up. There was a time when I'd have wondered how it'd be possible to have so much stuff. If I calmly looked at every item one at a time, I'd find it's all stuff I don't really want. Stuff I don't use, stuff that's still sitting carelessly in the paper bag I bought it in, I've got tons of stuff like that. I never opened it. I don't even want it anymore. I want things to be simpler. But, it's been more than I year since I started thinking this way, and I've still got all that stuff, and even more stuff, too (laughs). I'm not properly organised yet. I've still got lots to get rid of.]

- But, going back to how you used to say it was a good hobby, did you enjoy shopping?
[Yeah, until about three years ago, I loved shopping. Especially when I went overseas. I got to go overseas for work, and I'd come back with twice as much luggage as I'd left with (laughs). I let out my stress that way. After all, I can't walk around in foreign countries the same way I do at home, or shop the same way, so when I went abroad for work, I got wrapped up in my shopping. Then, since I don't go shopping much when I'm in Tokyo, I'd buy something thinking "They don't sell this in Japan," then I'd get back and hear "They sell that in Shibuya." And if I was thinking "It's cheaper overseas, isn't it?" the price wouldn't be any different. The hard part was bringing everything back with me (laughs).]

- Were you greedy when you were little?
[I guess so, back when I was little. Like for Gundam models. I wanted to get the whole set of Gundams, but they made too many so I gave up half way. But, if I were to go back to my parents' home, there would still be some there. Ancient models from back when Bandai was still using the Banzai mark. Ones they don't make anymore. They must be rare by now, right? Other than that...... not really. Maybe for remote-controlled cars. They started making those when I was in my third year of elementary school. The finished RC cars were so slow, weren't they? That's why they could never satisfy me. I got the ones from a kit instead.]

- You didn't play with the pre-assembled ones but got the ones that come as a kit? In elementary school? That's rather early.
[Everyone around me built kits. My only close friends were two, three years older than me, though. Those senpai all had "Tamiya" model cars. But for some reason, all of mine were from the maker "Ootaki", see, even back then I liked being different (laughs). Like, "I don't like Tamiya. Everyone's got Tamiya." Everyone had Sanwa propos, but I had a Futaba one. (1)]

- I see. Now that brings back memories. Now, moving on, you must have gradually started spending more and more money on clothing.
[I think I started spending money on clothes around the time I started getting into rock. Around year two or three of middle school. Wearing slim pants, bleaching my jeans, stuff like that. I bleached them in the bathtub. Scraping them with little rocks (laughs).]

- If you started listening to rock in your second year of middle school, I imagine instruments must have been next?
[That's right. I bought some instruments. But, mostly it was stuff people I knew had and were selling off. Mainly that. Cause I didn't have any money.]

- I see. Then you buy rather more instruments now.
[I buy tons of them now. Incredibly many.]

- When you buy instruments, I'm sure you must take sound quality into consideration, but do they also have value for you as a collector?
[Yes they do. Well, I buy ones that sound good as well as rare ones for my collection, I keep a balance between both kinds. I have some that sound incredibly good, and I also have some collector's items that are rare in the world.]

- So, how many do you have now?
[Putting basses and guitars together, I have over 100.]

- Do you also use the ones you bought as collector's items?
[Yeah. I use them for recording, the vintage ones. I don't want to use them on stage though. When I want to change the tone of a song, I fly through my instruments, trying out different basses. But, of course, I have a basic set of main basses and I usually use one of those ten or so. They're my primary weapons, but I'm always thinking of looking for a new addition to the line. That's what I was thinking of doing before heading into the recording this time, but I didn't find any that really worked. Then, I found a new one and bought it midway through recording. Now, there's only a limited number of basses in Japan. They don't bring that many into the country. The goods aren't coming in. Anyway, I went around talking to people at all sorts of agencies, but they didn't have any in stock, so they let me play everything they had on display in the store, and even let me bring them to the studio. I picked out what I bought from those.]

- They allowed you to take what you wanted.
[Of course they did.]

- I see. Well, I suppose buying instruments doesn't feel like real shopping, does it? It's an important part of your work.
[Yeaaah, I guess so. But, at the time I was doing the most shopping, I was buying one every week (laughs).]

1. Tamiya, Ootaki, Sanwa, and Futaba are all Japanese makers of remote-controlled (RC) cars and accessories. As far as I can tell, "propo" refers to the controller for these toy cars.Go back.

Tetsugaku 59 : Travel

- I imagine you must have to go to various places for work, but do you enjoy travelling?
[Travelling, well, it's fun once I get going, but sometimes I'd rather stay home. If someone else handles the arrangements perfectly so that all I have to do is go, then I'm happy to. I'm not the type to decide where I want to go and actively travel on my own.]

- And so, you must not take many trips on your private time.
[Guess not. I've rarely ever taken any private trips, either within the country or overseas. But in this line of work, I travel around the whole country for tours and campaigns, so there's that. And then once in a while, I'll go to an onsen (1). The only place I've travelled to on my own time is New York. I've been there several times for work too (laughs), but well, to a certain extent it's because I wanted to go. But that was about four years ago, now. Even though it was a private trip, I had the manager buy my tickets for me.]

- Don't you think you'd like to try planning a trip of your own?
[No way. It's such a pain (laughs). See, ever since I was in my early twenties I've had a manager in my life. There are some normal things normal people can do alone that I can't do. I have no idea how to reserve a hotel room or how to buy air plane tickets.]

- What about when you were a child? Did your parents ever take you on any trips?
[No, they didn't. We hardly had any family trips. Even when we did, it was mostly just day trips.]

- Then, what about field trips? Did you like going on trips and school events?
[Hmm, not really. I didn't really like them, but I didn't hate them either.]

- Then you've never thought deeply about travel, have you?
[Hmm, well, you know, I get tired. From moving. Though I like being overseas. I don't hate air planes. I rather like seeing so many movies on air planes. As for packing...... Well, getting ready is a pain, isn't it?]

- Is New York the place abroad where you've been the most often?
[Yeah, I've been to New York over ten times. Generally, I always go to the same places when I'm there.]

- What kinds of places?
[There's a cafe I like. It's got quite a jumbled up feel to it. Sort of an old downtown feel. It's open 24 hours, and they serve decent meals, too. And they say the innermost table on the right side is haunted (laughs).]

- Eeh! Everyone says that?
[Yeah, the employees say it. But it's not that scary, it's nothing to worry about.]

- Do you ever feel a strange presence there?
[No, I've never felt anything like that.]

- I see. Is there something you always order from that cafe?
[Hmm, all sorts of stuff. More than the food, I like that place, and I always go so it's like I might as well keep on going there. Oh, and I go to a store that sells movie posters. I liked one of the guys who worked there. He gave me extra stuff. He asked me "Do you play music or something?" and I answered "Yeah, I do," so he said "Then let me hear some." I was going back to Japan the next day or something, so I said "I'll be back in New York in about two or three weeks, I'll bring some for you then." Then when I went to that store again, I gave him a CD. I think it must have been HEAVEN'S DRIVE. I haven't gone back since then, though.]

- Were you speaking English in that store?
[Nah, it was Japanese. I can't speak English at all. I said "'scuze me~" or something like that.]

- And you were answered in Japanese?
[He answered me in Japanese. When you say "'scuze me" like that, a staff member goes over to you.]

- (laughs) That cafe you spoke of earlier, it must be different from the ones you go to in Japan, tetsu-san.
[It is different. If it was in Japan, you'd expect to find this kind of place in Shimokitazawa or something. When I'm in Japan, I like spots like Daikanyama (2) with that little touch of refinement. I prefer cafes that are simple, with modern or mid-century furniture to the ones that are just scrambled up, though.]

- Why do you go somewhere that reminds you of Shimokitazawa when you're in New York?
[Nah, I don't actually dislike the scrambled sort of places. When there's no one around who knows me, it's peaceful. In Tokyo, I have to wear a hat and sunglasses or else I can't really go out. So yeah, I dress so that no one will recognize me. Overseas, I can walk around peacefully without a care. In that sense, it's nice to go abroad.]

1. Onsen, usually translated as hot springs, are naturally occurring outdoor sources of hot water, usually due to volcanism. Go back.

2. Shimokitazawa is a Tokyo neighbourhood that is extremely trendy, known for its artistic atmosphere and nightlife. Daikanyama is known for fashion and has many designer boutiques. Both areas are home to many cafes.Go back.

Tetsugaku 60 : Cooking

- tetsu-san, you've declared that you don't cook at all, right?
[I've said that I don't cook. Before, I used to work so that I really wouldn't have to cook at all. It was so I could build an unrealistic world for myself. As an artist (laughs). Now, though, I think cooking is an art too, in a way. But still, I don't cook and I never have. There are lots of other reasons, too. Partially, it's because of my neat freak side, because I like beauty, and because I think that anything I cooked myself would make me sick. If I were going to cook, I'd have to wash my hands really carefully, make sure all the utensils and stuff are as clean as possible, there'd be no end to it. I'm sure that sometimes, food other people make isn't that clean, but I didn't see them make it so it's okay. I only worry if I see it. "Wash those plates properly," and so on. Anyway, it's like if the utensils need washing, I want to do it myself and make sure it's done right, or something. I'm not a very trusting person so I don't want to leave it to others, the washing that is. So, if I were to cook for myself, I'd get way too picky and it would take forever. That's why I decided I wouldn't (laughs). I figure there's got to be lots of people who are good at cooking. Such as knowing the right amounts of seasoning on their own. Me, I'd measure it precisely. "Leave it this many minutes to be OK," and stuff too. Doing all that would be so tiring, wouldn't it? I think cooking is really something you need to be more relaxed about. I probably can't do that, so I won't cook at all. Just like how I don't want to try my luck on weird things, I don't want to get worked up over weird things either.]

- Ah, I understand. But, don't you occasionally decide to try and cook something? As a man interested in cooking, that is.
[No, I don't. Cooking utensils? I think I'd want to place all the knives and pots in order. I already keep all my other tools in order, so it's pretty similar. "Woah! That's a cool knife!" Whenever that happens, I take it home and find the right spot for it (laughs).]

- Really? You keep them in precise order!? Even so, you never use them yourself.
[I never use them, no.]

- You've never used them even once, in all the time you've lived on your own?
[No, I haven't. Even if I used one, I'd keep saying I hadn't. For things more complicated than instant ramen, I have to. Like when I'm boiling noodles. When I boil pasta noodles, I'll use instant sauce to go with them. But you know, boiled noodles taste the best. Because the water temperature, the amount of seasoning, and the proportions are so specifically measured.]

- Right, right. Though, you have a delicate palate, don't you, tetsu-san? In the end, people like you end up not wanting to cook for themselves. The common consensus is that a gourmet's cooking will taste better, right?
[Yeah. If it was my job, I'd do it. Since it's not my job, I don't want to. Cook, that is. I think it'd be horrible to give up on being a musician to become a cook.]

- It certainly sounds dreadful. Right now, all your meals are take-out, right?
[That's right.]

- You eat out every day, but once in a while, don't you think it would be nice to taste some homemade food, just like your mother used to make?
[Well, you know, I never really had much homemade food at all. I don't know what my mother's cooking tasted like. Now, when someone asks me "Do you remember any flavours?" I can't answer anything but "No." There isn't even a single food I start to crave once in a while. I figure it must be tough, having cravings. Anyway, I'm OK with eating out. Wherever and whatever I eat, I usually find it tasty. Of course, I know some delicious restaurants, too.]

- You might be right about cravings being hard to deal with. However, your way seems a bit lonesome.
[People might think so from hearing me say it, but personally I think "I'm so lucky~". These days, I don't eat convenience store bentou (1), but back when I first moved out on my own, I thought "Convenience store bentou is pretty tasty."]

- That's an interesting story. Then, what if a girl prepared some food for you? Would it make you happy?
[No, well, I'm okay with it now, but I used to hate that. It kinda made me sick. It's not that my mom's cooking was especially delicious or anything, but I never ate anything made by anyone but her. Know what I mean?]

- (laughs) So, I suppose you don't recall any particular thing a girl cooked for you, either?
[Now though, if a girl cooks something for me, it makes me happy. I know some people whose wives are great cooks, so talking to them makes me think "Must be nice." Talk to them and they'll say that going home to eat tastes better than going out ever could. So I figure they must go home for their meals every day. Lately, thinking about it objectively, I figure it's better for a girl to be a good cook. But, if I were to get married, I think I'd more or less be my wife's helper. It's not because I especially want to help out with that, though. It's just that if I didn't, I'd seem like a typical Japanese husband. Western husbands help out their wives, don't they? That's just how I'd want to be. I could get drunk on myself if I was that way (laughs).]

- Interviewer : Kikuchi Keisuke
Translated by Natalie Arnold

1. Bentou is a typical Japanese lunch, packed in a box. It usually contains a variety of food that can easily be eaten without needing further preparation, so these boxes are popular as school or office lunches. Convenience stores often sell bentou for much less than a restaurant would, but naturally these cheap meals aren't renowned for their taste.
Go back.

Tetsugaku 61 : Marriage

[I've never had any desire to get married, not ever. Instead, I always thought "Why would I want to get married?" Ever since my teens, probably, that's how I saw it. I have no aspirations in that direction. At one point, I even went as far as to think "Marriage is the graveyard of life."]

- That's a fitting phrase, isn't it? For someone who's never wanted to get married, that is.
[Actually, it's a quote from a musician I like, I read that line in an interview once and thought "That's so cool!". That was back in middle school or high school, though.]

- Then, has your opinion on the subject changed at all, recently?
[I wonder. I don't hate children. I think my nephews and my friend's nieces are so adorable. But, it would be completely different if they were my kids. I still feel like a kid, myself. I'm not much of a thinker.]

- Don't you ever wonder "What if?" Like, maybe a married lifestyle would be nice, or something like that.
[That's unthinkable. Among the married people I know, very few of them actually seem to be in happy, peaceful marriages. Especially in this business, most people end up separating, don't they, within two, three years.]

- It could be because of how busy you are, or maybe it's the way your values are slightly different from those of a regular person, right?
[Yeah, yeah, yeah. And besides, with my work, sometimes it's the middle of the night, getting to be morning by the time I get home. I don't think ordinary people could understand. The people who can understand, well, they're pretty rare, right?]

- Then, are you comfortable with being a lifelong bachelor?
[I don't think too hard about that, either. In the end, if I fell in love hard enough to turn my current values completely upside-down, I'd probably get married right away. So it's not that I'm negative about it, it might just be that I've got my sights set too high. I look for perfection in everything, that's probably why I'm not married yet. But you know, I only date people with marriage in mind.]

- Oh, really! That's rather......
[Well, you can't seriously date a girl who isn't thinking "What if we end up getting married?" right? But of course, I don't want to tarnish my family register (1), either.]

- Ahahah! So you don't want any black marks (laughs).
[That's right, I don't (laughs).]

- So, supposing you were going to get married, are there any traits you'd want your wife to have?
[No. Of course, I'd be delighted if she was a good cook, but I don't want to marry a housekeeper. So, I don't have any conditions for a woman I'd marry...... Ah, trustworthiness? My work keeps me out late so much that if my partner decided to cheat on me, it would be easy to do. Like, "My husband never comes home, he's always at the studio." (laughs) I don't want a partner who'll keep me wondering "What is she doing right now?" or "Is she out having dinner with another guy?", because worrying about that would break my concentration at work. If I can't have peace of mind, my work will suffer. That's it! Of course, it's my work that's at the centre of my life right now. So, she's got to be a girl who'll help build an environment where I can concentrate on work.]

- On a mental level, I understand, but part of me still reacts with something like "Eeh? He just doesn't care~"
[You see, I don't mind going to extremes. I'm Takumi from NANA (laughs)(2). Like he says : "To me, work is what's most important."]

- Let's be prepared (laughs). Moving on, for most of the world "finding happiness = getting married," or so they say......
[If you listen closely to what those people say, it turns out that what they're really saying is "If you don't get married and have kids, who'll look after you when you get old?" But I think "As if I'm gonna do that just so someone will look after me when I'm old!" I think it's a twisted way of thinking. I mean, from the kid's point of view : "Is that the whole reason I was brought into the world?" Isn't that horrible? Instead, I'll save some money and put myself in an institution to get someone to take care of me, I think that's a lot healthier.]

- It is rather sickening to think of a person as insurance.
[Right. As for girls, some girls say things like "When I go to my child's school events, I want to be younger than all the other mothers there, so I want to have a kid as soon as possible," and I think "Just for that?" I wouldn't want a child to be raised by someone who thinks that way, not at all. Not if it was my kid. Besides, apparent age and true age aren't always the same, you know. People aren't always the age they seem to be. Take me for example, I'm 34 but people are always telling me I don't look that old at all. Some people in their twenties look like old ladies or old men already, and some fifty year-olds look much younger than they are. I think the Japanese in particular are too picky when it comes to age. In the sports news, for example, whenever they write someone's name they always have their age in brackets next to it, right? I wonder why they go out of their way to write the age.]

- That reminds me, in foreign scandal articles, they never print any ages. So like "How old is Jennifer Lopez?"
[See? I think it's unique to Japan....... I'm saying cool stuff without even thinking (laughs).]

- Ahahaha. And so, tetsu-san, I can imagine that you'd only ever get married for love, right?
[No? I have no particular intention of ruling out a miai marriage(3). Whether it's a miai or someone I fall for on my own, no matter how we meet, it doesn't matter as long as we like each other, right? Yeah. But I think a miai would make me nervous.]

- Interviewer : Honma Yuuko
Translated by Natalie Arnold

1. The family register, called koseki, is an official register of all the births, deaths, marriages and divorces in a Japanese family. It's a type of census document. In this context, he is implying that if he got married rashly and then divorced, it would be recorded on his family register and thus make for a permanent negative mark.Go back.

2. See Yazawa Ai's manga, NANA. Go back.

3. Miai marriages are a type of arranged marriage, where the potential couple are introduced to each other by a matchmaker. However, miai is not as strict as other types of arranged marriages. If the couple in a miai decide they don't like each other, they aren't obliged to get married. Go back.

Tetsugaku 62 : Alcohol

- You quite like alcohol, don't you?
[I do like it. Well, maybe? I guess I don't really like it all that much.]

- Well, I guess you don't drink your way to a pounding headache then? But, it is fun to drink a little, right? Did you start drinking a long time ago? I somehow get the impression you didn't drink much in the past.
[I get told that by everybody but I haven't changed much, really. It's just that before, I didn't open my heart much at all, so I didn't go out drinking with people. Even when I did go, I didn't get all that casual, did I?]

- I see. What kind of alcohol do you drink the most? I'd guess beer?
[I start off with beer. "Beer first" (laughs) (1). While I'm drinking my "first beer" I think of what to have next. Which way to go. Well, it depends on who I'm with and on the time zone, too. Sometimes I stop after that one beer, sometimes I move from beer to wine. If there are wine drinkers among the group I'm with, then we'll get a bottle. That or shouchuu(2). If nobody else wants to get wine, I'll drink shouchuu by myself.]

- You must drink a lot of ume no oyuwari(3) and the like, right?
[Yeah. But I was a late bloomer for shouchuu. There was a shouchuu fad just recently, too. Lots of young people drank it, right? It's image used to be that it was the drink for old men who did manual labour. But now it seems like even young women drink it, it's become a refined drink. I'm sure that's how I got around to drinking it. At first, I wondered what was so good about it, and now it's like shouchuu doesn't get me drunk, so it's nice. It doesn't leave a single trace the next day. Ever since way back when, drinking barely leaves a trace on me. It's not one of my weaknesses. I can drink up to a certain amount without getting drunk, and without it lingering.]

- I suppose you don't get hangovers, then?
[Nope. At most, I'll get maybe one in a year. More like one every two, three years. I regret those times. "Dammit! Why did I drink so much and make myself sick?" (laughs). Basically, I drink because it's fun. Because I want it to be fun. I've never gotten drunk out of despair. I don't change when I drink. Since I don't change, it's like nobody can tell I'm drunk. I just get a little more talkative, I think. I talk a little more than I usually do, or something.]

- But, the corners of your eyes start to droop, and you get a little cuter......
[I get panda eyes, right? (laughs)]

- I think the time I saw you most drunk was at the party after the TETSU69 first live "Sweet December" right? You were pretty drunk that time. You even had trouble climbing stairs.
[Oh, yeah, I did drink a lot that time. But, wasn't the mood rather drunken anyway?]

- You seemed to be having a great time. Even at the party, you kept singing your songs.
[I was still singing even though the live was over, right? (laughs)]

- That's right. So, you should have made the live a little longer! Or something (laughs). Now, how do you feel when other people are drunk around you, but you aren't?
[I like happy drunks. But, I hate when people walk around with that look in their eyes that says "Wanna tangle?" In the end, it just makes me think they can't hold their booze. It's like, usually I control myself rationally, then I hear all these stories people only bring up when they're drunk, and I can think about them. So, I think that people who get violent when they're drunk are actually just holding back the rest of the time, and that's their true self. I'm glad I'm not like that. For better or for worse, I don't have much of a hidden side. A lot of painful incidents happen that way, though.]

- So, you claim that even when you're drunk, you can still exercise calm judgement. Deep down, you must admire calm, sensible people.
[Yes, I think I do. I think so, but I really do think I'm that kind of person myself, too. It's no different when I'm drunk. You know how hairy people get a lot of pity? I think it's because they say humans originally evolved from apes, so being hairy = being primitive. Primal and instinctive. Well, I'm particularly hairless (laughs). So, I guess that means I'm not primitive, and I think I'm a more evolved person. I'm not talking about whether that's good or bad. It's just that rather than give pity, I'm the type to coolly analyse things, staying very cool to think about them. If that means I'm cold, then I guess I'm cold.]

- I see. We've gotten a bit off topic. Let's see... Do you ever drink when you're at home by yourself?
[At home, I make Ditamonis (4). By myself. Consistently. I don't keep that much alcohol at home, though. Beer and Dita and Kahlua and that's it?]

- That's a lot of sweet drinks.
[Cause I'm still a kid (laughs). I don't drink every day at home, though. Maybe three or four times a week. When I want to reward myself for a good day's work and so on. "Otsukarechan!" (5) (laughs). Oh, and I don't sleep much, so sometimes I drink a little and sleep. I have awful sleeping habits since I'm such a night person. Well, alcohol is the lubricant of life, right? I could live without it, but it seems like having it makes life move along more pleasantly.]

- Interviewer : Kikuchi Keisuke
Translated by Natalie Arnold

1. He's playing with the phrase "Toriaezu biiru," which translates to "First of all, beer," or "Beer first." Typically, when Japanese go to a bar, they order a beer first instead of a fancier drink, and the ordering is done with this phrase.Go back.

2. Shouchuu is a traditional Japanese alcoholic beverage that is sometimes called "Japanese vodka." It has a rather high alcohol concentration. Similar drinks are made in China and Korea.Go back.

3. A drink (in this case shouchuu) mixed with hot water and ume juice. Ume is a species of Japanese plum.Go back.

4. A drink that combines lychee liqueur, tonic water and grapefruit juice.Go back.

5. The phrase "otsukaresama" is said to coworkers, teammates and the like after a hard work session. By changing the end to "chan", he is making it cuter, which is compounded by the fact that he's saying it to himself.Go back.

Tetsugaku 63 : Children

- You once mentioned that you like children. Did you mean playing with them, or do you prefer simply seeing them?
[I like playing with them. It's tiring, but I like it. It's kinda nice to take care of them.]

- As surprising as that is to hear, it's also understandable. According to you, tetsu-san, what is it about children that makes them cute?
[Just the fact that all their parts are so tiny, that alone is enough to make anything cute. But see, these kids, like my nephews and my friend's nieces, I only see them once in a while. Since it's not that often, I'll play with them, but if it was 24 hours a day, 365 days a year, then it would be terrible. Since I haven't had that kind of experience, I don't think I can really say what's cute about them.]

- Well, we've discussed marriage, or not getting married, before, so do you think you'd want to have kids of your own?
[Hmm, I've never thought about it, really. I don't especially feel like I want them, but don't absolutely not want them, either. You know, as far as people's children go, it seems like lots of people think of them almost like pets, so they'll have kids just as easily as they'd raise a pet. I don't think it's that simple. And so, it's a principle of mine not to keep pets. Then, when it's a human child, they can't keep up their previous lifestyle, so people say things like "Oh well, I had one so it can't be helped," right? I can't stand that sort of thing. There's an economic side to it, too. To raise one person until they graduate from high school takes tens of millions of yen, doesn't it? You need to have the right income. Then, in daycare centres and nursery schools, where they take care of one and two year olds, sometimes those kids die, you know? Like, they fell asleep while lying face down and suffocated. But I can't understand the nerve of those parents, letting someone else take care of their one or two year old children. For one and two year olds, the parents alllllways have to take care of them, or else. There's no way they can get away with having someone else do it while they go to work. I think that if you can't live on just the father's earnings, don't have kids yet. At least until the child is three years old, if the mother needs to work because the father's earnings aren't enough of an income, I think they shouldn't have children.]

- Ah, well, I think that's correct. You at least need that much preparation, planning, and foresight, right.
[Right. However, I'm not saying they need to grow up overprotected. They should be left alone when they need to be, but I think it's best to also have strict rules. But of course, there needs to be love in it for it to work.]

- I think that if you ever had children, tetsu-san, they would grow up very happily. Oh, yes, tetsu-san, you've often said that you're a child yourself, so in which specific ways do you see yourself as one?
[In every possible way (laughs). In the end, of course, I love myself, I think I'm the cutest. If I had a child, that would become someone I'd throw my life away to protect if necessary, but I'm still a complete child. I don't think children can raise children. I think I'd feel sorry for the kid. I'm still not a complete person, a complete human being, yet.]

- I understand.
[No, but if I ever have children, then that'll be that, everything will change from the moment they're born, probably. But right now, everything down to my way of thinking is childlike. My bachelor life is fun.]

- Interviewer : Honma Yuuko
Translated by Natalie Arnold

Tetsugaku 64 : Old Age

- Is the matter of old age on your mind at all?
[Nah, I'm not even sure when old age really starts, and I'll be working until I'm at least fifty, and I want a fun lifestyle after that. You can still have fun after fifty. Yeah, I'd like to try a luxury cruise around the world.]

- Have you ever thought about the age at which you'd want to die, if it were possible to choose?
[Nah, I want to live a long life. I want to live long, but if I caught a disease, then I'd want to die before I had to suffer.]

- Die of old age? That would be ideal, wouldn't it.
[Mmhmm. Or die while having sex...... I'm kidding! (laughs)]

- Ahahahaha, that would be cool in it's own way. But, can you even imagine yourself at age fifty?
[Hmmmm, I don't think I'll change too much. My appearance probably will change, though.]

- You aren't anxious about ageing at all? Wondering if "you've become all you could be"?
[Nah, everyone's a little anxious about what's coming up as they get older, right? So, you have to think about it. No, even though I said I don't think about it, I really do, of course. There are lots of things that would be good to simulate. Yeah...... In my case, anyway.]

- Interviewer : Honma Yuuko
Translated by Natalie Arnold

Tetsugaku 65 : Financial Sense

- You seem to use your financial sense to reflect on several matters.
[I do that a lot, don't I...... You know, for years now, I haven't looked at the price tag when I buy things, really. By that I mean that I buy things without knowing the price. Sounds awful, doesn't it? (both laugh)]

- Nhahaha! No, honestly, I'm jealous.
[I don't even know how much money there is in my own wallet. I can take all my stuff up to the register, then BAM! When I look at my wallet : "Uh oh, there's nothing in here. Do you take credit cards?" "No, sorry, you can't use a credit card here." "Okay, I'll run to the bank and get some money, hold this stuff for me please."]

- That must be such a shock (laughs). I wonder whether that means you have a financial sense, or that you don't.
[I don't. Oh, but I think I've gotten much worse lately (laughs). See, there's a gap between what people think is expensive and what I think is expensive. The way some people go "5000 yen!!? So expensive!", I'll treat hundreds of thousands of yen like so much spare change (both laugh). I'm like "It's not worth all that much, is it?"]

- Somehow, it's not that you don't have any sense of its worth, but even you must worry about these things sometimes, right?
[I think I'm terrible, such a terrible person. Just about every time I go to pay with a credit card, I hear "Is that all one bill?" and I hate that. "Of course it's all one bill!" ... Aren't I horrible? (both laugh) I don't like the fact that I'm like that. Deep in my heart, I think "I'm such a horrible person."]

- I see~. Now, money is very important, isn't it?
[Yes, it's very important.]

- Money is, for instance, an easily understood basis for setting the value of things. Of course, it doesn't indicate everything, but it does give things a saleable value. What is your take on money in that sense?
[I don't think that ascribing a worth to something makes it sell. Not every good thing made gets sold, and the quality of music isn't entirely proportional to how well it sells. That's how the world works, right? Plenty of people make music that doesn't sell even though it's really good, and the opposite happens, too. It depends on the time period...... Compared to five, six years ago, CDs don't sell much at all these days. The same product released now would get completely different sales result than it would have five or six years ago.]

- You have your own label, for your activities as TETSU69, so regardless of what you may or may not want to do, you have to keep the production costs in mind, right? You need a proper understanding of those basics.
[I don't have that basic understanding? Not really, anyway. It's just that, of course, it costs money to make things. Naturally, the more I make things that sell, the faster I get the freedom to do whatever I want. Some people say "I'm gonna do what I want!" a lot, but then a lot of the time they don't get any results. It goes to show that you can't always do what you want. Unless you're extremely rich, you can't go around only doing what you please. Doing what you want has to lead to results, and by results, I mean that your CD has to sell loads of copies. Start there, then you can do what you want. That's obviously the way the capitalist system works. But, in Japan, there are people who say that's a bad thing. "They're just doing it for the money," or "These guys are cool because they only ever do exactly what they want to do, so I support them." No no no, what're ya saying? That's how I react (laughs). Naturally, I'm making the kind of music I like, I think I'm doing what I want, in principle. I think "for money" is the wrong term to use, cause in this business, as a professional, I need to make money to be able to do what I want.]

- Mmhmmhmm. That's absolutely correct.
[So, the answer to "What can a fan do for an artist?" is quite simple : buy lots of CDs, buy concert tickets, buy some of the photo books and lots of goods like that. And in case you're wondering, you shouldn't buy fake, pirated products because the artist won't get a single yen from them. It's a simple concept, right? But if I go out and say things like that, the trend in Japan leads to me being thought of as being "into music for the money." I have to wonder about that.]

- That might be peculiar to Japan, a type of honourable poverty, from the Bushido mindset (1). But, selling things is definitely a good thing, a necessary thing. If you don't sell anything, you can't create anything else.
[I wouldn't be able to cover the production costs. Which means I wouldn't be able to make anything. Of course, I don't think money is all you need to make a good product. Even low-budget projects can be incredibly interesting, sometimes it might turn out that restricting the possibilities makes for a more interesting result, but I don't think that's good for the artist.]

- When you first started the band, how did you make ends meet?
[Nah, even though I didn't have any money, I lived in luxury (laughs). I even went to practise by car(2).]

- Ahahahahaha! But it cost money to manage the band, didn't it?
[As far as management goes, we were really lucky, L'Arc managed to pull over a hundred people. Right from the start. And then the cash started coming in. But we also had day jobs to live on, you know? So it's not like we were relying on band earnings to buy food. Since we were living off our jobs, we could save up fast, as we held more shows. Then we made a free video. To give something back to the fans. Later, we saved up the money to buy an equipment car. The money we made as a band didn't go to the members, we pooled it instead and only spent it on the band. We didn't go through any rough spots, or get in trouble because we didn't have money.]

- So on top of managing the band, you had quite an extensive system in place.
[Yeah, I think we were so lucky in that area. We seemed to be low-class, but we didn't live that way. You hear a lot of stories like how, at first, there were more band members than audience members, right? I haven't experienced that even once.]

- That certainly seems rather unusual. Might it be that you couldn't even imagine what it meant to live as part of the lower class?
[Well, I suppose you could say we did what we could to avoid it. "Even if only one person listens to our music, we'll go do a show wherever we have to just for that person," I hate that sort of sentiment. I realise that quite a few people in Japan hear that and go "Wow, cool! Wonderful!", but I figure "Isn't it better to get a hundred people?" "Let's work on getting a hundred people to come, instead."]

- I think that's exceptional focus on your goals.
[So yeah...... These days they're called fliers, but back then we called them handbills (laughs), even for the handbills, we made sure they'd make people think "Wow, I wanna see them; what kind of band are they?" by making cool handbills. Also, at the time, I was working in a pretty big record store in Osaka, and from the client list we had a list of people who liked Japanese rock to send direct mail to. So, I'd go to those areas and stick up some posters. For L'Arc's first live, we had stickers to give out as presents. We worked together so we could draw in as many people as possible.]

- One could say that you were blessed, but you actually put a lot of effort into it. Your present situation has its origins there.
[Just... well... I wasn't really trying to be professional or anything...... I never thought anything like "I absolutely must be able to live off my music," at all. My personality is cooler than that (laughs). It's just that I wanted to create a band, so I went about gathering members properly...... "Do it right," for everything that came up, one thing at a time. "If I do things properly then I'm sure to get decent results," that was my attitude. It's kind of mysterious though, looking back on it now. Taking it one thing at a time, one step at a time, each step didn't seem that high, so it was easy to keep moving up. Then, a while later I turned around, and realised that I'd come up an incredibly tall staircase, or something like that. Some people say "I have a big dream," right? Me, I stuck to small ones. I only had dreams that could become real very soon. I'm the type to take a realistic dream, clear it, then go "Okay, the next dream is this," and so on, gradually climbing the stairs to chase them. And so, I'm the type to do whatever I suspect is the best way to go about things. It's because of my personality that I do things the way I do. Generally, there's no one more suspicious than someone who does the right thing. People who are said to be "good people" have a flip side to them. Me, I'm hard to please, and I don't think my public image is very good, even I can tell that much. But, I think that people who spend a lot of time with me, who really get to me, can tell that I'm not really like that. Image, it's surprisingly bad, isn't it?]

- Well certainly, it was often said that "L'Arc is difficult", especially in the earlier days.
[At the very beginning, the company kept telling us "Don't talk in Kansai-ben" (3). But we weren't gonna talk in standard.]

- Ahaha! Then everyone would need to be quiet! It was when none of you were speaking that it was often said that "L'Arc is difficult".
[It's not that we were being pretentious. We simply weren't speaking.]

- Ahahaha. Now, let's go back to the subject of money. How did you feel when your first royalties started to come in?
[The first time they came in? "Eeeeh!? Is this ALL!?" (both burst into laugher). It was disappointing.]

- Ah, really? What was the amount, if you don't mind my asking?
[Oh, no, I don't remember anymore. I just remember thinking "I ain't gonna be able to eat much with this."]

- Going back to earlier on, do you ever look at your own shopping and think "This is definitely bad," for any reason?
[Woah, I spend so much every month, it's ridiculous. I might be better off buying land.]

- But tetsu-san, you don't seem the type to spend money frivolously.
[Um, well, I buy expensive stuff. I've always been like that, buying the best possible kind of video deck, for example. Same thing for appliances. I always get the highest quality. I buy brand name furniture, too. I've got to be some kind of clown. Like, the way I'll buy all this Italian furniture (laughs). "What's this one? Ooh, a Cassina," conversations like that are normal to me, and I don't want to go down a notch (laughs). But recently Dynos or something started making similar products for one-tenth of the price, right? (laughs) "Is this enough?" I wonder, and sometimes I get incredibly sad. People who don't know any better would say "Isn't it the same thing?" right. I guess I waste my money that way. But, even though they're brand names, I hate Gucci bags and things like that. I think they're crap. I prefer things that aren't recognizable except to those who know what they're talking about.]

- Spending your money on things like this is ultimately about satisfying yourself, correct?
[That's right. So, it's like I'm picky about things that aren't obvious, isn't it? I spend my money on things that no one will notice the price of, and I make sure the spots the carpenter missed are finished, I think that's the craftsman in me (laughs).]

- You have the financial sense of a craftsman (laughs).
[Yeah. Well, when you're only careful about the visible stuff, and leave the unseen parts to rot, then you end up with a house full of problems. Then there's my attitude toward easily recognized bags. I'm completely backwards.]

- Then your financial sense is in the fact that you have artisan talents, tetsu-san. And an artist's wallet, too (laughs).
[Yeah, well, in the end, it's bad to not think about things!]

- Interviewer : Honma Yuuko
Translated by Natalie Arnold

1. The idea of honourable poverty refers to a humble, spartan lifestyle suitable for the Samurai, followers of Bushido, in feudal Japan. Go back.

2. In crowded Japanese cities, getting around by car is immensely expensive, especially compared to the extensive public transit system.Go back.

3. The Kansai region, where Osaka is located, has its own very distinctive accent compared to standard Japanese. Go back.

Tetsugaku 66 : War and Peace

- tetsu-san, you play survival games, right? (1)
[Yup. When I play those games, I think "This is so scary." At first, I got this kind of imprudent feeling from playing, you know?]

- Ah, yes. It's a sign of the times.
[Of course, it's all model guns, just holding guns and playing war, you know? So grown-up. It felt a little imprudent, but playing also made me think about how much war sucks, and how we really shouldn't do it. Playing these games isn't supporting war in any way, and I don't think it's something war lovers play, either. Well, maybe war lovers play too, sometimes (laughs).]

- Then, playing survival games actually served to develop your anti-war sentiments?
[Yes, I think it did. War absolutely sucks. When you get hit in a survival game, you go "Ow!" and that's it, but if it were a real war, that one hit would kill you. In the end, war is just wrong.]

- What with the military intervention in Iraq, we're living in a period of war nervousness, plus there have been several wars even within your own life time, tetsu-san. The Falkland Island dispute (2) for instance, even without directly experiencing it, there were moments where it felt like a realtime war. What kind of views do you have on war?
[Love and peace. No, I don't have any real views to speak of. Well, I think anyone can see that war is bad, but wars still happen despite that.]

- For example, there's the current situation with Iraq, where even though the U.N. was opposed to it, ultimately America wouldn't give up and ended up starting a war. The U.N. resolutions were originally meant to create a universal world, but in the end they were useless.
[That's the kind of country America is. They're the type to do whatever they feel is in their national interest, you know?]

- Japan followed them too, in the end we sent out the self-defence forces (3). Well, it's for the sake of undertaking the reconstruction of Iraq.
[I don't think there was any point in going, but I guess it can't be helped. There was pressure on the country, so we couldn't not go, you know? But, I don't like the way some members of the self-defence force are opposed to it. It would be kind of like if firefighters said fires were too dangerous, so they won't go. They're supposed to be the first people to rush into this kind of emergency, aren't they? That's the kind of work these military people chose to do. But I have to wonder what kind of person would sign up without actually intending to go if anything like this comes up.]

- Now, what do you think about war and music? It's always been connected to love and peace, which means that the topics can't be separated, in my opinion.
[I've never written an antiwar song or any antiwar lyrics. I have no intention of ever writing any, either. I don't like message songs. Even leaving the antiwar theme behind, I've never written any message songs. That's not what music is about, to me.]

- So, you go out of your way to not write any?
[That's right. I don't like things that make a strong statement in my world. For example, because they're our fans, there are a lot of people who'll take our opinion on anything we bring up at face value and believe it to be true. Unconditionally. Because they're fans. Because they like us. So that means that even if we're wrong, they'll go "Yeah, yeah" and believe it anyway. Even if we were wrong or prejudiced. That just seems a little too much like brainwashing. So, message songs and stuff like that really aren't fair. I want my fans to have their own opinions and their own ideas.]

- How about songs that don't have a direct message, but rather are vaguely themed about global love instead of singing that message? How do you feel about those?
[That kind of song, yeah, I have some. Up until now? I've made some. SCARECROW was that kind of song. That song wasn't about feeling love, though. What the heck was it? It wasn't love. It was "anti#%&@". I didn't name the #%&@ part, though. But, I think that when people listen to the song, they won't understand its true meaning. It was written up to look like a love song. I think most people interpret it that way.]

- I have no idea what you might mean, but this does make it seem like the song has a certain spice hidden within it.
[Yeah, inconspicuously. Antiwar or love and peace, those are so easy to write about that anybody can do it. It's like, of course, completely obvious. However, there are other things to society, to the world. Disputes never end, anyway. Because everyone involved in the fight is convinced they're right. They each have their own idea of what's fair and just, you know? They say a world without war would be peaceful. But if you look at history, people have always been fighting, haven't they? There's no such thing as a war-free era. I mean, even if there isn't a massive war on, there are still individual massacres. Incidents like that. So yeah, peace is just so... difficult...... Argh, it's so hard!]

Interviewer : Kikuchi Keisuke
Translated by Natalie Arnold


1. Outdoor games, like paintball wars and the like, where participants must survive the obstacles of the environment as well as outperform other players. Go back.


2. In 1982, Argentina and the UK fought over possession of the Falkland Islands, which were disputed territory in the South Atlantic.Go back.


3. Since the end of World War Two, Japan is not allowed to maintain an army any more substantial than the tiny self-defence forces.Go back.

Tetsugaku 67 : The 21st Century

- During your childhood, how did you imagine the world would become by the 21st century?
[I imagined myself as an upstanding adult, actually (laughs). Well, it's pretty common, but I thought there would be floating cars; I guess I thought the world would be like it was in old sci-fi movies I'd seen.]

- You weren't the kind of kid to let your imagination run away when it came to the future?
[What kind of kid was I? I guess I was the realistic type.]

- tetsu-san, when you were in elementary school, Gotou Tsutomu's "Nosutoradamusu no Daiyogen" was a huge hit (1). According to that, there shouldn't have been a 21st century at all. What are your thoughts on that?
[I think I partially believed in it. Like, in 1999 I'll turn thirty, I'll have lived long enough already, or so I thought back in elementary school. You know, I read Gotou Tsutomu's "Nosutoradamusu no Daiyogen" again in 1999. The newest edition (laughs). There is one. It came out just before July of 1999. "It's soon. Wonder what'll happen," and "What's the point he wants to make, now?" But you know, even I thought something might happen. Even if it wasn't in the seventh month. I didn't think it would be that accurate. I thought something sort of similar would probably happen around that time. In the end "it" turned out to be 9.11 right? "From the sky will come a great King of Terror," it said. And somewhere else there was a line about "two" of something, that would be the Twin Towers.]

- However, that happened in September of 2001.
[There are other ways of counting dates, and even so it's very close for something predicted that long ago. In the end, predictions from the past always get distorted, don't they? So if you take that distortion into consideration, it's not all that far off. Besides, it doesn't say anywhere in that prediction that the world will end or that humans will go extinct or anything like that. Just look at the line "From the sky will come a great King of Terror," that part happened, after all. Over a long span of time, being off by a year or two doesn't mean a whole lot. Considering its a prophecy from thousands of years ago (2).]

- That's true. The 21st century started in 2001, so do you have any memories of the instant the 21st century began?
[The first moments of 2001? What was I doing again? Were we on "Kouhaku (Utagassen)"(3)? I think we were, doing "STAY AWAY". So yeah, I guess I was somewhere in NHK Hall.]

- I suppose you don't remember it very clearly. Do you perhaps have stronger memories of the initial moments of the year 2000?
[Yeah. Because we were having our "RESET>>LIVE*000". It was our first countdown live, in fact it's the only one we ever had.]

- I see. Ah, why is that? Was there actually some kind of tangible feeling the moment the year changed over?
[Nah, there really wasn't. Oh, there was the Y2K bug, wasn't there? As soon as 2000 hit, all the power was gonna to go out, or something. Right before the live, we rode around in a helicopter, so I wondered "Is this helicopter gonna crash?" and stuff. After that, the helicopter won't be able to fly anymore, right? That sort of talk. We were last. Going from NHK to Odaiba (4) by helicopter was so much fun. Because there was so much traffic congestion underneath us. Up above the traffic, we went wooooooosh all the way to Odaiba in ten minutes. The NTT Docomo building in Yoyogi (5) was in the middle of construction, and I remember thinking "Hey, what building is that?"]

- It's actually been over three years since the 21st century arrived, so how does it compare to the image you had when you were a child?
[It's pretty different. We haven't gotten that far. The world isn't like a sci-fi movie or anime. And Atom hasn't been born yet, either (6). It means we haven't quite caught up yet. And there's no cure for baldness yet, either.]

- You thought about curing baldness? When you were a kid!? (laughs)
[I did think about it when I was a kid, yeah. I thought I'd hate to get bald when I grew up. But, I figured that by the time I got that old, there would be a cure for baldness so I didn't have to worry. But it doesn't exist yet.]

- On the other hand, what aspects of the 21st century are close to what you imagined?
[Let me see... Is there anything at all? The world today isn't that different from how it was then, is it? There was already a shinkansen (7). Airplanes haven't changed much, either. I guess there haven't been many changes since when we were young.]

- Then, how about you yourself? Are you anything like you thought you'd be in the 21st century?
[I had no idea I'd be doing this kind of work, for one thing. I didn't think I'd be able to make a living with music. It's strange, isn't it? I never really thought that far ahead. Like about what I'd be when I grew up. I must have written boring essays (laughs).]

- So, if 20th century young-tetsu met 21st century adult-tetsu, what would you say?
[Probably "You gotta do stuff right, or else." "Do it right now, it'll get easier later." And I'd make sure I look healthy. "Play more sports." "Do more training."]

- I think you're plenty stoic enough as it is, though. How about the opposite? What message would your younger self send to your current self?
[Message? "Think things through," "Do things properly," probably. "Fight to the death," or something like that (laughs).]

- Interviewer : Kikuchi Keisuke
Translated by Natalie Arnold

1. The title means "The prophecies of Nostradamus." It was a movie based on a book movie released in 1974, and Gotou Tsutomu was the writer. Set in 1999, it was an immensely popular film depicting the end of the world, supposedly based on the predictive writings of Nostradamus.Go back.

2. Actually, Nostradamus made his predictions in 16th century France, making it hundreds, not thousands of years ago. It is a mistake on tetsu's part, not a translation error.Go back.

3. NHK's annual New Year's program. The title means "Red and White Song Battle". Go back.

4. Odaiba is a group of artificial islands in Tokyo Bay. Originally build for protection against attacks by sea, it has since been developed into a futuristic business and entertainment district. Go back.

5. tetsu mentioned this building back in Chapter 47 as a building he dislikes for seeming fake.Go back.

6. Tetsuwan Atom, known in English as Astro Boy. Robot star of an anime from the 60s that has enjoyed immense popularity around the world. Go back.

7. Japanese bullet trains. The system was built in 1964.Go back.

Tetsugaku 68 : L'Arc~en~Ciel

- Among the products L'Arc~en~Ciel has produced, have any been interesting in the sense that they deviated from your expectations?
[Yeah, that has happened. However, it's not limited to L'Arc, I think it would happen if other people did it, too.]

- But in L'Arc~en~Ciel's case, the four of you each have strong, distinctive personalities, so there's a high probability that more band magic is required, right?
[It changes a lot depending on the song. Sometimes we stay close to the songwriter's original image of the song, faithfully building it up, and other times only the chord progression and melody will be left after we mess with the tempo and arrangements so much. It's a case by case thing.]

- Let's take the newly released "SMILE" as an example. How did it go for the song "READY STEADY GO", which you composed?
[For that song, the tempo was a little slower at first. The rhythm was a bit bouncier. To me, it felt like a Prince song, and the working title was "Prince". Then, I wanted to make it sound like Good Charlotte, wanted it to be a little more punkish. My interpretation of punk is current American punk. But for yukkie, it seems to be Damned's "New Rose" (1). I guess we were looking at two completely different eras (laughs). So, we ended up trying out the Damned style, and this is how it turned out. That song was fun to work on while we were making it.]

- It's an example of band chemistry, right?
[As far as that song goes, I knew from the start that it would turn out fine no matter which way it went. On the other hand, there are some songs that I'm extremely picky about and that I don't want to see changed. For "Time goes on", the guitar solo I played in my demo was adopted pretty much as is, with hardly any changes. So depending on the song, it can go completely differently. Both methods have their good points, though.]

- L'Arc~en~Ciel incorporates so many different elements.
[Ultimately, no matter what we play, as long as it's the four of us, we naturally turn into L'Arc.]

- I think the band's originality is apparent in that sense too. You say "No matter what we play we turn into L'Arc," so what on earth is "L'Arc," in your mind?
[The other day, I was reading the Oricon music business section, and Kameda Seiji-san(2) had written something good. "Speaking of L'Arc~en~Ciel, they are also a European soccer team, that is to say Nakata (Hidetoshi) and Takahara (Naohiro) and Yanagisawa (Atsushi) and (Nakamura) Shunsuke have assembled under the name." Then, since I'm the leader I guess I'm Hide (laughs). I was thrilled to read that article. Because actually, I'd thought of that myself. When I thought it up, I passed it off as just a random thought, but Kameda-san thought the same thing. It reminds of what it's like to unite four people with distinct individual talents.]

- You mean how even though they play on different teams, once united, they were immediately able to create an effective formation.
[Yep. That's exactly what I thought of. Maybe I should wear a captain symbol during lives (laughs).]

- They play in Europe, but they came together to represent Japan, right? So, what acts as a motivation for the four people brought together to form L'Arc?
[That's a tough question. In soccer they play to win. But music isn't about winning.]

- Perhaps not victory, but you might have another goal in mind?
[That would be to make good music. Making our music even better. I think it's all about putting out good songs.]

- Working with these members, you can rest assured that it will turn out nicely, right?
[Yes, that's right. If we didn't respect each other, we wouldn't be able to stay on the same team.]

- When did you start to feel that you were like those soccer players in Europe uniting to represent Japan?
[I think I've partially always felt that way, but around the time I was working solo, I started feeling that way especially strongly. We each did our own solo work, then went back to the band, so doing L'Arc again really felt like we were representing something (laughs).]

- Certainly, hearing it from you makes it seem true.
[So yeah, I always feel like I'm a chosen representative of some kind, so I have to work hard or else, and I put my all into my solo work too.]

- Of course, you surely must have put your best efforts into both the band and your solo work.
[Take soccer as an example again (laughs): Solo work feels like playing matches in the regular league. Then, L'Arc is the special delegation. Of course, with real soccer players, even if their regular league matches weren't broadcast on TV, they still wouldn't catch the ball with their hands or anything. Whether it's a league match or a special one, they'll put the same power, the same energy into the game and play each match one at a time as best they can. It's the same with the band and solo work. Just, people don't pay the same amount of attention to the league as they do to the special matches. Personally, I want to make good songs for both the band and my solo work, so I put my all into both of them, and so it can be a little disappointing when only L'Arc manages to become a big success (laughs).]

- I see. Now, tetsu-san, do you feel that L'Arc~en~Ciel should always remain as it is now, or is there a particular direction you feel you should move toward?
[I think that L'Arc has members who are talented musically, technically, and also sensually. But, I think that when talented people like that get together, they generally turn into maniacs pretty quickly, so we need to have a good balance, I don't want us to become maniacs, I also want us to have popularity. I want us to appeal to both amateurs and experts. I think that's an incredibly difficult thing to do, though. However, I do think that L'Arc truly is one of the few bands that can do it.]

- Is that direction something that came from discussions among the members? Or is it instead something that came into play naturally, on its own?
[When L'Arc first got started, our catch phrase was "Dual Nature in White and Black." It's not that we tried to live according to that phrase or anything, but it seems to me that we somehow did that anyway. The band's name is L'Arc~en~Ciel, which means Rainbow, so we started in black and white, then all the other colours came in later. We aren't black and white, we're a band that spreads out into all seven colours.]

- It seems like it was a prophetic band name.
[I think it happened unconsciously, though. When L'Arc formed, on our first demo tape, there were two songs. L'Arc has never once sold a single copy of our demo tapes though, they were made so we'd have something to play for the live house owners when we were booking places. Back then, we had one really pop song and one really dark song on the tape. Going to both extremes (laughs). We've been doing that since the start.]

- The reason you go to both extremes, ultimately, is that you're musically greedy right?
[I guess so. By doing that, we've even been able to infiltrate the layers of society that don't listen to much rock, and from a sales point of view we've increased our figures, so in a way it's rapidly brought us to the point where we could be maniacs if we wanted to be. Not even the record company people could complain. We steadily built up an environment where we could be free to do whatever we wanted.]

- To most of the world, "winter fall" is probably considered your break point, but what's your personal take on that, tetsu-san?
[So that's what most people think, is it? To me, it was always the album "True".]

- When you got your break, did you become consciously aware that lots of people were listening and that you'd finally achieved popularity?
[Nah, my sense of awareness hasn't really changed much since the beginning. Personally, I've never thought that this band called L'Arc~en~Ciel was lacking in popularity. So when I was told that we'd had our so-called break, I just thought "Oh, so they finally noticed." (laughs) I was always sure that number of people who thought "L'Arc is good" was going up.]

- Do you think that L'Arc~en~Ciel particularly needs to be supported by many people?
[I do have a personal taste for being flashy, and so as far as being able to be flashy goes, I think we do.]

- This is rather sudden, but do you think about the band breaking up?
[This band will last as long as I live, I can't say when it'll end any more than I can tell when I'm going to die.]

- One more thing, tetsu-san. To you, what's the fun part of being in L'Arc~en~Ciel?
[Hmmm, it feels like going home for the holidays.]

- Do you mean that you feel at ease?
[No, not quite. People react to me differently. The staff seems to be having fun, and the fans seem to enjoy it too. Giving everyone the chance to have so much fun makes me very happy. As long as I can make an environment everyone can enjoy, that's enough for me. Combining that fun with the ability to make good music isn't a problem at all.]

- Interviewer : Hasegawa Makoto
Translated by Natalie Arnold

1. Released in 1976, this song by a British group was actually the first British punk single ever released.Go back.

2. Born in New York, he has long been involved in the Japanese music industry, first as a bassist, then as a producer. He has worked with many artists on the production side of things, including L'Arc~en~Ciel.Go back.

Tetsugaku 69 : TETSU69

- The word TETSU69 originally came from a URL, right?
[Right. First, it was my URL, "TETSU69.com". At one point, I was really into buying all sorts of domain names.]

- How many did you get?
[About twenty or so. "TETSU.com" was already taken by someone else though, so I couldn't get it. So yeah, ".com" is the best, isn't it? Not ".co.jp" or anything else. I absolutely wanted a ".com" so I added the 69 for the year I was born, and got "TETSU69.com." At first, that's all it was. Is it okay if I go off-topic? It's related to this, there's just one thing I want to say.]

- I think it's best for these talks to cover a wide range of subjects, so feel free to go off-topic, please.
[I got domain names on my own, all by myself. And, with domain names, if you're wondering whether someone has it or not, you can easily go and check. A fan girl ended up finding out about it, that I had bought that domain name, and then went and talked about it, so I had it be claimed in the name of a staff member, that way it would seem like "Oh, it's just the company," when they looked it up. But even though I knew that anybody could look into it if they wanted, I had registered it with my own credit card, that has my real name and everything attached to it, so only the site itself was in the name of that staff member. And of course, it was me who paid for it. Kinda naive of me (laughs). A while after I'd gotten "TETSU69.com" we started thinking about solo projects, but just tetsu, well, there's a lot of tetsus in the world, so I said to Mi-chan (from the record company's board of representatives) "Wouldn't "TETSU69" be better?" and went with that. That's the whole story.]

- You're very particular about the number 69, aren't you?
[It's not on my mind as much, now. Like I'm getting a bit sick of it. But I showed someone I know who's a good judge of names my "TETSU69" name. "I'm thinking of doing some solo work, so do you think this name is any good?" We had a look at the stroke count and stuff (1). It seems the number "69" is very easy to misinterpret. I could be misunderstood if I use that number, maybe. 6 and 9 get twisted around, you know? I was told that "Maybe a different number that doesn't have this particular feature would be better?" but at the same time I was also told "It'll take time, but ultimately you'll be a success so it won't be that bad, but there will be problems because it's so easily misinterpreted." "But if you want to use it that badly, you might as well," they said and okayed it, so that's what I used. I was sure it was the right thing to do. Even though it'll be misinterpreted and troublesome (laughs).]

- It meant you needed to prove yourself, then.
[23 is a good number too. "TETSU23" (laughs). But that number means nothing to me (laughs). When I'm with L'Arc~en~Ciel, my name is written as "tetsu" in lowercase, you know? "TETSU69" is in capitals, which affects the stroke count. Adding 69 changes the stoke count too, right? Given that difference, and for the sake of balance, I changed the "TETSU" part to capitals. That way the total stroke count works out well. Lowercase letters with 69 gives a bad stroke count. It would affect my luck, so I don't want anyone to write it the wrong way. A lot of fan girls don't know how to use capital and lowercase properly in their fan letters, so I want them to be more careful.]

- I thought it was plainly obvious that, from a design point of view, the capital and lowercase letters were chosen for a reason.
[That's not right, it's for the stroke count. Because it's different for capital and lowercase. Like e and E are different, for one.]

- So there's a stroke count for the alphabet too, then.
[Yes, even for the alphabet. There are different ways of seeing it depending on the teacher, though. Oh, and when RARUKU AN SHIERU (2) is written with the alphabet, well, there's been a lot of talk going around to the effect that "L'Arc-en-Ciel" with - (hyphen) replacing the ~ (tilde) is a mistake, but the truth is that it doesn't change the name at all. Because using hyphens instead of tildes doesn't affect the stroke count. Besides, no matter what you do, depending on the design or the font, sometimes using hyphens looks better, and sometimes using tildes looks better, so whichever fits best should be used. They both work fine. The "L'Arc-en-Ciel" logo changes with every release anyway, they change it freely. There is one thing that shouldn't be changed though : when it's written in katakana, there shouldn't be any dots in. It should be RARUKU AN SHIERU, not RARUKU-AN-SHIERU (3).]

- Why is that the case?
[Some people don't include dots in the stroke count and other people do, but with the people who do include the dots, those make for a bad total so I want them to be dropped. Some count them, some don't, and when you don't count the dots, the total comes up to 18 strokes. 18 strokes is very good. But then the dots would add two more, making 20 strokes. If you remove the dots, it gives 18 strokes no matter how you count, so I want them gone. That got confused with the tildes and hyphens issue when the news started going around. When it comes to changing those, there's a good reason to do it, so it makes sense.]

- I see, there's clear reasoning behind it all. Now, let's talk about TETSU69, what's the most interesting part of doing solo work?
[While working solo I met some new people, and that was great. I didn't know anything outside of L'Arc~en~Ciel, so it was kind of like entering a different world, which was a big change to experience, for me.]

- What kind of balance do you want to achieve between your solo work and your work with the band?
[Nah, I really don't know yet.]

- I wonder if the results of your solo work might not be reflected in your band activities now. Do you see any merit in pursuing both at once?
[L'Arc~en~Ciel's activities were put on hold for two years, so even if I hadn't been doing any solo work over those two years, I think I'd have grown as a person. So I don't really know. I did some solo work, but I don't know if it affected me or not. There's such a thing as growth medicine, right? You could take some during puberty, and if you do that, you'll get taller, but even if you hadn't taken any, you're in a growth period, so there's no way of telling if that's what made you grow, it's not at all obvious what the cause was, you know? I think this is the same sort of thing. I might have grown even if I hadn't done any solo work. However, everything I did was connected to the solo project, so the simplest way to put it is to say that I did some solo work, which powered me up, and now I've come back to the band, but what if I'm just putting it like that because it's easier? I see things more coldly.]

- But during your solo project, you sang and did several other things you hadn't done before. I think it's obvious that it served as a kind of training for you.
[It's just that with the solo work, I didn't play the bass all that much. Some of my songs used synth bass instead. Because I didn't play it myself in the shows. I played it for the recordings, but I didn't spend much time on it. And so thinking as a bassist, it doesn't seem like working solo helped me grow, it's more like it stunted my growth instead. Being in L'Arc~en~Ciel is what makes me grow as a bassist. Of course, as a vocalist, I think my solo work helped me grow a lot.]

- Is growth as a vocalist in any way related to growth as a bassist? It could be seen as an increase in the number of channels you use to express yourself, so surely there must be some mutual influence.
[Well, I'm certainly not saying there's no connection whatsoever. It's just that I never ever think of myself and go "Wow, I've grown so much to get to this point." (laughs)]

- I'm sure many things must be different when you're making music alone as opposed to in a group of four, so do you find these differences enjoyable at all?
[As a solo artist, "Suite November" is the only album I've put together. For every single song, I had a different group of musicians participating. So, the process was different for each and every song, and the members were different too, but the work itself wasn't all that different from how it is with the band. It felt as if for each song, the members involved became a band themselves. Oh, speaking of differences, the only thing was that I wrote all the music and lyrics myself.]

- But for instance, the jacket design, the album title, the track order, all of these things were decided by you alone, right tetsu-san?
[That part was fun. If it was OK with me, then it was OK. It was easy and fast. For the performances and arrangements too, I could say "Play it like this," "Play it like that," and that's how it was going to be. Maybe on the inside, those musicians were thinking "I don't like it this way, I don't want to play it like this," but I was the one who got to be selfish. It was my own album, so I said things forcefully and made them happen. I didn't have to think too hard about how other people would feel. With the four of us in L'Arc, it just can't work that way. We need to make sure everyone's happy, make sure everybody's feeling good about what we do. Doing that takes time, so we need to work carefully. But that's fun in its own way too, it brings an entirely different sense to things, so I think both approaches have their good points.]

- For your solo work you get to decide everything according to your own criteria, your own sensibilities, being true to your own senses, so I think the end result will be that it reflects more about you as an individual human being. With that in mind tetsu-san, what kind of an artist is TETSU69?
[Hmm, what kind of artist? That's a tough question.]

- Do you think you're cool, that you do good work?
[I think my tunes are great, very much so.]

- Is there anything you don't understand about the stage you are at currently?
[Maybe if I were more forceful about it, I could get a boost in sales, which would be nice (laughs).]

- For TETSU69, do you have anything in mind that you'd like to do later, ideas on the back burner or anything like that?
[Nah, musically speaking I still don't have a solid concept like "TETSU69 is -this- kind of artist" or anything, it takes shape little by little as the project moves along, step by step. I've been working by trial and error since the beginning, experimenting with different things, and there are still lots of things I'd like to try for a bit, so if I get the time I think that's how things will shape up. Right now I don't have the time, so I can't put down any specific ideas like "I'll do this" or "I'll try that" any time soon.]

- Then, looking at the big picture and taking the time to think it through is better, isn't it.
[It would be nice if I could go about it like that. Right now though, I've got tons of things to do for L'Arc~en~Ciel, but hearing things like "Of course, tet-chan is at his best when he's playing bass in L'Arc," makes it seem like I don't need to do solo work, like maybe it's a wasted effort, and that makes me feel a little bit lonely.]

- It's as if the more you persist, the less meaning it has. Do you have any plans for TETSU69 live shows?
[If the timing is right, and if I feel like doing something, then I might have some lives. But it's always L'Arc, L'Arc, L'Arc, so TETSU69 doesn't really matter does it? (laughs)]

- No, that can't be right. Last year's year-end event was effectively your second show on stage, so now I believe there must be some expectations along the lines of "Well, what's going to be next?"
[As a vocalist, I've only just barely gotten started, and there are a lot of things I still do wrong when I'm singing, so since I still haven't done very many lives, I think the best is still to come. I'm a member of L'Arc~en~Ciel, where my primary position is being the bassist, so as far as that goes, looking at it calmly and objectively, I think I write good songs. People might or might not like my voice, and I'm sure there are some people who can't take the sound of my voice on a physiological level, but personally I do like my own vocals.]

- I think the feel of the songs you write and the quality of your voice match very well, tetsu-san.
[I think so too. But I'm in no position to evaluate it fairly. I'm in L'Arc~en~Ciel after all, and compared to L'Arc, I'm in trouble (laughs). hyde and I have different vocalist careers, our voices have different qualities, and our registers are different too, and of course, I think there are some ways in which we can't even be compared. It's kind of disappointing, really. I've been told things like "If hyde-san sung the songs you made solo, it would sound a lot cooler," and that's extremely frustrating. A lot of people say cruel things like that. Things like that make me wonder if there's any point to my work as TETSU69.]

- I suppose that the longer it lasted, the more it would sink in to your mind, but tetsu-san, is there a source of motivation inside you that urges you on and makes you want to work on your solo project?
[Right now I'm busier with L'Arc, I don't really have the time, so I don't feel much desire to work on it. I think it would be best of each of us could have fun with our solo projects while still being in the band. I know that with some of the fans, as soon as we put out some solo work they think that L'Arc is over, so they won't support the solo projects and some even badmouth them, but that's not the case at all. Whatever we're doing, we can still work on both things, so I want people to drop their prejudices and listen to it all.]

- Interviewer : Hasegawa Makoto
Translated by Natalie Arnold


1. Stroke count refers the number of paintbrush (or pen, these days) strokes required to form a Japanese character. Seeing as it's also how kanji are organised in a dictionary, its an important attribute to consider.Go back.


2. The katakana version of L'Arc~en~Ciel, romanized instead of translated for the sake of clarity in this paragraph. In all other situations throughout the book I have changed the katakana version to the properly spelled version.Go back.


3. Normally there are no spaces in Japanese, so dots are often used to space out foreign words instead. tetsu is explaining that spaces need to be used for the katakana version of the band name. Go back.